When a fire broke out in the back wing of Building A at Museum Nasional Indonesia in September last year, the museum’s team, alongside key figures like Nadiem Makarim, the head of Kemendikbudristek (Ministry of Education, Culture, Research, and Technology), immediately rushed to the scene.
Surprise and anxiousness mixed into the night’s emotions, recounted one of the museum’s staff, Dwi Lestari, as they wondered how much of the museum’s collections had been damaged—and how much had been completely lost to the fire. “We were all shaken. I was still new [at the museum] back then, but even I felt anxious thinking about the collections that perished. Imagine those who’ve been with the museum for years.”
More than 900 artefacts have been impacted, encompassing ceramic, terracotta, wood and bronze collections from galleries including the Prehistoric Gallery and the Civilisation Gallery, with varying levels of damage ranging from minor to severe. While the museum had already been working on revitalisation efforts before the fire, the incident spurred a stronger sense of purpose that fueled the team’s determination.
Almost a year later, Museum Nasional Indonesia reopened to the public with exciting changes both physically and conceptually, as shown through significant infrastructure updates, a reorganisation of exhibition spaces that are more interactive and engaging, and a new concept designed to deliver deeper narratives with a focus on relevant local perspectives.
“The recovery and renovation process involved many parties. The museum, alongside Kemendikbudristek, held a series of discussions with experts in conservation, archaeology, anthropology, culture, history, and curation, both from Indonesia and abroad,” said the Head of the Museum, Ni Luh Putu Chandra Dewi, who has worked at the museum for almost 30 years. “This formation of an expert team and ongoing collaboration underscores that the museum’s recovery is not just about rebuilding its physical space, but about reviving its spirit and history.”
Occupying a colonial building built in 1868, the museum still stands as regal as one would have remembered it. Upon entering Building A, visitors are greeted directly with the sight of the Arca Gallery and further to the elegant courtyard. Only now, the Arca Gallery feels brighter and sleek; a lineup of stone statues of classical Hindu-Buddhist period from ancient Java and Sumatra stood in line encircling the room, illuminated by a softbox lighting the features illustrations of the kingdom’s temples.
The courtyard, arguably the centre point of the museum, is now freely accessible to step into, picturesque with guests marvelling at statues such as Nandi, the sacred bull vehicle of the Hindu god Shiva from the 13th century Singhasari period. “[The area] was once overcrowded with collections that seemed to be displayed without much thought,” said Ni Luh Putu Chandra Dewi. “Around 20% of the sculptures are now exhibited in an organised and visually pleasing arrangement for visitors to fully appreciate the collections.”
Surprisingly, the museum chose to preserve the original structure of the building’s back section which was severely damaged by fire. The walls, marked by burn marks and streaks of soot, now hold memories and sentiments of an important past, serving as both a question and response to what had happened. The aftermath of the fire is further documented at Menabuh Nekara Menyiram Api, an informative and thoughtful presentation of the recovery efforts, currently running until 31st of December, 2024.
In a room separated by two glass walls, visitors can view a selection of objects that were successfully recovered; one of them is the bronze statue of Dīpaṅkara Buddha from the 4th century, known as the guardian of the sea and sailors, shown in its charred state alongside a display of ruins once attached to the body. All this information can be accessed through a large screen in front of the glass walls, where visitors can swipe through the digital catalogue to learn more about the recovered objects—a clear hint of how digital technologies will be deployed in future exhibits to appeal to modern audiences.
Amidst newer showcases, such as the display of repatriated objects from the Netherlands, and other existing artefacts from the museum’s extensive collection of over 100,000 items, it’s clear that the museum is making more purposeful use of its space. It is also redefining itself for the digital age; soon, it will no longer be unusual to encounter holograms and augmented reality features within the storied institution, and museumgoers will naturally navigate these innovations.
While the full renovation will take time, with completion projected by 2026, visitors can look forward to a museum that remains deeply committed to preserving and educating about Indonesia’s cultural heritage while stepping confidently into the future.
Click here for more information on Museum Nasional Indonesia.