On Tuesday (March 3, 2026), the Faculty of Cultural Sciences (FIB) of Gadjah Mada University (UGM) held an Open Senate Meeting to commemorate its 80th Anniversary. Amidst the solemn celebration, the "Outstanding Student of the 2026 Javanese Language, Literature, and Culture Study Program" award was presented to selected individuals, one of whom was Ghibran Arsha Daffa’ Musaffa’ from the Javanese Language, Literature, and Culture Study Program.

Ghibran's selection as an Outstanding Student was not without reason. Ghibran is known as a student who is actively involved in Javanese culture. Some of his achievements include third place in the Nusantara Cultural Gathering Storytelling Competition, second place in the Youth Ceremony Competition for the Bantul Regency Language and Literature Competition in 2025, and being selected as a finalist for the 2025 Dimas Diajeng Yogyakarta City Competition.

Besides competitions, Ghibran is also active in various other activities. He was involved as an actor in the play "Adisari Cahaya Kasih di Balik Penaklukkan," served as Master of Ceremonies (MC) at the Closing Ceremony of Wonderful Indonesia Wellness, and even served as a storyteller in the Dimas Diajeng Yogyakarta Field Program in Sleman Tourism Village.

However, behind these successes, Ghibran revealed that his journey has been a long process. In an online interview on Friday (April 24, 2026), he shared that his drive to achieve has been growing since elementary school.

"My motivation started with something simple and perhaps funny. Since elementary school, I wanted to earn extra pocket money because our family was financially poor at the time," Ghibran said. He recalls a time when his pocket money was only Rp 2,000 in fourth grade. At that time, his mother challenged him to keep his allowance. From there, she encouraged him to pursue competitions with prizes.

His first victory in the Bantul Regency-wide Ngudar Kawruh Tembang competition was a turning point. From then on, Ghibran realized that achievement wasn't just about money, but also a path to success. His achievements earned him admission to junior high school through the achievement pathway and even opportunities to appear on national media outlets like TVRI.

Entering his studies at UGM, Ghibran set out to make a real contribution to his alma mater. "I may not have been the most outstanding student academically, but I always tried to give the university a 'souvenir' in the form of a trophy," he said. Ultimately, he earned the opportunity to recite poetry before the Indonesian Minister of Education in 2024.

For him, the title of Outstanding Student is not just an award. He feels gratitude, but also a sense of responsibility. This motivates him to continue working hard. "My plans for the future: I want to graduate on time, but still actively participate in competitions. I want to continue being a useful person," he explained.

He also shared the key to his consistency. Since childhood, he has been writing down his goals on a piece of paper and sticking it on his bedroom wall. "Never be ashamed to dream big. For me, dreaming is the first step to achievement. Through hard work and prayer, each dream becomes a reality," he concluded. He also emphasized the importance of gratitude in every step of the process, both during victories and facing failures.

Author            : Haryo Untoro
Editor             : Haryo Untoro

Javanese has often been associated with the regions of Yogyakarta and Surakarta, which are known as the centers of Javanese culture. In addition, people are also familiar with the straightforward East Javanese dialect or the Banyumasan dialect, which is often considered unique by other Javanese speakers. However, not many people realize that Javanese is also alive and thriving outside these main areas, namely in Banten Province, at the western tip of Java Island. In this region, a language variation known as the Banten dialect of Javanese has developed.

In his classification of Javanese dialects, Ras (1994) divides Javanese into three major groups, namely the western, central, and eastern Javanese dialects. The Banten Javanese dialect (BJDB) belongs to the western Javanese dialect group and is often referred to as Serang Javanese or Jaseng, because most of its speakers are located in the city of Serang and Serang Regency (Rohbiah & Mu'awwanah, 2021).

There are several sources that mention different areas of BJDB usage. Research by Danasasmita and Pronggodigdo states that this dialect is used in the former Banten Residency, which includes the regencies of Serang, Pandeglang, and Lebak. Meanwhile, the West Java Provincial Tourism Office also includes the Tangerang area as a region where speakers of this dialect are found (Iskandarwassid, Mulyana, Hudari, et al., 1985). Geographically, the existence of this language is quite unique because it is located between several other language communities, namely Betawi speakers in the Jakarta area, Sundanese speakers in southern Banten, and Lampung speakers across the Sunda Strait (Rohbiah & Mu'awwanah, 2020).

The Influence of History on Dialect Development

The emergence of the Javanese language in Banten cannot be separated from the long historical process of the region. In the early 16th century, the Banten region was still under the rule of the Sunda Kingdom. This situation changed after the Sunda-Portuguese Treaty in 1522. The treaty sparked a conflict that led to the conquest of the Port of Banten in 1526 and Sunda Kelapa in 1527 by the armies of Demak and Cirebon (Iskandarwassid, Mulyana, Hudari, et al., 1985).

After the conquest, Banten was led by Syarif Hidayatullah, who came from Cirebon. However, politically, Banten was actually controlled by the Sultan of Demak. Under the leadership of Syarif Hidayatullah, Banten developed into an Islamic kingdom that was active in the trade and transportation network for Javanese and Islamic traders (Iskandarwassid, Mulyana, Hudari, et al., 1985). Patmadiwiria (1977) added that the settlement of Banten's conquering soldiers from Java also brought with it the Javanese language and culture. Therefore, it can be understood that the Demak and Cirebon Sultanates were the cause or origin of the emergence of the Banten dialect.

The influence of Javanese culture also grew stronger in the 17th century when the Mataram Sultanate expanded its influence to West Java. The spread of Javanese culture at that time occurred not only among the elite, but also among the lower classes (Iskandarwassid, Mulyana, Hudari, et al., 1985).

In addition to historical factors, geographical conditions also shaped the development of BJDB. The existence of the Port of Merak, which served as a connecting route between Java and Sumatra, enabled intensive interaction with the Lampung community. This interaction gave rise to communities of Lampung language speakers in several coastal areas of Banten, such as in the Anyer District. This cultural contact then influenced the vocabulary of the Banten dialect of Javanese (Rohbiah & Mu'awwanah, 2021).

Unique Pronunciation

As a dialect, BJDB has distinctive characteristics, especially in terms of pronunciation and vocabulary. One of the most prominent unique features is the variation in the pronunciation of the phoneme /a/. In a study conducted by Iskandarwassid, Mulyana, Hudari, et al. (1985), it is mentioned that this sound has three different pronunciations, depending on the region of the speaker.

In the areas of Serang City, Cilegon, and the surrounding regions, the phoneme /a/ is often pronounced closer to the sound [ɤ], which is similar to the sound “eu” in Sundanese (Patmadiwiria, 1977; Iskandarwassid, Mulyana, Hudari, et al., 1985). Meanwhile, in the suburbs of Serang, such as Barugbug, Pagelaran, Cikande, and Kragilan, the phoneme /a/ is still pronounced as [a]. In some areas, such as Rancasawah and parts of Cilegon, the phoneme /a/ is pronounced as [ɔ] (Iskandarwassid, Mulyana, Hudari, et al., 1985).

Variations in the sound of the phoneme /a/ occur in several circumstances, including the following (Karia, 1914; Iskandarwassid Mulyana, Hudari, et al., 1985):

1. The phoneme /a/ in open syllables will produce variations in sound. Examples: sira [sirɤ], ora [orɤ], and kula [kulɤ].
2. Specifically in the Serang City area and its surroundings, /a/ can be pronounced [ɤ] in one-syllable words, such as mah [mɤh]. However, other one-syllable words such as lah, la, and tah are still pronounced [a].
3. If /a/ is located in a word with an open syllable, then followed by a suffix, /a/ is pronounced as /a/. Examples: sira [sirɤ] becomes sirane [siranI] and apa [apɤ] becomes apane [apanI].

Distinct Vocabulary

In addition to pronunciation, BJDB also has a number of words that differ from the standard Javanese language used in Yogyakarta and Surakarta. Here are five examples and their pronunciations based on and adapted from Karia (1914), Iskandarwassid, Mulyana, Hudari, et al. (1985), Poerwadarminta (1939), Sulistyowati (2015), and Patmadiwiria (1977):

1. kastelâ or kêstelâ ‘papaya’, which in standard Javanese is called kates
2. sirâ ‘you’, which in standard Javanese is called kowe
3. kepremen ‘how’, which in standard Javanese to kepiye
4. ayun ‘want’, which in standard Javanese is called arep
5. ning ‘if’, which in standard Javanese is called yen
6. derbe ‘have’, which in standard Javanese is called duwe
7. linggar ‘go’, which in standard Javanese to lungå

These vocabulary differences show that BJDB has unique lexical developments and is not completely identical to standard Javanese.

*For convenience, the author provides special symbols for <a>, which is pronounced [a], <å>, which is pronounced [ɔ], and <â>, which is pronounced [ɤ].

Language Contact Results

The uniqueness of BJDB is also reflected in the large number of words resulting from contact with other languages. Sundanese, Betawi, Malay, and Lampung languages have also influenced the vocabulary of this dialect. Based on Rohbiah & Mu'awwanah (2021), the following are examples of the influence of each of these languages.

1. From Sundanese, for example, the words kolot, meaning ‘old’, and beuleum, meaning ‘to burn’, are used by BJDB speakers in Binong Village, Pamarayan District, instead of the words tuâ and ngobong in BJDB.
2. From the Betawi language, there are the words engkong, which means ‘grandfather’, and betot, which means ‘to pull’, which are used by BJDB speakers in Pedaleman Village, Tanara District, instead of using the words ende lanang and narik in BJDB.
3. The influence of the Malay language can be seen in the use of the word laki to refer to ‘husband’ by BJDB speakers in Kampung Baru & Binong Villages, Pamarayan District, Pontang & Wanayasa Villages, Pontang District, Tanara & Pedaleman Villages, Tanara District, and Anyar & Cikoneng Villages, Anyar District, instead of using the words rayat lanang in BJDB.
4. The influence of the Lampung language is evident in the words eppak, which means ‘four’, and duwai, which means ‘lake’, used by BJDB speakers in Anyar Village, Anyar District, instead of using the words papat and danau in BJDB.

This phenomenon of absorption usually occurs in areas that have a high intensity of cultural contact with certain language communities.

Bibliography

Iskandarwassid; Mulyana, Y.; Hudari, A; Sjarif, T.K.S. (1985). Struktur Bahasa Jawa Dialek Banten. Jakarta: Departemen Pendidikan dan Kebudayaan.

Karia, M. M. D. (1914). Dialect Djawa Banten. Batavia: G Kolff & Co.

Patmadiwiria, M. (1977). Kamus Dialek Jawa Banten-Indonesia. Jakarta: Departemen Pendidikan dan Kebudayaan.

Poerwadarminta, W.J.S. (1939). Baoesastra Jawa. Batavia: J.B. Wolters’ Uitgevers-Maatschappij N. V. Groningen.

Ras, J.J. (1994). Inleiding tot het Modern Javaans. Leiden: KITLV.

Rohiah, T.S., & Mu’awwanah, U. (2020). Inovasi Leksikal Bahasa Jawa Banten di Perbatasan Kabupaten Serang Provinsi Banten: Kajian Geografis – Linguistik. Serang: Media Madani

Sulistyowati. (2018). Kompleksitas dan Fleksibilitas Realisasi Bunyi Vokal Bahasa Jawa. Mutiara dalam Sastra Jawa Edisi 4, 4(3), 29-45.

List of Figures

Akbar. (2025, October 13^th). Keraton Kaibon, Jejak Kejayaan Kesultanan Banten di Kota Serang [Picture]. Serangkota.go.id. https://serangkota.go.id/detailpost/keraton-kaibon-jejak-kejayaan-kesultanan-banten-di-kota-serang.

Author: Haryo Untoro
Editor: Haryo Untoro & Nurul Fajri Rahmani
Thumbnail Maker: Nurul Fajri Rahmani

Indonesians often use proverbs or idioms when communicating. One example is the frequent use of the Malay idiom “tak kenal maka tak sayang” to lighten the mood in various formal and informal settings. However, upon closer examination, Javanese culture also has idioms and proverbs that are worth exploring. In his dissertation, Hendrokumoro (2016) explains that Javanese culture has eight types of proverbs, including paribasan, bêbasan, saloka, pêpindhan, sanepa, panyandra, isbat, and sêmboyan.

The first form described is the paribasan. Technically, paribasan is a grammatical unit with a fixed structure that is straightforward and does not contain a metaphor, yet carries a figurative meaning (Padmosoektojo, 1958). One example is the expression ana catur mungkur, which literally means “there is talk of leaving.” The meaning behind this expression is the wise attitude of someone who refuses to pay attention to gossip or negative talk from others (Padmosoektojo, 1958:62).

Furthermore, there is a Javanese proverb known as bebasan.” Bebasan is a proverb with a fixed form, figurative meaning, and emphasizes the metaphorical description of a person’s condition or behavior (Padmosoekotjo, 1958). An example is wis kêbak sundukane “the pricks are already full”, indicating that the person in question has committed many mistakes. This metaphor originates from the culture of elders or leaders in the past who used to insert pins to record the mistakes of their subordinates. If the pins were full, it meant that the person had committed far too many mistakes (Padmosoektojo, 1958:62).

The next category is saloka, Javanese proverbs that take the form of fixed phrases and share similarities in both usage and meaning (Padmosoekotjo, 1958). The primary focus is on the subject or person; what is being likened is a person, a trait, or a situation, using metaphors involving animals or objects (Padmosoekotjo, 1958; Subalidinata, 1968; Dirdjosiswojo, 1956). An example of a saloka is asu bêlang kalung wang ‘a spotted dog wearing a money necklace’, which depicts the common people or the lower class possessing abundant wealth (Padmosoekotjo, 1958:76).

Additionally, there are pêpindhan that function as instruments of comparison. Unlike other forms, pêpindhan often use comparative terms such as lir, pindha, kaya, or their synonyms to equate objects with humans (Padmosoekotjo, 1958; Hadiwidjana, 1967). For example, the expression kuning pindha mas sinangling ‘yellow like gold that has been polished’ is used to describe a yellow color that shimmers beautifully, much like gold that has been polished. Furthermore, sangling itself is a tool used for polishing gold (Padmosoekotjo, 1958: 95).

The next category is sanepa. Sanepa is a metaphor whose meaning actually conveys the opposite or a negation (Subalidinata, 1968). The expression suwe banyu sinaring—“water takes a long time to filter”—for example, is actually used to describe someone who responds very quickly to something (Hendrokumoro, 2016).

Javanese proverbs also employ aesthetic or beautiful forms in the sense of panyandra or candra. Panyandra or candra is used to describe physical beauty as a form of impressive praise (Padmosoekotjo, 1958; Hendrokumoro, 2016). One form of bodily beauty often praised is drijine mucuk eri, which describes fingers as beautiful as thorn tips, characterized by fingertips that are smaller than the base of the finger (Hendrokumoro, 2016).

Another form of Javanese proverb is called Isbat. The form of isbat is similar to saloka, whose content or intended meaning relates to metaphysical, philosophical, or occult dimensions containing spiritual messages (Widati et al., 2015; Subalidinata, 1968). The expression golek gêni adêdamar ‘searching for fire while carrying a lamp’ serves as a philosophical metaphor suggesting that in the pursuit of true knowledge, one requires a foundation of knowledge to serve as a guide (Widati et al., 2015).

Finally, as a source of inspiration, the term sêmboyan refers to a set of phrases designed to foster optimism and guide action (Hendrokumoro, 2016). The legendary motto rawe-rawe rantas, malang-malang putung—“swinging objects are struck down, obstructing objects are severed”—reflects an unyielding determination to overcome all obstacles in order to achieve the desired goal (Hendrokumoro, 2016:92).

Bibilography

Dirdjosiswojo. (1956). Paribasan. Jogjakarta: Kalimosodo.

Hendrokumoro. (2016). Peribahasa dalam Bahasa Jawa. Disertasi. Yogyakarta: Program Pascasarjana, Fakultas Ilmu Budaya, Universitas Gadjah Mada.

Padmosoekotjo, S. (1958). Ngengrengan Kasusastraan Djawa I: Kanggo Para Siswa Sekolah Guru lan Sekolah Landjutan Lijane. Jogjakarta: Hien Hoo Sing.

Subalidinata, R.S. (1968). Sarining Kasusastraan Djawa. Jogjakarta: Jaker.

Widati, S., Rahayu, P., dan Prabowo, D.P. (2015). Ensiklopedi Sastra Jawa. Yogyakarta: Kementerian Pendisikan dan Kebudayaan, Balai Bahasa Provinsi Daerah Istimewa Yogyakarta

Author: Haryo Untoro
Editor  : Haryo Untoro, Nurul Fajri Rahmani

Graduating in 3.5 years is no longer impossible for students. This is proven by three students from the Javanese Language, Literature, and Culture Program at UGM, namely Yasmin Nabiha Sahda, Pesdhi Sekar Hayumay, and Hanundita Salma. The three students officially graduated on Wednesday, February 25, 2026, after completing their education in only seven semesters.

During an interview on Friday, February 27, 2026, the three shared tips on how students can complete their thesis and graduate quickly. Yasmin Nabiha Sahda (Yasmin) advised students to finalize their research topic by the sixth semester. According to her, this strategy is very effective so that students can immediately focus on studying the literature and developing a research framework without wasting time during the thesis writing process.

In addition to early preparation, interest and time management also greatly influence the thesis writing process. Pesdhi Sekar Hayumay (Pesdhi) emphasized that choosing a research topic that suits one's abilities and personal interests will make the research process run more smoothly. She also added that setting clear work targets and mastering relevant theories can help students stay focused during the research process.

Meanwhile, Hanundita Salma (Hanun) said that a thesis that seems difficult should be broken down into several small stages so that the work feels more focused. Hanundita also highlighted the importance of a supportive group of friends and active communication with lecturers as discussion partners to speed up the process of completing the final assignment.

In addition, these three graduates also shared messages for their fellow students who are still struggling. Yasmin encouraged them to truly use their time in college to enrich themselves with a deep understanding of Javanese literature. Meanwhile, Pesdhi and Hanun agreed that the key to completing a final project is not speed alone, but perseverance in tackling the thesis without losing the joy of the process.

Their experiences demonstrate that a thesis can be completed gradually with proper planning. Through these tips and experiences, it is hoped that they can serve as a reference and inspire students who are planning and completing their thesis projects.

Author                        : Haryo Untoro
Editor                         : Haryo Untoro & Nanda Nursa Alya
Thumbnail Maker    : Haryo Untoro

 The most popular are the ngoko and krama levels of speech. However, within the Javanese royal court, a specific language variety developed, used by courtiers within the palace: Basa Kedhaton and Basa Bagongan. What is Basa Kedhaton or Basa Bagongan?

Termically, basa means 'language,' while kedhaton refers to 'palace' or 'kingdom.' Basa Kedhaton or Basa Bagongan itself is used by the sentana (relatives of the king) and courtiers when attending the king, such as the Sultan or Sunan, as well as Pangeran Adipati Anom (crown prince) in the palace (Padmosoekotjo, 1953:16). The term used in the Surakarta Kasunanan Palace is Basa Kedhaton, while in the Yogyakarta Sultanate Palace it is known as Basa Bagongan (Padmosoekotjo, 1953).

The Serat Purwa Ukara manuscript records the use of Basa Bagongan as early as the reign of Hamengkubuwana (HB) I. However, its use was banned during the reign of HB V due to its perceived disapproval, before finally being reinstated by HB VI (Setyowijaya, 2015:61–63).

The term "Bagongan" itself is often associated with the character Bagong in the Yogyakarta puppet tradition. This character is known for his straightforward, matter-of-fact manner and lack of refinement in speech. This character is considered to represent the "half-middle" nature of Basa Bagongan, not as refined as krama, but still polite and well-intentioned (Padmosoekotjo, 1953:89). Meanwhile, the Serat Purwa Ukara manuscript explains that the term "Bagongan" was coined by Sri Sultan himself. This term is synonymous with pegoan, meaning "unusual Javanese language or a deviation from custom" (Setyowijaya, 2015:62–63).

The uniqueness of Basa Kedhaton and Basa Bagongan can be seen in their linguistic forms, namely their special terms, grammatical structures, and the use of literary forms with the addition of affixes typical of Kawi or Old Javanese literary varieties (Padmosoekotjo, 1953; Setyowijaya, 2015; and Poedjosoedarmo & Laginem, 2014).

The most prominent characteristic of Basa Kedhaton is its use of first-person pronouns (I) and second-person pronouns (you). The pronoun forms in Kasunanan Surakata are differentiated according to position: mara ‘I’ and para ‘you’ are used by putra sentana ‘children of palace officials’, manira ‘I’ and pakenira ‘you’ for retainer, kula ‘I’ and jengandika ‘you’ for panèwu ‘sub-district head’ and mantri ‘village head’, and robaja ‘I’ and pantèn ‘you’ for poet. Meanwhile, in Yogyakarta only the pair manira ‘I’ and pakenira ‘you’ are known (Padmosoekotjo, 1953:16).

In addition, there are a number of other distinctive vocabulary items. Poedjosoedarmo and Laginem (2014) noted that there are approximately 40 specific vocabulary items in Basa Kedhaton and 11 specific vocabulary items in Basa Bagongan. Some of these include:

• enggèh 'yes'
• wènten 'there is’
• wikana 'don't know'
• sumitra 'lion'.

Furthermore, this variety often utilizes literary nuances or Kawi affixes, for example, kakersake 'wanted', mangangge 'wear', sinerat 'written', and lumebet 'enter'.

Grammatically, there are differences between the grammatical structures of Basa Kedhaton from Surakarta and Basa Bagongan from Yogyakarta. Basa Kedhaton from Surakarta still uses krama sentence structure. Based on this, the prefixes and suffixes used remain variations of krama, namely the passive prefix {dipun-} and the suffix {-aken}.

This situation differs from the structure of Basa Bagongan, which exhibits a mixture of krama and ngoko in a single form. An example found in Serat Purwa Ukara is as follows:

Rawuhé Kanjeng Tuwan Panes, wènten ing negari Ngayugya minangka kumissarising gupermèn…
‘The arrival of Kanjeng Tuwan Panes, in Negari Yogyakarta as commissioner of gupermen…’.

In this case, the word rawuhé is derived from the root word rawuh 'to come' (krama inggil) to which the suffix {-é} (ngoko) is attached. This phenomenon demonstrates the blending of speech levels within a single word (Setyowijaya, 2015:57).

Furthermore, another difference is the usage of Basa Kedhaton and Basa Bagongan. Basa Kedhaton is not intended to create a sense of equality between speakers (Poedjosoedarmo & Laginem, 2014:21–22). Poedjosoedarmo & Laginem (2014:22) explain that there are several different levels, such as:

• Manungkara, used by nobles, such as His Majesty the King and the Prince's Treasurer
• Mangungkak basa, used by high-ranking courtiers to address one another
• Angagok wicara, used by high-ranking nobles to address those of lower rank.

This contrasts with Basa Bagongan in Yogyakarta, which still conveys respect while maintaining equality between speakers and interlocutors (Poedjosoedarmo & Laginem, 2014:10).

The function of Basa Bagongan extends beyond oral communication within the palace. This Javanese language variation is also found in written communication and correspondence. Apart from that, Basa Bagongan is also used in traditional palace ceremonies, specifically when the leader of the soldiers is ordered to deliver the gunungan in the Grebeg traditional procession (Setyowijaya, 2015:63-66).

Both Basa Kedhaton and Basa Bagongan have their own distinctive characteristics. Despite being a priceless cultural treasure, Basa Bagongan is becoming increasingly rare. Setyowijaya (2015:66–67) notes that active speakers are generally courtiers over 60 years old. The younger generation of the palace tends to use only ngoko and krama. Regeneration from outside the palace environment and the perceived impoliteness of using it to high-ranking officials have contributed to its rare use.

Bibliography

Padmosoekotjo, S. (1953). Ngéngréngan Kasusastran Djawa. Jogyakarta: Hien Hoo Sing

Poedjosoedarmo, S., dan Laginem. (2014). Bahasa Bagongan. Yogyakarta: Kementerian Pendidikan dan Kebudayaan, Badan Pengembangan dan Pembinaan Bahasa, Balai Bahasa Provinsi Daerah Istimewa Yogyakarta.

Setyowijaya, A. (2015). Teks Basa Bagongan dalam Naskah Sêrat Purwa Ukara: Suntinga Teks, Terjemahan, dan Deskripsi Kebahasaan. Skripsi. Yogyakarta: Universitas Gadjah Mada.

List of Figures

Verkaik, A. (t.t.). Abdi Dalem – Yogya [Gambar]. Pinterest. https://pin.it/5XmXoVqln

Widya. (t.t.). Keraton Kasunan Surakarta Hadiningrat / Surakarta Hadiningrat Royal Palace. Solo, Java [Gambar]. Pinterest.  https://pin.it/5Wm9RNcqm.

Wirasandjaya, F.R. (2019, 16 Agustus). Spiritualisme Masyarakat Jawa [Gambar]. Kompasiana.com. https://www.kompasiana.com/frwirasandjaya/5d56c9ff097f3675ad5e5bd4/spiritualisme-masyarakat-jawa.

Author: Haryo Untoro

Editor: Haryo Untoro

Thumbnail Maker: Nurul Fajri Rahmani