Decoding Culture: How Modern Packaging Redefines Traditional Indonesian Souvenirs

Ilustration by AI 

FORMOSA NEWS

Researchers at the Indonesia Institute of the Arts (ISI) Denpasar published a new study in August 2026 examining how traditional food packaging functions as a visual communication system that preserves and promotes local cultural identity. Led by lead author Rinkapati Swatriani alongside co-authors I Wayan Swandi, I Wayan Mudra, and Ni Luh Desi In Diana Sari, the investigation evaluated the graphic and structural packaging evolution of Dodol Picnic Garut—a classic Indonesian confection designated as an Intangible Cultural Heritage of West Java. Published in Jurnal Multidisplin Madani (MUDIMA), the study demonstrates that merging intentional graphic artwork with ergonomic physical container construction successfully communicates regional geography, history, and culinary tourism to modern consumers.

Background and Context

Across the growing creative economy, traditional food producers face intense market competition. Traditional commodities can no longer rely solely on product taste; they require clear visual strategies to establish strong brand identities. In Garut Regency, West Java, the traditional dodol industry supports 156 business units and generates roughly IDR 194.6 billion annually. While dodol packaging historically relied on generic, uniform cardboard boxes with simple opening mechanisms, market demands require contemporary innovations. Understanding how packaging conveys cultural values without sacrificing modern commercial appeal is critical for regional tourism, green branding, and local economic development.

Research Methodology

To analyze cultural representation in packaging design, the research team conducted a qualitative descriptive case study centered on two modern editions of Dodol Picnic Garut: the Aneka Buah (assorted fruit) and Aneka Rasa (assorted flavor) variants. Data collection involved:

• Direct physical observation of visual layout, structural forms, paperboard materials, and closure mechanisms.
• Comprehensive documentation through photographic archives, product catalogs, and archival historical records.
• Literature review spanning visual communication theory and cultural representation frameworks.

The authors analyzed the data using Charles Sanders Peirce's triadic semiotic model—evaluating signs through three interconnected dimensions: the physical sign form (representamen), the underlying cultural reality (object), and the resulting consumer perception (interpretant).

Key Findings

The study revealed that packaging operates as an integrated sign system where graphic choices and physical structures work together to communicate cultural identity:

• Geographical and Agricultural Representation: The dominant green color palette and vibrant fruit illustrations on the Aneka Buah edition serve as visual signs representing Garut’s fertile, mountainous agrarian landscape and rich horticultural resources.
• Gastronomic and Historical Continuity: The long-standing Picnic brand logo and downward-extending red ribbon evoke historical authenticity and trust, reinforcing the product's status as a recognized intangible cultural heritage item.
• Functional Ergonomics as Cultural Signs: The Aneka Rasa variant features a compact $11\times5.5\times13$ cm rectangular structure with an integrated, built-in carrying handle. This physical addition acts as a sign for travel-readiness, transforming traditional food into a convenient, modern souvenir (oleh-oleh).
• Transparency and Authenticity: Both editions feature built-in transparent windows that allow consumers to observe the actual product before purchasing. This indexical sign builds consumer trust and highlights product freshness.
• Adhesiveless Material Innovation: Both packaging formats utilize rigid paperboard engineered with custom locking-tab flap mechanisms. This allows repeated opening and closing without single-use adhesives, combining durability with modern consumer convenience.

Real-World Impact and Practical Applications

The research demonstrates that packaging design is an essential driver of cultural preservation and regional economic growth. For creative industry practitioners, brand strategists, and graphic designers, the findings provide a practical framework for modernizing heritage food products without erasing their authentic regional roots. Incorporating built-in handles, transparent viewports, and regional color cues helps small-to-medium enterprises appeal to urban tourists while actively promoting culinary tourism across Indonesia.

Academic Insights

"The integration of graphic and structural packaging design forms a coherent semiotic system in which visual and material signs interact to communicate the cultural identity of Garut. Packaging structure performs an equally significant semiotic role as graphic elements in communicating cultural meaning, positioning traditional products as authentic regional souvenirs."

— Rinkapati Swatriani et al., Indonesia Institute of the Arts (ISI) Denpasar

Author Profile

Rinkapati Swatriani is a researcher and academic affiliated with the Indonesia Institute of the Arts (ISI) Denpasar in Denpasar, Bali, Indonesia. Her expertise focuses on Visual Communication Design, semiotics, traditional packaging development, and local cultural representation in contemporary creative industries.

Source Information

Article Title: Cultural Representation in Aneka Rasa and Aneka Buah Dodol Picnic Packaging Development
Journal Name: Jurnal Multidisplin Madani (MUDIMA)
Publication Year: 2026

DOI : https://doi.org/10.55927/mudima.v6i8.110

URL : https://journalmudima.my.id/index.php/mudima