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Cultural Identity in Times of Globalization

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Uncovering Dark Tourism and Cultural Identity in Aceh Tsunami Museum

Table of Contents
1. Introduction ........................................................................................................................................ 3
2. Description of Aceh Tsunami Museum .............................................................................................. 3
3. Literature Review
3.1. Identity ...................................................................................................................................... 5
3.2. Globalization and Culture .......................................................................................................... 6
3.3. Memorials and Dark Tourism .................................................................................................... 7
4. Discussion ........................................................................................................................................... 8
4.1. Aceh Tsunami Museum and Dark Tourism ............................................................................... 9
4.2. Aceh Tsunami Museum, Cultural Identity, and Globalization................................................. 10
References ............................................................................................................................................... 14

1. Introduction
Aceh Tsunami Museum in Aceh, Indonesia was officially opened for public in May 2011 as a museum to
remember the tsunami that hit the city in December 26th 2004 and killed around 130,000 people. This
catastrophe in December 2004 also hit some other cities and countries around Indian Ocean at the same
time with a magnitude of 9.1, but Aceh was the one receiving the worst impact with the highest number
of victims for more than half of the total victims. Besides as a place to remember, Aceh Tsunami
museum was also built for education purpose and as an emergency evacuation space, while at the same
time it also belongs in the category of dark tourism where sorrow and fear from death will be
experienced by the visitors. All the people in Aceh must admit that the tsunami in more than 10 years
ago still leaves a scar and a memory in their heart. Even for those who survived from the aftermath had
lost their family members, friends; and many of them also lost their houses.
This research will cover some descriptions while explain and argue about Aceh Tsunami Museum that
the researcher thinks to be a unique dark tourism spot because it was built not long after the tragedy,
but with some purposes that sounded to be positive.
Thus, the research question will answer on how Aceh Tsunami Museum describes dark tourism and
portray the memory of tsunami and identity of Acehnese.
The research is conducted with case-study method with the data taken from the video, articles and
news from the internet about Aceh Tsunami Museum, and some quotes taken from Tourism Marketing
Director of Aceh Tourism Agency and a tour guide from Aceh Tsunami Museum. From ontology point

of view, the research is within social constructionism as the bases are Aceh Tsunami Museum as
a dark tourism destination that also symbolizes an identity or a memory of Aceh people during
the catastrophe, which constantly re-produced and re-shaped through social interaction. While
from epistemology, the study is interpretivism where there are multiple realities and
constructions from phenomena found in the data.

2. Aceh Tsunami Museum

This part will describe about Aceh Tsunami Museum in a more details and descriptive way. Aceh
Tsunami Museum is four storey-high, and the building is shaped like a boat stands in Aceh that was hit
by tsunami in 2004. The architecture of this building which was designed by Indonesian architect, M.
Ridwan Kamil, seems very striking in contemporary design compared to the domination of the modest
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buildings in Aceh. It was built with several sturdy pillars, so if later the tsunami hits the water will flow
through the base of this building. Aceh Tsunami Museum was heavily built with symbolism as its long
curving walls decorated with some Islamic reliefs in Arabic letters.
From above, the roof looks like a tidal wave in its shape, and in general the building was inspired by
traditional Acehnese house rumah panggung. The outdoor wall of the museum was also inspired by
another traditional Acehnese value, Saman dance that symbolizes strength and tight cooperation.
Entering the museum, the visitors will follow a dark narrow corridor and walls on the sides in the height
of tsunami wave in Aceh. These walls have flowing water like small waterfalls so the visitors will feel a
dark fearful sensation resembling tsunami that happened in 2004.
Aceh Tsunami Museum was built with several purposes, as mentioned by the museum Guide, Raihal
Fajriah, which are:
1. As a symbolic reminder of the natural disaster that ruined the city,
2. As a tourist destination,
3. As an educational centre that educates visitors about earthquake and tsunami and reminds
Acehnese as well as Indonesian about the fact that Indonesia (especially Aceh province) is
geographically located in the Ring of Fire area (area of shifting tectonic plates) that is prone to
natural disaster threats, including earth quake and tsunami,
4. As an emergency evacuation point if tsunami comes again.
The museum is divided into some parts. The first part is the entrance with the high walls and the
waterfalls as described in the previous paragraph that can be named Space of Fear. The second part
that is located just after the corridor is called Space of Memory displaying the photos during tsunami
evacuation period, before tsunami hit Aceh, and after tsunami. Still in the same floor, there is an audio
visual room playing the short documentary film of tsunami in 2004. The third part that is called Space of
Sorrow displays some names of the tsunami victims in Aceh by putting these in the concave wall, and
the shape of the room resembles a cone with the word Allah engraved at the ceiling with Arabic letters.
The fourth part is called Space of Confusion in a form of a small corridor with curvaceous stair cases
that symbolizes the confusion of the people during tsunami. After Space of Confusion, when the
visitors keep walking they will find Space of Hope with a peace bridge that symbolizes the hope of
Acehnese of a better life after tsunami. Above the bridge in the high ceiling there are 54 flags from
different countries that represent the donor countries after tsunami along with the word peace in
some different languages. Below the bridge, there is water like an indoor pond to symbolize tsunamis
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water, so it can be concluded that the tsunami had brought peace in Aceh (the peace between Aceh
Freedom Movement (GAM) and Indonesian government from a conflict that lasted for years and killed
thousands people). In the third floor, there are some rooms for educational purpose to educate the
visitors about earthquake and tsunami (with seismograph, education materials about tectonic plates,
etc). There are also some displays in the form of miniature showing houses that are more earthquakeproof and that are prone to earthquake. The last part is the spacious ground located in the highest floor
that has a function as an emergency evacuation space in case tsunami will come again. Aceh Tsunami
Museum also has a library, souvenir rooms, and restaurant.

3. Literature Review
3.1. Identity
According to Jenkins (2000), there are two types of identification; the first one is self-or group
identification, that is internally-oriented, and second is the categorization of others, that is externallyoriented. Jenkins (2000) adds that all actors or everyone deal and follow those two.
While identity, according to (Simone-Charteris, et al., 2013) can be described as the understanding of a
person to address the question of Who am I? that is functioned to indicate how different one self
from other. If we look at this definition, they describe identity in a way of internal social identification.
While prior to that, Castells (2010) defines identity as peoples source of meaning and experience. He
adds that with identity, it will make people understand the construction process of meaning on the basis
of either a cultural attribute or a set of cultural attributes, which is in the priority over meaning from
other sources.
The word social in defining identity is very important. As Castells (2010) mentions, the process on how
identities are being constructed is when social actors internalize them and build their meaning in this
internalization process. Aside from that, the construction process of identities involves materials from
geography, biology, history, from productive and reproductive institutions, from personal fantasies and
collective memory, and from religious revelations and power apparatuses (Castells, 2010). In the society,
where there are some social groups in which they have members share similar traits or values, this also
means that they construct collective identity from the presence of groups, although groups are not the
only source of collective identity building, because there is categorization that refers to the social
practice, power, and knowledge.
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If we try to link identity with tourism, in tourism marketing according to Simone-Charteris, et al. (2013),
national identity is an important element to it because it has the shared need for difference and
uniqueness. In every destination, touristy object, or a nation, tourism marketing will try to create a
unique character and image that will set this object or destination apart from others, in this process they
construct their identities. Identity tourism is a profound term where collective identities are interpreted,
represented, and potentially constructed (Simone-Charteris, et al., 2013). Of course these collective
identities will relate to geographical, historical, past event, and memory aspects that will define them
and somehow create some interpretation, meanings, and feelings from the external or in this case
visitors of the tourist destination/objects.

3.2. Globalization and Culture

In a very basic sense, culture is being conceptualized as a way of life. However, many of us are
confronted on how to define a concept about culture as it is more than just learning and creative arts
(Hopper, 2007). Also, within different disciplines, such as sociology, anthropology, and cultural studies,
they have a diversity of approaches and opinion towards culture. Considering that it is a tough process
to gain universal acceptance and precise definition of culture, Hopper (2007) argues that it will be
challenging to determine its relationship with globalization.
Globalization and culture is very close connected with each other. Hopper (2007) explains that
globalization informs, affects, and disrupts culture; and at the same time culture is the most direct
medium in which we sense and experience globalization. Hopper (2007) also adds that numerous flows,
processes, interconnections and networks that are experienced, interpreted, and contributed by
different agencies and actors in a range of social, cultural, and political environments will result in the
dynamism of culture in globalization.
Every individuals, groups, and societies will have their own experiences, histories, and cultures according
to their nationality, family, ethnicity, and within their social environment. Those elements inevitably will
shape the nature on how they will interpret and interact with globalization as well as these will generate
varied responses. As Hopper (2007) mentions below,
In the case of individuals the nature of this interaction will be additionally dependent upon, among
other things, our respective social and educational backgrounds, occupations and personal dispositions,
as well as our knowledge and perceptions of globalization.
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To be able to sense a wide range of cultural experiences, nowadays we dont necessarily need to move
far or travel back in the past time. Hopper (2007) also stresses this notion by saying that the presence of
media, people flows, and information will make us to gather cultural influences in a higher scope and
level than in the past. As a result, we as individuals also become more involved with cultures in a
reflexive and critical relationship. The heterogeneous nature of culture and its mobility also play a great
role in shaping globalization by cutting across national boundaries.
In relation with civilization, Huntington as in Hopper (2007) argues that globalization exacerbates the
clash of civilizations as there is an increased of cultural interaction as part of globalizing processes that
makes us more aware and notice of our differences.
It can be said that at some points the interconnected world could transfer more knowledge and
influence more modern way of living in some areas as well as bring more choices in the global market.
However, as this might probably develop too fast, the local wisdom and social solidarities will be needed
to protect the traditional practices and some institutions to a more secure feeling rather than an
insecure feeling haunted by potential threats.

3.3. Memorials and Dark Tourism

According to Jarry (2015), public memorial is a form of human architecture language. Aside from its
function to keep memory, it is also expressing values of who and what should be remembered.
Sometimes memorials are referred to as monuments and both have their own histories according to
particular cultures from the past generation that will be passed along to the next generations. Freed as
in Jarry (2015) argues about the difference between monuments as memorials is that monuments have
characteristics of monolithic and celebratory, while memorials are locations for public memories and
communal emotions.
Sometimes, the ones that should be remembered and put in a large public space into memorials refer to
the catastrophic events and the number of memorials built with that purpose is seen to be developed.
Laurie Beth Clark as written in Jarry (2015) developed and explored a new concept called trauma
tourism as an increasing interest in building museums and memorials on sites of desecration. Clark as
in Jarry (2015) explains that,
Trauma memorials are called upon to serve multiple functions for these complex constituencies, which
include education, mourning, healing, nationalism, and activism.
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Before trauma tourism has been explored, scholars had developed the concept of dark tourism. Dark
tourism, according to Lennon and Foley (2010) began from the phenomenon in the late twentieth and
early twenty-first centuries in which tourists had some interests in recent death, atrocity, and disaster
and this phenomenon was attempted to be noticed and understood by theorists. This phenomenon
could be interpreted in a way where there are death, atrocity, and disaster and these are associated
with tourism products.
In the definition of dark tourism, Stone (2013) mentions that Dark tourism is concerned with tourist
encounters with spaces of death or calamity that have perturbed the public consciousness, whereby
actual and recreated places of the deceased, horror, atrocity, or depravity, are consumed through visitor
experiences.
Lennon and Foley (2010) further mentioned that pilgrimage was viewed as one of the earliest forms of
dark tourism by several commentators. However, referring to the definition of dark tourism by Stone
(2013), the examples of dark tourism sites can consist not only pilgrimage and grave yards, but also
battle sites, memorial museum of wars, concentration camps and prisons, memorial museum of natural
disasters, etc, in which the visitors may feel the sense of horror, depravity, pain of the losing lives, or
atrocity.
Another character of dark tourism, Tarlow as in Stone (2013) identifies that a visit to dark tourism sites
where there were historically noteworthy deaths and tragedies have occurred and that may continue to
impact the lives of us or the visitors in the present time.
In contrast with the tragedy and death that might impact our lives, however, before that Lennon and
Folley (2010) argue that education may have become an important element in sharing and securing an
interest in those destinations and events, for example transmitting these elements of the dark events or
histories in the students education and putting them as aspects of their national history or heritage.
"Dark tourism sites offer the opportunity to write or rewrite the history of peoples lives and deaths, or to
provide particular (political) interpretations of past events (Sharpley and Stone, 2009).
It is clearly possible that education can be a part of dark tourism, in the similar way where education is
closely connected with history. It will be an interesting subject, though, to discuss and research further
about dark tourism sites where they are not only transmitting anxiety, fear, and sadness, but also
emphasizing in the aspect of education and technology in positive ways for the visitors.

4. Discussion
4.1.

Aceh Tsunami Museum and Dark Tourism

As Stone (2013) defines dark tourism in this way, Dark tourism is concerned with tourist encounters
with spaces of death or calamity that have perturbed the public consciousness, whereby actual and
recreated places of the deceased, horror, atrocity, or depravity, are consumed through visitor
experiences, I put Aceh Tsunami Museum in dark tourism category as the tourists or the visitors will
encounter fear and horror feeling when they enter the museum and with a consideration that Aceh
Tsunami Museum is a place to commemorate the deceased from the tsunami in 2004, although they
were victims of natural disaster instead of the victims from wars, battles, or massacres.
As described in the previous section, Aceh Tsunami Museum consists of some parts; the first part is
Space of Fear that corresponds to the dark corridor with high walls and waterfalls that the visitors
experience first when they get acquaintance with the museum. Definitely many visitors will sense fear in
this part as the room is set in a dark space with the sensation as the tsunami wave comes to real life.
From the entry point, the visitors are already forced to feel how tsunami happens or for those
(especially Acehnese) who experienced tsunami and survived, they are forced to remember the
catastrophe in 2004 when it was frightening with the high wave strikes their life, home, and their loved
ones.
After experiencing a tiny bite of fearful sensation at the entrance, the visitors might wonder, What will
come next after this? And the sadness doesnt stop here. The next part, Space of Memory brings the
visitors some images about the catastrophe, the city, the victims, the death, the survivors, and some
helps that had saved the lives of Acehnese. Seeing these images, even some visitors who were not there
at the disaster might be able to feel the pain because of the display of the photos that portray more pain
than happiness. The good part is that the exhibition also showcases the photos after the tsunami, when
some of the houses were built again.
The pain still continues in the next part, Space of Sorrow where the visitors will see some names of the
tsunamis victims engraved in the high wall very vividly. I could imagine that it will be hard to forget the
past memory, especially when the visitors are those who have lost their families or friends and their
names are displayed on the wall. Seeing from this part, this might be built just like a memorial, where
the visitors could pray for the victims, as in the high ceiling it is carved with Allah in Arabic letters.

The next part, Space of Confusion still creates a bit of fearful feeling as it is designed in a corridor with
curvaceous staircases. However, after passing this part, the visitors will experience some enlightening
feelings when they enter Space of Hope by walking on a peace bridge and see the word Peace in the
ceiling along with 54 flags from 54 different countries. This might symbolize that after the disaster and
many confusion on how to escape and what happen in the future from the perspective of the victims,
there came some hopes from many countries that brought peace in Aceh (especially referring to the
many years of tension between Aceh Independent Movement and Indonesian government) and also
brought better life after the disaster to some people through the bridge.
Space of Hope with the peace bridge is one part of the museum that creates positive feeling
although the visitors have encountered many pain and fearful sensation in the previous parts. Another
positive feeling is also built though the educational space that the museum provides to educate the
visitors about earthquake and tsunami. In this way, the visitors wont just feel fear and sorrow from the
past, but they will also get important lesson from what happened in the past memory that will prevent it
to happen in the same sorrow again or at least the educational materials will inform the people to
remember about the fact that Indonesia and Aceh is located in Ring of Fire that are prone to natural
disaster like earth quake and tsunami so that they could minimize the damage in the future. This also
tells the visitors that there are always ways that science could provide to make a better life to the
people.
Referring to the fact that Aceh Tsunami Museum was built as a symbolic reminder or it can be
categorized as memorials, although it belongs to dark tourism category where it will create fear and sad
feeling to the visitors, it also serves other functions of education, healing, and nationalism. This notion is
in line as Jarry (2015) mentions that Trauma memorials are called upon to serve multiple functions for
these complex constituencies, which include education, mourning, healing, nationalism, and activism.
As described above, besides educating the visitors about natural disaster, Aceh Tsunami Museum could
belong to a part in which how the Acehnese were healed after tsunami and how the peace between
Aceh Freedom Movement and Indonesian government was finally established just after the tsunami.

4.2.

Aceh Tsunami Museum, Cultural Identity, and Globalization

Castells (2010) defines identity as peoples source of meaning and experience. In Aceh Tsunami
Museum, where one of the purposes the museum built was as a symbolic reminder of tsunami in 2004;

10

it is indirectly implied that the tsunami was also a part of a past experience of Aceh and Acehnese that
gave meaning to them. From external point of view, the tourists might categorize Aceh Tsunami
Museum as a part of Aceh and this site is memorial, in which according to Jarry (2015), memorials are
locations for public memories and communal emotions. This means that Aceh Tsunami Museum collects
the communal emotions of Acehnese of how sad and hard the life was when the disaster came and how
tsunami has impacted their lives and shaped their identity.
Furthermore, Aceh Tsunami Museum was built not only with the materials that relevant with tsunami,
but it was also designed with some other ornaments and elements that represent Aceh and Acehnese. It
has been described in the first part about the description of Aceh Tsunami Museum that is shaped like a
boat, have an entrance corridor with the waterfalls in the height of tsunami in 2004, and the curvaceous
staircases symbolizes confusion during tsunami. Those that have been mentioned are the materials as a
memory of tsunami in 2004. While the peace bridge that represents the peace between Aceh
Independent Movement and Indonesian government is not just functioned as a reminder of the event
post-tsunami, but also it represents Aceh memory and identity that once they had an organization called
Aceh Independent Movement (Gerakan Aceh Merdeka) that wanted to separate from Indonesia as an
independent nation and was in bleeding conflict with Indonesian government; but after tsunami they
made an agreement of peace. The conflict that happened for many years in Aceh was also described in
Aceh Tsunami Museum in a form of peace bridge and some photos of the peace agreement after
tsunami. Those elements portray the past memory and identity of Acehnese to the visitors.
Castells (2010) mentions that the construction process of identities involves materials from geography,
biology, history, from productive and reproductive institutions, from personal fantasies and collective
memory, and from religious revelations and power apparatuses. The peace bridge in Aceh Tsunami
Museum is a collective memory of Acehnese that is also a part of their history and it constructs the
identity of Acehnese, whether on their internal or self-identification or the categorization that the
externals or others give to them.
Regarding religious revelations, it is known that Aceh is the only province in Indonesia in which the law is
governed by Islam Sharia and almost all the population is Muslim (while Indonesia is a country which is
governed by democracy constitution and is multicultural and multi-religion). In the Space of Sorrow
which displays some names of the tsunami victims in the concave wall, at the high ceiling in that room
there is the word Allah (the God according to Islam) engraved in Arabic letters. This element
symbolizes that all the victims who were died during tsunami will come back to Allah and it shows as if

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all of them are Muslim, which might also imply if Aceh is an Islamic province. This religious revelation
constructs the identity of Acehnese as it is also displayed in Aceh Tsunami Museum.
In other aspect on how the exterior of the building was designed, it was inspired by the style of rumah
panggung (Acehnese traditional house that is built high from the ground) and from the front look of the
building, it was inspired by Saman Dance (Aceh traditional dance) that symbolizes strength, tight
cooperation, and solidarity. These elements were portrayed in Aceh Tsunami Museum that represents
the cultural identity of Acehnese, although they might not be very visible and well-understood from
external point of view (visitors who are not Acehnese).
According to Simone-Charteris, et al. (2013), identity tourism is a profound term where collective
identities are interpreted, represented, and potentially constructed. In the context of Aceh Tsunami
Museum as a tourism site in Aceh and Indonesia, the museum represents the identity of Acehnese
during and after tsunami and also the identity of Acehnese in general from cultural point of view. I
would say that Aceh Tsunami Museum is not just a memorial of symbolic reminder about the tsunami,
but also it is a tourism site that displays some cultural values of Aceh and cultural identity of Acehnese.
Hopper (2007) mentions that numerous flows, processes, interconnections and networks that are
experienced, interpreted, and contributed by different agencies and actors in a range of social, cultural,
and political environments will result in the dynamism of culture in globalization. Although the world is
so big and Aceh that is located in Indonesia might be very far in distance from many other countries, the
news about tsunami in 2004 was distributed and heard in every corner of the world. Many other
countries felt empathy about this tragedy and participated in giving some aids both in a form of material
or in psychological encouragements. Many volunteers from many countries came to Aceh, giving their
help to the victims who were sick, sad, and traumatized after losing some of their family members and
house. We could see in the Space of Hope where there are 54 flags from 54 countries hung on the
ceiling that represent 54 donor countries that helped Aceh after tsunami.
In this context, there are numerous processes from many different agencies and networks came
entering Aceh to give help after tsunami and they might also shape the dynamism of culture in Aceh.
Although Aceh has some attractive places and beautiful nature to visit, it is not in The Top 5 Most Visited
Destination in Indonesia and the outside world might not hear much about it before tsunami. As a
result, I assume that there were not so many interactions with the foreigners and foreign world before
the tsunami as there were not many foreign tourists visiting Aceh compared to other cities in Indonesia,
like Bali, Riau, or Jakarta. After tsunami hit the city, when there were many foreign volunteers helped

12

the victims, there might be some interactions happening that might influence Acehnese who were more
closed from the outside world in the past (as it has Islam Sharias law and there was Aceh Independent
Movement). Although there was no direct observation done from my side within longitudinal time
frame before and after tsunami because it will take a very long time to observe it, I assume that the
interactions happened between the Acehnese victims and foreign volunteers might form Aceh to be
more globally-connected as they saw more foreigners that might also bring some values and shape
some parts of their recent memory and identity. Besides, as written in The Jakarta Post online on March
26th 2005 it said that many Acehnese wanted foreign volunteers to stay. This can imply many
possibilities why they wanted that way, though. However, it might indicate that Acehnese felt
comfortable with the presence of foreign volunteers. It was also confirmed by Okezone online portal on
December 24th 2014 that the tourism in Aceh has growth even higher after tsunami as Aceh has become
more opened to the global world after tsunami and after the peace between Aceh Freedom Movement
and Indonesian government. Atjehpost online portal also confirmed that statement saying that the
number of foreign visitors in Aceh has risen after tsunami and some of foreign visitors visited Aceh
because of a curiosity of the condition after tsunami.
We will improve, said Rahmadhani Sulaiman, Director of Programming and Planning at The Aceh
Tourism & Culture Department as written in Travel Impact Newswire, October 31st, 2014. The tsunami
was an act of God but a blessing in disguise. We now have to create crisis into opportunities. The peacebuilding has been very successful, reconstruction has been successful. Now, new challenges have
emerged, such as creating a new generation of qualified manpower. At the moment, most of the
workforce is employed by the government but that needs to be diversified into the private sector.
To conclude, Aceh Tsunami Museum belongs to the category of dark tourism as a trauma memorial of
natural disaster, but I would see the reason why some frightening sensation are put as a reminder about
the recent past natural disaster that might come again. To cope with that, this museum is equipped with
educational materials relevant with tsunami and earth quake and it also has a space for emergency
evacuation space. Aside from that, Aceh Tsunami Museum can also be seen as an object that represents
the identity of Acehnese in which their lives in the past, present, and future are affected by the tsunami.
This, at some points, will construct Aceh to be a city with a strong and unique identity.
As Hopper (2013) mentions, dark tourism is not just a superficial fascination of death and horror, but
also a powerful lens which will witness death and contemporary life and transcend that into a cultural
perspective within broader society.

13

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Hopper, Paul. (2007). Understanding Cultural Globalization. Cambridge: Polity Press.
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Jenkins, Richard. (2000). Categorization: Identity, Social Process and Epistemology, Current Sociology
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14

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Wisatawan
Asing
ke
Aceh
Meningkat,
ini
Negara
Asalnya,
Available
at:
http://atjehpost.co/articles/read/574/Wisatawan-Asing-ke-Aceh-Meningkat-Ini-Negara-Asalnya.

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