Dark Tourism for Post-Natural Disaster Sites

Case Study at Iwate and Aceh Tsunami Memorial Museum in Japan and
Indonesia

Mega Mirasaputri Cahyanti

Graduate School of East Asian Studies Department, Yamaguchi University, Japan
Email: c504snw@yamaguchi-u.ac.jp

ABSTRACT

This paper explores the post-natural disaster sites' values to be stated as post-disaster
dark tourism sites. The study also shed light on the different concepts between tsunami
museums in Indonesia and Japan in giving lesson learning to visitors. Four points to determine
whether a post-natural disaster museum can be classified as a dark tourism site include;
attractiveness, exhibition content, attitude of empathy, and education program on the exhibition.
This study used a descriptive research approach from primary and secondary data. The
technique of data analysis uses the comparative analysis method. The results stated that Aceh
and Iwate Tsunami Memorial Museum are ready to become post-natural disaster dark tourism
sites. Differences in approach between those museums are significantly found. Indeed, the
Aceh Tsunami Memorial Museum could be classified as a dark tourism site. Meanwhile, Iwate
Tsunami Memorial Museum needs to add Takatamatsubara Park to be classified as a dark
tourism site. However, the result from this paper can be a phenomenon to begin investigating
the experience that could be given by this kind of museum that might not be gotten from another
type of museum.
Keywords: Post-Natural Disaster, Dark Tourism, Aceh Tsunami Memorial Museum, Iwate
Tsunami Memorial Museum.
1. Introduction

The Ring of Fire in the Pacific spans over 15 countries, encompassing Indonesia and
Japan. This region experiences intense geological activity due to the interactions of several
tectonic plates. As a result, the Ring of Fire is known for its frequent volcanic eruptions,
powerful earthquakes, and occasional tsunamis. Based on the historical record, the biggest
earthquake followed by the tsunami occurred in Indonesia, The Indian Ocean Earthquake,
which hit Aceh Province on December 26, 2004, at 07:58 WIB. A massive earthquake of
approximately 9.1 to 9.3 on the Richter scale struck off the northwest coast of Sumatra,
Indonesia. The earthquake generated highly destructive tsunami waves. The tsunami
devastated coastlines around the Indian Ocean, including the coasts of Aceh, North Sumatra,
and other countries in South Asia and East Africa (Fehr et al., 2004). However, Japan had the
Great East Japan Earthquake, known as the 2011 Tohoku earthquake, was also recorded as the
biggest natural disaster in recent history. A powerful undersea megathrust earthquake struck off
the eastern coast of Japan on March 11, 2011. With a magnitude of 9.0, it was one of the most
powerful earthquakes ever recorded. The epicenter was approximately 70 kilometers (43 miles)
east of the Oshika Peninsula in Tohoku, at about 32 kilometers (20 miles) below the seafloor.
The disaster had profound consequences for Japan and the rest of the world. The official death
toll reached over 15,000 people, with thousands more injured and missing. The earthquake and
tsunami also triggered a nuclear disaster at the Fukushima Daiichi Nuclear Power Plant in
Fukushima Prefecture (Gerster & Maly, 2022).

After these significant natural disasters in Indonesia and Japan, the local and
international governments contributed material, logistical, and technical assistance to help
Indonesia and Japan deal with this disaster. This assistance was significant in the recovery and
reconstruction efforts. In addition, to help Aceh and Iwate recover from the tsunami, the local
and central governments collaborated with multiple humanitarian organizations and foreign
countries. They contributed to post-tsunami reconstruction through various projects (Jauhola,
2013 & Cho, 2014). Tourism development is highlighted as one of the most critical initiatives
(World Tourism Organization UNWTO, 2005). Due to the collaborative endeavor, both country,
Indonesia and Japan, has successfully established significant locations after Great East Japan
Earthquake and Tsunami and Great Indian Ocean Earthquake and Tsunami, with the Aceh
Tsunami Museum (Liu-Lastres et al., 2020) and Iwate Tsunami Museum (Gerster & Maly,
2022) standing out as one example. Memorial Museum can be an attempt to remember the
incident and commemorate the disaster victims (Meutia et al., 2021) and (Gerster et al., 2021).

The ongoing discussion about this matter as the concept of post-disaster sites primarily
focuses on the tragedy of tsunamis which destroy many things and put to death on thousands
of people, creating a sorrowless for the victim. Past researchers relate that kind of place to a
dark tourism site (Biran et al., 2014; Gerster et al., 2021; Ridzuan et al., 2019; Martini & Minca,
2021; Zhang, 2021; Zhang et al., 2018). Most of the past research regarding post-natural
disasters as dark tourism reveals that the visitor got a learning experience (Biran et al., 2014).
The Aceh Tsunami Museum in Indonesia is a noteworthy attraction for those intrigued by dark
tourism (Hanafiah et al., 2021). Moreover, some literature deals with 3.11 (Great East Japan
Earthquake, tsunami, and nuclear disaster on March 11, 2011, known as "3.11") museums in
connection to dark tourism (Gerster et al., 2021), including Iwate Tsunami Memorial Museum
in Japan. Hence, museums hold a crucial function, particularly for individuals who lack
firsthand disaster exposure. Museums offer a more enduring form of stability as tangible
locations that store and convey information over the long term, in contrast to initiatives reliant
on individuals or volunteers, which could face challenges in terms of funding and personnel
and might be subject to frequent changes over time (Gerster & Maly, 2022).

Even so, there is limited literature to distinguish more detail about the post-disaster
tsunami memorial museum’s exhibition, which could be classified as dark tourism. In addition,
comparative investigations of two post-natural disaster museums as dark tourism to comparing
exhibitions to identify differences and similarities helps in understanding variations and
common patterns within dark tourism sites is also limited. The limitation of past research,
particularly concerning the framing shared by the museum, the ethic of showing the victim's
tragedy and sorrows, the content from an exhibition of this museum, and the visitor's attitude
that should be done. Therefore, this research aimed to delve into the post-natural disaster sites'
values on their exhibition to be stated as post-disaster dark tourism sites. The study also shed
light on the different concepts in an exhibition between tsunami museums in Indonesia and
Japan, in giving lesson learning to visitors and catching a new phenomenon from visitors while
visiting post-disaster dark tourism.
2. Theoretical Framework
2.1 Post-Disaster Dark Tourism
Tourist sites that commemorate disasters, losses, and tragedies can be considered dark
tourism sites, which is arguable. This phenomenon is called "post-disaster dark tourism,"
typically occurring during the post-disaster phase and revolving around the disaster theme
(Prayag, Buda and Jordan, 2020). The term "dark tourism" is widely used in academic literature
and refers to travelers visiting sites associated with death, disasters, and tragedies. Dark tourism
is visiting sites associated with death, tragedy, and suffering (Foley & Lennon, 1996).
Meanwhile, (Sharpley, 2005) characterized dark tourism as being "driven by a fascination or
interest in death and involves tourism to sites associated with death, whether individual, mass,
violent, natural, untimely, or other such circumstances.
In contrast, Rojek (2002) labeled dark tourism as "black spot tourism," which can be
further divided into "nostalgic" sites, such as national cemeteries, and disaster sites, which can
be considered as analytically distinct from sensation sites known as Black Spots. This research
adopts the definition of post-natural disaster according to Tarlow (2005, p. 48), which defines
dark tourism as visiting locations where significant tragedies or deaths of historical importance
have taken place and which still influence our lives. This definition confines dark tourism to
specific sites and implies particular underlying motivations. An increasing number of places
have integrated dark tourism into their post-natural disaster relief efforts, incorporating themes
related to natural disasters. Utilizing dark tourism in the aftermath of natural disasters has aided
individuals in their recovery process, strengthened community resilience, and cultivated
positive experiences (Biran et al., 2014; Prayag, Buda and Jordan, 2020). Engaging in activities
showcasing tours offered in rebuilding communities following natural disasters can serve as a
valuable approach to educating people about recent tragedies and shed light on the ethical
complexities of dark and post-disaster tourism. This powerful tool enables disaster education
while empowering locals to share their experiences (Gerster, Penmellen Boret and Shibayama,
2021).
2.2. Determining the Post-disaster Tsunami Memorial’s Exhibition as Dark Tourism Site

Associated with this research's objective, the researcher establishes 4 (four) essential
points to determine whether a post-natural disaster museum can be classified as a dark tourism
site, with reference to previous research (Stone, 2006). Those 4 (four) points include;
attractiveness, exhibition content, attitude of empathy, and education program.
 Stone's understanding of dark tourism extends beyond its connected attractions (Stone,
2006). According to his viewpoint, several heavily visited tourist destinations can transform
into dark tourism sites because of the historical associations with death. Events related to dark
tourism sites should have a tragic or controversial history, such as natural disasters, major
accidents, wars, genocide, serious crimes, or other traumatic events. Therefore, it is essential
to understand the historical narratives associated with the natural disasters that this museum
possesses to become an attraction for visitors. Hence, that explanation brings out the first
research objective to explore more the history and association with natural disasters that the
museum possesses, which can be an attraction for visitors.
Retelling the history and preserving the heritage of debris from the tsunami disaster in
a memorial museum, have been done for several reasons, including feelings of guilt reduction,
respect for the victims, and potential economic benefits, which then relate to dark tourism sites
(Petrevska, Krakover and Collins-kreiner, 2017). Regardless of sensationalism, memorial
museums also provide education and awareness about the history and context of the tragic
events that occurred there. Content and exhibitions in post-disaster memorial museums
typically focus on presenting education, honouring the victims, and raising awareness about
natural disasters. The second research objective came out based on that perspective, whether
on Aceh and Iwate Tsunami Memorial Museums have exhibition content for education, respect
for victims, escalate the disaster awareness or only sensationalism showing the terrible disaster.

In tourism-related literature, one attitude that must be shown in honouring the victim is
showing empathy, not only by the visitor but also in the context of guiding and interpretation
at museums and heritage sites, including those categorised as 'dark tourism' sites. Additionally,
tour guides are recognised as contributors to the development of 'historical empathy' (Tucker,
2016). Therefore, memorial museums should ensure that visitors can demonstrate respect and
empathy toward the victims of natural disasters. This can begin with the management of post-
disaster dark tourism, which should first show respect and empathy towards the victims and
the suffering associated with the disasters while considering the sensitivity of the visitors.
Hence, the third research objective of this research is to find information about how the tsunami
memorial engages visitors to show empathy toward the victim and the victim’s family.

It showed that empathy needs to be noticed by all parties related to post-disaster sites.
On the other hand, even though the term "dark tourism sites" has faced criticism for its negative
connotations, such as anxiety and moral panic or negative emotions associated with visiting
such places, it is essential to acknowledge that visits to post-disaster dark sites can also lead to
enlightening experiences with positive outcomes. These positive benefits may include
opportunities for educational experiences (Biran et al., 2014b). Therefore, finding out the
education program that is given through the exhibition at the tsunami memorial museum needs
to be understood; at this moment, this statement will be the fourth research objective of this
paper.

Finally, further study on detailed exhibition between two tsunami museums leads to
determining whether a natural disaster museum can be classified as a dark tourism site, and it
is essential to bring detailed information to check the readiness before labeling the tsunami
museum as a post-natural disaster dark tourism.

4. Method
This study used a descriptive research approach, which purposefully gathers and
analyzes data on current conditions. The aim is to provide a comprehensive and precise
interpretation of the data without relying on statistical analysis—the qualitative method used
in this research with primary and secondary data. Mainly the primary data is gathered from
museum staff and professional tour guides. At the same time, secondary data are gathered from
virtual tour observation, both online video calls and videos uploaded to a YouTube account 岩

手県公式動画チャンネル (Iwate Prefecture Official Video Channel) and online pamphlet.

Primary data is gathered by the open-ended questions using Google form and sent to the
museum staff and professional tour guide to answer the following questions. The answers from
the tour guide and museum staff are combined with the data from the virtual tour and stated
clearly in this paper.
5. Result and Discussion
Based on the result from primary data, the following sections present the results of the
answer to the questions;
5.1. Result
The first exhibition on Iwate Tsunami Memorial Museum is tracing history (歴史をひ

もとく). Upon the visitors entering the first zone, the main lighting is dimmed, illuminated

solely by modest light sources. Zone 1, tracing history is told about;

“the history of the earthquake and tsunami that hit Iwate and how people living
along the coast prepared for tsunamis (Takeda, 2023)”.
Tsunami catastrophes will be explored from both historical and scientific standpoints. The
museum intends to revisit the information, methods, and societal practices that have evolved
over centuries, contemplating new ways to coexist harmoniously with the natural world.
Compared to Aceh Tsunami Memorial Museum, the first exhibition is called Tsunami Alley
(Lorong Tsunami); this alley will bring visitors to feel the atmosphere when the tsunami
happened. The museum sets the frame of visitors on this exhibition to keep silent and feel the
fear of the tsunami; this alley also provides sound effects like the roar of water, crying, and
chanting prayers from the Islamic religion that is Lailahaillallah mean nothing is deserving to
be worshipped except the God Almighty.
The next exhibition at Iwate Tsunami Memorial Museum, called Zone 2, “Learning the

facts” (事実を知る), the explanation from respondents about Zone 2;

“Introduces the strength and terror of tsunamis through videos of the tsunami,
photographs of the affected areas, actual victims, and the voices of victims
(Takeda, 2023)”.

Source: Picture by @myopia2015, (2021) in TripAdvisor, retrieved on August (2023).

Figure 5.1. Damaged Fire Truck by Tsunami Disaster

In zone 2, visitors can see the Great East Japan Earthquake and Tsunami's strength. This will
be accomplished through tangible artifacts that suffered damage, photographic documentation
of affected locations, and firsthand accounts and recollections of those who experienced the
tragedy. One of the items damaged by the disaster is the presentation of a damaged fire engine
in Tanohata Village (fig.5.1) composed of high-quality metallic materials. Also, an exhibition
of the damaged part of Kesen Ohashi Bridge which was swept by the tsunami and split into
two pieces (fig. 5.2). These exhibitions effectively depict the profound repercussions of the
tsunami disaster (Halabi et al., 2022). In zone 2, also shows the short film that runs repeatedly,
and the duration time is about 7 minutes. The short film uncovers the disaster of the Great East
Japan Earthquake by relying on scientific data and utilizing images and videos documenting
the occurrence of the earthquake and tsunami. In addition, the next exhibition at Aceh
Memorial Museum was Space of Memory (Ruang Kenangan); after walking through the 30
meters long Tsunami Alley, visitors enter the Memorial Hall. This room has 26 monitors to
symbolize the date when the tsunami hit Aceh. Each monitor displays pictures and photos of
the victims and locations of the disaster that hit Aceh during the tsunami. Visitors seem to be
in the middle of the ocean when entering this room, symbolized by glass walls that depict the
extent of the seabed, monitors in the room are symbolized as rocks in the water, and dim lights
that are on the roof of the room symbolized as light from above the surface of the water that
enters the seabed. One of the monitors in the Space of Memory showed the image of
Baiturrahman Mosque (fig. 5.3), which remains firm although the surrounding area was
destroyed. This is one of the miracle stories many mass media tell, domestic and international.
Tsunami came and swept the road along with the rubble of the building, but the tsunami water
only passed along the side of the mosque without even entering the mosque's courtyard.
Eyewitnesses explained that all residents who took shelter in the mosque were also not touched
by the incoming tsunami waters and survived.
Next, the Next exhibition at Tsunami Museum in Iwate, called Zone 3 “learning lessons”

(教訓を学ぶ), the explanation from respondents about Zone 3;

“Introduces how to protect one's own life and efforts to save the lives of others
based on actions taken during the Great East Japan Earthquake and Tsunami
(Takeda, 2023).”

The information about saving lives, protecting and supporting lives, evacuating to live, and
building a future was also exhibited in this zone. The best lesson to the next generation in Japan
to escape from a disaster such as a tsunami is to start with tsunami tendenko 津波てんでんこ.

The concept of "tsunami tendenko," encourages a swift evacuation to higher ground without
waiting for others, even one's family members. In Japanese, "tendenko" signifies an "every
person for themselves" approach. These principal stresses that a rapid evacuation to higher
ground, without concerning oneself with others, is the sole means to escape the catastrophic
impact of a devastating wave (Yamori, 2012). Compared to the Aceh Tsunami Memorial
Museum in, the third exhibition is the Chamber of Blessing (Ruang Sumur Doa). This
cylindrical room with dim light and a height of 30 meters has approximately 2,000 names of
tsunami victims written on each wall. This room is philosophized as a tsunami mass grave, and
visitors who enter this room are encouraged to pray for the victims according to their respective
religions and beliefs. This room also depicts the human relationship with God
(Hablumminallah), symbolized by the calligraphy of ‫( هلل‬Allah) printed on the chimney with the
light pointing upwards and reciting verses from the Al-Qur'an. Implies that every human being
will surely return to the creator (The God Almighty).

Source: Picture by Sanriku Fund Association Sanriku DMO Center, retrieved on August 2023.
Figure 5.2. Kesen Ohashi Bridge Part Damaged by Tsunami Disaster
Finally, the last zone of Iwate Tsunami Memorial Museum, called Zone 4,
“Reconstruction Together” (復興を共に進める), the explanation from the respondent about

Zone 4;
It is showing the reconstruction of the disaster area is progressing with support
from Japan and overseas (Takeda, 2023).

This zone conveys appreciation for the support to overcome when Japan received enormous
support both within and outside Japan and move on from the Great East Japan Earthquake and
Tsunami. The researcher argues that the exhibit in Zone 4 implies a community or group's
collaborative effort and determination to progress and rebuild following a tsunami disaster. It
signifies that, rather than being deterred by the destruction caused by the tsunami, the affected
individuals are committed to working together towards recovery, rehabilitation, and restoring
their lives and surroundings the spirit of resilience, cooperation, and a shared goal of rebuilding
after a devastating event. Besides, on Aceh Tsunami Memorial Museum, the last exhibit is
Space of Confuse which leads to Bridge of Hope (Jembatan Harapan).

Source: picture by Joel Saget, retrieved on August 2023.

Figure 5.3. Baiturrahman Mosque in Aceh Survived the Tsunami

The philosophy of that two exhibitions showed the confusion and despair of the people of Aceh
when they were hit by the tsunami in 2004, confusion over the direction of the destination,
confusion about finding missing relatives, and confusion over the loss of property and objects.
However, after that, visitors will go to natural light, which symbolizes a hope that the people
of Aceh at that time. To summarize the exhibition, visitors may enter a studio set like a cinema
with big screens to show short movies for around 10 minutes also shows sensitive things like
corpses. The story of the documenter movie begins by explaining that the Great Indian Ocean
Earthquake could happen because there are Indo-Australia and Eurasia plates that have been
shifted and pled up. It is recorded by several international institutions as the deadliest tsunami
in history. This nightmare could happen because, at that time, most Aceh residents did not know
that after the strong earthquake, the tsunami might hit. Also, the community did not escape
right away from the sea. Tsunami is part of a natural cycle that will be repeated in the future.
Then, this generation must be taking a lesson from it. As well as what has been done by people
on Semeulue Island. Although the distance of this island is closer to the epicenter, and
thousands of houses were ruined, only 7 (seven) causalities were recorded there. One reason
was that residents on this island maintained local wisdom or knowledge of the tsunami that
happened in 1907. If Iwate Tsunami Memorial Museum has “tsunami tendenko,” then Aceh
Tsunami Memorial Museum also has “Smong” as local wisdom for disaster mitigation. “Smong”
monumentalized in manafi-nafi (folklore), mananga-nanga (child lullaby), and nandong
(humming) that are introduced to progeny from the cradle till old age (Gadeng, Maryani and
Rohmat, 2018).
5.2. Discussion
Attractiveness - History and Association with Natural Disasters
Based on the result, Iwate and Aceh Tsunami Memorial Museums greet their guests
with exhibitions that delve into the scientific and historical aspects of earthquakes and tsunamis
specific to their respective regions. These messages emphasize the importance of swift
evacuation to higher ground, maintaining a state of preparedness, and acknowledging the
potential for a tsunami that might exceed all foreseen circumstances. Hence, the main
attractiveness which people widely recognize is well-documented by the museum to attract
visitors. The results indicate that Aceh and Iwate Tsunami Memorial Museum could be
classified as a dark tourism site by their history associated with natural disasters. Researchers
argued the history behind the natural disaster begins with a dark story revealed that many
fatalities could have been avoided if proper handling had been carried out by all parties
responsible, especially providing knowledge about disaster evacuation quickly and
appropriately for all people. In addition, this result is also supported by past research that argues
dark tourism attractiveness encompasses displays and locations where the design of the
offering is intertwined to convey knowledge and possibilities for learning (Stone, 2006).
Exhibition content – Emotional Involving
The past study about NEE (negative emotional experience) in dark tourism by showing
that the negative feeling is a double-edged sword in dark tourism, distinctive from its role in
leisure tourism (Martini and Minca, 2018). As a result, travel managers and tourists strive to
evade or minimize these adverse feelings (Hosany et al., 2017). However, within the realm of
dark tourism, unfavourable emotions can potentially make a visitor in feelings of grief (Brown,
2015) or reluctant to return to the location (Zhang et al., 2016) certain feelings (‘shock’,
‘sorrow’, and ‘depression’) could also indirectly evolve into a spiritual significance (Martini
and Minca, 2018). Based on fig. 5.4, it could be seen that exhibitions on both Tsunami
Memorial Museum might create different emotional. The emotional could be positive such as
appreciation, hope, gratitude, excitement and negative, such as sorrow, shock, depress, fear,
touching and sad. However, this result is supported past research (Zheng et al., 2020) that’s
stated, as locations associated with mortality, dark tourism sites carry intricate feelings, often
encompassing a mixture of negative and positive sentiments. Researchers argued that the
exhibitions at Aceh Tsunami Memorial Museum can arouse the emotions of its visitors
especially Tsunami Alley and the Chamber of Blessing. Those exhibitions can make visitor
respect for the tsunami victims. This area also designed to allow visitors to reflect and belief
that there is a great power that comes from the God almighty that cannot be controlled by
humans. The results indicate that Aceh Tsunami Memorial Museum could be classified as a
dark tourism site by the exhibition that tends to arouse the positive and negative emotion of the
visitor. In addition, this result is also supported by past research that argued as locations
associated with mortality, dark tourism sites carry intricate feelings, often encompassing a
mixture of negative and positive sentiments (Stone, 2006). Nevertheless, researchers argued
that Iwate Tsunami Memorial itself is quite difficult to state as a dark tourism site without
including the Takata Matsubara Memorial Park as a unit. Based on Fig. 5.4, zone 3, Learning
Lesson and Takatamatsubara park are the exhibition which is believed to be able to arouse the
emotion of the visitor. Takatamatsubara Park is located next to Iwate Tsunami Memorial
Museum; with a vast open area, visitors can offer fresh flowers and pray to the victims also see
the exhibition of Miracle Pine. The surrounding area is calm, suit for visitors for a little long in
silence and reflect on the philosophy of this pine tree. Even though huge problems hit people
in Tohoku Area, being more resilient is something they have as a faith, and the visitor needs to
apply that as well. As researcher concluded that Iwate Tsunami Memorial Museum along with
Takatamatsubara park could be classified as a dark tourism site by the exhibition.

Chamber of Blessing
(Ruang Sumur Doa)
Existential Emotional Exhibition

Tsunami Alley Space of Confuse

(Lorong Cerobong) Bridge of Hope
(Lorong Tsunami)
(Jembatan Harapan).
Space of Memory
(Ruang Kenangan)

Zone 3
Zone 2 Learning Lessons Zone 4
Zone 1 Reconstruction
Learning the Facts Together Takatamatsubara
Tracing History
Memorial Park

Exhibition Content

Source: Researcher, (2023)

Figure 5.4. Existential Emotional on Exhibition Content toward Iwate and Aceh Tsunami
Memorial Museum
Empathy - Considering the Sensitivity and Balance of Education and Remembrance
Aceh and Iwate Tsunami Memorial Museum exhibition has been designed to make
visitors empathize with the victims. For instance, shows that depict the personal and collective
stories of the tsunami victims profoundly and humanly, could make visitors feel emotionally
connected to the tragic experiences of victims. Additionally, audio and video recordings
featuring interviews with victims, families, and people involved in rescue operations can
provide a livelier dimension to the visitor experience. Through voice and facial expressions,
visitors can feel deeper emotions. Moreover, the reconstruction of rooms and objects that depict
the people's daily life before the tsunami can help visitors feel the losses they have experienced.
The existence of photography and art exhibitions that display the tsunami event and the people's
emotional reactions can evoke a sense of empathy for visitors. Finally, the stories of success
escaping from the tsunami, recovery, solidarity, and community efforts in overcoming adversity
that do not just focus on grief and loss can inspire and give visitors hope. Therefore, the
researcher argues that both Iwate and Aceh Tsunami Memorial Museum are able to categorized
as dark tourism based on the ability to make visitors feel empathy for the products offered
through exhibitions. This result is also supported by past research (Miles, 2002), where dark
tourism sites should evoke a certain level of empathy within visitors towards the historical
victims or circumstances they represent. This sense of empathy, as argued, is intensified
through the spatial connection established in the design of dark tourism offerings.
Education program
Both Iwate and Aceh Tsunami Memorial Museum designed the product revolving
around education and commemoration, which is located at the actual site of the disaster event.
The pattern of the learning programs offered by the two museums is similar, where the
exhibition begins with the story of the tragedy of the natural disaster in the form of the
earthquake and tsunami itself. Then, followed by a scientific explanation of why the disaster
can occur. After that, what lessons can be drawn from the incident, and if it is repeated in the
future so that the next generation will not experience the same sadness again. The important
thing that these two museums want to convey is that there is a lesson about hope and miracles.
The focus of the stories told of "hope and miracle" is to help inspire visitors to see the potential
in themselves and their communities in the face of complex challenges. By viewing these
examples, visitors can gain hope and faith that even amid tragedy, there is an opportunity to
rebuild and achieve miracles. Therefore, the researcher argues that the education program
provided by both museums can classify the museum as dark tourism. This result also supported
by past research that stat, as a dark exhibition, refer to those exhibitions and sites that blend the
product design to reflect education and potential learning opportunities (Stone, 2006).
6. Conclusion
Bowman and Pezzullo, (2010) argued by categorizing specific tourist destinations as
'dark tourism,' an underlying assertion is that something is unsettling, questionable, unusual,
grim, or unconventional associated with them. However, the specific nature remains vague and
ambiguous, as no one has taken the responsibility of substantiating it. In this paper, researcher
established the ‘dark tourism’ labels especially for post-natural disaster tourism sites which
could be classified by the 4 points include; attractiveness, exhibition content, attitude of
empathy, and education program on the exhibition. In particular, those professionals who
provide sites, attractions, and exhibitions related to dark tourism might not appreciate the direct
usage of the term 'dark tourism' to describe their offerings, possibly due to the broader
associations with morbidity and underlying moral implications. Specifically, if one considers
the implications of using terms to describe a post-natural disaster industry as a dark tourism
site, with some aspects of that industry not readily accepting or fully understanding its meaning
and connotations, then the supply will try to find many strategies to avoid the term of dark
tourism. Otherwise, the term ‘dark tourism’ has been clarified by the framework of supply
outlined in this paper. Future research will, perhaps, begin investigating the experience that
could be given by this kind of site that might not be gotten of another type of tourism, such as
introspective or transformational experience within life and spiritual journey.