Fadli Zon has underscored the importance of strengthening cultural preservation efforts in Indonesia, highlighting the role of traditional heritage such as the keris as a cornerstone of national identity and historical continuity.
His remarks came during the Solo Arts and Culture Exhibition held in Surakarta, where the traditional dagger known as the keris was prominently featured alongside other cultural artifacts and artistic performances.
The minister welcomed the exhibition as a meaningful initiative to advance cultural awareness and safeguard Indonesia’s intangible heritage. He also emphasized that the keris holds a distinguished position as a cultural symbol recognized by UNESCO as part of the world’s intangible cultural heritage.
“Keris is an Indonesian cultural heritage. It originates from Indonesia and serves as part of our national identity,” Fadli Zon said in a press statement on Sunday. “It embodies various cultural expressions, from symbolic and philosophical meanings to its highly refined artistic achievements.”
The exhibition, held at the Keris Nusantara Museum, serves as both a cultural preservation initiative and a tribute to Indonesia’s long historical legacy. It brings together a wide range of keris collections, visual artworks, and traditional performances designed to highlight the depth and diversity of Indonesian culture.
This year’s edition features collections contributed by private collectors from various professional backgrounds, including members of the military, police forces, and the banking sector. Organizers say the diversity of contributors reflects the widespread cultural appreciation of keris heritage across different segments of society.
Fadli Zon also emphasized that Indonesia’s cultural identity is rooted in extraordinary diversity, describing the country as “mega-diverse” in both cultural and historical terms. He noted that Indonesia is home to one of the world’s oldest civilizations, supported by archaeological and historical evidence that positions the archipelago as an early center of human cultural development.
“This should serve as the foundation of our identity, character, and pride,” he said. “We are not merely a nation-state, but a civilizational state with a long history and diverse acculturation.”
His remarks reflect a broader cultural policy direction that prioritizes heritage preservation as a means of strengthening national identity in the face of modernization and globalization pressures.
The Solo Arts and Culture Exhibition is being held under the theme “Jaga Budaya” or “Let’s Preserve Culture,” a slogan that underscores the importance of safeguarding traditional arts for future generations.
The exhibition also highlights Surakarta’s long-standing role as a cultural center in Central Java, where traditional arts, crafts, and royal heritage continue to play a significant role in public life.
Surakarta Deputy Mayor Astrid Widayani praised the Keris Nusantara Museum for its strategic importance as a cultural institution. She described it as one of the most comprehensive repositories of keris collections in Indonesia and a key symbol in the preservation of intangible cultural heritage.
According to local cultural observers, the museum plays a crucial role in educational outreach, allowing younger generations to engage with traditional craftsmanship, symbolism, and historical narratives embedded in keris culture.
The keris itself is widely regarded as more than a weapon. It is seen as a philosophical object that reflects spiritual beliefs, social status, and artistic mastery developed over centuries. Its intricate designs and forging techniques vary across regions, reflecting Indonesia’s vast cultural diversity.
In recent years, Indonesian authorities have increasingly promoted cultural heritage as part of national development strategy, linking preservation efforts with tourism, education, and creative industries.
Exhibitions such as the one in Surakarta are viewed as key platforms for bridging historical traditions with contemporary audiences, ensuring that cultural knowledge is not only preserved but also actively transmitted.
Fadli Zon’s emphasis on cultural identity aligns with broader government efforts to strengthen cultural diplomacy, positioning Indonesia as a country with a rich civilizational legacy on the global stage.
He reiterated that cultural heritage should not be treated as static relics of the past but as living traditions that continue to evolve and inspire future generations.
By showcasing the keris and other cultural artifacts in a modern exhibition setting, organizers aim to demonstrate the continued relevance of traditional heritage in contemporary Indonesian society.
The event also serves as a reminder of the importance of intergenerational transmission of cultural knowledge, particularly at a time when rapid technological and social changes are reshaping cultural practices.
As the exhibition continues, it is expected to attract visitors from across Indonesia, further reinforcing public engagement with cultural preservation efforts and strengthening appreciation for one of the nation’s most iconic traditional symbols.
