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Environmental damage caused by human activities has become an increasingly pressing global issue. Poetry as a literary work has the power to represent ecological problems symbolically and critically. This study aims to describe the representation of the impact of the environmental crisis in Taufiq Ismail's poems, namely "Menengajah Ke Atas, Merenungi Ozone yang Tak terlihat" and "Membaca Tanda-Tanda." The analysis is based on Greg Garrard's ecocritical study. This study uses a qualitative method with content analysis techniques. There are two stages of analysis, namely the literal and symbolic meaning of the poems, then an ecocritical interpretation is carried out based on Garrard's categories which include pollution, wilderness, apocalypse, dwelling, animals, and earth. The results of the study indicate that both poems represent the impact of the environmental crisis through health problems due to pollution and radiation, damage to water and forest ecosystems, climate change, threats to human living space, and the decline in biodiversity. The research findings also show that the most dominant categories are pollution and apocalypse, which confirms that the environmental crisis in Taufiq Ismail's poems is the result of human behavior that ignores nature. Thus, Taufiq Ismail's poems not only function as aesthetic works, but also as cultural criticism and moral warnings for humanity.

This study aims to analyze the symbolic meaning of the mangulosi tradition in Toba Batak traditional wedding ceremonies using Roland Barthes’ semiotic theory. This research employs a descriptive qualitative method, with data collected from visual media such as YouTube and TikTok, supported by informants familiar with Toba Batak culture. The findings reveal that meaning in the mangulosi tradition is constructed through three levels of signification: denotation, connotation, and myth. At the denotative level, mangulosi is understood as the act of giving ulos in a wedding ceremony. At the connotative level, ulos and the ritual process convey symbolic meanings such as blessings, protection, harmony, and the strengthening of social and kinship relationships. At the myth level, the tradition reinforces the cultural ideology that marriage is considered legitimate when it receives recognition and blessings from family and customary authorities. Quantitatively, the findings show that artifacts are dominated by visual connotative meanings (40%), while ritual actions emphasize non-verbal (30%) and verbal (20%) meanings. Therefore, the mangulosi tradition is not only a ceremonial practice but also a medium for preserving cultural identity and social values within the Toba Batak community.

This study seeks to interpret the meaning of the lyrics in the song “Ada Titik‑Titik di Ujung Doa” by Sal Priadi through Schleiermacher’s hermeneutic approach. The song reveals a subtle spiritual dimension by means of metaphor and poetic language, portraying prayer as a personal, reflective, and hope‑laden form of inner conversation amid the uncertainty of life in the post‑pandemic era. By adopting a qualitative interpretive method, the research examines the song lyrics through Schleiermacher’s two principal dimensions: grammatical interpretation and psychological interpretation. The analysis shows that prayer in this song is not merely a conventional religious ritual, but an existential expression of human beings facing loss, isolation, and unfulfilled hopes. The phrase “titik‑titik di ujung doa” functions as a symbolic space of incomplete psycho‑spiritual longing, in which prayer is understood as an open, fragmented, and repetitive process, as well as a medium for reconciling with the past and seeking forgiveness for both oneself and others. Within Schleiermacher’s hermeneutic framework, the interpretation of these lyrics suggests that prayer in contemporary Indonesian pop music serves as a representation of human resilience, personal, reflective, and subtly critical of the notion that divine response must always be complete and perfectly resolved.

This study aims to analyze the practice of interfaith communication in the process of institutionalizing multicultural values ​​in Pekalongan City. The study uses a qualitative approach with ethnographic methods through in-depth interviews, observation, and documentation of religious leaders involved in interfaith communication activities. The results show that the practice of interfaith communication occurs through dialogue between religious leaders and open communication interactions in various community forums. From the perspective of George Herbert Mead's symbolic interaction, this communication process demonstrates an exchange of meaning (mind) that builds a shared understanding of tolerance and respect for differences. In addition, interfaith communication also shapes the self-awareness of religious leaders as social agents maintaining harmony (self) while strengthening inclusive social relations in a multicultural society (society). The research findings indicate that interfaith communication functions in two ways: first, as a means of dialogue between religious leaders, and second, as a social mechanism in the institutionalization of multicultural values ​​that supports the realization of religious harmony in Pekalongan City.

Social media has brought significant changes in the way humans interact, construct meaning, and shape social identities. In Indonesia, TikTok is the most widely accessed social media platform, reaching 32% of users. TikTok is not only a medium of entertainment but also a space for the production and reproduction of values, tastes, and social standards. The TikTok algorithm presents personalized content according to user preferences, creating a continuous flow of information that is visually and repetitively consumed. From an anthropological perspective, this article aims to analyze how algorithms influence the formation of digital identity and generate new status symbols in virtual spaces. This research uses a qualitative approach with ethnographic methods and literature studies on TikTok usage practices. The results of the study show that indicators of popularity such as the number of views, followers, likes, and interaction rates become new forms of status symbols that represent users’ social influence in the digital world. From an anthropological perspective, TikTok can be understood as a new cultural space where algorithms act as structural agents that influence social practices, identity production, and symbolic hierarchies within digital society. This study emphasizes that algorithms function not only as technical technologies but also as cultural forces that shape how individuals understand themselves and their social positions within the social media ecosystem.

The rapid development of digital technology has transformed patterns of communication and social interaction, particularly through the widespread use of social media platforms. This study examines how language practices on social media shape youth identity formation and social relations through the philosophical perspective of Ludwig Wittgenstein’s concept of language games. Using a qualitative method with a literature review approach, the study analyzes various academic sources to interpret digital linguistic practices among young people. The findings indicate that language on social media functions not merely as a medium for transmitting information but as a social practice governed by specific rules, conventions, and contexts of use. Expressions such as emojis, memes, slang, hashtags, and other symbolic forms operate as elements of language games that enable young users to construct and display their identities, build group solidarity, and negotiate social meanings within digital communities. At the same time, these linguistic practices also reveal tensions between honesty and manipulation, as reflected in phenomena such as false self-presentation, hoaxes, and persuasive language strategies. Therefore, social media language both reflects and actively shapes contemporary social realities, influencing how individuals understand themselves, others, and the dynamics of meaning and power in digital communication.

This study examines moke as a cultural instrument of reconciliation and identity within the community of Nawang Kewa Village, Sikka Regency. The research is grounded in the concern over the shifting meaning of moke due to modernization and globalization, which potentially weakens its cultural and social significance. The objective of this study is to analyze the social functions, symbolic meanings, and the role of moke as a reconciliation mechanism in resolving social conflicts. This research employs a qualitative approach with a descriptive-interpretative and ethnographic design. Data were collected through in-depth interviews, participatory observation, and documentation, involving traditional leaders, moke producers, and younger community members. The findings reveal that moke functions in three main dimensions: as a ritual-sacred symbol in traditional ceremonies, as a social-integrative medium that strengthens solidarity and communication, and as a socio-reconciliative instrument in conflict resolution through symbolic peace practices. Furthermore, the study identifies a shift in meaning among younger generations, where moke tends to be perceived more as a consumptive product rather than a cultural symbol. The implications of this research highlight the importance of preserving local cultural values through intergenerational transmission and strengthening customary institutions to maintain social cohesion and cultural identity.

This study aims to analyze the symbolic meaning in the modern poem “Lentera di Dalam Hujan” using a semiotic approach. This approach is employed to reveal the relationship between signs, symbols, and meanings that represent emotional experiences and reflections on life contained in the poem. The method used in this research is a descriptive qualitative method, with the data source being the text of the poem analyzed through the stages of identifying signs, interpreting symbols, and drawing meanings based on semiotic theory. The results indicate that the symbol of the lantern represents hope and inner light, while rain symbolizes sadness, obstacles, and the dynamics of life. Through the relationship between these two symbols, the poem portrays human resilience in maintaining hope amid difficult situations. This study is expected to enrich literary studies, particularly in understanding modern poetry through a semiotic perspective.

The Megengan tradition is a Javanese ritual performed before the month of Ramadan as a form of spiritual preparation, strengthening social solidarity, and maintaining relationships with ancestors. However, the development of modernization, urbanization, educational advancement, and changes in mindset have caused this tradition to experience a significant shift in meaning. This study aims to describe the changes in function, meaning, and position of Megengan in modern society using Max Weber's modernization theory as an analytical framework. The research method used is a literature study from various journals, cultural documents, and previous research related to the Megengan tradition in various regions of Java. The results show that Megengan has undergone a transformation from a sacred ritual full of cosmological symbols to a more functional and efficient socio-cultural activity. The process of rationalization in modern society has caused the spiritual and symbolic meaning of ritual foods such as apem, ketan, and ingkung to be reduced, while the form of ritual implementation has become more formal and centered on religious institutions. The change in ritual authority from elders to modern religious figures is one indication of the shift from traditional authority to rational-formal authority as explained by Weber.  Despite the simplification of its meaning, Megengan remains a living tradition that serves to strengthen cultural identity, social harmony, and intergenerational relationships. This research confirms that the shift in Megengan does not indicate a weakening of Javanese tradition, but rather a form of cultural adaptation in response to the dynamics of modernity.

The mining sector is widely recognized as a high-risk industry characterized by complex social, environmental, and organizational challenges. In response, sustainability governance in mining has predominantly relied on institutional mechanisms such as regulations, voluntary standards, and sustainability reporting frameworks. However, growing evidence indicates that these approaches often fail to generate substantive sustainability outcomes because they insufficiently address human and organizational dimensions. This literature review aims to synthesize existing research on sustainability governance in the mining sector by shifting the analytical focus from institutional sustainability to human behavioral engagement. Using a systematic and thematic literature review approach, this study analyzes peer-reviewed articles indexed in Scopus that examine sustainability governance, human behavior, and organizational dynamics in the mining sector. The findings reveal a persistent gap between formal sustainability commitments and actual practices, frequently manifested in symbolic compliance and greenwashing. The review further demonstrates that human behavior—shaped by employee engagement, trust, perceived justice, and organizational culture—plays a decisive role in determining the effectiveness of sustainability governance. Moreover, the literature highlights the limitations of rigid, top-down governance models in managing the complexity and uncertainty inherent in mining systems, emphasizing the relevance of adaptive governance approaches that promote learning, flexibility, and stakeholder participation. This study contributes to the literature by integrating institutional, behavioral, and adaptive governance perspectives into a human-centered framework. Practically, it underscores the strategic role of human resource management in translating sustainability commitments into meaningful behavioral change and long-term sustainability outcomes in the mining sector.

This study analyzes the mangakkai’ ceremony in the Aluk To Dolo tradition in the villages of Suppiran, Mesakada, and Salisali (SMS), Toraja, as a rite of passage that has religious, symbolic, and social meanings. The study aims to explain the structure of the mangakkai’ ritual based on Victor Turner's theory of liminality and to examine its relevance to contemporary human relations. The method used is qualitative research with a literature study approach enriched by field interviews with Aluk To Dolo figures. The results of the study show that mangakkai’ consists of three main stages, namely pre-liminal (lao ma’tundan) as a phase of separation, liminal (passurusan and mata kandean) as a space for community formation, and post-liminal (ma’palulangngan) as reintegration and refinement of relations with Puang Matua. This rite not only guides the soul of the deceased to a transcendent destination, but also strengthens solidarity, mutual cooperation, and the transmission of values between generations. In a modern context marked by individualism and social fragmentation, mangakkai’ presents a model of relationships based on togetherness, empathy, and collective responsibility. Thus, this ritual has anthropological and ethical significance as a source of reflection for the formation of more humanistic and communal human relationships.

This research aims to recontextualize the local wisdom embedded in the visual culture of the Muara Jambi Temple through the development of folklore-inspired batik motif designs. As a traditional Indonesian textile craft, batik serves not only functional purposes but alsp embodies profound cultural values and indigenous knowledge systems. Batik as a medium of cultural expression that invites multidimensional interpretaion within both practical and theoretical academic discourses. Its visual strength lies in the richness of colors, ornaments, and symbolic elements, which generate diverse interpretative meanings. These interpretations subsequently shape value systems that function as guiding principles in the everyday lives of Indonesian communities. The research used an experimental design method integrated with computer vision techniques to generate distinctive folklore batik motifs rooted in the cultural heritage of Muara Jambi, Sumatra. The research results are the creation of a Muara Jambi folklore batik motif that represents cultural expression, resilience, and continuity through the preservation of traditional patterns and environmentally conscious practices within the Jambi community. The transformation of motifs derived from artifacts from the Muara Jambi temple complex, serves as a primary source of inspiration for contemporary folklore batik design. The application of computer vision in the batik design process constitutes a form of sustainable digital innovation, facilitating the preservation, reinterpretation, and adaptive transformation of traditional visual heritage.

Accera Kalompoang is a royal ceremonial tradition held at Balla Lompoa, Gowa, South Sulawesi, as a form of respect toward the sacred royal heirlooms (kalompoang) of the Kingdom of Gowa. The ritual reflects historical memory, political legitimacy, and spiritual beliefs inherited from the Gowa kingdom era and preserved by the local community. This study aims to analyze the historical background, ritual procession, symbolic meanings, socio-religious functions, and the dynamics of preservation of the Accera Kalompoang tradition. The research uses a qualitative descriptive approach through literature review and analysis of previous ethnographic studies and cultural documentation. The findings show that Accera Kalompoang functions not only as a ceremonial cleansing of royal heirlooms but also as a medium of collective identity, cultural continuity, and social integration between traditional authorities and society. Despite modernization and changing social structures, the tradition continues to be maintained as a symbol of historical legitimacy and cultural pride of the Gowa people. Therefore, Accera Kalompoang represents a living heritage that adapts to contemporary contexts while preserving the values of the Gowa Kingdom’s cultural legacy.  

This study examines Banten Lama as a political symbol that shapes regional identity in Banten Province. As the former center of the Banten Sultanate from the 16th to the 18th century, the site holds not only historical and religious significance but also functions as a symbolic space influencing political legitimacy and the construction of collective identity in contemporary Banten society. Using a qualitative approach with a case study design, this research analyzes how local government, political elites, and communities negotiate the symbolic meanings of Banten Lama through ritual practices, public discourse, and revitalization policies. Data were collected through literature review, non-participatory observation, visual documentation, and examination of policy documents. The findings reveal that Banten Lama operates as a symbolic arena that intertwines historical narratives, Islamic spirituality, and political interests. The government employs symbols of the former sultanate to construct moral legitimacy and a religious political image, while local communities interpret Banten Lama as a spiritual space and a source of economic livelihood. Although the use of historical symbols strengthens regional identity, it also gives rise to symbolic politics that often dominate public space without being accompanied by substantive policy outcomes. This study concludes that the governance of Banten Lama requires participatory and culturally grounded approaches to ensure the sustainable preservation of its historical and social values.

This study aims to analyze the meaning of interfaith marriage in the film Komang using Ferdinand de Saussure's semiotic theory. This theory emphasizes the relationship between signifier and signified as well as the concepts of langue and parole to explain the interaction between social systems and individual expression. The results of the analysis show that the visual, verbal, and symbolic signs in the film represent the clash between love and belief. Scenes such as the initial meeting at a cultural festival, family rejection, and symbolic marriage become a form of negotiation between social values and personal freedom. This film affirms that interfaith marriage in Indonesia can only be accepted through compromise with the religious norms of the majority, but still presents a message of tolerance through symbols of cultural harmony. Therefore, the film Komang is not just a romantic narrative, but a social reflection on the relationship between religion, culture, and love in a pluralistic society.

This study is motivated by the position of traditional music as a cultural element that not only functions aesthetically but also plays an important role in constructing social meaning, symbolism, and collective identity within a community. This article aims to examine the social meaning and function of Tagonggong music in the Tulude tradition of the Sangihe community in Londoun Village as a diaspora community. The research uses a qualitative method with a cultural ethnographic approach through participatory observation, unstructured interviews with traditional elders, Tagonggong players, and community leaders, as well as documentation. Data analysis was conducted descriptively and interpretatively using Alan P. Merriam's theoretical framework on the function of music. The results of the study show that Tagonggong music has a multidimensional function in the Tulude tradition, including symbolic communication, emotional expression, representation of cultural identity, reinforcement of social norms, and social integration and cohesion within the community.Tagonggong not only functions as an accompaniment to ceremonies, but also as a sacred musical instrument that connects the relationship between humans, ancestors, and God, while also marking the space and time of the ceremony. This finding confirms that Tagonggong is a living cultural archive that preserves the collective memory and ethnic identity of the Sangihe community in exile. Implicitly, this research enriches Indonesian ethnomusicology studies by positioning traditional music as an active social text in maintaining the cultural structure and solidarity of the communities that support it.

The Andun Offering Dance is an important tradition in the traditional wedding ceremony of the Serawai people in South Bengkulu. It contains the main cultural symbol, Sekapur Sirih, which not only functions as a ritual complement but also has a philosophical meaning that represents the noble values ​​of the local community. This study aims to uncover the symbolic meaning of Sekapur Sirih in the Andun Offering Dance and explain the request to strengthen social relations between families united through the traditional wedding procession. The research method uses a qualitative descriptive approach through literature studies, observations, and interviews with traditional leaders of South Bengkulu. The results show that Sekapur Sirih contains values ​​of respect, welcome, purity, harmony, and prayer for the bride and groom. In addition, the existence of Sekapur Sirih functions as a cultural communication medium that maintains the identity of the Serawai people amidst social change. These findings preserve the importance of preserving traditional symbols in traditional ceremonies as an effort to maintain the continuity of local culture.

This study is grounded in the growing concern over the weakening of students’ critical literacy skills and cultural awareness in higher education, particularly in the context of rapid digitalization and the dominance of global discourse. Local cultural traditions, especially those rooted in Maumere society, have not been optimally utilized as meaningful academic literacy resources in Indonesian language learning. This research aims to explore how Maumere cultural traditions can be integrated as sources of critical literacy to strengthen students’ interpretative, analytical, and reflective abilities. Employing a qualitative research approach, data were collected through classroom observations, in depth interviews with students and lecturers, and documentation of learning materials in Indonesian language courses at Universitas Muhammadiyah Maumere. The findings reveal that traditional texts, narratives, rituals, and oral expressions from Maumere culture contain rich linguistic, ethical, and symbolic meanings that support the development of critical reading and writing skills. The integration of cultural texts encourages students to engage more deeply with academic discourse while simultaneously reinforcing local identity and cultural sensitivity. This study implies that culturally grounded literacy practices not only enhance academic competencies but also contribute to the preservation of local wisdom within higher education learning frameworks.

This study examines the Ka’Bawakng dance as a cultural–religious expression of the Dayak Kanayatn community that has undergone a deepening of meaning through inculturation within Catholic liturgy. Originating in the Baliatn ritual, Ka’Bawakng dance initially functioned as a medium of healing and cosmological communication that affirmed the interconnectedness of human beings, nature, and Jubata. In its encounter with the Catholic faith, the dance was incorporated into the Eucharistic celebration as an offertory dance through symbolic reinterpretation grounded in the principles of inculturation articulated by the Second Vatican Council. This research employs a hermeneutical approach using participant observation, in-depth interviews, and documentary study, analyzed through thematic analysis. The findings indicate that Ka’Bawakng dance is not treated as a merely decorative liturgical element, but is understood as a language of prayer engaging the body, cultural memory, and the spirituality of the faithful. This integration deepens liturgical participation, strengthens the religious–cultural identity of the Dayak Kanayatn community, and creates a constructive space for dialogue between ancestral traditions and Christian faith. Nevertheless, sustaining the inculturation of Ka’Bawakng dance requires ongoing pastoral accompaniment to ensure fidelity to Church liturgical norms while respecting local cultural values.

Enforced disappearance during the New Order era represents a historical reality that has left profound wounds and prolonged uncertainty for both the victims and the families left behind. This reality is powerfully represented in Laut Bercerita, a novel by Leila S. Chudori, through the use of symbolic and evocative literary language. This study aims to reveal the representation of enforced disappearance through the use of figures of speech and metaphors in the novel. The research employs a descriptive qualitative method with a stylistic approach. The data consist of narrative excerpts containing figures of speech and metaphors related to experiences of loss, suffering, memory, and resistance. Data collection was conducted through intensive reading and systematic note-taking, while data analysis involved classifying types of figures of speech and interpreting their contextual meanings. The findings indicate that metaphors of the sea, silence, darkness, and alienation play a crucial role in constructing the representation of enforced disappearance as a traumatic experience that is not only physical but also psychological and collective in nature. The use of figurative language strengthens the narrative’s expressive power in conveying criticism of state violence while simultaneously preserving the memory of humanitarian tragedies that are often marginalized. This study implies that literary works can function as reflective media and as cultural documentation of histories of violence.