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Student Voices: Why Should Communication Students Study Film Production and Visual Communication Design?

Student Voices: Why Should Communication Students Study Film Production and Visual Communication Design?

If you’re a Communication Studies student, you’re probably all too familiar with this pattern: the new semester just starts, and suddenly you’re assigned to make a short film. The next semester, it’s time to create a campaign poster or an infographic “for academic purposes.” Not to mention other demanding assignments that have to be executed as meticulously as a real-world production. Sometimes you even find yourself wondering, “Is this college or a production house?”

In the Communication Studies program at UII, this pattern is especially pronounced. Students taking media production or visual communication design courses usually end up shuttling back and forth between the campus’s Audio-Visual Laboratory and the Photography and Multimedia Lab. It’s not just about sitting in class listening to professors lecture on theory—it’s about actually holding a camera, opening editing software, and even figuring out why a single shot needs to be reshot three times.

At first, it sounds like the professors just want to keep students busy. But if you look into it, there’s a pretty solid reason why this approach was chosen, and it’s been discussed for a long time in communication theory.

Come to think of it, why do communication students have to go to the trouble of learning about visuals? One answer is that images also have their own way of conveying messages. Roland Barthes, for example, views images, colors, and symbols as elements that carry meaning and can be interpreted. Donis A. Dondis even coined a specific term for this: “visual literacy,” in his book A Primer of Visual Literacy (1973). The point is, visual literacy isn’t something people are born with—it must be cultivated. And the most effective way to develop it is through hands-on practice, not by memorizing lecture slides.

This is also what makes the learning method feel different from other courses. David Kolb (1984) proposed the theory of experiential learning: learning sticks best through a cycle of direct experience, reflection, conceptual understanding, and then applying it again. That’s why it’s not enough for professors to simply explain theories of composition or color in front of the class. Students must put it into practice right away. Students who’ve worked on assignments like this usually only truly “get it” when the professor asks why they chose a certain color or angle—and the answer “because it just looked good” turns out to be insufficient.

There’s also a practical side to it. Film production and visual design skills are genuinely useful in the professional world—from production houses and creative agencies to corporate branding teams that need campaign materials. Paul Messaris, in his book on advertising (Visual Persuasion: The Role of Images in Advertising, 1997), discusses visual rhetoric; the ability to craft persuasive visual messages is a core skill in many creative industries today. It’s no wonder that UII Communication Studies alumni working in such creative fields often say that the production assignments they completed during college are quite useful once they enter the workforce.

What I think is most important, however, is the audience. Stuart Hall (1973) proposed an encoding/decoding model: a message created by the sender (encoding) isn’t necessarily interpreted exactly the same way by the receiver (decoding). This is what makes filmmaking or design feel so different from writing a paper. A paper is only read by a professor. But a film or poster has to “connect” with an audience who may not understand your background. So students are forced to think from others’ perspectives, not just from their own perspective of what they want to create.

And yes, this is also a matter of the times. People today do grasp messages faster through visuals—films, infographics, short-form content—than by reading long texts. Contemporary media literacy studies have long discussed this. A curriculum that places greater emphasis on visual practice doesn’t mean the communication major has become “less academic”; rather, it’s a way of adapting to the reality of communication today.

So if you’re pulling an all-nighter editing a video or revising a design at 3 a.m. to meet tomorrow morning’s deadline, it’s totally okay to grumble a bit first. But somehow, that’s just part of how communication is taught: you practice first, and only later do you realize its value.

 

Written by: Ihsandi Rachman

Edited by: Meigitaria Sanita

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Preserving Disaster Memories and Local Wisdom in Srumbung-Magelang

Disaster Memories

Communities living on the slopes of Mount Merapi have their own unique ways of responding to the ever-present risk of disaster. Knowledge about disasters is not only acquired through formal education but is also shaped by experience and knowledge passed down from one generation to the next.

In a discussion on disaster mitigation education in schools, Muzayin Nazaruddin, Ph.D., a lecturer in the Communication Studies Program at UII, explained that school is not the only place where young people develop the ability to interpret nature’s warning signs. According to him, the community’s collective memory also plays a crucial role in building disaster preparedness.
Muzayin argued, “In fact, the function of social memory regarding disasters—collective memory about disasters—is one of the key functions of disaster mitigation. It’s too late if people only come to understand natural signs after a disaster has struck. The function of collective memory regarding disasters is to enable people to interpret natural signs—to recognize the signs in their surroundings—before a disaster strikes. That way, when a disaster or threat arises, community members—including young people—can take mitigating actions and anticipate what steps to take. This is common in traditional societies, where local ecological knowledge is passed down to the next generation through existing cultural channels.”

Disaster Memory: Remembering and Forgetting

Responding to the notion that memories of the trauma of the eruption are slowly fading among residents, Muzayin believes this view may be inaccurate. According to him, there are social and cultural mechanisms that allow communities to continue remembering the disaster without having to constantly live in fear.

“The claim that memories are slowly fading may be mistaken. Here’s why: after a disaster occurs, the affected community is always caught in a tension between remembering and forgetting the disaster. If people keep reliving the disaster every day, they can’t move on, right? All that remains is fear and anxiety. But if they then forget the disaster entirely, they truly become complacent.”

Furthermore, he explained that memories of the disaster can resurface at certain moments through social and cultural mechanisms.

“There may be social and cultural mechanisms through which people recall the disaster at specific moments—or, to put it in terms of memory theory, moments when memories of the disaster come to the foreground, becoming active memories, and moments when those memories recede into the background, becoming passive and not taking center stage. This balance is indeed necessary. It does not seem to be a matter of memory diminishing or fading; rather, it is a cultural mechanism that allows a society to move on and continue with their lives while still keeping that memory as a background element in their social life.”

Learning from the Surrounding Environment

In addition to drawing on community memories and experiences, disaster mitigation education can also be conducted through practical approaches. One such approach is nature exploration activities implemented by educational institutions such as PKBM.

According to Muzayin, these activities are still grounded in theory. The practice of directly experiencing the environment can help individuals build understanding through experiences that become deeply ingrained within them.

“Such practices must always be grounded in specific theories. This means that if exploring nature in the surrounding environment is a practice for disaster mitigation, there are actually underlying theories that support it—for example, the concept of ‘embodied memory,’ which refers to memories embedded within a person that are developed through social interaction with the surrounding environment, enabling people to understand the nature around them.”

He added that the use of a practical approach is part of how knowledge is conveyed to students.

“So even a practical approach must have its theoretical justification. It’s simply a matter of teaching methods. When people discuss the surrounding environment, it’s really just a matter of teaching methodology.”

Local Wisdom That Continually Evolves

Local wisdom is also part of the community’s knowledge in understanding the environment and coping with disaster risks. However, local wisdom cannot be viewed as static knowledge from the past that remains unchanged.

Muzayin emphasized that traditions always evolve with the times, and each generation has its own form of tradition. “Traditions will always change. Local ecological knowledge—or the local wisdom we often refer to—is not something static; it’s not some artifact from the past that we’ve carried into the present. No. Traditions will always change with the times. Every generation has its own traditions. So what we need to understand is how those traditions change.”

From this explanation, learning about disaster mitigation is not merely about knowing what to do when a disaster strikes. Understanding the environment, preserving collective memory, and observing how local wisdom continues to evolve are all integral parts of the community’s process in building disaster preparedness.

Alumni Ilmu Komunikasi UII Bangun Sekolah Alam di Kaki Merapi, Ajarkan Anak-Anak Mitigasi Bencana

 

Written by: Ihsandi Rachman

Edited by: Meigitaria Sanita

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From UII to the Big Screen: Sri Rahmawati Wins Golden Mahaditya at the ‘KHFF 2026’

From UII to the Big Screen: Sri Rahmawati Wins Golden Mahaditya at the 2026 Kotabaru Heritage Film Festival

Sri Rahmawati, a student in the International Program in Communication (IPC) at the Islamic University of Indonesia (UII), won the top award, the Golden Mahaditya, at the 2026 Kotabaru Heritage Film Festival (KHFF). She received this award for her documentary film titled “Niat Ingsun Ngaji.”

The film “Niat Ingsun Ngaji” was not an overnight success. Sri Rahmawati had to go through a long and complex process. For months, she conducted in-depth research, field observations, and filming before finally piecing all the material together into a complete film. The film was originally her final project for her bachelor’s degree, supervised directly by Dr. Zaki Habibi, a UII Department of Communications lecturer specializing in film studies and creative culture.

After completing the film, Sri did not immediately submit it to a festival. Instead, she first organized a screening at the Rumah Dokumenter. There, her film was screened for the first time and received positive feedback from film critics. Only then did she undergo her graduation defense. Confident in her work, Sri subsequently submitted her film to KHFF 2026, and the results were extraordinary.

Golden Mahaditya: The Highest Honor for Independent Voices

The Golden Mahaditya is the highest honor in the Mahaditya competition program. The name “Mahaditya” means “the brightest.” This program focuses on independent voices that present narratives of cultural heritage through cinema. Mahaditya embodies the spirit of democratizing perspectives, highlighting the uniqueness, freshness, and autonomy of the works.

The Kotabaru Heritage Film Festival 2026 will take place on September 17–19, 2026, at Pasar Terban & PDIN Kotabaru in Yogyakarta, with the theme “Preserving Heritage, Celebrating Imagination.”

Introducing the Film Niat Ingsun Ngaji

From UII to the Big Screen: Sri Rahmawati Wins Golden Mahaditya at the 2026 Kotabaru Heritage Film Festival

Film Niat Ingsun Ngaji

Niat Ingsun Ngaji is a documentary that chronicles the journey of social and educational transformation in Karanggedang Hamlet, a village that for years has lived on the margins of development. Driven by concern over the village community’s lack of access to education and opportunities for growth, Gus Faisal Ibnu followed in the footsteps of his father’s da’wah (religious outreach), KH. Munaji Abdul Kohar, by establishing a pesantren (Islamic boarding school) and the Sanggar Maturnuwun.

This center serves as a space for the younger generation to learn, create, and grow. Through an approach that blends education, art, spirituality, and community empowerment, the children of Karanggedang are guided to discover their full potential. From activities such as Quranic study, painting, and reading to collaborations with national artists, a transformation has emerged that is gradually reshaping the face of the village.

The stories of students like Ibnu prove that education rooted in compassion and respect for human potential can pave the way toward a better future. Amid various challenges, this documentary offers a profound reflection on the meaning of knowledge, dedication, and hope: that the highest goal of education is not merely to make people smart, but to make them wise and beneficial to their communities.

Following the screening of Niat Ingsun Ngaji at KHFF 2026, Sri Rahmawati shared a brief reflection.

“Of course, I’m grateful—it was such a joy to bring Niat Ingsun Ngaji to its audience in Yogyakarta.”

For Sri, film festivals like KHFF serve as a medium for dialogue and for weaving together encounters.

“I’ve also learned that a film’s journey doesn’t end once the film is finished. There are many stories, perspectives, and new people to encounter afterward.”

Sri Rahmawati’s achievement not only brings honor to UII but also proves that documentary works from independent voices can compete and be recognized on the film festival circuit. Niat Ingsun Ngaji is tangible proof that film can serve as a tool for social transformation and a celebration of cultural heritage.

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BookTalk: Imagined Communities ‘Kenapa Kita Merasa Jadi Warga +62?’

BookTalk: Imagined Communities ‘Kenapa Kita Merasa Jadi Warga +62?’

Merasa sefrekuensi karena hal sederhana, misalnya hashtag atau meme di Instagram. Hingga mengelompokkan diri dengan sebutan Warga +62. Ternyata ada penjelasan ilmiah soal rasa keterikatan ini. Jawabannya ada dalam buku Imagined Communities karya Benedict Anderson.

Dosen Prodi Ilmu Komunikasi, Dr. Herman Felani, menjelaskan soal konsep apa yang sebenarnya membuat kita merasa sebagai Warga +62 dan merasa menjadi satu bangsa dengan jutaan orang lainnya meski tidak pernah bertemu.

“Kamu benar-benar warga plus 62 karena kita adalah netizen terkuat atau terpaling berisik di dunia maya sana? Apa yang bikin kita menjadi powerful, menjadi bagian dari gerakan siblings plus 62, kabur aja dulu, atau apa pun itu? Apakah karena kita sama-sama mengonsumsi stiker meme yang sama?” ujar Dr. Herman membuka diskusi.

Pertanyaan ini tak sekadar basa-basi; buku Imagined Communities menjawabnya pelan-pelan. Penulisnya, Benedict Anderson, adalah tokoh scholar internasional yang juga merupakan seorang Indonesianis.

“Bahwasanya bangsa atau negara itu bukanlah satu kesatuan yang sama. Dan orang merasa sebagai sebuah bangsa karena mereka membayangkan ada ilusi bersama bahwasanya kita adalah satu kesatuan,” tambahnya.

Anderson menyebutnya imagined communities atau komunitas terbayang, bahwa bangsa bukanlah sesuatu yang given, tetapi sesuatu yang dibayangkan bersama-sama. Lantas apa yang membuat kita merasa bersatu? Salah satu faktornya adalah penggunaan bahasa yang sama dan konsumsi media yang sama.

Di masa lalu, istilah print capitalism tercatat sebagai faktor terbentuknya kesatuan. Sementara seiring perkembangan zaman beralih ke digital capitalism.

“Mungkin konsep ini sekarang perlu kita review dengan konsep digital capitalism. Di mana kita saat ini mengonsumsi konten-konten digital yang sama membuat kita seakan-akan berada dan mengalami experience yang sama,” ucapnya lagi.

Realita ini adalah pergeseran besar: kalau dulu koran dan surat kabar menjadi medium utama pembentukan komunitas terbayang, kini algoritma dan media sosial mengambil alih peran itu.

“Kesamaan-kesamaan yang muncul di algoritma itu kembali membuat orang merasa bahwasanya mereka berada di sebuah entitas, komunitas yang sama yang sebenarnya merupakan suatu ilusi berdasarkan khayalan atau imajinasi kita,” jelasnya.

Hal ini menjadi penting di era algoritma dan media sosial yang dulunya dibentuk oleh koran dan surat kabar kini beralih atau dibentuk oleh feed, hashtag, dan trending topic.

“Dengan memahami itu, kita bisa paham kenapa saat kita mengonsumsi media dan berita yang sama, kita bisa menjadi sebuah kesatuan,” tandasnya.

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Ask the Expert: Mengapa Film AI yang Terlihat Aneh Justru Menarik?

Ask the Expert: Mengapa Film AI yang Terlihat Aneh Justru Menarik?

Film AI bukan sekadar hiburan. Dosen Prodi Ilmu Komunikasi UII, Dr. Herman Felani, yang fokus pada kajian film dan nasionalisme, menjelaskan soal hyperrealism, uncanny effect, hingga desentralisasi wacana nasionalisme pada film AI.

Fenomena film yang dibuat dengan artificial intelligence (AI) menarik perhatian pengguna platform digital, salah satunya adalah film AI berjudul “Avengers Jowo” garapan AntVideograph Project yang ditonton ratusan ribu kali oleh pengguna YouTube. Tampilannya memicu rasa penasaran sekaligus keanehan. Lantas, apa yang membuat film AI menarik?

Jawabannya mengarah pada daya tarik yang mengganggu; keanehannya memicu penonton untuk terus melanjutkan menonton. Hyperrealism: tampilan film AI terasa nyata, bahkan melebihi realitas. Sementara uncanny effect menghadirkan keanehan yang mengganggu, yakni sesuatu yang terlihat “hampir benar” tapi tak sepenuhnya benar. Keduanya menjadi kombinasi yang menciptakan pengalaman menonton yang unik.

“Kalau kita lihat konteks film AI, film AI memang punya karakteristik hyperrealism. Kemudian juga ada uncanny effect. Efek-efek yang menarik dan aneh,” jelas Dr. Herman Felani.

Penonton tak sadar telah menikmati tontonan ini, sekaligus mempertanyakan realitas yang ditampilkan oleh film AI.

“Di posisi ini, saat melihat film AI orang akan mempertanyakan kembali, dalam tanda kutip mereka berpikir apakah realitas yang ditampilkan, dipresentasikan dalam film AI sesuai sama diri mereka. Ada yang perlu dinegosiasikan, mereka terima atau tolak,” tambahnya.

Yang membuat menarik tentu ada pada proses negosiasi. Penonton tidak pasif; mereka aktif menegosiasikan film AI yang mereka lihat. Keanehan menjadi magnet penarik perhatian.

“Ini justru membuat film-film AI menjadi sesuatu yang menarik. Dengan demikian, kita ada sesuatu yang aneh di sini, engagement-nya semakin meningkat,” ujarnya.

Desentralisasi Wacana: Dari Negara ke Individu

Tak sekadar keanehan yang menjadi magnet engagement, dimensi politik dari fenomena ini menarik untuk ditelisik. Pembuatan film AI menandai terjadinya pergeseran produksi wacana.

“Kalau kita lihat, pembuatan film AI sekarang ini menunjukkan bahwa telah terjadi desentralisasi wacana. Dulu film itu adalah ranah negara dan media. Bahkan zaman dulu, film harus dikontrol di Indonesia. ABRI harus turun tangan, dicek apa isinya. Film-film Hollywood juga dicek oleh Pentagon,” kata Dr. Herman Felani.

Puluhan tahun lalu, film berada di bawah pengawasan yang ketat dalam hal penyensoran. Ini dilakukan untuk memastikan narasinya sejalan dengan kepentingan negara. Wacana yang terpusat pada negara dan media besar. Sementara itu, lanskapnya telah berubah saat ini.

“Kali ini film AI menunjukkan individu-individu punya kuasa untuk menghasilkan wacana yang terdesentralisasi, bisa jadi wacana-wacana ditampilkan berbeda dengan apa yang diwujudkan, dipropagandakan oleh negara,” tambahnya.

Meski demikian, unsur nasionalisme justru lahir dari interpretasi warga biasa. Nasionalisme tak semata-mata diproduksi dengan slogan ataupun kampanye resmi. Ia tumbuh dari akar rumput, dari warga yang memiliki akses media sosial berbasis AI. Mereka menghasilkan wacana baru yang segar, liar dan tak terduga.

“Wacananya bergeser dari kekuasaan negara dan media ke individu-individu,” tandasnya.

Avengers Jowo adalah bentuk nasionalisme yang aneh, campur aduk, dan mungkin tidak resmi, tetapi justru menjadi menarik. Ekspresi kultural ini lahir dari imajinasi individu.

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ACSS Orientation 2026 Encourages New IPC Students to Build Character and Meaningful Connections

ACSS Orientation 2026 Encourages New IPC Students to Build Character and Meaningful Connections

The International Program of Communication (IPC) Universitas Islam Indonesia (UII) held the Academic Skills Study (ACSS) Orientation 2026 on Friday, 2 October, at the third-floor Auditorium of the Soekiman Wirjosandjojo Building, UII. Carrying the theme “Led the Way, Thrive Every Day: Building Character and Nurturing Connection in IPC,” the program introduced new students to academic life while encouraging them to develop personal skills, explore opportunities, and build connections within the IPC community.

The orientation was attended by new IPC students and featured speakers from different backgrounds, including Dr. rer. nat. Dian Sari Utami, S.Psi., M.A. from the Department of Psychology, Faculty of Psychology UII, Ida Nuraini Dewi Kodrat Ningsih, S.I.Kom., M.A. from the Department of Communication, Faculty of Social and Cultural Sciences UII, and Nandita Faiza, S.I.Kom., an alumna of the UII International Program of Communication.

The event began with remarks from the Head of the Department of Communication, Dr. Zaki Habibi, S.IP., M.Comms. In his opening remarks, Zaki welcomed the new students and highlighted the importance of seeing university not simply as a series of classes and assignments, but as a journey of personal development.

He explained that ACSS was designed to help students understand the bigger picture of their university journey. According to him, students would face lectures, assignments, examinations, and various academic requirements throughout their three- to four-year study period. However, seeing these activities only as repetitive obligations could make the university experience difficult to enjoy.

Instead, students were encouraged to see their undergraduate years as a “forming age,” a period in which they could shape themselves through academic and non-academic experiences.

“The one who can form it is you yourself,” Zaki said during the session. He encouraged students to explore different activities, meet new people, and use their time at university to develop a better version of themselves.

Zaki also introduced the “Studi, Kopi, Hati” concept to the students. Through a simple activity, students were asked to write their vision for the next seven years on a blue card and their biggest worries about their study journey on a yellow card. The activity encouraged students to think about both their aspirations and concerns as they began university life.

He also reminded students about their academic responsibilities, including becoming familiar with the Communication Department’s website, understanding the curriculum, managing course registration, and communicating with their academic advisors. Rather than being overwhelmed by the number of courses and credits, students were encouraged to approach their studies step by step.

Beyond academics, Zaki encouraged students to become more explorative. He used coffee as a symbol of exploration, explaining that students could bring their personal interests into their university experience. For example, hobbies such as comics, photography, traveling, or other interests could become part of students’ academic or creative projects.

For Zaki, exploration could also happen outside the classroom. He shared his own experiences of combining travel, research, and personal interests. His examples showed students that learning could take place through direct experiences, including traveling to new places, studying local issues, meeting people, and observing their surroundings.

The first session then continued with Dr. Dian Sari Utami, who discussed the psychological and personal challenges students may face when entering university. She highlighted several changes that distinguish university life from high school, including greater independence, increased responsibility, academic complexity, social diversity, time and energy management, decision-making, and relationship building.

Dian emphasized that university students need to take responsibility for their own decisions and actions. She also encouraged students to embrace differences in cultural backgrounds, values, languages, beliefs, communication styles, and perspectives.

ACSS Orientation 2026 Encourages New IPC Students to Build Character and Meaningful Connections

ACSS Orientation 2026 Encourages New IPC Students to Build Character and Meaningful Connections

One of the important skills discussed during the session was psychological resilience. Dian compared resilience to a tennis ball. When a tennis ball is thrown, it can bounce back rather than break. Similarly, students need to develop the ability to recover when facing challenges, setbacks, stressful situations, or unexpected changes.

She also discussed the importance of supportive relationships and effective coping strategies. Students were encouraged to identify people and activities that could provide healthy support when they experienced stress. In addition, Dian introduced adaptive thinking, self-regulation, intercultural openness, communication skills, and a global mindset as important abilities for university students.

The second session was delivered by Ida Nuraini Dewi Kodrat Ningsih. She encouraged students to build their university journey around five main ideas: head, heart, habit, human, and hustle smart.

Ida reminded students not to simply follow the achievements or popularity of other students. Instead, they were encouraged to understand their own goals and ask what they could contribute as IPC students.

She emphasized the importance of asking, “What can I do as an IPC student?” rather than continuously asking what IPC could provide for them. According to Ida, students should take an active role in their university experience by contributing, participating, and creating opportunities for themselves.

The session also encouraged students to understand their personal “why.” After identifying what they want to become, students were asked to consider why they wanted to achieve those goals. Understanding this reason, Ida explained, could help students identify the effort and steps needed to achieve their aspirations.

Building networks was another important point. Students were encouraged to connect with lecturers, seniors, classmates, and members of the wider IPC community. These relationships could become valuable networks for future academic, professional, and personal opportunities.

Finally, Ida introduced the idea of “hustle smart,” which focused on making progress through small but consistent actions rather than expecting an immediate transformation. Students were encouraged to understand their own abilities, build positive relationships, maintain discipline, and gradually develop themselves.

Through ACSS Orientation 2026, new IPC students were introduced not only to academic requirements but also to the broader experience of becoming university students. The sessions encouraged them to develop resilience, independence, communication skills, global awareness, personal vision, and meaningful relationships.

As they begin their journey at UII, the students were reminded that university is more than completing courses and earning a degree. It is also a period of exploration, contribution, and personal formation where students have the opportunity to decide what kind of person they want to become. 

Written by: Muhammad Prima Sakti Fathurrahman

Edited by: Meigitaria Sanita

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Ask the Expert: “The Environment Doesn’t Need Humans” An Important Mindset to Understand

Ask the Expert: “The Environment Doesn’t Need Humans” An Important Mindset to Understand

During this valuable opportunity at P2A 2026, we had the chance to conduct an exclusive interview with Billy, a former biologist and scientist at Trang Marine National Park in Thailand. He reminded us of the environmental crisis we are currently facing and highlighted the role of the younger generation, who will shape the future of civilization.

Billy revealed a fundamental misconception: that the Earth does not exist to serve humans. Quite the opposite, in fact.

“The environment doesn’t really need humans, but we need the environment to benefit us. So you need to understand what you’re using and how you’re living,” he said.

From a scientific perspective, the environment does not need humans. The Earth will continue to exist, evolve, and adapt with or without humans. Meanwhile, humans need the environment to survive.

Therefore, humans need to understand the most basic mindset regarding what we use and how we live. The energy generated by the environment through various technologies is a chain of invisible consequences. Have we ever thought about how much emissions we produce?

Billy noted that such awareness is still far off; currently, humans live in an era where society uses everything as single-use items.

“We’ve been in a throwaway society. Everything comes easily with money and then disappears just as easily—but where does it all end up? In the soil, in the water,” he added.

For example, with single-use plastics, everything is produced, consumed, and then forgotten in a very short time. But the critical question is: where does it all go? The answer lies in the soil. In the water. The plastic waste we discard doesn’t just disappear; it breaks down into microplastics—tiny particles invisible to the naked eye but scattered everywhere.

“And then it becomes microplastics or waste. Over time, it will come back to you or the next generation in the form of disease. So not many people actually realize that we’ve had—or now know we have—microplastics in our bodies from water or from soil that we’ve contaminated,” he said.

Sadly, people aren’t aware of this—microplastics are already present in our bodies. They enter through drinking water, food, and soil contaminated by humans themselves. Billy emphasized that this isn’t just a prediction, but a reality we’re currently facing.

So, can the younger generation find a solution or improve this situation? Billy acknowledged that the challenges facing the younger generation are greater than those faced by previous generations.

“The younger generation faces greater health challenges than previous generations. Take what they call the climate shift we’re experiencing now—global warming, unusual rainfall, off-season weather, and so on. There’s a lot happening. So instead of just going out dancing or doing things you shouldn’t, you should be mindful of your surroundings and your interaction with the environment,” he stressed.

So, what can the younger generation do in this digital age?

“In the digital age, what can the younger generation do? First of all, don’t be ignorant. You need to learn, know, and understand—and then realize that everything has consequences. Every action we take will affect us in some way. That’s my perspective. And how can they help? It’s entirely up to each and every one of you—what you choose will ultimately come back to you. Good way, bad way, or somewhere in between—you know, it could benefit us or harm us. It’s right in the middle, isn’t it?”

Ultimately, the scientist’s message is not one of despair. He isn’t saying it’s already too late. He’s simply reminding us—especially the younger generation—that we’re at a crossroads. Every choice we make, every habit we maintain, every awareness we cultivate, will determine what kind of future we leave behind. The environment doesn’t need us, but we need the environment. And as the scientist concluded with a reflective question: “It’s quite in the middle, isn’t it?”—everything is still in the middle, uncertain, and that is precisely why our choices today are so meaningful.

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Kisah Ramadiansyah Putra Alumni Ilmu Komunikasi UII ‘Content Creator Sport77 di Piala Dunia 2026’

Kisah Ramadiansyah Putra Alumni Ilmu Komunikasi UII ‘Content Creator Sport77 di Piala Dunia 2026’

Nama Ramadiansyah Putra mungkin tidak asing lagi di industri konten olahraga tanah air. Ia kini dipercaya sebagai Content Creator di Sport77, dan baru saja menyelesaikan salah satu tugas terbesar dalam kariernya: meliput langsung Piala Dunia 2026 di Amerika Serikat. Sebagai informasi, Rama adalah alumni Ilmu Komunikasi UII angkatan 2013.

Dalam wawancara eksklusif, Rama menceritakan pengalamannya, tanggung jawab, hingga tips menembus FYP yang ia praktikkan selama satu setengah bulan menggarap konten Piala Dunia 2026.

Perjalanan Rama ke Piala Dunia 2026 bukanlah hal yang instan. Konsep konten yang ia dan timnya bawakan sudah dipersiapkan jauh-jauh hari, bahkan sejak satu tahun sebelum event berlangsung. Persiapan matang ini menjadi fondasi utama mengapa produksi konten mereka bisa berjalan lancar meskipun dengan segala keterbatasan yang ada.

“Konsep konten sudah lama dari satu tahun lalu dibuat series dari pre piala dunia. Bikinnya bareng-bareng, tapi mostly aku sebagai lead creative otomatis ditunjuk ke sana untuk bertanggung jawab penuh pada 40 konten social media dan IRL live,” ungkap Rama.

Kisah Ramadiansyah Putra Alumni Ilmu Komunikasi UII ‘Content Creator Sport77 di Piala Dunia 2026’

Selama kurang lebih satu setengah bulan, Rama dan tim menjalani live streaming IRL (In Real Life) dengan durasi mencapai 6 jam dalam satu kali siaran. Mereka meliput langsung tiga pertandingan fase grup yang berlangsung di stadion antara lain Brazil vs Maroko, belanda vs Jepang, dan Prancis vs Senegal.

“Produksinya aman, untuk membagi waktunya saja yang menantang karena kita terbatas. Untungnya di US waktu maghrib agak lama, jadi IRL Live selesai lanjut produksi untuk sosial media,” ceritanya.

Ditanya mengapa ia yang terpilih, Rama menjawab dengan rendah hati namun tegas. “Kenapa aku terpilih karena kebetulan aku adalah Creative dan Social Media Manager. Aku di kreatif-nya akhirnya diputuskan aku dan tim,” ujarnya.

Peran Rama di Piala Dunia 2026 sangatlah kompleks. Ia tidak hanya bertanggung jawab sebagai lead creative, tetapi juga sebagai produser IRL live yang harus berkoordinasi langsung dengan tim di Indonesia. Selain itu, ia harus memastikan 40 konten social media terselesaikan dengan baik sebelum kembali ke tanah air.

Salah satu tantangan terbesar adalah ketatnya aturan brand dan media. Rama harus memastikan tidak ada brand lain yang masuk ke dalam tayangan.

“Agak tricky karena kita membawa brand dan media, apalagi Piala dunia soal brand yang masuk ke tayangan. Aku sebagai campers di sana misal jalan ke titik A, kita harus lihat di sana ada brand apa saja. Kalau bisa kameranya harus diarahkan ke non-brand,” paparnya.

Meski demikian, prosesnya berjalan lancar berkat kerja sama tim yang solid, termasuk dengan host dan studio. Koordinasi yang baik antara tim di Amerika Serikat dan tim di Indonesia menjadi kunci keberhasilan produksi konten mereka.

Selama di New York, Rama dan tim berhasil menciptakan salah satu konten yang viral di kalangan fans Indonesia. Konten tersebut adalah wawancara dengan warga lokal New York yang mengatakan, “Aku tahu Indonesia, tapi yang jelas Indonesia tidak masuk Piala Dunia.”

“Viral di fans Indonesia karena kayak sarkas,” kenang Rama sambil tersenyum.

Dari pengalaman tersebut, Rama membagikan tips untuk membuat konten yang berpotensi FYP, khususnya di industri sepak bola.

“Sosmed main di momentum. Kalau bola, beda dengan entertain. Trend apa bisa diadaptasi, tapi kalau untuk bola tidak bisa kayak gitu. Kita harus lihat momentum. Misalnya malam ini pertandingan MU vs Chelsea, kita tahu MU adalah bulan-bulanan masa yang sering diejek. Begitu MU kalah atau menang, kita langsung create konten roasting, itu pasti engagement-nya ramai,” jelasnya.

Kisah Ramadiansyah Putra Alumni Ilmu Komunikasi UII ‘Content Creator Sport77 di Piala Dunia 2026’

Rama juga menekankan pentingnya memahami apa yang diinginkan oleh fans bola. “Kalau untuk ngejar traffic-nya di industri media bola olahraga, kayak gitu sama konten yang memang sudah diinginkan sama fans bola. Contohnya interview pemain, rapid question ke pemain, biasanya yang diminati oleh fans bola,” ujarnya.

Sebagai alumni Ilmu Komunikasi dengan konsentrasi Public Relations, Rama mengakui bahwa ilmu yang ia dapatkan di bangku kuliah sangat berperan dalam kariernya saat ini.

“Aku konsentrasi Public Relations. Aku dapat ilmu selain dari kelas, aku dapat kesempatan di event. Aku dekat dengan anak Kompor, aku tahu teknik pengambilan gambar, konten planning dari Kampung Komunikasi,” kenangnya.

Di akhir wawancara, Rama memberikan pesan inspiratif bagi mahasiswa Ilmu Komunikasi yang ingin mengikuti jejaknya.

“Mulai, karena sekarang sosial media bisa dimanfaatkan semaksimal mungkin kalau dia mau jadi creator atau cari uang segala macam, asal mau mulai. Karena aku juga mulai dari followers nol di Sport77. Itu harus trial and error. Setiap orang punya unique masing-masing, jadi coba aja dulu,” pesannya.

Rama juga menekankan pentingnya memiliki portofolio di luar akademik. “Setidaknya di luar akademik, kalian bisa meng-create sesuatu, entah apapun itu. Manfaatkan sosial media. Anak komunikasi harus melek sosial media, karena pada akhirnya nanti, kecuali kalian jadi akademisi ya nilai akademik harus dikejar. Kalau mau jadi praktisi, mulai aja dulu dari mahasiswa. Buat aja dulu, entah video, suka film bikin film, suka motret ya bikin. Pada akhirnya di dunia kerja itu yang kepake, sama skill organisasi, kerja sama segala macam,” tutupnya.

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Alumni Ilmu Komunikasi UII Bangun Sekolah Alam di Kaki Merapi, Ajarkan Anak-Anak Mitigasi Bencana

Alumni Ilmu Komunikasi UII Bangun Sekolah Alam di Kaki Merapi, Ajarkan Anak-Anak Mitigasi Bencana

Sulistiyawati, alumni Ilmu Komunikasi UII angkatan 2006 memilih kerja-kerja pengabdian melalui pendidikan. Ia mendirikan PKBM Inside Out School di kaki Merapi. Di sebagian ruang lapang rumahnya anak-anak belajar membaca tanda alam sebagai bekal mitigasi bencana tanpa harus dibayangi trauma.

Setiap minggu, anak-anak PKBM Inside Out School bersiap main ke kali. Tapi sebelum berangkat, mereka melihat ke atas, ke arah awan di atas Merapi. Mendung? Berarti tidak jadi ke kali. Hujan di puncak berarti banjir di hilir. Ini bukan pelajaran geografi, melainkan kebiasaan sehari-hari.

Pengetahuan tentang tanda-tanda alam tak sekadar warisan budaya, namun alat bertahan hidup. lantas, bagaimana pengetahuan itu diwariskan ke generasi berikutnya tanpa menanamkan trauma?

Muzayin Nazarudin, Ph.D. dosen Ilmu Komunikasi UII yang meneliti memori sosial bencana, menjelaskan bahwa masyarakat yang terdampak bencana selalu berada dalam ketegangan. “Kalau tiap hari orang mengingat bencana terus, kita tidak bisa move on. Tapi kalau melupakan sepenuhnya, orang jadi abai,” ujarnya.

Melupakan, menurutnya, bukan berarti kehilangan memori. “Bisa jadi ada mekanisme kultural di mana ingatan bencana menjadi background tidak muncul di depan, tapi tetap ada.” Ia mencontohkan, “Masa setelah 10 tahun orang setiap hari ingat erupsi terus? Kasihan, mereka teringat trauma, pengungsian, lari dari erupsi.”

Di sinilah sekolah mengambil peran. Sulistiyawati, founder PKBM Insideout School menyadari bahwa pendidikan mitigasi tidak bisa dilakukan dengan menakut-nakuti.

“Kami sengaja tidak memberikan gambaran itu karena terlalu mengerikan untuk anak-anak,” ujarnya.

“Yang kami lakukan adalah mengajak mereka jalan-jalan bersenang-senang di alam, mencintai alam, berdekatan dengan Merapi. Kalau Meletus, kita menyingkir dulu mereka tahu sebatas itu,” tambahnya.

Pendekatan sekolah ini unik, mereka tidak selalu mengandalkan guru formal. “Kami ajak ke warga sekitar yang sudah sepuh. Nanti mereka belajar dikasih tahu sama sesepuh-sesepuh itu,” kata Sulistiyawati.

“Jadi mereka tahu, oh ilmu itu juga diajarkan oleh simbah-simbah warga biasa yang bukan guru. Ternyata pengetahuan bisa didapatkan dari siapa saja,” jelas Sulistiyawati.

Warga sepuh bercerita tentang erupsi masa lalu bagaimana hewan seperti kijang dan srigala turun gunung sebelum bencana. “Kalau ada kayak gitu, berarti cuaca di sana memang tidak seperti biasanya,” tambahnya.

Praktik semacam ini justru memperkuat pewarisan pengetahuan. “Sekolah hanya menjadi salah satu jalur dari model pewarisan ekologi lokal. Kearifan ekologis lokal membaca tanda-tanda alam sudah ada di masyarakat, sekolah kemudian menggunakan itu sebagai kurikulum,” jelas Muzayin Nazarudin, Ph.D.

Baginya, yang terpenting adalah transmisi pengetahuan itu terjadi sebelum bencana datang. “Terlambat kalau mengalami bencana itu sendiri,” tegasnya.

Dosen Ilmu Komunikasi UII tersebut juga menegaskan bahwa praktik semacam ini punya landasan teoretik. “Penjelajahan alam sebagai taktik mitigasi bencana didasari teori embedded memory, memori yang menubuh ke dalam diri seseorang melalui sosialisasi dengan lingkungan,” tambahnya.

Anak-anak tidak hanya tahu secara kognitif, tapi merasakan dan mempraktikkannya. Pengetahuan itu tidak dipelajari sekali lalu hilang, melainkan tumbuh melalui pengulangan, cerita, dan interaksi dengan alam serta orang-orang di sekitarnya.

Tidak semua anak datang dari lingkungan sekitar Merapi. “Ada anak yang rumahnya agak jauh. Mereka harus ekstra dikasih tahu agar notice bahwa kita ada di kaki Merapi,” tambah Sulistiyawati.

Sulistiyawati dan timnya mengakui masih terus belajar tentang edukasi yang tepat. “Kami masih mempelajari literatur tentang efek edukasi yang lebih tepat kepada anak-anak tanpa membuat mereka trauma,” ucapnya.

Muzayin menambahkan bahwa tradisi selalu berubah. Kearifan lokal bukan sesuatu yang statis, bukan artefak masa lampau. Tiap generasi punya tradisinya sendiri.

Ia menegaskan bahwa sekolah hanyalah salah satu jalur pewarisan bukan satu-satunya. “Tradisi itu akan selalu berubah seiring zaman. Tiap generasi punya tradisinya yang perlu kita baca bagaimana tradisi itu berubah,” tandasnya.

Di balik ancaman, Merapi juga memberi berkah. “Tanah kita jadi subur karena berkat Merapi,” kata Sulistiyawati.

Ia berharap ada sinergi dengan instansi lain. “Banyak instansi yang bisa diajak kerja sama untuk mengedukasi anak-anak. Kalau bisa bersinergi, bagus banget, dijadikan proyek bersama,” harapnya.

Anak-anak PKBM Inside Out School mungkin belum sepenuhnya memahami risiko Merapi. Tapi mereka belajar satu hal penting hidup berdampingan dengan alam, membaca tandanya, dan tetap bergembira.

Fungsi memori kolektif tentang bencana adalah bagaimana membaca tanda-tanda alam sebelum bencana terjadi, sehingga ketika ancaman datang, warga bisa memitigasi dan mengantisipasi. Itu biasa terjadi di masyarakat tradisional, dan sekolah menjadi salah satu jalur warisan kearifan ekologis tersebut.

Di kaki Merapi, mitigasi bukan tentang ketakutan tapi tentang cinta pada alam yang mengajarkan kewaspadaan. Dan pendidikan mitigasi yang paling kuat bukanlah yang menakut-nakuti, melainkan yang menubuh dipraktikkan setiap hari, diwariskan dari generasi ke generasi, dan dijaga tetap hidup di tengah perubahan zaman.

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PERUBAHAN DOSEN PEMBIMBING TUGAS AKHIR PROGRAM STUDI ILMU KOMUNIKASI

Pengumuman

Sehubungan dengan adanya penataan kembali alokasi pembimbingan tugas akhir serta optimalisasi layanan akademik di lingkungan Program Studi Ilmu Komunikasi Fakultas Ilmu Sosial dan Budaya, bersama ini kami sampaikan penyesuaian dan pengalihan Dosen Pembimbing Tugas Akhir bagi mahasiswa bimbingan Bapak Anggi Arif Fudin Setiadi, S.I.Kom., M.I.Kom. kepada Dosen Pembimbing Tugas akhir yang baru. Adapun daftar pembagian mahasiswa dan DPS yang baru adalah sebagai berikut:

325. Surat Edaran Perubahan Dosen Pembimbing Tugas Akhir Anggi Arif Fudin Setiadi, S.I.Kom., M.I.Kom.