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This study aims to describe the application of visual elements and interpret the expressive meaning in elementary school students' artwork themed "My Surrounding Environment." The approach used is descriptive qualitative with visual analysis techniques. The research subjects consist of ten works from fourth-grade students, analyzed based on four main aspects: line, shape, color, and composition. Data were collected through documentation of the artwork, observation of the learning activities, and reflective notes from the teacher. The results show that lines are used by the children as a means of expressing emotions and movement; geometric and organic shapes reflect symbolic representations of their visual experiences; bright colors such as green, blue, and yellow indicate positive feelings toward the environment; and simple compositions show an intuitive balance typical of elementary school age. Expressively, the students' artwork conveys values such as cooperation, responsibility, and care for nature. The findings emphasize that visual arts education in elementary schools plays a crucial role in developing visual literacy, ecological awareness, and character formation through a creative, reflective, and contextual process.

Symbolic interactionism is an approach that examines how symbols and meanings are created through interactions between individuals within a learning context. This approach explores how individuals use symbols to communicate, interact, and understand the world around them. In the context of the learning process, symbolic interactionist analysis can provide a deep understanding of how learning occurs through interactions between teachers and students, as well as among students themselves. Through this analysis, we can observe how symbols such as language, gestures, and expressions are used to communicate ideas and concepts being taught in the classroom. Additionally, symbolic interactionist analysis can also help us understand how individuals construct their identities within the learning environment. In the modern era of education, the interaction between teachers and students has become one of the crucial aspects of the learning process. Through social interaction and the use of symbols, individuals can shape their perceptions of themselves and how they are viewed by others. This can affect their motivation and engagement in learning. Thus, symbolic interactionist analysis offers valuable insights into understanding the learning process and how interactions between individuals play a key role in the construction of meaning and understanding. Through this understanding, we can improve the quality of learning and provide more meaningful learning experiences for students. Communication does not only occur through words but also through nonverbal communication, including facial expressions, body movements, and other gestures. Therefore, this study aims to analyze how symbolic interactionism plays a role in learning and how nonverbal communication influences the dynamics of classroom interaction.

This study aims to analyze the perceptions of Generation Z members of the Toba Batak ethnic group in Pegagan Julu VI Village, Sumbul District, Dairi Regency, regarding the symbolic meaning of the tradition of giving manuk naniatur (a traditional gift) and the shifting meaning or function of this tradition according to Generation Z. The method used was qualitative with a descriptive approach. Data were collected through observation, interviews, and documentation. The results indicate that the tradition of giving manuk naniatur is still routinely practiced and has become a local custom. Most Generation Z members value this tradition as an important part of their cultural identity and ancestral heritage, although not all understand its symbols deeply. This tradition is seen as an expression of love and gratitude to God, as well as a sign of blessing, hope, encouragement, and strength for children or families who have migrated. However, there has been a shift in meaning in Generation Z's perspective, from the tradition previously seen as a symbol of respect and spiritual bonding to now being seen more as a cultural identity and shared values ​​that must be maintained. This study illustrates the dynamics of traditional cultural preservation and adaptation to the changing times among the younger generation of the Toba Batak ethnic group.

This study examines in depth the meaning of gratitude expressed in the traditional Wu’u Nura ceremony in Daniwato Village, West Solor, as well as in the Eucharistic celebration, which stands as the central liturgy of the Catholic Church. The Wu’u Nura ceremony is a communal tradition of thanksgiving for the harvest, expressed through symbolic rituals, offerings of agricultural produce, collective prayers, and ceremonial practices that reflect a harmonious relationship between humans, nature, ancestors, and God. Through these rituals, the community strengthens social cohesion, cultural identity, and religious awareness that have been passed down across generations. In contrast, gratitude within the Eucharistic celebration is understood as an expression of faith and a theological response to God’s salvific grace manifested through Christ’s sacrifice, made present in the consecration of bread and wine. Using a qualitative method and comparative approach, this study reveals that although differing in expression, structure, and theological foundations, both practices uphold gratitude as a universal value that fosters spiritual relationships and social solidarity. The findings affirm that dialogue between local culture and Church liturgy—within the spirit of inculturation—can enrich the understanding of faith, deepen spiritual life, and support the preservation of meaningful local traditions. This study contributes significantly to cultural and theological scholarship, as well as pastoral efforts aimed at fostering harmony between religion and culture in pluralistic societies.

This study was motivated by the existence of Longgo Mayuru Dance as a traditional art form of Gorontalo that still maintains its socio-cultural functions and relatively authentic movement structure amid cultural dynamics. This dance not only serves as an aesthetic expression but also as a cultural text that represents the history, customary system, and social identity of the Molingkapoto community. The purpose of this study is to analyse the movement structure of the Longgo Mayuru dance in relation to the historical context and social life of the Molingkapoto community. The study uses a qualitative approach with a descriptive-interpretative design. Data were collected through participatory observation, in-depth interviews with dance performers and traditional leaders, as well as visual and written documentation. Data analysis was carried out by describing the dance movement structure at the level of motifs, phrases, and movement sentences, then interpreted through structural and sociocultural approaches. The results of the study show that the Longgo Mayuru Dance has its roots in traditional martial arts, which underwent historical transformation into a symbolic escort dance. It has a sacred socio-customary function and is composed of a systematic and symbolically meaningful movement structure. The implications of this research emphasise the importance of preserving the Longgo Mayuru dance, not only in terms of its movements, but also in terms of the socio-cultural context and historical values that underpin it as part of the cultural heritage of the Molingkapoto community.

This study aims to analyze and compare the poems Anant Prem by Rabindranath Tagore and Tentu, Kau Boleh by Sapardi Djoko Damono. The research employs a descriptive qualitative approach focusing on several literary aspects, namely the central theme, tone and atmosphere, diction, characterization, conceptual meaning of love, and philosophical perspective. The findings indicate that both poems share similarities in presenting love as a profound emotional experience, expressed through intimate and reflective nuances. Each poem portrays emotionally intertwined characters whose inner experiences revolve around the presence of love as a central force. Despite these similarities, the two poems differ significantly in how they interpret and narrate love. In Anant Prem, Tagore frames love as eternal and transcendent, surpassing the confines of time and space. This creates a contemplative and spiritual tone supported by metaphorical and symbolic diction. Meanwhile, Tentu, Kau Boleh portrays love as an immediate and personal experience rooted in everyday human interactions. Sapardi expresses love through calm, straightforward language that reflects simplicity and emotional closeness. Philosophically, Tagore positions love as part of cosmic existence, whereas Sapardi views it as a presence embodied in the warmth and intimacy of daily human life. These distinctions highlight how cultural background, worldview, and poetic tradition influence the depiction of love in both works.

The use of gongs and drums in the liturgy of the Catholic Church in Timor is a tangible form of inculturation, which is a process of dialogue between faith and local culture that enriches the spiritual experience and strengthens the identity of the people. Gongs and drums, which in Timorese culture have a symbolic meaning as a means of communication with ancestors and a marker of unity, are presented in the liturgy as a means of spiritual and cultural expression, making the liturgy a meeting space between tradition and faith. This process not only adds an aesthetic dimension, but also deepens the spiritual appreciation of the people and strengthens the liturgical communion. However, inculturation also brings theological and pastoral challenges, such as the risk of syncretism and cultural abuse, so adequate pastoral assistance and liturgical education are needed in order for the process to maintain the integrity of the faith and the values of the liturgical screen. Thus, inculturation is carried out wisely as a means of establishing faith, strengthening the identity of the local Church, and deepening the spiritual experience of the people in the land of Timor.

This study aims to analyze the narrative dissonance in the corporate communication of the Aqua brand, especially in the context of the crisis of meaning that arises between claims of natural purity and technical findings related to the use of borewells in the production process. Using a qualitative approach through content and narrative analysis, the study integrates two main theoretical frameworks: the Narrative Paradigm (Fisher, 1984) and Image Repair Theory (Benoit, 1995). The analysis focused on how companies are building, maintaining, and renegotiating their corporate narrative amid public pressure and consumer expectations. The results show that the legitimacy crisis arises due to the symbolic mismatch between the narrative of "purity" communicated and the operational reality revealed to the public. This tension triggered a strategic response from the company in the form of public clarification, transparency of the production process, and repositioning of messages to restore consumer image and trust. This study confirms the importance of narrative coherence and reflexivity in corporate communications, especially in an era of digital openness that demands accountability and consistency between symbolic messages and tangible practices. These findings contribute to the study of crisis communication and brand image restoration strategies, as well as a reference for companies in designing ethical, transparent, and sustainable communication to maintain legitimacy and credibility in the eyes of the public.

This research aims to understand how the meaning of loss is constructed in the lyrics of the song “Cutting My Fingers Off” by Turnover, using Ferdinand de Saussure’s semiotic approach. The song was chosen as the object of study because it expresses the emotion of loss intensely through poetic and emotional lyrical symbols. According to Saussure’s theory, meaning is formed through the relationship between the signifier and the signified, where words in the lyrics function as signs that carry deep meaning. This study uses a descriptive qualitative method with interview, textual analysis techniques, supported by literature review and observation of listener Turnover’s “Cutting My Fingers Off”. The analysis involves breaking down each verse to identify signifiers and signifieds that shape the emotional meaning of loss. The findings show that the lyrics reflect not only physical loss but also psychological experiences such as alienation, regret, and severed emotional attachment. Symbols like “Cutting My Fingers Off” form a visual metaphor for deep emotional pain. This research concludes that music particularly lyrics is an effective medium of symbolic communication to convey personal experiences. “Cutting My Fingers Off” successfully constructs a complex meaning of loss that resonates personally with its listeners.

This study explores the practice of participatory communication and creative production implemented by the Anggrek Waste Bank along the Ciliwung River as an educational strategy for flood disaster mitigation. The research aims to understand how community-based waste management initiatives can serve as platforms for environmental learning and social empowerment. Using a qualitative approach with a case study method, this study investigates social dynamics, interaction patterns, and meanings constructed by residents through collaborative waste management and creative production activities. Data were collected through observation, in-depth interviews, and documentation. The findings reveal that participatory communication is manifested not only in formal education, counseling, or campaigns, but also in everyday interactions, creative workshops, and collective community work. Creative products such as recycled crafts, soap made from used cooking oil, and eco enzymes function as symbolic communication media that persuasively convey ecological messages while providing tangible economic benefits. These practices foster a sense of ecological responsibility, strengthen social solidarity, and enhance community resilience to flooding. This study concludes that participatory communication integrated with creative production serves as an effective model for promoting sustainable behavior and community-based flood mitigation in urban environments.

This study aims to interpret the budgeting process in the policy-making of Social and Environmental Responsibility (TJSL) at PT Kaltim Industrial Estate (KIE). Using a qualitative-interpretive approach through a single instrumental case study, data were collected from interviews with key informants, observations, and document analysis. The findings reveal that TJSL budgeting at KIE is not merely a technical process but rather a complex arena of meaning negotiation. This process reflects the company’s efforts to respond to institutional pressures while simultaneously building social legitimacy. Five main themes were identified: (1) the interpretation of TJSL as a commitment to sustainability and Creating Shared Value (CSV); (2) the integration of TJSL into corporate strategy; (3) a bottom-up and participatory budgeting process; (4) priority setting influenced by institutional pressures and financial capacity; and (5) program evaluation involving external parties. The study concludes that the interpretation of TJSL has shifted from a symbolic obligation to a strategic investment, substantively integrated into corporate governance to ensure business sustainability.

The Famotu Ono Nihalo tradition is one of the essential rituals in the customary wedding ceremonies of the Nias community, particularly in Lasarabaene Village, Mandrehe Subdistrict, West Nias Regency. This tradition consists of giving advice to the bride, which is rich in moral, spiritual, and social values. The ritual not only affirms the bride’s status as a wife but also serves as a medium for transmitting cultural values and collective identity. However, along with the wave of modernization, this tradition has undergone changes in terms of its form, symbolic meaning, and cultural values. This study aims to reveal the symbolic meanings contained in the Famotu Ono Nihalo ritual and to analyze the forms of social interaction within it, including its transformation due to social change. The research employs a descriptive qualitative method with data collected through observation, in-depth interviews, and documentation. The informants consist of traditional leaders, women elders, and community members who still practice and understand the tradition. The findings show that the white cloth symbolizes purity and blessing, while afo (betel quid) represents acceptance and social attachment. Although the ritual today tends to be simplified and some cultural symbols are no longer used, the core values such as parental advice, blessings, and the strengthening of social cohesion remain preserved. Therefore, Famotu Ono Nihalo continues to be relevant as a cultural heritage and a form of social education, even as it adapts to modern changes.

The poem “Mayat Politik Ditutupi Koran Pagi” by Afrizal Malna presents sharp social and political criticism through the use of irony and complex metaphors. This study aims to examine how these two linguistic devices are employed to reveal the socio-political realities of post-reform Indonesia. Using a stylistic approach, the research explores the forms, functions, and meanings of irony and metaphor that appear within the poem’s structure. The analysis shows that irony serves to express dissatisfaction and satire toward political conditions that appear orderly but are actually filled with deception and manipulation. Meanwhile, metaphor provides a symbolic depiction of the role of mass media as an instrument of power that conceals the true political reality behind public discourse. Through the interplay of these two stylistic elements, Afrizal Malna succeeds in presenting a poetic representation of society’s anxiety over media domination and the blurring line between truth and political interest. This study is expected to enhance the understanding of literature’s role as a reflective and critical medium in uncovering the relationship between language, power, and ideology within Indonesia’s socio-political dynamics.

This research explores how bullying is depicted in the animated film “Jumbo” through the lens of Roland Barthes' semiotic theory. Utilizing a descriptive qualitative approach, the study analyzes the denotative, connotative, and mythological meanings embedded within the film’s visual and narrative elements. Through this lens, the film is interpreted not merely as a piece of children's entertainment but as a medium that carries deeper social messages. The central character, Don, is portrayed as physically different from his peers, which becomes a symbol of broader societal rejection and marginalization. His journey reflects the internal and external struggles faced by individuals who do not conform to mainstream standards. Key symbolic components—such as Don’s unusually large physique, his inherited storybook, and the way he interacts with others—highlight themes of courage, empathy, personal identity, and the desire for social inclusion. The film subtly critiques the normalization of bullying and challenges dominant myths that suggest acceptance and success are only for those who meet certain physical or social norms. Through its narrative, Jumbo promotes values of diversity and encourages viewers, especially young audiences, to question unjust stereotypes and embrace empathy. By decoding the semiotic messages in Jumbo, this study contributes to a deeper understanding of how animated films can serve as powerful educational tools. They can raise awareness about social issues, influence attitudes, and inspire critical reflection, especially when they employ symbolism that resonates with real-life experiences. This research ultimately highlights the potential of animation as a medium for moral and social education beyond its entertainment function.

This study uses the rhinoceros beetle as the main subject in creating realism painting art because of its unique shape and strong symbolism of courage and resilience. In addition to having aesthetic value, the rhinoceros beetle also plays an important role in the ecosystem as a decomposer of dead wood and contributes to maintaining environmental balance. On the other hand, the existence of the rhinoceros beetle has cultural value in Indonesian society, especially in myths and traditional symbols. This study uses a qualitative-descriptive approach, with the process of creating works involving visual studies and symbolic interpretations. A total of three paintings were created by highlighting the morphological details of the rhinoceros beetle realistically and inserting symbolic meanings in its visual composition. The results of the study indicate that the rhinoceros beetle can be a source of inspiration in fine art and function as an educational medium to increase public awareness of the importance of preserving local fauna, especially insect species that are often overlooked.

The Fangowai and Fame’e Afo traditions are important parts of Nias traditional wedding ceremonies, rich in symbolic and social values. However, modernization, time efficiency, and economic pressures have influenced their implementation. This study aims to describe the social dynamics in the implementation of Fangowai and Fame’e Afo in three villages in Botomuzoi District: Hiligodu, Ononamolo Talafu, and Lasara, with a focus on changes in the form of the procession, causal factors, and the transformation of symbolic meaning. The approach used is descriptive qualitative through observation and in-depth interviews with community leaders. customs, society, and youth, as well as field documentation. Data were analyzed through data reduction, presentation, and conclusion drawing, and their validity was tested through source triangulation. The results showed a simplification of the time and stages of the procession, a reduction in the number of traditional figures, and an adjustment of the number of sacrificial pigs to reflect economic capacity. Symbolic transformation also occurred with the addition of cigarettes to the Bola Nafo ceremony, but the meaning of betel as a symbol of respect and brotherhood was maintained. These changes reflect the adaptation of the Nias people to the modern social context without losing the core values of tradition.

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.

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

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.