Rafael Raga Budi Panuntun, a student of the Javanese Language, Literature and Culture Study Program class of 2021, successfully became the scriptwriter and director of a theater entitled “Ngathabagama” with the theme Panji which brought Sleman Regency to win the overall champion and best presenter in the 2024 DIY Provincial Theater Festival. Ngathabagama Theater was nominated as the best presenter, best director, best music director, best artistic director, best ensemble, and brought home the rotating trophy of the DIY Theater Festival.

Quoted from instagram account @rafaelragabp

Raga’s success should be an inspiration, in the midst of his academic busyness, Raga can still work and create a beautiful theater and become the best presenter. The process carried out by Raga is quite long, starting from initiating ideas, writing scripts, and so on. Ngathabagama Theater is a theater that was formed by accident, starting from a theater festival at the Sleman Regency level. Kapanewon Minggir has been the champion in Sleman Regency for 2 consecutive years. In 2023, Kapanewon Minggir presented a theater titled “Hagbala” with the theme of Yogyakarta, History and, Romanticism which was also written and directed by Rafael Raga Budi Panuntun, even 50% of this theater is self-made, starting from production, music, artistic, fashion, and others. Hagbala succeeded in winning the 1st place at the Sleman Regency level and the 3rd place at the DIY Province level.

After successfully becoming a champion with Hagbala in 2023. In 2024, Rafael Raga and Kapanewon Minggir advance to participate in the theater festival again in Sleman Regency. Raising Ngathabagama as the title of the presented theater, again succeeded in becoming the champion. Raga revealed that he wrote his script and ideas during KKN (Real Work Lecture) activities. This shows that with all his busyness, Raga was able to create an extraordinary work that was unexpectedly led him to become the best presenter in the 2024 DIY Theater Festival.

The theme of the 2024 DIY Theater Festival refers to the technical instructions from the DIY Cultural Service (Kundha Kabudayan) which is Panji. Panji’s romance and love with Sekartaji are brought into a theater. However, Raga revealed that he wanted Ngathabagama to be taken from another point of view, namely that the story of Panji and Sekartaji who always got a blessing from a nature or can be called the absolute destiny of God. Raga did research and found that Panji and Sekartaji always get a destiny that separates them, whether separated by time, someone, or circumstances.

The script that Raga wrote did not escape Raga’s consultation with the lecturer of the Javanese Language, Literature, and Culture Study Program, Dr. Rudy Wiratama, S.I.P., M.A., an academic and Wayang Gedhog practitioner who uses the theme of Panji and Sekartaji. With the conversation that Raga did with Dr. Rudy Wiratama, S.I.P., M.A., will strengthen the story and can be held accountable for its validation.

After doing a lot of research and discussion, Raga found that Panji and Sekartaji are always separated by fate, one of them is separated by the god Bathara Kala which is represented as Kala is time. Raga got an unusual idea, which is working on the Panji theater this time by showing Bathari Durga or the mother of Bathara Kala who gives wiradat to Panji and Sekartaji and separates the two of them to get a stronger essence.

Raga crossed between Wayang Gedhog and Wayang Purwa to find out the weakness of Bathari Durga. The weakness of Bathari Durga is Semar or Sang Hyang Ismaya, Semar can defeat Bathari Durha by reciting the way of the guardian, to prevent further evil. Caraka walik is a Javanese script (Hanacaraka) that is read backwards, believed to be able to ward off bad things, Raga took the title of the theater this time from the first line of caraka walik, Ngathabagama.

Many Javanese chronicles, both fiction and non-fiction, place the central story of Panji and Sekartaji. Raga’s knowledge of various kinds of Javanese literary works made him confident to write this script. The story of Panji and Sekartaji has not only become the wealth of the Nusantara but for the whole of Southeast Asia. There are also many essences of Wayang Purwa that are raised for Ngathabagama theater, such as Semar, Bathari Durga, the role of the gods, the urning of the nature of the wiradat, a romance story that has many relationships with literary works, and local wisdom such as the use of caraka walik which is widely known to expel or restore bad circumstances.

Not only the presentation of Ngathabagama theater, Raga also created an original soundtrack for Ngathabagama with the title “Kalasmara” which supports the dialogue between Panji and Sekartaji. This Kalasmara was created by Raga to archive theatrical presentations that have been carried out so that they still have a different essence. Raga added that he did not want a stage to only end in 30 minutes to 1 hour on stage, but to have another form of work that can forever be a memory and archive in the future.

The story of Raga in the creation of performing arts based on Javanese literary works is expected to be able to inspire students of the Javanese Language, Literature, and Culture Study Program to be able to create and utilize the knowledge that has been obtained. Many works of art can be created equipped with knowledge from the Javanese Language, Literature, and Culture Study Program.

Thursday night (14/12/2024), the Javanese Language, Literature and Culture Study Program held a puppet show with the play Gajahmada Kridha (Ra Kuti Balela). The night was also the night of the awarding to the winners of the Temu Budaya Nusantara XXX competition, this puppet show was also held in commemoration of World Shadow Puppet Day. The puppet performance was held in Greenland, Faculty of Cultural Sciences, Gadjah Mada University. Masterminded by M. Rafi Nur Fauzy, a 2023 student of the Javanese Language, Literature and Culture Study Program and in collaboration with the Surakarta Style Javanese Arts Unit (UKJGS) UGM, the Gajahmada Kridha puppet show went smoothly.

Based on an interview with Rafi, Gadjahmada Kridha (Ra Kuti Balela) tells the story of Gajah Mada’s role in suppressing the rebellion of Ra Kuti, a Dharmaputra or courtier at that time. Ra Kuti’s rebellion was based on dissatisfaction with King Jayanegara who was very weak and easily manipulated by his subordinates. This made some of his courtiers unhappy, including Ra Kuti. Ra Kuti wanted to restore the dignity of Majapahit at that time. However, it turned out that Ra Kuti’s idea was not approved by the community so that the community considered that Ra Kuti was committing a rebellion. When Ra Kuti successfully occupied the capital, Jayanegara was escaped by Bhayangkara’s troops. After strategizing, the Bhayangkara troops were able to turn the situation around and Ra Kuti died at the hands of Gajah Mada.

The rebellion carried out by Ra Kuti changed an Gajah Mada who was initially only a commander of soldiers then appointed as patih. The beginning of Ra Kuti’s rebellion as Dharmaputra was caused by a divide and conquer, by Mahapati, a cunning person. He made a strategy so that all Majapahit predecessors were finished and Mahapati could steer the country, even though he did not want the position of king. Gajahmada, who knew Mahapati’s guise, succeeded in making Mahapati die at the hands of Gajah Mada.

Puppet performance of Gajahmada Kridha (Ra Kuti Balela)

There were many processes involved in writing the script for this puppet show. With the help of R. Bima Slamet Raharja, S.S., M.A., and Dr. Rudy Wiratama, S.I.P., M.A., as academics and wayang practitioners, Rafi revealed “Initially I read Negara Kertagama but there was no explicit role of Gajah Mada in it. Then in consultation with Mr. Bima and Mr. Rudy, I was advised to read comics, tutur tinular, and Pararaton.” Being able to perform his own hand-drawn sanggit is a proud and enjoyable thing for Rafi. However, unfortunately there is a lack of appreciation from the Faculty of Cultural Sciences regarding this puppet performance. It is a good first step for the Javanese Language, Literature and Culture Study Program to organize a puppet show at the Faculty of Cultural Sciences, especially to introduce students and residents of Universitas Gadjah Mada to puppetry.

It is hoped that with this wayang performance, more and more students and the general public will be interested in puppetry, because basically puppets in this globalization era are more flexible, not fixated on puppetry conventions. It does not require classical wayang, but it can also be contemporary according to each taste. For the younger generation to be able to love wayang from what they find interesting, it can be from the music accompaniment, the story, and the characters. There are many life lessons that can be learned from puppetry, which can be used for later life.

[Public Relation Faculty of Cultural Science UGM, Editor: Sandya Kirani]

After successfully becoming the Princess Cultural Ambassador of Yogyakarta 2024, Kintan Dewinta Putri, a student of the Javanese Language, Literature and Culture Study Program class of 2022, continued her struggle by representing the Special Region of Yogyakarta in the Indonesian Cultural Ambassador 2024 event. The search for the 2024 Indonesian Cultural Ambassador was held on September 19-21, 2024 in the city of Surabaya, East Java. 

During the four-day event, Kintan received a lot of training and workshops such as how to build personal branding and material about skin health. Many activities were carried out by Kintan together with other Cultural Ambassadors from various regions, ranging from photoshoots to city tours. “I was feeling down and overthinking not being able to bring the title, but Alhamdulillah, I was still given the trust as the 1st Runner Up of the 2024 Indonesian Cultural Ambassador,” said Kintan regarding her impression.

Kintan Dewinta Putri wearing a typical Yogyakarta Besiyaran outfit

Kintan’s experiences and achievements are expected to be a motivation for students of the Javanese Language, Literature and Culture Study Program, and be able to benefit the people around both now and in the future. Kintan conveyed a message that all young people should not be ashamed to start something because success must also begin with effort. Kintan added hope that the big family of Indonesian Cultural Ambassadors will be closer, maintained solidarity and unity among the diversity of Indonesian culture. 

Kintan’s steps as Yogyakarta Cultural Ambassador 2024 and 1st Runner Up Indonesian Cultural Ambassador 2024 should be an example for students and the general public regarding the role of preserving local culture. Not only Cultural Ambassadors have a duty to preserve culture, but it is an obligation for all levels of society. Increasing tolerance and strengthening unity can start as a good first step.

[Public Relation Faculty of Cultural Science UGM, Sandya Kirani]

The cooperation between the Department of Anthropology, Faculty of Arts, UGM and the Department of Anthropology, FISIP, Universitas Padjadjaran resulted in several collaborative works, one of which is a visiting lecture at the campus. On May 14, 2024, Prof. Dr. Bambang Hudayana, M.A. was asked to teach at Padjadjaran University in the S1 Community Development and S2 Applied Anthropology classes. The lecture was held openly with the theme of the event “Rural and Agrarian Issues and Problems” moderated by Prof. Dr. H. Opan Suhendi Suwartaoradja, M.Si.

On that occasion, Prof. Dr. Bambang Hudayana, M.A. gave a lecture with the material “Participatory Action Research as the Power of Empowerment Anthropology”. He began with the history of the development of anthropology in Indonesia which was present starting as the leading anthropology of development (modernization agenda) where anthropologists were asked to succeed various programs with the role of mapping the potential and socio-cultural barriers to find solutions to these various problems. The development programs that involve the role of anthropologists include transmigration, green revolution, family planning, resettlement of alienated tribes, rural community development and so on. However, development anthropology has been criticized, giving rise to empowerment anthropology where participatory action research is used as a method of community empowerment or often called participatory action research (PAR). The advantages of using PAR are seeing problems that are more micro, detailed, emic descriptive, reflective, critical and more impartial. In addition, it can be used as material for the preparation of local scale development programs, advocacy, and education for the community.

Related to this, Prof. Bambang Hudayana shared the experience of research and community service in BUMDES Karangrejek, Gunung Kidul, which previously always experienced drought during the dry season. Then in 1998 the youth of the region initiated the construction of underground river water wells with the collaboration of UGM KKN students. The construction of the well was successful, even surplus water and sold outside the village to build several business units (village mart) and savings and loans from the profits managed by BUMDES.

In addition to this story, best practice was also shared on the Empowerment of Giriloyo batik artisans in Imogiri who were victims of the 2006 tectonic disaster. The PAR identified victim profiles, needs, funding schemes and forms of participation of affected communities. Prof. Dr. Bambang Hudayana, M.A. also shared PAR promoting cassava for food sovereignty in Indonesia which uses a local asset based approach; access based approach; people centered development. Not only that, Prof. Dr. Bambang Hudayana, M.A. also shared the tradition of PRA in other countries. In the lecture, students seemed enthusiastic by asking various questions.

[Public Relation Faculty of Cultural Science, Author: Dewi W, Editor: Sandya Kirani]

Universitas Gadjah Mada Sports and Arts Week or Porsenigama is a forum for students to perform in non-academic fields. The inter-faculty competition is divided into two stems, namely sports and arts stems. The purpose of organizing this competition is to foster sportsmanship, creativity, and solidarity among students of Universitas Gadjah Mada.

This moment is considered appropriate to see the seeds of achievement and development of student talent interests. In 2024, the Faculty of Cultural Sciences has won a gold medal in the art photography category. The first winner was Puspita Nindya Sari, a 2023 outstanding student who is currently studying in the Cultural Anthropology Undergraduate Study Program.

Aya’s work in the Porsenigama 2024 Photography Competition

A woman who is familiarly called Aya presents a portrait of a Balinese dancer as a response to this year’s theme of desire. Beautifully presented by emphasizing the side of facial expressions that are typical of Balinese dance, Aya wants to show the strength of the eyes or seledet. In addition, Aya also showcases the fast-paced nature of Balinese music with visuals of body expressions worked on with a photography technique called motion blur.

Aya’s ability to photograph did not come suddenly. Aya shared that her interest in photography started in 2011 and she began to pursue it when she was in high school. Upon entering college, she started her career as a professional photographer by providing graduation, stage, and event documentation services, until she was recruited as a staff photographer at the 2024 Documentary Film Festival.

Aya’s achievement in winning the gold medal at Porsenigama 2024 shows how quality education can open up opportunities for students to develop their potential and achieve. Participation in competitions like this also reflects the importance of responsible consumption and production in the creation of meaningful and impactful works of art. By continuing to hone their skills and collaborate in various fields, students not only contribute to their own development, but also to the advancement of a more inclusive and sustainable society, in line with the goals of the SDGs.

[Public Relation Faculty of Cultural Science, Sandya Kirani]