huwauu indah

http://www.youtube.com/watch?v=2_HXUhShhmY

Her Morning Elegance by Oren Lavie

spread the word - a gaza story

[amer shurrab dulu satu sekolah sama gue.. unbelievably sad. the world has to change!]

The family has been attacked by gun shots between 1 and 1:30 pm local time in Khan Younis, Gaza on Friday.
two brothers died, father is hospitalized now.

This in an urgent plea to spread Amer's story, and support him and his family as much as we can. Amer's father and brothers are civilians who were driving during the lull - targeting unarmed civilians and shooting them duringa ceasefire is illegal and a war crime.

We have now moved toward trying to get Amer as much support as we can, mostly through spreading the news.

Contcat your local representatives, colleagues, HR groups, media, anyone you know, to make our case to the international community.
----------
Alert release on Amer's family

cid:image001.gif@01C93C3F.4AC21790


AL-HAQ ALERT

FOR IMMEDIATE RELEASE

REF.: 6.2009E

17 January 2009



Impeding Medical Relief in the Gaza Strip: Israel's War Crimes against

the Injured

As a Palestinian organisation dedicated to the protection and promotion of human rights in the Occupied Palestinian Territory (OPT), Al-Haq is dismayed by the failure of Israeli occupying forces to allow medical assistance to thousands of stranded Palestinians who have been critically wounded in its attacks during "Operation Cast Lead" in the besieged Gaza Strip. The following is but one of hundreds of other ominous stories which describe the fate of wounded Palestinians. It highlights the callous disregard of the Israeli occupying forces for the lives of Palestinians in the Gaza Strip and Israel's apparent contempt for its obligations under international humanitarian law. Incidents in which medical aid is denied to persons protected under international humanitarian law, such as that which follows, present prima facie cases of war crimes for which individuals should be held criminally responsible.


Summary of Facts


On Friday, 16 January 2009, between 1:00 and 1:30 pm, Mohammed Shurrab, 64 years of age, and two of his sons, Kassab and Ibrahim, aged 28 and 18, respectively, were returning by jeep from their agricultural land in al-Fukhara, approximately 500 metres away from the Israeli fence on the eastern border of the Gaza Strip. At a distance of 50 metres from their home, their jeep came under machine gun fire from Israeli occupying forces in the area. Mohammad was shot in the left arm and Ibrahim was shot in the leg. The elder son, Kassab, sustained a fatal bullet wound to the chest, dying after getting out of the car, running ten metres and falling. Mohammad and Ibrahim, continuing to bleed from their wounds, remained in their jeep for two hours and then, fearing for their safety, decided to move to another location, returning to the jeep after half an hour.

Mohammad contacted the media, the International Committee of the Red Cross (ICRC) and a number of NGOs via mobile phone in order to acquire medical assistance. Other agencies such as Physicians for Human Rights-Israel were also aware of the dire circumstances of the three and attempted on several occasions to negotiate their transport to a hospital. Israeli occupying forces denied medical relief agencies clearance to reach them until sometime between 11:00 am and 12:00 pm on Saturday, 17 January 2009, almost 24 hours after Mohammad, Ibrahim and Kassab had been shot. Earlier that morning, Ibrahim had succumbed to his wound and died. Thus, Mohammad and the bodies of his two sons were transported by an ambulance to the Gaza European Hospital, located only 1.5 kilometres away from where they had come under attack.

The three were shot during a so-called "lull" in Israeli ground operations. A daily three-hour lull was agreed to by Israeli forces on Wednesday, 7 January 2009 and is meant to allow humanitarian relief to enter and be distributed in the Gaza Strip.


Legal Analysis


Under customary international humanitarian law, the wounded are protected persons and must receive, to the fullest extent practicable and with the least possible delay, the medical care and attention required by their conditions. Moreover, no distinction can be made among the wounded except on medical grounds. While the ICRC must seek permission from Israeli occupying forces in order to enter zones to care for and collect injured persons, such permission must not be denied arbitrarily. The problems reported by the ICRC in accessing Mohammad and Ibrahim along with other reports by the ICRC and other recognised medical relief agencies, in this and other cases, indicate a policy of arbitrarily denying medical care to protected persons.

The denial of medical treatment to protected persons is a war crime that may amount to the grave breach of the Fourth Geneva Convention of wilfully causing great suffering or serious injury to body or health. The disregard by Israeli occupying forces for the lives of Palestinians in instances where it denies medical access to them and death results may also amount to the grave breach of wilful killing. Grave breaches, as listed under Article 147 of the Fourth Geneva Convention, are the most serious infringements of the laws and customs of war.

The jurisprudence of the International Criminal Tribunal for the Former Yugoslavia (ICTY) has confirmed that both the crime of wilfully causing great suffering or serious injury to body or health and the crime of wilful killing can be crimes of omission. In the case above, deaths were the foreseeable outcome of an omission – the non-provision of safe passage to medical personnel.

In interpreting the intent required to meet the threshold of "wilful," the Trial Chamber in the ICTY's Delalic case, held that "the necessary intent (…) is present where there is demonstrated an intention on the part of the accused to kill, or inflict serious injury in reckless disregard of human life." The intention to kill or cause great suffering or serious injury can, in the present case, be inferred from the fact that multiple agencies had informed Israeli occupying forces of the gravity of the injuries of the three and yet safe passage of medical transports was not granted.

Although not the case in this specific example, in addition to denial of access to the wounded, medical relief agencies are also widely reporting being fired upon by Israeli occupying forces, often in circumstances where time is of the essence due to the critical condition of the wounded. Under customary international humanitarian law, attacks on medical personnel, medical units and medical transports exclusively assigned to carry out medical functions are also prohibited.

In light of the clear emergence of a policy of impeding medical care to protected persons in the Gaza Strip, Al-Haq urges the following:



* The European Union (EU), as a major donor of humanitarian assistance to the Palestinian people, in addition to the individual member States of the EU, to pressure Israel for safe and unimpeded humanitarian access to all injured persons in the Gaza Strip; and
* The High Contracting Parties to the Fourth Geneva Convention to take measures to ensure respect for the Fourth Geneva Convention under Article 1, and to hold perpetrators of grave breaches responsible under Article 146.


- Ends -

Al-Haq, PO Box 1413 - Ramallah, West Bank
Tel: +972 2 295 4646/9 Fax: +972 2 295 4903
media@alhaq.org - http://www.alhaq.org

hope, change, fear and the chocolate city

there's something about being on the cusp of a profound historical moment - obama's inauguration, for those rock-dwellers among us :) - that makes you wonder about innocence and optimism and hope.. and whether or not all of those things inside us will be justified by this presidency. it was politically savvy of centrist obama to stay silent about the atrocities in gaza, to leave things to the outgoing fratboy's administration while the latter still has his digs at the white house. but being politically savvy doesn't equal morally righteous, and this silence left me feeling like i was holding my breath - the euphoria from november 4 having waned a little, the world of realpolitik worrying itself into all that outsized, americanized hope. poking, prodding.. nagging little strains of 'grow up. grow up! now you'll see that 'change' isn't all it's cracked up to be!'

hillary clinton as secretary of state isn't exactly my ideal, peacenik feminist archetype. and sending more troops into afghanistan? and on and on we go.. i feel hope, but i feel like we have to claw at it with everything we've got.

i'll be going to a party in jakarta tomorrow to watch the inauguration. side by side with diehard obama fanatics, basking in the televised celebration, the red-white-and-blue elation, the photogenic, multiracial sensation being sworn into the oval office. and i'll feel as proud of that moment as anybody standing head-to-toe in barry o paraphernalia. i don't doubt that the world needs the man to set things right, and that he has the ability and compassion to do this. but i'll still be holding my breath.. just a little.

dua versi (lebih baik telat, daripada.. :D)

[versiku]
Modern Master: The Wayang Puppetry of Ki Purbo Asmoro

The warrior Bima is circling his enemy. With a resounding bang of gamelan, the fighter of ancient Javanese folklore spreads his arms and deals a final blow, vanquishing his opponent to death. On the spread of white cloth, the shadow of only one figure remains.

The intensity of the shadow puppet, or wayang, scene being played out seems at first to be at odds with the atmosphere of the room, in the breaks between performing for today’s rehearsal. Some 18 gamelan instruments crowd the practice space, as do those who play them, the singers, dozens of wayang heaped into two piles at the front of the room, and the man responsible for the entire ensemble – Ki Purbo Asmoro. When the man sitting before the screen puts down his wayang, turning around to face his troupe of musicians and going over the myriad changes he thinks to suggest, the room fills with the sounds of people eating, laughing, joking as they discuss the shadow play.

After some time, however, I realize that this 4-hour session in Solo, in preparation for the weekend’s performances in Jakarta, is all business. The group jots down notes and revisions with furious frequency, all attention directed towards their leader. Despite his casual appearance in a striped t-shirt and rolled-up slacks, Purbo is completely in control of the room. In fact, he is considered by many to be a virtuoso dhalang, or shadow puppet master, the brightest star on the scene today.


Imagine being a conductor, playing two instruments at once, choreographing, composing, directing a play with a crew of 45 to 50 people, commissioning the all-important props, (in Purbo’s case, even designing some of them), writing and vocalizing a script in two languages – Javanese and Kawi – all while controlling the movements of all the characters in a performance. Imagine having to cover all of these aspects and perform improvisations for hours – at times, all night long. This is the work of a shadow puppet master.

One young Solo gamelan student told me that Ki Purbo Asmoro ‘is the most popular dhalang today. He’s created his own style, a theatrical style, that people are really going for.’ Meeting him at his house, Purbo himself seemed humble and thoughtful in discussing his art. ‘It is complicated. You have to think about how to make the dialogue touching, effective, but work with the overall composition. Everything must fit with everything else. All elements have to be understood ideally.’

Born in 1961 to a family with at least 6 generations of dhalang, Purbo was educated in Solo in the art form, then obtained his masters in performance art from Gadjah Mada University in Yogyakarta. He currently teaches at the Indonesian Institute of Arts (ISI) in Solo, when not traveling the country and the world to perform.

The dhalang’s compound in Solo shows a life completely dedicated to his craft. His spacious house holds Javanese decorations and carvings, and memorabilia from shows overseas. Next to it is a pendopo, or pavilion, with a storage space in the back for his wayang collections, and where the shadow puppets are repaired. Next to that is the building that holds a rehearsal space for his troupe. Purbo lives here with his wife, Sudi Rahayu, a dancer and singer who performs with him, and his two sons, both studying gamelan.

On rehearsal days, the performers cross the courtyard and pile into his house for lunch after a grueling session. Some have been with Purbo for more than 15 years. All those I spoke to singled him out as exceptional. ‘If you’re being led by Pak Purbo, you won’t understand what you’re doing if this isn’t clever enough,’ said Yatmi, a singer, pointing to her forehead, ‘You’ve got to be smart.’

‘He is amazing in a range of aspects,’ said Bambang, a gamelan musician, ‘How he controls the wayang, his ideas, the way he vocalizes, his speech, his directing, making a story better. I think he has the distinction of being brave with his work, with a good intellect.’ One example of such risk-taking, Bambang said, was his portrayal of women as leaders. ‘Equality of rights, defending gender rights, he slips it in subtly. There’s that subtle communication with the audience. His jokes aren’t bad either, he’ll touch on political subjects.’

Ki Purbo Asmoro’s fans say his appeal lies in this mixing of the modern with ancient tradition. Purbo acknowledges that he introduces modern forms in both content and style, for both ‘flip-flop-wearing’ audiences and the middle to upper classes. ‘What’s important is the concept of balance between entertainment and art. If you make it bend to much to the market, the tradition of wayang is weakened … You don’t need to make everything new. It has to fit the needs of a scene.’ The trick, he says, is sending people a message in wayang form. Though he refuses to be affiliated with any political party, Purbo insists that to be a good dhalang, you must understand political allegory. ‘The mission of wayang is to present moral messages. The entertainment aspect adds spice to the moral aspect, the main values in life: loyalty, heroism, messages for good.’

The spreading of these messages still draws large crowds to wayang performances in Indonesia and overseas. Yet only around 10 people graduate each year with a pedhalangan major from ISI, with many opting out before graduation due to the difficulties of the material or for financial reasons. It makes sense that when asked about his aspirations for the future, Ki Purbo Asmoro only wants the tradition of wayang to continue.

‘Wayang is the only part of Javanese culture that has survived, through the Old Order, the New Order.. You can’t reject globalization. For wayang, especially for wayang kulit in Javanese, the barrier is how fewer people understand the Javanese and Kawi languages. It’s no longer what’s used among young people. … I don’t blame them.’ As for personal ambitions, Purbo says, ‘I’m just happy to create.’

[edit-annya jkt post]

Ki Purbo Asmoro: Preserving the art of wayang

Contributor , Surakarta | Fri, 05/30/2008 4:28 PM | People

The warrior Bima circles his enemy. With a resounding bang of the gamelan, the fighter of ancient Javanese folklore spreads his arms and deals a final blow, vanquishing his opponent to death.

On the spread of white cloth, the shadow of only one figure remains.

The intensity of this shadow puppet, or wayang, scene being played out seems at first to be at odds with the atmosphere of the room it is being rehearsed in.

Some 18 gamelan instruments crowd the practice space, as do the musicians playing them, the singers, dozens of wayang puppets heaped in two piles at the front of the room, and the man responsible for the entire ensemble -- Ki Purbo Asmoro.

When the man sitting before the screen puts down his wayang, turns around to face his troupe of musicians and goes over the myriad of suggested changes, the room fills with the sounds of people eating, laughing and joking as they discuss the shadow play.

After some time, however, it is clear that this four-hour practice session in the Central Java town of Surakarta, which is in preparation for the weekend's performances in Jakarta, is all business. Members of the group jot down notes and revise each scene with furious frequency, and all attention is directed toward their leader.

Despite his casual appearance -- dressed in a striped T-shirt and rolled-up slacks --, Purbo is completely in control of the room. In fact, he is considered by many to be a virtuoso dalang, or shadow puppet master, and the brightest star on the wayang scene today.

Purbo is not only the dalang of this shadow puppet play: He is also the conductor, choreographer, composer, director of a crew of 45 to 50 people, commissioner of the all-important props (he even designs some of them), and writer and narrator in two languages -- Javanese and Kawi. He also plays two musical instruments.

Covering all of these areas and performing for hours -- at times, all night long -- is the work of this talented shadow puppet master.

During a meeting at his home, Purbo humbly and thoughtfully discussed his art. He had recently returned from La Paz, Bolivia in South America, where he conducted workshops and performances at the FITAZ international theater festival.

"It is complicated. You have to think about how to make the dialogue touching, effective, but work with the overall composition. Everything must fit with everything else. All elements have to be understood ideally," he said.

Born in 1961 to a sixth-generation family of dalang, Purbo was educated in Surakarta in the art of wayang, then obtained his master's degree in performance art from Gadjah Mada University in Yogyakarta.

When Purbo is not traveling the country and the world to perform, he teaches at the Indonesian Institute of Arts (ISI) in Surakarta.

This dalang's compound in Surakarta depicts a life completely dedicated to his craft: His spacious home displays Javanese decorations and carvings, and memorabilia from shows overseas. Beside the house is a pendopo, or pavilion, with a storage space for his collection of wayang puppets, and a workshop where the shadow puppets are repaired.

Next to the pendopo is a building that he and his troupe use for rehearsals. Purbo lives here with his wife, Sudi Rahayu, a dancer and singer who also performs with him, and his two sons, who are both studying the gamelan.

On rehearsal days, performers cross the courtyard and pile into his house for lunch after a grueling rehearsal session. Some have performed with Purbo for more than 15 years.

"If you're being led by Pak Purbo, you won't understand what you're doing if you're not clever enough," said Yatmi, a singer, pointing to her forehead. "You've got to be smart."

"He is amazing in a whole range of aspects," said Bambang, a gamelan musician. "How he controls the wayang, his ideas, the way he vocalizes, his speech, his directing, making a story better. I think he has the distinction of being brave with his work."

One example of Purbo's bravery, Bambang said, was his portrayal of women as leaders.

"Equality of rights, defending gender rights ... he slips it in subtly. There's that subtle communication with the audience.

"His jokes aren't bad either, he'll touch on political subjects," said Bambang.

Purbo's fans say his appeal lies in his mixing of the modern with ancient tradition.

Purbo acknowledged that he introduced modern forms in both content and style, for both his "flip-flop-wearing" audiences and the middle to upper classes.

Purbo and his troupe are scheduled to perform on May 31 and June 1 at Klub Bimasena and The Dharmawangsa Hotel, both in South Jakarta, in celebration of the Lontar Publications' 20th anniversary.

The performances will be translated into English simultaneously by Kathryn Emerson of the Jakarta International School.

On June 2, Purbo will conduct a full day of workshops and performances for children from over 20 countries, aged from 5-12 years, at the Jakarta International School.

"What's important is the concept of balance between entertainment and art. If you make it bend too much to the market, the tradition of wayang is weakened.

"You don't need to make everything new. It has to fit the needs of a scene," he said.

The trick, he said, was sending people a message through wayang. Although he denied affiliation with any political party, Purbo said in order to be a good dalang, one must understand politics.

"The mission of wayang is to present moral messages. The entertainment aspect adds spice to the moral aspect, the main values in life: Loyalty, heroism, messages for good."

The dissemination of these messages still draws large crowds to wayang performances in Indonesia and overseas, he said. Yet only around 10 people graduate each year with a dalang major from ISI, with many dropping out before graduation due to difficulties in finding performance materials or for financial reasons.

Purbo said he hoped the tradition of wayang would continue.

"Wayang is the only part of Javanese culture that has survived through the Old Order, the New Order ... you can't reject globalization.

"For wayang ... the barrier is that fewer people understand the Javanese and Kawi languages. It's no longer what's used among young people ... but I don't blame them," he said.

"I'm just happy to create."

stok lagu-lagu kebangsaan

ada beberapa lagu yang selalu bikin gue semangat. diulaaaang-ulang lagi. salah satunya, 'aku cinta j.a.k.a.r.t.a', bikinan c'mon lennon. bukan cuman karena sodara gue yang kebetulan nyanyi.. gimana nggak seneng dengerin suara anak kecil teriak-teriak begitu? lagu yang sudah agak lama, tapi masih oke di telinga.

yang bikin ketawa juga adalah akhiran lagunya, pas ada orang ngomong-ngomong.. kalau nggak salah, nanya smpnya di mana.. lutunah.

kena tag, bikin sepuluh

10 Facts and Habits About Yourself

"Oke, aturan mainnya jelas seperti dibawah ini
* Each blogger must post these rules
* Each blogger starts with ten random facts/habits about themselves
* Bloggers that are tagged need to write on their own blog about their ten things and post these rules. At the end of your blog, you need to choose ten people to get tagged and list their names."

abis ditag emy nih.. hmmmmmmhh oke. SAPA TAKUUUUT?

1. kedua jari jempol bisa ditekuk depan-blakang. ada yang ngeliat, katanya ngeri.. tapi konon jaman dulu, rachmaninoff bisa jago musik karena sendi bisa ditekuk depan-blakang. sialnya, kalo buat gue bakatnya bikin ngeri orang doang! (duuhh klarinetku.. smakin hari smakin jelek kemampuan meniupmu!)

2. dulu sempat, dan sekarang masih agak, fobia dengan huruf 's'. nggak suka aja hurufnya. kesannya kalau huruf 's' itu hidup, 's' itu pasti cewek yang jahad! blak sek skarang gue kerja di jalan sisingamangaraja. keluarga gue juga semuanya ada huruf 's' di nama lengkap mereka, kecuali gue. karena itu kalau namain binatang piaraan pada suatu saat nanti, pengennya pakai huruf 's' semua biar nggak fobia lagi. lagi seriously terapi ni, biar gak ada kesan gitu lagi! ssssssssssssst!

3. setiap tahun paling nggak dua kali gue nulis di word document semuaaa cita-cita gue. mulai dari bikin rekaman nenek-nenekku lagi cerita, sampai travelling ke afrika (huaaa pengen), sampai belajar bahasa jawa dan padang, sampai nerbitin buku puisi, sampai bisa belajar nyetir, biarpun yang terakhir gue takut stengah mati nabrak orang.. berhubung agak terkenal absent-mindednya..

4. agak terkenal absent-mindednya! gampang lupa detil-detil, semua hal kadang-kadang kayak lukisan abstrak aja di otak gue. hahahaha! so sad but soo trueee! hmm, tapi nggak sad juga sih, unik aja kali ya.. walaupun sangat tidak berguna dalam, misalnya, melakukan pekerjaan sehari-hari :P

5. waktu kecil, cita-citaaa banged bikin klub peduli lingkungan hidup buat anak-anak. jadi aku bikin selebaran selebaran, masukin ke kotak-kotak pos tetangga, terus yang sign up cuman 2-3 orang, anak kecil lain. abis itu jadi males! karena kurang peserta.. hehehe, penyakit..

6. waktu kecil, juga suka namain pohon dan angan-angannya bisa ngomong sama tu pohon. jadi inget, udah lama banget nggak naik pohon nih!

7. biarpun 'tubuh atletik' (kata bekas guru olahraga gue tuh! bilang aja bongsorr), sama sekali nggak bakat olahraga manapun. unbelievable banged ketidakmampuan gue dalam berolahraga. it is actually hilarious how unathletic i am. itu dia cita-cita satu lagi: blajar fit!!

8. ada hubungan cinta-benci sama kota kita jakarta. suka gerah, tapi gak bisa lepas juga!

9. dulu gara-gara nonton titanic, pengen jadi marine biologist (ahahaha... dasar leo). sekarang teteup aja, laut dan pantai = SORGA.

10. mata bisa muter-muter, pakai lidah yang sinkron segala :D

11 (bonus). nama kecil gue dulu parakeetums, terus jadi keetums, terus jadi keets. orang yang manggil gue keets jarang banget, tapi temen-temen kuliah yang disayang banget.

hmm, oke sini gue tag. tapi lima ya, versi diskon.. rules are meant to be broken!:
1. dom
2. ndari
3. firli
4. alvin
5. ikram

fenomena "chai-na"

wah, asli tertinggal blogku yang satu.. ^^ beginilah kalau banyak ide konyol, tapi lebih cepat ngomong daripada ngetik. hari ini kuciprat lagi dengan sedikit tulisan mini. mungkin karena kangen menulis di sini.. atau mungkin karena suasana hujan, yang menyejukkan dki indah nan dekil.. atau mungkin tergugah aja, sama pengabaran berita yang satu ini: 'pengamanan' produk susu asal cina yang diduga mengandung melamin.

1. sudah paling tidak dua hari kupingku gerahhhh mendengar metro tv yang menyebut kata cina dengan ejd, ejaan jang diinggriskan. terjadilah perubahan dari 'ci-na' ke 'chai-na'. tulisan 'cina'pun diselipkan huruf 'h', menjadi 'china'. terus menerus.. kenapa ya? apa takut ada kesan rasialis begicu? secara pribadi gue risih mendengarnya..

2. jadi khawatir juga, apa produk susu itu 'diamankan', lalu diam-diam, dengan cara tertentu, didistribusikan ke tempat lain? contohnya, di indonesia timur? makanan di sana pernah juga membuat orang keracunan, karena didistribusikan dari jakarta dll. padahal sudah kedaluarsa.. apalagi kalau kedaluarsa dan mengandung melamin.. hiii, gawat.

3. nggak ada hubungannya dengan susu formula cina, tapi film laskar pelangi sebentar lagi muncul.. pengen nonton ah akhir minggu ini. pendapat gue tentang bukunya: ada momen-momen yang 'ngena' juga, dan pesannya tentang pendidikan penting banget. jadi benar-benar bersyukur sudah dapat banyak kesempatan belajar, dan juga terpikir terus nasib anak-anak indonesia yang pendidikannya terbengkalai. walaupun begitu, ada juga kejanggalan-kejanggalan dalam struktur alur cerita, yang kadang-kadang membuatnya terkesan 'kurang merata'. agak naik turun. juga, sebagai feminis rasanya aneh mendukung perubahan flo menjadi 'wanita sejati', seakan-akan kalau dia tetap sebagai seorang tomboi, itu bukan citra 'wanita sejati'! sedih gue membaca tentang flo, sosok luar biasa yang berubah begitu saja. bukannya gue nggak ngerti kemauan untuk pakai jilbab dan merombak citra diri.. tapi cara andrea hirata menceritakannya, kesannya ketomboian dan kebebasan flo adalah kekeliruan anak kecil, bahkan kemaksiatan! weleh weleh weleh.. jadi pengen menulis lagi, kali ini tentang dualitas dalam diri gw yang pernah berjilbab, tapi sangat mendukung orang-orang yang berjiwa bebas.. yang sekarang bersyukur banget sudah nggak pakai jilbab, tapi menghargai orang yang pakai.. ah, lain kali deh :)