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This article examines umpasa as the determinant of the validity of the Mangalahat Horbo ritual and as a vehicle for transmitting the cultural values of the Batak Toba people from an anthropolinguistic perspective. Mangalahat Horbo is a buffalo sacrifice ritual that functions simultaneously as a cosmological, political, and linguistic event. This study employs a descriptive qualitative approach using three theoretical frameworks: Dell Hymes' (1974) SPEAKING model to analyze the ritual as a speech event, Roland Barthes' (1968) semiotics to dissect the denotative and connotative meanings of umpasa, and Kluckhohn's (1953) theory of cultural values and Sibarani's (2014) local wisdom theory to identify embedded cultural values. The findings reveal that umpasa operates on three simultaneous layers of meaning: pragmatic-performative, social-hierarchical, and cosmological-ecological. Umpasa is not merely an aesthetic ornament but a constitutive element of the ritual that shapes the social and cosmological reality of the Bius community. Eight cultural values are identified: communicative courtesy, adat knowledge transmission, self-restraint, collective responsibility, cultural preservation, cosmological reciprocity, distributive justice, and ecological harmony. This study affirms the urgency of anthropolinguistic documentation of Mangalahat Horbo before the Parhata masters of umpasa diminish further.

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.

Penelitian ini mengkaji identitas visual merek Pia Saronde—salah satu produk kuliner khas Gorontalo—dengan menggunakan pendekatan semiotika yang berlandaskan teori Roland Barthes. Sebagai salah satu UMKM yang bergerak di sektor pangan, merek ini sangat bergantung pada peran logo untuk membentuk persepsi konsumen, memperkuat posisi merek, serta membedakannya dari produk lain dalam persaingan pasar. Penelitian ini bertujuan menelaah struktur visual yang membentuk logo, menginterpretasikan makna denotatif dan konotatif yang muncul, serta menilai sejauh mana logo tersebut mampu merepresentasikan nilai-nilai budaya lokal. Penelitian ini menggunakan metode deskriptif kualitatif dengan memadukan pengamatan visual terhadap logo dan kajian pustaka yang relevan. Hasil analisis menunjukkan bahwa kombinasi warna kuning dan coklat pada logo mampu menimbulkan kesan hangat, manis, dan menggugah selera, sedangkan bentuk tipografi yang melengkung menghadirkan citra tradisional, akrab, dan bernuansa rumahan. Selain itu, penggunaan nama “Saronde” menciptakan hubungan simbolis dengan Pulau Saronde yang terkenal, sehingga memperkuat keterikatan merek terhadap identitas daerah. Secara keseluruhan, temuan penelitian ini menunjukkan bahwa logo tersebut berhasil mengomunikasikan keterkaitan budaya dan citra kuliner yang diusung produk. Meskipun demikian, penelitian ini merekomendasikan adanya pengembangan pada beberapa elemen simbolik dan peningkatan adaptasi visual untuk kebutuhan media digital guna memperkuat daya saing merek.

This study aims to describe the characteristics of AIESEC Future Leaders (AFL) promotional content on the Instagram account @aiesecupnvy using a descriptive qualitative approach and Charles Sanders Peirce's semiotic analysis. Promotional content was chosen as the focus of the research because it plays a crucial role in building audience interest and understanding of the self-development programs offered. The research results indicate that AIESEC UPNVY utilizes several types of visual and verbal signs designed to attract attention and build emotional closeness with its target audience, namely students and young people. Content highlighting program benefits, testimonials from previous participants in the form of single words, expressions of delegates' happiness, and symbolic videos about togetherness proved effective in creating social proof and strengthening AFL's image as a program that provides valuable experiences. This strategy aligns with the AIDA principle, where each piece of content is designed to attract attention, generate interest, cultivate desire, and encourage registration action. Additionally, using a cutting-edge approach thru creative visuals, short narratives, and authentic content strengthens the promotional appeal on digital platforms. Overall, this study concludes that the AFL promotional content has been strategically and innovatively crafted, enabling it to enhance the effectiveness of marketing communication and help strengthen audience engagement with the program.

This study analyzes how the aspirations of a single mother are depicted in the music video "Nina" by Feast. The video portrays the social reality of contemporary women, shedding light on their struggles and aspirations. Using a qualitative approach and Ferdinand de Saussure's semiotics, this research examines the relationship between signifiers and signifieds in both audio-visual and narrative media. The analysis reveals that the aspirations of single mothers are depicted through various symbols, including dialogue and key expressions, which represent the conflict between personal dreams and responsibilities. The music video captures the themes of independence, determination, and sacrifice, as the single mother navigates her roles within society and family. The video emphasizes the internal and external struggles of women as they strive to balance their dreams with the demands of daily life. Ultimately, the study demonstrates how media can reflect and amplify the personal and social dynamics of women, particularly single mothers, in the context of contemporary challenges.

This study aims to analyze the meaning of the message in Pertamina’s advertisement “Gerakan Kebaikan Lampaui Batasan” (Movement of Kindness Beyond Limits) using Charles Sanders Peirce’s semiotic theory, which consists of three main elements: representamen (sign), object, and interpretant. The advertisement features various social and visual actions that reflect the spirit of kindness, inclusivity, and care for others. Through the analysis of visual signs such as gestures, facial expressions, and symbols of solidarity, the study reveals that Pertamina seeks to build a positive corporate image through a strong humanitarian message. The signs used in the advertisement convey the importance of empathy, social collaboration, and respect for diversity. The advertisement not only promotes the brand but also functions as an educational tool, instilling moral and social values in the audience. By using Peirce’s semiotics, this research uncovers the deeper meanings embedded in the advertisement’s visual elements, demonstrating how the company connects with society through values that transcend business objectives.

Music and song lyrics serve as a means of self-expression capable of conveying messages, feelings, and representing a person's self-concept in the face of reality and social expectations. This research focuses on a semiotic analysis of the lyrics of the song "Mengenal Lebih Jauh" by Nuca to identify the representation of self-concept and individual understanding of themselves amidst complex social demands. This research aims to reveal an analysis of self-concept representation in the lyrics of the song "Mengenal Lebih Jauh" by Nuca. Using Ferdinand de Saussure's semiotic analysis approach, the researcher attempts to uncover the meaning within the lyrics of the song "Mengenal Lebih Jauh." The results of this study reveal that the lyrics of the song "Mengenal Lebih Jauh" by Nuca contain a relationship between the signified and the signifier. The lyrics of this song are not just a beautiful sequence of words, but also a form of communication that expresses very human feelings and emotional experiences. The lyrics from the first to the sixth stanzas are a series of stories that depict a person's journey in understanding themselves and others.

This research aims to examine how betrayal is represented in the film The Last Supper (2025). The study employs a qualitative approach using John Fiske’s semiotic theory, which focuses on three levels of codes: reality, representation, and ideology. Data were collected through visual observation of the film’s scenes and analyzed to identify signs and underlying meanings within the actions of the characters. The findings reveal a total of nine betrayal scenes, segmented into 52 image shots that were analyzed in depth. These scenes primarily depict the betrayals committed by Judas Iscariot and Peter against Jesus Christ. The analysis shows that betrayal is not merely presented as a dramatic motif but is constructed as an ideological representation that reflects power relations, social pressure, and human moral dilemmas. The film serves as a cultural text that constructs meaning through visual symbols, gestures, expressions, and dialogue. As such, it can be interpreted as a form of social criticism against systems of power that influence individual behavior. Therefore, the film functions not only as entertainment but also as a discursive space that voices fundamental human issues.

The rapid growth of digital technology has significantly transformed the way children access entertainment, particularly through streaming platforms such as Netflix. One popular animated series, Masha and The Bear, especially the episode “Tracks of Unknown Animals,” presents rich visual symbolism suitable for analysis through a semiotic approach. This study applies Sigmund Freud’s psychoanalytic theory, focusing on the concept of the superego, to examine the character of the Bear, who demonstrates patience, protectiveness, and tolerance toward Masha’s curiosity-driven behavior. The main objective of this research is to reveal how the representation of the superego is embodied through the Bear’s actions and responses in various challenging situations. The semiotic analysis interprets visual signs, expressions, and character interactions within the narrative. The findings indicate that the Bear serves as a moral figure representing the function of the superego in controlling Masha’s impulses and behavior. Therefore, this animated film not only provides entertainment but also conveys moral messages that reflect psychological and educational values for its audience.

This study analyzes the representation of the meaning of strong women in the main character, Tari, in the film Bolehkah Sekali Saja Ku Menangis using Roland Barthes' semiotic theory. The film emotionally depicts Tari’s life journey, from psychological pressure and harsh treatment within the family to the long process of rediscovering her true identity. Despite emotional wounds, Tari shows resilience and strength to rise. This study aims to identify how the meaning of a strong woman is constructed through cinematic elements such as visuals, dialogues, body expressions, and symbols in the film. Using a qualitative approach with Barthes' semiotic theory, the analysis focuses on the relationship between signs, denotative meaning, and connotative meaning in key scenes. Data was collected through in-depth observation and sign analysis of scenes that portray Tari's struggle, perseverance, and emotional transformation. The findings show that Tari represents a strong woman not only through physical endurance but also emotional resilience, self-empowerment, mental health awareness, and the courage to seek support. The film delivers a message about the importance of mental strength and women's courage in fighting for their rights and freedom. This study is expected to enrich the study of the representation of strong women in the media.

The Ciomas Golok is one of Banten’s intangible cultural heritage items, carrying profound historical, philosophical, and social meaning. More than a traditional weapon, it represents identity, honor, and the spirit of resistance against colonial rule. This study explores the origins and genealogy of the Ciomas Golok, analyzes the philosophy of “grip strength” encompassing physical, mental, and spiritual dimensions, and explains its role as a symbol of honor within Banten society. The research also examines its transformation in the modern era and compares it with other traditional weapons in the Nusantara and abroad. A qualitative method with a cultural ethnographic framework was applied. The research took place in Ciomas District, Serang Regency, as well as in museums, traditional markets, and cultural festivals. Data collection involved participant observation, in-depth interviews with blacksmith masters, community leaders, cultural figures, and youth, supported by literature documentation. Data analysis employed semiotics and symbolic anthropology, with validity maintained through triangulation of sources, methods, and theories. Findings show that the Ciomas Golok dates back to the Banten Sultanate era, evolving from an agricultural tool and weapon of resistance into a cultural artifact and creative economic commodity. The philosophy of “grip strength” highlights holistic values the golok as a symbol of honor, responsibility, and solidarity. Its continuing presence underscores the urgency of preservation. The study concludes that safeguarding the Ciomas Golok requires collaboration among blacksmiths, local communities, government, and academics to ensure its ongoing relevance as both a cultural emblem and an expression of Indonesian national identity.

Film and television play a central role in shaping and representing the cultural identity of society. Through artistic expertise manifested by directors, screenwriters, actors, cinematographers, and producers, cultural construction is presented not only as entertainment but also as a social discourse that reflects values, traditions, and the dynamics of collective identity. This study aims to analyze how artistic expertise contributes to constructing cultural identity representation through film and television mediums in Indonesia. The research methodology used is qualitative, employing content analysis and semiotics approaches on selected Indonesian films and TV series that highlight cultural aspects, such as Losmen Bu Broto and Gadis Kretek. These works were chosen because they feature rich local culture while reflecting the role of culture in the dynamics of Indonesian society. The findings indicate that artistic expertise plays a crucial role in constructing cultural representation, both through narrative, visual elements, music, and actors' performances. The representations produced not only affirm local and national identities but also reflect the process of cultural negotiation with global influences. This study underscores that film and television serve as strategic media for cultural diplomacy and the formation of collective identity awareness in Indonesian society. Through this process, these mediums contribute to the preservation of local culture amidst global cultural flows. The research highlights the importance of film and television as tools for maintaining and constructing cultural identity, where local traditions and values are both preserved and adapted to the changing global landscape.   

This study aims to reveal the representation of adolescents’ emotional crisis in the music video 0X1=LOVESONG (I Know I Love You) by the South Korean boy group TOMORROW X TOGETHER. Using Roland Barthes’ semiotic approach, the research analyzes the denotative, connotative, and mythical meanings of the visual elements presented in the music video. The main focus is on how emotional crises such as loneliness, instability, alienation, and inner escape are represented through visual symbols such as a dark and messy room, a burning car, and a character standing alone in an open field. The research employed a qualitative descriptive method with a critical paradigm, analyzing eight key scenes in the music video that most strongly depict emotional struggles. The scenes were selected based on their symbolic intensity and relevance to adolescent psychological issues. Data analysis was conducted by interpreting visual signs through Barthes’ concepts of denotation, connotation, and myth. The findings reveal that the music video symbolically narrates the psychological struggles of adolescents who are not only physically isolated but also emotionally detached. The visual symbols construct new meanings that represent the social reality of modern youth, burdened by environmental pressures, societal expectations, and the quest for self-identity. Through the myths it creates, the music video functions not only as a medium of entertainment but also as a reflection and critique of adolescents’ psychological vulnerability. Thus, this study contributes to the understanding of emotional representation in popular media, particularly in audio-visual forms such as music videos, while enriching perspectives on how media constructs the narrative of adolescent emotional crises.

This study discusses how the application of media wealth by MTA TV's public relations in delivering da’wah messages through Instagram flyers on @mtatv_official in the period of 2021-2025. The research employed a descriptive qualitative approach with Roland Barthes' semiotic analysis, focusing on denotation, connotation, and myths. The findings reveal that MTA TV has effectively implemented four key elements of media wealth—signal diversity, language variations, personal sources, and regardless—through its use of Instagram flyers. These elements are designed to enhance the communication process, making the messages more engaging and accessible to the audience. The da’wah messages conveyed through the flyers are interpreted by the audience in three primary categories: invitation (76.67%), motivation (16.67%), and solidarity (6.67%). The majority of the audience interprets the messages as invitations to join or engage in religious activities, highlighting the importance of outreach and engagement in MTA TV's approach. The motivational aspect encourages positive actions and attitudes towards religious teachings, while solidarity, though less prevalent, emphasizes the sense of community and support within the Muslim audience. The use of media wealth on social media platforms like Instagram is shown to increase the effectiveness of da’wah messages by making them more visually appealing, interactive, and relatable to a wide audience. This study suggests that employing rich media content, such as Instagram flyers, can play a vital role in enhancing the reach and impact of religious communication. It also underscores the importance of understanding the semiotic elements in shaping how messages are interpreted by different segments of the audience, making it a valuable tool for religious organizations aiming to modernize their communication strategies.

This study aims to uncover the meaning of loyalty and sacrifice in the lyrics of the song "Sumpah dan Cinta Matiku" by Nidji through Roland Barthes' semiotic approach. The analysis is conducted at three levels of meaning, namely denotative, connotative, and myth, to understand how song lyrics form emotional messages as well as ideologies in Indonesian popular culture. At the denotative level, a literal meaning is found regarding the pledge of loyalty and commitment of love between two people who are emotionally bound to each other. The connotative level displays emotional and cultural meanings in the form of a willingness to sacrifice and steadfastness in maintaining love, which is often depicted as a heroic and struggle-filled act. Meanwhile, at the mythical level, this song brings up the ideology of romantic love that is absolute, eternal, and demands unconditional sacrifice, as often found in love narratives in other popular media. Lyrics such as "Sumpah mati hanya kau yang kucinta" and "Meski badanku has become one with the ground, cintaku tetap hidup bagi bagi" reflect the cultural construction that true love must be proven by suffering, extreme loyalty, and even sacrifice of life. This meaning emphasizes that love is not merely an emotional connection, but a form of total devotion that cannot be shaken by any circumstances. This song indirectly instills the idea that love means being willing to lose everything, including one's life, to maintain that love. The results of this study indicate that these songs not only convey personal messages of love but also play a role in shaping and perpetuating the myth of love in society. This finding is reinforced by various previous studies that state that popular music plays a role as a medium for reproducing cultural values, particularly regarding idealized, sacrificial, and irrational love.

family conflict is portrayed in the film Uang Panai Maha(R)l 2 using Roland Barthes' semiotic framework. The film reflects the social reality of the Bugis-Makassar community, which highly upholds cultural values, particularly regarding arranged marriage, family honor, and the significant role of parents in their children's lives. The main objective of this research is to understand how family conflict is represented through visible and spoken symbols within the film’s narrative. This research employs a descriptive qualitative method by analyzing semiotic elements in several scenes that depict conflict, such as forced marriage, intergenerational differences, and the pressure of tradition against personal desires. The analysis is conducted through the three levels of meaning proposed by Barthes: denotation, connotation, and myth. The results show that Uang Panai Maha(R)l 2 illustrates the tension between traditional values and modern realities, which still occur within family life in Indonesia.

The objective of this investigation is to describe the semiotics of the ornaments found on the traditional Karo house known as Siwaluh Jabu in the cultural village of Lingga. A descriptive-qualitative method was employed in this study. The theoretical framework was based on the semiotic theory of Charles Sanders Peirce. The data were collected through observation, interviews, and documentation. The primary data consist of ornaments located on the exterior parts of the Siwaluh Jabu house. The investigation was conducted in the cultural village of Lingga, located in the Karo Regency, North Sumatra. The findings reveal the presence of various ornaments on the Siwaluh Jabu house, including: (1) buffalo horn, (2) Kudin Taneh, (3) Lumut-Lumut Lawit, (4) Ipen-ipen, (5) Pengret-ret, (6) Pantil Manggis, (7) Bunga Bincole, (8) Pucuk Merbung, (9) Embun Sikawiten, (10) Bindu Matagah, (11) Tapak Raja Sulaiman, (12) Cimba Lau Tutup Dadu, (13) Bindu Matogoh, (14) Teger Tudung, (15) Dapur-dapur, (16) Cuping-cuping, and (17) Taruk-taruk. Each ornament is imbued with symbolic meaning, which is closely connected to the culture, religion, and social structure of the Karo community.

The term overthinking has become part of the everyday vocabulary among Generation Z, reflecting a tendency toward excessive deliberation in ordinary situations, including choosing food. The “Overthinking” advertisement by GoFood presents a compelling visual representation of this dilemma through metaphorical symbols such as a talking forehead, piles of clocks, and zodiac characters that construct a complex visual narrative of indecision. This study aims to examine how symptoms of overthinking are visually represented in the advertisement using Roland Barthes’ semiotic approach. The research employed a qualitative method, utilizing observation and documentation techniques to analyze visual structures across scenes. The findings reveal that the advertisement conveys its message through denotative, connotative, and myth-based signs, illustrating how Generation Z interprets the burden of choice in a digital cultural context. The results demonstrate how visual communication strategies can foster empathy while offering solutions to the everyday anxieties of a young audience. This study contributes to the development of visual semiotics discourse in the field of visual communication design and offers insights for advertising practices grounded in social issues.

This study aims to analyze the visual meaning in the anime film poster Suzume using the visual semiotics approach by Kress and van Leeuwen, supported by Adi Kusrianto’s visual communication theory and Rustan’s visual elements. The research employs a qualitative descriptive method, focusing on typography, illustration, color, and layout. The findings show that the Suzume poster conveys a profound message through the combination of visual elements and semiotic structure. The transitional serif typography creates a classic and serious impression. The illustrations depict the main characters and symbols such as the door and chair, representing themes of journey, disaster, and personal growth. Dominant colors like blue, orange, white, and green evoke specific emotions and strengthen the visual message. The analysis based on visual metafunctions reveals that, representationally, the poster portrays the protagonist's mission to close disaster-causing doors. Interpersonally, it builds an emotional connection through the characters’ expressions and gestures. Compositionally, it demonstrates effective visual balance. In conclusion, the Suzume poster successfully conveys the film’s thematic message through strong and communicative visual design.  

This research uses a qualitative method with Roland Barthes’ semiotic analysis approach to examine the meanings of visual and narrative signs in the 2025 Marjan Ramadan commercial. This advertisement was selected due to its rich symbolic elements and its significant role in shaping public perception and emotion during the holy month. Utilizing Barthes’ concepts of denotation, connotation, and myth, this study aims to uncover hidden meanings behind visual elements such as colors, lighting, character gestures, and storyline narration. Preliminary findings indicate that the Marjan advertisement not only promotes a syrup product but also encapsulates values of togetherness, tradition, and religiosity through cinematic visuals. Symbols like family dining tables, drums (bedug), and twilight lighting are interpreted as modern myths portraying an idealized Ramadan that is warm and harmonious. Therefore, this advertisement can be viewed as a form of cultural communication that conveys ideological messages through visual symbols familiar to Indonesian society.