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<![CDATA[DIPLOMASI ORANGUTAN MALAYSIA DALAM PERSPEKTIF EKOLOGI BUDAYA: SEBUAH TINJAUAN KRITIS TERHADAP IMPLIKASI EKSPANSI KELAPA SAWIT ]]>
<![CDATA[Abimanyu, Akhdiat Dimas]]>
<![CDATA[ Multikultura Vol. 5, No. 1 ]]>
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<![CDATA[This study examines the phenomenon of Malaysia's orangutan diplomacy as part of public diplomacy and cultural diplomacy in the face of international pressure on the palm oil industry, particularly from the European Union. Inspired by animal diplomacy practices such as China's panda diplomacy, Malaysia in 2024 initiated a plan to make the orangutan a diplomatic symbol to build a positive image and strengthen trade relations with partner countries. This study uses a qualitative descriptive approach with a literature review method that utilizes academic sources, policy documents, non-profit organization reports, and mass and social media. The analysis is conducted through a cultural ecology perspective to understand the relationship between economic and political interests, diplomatic practices, and their impact on the ecology and local communities. The results of the study indicate that orangutan diplomacy has the potential to reduce the animal to a symbolic instrument of the state, while simultaneously obscuring structural problems such as deforestation and the expansion of oil palm plantations that threaten the orangutan's natural habitat. Objections from various conservation organizations state that without a strong commitment to in situ conservation and forest ecosystem protection, this diplomacy tends to be symbolic and counterproductive. This article argues that animal diplomacy should not be separated from ecological and cultural responsibilities, especially in the context of environmental ecosystems and the relationship between people and animals as part of a shared ecological system.]]>
<![CDATA[HIRARKI RUANG CANDI KEDATON MUARA JAMBI ]]>
<![CDATA[Parama Putri, Kirana Anindita]]>
<![CDATA[ Multikultura Vol. 5, No. 1 ]]>
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<![CDATA[Kedaton Temple is one of the temples located in the Muara Jambi Temple Complex. Kedaton Temple, like most other temples in this temple complex, is composed of several rooms. Kedaton Temple in the Muara Jambi Temple Complex is considered the largest temple there. In addition, Kedaton Temple is composed of 14 rooms. The large number of rooms raises the question of how the existing spatial hierarchy is seen from the concept of Buddhist Cosmology. This research was conducted by conducting a literature study and analyzed using spatial analysis. The literature study was carried out by collecting sources such as books, journals, theses, and other written works related to the research material. The approach used is an archaeological and architectural approach. The archaeological approach is used to provide an interpretation of the temple building that will be linked to Buddhist cosmology, while the architectural approach is carried out by analyzing the spaces that make up Kedaton Temple. The results obtained are the hierarchy of Kedaton Temple is composed of three parts, namely the core courtyard, the middle courtyard, and the outer courtyard. The inner courtyard can be considered a sacred space, the middle courtyard is a semi-sacred space, and the outer courtyard is a profane space.]]>
<![CDATA[FUNGSI GAMBAR TIFA PADA DINDING GUA AFOEM DAN GUA YADUMBLU DI KEEROM – PAPUA, KAJIAN ETNOARKEOLOGI ]]>
<![CDATA[Fairyo, Klementin, Miss]]>
<![CDATA[ Multikultura Vol. 5, No. 1 ]]>
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<![CDATA[This article discusses the function of Tifa drawings on the walls of Afoem cave in Nowai Hamlet and Tifa drawings on the walls of Yadumblu cave in Indangan Hamlet, Yuruf – Amgotro Village, Yaffi District, Keerom Regency - Papua. The Tifa is a traditional musical instrument of the Papuan people; this instrument is an ancestral cultural heritage. The Tifa serves as a cultural artifact and the cultural identity of the Papuan people. The research method is descriptive qualitative, and the topic study uses an ethnoarchaeological approach. The research stages include data collection through literature review, archaeological research reports, books, journals, photo documentation, drawings, and internet data searches. Data processing consists of the analysis of the form and placement of the Tifa drawings on the cave walls and data interpretation. Data interpretation uses an ethnoarchaeological approach, namely conducting an analogical study of Tifa ethnographic data within current community activities. The results of this study indicate that the Tifa drawings on the walls of Afoem cave and the Tifa drawings on the walls of Yadumblu cave function as symbols of the musical instrument accompanying the heru ritual (feast of life and death) and as symbols of male identity.]]>
<![CDATA[KEMAMPUAN MAHASISWA PROGRAM STUDI BELANDA SEMESTER KEEMPAT TAHUN AJARAN 2024/2025 DALAM MENYUSUN URUTAN ELEMEN <i>REST</i> ]]>
<![CDATA[Batista, Daniel Renanda]]>;
<![CDATA[Gustinelly, Eliza]]>
<![CDATA[ Multikultura Vol. 5, No. 1 ]]>
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<![CDATA[The construction of syntactically correct sentences plays an important role in conveying messages clearly and accurately during communication. Therefore, this study discusses the ability of fourth-semester students of the Dutch Studies Program at Universitas Indonesia in the 2024/2025 academic year to arrange rest elements, such as direct objects, indirect objects, adverbs of time, frequency, quantity, instrument, and place. The study focuses on syntax, and using a quantitative descriptive method to analyze students' ability to arrange rest elements according to syntactic rules. The data used in this study were obtained from 30 students who completed 25 questions containing scrambled words. The students were asked to rearrange the words into the correct rest elements. The results show that students' ability to arrange the rest elements is moderate, with a correct answer percentage of 76.80%. This indicates that more than half of the students have a good understanding of the structure of rest, others still face difficulties in arranging the rest.]]>
<![CDATA[GLASIR PADA KERAMIK SINGKAWANG: TEKNOLOGI DAN SENI KERAMIK AWAL ABAD KE- 20 M ]]>
<![CDATA[Wicaksono, Honami Mulan Andadari]]>
<![CDATA[ Multikultura Vol. 5, No. 1 ]]>
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<![CDATA[This article discusses the use of glaze on Singkawang ceramics in the early 20th century as a reflection of technological and artistic developments among the artisan community in Singkawang, West Kalimantan. Through a literature review, this study highlights how glazing techniques, involving the selection of materials, coating processes, and high-temperature firing, became an important part of Singkawang ceramic production. The use of Tungku Naga kilns and firing traditions influenced by East Asian technology indicate local adaptation and development. The results of the study show that glaze not only functions as a protective coating, but also enriches the aesthetic value and cultural identity of Singkawang since the early 20th century.]]>
<![CDATA[PENGGUNAAN TEKNOLOGI TRADISIONAL BUBU PADA MASYARAKAT NELAYAN Di DESA OEMONGKONG KECAMATAN JEROWARU KABUPATEN LOMBOK TIMUR ]]>
<![CDATA[Surya, Aidal Adi, AS]]>
<![CDATA[ Multikultura Vol. 5, No. 1 ]]>
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<![CDATA[This study examines a traditional maritime technology in the form of a fish trap known as bubu, which is used by fishing communities in Pemongkong Village, East Lombok, to catch blue swimming crabs (Portunus pelagicus). The focus of the discussion is on the design of the bubu and the methods of its use by local fishermen in Pemongkong Village. The research was conducted using a literature review method, with data sources derived from various written references and scientific publications. The results indicate that the use of bubu by these fishermen is more economically beneficial and environmentally friendly. Based on these findings, it can be concluded that the bubu has the potential to increase fishing productivity while posing no threat to the environment, making it highly suitable to be preserved and passed down from generation to generation as a traditional cultural practice among coastal communities in East Lombok.]]>
<![CDATA[REPRESENTASI PERLAWANAN TOKOH GURU PEREMPUAN DALAM FILM “BRAVE CITIZEN” ]]>
<![CDATA[Arilaha, Najla Arinka]]>;
<![CDATA[Burhan, Amelia]]>
<![CDATA[ Multikultura Vol. 5, No. 1 ]]>
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<![CDATA[Representation of women in literary works, including film, are often shaped by gendered constructions that limit their agency, including within the teaching profession in South Korea. Brave Citizen represents this dynamic through the character So Simin and provides a lens to examine how women are represented when confronting gender inequality and hierarchical structures within the school environment. This study aims to explain how the film Brave Citizen depicts women’s resistance through a female teacher character focusing on challenging gender stereotypes in educational settings. Employing a descriptive qualitative method and Barthes’ semiotic analysis, this research identifies denotative, connotative, and mythical meanings in key scenes, further supported by Bem’s Sex Role Inventory (BSRI) to assess the configuration of feminine and masculine traits in the main character. The findings reveal three stages of So Simin’s resistance, such as women’s powerlessness, symbolic resistance, and physical resistance and identity reconstruction. These findings demonstrate that the integration of feminine and masculine traits forms a functionally androgynous identity, enabling So Simin to negotiate her position and agency within a hierarchical school structure marked by gender bias.]]>
<![CDATA[PERILAKU SEMANTIS PREPOSISI <i>MIN</i> (مِنْ) DALAM SURAT AL-BAQARAH JUZ 3 ]]>
<![CDATA[Raihana, Salsabilla]]>;
<![CDATA[Imamuddin, Basuni]]>
<![CDATA[ Multikultura Vol. 5, No. 1 ]]>
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<![CDATA[This study focuses on the analysis of the use of the preposition مِنْ /min/ in Surah Al-Baqarah Juz 3. The preposition min is one of the Arabic prepositions that carries a variety of functions and meanings. In the Qur’anic text, the diversity of meanings associated with the preposition min has direct implications for the understanding and interpretation of verses. This study employs a qualitative descriptive method with a linguistic analysis approach by examining all verses in Surah Al-Baqarah Juz 3 that contain the preposition min, followed by an analysis of its grammatical functions and contextual meanings based on al-Ghalayini’s classification of the meanings of min and the semantic concepts proposed by Leech. The results indicate that there are 34 occurrences of the preposition min that are not directly attached to pronouns in Surah Al-Baqarah Juz 3. Based on the classification of meanings, min functions as ibtidā’ in 12 instances (35.29%), bayān al-jinsī in 11 instances (32.35%), tab‘īḍ in 6 instances (17.65%), sababiyah and ta‘līl in 3 instances (8.82%), and ta’kīd in 2 instances (5.88%). From a semantic perspective, conceptual meaning is found in 31 instances, thematic meaning in 32 instances, connotative meaning in 11 instances, social and affective meanings in 3 instances each, while reflective and collocative meanings are not found in this study.]]>
<![CDATA["ADOBO DIPLOMACY": LANGKAH BARU GASTRODIPLOMASI FILIPINA ]]>
<![CDATA[Salsabila, Shafa]]>
<![CDATA[ Multikultura Vol. 5, No. 1 ]]>
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<![CDATA[Gastrodiplomacy is a popular instrument in today's cultural diplomacy. This gastronomic diplomacy was first implemented by Thailand through the "Global Thai" program, which successfully introduced Thai cuisine and culture to the international community. Among ASEAN countries, the Philippines is one that currently engages in gastronomic diplomacy, led by adobo as a staple dish. This study examines the Philippines' efforts to conduct gastronomic diplomacy through the lens of gastrodiplomacy theory. This study uses a qualitative method and draws on a literature review of journal articles, books, news, and social media. In 2025, the Philippines will intensify its efforts in conducting gastronomic diplomacy, especially with countries with which it has established close relations, such as South Korea, Vietnam, Bangladesh, and Australia. This gastronomic diplomacy is referred to as "Adobo Diplomacy" because adobo is the primary food promoted by the Philippine government in diplomatic contexts. The results of this study indicate that the Philippines' gastronomic diplomacy efforts align with the practical methods identified by Rockower (2020) following a literature review of previous studies.]]>
<![CDATA[BENTUK DAN CIRI KHAS MASJID PATHOK NEGORO DONGKELAN ]]>
<![CDATA[Amini, Anggun Rizka]]>;
<![CDATA[Permana, R. Cecep]]>
<![CDATA[ Multikultura Vol. 5, No. 1 ]]>
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<![CDATA[Masjid Pathok Negoro Dongkelan is one of the kagungan dalem mosques belonging to the Yogyakarta Sultanate, constructed as part of the spiritual and administrative structure of the Kraton’s territory. This study examines the architectural form and distinctive characteristics of Masjid Pathok Negoro Dongkelan using a comparative method with other Pathok Negoro mosques as well as the Great Mosque of Kauman (Masjid Gedhe Kauman). The findings indicate that Masjid Dongkelan possesses unique architectural features, including a fully enclosed veranda, a covered pulpit with a curved roof adorned with ornaments symbolizing the Sultanate, and two pawestren (women’s prayer spaces) that are not found in the other comparative mosques. In addition to its distinctive architectural form, Masjid Dongkelan also holds significant socio-historical functions, serving as a center of community resistance during the colonial period and as a space for religious activities, education, and cultural preservation. The existence of Masjid Pathok Negoro Dongkelan represents adaptive Javanese-Islamic architecture that responds to environmental conditions and social needs, while at the same time maintaining traditional identity and its close association with the authority of the Yogyakarta Sultanate.]]>
