Bahasa Indonesia Essay Example for Free

Bahasa Indonesia Essay My Educational background, academic and extra curricular and work experience are as follows. I am currently pursuing an international Baccalaureate education in Sekolah Pelita Harapan in Tangerang Indonesia that is equivalent to a 2 year diploma. The courses I have undertaken include business management (Higher Level / HL), English A2 (HL), Theatre Arts (HL), Bahasa Indonesia A1 (SL), Mathematics (SL), and Environmental Systems (SL). I hope to score a distinction on my final exam. I have been involved in extra curricular activities since primary level these include theater arts where I have participated in plays like the Sandbox by Edward Albee, Shakespearean Monologues and the Importance of Being Earnest by Oscar Wilde. My key role has been in charge of costume design, setting and construction. I have been involved in painting and drawing, participated in music especially playing the piano as well as learnt Japanese language. I have participated in many sporting events during my school time and received awards such as fitness where I was awarded with gold equivalent to the international standard, hockey as goal keeper, ice-skating and become first runners-up and basketball. I also participated in the athletics where I become third winner. Apart from sports, during my leisure time I get engaged in charity work such as volunteer as English teacher in local orphanages and organize special events like in Christmas 2007. I have participated and coordinated the Indonesia’s 2007 charity walk where we raised money to help flood victims for purchase of medicine and personal effects. In addition am involved in Sunday school teaching. During my summer holidays I work in the family businesses dealing in supplying of merchandise to companies in Indonesia and in the printing firm contracted by large companies. I have learnt a lot of business skills from my family members especially dad and grand father. They have introduced me to the business world which makes me consider expanding my knowledge and skills that will make me better and productive. I am applying for consideration for admission to FIDM in the following majors’ i. e merchandise marketing, visual communication and business management. I am aware that FIDM offers all these majors. I believe I will be able to undertake these courses so that I can sharpen my skills. For instance in Merchandise marketing I would like to get knowledge and skills about planning, purchasing, promotion of merchandise, technology application, human resource development and critical thinking among others. In Visual communications am much interested in acquiring skills in visual presentation, exhibition and trade show design, retail display, store keeping, event planning, trend analysis and computer graphics. While in business management am quite excited if I get these chance to broaden my knowledge on entrepreneurship, financial management, human resource management and organization, global influence, involvement and management. I have considered this field of profession since my childhood. I have thought about it over and over again for a long time. Given the fact that I was born in business environment, my interest for really integrating fashion and business tickles me. Am persuaded this is the area of my interest and career fulfillment. The reasons for me to chose this college among all your other choices is that Fashion Institute of Design Merchandising (FIDM) is an institute that is reputed internationally in the fashion industry. It has experience of over 35 years in teaching with a unique nature by which the college delivers its curriculum such as being industry driven and practically oriented to the present development. The institute has a diverse community of students and staff from different backgrounds which gives opportunity for broader understanding of global issues. It has well equipped academic materials. This exposure will enhance my understanding of global issues and help me appreciate diversity. The other support services provided such as international student support classes, work experience, transfer offers, student resources and career development services and opportunities such as networking, graduate alumni and career placement after college are other important reasons I would like to attend FIDM than other colleges. I consider this college as a place where I can gain knowledge and skills to help me in my career goals and future plans. After I have completed my college studies I would like to pursue a career in fashion industry especially costume design, creativity and business management. I like watching fashion modeling events with a keen eye on creative design. I have intention of creating my own designs that I would like to be involved in and become one of the world fashion designers. The exposure I have gained from family businesses I have worked and knowledge I expect to gain from attending FIDM will surely enhance my entrepreneurship skills and ambition to own a fashion store business with wide collection of world fashion designs. I would like also to pursue my education to an advanced level so that I can train and nature talents in my country. I am convinced that this is where I want to go and make an impact in the fashion industry. REFERENCES Fashion Institute of Design and Management. (2008). Curriculum. Retrieved April 17, 2008 from http://www. fidm. edu/academics/majors/business-management/curriculum. html

A Diet of Worms in the Digital Age :: Digital Technology Technological Papers

A Diet of Worms in the Digital Age I can’t prove it, but there is no doubt in my mind that textual arguments have been raging in scholarly circles for as long as there has been text to debate. In my mind’s eye I can see them: ancient Sumerian scribes lecturing each other about clay types and wedge depth; early Semitic peoples voting â€Å"no† on the vowel; medieval European scribes boldly pushing forward with punctuation, spaces between words, and the lower-case alphabet, and having heated debates on the long-term viability of the capital letter. And then came the printing press! Can you imagine the contention! What bold new vistas were opened up for scholarship! But anyone could publish anything—no matter what the quality! And surely, this spelled the doom of calligraphy. With the advent of the digital age, scholarly textual debate has simply entered a new phase. At issue here: what is the potential of digitally-powered scholarship, and how can that potential be realized? What approaches should we take in terms of format and methodology? William H. O’Donnell and Emily A. Thrush (â€Å"Designing a Hypertext Edition of a Modern Poem†) discuss the issues involved in designing hypertext editions of literature. Specifically, they refer to the edition of Yeats’s â€Å"Lapis Lazuli† that they designed. The main work to be studied, they feel (be it â€Å"Lapis Lazuli† or something else), must not be cluttered with visible links. They have devised a method of windowing that anticipates the modern â€Å"frames† format of Internet documents, and stress that any attempt at electronic analysis of a work of literature must be intuitively structured, easy to use, and customizable. Their edition of â€Å"Lapis Lazuli† appears well-constructed and functional and seems to have fairly broad appeal, but it seems also to be intended more as an aid to understanding the poem than as a tool for scholarly research. This distinction separates this article somewhat from the others considered her e, though the basic format could be applied to other projects. Peter Shillingsburg (â€Å"Principles for Electronic Archives, Scholarly Editions, and Tutorials†) frankly admits that what we all secretly want is to have every conceivable kind of information—textual, visual, audio—related to a given topic all sorted for us and available right at our fingertips. This is, of course, impossible, but he feels that electronic editions of scholarly works have the potential to come closer to that ideal than any other medium. He systematically lays out the main problems facing those who create electronic editions and suggests some ways to address them.

Concert Review Form Essay

Each student is responsible for attending a live music performance and turning in one concert review each trimester. The concert review can be handed into you current band director before the end of the trimester. You concert review should be designed so that it could be printed in a newspaper as a music or concert critique. All of the below questions should be answered, but responses should be in paragraph, rather than numbered format. Concert Review Checklist: Be sure to use complete sentences, correct grammar and spelling. Answer each question within the context of the review. Title your critique in reference to both the music and the performance. All reviews should be typed and double-spaced. Reports will be graded on the quality and thoroughness of the response. Attach this sheet, a ticket stub and/or program (if available) to the top of the report. Concert Reviews need to be turned in before the end of the trimester. Concert Review Reminders: †¢ Concert Reviews will not be accepted unless they are typed. †¢ If you have not answered the questions below, your Concert Review is less than complete. †¢ Do not use casual or conversation language. For example: umm, well, yea, etc. †¢ Do not wait until the last moment to see a concert. †¢ Do not answer the questions in numbered format. 1. Introduction: Tell the reader about the performance. Include both visual and audio clues for the reader. Be descriptive about how the setting of the space (or the uniforms, or the programs) helped the audience understand what was about to be performed. a. The performers and the space: What type of performance did you attend? What was the name of the group (if any)? Give a brief description about the group: size, instrumentation, professionals/amateurs, purpose of the performance. 2. Development: Tell the reader about the music. Include descriptive words that allow the reader to know what you thought about the performance without exactly stating your opinion. For example: â€Å"The second piece on the program was Bach chorale that contrasted well with the first piece of music. However, the minimal use of dynamics and lack of passion from the performers resulted in a lackluster performance.† a. The music: What type of music did they perform? How did the performers act? (Did they appear nervous or confident? Did they seem to know what to do? How did they interact with each other? How did they interact with the audience?) 3. Your Critique: What did you like? Why did you like it? If it was an amateur group, did the group play up to their ability or above/below it? a. What you liked/disliked: Give a brief description of what you liked about the performance. List 2-3 things specifically that you would want the reader to know. 4. Your Conclusion: Give the reader some final thoughts about what you enjoyed about the piece of music and how you thought the performance went. Would you buy the CD? Go to another concert? Recommend it to a friend?

The Ceramic Wars Japan Kidnaps Korean Artisans

In the 1590s, Japan’s re-unifier, Toyotomi Hideyoshi, had an idee fixe. He was determined to conquer Korea, and then continue on to China and perhaps even India. Between 1592 and 1598, Hideyoshi launched two major invasions of the Korean Peninsula, known together as the Imjin War. Although Korea was able to fend off both attacks, thanks in part to the heroic Admiral Yi Sun-shin and his victory in the Battle of Hansan-do, Japan did not come away from the invasions empty-handed. As they retreated for the second time, after the 1594-96 invasion, the Japanese captured and enslaved tens of thousands of Korean farmers and artisans, and took them back to Japan. Japanese Invasions of Korea Hideyoshi’s reign signaled the end of the Sengoku (or â€Å"Warring States Period†) in Japan - more than 100 years of vicious civil war. The country was filled with samurai who knew nothing but war, and Hideyoshi needed an outlet for their violence. He also sought to glorify his own name through conquest. The Japanese ruler turned his attention to Joseon Korea, a tributary state of Ming China, and a convenient ladder into the Asian mainland from Japan. Even as Japan had engaged in unending conflict, Korea had been slumbering through centuries of peace, so Hideyoshi was confident that his gun-wielding samurai would quickly overrun the Joseon lands. The initial April 1592 invasion went smoothly, and Japanese forces were in Pyongyang by July. However, the over-extended Japanese supply lines started to take their toll, and soon Korea’s navy made life very difficult for Japan’s supply ships. The war bogged down, and the next year Hideyoshi ordered a retreat. Despite this set-back, the Japanese leader was not ready to give up his dream of a mainland empire. In 1594, he sent a second invasion force to the Korean Peninsula. Better prepared, and with aid from their Ming Chinese allies, the Koreans were able to pin down the Japanese almost immediately. The Japanese blitz turned in to a grinding, village-to-village fight, with the tides of battle favoring first one side, then the other. It must have been evident fairly early in the campaign that Japan was not going to conquer Korea. Rather than have all of that effort wasted, therefore, the Japanese began to capture and enslave Koreans who might be useful to Japan. Enslaving the Koreans A Japanese priest who served as a medic in the invasion recorded this memory of slave raids in Korea: Among the many kinds of merchants who have come over from Japan are traders in human beings, who follow in the train of the troops and buy up men and women, young and old alike. Having tied these people together with ropes about the neck, they drive them along before them; those how can no longer walk are made to run with prods or blows of the stick from behind. The sight of the fiends and man-devouring demons who torment sinners in hell must be like this, I thought. Estimates of the total number of Korean slaves taken back to Japan range from 50,000 to 200,000. Most were likely just farmers or laborers, but Confucian scholars and artisans such as potters and blacksmiths were particularly prized. In fact, a great Neo-Confucian movement sprang up in Tokugawa Japan (1602-1868), due in large part to the work of captured Korean scholars. The most visible influence these slaves had in Japan, however, was on Japanese ceramic styles. Between the examples of looted ceramics taken from Korea, and skilled potters brought back to Japan, Korean styles and techniques had an important impact on Japanese pottery. Yi Sam-pyeong and Arita Ware One of the great Korean ceramic artisans kidnapped by Hideyoshis army was Yi Sam-pyeong (1579-1655). Along with his entire extended family, Yi was taken to the city of Arita, in Saga Prefecture on the southern island of Kyushu. Yi explored the area and discovered deposits of kaolin, a light, pure white clay, which allowed him to introduce porcelain manufacturer to Japan. Soon, Arita became the center of porcelain production in Japan. It specialized in pieces made with overglazing in imitation of Chinese blue and white porcelains; these goods were popular imports in Europe. Yi Sam-pyeong lived out the remainder of his life in Japan  and took the Japanese name Kanagae Sanbee. Satsuma Ware The daimyo of Satsuma domain on the southern end of Kyushu Island also wanted to create a porcelain industry, so he kidnapped Korean potters and brought them back to his capital as well. They developed a porcelain style called Satsuma ware, which is decorated with ivory crackle glaze painted over with colorful scenes and gold trim. Like Arita ware, Satsuma ware was produced for the export market. Dutch traders at Dejima Island, Nagasaki were the conduit for Japanese porcelain imports into Europe. The Ri Brothers and Hagi Ware Not wanting to be left out, the daimyo of Yamaguchi Prefecture, on the southern tip of the main island of Honshu also captured Korean ceramic artists for his domain. His most famous captives were two brothers, Ri Kei and Ri Shakko, who began firing a new style called Hagi ware in 1604. Unlike the export-driven pottery works of Kyushu, the Ri brothers kilns turned out pieces for use in Japan. Hagi ware is stoneware with a milky white glaze, which sometimes includes an etched or incised design. In particular, tea sets made of Hagi ware are especially prized. Today, Hagi ware is second only to Raku in the world of Japanese tea ceremony sets. The descendants of the Ri brothers, who changed their family name to Saka, are still making pottery in Hagi. Other Korean-made Japanese Pottery Styles Among the other Japanese pottery styles that were created or greatly influenced by enslaved Korean potters are the sturdy, simple Karatsu ware; Korean potter Sonkais light Agano teaware; and Pal Sans richly glazed Takatori ware. Artistic Legacy of a Brutal War The Imjin War was one of the most brutal in early modern Asian history. When Japans soldiers realized that they would not win the war, they engaged in atrocities such as cutting off the noses of every Korean person in some villages; the noses were turned in to their commanders as trophies. They also looted or destroyed priceless works of art and scholarship. Out of the horror and suffering, however, some good also appeared (at least, for Japan). Although it must have been heart-breaking for the Korean artisans who were kidnapped and enslaved, Japan used their skills and technical knowledge to produce amazing advances in silk making, in ironwork, and especially in pottery.