| Summary/Abstract |
This article examines the first decade of Pasar Gambir as an annual week-long festival held in the Dutch East Indies in conjunction with Queen Wilhelmina's birthday. As a study of colonial spectacles, it seeks to address the dearth of scholarly literature that analyses how the Western exhibitionary complex functioned in a colonised environment. In producing Pasar Gambir, the Dutch colonisers did not adopt this exhibitionary complex in its entirety. As such, Pasar Gambir assumed the hybridised form of a jaarmarkt-tentoonstelling (fair-cum-exhibition) imbued with market-like characteristics. This reality distinguished Pasar Gambir from its metropolitan equivalents by involving the colonised not only as objectified exhibits on display, but also as active consumers and participants of the spectacle. Ultimately, this article argues that the hybridity of Pasar Gambir undercut Dutch efforts to use it as a vehicle that illustrated and vindicated their claims of benevolence and racial supremacy. Through the Malay language press’ appropriation of the spectacle to underscore the moral superiority of the colonised and the Indies Chinese’ successful boycott of Pasar Gambir in 1925, colonised communities contested the empire-building messages that the Dutch sought to convey through Pasar Gambir and inscribed their own nationalist readings and interpretations of the annual jaarmarkt-tentoonstelling instead.
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