This article considers heritage-making associated with Moluccans who, in 1951, were forced out of political necessity to migrate from what is present-day Indonesia to the Netherlands. Specifically, it examines how this story of movement has been represented at Barak 1B, a museum that marks the presence of the minority group within the Dutch nation. Following a brief history of the community, the article considers the genesis of the museum before outlining myriad strategies adopted within it to raise awareness about the Moluccan migrants, and insert them into the fold of national heritage-making in the Netherlands. It then considers public opinions about the museum to demonstrate how, despite appreciation for the gesture, the museum has also received criticisms revealing old wounds that have not healed, and contrasting ideas about how the community's heritage should be represented. Additionally, the article exposes the ambivalence felt by the community in terms of maintaining its ethnic identity and yet also ‘fitting in’ as Dutch, exposing tensions between the Moluccans and their hosts, as well as among the Moluccans themselves. It ends with implications for how heritage in Southeast Asia—both the region and its diasporas—need to be studied.

中文翻译：

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论在荷兰 Barak 1B 代表荷兰摩鹿加人的文化政治

本文探讨了与摩鹿加人相关的遗产制作，摩鹿加人在 1951 年出于政治需要被迫从现今的印度尼西亚迁移到荷兰。具体来说，它研究了这个运动故事是如何在 Barak 1B 博物馆中呈现的，该博物馆标志着荷兰民族中少数民族的存在。在简要介绍社区历史之后，本文回顾了博物馆的起源，然后概述了博物馆为提高对摩鹿加移民的认识而采取的无数策略，并将他们纳入荷兰的国家遗产制作过程。然后，它考虑了公众对博物馆的看法，以证明尽管对这一姿态表示赞赏，但博物馆也收到了批评，这些批评揭示了尚未愈合的旧伤，以及关于应该如何代表社区遗产的不同想法。此外，这篇文章揭示了社区在维护其种族身份和“适应”荷兰语方面的矛盾心理，暴露了摩鹿加人与其东道主之间以及摩鹿加人之间的紧张关系。它以对如何研究东南亚遗产（包括该地区及其侨民）的启示作为结尾。