A diorama from the independence museum in Bali, Indonesia. Photo: Jeffrey Mellefont
On a recent trip to Indonesia I was struck by how many museums were based around dioramas. Rather than how we usually think of museums — as a display of things from the past (objects) with labels and text — many Indonesian museums are solely based around snapshots of history, with no objects in sight. They are examples of how museum-makers quite literally construct the past for their audiences.
We often think of dioramas as an outmoded, old-fashioned display method. But in Indonesia they are quite an accepted way of communicating stories. Many tell a sanctioned, official version of history. But I was surprised by just how popular they are with audiences.
In August 2015 the Australian National Maritime Museum collaborated with the Museum Benteng Vredeburg in Yogyakarta Indonesia in creating Black Armada — an exhibition about Australian support for Indonesian independence from Dutch colonial rule between 1945 and 1949. After installing and opening the exhibition I travelled to Jakarta and visited the city’s maritime museum and the working harbour with its surprising throng of wooden cargo vessels – called Pinisis.
Man watching an AWA television on board the ship TAIPING Photo by Gervais Purcell, courtesy Leigh Purcell
Gervais Purcell’s photographs depicting tests for an underwater camera by Amalgamated Wireless Australasia in Sydney have an interesting association with the discovery of the sunken HMS Affray on 14 June 1951 near Hurds Deep in the English Channel.
Detail of the Gourlay Bros. plan of the BonnieDundee. ANMM Collection, 00001118
In 1987 the Australian National Maritime Museum purchased a set of original shipyard plans produced by the Scottish marine engineering and shipbuilding company Gourlay Brothers & Co. in Dundee. Like the best of discoveries, it seems the plans were destined for the rubbish but were saved at the eleventh hour. Together the plans represent images of early Australian cargo vessels, as well as a wide range of Australian shipowners and a long tradition in ship construction procedures.
Student speech competition winners Emelia Rose Haskey and Catherine McClymont with ANMM Director Kevin Sumption (centre back) and judges Jeff Fletcher and Daina Fletcher. Photo: Andrew Frolows
‘Remembering AE1’ … a deceptively simple title that invites a sense of reflection and commemoration. This was the topic set before Year 9 history students in a national speech competition to help mark 101 years since AE1, Australia’s first submarine, disappeared with all hands at the start of World War I, never to be found. The occasion to deliver that speech would be the unveiling ceremony of Warren Langley’s wonderful artwork ‘…The Ocean Bed their Tomb’, a stainless steel wreath sculpture that now hovers over the water outside the museum.
Details of the casting of the Windjammer Sailors sculpture.
Australian Bronze foundry, 2015 All photos by Zoe McMahon.
Yesterday I visited a sculpture being made at a fine art casting foundry on Sydney’s North Head at Manly. The work is being crafted using the lost wax technique, a traditional, ages-old method that will result in a timeless bronze. Each visit and each stage of the moulding and casting process brings surprises, most recently forms and colours that evoke the strangeness of a cast of characters from B-grade 1960s schlock-horror monster films such as Godzilla and even, in spirit, the hyper-real gigantic 50-foot woman.
Borobodur, Indonesia 2015. Photo by Jeffrey Mellefont
Candi Borobodur, the great 8th-century Buddhist stupa in central Java, is rightly considered one of the wonders of the ancient world. With its backdrop the spectacular, active volcano Gunung Merapi, Borobodur is an hour and half drive from Yogyakarta where the ANMM exhibition Black Armada has just opened. (see curator Dr Stephen Gapps’ recent blogs about setting up and opening the exhibition).
When chairman of the ANMM Council, Peter Dexter AM, arrived in Yogyakarta after an intense schedule of meetings in Indonesia’s chaotic capital Jakarta, and with just a brief Sunday afternoon’s break before the official opening of Black Armada the following day, Borobodur was the absolute ‘must see’ priority. Not just Indonesia’s most iconic ancient site, it offers insights into the maritime significance of our archipelagic neighbour Indonesia, a significance as vital today as in the distant past.
This Wednesday 16 September we’re participating in International #AskACurator Day on Twitter. It’s an opportunity to ask our curators about anything that you are curious about or would like more information on. Our curatorial team will be on standby to answer your curliest questions about our collections, exhibitions and programs. Simply ask your question using the hashtag #AskACurator and mention @ANMMuseum in your tweet.
Yo, yo ho, a pirates life for me! A bottle of rum, a cargo of spice, eat up me hearties yo ho!
This month we’ve been inspired to cook up a little something special for the craft spot to mark the auspicious International Talk Like a Pirate Day and give a nod to historical golden age piracy as we prepare for our summer Pirates exhibition.
Warning: these photos show artwork by deceased Aboriginal and Torres Strait Islander people. Staff from Istanbul Modern hanging the second bark: ‘Murunamirriwuy at Manybalala’ by Boliny Wanambi, 1998, ANMM Collection 00033796
The Australian National Maritime Museum, with the assistance of Stephen Grant of the GrantPirrie Gallery, purchased a large collection of 80 bark paintings produced to assist the Yolnu, the Aboriginal inhabitants of north-east Arnhem Land to express their ownership, law and traditional knowledge over their lands and waters.