World Expo is a world-class event where the participating countries uncovered their identity through national, cultural and organizational symbols they possess. For that reason the representation of a nation on the pavilion’s display is of great importance as it offers description on the very existence of the country. Display arrangement is equally significant in a pavilion and it serves as a media to convey messages which is expected to be a full-length and detailed account on everything that the government wishes to reveal. Indonesia is one the countries that has made use of such places and media in order to validate its position in the world perception, particularly during the Soeharto administration (1966-1998).
Through examining the data taken from a range of documents such as photographs, articles from newspapers, magazines, sites and articles from a number of books this research is to unfold the propaganda done by the Soeharto administration using the display arrangement in the pavilion of World Expo, by fully identifying those pavilions in its relation to the political and cultural meaning and its ideology as well as to the government policy which are all based on Soeharto’s own aspiration as the leader of the dominating power.
This research unveils that the highest cultural practices formulated by the New Order regime are closely related to the discourse of the Soeharto administration which consistently launch a propaganda campaign on Indonesia as a nation with high culture by showing the face of Indonesia through its cultural historiography from the past and the present which always come in a form of a co-modification package of the traditional cultural diversity of the Indonesian archipelago that is regarded as the highest achievements of Indonesian culture.
Keywords: propaganda, display arrangement, co-modification, World Expo
Indah Tjahjawulan, Bandung Institute of Technology, Indonesia
Stream: Arts & Humanities
This paper is part of the ACAH2013 Conference Proceedings (View)
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