Saturday, November 12, 2011
Mewujudkan masyarakat inklusi untuk kecerahan masa depan anak-anak disabilitas
Perdulikah anda dengan mereka yang memiliki disabilitas?
Hal itu merupakan sebuah pertanyaan yang sederhana namun sulit untuk mendapatkan jawaban yang memihak pada mereka yang memiliki disabilitas. Mereka merupakan digolongkan sebagai kaum yang tersisih. bahkan hanya mendapat pandangan mata sebelah dari orang - orang yang semestinya mampu membantu mereka.
Apakah anda pernah memberikan kesempatan kepada mereka yang memiliki disabilitas layaknya orang yang diberikan kelengkapan?
Tentulah tidak, padahal bagaimanapun juga mereka merupakan bagian dari masyarakat yang seharusnya tidak disisihkan. Mereka seharusnya memiliki kesempatan yang sama dengan yang lainnya. Dan mereka memiliki potensi yang sama untuk mampu berkembang, berkarya dan berdaya guna. http://www.kartunet.com/ Inilah bukti bahwa mereka bisa berkarya dengan luar biasa dahsyat !
Hal itu merupakan sebuah pertanyaan yang sederhana namun sulit untuk mendapatkan jawaban yang memihak pada mereka yang memiliki disabilitas. Mereka merupakan digolongkan sebagai kaum yang tersisih. bahkan hanya mendapat pandangan mata sebelah dari orang - orang yang semestinya mampu membantu mereka.
Apakah anda pernah memberikan kesempatan kepada mereka yang memiliki disabilitas layaknya orang yang diberikan kelengkapan?
Tentulah tidak, padahal bagaimanapun juga mereka merupakan bagian dari masyarakat yang seharusnya tidak disisihkan. Mereka seharusnya memiliki kesempatan yang sama dengan yang lainnya. Dan mereka memiliki potensi yang sama untuk mampu berkembang, berkarya dan berdaya guna. http://www.kartunet.com/ Inilah bukti bahwa mereka bisa berkarya dengan luar biasa dahsyat !
Wednesday, September 15, 2010
A Good Story
Prophet Moses is the only Prophet who can speak directly to God Almighty every time he wanted to bermunajat, Moses going up to Mount Tursina. On top of that hill she spoke with frequently asked Allah. Prophet Moses and God will answer at that time also. This excess is not present in the other prophets.
One day the Prophet Moses had asked God. "Oh God, who is people in heaven who will be next door to me?". God answered by saying that person's name, village and place of residence. Setelah mendapat jawapan, After getting the answer, Moses descended from Mount Tursina and kept walking follow the notified place. After a few days in the journey finally came to the Prophet Moses also intended to place.
With the help of some residents there, he met with that person. After greeting him were admitted and seated in the living room. The host did not bring out the Prophet Moses. He went into the booth and doing something on the inside. A moment later he came out, carrying a large sow. Pig carefully supervision. Prophet Moses was surprised to see it. "What's this?, Moses said in his heart whispered in amazement.
Pigs were cleaned and washed well. After the pigs were wiped dry and then kiss cuddle into dihantar original booth. Not long after he came out once again with a male pig is also greater. Pigs were also washed and cleaned. Then wipe it dry and hugged and kissed affectionately. Pigs were then beginning to dihantar booth.
Finish work he did bring out the Prophet Moses. "O brothers! What religion are you?". "I'm religion of Tawheed", replied the young man that is the religion of Islam. "But, why do you keep pigs? We can not do that." Kata Nabi Musa. Moses said.
"O master servant", said the boy. "Actually the pig is the mother and biological father. By because they've done a great sin, God has changed their way into an ugly pig apparently. Problem of their sins by God is another matter. It's to do with God. I continue to perform as a chil. The days I devote to both the mother-father who I saw this gentleman. Although they have a way menajadi pig, I still do my job. ", he added.
"Every day I pray to God to them forgiven. I prayed that God may reinstate a way as mother and my father became a man again, but God still hears me." Added the young man again.
So when it also lowered the revelation of God to the Prophet Moses' O Moses, this man who lived next door to you will be in jannat, the result of very high devotion kepasa his parents. Mother-father who was bad with too much pork he remains devoted, too. By that we raise as a child the maqam is we pious side. "
God also said again that meant: "Because he has been at the Station of the pious child Our side, so we adopted her prayers. Place his parents that we provide in the hell have we moved to Paradise." That's thanks sholeh children. Prayer sholeh children can redeem their parents who will go to hell moved to heaven.
If bad-tempered second mother of our fathers is not our business (naudzubillah), it was not our business, our business is to keep them lovingly as they keep us in childhood to adulthood. Although many sins once they do, it is not our business, our business is to ask forgiveness of Allah so that both mother-father God Almighty we are forgiven children sholeh prayer will help his parents get a good place in the afterlife, this is the long-awaited by the mother-father in the grave.
Meaning of love a child to the mother and father rather than through a cesspool just enough property for their lives, but unfortunately a child to his parents that his prayers are also with his parents received the best place in the side of God, and God's love is returned given to children with a better love.
Tuesday, September 14, 2010
55 Interesting Facts about Racism In Malaysia
(1) Out of all the 5 major banks, only one bank is multi-racial, the rest are controlled by malays
(2) 99% of Petronas directors are malays
(3) 3% of Petronas employees are Chinese
(4) 99% of 2000 Petronas gasoline stations are owned by malays
(5) 100% all contractors working under Petronas projects must be bumis status
(6) 0% of non-malay staffs is legally required in malay companies. But there must be 30% malay staffs in Chinese companies.
(7) 5% of all new intake for government police, nurses, army, is non-malays.
(8) 2% is the present Chinese staff in Royal Malaysian Air Force (RMAF), drop from 40% in 1960
(9) 2% is the percentage of non-malay government servants in Putrajaya. But malays make up 98%
(10) 7% is the percentage of Chinese government servants in the whole government (in 2004), drop from 30% in 1960
(11) 95% of government contracts are given to malays
(12) 100% all business licensees are controlled by malay government e.g. Taxi permits, Approved permits, etc
(13) 80% of the Chinese rice millers in Kedah had to be sold to malay controlled Bernas in 1980s. Otherwise, life is make difficult for Chinese rice millers
(14) 100 big companies set up, owned and managed by Chinese Malaysians were taken over by government, and later managed by malays since 1970s e.g. UTC, UMBC, MISC, etc
(15) At least 10 Chinese owned bus companies (throughout Malaysia, throughout 40 years) had to be sold to MARA or other malay transport companies due to rejection by malay authority to Chinese application for bus routes and rejection for their application for new buses
(16) 2 Chinese taxi drivers were barred from driving in Johor Larkin bus station. There are about 30 taxi drivers and 3 are Chinese in October 2004. Spoiling taxi club properties was the reason given
(17) 0 non-malays are allowed to get shop lots in the new Muar bus station (November 2004)
(18) 8000 billions ringgit is the total amount the government channeled to malay pockets through ASB, ASN, MARA, privatisation of government agencies, Tabung Haji etc, through NEP over 34 years period
(19) 48 Chinese primary schools closed down since 1968 - 2000
(20) 144 Indian primary schools closed down since 1968 - 2000
(21) 2637 malay primary schools built since 1968 - 2000
(22) 2.5% is government budget for Chinese primary schools. Indian schools got only 1%, malay schools got 96.5%
(23) While a Chinese parent with RM1000 salary (monthly) cannot get school-text-book-loan, a malay parent with RM2000 salary is eligible
(24) 10 all public universities vice chancellors are malays
(25) 5% - the government universities lecturers of non-malay origins had been reduced from about 70% in 1965 to only 5% in 2004
(26) Only 5% is given to non-malays for government scholarships over 40 years
(27) 0 Chinese or Indians were sent to Japan and Korea under "Look East Policy"
(28) 128 STPM Chinese top students could not get into the course that they aspired i.e. Medicine (in 2004)
(29) 10% place for non-bumi students for MARA science schools beginning from year 2003, but only 7% are filled. Before that it was 100% malays
(30) 50 cases whereby Chinese and Indian Malaysians, are beaten up in the National Service program in 2003
(31) 25% is Malaysian Chinese population in 2004, drop from 45% in 1957
(32) 7% is the present Malaysian Indians population (2004), a drop from 12% in 1957
(33) 2 millions Chinese Malaysians had emigrated to overseas since 40 years ago
(34) 0.5 million Indian Malaysians had emigrated to overseas
(35) 3 millions Indonesians had migrated into Malaysia and became Malaysian citizens with bumis status.
(36) 600000 are the Chinese and Indians Malaysians with red IC and were rejected repeatedly when applying for citizenship for 40 years. Perhaps 60% of them had already passed away due to old age. This shows racism of how easily Indonesians got their citizenships compare with the Chinese and Indians
(37) 5% - 15% discount for a malay to buy a house, regardless whether the malay is rich or poor
(38) 2% is what Chinese new villages get compare with 98% of what malay villages got for rural development budget
(39) 50 road names (at least) had been change from Chinese names to other names
(40) 1 Dewan Gan Boon Leong (in Malacca) was altered to other name (e.g. Dewan Serbaguna or sort) when it was being officially used for a few days. Government try to shun Chinese names. This racism happened in around year 2000 or sort
(41) 0 temples/churches were built for each housing estate. But every housing estate got at least one mosque/surau built
(42) 3000 mosques/surau were built in all housing estates throughout Malaysia since 1970. No temples, no churches are required to be built in housing estates
(43) 1 Catholic church in Shah Alam took 20 years to apply to be constructed. But told by malay authority that it must look like a factory and not look like a church. Still not yet approved in 2004
(44) 1 publishing of Bible in Iban language banned (in 2002)
(45) 0 of the government TV stations (RTM1, RTM2, TV3) are directors of non-malay origins
(46) 30 government produced TV dramas and films always showed that the bad guys had Chinese face, and the good guys had malay face. You can check it out since 1970s. Recent years, this tendency becomes less
(47) 10 times, at least, malays (especially Umno) had threatened to massacre the Chinese Malaysians using May 13 since 1969
(48) 20 constituencies won by DAP would not get funds from the government to develop. Or these Chinese majority constituencies would be the last to be developed
(49) 100 constituencies (parliaments and states) had been racistly re-delineated so Chinese voters were diluted that Chinese candidates, particularly DAP candidates lost in election since 1970s
(50) Only 3 out of 12 human rights items are ratified by Malaysia government since 1960
(51) 0 - elimination of all forms of racial discrimination (UN Human Rights) is not ratified by Malaysia government since 1960s
(52) 20 reported cases whereby malay ambulance attendances treated Chinese patients inhumanely, and malay government hospital staffs purposely delay attending to Chinese patients in 2003. Unreported cases may be 200
(53) 50 cases each year whereby Chinese, especially Chinese youths being beaten up by malay youths in public places. We may check at police reports provided the police took the report, otherwise there will be no record
(54) 20 cases every year whereby Chinese drivers who accidentally knocked down malays were seriously assaulted or killed by malays
(55) 12% is what ASB/ASN got per annum while banks fixed deposit is only about 3.5% per annum.
Source : Twiart.Blogspot.Com / Infoshop.org
UNESCO designated Wayang Kulit as a Masterpiece of Oral and Intangible Heritage of Humanity of Indonesia culture on 7 November 2003
Wayang is an Indonesian word for theatre (literally "shadow").[1] When the term is used to refer to kinds of puppet theater, sometimes the puppet itself is referred to as wayang. Performances of shadow puppet theater are accompanied by gamelan in Java, and by "gender wayang" in Bali.
UNESCO designated Wayang Kulit, a shadow puppet theater and the best known of the Indonesian wayang, as a Masterpiece of Oral and Intangible Heritage of Humanity on 7 November 2003. In return of the acknowledgment, UNESCO demanded Indonesia to preserve their heritage.
Wayang is a generic term denoting traditional theatre in Indonesia. There is no evidence that wayang existed before Hinduism came to Southeast Asia sometime in the first century CE brought in by Indian traders. However, there very well may have been indigenous storytelling traditions that had a profound impact on the development of the traditional puppet theatre. The first record of a wayang performance is from an inscription dated 930 CE which says "si Galigi mawayang," or "Sir Galigi played wayang". From that time till today it seems certain features of traditional puppet theatre have remained. Galigi was an itinerant performer who was requested to perform for a special royal occasion. At that event he performed a story about the hero Bhima from the Mahabharata
Wayang Kulit is a unique form of theatre employing light and shadow. The puppets are crafted from buffalo hide and mounted on bamboo sticks. When held up behind a piece of white cloth, with an electric bulb or an oil lamp as the light source, shadows are cast on the screen.
Wayang Kulit plays are invariably based on romantic tales, especially adaptations of the classic Indian epics, "The Mahabarata" and "The Ramayana". Some of the plays are also based on local happenings (current issues) or other local secular stories. It is up to the conductor or "Tok Dalang" to decide his direction.
A Dalang performing Wayang Kulit in Java, circa 1890.
The Dalang is the genius behind the entire performance. It is he who sits behind the screen and narrates the story. With a traditional orchestra in the background to provide a resonant melody and its conventional rhythm, the Dalang modulates his voice to create suspense thus heightening the drama. Invariably, the play climaxes with the triumph of good over evil.
Hinduism arrived in Indonesia from India even before the Christian era, and was slowly adopted as the local belief system. Sanskrit became the literary and court language of Java and later of Bali. The Hindus changed the Wayang (as did the Muslims, later) to spread their religion, mostly by stories from the Mahabharata or the Ramayana. Later this mixture of religion and wayang play was praised as harmony between Hinduism and traditional Indonesian culture. On Java, the western part of Sumatra and some smaller islands traditionalists continued to play the old stories for some time, but the influence of Hinduism prevailed and the traditional stories either fell into oblivion or were integrated into the Hinduistic plays.
The figures of the wayang are also present in the paintings of that time, for example, the roof murals of the courtroom in Klungkung, Bali. They are still present in traditional Balinese painting today.
When Islam began spreading in Indonesia, the display of God or gods in human form was prohibited, and thus this style of painting and shadow play was suppressed. King Raden Patah of Demak, Java, wanted to see the wayang in its traditional form, but failed to obtain permission from the Muslim religious leaders. As an alternative, the religious leaders converted the wayang golek into wayang purwa made from leather, and displayed only the shadow instead of the figures itself.[citation needed] Instead of the forbidden figures only their shadow picture was displayed, the birth of the wayang kulit.[citation needed]
The figures are painted, flat woodcarvings (a maximum of 5 to 15 mm thick -- barely half an inch) with movable arms. The head is solidly attached to the body. Wayang klitik can be used to perform puppet plays either during the day or at night. This type of wayang is relatively rare.
Wayang today is both the most ancient and most popular form of puppet theatre in the world. Hundreds of people will stay up all night long to watch the superstar performers, dalang, who command extravagant fees and are international celebrities. Some of the most famous dalang in recent history are Ki Nartosabdho, Ki Anom Suroto, Ki Asep Sunarya, Ki Sugino, and Ki Manteb Sudarsono.
[edit] Wayang kulit
Wayang Kulit (shadow puppet) in Wayang Purwa type, depicting five Pandava, from left to right: Bhima, Arjuna, Yudhishtira, Nakula, and Sahadeva, Indonesia Museum, Jakarta.
Wayang kulit, shadow puppets prevalent in Java and Bali in Indonesia, are without a doubt the best known of the Indonesian wayang. Kulit means skin, and refers to the leather construction of the puppets that are carefully chiseled with very fine tools and supported with carefully shaped buffalo horn handles and control rods.
The stories are usually drawn from the Ramayana, the Mahabharata or the Serat Menak.
There is a family of characters in Javanese wayang called Punakawan; they are sometimes referred to as "clown-servants" because they normally are associated with the story's hero, and provide humorous and philosophical interludes. Semar is the father of Gareng (oldest son), Petruk, and Bagong (youngest son). These characters did not originate in the Hindu epics, but were added later, possibly to introduce mystical aspects of Islam into the Hindu-Javanese stories. They provide something akin to a political cabaret, dealing with gossip and contemporary affairs.
The puppets figures themselves vary from place to place. In Central Java the city of Surakarta (Solo) is most famous and is the most commonly imitated style of puppets. Regional styles of shadow puppets can also be found in West Java, Banyumas, Cirebon, Semarang, and East Java. Bali produces more compact and naturalistic figures, and Lombok has figures representing real people. Often modern-world objects as bicycles, automobiles, airplanes and ships will be added for comic effect, but for the most part the traditional puppet designs have changed little in the last 300 years.
Wayang kulit as seen from the shadow side
Historically, the performance consisted of shadows cast on a cotton screen and an oil lamp. Today, the source of light used in wayang performance in Java is most often a halogen electric light. Some modern forms of wayang such as Wayang Sandosa created in the Art Academy at Surakarta (STSI) has employed spotlights, colored lights and other innovations.
The handwork involved in making a wayang kulit figure that is suitable for a performance takes several weeks, with the artists working together in groups. They start from master models (typically on paper) which are traced out onto kulit (skin or parchment), providing the figures with an outline and with indications of any holes that will need to be cut (such as for the mouth or eyes). The figures are then smoothed, usually with a glass bottle, and primed. The structure is inspected and eventually the details are worked through. A further smoothing follows before individual painting, which is undertaken by yet another craftsman. Finally, the movable parts (upper arms, lower arms with hands and the associated sticks for manipulation) mounted on the body, which has a central staff by which it is held. A crew makes up to ten figures at a time, typically completing that number over the course of a week.
The painting of less expensive puppets is handled expediently with a spray technique, using templates, and with a different person handling each color. Less expensive puppets, often sold to children during performances, are sometimes made on cardboard instead of leather.
[edit] Wayang wong and wayang topeng or wayang gedog
Pandava and Krishna in an act of the wayang wong performance.
Wayang wong also known as Wayang orang (literally human wayang) is a type of Javanese dance theatrical performance with themes taken from episode of Ramayana or Mahabharata.
While wayang gedog usually the theatrical performance that took the themes from the Panji cycles stories from the kingdom of Janggala, in which the players wear masks known as wayang topeng or wayang gedog. The word "gedog" comes from "kedok", which, like "topeng" means "mask". The main theme is the story of Raden Panji and Candra. This is a love story about princess Candra Kirana of Kediri and Raden Panji Asmarabangun, the crown prince of Jenggala. Candra Kirana was the incarnation of Dewi Ratih (goddess of love) and Panji was an incarnation of Kamajaya (god of love). Kirana's story was given the title "Smaradahana" ("The fire of love"). At the end of the complicated story they finally can marry and bring forth a son, named Raja Putra. Panji Asmarabangun ruled Jenggala under the official names "Sri Kameswara", "Prabu Suryowiseso", and "Hino Kertapati". Originally, wayang wong was performed only as an aristocratic entertainment in four palaces of Yogyakarta and Surakarta. In the course of time, it spread to become a popular and folk form as well.
Wayang wong has fixed patterns of movement and costume:
For male performers:
* Alus: very slow, elegant and smooth movement. For example, the dance of Arjuna, Puntadewa and all other refined and slimly built Kshatriyas. There are two types of movement, lanyap and luruh.
* Gagah: a more masculine and powerful dance movement, used commonly for the roles of strongly built kshatriyas, soldiers and generals.
o Kambeng: a more powerful and athletic dance, used for the roles of Bima, Antareja, and Ghatotkacha.
o Bapang: gagah and kasar for the warriors of antagonist roles such as Kaurawa.
o Kalang kinantang: falls somewhere between alus and gagah, danced by tall, slim dancers in the roles of Kresno or Suteja.
* Kasar: a coarse style, used in portraying evil characters such as Rakshasa, ogres and demons.
* Gecul: a funny court jester and commoners, portraying ponokawan and cantrik
o Kambeng dengklik: for ape warriors, such as Hanuman.
o Kalang kinantang dengklik: for ape warriors, such as Sugriwa and Subali.
For female performers: Kshatriya noblemen. Costumes and props distinguish kings, kshatriyas, monks, princesses, The movements known as nggruda or ngenceng encot in the classical high style of dance consist of nine basic movements (joged pokok) and twelve other movements (joged gubahan and joged wirogo) and are used in portraying Bedoyo and Srimpi.
Today, the wayang wong, following the Gagrak style of Surakarta, is danced by women. They follow the alus movements associated with a Kshatriya, resembling Arjuna. Following the Gagkra style from Yogyakarta a male dancer uses these same Alus movements to depict princes and generals. There are about 45 distinct character types.
[edit] Wayang golek (rod puppets)
A pair of wayang golek from West Java
Wayang golek are wooden doll puppets that are operated from below by rods connected to the hands and a central control rod that runs through the body to the head. The simple construction of the puppets belies their versatility, expressiveness and aptitude for imitating human dance. Little is known for certain about the history of wayang golek, but scholars have speculated that it most likely originated in China and arrived in Java sometime in the 17th century. Some of the oldest traditions of wayang golek are from the north coast of Java in what is called the pasisir region. This is home to some of the oldest Muslim kingdoms in Java and it is likely the wayang golek grew in popularity through telling the wayang menak stories of Amir Hamza, the uncle of Muhammad. These stories are still widely performed in Kabumen, Tegal, and Jepara as wayang golek menak, and in Cirebon, wayang golek cepak. Legendary origins of wayang golek attribute their invention to the Muslim saint Wali Sunan Kudus, who used the medium to proselytize Muslim values. In the 18th century the tradition moved into the mountains of West Java where it eventually was used to tell stories of the Ramayana and the Mahabarata in a tradition now called wayang golek purwa, which can be found in Bandung, Bogor and Jakarta. Wayang golek purwa has become the most popular form of wayang golek today and the most famous puppeteer family is the Sunarya family which has produced several generations of stellar performers.
[edit] Wayang karucil or wayang klitik
Wayang klitik image of Batara Guru
Wayang klitik figures occupy a middle ground between the figures of wayang golek and wayang kulit. They are constructed similarly to wayang kulit figures, but from thin pieces of wood instead of leather, and, like wayang kulit figures, are used as shadow puppets. A further similarity is that they are the same smaller size as wayang kulit figures. However, wood is more subject to breakage than leather. During battle scenes, wayang klitik figures often sustain considerable damage, much to the amusement of the public, but in a country in which before 1970 there were no adequate glues available, breakage generally meant an expensive, newly made figure. On this basis the wayang klitik figures, which are to appear in plays where they have to endure battle scenes, have leather arms. The name of these figures is onomotopaeic, from the sound klitik-klitik, that these figures make when worked by the dalang.
Wayang klitik figures come originally from eastern Java, where one still finds workshops turning them out. They are less costly to produce than wayang kulit figures.
The origin of the stories involved in these puppet plays comes from the kingdoms of eastern Java: Jenggala, Kediri and Majapahit. From Jenggala and Kediri come the stories of Raden Panji and Cindelaras, which tells of the adventures of a pair of village youngsters with their fighting cocks. The Damarwulan presents the stories of a hero (Damarwulan) from Majapahit. Damarwulan is a clever chap, who with courage, aptitude, intelligence and the assistance of his young lover Anjasmara, makes a surprise attack on the neighboring kingdom and brings down Minakjinggo, an Adipati (viceroy) of Blambangan and mighty enemy of Majapahit's beautiful queen Sri Ratu Kencanawungu. As a reward, Damarwulan is married to Kencanawungu and becomes king of Majapahit; he also takes Lady Anjasmara as a second wife. This story is full of love affairs and battles and is very popular with the public. The dalang is liable to incorporate the latest local gossip and quarrels and work them into the play as comedy.
[edit] Wayang beber
Wayang painting depiction of Bharatayudha battle
The wayang beber has strong similarities to narratives in the form of illustrated ballads that were common at annual fairs in medieval and early modern Europe. They have also been subject to the same fate—they have nearly vanished. Chinese visitors to Java during the 15th century described a storyteller or unrolled scrolls and told stories that made the audience laugh or cry. A few scrolls of images remain from those times, found today in museums. There are two sets, hand-painted on hand-made bark cloth, that are still owned by families who have inherited them from many generations ago, in Pacitan and Wonogiri, both villages in Central Java. Performances, mostly in small open-sided pavilions or auditoriums, take place according to the following pattern:
The dhalang (puppeteer, narrator) gives a sign, the small gamelan orchestra with drummer and a few knobbed gongs and a musician with a rebab (violin-like instrument held vertically) begins to play and the dhalang unrolls the first scroll of the story. Then, speaking and singing, he narrates the episode in more detail. In this manner, in the course of the evening he unrolls several scrolls one at a time. Each scene in the scrolls represents a story or part of a story. The content of the story typically stems from the Panji romances which are semi-historical legends set in the 12th-13th century East Javanese kingdoms of Jenggala, Daha and Kedhiri, and also in Bali.
[edit] Wayang Sadat
This newly developed form is used by teachers of Islam to show the principles of Muslim ethics and religion to the natives of Java and Bali. [1]
[edit] Wayang Wahyu
This form was created in the 1960s by the Javanese Jesuit Bruder (Brother) Timotheus L. Wignyosoebroto (modern spelling Wignyosubroto) who sought to show the Javanese and other Indonesians the teachings of the Catholic Church in a manner accessible to the audience. In the beginning, the puppets were often made of paper because it was less expensive than the traditional water buffalo hide. It became a popular as an alternative method of telling Bible stories.[2]
UNESCO designated Wayang Kulit, a shadow puppet theater and the best known of the Indonesian wayang, as a Masterpiece of Oral and Intangible Heritage of Humanity on 7 November 2003. In return of the acknowledgment, UNESCO demanded Indonesia to preserve their heritage.
Wayang is a generic term denoting traditional theatre in Indonesia. There is no evidence that wayang existed before Hinduism came to Southeast Asia sometime in the first century CE brought in by Indian traders. However, there very well may have been indigenous storytelling traditions that had a profound impact on the development of the traditional puppet theatre. The first record of a wayang performance is from an inscription dated 930 CE which says "si Galigi mawayang," or "Sir Galigi played wayang". From that time till today it seems certain features of traditional puppet theatre have remained. Galigi was an itinerant performer who was requested to perform for a special royal occasion. At that event he performed a story about the hero Bhima from the Mahabharata
Wayang Kulit is a unique form of theatre employing light and shadow. The puppets are crafted from buffalo hide and mounted on bamboo sticks. When held up behind a piece of white cloth, with an electric bulb or an oil lamp as the light source, shadows are cast on the screen.
Wayang Kulit plays are invariably based on romantic tales, especially adaptations of the classic Indian epics, "The Mahabarata" and "The Ramayana". Some of the plays are also based on local happenings (current issues) or other local secular stories. It is up to the conductor or "Tok Dalang" to decide his direction.
A Dalang performing Wayang Kulit in Java, circa 1890.
The Dalang is the genius behind the entire performance. It is he who sits behind the screen and narrates the story. With a traditional orchestra in the background to provide a resonant melody and its conventional rhythm, the Dalang modulates his voice to create suspense thus heightening the drama. Invariably, the play climaxes with the triumph of good over evil.
Hinduism arrived in Indonesia from India even before the Christian era, and was slowly adopted as the local belief system. Sanskrit became the literary and court language of Java and later of Bali. The Hindus changed the Wayang (as did the Muslims, later) to spread their religion, mostly by stories from the Mahabharata or the Ramayana. Later this mixture of religion and wayang play was praised as harmony between Hinduism and traditional Indonesian culture. On Java, the western part of Sumatra and some smaller islands traditionalists continued to play the old stories for some time, but the influence of Hinduism prevailed and the traditional stories either fell into oblivion or were integrated into the Hinduistic plays.
The figures of the wayang are also present in the paintings of that time, for example, the roof murals of the courtroom in Klungkung, Bali. They are still present in traditional Balinese painting today.
When Islam began spreading in Indonesia, the display of God or gods in human form was prohibited, and thus this style of painting and shadow play was suppressed. King Raden Patah of Demak, Java, wanted to see the wayang in its traditional form, but failed to obtain permission from the Muslim religious leaders. As an alternative, the religious leaders converted the wayang golek into wayang purwa made from leather, and displayed only the shadow instead of the figures itself.[citation needed] Instead of the forbidden figures only their shadow picture was displayed, the birth of the wayang kulit.[citation needed]
The figures are painted, flat woodcarvings (a maximum of 5 to 15 mm thick -- barely half an inch) with movable arms. The head is solidly attached to the body. Wayang klitik can be used to perform puppet plays either during the day or at night. This type of wayang is relatively rare.
Wayang today is both the most ancient and most popular form of puppet theatre in the world. Hundreds of people will stay up all night long to watch the superstar performers, dalang, who command extravagant fees and are international celebrities. Some of the most famous dalang in recent history are Ki Nartosabdho, Ki Anom Suroto, Ki Asep Sunarya, Ki Sugino, and Ki Manteb Sudarsono.
[edit] Wayang kulit
Wayang Kulit (shadow puppet) in Wayang Purwa type, depicting five Pandava, from left to right: Bhima, Arjuna, Yudhishtira, Nakula, and Sahadeva, Indonesia Museum, Jakarta.
Wayang kulit, shadow puppets prevalent in Java and Bali in Indonesia, are without a doubt the best known of the Indonesian wayang. Kulit means skin, and refers to the leather construction of the puppets that are carefully chiseled with very fine tools and supported with carefully shaped buffalo horn handles and control rods.
The stories are usually drawn from the Ramayana, the Mahabharata or the Serat Menak.
There is a family of characters in Javanese wayang called Punakawan; they are sometimes referred to as "clown-servants" because they normally are associated with the story's hero, and provide humorous and philosophical interludes. Semar is the father of Gareng (oldest son), Petruk, and Bagong (youngest son). These characters did not originate in the Hindu epics, but were added later, possibly to introduce mystical aspects of Islam into the Hindu-Javanese stories. They provide something akin to a political cabaret, dealing with gossip and contemporary affairs.
The puppets figures themselves vary from place to place. In Central Java the city of Surakarta (Solo) is most famous and is the most commonly imitated style of puppets. Regional styles of shadow puppets can also be found in West Java, Banyumas, Cirebon, Semarang, and East Java. Bali produces more compact and naturalistic figures, and Lombok has figures representing real people. Often modern-world objects as bicycles, automobiles, airplanes and ships will be added for comic effect, but for the most part the traditional puppet designs have changed little in the last 300 years.
Wayang kulit as seen from the shadow side
Historically, the performance consisted of shadows cast on a cotton screen and an oil lamp. Today, the source of light used in wayang performance in Java is most often a halogen electric light. Some modern forms of wayang such as Wayang Sandosa created in the Art Academy at Surakarta (STSI) has employed spotlights, colored lights and other innovations.
The handwork involved in making a wayang kulit figure that is suitable for a performance takes several weeks, with the artists working together in groups. They start from master models (typically on paper) which are traced out onto kulit (skin or parchment), providing the figures with an outline and with indications of any holes that will need to be cut (such as for the mouth or eyes). The figures are then smoothed, usually with a glass bottle, and primed. The structure is inspected and eventually the details are worked through. A further smoothing follows before individual painting, which is undertaken by yet another craftsman. Finally, the movable parts (upper arms, lower arms with hands and the associated sticks for manipulation) mounted on the body, which has a central staff by which it is held. A crew makes up to ten figures at a time, typically completing that number over the course of a week.
The painting of less expensive puppets is handled expediently with a spray technique, using templates, and with a different person handling each color. Less expensive puppets, often sold to children during performances, are sometimes made on cardboard instead of leather.
[edit] Wayang wong and wayang topeng or wayang gedog
Pandava and Krishna in an act of the wayang wong performance.
Wayang wong also known as Wayang orang (literally human wayang) is a type of Javanese dance theatrical performance with themes taken from episode of Ramayana or Mahabharata.
While wayang gedog usually the theatrical performance that took the themes from the Panji cycles stories from the kingdom of Janggala, in which the players wear masks known as wayang topeng or wayang gedog. The word "gedog" comes from "kedok", which, like "topeng" means "mask". The main theme is the story of Raden Panji and Candra. This is a love story about princess Candra Kirana of Kediri and Raden Panji Asmarabangun, the crown prince of Jenggala. Candra Kirana was the incarnation of Dewi Ratih (goddess of love) and Panji was an incarnation of Kamajaya (god of love). Kirana's story was given the title "Smaradahana" ("The fire of love"). At the end of the complicated story they finally can marry and bring forth a son, named Raja Putra. Panji Asmarabangun ruled Jenggala under the official names "Sri Kameswara", "Prabu Suryowiseso", and "Hino Kertapati". Originally, wayang wong was performed only as an aristocratic entertainment in four palaces of Yogyakarta and Surakarta. In the course of time, it spread to become a popular and folk form as well.
Wayang wong has fixed patterns of movement and costume:
For male performers:
* Alus: very slow, elegant and smooth movement. For example, the dance of Arjuna, Puntadewa and all other refined and slimly built Kshatriyas. There are two types of movement, lanyap and luruh.
* Gagah: a more masculine and powerful dance movement, used commonly for the roles of strongly built kshatriyas, soldiers and generals.
o Kambeng: a more powerful and athletic dance, used for the roles of Bima, Antareja, and Ghatotkacha.
o Bapang: gagah and kasar for the warriors of antagonist roles such as Kaurawa.
o Kalang kinantang: falls somewhere between alus and gagah, danced by tall, slim dancers in the roles of Kresno or Suteja.
* Kasar: a coarse style, used in portraying evil characters such as Rakshasa, ogres and demons.
* Gecul: a funny court jester and commoners, portraying ponokawan and cantrik
o Kambeng dengklik: for ape warriors, such as Hanuman.
o Kalang kinantang dengklik: for ape warriors, such as Sugriwa and Subali.
For female performers: Kshatriya noblemen. Costumes and props distinguish kings, kshatriyas, monks, princesses, The movements known as nggruda or ngenceng encot in the classical high style of dance consist of nine basic movements (joged pokok) and twelve other movements (joged gubahan and joged wirogo) and are used in portraying Bedoyo and Srimpi.
Today, the wayang wong, following the Gagrak style of Surakarta, is danced by women. They follow the alus movements associated with a Kshatriya, resembling Arjuna. Following the Gagkra style from Yogyakarta a male dancer uses these same Alus movements to depict princes and generals. There are about 45 distinct character types.
[edit] Wayang golek (rod puppets)
A pair of wayang golek from West Java
Wayang golek are wooden doll puppets that are operated from below by rods connected to the hands and a central control rod that runs through the body to the head. The simple construction of the puppets belies their versatility, expressiveness and aptitude for imitating human dance. Little is known for certain about the history of wayang golek, but scholars have speculated that it most likely originated in China and arrived in Java sometime in the 17th century. Some of the oldest traditions of wayang golek are from the north coast of Java in what is called the pasisir region. This is home to some of the oldest Muslim kingdoms in Java and it is likely the wayang golek grew in popularity through telling the wayang menak stories of Amir Hamza, the uncle of Muhammad. These stories are still widely performed in Kabumen, Tegal, and Jepara as wayang golek menak, and in Cirebon, wayang golek cepak. Legendary origins of wayang golek attribute their invention to the Muslim saint Wali Sunan Kudus, who used the medium to proselytize Muslim values. In the 18th century the tradition moved into the mountains of West Java where it eventually was used to tell stories of the Ramayana and the Mahabarata in a tradition now called wayang golek purwa, which can be found in Bandung, Bogor and Jakarta. Wayang golek purwa has become the most popular form of wayang golek today and the most famous puppeteer family is the Sunarya family which has produced several generations of stellar performers.
[edit] Wayang karucil or wayang klitik
Wayang klitik image of Batara Guru
Wayang klitik figures occupy a middle ground between the figures of wayang golek and wayang kulit. They are constructed similarly to wayang kulit figures, but from thin pieces of wood instead of leather, and, like wayang kulit figures, are used as shadow puppets. A further similarity is that they are the same smaller size as wayang kulit figures. However, wood is more subject to breakage than leather. During battle scenes, wayang klitik figures often sustain considerable damage, much to the amusement of the public, but in a country in which before 1970 there were no adequate glues available, breakage generally meant an expensive, newly made figure. On this basis the wayang klitik figures, which are to appear in plays where they have to endure battle scenes, have leather arms. The name of these figures is onomotopaeic, from the sound klitik-klitik, that these figures make when worked by the dalang.
Wayang klitik figures come originally from eastern Java, where one still finds workshops turning them out. They are less costly to produce than wayang kulit figures.
The origin of the stories involved in these puppet plays comes from the kingdoms of eastern Java: Jenggala, Kediri and Majapahit. From Jenggala and Kediri come the stories of Raden Panji and Cindelaras, which tells of the adventures of a pair of village youngsters with their fighting cocks. The Damarwulan presents the stories of a hero (Damarwulan) from Majapahit. Damarwulan is a clever chap, who with courage, aptitude, intelligence and the assistance of his young lover Anjasmara, makes a surprise attack on the neighboring kingdom and brings down Minakjinggo, an Adipati (viceroy) of Blambangan and mighty enemy of Majapahit's beautiful queen Sri Ratu Kencanawungu. As a reward, Damarwulan is married to Kencanawungu and becomes king of Majapahit; he also takes Lady Anjasmara as a second wife. This story is full of love affairs and battles and is very popular with the public. The dalang is liable to incorporate the latest local gossip and quarrels and work them into the play as comedy.
[edit] Wayang beber
Wayang painting depiction of Bharatayudha battle
The wayang beber has strong similarities to narratives in the form of illustrated ballads that were common at annual fairs in medieval and early modern Europe. They have also been subject to the same fate—they have nearly vanished. Chinese visitors to Java during the 15th century described a storyteller or unrolled scrolls and told stories that made the audience laugh or cry. A few scrolls of images remain from those times, found today in museums. There are two sets, hand-painted on hand-made bark cloth, that are still owned by families who have inherited them from many generations ago, in Pacitan and Wonogiri, both villages in Central Java. Performances, mostly in small open-sided pavilions or auditoriums, take place according to the following pattern:
The dhalang (puppeteer, narrator) gives a sign, the small gamelan orchestra with drummer and a few knobbed gongs and a musician with a rebab (violin-like instrument held vertically) begins to play and the dhalang unrolls the first scroll of the story. Then, speaking and singing, he narrates the episode in more detail. In this manner, in the course of the evening he unrolls several scrolls one at a time. Each scene in the scrolls represents a story or part of a story. The content of the story typically stems from the Panji romances which are semi-historical legends set in the 12th-13th century East Javanese kingdoms of Jenggala, Daha and Kedhiri, and also in Bali.
[edit] Wayang Sadat
This newly developed form is used by teachers of Islam to show the principles of Muslim ethics and religion to the natives of Java and Bali. [1]
[edit] Wayang Wahyu
This form was created in the 1960s by the Javanese Jesuit Bruder (Brother) Timotheus L. Wignyosoebroto (modern spelling Wignyosubroto) who sought to show the Javanese and other Indonesians the teachings of the Catholic Church in a manner accessible to the audience. In the beginning, the puppets were often made of paper because it was less expensive than the traditional water buffalo hide. It became a popular as an alternative method of telling Bible stories.[2]
Monday, September 13, 2010
Reog Ponorogo-Great culture from Indonesia
Indonesia talk about Reog Ponorogo, and here still story about which one culture from indonesia country. Tells about the palace of queen Kediri kingdom. Reog told about the struggle for a prince who will propose to a lovely pretty princess . On the way from Bantarangin kingdom to Kediri, Singobarong as leader conquered tigers and peacocks. Reog dance is also staged full moon nightly in paseban, Ponorogo Town Square. This dance is staged about 25 – 40 dancers and the musician. The interesting of Reog is his main leading figure named Singo Barong. The dancer of Singo Barong bear the mask about 30 – 40 kg weight and supported by the strength of their teeth. The other leading figure in Reog include Kelono Sewandono, Bujang Anom, Jatil and Warok.
Reog is a traditional dance that become the main identity for Ponorogo regency. Because of this, Ponorogo is also known as Reog city. This theatre has been known wide in Indonesian even foreign tourists. Reog National Festival is held every years along the anniversary of Ponorogo regency and Grebeg Suro celebration. The visitors can enjoy this traditional dance only in Ponorogo, East Java – Indonesia. The only area that has REOG dance is Ponorogo, not in other country.
Reog is a traditional dance that become the main identity for Ponorogo regency. Because of this, Ponorogo is also known as Reog city. This theatre has been known wide in Indonesian even foreign tourists. Reog National Festival is held every years along the anniversary of Ponorogo regency and Grebeg Suro celebration. The visitors can enjoy this traditional dance only in Ponorogo, East Java – Indonesia. The only area that has REOG dance is Ponorogo, not in other country.
FDA Approves Pediatric Use of Chemical Poisoning Treatment
The Food and Drug Administration has approved the pediatric use of Protopam Chloride (pralidoxime chloride), a drug used to treat poisoning by organophosphate pesticides and chemicals (e.g., nerve agents). The drug is approved to be administered either by intravenous (IV) or intramuscular (IM) injections.
"We know this drug has been widely used for many years to treat poisoning in pediatric patients in emergency situations," said Russell Katz, M.D., director of the Division of Neurology Products in the FDA's Center for Drug Evaluation and Research. "Improving the drug's label with new dosing information for children will give health care professionals better guidance on how to use this drug safely and effectively."
Organophosphate pesticides are typically used in the farm setting and by professional exterminators. A person poisoned with organophosphate pesticides or chemicals (e.g., nerve agents) can have mild symptoms, such as a runny nose, teary eyes, or vomiting, to more serious symptoms such as difficulty breathing, weakness and convulsions. When chemical poisoning is suspected, medical attention should be sought immediately and the local poison control center should be contacted by dialing 800-222-1222, nationwide.
"It can be difficult to use IV drugs in children, particularly in emergency situations, so having the new option of IM injection may help health care professionals use this medicine quickly and accurately," said Dianne Murphy, M.D., director of the FDA's Office of Pediatric Therapeutics.
Protopam Chloride was approved by the FDA in 1964 to treat various types of pesticide and chemical poisoning in adults. The drug works as an antidote to pesticides and chemicals of the organophosphate class by slowing the attachment of the chemical to nerve endings.
Adverse reactions that have been reported in pediatric and adult use of the drug include: blurred vision, double vision, dizziness, headache, drowsiness, nausea, difficulty breathing, increased heart rate and increased blood pressure.
Protopam Chloride is made by Baxter Healthcare Corp., Deerfield, Ill.
*) From : Occupational Health & Safety Magazine
"We know this drug has been widely used for many years to treat poisoning in pediatric patients in emergency situations," said Russell Katz, M.D., director of the Division of Neurology Products in the FDA's Center for Drug Evaluation and Research. "Improving the drug's label with new dosing information for children will give health care professionals better guidance on how to use this drug safely and effectively."
Organophosphate pesticides are typically used in the farm setting and by professional exterminators. A person poisoned with organophosphate pesticides or chemicals (e.g., nerve agents) can have mild symptoms, such as a runny nose, teary eyes, or vomiting, to more serious symptoms such as difficulty breathing, weakness and convulsions. When chemical poisoning is suspected, medical attention should be sought immediately and the local poison control center should be contacted by dialing 800-222-1222, nationwide.
"It can be difficult to use IV drugs in children, particularly in emergency situations, so having the new option of IM injection may help health care professionals use this medicine quickly and accurately," said Dianne Murphy, M.D., director of the FDA's Office of Pediatric Therapeutics.
Protopam Chloride was approved by the FDA in 1964 to treat various types of pesticide and chemical poisoning in adults. The drug works as an antidote to pesticides and chemicals of the organophosphate class by slowing the attachment of the chemical to nerve endings.
Adverse reactions that have been reported in pediatric and adult use of the drug include: blurred vision, double vision, dizziness, headache, drowsiness, nausea, difficulty breathing, increased heart rate and increased blood pressure.
Protopam Chloride is made by Baxter Healthcare Corp., Deerfield, Ill.
*) From : Occupational Health & Safety Magazine
Noordin Top and Latent Conflict Between Indonesia and Malaysia
The 17 September death of Noordin Top at the hands of Indonesia’s anti terror squad Densus 88 brought a sense of relief to many in Southeast Asia. Noordin was Southeast Asia’s most wanted terrorist. Following the July 17 hotel bombings in Jakarta, a message attributed to him signaled a split from Jemaah Islamiyah (JI), and a move toward more radical and deadly tactics.
A not-so-subtle subtext of Noordin’s death is the strained relationship of Indonesia and Malaysia. Noordin was Malaysian and graduated from Malaysia’s Technological University, but he resided and committed terrorist acts in Indonesia (and killed Indonesians). This might be enough to promote some hostility between the two countries, but the story is much more complicated. Rather, the tense relationship between the two countries goes back decades but includes some recent events as well.
Malaysia’s early 1960s decolonization plan included containing the provinces of Sabah and Sarawak on Borneo. Indonesia had its eyes on these regions and hoped to merge them with its province of Kalimantan (South Borneo). A low-level conflict called “Konfrontasi” broke out between the two states, but with the aid of the British, Malaysian was victorious. Some Indonesians have retained resentment over this outcome.
There are more recent examples, however. In 2002, the International Court of Justice awarded to Malaysia two islands in the Ambalat region (off the Borneo coast). This infuriated many Indonesians, some of whom hold “territorial integrity” sacred. Some were still smarting from East Timor’s independence following a 1999 UN referendum. There remain competing claims at the border between the two neighbors (recently refered to as a “Time Bomb” by Indonesian media). Indonesia and Malaysia have since been making moves to bolster their competing claims, and a naval skirmish was narrowly avoided in 2005.
Malaysia has also been accused of stealing Indonesian culture. In 2007, the Malaysian Tourism Board used a song (“Rasa Sayang”) that Indonesians claim as their own. This year, a Balinese dance (Tari Pendet) was used by the Discovery Channel in a feature on Malaysia. These provoked accusations of thievery by Indonesians, and led to the use of the nickname “Malingsia;” Maling means thief. This youtube video is exemplary, including its belligerent tone and images of the Indonesian military. More tangible threats came from the Barisan Muda Betawi (Betawi Youth Front). The BMB threatened to “sweep” Tangerang for Malaysian citizens and target them for harassment. The Jakarta police reacted to other groups’ intimidation by making arrests.
Use of the term Malingsia is prominent in blog posts and websites and is used in many contexts that concern both Indonesia and Malaysia. Malaysians don’t have quite as catchy a nickname for Indonesians, but their vitriol is expressed in other ways. For example, Malaysians mock Indonesia’s lower levels of development and education. Comment threads inevitably turn to name-calling and swearing.
This perception of Malaysia is so common that it colored coverage of (the Malaysian) Noordin Top’s demise. Malaysian Interior Minister Hishammuddin Tun Hussein issued a statement denying that his country was “exporting” terrorists or selling them weapons. This statement was echoed by Malaysian PM Datuk Seri Najib Tun Razak, who parried by arguing that Noordin was influenced by Abu Bakar Bashir, an Indonesian considered the head of JI.
Yet some of the statements coming from Malaysia may have stoked Indonesian feelings of resentment. Malaysian newspaper Utusan Malaysia erroneously reported that Noordin blew himself up in the raid. Interior Minister Hishammuddin stated he hoped Noordin’s body could be returned quickly, which was viewed by some as making the feelings of a known terrorist’s family (one of them at least — Noordin had one Malaysian wife and two Indonesian) more important than the post-event investigation. He also stated he thought it was a shame than Noordin was killed as life is sacred and perhaps Noordin could have been rehabilitated. These cheery thoughts are no consolation to Noordin’s victims in Indonesia.
Although the two countries have officially maintained cordial relations despite the hue and cry from the blogosphere, a recent story quoted spokesman Musni Umar of the Malaysia-Indonesia Eminent Persons Group as stating that Noordin’s death will improve relations between the neighbors. Official positions aside, given the history and depth of the animosity the cybersparring will continue, stoked by whatever event comes next. Thankfully they’ll continue to just be words on the internet, more vent than event.
*) From COMOPS Journal
A not-so-subtle subtext of Noordin’s death is the strained relationship of Indonesia and Malaysia. Noordin was Malaysian and graduated from Malaysia’s Technological University, but he resided and committed terrorist acts in Indonesia (and killed Indonesians). This might be enough to promote some hostility between the two countries, but the story is much more complicated. Rather, the tense relationship between the two countries goes back decades but includes some recent events as well.
Malaysia’s early 1960s decolonization plan included containing the provinces of Sabah and Sarawak on Borneo. Indonesia had its eyes on these regions and hoped to merge them with its province of Kalimantan (South Borneo). A low-level conflict called “Konfrontasi” broke out between the two states, but with the aid of the British, Malaysian was victorious. Some Indonesians have retained resentment over this outcome.
There are more recent examples, however. In 2002, the International Court of Justice awarded to Malaysia two islands in the Ambalat region (off the Borneo coast). This infuriated many Indonesians, some of whom hold “territorial integrity” sacred. Some were still smarting from East Timor’s independence following a 1999 UN referendum. There remain competing claims at the border between the two neighbors (recently refered to as a “Time Bomb” by Indonesian media). Indonesia and Malaysia have since been making moves to bolster their competing claims, and a naval skirmish was narrowly avoided in 2005.
Malaysia has also been accused of stealing Indonesian culture. In 2007, the Malaysian Tourism Board used a song (“Rasa Sayang”) that Indonesians claim as their own. This year, a Balinese dance (Tari Pendet) was used by the Discovery Channel in a feature on Malaysia. These provoked accusations of thievery by Indonesians, and led to the use of the nickname “Malingsia;” Maling means thief. This youtube video is exemplary, including its belligerent tone and images of the Indonesian military. More tangible threats came from the Barisan Muda Betawi (Betawi Youth Front). The BMB threatened to “sweep” Tangerang for Malaysian citizens and target them for harassment. The Jakarta police reacted to other groups’ intimidation by making arrests.
Use of the term Malingsia is prominent in blog posts and websites and is used in many contexts that concern both Indonesia and Malaysia. Malaysians don’t have quite as catchy a nickname for Indonesians, but their vitriol is expressed in other ways. For example, Malaysians mock Indonesia’s lower levels of development and education. Comment threads inevitably turn to name-calling and swearing.
This perception of Malaysia is so common that it colored coverage of (the Malaysian) Noordin Top’s demise. Malaysian Interior Minister Hishammuddin Tun Hussein issued a statement denying that his country was “exporting” terrorists or selling them weapons. This statement was echoed by Malaysian PM Datuk Seri Najib Tun Razak, who parried by arguing that Noordin was influenced by Abu Bakar Bashir, an Indonesian considered the head of JI.
Yet some of the statements coming from Malaysia may have stoked Indonesian feelings of resentment. Malaysian newspaper Utusan Malaysia erroneously reported that Noordin blew himself up in the raid. Interior Minister Hishammuddin stated he hoped Noordin’s body could be returned quickly, which was viewed by some as making the feelings of a known terrorist’s family (one of them at least — Noordin had one Malaysian wife and two Indonesian) more important than the post-event investigation. He also stated he thought it was a shame than Noordin was killed as life is sacred and perhaps Noordin could have been rehabilitated. These cheery thoughts are no consolation to Noordin’s victims in Indonesia.
Although the two countries have officially maintained cordial relations despite the hue and cry from the blogosphere, a recent story quoted spokesman Musni Umar of the Malaysia-Indonesia Eminent Persons Group as stating that Noordin’s death will improve relations between the neighbors. Official positions aside, given the history and depth of the animosity the cybersparring will continue, stoked by whatever event comes next. Thankfully they’ll continue to just be words on the internet, more vent than event.
*) From COMOPS Journal
Indonesia vs. Malaysia ?????
As a people, Indonesians have become more and more hot-headed by the minute. It is actually something to be ashamed of as hot-headedness is one of the typical signs of being uneducated (thus not being able to keep one’s cool).
Not only are we getting more hot-headed, it seems that we are also falling deeper into ignorance. Which is a shame, because there should be no more excuses for one to be stupid and ignorant seeing as there is almost no restriction on the information flow into the country, nor is there a shortage of ways for a person to educate one’s self autodidactically (by ways of internet, television, books etc).
We have also become a nation that is stubbornly disrespectful to other nations; people who are different to us; and also our own culture. And by our culture I mean our indigenous culture, not the one you see nowadays in Indonesia or Indonesian television which is full of telenovelas, gossip shows and rich people/celebrities sporting their hedonistic lives on national television for everybody to drool over.
The upside of being this way is none, while the downsides are many. By being hot-headed and ignorant, we often miss simple truths and even more often this trait will make it easy for us to be provoked by the smallest of things. The most recent issue that has taken Indonesia like a storm is how our Malay brothers and sisters from Malaysia are “thieves” of our so-called culture.
While it may come as a surprise to some Indonesians, we should all acknowledge that many Malaysians have Indonesian ancestors, whether from Sumatra, Kalimantan or Java. Even the great Malaysian actor/comedian P Ramlee’s ancestry can be traced back to Aceh, where his father is from.
And let’s not forget the Malaysian students who went to Indonesia five or six decades ago to study, many of which ended up marrying Indonesians who they brought back to Malaysia and produced Malaysian-Indonesian off-springs with.
So basically what I’m saying is as it is apparent that Indonesia is made up of people with Chinese/Indian/Dutch/Portuguese/Arab/Polynasian/Aborigine ancestry, the same goes for Malaysia. The difference is that in addition to the Malay, Chinese and Indian ancestries that the Malaysians have, Indonesian ancestry is also in the mix, hence the many similarities in our foods, clothing materials, music, etc.
Yet we accuse them of stealing this and that, from our culture to our cuisine. While in fact we are both originally Malay people (the race of which people from the northernmost part of Thailand and people from the Philippines also belong to) sharing many of the same culture and cuisine traits that it’s a little absurd (not to mention difficult) to claim which is whose first to be stolen by the other second.
Personally, instead of calling Malaysia thieves, I think we should ‘steal’ something from them. You all know how in the 60s and 70s we were much more progressed and advanced than them that they sent many of their students to study in Indonesia and hired many teachers and lecturers to teach their younger generation in Malaysia. What I don’t get is why it’s the other way around now, six decades later.
We all know Malaysians aren’t perfect and neither are we, but I do salute their determination and ability to turn up trumps, as today it’s us who send our kids to study in Malaysia; it’s us who are less progressed and are less advanced (technology and economy wise), and it’s us who are lagging behind. I think we should learn from them and ‘steal’ their tips and tricks in pulling a 180 from being blah to hurrah!
After the lengthy explanation above on the origins of both nations and all my positive observation about Malaysia, you may:
a. hate me, or
b. think, “Ok, so we share many traits with Malaysia, but it still doesn’t explain them using the Balinese pendet dance, because Unlike Kalimantan, Sumatra and Java, Bali is very specific and unique, that their culture is not found anywhere but Bali.”
For those of you who chose ‘a’ I will advise you to take a number and wait in line. For those who opted ‘b’ Ok, point well taken. But the thing is, the recent debacle over the Pendet dance that we claimed to have been used by the Malaysian government in an advertisement they have made to promote their country, an issue that turned countless Indonesians angry, with our Minister of Tourism hastily sending a letter to his Malaysian counterpart, demanding the ad campaign be removed, is a more complicated than it seemed.
Turns out, the whole thing was a misunderstanding and a BIG mistake on our part. And let me emphasize on the BIG MISTAKE. Apparently out of the 250 million or so people living in the beautiful archipelago we call Indonesia, none of us did our homework thoroughly before blasting bullets to the so-called ‘enemy of the state’ a.k.a, Malaysia because,
Some people went as far as protesting in front of the Malaysian Embassy over their ‘unauthorized use of the Pendet dance’ in their ‘mysterious advertisement’ and a small radical group even performed ‘raids’ on Malaysians on the streets of Jakarta, against stern warnings from the Indonesian Police Force. Why the Indonesian media blew the accusations out of proportion which created havoc but didn’t really publish the truth after they found out (with the exception of The Jakarta Globe), is beyond me.
But as I wrote in one of my older posts, the Indonesian media is as responsible to many of the things happening in our country as the Indonesian people themselves (who are easily provoked by these so-called ‘news’ and then usually go run amok like a drunken bull before getting all their facts and figures straight).
Now as if that’s not embarrassing enough, our resurfaced accusations of Malaysians using one of our folk songs called Terang Bulan and turning it into their National Anthem has really put us in a shit-hole.
Leading Indonesian musician and artist, Remy Sylado, as quoted by The Jakarta Globe, said the so-called Indonesian song “Terang Bulan” (“Moonlight”) was actually an adaptation of “La Rosalie,” which was composed in the 19th century by Pierre-Jean de Beranger of Francey.
Citing a Dutch historical text on national anthems, Sylado said the song became popular in the former French colony of the Seychelles and arrived in the Malay archipelago at the turn of the 20th century, where it was eventually used as the basis for Malaysia’s anthem, “Negaraku” (“My Country”).
With this new finding, Malaysians can easily accuse us as thieves ourselves. The question remains, Who’s the thief now? Who stole what from who? And, Who is the thief first?
Why are we that easy to provoke, especially when it comes to matters of religion and the relationship of Indonesia and Malaysia? Weren’t we at one point ONE people? Why do we keep on blasting Malaysians for ‘stealing’ our cultural heritage but don’t do much to promote it ourselves? Why do we get angry when a country ‘steals’ our cultural heritage but feel at ease about stealing other people’s culture? (This is in relation to the fact that the Indonesian ‘indigenous’ culture is actually heavily influenced by the Chinese, Arabs, Indians, Aborigines, European, Portuguese, other South East Asian countries, etc.)
Now as a person and a member of our nation we must all ask ourselves. Why are we easily provoked? We should stop this silliness and learn to contain our emotions. Most importantly, true to the saying that those who live in a glass house should not throw stones, we should be aware of our own weaknesses, of the things that we ‘stole’ before accusing other people of ‘stealing’ anything.
Think about it, maybe the truest ‘culture’ we have now is corruption, collusion and nepotism. And that’s not even something to be proud about.
Not only are we getting more hot-headed, it seems that we are also falling deeper into ignorance. Which is a shame, because there should be no more excuses for one to be stupid and ignorant seeing as there is almost no restriction on the information flow into the country, nor is there a shortage of ways for a person to educate one’s self autodidactically (by ways of internet, television, books etc).
We have also become a nation that is stubbornly disrespectful to other nations; people who are different to us; and also our own culture. And by our culture I mean our indigenous culture, not the one you see nowadays in Indonesia or Indonesian television which is full of telenovelas, gossip shows and rich people/celebrities sporting their hedonistic lives on national television for everybody to drool over.
The upside of being this way is none, while the downsides are many. By being hot-headed and ignorant, we often miss simple truths and even more often this trait will make it easy for us to be provoked by the smallest of things. The most recent issue that has taken Indonesia like a storm is how our Malay brothers and sisters from Malaysia are “thieves” of our so-called culture.
While it may come as a surprise to some Indonesians, we should all acknowledge that many Malaysians have Indonesian ancestors, whether from Sumatra, Kalimantan or Java. Even the great Malaysian actor/comedian P Ramlee’s ancestry can be traced back to Aceh, where his father is from.
And let’s not forget the Malaysian students who went to Indonesia five or six decades ago to study, many of which ended up marrying Indonesians who they brought back to Malaysia and produced Malaysian-Indonesian off-springs with.
So basically what I’m saying is as it is apparent that Indonesia is made up of people with Chinese/Indian/Dutch/Portuguese/Arab/Polynasian/Aborigine ancestry, the same goes for Malaysia. The difference is that in addition to the Malay, Chinese and Indian ancestries that the Malaysians have, Indonesian ancestry is also in the mix, hence the many similarities in our foods, clothing materials, music, etc.
Yet we accuse them of stealing this and that, from our culture to our cuisine. While in fact we are both originally Malay people (the race of which people from the northernmost part of Thailand and people from the Philippines also belong to) sharing many of the same culture and cuisine traits that it’s a little absurd (not to mention difficult) to claim which is whose first to be stolen by the other second.
Personally, instead of calling Malaysia thieves, I think we should ‘steal’ something from them. You all know how in the 60s and 70s we were much more progressed and advanced than them that they sent many of their students to study in Indonesia and hired many teachers and lecturers to teach their younger generation in Malaysia. What I don’t get is why it’s the other way around now, six decades later.
We all know Malaysians aren’t perfect and neither are we, but I do salute their determination and ability to turn up trumps, as today it’s us who send our kids to study in Malaysia; it’s us who are less progressed and are less advanced (technology and economy wise), and it’s us who are lagging behind. I think we should learn from them and ‘steal’ their tips and tricks in pulling a 180 from being blah to hurrah!
After the lengthy explanation above on the origins of both nations and all my positive observation about Malaysia, you may:
a. hate me, or
b. think, “Ok, so we share many traits with Malaysia, but it still doesn’t explain them using the Balinese pendet dance, because Unlike Kalimantan, Sumatra and Java, Bali is very specific and unique, that their culture is not found anywhere but Bali.”
For those of you who chose ‘a’ I will advise you to take a number and wait in line. For those who opted ‘b’ Ok, point well taken. But the thing is, the recent debacle over the Pendet dance that we claimed to have been used by the Malaysian government in an advertisement they have made to promote their country, an issue that turned countless Indonesians angry, with our Minister of Tourism hastily sending a letter to his Malaysian counterpart, demanding the ad campaign be removed, is a more complicated than it seemed.
Turns out, the whole thing was a misunderstanding and a BIG mistake on our part. And let me emphasize on the BIG MISTAKE. Apparently out of the 250 million or so people living in the beautiful archipelago we call Indonesia, none of us did our homework thoroughly before blasting bullets to the so-called ‘enemy of the state’ a.k.a, Malaysia because,
- The advertisement wasn’t made by the Malaysian government or anybody in Malaysia,
- The ‘advertisement’ isn’t even an advertisement to promote their country as we have made to believe,
- The ‘advertisement’ was an ad created by the Asian Discovery channel to promote one of their TV shows. The TV station have acknowledged their mistake and apologized for it, after where some embarrassed Indonesians re-directed their anger at, what with Discovery channel being owned by the usual suspects and all (and by usual suspects I mean Americans and Jews – who most Indonesians believe are the evil culprits who monopolize all information flow in the world *yawns* thus are TRUE ‘enemy of the state’ as opposed to Malaysians because at the end of the day, we are all a big beige/brown nation sharing the same culture, language and religion)
Some people went as far as protesting in front of the Malaysian Embassy over their ‘unauthorized use of the Pendet dance’ in their ‘mysterious advertisement’ and a small radical group even performed ‘raids’ on Malaysians on the streets of Jakarta, against stern warnings from the Indonesian Police Force. Why the Indonesian media blew the accusations out of proportion which created havoc but didn’t really publish the truth after they found out (with the exception of The Jakarta Globe), is beyond me.
But as I wrote in one of my older posts, the Indonesian media is as responsible to many of the things happening in our country as the Indonesian people themselves (who are easily provoked by these so-called ‘news’ and then usually go run amok like a drunken bull before getting all their facts and figures straight).
Now as if that’s not embarrassing enough, our resurfaced accusations of Malaysians using one of our folk songs called Terang Bulan and turning it into their National Anthem has really put us in a shit-hole.
Leading Indonesian musician and artist, Remy Sylado, as quoted by The Jakarta Globe, said the so-called Indonesian song “Terang Bulan” (“Moonlight”) was actually an adaptation of “La Rosalie,” which was composed in the 19th century by Pierre-Jean de Beranger of Francey.
Citing a Dutch historical text on national anthems, Sylado said the song became popular in the former French colony of the Seychelles and arrived in the Malay archipelago at the turn of the 20th century, where it was eventually used as the basis for Malaysia’s anthem, “Negaraku” (“My Country”).
With this new finding, Malaysians can easily accuse us as thieves ourselves. The question remains, Who’s the thief now? Who stole what from who? And, Who is the thief first?
Why are we that easy to provoke, especially when it comes to matters of religion and the relationship of Indonesia and Malaysia? Weren’t we at one point ONE people? Why do we keep on blasting Malaysians for ‘stealing’ our cultural heritage but don’t do much to promote it ourselves? Why do we get angry when a country ‘steals’ our cultural heritage but feel at ease about stealing other people’s culture? (This is in relation to the fact that the Indonesian ‘indigenous’ culture is actually heavily influenced by the Chinese, Arabs, Indians, Aborigines, European, Portuguese, other South East Asian countries, etc.)
Now as a person and a member of our nation we must all ask ourselves. Why are we easily provoked? We should stop this silliness and learn to contain our emotions. Most importantly, true to the saying that those who live in a glass house should not throw stones, we should be aware of our own weaknesses, of the things that we ‘stole’ before accusing other people of ‘stealing’ anything.
Think about it, maybe the truest ‘culture’ we have now is corruption, collusion and nepotism. And that’s not even something to be proud about.
MOVING THE CAPITAL CITY OF INDONESIA DISCOURSE
Discourse of moving the capital city of Indonesia from Jakarta to Palangkaraya is a strong issue following the increasing pressures of life in Jakarta. Jakarta population growth and vehicle craze has made Jakarta not only accumulate environmental issues, but also social and economic dilemma. Each other’s problems has curl and created tensions of social relations. Social conflicts have made the city increasingly unfriendly. Moving capital city from Jakarta to Palangkaraya, according to experts and the Chairman of House of Representatives (DPR), represents a radical long-term solution but necessary.
That discourse of moving the capital city is like a time bomb waiting popped. Severe congestion on the main roads of Jakarta has made the time walk like an old vehicles imposed. Until the year 2015 the streets of Jakarta would be a total loss, while the various solutions offered by the government more short term in nature. This discourse emerged in the seminar organized by the National Development Planning Agency (Bappenas).
Proposed of removal of capital city was also raised by environmentalists as well as lecturer at the University of Atma Jaya, Sony Keraf, in the opinion of the Kompas Daily. According to him, would be many benefits gained by moving the capital city to the eastern of Indonesia. Apart from economic opportunity to create new jobs, the removal will also shift the epicenter of national development from west to east. This shift is the distribution of development efforts so far concentrated only in western Indonesia.
But the removal certainly is not without obstacles. Fees extraordinary move, though not calculated in detail, is the main constraint is real. According to the lecturer of the University of Indonesia, Andrinof Chaniago, as reported in Kompas Daily, removal expenses that could reach 50 trillion in the 5-10 years of development until setled. However, Andrinof not see it as a constraint, in fact this should be viewed as an economic opportunity. Removal expenses amounted to 50 trillion, it can be repaid to allocate 10 trillion rupiah per-year, so the results will not be large when compared to the interests of 100 years (the Indonesian State Budget is 1000 trillion rupiah per year).
Similar opinion was also expressed by the Chairman of the House of Representatives (DPR), Marzuki Alie. According to Him, the removal is better because its position in the middle, easily reached from the eastern and western Indonesia. Strategic addition, the transfer is also to inefficiency, because Jakarta has been unable to bear the congestion. Jakarta is only going to stay into business and commercial city. Marzuki optimistic, the removal of capital city can be completed in five years.
Different opinions submitted by the observers of urban issues, Wicaksono Sarosa. According to him, the removal of capital city outside Java will not effectively reduce the population density and other urban problems. What should be done is to develop urban centers outside Java. He cited the example of China. Formerly the city of Beijing and Shanghai was successively dominated cities of China, but now Shenzen and Guangzhou have been growing very well. By developing other cities outside Java, such as Medan on the Sumatra island and Makassar on Sulawesi Island, then it is enough to reduce the rate of migration.
President of the Republic of Indonesia, Susilo Bambang Yudhoyono, to be more neutral. President invites all parties to examine more deeply the possibility of moving the national capital. Traffic conditions, the annual floods, the burden of population, urbanization and ecological damage and potential earthquake is a major consideration the need to removal of the capital city. But the removal of the central government should not be too far from Jakarta, for example in Jonggol, West Java.
Does the State capital will actually be moved, it was indeed a radical step and long. As long strides, it is necessary to perform in-depth assessment, because we’re not just thinking about 5-10 years of development, but must be 100 years ahead, the rest of a capital city evolve.
*) By : Dadang Sukandar
From : Indonesian Legal Review
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