The National Museum of Indonesia in Jakarta, the oldest cultural society in Indonesia, was established in 1778. The building in the photograph, the second building of the museum's society, was also the oldest museum building in Indonesia, dating from the 19th century.
This list includes many museums and cultural institutions in Indonesia (including aquariums, zoos, and botanical gardens, following the definition of the International Council of Museums).
Heritage buildings such as candi, mosques, colonial churches and buildings with no site museum should not be placed in the list.
History
Colonial period
Collection of artifacts by the Batavia Society of Art and ScienceThe library of the Batavia Society of Art and Science. The baroque bookcase in the picture is still kept in the Jakarta History Museum as of 2012, although under lack of standardized museum maintenance.
Before the 20th-century, there was little interest in the study of the native culture of Indonesia by the colonial government. Most anthropologic studies were done by a few non-governmental institutions and individuals. Among the non-governmental institution was the Batavian Society of Arts and Science, which established a museum for Indonesian culture and history. Individuals e.g. Sir Stamford Raffles and Dr. Snoeck Hourgrogne wrote valuable studies on native culture and history before the 20th-century.[1]
The first museum in Indonesia seems to have been that built by Rumphius in Ambon, built in 1662. Nothing remains of it except books written by himself, which are now in the library of the National Museum. Its successor was the Batavia Society of Art and Science, established on 24 April 1778. It built a museum and a library, played an important role in research, and collected much material on the natural history and culture of Indonesia. It later came under the direct control of the British Lieutenant-Governor Raffles who, among other things, provided it with a new office building for the museum and library administration. The museum collection and library continued to grow, and in 1862 the government built, in the center of New Batavia, what is now the National Museum, the previous building is now Wayang Museum in Jakarta Old Town. The whole collection was transferred to the Government of the Republic of Indonesia in 1962.[2]
Except for the Radya Pustaka Museum in Surakarta (1890), no other major museums were established in the 19th century. It was only in the 1930s that local museums began to appear, usually privately initiated, by civil servants and Catholic and Protestant missionaries. These museums are praiseworthy, but are not always in expert hands, and are often run by boards which do not always function continually.[2] Some museums suffer from the lack of regular resources, and some have disappeared completely, e.g. the Karo Museum in Berastagi, North Sumatra, set up by Dr Neuman, was abolished during the Japanese occupation (1942–45); and the Banjarmasin Museum built by Dr Malinkrodt, an expert on customs and traditions in Kalimantan, was burned down.[2]
At the beginning of the 20th century, the colonial government became interested in the maintenance and restoration of cultural remains. In 1901 it set up the Commissie in Nederlandsch Indie voor Oudheidkundige Onderzoek van Java en Madoera, headed by Dr J. L. A. Brandes. In 1913, this became the more effective Oudheid-kundige Dienst van Nederlandsch Indie (Archaeological Service), under Professor Dr. N.J. Kromm. The government also employed officials to make a study of local languages and started the Kantoor voor Inlandsche Zaken.[1]
In 1918 Balai Poestaka was created to publish books of literary value in Malay and local languages. Malay was taught in schools next to the local language. Prospective civil servants were obliged to study the language and customs of the region they were to work in. Training was given in Leiden, in the Netherlands. Native Indonesians also came to realize the importance of their national culture in awakening nationalism, part of a general contemporary phenomenon in Asia. This nationalism was pioneered by Budi Utomo in 1908 in the STOVIA, whose building, the School for Javanese Doctors, is converted into a museum today.[1]
Modern technology and cultural change leads to disappearance of indigenous handicrafts. There was no longer a market for plait-work, textiles, earthenware, and brass, silver and gold objects. The result was a gradual process of cultural impoverishment. A need for money forced people to sell their heirlooms on the market, and many objects that should have been kept in Indonesia found their way to foreign countries. This condition prompted the building of the Sana Budaya Museum in Yogyakarta in 1935. Dr. F. D. K. Bosch, then Head of the Archaeology Service, and now Museum Director of the Batavia Society, first referred to cultural impoverishment, and the need for historical and cultural museums, to encourage people to appreciate their own products and to improve the quality of their handicrafts.[2]
The gate of Bali Museum, built in 1931 by architect P.J. Moojen, near the location of the former royal palace of Denpasar, which had been burnt to the ground during the Dutch intervention in Bali (1906).
The late Director of the Municipal Museum of Surabaya, Von Faber, emphasized the role of museums in education. The famous painter, Walter Spies, actively helped in the creation and management of the Bali Museum in Denpasar. Unfortunately, the decision to establish museums at the time was not matched by a determination to find experts capable of managing them properly. Only a few language experts like Professor Husein Jayadiningrat and Professor Dr. Purbacaraka were interested in museums-mainly because the university produced few experts in history and the social sciences, but concentrated on training physicians, lawyers, technicians and civil servants. It was not until independence that the social sciences began to develop.[2]
Japanese occupation
During the brief period of Japanese occupation between 1942 and 1945, there was a stimulation on Indonesian culture.[1] One of the cultural society established by the colonial Japanese government was the Keimin Bunka Sidosho or KBS in 1943. The core policy of the KBS is to promote the cultural unity of the "Greater East Asia". Agus Jaya was appointed as head of the arts, Usmar Ismail as head of film and drama, Armijn Pane as head of literature, and Ibu Sud as head of dance and singing. The KBS actively held exhibitions and performances in big cities of the Japanese-occupied Dutch East Indies. During the three-and-a-half years of Japanese occupation, the Indonesian arts flourish with dozens of art exhibitions, performances, and awards. Among local artists member of the KBS were Emiria Sunassa, Henk Ngantung, Agus Djaja Suminta, Kartono Yudokusumo, Dullah, Basuki Resobowo, Sudiardjo, Otto Djaja, Subanto, Abdulsalam, Suyono, Surono, Siauw Tik Kwie, Ong Lian Hong, Tan Sun Tiang, Liwem Wan Gie, Harijadi S, Tan Liep Poen, Sukardi, Affandi and S. Tutur.[3]
Another movement founded by the Japanese government was the People's Power Movement (Poesat Tenaga Rakjat, Poetera) on 9 March 1942.[4] Even though Poetera was largely a political organization, the movement had its own cultural division, with native artist Sodjojono appointed as the head of the fine arta and cultural division.[5][6][1]
Post-independence
The newly independent government of Indonesia established the Ministry of Education and Culture in accordance with Article 32 in the 1945 Constitution. The Department of Culture was divided into Archaeological, Art, and Language Divisions. The Art Division set up several educational institutions including the Indonesian Academy of Fine Arts in Yogyakarta (1950), the Indonesian School of Music in Yogyakarta (1952), and Karawitan Conservatoire in Surakarta (1950). In 1952, The Language Division was split into two, the first one retained the same name and the same position in the Department of Culture, the other was included in the Institute of Literature (former Instituut voor Taal en Cultuur Onderzoek, Faculteit der Lettera en Wijsbegeerte van de Universiteit van Indonesia). Also in 1952, the Department of Culture opened provincial "cultural offices" in Medan (North Sumatra), Bukit Tinggi (Central Sumatra), Palembang (South Sumatra), Jakarta, Bandung (West Java), Surabaya (East Java), Makassar (South Sulawesi), Denpasar (Bali) and Ambon (Moluccas).[7]
In 1956, there were several changes in the Department of Culture, which include the additional responsibility of museum management (the Museum Section).[7] Other changes were: the conversion of the Archaeological Division into the autonomous Institute of Archaeology; the Language Division in the Institute of Literature became the Language Division of the Literary Faculty of Indonesia; and the Language Division became the Sub-Division of Customs and Traditions.[7]
Later, the Department of Culture was included into the Directorate of Culture as part of the ministerial reorganization of the 1960s. The reorganization also converted the Museum Section into the autonomous National Museum Institute. Following the reorganization, the Ministry of Education and Culture consisted of one Directorate of Culture and four autonomous institutes: Archaeology, Language & Literature, National Museums, and History & Anthropology. The responsibility of opening provincial "cultural offices" was given to the Inspectorate of Provincial Culture.[7]
New Order Period
Museum of Indonesian History in Monas, one of the museums of Indonesia which extensively used dioramas which is controlled by the Armed Forces History Center.
At the start of the New Order, the regime of Suharto converted the Ministry of Education and Culture into five Directorates-General. The Directorate-General of Culture itself was divided into five directorates: Art, Cultural Education, Archaeology & History, Museums, and Language & Literature.[7] Other restructuring occurred in 1969, reducing the Directorates-General into three; this time the Directorate-General of Culture consisted of three directorates: Art, Art Education, and Museums; and four Institutes: National Language, Archaeology, History & Anthropology, and Music & Choreography.[8]
The New Order period also saw the expansion of the Armed Forces History Center and the encouragement of the development of museums of militaristic in nature. One of the reason for military involvement at first is because of the problem of internal divisions. This led to an accepted strategy of promoting shared values and identity across the forces through the use of a centralized military museum for older and younger generations of the soldiers.[9] Some of these museums for which the Armed Forces was directly responsible are Satria Mandala Armed Forces Museum (opened in 1972), Museum of the Sacred Pancasila Monument (1982), Museum of Eternal Vigilance (1987), Soldiership Museum (1987), and the Museum of Communist Treachery (1993). The collection of these museums feature relics, photographs, and weapons. Dioramas are extensively used by the Armed Forces History Center, whom method was chosen because of a general lack of perceived value in historical objects in Indonesia as well as lack of funds.[10]
Expansion
The number of museums in Indonesia in 1945 was 26 (including aquariums, zoos, and botanical gardens (following the definition of the International Council of Museums). Between 1945 and 1968, this increased to 46. In 2010 there were 281 museums in Indonesia,[11] 80 of which are State Museums.[12] At the beginning of 2015, the number of museums in Indonesia was 325.[13] As of May 2015, Indonesia had 412 museums.[13]
The Directorate for Museums introduced categories for the various collection types: there are general and special museums, there are privately maintained and state-run museums, both by the central and provincial governments. Those museums kept by the central government in the main operate under the administration of the Ministry of Education and Culture. Military museums are supervised by the Defence Ministry.[14]
The most frequent type is the General Provincial Museum (Museum Umum Propinsi) which exists in almost all provincial capitals. These museums usually consist of several sections: natural history (geological, biology), ethnography, and history. Objects are sometimes flatly arranged in display cases with poor explanations. More recently established museums have already achieved higher standards with thoughtful and appealing expositions.[14]
In Indonesia, the increase in the number of museums has not yet been matched by an increase in quality. Buildings are often unsuitable for display and for socio-educational activities; competent staffs are lacking; the public does not yet appreciate the educational role of museums; funds are lacking to maintain collections and extend building; and so on. There are not enough museums for 120 million inhabitants and a large number of State and private universities. Big cities like Jakarta, Medan, Surabaya, Bandung and Semarang need centers for science and culture, and museums as places of study and leisure.[2]
Museums by region
Jakarta
Jakarta contains the most museums in Indonesia with over 50 museums within its 661 square kilometers area. The museums in Jakarta cluster around the Central Jakarta Merdeka Square area, Jakarta Old Town, and Taman Mini Indonesia Indah.
Several museums clustered in central Jakarta around the Merdeka Square area include: National Museum of Indonesia, Monas, Istiqlal Islamic Museum in Istiqlal mosque, and Jakarta Cathedral Museum on the second floor of Jakarta Cathedral. Also in the central Jakarta area is the Taman Prasasti Museum (former cemetery of Batavia), and Textile Museum in Tanah Abang area.
Museum Sasmitaloka Panglima Besar Jenderal Soedirman.
Due to the importance of Yogyakarta during the war of independence from the Dutch, there are numerous memorials and museums. Monument Yogya Kembali and Fort Vredeburg Museum are two major museums of about 11 named in the city.
Most museums in Kalimantan specialized on cultural heritage such as textiles and other traditional artifacts. In South Kalimantan, most museums are shaped like the traditional Banjar house.
Ambon was the site of the first recorded museum in Indonesia, a botanical museum built by Georg Eberhard Rumphius in 1662. Nothing remains of it except books written by himself, which are now in the library of the National Museum of Indonesia.
Today, museums in the Moluccas specialize in Ambonese ethnography or artifacts from the earlier Sultanates in the Moluccas.
APEKSI, the Asosiasi Pemerintah Kota Seluruh Indonesia or Association of the Indonesia Municipalities (AIM). Established on 25 May 2000. In accordance with Act No. 22 Year 1999 on Local Government and Presidential Decree No. 49 Year 2000 on the Establishment of Dewan Pertimbangan Otonomi Daerah (DPOD) or Regional Autonomy Advisory Council, Ministry of Home Affairs and Regional Autonomy issued Decree No. 16 Year 2000 on the Establishment of Local Government Association and Elections of Deputy Local Government Association as Members DPOD. The decision of Ministry of Home Affairs and Regional Autonomy No. 16 Year 2000 is structured to develop the City Government Association, Regency Government Association and Provincial Government Association is truly independent and will be represented in DPOD.
Bank Indonesia (BI) is the central bank of the Republic of Indonesia. It replaced in 1953 the Bank of Java, which had been created in 1828 to serve the financial needs of the Dutch East Indies.
Cikampek is a subdistrict of Karawang Regency, West Java, Indonesia and is divided into 10 administrative villages (kelurahan). The distance from Cikampek to Karawang city is 21 miles.
The following is an alphabetical list of topics related to the Republic of Indonesia.
Tour de Singkarak is an annual professional road bicycle racing stage race held in West Sumatra, Indonesia, and named after the Lake Singkarak. First staged in 2009, Tour de Singkarak is classified by the Union Cycling International (UCI) as a 2.2 category race as part of the UCI Asia Tour. It covers more than 1267 kilometres — from/to Padang passing around lake Singkarak and runs through inland West Sumatran cities — and lasted for a week and held annually. This exciting tour across the picturesque West Sumatra countryside's scenic landscapes, comprising beaches, blue lakes, and numerous hairpin bends, as they climb up to the foot of the volcanoes. The total prize money is IDR 1,000,000,000 (US$100,000). BNI-Maybank was the platinum sponsor of the Tour De Singkarak since 2009 with the Ministry of Culture and Tourism of Indonesia. TDS is the biggest international cycling race in Indonesia, having the fifth largest audience in the world, it attracted many top international cyclists to participate in this world famous annual sports event.
Digital terrestrial television in Indonesia (DVB-T2) started in 2009, and in most areas runs alongside the analogue TV system. The first phase of nationwide analog shutdown was done in 166 regencies and cities, including Dumai, Banda Aceh, Batam, Tanjungpinang, Serang, Bali, Samarinda, Tanjung Selor, Tarakan, Makassar and Jayapura, starting on 30 April 2022 and it simplified in three stages. An analog broadcasting station in Jakarta along with 173 regencies/cities non-terrestrial services was officially signed off on 2 November 2022 at midnight. Batam, Bandung, Semarang, Surakarta and Yogyakarta followed on 2 December 2022, Surabaya on 20 December 2022, Banjarmasin on 20 March 2023, Bali and Palembang on 31 March 2023, Makassar on 20 June 2023 and Medan on 30 July 2023. On 15 July 2023, at midnight, Trans Media and Emtek/SCM officially completed the shutdown. On 31 July 2023, at midnight, Viva Group, RTV, and NET TV officially completed the shutdown of analog broadcast nationwide, followed by MNC Group on 1 August 2023 at midnight. On 12 August 2023, the digital terrestrial television of Indonesia fully turned, shifted and switched to all high definition on all thirteen local free-to-air terrestrial television station.
Bogor Station (BOO), formerly Buitenzorg Station, is a railway station located in the city of Bogor, West Java. This station serves as the terminus for the Red Line service of KRL Commuterline. The station has five island platforms and two side platforms. The station is located +246 meters above sea level.
Most railway lines in Indonesia were constructed during the Dutch colonial rule. After independence in 1945, many lines were abandoned. The current national rail operator, PT Kereta Api Indonesia (Persero), was founded on 28 September 1945.
Basoeki Resobowo was an Indonesian painter. Born to a transmigrant father in Sumatra, from a young age he showed interest in the visual arts but was taught to be a teacher. After a short time at a Taman Siswa school in Batavia, he studied design and worked as a surveyor while producing sketches and book covers. He only acted in a single film, Kedok Ketawa, but remained close to the acting community, first as a set designer during the Japanese occupation of the Dutch East Indies then for Perfini in the early 1950s.
The archaeology of Indonesia is the study of the archaeology of the archipelagic realm that today forms the nation of Indonesia, stretching from prehistory through almost two millennia of documented history. The ancient Indonesian archipelago was a geographical maritime bridge between the political and cultural centers of Ancient India and Imperial China, and is notable as a part of ancient Maritime Silk Road.
↑ "Jumlah Pengunjung Museum di Indonesia"(PDF). Pusat Pengelolaan Data dan Sistem Jaringan (in Indonesian). BAPPENAS, Depbudpar. 2009. Archived from the original(PDF) on August 1, 2013. Retrieved February 18, 2013.
1 2 Susi Ivvaty (May 23, 2015). "Surga Artefak yang Merawat dan Mengembangkan Gagasan" (in Indonesian). Kompas. p.12.
Directorate-General of Culture, Ministry of Education & Culture of the Republic of Indonesia (1973). Cultural Policy in Indonesia(PDF). Paris: UNESCO. Retrieved February 17, 2013.
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