The study is devoted to the discussion of symbols and signs in the Topeng Malangan puppet mask show, which is a traditional heritage of the ancient Javanese society. The Wayang or mask show is described as a depiction of human nature. Its very existence gives rise to many interpretations of the symbolism and meanings contained in it, and these conflicting interpretations seek to convey to their public their own vision of human essence in various historical circumstances. The costumed show of masked characters, like the masks themselves, cannot be separated from historical stories, such as Malangan Topeng Wayang , which tells about the history of the kingdoms of Daha and Jenggala , where the conflicting interpretations contained in the narration of symbols and signs are fully observed. Using a semiotic approach based on the R. Barthes model, the article explores the mythologized mask show, analyzes the symbols rooted in ancient history, which have come down to us in the form of drawings documented on fabric painting, lontars - manuscripts on palm leaves or in ancient books. The results of the study proved that the symbolism of signs and ancient artifacts of Malangan Topeng Wayang is rooted in retold stories that turn into folk fantasy myths that celebrate the heroism and kindness of the people of Indonesia. Nevertheless, these stories also show the presence of shameful pages of the past, hushed up by the community, since they immanently have more negative connotations which contribute to the emergence of some semantic bias, that, if misinterpreted, can distort historical facts.

The bias of Malangan mask art is starting to fade. This mask art originating from Malang has lost its authenticity so that it is difficult to distinguish it from the same mask art from other regions. The social changes of the people of Kedungmonggo, as the center of the Malangan mask art, have an impact on the neglect of the authenticity of the local traditional culture. This condition ultimately invalidates the interpretation of the symbols of Malangan mask art and even threatens the sustainability of the Malangan mask art itself. This study aims to rediscover the true meaning of the characteristics of Malangan masks using semiotic and ethnographic approaches to trace the social life of the people of Kedungmonggo and to adapt Malangan mask art as a symbol of Malang traditional culture. The results show that the identity crisis of Malangan mask art occurs because of the lack of cultural literature, especially historical literature. Many stories are hidden from their true meaning as a form of story camouflage so that people believe in myths more than in histories. The life of the Kedungmonggo community is based on cultural symbols that have experienced a cultural crisis due to the flow of modern culture.

The presence of E-Wallet in various industrial sectors, both private and government, is a new breakthrough in fintech (financial technology) innovation that allows people to make transaction in buying and selling goods and services more easily. This new technology provides a more transparent electronic payment system. However, until now there are still so many people who have not adopted and used E-Wallet due to their lack of knowledge of this new financial technology. The approach to diffusion of innovation theory is carried out to see the effect of the use E-Wallet fintech on changes in the sale and purchase transaction patterns. The results show that the diffusion of fintech promotional messages through social media and the adaptation to the use of E-Wallet have an effect on changes in buying and selling transaction patterns among young people in Jakarta.