Sketches, stitches, and negotiations: Data catalogue

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Museum Sejarah Nasional (National History Museum)

Located in the basement of Monumen Nasional (National Monument), Jakarta, popularly known as Monas. Colloquially, the museum is dubbed as "Museum Monas".

Dokumen dan Surat

Surat Idzin Djalan - Menemui PJM Soekarno

• Travel Permit No. 023/Djl./I.J./12/65, issued by the Yogyakarta Palace Household, authorising Edhi Sunarso, Lecturer at A.S.R.I. (Akademi Seni Rupa Indonesia), Yogyakarta, to travel by train to Jakarta to meet His Majesty President Soekarno. The permit designates one accompanying person and is valid for the duration of the visit commencing 29 December 1965. Issued in Yogyakarta on 28 December 1965 at 12.00 Western Indonesian Time, signed by Alip Parintono in his capacity as Supervisor of the Yogyakarta Palace Household, and bearing the official stamp.

Surat Keterangan Monas, AURI, Musi

• Statement Letter No. 7/Ktr./U.P./66, attesting that Edhi Sunarso—Lecturer at A.S.R.I. (Republic of Indonesia) and Head of the Keluarga Arca sculptor team, Yogyakarta—received direct assignment from His Majesty the President as executor and coordinator of several state commissions, including the AURI (Indonesian Air Force) Monument, decorative sculpture for the Musi Bridge project, hotel commissions, and the National Monument (Monas). Issued in Jakarta on 8 January 1966 and signed by Djamin, Presidential Secretary and Head of the Presidential Cabinet, with official stamp.

Susunan Personalia Patung Banteng Monas

• Document outlining the composition of the personnel of the Jakarta National Monument Bull Statue Implementation Team. The structure lists Soedarsono as Executive Director of the National Monument; Edhi Sunarso and I. Gardono as Persons in Charge of Implementation; Drs. Soepardjo and A. Singgih as Implementation Staff; the Keluarga Arca sculptor team as Planning Team; and Sarpomo, Soewardi, Boediani, Mon Moedjiman, Herjana Iskandar, Askabul, and Harri Djauharuddin as the Core Team of Sculptors. Signed by Edhi Sunarso in Jakarta on 14 January 1966.

Surat Keterangan MONAS

• Certificate issued by the National Monument Implementation Command, Jakarta, on 7 July 1966, identifying Edhi Sunarso, aged 33, as assigned artist to the National Monument (Monas) project at Medan Merdeka. The document confirms residence within the National Monument project housing complex and authorises the holder to perform daily duties within the project area. It further serves as official identification in interactions with military or police authorities, who are directed to contact the Security Division of the National Monument Implementation Command if required. Valid for one month from the date of issuance. Signed by Kunto Sudarsono, Lieutenant Colonel, Military Police Corps (CPM), Service No. 12687, in his capacity as Deputy Commander and Special Assistant for Security Affairs.

Surat Dinas Project Monas_1

• Statement letter issued by the State Secretariat of the Presidential Cabinet, designating Edhi Sunarso—sculptor and Lecturer at A.S.R.I., Yogyakarta—as assigned by His Majesty the President to undertake the following state projects:
  1. Air Force Monument Statue;
  2. Decorative sculpture for the Musi River Bridge project;
  3. Coordination of special projects as directed by the President.
  Drawn up in Jakarta on 29 January 1965 and signed by Djamin, Presidential Secretary and Head of the Presidential Cabinet, with official stamp.

Surat Dinas Project Monas_2

• Official duty order issued by A.S.R.I., Yogyakarta, for Edhi Sunarso (also recorded as Edy Sunarso), Lecturer at the Academy with a stated basic salary of Rp. 1,764, assigning travel to Jakarta for official purposes in relation to the National Monument project. The order authorises accompaniment of the Director of A.S.R.I. and is valid from 11 February 1966 until completion of the assignment. Issued in Yogyakarta on 10 February 1966, signed by Alibasjah as Director of A.S.R.I., and acknowledged by Edhi Sunarso as letter holder.

Foto

Foto diorama MONAS oleh Ary "Jimged" Sendy

MASYARAKAT INDONESIA PURBA, 3000-2000 SM

• DIORAMA 1: MASYARAKAT INDONESIA PURBA (3.000 - 2.000 SM)

Nenek moyang Bangsa Indonesia (Paleo-Mongoloid) pada Zaman Megalithikum sudah hidup dalam masyarakat teratur. Mereka sudah mempunyai tempat tinggal tetap, sebagian sudah jadi pelaut dan sebagian lagi hidup sebagai petani. Selain pakaian dari kulit kayu sudah dikenal juga pakaian dari tenunan. Hasil budaya Megalithikum yang terpenting diantaranya adalah alat-alat serpih (flakes, pebbles dan bones), menhir (tiang batu), dolmen (meja batu), sarcophagus, kubur batu (peti mayat batu), punden berundak-undak (bangunan pemujaan) dan arca. Benda-benda peninggalan budaya Megalithikum it tersebar di seluruh Indonesia, tetapi yang terpenting terdapat di Pasemah (daerah pegunungan yang terletak antara wilayah Palembang dan Bengkulu) dan Besuki (Pulau Jawa). Diorama in menggambarkan kehidupan nenek moyang bangsa Indonesia.

• DIORAMA 1: THE PREHISTORIC INDONESIAN SOCIETY (3.000 - 2.000 BC)

The Indonesian forefathers (Paleo-Mongoloid) in the Neolithic age had already a sort of ordered society. They had permanent homes making a living as fisher-men or farmers. They knew clothing either woven besides clothing made from the bark of trees. The most important instruments of the Neolithi-cum culture are flakes, pebbles and bones, stone coffin, little houses of worship and even statues. These remains are scattered over the whole of Indonesia, but the most important things are found at the Pasemah plain (between Palembang and Bengkulu) and at Besuki (East Java). The diorama shows the life-style of Indonesian prehistoric society.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

BANDAR SRIWIJAYA, ABAD VIII-XIII

• DIORAMA 2: BANDAR SRIWIJAYA (ABAD KE 8 - 13)

Bandar Sriwijaya terletak di persimpangan tiga jalur pelayaran antara Indonesia, Cina dan India. Posisi ini sangat menguntungkan bagi Kerajaan Sriwijaya, sehingga dengan sendirinya memegang peranan penting pula dalam perjalanan perdagangan selama berabad-abad. Kapal-kapal dari negeri Cina yang membawa pendeta-pendeta Budha banyak berlabuh dan sering menetap untuk waktu yang lama. Bandar tersebut akhirnya menjadi pusat perdagangan dan budaya pada waktu itu. Letak Bandar Sriwijaya berada di muara sungai di daerah pertemuan sungai Kampar Kanan dan Kampar Kiri kira-kira 2.5 derajat sebelah Utara Palembang. Diorama ini menggambarkan kegiatan perdagangan di Bandar Sriwijaya.

• DIORAMA 2: THE PORT OF SRIWIJAYA (8TH - 13TH CENTURY)

The Port of Sriwijaya was very favorably located for the Kingdom as it used to be the crossroad of the prominent trade routes among Indonesia - China - India and brought many windfalls to the Sriwijaya dynasty. Automatically it had a prominent part and influenced the international trade. Strange and foreign vessels fre-quented the Port, moreover, many Buddhist priests from China stopped over, so that finally it became the center of trade and culture. The Port of Sriwijaya is located in mouth of the river Kampar Kanan and Kampar Kiri, about 2,5 degree of the northern of Palembang, South Sumatra. The diorama shows the atmosphere of trading ac-tivities among the merchants.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

CANDI BOROBUDUR (824)

• DIORAMA 3: CANDI BOROBUDUR (824)

Candi Borobudur didirikan pada sekitar tahun 824 M oleh Raja Samaratungga dari keluarga Sailendra. Bangunan candi berbentuk pyramid dan mencerminkan alam semesta. Bangunan ini dibuat dari batu sumbangan para menganut agama Budha dan dibangun dengan cara gotong-royong. Dalam pembangunan Candi Borobudur, hampir dua ratus ribu kaki kubik batu dipergunakan, lebih dari empat puluh ribu kaki kubik masuk dalam tingkat-tingkat terbuat dari batu. Pada candi ini terdapat 505 buah patung Budha dan 1.555 Stupa ukuran besar dan kecil yang melengkapi monumen Budha yang megah ini. Dari pendirian bangunan ini terbukti bahwa kemampuan bangsa Indonesia di bidang teknik dan organisasi sudah baik. Diorama ini menggambarkan tahap akhir pembangunan Candi Borobudur.

• DIORAMA 3: THE BOROBUDUR TEMPLE (824)

Candi Borobudur was founded by King Samaratungga of the Cailendra dynasty in the year 824 and is a reflection of the universe. It was built by means of contributions from the Buddhist population and mu-tual cooperation of the people. The construction of the Candi has indicated that time the nation had already achieved a high technical knowledge and organization. Candi Borobudur is regarded to be one of the wonders of the world. On the temple founded 505 Buddhist statues and 1.555 large and little "Stupa" which completed the great Buddhist monument. On the temple construction was proved the ability of the Indonesian people in technical and organization. The diorama shows the last stage of the construction

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

BENDUNGAN WARINGIN SAPTA ABAD XI

• DIORAMA 4: BENDUNGAN WARINGIN SAPTA (ABAD KE 11)

Setelah Raja Airlangga memperoleh wilayah yang menjadi haknya, kemudian ia berusaha memakmurkan rakyatnya. Sungai Brantas yang sering meluap dan selalu menimbulkan kerusakan-kerusakan pada tanah-tanah persawahan dibendung dengan mendirikan tanggul di Waringin Sapta. Untuk menjaga supaya tanggul tidak rusak, Raja Airlangga menunjuk rakjat setempat untuk memeliharanya, dan sebagai imbalan daerah tersebut dibebaskan dari kewajibannya membayar pajak. Akibatnya, rakyat makmur, pelayaran di Sungai Brantas bertambah ramai dan Pelabuhan Hujung Galuh menjadi pusat perdagangan antar pulau. Diorama ini menggambarkan ketika sungai Brantas sedang dibendung dekat Kelagen dan diawasi oleh Raja Airlangga.

• DIORAMA 4: WARINGIN SAPTA DAM (11TH CENTURY)

After King Airlangga obtained his right domain, he endeavored to promote the prosperity and welfare of his people. The Brantas River which frequently over-flowed its bank caused much damage to large areas of the people's rice fields, was dammed up by rearing dike in order to control the flood and provide irrigation. To guard the dike against harm and damage, he ordered the local people to maintain it, and as a compensation he decreed them free from taxes and as a result the people prospered, the trip increased in Brantas river, and Hujung Galuh became the center of inter island trading. The diorama shows the Brantas River being dammed up near the village of Kelagen and King Airlangga supervising.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

CANDI JAWI PERPADUAN SIVAISME DAN BUDDHISME, 1292

• DIORAMA 5: CANDI JAWI PERPADUAN SIVAISME-BUDHISME (1292)

Candi Jawi terletak di Gunung Welirang, sebelah barat daya Pandakan di tepi jalan ke Prigen dan didirikan untuk makam Raja Kertanegara, raja terakhir kerajaan Singasari yang meninggal pada tahun 1292. Dibagian atas candi terdapat arca Budha Aksobhya sedangkan di bagian bawah caridi terdapat arca Siva-Mahadewa. Dari bangunan ini dapat diketahui bahwa pada jaman Singasari dan Majapahit terjadi perpaduan Sivaisme-Budhisme. Diorama ini menggambarkan ketika pemimpin agama Budha serta pengikut-pengikutnya sedang mengadakan upacara keagamaan di Candi Jawi

• DIORAMA 5: JAWI TEMPLE, A BLEND OF SIVAISM-BUDDHISM (1292)

Candi Jawi is located at Gunung Welirang. South-west of Pandaan along side the road to Prigen, East Java and founded as the grave of King Kartanegara, the last King of the Singasari Dynasty, who died in 1292. It features Buddha statue at its upper part and statue of Siva-Mahadewa at its lower part. From the Candi can be deducted that at time a merging of Sivaism and Buddhism occurred in the era of Singosari and Majapahit dynasties. The diorama shows a Buddhist priest and monks conducting a religious ceremony at Candi Jawi.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

SUMPAH PALAPA 1331

• DIORAMA 6: SUMPAH PALAPA (1331)

Dalam rangka membela integrasi Negara Majapahit, Gajah Mada seorang Patih dari Kerajaan Majapahit yang terkenal, bersumpah tidak akan makan Palapa sebelum Nusantara dapat dipersatukan di bawah mahkota Majapahit. Peristiwa ini dikenal dengan nama Sumpah Palapa. Sumpah itu dilakukan di Panangkilan, suatu tempat yang terletak di sebelah selatan alun-alun Majapahit. Pada saat itu banyak rekan-rekan Gajah Mada yang menertawakan dan mencemoohkannya. Namun Gajah Mada tejap teguh pada pendiriannya dan akhirnya berhasil menepati janji itu. Diorama ini menggambarkan Patih Gajah Mada dengan menggenggam sebilah keris mengucapkan Sumpah Palapa di hadapan prajurit-prajurit kerajaan Majapahit.

• DIORAMA 6: THE PLEDGE OF PALAPA (1331)

In his effort to maintain the integration of Nusantara, Gajah Mada, the famous Vice-regent of the Majapahit Kingdom, pledged not to eat Palapa (rice with side dishes) before Nusantara (the Indonesian Archipelago) has been united under the reign of Majapahit. The pledge took place at Penangkilan, a certain place south of the Alun-alun of Majapahit. Many of his contemporaries laughed and ridiculed him. Gajah Mada. however, held firmly and eventually fulfilled his promise. The diorama shows Gajah Mada being pledged in front of the Gajah Mada troops.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

ARMADA PERANG MAJAPAHIT ABAD KE-14

• DIORAMA 7: ARMADA PERANG MAJAPAHIT (ABAD KE 14)

Setelah Gajah Mada meninggal, timbul kesulitan dalam pemerintahan Raja Hayam Wuruk. Pemerintah yang baru berusaha mengekalkan keutuhan negara. Maka tindakan-tindakan ditujukan kepada kemakmuran rakyat dan keamanan daerah-daerah mendapat prioritas utama. Upaya tersebut dilakukan dengan memperkuat armada Majapahit dengan tujuan untuk menjaga keutuhan Nusantara dan mengatasi tindakan pengacauan yang dilakukan oleh Cina. Diorama ini menggambarkan armada Majapahit sedang menghadang kapal-kapal Cina di perairan Nusantara.

• DIORAMA 7: THE FLEET OF MAJAPAHIT (14TH CENTURY)

After the death of the prominent figure Gajah Mada. disturbances arose under the reign of King Hayam Wuruk. The new sovereign strove to enforce the unity of Majapahit Kingdom. So, efforts for the people's prosperity and the defence of all territory were given high priority. This was proved by strengthening the Majapahit's fleet with the aim to safeguard Nusantara's unity and resist attempts to create disorders by Chinese fleet, among other things. The diorama shows the Majapahit's fleet succeeds in driving away the Chinese fleet.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

UTUSAN CHINA KE MAJAPAHIT 1405

• DIORAMA 8: UTUSAN CINA KE MAJAPАНІТ (1405)

Semasa pemerintahan raja Wikrama-wardhana, hubungan persahabatan dengan negara-negara tetangga berlangsung baik. Hal ini terbukti dengan kedatangan Cheng Ho, utusan kerajaan Kaisar Cina ke Majapahit sebagai pengakuan kedaulatan Kerajaan oleh Cina. Diorama ini menggambarkan Cheng Ho sedang membawa hadiah dari Kaisar Cina sedang menghadap raja Wikramawardhana.

• DIORAMA 8: THE CHINESE ENVOY TO MAJAPAHIT (1405)

In the reign of king Wikramawardhana friendly relations with neighboring states and kingdoms were main-tained in good order. This was confirmed with the com-ing of Cheng Ho, the Emperor of China delegation visiting Majapahit as recognition of the Kingdom's sovereignty by China. The diorama shows Cheng Ho with presents from the Emperor of China makes a formal appearance before King Wikramawardhana.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

PERANAN PESANTREN DALAM PENYATUAN BANGSA, ABAD KE-14

• DIORAMA 9: PESANTREN SEBAGAI PEMERSATU BANGSA INDONESIA (ABAD KE 14)

Salah satu cara untuk menyebarkan Agama Islam di Indonesia adalah melalui pendidikan di pesantren atau pondok yang diselenggarakan oleh guru-guru agama, kyai-kyai atau ulama. Pesantren merupakan lembaga penting dalam penyebaran agama Islam. Di tempat ini dilakukan pembinaan calon-calon guru agama, kyai-kyai atau ulama. Setelah keluar dari pesantren itu mereka akan kembali ke daerah asal masing-masing. Pesantren-pesantren beserta kyai-kyai mempunyai peranan yang penting dalam proses pengembangan pendidikan masyarakat. Semakin terkenal kyai yang mengajar itu semakin terkenal pesantrennya dan pengaruhnya akan mencapai radius yang lebih jauh lagi. Dengan cara ini integrasi nasional berdasarkan Islam meliputi wilayah yang makin lama makin luas. Diorama ini menggambarkan suasana pengajaran di Pondok Pesantren yang dipimpin oleh Sunan Giri di Jawa Timur.

• DIORAMA 9: MOSLEM BOARDING SCHOOLS IN UNITING THE NATION (14TH CENTURY)

One of the methods of spreading the Islam in Indonesia is education conducted in the Pesantren (Moslem Boarding Schools) by religious teachers, scholars or kiaies. Pesantrens are significant institution in the spreading of Islam. After graduation, the students return to their homestead or villages. At their homestead they become prominent religious figures and establish their own Pesantrens. The Pesantren and Muslim religious leaders rep-resent an important element in the propagation of Is-lam and the spread of education. The more well-known the kiaies the more well-known his Pesantren and his influence will be widespread. This way the longer the wider the area of integration based on Islam. The diorama shows the atmosphere of Islamic teaching at a pesantren led by Sunan Giri in East Java

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

PERTEMPURAN PEMBENTUKAN JAYAKARTA, 22 JUNI 1527

• DIORAMA 10: PERTEMPURAN SUNDA KELAPA (1527)

Dalam usaha menyerang Malaka yang diduduki Portugis, Sultan Trenggono dari Demak tidak melakukannya secara langsung melainkan dengan jalan mengisolasi daerahnya dari pengaruh Portugis, terutama daerah-daerah yang pendukungnya belum masuk Islam. Setelah diketahui bahwa Portugis berhubungan dengan Raja Samian yang saat itu menguasai Pelabuhan Sunda Kelapa, Sultan Trenggono segera memerintahkan menantunya, yakni Pangeran Fatahillah, untuk segera menduduki Banten, Sunda Kelapa dan Cirebon. Pada tahun 1522 Penguasa daerah Sunda Kelapa. Raja Samian, mengadakan perjanjian dengan wakil Portugis. Henrique Leme, yang memberikan izin mendirikan benteng bagi Portugis. Ekspedisi Demak yang dipimpin Fatahillah pada tahun 1527 berhasil menduduki Banten, Sunda Kelapa dan Cirebon. Untuk menagih janji Raja Samian, pada tahun 1527 Portugis mengirim ekspedisi terdiri dari 6 buah kapal yang dipimpin oleh Francisco de Sa. Ternyata Portugis tidak lagi berhadapan dengan kerajaan Hindu melainkan dengan kerajaan Islam. Setelah tuntutan mereka ditolak oleh Fatahillah mereka mencoba mendaratkan tentaranya. Usaha tersebut dilawan oleh Fatahillah sehingga terjadilah pertempuran yang berlangsung di Teluk Sunda Kelapa. Armada Portugis akhirnya berhasil dipukul mundur. Peristiwa ini diabadikan dengan mengganti nama Sunda Kelapa menjadi Jayakarta. Diorama ini menggambarkan pertempuran yang berlangsung di Teluk Sunda Kelapa pada tanggal 22 Juni 1527.

• DIORAMA 10: THE BATTLE OF SUNDA KELAPA (1527)

In the effort to attack Malacca which was ruled by the Portuguese, Sultan Trenggono of Demak did not carry it out directly but he isolated his area from the influence of the Portuguese, especially the area whose inhabitants were not converted yet to Islam. When he realized that the Portuguese was in contact with King Samian, the authority of Sunda Kelapa, Sultan Trenggono immediately ordered his son-in-law to occupy Banten. Sunda Kelapa and Cirebon. In 1522, King Samian signed an agreement with the Portuguese, represented by Henrique Leme which gave the Portuguese the right to build a fortress for his trade interest in Sunda Kelapa. Early in 1522 Demak expedition led by Fatahillah succeeded in occupying Banten, Sunda Kelapa and Cirebon. To press his claim further on King Samian, on 1527, the Portuguese sent an expedition of six ships led by Francisco de Sa. But evidently they did not oppose, a Hindu kingdom anymore, but an Islamic monarch. When their demand were rejected by Fatahillah, they tried to embark with force and so began the siege of the Bay of Sunda Kelapa. The Portuguese was then successfully by Fatahillah's troops. This event is immortalized by changing the name of Sunda Kelapa to Jayakarta (Glorious City). The diorama shows the battle of Sunda Kelapa on A June 22, 1527 when the Prince Fatahillah and his troops defeated the Portuguese fleet off Sunda Kelapa Bay

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

ARMADA PERANG BUGIS, ABAD KE-15

• DIORAMA 11: ARMADA DAGANG BUGIS (ABAD KE 15)

Pelayaran orang Makasar dan Bugis dengan pinisi mulai abad ke 15 atau sebelumnya sudah meliputi hampir seluruh perairan Nusantara. Cerita tentang pengembaraan Sawerigading bisa memberi petunjuk tentang luasnya daerah-daerah yang dikunjungi. Gambaran lebih jelas baru diperoleh dari catatan pada masa sesudahnya. Misalnya dalam tulisan tentang hukum laut Amanna Gappa dan juga dari peta laut Bugis. Dari bukti-bukti ini kita melihat bahwa pelayaran mereka sampai ke Aceh. Kedah, Kamboja. ke Timur sampai ke Kei dan Teluk Ternate dan ke Utara sampai ke pulau-pulau Filipina (Sulu) dan Kalimantan Utara (Berau). Selanjutnya, menurut kisah Daeng Saro dari kampung Bontoranu, pelayaran penangkap-penangkap teripang dari Sulawesi Selatan sampai ke Marege, yaitu nama penduduk asli Australia dalam bahasa Bugis dan Makasar mengambil rute Ujung Pandang, Selayar, Wetar, Kisar. Leti dan Moa, selajutnya ke arah Tenggara ke pelabuhan Darwin. Diorama ini menggambarkan pelayaran armada dagang Bugis.

• DIORAMA 11: THE BUGINESE MERCANTILE FLEET (15TH CENTURY)

The voyages of the Makassarese and Buginese using pinisi (Bugis traditional cargo boat) in the 15th cen-tury and before reached almost all the outskirts of the Indonesian archipelago and beyond. The story of Sawerigading adventures showed how wide was their visitation area. The figure became cleaner when the new evidence was obtained from the sea law Amanna Gappa and the Buginese nautical chart. From these evidences we could see that their voy-ages reached Aceh, Kedah, Cambodia, and east to Kei islands and Ternate Bay, and north to the Philippines archipelago (Sulu) and northern Kalimantan (Borneo). Furthermore, according to Daeng Saro story of the Bontoranu village, the voyages of fishermen from South Sulawesi to Marega took the route Ujung Pandang, Selayar, Wetar, Kisar, Leti and Moa, and then to south-east heading for Darwin sea port. The diorama shows a number of the Buginese mercantile fleet being ready to sail away.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

PERANG MAKASSAR, 1654-1668

• DIORAMA 12: PERANG MAKASAR (1654 - 1668)

Saingan V.O.C. dalam perdagangan abad ke 17 adalah Makasar. Sultan Makasar, Hasanuddin, membuka pelabuhannya untuk negara asing yang mau berhubungan dagang dengan Makasar. Melihat perkembangan Makasar dan sikap Sultan yang menjalankan politik bebas dalam perdagangan itu. Kompeni kemudian menggunakan politik pecah belah dan kuasai dengan menunggangi Aru Palaka. Sultan Hasanuddin terpaksa menerima perjanjian Bonggaya yang ditandatangani tanggal 18 November 1667. Dalam perjanjian ini V.O.C. diberi hak untuk membuat benteng di Makasar yang akhirnya mengurangi ruang gerat bagi pelaut Makasar. Diorama ini mnggambarkan Sultan Hasanuddin memimpin pertempuran mempertahankan benteng Sombaopu dari serbuan Belanda pada tnggal 8-9 Agustus 1668.

• DIORAMA 12: MAKASSAR WAR (1654-1668)

The V.O.C. trading competitor on 17th century was Makassar. Sultan Hasanuddin of Makassar adopted a policy of free trade with all nations, he opened his Port for foreign traders who desired to trade with Makassar. Observing the growth and development of Sultan's policy, the V.O.C. (the Dutch East Indies Com-pany that held a monopoly in Indonesia 1602-1799) decided to use its 'the divide and rule' policy by using Aru Palaka. Sultan Hasanuddin was forced to accept the Bonggaya treaty which was signed on 18 Novem-ber 1667. The V.O.C. was given the right to build a fortress in Makassar and afterwards was able to decrease the space of activities of the Makassar fleet. The diorama shows Sultan Hasanuddin personally leads the fight defending Sombaopu fortress against the Dutch attack on 8-9 August 1668.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

PERLAWANAN PATTIMURA, 1817

• DIORAMA 13: PERLAWANAN PATTIMURA (1817)

Berdasarkan Konvensi London tahun 1814, Belanda berkuasa kembali di Indonesia serta mengulangi menjalankan monopolinya di mana segala sesuatu yang bersifat eksploitasi dilaksanakan kembali. Rakyat Maluku dipimpin oleh Pattimura dan dibantu oleh Christina Martha Tiahahu menolak politik monopoli tersebut kemudian memberontak terhadap Belanda. Diorama ini menggambarkan serbuan rakyat Maluku di bawah pimpinan Pattimura pada tanggal 15 Mei 1817 berhasil merebut benteng Duurstede di Pulau Saparua di mana hampir seluruh tentara Belanda di dalam benteng ini terbunuh.

• DIORAMA 13: PATTIMURA UPRISING (1817)

Based on the London Convention in 1814, the Dutch Government reclaimed their sovereignty in Indonesia and re-established their policy of monopoly in trade by reinforcing their method o f exploitation. The people of the Mollucas led by Pattimura and assisted by Christina Martha Tiahahu rejected the monopoly policy and then revolted against the Dutch. The diorama shows Pattimura and his troops succeeding in capturing the Dutch fortress Duurstede. The uprising broke out on May 15th, 1817, on Saparua island whereby most of the Dutch soldiers were killed in the fortress.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

PERANG DIPONEGORO, 1825-1830

• DIORAMA 14: PERANG DIPONEGORO (1825 - 1830)

Perang yang dicetuskan pada tahun 1825 oleh Pangeran Diponegoro merupakan suatu perlawanan rakyat semesta. Perang selama 5 tahun itu (1825-1830) berlangsung secara terus menerus sehingga Belanda menderita kerugian sebanyak 15.000 tentara dan biaya sekitar 20 juta gulden. Diponegoro beserta para pembantunya seperti Mangkubumi. Kyai Modjo, Sentot Prawirodiredjo dan pahlawan-pahlawan lainnya hingga tahun 1828 menguasai medan perang. Untuk mengakhiri perang. jerideral de Kock menggunakan siasat benteng stelsel dengan tujuan mempersempit daerah operasi Diponegoro dan mendesaknya ke daerah selatan. namun tidak berhasil. Dengan perangkap berkedok perundingan, akhirnya Diponegoro pada tanggal 28 Maret 1830 ditangkap di Magelang. Diponegoro meninggal dunia dalam benteng Belanda Ujung Pandang di Makasar pada tanggal 8 Januari 1855. Diorama ini menggambarkan pertempuran di tepi sungai Bogowonto di mana Diponegoro berhasil mengalahkan pasukan Kavaleri Belanda.

• DIORAMA 14: THE DIPONEGORO WAR (1825-1830)

The war ignited in 1825 by Prince Diponegoro constituted a total war involving the whole population. That five-year war in Central Java went on continuously caused the Dutch lost 15,000 soldiers and 20 million guilders. In 1825 Diponegoro and his assistants such as Mangkubumi, Kyai Mojo, Sentot Prawirodirjo and other heroes dominated the battle field. In his effort to win the war, General de Kock applied the benteng stelsel (Fortress System) with the aim to decrease Prince Diponegoro's operational areas and drive him south-ward, but without success. Pretending that they were willing to negotiate, the Dutch lured the Prince into cap-tivity on 28 March 1830 in Magelang. Prince Diponegoro died on 8 January 1855 in the Dutch fortress in Ujung Pandang. The diorama shows the battle near the Bogowonto River where Prince Diponegoro and his troops defeated the Dutch troops.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

PERANG IMAM BONJOL, 1821-1837

• DIORAMA 15: PERANG IMAM BONJOL (1821 - 1837)

Perang yang berlangsung dari tahun 1821 - 1837 itu dapat dibagi dalam 3 tahap. Tahap pertama, perang antara kaum adat dengan kaum agama. Hal ini terjadi setelah kembalinya 3 orang ulama dari tanah suci. Mereka melihat keadaan kehidupan di tanah airnya jauh dari pada kesesuaian dengan ajaran-ajaran Islam. Oleh karena itu, mereka bermaksud hendak mengadakan pembaruan-pembaruan, tetapi ditentang oleh kaum adat. Pemimpin kaum ulama yang menjadi terkenal dalam perang ini ialah Tuanku Imam Bonjol. Tahap kedua: Kaum adat dibantu Belanda melawan kaum ulama. Pertempuran-pertempuran yang terjadi antara tahun 1821 1825 di Sulit Air, Para Palam dan Sawah Tengah. Tahap ketiga: Setelah Perang Diponegoro berakhir, perlawanan terhadap Belanda dilakukan oleh kaum ulama bersama kaum adat. Barulah dengan kekuatan militer yang besar pada tahun 1837 Belanda berhasil merebut Bonjol, daerah pertahanan terakhir Tuanku Imam Bonjol. Diorama ini menggambarkan tatkala Tuanku Imam Bonjol memimpin perlawanan terhadap Belanda.

• DIORAMA 15: THE IMAM BONJOL WAR (1821 - 1837)

The war which took place in 1821 - 1837 could be divided into three phases. The first phase: the war between the traditionalists against the religious group from Mecca. They were observing the backward way of life a far cry from the Islamic teachings. They tried to bring upon innovations which the traditionalists rejected. A leading prominent figure who became famous in this war was Tuanku Imam Bonjol. The second phase: After the Dutch government decided to take side with the traditionalists against the religious group. The battle broke out in Sulit Air, Para Palam and Sawah Tengah in 1821-1825. The third phase: After the Diponegoro war ended, both opponents came together and opened the resis-tance struggle against the Dutch. Eventually with large military force in 1837, the Dutch was able to seize Bonjol, the last resistance stronghold of Tuanku Imam Bonjol. The diorama shows Tuanku Imam Bonjol who per-sonally leads the fighting against the Dutch

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

PERANG BANJAR, 1859-1905

• DIORAMA 16: PERANG BANJAR (1859-1905)

Sudah sejak beberapa waktu Belanda memperoleh hak ikut campur tangan mengatur penggantian Sultan Banjar. Pada tahun 1824 timbul persoalan penggantian Sultan dimana Belanda memaksakan kehendaknya untuk menempatkan calon pilihannya. Hal ini ditentang oleh Sultan dan rakyatnya. Putra Mahkota yang ditunjuk oleh Sultan yaitu Prabu Anom ditawan oleh Belanda di Banjarmasin. Calon lainnya, Pangeran Hidayatullah, juga ditawan oleh Belanda dan dibawa ke Jawa. Inilah yang menyebabkan Pangeran Antasari dan rakyat Banjar mengangkat senjata melawan Belanda pada tahun 1859. Pada tanggal 9 -10 Mei 1859 Pangeran Antasari melakukan pengepungan dan penyerangan terhadap tambang batu bara Belanda di Pengaron. Diorama ini menggambarkan rakyat Banjar dipimpin oleh Pangeran Suropati menyerang kapal Belanda di Lontartur, sungai Kapuas.

• DIORAMA 16: THE BANJAR WAR (1859-1905)

From some period of time, the Dutch government created a right to have a say in choosing the crown suc-cessor of the Sultan of Banjarmasin and eventually in 1824 arose the matter to replace the Crown Prince in which the Dutch forced their decision to place their nominee. This was opposed by the Sultan and his people. The Crown Prince of the Sultan's choice, Prabu Anom, was captured by the Dutch in Banjarmasin. An-other successor, Prince Hidayatullah, was also captured and exiled to Java. This caused Prince Antasari and his people opposed the Dutch intervention in the adminis-tration affairs of the Sultanate of Banjar in South of Kalimantan in 1859. On 9-10 May 1859 Prince Antasari and the Banjar people encircled and attacked the Dutch coal mine in Pengaron. The diorama shows the people of Banjar led by Prince Suropati attack the Dutch sailing vessel in Lontartur, Kapuas river.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

PERANG ACEH, 1873-1904

• DIORAMA 17: PERANG ACЕН (1873 - 1904)

Pada tahun 1871 Belanda dan Inggris mengadakan perubahan Traktat London sebagai rangkaian dari Konvensi London tahun 1814. Pembaruan terakhir bernama Traktat Sumatra yang memberikan kepada Belanda kekuasaan atas Sumatra. Perjanjian ini membuka jalan kepada Belanda untuk menduduki Aceh. Perang Aceh pecah akibat konflik yang semakin meruncing ketika pada tahun 1873 Belanda menuntut agar Aceh menghentikan hubungannya dengan negara-negara lain ditolak. Belanda segera mengirimkan ekspedisi militer ke Aceh, tetapi merekadikalahkan, bahkan panglimanya JHR Kohler tewas dalam pertempuran tanggal 13-14 April 1973 di depan Masjid Agung Baiturrahim. Diorama ini menggambarkan pertempuran sengit di halaman Masjid Agung Baiturrahim ketika JHR Kohler menjadi korban penembak jitu Aceh.

• DIORAMA 17: THE ACEH WAR (1873 - 1904)

In 1871 the Dutch and the British amended the London Treaty as an attachment to the London Con-vention 1814. The last renewal was the Sumatra Treaty which gave the Dutch sovereignty over Sumatra. This treaty opened the way for the Dutch to occupy Aceh. The Aceh war broke out as a result of mounting conflicts when in 1873 the Dutch demanded the de-crease of Aceh's relation with foreign countries but it was rejected by the Aceh authority. The Dutch immediately sent in a military expedi-tion to Aceh, but they were defeated, more over the army commander JHR Kohler was killed in a battle near the grand Mosque Baiturrahim. The diorama shows the fierce fighting on 13 April 1973 around the Baiturrahim grand Mosque when JHR Kohler was hit by Acehnese sniper.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

PERLAWANAN SISIMANGARAJA, 1877-1907

• DIORAMA 18: PERLAWANAN SI SINGAMANGARAJA (1877 - 1907)

Dengan dalih bahwa zending sering diganggu oleh pasukan Si Singamangaraja, Belanda mendapatkan kesempatan melakukan ekspedisi ke Tanah Batak, Tapanuli. Bentrokan pertama dengan Belanda terjadi pada tanggal 15 Februari 1878, setelah terlebih dahulu Si Singamangaraja memberi peringatan kepada pasukan Belanda supaya meninggalkan Tapanuli. Perlawanan terhadap kolonialis Belanda ternyata mendapat bantuan dari rakyat Aceh dan Minangkabau. Penyerangan besar-besaran terhadap markas Belanda dengan bantuan rakyat kedua daerah tersebut dilakukan pada tahun 1887. Perjuangan Si Singamangaraja berlangsung hingga awal abad ke dua puluh. Si Singamangaraja gugur dalam pertempuran di Pearaja Diri pada tanggal 17 Juni 1907. Diorama ini menggambarkan pertempuran di Tanggabatu dekat kota Balige pada tahun 1884 ketika Si Singamangaraja berhasil memukul mundur pasukan Belanda.

• DIORAMA 18: SI SINGAMANGARAJA REVOLT (1877 - 1907)

With the excuse that the missionaries were frequently assaulted by Si Singamangaraja, the Dutch government seized at the opportunity to expand their territory to land of Batak People, Tapanuli. The first con-tact took place on February 15, 1878, after Si Singamangaraja reminded the Dutch to leave Tapanuli. The resistance movement against the Dutch was aided by the people of Aceh and Minangkabau. The large scale offensive to the Dutch headquarter with the assistance of both neighboring people took place in 1887. Si Singamangaraja's struggle went on until the beginning of the twentieth century. He was killed in a battle in Pearaja Diri on June 15, 1907. The diorama shows the battle at Tanggabatu near Balige in 1884 where Si Singamangaraja repulsed the Dutch troops.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

PERTEMPURAN JAGARAGA, 1848-1849

• DIORAMA 19: PERTEMPURAN JAGARAGA (1848-1849)

Pada tahun 1841 Belanda memaksakan penghapusan peraturan tawan karang yang diakui sebagai lembaga hukum adat di Bali. Menurut peraturan tawan-karang semua muatan kapal yang kandas menjadi milik raja dan penduduk pantai, sedang penumpangnya dijadikan budak. Beberapa kerajaan di Bali menerima peraturan Belanda itu, kecuali Buleleng dan Karangasem. Dua kali Buleleng mengenakan tawan-karang terhadap kapal-kapal Belanda yang terdampar di daerahnya. Belanda menuntut agar muatan dan isi kapal itu dikembalikan, tetapi ditolak oleh Raja Buleleng sehingga perang tidak dapat dihindarkan lagi. Meskipun dalam serangan Belanda tahun 1846 Buleleng dan Karangasem dapat diduduki namun semangat juang rakyat tetap berkobar dan mereka menyiapkan pertahanan di jagaraga. Diorama ini menggambarkan pertempuran yang terjadi di muka Pura Dalem Jagaraga yang berakhir dengan gugurnya seisi Pura.

• DIORAMA 19: THE BATTLE OF JAGARAGA (1848-1849)

In 1841 the Dutch government tried to enforce the abolition of the Balinese customary law of Tawan Karang. According to the rule of Tawan Karang, the people and his King had the right to appropriate the goods of stranded ships and to enslave all passengers and crew alike. Several Kingdoms in Bali accepted this rule, except the Kingdoms of Buleleng and Karangasem. Twice the King of Buleleng applied the customary law to the Dutch stranded ship in his domain. The Dutch demanded the return of all merchandises and personnels but this was rejected by King of Buleleng caused the war could not be avoided. Although in the Dutch attack in 1846 Buleleng and Karangasem was occupied, the fighting spirit of the people was constantly exuberant and they developed a stronghold in Jagaraga. The diorama shows the tremendous battle in front of the Pura Dalem of Jagaraga, which ends with the fall of all Pura's occupants.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

TANAM PAKSA, 1830-1870

• DIORAMA 20: TANAM PAKSA (CULTUUR STELSEL) (1830-1870)

Perang Diponegoro yang berlangsung selama lima tahun (1825-1830) mengakibatkan krisis keuangan bagi kerajaan Belanda. Tetapi di daerah kerajaan Mataram, Belanda berhasil menduduki wilayah seluas 3000 km persegi yang terdiri dari tanah yang subur. Untuk mengatasi keadaan krisis itu muncul gagasan Gubernur Jenderal Van Den Bosch untuk menjadikan tanah Jawa sebagai perkebunan yang besar atas dasar perjanjian antara pemerintah Hindia Belanda dan petani. Pemerintah Belanda akan menjadi pedagang dan tuan kebun, Tanaman yang akan ditanam di Jawa haruslah tanaman yang sangat laku di pasar Eropa, seperti nila, gula, teh, lada, kopi dan kayumanis. Gagasan Van Den Bosch disetujui oleh Raja Belanda dan realisasi di Jawa dimulai tahun 1830. Dalam kenyataannya tidak terdapat kontrak antara pemerintah kolonial dengan rakyat petani, melainkan hubungan paksa. Sejak inilah dimulai periode eksploitasi tenaga rakyat secara besar-besaran. Bagi rakyat yang tidak memiliki tanah diharuskan bekerja pada perkebunan nila (indigo) seperti yang terjadi di Jawa Barat. Mereka tidak diperkenankan pulang dari tempat bekerja yang letaknya puluhan kilometer dari kampung halamannya. Mereka yang dianggap malas dikenai hukuman cambuk dan siksaan lainnya. Tanam paksa ini memberikan keuntungan luar biasa bagi pemerintah Belanda, sedangkan bagi rakyat Indo-nesia mengakibatkan penderitaan yang sangat berat. Rakyat kelaparan karena mereka tidak berkesempatan menggarap sawah dan ladangnya. Diorama ini menggambarkan penderitaan rakyat In-donesia yang dipaksa untuk bekerja keras di daerah perkebunan disertai dengan siksaan fisik.

• DIORAMA 20: THE FORCED CULTURE SYSTEM (1830-1870)

The Diponegoro War which had lasted for a term of five years (1825-1830) caused a financial crisis for the Dutch Crown. But in Mataram Kingdom area, the Dutch succeeded in controlling a 3000 km square land comprising of fertile soil. To overcome this crisis Governor General Van Den Bosch conceived the idea of making the land of Java into a big plantation on the basis of an agreement between the Dutch Indies government and the farmers. The Dutch Indies government would be the trader as well as land-lord. The plants which would be cultivated in Java ought to produce commodities being much in demand in Europe, such as indigo, sugar, tea, pepper and cinnamon. Bosch's idea was approved by the King of Netherlands and its implementation was started in 1830 in Java. In fact the work contract had never been made between the colonial government and the farmers, rather it was a forced relation. So began the extortion and the oppression of the people. Those who did not own land were forced to work in the indigo plantation for free as was known in West Java. They were forbidden to go home as they worked tens kilometers away from home. Those who were thought lazy were imposed whipping punishment and other physical torture. This system was indeed very profitable for the Dutch, on the contrary it was a misery for the Javanese people. The farmers died of starvation as they had no time at all to cultivate their own land. The diorama shows how cruelly the people are forced to work under physical torture and other punishment.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

PERANAN GEREJA PROTESTAN DALAM PENYATUAN BANGSA, 1930

• DIORAMA 21: KEGIATAN GEREJA PROTESTAN DALAM PROSES PENYATUAN BANGSA (Abad ke 20)

Gereja Protestan dengan zendingnya giat mengadakan propaganda terutama di daerah-daerah yang masih terbelakang. Selain bergerak dalam bidang keagamaan, gereja Protestan giat bergerak dalam bidang pendidikan sehingga secara langsung telah membantu menyatukan bangsa Indonesia dari berbagai suku yang sedang mengalami proses penyatuan. Selain di beberapa daerah dan kota-kota di Jawa. pusat-pusat agama Kristen terutama terdapat di Ambon. Minahasa dan Tapanuli. Pada tahun 1930 berdiri Perserikatan Kaum Christen (PKC) dan Partai Kaum Masehi Indonesia, keduanya merupakan bagian dari gerakan nasional untuk Indonesia merdeka. Diorama ini menggambarkan kegiatan umat Kristen Protestan dalam bidang sosial, pendidikan dan keagamaan.

• DIORAMA 21: THE ACTIVITIES OF THE PROTESTANT CHURCH IN UNITING THE NATION (20TH CENTURY)

The activities of the Protestant church in the field of propagation of the Protestant faith were of great sig-nificance, especially in backward areas. Apart from that, the Protestant church were active in the educational field so that it directly gave contribution in process of unification of several ethnics groups in Indonesia. Besides several regions and cities in Java, Protes-tant centers are mostly found in Ambon, Minahasa and Tapanuli. In 1930 Perserikatan Kaum Christen (Christian Association) and Partai Masehi Indonesia (Indonesian Christian Party) were set up, both were part of the national movement for the independence of Indonesia. The diorama shows the activities of the Protestant in the social and educational fields and religious affairs.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

RA KARTINI, 1879-1904

• DIORAMA 22: PERJUANGAN KARTINI (1879-1904)

Gerakan mengejar kemajuan pada akhir abad ke 19 terbukti dari kebutuhan akan pendidikan dan pengajaran yang semakin besar Tetapi pandangan umum masih dihinggapi konservatisme yang kuat bagi anak perempuan. Lahir di Jepara pada tanggal 21 April 1879 Kartını berjuang untuk memperoleh persamaan hak bagi kaum wanita dan melepaskan diri darı kungkungan dan prasangka tradisi dan adat. Kumpulan surat-surat yang dikirimkan kepada sahabat-sahabatnya di mana dia mengungkapkan buah pikiran dan cita-citanya telah diterbitkan dalam sebuah buku yang menarik berjudul Habis Gelap Terbitlah Terang (aslinya Door Duisternis tot Licht). Diorama ini menggambarkan Kartini menyelenggarakan sekolah untuk pendidikan anak-anak perempuan

• DIORAMA 22: THE STRUGGLE OF KARTINI (1879-1904)

The movement to achieve progress at the end of the 19th century was confirmed by the increasing de mands for education and studies, but the public opinion was still under great influence of the prevailing tradi tion, especially for women. Born in Jepara on 21 April1879, Kartini fought for equal rights for the Indonesian women and her libera-tion from the shackles and prejudice of the customary law and tradition. A collection of her letters to friends in which she express her thoughts and opinion were subsequently published as an interesting book entitled Letters of A Javanese Princess (onginally Door Duisternis tot Licht). The diorama shows Kartini personally conducting a class of girls students.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

KEBANGKITAN NASIONAL, 20 MEI 1908

• DIORAMA 23: KEBANGKITAN NASIONAL (20 MEI 1908)

Menjelang akhir abad ke 19 masyarakat Indonesia masih terbelakang baik di bidang politik, ekonomi, maupun sosial budaya termasuk pendidikan. Keadaan ini adalah akibat langsung dari politik kolonial Belanda yang tidak menghendaki rakyat Indonesia menjadi cerdas, karena hal itu akan membahayakan kedudukannya. Tetapi kemudian kaum kolonialis terpaksa juga memberikan pendidikan modern kepada pemuda-pemuda Indonesia, pertama untuk memenuhi kebutuhannya akan tenaga-tenaga terdidik di perusahaan-perusahaannya dan kedua untuk meningkatkan potensi masyarakat Indonesia sebagai pasar bagi industrinya. Sebagai hasil dari pendidikan itu timbul suatu generasi pemuda Indonesia yang terkena gagasan-gagasan nasionalisme dan modernisasi yang menyebar dani Eropa. Pemuda-pemuda itulah yang kemudian mengorganisir pergerakan Nasional sebagai perwujudan dan Kebangkitan Nasional rakyat Indonesia. Yang dianggap manifestasi pertama dan Kebangkitan Nasional tu adalah pembentukan organisasi modern yang pertama oleh orang Indonesia, yakni Budi Utomo. Budi Utomo dibentuk atas prakarsa beberapa mahasiswa Sekolah Dokter Jawa (School Tot Opleiding Van Indische Artsen STOVIA), seperti Sutomo, Gunawan Mangunkusumo, dan lain-lain dengan Dokter Wahidin Sudirohusodo sebagai penasehatnya. Kemudian lahirlah organisasi lain seperti Sarikat Is-lam, Indische Party, Muhammadiyah, dan lain-lain yang dalam perkembangan selanjutnya bertujuan Indonesia Merdeka. Diorama ini menggambarkan suasana Kongres Budi Utomo Pertama yang diadakan di Yogyakarta.

• DIORAMA 23: The National Resurgence (20 May 1908)

By the end of 19th century, Indonesian people were still backward politically, economically and socio-cultural including education. This was a direct result of the Dutch colonialism policy that did not want to see Indonesia become smart and intelligent as these would endanger their position. Finally, however, the colonialist had to give modern education to Indonesian youth to meet the needs for educated people at their enterprises and secondly to increase Indonesia's potentials for their market. As a result of the modern education, a younger generation of people were born who had nationalism and modernization ideals that came from Europe. Those young people who then organized the National Move-ment as the realizations of the Indonesian people's national resurgence. The first manifestation of the national resurgence was the establishment of the first modern organization by the Indonesian, Budi Utomo. Budi Utomo was established by students of native Medical College (STOVIA: School Tot Opleiding Van Indische Artsen) such as Sutomo, Gunawan Mangunkusumo etc. and Dr. Wahidin Sudirohusodo as the adviser. Afterward other organizations were established such as Sarikat Islam (Islamic Association), Indische Party (Indies Party), Muhammadiyah (an important Islamic modernist organization), and others which in their fur-ther development wanted an Independent Indonesia. This diorama shows the first congress of Budi Utomo (High Endeavor) held in Yogyakarta.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

TAMAN SISWA, 3 JULI 1922

• DIORAMA 24: TAMAN SISWA (3 JULI 1922)

Politik pendidikan pada jaman penjajahan tidak dapat dipisahkan dari kepentingan kolonial. Sebagai suatu reaksi politik, pada tanggal 3 Juli 1922 Ki Hajar Dewantara mendinkan perguruan Taman Siswa di Yogyakarta. Perkembangan perguruan ini sangat pesat sehingga pemerintah merasa khawatir. Pada tahun 1922 pemerintah mengeluarkan Ordonansi Sekolah Liar hingga praktis sekolah-sekolah swasta kehilangan identitasnya. Protes timbul dari berbagai pihak, sehingga ordonansi tersebut dicabut kembali. Semangat nasionalisme sangat menjiwai kehidupan Perguruan Taman Siswa. Pada tahun 1935 berlangsung Kongres Pendidikan Nasional yang pertama dengan tujuan hendak menggalang persatuan nasional dan mencari perumusan tentang pendidikan dan pengajaran yang bersifat nasional. Diorama ini menggambarkan Ki Hajar Dewantara yang pada tahun 1921 mendirikan organisasi nasionalis kebudayaan Indonesia yang sangat penting menyambut orang tua murid di perguruan Taman Siswa

• DIORAMA 24: TAMAN SISWA (3 JULY 1922)

The educational policy under colonial regime was inseparable from its interest. As a political reaction, on 3 July 1922 Ki Hajar Dewantara set up Taman Siswa Institution in Yogyakarta. This institution expanded rap-idly caused apprehension among the Dutch authorities In 1932 the Dutch government issued an ordinance on regulating the activities of non governmental schools. known as ordinance of illegal school. Practically it made private school lost its identity. Protest sprang up from everywhere caused the revocation of the ordinance. The spint of nationalisms inspired the existence of Taman Siswa. In 1935 the first National Education Congress took place which had the insistence on giving national unity a firm platform and setting the platform for national education and teaching. The diorama shows Ki Hajar Dewantara who in 1921 founded the very important Indonesian cultural nationalist organization Taman Siswa welcoming the students parents at Taman Siswa.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

MUHAMMADIYAH, 18 NOVEMBER 1912

• DIORAMA 25: MUHAMMADIYAH (18 NOVEMBER 1912)

Keadaan masyarakat Islam Indonesia pada abad sembilan belas dan permulaan abad dua puluh sangat menyedihkan. KH. Ahmad Dahlan tampil ke depan dengan mendirikan Muhammadiyah pada tanggal 18 November 1912 di Yogyakarta dengan tujuan untuk mengembalikan kemurnian ajaran Islam dan memperbaiki kesejahteraan masyarakat. Di dalam kegiatannya Muhammadiyah mendinkan sekolah, rumah yatim piatu, rumah-rumah sakit, pelatihan bag juru dakwah, dan organisasi kepanduan. Saat ini organisasi tersebut merupakan salah satu lembaga Islam terbesar di Indonesia. Diorama menggambarkan salah satu kegiatan kepanduan Hizbul Wathan disaksikan oleh K.H. Ahmad Dahlan

• DIORAMA 25: MUHAMMADIYAH (18 NOVEMBER 1912)

In the nineteenth century and the beginning of the twentieth century the situation of the community of Islam in Indonesia was very saddening indeed. K.H. Ahmad Dahlan came forward by setting up Muhammadiyah on 18 November 1912 in Yogyakarta. The objective of Muhammadiyah was to rejuvenate the teaching of Islam and improve the people's welfare. In its activities. Muhammadiyah established a large number of schools, orphanages, hospitals, a training course for missionaries, and scout club. Today the organization is still one of the largest Muslim bodies in the country. The diorama shows one of the activities of the Hizbul Wathan Scout Club, witnessed by K.H. Ahmad Dahlan.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

PERHIMPUNAN INDONESIA, 1922

• DIORAMA 26: PERHIMPUNAN INDONESIA (1925)

Perjuangan mencapai Indonesia Merdeka di luar negeri dipelopori oleh mahasiswa-mahasiswa Indonesia yang belajar di Negeri Belanda. Pada tahun 1908 berdiri Indische Vereeniging (Perhimpunan Hindia) yang pada mulanya bersifat sosial degan tujuan sebagai forum tempat bertemu orang-orang termasuk para pelajar yang merantau ke negeri Belanda. Pada tanggal 19 Februari 1922 perhimpunan ini mengadakan pertemuan di Den Haag dan salah satu keputusan penting yang diambil dalam pertemuan tersebut adalah penggantian nama dari Indische Vereeniging menjadi Indonesisch Vereeniging. Kemudian pada tanggal 8 Februari 1925 nama tersebut berganti menjadi Perhimpunan Indonesia. Mereka menuntut agar pemerintah Hindia Belanda bertanggung. jawab kepada rakyat Indonesia dan bukan kepada pemerintah Belanda. Akhirnya mereka menuntut kemerdekaan Indonesia yang berdasarkan kepada kekuatan din sendiri. Dibandingkan dengan rekan-rekan mereka di Indonesia, mereka lebih banyak memperoleh kebebasan bergerak. Pada bulan Februan 1927 Perhimpunan Indonesia berjuang di forum internasional dengan mengambil bagian dalam Kongres Menentang Imperialisme dan Penindasan Kolonial yang diadakan oleh Liga Anti Imperialisme dan Bagi Kemerdekaan Nasional di Brussels. Selanjutnya, propagada Perhimpunan Indonesia, semakin berani dan tajam sehingga pemerintah Belanda mengadakan penangkapan terhadap pimpinannya, yaitu Mohammad Hatta, Abdul Majid Joyohadiningrat, Ali Sastroamidjojo dan Nasir Pamuncak dengan tuduhan menjadi anggota perkumpulan terlarang, terlibat dalam pemberontakan dan menghasut untuk menentang kerajaan Belanda. Tetapi, pengadilan membebaskan mereka dari semua tuduhan. Diorama ini menggambarkan suasana pertemuan perhimpunan Indonesia yang dipimpin oleh Mohammad Hatta.

• DIORAMA 26: THE INDONESIAN ASSOCIATION (1925)

The struggle for national independence abroad was spearheaded by the Indonesian students in the Netherlands. In 1908 The Indische Vereeniging (Indies Association) was established which at first had a societal function as a meeting forum for the people included the Indonesian students who went overseas in the Netherlan's. On February 1922. the association held a meeting in The Hague and an important decision taken at this meeting was a change of the name from Indische Vereeniging to Indonesische Vereeniging. Then, on 8 February 1925 the later name was changed into the new name Perhimpunan Indonesia (Indonesian Association). They demanded that the Netherlands Indies government to be responsible to the people of Indonesia not to the Dutch government. Finally they demanded the independence of Indonesia on the basis of their own power. In comparison with their colleagues in Indonesia, they had more freedom of action. In February 1927 the Indonesian Association brought their struggle to the international forum by taking part in the Congress of Anti Colonialism and Colonial Oppression held by the League Against Imperialism and for National Inde-pendence in Brussels. Furthermore, the propaganda of Perhimpunan Indonesia became brave and sharp that its leaders Mohammad Hatta, Ali Sastroamidjojo. Nasir Pamuncak and Abdul Majid Joyohadiningrat were arrested on charges: being a member of prohibited organization, being involved in a rebellion, and instigating opposition to the Dutch crown. But then they were acquitted of all charges. The diorama shows Mohammad Hatta chairing the meeting of the association.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

THE STOVIA, 1898-1926

• DIORAMA 27: STOVIA SEBAGAI TEMPAT PERSEMAIAN PERGERAKAN PEMUDA INDONESIA (1926)

Kemiskinan bangsa Indonesia dalam arti lahir dan batin yang juga dirasakan oleh beberapa orang terpelajar, telah menggerakkan hati mereka untuk mempertinggi derajat bangsa Usaha dr. Wahidin Sudirohusodo mendirikan dana belajar tidak berjalan sebagaimana yang diharapkan. Namun cita-cita luhur yang terkandung di dalamnya telah menggugah semangat pelajar-pelajar STOVIA (School Tot Opleiding Van Indische Artsen -Sekolah Dokter Bumi Putera) di Jakarta. Pada hari bersejarah tanggal 8 Mei 1908 mereka mendirikan perserikatan bernama Budi Utomo. Kenyataannya, para lulusan dan mahasiswa STOVIA memainkan peranan penting dalam pertumbuhan gerakan nasional Indonesia modern. Diorama ini menggambarkan pertemuan yang diadakan oleh pelajar-pelajar STOVIA di gedung STOVIA yang lebih dikenal sekarang sebagai gedung Museum Kebangkitan Nasional, Jakarta. Pertemuan pertemuan semacam ini sering kali dilakukan yang merupakan kegiatan para pelajar STOVIA untuk membebaskan negerinya dari penjajahan dan keterbelakangan.

• DIORAMA 27: STOVIA AS THE PLACE FOR SEEDBED OF INDONESIA'S YOUTH MOVEMENT(1926)

The poverty of body and mind of the little men in Indonesia which strongly felt by several educated men arose their anxiety to bring enlightenment. Dr. Wahidin Sudirohusodo's effort to establish study fund did not meet the expectations, but his aspiration had awaken the STOVIA (School Tot Opleiding Van Indische Artsen) student's sprint. On the historical day, May 8, 1908 they founded Budi Utomo (High Endeavour). It was al ready known that the graduates and students of the STOVIA (a medical training college) played an impor ant role in the genesis of the modern Indonesian nationalist movement. The diorama shows the meeting of STOVIA held in STOVIA building which is known as The Museum of National Resurrection, Jakarta. Such meetings were held frequently as their activities to liberate their country from colonialism and backwardness.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

DIGUL, 1926-1927

• DIORAMA 28: DIGUL (1927)

Pada tahun 1926 di Pulau Jawa timbul pemberontakan melawan pemerintah kolonial Pemberontakan ini merupakan puncak dari gerakan tani yang mula-mula pecah di Banten kemudian menjalar ke Jawa Barat dan Jawa Tengah. Pada Januari 1927 pecah pula pemberontakan serupa di Sumatra Barat, akan tetapi dapat ditumpas dengan kejam. 13.000 orang ditangkap, diantaranya 4.500 dijatuhi hukuman dan 1.300 dibuang ke Tanah Merah, Digul Atas, Irian Jaya. Kemudian Digul Atas menjadi tempat pengasingan bagi tokoh-tokoh pergerakan nasional. Sebagai tawanan, di samping harus mencukupi kebutuhannya sendiri, mereka harus tahan melawan hawa panas dan penyakit malaria yang ganas. Diantara semua penderitaan itu yang sangat berat adalah penderitaan tekanan jiwa, sehingga di tempat pengasingan ini tercapailah puncak, penderitaan lahir dan batin. Hingga kini Digul Atas menjadi lambang pengorbanan pemimpin-pemimpin nasional kita dari generasi sebelum Perang Dunia II. Diorama ini menggambarkan sebagian tokoh-tokoh pergerakan nasional di tempat pengasingan Digul Atas. antara lain Mohammad Hatta dan Sutan Syahrir.

• DIORAMA 28: DIGUL (1927)

In the year 1926, a rebellion rose in Java against the colonial government. This rebellion was the culmination of the farmers' movement in Banten, West Java that spread through Central Java. In January 1927, in West Sumatra the same uprising broke out. Within short time both up risings were cruelly suppressed. 13.000 men were ar rested among which 4.500 were imprisoned and 1.300 exiled to Tanah Merah, Upper Digul in West Irian. Afterwards the swampy forest of Digul, in West Irian served as a home for Indonesian nationalists exiled by the Dutch colonial regime. As prisoners besides having to sustain themselves they had to stand the heat and over bearing malaria, but uppermost and culminating point of body and mental suffering. Up to the present time Digul is the symbol of sacrifice for national leaders of the generation before the second World War. The diorama shows a number of prominent figures in the national movement organizations being in exile in Upper Digul, Inan, among others. Mohammad Hatta and Sutan Syahrir.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

SUMPAH PEMUDA, 28 OKTOBER 1928

• DIORAMA 29: SUMPAH PEMUDA (28 OCTOBER 1928)

Dalam lingkungan pergerakan nasional Indonesia para pemuda telah melahirkan berbagai ragam organisasi pemuda, seperti Jong Ambon, Jong Bataks, Jong Celebes, Jong Islamiten Bond, jong Java and Jong Sumatranen Bond. Organisasi-organisasi ini pada umumnya bersifat kedaerahan dan masing-masing tidak mempunyai hubungan dengan yang lain. Lama-kelamaan iklim persatuan Indonesia mempengaruhi meseka pula dan terasa dorongan untuk membina suatu pergerakan pemuda Indonesia yang berjiwa nasional kesatuan. Usaha ke arah itu dilakukan dalam serangkaian kongres pemuda. Pada Kongres Pemuda kedua tanggal 28 Oktober 1928 di Jakarta dicetuskan Sumpah Pemuda
1. Kami putra dan putri Indonesia mengaku berbangsa yang satu. Bangsa Indonesia.
2. Kami putra dan putri Indonesia mengaku bertanah air yang satu. Tumpah Darah Indonesia.
3. Kami putra dan putri Indonesia menjunjung bahasa persatuan, Bahasa Indonesia.
Diorama ini menggambarkan suasana Kongres Pemuda Kedua pada tanggal 28 Oktober 1928 di Jakarta.

• DIORAMA 29: THE YOUTH PLEDGE (28 OCTOBER 1928)

In the circle of national movement the Indonesian youth gave birth to heterogeneous youth organizations. such as: Jong Ambon, Jong Bataks, Jong Celebes, Jong Islamiten Bond, Jong Java and Jong Sumatranen Bond. Most of these organizations had the nature of regional ism and each had no relation to others. Eventually the climate of Indonesia's unity had influenced each other and felt the willpower to found a unifying youth move-ment in the spirit of national unity. In a senes of youth congress they managed to make concrete efforts towards the youth unity. In the Second Youth Congress held on 28 October 1928 in Jakarta the youth proclaimed the Youth Pledge
1. We the Indonesia's youth admit to having one nation, Indonesia.
2. We the Indonesia's youth admit to having one motherland, Indonesia
3. We the Indonesia's youth have respect for unity language, Indonesian language.
The diorama shows the atmosphere of the Second Youth Congress on 28 October 1928 in Jakarta.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

ROMUSHA, 1942-1945

• DIORAMA 30: ROMUSHA, 1942-1945

Pada tanggal 8 Maret 1942, Panglima Tentera Hindia Belanda menyerah kepada Jenderal Hitoshi Imamura Panglima tentara ekspedisi Jepang di Kalijati. Jawa Barat. Dalam upaya memenangkan Perang Pasifik. Jepang mengerahkan seluruh tenaga dan kekayaan bumi Indonesia tanpa pembatasan apapun. Dengan meningkatya situasi perang. Jepang mengerahkan secara paksa orang Indonesia untuk dipekerjakan pada objek-objek vital dan bangunan-bangunan militer. Sebelum diangkut ke tempat-tempat yang dituju, mereka dibujuk dan diberi predikat muluk sebagai prajurit pekerja atau romusya. Dalam prakteknya mereka melaksanakan kerja-paksa dengan mengalami siksaan-siksaan tanpa diberi makan dan minum yang cukup menyebabkan puluhan ribu romusya Indonesia menemui ajalnya. Diorama ini menggambarkan bagaimana para romusya dalam keadaan kurus kering dan lemah lunglai dipaksa bekerja berat di bawah pengawasan tentara Jepang.

• DIORAMA 30: THE JAPANESE FORCED LABOUR, 1942-1945

On 8 March 1942 the Commander of the Netherlands East Indies army General Ter Poorten surrendered to General Hitoshi Imamura, the japanese expedition army commander in Kalijati, West Java. In its effort to win the Pacific War, the Japanese occupational army exploited Indonesia's human and natural resources. Since the intensity of the Pacific War increased the Japanese army conscripted Indonesian workers to forced labour to vital Japanese military installations and buildings. Before leaving for the destination places they were urged and given pomposity predicate as militia workers or romushas. in actual practice, they were sent to do forced labour under torture without enough food and drink caused tens of thousand Indonesia's romushas met their end. The diorama shows how hard the weak and emaciated labours are forced to work under the Japanese army supervision.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

PEMBERONTAKAN TENTARA PETA DI BLITAR, 14 FEBRUARI 1945

• DIORAMA 31: PEMBERONTAKAN TENTARA PETA DI BLITAR (14 FEBRUARI 1945)

Pada bulan Oktober 1943 Pemerintah Pendudukan Jepang mengeluarkan Osamu Seiroi No. 44/1943 tentang pembentukan pasukan sukarela untuk membela Tanah Jawa. Peraturan ini mendapat sambutan hangat dari kalangan masyarakat Indonesia, khususnya para pemuda yang benar-benar berhasrat untuk membela tanah air. Dengan berbondong-bondong mereka. mendaftarkan diri menjadi anggota Tentara Pembela Tanah Air (PETA). Tentara PETA dibagi atas daidan-daidan (batalyon) yang tidak ada hubungan organisatoris satu sama lainnya. Segenap Perwira. Bintara dan Tamtama Tentara PETA adalah orang Indonesia, akan tetapi mereka didampingi orang Jepang sebagai pelatih merangkap pengawas. Di Blitar terdapat pula suatu batalyon yang seperti batalyon-batalyon lainnya juga melaksanakan tugas membangun kubu-kubu pertahanan dengan memakai romusya sebagai tenaga kasar. Perasaan benci terhadap Jepang yang sudah timbul di kalangan mereka menjadi semakin mendalam setelah mengetahui keadaan keluarga mereka yang menderita sebagai akibat tindakan-tindakan Jepang ketika mereka bertugas bersama para romusya. Mereka tidak tahan menyaksikan bangsanya diperas tenaganya dan mati kelaparan. Ditambah dengan faktor aspirasi kemerdekaan, pelbagai faktor itu menyebabkan tekad bulat di kalangan mereka untuk memberontak. Dengan dipimpin oleh Suprijadi, Muradi and mendapat nasehat dari dr. Ismangil, mereka mengadakan serangkaian rapat-rapat persiapan. Dan pada tanggal 14 Pebruari 1945 pukul 03.30 dinihari mulailah pemberontakan. Mereka membunuh beberapa orang Jepang lalu mengingkir ke luar kota. Pemberontakan berhasil ditumpas oleh pihak Jepang. Suprijadi, pemimpin pemberontakan menghilang. Pemimpin-pemimpin lainnya seperti dr. Ismangil, Muradi, Sunanto, Halir dan kawan-kawannya tertangkap lalu dibawa di Jakarta pada tanggal 8 Maret 1945. Selanjutnya pada tanggal 14-16 Maret 1945 dihadapkan ke Mahkamah Militer. 6 orang dijatuhi hukuman mati, 3 orang dijatuhi hukuman seumur hidup. dan yang lainnya dijatuhi hukuman antara dua sampai limabelas tahun. Diorama ini menggambarkan serangan tentara PETA terhadap markas militer Jepang di Blitar pada tanggal 14 Februari 1945.

• DIORAMA 31: THE MUTINY OF JAPANESE TRAINED PETA ARMY IN BLITAR (14 FEBRUARY 1945)

In October 1943, the Government of the Japanese occupational army issued the Osamu Seiro No.44/1943 on the forming of the volunteer troops to defend Java. This ordinance was received with enthu-siasm by youth movements, who were very eager to defend their country. In hordes they came to enlist as soldier of the PETA (The Defenders of The Mother land). PETA was divided into several Daidans (battalions) which had no organizational connections with each other. Every private, subaltern, officer and commanding officer was an Indonesian with Japanese as instructor who also held position as supervisor. In Blitar, East Java, there was also a daidan with the same formations and construction with romushas as the main labour force which had orders to set up fortifications. A hatred feeling that had already emerged among the PETA soldiers was growing more and more when they discovered their relatives who worked with them as romusha suffered from Japanese action Obviously they could not stand seeing the people were exploited and died of starvation. All of those factors and spir ited by their aspiration for national independence caused a great deal willpower to stage a mutiny. Led by Suprijadi and Muradi, after getting dr. Ismangil's advice, they held a series of preparation meetings. On 14 February 1945 at 03.00 am the revolt against Japa-nese broke out in Blitar. They killed a number of Japa-nese and then moved to a safe place out of the city. The revolt was annihilated by Japanese. Suprijadi, the leader disappeared. Other leaders such as dr. Ismangil, Muradi, Sunanto, Halir and their compan-ions were captured and then brought to Jakarta on 8 March 1945. In 14-16 March 1945 they were brought to military court. 6 were sentenced to death, 3 were sentenced for life, and the others got two to fifteen years. This diorama shows the PETA soldiers attack the Japanese army post on 14 February 1945 in Blitar.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

PROKLAMASI KEMERDEKAAN INDONESIA, 17 AGUSTUS 1945

• DIORAMA 32: PROKLAMASI (17 AGUSTUS 1945)

Pada tanggal 17 Agustus 1945 dinihari teks Proklamasi: selesai dirumuskan oleh Ir. Soekarno. Drs. Mohammad Hatta dan Mr. Ahmad Subardjo. Beberapa jam kemudian, yaitu pada pukul 10.00 Proklamasi Kemerdekaan dibacakan oleh Ir. Soekarno yang didampingi oleh Drs. Mohammad Hatta bertempat di Jalan Pegangsaan Timur Nomor 56 Jakarta.Hadir pada saat pengucapan teks Proklamasi itu adalah:
1. Abikusno Tjokrosujoso, Sukardjo Wirja-pranoto. Sukardjo Kartohadikusumo, KHA Wahid Hasjim dan Dr. Radjiman Widiodiningrat.
2. Wakil Walikota, Suwirjo.
3. Ibu Fatmawati.
4. Ny. SK. Trimurti.
5. Para perwira PETA: Abdul Kadir, Latif Hendraningrat. dan dr. Soetjipto, Kemal Idris, Daan Jahja, Arifin Abdurrachman dan Singgih.
6. Barisan Pelopor: Dr. Muwardi dan Asmarahadi.
7. Barisan Pelopor Istimewa: Soediro, Soehoed Sastro Koesoemo, Djohar Nur dan Soepeno.
8. Pers: Soeroto, S.F. Mendoer dan Sjahruddin.
Diorama ini menggambarkan peristiwa detik-detik Proklamasi Kemerdekaan Indonesia 17 Agustus 1945.

• DIORAMA 32: PROCLAMATION OF INDEPENDENCE (17 AUGUST 1945)

Early at dawn on 17 August 1945, the text for Proclamation of Indonesian Independence was drafted by Soekamo, Mohammad Hatta and Ahmad Subardjo. A few hours later, at ten o'clock in the morning the Proclamation of Indonesia's Independence was read out by Soekarno in the company of Mohammad Hatta at Pegangsaan Timur 56 Jakarta. Present at the reading out the text of Proclamation were:
1. Abikusno Tjokrosujoso. Sukardjo Wirjopranoto. Sukardjo Kartohadikusumo, KHA Wahid Hasyim and dr. Radjiman Widiodiningrat.
2. Vice Mayor Suwirjo.
3. Ms. Fatmawati.
4. Ms. SK. Trimurti.
5. PETA officers: Abdul Kadir, Latif Hendraningrat. dr. Soetjipto, Kemal Idris. Daan Jahja, Arifin Abdurrachman and Singgih.
6. Pioneer Troops: Dr. Muwardi and Asmarahadi.
7. Special Pioneer Troops: Soediro, Soehoed Sastro Koesoemo, Djohar Nur and Soepeno.
8. Press: Soerato, S.F. Mendoer and Sjahruddin.
The diorama shows the very moment of the Proclamation of Indonesia's Independence 17 August 1945.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

PENGESAHAN PANCASILA DAN UNDANG-UNDANG DASAR 1945, 18 AGUSTUS 1945

• DIORAMA 33: PENGESAHAN PANCASILA SEBAGAI LANDASAN FALSAFAH NEGARA DAN U.U.D. 1945

Sebelum kemerdekaan Indonesia diproklamasikan tanggal 17 Agustus 1945, Badan Penyelidik Usaha-usaha Persiapan Kemerdekaan Indonesia membahas berbagai konsep falsafah negara. Diantara konsep yang terpenting adalah konsep Mr. Muhammad Yamin yang diajukan tanggal 29 Mei 1945, konsep Ir. Soekamo yang diajukan tanggal I juni 1945, lengkap dengan namanya, yakni PANCASILA dan konsep Panitia Sembilan yang biasa disebut Piagam Jakarta disusun tanggal 22 Juni 1945. Dalam sidang PPPKI tanggal 10-16 Juli 1945. disusunlah konsep Undang-Undang Dasar negara Indonesia beserta mukadimahnya. Mukadimah itu ada dalam Piagam Jakarta yang mengandung pula dasar falsafah negara. Konsep tersebut, setelah diperbaiki, disahkan oleh sidang pertama Panitia Persiapan Kemerdekaan Indonesia tanggal 18 Agustus 1945 di Jakarta sebagai Undang-Undang Dasar Negara Republik Indonesia yang kemudian dikenal sebagai Undang-Undang Dasar 1945. Diorama ini menggambarkan suasana sidang Panitia Persiapan Kemerdekaan Indonesia yang berakhir dengan disahkannya Pancasila Landasan (Dasar) Falsafah Negara dan Undang-Undang Dasar 1945.

• DIORAMA 33: THE RATIFICATION OF PANCASILA AND THE 1945 CONSTITUTION

Before the Independence of Indonesia was pro claimed, the Committee to Investigate Preparations for Indonesian Independence had studied several concepts for the state philosophy, particularly Mr. Muhammad Yamin's concept. Ir. Soekarno's concept, which outlined the Pancasila, the Five Principles. Concept of the Committee of Nine, known as the Jakarta Charter, which was drawn up on 22 June 1945. In July 10-16 1945 the Committee to Investigate Preparations for indonesian Independence composed the draft of the Constitution of the Republic of Indonesia along with its Preambule. The preambule to the Constitution was found in the Jakarta Charter which also contained the philosophy of the state. The concept, after revised, was legalized by the Indonesian Independence Preparatory Committee at its first meeting on 18 August 1945 in Jakarta as the Constitution of the Republic of Indonesia, known as the 1945 Constitution. The diorama shows the atmosphere of the meeting of the Indonesian Independence Preparatory Committee, which afterwards ratifies the Pancasila as the State Philosophy and the 1945 Constitution as the Constitution of the Republic of Indonesia.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

HARI ABRI, 5 OKTOBER 1945

• DIORAMA 34: HARI LAHIR ABRI (5 OKTOBER 1945)

Dalam Sidang Panitia Persiapan Kemerdekaan Indonesia (PPKI) tanggal 22 Agustus 1945 ditetapkan pembentukan Badan Keamanan Rakyat (BKR) yang bertugas memelihara keamanan dan ketertiban umum di daerahnya masing-masing. Untuk memperkuat perasaan keamanan umum maka pada tanggal 5 Oktober 1945 dibentuk Tentara Keamanan Rakyat. Peristiwa ini diperingati sebagai Hari Angkatan Bersenjata Republik Indonesia. Diorama ini menggambarkan Jenderal Sudirman sedang memeriksa pasukan Tentara Nasional Indone sia yang pada waktu itu anggota-anggotanya masih belum memiliki peralatan lengkap.

• DIORAMA 34: ARMED FORCES DAY (5 OCTOBER 1945)

At the meeting of the Indonesian Independence Preparatory Committee, on August 22, 1945, it was decided to set up the organization of the Badan Keamanan Rakyat (People's Security Body) with the task of maintaining the security in their territory. To strengthen public confidence and order, on 5 October 1945 the People's Security Army was formed. This event is subsequently commemorated as the Republic of Indonesia Armed Forces Day. The diorama shows General Sudirman inspecting Indonesian National Army troops the members of which, at that time, were not well equipped yet.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

PERTEMPURAN SURABAYA, 10 NOVEMBER 1945

• DIORAMA 35: PERTEMPURAN SURABAYA (10 NOPEMBER 1945)

Pada bulan Oktober 1945 Tentara Sekutu (Inggris) mendarat di Surabaya untuk melaksnakan tugas melucuti pasukan-pasukan Jepang dan membebaskan orang-orang Sekutu yang ditawan oleh Jepang. Mereka berjanji tidak mencampuri urusan dalam negeri Republik Indonesia. Ternyata Sekutu tidak menepati janjinya, sehingga menimbulkan beberapa insiden yang kemudian meningkat menjadi pertempuran. Campur tangan Pemerintah Republik Indonesia untuk menciptakan keadaan yang tenang tidak berhasil. Dalam salah satu insiden, komandan Brigade Inggris Brigjen Mallaby tertembak mati. Panglima Sekutu untuk daerah Jawa Timur, Mayjen Mansergh, mengultimatum agar rakyat Surabaya termasuk para pejabatnya menyerahkan senjatanya masing-masing sebelum pukul 06.00 tanggal 10 Nopember 1945. Ultimatum itu tidak dihiraukan rakyat Surabaya, mereka sama sekali tidak mengakui wewenang pihak Sekutu (Inggris) untuk memerintah Surabaya. Mereka hanya tunduk dan taat kepada Republik Indonesia. Pada tanggal 10 Nopember 1945 Sekutu mengerahkan segala kekuatannya di darat, laut dan udara dalam usaha membinasakan pejuang-pejuang di Surabaya. Serangan tersebut disambut dengan tekad pantang mundur oleh para pejuang sehingga beribu mereka gugur sebagai pahlawan kusuma bangsa. Diorama ini menggambarkan Pertempuran Surabaya, 10 Nopember 1945 yang kemudian diperingati secara resmi sebagai Hari Pahlawan.

• DIORAMA 35: BATTLE OF SURABAYA (10 NOVEMBER 1945)

In October 1945, the Allied Forces (British Troops) landed in Surabaya to disarm Japanese forces and to set free Allied prisoners of war arrested by Japanese. The Allied Forces promised not to interfere in the domestic affairs of the Republic of Indonesia. As a matter of fact, the Allied Forces did not keep their words and some minor incidents occurred which finally broke out in battle. The government of the Republic of Indonesia endeavored to mediate but was unsuccessful. In one of the incidents, the British Brigade Com-mander, Brigadier General Mallaby, was assassinated. Major General Mansergh, the Allied Commander in East Java, issued an ultimatum calling the Surabaya people, including their leaders to surrender all their firearms to the Allied Forces before 06.00 a.m. on November 10, 1945. The people of Surabaya ignored the ultimatum as they did not recognize the Allied (British) to govern them. They only adhered to the government of the Republic of Indonesia. On November 10, 1945 the Allied land, sea and air forces attacked the Surabaya freedom fighters. The attack was met with bravery by the freedom fighters and a great many of them died in the battle as national heroes. The diorama shows the Battle of Surabaya 10 November 1945 which is then officially comтето-rated as National Heroes Day.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

PERANAN GEREJA KATOLIK ROMA DALAM PROSES PENYATUAN BANGSA

• DIORAMA 36: KEGIATAN GEREJA KATHOLIK ROMA DALAM PROSES PENYATUAN BANGSA (1947)

Gereja Katholik-Roma melalui misinya mengumpulkan pemuda-pemuda dari berbagai suku dan daerah di bawah naungan agamanya Dengan demikian terbentuk suatu masyarakat Katholik-Roma yang di dalamnya bersemi pula semangat nasioalisme Indonesia. Mereka giat mendirikan rumah sakit dan sekolah. Terhadap cita Gita Indonesia Merdeka Perhimpunan Politik Katolik Indonesia ikut menandatangani petisi Soetardjo tahun 1936 yang menuntut kepada pemerintah kolonial untuk memberikan kemerdekaan kepada bangsa Indonesia Demikian pula dalam masa perang kemerdekaan 1945-1949 mereka bersatu dengan segenap lapisan dan golongan untuk mengusir penjajah dan memper tahankan kemerdekaan. Diorama ini menggambarkan suasana perayaan Natal yang diadakan di Semarang dan dihadiri oleh hampir segenap lapisan masyarakat

• DIORAMA 36: THE ACTIVITY OF THE CATHOLIC CHURCH IN UNITING THE NATION (1947)

The role of the Roman Catholic Church in the propagation of the Christian faith and the promotion of educational activities by the Roman Catholic missionaries contributed significantly to the unification of the nation. Besides, they were very active in building hospitals and schools. Having the Independence of Indonesia as its ideal. the Political Association of the Indonesian Catholic jointly signed the Soetardjo Petition in 1936 demand-ing the colonial government to give independence to the people of Indonesia. During the war defending the independence 19456 1949, the Roman Catholic Church united with other social groups and strata firmly to drive out the colonizer and defend freedom and independence. The diorama shows the atmosphere of the celebration of Christmas in Semarang Central Java, in the year 1947

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

GERILYA MEMPERTAHANKAN KEMERDEKAAN, 1945-1949

• DIORAMA 37: GERILYA DALAM PERANG KEMERDEKAAN (1945-1949)

Pada masa perang kemerdekaan Angkatan Bersenjata Republik Indonesia masih memiliki peralatan yang sederhana untuk melawan musuh yang memiliki perlengkapan modern Perang Dunia II Angkatan bersenjata kita menggunakan taktik geniya, menyerang secara mendadak lalu menghilang. Gerilya ini kemudian dilaksanakan sebagai Perang Rakyat Semesta Di daerah-daerah yang dikuasai musuh disusun kantong kantong gerilya untuk menegakkan kekuasaan Republik Indonesia. Sistim tersebut berkembang menjadi sistim Wehrkreise dengan menyusun daerah pertempuran dalam lingkaran lingkaran yang dapat melaksanakan pertahanan secara berdiri sendiri dengan integrasi segenap kekuatan politik, ekonomi sosial budaya dan militer. Diorama ini menggambarkan keberhasilan sejumlah kecil pasukan gerilya menghadang serta menghancurkan iring iringan pasukan Belanda di Ambarawa

• DIORAMA 37: GEURRILLA IN INDEPENDENCE WAR (1945-1949)

With the aid of obsolete weapons, the Indonesian Armed Forces and the civilian population conducted a guerrilla warfare against the Allied Forces who were trying to reinstall the Dutch colonial regime. Our troops applied the guerrilla tactics which were then camed out as a total war involving the whole population. In the region occupied by the enemy, pockets of the guerrillas were formed to establish the authority of the Republic of Indonesia. This system was developed into the Wehrinese system with the forming of operational areas in self Sustaining penmeters with the thoroughly integrated forces in the economic social, political and military elements. The diorama shows the Indonesian Armed Forces succeeding in attacking the Dutch Military convoy in Ambarawa

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

JENDERAL SOEDIRMAN, 1948

• DIORAMA 38: JENDERAL SUDIRMAN MEMIMPIN PERJUANGAN GERILYA (1948-1949)

Pada tanggal 19 Desember 1948 Belanda melancarkan aksı militer kedua dengan menyerang Yogyakarta. Ibukota Republik Indonesia. Pemerintah menunjuk Syafruddin Prawiranegara membentuk Pemerintah Darurat di Bukittinggi untuk mengambil alih sementara fungsi Pemerintah Pusat. Pada waktu itu Panglima Besar Jenderal Sudirman memutuskan untuk memimpin sendiri perjuangan gerilya. Walaupun penyakit beliau bertambah parah. nyala semangat juang beliau untuk memimpin gerilya tidak pernah terpadamkan Beliau baru kembali ke Yogyakarta pada bulan Juli 1949 setelah pemulihan kembali Ibukota Republik Indonesia di Yogyakarta. Diorama ini menggambarkan Jenderal Sudirman. memberikan dorongan semangat kepada prajurit TNI bahwa dalam keadaan sulit sekalipun pemimpin mereka tetap setia untuk memimpin perjuangan gerilya mempertahankan kemerdekaan

• DIORAMA 38: GENERAL SUDIRMAN LED A GUERRILLA STRUGGLE (1948-1949)

On 19 December 1948 the Dutch launched the second military action by attacking Yogyakarta, the capital city of the Republic of Indonesia The government authorized Syafruddin Prawiranegara in Bukittinggi to form an emergency government to take over temporarily the function of the central government. At that time it was already known that the Com mander in Chief of the army, General Sudirman, who was being very sick, had decided that he himself would lead the guerrilla struggle. Eventhough he was be coming very ill, he never gave up and his sprint to lead the guernila forces was not extinguishable. He returned to Yogyakarta in July 1949 only after the capital city of the Republic of Indonesia reinstated in Yogyakarta. The diorama shows that General Sudirman gives TNI soldiers a great moral support and strong conviction that in whatever severe situation, he shall keep his promise and lead the fight.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

PENGAKUAN KEDAULATAN, 27 DESEMBER 1949

• DIORAMA 39: PENGAKUAN KEDAULATAN (27 DESEMBER 1949)

Perjuangan gigih rakyat Indonesia melawan agresi militer kedua Belanda dan adanya desakan Dewan Keamanan PBB memaksa Pemerintah Belanda untuk kembali ke meja perundingan Perundingan tersebut diadakan di Jakarta yang menghasilkan perjanjian Roem Van Royen pada tanggal 13 Mei 1949. Isinya adalah pemulihan pemerintahan Republik Indonesia di Yogyakarta, persiapan untuk mengadakan suatu Konferensi Meja Bundar dan penarikan tentara Belanda dari Yogyakarta. Konferensi Meja Bundar dibuka pada tanggal 23 Agustus 1949 di Den Haag, berakhir 29 Oktober dan ketetapan terpentingnya adalah Kerajaan Belanda mengakui kedaulatan atas Indonesia pada Republik Indonesia Serikat. Upacara resmi pengakuan kedaulatan tersebut berlangsung tanggal 27 Desember 1949 di Amsterdam dan pada hari yang sama upacara serupa diadakan di Jakarta. Diorama ini menggambarkan pengibaran bendera Merah Putih di Istana Merdeka Jakarta, dipimpin oleh Sultan Hamengku Buwono pada upacara pengakuan kedaulatan Republik Indonesia Serikat tanggal 27 Desember 1949.

• DIORAMA 39: RECOGNITION OF SOVEREIGNTY (27 DECEMBER 1949)

The unyielding struggle against the second Dutch military action and the pressure of the United Nations Security Council forced the Dutch to return to the conference table. The conference was held in Jakarta which resulted in the Roem-Van Royen agreement on 13 May 1949. It contains that the Republic of Indonesia should be reinstated in Yogyakarta, the Round Table Conference should be conducted: and the Dutch army should be withdrawn from Yogyakarta. The Round Table Conference was opened in The Hague on 23 August 1949. It concluded on 29 October and its important provision that the Kingdom of the Netherlands recognized sovereignty over Indonesia to the Republic of the United States of Indonesia. The formal ceremony transferring sovereignty over Indonesia was held in Amsterdam, on 27 December 1949 On the same day a similar ceremony took place in Jakarta. The diorama shows the red and white flag raises in the Merdeka Palace in Jakarta at the recognition sovereignty ceremony led by Sultan Hamengku Buwono on 27 December 1949

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

KEMBALI KE NEGARA KESATUAN, 1950

• DIORAMA 40: KEMBALI KE NEGARA KESATUAN (1950)

Pengakuan kedaulatan terhadap Republik Indonesia Serikat diberikan pada tanggal 27 Desember 1949 oleh Kerajaan Belanda. Bentuk negara Serikat bukan tujuan bangsa Indonesia melainkan terpaksa diterima sebagai hasil kompromi dengan Belanda. Rakyat di setiap daerah menuntut agar bentuk negara federal dihapuskan dan diberlakukan kembali bentuk negara kesatuan. Beberapa negara bagian secara spontan menyatakan bergabung dengan Republik Indonesia yang pada waktu itu merupakan bagian dan Republik Indonesia Serikat. Puncak dan perjuangan itu adalah perundingan antara RIS dengan negara bagian Republik Indonesia yang menghasilkan keputusan tentang penghapusan bentuk negara Serikat dan pembentukan lærmbali negara kesatuan Republik Indonesia pada tanggal 17 Agustus 1950. Diorama ini menggambarkan Soepomo berpidato di hadapan massa menandai kembali terbentuknya Negara Kesatuan Republik Indonesia

• DIORAMA 40: RETURN TO THE UNITARY STATE (1950)

The recognition of the sovereignty over Indonesia to the Republic of the United States of Indonesia was given by the Kingdom of the Netherlands on 27 December 1949. The Federation States was not the main purpose of the Indonesian people but was forced upon them and was only tolerated as a result of compromise. The people in the regions had rejected to have the form of a federal states and they demanded the return to the Unitary State Consequently, several members of the United States of Indonesia spontaneously declared unification in the Republic of Indonesia. The struggle to return to the Unitary State reached its peak with the abolishment of the Federal States and the declaration of return to the Unitary State of the Republic of Indonesia on 17 August 1950 as the result of the Interstate Conference. The diorama shows Soepomo gives his speeches before the mass meeting signifying the return to the Unitary State of the Republic of Indonesia

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

INDONESIA MENJADI ANGGOTA PBB, 28 SEPETEMBER 1950

• DIORAMA 41: INDONESIA MENJADI ANGGOTA PERSERIKATAN BANGSA-BANGSA (28 SEPTEMBER 1950)

Perserikatan Bangsa-Bangsa memainkan peranan penting dalam memelihara perdamaian dunia serta mengatasi perbedaan diantara negara-negara di dunia, dan membantu mempercepat proses dekolonisasi. PBB serta organisasi bawahannya membantu menyelesaikan sengketa Indonesia-Belanda, maka Indonesia cenderung menjadi anggota badan dunia tersebut. Pada tanggal 28 September 1950, dalam Sidang Umum PBB di Flushing Meadow, Lake Success, Indonesia dengan suara bulat resmi diterima menjadi anggota PBB. Diorama ini menggambarkan upacara pengibaran bendera Merah Putih di PBB, New York yang menandai masuknya Indonesia menjadi anggota PBB

• DIORAMA 41: THE UNITED NATION MEMBERSHIP (28 SEPTEMBER 1950)

The United Nations Organization plays an important role in maintaining world peace and overcoming differences among nations. It also helps in accelerating the process of decolonization in the world. It was already known that the United Nations and its subordinate agencies had assisted in settling the dispute between Indonesia and the Dutch. Therefore, Indo-nesia felt the urgency to become member of the world body. On 28 September 1950 the United Nation Gen-eral Assembly held in Flushing, Lake Success unani-mously approved Indonesia as its sixtieth member. The diorama shows on 28 September 1950 the Red and White flag raises at the ceremony admitting the membership of Indonesia to the United Nations.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

KONFERENSI ASIA AFRIKA, 18-24 APRIL 1955

• DIORAMA 42: KONPERENSI ASIA-AFRIKA (18 - 24 APRIL 1955)

Sesudah berakhirnya Perang Dunia II muncul Blok Barat dan Blok Timur. Sejak saat itu dunia diliputi mendung ketidakpastian dan merasakan ketegangan karena kedua Blok tersebut terlibat perebutan pengaruh serta perlombaan persenjataan yang setiap saat dapat memicu perang nuklir. Menyadari akan bahaya ini rakyat Asia-Afrika yang berbeda-beda sistim politiknya mencari suatu persatuan untuk bersama-sama berusaha menyelamatkan dunia dari kehancuran nuklir dan membentuk dunia baru yang damai dan sejahtera bebas dari kolonialisme dan imperialisme. Melalui konperensi-konperensi di Kolombo tanggal 28 April 2 Mei 1954 dan di Bogor tanggal 28 - 31 Desember 1954 lima negara sponsor konperensi Asia-Afrika, Indonesia, India, Birma, Pakistan dan Srilanka menetapkan langkah-langkah yang lebih konkrit untuk konperensi Asia-Afrika. Konperensi Asia-Afrika yang kemudian dilaksanakan di Bandung tanggal 18-24 April 1955, dihadiri oleh 30 negara-negara Asia-Afrika dan menghasilkan suatu keputusan yang terkenal dengan nama "Dasasila Bandung". Diorama ini menggambarkan Presiden Republik Indonesia menyampaikan pidato pada upacara pembukaan Konperensi Asia-Afrika tanggal 18 April 1955 di Bandung.

• DIORAMA 42: AFRO-ASIAN CONFERENCE (18-24 APRIL 1955)

After World War II emerged two opposing forces, the West and the East Block. Since then the world was wrapped in a mist of uncertainty and felt the strain, because the two blocks fought for the supremacy in influence and weaponry in a severe cold war, which at anytime threatened the start of a nuclear warfare. Aware of this danger the Asian and African nations which have several different political aspirations tried to wedge a way to unite efforts to save the world from the disaster of nuclear warfare, and form a new world, secure and peaceful free from colonialism and imperialism. Through the preliminary conferences on 28 April -2 May 1954 in Colombo and on 28-31 December 1954 in Bogor five nations that sponsored the Afro-Asian Conference, Indonesia, India, Myanmar, Pakistan and Srilangka set up a concrete platform to hold the conference. On 18 April 1955 in Bandung the Afro-Asian Conference was opened, attended by 30 delegates. It concluded on 24 April and its result was already known as the Declaration of Ten Principles of Bandung. The diorama shows President of the Republic of Indonesia gives his speeches at the opening ceremony of the conference on 18 April 1955 in Bandung.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

PEMILIHAN UMUM PERTAMA, 1955

• DIORAMA 43: PEMILIHAN UMUM PERTAΜΑ (1955)

Sejak semula Pemerintah Republik Indonesia menyadari bahwa pemilihan umum harus dilaksanakan sebagai salah satu sarana demokrasi. Akan tetapi pada tahun-tahun pertama berdirinya. Republik Indonesia harus menghadapi musuh dari luar, sehingga pemilihan umum sulit dilaksanakan. Barulah sesudah tahun 1950 usaha untuk menyelenggarakan pemilihan umum digiatkan kembali dengan pembuatan Undang-Undang Pemilihan Umum. Keinginan untuk melaksanakan pemilihan umum dapat menstabilkan keadaan politik waktu itu dan pembangunan dapat dilaksanakan dengan sebaik-baiknya. Akhirnya semasa kabinet Burhanuddin Harahap. pemilihan umum dapat dilaksanakan, tanggal 29 September 1955 untuk wakil-wakil rakyat di Dewan Perwakilan Rakyat dan tanggal 15 Desember 1955 untuk wakil-wakil rakyat di Dewan Konstituante. Diorama ini menggambarkan peristiwa pemilihan umum pertama di Indonesia tahun 1955.

• DIORAMA 43: THE FIRST GENERAL ELECTION (1955)

From the very beginning, the Government of the Republic of Indonesia has been aware that there had to be an election in order to implement the principle of democracy. But, since beginning of her existence the Republic of Indonesia had to face enemies from outside, so that it was very difficult to accomplish elections In 1950, efforts to accomplish a general election took a concrete form with the legislation of the law of general election. The desire to act was very great, with the hope that the result of the elections would stabilize the political situation, enabling the building up of the country with the most desirable effect. Finally, under the cabinet of Burhanuddin Harahap administration the election was carried out on 29 September 1955 and on 15 December 1955 respectively for the people's representatives in Legislative Assembly and Constituent Assembly. The diorama shows the atmosphere of the first general election in 1955.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

PEMBEBASAN IRIAN JAYA, 1 MEI 1963

• DIORAMA 44: PEMBEBASAN IRIAN JAYA (Ι ΜΕΙ 1963)

Dengan dasar pemikiran bahwa wilayah kekuasaan Republik Indonesia meliputi seluruh wilayah bekas jajahan Hindia Belanda, maka segala upaya pembebasan Irian Jaya terus dijalankan. Usaha-usaha pengembalian Irian Jaya yang masih dikuasai Belanda ke dalam wilayah kekuasaan Republik Indonesia melalui meja perundingan selalu gagal. Begitupun melalui sidang-sidang Majelis Umum Perserikatan Bangsa-Bangsa. Ketika Belanda bermaksud memberikan hak menentukan nasib sendiri pada rakyat Irian Jaya yang menjurus untuk melepaskan dari Republik Indonesia dan membentuk pemerintah boneka, Indonesia memutuskan untuk membebaskan Irian Jaya dengan kekuatan senjata. Dalam rapat umum tanggal 19 Desember 1961 di Yogyakarta, Presiden mengumumkan Tri Komando Rakyat (Trikora), yang meliputi: Gagalkan pembentukan negara Papua bikinan kolonialis Belanda, Kibarkan Sang Merah Putih di Irian Jaya, dan Bersiaplah untuk mobilisasi umum. Satuan tugas dengan nama Komando Mandala dibentuk yang dipimpin oleh Mayor Jenderal Soeharto, dan dengan demikian dimulailah operasi militer ke Irian Jaya. Dalam keadaan demikian pada tanggal 15 Agustus 1962 tercapai Persetujuan New York antara Indonesia-Belanda. Pada tanggal 1 Mei 1963 secara resmi Belanda melalui PBB menyerahkan kekuasaan atas Irian Jaya kepada Indonesia. Diorama ini menggambarkan Sudjarwo Tjondronegoro mewakili Indonesia pada upacara resmi penyerahan kedaulatan Irian kepada Republik Indonesia pada tanggal 1 Mei 1963 di Jayapura. Bendera Belanda diturunkan dan bendera Indonesia dinaikkan.

• DIORAMA 44: THE LIBERATION OF IRIAN JAYA (1 MAY 1963)

Based on the conception that the Republic of Indonesia teritory of sovereignty consists of the entire former the Netherlands Indies Territory, the Republic kept on taking all necessary measures to liberate Irian. Effort to reclaim Irian back in the unity from the Dutch authority to Indonesia by means of negotiations as well as through the General Assembly of the United Nations Organization had never been successful, When the Dutch intended to give the Irian people the right of self determination which had the tendency to make it an independent state, Indonesia lost its patience which she had been trying to endeavour for 12 years and decided to take Irian by force. On 19 December 1961 at a mass meeting in Yogyakarta President declared The People's Three Commands: Foiling the establishment of the Papua State setting up by the Dutch, Raising the Red and White flag in Irian, and Getting ready for general mobilization. The special task force, known as Mandala Com-mand was set up led by Major General Soeharto and so began the military operations to Irian. Under such circumstances on 15 August 1962 Indonesia and the Dutch reached the New York agree-ment. On May 1963 the Dutch through the good offices of the United Nations officially transferred the sovereignty over Irian to the Republic of Indonesia. The diorama shows Soedjarwo Tjondronegoro, Indonesia's representative, at the ceremony transferring sovereignty over Irian to the Republic of Indonesia on May 1963 in Jayapura. The Dutch flag is lowered and the Indonesian flag raised.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

HARI KESAKTIAN PANCASILA, 1 OKTOBER 1965

• DIORAMA 45: HARI KESAKTIAN PANCASILA (1 OKTOBER 1965)

Pada masa pemerintahan Orde Lama, PKI meningkatkan serangannya terhadap kekuatan Pancasila. Karena menurunnya kesehatan Presiden Soekarno saat itu. PKI merasa adanya bahaya yang akan mengancam eksistensinya. Yang dianggap bahaya terbesar adalah pihak TNI-Angkatan Darat, karena Pemimpinnya bersikap waspada terhadap kegiatan PKI yang hendak menyelewengkan Pancasila. Untuk mendiskreditkan lawannya itu, PKI membuat fitnah terhadap Pimpinan TNI Angkatan Darat seolah-olah mereka membentuk Dewan Jenderal yang akan merebut kekuasaan negara. Dengan dalih mendahului coup Dewan Jenderal itu maka pada tanggal | Oktober 1965 PKI, dibantu oleh oknum-oknum ABRI, melancarkan Gerakan 30 September dan melakukan pembunuhan terhadap pimpinan TNI-Angkatan Darat di Lubang Buaya, Jakarta Timur. Tetapi rakyat yang berjiwa Pancasila sejati segera sadar bahwa gerakan itu bertujuan untuk melenyapkan Pancasila dan UUD 45. Dibawah pimpinan Mayor Jenderal Soeharto. Panglima Kostrad, usaha perebutan kekuasaan oleh Gerakan 30 September/PKI berhasil digagalkan dan gerakannya ditumpas dalam waktu singkat. Peristiwa ini merupakan kemenangan dari Pancasila yang telah benar-benar dihayati oleh seluruh rakyat. Diorama ini menggambarkan jenazah para Pahlawan Revolusi diangkat dari sumur di Lubang Buaya dipimpin langsung oleh Mayor Jenderal Soeharto.

• DIORAMA 45: PANCASILA SANCTITY DAY (1 OCTOBER 1965)

During the Old Order regime, the Indonesian Communist Party increased its offensive against the forces of Pancasila. Because of the decline of Presi-dent Soekarno's health, who was its ally and protec-tor, the Indonesian Communist Party felt the danger that threatened its existence. The biggest danger they considered was the Indonesian Army (TNI-AD), because TNI-AD commander were very much alert of the Indonesian Communist Party activities that had the aim of diverting the Pancasila. To bring discredit to his opponent, they slandered the TNI-AD leaders accusing them of forming a Council of General with which to carry out a coup d'etat. With the excuse of intercepting the coup d'etat of the Council of Generals, on October 1, 1965, the In-donesian Communist Party with several officers from the Armed Forces, launched the 30 September Move-ment by killing the top leaders of the army in Lubang Buaya, East Jakarta. But the Indonesian people who are true Pancasialists were immediately aware that the Indonesian Communist Party movement was aimed at destroying the Pancasila state philosophy and the 1945 Constitution. Under the command of Major General Soeharto the effort for a coup d'etat by the Indonesian Commu-nist Party were thwarted, and the movement was destroyed within a very short time. This event proved of the invulnerability of the Pancasila as it is in the soul of the people. The diorama shows on 4 October 1965 the corpses of the Revolution Heroes are lifted from the well in Lubang Buaya led by Major General Soeharto.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

AKSI-AKSI TRI TUNTUTAN RAKYAT, 1966

• DIORAMA 46: AKSI-AKSI TRI TUNTUTAN RAKYAT (1966)

Semenjak gagalnya coup berdarah yang dilakukan oleh Partai Komunis Indonesia, pemerintahan Orde Lama menjadi goyah. Di samping itu krisis politik dan ekonomi semakin parah. Mahasiswa sebagai generasi muda yang tergabung dalam Kesatuan Aksi Mahasiswa Indonesia (KAMI) mengajukan Tri Tuntutan Rakyat (Tritura), meliputi
1. Bubarkan PKI
2. Bersihkan Kabinet dari unsur-unsur G-30-S/PKI
3. Turunkan harga-harga.
Diorama ini menggambarkan suasana gelombang demonstrasi yang pada saat itu diadakan di area Taman Medan Merdeka Utara, Jakarta.

• DIORAMA 46: THE PEOPLE'S THREE DEMAND ACTION (1966)

Since the failure of the bloody coup d'etat of the Indonesian Communist Party, the Old Order regime became unstable. Besides, political and economical crisis apparent. Throughout the country, universities and high schools students with the support of the Pancasila forces and the Armed Forces, demanded:
1 Banning the Indonesian Communist Party
2. Purging communist elements from the Dwikora Cabinet
3. Lowering prices of basic commodities.
The diorama shows the demonstration to voice the people's Three Demands held in northern area of Medan Merdeka Square, Jakarta.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

SURAT PERINTAH 11 MARET 1966

• DIORAMA 47: SURAT PERINTAH SEBELAS MARET (1966)

Situasi negara Indonesia sesudah digagalkannya kudeta Gerakan 30 September/PKI merupakan masa kritis yang menggoncangkan sendi-sendi negara. Presiden Soekarno beserta pemerintahannya yang penuh dengan oknum-oknum Gerakan 30 September/PKI sama sekali kehilangan kepercayaan rakyat. Pada tanggal 11 Maret 1966 Presiden Soekarno mengeluarkan Surat Perintah kepada Jenderal Soeharto untuk memulihkan kewibawaan Pemerintah dengan jalan mengambil semua tindakan yang dianggap perlu. Jenderal Soeharto dengan cepat melaksanakan Surat Perintah | Maret 1966 itu dengan memenuhi dua diantara. Tri Tuntutan Rakyat, yakni membubarkan Partai Komunis Indonesia dan membersihkan kabinet dari menteri-menteri yang ada indikasi terlibat Gerakan 30 September/PKI atau memperlihatkan itikad kurang baik terhadap usaha-usaha pemulihan keamanan dan ketertiban. Dalam diorama ini digambarkan tiga Perwira Tinggi Angkatan Darat, yakni Mayjen Basuki Rahmat. Brigjen M. Jusuf dan Brigjen Amir Machmud sedang melaporkan Surat Perintah 11 Maret 1966 kepada Jenderal Soeharto, yang sedang berbaring karena sakit.

• DIORAMA 47:DIORAMA 47: THE WRITTEN ORDER OF MARCH ELEVENTH (1966)

The time after the failure of the September 30 Movement/the Indonesian Communist Party, a new crisis emerged which shook the foundation of the country. On 11 March 1966 President Soekarno issued his mandate to General Soeharto in order to reinstate the Government authority and restore the national security by taking any necessary measures. General Soeharto immediately executed the or-der by fulfilling two of the People's Three Demands. i.e. Banning the Indonesian Communist Party, and purging the cabinet from the ministers who were involved in the September 30 Movement/ Indonesian Communist Party or those who hampered efforts to recovering security and order. The diorama shows General Soeharto as he was very sick - lying on bed receives, from left to right, army officers Brigadier General Amir Machmud, Major General Basuki Rachmat and Brigadier General M. Jusuf who have come to report the written order of March Eleventh.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

PENENTUAN PENDAPAT RAKYAT IRIAN JAYA, 1969

• DIORAMA 48: PENENTUAN PENDAPAT RAKYAT IRIAN BARAT (1969)

Salah satu isi persetujuan New York tanggal 15 Agustus 1962 mengenai penyerahan Irian Barat kepada Indonesia adalah bahwa pada tahun 1969 harus diadakan Penentuan Pendapat Rakyat (Pepera), apakah memilih Republik Indonesia atau tidak. Pelaksanaannya akan diawasi oleh Perserikatan Bangsa-Bangsa. Timbul masalah dalam pelaksanaannya, apakah setiap orang memberikan suara langsung sebagaimana usul wakil PBB, Duta Besar Bolivia Ortin Sede, atau perwakilan setiap kelompok melalui pemilihan secara bertingkat seperti usul Indonesia. Karena usul wakil PBB adalah amat sulit untuk dilaksanakan dalam kondisi seperti di Irian Barat, usul Indonesia yang diterima. Dengan disaksikan oleh wakil-wakil PBB, pers dalam dan luar negeri serta peninjau-peninjau dari beberapa kedutaan asing di Jakarta, dimulailah Pepera tersebut dari bulan April - Juni 1969, untuk pemilihan anggota Dewan Musyawarah Kabupaten (Regency Consultative Assemblies) di mana terpilih 1026 anggota mewakili 8 kabupaten, diantaranya 43 wanita. Keputusan Dewan Musyawarah Pepera dengan suara bulat memilih Irian Barat tetap merupakan bagian dari Negara Kesatuan Republik Indonesia. Padá tanggal 19 November 1969, PBB mensahkan hasil Pepera tersebut dengan 84 suara setuju, 6 menolak dan 30 suara abstain (terutama negara Afrika). Diorama ini menggambarkan suasana Sidang Musyawarah Penentuan Pendapat Rakyaat Irian Barat pada bulan Juli 1969.

• DIORAMA 48: REFERENDUM OF THE PEOPLE OF WEST IRIAN (1969)

The contents of the agreement of New York on August 15, 1962, concerning the transfer of sovereignty of West Irian to Indonesia, said that in 1969, the people of Irian should be given the right of self-determination in order to choose whether they would consent to be a part of Indonesia or otherwise. The execution would be under supervision of the United Nations. Complication arose concerning the procedure of execution whether every voter would directly give his vote, as was suggested by the delegation of the United Nations, Bolivian Ambassador Ortin Sede, or repre-sentatives of each group and so voting in stages (Indonesia's proposal). Based on the geographical con-dition in Irian, finally Indonesia's proposal was accepted. From April to June 1969, the Indonesia's govern-ment held a United Nations' supervised referendum in West Irian, witnessed by United Nations representatives, local and foreign journalists and observers from several embassies in Jakarta in which 1026 delegates were elected representing 8 regencies, among them 43 were women. The result was a unanimous option for joining the Republic of Indonesia as an integral part of the Republic. On 19 November the United Nations approved the result of the referendum after taking of a vote, 84 in favor, 6 opposed and 30 abstain (mostly African States). The diorama shows the atmosphere of the People's Referendum Assembly in Irian in July 1969.

Caption source: MONUMEN NASIONAL: MONUMEN KEAGUNGAN PERJUANGAN BANGSA INDONESIA (NATIONAL MONUMENT: THE MONUMENT OF THE INDONESIAN NATIONAL STRUGGLE), published in 1996. Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

INTEGRASI TIMOR-TIMUR, 1976

• DIORAMA 49: INTEGRASI TIMOR-TIMUR (1976)

Keputusan Sidang Paripurna Dewan Perwakilan Rakyat Timor Timur, 31 Mei 1976, di Dili, yang pada hakekatnya merupakan perwujudan kehendak rakyat sebagai mana tertuang dalam proklamasi integrasi Timor Timur, 30 November 1975, di Balibo, mendesak Pemerintah RI agar dalam waktu sesingkat-singkatnya menerima dan mmengesahkan integrasi rakyat dann wilayah Timor Timur ke dalam negara kesatuan RI.

• INTEGRATION OF EAST TIMOR (1976)

The decision of the Plenary Session of the East Timorese People's Representative Council, May 31, 1976, in Dili, which essentially embodied the will of the people as stated in the proclamation of East Timor's integration, November 30, 1975, in Balibo, urged the Indonesian Government to accept and ratify the integration of the people and territory of East Timor into the unitary state of the Republic of Indonesia as soon as possible.

Caption source: MONUMEN NASIONAL Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

KTT KE-10 GERAKAN NON BLOK, 1992

• DIORAMA 50: KTT KE-10 GERAKAN NON BLOK (1992)

KTT ke-10 Para Kepala Negara atau Pemerintahan Negara-Negara Non Blok diselenggarakan di Jakarta. 1-6 September 1992. Presiden Soeharto dalam pidato pembukaan konperensi tersebut menegaskan perlunya suatu tata internasional baru berdasarkann perdamaian abadi, keadilan sosial, kesejahteraan rakyat dan Pembangunan berkelanjutan. Wakil-wakil dari 100 negara yang merupakan anggota Gerakan Non Blok ikut serta di dalam konperensi tersebut: 8 negara organisasi interrnasional dan gerakan pembebasan nasional menghadiri konperensi sebagai peninjau, delegasi tamu dari 22 negara organisasi internasional ikut hadir di dalam konperensi tersebut.

• DIORAMA 50: 10TH SUMMIT OF THE NON-ALIGNED MOVEMENT (1992)

The 10th Summit of Heads of State or Government of the Non-Aligned Countries was held in Jakarta from September 1-6, 1992. In his opening address, President Soeharto emphasized the need for a new international order based on lasting peace, social justice, people's welfare, and sustainable development. Representatives from 100 member countries of the Non-Aligned Movement participated in the conference: eight countries from international organizations and national liberation movements attended as observers, and guest delegates from 22 countries from international organizations also attended.

Caption source: MONUMEN NASIONAL Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

ALIH TEKNOLOGI, 1995

• DIORAMA 51:ALIH TEKNOLOGI, 1995

Keberhasilan uji terbang perdana N-250 produksi Industri Pesawat Terbang Nusantara di Bandung, 10 Agustus 1995, merupakan prestasi Putera-puteri bangsa Indonesia yang membanggakan dalam upaya mengembangkan dan menetapkan teknologi tinggi di bidang kedirgantaraan. Berkaitan dengan itu, tanggal 10 Agustus ditetapkan sebagai Hari Kebangkitan Teknnologi Nasional

• DIORAMA 51:TECHNOLOGY TRANSFER, 1995

The maiden test flight of the N-250 aircraft, manufactured by Nusantara Aircraft Industry, in Bandung on August 10, 1995, was a proud achievement for the Indonesian nation in developing and establishing high technology in the aerospace sector. Therefore, August 10th was designated as National Technology Awakening Day.

Caption source: MONUMEN NASIONAL Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

(The museum)

Interior of Museum Sejarah Nasional (National History Museum), located in the basement of Monas.

Photo taken in 2020, by Ary "Jimged" Sendy, courtesy of Hyphen—.

Hasil Jadi

• MON_JAM_00000

Photographic documentation of the installation process of selected dioramas at the National Monument (Monas), undertaken by Edhi Sunarso with the Keluarga Arca sculptor team. The series includes Diorama No. 29, Youth Pledge; No. 17, The Aceh War—initially featuring a miniature structure resembling the Baiturrahman Grand Mosque and subsequently removed from the final display; No. 37, Guerrilla Warfare during the War of Independence; No. 30, Romusha; No. 33, Ratification of Pancasila as the Foundation of the State and the 1945 Constitution (including an artist portrait before the diorama); No. 20, Cultivation System (Forced Planting); No. 23, National Awakening; No. 6, Palapa Oath; and No. 14, Diponegoro War, as well as documentation of sculptural elements in preparation prior to installation.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• MON_MER_00000

Photographic documentation of the installation and completion of the historical dioramas at the National Monument (Monas), undertaken by Edhi Sunarso with the Keluarga Arca sculptor team. The series traces a broad arc of Indonesian history: from early maritime and temple cultures—Sriwijaya Seaport and Borobudur Temple under Construction—to the fleets of Majapahit and Bugis polities and the Palapa Oath; from major regional conflicts, including the Makassar, Imam Bonjol, and Diponegoro wars, and the formation of Jayakarta, to guerrilla warfare during the War of Independence; from the emergence of modern organisations such as STOVIA and the Indonesian Association to the Romusha period; and onward to post-independence milestones, including the Asia–Africa Conference, the Liberation of West Irian, and the Recognition of Sovereignty, culminating in later national events such as the Three Demands of the People (Tritura), Pancasila Sanctity Day, and the Order of 11 March 1966 (Supersemar). The documentation further includes interior views of the diorama chamber and stages of sculptural preparation and installation on site.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• MON_POST_00000*

Photographic documentation of members of the Keluarga Arca sculptor team at work, both in the studio and on site at the National Monument (Monas). The series includes the installation of Diorama No. 7, Majapahit War Fleet; No. 40, Returning to the Unitary State; No. 45, Pancasila Sanctity Day; and No. 46, Three Demands of the People (Tritura), undertaken under the direction of Edhi Sunarso with the Keluarga Arca team.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Pemasangan Diorama

• MON_BWF_00000

Archival photographs documenting the early site condition and foundational structure of Monumen Nasional, foregrounding Edhi Sunarso and the Keluarga Arca sculptor team across successive stages of preparation, colouring, arrangement, and installation. The images encompass Diorama No. 6 Palapa Oath; No. 14 Diponegoro War; No. 17 Aceh War; No. 18 Sisingamangaraja’s Resistance; No. 20 Forced Cultivation; No. 33 Ratification of Pancasila as the Philosophical Foundation of the State and the 1945 Constitution; No. 39 Recognition of Sovereignty; and No. 46 Three Demands of the People’s Action (Tritura). Together, they trace processes ranging from miniature architectural fabrication and background painting to figure placement and the lived working conditions within the diorama chambers.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• MON_MON_KUN_00000

Archival photographs featuring Kustiyah Edhi Sunarso, Edhi Sunarso, and members of the Keluarga Arca sculptor team during the installation of the historical dioramas at Monumen Nasional. The images include Kustiyah Edhi Sunarso standing before Diorama No. 1 Ancient Indonesian Society; artists gathered in front of a diorama chamber under installation; an artist painting the background of a diorama; an artist observing Diorama No. 1; Edhi Sunarso and Kustiyah Edhi Sunarso with fellow artists at the installation site; and the placement of sculptural figures for Diorama No. 30 Romusha.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• MON_MON_MER_00000

Archival photographs documenting members of the Keluarga Arca sculptor team during preparatory stages of the diorama installations at Monumen Nasional, including the preparation of sculptural figures prior to placement and the arrangement of diorama chambers before installation.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• PRO_MON_JAK_00000

Archival photographs documenting Edhi Sunarso and members of the Keluarga Arca sculptor team during the installation and viewing of dioramas at Monumen Nasional, including scenes from Diorama No. 30 Romusha, No. 45 Pancasila Sanctity Day, and No. 1 Ancient Indonesian Society. The images capture stages of sculptural installation, background painting, and relief-making, as well as moments of artists working within the diorama chambers and standing before completed scenes. Also included are portraits of Edhi Sunarso and Kustiyah Edhi Sunarso with fellow artists at the monument, along with personal photographs depicting family life and travels in Central Indonesia.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Pembuatan Diorama

• PRO_MON_JOG_00000

Archival photographs documenting sculptural production at the Keluarga Arca studio in Yogyakarta for the historical dioramas of Monumen Nasional, including artists modelling clay figures and preparing sculptural groups prior to installation. The images feature works intended for Diorama No. 6 Palapa Oath, No. 18 Sisingamangaraja’s Resistance, No. 29 Youth Pledge, and No. 33 Ratification of Pancasila as the Philosophical Foundation of the State and the 1945 Constitution, alongside views of studio processes, grouped clay figures awaiting transport, and individual sculptural studies. The sequence concludes with a photograph of an artist standing before Diorama No. 1 Ancient Indonesian Society at the monument.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Kliping

• Tabloid Selecta No. 796

The article “Edhi Sunarso, Creator of Major Statues in Jakarta” in Tabloid Selecta No. 796 summarizes Edhi Sunarso’s journey as an important Indonesian sculptor, starting from his role in creating major monuments such as the Welcome Monument, the West Irian Liberation Monument, and the Dirgantara Monument, his role as Head of the ASRI Sculpture Department, his international achievements in London and India, as well as an explanation of the technical process of making bronze statues and dioramas, to his personal life story full of struggles since childhood, his involvement in the war of independence, his experience of being arrested and tortured by the Dutch, the process of searching for his identity and family, and his determination to pursue art education in Yogyakarta which ultimately led him to become a great artist with works that are recognized and collected nationally and internationally.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Patung 4 Sisi (tidak jadi dibuat)

• Amplop Patung Banteng_

Archival photographic sets documenting sculptural studies and unrealised monument proposals by Edhi Sunarso and the Keluarga Arca group. The materials include grouped photographs of maquettes for the proposed four-sided statues intended for Monumen Nasional, recorded from multiple angles and in several study sheets titled Monas Study Package 1 and Monas Model Study III. The project was commissioned by President Soekarno but ultimately remained uncompleted.
Also included are photographic studies related to other monumental projects, such as sculptural models for the Musi River Monument, including an elephant statue model bearing President Soekarno’s signature on the mounting sheet, and documentation of the statue’s production process. Additional images capture studio and site moments involving members of the Keluarga Arca team, views of sculptural models—including figures holding anchors—and scenes around the Monas complex, including the bull statue and gatherings of artists and visitors.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• MONAS - Patung 4 Sisi

Archival photographs documenting sculptural studies and studio processes at the Keluarga Arca sculpture studio in Yogyakarta, including numerous clay maquettes produced for the proposed four-sided statue project at Monumen Nasional, commissioned by President Soekarno to Edhi Sunarso and the Keluarga Arca group but ultimately unrealised.
The materials record multiple views of the clay figure models prepared for the project, alongside studio scenes of sculptors working on statues and relief elements, including warrior figures and other sculptural studies. The set also includes images of Edhi Sunarso modelling clay figures with a live sitter, artists arranging composite statue-and-relief models, and group photographs of Edhi Sunarso with members of the Keluarga Arca team and their sculptural works in the studio.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• Studi Patung Banteng MONAS

Documentation photographs of clay bull statue models produced by Edhi Sunarso and the Keluarga Arca group, recorded across multiple study stages: First Study (3 views and 1 additional documentation image), Second Study (3 views), Third Study (2 documentation images), Fourth Study (3 views), Fifth Study (2 views), Sixth Study (3 views), Seventh Study (3 views), Eighth Study (3 documentation images), Ninth Study (3 views), Tenth Study (2 views), Twelfth Study (3 views), and Fourteenth Study (3 views). Several documentation photographs bear the signature of President Soekarno dated 7 January 1966, indicating approval of the proposed model.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Penerbitan seputar Monas

Katalog Museum Sejarah Nasional, 1977

The National History Museum Catalogue (1978) documents the chronological presentation of Indonesian history through a series of dioramas, spanning from prehistoric societies to the national struggle to maintain independence. The publication outlines the historical narratives represented in each diorama, including key events and significant figures, and describes the visual conception of the diorama as a medium for public historical education.

Keagungan Perjuangan Bangsa Indonesia, 1996

The book Monumen Nasional: Monumen Perjuangan Bangsa Indonesia yang Agung (1996) documents the history and philosophical meaning of National Monument as a national monument commemorating the Proclamation of Indonesian Independence on 17 August 1945. The publication outlines the origins, objectives, and three principal stages of construction undertaken between 1961 and 1975, and describes key architectural components of the monument, including the History Museum Room, the Independence Room, and the Flame of Independence.

Rencana Penyempuranaan Diorama Museum Sejarah di Tugu Nasional

The publication documents the proposed improvement of the dioramas in the National History Museum at the National Monument (Monas), prepared following the Decree of the Minister of State Secretary No. 6 of 2007 concerning the formation of a committee for the enhancement of the museum’s historical diorama displays. The programme involved collaboration between the Indonesian Historians Society, the Faculty of Cultural Sciences, University of Indonesia, architects, and the original diorama designers, and presents recommendations derived from a comprehensive study addressing historical interpretation, factual accuracy, and the technical and aesthetic aspects of the existing diorama installations.

Tugu Nasional - Laporan Pembangunan, 1978

National Monument Book: Construction Report (1978) is an official publication documenting the planning, construction, and completion of the National Monument (Monas) as a monument commemorating the Proclamation of Indonesian Independence on 17 August 1945. The volume records the origins of the monument’s conception, the symbolic architectural ideas representing national identity and the spirit of independence, and the stages of construction from initiation to completion, including the participation of architects, engineers, and technical specialists, the use of construction technologies and materials, and the development of internal spaces such as the National History Museum and the summit monument structure. The publication was prepared under the direction of Prayogo and compiled by the DKI Jakarta Office of Building Design and Conservation under the leadership of W. Pragantha, with advisers Soedarmadji and J. H. Damais. Text contributions were written by Soedarsono, Imron Sugiono, and Wahjudiono, with documentation prepared by the Office of Building Design and Conservation as implementing authority for the project, graphic design by Didit Chris, Purnomo M., and Guruh Sulawat, and printing by P.T. Jayakarta Agung Offset.

Relief dan Benteng Monas

• MON_RELIEF_00000

Archival photographs documenting the production and installation of narrative reliefs at the National Monument complex, showing artists carving and finishing relief panels, studio and on-site working processes, and scenes of sculptors resting or working collectively under the supervision of Edhi Sunarso. The photographs also record completed and in-progress relief panels depicting figures and episodes from Indonesian national history, including representations of Wage Rudolf Soepratman, Ki Hadjar Dewantara, Tjipto Mangoenkoesoemo, Ernest Douwes Dekker, Mohammad Hatta, and Sukarno. Additional images document supervisory visits, inspection scenes involving project officials, and general views of the relief programme forming part of the historical narrative environment of the monument.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Riset diorama

Adegan Pepera Irian Barat

• Archival photographs documenting the Act of Free Choice (Penentuan Pendapat Rakyat / PEPERA) conducted in several locations across West Irian in 1969, recording public assemblies, local participants, and the political process determining the territory’s integration into the Republic of Indonesia. The images were later used as visual research material in the development of historical dioramas depicting the PEPERA episode for the narrative programme of the National Monument.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Adegan Tanam Paksa

• Archival sketches and documentary photographs assembled as visual research material for the development of historical dioramas depicting the system of Cultivation System (Cultuurstelsel) in the Dutch East Indies. The materials document reference imagery and preparatory studies used by artists in constructing narrative scenes of forced agricultural production for the historical programme of the National Monument.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Amplop Potret

• Archival photographs, portraits, and sketches assembled as visual reference material for the research and development of historical dioramas at the National Monument. The materials include documentary photographs from Jayapura—including scenes at the Hollandia government building used for diorama studies related to Act of Free Choice—alongside portrait references of prominent Indonesian historical figures such as Ahmad Dahlan, Mas Mansur, Wahid Hasyim, Mohammad Yamin, Wage Rudolf Supratman, Djuanda Kartawidjaja, Ernest Douwes Dekker, Abdul Muis, Sutan Sjahrir, Sam Ratulangi, Pierre Tendean, Ki Hajar Dewantara, Supeno, Ferdinand Lumban Tobing, Soepomo, Oemar Said Tjokroaminoto, Tjipto Mangunkusumo, Raden Mas Tirto Adhi Soerjo, Samanhudi, Albertus Soegijapranata, and Agus Salim. Additional reference images include portraits of other Indonesian figures, a sketch of Tuanku Imam Bonjol, scenes of Indonesian soldiers, diplomatic receptions with the Swiss Guard, and documentary photographs of children in traditional dress, reflecting the diverse visual sources consulted for the construction of historical narrative scenes.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Amplop Sketsa Diorama Monas=

• A series of photographs of sketches depicting several historical diorama scenes at the National Monument (Monas), including “Youth Pledge,” “The Aceh War,” “The Battle of Surabaya,” “Indonesian Association,” “The Palapa Oath,” “National Awakening,” “The Struggle to Return to the Unitary State,” “The Battle of Jagaraga,” “The Majapahit War Fleet,” “Recognition of Sovereignty,” “The Liberation of Irian,” “The Resistance of Sisingamangaraja,” “Indonesia Becomes a Member of the United Nations,” and “The Diponegoro War,” which were used as visual references in the planning and creation of the Monas historical dioramas.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Dari Buku Gambar

• Documentary photographs and reference materials from a sketchbook used for diorama research at the National Monument (Monas), including images numbered 11–15 depicting research references for the Bugis Incident, Battle of Bogor, Battle of Cibadak, and the Three Regions Incident, with visible documentation of the former Merdeka Hotel and the Pekalongan Residency Office. Additional materials include a map of the Bogor Bus Terminal area, landscape photographs assembled as a collage, photographs related to the Five-Day Battle of Palembang, a collection of rifle models, and a soldier in a guarding position. The collection also contains a documentary reference image with captions “Maluku Expedition Ship Model” and “Indonesian Navy, 1945,” as well as a written document containing research notes for dioramas depicting the suppression of the Three Regions Incident, including the siege and capture of Sardjio’s troops around the Merdeka Hotel by TKR/Police forces, alongside notes for the dioramas Expedition to Maluku and Seaborne Operation from Banyuwangi to Bali, detailing fleet composition and operational context. The document was prepared and signed by Drs. Sukardi, S.H., Head of the ABRI Museum Contents Group.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Draaiboek Monas - 879pgs 2

• Guidelines for the creation of dioramas at the National Monument (Monas), titled:
  1. Trikora and/or the Return of West Irian (the return of West Irian to the territory of the Republic of Indonesia).
  2. GANEFO (the opening ceremony of GANEFO, 10 October 1963).
  The document outlines the conceptual and technical direction for the diorama scenes, including the arrangement of miniature figures, architectural elements, and painted backgrounds on the left and right walls of the display. It also contains the historical script underpinning the scenes, detailing key events that form the narrative background, as well as references and sources used in the historical research.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Gambar-gambar perjuangan indonesia

• Collection of documentary photographs recording state and military ceremonies at the northern square (Alun-Alun Utara) of the Yogyakarta Palace, including the Indonesian flag raised on the palace north field, formations of fighters and soldiers marching or standing in ceremonial ranks, and crowds observing official proceedings. The photographs document appearances and speeches by Soekarno and Mohammad Hatta, alongside military and police figures including Sudirman, Raden Said Soekanto Tjokrodiatmodjo, and Hamengkubuwono IX, together with groups of state officials during ceremonies, speeches, and inspections of troops. Additional images show lines of soldiers standing at attention or saluting, armed troops in formation, National Police units including a marching band and members of the Kedoe Police Mobile Brigade demonstrating tactical skills, and scenes of military or police meetings. The set also includes images of President Soekarno inspecting the ranks of soldiers and adjusting a soldier’s uniform attributes, a woman undergoing rifle training, police personnel assembled in groups, and other documentary views of the ceremony grounds and surrounding spectators. One photograph records the presidential oath-taking of Suharto as President of Indonesia.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Peristiwa Tanjung Morawa 16 Maret 1953

• Documentary photographs recording sites, equipment, and community presence associated with agricultural activity in North Sumatra, including land belonging to the Department of Agriculture in Tanjung Morawa District, Deli Serdang Regency, a heavy machine used for field or construction work, and a group of community members documented in it.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Museum Satriamandala, Jakarta

The Satriamandala Museum is the main museum for the Indonesian National Armed Forces. Located in South Jakarta, it houses various artifacts, weapons, and vehicles.

Album Beberapa Sikap Corps Marinir AL (Jakarta, 22-8-1978)

• This photo presents a systematic documentation of standard military drill and parade positions, both armed and unarmed, shown from multiple perspectives (front, rear, right, and left), including formations such as the perfect armed stance, armed salute, armed rest, normal rest unarmed, parade armed rest/guard stance, perfect armed shoulder stance, perfect unarmed stance, and parade rest unarmed, serving as a structured visual reference to ensure accuracy of posture, alignment, and formal disciplinary standards.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Album Diorama Proklamasi Museum Eka Ekstrim Kanan Satria Mandala

• Album Diorama Proklamasi Museum Eka Ekstrim Kanan Satria Mandala #1

Documentary photographs of miniature figures, architectural elements, and supporting components used in the construction of dioramas at the Satriamandala Museum, Jakarta.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• Album Diorama Proklamasi Museum Eka Ekstrim Kanan Satria Mandala #2

Documentary photographs of miniature figures, architectural elements, and supporting components used in the construction of dioramas at the Satriamandala Museum, Jakarta.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Album Foto Perjuangan Indonesia

• Documentation of the activities of the X Garuda Mataram Brigade in Makassar under the leadership of Lieutenant Colonel Suharto in military operations to overcome the Makassar Uprising, also known as the Andi Aziz rebellion, in Makassar, South Sulawesi, 1950.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Album RPKAD

• A collection of photo documentation of a series of technical instructions regarding the RPKAD soldiers' marching regulations, which include various basic positions such as perfect stance, normal rest, to armed rest parade in guard position, which are systematically documented from the front, rear, and left and right side perspectives, for diorama research purposes.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Buku Panduan Museum Satriamandala

Central Museum Of The Armed Forces SATRIA MANDALA

• An operational guidebook for visitors to the ABRI Satriamandala Central Museum in English, which includes information on visiting hours, descriptions of the main exhibition spaces in the First and Second Buildings, supporting facilities, floor plans, location maps, and descriptions of the reliefs.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Museum Satria Mandala - Buku Panduan

• An operational guidebook for visitors to the ABRI Satriamandala Central Museum in Indonesian, which includes information on visiting hours, descriptions of the main exhibition spaces in the First and Second Buildings, supporting facilities, floor plans, location maps, and descriptions of reliefs in Indonesian.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Dokumen dan Surat

Surat Perintah Kerja Museum Pusat ABRI, 1973

• Work Order Letter no. PRINT/1110/PUSJARAH/VIII/73, issued in Jakarta on 25 August 1973 by the ABRI History Center, instructing artist Edhi Sunarso to carry out Phase III construction of the ABRI Central Museum. Based on decrees of the Minister of Defence/Commander of the Armed Forces concerning the formation of the project committee and the 1973–1974 budget allocation, the order authorised the production of 24 diorama dome units with supporting installations (frames, windows, and glass), with a total project value of Rp11,947,000. Signed by Colonel Inf. Soepardijo, Deputy Head of the ABRI History Center, and stamped.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Surat Perintah Kerja Diorama Museum Pusat ABRI, 1974

• Work Order Letter no. SPRIN/161/PUSJARAH/XII/74, issued in Jakarta on 19 December 1974 by the ABRI History Center, assigning a team of artists led by Edhi Sunarso (with Saptoto, Ratmoyo, Heri Wibowo, and Ramelan) to conduct field research on historical objects in Java, Bali, Sumatra, and Sulawesi. The research was intended to ensure historical accuracy in the dioramas of the ABRI Satriamandala Museum. Signed by Colonel Inf. Soepardijo, Deputy Head of the ABRI History Center, and stamped.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Surat Perintah Kerja Diorama Museum Pusat ABRI, 1975

• Work Order Letter no. PRIN/02/PUSJARAH/I/73, issued in Jakarta on 7 January 1975 by the ABRI History Center, assigning artist Edhi Sunarso to produce 29 dioramas, including one large-scale diorama measuring 3 × 3 metres, with a total contract value of Rp52,000,000. Signed by Colonel Inf. Soepardijo, Deputy Head of the ABRI History Center, and stamped.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Surat Perintah Kerja Diorama Museum Pusat ABRI, 1975

• Work Order Letter no. SPRIN/167/PUSJARAH/VIII/75, issued in Jakarta on 23 August 1975 by the ABRI History Center, assigning Edhi Sunarso (diorama artist) and Ratmoyo (member of the museum contents team) to conduct in-depth historical research on the Red and White Incident in Manado, the Andi Azis Rebellion, and Westerling’s actions in South Sulawesi, as part of Phase III development of the ABRI Central Museum. Signed by Colonel Inf. Soepardijo, Deputy Head of the ABRI History Center, and stamped.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Kwitansi Museum Pusat Sejarah ABRI, 1975

• Payment receipt, issued on 22 September 1975, documenting payment to Edhi Sunarso from the ABRI History Center Museum Development Project “Satria Mandala,” Jakarta, for the fifth instalment of diorama production costs under contract no. 08/PUSJARAH/I/75, amounting to Rp7,800,000 (seven million eight hundred thousand rupiah).
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Berita Acara Pemeriksaan Diorama Museum Pusat ABRI, 1975

• Minutes of Inspection no. BA/1307/PUSJARAH/IX/1975, recording the official verification conducted on 30 September 1975 of the completion of 29 dioramas for the ABRI Central Museum Satriamandala by artist Edhi Sunarso. The inspection team—Colonel Inf. Soepardijo, Drs. Sukardi SHH, and Sri Suko—confirmed that the work complied with the agreement dated 3 January 1975. The results authorised the fifth instalment payment of 15% of the contract value (Rp7,800,000) and stipulated a three-month maintenance period until 22 December 1975. Signed in Jakarta on 2 October 1975.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Berita Acara Penyerahan Pertama Diorama Museum Pusat ABRI, 1975

• Minutes of First Handover no. BA/308/PUSJARAH/X/1975, issued on 2 October 1975, documenting the first formal handover of 29 completed diorama units for the ABRI Satriamandala Central Museum from Edhi Sunarso (Second Party/Contractor) to the ABRI History Center (First Party). The works were declared in good condition, with responsibility for maintenance remaining with the contractor during the three-month warranty period until 22 December 1975. The document served as the administrative basis for payment of the fifth instalment (15% of the contract value, Rp7,800,000). Signed by Edhi Sunarso and Colonel Inf. Soepardijo, Deputy Head of the ABRI History Center, and stamped.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Kwitansi Diorama Museum ABRI, 1975

• Payment receipt, issued on 2 October 1975, documenting the transfer of Rp7,800,000 (seven million eight hundred thousand rupiah) from Marine Major (A) Drs. A. Kusaeri, Treasurer of the Wisma Yaso Project, to artist Edhi Sunarso as the fifth instalment payment for the ABRI Satriamandala Museum diorama project. Signed by Marine Major (A) Drs. A. Kusaeri and Edhi Sunarso.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Berita Acara Penyerahan Kedua Diorama Museum Pusat ABRI, 1975

• Minutes of Second Handover, issued in Jakarta in December 1975, documenting the final administrative completion of the ABRI Central Museum diorama project. Signed by Brigadier General Drs. Nugroho Notosusanto, Head of the ABRI History Center and Head of the ABRI Museum Project (First Party), and Edhi Sunarso, contractor (Second Party). The document confirms payment of the sixth and final instalment, amounting to 5% of the total contract value (Rp2,600,000).
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Kwitansi Sewa Bus, 1976

• Payment receipt, issued in Yogyakarta on 24 June 1976, documenting payment from ASRI (Indonesian Fine Arts Academy), Yogyakarta, to Johnny for five days of bus rental from 24–28 June 1976 for travel to Jakarta, amounting to Rp200,000 (two hundred thousand rupiah). The receipt is signed by Johnny and affixed with a stamp.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

EKA

EKA_00

• Collection of documentary photographs recording a series of historical dioramas at the Satriamandala Museum, depicting General Soeharto Elected President of the Republic of Indonesia, 23 March 1973; Komando Mandala: Liberation of Irian, 2 January 1962; Recovery of the Seven Revolutionary Heroes from the Lubang Buaya Well, 4 October 1965; Shooting of Kahar Muzakar, 3 February 1956; Operasi Bhakti di Segala Bidang; Arrest of S. M. Kartosuwiryo in West Java, 4 June 1962; Suppression of the PGRS–PARAKU Insurgent Groups; ABRI Transmigration Programme Outside Java; Reception of the Two Dwikora Heroes at ABRI Headquarters, 17 October 1968; and Garuda Missions. The images document scenographic compositions, figurative arrangements, and narrative structures within the museum’s permanent exhibition programme, recording the visual articulation of national military history through diorama display.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Eka Ekstrem Kanan Satya Mandala_(dari meja)

Foto dokumentasi proses pengisian Diorama

• Collection of documentary photographs recording the preparation, fabrication, and installation processes of miniature figures for diorama compositions, including sculptural production by the artist, reference imagery such as the inscription “Capaciteit 25/40,” and field documentation of Edhi Sunarso in proximity to objects such as the NU-25 Si Kunang aircraft. The images further document specific components and stages of diorama construction, including a miniature figure for the Armed Forces Academy of the Republic of Indonesia, 10 December 1965, observational scenes of the artist with a military figure during production, and sequential views of dome installation processes. Additional frames record composite conditions of exhibition-making, including the diorama Young Police Force, structural assembly of display environments, and a damaged tank used as a visual reference. The series functions as a process-oriented visual archive, capturing material workflows, scenographic construction, and the technical articulation of narrative environments within the Satriamandala Museum.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Foto Hasil Jadi

• Collection of documentary photographs recording the diorama General Soeharto Elected President of the Republic of Indonesia, 23 March 1973, alongside related displays including IV General Assembly of the MPRS, 20 June–5 July 1966, an individual fighter statue, Young Police Force, and Battle of Surabaya, all presented within the Satriamandala Museum. The images document scenographic composition, figural detailing, and narrative structuring across multiple exhibition units, consolidating repeated views into a single visual record of display variation and curatorial emphasis within the museum’s permanent diorama programme.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Laporan Diorama Museum ABRI

Surat Perjanjian Tentang Pelaksanaan Pembuatan Boneka Museum Pusat A.B.R.I. Satriamandala Jakarta

• Archival contract document recording an agreement for the production of sculptural figures for a historical diorama at the Satriamandala Museum. Signed in Yogyakarta on 13 October 1973, the agreement was made between Edhi Sunarso, a lecturer and Head of the Sculpture Department at STSRI “ASRI” Yogyakarta, acting as project coordinator, and Suwardi, who was appointed as the craftsman responsible for producing the miniature figures. The contract concerns the second-phase completion of the diorama ABRI Performing International Duty in the Congo, with a total project value of Rp355,000. Payment was arranged in instalments (10%, 10%, 40%, 30%, and 10%), with provisions allowing adjustment between the second and third instalments according to project conditions. The agreement also establishes quality control and completion requirements, including deductions from the final payment should the work fail to meet specified standards, an evaluation scheduled no later than 10 January 1974, and a final completion deadline of 28 January 1974. The document concludes with the signatures of both parties affixed to a 25-rupiah Republic of Indonesia revenue stamp issued in 1971.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Kwitansi Pembayaran Termin ke-4 Biaya Pelaksanaan Pengisian Diorama Museum Pusat Sejarah ABRI Satriamandala

• Archival receipt documenting the payment of Rp10,400,000 (ten million four hundred thousand rupiah) received by Edhi Sunarso in Jakarta on 17 July 1975 as the fourth instalment for the execution of diorama installations at the Satriamandala Museum (Central ABRI History Museum). The payment was issued in accordance with Agreement Letter No. 08/PUSJARAH/I/75 as part of the construction project for the ABRI Central History Museum, Jakarta.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Surat Laporan Pelaksanaan Pengisian Diorama

• Archival project report submitted by Edhi Sunarso as executor of the diorama installation programme at the Satriamandala Museum (ABRI Central History Museum), addressed to the Chairman of the Museum Construction Project; Jakarta, 17 July 1975. Records progress of 29 planned diorama scenes (24 at pre-design stage; 5 pending external research), notes ongoing production of polyethylene figures and miniature elements, and includes a request for release of the fourth instalment (Rp10,400,000) in accordance with Agreement Letter No. 08/PUSJARAH/I/75. Accompanied by an itemised execution budget covering medium- and small-scale dioramas, detailing costs for planning, facilities, preliminary models, moulding and casting, permanent figures, artists’ honoraria, miniature attributes, maquettes, assembly, installation, finishing, and packing (Yogyakarta), with a total of Rp38,198,600, revised to Rp47,748,250 including contractor services, directiekosten, and tax; signed by the author.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Catatan Pembayaran Pelaksanaan Boneka Proyek Hankam III

• Archival document consisting of handwritten payment records detailing disbursements to several artists involved in the production of sculptural figures for the Hankam III (Defence and Security III) project at the Satriamandala Museum. The notes register payments made to participating artists for the execution of diorama figures, recorded up to 19 June 1975.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Biaya Pelaksanaan Diorama Museum A.B.R.I. Satria Mandala Tahap III

• Archival cost reports and administrative records—execution budgets and itemised production expenditures—relating to Phase III diorama production at the Satriamandala Museum (ABRI Central History Museum). Files document fabrication costs for named dioramas, including Puputan Margarana; Hijrah; Pabrik Senjata dalam Perang Kemerdekaan; Mempertahankan Kedaulatan Republik Indonesia di Teluk Sibolga; Perlawanan Rakyat Irian Barat; Keganasan Westerling di Sulawesi Selatan; Peristiwa Madiun; Eskadron Blockade Runners (Jon Lie); AKABRI Magelang; Insiden di Teluk Cirebon; Penerbangan Pertama AURI di Yogyakarta; Sekolah Penerbang Pertama di Yogyakarta; Markas Besar Komando Sumatra; Peristiwa Merah Putih di Manado; Operasi RI-001 Seulawah di Luar Negeri; Sekolah Angkatan Laut Tegal; Penumpasan Ex-KNIL / Andi Aziz di Makassar; Jatuhnya Pesawat Dakota VT-CLA di Yogyakarta; Serangan Umum 1 Maret di Yogyakarta; Pemboman Ambarawa–Salatiga–Semarang; Penumpasan APRA di Jawa Barat; Sekolah Polisi Magelang; Akademi Militer Tangerang; Markas Besar Komando Jawa; Peranan Wanita dalam Perang Kemerdekaan; Long March Siliwangi; Polisi Bertugas Menjaga Status Quo; Jenderal Soedirman Bergerilya; Tentara Pelajar dalam Perang Kemerdekaan. Records itemise costs across modelling, moulding, casting, miniature fabrication, assembly, and finishing; with execution attributed to participating sculptors (Askabul; Ramelan; Mudjiono; Harsono; Sarpomo; Mahyar; Husna; Legowo; Mudjiman KS; Ari; Marzuki; Widjati; Sunaryo; Made; Wayan; Amran; J. Sumartono; Widodo; Waluyo; Hardhani; Alipar; Sutrisno; Suwardi; Hary Djuharudin; Hartono). Administrative and financial documentation of the museum’s diorama production programme.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Surat Pengisian Diorama

• Official express memorandum issued by the Department of Defense and Security of the Republic of Indonesia (Departemen Pertahanan Keamanan) under reference No. 741/PUSJARAH/V/75 concerning the installation of diorama figures for the Satriamandala Museum (ABRI Central History Museum). Addressed to Edhi Sunarso, the letter instructs the immediate preparation and dispatch of completed diorama figures to the museum in Jakarta within the same week, in anticipation of an inspection by the Inspectorate General of Defense and Security (IRJEN HANKAM). Issued in Jakarta on 22 May 1975 and signed by Drs. Sukardi SHH on behalf of the Head of the ABRI Center of History (Pusat Sejarah ABRI), the document bears the official institutional stamp.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Surat Permohonan Perpanjangan Waktu Penyelesaian Pengisian Diorama

• Formal request letter submitted by Edhi Sunarso to the Head of the Construction Project for the Satriamandala Museum (ABRI Central History Museum), requesting a two-month extension to the completion schedule of the Satria Mandala Diorama Project. The request refers to the deadline stipulated in Work Agreement Letter No. 08/PUSJARAH/I/75, dated 3 January 1975, proposing an extension beginning from 31 July 1975. The letter was prepared and signed by Edhi Sunarso in his capacity as executor of the diorama installation project in Jakarta on 20 July 1975.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Catatan Bahan-Bahan Koreksi Untuk Pak Edi cs

• Archival document containing a list of corrective notes addressed to Edhi Sunarso and collaborators concerning revisions to a number of historical dioramas produced for the Satriamandala Museum (ABRI Central History Museum). The memorandum records detailed curatorial and visual corrections relating to composition, historical accuracy, uniforms, architectural elements, and figurative details across multiple scenes, including Penerbangan Pertama oleh Perwira ABRI; Peristiwa Merah Putih di Manado; Puputan Margarana; Kepahlawanan R.W. Monginsidi di Sulawesi Selatan; Pesawat Dakota VT-CLA ditembak jatuh; Akademi Militer di Tangerang; AKABRI Magelang; Sekolah Penerbangan di Yogyakarta; Sekolah Polisi Negara Mertoyudan; Pemberontakan PKI di Madiun; Markas Besar Komando Jawa; Markas Besar Komando Sumatera; Long March Siliwangi; Jenderal Soedirman Bergerilya; Operasi RI-001 Seulawah di Luar Negeri; Penumpasan APRA di Jawa Barat; and Penumpasan Pemberontakan KNIL-KL di Ujung Pandang. The notes specify required adjustments such as the addition or removal of aircraft, corrections to figure orientation and gestures of respect, revisions to uniform details and insignia, modification of architectural elements and signage, and the refinement of figurative proportions and narrative staging; several entries include handwritten annotations indicating works already undertaken or pending revision.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Surat Perhitungan Biaya Pembuatan Patung Se-Dada Tokoh/Pahlawan ABRI

• A group of archival budget calculation documents and technical project attachments prepared by Edhi Sunarso on 2 January 1977 in Yogyakarta concerning the planned production of bronze bust sculptures of ABRI heroes. The documents record several versions of the project’s detailed cost estimates for the fabrication of twenty bust portraits at enlarged scale—either approximately 1½ times human scale (c. 100 cm height) or 1¼ times human scale (c. 75 cm height)—including itemised production costs covering artists’ honoraria, bronze casting, mould preparation, finishing, transport from Yogyakarta to Jakarta, supervisory services, and taxation. Prepared in Edhi Sunarso’s capacity as Head of the Sculpture Department at STSRI ASRI Yogyakarta, the calculations outline differing projected unit costs ranging from Rp 835,000 to Rp 1,123,080 per sculpture, with total estimated project values between Rp 16,700,000 and Rp 22,461,600 for the production of twenty busts. The accompanying technical attachment further details the implementation procedures for the project, including the fabrication of twenty bust sculptures and two full-figure bronze statues, establishing a production schedule of approximately 210 days and a seven-stage payment structure linked to physical progress milestones—from clay modelling and wax moulding through to final casting and installation—while also defining responsibilities for documentation and coordination with the project’s supervisory team during the production process in Yogyakarta.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

MAP BIRU_Museum Satria Mandala

Folder of archival materials related to the research and preparation of historical dioramas at the Satriamandala Museum. The contents include technical instructions, chronological notes, research photographs, and design sketches used in the development of the dioramas Liberation of Manado City, ABRI Landing in Ambon, People’s Resistance in Biak, and Paratrooper Landing in Teminabuan. The documents function as working references for the visual reconstruction of historical events, outlining scenographic arrangements, troop formations, environmental elements, and supporting military assets guiding the diorama construction process.

Foto

Collection of archival photographs used as research and visual reference materials for the development of historical dioramas at the Satriamandala Museum. The materials support the visual reconstruction of the following scenes:
1. Liberation of Manado City.
2. ABRI Landing in Ambon.
3. People’s Resistance in Biak.
4. Paratrooper Landing in Teminabuan (TRIKORA).
The photographs function as reference material informing the historical context, environmental details, and scenographic composition used in the construction of the dioramas.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Sketsa

Collection of archival sketches used in the development of historical dioramas at the Satriamandala Museum. The drawings function as preparatory design references outlining compositional layout, spatial arrangement, and scenographic elements for the construction of the dioramas.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Dokumen

• Pembebasan Kota Menado

Archival document serving as a temporary technical guide and chronological reference for the preparation of a diorama depicting the liberation of Manado City by RPKAD (Army Para-Commando Regiment) and KKO AL (Navy Commando Corps) forces. The instructions outline scenographic elements including the consolidation of four platoons at the Maumbi Village intersection, with road signage, coconut trees, and village rooftops forming the background, while AURI aircraft P-51 Mustang and B-25, appear overhead. The document also records operational notes describing the strategic shift from an initial attack on Tondano to the assault on Manado under the command of Lieutenant Colonel Rukminto, as well as reports of heavy fighting at the Kairagi Bridge against Permesta bunker defenses and heavy weapons.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• Pendaratan ABRI di Ambon

Archival document serving as a technical guide and chronological reference for the construction of the “ABRI Landing in Ambon” diorama at the Satriamandala Museum. The instructions outline the visual composition of the landing operation at Tulehu Beach, depicting joint forces of KKO (Marine Corps), Army, and Brimob advancing from LCVP landing craft with weapons raised. The scene is framed by coconut groves and coastal vegetation, with naval support represented by the warships RI Rajawali and RI Patti Unus. In the sky, AURI aircraft Dakota C-47, Harvard, and B-25 bomber, are shown providing aerial support.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• Gerakan Operasi Militer IV (R.M.S.) Tanggal 25 April 1950

Archival document serving as a technical guide and chronological reference for the construction of the “Military Operation IV (R.M.S.), 25 April 1950” diorama at the Satriamandala Museum. The notes outline the historical background to the conflict, beginning with unrest among KNIL personnel following the Round Table Conference (KMB), the political agitation of Ir. Manusama, and the proclamation of the Republic of South Maluku (RMS) by Dr. Soumokil. The document also records the failure of Dr. Leimena’s peace mission and the subsequent blockade and military mobilization under Colonel A.E. Kawilarang. Visual guidance focuses on the TNI landings in September 1950, including the arrival of Group 3 under Major Suryo Subandrio at Hitu and Group 2 led by Lieutenant Colonel Slamet Rijadi at Tulehu, aimed at cutting enemy supply lines and securing strategic locations such as Passo and Laha airfield.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• Perlawanan Rakyat di Biak

Archival document serving as a technical guide and chronological reference for the construction of the “People’s Resistance in Biak” diorama at the Satriamandala Museum. The instructions outline the visual composition of an ambush on a Dutch military truck along the road to Bosnik, depicting West Irian freedom fighters armed with rifles, bows, and machetes surrounding Dutch troops, who retreat while abandoning equipment such as backpacks and personal belongings. The notes also provide historical context on the planned March 1948 uprising, the resistance led by Silas Papare, and the involvement of figures including Dr. Sam Ratulangi in supporting the independence movement in the region.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• Penerjunan di Teminabuan

Archival document serving as a technical guide and chronological notes for the construction of the ""Paratrooper Landing in Teminabuan"" diorama at the Satriamandala Museum, outlining preliminary instructions for the dramatic visualization of the raising of the Indonesian Red and White flag following fierce combat during Operation Wolf (Operasi Serigala). The narrative directs the depiction of the scene in the chaotic front yard of a Dutch barracks, where the remaining members of the AURI's PGT (Quick Action Force) stand in solemn salute as the flag is hoisted, while a torn Dutch flag lies discarded on the ground. These notes also document the heroic struggle of the platoon led by Air Sergeant I Martin Paulus Mengko, who jumped on May 19, 1962, their success in capturing Teminabuan on May 29, 1962, and the great sacrifice of 14 soldiers who fell as national heroes while defending the area against Dutch counterattacks.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Map Hijau EKA #2

• MAP_IJO_EKA_00000

Archival document from the Indonesian Air Force (1974) providing technical instructions for the production of a diorama depicting the “Paratrooper Landing in Teminabuan.” The document outlines scenographic details for representing a combat setting, including fallen trees, specialized parachutes, and Dutch P2V Neptune aircraft conducting air strikes. It also includes references to PGT (Pasukan Gerak Tjepat, -Quick Action Force) uniforms and technical sketches of Dutch aircraft insignia. Supplementary visual materials feature photographs of Lockheed Neptune aircraft from the Trikora era, a naval vessel bearing hull number 1006, documentation of KRI Dewaruci, photo of a life buoy bearing the words RI DEWARUTJI and a plaque commemorating ""Captain Cook's Bicentennial Celebration"", and an illustration of a colonial-style building.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

MAP HIJAU_Angkatan Udara RI

• MAP_IJO_TNI-AU_00000

Collection of archival documentation from the AURI (Indonesian Air Force) Museum, dated 1974, relating to the downing of a B-26 aircraft piloted by Allen Lawrence Pope during the Permesta conflict. The material includes photographs of a formation of P-51 Mustang aircraft—among them unit number 7-321 flown by Captain Dewanto in the interception—as well as images documenting the judicial proceedings, including the presentation and examination of related evidence.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Pembuatan Diorama "Eka-Ekstrimkanan" Satria Mandala Jakarta Tahun 1976

• PROSES_EKA_1976_00000

Collection of documentary photographs taken at the Satriamandala Museum, Jakarta, depicting exhibition displays including historical dioramas and military vehicles. The images record elements of the museum’s permanent collection and exhibition environment, documenting the visual narratives and material artefacts presented within the Indonesian Armed Forces’ central military museum.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Potret Jendral-Jendral

• POT_JEN_00000

Collection of photographic documentation depicting Indonesian military figures, including portraits of Brigadier General Ignatius Slamet Rijadi (two images), I Gusti Ngurah Rai with Ciung Wanara troops, General Basuki Rahmat, General Ahmad Yani, and Lieutenant General R. Suprapto.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Proses revisi

Dokumen dan Surat

• Surat Perintah Kerja_Museum ABRI Satria Mandala

Work Order Letter with letter number SPK/105/PUSJARAH/III/78 issued by the Department of Defense and Security in Jakarta on 31st July 1978 to Edhi Sunarso, to carry out the work of making ABRI uniform mannequins, to be installed at the ABRI Satriamandala Museum. The letter also explains the number of mannequins complete with their bases, the uniform period, the wholesale price, and the deadline for the work. This letter was signed by Brigadier General TNI Drs. Nugroho Notosusanto, as Head of the ABRI History Center, and stamped.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• Surat Petunjuk Perubahan dan Perubahan dari Kapusjarah

Letter from the Head of ABRI History Center, dated 16th October, 1979, contains instructions for improvements and changes to technical details for a diorama project undertaken by Edy Sunarso (also known as Edhi Sunarso). These changes included adjustments to the posture of the WARA (Women of the Air Force) figures, clothing details, and the addition of military attributes to several historical scenes, such as the struggle institutions, the Morokrembangan scene, the Student Army (T.P.), and the Guerrillas. These improvements were urgent because the new multi-purpose building housing the work was soon to be inaugurated by the WAPANGAB (Deputy Commander of the Armed Forces). Specifically, the instructions emphasized aspects of historical realism, such as the mud effect on the feet, variations in uniforms, and corrections to the direction of the commander's gaze. This letter was signed by Lieutenant Colonel of the Navy (A) Drs. A Kusaeri, on behalf of the History Team.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• Surat Laporan Hasil Koreksi GAM

A letter addressed to the Head of the History Center (KAPUSJARAH), for the attention of the ASOPS PUSJARAH (Assistant Operations of History Center) ABRI, containing a report on the results of corrections to the uniform on the 1st floor as a follow-up to the report of Lieutenant Colonel A. Kusaeri dated 17th October 1979, and submitting proposals and suggestions for changes regarding the uniform itself. This letter was made in Jakarta, and signed by the Head of the ABRI Museum Uniform Team, Major of Infantry Saleh A. Djamhari on 22nd October 1979.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• Laporan Hasil Koreksi GAM

A document containing detailed corrections to the uniforms on the uniform mannequins for the Indonesian Army, Air Force, Navy, and Police. This document was published in Jakarta by the ABRI History Center, Department of Security and Defense on 23rd October 1979, and signed by Major of Infantry Saleh A. Djamhari, head of the ABRI museum uniform team.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• Usul Perubahan GAM

A document containing proposed uniform changes (GAM) for the Indonesian Army, Navy, Air Force, and National Police. This document was signed by the Head of the ABRI Museum Uniform Team, Major of Infantry Saleh A. Djamhari, in Jakarta on 23rd October 1979.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• Nota Dinas GAM Kadet Taruna ABRI

An official memo addressed to the Head of the ABRI Uniform Team, containing a report on the preliminary results of research in Jakarta on ABRI Cadet/Taruna data and the challenges in obtaining additional information. This required out-of-town business permits to bring photography equipment to the Police Cadet Museum of the Indonesian Military Academy (AKABRI) in Sukabumi, the Army Technical Academy (ATEKAD) in Bandung, the Air Force Museum and the Secodiningratan Police School in Yogyakarta, and the Army Museum of the AKABRI in Magelang. The official memo was signed by Major Adm. GSK Marsudi, a member of the ABRI Uniform Team, on 24th October 1979, in Jakarta.
The following pages contain information on ABRI Cadet/Taruna uniforms obtained in Jakarta through interviews with retired Brigadier General Soekasno Poespomidjojo, retired Colonel Soebarjo for information on the Indonesian Army uniform, and retired Police General Hugeng for information on the Indonesian National Police uniform.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• Surat Perihal Pakaian Seragam Taruna

The official official letter from the ABRI History Center, Department of Defense and Security, issued in November 1979, addressed to Mr. Edy Sunarso (also known as Edhi Sunarso) in Yogyakarta. It requests prioritization of unfinished work, including improvements to posture, facial features, and additional equipment, as outlined in the previous letter. It also discusses the need for nine sets of cadet uniforms and plans to discuss the cost of these additional uniforms. The letter is signed by Navy Lieutenant Colonel Drs. A. Kusaeri on behalf of the ABRI Museum Project Team. The following page lists the nine sets of uniforms to be produced as an attachment to the letter.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• Laporan Hasil Koreksi GAM_notes

Official Memo addressed to Edy Sunarso (Edhi Sunarso) as the executor to pay attention to the continuation of the correction of the ABRI Museum ABRI Uniform Doll, immediately complete the repairs according to the corrections listed in the first and second letters, and submit a completion report so that when the Head of the Center arrives, all problems have been resolved. Official Memo from KOPKAMTIB (Operation Command for the Restoration of Security and Order), the Department of Research on the Development of Communist Problems was written and signed by Lieutenant Colonel A. Kusaeri in Jakarta on 7th November 1979.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• Hasil Koreksi Terhadap GAM tahun 1964-1975

A letter containing the results of corrections to the uniforms of the Indonesian Army, Air Force, Navy, and Police from 1964 to 1975, located on the first floor. The letter provides detailed information on the condition of the uniforms at that time, and the condition of the uniforms that should have been (after corrections). The letter was signed by Lieutenant Colonel of the Navy, Drs. A. Kusaeri as Head of the Personnel and Logistics Section of the ABRI History Center, on 16th October 1979 in Jakarta.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• Surat Tugas Survei seragam

A letter of assignment addressed to Ari Sutondo Tc, a member of the team producing replica figures for the historical display of ABRI uniforms, to conduct a survey and study the uniforms of cadets from the AMN (National Military Forces), AAU (Air Force Academy), and AAL (Naval Academy), to complete the data for ABRI uniforms to be exhibited in the ABRI uniform display room at the ABRI Satria Mandala Central Museum. The letter was signed by Edhi Sunarso, a lecturer at the ASRI Yogyakarta Fine Arts College, who was also tasked with filling the historical/uniform display room at the ABRI Satria Mandala Central Museum, on 20th December 1979, in Yogyakarta.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Lembar Panduan

• Pakaian Dinas Upacara ABRI

This document serves as an official guideline or regulation for the use of uniforms (attributes) of the Indonesian Armed Forces Ceremonial Service Uniform I (PDU-I) which displays illustrations of official ceremonial uniforms for the four branches, namely the Indonesian Army (AD), the Indonesian Navy (AL), the Indonesian Air Force (AU), and the Indonesian National Police (POLRI), then the Indonesian Armed Forces Ceremonial Service Uniform II (PDU-II) which displays illustrations of other versions of the ceremonial uniforms used in the military and police environment of the Republic of Indonesia during that period.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• Deskripsi Tokoh Tokoh GAM 1964-sekarang

This document is a technical guide regarding the description of the official uniforms of the four services (TNI Army, Navy, Air Force and POLRI) for the period 1964 until now. This guideline was prepared specifically for the purpose of filling in dummy models in the exhibition space on the ground floor of the Satriamandala ABRI Central Museum Building. The inventory in this document includes in-depth details regarding the origin of the force, year of service, service clothing category, rank level, body posture (gesture), as well as the completeness of the attributes and equipment that accompanies it. This document was ratified in Jakarta on August 3, 1978 through the signature and official stamp of Infantry Major Drs. Saleh AD, as Head of the Team to Fill the GAM ABRI Exhibition Space at the Satriamandala ABRI Central Museum.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• Deskripsi Tokoh Tokoh GAM 1950-1964

This document is a technical guide regarding the description of the official uniforms of the four services (Army, Navy, Air Force, and POLRI) for the period from 1950 to 1964. This guide was prepared specifically for the purpose of filling in dummy models in the exhibition space on the top floor of the Satriamandala ABRI Central Museum Building. The inventory in this document includes in-depth details regarding the origin of the force, year of service, service clothing category, rank level, body posture (gesture), as well as the completeness of the attributes and equipment that accompanies it. This document was ratified in Jakarta on 9 November 1978 through the signature of Infantry Major Supardi Rapanoi, as Secretary of the Team for Filling the ABRI GAM Exhibition Room at the Satriamandala ABRI Central Museum, and was stamped.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• GAM ABRI_Black Tie Bentuk I AU

This document contains the uniform specifications for the First Form Black Tie category for the Air Force, the uniform for Air Force Lieutenant Colonels/Flight Lieutenant Colonels in a casual position during receptions. The uniform details are as follows:
- Headgear: No headgear.
- Bodywear: Shirt: Special fancy shirt with black bow tie.
- Jacket (Black):Opens with one button, Black material with a satin collar, Has two inside pockets at the bottom (without flaps) and one upper pocket on the left (without flaps).
- Pants: Black.
- Footwear: Black cruiser shoes and black socks.
This document also includes hand-drawn sketches showing the front and back of the uniform and details of the shirt with its pleats.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• GAM ABRI_Korsik I-IV

Sketch of 4 types of ABRI music corps uniforms
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• GAM ABRI_Mess Dress I AU

This technical specification guide document for the 1st Air Force Mess Dress uniform, intended for officers with the rank of Colonel for casual activities during receptions. The guide details the types of materials and other details that characterize the uniform. The document also includes a picture of the uniform with details to note.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• GAM ABRI_Pakaian Dinner Jaket Kowal

Formal uniform specification for officers of the Indonesian Naval Women’s Corps (KOWAL) during the ABRI era, intended for lieutenant-rank personnel attending official evening functions. The regulation details a white Wave Topi made of mercerized drill; a cropped white dinner jacket with six gold anchor buttons; and a long-sleeved pleated shirt worn with a black ribbon tie. The ensemble is completed with a black semi-fitted gabardine wool skirt, 5 cm black heels, and a matching black clutch bag. Accompanying hand-drawn sketches function as technical references for tailoring, uniform construction, and standardized military presentation.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• GAM ABRI_PD Harian Hijau AL

Regulation sheet specifying the Green Daily Service Uniform (PDH) for Indonesian Navy personnel of the rank Kopral I. The uniform comprises a green drill field cap, short-sleeved shirt with two pleated breast pockets and shoulder straps, and matching trousers. Technical details include a 3.5 cm green belt with brass buckle and the ALRI insignia placed above the left pocket (3 × 9.5 cm). Completed with black low-cut shoes and black socks for daily naval duties.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• GAM ABRI_PD Pesiar AL

Regulation sheet outlining the Liberty Service Uniform (PD Pesiar) for Indonesian Navy personnel of the rank Kelasi I. The ensemble includes a dark-blue wool beret worn tilted to the right with enlisted metal insignia, a light-gray short-sleeved jacket-style shirt, dark-gray drill trousers, and a long black necktie. Rank and corps insignia appear on the sleeves, with service ribbons above the left pocket. Completed with a dark-gray belt, black shoes, and black socks.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• GAM ABRI_PD Upacara AL

Regulation sheet establishing the Ceremonial Service Uniform (PD Upacara) for Indonesian Navy personnel of the rank Kelasi II, illustrated in an at-ease position with a SAFN rifle. The uniform consists of a white drill dop (sailor hat), white long-sleeved Blauwkraag sailor shirt, and white drill trousers secured with a 3.5 cm white belt and brass buckle. Rank insignia and Tanda Vak specialty marks appear on the sleeves. Completed with black shoes and black socks.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• GAM ABRI_PDH Abu-abu AL

Regulation sheet defining the Gray Daily Service Uniform (PDH Abu-abu) for Indonesian Navy officers of the rank Letda Supply on picket duty with sidearm. The uniform includes a gray gabardine pet (service cap), light-gray short-sleeved drill shirt with pleated breast pockets, and dark-gray drill trousers. Rank insignia appear on shoulder straps and corps insignia on the collar. Completed with a dark-blue belt, black low-cut shoes, and short black socks.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• GAM ABRI_PDH Khusus AL

Regulation sheet establishing the Special Daily Service Uniform (PDH Khusus) for Indonesian Navy officers of the rank Captain or Technical Captain. The uniform comprises a dark-gray officer’s pet, gray drill Wavel Dress jacket with open collar and four pockets, and a matching external belt with brass buckle and gold anchor buttons. Rank insignia are placed on the shoulder straps. Completed with gray trousers and black low-cut shoes for formal daily service.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• GAM ABRI_PDH POL

Regulation sheet outlining the Daily Service Uniform (PDH) for Police personnel of the rank Brigadir Polisi / Serma Pol. (Perintis) assigned to guard duty with a jungle rifle. The uniform includes a khaki drill shirt with pleated pockets, brown drill trousers, and a service pet bearing the police insignia. A black utility belt secures the ensemble. Completed with black low-cut shoes and black socks for operational service duties.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• GAM ABRI_PDH Tenue III AL

Regulation sheet describing PDH Tenue III for KKO (Marine Corps) personnel of sergeant rank. The uniform features a dark-gray gabardine peci (songkok) with blue piping and anchor–Garuda emblem, a light-gray short-sleeved sport shirt without shoulder straps, and dark-gray trousers. Ribbon-style service medals are worn on the left chest. The ensemble reflects the Marine Corps’ distinctive adaptation of daily service attire.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• GAM ABRI_PDL POL

Regulation sheet specifying the Field Service Uniform (PDL) for Police personnel of the rank Bharada on guard duty with an SKS rifle. The ensemble includes a brown field cap, khaki drill shirt with standing collar, and brown drill trousers. A black koppelriem combat belt functions as the primary equipment support. Designed for operational field service, the uniform emphasizes durability and mobility.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• GAM ABRI_PDS Hamil KOWAD

Regulation sheet defining the Maternity Service Uniform (PDS Hamil) for the Army Women’s Corps (KOWAD). The uniform consists of a light-green blouse paired with a dark-green skirt and is worn without headgear. The ensemble includes low-heeled black shoes and a black daily handbag bearing the “Dharma Puspa” emblem, maintaining institutional identity during maternity duty assignments.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• GAM ABRI_PDS Hamil WARA

Regulation sheet defining the Maternity Service Uniform (PDS Hamil) for the Air Force Women’s Corps (WARA). The uniform consists of a light-blue blouse and dark-blue skirt worn without headgear. Accessories include low-heeled black shoes and a black daily handbag bearing the “Swa Bhuwana Paksa” emblem, reflecting Air Force institutional identity during maternity service assignments.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• GAM ABRI_PDS Korsik II AU

Regulation sheet specifying the PDS Korsik II uniform and equipment for the Indonesian Air Force Music Corps (Korsik), rank Peltu, serving as ensemble conductor. The uniform includes an Air Force blue service cap with the Swa Bhuwana Paksa emblem, light-blue shirt, and dark-blue trousers marked with a 2 cm yellow stripe. Equipment includes baton, black leather koppelriem, and Raras-wara Andrepati buckle for ceremonial command during military performances.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• GAM ABRI_PDS Pembawa Panji AL

Regulation sheet specifying the PDS Pembawa Panji (Color Guard/Standard Bearer) uniform for Indonesian Navy personnel of the rank Letda. The ceremonial ensemble consists of a white helmet with light-blue stripes and the Jalesveva Jayamahe emblem, white tunic, and trousers with yellow side stripes. Accessories include white webbing set, gloves, scarf, and white field boots, worn with full decorations during naval ceremonial processions.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• GAM ABRI_PDU B Malam KOWAD

Regulation sheet specifying the PDU B Malam (Evening Grand Ceremonial Uniform) for the Army Women’s Corps (KOWAD). The ensemble comprises a white linen tunic with a 3 cm standing collar and decorative pockets, paired with a tapered black wool skirt with four front pleats. Accessories include a black peaked cap bearing the Kartika Eka Paksi emblem, wide-heeled dress shoes, and ceremonial insignia including TPU, corps badges, and medals. Precise tailoring standards include a skirt hem set 39 cm above the ground.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• GAM ABRI_PDU I AD

Regulation sheet specifying PDU I (Grand Ceremonial Dress I) for Indonesian Army officers, illustrated for the rank Mayor Infanteri. The uniform consists of a hijau Kanada tunic and trousers worn with an olive-green shirt and hijau tahi kuda necktie. A black peaked cap with the Kartika Eka Paksi emblem and gold buttons completes the ensemble. Ceremonial insignia include TPU, TNI badges, and service decorations. Completed with black dress shoes and socks for formal state ceremonies.
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• GAM ABRI_PDU I POL

Regulation sheet defining PDU I (Type I Ceremonial Dress) for the Indonesian National Police, illustrated for the rank First Police Inspector (Lettu Pol.). The uniform comprises a brown peaked cap, white long-sleeved shirt with black tie, and khaki gabardine tunic with four external pockets. The ensemble is paired with brown trousers and black dress shoes. Accompanying diagrams indicate the placement of shoulder epaulettes and insignia, establishing formal standards for police ceremonial protocol.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• GAM ABRI_PDU II POLRI

Regulation sheet specifying PDU II (Type II Ceremonial Dress) for the Indonesian National Police, illustrated for the rank AIPDA / Pelda Pol. The ensemble includes a white peaked cap, white long-sleeved shirt with black bow tie, white tunic, and black trousers marked with a yellow side stripe. Accessories include white gloves and small ceremonial decorations. The uniform is completed with black dress shoes and socks, forming the prescribed attire for specific ceremonial duties.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• GAM ABRI_PDU III AU_1

Regulation sheet specifying PDU III (Type III Ceremonial Dress) for the Indonesian Air Force, illustrated for the rank Kapten Meteo. The uniform includes an Air Force blue peaked cap and Trivera-fabric tunic with four-button closure, upper flap pockets, and internal lower pockets. The ensemble is worn with a white shirt, black necktie, and blue trousers secured with a 3.5 cm belt. Ceremonial rank insignia, TNI badge, and service ribbons complete the formal presentation.
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• GAM ABRI_PDU III AU

Regulation sheet defining PDU III ceremonial dress for Indonesian Air Force enlisted personnel, illustrated for the rank Serma. The uniform consists of a blue peaked cap with the Swa Bhuwana Paksa emblem, blue tunic and trousers, white shirt, and black necktie. Ceremonial insignia include TPU, TNI badge, and service ribbons or decorations. Skill badges may also be displayed. Completed with black dress shoes and socks in accordance with formal Air Force protocol.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• GAM ABRI_PDU Kebesaran KOWAL

Regulation sheet defining PDU Kebesaran (Grand Ceremonial Dress) and PDL (Field Service Uniform) for the Women’s Naval Corps (KOWAL), illustrated for the rank Lettu. The ceremonial ensemble includes a white bivouac cap with officer emblem, white tunic with gold buttons, white skirt, and high-heeled shoes with gloves and leather handbag. The accompanying field uniform specifies a black beret, green service shirt and trousers, black field boots, and green koppelriem belt.
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• GAM ABRI_PDU Malam Tenue IIB AL

Regulation sheet specifying PDU Malam Tenue II B (Evening Ceremonial Uniform) for Indonesian Navy officers, illustrated for the rank Kapten Elektro. The uniform includes a dark-gray peaked cap with officer emblem and gold sierband, worn with a gray gabardine tunic featuring anchor buttons and four pockets. The ensemble is paired with a light-gray shirt, black tie, and dark-gray trousers with light-gray piping. Completed with ceremonial rank insignia and black dress shoes.
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• GAM ABRI_PDU Parade POLRI

Regulation sheet specifying PDU Parade for Indonesian National Police personnel, illustrated for the rank Bhayangkara I. The tactical-ceremonial uniform includes a khaki drill shirt, brown trousers, and a black webbing set worn with a peaked cap. Accessories include high black boots, white gloves, and field rank insignia. Unit scarves indicate service divisions—yellow for Sabhara, white for Traffic, and blue for Airud. Parade formation includes the carrying of an SKS rifle with bayonet.
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• GAM ABRI_PDU Siang AL

Regulation sheet specifying PDU Siang Tenue I / II A (Day Ceremonial Uniform) for Indonesian Navy officers, illustrated for the rank Mayor Pelaut. The ensemble consists of a white peaked cap with officer emblem and gold sierband, a white high-collared tunic with anchor buttons, and matching white trousers. The uniform is worn with a white belt, white dress shoes, and ceremonial rank insignia on the shoulders, with corps insignia and service medals positioned above the left chest pocket.
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• GAM ABRI_PDUB AD

Regulation sheet specifying PDU B (Pakaian Dinas Upacara Besar / Grand Ceremonial Dress) for the Indonesian Army (AD). The ensemble includes a black peci with yellow piping and a bronze Bhinneka Tunggal Ika emblem, worn with a khaki wavel shirt and double-pleated trousers secured by a belt. The uniform is completed with black dress shoes and khaki socks. Ceremonial rank insignia (TPU) are placed on both shoulders with corps insignia positioned above, forming the prescribed appearance for formal military ceremonies.
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• GAM ABRI_PDUK POLWAN

Regulation sheet specifying PDUK (Pakaian Dinas Upacara Kecil / Minor Ceremonial Dress) for Women’s Police Corps (POLWAN) personnel, illustrated for the rank First Police Inspector (Lettu Polwan). The uniform consists of a POLWAN peaked cap with police emblem, a long-sleeved tunic with shielerkraag collar and two lower flap pockets, and a decorative belt (sabuk hias). The ensemble is worn with a service skirt and black dress shoes. Daily rank insignia are required, with white gloves worn only when ordered.
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• GAM ABRI_PDUK Tenue IIC AL

Regulation sheet specifying PDUK Tenue IIC (Minor Ceremonial Dress) for Indonesian Navy (AL) personnel, illustrated for the rank Serma. The uniform includes a dark-grey peaked cap of Gabardine Tetoron with officer emblem, a light-grey short-sleeved drill shirt with two breast pockets and sewn shoulder loops, and dark-grey drill trousers secured by a 3.5 cm belt. Daily rank insignia are worn on the shoulder loops with corps insignia on the collar. Completed with black dress shoes and socks.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• GAM ABRI_PDUKB POL

Regulation sheet specifying PDUKB (Minor Grand Ceremonial Dress) for Women’s Police Corps (POLWAN) officers, illustrated for the rank Kompol / Mayor Polwan. The uniform comprises a white peaked cap with police emblem and a white tunic styled after Baju Bodo, featuring a standing collar, gold buttons, and corded cuffs. The tunic is paired with a black skirt with five front pleats and black dress shoes. Daily rank insignia and white gloves are prescribed, with aiguillettes (nestles) worn according to regulation.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• GAM ABRI_PS Bentuk Pa-A-1 AU

Regulation sheet specifying PS (Pakaian Seragam / Service Uniform), Bentuk Pa-A-1, for Indonesian Air Force (AU) officers, illustrated for the rank Mayor Udara / Mayor Pas. The ensemble includes an Air Force Blue (AFB) peaked cap, white long-sleeved shirt with black tie, and open AFB wool tunic with four buttons and flap pockets, worn with matching trousers. Formal protocol requires ceremonial insignia, service ribbons, and gold buttons. For parade duties the officer may carry a pistol and ceremonial sword with white gloves.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• GAM ABRI_PS Parade AU

Regulation sheet specifying the Parade Service Uniform (PS) for Indonesian Air Force (AU) personnel, illustrated for the rank Serda (Second Air Sergeant). The uniform includes an AFB wool peci, khaki drill shirt with four pockets and brass buttons, and matching trousers. Equipment includes black combat boots, a koppelriem belt with ammunition pouches, and webbing set. Parade formation requires the carrying of a Senapan Cung rifle with bayonet, accompanied by rank insignia, name tag, service stars, and qualification badges.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• GAM ABRI_PSU Kecil AU

Regulation sheet specifying PSU Kecil (Minor Ceremonial Service Uniform) for Indonesian Air Force (AU) enlisted personnel, illustrated for the ranks Kopral II Udara / Serma. The uniform consists of an AFB enlisted peci, short-sleeved khaki drill tunic with four pockets and external fabric belt, and blue trousers secured with a 3.5 cm belt. Rank insignia are worn on both sleeves with unit badges and service ribbons. The ensemble is completed with black dress shoes and worn during ceremonial rifle salutes.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• GAM ABRI_PSUB I AU

Regulation sheet specifying PSUB I (Pakaian Seragam Upacara Besar I / Grand Ceremonial Uniform I) for Indonesian Air Force (AU) officers, illustrated for the rank Letnan Udara I. The ensemble includes an AFB peaked cap, white long-sleeved shirt with black tie, and open AFB tunic with flap pockets and shoulder loops. Matching trousers and black dress shoes complete the uniform. Ceremonial rank insignia, corps badges, and service medals are worn in accordance with official regulations.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• GAM ABRI_PSUB I WARA

Regulation sheet specifying PSUB I (Grand Ceremonial Uniform I) for Women’s Air Force (WARA) personnel, illustrated for the rank Letnan Udara II. The uniform includes a WARA Air Force Blue cap, white shirt with black tie, and AFB wool jacket with gold buttons and shoulder tabs, worn with a matching skirt. Ceremonial rank insignia, corps badges, medals, and brevet wings complete the ensemble, establishing the formal appearance of female officers during official Air Force ceremonies.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• GAM ABRI_PSUB II WARA

Regulation sheet specifying PSUB II (Grand Ceremonial Uniform II) for Women’s Air Force (WARA) officers, illustrated for the rank Letnan Udara I. The ensemble comprises a khaki wool jacket and skirt worn with a white shirt and black tie. The uniform includes a WARA Air Force Blue cap, high-heeled shoes, and ceremonial insignia including rank, corps badges, medals, and brevet wings. The regulation establishes formal standards for the appearance of female Air Force officers in ceremonial protocol.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• GAM ABRI_PSUB II

Regulation sheet specifying PSUB II (Grand Ceremonial Uniform II) for Indonesian Air Force (AU) officers and warrant officers. The uniform includes an Air Force Blue peaked cap, khaki wool tunic with four buttoned pockets and shoulder straps, worn over a white shirt with black tie. Matching trousers and black dress shoes complete the ensemble. Full ceremonial insignia—including rank, corps badges, medals, and brevet wings—are worn during official state or military ceremonies.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

• GAM ABRI_PSUK WARA AU

Regulation sheet specifying PSUK (Pakaian Seragam Upacara Kecil / Minor Ceremonial Uniform) for Women’s Air Force (WARA) personnel, illustrated for the ranks Sersan Udara / Serda. The ensemble comprises a khaki wool skirt and open-style tunic with three-quarter sleeves, shoulder straps, and gold buttons. The uniform is worn with a WARA Air Force Blue cap and high-heeled shoes. Daily rank insignia, unit badges, and service ribbons complete the prescribed appearance for minor ceremonial duties.
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Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Riset seragam TNI AL

• Photo documentation of Indonesian uniforms from the era of the Maritime Homeland Defense Forces (PETA Laut, 1946) to standardization in 1975. The scope includes various categories of service clothing (Daily, Ceremonial, and Servant) as well as special uniforms for the Navy Women's Corps and Military Police. This information includes technical details of materials (drill, gabardine, tetoron), colors (white, gray, Navy green), and specifications for the front and back of the clothing pieces stored at the Indonesian Navy National Armed Forces Museum, Morokrembangan, Surabaya. contains 34 photos (only 26 found, ed. Hyphen —)

Sejarah Singkat, Hakekat Museum, Sejarah, dan Perpustakaan, 1978

• This book details the history of the founding of the Indonesian Air Force Central Museum "Dirgantara Mandala", which began with the idea of the AURI leadership in 1960 to immortalize the historical events of the air force, until its inauguration in Jakarta in 1969 and its relocation to Yogyakarta in 1978 due to the historical value of the city as the birthplace of the Indonesian Air Force.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Museum Pengkhianatan Komunis (PKI)

Museum Pengkhianatan Komunis (PKI) is a museum built to commemorate the G30S/PKI rebellion (September 30, 1965 Movement by the Indonesian Communist Party).

Album Diorama Lubang Buaya #1 JPEG

EKI_DIO_1_00000

• A collection of documentary photographs that record the arrangement, finishing process, and creation of sculptures/display figures by artists for installations within the Museum Pengkhianatan PKI (Communist Treason Museum), documenting the stages of production and preparation of spaces within the exhibition environment.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Album Diorama Lubang Buaya #2

EKI_DIO_2_00000

• Documentary photographs of artists from the Keluarga Arca sculptors’ group preparing diorama installations; partial and detail views of diorama scenes; assembled sculptural figures prior to installation; and exhibition-stage compositions at the Museum Pengkhianatan PKI (Communist Treason Museum), collectively documenting stages of fabrication, assembly, and display within the diorama production process.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso and Hyphen—.

Album Museum Ekstrim Kiri Lubang Buaya Jaktim 1990-1992 JPEG

EKI_90-92_00000

• Documentary photographs of the dioramas Removal of the Bodies from the Well of Death and Assault and Murder at Lubang Buaya; a hallway containing diorama installations; the dioramas Preparatory Meetings for the Rebellion (29 September 1965), PKI Volunteer Training at Lubang Buaya, Securing Lanuma (Main Airstrip) Halim Perdana Kusuma, and The Kidnapping of Lieutenant General A. Yani; as well as views of visitors observing and occupying the exhibition space, a corner arrangement featuring a caption table, and additional scenes including an artist’s studio or workshop, architectural scale models, and a building from an oblique angle, all at the Museum Pengkhianatan PKI (Communist Treason Museum).
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso and Hyphen—.

EKI_90-92_00017

• A collection of documentary photos of President Soeharto's visit to the PKI Treason Museum (Communist Treason Museum).
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso and Hyphen—.

EKI_90-92_00018

• A collection of documentary photos of a painted diorama panel.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso and Hyphen—.

Booklet Museum Pengkhianatan PKI (Komunis)

Booklet Museum Pengkhianatan PKI (Komunis)

• Institutional document outlining the conceptual framework, objectives, and public messaging of the museum as formulated by ABRI, including introductory remarks by Brigadier General TNI Idrus, Head of the ABRI History and Tradition Center, and a foreword by General TNI Try Sutrisno, Commander of the Indonesian Armed Forces. The document enumerates the full sequence of 37 diorama titles, details the architectural components and spatial extent of the museum complex, and records the organisational structure of the project committee and its divisional responsibilities, constituting a core administrative and interpretive reference for the museum’s establishment and narrative programme.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Buku Seri Sejarah - Museum dan Monumen Pancasila Sakti

Buku Seri Sejarah - Museum dan Monumen Pancasila Sakti

• Published guidebook—Pancasila Sakti Museum and Monument (GRASENA, April 2004), by M. Fahlevi, SH., MM—comprising site plan, photographic documentation of dioramas, and interpretive descriptions of the Museum Pengkhianatan PKI and Monumen Pancasila Sakti. Structured in two sections.
  1. museum component—documentation and narrative of 34 dioramas depicting episodes of PKI-associated violence and insurgency (1945–1974).
  2. monument component—descriptive account of historical sites and facilities within the memorial complex. Serves as a visitor guide and visual-historical reference articulating state-sanctioned interpretation through diorama representation.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Dokumen dan surat

Surat Penunjukan Langsung Renovasi Monumen Pancasila Sakti

• Letter of Direct Appointment No. B/813/XI/1992/PUSKON that issued for the execution of renovation works at the Monumen Pancasila Sakti, including the Paseban Building, diorama elements, and decorative pool structures. The letter addressed to the Director of PT Tiga Hasta Kreatifa (Jln. Majapahit 28 E/F, 4th Floor, Jakarta). Establishes the direct appointment of the company as contractor for the development of supporting facilities, with a total contract value of Rp 88,484,000 and a required performance guarantee of 5% (Rp 4,424,200), valid for three months from issuance. Authorises commencement of preparatory and physical works pending formalisation of the Work Contract Agreement. Issued in Jakarta, 20 November 1992, signed by Brig. Gen. TNI Bintarto (Head, Construction Center, Department of Defense and Security) and officially stamped.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Surat Permohonan Jaminan Bank_Museum Pancasila Sakti (draft)

• Handwritten draft of Application Letter No. 0103/HK/XI/1992 submitted by Edhi Sunarso, Director I of PT Tiga Hasta Kreatifa, to the Head of PT Bank Niaga, Yogyakarta Branch, requesting the issuance of a performance guarantee as an administrative requirement for renovation works at the Pancasila Sakti Monument, Lubang Buaya, East Jakarta, including the Paseban Building, diorama elements, and decorative pool structures; the requested guarantee is set at 5% of the total project value (Rp 88,484,000) with a validity period of three months; prepared in Yogyakarta, 30 November 1992, and signed by Edhi Sunarso.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Surat Permohonan Jaminan Bank_Museum Pancasila Sakti

• Application letter No. 0103/HK/XI/1992—submitted by Edhi Sunarso, Director I of PT Tiga Hasta Kreatifa, to the Head of PT Bank Niaga, Yogyakarta Branch—requesting issuance of an implementation (performance) guarantee to fulfil administrative requirements for renovation works at the Monumen Pancasila Sakti, including the Paseban Building, diorama elements, and decorative pool structures. Specifies a guarantee value of 5% of the total project cost (Rp 88,484,000), with a validity period of three months. Issued in Yogyakarta, 30 November 1992, signed by Edhi Sunarso and officially stamped.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

EKI_DIO_7K_00001

• Document titled “Layout of Diorama Figures for the Extreme Left Museum, Lubang Buaya, East Jakarta,” presenting a structured listing of diorama titles and their planned spatial distribution across three principal zones—Level I, Level II, and the Paseban—accompanied by handwritten technical annotations specifying sculptural scale classifications (small, medium, large, and colossal), constituting a working planning record for figure arrangement within the exhibition system.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

EKI_DIO_7K_00002

• Handwritten notes relating to the Supersemar diorama (1966), specifying costume details for PDH (Daily Service Uniform), notably the use of long-sleeved attire; working reference for figure accuracy within the diorama composition.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—"

EKI Lubang Buaya_dr meja

EKI_MEJA_00000

• Documentary photograph of the diorama The Birth of the March 11 Order Letter (Supersemar), 11 March 1966; documentary photograph of a diorama depicting architectural structures; documentary photograph of the visit of Prof. Dr. Fuad Hassan, Minister of Education and Culture of the Republic of Indonesia, to Edhi Sunarso’s workplace; and a series of documentary photographs recording members of the Keluarga Arca sculptors’ group engaged in the installation of diorama elements, Museum Pengkhianatan PKI (Communist Treason Museum).
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—"

Setting Proyek Diorama Lubang Buaya 1992

PROSES DIO EKI

• Documentary photograph of component elements produced by members of the Keluarga Arca sculptors’ group, intended for diorama installation.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

PROSES DIO EKI_DOME

• Documentary photograph of the fabrication process of a diorama dome.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

PROSES DIO EKI_SETTING

• Documentary photograph of the arrangement process, including draft positioning of sculptural figures and component elements within the diorama.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Monumen Selamat Datang

The Selamat Datang (Welcome) Monument is located in Central Jakarta and was constructed in preparation for the fourth Asian Games held in Jakarta in 1962.

Inspeksi

• Documentary photographs of President Soekarno’s visit to the workshop of the Keluarga Arca sculptors’ group in Yogyakarta, observing the production of the Selamat Datang Monument.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Miniatur

• Documentary photographs of a scale model of the Selamat Datang Monument at the workshop of the Keluarga Arca sculptors’ group in Yogyakarta.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Pemasangan

• Documentary photographs recording the installation of the Selamat Datang Monument by the Keluarga Arca sculptors’ group within the circular pool at the Hotel Indonesia roundabout, Jakarta.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—

Pembuatan

• Documentary photographs of members of the Keluarga Arca sculptors’ group during the production of the Selamat Datang Monument, Yogyakarta.
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  Courtesy of Griya Seni Hj. Kustiyah Edhi Sunarso & Hyphen—