De Kom is to Suriname what Mandela is to South Africa: a heroic patriot, an advocate of the oppressed, and a symbol of resistance against colonialism. His magnum opus, We Slaves of Suriname — originally written and published in 1934 — was the first history of slavery and Dutch colonialism in Suriname written by a Surinamese man. It was composed while he was exiled to the Netherlands and under surveillance for anti-colonial protests. After its publication, he and it were censored and neglected for years by the Dutch, let alone the West in general.

But then came the Black Lives Matter protests of 2020, and a renewed interest in examining the racial injustices of the past. There has since been a surge of interest in De Kom. Last February, the Dutch government pledged to honour him “with a generous gesture”. He became the first Surinamer to be included in the canon of Dutch history, alongside Vincent van Gogh and Anne Frank. And this month, the first ever English translation of We Slaves of Suriname will be published, 88 years after its completion.

The book is, in part, an ode to De Kom’s homeland: a beautiful, tropical wonderland, teeming with life. But it also tells the history of Suriname, from the beginning of European settlement — which very quickly led to the catastrophic demise of the nation’s aboriginal peoples — to when the Dutch fully colonised it in 1667, turning it into a plantation colony. From this point onwards, thousands of enslaved Africans were imported, to work producing sugar and coffee to export back to the mother country.

For De Kom, slavery was personal. He repeatedly refers to the enslaved as “our fathers and our mothers”, and deftly weaves his own autobiography into the history of Suriname. His father was born a slave, and later became a farmer. He was part of the generation of slaves emancipated into “free” citizenship under Dutch rule, yet haunted by memories still fresh in their minds, and stories passed down by their elders.

Early in the book, De Kom invites “the white reader”, who he believes will be sceptical of what he writes, to contemplate a sailing ship. For De Kom, the image is not one of freedom; it represents instead the torture of his ancestors:

“But we do wish to warn you. From your lofty seat, do not venture down the futtouck shroud … Up here you can smell the invigorating smell of tar and the salt sea wind … Down there it already reeks a mile leeward of the sweat and excrement of a thousand slaves packed into a hold.

Up here you can hear the cries of the albatross, the song of the sailors, and the crash of the wave … Down there you can hear the cries of the slaves, the wails of the women in labour, and the crack of the whip coming down on the backs of blacks.”

When the history of European colonialism is interrogated, the focus tends to be on the British and French (and, to a lesser extent, Spanish) empires. The role of the Netherlands is rarely noted, though it had one of Europe’s oldest empires, including colonies in Suriname, Java and Southern Africa. And, as Pepijn Brandon has argued, the Netherlands was also a key player in the Atlantic slave trade in the 17th and 18th centuries. Dutch planters had a reputation for being especially cruel and sadistic in their treatment of slaves.

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The typical colonial narrative argues for the “civilising” influence of the imperial power. De Kom counters this with brutal expositions of what Dutch rule really meant for the Surinamese, documenting gruesome accounts of the torture frequently dished out to those seen as slacking or insubordinate. A common technique was the notorious “Spanish billy goat”, where the slave would be mercilessly flogged while his two hands were tied together, his knees pulled up through the arms with a stick inserted between them and planted onto the ground. The frequent sexual abuse of black women by their masters, long a taboo subject, is also given in-depth treatment by De Kom.

Despite all this, De Kom is uneasily ambivalent towards the end of slavery in Suriname. In 1863, 100,000 or so slaves became free citizens — in name, but not in essence. “The physical instruments of torture,” De Kom lamented, “have largely been replaced by mental torments, poverty and want.” While former slave-owners were compensated for the loss of their “property”, former slaves received no reparations. They weren’t given any land, training, education or credit — unlike European settlers, who had received all these things upon arrival, to help them make a living.

Instead, former slaves had little choice but to enter coolie contracts under “state supervision” for ten years before they could even be officially “free”. It was basically another form of slavery; in other words, the abolition of slavery was managed in the interests of plantation owners, rather than the individuals they’d exploited. It was a sham.

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Likewise, Suriname’s “autonomy” was also a sham. The nation was still seen as inseparable from the Dutch kingdom. De Kom’s raison d’etre for writing We Slaves of Suriname was to unshackle his compatriots from their “inherited sense of inferiority and to rouse the self-respect of the Surinamese people” so that they could extricate themselves from the Dutch yoke.

Nevertheless, despite his fervent indictments of the evils of slavery and Dutch colonialism, De Kom was unlike some of his contemporaries, in that he did not subscribe to the “back to Africa” agenda. The decolonisation struggle he envisioned was not meant to be a violent one, or a regression into narrow tribalism: “What I was after was organisation, not a bloodbath.” He firmly believed that the mosaic society of Suriname — composed of blacks, Indians and Javanese — could unite in the spirit of solidarity to liberate their nation, and achieve a dignified human existence for all citizens.

On the last page of his book, De Kom dreamt of the day he would return to a free Suriname:

“Sranang my fatherland.
I hope to see you again once.
On the day when all misery shall be erased from you.”

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The lines are particularly poignant if you know that, when he wrote them, he would never see his treasured homeland again. Shortly after the German invasion of Holland in 1940, De Kom joined the Dutch resistance and wrote for the censored De Vonk, a paper affiliated with the Dutch Communist party, which mainly documented the abusive activities of fascist gangs in the streets of The Hague (in particular those against Jews). On the 7th August 1944, he was arrested by Nazi forces and sentenced to forced labour at Neuengamme concentration camp, where he died of tuberculosis and was buried in a mass grave. Ever since, his legacy has risked fading into history.

His work is poignant, too, because Suriname has suffered since then. National independence, like the abolition of slavery, has not been a glowing success. Since 1975, when Dutch rule finally came to an end, Suriname has endured civil war, dictatorships, tribalism and corruption — similar to that which plagues a lot of post-colonial nations. The nation is still haunted by the abuses of empire.

Anton De Kom’s work doesn’t tell an uplifting story, then; but it is a common story, of how our modern world came to be. Black labour, in the form of chattel slavery, played a significant role in creating the wealth of the West. “This is the price we pay for the sugar you eat,” cries out the limbless and nameless Negro slave (owned by a cruel and unscrupulous Dutch merchant) in Voltaire’s Candide. Human beings turned into commodities: this is our history whether we are comfortable with it or not. And De Kom, despite all the efforts to silence him, will not let us forget it.

Sitting respectfully in our ‘pews’, we put our hands together… and clap. This is not a service but a comedy night. And Amsterdam’s newest ‘church’ is really a theatre for debate and cultural centre in disguise. Incensed by the illogical nature of the current Dutch coronavirus restrictions, Yoeri Albrecht, director of De Balie, last week changed the statutes of his organisation and registered it with the chamber of commerce as a faith-based movement: overnight, The Philosophical Society; the Community of Reason was born.

It is unlikely to be the last. His example, a group of Dutch mayors predicted wryly in an open letter to the government, is likely to mark the start of “an unprecedented religious revival in the coming weeks”.

The Netherlands has been in partial or full lockdown since November, primarily due to the pressure of patients with the Delta variant on the hospital system and one of Europe’s least efficient booster campaigns. But just over a week ago, the restrictions were loosened — albeit in a strikingly surreal fashion.

In the Netherlands today, brothels can open but museums can’t. You can sweat, unmasked, in a gym but you can’t sit in a bar nursing a quiet gin. “You can come together in the Veluwe [in the country’s Bible Belt] to talk about a 2,000-year-old book, but you can’t get together in Amsterdam to talk about a book from last month,” as Albrecht put it.

So last Friday night, I was among 50 people who snuck into De Balie under the cover of darkness — for fear of the police turning up — who signed a big, black book to join the community, and prepared to enjoy a night of much-missed comedy. “The Philosophical Society; the Community of Reason is about democracy and the rule of law, the solace and consolation of culture, experiencing something together that culture can give, seeing a bit of light after two years of darkness,” said Albrecht – something of an unusual opening blessing.

Everything about the evening was as absurd as the situation in the Netherlands. The crowd devoutly wore face masks and staff religiously scanned coronavirus ‘QR code passes’. But the comics were not announced in advance, photos and recording were banned, and the whole affair had the illicit frisson of an under-age boozing session.

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Yet De Balie is far from alone in its rebellion. Across the Netherlands, bars and restaurants have been opening regardless of the restrictions – especially in towns near the German and Belgian borders. On Saturday, for instance, 30 hospitality venues threw open their doors in Horst aan de Maas in protest. Last Wednesday, some 70 museums and galleries around the country decided to ‘open’ as temporary hairdressers, beauty salons and gyms – including world-renowned institutions such as the Van Gogh Museum, the Concertgebouw, and Amsterdam’s oldest theatre, De Kleine Komedie.

“We have a problem with the fact that hairdressers and nail bars and commercial activities can be open, and we can’t,” explained Van Gogh Museum director Emilie Gordenker. “We support everything we need to do in order to keep people safe. But this policy just seems contradictory and it seems to favour the commercial sector over the cultural one.”

Even the Dutch government appears to recognise this inconsistency. In a bizarre moment during a recent press conference, Mark Rutte emphasised that the Dutch have a constitutional right to protest, and that temporary openings could be viewed in this regard. “The right to demonstrate also applies to sectors like the hospitality industry, and I can imagine that mayors could look at ‘what’s allowed for a little while’… with the emphasis on ‘a little while’,” he said. “So if they want to open for a few hours to show ‘we are demonstrating’, then it’s up to the mayors how they deal with that.”

If it was an attempt to shunt on responsibility for enforcing his restrictions to local government (even though this is actually their structural role in the Netherlands), it soon backfired. Last week, 31 mayors — including Amsterdam chief Femke Halsema and non-conformist Breda mayor Paul Depla — wrote to the Government, pointing out that short-term policy-making is “reaching its limits” and putting local enforcers in a perilous position against a growing mood of civic disobedience. “It is in fact impossible but also undesirable for the state to use repression to forcibly convince Dutch citizens that the measures are correct,” they pointed out.

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Ahead of the Government’s next coronavirus press conference tomorrow, it also emerged at the weekend that the country’s medical advisory body, the Outbreak Management Team, wants cultural and hospitality venues to reopen alongside everything else until 8pm each day.

No doubt it would be a welcome move; but is it too little too late? In the Netherlands, the damage from these lockdowns has become increasingly evident. In the government’s most recent press conference, new health minister Ernst Kuipers admitted that two-thirds of young people are suffering from loneliness. Even since the November partial lockdown, the SCP, a social and cultural government think tank, has found that psychological wellbeing had dropped, particularly among the young.

And as for the affected industries, it’s unlikely that, even if the restrictions are lifted, business will be able to return to normal any time soon. Thousands of people working in the hospitality and culture sectors have simply given up and looked for work elsewhere. Many will be in coronavirus quarantine, after coming into contact with someone who has been infected. And for those who do want to return, it won’t simply be a matter of turning up to work the day after an announcement is made. An orchestra can’t just suddenly pick up bows and be ready to perform again next week: they need advance notice to plan.

“You see that the Netherlands is mentally exhausted with the pandemic and all of the restrictions — young people but also a lot of others,” said Concertgebouw managing director Simon Reinink on Wednesday, as the orchestra gave a protest rehearsal in front of a crowd of 50 people. “The one thing that can give meaning to life is the cultural sector. There has been a chronic underestimation of the importance of culture for people’s psychological health and wellbeing — and this is a huge problem.”

And as more rules are broken, mainstream civic disobedience risks becoming a habit; this is a country where ‘rules’ (like soft drug laws) are already treated flexibly and even the prime minister admits society tends to be “slightly anarchistic”. “Rules only work if they rest upon social and political agreement,” pointed out the group of mayors in their letter last week. “For example, almost everyone in the Netherlands understands and respects the importance of stopping for a red light. Enforcement powers are there to bring the few offenders into line and issue fines.”

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Despite last week’s mini-revolts, that remains a sentiment shared by most of the country. While “wappie” Dutch vaccine sceptics and pugilistic rioters sometimes make a lot of noise, 89.2% of the population is double jabbed, and almost 55% are boosted. Most of us have done our bit, we’ve followed the rules, despite their inconsistency and blunt capriciousness.

But all the signs suggest that we have reached a turning point: the latest reports suggest that while mostly-Omicron coronavirus infections are ramping up, the number of people needing hospital treatment is relatively stable.