How Indonesia’s Visual Media Became a Cultural Force

When we talk about Indonesia’s visual history, we often think in terms of artistry: vintage posters, bold typography, vibrant colors. But to stop there would be to miss the deeper narrative. The country’s print and digital media history is not just a tale of design evolution, it’s a chronicle of power, resistance, and cultural awakening.

The journey began during the Dutch colonial period, with the printing of the Bataviasche Nouvelles, one of the earliest newspapers in the archipelago. The arrival of the printing press opened up new channels for information, although its reach and messaging were controlled by colonial authorities. It would take time before print media in Indonesia became a tool for indigenous voices.

A turning point came in the early 20th century with the founding of Medan Prijaji, a newspaper established by RM Tirto Adisoerjo. More than a publication, it was an early example of the press being used to promote political awareness and legal advocacy. The newspaper addressed issues affecting the native population, and in doing so, redefined what media could represent in a colonized nation.

At the same time, Medan Prijaji also featured advertisements, reflecting the dual role of media as both a platform for public discourse and a commercial space. Yet the use of advertising in Indonesia dates even further back. On August 17, 1744, the Dutch East India Company (VOC) published what is considered the first advertisement in the region. It was a strategic communication, tied more to trade competition and political dominance than marketing in the modern sense. In this context, advertisements functioned as messages of power as much as promotion.

Film arrived in the early 20th century, with Loetoeng Kasaroeng in 1926 marking the first locally produced silent film, based on a Sundanese legend. Initially, the film industry was led by European and Chinese figures, but it soon evolved. The 1937 sound film Terang Boelan became a commercial success and resonated with Indonesian audiences. After independence, Usmar Ismail founded Perfini (Perusahaan Film Nasional Indonesia) in 1950, laying the groundwork for a national film identity that reflected Indonesian life and values.

Visual culture surrounding cinema developed alongside the films themselves. Early posters were created manually, combining illustration, handwritten text, and photography. They served not just to promote films, but to set the tone and communicate themes to audiences. Over time, these posters shifted from analog to digital formats, adapting to changing technologies while continuing to play a role in shaping public perception of local cinema.

A similar pattern can be seen in the evolution of music and band posters. During the colonial period, band posters were produced by hand and typically portrayed musicians on stage, in characterful or staged positions. These images reflected the energy of live performance and were often distributed in urban centers. With the arrival of color printing and digital software, band posters took on new forms, featuring vibrant hues, layered images, and digital effects that marked a shift in both technique and visual language.

Taken together, the development of print, advertising, cinema, and poster design in Indonesia reveals a continuous negotiation between aesthetics, politics, and cultural identity. These media forms began as tools of colonial communication and control, but were gradually adapted, and reclaimed by Indonesians seeking to tell their own stories.

Today, these visual records remain part of the public imagination, resurfacing in archives, exhibitions, and reinterpretations by younger generations. They remind us that media, in all its formats, is never just about information. It is about power, perspective, and the possibility of seeing ourselves in the public sphere.

*Attribution Note:

Parts of this article are adapted from academic course materials and lectures attended by the author.