Paket Umroh Plus Turki April di Jakarta, Evaluasi Tim Teknis Alsintan Di tengah derasnya produk impor alat dan mesin pertanian, alsintan produksi dalam negeri ternyata telah mampu untuk bertahan. Bahkan kini industri dalam negeri juga sudah mampu untuk memproduksi semua alsintan yang telah dibutuhkan oleh pelaku usaha. Petani pun juga lebih memilih produk dalam negeri ketimbang produk impor dari China, karena tidak dilengkapi dengan layanan purna jual. Lebih menggembirakan lagi, kini telah bermunculan pengrajin kecil alsintan di tengah eksistensi industri besar alsintan. Harapan kini telah berlanjut pada kualitas alsintan produksi mereka, yang perlu ditingkatkan, agar konsumen tidak merasa dirugikan. Pengrajin kecil alsintan juga diharapkan selalu berpedoman SNI dalam memproduksi alsintan agar bermutu baik dan mampu untuk bersaing dengan perusahaan besar. Untuk dapat mengetahui kesesuaian antara mutu alsintan yang diproduksi dengan persyaratan SNI, maka BPMA telah mengadakan kegiatan Evaluasi Tim Teknis. Produk alsintan yang telah diuji oleh laboratorium penguji akan dievaluasi kesesuaiannya dengan persyaratan SNI oleh Tim Teknis. TimTeknis yang telah terdiri dari pakar mutu alsintan yang ditunjuk berdasarkan Kepmentan No. 3775/Kpts/OT.160/9/2011. Model alsintan yang telah memenuhi SNI selanjutnya diterbitkan Surat Keterangan Kesesuaian (SKK), setelah terlebih dahulu disahkan oleh Direktur Mutu dan Standardisasi Ditjen PPHP. Kegiatan yang rutin dilaksanakan sejak tahun 2004 ini telah mengevaluasi sebanyak 354 tipe/model alsintan. Sudah 103 tipe/model alsintan yang dinyatakan berhak memperoleh Surat Keterangan Kesesuaian (SKK). Jenis alsintan yang dibahas telah mencakup Rice Polisher, Rice Milling Unit, Power Thresher, Pengering Gabah traktor roda dua, Pompa Air, Hand Sprayer, Reaper, Corn Sheller, Paddy Husker, Mesin Fogging dan Mist Blower. Terjadi indikasi adanya penurunan jumlah SKK pada tahun 2011. Penurunan ini telah disebabkan sebagian model alsintan tidak lagi menjadi bahan evaluasi Tim Teknis, tetapi dievaluasi oleh Komisi Teknis Lembaga Sertifikasi Produk (LS Pro) BPMA. Sejak terakreditasinya LS Pro Alsintan BPMA pada tahun 2010, LS Pro telah melaksanakan sidang-sidang Komisi Teknis untuk dapat memutuskan alsintan yang berhak diterbitkan Sertifikat Produk Pengguna Tanda SNI (SPPT SNI). Berbeda dengan SKK, SPPT SNI diterbitkan bagi alsintan yang selain telah memenuhi persyaratan SNI, produsen itu juga telah menerapkan Sistem Manajemen Mutu ISO 9001:2008. Sementara SKK, tidak menjadikan penerapan sistem manajemen mutu sebagai bagian persyaratannya. Sampai saat ini SKK juga masih dikeluarkan khusus bagi produsen skala kecil yang belum mampu menerapkan sistem manajemen mutu, namun alsintan yang diproduksinya telah memenuhi SNI. Diharapkan ini juga dapat memotivasi mereka agar dalam berproduksi selalu berpedoman pada SNI. Namun ke depan diharapkan pengrajin alsintan kecil pun juga mampu menerapkan sistem manajemen mutu yang standar, agar konsistensi kualitas alsintan yang diproduksi terjaga dan mampu bersaing dengan produk dari perusahaan besar. Dirat Mutu dan Standardisasi, sebagai pembina produsen alsintan, menjadi ujung tombak untuk kemajuan produsen alsintan kecil menengah ini. Editor : Dian Sukmawati EVALUASI TIM TEKNIS ALSINTAN

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?”

Native American Actors Work to Overcome a Long-Documented Bias

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