“The portrayal of the Dutch countryside is a cover for colonialism and globalization”
In her dissertation “I Don’t Think That’s Romantic At All!,” UvA doctoral student Anke Bosma casts a critical eye on the portrayal of the Dutch countryside. Using literature, television, and film, she examines issues such as migrant workers, technological progress, globalization, and colonialism. Today, Bosma will receive her doctorate from the UvA.
In your dissertation, you talk about the portrayal of the Dutch countryside as “idyllic” or “romantic.” What exactly do you mean by that?
“For my doctoral research, I looked at various rural narratives portrayed in different media. What is striking is that things like technological progress, globalization, and migrant workers are often portrayed as surprising because they are presented in a conservative context.”
“A good example is Yvonne Jaspers’ programs, such as Boer Zoekt Vrouw and Onze Boerderij. Despite her claim to show the real story of the countryside, the image she portrays is highly romanticized. For example, in her programs, she marvels at farmers working with robotic systems, while the agricultural sector in reality moves with the times and benefits from technological advances. In addition, people act as if the countryside consists of all small family farms, long a thing of the past. Behind the scenes, this image is supported by large financial interests from agribusiness. This is not reflected in Jaspers’ programs, which often focus on one farm, preferably with one blonde family. Migrant workers, for instance, are also left out of the picture even though they make up a significant part of the agricultural industry. Such examples illustrate the media’s distorted portrayal of the countryside.”
Is this portrayal of a picturesque countryside exclusively something of our time?
“No, certainly not. The other day, for example, I was at an exhibition at the HEM art center in Zaandam where huge etchings by Rembrandt are on display. Next to an etching was this description of the piece: “The peasant landscape north of Amsterdam, as Rembrandt knew it from his youth.” It indicates one of the most important conceptions of the countryside, namely that we associate it very much with the past and often with our youth. So that was already true in Rembrandt’s time, in the 17th century.”
In your dissertation, you write that the image of the countryside is a kind of façade for colonialism and globalization, among other things. What is the evidence for that?
“The image of the ‘idyllic’ countryside often serves as a cover for complex historical realities such as globalization, migrant labor, and colonial legacies. A striking example of this can be found in the province of Zeeland, where, despite its major role in the transatlantic slave trade, the colonial past often remains obscured because it is outside the Randstad. This can be seen, among other things, in the television series Grenslanders. The portrayal of Zeeland as a pristine pasture contributes to the belief that the countryside has no connection to events in international history such as colonialism, which is partly at the root of globalization. This distorted image is not specific to Zeeland but also occurs in several other provinces. It underscores the need to create awareness about the complex historical layers hidden behind the seemingly idyllic countryside where colonial legacies are an integral part of the broader national history, and thus do not belong only to the periphery.”
What are the consequences of such a romanticized cover-up?
“This idyllic image makes all kinds of rural issues invisible. These include the lack of investment in rural areas, the employment of migrant workers, disappearing bus routes, declining social services, and diminished services such as police and hospitals. The result is that people in rural areas do not feel heard or understood by the Randstad elite, which contributes to social discontent.”
“On top of that, the idyllic and conservative image of the countryside is hijacked by right-wing politics, leading to nationalistic, political narratives. Consider, for example, the rise of the BBB during the provincial council elections, or the victory of the PVV in past elections for the House of Representatives. This movement managed to turn the narrative toward a struggle against the ignorance of the Randstad.”
If Rembrandt were around to make another attempt at, in your opinion, a correct landscape painting of the Dutch countryside, what would it look like?
“All kinds of modern technology would be visible, such as robotics and large tractors with GPS systems. Cows seem indispensable in a ‘typical’ Dutch landscape, but in reality, they are usually in the barn. Plus, if you want to paint the Dutch countryside, you can’t just paint the Netherlands. After all, cows are part of international trade. They come from North America and their feed comes largely from South America. We also export a lot of dairy products abroad, and the manure is left here, which has resulted in the nitrogen crisis.”
Anke Bosma will receive her doctorate on Wednesday, December 13th, at 10:00 a.m. for her dissertation, “I Don’t Think That’s Romantic At All!” Imagining the Dutch Rural in an Age of Globalization. The defense will take place in the Agnietenkapel and is free to attend.
