Jurnal SCRIPTURA, Vol. 12, No. 1, Juli 2022, 1-12 DOI: 10.9744/scriptura.12.1.

1-12
ISSN 1978-385X (Print) / ISSN 2655-4968 (Online)

MUSEUM AS A HEALTH AND WELLBEING FACILITATOR IN

PANDEMIC ERA: A PERSPECTIVE FROM MUSEUM
COMMUNICATION

Ciwuk Musiana Yudhawasthi

Jurusan Ilmu Komunikasi, Fakultas Ilmu Komunikasi,
Universitas Bhayangkara Jakarta Raya, Indonesia

ABSTRACT

During the pandemic, all museums in the world are changing the way they work by using technology and carrying out all
activities remotely by utilizing various applications to stay connected with their visitors. In Indonesia, of 439 museums, 284
museums were not operating (temporarily closed), and less than 20 museums were active to use social media. The researcher
used qualitative studies and a virtual ethnographic method to explore 5 museums that are proactive in using social media to
improve society’s lives with special consideration for health and marginalized groups, like senior adults, disabled people,
special needs, people with dementia, schizophrenia, or people with mental health. And observed 3 museums that had
difficulties applying the social media activities. The results of the study show that most museums in Indonesia are not aware
of their role to contribute to the quality of urban life, especially during the pandemic. And museum communication skills in
the pandemic era must be expanded through the use of the internet while still paying attention to the ethics and limitations
that apply to each type of collection owned.

Keywords: Museum communication; folksonomy; health and well-being; social work museum.

ABSTRAK

Selama pandemi, semua museum di dunia mengubah cara kerjanya dengan menggunakan teknologi dan melakukan segala
aktivitas dari jarak jauh dengan memanfaatkan berbagai aplikasi untuk tetap terhubung dengan pengunjungnya. Di
Indonesia, dari 439 museum, 284 museum tidak beroperasi (tutup sementara), dan kurang dari 20 museum aktif
menggunakan media sosial. Peneliti menggunakan studi kualitatif dan metode etnografi virtual untuk mengeksplorasi 5
museum yang proaktif dalam menggunakan media sosial guna meningkatkan kehidupan masyarakat dengan pertimbangan
khusus untuk bidang kesehatan dan bagi kelompok terpinggirkan, seperti orang lanjut usia, kelompok difabel, orang dengan
kebutuhan khusus, orang dengan demensia, skizofrenia, atau orang dengan kesehatan mental. Dan peneliti juga mengamati 3
museum yang mengalami kesulitan dalam memanfaatkan media sosial. Hasil penelitian menunjukkan bahwa sebagian besar
museum di Indonesia belum menyadari perannya berkontribusi untuk kehidupan yang berkualitas, terutama di masa
pandemi. Dan keterampilan komunikasi museum harus diperluas melalui pemanfaatan internet dengan tetap memperhatikan
etika dan batasan yang berlaku pada setiap jenis koleksi yang dimiliki.

Kata kunci: Komunikasi museum; folksonomy; kesehatan dan kesejahteraan; kerja sosial museum

1. INTRODUCTION In recent years, the field of Heritage Studies has been

increasingly prescient about sustainability issues, and
Museums, as public spaces, can play a central role in this has opened up a wide range of debates about the
starting a debate about the past, present, and future of impact of climate change, the ethics of tourism
a place. They can be platforms where citizens, development, loss of biodiversity, the heritage of war
community groups, urban planners, architects, care- and safeguarding intangible cultural heritage, amongst
givers, and others can meet and exchange on how others (Gegner and Ziino 2012; Cameron and Neilson
they see the future and how they can be involved in its 2014; Akagawa and Smith 2019 in Brown, 2019).
realization. Museums have mainly been created to Lately, the international museum world, too, has
increase the cultural and educational level of the begun to step up by acknowledging its ecological
population. With time, this objective has become responsibilities and obligations towards cultural land-
more complex to encompass now, not only education scapes as fundamental resources for sustainable
but training and life-long learning; not only know- futures (Siena Charter 2016; Mac Devitt 2017; Riva
ledge but also creativity; and not only native popu- 2017; Davis and Smeds 2018 in Brown, 2019). Acti-
lations but marginalized communities. vist approaches to sustainability are also gathering

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Jurnal SCRIPTURA, Vol. 12, No. 1, Juli 2022: 1-12

pace in response to societal change (Brophy and munities to collect, preserve, research, interpret,
Wylie 2008; Chaumier and Porcedda 2011; Janes and exhibit, and enhance understandings of the
Sandell 2019; ‘Culture declares emergency’ 2019, in world, aiming to contribute to human dignity
Brown, 2019). These actions are based on the premise and social justice, global equality and planetary
that museums can provide places for communities to wellbeing. (The vote of this new museum defi-
meet, work, share and mediate ideas, build social nition was postponed at ICOM’s Extraordinary
sustainability and foster personal and collective well- General Assembly in 2019)
being for the common good. To understand their role
in the broader global context means transforming our According the Organisation for Economic Co-
understanding of museums in all their diversity – Operation and Development (OECD) and ICOM
2018, at the core of many cities, museums are places
from large national museums in multicultural urban
that contribute to both physical and social design.
settings to small community museums in native or
Their renovation (or construction) can stimulate urban
indigenous settings – and seeing them as places where regeneration and bring new life into areas losing their
we humans can seek a balance between our well- social dynamism and traditional economic base.
being and the health of planet Earth (Brown, 2019). Museums appear to be places where social capital can
be built between people and communities when many
Today, cultural and heritage institutions are under traditional places of meetings are disappearing. Poten-
increased pressure to prove their value to society, and tial outcomes could be: better quality of life, higher
the UK Museums Association (MA) has, led the way level of social capital, international branding and
in shaping public thinking around the debate. The increased territorial attractiveness, more sustainable
MA has identified a list of main categories for and greener ecosystem.
museums to consider in relation to health and well-
being: mental health, older people, marginalised peo- But, the COVID-19 pandemic is still seriously affect-
ple, learning disabilities and rehabilitation. In 2018, it ing cultural institutions around the world. While some
published a report on Museums as Spaces for Wellbe- museums have reopened with major limitations,
ing, based on a sector-wide survey launched by the others institutions are still facing the consequences of
National Alliance for Museums, Health and Wellbe- the health crisis behind closed doors. ICOM first
ing (MA2018) that builds upon its previous mani- report, published in May 2020, presented a dire
festo, Museums Change Lives (MA 2014). The initia- situation for museums and museum professionals
tive stems from a drive towards partnership working around the world, with around 95% of institutions
primarily with the healthcare sector and a recognition forced to close in order to safeguard the wellbeing of
that participation and volunteering in the museum staff and visitors, resulting in serious economic, social
sector promotes well-being and self-confidence and and cultural repercussions. Compared to April 2020,
broadens people’s horizons. Similarly, the Arts and the situation for museums in September-October
Humanities Research Council invested in the Cultural 2020 was much more variable depending on their
Value Project to build research evidence on the location in the world, the majority were closed, and
impact of arts and culture on our lives (AHRC 2018), the situation in the other regions was mixed.
and a number of multi-disciplinary projects concern-
ing dementia in particular have been led by Andrew According to the ICOM survey, museums all over the
Newman (Newman 2018 in Brown, 2019). world continue to enhance their digital activities. All
Viewed in this context, museums and heritage organi- the categories analyzed by the ICOM increased in at
sations bear a huge responsibility for the communities least 15% of the world’s museums, a figure that rises
they serve in the 21st century as a result, museum and to almost 50%, and use channels such as social media,
heritage professionals have increasingly found them- live-streaming events, or online educational pro-
selves asking: ‘What are museums for?’ If museums grams. Notably, the percentage of museums that
in the 21st century are coming to be understood as started a new media channel increased for every
‘polyphonic spaces’ concerned with ‘planetary well- activity.
being’ (ICOM website, ‘Museum Definition’ page),
then in addition to paying attention to traditional 2. FORMULATION OF THE PROBLEM
concerns, museology as a discipline needs to keep
abreast of debates in global challenges and sustainable In the social media environment, one of the chal-
development. lenges for the museum is to ensure that cultural
New definition: Museums are not for profit. content is not abandoned. This is not a new challenge
They are participatory and transparent, and work but one which is described over and over as emergent
in active partnership with and for diverse com- systems, technologies, and paradigms that affect the

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 Yudhawasthi: Museum as a Health and Wellbeing Facilitator in Pandemic Era

museum program (Russo and Watkins, Jerry and needs, people with dementia, schizophrenia, or people
Kelly, Lynda and Chan, Sebastian, 2006). Over the with mental health? How do museums in Indonesia
past 30 years, museum communication has progress- use technology to communicate with their users?
ed from the 19th-century information transmission
models used in the early modernist museums, to 3. METHOD
social constructivist models which acknowledge the
experiences that audiences bring with them when This research was a qualitative study that explored
visiting the museum (Watkins and Mortimore 1999). phenomena with individuals or groups as research
This shift has focused on the partnerships between the subjects with data collected from the original environ-
museum and its visitors in the “making of meaning” ment, without the researcher's intervention, and
(Hooper-Greenhill 2000) and is in keeping with more analyzed using the researcher's interpretation (Cres-
general evolutions in digital media which describe well and Creswell 2018, 41-42). In this study, the
how different modalities combine to create meaning methodology used is virtual ethnography with the aim
(Snyder 2002). So, to create meaning today, the of identifying behavioral patterns, patterns of life, and
museum not only thinks about on-site programs but social relations in virtual life in cyberspace or on
they have to try a new way of communication, social media. Social life develops with the presence of
especially during the pandemic to construct visitors information and communication technology and cul-
not only knowledge but skill and attitude too. tural changes occur. Virtual ethnography is a metho-
dology used to explore entities (users) that use the
Like other museums in the world, online activities in internet. Virtual ethnography also reflects the imply-
Indonesian museums continue to increase, in parti- cations of internet-mediated communication (Hine,
cular through the creation of new digital communi- 2015). Jorgen Skageby in Daniel explains virtual
cation channels in the wake of the lockdown. Based ethnography is a method used qualitatively to under-
on the research of Indonesia Museum Awards from stand events in virtual communities, through online
Komunitas Jelajah about museum communication observations and interviews (Daniel, 2011).
during the pandemic in Indonesia, they found that
almost all museums in Indonesia have not been Due to time constraints in the study, the researcher
optimal in enhancing to engage with visitors through took data analysis at the Media Document Level
the usage of social media. And they tend to use social (Media archive). Researcher sees content as a text and
media only for informing whether they close or not to the meaning contained in it is produced and disse-
give service to their visitors. Most of all the museums minated through the internet. The text does not only
did not make some special programs related to public represent the opinions or opinions of users on the
health, COVID-19 or social welfare during the pande- internet but shows ideology, social background,
mic (2020). political views, and cultural uniqueness, to represent
the identity of the community. The text is also
In fact, during the pandemic, 287 museums were not evidenced by the context, situation, or exchange of
operating (temporarily closed). While the other 271 values in the community (Nasrullah, 2017).
museums continue to operate on a limited basis by
utilizing various platforms, such as Instagram, Face- 4. LITERATURE REVIEW
book, Blog, YouTube, Twitter, Podcast, and Tik Tok.
Instagram is the most widely used platform by 4.1 Museum as a communication system
museums, with 271 museums using it actively. Twit-
ter is used by 50 museums, but only 15 museum Unlike all others, the museum depends on “real
accounts are currently active, while the other plat- things” as the media of communication. The images
forms are used by a few museums, not reaching 20 of things, that are the language of other media, are
museums (Komunitas Jelajah Survey, 2020). surely used in the museum system, but these images
must be considered as the adjectives which qualify
Behalf the situation, this paper considers discussing: and make more meaningful the nouns of the museum
how museums in Indonesia carry out their role as language, the real things themselves. The museum as
direct actors of social development beyond their a communications system, then, depends on the
educational role during the pandemic. Are museums nonverbal language of objects and observable pheno-
in Indonesia more proactive in improving society’s mena. It is primarily a visual language, and, at times,
lives with special consideration for marginalized an aural or tactile language. So intense is its commu-
groups, like senior adults, disabled persons, special nicative power that ethical responsibility in its use

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must be a primary concern of the museum worker. Littlejohn stated that a communication system is a set
The museum is not a simple communication system of integrated variables interaction in which they
that can be described in terms of the transmitter, together create a bigger pattern (Littlejohn, 2009). A
medium, and receiver; it is rather, a complex system, museum is a communication system with objects,
often with a variety of transmitters, many media, and attributes, internal relations, and a nonvacuum envi-
many widely different types of receivers. In its sim- ronment. Objects in the n museum system can be
plest statement, the primary communications system analyzed as follows, (1) creator/messenger: museum
in the museum has as its transmitter, or source, the person, i.e., creator of the object or thing (museum
exhibitor, and as the media, the “real things” des- collection), director of the museum, curator, Museum
cribed above. The receivers are the museum visitors. Association, guide (2) message: museum collection
The exhibitor is ideally the museum curator or scholar (objects or things). And also, news, opinions, adver-
who is responsible for the content in all its forms. tisements which are probably made by the museum as
However, observation suggests that exhibit designers an institution, (3) Recipient of the message: interested
and education officials in museums are operationally people or the stakeholders, (4) media: exhibitions,
often more active sources of content than the curator. mass media, social media (5) effects are highly
Be that as it may, the exhibitor determines the content dependent on the message and the media used. The
or message be communicated. This intended message easiest effects to be viewed are the increasing number
may be spelled out in a storyline or exhibit proposal, of visits, the increasing museum’s facilities, and
but often, it exists only in the mind of the exhibitor services, budget increase, etc. (6) feedback (Yudha-
(Cameron, 1968; Calderon, 1990). wasthi, 2018).

In line with Cameron and Calderon, Yudhawasthi Communication plays a comprehensive role in muse-
(2018) emphasized museum is an institution with a ums. There is no aspect, even simple interaction that
complex communication process, in which it can use happens in a museum, that does not involve commu-
symbols (primary communication process) as well as nication. Museum communication is a concept of
using equipment or means as second media after managing modern museums using various discipline
symbols as the first media (secondary communication approaches to construct a museum as a place that has
process). According to concept communication pro- value (e.g., education, research, and entertainment
cess by Littlejohn and Foss (20099), museum com- value). Understanding museum communication
munication process essentially is conveying one’s would help the management to make the museum
thought or feeling to other people. In this case, the one more attractive to its stakeholders. It can inspire and
conveying the message, message, and the recipient of change stakeholders’ mindset on the value, benefits,
the message in the museum can be described in and quality of the museum as well as the service and
various dimensions by taking into consideration the experiences at the museum. Therefore, stakeholders
elements or components of the museum. would be more willing in contributing to museum
development (Nielsen, 2014; Yudhawasthi, 2019).
Objects or things in the museum have a unique com-
munication process and can be presented through 4.2 Museum and Social Media
exhibitions as well as nonexhibition. But most resear-
chers viewed communication occurring in the muse- De Bernadi and Gilli stated that digital technologies
um through the mediation of exhibition/display could in fact be a powerful tool to assist in adopting a
arranged by the curator, e.g., De Borhegyi (1963), visitor-oriented approach and stimulate two-way
Parker (1963), Cameron (1968), Miles (1989), communication (2019). Today, museums recognize
Hooper-Greenhill (1991), Horta (1992), Shalaginova and relish their duty to be truly relevant to a diverse
(2012) and Nielsen (2014). According to Hooper-
audience, striving to increase not only their overall
Greenhill, the museum’s main product is an exhi-
bition, which together with information function, number of visitors but also the demographic make-up
infrastructure, and support services all communicate of those engaging with their collections and offers
messages to the public. Additionally, access manage- (Simon, 2010). Audience development, first establish-
ment to the museum also contributes to the entire ed in a commercial context, is a powerful tool for
image of the museum, both physical access and museums to identify and attract new long-term
psychological, through museum-related information audiences while retaining existing groups of patrons.
promotion (Yudhawasthi, 2019). It can be concluded The introduction of digital technologies can be consi-
that all components of the museum are influential in dered a valuable and innovative way to improve
the process of communicating messages to visitors, visitors’ engagement, “edutainment,” interactivity,
not an only exhibition. immersive experiences, and narrative environments

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 Yudhawasthi: Museum as a Health and Wellbeing Facilitator in Pandemic Era

(Bertacchini & Morando, 2013; Cerquetti, 2016 in De 5.1 Concern for the Covid-19 Pandemic, Health
Bernadi, 2019). Furthermore, digitalization can and Well-being Issues
enhance participation and two-way communication
flows between museums and visitors in a dynamic Although museum collections are highly segmented,
relationship that is not limited to mere information the pandemic should not be an obstacle for museums
exchange, but rather pursues coproduction of know- to show concern for the surrounding issues, including
ledge (Fletcher & Lee, 2012; Pulh & Mencarelli, health issues. Issues that developed during the pan-
2015). demic, of course, are related to Covid-19. At the start
of the pandemic, many museums were unprepared for
Lazzeretti, Sartori & Innocenti (2015), and Lopez et the rapidly changing environment. In addition to
al. (2010) stated cross-country survey of the presence having to maintain personal health and the work
of Web 2.0 spaces in museum websites has shown a environment, museum managers suddenly have to
change their offline work patterns to online ones.
low level of diffusion, especially in Europe. From a
From the monitoring results, it turns out that quite a
quantitative standpoint, the engagement of museums
lot of museums are able to adapt. The museum's
with the Social Web seems to be lagging behind other
online activities have increased in the form of
cultural organizations, like theatres (Haussmann and exhibitions, festivals, seminars, workshops, and talk
Poellmann 2013). As concerns the qualitative aspects shows on various subjects. Museums also maintained
of the use of social media, they seem to be used more their informal education role remotely by providing
as an instrument of traditional communication rather quizzes, games, and educational materials online.
than of user engagement. Similar results are shown by
Fletcher and Lee’s (2012) survey of American muse- From the beginning of the year until October 2020, it
ums, according to which museum practitioners tend to was quite difficult to find a museum that carried out
use social media in one-way modalities, such as event health socialization, even though at that time the
listings, posting reminder notices, displaying online Covid-19 pandemic was raging. Of the 271 museums,
promotions or announcements to reach larger or new less than 20 museums provide social media, espe-
audiences. This evidence has often been ascribed to cially Instagram as a space to share health information
the conservative attitude of museum curators, who related to Covid-19, such as the 3M campaign
seem concerned with protecting their role as autho- (wearing masks, washing hands, and maintaining
ritative interpreters of the collections from the distance). Half of these museums posted less than 3
proliferation of user-generated contents. times in almost a year on Covid-19 issues. The rest
were recorded in over 7 posts containing information
Based on the literature review, in the middle of the related to this, and only 3 museums posted serial
development of technology of communication, muse- information about the outbreak.
ums not only think about the distribution of know-
ledge, skill, and attitude to the visitors in the Although almost all posts contained normative infor-
traditional way. Usage of communication approach mation and focused more on appeals and socialization
of preventing the transmission of the Covid-19 virus,
for solving the problems of the museum in the digital
there were also quite interesting cases that several
era needs more attention by the museum, so how
museums were trying to bring up. Here are 5
about museums in Indonesia? How did they use
examples of interesting cases during 2020. Some of
social media during the pandemic? the initiatives came from museums that have health
collections. The first case is the Multantuli Museum
5. RESULT AND DISCUSSION (Lebak, Banten) which actively posted the use of
rhizomes which are allegedly able to strengthen the
This study conceded several interesting findings immune system so that it is protected from the Covid-
which will be presented in two parts. First, how the 19 virus attack. In addition to posters about rhizomes,
contribution of museums in Indonesia related to its the Multantuli Museum also used IG Live as a
role is, both individually and collectively, towards medium for information on health conditions in the
well-being and initiatives that are raised in the health Lebak environment. In the IG Live, the museum
domain. Second, how museums in Indonesia use reposted the socialization program for the Lebak
social media to communicate their roles and Regent for the 2018–2023 Hj. Iti Octavia Jayabaya,
initiatives in the health and well-being sector. This is SE, MM. The Regent gave directions and appeals for
due to the pandemic atmosphere, so offline activities the importance of increasing vigilance against the
around health and well-being are temporarily transmission and spread of the Covid-19 virus
suspended. (Picture 1).

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Picture 1. Case of IG Multatntuli Museum: information Picture 3. Case of iMuseum: History of Plagues. Sumber:
about the use of rhizomes which are allegedly able to Yudhawasthi, 2021.
strengthen the immune system. Source: Yudhawasthi, 2021.

The second case is the POLRI Museum. The history

museum belonging to the Indonesian National Police
has done quite a lot of socialization about the Healthy
Living Community Movement (Gerakan Masyarakat
Hidup Sehat or GERMAS), one of which was
making humorous caricatures to disseminate the use
of masks. This caricature, which was responded to by
"likes" by quite a number of followers, not only
provides information but could also provide brief
entertainment in the midst of the inconvenience of the Picture 4. Case of iMuseum: clean and healthy living
pandemic (Picture 2). behaviour. Source: Yudhawasthi, 2021

Picture 2. Case of POLRI Museum: GERMAS Carica- Picture 5. Case of iMuseum: Information about Covid-19.
tures. Source: Yudhawasthi, 2021. Sumber: Yudhawasthi, 2021

The third case on Instagram is the museum that Even more interesting, the IMERI iMuseum even
provided complete information about the outbreak, provided health information during Ramadan. Indo-
namely the account of the Indonesia Museum of nesia is a country with a majority Muslim population.
Health and Medicine, IMERI (Indonesian Museum of During the month of Ramadan, all Muslims will fast,
Health and Medicine, iMuseum IMERI). This muse- and at the end of Ramadan, they will celebrate Eid by
um continuously presents the history, types, and facts serving a variety of foods that are rich in taste. The
about the plague through interesting infographics. iMuseum through its Instagram provided information
Through short narratives about various outbreaks, the about maintaining health during fasting during the
information in this outbreak series provided quite pandemic, including sports activities and information
complete information on the history of world health about healthy food after Hari Raya (Picture 6).
(Picture 3).
Programs regarding health are also carried out
In addition, the IMERI iMuseum also disseminated specifically for children. Through the ARTERI
clean and healthy living behaviour and discussed program, in its broadcast through the WhatsApp
hoaxes and facts about Covid-19 (Picture 4 and 5). group, iMuseum conducted health education through

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 Yudhawasthi: Museum as a Health and Wellbeing Facilitator in Pandemic Era

in-depth body recognition. It was hoped that parti- special needs. Museum MACAN strives to contribute
cipants' awareness of their bodies would increase and to making art accessible to all and activating the
they would try to maintain good health and body function of art for the whole community. One of the
hygiene (Picture 7). speakers presented in the eighth edition of the
Educators Forum was Annisa Anggraini, S.Pd. a deaf
teacher from BCD Nusantara SLB who graduated
from the Department of Fine Arts Education, State
University of Jakarta in 2017. Annisa shared her
experiences as a person with hearing/deaf disabilities
in teaching art (Picture 8).

Picture 6. Case of iMuseum Information about maintaining

health during the pandemic. Sumber: Yudhawasthi, 2021

Picture 8. Case of Museum MACAN: Public Programs

Educator’s Forum. Sumber: Yudhawasthi, 2021

The fifth case is a quite special case conducted by the

Museum of the Asian-African Conference (MKAA).
This museum did not only promote its activities
through Instagram but also created an electronic book
Picture 7. Case of iMuseum: Public Programs ARTERI. publishing program for people with disabilities.
Sumber: Yudhawasthi, 2021 Through this activity, the MKAA demonstrated its
commitment to becoming an open and inclusive
The fourth case is the Modern and Contemporary Art museum for all people, including people with
in Nusantara or MACAN Museum's online program disabilities. This commitment was realized through
with the title Educator Forum. This online discussion the launch of two learning media products in the form
activity is a forum for discussion between educators of a braille book and an audiobook "The Bandung
and across professions. One of the themes raised was Connection" (Picture 9).
“For You, For Us: Inclusiveness and Accessibility in
Art Education.” In the eighth edition of this activity,
Museum MACAN presented short presentations and
heard the experiences of speakers in interacting and
working with marginalized communities, people with
disabilities, and underprivileged communities. On its
website, Museum MACAN wrote its support for
Education for All (EFA) which was announced
globally at the world conference in Thailand in 1990.
EFA is an international initiative to deliver the
benefits of education to "every citizen in every
society". EFA translates to “Education for All,” which Picture 9. Case of Museum KAA: Braille and AudioBook.
has now become part of the Indonesian government's Sumber: Yudhawasthi, 2021
policy. However, visual art, judging from its name,
has declared itself to be exclusive to the visually The publication of this book is the first book on the
impaired community. But through art education, history of Asian-African Conference (AAC) to be
Museum MACAN believes that art can be designed produced in both formats. The book "The Bandung
to be inclusive and accessible to all, with or without Connection" was chosen as the inaugural edition of

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the AAC history book in braille and sound book Sunday visitors are charged Rp 10,000 for the
formats because the book was written by the AAC entrance ticket. Inside the Cancer Museum, there are
historian, Roeslan Abdulgani, who is the Secretary many collections related to cancer. The collection
General of the AAC. The various efforts that have includes organs containing cancer cells that have been
been carried out by the MKAA to become an preserved. One of the things that attracts attention is
inclusive museum for persons with disabilities are in the child's kidney which was attacked by cancer cells.
accordance with the mandate of the UN Convention In addition, there is a detailed explanation of cancer,
on the Rights of Persons with Disabilities. The starting from the symptoms to how to treat cancer.
accessibility of the MKAA for people with disabilities The museum conducts exhibitions and counselling
is currently being continuously improved, including about cancer, but at the request of visitors, a museum
the Braille Corner in the MKAA Library, as well as is often a place of sharing for sufferers and their
various audiobook collections and a collection of families as friends. In particular, the museum does not
braille books. The MKAA has also equipped its want to create mentoring or therapy programs or
educators with disability-friendly educational volunteers for sufferers and their families, because
guidance services, including access to museums and these activities are already available at the hospital, as
educational programs for people with disabilities run revealed by dr. Ananto Sidoutomo, the initiator of the
by the Friends of the MKAA. The Braille book and Indonesian Cancer Museum (interview, 9 September
the sound book "The Bandung Connection" that has 2021).
been launched will be copied and donated to BLBI
Abiyoso and the Mata Hati Indonesia Foundation so The same thing was also confirmed by the Mental
that they can be received as targeted, by people with Health Museum of the RSJ Dr. Radjiman Wedio-
disabilities who need them (Beritasatu, 2021). diningrat Lawang, that the museum did not have a
program for people with mental health problems, but
During the last three years, before the pandemic broke provided an effort to socialize the importance of
out in 2020, it was quite difficult to find a museum mentoring and therapy for people with mental health
that specifically made health and well-being pro- to the wider community through museum collections.
grams. Generally, museums in Indonesia are more Socialization is carried out generally in the form of
passive in this regard. In general, the services pro- giving pamphlets and tours around the museum to
vided are in the form of visiting services or learning provide an overview of how therapy is carried out in
requests from the companions of visitors with special hospitals and awareness of the importance of paying
needs and persons with disabilities. This means that attention to mental health sufferers (interview with
the service or program is not an agenda that has been Head of Lawang Mental Health Museum, Aji
planned by the museum, but rather due to the efforts Wahyugiarto, 7 September 2021).
of the facilitators for groups with special needs and
persons with disabilities. Researchers did find an This experience is actually different from the Ana-
example of a case where the initiative came from the tomy Museum-Faculty of Medicine and Health
museum which has a special collection of health and Sciences Atmajaya University (FKIK UAJ). This
is affiliated with hospitals and universities. But it is museum collaborated with FKIK UAJ and Atmajaya
also interesting to observe two cases from museums Hospital to create a special program with the title
with special collections on cancer and mental health Exploring Your Brain (2017, 2018), Dementia Skill
and one case from the museum with special brain Care Training Seminar-Asia Pacific (2018), Summer
disease programs, but during the pandemic, they do School of Neuropediatric & Dementia (2019). Unfor-
not open special programs for the public. They also tunately, during the pandemic, this activity was
do not actively use social media to inform knowledge stopped because it was not possible to carry out
about health and brain diseases remotely. It is because activities using teleconference. This is mainly due to
they are lack of workers who could make infogra- the need to access the Anatomy Museum’s collec-
phics or videos about it and it is not easy making tions, which have limited access to the public. The
health courses undirect learning. collection of the human body preserved by various
methods is the main collection of the Anatomy
The Indonesian Cancer Museum was built with the Museum, which participants will actively explore
aim of making people more aware and more during the activity. For this reason, the museum
concerned about this deadly disease. This museum avoids programs that are live through technology, to
can be visited for free on Monday – Friday from maintain exposure to the collection. Participants in the
08.00 am-08.00 pm. However, on Saturday and activity are generally health practitioners, and families

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 Yudhawasthi: Museum as a Health and Wellbeing Facilitator in Pandemic Era

of sufferers and are also open to the general public All of the cases above show that the role of museums
(interview with the Head of the Museum, Dr. dr. Tena in today's social world is not just displaying works of
Djuartina, M. Biomed, September 8, 2021). structured collection arrangement as in the concept of
museum taxonomy. The concept of museum taxo-
5.2 Museum Connect: a conjunction between nomy is very thick with face-to-face interaction. But
technology and communication now, through digital transformation, the museum's
social works have become more democratic and
During the pandemic, health and well-being issues adapted to social life and the development of social
emerged as part of sudden changes in the economic, phenomena. The term “folksonomy” is more appro-
social and even political and scientific sectors. The priate to describe the new way museums work in the
internet changes all aspects of life. The internet and digital ecosystem. De Groot in Drotner argues that in
the facilities in it, both search engines to social media, social bookmarking that is developing in the current
and the development of mobile technology are funda- era of digital transformation, participatory strategies
mentally new challenges in the management of that can be detected through interactive tagging
museum organizations. The technology and internet information emphasize that today's museums are part
facilities owned by the museum are able to contribute of a wider folksonomy (Droner, 2013). This makes
to the health and well-being of the wider community the demands on museums expand, museums must be
so that they continue to exist even after the pandemic able to carry out social interactions with the commu-
subsides. Communication using computers and nity through various media. Digital technologies
smartphones that are currently spreading is not only could in fact be a powerful tool to assist in adopting a
used to meet information and education needs but visitor-oriented approach and to stimulate two-way
also for recreation and social relations. Although it communication (De Bernadi & Gilli, 2019).
has its own limitations, especially in conveying per-
sonal messages, facilities for monologues, dialogues, The existence of a museum is no longer measured by
the number of physical visits. Today, museums
and even multilogues have begun to complement the
recognize and relish their duty to be truly relevant to a
needs of personal communication.
diverse audience, striving to increase not only their
overall number of visitors but also the demographic
Slowly, this interaction and communication through
make-up of those engaging with their collections and
computers or Computer-Mediated Communication
offers (Simon, 2010). De Bernadi and Gilli found that
(CMC) began to shift and reduce the intensity of
museums can be categorized into four according to
individuals’ communication face-to-face (FTF). Kolb the results of the analysis: sleepers, social-oriented,
in Walter (2007) states interactions that are carried out visit-oriented, and experience-oriented (De Bernardi
through new media show socioemotional interactions & Gilli, 2019). In this digital era, social orientation
where the interactions carried out may be mono- and experience orientation must be combined to make
polized. So that in interactions through CMC, there is communication in cyberspace more memorable. The
the possibility of virtual different reality when number of participants and followers who always
conducting face-to-face interactions (FTF). The provide feedback on each post is evidence of two-way
implementation of new technology in museums was communication between the museum and its visitors.
also seen as an expensive and high-risk investment Museums must begin migrating to a new interpretive
(Parry, 2010 in Carvalho, 2018). However, over the framework, folksonomy of cyberspace. The virtual
years, museums have come to embrace technology world is a world that is rich in information so it is
(digital and non-digital), and this choice has pro- quite difficult to make information selection, espe-
foundly impacted many museum areas, in different cially regarding health, such as in the case of Covid-
levels of practice. According to Filipe and Camacho 19, for example. Here the role of the museum must be
research in Carvalho (2018) that technology deve- able to be a reliable source of information, provide
lopment is one of the factors most likely to affect accurate evidence and mediate the blend of the actual
museums in the future, as well as: demographic and ideal real.
changes, increasing mobility, public policy retraction,
sustainability, and participation. This is very clear if Museums must slowly melt into tools for social
the museum manager is required to always adapt to change. Museums must be able to prove themselves
the changes that occur. Not only able to master by participating in improving the well-being of the
technology, but also able to convey messages through community through flexible communication on
a “folksonomy” approach. various bold media platforms. Not only that a

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Jurnal SCRIPTURA, Vol. 12, No. 1, Juli 2022: 1-12

museum had to face the evolution of culture that logies (ICT) have earned an important role in the
changes how people interact and communicate. That acknowledgment and spread of information and its
situation makes the museum have to know about the services.
issue of security data and also about the ethics in the
digital ecosystem. 6. CONCLUSION

Herewith I concluded the Museum Connect Model. Museums in Indonesia have been quick and proactive
This model combines a new paradigm of a digital in their response to the pandemic, shifting their focus
ecosystem with the concept of museum communi- to addressing needs within their communities in this
cation by Yudhawasthi (2020, 320-334). The Muse- situation. Museums together supported the provision
um communication concept by Yudhawasthi, in her of medical materials and donated masks and gloves to
dissertation, is based on the taxonomy approach to hospitals. But the museums have not fully contributed
museum work, but with the folksonomy approach, the to the reduction. of isolation and loneliness by
museum worker had to be concerned about digital increasing their digital services to engage people
skill, digital culture, digital security, and digital ethic. staying at home. Museum programs have not invited
Correspondingly, the visitors had the same require- the audience to actively participate, for example,
ment too. In the meantime, at the museum itself, the make stimulating a sense of trust and community by
taxonomy elements, such as Facility, Service, requesting people to share objects and stories to
Exhibition, Collection, Public Programs, Publication, preserve and learn from the pandemic situation.
and also Activities Based on the Internet be a big
concern as a part of the content in the digital platform According to the data collected, most museums
to create social and experience engagement (Picture understand the importance of incorporating digital
10). technologies into the visitor experience which would
assist in the development of the museum and the
city’s tourism. However, most museums in Indonesia
do not aware of their role to contribute to the quality
of urban life, especially during the pandemic. Their
media social did not use to inform about pandemic
with intense. Only a small number of museums are
aware of their role and are able to create programs
related to health and well-being, so museums under-
utilize their facilities to act as agents of social change.
Awareness as a facilitator of health and well-being
has only been carried out by a small number of
museums where efforts cannot be separated from the
role of technology. Museum communication skills in
the pandemic era must be expanded through the use
of the internet while still paying attention to the ethics
and limitations that apply to each type of collection
Picture 10. Museum Connect Model by Yudhawasthi, owned. As facilitators of health and well-being,
2021. museums must begin to change their highly hier-
archical and horizontal taxonomic communication
Deeper research needs to be done to find a solution approach, to a more democratic and flexible
for the program that was stopped due to the pandemic folksonomy approach. Museums must help society
because it was not properly carried out through a bold cope with this crisis and keep in touch with their
method that tends to give unlimited access. Ethical audiences and work to promote access to health and
issues and boundaries are topics that need to be re- well-being for everyone, especially the most vulne-
discussed with regard to technology implementation. rable and isolated.
Especially so as not to make the museum discon-
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