Karo ritual was performed differently by Tenggerese in Ngadas; they inserted Tayub dance within the sacred ritual. Thus, this article aims at examining the "newly-structured" Karo ritual performance and interpreting its function for millennials in the Tenggerese inner circle. Also, this article pictures the role of the ritual for other people from different cultural backgrounds living side by side with the Tenggerese. Through an in-depth interviewing data collection and non-participatory observation, it is found that the "hybrid," the mixture of Karo and Tayub dance, is used as a medium of value negotiation among generations involved in the ritual. It also demonstrates a conformity strategy of Tenggerese in Ngadas who try to live inclusively in the landscape of different cultural groups. Therefore, the "hybrid" is understood as ritual performance management designed by Tenggerese in Ngadas due to its position to the inner and outer circles of the community.

In the industry of Indonesian movies, the spotlight is mainly on mainstream movies, leaving sidestream movies underlit. Sidestream movies are less popular, yet they provide various themes and creativity more than the mainstream. Sidestream movies also often brought back prior themes from the mainstreams, meaning that they are both parallel. The less popularity of the sidestream movies is mainly affected by unbalanced movies' distribution line in Indonesia, which benefits only the mainstreams. Albeit deprived on the distribution, sidestream movies correspond the mainstream, in this era of industry 4.0, through their themes and discourses. This study aims to investigate two sidestream movies entitled Jumprit Singit and Nunggu Teka as the primary data. The result shows that the discourses of the two movies still rely on the conformity of norms and manner of Indonesian people. This idea is built through the movies' narrative discourses, showing a smaller dimension if they are compared with mainstream movies. Sidestream movies with drama genre show more conservatism and positivism whereas movies with comedy genre deliver more satire. Eventually, the relation between the discourses of mainstream and sidestream films are not always constructed in an oppositional relation as shown by this study.