Holland Focus April/May/June 2016

holland focus

Streetcats, the power of girls Musical SKY creates 3D (dream) world

April/May/June 2016

frontpage: The photographic self-portrait of Streetcat Charissa van Gogh: Joan of Arc. Inset: Charissa as she looks like in daily life.

the Dutch at Sydney Mardi Gras Parade, photo Susan Darling

INDONESIAN SEA TREK ADVENTURES

CONTENTS ARTICLES______________________ 4 Jheronimus Bosch, visions by a genius 12 From funeral food to popular treat Krentenbollen!

20 Ban on gathering Lapwing eggs 26 Experience nature at the Philips Fruit Garden 32 Koningin Máxima: 10 jaar leerorkest 37 The World’s Oldest Known Skating Image 38 Streetcats, the power of girls 46 Karel Vreeburg finds a dialogue between

science and fine art 48 Netherlands buys a new Rembrandt 50 Tax in the Netherlands 54 Velvet revolution threatens 60 year old

NOS 8 o’clock news 58 Musical SKY creates 3D (dream) world 64 the Flaming Dutchman 68 book reviews

Contact us for Itineraries, Dates & Prices We offer 5% discount on prices quoted on Sea Trek website Australian & New Zealand Booking Agent Ask for Hans Went

REGULARS___________________ 10 Gedicht Belicht - Frans Hertoghs 11 Dutch/Flemish movies the Transporter Refuelled 16 Kaaskoppen - Bankruptcy of V&D 34 Taals Taaltje - Profs 56 Verbeeldingen - de koperslager 66 Tegenvoeter - Komkommer, Cucumber and

Onzin, Nonsense - Ruud Hisgen

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It’s on again!

ORANJEFEEST MELBOURNE 2016 DJ with Dutch music, bitterballen, Dutch beers and lots of orange.

Enjoy the Heineken Happy Hour 8 - 9 pm with Heineken @ $5

Dress code: as Orange as you can!!!

SATURDAY 23rd of April 8pm - 1am Ormond Hall St Kilda

(behind Village Melbourne Brasserie, former the Belgian Beer Cafe on St Kilda Road)

TICKET FEE (2 April – 23 April) $15.00 per person (Maximum 8 tickets per booking) at trybooking.com/kkgs organised (again) by The Dutch Ladies (who every year around this time feel like having a party) More info? oranjefeest.melbourne@gmail.com

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Jheronimus Bosch 4

Left Charles de Mooij, director of Het Noordbrabants Museum / composer exhibition, centre King Willem Alexander, right mayor Ton Rombouts, photo Marc Bolsius

Visions by a genius words Marianne Visser van Klaarwater 5

Pedlar (Museum Boymans van Beuningen)

Zwanenbroedershuis, residence of the very illustrious Lieve Vrouwe Broederschap, the painter was reviled by most of the people living in Den Bosch.

Brilliant! is the work of Jheronimus (Jeroen) Bosch (ca 1450-1516). The exhibition, in the Noord-Brabants Museum, commemorating the 500th anniversary of his death. On the 12th of February, King Willem-Alexander opened the exhibition, which will finish on the 8th of May 2016.

To realise the exhibition of 19 paintings by Bosch, the Noord Brabants Museum cooperated with, amongst others, the Museo Nacional del Prado in Madrid and the Louvre in Paris. The paintings de Hooiwagen (1510-1516) and De Landloper (1501-1510) have been lent by them.

Wayfarer Near the end of the late Middle Ages (1250-1500) only saints, angels and biblical scenes were painted. By painting the Wayfarer (pedlar) he was the first who dared to portray common people. A tramp wearing one shoe and one slipper is portrayed. Behind him is a house, a pair of long johns hanging over the window sill on the second floor, a couple cuddling in the doorway and on the right a man urinating. It is a house of ill repute. What will the tramp do? Will he go back or follow the narrow road? “In Bosch’s paintings people always have a choice between good and evil. Will he yield to the temptations of the seven sins?” mayor Rombouts asked in his speech at the opening.

Royal visit To organise the paintings to be part of the exhibition did not happen overnight. It took nine years for all museums to agree in giving their painting(s) on loan to the Noord Brabants Museum. Therefore, the paintings could count on a royal visit. Five hundred years ago it was a very different story. Despite his membership of the 66

Museo del Prado, Madrid

Haywain triptych The people living in the Middle Ages were especially annoyed by the naked bodies and half-naked people.

Freaks and dubious figures as seen on the Haywain triptych (above). A monk is dangling a wurst in front of a nun. Luckily the Spanish king Filip II (1527-1598) did not taunt Bosch’s work. Quite the opposite, he took the Haywain triptych and many other paintings with him to Spain. They were protected against the anger of the people and preserved for later generations.

The Haywain is moving from the left to the right. From the fall of man to the end of time. The centre panel shows a cart carrying an enormous amount of hay, symbolic of the evanescent material on this earth. Greedy people foolishly try to grab a piece of it.

photo right: opening by King Willem-Alexander on the museum square (Photo Marc Blosius)

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King Willem-Alexander receives a scientific publication about Jheronimus Bosch from Jos Koldeweij (2nd left) en Matthijs Ilsink (centre), photo by marjo

Seven Deadly Sins “The seven deadly sins still have the earth wavering,” said Rombouts before finishing his speech. “Anger, Greed. They are still here. Especially gluttony is testing us intensely in 2016. Jeroen Bosch makes us very hungry.”

After 8 May, the Haywain will go back to Spain. The Jeroen Bosch Experience will stay, though. One could climb to the roof of the St. John’s Cathedral (1220-1530) to admire the 92 small statues. Perhaps they inspired Jeroen Bosch then. http://www.hnbm.nl http://www.zwanenbroedershuis.nl/ http://www.10tips4trips.info/2016/02/12/jeroen-boschjaar-geopend-in-de-basiliek-van-st-jan http://www.bosch500.nl/nl/experience.

The Seven deadly Sins (attributed to Jeroen Bosch), Museo del Prado, Madrid

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Dirk Hartog OceanClassic

to keep the thirteen rusks that come in a roll fresh. For this we can thank Verkade, the Dutch company from Zaandam that first started selling their rusks in a tin in order to preserve their freshness. en Duyfk Although, I must admit to not owning a tin myself, and to not eating a whole lot of rusks, I still have a weakness for them and will happily indulge in them Leeuwin from time to time. EspeII cially if they’re topped in one of the following ways.

Perhaps a bit of inspiration, should you want to try something other than the more traditional toppings.

SOUTH of PERTH YACHT CLUB (INC.)

25th October 1616 Captain Dirk Hartog, aboard the VOC ship, the Eendracht, landed at Dirk Hartog Island in Shark Bay, Western Australia To mark the 400th anniversary, there will be a 5 day festival in Denham from the 21st to the 25th October 2016.

For those wishing to be involved in the sailing event, there will be a Race and Cruise from Fremantle to Geraldton and from Geraldton to Shark Bay starting on the 15th October 2016.

The Fleet will be joined by the replica ships the Duyfken and the Leeuwin II, for the Plate Re-enactment Ceremony.

Beschuit Vitello Tonato: Tuna salad, thinly sliced vour veal and Endea Young capers Beschuit ‘Cupcake’: Cream cheese flavoured with sugar and vanilla, sliced strawberries and freshly-grated dark chocolate Green Mean Beschuit: Sliced avocado, lime juice, olive oil and garden cress Beschuit Italiano: Pesto, mozzarella, cherry tomato and basil Sunshine Beschuit: Soft goat’s cheese, baby spinach and sun-dried tomatoes Dates:egg with black truffle Beschuit Parisienne: Scrambled 15 October - Race/Cruise to Geraldton Beschuit Elvis: Peanut butter and sliced bananato Denham 21 October - Race/Cruise Spanish Beschuit: Sliced22Manchego cheese and and figsConcert October - Celebrations October - 17 Century Dress Nordic Beschuit: Cream23 cheese, smoked salmon andCaptains Ball 25 October Re-enactment of the Landing chopped chives Nutty Nutella Beschuit: Nutella and chopped hazelnuts

Invitation - To Yachts, Catamarans and Power Boats

THE CLOG BARN Experience the colour & charm of Holland without leaving Coffs Harbour

Expressions of Interest to:

www.sopyc.com.au/dirkhartog www.fsc.com.au/sailing-events/dirk-hartog www.sharkbay.wa.gov.au Geraldton Yacht Club Marine Terrace, Geraldton

Clog Barn Take a leisurely browse through the Clog Barn, where you will discover a treasure of souvenirs - e.g. Delft blue pottery - and special gifts and fascinating daily clog making demonstrations. You can also view the North Coast’s largest collection of Diecast Collectable cars and motorbikes.

Clog Making Demonstrations 3 times daily 11am, 2pm and 4pm.

www.clogbarn.com.au

Dutch Village

Don’t miss OMA’S COFFEE HOUSE Delicious meals Dutch pancakes, Croquettes, Uitsmijter, Bitterballen, Poffertjes

Take a delightful stroll around the model Dutch Village with working windmills and working trains! Free admission to the Dutch Village.

A Family Fun Adventure

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GB

Het is een vreemd soort taal, gedichten. Normaal gebruiken wij onze taal alsof het geld is: je geeft het uit en je ontvangt het. Maar je kijkt er eigenlijk nooit naar.

Je werkt ermee, maar je ziet het niet. In gedichten gaat dat anders: Dan kijk je in het hart van de taal. In het hart van de mens.

edicht

elicht

Ze moesten inderdaad gaan, ik had het gezien aan hun gezichten die langzaam veranderden van die van kinderen in die van vrienden, van die van vroeger in die van nu.

Vertrek van dochters

En gevoeld en geroken als ze me kusten, een huid en een haar die niet meer voor mij waren bedoeld, niet zoals vroeger, toen we de tijd nog hadden.

Er was in ons huis een wereld van verlangen, geluk, pijn en verdriet gegroeid, in hun kamers waarin ze verzamelden wat ze mee zouden nemen, hun herinneringen.

Nu ze weg zijn kijk ik uit hun ramen en zie precies datzelfde uitzicht, precies die zelfde wereld van twintig jaar her, toen ik hier kwam wonen.

Kinderen die het ouderlijk huis verlaten, het is als een omgekeerde geboorte. Met gevoelens die je als ouders even hard treffen. Niemand die dat treffender en helderder onder woorden gebracht heeft dan Rutger Kopland. Ze moesten inderdaad gaan, schrijft hij. Inderdaad, hij geeft ze gelijk.

Het was onvermijdelijk. Ze waren geen kinderen meer maar bevriende volwassenen, net als hun ouders. Klaar voor hun eigen toekomst. Maar wat een wereld van toekomstig heimwee ligt achter vroeger, toen we de tijd nog hadden. Dat komt nooit meer terug. Ze namen hun eigen spulletjes mee, en de ouders kijken eindelijk weer door hun ramen. Zo kijken ze diep in hun eigen leven terug waar ze hetzelfde uitzicht zien van twintig jaar geleden. Ze blijven achter en moeten hun leven opnieuw oppakken.

Mijn eigen dochter vertrok een paar weken geleden. Aan haar draag ik dit innige gedicht op.

Dochter, ik had het niet beter kunnen zeggen.

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Dutch/Flemish movies words Darren Arnold

Recently released onto DVD and Blu-ray, The Transporter Refuelled is a Belgian co-production from Luc Besson’s EuropaCorp. This prolific company is one of Europe’s biggest film producers and they’ve given us, in addition to the other Transporter films, successful movies such as Taxi and Taken and their subsequent sequels. Besson and his colleagues have largely set about making American-style action films in Europe, an idea that initially may have raised a few eyebrows but has long proved to be a lucrative one, with many of EuropaCorp’s productions enjoying global success.

The Transporter Refuelled is the fourth entry in the series and sees Ed Skrein replace Jason Statham as Frank Martin, a former special ops mercenary who transports special packages on a no-questions-asked basis. His services are requested by Anna (Loan Chabanol), a prostitute who soon complicates matters when her gang pulls a bank heist and then kidnaps Martin’s father (Ray Stevenson), which is all just a means to exact revenge on Karasov (Rasha Bukvic), a vicious human trafficker who was the source of much pain for Anna. Cue numerous car chases, near misses, and all sorts of generally ridiculous shenanigans as Anna and her colleagues try to get to Karasov and Frank tries to find his father. It’s all done in a fairly slick manner, and director Camille Delamarre keeps things moving along at a nice brisk pace.

After viewing The Transporter Refuelled, it’s still unclear as to whether this is a franchise reboot or simply a third sequel; while the presence of a new actor in the main role might point to the former, the film feels a lot like the latter. In any case, it’s really no better or worse than its predecessors, with Skrein a more than able replacement for Statham (an actor as limited as he is popular), and the rest of the pan-European cast acquitting themselves reasonably well. And although it probably won’t be many people’s favourite Transporter film, it has enough about it to suggest that the series still has a little bit of life remaining. In presenting us with a formulaic yet well-executed slice of action cinema, it succeeds where the recent Hitman: Agent 47 (to which the sequel/

reboot question also applies) soundly fails.

While by no means a great film, The Transporter Refuelled plays as perfectly passable Friday night entertainment, and is of additional interest if you’ve yet to witness the curious spectacle that is EuropaCorp’s European take on Hollywood.

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From Funeral Food to Popular Treat

Krentenbollen!

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words Paola Westbeek

portrait of a boy, sitting on a window sill, dressed in a blue coat, attiributed to Jean Augustin Daiwaille (1786-1850)

Christmas at Soestdijk Palace. The Dutch queen Juliana and princess Beatrix are serving cocoa and buns to the staff.

Baarn, December 22, 1960. Nationaal Archief Before moving to the Netherlands, breakfast was certainly not a big deal to me. When I lived in the United States, on my way to work, I often stopped at the local donut shop for a cup of weak, milky coffee to wash down a bagel with strawberry cream cheese, and if I had time to eat at home, it was usually a toaster waffle and instant coffee. You can imagine my amazement and delight when I was introduced to the wonders of the Dutch breakfast table by my very traditionally Dutch motherin-law. Breakfast was a beautiful and abundant affair with everything from fresh fruit to a large assortment of breads. Luckily, no one was afraid of carbohydrates back then.

Out came the pretty damask tablecloth and while the kettle was put on for tea and the scent of filter Douwe Egberts filled the air, eggs were boiled and a variety of Dutch food icons slowly started to appear on the table: hagelslag (chocolate sprinkles), beschuit (rusks), ontbijtkoek (spice cake), appelstroop (apple syrup), zachte witte bolletjes (soft white rolls), three types of cheese (old, young and cumin), a plate of cold cuts, Calvé peanut butter, sliced whole wheat bread, crackers and krentenbollen.

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I was especially charmed by the latter. The tender, currant studded buns enticed me with their aromatic scent of vanilla and were heavenly when split open, buttered and layered with a few slices of cheese. Like a sweet and savoury treat all in one!

But krentenbollen, I later found out, did not start out as a regular at the breakfast table. In fact, originally they were called ‘leedbollen’ (sorrow rolls) and were a staple at nonCatholic funerals, much like the still popular ‘plakje cake’ (slice of cake). Catholic funerals, on the other hand, gave preference to things like gingerbread (rouwpeperkoek) and biscuits.

Today, krentenbollen are also served on less somber occasions. They travel well and are a popular choice when it comes to packed lunches for day-trips and picnics. I always had one in my bag during my days as a student at the University of Leiden, and my daughter’s lunch isn’t complete without one. I think it’s the

photo: Paola Westbeek combination of their taste and texture that makes them so appealing as an ‘on-the-go’ snack. A squashed ham or cheese sandwich isn’t really something to look forward to, yet for some reason, a slightly flattened krentenbol doesn’t lose its charm – it only gets better.

Unfortunately, the widespread fear of carbs has made many Dutch wary of the krentenbol these days. Empty calories, some argue. And all that sugar surely can’t be good for the waistline. Some even go as far as to compare the humble Dutch krentenbol to an ordinary chemical and e-number laden commercial chocolate bar! It’s interesting to note that a decade ago, krentenbollen were part of the weight loss plan designed by Dutch diet guru, Sonja Bakker. Times sure have changed! The calories in a krentenbol, however, have remained the same: a modest 150, unless you opt for the larger variety, a ‘reuze krentenbol’. In that case you can tack on an additional 100 calories.

For those who are not concerned about dietary restrictions or are simply craving a delicious Dutch

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krentenbol after reading this article, I am happy to share my own recipe. Keep in mind that unlike the shop-brought variety, my krentenbollen are a bit more substantial and less gummier. The lack of preservatives makes them keep much shorter. Make them for brunch for friends and family, and serve them warm out of the oven with royal lashings of butter and hearty slices of Gouda, preferably within two days after making them.

The recipe makes twenty, so should that be too much, you also have the option of freezing them. Though freezing always affects taste. In that case, don’t fret too much and remember the Dutch saying that goes: “Het leven is net een krentenbol, met af en toe een hard stukje” (Life is like a currant bun, every once in a while there’s a hard bit)!

Krentenbollen

Makes approximately 20 currant buns Ingredients: 250 g currants, rinsed 100 g butter 225 ml milk 1 tsp vanilla extract 2 eggs 600 g all-purpose flour, plus some extra 2 packets yeast (7 g per packet) 70 g light brown sugar 2 tsp ground cinnamon pinch of freshly ground nutmeg pinch of salt For the glaze: 1 egg 2 tsps milk

Method: 1. Put the currants in a pan with hot water and allow them to sit for about 15 minutes so that they plump up nicely.

2. Put the butter and the milk in a small saucepan, allowing the butter to melt into the milk on a low fire. Once the butter is melted, take the pan off the heat and add the vanilla extract and the eggs. Whisk gently.

3. Drain the currants.

4. Sift the flour over a large bowl. Add the yeast, sugar, cinnamon, nutmeg and salt. Stir well. Add the currants and stir again.

5. Add the wet ingredients to the dry and mix well with a wooden spoon. If the mixture is too wet, add a little more flour. You don’t want to make them too dry either! Flour your hands and knead the dough while it is still in the bowl.

6. Flour your work surface, transfer the dough onto the floured surface and knead for about five minutes. The dough should be soft. Not too wet and not too dry. Shape the dough into a ball and sprinkle with a little flour.

7. Wash and dry the bowl. Transfer your dough to the bowl, cover with cling film and also with a clean tea towel.

Put your bowl in a warm, draft-free area and allow to rise for an hour and a half.

8. Punch down the dough, transfer to your working surface and knead for a minute or so.

9. Line a baking tray with baking paper. Make dough balls the size of prunes and put them on the baking tray leaving a little space between each one.

10. Cover the buns with cling film and the tea towel and allow to rise for another 45 minutes.

11. Preheat the oven to 200°C. Whisk the egg and the milk and brush a little of this mixture over the buns. Bake for 20-25 minutes or until golden brown. Keep on eye on them to make sure they don’t brown too quickly. In that case, you can cover them with a sheet of foil. Serve warm with a pat (or two) of the best butter you can get and stuff with Dutch cheese.

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KAASkoppen discusses actual affairs that keep the Nederlanders busy

a glance at the current Netherlands

Bankruptcy of V&D city’s heart ripped out

Department store chain V&D is bankrupt. Negotiations were to no avail, and thousands of employees lost their jobs.

After more than one hundred years, the first contemporary department store chain in the Netherlands is finished.

Two entrepreneurs from Amsterdam, Willem Vroom and Anton Dreesmann (brothers in law), established a shop with cheap and fixed prices. Then the customary was to always give discounts. They also decided to buy goods at factories abroad, together. This harmonious cooperation resulted in the opening of Vroom & Dreesmann (V&D) in 1887. As Vroom was the oldest of the two, his name came first. words Yolanda Edens

the first V&D in the Kalverstraat, designed by Caron

interior of a V&D shop in 1975

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The shop was a huge success and soon branches throughout the Netherlands were opened, amongst them Rotterdam (1892), The Hague (1893), Haarlem (1896), Utrecht (1898) and Venlo (1912). To start off V&D was a family business. Each male family member attended a course ran by Dreesmann and thereafter open his own branch somewhere in the country. In addition to that they received half of the shares to stay financially attached to their own branch.

above: La Place Restaurant in Nijmegen (Agora); right: V&D building in Rotterdam (F. Eveleens); below: an ad for the Nijntje children clothes only sold at V&D

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In 1912, V&D opened, in the Kalverstraat in Amsterdam, the first modern department store in the Netherlands. The, for that time, gigantic building was full of technical gadgetry and had several lifts, a light hall and a telephone exchange. Apart from that, the building had several floors and the shop windows had their own covered walkway with tiled floor – besides, life-like mannequins from Berlin adorned the windows.

For people who were considering to move to a city ‘the presence of a V&D shop’ was a requirement. V&D has been a trendsetter for many years offering improved products and ideas. Like the price circus, the jukebox with the monkey orchestra (the Bimbobox), the yearly market offering school supplies, at the end of the summer holidays, one had to be quick or miss out and of course the La Place Restaurants. Only this restaurant chain was bought by Jumbo Supermarkets and stays in business as independent restaurants.

With the disappearing of V&D an icon vanishes from the Dutch shopping streets. To many ‘the heart’ of the shopping streets has disappeared.

The large buildings with its closed doors look very sad. If or how the empty buildings shall be occupied is not known as yet. Different options circulate on the internet, amongst them: casino, food halls, kart racing, a disco or refugees shelter.

So far the 67 shops of V&D opened their doors for a short period to sell the remainder of the products still in stock: let’s hope that this will happen for ‘cheap and fixed prices’ as well. As the founders, Mister Willem Vroom & Mister Anton Dreesmann had intended.

A big Dutch party from 11am till 4pm.

This has to be one of the must-do Canberra multicultural events of the year and it’s FREE!! enjoy a true Dutch polonaise.

At night we have tantalising sit-down dinner prepared by a Dutch master, this is a ticketed event that will kick off at 6.30pm with a free aperitif and great street organ tunes to get you into the mood. All this and more has been made possible with the assistance of our sponsors. Again the Australia-wide well-known Duo ‘Dutch Treat’ will delight you with their beautiful sound and recognisable Dutch tunes.

This is the second year the Dutch community in Canberra will celebrate their national day with the people of Canberra in the most beautiful Albert Hall, thanks to a grant from the ACT Government.

On the 30th of April, the doors will open to celebrate the birthday of the king of the Netherlands, officially the “Huis van Oranje”. There will be plenty family entertainment with awesome Dutch delicious delicacies available.

‘A celebration where you don’t have to be Dutch to wear orange’ Save the date, tell your friends about this upcoming event it will be a day full of entertainment for young and old, for families and friends. Oranjefeest Canberra invites you to join in the festivities on the day.

More detail available soon on our website www.oranjefeestcanberra.org

Flea market, Dutch stalls, many games for young and old.

There will be a selfie photo booth, including 24 paintings of old Dutch masters proudly displayed. Live music provided with a real street organ and the well-known Dutch Treat who will make sure you get on the floor to

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autumn in the Netherlands, photo Trijnie Boon

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Ferran Pestana

Ban on gathering Lapwing eggs end of a centuries old tradition?

Ljipaai sykjen (looking for lapwing eggs) is a typical tradition in Friesland that has been going on for centuries. Every year, in March and April, many people set off to look for and gather lapwing eggs and then offer the first egg to the Commissioner of the King. In the European Union the gathering of lapwing eggs is illegal, for a long time they made an exception for Friesland only. Because the population of this meadow bird is diminishing, now, the gathering of lapwing eggs has been prohibited in Friesland too.

words Yolanda Edens

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egg hunt, published by D.Lothrop Company (1891), right: Ostara by Johannes Gehrts (1901) below: easter eggs by L. Kenzel

Recent research by Sovon Vogelonderzoek Nederland shows that the population of the lapwing has been decreasing by 40% since 1996. The habitat of the lapwing is getting smaller too. Therefore, for the last 10 years a maximum was already determined. Now, they decided to give the animals a bit of a rest and they will be extra monitored by bird watchers. The ljipaaisykers who want to keep this tradition alive, are very disappointed.

Origin The gathering of lapwing eggs finds its origin in the religion of the Saxons, of which Ostara was a typical season goddess of these Germanic people. She symbolises the victory of the light and the start of the fertile period: spring. Fertility, abundance and rebirth festivities were celebrated around 21 March.

The German name for Easter is ‘Ostern’ and is derived from this Goddess (also the old English word for Easter Ēostre). The origin of the Easter bunny also originates from this old practice. The hare had the prestige to be a fertility symbol with

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many tribes and cultures, because this animal starts breeding early in spring. The legend entails that the hare started as a chicken for Ostara. The chicken constantly hid its eggs and being frustrated with that, Ostara changed the chook into a hare, to help finding the eggs again. This search doesn’t just bear a resemblance to those egg searches by children at Easter, but also to the searching for the first lapwing egg. The relation between the bird and the hare is explained by the fact that some birds lay their eggs on the ground and in abandoned ‘forms’ where hares sleep.

In the olden days farmers put an egg in their fields to bless the harvest. In many cultures, the eggs are, just like the hare, the symbol for new life. The painting of eggs symbolises

both photos: Ben van Meerendonk ANP 1952

The gathering of the eggs is a true prestige fight. Especially the Frisian who finds the first lapwing egg in spring achieve eternal fame. It is a Frisian tradition to present the first lapwing egg to the Commissioner of the King.

It used to be presented to the Queen.

The Commissioner checked the egg by putting it in a bowl with water. If the egg floats, ii proves that the egg is fresh and the finder receives the ‘Sulveren Ljip” (Silver Lapwing), a sculpture to honour the find, which is presented by the Provincial Committee. By the way, the Commissioner always ate the egg. Also all 31 mayors received a ‘earste ljipaai’ (first lapwing egg).

the vivid colours of the reviving nature.

Frisian tradition Lapwing eggs are found in all regions in the Netherlands where fields are dominating the landscape. However, from 1897 till 1932 it was always the Friesians with their abundance of fields, who found the first egg. In 1933 the first egg was found in the Gelder Valley (province of Gelderland).

Cap The gathering of the lapwing eggs is considered an art and not at all as easy as it seems. When Bauke was a little boy he used to go along with his father and still is one of the 4800 registered ‘Ljipaaisykers’.

“You have to study the behaviour of the lapwing 22

If this will change in the future depends on two things: whether the Provincial states wants a new exemption and if the Council of States approves it. The big political parties like CDA, PvdA and VVD are in favour. They argue that it is important to keep on gathering the eggs, because it motivates the seekers to do the aftercare.

Vogelbescherming Nederland has appealed in a letter to the province of Friesland to not allow an exemption to gather the lapwing eggs. They argue that you don’t gather eggs from a bird species that is endangered.

In Friesland the amount of lapwings had decreased by 40% in 20 years. The organisation calls for developing a tradition that is of this age.

you need a ‘pols’ (pole). Often I got wet feet and sometimes even got wet all over before I managed to jump over a ditch.” A real Ljipaaisyker never leaves home without his cap. “An egg basket or bag is not very handy. Where do you put it if you have to jump over a ditch? In a (relatively large) cap you can safely keep the eggs and use your hands for pole vaulting.”

and be able to distinguish the male from the female lapwing. The feathers of the male are darker than the female’s feathers. The male is also more agile in his movements. The female is quieter and more modest. If the female has only one egg in the nest, she flies away without making any noise, mostly just above the field and against the wind. Or she first walks a bit through the grass and only then flies away. She does this to mislead the hunter and entice it away from the nest.”

“It is not just the simple hunting; it is figuring it out.

If you want to become the first one, you have to observe them beforehand. You have to know which couple is the closest to laying eggs. If the crow flies over, then it could be that he will be chased away by the lapwing. If the lapwing returns to the field, the nest could be there. But you could stand next to a nest and still not notice it. Because the eggs are coloured and therefore not very obvious in the landscape.”

Another habit a Ljipaaisyker has to master is the pole vaulting. “A narrow ditch in a fields could easily be beaten by a good jump over it, but for a wide one

Intensifying agriculture Lapwings lay different eggs before they start hatching eggs. According to opponents of the gathering-ban, the gathering of the first eggs does not affect the final amount of chicks that hatch.

Associate professor of Resource Ecology at the University of Wageningen, David Kleijn, explains in Resource Magazine (January 2015) that the gathering-ban is a sensible step, considering the decline of this bird. ‘The lapwing is critically endangered and therefore an example for the meadow birds who almost all are heading to extinction.’

The gathering of eggs in Friesland is not the cause 23

Intensifying agriculture in Ossenwaard (Deventer) by JanB46

Juvenile Lapwing by nottsexminer

of the decline of the lapwing, the main culprit is the intensifying of agriculture. Draining, intensifying of agriculture, predators and a habitat that is less and less suitable comes at a high cost for the lapwing.

‘Probably the same cause as the decline of the godwit, of which we know a lot more. The biggest problem is that not enough chicks grow up. Largely because their habitat changes. The agriculture intensifies, farmers mow earlier and more often.

Which results in more and more meadows with nothing to forage for the birds. Lapwing chicks grow well on a diverse meadow where they can forage for their food and have spots to hide.’

Nest protection But the gathering of eggs does not improve the situation for the lapwing. Vogelbescherming Nederland acknowledges that in the province of Friesland is a lot of knowhow about meadow birds’

protection, especially amongst the egg gatherers. In Friesland are about 5000 active volunteers who are working hard to increase the chance of survival for the eggs and chicks of the meadow birds. In ‘turn’ for the emptying of the nests, the next nests are protected. The aftercare is done in different ways.

Amongst others, by placing sticks near the nests to protect it from the farmers’ machines. And the temporary moving of the nests during agricultural work, keeping the chicks away from the mowers and advising the farmers.

Besides, this is done with all the nests containing eggs that are found by the volunteers. Also of the godwit, redshank, oystercatcher and skylark.

Nowadays they use the so called ‘stippenkaart’ (dot card). These cards are used at farmland where aftercare is done. They are kept in the shed and the found nests can be marked. By using this method, no nest protections have to be placed

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by Charlesjsharp

as they can betray the nest to the beasts of prey.

Vogelbescherming Nederland reckons that the nest protection can be done without the gathering of the eggs. “If you want to protect the birds, you do not take away eggs, not even from the common birds.’ sources: Vogelbescherming Nederland, Resource Magazine, different media, Wikipedia)

On 9 March 2016 the first lapwing egg in the Netherlands was found in Dommeldam (NoordBrabant) by Piet Delissen and Wil Foolen of the Werkgroep Vogelbescherming from Sint Oedenrode.

“A walker informed us. We went to have a look and there was one egg in the nest.” The men knew immediately that they were the first. “This is registered on a website. Last year we found the egg on 10 March and now a day earlier.” Photos have been taken, but the egg has been left in its nest. “The era that it was offered (to the Commissioner of the King) is over.” The Brabants Landschap en Landschapsbeheer Nederland were informed. “Late afternoon they arrived here. They had a look and the egg is real.” After this approval, the mention ‘first lapwing egg of the country’ followed (Source Brabants Dagblad photo Didier Descouens).

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Carlos Faes with a basket of pears.

Experience nature at the Philips Fruit Garden!

words Ton van Rooij

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Situated on the outskirts of Eindhoven and yet amid the greenery is the Philips Fruit Garden (in Dutch: de Philips Fruittuin). Once established by electronics concern Philips, this company nowadays is much more than just a fruit plantation. As for some years now, a combined visitor and conference centre, restaurant and country store are located here, too.

From April to October, the activity level is the highest.

Then, guided tours are given, treasure hunts for children are held and visitors get the opportunity to picnic on the grounds and – for a number of weeks – pick apples themselves.

Sustainability important spearhead “The Philips Fruit Garden was founded in the early ‘30s of the last century by Anton Philips as a job creation project,” says Carlos Faes, who leads the company together with his wife Anneke. “He wanted to keep people at work in those economically difficult times and provide them with delicious fresh fruit after the crisis. After World War II, when people settled in Eindhoven from all over the place, the N.V. [= LLC] Philips

economically had the wind in its sails and the Fruit Garden grew along with the development of the company. Also in a literal sense, for while the site at the start measured 12 hectares, until the early ’60s its surface area increased to 28 hectares. All the fruit in those days still went to the people who worked at Philips in Eindhoven – of which there were a lot at the time. Later on, they also started supplying fruit to third parties, both in the Netherlands and abroad.”

About 20 years ago it was decided, mainly due to the intensified competition, to scale down the Philips Fruit Garden and from then on cultivate fruit for regional sales only. “We then went back again to 12 hectares,” says Faes. “That was a difficult but necessary step. From that moment, we began building our new vision. One of the spearheads of it was that we were going to cultivate fruit as much as possible in a sustainable way. This means that we grow apples, pears and plums with respect for the environment and the health of consumers. To attract more visitors, we have since then expanded the company with the Country Store, Pannenkoekenhuis De Proeftuin (Pancake House The Tasting Garden) and a visitor centre, Meeting Point PIT.” Brainport Park The fruit finds its way to two categories of customers.

“More than half of our fruit we sell to private individuals,” says Faes. “The other customers are companies, including

Every year in September and early October, you can pick apples yourself at the Philips Fruit Garden!

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Philips, football club PSV, the municipality of Eindhoven, Geestelijke Gezondheidszorg Eindhoven en De Kempen (Mental Healthcare Eindhoven and De Kempen, better known as GGzE for short), Eindhoven Airport and Novotel Eindhoven.”

The area where the Philips Fruit Garden is part of is being developed rapidly. “That’s why about two years ago we have founded Brainport Park”, Faes mentions. “This is a cooperative that has the aim to take over some tasks of the municipality of Eindhoven, such as the management of the area, to name but one. With this, we also are trying to create a sort of regional mini-economy, so that entrepreneurs can strengthen each other in the area. This way, you pass the ball to one another, resulting in a much more enjoyable match. I think a lot of opportunities lie ahead!”

Enjoy dishes with regional products In the Country Store, fresh fruit from the orchard of the Philips Fruit Garden, among other things, is sold. Faes: “Because we sort the fruit oursélves, it does not have to go to the auction or wholesaler, which is beneficial for the quality and the price. In addition, we sell a wide range of biological and regional products in the Country Store.”

De Proeftuin is a colourful and contemporary pancake house with 120 seats... and a magnificent view over the orchard! In fine weather, you can also look for a spot on the sunny terrace, which can accommodate 100 people.

“With De Proeftuin, we began eight years ago,” Faes recalls. “In the pancakes not only our own apples, pears and plums are incorporated, but also many other regional products: cherries, strawberries, blueberries, red berries, cheese, ham, bacon, and so on. These are all supplied by fellow farmers from the sustainable triangle of Tilburg, Eindhoven and Den Bosch which is known as The Green Forest [in Dutch: Het Groene Woud]. Within this partnership, we exchange all kinds of products with each other. Therefore, you see on our menu primarily dishes containing local products, something our guests are very enthusiastic about! Besides many different pancakes we also serve apple pie, homemade soups, salads and small dishes with local products, such as fresh sandwiches with cheese from cheese farm Ruurhoeve in Hoogeloon.”

left: A look inside Pannenkoekenhuis De Proeftuin (Pancake House The Tasting Garden), which primarily serves dishes with local products; above: Night frost on the grounds of the Philips Fruit Garden.

Meeting Point PIT: present, inform, treat The visitor centre is named Meeting Point PIT, because it represents three things: present, inform and treat.

Because PIT is lying in the middle of a green oasis of tranquillity, it is an inspiring location for presentations, seminars, lectures, meetings, brainstorming and sustainability sessions, exhibitions and courses. The 29

An information wall and desk about, among other things, Meeting Point PIT.

rooms on the ground floor can be linked, thus creating one large space. But they are also excellently suited for more intimate gatherings.

PIT serves as an information point as well. Here visitors can obtain information on the Fruit Garden, The Green Forest and Park Brainport. The building is located at a walking and cycling route spanning hundreds of kilometres, so it’s a coming and going of pedestrians and cyclists here.

The treat element of PIT is made up of the possibility for business users to have a regional lunch, pancake meal or something else delivered. So they can unite business with pleasure!

Connection with Philips There still is a strong connection with founder Philips – and no, not just because the company is among the clientele. Faes: “Recently, Philips developed a new juicer, which they then introduced at our premises, in the orchard, which was very nice. So this just goes to show that if you dare to connect with each other and actually do so, beautiful things can arise from it. Philips executives also regularly meet in PIT, for instance to outline the strategy for the future.”

2016, by the way, is a special year for Philips, because on 15 May, it’s exactly 125 years ago that Frederik Philips and his son Gerard founded the firm in Eindhoven. (Gerard’s younger brother Anton came to strengthen the company ranks less than four years later.) This is why the Philips museum at the Emmasingel 31 in Eindhoven opens a special exhibition on the present and future of Philips on 13 May 2016. In this exhibition, Philips lets visitors experience the innovative solutions we can expect from

Pannenkoekenhuis De Proeftuin (Pancake House The Tasting Garden).

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the company in the future and where it is heading.

Furthermore, extensive attention to the anniversary will be given in the city of light on Saturday 14 and Sunday 15 May 2016. Under the adage ‘Eindhoven celebrates the future’ numerous activities then will take place at iconic spots like the Emmasingel, Strijp-S (once a busy Philips factory site) and the former technology museum Evoluon (which exists 50 years this year). A huge spotlight will shine on past, present and – above all – future of Eindhoven and Philips’ role in it. Already in advance a memorable weekend, it will be fed with the DNA of the city in which imagination, experimentation, technology, collaboration and innovation are key words. By using these properties, untold numbers of extraordinary things have already happened in Eindhoven, even genuine miracles! Two of them, which are closely interrelated, will be celebrated on 14 and 15 May: the miracle of 125 years of Philips and the miracle of inventing the future.

that to happen.”

Personal dream Concrete expansion plans for the Philips Fruit Garden are not on Faes’ agenda, but he does have a personal dream he’d like to see come true, he let slip. “Because regional breweries are becoming ever more popular, I once toyed with the idea of ​​growing Eindhoven biological hops on a field of 1 hectare. In method, hop cultivation doesn’t differ much from fruit cultivation, so the growing itself would be achievable. But when it’s harvest time, the hops must be dried within seven hours. For that you need a special facility, with very specific fans and the like, and such an investment is too big for just 1 hectare. Then you must have at least 20 hectares in order to get it profitable. But I’m sure that if we would grow Eindhoven biological hops, beer brewers in Eindhoven would get ecstatic! That’s a dream of mine that despite the associated bottlenecks I should be able to realise someday. I do not rule it out anyway!”

Practical information The Philips Fruit Garden is located at Oirschotsedijk 14a in Eindhoven. De Proeftuin is open from Wednesday to Sunday and during school holidays also on Tuesday, the Country Store from Tuesday to Saturday. From April to October, you are welcome here for tours, picnics, treasure hunts and other activities, and all year round, you can visit the Experimental Garden, the Country Store and Meeting Point PIT. For specific opening and closing times and further information, see www.philipsfruittuin. nl.

More about ‘Eindhoven celebrates the future’ can be found at www.eindhovenviertdetoekomst.nl .

Getting shown around, picnicking, picking apples yourself Especially from April to October, the Philips Fruit Garden is abuzz with activity – ánd insects, whereby the useful ones fight the harmful ones. During those months, the orchard is at its most beautiful and guided tours are given to groups of ten persons or more, for young and old alike.

Visitors then also, after reservation, have the opportunity to picnic on the grounds. Children can participate in a treasure hunt or celebrate a children’s birthday. And in September and early October, everybody is allowed to pick apples themselves; several times during those weeks, there’s an apple picking day.

In addition, the Philips Fruit Garden gives a pruning workshop a few times a year. “Then you learn how to bring an apple or pear tree into line,” says Faes.

Dutch Clocks in Oz

Proud of result achieved “We are proud of what we have made of the Philips Fruit Garden over the years”, Faes smiles. “On 1 April next, and that’s no joke, my wife and I work here for 25 years. We gradually have built a fantastic team around us that fully endorses our concept and company. Anneke and I included, constantly thirteen people are up and active in the Fruit Garden. In the summer we all need to work a lot harder than in the rest of the year, but that’s okay with us. Also in that period, Anneke and I were fortunate to get and raise four children, which I think is wonderful as well. The oldest is in his third year agribusiness at the Higher Agricultural School, so who knows he will get to work here one day, too. He has never openly expressed this and it isn’t really occupying him yet, but given his interest in this sector, I think there’s a good chance for

• Zaanse, Sallanders, Schippertjes, Frisian Tail Clocks • and a variety of other clocks from Holland located in Springwood, Qld, 4127

visit by appointment only ring Rob Schmidt on 0432 832 800 www.dutchclocksinoz.com.au 31

Koningin Máxima: “10 jaar leerorkest is een cadeau voor iedereen!”

In de Westergasfabriek Amsterdam werd op 9 maart het 10 jarig bestaan van het Leerorkest groots gevierd. 1088 kinderen uit groep 7 en 8 van Amsterdamse basisscholen traden samen met Nederlands Philharmonisch Orkest, onderleding van dirigent Otto Tausk, en het koor van De Nationale Opera en solisten op tijdens een lustrumconcert. Koningin Máxima was als erevoorzitter van het platform ambassadeurs Méér Muziek in de Klas aanwezig bij de voorstelling.

Voorafgaand aan het afsluitende muziekstuk boden de kinderen Koningin Máxima het handboek aan voor startende Leerorkest-scholen ‘Zó werkt instrumentaal muziekonderwijs op school’.

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foto’s Odi Busman

www.tnbtulips.com.au

TaalsTaaltje door Frans Hertoghs

Profs Stel, je praat Nederlands met een immigrant van laten we zeggen Turkse of Marokkaanse afkomst. Hij spreekt goed Nederlands. Hoogstens een licht accent. Sommige klanken spreekt hij wat vreemd uit. Af en toe verhaspelt hij een woord of een zin.

door iemand wafel genoemd wordt of iets wat klinkt als knoerfts is een onbegrijpelijke afwijking. De enige echte realiteit is dat een tafel gewoon tafel is en daarom ook tafel héét. Alle andere woorden voor tafel zijn gewoon niet goed.

Dan vind je het waarschijnlijk moeilijk om met hem te praten. Natuurlijk, je verstaat hem, en zeker, je begrijpt hem heus wel. Maar dat rare accent blijf je horen, het is hinderlijk en vermoeiend. Ook als je er na een tijdje aan gewend bent. Neem bijvoorbeeld prinses Maxima, of Ayaan Hirsi Ali. Hoe goed die ook Nederlands spreken, onze aandacht gaat voor een goed deel uit naar de manier waarop ze praten. Als ze uitgesproken zijn dan heb je soms nèt de kern gemist van wat ze precies beweerd hebben.

Sterker nog, hun stevig in taal verankerde wereldbeeld wordt bedreigd als ze aangesproken worden in een andere taal. Of als ze geconfronteerd worden met een niet in hun klankbeeld passende naam. Ze schrikken er van. En dan stoppen ze met luisteren. Omdat je kennelijk onzin praat.

Vooral eentalige mensen die weinig ervaring hebben met andere talen hebben last van die taalvernauwing.

Dat is begrijpelijk. Voor hen vertonen alleen kinderen en geestelijk of lichamelijk gehandicapten zulke taaltekorten.

Ze koppelen zulke taalafwijkingen onbewust aan dat soort probleem. Wie zo raar praat, die is niet helemaal goed.

Is dat ook zo als een Engelssprekende Engels praat met een geboren Nederlander? Jazeker, maar dan meestal nog heel wat erger. Heel veel Engelstaligen zijn eentalig, dat is nou eenmaal de handicap van een wereldtaal. En een eentalige heeft het met rare accenten en verkeerd gekozen woorden moeilijk, nog veel moeilijker dan wij.

Dat komt omdat een eentalige de wereld uitsluitend eentalig ziet en begrijpt. Dat is voor meertalige mensen moeilijk te bevatten. In een eentalige wereld heet elke tafel gewoon tafel, met hoogstens toevoegingen als keukentafel of tafels van vermenigvuldiging. Dat een tafel

Maar, zult u misschien zeggen, dat valt in de praktijk toch best mee? Na een tijdje accepteren ze je spraak- en taalafwijkingen. Dan begrijpen ze je net zo goed als een ander. Dat zou je denken. Maar accepteren en echt begrijpen zijn heel andere dingen. Je kunt iemand best accepteren zonder volledig begrip. Toch blijft er in dat geval toch een ongelijkwaardige situatie bestaan. De eentalige wordt geaccepteerd èn begrepen, de tweetalige wordt ook geaccepteerd. Maar helemaal begrepen wordt die nooit.

Want daarvoor heb je de Nederlandse taal nodig.

Een Nederlands brein werkt anders, het is gewoon een ander operating system. Met het basisprogramma in een andere taal. In de dagelijkse omgang vallen die verschillen niet op. Maar als het er écht op aan komt dan schiet de eentalige partner tekort. Als hij geen Nederlands geleerd heeft begrijpt hij alleen maar dàt deel van zijn partner dat zijn eigen taal spreekt.

In het dagelijks leven merk je dat niet zo. Je komt er mee weg. Je praat er onbekommerd op los en je gesprekspartner heeft daar geen moeite mee. En toch, de harde waar-

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De toren van Babel, Jan Luyken, Rijksmuseum

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heid komt aan het licht als de hersenen het laten afweten. Je verliest je vreemde taal en je kunt alleen nog maar praten in je eerste taal, je moedertaal. Na zoveel jaren is dat het communicatiesysteem dat intact blijft. Misschien is het toch iets om eens goed over na te denken.

Als Engels rugby is en Nederlands is korfbal, dan speel je als tweetalige Nederlandse korfballer met een eentalig Engelssprekende samen alleen nog maar rugby. Uitwedstrijden. Tegen profs.

3ZZZ, Dutch radio is on-air every Monday from 4 – 5 pm, and every Friday from 8 – 9 am.

Please tune into 92.3 fm.

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6/06/14 2:23 PM

The World’s Oldest Known Skating Image

: admin@naasa.org.au

community-admin@naasa.org.au In 1396 Lydwine (also Ludwina and Lidwina), a beautiful 16 year old girl, from Schiedam in Holland was visited by friends, who invited her to go skating. Legend says that Lydwine’s friends insisted that she go skating even though she said she wasn’t feeling well. Once they were on the ice Lydwine was knocked down. She broke 6 ribs and was bedridden for the rest of her life. After the accident Lydwine had visions and was given credit for performing many miracles. Lydwine was canonized in 1890 and was named the Patron Saint of Skating in 1944. This image of the fateful fall was made in 1498 by the Dutch artist, Johannes Brugman.

This image provided courtesy of the SchaatsMuseum (Netherlands).

The Lost White Tribes of Australia Part 1: 1656 The First Settlement of Australia A small community, all as white as himself, he said about 300; that they lived together within a great wall to defend them from black men; that their father came here 170 years ago from a distant land across the sea …

Lt Robert Dale 1832 WA

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Streetcats, a neighbourhood project in Den Bosch for teenage girls, is supported by both policymakers and companies and was even Royally awarded in 2013!

Streetcats the power of girls Not all teenagers are brimming with self-confidence, know what talents they possess and have an accurate image of themselves. In ‘s-Hertogenbosch (also known as Den Bosch), this was ten years ago reason for the then drawing teacher Margriet Windt to establish Foundation De Zebra and under that flag lend a helping hand to such youngsters.

One of the initiatives she launched at that time was the neighbourhood project Streetcats. With this, teenage girls get to know themselves and their qualities better through varied workshops. The participants, who are also called Streetcats, discover where their talents and strengths lie and learn how they can push their self-esteem to a higher level. Thus, they create for themselves a better starting position to grow into independent, decisive and conscious adults who choose the right study and job. And ultimately, society reaps the fruits of that!

words Ton van Rooij 38

Foundation Zebra helps focus groups Foundation De Zebra is a charitable foundation aimed at creating and implementing multidisciplinary creative workshops and productions for groups in society that need special attention, whereby the abilities and talents of the participants play a central role.

Not coincidentally the name De Zebra was chosen. To begin with, a zebra has two characteristics that makes him mentally strong: intelligence and stress resistance.

Among human beings, however, not everyone has such a ‘zebra mentality’. Therefore Foundation De Zebra helps those who want to feel better about themselves.

Furthermore, it’s a fact that perception, abilities and talents, self-esteem, competences, self-confidence, respect (for yourself and others) and attention are the main goals to independently and safely being able to cross the social crosswalk. And thát, too, refers to what the foundation does, namely: to contribute to the realisation of these goals.

In addition to setting up projects, De Zebra provides

organised fashion shows and has done modelling work.

She has extensive experience in developing and giving workshops and devising and implementing projects.

And on top of that, she’s also a filmmaker! In her film work, she focuses mainly on ‘inspirational strong femme films’, in which the perception world of teenage girls is being highlighted, such as in the short films Vivia, Noah’s Road and Valerie. She is also co-producer of 48 Hour Cinekid, for which a number of teams in a competitive environment have to establish a short children’s film within 48 hours.

Streetcats project improves self-image of teenage girls The idea for Streetcats originated with Margriet when she was giving after-school drawing classes at a primary school ten years ago. “I looked out the window and saw a couple of teenage girls sitting on the pavement who were enormously bored,” she still remembers as if it were yesterday. “They told me there was not much fun to do in the neighbourhood. Girls in that age group, who indoors and outdoors hang out on the couch, often have a great need to learn something from the world, but there is hardly anything for them.

That’s why I decided to change this situation in the twelve districts that Den Bosch has.”

During six months, 22 creative workshops of a half hour each are being given in various districts in ‘s-Hertogenbosch. Numerous disciplines and themes pass by, including drawing, writing, girl language, outside – inside, having photoshoots and photo styling based on a history figure or idol. The workshops were initially only given by Margriet, but due to the growth Streetcats has experienced, more and more trainers are being added, like recently Esther StrikHaughey.

“In the workshop outside – inside the participants learn that life is primarily about the inside and that the outside is just a side issue,” Margriet explains. “It’s very well possible that a girl looks fabulous from the outside, but is breaking apart inside. People usually react to the image they have of someone’s outside appearance. If a girl herself also starts believing in that ‘outside image’, she fools herself for years. In the writing workshops, the girls write poems, but also personal stories: about the type of person they are, their future, the person with whom they identify themselves and why they have chosen this person, those sort of things.”

During these workshops, the girls work on their selfesteem, self-confidence and talents. By doing so, they fill

information about its objectives and operations by means of education, lectures, training courses and publications.

De Zebra works closely with other foundations, funds, companies, municipalities and schools that pursue similar goals.

Initiator Margriet Windt studied handicrafts at the teacher training school and after obtaining her propaedeutics started teaching at the fashion academy in Eindhoven. She also earned an annotation grade as a child drawing therapist. As a stylist and window dresser with her own company, Studio ZuidenWindT, she put together productions in the profit and non-profit sector.

For several years, she worked in education: as a drawing teacher at a primary school in Den Bosch and as a fashion teacher at the ROC (Regionaal Opleidingen Centrum, i.e. Regional Training Centre) in Nijmegen. She also has 39

a backpack with building blocks for a positive selfimage, enabling them to approach the future more purposefully.

Four types of end products “The workshops result in four types of end products,” says Margriet, who serves as project leader of Streetcats. “These comprise photographic self-portraits, drawn inner self-portraits, poems and collages. In the photographic self-portraits, the girls are portrayed as an existing or fictitious person they admire and are placed in a matching setting as well. These are genuine works of art, on which really an entire half year is being worked. In the collages the girls show what their competences and character traits are, what hobbies they have and what they want to do later.”

The workshops are concluded with a final presentation for parents/carers and invitees. The results are also annually evaluated. Margriet explains how this works: “We work with a zero and end measurement. This way, you see per Streetcat the differences between her situation at the beginning and at the end. In this half year, everyone has taken many steps and that’s mainly because of confidence in their own capabilities. We point out to them the things they are capable of, but of which they themselves think they are not. Thus, they learn to look at themselves in a different light – and that’s very important.”

Streetcats turn final presentation into sparkling show On 1 March 2016, dozens of Streetcats from three Den Bosch districts gave their final presentation in theatre Perron 3 in Rosmalen, located near Den Bosch. It became a spectacular show, in which the girls showed with great enthusiasm what they had learnt and achieved over the past months.

At the beginning a short documentary on Streetcats was screened. This footage, in which both participants and staff members shared their views, outlined a short and

sweet picture of the project and the positive impact this has on girls.

Two Streetcats sang a song this evening that in both cases was performed so professionally and accurately that they would make ideal candidates for talent shows like The Voice Kids and Holland’s Got Talent! Rigidly choreographed and accordingly performed were the dance performances that the massive audience could enjoy.

Very special were the screen-projected poems by Streetcats, which beautifully, impressively and/ or movingly, but always strikingly expressed what’s occupying the young poets. De Zebra intends to bring these poems together in a booklet. Some of the girls illustrated through a collage they had made who and what kind of person they are, what they stand for and how they see their future.

Through their photographic self-portrait, all Streetcats told something about themselves. On these portraits, they were seen as their role model, ranging from Anne Frank to Nelson Mandela and from Madonna to Mahatma Gandhi.

Towards the end, repeatedly at least nine drawn inner self-portraits of Streetcats were presented while some of 40 40

those portrayed stood on stage. At every turn, the visitors had to link some of these drawings to the girls who were standing in a row, which succeeded several times.

Experiences of a Streetcat One of the Streetcats of the class of 2015/2016 is Elke Lens van Rijn. Her mother had made her aware of the existence of Streetcats. “She had heard someone talk about it at my school,” she says. “Then Margriet explained to me everything about Streetcats.”

What Streetcats activity has she enjoyed the most?

“Making my collage. I very much enjoyed doing that.”

In the group she encountered many ‘soul mates’. “Many girls were just like me. With them I had a lot of fun. We talked with each other about all kinds of things: what we like, what our favourite animals are, and so on.”

Streetcats brought her a lot. “In the past, I did not dare to stand up for myself and now I do. I also learnt that you should always try to stay upbeat and must avoid to get angry, especially when it comes to little things. Margriet and Esther were very helpful with everything. If you had something on your mind, you could even call on them after the workshop. That gave me support.”

It has also become clearer to her what direction she wishes to take. “First I wanted to be all kinds of things.

But now I really want to focus on one goal and that is to become a schoolteacher. That’s something I really would love to do. Thanks to Margriet I discovered how much fun it is to stand in front of a class. Plus, the communication that you then have with a large group of children appeals to me enormously.”

Three Topcats look back It regularly happens that former Streetcats remain involved in this neighbourhood project by contributing to workshops and other activities, such as organising a final presentation. They are called Topcats. We spoke with three of them.

Rebecca den Ridder followed the Streetcats programme about six years ago. How had she heard of it? “Margriet at that time was recruiting participants for Streetcats at my school, Rodenborch College,” she says. “That appealed to me, so then I enrolled in it.”

With gratitude she looks back on the Streetcats chapter of her young life. “I have learnt more about myself, which pleased me very much because at that age, you of course are quite vulnerable and insecure. Streetcats felt to me like a safe haven, because you could always just be yourself. You got the chance to develop yourself, always with your future image in the back of your mind: what are you capable of, where do you want to go, what do you want to do when you’re older, what

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makes you happy? All things about which I have gained more clarity via Streetcats and which I have experienced as particularly useful. For instance, I wanted to do a lot of traveling in my later life and had therefore pictured a woman with suitcases on my collage. And this wish has come true, because I am now about to graduate as a tour guide! Last summer I did an internship in Mallorca and from next summer I will start working on Crete. Later on I hope to go to farther destinations.”

About Margriet she is full of praise. “She guided us and showed us how to stand up for yourself and how you can work towards standing more firmly in your shoes. That made her a huge inspiration to us – and that’s what she still is.”

Another former student of the Rodenborch College who became acquainted there with Streetcats is Charlotte Lemmens. “Seven years ago, when I was twelve, Margriet and a few girls were standing at a booth at my school and spoke about Streetcats during the break,” she recalls.

“That sounded so interesting that I signed up for it by filling in a flyer. I then was included in a group from the Empel district. I noticed how professionally it was set up. In later years it has become even more professional.

While we only had an exhibition of our work during our final presentation, nowadays a complete show is performed.”

Looking back at the workshops of yesteryear, she says: “Margriet once had a group of girls gathered around her and let each of them tell her story. Everyone then received the same amount of attention – and that’s what this session was actually meant for. What I remember very well is that at my elementary school, De Caleidoscoop, Margriet let us draw a self-portrait with crayons on a large sheet. We then had to touch our face

to determine how we looked like and had to find out exactly what the colour of it was. This was something, too, by which you got to know yourself.”

Speaking of self-portraits: as whom was she pictured in her photographic self-portrait? “As Aphrodite, the goddess of love. On the day of the photoshoot they really pampered me a bit. That was a very nice experience. A huge poster of the picture taken back then is hanging in my room. It’s a good thing, in my opinion, that this is still a component of Streetcats.”

About the effect Streetcats had on her later life, she says: “If you, like I did, follow the workshops at a very young age, everything that’s covered slowly but surely permeates you and only in the course of the years you start using more of the advice offered and start applying really properly what you’ve learnt. It makes you stand on firmer ground when you’re older. I find that very pleasant.

I now know very well what kind of person I am and that I mustn’t change anything about that. That’s the most important thing I’ve acquired.”

With a blissful feeling she looks back on her Streetcats period. “Whenever I attended a Streetcats session, it gave me a warm feeling, a feeling of acceptance – and a little bit of peace. It always felt very nice. Every time I assist in activities of Streetcats as a Topcat, that nice feeling emerges again.”

When Kim van den Diezen signed up for Streetcats, she already knew Margriet. “I used to get drawing lessons from Margriet. One day she asked me: ‘Would you like to participate in Streetcats?’ Because it seemed like a very strong concept to me, I thought that was a good idea.”

What has stuck with her the most is the photoshoot for the photographic self-portrait. “We then went out for a walk, which really got you into the role of your big 42

example. And in passing, you lost your nervousness. The mutual atmosphere was superb. I thought that was a fantastically enjoyable workshop.” Who had she chosen for? “For Shakira, because I find her very powerful, she supports several charities and all by herself she has already achieved a lot, which I think is impressive and is also what I would like to achieve. At Streetcats I have learnt that you must dare to stand for what you want to achieve and have to accept who you are. I still apply this in daily life. I’ve gained a lot of knowledge from it.”

She now dares to do something else, too: speaking for a large group. “It’s what I nowadays frequently do as a Topcat, but before I began with Streetcats I had never done that. Margriet helped me very well with this.”

She has experienced the Streetcats project as very instructive. “I can recommend it to every girl who wants to learn how you can get to a point where you stand more firmly in your shoes, because through the workshops you discover what you like and what your strengths are, but also what aspects you still need to work on. I think it’s very good if you’re aware of that.”

Kroonappels audience award for Streetcats In 2013, Streetcats took part in the national action Kroonappels (Crown Apples) which the Oranje Fonds (Orange Fund) had organised on the occasion of the throne change. In that regard, throughout the Netherlands the three most social initiatives of the Kingdom were sought. In Den Bosch Streetcats won the public vote in the Youth category. As a result, Streetcats obtained a Royal charter with a Royal stamp.

“For us this is a very important award,” Margriet emphasises, “because it means that of all the youth projects there are in Den Bosch – and there may be a hundred of them – Streetcats is considered the best by the public. We also are Best Practice Project of K2 Brabants Kenniscentrum Jeugd (K2 Brabant Knowledge Centre Youth).”

Streetcats can count on an annual grant from the city of ‘s-Hertogenbosch and is additionally sponsored by a number of national and regional authorities, one of which is the Oranje Fonds.

“We get a lot of support from companies,” Margriet is pleased to report. “Printing works Dekkers van Gerwen for example has done a lot for us, such as producing donation cards and brochures. The Miniopslag Empel (Mini Storage Empel) offers us a marvellous service. Not only are we allowed to store attributes for our photoshoots there, their people also bring our belongings to the photoshoot locations! For the final presentations, Perron 3 put a free auditorium, adjoining room and theatre technician at our disposal. And like these there are many more organisations that embrace our activities, such as libraries and schools. Various professors and politicians back our approach, too. For example, CDA Member of Parliament Mirjam Sterk a few years ago made the following statement about Streetcats: ‘The preventive approach through workshops – experiencing and discovering things by yourself – appeals strongly to me and is considered by me as innovative. Provide organic growth: start in Den Bosch, then go provincial and eventually scale up nationwide.’ All this support is of essential importance for us, amongst others because we soon want to get started with Streetcats in Rotterdam, where people also would like to see girls who are bored at home or outdoors to get the best out of themselves. In addition, I’m preparing both a film and a book about Streetcats.”

Streetcats Radio big success On local radio, extensive attention has been paid to Streetcats. Margriet: “In Den Bosch, we have had six test broadcasts of Streetcats Radio and these were highly 43

photo page 39: Three of the team members of Streetcats: communications advisor Leanne Kempees (left), project leader Margriet Windt (middle) and one of the trainers, Esther StrikHaughey. (Photo: Sander van Rooij); page 40: A look at a Streetcats workshop, with Fleur Vonk as trainer; insert: With Streetcats, teenage girls follow multidisciplinary creative workshops to work on their selfesteem, self-confidence and talents; page 41: left, The photographic self-portrait of Emmelie Schraven: Anne Frank; right, Streetcat Donna Lahey presents her photographic self-portrait: Madonna. (Photo: Sander van Rooij); page 42: This group portrait was made at the closure of the final presentation on 1 March 2016. Pictured, among others, are Streetcat Elke Lens van Rijn (13th from right, standing in the middle row) and Topcats Charlotte Lemmens (3rd from right), Kim van den Diezen (20th from right, standing in the back row) and Rebecca den Ridder (7th from left). (Photo: Sander van Rooij); page 43: The photographic self-portrait of Dewi van Zoggel: Nelson Mandela; page 44: left, Quinty Palmijn was inspired for her photographic self-portrait by Mahatma Gandhi; right (top) A performance by Juul and the Cats during the final presentation in theatre Perron 3 in Rosmalen on 1 March 2016. (Photo: Sander van Rooij); Jade Lokofa (left) and Selena de Kort, the lady speakers of the final presentation on 1 March 2016. (Photo: Sander van Rooij).

successful. On Streetcats Radio, truly wonderful youth issues were discussed, including poems and books. There were also guests, such as politician Mirjam Sterk. The girls did very well, every single one of them, and collaborated on the script with me. In fact, they felt like a fish in the water in the studio and started making radio on their ówn!”

While Streetcats is a proven success story, there still remain goals for Margriet to pursue. “I want to enable that in the future much more value-creating education will be available for all groups, regardless of their home situation or origin. That’s extremely important for the growth to independence and confidence. I believe in the possibility to develop hidden talents in everyone, no matter how hard they are to see. I believe in the image that is already in the stone, but must be pried off the excess matter and ballast. But the art lies in bringing out this image from that stone. That’s why we work with the strength and talents of youngsters, so that everyone can develop oneself in his or her own way, and with an increased potential, into a worthy member of society.”

Further information www.streetcats.nl www.dezebra.eu www.facebook.com/streetcatsnl www.instagram.com/streetcats_dekrachtvanmeiden 44

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Kijk voor meer informatie op www.bvn.tv

Karel Vreeburg finds a dialogue between science and fine art When artists think of mathematics, they rarely think about beauty. When mathematicians think of beauty, they do not necessarily think of art. Mr. Vreeburg understands and, with great enthusiasm, appreciates both. In his sculptures, the beauty of mathematics and the natural beauty of his chosen material, typically stone or concrete, combine in a way that grabs all viewers’ attention‌and makes other sculptors stop and ponder.

Science and stone have never looked so strong and absolute.

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The balance of form and material is very delicate, and Mr. Vreeburg navigates and balances his ideas in a way that defines the principle, the material and the final object. He does this by never loosing focus of the essence of the three most important aspects of fine art: understanding the nature of the materials used, understanding and developing creative techniques and skills to their highest level, and having, and holding strong, to the concept behind the work by not leaving any ambiguity when complete. This may sound very easy to do in written form, but when faced with a large, jagged piece of marble, the balance of concept, material and skill is not always so easy to define and stay true to. Mr. Vreeburg understands this, and with his natural curiosity to form and composition, makes his balances and choices seem effortless. That jagged piece of marble is transformed into a weightless cloud containing a Mobius strip or other scientific truth. What should not combine does in Mr. Vreeburg’s work and is transformed into something completely new and full of visual luster.

As we continue into the 21st century, we find so much art based upon new technologies and momentary thoughts that may, or may not, stand the test of time.

Mr. Vreeburg has taken one of the most primitive of skills, carving stone, and has raised it to a level of artistry easily equal to the mastery of material and engineering of the Egyptians, Greeks and Romans…and yet, through their purity and grace, his sculptures say much about the contemporary, complex and turbulent time in which they are born into.

Karel Vreeburg asks us to find beauty in truth and contemplation in the natural.

Paul Lorenz MFA Instructor, Fine Art Academy of Art University, San Francisco, California

Pictures previous page: Karel Vreeburg: A Square Knot; this page: A Torus Cube

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Netherlands buys a new Rembrandt The Rijksmuseum in Amsterdam has finally bought a real Rembrandt. The portrait of Maerten Soolmans, painted in 1634, De Nachtwacht was painted in 1642, will probably arrive in Amsterdam in June 2016. It took a long time of negotiations and calculations and finally the portrait belongs to the Dutch people. But, there is a small problem: the person on the portrait is not alone. Maerten Soolmans was married to Oopjen Coppit. Her portrait has been bought by the Louvre in Paris. Since Maerten and Oopjen were a married couple everyone feels they should stay together.

“By choosing this option we are able to secure our mutual interest and share the costs of acquiring.”

The models on the paintings are both dressed in black, richly decorated with white lace, which was highly fashionable at that time. Maerten Soolmans is depicted holding a glove in his left hand, while Oopjen Coppit holds an ostrich feather fan and wears a four-row pearl necklace among other expensive jewellery. According to the artnet website, the paintings have been viewed publicly only once in the past 150 years.

The paintings were sold to the Rothschilds in 1877 for 1.5m guilders. The Dutch government tried desperately to keep the paintings in the Netherlands, but unfortunately without success. Only in 2013 the Rothschild family indicated for the first time that it wanted to sell the paintings, source NRC Handelsblad.

“The portraits of Oopje and Maerten will stay together forever, and will never be separated”, promises Jet Bussemaker, minister of education, culture and science to the Dutch government, and so to the Dutch people as well.

“We believe these two precious portraits should always be allowed to be admired together, alternately between the Rijksmuseum and the Louvre, so they are accessible to the broader public, both young and old,” Bussemaker said, complementing information of the deal that was made by Dutch prime minister, Mark Rutte, and the French president, François Hollande, at the United Nations last year.

The Vereniging Rembrandt is not happy with the decision to buy the portraits together with France.

Chairman Martijn Sanders says; “We regret that not both the portraits are bought by the Netherlands. To the Dutch people the paintings tell a story about two young people in the 17th century. In The Louvre these portraits might have less meaning to the public.”

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words Birgit Blankers bedroom. Someone must have smoked heavily in this bedroom because the paintings are polluted by nicotine.

The French people have cleansed the paint only on the surface because they felt the brownish colour gave the paintings an authentic character. But Dutch professionals insisted on cleaning the portraits professional, and they won.

After the paintings have been restored to the max, they will be exposed in France for three years. Next they will be exposed in Amsterdam and Paris on tours for periods of five years. This has been agreed on by both The Netherlands and France.

“Besides”, says Sanders. ”There are big risks in shared ownership. Who is going to transport them and who is going to pay for it when something gets damaged?”

Originally the Vereniging Rembrandt was going to pay 5 million Euro for the portraits but”, says Sanders, “We would only support it if both portraits would come to the Netherlands.”

Now the Rijksmuseum in Amsterdam and the Louvre in Paris have bought the two portraits together and finally agreed after months of heavy negotiations on exposing them together on tour in Amsterdam and in Paris. They are now being shown in Paris where Willem Alexander, and Maxima, king and queen of the Netherlands visited them in March. In June the paintings will be transported to the Netherlands where they will be shown to the public for three months in the gallery of honour. The next step is a thorough restauration that will take up time. At this moment it is not clear how long that’s going to take.

Dutch minister of culture, Jet Bussemaker, says; “The painting was worth all the money because now the painting belongs to all of us, it is a Dutch part of arts history, and everyone can go to the museum and enjoy looking at it.”

Together the portraits have cost 160 million Euro. The Netherlands has payed 80 million.

The restauration itself is a story on its own.

Former owner baron Eric de Rothchild, 74, who lives in Paris, and is top-banker and owner of vineyard Chateau Lafite-Rothschild had the portraits hanging in his

“At least we have achieved our goal”, says Mrs. Bussemaker. “The Rembrandts will be exposed for the public so everyone can enjoy watching them.”

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Tax in the Netherlands

Every year, the joy of the impending spring is somewhat poisoned by the Belastingdienst (tax service): every year in March/April all citizens have to fill out last year’s tax forms. Although, nowadays, the Belastingdienst is trying to freshen up its image with ads like ‘Leuker kunnen we het niet maken, makkelijker wel’ (we can’t make it nicer, but easier), the majority of the Dutch people find it a hell of a job. How did it all begin? In ancient times people paid in natura: paying with cattle and maize was quite common then. Every society was different and so were ways of paying taxation. During the Roman Empire property tax was important, whereas in cities in the 12th century excise-tax on essentials was the main way of getting money from their inhabitants: tax on things like wood, salt, soap, maize, flour, meat, beer, wine, peat and coal.

words Erik Feenstra

The Spanish dominance In the 16th century, the Spanish King Philips II dominated the northern provinces. The resistance was big and he sent his supreme commander of the Spanish army, Alva, to the northern region, to regain law and order.

Resistance even grew, when Alva introduced a common tax: ‘de tiende penning’ (the tenth penny). It was some sort of GST of 10%, which people had to pay whenever they bought or sold goods. With this, Alva wanted to end the financial power of the nobility and city councils in the north. Besides Alva’s biggest duty was to suppress Protestantism: many Dutch had left the Catholic Church (in these days the only church allowed by the state) and joined the Protestant church. This resistance led to the Tachtigjarige Oorlog (1568-1648), under the leadership of Willem van Oranje, ancestor of the Dutch Royal Family.

When Alva went back to Spain, the Republiek der Zeven Nederlanden was founded.

Alva, Palacio de Liria in Madrid

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The Golden Age During the Tachtigjarige Oorlog the republic became a rich and prosperous country. Dutch merchant ships sailed all over the world and returned with spices, coffee, tea and cotton from Nederlands Indië (nowadays Indonesia), silk and porcelain from China and Japan, sugar from Brazil and whale blubber from Norway and Greenland.

Amsterdam was the centre of all trade. The republic hardly was a state as we know nowadays: the seven Provinces were far too independent to create a central tax system. The only common taxes were convooien and licenten, some sort of Import and Export Duties. Owners of merchant ships and fishing boats paid convooigeld to get protection from the navy against different enemies (Spain and later other countries as well) and pirates.

Licentiegeld was a compensation for the right to trade with the enemy.

money. It certainly meant no honest dividing of burdens, although: there already was some form of taxation on prosperity, like owning houses, the total amount of fire places or maids employed in a house.

The French occupation At the end of the 18th century, the French invaded the republic, which in 1795 became the Bataafs-Franse Republiek, with a ‘French’ constitution and a central lead government. A unitary state needed a unitary tax system: together with a central civil service the new system was introduced in 1806. For the first time financial assets of the taxpayer started to play a role: the richer somebody was, the more he had to pay. Many excise-taxes disappeared and income tax became more important in the new system. Prosperity

In the 16th, 17th and 18th century tax basically was a matter of regional and local collecting, although the republic decided how much each province had to pay to the Staten Generaal; the Assembly of the Seven Provinces in The Hague. When cities or provinces needed money they raised taxes or simply invented new ways of collecting.

Most of the money came from excise-tax on essentials.

Rich or poor: everybody paid the same amount of 51

of a taxpayer was measured by the amount of maids he employed, the coaches, carriage horses, hearths, doors and windows in the houses he owned and the property value. Tax officials personally came to visit, to count the different assets. Settlements were made in a local pub or community building. New were taxation for luxury goods, like parasols, wigs and gloves: if you could afford such luxury items, you should be able to pay more tax, was the common sense. As proof of having paid, luxury goods were marked with special seals.

Netherlands counted 2,600 waterschappen, in 2016 the total was brought back to 34.

Waterschappen are the oldest institutions in the Netherlands. The first one was the Hoogheemraadschap van Rijnland, granted privileges in 1255 by Count Willem II of Holland, but even before this Hoogheemraadschap was established, villages and communities already worked together to deal with water problems. They are the base for the famous Dutch poldermodel: rich or poor, important or not: everybody needs to be protected by the danger of floods; therefore, everybody had to work together to overcome water problems.

Since centralisation in the 19th century, the newly introduced Rijkswaterstaat gained more and more power, responsible for protecting against the sea, roads and waterways, but on local level the waterschappen still have a lot to say.

Towards a modern tax system During the 19th century, taxations focus changed more and more towards income, capital and profit: the precursors of the former income tax and corporate income tax. In 1914, the first form of income tax was introduced, to focus more on financial strength than in the 19th century. After the Second World War the fiscal system grew into a system based on two pillars: financial strength and the benefit principal. Nowadays, the state gets most of its money through income tax and sales tax: about 70%. Corporate income tax is responsible for 15%; the remaining 15% comes from excise-duties and dividend tax. The Ministry of Finances is responsible for the tax laws, which are carried out by the Belastingdienst.

The tax burden is about 39 % of the GDP. Welfare-tax has been removed in 2001, tax on capital in 2006.

Would you like to know what’s happening in the Netherlands?

Please visit www.eropuit.blog.nl (a website in Dutch), or www. wereldnieuws.blog.nl, if interested in main news. picture page 50: Count Willem II of Holland Granting Privileges in 1255 to the local Dike-wardens of Spaarndam, who later became known as ‘Hoogheemraadschap Rijnland’, the Dutch Water Board agency of Holland based in Leiden. (Historical allegory) at Gemeenlandshuis, Leiden. Original location: Halfweg picure page 51: Interior of the Great Hall on the Binnenhof in The Hague, during the Great Assembly of the States-General in 1651, Attributed to Anthonie Palamedes (1601–1673), Rijksmuseum Amsterdam; plakkaat 10de penning. this page: Place du Luxembourg (J.H. Logan) next page: Waterschappen in the Netherlands

Waterschappen Not just the federal government wants money from its citizens: Provinces, municipalities and Waterschappen (conservancies) too. The last one is quite important in the Netherlands, a country basically situated below sea-level.

A Waterschap (or: Hoogheemraadschap) is a government body, responsible for water management in areas, not defined by province- or municipality borders, but by hydrological networks and drainage areas. In 1950, the 52

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Velvet revolution threatens 60 years old NOS Increased media use In the meantime, the media usage increases, also for young people. Daily we watch an average of 3 hours and 10 minutes TV, listen 3.5 hours to the radio and we are active on digital and social media for 80 minutes (and we do sleep for about 7 hours too).

De Jong: “traditionally journalism has focussed on the news of the day. The NOS too. About all our broadcasts on the ‘traditional’ media radio and TV are live and produced in house. An indestructible phenomenon, the hunger for news is insatiable.

Does the public still want to sit and watch the NOS news at 20.00 hour? Or do we all follow the news via digital media? And what consequences does that have for journalism in the Netherland? On 21 January 2016, these questions came up in Tivoli Vredenburg in Utrecht, during the NOS-congress ‘Journalism on Demand’.

A velvet revolution. That is what Jan de Jong, managing director of the NOS, called the phenomenon ‘Journalism on Demand’. Cable businesses and telecom providers discreetly take over the power in media-land. As more often than not the public chooses the news-moment when it suits them.

geschiedenis.nl

Media policy Media policy in the Netherlands should be more than a round of uninteresting debates by media spokesmen at two o’clock in the morning in the House of Representatives about programmes like: yes or no Ranking The Stars, Wie is de Mol? And Heel Holland Bakt at the national broadcasters.

Kodak moment The traditional way of watching and hearing news does not exist anymore. Through digital media the public chooses how and when they want to absorb the news.

Nevertheless, the NOS does not give up that easily.

De Jong: “De NOS is not at all approaching its Kodak moment. Quite the opposite. For 1.47 euro, less than one newspaper, the NOS produces 12,000 hours of news per year and in 2015, it also was the most indispensable media brand. The national broadcaster is successful, diverse and cheap. That is what it is.”

Digital media By using digital media, everyone can bring news. That brings us to the question: how reliable is the news? “Amid all this media force the need for a confident will always 54

8 o’clock news be there,” suggests Alastair Campbell, the spin doctor of the former British premier Tony Blair.

words Marianne Visser van Klaarwater photos Marieke Odekerken

Regional journalism Urgent question during the workshop ‘future of regional journalism’ was: How can we make sure that regional and local journalism will survive too? “By mingling and observing. In the capillaries of society. As in Facebook.

People have to recognize themselves in your stories. Don’t look for the news in meetings,” the participants concluded.

Journalism is a profession “The expectations are getting higher,” said Piet Bakker, professor in mass media, during the final debate, which was attended by King Willem-Alexander.

In his closing remarks Marcel Gelauff, head editor of the NOS news, pointed out that ‘journalism is a profession that will always be there.”

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Jan en Kaspar Luiken: Het Menselyk Bedryf

De koperslager De koperslager is geen smid. Hij werkt niet met vuur, maar hij slaat met zijn hamer behalve koper ook andere zachte metalen tot nuttige gebruiksvoorwerpen als ketels, schalen, vazen. Daarnaast maakte hij ook sierplaten met daarop uitgehamerde voorstellingen.

Zijn voornaamste werktuigen zijn zijn hamers. Hier zit hij in zijn hoekkamer aan zijn werktafel een koperen plaat in vorm te slaan. Hij buigt hem in het model dat aan de zijkant van de tafel is bevestigd. Straks zal hij hem knippen. Misschien slaat hij een deksel voor de mooie schaal op een dunne voet die op zijn werktafel staat. Hij heeft nog werk genoeg. Tegen het raam staan een paar platen al klaar om bewerkt te worden. Zoals gewoonlijk is de ambachtsman omringd door zijn producten: een sierlijke lamp hangt naast het raam, een paar koperen bakken staan op de vloer en we zien ook wat spullen boven de deuropening. Zo te zien aan de waterketel op de voorgrond doet hij ook reparaties.

Hij wordt er kennelijk toch niet rijk van. Zijn broek is versteld en zijn ruwe kruk is hard. Maar hij heeft wel echte ruitjes in zijn waarschijnlijk zelfs gebrandschilderde ramen. De voorstelling kunnen we helaas net niet zien.

Door de brede deuropening zien we buiten twee helpers bezig met een groot klokvormig voorwerp te bewerken. Begrijpelijk dat ze dat niet binnen doen vanwege de ongelooflijke herrie.

We zien dan ook geen voorbijgangers. De aard van hun werkzaamheden blijft een beetje in het vage. Heeft Luyken de reus met de hamer in werkelijkheid gezien?

Interessant is nog het riante hoekhuis met vijf gevelramen op de tweede verdieping en de grote dakkapel. De voorgevel van dat huis staat aan een smal steegje. Het lijkt er op of Luyken ook hier getekend heeft naar de werkelijkheid. Weer een magnifieke zwart-wit foto uit de zeventiende eeuw.

Pas als het werk is gedaan, Dan zal’ t Uur der zege slaan.

De hamer slaat maar door en slaat Het werkstuk op de juiste maat; Zo hamert ook de tegenspoed Op ‘t eeuwig zielenvat der vromen Zodat het eindelijk kan komen Tot fraaie vorm die goed voldoet.

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The Brazier The brazier is not a smith. He doesn’t use a fire, but with his hammer he beats, apart from copper, soft metals into useful objects like kettles, bowls and vases. Apart from that he also makes ornamental plates with hammered pictures on it.

His main tools are his hammers. Here, in his corner-room, he is seated at the table beating a copper plate into shape. He bends it in the shape that is attached to the side of the table. Later on he will cut it. Perhaps, he will beat a lid for the thin footed bowl which is standing on his workbench. He has enough to do. Leaning against the window are two plates ready to be shaped.

As usual, the craftsman is surrounded by his products, a graceful lamp hangs next to the window, a few copper boxes are on the floor and also some stuff above the doorway. Going by the water kettle in the front, he also does repair jobs.

Obviously, it does not make him rich. His pants are mended and his rough stool is hard. But he has real stained glass windows, probably stained them himself. Unfortunately, we cannot see the picture.

Through the wide doorway we see two helpers busy working on a large bell-shaped object.

Understandably, they are not inside due to the incredible noise. Probably the reason why we do not see passers-by. The nature of their work is a bit vague. Did Luyken really see the giant with the hammer?

Interesting is the generous corner-house with five façade windows on the second floor and the large dormer windows. The façade of the house is at a small alley. It seems that Luyken here too drew realistically. Another magnificent black and white picture of the seventeenth century. .

Only when the work is done, The final battle will be won.

Relentlessly the hammer hits The copper till it nicely fits.

The devout’s soul is like a vat Which misfortune is hammering Persistently, ensuring that The shape will be enamoring.

57 Frans Hertoghs

Musical SKY

creates 3D (dream) world

words Ton van Rooij 58

The very first theatrical musical in 3D – and largely of Dutch origin, no less. That’s SKY, a production springing from the minds of Robin de Levita and Kees Abrahams’ company Imagine Nation, songwriter/producer/promoter John Ewbank and singer Marco Borsato. On the 3rd of April, this musical, which because of its 3D element is already in advance much talked about, premieres in Theater Amsterdam.

Groundbreaking 3D technology Imagine Nation is a creatively driven company and initiator of theatre, film and television productions, founded by Robin de Levita and Kees Abrahams. The company operates in Europe, the United States and Japan. Imagine Nation wants to distinguish itself with productions which by the use of new technologies, the utilisation of multimedia or by their unique content differ from the existing supply.

For Soldaat van Oranje – de Musical (Soldier of Orange – The Musical), De Levita developed a unique presentation form called StageAround, whereby a rotating auditorium allows the audience to experience the different scenes.

For ANNE – which we paid attention to in Holland Focus of July/August 2014 – a new stage set system was made on an unprecedented scale, using set pieces around the audience. By popular demand, ANNE on 10 April 2016 returns to Theater Amsterdam and from that date on will be performed twice a week, always on Sunday.

Also with SKY De Levita pushed boundaries, by showing

a spectacular 3D world in it. Over the last five years, De Levita and songwriter/producer/promoter John Ewbank, who wrote all the songs for SKY, worked with the internationally renowned company Platige Image to develop a 3D projection technology tailored for the theatre. Singer Marco Borsato, who’s been working with Ewbank for many years, later on – as co-producer – joined the team. For SKY, Theater Amsterdam was partly redesigned to make this innovation possible.

The script of SKY was written by the American dancer, choreographer and writer Sarah Miles, who had previously worked with Ewbank on the musical Carmen, which premiered in San Diego in 2007. “What I think is quite a feat is that she is able to address big issues in a light-hearted way,” says De Levita. “Her work has a nice theatrical stratification that fits in well with the kind of music John composes. She and John have a good click together. It’s very hard to find people who can work well with each other in the fields of script, music and lyrics.”

The direction is in the hands of Bobby Boermans, who, among other things, made the television series Nieuwe Buren (New Neighbours) and the film App, co-produced

by De Levita, and who now is making his debut as a theatre director. De Levita is full of praise about him, too: “I consider him a big talent. I like linking people from different disciplines to what I do.”

Complicated puzzle The first idea for SKY emerged about ten years ago. Why has it taken so long before the musical became a fact?

To this, De Levita answers: “It takes by definition a very long time to develop a production, especially when you want to create something completely new and original.

It took a long time, yes, but we’ve always continued to believe in the project. And meanwhile we have also been doing other things. John Ewbank and Sarah Miles kept developing SKY over the years. We have given a number of presentations about SKY, mainly abroad. A year ago, though, we decided to produce the musical

in the Netherlands and to combine it with this new 3D projection technology.”

Ewbank says about SKY: “Robin and I have been working on this project for years. Now that we have the opportunity to switch between reality and fantasy by means of 3D projection the time is ripe to make this dream a reality.”

De Levita explains how one must imagine a musical in 3D. “The production of such 3D projections is essentially the same as creating a set design. The only difference is that you now don’t use a stage set, but instead project a photorealistic world that has much more depth than the world you normally can create on stage. This gives an extra dimension to the experience. It’s like watching a 3D film. Unlike a stage set you’re dealing with something that moves, so the timing has to be very accurate. This also means that when you have a scene in which, for example, trees move, you must produce those images in such a way that they last precisely as long as the scene. Everything must fit together exactly – in particular musically, dramaturgically and acting-wise. So it’s a very complicated puzzle. The difficult thing about it is to restrain yourself not to use it too much, because then it becomes a trick, making it not subservient to the narration of the story.”

Visually stunning journey through teenage dream world Made for a broad audience, SKY is a musical with catchy (pop) music, a generous portion of humour and sweeping choreography by the highly acclaimed American couple Keoni and Mari Madrid.

“The musical tells the story of the 16-year-old Sky, a girl like so many who struggles with the complex problems of a teenager,” says De Levita. “This largely concerns social media and being bullied, not being accepted. In her dream world, she is confronted with this in a sort of magical way. The encounters she has in this world lead her to learn to deal with a number of dilemmas in her daily life. What we also try to convey a bit is that

photo previous page: Producer Robin de Levita (left) and singer Marco Borsato (middle), connected to SKY as one of the coproducers, and songwriter/producer/promoter John Ewbank. (photo: Mario Nap); this page: (left) Singer Marco Borsato: “The combination of the story, the songs and the experience promises to offer the audience a true spectacle.” (photo: Andreas Terlaak); The young talent Lisse Knaapen plays the title role in SKY. (Photo: Jacob van Rozelaar).

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Lead actress Lisse Knaapen, flanked by Lone van Roosendaal and Matteo van der Grijn, who play her parents in SKY.

when you’re at that age, you have the disadvantage that a number of crisis situations are new in your life and therefore feel as insurmountable. This changes when we are older: then we know we cán overcome these.”

The special 3D technology lets you experience Sky’s dreams as if you were in them yourself. You travel with her to an Alice in Wonderland-like environment, in which all the elements from her life appear and in which she seizes the opportunity to tackle her problems. A caterpillar becomes a butterfly...

What experience does De Levita want to provide the audience with? “We want to draw people into a beautiful story with a lot of different emotions,” he says. “It’s a story that’s very funny, but also gripping. Moreover, it’s a magnificent visual spectacle. But what matters most is that important social issues are addressed in this production. This makes SKY a musical that provides food for thought and discussion.”

Take Me to the Water (with American singer-songwriter Matt Simons). Practically all of his albums went platinum, often multiple times. His concerts, such as those in the Symphonica in Rosso series, are always massively attended. Those who have ever been at one of his shows know that he often looks for cutting edge technologies to have his audience experience something extra.

John Ewbank is best known for his work with Marco Borsato, but also wrote songs for many other artists, including Lionel Richie and Trijntje Oosterhuis. In 2013, he received a Grammy nomination for his contribution to This Is What It Feels Like by world-famous DJ Armin van Buuren. He also conceived the dance festival The Flying Dutch. This big musical event, which he produced with Alda Events, simultaneously took place in Amsterdam, Rotterdam and Eindhoven on 30 May 2015 and attracted more than 100,000 visitors.

“The songs that John wrote for SKY were specially inspired from the script,” De Levita indicates. “When Marco heard the songs at the time, he recorded them in Dutch. Some of these have become hits, such as Vlinder (Butterfly), Afscheid Nemen Bestaat Niet (Saying Goodbye Doesn’t Exist) and the recent Mooi (Beautiful). So he was always involved in what happened. One day we had come to a point where we definitely wanted to make SKY and went on to present the project. Marco then got so excited that he wanted to come on board and subsequently decided to co-produce the musical.”

Looking back at this, Borsato says: “When Robin and John presented this project to me and John asked me to embark on this adventure together, the choice was quickly made. The combination of the story, the songs and the experience promises to offer the audience a true spectacle.”

Familiar and brand new songs in SKY In SKY, both known and brand new songs by Marco Borsato and John Ewbank are sung.

For more than 20 years now, Marco Borsato is a celebrated star in the Netherlands and Belgium. After he won the Soundmixshow on 7 April 1990 with the song At This Moment by Billy Vera, he recorded three limitedly successful Italian-language albums. In 1993, he decided, on the advice of his record company, to sing in Dutch henceforth. This proved to be a smart move, for from 1994 onwards he scored one hit after another, including Dromen Zijn Bedrog (Dreams Are Deceptive, which marked his breakthrough), Waarom Nou Jij (Why Now You) Wereld Zonder Jou (World Without You, with Trijntje Oosterhuis), Binnen (Inside), Wat Zou Je Doen (What Would You Do, with Ali B), Rood (Red), Everytime I Think of You (an Anglophone departure, with Lucie Silvas), Wit Licht (White Light), and most recently Mooi (Beautiful) and the bilingual Breng Me Naar het Water / 60

The cast of SKY The 22-year-old Lisse Knaapen plays the title role in SKY. During her studies at the art trade school Codarts

in Rotterdam she starred in Project JCS, Jesus Christ Superstar, directed by Daniël Cohen. Later, she did an internship at Toneelgroep Maastricht (Theatre Group Maastricht) and then appeared in the show Wolfshuilen (Wolf Crying), directed by Judith de Rijke. In April 2015, she played the role of Wendla in the musical Spring Awakening, which was performed in M-Lab. In 2015, she graduated with honours from Codarts and received a grant from Friends of Codarts as well. Through Codarts she gives training courses to people who audition for Codarts, the Fontys University of Applied Sciences and the Kleinkunstacademie (Cabaret Academy). She also gives singing lessons to beginners and advanced singers of all ages.

The young actress and singer was overwhelmed when she heard the news that she had been given the lead role in SKY: “I was immediately very excited. A totally new piece, with new technologies and a strong story that suits me well. Imaginative and inspiring. I cannot wait.”

During Marco Borsato’s concert series Symphonica in Rosso she recently had a special guest performance. At all six concerts, which took place between 24 February and 3 March of this year, she sang Breng Jij Mij Naar Huis (Do You Bring Me Home) from SKY, a new song by Ewbank. It’s a beautiful ballad in which Sky on a seemingly hopeless moment asks for help in her dream world. Prior to the first concert she shared her joy with the outside world:

“It’s an honour to me to perform with Marco Borsato in a sold-out Ziggo Dome. This is something I had not dared to dream about three weeks ago. It’s very exciting to sing for the first time a song from SKY for such a large audience.”

What attracted the creators to her when they saw her audition? De Levita, overflowing with enthusiasm: “Literally everything! And the more I work with her, the stronger she becomes. I think she’s an extremely good actress and a magnificent singer, a truly great discovery!

She simply has a way of conveying it. You believe her right away.“ In SKY, Musical Award winner Lone van Roosendaal (Heerlijk Duurt het Langst / Delight Is the Best Policy) and Matteo van der Grijn (Soldaat van Oranje / Soldier of Orange) portray Sky’s parents, Julia and Edward Nieuwman. The Flemish Eva van der Gucht (S1ngle) plays Sky’s vice principal Betty. Roben Mitchell (Baantjer LIVE2) takes on the role of Sky’s best friend Robbie. Featured in major supporting roles are Joël de Tombe (Flikken Maastricht / Cops Maastricht), Daisy Duin (Grease) and Boy Ooteman (Bureau Raampoort / Precinct Raampoort).

Joël de Tombe about his role in SKY In SKY, Joël de Tombe gets into the skin of the evil Nick Winter. The 35-year-old born Eindhoven resident, who nowadays lives in Amsterdam, can rightly call himself a dyed-in-the-wool musical player.

A large part of the cast and creative team of SKY during a press presentation in Theater Amsterdam on 25 January 2016.

A number of members of the SKY team, posing in front of Theater Amsterdam, with, from left to right, producer Kees Abrahams, supporting actor Boy Ooteman, choreographer Mari Madrid, supporting actor Joël de Tombe, choreographer Keoni Madrid, supporting actress Daisy Duin, director Bobby Boermans, lead actress Lone van Roosendaal, co-producer Marco Borsato, lead actress Lisse Knaapen, co-producer/songwriter John Ewbank, lead actor Matteo van der Grijn, screenwriter Sarah Miles, lead actress Eva van de Gucht, producer Robin de Levita and lead actor Roben Mitchell.

In 1999, he started in the boyband All of Us, which notched up three Top-40 placings. In 2002, he acquired instant national fame by his participation in the first Dutch edition of the music talent show Idols (in which he finished eighth). In 2005, he was part of the fourman band All-Music, which under the guidance of Job Gosschalk, John Ewbank and Robin De Levita played new adaptations of well-known musical numbers. Today he is the front man of the band collective ‘Performer Collective’, which at events and festivals throughout the Netherlands organises custom-made musical performances and can draw from a pool of about 30 Dutch musicians.

The first musical production in which he played was Hair (2007). He continued to walk the musical path with Dromen... Zijn Bedrog (Dreams... Are Deceptive, 2009).

His acting and singing herein earned him a nomination for the Johnny Kraaijkamp Musical Award for Upcoming Talent. Musicals he appeared in later were Deandels (the first street musical of the Netherlands), Yab Yum and Home Again.

On TV, he had a recurring role in both the drama series Start Up and the police series Flikken Maastricht (Cops Maastricht). He also played in André van Duren’s film De Bende van Oss (The Gang of Oss), a partly fact-based crime film set in 1930’s North Brabant. In addition to that, he’s the initiator of U Kunt Nog Stemmen (You Can Still Vote), a documentary by Emma Westermann on the ten finalists of the first season of Idols.

The role almost had passed him by. “Shortly before I

would go to Thailand with my girlfriend for a holiday of a month,” he says, “one of the musical leaders of SKY called me and told me the role of Nick Winter had not been filled yet. He then asked me: ‘Do you have anything to do tomorrow? There’s an audition for a musical then and we would like to see you.’ I went over and did one audition.

Half an hour later I was called and heard that I was accepted! I then immediately cancelled my trip to Asia.”

What type is Nick Winter? “He’s the bad guy of the piece,” he says. “At the school of Sky he does things that are unacceptable. And in the dream world this is magnified quite a bit. There he becomes even more wicked and tries to manipulate Sky. Also others who have a particular function in her real world show up in her dream world, but only three times larger in terms of personality.”

Did he have any idea before he auditioned for SKY what the musical was about? “Well no, I knew basically nothing. I only knew that John Ewbank, who I know from my All-Music time, was working on it.”

What, according to De Levita, makes him ideally suited to the role of Nick Winter? “He is able to convey very well the slick nature that characterises Nick. He’s witty and not only does he sing very well but also very easily.”

Does the use of the 3D projections affect the way of playing? “Yes, it certainly does,” is De Tombe’s experience. “Normally, you have a whole stage set that you focus on, especially in a musical, but now you work with projections and you hardly have any stage pieces at hand. So for all the cast members it’s a whole new way 62

SKY, because in this case, that set, except for a minimal number of pieces, will never see the light of day.”

Besides Ewbank, did he know other people from the team? “I knew Floris Verbeij, one of the musical leaders, very well and to some extent a number of the cast members. But apart from that, the group was quite new to me.”

What would the singer and actor like to see SKY arouse in people? “SKY must feel like an adventure and a happening. It’s the first time this is being made for the theatre and that’s something, I think, one should praise the creators of this production for, especially in these [economically difficult] times. SKY must be an experience. And I think that’s indeed what it is, because thanks to the 3D images you really end up in a different world and that’s unique for a theatre production.

Furthermore, SKY contains fantastic music and thanks to the stunning choreography by the American duo Keoni and Mari Madrid the dancing is on a level you’ve never seen before. That also significantly contributes to the experience!”

Joël de Tombe portrays the evil Nick Winter in SKY.

Practical information

Amsterdam Theatre is located at Danzigerkade 5 in Amsterdam, at the river IJ. SKY is performed from Tuesday to Friday at 8 pm and on Saturday at 2 am and 8 am. ANNE can be seen on Sundays at 1:30 am and 7 pm. Tickets for SKY and ANNE are available via www.theateramsterdam.nl and telephone number +31 900 – 0322 (€ 0.45 per minute). General questions can be asked via info@theateramsterdam.nl. For further information see www.theateramsterdam.nl and www.imaginenation.nl.

of playing. When you start rehearsing for a musical, the set pieces generally are not there yet and you rehearse with only a very small number of props. You do have objects such as a cup, bottle and newspaper, but the real set is not there yet. And that’s the big difference with

Some of the cast members and creatives of SKY. Standing in the front row, from left to right, are choreographer Mari Madrid, lead actress Lone van Roosendaal, title role player Lisse Knaapen, lead actor Matteo van der Grijn and scriptwriter Sarah Miles. Standing in the back row, from left to right, are choreographer Keoni Madrid, co-producer Marco Borsato, co-producer/ songwriter John Ewbank, director Bobby Boermans and producer Robin de Levita.

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The Flaming Dutchman vaarde in oranje gloed mee in de Sydney Mardi Gras parade De Sydney Mardi Gras parade 2016 telde dit jaar een extra enthousiaste deelnemer: Het Consulaat-Generaal van het Koninkrijk der Nederlanden in Sydney. De Nederlandse diplomatieke vertegenwoordiging deed op 5 maart mee met een speciale vloot, “The Flaming Dutchman”. Vertegenwoordigers van het ConsulaatGeneraal waren samen met Consul-Generaal Willem Cosijn tijdens de grootschalige parade op de vloot aanwezig en de rechten van de wereldwijde LGBTQI gemeenschap ondersteunen. Zestig enthousiaste Nederlandse en Australische vrijwilligers maakten, in herkenbare oranje shirts, tevens deel uit van deze Nederlandse vloot. Het Nederlandse bedrijfsleven was hier ook goed vertegenwoordigd.

Dit is de eerste keer dat het Consulaat-Generaal deelnam aan de Mardi Gras parade in Sydney. Volgens ConsulGeneraal Willem Cosijn is het “bijzonder belangrijk voor het Consulaat-Generaal om mee te doen, want dit evenement is zoveel meer dan alleen een parade. Het festival en de symboliek waar Mardi Gras voor staat komen overeen met de Nederlandse gedachte over mensenrechten. Gelijke rechten voor iedereen, dus ook voor de LGBTI-gemeenschap, is wat het Nederlands Consulaat-Generaal in Sydney actief uitdraagt door prominent mee te doen en op deze manier het grootste LGBTI-evenement van Australië te ondersteunen.

‘The Dutch: 400 years of Cruising the World’ 64

foto’s Susan Darling

Nederland was in 2001 het eerste land in de wereld om het homohuwelijk te legaliseren. Bovendien wordt in Nederland sinds 1996 jaarlijks een eigen LGBTQI parade georganiseerd, de Amsterdam Gay Pride. Deze ‘canal parade’ is uniek in de wereld.”

“The Flaming Dutchman” staat niet alleen symbool voor de Nederlandse steun aan LGBTQI-rechten in Australië, de vloot verwijst tevens naar de gezamenlijke Nederlands-Australische geschiedenis. Het is in 2016 precies 400 jaar geleden dat VOC-vaarder Dirk Hartog als eerste Europeaan voet aan wal zette op West-Australische bodem.

Ambassadeur Annemieke Ruigrok uit Canberra sloot zich ook aan bij de vlootwagen van het Nederlandse Consulaat-Generaal in Sydney. Onder leiding van Consul-Generaal Willem Cosijn en Economische Zaken medewerkster Nicoline van Cann is de vlootwagen gebouwd in de vorm van een

boot ter ere van Dirk Hartog. Om dit speciale jaar ook tijdens Mardi Gras te onderstrepen is de slogan van de Nederlandse vloot dan ook: ’The Dutch: 400 years of Cruising the World’.

TEGENVOETER

KOMKOMMER, cucumber and ONZIN, nonsense

words Ruud Hisgen phrase is: ‘Speaking of the science of Life, have you got the cucumber sandwiches cut for Lady Bracknell?’ In the first act of Oscar Wilde’s ‘The Importance Of Being Earnest’ (1895) the cucumber sandwiches which were prepared for Lady Bracknell’s visit were all eaten by her hungry nephew. When she arrives, there are none left.

She is disappointed and his butler helps her nephew by lying to her, saying: ‘There were no cucumbers in the market this morning’.

‘Een schaap zegt: bè! en een beer zegt: brom!

Maar ik heb liever kommerkom.’

(A bear says: grum! And a cow says moo! / But I’d rather have cumbercu.)

Who wrote these unforgettable lines of Dutch poetry?

Was it Gorter? Or Bloem? Or Rawie? Roland Holst?

Kopland? Korteweg? Kloos? No, none of these illustrious poets.

Ever since the success of this play, cucumber sandwiches have been extremely popular in England and they are still frequently served at teas, luncheons, and gatherings.

In the Netherlands a salad is not complete without cucumbers. Indonesian ‘rijsttafels’ serve cucumber parts to compensate for the salty and spicy dishes.

If the ASPERGE is the Queen of Vegetables, the cucumber must be the Buffoon. The cucumber is the weirdest, silliest, absurdist clown in the kingdom of plants.

In its garish green garment the wet fool offers itself to us, thick in the middle and tapered on both sides. Usually thinly sliced. It grows on a creeping vine. It has a slight, subtle taste and contains so little protein that it cannot be considered sustaining enough to function as food. It is so moist that it usually consists of more than 90% water.

Botanically speaking, a cucumber is classified as a fruit, but most humans treat this joker as a vegetable.

In the late Middle Ages Dutch KOMKOMMER entered the language via French ‘concombre’ which came from Latin ‘cucumer’. However, the cucumber’s name was in early Dutch AARDAPPEL (before the 16th century).

Old English had a similar name. According to the Anglosaxon Wikipedia (yes, unbelievable, there is one!

Look here: http://ang.wikipedia.org/wiki/Hēafodsīde) cucumbers or ‘hwerhwettan ēac hātaþ eorþæpplas’ (‘wet beakers’ are also named ‘earth apples’).

Linguistically speaking the green jester is peculiar to say the least. As a joke it may be wet, but it is a fact that the KOMKOMMER is the only Dutch noun that can adapt to the past as if it were an irregular verb: Komkommer -> kwamkwammer.

Ik eet komkommer -> ik at kwamkwammer. (nonsense of course!)

Literary speaking the limp mountebank can boast of one of the funniest roles in theatre history. A well-known

But let’s go back to this day and age. Did you know that ‘gherkins’ are cucumbers too? Of course you did. Aren’t we all addicted to pickled gherkins? The Dutch name is ‘augurk’. The Dutch word was probably derived from Lithuanian ‘agurkas’ or Polish ‘ogórek’.

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So let’s finish this posting with a small poem by the same poet who wrote the earlier immortal lines in this article: Er lag een eiland in de zee.

Daar groeide een augurk.

De zee, die was de Zuiderzee, Het eiland heette Urk.

To give you a taste of his work, here is a nonsensical poem from ‘Jeroen in Hazevoets Rijk’ (‘Jeroen in Hazevoets Realm’) from 1960. Translated for you as literally as possible.

(There was an island in the sea. / There grew a ghurkin. / The sea, which was the Zuyder Zee, / The island’s name was Urk.)

Er staat een boom in Nederland Dicht bij het plaatsje Duiven.

Daar groeien rode neuzen aan En al die neuzen snuiven.

These lines are ONZIN, nonsense. Talking nonsense in Dutch is called: RAASKALLEN (rave, talk gibberish or nonsense). This lovely verb dates back to the early seventeenth century and is still in general use. Lots of people love to RAASKAL. Especially when you’re slightly depressed, it helps to RAASKAL to yourself somewhat.

Sometimes there may be a look of surprise, when someone else realizes that you’re not speaking into my cell phone but to yourself. When words are up in the air, they fly around, sometimes they start to hum and sing, and make you happy.

Zodra het echter winter wordt En het begint te vriezen, Dan worden al die neuzen paars En al die neuzen niezen.

There is a tree in Netherlands Somewhere near Guelders Poort.

On this tree red noses grow And all those noses snort.

The verb RAASKALLEN consists of two separate verbs: RAZEN, rage and KALLEN, an out of use verb for ‘talk’. In Scheveningen there used to be a place for old fishermen called the KALHUIS, a sheltered place where they can chat (now in the Muzee).

As soon as winter comes And water starts to freeze, All those noses will turn blue And all those noses sneeze.

And yes, by now you must have guessed that the above verses about the cucumber and the gherkin were also written by the Dutch king of nonsense verse: Daan Zonderland.

ONZIN, nonsense can be a form of art. The British are very good at ONZIN literature, just think of Lewis Carroll and Edward Lear. Children are fond of nonsense fiction and rhyme, but, as Monty Python’s Flying Circus demonstrated, there is no age limit. The only quality needed for appreciating the art of nonsense is a sense of humour.

The Netherlands can boast of many excellent nonsense writers. Many of them unknown abroad because of the language barrier. When you grew up in the Netherlands, you must have heard of Annie M.G. Schmidt (19111995) whose children’s books are still in print. She is best known for her ‘Jip en Janneke’ novels, but she also wrote hundreds of excellent poems. Most Dutch grew up with her texts, so if you want to get to know these Dutchies a little better, it is well worth a visit to the library and take a peek at her books. Excellent study material for Dutch students.

Thinking of my own first reading experiences I have fond memories of the novels by Daan van der Vat (19091977). In his professional life he was a scholar of English literature at Leiden University, later a journalist based in England. He published his children’s prose and poetry under the pseudonym of Daan Zonderland. You’ll find his books for next to nothing in second hand bookshops or bookmarkets.

Daan Zonderland, 1934, photographer unknown

67

Ghost tram

enter t wion!

A lovely children’s book by Robert Lastdrager, who has written many articles for Holland Focus.

The quirky story is based on Melbourne trams that did not appear on timetables, operated truncated routes. Many passengers were reluctant to take the train not knowing what is destination was.

The book is fittingly illustrated by Richard Cox. We have three books to give away.

ADDRESS 38-40 Chalet Road, Olinda Vic. 3788 T +61 (0)3 9751 2795 M 0419 465 516 E editor@hollandfocus.com www.hollandfocus.com

ABN 40 118 310 900 editor and publisher iet fuijkschot contributors to this issue: D. Arnold,, B. Blankers, O. Busman, Y. Edens, E. Feenstra, F. Hertoghs, J. Hilbrink, R. Hisgen, P. Lorenz, T. van Rooij, M. Visser van Klaarwater, R. van Voorst, P. Westbeek

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The correct answer to the question will go in the draw to win one of the books. Please send your answer and postal details to editor@hollandfocus.com Ghost Train - children from 5 - 12 years old and adults young at heart $14.99 available from www.raptorbooks.com.au - ISBN 978 0 646 94785-3

The Owl’s Supper Can you imagine a world with no colours at all? In the dark spiky wood, a grumpy old witch is up to no good. She has found a truly wicked spell, but in her haste she makes a mistake, and a brave owl finds himself a tasty supper. This is a lively rhyming story for young children, the vibrant pictures bring to life the nasty witch and her horrible spells before taking us to a happy fairy tale ending.

ISBN-10: 1511613009, price $14 at Amazon

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