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January
Of the total peat-land in the world reaching 400 million hectares per February 2016, the area of tropical peat-land is only eight percent. Of that amount, as much as 60 percent are in Southeast Asia. Tropical peat-land is the one which has the richest type of peat in carbon stocks. The benefit of the peat-land, that is only 3% of the total land area in the world, is capable of storing 75% carbon in the atmosphere. Indonesia is known to have the largest tropical peat-land which covers around 11.5 million hectares, while Malaysia has only 7 million hectares.
As the country with the largest tropical swamp peat-land ecosystem in the world, it is natural that Indonesia offers itself to be the world's tropical peat-land center. Indonesia’s experience for year in dealing with forest and land fires and restoring and providing peat protection should be a mainstay. Central Kalimantan and Sumatra are among those nominated as tropical peat-land candidate because they have done a lot of research, utilization and all related things to peat-land management programs.
The international response that appreciates Indonesia's performance in the protection, management and restoration of the burnt peat-lands is one of the reasons why Indonesia deserves to be the world's tropical peat-land center. Head of Research, Development and Innovation Agency of the Ministry of Environment and Forestry, Agus Justianto said that the concept is being discussed.
The management of the tropical peat-land center is planned to be under the Ministry of Environment and Forestry (KLHK) and in collaboration with the Peat-land Restoration Agency (BRG). Currently, the BRG is working on restoration on 2 million hectares of land in 7 provinces until 2019.
BRG itself was set up to deal with peat-land matters and strengthen peat-land regulation through government regulations and ministerial regulations, following the case of forest fires by 2015. According to the Ministry of Environment and Forestry, the effort contributed significantly to the reduction of hotspots. In 2015 – 2017, the number of hotspots dropped dramatically from nearly 22,000 spots to fewer than 2000 spots. This became a successful story of Indonesia in a bid to become a tropical peat-land center.
Head of the Peat-land Restoration Agency, Nazir Foead said that Indonesia will build a center of tropical peat-land ecosystem in Bogor, West Java. This centre will be a place for information sharing. While the peat-land laboratory is located in Riau, Jambi and Kalimantan. The center of this tropical peat-land ecosystem will be a place of learning for other countries that want to know about tropical peat-land and how to restore and care for tropical peat-land. Nazir also remarked that Indonesia has a lot of research on peat-land, and the research should be featured in the center of the tropical peat-land ecosystem. Indonesia also opens up the economic potential of the swamp peat-land whose moisture and humidity are kept. The potentials include genuine timbers of swamp peat-land as a substitute for acacia, peat-land coffee, forest honey, rubber and pineapple.
The efforts made by Indonesia are certainly not meaningful if not supported by similar activities by other countries. However, Indonesia is only a small part of this vast earth. All countries in the world must have the same responsibility to care for the earth.
January
On The BUS
Welcome back to Let’s Speak Bahasa Indonesia, a segment which invites you to learn Bahasa Indonesia. The program ‘Let's Speak Bahasa Indonesia’ is collaboration between Voice of Indonesia, RRI Foreign Broadcasting Station and the Agency for Language Development, the Ministry of Education and Culture of the Republic of Indonesia. Today’s topic is " DI BUS" or in English, “ON THE BUS ”.
First, I’ll introduce some Indonesian vocabulary and idioms related to the topic today. I’ll say each word slowly, twice. You can follow after me.
|
Di bus |
(2X) In English |
On the bus |
|
Mbak |
(2X) In English |
Older sister (Javanese) |
|
Mahasiswi |
(2X) In English |
Female student |
|
Universitas Indonesia |
(2X) In English |
University of Indonesia |
|
Mas |
(2X) In English |
Older brother (Javanese) |
|
Tahu |
(2X) In English |
To know |
|
Lihat |
(2X) In English |
To see |
|
Menunggu |
(2X) In English |
To wait |
|
Di halte |
(2X) In English |
At the bus stop |
|
Turun |
(2X) In English |
To get off |
|
Di mana? |
(2X) In English |
Where? |
|
Depan |
(2X) In English |
Next |
|
Permisi |
(2X) In English |
Excuse me |
|
Silakan |
(2X) In English |
Go ahead |
Next is a conversation on " DI BUS" or in English, “ON THE BUS”.
As usual, I’ll say every sentence slowly, twice, and you can follow after me. The conversation is between Tono (A) and Dewi (B) on the Bus.
|
A |
Apakah mbak mahasiswi Universitas Indonesia? |
(2X) In English |
Are you a student of University of Indonesia? |
|
B |
Ya, bagaimana Mas tahu? |
(2X) In English |
Yes, how do you know? |
|
A |
Saya lihat mbak tadi menunggu bus ini di halte Universitas Indonesia. |
(2X) In English |
I saw you waiting for the bus at University of Indonesia bus stop. |
|
B |
Iya, betul |
(2X) In English |
That’s right. |
|
A |
Turun di mana, mbak? |
(2X) In English
|
Where are you getting off? |
|
B |
Saya turun di halte depan. Maaf Mas, permisi. Saya mau turun. |
(2X) In English
(2X) In English (2X) In English |
I’m getting off at the next bus stop.Excuse me! I’m getting off. |
|
A |
Oh. Silakan, Mbak |
(2X) In English |
Oh, go ahead! |
|
B |
Terima kasih, mas. |
(2X) In English |
Thank you. |
In the dialogue, Dewi said, " Maaf Mas, permisi.” Which in English means simply “Excuse me". The word ‘Mas’ is usually used to address a relatively young man. To address a relatively young woman, you can call her ‘Mbak’. You can also add a name after Mbak or Mas, like Mbak Sinta, Mbak Rani, Mas Tony, or Mas Andi. The term ‘Mas’ and ‘Mbak’ are actually not Indonesian but Javanese, a regional language in Indonesia. The original meaning of Mas is older brother, and Mbak is older sister. However, Mas and Mbak are often used in Indonesian everyday conversation, especially in Java, though not necesarily in other parts of Indonesia. The words are usually used to address a relatively young man and young woman.
January
Tarawangsa
Welcome to the Rhythm of the Indonesian Archipelago, a weekly segment introducing you to Indonesian traditional music and musical instrument from across Indonesia. This week, we’ll invite you to know more about a traditional instrument from West Java. Indonesia is rich of some traditional instruments. Angklung is one of the traditional instruments from West Java which is popular in the world. West Java has not only Angklung or Calung which is made from bamboo, but also various kinds of instruments which are not widely known to the public. Tarawangsa is one of them. This instrument can give magical impression to the soul when being played. There is no definite proof about since when Tarawangsa instrument has appeared in Sundanese land. According to story of Rancakalong people, West Java, Tarawangsa art has existed since the 8th or 9th century. At that time, the glory of ancient Mataram kingdom or Medang was still triumphant. The word of Tarawangsa is called in a number of ancient Sundanese scripts such as Jatiraga or Jatiniskala. In these scripts, it is mentioned that Tarawangsa is musical instrument which is heard in heaven.
The team of Voice of Indonesia –VOI when going to Tasikmalaya some time ago met with Bapak Aseng, a leader of Tarawangsa studio at Cibalong village, Tasikmalaya.
"If I am not mistaken, in the historical book, Tarawangsa has existed at Galuh kingdom, Ciamis or maybe Tasik also entered in Galuh kingdom. So, having wife who created Tarawangsa is an art that is usually played for traditional ceremony. But now, according to the elder, it is for entertainment. If they want to harvest, they are entertained by Tarawangsa; putting the rice into the house is also entertained with Tarawangsa. Thanksgiving to the Almighty because abundant rice, a lot of people call Tarawangsa to entertain.” The Culturist of Tarwangsa Bapak Aseng said.
Tarawangsa is wooden instrument which is played by being plucked and swiped jointly. The instrument consists of sectional stem like guitar and part of fiddle like fiddle of violin. Its string has two strings, the closest string with position of fiddle is played by swiping. Meanwhile, another string is played by being plucked with forefinger. The wood which is used for making the instrument is from tree of Dadap, candleberry, Jengkol, and Kenanga.
The thing, which makes Tarawangsa more unique, is friction tool which uses horse hair. People say, the horse hair produces magical power of Tarawangsa. The tone played in Tarawangsa instrument is usually Laras Pelog in which every octave consists of five, six, or seven tones with different scale. It is accordance with characteristic of Jentreng tone of pelog; with tones da-mi-na-ti-la.
According to pak Aseng, “…The original tone is Lindu. Lindu is basic tones which exist on madenda, degung, pelog, so the basic tone is Lindu.”
Rhythm, which is from Tarawangsa, certainly has its own attraction for people who listen to it. That’s why, most West Java people still consider that Tarawangsa is a holy instrument which is made to entertain Gods in heaven. It causes Tourism Office of Tasikmalaya, West Java to preserve and to introduce Tarawangsa instrument to the public. Dadang, Head Section of Tourism Office of Tasikmalaya explained the Tarawangsa conservation effort.
“…Firstly, it is to coordinate to the artists to attend Tarawangsa conservation because Tarawangsa artist if it is not organized, maybe they will go anywhere. So, there is coordination with related side, especially with tourism office which organizes cultural events in the society and how the way out in order they are also getting spirit in preserving it.” Pak Aseng added.
All efforts are held in order our generation to be able to enjoy amazing Tarawangsa instrument. Hopefully, the efforts will produce the good result for traditional instrument conservation. That was a glimpse of traditional instrument from West Java.
January
Dhira Bongs
Welcome back with me…… in Music Corner, a musical segment which introduces you to Indonesian music -either traditional or modern one. In today’s edition, we will introduce you to Dhira Bongs. Nadhira Soraya Nasution or well-known Dhira Bongs is a female Indonesian musician who was born in Jakarta. Then, she who lives in Bandung, West Java, presents unique music. Generally, musical genre which is played by Bongs is jazz, but especially Dhira Bongs calls it as “Explorative Pop Jazz”.
Music in “explorative pop jazz” style is not presented alone by Dhira Bongs. Although she is soloist, Dhira Bongs often performs on stage together with her friends who play various instruments such as trumpet, trombone, saxophone, flute, violin, percussion, keyboard, bass, and drum.
Until now, Dhira Bongs produces two albums and four singles. The first album of Dhira Bongs entitled “My Precious” was released in 2013.While, “Head Over Heels” becomes a title of Dhira Bongs’ second album in 2016. Her fourth single is “Puncak Pohon Bandung”,
“Really Do”, “Make Me Fall in Love”, and “Struggling”.
Dhira Bongs often performs on stage, starting in Bandung, national jazz performance, until tour in Japan. All her performances on stage are always appreciated by her fans.