That morning, Bangkit Sholahudin or known as Bangkit was opening a collection of several keris belonging to the previous hamlet’s leader. Every leadership period, the Head of Sawit Hamlet across generations always has a “tosan aji” as a form of representation of the depiction of every situation and condition. Considering that the keris has become a familiar object with the lives of Sawit residents, Bangkit as the current Head of Sawit hamlet tried to initiate the maintenance and preservation of the keris which has been on hiatus for a long time. Towards the afternoon, Bangkit Sholahudin met Mbah Jaman, one of the residents who had a keris but was not properly cared for. Finding these problems, Bangkit Sholahudin invited several residents to initiate a procession of “jamasan” within the scope of Sawit Hamlet in cooperation with the non-governmental organizations.

This feature presents an in-depth exploration of the art of wayang glass painting, highlighting its role as more than just a medium of entertainment. In the context of Indonesian culture, wayang is known as a means to convey life values, and wayang glass painting elevates this philosophy into an intriguing visual dimension. Using the Punokawan figures—funny, communicative, and full of character—this feature explores how each painting is not only entertaining but also serves as an educational tool that reflects the dynamics of community life.

Wiwitan, a traditional ritual that is closely associated with Javanese culture, especially the farming community. This ritual uses the media of various foods as a symbol of hope to welcome the harvest period. It seems simple, but in fact the condition will have meaning. The farmer and his family will prepare various foods, then bring them to the rice fields to be harvested, then pray and eat them together. A ritual which its sustainability is threatened due to the impact of land conversion.

Two banyan trees in the northern square are talking about memories from their lifetimes. Kiai Dewatadaru is placed to the west of the philosophical axis, on the same side as the Grand Mosque, which functions as a religious center. Meanwhile, Kiai Wijayadaru is placed to the east of the philosophical axis, on the same side as locations such as the Grand Market (Beringharjo Market), which functions as an economic center.

Mughni (26), a recent graduate, is anxious about his future and feels trapped in endless worries. To calm his mind and soul, which are full of anxiety after completing his final assignment, he initially chooses to practice yoga independently. However, not satisfied with that, in mid-July 2024, Mughni participated in a Meditation program at Vippasana Dharma Java in Bogor, West Java. Although the program is scheduled for ten days, he managed to complete only five days. After returning to Yogyakarta, he continues searching for answers and meets Pak Udrek, a puppeteer and Javanese cultural practitioner who introduces him to Tapa Brata—a traditional Javanese meditation practice. Through wayang characters' stories, depicting the characters' struggles and meditations, Mughni begins to find the inner peace he had lost and learns the deep meaning of true tranquility offered by Javanese wisdom.