Pengaruh Wisata Budaya Museum Puro Pakualaman Yogyakarta Terhadap Minat Pengunjung

The State of Indonesia is a country that has a lot of natural beauty and culture so it is worth to be maintained and preserved in order to bring tourists both local tourists, archipelago and overseas. One of the city that has a cultural tourism attraction is the city of Yogyakarta, which Yogyakarta culture must be maintained and preserved.Cultural tourism becomes an important aspect in the development of a tourism area especially the city of Yogyakarta, which has a variety of uniqueness-cultural uniqueness to be developed into tourist destinations that can be consumed by the tourists.Museum as an object and tourist attraction in the tourism industry because the museum is classified as a tourist attraction of human works which tourist attraction is one of the important elements.ne of the museums in Yogyakarta as a tourist attraction is Puro Pakualaman museum located on Sultan Agung Yogyakarta street, this museum has many potentials that can bring many visitors as a cultural tourism attraction, cultural awareness education and also to emphasize the image of the identity of a nation.The interest of visitors to visit Puro Pakualaman museum as a tourist destination is still very small compared to other tourist destinations.The attraction of Puro Pakualaman museum in the form of frequent substitution of soldiers in Javanese language is Bregodo, archery (jemparingan), various dances ranging from classical dance to modern dance, wayang, various types of historical relics that are still original and not a replica. The research method used in this research is quantitative research method by taking data through questionnaire data, then analyzed by using simple linear regression analysis to know the existence of influence between museum culture variable (X) to visitor interest (Y).The result of the research is (1) tourism culture of museum (X) influence to visitor interest (Y), with regression equation is Y = 16, 798 + 0,228; (2) Hypothesis test that H0 is rejected and Ha accepted meaning there is influence that significant between museum culture tourism to visitor interest with result of sig 0,0

Black Woman Museum Activism "From Inside": Theorizing a Twenty-First Century Decolonization Movement Within the Colonial U.S. Museum

What are the constitutive features of a transnational African women contemporary visual artist resistance movement from inside the colonial U.S. museum? How are accomplished women contemporary visual artists, from different countries within the continent of Africa, yet currently based in the U.S., returning the gaze on American museal culture? How should the woman black Atlantic audience respond to the museum institution's efforts to reframe its colonial legacies? Considering these research questions, I argued that when women contemporary visual artists from Africa are afforded the space to exhibit their artwork in the colonial U.S. museum, they return the gaze on colonial museum culture, advocate for themselves, other African artists, and as a result, the traditional colonial U.S. museum could potentially reframe its identity, transform into a dynamic site for sustained political activism, and become a more equitable space to feature artistic expressions from other non-white perspectives.This qualitative study grounded in critical postcolonial feminist theory drew from extant cultural studies and museum studies literature to elucidate how successful black Atlantic resistance movements are traditionally mobilized by activists who have closely analyzed white supremacist ideology from inside systemically oppressive institutions, by means of white insiders initially granting them that access. It employed a method of psychoanalysis to theorize how transnational African women contemporary visual artists who were granted access to exhibit in colonial U.S. museums can potentially harness their institutional agency to mobilize a resistance movement from inside the institution.

Model Construction of Museum Culture and Creativity Industry with Society Governance Targeted

The Museum Culture and Creativity (‘MCC’) industry in China confronts several issues, such as homogenization of the MCC products, shortages of passion in the MCC development and misunderstandings of the MCC industry. To solve the problems faced, solutions are to be proposed. In the context of building a modern governance system and improving approaches for society governance in China, the author constructs a model for the MCC with society governance targeted. The research is significant because it provides a unique perspective for the MCC industry and promotes the research of design governance in China.

Hearing Religious Music. The Subject-Object Relationship of the Listener and the Piece of Music in a Consumption Era

In a concert hall, the attitude of the audience focusses on the formalistic aspects of music. In religious rituals, music is a means of leading the hearer to a spiritual experience. What happens when music, meant originally for a liturgical purpose, is played in a concert setting? Gadamer shows, with his conception of Verwandlung ins Gebilde, that an art work is never static, but carries a depth in itself, which is connected to an artistic ingenuity throughout centuries. In this ‘depth’ lies the connection to the listener, which is broader than a mere aesthetical one. On the other hand, music in itself has a strong ‘theatrical’ side, which can easily surpass its contemplative aspect in consumer culture. It appears that this aspect, in combination with the formalistic-aesthetic approach of modern museum culture, of which concert culture is a part, made the hearer become almost ‘deaf ’ to the religious content; because a concert practice focusses primarily on entertaining the hearer, s/he is not able to engage in the music as a source of spiritual edification of the soul. Nevertheless, Gadamer’s conception of play makes us be aware that there will always be new, unexpected ways in which the truth comes into being in the interaction of a piece of music and its hearer. In order to create such a reality, it is necessary to turn to new and renewing hearing practices, where the play between music and the hearer has a wider range of musical experience than the mere formalistic aspect.

Remixing the Results and Looking Ahead

Theories and ideologies of museum culture are collaboratively created by directors, curators, artists, and their audiences. This book examines these processes through the frameworks of five transformational nodes and dialogues with artists and curators. Based on these materials, nine guideposts emerge: creating transparency in curatorial networks; expanding south-north connections and exchanges; (3) reworking and blending artistic genre classifications; marketing and permeability of artworks; connecting museums with other multicultural institutions and frameworks; linking public and private collections; reconfiguring archives and databases; developing new museum learning strategies; and opening up new avenues of connectivity with diverse communities. By adopting and following these strategies, museums may display new works, showcase changing curatorial directions, and attract broader museum audiences.