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This community service program aims to enhance the capacity of traditional clothing UMKM in Palembang through product innovation and business management training in order to support the development of local fashion tourism. UMKM engaged in producing songket, jumputan, and Palembang batik possess significant economic and cultural potential; however, they face various challenges, including limited design innovation, weak business management skills, and insufficient utilization of digital technology for marketing. Through collaboration between the lecturer team of Politeknik Prasetiya Mandiri and the Palembang City Tourism Office, the program was implemented through workshops, business mentoring, and digital marketing training involving UMKM actors, students, and the local community. The results show improvements in participants’ knowledge and skills in developing creative product designs, enhancing production quality, and managing their businesses more professionally. Participants also gained a deeper understanding of digital marketing strategies as an essential tool to expand market reach. This program has contributed positively to strengthening local cultural identity while creating opportunities for creative economic growth through fashion tourism. The implementation of this initiative is expected to serve as a sustainable effort to improve the competitiveness of UMKM and support the economic development of Palembang.

Palembang City has emerged as a hub for culinary and cultural tourism, particularly through traditional cuisine and the production of songket and jumputan textiles, as part of efforts to stimulate local economic development. This study aims to examine the role of cultural tourism and traditional craftsmanship in supporting local economic growth and cultural sustainability. A descriptive qualitative approach was employed, with data collected through in-depth interviews, field observations, documentation, and questionnaires. Data analysis was conducted using the Miles and Huberman interactive model, encompassing data reduction, data display, and conclusion drawing. The findings reveal that cultural tourism and traditional textile industries generate positive economic impacts for local business actors, especially micro and small enterprises engaged in culinary and handicraft activities. In addition to economic benefits, cultural tourism contributes significantly to the preservation of local cultural values by encouraging active participation from artisans and entrepreneurs in maintaining the authenticity of traditional products. Overall, cultural tourism exhibits strong strategic potential as a dual mechanism for fostering local economic development and ensuring sustainable cultural preservation. These results provide important insights for policymakers in designing integrated tourism-based development strategies that balance economic growth with cultural conservation.

This research was motivated by the lack of teaching materials that align with the characteristics and needs of students. One of the main issues identified is the use of learning modules that are not yet adapted to local culture and fail to provide meaningful learning experiences. To address this problem, the researcher developed a culturally based module inspired by Minangkabau songket. This study employed a Research and Development (R&D) design following the development stages proposed by Sugiyono. The results show that the developed module achieved a validity level of 82.58% (categorized as very valid), a practicality level of 87.6% (very practical), and an effectiveness level of 83.3% (very effective). Based on these findings, it can be concluded that the ethnomathematics-based module on Minangkabau songket for Phase F of the Health Department at SMAN 1 Lareh Sago Halaban in the 2023/2024 academic year meets the criteria of being valid, practical, and effective. Therefore, it is considered suitable for use as a culturally contextual teaching material that integrates local values into the learning process.

Tanjung Laut Village holds significant potential in the songket handicraft sector. However, local artisans face challenges in utilizing digital technology for marketing. This community engagement project aims to optimize human resources and time management to support the adoption of e-commerce among local MSMEs. The methods include time management training, e-commerce workshops, international HR management socialization, and Focus Group Discussions (FGDs). The results show an increased understanding of digital marketing strategies and production time planning. These trainings also encouraged collaboration and technology adoption, expected to enhance the village’s economic independence and competitiveness.

This research is a form of community service. This activity aims to develop creative skills, build entrepreneurial spirit, and increase awareness of the importance of maintaining local cultural values. Because the preservation of songket cloth as a cultural heritage and form of local wisdom of Indonesia faces challenges amidst the flow of modernization and declining interest of the younger generation. To overcome this, socialization and training activities were carried out on making hijab brooches and hair clips from songket cloth for housewives in the Bukit Barisan Housing Complex, Pekanbaru. Data collection techniques in qualitative research are by conducting observations, interviews, and documentation results. The results of this study indicate that participants are able to understand the techniques of making accessories, are enthusiastic about innovating, and show interest in developing small businesses based on local products. This activity proves that the use of local wisdom through an educational and creative approach can be a strategy for economic empowerment as well as cultural preservation.

Deli Serdang is a district in North Sumatra known for its diversity and significant Malay community commodities. Traditional songket weaving, especially the Deli Tobacco Leaf motif, plays an important role as a symbol of economic growth and prosperity for the Deli Malay community, and is a Malay cultural heritage that must be preserved. This study highlights the Malay songket tradition in Deli Serdang, to reveal its aesthetic and symbolic meaning through interviews with craftsmen and community leaders. The Tobacco Leaf motif, in addition to beautifying the fabric, also reflects traditional artistic values ​​such as balance, proportion, while emphasizing the identity of Indonesian culture. This study encourages the preservation of cultural heritage to remain relevant and modern.

This study examines in depth the history and development of Kaing Lunggi—the local term for songket cloth—in the Sambas region, West Kalimantan. This study has two main focuses. First, tracing the history of the cloth and textile trade in Southeast Asia that became the background for the entry of external influences into the Sambas region. Second, understanding how Kaing Lunggi emerged, developed, and transformed within the social, economic, and cultural contexts of the local community. Using a historical approach and textile cultural analysis, this study positions Kaing Lunggi as a cultural product born from the dynamics of regional trade since the Sambas Sultanate era. Historical records show that trade networks during that period connected Sambas with major trading centers such as Malacca, Singapore, and the coastal areas of Borneo. Through this route, there was an exchange of raw materials, weaving techniques, and decorative motifs that were then adapted by local artisans. The process of aculturation is visible in Kaing Lunggi motifs that combine local elements with external influences, such as typical Indonesian flora and fauna combined with geometric patterns and typical Malay stylization. The songket weaving technique demonstrates high skill and has been passed down through generations, making it an important part of intangible cultural heritage. Besides its economic value as a trade commodity, Kaing Lunggi also holds a symbolic role. It is worn in various traditional ceremonies, religious celebrations, and as a marker of social status in Sambas society. The use of color, gold thread, and the complexity of the motifs serve as indicators of the wearer's identity and prestige. The results of this study confirm that traditional textiles such as Kaing Lunggi function not only as cultural artifacts but also as active agents in shaping the history and identity of the community. They represent cross-cultural encounters and serve as evidence of the resilience of local traditions amidst globalization.

Tanjung Laut Village, Tanjung Batu Sub-district, is a village where most of the population are Micro Small Medium Enterprise (MSME) craftsmen. The main problem faced by MSME in Tanjung Laut Village is limited knowledge about financial records. This socialisation aimed to improve the ability to record business finances and increase awareness that financial reports are very important for songket craftsmen in Tanjung Laut Village in developing their businesses. The methods used in this programme were observation, interviews and socialisation of simple financial records. The results of this activity are very useful for songket craftsmen in Tanjung Laut Village in understanding and doing simple financial records correctly, and starting to be interested in doing financial records

Songket fabric is one of the traditional fabrics originating from South Sumatra, songket fabric has been used as a subordinate of traditional clothing, it can be in the form of bodo clothes, tunics. The development of fashion that continues to rotate so that the preservation of this songket fabric is maintained, innovation is needed, to provide innovation so that songket fabric can be processed into fashion for wedding occasions with more modern models. The principle of aesthetics is a reference in creating innovations so that the results of innovation are in accordance with the intentions and goals. The problem is how to use songket fabric as a wedding dress by applying aesthetic principles. The purpose is to find out the use of songket fabric as a wedding dress by applying aesthetic principles. The data collection methods used are observation, documentation and literature. The data analysis used is qualitative data analysis. The manufacture of wedding dress using songket fabric and a combination of tulle fabric through the process of determining design, preparing tools and materials, taking measurements, making patterns, cutting materials, marking the patterns, sewing, pressing, and finishing. Unity lies in detail by detail is still continuous, balance lies in symmetrical balance and contrast is applied to the selection of materials in terms of texture and color. Wedding Dress clothing is as follows; using songket fabrics. The use of this songket fabric is a synthetic songket fabric, which is widely sold and the price is still affordable. There are different possibilities when using the original songket.

Silungkang weaving is a traditional heritage of the Silungkang community, long recognized in Sawahlunto. However, this tradition is currently under threat due to the lack of younger generations continuing it, with the majority of artisans being over 40 years old. This study aims to analyze the existence and development of Silungkang weaving in Padang City, particularly concerning its products, motifs, colors, and weaving techniques. The research employs a descriptive qualitative method, with data collected through observation, interviews, and documentation. Data analysis was carried out through data reduction, data presentation, and conclusion drawing. The results show that the interest of the younger generation in Silungkang weaving is very low, while the remaining artisans continue to use traditional tools and ancestral motifs. However, there has been some development in more varied motifs that are no longer confined to the old designs. The basic weaving techniques used also show variations from simple to more complex songket techniques. The conclusion of this study emphasizes the importance of preservation efforts and innovation so that Silungkang weaving can continue to survive and evolve in the future.

This research was carried out with the aim of finding out  the Batu Bolah Dance works at the Miss Tahto Art Studio, Kampar Regency, Riau Province. The method used in this research is a descriptive method using qualitative data. The data collection techniques used are observation, interviews and documentation techniques. In this research, the author conducted direct interviews at the Miss Tahto art studio with 3 people involved, namely, Misselia Nofitri as choreographer, Riska Juliani as dancer, and Gilang Ramadhan as musician. Based on Soedarsono's theory, the Batu Bolah dance has several movements, namely, the opening movement, the movement to pick flowers, the movement to take the shawl, the movement to stab, the movement to propose to the protected princess, the movement side by side, the movement facing each other, the movement to play with the scarf, the commander's arrival, the movement to look for puti protected, movement of resistance, movement of citizen unrest, movement of anger, and split stone movement. The musical instruments used are calempong oguong, katepak, gong, flute, djembe, drum and accordion. The floor designs used are straight line and curved line floor designs. The dynamics in this dance are changing levels, changing tempo, and changing energy. The theme of this dance tells about the legend of the split stone. The costumes used by female dancers are plain red clothes with borkat decorations on the shoulders, yellow mixed with red editing using a bun, a yellow scarf wrapped around a green belt, earrings and necklace accessories. The costumes used by male dancers are red bolos shirts, yellow tanjaks, yellow songkets and green belts. The make-up for female dancers uses beautiful make-up. The make-up for male dancers uses character make-up as a king. The stage used is a proscenium stage. The property used is a shawl. The lighting used is white light.

This study aims to reveal, describe, and analyze the development of Sumbun Dance in East Tanjung Jabung Regency, Jambi Province. This type of research is qualitative research using a descriptive method. The research instrument is the researcher himself assisted by supporting instruments in the form of stationery and cameras. Data were collected through literature studies, observations, interviews and documentation. The steps of analyzing data are data collection, data reduction, data modeling, and drawing conclusions. The results of this study show that the development of Sumbun Dance can be seen in terms of quality and quantity. In terms of the quality of the development of Sumbun dance, it is seen from the movement, floor patterns, dancers, music, makeup and clothing, time and place of performance. Meanwhile, in terms of quantity, it can be seen from the addition of actors, increasing performances, expanding the performance area. The development in terms of movement of the Sumbun dance which before it was developed there were 8 types of movements and in the creation of Sumbun dance there were 11 types of movements. The musical instruments used in the Sumbun dance that were previously developed were kulintang, gong, drum, and accordion and in the Sumbun dance that had been developed kulintang, gong, drum, accordion, violin, gambus, drums, keyboard, bass, and guitar. The floor pattern is carried out by variating what was initially 8 types of floor patterns now to 10 types of floor patterns and in the form of variations.  The costumes that used to be danced using Malay traditional clothes from Tanjung Jabung Timur were equipped with batik-patterned cloth songkets as well as golden iron head accessories and necklaces and men's accessories only used headbands. Now the costumes used in the creation mung dance have been packaged and created in a new form like costumes for performance events. Meanwhile, in terms of quantity, the number of Sumbun dancers who have been dancing for a long time amounted to 6.

The aim of this research is to describe and reveal the presentation form of Rampak Sapinggan dance by Sanggar Sarunai Tonic in Payakumbuh Barat sub-district, Payakumbuh City This type of research is qualitative research with descriptive method The main instrument used is the researcher himself and supported by supporting instruments such as writing tools, cameras, and smartphones Data collection techniques are carried out by means of literature study, observation, and interviews Data analysis techniques are by means of data collection, data reduction, data presentation, and conclusion drawing. The research results show that Tari Rampak Sapinggan is one of the Creative Dances developed based on the basic movements of dance and Minang silek movements Tari Rampak Sapinggan is a non-representational dance, which means it does not depict anything Tari Rampak Sapinggan has a sequence of movements that starts from: sambah movement, tapuak galembong, ayun babuai, maarak or manjapuik, sanduak mancukam, lenggok baayun, baganjua maju, bajombo-jombo, basiang tagak, kibeh, baganjua suruik batanam, salingkuang korong, mambori sambah The number of dancers is 5 or odd, the floor pattern uses straight and curved lines The accompanying music uses traditional Minangkabau music such as Gandang, Talempong, and Sarunai Makeup uses beautiful makeup for women and handsome makeup for men Men's costumes wear rang mudo shirts, destar, galembong, and sasampiang, while women wear kurung clothes, songket skirts.

The aim of this research is to describe and reveal the presentation form of Rampak Sapinggan dance by Sanggar Sarunai Tonic in Payakumbuh Barat sub-district, Payakumbuh City This type of research is qualitative research with descriptive method The main instrument used is the researcher himself and supported by supporting instruments such as writing tools, cameras, and smartphones Data collection techniques are carried out by means of literature study, observation, and interviews Data analysis techniques are by means of data collection, data reduction, data presentation, and conclusion drawing. The research results show that Tari Rampak Sapinggan is one of the Creative Dances developed based on the basic movements of dance and Minang silek movements Tari Rampak Sapinggan is a non-representational dance, which means it does not depict anything Tari Rampak Sapinggan has a sequence of movements that starts from: sambah movement, tapuak galembong, ayun babuai, maarak or manjapuik, sanduak mancukam, lenggok baayun, baganjua maju, bajombo-jombo, basiang tagak, kibeh, baganjua suruik batanam, salingkuang korong, mambori sambah The number of dancers is 5 or odd, the floor pattern uses straight and curved lines The accompanying music uses traditional Minangkabau music such as Gandang, Talempong, and Sarunai Makeup uses beautiful makeup for women and handsome makeup for men Men's costumes wear rang mudo shirts, destar, galembong, and sasampiang, while women wear kurung clothes, songket skirts.

The aim of this research is to reveal and describe the preservation of Sayak Dance in Buluh Betuah Sayak Baguno Art Studio in Air Batu Village This type of research is qualitative research with descriptive method The instrument of this research is the researcher himself and assisted by supporting instruments such as writing tools, camera and flash drive Data in this research uses primary and secondary data Data collection techniques are carried out through observation, interviews and documentation The steps of analyzing data are data reduction, data presentation and concluding data. The research results show that the preservation efforts carried out by Sanggar Seni Buluh Batuah Sayak Baguno in maintaining Tari Sayak are through protection, development, and utilization The protection of Tari Sayak is carried out through dance training held at Sanggar Seni Buluh Batuah Sayak Baguno in Air Batu Village The development of Tari Sayak carried out by Sanggar Seni Buluh Batuah Sayak Baguno consists of the number of performers or dancers and the development of costumes The number of performers or dancers of Tari Sayak, which initially only consisted of 2 people, has now developed The costume development is now more colorful, previously the skirt only used cloth, now it uses songket and for head coverings, previously using a shawl, now using a kreasi tengkuluk By performing Tari Sayak at certain events, it is already one way to introduce dance to the community.

The Muara EnimWelcom Dance is a traditional dance in Muara Enim Regency, the welcome dance is still developing today. The aim of this research is to describe the form of presentation of the welcome dance. To strengthen the research, the research interviewed 3 informants Dian PermanaJoeliusS.Pd, Elani DestiaristaS.Pd, Sri WulandariS.Pd, people who had received information about the welcome dance, from its presentation to how the welcome dance works displayed. The benefits of this research are to preserve existing arts, and it is hoped that it will be useful for: increasing the insiht of researchers and readers of this article, to know what the Muara Enim welcome dance is, for similar researchers so that it can be used as a reference. This research uses qualitative methods, data collection and retrieval techningques using observation, interviews and documentation techniques. The results of this researchis that the welcome dance is a form of presentation consisting of dancer are walking on tiptoe, hands stacked, opening right and left, praying up, picking right and left up. The music used in the welcoming dance includes drums, kromongan, simbal and gong. The make-up used by dancers for female dancers uses beautiful make-up while male dancers use handsome make-up. The costumes for the welcoming dance are clothes brackets, songketclosth, shawls, paksangko crowns, potpourri of flowers. The floor design is in the shape of the letter V and has straight horizontal and vertical lines. The property used by dancers of tanggai, betel taps, umbrellas and spears. The performance venue is like a performance stage in general.      

Sambas has a traditional craft of songket cloth known as Kain lunggi or kain Bannang ammas because the motif is woven from gold and silver colored threads. Lunggi fabric has many weaving motifs, one of the most famous weaving motifs is the motif of bamboo shoots (Pucuk Rebung). But not a few people who do not know other motifs besides woven fabrics and other information about the motif of Sambas woven fabrics that are already quite global. So it is important to convey this information to the public interestingly. One of the media that can be used is through 3D animated films. This study was conducted by applying the MDLC method in which the process of modeling, rigging texturing, editing and animating in it. Based on the test results of 2 media experts at 84%, 2 material experts at 89%, and 30 general public at 89.46%, this animated film deserves to be published with a duration of 15 minutes and mp4 format.

Palembang Songket Cloth is one of the cultural works of South Sumatra which is included in the list of Indonesian Intangible Cultural Heritage. As the era of songket cloth has developed into a profitable business opportunity, and marketing strategy is the most important factor in business because this is what determines everything, the increasing competition in the business world means that all business actors must be able to think creatively and innovatively to attract consumer interest. Therefore, the author is looking for marketing strategies for songket cloth in South Sumatra, one of which is located at Griya Kain Tuan Kentang, Jakabaring District, Palembang City. Based on the results of Griya Kain Tuan Kentang Palembang's research in the field directly with the people involved as well as observing aspects of the product, location, advertising, price, process, physical evidence, it can be concluded that it is functioning or running well. And the author suggests that Griya Kain Tuan Kentang needs to innovate or initiate so that it is more widely known by consumers, for example participating in events such as exhibitions and markets.

The purpose of this study was to explain the choreography of Sumatran Rancak Dance at Sanggar Silodang Production Kota Padang. The type of research used is qualitative research with descriptive methods of analysis. This research instrument is the researcher himself and is assisted by supporting instruments such as stationery and cameras. Data were collected through literature study, observation, interviews, and documentation. The steps of analyzing data are data collection, data reduction, data presentation and data verification. The results showed that the choreography process carried out by choreographers has stages such as ideas / themes, exploration, improvisation, and composition. So from the process carried out by the choreographer produces the following aspects of form: motion, space design, time design, power design, upper design, dramatic design, floor design, group composition, equipment, and music. Sumatran Rancak dance has several types of movements consisting of movement developments from the regions of Aceh, Medan, Riau, and West Sumatra which are worked on by choreographers with the concept of entertainment. The costumes used have been created and modified using bludru brackets, metered songket, shoulder tokah, shoulder scarves, belts, and complete accessories for female dancers. As for male dancers, they wear satin, galembong, batik deta, and silodang cloth. Sumatran Rancak dance uses the plate property at the end of this dance with a plate size of 5.

Skripsi ini membahas tentang strategi pengembangan usaha batik dan kain songket di Toko Cik Mia Songket Jambi. Penelitian ini bertujuan untuk  memahami alternative strategi pengembangan usaha batik dan songket Cik Mia, kemudian juga untuk mengetahui kendala perkembangan usaha batik dan songket Cik Mia. Adapun metode yang digunakandalam penelitian ini adalah metode peelitian kualitatif dengan jenis penelitian lapangan. Objek dalam penelitian adalah toko batik dan songket cik mia. Ada beberapa tekin pengumpulan data yang digunakandalam penelitian ini yaitu wawancara, observasi dan dokumentasi. Data-data yang sudah dikumpulkan  kemdian dianalisi dengan beberapa teknik yaitu reduksi data, penyajian, kemudian verifikasi data. Adapun hasil dari penelitian ini menunjukkan bahwasanya ada banyal strategi yang telah dilakukan oleh cik Mia untuk mengembangkan usaha batik dan kain songket cik mia salah satunya yaitu dengan rajin mempromosikan jualan baikitu melalui media social, serta sering mengikuti beberapa even. Diketahui bahwasanya even-even yang telah diikuti sudah sampai ke mancanegara. Kemudian aktif dalam kegiatan pengembangan UMKM bersama bank 9 Jambi. Untuk kendalanya didapati bahwasanya ada beberapa kendla pada pengembangan Sumber Daya Manusia khususnya dalam pengelolaan tenun. Ci mia masih kewalaan untuk memproduksi kain tenun dalam skala besar karena sumber daya manusia yang bisa menenun hanya seidikit.