Bekasi, Saco-Indonesia.com - Kepala Dinas Pariwisata dan Kebudayaan DKI Jakarta Arie Budhiman mengatakan, masyarakat dan turis dapat menggunakan bus tingkat wisata tanpa menggunakan tiket.
Bekasi, Saco-Indonesia.com - Kepala Dinas Pariwisata dan Kebudayaan DKI Jakarta Arie Budhiman mengatakan, masyarakat dan turis dapat menggunakan bus tingkat wisata tanpa menggunakan tiket. Meskipun gratis, tetap ada pengelolaan tiket. Tiket dapat diperoleh di pusat perbelanjaan maupun hotel.
"Evaluasi tiga bulan pertama tanpa tiket, belum pakai tiket gratis," kata Arie di Balaikota Jakarta, Kamis (16/1/2014).
Siang tadi, bus tingkat wisata itu telah resmi dikenalkan kepada publik di Bundaran Hotel Indonesia (HI). Adapun uji coba pengoperasiannya akan dilaksanakan pada akhir pekan ini. Untuk beroperasional secara utuh, Arie menargetkan dapat terealisasi pada akhir Januari.
Kini lima unit bus tingkat wisata itu ditempatkan di pul Cawang. Untuk memulai perjalanan, semua bus tingkat wisata akan parkir di silang barat daya Monas. Pada pukul 09.00 WIB, kelima bus tingkat wisata itu akan mengelilingi Jakarta. Waktu tempuh tiap bus berjarak 30 menit.
Bus-bus wisata itu akan menempuh dua rute. Rute pertama melewati Bundaran HI-Medan Merdeka Barat-Harmoni-Juanda-Gedung Kesenian Jakarta-Gereja Katedral-Masjid Istiqlal-Juanda-Medan Merdeka Utara-Istana Negara-Balaikota-MH Thamrin-Bundaran HI. Adapun rute melalui Bundaran HI-Sudirman-Semanggi-Gatot Subroto-Hotel Sultan-JCC-TVRI-Hotel Mulia-Senayan (Plaza Senayan dan Senayan City-Patung Pemuda-Sudirman-Semanggi-Bundaran HI. Sepanjang rute tersebut, akan ada 10 titik pemberhentian. Di setiap halte tersebut, bus akan berhenti selama satu menit.
Bus tingkat yang didominasi warna ungu dan hijau muda tersebut memiliki panjang 13,5 meter, lebar 2,5 meter, dan tinggi 4,2 meter. Desain double decker lengkap dengan tulisan "Wisata Keliling Ibukota!" dan "City tour Jakarta". Huruf R dan J dalam kalimat city tour Jakarta dibuat menyambung jadi satu. Adapun di bagian belakang terdapat slogan "Enjoy Jakarta". Tak hanya itu, bus double decker itu juga memiliki gambar-gambar Monas, Ondel-ondel, patung Pancoran, patung selamat datang, dan lain-lain.
Warna ungu dan hijau muda sengaja dipilih agar bus itu memiliki ciri khas sendiri dibanding bus sedang lainnya. Warna merah, misalnya, menjadi ciri khas warna bus transjakarta, metromini berwarna oranye, dan bus kopaja berkelir hijau.
Setiap unit bus tingkat wisata berkapasitas 60 tempat duduk dan dua di antaranya diperuntukkan bagi penyandang difabel. Deck dan pintu sengaja dibuat pendek dan berada di sebelah kiri agar ramah untuk kaum difabel dan orang tua. Spesifikasi lain yang membuat bus ini ramah kaum difabel adalah melintas di jalur lambat, bukanlah busway.
Double decker Jakarta berbeda dari bus tingkat di London, Inggris. Atap paling atasnya dibuat tertutup sebab iklim Jakarta berbeda dari London. Di samping itu, faktor kesehatan menjadi unsur penting yang menjadi pertimbangan. Beberapa fasilitas yang dimiliki double decker, seperti pendingin udara, pengeras suara, CCTV, lengkap dengan petugas guide. Di tiap bus akan ada tiga awak, yakni pengemudi, pramuwisata, dan keamanan.
"Dengan adanya bus ini, Jakarta punya daya tarik yang berbeda. Mudah-mudahan Jakarta semakin menarik dan dikunjungi wisatawan," kata Arie.
Sumber : kompas.com
Editor : Maulana Lee
Late in April, after Native American actors walked off in disgust from the set of Adam Sandler’s latest film, a western sendup that its distributor, Netflix, has defended as being equally offensive to all, a glow of pride spread through several Native American communities.
Tantoo Cardinal, a Canadian indigenous actress who played Black Shawl in “Dances With Wolves,” recalled thinking to herself, “It’s come.” Larry Sellers, who starred as Cloud Dancing in the 1990s television show “Dr. Quinn, Medicine Woman,” thought, “It’s about time.” Jesse Wente, who is Ojibwe and directs film programming at the TIFF Bell Lightbox in Toronto, found himself encouraged and surprised. There are so few film roles for indigenous actors, he said, that walking off the set of a major production showed real mettle.
But what didn’t surprise Mr. Wente was the content of the script. According to the actors who walked off the set, the film, titled “The Ridiculous Six,” included a Native American woman who passes out and is revived after white men douse her with alcohol, and another woman squatting to urinate while lighting a peace pipe. “There’s enough history at this point to have set some expectations around these sort of Hollywood depictions,” Mr. Wente said.
The walkout prompted a rhetorical “What do you expect from an Adam Sandler film?,” and a Netflix spokesman said that in the movie, blacks, Mexicans and whites were lampooned as well. But Native American actors and critics said a broader issue was at stake. While mainstream portrayals of native peoples have, Mr. Wente said, become “incrementally better” over the decades, he and others say, they remain far from accurate and reflect a lack of opportunities for Native American performers. What’s more, as Native Americans hunger for representation on screen, critics say the absence of three-dimensional portrayals has very real off-screen consequences.
“Our people are still healing from historical trauma,” said Loren Anthony, one of the actors who walked out. “Our youth are still trying to figure out who they are, where they fit in this society. Kids are killing themselves. They’re not proud of who they are.” They also don’t, he added, see themselves on prime time television or the big screen. Netflix noted while about five people walked off the “The Ridiculous Six” set, 100 or so Native American actors and extras stayed.
But in interviews, nearly a dozen Native American actors and film industry experts said that Mr. Sandler’s humor perpetuated decades-old negative stereotypes. Mr. Anthony said such depictions helped feed the despondency many Native Americans feel, with deadly results: Native Americans have the highest suicide rate out of all the country’s ethnicities.
The on-screen problem is twofold, Mr. Anthony and others said: There’s a paucity of roles for Native Americans — according to the Screen Actors Guild in 2008 they accounted for 0.3 percent of all on-screen parts (those figures have yet to be updated), compared to about 2 percent of the general population — and Native American actors are often perceived in a narrow way.
In his Peabody Award-winning documentary “Reel Injun,” the Cree filmmaker Neil Diamond explored Hollywood depictions of Native Americans over the years, and found they fell into a few stereotypical categories: the Noble Savage, the Drunk Indian, the Mystic, the Indian Princess, the backward tribal people futilely fighting John Wayne and manifest destiny. While the 1990 film “Dances With Wolves” won praise for depicting Native Americans as fully fleshed out human beings, not all indigenous people embraced it. It was still told, critics said, from the colonialists’ point of view. In an interview, John Trudell, a Santee Sioux writer, actor (“Thunderheart”) and the former chairman of the American Indian Movement, described the film as “a story of two white people.”
“God bless ‘Dances with Wolves,’ ” Michael Horse, who played Deputy Hawk in “Twin Peaks,” said sarcastically. “Even ‘Avatar.’ Someone’s got to come save the tribal people.”
Dan Spilo, a partner at Industry Entertainment who represents Adam Beach, one of today’s most prominent Native American actors, said while typecasting dogs many minorities, it is especially intractable when it comes to Native Americans. Casting directors, he said, rarely cast them as police officers, doctors or lawyers. “There’s the belief that the Native American character should be on reservations or riding a horse,” he said.
“We don’t see ourselves,” Mr. Horse said. “We’re still an antiquated culture to them, and to the rest of the world.”
Ms. Cardinal said she was once turned down for the role of the wife of a child-abusing cop because the filmmakers felt that casting her would somehow be “too political.”
Another sore point is the long run of white actors playing American Indians, among them Burt Lancaster, Rock Hudson, Audrey Hepburn and, more recently, Johnny Depp, whose depiction of Tonto in the 2013 film “Lone Ranger,” was viewed as racist by detractors. There are, of course, exceptions. The former A&E series “Longmire,” which, as it happens, will now be on Netflix, was roundly praised for its depiction of life on a Northern Cheyenne reservation, with Lou Diamond Phillips, who is of Cherokee descent, playing a Northern Cheyenne man.
Others also point to the success of Mr. Beach, who played a Mohawk detective in “Law & Order: Special Victims Unit” and landed a starring role in the forthcoming D C Comics picture “Suicide Squad.” Mr. Beach said he had come across insulting scripts backed by people who don’t see anything wrong with them.
“I’d rather starve than do something that is offensive to my ancestral roots,” Mr. Beach said. “But I think there will always be attempts to drawn on the weakness of native people’s struggles. The savage Indian will always be the savage Indian. The white man will always be smarter and more cunning. The cavalry will always win.”
The solution, Mr. Wente, Mr. Trudell and others said, lies in getting more stories written by and starring Native Americans. But Mr. Wente noted that while independent indigenous film has blossomed in the last two decades, mainstream depictions have yet to catch up. “You have to stop expecting for Hollywood to correct it, because there seems to be no ability or desire to correct it,” Mr. Wente said.
There have been calls to boycott Netflix but, writing for Indian Country Today Media Network, which first broke news of the walk off, the filmmaker Brian Young noted that the distributor also offered a number of films by or about Native Americans.
The furor around “The Ridiculous Six” may drive more people to see it. Then one of the questions that Mr. Trudell, echoing others, had about the film will be answered: “Who the hell laughs at this stuff?”
