Yogyakarta — The night at Pondok A. Salam, Kalimasada, grew warmer during Unggunan Cerita, a session featuring writer Mahfud Ikhwan as part of the 2026 Literary Camp with Nature and the Universe. In an informal and intimate atmosphere, Mahfud shared stories from his writing journey, discussed his creative process and research, reflected on his fascination with popular culture, and offered his thoughts on literary criticism.

The session gave participants a glimpse into the “creative kitchen” of a writer who has spent years developing his work through persistence, research, and close attention to everyday life.

Mahfud began his literary journey with the novel Ulid Tak Ingin ke Malaysia (2009). His name became increasingly recognized through Kambing dan Hujan: Sebuah Roman (2015) and Dawuk: Kisah Kelabu dari Rumbuk Randu (2017). These works reflect his sustained interest in ordinary people, particularly rural communities and those living on the margins of mainstream society.

During Unggunan Cerita, Mahfud spoke at length about the way he works. Writing a novel, he explained, is not necessarily something that can be completed in a matter of months. Some projects take years—up to nine years for a single novel.

For Mahfud, every novel calls for its own treatment, working process, method, and research. There is no universal formula that can be applied to every book. Literary research, he noted, cannot simply be treated in the same way as academic or scientific research. Its approach depends on the story being written, the world the writer wants to create, and what the work seeks to convey.

He also referred to Haruki Murakami’s writing routine as an example of how a writer can cultivate creative discipline through repetition. Murakami is well known for combining regular running with a disciplined writing practice. For Mahfud, the example demonstrates that creative work also demands consistency and persistence rather than simply waiting for inspiration to arrive.

One of Mahfud’s most interesting suggestions was that writers should not necessarily begin a story with a grand idea or grand narrative. A story can instead emerge from something seemingly small: an incident, a scene, an exchange, or a compelling piece of dialogue.

Such small details can become an entry point into a much larger story. What matters is whether the scene or event can draw readers in, make them want to stay with the story, and leave them curious about what comes next.

This approach means that writers do not have to impose a grand idea on a story from the outset. A seemingly ordinary conversation or minor incident can grow into a complex fictional world when handled with care.

The same sensibility can be seen in Mahfud’s attention to forms of culture outside the established cultural mainstream. He is comfortable engaging with what he calls “low culture and entertainment”—forms of popular culture that are often dismissed or looked down upon.

The lives of ordinary people and communities on the margins, for instance, have become the raw material for his fiction. One example is Dawuk: Kisah Kelabu dari Rumbuk Randu, a novel about life in a rural community that went on to receive a prestigious literary award.

Mahfud’s fascination with popular culture does not remain merely a matter of personal consumption. Dangdut, Indian films, and football have all found their way into his writing.

His interest in football, for example, inspired the novel Bek: Sebuah Novel (2024). His love of Indian cinema became the subject of the essay collection Aku dan Film India Melawan Dunia (2017). His fascination with dangdut and other forms of popular culture later found expression in Kepikiran Dangdut dan Hal-hal Pop Lainnya (2024).

These works demonstrate that literary material does not always have to come from what is considered “high culture.” Everyday life, popular entertainment, social habits, and things that are often dismissed as trivial can all become sources of literary creativity.

For Mahfud, it is precisely in such seemingly ordinary spaces that stories can retain a strong connection to concrete human experience.

Toward the end of the session, the conversation turned to literary criticism. Mahfud explained that good criticism serves a purpose far beyond simply judging a work or pointing out its weaknesses.

He compared literary criticism to singing practice and singing off-key. A singer may not realize that a particular note is slightly out of tune. In much the same way, a writer may not be aware of everything taking place within their own work.

“There are things that even the writer does not know or realize.”

Literary criticism, therefore, can reveal possibilities that remain invisible to the writer. With the right perspective, theory, and method, criticism can become a productive way of reading a work more closely and thoughtfully.

For Mahfud, literary criticism should not be reduced to what is increasingly associated with arguments on social media: sniping at others, trading personal attacks, or creating noise without a clear intellectual basis.

Mahfud has also practiced criticism himself through his book Melihat Pengarang Tidak Bekerja (2022). The book reflects his own approach to criticism: staying close to the literary work while examining authorship and the creative process from a critical perspective.

Ultimately, Unggunan Cerita became more than a conversation about writing techniques. From the long gestation of a novel to his enthusiasm for dangdut, Indian cinema, and football, Mahfud showed that a writer’s creative kitchen can be found almost anywhere.

Stories can grow out of villages, marginal spaces, football fields, Indian films, dangdut stages, or even a seemingly insignificant line of dialogue. What matters is how a writer observes, processes, researches, and gives form to what they encounter.

Under the night sky of Kalimasada, Unggunan Cerita offered a reminder that literature does not always emerge from grand ideas. Sometimes, it begins with something small that someone takes the time to notice—and then patiently works on for years.

 

Author: Khotibul Umam

 

Yogyakarta — The Master’s Program in Literary Studies at the Faculty of Cultural Sciences, Universitas Gadjah Mada (UGM), held the 2026 Literary Camp with Nature at Pondok A. Salam, Kalimasada, from August 14 to 15. Conceived as a community-oriented and collaborative initiative, the camp brought together writers and literary enthusiasts in an informal setting while inviting them to reflect on what literature means—and what it can do—in everyday life.

The camp was intentionally modest and non-commercial. For Prof. Dr. Aprinus Salam, M.Hum., Head of UGM’s Master’s Program in Literary Studies and one of the event’s facilitators, this simplicity was part of the point. At its heart, he argues, literature should help people remain independent and hold on to their sense of humanity.

“What matters in literature, including an event like this Literary Camp, is the effort to preserve independence and uphold our character. And perhaps the chances of failing are greater.”

For Aprinus, independence is never easy to maintain. Throughout its history, literature has often occupied a distinctive position in relation to political and economic power, as well as to social and cultural structures built on hierarchy and inequality.

Literature, he suggests, has a critical responsibility: to examine the world we inhabit and distinguish what has been compromised from what remains worth defending.

“Ethically and aesthetically, literature is a continuing effort to discern what in life has been corrupted and what ought to be defended.”

This perspective helps explain the spirit behind the Literary Camp. It was not conceived as a commercial event, nor as a gathering defined by elaborate facilities. Instead, it sought to create a space where people could meet, exchange ideas, and reconnect through literature.

Aprinus acknowledges that maintaining independence is a difficult undertaking and that failure is always a real possibility. Independent initiatives, he observes, are becoming increasingly difficult to sustain, particularly in a society where many people live under significant constraints and have had few opportunities to cultivate self-reliance.

For him, however, literature’s concern with independence goes hand in hand with something deeper: preserving the human capacity for empathy, integrity, and conscience.

“Historically, literature has also been a space for reaffirming our essential humanity. It is a space where we struggle to preserve what is genuine in being human. Literature is one way of keeping our conscience alive.”

Participants in the 2026 Literary Camp were selected through a literary curation process. Applicants were asked to submit either at least one short story or five poems. Around 40 percent of the submissions—roughly 40 participants—were ultimately selected.

Their works will be compiled into an anthology of short stories and poetry. Initially, the anthology will be produced as a photocopied edition according to the number of copies needed. If the collection proves worthy of further development, the organizers plan to pursue an ISBN for a subsequent edition.

In this sense, the Literary Camp was more than a gathering. It brought together several dimensions of literary life—writing, reading, curation, discussion, and exchange—within an intentionally modest setting.

The program began on Friday afternoon with the arrival of participants and the formation of groups, followed by communal prayer and a briefing. The afternoon unfolded informally, with introductions, conversations, walks, light exercise, and time spent exploring the gardens around Kalimasada. As evening fell, participants gathered to watch the sunset before beginning the main evening program.

After dinner came Literary Oration, featuring Muhammad Lutfi Dwi Kurniawan and Rini Febriani Hauri, followed by a reading of Curatorial Notes. The evening continued with a relaxed conversation with writer Mahfud Ikhwan, titled Unggunan Cerita, before moving into poetry and short-story readings.

The night eventually gave way to rest, and the program resumed on Saturday morning with dawn prayers, a morning walk, coffee and tea, breakfast, a group photograph, and preparations for departure.

For Aprinus, the significance of the camp lies partly in its brevity. The event lasted only about 18 hours, but even such a short encounter can offer a temporary space in which participants attempt to live out the values they associate with literature.

Yet he is careful not to romanticize the experience. The real test, he suggests, begins after everyone leaves.

“The Literary Camp is one example. During those hours, it may seem that we are trying to preserve our independence and hold on to our humanity. But unfortunately, it lasts only 18 hours.”

Once the camp is over, participants return to their separate lives. The temporary community dissolves, and each person must once again negotiate the pressures of everyday existence.

“After the Literary Camp, we have to struggle on our own again—caught up in noisy political routines, anxious economic pressures, and a social and cultural routine that can become tedious.”

Seen in this light, the camp is not an escape from reality so much as a brief interruption of it. It offers participants a chance to step away from the noise, even momentarily, and to read, write, talk, listen, and reflect.

The limited facilities at Pondok A. Salam are part of that experience. The camp does not promise comfort or convenience. Participants share simple spaces, adjust to limited resources, exchange stories, and learn to take responsibility for their own needs.

That simplicity also reinforces the event’s broader ethos: literature does not necessarily require elaborate infrastructure to create meaningful encounters.

With a relatively full schedule, participants were expected to respect time and remain attentive to one another. But discipline was not meant to undermine the camp’s convivial spirit. On the contrary, the organizers hoped that the event would be a joyful occasion—a place where literature could be experienced rather than merely talked about.

Ultimately, as Aprinus Salam suggests, literature is about more than texts, literary technique, or aesthetics. It is also about the ongoing struggle to preserve something more fundamental: our independence, our humanity, and our conscience.

 

Author: Khotibul Umam

YOGYAKARTA – As they enter their third semester, students of the Arabic Literature Study Program at Universitas Gadjah Mada (UGM) took part in an orientation session to prepare for the upcoming semester while planning their academic and personal development. The session covered curriculum updates, academic planning, time management, and opportunities for students to develop their skills both inside and outside the classroom. The session began with a presentation by Dr. Zulfa Purnamawati, S.S., M.Hum., who explained the transition between the 2021 and 2026 curricula. Students learned about course mapping and the points they need to consider when planning their studies, including courses from previous semesters that they may still need to complete.

The discussion then moved beyond academic matters through a sharing session with Pandhita Hapsari, an Arabic Literature student from the 2023 intake. She encouraged the 2025 students to be willing to try new things and take opportunities they may not have considered before. Drawing from her own experiences, Pandhita highlighted the importance of stepping outside one’s comfort zone and being open to failure as part of the learning process. She also encouraged students to take part in organizations, competitions, and other activities that can help them develop their soft skills. These experiences, she explained, can become valuable preparation for entering the professional world. At the same time, students were reminded to manage their time well and maintain a balance between academic responsibilities and other activities.

The session continued with discussions between students and their respective Academic Advisors (DPA): Dr. Mahmudah, S.S., M.Hum., Dr. Nur Kholid, S.Pd.I., M.Pd.I., and Dr. Muhammad Zakki Masykur, S.S., M.Pd.I. The discussion provided students with an opportunity to consult directly about their academic plans and prepare for the upcoming semester. It also allowed students to discuss their study progress and receive guidance based on their individual academic needs. Through the session, students gained not only a clearer understanding of their academic plans but also new perspectives on how to make the most of their university experience. Entering their third semester, the 2025 students are encouraged to take greater initiative, explore new opportunities, and develop experiences and skills that can support their academic journey and future careers.

Author : Indana Zulfa Maulida

Yogyakarta— The Literary Camp with Nature and the Universe, organized by the Master’s Program in Literary Studies at the Faculty of Cultural Sciences, Universitas Gadjah Mada (UGM), at Pondok A. Salam, Kalimasada, featured a Literary Oration session on Friday evening, August 14. Beginning at 7:30 p.m., the session brought together two speakers from the academic community of FIB UGM: Muhammad Lutfi Dwi Kurniawan, a doctoral student in Humanities at FIB UGM, and Rini Febriani Hauri, a master’s student in Literary Studies at FIB UGM.

The Literary Oration was an important part of the camp, providing a space for reflection on literature, the relationship between humans and nature, technological developments, and the future of the humanities.

In his presentation, “Unveiling the Pulse of the Text: Biopoetics and the Crisis of the Human–Nature Boundary in Literature,” Muhammad Lutfi Dwi Kurniawan introduced biopoetics as a way of exploring the relationship between life, human beings, nature, and literary works.

Broadly speaking, biopoetics is an interdisciplinary approach that brings together biology—the study of life—with poetics, literature, the arts, and other forms of creative expression. It opens up a way of understanding literature not simply as a product of language and culture, but as part of a wider conversation about life and humanity’s relationship with the biological world around us.

In his presentation, Lutfi offered the Achilles tendon as an intriguing example. This important part of the human body connects the calf muscles to the heel bone. The name Achilles comes from Achilles, the legendary Greek hero immortalized in Homer’s epic Iliad. The example illustrates how traces of literature and mythology can become embedded in the language through which human beings describe and understand the world—even in scientific terminology.

From this perspective, biopoetics becomes particularly relevant as the boundary between humans and nature is increasingly being questioned. Literature can provide a space to explore how people understand life, how nature is represented, and how relationships between humans and other living beings are shaped through language, imagination, and experience.

The theme “Unveiling the Pulse of the Text” thus takes literature into a broader intellectual territory, bringing textual studies into conversation with questions of life and the environment. Biopoetics allows literature to engage with scientific knowledge while also inviting us to reconsider the human position—not as something entirely separate from nature, but as part of a larger web of life.

Meanwhile, Rini Febriani Hauri presented “Reading Literature in the Age of Algorithms: Experience, Interpretation, and the Future of the Humanities.” Her presentation invited participants to reconsider the experience of reading literature amid rapid digital transformation and the relentless flow of information.

During her presentation, Rini quoted Franz Kafka:

“A book must be the axe for the frozen sea within us.”

The quotation offered a starting point for thinking about reading as more than an act of gathering information. Reading can be an experience that moves us, unsettles us, and even transforms the way we understand ourselves and the world.

In a digital culture increasingly defined by speed, where information arrives continuously and algorithms help determine what we see and read, Rini encouraged participants to read slowly. The invitation to slow down becomes a form of pause, and perhaps even a quiet resistance to the pressure to move constantly from one piece of information to another and to form immediate judgments.

Reading slowly gives the reader space to allow a text to work its way inward. It creates an opportunity to attend to language, discover layers of meaning, question one’s own experience, and encounter interpretations that might otherwise be missed in hurried reading.

In the age of algorithms, the experience of reading therefore becomes increasingly significant. As technology becomes capable of producing, circulating, and processing an almost limitless amount of text, the human capacity to read, feel, interpret, and make meaning remains something worth preserving.

Together, the two presentations brought into focus two important questions facing contemporary literature: the relationship between humans and nature, and the relationship between humans and technology. On the one hand, biopoetics invites us to reconsider the boundary between humanity and the living world. On the other, the discussion of literature in the age of algorithms asks us to consider how technology is reshaping the experience of reading and interpreting literary works.

Bringing these two themes together broadened the intellectual scope of the Literary Camp. Literature was not treated merely as an activity of reading and writing, but also as a space for understanding a changing world, questioning the boundaries of human experience, and reconsidering the future relationship between humans, nature, and technology.

Held at night, the Literary Oration also formed an integral part of the distinctive atmosphere of the Literary Camp. After spending the afternoon outdoors and experiencing the natural surroundings of Kalimasada, participants gathered to listen, discuss, and exchange perspectives on literature and the wider questions of human life.

The Literary Camp thus offered more than an opportunity to camp and socialize. It created an intellectual space where literary works, ideas, nature, science, technology, and human experience could meet within a single shared experience.

Author: Khotibul Umam

The inter-staff (tendik) volleyball tournament featuring the Faculty of Economics and Business (FEB), the Faculty of Philosophy, the Faculty of Psychology, and the Faculty of Cultural Sciences (FIB) was held once again. The event took place at the FEB South Volleyball Court on August 14, 2026, running from 07:30 to 09:30 WIB. Around 45 female staff members enthusiastically joined the competition, with each team consisting of 10 players.

This inter-faculty sports event was specially organized to celebrate the 71st Anniversary (Dies Natalis) of FEB.

From the opening round, the competition ran smoothly and full of excitement all the way to the final match, which brought together the staff teams of FIB and FEB. The final showdown delivered several intense rallies. Non-stop cheering from the FIB staff on the sidelines successfully brought a heated yet thrilling atmosphere to the court.

In the end, the FEB staff team emerged victorious with a convincing 3-0 sweep over FIB. Although falling short in the final, the FIB staff remained joyful and immensely proud of their team’s improved performance.

“It’s alright to take second place; we are a completely different team compared to before,” said Vivin, one of the FIB staff members, after the match. This achievement serves as a memorable moment for the FIB staff to further strengthen inter-faculty camaraderie while boosting the athletic spirit across the campus.

 

[Author: Humas FIB, Zaidan Abdurrahman]