Yogyakarta, 14 September 2026 – Right on that day, six students from the Kemitraan Negara Berkembang (KNB) scholarship arrive at INCULS from their respective countries. They were there to attend the program’s opening ceremony as well to kick off their first day studying here. Our long awaited friends finally set foot at Fakultas Ilmu Budaya (FIB), Universitas Gadjah Mada (UGM).

To start a new semester in a new and foreign environment is definitely not an easy thing to do. Feelings like anxiety, loneliness, and worry are definitely there. One of the purposes of the opening ceremony is to make them feel at ease and relieve them from those negative feelings. With the main purpose being International Student Orientation (ISO) and briefing for the time they will spend in Indonesia. As they will spend their next year here in Yogyakarta, Indonesia. INCULS will be their guardian as well as their friend, also will make their stay in Jogja, enjoyable.

At INCULS, the Indonesian Language is not the only thing we teach. Even though it is true that most of our students come to learn Bahasa Indonesia, lessons and exposure to Indonesian culture is also something INCULS provides. With many invaluable chances to have a firsthand experience within Jogja. Study tours and many more exciting activities.

At this ceremony, information such as the curriculum and getting to know the tidbits of Jogja were shared for the convenience of INCULS’ new BIPA students. Often overlooked things like the cuisine in Jogja; the daily things in Jogja; the norms in Indonesia; and so on. Our students are prepared immediately with information that will certainly help them for the time they will have in Indonesia.

INCULS hopes the KNB Program could provide top notch education for our BIPA friends to push them to grow and become bridges that connect the world. Not just the language, the culture that they will experience here in INCULS to be of great use in their life. Good luck on your studies friends, there will be a point where things are going rough, but keep your head high and push on!

Ditulis oleh: Dydo Athaya Rafif dydoathayarafif@mail.ugm.ac.id

Contributors: Nada & Jusma, 2026

Kontributor: Nada & Jusma, 2026

Cultural preservation is not only carried out by maintaining the continuity of living traditions but also by reviving arts that are beginning to be abandoned. This effort is being undertaken by Ghibran Arsha Daffa’ Musaffa’, a 2024 student in the Javanese Language, Literature, and Culture Study Program, Faculty of Cultural Sciences, Universitas Gadjah Mada (FIB UGM). His interest in oral traditions, which began through his coursework, inspired Ghibran to take the initiative to revive the Gejog Lesung art tradition in Karang Tengah Hamlet, Bantul Regency, Special Region of Yogyakarta.

Gejog lesung is a traditional art form that uses the rhythmic sounds of a lesung as musical accompaniment. A lesung is a wooden vessel used to pound unhusked rice into rice grains. Over time, the pounding activity produced rhythmic sounds that were subsequently incorporated into artistic performances. In an online interview conducted on 22 September 2026, Ghibran explained that Gejog Lesung performances typically combine the rhythmic pounding of the lesung with traditional songs, such as Gugur Gunung and Prau Layar. In Karang Tengah Hamlet, this art form is represented by the Gejog Lesung Ngudi Lestari group.

According to Ghibran, the existence of the lesung is closely connected to the history of Karang Tengah Hamlet. A stone pounding tool known as watu lumpang was discovered in the area and is estimated to have existed since around 1632 CE. The tradition of pounding has also been practised for a long time, one aspect of which is associated with the role of the Karang Tengah community in providing food supplies for the abdi dalem who built the tomb complex of the Mataram kings in Imogiri. At that time, pounding was carried out to process unhusked rice into rice grains. Over time, stone pounding tools were replaced by wooden lesung, which were considered more flexible to use. The activity of pounding with a lesung produced interesting, rhythmic sounds. These sounds not only accompanied the work but could also boost people’s enthusiasm while working and serve as entertaining spectacles. From this practice, Gejog Lesung developed into a form of cultural expression within the local community.

The Gejog Lesung Ngudi Lestari group was established in 1965, with performances involving people pounding the lesung and singers performing traditional songs. Later, in 2000, the group began incorporating dancers to visually interpret the songs being performed. For example, when performing Gugur Gunung, the dancers portray activities associated with gotong royong (mutual cooperation). The combination of the sounds of the lesung, singing, and dancing made the performances more diverse.

Throughout its history, Gejog Lesung Ngudi Lestari has frequently performed at various community events, ranging from village anniversary celebrations and community gatherings to cultural events. The group was also once invited to perform at Kanjengan, Imogiri, as part of the Kirab Siwur tradition, a procession in which a siwur is carried as part of the nguras enceh ritual series. The ritual involves cleaning the water vessels and filling them with water at the tomb complex of the Islamic Mataram kings in Imogiri.

However, over time, this artistic activity entered a state of “suspended animation” due to the absence of generational succession. This situation encouraged Ghibran to take part in efforts to preserve the art form in his area. His interest grew further when he took the Oral Tradition course in the Javanese Language, Literature, and Culture Study Program at FIB UGM. The course marked one of the starting points for Ghibran to gain a deeper understanding of the gejog lesung tradition while encouraging him to engage directly in its preservation. “Thanks to the Oral Tradition course, I was encouraged to learn more about this tradition, and it also strengthened my motivation to bring it back,” Ghibran explained.

In addition to being a university student, Ghibran is active in the youth organization Angkatan Muda-Mudi Islam (AMMI) Karang Tengah, particularly in its literacy and education division. Through his involvement in the organization, he initiated the formation of Gejog Lesung Ngudi Lestari New Generation as an effort to continue the artistic tradition that had previously ceased. This initiative involved local young people while also inviting the elders to share their knowledge and skills related to the gejog lesung art form. “We started from scratch and also invited the elders to teach us. They were happy because this art form now has successors,” he added.

Rebuilding the artistic group was not without challenges. In the early stages, Ghibran faced difficulties in encouraging young people to get involved. Nevertheless, the gradual approach he adopted began to foster enthusiasm among the members. “At first, it was somewhat difficult, though manageable. Some felt inferior, while others were embarrassed to take part in preserving this tradition. However, Alhamdulillah, with strong efforts, my friends became enthusiastic and even expressed plans to hold regular weekly practice sessions,” Ghibran explained.

Gradually, these efforts began to bear fruit. Gejog Lesung Ngudi Lestari New Generation performed again, combining the rhythmic pounding of the lesung, singing, dancing, and ketoprak performances during the celebration of the Independence Day of the Republic of Indonesia on 17 August. The performance served as a step towards reintroducing gejog lesung to the community while fostering greater interest among young people in local arts. This effort also attracted the attention of the Bantul Regency Cultural Office and the Deputy Regent of Bantul. Going forward, the art form is planned to be featured in various cultural programmes or events.

Ghibran’s initiative demonstrates that cultural preservation can begin within one’s immediate surroundings and develop through the active involvement of young people. Through the knowledge gained at university, support from youth organizations, and the involvement of elders in passing down traditional knowledge, a tradition that had previously ceased can once again find room to develop. The efforts of nguri-uri ‘preserving’ and ngurip-urip ‘reviving’ culture demonstrate that cultural preservation is not merely about safeguarding identity; it also creates opportunities for culture to bring benefits to the community itself.

Author: Haryo Untoro

The 2026 Arabic Culture Festival (FKA), organized by Arabic Literature at UGM, has returned under the grand theme “Binar Suar Arabia, Menyinari Cakrawala Dunia” (Radiant Rays of Arabia, Illuminating the World’s Horizon). Held biennially, the festival centers its main events on competitions for high school and university levels. However, what truly stole the spotlight this time was the presence of Arabic Market Day (AMD), specially designed to occupy the free time of participants and accompanying teachers to prevent boredom while supporting the competitions.

Serving as the hub for supporting activities, Arabic Market Day features three main pillars: Interactive Space, Cultural Tenant, and Live Cooking Arabic Meal. The peak of AMD’s festivity took place on the second day through an open stage that facilitated participants in singing and featured performances by the FKA committee members.

This led up to the two most anticipated main presentations: Qiroatus Syi’ir and the debut performance of Keroncong Seroja. As a new community formed by Arabic Literature, Keroncong Seroja successfully mesmerized the audience through a unique blend of classic keroncong music with Arabic-nuanced songs and other cross-genre tracks.

High enthusiasm was also acknowledged by the committee, who noted that this year’s AMD was much more lively and “lit” compared to the previous edition. “AMD is now much busier and more fun, unlike last year which was rather quiet.” A warm atmosphere was reflected by the bustling crowd enjoying culinary delights like kebabs while sitting on floor mats (lesehan) to enjoy the stage entertainment.

More than just a transit space or waiting area, this activity is expected to continue in future FKA events as both a recreational space and an educational bridge that is welcoming for the general public to explore the Arabic world more deeply.

Author: Humas FIB, Zaidan Abdurrahman