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Jumat, 28 Desember 2012
Kamis, 27 Desember 2012
After his death the night, I woke up from a long dream about the wonderful life with you ... and I realized, it was just a dream story.
MY dear ...,
This happy always accompany your days with him, you have been re-fused, making love affection, knitting rindumu long obsolete. Maintaining hope that never interrupted By the time.
Glad I saw you with him, not because I do not love you, but ..., 'cause you know love is not a must have. Our love is a gift from Him.
I never deny ..., hadirmu my side that time, it is not a coincidence, or just an escape Love you, You're so mean to me,
But ...,
There is still a lump of liver need you, love you, love you, with all your soul body.
I relented .., not for happiness,
I backed away ..., For the amount I love you.
I Know ..., Some heart is still divided
I do not want .., Doubt it kills love.
my dear dear ...,
Hug your love, still made an impression on all the joints all over its body. It is not so confounding life. even it is a precious gift from you. because I know Your love to me was not apparent, and not to the extent that your sweet dibibir said.
my dear ..,
Blessed with her, Accompany him through life, I Ikhlas let you, not because I was not love but .., because the amount of love you
Tetes air mata mengiringi duka.
Rasa penyesalan membelenggu pikiran.
kerinduan menjerit di hati memanggil nama mu.
Rasa penyesalan membelenggu pikiran.
kerinduan menjerit di hati memanggil nama mu.
MAAF KAN AKU……….
Yang tak pernah mengerti hadir mu.
Ku rindukan hadir mu oh Dinda.
Ku sungguh merindukan nya.
Yang tak pernah mengerti hadir mu.
Ku rindukan hadir mu oh Dinda.
Ku sungguh merindukan nya.
Sosok yang tegar bagaikan karang.
Petunjuk hidup bagaikan imam.
Sosok lembut yang bisa membuat ku tenang.
Petunjuk hidup bagaikan imam.
Sosok lembut yang bisa membuat ku tenang.
sekarang,, hanya do’a yang bisa Q panjatkan untuk mu.
Alunan dzikir untuk mu Q alunkan di sela kerinduan ku.
Alunan dzikir untuk mu Q alunkan di sela kerinduan ku.
Walau pun kau berada jauh di alam sana, tp nama mu kn selalu ada d dalam ingatan ku.
Kenangan itu kn selalu membekas d jalan hidup ku.
Kenangan itu kn selalu membekas d jalan hidup ku.
Maaf kan aku dinda…
yang selalu bersikap bodoh saat kau ada di dunia………………………
yang selalu bersikap bodoh saat kau ada di dunia………………………
How to Read a Poem
the guidelines below to learn how to read a poem and understand it.- Read with a pencil
- Examine the basic subject of the poem
- Consider the context of the poem
- Study the form of the poem
- Look at the word choice of the poem
- Finishing Up
Read with a pencil
Read a poem with a pencil in your hand.
Mark it up; write in the margins; react to it; get involved with it. Circle important, or striking, or repeated words. Draw lines to connect related ideas. Mark difficult or confusing words, lines, and passages.
Read through the poem, several times if you can, both silently and aloud.
Examine the basic subject of the poem
- Consider the title of the poem carefully. What does it tell you about the poem's subject, tone, and genre? What does it promise? (After having read the poem, you will want to come back to the title in order to consider further its relationship with the poem.)
- What is your initial impression of the poem's subject? Try writing out an answer to the question, "What is this poem about?"--and then return to this question throughout your analysis. Push yourself to be precise; aim for more than just a vague impression of the poem. What is the author's attitude toward his or her subject?
- What is the poem's basic situation? What is going on in it? Who is talking? To whom? Under what circumstances? Where? About what? Why? Is a story being told? Is something--tangible or intangible--being described? What specifically can you point to in the poem to support your answers?
- Because a poem is highly compressed, it may help you to try to unfold it byparaphrasing the poem aloud, moving line by line through it. If the poem is written in sentences, can you figure out what the subject of each one is? The verb? The object of the verb? What a modifier refers to? Try to untie any syntactic knots.
- Is the poem built on a comparison or analogy? If so, how is the comparison appropriate? How are the two things alike? How different?
- What is the author's attitude toward his subject? Serious? Reverent? Ironic? Satiric? Ambivalent? Hostile? Humorous? Detached? Witty?
- Does the poem appeal to a reader's intellect? Emotions? Reason?
Consider the context of the poem
- Are there any allusions to other literary or historical figures or events? How do these add to the poem? How are they appropriate?
- What do you know about this poet? About the age in which he or she wrote this poem? About other works by the same author?
Study the form of the poem
- Consider the sound and rhythm of the poem. Is there a metrical pattern? If so, how regular is it? Does the poet use rhyme? What do the meter and rhyme emphasize? Is there any alliteration? Assonance? Onomatopoeia? How do these relate to the poem's meaning? What effect do they create in the poem?
- Are there divisions within the poem? Marked by stanzas? By rhyme? By shifts in subject? By shifts in perspective? How do these parts relate to each other? How are they appropriate for this poem?
- How are the ideas in the poem ordered? Is there a progression of some sort? From simple to complex? From outer to inner? From past to present? From one place to another? Is there a climax of any sort?
- What are the form and genre of this poem? What should you expect from such a poem? How does the poet use the form?
Look at the word choice of the poem
- One way to see the action in a poem is to list all its verbs. What do they tell you about the poem?
- Are there difficult or confusing words? Even if you are only the slightest bit unsure about the meaning of a word, look it up in a good dictionary. If you are reading poetry written before the twentieth century, learn to use theOxford English Dictionary, which can tell you how a word's definition and usage have changed over time. Be sure that you determine how a word is being used--as a noun, verb, adjective, adverb--so that you can find its appropriate meaning. Be sure also to consider various possible meanings of a word and be alert to subtle differences between words. A good poet uses language very carefully; as a good reader you in turn must be equally sensitive to the implications of word choice.
- What mood is evoked in the poem? How is this accomplished? Consider the ways in which not only the meanings of words but also their sound and the poem's rhythms help to create its mood.
- Is the language in the poem abstract or concrete? How is this appropriate to the poem's subject?
- Are there any consistent patterns of words? For example, are there several references to flowers, or water, or politics, or religion in the poem? Look for groups of similar words.
- Does the poet use figurative language? Are there metaphors in the poem? Similes? Is there any personification? Consider the appropriateness of such comparisons. Try to see why the poet chose a particular metaphor as opposed to other possible ones. Is there a pattern of any sort to the metaphors? Is there any metonymy in the poem? Synechdoche? Hyperbole? Oxymoron? Paradox? A dictionary of literary terms may be helpful here.
Finishing Up
- Ask, finally, about the poem, "So what?" What does it do? What does it say? What is its purpose?
Easy Way To Begin
Poetry is the dramatization of experience in metrical language. To study or analyze poetry, one must consider many elements. A good way to start is by reading the poem silently. Then read the poem a second (third, fourth) time aloud. Reading the poem aloud makes its meaning clearer and you will hear the various poetic sound devices such as alliteration, rhyme, rhythm, etc. Then try writing down a brief summary to make sure that you are understanding the poem. Remember to read sentence by sentence not line by line.
Questions To Answer Before Writing
| 1. | Who is speaking? | 10. | End rhyme scheme? | |
| 2. | To whom? | 11. | Alliteration? | |
| 3. | About? | 12. | Assonance? | |
| 4. | Tone? | 13. | Consonance? | |
| 5. | Examples of abstract imagery? | 14. | Caesura? | |
| 6. | Examples of concrete imagery? | 15. | Enjambment? | |
| 7. | Examples of denotative language? | 16. | Theme? | |
| 8. | Examples of the 5 figurative devices? | 17. | Rhythm / Meter? | |
| 9. | Examples of rhetorical devices? | 18. | Syntax? |
Writing Your Paper
The actual writing of the paper is probably the easiest task because you have already identified everything that needs to be covered. You may wish to cover all the important items in your own order, however, the order listed above does work well.
Most likely you will not be able to simply write a few lines for each device, rather you must group these devices together. A proper order of paragraphs may flow like this:
| I. | Dramatic Situation |
| A. | Who is speaking? | |
| B. | To whom is that speaker speaking? | |
| C. | What is the situation? | |
| D. | What is the speaker's tone? | |
| II. | Imagery |
| III. | Theme |
| IV. | Diction (word choice) |
| A. | Connotation (suggested meaning of words) | |
| B. | Denotation (dictionary definition) | |
| C. | Abstract (can only be understood intellectually) | |
| D. | Concrete (words describing physical objects) | |
| E. | Kinds of language |
| 1. | Figurative |
| a. | Metaphor (implied comparisons) | |||
| b. | Simile (comparison using 'like' or 'as') | |||
| c. | Personification (giving human characteristics to an inanimate object) | |||
| d. | Metonymy (the use of an attribute or quality of an object to represent the object itself) | |||
| e. | Synecdoche (substitutes a significant part of something for the thing itself) |
| 2. | Rhetorical |
| a. | Irony (opposite of what is meant) | |||
| b. | Hyperbole (exaggeration) | |||
| c. | Allusion (reference to something) | |||
| d. | Pun (play on words) | |||
| e. | Paradox (contradictory) | |||
| f. | Oxymoron (self contradictory term) | |||
| g. | Litotes (form of understatement) | |||
| V. | Syntax (sentence structure) |
| A. | Length | |
| B. | Transposed elements | |
| C. | "Unusual" sentences |
| VI. | Conclusion |
Remember, when you are writing this paper you should use direct quotes wherever you can, you should vary your sentence structure, and all rules of grammar still apply.
Senin, 17 Desember 2012
tidak lepas dari peran penting seorang wanita putri seorang kepala gereja di St. Marks yaitu Anna Connel. Dialah satu-satunya wanita yang pernah mendirikan sebuah klub sepakbola di tanah Inggris. Pada tahun 1880, Anna dibantu beberapa orang dari gereja, mendirikan sebuah klub sepakbola yang bernama St. Marks (West Gordon) yang tujuannya untuk mengurangi kejahatan dan pengangguran yang saat itu sangat tinggi.
Pada tahun 1987, klub berganti nama menjadi Ardwick A.F.C setelah pindah ke kawasan Ardick. Namun pada tahun 1893, klub mengalami krisis keuangan yang sangat akut dan setelah menjalani berbagai program dereorganisasi, pemilik klub akhirnya mengganti nama Ardick AFC menjadi Manchester City FC yang namanya bertahan sampai saat ini.
Lambang klub Manchester City yang saat ini baru mulai digunakan pada tahun 1997, dikarenakan bahwa lambang sebelumnya tidak memenuhi syarat untuk didaftarkan sebagai merek dagang. Lencana tersebut didasarkan pada lengan kota Manchester, dan terdiri dari sebuah perisai di depan sebuah elang emas. Fitur perisai kapal pada setengah bagian atas menggambarkan Kanal Kapal Manchester, dan tiga garis-garis diagonal di bagian bawah, menggambarkan kota tiga sungai. Bagian bawah terdapat pita dengan tulisan Superbia in Praelio, yang artinya dalam Bahasa Latin adalah Kebanggaan di Pertempuran atau dalam Bahasa Inggris Pride in The Battle. Di atas elang ada tiga bintang tiga, yang murni hanya sebagai dekorasi.
Berikut ini profil singkat mengenai sejarah Manchester City yang mempunyai julukan The Citizens dan biasa juga disebut Man City atau M City.
| Posisi | Nama |
|---|---|
| Pemilik | Syekh Mansour Bin Zayed Al Nahyan |
| Presiden | Khaldoon Al Mubarak |
| Ketua Eksekutif Sementara | John MacBeath |
| Pimpinan EksekutifDirektur Komunikasi Direktur Administrasi Sepakbola Direktur Infrastruktur Direktur Operasional Direktur Merek dan Komersial Direktur Sosial Komunitas | Victoria Kloss Brian Marwood Jonathan Stemp Graham Wallace Ian Cafferky Sarah Lynch |
| Presiden Seumur Hidup |
|
| Presiden Kehormatan |
|
| Sekertaris Klub | Rebecca Firth |
Prestasi :
- 1 kali juara Piala Winners (1969/70)
- 3 kali juara Liga Primer (plus Divisi Satu lama, 1936/37, 1967/68, 2011/12)
- 7 kali juara Divisi Satu (Divisi Dua lama, 1898/99, 1902/03, 1909/10, 1927/28, 1946/47, 1965/66, 2001/02)
- 5 kali juara Piala FA (1903/04, 1933/34, 1955/56, 1968/69, 2010/11)
- 2 kali juara Piala Liga (1969/70, 1975/76)
- 4 kali juara Charity Shield (1937, 1968, 1972, 2012)
Minggu, 09 Desember 2012
As language instructors, everything we do on a daily basis has the potential of becoming a teaching tool. For example, when we hear a song, we think of how we can use the lyrics for language teaching. When we prepare foods, we think of teaching foreign language command forms to our students. Everything around us provides a context for a language learning opportunity. The same thing applies to our use of technology. Whenever we use technology in its various forms (emails, essay writing, podcast listening, chats, social interaction, spreadsheets, etc.) there is almost always a potential application to our language teaching. This, again, is a type of "context" for language teaching because we are taking the environment around us and using that to help students make associations and links.
The following video provides an example of a way to use a DocCam in language teaching, but the idea only came while using the item in class. As you watch the video, think of similar experiences that you might have had.
te/te-02-03-doing-1.xml
Dr. Kelm describes how he got a new idea for the use of a DocCam in class.
Duration: 01:23
It is in the using of technology that we get new ideas on how to create teaching opportunities. That is to say, we are looking at our teaching in the context of the environment that surrounds us.
In the following video Vince shares his experience of using Google Docs to help his students work together on a joint writing project. Notice that he did not begin the activity with the idea, but he saw the students struggling with group dynamics and divided responsibilities. His awareness of Google Docs provided him with a new way to help the students organize their task and share responsibilities.
te/te-02-03-doing-2.xml
Vince shares how he got the idea of how to use Google Docs in a class on literary analysis.
Duration: 01:43
Access to Technology
In this next video clip a student laments that the access to these types of computers and online materials is limited to institutions (like the University of Texas) that have the resources available.
te/te-04-06-thirdworld.xml
What to do when you don't have access to a certain type of technology.
Duration: 00:50
This is an excellent observation and question. Recently a graduate student from U.T.'s MA program in the Department of Spanish and Portuguese returned to Brazil to teach high school students in rural areas. Those students don't even have books, let alone high speed internet access. What do we do in these situations?
In these situations, teachers must see how technology is used in the society and mirror that for teaching purposes. Perhaps, as suggested in the previous video clip, applications like blogs could be an extension of the course, but couldn't be part of the in-class activities.
The following video provides an example of a way to use a DocCam in language teaching, but the idea only came while using the item in class. As you watch the video, think of similar experiences that you might have had.
te/te-02-03-doing-1.xml
Dr. Kelm describes how he got a new idea for the use of a DocCam in class.
Duration: 01:23
It is in the using of technology that we get new ideas on how to create teaching opportunities. That is to say, we are looking at our teaching in the context of the environment that surrounds us.
In the following video Vince shares his experience of using Google Docs to help his students work together on a joint writing project. Notice that he did not begin the activity with the idea, but he saw the students struggling with group dynamics and divided responsibilities. His awareness of Google Docs provided him with a new way to help the students organize their task and share responsibilities.
te/te-02-03-doing-2.xml
Vince shares how he got the idea of how to use Google Docs in a class on literary analysis.
Duration: 01:43
Access to Technology
In this next video clip a student laments that the access to these types of computers and online materials is limited to institutions (like the University of Texas) that have the resources available.
te/te-04-06-thirdworld.xml
What to do when you don't have access to a certain type of technology.
Duration: 00:50
This is an excellent observation and question. Recently a graduate student from U.T.'s MA program in the Department of Spanish and Portuguese returned to Brazil to teach high school students in rural areas. Those students don't even have books, let alone high speed internet access. What do we do in these situations?
In these situations, teachers must see how technology is used in the society and mirror that for teaching purposes. Perhaps, as suggested in the previous video clip, applications like blogs could be an extension of the course, but couldn't be part of the in-class activities.
Sabtu, 08 Desember 2012
Jumat, 07 Desember 2012
Messi menyatakan kondisinya sekarang ini sudah jauh lebih baik. Tapi sebelumnya pemain Barcelona itu mengaku sempat khawatir karirnya terancam.Gara-garanya adalah cedera lutut yang dialaminya saat Barcelona ditahan imbang Benfica di Liga Champions dinihari tadi. Messi mendapatkan cederanya usai bertabrakan dengan kiper Benfica.
"Saya sebelumnya mengira tendangan yang saya buat merupakan tendangan terakhir saya karena harus absen panjang sebab cedera," kata Messi, Kamis (6/12).
"Saya berusaha untuk terus bermain dan menendang, tapi saya tak memiliki kekuatan untuk melakukannya."
"Tapi saya kini sudah baik-baik saja, meski belum tahu apakah sudah bisa kembali bermain di hari Minggu. Kita lihat saja nanti," tandasnya.
Hasil tes menunjukkan Messi hanya mengalami luka memar.
Wanita dengan bulu berlebihan di tubuh acapkali dikaitkan dengan libido tinggi. Padahal tak selalu demikian. Yang pertama harus diketahui dari wanita yang memiliki banyak bulu di tubuhnya adalah: 
apakah itu terjadi sejak lahir atau saat menginjak usia dewasa?
“Kalau sejak lahir bulunya sudah banyak berarti sifatnya genetik, memang ada keturunan seperti itu. Tapi kalau baru muncul setelah dewasa kemudian disertai dengan obesitas, ada kemungkinan karena dia tidak bisa membentuk hormon kewanitaannya secara sempurna,” kata dr Noroyono Wibowo SpOG (K) yang juga Ketua Perhimpunan Obstetri dan Ginekologi Indonesia (POGI).
Jika itu terjadi maka dampaknya cukup banyak, seperti misalnya gangguan menstruasi. Dan biasanya gangguan menstruasi ini menyebabkan wanita tersebut kesulitan memiliki keturunan.
Namun, wanita dengan bulu berlebih tak perlu khawatir, sebab masalah tersebut masih bisa diterapi. “Untuk pengobatannya jelas ada, tapi tentu saja butuh pemeriksaan dulu. Apakah karena ada resistensi insulin atau sebab lain,” kata dokter yang akrab dipanggil dr Bowo.
Biasanya, wanita memilih menempuh waxing untuk mengatasi bulu-bulu berlebih di tubuhnya. Teknik tersebut, lanjut dr Bowo, tidak berbahaya tapi sifatnya kamuflase saja. Sebab, biarpun di-wax, rambut akan tumbuh dan tumbuh lagi.
Langkah terbaik adalah dicari dulu sebabnya. Apakah hirsutism ini tergolong penyakit atau bukan?
“Ada tidaknya penyakit tidak hanya terlihat dari pertumbuhan rambut saja, tapi apakah dibarengi tanda lain? Misalnya apakah dibarengi jerawatan, muncul bercak kecokelatan pada kulit?” ujarnya.
Yang pasti, jika seorang wanita memiliki bulu berlebihan cenderung seperti laki-laki, sebaiknya berkonsultasi ke dokter. “Bisa saja ke dokter Obgyn. Nanti akan dilakukan pemeriksaan ultrasonografi maupun pemeriksaan darah,” katanya.
Lamanya waktu pengobatan sangat tergantung penyebabnya. Namun terapi tersebut paling tidak butuh 6 bulan- 1 tahun.
“Jadi tergantung hasil pemeriksaan. Hirsutism itu patologis atau tidak? Tumbuhnya di sebelah mana? Lalu membentuk pattern kayak gimana?” tambahnya.
Sebagai gambaran, normalnya bulu kemaluan wanita harus membentuk seperti celana dalam. Namun kalau bulu kemaluannya membentuk seperti celana dalam terbalik dan dadanya juga berbulu, termasuk dalam pattern laki-laki.
“Kalau hanya sekedar bulunya lebat tapi pattern-nya masih perempuan, ya nggak apa-apa. Jadi kalau misalnya ada wanita dengan bulu ketiak lebat tapi dadanya tak berbulu, ya nggak apa-apa. Memang sudah bawaannya seperti itu,” jelasnya.
Yang menjadi masalah, lanjutnya, bila bulu ketiaknya lebat, memiliki bulu dada, dan pattern bulu kemaluan seperti celana dalam terbalik laiknya laki-laki.
Lalu benarkah wanita dengan bulu berlebih cenderung memiliki libido tinggi? Menurutnya, pertumbuhan bulu berlebih (cenderung kelaki-lakian) tidak serta merta meningkatkan libido.
“Libido itu tergantung persepsi. Kalau dari kecil tidak diajari atau tidak diinklus dengan seks, pengetahuan tentangnya seksnya nggak akan timbul,”tandasnya.
apakah itu terjadi sejak lahir atau saat menginjak usia dewasa?
“Kalau sejak lahir bulunya sudah banyak berarti sifatnya genetik, memang ada keturunan seperti itu. Tapi kalau baru muncul setelah dewasa kemudian disertai dengan obesitas, ada kemungkinan karena dia tidak bisa membentuk hormon kewanitaannya secara sempurna,” kata dr Noroyono Wibowo SpOG (K) yang juga Ketua Perhimpunan Obstetri dan Ginekologi Indonesia (POGI).
Jika itu terjadi maka dampaknya cukup banyak, seperti misalnya gangguan menstruasi. Dan biasanya gangguan menstruasi ini menyebabkan wanita tersebut kesulitan memiliki keturunan.
Namun, wanita dengan bulu berlebih tak perlu khawatir, sebab masalah tersebut masih bisa diterapi. “Untuk pengobatannya jelas ada, tapi tentu saja butuh pemeriksaan dulu. Apakah karena ada resistensi insulin atau sebab lain,” kata dokter yang akrab dipanggil dr Bowo.
Biasanya, wanita memilih menempuh waxing untuk mengatasi bulu-bulu berlebih di tubuhnya. Teknik tersebut, lanjut dr Bowo, tidak berbahaya tapi sifatnya kamuflase saja. Sebab, biarpun di-wax, rambut akan tumbuh dan tumbuh lagi.
Langkah terbaik adalah dicari dulu sebabnya. Apakah hirsutism ini tergolong penyakit atau bukan?
“Ada tidaknya penyakit tidak hanya terlihat dari pertumbuhan rambut saja, tapi apakah dibarengi tanda lain? Misalnya apakah dibarengi jerawatan, muncul bercak kecokelatan pada kulit?” ujarnya.
Yang pasti, jika seorang wanita memiliki bulu berlebihan cenderung seperti laki-laki, sebaiknya berkonsultasi ke dokter. “Bisa saja ke dokter Obgyn. Nanti akan dilakukan pemeriksaan ultrasonografi maupun pemeriksaan darah,” katanya.
Lamanya waktu pengobatan sangat tergantung penyebabnya. Namun terapi tersebut paling tidak butuh 6 bulan- 1 tahun.
“Jadi tergantung hasil pemeriksaan. Hirsutism itu patologis atau tidak? Tumbuhnya di sebelah mana? Lalu membentuk pattern kayak gimana?” tambahnya.
Sebagai gambaran, normalnya bulu kemaluan wanita harus membentuk seperti celana dalam. Namun kalau bulu kemaluannya membentuk seperti celana dalam terbalik dan dadanya juga berbulu, termasuk dalam pattern laki-laki.
“Kalau hanya sekedar bulunya lebat tapi pattern-nya masih perempuan, ya nggak apa-apa. Jadi kalau misalnya ada wanita dengan bulu ketiak lebat tapi dadanya tak berbulu, ya nggak apa-apa. Memang sudah bawaannya seperti itu,” jelasnya.
Yang menjadi masalah, lanjutnya, bila bulu ketiaknya lebat, memiliki bulu dada, dan pattern bulu kemaluan seperti celana dalam terbalik laiknya laki-laki.
Lalu benarkah wanita dengan bulu berlebih cenderung memiliki libido tinggi? Menurutnya, pertumbuhan bulu berlebih (cenderung kelaki-lakian) tidak serta merta meningkatkan libido.
“Libido itu tergantung persepsi. Kalau dari kecil tidak diajari atau tidak diinklus dengan seks, pengetahuan tentangnya seksnya nggak akan timbul,”tandasnya.
Rabu, 05 Desember 2012
Milan : Menjamu Zenit St Petersburg di match day keenam Grup C Liga Champions, Rabu (5/12) dinihari, pelatih AC Milan Massimiliano Allegri mengistirahatkan sejumlah pemain intinya. Mereka antara lain Nigel De Jong, Antonio Nocerino, dan Stephan El Shaarawy yang akhirnya dimainkan di babak kedua.
Bermain di depan pendukungnya, Milan tampil menekan sejak menit-menit awal. Urby Emanuelson nyaris membawa tuan rumah unggul pada menit 15. Namun, tendangan gelandang asal Belanda ini masih bisa dihalau bek Zenit.
Milan terus menekan melalui kombinasi Giampaolo Pazzini, Bojan Krkic, serta Emanuelson. Namun, belum juga menghasilkan gol. Justru Zenit yang mencuri gol di menit 35. Tendangan keras Danny tak mampu dihalau kiper Christian Abbiati. Skor 1-0 bertahan hingga turun minum.
Tertinggal, Allegri memainkan Robinho menggantikan Djamel Mesbah di babak kedua guna menambah daya serangan Milan. Masuknya striker Stephan El Shaarawy pada menit 80 membuat serangan Milan makin menjadi-jadi. Akan tetapi, disiplinnya barisan belakang Zenit membuat sejumlah peluang Milan gagal menjadi gol. Hingga laga usai, skor tetap tidak berubah.
Meski kalah, Milan tetap lolos ke 16 besar Liga Champions. Milan tetap bertengger di posisi kedua klasemen akhir Grup C dengan poin delapan. Sementara Zenit tetap di posisi ketiga dengan poin tujuh dan berhak main Liga Europa.(BOG)
Akses terhadap air bersih masih menjadi masalah bagi sebagian besar penduduk Asia, terutama bagi warga miskin. Kondisi tersebut diungkapkan oleh perwakilan UN Habitat di 14 negara Asia Pasifik dalam pertemuan Environtmental Technology Expert Group Meeting di Fukuoka, Jepang, 28 November 2012.
"Afghanistan tidak punya pengolahan air bersih sama sekali, padahal pertumbuhan ekonomi yang tinggi membutuhkan fasilitas dasar," kata Jan Turkstra, Perwakilan UN Habitat di Afghanistan. Sebagian besar masyarakat mendapatkan air tanah yang jumlahnya tidak banyak dan kian terpolusi.
Menurut Direktur UN-Habitat Asia Pasifik Chris Radford, banyak masalah mengenai air di Asia Pasifik sehingga pertemuan ini digelar untuk mencari solusi dan berbagi pengetahuan antara Jepang dan negara-negara berkembang. Pertemuan itu juga dihadiri pada ahli dari perusahaan swasta Jepang untuk membagi pengetahuan dan teknologinya mengenai pengadaan dan pemurnian air.
Di Pakistan, pengolahan limbah masih sangat buruk. "Untuk mendapatka air yang layak minum, kami membutuhkan cara pembuangan limbah domestik yang aman," kata Sardar Hamid Mumtaz Khan, Manager Komunitas UN Habitat Pakistan.
Sekretaris Kementrian Pembangunan Perkotaan Nepal, Kishore Tappa, menyatakan bahwa penduduk Nepal masih harus berjuang untuk mendapatkan air bersih. Kondisi ini diperburuk dengan sanitasi yang buruk dimana 57 persen populasi masih membuang hajat sembarangan, yang dapat memicu timbulnya aneka penyakit, misalnya diare. "Meningkatkan sanitasi terbukti menurunkan tingkat diare," kata dia.
Penduduk Sri Lanka masih bergantung pada sumur untuk memenuhi kebutuhan air sehari-hari. "Instalasi air ledeng tidak menguntungkan karena terkendala banyak isu implementasi seperti pembangunan yang terhenti di tengah jalan," kata SS Mudalige, Direktur Divisi Fasilitas Publik Sri Lanka. Untuk mendapatkan air bersih, negara itu membutuhkan fasilitas pemurnian air.
Direktur Divisi Air dan Sanitasi Myanmar Lai Lai Win menjelaskan bahwa di negaranya hanya 30 orang yang tinggal di perkotaan sedangkan sisanya di pedesaan. "Kami butuh solusi penyediaan air untuk mereka yang tinggal di pedesaan, karena anggaran tidak cukup," kata dia. Tingkat kontaminasi arsenik pada air juga masih tinggi.
Pencemaran arsenik dalam air juga menjadi masalah di Bangladesh, dimana 57 persen populasi tidak punya akses untuk mendapatkan air bersih. 61 persen tidak mempunyai fasilitas sanitasi yang memadai. "Harus ada peningkatan kesadaran terhadap kebersihan," kata Binod Shrestha dari UN Habitat Bangladesh.
Di Laos, infrastruktur air bersih terpusat di lima kota besar. Penduduk pedesaan, apalagi di daerah terpencil harus memenuhi kebutuhan airnya sendiri.
Urbanisasi penduduk dari desa ke kota menimbulkan permasalahan tersendiri bagi penyediaan air di Kamboja. "Perbaikan fasilitas air kalah jauh dibanding tingkat urbanisasi, apalagi polusi makin meningkat," kata Vanna Sok, perwakilan UN Habitat Kamboja.
Masalah polusi ini juga dialami Vietnam, dimana limbah tidak diolah sebelum dibuang. "Lebih dari 50 persen populasi di daerah suburban menggunakan sumber air yang tidak aman," kata Ho Ky Minh, Direktur Institut Sosioekonomi di Dan Nang Vietnam. Penyelesaian masalah air harus berpacu dengan tingkat urbanisasi, dan harus dibarengi dengan pengurangan polusi sebagai akibat industrialiasasi dan pertumbuhan penduduk.
Adapun di Cina, 50 persen kota mengalami kekurangan air dengan masalah yang berbeda-beda pada setiap daerah. "Ada kekurangan air di daerah Selatan, polusi yang berat di pesisir dan tidak kekurangan teknologi pengolahan di barat," kata dia.
Masalah juga dialami tetangga Cina, Mongolia. 40 persen warganya masih tinggal di dalam tenda yang terserak di seluruh negeri. Pemerintah berupaya memenuhi kebutuhan air dengan menyediakan kios air kecil, yang masih belum merata.
Sarah Mecartney, perwakilan UN Habitat di Pasifik menjelaskan bahwa air adalah masalah besar di daerah kepulauan berisi 22 negara itu. "Tidak banyak sumber air yang bisa digunakan. Harus ada akses untuk warga kota yang miskin," kata dia.
Meski demikian, terdapat beberapa contoh pengelolaan air yang baik di negara-negara berkembang di Asia. Salah satunya adalah di Indonesia. "Ada kota-kota di Indonesia yang bisa menjadi contoh bagi pengelolaan air di kota lain, misalnya Banjarmasin," kata Bruno Dercon, perwakilan UN Habitat di Indonesia. Apa yang telah dilakukan di Banjarmasin diharapkan menjadi contoh bagi kota-kota lain di Indonesia maupun Asia.
Apakah air bersih bisa didapatkan dengan mudah di kota Anda?
"Afghanistan tidak punya pengolahan air bersih sama sekali, padahal pertumbuhan ekonomi yang tinggi membutuhkan fasilitas dasar," kata Jan Turkstra, Perwakilan UN Habitat di Afghanistan. Sebagian besar masyarakat mendapatkan air tanah yang jumlahnya tidak banyak dan kian terpolusi.Menurut Direktur UN-Habitat Asia Pasifik Chris Radford, banyak masalah mengenai air di Asia Pasifik sehingga pertemuan ini digelar untuk mencari solusi dan berbagi pengetahuan antara Jepang dan negara-negara berkembang. Pertemuan itu juga dihadiri pada ahli dari perusahaan swasta Jepang untuk membagi pengetahuan dan teknologinya mengenai pengadaan dan pemurnian air.
Di Pakistan, pengolahan limbah masih sangat buruk. "Untuk mendapatka air yang layak minum, kami membutuhkan cara pembuangan limbah domestik yang aman," kata Sardar Hamid Mumtaz Khan, Manager Komunitas UN Habitat Pakistan.
Sekretaris Kementrian Pembangunan Perkotaan Nepal, Kishore Tappa, menyatakan bahwa penduduk Nepal masih harus berjuang untuk mendapatkan air bersih. Kondisi ini diperburuk dengan sanitasi yang buruk dimana 57 persen populasi masih membuang hajat sembarangan, yang dapat memicu timbulnya aneka penyakit, misalnya diare. "Meningkatkan sanitasi terbukti menurunkan tingkat diare," kata dia.
Penduduk Sri Lanka masih bergantung pada sumur untuk memenuhi kebutuhan air sehari-hari. "Instalasi air ledeng tidak menguntungkan karena terkendala banyak isu implementasi seperti pembangunan yang terhenti di tengah jalan," kata SS Mudalige, Direktur Divisi Fasilitas Publik Sri Lanka. Untuk mendapatkan air bersih, negara itu membutuhkan fasilitas pemurnian air.
Direktur Divisi Air dan Sanitasi Myanmar Lai Lai Win menjelaskan bahwa di negaranya hanya 30 orang yang tinggal di perkotaan sedangkan sisanya di pedesaan. "Kami butuh solusi penyediaan air untuk mereka yang tinggal di pedesaan, karena anggaran tidak cukup," kata dia. Tingkat kontaminasi arsenik pada air juga masih tinggi.
Pencemaran arsenik dalam air juga menjadi masalah di Bangladesh, dimana 57 persen populasi tidak punya akses untuk mendapatkan air bersih. 61 persen tidak mempunyai fasilitas sanitasi yang memadai. "Harus ada peningkatan kesadaran terhadap kebersihan," kata Binod Shrestha dari UN Habitat Bangladesh.
Di Laos, infrastruktur air bersih terpusat di lima kota besar. Penduduk pedesaan, apalagi di daerah terpencil harus memenuhi kebutuhan airnya sendiri.
Urbanisasi penduduk dari desa ke kota menimbulkan permasalahan tersendiri bagi penyediaan air di Kamboja. "Perbaikan fasilitas air kalah jauh dibanding tingkat urbanisasi, apalagi polusi makin meningkat," kata Vanna Sok, perwakilan UN Habitat Kamboja.
Masalah polusi ini juga dialami Vietnam, dimana limbah tidak diolah sebelum dibuang. "Lebih dari 50 persen populasi di daerah suburban menggunakan sumber air yang tidak aman," kata Ho Ky Minh, Direktur Institut Sosioekonomi di Dan Nang Vietnam. Penyelesaian masalah air harus berpacu dengan tingkat urbanisasi, dan harus dibarengi dengan pengurangan polusi sebagai akibat industrialiasasi dan pertumbuhan penduduk.
Adapun di Cina, 50 persen kota mengalami kekurangan air dengan masalah yang berbeda-beda pada setiap daerah. "Ada kekurangan air di daerah Selatan, polusi yang berat di pesisir dan tidak kekurangan teknologi pengolahan di barat," kata dia.
Masalah juga dialami tetangga Cina, Mongolia. 40 persen warganya masih tinggal di dalam tenda yang terserak di seluruh negeri. Pemerintah berupaya memenuhi kebutuhan air dengan menyediakan kios air kecil, yang masih belum merata.
Sarah Mecartney, perwakilan UN Habitat di Pasifik menjelaskan bahwa air adalah masalah besar di daerah kepulauan berisi 22 negara itu. "Tidak banyak sumber air yang bisa digunakan. Harus ada akses untuk warga kota yang miskin," kata dia.
Meski demikian, terdapat beberapa contoh pengelolaan air yang baik di negara-negara berkembang di Asia. Salah satunya adalah di Indonesia. "Ada kota-kota di Indonesia yang bisa menjadi contoh bagi pengelolaan air di kota lain, misalnya Banjarmasin," kata Bruno Dercon, perwakilan UN Habitat di Indonesia. Apa yang telah dilakukan di Banjarmasin diharapkan menjadi contoh bagi kota-kota lain di Indonesia maupun Asia.Apakah air bersih bisa didapatkan dengan mudah di kota Anda?
Minggu, 02 Desember 2012
Critical voice of comics expose social issues
Comics have developed further and become even richer as they are given a more profound tinkering by combining them with certain litetray touches and other techniques to give rise to what is called "graphic novels".
The term, coined by Will Eisner, refers to such works as the Fables series by the Eisner award-winning Bill Willingham or Peter Kuper’s adaptation of Franz Kafka’s Metamorphose, a vague political conspirancy in the Tintin series by herge (Kidnapping of Calculus, King Ottokar’s Royal Mace and Picaros), a parody of history and technological invention in Mark Allan Stamaty’s Too Many Time Machine, and even Joe Sacco’s Palestine, journalistic notes illustated as a comic strip and which won a prestigious award for non-comic strip works.
Anyone who has read pengumuman: Tidak Ada Sekolah Murah!(Announcement: No such thing as low-cost schooling, Resist Book, 2005) will agree that this particular comic strip delivers more than just pictures.
A hybrid between comic strip and social analysis, the book provides a parody of the condition of the educational system from kindergarten up to university, dripping with sarcastic humor.
Like Eko Prasetyo’s earlier books, Orang Miskin Dilarang Sekolah (The poor may not go to school) and Orang Miskin Dilarang Sakit (The poor may not get sick), Tidak Ada Sekolah Murah! is the author’s criticism on social dynamics and problems- proof, according to him, that the government has failed in addressing poverty.
While illustrations in the two earlier titles serve to reinforce the text, in Tidak Ada Sekolah Murah!, they have fully taken over the text as the narrator: The strip about the experience of attending university, for example, shows a sketch of an empty university library juxtaposed against a crowded student cafeteria.
Observe also the illustrations comparing extracurricular activities at private and state schools. On the left hand side, the sketch of an expensive private school shows extracurricular activities involving computers, the Internet and ballet, while on the right-hand side, extracurricular activities at state schools involve boy scout and dancing only.
Without the help of long texts, the illustrations, made simply without any particular attention to neatness, make the reade smile- it is naughty and wild spirit that runs through this 144-page comic strip. Readers will agree that Tidak Ada Sekolah Murah! shares a critical spirit akin to those by the same author in his Dilarang Miskin (Being poor is forbidden) series. Even so, illustrations – despite their teasing nature and the lack of neatness in their creation- play a much greater role in this book than those in the aforementioned series.
Inspired by Matt Groening’s School is Hell, which has gained fame through serials The Simpsons and Futurama, Tidak Ada Sekolah Murah! is both critical analysis, as well as a medium, of the writer-cartoonist’s indictment against educational system, one of the country’s chronic social problems. (Reportedly, the publisher actually wanted to translate Groening’s books into Bahasa Indonesia, but failed to procure translation rights).
Indeed, cartoonist Benny Rachmadi and Muhammad Mice Misrad, better known as the Benny and Mice duo, have already made a similar attempt to speak out against social issues through their comic series Lagak Jakarta (Jakarta lifestyle). Of course, several other, more senior Indonesian cartoonist, such as Libra with his Timun, Dwi Koen with Panji Koming, Pramono, G.M. Sudarta, Augustin Sibarani and Kho Wang Gie, perhaps the earlier of them all, with their Put On, have also attempted the same.
However, in Tidak Ada Sekolah Murah!, the cartoons created by Terra Bajraghosa, characterized by their lack of neatness in their execution in exploring the themes, closely resemble the work of Dav Pilkey in the Captain Color series, Brtish humorist Ian Walsh’s in the
The Idiot Book and also Matt Groening’s work. The narrative power of Terra’s pictures is as strong as that of the texts by Eko, who has published on religious and social themes.
The cities of Yogyakarta and Bandung, the birthplaces of a great number of underground cartoonists, have, through this literary hybrid, succesfully presented the comic medium as more than just a creative indicator that, unfortunately, sometimes serve just as a means of visual experimentation for dilettantes, but also as a mode of expression that is no less critical than literary and non-literary books, music, and films.
It seems that the period after 1990s has witnessed the beginning of an awareness that underground comics are not simply a means of resistance against mainstream comic strips, but are also a medium of indictment. In fact, comic strips began to be adopted in this capacity with the publication in Yogya of the anthology, Subversi Komik (Comics of subversion), in 2004.
Unfortunately, the following series series failed to see light of day.
Meanwhile, in the case of a hybrid of literature and cartoons, writer Seno Gumira Ajidarma, collaborating with Asnar zacky, pionereed this genre with Jakarta 2039, Kematian Donny Osmond (Death of Donny Osmond) and Sukab Intel Melayu (Sukab the malay spy), followed by Erwin Primaarya with Taxi Blues (2002), a comic inspired by one of Seno’s short stories.
The publication of Tidak Ada Sekolah Murah! deserves our appreciation in two important respects. First, it shows that underground comics, unlike their initial function, are not simply a creative indicator. Second, in terms of thematic exploration, this book shows that Indonesian comics, which have long dealt mostly with humor and parody, still retain their power to criticize.
It is public knowledge that for quite some time, the country’s comics – confined to functioning only as a creative indicator and providing humor and parody – had fallen into the trap of the market system of the industry. First, the cartoonist creating mainstream comics have sacrified their idealism by not only copying precisely the style of Japanese manga, but also by agreeing to their publishers’ requirement that their names be made to sound Japanese, so their comic strips would appear to have been publsihed in Japan.
Second, cartoonist must join publishing project funded by foreifn non-governmental organizations or institutions, as well as government agencies and even political parties specializing in the humanities. In the case of a number of comics that have been published under this arrangement, the have lost their power of criticism and have in many ways become highly verbal.
This is understandable because such comics, despite the sham creative indpeendence that they seek to impress people with, are made to order and, as such, manifest the mission set by their "sponsors". It is true that when comics are produced under this support scheme, Indonesian cartoon workshops can survive financially. However, the distribution of comics created by cartoonist under this scheme are limited. Besides, just like underground comics, such works serve merely as creative indicators and are not powerful in terms of visual experimentation or narration.
Third, comics as a product in themselves- for example as an animated film, as TV series Joshua Bocah Ajaib (Joshua the wonder boy), Saras 008 or Panji Manusia Millenium (Panji the millenium man), a feature film or a toy- might be mass produced, but their distribution period is brief and they will quickly disappear following the distribution cycle.
Tidak Ada sekolah Murah! is quite successful as a literary hybrid. However, it is not without its shortcoming. In terms of content, the book has its strong points, but is weakness lies in its placement in bookshops – a trifle in the eyes of our book industry and therefore not given sufficient attention.
It is a shame to see interesting and powerful comics share the same shelf as children’s comics. And unlike the two Batman comics – Child of Dreams and Batman Hong Kong – which are specially labeled as adult reading, Tidak Ada Sekolah Murah!, unfortunately is yet to be similarly labeled.
Regardless of this shortcoming, Tidak Ada Sekolah Murah! has attracted both comics fans and readers of books on social affairs and humanities. If comics targeting adults are published in future, be they original or translated works (like Rampokan/Loot by Peter van Dongen, published in 2005 by Pustaka Primatama), deatiled labeling will be needed so that the public may learn that comics are not merely kid’s stuff, but are also works of art that offer the broadest space for critical interpretation.
In Signs in Contemporary Culture: An Introduction to Semiotics, Arthur Asa Berger writes that comics actually contain much reading material- but only if we care to do so. If we take care in reading Tidak Ada Sekolah Murah! we will find out just how powerful a comic can be – beyond merely graphic experimentation.*
The publication of Tidak Ada Sekolah Murah! deserves our appreciation in two important respects. First, it shows that underground comics, unlike their initial function, are not simply a creative indicator. Second, in terms of thematic exploration, this book shows that Indonesian comics, which have long dealt mostly with humor and parody, still retain their power to criticize.
It is public knowledge that for quite some time, the country’s comics – confined to functioning only as a creative indicator and providing humor and parody – had fallen into the trap of the market system of the industry. First, the cartoonist creating mainstream comics have sacrified their idealism by not only copying precisely the style of Japanese manga, but also by agreeing to their publishers’ requirement that their names be made to sound Japanese, so their comic strips would appear to have been publsihed in Japan.
Second, cartoonist must join publishing project funded by foreifn non-governmental organizations or institutions, as well as government agencies and even political parties specializing in the humanities. In the case of a number of comics that have been published under this arrangement, the have lost their power of criticism and have in many ways become highly verbal.
This is understandable because such comics, despite the sham creative indpeendence that they seek to impress people with, are made to order and, as such, manifest the mission set by their "sponsors". It is true that when comics are produced under this support scheme, Indonesian cartoon workshops can survive financially. However, the distribution of comics created by cartoonist under this scheme are limited. Besides, just like underground comics, such works serve merely as creative indicators and are not powerful in terms of visual experimentation or narration.
Third, comics as a product in themselves- for example as an animated film, as TV series Joshua Bocah Ajaib (Joshua the wonder boy), Saras 008 or Panji Manusia Millenium (Panji the millenium man), a feature film or a toy- might be mass produced, but their distribution period is brief and they will quickly disappear following the distribution cycle.
Tidak Ada sekolah Murah! is quite successful as a literary hybrid. However, it is not without its shortcoming. In terms of content, the book has its strong points, but is weakness lies in its placement in bookshops – a trifle in the eyes of our book industry and therefore not given sufficient attention.
It is a shame to see interesting and powerful comics share the same shelf as children’s comics. And unlike the two Batman comics – Child of Dreams and Batman Hong Kong – which are specially labeled as adult reading, Tidak Ada Sekolah Murah!, unfortunately is yet to be similarly labeled.
Regardless of this shortcoming, Tidak Ada Sekolah Murah! has attracted both comics fans and readers of books on social affairs and humanities. If comics targeting adults are published in future, be they original or translated works (like Rampokan/Loot by Peter van Dongen, published in 2005 by Pustaka Primatama), deatiled labeling will be needed so that the public may learn that comics are not merely kid’s stuff, but are also works of art that offer the broadest space for critical interpretation.
In Signs in Contemporary Culture: An Introduction to Semiotics, Arthur Asa Berger writes that comics actually contain much reading material- but only if we care to do so. If we take care in reading Tidak Ada Sekolah Murah! we will find out just how powerful a comic can be – beyond merely graphic experimentation.*
Critical voice of comics expose social issues
Comics have developed further and become even richer as they are given a more profound tinkering by combining them with certain litetray touches and other techniques to give rise to what is called "graphic novels".
The term, coined by Will Eisner, refers to such works as the Fables series by the Eisner award-winning Bill Willingham or Peter Kuper’s adaptation of Franz Kafka’s Metamorphose, a vague political conspirancy in the Tintin series by herge (Kidnapping of Calculus, King Ottokar’s Royal Mace and Picaros), a parody of history and technological invention in Mark Allan Stamaty’s Too Many Time Machine, and even Joe Sacco’s Palestine, journalistic notes illustated as a comic strip and which won a prestigious award for non-comic strip works.
Anyone who has read pengumuman: Tidak Ada Sekolah Murah!(Announcement: No such thing as low-cost schooling, Resist Book, 2005) will agree that this particular comic strip delivers more than just pictures.
A hybrid between comic strip and social analysis, the book provides a parody of the condition of the educational system from kindergarten up to university, dripping with sarcastic humor.
Like Eko Prasetyo’s earlier books, Orang Miskin Dilarang Sekolah (The poor may not go to school) and Orang Miskin Dilarang Sakit (The poor may not get sick), Tidak Ada Sekolah Murah! is the author’s criticism on social dynamics and problems- proof, according to him, that the government has failed in addressing poverty.
While illustrations in the two earlier titles serve to reinforce the text, in Tidak Ada Sekolah Murah!, they have fully taken over the text as the narrator: The strip about the experience of attending university, for example, shows a sketch of an empty university library juxtaposed against a crowded student cafeteria.
Observe also the illustrations comparing extracurricular activities at private and state schools. On the left hand side, the sketch of an expensive private school shows extracurricular activities involving computers, the Internet and ballet, while on the right-hand side, extracurricular activities at state schools involve boy scout and dancing only.
Without the help of long texts, the illustrations, made simply without any particular attention to neatness, make the reade smile- it is naughty and wild spirit that runs through this 144-page comic strip. Readers will agree that Tidak Ada Sekolah Murah! shares a critical spirit akin to those by the same author in his Dilarang Miskin (Being poor is forbidden) series. Even so, illustrations – despite their teasing nature and the lack of neatness in their creation- play a much greater role in this book than those in the aforementioned series.
Inspired by Matt Groening’s School is Hell, which has gained fame through serials The Simpsons and Futurama, Tidak Ada Sekolah Murah! is both critical analysis, as well as a medium, of the writer-cartoonist’s indictment against educational system, one of the country’s chronic social problems. (Reportedly, the publisher actually wanted to translate Groening’s books into Bahasa Indonesia, but failed to procure translation rights).
Indeed, cartoonist Benny Rachmadi and Muhammad Mice Misrad, better known as the Benny and Mice duo, have already made a similar attempt to speak out against social issues through their comic series Lagak Jakarta (Jakarta lifestyle). Of course, several other, more senior Indonesian cartoonist, such as Libra with his Timun, Dwi Koen with Panji Koming, Pramono, G.M. Sudarta, Augustin Sibarani and Kho Wang Gie, perhaps the earlier of them all, with their Put On, have also attempted the same.
However, in Tidak Ada Sekolah Murah!, the cartoons created by Terra Bajraghosa, characterized by their lack of neatness in their execution in exploring the themes, closely resemble the work of Dav Pilkey in the Captain Color series, Brtish humorist Ian Walsh’s in the
The Idiot Book and also Matt Groening’s work. The narrative power of Terra’s pictures is as strong as that of the texts by Eko, who has published on religious and social themes.
The cities of Yogyakarta and Bandung, the birthplaces of a great number of underground cartoonists, have, through this literary hybrid, succesfully presented the comic medium as more than just a creative indicator that, unfortunately, sometimes serve just as a means of visual experimentation for dilettantes, but also as a mode of expression that is no less critical than literary and non-literary books, music, and films.
It seems that the period after 1990s has witnessed the beginning of an awareness that underground comics are not simply a means of resistance against mainstream comic strips, but are also a medium of indictment. In fact, comic strips began to be adopted in this capacity with the publication in Yogya of the anthology, Subversi Komik (Comics of subversion), in 2004.
Unfortunately, the following series series failed to see light of day.
Meanwhile, in the case of a hybrid of literature and cartoons, writer Seno Gumira Ajidarma, collaborating with Asnar zacky, pionereed this genre with Jakarta 2039, Kematian Donny Osmond (Death of Donny Osmond) and Sukab Intel Melayu (Sukab the malay spy), followed by Erwin Primaarya with Taxi Blues (2002), a comic inspired by one of Seno’s short stories.
The publication of Tidak Ada Sekolah Murah! deserves our appreciation in two important respects. First, it shows that underground comics, unlike their initial function, are not simply a creative indicator. Second, in terms of thematic exploration, this book shows that Indonesian comics, which have long dealt mostly with humor and parody, still retain their power to criticize.
It is public knowledge that for quite some time, the country’s comics – confined to functioning only as a creative indicator and providing humor and parody – had fallen into the trap of the market system of the industry. First, the cartoonist creating mainstream comics have sacrified their idealism by not only copying precisely the style of Japanese manga, but also by agreeing to their publishers’ requirement that their names be made to sound Japanese, so their comic strips would appear to have been publsihed in Japan.
Second, cartoonist must join publishing project funded by foreifn non-governmental organizations or institutions, as well as government agencies and even political parties specializing in the humanities. In the case of a number of comics that have been published under this arrangement, the have lost their power of criticism and have in many ways become highly verbal.
This is understandable because such comics, despite the sham creative indpeendence that they seek to impress people with, are made to order and, as such, manifest the mission set by their "sponsors". It is true that when comics are produced under this support scheme, Indonesian cartoon workshops can survive financially. However, the distribution of comics created by cartoonist under this scheme are limited. Besides, just like underground comics, such works serve merely as creative indicators and are not powerful in terms of visual experimentation or narration.
Third, comics as a product in themselves- for example as an animated film, as TV series Joshua Bocah Ajaib (Joshua the wonder boy), Saras 008 or Panji Manusia Millenium (Panji the millenium man), a feature film or a toy- might be mass produced, but their distribution period is brief and they will quickly disappear following the distribution cycle.
Tidak Ada sekolah Murah! is quite successful as a literary hybrid. However, it is not without its shortcoming. In terms of content, the book has its strong points, but is weakness lies in its placement in bookshops – a trifle in the eyes of our book industry and therefore not given sufficient attention.
It is a shame to see interesting and powerful comics share the same shelf as children’s comics. And unlike the two Batman comics – Child of Dreams and Batman Hong Kong – which are specially labeled as adult reading, Tidak Ada Sekolah Murah!, unfortunately is yet to be similarly labeled.
Regardless of this shortcoming, Tidak Ada Sekolah Murah! has attracted both comics fans and readers of books on social affairs and humanities. If comics targeting adults are published in future, be they original or translated works (like Rampokan/Loot by Peter van Dongen, published in 2005 by Pustaka Primatama), deatiled labeling will be needed so that the public may learn that comics are not merely kid’s stuff, but are also works of art that offer the broadest space for critical interpretation.
In Signs in Contemporary Culture: An Introduction to Semiotics, Arthur Asa Berger writes that comics actually contain much reading material- but only if we care to do so. If we take care in reading Tidak Ada Sekolah Murah! we will find out just how powerful a comic can be – beyond merely graphic experimentation.*
The publication of Tidak Ada Sekolah Murah! deserves our appreciation in two important respects. First, it shows that underground comics, unlike their initial function, are not simply a creative indicator. Second, in terms of thematic exploration, this book shows that Indonesian comics, which have long dealt mostly with humor and parody, still retain their power to criticize.
It is public knowledge that for quite some time, the country’s comics – confined to functioning only as a creative indicator and providing humor and parody – had fallen into the trap of the market system of the industry. First, the cartoonist creating mainstream comics have sacrified their idealism by not only copying precisely the style of Japanese manga, but also by agreeing to their publishers’ requirement that their names be made to sound Japanese, so their comic strips would appear to have been publsihed in Japan.
Second, cartoonist must join publishing project funded by foreifn non-governmental organizations or institutions, as well as government agencies and even political parties specializing in the humanities. In the case of a number of comics that have been published under this arrangement, the have lost their power of criticism and have in many ways become highly verbal.
This is understandable because such comics, despite the sham creative indpeendence that they seek to impress people with, are made to order and, as such, manifest the mission set by their "sponsors". It is true that when comics are produced under this support scheme, Indonesian cartoon workshops can survive financially. However, the distribution of comics created by cartoonist under this scheme are limited. Besides, just like underground comics, such works serve merely as creative indicators and are not powerful in terms of visual experimentation or narration.
Third, comics as a product in themselves- for example as an animated film, as TV series Joshua Bocah Ajaib (Joshua the wonder boy), Saras 008 or Panji Manusia Millenium (Panji the millenium man), a feature film or a toy- might be mass produced, but their distribution period is brief and they will quickly disappear following the distribution cycle.
Tidak Ada sekolah Murah! is quite successful as a literary hybrid. However, it is not without its shortcoming. In terms of content, the book has its strong points, but is weakness lies in its placement in bookshops – a trifle in the eyes of our book industry and therefore not given sufficient attention.
It is a shame to see interesting and powerful comics share the same shelf as children’s comics. And unlike the two Batman comics – Child of Dreams and Batman Hong Kong – which are specially labeled as adult reading, Tidak Ada Sekolah Murah!, unfortunately is yet to be similarly labeled.
Regardless of this shortcoming, Tidak Ada Sekolah Murah! has attracted both comics fans and readers of books on social affairs and humanities. If comics targeting adults are published in future, be they original or translated works (like Rampokan/Loot by Peter van Dongen, published in 2005 by Pustaka Primatama), deatiled labeling will be needed so that the public may learn that comics are not merely kid’s stuff, but are also works of art that offer the broadest space for critical interpretation.
In Signs in Contemporary Culture: An Introduction to Semiotics, Arthur Asa Berger writes that comics actually contain much reading material- but only if we care to do so. If we take care in reading Tidak Ada Sekolah Murah! we will find out just how powerful a comic can be – beyond merely graphic experimentation.*
Critical voice of comics expose social issues
Comics have developed further and become even richer as they are given a more profound tinkering by combining them with certain litetray touches and other techniques to give rise to what is called "graphic novels".
The term, coined by Will Eisner, refers to such works as the Fables series by the Eisner award-winning Bill Willingham or Peter Kuper’s adaptation of Franz Kafka’s Metamorphose, a vague political conspirancy in the Tintin series by herge (Kidnapping of Calculus, King Ottokar’s Royal Mace and Picaros), a parody of history and technological invention in Mark Allan Stamaty’s Too Many Time Machine, and even Joe Sacco’s Palestine, journalistic notes illustated as a comic strip and which won a prestigious award for non-comic strip works.
Anyone who has read pengumuman: Tidak Ada Sekolah Murah!(Announcement: No such thing as low-cost schooling, Resist Book, 2005) will agree that this particular comic strip delivers more than just pictures.
A hybrid between comic strip and social analysis, the book provides a parody of the condition of the educational system from kindergarten up to university, dripping with sarcastic humor.
Like Eko Prasetyo’s earlier books, Orang Miskin Dilarang Sekolah (The poor may not go to school) and Orang Miskin Dilarang Sakit (The poor may not get sick), Tidak Ada Sekolah Murah! is the author’s criticism on social dynamics and problems- proof, according to him, that the government has failed in addressing poverty.
While illustrations in the two earlier titles serve to reinforce the text, in Tidak Ada Sekolah Murah!, they have fully taken over the text as the narrator: The strip about the experience of attending university, for example, shows a sketch of an empty university library juxtaposed against a crowded student cafeteria.
Observe also the illustrations comparing extracurricular activities at private and state schools. On the left hand side, the sketch of an expensive private school shows extracurricular activities involving computers, the Internet and ballet, while on the right-hand side, extracurricular activities at state schools involve boy scout and dancing only.
Without the help of long texts, the illustrations, made simply without any particular attention to neatness, make the reade smile- it is naughty and wild spirit that runs through this 144-page comic strip. Readers will agree that Tidak Ada Sekolah Murah! shares a critical spirit akin to those by the same author in his Dilarang Miskin (Being poor is forbidden) series. Even so, illustrations – despite their teasing nature and the lack of neatness in their creation- play a much greater role in this book than those in the aforementioned series.
Inspired by Matt Groening’s School is Hell, which has gained fame through serials The Simpsons and Futurama, Tidak Ada Sekolah Murah! is both critical analysis, as well as a medium, of the writer-cartoonist’s indictment against educational system, one of the country’s chronic social problems. (Reportedly, the publisher actually wanted to translate Groening’s books into Bahasa Indonesia, but failed to procure translation rights).
Indeed, cartoonist Benny Rachmadi and Muhammad Mice Misrad, better known as the Benny and Mice duo, have already made a similar attempt to speak out against social issues through their comic series Lagak Jakarta (Jakarta lifestyle). Of course, several other, more senior Indonesian cartoonist, such as Libra with his Timun, Dwi Koen with Panji Koming, Pramono, G.M. Sudarta, Augustin Sibarani and Kho Wang Gie, perhaps the earlier of them all, with their Put On, have also attempted the same.
However, in Tidak Ada Sekolah Murah!, the cartoons created by Terra Bajraghosa, characterized by their lack of neatness in their execution in exploring the themes, closely resemble the work of Dav Pilkey in the Captain Color series, Brtish humorist Ian Walsh’s in the
The Idiot Book and also Matt Groening’s work. The narrative power of Terra’s pictures is as strong as that of the texts by Eko, who has published on religious and social themes.
The cities of Yogyakarta and Bandung, the birthplaces of a great number of underground cartoonists, have, through this literary hybrid, succesfully presented the comic medium as more than just a creative indicator that, unfortunately, sometimes serve just as a means of visual experimentation for dilettantes, but also as a mode of expression that is no less critical than literary and non-literary books, music, and films.
It seems that the period after 1990s has witnessed the beginning of an awareness that underground comics are not simply a means of resistance against mainstream comic strips, but are also a medium of indictment. In fact, comic strips began to be adopted in this capacity with the publication in Yogya of the anthology, Subversi Komik (Comics of subversion), in 2004.
Unfortunately, the following series series failed to see light of day.
Meanwhile, in the case of a hybrid of literature and cartoons, writer Seno Gumira Ajidarma, collaborating with Asnar zacky, pionereed this genre with Jakarta 2039, Kematian Donny Osmond (Death of Donny Osmond) and Sukab Intel Melayu (Sukab the malay spy), followed by Erwin Primaarya with Taxi Blues (2002), a comic inspired by one of Seno’s short stories.
The publication of Tidak Ada Sekolah Murah! deserves our appreciation in two important respects. First, it shows that underground comics, unlike their initial function, are not simply a creative indicator. Second, in terms of thematic exploration, this book shows that Indonesian comics, which have long dealt mostly with humor and parody, still retain their power to criticize.
It is public knowledge that for quite some time, the country’s comics – confined to functioning only as a creative indicator and providing humor and parody – had fallen into the trap of the market system of the industry. First, the cartoonist creating mainstream comics have sacrified their idealism by not only copying precisely the style of Japanese manga, but also by agreeing to their publishers’ requirement that their names be made to sound Japanese, so their comic strips would appear to have been publsihed in Japan.
Second, cartoonist must join publishing project funded by foreifn non-governmental organizations or institutions, as well as government agencies and even political parties specializing in the humanities. In the case of a number of comics that have been published under this arrangement, the have lost their power of criticism and have in many ways become highly verbal.
This is understandable because such comics, despite the sham creative indpeendence that they seek to impress people with, are made to order and, as such, manifest the mission set by their "sponsors". It is true that when comics are produced under this support scheme, Indonesian cartoon workshops can survive financially. However, the distribution of comics created by cartoonist under this scheme are limited. Besides, just like underground comics, such works serve merely as creative indicators and are not powerful in terms of visual experimentation or narration.
Third, comics as a product in themselves- for example as an animated film, as TV series Joshua Bocah Ajaib (Joshua the wonder boy), Saras 008 or Panji Manusia Millenium (Panji the millenium man), a feature film or a toy- might be mass produced, but their distribution period is brief and they will quickly disappear following the distribution cycle.
Tidak Ada sekolah Murah! is quite successful as a literary hybrid. However, it is not without its shortcoming. In terms of content, the book has its strong points, but is weakness lies in its placement in bookshops – a trifle in the eyes of our book industry and therefore not given sufficient attention.
It is a shame to see interesting and powerful comics share the same shelf as children’s comics. And unlike the two Batman comics – Child of Dreams and Batman Hong Kong – which are specially labeled as adult reading, Tidak Ada Sekolah Murah!, unfortunately is yet to be similarly labeled.
Regardless of this shortcoming, Tidak Ada Sekolah Murah! has attracted both comics fans and readers of books on social affairs and humanities. If comics targeting adults are published in future, be they original or translated works (like Rampokan/Loot by Peter van Dongen, published in 2005 by Pustaka Primatama), deatiled labeling will be needed so that the public may learn that comics are not merely kid’s stuff, but are also works of art that offer the broadest space for critical interpretation.
In Signs in Contemporary Culture: An Introduction to Semiotics, Arthur Asa Berger writes that comics actually contain much reading material- but only if we care to do so. If we take care in reading Tidak Ada Sekolah Murah! we will find out just how powerful a comic can be – beyond merely graphic experimentation.*
The publication of Tidak Ada Sekolah Murah! deserves our appreciation in two important respects. First, it shows that underground comics, unlike their initial function, are not simply a creative indicator. Second, in terms of thematic exploration, this book shows that Indonesian comics, which have long dealt mostly with humor and parody, still retain their power to criticize.
It is public knowledge that for quite some time, the country’s comics – confined to functioning only as a creative indicator and providing humor and parody – had fallen into the trap of the market system of the industry. First, the cartoonist creating mainstream comics have sacrified their idealism by not only copying precisely the style of Japanese manga, but also by agreeing to their publishers’ requirement that their names be made to sound Japanese, so their comic strips would appear to have been publsihed in Japan.
Second, cartoonist must join publishing project funded by foreifn non-governmental organizations or institutions, as well as government agencies and even political parties specializing in the humanities. In the case of a number of comics that have been published under this arrangement, the have lost their power of criticism and have in many ways become highly verbal.
This is understandable because such comics, despite the sham creative indpeendence that they seek to impress people with, are made to order and, as such, manifest the mission set by their "sponsors". It is true that when comics are produced under this support scheme, Indonesian cartoon workshops can survive financially. However, the distribution of comics created by cartoonist under this scheme are limited. Besides, just like underground comics, such works serve merely as creative indicators and are not powerful in terms of visual experimentation or narration.
Third, comics as a product in themselves- for example as an animated film, as TV series Joshua Bocah Ajaib (Joshua the wonder boy), Saras 008 or Panji Manusia Millenium (Panji the millenium man), a feature film or a toy- might be mass produced, but their distribution period is brief and they will quickly disappear following the distribution cycle.
Tidak Ada sekolah Murah! is quite successful as a literary hybrid. However, it is not without its shortcoming. In terms of content, the book has its strong points, but is weakness lies in its placement in bookshops – a trifle in the eyes of our book industry and therefore not given sufficient attention.
It is a shame to see interesting and powerful comics share the same shelf as children’s comics. And unlike the two Batman comics – Child of Dreams and Batman Hong Kong – which are specially labeled as adult reading, Tidak Ada Sekolah Murah!, unfortunately is yet to be similarly labeled.
Regardless of this shortcoming, Tidak Ada Sekolah Murah! has attracted both comics fans and readers of books on social affairs and humanities. If comics targeting adults are published in future, be they original or translated works (like Rampokan/Loot by Peter van Dongen, published in 2005 by Pustaka Primatama), deatiled labeling will be needed so that the public may learn that comics are not merely kid’s stuff, but are also works of art that offer the broadest space for critical interpretation.
In Signs in Contemporary Culture: An Introduction to Semiotics, Arthur Asa Berger writes that comics actually contain much reading material- but only if we care to do so. If we take care in reading Tidak Ada Sekolah Murah! we will find out just how powerful a comic can be – beyond merely graphic experimentation.*
