Cari Paket Ibadah Haji Terjangkau di Jakarta Hubungi 021-9929-2337 atau 0821-2406-5740 Alhijaz Indowisata adalah perusahaan swasta nasional yang bergerak di bidang tour dan travel. Nama Alhijaz terinspirasi dari istilah dua kota suci bagi umat islam pada zaman nabi Muhammad saw. yaitu Makkah dan Madinah. Dua kota yang penuh berkah sehingga diharapkan menular dalam kinerja perusahaan. Sedangkan Indowisata merupakan akronim dari kata indo yang berarti negara Indonesia dan wisata yang menjadi fokus usaha bisnis kami.
Cari Paket Ibadah Haji Terjangkau di Jakarta Alhijaz Indowisata didirikan oleh Bapak H. Abdullah Djakfar Muksen pada tahun 2010. Merangkak dari kecil namun pasti, alhijaz berkembang pesat dari mulai penjualan tiket maskapai penerbangan domestik dan luar negeri, tour domestik hingga mengembangkan ke layanan jasa umrah dan haji khusus. Tak hanya itu, pada tahun 2011 Alhijaz kembali membuka divisi baru yaitu provider visa umrah yang bekerja sama dengan muassasah arab saudi. Sebagai komitmen legalitas perusahaan dalam melayani pelanggan dan jamaah secara aman dan profesional, saat ini perusahaan telah mengantongi izin resmi dari pemerintah melalui kementrian pariwisata, lalu izin haji khusus dan umrah dari kementrian agama. Selain itu perusahaan juga tergabung dalam komunitas organisasi travel nasional seperti Asita, komunitas penyelenggara umrah dan haji khusus yaitu HIMPUH dan organisasi internasional yaitu IATA.
PT CARAKA WISATA TOUR
PT Caraka Wisata Tour is a Travel Agent established in 1993 and located in center of Jakarta. We are a
PT CARAKA WISATA TOUR
PT Caraka Wisata Tour is a Travel Agent established in 1993 and located in center of Jakarta. We are a member of ASITA (Association of Indonesian Tour & Travel Agencies) and HIMPUH (Himpunan Penyelenggara Umrah dan Haji - Group of Travel Agents in Hajj and Umrah). Caraka Wisata Tour has been growing its business to become travel consultants by providing travel services consisting of:
HAJJ, UMRAH & ISLAMIC TOUR
Hajj & Umrah is our first core competence that has been providing satisfactory Islamic ritual tour for more that 15 years to many pilgrims. We are legal travel agent in Umrah and Hajj in Indonesia with Legal Permit for Umrah (Izin Umrah) No. D/458/2010, and for Hajj (Izin Haji) No.D/457/2009.
Besides Regular Umrah, we can also arrange Umrah Plus Cairo, Umrah Plus Istanbul, Umrah Plus Dubai, Umrah Plus Jerussalem, etc. We can also offer Islamic Tour to China, Spain, Dubai, Jordan, Uzbekistan or to Thailand.
Further more, we are member of following Ascosiations:
No Anggota HIMPUH (Himpunan Penyelenggara Umrah & Haji): 048/HIMPUH/2010
No Anggota ASITA (Asosiasi Perusahaan Perjalanan Indonesia): 0427/VIII/DPP/96
INTERNATIONAL & DOMESTIC TICKETS
We can provide on-line booking systems for International & Domestic Ticket from many major Airlines with competitive prices, quick response and immediate delivery.
Our services include making new passport, re-new passport, getting the VISA from many major destination countries as well as any other supporting traveling documents.
TOURS (OUTBOUND & INBOUND / DOMESTIC)
Our company can offer you the varieties of both International/Outbound and Domestic/Inbound Tours. We can serve you exciting tour to Malaysia, Thailand, China, Singapore, India, Hong Kong – Disney Land. Moreover, we also can offer you unique tour to Mediterranean countries such as Turkey, Egypt, Greece, Palestine-Israel etc. Caraka Wisata can also offers you a lot of affordable domestic tours to Bali, Padang, Toba Lake, Borobudur Temple – Yogyakarta, Bromo Mountain, Bandung, Puncak, Citi Tour Jakarta, etc.
Izin Tetap Usaha Pariwisata: 654/D.2/BPW/IV/96. (daftar ulang terakhir: 30April 2012-no 2446/-1.858.23)
We can help you to make reservation to many hotels around the globe with competitive rates.
CUSTOMIZED FAMILY / PERSONNAL TOUR
To accommodate special family or personal interest, we can also arrange customized tour that fulfills the specific interest, such as adventure tour, family trip, etc.
Among the people those have traveled for Umrah and Hajj with us are:
Kel.Alm.Jend.Umar Wirahadikusuma (Mantan Wakil Presiden RI)
Bp.Feisal Tamin (Mantan Menteri Negara Pendayaan Aparatur Negara)
Bp.Jend.Purn.Awaluddin Djamin (Mantan Kapolri)
Bp.Djakaria Purawijaya (Mantan Dirjen Postel)
Bp.Syakur (Komisaris Bank Mandiri Syariah)
Bp.Syaiful Hamid (Komisaris PT Indocement)
Bp.Mahdi Syahbuddin (Direktur BTPN)
Bp.Kristiono (Mantan Dirut Telkom)
Bp.M. Nazif (Mantan Dirut Telkom)
Bp.A.A.Nasution (Mantan Dirut Telkom)
Bu Gunarni Suworo (Mantan Dirut Bank Niaga)
Bp.Cacuk Sudaryanto (Mantan Dirut Telkom)
Bp.Guntur Siregar (Direktur Telkom)
Ibu Alm. Sri Mulyati (Mantan Deputy Direktur Bank Indonesia)
Bp.Syamsuddi Machmud (Mantan Gurbernur DI Aceh)
Bp.Gatot M.Suwondo (Wakil Direktur Utama BNI)
Bp.Sutan Batugana (Mantan Anggota DPR RI)
Bp.Faisal Hamid (Mantan Anggota DPR RI)
Bp.Addie MS (Music Director Twilite Orchestra)
saco-indonesia.com, Pemerintah Provinsi (Pemprov) DKI Jakarta akan mendapat 10 armada bus Transjakarta bantuan dari Mayapada Gro
saco-indonesia.com, Pemerintah Provinsi (Pemprov) DKI Jakarta akan mendapat 10 armada bus Transjakarta bantuan dari Mayapada Group. Pembelian 10 bus ini diperkirakan akan telah menghabiskan dana lebih kurang Rp 12 miliar.
"Kami mau bertemu dulu dengan Pak Basuki, karena kami juga tidak tahu spesifikasi busnya (Transjakarta)," kata Ketua Mayapada Group, Tahir, di Balai Kota DKI Jakarta, Jumat (24/1).
Bantuan ini juga baru pertama kali mereka lakukan. "Gubernur yang sebelumnya (Fauzi Bowo) saya tidak bantu, hanya zaman Pak Jokowi saja," katanya.
Selain telah memberikan bantuan 10 bus Transjakarta, menurut Tahir, pihaknya juga akan berniat untuk membantu korban banjir di DKI. Bantuan tersebut telah dikumpul dari enam perusahaan, Mayapada Group, PT Intiland Development, PT Hanson International, PT Saligading Bersama, Modern Group dan PT Sioengs Group.
"Bantuan juga berupa uang sejumlah Rp 6 miliar untuk banjir," tandasnya.
Editor : Dian Sukmawati
Rhapsody, a Lofty Literary Journal, Perused at 39,000 Feet
Last summer at a writers’ workshop in Oregon, the novelists Anthony Doerr, Karen Russell and Elissa Schappell were chatting over cocktails when they realized they had all published work in the same magazine. It wasn’t one of the usual literary outlets, like Tin House, The Paris Review or The New Yorker. It was Rhapsody, an in-flight magazine for United Airlines.
It seemed like a weird coincidence. Then again, considering Rhapsody’s growing roster of A-list fiction writers, maybe not. Since its first issue hit plane cabins a year and a half ago, Rhapsody has published original works by literary stars like Joyce Carol Oates, Rick Moody, Amy Bloom, Emma Straub and Mr. Doerr, who won the Pulitzer Prize for fiction two weeks ago.
As airlines try to distinguish their high-end service with luxuries like private sleeping chambers, showers, butler service and meals from five-star chefs, United Airlines is offering a loftier, more cerebral amenity to its first-class and business-class passengers: elegant prose by prominent novelists. There are no airport maps or disheartening lists of in-flight meal and entertainment options in Rhapsody. Instead, the magazine has published ruminative first-person travel accounts, cultural dispatches and probing essays about flight by more than 30 literary fiction writers.
An airline might seem like an odd literary patron. But as publishers and writers look for new ways to reach readers in a shaky retail climate, many have formed corporate alliances with transit companies, including American Airlines, JetBlue and Amtrak, that provide a captive audience.
Mark Krolick, United Airlines’ managing director of marketing and product development, said the quality of the writing in Rhapsody brings a patina of sophistication to its first-class service, along with other opulent touches like mood lighting, soft music and a branded scent.
“The high-end leisure or business-class traveler has higher expectations, even in the entertainment we provide,” he said.
Some of Rhapsody’s contributing writers say they were lured by the promise of free airfare and luxury accommodations provided by United, as well as exposure to an elite audience of some two million first-class and business-class travelers.
“It’s not your normal Park Slope Community Bookstore types who read Rhapsody,” Mr. Moody, author of the 1994 novel “The Ice Storm,” who wrote an introspective, philosophical piece about traveling to the Aran Islands of Ireland for Rhapsody, said in an email. “I’m not sure I myself am in that Rhapsody demographic, but I would like them to buy my books one day.”
In addition to offering travel perks, the magazine pays well and gives writers freedom, within reason, to choose their subject matter and write with style. Certain genres of flight stories are off limits, naturally: no plane crashes or woeful tales of lost luggage or rude flight attendants, and nothing too risqué.
“We’re not going to have someone write about joining the mile-high club,” said Jordan Heller, the editor in chief of Rhapsody. “Despite those restrictions, we’ve managed to come up with a lot of high-minded literary content.”
Guiding writers toward the right idea occasionally requires some gentle prodding. When Rhapsody’s executive editor asked Ms. Russell to contribute an essay about a memorable flight experience, she first pitched a story about the time she was chaperoning a group of teenagers on a trip to Europe, and their delayed plane sat at the airport in New York for several hours while other passengers got progressively drunker.
“He pointed out that disaster flights are not what people want to read about when they’re in transit, and very diplomatically suggested that maybe people want to read something that casts air travel in a more positive light,” said Ms. Russell, whose novel “Swamplandia!” was a finalist for the 2012 Pulitzer Prize.
She turned in a nostalgia-tinged essay about her first flight on a trip to Disney World when she was 6. “The Magic Kingdom was an anticlimax,” she wrote. “What ride could compare to that first flight?”
Ms. Oates also wrote about her first flight, in a tiny yellow propeller plane piloted by her father. The novelist Joyce Maynard told of the constant disappointment of never seeing her books in airport bookstores and the thrill of finally spotting a fellow plane passenger reading her novel “Labor Day.” Emily St. John Mandel, who was a finalist for the National Book Award in fiction last year, wrote about agonizing over which books to bring on a long flight.
“There’s nobody that’s looked down their noses at us as an in-flight magazine,” said Sean Manning, the magazine’s executive editor. “As big as these people are in the literary world, there’s still this untapped audience for them of luxury travelers.”
United is one of a handful of companies showcasing work by literary writers as a way to elevate their brands and engage customers. Chipotle has printed original work from writers like Toni Morrison, Jeffrey Eugenides and Barbara Kingsolver on its disposable cups and paper bags. The eyeglass company Warby Parker hosts parties for authors and sells books from 14 independent publishers in its stores.
JetBlue offers around 40 e-books from HarperCollins and Penguin Random House on its free wireless network, allowing passengers to read free samples and buy and download books. JetBlue will start offering 11 digital titles from Simon & Schuster soon. Amtrak recently forged an alliance with Penguin Random House to provide free digital samples from 28 popular titles, which passengers can buy and download over Amtrak’s admittedly spotty wireless service.
Amtrak is becoming an incubator for literary talent in its own right. Last year, it started a residency program, offering writers a free long-distance train trip and complimentary food. More than 16,000 writers applied and 24 made the cut.
Like Amtrak, Rhapsody has found that writers are eager to get onboard. On a rainy spring afternoon, Rhapsody’s editorial staff sat around a conference table discussing the June issue, which will feature an essay by the novelist Hannah Pittard and an unpublished short story by the late Elmore Leonard.
“Do you have that photo of Elmore Leonard? Can I see it?” Mr. Heller, the editor in chief, asked Rhapsody’s design director, Christos Hannides. Mr. Hannides slid it across the table and noted that they also had a photograph of cowboy spurs. “It’s very simple; it won’t take away from the literature,” he said.
Rhapsody’s office, an open space with exposed pipes and a vaulted brick ceiling, sits in Dumbo at the epicenter of literary Brooklyn, in the same converted tea warehouse as the literary journal N+1 and the digital publisher Atavist. Two of the magazine’s seven staff members hold graduate degrees in creative writing. Mr. Manning, the executive editor, has published a memoir and edited five literary anthologies.
Mr. Manning said Rhapsody was conceived from the start as a place for literary novelists to write with voice and style, and nobody had been put off that their work would live in plane cabins and airport lounges.
Still, some contributors say they wish the magazine were more widely circulated.
“I would love it if I could read it,” said Ms. Schappell, a Brooklyn-based novelist who wrote a feature story for Rhapsody’s inaugural issue. “But I never fly first class.”
Ghostly Voices From Thomas Edison’s Dolls Can Now Be Heard
Though Robin and Joan Rolfs owned two rare talking dolls manufactured by Thomas Edison’s phonograph company in 1890, they did not dare play the wax cylinder records tucked inside each one.
The Rolfses, longtime collectors of Edison phonographs, knew that if they turned the cranks on the dolls’ backs, the steel phonograph needle might damage or destroy the grooves of the hollow, ring-shaped cylinder. And so for years, the dolls sat side by side inside a display cabinet, bearers of a message from the dawn of sound recording that nobody could hear.
In 1890, Edison’s dolls were a flop; production lasted only six weeks. Children found them difficult to operate and more scary than cuddly. The recordings inside, which featured snippets of nursery rhymes, wore out quickly.
Yet sound historians say the cylinders were the first entertainment records ever made, and the young girls hired to recite the rhymes were the world’s first recording artists.
Year after year, the Rolfses asked experts if there might be a safe way to play the recordings. Then a government laboratory developed a method to play fragile records without touching them.
The technique relies on a microscope to create images of the grooves in exquisite detail. A computer approximates — with great accuracy — the sounds that would have been created by a needle moving through those grooves.
In 2014, the technology was made available for the first time outside the laboratory.
“The fear all along is that we don’t want to damage these records. We don’t want to put a stylus on them,” said Jerry Fabris, the curator of the Thomas Edison Historical Park in West Orange, N.J. “Now we have the technology to play them safely.”
Last month, the Historical Park posted online three never-before-heard Edison doll recordings, including the two from the Rolfses’ collection. “There are probably more out there, and we’re hoping people will now get them digitized,” Mr. Fabris said.
The technology, which is known as Irene (Image, Reconstruct, Erase Noise, Etc.), was developed by the particle physicist Carl Haber and the engineer Earl Cornell at Lawrence Berkeley. Irene extracts sound from cylinder and disk records. It can also reconstruct audio from recordings so badly damaged they were deemed unplayable.
“We are now hearing sounds from history that I did not expect to hear in my lifetime,” Mr. Fabris said.
The Rolfses said they were not sure what to expect in August when they carefully packed their two Edison doll cylinders, still attached to their motors, and drove from their home in Hortonville, Wis., to the National Document Conservation Center in Andover, Mass. The center had recently acquired Irene technology.
Cylinders carry sound in a spiral groove cut by a phonograph recording needle that vibrates up and down, creating a surface made of tiny hills and valleys. In the Irene set-up, a microscope perched above the shaft takes thousands of high-resolution images of small sections of the grooves.
Stitched together, the images provide a topographic map of the cylinder’s surface, charting changes in depth as small as one five-hundredth the thickness of a human hair. Pitch, volume and timbre are all encoded in the hills and valleys and the speed at which the record is played.
At the conservation center, the preservation specialist Mason Vander Lugt attached one of the cylinders to the end of a rotating shaft. Huddled around a computer screen, the Rolfses first saw the wiggly waveform generated by Irene. Then came the digital audio. The words were at first indistinct, but as Mr. Lugt filtered out more of the noise, the rhyme became clearer.
Recently, the conservation center turned up another surprise.
In 2010, the Woody Guthrie Foundation received 18 oversize phonograph disks from an anonymous donor. No one knew if any of the dirt-stained recordings featured Guthrie, but Tiffany Colannino, then the foundation’s archivist, had stored them unplayed until she heard about Irene.
Last fall, the center extracted audio from one of the records, labeled “Jam Session 9” and emailed the digital file to Ms. Colannino.
“I was just sitting in my dining room, and the next thing I know, I’m hearing Woody,” she said. In between solo performances of “Ladies Auxiliary,” “Jesus Christ,” and “Dead or Alive,” Guthrie tells jokes, offers some back story, and makes the audience laugh. “It is quintessential Guthrie,” Ms. Colannino said.
The Rolfses’ dolls are back in the display cabinet in Wisconsin. But with audio stored on several computers, they now have a permanent voice.