Utilizing Cans Used for Planting Vegetables

In addition to reducing the waste pile, it can help meet the food needs of the family. If the want to persevere even could be a business opportunity. Okay we refer to the article about planting vegetables by using tin cans made ​​by Mr. Casino, vegetable planters in Tandes, Surabaya, East Java. Can be simulated, to keep in mind is how to planting, the media used includes cans and soil as well as fertilizer and watering.

Plain tin cans thrown into the trash. However, not for the Casino, vegetable planters in Tandes, Surabaya, East Java. He collected cans as a size of 5 kg viticulture or terraced cultivation system.

The view was quite the contrast. In the corner of a garden area of ​​700 m2, cans piled; 200 m from the pile of fresh green panorama looks. Ten cans arranged vertically as high as 2 m and reinforced with bamboo. Celery thrives in any 'pits' on the walls of the tin. In addition to celery, Casinos also grow some vegetables such as onion, peppers, cabbage, and tomatoes. He planted a total of 30 general-tech vegetable viticulture. 

Idea can make it appear because viticulture Casinos and Dada Permadi concerned agribusiness sector less attractive. 'Need to innovate and create new technologies in order to cultivate the farm back ogled, "Casino said. Therefore, since the beginning of 2007 they designed the viticulture in 700 m2 land. The location was originally just overgrown shrubs. At first casino looking for a used paint cans and ice cream diameter of 15 cm.

 Viticulture is not new. Since the 1990s it has been applied to aquaculture technology. Generally use bamboo planters, polietilenchlorida (PVC), and pot. However, Casinos just take advantage of thrift. With vertical farming system, it is possible to intensify. Imagine, in a casino can make a planting hole 45. In fact, in an area of ​​1 m2 he made ​​a stacking viticulture 4. The flats consist of 10 cans. Therefore the number of pits in the 4 flats at 1,800 pieces.

Of 4 flats viticulture in 1 m2 of land, he plucked an average of 20 kg of celery. Kilo of celery consists of 4 family of plants, each of which consists of 10 stems. In the market price of Rp 1,000 3 stalks celery, thus obtaining a minimum Rp266.000 Casino. Compare with productivity conventionally grown celery. According to Husin Kusnadi, vegetable planters in Bandung, celery productivity an average of 8 kg per m2. the selling price of Rp 4,000 per kg, only Rp32.000 income. Meaning, celery vertikultur higher productivity than conventional celery.

 According to Dr. Agus Suryanto, cultivation expert Brawijaya University in Malang, very reasonable viticulture high production throughout the supply of nutrients are met. Nutrient sources in the cans is very limited. Therefore viticulture planters add fertilizer to meet the nutrient needs for crops. With the addition of vegetable fertilizer viticulture that productivity remains high.

In addition to saving the land, the method was also minimal care. For watering, simply rotate the faucet. Mixture of water and nutrients in the reservoir which is higher than the arrangement viticulture flow to the top pot. Casinos cover the surface of each pot on top and make dozens of hole diameter of 2 mm. Nutrient solution flows into the pot below it, and so on until the most basic pot. In a day 3 times a given nutrient solution, 2,5 l. 'This way to conserve water is wasted as 100-fold,' Casino added.

saving your money
Growth nutrients made ​​of sugars and other elements are fermented for a week. Casino include a mixture of 1 liter of nutrients into the 20 liters of water. The fluid serves as a source of nutrients necessary for plant growth. The result, faster growth, faster harvesting, and production increased. Although in 1 can be planted dozens of plants, there will be no competition, because of the necessary nutrients are very abundant. 

Casino said the cost of production to make a series consisting of 10 pots viticulture only Rp 30,000. Other expenses for maintenance only. 'Not up to Rp 5,000 per can, because all the equipment and the planting medium can be used again, "said Dada. Growing media can be used up to 3 times the investment. However, according to Sunandi Kertawijaya, planters viticulture in Bandung, West Java, terraced farming more expensive. 'All right equipment to be purchased, including nutrients for plants. Conventional cultivation, everything is available on the ground, 'said Sunandi.  

Another advantage? Planters can set the time of harvest. Rice for example. If in paddy harvest only 2 times a year, with viticulture can set up to 5 times the harvest. With the natural advantages and Dada Casino plans expand her garden again. 

Wayang Golek Puppet Theater of West Java

The phrase “power plays” in the title gives a clue to what Andrew Weintraub emphasizes as the main focus of the book: how  wayang golek (puppet theater) and the dalang (puppeteer) are involved in power plays, especially between the state, on the

one hand, and  wayang golek audiences, on the other. The dalang are “information  officers” for the government, which is one of their major sponsors, yet “their  popularity and appeal” which they need to become successful dalang  “[rest] largely  on their ability to represent the voices of ordinary people” (12).

 Weintraub writes: “As I watched these dalangperform, the formulation of

wayang golek as a dialogic spacewhere competing discourses about nation, culture, and representation intersected emerged as the focus of this book” (22). “The profound contradiction between the

dalang’s role as a potential information officer and his impulse to elicit pleasure and enjoyment from his audience emerged as a crucible of social tension between official

discourse and popular consciousness” (12).

I find the emphasis on the paradoxical, contradictory function of dalang appealing:  they have to negotiate and play between the different powers. The wayang golek performance, even when sponsored by the government, is never just a piece of  government propaganda; there is much more to the performance than the government’s messages, and even as the

dalangintroduces those messages, he may present them in such a way that their meaning is changed or even subverted.

Moreover, the audiences are not “empty vessels,” and, with or without the dalang’s help, they receive critically what they hear and see. The book offers numerous convincing illustrations of this process. Weintraub’s model of politics in Power Plays is not simplistic. Still, if I were to read  the title and some of the passages in the book that explain the book’s “focus” out of context, I might get the impression that the focus on politics and power plays is somewhat reductive and that the book fails to show the multifarious nature and richness of a wayang performance. I might further get the wrong impression that the state, on the one hand, and the “voices of the people,” on the other, are the main  players in the plays and that the book ignores the many other forces and players, such as the commercial interests of dalang, sponsors, and other parties. After reading the whole book, these impressions turn out not to be true. To thosereaders who are interested