Summary
Highlights
The video opens with the host Nafis Fania at the Bronbeek Museum, announcing an exclusive visit to the museum's depot, a rare opportunity as it's not open to the public. Mr. Pauljak, the director, explains that the depot building was constructed in 2005, much later than the museum itself, which was founded in 1862. The depot is built underground on the estate's backyard for optimal insulation and security, with only one entrance. It features three distinct climate zones for different types of collections: 18°C and 50% humidity for organic materials, a drier zone for metals to prevent corrosion, and a cool cell for photo archives.
The organic material storage houses items not made of metal, photos, or paper. The museum records approximately 118,000 items in its database, collected over 162 years, ranging from small buttons to large animal models. Most items are acquired through donations or inheritances, with some found items as well. Mr. Pauljak emphasizes that all objects are considered important, and modern interest often lies in items with personal stories. The museum aims to serve as an archive, preserving objects for as long as possible and making them available for loan to other museums, including those in Indonesia, and online via digital documentation.
The discussion moves to the repatriation of Indonesian artifacts. Mr. Pauljak confirms that objects can be repatriated if Indonesia submits a claim, which is then reviewed by the Dutch government. He highlights the museum's advanced preservation conditions, including climate control and air circulation systems. He also mentions collaboration between the Netherlands and Indonesia, involving workshops and exchanges of specialists to ensure proper preservation and care of the artifacts. Repatriation is not a new concept, with initial requests dating back to 1949 and some objects from this museum already returned to Indonesia in the 1960s.
The tour continues to a collection of paintings by Willem Blekman, an Indonesian-born Dutch painter who introduced impressionism to Southeast Asia in the late 19th century. Although significant, he is not widely known because he stopped painting early and most of his Indonesian works remain in the depot. The video then showcases a Barong dance lion, dating back to 1925, made in Hong Kong and used in Indonesia. Despite its age and fragile silk body, it cannot be repaired but is preserved. The museum also houses a diverse collection of Kris daggers, dating as far back as 1866, from across the Indonesian archipelago, reflecting everyday use rather than only high-value pieces.
The next section features a collection of historical uniforms, including a 19th-century KNIL uniform and a more comfortable tropical uniform from World War II. The guide explains the practicality of these uniforms in hot climates. They also display civilian clothing, such as white jackets, typical of Europeans in the tropics, which are no longer washed to preserve their original state despite stains from sweat. The video concludes in the 'cool cell' where photographic collections are stored at 13°C to ensure preservation. The museum has hundreds of photo albums and nearly 300,000 aerial photographs of Indonesia from 1942-1962, providing a historical record of landscapes and changes like deforestation. These military photographs and maps played a crucial role during and after WWII.
The host expresses gratitude for the exceptional tour. Mr. Pauljak clarifies that while the depot itself is not publicly accessible, individuals, including Indonesian researchers, are welcome to submit requests to study its contents. The museum's exhibitions are also open to visitors, and they encourage anyone with additional information about their artifacts to share it, emphasizing the museum's role in providing authentic information and opportunities for research into historical techniques and materials.