This program culminated in the Riuk Raya Moa Arts and Cultural Festival, held on Saturday (Jan. 25) at Gerdarsi Beach. The festival was the highlight of a series of cultural appreciation events aimed at promoting local arts.

Azzan Nasrullah, KKN-PPM UGM coordinator, explained that the festival aimed to preserve the culture and customs of Moa Island, particularly in Klis and Nyama. In addition to protecting the culture, the festival aimed to introduce Moa Island to a broader audience and attract tourists. 

“This festival is not just for the KKN-PPM UGM students but for the people of Klis and Nyama. We are proud and happy to be part of this grand event,” Nasrullah stated in a press release on Thursday (Feb. 6).

He emphasized Moa Island’s vast potential, especially in Klis and Nyama, from food to local customs. 

The event included various activities such as traditional dance performances by elders and students, MSME exhibitions, poetry readings, storytelling, song performances, and a drawing contest. 

“All these programs have been a valuable experience for UGM participants and the people of Moa Island. The unique and distinctive customs and traditions must be preserved indefinitely,” he added.

Fadli Kasim, the field supervisor for KKN-PPM MA008, also expressed pride in the festival’s success. He appreciated the involvement of all community elements, from the people of Moa Island to the local government, in making the Riuk Raya Moa Festival successful.

“The KKN-PPM students have become emotionally connected with the community, showing deep care for local wisdom. Alhamdulillah,” he said.

Agustinus L. Kilikily, Deputy Regent of Southwest Maluku, commended the students for helping preserve the region’s arts and culture while enhancing local human resources. 

He noted that the Riuk Raya Moa Festival, part of the team program, is a medium for exploring and promoting cultural values rich in local wisdom. 

“Indonesia is a country of diverse cultures, inherited from our ancestors, but our younger generation often neglects this heritage. It’s essential to raise awareness of the importance of cultural preservation,” Kilikily said.

He hoped that the festival would inspire the government and the community to work together to preserve the culture of Southwest Maluku. 

He also suggested that the festival become an official and continuous agenda. 

“The Education and Culture Department should act as a facilitator in preserving culture and traditions to prevent them from disappearing,” he added.

Author: Tiefany 

Editor: Gusti Grehenson

Post-editor: Afifudin Baliya

Artikel UGM Students Hold Riuk Raya Moa Cultural Festival in Southwest Maluku pertama kali tampil pada Universitas Gadjah Mada.

Melodi Bulaksumur told the story of a grandfather who had dedicated his life to UGM and shared his experiences with his grandson. 

These stories were conveyed through popular songs from his era, performed by a lineup of singers consisting of UGM leaders, faculty, and students. 

The event was enlivened by musical accompaniment from the UGM Student Choir (PSM), the Gadjah Mada Chamber Orchestra (GMCO), and the Gama Band.

The second offering of the night was slightly different. 

While the audience was taken on a nostalgic journey during the concert, the ketoprak performance Suminten Nagih Janjifeatured a story inspired by the traditional Suminten Edan tale, often staged in Central and East Java. 

This collaboration between lecturers and students not only told a story of love and betrayal by Raden Mas Subrata against Suminten but also conveyed critiques of leaders’ oppression. 

Additionally, the performance showcased women’s bravery.

The entertainment was not the only highlight of the event. 

In collaboration with the Lokalogi community, the audience was required to exchange a certain amount of used packaging waste to obtain entry tickets. 

This initiative aimed to encourage attendees to appreciate and love culture and support a clean and sustainable environment.

In her opening remarks, UGM Rector Professor Ova Emilia stated that the music and ketoprak performances, held as part of the 2024 Lustrum and UGM’s 75th Anniversary celebration, serve as a moment for UGM to preserve and cherish its culture and history, as well as that of Indonesia.

“UGM plays an active role in preserving Indonesia’s art and culture while shaping virtuous individuals with a national perspective,” she said.

Author: Lazuardi

Editor: Gusti Grehenson

Post-editor: Lintang

Artikel Remembering UGM’s Journey Through Songs pertama kali tampil pada Universitas Gadjah Mada.

Unfortunately, once the festival ends, cultural activities also cease. Therefore, efforts are needed to develop the Malinau Cultural Park Festival, which is expected to become a cultural symbol by creating spaces for cultural activities. 

These include two main indoor theater halls, each with a capacity of 500 people, and a cultural plaza as an outdoor performance space with a capacity of approximately 1000 people.

This idea surfaced during the Focus Group Discussion (FGD) on the Final Report for the Planning of the Malinau Cultural Park Development, a collaboration between the Malinau Regency Government and the UGM Center for Tourism Studies (Puspar UGM), held at the Malinau Regency Office Complex on Wednesday (Nov. 6).

Puspar UGM researcher and planning team member Dr. Destha Titi Raharjana emphasized that from a tourism perspective, the envisioned cultural park could serve as a culturally identifiable product. 

Malinau, with the largest area in North Kalimantan, is home to 11 Dayak tribes that live harmoniously. 

“This is a long-term project development moment, not just a concept. It is necessary to seek support from ministries, including the Ministry of Culture, the Ministry of Creative Economy, and the Ministry of Tourism,” she said.

Malinau Regency Secretary Dr. Ernes Silvanus stated that facilitating the potential of the diverse Dayak tribes and other community groups living in Bumi Intulun by providing a representative space for artists to express their creativity is essential.

Dr. Silvanus highlighted that many cultural activities, such as finding rehearsal spaces, still face obstacles. 

“Many young people have to practice in office rooms, yards, or other available spaces,” he explained.

He hopes that the concept of the Malinau Cultural Park will provide a shared space for practicing and showcasing the uniqueness of the eleven tribes of Malinau along with other community groups. 

The goal is to create a space to preserve, nurture, and develop Malinau’s culture. Some of the buildings to be constructed include traditional houses representing the eleven tribes of Malinau. 

These buildings will later serve as alternative accommodation for tourists seeking a unique cultural experience in Malinau.

Kelik Sugiarto Atmaja, an architect on the project team, explained that the Malinau Cultural Park would cover an area of 3.8 hectares and be located on government-owned land near the Kuala Lapang Village Office and Malinau Museum. 

“The proposed location for the Malinau Cultural Park is strategically accessible,” he said.

The area, characterized by contours, includes many trees and some wetlands, reflecting the topographic characteristics of Malinau, which will be optimized as part of the park’s landscape.

Further, Atmaja explained that the park will be designed with a “Cultural Knot,” symbolizing the unity of cultural diversity. 

The Malinau Cultural Park will serve as a binding force for the cultural richness of the eleven Dayak tribes, preserved performing arts, carving arts, and more.

Atmaja hopes that the Malinau Cultural Park will become a cultural symbol for the Malinau Regency in the future. 

The design implementation includes activity spaces for cultural events, such as the two main indoor theater halls and the outdoor cultural plaza.

“There will also be eleven traditional houses as historical landscapes placed near the wetlands, following the original conditions, allowing visitors to track the area,” he said.

Several cultural leaders present, including representatives from the Dayak Lundayeh, Dayak Kenyah, Dayak Abay, Dayak Tidung, and other groups, positively received the proposal to establish the Malinau Cultural Park. 

Some related government departments also provided their views. 

The cultural leaders suggested that Ulin wood be used as the primary material for construction and local plants such as Meranti wood, Kapur wood, Gaharu wood, and others be utilized. They also recommended using local fruit-bearing plants easily found in the Malinau area.

Author: Agung Nugroho

Post-editor: Afifudin Baliya

Photo: Ministry of Tourism

Artikel Malinau Regency Partners with Puspar UGM to Design Cultural Park pertama kali tampil pada Universitas Gadjah Mada.

Indonesian students at New York University and the Indonesian Consulate General in New York organized the “This is Indonesia” event. 

Kagama Karawitan, who was directly brought in from Jakarta, Indonesia, also participated in the celebration, which was held at the Eisner & Lubin Auditorium at New York University. 

A total of 13 performers, consisting of 9 gamelan players and four swarawati singers, entertained the audience by performing several songs, including Caping Gunung by Gesang, Prau Layar by Ki Narto Sabdo, Mars 45 by Ir. Soekarno, and Sesanti Gadjah Mada. National songs such as Tanah Air, Dari Sabang Sampai Merauke, Hallo-Halo Bandung, and Warung Pojok were also performed, culminating in Jogja Istimewa.

Kagama Karawitan emphasized love for and pride in being Indonesian during the event. 

All the performers wore traditional clothing from various regions to represent Indonesia’s diversity. 

This performance aligned with Kagama Karawitan’s cultural mission to introduce Indonesian culture, especially traditional Javanese Karawitan music, to Indonesian students currently studying at New York University, as well as academics and international audiences at the Indonesia Cultural Day. 

“Of course, we want to preserve our culture and ignite the spirit of ‘Let’s Love Indonesian Culture,’” said Swasti Atika, Chairperson of Kagama Karawitan.

Atika shared that the enthusiasm from both international students and the diaspora was very high, as seen in the attendance of 700 people. 

Many participants claimed it was their first time seeing and hearing gamelan live. They immersed themselves in the joy of the performance, even moving along with the rhythm as the songs were played.

“Thank you to the Indonesian Consulate General in New York, New York University, and all the performers who worked hard with great enthusiasm to prepare for this event,” said Atika. 

She hopes that through this performance, the global community will become more familiar with Indonesia.

Indonesian Consul General in New York, Winanto Adi, gave positive feedback on the Kagama Karawitan performance. 

He stated that the Indonesian Consulate General is very enthusiastic about the collaboration to introduce Indonesia to the international community through Karawitan arts. 

“Through this festival, we hope to enhance the understanding and appreciation of Indonesian arts and culture on the world stage and improve Indonesia’s branding abroad,” he concluded.

Kagama Karawitan is an alumni community of Universitas Gadjah Mada, established on Sept. 7, 2019. 

With a desire to preserve the nation’s cultural arts through traditional music, Kagama Karawitan has participated in various events in Yogyakarta, such as Munas Kagama 2019 in Bali, UGM’s Anniversary Celebrations in 2019, 2022, and 2023, Titik Nol 2019, and UMKM Days 2022. 

They have also performed outside Yogyakarta, including the 2022 Semarang Old Town Festival, the 2023 Fun Walk & Food Festival KAFEGAMA in Jakarta, and the 2023 Reuni Akbar KATSAGAMA and KAFISPOLGAMA in Jakarta. 

In 2023, Kagama Karawitan also participated in a performance in the Czech Republic to celebrate the Diplomatic Reception of the Indonesian Embassy in Prague.

Author: Triya Andriyani

Photo: Kagama Karawitan

Post-editor: Afif

Artikel Traditional Javanese Karawitan Music Echoes at New York University pertama kali tampil pada Universitas Gadjah Mada.

One of the regional languages currently being researched by a team from UGM is the Enggano language, spoken on Enggano Island, North Bengkulu Regency, Bengkulu Province. It is now at high risk of extinction.

Professor Wening Udasmoro, a researcher of the Enggano language from the UGM Faculty of Cultural Sciences (FIB UGM), stated that the Enggano language is becoming increasingly vulnerable to extinction, as only about 30% of the Enggano people still use it in their daily lives. 

“I observed several tribal leaders in Enggano. Ironically, they did not recognize the Enggano language written by foreigners. This indicates that the pronunciation and articulation of the Enggano language are very distinct from other languages in general,” said Professor Udasmoro.

This speech was delivered during the Talk Show “Synergy and Action in Efforts to Preserve Regional Languages” and the screening of the film Senja Kala Bahasa Enggano at the Soegondo Auditorium, FIB UGM, on Wednesday (Oct. 23).

Dr. Aprillia Firmonasari, a linguist from FIB UGM, explained that the Enggano language is under serious threat, with the number of speakers decreasing. 

Although she has never been to Enggano, Dr. Firmonasari said she has supervised students researching the extinction of this language. 

She cited recent data from the Summer Institute of Linguistics (SIL), which shows that eleven languages in Indonesia are endangered, and the loss of one language means the loss of invaluable cultural heritage. 

“There may be a need for preservation efforts so that we can strategize to save endangered languages,” she remarked.

UGM anthropologist Professor Heddy Shri Ahimsa-Putra expressed a similar view, emphasizing the need for strategies to address the situation, such as systematically teaching regional languages in schools. 

“There must be teachers willing to become regional language instructors. Unfortunately, many people who use regional languages do not know their grammar,” he stated.

He noted that regional language textbooks need to be developed comprehensively. With 700 regional languages, many teachers are needed to teach these languages. 

However, only a few people have in-depth knowledge of regional grammar. One solution he proposed is establishing a language museum where people can learn and listen to conversations in regional languages. Additionally, ethnoscience can be utilized to enrich knowledge about these languages.

Dr. Hatma Suryatmojo, Director of Academic Studies and Innovation at UGM and producer of the documentary Senja Kala Bahasa Enggano, stated that they made the documentary because there are many ways to convey important messages to the public, one of which is through audiovisual media. 

Documentary videos, in particular, are highly relevant, especially for younger generations who prefer visual content. 

“From this perspective, the documentary on the Enggano language serves not only as a means of education but also as a tool for advocating the preservation of endangered cultures and languages,” he said.

Moreover, the Enggano language was chosen because Universitas Gadjah Mada (UGM) partners with the Bengkulu Provincial Government to promote various aspects of Enggano Island. 

Through this collaboration, Enggano Island is used as a field laboratory for UGM, allowing various research and community service programs to be conducted there. 

“Through the Community Service Program (KKN-PPM), UGM students are also involved in gathering information and understanding the cultural and linguistic conditions on the island,” he added.

The documentary Senja Kala Bahasa Enggano portrays the Enggano language in a critical state, with a declining number of speakers. 

The tribal leader, or Papuki, in Enggano, conveyed this. He noted that parents in the community often use Indonesian daily, resulting in their children rarely being exposed to the Enggano language.

Author: Lintang

Editor: Gusti Grehenson

Post-editor: Afif

Artikel Enggano Language on the Brink of Extinction pertama kali tampil pada Universitas Gadjah Mada.

Today, UNESCO recognizes Jamu as an intangible cultural heritage. Unfortunately, there is a growing lack of awareness among the public about its potential as a development beyond just a healthy drink.

In response, a group of artists from various regions gathered to hold an art exhibition themed around Jamu, the ‘Jejamuan Art Project,’ aimed at raising public awareness about Jamu’s development in the arts sector. 

The exhibition, organized by UGM’s visual arts unit, opened on Thursday (Oct. 17) and runs until Tuesday (Oct. 22) at The Ratan Art Space, Yogyakarta.

This exhibition features around 23 pieces of art. Some of them include Stevy Noza’s Fears, Weakness, Hopes, Umi Jari Widayah’s New Era of Jamu as Lifestyle with an Urban Touch, and Zia Esha Azhari Muzafar Shidiq’s The Burden of Ibuism. 

These artworks offer unique interpretations to visitors of the current state of the Jamu tradition.

In the painting Fears, Weakness, Hopes, Stevy Noza illustrates the confusion among modern Indonesians regarding Jamu. 

Should it be left behind, or should it continue to be developed? Additionally, this painting depicts a bottle of Jamu cradled inside an eye like a child. 

Noza, the painter, explains that this symbolizes the hope that Indonesians will always cherish and embrace Jamu as they would their child. 

“The eye captured in the painting represents the hope that Jamu will continue to be loved and cared for as one would a child,” Noza elaborated in the description of his work.

Meanwhile, in the painting New Era of Jamu as Lifestyle with an Urban Touch, Umi Jari Widayah explains that there is potential and creative opportunity in renewing the traditional practice of Jamu drinking through collaboration with urban culture, creating a healthier generation by promoting Jamu.

Next, in the mixed-media piece The Burden of Ibuism, Zia Esha Azhari Muzafar Shidiq critiques the current state, in which women are positioned as the main custodians of the Jamu tradition, responsible for making, selling, and preserving the knowledge of Jamu. 

This dynamic limits women’s freedom, forcing them to bear this role without the equal involvement of men.

Shidiq delves deeper, explaining that using two mannequins in the artwork represents this injustice. The female mannequin is adorned with fabric patterned with Jamu and warm colors, symbolizing the pressure on women to preserve the culture. 

Meanwhile, the male mannequin, dressed in a “blank” white shirt, represents the lack of male involvement in preserving Jamu culture.

According to her, within the context of Jamu tradition, women are often burdened with the primary responsibility, whether as makers, sellers, or preservers of knowledge about Jamu. 

This piece aims to show that the burden is not just a cultural role but also a form of social pressure that limits women’s space. 

“Women are forced to continue bearing this role without involving men equally,” Shidiq explained in her work’s description.

All the pieces in this exhibition express the artists’ perspectives on the challenges faced by Jamu artisans today and their hopes for the future development and preservation of Jamu. 

The hope is that this festival will raise public awareness of the importance of preserving Jamu as one of our intangible cultural products.

The head of UGM’s visual arts unit, Dr. Ahmad Syaify, appreciated the organizers’ invitation to collaborate with the UGM Visual Arts Unit in this art exhibition. 

One of the event organizers, M. Yusril Mirza, explained that before creating their art, the artists visited Gesikan village in Merdikorejo, Sleman Regency. 

There, they were introduced to Jamu artisans to gain a deeper understanding of Jamu, allowing them to create artworks reflecting their experiences with the artisans. 

“Conceptually, it’s called Meet, Understand, Express. So, we meet Jamu artisans, visit Gesikan village in Sleman, and then understand. Understanding means getting to know the artisans, their dynamics, the process of making Jamu, the issues they face, and then expressing it through an artwork,” he explained.

Author: Hanif

Editor: Gusti Grehenson

Post-editor: Afif

Artikel Jejamuan Art Project: Reviving Jamu Culture Through Art pertama kali tampil pada Universitas Gadjah Mada.

Efforts to preserve this heritage, particularly in Maninjau, have been made through organizing cultural arts festivals. However, equally important is the revitalization of arts and literacy studios as platforms for the Minangkabau community to express their creativity, fostering a new generation committed to cultural preservation.

In line with its commitment to support cultural conservation and local wisdom, a Community Service team from UGM’s Faculty of Philosophy initiated the development of the Salareh Nan Jombang Studio in Nagari Koto Gadang, Agam Regency, West Sumatra, as a digital technology-based arts and cultural literacy studio. 

This community service project began in 2023 and is led by a team of lecturers, including Professor Armaidy Armawi, Dr. Iva Ariani, and Shoim Mardiyah. 

The project focuses on mentoring, guidance, and training in information technology, and the studio was inaugurated on Thursday (Aug. 22).

Professor Armaidy Armawi, head of the team, expressed his optimism that the studio’s activities are concrete efforts to preserve cultural heritage amid modernization. 

“We hope the Salareh Nan Jombang Studio will become a platform for young generations to explore, develop, and promote local arts and culture by utilizing digital technology,” Professor Armawi said in a statement to the press on Tuesday (Aug. 27).

According to Professor Armawi, it is crucial to have a generation that can effectively utilize technology to support the preservation of arts and literacy while creating more innovative and creative works. 

For example, using technology to produce documentary films or tutorial videos about traditional Minangkabau arts can help introduce these cultural elements to a broader audience, both locally and internationally.

A young generation proficient in technology can also produce more modern and creative works of art and literature while maintaining the values of Minangkabau culture and tradition. 

This would foster a blend of cultural values and modernity, serving as a medium to introduce traditional Minangkabau arts and culture to a broader, younger audience. 

Therefore, the preservation of Minangkabau arts and literacy can continue to evolve and flourish in line with technological advancements.

“There must be an initiative from the younger generation to engage in cultural preservation efforts and enhance societal literacy, particularly in producing and distributing relevant and engaging cultural content. If the studio members can effectively utilize social media, you can conquer the world,” added Dr. Iva Ariani.

The Village Head of Koto Gadang Anam Koto, Amrizal, fully supports the studio’s efforts to produce educational content to preserve local cultural heritage. 

While attending the inauguration event, he also suggested creating educational content about the ongoing restoration of one of the traditional Minangkabau houses (rumah gadang) in Koto Gadang Anam Koto.

As part of Universitas Gadjah Mada, the Faculty of Philosophy actively participates in various efforts to support cultural preservation and improve public literacy at both local and national levels. 

With the establishment of the Salareh Nan Jombang Studio as a digital technology-based arts and cultural literacy studio, a synergy between the arts, culture, and digital technology is hoped to occur. 

This synergy will ultimately enrich Indonesia’s cultural heritage and strengthen local identity amid the strong influence of globalization.

Author: Gloria

Editor: Gusti Grehenson

Post-editor: Afif

Artikel UGM Initiates Development of Arts and Cultural Literacy Studio in West Sumatra pertama kali tampil pada Universitas Gadjah Mada.

The three professors from FTP are Professor Murdijati Gardjito, Professor Umar Santoso, and Professor Eni Harmayani. The launch of this culinary book series is expected to enrich academic studies and strengthen Indonesia’s culinary identity nationally and internationally.

Dean of FTP UGM, Professor Eni Harmayani, stated that the launch of these 12 books adds to the 3-series culinary books that were previously released. She described the book as a milestone or significant historical marker for Indonesia’s food sector. 

“I believe this is a monumental work that is a historical witness to Indonesia’s culinary heritage. This is not just one creation, but 15 monumental works that preserve the wealth of Indonesia’s culinary traditions and culture,” said Professor Harmayani during the launch of Pesona Cita Rasa Indonesia on Saturday (Aug. 24) at the Kamarijani Soenjoto Auditorium, FTP UGM.

Professor Murdijati Gardjito emphasized the importance of appreciating Indonesia’s culinary wealth by documenting it through book publications. She explained that the first book in this series discusses staple foods, which provide the body with the largest nutritional intake. 

The first series successfully recorded 208 staple food recipes in Indonesia, including recipes for rice, corn, bananas, pumpkins, sago, and other ingredients. 

“This food diversity demonstrates that the Indonesian people need not worry about a shortage of ingredients, as our staple food options are highly varied,” she explained.

William Wirjaatmadja Wongso, an Indonesian gastronomy and culinary consultant, described these works on food and culinary diversity as a masterpiece on Indonesian culinary culture from an academic perspective. 

He stressed the importance of translating these books so the international community can understand the richness of Indonesian cuisine. However, he highlighted the challenges in educating culinary culture practitioners in Indonesia, especially at the vocational school level.

“We are weak in educating culinary culture practitioners. It is rare to find Indonesian chefs who master traditional dishes, which is why these books should be made available in vocational schools so that younger generations can learn and understand the diversity of Indonesian cuisine,” he added.

Professor Marwanti, one of the other speakers and a professor of vocational education in culinary arts at Universitas Negeri Yogyakarta, explained that food serves various functions, including physiological, health, social, cultural, political, diplomatic, and tourism development.

“This book not only offers recipes but also tells stories and meaningful insights from each region in Indonesia. The language is easy to understand, making the book enjoyable and immersing readers in the history of food from various regions,” she said.

Chef Ragil Imam Wibowo, the founder of Nusa Gastronomi Indonesia, began his discussion by highlighting how these books continue the legacy of Mustika Rasa, published in 1967. For him, these books can serve as a shield to protect the pride of Indonesian cuisine from foreign influences. 

“Indonesian food has already been ‘colonized’ by foreign cuisines, so this book is an essential guide to preserving and promoting our culinary richness,” he emphasized.

He also hoped these books could be used as life skills teaching materials in elementary schools, similar to what is implemented in Japan. 

“In Japan, elementary school children are already introduced to life skills for daily living, including knowledge of gastronomy. I hope that Indonesia can adopt a similar practice because everything outlined in these books is excellent, from the ingredients cooking methods to modern presentation,” he remarked.

The speakers and presenters agreed that cuisine is integral to Indonesia’s national identity. By promoting and preserving culinary heritage, we are helping to safeguard the continuity of culture and national identity amid the growing wave of globalization eroding local traditions. 

Therefore, these Indonesian culinary books, written by the three professors, are expected to become important references for academics, practitioners, and younger generations.

Author: Lintang

Editor: Gusti Grehenson

Post-editor: Afif

Artikel Three UGM Professors Launch Indonesian Culinary Book Series pertama kali tampil pada Universitas Gadjah Mada.

Among the lively crowd were dozens of lecturers from the Department of Electrical Engineering and Information Engineering (DTETI), Faculty of Engineering, Universitas Gadjah Mada (FT UGM), who gathered to witness the performance of the electronic gamelan, Gameltron Evo.

At the festival’s opening, Gameltron Evo was played by the Gayam 16 Community, a gamelan arts development community based in the Kraton District of Yogyakarta. 

This community is responsible for organizing the Yogyakarta Gamelan Festival 2024, an international annual event that brings together gamelan enthusiasts, players, and media to deeply engage in the world of gamelan art.

The Gameltron Evo was played by a total of 15 gamelan musicians under the direction of Ageng Purwo Ariyatno. 

The performance included various compositions such as Ladrang Sri Slamet Laras Slendro Pathet Manyura; Ladrang Ayun-Ayun, Ketawang Ilir-Ilir, and Suwe Ora Jamu; Ladrang Pangkur, Sluku Bathok; and Lancaran Kuwi Apa Kuwi.

The head of the electronic gamelan research team, Addin Suwastono, explained that Gameltron Evo represents a significant innovation by simplifying the traditional gamelan’s structure. 

Different musicians typically play traditional gamelan instruments like kendang, bonang, gambling, kempul, and gong. 

However, with Gameltron—an initiative originally by the late Professor Adhi Susanto—all these instruments are integrated into a single technology equipped with sound sensors that replicate the original gamelan sounds.

The key difference lies in the materials used for Gameltron, which are lighter and more cost effective than traditional gamelan. 

For instance, the gong is made from a lampshade and rattan, the saron is made from wood, and the pangkon (base) is constructed from iron. The bonang, on the other hand, is created using 3D printing.

Adjacent to the gamelan instruments is a “gunungan,” which serves as the sound module. From here, the sounds are manipulated to replicate the stored traditional gamelan sounds. 

The musicians play the physical gamelan instruments as controllers or triggers. Additionally, speaker amplifiers enhance and amplify the sound signals from the sound module, ensuring the sounds are audible.

Suwastono emphasized that the similarity in how Gameltron is played helps bring gamelan closer to the public. He noted that Gameltron Evo is designed for practicality. 

“The development of Gameltron allows us to play gamelan with earphones in our rooms,” Suwastono remarked.

This continuously evolving electronic gamelan innovation serves as a form of cultural preservation. 

From the initial Gameltron in the 1970s to Gameltron Evo in 2023, this progression demonstrates the unwavering efforts of FT UGM lecturers to synergize technology with tradition, creating something new without losing cultural roots. 

This electronic gamelan project by the research team bridges traditional and modern culture, reinforcing gamelan’s position in Indonesia’s musical landscape.

Author: FT UGM/Rasya Swarnasta

Editor: Gusti Grehenson  

Photo: Yogyakarta Gamelan Festival

Artikel UGM Researchers’ Electronic Gamelan Debuts at Yogyakarta Gamelan Festival pertama kali tampil pada Universitas Gadjah Mada.

The event featured a ketoprak performance titled “Mendung ing Karangwuni” on Tuesday night (Aug. 20) at Joglo GIK UGM.

In addition to highlighting social issues, this ketoprak performance incorporated elements of the romance genre, where a young girl in the village is forced by her father to marry the son of an investor in exchange for improvements to their village. 

This romantic element kept the storyline engaging, entertaining the audience even as the play tackled heavy topics. The conflicts presented, and their logical resolutions made this ketoprak performance a complete and perfect show.

Enhanced by appropriate props, lighting, and gamelan music, the play’s atmosphere made the audience feel like they were in the actual setting. 

Many audience members interacted with the dialogues during the performance, which the actors responded to, evoking laughter. At the end of the show, the audience enthusiastically applauded the hard work of all the performers.

Throughout the performance, the audience was treated to spontaneous and humorous dialogues, resulting in bursts of laughter. The story begins with a group of men discussing how to improve their village, which then evolves into various conflicts that are ultimately resolved through appropriate resolutions. 

This ketoprak initiative was highly flexible, using just a treatment (without a complete script). The actors’ improvisations made the story dynamic and unpredictable, keeping each scene fresh and relevant to current conditions.

With only five rehearsals, Bambang Paningrom, one of the directors and initiators of this ketoprak, successfully guided his fellow actors to deliver a compelling story. The play’s title was inspired by an area north of UGM, Karangwuni. 

However, the story’s setting focuses on values and current issues relevant to today’s society rather than on this specific location.

Paningrom explained that the story represented specific situations and was created freely, containing current critiques and symbols. He also noted that Karangwuni served as a symbol in this ketoprak performance. 

“The imagined events are contemporary ones, where people make decisions without listening to the voices of their closest environment. Many violate norms and ethics, which are reflected in this play,” he explained.

This collaborative ketoprak was a trial effort to make Universitas Gadjah Mada more inclusive and open. Paningrom expressed that UGM should not be seen only as an “ivory tower” because UGM still engages with the surrounding community and those beyond. 

“What’s the point of being a prestigious university with so many advantages if it neglects the communities around it?” he remarked when asked by the media.

He hopes that the success of this ketoprak performance will offer more than entertainment. Instead, it should convey values worthy of emulation by the audience: critical thinking, openness, integrity, respect for ideas, and appreciation for others. 

“So ketoprak is not just a performance but truly a medium for conveying ideas, sharing, and honoring traditions, especially Javanese culture,” he added.

This collaborative ketoprak performance was organized by the Community Outreach division of GIK UGM and involved various parties, including local residents around UGM, alumni, UGM staff, and other communities.

Author: Lintang

Editor: Gusti Grehenson

Photo: Tom Blero/Kagama.id

Post-editor: Afif

Artikel UGM’s Ketoprak Performance “Mendung ing Karangwuni” Highlights Social Issues Around Campus pertama kali tampil pada Universitas Gadjah Mada.