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templesa€|) and 2) the place where they are located (in China and in local Chinatowns). The lions in Fatimah church and the lion dance in Petak Sembilan signify the Chinese heritage and cultural practices that are preserved and practiced by the Chinese ethnic in this city. However, the lions in Jakarta History Museum may signify different reading.

Embedded as the part of the building which was built during the VOC period in this city, the lions to my perception signify the cultural transaction between the Chinese and the Dutch. This also implies, what Bourdieu calls as, 'scheme of perception' and 'appreciation of practices' of the VOC and Dutch colonial authority towards Chinese cultural identity. Contextualized this to the notion of the preservation of cultural heritage and the narrative of history of Jakarta, two questions arise here: How the narrative perceives and appreciates Chinese cultural identity in narrating the history of Jakarta? Does the narrative include this cultural identity into the identity construction of Jakarta?

The questions lead me to revisit the museum, and then try to read the narrative of the history it tells. And this mission leads to the points I try to discuss in this paper. Before I jump off to the points that I am trying to explain, let me sketch some notions influencing my analysis.

Theoretically, my points of argument are indebted to Appadurai's ideas about cultural flow (Disjuncture and Difference in the Global Cultural Economy). In his arguments, he implies that the notion of cultural flow cannot be separated from the context of 'global cultural economy'. He argues that this context moves the flow of five scapes which he terms as ethnoscapes, mediascapes, technoscapes, financescapes, and ideoscapes (51). Another idea that influences me is that his concept about hegemonization and heterogenization. To extend his argument, I use Gikandi's point of view in relating the context of globalization to the context of a postcolonial condition (Globalization and the Claims of Postcoloniality). My purpose to connect Appadurai's ideas and Gikandi's is that to link the notion of cultural flow to the context of Jakarta in the past which is one important seaport in the constellation of past global order. What I am trying to draw is that what brought the present landscape cannot be separated from this context. I am also much indebted to Bourdieu's ideas about the construction of the social space (Social Space and Symbolic Power ) and to Hall's ideas about identity and cultural identity.

Some travel narratives written by some English travelers during 18th and 19th Century provide me with some information related to the history of the city. I am also informed by books written by Leonard Blusse (Visible Cities) and Jean Gelman Taylor (The Social World of Batavia). Their analyses about the history of Batavia provide me with alternative perspectives compared to the narrative of History of Jakarta narrated in the Museum.

During my second visit on 8 May 2011, I was also informed by Pak Kasirun, an officer at the museum, who acted as my travel guide and informant. As an officer who manages the Collections and Equipment Section of the museum, he gives me some important information about the museum that enrich my perspective in analyzing the place; the museum. While my conversation with Pak Yulus Latif, owner of Warung Kopi Tak Kie (coffee shop), gives a±¾ÂÛÎÄÓÉÓ¢ÓïÂÛÎÄÍøÌṩÕûÀí£¬ÌṩÂÛÎÄ´úд£¬Ó¢ÓïÂÛÎÄ´úд£¬´úдÂÛÎÄ£¬´úдӢÓïÂÛÎÄ£¬´úдÁôѧÉúÂÛÎÄ£¬´úдӢÎÄÂÛÎÄ£¬ÁôѧÉúÂÛÎÄ´úдÏà¹ØºËÐĹؼü´ÊËÑË÷¡£
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