17 August 2025 marks the 80th anniversary of Indonesia’s independence. Surrounding the commemorations are various discourses on whether Indonesia was colonised by the Netherlands for 350 years, or less than that. Regardless of the answer, traces of colonialism prevail. And the commodification of those traces is perhaps one of the very first steps to understanding the multiple narratives on history in Indonesia today.
The commodification of colonialism is part of a broader trend across postcolonial countries, where visible relics of empire, often in the form of enduring infrastructure, pose a choice: to erase them through neglect or demolition, or to repurpose them for new uses. In Indonesia, the early decades after independence saw leaders such as Soekarno and Soeharto promote a nationalist vision, favouring modernist designs by Indonesian architects. Yet the risk of erasing the colonial past altogether raised concerns that history itself might be forgotten.
From the 1980s onwards, heritage conservation initiatives emerged, seeking to preserve colonial-era buildings while embedding them within narratives of nationalism. Restoration projects multiplied, but the challenge remained: static plaques and written histories struggle to compete for public attention in an era when much of social life unfolds on phone screens. Recognising that people value immersive experiences over textual storytelling, governments and private actors began converting colonial clusters into open-air or “living” museums. This model, visible in Indonesia’s Taman Mini Indonesia Indah, Singapore’s Battlebox in Fort Canning, and the Netherlands’ Archeon, promises visitors not just a history lesson, but a sensory encounter and countless souvenirs they can take home: Instagram-ready shots.
While this approach integrates preservation with the economic demands of tourism, it also risks reducing complex historical narratives to a kind of theme park. The emphasis shifts from engaging with the realities of colonial oppression to offering an aesthetically pleasing, marketable fantasy. In Modernity at Large (1996), Arjun Appadurai refers to a yearning that is not rooted in lived memory as ersatz nostalgia—a longing for a stylised, imagined past where nostalgia and fantasy are reduced to consumption.
In Surabaya, the ghosts of the Dutch East Indies have not merely lingered; they have been revived through commodification in tourism. Wander through the revitalised “European Zone” of Kota Lama (Old Town) or a long-standing ice cream palace in the city, and one is bound to feel the seduction of a colonial past repackaged for modern consumption. Whether through architecture or cuisine, a certain narrative is quietly whispered: the colonial past was not only orderly and elegant, but perhaps even desirable.
In Surabaya today, following the revitalisation of the old town quarter that used to be reserved for the European community, colonial aesthetics have become central to city branding and urban placemaking. While such nostalgia can serve as a tool for historical reflection, its unchecked commodification risks perpetuating colonial myths, erasing uncomfortable histories, and displacing local narratives.
A “digital postcard” of colonialism
Surabaya’s revitalised old town complex comprises four quarters: the European Zone, Chinatown, Arab, and Malay Quarters. Yet it was the erstwhile hub for the Dutch East Indies’ European population—uncannily dubbed the “European Zone”—that quickly became a hit due to its stark black-and-white colonial façades, restored buildings, and tourism experiences such as period costume rentals, vintage military Jeep tours, and the influencer-endorsed toerwagen car rides.
After its grand relaunch on 3 July 2024, the European Zone quickly became one of Surabaya’s most photogenic destinations. Here, local and domestic tourists don lace dresses or aristocratic Javanese beskap and velvet kebaya, posing against a backdrop that once marked European privilege and native exclusion. The place has been transformed into a stage for colonial cosplay and a theatre of nostalgia.
This performative longing reflects the tendency to reduce a historical site into a glossy, consumable aesthetic. The area, once a colonial enclave of Dutch offices and military officers’ houses, has been restored into a site that offers middle-class tourists the fantasy of playing historical elites for a day. For as little as US$2–5, one can rent a costume; for a bit more, a professional photographer guides the experience, somewhat blurring the line between heritage and an accidental state-supported theme park.

Storefront of the period costume rental (photo: author)
While this may seem questionable at first, it could also be viewed as a means for people to exercise agency over the legacy of colonialism. The romanticisation of the colonial era here serves multiple agendas. Economically, it fuels tourism revenues and supports local microenterprises. Politically, it aligns with a nationalist desire to reclaim and repurpose colonial spaces. Yet culturally, it risks perpetuating a dangerous myth: that the Dutch East Indies were cosmopolitan, orderly, and benign—egalitarian, even, considering that the space is now accessible to the general public. In short, a time worth being longed for. The cost of such nostalgia is the erasure of the structural violence, exclusion, and exploitation that defined colonial life for the vast majority of Indonesians.
This transformation is not isolated. Colonial nostalgia has emerged as a potent aesthetic in urban Indonesia, particularly among middle-class members of a generation who never experienced colonisation directly. The new Kota Lama is a vivid example of a manufactured memoryscape that prizes photogenic charm over historical substance.
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The tourism infrastructure here is telling. While electric becak pedicabs are mostly ignored by tourists for not fitting the European fantasy, the Jeep tours led by drivers in vests emblazoned with “Surabaya Heritage Tour” and the toerwagen are booked solid. The route begins and ends with the historic Red Bridge and a replica of Brigadier A.W.S. Mallaby’s car that was supposedly caught in a grenade explosion during a ceasefire that escalated into skirmishes on 30th October 1945.
Though the circumstances remain contested, the car is symbolic of the struggle for independence for the people of Surabaya. On 25 October 1945, Allied forces, accompanied by the Netherlands Indies Civil Administration (NICA), landed in Surabaya under the pretext of disarming Japanese troops. The events that followed became one of the most decisive confrontations in the Indonesian National Revolution: the Battle of Surabaya, which began on 10 November 1945. Their defiance became a powerful rallying point for the independence movement, cementing 10 November as Indonesia’s Hari Pahlawan (Heroes’ Day). The monument is supposedly intended to provide a counter-narrative of anti-colonial resistance by the people of Surabaya, but is very much overshadowed by the charm of the architecture. Now, the sirens of the Jeep punctuate the ride like theme-park sound effects, reenacting military patrols of the allies rather than nationalist defiance.

A jeep for tourists (photo: author)

A “tourwagen” (Photo: author)

A replica of A.W.S Mallaby’s burnt out car (Photo: author)
Frozen fantasies: ice cream and class at Zangrandi
Down in the city centre, another site of colonial memory quietly churns out nostalgia by the scoop: Zangrandi Ice Cream Palace. Established in 1930 by Italian immigrant Roberto Zangrandi and his wife, affectionately dubbed Mevrouw Zangrandi, the parlour has long claimed its place in Surabaya’s culinary imagination. Today, it is celebrated as a heritage destination and “Dutch ice cream” among unknowing people, despite its Italian origins.

The interior of Zangrandi Ice Cream Palace. Staff are trained to answer questions about the history of the place. Foreign tourists can be spotted, but most of them are Surabaya locals who worked in other cities and came back for family reunion. (Photo: author)
Aside from being a sweet indulgence, Zangrandi’s appeal carries a myth frozen in its image. The parlour markets itself as a “taste of tempo doeloe” (“olden times”), a culinary relic of the colonial era. Its trademark flavour is the Macedonia, with its rum drizzle, served in delicate glass bowls, evoking a gentler, more “refined” age. As the parlour mostly caters to the locals now, customers could choose between actual rum or a non-alcoholic essence. For Surabaya’s middle-class families, visiting Zangrandi is a symbolic ritual of a nostalgic journey inherited from parents and grandparents who once glimpsed, or aspired to, colonial cosmopolitanism. An escapism from the harsh reality of colonialism, an effort to assert their agency despite borderline cosplaying the coloniser.
Now we come back to the matter of what is being remembered here—and what is being forgotten.
Colonial cuisine in Indonesia has always been a marker of class and cultural hegemony. In the Dutch East Indies, milk products and ice cream were expensive and exclusive, inaccessible to the pribumi or locals except for the elite middle-upper class or those working in colonial institutions. Zangrandi thus represents not only nostalgia for a colonial aesthetic, but also for a colonial class structure that is still asserted until now. Only, it is not reserved on the division between the coloniser and the colonised, but rather between the local lower and middle-upper class itself, considering its prestige and price marks. Its survival and success are due in part to the myth that it offers an “authentic” experience of that imagined, upper-class past.
Meanwhile, local alternatives like es puter, a coconut milk-based adaptation developed as a substitute for expensive dairy ice cream in the past, are relegated to street stalls and plastic cups. While es puter evokes a modest nostalgia of postcolonial decades and class struggle following independence (c. 1960s–1990s), Zangrandi invites customers into a fantasy of leisure once reserved for colonial elites. The stark contrast is not just culinary but symbolic: one is a reminder of makeshift resilience, the other a sanitised simulation of European indulgence.
Nostalgia a commodity; history a casualty
In both Kota Lama and Zangrandi, the same logic unfolds: history is aestheticised, class boundaries are blurred, and colonial oppression is rebranded as elegance. Tourists pose before Dutch-era façades or sip milkshakes in rattan chairs beneath sepia-toned murals. The cityscape becomes a stage for a longing that is shaped not by memory but by media, beautiful architecture, and consumer rituals.
Popular films like Bumi Manusia (2019) have reinforced this fantasy. In Hanung Bramantyo’s adaptation of Pramoedya Ananta Toer’s seminal novel, the emphasis on the interracial romance between Minke and Annelies through warm colour grading, courteous gestures, and lace dresses in the film distorts the book’s political and anticolonial message. Mass media, including Instagram reels promoting Kota Lama’s “new face,” similarly reproduce these colonial myths, making the past feel desirable rather than interrogated.
This phenomenon is not inherently insidious, however. Observing these matters firsthand, I would argue that colonial nostalgia can be educational if framed critically. Zangrandi, for instance, could serve as a site to unpack culinary hierarchies, race, and class in the Indies. The Red Bridge and Mallaby’s car could be framed not as quirky backdrops, but more highlighted as symbols of Indonesian defiance. But in the rush to capitalise on nostalgia, the towering black and white buildings around it, these sites risk becoming hollow shells, monuments without memory.
The problem is not that Indonesians are remembering the colonial past, but that they are remembering it selectively. In the case of Surabaya, the interaction between the site and its visitors allows citizens to identify with the former colonisers, rather than with those who resisted. Media outlets endorsing “Instagrammable spots a la Europe” further put the spotlight on the wrong angle.
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This myth of “order and prosperity” under Dutch rule is not new. Such narratives have always been carefully curated to project stability and progress. Today, that legacy continues, albeit with new packaging: European and priyayi (aristocratic Javanese) dress-up games, Instagram-friendly façades, and pricey ice cream.
The city government’s efforts to revitalise Kota Lama and the ongoing business of colonial cuisine like Zangrandi are not without merit. Cultural heritage deserves conservation. But heritage is not the same as history, and though the two overlap and complete each other, without critical engagement, heritage can become a dangerous mask.
Surabaya’s colonial past includes defiance, adaptation, mimicry, and survival. There is nothing inherently wrong with photographing an old building or enjoying a scoop of ice cream. But the stories we tell about these pleasures matter. When nostalgia becomes a commodity, and heritage a gimmick, we risk flattening a complex struggle of the past into a digital postcard posted on the ‘gram.
If Zangrandi and Kota Lama are to serve the city’s collective memory, then restorative narratives must accompany their romantic façades. Perhaps tour guides could highlight and put emphasis on class segregation during the Indies period; menu books could mention the economic exclusion that made such desserts inaccessible to most locals, to celebrate what the local people had endured and are allowed to consume now. Doing so would not diminish their charm; it would deepen it, shedding light on something else that should be appreciated rather than admiring their appeal on a surface level.
Only by holding beauty and brutality in the same frame can Surabaya truly honour its past. Colonial nostalgia, then, should not be a detour from history but a gateway into its darker aspects that let people learn from the past and reflect on what they have endured and reclaimed now. Let the tourists flock in, take pretty pictures; let them eat ice cream, but to be fair enough, let them also leave with questions and ponder each time they scroll through their photos.
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