The Faculty of Cultural Studies at Gadjah Mada University conducted an in-person on-site evaluation for the accreditation of Program Studi Magister Kajian Budaya Timur Tengah (MKBTT), organized by the Badan Akreditasi Nasional Perguruan Tinggi (BAN-PT), on Friday, June 12 2026. The event was attended by the BAN-PT Assessment Team, the University’s Quality and Reputation Assurance Unit, the Dean and Vice Deans of the Faculty of Cultural Studies, the Chair of the Intercultural Studies Department, the Secretary of the Intercultural Studies Department, the Chair of the MKBTT Program, the MKBTT Program Accreditation Team, the Faculty of Cultural Studieses academic staff, and the program administrators.

Held in Room 709 of the Soegondo Building, the series of events was opened by the Dean of the Faculty of Cultural Studies, Prof. Dr. Setiadi, S.Sos., M.Si. He welcomed the BAN-PT Assessment Team to the Faculty of Cultural Sciences via an online broadcast. “We welcome you with open arms, and we also welcome all feedback and suggestions for future improvements,” he said.

The Head of the UGM Quality and Reputation Assurance Unit, Prof. Dr. Indra Wijaya Kusuma, M.B.A., also expressed his hope that all study programs at UGM, particularly those in the Faculty of Humanities (FIB), would achieve “excellent” accreditation. “I am confident that the study programs at the Faculty of Cultural Studies already meet UGM’s standards and have fully implemented their Internal Quality Assurance System (SPMI), so hopefully this will help ensure the completeness of data and other requirements needed for accreditation,” he said.

The event continued with opening remarks and guidance from BAN-PT assessor Dr. H. Adi Suryadi, M.A. He explained that the vision serving as the foundation for assessing quality is realized through the Tri Dharma. It is hoped that this has been effectively implemented through the governance framework already in place at the Faculty of Cultural Studies.

According to guidance from assessor Deasy Silvya Sari, Dr. S.IP., M.Si., the assessment process will be divided into two sessions: a qualitative assessment and a quantitative assessment. The facility tour will take place in the afternoon. “We hope the process will go smoothly,” she concluded.

[Humas FIB, Maylafaizza Nafisha Zifa]

The Javanese Language, Literature, and Culture Study Program of the Faculty of Cultural Sciences at Universitas Gadjah Mada (FIB UGM), in collaboration with the Yogyakarta City Culture Office, organized an activity entitled Setu Sinau on Saturday (16/05/2026). The activity took place along the Malioboro corridor from 07.00–09.00 WIB as an effort to reintroduce Javanese script to the wider community, particularly the younger generation.

The selection of the Malioboro area as the location of the activity was not without reason. As one of the most iconic public spaces in Yogyakarta, Malioboro serves as a strategic place to present cultural learning directly within society. Its open and lively atmosphere enabled the activity to reach participants from various backgrounds, ranging from children to adults.

The implementation of Setu Sinau was motivated by the growing distance between the younger generation and Javanese script due to the currents of globalization and modernization. Through this activity, Javanese script was introduced not only as a cultural heritage, but also as part of an identity that needs to be preserved and passed on. The collaboration with the Yogyakarta City Culture Office became a tangible form of synergy between educational institutions and the government in supporting the implementation of the Yogyakarta Special Region Regulation related to the preservation of Javanese language, literature, and script.

The activity featured two lecturers from the Javanese Language, Literature, and Culture Study Program as instructors, namely Dr. Arsanti Wulandari, M.Hum. and Zakariya Pamuji Aminullah, S.S., M.A., who specialize in the field of philology. In addition, students from the Javanese Language, Literature, and Culture Study Program also served as facilitators, namely Ghibran Arsha Daffa’ Musaffa’, Bayu Seta Ardiansyah, Dian Patmisari, and Maysa Putri Fatihah.

The learning process was designed in an enjoyable and interactive manner. Participants were invited to learn Javanese script through media such as flashcards, educational posters, as well as direct practice in writing and pronouncing Javanese script. This approach enabled participants not only to understand the theory, but also to experience the learning process directly through simple practice.

The learning method applied was aligned with the value contained in pupuh Pocung stanza 33 by KGPAA Sri Mangkunegara IV, namely ngelmu iku kalakone kanthi laku, which means “knowledge is realized through action.” Through direct practice, participants were encouraged to understand that learning culture is not sufficient merely by knowing it, but also needs to be practiced and habituated in everyday life.

The implementation of Setu Sinau was also in line with the objectives of the Sustainable Development Goals (SDGs), particularly point 4 on quality education, point 11 on sustainable cities and communities, and point 17 regarding partnerships for achieving the goals. By presenting cultural learning in a public space, this activity became a small yet meaningful step in preserving the continuity of Javanese script amid the development of the times.

[Language, Literature and Culture, Haryo Untoro]

The Arabic Literature Study Program at Universitas Gadjah Mada (UGM) continues to enhance its curriculum by introducing a new course, Saudi Colloquial Arabic, in the second semester of the 2025/2026 academic year. The course is designed to broaden students’ linguistic competence, particularly in understanding and using Arabic as it is spoken in everyday communication within Saudi society. The course is taught by Dr. Raeef Al-Tamimi, M.Acc., a lecturer with extensive expertise and experience in Arabic language studies. His involvement provides students with a valuable opportunity to learn the Saudi dialect in an authentic manner, covering pronunciation, vocabulary, and its practical use in daily interactions.

Through this course, students not only learn common expressions and vocabulary used by native speakers  but also gain insight into the cultural aspects embedded in the language. The learning process is designed to be interactive, incorporating conversation practice, discussions, and various communication simulations that help students use Arabic more naturally and contextually. 

The introduction of the course has received positive responses from students. Adennia, the class coordinator of the Saudi Colloquial Arabic course, shared that the material is relatively easy to follow due to its similarities with Modern Standard Arabic (Fusha), which students have previously studied. “In my opinion, the course is not too difficult because it shares many similarities with Fusha. One challenge is that we sometimes still tend to use sentence-ending grammatical markers, as we do in formal Arabic. There are also certain vocabulary items that can be difficult for Indonesian speakers to pronounce. However, Dr. Raeef often provides alternative expressions that are easier for us to say, which makes the learning process more comfortable and accessible,” she explained.

The introduction of the Saudi Colloquial Arabic course marks an important step in helping students understand the diversity of Arabic as it is used in real-life contexts. Beyond its academic value, proficiency in Arabic dialects can serve as a valuable asset for students pursuing further studies, student exchange programs, or careers in international environments where Arabic is widely spoken. Through this curriculum innovation, the Arabic Literature Study Program at UGM hopes to equip students with a more comprehensive command of Arabic, enabling them to communicate effectively not only in formal settings through Fusha, but also in everyday interactions with native Arabic speakers.

Author: Indana Zulfa Maulida

Yogyakarta, June 9, 2026 – Students from the Master’s Program in Literature and the Undergraduate Program in Javanese Language, Literature, and Culture organized a manuscript exhibition titled Pusaka Kata (“Heritage of Words”) at the first-floor lobby of Soegondo Building, Faculty of Cultural Sciences, Universitas Gadjah Mada (UGM), on Tuesday (June 9). Held from 8:30 a.m. to 3:00 p.m., the exhibition served as a platform for academic collaboration, bringing together the fields of philology, Javanese manuscript studies, and codicology in an effort to preserve and revitalize the manuscript heritage of the Indonesian archipelago.

The exhibition involved graduate students from the Philology and Javanese Manuscript Studies classes, as well as undergraduate students from the Codicology class of the Javanese Language, Literature, and Culture Program. The event was supervised by Prof. Dr. Sangidu, M.Hum., Dr. Arsanti Wulandari, S.S., M.Hum., and Zakariya Pamuji Aminullah, S.S., M.A.

Under the theme Pusaka Kata, the exhibition was inspired by the awareness that Nusantara manuscripts constitute invaluable intellectual and cultural heritage. These manuscripts preserve ancestral knowledge systems covering various aspects of life, including education, medicine, religious practices, and literature. However, beyond the threat of physical deterioration due to age, these manuscripts also face a growing challenge: the widening gap between younger generations and the knowledge contained within them.

The name Pusaka Kata was chosen to emphasize the significance of manuscripts as an intergenerational legacy. In Javanese tradition, pusaka refers not merely to an inherited object but to a trust passed down through generations, carrying values, identity, and responsibility. Meanwhile, kata (“words”) represents the medium through which knowledge has been preserved and transmitted from ancestors to future generations.

Interpreting Knowledge Preserved in Manuscripts

One of the highlights from the Philology class was a Malay-Islamic manuscript titled Kitab Jimat, Tangkal, dan Obat-obatan (Book of Talismans, Protective Charms, and Medicines). Digitized by the British Library through the Endangered Archives Programme (EAP), the manuscript contains knowledge related to self-protection, healing practices, and environmental safeguarding through prayers, Qur’anic verses, magical diagrams (rajah), and herbal remedies.

Fajar Nur Zaima explained that one of the most prominent sections of the manuscript discusses the virtues of Qur’anic verses, particularly the recitation of the basmalah. According to him, the manuscript presents the basmalah not merely as an opening formula but also as a source of blessings, protection, and safety in various aspects of life.

Another featured object was the section on talismans contained in Serat Primbon, a manuscript from the collection of the National Library of Indonesia, catalog number NB 973. This section includes at least twenty-nine types of talismans serving different purposes, ranging from attracting affection and maintaining health to ensuring safety and warding off misfortune.

Giandra Febriyan Haidar explained that talismanic texts can be understood as representations of how Javanese society perceived the relationship between humans, nature, and forces beyond everyday rationality. He cited a love talisman described in the manuscript as a means of gaining affection and social acceptance. In this context, he argued, talismans should not be viewed merely as magical objects but as symbols of human aspirations for harmonious social relationships.

Reading Manuscript Histories Through Physical Form and Aesthetics

The Javanese Manuscript Studies class presented research on the physical and aesthetic aspects of Javanese manuscripts. One exhibition item focused on a manuscript written in Javanese script, currently preserved in the Department of Nusantara Literature Library under the code 899.047.

Through this study, visitors were invited to understand manuscripts not only as textual repositories but also as cultural artifacts that document copying practices, literary traditions, and histories of ownership and transmission. Elements such as paper type, binding structure, script, and physical damage provide valuable information about a manuscript’s journey through time.

The class also showcased a study of manuscript illumination titled Wêdana Gapura Rênggan. The manuscript contains several texts, including Aji Pamasa, Mihradipun Jêng Nabi, Rajah Kalacakra, Jumbuhing Panembah, and Lêlampahanipun Raden Sahid.

Affan Akbar explained that manuscript illuminations serve not only as decorative elements but also as important sources of information regarding manuscript production processes. Observations of unfinished sketches and coloring revealed that the text had been written before the ornamental designs were added. Such findings provide insights into the stages undertaken by manuscript scribes in producing complete handwritten works.

Codicology and Creative Approaches to Manuscript Preservation

Meanwhile, the Codicology class introduced visitors to the study of manuscripts from a material perspective. Codicology examines manuscripts as physical objects, including their writing materials, binding techniques, ornaments, layouts, and patterns of damage that record traces of their historical use.

In addition to presenting research findings, students displayed practical projects such as manuscript covers, storage boxes, and hand-bound books accompanied by interpretive narratives.

One work that attracted particular attention was created by Arfia Kholifatul, who adopted the Javanese wayang character Semar as the central theme of her bookbinding and cover design. Through imagery inspired by shadow puppetry and botanical motifs, the work interpreted Javanese philosophical values such as urip iku urup—the belief that life should bring benefits to others. The upward-growing leaves and vines symbolized the continuous pursuit of truth and the sustainability of life.

Through the collaboration of these three academic fields, the Pusaka Kata Exhibition offered a comprehensive perspective on manuscripts as living cultural heritage. Rather than being regarded merely as historical artifacts preserved in archives, manuscripts were presented as enduring sources of knowledge that can continue to be read, understood, and reinterpreted by contemporary generations.

Author: Khotibul Umam

An awareness of the inequalities in the production and dissemination of knowledge between the Global North and the Global South forms the basis for the development of the discourse on decoloniality within both academic and artistic spheres. This new awareness that reality is not universal but rather pluriverse has prompted academics and art practitioners to re-examine everyday life to develop a sensitivity to the roots of power imbalances that may otherwise go unnoticed. The latest issue of Lembaran Antropologi vol. 4 no. 2 explores the theme “Anthropology and Decolonialisation in Performance Studies and Art Criticism” and features Rachmi Diyah Larasati from the Interdisciplinary Centre for the Study of Global Change, University of Minnesota, as editor, inviting readers to engage and gain a deeper understanding of how art and performance now reflect anthropological critique in artistic practice.

This edition discusses artistic practice not merely from an artistic perspective, but also in terms of efforts to convey concerns and social critique regarding everyday social phenomena. Issues concerning narratives of governance, expression, and living spaces form the core of the contributions in this edition. Moving beyond artistic practice based on established standards or conventions, attention is also drawn to the figures who determine these standards. Articles by Chaterji & Loravianti and Pangastuti re-examine the conventions or standards of artistic practice in the MTQ competition and the trans-cultural experiment of ‘Swan Lake’ using gamelan instruments. The presence of standards or conventions as criteria for artistic evaluation must be re-examined: which narratives or values predominantly influence artistic judgement?

Turning to the aspect of dance as a symbolic embodiment that takes root in the human body, rich in meaning and social messages. The article by Sekar Sari and Listyorini demonstrates that dance or choreography conveys messages and expressions to highlight issues regarding care work and forms of resistance against the narrative of global capitalism embedded in daily life. The final topic in this edition discusses the living spaces of folk arts such as Reog Ponorogo (Nurdiyanto, Amrullah, Mahadewa) and Horeg (Nursilah, Gietty, Setyani, Yoesoef). Both forms of folk art, which were originally performed in daily life through communal spaces, are now increasingly being featured in festivals, indicating the commodification of folk art as part of the tourism industry. Does this shift from communal activity to institutionalised practice create a space for negotiation between artists and audiences? To explore this discourse further, please access this edition via the following link: https://journal.ugm.ac.id/v3/LA/issue/view/916

[Okky Chandra Baskoro]