Engaging with the Public: Comparing the National Museum of Indonesia and the Kolong Tangga Museum from the New Museology Perspective

Abstract

Nowadays, the views of new museology bring changes to museum management in various countries. This concept is deemed to optimize earlier theories and can accommodate the current needs of museums and the society. In Indonesia, new museology is a relatively new theory, although it originated in the 1970s within the international museum sphere. In the past, museums focused on their collections. At the moment, however, they have shifted their orientation to the society. Information dissemination becomes a priority and is related to surrounding social climates. Something similar has also occurred in the aspects of curatorial management. Curators have had to extend focus from only the material aspect of collections to also the meaning behind them.

Introduction

Nowadays, the views of new museology bring changes to museum management in various countries. This concept is deemed to optimize earlier theories and can accommodate the current needs of museums and the society. In Indonesia, new museology is a relatively new theory, although it originated in the 1970s within the international museum sphere. In the past, museums focused on their collections. At the moment, however, they have shifted their orientation to the society. Information dissemination becomes a priority and is related to surrounding social climates. Something similar has also occurred in the aspects of curatorial management. Curators have had to extend focus from only the material aspect of collections to also the meaning behind them.

The contemporary stance of new museology has brought forth changes in museum management in many places. Nowadays, curators do not emphasize the materialistic side of collections, but instead their interpretations. This study focuses on the curatorial management of two museums, which are Museum Nasional Indonesia (hereinafter, National Museum of Indonesia) and Museum Pendidikan dan Mainan “Kolong Tangga” (hereinafter, Kolong Tangga). The management is compared on the basis of existing elements within the new curatory paradigm, particularly the functions of curators and public participation. The two museums have strikingly different backgrounds. The National Museum of Indonesia is a state-owned formal museum, whereas Kolong Tangga is privately owned and managed. Each has its own policies and ways of managing the interaction between its visitors and its collections. By comparing the two, how strong the concept of new museology influences the curatorial management of both museums can be analyzed. Rooting this study in qualitative approach, observation, literature review, and interviews with not only curators but also various parties related to both museums are conducted.

Curatorial Management in the New Museology Paradigm

Hauenschild (1988) stated that new museology views museums as educational institutions with the capability to directly contribute to social development. The last decade saw more intense competition with rising numbers of museums and other tourism destinations, resulting in the greater need of organization control and management. Excellent management in museums is indicated by their ability to demonstrate the most effective and efficient possibilities to utilize available resources (Weil & Cheit, 2000). Lord and Lord (2000) wrote, “The purpose of management in museums is to facilitate decisions that lead to the achievement of the museum’s mission, the fulfillment of its mandate, and the realization of the goals and objectives for all of its functions.”

Curatorial management in the context of new museology is divided into the following aspects:

• (a) Definition and Function of Museums

  Museums have three basic functions, namely, preservation, research, and communication (Van Mensch, 2003). The International Council of Museums (2007) set forth the definition and function of museums as follows: “A museum is a non-profit, permanent institution in the service of society and its development, open to the public, which acquires, conserves, research, communicates and exhibits the tangible and intangible heritage of humanity and its environment for the purposes of education, study and enjoyment.”

• (b) Museum Duties

  The duties of museums are collection, documentation, research, conservation, mediation, continuing education, and evaluation (Hauenschild, 1988).

• (c) Social Function

  Curators and museums are parts of the social life of world society. They are advised to be actively involved in society’s social and cultural lives (Sola, 1991).

• (d) Society Participation

  Curators play their role as facilitators in conducting research with other parties, such as communities that are related to the research theme. Community involvement can enrich data and information and can help curators obtain the native’s point of view about a certain thing (Cameron, 2008).

• (e) Definition of Collection

  The reason an object can become part of a museum’s collection is its potential value including aesthetic and educational values (Burcaw, 1997).

• (f) Definition of Curator

  The International Council of Museums stated that “the curator reports to the director and is responsible for the collections in his/her charge. Duties include the care, development, study, enhancement and management of the collections of the museum.” Curators are responsible for planning and implementing programs for storage room, catalogizing, supervising conservation procedure, ensuring the process is recorded and documented, and providing input to the director about collections development. Curators also perform collection study, determine, and conduct research, and serve the circulation of information and documentation of collections and exhibition materials. In addition, curators administer budgets and staff under the director’s supervision. In terms of formal education, curators who are graduates of master studies from programs that are related to museum collections and have been trained or experienced in museology are desirable (Ermert et al., 2008). Meanwhile, the American Association of Museums stated that “curators are highly knowledgeable, experienced, or educated in a discipline relevant to the museum’s purpose or mission.” The activities of curators are oriented on presenting the results of interpretations (Magetsari, 2016).

• (g) Study

  According to Cameron (2008), curators play the role of facilitators when studying collections. Interaction with other parties is crucial in this activity and can be accomplished by involving communities and experts from disciplines that are related to the topic of the study, so that data and information can be comprehensive. The American Association of Museums explained that the study of collections is conducted to identify them and to document their histories.

• (h) Collection Procurement

  One of the duties of curators is making recommendations for collection acquisition.

• (i) Inventory

  The Metropolitan Museum of Art (2015) specified that regularly, each department that conducts curatorial works must create an inventory, particularly on the content of collections.

• (j) Collection Borrowing

  Curators participate in formulating institutional policies and procedures in conserving collections on the basis of professional standards. Curators also discern the objects to be borrowed by the museum.

• (k) Collection Removal

  Curators regularly review collections to assess their relevance to museums’ missions. The collections are then sorted, and the recommendations of their removal are proposed. Collection removal is conducted to improve museums’ missions. Curators explain to museum supervisors the considerations that ensure that their museum will not experience loss caused by collection removal.

• (l) Coaching and Monitoring

  The competence of curators is improved by coaching in the form of providing access and opportunity to higher formal education within the discipline related to museum collections and joining training about museology. Meanwhile, museum directors or other higher institutions monitor curators’ performance to ensure that museums are run effectively and efficiently (International Council of Museums, 2007).

Table 1 lists in brief the aspects of curatorial management based on the new museology paradigm.

Table 1 Aspects of Curatorial Management in the New Museology Paradigm

As institutions, the primary element of museums is the aspect of education and other practical benefits for the public. Museums take care of not only tangible issues related to objects, but also intangible issues related to nonobjects. Another role of museums is to show the two-way relationship between itself, and this role is particularly performed in three aspects: mediation, continuing education, and evaluation. New museology positions museums as educational institutions, which give direct contributions to social development (Hauenschild, 1988).

In terms of social function, curators and museums are an inseparable part of the life of the society. Sola (1991) argued that new museology serves as a bridge that connects museums and people. In the era of information technology (IT), museums provide a space for people to take an active role in managing itself. Not only do museums give something to people but also people can give something back to museums. Cameron (2008) further elaborated that community involvement not only enriches data and information but also helps curators gain practical perspectives.

In the concept of new museology, collections are objects that are gathered and preserved for their intrinsic values, such as aesthetics and education (Burcaw, 1997). Such values distinguish the collection of museums from objects in antique shops. From the perspective of museology, the responsibilities of curators are focused on studies, interpretations, and concepts related to museum programs. Curators must be well-educated (at least graduating with a postgraduate degree), have adequate knowledge pertaining to collections, and must comprehend museology. Gurian added that in the era of IT, while curators are no longer the sole information source for visitors, they still wield intellectual authority over collections.

Collection review is an activity that curators should do. As facilitators, curators conduct reviews with other parties, so that a reciprocal relationship may be developed. Importantly, reviews must not only cover the collections themselves but also their interpretations. From an academic perspective, the process of acquiring collections involves curators while considering the objectives of museums. Curators give recommendations to their supervisors and participate in the formulation of policies, which are related to collections and compliant with existing procedures (including the fee of collection acquisition or insurances required whenever collections had to be lent to other parties).

In terms of collection inventory, curators are responsible for material aspects. Curators participate in making sure that the preservation of collections (including the decision of lending collections) is conducted according to professional standards. Curators also periodically review collections to assess their relevance with museums’ objectives. In this stage, collections are sorted before curators recommend whether they should be taken away or kept as exhibits. The erasure of collections is executed to support the progress of implementing museums’ missions. For supervisors, curators explain aspects to be considered in ensuring that museums will not suffer from significant losses after particular collections are erased.

With such crucial responsibility, curators must remain competent in executing their tasks and responsibilities. Therefore, curators must be equipped with trainings related to museology or given access to higher formal education.

Curatorial Practices at the National Museum

The National Museum is owned by the government of Indonesia. It has the largest and most comprehensive collections in Indonesia, exhibiting approximately 160,000 items. The diversity and richness of its collections have garnered international attention. The genesis of the museum was the establishment of a scientific organization called Bataviaasch Genootschap voor Kunsten en Wetenschappen (BG) or Batavia Society for Arts and Sciences on April 24, 1778 (Hardiati, 2014). At that time, its members were Dutch scientists interested in knowledge and culture of the Dutch East Indies. After independence, the museum experienced a shift of ownership to the Indonesian government. Currently, the vision of the National Museum is as an “International-Level Museum of Indonesian Cultures.” The National Museum serves as a source of cultural education, inspiration, and recreation. It is also a means to enlighten the nation, reinforce its identity, and improve the spirit of unity (Museum Nasional, 2016).

Currently, its mission is to become a “Museum of Indonesian Culture with international standards through persons and ecosystems characterized with the spirit of cooperation (gotong-royong).” Meanwhile, the mission statements of the museum consist of five points: (a) implementing collection management according to international standards; (b) giving premium services; (c) making the museum a space for education and recreation; (d) executing high-quality research on museum development; and (e) implementing good management through the involvement of the public. The National Museum of Indonesia presents Indonesian cultures, which can be understood as products and processes. As products, Indonesian cultures refer to unique forms and characteristics that appear in particular eras, from the emergence of human beings in Nusantara to the twentieth century (Museum Nasional, 2016).

The principles of the National Museum of Indonesia’s curatorial management are based on government regulations, particularly Law No. 11 Year 2010 on Cultural Properties (Cagar Budaya), Government Regulation No. 66 Year 2015 on Museum, the Ministerial Regulation of the Ministry of Education and Culture No. 28 Year 2015 on Organization and Work Procedure of the National Museum, and the Ministerial Regulation of the Ministry of Education and Culture No. 8 Year 2015 on Job Descriptions in the Sectors of the Ministry of Education and Culture. Officially, the position of curators in the National Museum of Indonesia started to be recognized in 2012.

The National Museum of Indonesia is a Technical Implementation Unit (Unit Pelaksana Teknis) of the Ministry of Education and Culture in the Museum sector. Being under the supervision of the Directorate General of Culture, the museum regularly reports to the Directorate General. The National Museum of Indonesia is led by a Head. Specifically, its organizational structure is as follows:

• (a) Head;

• (b) Department of Administration;

• (c) Department of Collection Examination and Acquisition;

• (d) Department of Registration and Documentation;

• (e) Department of Maintenance and Preservation;

• (f) Department of Presentation and Publication;

• (g) Department of Partnership and Promotion; and

• (h) Group of Functional Officers

According to the Ministerial Decree of the Minister of Education and Culture No. 28 Year 2015, curators are functional officers supported by the Department of Collection Examination and Acquisition (Bidang Pengkajian dan Pengumpulan). The department itself consists of three sections, which execute their respective role and function in executing curatorial tasks. First, the Section of Identification and Classification has a curator with a degree in archaeology (with the specialization of epigraphs) carries out his/her responsibilities. Second, the Section of Search and Collection has a curator educated in the background of social anthropology. Third, the Section of Cataloging should have two curators with the following specific requirements: one curator with a bachelor’s degree in anthropology, and another with a bachelor’s degree in anthropology and a postgraduate degree in museology.

The curatorial practices of these curators are described in the Ministerial Decree of the Ministry of Education and Culture No. 8 Year 2015 on Job Descriptions of the Ministry of Education and Culture. One of the stated points is to prepare work plan materials according to annual strategies. Supervisors and heads of each department should be consulted in the formulation of work plans. Curators also arrange the concepts of instruments utilized in data identification and classification, search and collection, and cataloging according to existing needs and data types. Each curator must organize a concept on which instruments are required for the execution of the works before the concepts are submitted to Section Heads. These Heads synchronize and synthesize the concepts and transform them into a general notion, which applies for the whole department, not just one section.

Another work of curators is to identify artifacts with nationwide cultural value according to the needs of the museum. Although the identification of collections is the task of the Section of Identification and Classification, curators from other sections are also involved in this task. The ability to identify collections is one of the basic competences of curators. Specifically, each curator identifies different types of collections, according to their educational background and area of interest. Unfortunately, with the limited number of curators, many instances occur, in which collections are identified by curators with unsuitable educational qualification.

Moreover, curators classify objects with cultural values of national standard. The classification is conducted according to existing needs. It is also an attempt at sorting collections based on particular criteria, such as academic discipline, material, origin, or historical period. With the collections being sorted under certain classifications, the museum benefits various parties who are interested in utilizing the collections for different purposes, such as artifact studies, academic research, and exhibitions. This task should be executed by the Section of Identification and Classification. However, in practice, the lack of curators also forces curators from other sections to be involved in this activity.

Data related to objects with cultural values of national standard are analyzed according to the results of identification and need-based classification. The analysis is conducted after a collection has its type identified and its category determined. The depth of analysis is determined based on the objective of the analysis itself, which may be book publications, field observation reports, modules to be given in seminars or academic conferences, journal articles, calendar production, leaflets, news on websites, label production, and information center services.

The most important curatorial work is collection examination. Curators organize the materials of analysis of objects with cultural values of national standard as a foundation of information development. Collections are examined for different purposes: conducting preliminary study for collection provision, adding the value of information related to a particular collection, and documenting every aspect related to a collection. The lack of descriptions in collections causes difficulties to curators in doing curatorial works (identification, classification, cataloging, inventory update, labeling, and narrative arrangement). Most of the current collections of the museum have lost their original contexts when these contexts are required for the development of collection-related information. It explains why collections must be examined. Collection examination comprises two activities: field study and literature review. Field studies are conducted in a collection’s area of origin by gathering data from primary sources. This activity requires the assistance of other academic disciplines, such as chemistry and biology. Meanwhile, literature reviews also possess a significant influence. In this activity, curators benefit from secondary sources, such as books; BG documents; examination results belonging to other institutions; and other types of documents, including digital books.

The next curatorial work is to organize materials required for searches and to gather objects with cultural values of national standard in the context of utilization. This task is the responsibility of the Section of Search and Collection. As for other tasks, curators from other sections are also involved in this activity despite the task being the responsibility of the Section of Search and Collection. Here, curators organize the materials for the provision of objects with cultural values of national standard in the context of collection development. Objects exhibited in the National Museum of Indonesia must follow certain criteria, such as being in accordance with the museum’s vision and mission statements and possessing information with clear origin. The provision of collections can be conducted through discoveries, searches, grants, gifts, exchanges, purchases, inheritance, or conversion. In executing this role, curators become members of the collection provision team for their academic capabilities.

Furthermore, curators estimate the economic value of objects with cultural values of national standard. The task of estimation is executed in relation to the provision of new collections or collection lending for exhibitions abroad. Once again, this task is the responsibility of the Section of Search and Collection. The estimation is performed on the basis of certain criteria. When collections are lent for local or international exhibitions, there needs to be insurance cost for these collections. The value of the cost is determined by the heads of various sections: Examination and Collection, Search and Collection, Identification and Classification, and Cataloging. Curators are involved in this activity, but with limited roles because curators are considered to have merely rudimentary knowledge on insurance cost.

Curators also update inventory logs of objects with cultural values of national standard in ensuring that existing data are valid. At the moment that this article is written, the National Museum of Indonesia is updating its inventory log (reinventarisasi). Inventory update is a complex activity that is related to not only quantitative aspects but also the physical and nonphysical conditions of collections. In this activity, the conditions of collections can be monitored thoroughly. As their number is limited, all curators are involved in this task without considering the compatibility between their educational qualifications and the types of collections. Data analysts and nonpermanent staff members also take part in this role.

The cataloging of objects with cultural values of national standard is a curatorial responsibility of the Section of Cataloging. In this task, “catalog” is related to information or exhibition. Information-related catalogues ideally include catalogue cards and books, which are produced according to specific criteria. Nonetheless, it has not been implemented by curators. Meanwhile, exhibition catalogues have been made. Appointed curators are assigned to write articles and captions of collections. The task is ideally assigned to curators with relevant academic background; however, similar to other tasks, other curators may be involved when the deadline is tight.

In the context of collection information development, another task of curators is to write academic, semi-academic, and popular writings for the museum’s publication. The writings are based on the results of collection examination. Curators and structural officials of the Department of Examination and Collection have published free academic books, which have been distributed to the public through the Department of Partnership and Promotion. Some writings of the curators have also been published in academic journals. Meanwhile, popular articles are published on websites and other media. In publishing the writings of curators, the National Museum of Indonesia also works under partnership with other local and international institutions.

For utilization, curators develop concepts, themes, and materials of exhibition of objects with cultural values of national standard. The arrangement of narratives (and their chronology) is mainly the responsibility of the Section of Cataloging, but this task frequently involves curators from other sections. Arranging narratives is a work with a scope that is too broad for curators of one academic discipline. Therefore, in doing this task, curators work with different sources by discussing prospective themes. If a collection is deemed not to contribute much to the determined storyline, then curators will replace it with a replica. Curators also have the authority to determine the use of other media, such as videos or photos, so that the main storyline is supported by exhibited artifacts.

In addition, curators are assigned with supporting works, particularly technical support in the fields of identification, classification, search, gathering, and utilization of objects with cultural values of national standard. The underlying goal for this assignment is educational and general services, as instructed by the supervisors of curators, and it includes information service. Different parties, such as researchers, students, other institutions, or the public, often require in-depth information related to collections. Curators are also obliged to educate people about collections and curatorial practices in forums related to the museum. Special visitors, such as official guests or other curators, should also be accompanied with the curators in exploring the museum.

For matters related to accountability, curators are also obliged to make verbal or written reports on task execution to their supervisors. Written reports are typically included in the form of notes in Buku Berita Acara Kegiatan. For reports on activities with a limited amount of time (e.g., external duties), curators submit written reports to their supervisors, the Head of Finance and Employment Affairs Subsection, and the Administration Department. Curators also perform other duties as instructed by supervisors, such as attending conferences, seminars, workshops, and focus group discussions on addition to improving their educational qualification to a higher stage. Specifically, curators are often assigned to participate in exclusive cultural trainings.

By assessing the daily tasks of curators, the curatorial practices in the National Museum of Indonesia are found structured and organized. The permanent exhibitions of the museum are also displayed in a formal manner, signifying its status as a formal institution. For security purposes, vitrines are used to display collections, especially since some collections are registered as national cultural heritages (Cagar Budaya Nasional). Moreover, all collections are registered as inventorial assets of the state. Therefore, an enhanced alarm system, CCTV surveillance, and security are installed with the purpose of guarding the collections.

The National Museum of Indonesia thrives on its collections, which excel not only qualitatively but also quantitatively. Such excellence can be achieved because since in the past, BG has been acquiring collections that bear important values or represent the style of a specific period. Some of these collections are rare to the point that they do not have any other counterparts. These collections can be assumed to be the best that BG members have ever collected. Having been stored in the museum and examined by experts, these collections are material pieces of evidence that record the historical journey of the nation.

Collection study is the most important task of curators of the National Museum of Indonesia. In the past, collections were acquired within the framework of colonialism, where such acquisition was necessary for the colonial government to understand its colonies and, eventually, sustain its power easily. These objects, most of which are royal artifacts of various kingdoms in Indonesia, were looted during the attacks on several regions in Nusantara. They were then stored in the BG museum as pieces of evidence of the colonial government’s successful conquest on a Kingdom.

Such a context of acquisition is no longer relevant, as it has been replaced by the new context given by curators during the process of musealization. This context is adjusted to the vision and mission statements of the National Museum of Indonesia, which itself is a formal institution under the supervision of the government of post-independence Indonesia. However, curators often have a difficult time detaching existing collections from the looming shadows of colonialism in the past. This difficulty is partly caused by the condition in which data, information, and photographs of collections are not well-documented in the first place. Moreover, the amount of data and information on collections is limited. In dealing with such circumstances, curators study collections to add informational value, and seeing how common people are involved as information sources is normal.

An example of such a practice is the research on ethnographic collections. As people commonly still utilize some cultural objects, the context surrounding some ethnographic collections can be easily understood. In understanding such a context, curators attempt to understand the point of view of people whose daily lives involve the existence of these objects. Curators also have to ascertain that the gathered information accurately represents people’s perspectives. The National Museum has conducted several field observations on ethnographic collections. These studies have been conducted on Mamuli in Sumba, Seraung in East Kalimantan, the Phinisi Boat in South Sulawesi, and wooden handicrafts in Papua, Central Sulawesi, Mentawai, and Nias.

The findings of these studies are then published to the people in various media, such as books, seminars, journals, web contents, and other media, which support the exhibition. In writing the narratives that result from the findings, curators lean on to formal, academic language style, complying with the museum’s market segment, which is not limited to particular types of visitors. An example is the label of Janggolan boat, a collection exhibited on Building B, second floor:

Kata janggolan berarti berhubungan. Perahu janggolan merupakan perahu niaga untuk jarak sedang. Perahu ini biasanya digunakan untuk mengangkut garam dari lading. Selain itu, juga digunakan untuk mengangkut kelapa yang banyak dihasilkan di sepanjang pesisir Madura. Perahu ini diberi nama “Si Fanili”.

[Trans.]

The word “janggolan” means “connected”. Janggolan boat was a merchant boat for medium-distance trade. The boat usually carried salt from Lading. Occasionally, the boat transported coconut harvested along the coast of Madura. This boat, in particular, was named “Si Fanili”.

Although people have made contributions to these collections, their role is still confined to being information sources. Intellectual authority on collections still lies on the hands of curators. In the narratives shown by curators, they evidently have not completely oriented themselves to people, but to the collections themselves. A gap exists between collections and people. In terms of social function, the flow of information occurs in one direction. Specifically, curators shape visitors’ opinions in understanding collections (Fig. 1).

Fig. 1

Collection and its information label at third floor

Curatorial Practices at the Kolong Tangga Education and Toy Museum

This chapter examines the curatorial practices of the Kolong Tangga vis-à-vis the concept of curatorial management in the new museology paradigm. This explanation illustrates the simpler curatorial practices in a privately owned museum than in the National Museum with regard to structure and daily management. Kolong Tangga is a private museum under the management of the Dunia Damai Foundation, a nonprofit organization focusing on the fields of art, culture, and alternative education for children. Its mission is to promote and introduce old-fashioned games in Indonesia and the world through various work programs. The museum was officially opened on February 2, 2008, by occupying a unique area under the stairs of the Taman Budaya Yogyakarta Building (Museum Pendidikan dan Mainan Kolong Tangga, 2017).

The significance of preserving toys lies on their embodiment of historical value, meaning, and relation to social life. Toys are part of a culture. Currently, the collections of the museum have reached approximately 16,000 items in the form of toys and items related to children. Due to the limited exhibition space, only 400 items of their collections are displayed. The museum has one curator who is also its head, named Rudi Corens. In the museum, the curatorial duties are related not only to the collections but also to the coordination of the functions of the museum activities in general. Technically, the Museum Division is coordinated by the work committee, and the program executors are the volunteers who join the museum through a recruitment process. Each division has the freedom to create public programs with the curator’s approval. The volunteers are passionate about the dissemination of educational values to children through the collections and public programs of the museum. Hence, the museum values social function and community participation in museum management.

The curator’s work in Kolong Tangga is planned for one program year, although funding problems occasionally happen and cause programs to deviate from the plan. The curator prepares the plan for collecting and processing identification and classification data, search and collection, and catalogization. Programs are adjusted to existing necessities and data types; for example, for annual exhibitions or materials to be written in magazines. Volunteers assist Corens in the technical implementation of programs.

Another curatorial practice is collection identification based on specific criteria, drawing on the curator’s background and experience as an artist. In Kolong Tangga, the collections are classified based on their types (e.g., dolls, then ceramic dolls) to facilitate the study of the collections and their utilization.

In this subchapter, curatorial practices in Kolong Tangga are elaborated through the curatorial management concept under the new museology paradigm. Compared with the structure and daily management of curatorial practices of the National Museum, those of Kolong Tangga are simpler. Kolong Tangga is a private institution, which operates under the management of Yayasan Dunia Damai, a nonprofit organization focusing on the fields of art, culture, and alternative education for children.

As an organization, Yayasan Dunia Damai has been officially registered in the database of the Ministry of Law and Human Rights, with registration number 42/16 June 2008/No.AHU-4311.AH.01.04.Year 2009. Founded by Rudi Corens, Dyan Anggraini (Director of Taman Budaya Yogyakarta), and Anggi Minarni (Director of Karta Pustaka), the institution is led by Poppy Darsono, the President Director. Four work divisions operate within the institution: Museum Division, Workshop Division, Burung Biru Library Division, and Kelereng Magazine Division. All of them are interconnected and work together in implementing the programs of the institution.

Kolong Tangga is the first and only children museum in Indonesia. It carries a mission of bringing forward and introducing Indonesian games from the past through several work programs. A Belgian artist who has been living in Yogyakarta since 1991, Corens (86 years old) is the most important figure who laid the foundation of the museum, which was established based on the fact that there have been merely few concerns about the world of child’s play in Indonesia. Currently, he is the only curator of Kolong Tangga.

Officially opened on February 2, 2008, the museum was in a unique area: under a staircase in the building of Yogyakarta Cultural Park (Museum Pendidikan dan Mainan Kolong Tangga, 2017), hence the name “kolong tangga” (Literal: “under staircase”). After a dispute with the building management, which decided that the building could only be used for art-related activities, the exhibition area of the museum has been closed since July 2017. Nonetheless, Kolong Tangga’s secretarial works still operate on Jalan Tirtodipuran 26, Yogyakarta. In addition, the museum regularly holds temporary exhibitions in several locations. In April 2018, the collections of the museum contributed to a temporary exhibition titled “Playing with Culture: Traditional Asian Play and Games,” which was held in Asia-Pacific Museum, Warsaw, Poland.

For Corens, preserving playthings and games is important, as both are imbued with history, meaning, and relationship to the social life of the society. That is, playthings are a part of a culture. In addition, collections are presented for their ability to represent an era. Therefore, children can be educated through playthings and games. That is, playthings are media with the capability of introducing values. Differing from adults, children are honest, responsive, and rather direct in doing anything. Without distance from children, toys can be effective educational instruments for children who are the target audiences of Kolong Tangga.

Through the museum, Corens hopes that visitors may acquire knowledge and learn further about life. The museum also operates with a caring and joyful spirit of sharing. He emphasizes that the museum believes in a particular value: befriending every child without looking at skin color, area of origin, occupation of parents, or religious beliefs. Everyone is equally accepted by the museum. A life of tolerance and peace is the message that the museum wishes to convey.

The museum’s early exhibits consist of Corens’ 900 personal collections, all of which were donated to the museum. These collections were obtained from all around the world, including remote areas in Indonesia. As time goes by, the collections of Kolong Tangga diversify and increase to the point that the collections consist of not only playthings but also all things related to the world of children, including story books, posters, and pictures. At this point, the number of its collections has reached as many as 16,000 items. New collections have been acquired by purchases, grants, or exchanges with other museums, of which is a museum in Hungary.

The tasks of curators are limited not only to collections but also to the overall management of museum activities. As part of his duty as a curator, Corens also leads the museum. Its divisions are technically coordinated by a work committee, whereas programs are executed by volunteers. Each division is granted the freedom to design public programs with the approval of the curator. Most recruited volunteers are youths with idealism of educating children through the collections and public programs of the museum. Here, the museum pays attention to people’s social function, and participation in museum management is evident. Kolong Tangga’s operation depends on funds gathered from different sources: Corens’ funds, donors, sponsors, product sales, and garage sales.

A program listing the curatorial works of Kolong Tangga is planned annually despite financial limitations frequently obstructing the realization of programs. The curator also formulates concepts on instruments of data collection, analysis, identification, classification, and catalogization. In doing so, Corens is assisted by volunteers, and the concepts are adjusted to data types and existing needs, such as yearly exhibition or magazine publication.

The next curatorial practice is the identification of collections. As an artist and a former teacher, Corens is an expert in identifying collections. It is then continued by classification, which is an activity of grouping collections based on specific criteria. In Kolong Tangga, collections are usually classified according to their types (e.g., porcelain dolls). Identification and classification help future studies on collections and their uses.

The curator also analyzes data related to collection studies, and the analysis conforms to existing needs. He decides and conducts research in addition to taking care of information circulation and documentation of materials pertaining to collections and exhibitions. Analysis is the phase after identification and classification. In this museum, the curator’s examination of collections has reached the stage of interpretation, which correlates with the present condition of the society. The interpretation of the curator is manifested within public programs, in which he and the public interact in a two-way communication in the form of discussions.

Moreover, Corens organizes necessary materials for collection search and gathering (which are necessary for various needs, such as collection addition). Volunteers also assist the curator in executing this task, which is in line with the perspective of new museology, where curators decide which objects are worthy of exhibition. Coming from purchases, grants, and exchanges, objects acquired by Kolong Tangga contain values related to the world of children and education. These collections may come from any region and any period.

Next, Corens organizes price estimation, and the resulted document is used for collection addition or lending. Having decades of international experience in the world of art, Corens is fully equipped for this curatorial practice. However, the insurance fees of collections have not been estimated because the objects have never been listed for insurance services. With the help of volunteers, the curator creates an inventory list of collections to cross-check data accuracy and reliability. Here, Corens is responsible for content-related matters, whereas volunteers are responsible for technical aspects, such as record writing and collection documentation.

Curators are ideally in charge of collection cataloging, which is typically related to the informational aspects of collections. Cataloging also includes the creation of catalogue cards and the publication of catalogue books, in which collections are sorted according to specific types or criteria. However, in Kolong Tangga, the task of cataloging is not taken by the curator. Instead, through the museum, Corens publishes academic, semi-academic, and popular writings to complement and improve existing information related to collections. He also writes collection descriptions in exhibition rooms, in the magazines of the museum, and other publications. That is, his interpretations on collections are transformed into writing.

Organizing concepts, themes, and materials of exhibitions are additional curatorial practices pertaining to collection presentation and utilization. Here, Corens selects, identifies, classifies, and labels collections. Similar to other tasks, he is assisted by volunteers in this activity. With a duty to serve the public, Corens also gives information-related services, such as becoming a guide for the visitors. In addition, he provides information inquired by external parties, such as researchers, students, and the public.

Moreover, Corens supervises collection conservation in the exhibition and storage room. Tasks indirectly pertaining to collections, such as being a public speaker, doing interviews with the media, and organizing public discussions, are also taken by Corens. Moreover, he is the leader of the museum, and his task reporting is coordinated with the President Director of Yayasan Dunia Damai. Therefore, the functions of supervision, education, management, and collection expertise are intertwined with one another, resulting in an unclear division of responsibilities.

The curatorial practices of Kolong Tangga emphasize social function (particularly public participation) in their exhibitions. An example is the exhibition Aku Cinta Kodok (“I Love Frogs”) held from February 16 to 25, 2018, in Lippo Mall Yogyakarta. The exhibition came from the curator and the volunteers’ concern about environmental issues happening lately. Environmental pollution occurs as people ignore environmental issues while focusing too much on the economic aspect of life. As a species that relies heavily on the nature for their existence, frogs are among the first victims of environmental pollution. The narrative of the exhibition was organized according to data gathered and examined by Corens and a team of volunteers. Referring to a 2015 report issued by the Ministry of Environment and Forestry’s Directorate General for Pollution and Environment Degradation Control, almost 86% of river water quality in 33 provinces in Indonesia is heavily polluted. The report raises an alarming concern, as the river is one of the primary sources of water and the ecosystem of many life forms. Polluted water poses a threat to not only human health but also the survival of many animals. Such an issue found in a formal database was then studied by the curator and then presented lightly to the children in the form of exhibition.

The exhibition also displayed an intriguing collection, which is a taxidermic comparison between two frogs, in which a frog is depicted to have a normal body, whereas the body of the other has been damaged. The collection is equipped with a narrative, which argues that frogs are beneficial for the environment. Their habitats are rivers, ponds, and other regions overgrown with plants and equipped with puddles. Frogs eat potential carriers of diseases: larva, insects, mosquitoes, termites, and cockroaches. That is, frogs are important guardians of ecosystem. The fact that some frogs’ bodies are damaged shows human errors and interventions. In the label attached to the collection, the frog died because of being run over by a passing vehicle.

Although heavily loaded with environmental messages, the campaign was presented in such a light atmosphere using a panel with inscription of words formulated by the curator: “I LOVE FROGS. The existence of frogs is the sign of clean water and air. Those who care about frogs, care about the nature!” (AKU CINTA KODOK. Kehadiran kodok sebagai pertanda air dan udara yang bersih. Mereka yang peduli dengan kodok, peduli terhadap alam!). The diction of the panel, number of words, and design show that the curator and the volunteers understand that the exhibition specifically targets children. Despite voicing out concerns about a complex issue, the message of environmental awareness was presented in a simple way that effectively reaches its audience (Fig. 2).

Fig. 2

Narrative written by the curator of Kolong Tangga Museum

The museum also found another way to raise children’s awareness of the environmental issue. In the exhibition, a pile of garbage was displayed. A label was available in front of the exhibit with the following statement:

Ini adalah kumpulan sampah dan limbah berbahaya, berbahaya bagi lingkungan, berbahaya bagi tanaman dan kehidupan binatang, berbahaya bagi sumber air dan tanah. Sampah ini dikumpulkan pekan lalu kurang dari 30 menit di suatu tempat umum di Yogyakarta.

[Trans.]

This is a pile of garbage and hazardous pollutants that pose threats to the environment. They threaten the life of plants and animals, water sources, and our soil. In less than 30 minutes, they were collected last week from a public place in Yogyakarta.

The narrative above invites visitors to become aware of how an excessive amount of trash has surrounded and jeopardized human life and the environment. Visitors are invited to further interpret the exhibit independently. Examined from the perspective of new museology, such an exhibit shows that the curator has executed his function as a facilitator who brings visitors closer to contemporary issues, which intersect with the social life of the visitors themselves.

While in most museums, the instruction “No Touching” can be commonly found, Kolong Tangga uses a different way to inform visitors about the restriction. The curator and the team of volunteers have replaced such a straightforward expression with the text “Look at the collections with your eyes, not with your fingers” (Lihat dengan mata, bukan dengan jari). When the two are compared, the more conventional statement of “No Touching” proclaims the authority of the museum and considers visitors “unworthy of approaching the collections.” While Kolong Tangga still considers the aspect of collection preservation with such a restriction, the subtler expression (through a narrative that reaches the mindfulness of visitors) in fact welcomes visitors to enjoy the collections (Fig. 3).

Fig. 3

Informative narration for visitors telling them not to touch the collection

In every exhibition, the curatorial practices of Kolong Tangga tend to discuss contemporary issues frequently. These issues are close to people’s lives. Hence, the museum orients itself to people, and not merely to collections. The curatorial practices of Kolong Tangga have provided a new space for interactions between the museum and the collections. In the created space, people are brought close to the collections and vice versa.

Analysis of Curatorial Practices and Curatorial Management in the New Museology Concept

Based on the explanation of the curatorial practices of the National Museum and Kolong Tangga, there exist conformity and inconformity with the aspects of curatorial management in the new museology concept. They are illustrated in the matrix below (Table 2).

Table 2 Matrix of Conformity and Inconformity of Curatorial Practices in the National Museum and Kolong Tangga Education and Toy Museum with Curatorial Management in New Museology Concept

The matrix above lists the results of the observation on the curatorial practices of the two museums as understood from the perspective of new museology. The National Museum of Indonesia has covered eight aspects, whereas three ongoing aspects have not complied with new museology. In Kolong Tangga, the execution of nine aspects has complied with the concept of new museology, whereas the management of two aspects has not conformed to the concept. Both museums have not covered one aspect, which is collection removal.

Conclusion

Conformity and inconformity exist with the curatorial management concept under the new museology paradigm in the curatorial practices of the National Museum and Kolong Tangga. The latter seems to have more capability to conform its curatorial practices with aspects of curatorial management in the new museology paradigm than the former, which is more institutionally complex. The curatorial management concept of new museology can be a guideline for museum leadership in the administration and development of institutions. This guideline certainly needs to be adjusted according to the conditions and necessities that may be different from one museum to another.

In the curatorial practices of the National Museum of Indonesia and Kolong Tangga, conformity and inconformity to how new museology defines curatorial management exist. Nevertheless, the latter appears to adjust its curatorial practices to the new museology paradigm more than the former, in which there exists a more complex institutional structure. The curatorial management concept of new museology can serve as a guideline to museum management to maintain and improve museum operation. It certainly cannot neglect particular conditions and various needs of museums, which differ from one another. The application of such curatorial management is expected to result in the realization of museums’ visions while upholding the principle of benefitting people.

The curatorial practices of the National Museum of Indonesia still leave a wide gap between the collections and the public who act as the visitors of the museum. To bring the collections close to the public, the National Museum may learn from Kolong Tangga, which utilizes the power of narratives. Such narratives would not mean anything without rigorous studies. In conclusion, after comparing the curatorial practices of the two museums, this research can infer that studies and narratives are powerful factors, which bring visitors close to museums, so that the messages of these museums may be effectively communicated to the public.