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This study aims to examine the gastronomy of the traditional culinary dish Ayam Napinadar as part of Batak cultural identity, covering aspects of history, ingredients, processing techniques, cultural values, and preservation challenges. The background of this research is based on the importance of maintaining the sustainability of traditional cuisine amid modernization and changes in consumption patterns. The method used is a qualitative approach through in-depth interviews with three informants, namely an MSME (Micro, Small, and Medium Eterprises) practitioner, a traditional leader, and a consumer. The results show that Ayam Napinadar has a unique characteristic in the use of andaliman and blood (gota) as its distinctive flavor. Traditionally, the cooking process involves grilling over firewood to produce a characteristic smoky aroma, although it has now shifted to more practical methods without altering the original recipe. From a cultural perspective, Ayam Napinadar holds symbolic meaning as an expression of prayers, blessings, and joy in various Batak traditional ceremonies. However, there are challenges in its preservation, such as the declining participation of younger generations in traditional activities and the increasing influence of modern foods. In conclusion, Ayam Napinadar functions not only as food but also as a medium for preserving cultural values and ethnic identity. This study provides benefits as a basis for developing gastronomic tourism and strategies for preserving traditional cuisine through education, collaboration, and the use of modern promotional media.

Tabuh Rah in Bali is part of a Hindu religious ceremony involving animal sacrifice to maintain harmony between nature and human life. In practice, it is often accompanied by tajen (cockfighting) involving monetary or valuable bets, potentially violating Article 303 of the Indonesian Criminal Code concerning gambling. This study examines the regulation of cockfighting as a criminal offense under Article 303 and the criminal liability of perpetrators of tajen within the context of the Tabuh Rah ceremony. The research employs a normative legal method using statutory and conceptual approaches. The findings indicate that cockfighting conducted as part of the Tabuh Rah ritual is permissible based on the Batur Agung Inscription (933 Saka) and the Batuan Inscription (944 Saka) without requiring official authorization. However, cockfighting conducted outside the ritual context and involving betting constitutes gambling in violation of the Criminal Code and Law No. 7 of 1974. Perpetrators may be held criminally liable for intentionally committing an unlawful act.

This study aims to identify and analyze customary and criminal sanctions imposed on individuals who violate Hinting Pali during the Tiwah ceremony, as well as the legal and customary consequences for those engaged in gambling within the ritual process. The research employs an empirical approach with a qualitative descriptive method through interviews, observations, and document analysis. The focus of this study is the implementation of Dayak Ngaju customary law in addressing violations that occur during the Tiwah ceremony. The findings reveal that Dayak Ngaju customary law plays a crucial role in maintaining social and spiritual harmony by enforcing moral, social, and symbolic sanctions. Furthermore, there is a point of convergence between customary law and national criminal law in promoting justice and social order. This study is expected to contribute academically to the development of customary law in Indonesia and serve as a valuable reference for communities, scholars, and policymakers in preserving cultural values and ensuring fair law enforcement within the framework of local wisdom.

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.

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.

This study aims to understand the meaning and symbolism of the saur matua ceremony performed by the Batak Toba community, as well as to explore how this tradition reflects the cultural values ​​of the Batak community, such as hamoraon (wealth), hagabeon (many descendants), and hasangapon (honor). The method used in this study is a descriptive qualitative approach, with data collection techniques through in-depth interviews and documentation studies. Interviews were conducted with informants who are experienced in carrying out the saur matua ceremony, as well as literature studies relevant to the research topic. The collected data were analyzed thematically, to identify the main elements in the saur matua ceremony and understand its meaning in the context of the social and cultural life of the Batak Toba. The results of the study show that the saur matua ceremony is not just a death ritual, but a celebration of a person's success in life. Death is seen as an achievement, where the deceased is considered to have succeeded in fulfilling customary expectations in social, material, and descendant aspects. This ceremony reflects a view of life that values ​​honor and kinship, and provides a new meaning to a joyful death.

The Toba Batak culture has a strong symbolic richness, especially in the traditional rituals of death which are full of theological and social meanings. One of the important symbols in the ceremony is Sijagaron, which literally means "guard" or "escort", and is used as a symbol of final respect to the deceased. This research aims to examine the meaning of Sijagaron through a contextual theological approach, by looking at how this symbol can be understood in the light of the Christian faith and its relevance in the lives of Toba Batak believers today. The method used is a descriptive qualitative study with a theological and anthropological approach. The results of the study show that Sijagaron contains Christian values such as love, fellowship, and respect for God's creation. From a contextual theological perspective, Sijagaron can be interpreted as a bridge between faith and culture, which shows that local cultural symbols can be a means of contextual evangelism. Thus, the culture of Sijagaron does not contradict the Christian faith, but rather enriches the people's understanding of the mystery of death and eternal life.

The research aims to describe the symbolic meaning and cultural values ​​in traditional ceremonies of the Abuy tribe, North Central Alor sub-district, West Lembur Village, Alor Regency. The Abuy traditional ceremony is the identity of West Lembur Village in general as a tourism process that must be preserved by the local community and is a tradition that still survives in the midst of modern progress like this. In this ceremony, there are various positions that are filled with symbolic meaning, such as a sarong woven cloth which has a moko motif which symbolizes the customs of marriage.  This research uses a qualitative descriptive approach. Data was collected through direct observation through interviews with traditional shops and local communities. The research results show that this ceremony not only functions as a religious and social rite, but also as a medium for cultural preservation that strengthens community identity. Values ​​such as togetherness, gratitude and spirituality contained in this ceremony play an important role in maintaining social harmony and establishing human relationships with nature. Preserving this ceremony is important to maintain cultural heritage which has relevance in modern social life.

The aim of the research is to find out the meaning of the fangasi ritual as a traditional ceremony after the death of the Nias tribe in Ononazara village, Tugala Oyo subdistrict, North Nias district. The research method used in this research is descriptive qualitative research about the meaning of the fangasi ritual as a traditional ceremony after the death of the Nias tribe in Ononazara village, Tugala Oyo subdistrict, North Nias district. The result of this research is that the meaning of the fangasi ritual is the highest form of respect that the Nias tribe has for every person's life. The meaning of the fangasi ritual in Ononazara village is the last event for the person who has died. The fangasi ritual is carried out depending on its position in custom and also as a form of a child's obligation to his parents who have died with the aim of paying off the debts of his parents or the person who died while he was alive in the world. It can be concluded that the meaning of the fangasi ritual is a traditional ceremony implemented in the village of Ononazara, which is passed down from generation to generation, which aims to resolve the burden on the family of the deceased as a sign of final respect, and so that the spirits of the deceased will rest in peace.

The title of this research emphasizes social changes in the kinship system in the traditional marriage ceremony of the Nias community (case study of the fanika stages of the mbowo era) in Tuhembuasi Village, Sogae'adu District, Nias Regency. The aim of this research is: To find out/describe social changes in the kinship system in the traditional marriage ceremony of the Nias community (case study of the fanika stages of the mbowo era) in Tuhembuasi Village, Sogae'adu District, Nias Regency. In this research, the method used is a descriptive qualitative approach. The results of the research show that the causes of changes in the Fanika stages of the Mbowo era in the Nias tribe community in Tuhembuasi Village, Sogae'adu District, Nias Regency are: (1) parents nowadays are very busy so they don't have time to talk about or teach about customs. and the culture of the Nias people to their children; (2) because the implementation of the Fanika stages in the Mbowo era took a lot of time, up to 3 to 4 hours, so people also felt bored because the time was too long, so the implementation of this stage was often postponed; (3) many people currently have very little experience of Nias culture so that the implementation of its customs as they are is important to remember but is not implemented; (4) migrate, marry with other tribes, so that the celebration does not reflect Nias culture.

This study aims to find out and describe the form of presentation of Dikia Rabano by the "Tukang Dikiu" group in the Jopuik Antau Marapulai event in Lubuak Alai, Kapur IX District, Lima Puluh Kota Regency. This type of research is qualitative research with a descriptive method. The research instrument is the researcher himself and is assisted by supporting instruments such as stationery and cameras. Data were collected through literature studies, observations, interviews and documentation. The steps of analyzing data are data collection, data reduction, data presentation and drawing conclusions. The results of the study show that the existence of Dikia Rabano art in Nagari Lubuak Alai is still appreciated and continues to this day. Dikia Rabano's art is able to influence society and become a symbol of a community such as the niniak mamak procession on Islamic holidays and bridal processions. The form of Dikia Rabano's presentation in Nagari Lubuak Alai is played by standing while walking along the procession of niniak mamak and bridal rows. The song sung in Dikia Rabano is a verse with Islamic nuances, in ancient times this song was believed to be a song of a mother in putting her child to sleep.

The Huta Nagodang tourist village still inherits the traditional Ulos weaving culture which has been preserved from generation to generation from its ancestors until today, namely Ulos Harungguan, which means a collection that includes all types of Ulos. And it has a motif that is combined with the Ulos motif owned by the Toba Batak ethnic group and commodification is carried out as a development of this Ulos. And used as a source of economic income for community members, the Ulos craft from Huta Nagodang village has its own icon which is the only one in Huta Nagodang village which was sacredly inherited from their ancestors as Ulos Harungguan. The aim of this research is to find out Ulos as a cultural heritage in traditional ceremonies in Hutana Godang village, Muara sub-district, North Tapanuli district. The method used in this research uses a qualitative method with a descriptive approach and data collection techniques through observations, interviews with informants, and documentation. The results of this research describe Ulos Batak as cultural heritage in traditional ceremonies involving the village government, traditional leaders and the community.

The people of the Banceuy traditional village, Sanca Village, Ciater District, Subang Regency have a unique tradition of expressing gratitude for natural products, especially rice (Oryza sativa), which has been carried out since the time of their ancestors and is known as the Ngaruwat Bumi ceremony. Ngaruwat Bumi is a traditional ceremony that is routinely held every year at the end of the month of Rayagung. This research aims to analyze ethnobotanical studies on the Ngaruwat Bumi ceremony in the Banceuy Indigenous village community. The research was carried out in three stages, namely literature study, interviews, and data processing and analysis. The data taken is primary data and secondary data. Primary data is data obtained directly in the field through interviews with respondents. Meanwhile, secondary data is data obtained from previously existing research or publications. Sampling used a purposive random sampling method with 15 respondents. The research results showed that six types of plants were used in the Ngaruwat traditional ceremonies carried out by the people of the Banceuy traditional village, namely Oryza sativa, Arenga pinnata, Cocos nucifera, Cordyline fruticosa, Coleus scutellarioides, Justicia gendarussa, and Musa paradisiaca.

The purpose of this study was to obtain the symbolic meaning of Natas Banyang at the Maanyan Dayak Traditional wedding ceremony in east Barito and its implications for literatur learning in SMA. The purpose of this study was to describe: (1) the symbolic meaning of events in natas banyang (2) symbolic meaning of objects in natas banyang (3) the symbolic meaning of language in natas banyang (4) implications for learning literature in high school class X. This study uses a qualitative opproach method. The data source for this research is the natas banyang process and interviewing traditional mantir. The objects of this study are all the symbolic meanings of natas banyang at the Maanyan Dayak traditional wedding ceremony in east Barito. The results of this study areas follows. (1) The symbolic meaning of events in natas banyang (2) The symbolic meaning of objects used in natas banyang (3) the symbolc meaning of language in natas banyang (4) Used in teaching literature for class X SMA, In accordance with KD 4.1 Interpreting the meaning of pantun texts both oral or written. Indicator 4.1. Identifying the linguistic elements of the pantun texts both oral or written. Indicator 4.1.1 Identefying the linguistic elements of the pantun text 4.1.2 interpret the pantun text. natas  banyang at the maanyan Dayak traditional wedding ceremony in east Barito which aims to develop knowledge in regional culture.

Kembar mayang dan janur kuning adalah simbol tradisional yang digunakan dalam pernikahan adat Jawa sebagai simbol keperawanan pengantin wanita. Penelitian ini bertujuan untuk mengeksplorasi persepsi masyarakat terhadap penggunaan kembar mayang dan janur kuning sebagai simbol keperawanan pengantin wanita Jawa. Metode penelitian yang digunakan adalah kualitatif dengan teknik pengumpulan data melalui wawancara mendalam pada masyarakat Jawa yang memiliki pengalaman mengikuti pernikahan adat. Hasil penelitian menunjukkan bahwa penggunaan kembar mayang dan janur kuning masih dipandang penting sebagai simbol keperawanan pengantin wanita Jawa. Namun, terdapat perbedaan persepsi masyarakat dalam penggunaan kedua simbol tersebut. Kembar mayang dipandang lebih penting sebagai simbol keperawanan, sementara janur kuning lebih dipandang sebagai simbol keindahan dalam pernikahan adat Jawa. Persepsi masyarakat terhadap penggunaan kedua simbol tersebut dipengaruhi oleh faktor budaya dan agama yang kuat dalam masyarakat Jawa. Penelitian ini dapat memberikan informasi yang berguna bagi para pelaku pernikahan adat Jawa untuk memahami pentingnya simbol-simbol tradisional dalam upacara pernikahan adat serta membantu mempertahankan dan mengembangkan budaya Jawa yang kaya dan unik.

This study aims to describe and analyze (1) the procession of execution in the Lawang Sakepeng tradition, (2) the symbolic meaning contained in the Lawang Sakepeng tradition in Dayak Ngaju traditional weddings, and (3) find out the function of folklore in the Lawang Sakepeng tradition using semiotic studies. The method used in this research is descriptive qualitative. The source of the data in this study was secondary data from a video showing the documentation of the Lawang Sakepeng tradition in a Dayak Ngaju traditional wedding ceremony. The instrument in this study is a documentation guide. Documentation guidelines are carried out by analyzing symbolic forms. The data analysis technique used in this study uses C.S Pierce's semiotic study as a reference. Based on the results of the research obtained: (1) the procession of the Lawang Sakepeng tradition in the Dayak Ngaju traditional wedding ceremony which has been studied has three stages of implementation, namely Panganten Mandai/Haguet, Lawang Sakepeng tradition and Mamapas traditional ceremony. (2) The forms of symbolic meaning in the procession of the Lawang Sakepeng tradition in the Dayak Ngaju traditional wedding ceremony which have been studied have forms of symbolic meaning in the form of: palm fronds, three-tiered threads, flowers, money, bahalai/saput, red and white flags, martial arts fighters/sakepeng performers and dancer. (3) The function of folklore in the Lawang Sakepeng tradition procession is: strengthening the feeling of collective solidarity, as a fun tool and providing entertainment for people who witness it, as a tool for preserving Dayak cultural customs, and as a tool for mutual cooperation in a society.

Tari Jathilan, sebuah seni tradisional Jawa yang memiliki makna budaya dan digunakan dalam upacara adat, telah mengalami transformasi yang signifikan di era modern. Pengaruh modernisasi dan perubahan ekonomi telah mengubah tari Jathilan menjadi ajang mencari uang di perempatan lampu merah. Fenomena ini mendorong perdebatan tentang dampaknya terhadap martabat budaya dan nilai-nilai tradisional. Beberapa mengkhawatirkan penurunan martabat budaya dan perubahan persepsi masyarakat terhadap tari Jathilan, sementara yang lain melihat potensi pemberdayaan budaya melalui transformasi ini. Dalam konteks sosial, ekonomi, dan budaya yang terus berubah, pemahaman yang lebih mendalam tentang faktor-faktor yang mendorong transformasi ini dan dampaknya terhadap budaya lokal menjadi penting. Penelitian ini bertujuan untuk menganalisis faktor-faktor pendorong transformasi tari Jathilan menjadi ajang mencari uang serta mengkaji implikasi sosial, budaya, dan ekonomi dari transformasi ini. Dengan menggali pemahaman tentang transformasi tari Jathilan, penelitian ini berkontribusi dalam pelestarian budaya dan pemberdayaan seni tradisional di masa depan.

Penilitian ini bertujuan untuk mengetahui budaya dan aktivitas masyarakat Kampung Naga yang terletak di Kabupaten Tasikmalaya, Provinsi Jawa Barat. Kampung Naga adalah kekayaan budaya yang ada di Tasikmalaya. Budaya di Indonesia sangat beraneka ragam yaitu seperti rumah adat, upacara adat, pakaian adat tradisional, tarian adat tradisional, alat musik dan lagu tradisional, dan senjata tradisional. Setiap masyarakat pasti memiliki budayanya sendiri dalam budaya pasti ada ciri khas tersendiri yang sudah melekat sejak nenek moyang ada dan sampai sekarang turun temurun Masyarakat Kampung Naga masih mempertahankan tradisi dan adat istiadat seperti menjaga tatanan hidup masyarakat kampung. Masyarakat nya relative terbuka mereka bisa menerima perkembangan zaman walaupun yang mereka pegang teguh adalah adat, perkembangan zaman dan teknologi tidak membuat Kampung Naga kehilangan identitasnya. Melestarikan budaya di Kampung Naga ini menjadi aspek penting dalam kehidupan masyarakat setempat karena masyarakat Kampung Naga identik dengan gaya hidup yang masih berpedoman pada adat istiadat setempat. Aktivitas yang dilakukan oleh masyarakatnya sebagian besar beraktivitas bertani. Penilitian ini menggunakan pendekatan kualitatif dengan metode deskriptif, penelitian ini menggunakan prosedur kualitatif sebagaimana mengacu pada teknik pengumpulan data berupa cerita, gambar, dan tulisan wawancara. Hasil penelitian ini adalah  aktivitas kehidupan di masyarakat Kampung Naga terdiri dari mata penceharian, membuat kerajinan tangan untuk wisatawan yang berkunjung. Budaya yang masih di junjung di Kampung Naga terdiri dari Upacara Adat dan pantangan – pantangan yang tidak boleh di lakukan di Kampung adat tersebut.

Adat pernikahan dalam budaya Melayu terkesan rumit  karena banyak tahapan yang harus dilalui. Kerumitan tersebut muncul karena pernikahan dalam pandangan Melayu harus mendapat restu dari kedua orang tua serta harus mendapat pengakuan yang resmi dari tetangga maupun masyarakat. Bukan sebatas pandangan rumit, namun ada juga kalangan berpendapat, ada melayu unik dan sangat menarik.Penelitian ini mengkaji tentang nilia-nilai tradisi pada upacara Tepuk Tepung Tawar perkawinan adat Melayu di Desa Labusel. Jenis penelitian yang digunakan dalam penelitian ini adalah penelitian kualitatif. Populasi yang digunakan dalam penelitian ini adalah masyarakat Labusel yang bersuku Melayu. sedangkan sampel yang digunakan dalam penelitian ini berjumlah  orang dari kalangan masyarakat. hasil penelitian dan pembahasan yang telah dilakukan dalam penelitian ini, peneliti menyarankan kepada masyarakat Melayu agar selalu mempertahankan tradisi Tepuk Tepung Tawar pada perkawinan adat Melayu karena nilai-nilai yang terdapat Tepuk Tepung Tawar merupakan salah satu tradisi yang terdapat di dalam adat perkawinan Melayu di Desa Labusel. Berdasarkan pada tradisi tepuk tepung tawar sangat banyak dan menjadi acuan dalam bermasyarakat dan juga berkeluarga. Penulis juga berharap penelitian ini dapat menjadikan motivasi bagi peneliti selanjutnya mengenai tradisi Tepuk Tepung Tawar yang lebih luas lagi.    

Judul dari penelitian ini adalah Etnomatematika dalam Tradisi Upacara Adat Maruba  di Kerajaan Hulu Ai’k Kecamatan Hulu Sungai Kabupaten Ketapang. Fokus penelitian ini adalah untuk menemukan 1) Apa saja alat-alat yang digunakan pada tradisi upacara adat maruba yang mengandung unsur matematika? 2) Apa saja aktivitas upacara adat maruba yang mengandung unsur matematika?. Metode penelitian yang digunakan dalam penelitian ini adalah Metode Deskriptif kualitatif! Bentuk penelitian ini merupakan studi kasus yang bertujuan untuk menghimpun atau menganalisis data berbagai fenomena-fenomena yang menjadi subjek penelitian di sini peneliti memberikan pertanyaan-peratanyaan dan tes yang terstruktur kemudian data dianalisis secara kualitatif deskriptif untuk mengetahui kebenaran yang terdapat pada lokasi penelitian. Data dan jenis data dalam penelitian ini adalah data primer dan data sekunder. Alat yang digunakan untuk mengumpulkan data adalah dengan menggunakan lembar observasi, pedoman wawancara dan dokumen. Hasil penelitian menuajukan bahwa alat-alat tradisional tradisi upacara maruba dikerajaan hulu sungai etis Dayak krio yang dapat digunakan dalam pembelajaran matematika di sekolah yaitu ketawak/ gerantung, mangkok tanah, kain batik, tempayan, bosi/parang, ancak, piring keramik,pahar, tanduk kerbau, dan kain kuning, adapun materi matematika yang dapat mengunakan alat-alat tradisional tradisi upacara adat maruba di kerajaan hulu sungai etis Dayak krio tersebut adalah, namgun datar, bangun ruang, dan oprasi bilangan bulat. Selanjutnya, ada enam aktivitas yang terdapat didalam tradisi upacara adat maruba dikerajaan hulu aik suku Dayak krio  yang mengandung unsur matematika antara lain aktivitas  duduk gae, begamal betabuh menari maigal, beramu, pencucian benda pusaka, buang sial tolak bala, dan aktivitas timang tanduk sengiang holing rata-rata materi matematika yang termuat adalah materi membilang, mengukur, dan oprasi hitung, penjumlahan dan perkalian.