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Hasil gambar untuk foto pura petali forest Hasil gambar untuk foto pura besikalung



Welcome to the segment of My Indonesia.

Indigenous Forest as a valuable area is important for indigenous peoples, can not only serve as a source of community’s economy, like the Social Forestry scheme, but also serves as a place or habitat for wildlife conservation. Realizing it, the Ministry of Environment and Forestry-KLHK through Bali's Natural Resources Conservation Center (BKSDA) along with Friend of National Park Foundation, conducted animal release in Pura Besikalung and Pura Petali Indigenous Forests, Penebel Sub-district, Tabanan Regency, Bali Province on Saturday (19/5).

Dadang Wardhana, Head of Conservation Center of Natural Resources BKSDA Bali, said that the wild animals are 7 porcupines species (Histrix brachyura), 1 Pangolin (Manis Javanica), 1 pariah eagle (Milvus migrant), 1 sanca batik (Phyton reticulatus ) and several species of snakes. He said that the animals were the result of confiscation and submission of the community, who have been rehabilitated at Bali Wildlife Rescue Center (PPS) and Bali Reptile Rescue.

Dadang Wardhana moreover added, the release of animals is one of conservation efforts to prevent extinction. He also said in addition to habitat adjustment, the people’s commitment to keep the animal preservation, become consideration of the chosen Pura Besikalung and Pura Petali as the release location of the wild animals.

Animal Rescue Center (PPS) of Bali and Bali Reptile Rescue are the agencies under the management of Pencinta Taman Nasional Foundation. Also present to support the release activity were representative of the Military Rayon Commander, Chief of District Police and Head of Penebel subdistrict, academicians of Udayana University's Veterinary Faculty, and Babahan Village community, Penebel sub-district.




Today in History over RRI World Service, Voice of Indonesia. We start from an event on May 24, 1989 Sudirman cup for the first time was held in Jakarta.

Sudirman Cup is international badminton championship for mixed team numbers, matches men’s single number, women’s single number, men’s doubles, women’s doubles and  mixed doubles. The championship is held every two-year. The name of Sudirman is taken from a figure’s name of Indonesian badminton, Dick Sudirman. He is one of founders of badminton throughout Indonesia. The championship was initiated by Indonesia in 1986. Sudirman Cup was held for the first time at Istora Gelora Bung Karno, Jakarta on May 24 – 29, 1989. At the championship, Indonesia succeeded as champion by defeating South Korea with score 3-2.

The next event is that May 24, 1993 is about the independence day of Eritrea.

Eritrea is a country which is located in the East of Africa. Eritrea borders with Sudan in the West, Ethiopia in the South, and Djibouti in the Southeast. Red Sea in the East of Eritrea separates the country with the Middle East Region. Eritrea was ever colonized by Italy. Eritrea territory separated itself from Ethiopia and gained its independence on May 24, 1993 after fighting for   30 years.

And the last event was in 2000, when Israel retreated from South Lebanon.

After 22 years occupying South Lebanon, precisely on May 24 Mei, 2000, finally Israel forces retreated from the territory. In 1978, Israel forces for the fourth times attacked Lebanon. Earlier, Israel built security line in South Lebanon territory and formed a semi-military group. The group consisted of Lebanon hireling. Syiah Hizbullah group conducted campaign to fight against them until pro-Israel group surrendered.


Hasil gambar untuk foto rampak bedug


Welcome to the Rhythm of the Indonesian Archipelago!

In today’s edition, we will invite you to visit Banten namely Pandeglang. Actually, this region is not far from Jakarta. The province was part of West Java province but it has been expanded since 2000 based on the law No. 23/2000. Its central government is in Serang. The region has traditions which are still preserved by people and supported by Banten Tourism Office. One of the traditions which is still preserved by Pandeglang people is Rampak Bedug.

Almost in all mosques, Bedug is found and used by local people as media to remind obligatory prayers’ time. The word of “Rampak” means “Serempak” or in English means ‘Simultaneous’. So, “Rampak Bedug” is bedug art by using Waditra, namely “many” bedugs and beaten simultaneously and it produces beautiful typical rhythm. Rampak Bedug only exists in Banten as characteristic of Banten’s culture. Rampak Bedug” is development of bedug art or Ngadulag. Ngabedug can be played by someone professional. The Head of Tourism Agency of Banten on 2016 DR. Moh. Ali Fadilah explain history of Banten kingdom.

“…Long before the establishment of Banten Sultanate, there was Sundanese kingdom which was not different from its tradition, and language with West Java. When the sultanate entered to Banten region, there was cultural assimilation between Javanese and Sundanese cultures. Thus, Banten has many sources which can be found from local tradition. It can be seen from its art, and its north beach. Take, for example, many arts are in Islamic nuance; South Banten has more traditions related to religious rituals, especially to commemorate or just express gratitude to the God on its abundant harvest.” He said.

Rampak Bedug was performed for the first time in 1950s. At that time, in Pandeglang district, competition was held among hamlets. Then, in 1960-1970, Haji Ilen created creative dance in Rampak Bedug which has developed today. Then, Rampak Bedug is again developed by Burhata, Juju, and Rahmat. Therefore, Haji Ilen and his friends are the figures of Rampak Bedug art. From those artists, Rampak Bedug art spread to other regions. Until the end of 2002, there were many Rampak Bedug groups. For the first time, Rampak Bedug was to welcome the holy month of Ramadhan and Idul Fitri. Its performance is like Ngabedug or Ngadulag. Meanwhile, Banten Culturist, Rohaendi give brief information about how the tradition begins.

“…At the beginning, to compete bedug was to show masculinity of a hamlet where young men or residents of the hamlet had power. More bedugs which are owned showed that the hamlet had a man who was stronger. When Idul Fitri or when Ramadan came, there was a tradition where residents conducted bedug nganjor. Nganjor was to move. Certainly, its bedug was not as big as bedug which was beaten when there was a competition. Because the then nganjor was mobile and its bedug was smaller to carry around alleyway. Those people who carried it shouted one another and then, they met in one place to play together.” He said.

Bedug itself is one of percussion instruments. Interestingly, the typical bedug of Banten is not made from wood like other bedugs in Indonesia. Bedug from Banten is made from coconut trunk which is perforated on the middle. Then, one side is covered by using cow leather and tied with disc earring made from guava tree. Rampak Bedug is genial art and can attract the audiences, so that Rampak Bedug is worth selling, similar with other commercial musical arts. Although the originators and players are based on religious motivation, Rampak Bedug artists and creators view it as a valuable work of art.

“…According to the people in Pandeglang, Bedug is a tradition which becomes power and symbol of masculinity. Then, it develops as other traditions and it follows the changing times, which originally came from music only. When there is requirement for performance, technical elements of the performance are combined with the art. There are choreography, fashion arrangement, stage arrangement and many others. Now, people call it as Rampak Bedug. Actually, it is not only music but also dance, fine art, theater in it .” Rohaendi continue.

Religious, economic and creative values make Banten people be able to preserve Rampak Bedug. The functions of the values make Rampak Bedug survive from the influence of foreign culture which is loved by young generation. Rampak Bedug is not only an art for Banten people but also a tradition.

“…A tradition will survive if people need it. It is impossible, if people want to preserve it without surviving it.  And Karang Tanjung, belonging to Kembang Tanjung studio proves that they do not only talk but also do it.  What the elder did with various creations and packages still survives and this is loved by young people.” He added.

Creative art will develop rapidly. Rampak Bedug is getting richer and richer with creativity without eliminating values which have been determined in the art.  Diversity and togetherness exist clearly in Rampak Bedug.



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Deputy Chairman of the People's Consultative Assembly -MPR, Hidayat Nur Wahid says that it’s important to re-affirm that Pancasila is the culture of Indonesian nation. So, Pancasila can penetrate into the soul of all Indonesian people. This was stated by Hidayat Nur Wahid at the National Cultural Workshop with the theme 'Pancasila Culture as Indonesian Civilization' held by MPR Assessment Institute (Lemkaji) at Parliament Building in Jakarta last Tuesday. (15/05).

As quoted from, Hidayat Nur Wahid said that it’s necessary to re-enliven Pancasila culture today, remembering that there has been rampant reoccurrence of terror and terrorism issues more recently. Hidayat Nur Wahid believed that if the Indonesian people implement Pancasila well, the problem of terror and terrorism can be overcome. He also explained the first principle of Pancasila, the One Supreme God; there is not any religion teaching terror and terrorism.

Meanwhile, Chairman of MPR Assessment Institute, Rully Chairul Azwar said that Pancasila does not color the economic, political, and legal system because there is a gap between the moral and reality. He also affirmed that Indonesian nation should not be doubtful to make Pancasila as the base of value to build the nation. Rully added that Indonesia has Pancasila whose values are pure and ​​it was created by the founders of the nation. From Pancasila, Indonesian nation has the initial capital of civilization development because Pancasila is the ideology, the basic philosophy of state, and national identity of Indonesia.

Rully Chairul Azwar regretted that there are still elites and some people who have not made Pancasila as culture into behavior to form civilized personality. He also pointed out that making Pancasila as a value base to build the nation toward a developed nation is very important because cultural links with the development of civilization need not be doubted.