This study aims to examine the music genre preferences of Malaysian teenagers toward Indonesian music, specifically the Pop and Dangdut genres. The background of the research is based on the growing influence of Indonesian music culture among Malaysian youth. The method used is a quantitative approach with a survey design. The population consisted of 151 Form IV students at SMK Methodist Tanjong Malim, Malaysia, with a random sample of 106 students selected using the Isaac and Michael table. Data were collected through questionnaires and interviews, then analyzed descriptively and in percentages. The results show that 69.8% of respondents preferred Indonesian Pop music, while 30.2% preferred Indonesian Dangdut. These preferences were influenced by environmental factors and ethnic background; students of Chinese and Indian descent tended to be less interested in Indonesian music. The aspects of enjoyment, attention, and willingness toward Indonesian music were found to be high. Respondents favored melodies that are easy to enjoy and lyrics that are relatable to daily life. Their favorite singer was Keisya Levronka. The study concludes that Indonesian Pop music is more popular among Malaysian teenagers. This research contributes to enriching cross-cultural studies in music and international communication in Southeast Asia.

The purpose of this study was to determine the character value education in the Tarek Pukat dance of UNIKI Performing Arts education. This study uses a qualitative descriptive method, and a case study approach. Data collection techniques use the stages of observation, interviews and document analysis. With the aim of examining the character values ​​contained in the Tarek Pukat Dance. A qualitative approach with a case study design was used to specifically understand character values in educational praxis through the Tarek Pukat Dance. The results of this study indicate that in the Tarek Pukat dance, the character value education that is seen is in the form of religious, responsibility, tolerance, discipline, cooperation values, humility and this is packaged into character value education in the Tarek Pukat Dance, namely religious values ​​that are born in the Tarek Pukat Dance contain strong religious values, such as patience and perseverance, discipline, humility and responsibility. Social values ​​in the Tarek Pukat Dance such as cooperation, mutual cooperation, humility and tolerance. Cultural values ​​that can be taken from the Tarek Pukat Dance symbolize Acehnese cultural values, such as strength and resilience of local culture and love of the homeland. Aesthetic value: Tarek Pukat Dance also symbolizes aesthetic values, such as beauty and art from local culture. Tarek Pukat dancers in UNIKI performing arts education have and are able to implement the religious values ​​of Tarek Pukat Dance used in religious ceremonies, social events, such as weddings and other events. Cultural events such as festivals have aesthetics, such as art performances

Culture develops and is standardized in tradition in the form of art. art has a strong cultural philosophy that reflects the identity of the local community. One of the arts is rangguk dance which has its own uniqueness and has meaning in each form. The phenomenon that occurs at this time the development of rangguk dance is less attractive through this research the problem focused on how the process of learning rangguk dance to maintain local culture and the participation of the role of the studio through the learning process. The method used is qualitative method with data collection techniques of interviews, observation and documentation. The results of research on the context of cultural participation of rangguk dance in the puti sekanti cultural studio, there is a teaching and learning process through the non-formal education system in learning cultural traditions in the puti sekanti studio. The role of the puti sekanti sangar in preserving rangguk dance through a structured learning program in which there is a final evaluation process by demonstrating the dance, students are made in groups to measure understanding of the material about rangguk dance. Thus, the puti sekanti cultural studio instills the essence of their role in carrying out the obligation to love, inherit and preserve traditional dance, this reflects the puti sekanti studio in maintaining cultural heritage

This study explores the concept of Ethno-Eco-Design as a strategic approach to empower literapreneur start-ups in the screen printing and apparel industry in Semarang. Based on preliminary surveys and related studies, these start-ups face two major challenges in 21st-century entrepreneurship: low ecological awareness in their production and business practices, and limited market segmentation, particularly in reaching millennial consumers. Using a participatory action research method, this study examines how the integration of local cultural elements (ethno-design) with environmentally friendly design practices (eco-design) can enhance the sustainability and market relevance of these start-ups. As a result, a design framework was developed that not only supports green entrepreneurship (ecopreneurship) but also expands the literacy and creative capacity of young business actors in a competitive and environmentally conscious market.

This study discusses the use of traditional dance movements as a source of inspiration and educational media for students at SMP Negeri 1 Kalasan, Sleman, Yogyakarta. Traditional dance movements were chosen because they have strong cultural values and play an important role in shaping character and enriching artistic insights for the younger generation. The main purpose of this study is to analyze the challenges faced in the process of teaching and implementing traditional dance in schools, as well as to identify various innovations in the implementation of dance performances that can increase students' interest and participation. The research method used is a qualitative approach with data collection techniques in the form of observation, interviews, and documentation.The results of the study show that the main challenge faced is the lack of support resources and students' interest in traditional dance, but innovations in performance concepts such as the use of visual technology, incorporation with modern music, and collaboration between students are able to create an interesting and relevant experience. This study concludes that traditional dance movements can not only be used as a medium for cultural preservation, but also as a creative means to develop students' potential in dance.

The rapid development of digital technology has revolutionized the field of visual arts, enabling ease of access, adaptation, and dissemination of artworks. However, this has also led to significant challenges, particularly plagiarism, which undermines the originality and ethical standards of creative processes. This study aims to develop a conceptual framework by integrating visual literacy and creative ethics as holistic approaches to prevent plagiarism in digital spaces, especially within art education. Through a literature review method, this research explores the interplay between visual literacyan essential skill for critically understanding and creating visual messages and creative ethics, which guide moral behavior in the artistic process. The findings emphasize the necessity of incorporating these two dimensions into art education curricula to build a more ethical, innovative, and responsible generation of creators. This study provides a theoretical foundation and practical recommendations for educators, policymakers, and the creative community to address plagiarism challenges effectively in the digital era.

The purpose of this study was to determine character education through the learning process of traditional Ranup Lam Puan dance for teachers of Almuna Bireuen Kindergarten, namely implementing the values ​​of character education contained in the traditional Ranup Lam Puan dance. The type of research used in this study is qualitative interpretative. The researcher in this case describes the reality accurately and factually about the problems raised in the study, namely regarding the implementation of character education through the learning process of Traditional Ranup Lam Puan Dance for teachers at Almuna Bireuen Kindergarten. Data collection in this study consisted of observation, interviews, and document studies. The data analysis technique used interactive model data analysis consisting of data reduction, data presentation, and data verification. The results of the study showed that Almuna Bireuen Kindergarten teachers had implemented character education through traditional Ranup Lam Puan dance well in classroom learning with their students. The form of school or class activities and programs ran well and regularly according to the implementation schedule. So that the Ranup Lam Puan Dance has an impact on the learning process by providing character education to children from the Ranup Lam Puan Dance Movement which can be seen from the behavior of children who respect guests who come to school.

Drama is one of the components of theater education that can be integrated with other art forms. Within the various elements of theater or drama, there is a collaboration of visual arts, music, dance, drama, and literature. Popular music has been developing in Indonesia since the colonial era, particularly in the 20th century. During this period, genres such a Krontjong, Jazz, orchestral music, and rock music began to emerge. In the world of popular music, rock music has carved out its own space among enthusiasts, symbolizing freedom, rebellion, and high creativity, marked by its dynamic melodies and rhythms, as well as its profound lyrical content. Rock music has become a medium through which listeners express themselves. This article aims to elaborate on musical drama as a form of performance conducted by secondary school students, who take on the dual roles of actors and production team members, in exploring rock music through musical theatre. Such an approach enriches the students’ acting experiences within a musical context. Integrating rock music into the performing arts provides a fresh atmosphere that can influence the students’ characteristics and experiences. This study employs an exploratory qualitative method, involving various stakeholders, to analyze the implementation and impact not only to enhance students’ experiences in acting, but also to stimulate creativity by encouraging the analysis of rock music characteristics, which are expressed through drama. This process supports the development of diverse ideas in musical theatre, ultimately contributing to the quality and elements of school-based musical performance

Abstract 
 Pyramid House in Palembang is one of the works of art that is still very interesting to be researched today. The problem raised in this study aims to analyze the cultural message of the Pyramid House in Palembang. The method used is a qualitative method with a case study research design. The data collection techniques include observation, interviews, and document study. The results showed that in the manufacture of the Pyramid house, the main construction of traditional buildings used wood construction and a stilt system. The foundation used the construction of piles, the walls used boards, the roof used a leaf or shingle roof. The core parts consisted of the roof of the house, the door, the window, the stairs, and the floor of the house. In general, the typical architectural form of the Pyramid House, namely, the roof was shaped like a severed pyramid. Besides, the uniqueness of the house located in its multi-storey shape (kijing) and the walls were made of wood shaped like planks. Then related to the house name Pyramid, it contained two special meanings, namely, Five and Gold. The word five means the number five, while gold means the precious metal of great value. This is also a symbol of the function of the Pyramid house.