A walk in the Brazilian Northeast

Walking, as simple as it seems, is a profound act. It's an engagement with the earth and a dance with one's surroundings. To walk is to feel the ground, understand the environment, and sometimes, to confront unsettling histories.

I'm working on getting funding for a project that focusses on the Dutch colonial past in Brazil. For about a quarter of a century, 350 years ago, the Brazilian Northeast was controlled by the Dutch.
This is now mostly forgotten, even with the resurgence in interest in the dark past connected to colonialism, but this short period not only had a long-lasting impact in Brazil, it also had far reaching consequences for how the Dutch perceived their colonial role in the years following.

Little public documentation remains of that period, unless you know where to look. One more public reference is the body of work that the Dutch landscape painter Frans Post left behind.

To reflect on the act of walking through the landscapes painted by Frans Post is to tread a path that combines the inspiration of natural beauty with the dark underbelly of Dutch colonialism.

Journey back to the 17th century, to the Dutch colonial era in Northeast Brazil. Through the eyes of Frans Post, the land is majestic, untouched, almost Edenic. But behind the vibrant hues and idyllic scenes lies the troubling narrative of colonial exploitation, cultural erasure, and economic opportunism.

While Post painted landscapes that showcased Brazil's beauty, he was simultaneously chronicling a period of Dutch expansionism. His paintings, for all their allure, can't be divorced from the broader story of colonization. The landscapes, though seemingly pristine, are punctuated with signs of human intervention – settlements, fortifications, and the often subtle but undeniable marks of resource extraction. These signs aren't merely depictions of human activity; they are tokens of domination, symbols of a European power asserting its control over less-charted territories.

The act of walking through these landscapes, whether physically, as Post did, and you can do today, or through the lens of Post’s art, becomes a journey laden with contrasts. The untouched wilderness speaks of nature’s splendor, while the scattered signs of human presence whisper tales of usurpation and cultural imposition. The verdant forests and winding rivers, though beautiful, are also witnesses to the dark legacy of forced labor, displacement of indigenous communities, and the plundering of resources.

As we imagine traversing these terrains, the act of walking takes on a dual significance. It becomes both an exploration of breathtaking natural beauty and a confrontation with the ghosts of colonial ambition. Walking, in Post's landscapes, is an oscillation between being an awed observer and a remorseful witness to history's darker chapters.

It's easy to lose oneself in the beauty of Post's artistry, but the dark aspects of Dutch colonialism lurk in the shadows. Quite literally, as the paintings that post made while in Brazil feature, mostly, curiously, few people, while the bulk of his work, painted after his return, slowly became more and more exotic.
But, just beyond the edge of his paintings, the forts, the European figures surveying the land, and the marginalized indigenous figures are reminders of a time when cultural pride often masked economic greed and territorial ambition.

In the modern era, reflecting on Post’s works is not just an artistic indulgence. It's a historical journey, a walk through beauty marred by exploitation. The lush greens, the radiant skies, and the distant mountains are both an ode to Brazil's majesty and a somber reminder of colonial encroachment.

As we walk, whether through actual landscapes or the canvases of history, we need to remind ourselves to both see the beauty as well as the shadows. It's a journey that beckons us to remember that every stroke of art, every step on the ground, is intertwined with stories of both awe and affliction.

You might know I'm Dutch (though originally from Iran) and live in Brazil. So, I have a keen interest in bringing this project to fruition.

Meanwhile, it's September. We're speed-running through the year, which means there's less than a month to submit your work for the Sound Walk September Awards. If you're still in need for some inspiration, do join us for The SWS Winners' Circle, this Tuesday, where the winners of the SWS Awards 2022 will discuss their work, their process, and their ideas. It's free to attend for everyone.

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