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Indonesia is an archipelagic country that has a diversity of ethnic groups as well as a rich heritage of arts and culture. One form of art found is weaving with clove flower motifs. The purpose of this study is “The Application of Clove Flower Motif Weaving Technique on Ready to Wear.” The main material used is shoelaces, as a weaving material that is easy to shape and unique. The method applied is Research and Development (R&D), which includes: identifying potential and problems, data collection through literature study, observation, documentation, product design, design validation, to the process of making and evaluating the final product. The results of the study show that the clove flower motif weaving technique can be well applied to ready to wear, especially on the vest and pants parts, producing a modern fashion. Applying this technique requires high precision, especially in the process of arranging the weaving pattern and integrating it with the main material. This study is expected to serve as a reference in developing innovative designs. The conclusion of this research is that the weaving technique gives a unique and aesthetic impression on ready to wear. The suggestion for making woven products applied to ready to wear is that during the process of ironing glue on the weave, the heat should not be too high because the shoelace material is easily burned, and the ends of the weave should be burned to prevent fraying.

Embroidery is one of Indonesia’s traditional craft arts that has developed over time and continues to attract people from various social backgrounds. Embroidery techniques are commonly applied to fashion products as well as household items. The diversity of embroidery motifs and techniques provides aesthetic value and uniqueness to each product, making embroidery an important element in the development of the fashion industry. This opportunity can encourage students of the Fashion Design Program at AKS Ibu Kartini to develop their entrepreneurial potential through creativity in manual embroidery. This study employed a quantitative approach using multiple linear regression analysis as the data processing technique to determine the influence of internal factors on the entrepreneurial motivation of Fashion Design students at AKS Ibu Kartini. The research sample consisted of 65 respondents. The findings revealed that, simultaneously, the four independent variables had a significant effect on entrepreneurial motivation, with a coefficient of determination (R²) value of 0.910. This indicates that 91% of the variation in entrepreneurial motivation can be explained by technical knowledge (X1), technical skills (X2), creativity and innovation (X3), and entrepreneurial mindset (X4), while the remaining 9% is influenced by other factors outside this study. Partially, variables X1, X2, and X4 showed a positive and significant effect on entrepreneurial motivation, whereas X3 demonstrated a negative and significant effect. This finding indicates that creativity without market orientation may reduce students’ motivation to engage in entrepreneurship. The implications of this study emphasize the importance of improving students’ knowledge, skills, and entrepreneurial mindset. Furthermore, proper guidance is needed to ensure that students’ creativity and innovation are aligned with market demands in order to optimally enhance entrepreneurial motivation.

The study examines the symbolic meaning of the “Bread of Life” in John 6 through an exegetical-theological approach, using intertextual and narrative-semiotic perspectives. It uncovers the dynamics of Johannine Christological revelation, which moves from miracle as sign, through theological discourse, and culminates in the sacramental understanding of the Eucharist. The Gospel of John is read as a text that employs symbolism and patterns of misunderstanding to lead readers from a literal reading toward deeper faith in Jesus as the source of true life. In this framework, the “Bread of Life” functions not merely as metaphor but as a revelatory symbol integrating Christological, soteriological, and ecclesiological dimensions. Findings show that this symbol is rooted in Old Testament motifs such as manna, Exodus, and wisdom, reinterpreted Christologically in Jesus. The feeding miracle points beyond physical sustenance to divine revelation, culminating in the statement “I am the Bread of Life.” John 6:51b–58 intensifies this sacramental meaning, forming the basis for Eucharistic theology, where participation in Christ’s body and blood signifies existential communion with God. The study concludes that John integrates Christology and sacramental theology, portraying faith as movement from sign to reality, recognition to participation, and revelation to communion with Christ.

Batik motif classification has attracted growing attention in visual computing due to its role in cultural heritage preservation, textile informatics, museum documentation, and automated cataloging. Although many studies report high classification accuracy, robustness under real-world acquisition conditions remains insufficiently understood. Batik images are frequently affected by illumination variation, blur, folds, watermark overlays, wearable deformation, scale inconsistency, and background clutter, creating challenges that extend beyond conventional image-noise assumptions. Existing studies largely focus on improving classification performance, while the interactions among acquisition variability, feature representation, evaluation practice, and deployment constraints remain fragmented. This systematic literature review addresses this gap by synthesizing batik classification research through a robustness-aware perspective. Using query expansion, backward and forward citation chaining, relevance screening, and thematic coding, 116 candidate records were identified, resulting in 50 highly relevant studies for detailed analysis. The review reveals that robustness is shaped less by denoising alone than by the combined effects of acquisition conditions, representation design, evaluation realism, and deployment context. Handcrafted descriptors remain competitive for small datasets and structured motifs due to their data efficiency and interpretability, whereas deep learning models achieve the highest reported accuracy when supported by sufficient data diversity and realistic augmentation. Hybrid representations emerge as the most consistently balanced approach, combining local texture stability with higher-level abstraction across heterogeneous acquisition settings. The review further identifies recurring robustness failure patterns, including background dependency, illumination instability, motif-scale inconsistency, wearable deformation, and source-shift vulnerability. Based on these findings, a robustness-oriented research agenda is proposed, emphasizing cross-acquisition evaluation, representation-stability analysis, batik-specific robustness benchmarks, acquisition-aware augmentation, and deployable lightweight or hybrid architectures. The study contributes a domain-specific synthesis that reframes batik motif classification from an accuracy-centric task toward a robustness-aware visual recognition problem.

This community engagement initiative was prompted by students’ limited understanding of how to package local content into educational products with economic value, as well as the suboptimal integration of entrepreneurial values into teaching. The aim of this initiative is to foster an entrepreneurial spirit among students through edupreneurship, developed in the form of an exhibition based on local product. The method employed was the Participatory Action Research (PAR) approach, which involved students as active participants in the training, production, and marketing of local products, as well as in the organisation of the exhibition. The activity began with training on the basic concepts of edupreneurship, product packaging, and marketing strategies. The exhibition showcased various creative products such as food & beverage, eco bodycare, eco living style, and fashion accesories featuring local product motifs. This activity successfully enhanced students’ capacity for critical thinking, innovation, and productive collaboration. An entrepreneurship talk show held concurrently further strengthened students’ motivation and entrepreneurial insights. The results of the activity demonstrated that the management  exhibition effectively served as a medium for transforming local product such as food & beverage, eco bodycare, ecoliving style, fashion accesories learning into a contextual, practical, and economically valuable experience through the edupreneurship approach.

This study aims to describe students’ mathematical creative thinking skills through the use of Project-Based Learning (PBL)-based Student Worksheets (LKPD) on the topic of translation via a tessellation project. The study employed a quantitative descriptive approach supported by qualitative data in the form of documentation of students’ project outcomes. The research subjects consisted of 20 students divided into 10 groups. Data were collected through the assessment of tessellation projects and documentation of students’ work, which were analyzed based on indicators of mathematical creative thinking skills, namely fluency, flexibility, originality, and elaboration. The results of the study indicate that students were able to generate various ideas in designing tessellation patterns, employ diverse pattern-arrangement strategies, and develop works demonstrating a visual understanding of the concept of translation. Elaboration skills were evident in the development of details, neatness, and refinement of the works, while originality was evident in the variety of motifs and designs produced by each group. Project-based learning provided students with the opportunity to explore ideas, collaborate in groups, and connect mathematical concepts with tangible products. The implementation of Project-Based Learning (PBL) in local curriculum materials through a tessellation project also helps students understand the concept of translation more concretely through activities involving the design and creation of repeating patterns. Overall, this approach facilitates the development of students’ creative mathematical thinking skills regarding the topic of translation and provides a more active, meaningful, and student-centered learning experience.

Penelitian ini mengkaji tentang Analisis Semiotika Roland Barthes pada Tingkuluak patiak di Nagari Cupak. Latar belakang berlandaskan pada pentingnya pelestarian nilai budaya Minangkabau yang muncul dalam pakaian adat tradisional yakni tingkuluak patiak ditinjau dari segi bentuk, bahan, warna, dan motif sebagai simbol identitas perempuan khususnya bundo kanduang. Tujuannya adalah untuk mengungkap makna denotasi, konotasi, dan mitos yang terkandung serta menjelaskan fungsi simboliknya dalam prosesi pernikahan di Nagari Cupak. Penelitian ini menggunakan metode pendekatan kualitatif yang bersifat deskriptif dengan teknik pengumpulan data melalui pengamatan, wawancara, disertai dengan catatan lapangan terkait tingkuluak patiak. Hasil penelitian menunjukkan bahwa denotasi dari tingkuluak patiak merupakan penutup kepala yang digunakan oleh perempuan memiliki bentuk seperti kipas dengan lima lipatan mengembang di sisi kanan dan kiri terbuat dari kain lame kemudian diberi kanji agar tampak kokoh. Secara konotasi berdasarkan pada bentuk lipatan yang ada di tingkuluak patiak mencerminkan simbol identitas masyarakat dengan adanya lima suku yang mendiami wilayah Nagari Cupak. Mitosnya, tingkuluak patiak dimaknai sebagai ideologi yang hidup dalam masyarakat dengan adanya penghormatan terhadap leluhur yang dianggap oleh masyarakat setempat. Tingkuluak patiak digunakan hanya saat menjalani prosesi pernikahan yang berfungsi sebagai penanda status dan kehormatan serta menegaskan peran bagi mande rubiah dan bundo kanduang di Nagari Cupak.

Textile motifs are works that employ designs created through various techniques. One method of creating textile motifs is the gesek godong technique. This technique is a traditional method in textile design that uniquely uses dried leaves as natural materials to transfer leaf patterns. In this study, the gesek godong technique will be developed using different tools: a wooden rolling pin, a wooden cutting board, and PVC pipe. This study aims to explore the creation of innovative and creative textile motifs using the gesek godong technique. It also seeks to understand the process of creating textile motifs through the gesek godong method using the 4D R&D approach. The findings show that the gesek godong technique can be used to create unique and appealing textile motifs, using leaves as the primary material and different rubbing tools such as a wooden rolling pin, wooden cutting board, and PVC pipe. In addition, this study also discusses how to use each of the rubbing tools. The results from each tool show distinct outcomes, each producing motifs with their own unique quality. In applying the gesek godong technique, one can also select leaves with thick veins to achieve well-defined motifs. In addition to using leaves with thick veins, the coloring technique should avoid excess moisture, so the dye does not spread too much.

Students with deaf disabilities often have difficulty understanding verbal instruction, but have significant advantages in visual and motor aspects. This service activity aims to apply multisensory methods through Suminagashi craft art training (cloth marbling) to improve students' fine motor skills and creativity at SLB B Yakut Purwokerto. The implementation method uses a descriptive qualitative approach with a "see-learn-do" strategy involving 20 high school students. The learning process integrates visual stimulation through structured demonstrations and tactile stimulation through the exploration of material textures. The results of the activity showed that the multisensory approach was effective in bridging the barriers of deaf students with disabilities in communicating due to hearing limitations. Students demonstrate a high level of visual focus and are able to replicate marble motif making techniques with precision without relying on complex verbal explanations. The combination of cue instructions and direct touch experiences has been proven to minimize miscommunication and improve understanding of abstract concepts of the material. This activity recommends the use of visual-tactile strategies as an adaptive inclusive learning method to support the vocational independence of deaf people.          

This research aims to recontextualize the local wisdom embedded in the visual culture of the Muara Jambi Temple through the development of folklore-inspired batik motif designs. As a traditional Indonesian textile craft, batik serves not only functional purposes but alsp embodies profound cultural values and indigenous knowledge systems. Batik as a medium of cultural expression that invites multidimensional interpretaion within both practical and theoretical academic discourses. Its visual strength lies in the richness of colors, ornaments, and symbolic elements, which generate diverse interpretative meanings. These interpretations subsequently shape value systems that function as guiding principles in the everyday lives of Indonesian communities. The research used an experimental design method integrated with computer vision techniques to generate distinctive folklore batik motifs rooted in the cultural heritage of Muara Jambi, Sumatra. The research results are the creation of a Muara Jambi folklore batik motif that represents cultural expression, resilience, and continuity through the preservation of traditional patterns and environmentally conscious practices within the Jambi community. The transformation of motifs derived from artifacts from the Muara Jambi temple complex, serves as a primary source of inspiration for contemporary folklore batik design. The application of computer vision in the batik design process constitutes a form of sustainable digital innovation, facilitating the preservation, reinterpretation, and adaptive transformation of traditional visual heritage.

This MBKM program aims to develop innovative woven textile designs in Laranwutun Village, Ile Ape District, Lembata Regency, as an effort to enhance the economic value of local products through the utilization of digital marketing based on Facebook. Laranwutun Village possesses significant potential in traditional ikat weaving; however, artisans still face challenges in design development and rely on conventional marketing practices. The program was implemented over a two-month period involving MBKM students, local weavers, and MSME actors. The implementation methods included mentoring in creating innovative textile designs by combining traditional motifs with modern color trends, product photography training, and training on the use of Facebook for promotion and sales. The results indicate an improvement in artisans’ ability to create new designs, enhanced product visual quality, and expanded digital marketing reach. Following the training, five artisans actively utilized Facebook as a promotional medium and successfully received orders from outside the region.Overall, this MBKM activity contributes to strengthening the creative economy based on local culture and enhancing the independence of woven-textile entrepreneurs in Laranwutun Village through accessible and sustainable digital technology utilization.

Teaching plane geometry often faces challenges due to the abstract nature of geometric concepts, which are often detached from students’ real-life contexts. This study is a development research (Research and Development) using a modified 4D model reduced to 3D (Define, Design, Develop) aimed at producing and testing the validity of a Student Worksheet based on ethnomathematics with Batik Sekundang motifs on plane geometry material oriented toward Contextual Teaching and Learning (CTL). Validation was conducted by two mathematics education experts who assessed the feasibility of content/material, media, and language/readability using a Likert scale instrument. The data were analyzed quantitatively in a descriptive manner using percentage formulas to determine the level of validity. The results showed that the student worksheet obtained a validity percentage of 87.50% in content feasibility (very valid), 80.76% in media (valid), and 87.50% in language (very valid), with an overall average of 85.25%, which falls into the very valid category. Based on these results, the ethnomathematics-based student worksheet with Batik Sekundang motifs is declared suitable to be used as a supporting teaching material for contextual and meaningful plane geometry learning for students in South Bengkulu.

This research aimed to revitalize Mosau' Dance, a nearly extinct traditional dance from Bolaang Mongondow, through the creation of a new work entitled Sinungkudan Dance. Mosau' Dance is a celebratory dance of post-war warriors whose existence is currently fading in the Bolaang Mongondow region due to a lack of regeneration and the influence of modernization. This research employed a descriptive qualitative approach with a focus on choreographic analysis. The revitalization process was carried out through four stages: exploration, reconstruction, reinterpretation, and reactualization. The results indicate that revitalization through the creation of Sinungkudan Dance successfully provided a "new breath" for the local tradition of Bolaang Mongondow. Choreographically. Sinungkudan Dance consisted of eight movement variations, combining three original Mosau' movement motifs (such as joyful leaps) with five newly created movements that depicted narratives of warrior life (Bogani), ranging from weapon sharpening and physical training to the atmosphere of warfare. The choreographic structure was supported by nine symbolic floor patterns, the use of the tungkudon (spear) as a prop, and digital musical accompaniment that blended traditional rhythms with modern instruments such as the flute and snare drum. In conclusion, through more visually and kinetically attractive innovations, the values of leadership and resilience embodied in Mosau' Dance were able to be transmitted to younger generations as a proud cultural identity for the people of Bolaang Mongondow.

This study aims to identify and analyze forms of social pathology in Haruki Murakami’s The Wind-Up Bird Chronicle. Employing a qualitative content analysis approach, the research examines how historical violence and trauma, abuse of power, and existential alienation are represented through the novel’s narrative structure, characters, and symbolic elements. The findings indicate that these three categories are interconnected, forming a systemic pattern of social dysfunction rooted in institutional failure, historical memory, and individual psychological pressure. The depiction of war highlights collective trauma, while both physical and symbolic forms of domination illustrate distorted power relations. Furthermore, the motif of alienation reflects the psychological consequences of social instability and disrupted interpersonal bonds. The study aligns with previous research on trauma and deviance in Murakami’s works and strengthens the view of literature as a critical medium for reflecting modern social conditions.

This study reinterprets Kakawin Panca Dharma through Carl Gustav Jung’s analytical psychology, viewing kalepasan (liberation) as a symbolic manifestation of the poet’s (kawi’s) inner transformation through the process of individuation. While previous studies have treated Kakawin Panca Dharma as a theological or ethical text, this paper argues that the discourse of kalepasan reflects archetypal structures of the psyche—shadow, anima, and Self—within the creative process of the kawi-wiku. Through a qualitative hermeneutic method integrating philological reading and Jungian symbolic interpretation, this research uncovers how motifs of silence (sunya), detachment (putus), and purification (wimala) embody stages of psychological transformation. The findings reveal that Kakawin Panca Dharma serves as a “temple of language,” where poetic creation functions as an act of active imagination, integrating conscious and unconscious dimensions of the self. Liberation thus signifies not only spiritual transcendence but psychological wholeness—the realization of the Self archetype.  

This community service activity aims to enhance students’ literacy through the application of ecoprint as an environmentally based creative learning medium at MAT Daarut Tahfidz Al-Ikhlas Banda Aceh. This program was motivated by the limited utilization of practice-based art activities as a means of strengthening students’ literacy. The implementation method employed a participatory-educative approach consisting of material socialization, ecoprint technique demonstrations, group-based hands-on practice, reflective discussions, and activity evaluation. The results indicate that students were able to understand the concepts and stages of ecoprint, produce works with various natural motifs, and demonstrate improvements in visual literacy and creativity. In addition, the activity increased students’ awareness of the use of natural materials and the importance of environmental friendly practices. Group-based activities also encouraged the development of social literacy through collaboration and communication among participants. Therefore, ecoprint can be considered an effective and contextual alternative learning medium to support the enhancement of students’ literacy in the school environment and has the potential to be sustainably developed.

. Eco-print is a technique for printing leaf and flower motifs on fabric by utilizing natural materials derived from the surrounding environment. This technique is not only environmentally friendly but also encourages artistic exploration and the sustainable use of natural resources in art education. The method applied in this activity is a project-based learning approach, in which students are actively and collaboratively involved throughout the entire process of artistic creation. The learning stages include the introduction of eco-print concepts, the collection and selection of natural materials, color experimentation, the motif printing process, and the presentation and reflection of the final artworks. The results indicate that students experience improvements in creativity, particularly in imaginative ability, willingness to experiment, problem-solving skills, and aesthetic sensitivity to form and color. In addition, this learning activity contributes to strengthening environmental awareness, care for nature, and the introduction of local wisdom through the use of natural materials. Therefore, the implementation of eco-print and natural dye art has proven to be an effective and innovative learning medium that supports the holistic development of students’ creativity, character, and environmental awareness.

The 2025 UINSU Community Service Program research in Sempajaya Village was carried out through training in making ecoprint tote bags as an effort to develop creativity while strengthening the economic literacy of elementary school children. This activity utilized natural materials such as leaves and flowers commonly found in the village environment, so that children could learn to recognize the potential of their natural surroundings as a source of creative works with practical and economic value. The training was conducted in three main stages: preparation, implementation, and reflection. During the implementation stage, children were introduced to the concept of ecoprinting, pounding techniques, and the steps involved in making ecoprinted tote bags through lectures, question and answer sessions, and hands-on practice. The results of the activity showed an increase in the participants' creativity, as evident in their ability to arrange motifs, select natural materials, and produce tote bags with attractive patterns. In addition, this activity also fostered a basic understanding of the economic value of creative products, thereby supporting the formation of independence and an entrepreneurial spirit from an early age. The reflection stage showed that the children were able to identify the process, benefits, and challenges they faced. Thus, ecoprint tote bags proved to be an effective educational tool in integrating creativity, economic literacy, and love for the environment for the children of Sempajaya Village.

Islamic architecture in the archipelago cannot be understood as simply a transfer of physical forms from the Middle East to Southeast Asia. It is the result of a deep cultural dialogue between universal Islamic principles and local wisdom that has been formed since pre-Islamic times. When Islam spread in the archipelago, it did not exist as a force that negates Hindu, Buddhist, and vernacular traditions, but rather proceeded through visual and structural synthesis that gave birth to a distinctive and hybrid Islamic architectural identity. One of the most iconic manifestations of this process is the use of overlapping roofs in historic mosques such as the Great Mosque of Demak and the Great Mosque of Banten. Different from typical Persian or Mediterranean stone domes, this multi-storey wooden structure is inspired by the concept of Meru in Hindu-Javanese architecture. The choice is not only symbolic, but also a functional adaptation to the tropical climate, as it allows for efficient rainwater disposal as well as optimal natural ventilation. Spatially, the placement of mosques follows the concept of Catur Gatra Tunggal, which is the integration of mosques with squares, government centers, and markets. This pattern reflects the integration between the spiritual, political, and economic life of the community. In the interior, the use of Saka Guru shows the appointment of local construction techniques as the main element of worship buildings. Aspects of syncretism are also seen in ornamentation, where pre-Islamic figurative motifs are transformed into flora and calligraphy patterns that are in harmony with the principles of Islamic aniconism. Thus, the archipelago's Islamic architecture represents Islam as an inclusive and contextual force that is able to process local traditions into a sustainable new identity.

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