Jakarta Gets Kota Tua Repainted for Free, Plus Four Public Buses

Jakarta Globe, Deti Mega Purnamasari & Eko Prasetyo, May 26, 2016

The Jakarta administration has signed an agreement on Wednesday (25/05) with
 a Dutch multinational company for the repainting of Kota Tua in North Jakarta
and several other public buildings and structures in the city. (Antara Photo/Aprillio Akbar)

Jakarta. The Jakarta administration has signed an agreement on Wednesday (25/05) with a Dutch multinational company for the repainting of Kota Tua in North Jakarta and several other public buildings and structures in the city.

Jakarta regional secretary Saefullah signed the agreement with Jun de Dios, president director of AkzoNobel, the company that produces the Dulux brand of paints.

The painting process will be divided into two phases, with the first involving the Jakarta History Museum, the Museum of Fine Arts and Ceramics and the Kota Intan Bridge in Kota Tua. The three structures will be painted in a livelier color and 50 trash cans made from the empty paint cans will be placed around the historic area.

The second phase will involve repainting of the Maritime Museum in Sunda Kelapa, North Jakarta, and the Wayang Museum, also in Kota Tua. This phase will be expanded to other parts of the capital and it will include the repainting of bus shelters, pedestrian bridges, overpasses and underpasses in lively colors.

"We are happy to see the program proceed, as it will maintain the historical buildings, which are essential factors in preserving a cultural heritage," de Dios said after the signing.

The Jakarta administration has also received four double-decker buses from the company.

"I am the most expensive model in Jakarta. For wearing a Dulux shirt and a hat, I get paid four buses and Kota Tua's revitalization," Governor Basuki Tjahaja Purnama, better known as Ahok, said jokingly during Wednesday's ceremony.

"You can have me wear these [clothing items] for a week, but then you must give me seven buses," he added.

A 19-Year Journey Into Javanese Folklore

Jakarta Globe, Ari Susanto, Sep 28, 2014

German archeologist and art historian
Lydia Kieven. (JG Photos/Ari Susanto)

Nothing exerts a pull on Lydia Kieven, 58, in life more than temple reliefs. For more than 19 years, she has searched for stone artifacts to reveal the mysterious story of the Javanese prince, Panji, and was astonished to discover a journey of spirituality rather than love.

Through her personal journey of learning ancient Javanese language, art and culture, the German archeologist became transfixed by the chronicles of Panji, which originated from the 14th-century Majapahit era. Kieven stumbled across the stories of Panji during a hike of East Java’s Mount Penanggungan sanctuary in 1996 to seek out reliefs depicting the epic Mahabharata poem’s Arjuna and Bima at Kendalisodo temple.

Unfortunately, her trip had been in vain as the panels were nowhere to be found. Instead, Kieven discovered four reliefs portraying a couple’s journey with the romantic backdrops of mountains, forests and the ocean. The woman had long, flowing hair, while her male companion seemed to be wearing a cap.

“[The reliefs] were beautiful; they caught my attention and reminded me of a photograph I had once seen of Panji,” Kieven says.

The archeologist returned to Germany and immersed herself in old literature about the prince written by Dutch authors, but none satisfied her curiosity, so she decided to return to Java, where she reconstructed the relief carvings that had captured her attention, instead of focusing solely on text.

The story of Panji can be traced as far back as the 1300s, appearing in various cultures and parts of Southeast Asia, including Kalimantan, Bali, Malaysia, Thailand, the Philippines and Cambodia. The tale was adapted in each tradition and given various titles but bore the same storyline. Throughout the centuries, the Panji epic has been developed into various artistic performance, including the shadow puppet show of Wayang Beber and the mask dance Topeng Dalang.

The series of stories followed the journey of Prince Panji (or Inu Kertapat) from the kingdom of Kahuripan and Princess Galuh Candrakirana (or Dewi Sekartaji) from Kediri. The two monarchies ruled in East Java prior to the Majapahit period. The narrative begins when the two engaged lovers are torn apart and must each embark on a journey — in disguise — to be reunited.

“The couple’s journey to find each other is not a love story, but rather a spiritual journey to seek sanctity, purity, and peace. In the reliefs, we could find Panji’s finger pointing at objects as if he is asking us to follow the path of spirituality, such as dipping in water — for purifying — and meeting the spiritual guru,” she says.

Lydia Kieven has dedicated nearly
two decades of her life to the ancient
Javanese folklore of Prince Panji and
his love, Princess Galuh. (JG Photo/
Ari Susanto)

What mesmerizes Kieven is not the story itself, but rather the symbolism found in ancient Javanese agrarian culture. Panji is a masterpiece that is completely different from both the Mahabharata and Ramayana, which feature gods and goddesses manifested in human forms.

“Panji represents a human, like us, who searches for [spirituality] through stages depicted in the reliefs. Both Panji and Galuh are presented as being modest and humble, leaving their royal lives for adventure,” she says.

Kieven’s mission to capture the lingering traces of Panji throughout Java, Kalimantan and Bali has not been without its challenges, but the archeologist says she gained inspiration from the ancient tale she has dedicated her life to.

“Panji and Galuh were very steadfast in their efforts to find on another. No obstacles could stop them,” Kieven says.

Two months after her first encounter with the reliefs depicting Panji and Galuh, doctors diagnosed Kieven with a malignant form of cancer that required surgery and chemotherapy. Despite her weakened condition, the German continued with her research paper on narrative sculptures and literary traditions of Southeast Asia, presenting a complete draft in September 1996, to the Netherlands’ Leiden University.

Then, while still reeling from the devitalizing effects of radiation, Kieven once again traveled to Java to complete her research. Back in the archipelago, however, she was faced with another obstacle: lack of funds. The resilient art historian didn’t let a debilitating illness stop her expedition, nor would she allow something as trivial as money to keep her away from Panji and Galuh’s adventures, so Kieven took up work as a travel guide, leading German tourists.

She continued her work, scrutinizing reliefs from temple to temple, including the Penataran, the largest Hindu temple complex of East Java and home to multiple intricately-carved reliefs and two statues of Panji and Galuh. In 2000 alone, she visited 20 sites for her research.

The two statues have since been moved and are now conserved separately: Panji is kept in the art library of the Bandung Institute of Technology in West Java, while Galuh is housed in Jakarta’s National Museum. Kieven hopes the two will once again be united, as described in the epic tale of their spiritual journey

RI, Chinese museums hold joint exhibition

The Jakarta Post, Jakarta | Mon, 04/25/2011

Working in cooperation with the Guangxi Museum of Nationalities, China, the National Museum of Indonesia is featuring a colletion of 200 historical and archeological artifacts from both countries in an exhibition called the “Color of Uniqueness”.

The exhibition will first be in Indonesia from April 25 to May 31, and from there it will move to the Guangxi Museum where it will be held from July 1 to Nov. 1.

The exhibition will present 106 artefacts related to Chinese culture from the National Museum, 92 pieces from the Guangxi Museum, and two from the Trowulan Bureau for the Preservation of Ancient Relics.

Museum of Indonesia director Retno Sulistyaningsih said ties between Indonesia and China could be improved through the exhibition.

“The exhibition will explain that there has been an acculturation of Chinese culture into Indonesian culture, presented in traditional textiles, architecture, carvings, art performances, and ceramics," Retno said during the opening ceremony of the exhibition on Monday

Steps to promote museums yet to be seen

The Jakarta Post | Tue, 01/26/2010 11:59 AM

The National Museum is on Jl. Medan Merdeka Selatan in Central Jakarta, three buildings away from the Tourism Ministry office.

However, on Saturday, the largest and oldest museum in Indonesia did not have any signs notifying visitors about Visit Museum Year 2010, the Tourism Ministry’s campaign to attract more visitors to Indonesia’s museums.

Agus, an employee of the National Museum, said he had not heard about the campaign, despite the museum being supervised by the Tourism Ministry.

The museum saw lots of visitors on Saturday. Hundreds of students from elementary and high schools swarmed into the museum along with local and foreign tourists.

However, this had nothing to do with the campaign. Siti, an elementary school teacher who brought her students to visit the museum, said that she had come to show her students some examples of Indonesia’s cultural history.

“I want them to see and appreciate our heritage rather than just reading about it in text books,” Siti said, adding that she also knew nothing about the campaign.

Firdaus, another visitor, said that while he was enchanted by the museum’s large historical collection, he was also disappointed because he could not find a toilet and a prayer room. “Where is it anyway?

There is no proper sign,” he asked.

The National Museum was not the only museum that was apparently indifferent about the campaign.

The Textile Museum, located in Tanah Abang, Central Jakarta, also did not carry any signs promoting it.

In fact, it was hidden behind street vendors who sell electronic tools and shoes, and almost completely out of public view except for its plain white sign.

“The museum is hard to find. The door was closed and when I visited the museum,” said Ita, a visitor.

“However, I do like the museum’s collection. There are so many beautiful textiles here,” she said.

During a visit on Saturday, The Jakarta Post observed that most of the many textiles and textile tools exhibited at the Textile Museum did not have detailed signage or provide visitors with explanations except for the size, name and the origin of items.

In each room there were only around five textiles on display, many of which had no signage at all.

According to museum employee Edi, the Textile Museum had 1,800 items in its collection, but most were kept off display for maintenance purposes. “We change the collection on display every two months,” he said.

Tourism agency deputy head Tinia Budiati said she had noted all the shortcomings of the city’s museums, adding that the city administration planned several programs to make improvements to them.

“First, we plan to let visitors see the maintenance process of museum items. Second, we plan to make a free batik painting course for poor children at the Textile Museum,” she said, adding that there were also other programs.

Tinia said the city administration was working on programs that would not require extra funding.

“We could do a lot of things that would need extra funding, but waiting for a disbursement from the city budget would take a long time.”

Tinia said the administration was looking at ways to promote the Visit Museum 2010 campaign. There was no plan to make ads for the campaign, however, because no funding had been allocated for it, she said.

“We must understand that there are many other priorities.”

Ministry wants regions to promote museums

Hasyim Widhiarto, The Jakarta Post, Jakarta | Mon, 01/25/2010 11:37 AM

Attracting not more than 3 percent of the country’s population, it’s not unfair to claim that Indonesia’s museums are unpopular.

This year, however, the Culture and Tourism Ministry had decided to promote the country’s flailing cultural sites by launching the “2010 Visit Museum Year.”

The program also marks the beginning of the ministry’s 5-year program called the “National Movement of Loving Museums,” which is aimed at revitalizing the country’s museums.

Intan Mardiana Napitupulu, the ministry’s director of museums, said the ministry would spend the year urging local governments and other institutions to spend more time evaluating the condition of museums and start making significant changes.

“We will help finance the renovation of more than a dozen museums,” she said, adding that she hoped that up to 90 museums could receive similar support by 2014.

Intan said it was not easy for most of the country’s museums to make major changes, which would attract an increasing number of visitors, due to financial limitations.

According to Intan, more than half of the country’s 272 museums are currently run and financially supported by regional administrations, while the remainder are managed by businesses, private foundations, government institutions and the army.

The ministry itself is responsible for only 10 museums, including the National Museum, also known as Museum Gajah (Elephant Museum), and the Proclamation Museum, which are both in Central Jakarta and the 250-year-old Vredeburg Fort in Yogyakarta.

“Such decentralized management should have made it easier for local governments or other institutions to develop their museums,” Intan said.

“Unfortunately though, only a small number of them have the budget to maintain their museums properly.”

Many museums even struggle to meet the ministry’s minimum service standards, including cleanliness and good air circulation, because of a lack of funding, said Intan.

In its 2009 survey, the directorate found that only 40 percent of museums met the standards of comfort and other basic functions specified by the ministry.

As well as poor maintenance in the majority of museums, more than 11 museums have shut down due to financial constraints.

“Some of the museums weren’t regularly open for visitors, while others didn’t have enough staff to manage the maintenance of their collections,” she said.

Intan said human resources was also a problem as few staffers came from an archeology background.

Many museums in Jakarta have vast and complete collections, but most of them are kept in storerooms.

More developed museums in European countries, for example, have a permanent exhibit, but several times a year they hold thematic exhibits of the collection they have in store. Jakarta’s museums, however, never do this.

Data from the ministry showed that Indonesia attracted 6.46 million foreign tourists last year, an increase from 6.2 million visitors in 2008. Many foreign tourists visit museums.

Related Article:

Visit Museum 2010 campaign not catching on

Unearthing Indonesia’s forgotten heritage

Dian Kuswandini, The Jakarta Post, Jakarta | Fri, 12/04/2009 1:32 PM | Culture

Past attraction: Visitors stand in front of photos from the ongoing “Forts in Java and Sumatra: Trade Conflicts and Territorial Fights” exhibition at the National Museum (JP/J. Adiguna)

They might look like little more than old bricks and ruins, but these fortifications are the silent witnesses to the country’s centuries-old journey to independence.

Long forgotten and neglected, the forts have lost their attraction today as many of us seem to regard them merely as old constructions with little function.

Perhaps that’s true — that they can’t really function anymore — but it’s the stories embedded within their bricks that actually make them precious.

Among the stories are ones that take us back to the Java and Sumatra of 300 years ago, where fortifications were at the heart of trade conflicts and territorial fights.

These periods saw how the functions of most fortifications shifted from just trading posts equipped with storehouses, offices and residences, into bases of defense and territorial expansion.

The shift in functionality was proof of the growing power of the Dutch East India Company (VOC), which maintained strategic posts in Java and Sumatra.

Urgently seeking to secure its assets, expand its territory and maintain its domination, the VOC built more fortifications, including in Bandung, West Java, in the wake of the First World War. All have a significant place in history for Indonesians, as the fortifications are the unspoken witnesses of their struggles against the Dutch in gaining independence.

“We can actually learn a lot about our history from the fortifications,” says Nadia Purwestri, research coordinator for the Center for Architecture Documentation (PDA).

“[However] we never realized this because we weren’t aware of their existence in the first place.”

So the PDA and its Dutch counterpart, Paaschier Architects and Consultant (PAC), wish to raise the people’s consciousness with the ongoing exhibition on Indonesia’s fortifications at the National Museum.

Titled “Forts in Java and Sumatra: Trade Conflicts and Territorial Fights”, the exhibition contains the comprehensive documentation on fortifications on both islands, capturing our attention as we find out that Indonesia has hundreds of such bygone splendors.

“We want to make these fortifications as part of the country’s history through this exhibition,” Nadia says.

“Most people today have no idea they can find fortifications in their surroundings.”

In particular Jakartans, she adds, who don’t know there are ruins of forts in North Jakarta’s Old Town.

The team defines fortifications as defense structures that come in various types, including stockades, blockhouses, bunkers, pillboxes, city walls, defense caves and military base camps.

(JP/J. Adiguna)

In addition, Nadia goes on, there are also traditional fortifications such as moats and land piles. The fortifications, she says, include those built by the Dutch, British, Spanish and Portuguese.

The PDA and the PAC are holding the exhibition as part of their project to document fortifications across the country — identifying their types, conditions and damage.

“The project is also set to provide the government, in this case the Culture and Tourism Ministry, with a database for the preservation of fortifications,” Nadia says of the project that began in 2007.

This exhibition is the second since last year that highlights fortifications in the eastern part of Indonesia: Maluku, North Maluku, West Papua and Papua.

Next year, Nadia says, a third exhibition will be held to showcase the team’s documentation of fortifications in Kalimantan, Sulawesi, Nusa Tenggara and Bali.

“Our project is in three stages,” she says.

“In the first stage, we are documenting fortifications in the eastern part of Indonesia, the second in the western part, and the third in the central part.”

For the first stage, Nadia’s team recorded 141 fortifications, while they found 177 in the second stage in Java and Sumatra. The third stage is still underway.

“We found hundreds of fortifications, but the ones we’ve showcased in the exhibitions are the special ones,” Nadia says.

This means, she points out, the fortifications must meet certain criteria. “We pick those that are already famous in our history.”

Nadia then cites the magnificent Marlborough Fort in Bengkulu, South Sumatra, and Vanderburg Fort in Yogyakarta as among those highlighted this time around.

The second type of fortification chosen are those with unique or unusual structures, either pentagonal or round, she adds.

“The Martello Fort on Bidadari Island [in Jakarta’s Thousand Islands] is an example of that round shape. It’s interesting for people to know about it, right?” Nadia says, adding forts that are in good condition also fit the team’s criteria for the exhibition.

The team also highlighted fortifications that are still in use today, either as prisons, amusement hubs or offices.

“We wish to find out whether other fortifications might have similar prospects for being developed,” Nadia says.

“As we know, most of these fortifications are located in the middle of growing areas or big cities, so they’re threatened by development.”

Therefore, as Nadia points out, efforts must be made to use the fortifications, either as tourism sites or as commercial buildings, just so they can be around us just that little bit longer, as precious heritage to remind us of the country’s journey to independence.

Forts in Java and Sumatra: Trade Conflicts and Territorial Fights

Runs through Dec. 10 at Galeri Kaca, National Museum
Jl. Merdeka Barat No. 12
Central Jakarta
Tuesday to Sunday from 9 a.m. to 2 p.m.

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Documenting Culture Heritage Project - PAC architects and consultants

Map of Forts in Indonesia

Indonesia’s National Museum Stands Test of Time

The Jakarta Globe, Tasa Nugraza Barley

The National Museum in Central Jakarta has seen its visitor numbers swell in recent times. (JG Photo)

There’s an old saying in Indonesia that a big nation is one that appreciates its history.

Through history, people can learn about their cultural origins and their national identity. However, museums — the traditional storehouses of items from the past that help people understand the developments that shaped their society — are not very popular here. Most Indonesians seem to prefer to spend their weekends and other leisure time at the many shopping malls that are scattered across Jakarta.

But that may have started to change in the last few years, with the revitalization of Jakarta’s Kota Tua, or Old Town, triggering a new enthusiasm among the younger crowd for attending museums.

“Going to museums is actually a fun experience. More young people in this city should visit our museums instead of just going to the malls,” said Sandra Fetriana, a 21-year-old university student visiting the National Museum with some friends.

The museum, located in Central Jakarta, is trying to build exactly that kind of culture. In its favor, the museum has perhaps the most strategic location of any such institution in the city. It’s located in the heart of Jakarta’s business district, only a 10-minute drive from the city’s main train station, Gambir, and just across the street from National Monument (Monas) park.

National Museum, or Museum Nasional in Indonesian, is also the oldest such institution in Indonesia, and has the country’s largest historical and cultural collection, with more than 141,000 items. Most were collected from Indonesia’s own backyard, but there are also some items that were purchased from other countries.

John Guy, a curator of Southeast Asian art at the Metropolitan Museum of Art in New York, was at the National Museum recently taking pictures of Hindu-Buddhist sculptures.

“Museum Nasional is one of the best museums in Southeast Asia,” he said. “This museum has so many hundred-year-old collections.”

Guy visits Indonesia once a year to conduct research and always makes a point of going to the National Museum.

His favorite item is the largest statue in the collection, the more than 4-meter-tall statue of Bhairawa, a manifestation of Buddha, believed to be from the 13th or 14th century.

“Isn’t that beautiful?” he said.

The museum is also sometimes known as Museum Gajah, or the Elephant Museum, because of the bronze elephant statue in front of the building. This statue was a gift from King Chulalongkom from Thailand in 1871.

Oting Rudy Hidayat, the public relations manager for the museum, said the institution was established in 1868. At that time, the Dutch colonial government wanted a building that could serve as an office and also preserve its valuable collections.

In 1950, the newly sovereign Indonesian government made the museum a national cultural center, Oting said.

Mulya Sari, 20, a university student, said the museum offered unique items that she could not view elsewhere. “This is my third visit and I like it here very much. I don’t find this museum creepy at all,” she said.

Her favorite section is the collection of Papuan native art. Mulya is interested in accessories and makes her own jewelry as a hobby. She said she finds the collection interesting and inspiring.

The museum has two buildings — the original Gedung Gajah, or Elephant Building, and a new building that was opened to the public in 2007.

The new building’s arrangement of architecture, lighting and decoration, according to Oting, is designed to make every visit a memorable one. “We’re trying so hard to attract more people to come to this museum and learn the history and culture of Indonesia,” he said.

It can be difficult, however, to promote the museum on a limited budget, but Oting is pleased that enthusiasm for the museum continues to increase. He said that in 2008, the museum had more than 158,000 visitors, and that 2009 was expected to be even better in terms of visitor numbers.

Sandra, the university student, said it was important for Indonesians to know about their history.

“Young people in this country should start doing something before more of our cultural items are claimed by other countries,” she said.

Guy said in other countries museums were more revered by the younger generation. “In the United States, it’s something cool for the young ones to visit museums,” he said.

“History and culture are the identity of every country, they’re the things that made you who you are right now.”

Wending a Way Through the Museum’s Sections

The National Museum’s collections are divided into seven categories:

• The “Prehistory” section displays ancient tools discovered in recent times. Highlights include a ceremonial ax from the Bronze-Iron period, tools made of chalcedony from the Neolithic period and a set of coarse-refined bracelets from the Neolithic period, also of chalcedony.
  
  
• The “Archaeology” section covers findings from Indonesia’s kingdoms from the 1st to the 15th century, including an inscribed Gajah Mada stone from the 13th century, a Dwarapala Stone from the 9th century and a Ganesha Stone from the 8th century. Most of the items were found in Central and East Java, and show how heavily the developing Indonesian culture was influenced by Indian culture and Hinduism and Buddhism.
  
  
• The “Numismatic and Heraldic” section includes coins and seals from the old kingdoms as well as from the colonial Dutch era.
  
  
• “Historical Relics” is a collection of ceramics, lamps, pottery and other everyday items from the Dutch colonization period from the 16th to 19th centuries.
  
  
• “Geography” is a collection of old maps depicting Indonesian islands from the 17th century.
  
  
• “Ethnography” is a collection of cultural objects used by different ethnic groups in Indonesia. The collection includes household utensils, miniatures of traditional houses and traditional fabrics.
  
  
• “Ceramics” is a collection of ancient ceramics coming from other regions, including China, Vietnam, Thailand, Japan, the Middle East and Europe.
  
  

The Ticket Master

Achmad Firdi started working at the National Museum in 1978 as a cleaning officer, earning Rp 9,700 a month.

Although he has now worked at the museum for more than 30 years, he says he has never considered a change of career. “I am very comfortable working here,” he said.

Since 2003 he’s been selling museum entrance tickets, priced at Rp 750 for adults and Rp 250 for children.

Despite the low prices, Rachmad said, “Sometimes, I’m still shocked to see how some people try to bargain over the ticket fee.”

In the past, Achmad said, people were reluctant to visit the museum. Now, more people are coming to the museum, especially children during school holidays.

“I think the museum is very important,” he said. “By visiting the museum you show respect to our culture.”

National Museum

Jl. Merdeka Barat No. 12
Tel. 021 381 1551, 021 386 8172

Opening Hours

Tuesday – Thursday: 8:30 a.m. - 2:30 p.m.
Friday: 8:30 a.m. - 11:30 a.m.
Saturday: 8:30 a.m. - 1:30 p.m.
Sunday : 8:30 a.m. - 2:30 p.m.

Closed on Mondays and public holidays

Free Tours

English: Tuesday and Thursday 10:30 a.m.
Japanese: Tuesday 10:30 a.m.
French: Third Wednesday of each month
Korean: First Tuesday and third Saturday of each month

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Old Town festival offers visitors rare recipes

Mariani Dewi, The Jakarta Post, Jakarta | Fri, 11/07/2008 10:55 AM  

Indonesian dancers are seen before performing during Old Town or "Kota Tua" Festival in Jakarta August 26, 2007. (Reuters Pictures)

"Let your nose guide your way" is the method the city's tourism agency is using to gather a crowd at the Fatahillah Park in the Old Town area, West Jakarta, this weekend for the 2008 Old Town Tourism Attraction. 

Some 50 people, from amateur cooks to professional chefs, will cook up a storm in the food competition. They will have to cook as close to the original recipe as possible. 

"We want to remind people of how it used to be. These recipes have influenced Betawi food up until now," Arie Budiman, the head of the tourism agency, said Wednesday 

There are 10 recipes from local original dishes like besengek daging (meat dish) and sate tulang (satay), to bestek (beef steak) from the Netherlands and sukiyaki (soup) from Japan. 

To win, a dish will have to wow the taste buds of five judges. Visitors can try the dishes and, after the scoring is complete, take the meals home. 

It is the second time the annual event has been held. It will showcase local-made Batavia (old Jakarta) products that cannot be found in modern markets. 

There will art performances from local singers and dances, as well as traditional performances of three cultures that influenced Indonesian arts: the Portuguese keroncong tugu, Arabic zapin dance and gambus music, and Chinese lute music and dragon dance. 

Twenty antique cars will be on display. Among them are cars made in 1928. Visitors have the chance to ride around the square in a car made in the 1950s. The car cannot go further because of its old engine, which gets overheated easily. 

"We want to ignite a sense of nostalgia through all the senses -- through the sight of the old buildings and old cars, and the taste of traditional and increasingly rare foods," Tinia Budiarti, head of the Jakarta History Museum, said Tuesday. 

The museums, which are housed in Dutch colonial buildings, will be open over the weekend. 

The event will start Saturday, Nov. 8, with the cooking competition, while the musicians and dancers perform on stage. The day will end with a fireworks display at around 7:30 p.m. 

There will be more music and dance performances Sunday morning. The afternoon will be filled with prayers to celebrate National Heroes Day. 

Arie said he hoped visitors would learn about Jakarta's roots and the event would encourage the private sector to host events in the area. 

"We all know the Old Town is one of the city's famous landmarks, so we do not really need to develop it physically. But we need to develop the soul of the place and tell people its historical importance."

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Prince Charles visits National Museum, cemetery

Mariani Dewi, The Jakarta Post, Jakarta  |  Wed, 11/05/2008 10:32 AM  

From outside, the National Museum appeared as normal as ever for midday Monday. The only difference was the presence of a few military police officers casually standing outside. It was not apparent that the Prince of Wales, Prince Charles, was shortly to arrive for a visit. 

"He wanted it this way. He didn't want us to make a big fuss about it," a staff member from the British Embassy said while waiting for the Prince. 

CIVILIZATIONS: The Prince of Wales talks to the head of the National Museum’s archeological collection department, Ekowati Sundari, about one of the ancient statues at the museum, on Monday. During his visit to the museum in Central Jakarta, the Prince showed a keen interest in its ancient relics. (JP/Mariani Dewi)

The Prince is on a tight schedule for his five-day visit to three provinces - Jakarta, Jambi and Yogyakarta. Monday he started by listening to a presidential lecture at the presidential palace, before spending around an hour at the National Museum. Soon after, he visited a graveyard then greeted local religious leaders at a hotel. The Prince's rushed itinerary only allowed him the opportunity to see Central Jakarta. 

"It is marvelous. I wish I had more time here," the 60-year-old Prince told reporters briefly in front of the museum before quickly being ushered away by the officials. 

At the museum, he observed some ancient statues and asked about the pieces. 

The director of the archaeological collection, Ekowati Sundari, showed Prince Charles around and said he expressed great interest in a statue of Ganesha, a Hindu deity in the form of an elephant. 

"He was pleased to find out about the history of Indian cultures in Indonesia," she said. 

Arts is one of the Prince's many passions. He has experimented with painting before, particularly watercolors, and has exhibited some paintings in the past. He is also an avid supporter of wildlife and the environment. 

"He enjoys the habitats and sounds of birds, along with varieties of flora and fauna. He has shown a keen interest in understand the history of Indonesia," British Defense Attach* for Indonesia, Nigel Rowe, said after the Prince's visit to the Commonwealth War Graves Cemetery in Menteng Pulo, Central Jakarta. 

"He is taking this opportunity to pay his respects to the graves of soldiers who fought for the country of which he is the commander in chief. He visited the section in the graveyard set aside for Cornwall citizens," Rowe said. The Prince is also the Duke of Cornwall. 

The British men died in battles in Jakarta during 1942 - 1945 during the Japan invasion of Indonesia.

Foundation supports museums to boost visitor numbers

JAKARTA (Jakarta Post): In an attempt to boost the number of museum visitors, Surabaya-based non-profit organization, House of Sampoerna, has published a brochure advertising seven museums in Indonesia.

The publication is part of the "Wisata Museum" program, which promotes museum tourism.

"Tourism is not merely related to recreation or having fun but also to education and cultural appreciation. By getting to know about our culture, people will learn to appreciate it," Ina Silas of the House of Sampoerna said during the program's launch at the National Museum in Jakarta on Thursday.

The seven museums are the National Museum, Museum of History and Bank Mandiri Museum, all in Jakarta; Batik Danar Hadi Museum in Surakarta, Central Java; Geology Museum in Bandung; and Sepuluh Nopember Museum in Surabaya.

The seven museums were chosen based on their capacity to accommodate visitors. The House of Sampoerna conducted a survey of museum attendance before deciding to publish the brochure.

Dedah Sri Handari of the National Museum said interest to museum had increased within the last few years, but it should be supported by enough information on museum's collection and programs.

Data from the National Museum shows that the number of visitors to the museum fluctuated over the last three year. It reached 170,437 in 2005, shrink to 120,331 in 2006 and slightly increased to 162,227 in 2007.

These number were dominated by students and members of organization that held visiting program to the museum. In 2005 more than 55 percent (93,812) of visitors were students, in 2006 61 percent (73,481), while in 2007 48.43 percent (78,602) were students.

According to Education Ministry data, there are 275 private and state museums in the country.

Ancient relic to return from Scotland

The Jakarta Post, Jakarta

A thousand-year-old stone tablet known as the Sanggurah Stone, or more commonly the "Minto" stone, is expected to be returned to its home in Indonesia from Scotland before the end of 2008.

The return will be made possible thanks to Hashim Djojohadikusumo, who is currently working with high-profile artifact theft from Surakarta museum.

The historical artifact originated from Malang, East Java, weighs around three tons and is two meters tall. It is held in Roxburghshire, Scotland.

It has been part of a family collection belonging to the former British Governor General of India, Lord Minto, after being presented to him by British Governor Sir Thomas Stamford Raffles in the early 19th century.

The primeval stone tablet bears an ancient inscription dated 982 AD along with the name of a Javanese king, Sri Maharaja Rakai Pangkaja Dyah Wawa Sri Wijayalokanamottungga, who ruled over Malang at that time.

"The Minto Stone is an important historical artifact and a crucial source of information. It contains the history of the Mataram kingdom in Central Java and its eventual shift of power to East Java," Culture and Tourism Ministry director general of history and archeology Hari Untoro Drajat announced at a media gathering Thursday.

"Upon the artifact's return to Indonesia, facilitated by the Hashim Djojohadikusumo Foundation (YKHD), it will be placed in the National Museum in Jakarta," he said.

"The government has been attempting to secure the return of the artifact since 2004, but government-to-government negotiations have proven difficult because the relic is currently in the custodianship of Minto Trustees," Hari said.

"So we requested that YKHD step in and facilitate the return, because we recognized that non-state parties would have more leeway in negotiating."

Prominent businessman and arts collector Hashim Djojohadikusumo said YKHD, a charity organization dedicated to the preservation of Indonesia's cultural and archeological heritage, had been involved in negotiations to secure the return of the Minto Stone since early last year.

"In April 2007, we accepted a mission from the state conveyed to us by the Director General and Dr. Soeroso, and have since met thrice with Lord Minto himself in London to negotiate the return of the artifact," he said.

London-based Hashim, son of the late prominent New Order economist Soemitro Djojohadikusumo, was recently linked to a high-profile theft and forgery case involving a number of collections from a Surakarta museum following the discovery of five of the stolen archaeological artifacts at his house in Jakarta.

Hashim is said to have bought the precious ninth century statues, of the country's Hindu-Buddha era, abroad from Hugo Kreijger, a Dutch arts dealer and consultant for Christie's auction house in Amsterdam. (amr)

Museums expose treasures of the past

Ani Suswantoro, Contributor The Jakarta Post, Jakarta

Museums, perhaps spots that are not very popular to hang out these days, are actually important places to observe the journey of a nation. By visiting our museums, we will recognize and appreciate our nation's history, and hopefully continue the spirit of our forefathers.

Jakarta has more than 50 museums, from the National Museum to thematic museums for traditional puppetry, stamps, textiles, transportation, energy and science, and even to a museum dedicated entirely to insects.

Museum Nasional, or the National Museum, is the most complete site to look back on Indonesia's history. Located at Jl. Merdeka Barat No. 12, Central Jakarta, its birth dates back to 1778, when Dutch scientists and collectors established an organization to promote art and science.

To accommodate this purpose, Sir Thomas Stamford Raffles erected in the early 19the century a building at Jl. Majapahit No. 3. In 1862, the Dutch government decided to build a permanent facility, later known as Gedung Gadjah, or the Elephant Building, due to the bronze statue of an elephant at its front. The statue was a gift from Thailand's King Chulalongkorn.

In 1979, the building was dedicated as the National Museum by the Indonesian government.

"The collection is really extensive. You need a whole day to observe it thoroughly," commented Rita, a visitor on Sunday, Dec. 23, 2007.

The museum houses more than 109,000 pieces consisting of prehistoric relics such as the Yupa Inscription, a sample of the first recorded writing in the 5th century from Kutai, East Kalimantan.

The collection also holds archaeological, ethnographic, numismatic/heraldic and historical items. Many archaeological artefacts, such as statues of Hindu deities and temple reliefs, were influenced by Indian culture and found in East and Central Java. The 8th-century Durga Mahesasuramardhini and the 9th-century Shiva Mahadewa -- the supreme god of Shivaite-Hinduism -- and the famous 9th-century Ganesha, god of science, are a few examples.

The numismatic and heraldic collections feature coins and currencies from old Indonesian kingdoms to the colonial era and up to the independence era. Ceramics that date as far back as 206 BCE from China, as well as terracotta pieces, household utensils, ethnic houses, accessories, old weapons and textiles, complete the museum collection.

"During the holidays, we usually have students coming in groups with teachers. For them we offer a special price for the entry tickets," said Muji, a member of the museum security. The discount is rather surprising, considering that the normal entrance fee is only Rp 750 for adults and Rp 250 for students/children.

Visitors should be informed that permission must be obtained before taking photographs inside the museum.

Traveling farther north, we come to Jakarta's Kota Lama (Old City), where three museums are found close to each other: the Jakarta History Museum, the Wayang (Puppet) Museum and the Arts and Ceramic Museum.

The Jakarta History Museum, located at Jl. Taman Fatahillah No. 1, West Jakarta, was once the Batavia Mayor's Building, erected by Governor-General Jan van Hoorn in 1707. On March 30, 1970, then Jakarta governor Ali Sadikin officially dedicated the building as the Jakarta History Museum.

With a collection of around 23,000 pieces, the museum contains the history of Jakarta from the prehistoric era, represented by artefacts of 1,500-year-old stone axes, through the ancient kingdoms to the Dutch occupation and up to the modern era. Ciaruteun, Kebon Kopi and Jambu inscriptions found in Bogor during the Tarumanegara Kingdom, then under the reign of King Purnawarman, depict life in early Jakarta.

Meanwhile, a vast array of antique furniture from the Dutch colonial era stand as witnesses of those olden times.

At the basement level is a dungeon used to jail opponents of the Dutch, as well as the sword used to execute the rebels. In the rear courtyard still stands the famous cannon Si Jagur, weighing around 24 tons and seized in 1641 by the Dutch government from the Portuguese in Malacca, Malaysia.

"I arrived just a few days ago from the Netherlands for a vacation, and this museum is the first tourist (destination) I have visited so far. My relatives talk about Old Batavia, so here I am now," said Maartje, a Dutch visitor.

Across the Jakarta History Museum stands the Wayang Museum at Jl. Pintu Besar Utara No. 27. In 1626 it was a church called De Oude Hollandsche Kerk (The Old Church of Holland), later rebuilt as De Nieuwe Hollandsche Kerk (The New Church of Holland), until an earthquake in 1808 turned the church into ruins. When another building was erected on the same site, the Oud Batavia foundation bought it and turned it into a museum, which later became the Wayang Museum.

Among its collections are classic wayang kulit (shadow puppets) with timeless characters such as Pandawa and Kurawa from the Mahabharata epic, displayed in its many variations from across Indonesia.

Visitors can also observe the Wayang Revolusi (collection Revolution Puppets) of the 1950s that illustrate Indonesia's Revolution Era, featuring Sukarno and Mohammad Hatta as the central characters, and Wayang Wahyu, or Revelation Puppets, which were used to teach Christianity. The traditional wayang golek, wooden puppets from Bandung and Bogor, and Wayang Kaper -- small puppets for children made from cardboard, and various wooden masks also fill the museum.

From abroad, the Puppet Museum has marionettes, dolls and puppets from Britain, China, France, India, Malaysia, Suriname and the United States.

Another highlight is the fact that 18 Dutch governor-generals were once buried in the lower grounds of the museum, including the fourth governor-general of the East Indies and founder of Batavia, Jan Pieterszoon Coen. In 1977, their remains were removed to the Dutch Cemetery in Tanah Abang, leaving behind several gravestones at the museum.

The Arts and Ceramic Museum is housed in a building designed in the classical style, located at Jl. Pos Kota No.2. It was erected in 1870 as the Raad van Justitie, or the Court of Justice. Former president Soeharto dedicated the building in 1976 as the Art and Ceramic Museum.

Here, visitors can view the journey of Indonesian art history from master painter Raden Saleh (1800-1880) to masters such as Soedjojono, Affandi, Barli, Dullah, Rustamadji and Arie Smit -- the Dutch painter who lived in Bali -- and many others.

"When renovations are finished in January next year (2008), visitors will be able to view a more complete set of paintings," remarked Muslih, a museum guide.