by Bobby Steven Octavianus Timmerman. Joged Amerta and Ragawidya share a common philosophical foundation, both exploring embodiment (kebertubuhan) as a pathway to the Divine.

by Theresia Alit. Beyond responding to space and surroundings, a dancer practicing Joget Amerta must also become aware of and liberate the body from all forms of attachment. With its fluid, unstructured movements, Joget Amerta emphasizes the process over the outcome—its value is not measured by the number of spectators. Ultimately, it manifests as living awareness in motion, guiding practitioners to rediscover themselves and cultivate sensitivity. 

by Sephia Putri Fatima. Throughout his life, Mbah Prapto worked with students and colleagues from all walks of life, including renowned artists, performers, practitioners, and internationally recognized teachers—whom he simply regarded as "friends." He encouraged these "friends" to share and spread their understanding of his work.

by Diane Butler. This brief essay stems from the idea that one of Prapto’s processes since the early-1970s was to discuss about his movement concepts, to peel ideas, and then try to ‘under stand’ via the experience of movement practice. Not for grasping onto an identity or category of work; rather for ‘re-cognizing’ that one’s understanding and awareness of movement arts and life will always be changing according to the environment and journey of time.