Socio-Historical Media Tourism Promotion Study During the Dutch East Indies Period of 1930 - 1940

Paramita:Paramita: Historical Historical Studies Studies Journal, Journal, 30(2), 30(2), 2020, 2020 157 -169 ISSN: 0854-0039, E-ISSN: 2407-5825 DOI: https://doi.org/10.15294/paramita.v30i2.20890

SOCIO-HISTORICAL MEDIA TOURISM PROMOTION STUDY DURING THE DUTCH EAST INDIES PERIOD OF 1930 - 1940

Baskoro Suryo Banindro, Arif Agung Swasono, Rikhana Widya Ardilla Department of Visual Design Communication, ISI Yogyakarta

ABSTRACT ABSTRAK

This study discusses the media of tourism pro- Penelitian ini membahas tentang media motion in the Dutch East Indies period, in the promosi wisata di masa kolonial Belanda, form of lithographic print art images. The pur- berupa gambar seni cetak litografi. Tujuan pose of this research is to determine the mean- penelitian untuk mengetahui makna bahasa ing of visual language in the promotional me- rupa yang ada dalam gambar media promosi dia images. Promotional objects in question tersebut. Objek promosi yang dimaksud are pictures of lodging, photos of exotic cultur- adalah gambar penginapan, gambar hasil al and natural products of the colonies insu- budaya dan alam eksotik pedalaman tanah linde printed between 1930 and 1940. With jajahan insulinde yang dicetak antara tahun socio-historical methods consisting of social 1930 hingga 1940. Dengan metode sosio and historical studies, data obtained from liter- historis yang terdiri dari kajian sosial dan ature studies, literature studies, and field ob- sejarah, data yang diperoleh dari studi servations will be analyzed using Teun A. van literatur, kajian pustaka dan observasi Dijk’s critical discourse approach. Further- lapangan akan dianalisis dengan pendekatan more, the results of the study will be interpret- wacana kritis Teun A. van Dijk. Selanjutnya ed descriptive qualitatively and presented with berdasarkan data yang ada, hasil penelitian a historiographic approach. The findings of akan diintepretasikan secara deskriptif this study are there had been a process of kualitatif dan dipaparkan dengan pendekatan Westernization in visual culture in the colonial historiografi. Hasil temuan dari penelitian ini period. The conclusion of this research is the adalah bahwa telah terjadi proses pembaratan portrayal of media promotion tourism during dalam budaya visual di masa kolonial. the Dutch East Indies of 1930-1940, which has Adapun kesimpulan penelitian ini yaitu given birth to traces of art deco style lithograph- penggambaran media promosi wisata masa ic print as an effort of modernization in sup- Hindia Belanda 1930 - 1940, telah melahirkan porting modernity and developing a modernis- jejak seni cetak litografi bergaya art deco tic Dutch colonialist tourism aimed at Europe- sebagai upaya modernisasi dalam mendukung an travelers. modernitas dan memajukan pariwisata kolonialis Belanda yang modernistik di Hindia Keywords: socio-historical, tourism promotion Belanda yang ditujukan bagi pelancong orang- media, the Dutch East Indies period orang Eropa.

Kata Kunci: sosio historis, media promosi wisata, masa Hindia Belanda

Author correspondence Email: [email protected] 157 Available online at http://journal.unnes.ac.id/nju/index.php/paramita Paramita: Historical Studies Journal, 30(2), 2020

INTRODUCTION tive object without reducing its iconic im- 1930s Dutch East Indies was the begin- pression. With its distinctive bright color ning of the revival of industry in all sectors appearance, a combination of geometric after the Dutch Colonial Government elements and floral tendril, typography, went through a difficult time malaise the and aesthetically simple illustration, art world economy (Padmo, 1991). One of deco is an aesthetic reflection of the mod- the main activities carried out by the colo- ern spirit (Banindro, 2017). nial government was to intensify the tour- Nearly a decade Jan Lavies print ism sector by forming an office of Dutch work of lithographic graphic art decorates East Indies tourism bureau, known as the tourism promotion media in the Dutch Vereeniging Toeristen Verkeer (VTV) East Indies. No less than 265 Lavies (Sunjayadi, 2007). The exploitation for graphic print works have been exposed in Dutch East Indies tourism, in particular, the newspapers, brochures, and travel was the exoticism interior of Sumatra, Ja- magazines created from 1928 to 1940. va, and Bali, which became its primary With its authenticity, Lavis successfully objects, including the introduction of local transformed the realistic objects he chose culture, especially for travelers from Eu- for visualization into models or decorative rope or America who would come to the art styles. Lavies’ works are always certain Dutch East Indies. to use strong colors, abstract, and geomet- To supporting tourism activities, ric shapes, such as rectangular shapes, tri- there are various shapes and sizes of pro- angles, and circles, block lines. Some of motional media models at that time. The which are combined with plant motifs and Dutch colonial-era tourism promotion iconic figures, while still retaining the ele- media, among others, were in the form of ments of placard block. The composition lithographic printing art products, one of elements of the promotional media image which was its decorative depiction of ob- are expressed in a simple but always in- jects. Produced in various sizes and shapes dexical format. This research is interesting that are embodied in luggage labels, pam- to examine why art deco is used as a visu- phlets, and posters. The printed art images al approach method. Since there has never of tourism promotion at that time general- been a study that explicitly discusses this ly contained visual objects of an inn sup- matter, this study becomes important. ported by architectural drawings of build- The first study entitled Advertising In ings, inland natural scenery, and activities The Dutch East Indies In Search of A Tropical of local residents, which were generally Style was written by Maartje Brattinga made by the Dutch advertising agency (2015) was used to get an idea of the de- (Setiyono, 2004). velopment of colonial advertising. It was Graphic artwork entered the Dutch made to be a primary reference to the de- East Indies spearheaded by Jan Lavies, velopment of advertising in the colonial who was born in the Netherlands on 9 period. In his description, Brattinga said September 1902. He completed his study that the development of advertising at that in the Netherlands at Academie Voor time saw graphic designers being familiar Beeldende Kunsten, who embraced the with the use of letter models, photograph- Amsterdam School pattern and completed ic techniques, print techniques, and at the in 1925. Technically in completing his same time, choosing the placement of the work, he had applied his artistic ability media. with the use of decorative styles to repre- The other study was written by Hi- sent material objects in his picture. The dayatullah (2012) about design develop- decorative style in question is art deco, a ment in Indonesia. This journal explained modern style of graphic art and society that the development of the printing in- that developed from Europe between 1919 dustry in the colonial period was an essen- -1939. Art deco, in its representation, tial stage in cultural openness because tends to change a real object into a figura- there were verbal and visual communica-

158 Paramita: Historical Studies Journal, 30(2), 2020 tion crossings. Data revealed in this jour- reporting the results of historical research nal include that in 1919 there were 120 that have been conducted where emphasis printing companies. During the colonial more on chronological aspects. The histor- period, there were 3,000 German and ical method is a method that uses stages. Dutch artists and designers. First is the stage of collecting data Thesis, written by I Wayan Nuriarta (heuristics), the second stage is source crit- (2016) in ISI Yogyakarta about Poster in icism (verification), the third is the stage of Imaging Balinese Cultural Identity in the making a point of view (interpretation), Colonial Period, was used as a reference and the fourth stage is the stage of writing to get the fact that local cultural symbols history (historiography) (Kuntowijoyo, had become a model of introduction to 2005). tourism promotion. All the points above Basically, this research is aimed at are findings that reinforce how the graphic revealing how the development and printing artists of the colonial era built a change of an artifact or design work are visual identity and provided an intense influenced by the existing construction of color (distinctive style) for the tourism society, culture, and ideology promotion industry at that time. (Kartodirdjo, 1992). With this socio- Based on the above background de- historical study, this research is directed scription, it can be formulated why the art to: (1) provide an overview of the deco approach illustrates the social reality existence of artifacts or design works in of the portrayal of tourist objects during the context of the time; (2) how their the Dutch East Indies colonial era of 1930 development and change. These two -1940. The purpose of this research is to aspects become the basis for uncovering read the cognition art and the historical, the reality of artifacts or design works that social context of the depiction of art deco are adjusted to the reality of the era graphic printing with the object of tourism diachronically (within a specified period). promotion during the Dutch East Indies In this socio-historical study, the object of 1930-1940. under investigation is design work certainly produced for specific functional RESEARCH METHODS purposes. Through a sociological approach, history A printed work of art, what can gain a more comprehensive under- distinguishes it from other artifacts, is its standing of the meanings of historical functional value. Thus, tourism events. According to Max Weber, he was promotion work as a research object will intended as an effort to gain interpretation be categorized into three discussions, understanding in the framework of provid- namely: (1) First is how the printed ing a causal explanation of social behav- artwork or artifact has a function as a iors in history, population growth, migra- promotional tool, as a medium or means, tion, urbanization, transportation, welfare, and as a tool. (2) Second is how the and others (Kuntowijoyo, 2013). In this concept of signs (symbols, meanings, and research, the sociological aspects that are values) is depicted from artifacts. (3) The inherent and close to the topic or issue of third is how the values in society are tourism promotion become a separate dis- adjusted to the reality of the artifacts. cussion. From the categories that have been It is a set of rules and a systematic determined as variables of this study, the way to collect historical sources effective- results of the analysis are expected to be ly, critically evaluate them, and propose a able to answer about the description of synthesis of the results achieved in written artifacts in relation to the time context form (Garraghan, 1957). The presentation while answering about anything that of historical sources will then be written triggers changes and developments of using the historiography method. Histori- artifacts or design work in a certain ography is a way of writing, explaining, or period.

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Data analysis is the process of sys- Luggage label is generally in the tematically tracking and organizing field form of color printing using lithographic notes and other materials to present their printing techniques. They are tangible two findings. Based on the nature of the data -dimensional items, consisting of various collected, this study will be analyzed de- sizes and shapes. At the time, it was made scriptive qualitative with exposure to sen- using paper material with two faces, one tence breakdown (narrative data) side for the image, and the reverse side is (Sugiono, 2010). Operationally, the popu- for the glue or the like (Wedjah, n.d.). lation will be selected based on a random sample or random sampling that has been obtained in the field. The object of the selected colonial tourism promotion media will be presented one by one by identify- ing the visual elements in it. Furthermore, the promotional media material objects will be described based on the study of visual elements. This research is descriptive qualitative research with Teun A. van Dijk’s critical discourse analysis approach (Dijk, 2000). Van Dijk’s critical discourse Figure 1. Paste image attached to the traveler’s analysis model operationally has three luggage bag spatial dimensions, namely: text, social Source: Plane Luggage Cliparts #2758478,n.d. cognition, and social context. (Haryatmoko, 2017) Critical discourse As the object of this research, the analysis is a way to examine further how sample is a sticker of the Grand Hotel social practices are presented in the media. Tjisoeroepan lodging house. The material object is in the form of a triangular sheet RESULTS AND DISCUSSION with dimensions of 4 x 5 cm, made from There are several tourism promotion me- paper with lithographic printing tech- dia used in the colonial period. The media niques and designed by Jan Lavies in are luggage labels, pamphlets, and posters. 1930. Textually, the Tjisoeroepan Lodg- ing’s paste image contains text and image. Luggage Label The image of the inn building right in the Art luggage labels represent a type of pro- middle of the object became the main vis- motional media for lodging or hotels in ualization element, with lush trees on the the Dutch East Indies era, which is used left and right adorn the main road leading by attaching it to luggage bags. At the to the inn. Luggage labels also contain time, stickers became pride and prestige images of rising mountains in the back- and could enhance the dignity of travelers ground and clouds and sky as filling fields. when their suitcases were filled with lodg- The text graphic element refers to the ing stickers. A traveler from Europe name of the inn building, Grand Hotel (Cellania, 2010) commented on this past- Tjisoeroepan Garut Java, using a custom ed image that: typefaces model in various sizes. Visualization of the main elements Luggage tags are a part of hotel history of the white building image shows an ele- that is so enthralling and memorable in gant lodging building, precisely illustrated the golden age of tourism, nearly 60 as figurative geometric. The architectural years from the early 19th century to the image of the building itself is a symbol of 20th century. During this time, these the indies-style Tjisoeroepan hotel build- labels were used by hotels as promo- ing, which is a new form of architectural tional tools and eagerly glued to suitcas- style that absorbs European and local es, and all sorts of travelers’ luggage building models. So that it produces an with pride.

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The graphic text element with custom typefaces model refers to the name of the inn building that is Grand Hotel Tjiso- eroepan Garut Java in various size points is the identity of the corporate brand Grand Hotel Tjisoeroepan Garut Java. In accordance with the spirit of the times, Jan Lavies, as a modernist, is trying to offer Tjisoeroepan Hotel tourism promotion with a modern approach, namely the Figure 2. Luggage label of the Tjisoereopan spirit of modern art deco. With warm Hotel tropical colors, visualization of luggage Source: Extremely rare Jan Lavies label for labels makes the objects the hotel offered Garoet Java. grand hotel tjisoeroepan, 2007. look charming, luxurious, and comforta- ble. architecture typical of Dutch East Indies In the social cognition aspect, or also known as the Dutch East Indies Grand Hotel Tjisoeroepan, formerly Architecture (Gunawan, 2016). named Villa Pauline in Cisurupan, Garut, Images of lush pine trees that usual- West Java, is an exclusive and comforta- ly grow in the highlands decorating the ble lodging. It has also been listed as one left and right of the main road leading to of the classy and expensive resort hotels. the inn, the color of burnt sienna and yel- The hotel is bustling with visitors because low ochre illustrates that pines are plants of the beauty of its loose views close to the that grow in the tropics. The image of the famous Papandajan crater, which has towering mountain in the blue back- complete facilities, including a swimming ground is Mount Cikuray, the highest pool. (Garoet, 2019) Historically, the mountain range in West Java. Field fillers Grand Hotel Tjisoeroepan was founded in decorated with yellow and white depict 1912. It is a well-known health resort in fair weather and free from pollution. Southeast Asia. Its position in the moun-

Figure 3. Grand Hotel Tjisoereopan 1930, (formerly called Villa Paulina) located in Cisurupan, Garut. Source: Grand Hotel Tjisoereopan, 1930

161 Paramita: Historical Studies Journal, 30(2), 2020 tainous area of Cikuray with an altitude of Cikajang railroad was closed around the 3,000 and 4,000 feet allows the region to 1980s because it could not compete with get air quality that is very healthy, natural, modern and more practical modes of and soothing to the lungs. The popularity transportation. (Garoet, 2019) of this hotel is because of massive promo- In the social context aspect, tions carried out to foreign countries, one Cisurupan is geographically included in of which is the publishing of this attraction Sunda Tatar, which is the place or area in the newspaper ‘The Straits Times,’ Sin- that becomes the entrance of Sundanese gapore, on 14 October 1920 (Garoet, customs or culture in western Java. 2019). (Ekadjati, 2009) The Garut tourism indus- The results of the advertisement, try reached its golden age in between 1920 later on, 31 March 1932, brought silent and 1930. Throughout 1928, King Leo- film actor Charlie Chaplin to Garut, pre- pold III and Empress Astrid, ruler of the ceded by a newspaper called Charlie Kingdom of Belgium, visited Garut. Silent Chaplin Op Java. Enthousiaste film comedian Charlie Chaplin, actress, Ontvangst, using the Van Lansberge, and singer Renate Mueller and actor and Chaplin group that sailed from Singapore, singer Hans Albers, both from Germany, finally arrived at the port of Tandjong Pri- watched the beauty of Mount Papandayan ok. From there, they took a train to Ban- and the Garut countryside up close and dung and stopped at Cibatu Station then took the time to stay at the Cisurupan ho- continued to Cisurupan by car. (Isnaeni, tel where they traveled. (Garoet, 2019) 2019) Until the 1930s, Cisurupan was one With the presence of a hotel in of the tourist destinations of choice in the Cisurupan, Kabupaten Garut at that time, Dutch East Indies for western travelers. it also brought changes to the local com- Therefore, many tourism promotions munity, especially its economic and social mention that the place is a recommended life. One example is the emergence of destination to visit for European and street vendors who peddled fabrics, batik, American travelers. One of them, Java and crafts as souvenirs for travelers, as Vereeniging Toeristenverkeer, once pub- documented by the Parker family, tourists lished a book entitled: Eenige Wandelingen from Australia. In their photo object in de Omstreken van Garoet Behoorende bij de memories located in the market entitled: Wandelkaart (Some Walks in the Vicinity ‘Making clothes’ at a street market, taken of Garoet as Shown on the Map of Garoet in 1928, can illustrate how the dynamics and Vicinity) around 1924. The book is of the Cisurupan Garut community carry equipped with city maps of Garut and its out their economic activities. (Garoet, surroundings containing a route to explore 2019) Garut that can be reached by foot. Another social reality is the service There are 15 routes offered in the provider’s job as a tour guide for travelers book, one of which goes to Cisurupan sub- to tour around the inn, offering services to district because the road to the tourist at- guide horses, baggage carriers, or porters traction is climbing and winding. One of to explore the Papandayan mountain area. the options is a three-horse rider driespan Cisurupan is a sub-district area in Garut rijtuig. This Delman will transport travel- Regency, West Java Province, Indonesia. ers from hotels in Garut since dawn and This sub-district is located about 22 Km will arrive in Cisurupan around 8 a.m. from the capital of Garut Regency with its Tourists along the road will witness the administrative center located in Balewangi activities of residents from a still dark, Village. Here In this place, there is a top- cold, and foggy day. Watching people in rated tourist attraction in West Java, the sarong blankets start to enliven the road Crater on Mount Papandayan. Previously, until farmers emerge to the rice fields or there was also the Cisurupan Station. Still, watching tea planters picking young now it has been inactive since the Cibatu- shoots as the sun rises in the morning.

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Arriving at Tjisoeroepan, travelers will be served breakfast. Then the tourists will then be given a choice of transportation to go to the Papandajan crater. They could choose to ride a horse or be stretch- ered. Picking tea leaves from West Java plantations are famous for its delicious- ness and fragrant, Tea is still a commodity in the Cisurupan Area of Garut until the end of the 21st century. The Regional Government opened investment and reju- venation of tea plants for the private sector in the former Dutch plantation area of Dayeuhmanggung, which was opened since 1913. (D. P. Lestari, 2018) The majority of Sundanese people work as farmers, and this is due to the fertile Sundanese soil (Hendayana, 2010). As Figure 4. Pamphlet illustrating Bolon Toba it happens, the remnants of the Dutch Co- traditional house Source: Travel Brochure TB32 , 1929 lonial heydays’ plantations at the foot of Mount Cikuray can still be found, even functionally productive. of Simarjarunjung foothills appears to the left, back, and right of Bolon, the lake of Pamphlet Toba bay with clouds track in the sky Pamphlets, also referred to as leaflets, dis- adorning the background behind the Bo- tributions, treatises, are scattered papers lon house itself. The graphic text element that can be accompanied by drawings or refers to the owner of the travel promotion not, without envelop or binding. It is company, By KPM, to Sumatra, using the printed on a piece of paper on one side or freestyle script text. both sides, then folded or cut in half, one- Visualization of the main element is third, or even one-quarter, so it looks a picture of a pair of sturdy Bolon tradi- smaller (Gezar, 2011). It is made of paper tional houses colored in orange, showing and, in the past, printed with lithography grandeur and magic. The black silhouette techniques. The selected pamphlet re- of a coconut tree on the left front of Bolon search was a tourism promotion material house picture depicts a tropical and fertile from Sumatra, namely the Sumatra Island with perennials Toba. The Simarjarunjung tourism promotion from the Koninklijke hill picture appears to the left, back and Paketvaart Maatschappij (KPM). A compa- right of the Bolon, in red color combina- ny owned by the Dutch Colonial govern- tion shows that the area is known as an ment. ancient caldera. The bay in Lake Toba is The material object is in the form of full of blue lake water, illustrating the vast a rectangular sheet with dimensions of 12 and depth situation of the lake, which co- x 23 cm, made of paper with lithographic vers an area of 100 Km x 35 Km and a printing techniques by printing: G. Kolff depth of 1.5 Km. The path of the cloud & Co., Weltevreden, Java, the Dutch East line in the sky is light blue with white path Indies and designed by Jan Lavies in clouds illustrating as if Lake Toba is in the 1928. Textually, the pamphlet contains tropics and dominating the northern part text and picture text elements. With the of Sumatra Island. The graphic text ele- main component of visualization two Ba- ment reads By KPM to Sumatra using a tak Toba traditional houses, Bolon, the white freestyle script font that refers to the silhouette of a coconut tree appears on the owner of the tourism promotion tool it- left front of the pamphlet, and the picture self.

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Figure 5. Lake Toba with Simarjarunjung hills and Bolon, the traditional stage house of the Toba Batak tribe Source: Collectie Tropenmuseum, Batakhuizen uit de omgeving van het Tobameer TMnr 10017214.jpg

The visualization of the By KPM to as the door. Before going up the stairs, a Sumatra pamphlet, illustrated by the art person must bend the body first for bal- deco approach, is characterized by block ance, this is intended to show respect for coloring techniques and plot color combi- the host. The third is related to the parts in nations. As a whole, it offers a harmoni- the house. (Nurmala, 2012) ous and warm atmosphere. The silhouette There are three arrangements for of coconut trees and black frames imply to parts of the house to represent different travelers of the comfort of a calm trip. dimensions or worlds. First, on the atap- Koninklijke Paketvaart Maatschappij (KPM) atap (banua ginjang), locals believe it as a as a bureau of ocean freight transportation sojourn for the gods. Secondly, the ground services in the colonial period, through floor (banua tonga) is intended to represent visual short messages tackled by Jan Lav- the place where humans live. The third is, suppose to give a guarantee that the part is under the house (banua toru), which tropical tour packages offered to travelers symbolizes the world of death. will get an exotic feel that is not found in Most of Bolon’s house materials are Europe. made of solid logs taken from the local In the social cognition aspect, judg- forest. Bolon House was established with- ing from the picture of the pamphlet, it is out the use of nail hooks. The arrange- certain the object refers to the physical ment of wooden beams, wooden posts, house of Bolon. Batak traditional house wooden walls, and palm-hooks on the for the village head or Huta, Bolon house roof are only assembled using ropes to means large traditional house, standing bring together the house materials. Some widely in several villages in North Suma- Bolon houses are decorated with chalk tra. It has a rectangular shape and is quite paint on the walls. Some various carvings spacious in size. It can accommodate 5-6 and drawings have meaning following the heads of households. The Bolon House life of the Batak tribe. (Bappeda Kabupat- has several philosophical values; first is en Samosir, 2007) the door design that is lower than the In the social context aspect, There height of an adult human being. It was are various versions on the birth of the made purposely to make guest bow their Batak Toba tribe. The first is Pusuk Buhit. heads so as to not hit the door tresle One of the peaks on the west of Lake To- frame. It is intended as a sign that the ba is believed to be the “birthplace” of the guest bows his head as if paying homage Batak people. The second myth states that to the occupants of the house. Second is the ancestors of the Batak people came the ladder, which has the same philosophy from Samosir, on the island of Samosir,

164 Paramita: Historical Studies Journal, 30(2), 2020 and the shores of Lake Toba. They devel- vertical sheets with dimensions of 23 x 27 oped their culture and split their descend- cm. It is made from paper with lithograph- ants into five Batak tribal groups, namely: ic printing techniques and designed by Jan Pakpak-Dairi, Angkola-Mandailing, Sima- Lavies in 1930. Textually, the travel poster lungun, Karo, and Toba. Anthropological- contains elements of text and images. Vis- ly, Batak people are unknown when their ualization of the main component is a pic- ancestors first settled in Tapanuli and East ture of the gate of a castle complete with Sumatra. Language and archaeological Pelinggih and Meru’s house. To the left of evidence show that Austronesian-speaking the poster, area is a silhouette of a tall co- people from Taiwan had migrated to the conut tree. In the background of the Puri, Philippines and Indonesia around 2,500 there is a shadow of a high mountain im- years ago, in the age of young stone. age and a line of clouds covering the top (Bellwood, 1997) The kinship system of of the mountain. The poster field itself is the Batak tribe based on Tarombo geneal- filled with a vast sky as the overall back- ogy or genealogy is a significant thing for ground. the Batak people. Thus the identity of a The commercialization of Bali Batak will be read from the name of his emerged since the Dutch colonial era clan. The kinship system that they adhere around 1930. They were making this to or use until now is from the male or tourism promotional poster become one of father’s line of birth, often called the patri- the western tourist accesses of western to lineal kinship system. (Oktavian, 2017) know about life in the east in this period The picture of the lake on the pam- of time (Banindro, 2011). In figure 8, it phlet refers to the object of Lake Toba. can be ascertained that the Bali text on the The occurrence of Lake Toba itself is full poster refers to the island of Bali known as of myths circulating in the community, the island of the gods. Visualization of the which states that this lake was originally castle with the main gate and Pelinggih created by the curse of a beautiful princess named Putri in the Golden Fish Legend. In volcanological history, it is believed that the vast lake occurred because of the eruption of Mount Toba, which is estimat- ed to erupt last around 74,000 years ago. It became Lake Toba complex and left a caldera with Samosir Island in the middle and be declared as the largest caldera in the world (Chesner et al., 1991).

Poster A poster is a promotional media that is used by car affixed to specific media such as notice boards, wallpapers both inside and outside of a room (Lippert, 2019). Since it is used as a media, technically, it in- volves other activities to make it happen. For example, graphic designers and, of course, printing tools which initially in the 18th century had used lithography for multiplied produc- tion (Eskilson, 2012). As a sample, the Bali Schenevingen Hotel tourism promotion poster was deter- Figure 6. Bali Scheveningen Hotel, 1930 by Jan mined to be the object of this study. This Lavies promotional travel poster is in the form of Source: Bali Scheveningen Hotel, 1930

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travelers are suggested to enter the atmosphere of calm and serenity. Jan Lavies offers a place for travelers who want to get space to contemplate during their private holidays without being disturbed by the hubbub. The poster is made with an art deco style approach. It is marked by the appearance of block colors, massive objects, firm dark line contours, and fields without perspective. In accordance with the spirit of the era, the exotic figurative objects in the interior gave rise to the nuances of contemporary and modern but still sacred. In the social cognition aspect, Geo- graphically, Bali is located between two large islands, namely Java in the west and Lombok in the east. The majority of Bali- nese are Hindus. Balinese in Sanskrit is known as Balidwipa. Bali, which means offering and dwipa, which means island (island full of offering rituals). This is in line with several discoveries of various inscriptions, including the Blanjong In- scription near the Blanjong Banjar, Sanur Kauh village, in the Sanur, Denpasar area. The inscription was issued by Sri Kesari Warmadewa in 913 AD mentioning the Figure 7. A photo of the 1906 Dutch archive word Walidwipa (Taylor, 2003). shows that in the east, there is the Meru Referring to the research sample building and the west gate of Puri Agung poster images, the objective accuracy of Source: National Archives the images is the Puri Agung Denpasar gate and Meru Bale Saraswati. This castle Meru illustrate that this Puri complex was built by I Gusti Ngurah Made Pemec- belongs to the aristocrat. The sacred area utan as the first King of Denpasar and itself is marked by the presence of completed in 1788. Previously King I Pelinggih and Meru images. The portrayal Gusti Ngurah moved the government cen- of the object in the blue castle strongly ter from Puri Jambe Knight to Badung indicates that the owner still has a royal after escaping from the Mengwi Kingdom bloodline. The silhouette of a black in 1779. The existence of the Badung coconut tree shows that this area is still in Kingdom Government in Puri Agung the tropics. A large and tall mountain with Denpasar ended, when the Dutch troops a burnt sienna color shows a majestic defeated the Badung Kingdom in the mountain and shows its might iness Puputan Badung War in 1906. (Puri Ksa- because of the natural forces within it. tria, 2019) White clouds depict a sunny, cloudy Badung is a district area. In this atmosphere in the tropics, and the region, there is Mount Catur, which is coloring of the reddish sky supports this. very popular with tourists. In figure 9, it The visualization of the poster of can be ascertained that the mountain in the Bali Scheveningen Hotel, as a whole, question is Mount Catur. Mount Catur is illustrates the religious, tranquil, and located right in Pelaga Village, Petang sacred atmosphere. Through this poster, District, Badung Regency, Bali.The

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Mountain height is 2,098 meters above sea namely: Lord Vishnu (11 levels), Lord level (DPL). This place is the highest point Brahma (7 levels), Lord Shiva (3 levels). along the edge of the Bedugul caldera and Ulun Danu Beratan Temple is often en- is the fourth highest mountain on the shrined as an object to introduce Bali to island of the gods. Chess Mountain is also the eyes of the world because of its beauty. known as Puncak Mangu because in this (Lestari, 2018) mountain stands a Hindu shrine called Pucak Mangu Temple. Mount Catur is CONCLUSION quite popular among climbers and Jan Lavies was one of the modern poster trekkers because it presents a beautiful artists, who came to the 1930s Dutch East panorama that attracts tourists. Indies. He was a Modernist artist who has In the social context aspect, The brought modernization to the world of Hindu saint named Mpu Kuturan or Mpu tourism promotion affiliated with the art Rajakretha was a leader with a brilliant deco style through deco graphic art print- mind. He was a saint who built the first ing. Jan Lavies has brought the spirit of pelinggih meru in Bali when arranging Bali western modernity and placed the medi- Dwipa. Pelinggih is a place of worship as um of tourism promotion to appear in a an embodiment of worshiped or celebrat- modernistic frame. The bright colors of ed, as explained in the architecture of the the stickers show the audience that the temple. In its development on the land of conditions at which the attractions are Bali, Meru is not only overlapping designed to indicate that they are in a (multilevel) to three but also overlapping tropical place. The objects itself looks from one to eleven. Overlapping the num- warm, exotic, and classy. Luggage labels, ber of roofs is always odd because Meru is pamphlets, and posters of his works, in a symbol of Andhabhuana or the universe, general, have become a medium of the while the overlapping top symbolizes the social construction of the beautiful East natural layer (Wayansuyasa, 2012). Indies land imagery as heralded by the This form of an overlapping roof on colonialists. In regards to the question of pelinggih was developed initially in relation this study as to why art deco is used as a to the palace of worship of the three gods visual style is that Art deco is one of the Tri Murti, which is placed in the styles representing the warm Dutch East Jagyangan Jagat Temple. The aim is to Indies. It is one of the steps of Westerniza- complement the conception of Tri Murti tion that manifests into a visual display of worship, which was developed at the tourism promotion in order to introduce a household level, namely the expansion of traditional eastern culture that has never the function of pelinggih kemulan. It is not been exposed before. In the end, it can be only for ancestor worship but to worship concluded that the modern, simple, and the palace of the gods’ Tri Murti, as well elegant art deco style is able to prove as a as at the scale of the Pakraman/Adat in pictural representation of the spirit of the building Pura Kahyangan Tiga (Temple times. Villages, Puseh, and Dalem), and the overlapping meru was designed for Pura ACKNOWLEDGMENT with the status of Jagyangan Jagat. I would like to thank the Chairperson of (Suyoga, 2018) the ISI Research Institute Yogyakarta, Dr. One of the most popular pelinggih is Nur Sahid, M. Hum., who assisted in the in Ulun Danau Beratan Temple, Bedugul, form of a Research Grant from ISI Yogya- Tabanan Bali. The building has a distinc- karta Basic Research Scheme, in 2019. tive characteristic of the Balinese style. A Especially to Prof. M. Dwi Marianto, temple has a multilevel roof, a tower with MFA, P.hD., and DR. Junaidi, M. Hum. a roof of 11 levels, seven levels, and three as reviewers of this research who have levels. The tower gives rise to the beliefs of provided many inputs and corrections in Hinduism in Bali, towards the three gods,

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