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Balai Media Kebudayaan tidak memberikan insentif, hanya dapat memberikan fasilitas tempat dan pengalaman bekerja selama yang bersangkutan melakukan praktek kerja\u002Fmagang.","Formulir Pendaftaran Magang","Magang","(Jika Ada)",{"content":136,"content_layanan_liputan":137,"content_pelaksanaan_pemanfaatan":138,"content_peminjaman":139,"title":140},"Data yang saya berikan benar dan dapat digunakan Balai Media Kebudayaan untuk ditindak lanjuti ke tahapan selanjutnya.","Dengan ini saya menyatakan bahwa seluruh informasi yang disampaikan dalam formulir ini adalah benar. Saya bersedia berkoordinasi dengan Balai Media Kebudayaan selama proses pelaksanaan liputan serta mematuhi ketentuan layanan yang berlaku.","Dengan ini kami menyatakan bahwa konten Balai Media Kebudayaan telah digunakan sesuai dengan tujuan permohonan dan ketentuan yang berlaku. 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sure you want to submit this form?","Submit Form?","Regency","Select Regency","Enter address","Province","Select Province","Enter complete e-mail address","Contact Person","If applying as an individual, enter your full name","Enter contact person","Full Name","If applying as an institution, enter the contact person's name","Institution \u002F Organization Name","Enter institution \u002F organization name","Enter full name","Phone Number \u002F WhatsApp","e.g. 0812345678","Website \u002F Social Media","If applying as an individual, enter your personal website\u002Fsocial 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This report is submitted as a form of accountability for the utilization of the content provided.","By submitting this form, I agree to all applicable terms and conditions, including the obligation to provide an activity report after the utilization of the content is completed.","Declaration",{"field_address":421,"field_address_kabupaten":422,"field_address_kabupaten_placeholder":360,"field_address_placeholder":423,"field_address_provinsi":424,"field_address_provinsi_placeholder":363,"field_deskripsi":425,"field_deskripsi_placeholder":103,"field_enddate":383,"field_enddate_placeholder":305,"field_lampiran":426,"field_portofolio":427,"field_startdate":386,"field_startdate_placeholder":305,"field_surat_pengantar":387,"field_title":428,"field_title_placeholder":103,"field_tujuan":429,"field_tujuan_placeholder":103,"field_type":430,"field_type_placeholder":103,"information":431,"page_desc":432,"page_title":433,"selected_file":394,"title":434},"Production Address","Production Regency","Enter production address","Production Province","Brief Production Description","Production Proposal","Previous Portfolio","Production Title","Production Purpose","Type of Production","Production Information","Production Collaboration is a partnership between Balai Media Kebudayaan and external parties (such as businesses, production houses, filmmakers, communities, or other institutions) to produce high-quality television programs that align with the goals and functions of Balai Media Kebudayaan. 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submit the form","The form has been submitted successfully!","Success","Please wait for the next update on {page}",{"head_desc":548,"head_title":38},"A collection of short writings, attractively presented, related to the advancement of Indonesian culture.",{"close":550,"download":551,"download_title":552,"file_notfound":553,"file_ready":554,"loading":555},"Close","Download PDF","Download File","File Not Found!","Your file is ready to download!","Please wait, processing your file...",{"desc":557,"result":558},"Here are the search results for '{query}' on the Balai Media Kebudayaan website.","Displaying search results for","Oldest","Latest",{"email_invalid":562,"file_photo_minimum":563,"file_required":564,"file_too_large":565,"fill_at_least_one":566,"format_gmap_link_invalid":567,"provide_event_format_other":568,"provide_reason":569,"required":570,"select_at_least_one":571,"select_date":572,"select_event_format":573,"select_one":574,"select_time":575},"Invalid email format","Please upload at least {amount} photos","Please upload a file","Maximum file size is 5MB","Please provide at least one title","The link or coordinates format is not recognized. Make sure the link contains coordinate numbers (lat,lng).","Please provide the event format","Please provide a reason if no attachment from the university has been uploaded","This field is required","Please select at least one","Please select a date","Please select event format","Please select one option","Please select the time",{"data":577},[578],{"lokasi":579,"email":580,"phone":581,"created_at":582,"updated_at":583,"deleted_at":584},"\u003Cp>Gedung Kementerian Kebudayaan (Gedung E) Lantai 17 Jalan Jenderal Sudirman, Senayan, Jakarta Pusat, 10270 \u003C\u002Fp>\u003Cp>Jalan Gardu, Srengseng sawah, Jakarta Selatan Daerah Khusus Ibukota Jakarta 12640\u003C\u002Fp>\u003Cp>\u003C\u002Fp>","balaimediakebudayaan@kemenbud.go.id","081111815957","2024-05-14 14:40:48","2025-10-08 18:55:59",null,{"data":586},[587,592,597],{"sosmed_name":588,"url":589,"created_at":590,"updated_at":591,"deleted_at":584},"X","https:\u002F\u002Fx.com\u002Fbalai_budaya","2024-05-31 12:17:33","2024-05-31 14:34:37",{"sosmed_name":593,"url":594,"created_at":595,"updated_at":596,"deleted_at":584},"TikTok","https:\u002F\u002Fwww.tiktok.com\u002F@balaimediabudaya","2024-05-31 14:34:06","2024-05-31 14:35:06",{"sosmed_name":598,"url":599,"created_at":600,"updated_at":600,"deleted_at":584},"Instagram","https:\u002F\u002Fwww.instagram.com\u002Fbalai_budaya\u002F","2024-05-31 14:35:54",[602,608,611,614,617,621,625],{"category_hashid":603,"category_name":604,"tag_hashid":605,"tag_name":606,"count":607},"wglf0007","INFO","adye0046","Surat Keputusan","1",{"category_hashid":603,"category_name":604,"tag_hashid":609,"tag_name":610,"count":607},"itcq0033","Rencana Aksi",{"category_hashid":603,"category_name":604,"tag_hashid":612,"tag_name":613,"count":607},"ivfe0034","Rencana Kerja Kementerian Tahun 2025",{"category_hashid":603,"category_name":604,"tag_hashid":615,"tag_name":616,"count":607},"lczy0026","Juknis",{"category_hashid":603,"category_name":604,"tag_hashid":618,"tag_name":619,"count":620},"rwme0031","Rencana Strategis","2",{"category_hashid":603,"category_name":604,"tag_hashid":622,"tag_name":623,"count":624},"yksh0021","Laporan Kinerja","5",{"category_hashid":603,"category_name":604,"tag_hashid":626,"tag_name":627,"count":607},"ziyr0047","Maklumat Pelayanan",{"title":629,"title_en":630,"date":631,"slug":632,"content":633,"content_en":634,"created_at":635,"updated_at":636,"deleted_at":584,"author":637,"author_title":638,"hashid":639,"category_hashid":640,"tag_hashid":641,"visitor":642,"category_name":643,"tag_name":644,"full_count":607,"media":645,"pdf_download":584},"Meneladani Kartini: Memutus Stigma dan Menegaskan Peran Perempuan di Era Modern","Emulating Kartini: Breaking Stigmas and Affirming Women's Roles in the Modern Era","2026-04-21 00:00:00","meneladani-kartini-memutus-stigma-dan-menegaskan-peran-perempuan-di-era-modern","\u003Cp style=\"text-align: justify;\">Perayaan Hari Kartini setiap tanggal 21 April seringkali terjebak pada seremonial pakaian adat, padahal esensi sejatinya adalah refleksi dan internalisasi nilai-nilai perjuangan perempuan. Di Yogyakarta, kota yang menjadi saksi bisu Kongres Perempuan pertama tahun 1928, semangat emansipasi ini terus bertransformasi. Gusti Kanjeng Ratu (GKR) Bendara, putri bungsu Sri Sultan Hamengkubuwono X, menegaskan bahwa peran perempuan dalam sejarah kepemimpinan tidaklah terbatas pada ranah domestik semata. Sejarah Keraton Yogyakarta membuktikan bahwa keterlibatan perempuan dalam urusan negara telah ada jauh sebelum era modern. Stigma tentang perempuan \"dapur, sumur, kasur\" ternyata tidak relevan jika melihat jejak para permaisuri terdahulu. Sebagai contoh, Permaisuri Hamengkubuwono I adalah seorang pejuang yang mahir menggunakan senjata, sementara istri Hamengkubuwono II memiliki kapasitas sebagai negosiator dalam menghadapi pihak Belanda dan Inggris. Bahkan, pengelolaan keuangan negara di masa Hamengkubuwono VII dilakukan oleh istrinya, yang menjalankan fungsi layaknya Kementerian Keuangan.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Emansipasi yang selama ini digaungkan terkesan bahwa perempuan yang tereduksi dimulai dari era zaman R.A Kartini, padahal permaisuri Keraton sudah memulainya sejak dulu. Hal ini menunjukkan bahwa perempuan bangsawan zaman dahulu sudah teredukasi dan memiliki andil strategis dalam kedaulatan negara, meskipun peran-peran tersebut sempat mengalami degradasi akibat stigma sosial yang berkembang kemudian. Salah satu pesan penting dari sosok Kartini adalah keberanian untuk bersuara. Gusti Bendara menyatakan bahwa untuk dicatat oleh sejarah dan membawa perubahan, perempuan harus \"\u003Cem>be loud enough\u003C\u002Fem>\". Melakukan hal baik secara diam-diam memang bermanfaat, namun tanpa suara yang cukup lantang, dampak tersebut sulit untuk terekam dalam narasi sejarah yang besar.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Tantangan bagi perempuan modern adalah menyeimbangkan antara bersikap vokal agar didengar dengan upaya menjaga etika dan martabat agar tidak sekadar dikritik. Di Keraton Yogyakarta sendiri, terobosan besar (\u003Cem>breakthrough\u003C\u002Fem>) telah terjadi dengan diposisikannya lima putri Sultan dalam struktur pengambilan keputusan adat. Posisi-posisi strategis seperti \u003Cem>Pengageng\u003C\u002Fem> (kepala departemen), urusan keuangan, dan sekretariat kini banyak dijabat oleh perempuan. Dalam konteks emansipasi modern, GKR Bendara menyoroti tantangan unik yang ia sebut sebagai \"\u003Cem>Triple Standard\u003C\u002Fem>\". Jika perempuan pada umumnya menghadapi standar ganda, perempuan bangsawan di lingkungan keraton justru menghadapi standar berlapis maka mereka mempertimbangkan langkah berkali-kali lebih dalam. Sering kali, kehati-hatian ini disalahpahami sebagai kelambatan dalam mengambil keputusan. Padahal, hal tersebut merupakan hasil dari kebiasaan berpikir dalam banyak lapisan (\u003Cem>multiple layers\u003C\u002Fem>) yang ditanamkan sejak kecil.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Hambatan emansipasi juga terlihat di dunia profesional, di mana banyak perempuan di level manajerial \"rontok\" saat memasuki usia 30-an akibat tekanan sosial terkait pernikahan dan pola asuh anak. Gusti Bendara menekankan pentingnya lingkungan bisnis yang lebih mendukung serta perlunya perlindungan hukum yang kuat bagi perempuan, termasuk penyediaan \u003Cem>safe house\u003C\u002Fem> bagi korban kekerasan.\u003C\u002Fp>\u003Cimg src=\"https:\u002F\u002Fberkas.cloud-idn.kotakkreasi.com\u002Fcmsbmk\u002F2026\u002F04\u002F21\u002Ffedygmwtjxuzvaibcohnrlsk20260421094215.png\" alt=\"Dokumentasi Produksi Podcast Kulturasi dengan pembicara GKR Bendara di Museum Benteng Vredeburg\n\">\u003Cp style=\"text-align: center;\">\u003Cem>Dokumentasi Produksi Podcast Kulturasi dengan pembicara GKR Bendara di Museum Benteng Vredeburg\u003C\u002Fem>\u003Cbr>\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Emansipasi bukan berarti menjadikan laki-laki sebagai musuh atau lawan dari perempuan, melainkan sebagai mitra strategis. Keterbukaan pintu bagi perempuan sering kali dimulai dari dukungan laki-laki yang memberikan ruang, seperti yang dilakukan oleh Sultan Hamengkubuwono di Keraton. Pesan utama bagi perempuan di era modern adalah untuk tetap \u003Cem>be bold\u003C\u002Fem> (berani). Dengan menempati posisi-posisi strategis sebagai pemimpin dan pembuat kebijakan, perempuan dapat memastikan bahwa undang-undang, visi, dan misi organisasi akan lebih berpihak pada kepentingan perempuan. Emansipasi bukan hanya tentang kesetaraan, tetapi tentang keberanian untuk berkontribusi secara nyata bagi kemajuan budaya dan masyarakat.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Artikel ini merupakan rangkuman dari PODCAST Kulturasi Kementerian Kebudayaan yang diproduksi oleh Balai Media Kebudayaan, keseruan PODCAST dengan Gusti Bendara dalam menghadapi stigma stigma Putri Bangsawan Keraton dapat disimak selengkapnya melalui kanal YouTube Kementerian Kebudayaan dan IndonesianaTV. \u003C\u002Fp>\u003Cp style=\"text-align: justify;\">\u003Cbr>\u003C\u002Fp>","\u003Cp style=\"text-align: justify;\">The celebration of Kartini Day on April 21 often gets trapped in ceremonial traditional clothing, whereas its true essence is a reflection and internalization of women's struggle values. In Yogyakarta, a city that witnessed the first Women's Congress in 1928, this spirit of emancipation continues to transform. Gusti Kanjeng Ratu (GKR) Bendara, the youngest daughter of Sri Sultan Hamengkubuwono X, emphasizes that women's roles in the history of leadership are not limited to the domestic sphere alone. The history of the Yogyakarta Palace proves that women's involvement in state affairs existed long before the modern era. The stigma of women being confined to \"kitchen, well, bed\" is indeed irrelevant when looking at the traces of past queens. For example, Queen Hamengkubuwono I was a warrior skilled in weaponry, while the wife of Hamengkubuwono II had the capacity as a negotiator in dealings with the Dutch and English. Even the management of state finances during the reign of Hamengkubuwono VII was conducted by his wife, who performed functions akin to the Ministry of Finance.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">The emancipation that has been proclaimed seems to suggest that the reduction of women began in the era of R.A. Kartini, whereas the palace queens had already started it long ago. This indicates that noblewomen of the past were educated and played a strategic role in the sovereignty of the state, even though these roles experienced degradation due to the social stigma that later developed. One important message from Kartini's figure is the courage to speak out. Gusti Bendara states that to be recorded in history and bring about change, women must \"\u003Cem>be loud enough\u003C\u002Fem>\". Doing good quietly is indeed beneficial, but without a sufficiently loud voice, the impact is difficult to capture in the larger narrative of history.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">The challenge for modern women is to balance being vocal to be heard with the effort to maintain ethics and dignity to avoid mere criticism. In the Yogyakarta Palace itself, significant breakthroughs have occurred with the positioning of five daughters of the Sultan in the traditional decision-making structure. Strategic positions such as \u003Cem>Pengageng\u003C\u002Fem> (department heads), financial affairs, and secretariat are now often held by women. In the context of modern emancipation, GKR Bendara highlights a unique challenge she refers to as \"\u003Cem>Triple Standard\u003C\u002Fem>\". While women in general face double standards, noblewomen in the palace environment face layered standards, prompting them to consider their steps much more deeply. Often, this caution is misunderstood as slowness in decision-making. In fact, it results from a habit of thinking in many layers (\u003Cem>multiple layers\u003C\u002Fem>) instilled since childhood.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Obstacles to emancipation are also evident in the professional world, where many women at the managerial level \"drop out\" upon entering their 30s due to social pressures related to marriage and child-rearing. Gusti Bendara emphasizes the importance of a more supportive business environment and the need for strong legal protections for women, including the provision of \u003Cem>safe houses\u003C\u002Fem> for victims of violence.\u003C\u002Fp>\u003Cimg src=\"https:\u002F\u002Fberkas.cloud-idn.kotakkreasi.com\u002Fcmsbmk\u002F2026\u002F04\u002F21\u002Ffedygmwtjxuzvaibcohnrlsk20260421094215.png\" alt=\"Documentation of the Kulturasi Podcast production with speaker GKR Bendara at the Vredeburg Fort Museum\n\">\u003Cp style=\"text-align: center;\">\u003Cem>Documentation of the Kulturasi Podcast production with speaker GKR Bendara at the Vredeburg Fort Museum\u003C\u002Fem>\u003Cbr>\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Emancipation does not mean making men enemies or opponents of women, but rather strategic partners. The opening of doors for women often starts with the support of men who provide space, as demonstrated by Sultan Hamengkubuwono in the palace. The main message for women in the modern era is to remain \u003Cem>be bold\u003C\u002Fem>. By occupying strategic positions as leaders and policymakers, women can ensure that laws, visions, and missions of organizations will be more favorable to women's interests. Emancipation is not just about equality, but about the courage to contribute meaningfully to the advancement of culture and society.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">This article is a summary of the Kulturasi Podcast by the Ministry of Culture, produced by the Cultural Media Center, where the excitement of the podcast with Gusti Bendara in facing the stigma of noble princesses can be fully listened to through the YouTube channel of the Ministry of Culture and IndonesianaTV. \u003C\u002Fp>\u003Cp style=\"text-align: justify;\">\u003Cbr>\u003C\u002Fp>","2026-04-21 09:56:36","2026-08-03 12:53:43","Hadi Prabowo, S.P.T.","Balai Media Kebudayaan","xcub0223","ziyt0006","iume0041",97,"TAJUK","hari Kartini",[646],{"url":647,"caption":648,"details":649,"created_at":635,"updated_at":635,"deleted_at":584},"https:\u002F\u002Fberkas.cloud-idn.kotakkreasi.com\u002Fcmsbmk\u002F2026\u002F04\u002F21\u002Ffzlgpmnwsxjvoyadhcqetuik20260421094407.png","produksi podcast bertema \"Spirit Kartini di Jogja, Aksi dan Harapan Putri Keraton dengan narasumber Gusti Kanjeng Ratu Bendara",{"dimensi":103,"editor":103,"filesize":103,"fotografer":103,"sumber":103,"tanggal":103,"title":103},{"data":651,"meta":733},[652,672,688,702,718],{"title":653,"title_en":654,"date":655,"slug":656,"content":657,"content_en":658,"created_at":659,"updated_at":660,"deleted_at":584,"author":661,"author_title":103,"hashid":662,"category_hashid":640,"tag_hashid":663,"visitor":664,"category_name":643,"tag_name":665,"media":666},"Memaknai Hari Puisi Indonesia","Understanding Indonesian Poetry Day","2026-07-26 00:00:00","memaknai-hari-puisi-indonesia","\u003Cp style=\"text-align: justify;\">Derasnya arus informasi dan budaya membuat puisi tampak seperti karya sastra yang semakin sunyi. Ia tak lagi menjadi bacaan utama seperti berita yang berganti setiap detik atau video singkat yang memenuhi media sosial. Namun justru dalam kesunyian itu puisi menyimpan kekuatannya. Puisi mengajak kita berhenti sejenak, merenung, memahami diri, dan membaca kembali kehidupan melalui bahasa yang lebih jujur serta lebih manusiawi.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Itulah sebabnya Hari Puisi Indonesia, yang diperingati setiap 26 Juli, bertepatan dengan hari lahir Chairil Anwar, bukan sekadar penghormatan kepada seorang penyair besar. Momentum ini menjadi pengingat bahwa puisi telah menjadi bagian penting dari perjalanan kebudayaan Indonesia: merekam perubahan zaman, menyuarakan nurani masyarakat, sekaligus menjaga identitas bangsa melalui kekuatan kata-kata.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Sesungguhnya puisi di Nusantara hidup jauh sebelum Indonesia berdiri sebagai sebuah negara. Berbagai daerah memiliki bentuk sastra lisan yang diwariskan turun-temurun, seperti pantun di masyarakat Melayu, gurindam di Kepulauan Riau, syair, mantra, tembang Jawa, pupuh Sunda, dan beragam nyanyian adat di wilayah lainnya. Semua itu menunjukkan bahwa puisi bukan sekadar karya sastra, melainkan cara masyarakat menyimpan pengetahuan, menyampaikan petuah, merawat nilai-nilai kehidupan, dan mempererat hubungan antargenerasi.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Pada masa kolonial, sastra Indonesia memasuki babak baru. Pemerintah Hindia Belanda melalui Balai Pustaka yang didirikan pada 1917 membuka kesempatan lahirnya karya sastra modern berbahasa Melayu, tetapi pada saat yang sama juga menerapkan pengawasan ketat terhadap isi bacaan masyarakat. Sastra berkembang dalam ruang yang dibatasi, sementara kesempatan memperoleh pendidikan dan literasi masih dinikmati oleh sebagian kecil masyarakat.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Puisi pada masa itu banyak dipengaruhi oleh bentuk-bentuk lama dengan tema yang relatif terbatas. Meski demikian, karya-karya Muhammad Yamin, Rustam Effendi, dan Sanusi Pane menjadi fondasi penting bagi lahirnya sastra Indonesia modern. Mereka menunjukkan bahwa bahasa Indonesia mampu menjadi medium ekspresi yang kuat sekaligus perekat kesadaran kebangsaan yang sedang tumbuh.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Semangat pembaruan semakin terasa ketika lahir generasi Pujangga Baru pada dekade 1930-an. Para penyair mulai menghadirkan puisi yang lebih bebas, lebih personal, dan lebih terbuka terhadap persoalan kemanusiaan. Puisi tidak lagi hanya memuja keindahan alam atau mengungkapkan rasa syukur, tetapi juga berbicara tentang cinta, pergulatan batin, nasionalisme, dan cita-cita masa depan bangsa. Dari sinilah sastra Indonesia mulai menemukan karakter modernnya.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Perubahan paling besar hadir melalui Angkatan 45, ketika puisi menjadi bagian dari denyut perjuangan bangsa. Masa revolusi melahirkan karya-karya penuh kegelisahan, keberanian, dan semangat kemerdekaan. Bentuk puisi tidak lagi dibatasi aturan rima maupun jumlah bait. Bahasa menjadi lebih lugas, metaforis, dan ekspresif. Dalam suasana seperti inilah Chairil Anwar tampil sebagai sosok yang mengubah wajah puisi Indonesia.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Chairil Anwar tidak hanya memperbarui bentuk puisi, tetapi juga cara penyair memandang dunia. Melalui karya-karyanya, ia memperlihatkan bahwa puisi dapat menjadi ruang kebebasan berpikir, keberanian mempertanyakan keadaan, sekaligus pernyataan tentang martabat manusia. Puisi-puisi seperti \"Aku\" dan \"Karawang—Bekasi\" terus hidup melampaui zamannya karena berbicara tentang nilai-nilai universal: keberanian, kemerdekaan, kehilangan, dan harapan.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Perjalanan puisi Indonesia tentu tidak berhenti pada Chairil Anwar. Dari W.S. Rendra yang lantang mengkritik ketidakadilan sosial, Sapardi Djoko Damono yang menghadirkan kesederhanaan dengan kedalaman makna, Sutardji Calzoum Bachri yang bereksperimen dengan bunyi bahasa, hingga Joko Pinurbo yang mengangkat keseharian dengan sentuhan humor dan refleksi, setiap generasi memberikan warna baru bagi perkembangan sastra Indonesia. Keberagaman ini menjadikan puisi Indonesia terus hidup dan berkembang.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Kini, di era digital, puisi menemukan ruang ekspresi yang lebih luas. Festival sastra, pembacaan puisi, kelas menulis kreatif, komunitas literasi, hingga media sosial mempertemukan penyair dan pembaca tanpa lagi dibatasi ruang geografis. Banyak generasi muda menulis dan membacakan puisi melalui video pendek, podcast, pertunjukan musikalisasi puisi, maupun poster digital. Fenomena ini menunjukkan bahwa puisi tidak pernah benar-benar kehilangan pembacanya; ia hanya menemukan medium yang berbeda.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Namun perkembangan tersebut juga menghadirkan tantangan baru. Kecepatan arus informasi sering kali membuat karya sastra hanya dikonsumsi secara sepintas. Tidak sedikit puisi yang dipotong menjadi kutipan-kutipan singkat demi mengejar popularitas, sementara makna utuh yang ingin disampaikan penyair terabaikan. Karena itu, membangun budaya apresiasi sastra menjadi pekerjaan penting, bukan hanya bagi penyair dan akademisi, tetapi juga bagi sekolah, keluarga, komunitas, media, dan institusi pelestarian kebudayaan.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Pada akhirnya, Hari Puisi Indonesia bukan sekadar perayaan bagi para penyair. Momentum ini mengingatkan kita bahwa bangsa yang besar tidak hanya dibangun oleh kemajuan ekonomi, ilmu pengetahuan, dan teknologi, tetapi juga oleh kemampuan merawat bahasa, imajinasi, dan kebudayaannya. Puisi mengajarkan kepekaan untuk melihat persoalan dari sudut pandang yang lebih manusiawi, melatih empati terhadap sesama, dan mengabadikan pengalaman hidup agar tidak hilang ditelan zaman.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">\u003C\u002Fp>","\u003Cp style=\"text-align: justify;\">The rapid flow of information and culture makes poetry seem like a literary work that is increasingly silent. It is no longer the main reading material like news that changes every second or short videos that fill social media. However, it is precisely in that silence that poetry holds its power. Poetry invites us to pause for a moment, reflect, understand ourselves, and read life again through a language that is more honest and more humane.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">That is why Indonesian Poetry Day, celebrated every July 26, coinciding with the birthday of Chairil Anwar, is not just a tribute to a great poet. This moment serves as a reminder that poetry has become an important part of Indonesia's cultural journey: recording the changes of the times, voicing the conscience of society, while also preserving the nation's identity through the power of words.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">In fact, poetry in the archipelago existed long before Indonesia was established as a country. Various regions have forms of oral literature that have been passed down through generations, such as pantun in Malay society, gurindam in the Riau Islands, syair, mantras, Javanese tembang, Sundanese pupuh, and various traditional songs in other regions. All of this shows that poetry is not just a literary work, but a way for society to store knowledge, convey advice, nurture values of life, and strengthen intergenerational relationships.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">During the colonial era, Indonesian literature entered a new chapter. The Dutch East Indies government, through Balai Pustaka established in 1917, opened opportunities for the birth of modern literary works in Malay, but at the same time also imposed strict supervision over the content of public readings. Literature developed within a limited space, while the opportunity to obtain education and literacy was still enjoyed by a small portion of society.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Poetry at that time was heavily influenced by old forms with relatively limited themes. Nevertheless, the works of Muhammad Yamin, Rustam Effendi, and Sanusi Pane became an important foundation for the emergence of modern Indonesian literature. They demonstrated that the Indonesian language could be a strong medium of expression as well as a unifying force for the growing national consciousness.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">The spirit of renewal became more pronounced with the emergence of the Pujangga Baru generation in the 1930s. Poets began to present poetry that was freer, more personal, and more open to humanitarian issues. Poetry was no longer just about praising the beauty of nature or expressing gratitude, but also spoke about love, inner struggles, nationalism, and the aspirations for the nation's future. From here, Indonesian literature began to find its modern character.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">The greatest change came through the 45 Generation, when poetry became part of the pulse of the nation's struggle. The revolutionary period gave birth to works full of anxiety, courage, and the spirit of independence. The form of poetry was no longer limited by rules of rhyme or the number of stanzas. The language became more straightforward, metaphorical, and expressive. In such an atmosphere, Chairil Anwar emerged as a figure who changed the face of Indonesian poetry.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Chairil Anwar not only renewed the form of poetry but also the way poets viewed the world. Through his works, he showed that poetry could be a space for freedom of thought, the courage to question the status quo, and a statement about human dignity. Poems like \"Aku\" and \"Karawang—Bekasi\" continue to live beyond their time because they speak of universal values: courage, freedom, loss, and hope.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">The journey of Indonesian poetry certainly did not stop with Chairil Anwar. From W.S. Rendra, who loudly criticized social injustice, Sapardi Djoko Damono, who presented simplicity with depth of meaning, Sutardji Calzoum Bachri, who experimented with the sounds of language, to Joko Pinurbo, who highlighted everyday life with touches of humor and reflection, each generation adds a new color to the development of Indonesian literature. This diversity keeps Indonesian poetry alive and evolving.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Now, in the digital era, poetry finds a broader space for expression. Literary festivals, poetry readings, creative writing classes, literacy communities, and social media connect poets and readers without being limited by geographical space. Many young generations write and recite poetry through short videos, podcasts, musical performances of poetry, or digital posters. This phenomenon shows that poetry has never truly lost its readers; it has simply found different mediums.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">However, this development also presents new challenges. The speed of information flow often makes literary works consumed only at a glance. Many poems are cut into short quotes in pursuit of popularity, while the complete meaning that the poet wishes to convey is overlooked. Therefore, building a culture of literary appreciation becomes an important task, not only for poets and academics but also for schools, families, communities, media, and cultural preservation institutions.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">In the end, Indonesian Poetry Day is not just a celebration for poets. This moment reminds us that a great nation is not only built by economic progress, science, and technology, but also by the ability to nurture its language, imagination, and culture. Poetry teaches sensitivity to see issues from a more humane perspective, trains empathy towards others, and immortalizes life experiences so they do not fade away with time.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">\u003C\u002Fp>","2026-07-26 08:48:00","2026-08-04 18:46:59","Balai Media kebudayaan","ezil0259","plmz0025","52","Puisi",[667],{"url":668,"caption":669,"details":670,"created_at":659,"updated_at":671,"deleted_at":584},"https:\u002F\u002Fberkas.cloud-idn.kotakkreasi.com\u002Fcmsbmk\u002F2026\u002F07\u002F26\u002Fhvmreuatfzwcipxjlnqkdbgy20260726084431.jpeg","Taufik Ismail membaca puisi dalam acara Sasana Sastra: Membaca Klasik Indonesia ","null","2026-08-03 09:38:26",{"title":673,"title_en":674,"date":675,"slug":676,"content":677,"content_en":678,"created_at":679,"updated_at":660,"deleted_at":584,"author":638,"author_title":103,"hashid":680,"category_hashid":640,"tag_hashid":681,"visitor":682,"category_name":643,"tag_name":683,"media":684},"Prambanan, Jembatan Diplomasi Budaya Indonesia dan India dalam Merawat Warisan Dunia","Prambanan, A Bridge of Cultural Diplomacy Between Indonesia and India in Preserving World Heritage","2026-07-09 00:00:00","prambanan-jembatan-diplomasi-budaya-indonesia-dan-india-dalam-merawat-warisan-dunia","\u003Cp style=\"text-align: justify;\">Di tengah berbagai tantangan yang mengancam kelestarian situs-situs bersejarah dunia, kerja sama lintas negara menjadi semakin penting. Pelestarian warisan budaya tidak lagi dapat dipandang sebagai tanggung jawab satu negara semata, melainkan sebagai komitmen bersama untuk menjaga jejak peradaban umat manusia. Penandatanganan kerja sama konservasi Candi Prambanan antara Indonesia dan India menjadi bukti bahwa budaya mampu menjadi jembatan yang mempertemukan dua bangsa dalam merawat warisan dunia.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Komitmen tersebut diwujudkan melalui program \u003Cem>Indonesia–India Collaborative Heritage Conservation\u003C\u002Fem> untuk konservasi dan restorasi Candi Perwara di Kompleks Candi Prambanan. Kesepakatan yang akan berlangsung selama sepuluh tahun ini menjadi langkah strategis dalam menjaga salah satu Situs Warisan Dunia UNESCO, sekaligus memperkuat hubungan budaya yang telah terjalin erat antara Indonesia dan India.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Kerja sama ini bukanlah sesuatu yang lahir tanpa alasan. Hubungan Indonesia dan India dalam bidang kebudayaan telah terjalin jauh sebelum kedua negara berdiri sebagai negara modern. Jejak pengaruh peradaban India di Nusantara dapat ditelusuri melalui berkembangnya agama Hindu dan Buddha, penggunaan aksara Pallawa, hingga lahirnya kerajaan-kerajaan besar seperti Kutai, Tarumanegara, Mataram Kuno, dan Majapahit. Dalam perjalanan sejarah tersebut, masyarakat Nusantara tidak sekadar menerima pengaruh dari luar, tetapi mengolahnya menjadi identitas budaya yang khas. Kompleks Candi Prambanan menjadi salah satu bukti paling nyata dari proses akulturasi tersebut.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Sebagai kompleks candi Hindu terbesar di Indonesia dan Situs Warisan Dunia UNESCO, Prambanan memiliki arti penting tidak hanya bagi Indonesia, tetapi juga bagi masyarakat internasional. Kompleks candi ini merepresentasikan tingginya pencapaian arsitektur, seni, dan teknologi bangunan pada masa Mataram Kuno, sekaligus menjadi simbol kekayaan budaya Nusantara yang diakui dunia. Menjaga kelestarian Prambanan berarti menjaga warisan peradaban yang memiliki nilai universal bagi generasi sekarang maupun generasi yang akan datang.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Dalam konteks itulah, kerja sama Indonesia dan India memiliki makna yang jauh lebih luas daripada sekadar program konservasi. Kolaborasi ini merupakan bentuk diplomasi budaya yang dibangun di atas kesamaan sejarah, penghormatan terhadap warisan peradaban, dan semangat berbagi pengetahuan. Berbeda dengan diplomasi politik yang sering dipengaruhi dinamika kepentingan jangka pendek, diplomasi budaya memiliki daya tahan yang lebih kuat karena bertumpu pada nilai-nilai yang diwariskan lintas generasi. Melalui pelestarian warisan budaya, kedua negara tidak hanya memperkuat hubungan bilateral, tetapi juga menunjukkan kepada dunia bahwa kebudayaan dapat menjadi ruang dialog, saling percaya, dan kerja sama yang berkelanjutan.\u003C\u002Fp>\u003Cimg src=\"https:\u002F\u002Fberkas.cloud-idn.kotakkreasi.com\u002Fcmsbmk\u002F2026\u002F07\u002F14\u002Feskouqzwpajgmrhvylxfidnc20260714113022.jpeg\" alt=\"\">\u003Cp style=\"text-align: justify;\">Di tengah berbagai tantangan global, pelestarian cagar budaya menghadapi persoalan yang semakin kompleks. Faktor usia bangunan, perubahan iklim, aktivitas seismik, bencana alam, tekanan pembangunan, hingga meningkatnya aktivitas wisata menjadi tantangan yang memerlukan penanganan secara berkelanjutan. Kondisi tersebut menunjukkan bahwa konservasi tidak lagi dapat mengandalkan pendekatan konvensional semata, tetapi membutuhkan inovasi, riset, kolaborasi internasional, serta pertukaran pengetahuan antarnegara.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Salah satu aspek penting dalam kerja sama ini adalah pemanfaatan teknologi dalam proses konservasi. Penggunaan teknologi seperti LiDAR, fotogrametri, dan kecerdasan buatan (\u003Cem>Artificial Intelligence\u003C\u002Fem>\u002FAI) memungkinkan proses dokumentasi, pemetaan, serta analisis kondisi bangunan dilakukan dengan tingkat akurasi yang lebih tinggi. Teknologi tersebut membantu para konservator memahami kondisi struktur secara lebih komprehensif sehingga langkah-langkah pelestarian dapat dirancang secara lebih tepat, efektif, dan berkelanjutan.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Namun, keberhasilan konservasi tidak hanya ditentukan oleh kecanggihan teknologi. Penguatan kapasitas sumber daya manusia juga menjadi faktor yang tidak kalah penting. Melalui kerja sama ini, Indonesia dan India memiliki peluang untuk saling bertukar pengalaman, metode konservasi, serta keahlian teknis dalam merawat situs warisan budaya. Transfer pengetahuan tersebut diharapkan mampu meningkatkan kapasitas para konservator Indonesia sehingga pengelolaan situs-situs cagar budaya dapat terus berkembang sesuai standar internasional tanpa mengesampingkan nilai-nilai lokal yang melekat pada setiap situs.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Lebih jauh lagi, kolaborasi ini juga membuka peluang bagi penguatan riset bersama, pengembangan pendidikan konservasi, serta pengelolaan pariwisata budaya yang lebih berkelanjutan. Dengan demikian, manfaat kerja sama tidak berhenti pada pemugaran fisik bangunan, tetapi juga mendorong lahirnya ekosistem pelestarian budaya yang semakin kuat dan adaptif terhadap tantangan masa depan.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Di sisi lain, pelestarian warisan budaya tetap memerlukan keterlibatan seluruh elemen masyarakat. Pemerintah berperan sebagai penyusun kebijakan dan fasilitator, sementara akademisi, komunitas budaya, pelaku usaha, media, dan generasi muda memiliki peran penting dalam menjaga, memanfaatkan, serta menghidupkan kembali nilai-nilai budaya dalam kehidupan sehari-hari. Warisan budaya akan tetap lestari apabila tumbuh rasa memiliki dari masyarakat yang menjadi pewarisnya.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Kerja sama Indonesia dan India ini menunjukkan bahwa pelestarian budaya tidak hanya berorientasi pada menjaga bangunan bersejarah agar tetap berdiri kokoh, tetapi juga memastikan nilai-nilai yang terkandung di dalamnya terus hidup melalui penelitian, pendidikan, inovasi, dan dialog lintas budaya. Dengan demikian, warisan budaya tidak berhenti sebagai peninggalan masa lalu, melainkan menjadi sumber pembelajaran yang relevan bagi kehidupan masyarakat masa kini dan inspirasi bagi generasi mendatang.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Langkah Kementerian Kebudayaan dalam membangun kolaborasi internasional ini mencerminkan komitmen Indonesia untuk terus memperkuat upaya pemajuan kebudayaan sekaligus mempertegas posisi Indonesia sebagai negara yang aktif berkontribusi dalam pelestarian warisan budaya dunia. Kolaborasi tersebut menunjukkan bahwa pelestarian budaya merupakan investasi jangka panjang yang membutuhkan sinergi pemerintah, lembaga internasional, akademisi, komunitas, dan masyarakat.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Pada akhirnya, menjaga Prambanan bukan sekadar merawat batu-batu candi yang telah berdiri selama lebih dari seribu tahun. Yang sesungguhnya dijaga adalah ingatan kolektif umat manusia tentang peradaban, kreativitas, toleransi, dan kemampuan budaya untuk menyatukan bangsa-bangsa. Dari Prambanan, Indonesia dan India memperlihatkan bahwa warisan budaya bukan hanya peninggalan masa lalu, melainkan fondasi untuk membangun masa depan bersama yang lebih damai, saling menghargai, dan berkelanjutan.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Sebagaimana disampaikan Menteri Kebudayaan Republik Indonesia, Fadli Zon, \u003Cem>\"Kami berharap kerja sama ini menjadi warisan bersama Indonesia dan India, serta menjadi contoh bagaimana dua bangsa dapat bekerja sama menjaga warisan budaya dunia bagi generasi mendatang.\"\u003C\u002Fem> Harapan tersebut menegaskan bahwa keberhasilan konservasi tidak hanya diukur dari kokohnya bangunan yang dipugar, tetapi juga dari kuatnya persahabatan yang dibangun melalui kebudayaan.\u003C\u002Fp>","\u003Cp style=\"text-align: justify;\">Amid various challenges threatening the preservation of world historical sites, cross-country cooperation becomes increasingly important. The preservation of cultural heritage can no longer be viewed as the sole responsibility of one country, but rather as a shared commitment to safeguard the traces of human civilization. The signing of the conservation cooperation agreement for Prambanan Temple between Indonesia and India serves as evidence that culture can be a bridge connecting two nations in caring for world heritage.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">This commitment is realized through the \u003Cem>Indonesia–India Collaborative Heritage Conservation\u003C\u002Fem> program for the conservation and restoration of the Perwara Temple in the Prambanan Temple Complex. This agreement, which will last for ten years, is a strategic step in preserving one of UNESCO's World Heritage Sites, while also strengthening the cultural ties that have been closely woven between Indonesia and India.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">This cooperation did not arise without reason. The cultural relationship between Indonesia and India has been established long before both countries emerged as modern nations. The traces of Indian civilization's influence in the archipelago can be traced through the development of Hinduism and Buddhism, the use of Pallava script, and the emergence of great kingdoms such as Kutai, Tarumanegara, Mataram Kuno, and Majapahit. Throughout this historical journey, the people of the archipelago did not merely accept external influences but transformed them into a distinctive cultural identity. The Prambanan Temple Complex stands as one of the most tangible proofs of this acculturation process.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">As the largest Hindu temple complex in Indonesia and a UNESCO World Heritage Site, Prambanan holds significant importance not only for Indonesia but also for the international community. This temple complex represents the high achievements of architecture, art, and building technology during the Mataram Kuno period, while also symbolizing the rich cultural heritage of the archipelago recognized by the world. Preserving Prambanan means safeguarding a civilization heritage that holds universal value for both current and future generations.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">In this context, the cooperation between Indonesia and India carries a meaning that extends far beyond mere conservation programs. This collaboration is a form of cultural diplomacy built on shared history, respect for civilization heritage, and a spirit of knowledge sharing. Unlike political diplomacy, which is often influenced by short-term interests, cultural diplomacy has a stronger resilience as it is based on values inherited across generations. Through the preservation of cultural heritage, both countries not only strengthen bilateral relations but also demonstrate to the world that culture can be a space for dialogue, mutual trust, and sustainable cooperation.\u003C\u002Fp>\u003Cimg src=\"https:\u002F\u002Fberkas.cloud-idn.kotakkreasi.com\u002Fcmsbmk\u002F2026\u002F07\u002F14\u002Feskouqzwpajgmrhvylxfidnc20260714113022.jpeg\" alt=\"\">\u003Cp style=\"text-align: justify;\">Amid various global challenges, the preservation of cultural heritage faces increasingly complex issues. Factors such as the age of buildings, climate change, seismic activity, natural disasters, development pressures, and the rise of tourism activities present challenges that require sustainable management. These conditions indicate that conservation can no longer rely solely on conventional approaches but requires innovation, research, international collaboration, and knowledge exchange between countries.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">One important aspect of this cooperation is the utilization of technology in the conservation process. The use of technologies such as LiDAR, photogrammetry, and Artificial Intelligence (AI) allows for documentation, mapping, and analysis of building conditions to be conducted with a higher level of accuracy. These technologies help conservators understand the structural conditions more comprehensively, enabling preservation measures to be designed more precisely, effectively, and sustainably.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">However, the success of conservation is not solely determined by technological sophistication. Strengthening human resource capacity is also a crucial factor. Through this cooperation, Indonesia and India have the opportunity to exchange experiences, conservation methods, and technical expertise in caring for cultural heritage sites. This knowledge transfer is expected to enhance the capacity of Indonesian conservators so that the management of cultural heritage sites can continue to develop according to international standards without neglecting the local values inherent in each site.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Furthermore, this collaboration also opens opportunities for strengthening joint research, developing conservation education, and managing cultural tourism more sustainably. Thus, the benefits of cooperation do not stop at the physical restoration of buildings but also encourage the emergence of a stronger and more adaptive cultural preservation ecosystem in response to future challenges.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">On the other hand, the preservation of cultural heritage still requires the involvement of all elements of society. The government plays a role as policy makers and facilitators, while academics, cultural communities, business actors, media, and the younger generation have important roles in preserving, utilizing, and revitalizing cultural values in everyday life. Cultural heritage will remain preserved if there is a sense of ownership from the community that inherits it.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">This cooperation between Indonesia and India demonstrates that cultural preservation is not only oriented towards maintaining historical buildings but also ensuring that the values contained within them continue to live through research, education, innovation, and cross-cultural dialogue. Thus, cultural heritage does not cease to be a relic of the past but becomes a relevant source of learning for contemporary society and an inspiration for future generations.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">The Ministry of Culture's efforts in building this international collaboration reflect Indonesia's commitment to continuously strengthen cultural advancement efforts while reinforcing Indonesia's position as a country actively contributing to the preservation of world cultural heritage. This collaboration shows that cultural preservation is a long-term investment that requires synergy among governments, international institutions, academics, communities, and society.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Ultimately, preserving Prambanan is not just about maintaining the temple stones that have stood for over a thousand years. What is truly being preserved is the collective memory of humanity about civilization, creativity, tolerance, and the cultural ability to unite nations. From Prambanan, Indonesia and India demonstrate that cultural heritage is not only a relic of the past but a foundation for building a more peaceful, respectful, and sustainable future together.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">As stated by the Minister of Culture of the Republic of Indonesia, Fadli Zon, \u003Cem>\"We hope this cooperation becomes a shared legacy of Indonesia and India, and serves as an example of how two nations can work together to preserve world cultural heritage for future generations.\"\u003C\u002Fem> This hope emphasizes that the success of conservation is not only measured by the solidity of the restored buildings but also by the strength of the friendship built through culture.\u003C\u002Fp>","2026-07-14 11:30:59","nilg0254","tkcu0008","44","Budaya",[685],{"url":686,"caption":687,"details":670,"created_at":679,"updated_at":679,"deleted_at":584},"https:\u002F\u002Fberkas.cloud-idn.kotakkreasi.com\u002Fcmsbmk\u002F2026\u002F07\u002F14\u002Fxpjvhfngybmdqaltruoszkiw20260714112918.jpeg","Presiden Republik Indonesia Prabowo Subianto bersama Perdana Menteri (PM) Republik India Narendra Modi mengunjungi Kompleks Candi Prambanan, Kabupaten Sleman, Daerah Istimewa Yogyakarta (DIY), pada Rabu, 8 Juli 2026",{"title":689,"title_en":690,"date":691,"slug":692,"content":693,"content_en":694,"created_at":695,"updated_at":696,"deleted_at":584,"author":638,"author_title":103,"hashid":697,"category_hashid":640,"tag_hashid":584,"visitor":698,"category_name":643,"tag_name":584,"media":699},"Writing from The Archipelago Vol. 1: Menyuarakan Keberagaman Sastra Indonesia ke Panggung Dunia","Writing from The Archipelago Vol. 1: Voicing the Diversity of Indonesian Literature to the World","2026-07-06 00:00:00","writing-from-the-archipelago-vol-1-menyuarakan-keberagaman-sastra-indonesia-ke-panggung-dunia","\u003Cp style=\"text-align: justify;\">Sebagai upaya melestarikan warisan sastra sekaligus membuka jalan bagi internasionalisasi sastra Indonesia, Kementerian Kebudayaan menghadirkan program penerjemahan karya-karya sastra Indonesia. Salah satu hasilnya adalah \u003Cem>Writing from The Archipelago Vol. 1: Samples from Contemporary Indonesian Fiction\u003C\u002Fem>, sebuah antologi yang memuat karya-karya penulis Indonesia kontemporer dalam terjemahan bahasa Inggris. Seluruh terjemahan dikerjakan oleh peserta Laboratorium Penerjemahan yang melibatkan penerjemah, editor, dan kurator.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Sastra tidak pernah lahir dari ruang hampa. Ia tumbuh dari pengalaman, sejarah, budaya, dan dinamika masyarakat yang melingkupi pengarangnya. Hal tersebut tercermin kuat dalam \u003Cem>Writing from The Archipelago Vol. 1\u003C\u002Fem>. Melalui 30 karya pilihan dari 14 penulis, buku ini memperlihatkan wajah sastra Indonesia yang beragam, baik dari segi tema, latar budaya, maupun gaya bertutur. Kehadiran penulis dari berbagai daerah membawa dialek, mitos, tradisi, serta persoalan khas lokal yang memperlihatkan betapa luas dan kayanya spektrum identitas sastra Indonesia.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Salah satu kekuatan antologi ini terletak pada keberanian para penulis mengeksplorasi bentuk penceritaan . Unsur fantasi kerap digunakan sebagai medium untuk membicarakan berbagai persoalan sosial, sejarah, maupun kemanusiaan tanpa terikat pada realitas yang kaku. Pendekatan ini menghasilkan pengalaman membaca yang segar dan imajinatif. Namun, pada beberapa cerita, dominasi unsur fantasi justru membuat substansi cerita terasa kurang mudah ditangkap sehingga pembaca membutuhkan usaha lebih untuk memahami pesan yang ingin disampaikan. Di satu sisi hal ini menjadi pengalaman estetik yang menarik, tetapi di sisi lain dapat mengurangi kenyamanan membaca.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Antologi ini dibuka dengan \u003Cstrong>Inyik Balang\u003C\u002Fstrong> karya Andre Septiawan yang diterjemahkan oleh Steve Andrianto. Cerita tersebut mengajak pembaca mengenal kekayaan budaya Minangkabau melalui berbagai istilah lokal, mitos, legenda, dan penggunaan bahasa daerah yang dihadirkan dalam kisah tentang siluman harimau. Di balik balutan fantasinya, cerita ini juga merekam dinamika sosial masyarakat Minangkabau pada masa awal kemerdekaan melalui sudut pandang yang tidak lazim sehingga menghadirkan pengalaman membaca yang menarik.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Kualitas antologi ini semakin kuat dengan hadirnya sejumlah karya dari penulis yang telah memperoleh berbagai penghargaan sastra. Di antaranya \u003Cstrong>Thorns and Curses\u003C\u002Fstrong> (\u003Cem>Duri dan Kutuk\u003C\u002Fem>) karya Cicilia Oday, peraih Penghargaan Sastra Khatulistiwa dalam kategori novel, serta \u003Cstrong>Disgraced by Design\u003C\u002Fstrong> (\u003Cem>Aib dan Nasib\u003C\u002Fem>) karya Minanto yang meraih penghargaan Dewan Kesenian Jakarta pada 2019. Kehadiran karya-karya tersebut menunjukkan bahwa buku ini tidak hanya memperkenalkan keberagaman sastra Indonesia, tetapi juga menghadirkan karya-karya yang telah diakui kualitasnya.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Di antara seluruh cerita, \u003Cstrong>Once Upon a Dangdut Station\u003C\u002Fstrong> (\u003Cem>Pada Sebuah Radio Dangdut\u003C\u002Fem>) karya Asef Saeful Anwar menjadi salah satu yang paling berkesan. Cerita yang meraih penghargaan dari Kementerian Pendidikan, Kebudayaan, Riset, dan Teknologi pada 2022 ini menawarkan bentuk penceritaan yang unik dengan memadukan narasi dan naskah siaran radio berdialek khas penyiar dangdut. Potongan-potongan siaran tersebut menjadi selingan yang menghidupkan cerita sekaligus menghadirkan humor yang natural.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Cerita ini juga dibangun dari potongan lirik lagu dangdut lawas, baik yang nyata maupun yang diciptakan secara fiktif oleh pengarang. Bagi pembaca yang akrab dengan musik dangdut, kisah ini menghadirkan nuansa nostalgia. Namun, di balik atmosfer yang ringan, tersimpan kritik terhadap realitas sosial, seperti kemiskinan, ketimpangan, dan stigma yang kerap melekat pada profesi biduan. Dengan pendekatan yang khas dan dekat dengan budaya populer Indonesia, cerita ini menjadi salah satu karya yang paling representatif untuk memperkenalkan wajah sastra Indonesia kepada pembaca internasional.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Dari sisi penerjemahan, secara umum kualitas terjemahan mampu mempertahankan nuansa lokal Indonesia. Hal tersebut terlihat dari dipertahankannya sejumlah istilah daerah yang dilengkapi catatan kaki (\u003Cem>footnote\u003C\u002Fem>) sehingga pembaca asing tetap dapat memahami konteks budaya tanpa kehilangan kekhasan bahasa asal. Strategi ini menjadi salah satu kekuatan buku karena berhasil menjaga identitas lokal yang melekat pada setiap karya.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Meski demikian, antologi ini juga menyisakan sedikit catatan. Karena melibatkan banyak penerjemah, karakter bahasa Inggris yang digunakan pada setiap cerita terasa berbeda-beda. Perbedaan pilihan diksi, ritme kalimat, maupun gaya bertutur menciptakan kesan yang kurang seragam ketika buku dibaca secara berurutan. Walaupun tidak mengurangi kualitas cerita, penyelarasan gaya penerjemahan akan membuat pengalaman membaca menjadi lebih utuh dan konsisten.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Secara keseluruhan, \u003Cem>Writing from The Archipelago Vol. 1\u003C\u002Fem> merupakan langkah penting Kementerian Kebudayaan dalam memperkenalkan sastra Indonesia kepada masyarakat dunia. Antologi ini tidak hanya memperlihatkan keberagaman tema dan kekayaan budaya Nusantara, tetapi juga menunjukkan bahwa sastra Indonesia memiliki kualitas dan daya saing di tingkat internasional. Kehadiran volume pertama ini menjadi awal yang menjanjikan bagi upaya memperluas jejak sastra Indonesia di ranah global. Diharapkan volume-volume berikutnya mampu menghadirkan lebih banyak karya berkualitas sehingga semakin memperkuat citra sastra Indonesia sebagai bagian penting dari khazanah sastra dunia.\u003C\u002Fp>","\u003Cp style=\"text-align: justify;\">As an effort to preserve literary heritage while paving the way for the internationalization of Indonesian literature, the Ministry of Culture presents a translation program for Indonesian literary works. One of the results is \u003Cem>Writing from The Archipelago Vol. 1: Samples from Contemporary Indonesian Fiction\u003C\u002Fem>, an anthology containing works by contemporary Indonesian authors translated into English. All translations were carried out by participants of the Translation Laboratory involving translators, editors, and curators.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Literature never emerges from a vacuum. It grows from the experiences, history, culture, and dynamics of the society surrounding its authors. This is strongly reflected in \u003Cem>Writing from The Archipelago Vol. 1\u003C\u002Fem>. Through 30 selected works from 14 authors, this book showcases the diverse face of Indonesian literature, both in terms of themes, cultural backgrounds, and narrative styles. The presence of writers from various regions brings dialects, myths, traditions, and local issues that demonstrate the vastness and richness of the spectrum of Indonesian literary identity.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">One of the strengths of this anthology lies in the courage of the authors to explore narrative forms. Fantasy elements are often used as a medium to discuss various social, historical, and humanitarian issues without being bound by rigid realities. This approach results in a fresh and imaginative reading experience. However, in some stories, the dominance of fantasy elements makes the substance of the narrative less accessible, requiring readers to exert more effort to understand the intended message. On one hand, this creates an interesting aesthetic experience, but on the other hand, it can reduce reading comfort.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">The anthology opens with \u003Cstrong>Inyik Balang\u003C\u002Fstrong> by Andre Septiawan, translated by Steve Andrianto. This story invites readers to explore the richness of Minangkabau culture through various local terms, myths, legends, and the use of regional language presented in a tale about a tiger spirit. Behind its fantasy wrapping, this story also captures the social dynamics of the Minangkabau community during the early independence era from an unconventional perspective, providing an engaging reading experience.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">The quality of this anthology is further strengthened by the inclusion of several works from authors who have received various literary awards. Among them are \u003Cstrong>Thorns and Curses\u003C\u002Fstrong> (\u003Cem>Duri dan Kutuk\u003C\u002Fem>) by Cicilia Oday, winner of the Khatulistiwa Literary Award in the novel category, and \u003Cstrong>Disgraced by Design\u003C\u002Fstrong> (\u003Cem>Aib dan Nasib\u003C\u002Fem>) by Minanto, which won the Jakarta Arts Council award in 2019. The presence of these works shows that this book not only introduces the diversity of Indonesian literature but also presents works that have been recognized for their quality.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Among all the stories, \u003Cstrong>Once Upon a Dangdut Station\u003C\u002Fstrong> (\u003Cem>Pada Sebuah Radio Dangdut\u003C\u002Fem>) by Asef Saeful Anwar stands out as one of the most memorable. This story, which received an award from the Ministry of Education, Culture, Research, and Technology in 2022, offers a unique narrative form by combining narration with radio broadcast scripts in the distinctive dialect of dangdut announcers. The snippets of broadcasts enliven the story while also providing natural humor.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">This story is also built from snippets of old dangdut song lyrics, both real and fictitiously created by the author. For readers familiar with dangdut music, this tale evokes a sense of nostalgia. However, beneath the light atmosphere lies a critique of social realities, such as poverty, inequality, and the stigma often attached to the profession of singers. With a distinctive approach that resonates with Indonesian pop culture, this story becomes one of the most representative works to introduce the face of Indonesian literature to international readers.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">From a translation perspective, the overall quality of the translations manages to retain the local nuances of Indonesia. This is evident from the retention of several regional terms accompanied by footnotes, allowing foreign readers to understand the cultural context without losing the uniqueness of the source language. This strategy is one of the strengths of the book as it successfully maintains the local identity inherent in each work.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">However, this anthology also leaves a few notes. Due to the involvement of many translators, the character of the English language used in each story feels different. Variations in word choice, sentence rhythm, and narrative style create a less uniform impression when the book is read sequentially. Although this does not diminish the quality of the stories, aligning the translation styles would make the reading experience more cohesive and consistent.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Overall, \u003Cem>Writing from The Archipelago Vol. 1\u003C\u002Fem> is an important step by the Ministry of Culture in introducing Indonesian literature to the world. This anthology not only showcases the diversity of themes and the richness of the archipelago's culture but also demonstrates that Indonesian literature possesses quality and competitiveness on an international level. The release of this first volume marks a promising beginning for efforts to expand the footprint of Indonesian literature in the global arena. It is hoped that subsequent volumes will present more quality works, further strengthening the image of Indonesian literature as an important part of the world's literary treasure.\u003C\u002Fp>","2026-07-15 16:16:49","2026-08-04 18:47:00","egdj0256","36",[700],{"url":701,"caption":103,"details":670,"created_at":695,"updated_at":695,"deleted_at":584},"https:\u002F\u002Fberkas.cloud-idn.kotakkreasi.com\u002Fcmsbmk\u002F2026\u002F07\u002F15\u002Fxzopcvtwfenilughmdrkaqsy20260715161526.jpeg",{"title":703,"title_en":704,"date":705,"slug":706,"content":707,"content_en":708,"created_at":709,"updated_at":696,"deleted_at":584,"author":638,"author_title":103,"hashid":710,"category_hashid":640,"tag_hashid":711,"visitor":712,"category_name":643,"tag_name":713,"media":714},"Sastra Klasik Tak Pernah Usang, Hanya Menunggu untuk Dibaca Kembali","Classic Literature Never Goes Out of Style, Just Waiting to Be Read Again","2026-07-03 00:00:00","sastra-klasik-tak-pernah-usang-hanya-menunggu-untuk-dibaca-kembali","\u003Cp style=\"text-align: justify;\">Perkembangan teknologi dan derasnya arus informasi telah mengubah kebiasaan masyarakat dalam mengakses bacaan. Di tengah dominasi konten digital yang serba cepat, karya sastra klasik kerap kurang mendapat perhatian, terutama dari generasi muda. Oleh sebab itu, penyelenggaraan Sasana Sastra: Membaca Klasik Indonesia oleh Kementerian Kebudayaan menjadi langkah yang patut diapresiasi sebagai bentuk komitmen dalam melestarikan sekaligus memperkenalkan kembali kekayaan sastra Indonesia kepada masyarakat.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Kegiatan yang diselenggarakan dalam rangka memperingati Hari Sastra Indonesia ini memiliki makna yang lebih luas dibandingkan sekadar pembacaan karya sastra. Acara tersebut menghadirkan para sastrawan, seniman, penerjemah, akademisi, komunitas sastra, hingga generasi muda dalam satu ruang. Kehadiran tokoh-tokoh sastra nasional, seperti Taufiq Ismail dan Putu Wijaya, bersama sejumlah seniman lintas generasi menunjukkan komitmen bersama dalam menjaga keberlanjutan ekosistem sastra Indonesia. Pertemuan tersebut tidak hanya menjadi ajang apresiasi terhadap karya sastra, tetapi juga ruang untuk mempertemukan pengalaman, memperluas wawasan, serta mendorong lahirnya gagasan-gagasan baru yang relevan dengan perkembangan masyarakat dan kebudayaan\u003C\u002Fp>\u003Cimg src=\"https:\u002F\u002Fberkas.cloud-idn.kotakkreasi.com\u002Fcmsbmk\u002F2026\u002F07\u002F03\u002Fwfdbltkjonvpuxzeqasrighc20260703120849.jpeg\" alt=\"Melalui suara dan penghayatannya, Putu Wijaya menghidupkan makna puisi dalam Sasana Sastra: Membaca Klasik Indonesia\">\u003Cp style=\"text-align: center;\">\u003Cem>Melalui suara dan penghayatannya, Putu Wijaya menghidupkan makna puisi dalam Sasana Sastra: Membaca Klasik Indonesia\u003C\u002Fem>\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Salah satu capaian penting dalam kegiatan ini adalah peluncuran enam karya sastra klasik Indonesia yang telah diterjemahkan ke dalam bahasa asing. Keenam karya tersebut meliputi Azab dan Sengsara karya Merari Siregar, Dua Dunia karya Nh. Dini, Tanah Gersang karya Mochtar Lubis, Surat Kertas Hijau karya Sitor Situmorang, Balada Orang-Orang Tercinta karya W.S. Rendra, serta Kehilangan Mestika karya Fatimah Hassan Delais. Pemilihan karya-karya tersebut mencerminkan keberagaman generasi, daerah, dan gaya kepenulisan dalam khazanah sastra Indonesia yang layak diperkenalkan kepada masyarakat dunia.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Peluncuran enam karya tersebut bukan hanya menjadi bentuk pelestarian warisan sastra nasional, tetapi juga bagian dari strategi membuka peluang internasionalisasi sastra Indonesia. Melalui program penerjemahan, karya-karya sastra Indonesia diharapkan dapat hadir di perpustakaan, institusi budaya, festival sastra, hingga pameran buku internasional. Langkah ini menjadi bagian dari diplomasi budaya yang memperkenalkan identitas Indonesia melalui karya sastra, sehingga pembaca internasional dapat mengenal nilai-nilai kemanusiaan, sejarah, dan kebudayaan yang terkandung di dalamnya.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Selain penerjemahan karya sastra klasik, Kementerian Kebudayaan juga terus memperkuat ekosistem sastra melalui berbagai program strategis. Upaya tersebut dilakukan dengan membina komunitas sastra, menyelenggarakan festival sastra, mengembangkan laboratorium penerjemah dan promotor sastra, serta memberikan Translation Funding Program (TFP) bagi penerbit luar negeri yang ingin menerjemahkan dan menerbitkan karya sastra Indonesia. Berbagai langkah tersebut menunjukkan keseriusan pemerintah dalam memperluas akses sastra Indonesia ke tingkat global sekaligus memberikan ruang yang lebih besar bagi para penulis Indonesia untuk dikenal di dunia internasional.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Hal menarik lainnya adalah konsep pertunjukan yang memadukan pembacaan sastra dengan seni pertunjukan, musik, dan koreografi. Penyajian seperti ini mampu memberikan pengalaman yang lebih menarik bagi masyarakat sehingga sastra klasik tidak lagi dipandang sebagai karya yang sulit dipahami atau hanya dinikmati oleh kalangan tertentu. Sebaliknya, sastra hadir dalam bentuk yang lebih dekat, komunikatif, dan relevan dengan perkembangan zaman.\u003C\u002Fp>\u003Cp> \u003C\u002Fp>\u003Cimg src=\"https:\u002F\u002Fberkas.cloud-idn.kotakkreasi.com\u002Fcmsbmk\u002F2026\u002F07\u002F03\u002Furwmtoevzsyblxgnhpiqdfac20260703121056.jpeg\" alt=\"Sasana Sastra: Membaca Klasik Indonesia menghadirkan karya-karya sastra dalam balutan seni pertunjukan yang komunikatif dan memikat.\">\u003Cp style=\"text-align: center;\">\u003Cem>Sasana Sastra: Membaca Klasik Indonesia menghadirkan karya-karya sastra dalam balutan seni pertunjukan yang komunikatif dan memikat.\u003C\u002Fem>\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Lebih dari itu, karya sastra klasik menyimpan banyak pesan mengenai nilai kemanusiaan, perjuangan, cinta tanah air, serta kehidupan sosial yang masih relevan hingga saat ini. Membaca karya-karya tersebut bukan berarti bernostalgia terhadap masa lalu, melainkan memahami pengalaman dan pemikiran para pendahulu sebagai bekal menghadapi tantangan masa kini dan masa depan.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Dalam perspektif pembangunan kebudayaan nasional, pelestarian sastra merupakan bagian penting dari upaya menjaga identitas bangsa. Di tengah meningkatnya interaksi budaya global, bangsa yang mampu merawat warisan budayanya akan memiliki fondasi yang lebih kuat dalam memperkenalkan jati dirinya kepada dunia. Oleh karena itu, kebijakan Kementerian Kebudayaan yang menempatkan sastra sebagai salah satu fokus pemajuan kebudayaan layak memperoleh dukungan dari berbagai pihak.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Ke depannya, kegiatan seperti Sasana Sastra: Membaca Klasik Indonesia diharapkan dapat terus dikembangkan dengan melibatkan lebih banyak kalangan, khususnya pelajar, mahasiswa, komunitas literasi, serta masyarakat luas. Pemanfaatan platform digital juga dapat menjadi sarana efektif untuk memperluas akses terhadap karya sastra klasik sehingga semakin banyak generasi muda yang mengenal dan mencintai warisan sastra Indonesia.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Pada akhirnya, sastra bukan hanya kumpulan karya tulis, tetapi juga rekam jejak perjalanan bangsa yang mengandung nilai-nilai kehidupan, sejarah, dan kebudayaan. Melalui penyelenggaraan kegiatan ini, Kementerian Kebudayaan menunjukkan komitmennya dalam menjaga keberlangsungan warisan sastra Indonesia sekaligus memperkuat posisinya sebagai bagian dari identitas nasional. Upaya tersebut menjadi langkah positif dalam memastikan bahwa sastra Indonesia terus hidup, berkembang, dan dikenal tidak hanya di dalam negeri, tetapi juga di panggung dunia.\u003C\u002Fp>","\u003Cp style=\"text-align: justify;\">The development of technology and the rapid flow of information have changed the habits of society in accessing reading materials. Amid the dominance of fast digital content, classic literary works often receive less attention, especially from the younger generation. Therefore, the organization of Sasana Sastra: Reading Classic Indonesian Literature by the Ministry of Culture is a commendable step as a form of commitment to preserving and reintroducing the wealth of Indonesian literature to the public.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">The event, held to commemorate Indonesian Literature Day, has a broader significance than just reading literary works. The event brought together writers, artists, translators, academics, literary communities, and the younger generation in one space. The presence of national literary figures, such as Taufiq Ismail and Putu Wijaya, alongside various artists from different generations, demonstrates a shared commitment to maintaining the sustainability of the Indonesian literary ecosystem. This gathering not only serves as an appreciation of literary works but also as a space to connect experiences, broaden perspectives, and encourage the emergence of new ideas relevant to societal and cultural developments.\u003C\u002Fp>\u003Cimg src=\"https:\u002F\u002Fberkas.cloud-idn.kotakkreasi.com\u002Fcmsbmk\u002F2026\u002F07\u002F03\u002Fwfdbltkjonvpuxzeqasrighc20260703120849.jpeg\" alt=\"Through his voice and interpretation, Putu Wijaya brings the meaning of poetry to life in Sasana Sastra: Reading Classic Indonesian Literature\">\u003Cp style=\"text-align: center;\">\u003Cem>Through his voice and interpretation, Putu Wijaya brings the meaning of poetry to life in Sasana Sastra: Reading Classic Indonesian Literature\u003C\u002Fem>\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">One of the significant achievements of this event is the launch of six classic Indonesian literary works that have been translated into foreign languages. The six works include Azab dan Sengsara by Merari Siregar, Dua Dunia by Nh. Dini, Tanah Gersang by Mochtar Lubis, Surat Kertas Hijau by Sitor Situmorang, Balada Orang-Orang Tercinta by W.S. Rendra, and Kehilangan Mestika by Fatimah Hassan Delais. The selection of these works reflects the diversity of generations, regions, and writing styles in the treasure trove of Indonesian literature that deserves to be introduced to the world.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">The launch of these six works not only serves as a form of preservation of national literary heritage but also as part of a strategy to open up opportunities for the internationalization of Indonesian literature. Through translation programs, Indonesian literary works are expected to be present in libraries, cultural institutions, literary festivals, and international book fairs. This step is part of cultural diplomacy that introduces Indonesia's identity through literary works, allowing international readers to recognize the values of humanity, history, and culture contained within.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">In addition to translating classic literary works, the Ministry of Culture continues to strengthen the literary ecosystem through various strategic programs. These efforts include nurturing literary communities, organizing literary festivals, developing translation laboratories and literary promoters, and providing a Translation Funding Program (TFP) for foreign publishers wishing to translate and publish Indonesian literary works. These various steps demonstrate the government's seriousness in expanding access to Indonesian literature on a global scale while providing a larger space for Indonesian writers to be recognized internationally.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Another interesting aspect is the concept of performances that combine literary readings with performing arts, music, and choreography. Such presentations can provide a more engaging experience for the public, so that classic literature is no longer viewed as works that are difficult to understand or only enjoyed by certain circles. On the contrary, literature is presented in a form that is closer, more communicative, and relevant to contemporary developments.\u003C\u002Fp>\u003Cp> \u003C\u002Fp>\u003Cimg src=\"https:\u002F\u002Fberkas.cloud-idn.kotakkreasi.com\u002Fcmsbmk\u002F2026\u002F07\u002F03\u002Furwmtoevzsyblxgnhpiqdfac20260703121056.jpeg\" alt=\"Sasana Sastra: Reading Classic Indonesian Literature presents literary works wrapped in communicative and captivating performing arts.\">\u003Cp style=\"text-align: center;\">\u003Cem>Sasana Sastra: Reading Classic Indonesian Literature presents literary works wrapped in communicative and captivating performing arts.\u003C\u002Fem>\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Moreover, classic literary works contain many messages about humanitarian values, the struggle, love for the homeland, and social life that are still relevant today. Reading these works does not mean nostalgic for the past, but understanding the experiences and thoughts of predecessors as a foundation for facing current and future challenges.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">From the perspective of national cultural development, the preservation of literature is an important part of efforts to maintain national identity. Amid the increasing global cultural interactions, a nation that can care for its cultural heritage will have a stronger foundation in introducing its identity to the world. Therefore, the Ministry of Culture's policy of placing literature as one of the focuses of cultural advancement deserves support from various parties.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">In the future, activities like Sasana Sastra: Reading Classic Indonesian Literature are expected to continue to develop by involving more groups, especially students, university students, literacy communities, and the wider public. The use of digital platforms can also be an effective means to expand access to classic literary works so that more young generations recognize and love Indonesia's literary heritage.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Ultimately, literature is not just a collection of written works but also a record of the nation's journey that contains values of life, history, and culture. Through the organization of this event, the Ministry of Culture demonstrates its commitment to preserving the continuity of Indonesian literary heritage while strengthening its position as part of national identity. This effort is a positive step in ensuring that Indonesian literature continues to live, develop, and be recognized not only domestically but also on the world stage.\u003C\u002Fp>","2026-07-03 12:13:11","jdty0250","zcvg0048","26","Sastra",[715],{"url":716,"caption":717,"details":670,"created_at":709,"updated_at":709,"deleted_at":584},"https:\u002F\u002Fberkas.cloud-idn.kotakkreasi.com\u002Fcmsbmk\u002F2026\u002F07\u002F03\u002Fbknwadvcxlgoymstupqhizrj20260703120339.jpeg","Menteri Kebudayaan Fadli Zon meluncurkan enam buku terjemahan karya sastra klasik Indonesia ke dalam bahasa Inggris dalam kegiatan \"Sasana Sastra: Membaca Klasik Indonesia\"",{"title":719,"title_en":720,"date":721,"slug":722,"content":723,"content_en":724,"created_at":725,"updated_at":696,"deleted_at":584,"author":726,"author_title":727,"hashid":728,"category_hashid":640,"tag_hashid":681,"visitor":729,"category_name":643,"tag_name":683,"media":730},"Habis Mewarisi Terbitlah Tugas Mewariskan","After Inheriting, It Is Time to Pass Down","2026-06-23 00:00:00","habis-mewarisi-terbitlah-tugas-mewariskan","\u003Cp>Pada 17-18 Juni 2026 lalu dalam Sidang Umum ke-11 Negara-Negara Pihak Konvensi 2003 UNESCO yang diselenggarakan di Markas Besar UNESCO di Paris, Perancis, Indonesia terpilih menjadi anggota Komite Pelindungan Warisan Budaya Takbenda Dunia UNESCO (Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage UNESCO atau ICH UNESCO) periode 2026–2030. Sebuah kehormatan serta pengakuan terhadap segala upaya yang telah dan sedang dilakukan oleh pemangku kepentingan bidang Kebudayaan di Republik Indonesia ini.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Indonesia sebagai bangsa \u003Cem>mega-diversity \u003C\u002Fem>merupakan negara yang kaya akan budaya dan alamnya. Perkembangan budaya di Indonesia sangatlah beragam jika mengacu kepada Undang-Undang Nomor 5 Tahun 2017 yang menetapkan 10 Objek Pemajuan Kebudayaan (OPK) meliputi tradisi lisan, manuskrip, adat istiadat, ritus, pengetahuan tradisional, teknologi tradisional, seni, bahasa, permainan rakyat, dan olahraga tradisional. Setiap OPK memiliki potensi untuk mengungkap nilai-nilai budaya yang substantif dan relevan dengan kebutuhan pembangunan masa kini.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Menurut rilis Badan Pusat Statistik jumlah suku bangsa di Indonesia mencapai 1340 kelompok etnik, tentu betapa besarnya Objek Pemajuan Kebudayaan yang terdapat dari kelompok etnis tersebut. Dari 10 OPK yang terdapat dari beragam kelompok etnis tersebut, Indonesia memiliki tugas serta kewajiban untuk melindungi semua warisan budaya takbenda di Indonesia melalui berbagai tahapan mulai dari identifikasi, inventarisasi, penelitian, preservasi, melakukan percepatan pemajuan agar tidak tercerabut dari akar budayanya, menyampaikan nilai budaya melalui  pendidikan usia dini, pendidikan non formal (sanggar, perkumpulan, kursus-kursus), dan pendidikan formal (pendidikan dasar sampai perguruan tinggi), serta melibatkan berbagai elemen seperti pegiat budaya, komunitas, kelompok sosial, dan perseorangan. Kesadaran untuk melestarikannya melalui transmisi budaya dari generasi ke generasi, untuk terus berjuang agar warisan budaya takbenda ini dapat tetap lestari. Betapa pentingnya mencintai warisan budaya milik sendiri agar disadarkan untuk lebih bangga dan cinta pada budaya bangsa Indonesia. Pemangku kepentingan bidang kebudayaan, yakni Pemerintah Pusat, Pemerintah Provinsi, Pemerintah Kabupaten\u002FKota, dan masyarakat Indonesia perlu berupaya melakukan langkah-langkah penyelamatan warisan alam dan budaya yang terancam punah; menyiapkan bahan masukan untuk penyusunan kebijakan dan strategi pemerintah; serta mempermudah sekalgus penguatan mekanisme pelestarian. Perjuangan Indonesia untuk mendapatkan pengakuan warisan budaya takbenda dari UNESCO juga tidak sebatas untuk menghindari adanya klaim budaya dari bangsa lain, melainkan juga menghindari adanya protes bangsa lain terhadap apa yang dimiliki Indonesia.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">Lalu ke depannya apa yang perlu dilakukan setelah Indonesia menjadi anggota komite tersebut, bukanlah hal yang mudah. Mata dunia tentu akan tetuju kepada keberhasilan meraih posisi tersebut. Kesuksesan pengimplementasian Undang-undang No. 5 Tahun 2017 akan menjadi model dan modal pengetahuan bagi negara-negara lain dalam melindungi warisan budaya takbenda yang mereka miliki. Metode dan etika kerja pelestarian warisan budaya takbenda yang bertahun-tahun dilakukan oleh pegiat budaya di negeri ini akan menjadi sorotan dunia. Tantangan bagi kita pemangku dan pegiat budaya untuk mentransfer praktik-praktik baik kita selama ini menjadi pengetahuan bersama dalam mengelola peradaban dunia. Sebuah pencapaian serta strategi tepat bagi pemerintah kita untuk menjadikan Indonesia sebagai ibu kota keberagaman budaya. Proses kerja pemangku kebudayaan baik di pusat maupun daerah dalam mengelola sumber daya budaya yang telah diwariskan oleh para pendahulu apakah hanya berakhir sebagai pengelolaan tinggalan masa lalu belaka yang hanya menjadi kenangan semu yang terdokumentasikan namun tidak dilestarikan oleh para ahli waris di masa kini atau mungkin idealnya kita tidak hanya jadi pengelola warisan budaya namun dapat menjadi pewaris baru tinggalan budaya untuk generasi kemudian.\u003C\u002Fp>","\u003Cp>On June 17-18, 2026, during the 11th General Assembly of the States Parties to the 2003 UNESCO Convention held at UNESCO Headquarters in Paris, France, Indonesia was elected as a member of the UNESCO Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage (ICH UNESCO) for the 2026–2030 period. This is an honor and recognition of all the efforts that have been and are being made by stakeholders in the field of Culture in the Republic of Indonesia.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">As a \u003Cem>mega-diversity\u003C\u002Fem> nation, Indonesia is rich in its culture and nature. The development of culture in Indonesia is very diverse, referring to Law Number 5 of 2017, which establishes 10 Objects of Cultural Advancement (OPK) including oral traditions, manuscripts, customs, rituals, traditional knowledge, traditional technology, arts, languages, folk games, and traditional sports. Each OPK has the potential to reveal substantive cultural values that are relevant to current development needs.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">According to a release from the Central Statistics Agency, the number of ethnic groups in Indonesia reaches 1,340 ethnic groups, highlighting the vast Objects of Cultural Advancement that exist among these ethnic groups. From the 10 OPK derived from various ethnic groups, Indonesia has the duty and obligation to protect all intangible cultural heritage in Indonesia through various stages, starting from identification, inventory, research, preservation, accelerating advancement to prevent disconnection from its cultural roots, conveying cultural values through early childhood education, non-formal education (community centers, associations, courses), and formal education (from primary education to higher education), as well as involving various elements such as cultural activists, communities, social groups, and individuals. There is a need for awareness to preserve it through cultural transmission from generation to generation, to continue the struggle so that this intangible cultural heritage can remain sustainable. It is crucial to love our cultural heritage to be more aware and proud of Indonesian culture. Stakeholders in the field of culture, namely the Central Government, Provincial Governments, District\u002FCity Governments, and the Indonesian people need to strive to take steps to save threatened natural and cultural heritage; prepare input materials for the formulation of government policies and strategies; and facilitate as well as strengthen preservation mechanisms. Indonesia's struggle to gain recognition for its intangible cultural heritage from UNESCO is not only to avoid cultural claims from other nations but also to prevent protests from other nations regarding what Indonesia possesses.\u003C\u002Fp>\u003Cp style=\"text-align: justify;\">So what needs to be done after Indonesia becomes a member of the committee is not an easy task. The world's eyes will certainly be focused on the success of achieving this position. The success of implementing Law No. 5 of 2017 will serve as a model and knowledge capital for other countries in protecting their intangible cultural heritage. The methods and work ethics of preserving intangible cultural heritage that have been carried out by cultural activists in this country for years will be under the world's spotlight. It is a challenge for us, stakeholders and cultural activists, to transfer our good practices into shared knowledge in managing world civilization. This is an achievement and a precise strategy for our government to make Indonesia the capital of cultural diversity. The work process of cultural stakeholders, both at the central and regional levels, in managing the cultural resources inherited by our ancestors should not merely end as the management of past remnants that only become a documented but unpreserved memory by the current heirs, or ideally, we should not only be managers of cultural heritage but also become new heirs of cultural legacies for future generations.\u003C\u002Fp>","2026-06-23 08:25:13","Jaka Perbawa, S.S. M.Hum.","Balai Pelestarian Kebudayaan Lampung","cyur0248","24",[731],{"url":732,"caption":103,"details":670,"created_at":725,"updated_at":725,"deleted_at":584},"https:\u002F\u002Fberkas.cloud-idn.kotakkreasi.com\u002Fcmsbmk\u002F2026\u002F06\u002F23\u002Fxhncosjeikrfbalwzmdpqgyv20260623082323.jpeg",{"current_page":734,"per_page":735,"from":734,"to":735,"total":736,"last_page":737},1,5,84,17,1785844024251]