Chapter2.ForcesShapingChineseExhibitions:Malaysiavs Indonesia
2.1Socio-PoliticalandHistoricalFactorsShapingCuratorialEnvironments
ThecuratorialenvironmentforChineseculturalexhibitionsinMalaysiaandIndonesia hasbeenshapedbyacomplexinterplayofhistorical,political,andsocialfactors.The demographiccompositionofeachcountry,coupledwithgovernmentpoliciesand publicattitudestowardtheChineseminority,hasinfluencedhowChineseheritageis curatedandexhibited.ThesefactorsdeterminewhetherChineseculturalexhibitions areopenlyinstitutionalized,subtlyembeddedincommercialspaces,orcarefully framedtofitnationalnarratives.
MalaysiaishometoasignificantethnicChinesepopulation,constituting23.2%ofthe totalpopulation(DepartmentofStatisticsMalaysia,2023)Thelong-standing economicinfluenceoftheChinesecommunityhasallowedthemtoretainautonomyin education,business,andculturalaffairs,despitestatepoliciesfavoringthe Bumiputera(Malayandindigenous)majority.SinceMalaysia'sindependencein1957, thegovernmenthasmaintainedamulticulturalpolicy,recognizingChinese-language schools,communityorganizations,andculturalfestivals.However,theNewEconomic Policy(NEP)of1971,whichintroducedaffirmativeactionpoliciestoelevateMalay economicstatus,createdstructuralinequalitiesthatlimitedChineserepresentationin certainpublicinstitutions(Goh&Holden,2009).Despitetheserestrictions,Chinese
backing.ThisisfurthercontextualizedbythepopulationdatainTable1,which highlightsthesignificantpresenceofethnicChineseinMalaysiacomparedto Indonesia.ThestatepromotesChineseheritagetourism,positioningChineseidentity aspartofMalaysia’snationalhistory,albeitwithinacontrollednarrativeHowever, thegovernmenttendstoemphasizePeranakan(StraitsChinese)culture,which representsahybridizedChinese-Malayidentitythatalignswithnationalunity narratives,ratherthanpromotingadistinctHanChineseculturalidentity.Incontrast, Indonesialacksgovernment-backedChineseculturalmuseums,andmostexhibitions operateinprivatespacesoraspartofcommercialenterprises.Thecountry’slong historyofanti-ChinesesentimentanditslaterecognitionofChinesecultureaspartof nationalheritagehaveledtoanexhibitionmodelthatismorediscreetandself-funded. ChineseculturalcuratorsinIndonesiamustnavigateongoingpoliticalsensitivities, meaningthatChineseheritageisoftenpreservedthroughinformal,commercial,or religiouschannelsratherthanthroughinstitutionalizedmuseums.
Publicperceptionfurtherreinforcesthesedifferences.InMalaysia,therecognitionof ChinesecultureaspartofnationalidentityhascreatedanenvironmentwhereChinese heritageexhibitionscanbeopenlypromoted,butoftenwithinastate-approved multiculturalframework.ExhibitionsthatemphasizePeranakancultureare
Table1.EthnicChinesePopulationinMalaysiaandIndonesia
InIndonesia,however,Chinesecultureremainspoliticallysensitive,evenafterthe repealofassimilationistlawsPublicperceptionsofChineseidentityremain ambivalent,influencedbyhistoricalprejudicesandpoliticaltensions.Whileyounger generationsincreasinglyembracemulticulturalidentity,overtdisplaysofChinese heritageinpublicexhibitionsremainrare.Asaresult,curatorsmustadoptcareful strategies,suchasembeddingChineseculturalelementswithinbroaderhistorical narrativesorpositioningexhibitionsasprivate,community-ledeffortsratherthan publicheritageinitiatives(Suryadinata,2017).
Table2.Cross-NationalAnalysisofChineseCulturalIntegration Aspect Malaysia Indonesia
RecognitionofChinese Culture Multiculturalpolicy;Chinese cultureofficiallyrecognized
GovernmentPolicy
Affirmativeactionfavors Bumiputera;Chinese businessesremaininfluential.
LanguagePolicy
EconomicRole
PublicPerception
Chinese-languageschools legallyoperate;Mandarinand dialectsarepreserved
Chinesebusinessesdominate commercebutfaceaffirmative actionlimitations
Acceptedaspartofnational identitybutwithsocio-political tensions.
CulturalInstitutionsGovernment-fundedChinese heritagemuseumsexist.
Historicallysuppressed; recognizedonlypost-1998
Suharto-eraassimilationist policiessuppressedChinese identityuntil1998.
Chineselanguagebanneduntil 1998;limitedpresencein educationtoday
Chinesebusinessesare economicallysignificantbut politicallymarginalized
Stillviewedwithsuspiciondue tohistoricalanti-Chinese sentiment.
Nostate-backedChinese museums;culturalpreservation isself-funded.
AsshowninTable2,suchcontrastsinculturalintegrationbetweenMalaysiaand Indonesiareflecthowdifferingstateideologiesandpublicperceptionsshape curatorialpossibilities.Malaysia’smodelisinstitutionalized,hybridized,andoften commercialized,whileIndonesia’smodelissubtle,private,andembeddedwithin commercialspaces.Thesecuratorialenvironmentsdirectlyinfluencehowmuseums, exhibitions,andinformalheritagesitesarestructured,howtheyengagetheir audiences,andwhatstrategiescuratorsmustusetonavigatepoliticalandsocial constraints.
2.2EconomicFactorsandTheirRoleinShapingExhibitions
Economicconditionshaveplayedafundamentalroleinshapingthepreservation, exhibition,andpublicengagementofChineseculturalheritageinMalaysiaand Indonesia.ThefinancialstrengthofChinesecommunities,theaccessibilityofstateor privatefunding,andthebroadereconomicpoliciesaffectingminoritygroupshaveall contributedtothedivergenceincuratorialstrategiesbetweenthetwonations(see Table3foracomparativeoverviewoffundingstructuresandeconomiccontexts)..
WhileonecountryhasleverageditseconomicprosperitytoinstitutionalizeChinese heritage,theotherhasseenculturalexhibitionsadapttoprivateandcommercial settingsduetosystemicfinanciallimitations
TheeconomicparticipationoftheChinesecommunityinMalaysiahashistorically beenadrivingforceinnationalcommerce,industrialization,andurbandevelopment.
Despiteperiodiceconomicrestructuringeffortsthatsoughttoredistributefinancial poweracrossethnicgroups,Chineseenterpriseshavemaintainedsignificantcontrol overkeyindustries,includingrealestate,manufacturing,banking,retail,andtrade.As ofrecenteconomicanalyses,Chinese-ownedbusinessescontributeapproximately 70%ofMalaysia’seconomy,controllingmajorconglomeratessuchasPublicBank, YTLCorporation,andBerjayaGroupTheAssociatedChineseChambersofCommerce andIndustryofMalaysia(ACCCIM)playsacrucialroleinadvocatingforChinese businessinterestsasshowninFig2,offeringfinancialsupportforentrepreneurial venturesandworkingcloselywiththegovernmenttoshapeeconomicpoliciesthat affectChinese-dominatedsectors.
Figure2.ACCCIMinKualaLumpur&Selangor.Source:TheAssociatedChineseChambersof CommerceandIndustryofMalaysia(ACCCIM)2023.
Throughthesedirectandindirectfinancialmechanisms,theMalaysiangovernment hasfosteredanenvironmentwhereChineseculturalinstitutionsarenotonly preservedbutalsocommercializedaspartofnationaltourismdevelopmentstrategies.
Whilemanyofthesemuseumsremainprivatelyowned,thealignmentbetween governmentincentivesandprivateentrepreneurshipensurestheirlong-term sustainability,financialindependence,andculturalvisibilityThisintegrationof culturalheritageintotheeconomyisakeyfactordistinguishingMalaysianChinese museumsfromtheirIndonesiancounterparts,wherestatesupportislargelyabsent, leavingChineseheritagepreservationdependentsolelyonprivateinitiatives.
EconomicconditionsforChineseIndonesianshavehistoricallybeenshapedby exclusionarypolicies,restrictivelegalframeworks,andanti-Chinesesentiment, leadingtoafragmentedandadaptiveapproachtoculturalpreservationWhilethe Chinesebusinesscommunityhasbeenhighlyinfluentialintradeandretail,systemic barriershavelimitedtheirabilitytoaccessstate-fundedopportunitiesUnlike Malaysia,whereChinesebusinesseshaveflourishedacrossdiverseindustries, IndonesianpolicieshaveperiodicallyrestrictedChineseownershipoflandandformal enterprises.Forexample,the1950sBentengProgramasshowninFig3,aimedto promoteindigenouseconomicparticipationbylimitingChineseinvolvementin importandretailbusinesses.Similarly,PresidentialDecreeNo.10of1959banned non-citizenChineseentrepreneursfromengaginginruralretailtrade,forcingmanyto relocatetourbancentersoradoptinformaleconomicstructurestosustaintheir businesses.DuringtheNewOrderregime(1967–1998)underSuharto,the
ThelimitedstatesupportforChineseculturalinstitutionshasrequiredmanyheritage sitestobesustainedthroughindependentcommercialrevenuestreamsForexample, theBentengHeritageMuseuminTangerangwhichcanbeseeninFigure4,oneofthe fewChineseculturalmuseumsinIndonesia,operateswithoutgovernmentbacking andreliesonprivatedonations,ticketsales,andretailactivities.Manyothercultural heritagesitesfunctionasbusinessesratherthanstate-supportedinstitutions, blendingheritagewithcommercetoensurefinancialsustainability(Utami2023).The integrationofheritagetourismwithlocalbusinesses,suchastraditionalmedicine shopsinGlodok(Jakarta'sChinatown),isadirectoutcomeofeconomicnecessity ratherthanastrategicstate-ledinitiative.
Figure4.BentengHeritageMuseuminTangerang. PhotographbyEskanisaR.Source:Alinear Indonesia,“InterestingFactsofBentengHeritage MuseuminTangerang,”August30,2019.
Figure5.IllustrationoftheBeltandRoad Initiative'slandandmaritimeroutes.Source: China-USFocus,“BeltandRoadInitiativeMakes StrongProgress,”September5,2016.
Indonesia’scautiousapproachtoforeigneconomicpartnershipshasalsoinfluenced thedevelopmentofChineseculturalexhibitionsWhileMalaysiahasactivelyengaged ineconomiccollaborationswithChina,includingthroughtheBeltandRoadInitiative (BRI)inFigure5,Indonesiahashistoricallymaintainedamoreskepticalstance towardChineseinvestmentsduetofearsofeconomicdominance.Thishesitancehas
contributedtoalackoflarge-scaleChinese-fundedculturalinitiativesinIndonesia, limitingtheformalizationofcuratorialinfrastructureAsaresult,heritagesitesin Indonesiamustgenerateindependentrevenueratherthanrelyongovernmentalor foreignsupport,reinforcingamodelwhereculturalpreservationisintertwinedwith privatebusinessoperations.
Table3.ComparativeEconomicFrameworks
Economic Factor
Government Investmentin Chinese Cultural Heritage
Estimatedat200millionMYRfor heritageconservationandcultural tourism(2019);85millionMYR allocatedtoChineseNewVillages (2019)
PrivateSector Contributions
Primary Revenue Sources
Significant:Chinesebusiness associations(ACCCIM)andprivate conglomeratesactivelyfund exhibitions
Governmentgrants,privatebusiness sponsorships,ticketsales, merchandising,andtourism integration.
Minimal:Nodirectstate investmentinChinesecultural exhibitions;focusremainson nationalandindigenousheritage
Limited:Primarilyindividualor family-runbusinessessupport Chineseculturalspaces.
Self-sustaining:Revenuefrom businessoperations(teahouses, medicineshops,religioussites).
2.3AudiencePerceptionandtheCurator’sRoleinNavigatingCulturalRepresentation
2.3.1AudienceandApproachinMalaysia
ForMalaysianChinese,culturalexhibitionsarenotmerelyaboutpreservingobjects theyserveasameansofassertingidentity,culturalcontinuity,andsociallegitimacy withinamultiethnicnationalframework.Manyclanassociations,businessguilds,and
Chineseculturalfoundationshaveinvestedinprivatemuseumstoinstitutionalizethe historicalpresenceandcontributionsoftheircommunities
Tounderstandaudienceperspectives,thisstudyconductedsemi-structured interviewswith100MalaysianChineseindividuals,aged25–60,acrossKualaLumpur, Penang,andIpohasshowninTable4.Respondentsincludedparticipantsinvolvedin clanassociations,heritageprograms,orfrequentvisitorstoChineseexhibitions.Each interviewwasfollowedbyaLikert-scalequestionnaireassessingkeyperceptionson culturalengagement
Table4MalaysianChineseAttitudestowardCulturalExhibitions(n=100)
Statement Attitude
1Visiting Chinese heritage exhibitions helpsme better understand myidentity.
2Exhibitions strengthen our community’s presencein national history.
3Itrustclan associations andChinese chambersto manage cultural spaces effectively.
4Ifeelmore emotionally connectedto private Chinese museums thantostaterun museums
5Chinese cultural heritageshould bemorevisible innational history educationand tourism.
Resultsshowthat80%ofrespondentsagreedorstronglyagreedthatvisitingheritage exhibitionshelpedthemunderstandtheiridentitymoredeeplySimilarly,over80% feltthattheseexhibitionsaffirmtheChinesecommunity’splaceinMalaysianhistory.
Manyexpressedagreateremotionalconnectiontoprivately-runmuseums,which
theydescribedas"spacesthatspeakinourownvoice,"incontrasttonational museumsthatoftenemphasizebroadermulticulturalnarratives
Furthermore,77%ofparticipantstrustedclanassociationsandchambersof commercetocuratesuchspaceseffectivelyindicatinghighcommunaltrustinnonstateculturalactors.Perhapsmostnotably,85%believedthatChinesecultureshould bemorevisiblyrepresentedinnationalhistoryeducationandtourismmaterials, pointingtoastrongdesireforculturalinclusionwithinMalaysia’spublic-facing identityThesefindingsaffirmthatChineseheritageexhibitionsinMalaysiafunction asmorethanmemorialstheyarelivinghubsofbelonging,shapednotonlyby historicalmaterialsbutbytheaudiencesthatvisit,validate,andemotionallyinvestin them.
2.3.2AudienceandApproachinIndonesia
DuringtheDutchcolonialera,theChinesewerepositionedasanintermediaryclass betweentherulingEuropeansandtheindigenouspopulation.Whilethisgavethem economicleverage,italsofostereddeepresentmentandreinforcedtheirstatusasan ethnicoutsidergroup.Thisprecariouspositioningmadethemvulnerabletoboth governmentalrestrictionsandsocietalhostility,leadingtoapreferenceforeconomic advancementoverculturalassertion. FollowingIndonesianindependence,thepoliticallandscapebecameevenmore challenging.UnderSukarno’snationalistgovernment,ChineseIndonesianswere
stronglyencouragedtoassimilate.Thispushforassimilationescalateddramatically duringtheSuhartoera(1967–1998),whenthegovernmentimplementedaseriesof policiesthateffectivelyerasedChineseculturalvisibilityfromthepublicsphere (Purdey2006)Chinese-languageschoolswereshutdown,Chinesenewspaperswere banned,Chinesefestivalswereprohibited,andevenChinesenameshadtobechanged toIndonesian-soundingonesThisperiodsawthemostextremesuppressionof Chineseidentity,asstatepoliciesaimedtodissolvethedistinctivenessofChinese IndonesiansandabsorbthemintothebroaderIndonesianidentity.
ForChineseIndonesians,thiswasatimeofculturalinvisibilityandself-preservation. Tosurvive,manyfamiliesdeliberatelydistancedthemselvesfromtheirChinese heritage,optinginsteadtofullyintegrateintoIndonesiansociety.Thefearofbeing labeled"outsiders"orprovokingresentmentmeantthatmanyChineseIndonesians internalizedadeepreluctancetopubliclyacknowledgeorexpresstheircultural heritageEvenwithinfamilycircles,discussionsofChineseidentitywereoften minimizedortreatedwithcaution,asmanyfearedthatovertdisplaysofheritage couldinvitesuspicionorhostilityThe1998anti-Chineseriotswereapivotalmoment inthishistoricaltrajectory.TheviolentattacksonChinesecommunities,including masslootings,arson,andtargetedassaults,solidifiedtheperceptionthatChinese IndonesianswerestillhighlyvulnerablewithinIndonesiansociety.Evenafterthefall ofSuhartoandtheintroductionofpoliciesaimedatreversingpastdiscrimination,the deep-seatedtraumaof1998reinforcedalong-standinghabitamongChinese Indonesians:culturaldiscretionwasnecessaryforsurvival.
Thepost-1998ReformasiperiodusheredinlegalreformsthatgrantedChinese IndonesianstheabilitytoonceagaincelebratetheirheritageChinesenames,media, andtraditionswerereinstated,andtheofficialstanceoftheIndonesiangovernment towardmulticulturalismsoftened(Hoon2008)ThisshiftallowedforthegradualreemergenceofChineseculturalexhibitions,museums,andpublicfestivals.However, decadesofsuppressionhadalreadyleftalastingimpactonChineseIndonesians’ perceptionoftheirownculturalidentity.
Unlikeinthepast,whereChineseIndonesianswereforcedtoconcealtheirheritage, today'sattitudeisoneofneutrality,pragmatism,orevenmildindifference.Theoncepervasivefearhassignificantlydiminished,butthisdoesnotmeanthatChinese Indonesianshavebecomeenthusiasticadvocatesforculturalrevival.Instead,their currentstanceisoftencharacterizedbyapassiveacceptanceoftheiridentityrather thananactivepursuitofculturalexpression.ManyyoungerChineseIndonesians, havinggrownupaftertheReformasiera,donotcarrythesamefearsasolder generations.TheyarecomfortableacknowledgingtheirChineseheritagewhenasked, buttheydonotfeelastrongneedtocelebrateitactivelyUnliketheirpredecessors, theydonothidetheiridentity—butatthesametime,theydonotseektomakeita focalpointoftheirpublicpersona
Giventhislonghistoryofsuppression,assimilation,andcautiousculturalexpression, thewayChineseIndonesiansinteractwithculturalexhibitionstodayisdistinctfrom thatoftheircounterpartsinMalaysia.UnlikeinMalaysia,whereChinesecultural institutionsareactivelyvisitedassitesofheritageaffirmation,ChineseIndonesians
oftenapproachexhibitionswithamorereservedorevenneutralstance.Anotherkey distinctioninaudiencebehavioristhatChineseculturalexhibitionsinIndonesiatend toattractadisproportionatelyhighnumberofChinesevisitorsratherthanbroader, multiethnicaudiencesThepoliticalsensitivitiessurroundingChineseidentity, coupledwiththelong-standingperceptionofChinesecultureasdistinctfrom mainstreamIndonesianheritage,meanthattheseexhibitionsareoftenseenasspaces "fortheChinese,bytheChinese."Non-ChineseIndonesians,unlessexplicitly interestedinChinesehistory,rarelyengagewiththeseexhibitions,andtheyarenot activelypromotedaspartofIndonesia’snationalheritagediscourse.
Table5.CulturalVisibilityofChineseIndonesians(1900-2020)
Additionally,manyChineseheritagesitesinIndonesiafunctionascommercialor religiousspacesratherthanformalmuseums,whichshapesaudienceengagementAs
summarizedinTable5,thevisibilityofChineseIndonesianheritagehashistorically beenconstrained,leadingtoitspreservationthroughinformalorreligiously embeddedspaces.Ratherthanservingpurelyashistoricalinstitutions,thesespaces whethertheybetraditionalmedicineshops,Chinesetemples,orprivately-run exhibitionsareprimarilyfrequentedbycommunitymemberswhoseethemas extensionsoftheirdailylivesratherthanasdestinationsforhistoricallearningThis contrastswithMalaysia,whereChineseheritagemuseumsarepositionedaskey attractionswithinthebroaderheritagetourismindustryandmarketedtowardboth domesticandinternationalaudience.
Chapter3.ComparativeAnalysisofChineseCultural ExhibitionsinIndonesiaandMalaysia
3.1Malaysia:OpenandHybridizedCurations-CaseStudyofHoYanHorMuseum
TheHoYanHorMuseum,situatedintheheartofIpoh,Malaysia,asshowninFigure6, servesasbothaculturalinstitutionandacommercialentity,narratingthelegacyof Dr.HoKaiCheong,thefounderofHoYanHorherbaltea.Establishedin2016byhis eldestson,DavidHo,themuseumpreservesnotonlythesuccessstoryofaChinese entrepreneurinMalaysiabutalsoreflectsthehybridizedcuratorialstrategies employedbyMalaysianChineseculturalinstitutions.UnlikeexhibitionsinIndonesia, whichoftenfacepoliticalsensitivitiesandrestrictedpublicrecognition,Malaysian Chinesemuseumsareabletoopenlycelebratetheircontributionswithinthe country’smulticulturalframework.
Asaprivatelyownedinstitution,theHoYanHorMuseumoperatesindependentlyof governmentfunding,relyinginsteadonself-sustainingfinancialstrategies,including admissionfees,productsales,andinteractivetea-tastingexperiences.Thismodelnot onlyensureslong-termfinancialviabilitybutalsoenhancesvisitorengagementby offeringanimmersive,participatoryexperience.Unlikegovernment-fundedheritage institutionsthatmustadheretostatenarrativesandbureaucraticoversight,private ownershipgrantsthemuseumcuratorialflexibility,allowingittobalancecultural heritagewithcommercialstorytelling.
3.1.1SpatialDesignandAestheticApproach
TheHoYanHovrMuseumemploysacarefullystructuredcuratorialdesignthat seamlesslyintegratesarchitecturalconservation,historicalartifactdisplay,and multimediastorytelling,creatinganimmersivenarrativeexperience.Theexhibition spaceisarrangedchronologically,guidingvisitorsthroughDr.HoKaiCheong’s journeyfromhishumblebeginningsasasmallherbalteavendorinthe1940stothe developmentofaninternationallyrecognizedbrand.
Thearchitecturalelementsofthemuseumreflectadistinctblendoftraditional ChineseandBritishcolonialinfluences,characteristicofIpoh’spre-warshophouses likeFigure8.Thewhitescallopedeaves,semi-circularwoodenshutters,andsquare grilledwindowsonthefaçadeestablishasenseofhistoricalcontinuity,framingthe entrancewithadesignrootedintheChinesecommerciallandscapeofearly20th-
centuryMalaysia.Inside,thepreservationoforiginalstructuresincludingthe kitchen,woodencabinets,ceramicjars,andavintagebicycle(Figure9)offers visitorsanauthenticglimpseintomid-centuryChineseentrepreneuriallife.The museumsuccessfullymaintainstheintegrityoftheoriginalspacewhileintegrating moderninterpretivestorytellingelementsthatenhancevisitorengagement
Figure8Archivalimagedisplaytitled"The originalNO1asitwasin1945"(Source:the author)
Figure9MrHoandhisbicycle,partofthe exhibitionnarrativeattheHoYanHorMuseum (Source:theauthor)
Theinteriorlayoutisorganizedintothematicsections,eachcontributingtothe broadernarrativeofculturalentrepreneurshipandheritagepreservation.Upon entering,visitorsarefirstintroducedtoaneducationalcornerasannotatedinFigure 10-12,whereinformationalpanelstracetheoriginsofherbaltea,Dr.Ho’s entrepreneurialstruggles,andthesignificanceofChinesemedicinewithinMalaysian
society.Thissectionsetsthehistoricalcontextbeforetransitioningintoa documentaryvideoarea,wherearchivalfootageandinterviewsdetailtheevolutionof ChineseentrepreneurshipandthetransformationofHoYanHorintoahousehold nameFurtherintotheexhibition,visitorsencounteracurateddisplayofantiqueteamakingtools,productpackagingfrom1945tothepresent,andararecollectionof Englishteaurnsfromtheearly1900s,offeringtangibleevidenceofthebrand’s evolution.Thismaterialcultureservesnotonlyasavisualtimelinebutalsoasan intimaterepresentationofthechangingconsumerlandscapeinMalaysia.
Figures10–12TheeducationalcornerattheHoYanHorMuseum,showcasinginteractivedisplays, archivalmaterials,andinterpretivesignage(Source:theauthor)
Akeyinteractivecomponentofthemuseumistheteabar,wherevisitorsare encouragedtoengagetheirsensesbytastingthreedifferentvarietiesofHoYanHor herbaltea.Thisfinalexperiencereinforcesthemuseum’sfusionofhistorical storytellingwithcontemporarybrandengagement,demonstratinghowaheritagebasedexhibitioncanalsofunctionasadynamicandcommerciallyviablespace. Throughacombinationofspatialconservation,narrative-drivendesign,andsensory
engagement,theHoYanHorMuseumexemplifieshowMalaysianChineseexhibitions cansuccessfullymergeheritagepreservationwithpublicaccessibility,ensuringthat bothculturalhistoryandeconomicsustainabilityremainattheforefrontofits curatorialstrategy
Figures13–14.Antiquetea-makingtoolsandtheevolutionofHo YanHorproductpackagingfrom1945tothepresent.(Source:the author)
3.1.2StorytellingandBrandingStrategies
Figure15Visitorsareinvitedto sampleherbalteaafterthe exhibitiontour(Source:the author)
Unliketraditionalhistoricalmuseumsthatfocussolelyonheritagepreservation,the HoYanHorMuseumtakesauniquecuratorialapproachbyincorporatingbranding andcommercialstorytellingintoitsexhibitionnarrativeThemuseumdoesnot merelycommemoratethepast;rather,itactivelyengageswiththecontemporary legacyoftheHoYanHorbrand,positioningitasanongoingstoryofChinese entrepreneurshipinMalaysia.
Akeyfocusoftheexhibitionistheentrepreneurialresilienceofitsfounder,Dr.HoKai
CheongInsteadoflimitingthenarrativetothehistoryofherbalmedicine,the museumpresentsDr.HoasapioneeringfigureinChinesebusiness,emphasizinghis contributionstothebroadereconomicdevelopmentoftheMalaysianChinese community(KoraniandMirdavoudi2021).Thisisreinforcedthroughpersonal artifactsandvisualstorytelling,includingaprominentlydisplayedbustofDrHo, positionedalongsidephotographsofhisson,DavidHo,thecurrentManagingDirector ofthecompany.Thiscuratorialdecisionunderscoresthethemeofintergenerational businesscontinuity,illustratinghowChinesefamily-runbusinesseshavehistorically adaptedtosocio-economicshiftswhilemaintainingtheircoreculturalidentity.
Toenhancevisitorengagement,themuseumseamlesslyintegratescommercial elementsintotheexhibitionexperienceOneofthemosticonicexhibitsis"The CyclingEntrepreneur",featuringacut-outofDr.HoalongsideavintageJapanese bicycle,atributetohisearlydaysofpersonallydistributingherbalteaacrossIpoh
Thisexhibitnotonlypersonalizesthenarrativebutalsofostersanemotional connectionbetweentheaudienceandthebrand'soriginstoryAdditionally,visitors receivefreeherbalteasamplessuchasFigure15,asensoryexperiencethattiesthe historicalsignificanceofHoYanHorteatoitscontinuedpresenceineveryday Malaysianlife.Themuseum’sgiftshop,stockedwithcontemporaryHoYanHortea products,furtherensurespost-visitbrandengagement,allowingvisitorstotakea pieceoftheheritagehomewiththem.
celebratedandcommodifiedsimultaneously,ensuringbothculturallongevityand economicsustainability
3.1.3AudienceReceptionandRevenueModel
TheHoYanHorMuseuminIpohpresentsauniquecaseofheritagemanagementin Malaysia,offeringinsightintohowsmall-scaleculturalinstitutionsnavigatefinancial sustainabilitywhilepromotingChinese-Malaysianidentitywithinabroader multiculturalcontextOperatedbyIpohWorld,anon-profitorganization,themuseum tellsthestoryofDr.HoKaiCheongandtheriseofChineseherbalteatraditions throughintimate,appointment-basedguidedtoursYetbehindthisseeminglymodest initiativeliesastrategichybridrevenuemodelthatblendspublicaccessibilitywith market-orientedsurvival.
Unlikestate-runheritagemuseumsorgalleriesbackedbycorporatesponsors,HoYan HorMuseumisfreeofcharge,andvisitorsarenotcompelledtomakedonations
However,ithassucceededinsustainingitselfthroughthreekeyfinancialstreams:onsiteproductsales,culturalmerchandising,andcommunity-basedphilanthropyBased ontypicalvisitorvolumeestimatedataround50visitorsperdayand300 operationaldaysannuallythemuseumlikelygeneratesapproximatelyRM90,000 peryearfromherbalteaandRM30,000frombrandedmemorabiliaandpublications. Modestcontributionsfromdonationboxesandlimitedpublicgrantscancontributean additionalRM15,000–20,000,allowingthemuseumtomaintainanestimated
heritageaspartofasharedsocialandcommercialhistory,ratherthananisolated identitynarrative
ThisapproachstandsinsharpcontrasttoChineseheritagecurationinIndonesia, wherehistoricaltraumafromtheSuharto-eraassimilationpoliciesandthe1998riots hascultivatedalong-lastingcultureofdiscretionandculturalreserve.There,many heritagespacesremainprivate,community-run,andattractpredominantlyChinese visitors.Incontrast,theHoYanHorMuseumbenefitsfromMalaysia’smoreinclusive nationalframework,allowingforopenculturalparticipationwhilestilldependingon marketlogictosurvive.
3.1.4CuratorialCommonalitiesinMalaysianChinesePrivateMuseums
ThecuratorialstrategiesofMalaysianChinesemuseumsrevolvearoundreinforcing culturalidentityandshowcasingsocio-economiccontributions,ensuringthatChinese heritageispreservedandactivelytransmittedacrossgenerationsManyofthese museumsarefoundedbyclanassociations,businessgroups,orprominentfamilies, functioningasmorethanjusthistoricalarchivesTheyserveasplatformsfor intergenerationalknowledgetransmission,reinforcingcollectivememoryand communitycohesionTheseinstitutionsfrequentlydocumentthemigrationjourneys ofearlyChinesesettlersfromSouthernChinatoMalaysia,emphasizingtheir adaptation,resilience,andcontributionstothecountry’seconomicandsocial developmen(Wong2022,15)t.Exhibitionsareoftendesignedaroundfamilyhistories,
traderecords,andancestralartifacts,withdisplayeditemssuchaspersonalletters, oldphotographs,andbusinessledgersactingastangiblelinksbetweenpastand present.Throughthesecuratorialnarratives,themuseumsnotonlypreservehistory butalsopositionChinese-Malaysianidentitywithinabroadernationalframework, reinforcingtheideathatheritageisbothaculturalassetandatoolforsocial integration
Table6.ListofStagesofEstablishmentofPublicOpinionsofthePeople'sInterMuseumsinMalaysia
NationalAmbitionPolicy Period 總計 Total 19811990 1991-20002001-20102011-2021
甲1、華校所建博物館
builtbyChineseschools 271423
甲2、傳統華團所建博物館
builtbytraditionalChinesegroups 71825
乙、新型態華團所建地方博物館
builtbyNew-typeChinesegroup 1231824
丙、宫廟、家祠、義山等博物館
builtbypalaces,temples,Yishan 5611
丁、人物纪念館或故居
Memorialsorresidencesofpeople 15410
總計Total 15276093
Beyondhistoricalpreservation,manyprivatelyrunChinesemuseumsinMalaysia integratecommercialnarrativesintotheirexhibitions,reflectingabroadertrendof
andprivateenterprises,ensuringthatthesemuseumsarebothacademicallyinformed andfinanciallysustainableSeeTable6forachronologicaloverviewofhowpublic opiniontowardcommunitymuseumsinMalaysiahasdeveloped.
Finally,thecuratoriallanguageofMalaysianChinesemuseumsisshapedbytheir uniquepositioningwithinMalaysia’sstate-endorsedmulticulturalism.Unlikein Indonesia,whereChineseculturalexhibitionsmustbecarefullyframedtoavoid politicalsensitivities,MalaysianChinesemuseumscanopenlycelebratethe contributionsoftheircommunityHowever,theirnarrativesareoftendesignedto emphasizeChinesecontributionstoMalaysiannation-buildingratherthanexclusive ethnoculturalidentity,ensuringthattheseexhibitionsaresociallyinclusiveandalign withthebroadernationalhistoricaldiscourse.Manyinstitutionsleverageheritage tourismasasustainabilitystrategy,positioningthemselveswithinMalaysia’stourism industrytoattractbothdomesticandinternationalaudiences.Byintegrating economicsustainabilitywithculturalpreservation,thesemuseumscreateahybrid curatorialmodelthatbalanceshistory,entrepreneurship,andcommunityengagement, reinforcingtheideathatChineseheritageisnotonlyahistoricalnarrativebutan evolvingculturalandeconomicforceinMalaysia.
3.2OperationalCuration–TheBusiness-DrivenCulturalDisplayModelofChinese Indonesians
Intheabsenceofstate-sponsoredculturalinstitutionsdedicatedtotherepresentation ofChinese-Indonesianheritage,commercialspaceshaveemergedastheprimary carriersofculturalnarratives.Unlikeformalmuseumsorcuratedexhibitions,these spacesdonotactivelyframetheirofferingsasheritagepreservation.Instead,culture isembeddedindailytransactions,makingitaformofoperationalcurationwhere commerceitselfactsasthemediatorofculturaltransmissionThissectionwillexplore howTaySengHo,alongwithsimilarbusinessessuchastraditionalteahouses,pastry shops,incensestores,andmedicalhalls,functionasdiscreetyethighlyeffective culturalrepositories,sustaininganddisplayingChineseheritagethroughbusiness operations
Figure17.MappingdiagramofTaySengHo.(Source:theauthor)
3.2.1EmbeddedHeritageEconomies:Ownership,Revenue,andCulturalTransmission
Chinese-Indonesiancommercialspacesserveadualfunction,operating simultaneouslyaseconomicenterprisesandinformalculturalinstitutions.These businessesarenotmerelysitesoftransactionalexchangebutactasrepositoriesof collectivememory,whereculturalknowledgeispreserved,enacted,andtransferred acrossgenerations.AsshowninFigure17,thisphenomenonisparticularlyevidentin TaySengHo,ahistoricChinesemedicinehallinJakarta’sGlodokChinatown,which functionsasbothaplaceofbusinessandasiteofculturallearning.
TheTaySengHoshopisafamily-ownedbusiness,passeddownthroughgenerations andhousedinpropertystillcontrolledbythefoundinglineage.Thispatternmirrors manyChinesebusinessesinGlodok,whereownershipisfamilial,allowingforlongtermculturalandeconomiccontinuity.Financially,TaySengHorepresentsaselfsustainingheritagebusinessSituatedwithinIndonesia’sIDR215trillionherbal medicinemarket,theshopattractsanestimated50customersperday,withmonthly revenuesprojectedaroundIDR75million(approxUSD5,250)Thiseconomicmodel enablesthepreservationofheritagewithouttheneedforexternalfundingor governmentrecognition.
Unlikelarge-scaleheritageprojectsthatoftenrelyonofficialendorsementormarketorientedadaptation,TaySengHoexemplifiesamoreembeddedcuratorialform, wherethetransmissionofknowledgeisentwinedwithcommerce.Thedisplayof antiquejars,traditionalmedicinetools,andhistoricshoparchitecturebecomeforms ofsilentstorytellingcommunicatingidentitythroughfunctionality.This
underscoresthesignificanceofcommercialenvironmentsasactiveagentsindiasporic heritagepreservation,provingthatculturecanendurethroughhabit,utility,and familialstewardship,ratherthanthroughformalinstitutionalization(Suryadinata 1997)
3.2.2TheSpatialandMaterialCultureofTraditionalChineseBusinesses
WalkingintoTaySengHo,oneisimmediatelyimmersedinanenvironmentwhere space,materiality(Figure18),andculturalmemoryconvergeLinedwithcentury-old woodenmedicinecabinets,theirdarklacqueredsurfacespolishedsmoothbydecades ofuse,thestoredoesnotmerelysellherbalremediesitcuratesalivedcultural experience,wherearchitecture,objects,andhumaninteractionsworktogetherto preserveandtransmitknowledge.Fromthebrassscoopsusedtomeasuredriedherbs, totheagedprescriptionbooksinscribedwithintricateChinesecalligraphy,every materialdetailreflectscontinuitywiththepast,affirmingthatthisisnotjusta commercialenterprisebutarepositoryofChinesemedicalheritageinIndonesia.
ThespatialorganizationofTaySengHofollowsanestablishedhierarchythatmirrors pre-modernChineseguildstructures.SeniorherbalistsasshowninFigure19and20, thegatekeepersofspecializedmedicalknowledge,occupythedeeper,lessaccessible areasoftheshop,whilejuniorstaffandapprentices,oftenresponsibleforgreeting customersandhandlingtransactions,operateatthefrontThisstructuredlayout reinforcesthetransmissionofexpertise,whereyoungergenerationsgraduallyearn
therighttomovedeeperintotheknowledge-holdingspaces.Thewayphysicalspace dictatessocialhierarchywithinthesebusinessesisnotincidentalitisadeliberate formofculturalcurationthatmaintainstheintegrityoftraditionalChinesemedicine (TCM)practices,despitetheirdisplacementfromChina’sgeographicalcenter
.
Figure18.ExteriorviewofTaySengHo,oneofJakarta'soldestdrugstores,locatedat No.28JalanPancoran.PhotographsourcedfromJakartaHistory.
Thedeep,narrowstorelayoutcharacteristicoftraditionalChinesemedicinehalls, includingTaySengHo,isnotincidental.Instead,itfollowsFengShuiprinciples,where spatialdepthislinkedtoprosperity,knowledgeaccumulation,andthecontainmentof positiveqi.Thenarrowstorefrontcreatesasenseofexclusivity,whiletheelongated depthsymbolizeswealthandwisdomflowinginward,reinforcingtheideathattrue
knowledgeisnotimmediatelyaccessiblebutmustbepursuedthroughexperienceand time
Figure19Astaffmemberworksatthefrontdesk, illustratingthedailyoperationswithintheTCM retailenvironment,onFeb5,2020.Photograph sourcedfromChinaDaily
Figure20.Thetraditionalcountersetupwhere culturalheritageispreservedthroughdaily practices.PhotographsourcedfromJakarta History.
Inside,thecompartmentalizationofspacemirrorsthehierarchicalstructuringof knowledge.Thefrontsection,typicallyreservedforover-the-counterpurchases, servesasatransitionalzonewherecasualcustomerscaninteractwithentry-level staff.Themiddlesection,oftenwhereprescriptionsareprepared,representsasemiprivatespace,requiringeitherfamiliarityorspecificexpertisetoaccess.Finally,the backoftheshop(Figure21),oftenclosedtothepublic,functionsastherepositoryof deeperknowledge,whereherbsarestored,secretrecipesaresafeguarded,andthe mostseniorpractitionersoperate.Thislayoutsubtlyenforcesaknowledgeeconomy, whereonlythemostdedicatedwhetherapprenticesorlong-termpatronsgain accesstothedeeperrecessesofexpertise
signagecollectivelyreconstructaSouthernChineseaestheticwhileadaptingtolocal conditionsTheconsumptionofteainthesespacesisnotamereactofrefreshment;it isaritualizedengagementwithculturalheritage,wherepatronsdonotsimplydrink butpartakeinapracticeimbuedwithsymboliccontinuityConversationsthatunfold overacupofteafunctionasoralarchives,wherememories,traditions,andcommunal relationshipsarereinforced
Similarly,ChinesepastryshopscontributetotheseasonalreaffirmationofChinese identityMooncakes,pineappletarts,andglutinousricecakesarenotmerely productstheyareculturalobjects,intrinsicallytiedtofestivals,familygatherings, andritualisticconsumptionpatternsDuringtheMid-AutumnFestival,theactof buyingmooncakesbecomesmorethanacommercialexchange;itisanannual reaffirmationofidentity,communitybelonging,anddiasporicrootednessThese culinaryspacesthusfunctionaslivingarchives,theirmaterialpresencereinforcing thepersistenceoftraditionthroughedibleartifacts
Incenseandancestralshopsformyetanotherpillarinthiscommercial-drivencultural displaymodel.Unlikeotherbusinesses,thesespacesaresacredextensionsof domesticandcommunalworshippractices,sellingincense,josspaper,andfigurines forancestorveneration(AndiniandDewi2022).DespiteIndonesiangovernment policiesthathistoricallysoughttosuppressChinesereligiousexpression,these businessesenduredasguardiansofritualknowledge,ensuringthatevenwhen Chinesetemplesweredemolishedorrestricted,domesticaltarsandfuneraryrites persisted
3.2.3AudienceEngagement:TheExclusivePreservationofChineseCulturalIdentity
ThesuppressionofChinesecultureduringtheSuhartoera(1967–1998),when Chinese-languageeducationwasbanned,publiccelebrationsofChinesefestivalswere discouraged,andChinesenameswereforciblychanged,leftalastingpsychological imprintontheChinese-Indonesiancommunity.UnlikeinMalaysia,whereChinese identityispoliticallyandculturallyrecognized,manyChineseIndonesianshavegrown upinternalizingtheirheritageassomethingtobecarefullyguardedratherthan openlycelebratedThiscautionisreflectedinhowTaySengHoengageswithits audiencenotasapubliclypromotedheritagesite,butasadiscreetlypreserved enclaveofculturalcontinuity,accessibleonlytothosewhoarealreadypartofits world.
ForChinese-Indonesianpatrons,steppingintoTaySengHoisnotjustanactof commerce;itisasubtleactofculturalreclamation,anassertionofidentityina countrywhereChinese-nesshashistoricallybeenmarginalized.Theinteraction betweencustomersandtheherbalistsfollowsanunspokenunderstandinga recognitionthatthisspace,withitswoodencabinets,herbalaromas,andhandwritten Chineselabels(ARTEKS2023),isnotmerelysellingremediesbutmaintainingan unbrokenlinktothepastCustomersdonotneedexplanationsofwhatginsengorgoji berriesaretheyhavegrownupwiththisknowledge,oftenpasseddowninwhispers byparentsandgrandparentswholivedthroughdecadesofforcedassimilation.
4.1Malaysia:AddressingGenerationalGapsinNarrative
DespitetheconsiderablesuccessofChineseculturalexhibitionsinMalaysia,manyof thesemuseumsremainboundbyanarrowhistoricalnarrativethatprioritizesthe achievementsofthefirst-generationChineseimmigrants.Exhibitionstendtoglorify the"pioneeringspirit"ofearlysettlers,highlightinghowtheyovercameadversityto becomeinfluentialfiguresinbusiness,education,andcommunityleadership.While thesenarrativesprovideastrongfoundationforculturalprideandcollectivememory, theyoftenfailtoresonatewithyoungergenerationsofChineseMalaysians,whose culturalexperiencesareshapedbyadifferentsetofsocialrealitiesnamelyhybridity, bilingualism,andevolvingidentity.Thisdisconnectrevealsasignificantgapinthe curatorialnarrativethat,ifleftunaddressed,risksrenderingtheseinstitutions culturallystagnantandalienatedfromtheirowncommunity’sfuture.
Theprevalenceoffirst-generation-centeredexhibitionscanbeattributedtothesocial structuresthatsupportandfundthesemuseums.Manyareprivatelyestablishedby clanassociations,businessfamilies,orcommunityorganizations,whoseleadership oftencompriseseldermemberswithastronginterestinpreservingancestrallegacies.
Theircuratorialprioritiestendtoemphasizelegacy,discipline,andcontribution valuesthatalignwiththeirgeneration’sworldview.Thisleadstoanexhibitionmodel
thatreinforcesahomogeneousandidealizedvisionofChineseidentity,whichis structuredaroundthemesofmigration,hardship,andupwardmobilityHowever,this modeloverlooksthefluidandnegotiatedidentitiesofsecond-andthird-generation ChineseMalaysians,whoexperiencetheirheritagenotasafixedlegacy,butas somethingdynamic,sometimesfragmented,andoftencontested.
Table7.NarrativeShiftStrategiesinMalaysianChineseHeritageExhibitions
CurrentIssue： Narrativegapbetweengenerations
Funding&controlbyoldergenerationassociations
Overemphasisonpioneernarratives;alienationofyouth
Expandnarrative toincludehybrid, bilingual,contested identities
Useparticipatory tools(storywalls, identitymaps, youthinterviews)
Engageyouthin co-curationto increase ownership
Modernizedesign via AR,multimedia, socialarchives
Museumasdynamicspacereflectingplural,evolvingidentities
Tobridgethisgap,MalaysianChinesemuseumsmustreconsiderthestoriesthey choosetotellWhilethepreservationoffoundationalnarrativesisimportant,itmust
becomplementedbyabroaderspectrumofculturalexperiencesespeciallythoseof youngergenerationsTheseincludestoriesofculturalhybridity,languageshift, generationaltension,andpersonalnegotiationsofidentityinamulti-ethnic, globalizedMalaysiaExhibitionscanincorporateoralhistoriesfromyouth,feature visualstorytellingfromsocialmediaarchives,orhighlighteducationaland professionaltrajectoriesofyoungChineseMalaysianswhogrewupinadifferent culturalmatrixfromtheirancestors.Thisapproachrecognizesidentityasalivedand evolvingconditionratherthanastaticinheritance.
Furthermore,themuseumsshouldexplorediverseexpressionsof“Chineseness,” movingbeyondtheboundariesoflanguage,dialectgroup,orancestralprovinceMany youngChineseMalaysiansmaynolongerspeakChinesedialectsfluently,attend Chinese-mediumschools,ormaintainstrongtieswithancestralhometownsinChina Yettheystillpossessaculturalconsciousnessshapedbyfestivals,familyvalues, cuisine,andlocalcommunityritualsMuseumscanreflectthiscomplexitythrough thematiczonessuchas“EverydayChineseLife,”“WhatDoesItMeantoBeChinese Today?”,or“MyMalaysia,MyHeritage,”offeringplatformsforpersonalandcollective reflection. Inpracticalterms,thesecuratorialshiftscanbeimplementedthroughavarietyof innovativeexhibitionstrategies.Onepromisingapproachistheuseof“generational storytelling”walls,wheretestimoniesfromdifferentagegroupsarejuxtaposedto revealhownotionsofidentityhavechangedovertime.Forinstance,videoboothscan displaygrandparentsrecountingtheirmigrationfromFujianorGuangdong,placed
alongsideyoungervoicesdiscussingtheirmixedculturalinfluences,educational experiences,orrelationshipwithChinesefestivalsSimilarly,an“interactiveidentity map ”couldinvitevisitorstomarktheirlanguagepreferences,culturalpractices,or memories,transformingtheexhibitionspaceintoalivingarchiveofdiverseChinese Malaysianexperiences.
Museumscouldalsoexperimentwithco-curationmodelsthatinvolveyouthand universitystudentsascollaboratorsinexhibitiondesign.Thisparticipatorymethod notonlyenhancescommunityengagementbutalsoensuresthatthenarratives representedinexhibitionsreflectcontemporaryrealities.Forexample,studentscan conductinterviews,collectneighborhoodstories,andevencuratephotoessaysor shortfilmsexploringtheirrelationshiptoChineseheritage.Suchinclusionofyouth perspectivesfostersasenseofownershipandrelevance,helpingthemuseumevolve fromaspaceo5fmemorypreservationtoaspaceofculturalnegotiationanddialogue.
Fromadesignandaestheticperspective,museumscanadoptamixed-media approachthatblendstraditionalarchivalmaterialswithcontemporaryvisuals.Digital installations,audio-visualstorytelling,andimmersiveexperiencescanbeusedto narratelifeinmodernChineseMalaysiancommunities.Ratherthanrelyingsolelyon text-heavypanelsorformaldisplaycases,exhibitionsmightfeatureinteractive elementssuchasaugmentedrealitytimelines,crowdsourcedimagegalleries,or digitalscrapbooksoffamilymigrations.Thisnotonlymodernizesthemuseum experiencebutmakesitmoreaccessibleandengagingtoabroaderdemographic.
Importantly,thesechangesmustbeunderpinnedbyawillingnesstotreatidentityas pluralandevolvingMuseumsarenotmerelyspacesforpreservingheritagethey arearenasinwhichculturalmeaningiscontinuallyproducedandcontested.Assuch, thesuccessoffutureMalaysianChineseexhibitionswilldependontheirabilityto evolvewiththeiraudience,reflectinternaldiversity,andremainresponsiveto generationalshiftsinculturalunderstandingIndoingso,theywillnotonlysafeguard memorybutactivelyshapetheculturalnarrativesoftomorrow.
4.2Indonesia:InnovatingwithinConstraints
421HybridCuratorialModelsforCommercialSpaces
OneofthemostdistinctivecharacteristicsofChineseculturalexhibitioninIndonesia isitsfrequentintegrationwithincommercialenterprises.Lackingaccesstostate fundingorofficialheritageframeworks,manyculturalspacesoperateaspartof ongoingbusinessactivities.Thismodel,bestexemplifiedbyTaySengHo,aChinese medicinehallinJakarta'sGlodokChinatown,representsacuratorialstrategythat embedsculturalpreservationwithineconomicstructures.
TaySengHofunctionsasbothapharmacyandaninformalheritagesite,wherethe historyofChinesemedicine,familylineage,andcommunitypracticesarepasseddown througheverydayinteractionswithcustomersThestorelayoutitselfservesa curatorialfunction:traditionalwoodencabinetslinethewalls,largeceramicjars labeledwithherbalingredientsevokehistoricalcontinuity,andframedfamily
photographsandarchivaldocumentsadornthewalls.Thesefeaturesallowthespace toactasbothafunctioningbusinessandalivingmuseum
Thepropertyisfamily-ownedandinheritedacrossgenerations,providingastrong senseofplace-basedcontinuity.Profitabilityismodestbutstable:basedonaverage herbalmedicinepricesinJakarta(rangingfromIDR25,000to100,000peritem), dailysalesareestimatedatIDR2.5to5million(USD160to320),yieldingmonthly revenuesbetweenIDR75to150million(USD5,000to10,000).Thesefiguresenable thebusinesstoremainself-sustainingwhilesupportingthemaintenanceofits culturalnarrative.
Table8.HybridCuratorialModelsforCommercialSpaces
Model
Context:Lackofstate fundingandheritage frameworks
Curatorial form
Culturalheritageembeddedin businessspaces(e.g.,TaySengHo)
Storelayout,materials, photos=livingmuseum
Economicbase
Self-sustainedthroughdailyherbalsales(IDR75-150million/month)
InterpretationStrategy
Oralstorytelling, packaging,spacedesign insteadoflabels
Outcome:Communityownedcuration; heritagesustained throughcommerce
festivals,andmedia.Evenafterthe1998Reformasiperiod,whichre-legalizedChinese culturalexpression,manyChineseIndonesianscontinuedtopracticecultural discretionoutofhabitortrauma.Inthiscontext,curatorialstrategiesmustnotonly presentculturalcontentbutalsoaddressthepsychologicalandpoliticallegaciesof erasure.
Exhibitionsthatemployreverseethnographydososubtlybuteffectively.Ratherthan framingChinesecultureasexotic,foreign,orneedingvalidationfrommainstream Indonesiansociety,theseexhibitionspresentitasself-evident,grounded,anddeeply embeddedinnationalhistory.Forexample,adisplaymightdocumentthe contributionsofChinesemerchantstothedevelopmentofJakarta'sporteconomy,or thefusionofChineseandBetawiculinarytraditions,withoutexplicitlyjustifyingtheir presenceThisnarrativetechniqueavoidsconfrontationwhilereaffirmingidentity
Furthermore,reverseethnographyreframestherelationshipbetweenaudienceand content.Insteadofpositioningnon-Chineseviewersastheprimaryaudience,many exhibitionsaredesignedforintra-communitydialogue.Thisapproachfostersasense ofculturalownershipandpride,allowingChineseIndonesianstoseethemselves reflectedinpublicspacewithoutneedingexternalvalidation.Thesubtleshiftin gazefrombeingobservedtobeingthenarratorconstitutesapowerfulcuratorial repositioning.
Akeyaestheticstrategywithinthisframeworkistheemphasisoneverydayobjects andpractices.RatherthanmonumentalizingChineseculturethroughgrand
architectureorstate-sanctionedhistory,exhibitionshighlightthecontinuityof heritagethroughsimpleelements:calligraphyscrollsinafamilyaltar,traditional medicinerecipes,festivalphotographs,andfoodpreparationtools.Theseartifacts, oftenoverlookedbyconventionalmuseology,becomecentralnarrativedevicesin reverseethnographicexhibitions.
Table9.ReverseEthnographyasIdentityAssertion
Historicalcontext:Post-Suhartotrauma&suppression(1967-1998)
NarrativeShift: ChineseIndonesians assubjectand narrator
CuratorialMethod
Oralhistories,everyday objects,familyartifacts
AudienceFocus: Designedforintracommunitydialogue
AestheticStrategy
Subtlestorytelling,no externalvalidation Goal:Reclaimidentitythroughself-definitionandculturalcontinuity
OneemergingtrendinIndonesiaistheuseoforalhistoryandpersonalstorytellingas curatorialanchors.Community-ledinitiativeshavebeguncollectingtestimoniesfrom oldergenerations,documentingtheirexperiencesofmigration,adaptation,and discrimination.Thesenarrativesarethenincorporatedintoexhibitionsordigital platforms,allowingthecommunitytoreclaimtheirvoiceSuchprojectsoften
collaboratewithlocalNGOs,academicinstitutions,ordigitalarchives,butthe curatorialcontrolremainscommunity-driven
Whilethesestrategiesmaynotachievemasspublicvisibilityorfinancialprofitability onthescaleofMalaysia’sinstitutionalizedheritageindustry,theyfulfillacritical function:preservingidentityunderconstraint.ReverseethnographyintheIndonesian contextislessaboutexternalcommunicationandmoreaboutinternalcoherence.It nurturesculturalsurvivalthroughself-definitionandhistoricalcontinuity,offeringa quietbutresilientformofheritage-makingTable9synthesizesthekeymechanisms ofreverseethnography,includingintra-communitynarrativeframing,everyday object-basedstorytelling,andadeliberateshiftincuratorialgazefromexternal audiencetointernalaffirmation.
Takentogether,thecuratorialinnovationsfoundinIndonesiademonstratethat constraintcanbeapowerfulcatalystforcreativity.Byembeddingheritagewithin commercialpracticesandemployingreverseethnographyasamodeofcultural storytelling,Chinese-Indonesiancommunitieshavedevelopedexhibitionstrategies thatarenotonlyadaptivebutalsodeeplymeaningful.Thesemodelsremindusthat heritageisnotmerelyamatterofdisplay,butofstrategicnarrativeagency especiallyinenvironmentswherevisibilitymustbeearnedwithcaution.
觀眾與參與經驗
VisitorEngagement andExperienceQ7
Q8
博物館有無互動性設計，如導覽、試飲、工作 坊等？
Whatinteractiveelementsoractivities(e.g., guidedtours,teatasting)doesthemuseumoffer toengagevisitors?
您希望來館者從參觀中獲得什麼？有特定的教 育目的嗎？
Whatdoyouhopevisitorslearnortakeaway fromtheirvisittotheHoYanHorMuseum?
在營運或維護方面，博物館面臨的主要挑戰是 什麼？
Q9
營運挑戰與可持續 性
Operational Challengesand Sustainability
Q10
WhatarethemainchallengestheHoYanHor Museumfacesinitsday-to-dayoperationsor maintenance?
博物館主要的經費來源是什麼？目前的經濟模 式是否可持續？
Howisthemuseumfundedorsupported,and whatstrategiesdoyouusetoensureitsfinancial sustainability?
在文物保存或歷史詮釋方面是否有困難？是如 何克服的？
Q11
Q12
未來規劃與發展方 向
FuturePlansand Development
Q13
Hasthemuseumfacedanydifficultiesin preservingartifactsorpresentingitshistory, andifso,howhavethesechallengesbeen addressed?
未來是否有展覽擴建、翻新或數位化的計畫？
Arethereanyplanstoexpandorupdatethe museum ’sexhibitsorfacilitiesinthenear future?
您如何看待博物館在社區或旅遊文化中的長期 角色？
HowdoyouenvisiontheHoYanHorMuseum’s roleinthecommunityorinheritagetourism movingforward?
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