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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.

City branding is a strategic approach to enhancing a city's competitiveness by leveraging unique local characteristics to create a strong and distinctive identity. This study examines the role of semanggi—a traditional Surabaya dish—as a cultural icon in strengthening the city's branding. Although semanggi carries deep symbolic meaning and historical significance for Surabaya’s residents, its potential as a city branding asset remains underutilized in formal tourism and marketing programs. Adopting a qualitative exploratory case study design, data were collected through in-depth interviews, participant observation, and document analysis involving local stakeholders, small and medium-sized culinary enterprises, cultural figures, and municipal representatives. Thematic analysis identified five key dimensions of semanggi’s role in city branding: (1) visual representation in urban spaces and promotional media; (2) cultural narratives and heritage preservation; (3) community pride and participation; (4) local economic resilience; and (5) strategic promotion by municipal authorities. The findings suggest that integrating semanggi into Surabaya’s branding strategy can reinforce cultural identity, differentiate the city in competitive tourism markets, and promote sustainable local entrepreneurship. The study contributes to the theoretical discourse on culinary-based place branding and offers practical recommendations for incorporating local wisdom into destination marketing. Limitations include the single-case scope and qualitative focus, pointing to opportunities for comparative and mixed-method research in the future.  

This study examines the semantic aspects of the poetry anthology Penyair Tanpa Bait by Ahmad Zayn, a contemporary poetic work characterized by free structure and the absence of conventional stanzas. The background of this research is rooted in the need to understand how meaning is constructed in modern poetry that departs from traditional poetic forms. The objective of this study is to describe and analyze lexical, grammatical, and referential meanings contained in the poems in order to reveal their overall semantic structure. This research employs a qualitative descriptive method with a semantic analysis approach. The data consist of words, phrases, and poetic lines selected from the anthology, which are analyzed through stages of data identification, classification, and interpretation of meaning. The findings indicate that the poems predominantly utilize lexical meanings as the foundation of interpretation, while grammatical structures and referential meanings function to strengthen symbolic and contextual meanings. The absence of stanza divisions encourages a continuous flow of meaning that emphasizes semantic cohesion rather than formal structure. The implications of this study contribute to the field of linguistic and literary studies by enriching semantic analysis of contemporary Indonesian poetry and providing a framework for interpreting non-conventional poetic texts.

The development of social media has shifted the way humans interpret spirituality and construct self-identity, giving rise to the phenomenon of digital religiosity that is all-visual, instant, and performative. This study aims to analyze how representations of spirituality in social media culture contribute to the crisis of self in modern humans, by interpreting this phenomenon through the metaphysical perspective of Seyyed Hossein Nasr. Using a qualitative approach with a descriptive-analytical design that enriches digital ethnography, this study collects data through documentation of spirituality-themed content on TikTok, Instagram, and YouTube, as well as a literature review of Nasr's works and literature related to digital spirituality. Thematic analysis shows that spirituality in social media is formed through symbolic aestheticization, the commodification of religious values, and identity performances oriented towards algorithms and public validation. These findings demonstrate the symptoms of the desacralization of modernity as criticized by Nasr, namely the erosion of spiritual depth due to the dominance of images and the narrowing of transcendent meaning. This study emphasizes that social media is not just a medium, but a space for the formation of consciousness that can facilitate and endeavor the spiritual search of modern humans. Theoretically, this research contributes to the study of digital spirituality and the critique of modernity; In practice, he encourages more critical digital literacy so that people can manage spiritual experiences more authentically.

This study is entitled “The Ecofeminist Movement of Mollo Indigenous Women in Rejecting Marble Mining (study: Rejection of Marble Mining in Fatumnasi Village, South Central Timor Regency)” which aims to understand and analyze the ecofeminist movement carried out by Mollo indigenous women in rejecting marble mining activities in Fatumnasi Village. The presence of marble mining in the Mollo indigenous area has posed a threat to Environmental sustainability, water sources, and cultural values that have long been the identity of the community. Through a descriptive qualitative approach, this study describes the role and form of resistance of Mollo indigenous women based on the ecological relationship between women and nature. Data were obtained through in-diepah interviews, field observations, and documentation of the head of Fatumnasi Village, traditional women’s figures, religious figures, community leaders, and youth leaders. The results of the study indicate that the movement to reject marble mining is not merely a form of protest against environmental damage, but also a form of ecofeminist awareness that emphasizes that women’s bodies and the body of nature are an inseparable whole. This movement is expressed through various acts of resistance such as traditional rituals, weaving, demonstrations, and customary deliberations, each carrying symbolic meaning about the harmony between humans and nature. Based on Françoise d’Eaubonne’s theory of ecofeminism, the Mollo women’s movement reflects critical awareness toward patriarchal and capitalist systems that exploit both women and the environment. Thus, it can be concluded that the ecofeminist movement of Mollo indigenous women in rejecting marble mining is a form of women’s struggle to maintain environmental sustainability and maintain cultural identity through loclah wisdom practices.Ecofeminism, Mollo Indigenous Women, Marble Mining, Fatumnasi Village, Environment

This study examines how children and their relationship with nature are represented through the character of Antonio in the film Encanto (2021). Antonio is portrayed as a child who can communicate with animals, reflecting innocence, empathy, and a spiritual closeness to nature. This study aims to describe how children's relationship with nature is depicted in the film and to interpret the symbolic meaning behind these interactions. The method used in this study is a descriptive, qualitative approach that draws on theories of child development, symbolism, and children's imagination. The results of this study show that among children, Antonio reflects a harmonious, loving, and open attitude towards other life forms. Animals in the film serve as moral and emotional symbols that reflect the nature of children: the jaguar symbolizes courage, the toucan symbolizes honesty and cheerfulness. In contrast, the capybara symbolizes peace of mind. This study shows that children's films can be a tool for building ecological awareness and social empathy through imagination. The implications of this study underscore the importance of strengthening empathy and environmental balance in children's education through literature and film.

This study aims to understand how green accounting practices are constructed as a social reality within organizations and how environmental awareness develops through social interaction, organizational values, and culture. The research adopts an interpretive qualitative approach within the social construction paradigm (Berger & Luckmann, 1966). Data were collected through in-depth interviews, participant observation, and document analysis in organizations that have implemented sustainability reporting. The analysis employed an interpretive thematic approach to uncover the meanings underlying environmental accounting practices. The findings indicate that green accounting functions not only as a technical reporting instrument but also as a mechanism for shaping organizational moral and ecological awareness. Environmental awareness is constructed through three main stages: the externalization of sustainability values by leadership, objectivation through policies and reporting systems, and internalization within work behavior and organizational culture. Participatory, reflective, and innovation-oriented organizational cultures strengthen the substantive implementation of green accounting, whereas bureaucratic structures tend to produce symbolic practices or greenwashing. Theoretically, this study reinforces the view that accounting is a social practice that both shapes and is shaped by collective consciousness (Hopwood, 1992; Gray, 2010). Practically, the findings highlight the importance of visionary leadership and social learning spaces in fostering a sustainability-oriented organizational culture. Thus, green accounting is understood as a social process that plays a strategic role in realizing ethical, sustainable, and environmentally responsible organizations.

This study aims to understand how accounting functions as a social construction in shaping the meaning of transparency and responsibility in the modern business world. Accounting has long been viewed as a technical, neutral, and objective system; however, both financial and non-financial reporting practices also reflect the values, ideologies, and moral consciousness embedded within organizations. Using a qualitative interpretive approach within the framework of social constructivism (Berger & Luckmann, 1966), this study explores the meanings constructed by accounting practitioners through social interactions, organizational culture, and reporting policies. Data were collected through in-depth interviews, participatory observations, and document analysis of corporate reports, and were analyzed using interpretative thematic analysis. The results reveal that transparency and responsibility are not merely formal obligations but the outcomes of social processes involving the externalization of values by leaders, the objectivation of those values through reporting systems, and their internalization within individual moral awareness. In this context, accounting functions as a social language that reflects organizational morality, legitimacy, and identity. Organizations with participatory and reflective cultures are found to develop more authentic transparency, while bureaucratic structures tend to produce symbolic transparency. Theoretically, this study contributes to the discourse of critical accounting by asserting that accounting numbers and reports are socially constructed artifacts imbued with values. Practically, the findings highlight the importance of ethical leadership, reflective culture, and social dialogue as foundational elements for implementing authentic transparency and sustainable corporate responsibility.

This community service activity aims to strengthen the role of higher education institutions in preserving local culture through the revitalization of cultural arts learning based on local wisdom, particularly traditional Nias carving art. The main problems faced by the partners include the limited availability of contextual cultural arts learning, minimal integration of traditional art practices into university courses, and students’ low understanding of the philosophical values embedded in Nias carving motifs. The implementation method employs a participatory–educational approach consisting of preparation, socialization, theoretical and practical training, intensive mentoring, and evaluation stages. This activity involves students and lecturers as participants as well as agents of cultural preservation. The results indicate a significant improvement in participants’ knowledge of the symbolic meanings of Nias carving motifs, their basic skills in designing and drawing carving motifs, and their appreciative attitudes toward the preservation of local cultural arts. This activity contributes to the strengthening of cultural arts learning in higher education and has the potential to serve as a sustainable model of community service based on local culture.

This research is based on the awareness that music functions both as an artistic expression and as a cosmological representation embedded within the cultural structures of traditional societies. The Siwaluh Jabu traditional house in Lingga Village, North Sumatra, was selected as the object of study to examine the relationship between music and the cosmological views of the Karo people. The purpose of this study is to reveal the meaning of music within cultural practices and rituals carried out in the Siwaluh Jabu House, as well as to explore musical elements that reflect the continuity between humans, ancestors, and the universe. This research employs a qualitative approach, with data collected through literature review, participatory observation, and interviews with traditional leaders and local artists. The data analysis was conducted through data reduction, classification, data presentation, and drawing of conclusion. The results of the study show that music both the vocal mantra “ole…ah…ole” and the Gendang Lima Sendalanen ensemble contains symbolic values that interpret wood as a natural element, sustain social connections between groups, and reinforce the social system embedded in the spatial organization of the Siwaluh Jabu traditional house. Music serves as a medium of spiritual and cultural communication that unites the physical and metaphysical dimensions of life. The implications of this research enrich the perspective of music culture and emphasize the importance of preserving traditional music as a local knowledge system integrated with the cosmology of the Karo people.

This study aims to identify the types of ornaments on the Avalokitesvara Pagoda Watugong Semarang, explain their symbolic meaning in the context of Buddhist teachings, and analyze how the ornaments reflect Buddhist architectural philosophy and spiritual values. The results of the study show that this pagoda is decorated with a variety of ornaments, such as reliefs of dragons, hong birds, humans, animals, Chinese writing, amulets of the eight gods, and pineapple ornaments. Each ornament has a deep symbolic meaning, reflecting values such as love, wisdom, and balance in life. The dragon relief symbolizes power and spirituality, the hong bird represents luck and peace, while the Chinese writing and the amulet of the eight gods symbolize blessings and good fortune in life. The ornaments also reflect the Buddhist architectural philosophy that emphasizes harmony between humans, nature, and spirituality, with the towering building design as a symbol of aspiration towards spiritual perfection. Apart from being a place of worship, this pagoda also functions as an interfaith meditative space, affirming the values of tolerance and harmony. This study concludes that the ornaments on the Avalokitesvara Watugong Pagoda are not only decorative elements, but also full of philosophical and spiritual meanings that enrich cultural values and strengthen tolerance. It is recommended to improve the preservation of ornaments, the development of education, and further research to explore the deep meaning of the existing reliefs.

This study presents a woodcraft creation in the form of a wall clock with traditional Karo ornaments as the main visual element. The creation is driven by the urgency to preserve the visual culture of the Karo people, which is increasingly threatened by modernization, and the lack of distinctive local souvenirs in tourist areas such as Berastagi, which often offer only generic or mass-produced items. This creation aims not only to function as an indicator of time but also as a medium for cultural preservation, education, and the strengthening of the Karo visual identity in a contemporary context. The creative process applies the "three stages and six steps" approach by S.P. Gustami, which includes exploration, design, and realization. Exploration involves field observations of Karo architecture and artifacts, literary studies on Karo visual symbols, and careful selection of motifs, focusing on Tapak Raja Sulaiman, Takal Kerbo, and Pengeret-ret as representative elements rich in symbolic meaning. The design stage produces various sketches that integrate the functional aspect of the wall clock with the principles of ornamentation, ensuring both utility and cultural expression. Realization involves selecting local woods such as teak, mahogany, and jelutung, followed by manual carving techniques, the application of natural wood coloring, and protective finishing with melamine spray to ensure durability and aesthetic quality. The final result consists of twelve unique wall clocks that embody the aesthetic, symbolic, and cultural richness of the Karo people. This work demonstrates how traditional motifs can be re-contextualized into functional objects, making cultural heritage more visible and relevant in daily life, and is expected to inspire further innovation in the local crafts industry, contributing to long-term preservation and revitalization of regional cultural identity.

This study examines how Christian marriage is represented in the modern era through theological, symbolic, and contextual perspectives. Although Christian marriage is traditionally understood as a sacred covenant emphasizing unity, fidelity, and permanence, contemporary social realities reveal shifts in how Christians interpret and express marital life. Economic pressures, evolving family roles, digital communication patterns, and cultural influences shape the modern experience of marriage. Using a descriptive qualitative approach through literature-based research, this study analyzes the theological foundations, ritual symbols, and contextual factors that influence changes in the representation of Christian marriage today. The findings indicate that while the core theological essence of Christian marriage remains, its practical expressions undergo adaptation to remain relevant within modern life. Symbols such as wedding rings, marital vows, and liturgical blessings continue to convey theological meaning, while premarital education and pastoral support play a crucial role in strengthening marital stability. The study highlights the need for a contextual and integrative ecclesial approach that responds to the realities faced by Christian couples in contemporary society.    

This study examines the words structure of two selected songs, “Kekal” and “Di Akhir Perang”, from Nadin Amizah’s album Untuk Dunia, Cinta, dan Kotornya, with a focus on identifying and interpreting the functions of open class words and closed class words within the lyrical composition. The background of this research lies in the growing interest in understanding how contemporary Indonesian songwriters construct meaning through linguistic choices that contribute to the emotional depth of their works. The objective of this study is to analyze how open class words such as nouns, verbs, adjectives, and adverbs contribute to semantic imagery, while closed class words such as pronouns, conjunctions, prepositions, and aspects establish grammatical cohesion and narrative continuity. Using qualitative descriptive methods, the lyrics were segmented, categorized, and interpreted based on linguistic theory to reveal the semantic and grammatical roles of each word class. The findings show that open class words dominate the emotional and metaphorical landscape of the songs, functioning as carriers of imagery, personal vulnerability, and symbolic representation of healing, love, and existential reflection. Meanwhile, closed class words serve as structural anchors that link ideas, mark relationships between clauses, and maintain narrative fluidity, particularly in expressing inner conflict and the resolution of emotional war depicted in the lyrics. The study concludes that Nadin Amizah’s lyricism is not only aesthetically expressive but also linguistically strategic, revealing a deliberate interplay between lexical creativity and grammatical precision. These findings imply that linguistic analysis can enrich the appreciation of contemporary Indonesian music and open new perspectives for future studies in stylistics, discourse analysis, and cultural semantics.

Pindang tetel is a traditional Pekalongan culinary specialty born from the creativity of the community in utilizing limited food ingredients, especially beef offal, which in the past was synonymous with lower-class consumption. This culinary dish not only serves as a daily meal, but also represents historical, social, and symbolic values ​​that reflect how Javanese people respond to their economic conditions and the dynamics of their lives. This study aims to examine the cultural meaning, local identity values, and the transformation process of pindang tetel in a modern context, especially when the dish is marketed in the tourist area of ​​Lake Al Kautsar, Kayugeritan. The study used a qualitative approach with a mini-ethnography method through direct observation, in-depth interviews with sellers, and informal conversations with consumers. The results show that pindang tetel has undergone adaptations in its presentation without losing its basic character, so it remains recognized as a traditional culinary dish. In the context of local tourism, pindang tetel serves as a representation of Pekalongan's cultural identity and a medium for cultural introduction for tourists. These findings confirm that traditional culinary plays an important role in shaping collective memory, strengthening local identity, and providing sustainable symbolic and social value in addition to economic value.

The Calong traditional musical instrument from West Sulawesi is a cultural heritage of the Mandar people, possessing strong artistic and symbolic value. However, documentation of the instrument's construction and ornamentation remains limited. This study aims to identify the Calong's construction, analyze the variety of ornaments used, and uncover the aesthetic meaning and symbolism inherent in the instrument. The research method used was descriptive qualitative, with data collection techniques including direct observation, documentation, interviews with craftsmen and artists, and a visit to the West Sulawesi Pavilion at the TMII (Indonesian Museum of Traditional Art) as a comparative source for cultural representation. The results indicate that the Calong's construction utilizes specific bamboo selection and splitting techniques, which influence its resonance quality. The ornamentation reflects symbols of the relationship between humans and nature, ancestors, and the Mandar people's philosophy of life. Aesthetically, the combination of form, texture, and motifs creates a distinctive visual character while strengthening its musical identity. The study's conclusions confirm that the Calong is not only a musical instrument but also a cultural artifact with aesthetic and symbolic value that is important to preserve through education, cultural awareness, and ongoing documentation.

Instagram has become one of the most influential digital platforms for the construction and dissemination of lifestyle meanings, particularly through the presence of social media influencers. Among various lifestyle narratives, luxury is one of the most dominant and ideologically loaded representations circulated by influencers. This study examines how luxury is represented, constructed, and naturalized in the Instagram content of female Indonesian influencers using Roland Barthes’ semiotic framework. The object of this research consists of visual and textual Instagram posts that display luxury-related lifestyles, including fashion, travel, leisure, and consumption practices. The main problem addressed in this study concerns how signs of luxury operate at the levels of denotation, connotation, and myth to shape audience perceptions of success, femininity, and social status. The objective of this research is to reveal the ideological meanings embedded in influencer content and to explain how luxury is transformed into a normalized and desirable lifestyle. This study employs a qualitative descriptive method with semiotic analysis. Data were collected through purposive sampling of Instagram posts from selected female Indonesian influencers with significant follower engagement. The findings show that luxury is represented not merely through high-priced commodities but through symbolic systems involving aesthetics, body presentation, spatial settings, and narrative captions. At the mythological level, luxury is naturalized as the result of personal effort, self-discipline, and modern femininity, thereby obscuring structural inequalities and reinforcing consumerist ideology. This study concludes that Instagram influencers function as cultural agents who reproduce dominant myths of success and luxury in digital culture.

This study aims to explore the symbolic meaning of the siraman ceremony in Javanese culture and interpret its values ​​in light of the Catholic faith, particularly regarding the sanctity and blessings of the sacrament of marriage. The siraman tradition is understood not merely as a cultural ritual, but as a process of physical and spiritual purification imbued with spiritual symbolism, such as the use of water from seven springs and the granting of parental blessings. This study uses a qualitative approach with a literature review method through analysis of Church documents, Javanese anthropological literature, and relevant research. The results indicate that the meaning of purification in siraman is closely related to the symbolism of baptismal water in the Catholic tradition, while the prayer of parental blessing aligns with the concept of blessing as a manifestation of God's grace in the family. Through the inculturation perspective emphasized in Gaudium et Spes and Ecclesia in Asia, siraman can be understood as a form of harmonious dialogue between faith and culture without compromising the purity of Church teachings. This study concludes that the siraman ceremony can enrich the experience of the sacrament of marriage for Javanese Catholics, while strengthening their identity as individuals of faith and culture.

. This research aims to analyze the values of Islamic education that are internalized in the aesthetics and spiritual dimension of Sufi dance, especially in the Sema ritual. In the Islamic view, art is not only an expression of beauty, but also a means of da'wah and a manifestation of love for Allah the Most Beautiful (Al-Jamīl). Using the descriptive qualitative literature study method, this study examines the symbolic and spiritual meanings contained in each element of Sema. The results of the analysis show that Sema is a dynamic form of dhikr that is firmly rooted in the Sufism tradition, oriented towards the purification of monotheism, and the process of purification of the soul (tazkiyatun nafs). Aesthetic elements such as hirkah, tennure, and sikke costumes have a deep symbolism about ego release (fana'), while the rotating movement symbolizes a spiritual journey (suluk) towards oneness with God. Pedagogically, Sufi Dance contains the essential values of Islamic education, such as spiritual calmness, love, patience, and sincerity, which can be used as a holistic learning model to form the awareness of monotheism and spirituality of modern humans. This research confirms that spiritual arts such as Sema have significant relevance in contemporary Islamic education as a medium for internalizing transcendental values.    

The Loro Dirma Traditional House in Sanleo Village is an important representation of the culture of the indigenous people and is the center of the formation of social, spiritual, and local wisdom identities. This study aims to: (1) describe the structure and architecture of the Loro Dirma Traditional House, and (2) analyze the symbolic meaning contained therein in the context of the life of the indigenous people. The study uses a descriptive qualitative approach through direct observation, documentation, and in-depth interviews with traditional leaders and the local community. The results of the study indicate that the Loro Dirma architecture is full of philosophy that reflects the values ​​of unity, respect for ancestors, and the concept of balance between humans, nature, and the Creator. In addition, the function of Loro Dirma has undergone a transformation, from a traditional residence to a center for traditional activities, a space for deliberation, the implementation of religious ceremonies, and a medium for educating cultural values ​​for the younger generation. However, the study found challenges in preservation efforts, such as limited traditional raw materials, changes in community lifestyles, and the declining interest of the younger generation in local culture. Therefore, collaboration between local governments, indigenous communities, and educational institutions is needed to document, revitalize, and integrate Loro Dirma cultural values ​​into formal and non-formal curricula to ensure their sustainability.