ADRIAN RIYADI-LENNOR

Transforming batik into lifestyle
“OUR vision is to educate the younger generation in Indonesia that batik and other traditional textiles can also be fashionable and suited for them,” said Adrian Riyadi, director of business development for Lennor when interviewed at Lennor Store located at Plaza Indonesia, Central Jakarta.

At 25, Adrian is still quite young. When he was met he was wearing a black batik shirt by Lennor with a bold design which made him look fashionable.

In Adrian’s opinion batik is the pride of Indonesians. However, like many other young people, he admitted that initially he was not too fond of batik because the dominate brown color was not attractive for certain occasions. “Previously I seldom wore batik for my daily activities as the brown color tends to be boring,” he said.

Indeed everyone here is familiar with batik. This exotic and unique traditional material was listed by UNESCO on Oct. 2, 2009 as one of the world’s cultural heritage originating from Indonesia. Since then it has become the pride of the nation and many people here expect that Oct. 2 will be declared National Batik Day.

Unfortunately although batik has a respectful place in the world it is largely scorned by the younger generation in Indonesia. Batik is associated with older people and is seen as a stuffy, formal attire for formal occasions, such as weddings, traditional and national ceremonies and so forth. This is the reason why Adrian together with his two colleagues at Lennor view the situation as a challenge and an opportunity by attempting to introduce more contemporary batik to the younger generation.

To attract them Lennor produces batik with uniquely fashionable designs and daring colors to symbolize freedom and sizes that fit them rather than the normally large or oversized ones. With this approach Adrian hopes that the new batik style will not only be worn during formal occasions but also for daily activities, like going to the office or parties. “The batik material we purchase from the manufacturers in Pekalongan and Solo in Central Java and other areas have designs that are quite different. They are uniquely simple, more cheerful and playful to suit the taste of the younger generation as well as to introduce them worldwide,” he explained.

Lennor itself is a second business line belonging to garment designer Lenny Agustin. Lenny, one of the country’s progressive young designers, prefers to use traditional textiles such as batik, lurik (local woven material with stripes) and so forth for his creations. Most of his customers order wedding and cocktail dresses from her.

Lenny’s dream to develop batik further was realized when a friend, Ananda, introduced him to Adrian. Soon the three became partners and decided to introduce Lennor’s products to the younger generation for daily wear and eliminate the image that batik is only suitable for older people.

For Adrian the world of fashion is something new, because previously he managed a shoe manufacturing company, Pierro. However he views his partnership with Lenny and Ananda as a good opportunity to advance fashion in Indonesia and to be patriotic at the same time “It is certainly about nationalism. That’s why Lennor only uses local materials from all over the country,” said Adrian, who is a graduate of Academy of Art University, San Francisco, United States.

What else makes Adrian interested in the fashion business? “Because fashion in Indonesia has huge potential and it is also full of challenges. The plus points are our rich natural resources, materials, art, workmanship, crafts and so on. The market for fashion items is also quite tricky and complicated with countless competitors and wide demographics,” he commented.

So the question is how does Adrian defend Lennor from the numerous competitors, both domestic and foreign? “The past year has been a rollercoaster ride. Most importantly we have to be precise in mapping out the marketing of our products to the right target market. We have to know what we sell and who we are selling to. We have to focus on what we are good at and do it one at a time.

“Efficiency in production and sourcing is also an important factor. Always be realistic, there is no more time for trial and error. Last but not least, a huge amount of effort must be invested in branding and advertising,” he explained.

As a brand that focuses on the 25-35 age segment Lennor Batik’s price tags range from Rp 200,000 (US$22.4) to Rp 400,000, which is not considered too costly as the high quality materials are mostly hand made and they are manufactured in limited quantities.

So what is the secret that makes Lennor’s products popular with the younger generation? “Lennor constantly looks for new materials and unique designs from many parts of Indonesia. Annually we produce four major themes and there are sub-themes according to certain religious occasions or celebrations. This way there is always something new and up to date from Lennor to prevent boredom,” explained Adrian.

Today Lennor has three stores in Jakarta and next year, in 2011, Adrian plans to open five stores outside Jakarta. Is Lennor already satisfied with its current success in popularizing batik for the younger generation? “Well, not yet. The most valued recognition will be when our products are warmly welcomed by the entire market. For now we will keep coming up with new fashion designs and inspirations that will popularize batik and other Indonesian art forms to the younger generation. So, one cannot say that we have achieved complete success as it is still a long journey ahead. I will tell you later after five or 10 years!” he concluded. (Patra Matondang)

The Jakarta Post, October 02, 2010
http://www.thejakartapost.com/news/2010/10/02/adrian-riyadi-transforming-batik-lifestyle.html

RAHAYU KERTAWIGUNA - NAGASWARA

Propelling local stars to fame
WHO would have thought that a band that initially was viewed with disdain by Indonesian musicians because of its low class music – Pop Melayu – is now a brilliant achiever?

It is none other than the Wali band and its hit single Cari Jodoh (Seeking a life partner) which has been downloaded into more than 20 million ring back tones (RBT). The band has achieved recognition not only here in Indonesia, but an English version of the song has been made and sung by Fabrizo Faniello titled I No Can Do for the European market. What is fantastic is that since its release I No Can Do has been well received by the European public and for four weeks it topped the Top 20 Eurovision. In short now the negative views about Wali have been totally erased as its achievement is the pride of the domestic music industry and especially for the Nagaswara label, which has been associated with Wali up to this stage.

And the person behind the Nagaswara label receiving all the compliments is Rahayu Kertawiguna, who established PT Naga Swarasakti in 1999. Wali met Nagaswara in 2007 for the first time.

Just like any other newcomer the band was not asked to make an album immediately. Nagaswara tried to prepare the right combination and materials for Wali so that it would be acceptable to Indonesian listeners. But it was only in 2008 that Wali got the opportunity to release its first album.

“Sujana introduced Wali to us. Their music style used to be something like rock and they used to call themselves Viera, but we changed the name to 9 Wali (the nine pious leaders who spread Islam in Java) and finally only Wali. Why did we choose the name Wali? Well, so that they can become the best and convey the good message just like the nine Wali Songo,” explained Rahayu.

Actually this is not the first time that Rahayu has orbited a band to popularity. Previously it was Kerispatih and T2. Now with his lucky touch and sensitive ears he has drawn numerous singers and bands to work under the Nagaswara label. Currently no less than 200 of them are in collaboration or working for the company, including both new bands and established ones, such as Koil, Endank Soekamti, The Dance Company and even the legendary God Bless.

Rahayu was introduced to the music world due to his interest in the cover designs of cassettes and CDs and that is why he studied graphic design. After graduating he worked in a recording company making designs for cassette and CD covers and was made head of graphic design at Blackboard in 1986. Then in 1989 he set up his own printing company for cassette and CD covers and orders came from recording companies who became his clients. In 1995 he established a recording company, which only lasted for three weeks, but Rahayu did not lose heart. In 1999 Rahayu set up Nagasawara.

“Nagaswara started from zero. I had nothing, only a high degree of determination. Recording companies didn’t ask for immediate payment so I could use the money for one or two months from sales. That’s how I survived,” said the father of three.

In its early years Nagaswara did not produce local music, but collaborated with almost 50 foreign recording companies that sold house music from 1999 until 2003. After reasonable success in 2004 Rahayu ventured into producing Indonesian music.

“That was my marketing theory. I introduced Nagaswara in joint cooperation with international labels and when we had the top position in dance music I started to focus on domestic music. We only had Kerispatih at that time. Thank God Kerispatih was liked by the Indonesian public. After that we got a number of opportunities. There was T2 in 2007 and Wali in 2008. Hopefully there will be other bands like Wali for us,” said Rahayu who is also a guest lecturer at PPM Management.

It has been 11 years now since Nagaswara started its recording business. So, what is the secret of Rahayu’s success? “I make them feel comfortable working with my company and they are well rewarded. I am fair and open with them, and that’s what they like. So the first key is openness and the second one is a family-like atmosphere. So, when there is a problem we can seek a solution together. Your problem is my problem. There is a standard or a fair agreement on profit sharing in my company,” said Rahayu who prefers his label to be called “the big indie” rather than a major label.

Rahayu is now proud that Indonesian music is well accepted and fully respected in its own country and he said that the market is wide open and can be expanded further. However, the government should also pay attention to the industry. “Out of the 100 top RBTs almost 80 percent is Indonesian music and only at certain moments, like the recent World Cup, Shakira with her song Waka-Waka was in top position. Music is a highly profitable creative product compared with other creative industries. However from the business point of view the music business here is not healthy because 98 percent are pirated products and only 2 percent are original. But I am sure in the future it will get better,” said Rahayu, who is also a guest lecturer at the Indonesian Police Education Center.

Although pirating is rampant in the country Rahayu is still optimistic about the business. He not only loves to help singers and musicians in their career, but has also joined the struggle against music pirating. “For me music is a total struggle. It may sound strange, but it is true, because in our country the violation of Intellectual Property Rights is rampant. Music is the right of the musicians, composers, singers and so forth. That’s why I go with the police around the country to fight against such pirating,” said Rahayu, who received the Integrity Award in 2007 from the government in the fight against pirating for recording producers.

So, what are Rahayu’s hopes about Intellectual Property Rights and his future plans for Nagaswara?

“Today the law against pirating is still within the clauses on creative industries. I hope soon there is a clear cut law on pirating, for example, in the form of a government regulation. This is really my personal dream and currently I am preparing a concept on how to fight piracy which I will submit to the President. Nagaswara is still focusing on Wali and I hope next year it will be a good year for the company and for them as well. I also would like to franchise Nagaswara radio. We are also open for new singers with a good voice while appearance is number two. So, voice is top priority,” said Rahayu, the founder and secretary general of the Defenders of Intellectual Property Rights Front (FP-HKI). (Patra Matondang)

The Jakarta Post, September 08, 2010

http://www.thejakartapost.com/news/2010/09/08/rahayu-kertawiguna-propelling-local-stars-fame.html

DJONNIE RAHMAT-HARLEY

Living the Harley Davidson lifestyle

IS there anyone who has never heard of Harley Davidson? Due to its popularity, some people call any big motorcycle a Harley Davidson regardless of its brand. In 2009, the sale of big motorcycles in Indonesia was the highest in Southeast Asia, thanks to the achievement of PT Mabua Harley Davidson, the authorized distributor of Harley Davidson in Indonesia. The man who leads the company is Djonnie Rahmat, who became its president director in 2002.

Djonnie has traveled a winding road to success in the motorcycle industry. As a matter of fact, Djonnie was a sailor before he embarked on a career on land. “At that time, there was little opportunity [to work] at sea. Finally, I decided to stay on land and work for a consulting company that was related to the shipping industry. We became the arm of an insurance company to conduct investigations. The object remained ships but I was no longer a sailor,” said the Shipping Academy (AIP) graduate.

Along with some friends, he later cooperated with a British investor to set up a company, Citrabuana (1988), and later Intertek Utama (1993). The companies developed well and Djonnie became president director of both companies. With his experience in the two companies, he had the principles to develop businesses orientated toward consumers and professionalism. He applies the same philosophy with Mabua Harley Davidson.

“We built Citrabuana with seven people. It’s now been 22 years and we have never suffered losses. It is a consulting company and 99 percent of our clients are foreigners. Our commitment to quality and punctuality is imperative. We have become prominent in the area. Maybe this has much to do with the way I run the businesses that followed,” said Djonnie, who once took a course at the National Defense Institute.

Harley Davidson motorbikes are originally from Milwaukee, Wisconsin, US, and were nothing new to Djonnie. He had been in love with Harleys ever since he was a kid. He first rode one, which belonged to his parents, when he was in junior high school. Djonnie has been a member of the Harley Owners Group (HOG) since 1998. HOG is a club fully support by the producer.

The decision to work at Harley Davidson was difficult for Djonnie, especially because at that time he worked at Suara Pembaharuan daily as the general manager but had decided to move to Australia. “[I joined] Harley because Bapak Pram, the director of Mabua Harley Davidson, suddenly died of a heart attack and I was asked to replace him. I still worked at Suara Pembaruan and had not achieved its goal. It is because of this request that I work with Mabua Harley Davidson,” said Djonnie, who, despite his busy schedule, also serves as the chairman of the AIP alumni association and an executive of the Indonesian Karate-Do Federation.

When Djonnie took over the leadership of Mabua in 2002, its condition was not encouraging. Mabua had only one outlet, on Jl. Fatmawati, South Jakarta, and was Rp 16 billion in debt. But Djonnie considered it a challenge and found it hard to turn down the position.

When he met the principle for the first time in America in 2003, the first thing he was asked concerned the debt. “When will you pay the debt?” he recalled being asked. But he translated this as a challenge that was put in his action plan.

Upon his return from the US, he developed a strategy to address all the problems and made internal and external changes. He organized a workshop for all of the employees and motivated them to make changes. Outside the company, he tried to change the negative image of Harley Davidson riders, who were considered wild and reckless. He also believed it was necessary to change the image about its exclusivity.

“People have one of two sentiments toward Harley: like or dislike. There is no in between. Men must see Harley that way. They hate it or they want it. Many wanted it but did not know how they could own one. They may have wanted one and had the money to buy one, but they did not know where to go. And why did people hate Harleys? This needed to be dealt with,” he said.

With his media experience, Djonnie made journalists his partners. “Here, the media played a role. I held many events. Positive events, such as annual media gatherings. We had fun and gave our partners in the media the opportunity to ride a Harley so they could personally experience the bikes,” said the father of two.

The negative image gradually faded due to cooperation among Harley Davidson bikers all over Indonesia who continue to build a positive public image by taking part in social activities held by the government and the private sector, and being visible in tourist destinations. An example of this is the participation of Harley Davidson bikers in the Red and White Parade in August 2009 in Bali.

Djonnie’s efforts to change the negative view of Harley bikers continued. The efforts including developing relations with the police because in the past the police were reluctant to stop a Harley biker and issue a ticket. “Such a view was disturbing. I went and built a relationship with them,” he said.

Harley Davidson bikers are a unique community. Communicating with them requires tact. The majority of the bikers are successful people and it is necessary to use a certain approach with them.

Acknowledging this, Djonnie said one should avoid using a negative or commanding tone with them. “Therefore, we should use positive and persuasive words,” he said.

Riding a Harley Davidson is no longer a hobby but a lifestyle. Mabua Harley Davidson has eight outlets and a target to sell 400 motorcycles this year.

What obstacles does Djonnie expect to face in 2010? “In 2003, I asked people to come out of their slumber. Now the problem is a positive problem in that we want to develop further and faster. Now we have the money and the market is there, but we lack the human resources. We have to contain ourselves and adjust to our capacity so that everything will work well. In April, we had an annual management training program to train and drill our staff,” he said.

The kind of people that Djonnie needs for his team are young people who are easily satisfied and want instant success, which means he is looking for young creative people. “I really admire people with high creativity because people like that will develop faster,” he explained. (Tedy Matondang)

The Jakarta Post, May 05, 2010
http://www.thejakartapost.com/news/2010/05/05/profile-djonnie-rahmat-living-harley-davidson-lifestyle.html

Ody Mulya-Maxima Pictures

Controversy sells

ODY Mulya may not be as well known as his movies, which have created controversy and sensationalism in the media. The movies he has produced include Tali Pocong Perawan (String of a Virgin’s Shroud, 2008), Kutunggu Jandamu (Waiting for a Divorcee, 2008) and Air Terjun Pengantin (Bride’s Waterfall, 2009). Not only do the movies have controversial titles but they also have daring scenes. Suster Keramas (2010) (Shampoo Nurse) and Arisan Brondong (2010) (Fusillade of Tontines) star porn actresses from Japan, namely Rin Sakuragi and Erika Kirihara. His latest movie, Menculik Miyabi (Kidnapping Miyabi) is the talk of the town. Released May 6, the original cast of the movie included Japanese porn star Maria Ozawa. However after much controversy, Maria Ozawa was dropped from the cast and the film was made into a comedy.

Ody Mulya has been the president director of PT Maxima Pictures since 2003. He started out as a bank promotions and communications manager until a friend asked him to join Maxima Pictures. “I worked at the bank for 10 years before finally moving into film production, to Maxima Pictures that is,” said Ody, a civil law graduate from Muhammadiyah University, Jakarta.

As a newcomer to film he was frequently cheated. Production costs often increased without any apparent reason, but he kept learning as he often supervised the production in process. After the first three or four months and with his experience in the bank, Ody found the right formula to minimize expenses.

“I found a lot of illogical things. Why should there be an executive producer, a director’s assistant, sometimes even two of them? The worst thing was when a budget was made for a film with a crew of 120 people. What colossal film were we going to make anyway?” quipped Ody, who in the early days of Maxima Pictures only relied on three core people.

Then he totally changed the method of filmmaking at the company. These days he first looks for a storyline and then asks a writer to make a script. Next is the casting and finally negotiating with the director for the fee so the production cost is clear. “I reversed the method. I don’t wait for the scenario, but we create the idea and pass it on to the writer,” said the father of one.

In the midst of much criticism and pressure to cancel the production of Menculik Miyabi, Ody was determined to proceed. He said he was not creating a sensation but Maxima pictures had to respond to the trust given to it by the world of film not only here but also globally. “I was determined to make this film to honor to the international trust and demand. Germany, France, the United States, Korea, Taiwan and many other countries were waiting to see how far Indonesia, and especially Maxima Pictures, would go to bring Miyabi to Indonesia. If we could not bring her here it would mean there is still no democratic process and there is no film production freedom here,” said Ody, who currently has 30 employees.

In spite of the controversy created by Maxima’s films they draw huge audiences. Some of them become box office hits as more than one million moviegoers see them, such as Tali Pocong Perawan and Air Terjun Pengantin, which were entered in the Cannes Film Festival this year to represent Indonesia.

“Our films are all money makers, except Tulalit [Rather Stupid, 2008], for which we broke even. It was shown during the fasting month so it was bad timing and there was not much of an audience,” said Ody, who often finds ideas for his films during lunch or leisure time.

Maxima’s production costs average Rp 4 billion to Rp 5 billion per film, including promotion costs. If it is a box office hit, viewed by at least one million people, then the revenue is one million times Rp 7,000 (net ticket income after cinema share is deducted), which amounts to Rp 7 billion. So the profit range is between Rp 2 billion and Rp 3 billion. More can be made when a movie is purchased by a TV station.

Ody admits that Maxima produces commercial films that are not made for festivals so that the company can make a profit. He said he prefers to make films to cater to market tastes. “I don’t want to put my company at financial risk, so I am careful in producing marketable films. I don’t care if other people’s films get awards at some festival, but in reality are not money makers. That would be useless, wouldn’t it?” said Ody, whose wife is Mirna Febriyani. He is often invited to speak at film workshops and is an honorary lecturer at Budi Luhur University, Jakarta.

Ody also admits that controversy helps promote a film. “Controversy and sensationalism are always parts of my films. First, there is always a risqué scene and people talk about it. Second, promoting a film is a different game. If we proceed smoothly no one will see our films, so a controversy is obviously needed,” he explained.

Maxima’s films are often harshly criticized by mass or public organizations and in some instances its films have been banned, for example Suster Keramas in Palembang and Samarinda. Ody said they were within their rights to object, but he did not keep quiet as he went to those cities and used his right to respond. He also used a persuasive approach.

“However, there is the censorship board, which has the authority, right? It’s OK if mass or public organizations act as moral guards or police, but there are regulations in this country, right? You can’t just stop a film from being shown after it has passed censorship. There is a governor or a mayor who can make a decision on that, but then one can appeal to the minister,” explained Ody.

On the other hand, Ody is also fair, because he often cuts out scenes that are considered offensive by the organizations. “Go and see my film. You can cut it into pieces. Cut out the offensive or sensual parts that you object to. Let my film become a 30-minute film, but never ban my films!” he said in a determined tone.

Other producers are now copying Maxima’s consistency in making marketable pictures. They are also imitating its style. “They say if Maxima can get one million moviegoers they can get at least half that, so let’s copy Maxima’s style,” said Ody proudly.

While many other companies are going bankrupt or producing only one film per year, Maxima has set a target of between seven and eight films this year, while taking a break during the fasting month. Is Ody satisfied with Maxima’s success so far? “We will release our films in Southeast Asian countries and possibly elsewhere in Asia,” he said.

There is also a possibility that one day Maxima will produce a film of festival quality. “We will do that one day, but today we can’t afford it because we are still surviving. Make a film, make money and then make another film. That is our current pattern,” he said with a smile.

Then Ody mentioned his concern about local films. “Why don’t people want to watch homegrown films? Not even big budget ones? I think the quality and the story content is the problem. It must be blended creatively!” he concluded. (Patra Matondang)

The Jakarta Post, June 02, 2010

http://www.thejakartapost.com/news/2010/06/02/profile-ody-mulya-controversy-sells.html

RIZWAN ALAMSYAH

Art of marketing based on sincerity

WHO would have ever guessed that someone who tried to quit three times from a company at the beginning of his career would become one of the spearheads of the company? Meet Rizwan Alamsjah, the director of PT Krama Yudha Tiga Berlian Motors (KTB), which was previously called PT New Marwa 1970 Motors, the authorized distributor of Mitsubishi cars and other vehicles representing Mitsubishi Motors Corporation (MMC) and Mitsubishi Fuso Truck & Bus Corporation (MFTBC) in Indonesia. His contribution has been acknowledged by his superiors and colleagues. He is also known as a leading figure in Indonesia’s automotive industry.

“If I remember correctly, I wanted to quit within the first six months of working here and again almost every six months for a while after. It happened three times. Maybe I was used to working for American companies, because I was surprised with the working style at a Japanese company. It is totally different,” Rizwan explained.

His desire to resign from KTB was not due to his remuneration or position, but more because of the leadership style. Rizwan, who had previously worked for Arthur Young (now Ernest & Young) as an auditor and management service provider, was used to the American leadership style, which was fast and with freedom in making decisions. So he felt uncomfortable with what he considered a rigid management style.

“Indeed, there is a difference in each culture. American companies don’t bother with what you do as long as the mission is accomplished. But in Japanese companies decisions are made together, so it takes time and is much slower. I was initially frustrated,” recalled Rizwan.

“But after working for one year I realized that Western and Japanese management styles are equally as good. The difference lies only in the ‘tools’. Both have been proven to be just as effective, just look at the many leading and successful Japanese companies in the world,” he added.

What does he find interesting about working for Mitsubishi that has made him stay there? Rizwan answered with just one word: commitment.

“Here ‘no’ means ‘no’ and ‘yes’ really means ‘yes’! Mitsubishi always strives to provide the best quality in everything. I have learned that here you have to work ideally. So we must always work hard and never feel satisfied with the result, because competitors expect that. If we feel satisfied we will be complacent and that will be the end of us. We have existed for 40 years and that is an achievement in itself,” said Rizwan, a graduate of the University of Indonesia.

He did not start his career at KTB at the very bottom of the ladder but as a departmental supervisor. Rizwan, who has worked at KTB for almost 30 years, made a significant contribution in designing KTB from the very beginning: from a concept on paper to its major size today. It now has its own plant and is supported by more than 150 dealers nationwide.

“As I handled a department, I had a managerial position and for the expansion of the company all of us assisted the director in the overall preparation. I was also involved in the forming of the company because there was a personnel shortage. When we started to develop the engine plant, PT Krama Yuda Manufacturing manufactured the components. I recruited new employees and also worked as an accountant. Finally when the company was running smoothly, I held two positions again as cooperate director because there was no one else,” said Rizwan, who is also chairman IV of the Association of Indonesian Automotive Industries for the February 2010-December 2013 period.

Along with the company’s progress and his achievements, Rizwan also rose in position at the company. In February 1999, he became the administration and finance director. However, this position was short-lived because the company needed his energy and ideas during the 1997-1998 economic crisis that also hit the country’s automotive industry. Just two months later he was appointed marketing director, and continues to hold this position until today. Marketing was the most difficult division at that time because there was almost no demand and people’s purchasing power was diminishing. From regular sales of 7,000 units per month, KTB had to get used to selling only 200 units per month. Rizwan had to work hard for better sales and to save the company.

“There were almost no buyers and very low demand. That was the hampering factor. I was worried. Clearly, the survival of the company depended on marketing. If marketing fails, everything will be finished. So, we tried to develop the market right from the start. Just like a fisherman who usually waits for the direction of the wind, I was waiting for some conducive economic signs. At the same time the ship, meaning the company, was made cost efficient,” said Rizwan.

“We speeded up the retirement of employees. Thank goodness, our sales gradually improved and we could soon pay off the huge long-term loan from our principal,” he explained in a modest tone.

Under Rizwan’s leadership, KTB now ranks among the top three automotive companies in Indonesia. In 2005, KTB recorded impressive sales of 1.5 million vehicles since 1970. In 2006, when the market was unfavorable due to fluctuating international oil prices, KTB held second position.

In 2007, KTB was again in second position after exceeding its sales target of 50,000 units, totaling 61,547 units with a market share of 14.2 percent. And finally in 2009, when the global economic crisis was impacting various sectors including the automotive industry, KTB still managed to exceed its sales target with total sales of 61,735 units and a market share of 12.7 percent.

What is the key to all these achievements?

“Quality. I have learned that selling automotive products is not like selling other goods and services. We must be ‘married’ or closely related to our customers. As long as they own our products they will need us. So, our service and spare parts must be reliable. All three components are equally important: sales, service and spare parts. Selling cars is not easy. Customers will reject cheap cars that are problematic. Image and brand are very important,” he said.

“The first basic principle is sincerity. Of course we want to make a profit, but not at the expense of our customers. We have to maintain a sincere relationship with our customers, just like in a family. The proof is that our products have survived for three generations,” he said.

And what is the company’s sales target for this year? Based on a favorable market, KTB has set an optimistic target of 90,000 units. “The actual sales figure may be more than that as 90,000 is not a difficult target,” he said confidently. Rizwan added that automotive sales will improve further in the next five years and major improvement will take place in Asian countries, such as China, India and ASEAN member countries. However, he said, there should be no negative surprises in the form of unfavorable government regulations.

“The government should be careful and not shock the business sector. One still remembers during the crisis when fuel prices were increased by more than 100 percent. Such a shocking step would certainly cause the industry to collapse. Any price increases should be gradual, say by 10 percent at a time. This way the market can adapt to the changes. Who benefits if the market is unfavorable and less tax is paid to the government? No one benefits in such a situation, right?” he said.

What is the key to Rizwan’s success? “First, pessimism is part of a problem, while being optimistic is challenging. Second, sincerity is very important. Thirdly and just as importantly, one has to be creative and smart,” he said. (Patra Matondang, The Jakarta Post, June 30, 2010)

http://www.thejakartapost.com/news/2010/06/30/rizwan-alamsjah-art-marketing-based-sincerity.html

Korea Utara, Si Bisu yang Menampar Indonesia

Pertandingan antara Korea Utara dan Brazil di Piala Dunia 2010 Afsel merupakan pertandingan yang menarik serta membanggakan! Walau berakhir dengan kekalahan 2-1 dari Brazil, Korea Utara mampu membuktikan bahwa mereka bukan tim yang dipandang sebelah mata, mereka bukan tim yang rela disepelekan.
Sebelum pertandingan Pelatih Korea Utara, Kim Jong Hun berujar bahwa dia akan mengalahkan Brazil. Walau terkesan sesumbar, Kim membuktikan lewat penampilan terbaik timnya. Semangat dan pantang menyerah sampai Brazil diselamatkan pluit sang wasit.
Saya begitu terkesan dengan rasa percaya diri Korea Utara tanpa banyak kata-kata atau pun teori soal bagaimana membangun sepak bola nasionalnya. Melalui Tim Nasional Sepak Bolanya, Korut begitu kompak dan memperlihatkan semangat perubahan. Mereka tidak mau disepelehkan oleh negara manapun, termasuk oleh negara Adidaya sepak bola, Brazil. Yang menarik lagi, Kim memperlihatkan kebanggaannya terhadap anak-anak asuhnya, walau kalah. Suatu sikap kedewasaan dan profesionalisme ditunjukkannya.
Semoga para pemimpin negara ini bisa mengaca dari KOREA UTARA. Di sini saya berbicara luas bukan sekedar ranah sepak bola indonesia yang harus dibangun, namun sikap, semangat, dan kebanggaan yang harus dibangun lagi di INDONESIA! Jangan lagi bicara soal membangun gedung dpr, dana aspirasi, mobil mewah, tunjangan-tunjangan! Bahkan yang terakhir, dpr mau ikut campur urusan video mesum artis, yang ujungnya hanya sekadar cari popularitas.
Saya mengutip tulisan di Kompas yang patut dibaca oleh semua orang!


Rabu,16 Juni 2010 | 06:09 WIB


JOHANNESBURG, KOMPAS.com — Undian Piala Dunia 2010 Afrika Selatan menentukan Korea Utara harus berada segrup dengan Portugal, Pantai Gading, dan Brasil. Grup ini kemudian disebut banyak orang sebagai grup neraka.

Grup neraka biasanya diisi oleh tim-tim yang punya reputasi juara atau pemain-pemain bertalenta dan ternama. Mengacu ini, lantas di mana keistimewaan Korea Utara?

Jawabannya tak ada. Satu-satunya yang membuat Korut istimewa adalah karena mereka misterius. Jangankan mengorek sejarah atau taktik, untuk membuat para pemain, pelatih, atau staf kontingen mereka bicara pada konferensi pers pun susahnya setengah mati.

Ketertutupan itulah yang membuat mereka "dicurigai" punya senjata rahasia yang bakal mengejutkan Ricardo Kaka, Cristiano Ronaldo, atau Didier Drogba.

Ketika jadwal penyisihan grup menentukan Korut harus bertemu Brasil pada kesempatan pertama, banyak orang yang memprediksi mereka cuma akan menjadi lumbung gol tim "Samba".

Prediksi itu bukan tanpa dasar. Melihat statistik FIFA, Brasil menduduki puncak daftar peringkat tim dunia. Korut sendiri berada di posisi ke-85. Setidaknya, selisih keduanya lebih lebar ketimbang jarak antara Portugal (ke-5) dan Pantai Gading (ke-22).

Namun, statistik tinggal statistik. Fakta sesungguhnya, yaitu kedua tim bertanding, Selasa (15/6/2010), mengatakan bahwa Korea cuma kalah dengan selisih satu gol dari Brasil. Namun, skor saja tak cukup menggambarkan betapa kekuatan Korea Utara tak bisa dipandang sebelah mata.

Pada pertandingan itu, Brasil harus bersusah payah menyarangkan gol ke gawang RI Myong Guk. Setelah dipaksa menutup babak pertama dengan skor imbang 0-0, Brasil akhirnya memecah kebuntuan berkat gol Maicon pada menit ke-55.

Moral Brasil semakin melambung ketika Elano menggandakan keunggulan pada menit ke-72. Namun, keadaan ini tak membuat Korut menyerah.

Sambil tetap menjaga disiplin permainan, mereka mampu memperpendek jarak menjadi 1-2 berkat gol JI Yun Nam pada menit ke-89. Setelah itu, mereka masih terus bermain ngotot, sampai dipaksa mengerem larinya sendiri ketika wasit Viktor Kassai membunyikan peluit tanda berakhirnya laga.

Korea memang kalah dan belum tentu mendulang kemenangan pada dua laga sisa, di mana Portugal dan Pantai Gading sudah menanti. Namun, mencetak gol balasan ke gawang raja Piala Dunia, dalam keadaan tertinggal dua gol dan dengan sisa waktu satu menit, adalah prestasi.

Bagi Indonesia, pencapaian Korea Utara adalah tamparan bolak-balik seperti Asterix menampar orang-orang Romawi dalam cerita karangan Rene Goscinny dan Albert Uderzo.

Korea, yang kesulitan mengakses siaran Piala Dunia dan setengah mati meminta restu negara untuk mencari (dan mendapatkan) sponsor, mampu mencapai Afrika Selatan dan mencetak gol ke gawang Brasil, setelah tertinggal 0-2, dan menjelang masa injury time pula.

Indonesia, yang punya semuanya (kecuali mungkin semangat dan kejujuran), mulai dari sumber daya manusia, sponsorship, suporter, hingga akses informasi yang jauh lebih luas ketimbang Korut, malah berharap tampil di Piala Dunia dengan memenangi bidding tuan rumah. Ironisnya, untuk melewati jalan pintas seperti itu pun Indonesia juga gagal.

Korea Utara mungkin tak akan meraih poin lagi di dua pertandingan sisa dan gagal melaju ke putaran kedua. Namun, mereka tetap berhak pulang dengan kepala tegak karena dengan segala keterbatasannya, mereka mampu menjebol gawang Julio Cesar, yang Lionel Messi pun gagal melakukannya.

Dan, sementara nanti JI Yun Nam bercerita kepada yunior-yuniornya, anak-cucunya, atau tetangga-tetangganya, bagaimana ia menjebol gawang jawara Piala Dunia dengan pertandingan cuma menyisakan satu menit, Indonesia mungkin masih cuma sibuk membuat proposal untuk mendatangkan Manchester United atau melobi FIFA untuk menjadikan Indonesia sebagai tuan rumah Piala Dunia.

Tentu, kita berharap Indonesia akan lebih baik dari itu. (*)

TUR

Editor: tjatur
foto by: vibizdaily.com

Iwan dan Indah Esjepe : Indonesia Bertindak!

SEPASANG MERPATI SOAL DANGEROUSLY BEAUTIFUL DAN INDONESIA LEBIH BAIK.


Bisa dijelaskan apa itu ‘Indonesia Bertindak’?
Indonesia Bertindak (IB-red) adalah suatu gerakan moral yang bentuknya tidak terlembaga. Suatu gerakan yang terikat karena mempunyai satu mimpi bersama yaitu Indonesia yang lebih baik. Saya dan indah bertindak sebagai kompor yang mengajak teman-teman untuk melakukan hal-hal apa saja yang baik untuk Indonesia, hal terkecil sekalipun. Jika semua orang melakukan hal terbaik yang dapat dilakukan, akhirnya akan menjadi suatu yang besar.

Dari mana awalnya ide untuk membentuk IB?
Awalnya kejadian Tsunami Aceh tahun 2004 lalu. Di media banyak yang mengatakan Indonesia Berduka. Memang benar kita berduka, tapi di balik itu semua, kami berpendapat sekarang lah waktunya untuk Indonesia bertindak. Bertindak untuk saling bahu membahu, menolong, membantu korban yang ada di sana. Maka terciptalah Indonesia Bertindak. Tindakannya apa? Apa saja yang bisa kita lakukan. Dan tidak harus melaui IB karena kami hanya kompor yang mencoba menggugah semangat mereka untuk mau membantu, melalui jalannya masing-masing.

Artinya semua orang bisa mengklaim dirinya bagian dari IB?
Bisa. Ini adalah suatu gerakan moral. IB tidak ada ketua-ketuaan. Ada orang bertanya bagaimana caranya untuk menjadi anggota IB? Ya, lakukan saja sesuatu yang baik buat Indonesia berarti Anda sudah menjadi anggota IB. Kami memotivasi orang untuk menjadi simpul-simpul baru dan merekrut orang-orang baru untuk melakukan hal positif. Tujuan IB adalah menyebarkan suatu virus untuk membuat Indonesia lebih baik dan itu tidak mungkin dilakukan hanya kami berdua. Ini hanya bisa dilakukan ketika semua orang terlibat di dalamnya.

Pernah Anda pandangan negatif berkaitan dengan IB?
Banyak, salah satunya ada yang bilang, kenapa IB tidak ganti nama dengan Indonesia Berjualan saja? Balik lagi, kalau Anda mau memberi modal untuk berkampanye, kenapa kami harus bersusah-susah berjualan. Kami ingin IB tetap independence sehingga idealism-nya tetap terjaga.

Jadi penggalangan dana IB ini dari penjualan dari stiker dan Kaos?
Kita tidak menjual stiker, selama ini masih kami bagikan gratis. Kami tidak menutup pihak manapun untuk membantu, tapi yang pasti tidak mengikat. Sebagai contoh ada perusahaan besar yang membantu tanpa ada ikatan apapun. Dia bilang, “Iwan, saya sumbang ini untuk bikin stiker sebanyak-banyaknya, saya berharap kampaye ini berhasil. Jika berhasil perekonomian Indonesia akan pulih dan daya beli masyarakat terhadap produk saya akan meningkat.” Kaos bagi IB adalah media, alat propaganda untuk menyampaikan kampanye. Karena tidak mungkin setiap hari kami harus bercerita. Kaos adalah amunisi propaganda dan dari situ kita bisa dapat uang untuk cetak stiker, dan lain-lain.

Kampanye-kampanye apa yang pernah IB lakukan?
Pertama tentu kami kampaye untuk solidaritas Aceh, sewaktu Tsunami Aceh. Kemudian gempa di Jogya, kita bikin lagi dengan kaos dengan tagline “Eling Sedulur” berarti ingat saudaramu. Hasil penjualannya kiat berikan ember, pancul, BH dan Celana dalam. Ada cerita lucunya, sewaktu kerja bakti, semua orang memakai celana dalam bewarna orange, ha ha. Kemudian masalah parawisata karena adanya travel warning akibat adanya bom yang terjadi di Indonesia. Nah, akhirnya kami membuat lagi Dangerously Beautiful. Lalu saat kasus Ganyang Malaysia, IB bikin kampanye ‘Saya kapok melancong ke Malaysia,’ dan ’Kibarkan Merah Putih di Kuala Lumpur.’ Dan lain sebagainya.

Dari mana proses kreatif membuat tagline-tagline tersebut?
Kami berdiskusi berdua. Kebetulan kami berasal dari bidang advertising. Sehingga terbiasa dengan kata seminim mungkin dan ber-impact mungkin , visual sesederhana mungkin, dan visual seimpact mungkin.

Apa Nasionalisme bagi Anda?
Suatu paham tentang kebangsaan. Rasa kebanggaan

Apakah suatu hari nanti IB akan berkonfrontasi langsung terhadap pemerintah?
Tidak akan. Karena IB adalah suatu gerakan moral yang tidak anti pemerintah. Tapi bukan berarti kami pendukung murni pemerintah. Kepentingan masyarakat itulah yang kami jaga. Pada dasarnya kita tidak mau menunggu gerakan yang dilakukan pemerintah. Jadi kami bertindak apa yang dapat kita lakukan sekarang.


Saat pertandingan PSSI melawan Oman, ada seorang supporter masuk ke lapangan. Apakah itu termasuk tindakan bukti cinta kepada Indonesia?
Dorongan itu banyak bentuknya, ada dorongan yang dilakukan dengan demontrasi mengaku untuk melakukan perbaikan. Ada juga dorongan itu dengan memberikan contoh, kalau kita berbuat baik mudah-mudahan pemerintah akan tergerak. Nah, dalam kasus supporter yang masuk ke lapangan itu, itu gila. Kalau boleh hormat, saya akan hormat sama dia. Cara orang itu untuk membuka mata negara bahwa rakyat sudah begitu geram terhadap ketidakbecusan PSSI mengurus sepak bola kita.

Anda juga aktif dalam jejaring sosial, seberap penting situs-situs tersebut dalam penyebaran IB?
Oh, penting sekali. Apalagi geografi IB terpisah-pisah, internet sebagai alat penghubung kepada teman-teman di luar itu vital. Kaos Dangerously Beautiful sudah masuk ke semua benua, itu berkat bantuan teman-teman baik di daerah maupun di luar negeri.

Ke depan IB akan berbuat apa lagi?
Kita akan terus meyebarkan virus positif ini. Setiap tahun kita bikin juga 2 perkemahan, kemah Pelangi dan kemah Merah Putih. Disini kita kumpul dan sharing tentang hal-hal yang sudah kita lakuakan dan ide-ide apalagi yang dapat kerjakan.
Terakhir, bisa beritahukan kepada tempat yang bagus untuk sesi foto cewek-cewek seksi?
Oh banyak, tapi yang menantang di Sabang, pulau Weh. Selain pantainya bagus sekali, titik nol KM Indonesia . Tetapi mungkin akan ketat karena masuk dalam propinsi NAD. Tapi kalau memang bisa foto di sana seru juga. Kami membayangkan t-shirt ‘Dangerouly Beautiful’ itu sobek-sobek dan dipakai oleh cewek-cewek seksi.

foto by terompahku