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Portal:Netherlands

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Welcome to the Netherlands Portal
Welkom bij het Nederlandportaal!

FlagCoat of arms
Location of the Netherlands within Europe

TheNetherlands, informallyHolland, is a country inNorthwestern Europe, withoverseas territories in theCaribbean. It is the largest of the four constituent countries of theKingdom of the Netherlands. The Netherlands consists oftwelve provinces; it bordersGermany to the east andBelgium to the south, with aNorth Sea coastline to the north and west. It sharesmaritime borders with theUnited Kingdom, Germany, and Belgium. The official language isDutch, withWest Frisian as a secondary official language in the province ofFriesland. Dutch,English, andPapiamento are official in theCaribbean territories. People from the Netherlands are referred to asDutch.

The Netherlands has been a parliamentaryconstitutional monarchy with aunitary structure since 1848. The country has a tradition ofpillarisation (separation of citizens into groups by religion and political beliefs) and a long record ofsocial tolerance, having legalisedprostitution andeuthanasia, along with maintaininga liberal drug policy. The Netherlands allowedwomen's suffrage in 1919 and was the first country to legalisesame-sex marriage in 2001. Itsmixed-marketadvanced economy has theeleventh-highest per capita income globally. The Hague holds the seat of theStates General,cabinet, andSupreme Court. ThePort of Rotterdam is thebusiest in Europe.Schiphol is thebusiest airport in the Netherlands, and thefourth busiest in Europe. Being adeveloped country, the Netherlands is a founding member of theEuropean Union,eurozone,G10,NATO,OECD, andWTO, as well as a part of theSchengen Area and the trilateralBenelux Union. It hostsintergovernmental organisations andinternational courts, many of which are in The Hague. (Full article...)

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  • Image 1 Newspaper advertisement Sorga Ka Toedjoe ([ˈsɔrɡa kə ˈtudʒu]; vernacular Malay for Seventh Heaven; also advertised under the Dutch title In Den Zevenden Hemel) is a 1940 film from the Dutch East Indies (present-day Indonesia) directed by Joshua and Othniel Wong for Tan's Film. It follows an older couple (Kartolo and Annie Landouw) who are reunited by another, younger couple (Roekiah and Djoemala) after years of separation. The black-and-white film, the first production by Tan's Film after the departure of Rd Mochtar, featured kroncong music and was targeted at lower-class native audiences. It was a commercial and critical success. Roekiah and Djoemala took leading roles in three more films before Tan's closed in 1942. Sorga Ka Toedjoe is now thought lost. (Full article...)
    Image 1

    Newspaper advertisement

    Sorga Ka Toedjoe ([ˈsɔrɡaˈtudʒu];vernacular Malay forSeventh Heaven; also advertised under the Dutch titleIn Den Zevenden Hemel) is a 1940 film from theDutch East Indies (present-day Indonesia) directed byJoshua and Othniel Wong forTan's Film. It follows an older couple (Kartolo andAnnie Landouw) who are reunited by another, younger couple (Roekiah andDjoemala) after years of separation. Theblack-and-white film, the first production by Tan's Film after the departure ofRd Mochtar, featuredkroncong music and was targeted at lower-classnative audiences. It was a commercial and critical success. Roekiah and Djoemala took leading roles in three more films before Tan's closed in 1942.Sorga Ka Toedjoe is now thoughtlost. (Full article...)
  • Image 2 A tulip, known as "the Viceroy" (viseroij), displayed in the 1637 Dutch catalogue Verzameling van een Meenigte Tulipaanen ("Collection of a Crowd of Tulips"). Its bulb was offered for sale for between 3,000 and 4,200 guilders (florins) depending on weight (gewooge). A skilled artisan at the time earned about 300 guilders a year. Tulip mania (Dutch: tulpenmanie) was a period during the Dutch Golden Age when contract prices for some bulbs of the recently introduced and fashionable tulip reached extraordinarily high levels. The major acceleration started in 1634 and then dramatically collapsed in February 1637. It is generally considered to have been the first recorded speculative bubble or asset bubble in history. In many ways, the tulip mania was more of a then-unknown socio-economic phenomenon than a significant economic crisis. It had no critical influence on the prosperity of the Dutch Republic, which was one of the world's leading economic and financial powers in the 17th century, with the highest per capita income in the world from about 1600 to about 1720. The term tulip mania is now often used metaphorically to refer to any large economic bubble when asset prices deviate from intrinsic values. Forward markets appeared in the Dutch Republic during the 17th century. Among the most notable was one centred on the tulip market. At the peak of tulip mania, in February 1637, certain tulip bulbs sold for more than 10 times the annual income of a skilled artisan. Research is difficult because of the limited economic data from the 1630s, much of which comes from biased and speculative sources. Some modern economists have proposed rational explanations, rather than a speculative mania, for the rise and fall in prices. For example, other flowers, such as the hyacinth, also had high initial prices at the time of their introduction, which then fell as the plants were propagated. The high prices may also have been driven by expectations of a parliamentary decree that contracts could be voided for a small cost, thus lowering the risk to buyers. (Full article...)
    Image 2
    A tulip, known as "the Viceroy" (viseroij), displayed in the 1637 Dutch catalogueVerzameling van een Meenigte Tulipaanen ("Collection of a Crowd of Tulips"). Its bulb was offered for sale for between 3,000 and 4,200guilders (florins) depending on weight (gewooge). A skilled artisan at the time earned about 300 guilders a year.


    Tulip mania (Dutch:tulpenmanie) was a period during theDutch Golden Age when contract prices for somebulbs of the recently introduced and fashionabletulip reached extraordinarily high levels. The major acceleration started in 1634 and then dramatically collapsed in February 1637. It is generally considered to have been the first recordedspeculative bubble or asset bubble in history. In many ways, the tulip mania was more of a then-unknownsocio-economic phenomenon than a significanteconomic crisis. It had no critical influence on the prosperity of theDutch Republic, which was one of the world'sleading economic andfinancial powers in the 17th century, with the highestper capita income in the world from about 1600 to about 1720. The termtulip mania is now often usedmetaphorically to refer to any large economic bubble when asset prices deviate fromintrinsic values.

    Forward markets appeared in the Dutch Republic during the 17th century. Among the most notable was one centred on the tulip market. At the peak of tulip mania, in February 1637, certain tulip bulbs sold for more than 10 times the annual income of a skilled artisan. Research is difficult because of the limited economic data from the 1630s, much of which comes from biased and speculative sources. Some modern economists have proposed rational explanations, rather than a speculative mania, for the rise and fall in prices. For example, other flowers, such as thehyacinth, also had high initial prices at the time of their introduction, which then fell as the plants were propagated. The high prices may also have been driven by expectations of a parliamentary decree that contracts could be voided for a small cost, thus lowering the risk to buyers. (Full article...)
  • Image 3 Battle of Öland by Claus Møinichen The Battle of Öland was a naval battle between an allied Danish-Dutch fleet and the Swedish navy in the Baltic Sea, off the east coast of Öland on 1 June 1676. The battle was a part of the Scanian War (1675–1679) fought for supremacy over the southern Baltic. Sweden was in urgent need of reinforcements for its north German possessions; Denmark sought to ferry an army to Scania in southern Sweden to open a front on Swedish soil. Just as the battle began, the Swedish flagship Kronan sank, taking with it almost the entire crew, including the Admiral of the Realm and commander of the Swedish navy, Lorentz Creutz. The allied force under the leadership of the Dutch admiral Cornelis Tromp took full advantage of the ensuing disorder on the Swedish side. The acting commander after Creutz's sudden demise, Admiral Claes Uggla, was surrounded and his flagship Svärdet battered in a drawn-out artillery duel, then set ablaze by a fire ship. Uggla drowned while escaping the burning ship, and with the loss of a second supreme commander, the rest of the Swedish fleet fled in disorder. (Full article...)
    Image 3

    Battle of Öland byClaus Møinichen

    TheBattle of Öland was a naval battle between an alliedDanish-Dutch fleet and the Swedish navy in theBaltic Sea, off the east coast ofÖland on 1 June 1676. The battle was a part of theScanian War (1675–1679) fought for supremacy over the southern Baltic. Sweden was in urgent need of reinforcements for its north German possessions; Denmark sought to ferry an army toScania in southern Sweden to open a front on Swedish soil.

    Just as the battle began, the Swedish flagshipKronan sank, taking with it almost the entire crew, including theAdmiral of the Realm and commander of the Swedish navy,Lorentz Creutz. The allied force under the leadership of the Dutch admiralCornelis Tromp took full advantage of the ensuing disorder on the Swedish side. The acting commander after Creutz's sudden demise, AdmiralClaes Uggla, was surrounded and his flagshipSvärdet battered in a drawn-out artillery duel, then set ablaze by afire ship. Uggla drowned while escaping the burning ship, and with the loss of a second supreme commander, the rest of the Swedish fleet fled in disorder. (Full article...)
  • Image 4 Cover of the novelisation Asmara Moerni (Indonesian pronunciation: [asˌmara ˈmʊrni]; Perfected Spelling: Asmara Murni; Indonesian for True Love) is a 1941 romance film from the Dutch East Indies (now Indonesia) directed by Rd Ariffien and produced by Ang Hock Liem for Union Films. Written by Saeroen, the film followed a doctor who falls in love with his maid, as well as her failed romance with a fellow villager. Starring Adnan Kapau Gani, Djoewariah, and S. Joesoef, the black-and-white film was cast and advertised to cater to the growing native intelligentsia. Despite mixed reviews, it was a commercial success. As with most films of the Indies, Asmara Moerni may be lost. (Full article...)
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    Cover of the novelisation

    Asmara Moerni (Indonesian pronunciation:[asˌmaraˈmʊrni];Perfected Spelling:Asmara Murni;Indonesian forTrue Love) is a 1941 romance film from theDutch East Indies (nowIndonesia) directed byRd Ariffien and produced by Ang Hock Liem forUnion Films. Written bySaeroen, the film followed a doctor who falls in love with his maid, as well as her failed romance with a fellow villager. StarringAdnan Kapau Gani,Djoewariah, and S. Joesoef, theblack-and-white film was cast and advertised to cater to the growingnative intelligentsia. Despite mixed reviews, it was a commercial success. As with most films of the Indies,Asmara Moerni may belost. (Full article...)
  • Image 5 Panggilan Darah (Indonesian for Call of Blood) is a 1941 film from the Dutch East Indies (now Indonesia) written and directed by Sutan Usman Karim and produced by Tjho Seng Han for Oriental Film. The black-and-white film starred Dhalia and Soerip as orphaned sisters trying to make a living in the colonial capital of Batavia (now Jakarta) before moving to Kudus to work at a clove cigarette factory. Shot on location at an orphanage and two factories in central Java, Panggilan Darah was a modest commercial success in the Indies and Singapore. Its soundtrack, which featured nine kroncong songs, received popular acclaim, and the film's acting received critical praise. Despite this success, Oriental was unable to recoup its expenses, and merged into Multi Film soon afterwards. Panggilan Darah, which was screened as late as 1952, may now be lost. (Full article...)
    Image 5
    Panggilan Darah (Indonesian forCall of Blood) is a 1941 film from theDutch East Indies (nowIndonesia) written and directed bySutan Usman Karim and produced byTjho Seng Han forOriental Film. Theblack-and-white film starredDhalia andSoerip as orphaned sisters trying to make a living in the colonial capital ofBatavia (nowJakarta) before moving toKudus to work at aclove cigarette factory.

    Shot on location at an orphanage and two factories incentral Java,Panggilan Darah was a modest commercial success in the Indies andSingapore. Its soundtrack, which featured ninekroncong songs, received popular acclaim, and the film's acting received critical praise. Despite this success, Oriental was unable to recoup its expenses, and merged into Multi Film soon afterwards.Panggilan Darah, which was screened as late as 1952, may now belost. (Full article...)
  • Image 6 The Human Centipede (First Sequence) is a 2009 Dutch body horror film written, directed and co-produced by Tom Six. The independent film concerns a deranged German surgeon who kidnaps three tourists and conjoins them surgically, mouth to anus, forming the eponymous "human centipede". It stars Dieter Laser as Josef Heiter, the creator of the centipede; and Ashley C. Williams, Ashlynn Yennie, and Akihiro Kitamura as Heiter's victims. According to Six, the concept arose from a joke he had made with friends about punishing a child molester by stitching his mouth to the anus of a "fat truck driver". Other sources of inspiration were Nazi medical experiments performed during World War II, such as those performed by Josef Mengele at the Auschwitz concentration camp. When approaching investors to fund the project, Six did not mention the premise of the film for fear of putting off potential backers; financiers did not discover the full nature of the film until completion. (Full article...)
    Image 6
    The Human Centipede (First Sequence) is a 2009 Dutchbody horror film written, directed and co-produced byTom Six. Theindependent film concerns a deranged German surgeon who kidnaps three tourists and conjoins them surgically, mouth toanus, forming the eponymous "humancentipede". It starsDieter Laser as Josef Heiter, the creator of the centipede; andAshley C. Williams,Ashlynn Yennie, andAkihiro Kitamura as Heiter's victims.

    According to Six, the concept arose from a joke he had made with friends about punishing achild molester by stitching his mouth to the anus of a "fat truck driver". Other sources of inspiration wereNazi medical experiments performed duringWorld War II, such as those performed byJosef Mengele at theAuschwitz concentration camp. When approaching investors to fund the project, Six did not mention the premise of the film for fear of putting off potential backers; financiers did not discover the full nature of the film until completion. (Full article...)
  • Image 7 Union Films was a film production company located in Batavia, Dutch East Indies (now Jakarta, Indonesia). Established by ethnic Chinese businessmen Ang Hock Liem and Tjoa Ma Tjoen in 1940, it produced seven black-and-white films before it was dissolved in 1942; all are thought to be lost. The company's films were directed by four men, mostly ethnic Chinese, and launched the careers of actors such as Rendra Karno and Djoewariah. Established during the revival of the Indies film industry, Union released its first film, Kedok Ketawa, in July 1940. This was followed by a series of films penned by Saeroen which were increasingly oriented towards the Indies' growing intelligentsia and attempted to distance themselves from the theatrical conventions which were common in the contemporary film industry. This continued after Saeroen left for Star Film in 1941, with Union's final two productions emphasising realism. Following the Japanese occupation of the Indies in March 1942, Union was dissolved, though its films continued to be screened into the mid-1940s. (Full article...)
    Image 7

    Union Films was a film production company located in Batavia,Dutch East Indies (nowJakarta, Indonesia). Established byethnic Chinese businessmen Ang Hock Liem and Tjoa Ma Tjoen in 1940, it produced sevenblack-and-white films before it was dissolved in 1942; all are thought to belost. The company's films were directed by four men, mostly ethnic Chinese, and launched the careers of actors such asRendra Karno andDjoewariah.

    Established during the revival of the Indies film industry, Union released its first film,Kedok Ketawa, in July 1940. This was followed by a series of films penned bySaeroen which were increasingly oriented towards the Indies' growingintelligentsia and attempted to distance themselves from the theatrical conventions which were common in the contemporary film industry. This continued after Saeroen left forStar Film in 1941, with Union's final two productions emphasisingrealism. Following theJapanese occupation of the Indies in March 1942, Union was dissolved, though its films continued to be screened into the mid-1940s. (Full article...)
  • Image 8 Si Ronda is a 1930 silent film from the Dutch East Indies which was directed by Lie Tek Swie and starred Bachtiar Effendi. Based on contemporary Betawi oral tradition, it follows the exploits of a bandit, skilled in silat (traditional Malay martial arts), known as Si Ronda. In the lenong stories from which the film was derived, Ronda was often depicted as a Robin Hood type of figure. The production, now thought lost, was one of a series of martial arts films released between 1929 and 1931. Si Ronda received little coverage in the media upon its release. A second adaptation of the tale, Si Ronda Macan Betawi, was made in 1978. (Full article...)
    Image 8
    Si Ronda is a 1930silent film from theDutch East Indies which was directed byLie Tek Swie and starredBachtiar Effendi. Based on contemporaryBetawi oral tradition, it follows the exploits of a bandit, skilled insilat (traditional Malay martial arts), known as Si Ronda. In thelenong stories from which the film was derived, Ronda was often depicted as aRobin Hood type of figure. The production, now thoughtlost, was one of a series of martial arts films released between 1929 and 1931.Si Ronda received little coverage in the media upon its release. A second adaptation of the tale,Si Ronda Macan Betawi, was made in 1978. (Full article...)
  • Image 9 Amir Hamzah, c. 1928–1937 Tengku Amir Hamzah (February 1911 – 20 March 1946) was an Indonesian poet and National Hero of Indonesia. Born into a Malay aristocratic family in the Sultanate of Langkat in North Sumatra, he was educated in both Sumatra and Java. While attending senior high school in Surakarta around 1930, Amir became involved with the nationalist movement and fell in love with a Javanese schoolmate, Ilik Sundari. Even after Amir continued his studies in legal school in Batavia (now Jakarta) the two remained close, only separating in 1937 when Amir was recalled to Sumatra to marry the sultan's daughter and take on responsibilities of the court. Though unhappy with his marriage, he fulfilled his courtly duties. After Indonesia proclaimed its independence in 1945, he served as the government's representative in Langkat. The following year he was killed in a social revolution led by the PESINDO (Pemuda Sosialis Indonesia), and buried in a mass grave. Amir began writing poetry while still a teenager: though his works are undated, the earliest are thought to have been written when he first travelled to Java. Drawing influences from his own Malay culture and Islam, as well as from Christianity and Eastern literature, Amir wrote 50 poems, 18 pieces of lyrical prose, and numerous other works, including several translations. In 1932 he co-founded the literary magazine Poedjangga Baroe. After his return to Sumatra, he stopped writing. Most of his poems were published in two collections, Nyanyi Sunyi (1937) and Buah Rindu (1941), first in Poedjangga Baroe then as stand-alone books. (Full article...)
    Image 9

    Amir Hamzah,c. 1928–1937

    Tengku Amir Hamzah (February 1911 – 20 March 1946) was an Indonesian poet andNational Hero of Indonesia. Born into aMalay aristocratic family in theSultanate of Langkat inNorth Sumatra, he was educated in bothSumatra andJava. While attending senior high school inSurakarta around 1930, Amir became involved with thenationalist movement and fell in love with aJavanese schoolmate, Ilik Sundari. Even after Amir continued his studies in legal school inBatavia (nowJakarta) the two remained close, only separating in 1937 when Amir was recalled to Sumatra to marry the sultan's daughter and take on responsibilities of the court. Though unhappy with his marriage, he fulfilled his courtly duties. AfterIndonesia proclaimed its independence in 1945, he served as the government's representative in Langkat. The following year he was killed ina social revolution led by the PESINDO (Pemuda Sosialis Indonesia), and buried in a mass grave.

    Amir began writing poetry while still a teenager: though his works are undated, the earliest are thought to have been written when he first travelled to Java. Drawing influences from his own Malay culture and Islam, as well as from Christianity and Eastern literature, Amir wrote 50 poems, 18 pieces of lyrical prose, and numerous other works, including several translations. In 1932 he co-founded the literary magazinePoedjangga Baroe. After his return to Sumatra, he stopped writing. Most of his poems were published in two collections,Nyanyi Sunyi (1937) andBuah Rindu (1941), first inPoedjangga Baroe then as stand-alone books. (Full article...)
  • Image 10 Windmill at Wijk bij Duurstede (c. 1670) Jacob Isaackszoon van Ruisdael (Dutch pronunciation: [ˈjaːkɔp fɑn ˈrœyzdaːl] ⓘ; c. 1629 – 10 March 1682) was a Dutch painter, draughtsman, and etcher. He is generally considered the pre-eminent landscape painter of the Dutch Golden Age, a period of great wealth and cultural achievement when Dutch painting became highly popular. Prolific and versatile, Ruisdael depicted a wide variety of landscape subjects. From 1646 he painted Dutch countryside scenes of remarkable quality for a young man. After a trip to Germany in 1650, his landscapes took on a more heroic character. In his late work, conducted when he lived and worked in Amsterdam, he added city panoramas and seascapes to his regular repertoire. In these, the sky often took up two-thirds of the canvas. In total he produced more than 150 Scandinavian views featuring waterfalls. (Full article...)
    Image 10

    Jacob Isaackszoon van Ruisdael (Dutch pronunciation:[ˈjaːkɔpfɑnˈrœyzdaːl];c. 1629 – 10 March 1682) was a Dutch painter,draughtsman, andetcher. He is generally considered the pre-eminentlandscape painter of theDutch Golden Age, a period of great wealth and cultural achievement whenDutch painting became highly popular.

    Prolific and versatile, Ruisdael depicted a wide variety of landscape subjects. From 1646 he painted Dutch countryside scenes of remarkable quality for a young man. After a trip toGermany in 1650, his landscapes took on a more heroic character. In his late work, conducted when he lived and worked inAmsterdam, he added city panoramas and seascapes to his regular repertoire. In these, the sky often took up two-thirds of the canvas. In total he produced more than 150Scandinavian views featuring waterfalls. (Full article...)

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  • Image 1 Twenty-two people are recorded as having produced fictional films in the Dutch East Indies between 1926, when L. Heuveldorp released Loetoeng Kasaroeng, the colony's first domestically produced film, and 1949, when the Dutch formally recognised Indonesia's sovereignty after a four-year revolution, leaving the Dutch East Indies defunct. Altogether, they are credited for 93 of all known films produced in the Indies, and four of them remained active after independence. All were men; the first female film producer in Indonesia, Ratna Asmara, produced her first film in 1953. The colony's first producer, Heuveldorp, was of European descent. He was followed in 1928 by the ethnic Chinese businessmen Tjan Tjoen Lian and Liem Goan Lian, who began work on Lily van Java but soon pulled out, to be replaced by David Wong. By 1930 Chinese producers had dominated the industry. The most active of these, The Teng Chun, made his debut in 1931 with Boenga Roos dari Tjikembang; he would go on to produce another 27 films before independence. No native Indonesian film producers are recorded from this period, although several productions were credited only to companies. (Full article...)
    Image 1
    Twenty-two people are recorded as havingproduced fictional films in theDutch East Indies between 1926, when L. Heuveldorp releasedLoetoeng Kasaroeng, the colony's first domestically produced film, and 1949, when the Dutch formally recognised Indonesia's sovereignty after afour-year revolution, leaving the Dutch East Indies defunct. Altogether, they are credited for 93 ofall known films produced in the Indies, and four of them remained active after independence. All were men; the first female film producer in Indonesia,Ratna Asmara, produced her first film in 1953.

    The colony's first producer, Heuveldorp, was of European descent. He was followed in 1928 by theethnic Chinese businessmen Tjan Tjoen Lian and Liem Goan Lian, who began work onLily van Java but soon pulled out, to be replaced by David Wong. By 1930 Chinese producers had dominated the industry. The most active of these,The Teng Chun, made his debut in 1931 withBoenga Roos dari Tjikembang; he would go on to produce another 27 films before independence. Nonative Indonesian film producers are recorded from this period, although several productions were credited only to companies. (Full article...)
  • Image 2 The Amsterdam Tournament (Dutch: Amsterdam Toernooi) was a pre-season association football competition, held in Amsterdam, Netherlands. The competition was hosted by Eredivisie club Ajax at the Amsterdam Arena. It was inaugurated in 1975 as the Amsterdam 700 Tournament to celebrate 700 years of history in the city. It was held annually each summer until 1992, when the last edition of the original tournament was played. It returned in 1999 with the backing of the International Event Partnership (IEP). Four teams participate in the competition, played in a league format since 1986. Since its return, the tournament has used an unusual point scoring system. As with most league competitions, three points are awarded for a win, one for a draw and zero for a loss. An additional point, however, is awarded for each goal scored. The system is designed to reward teams that adopt a more attacking style of play. Each entrant plays two matches, with the winner being the club that finishes at the top of the table. The original competition was held at Amsterdam's Olympic Stadium, where Ajax played its international games until 1996. The Amsterdam Arena, now named the Johan Cruyff Arena, has played host to the event since the return until 2009. (Full article...)
    Image 2
    TheAmsterdam Tournament (Dutch:Amsterdam Toernooi) was a pre-seasonassociation football competition, held inAmsterdam,Netherlands. The competition was hosted byEredivisie clubAjax at theAmsterdam Arena. It was inaugurated in 1975 as theAmsterdam 700 Tournament to celebrate 700 years of history in the city. It was held annually each summer until 1992, when the last edition of the original tournament was played. It returned in 1999 with the backing of the International Event Partnership (IEP). Four teams participate in the competition, played in a league format since 1986.

    Since its return, the tournament has used an unusual point scoring system. As with most league competitions, three points are awarded for a win, one for a draw and zero for a loss. An additional point, however, is awarded for each goal scored. The system is designed to reward teams that adopt a more attacking style of play. Each entrant plays two matches, with the winner being the club that finishes at the top of the table. The original competition was held at Amsterdam'sOlympic Stadium, where Ajax played its international games until 1996. The Amsterdam Arena, now named theJohan Cruyff Arena, has played host to the event since the return until 2009. (Full article...)
  • Image 3 Since 1 January 2023, there are 342 regular municipalities (Dutch: gemeenten [ɣəˈmeːntə(n)] ⓘ; sing. gemeente [xəˈmeːntə] ⓘ) and three special municipalities (Dutch: bijzondere gemeenten [biˈzɔndərə -]) in the Netherlands. The latter is the status of three of the six island territories that make up the Dutch Caribbean. Municipalities are the second-level administrative division, or public bodies (Dutch: openbare lichamen), in the Netherlands and are subdivisions of their respective provinces. Their duties are delegated to them by the central government and they are ruled by a municipal council that is elected every four years. Municipal mergers have reduced the total number of municipalities by two-thirds since the first official boundaries were created in the mid 19th century. Municipalities themselves are informally subdivided into districts and neighbourhoods for administrative and statistical purposes. These municipalities come in a wide range of sizes, Westervoort is the smallest with a land area of 7.01 km2 (2.71 sq mi) and Súdwest-Fryslân the largest with a land area of 522.7 km2 (201.8 sq mi). Schiermonnikoog is both the least populated, with 972 people, and the least densely populated municipality at 23/km2 (60/sq mi). Amsterdam has the highest population with 931,298 residents as of January 2024, whereas The Hague is the most densely populated with a density of 6,868/km2 (17,790/sq mi). (Full article...)
    Image 3
    Since 1 January 2023, there are 342 regular municipalities (Dutch:gemeenten[ɣəˈmeːntə(n)];sing. gemeente[xəˈmeːntə]) and threespecial municipalities (Dutch:bijzondere gemeenten[biˈzɔndərə-]) in theNetherlands. The latter is the status of three of the six island territories that make up theDutch Caribbean. Municipalities are the second-level administrative division, orpublic bodies (Dutch:openbare lichamen), in the Netherlands and are subdivisions of their respectiveprovinces. Their duties are delegated to them by thecentral government and they are ruled by amunicipal council that is elected every four years. Municipalmergers have reduced the total number of municipalities by two-thirds since the first official boundaries were created in the mid 19th century. Municipalities themselves are informally subdivided into districts and neighbourhoods for administrative and statistical purposes.

    These municipalities come in a wide range of sizes,Westervoort is the smallest with a land area of 7.01 km2 (2.71 sq mi) andSúdwest-Fryslân the largest with a land area of 522.7 km2 (201.8 sq mi).Schiermonnikoog is both the least populated, with 972 people, and the least densely populated municipality at23/km2 (60/sq mi).Amsterdam has the highest population with 931,298 residents as of January 2024, whereasThe Hague is the most densely populated with a density of6,868/km2 (17,790/sq mi). (Full article...)
  • Image 4 The Wong brothers (one pictured) were the first ethnic Chinese directors in the Indies. Twenty-nine people are recorded as having directed fictional films in the Dutch East Indies between 1926, when L. Heuveldorp released Loetoeng Kasaroeng, the colony's first domestically produced film, and 1949, when the Dutch formally recognised Indonesia's sovereignty after a four-year revolution, leaving the Dutch East Indies defunct. Thirteen directors active in the Indies continued to direct films after 1950, including Usmar Ismail: his 1950 film Darah dan Doa (The Long March) is generally considered the first truly Indonesian film. The colony's first directors, L. Heuveldorp and George Krugers, were of European or mixed descent. They were followed by ethnic Chinese soon after, when Nelson Wong made his debut in 1928 with Lily van Java; other Chinese directors included Lie Tek Swie (1929), Wong's brothers Joshua and Othniel (1930), and The Teng Chun (1931). Ethnic Chinese directors dominated the colony's cinema for the remainder of its existence. The first native director, Bachtiar Effendi, made his debut in 1932 with the talkie Njai Dasima; another native director would not appear until Andjar Asmara and Rd Ariffien made their debuts in 1940. (Full article...)
    Image 4
    A man with short hair and a white shirt is controlling a large camera. He is facing left.
    TheWong brothers (one pictured) were the firstethnic Chinese directors in the Indies.

    Twenty-nine people are recorded as havingdirected fictional films in theDutch East Indies between 1926, when L. Heuveldorp releasedLoetoeng Kasaroeng, the colony's first domestically produced film, and 1949, when the Dutch formally recognised Indonesia's sovereignty after afour-year revolution, leaving the Dutch East Indies defunct. Thirteen directors active in the Indies continued to direct films after 1950, includingUsmar Ismail: his 1950 filmDarah dan Doa (The Long March) is generally considered the first truly Indonesian film.

    The colony's first directors, L. Heuveldorp andGeorge Krugers, were of European ormixed descent. They were followed byethnic Chinese soon after, when Nelson Wong made his debut in 1928 withLily van Java; other Chinese directors includedLie Tek Swie (1929),Wong's brothers Joshua and Othniel (1930), andThe Teng Chun (1931). Ethnic Chinese directors dominated the colony's cinema for the remainder of its existence. The firstnative director,Bachtiar Effendi, made his debut in 1932 with the talkieNjai Dasima; another native director would not appear untilAndjar Asmara andRd Ariffien made their debuts in 1940. (Full article...)
  • Image 5 1799 painting of the Battle of Camperdown by Robert Cleveley The Battle of Camperdown was an important naval action of the French Revolutionary Wars, fought off Camperduin on the North Holland coast on 11 October 1797 between a Royal Navy fleet under Admiral Adam Duncan and a Batavian Navy fleet under Vice-Admiral Jan Willem de Winter. France had overrun the Dutch Republic two years earlier, which was replaced by the Batavian Republic. In early 1797, the Batavian Navy was ordered to sail to Brest and unite with the French Atlantic Fleet in preparation for an invasion of Ireland. Shortly afterwards, the British navy was paralysed by the Spithead and Nore mutinies, in which the navy's sailors refused to take their ships to sea until they were awarded better pay and conditions. For two months[citation needed] the English Channel was undefended, but the Batavian navy failed to take the opportunity to sail from their harbour in the Texel as their preparations were not complete; furthermore, a small squadron of loyal ships under Duncan convinced de Winter that the British navy was at sea by sending nonsensical signals to fictitious ships over the horizon. By October 1797, the plan to invade Ireland had been abandoned and the British North Sea Fleet was again at full strength. During a brief period replenishing supplies at Yarmouth, news reached Duncan on 10 October that de Winter had set sail with his fleeton a raiding cruise[citation needed] and he returned to the Dutch coast, intercepting the Batavian fleet on its way back to the Texel. The Batavians formed a line of battle in shallow coastal waters to meet Duncan's attack, which was conducted in a confused mass, the British fleet separating into two groups that struck the vanguard and rear of the Batavian fleet, overwhelming each in turn and capturing eleven ships, including de Winter's flagship Vrijheid. On the return journey, three of the captured ships were lost, and none of the surviving prizes were ever suitable for active service again[citation needed]. Both sides suffered heavy casualties during the battle as each fleet had been trained to aim at the hulls of their opponents, maximising the damage to personnel. (Full article...)
    Image 5
    1799 painting of the Battle of Camperdown byRobert Cleveley


    TheBattle of Camperdown was an important naval action of theFrench Revolutionary Wars, fought offCamperduin on theNorth Holland coast on 11 October 1797 between aRoyal Navy fleet under AdmiralAdam Duncan and aBatavian Navy fleet under Vice-AdmiralJan Willem de Winter.France had overrun theDutch Republic two years earlier, which was replaced by theBatavian Republic. In early 1797, the Batavian Navy was ordered to sail toBrest and unite with the French Atlantic Fleet in preparation for an invasion ofIreland. Shortly afterwards, the British navy was paralysed by theSpithead and Nore mutinies, in which the navy's sailors refused to take their ships to sea until they were awarded better pay and conditions.For two months[citation needed] theEnglish Channel was undefended, but the Batavian navy failed to take the opportunity to sail from their harbour in theTexel as their preparations were not complete; furthermore, a small squadron of loyal ships under Duncan convinced de Winter that the British navy was at sea by sending nonsensical signals to fictitious ships over the horizon.

    By October 1797, the plan to invade Ireland had been abandoned and the British North Sea Fleet was again at full strength. During a brief period replenishing supplies atYarmouth, news reached Duncan on 10 October that de Winter had set sail with his fleeton a raiding cruise[citation needed] and he returned to the Dutch coast, intercepting the Batavian fleet on its way back to the Texel. The Batavians formed aline of battle in shallow coastal waters to meet Duncan's attack, which was conducted in a confused mass, the British fleet separating into two groups that struck thevanguard andrear of the Batavian fleet, overwhelming each in turn and capturing eleven ships, including de Winter's flagshipVrijheid. On the return journey, three of the captured ships were lost, andnone of the surviving prizes were ever suitable for active service again[citation needed]. Both sides suffered heavy casualties during the battle as each fleet had been trained to aim at the hulls of their opponents, maximising the damage to personnel. (Full article...)
  • Image 6 Film poster for Loetoeng Kasaroeng, the first locally produced film released in the Dutch East Indies A total of 112 fictional films are known to have been produced in the Dutch East Indies (modern-day Indonesia) between 1926 and the colony's dissolution in 1949. The earliest motion pictures, imported from abroad, were shown in late 1900, and by the early 1920s imported serials and fictional films were being shown, often with localised names. Dutch companies were also producing documentary films about the Indies to be shown in the Netherlands. The first reports of fictional film production in the Indies date from 1923, although the work in question was not completed. The first locally produced film, Loetoeng Kasaroeng, was directed by L. Heuveldorp and released on 31 December 1926. Between 1926 and 1933 numerous other local productions were released. Although Dutchmen like Heuveldorp and George Krugers continued to be active in the industry, the majority of filmmakers and producers were ethnic Chinese. The Tan brothers (Khoen Yauw and Khoen Hian) and The Teng Chun were major producers during this period, while the Wong brothers (Nelson, Othniel, and Joshua) were among the more prominent directors. During the mid-1930s, production dropped as a result of the Great Depression. The release of Albert Balink's commercially and critically successful Terang Boelan (Full Moon) in 1937 led to renewed interest in filmmaking, and 1941 saw thirty locally produced films. This rate of production declined after the Japanese occupation beginning in early 1942, closing all but one film studio; this resulted in several films which had begun production in 1941 being released several years later. The majority of films produced during the occupation were short propaganda pieces. Following the Proclamation of Indonesian Independence in 1945 and during the ensuing revolution several films were made, by both pro-Dutch and pro-Indonesian backers; the Dutch formally recognised Indonesia's sovereignty on 27 December 1949, leaving the Dutch East Indies defunct. (Full article...)
    Image 6
    A poster with Malay-language text, reading Loetoeng Kasaroeng in large letters; an image is also visible.
    Film poster forLoetoeng Kasaroeng, the first locally produced film released in theDutch East Indies

    A total of 112fictional films are known to have been produced in theDutch East Indies (modern-day Indonesia) between 1926 and the colony's dissolution in 1949. The earliest motion pictures, imported from abroad, were shown in late 1900, and by the early 1920s importedserials and fictional films were being shown, often with localised names. Dutch companies were also producing documentary films about the Indies to be shown in the Netherlands. The first reports of fictional film production in the Indies date from 1923, although the work in question was not completed. The first locally produced film,Loetoeng Kasaroeng, was directed by L. Heuveldorp and released on 31 December 1926.

    Between 1926 and 1933 numerous other local productions were released. Although Dutchmen like Heuveldorp andGeorge Krugers continued to be active in the industry, the majority of filmmakers and producers wereethnic Chinese. The Tan brothers (Khoen Yauw and Khoen Hian) andThe Teng Chun were major producers during this period, while theWong brothers (Nelson, Othniel, and Joshua) were among the more prominent directors. During the mid-1930s, production dropped as a result of theGreat Depression. The release ofAlbert Balink's commercially and critically successfulTerang Boelan (Full Moon) in 1937 led to renewed interest in filmmaking, and 1941 saw thirty locally produced films. This rate of production declined after theJapanese occupation beginning in early 1942, closing all but one film studio; this resulted in several films which had begun production in 1941 being released several years later. The majority of films produced during the occupation were shortpropaganda pieces. Following theProclamation of Indonesian Independence in 1945 and during the ensuingrevolution several films were made, by both pro-Dutch and pro-Indonesian backers; the Dutch formally recognised Indonesia's sovereignty on 27 December 1949, leaving the Dutch East Indies defunct. (Full article...)
  • Image 7 This page is a list of films that received the Golden Film since its introduction in 2001 by the Netherlands Film Festival and the Netherlands Film Fund. In 2001 and 2002, films from the Netherlands received the award once they had sold 75,000 tickets. From 2003 to date, the Golden Film is awarded to films from the Netherlands once they have sold 100,000 tickets. This page shows, for both audience criteria, which films received the Golden Film and how soon they received it after their releases. In the following tables, the 'year' column contains the years in which the films received the Golden Film, the '#' column contains the number of the Golden Film, the 'film title' column contains the titles of the receiving films, the 'film release' column contains the dates on which the films were first released in the cinemas, and the 'Golden Film' column contains the days when the Netherlands Film Festival and the Netherlands Film Fund announced that the receiving films reached the audience criterion of the Golden Film. (Full article...)
    Image 7
    This page is alist offilms that received theGolden Film since its introduction in 2001 by theNetherlands Film Festival and theNetherlands Film Fund. In 2001 and 2002, films from theNetherlands received the award once they had sold 75,000 tickets. From 2003 to date, the Golden Film is awarded to films from the Netherlands once they have sold 100,000 tickets. This page shows, for both audience criteria, which films received the Golden Film and how soon they received it after their releases.

    In the following tables, the 'year' column contains the years in which the films received the Golden Film, the '#' column contains the number of the Golden Film, the 'film title' column contains the titles of the receiving films, the 'film release' column contains the dates on which the films were first released in the cinemas, and the 'Golden Film' column contains the days when the Netherlands Film Festival and the Netherlands Film Fund announced that the receiving films reached the audience criterion of the Golden Film. (Full article...)

Selected biography

Hendrik Pieter Nicolaas Muller
Hendrik Pieter Nicolaas Muller,GON,RNL,FRGS was aDutchbusinessman,diplomat,world traveller,publicist, andphilanthropist. He was a son of Hendrik Muller Sz., a Rotterdam-basedDutchbusinessman and politician, and Marie Cornelie van Rijckevorsel, member of another prominent Rotterdam based business family.

Muller started his career as a businessman, trading withEast andWest Africa. In his mid-twenties he travelled toZanzibar,Mozambique, andSouth Africa for business purposes, but showed himself a keenethnographer as well, collecting ethnographicartifacts and writing reports about the societies and people he encountered on his way. In 1890, Muller retired from business for personal reasons, and went toGermany to study ethnography and geography. He graduated with a Ph.D. dissertation four years later.

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