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Women in traditional societies often face complex challenges, particularly within patriarchal social systems. In Batak Toba culture, women are frequently placed in subordinate positions and regarded merely as complements within the household. However, social realities reveal a different dynamic, where women are able to emerge as key actors in sustaining family economies while also preserving cultural identity. This study aims to examine the resilience of female ulos weavers in Siraja Hutagalung Village from a socio-theological perspective. The method used is qualitative with a descriptive approach. Primary data were obtained through in-depth interviews with five main informants who work as ulos weavers, while secondary data came from literature studies related to women’s resilience issues. The analysis refers to resilience theory and gender role theory. The findings show that female ulos weavers hold a central role in family life. Their weaving is not only a cultural product but also symbolizes spiritual strength, loyalty, and independence. Thus, women’s resilience is not merely a social reality but also a tangible expression of spirituality embedded in daily life.

This research  examines the transfiguration of Jesus in the Synoptic Gospels, with particular emphasis on the theological distinctiveness of the Gospel of Mark. The study employs a qualitative method using a literature review approach, focusing on narrative analysis, textual comparison, and theological reflection. The analysis shows that although Matthew, Mark, and Luke present the transfiguration event, each Gospel offers distinctive features in wording, narrative structure, and theological emphasis. Mark presents the transfiguration in a concise form, portraying Jesus as the messianic Son of God and as a prophet like Moses, while highlighting the apocalyptic and symbolic aspects of this divine encounter. From Mark’s perspective, the transfiguration serves as a prefiguration of Jesus’ resurrection and a revelation of His messianic identity, which in the Greco-Roman context may be understood as apotheosis—the elevation of a human into divinity. This study affirms that the transfiguration in Mark is not only a historical event but also a theological event that encompasses eschatological and christological dimensions, as well as a reflection on divine hiddenness. In conclusion, the transfiguration is understood as a manifestation of Jesus’ hidden glory within suffering, confirming that the path to resurrection and glory must pass through the cross. This article contributes to biblical and theological studies by demonstrating how Mark articulates a unique christology, one that remains relevant for contemporary Christian faith and opens avenues for further exploration through apocalyptic theology and scriptural intertextuality.

This study aims to describe the pattern of instilling human values at Ki Ageng Pandan Alas Martial Arts School, Kademangan Branch, Blitar. The research employed a descriptive qualitative approach with a phenomenological design. Data were collected through participatory observation, in-depth interviews using snowball sampling, and documentation, then analyzed using Miles & Huberman’s interactive model. The findings reveal that value transmission is carried out gradually through regular training, the trilogy of spirituality (hablum minallah, hablum minannas, rahmatan lil alamin), and the school’s greeting symbolized by the keris sigar penjalin. Methods applied include lectures, exemplary behavior, habituation, games, reward and punishment, value discussions, internalization, and real-life activities. The media consist of physical elements (uniforms, belts, symbols, and training equipment) and non-physical ones (teachings, role models, traditions). The study confirms that martial arts schools can serve as a medium for character education, particularly in fostering religiosity, empathy, respect, self-control, and social care. These findings enrich the discourse on value education and provide references for educational institutions, families, and communities.

The rapid growth of digital technology has significantly transformed the way children access entertainment, particularly through streaming platforms such as Netflix. One popular animated series, Masha and The Bear, especially the episode “Tracks of Unknown Animals,” presents rich visual symbolism suitable for analysis through a semiotic approach. This study applies Sigmund Freud’s psychoanalytic theory, focusing on the concept of the superego, to examine the character of the Bear, who demonstrates patience, protectiveness, and tolerance toward Masha’s curiosity-driven behavior. The main objective of this research is to reveal how the representation of the superego is embodied through the Bear’s actions and responses in various challenging situations. The semiotic analysis interprets visual signs, expressions, and character interactions within the narrative. The findings indicate that the Bear serves as a moral figure representing the function of the superego in controlling Masha’s impulses and behavior. Therefore, this animated film not only provides entertainment but also conveys moral messages that reflect psychological and educational values for its audience.

This study analyzes the representation of the meaning of strong women in the main character, Tari, in the film Bolehkah Sekali Saja Ku Menangis using Roland Barthes' semiotic theory. The film emotionally depicts Tari’s life journey, from psychological pressure and harsh treatment within the family to the long process of rediscovering her true identity. Despite emotional wounds, Tari shows resilience and strength to rise. This study aims to identify how the meaning of a strong woman is constructed through cinematic elements such as visuals, dialogues, body expressions, and symbols in the film. Using a qualitative approach with Barthes' semiotic theory, the analysis focuses on the relationship between signs, denotative meaning, and connotative meaning in key scenes. Data was collected through in-depth observation and sign analysis of scenes that portray Tari's struggle, perseverance, and emotional transformation. The findings show that Tari represents a strong woman not only through physical endurance but also emotional resilience, self-empowerment, mental health awareness, and the courage to seek support. The film delivers a message about the importance of mental strength and women's courage in fighting for their rights and freedom. This study is expected to enrich the study of the representation of strong women in the media.

This study discusses teachers’ communication strategies in building interpersonal relationships with students at SDN Kartika Sejahtera 02. Effective communication is considered the main key to creating a safe, comfortable, and violence-free learning environment, enabling students to develop optimally. The research employed a qualitative approach with a descriptive method. Data were collected through in-depth interviews, participatory observation, and documentation, involving the principal, two teachers, and several students as informants. The findings reveal that teachers applied two-way empathetic communication strategies that emphasized openness and personal approaches tailored to students’ characteristics and emotional needs. In addition to verbal communication, teachers also employed nonverbal symbols such as facial expressions, eye contact, voice intonation, and educational touch, all of which fostered emotional closeness. These strategies were proven to increase students’ sense of safety, active participation, self-confidence, and trust, while also strengthening teacher–student relationships. In conclusion, appropriate interpersonal communication not only improves the learning climate and prevents conflict at school but also plays a vital role in shaping students’ positive character. These findings are expected to serve as a practical reference for developing teachers’ communication skills in elementary education.

The state has a mandate to guarantee citizens' freedom of expression by protecting symbolic representations in public spaces. However, legal construction in Indonesia tends to use the law as a tool to limit visual interpretation, including popular cultural symbols such as the One Piece flag. This study aims to explain two main aspects of the mechanism of symbol criminalization: the state's construction of symbols as threats without any basis in actual violations, and the political use of fear through the production of imaginary enemies. The research method employed a qualitative approach with a conceptual approach. The results show that the state's interpretation of visual symbols rests not on the legality of the action, but on controlling the potential meanings that develop outside the official narrative. Within this construction, the law operates as a filtering mechanism for forms of articulation deemed inconsistent with the state's ideological interests. This strategy shifts the focus from concrete violations to the surveillance of social imagination. Thus, the criminalization of symbols occurs not because of their factual content, but because they open up pathways of solidarity that cannot be institutionally controlled. A critical criminological approach demonstrates that the state uses the law to enforce symbolic domination through techniques of controlling meaning within a democratic regime that formally promises freedom of expression.

The Ciomas Golok is one of Banten’s intangible cultural heritage items, carrying profound historical, philosophical, and social meaning. More than a traditional weapon, it represents identity, honor, and the spirit of resistance against colonial rule. This study explores the origins and genealogy of the Ciomas Golok, analyzes the philosophy of “grip strength” encompassing physical, mental, and spiritual dimensions, and explains its role as a symbol of honor within Banten society. The research also examines its transformation in the modern era and compares it with other traditional weapons in the Nusantara and abroad. A qualitative method with a cultural ethnographic framework was applied. The research took place in Ciomas District, Serang Regency, as well as in museums, traditional markets, and cultural festivals. Data collection involved participant observation, in-depth interviews with blacksmith masters, community leaders, cultural figures, and youth, supported by literature documentation. Data analysis employed semiotics and symbolic anthropology, with validity maintained through triangulation of sources, methods, and theories. Findings show that the Ciomas Golok dates back to the Banten Sultanate era, evolving from an agricultural tool and weapon of resistance into a cultural artifact and creative economic commodity. The philosophy of “grip strength” highlights holistic values the golok as a symbol of honor, responsibility, and solidarity. Its continuing presence underscores the urgency of preservation. The study concludes that safeguarding the Ciomas Golok requires collaboration among blacksmiths, local communities, government, and academics to ensure its ongoing relevance as both a cultural emblem and an expression of Indonesian national identity.

The design of the 3:30 Kopi website poster was carried out as an effort to present an effective and modern promotional medium to support information needs and introduce the café’s digital platform to the wider community. In line with the development of the digital era, local SMEs such as 3:30 Kopi are required to remain competitive by utilizing visual media that is both communicative and appealing. This poster functions not only as an information tool but also as a branding strategy to strengthen the café’s identity in the eyes of consumers, particularly in the Ciledug area and its surroundings. The visual concept of the poster was designed with careful consideration of both aesthetics and function. The use of brown and cream tones symbolizes the warm and natural character of coffee, while also creating a friendly and elegant impression. Typography was chosen with a simple yet bold style to ensure information is easy to understand. The main elements, featuring a mockup of the website displayed on both laptop and mobile devices, emphasize the flexibility and responsiveness of the platform, which can be accessed anytime and anywhere. In addition, the inclusion of a QR code provides a modern solution that facilitates quick and practical interaction between the audience and the website. Cultural-inspired ornaments derived from 3:30 Kopi’s signature menu further reinforce its visual identity while adding aesthetic value. Through this poster design, 3:30 Kopi is expected to increase brand awareness, attract new visitors, and strengthen its image as a café that not only offers coffee but also provides a productive social space suited to the needs of modern society.

Pacu Jalur is a traditional longboat race of the Malay community in Kuantan Singingi, Riau, which has served as a symbol of local cultural identity since the 17th century. In the last three years, this tradition has gone viral on TikTok, reaching millions of international viewers through hashtags such as #pacujalur and #indonesianboatracing. This study aims to analyze the role of Pacu Jalur’s virality as an instrument of Indonesia’s cultural diplomacy in the digital era. The method used is literature study with a thematic analysis approach, combining theories of soft power, digital cultural diplomacy, and cultural identity. The results show that Pacu Jalur’s virality expands cultural exposure to global audiences and strengthens local identity, while simultaneously highlighting the collective values of solidarity, teamwork, and aesthetic traditions embedded in the longboat race. At the same time, this phenomenon raises potential risks of cultural distortion due to commercialization, over-simplification of meaning, and the dominance of digital content logic that prioritizes visual appeal and entertainment value over historical and spiritual dimensions. These findings underscore the dual nature of viral cultural content: as both an opportunity for cultural diplomacy and a challenge for authenticity preservation. Therefore, this research highlights the importance of digital literacy, strategic collaboration between cultural stakeholders, and adaptive policy frameworks to ensure that the viral presence of Pacu Jalur on global digital platforms reflects authentic cultural values and serves as a sustainable instrument of Indonesia’s soft power in the contemporary international arena.

The purpose of this article is to explain the values ​​of Islamic religious education contained in the Ari Ana Mahun tradition in the people of Negeri Kilkoda, Gorom Island District, East Seram Regency. A unique tradition called Ari Ana Mahun or children's maulid is found in Negeri Kilkoda, Gorom Islands, East Seram Regency. Different from the usual commemoration of the Prophet Muhammad's birthday, this tradition is carried out 15 days before the month of Ramadan as a form of respect for children or family members who have died. The community believes that prayers and prepared food will make the spirits happy, as well as being a medium for maintaining Islamic cultural heritage. This tradition is carried out once a year and is passed down from generation to generation. In addition to being a form of respect, Ari Ana Mahun is a means of education for the community to preserve Islamic traditions and strengthen religious values. These values ​​are instilled from generation to generation so that the community maintains their cultural and spiritual identity. This paper aims to describe the values ​​of Islamic education contained in it. The research uses a descriptive qualitative method with data collection techniques through observation, interviews, and documentation. Data analysis was conducted through the stages of collection, reduction, presentation, and drawing conclusions. The results indicate that this tradition involves determining the date, preparing traditional food, visiting graves, decorating the containers, reciting prayers together, giving alms to children, and planting a raung (a symbol of Islam) at the graves. The Islamic educational values ​​contained include monotheism, worship, morals, silaturahmi (silaturahmi), instilling religious values ​​from an early age, and preserving Islamic culture.

The purpose of this article is to explain the values ​​of Islamic religious education contained in the Ari Ana Mahun tradition in the people of Negeri Kilkoda, Gorom Island District, East Seram Regency. A unique tradition called Ari Ana Mahun or children's maulid is found in Negeri Kilkoda, Gorom Islands, East Seram Regency. Different from the usual commemoration of the Prophet Muhammad's birthday, this tradition is carried out 15 days before the month of Ramadan as a form of respect for children or family members who have died. The community believes that prayers and prepared food will make the spirits happy, as well as being a medium for maintaining Islamic cultural heritage. This tradition is carried out once a year and is passed down from generation to generation. In addition to being a form of respect, Ari Ana Mahun is a means of education for the community to preserve Islamic traditions and strengthen religious values. These values ​​are instilled from generation to generation so that the community maintains their cultural and spiritual identity. This paper aims to describe the values ​​of Islamic education contained in it. The research uses a descriptive qualitative method with data collection techniques through observation, interviews, and documentation. Data analysis was conducted through the stages of collection, reduction, presentation, and drawing conclusions. The results indicate that this tradition involves determining the date, preparing traditional food, visiting graves, decorating the containers, reciting prayers together, giving alms to children, and planting a raung (a symbol of Islam) at the graves. The Islamic educational values ​​contained include monotheism, worship, morals, silaturahmi (silaturahmi), instilling religious values ​​from an early age, and preserving Islamic culture.

This research examines the aesthetic value of the selendang (sash or shawl) worn by the sindhen (female singer) in wayang kulit purwa (Javanese shadow puppet) performances, and the shift in its meaning amidst the current of digitalization. The selendang, as an element of attire, functions not only as an aesthetic complement but is also laden with philosophical and symbolic meaning in Javanese culture. Traditionally, the selendang worn by a sindhen possesses aesthetic value that emanates from the choice of motifs, colors, and the way it is worn, reflecting elegance, social status, and spiritual depth. In performances, the selendang also serves as a dance prop that enhances movement and strengthens the sindhen's expression. The era of digitalization brings new challenges and opportunities for traditional performing arts, including wayang kulit purwa. This study employs a qualitative approach with literature review and observation of both live and digitally broadcasted wayang kulit performances. The results indicate that in the current digital era, a shift has occurred in several aesthetic aspects of the sindhen's selendang. There is a trend towards using more diverse and modern materials and motifs, sometimes adapting techniques like digital printing to create more visually appealing on-screen presentations. Nevertheless, the core values of the selendang as a symbol of refined character and artistic beauty are maintained, and even further explored to cater to a broader and more modern audience. The digitalization of the performance stage also influences the sindhen's interaction, where the selendang is sometimes used more dynamically

The Community Service Program (Kuliah Kerja Nyata/KKN) conducted by Mulawarman University in Muara Badak Ulu Village, Kutai Kartanegara Regency, focused on introducing and strengthening the existence of the Muara Berau Biccu Forest Farmers Group (Kelompok Tani Hutan/KTH) to the wider community. This group plays an important role as a community forum for managing forests in a sustainable and equitable manner, encompassing the utilization of both timber and non-timber forest products. As part of the program, the students designed and implemented several activities aimed at raising public awareness and encouraging participation. The methods included creating an identity signboard for KTH as an official symbol of recognition, installing educational boards highlighting the importance of mangrove planting for coastal ecosystems, conducting mangrove planting using the silvofishery system that integrates environmental sustainability with aquaculture productivity, and developing a blog as a digital information platform accessible to the public. Through these initiatives, the program sought to enhance community knowledge about the ecological functions of mangrove forests, the importance of sustainable pond management for long-term productivity, and the benefits of having an online information medium to promote, document, and expand the networks of KTH Muara Berau Biccu. The results demonstrated an increased level of environmental awareness among community members, active participation in mangrove planting activities, and the establishment of a new communication medium that has the potential to strengthen the group’s position at both local and regional levels. Overall, the KKN program contributed significantly to supporting sustainable community-based forest and coastal resource management.

This study aims to reveal the representation of adolescents’ emotional crisis in the music video 0X1=LOVESONG (I Know I Love You) by the South Korean boy group TOMORROW X TOGETHER. Using Roland Barthes’ semiotic approach, the research analyzes the denotative, connotative, and mythical meanings of the visual elements presented in the music video. The main focus is on how emotional crises such as loneliness, instability, alienation, and inner escape are represented through visual symbols such as a dark and messy room, a burning car, and a character standing alone in an open field. The research employed a qualitative descriptive method with a critical paradigm, analyzing eight key scenes in the music video that most strongly depict emotional struggles. The scenes were selected based on their symbolic intensity and relevance to adolescent psychological issues. Data analysis was conducted by interpreting visual signs through Barthes’ concepts of denotation, connotation, and myth. The findings reveal that the music video symbolically narrates the psychological struggles of adolescents who are not only physically isolated but also emotionally detached. The visual symbols construct new meanings that represent the social reality of modern youth, burdened by environmental pressures, societal expectations, and the quest for self-identity. Through the myths it creates, the music video functions not only as a medium of entertainment but also as a reflection and critique of adolescents’ psychological vulnerability. Thus, this study contributes to the understanding of emotional representation in popular media, particularly in audio-visual forms such as music videos, while enriching perspectives on how media constructs the narrative of adolescent emotional crises.

This study aims to analyze the representation of national values and friendship in the film Sekawan Limo using Roland Barthes’ semiotic approach. The film was selected because it combines horror elements with strong local cultural nuances, making it interesting to examine from the perspectives of visual communication, culture, and social values. The research employed a descriptive qualitative method, with primary data drawn from scenes, dialogues, visual symbols, and narratives within the film. The analysis was conducted through Barthes’ three levels of semiotics: denotation, connotation, and myth. At the denotative level, the film presents visual and verbal signs depicting character interactions and the cultural background of society. At the connotative level, these signs convey deeper meanings related to national values, such as respect for local culture, the importance of unity, and love for the homeland. Meanwhile, friendship values are reflected through solidarity, empathy, mutual support, and sacrifice among the main characters as they face conflicts together. At the myth level, the film illustrates how popular culture can serve as a medium for delivering moral and ideological messages, particularly the importance of preserving national identity while fostering strong bonds of friendship. The findings highlight that local films function not only as entertainment but also as an effective communication medium to convey national and social values to a broader audience. Thus, Sekawan Limo demonstrates that film plays a strategic role in strengthening cultural awareness while instilling moral values.

This design project is motivated by the low public interest in sports and the limited availability of sports facilities, creating a need for a sports hall that is both effective and efficient in enhancing the community’s quality of life. However, the mere provision of a sports facility is not sufficient; considerations such as building orientation, opening design, and airflow circulation are essential to create an optimal environment for sports activities. Therefore, the tropical architecture approach serves as the primary design basis for the sports hall in Asahan Regency. The aim of this design is to support a healthy lifestyle and improve the quality of life of the local community through comfortable and safe sports activities. The design method adopts a qualitative approach, with data collected through interviews and field observations to understand the needs and preferences of the community. The design also reflects local identity through a mass transformation inspired by the shell form, symbolizing the city of Asahan. The shell structure system is known for its slenderness, making it lightweight and efficient, while its curvature ensures even load distribution. This approach can serve as a model for future sports facility developments in Asahan Regency. This sports hall is expected to become a central hub for athletes in Asahan, providing optimal training facilities to improve their performance. With a modern building and complete facilities, the community can engage in sports activities more comfortably and safely, thus increasing public interest in sports and enhancing overall well-being. This design also aims to promote awareness of the importance of a healthy lifestyle through an effective and efficient sports center.

This article explores the symbolic meanings embedded in nonverbal communication present during the series of traditional Javanese wedding ceremonies from the Pakem Surakarta tradition. The purpose of this study is to identify and interpret the cultural symbols hidden in each phase of the ritual, such as the exchange of kembar mayang, stepping on eggs, sindur binayang, kacar-kucur, dhahar klimah, and sungkeman. The approach used in this study is a descriptive qualitative method with an ethnographic communication framework. Data was collected through direct observation and in-depth interviews with community leaders or wedding officiants, as well as cultural figures from the villages of Cendono and Bakalan in Pasuruan Regency. The findings of the study emphasize that the nonverbal symbols present in the ceremony carry meanings related to values of responsibility, role equality, purity, blessings, and affection, which are directed not only toward the bride and groom but also to the extended families and the surrounding community. Therefore, Javanese traditional marriage is not merely a ritual event, but also a means of preserving cultural teachings and spiritual values across generations. The ceremony reflects a strong bond between individuals, families, and the community, fostering social and spiritual harmony. Furthermore, this ceremony serves as a medium for strengthening intergenerational relationships within society, with the aim of preserving traditions and moral values in social life. Thus, a traditional Javanese wedding not only symbolizes the union of two individuals but also acts as a medium for maintaining and spreading cultural and spiritual values within the community.

This article explores the spirituality of the bate symbol within the context of the blessing of Catholic church buildings in Tana Toraja as a concrete form of inculturation of the Christian faith into local culture. Originally, bate functioned as a religious symbol in traditional Toraja ceremonies for inaugurating tongkonan (ancestral houses). Over time, however, this symbol has been adopted and reinterpreted in Catholic liturgical celebrations, particularly during church blessing rituals. The study employs a qualitative method using a literature review and applies Paul Ricoeur’s hermeneutical framework, which consists of three stages: the world of the interpreter, the world of the text, and appropriation. The analysis reveals that bate can be understood as a cultural text rich in spiritual meaning. Traditionally, it symbolizes a connection between heaven and earth as well as cosmic power. Within the perspective of Christian inculturation, bate undergoes symbolic reinterpretation, representing values of faith such as the Trinity, the cross, the Eucharist, the Holy Scripture, and Jesus Christ as the mediator of salvation. The incorporation of bate in Catholic liturgy is not merely a cultural adaptation but a tangible manifestation of the encounter between faith and culture, achieved in a contextual and symbolic manner within Torajan society. This study affirms the significance of inculturation in proclaiming the Gospel in a way that is relevant and grounded, without compromising the core essence of Catholic faith. Furthermore, it recommends further research on other local symbols to enrich the dialogue between faith and culture in pastoral contexts.

The main issue addressed in this study is the gap between normative policies and actual practices regarding gender mainstreaming (GMS) at the Education Office of Tangerang Regency. The aim of this study is to analyze the implementation of GMS policies using Smith's theory, which includes ideal policy indicators, target groups, implementing organizations, and environmental factors. This research uses a descriptive method with a qualitative approach. Data collection techniques include in-depth interviews, observations, and documentation. The results show that first, the ideal policy is outlined in Regent Regulation No. 10 of 2019; however, it has not been systematically elaborated in the Strategic Plan (RENSTRA) and Work Plan (RENJA) of the Education Office, limiting its implementation. Second, the target groups, such as teachers, students, and the general public, have not fully understood the concept of GMS, as the dissemination of information remains minimal and unfocused. Third, the implementing organization, the Education Office, has not yet optimized coordination in implementing GMS with schools, nor provided comprehensive, specialized training. Fourth, environmental factors, such as strong gender stereotypes, limited gender-friendly facilities, and low public awareness, are significant challenges in the policy’s implementation. Based on these findings, it can be concluded that the implementation of GMS policies at the Education Office of Tangerang Regency remains symbolic and requires strengthening of institutions, more intensive socialization, and active involvement of all stakeholders to achieve more optimal success.