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The phenomenon of emotional healing has become increasingly prominent in popular culture as the younger generation experiences increasing loss, emotional exhaustion, and numbness. Popular music serves as a medium of expression, representing these emotional dynamics through poetic language and symbolic structures. This study aims to analyze the emotional representation of healing in Umay Shahab's song "Perayaan Mati Rasa" using Roland Barthes's semiotic approach. The research method used is descriptive qualitative, analyzing three layers of meaning: denotation, connotation, and myth, through breaking down the lyrics into several lexicons and reading signs. The results show that (1) denotatively, the lyrics construct an emotional arc from inner tension to self-contemplation; (2) connotatively, the use of diction and imagery represents vulnerability, resilience, and emotional reflection; and (3) at the mythical level, the song constructs release as a form of emotional maturity and loss as a process of identity formation. Thus, this song functions as a cultural representation in interpreting the process of emotional healing in popular culture.

This study examines human facial proportions through an anthropometric approach based on the Phi value of the Golden Ratio (φ = 1.618) to understand the relationship between mathematical proportionality and visual aesthetics. The analysis focuses on two public figures, Jin and V of BTS, who are widely recognized as visual representatives within contemporary popular culture. Using two-dimensional anthropometric measurements, four primary facial aspects were evaluated: the facial length-to-width ratio, the proportional relationship between the forehead, nose, and chin, the eye–mouth–chin vertical proportion, and the alignment of eye width with interocular distance. Each measurement was compared to the Phi value to assess its degree of proportional conformity. The findings indicate that most facial ratios observed in both Jin and V closely approximate or match the Golden Ratio, with V exhibiting the highest precision in vertical proportional measurements, while Jin demonstrates more consistent overall proportional stability across multiple facial components. These results support the use of the Phi Golden Ratio as a mathematical indicator in assessing facial proportion and aesthetic harmony. Nevertheless, the study acknowledges that visual aesthetics remain inherently subjective and are influenced by cultural context and individual perception. Thus, anthropometric analysis based on the Golden Ratio can serve as a complementary tool in understanding human facial aesthetics.  

This study aims to analyze the use of social media as a means of regenerating Minangkabau traditional music among the younger generation through the role of traditional music content creators. The background of this research stems from the declining interest of young people in traditional music due to the dominance of popular culture and modernization. However, the emergence of content creators who utilize digital platforms such as YouTube, TikTok, and Instagram has opened new opportunities for the preservation of traditional music. This study employs a descriptive qualitative approach with data collected through in-depth interviews, observations, and documentation of several Minangkabau music content creators. The results show that social media plays a crucial role in the regeneration process of traditional music through three main functions: information (promotion), interaction, and motivation. By presenting engaging visuals, combining traditional music with modern elements, and encouraging interactive audience participation, social media effectively attracts young people to learn and appreciate traditional music. In addition, regeneration is the process of inheriting cultural values ​​through efforts to maintain the sustainability of performing arts by adapting the presentation methods and performance spaces to suit the times, so that traditional arts remain acceptable to modern society.

Low English proficiency remains a problem for the younger generation in Mimika Regency, particularly in speaking skills. Additionally, the flow of modernization influences the low appreciation of society, especially the younger generation, towards local culture, with the emergence of popular culture. This community service activity offers an English Storytelling Competition as a creative and innovative educational medium to integrate English competency and the preservation of the local culture of indigenous communities in Mimika Regency. This program used a collaborative approach/community-based participatory approach (CBPA) through community involvement in the planning, script preparation, workshops, competitions, and reflection stages, together with the utilization of existing local strengths and wisdom. The main purpose of this program is to encourage social change in the community, which includes: (1) increasing oral English skills in the young generation in Mimika. (2) the presence of awareness and pride in the importance of preserving local culture, and (3) the creation of a community environment that provides appreciation for local cultural products that grow together with global challenges. The results of the activity showed an increase in English communication skills, growing self-confidence in students, and the presence of creativity in interestingly packaging Amungme-Kamoro folklore. In addition, this activity brings a new awareness of the importance of preserving local culture, potential leaders who dare to appear in public, and presents a new institution in the form of a space competition that combines aspects of language and cultural education.

This article analyzes the song "Sukatani" by Sukatani Band as a form of musical expression that represents Eastern nuances within a post-punk aesthetic framework. The research was conducted using a qualitative-descriptive approach through a music analysis method based on Jan LaRue's theory in Guidelines for Style Analysis (1970), which includes six main parameters: melody, harmony, rhythm, texture, form, and instrumentation. This analysis aims to reveal how the musical elements in the song can be read as a meeting between the post-punk idiom born in the West and the local socio-cultural context in Indonesia. The research findings show that "Sukatani" combines a minor pentatonic scale and repetitive structure as distinctive Eastern musical characteristics, while maintaining the monotonous and intense impression synonymous with post-punk aesthetics. From a lyrical perspective, the use of ngapak language not only strengthens local identity but also presents an authentic expression close to the daily lives of rural communities. The lyrics voice social criticism regarding class inequality, state repression, and respect for peasant labor as the foundation of collective life. Thus, music is not merely an aesthetic medium, but also a means of articulating cultural resistance against the dominance of central discourse and the hegemony of mainstream popular culture. Furthermore, analysis of texture and instrumentation reveals a combination of distorted guitars, repetitive bass patterns, and rigid drum beats, all of which create a tense yet meditative atmosphere. 

This final project report aims to explain the application of a three-act structure in writing a feature video script entitled "Bamboo Melody: Reviving a Traditional Symphony." The three-act structure is used as a narrative approach that functions to raise the issue of the fading of the angklung's sound philosophy among Generation Z. Each act plays an important role in building a structured and easily understood storyline for the audience. The first act focuses on the introduction of the angklung's philosophical meaning. In this act, the audience is invited to understand more deeply about the cultural values contained in the angklung, especially through the perspective of angklung craftsmen who have a direct relationship with the creation of this traditional musical instrument. The explanations from the craftsmen provide an overview of how the angklung is not only a musical instrument, but also a symbol of a profound philosophy of life. The second act highlights the crisis of cultural regeneration, which is a major challenge in preserving traditions. In this act, the perspective of cultural experts is introduced to provide an analysis of how the younger generation, especially Generation Z, is increasingly alienated from traditional cultural values, including the angklung. Cultural experts explain various factors that cause the angklung and other cultural values to be less familiar to the younger generation, who are more accustomed to global popular culture. The third act demonstrates concrete efforts to preserve angklung culture through testimonies from young angklung players and performances at Saung Angklung Udjo. Through this performance, the audience sees how the angklung remains relevant and can be revived by involving a younger generation that is adaptable to developments in media and technology. The story's conclusion illustrates that cultural regeneration can be achieved through a creative approach and the active involvement of the younger generation, so that the angklung's sound philosophy becomes more than just a discourse but can also contribute to social harmony relevant to the current context.

This research aims to understand the role of fandom in driving the growth of the fanworks market in Indonesia, specifically through the case study of Comifuro, a popular cultural event that is the center for the distribution of fan-made works. The research method used is qualitative, with a self-report approach from participants who are directly involved as creators and consumers at Comifuro since the beginning of its implementation. The results of the study show that the emotional connection between fans and copyrighted works encourages active involvement in producing and consuming fanworks. Fanworks are not only a forum for expression, but also a means of creative monetization that is socially legal even though it is legally gray. Comifuro gives creators a space for freedom of expression, bringing them together directly with audiences in an inclusive and supportive space. The surge in visitors and participants since the post-pandemic reflects the high demand for fandom content, as well as demonstrating the power of communities in supporting the creative economy. This research emphasizes the importance of recognizing the role of fans as the main motor in popular culture dynamics and community-based digital economy.  

This study investigates the role of Christian public theology in advancing social transformation, with particular emphasis on social justice, intercommunal solidarity, and sustainable development. Employing a qualitative methodology grounded in critical literature review, the research explores the engagement of public theology with the prevailing contexts of multiculturalism, globalisation, and popular culture. The findings reveal that public theology functions as a vital bridge between Christian faith—which proclaims Jesus Christ as the sole Saviour and restorer of creation—and tangible societal change within both private and public spheres. The study underscores the distinctive character of Christian public theology as an authentic and contextual agent of transformation, upholding the integrity of the Gospel message.

This research analyzes the representation of Tom Cruise's figure in the film "Top Gun: Maverick" by using Roland Barthes' semiotic approach. The main focus of this research is to understand how the character of Maverick played by Tom Cruise is represented through various signs and symbols in the film. The method of analysis used is semiotic analysis, which allows researchers to identify the signs and symbols used in representing the character. This research uses a qualitative approach by analyzing various visual, narrative, and contextual elements in the film. The findings of this research reveal how Tom Cruise as an actor and the character of Maverick are represented in the context of relevant culture and ideology. The results of this analysis provide a deeper understanding of how the character is understood and accepted by the audience, as well as the implications of his representation in a broader social and cultural context. This research contributes to the understanding of how symbols in popular media such as movies can shape our perception and understanding of certain characters in popular culture.

The use of critical theory as an analytical tool, especially in the context of the use of words in the Djarum 76 cigarette advertisement which raises critical questions. The aim of this research is first, to reveal the implied meaning in the Djarum 76 cigarette advertisement through a critical discourse analysis approach. Second, to explain the social meaning of the use of words in the advertisement in the context of general society. The method used is a critical discourse approach with an analytical descriptive method, which aims to describe the phenomena contained in the advertisement. This research limits its focus to the Djarum 76 cigarette advertisement. The research results show that the Djarum 76 cigarette advertisement has a distinctive presentation style with the use of humorous words but contains implied meaning. These words have become part of popular culture and are able to attract people's attention. Apart from that, Djarum 76 cigarette advertisements are also known for their distinctive jargon, such as "wani piro?" and "I'll give you one wish", as well as Uncle Jin's style which contains social criticism implied in these words.

Narcissistic attitudes usually develop in adolescence, where students are looking for self-identity and pay attention to their self-image. Second, social media and popular culture that highlight self-interest and public recognition can also reinforce narcissistic attitudes. Third, the impact of students' narcissistic attitudes can affect their social relations with other people, both in the family, school and community environment. In the school environment, students with narcissistic attitudes tend to pay less attention to the needs and feelings of others, and to focus more on themselves. This can make it difficult for these students to work together in groups or teams, because they tend to want to be the center of attention and take over decisions. In the long term, this can hinder students' ability to develop social skills and build healthy interpersonal relationships. In addition, students with narcissistic attitudes may also experience difficulties in maintaining their social relationships with peers. They tend to be less sensitive to other people's feelings and more easily see others as tools to achieve their own goals. This can cause conflict and tension in social relationships, as well as make it difficult for students to build closeness and trust with others.

This project focuses on the significant role of the gaming industry as an agent for spreading popular culture and global lifestyle from various countries, as well as its potential impact on local culture. Especially in the Indonesian market, the penetration of foreign cultures through digital platforms has become a phenomenon that has an impact on local cultural identity. However, as a successful example, Japan in promoting its traditional culture through media such as games, anime, and other products, provides inspiration for an approach that has the potential to strengthen the sustainability of local culture. This design aims to explain how character design in the game industry can be adopted as a tool to introduce and describe cultural values, myths, and philosophies of the East Kalimantan Dayak tribe. This approach will involve developing character designs that take references from the traditions and local wisdom of the Dayak tribe. The design will be a means of providing a unique and engaging visual experience, while simultaneously responding to concerns about the preservation of traditional culture. The methodology used in this research is a design thinking approach with a 5W+1H analysis approach. These design steps would result in a character called "Uyau Man Kan," which has its roots in the traditional folklore of the Dayak people of East Kalimantan. This character is not only a visual manifestation of the culture, but also a bridge for a deeper understanding of the cultural heritage of the Dayak tribe.