The museum have the vision to become a media with the message and knowledge to share with a visitor. The vision of museum could be knowledge of museums representing national identity, culture, history, or biography of a public figures. The representation from one of a famous figure in Indonesia could we see in museum called Museum H.M. Soeharto. These articles aim to discover how the museum will work on Sang Bapak’s representation in the museum’s narration which are shown not only by a very lengthy text display but also on the attribute or object that scattered around in the museum’s yard. A whole object collection in museum will work based from the vision and aim of the museum. In the museum context, it called musealisation. It means that all the object collections are separated from their social context in real life then it enters the context of the museum so it will work based from the story or vision that made by what curator want and re-create the hero’s narration of Soeharto.
Abstract, The existence of Gaja-Lakșmī sculpture at Sonobudoyo Museum is interesting because it is rarely found in Indonesia. The figure of Gaja-Lakșmī is depicted in a sitting position. There are two elephants that carved on the right and left side of goddess. The elephants lift their trunks and showed that they are pouring water on the goddess. Certainly, the sculpture has a specific purpose, especially, because it was carved on media that indicated as the upper (dorpal) entrance of a temple building. The aim of disclosure of the sculpture is to find out the purpose and function of the depiction of the Gaja-Lakșmī character in the past. Through the process of identifying iconography and literature studies, the purpose and function of the depiction of the Gaja-Lakșmī figure is as a protector of people's welfare. Abstrak, Keberadaan relief tokoh Gaja-Lakșmī di Museum Sonobudoyo merupakan salah satu hal menarik mengingat gambaran ini sangat jarang ditemukan di Indonesia. Tokoh Gaja-Lakșmī tersebut digambarkan dalam posisi duduk yang pada sisi kanan dan kirinya terdapat dua ekor gajah yang mengangkat belalai seolah-olah menuangkan air kepada sang dewi. Tentunya penggambaran tokoh dewi ini memiliki maksud tertentu, terlebih, karena tokoh ini diletakkan di tempat yang diindikasikan sebagai bagian atas (dorpal) pintu masuk suatu bangunan candi. Pengungkapan makna penggambaran ini adalah untuk mengetahui tujuan dan fungsi tokoh Gaja-Lakșmī pada masa Matarām Kuno. Melalui proses identifikasi ikonografi dan kajian pustaka, diperoleh informasi bahwa tujuan dan fungsi penggambaran tokoh Gaja-Lakșmī adalah sebagai pelindung kesejahteraan masyarakat.
Indonesia marked a new era, known as the Reformation Era, in 1998 after the downfall of Suharto, the main face of the regime called the New Order (Orde Baru) and ran the government from 1966 to 1998. This long-run government creates certain structures in many sectors, including the museum sector in Indonesia. Suharto leads the government in a totalitarian manner, his power control over many layers, including the use of museums as regime propaganda tools. The propaganda in the museums such as a standardized storyline, the use of historical versions that are approved by the government, and the representation of violence through the military tale with the nation’s great enemy is made for the majority of museums from the west to east Indonesia at that time. Thus, after almost two-decade after the downfall of the New Order regime how Indonesian museum transform into this new era? In the new democratic era, museum management is brought back to the regional government. The museums are encouraged to writing the local history and deconstruct the storyline from the previous regime. Not only just stop there, but there are alsomany new museums open to the public with new concepts or storylines to revive the audience. Even, the new museum was also erected by the late president’s family to rewrite the narration of the hero story of Suharto in Yogyakarta. This article aims to look up the change in the Indonesian museum post-New Order regime. How they adjust curatorial narration to present the storyline, is there any change to re-write the new narrative, or they actually still represent the New-Order idea along with the violence symbolic that never will deconstruct. Indonesia menandai masa baru yang dikenal sebagai masa reformasi pada tahun 1998 dengan tumbangnya Soeharto yang menjadi wajah utama rezim yang dikenal dengan sebutan Orde Baru ini. Pemerintahan Orde Baru telah berlangsung sejak tahun 1966 hingga 1998 yang mengubah banyak tatanan kehidupan, termasuk sektor permuseum di Indonesia. Corak pemerintahan Orde Baru yang condong pada kontrol dan totalitarian mengantarkan museum sebagai kendaraan propaganda rezim Soeharto. Dimulai dari narasi storyline yang seragam di seluruh museum negeri di Indonesia hingga kekerasan simbolik lewat narasi militer dan musuh besar bangsa. Lalu setelah hampir dua dekade era reformasi di Indonesia bagaimana perubahan museum di Indonesia? Pada era demokrasi yang lebih terbuka, pengelolaan museum dikembalikan kepada pemerintah daerah dan diharapkan untuk dapat menulis kembali sejarah lokal yang baru. Tak berhenti disitu, banyak museum-museum baru yang tumbuh berdiri memberikan kesegaran baru namun juga muncul museum yang berbau rezim Orde Baru turut didirikan sebagai upaya menuliskan narasi.
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