TION Tax Digitalization in Indonesia
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Profiling Industri Kreatif Di Indonesia
PENGEMBANGAN EKONOMI KREATIF INDONESIA 2025 HASIL KONVENSI PENGEMBANGAN EKONOMI KREATIF 2009-2015 YANG DISELENGGARAKAN PADA PEKAN PRODUK BUDAYA INDONESIA 2008 JCC, 4 -8 Juni 2008 DR. Mari Elka Pangestu AGENDA: “KONVENSI PENGEMBANGAN EKONOMI KREATIF INDONESIA 2009-2015” • Rangkuman Hasil Pembahasan Permasalahan Pada 14 Subsektor Industri Kreatif • Kesimpulan Pembahasan pada 14 Subsektor Industri Kreatif. • Quick Wins Pengembangan Ekonomi Kreatif oleh Departemen Perdagangan 2009-2010 Nelson Mandela Bono-U2 Batik Designed by Iwan Tirta 2 14 SUBSEKTOR INDUSTRI KREATIF INDONESIA SESUAI DENGAN KBLI 2005 3 KONTRIBUSI EKONOMI INDUSTRI KREATIF DI BEBERAPA NEGARA Periode studi tahun 1997-2000 di beberapa negara: • Kontribusi GDP IK berkisar antara 2,8% (Singapura) sampai dengan 7,9% (Inggris) • Pertumbuhan PDB industri kreatif berkisar antara 5,7% (Australia) dan 16% (Inggris) • Tingkat partisipasi tenaga kerja berkisar antara 3,4% (Singapura) sampai dengan 5,9% (US). Studi Pemetaan Industri Annual Growth 5,7% Kreatif Departemen Perdagangan 2007 • Penyerapan tenaga kerja mencapai 5,4 juta pekerja Indonesia dengan tingkat partsipasi 5,8% • Nilai ekspor mencapai 81,4 6,3% GDP from Creative triliun rupiah dan berkontribusi Industry 104,73 trillion rupiah sebesar 9,13% terhadap total nilai ekspor nasional (pertumbuhan nominal ekspor) 4 PROFIL KONTRIBUSI PDB INDUSTRI KREATIF DI INDONESIA . Rata-rata Kontribusi PDB Industri Nilai PDB 9 Sektor Lapangan Usaha Utama dan Kreatif Tahun 2002-2006 berdasarkan Industri Kreatif di Indonesia Tahun 2006 Berdasar Harga Konstan Tahun 2000 (Ribu Rp) harga konstan 2000 adalah sebesar Rp 104,6 Triliun Rupiah , yaitu 6,3% dari total nilai PDB Nasional. Kontribusi PDB IK tahun 2006 berdasarkan harga konstan 2000 sebesar 104,8 triliun Rupiah, yaitu 5,7% dari total PDB Nasional. -
OECD Economic Surveys Indonesia
OECD Economic Surveys Indonesia October 2018 OVERVIEW www.oecd.org/eco/surveys/economic-survey-indonesia.htm This Overview is extracted from the Economic Survey of Indonesia. The Survey is published on the responsibility of the Economic and Development Review Committee (EDRC) of the OECD, which is charged with the examination of the economic situation of member countries. This document and any map included herein are without prejudice to the status of or sovereignty over any territory, to the delimitation of international frontiers and boundaries and to the name of any territory, city or area. OECD Economic Surveys: Indonesia© OECD 2018 You can copy, download or print OECD content for your own use, and you can include excerpts from OECD publications, databases and multimedia products in your own documents, presentations, blogs, websites and teaching materials, provided that suitable acknowledgment of OECD as source and copyright owner is given. All requests for public or commercial use and translation rights should be submitted to [email protected]. Requests for permission to photocopy portions of this material for public or commercial use shall be addressed directly to the Copyright Clearance Center (CCC) at [email protected] or the Centre français d’exploitation du droit de copie (CFC) at [email protected]. EXECUTIVE SUMMARY │ 3 Executive summary OECD ECONOMIC SURVEYS: INDONESIA 2018 © OECD 2018 4│ EXECUTIVE SUMMARY Living standards are rising steadily Table A. Growth is projected to remain healthy Percentage change unless indicated Thanks to a steady economic expansion and helpful government policies, poverty rates 2017 2018 2019 and inequality are falling, and access to public Gross domestic product 5.1 5.2 5.3 services is broadening. -
New Museum of Indonesian Batik: an Architecture of “Showing Off”
Journal of Civil Engineering and Architecture 11 (2017) 305-312 doi: 10.17265/1934-7359/2017.03.010 D DAVID PUBLISHING “A” New Museum of Indonesian Batik: An Architecture of “Showing off” Yuke Ardhiati Architecture Department, Universitas Pancasila, Jakarta, 12640, Indonesia Abstract: For the “A” New Museum of Indonesian Batik, Ivan Saputra was the architect winner of the Museum Design Competition in 2013. Preparation for the competition required architectural design guidelines, which were an important part of the terms of reference for the project. This paper aims to provide an overview of the issues surrounding the work involved in the collaboration work between the Indonesian government and multi-disciplinary participants to establish museum design guidelines for this competition. By articulating and elaborating the characteristics of several famous museums design in the world, by defining relevant architectural theories, and by exploring an in-depth analysis of “batik”, which UNESCO designated as Intangible Heritage of Humanity of UNESCO in 2009, the architectural design guidelines were developed based onfindings revealedby inserting “batik” itself as the museum storyline into contemporary architecture. By referring to trans-disciplinary methods and concepts, then the process of batik making is potentially a kind of architectural “showing off” to expose the uniqueness of Indonesian batik as well as the Architecture-Event theory promoted by French philosopher Jacques Derrida. Key words: Architecture-event, architectural guidelines, Indonesian batik, museum storyline, “showing off”. 1. Introduction strict heritage guidelines result in the fact that museums are limited in regard to museum design. The “Love Our National Museums Movement” According to the author, with such restrictions, the started in the year 2010 as part of Indonesian Museum general public often perceive the final design to be Reform initiative to reform iconic museums. -
Museum Batik Pekalongan
Museum Batik Pekalongan Posting Museum Batik Pekalongan yang pernah saya kunjungi pada waktu pembukaan (kurang lebih 2 tahun lalu) ternyata cukup mendapat respons berupa comment. Penasaran, kemarin saya mengunjungi kembali museum ini. Ternyata cukup banyak perubahannya. Dimulai dari awal masuk kami harus membeli tiket sehargaa 3000 rupiah, kemudian kami dipersilahkan melihat seluruh koleksi museum ini bersama seorang guide (pada kunjungan sebelumnya belum ada). Menurut guide yang memandu kami, di museum ini koleksinya selalu diperbaharui dan di rolling, begitu pula dengan tatanan interiornya yang mengalami perubahan oleh kurator museum. Museum ini telah menjadi salah satu aset nasional dan dikelola langsung oleh pemerintah pusat dan bukan milik pemda. Menurut statistik data pengunjung, rata-rata perbulan terdapat sekitar 150 orang yang mengunjungi tempat ini, dan cukup banyak diminati oleh wisatawan asing. Di museum ini terdapat 4 ruang pamer, perpustakaan dan ada ruang peraga. Ruang Pamer Utama menampilkan gambaran umum batik, bahan pembuatnya dan aneka batik kuno, baik dari Indonesia maupun batik luar yang menurut ceritanya di datangkan dari India. Ruang pamer kedua merupakan Ruang Batik Nusantara. Di sini ditampilkan batik batik khas dari daerah di seluruh Indonesia. Rencananya akan di buat tema daerah setiap 6 bulan sekali, kebetulan yang kami lihat kemarin adalah tema batik Pekalongan. Ruang pamer ketiga adalah Ruang Interior Batik, menampilkan perangkat interior rumah dengan bahan dasar batik, tetapi disana juga terdapat batik koleksi seorang warganegara australia bernama Digby Mackintosh yang dihibahkan kepada Museum Batik Pekalongan. Ruang pamer yang terakhir adalah Ruang IwanTirta, berisi bermacam-macam kain batik hasil karya Iwan Tirta seorang desainer indonesia yang memiliki kecintaan pada batik. -
Accelerating Geothermal Development in Indonesia: a Case Study in the Underutilization of Geothermal Energy
Consilience: The Journal of Sustainable Development Vol. 19, Iss. 1 (2018), Pp. 103–129 Accelerating Geothermal Development in Indonesia: A Case Study in the Underutilization of Geothermal Energy Kevin Fan University of British Columbia [email protected] Sang Nam McGill University [email protected] Abstract Geothermal energy is a clean, reliable, and domestic source of energy that offers constant electricity while emitting relatively few emissions of carbon dioxide and other pollutants. Despite these benefits, its development globally has not been as rapid in recent years as that of other renewable energy sources. We examine Indonesia as a case study— while home to over a third of the world’s geothermal resources, the country exploits only 5.8% of it. Moreover, as a rapidly developing economy with projected electricity growth of 8.5% per year until 2025, Indonesia must harness its geothermal potential if it is to meet electricity needs without requiring the fossil fuels upon which it has historically been reliant. However, significant roadblocks impede geothermal development in Indonesia, primarily in the geoscientific, financial, and political spheres. Firstly, there is a lack of geologic data crucial to preliminary geothermal potential assessment, rendering it difficult to locate available resources. Financial issues also deter investment in geothermal development by private companies due to the high up-front cost of preliminary resource exploration. Lastly, an uncertain political and regulatory environment create uncertainty for geothermal investors. Cognizant of these problems, we examine solutions and policies effectively implemented by other countries and industries that can be applied to Indonesian geothermal energy development. -
Lets-Play-Magazine-July-2017.Pdf
For internal distribution only Let’s Play • 2 memo Chief Executive Ade Tjendra Vera Tanamihardja Editor in Chief Aditya Haikal Managing Editor MAGAZINE Nilasari Yani Indonesia melahirkan Editor Dina Adriandini beragam kekayaan Octaviniant Aspary alam dan budaya yang menjadi pujaan negeri Contributor hingga daya tarik di luar Michael Kristanto negara. Bertahan dari arus Diana Rafikasar modernisasi, kebudayaan Tiara Putri Indonesia menjadi lebih Devi Setya Lestari berkembang karena Andik Sismanto adanya sosok-sosok yang memelihara warisan Layout and Design Rivera Ratu Prawita tersebut. CNN merangkum Yustiawan kisah ini melalui tayangan Androgama Jaya Pranata The Keepers yang menghadirkan keberagaman budaya Indonesia, mulai dari kerajinan, kuliner, kisah legenda, Photographer dan banyak lainnya. Victor Sasongko Bayu Aji Saputra Cerita akan kekayaan alam di Indonesia dan destinasi Fadil Kalimuda Siregar wisata di berbagai belahan dunia juga dapat dinikmati dari kisah Nala Rinaldo yang memutuskan melepas karir tetapnya dan beralih menjadi full-time photographer. Simak kisah inspiratif Nala yang konsisten menjalani passion-nya sambil melihat dunia melalui jiwa seninya. Publisher Tak hanya itu, ulasan mengenai destinasi wisata yang seru, tipe-tipe wisatawan, hingga tips berkuliner saat traveling serta serba-serbi traveling lainnya juga dapat segera diketahui oleh Players. Tak kalah menarik tayangan istimewa dari Kix, Cinemax, Office DW, AXN, dan banyak saluran lainnya yang siap MNC Tower, Lantai 10, 11, 12A, 25, membuat hari-hari di bulan Juli -
Batik, a Beautiful Cultural Heritage That Preserve Culture and Support Economic Development in Indonesia”
“BATIK, A BEAUTIFUL CULTURAL HERITAGE THAT PRESERVE CULTURE AND SUPPORT ECONOMIC DEVELOPMENT IN INDONESIA” Evi Steelyana Accounting Departement, Faculty of Economics and Communication, BINUS University Jln. K.H. Syahdan No. 9, Palmerah, Jakarta Barat 11480 [email protected] ABSTRACT Batik is an icon nation for Indonesia. Batik has awarded as cultural heritage from UNESCO on October 2nd, 2009and it is significantly affected to batik industry afterward.The raising of batik industry caused some multiplier effects to economics and socio cultural in Indonesia. In many areas of industry, banking role has always beenthe man behind the scene. Banking role in Indonesia also gives some encouragement and be part of batik industry development. Many national event has been created by some banks to encourage SME in batik industry to market their product internationally. This paper will give a simple explanation how banking industry and batik industry get along together in Indonesia, especially in financial sector to enhance economics development and to preserve a nation culture.Research methodology in this paper is quantitative method. This paper will give a simple analysis through comparative analysis based on export value from batik industry, domestic use of batik,batik industry development and microcredit or loan from banking industry to SME in batik industry.Many people wearing batik to show how they do appreciate and belong to a culture.Batik also gives other spirit of nationalism which represent in Batik Nationalis.The role of batik in international diplomacy and in the world level gives significant meaning for batik as a commodity which preserve Indonesian culture. In a piece of batik cloth, embodied socio-cultural and economic values that maintain the dignity of a nation. -
Indonesian Fashion Designers-----Transformation from Traditional Textiles
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by UNL | Libraries University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2004 Indonesian Fashion Designers-----Transformation from Traditional Textiles Yuka Matsumoto Kochi Women’s University, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons Matsumoto, Yuka, "Indonesian Fashion Designers-----Transformation from Traditional Textiles" (2004). Textile Society of America Symposium Proceedings. 435. https://digitalcommons.unl.edu/tsaconf/435 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Indonesian Fashion Designers-----Transformation from Traditional Textiles Yuka Matsumoto Kochi Women’s University Japan [email protected] Introduction Indonesian fashion designers started to make design placing traditional textile culture of the country on the background of the own design in the 1970s. The designers are featured in this research how they think the characteristics of their design. Leshkowich and Jones[2003] and Niessen, Leshkowich and Jones[2003]discuss that Asian fashion designers take Asian chic fashions born in Europe and North America into their design and Asian fashion design has been made by the influence of Asian chic fashion from the West. This paper also mentions the view of chic fashion in Indonesia effected by the West. -
Merevitalisasi Batik
Merevitalisasi Batik Tua Konservasi Koleksi Bersejarah Iwan Tirta milik Kedutaan Besar Amerika Bringing Old Batik Back to Life: Conservation of the American Embassy’s Historic Iwan Tirta Collection Julia Brennan ama sosok Iwan Tirta (1935-2010) sinonim he name Iwan Tirta (1935-2010) is dengan seni batik modern. Terkenal sebagai synonymous with modern batik artistry. N“maestro” batik kontemporer Indonesia, TKnown as the ‘maestro’ of contemporary genius Iwan yang kreatif dan dengan semangat batik, Iwan’s creative genius and irrepressible spirit seni yang tak terbendungi, melepaskan sang ‘jin released the traditional Javanese ‘genie from the Jawa tradisional dari botol’, dan menempatkan bottle’ and put batik on the global map. batik di peta batik dunia. Iwan Tirta first made a name for himself in the late Nama Iwan Tirta mulai tenar pada akhir tahun 1960s and early 1970s, when he took traditional enam-puluhan dan awal tujuh-puluhan, saat Javanese batik motifs, altered their colors and beliau memilih ragam hias batik Jawa, mengubah arrangements, and applied these modified warna dan tata-letak motif, dan mengaplikasikan designs to walls, household furnishings, and desain yang telah berubah ini pada hiasan dinding, Western-style clothing. His lavish and colorful peralatan rumah tangga, dan fesyen yang berkiblat hand-drawn batiks, often over-layered with gold ke barat. Batik tulis yang anggun dan multi warna leaf, were fashioned into gowns, sarongs, men’s yang seringkali diberi prada disulap menjadi gaun shirts, and shawls. He popularized the concept of malam mewah, sarung, kemeja pria dan selendang the Indonesian man’s formal batik shirt, creating batik nan serasi. -
Dsti/Sc (2017)
For Official Use DSTI/SC(2017)2 Organisation de Coopération et de Développement Économiques Organisation for Economic Co-operation and Development 06-Apr-2017 ___________________________________________________________________________________________ _____________ English - Or. English DIRECTORATE FOR SCIENCE, TECHNOLOGY AND INNOVATION STEEL COMMITTEE Use Official For DSTI/SC(2017)2 Cancels & replaces the same document of 14 March 2017 CAPACITY DEVELOPMENTS IN THE WORLD STEEL INDUSTRY 23-24 March 2017 Paris, France This document will be examined under the agenda Item 4 on steelmaking capacity developments. It provides an update of steelmaking capacity estimates for the world economy, based on information extending to December 2016. Potential gross capacity additions are provided until 2019, based on an update of the investment project database that is available in Annex 1. The document is for review and declassification by delegates on the Steel Committee. This report is a contribution to Output Result 1.2.5.1.4 of the Steel Committee's 2017-18 PWB Action required: For discussion and comment. Following sufficient review by delegates, this report will be declassified and made publicly available in the spring of 2017. Contact: Hokuto OTSUKA, Consultant, Structural Policy Division/Steel Unit, Email: [email protected], Tel.: +33 (0)1 45 24 14 83 English JT03412140 Complete document available on OLIS in its original format - This document and any map included herein are without prejudice to the status of or sovereignty over any territory, to the delimitation of Or. English international frontiers and boundaries and to the name of any territory, city or area. DSTI/SC(2017)2 TABLE OF CONTENTS CAPACITY DEVELOPMENTS IN THE WORLD STEEL INDUSTRY .................................................... -
Does the Gap Between East and West Still Exist? a Study of Indonesia's Disparities
Udayana Journal of Social Sciences and Humanities, Vol. 3 No. 1, February 2019 | 1 DOI: https://doi.org/10.24843/UJoSSH.2019.v03.i01.p01 Does The Gap Between East and West Still Exist? A Study of Indonesia’s Disparities Pardomuan Robinson Sihombing Magister of Statistics Candidate Padjajaran University Bandung-Indonesia [email protected] Abstract Indonesia is a large country with many classical problems. One of the problems still faced by Indonesia is the disparity between Western Indonesia and Eastern Indonesia. Western Indonesia is synonymous with developed and prosperous regions, while East Indonesia is identical to the developing region, the area that left behind. The Indonesian government is implementing various programs to reduce disparities between the two regions. This study aims to map the most striking aspects of the disparity between Western and Eastern Indonesia using discriminant analysis. The variables used are poverty, gini ratio, unemployment, HDI, GEI, GDI, economic growth, sanitation access, and IDI. The results showed that the most distinguishing aspects of the two regions were poverty, unemployment, GDI, and access to sanitation. Thus, it is expected that the policies implemented by the government can prioritize these issues to accelerate equity throughout Indonesia. Keywords: disparity, developed area, developing area, Indonesia. JEL Classification: D63, O10, P25 I. INTRODUCTION Kalimantan, Sulawesi, NTB, NTT, Maluku and Papua. These regions, especially NTT, Maluku and Indonesia is the largest archipelagic country in Papua, often experience socio-economic problems. the Asia Pacific consisting of more than 17,000 Government programs to reduce this disparity are islands. The landscape of the area stretching from certainly not arranged recklessly. -
Re-Invensi Batik Dan Identitas Indonesia Dalam Arena Pasar Global
ISSN 2337-6686 ISSN-L 2338-3321 RE-INVENSI BATIK DAN IDENTITAS INDONESIA DALAM ARENA PASAR GLOBAL Ananda Feria Moersid Fakultas Seni Rupa – Institut Kesenian Jakarta E-mail: [email protected] Abstrak: Re-Invensi Batik dan identitas Indonesia merupakan suatu fenomena yang penting untuk dapat mengangkat kualitas komoditas di arena pasar global. Re-invensi adalah sebuah upaya yang secara sadar mengkonstruksi identitas baru yang berangkat dari tradisi yang berfungsi sebagai pembentuk ikatan sosial dan secara politis serta dibutuhkan sebagai bentuk legitimasi status dan otoritas. Tujuan penelitian ini adalah untuk mengetahui: (1) Bagaimana seni visual tradisional dalam hal ini batik Indonesia harus diposisikan pada pasar global. (2) Bagaimana kualitas batik Indonesia dapat menjadi komoditas yang mampu bersaing dalam pasar global. Metoda yang digunakan adalah studi kepustakaan dengan pendekatan deskriptif eksploratif. Dapat disimpulkan bahwa: (1) Batik sebagai tradisi ‘otentik’ selalu dapat dikonstruksi atau dire-konstruksi, demi kepentingan politis ataupun pariwisata (2) Kapital ekonomi saja tidaklah cukup, berbagai upaya harus dilakukan untuk meraih kapital budaya dan secara terus menerus menambah pengetahuan budaya, kompetensi dan keunggulan. Hanya dengan kemampuan untuk berubah, mencari bentuk baru dan mengkondisikan batik sebagai sebuah produk budaya, maka re-invensi tradisi dapat menjadi sumber kreativitas dan penegasan identitas Indonesia pada pasar global. Kata Kunci: re-invensi, konstruksi sosial, identitas global Abstract: Batik re-invention and Indonesian identity is an important phenomenon in order to build the quality of the commodity, especially in global market. Re-invention is a conscious effort to construct a new identity based on tradition as a builder of social ties and politically legitimize status and authority.