The Archaeology Student Association (HIMA) of the Faculty of Cultural Sciences, Universitas Gadjah Mada, through the Underwater Archaeology (ABA) Division, conducted an Open Water Training as part of the development of students’ diving skills. The training was held for six days, from July 23 to 28, 2026, in Karimunjawa, Jepara, Central Java, with Sentra Selam Jogja serving as the supporting instructor. During the training, participants practiced diving in open water to apply the skills they had learned in previous training sessions.

The Open Water Training was a further stage in the diving learning process, providing students with direct experience in adapting to marine conditions. The activity also supported the development of students’ skills in observation and documentation in underwater environments related to archaeological studies, while also providing an opportunity to obtain diving certification. Through the Open Water Training, HIMA UGM aims to improve the skills and field experience of members of the Underwater Archaeology Division while preparing students to take part in underwater archaeological research and maritime studies.

Author: Jovinka Aldinova Kiranamurti
Photo Credits: Ramadhani Alifi Cahya Saputra dan Sentra Selam Jogja

The Department of Javanese Language, Literature, and Culture, Faculty of Cultural Sciences, Universitas Gadjah Mada, has produced many alumni who have contributed to the preservation and development of the Javanese language, literature, and culture. One of them is Aji Setyowijaya, a member of the 2008 cohort who is now dedicated to the world of batik as a craftsman of traditional Yogyakarta batik.

The Department of Javanese Language, Literature, and Culture had the opportunity to visit and interview Aji Setyowijaya, hereafter referred to as Mas Aji, in person on Tuesday, 21 July 2026. The 2008 alumnus, who was also a recipient of a scholarship from Yayasan Arsari Djojohadikusumo (YAD), also known as Yayasan Keluarga Hasyim Djojohadikusumo (YKHD), explained that his interest in batik began with his admiration for inherited batik cloths. He often came across old batik fabrics of exceptional quality and beauty, but they had become so fragile that they were no longer suitable for use. “I used to enjoy looking at inherited batik cloths. The fabrics were beautiful and I wanted to wear them, but they had become too fragile. Eventually, I was motivated to try reproducing old batik cloths. At the same time, during my university years, I also enjoyed wearing rasukan, or traditional Javanese attire,” he said.

This interest encouraged him to begin learning batik-making in 2009. He studied various batik techniques by observing and learning directly at several batik centers in Yogyakarta. During this early period, Mas Aji focused on understanding the principles and techniques of traditional Yogyakarta batik as the primary foundation before developing his own works.

Building on this understanding, between approximately 2013 and 2015, Mas Aji began producing antique batik, also known as batik kama or batik lawasan. According to him, during that period both the public and collectors highly appreciated batik lawasan because it was assumed to have originated several decades earlier. “At that time, in the batik trade, people appreciated antique batik, or kama, or lawasan, with the assumption that the batik was 50–70 years old,” he explained.

However, this experience also gave rise to a sense of concern. According to Mas Aji, batik should not merely be regarded as a classical work that ends with reproducing the past. Batik should continue to develop without abandoning its traditional roots. Based on this perspective, he began incorporating his personal identity into every work he created while also expanding his exploration beyond the characteristic style of Yogyakarta batik.

In line with this spirit, since 2018 Mas Aji has devoted himself to studying natural dye techniques for traditional Yogyakarta batik. For him, learning about natural dyes is not merely about producing a wider range of colors, but also about rediscovering the technical knowledge inherited from earlier generations of batik artisans.

In his creative process, Mas Aji does not work alone. He collaborates with his colleague, Yahya Adi Sutikno, who focuses on the design process, while Mas Aji is primarily responsible for production. This collaboration enables them to produce a wide range of batik works through complementary approaches.

Their works include sample pieces featuring various batik motifs on a single piece of cloth consisting of 27, 260, and even 480 motif samples, as well as replicated batik, batik lawasan, and batik resulting from transformation, media transfer, and various forms of creative batik. Their exploration extends beyond batik cloth itself to other textile media, such as sarung and other types of fabric.

In addition to producing batik cloth, Mas Aji is also active in Perkumpulan Wastra Indonesia, a community that brings together enthusiasts and advocates of Indonesian traditional textiles. His dedication to batik is also reflected in his contribution to the book Pesona Padu Padan Wastra Indonesia as a fashion contributor featuring the use of traditional Yogyakarta batik.

Behind all of these creative processes, Mas Aji believes that one aspect that must continue to be preserved in the world of batik is technical knowledge. According to him, discussions of batik have largely focused on philosophical meanings, symbolism, and cultural values, while knowledge of batik-making techniques is at risk of disappearing if it is not documented and passed on. “In my opinion, that domain (philosophy) is not easily lost because there is already abundant literature about it. But technical knowledge can disappear. For example, where should a parang motif begin, and in which direction should it be made? There are specific ways and methods.” For Mas Aji, preserving technical knowledge is just as important as preserving the philosophical values of batik because both are integral parts of the batik-making tradition.

Toward the end of the interview, Mas Aji also shared a message for students of the Department of Javanese Language, Literature, and Culture, encouraging them not to be afraid of exploring opportunities beyond the classroom. “Make big problems smaller, and ignore the small ones. Do not hesitate or be afraid to try and explore. Also, do not limit your horizons to classroom learning alone.”

Mas Aji Setyowijaya’s journey demonstrates that the study of the Javanese language, literature, and culture does not end within the academic sphere, but can also be realized through cultural preservation practices that benefit society. Through his dedication to studying batik-making techniques, reproducing traditional batik, developing innovations grounded in established principles, and continuously exploring new possibilities in the world of wastra, Mas Aji has shown that cultural heritage can continue to live and develop with the times without losing its identity.

For mahadaya who would like to learn more about Mas Aji’s works and activities, they may visit his Instagram account, @setyowijaya, and his Facebook page, Batik Setyowijaya. Through these social media platforms, Mas Aji shares his creative processes, his works, and his activities in preserving and developing the art of batik. 

Author : Haryo Untoro

Yogyakarta – The Department of Anthropology, Faculty of Cultural Sciences, Gadjah Mada University hosted the Quebec (Canada)–Indonesia Creative Industries and Cultural Diplomacy Conference, organized in collaboration with the Asia Pacific Foundation of Canada. This event brought together policymakers, academics, industry representatives, creative practitioners, and students from Canada and Southeast Asia to discuss and exchange ideas on strengthening cooperation in the fields of the creative industries and cultural diplomacy.

The conference was officially opened by Prof. Dr. Wening Udasmoro, Vice Rector for Education and Teaching at UGM. In her remarks, she emphasized the importance of universities as spaces for international collaboration capable of fostering cultural exchange, driving innovation, and strengthening global networks.

Meanwhile, the closing remarks were delivered by Dr. Alexandre Veilleux, who stressed the importance of sustaining the partnership between Canada and Indonesia through academic collaboration, creative industry partnerships, and long-term network-building in the Indo-Pacific region.

The conference featured two panel discussion sessions that explored various perspectives on the development of the creative industries and cultural diplomacy.

In Panel 1, titled “The Strategic Value of Creative Industries and Cultural Diplomacy: A Government Lens”, the panelists were:

1. Guillermo Moyano, Director of Economic Affairs, Quebec Government Office in Singapore;
2. Dr. Leonard Hutabarat, Foreign Policy Strategy Agency of the Republic of Indonesia and former Consul General of the Republic of Indonesia in Toronto;
3. Yurnelis Piliang, S.IP., M.P.A., Head of the Tourism Attractions Division, Yogyakarta Special Region Tourism Office.

The discussion was moderated by Dr. Agung Wicaksono from Gadjah Mada University.

Meanwhile, Panel 2 addressed the theme “Creative Industry Innovation: Canada–Indonesia Business Insights”, featuring:

1. Danny Tan, Managing Producer, Moment Factory Singapore Office;
2. Ivan Chen, Chairman of the Indonesian Chamber of Commerce and Industry (KADIN);
3. Lev Kroll, CEO of Nuanu Creative City.

This session was moderated by Yaxin Zhou from Université de Montréal.

In addition to serving as a forum for strategic dialogue, the conference also marked the opening of the CERIUM Indo-Pacific Chair Summer School, a program that brings together graduate students from Canada and Southeast Asia to learn directly from academics, practitioners, and stakeholders in the fields of international relations and the creative industries. This program is organized through a collaboration between Université de Montréal, Université Laval, and Gadjah Mada University.

Through this conference, it is hoped that closer cooperation will be forged between Canada and Indonesia in the development of the creative industries, innovation, and cultural diplomacy. All organizers expressed their appreciation to the Asia Pacific Foundation of Canada, CERIUM—particularly Dr. Alexandre Veilleux—the speakers, participants, and all partners who contributed to the success of this event.

Moving forward, it is hoped that the networks and collaborations established through this conference will continue to evolve into various joint initiatives that benefit both countries, while strengthening Canada–Indonesia relations in the Indo-Pacific region through creativity, innovation, and cultural exchange.

Author: Dewi Widyastuti

The Master’s Program in Literature, Faculty of Cultural Sciences, Universitas Gadjah Mada (UGM), is pleased to announce the Call for Papers (CFP) for its 2026 International Dissemination event, themed “Literature in the Crosscurrents of Globalization.” The event will be held online via Zoom Meeting on 4 November 2026, bringing together academics, researchers, lecturers, students, teachers, and literature enthusiasts from Indonesia and around the world to discuss the dynamic relationships between literature, culture, and society in today’s global context.

In addition to serving as an international academic forum, the event offers valuable publication opportunities, including publication in an ISBN-registered edited volume. Selected papers will also be recommended for publication in Poetika: Jurnal Ilmu Sastra (SINTA 2 accredited). Participation is free of charge, with no registration fee required.

The theme, “Literature in the Crosscurrents of Globalization,” reflects the increasingly intensive encounters among diverse cultures, values, and perspectives in the era of globalization. Advances in digital technology, human mobility, and transnational information exchange have transformed contemporary social and cultural life. Within this context, literature functions not only as a representation of reality but also as a space where identities, ideologies, traditions, and human experiences are negotiated, contested, and reimagined.

According to Rini Febriani, Chair of the Organizing Committee, the forum is expected to become a platform for exchanging ideas and research findings on cultural transformations occurring in today’s global society.

“Through this event, we aim to create a space for dialogue that brings together scholars and researchers from diverse backgrounds to discuss how literature represents, critiques, and transforms cultural changes in the era of globalization. We hope this dissemination forum will expand academic networks and foster productive research collaborations,” she stated.

The CFP welcomes submissions under several subthemes, including:

• Cultural Industry and the Standardization of Literature
• Literature as a Site of Power Negotiation
• Myth-Making in Popular Literature
• Contestation and Demystification of Narratives in Global Space
• Reconfiguring Localities in Globality

These subthemes provide opportunities for scholars to explore literary studies and cultural phenomena relevant to the development of contemporary global society.

Dr. Aprinus Salam, M.Hum., Head of the Master’s Program in Literature, Faculty of Cultural Sciences, UGM, also expressed his support for the event. He emphasized that globalization not only facilitates interactions among cultures but also shapes the politics of literary production on a global scale.

“The themes emerging in contemporary literary works do not arise by chance. Behind their emergence lie global dynamics and power relations that influence the direction of literary production worldwide. Issues such as the environment, gender, and other contemporary concerns are often part of global currents that shape literary trends and orientations. Therefore, literature should be understood not only as an aesthetic work but also as an integral part of political economy and global cultural dynamics,” he explained.

Paper submission and registration will be open from 29 June to 4 September 2026. The peer-review process will take place from 5–26 September 2026, with acceptance notifications announced on 28 September 2026. Revised manuscripts must be submitted by 5 October 2026, while presentation materials are due on 26 October 2026. The International Dissemination Forum will be held on 4 November 2026.

Participants are invited to submit full papers in English through the official registration link provided by the organizing committee. Submitted manuscripts should be between 5,000 and 7,000 words and will undergo a selection and peer-review process before being accepted for presentation at the conference.

Through this International Dissemination event, the Master’s Program in Literature, Faculty of Cultural Sciences, Universitas Gadjah Mada, aims to strengthen national and international academic networks, encourage cross-institutional collaboration, and provide a productive platform for scholarly discussions on literature and culture amid the complexities of globalization.

Further Information

Registration: https://bit.ly/Desiminasi2026UGM

General Information: https://bit.ly/GeneralInfoDissemination2026

WhatsApp Contacts:

• Ella: +62 823-2494-4082
• Mita: +62 813-9056-4071

Email: diseminasiugm@gmail.com

Author: Rini Febriani Hauri

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