TVRI and the Beginning of Indonesian Broadcasting

In the twilight years of Sukarno’s presidency, as Indonesia stood at the crossroads of nationalism and globalisation, a monumental decision was made: the establishment of a national television station. On 24 August 1962, Televisi Republik Indonesia (TVRI) aired its first official broadcast to coincide with the opening ceremony of the 4th Asian Games in Jakarta. At a time when television was still a novelty in many parts of the world, Indonesia sought to use the medium as both a unifying force and a mouthpiece of state ideology.

From the outset, TVRI was more than just a broadcaster. It was a cultural and political instrument, crafted to articulate national identity and development in a nation still grappling with its post-colonial reality. The early broadcasts, transmitted from a 10 kW transmitter built with Japanese assistance, featured sporting events, traditional performances, government announcements and educational programming. With no competitors, and with its role directly tied to the state, TVRI quickly became a fixture in Indonesian households — albeit primarily in urban centres where television sets were accessible.

Throughout the 1970s and 1980s, during the authoritarian rule of Suharto’s New Order, the station reached the height of its influence. It became a crucial conduit for state-controlled information. The government’s Department of Information dictated TVRI’s editorial line, ensuring alignment with national development policies and political stability narratives. Evening news was carefully curated to portray order, progress and reverence towards the state, while entertainment was designed to cultivate idealised Indonesian values through traditional music, folklore and morally guided drama.

While critics viewed TVRI’s programming as rigid and propagandistic, it undeniably played a central role in shaping the collective consciousness of an entire generation. Its signature programmes, such as Berita Nasional, Aneka Ria Safari and Dunia Dalam Berita, became household staples. During this era, with television penetration increasing across the archipelago, TVRI had an unparalleled capacity to reach and influence the public. It was the voice of the nation, albeit one that spoke with the government’s accent.

The media landscape began to shift dramatically in the late 1980s. The launch of RCTI (Rajawali Citra Televisi Indonesia) in 1989 marked the beginning of the private television era. With liberalisation policies gaining momentum and the loosening of Suharto’s iron grip, private stations were allowed to operate under strict content regulations. Unlike TVRI, these new channels were driven by advertising revenue and focused heavily on entertainment (soap operas, reality shows, music programmes and imported content) that catered to a growing middle class hungry for modernity and spectacle.

By the mid-1990s, TVRI’s monopoly had eroded. Younger audiences, once raised on traditional puppet shows and state bulletins, now turned to private networks that offered glamour, humour and consumerism. In terms of ratings and cultural relevance, TVRI slipped into the background. Its bureaucratic structure and limited funding hampered its ability to innovate or compete. Programmes were viewed as outdated, production quality lagged behind its rivals, and its association with state propaganda made it increasingly irrelevant in a democratic reform era that followed Suharto’s fall in 1998.

In the years that followed, attempts were made to revive TVRI’s fortunes. The transition into a public broadcasting institution in 2002 was intended to distance the channel from government influence and reposition it as an independent and educational service for the people. In theory, this reform would align TVRI with models such as the BBC, supported by public funds and mandated to serve the public interest rather than commercial profit.

Despite this ambition, the broadcaster continued to face structural challenges. Budget constraints, leadership instability and limited audience share restricted its growth. Nevertheless, TVRI adapted slowly. Digital broadcasting initiatives were introduced, regional stations were strengthened, and content diversification became more visible. Efforts to preserve Indonesia’s rich cultural mosaic through documentaries, arts programming and traditional music continued to be a strong point.

In the digital era, where streaming platforms and social media dominate, TVRI faces a new existential question. What is the role of a national broadcaster in a fragmented media landscape? One answer lies in its cultural mandate. While private networks prioritise ratings and advertisers, TVRI still carries a responsibility to reflect the country’s diversity, preserve local languages, and educate remote communities untouched by commercial networks. It remains the only broadcaster with a complete regional network presence, from Aceh to Papua, offering programming in dozens of local languages and dialects.

Its relevance, therefore, is not necessarily measured by urban viewership or social media virality, but by its ability to remain a unifying platform across Indonesia’s archipelagic geography. TVRI’s archival footage, covering key events in national history, also serves as a treasure trove for researchers, historians and documentary filmmakers. In a sense, it has become a living museum of Indonesia’s modern era, a chronicle of change, revolution and continuity.

The broadcaster’s legacy is layered. On one hand, it represents a time when state control over information was total and dissent was suppressed. On the other, it reflects a shared memory, a point of reference for collective experience, particularly during moments of national pride and mourning. The opening of the 1962 Asian Games, the 1987 Papal visit, the resignation of Suharto. All were broadcast to the nation through its lens.

Today, TVRI’s impact is perhaps most keenly felt not through prime-time programming, but in its enduring presence. It still airs educational shows for schoolchildren in under-resourced regions. It remains a symbol of unity in moments of national emergency or celebration. And for many Indonesians in rural areas, it is the only accessible source of televised news and information.

TVRI may no longer be the dominant voice it once was, but it still echoes across the islands, carrying the weight of history, and quietly adapting to the demands of the present. As Indonesia continues to evolve, the broadcaster’s future will depend not only on political will and institutional reform, but on a renewed understanding of what it means to serve the public in the 21st century.