Yogyakarta, 23 Juli 2025 – A proud achievement has once again been made by a student of the Arabic Study Program, Faculty of Cultural Sciences, Universitas Gadjah Mada (UGM). Ihsania Salma, a 2023 cohort student known for her active and inspiring spirit, has successfully earned the 2024 Beasiswa Unggulan from the Ministry of Education, Culture, Research, and Technology (Kemendikbudristek). This prestigious scholarship is awarded to outstanding youth committed to making real contributions to society.

In an exclusive interview with the IKMASA Media Team, Ihsania—affectionately called Sania—shared her journey as a passionate student, literacy activist, and campus leader. She has taken on numerous roles with dedication, including as Mentor Coordinator for La-Tansa, Co-Facilitator for PPSMB PIONIR, and Chairperson of the 2024 Festival Anak Gadjah Mada Menginspirasi. She is also actively involved in teaching communities and women’s advocacy through Srikandi UGM.

“Becoming an awardee isn’t just about academic scores, but about who we are and what we stand for,” said Sania.

She emphasized that consistency, strong intent, and the courage to step outside one’s comfort zone were the keys to securing the scholarship. Through writing, podcasting, and meaningful daily contributions, Sania shows that every step—no matter how small—can carry great impact.

Through this achievement, Sania hopes to continue creating a meaningful impact and serve as an inspiration to her fellow Arabic Literature students. She encourages peers to start from small things, stay consistent, and dare to dream big.

“We don’t have to be perfect to be useful. Just start with small, sincere steps,” Sania concluded enthusiastically.

For students inspired by Sania’s story, a golden opportunity is now available. The registration for Beasiswa Unggulan 2025 is officially open until July 27, 2025. This program offers financial support to high-achieving students who are committed to using their knowledge and talents in service of society. Don’t miss it out! Prepare your documents and apply through the official portal at beasiswaunggulan.kemdikbud.go.id 

[ Arabic Literature, Muhammad Ardiansyah]

In a world where logic often reigns supreme, Pandhita, an Arabic literature student, believes that storytelling can evoke emotions that logic cannot reach. “When I played the role of a mother betrayed by her son, I saw the audience crying,” she states with conviction, her eyes gazing into the distance. For Pandhita, storytelling is not merely a performance or entertainment; it is a profound way to convey messages, stir emotions, and touch the human side that is often overlooked by rational thought. Her love for storytelling began in elementary school.

It was during a county-level storytelling competition that Pandhita first realized the power of a tale. Winning the competition was not the most memorable part; rather, it was the moment she understood how a story could make an audience laugh, ponder, or even shed tears. From that point on, storytelling transformed from a hobby into a life path that she believed could benefit others. She is convinced that imparting life values does not always require advice or counsel; light-hearted stories with deep meanings can be more readily accepted and absorbed. “Khairunnās anfa‘uhum linnās, the best of people are those who are beneficial to others,” she emphasizes, quoting an Arabic proverb that serves as her guiding principle in her work.

As she delved deeper into the world of storytelling, more doors began to open for her. Her storytelling skills led her to be trusted as a mentor in various fields, from the Arabic and English languages to general subjects. One of her most unique experiences was participating in a Korean storytelling competition, despite never having formally studied the language. Armed only with songs and dramas she had watched, she attempted to mimic the pronunciation and expressions, all in the name of broadening her horizons and learning a new language. This experience reinforced her belief that stories can serve as a medium for cross-linguistic learning.

Her ability to craft narratives and convey messages also made her a sought-after contributor to educational video projects. People entrusted her with the important task of delivering messages in a coherent, lively, and meaningful manner. However, one unforgettable moment was when she became a storyteller at a social event for children in marginalized areas. The audience may have been small, but when she performed the story of “The Crying Stone,” the room fell silent and emotional. “When I acted as a mother scorned by her child, I saw those children crying along with me. They were not just listening; they were feeling,” she recalls. It was then that Pandhita realized she was not just telling stories; she was bringing meaning to life.

This skill also led her into the professional world as a moderator and event host. For her, being an MC is not just about reading an agenda; it’s about creating an atmosphere, maintaining the audience’s enthusiasm, and keeping her own energy stable from start to finish. She combines narrative techniques with vocal modulation, light metaphors, and smooth transitions to make each segment of an event feel alive. In fact, storytelling once saved her during a high-pressure interview. When her mind went blank due to a question, she chose to respond with a narrative approach. “I simply told a simple analogy, packaging complex language into something straightforward and easy to understand, and the interviewer smiled,” she reminisces.

For Pandhita, storytelling is a bridge between the mind and the heart. She rejects the notion that storytelling is only for children. Instead, she believes that through stories, we can learn empathy, sensitivity, and social awareness. The world is filled with small yet meaningful things; we often just don’t take the time to see them. Therefore, she uses storytelling as a way to help others re-examine their lives from a warmer perspective. In various educational and motivational forums she attends, Pandhita always carries one important message: literacy and language are the keys to the future. “Unfortunately, many still overlook this,” she says softly.

When asked about her dreams, Pandhita confidently replies that she wants to create storytelling workshops open to everyone. A safe space where people can share their stories without fear of judgment. For her, storytelling is not about performing perfectly or impressively, but about honesty, courage, and self-acceptance. “Everyone has a story. And every story has power,” she asserts. She believes that being an inspiring person is not always about grand achievements; sometimes, it is enough to be a good listener or a sincere storyteller.

Yogyakarta, July 14, 2025 – Eka Nur Cahyani, a 2023 student of the Javanese Language, Literature, and Culture Study Program at the Faculty of Cultural Sciences, Universitas Gadjah Mada, has embarked on a long journey in the world of dance. Since the age of 7, Eka has been acquainted with and has loved classical dance, particularly the Yogyakarta style, thanks to the support of her late father, who was a court servant (abdi dalem) at the Ngayogyakarta Hadiningrat Palace.

“I started dancing since I was little, often brought to the palace by my father. Since then, I fell in love with classical dance and have continued learning until now,” she recalled.

Although she never studied at a formal dance studio, Eka gained knowledge from art teachers since elementary school and is now active as a member of UGM’s Swagayugama Student Activity Unit. There, she learns directly from the palace’s dance instructor, Dra. Veronica Ratnaningsih (Nyi Mas Riya Murtiharini).

Eka’s dedication to dance extends beyond performing. She has served as an instructor in the “Kampung Menari” program by the Yogyakarta City Cultural Office and has taught children in Pakembinangun. Since 2024, she has joined the Pamulangan Hamong Beksa at the palace, where she delves deeply into techniques, movement variations, philosophy, and ethics of Yogyakarta-style classical dance.

In addition to mastering Yogyakarta-style classical dance, Eka has broadened her horizons by studying Surakarta-style classical dances, such as Gambyong and Srimpi. Currently, she actively participates in the Pamulangan Hamong Beksa at the Ngayogyakarta Hadiningrat Palace. Every Sunday at 12:00 PM, Eka attends the palace wearing full traditional attire (jangkep), consisting of a kebaya tangkeban, jarik seredan, sanggul tekuk and subal, subang, and carrying a Sampur Gendala Giri.

“I am motivated to keep learning because I come from an artistic family—my grandfather was a puppeteer (dhalang), my paternal grandfather was a court servant, and my mother is a sindhen (traditional singer),” she said.

For Eka, dancing is not merely about aesthetic movements but also a spiritual and personal expression. She believes that each dance movement embodies the philosophy of patience, sincerity, and harmony between the body, feelings, and rhythm.

“Dancing is a form of prayer. The movements teach us to be sincere and patient in facing life,” Eka expressed.

Since beginning her journey in dance, Eka has performed on numerous stages, from campus events like the Kraton Performance Tourism Package featuring the Senggana Duta play by Swagayugama at Bangsal Srimanganti, Ngayogyakarta Hadiningrat Palace, and the Grand Swagayugama Performance at Taman Budaya Yogyakarta, to national and international forums such as the 4th International Seminar on Malay-Javanese Studies (SEMEJA IV) and ASEAN in Today’s World.

Despite frequent performances, Eka maintains her enthusiasm for learning. She emphasizes the importance of understanding the concepts of wiraga (physical movement), wirama (rhythm), and wirasa (feeling), as well as knowing the names and meanings of various dance movements. According to her, consistency stems from love and the desire for continuous growth.

Eka Nur Cahyani’s journey in dance since the age of seven not only reflects her love for the art but also her tangible contribution to sustainable development. Through her activities in learning and teaching dance, especially to children, Eka supports SDG 4: Quality Education. Her role as an active woman in preserving culture aligns with SDG 5: Gender Equality. Moreover, her involvement in maintaining and revitalizing classical dance art strengthens SDG 11: Sustainable Cities and Communities by preserving intangible cultural heritage as the identity of Yogyakarta’s society.

Eka proves that cultural preservation is not solely the responsibility of previous generations but also a duty for the current generation to ensure a more cultured future.

“If we feel we have talent, it needs to be developed through continuous practice and not being afraid to try, because I believe learning will never lead to regret, and every process in learning will shape us into individuals with true identity.” – Eka Nur Cahyani

[Public Relations FIB UGM, Alma Syahwalani]

Yogyakarta, 2/7/2025 – The 4th International Seminar on Malay-Javanese Studies (SEMEJA) was held at the University Club of Universitas Gadjah Mada, presenting an inspiring discourse on the power of women’s narratives in Javanese literature. Dra. Wiwien Widyawati Rahayu, M.A., together with two of her students, Yudha Adistira and Saktia Hidayah, presented a study entitled “Leadership of Female Characters in the Novel Kidung Trěsna Sang Pikatan: Rancière’s Democratic Perspective.”

In her presentation, the researcher highlighted how female characters in the novel by Alexandra Indriyanti Dewi serve as agents of social change. Utilizing the radical democracy theory of Jacques Rancière, they interpreted that leadership in the story does not stem from structural power but from political actions that challenge the established patriarchal symbolic order.

Wulan, Pramodawardhani, and Sri Kahulunan emerged as representations of female figures manifesting Rancière’s three main concepts: dissensus, egalitarianism, and the reversal of hierarchy. Wulan, depicted as tělik sandhi, experiences inner conflict and subtly challenges the system through apparent compliance, a form of dissensus that quietly disrupts the power structure. Meanwhile, Pramodawardhani reflects the spirit of egalitarianism through her sharp political strategies and involvement in the development of Borobudur Temple. On the other hand, Sri Kahulunan firmly opposes the claim that leadership must be male-dominated, showcasing women’s courage in repositioning power.

Interestingly, all three characters were also analyzed through the lens of Donna Haraway’s cyborg feminism, positioning them as hybrid subjects that reject old dichotomies such as male-female or public-private. With this approach, female figures emerge not merely as complements to historical narratives but as leaders who reshape the power map.

This presentation contributes significantly to the discourse on gender and politics within the realm of literature, affirming that Javanese literature can also serve as a democratic space that validates women’s voices as active subjects of social change. More than just a historical romance, Kidung Trěsna Sang Pikatan stands as a text of resistance against patriarchy and a symbol of Javanese women’s bravery in carving their nation’s history.

The seminar also emphasized the importance of cultural diversity in literature, showcasing how different narratives can coexist and enrich the understanding of gender roles. By empowering girls through education for sustainability, the event highlighted the need for equal opportunities in literary representation, ensuring that women’s stories are told and celebrated.

In conclusion, through the presentation session by Dra. Wiwien Widyawati Rahayu, M.A., SEMEJA IV not only celebrated the contributions of experts and academics in Malay-Javanese studies, but also reinforced the importance of education and cultural diversity in building a more inclusive and sustainable future. The narrative presented is a call to action for everyone to recognize and support the vital role of women in literature and society.

[Public Relations of FIB UGM, Candra Solihin]

Amid the surge of technology and the rise of artificial intelligence capable of arranging sentences neatly, Kumala–student of Arabic Literature–chose writing as her path of expression and contribution. “AI-generated writing may be neat, but the emotion and meaning can only come from humans,” she said.

For Kumala, being a student of Arabic Literature is not just about reading classical works or understanding the Arabic language in depth, but also about learning how to voice stories powerfully. Content writing became the medium she chose to bridge theory with practice. She believes that good writing can serve as a bridge connecting emotion, information, and action.

From Interest to Action: How Kumala Began Writing Content

Kumala’s interest in content writing grew alongside her curiosity about the creative process behind content itself. For her, the brainstorming stage is the most crucial. “That’s where it all starts–before the visuals and editing, there’s an idea that needs to be packaged attractively and powerfully,” she explained.

Kumala also brings her academic passion for literature into the world of content. One of her favorite courses is Geoculture and Geopolitics of the Middle East, which opened her eyes to major issues that could be conveyed through writing. “One day, I want to write content that acts as a catalyst to voice issues in the Middle East,” she added.

First Steps at UNAI and Valuable Lessons from One Piece of Content

Although she’s still new to her role as a content writer at UNAI, Kumala has already experienced the challenges of this world. She started by writing carousel content for Instagram, a format that may seem simple but demands high precision. Her biggest challenge? “Finding ideas that are relevant, trending, and emotionally engaging enough to capture the audience’s attention. It’s not easy, but it’s very rewarding,” she said.

Of all the content she has created, her first piece remains the most memorable, not just because it was the first, but because she had to carefully listen to a speaker with an American accent, filter out many sentences, and condense them into a single impactful paragraph. “That’s where I learned how to craft a sentence that truly ‘says something’,” she shared.

The Content Writer as a Communication Bridge

According to Kumala, the role of a content writer is crucial within an institution. “At UNAI, content writing is part of the communications department. So we don’t just create content, we deliver the institution’s messages, vision, and values to the public,” she explained. This shows that good writing isn’t just about aesthetics, it’s also about strategy.

A Message to Students: Dare to Step Outside Your Comfort Zone

Amid her academic and non-academic commitments, Kumala continues to strive to stay motivated. She holds on to one principle: “The life we live today is the dream we had yesterday. So make the most of it and live it wholeheartedly.”

For students who still hesitate to explore beyond their field of study, Kumala has a message: “Being different isn’t bad. Try as many new things as possible, as long as they don’t harm others or yourself. Don’t reach old age with regret, be a youth who explores, and an elder with stories to tell.”

In this digital era, Kumala believes it’s essential for students to equip themselves with various skills. “We don’t know which skill will open the door to our future career. So don’t be afraid to explore. Technology may be advanced, but we humans must be even more advanced.”

And for fellow Arabic Literature students interested in content writing, Kumala ends with one practical tip: “Write what you think. Set small milestones for your skill development so you don’t get stuck in one place and can keep growing.”

[Public Relations of FIB UGM, Candra Solihin]