Cycling transcends mere athleticism, embodying a lifestyle. It epitomizes self-expression, where bicycles communicate personal style. Cycling assumes the role of "visual communication," reflecting cyclists' conduct. Its allure manifests euphoria through visuals. This study centers on a cyclist adorned as the wayang Antasena, riding a rainbow-framed bicycle—a symbol of distinctive Western influence merged with local essence.

From a visual culture standpoint, Antasena on the rainbow-framed bike symbolizes cosmopolitan cosmetics—foreign elements assimilated without rupturing cultural dominance. However, this narrative also underscores postcolonial resistance. Visual elements liberate from colonial paradigms, critiquing imposed knowledge. Rejecting colonial language involves modifying cultural symbols and reimagining local myths.

The paper employs qualitative methods—literature review, observation, interviews, and Barthesian semiotic analysis. It reveals cycling's multifaceted role: cultural assertion, hybrid aesthetics, and postcolonial commentary. This analysis unearths the bicycle's transformative power as both a mode of physical movement and a vehicle of cultural discourse.