The Great Indonesia Exhibition

A review of The Great Indonesia Exhibition at the Nieuwe Kerk in Amsterdam. An abridged version of this blog was also published in LOVER.

The Great Indonesia Exhibition 

Rice tables. Postcards of endless plantations. Louis couperus’ novel ‘De stille kracht’. This is what most people think about when they think of Indonesia. But aren’t these all expressions of Dutch colonialism? What would Indonesia look like when viewed without that Dutch lens? Eager to gain insights, I visited The Great Indonesia Exhibition and discussed it with a friend with Indonesian roots, who also visited this exhibition.

Let’s start with a little introduction of the exhibition and its catalogue. As its name suggests, the Great Indonesia Exhibition teaches us more about this economic giant in Southeast Asia, the third largest country on earth in population. This is necessary, because “generations of young people in the Netherlands were educated with limited knowledge about the Dutch East Indies and Indonesia”, according to a (link) 2023 report.  More knowledge of this history in society can ensure greater understanding and recognition for communities in the Netherlands. “The history of the Netherlands and its former colony the Dutch East Indies may now be far behind us, but its legacy is still visible and tangible today and will continue to play a role in who we are and how we shape society in the future,” former  minister Jet Bussemaker writes in the report’s foreword. In “Atlas van Indonesië,” the richly illustrated and diverse exhibition catalogue, Annabelle Birnie (the director of the Nieuwe Kerk), implicitly echoes this motto of the Republic of Indonesia: “Unity in Diversity.” The catalogue, serving as a multifaceted biography of the country, is authored by experts from both Indonesia and the Netherlands. Birnie laid the foundation for the idea of organising a new exhibition about Indonesia at De Nieuwe Kerk. This marks the third such exhibition at the venue, with the previous ones taking place in 1992 and 2006. As she explains in the catalogue, the current exhibition stands out significantly from its predecessors, as it presents a comprehensive view of Indonesia’s rich history and its people. Unlike earlier exhibitions that were archaeologically, anthropologically, and art historically oriented, this one incorporates perspectives from Indonesian communities, offering a more inclusive portrayal. The exhibition reflects the ongoing dialogue between Indonesia and the Netherlands, exemplified by the nearly 75 years it took for the latter to acknowledge Indonesian independence. The curators aimed to provide a broad overview, acknowledging pivotal points in history. The exhibition serves as a biography of the vast archipelago, capturing its ancient kingdoms, colonial dominance, Indonesian independence ideals, the Dutch-Japanese war, Sukarno’s revolution, the era of Soeharto, and contemporary Indonesia with its beauties and challenges.

Nature

Indonesia, as an archipelago comprising over 17,000 islands, boasts an exceptionally rich biodiversity. Upon entering the exhibition, visitors were immediately greeted by a striking collection of taxidermied animals, including impressive specimens such as the monitor lizard. This representative assortment of Indonesia’s fauna provides an intriguing glimpse into the diverse and unique wildlife that the country harbours. The exposition thus devotes attention to the awe-inspiring nature of Nusantara, the age-old designation for the region now recognized as Indonesia. The extraordinarily diverse natural environment, situated on the cusp of Asia and Oceania, is breathtakingly beautiful, overwhelming, magical, and wondrous; words inadequately capture the splendour of the extensive landscapes in this immense country. A vast array of terrains, including volcanoes, rainforests, monsoon and mangrove forests, coral reefs, lakes, mountains, plains, and spectacular biodiversity, renders Indonesia a natural wonder. 

The publication includes a contribution on The Ring of Fire, detailing the numerous volcanoes that grace the archipelago. Nowhere else in the world do as many people reside in proximity to a volcano as in Indonesia. Furthermore, in the traditional worldview, animals, trees, plants, mountains, rivers, and natural phenomena possess a soul. Gods embody natural forces, taking the form of a human, animal, or something in between. All of this captivates the imagination and transports one’s thoughts to a paradisiacal realm. Nevertheless, regrettably, Indonesia, and by extension, the rest of the world, confronts severe challenges concerning nature and the environment.

One of the most iconic species found in the wild is the orangutan, a majestic great ape primarily inhabiting the rainforests of Borneo and Sumatra. These intelligent beings symbolise the struggle for the preservation of endangered rainforests and are globally recognized for their complex social structures. The Sumatran tiger, though severely endangered, is another impressive inhabitant of Indonesia. With its distinctive stripes and robust statue, this majestic predator once roamed widely across the island of Sumatra, now battling for survival amidst threats such as deforestation and illegal hunting. Indonesia’s vibrant avian world is also striking, featuring species like the bird of paradise renowned for its beautiful plumage and unique dance rituals. The diversity of bird species across the different islands contributes to the unique ecological treasure that Indonesia represents.

Another notable creature traversing Indonesian waters is the Komodo dragon, the world’s largest lizard, that can reach lengths of up to 3 metres (10 feet) and weigh over 70 kilograms (150 pounds).  Varanus komodoensis, as the Komodo dragon is scientifically named,  is a formidable and iconic lizard species native to the Indonesian islands of Komodo, Rinca, Flores, Gili Motang, and Padar. These reptiles possess a robust build with powerful limbs, sharp claws, and a long, muscular tail. Renowned for their keen predatory skills, Komodo dragons are carnivorous and primarily hunt large prey, including deer, pigs, and occasionally water buffalo. Their saliva contains a mix of bacteria that can induce septicemia in their bitten prey, contributing to the dragon’s ability to overpower and subdue much larger animals. These remarkable creatures are well adapted to their harsh habitats, featuring rugged terrains and sparse vegetation. Komodo dragons are proficient swimmers and are also capable of climbing trees. Their formidable appearance, coupled with a distinctive forked tongue, adds to the mystique surrounding these apex predators. Fun fact: Scientists have discovered that the komodo dragon can reproduce virginly: a female can produce viable offspring without being fertilised by a male. Sadly, Komodo dragons are designated as a vulnerable species due to habitat loss, human-wildlife conflict, and illegal poaching. Conservation efforts are underway to safeguard these extraordinary reptiles and their unique island ecosystems. As for me, these fascinating reptiles embody the untamed beauty of the Indonesian islands, I decided to draw a picture of the stuffed specimen at the exhibition. We call him Dru.

In essence, the collection of taxidermied animals at the exhibition only represents a fraction of the abundant and varied fauna that the archipelago offers. It serves as a reminder of the imperative to conserve and cherish Indonesia’s natural treasures for future generations.

Ancient History

Another hall begins with a row full of 8th century Buddha statues and showcases full of gold. There is beautiful art on display, with objects loaned from Indonesia, from the collection of the National Museum in Jakarta, such as the statue of the first king of the legendary Majapahit empire and a magnificent ninth-century golden bowl from the ‘Treasure of Wonoybo.’ Due to the discovery of gold in Sumatra, Kalimantan, and the Philippines, the Javanese elite early on acquired access to gold. Royalty and priests adorned themselves with magnificent jewellery, while divine statues were embellished with gold. Goldsmiths also crafted ceremonial objects, including terrifying monster and demon heads believed to protect the wearer from malevolent forces or bring good fortune.

Archaeological findings and transmitted narratives provide insights into ancient realms in Indonesia. The development of early kingdoms in Indonesia was influenced by ideal agricultural conditions and the adeptness in wet-field rice cultivation by the 8th century BCE. Favourable factors such as Java’s climate, abundant rain, and volcanic soil facilitated the growth of villages, towns, and small kingdoms by the 1st century CE. These kingdoms, often led by petty chieftains, had their own ethnic and tribal religions. The Buni culture clay pottery in coastal northern West Java around 400 BCE to 100 CE preceded the Tarumanagara kingdom, one of the earliest Hindu kingdoms in Indonesia. The discovery of ancient hunting scenes in Leang Bulu’ Sipong 4 cave, dating back over 44,000 years, was announced in 2019, revealing insights into prehistoric art. In the early centuries, Indonesia was significantly influenced by Indian culture, with references to the Dvipantara or Yawadvipa, a Hindu kingdom in Java and Sumatra, appearing in Sanskrit writings from 200 BCE. Hindu-Buddhist civilizations flourished, with archaeological evidence of the Sunda Kingdom in West Java dating from the 2nd century.

The Tarumanagara kingdom, flourishing between 358 and 669 CE, was one of the early kingdoms, producing inscriptions and marking the beginning of the historical period in Java. The subsequent period saw the rise of powerful Hindu-Buddhist states, such as Srivijaya based in Sumatra and Sailendra in Java, constructing the monumental Borobudur. The Mataram Empire, established in Central Java between the 8th and 10th centuries, played a significant role in classical Javanese art and architecture. However, it eventually divided into Shivaist and Buddhist dynasties, leading to conflicts and the rise of Srivijaya in Sumatra. Srivijaya, centred in Palembang, was a maritime thalassocracy that controlled trade routes through the Strait of Malacca. Its influence waned in the 11th century due to Chola raids and conflicts with Javanese kingdoms. Islam spread to the region in the 13th century, and Srivijaya ceased to exist by 1414.

Artefacts from these ancient realms testify to exceptional craftsmanship and an extensive network. For centuries, Indonesia has served as a crossroads of trade routes and cultures. As early as the fifth century BCE, goods reached the archipelago from regions such as the Middle East, India, and even the Mediterranean, via China and the Silk Road. Through trade, new ideas and religions, such as Buddhism, Hinduism, and later Islam, permeated the region. Legendary royal houses translated these new beliefs into a unique court culture.

Starting with the fossilised remains of Homo erectus, popularly known as “Java Man”, the book and exhibition extensively delve into this history, crucial for a better understanding of the country today. Moreover, in a way, it is a unique experience to visit this exhibition during a period when the Netherlands, at Indonesia’s request, is returning hundreds of objects that, during the colonial period, unjustly found their way into Dutch museums, often through theft or coercion. Director Marieke van Bommel of the Museum of World Cultures rightfully considers this restitution as the ‘start of a very beautiful process.’ 

Ancestral worship

For me, Louis Couperus’ splendid 1899 novel “De Stille Kracht” served as an introduction to mysticism in the Indonesian archipelago. Beyond the phenomenon of “guna guna,” Couperus depicted the profound apprehension of the Dutch government toward the inscrutable Javanese soul, which eluded its grasp. Intelligent and sensitive, Couperus recognized the political significance of this internal source of strength for the Javanese people. Naturally, with its 16,000 islands, Indonesia harbours countless religious variations. Ancestor worship however seems to be a common thread. Ancestors are frequently depicted with great attention and artistry in an impressive array of ancestor figures. Often depicted squatting or standing, carved in wood or chiselled in stone, they receive offerings and serve as the focal point of various rituals. Notable examples include the “tau tau,” wooden ancestor figures placed by the Toraja in Sulawesi in front of rock-hewn graves. Ancestors are also present in various rituals related to birth, marriage, and death, as well as crucial agricultural moments like planting and harvesting. Their presence, strength, and support are of paramount importance during these times. Hunters and fishermen invoke the protection of their ancestors on their perilous journeys.

In contemporary Indonesia, modern developments, a messianic influence from monotheistic religions, and a government policy that dismissed ancestral reverence as primitive have left their marks. Nonetheless, according to the Atlas, the ancestors persist in their ubiquity. While they may not always occupy a central role in contemporary ceremonies, their presence is felt, and their memory and role are esteemed for individuals, clans, villages, or the nation at large. The ancestral reverence, which has persisted across the archipelago for an extended period and remains significant, though often less dominant than before, offers insights into the diverse cultures of the country. In each community, the presence of ancestors was palpable, ensuring a good harvest, fertility, wealth, or protection against disease or war. Rituals and images honoured the living, seeking their aid. Ancestors contributed to personal identity, while divine and mythical ancestors fostered cultural identity. Some ancestors founded villages or stood at the inception of a society, playing a vital connecting role in the sense of a shared past. The presence of ancestors is still felt, and their memory is revered. “Guna guna,” ‘kejawan,’ or ‘kebatinan’ (mysticism, communicating with the dead) can coexist in the hearts of Indonesians alongside Islam, Hinduism, or Buddhism. It is this amalgamation of religion and mysticism that Sukarno drew upon in 1945 to unite the peoples of his land. Thus, in a way, the prediction from Couperus’s “The Hidden Force” came to fruition.

The Great Indonesia Exhibition through Indonesian Eyes

Designed as an atlas, the exhibition catalogue acts as a starting point for understanding the exhibition. Created by individuals with firsthand knowledge or expertise in Indonesian history, the book is visually rich, mirroring the clarity found in well-designed schoolbooks. It deviates from a singular theme or period, offering concise history lessons that collectively narrate the larger story, focussing on the overarching narrative of this archipelagic nation. The inquiry delves into how Indonesia evolved into its present state or, in other words, how it was fashioned. Remarkably vast, with an approximate population of nearly 300 million and comprising around 16,000 islands (estimates vary), alongside hundreds of distinct ethnic groups, Indonesia resembles almost a continent in itself. The narrative of Java often diverges significantly from that of the Moluccas or Papua. The experiences of the ruling class differ markedly from those of artists or environmental conservationists, and the perspectives of independence fighters vary from those who perceive themselves as oppressed. This prompts contemplation on our collective understanding of the diverse population groups brought under the umbrella of a singular Indonesian flag over the past seventy-five years. What, for instance, is our comprehension of the myriad ethnicities and cultures that have coalesced under the Indonesian banner during this period? All these questions were addressed. There was even more, as personally, the anticipation for the exhibition was centred on encountering Indonesia without the Dutch influence, exploring its older religions, cultures, and the enchanting natural landscapes. The hope was to delve into the layers of Indonesia’s history, connecting with its ancient roots, nature and diverse cultural tapestry, beyond the colonial lens. To explore to what extent the exhibition and its accompanying Atlas succeeded in liberating the idea of Indonesia from the constraints of Dutch colonialistic views, I  reached out to an Indonesian person living in the Netherlands, whom I will refer to as “Anisa”.

You choose to remain anonymous. Could you give me a pseudonym and short introduction of yourself and your heritage?

“As an Indonesian girl living in the Netherlands with roots tracing back to Jakarta, I go by the pseudonym Anisa. I’m a second-generation immigrant, navigating the complexities of balancing my Indonesian heritage with the Dutch culture that surrounds me. Recently, I had the opportunity to visit the Great Indonesia Exhibition, an event that promised to offer insights into Indonesia’s rich history, culture, and natural wonders. I am happy to share my thoughts and reflections on the exhibition, as well as my perspective on Indonesia-Netherlands relations, but prefer  to remain anonymous online.”

You visited the Great Indonesia Exhibition. What did you expect beforehand and what do you think about it now? 

“Before visiting the Great Indonesia Exhibition, I had mixed expectations. On one hand, I hoped to see a more comprehensive portrayal of Indonesia that goes beyond the colonial lens often presented in the Netherlands. I wanted to see a celebration of Indonesia’s diverse culture, history, and natural beauty. On the other hand, I was worried about encountering stereotypes or oversimplifications, as is sometimes the case when discussing Indonesia in the Netherlands. I often encounter misconceptions or limited perspectives. People may focus solely on the colonial history or certain cultural aspects, overlooking the complexity and diversity of Indonesia. Additionally, there’s sometimes a lack of awareness about contemporary issues facing Indonesia or its rich cultural heritage beyond what’s commonly known. I found the Great Indonesia Exhibition to be a valuable experience. It provided a more inclusive and nuanced portrayal of Indonesia’s history and culture, highlighting its diversity and complexity. I appreciated the efforts to showcase perspectives from Indonesian communities and to foster dialogue between Indonesia and the Netherlands. However, there were also areas where I felt the exhibition could have been improved, such as providing more depth on certain topics or addressing contemporary issues facing Indonesia from a broader perspective, including the social dynamics emphasising the importance of representing diverse viewpoints within the international context.”

In light of the narratives and representations encountered within the Great Indonesia Exhibition, how do you perceive the potential influence of preconceptions or biases, particularly those originating from colonial legacies, on one’s understanding of Indonesia’s rich history and cultural diversity?

“When considering Indonesia through the lens of Dutch colonialism, it’s evident that certain images and narratives have become intertwined with the colonial legacy. The examples you named [rice tables, postcards depicting endless plantations, and literary works like Louis Couperus’ novel “De stille kracht”, red.] indeed reflect aspects of Dutch colonial influence and perceptions of Indonesia during that era. Viewing Indonesia without the Dutch lens allows for a broader and more nuanced understanding of the country’s rich history, culture, and identity. By setting aside the colonial perspective, Indonesia reveals itself as a diverse archipelago with a complex history of indigenous cultures, traditions, and landscapes. One can appreciate Indonesia’s ancient civilizations, such as the Majapahit Empire or the Srivijaya Kingdom, which flourished long before Dutch colonialism. Indonesia offers a vibrant cultural mosaic influenced by various ethnic groups, languages, religions, and artistic traditions, like batik textiles and gamelan music, to name just a few. And besides culture, it has a wonderful nature, with lush rainforests, pristine beaches, volcanic landscapes, and diverse wildlife. Without the colonial lens, one can celebrate its ecological diversity and the importance of environmental conservation efforts.”

How could we improve our relationship with Indonesia and make amends, as Dutch people?

“Improving the relationship with Indonesia and making amends as Dutch people involves several steps. Firstly, it’s essential to continue fostering mutual understanding and respect through initiatives like cultural exchange programs, educational partnerships, and exhibitions like the Great Indonesia Exhibition. Additionally, acknowledging and addressing the colonial legacy is crucial, including restitution efforts for cultural artefacts and promoting awareness of Indonesia’s history beyond the colonial period. Supporting sustainable development and conservation efforts in Indonesia is also important, demonstrating a commitment to environmental stewardship and global cooperation. Overall, building a stronger relationship with Indonesia requires ongoing dialogue, collaboration, and a willingness to learn from each other’s perspectives.” 

Conclusion

After visiting the New Church and reading the exhibition catalogue – which I have referenced endlessly and extensively in this blog – I can only conclude one thing: The Great Indonesia Exhibition and accompanying Atlas bring knowledge, insights and friendship. They are a heartfelt step in the dialogue between the Netherlands and Indonesia. Of course, they don’t tell the whole story, they can’t. But it feels like the good, first history lesson I never got. This is in the spirit of the committee cited earlier. Let’s continue along this path, make the old and new Indonesia better understood, and present topics that serve as amuses to other museums, books or documentaries for deepening or that lead to good conversation with each other.

Oh, and that rice table? Vanja van der Leeden, in her smoothly written contribution to the atlas, quickly helps me out of the dream; it is an “all-you-can-eat from days gone by”, a “culinary faux pas”, and a “colonial relic” – invented by Dutchmen in the former Dutch East Indies, to brag to their guests. Meh.