Culture is one of the foundations for the existence of Indonesia as a nation, as it is expressed in the second stanza of her national anthem. The government has taken an initiative to prioritize national character building, which places character education to realize the vision of national development. One of the efforts to visualize this Indonesian is constructed through a Bukalapak advertisement entitled “Barongsai Indonesia, Juara Hati Membangun Negeri,” which presented the Kong Ha Hong lion dance group and was published via Youtube. This study aims to see that the character values of the Indonesian nation can be constructed through digital media, more precisely through an advertisement. This research employed a qualitative approach with a constructivist paradigm that sees facts as unique and has a special meaning. In addition, the analysis used Thomas Albert Sebeok's visual semiotics to depict several similar classifications to different visual symbols. It was found that every advertisement scene contained both visual and audio messages related to the adaptation of the culture and character of the Indonesian. The contribution and novelty of this research in its construction of the deep meaning of an advertisement are that the conscience has played a major role in the process of cultural adaptation in which the national characters have been honed through the actual actions in the heart-mind, body, and spirit. This research suggested that the character of the Indonesian nation can be formed through cultural adaptation, as proven by the Kong Ha Hong lion dance

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Many Chinese Indonesians under the age of 45 in Java have names that are instantly recognized by Indonesians as distinctively Chinese Indonesian. Such names, e.g., Nick Wijaya, commonly consist of a first name that is English or European and a family name that “sounds Indonesian,” was coined after 1965, and contains a syllable from a traditional Chinese surname. Distinctively Chinese Indonesian names are explained in terms of state and ethnic politics in Indonesia during the second half of the 20th century. A specific attribute of proper names that we call their “duality of meaning”—they are fixed to a person like a label at the same time that they continue to signify as more general linguistic signs—makes them particularly potent for social‐identity negotiations. Giving Western first names and using newly coined surnames containing Chinese elements has served both as a form of resistance to discriminatory Indonesian state assimilation policies and as a form of boundary‐marking for ethnic Chinese, who make up less than four percent of the Indonesian population. Western names connote cosmopolitan educational and socioeconomic aspirations for many Chinese Indonesians, characteristics that they value highly and perceive as distinguishing themselves from many other (non‐Chinese) Indonesians.

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