The 2nd American Studies International Conference was held again at the Faculty of Cultural Sciences, Universitas Gadjah Mada (FIB UGM) on September 10–11, 2026. Organized by the American Studies Study Program, the conference carried the theme “Global America: Exploring Flows, Borders, and Transnational Exchanges”. Simply put, the theme examines America in relation to flows, borders, and cross-border exchanges.

In this conference, American Studies was not merely understood as the study of English language or American culture. The field serves as a multidisciplinary study covering culture, society, politics, technology, literature, environment, and America’s relations with the world. This was reflected in the diverse subthemes discussed, ranging from American Literature, American Transnational Culture, Politics in the US, Film and Media Studies, to Digital Lives and Virtual Realities.

The theme “Global America: Exploring Flows, Borders, and Transnational Exchanges” also highlights exchanges that extend beyond national boundaries. For example, ideas originating in America can spread to other countries and be implemented or adapted to local contexts. In this framework, America is seen not just as a nation, but as a part of broader global processes involving culture, migration, digital media, the environment, and various other forms of exchange.

One of the presenters, Anna M. Gade from the University of Wisconsin–Madison, United States, presented a paper titled “What Does a Data Center Look Like? American Studies and Political Ecology of a Global Digital Landscape”. The presentation explored data centers as integral components of the global digital landscape. It pointed out that the digital world relies on physical infrastructure: behind digital services lie physical components such as servers, electricity, cooling systems, buildings, and other supporting facilities.

Through these discussions, the conference demonstrated that American Studies is not confined to American culture or domestic society, but also examines how concepts and phenomena related to America interact with the global community. Thus, American Studies provides a platform to understand America from multiple perspectives and observe how these relationships evolve in a global context.

[Author: Humas FIB, Zaidan Abdurrahman]

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