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This study examines the Blitar Regency Culture and Tourism Office's policy to increase visitor numbers at the Penataran Museum and identifies the obstacles encountered in its implementation. The method used was descriptive qualitative, with data collection techniques through observation, interviews, and documentation. The research subjects included cultural staff from the relevant office, Penataran Museum staff, and museum visitors. The results indicate that the office has implemented a policy encompassing three main aspects: improving access and services, protecting and developing collections, and sustainable collection management. Participatory programs such as education, cultural competitions, and information publications are also implemented to attract visitors, especially the younger generation. However, the implementation of this policy still faces various obstacles, such as limited personnel, time management, lack of collaboration with surrounding tourist destinations, and suboptimal publication, especially through digital media.  

This study discusses how tourist attractions play a role in shaping destination identity through the integration of cultural, educational, and natural values. The focus of the study is directed at three tourist locations in East Java, namely Pari Temple, Surabaya Museum, and Pandawa Valley. All three represent different models of attractions—from historical sites with spiritual nuances, educational museums in the middle of the city, to thematically designed family recreation parks. The method used is a qualitative descriptive approach with a comparative case study, through observation, documentation, and semi-structured interviews.  The results of the study show that each location has its own way of constructing destination identity. Pari Temple emphasizes cultural continuity and sacred nuances. Surabaya Museum builds city identity through interactive historical education. Pandawa Valley offers a visual and emotional experience that is close to family tourists. All three show that destination identity is formed from a combination of design elements, cultural symbols, and visitor experiences. This study recommends strengthening local narratives and approaches that unite cultural, educational, and natural values ​​in sustainable tourism development.

In exploring the important role of Candi Pari, the Mpu Tantular Museum, and Kampung Lawas Maspati as branding destinations, these sites significantly contribute to strengthening cultural identity and enhancing tourism appeal in East Java. Candi Pari, with its architectural beauty and historical value, serves not only as an attractive landmark but also as a profound symbol of cultural richness. The Mpu Tantular Museum functions as an information and educational center, housing collections of artifacts that reflect the historical journey and traditions of the local community, providing visitors with an educational experience. Kampung Lawas Maspati adds a unique dimension by offering visitors the opportunity to interact directly with the traditions and daily life of the local people. Through cultural preservation and the promotion of traditional activities, this village successfully attracts tourists seeking to experience the authenticity of Javanese culture. This article also discusses the branding strategies implemented to enhance the visibility and competitiveness of these three destinations in the tourism market. Through an integrated approach, these locations not only serve as tourist attractions but also as means to raise awareness of the importance of cultural preservation. Ultimately, this article emphasizes that developing tourist destinations based on local identity can have a positive economic impact on the community while preserving the region's rich cultural heritage

Indonesian tourism makes a significant contribution to the Indonesian economy, thus having a positive impact on the growth of the tourism industry. This research aims to analyze the influence of social media, service quality and memorable tourist experiences on return visit intentions. Quantitative method with cross-sectional survey method used in this research, as many as 110 respondents were selected using purposive sampling technique based on certain criteria consisting of tourists aged 17-40 years, domiciled in Jakarta, and had visited the National Monument and National Museum in the last six months. Although previous research reveals the mediating role of memorable tourism experiences on return visit intentions, not many have examined the influence of social media and service quality together. The results show that social media has a significant influence on return visit intentions. Service quality also has a significant influence on return visit intentions. Memorable tourism experiences also have a significant influence on tourists' return visit intentions. This research can also be expanded by adding other variables that can influence tourists' revisit intentions, such as motivation, price, or destination image. In addition, further research could consider the mediating role of other variables, for example tourist satisfaction as a mediator between memorable tourism experiences and return visit intentions.

Museum do not merely function as space for preserving historical atifacts, but also serve as educational arenas capable of conveying cultural and national values. This article examines the assimilation of cultural attractions and educational functions in three character-based museums in Surabaya: the HOS Tjokroaminoto Museum, the dr. Soetomo Museum, and the Surabaya Education Museums. This study emplyos a qualitative method with a descriptive approach, using content analysis to observe atifact, visual media, and historical narrative presanted in each museum. The findings hightlight that the assimilation of cultural attractions and educational elements within museums can serve as a strategic model for developing cultural policies that are more participatory, relevant, and contextual. This, museums are not only place to commemorate the past but also act as platform for shaping character and historical awereness among younger generations.

This research explores cultural preservation strategies through the development of the tourism sector, using the Surakarta Palace as a case study. The Surakarta Palace, a cultural heritage site in Central Java with significant historical and cultural value, plays a vital role in preserving Javanese traditions while contributing to regional tourism growth. This study adopts a descriptive qualitative method with data collected through observation, interviews, and documentation. The findings reveal that the Surakarta Palace actively preserves culture through various initiatives such as organizing traditional ceremonies, staging classical Javanese art performances (like gamelan and wayang), and managing museums that house historical artifacts and royal collections. These strategies serve not only to maintain cultural continuity but also to increase the attractiveness of the palace as a cultural tourism destination. Despite these efforts, several challenges remain. These include limited financial resources, minimal use of digital media for promotion, and the lack of public awareness—especially among younger generations—regarding the importance of cultural heritage. To address these challenges, the study emphasizes the need for integrated collaboration between the government, the Surakarta Palace institution, and the surrounding community. Strengthening digital-based promotional strategies and educational outreach is also considered essential to increase public engagement and sustainable tourism impact. In conclusion, the Surakarta Palace serves as a strategic model for cultural preservation within the tourism framework. By improving stakeholder cooperation and adapting to technological advances, cultural heritage can be preserved effectively while supporting local economic development through tourism. Therefore, cultural preservation and tourism development should be positioned as complementary efforts, where the sustainability of both depends on strategic planning, inclusive participation, and adaptive innovation in facing the dynamic demands of modern tourism.

Abstract This study examines the representation of Islam in the architecture of the KH Hasyim Asy'ari Indonesian Islamic Museum as a symbol of preserving Islamic history and culture in Indonesia. Using a descriptive qualitative method, this study identifies the symbolic and philosophical elements contained in the facade, interior, and circulation of the museum space. The results of the study show that the museum architecture adopts a post-modern style with a triangular pyramid shape that tapers upwards, symbolizing the majesty and sustainability of Islamic civilization. The concept of postmodern space is applied, with unclear boundaries between spaces, creating a continuous visual and functional flow, while providing a harmonious spatial experience for visitors. The arrangement of space and circulation utilizes the principle of postmodern space, where spaces appear separate but remain visually and functionally connected, reflecting diversity and inclusivity in the concept of Islam. The representation of Islam on the museum facade is depicted through a motif that resembles santri sungkem to kyai, a symbol of respect and closeness to religious teachings. The pyramid shape not only adopts world architectural designs, but also has a philosophical meaning related to the majesty, identity, and heritage of Islamic civilization in Indonesia. This study confirms that museum architecture is not only a work of visual art, but also a symbol of Islamic identity that is profound and historically and culturally meaningful.  

The Majapahit Surya Ornament is an ornament in the form of a sun decoration with a circular center and the outermost part forming the rays of the sun. The center is circular and has been divided into eight rooms with one room on the middle side. The Majapahit Surya Ornament is found in the Trowulan Museum and the Great Mosque of Demak. This ornament is a symbol of Hindu-Buddhist cosmology during the Majapahit era, which was adapted into a symbol of monotheism in the Islamic tradition during the Demak Sultanate. This study uses a three-form cultural approach: ideas, activities, and artifacts to analyze the transformation of ornaments in terms of philosophical meaning, social function, and physical form. The results of the study show that in the Trowulan Museum, this ornament is maintained in its original form to symbolize harmony and divine power, while in the Great Mosque of Demak, this ornament has undergone modifications in meaning and technique according to Islamic-Javanese values. This finding reveals the process of harmonious cultural acculturation between Hindu-Buddhist and Islam in Java, while also emphasizing the relevance of the Majapahit Surya ornament as a symbol of the rich and dynamic cultural heritage of the archipelago.

This research is motivated by the challenges in history learning which tend to be conventional and less interesting so that it has an impact on students' low understanding of history material. The use of digital technology through a virtual tour of the museum is an innovative alternative to present a more interactive and contextual learning experience. Wajakensis Museum as a regional museum with a collection of historical artifacts in Tulungagung has great potential as a learning resource rich in historical and cultural values. The purpose of this study was to determine the effectiveness of utilizing the virtual tour of the Wajakensis Museum in improving students' understanding in history learning for class X SMAN 1 Kauman Tulungagung. The method used is descriptive qualitative with data collection through observation, interviews, and documentation. The results of the study indicate that the Wajakensis Museum virtual tour is effective in improving students' understanding of historical material by providing a more interesting, visual, and interactive learning experience. In addition, the use of virtual tours also increases student enthusiasm and participation during the learning process. Teachers and students stated that this media provides ease and efficiency of learning, especially in conditions of limited access to physical museums. The implications of this study indicate that the integration of technology in history learning can be a solution to improve the quality of history education and significantly enrich students' learning experiences.

Surabaya known as the City of Heroes, has various historical buildings scattered in strategic areas, one of which is in Kota Lama Surabaya. The existence of these buildings has been designated as cultural heritage that must be preserved in order to maintain the historical value and identity of the city. However, the implementation of preservation still encounters various obstacles, especially in technical and administrative aspects, as well as the lack of public understanding of the importance of preservation. This research aims to describe the implementation of Surabaya City Regional Regulation Number 1 Year 2024 on the Preservation and Management of Cultural Heritage, with a focus on De Javasche Bank Museum as the object of research. Researchers used descriptive qualitative methods with data collection techniques in the form of interviews, field observations, documentation, and review of policy documents. The implementation theory of Ripley and Franklin was used as an analytical knife that includes three indicators, namely the level of compliance with regulations, the smooth routine of functions and coordination between implementers, and the realization of the desired performance and impact. The results show that the implementation of the local regulation has shown progress at the institutional level through coordination across Regional Apparatus Organizations and the implementation of SOPs by museum managers. However, there are still obstacles such as the lack of optimal human resources experts, weak administrative coordination, and the absence of a special management institution. Positive impacts such as increased visitation and community involvement are starting to be seen, but the overall effectiveness of implementation still requires strengthening in various sectors to ensure the sustainability of inclusive preservation.

Amethyst crystal is one type of rock that is widely studied in the field of geology, especially because of its beauty and interesting formation process. Amethyst is a variety of quartz mineral (SiO2) that is purple in color due to the presence of oxidized iron ions. As a mineral that is often used in jewelry, amethyst also has high economic value. The Geological Museum often displays amethyst crystals to provide more insight into the geological processes that occur beneath the earth's surface and the importance of recognizing various types of minerals and rocks. The purpose of exhibiting Amethyst Crystals at the Geological Museum is to provide information and knowledge to the public about the geological properties of Amethyst Crystals and their role in the world of geology and their formation process. The implications of Amethyst Crystals provide deeper insight into the geological and mineralogical processes to the public, thereby increasing understanding of the earth and nature.

journal articles on improving the quality of historical tourism objects are the results of research that is updated from previous research. Historical tourism is always closely related to locations that are related to conditions in the past. The more sophisticated the technology, the higher the quality of the historical tourism object. This is our sample, we take the Merdeka building and the Asian-African Conference museum as the result of this study, although several researchers have previously studied it with the latest one. By using quantitative methods and also respondents from the community and also respondents who are familiar with the Merdeka building and the Asian-African Conference museum, as well as observations of current facilities and infrastructure to reflect the improvement and resilience of the Merdeka building and the Asian-African Conference museum for tourists around. The results of this study are the Asian-African conference museum, it can be concluded that the Merdeka building and the Asian-African conference are not open to the public even though only a few people visit the museum, and the situation around the museum is very conducive. The purpose of the Asian-African conference museum and the Merdeka building as historical tourism objects is to be able to get to know more deeply, understand history, share knowledge, and be able to appreciate the existence of the Asian-African history conference.

Museum Sri Baduga, located in Bandung, is one of the main cultural institutions that houses important collections related to the history and culture of Sunda. This study aims to explore the attractions of Museum Sri Baduga as a tourist destination, particularly within the context of the rapidly developing local tourism industry. As a popular tourist destination, Bandung offers a variety of options, making it essential to understand the museum's position in attracting visitors and identifying aspects that can be improved. Additionally, this research highlights the museum's role in cultural preservation, positioning it not only as a recreational site but also as an educational center that contributes to the preservation of local heritage amidst globalization. The study seeks to uncover the key factors influencing the appeal of Museum Sri Baduga and how the museum can adapt to changing tourist preferences in the modern era. The findings are expected to provide practical recommendations for museum management in designing more effective marketing strategies to attract visitors from diverse backgrounds, both domestic and international. By focusing on tourist attractions and contributions to cultural preservation, this research aims to offer new insights relevant to the development of Museum Sri Baduga and the tourism sector in Bandung.

This study examines in depth the history and development of Kaing Lunggi—the local term for songket cloth—in the Sambas region, West Kalimantan. This study has two main focuses. First, tracing the history of the cloth and textile trade in Southeast Asia that became the background for the entry of external influences into the Sambas region. Second, understanding how Kaing Lunggi emerged, developed, and transformed within the social, economic, and cultural contexts of the local community. Using a historical approach and textile cultural analysis, this study positions Kaing Lunggi as a cultural product born from the dynamics of regional trade since the Sambas Sultanate era. Historical records show that trade networks during that period connected Sambas with major trading centers such as Malacca, Singapore, and the coastal areas of Borneo. Through this route, there was an exchange of raw materials, weaving techniques, and decorative motifs that were then adapted by local artisans. The process of aculturation is visible in Kaing Lunggi motifs that combine local elements with external influences, such as typical Indonesian flora and fauna combined with geometric patterns and typical Malay stylization. The songket weaving technique demonstrates high skill and has been passed down through generations, making it an important part of intangible cultural heritage. Besides its economic value as a trade commodity, Kaing Lunggi also holds a symbolic role. It is worn in various traditional ceremonies, religious celebrations, and as a marker of social status in Sambas society. The use of color, gold thread, and the complexity of the motifs serve as indicators of the wearer's identity and prestige. The results of this study confirm that traditional textiles such as Kaing Lunggi function not only as cultural artifacts but also as active agents in shaping the history and identity of the community. They represent cross-cultural encounters and serve as evidence of the resilience of local traditions amidst globalization.

This article examines the representation of Islamic culture through historical collections at the Sri Baduga Maharaja Museum in Bandung. It aims to analyze how artifacts such as momolo, Islamic glass paintings, and manuscripts like Serat Yusuf, Babad Banten, and Babad Cirebon reflect the process of Islamization and cultural acculturation in the Sundanese region from the 16th to early 20th century. This study employs historical methods with a qualitative approach, supported by interviews, direct observation, and literature review. The findings reveal that these collections not only hold historical value but also symbolic and educational significance, illustrating how Islamic values were integrated into local cultural frameworks in a peaceful and organic manner. Nevertheless, the curatorial interpretation of Islamic collections still requires improvement to better convey historical narratives and Islamic meanings in a contextual way to visitors.  

The Majapahit Museum houses a significant collection of tosan aji, particularly keris, which holds important historical, technological, and symbolic value within Javanese culture. However, a substantial portion of the collection lacks clear provenance and stratigraphic context, resulting in data gaps and potential misinterpretations, especially regarding Majapahit-period attribution. This study aims to examine strategies for managing non-stratigraphic keris collections through standardized visual-morphological identification as an initial curatorial approach. The research employs direct artifact observation, morphological analysis of blades and ricikan, visual examination of pamor configurations, and a review of museological, keris studies, and archaeometallurgical literature. The findings demonstrate that standardized morphological identification provides a systematic framework for preliminary classification while preventing speculative chronological claims. The study also emphasizes the necessity of separating blade analysis from keris fittings and highlights the limitations of visual assessment in determining tangguh, which requires support from non-destructive metallurgical analyses. As a practical contribution, this article proposes strengthening curatorial standards through the development of morphology-based artifact labels (manual and digital), multidisciplinary scholarly catalogues, and the integration of documentation and material analysis technologies. This approach positions the Majapahit Museum as a knowledge-producing institution in tosan aji studies rather than merely a repository of artifacts.   Kata Kunci : Museum Majapahit, Keris, Identifikasi Morfologis, Ricikan, Tangguh Keris

Museum is an institution that collects, receives, and studies collections of items that have knowledge and informational value as well as valuable assets. Generally, the items in a museum are solid objects that cannot interact directly with visitors. Therefore, each museum has a special staff, known as museum guides, to accompany visitors in exploring all museum collections. However, not all visitors want to be guided by museum guides, so there is a need for supporting media to help guides manage visitors who do not want to be guided. The media to be created is an interactive e-book. This interactive e-book can help visitors who want to explore the museum independently to obtain information from the museum collections. The e-book contains a menu of content consisting of information about museum collections, images of museum collections, text and audio information about museum collections, and animation illustrations of museum mascots. With a total of 33 pages containing information from 8 museum rooms. This design was made using the ADDIE method and evaluated using UEQ (User Experience Questionnaire) with a result of "Excellent".

Museums are locations that store various collections of cultural and historical heritage, have great potential to attract tourists. Lubuklinggau city students and students utilize the museum as a place of learning to know and understand the heritage that is in the museum. The museum in Lubuklinggau city is the Subkos museum which is located in the center of Lubuiklinggau city. Visiting a museum is not just coming, but also a process of understanding, learning, and appreciating the history and culture that we encounter in various museum collections. Unfortunately, the existence of museums is still not considered by the community, especially in its utilization as a learning tool. The management of existing museums needs to be well organized and adapted to the times. Nowadays, museums do not only focus on collections, but on how to attract visitors and make them an educational resource. This research adopts a qualitative method. The data used consists of two types: first, primary data obtained through direct interviews with museum managers, and second, secondary data taken from articles in relevant journals.

Museums have an important role in preserving human and natural cultural heritage, with the main task of collecting, maintaining, securing and displaying collections for educational and research purposes. The Sang Nila Utama Museum in Pekanbaru is an example of a museum that focuses on pre serving Riau Malay culture, functioning as a storage place for artifacts as well as a center for learning local history. The use of this museum in the learning process has been proven to increase public understanding, especially students, regarding the socio-cultural life of the Malay community and the history of Riau. With a variety of collections including artifacts, dioramas and miniatures, this museum provides an interactive experience that enriches knowledge of local history, while strengthening a sense of pride in regional and national cultural identity

The documentary film "Museum Perkebunan Indonesia" by Fabio Fahrezi Canavaro uses the expository technique to present the history of plantations in Indonesia in a factual and educational manner. This technique emphasizes the clear delivery of information through authoritative narration, visual archives, and expert interviews, providing the audience with a deeper understanding. The documentary is structured in a chronological narrative, starting with the early history of plantations during the colonial era, the post-independence developments, and the relevance of plantations in the modern era. Observations of the film reveal the use of visual archives, such as old plantation photos, historical documents, and colonial maps, as well as interviews with historians and plantation practitioners, enriching the narrative. The combination of clear verbal narration and visual evidence strengthens the presented information, making it easier to comprehend. The expository technique successfully changes the perception of plantation history, which was previously considered monotonous, into something more engaging and relevant. This documentary not only serves as a medium for historical education but also provides a fresh perspective on the role of plantations as a key pillar of Indonesia’s economy. Through this approach, the film serves as an effective example of expository technique in historical documentary filmmaking in Indonesia, encouraging the audience to explore often-overlooked history.