Borneo is mainly popular among tourists because of its breathtaking natural beauty. From pristine beaches and lush rainforests to the most exotic wildlife, this Asian island has it all. This island is a haven for all nature lovers and has long been on their bucket list. But what many people don’t know is that the festival season in Borneo is also something that you must not miss out on. This is the best time to get an insight into the unique culture of the island. 

If you love exploring new cultures but aren’t aware of the cultural calendar of Borneo, you are truly in for a surprise. The festival season in Borneo turns every town, city, and village on the island into a remarkable display of culture with glorious music, dance, and endless traditions. So, if you want to experience the true soul of Borneo, make sure to plan your holiday during the festival season. Here is everything you must know about this vibrant time on the island. 

Is Borneo’s Festival Season Worth Experiencing?

If you need a straightforward answer to this question, it can only be one thing: “Yes, Borneo’s festival season is surely worth experiencing”. This season is a window to the cultural soul of the island, where indigenous, Malay, and Chinese heritage combine. There can only be something exciting coming out of a combination of various rich cultures, and you will never regret experiencing it. 

From celebrating history to modern entertainment, the festivals on the island are diverse and unforgettable. One day, you will get a chance to be part of centuries-old harvest celebrations, and the next day, you will be participating in modern art and jazz festivals. There is no better way to bring the communities together than these vibrant festivals. 

During the festival in Borneo, you will get a chance to engage with the local traditions, see the region’s hospitality, and treat yourself to the diverse cuisine. The combination of ancient festivals and modern celebrations is unparalleled and will give you some of the most unforgettable memories of your life. 

Best Time to Visit Borneo For Culture and Festivals

Borneo festival season is a great time to visit the area

You might know Borneo is a year-round destination. The nature that the island is known for is in its prime all year round, attracting tourists from around the world. However, the best time to visit Borneo for its culture and festivals is from May to August. Many of the popular festivals on the island take place during this time, and being a part of them will truly satisfy the culture geek in you. 

Festivals like the major harvest festivals of the island and the Rainforest World Music Festival happen during this time. These festivals promise an unforgettable cultural experience. If this is what you want, plan your Borneo holiday sometime between May and August. 

Top Festivals in Borneo

Some of the top festivals in Borneo, along with their hosting dates, are listed below. 

Gawai Dayak (June – Sarawak, Malaysia)

This is the grand harvest celebrated by the Dayak people in June. During this festival, numerous traditional dances, music played on gongs, rice wine, and elaborate feasts showcase the local community’s hospitality and spirit. You will get a chance to experience the true Dayak lifestyle and hospitality if you visit one of the longhouses that open their doors to tourists during this festival. 

Kaamatan Festival (May – Sabah, Malaysia)

Traditions Of Pesta Kaamatan

The Kaamatan Festival is another harvest festival, but it honours the Kadazan-Dusun people’s agricultural traditions. During this festival, numerous singing and sports competitions are held, in which communities participate and enjoy. Additionally, the Unduk Ngadau beauty queen is announced during this festival, which symbolises sacrifice and beauty, and is a prominent part of local culture. 

Rainforest World Music Festival (July – Kuching, Sarawak)

This music festival is now unknown to music lovers. During this festival, musicians from around the globe gather in the middle of Borneo’s lush rainforest. This is the festival when international music, indigenous tunes, rhythms, and cultural workshops come alive in the lush landscapes of the island. There are only a few festivals in the world as diverse, unique, and immersive as this one. 

Chinese New Year (January/February – Across Borneo)

As Chinese heritage also influences Borneo, the Chinese New Year here is truly unmatched and is celebrated throughout the entire island. From dragon dances and lantern festivals to firecrackers and lively colours all across the streets, the region is brighter than ever with countless celebrations during this time. 

Hari Raya Aidilfitri (dates vary – Across Borneo)

Borneo is also home to a significant Muslim community, and they celebrate this festival at the end of the holy month of Ramadan. Muslims also open their homes to tourists in the spirit of unity and forgiveness. They serve delicious feasts to all the visitors during this time. 

Summing Up

Festival season in Borneo is an absolute treat for culture lovers. This season is the invitation by the locals for the tourists to come and experience their rich heritage. Therefore, cultural travellers who want to go beyond the glorious beaches and lush rainforests of Borneo would love to visit the island during the festival season. If you are passionate about sharing cultural journeys, you can also write for us and contribute your travel stories. Before you decide on a time to visit the island. Make sure that you have an idea of the festivals that you want to be a part of during your time on the island. Only then will you be able to visit Borneo at the perfect time.

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Chinese guy a the market

When you think of Brunei, what usually comes to mind are images of grandeur: golden palaces, glittering mosques, one of the richest sultans in the world. Yet what I couldn’t imagine, what no travel guide ever tells you, is that the real surprise of Brunei is not in its architecture but in the simplicity of its people.

It may sound cliché, I know. After every trip, people say: “We met wonderful people!” But after years of traveling, rarely have I felt so moved. Here, there is no forced smile, no politeness worn like a duty, as you sometimes find in places overwhelmed by mass tourism.

Three ladies at the Royal Regalia Museum

No. Here, the smile is genuine. Kindness is spontaneous. Perhaps it is precisely because mass tourism hasn’t arrived yet, because Brunei hasn’t “sold itself” to the world, that such authenticity survives.

The first person I want to remember is Darren, the manager of the Badi’ah Hotel. Of Chinese origins but deeply rooted in Brunei, he hosted us for four nights, offering us a more than generous price. But it wasn’t just a business exchange. He went beyond that.

3 girls we met prior to our jungle tour

He arranged our tours, personally drove us to the starting point of an excursion difficult to find, and made sure every detail was perfect. Not like a professional on duty, but like a friend. And when I say friend, I don’t exaggerate: there was genuine care, almost affection, in his attitude.

Then there was Mohammed, our city tour driver. He speaks little, smiles even less, but his kindness shows in his gestures: patient, precise, respectful. He drives calmly, obeys the rules, and never rushes. And in a world where hurry is the norm, such slowness feels like respect. Even his English, though simple, was clear and helpful. Not a talker, but a man who knows what he’s doing.

Kampong Ayer boatman

And what about the boatman who took us through Kampong Ayer, the village on stilts, in search of proboscis monkeys? I don’t remember his name, but I will never forget him. With his modest boat, he guided us through canals, shallow waters, and tiny rapids. He spoke enthusiastically about his country, wanted to know who we were, what we did. And when we finally saw the monkeys — yes, we saw and photographed them — his pride was genuine. A rare person: polite, curious, sincere. The kind you wish to meet again on your next trip.

Then came another unexpected pair: the driver and guide who took us into the jungle. He, far more talkative than the guide, spoke non-stop for an hour and a half, explaining every detail of the journey.

Mira, our jungle guide in Brunei 

She, Margy — or rather Margelyn, a Filipina, administrative director of the tour operator, not just a guide — was young, professional, impeccable. And him? Perhaps the owner of the company himself, stepping in because, in a country where tourism is still slow, there simply isn’t enough staff. Two managers working as driver and guide, smiling and flawless in their knowledge. And yes, when you joke with them, they laugh because they understand, not because they must.

But if I must choose the person who struck me the most, it would be Mira. Nineteen years old, from the Iban people — the ancient Dayak — freshly graduated as a guide. Confident, intelligent, with impeccable English. She led us into the jungle on a “long boat” as narrow as a nutshell, steered with skill by Jimmy, another local, who navigated the shallow rocky riverbed with the mastery of someone who does it daily.

Alis, Pluto and the Iban guide Margy

Then came the trek, the suspension bridge… I, with my fear of heights, trembled, making the rope bridge tremble too. But Mira accompanied me calmly, without rush, with a reassuring tone. And I made it. Perhaps not a great triumph, but at 62 years old, it felt like a small victory. While she and Alice continued to the canopy walk, I stayed behind to rest. And above all, to reflect.

And then there were others: Somboon, the Thai cook from Korat working here, who after a week without pasta promised me spaghetti al dente “just the way you like them.” A simple gesture, but full of humanity, for someone like me who is so sensitive to the pleasures of the table. Or the three ladies at the Royal Regalia Museum, who stood up for a photo so as not to look like they were on break. Or the Chinese man at the market, proud of living in a country where, as he said, “the government helps the people.” Or the three smiling girls who greeted me with a heartfelt “Welcome to Brunei,” without pretense.

Sonboon the Thai chef

These people, even those with whom you exchange only a few words, tell you more about a country than a thousand speeches. They show you a Brunei that is not only sharia, monarchy, and oil. It’s a place where kindness is not an exception but the norm. Where hospitality is not a service, but a way of being.

And maybe, in the end, this is the Brunei worth knowing: not the one of golden palaces, but the one of sincere eyes, genuine smiles, and open hands. A country that, despite everything, leaves you with a lighter heart.

To learn more about planning your trip and experiencing authentic Brunei hospitality, visit the official Brunei Tourism website.

Photos by Guglielmo Zanchi (Pluto)

Watch Fantasia Asia video on Brunei HERE:

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Bali is synonymous for creativity and freedom, both of which are almost always married with a deep respect towards Mother Nature, as the island is enveloped in luscious greenery and blessed with aquamarine waters. In the epicentre of this island of paradise, sits Desa Potato Head, a revered name to most travellers who either know of, or have heard of this multifaceted haven crowned “Bali’s creative village.” Opened by Ronald Akili in 2010, Desa Potato Head is a place where creativity, balance and progress act as the core pillars that fuel connection, with the crux of a place being “Good Times, Do Good”.

The carbon-neutral campus comprises a five-star hotel, a beach club that has made the Potato Head name that of a revered one in the Bali scene locally and internationally, a music recording studio, gallery, spa, sustainability workshops, curated culture library, listening lounge, co-working centre, streaming station and six restaurants, including the Indonesian archipelago’s first restaurant that leaves no ingredient unused. Its mission? Radiate positive energy and inspire everyone to do more good to the planet.

Here are 10 reasons Desa Potato Head is champion of sustainability, wellness and community:

The Philosophy

“Good Times, Do Good”, is the Desa Potato Head mantra, one that they truly believe in, and creatively instil into each aspect of their lifestyle brand – the materials that form the hotel structure and furniture, the art installations they curate, the programming that involves and supports the community, and their cuisine, some of which are more radical than others – all of which are closely tied to an aspect of social responsibility. The Desa firmly believes that the next generation of global citizens is dependent on them to set an example and to in turn, be inspired to pass on a positive ripple effect for the planet and the people.

The Hotel & Hospitality

Potato Head was a pioneer when they became the first hospitality company in Asia to go carbon neutral – not only do they provide all guests with zero-waste kits upon check in, but their tireless work to reduce their percentage of waste that goes to landfills has now come to zero. The 226-guest room hotel is known to be their guests’ home away from home, set on the sand and surf of Petitenget Beach in Seminyak, and overlooks the romantic Indian Ocean. Genuine smiles and acts of service that epitomise Balinese hospitality flood the Desa no matter where or whom you turn to.

The Music

Music amplifies every experience – be it meditation, a meal, or a marathon. It is what the Desa was known for from the very start – its Beach Club, so it comes to no surprise that this aspect has been vastly expanded over time. Ekostika is a sustainably designed studio that offers some of Indonesia’s rarest vinyls. It doubles as a digital streaming site where DJs, musicians and thinkers gravitate to broadcast their voices, stories and sounds on Headstream: a land of digital escapism for anyone around the world to find refuge in, at any time. The Desa also acts as a throne for contemporary art and experimental cultural performances that channel the island’s energy as the sun or moon come into view. And then there is Headonism, Potato Head’s monthly weekend of multi-sensory indulgence, where guests can expect experimental music sessions over sunset-to-sunrise libations.

The Cuisine

Housing 6 food and beverage destinations within the Desa, the one unifying factor is each establishment’s commitment to using organic, sustainable ingredients that are farmed and sustainably sourced from around the archipelago. Tanaman, helmed by chef Dom Hammond honours each ingredient from root to fruit, where her daring sense of creativity transforms Indonesia’s lush, tropical flora and botanical into full edible potential without a single wasted cell.

Kaum, named after “clan” or “tribe” in Bahasa, is an authentic Indonesian restaurant that showcases recipes passed on for generations but were rarely recorded or shared outside the islands’ 600 tribal communities. Marking Potato Head Family’s commitment to place Indonesia’s rich culinary heritage at the centre of the world gastronomic map, Kaum celebrates and presents a taste of Indonesia’s culinary origins inspired by the Archipelago indigenous tribes to a wider global audience.

Ijen is the first restaurant in Indonesia dedicated to radical Earth-conscious practices with a “nothing left-over” approach – a masterclass in conscious sourcing and utilising every remaining morsel to be composted, used as animal feed or fertiliser or to be recycled. The terrazzo-style dining room floor itself is repurposed from broken plates and chipped glasses, whilst the furniture diners are seated on are sourced from Mersawa wood and plastic from motorcycle oil caps.

Sunset Park, an idyllic rooftop location where guests can immerse themselves in spectacular sunsets and local cuisine to a tranquil soundtrack and atmosphere. Situated on the roof of Desa Potato Head’s cultural hub, Potato Head Studios, the space enables guests to experience the transition from day to night in the most idyllic way possible – under the setting sun. Aligned with the hours of dusk, Sunset Park opens between 5 and 9pm, rendering the venue the most remarkable spot on the island to experience the evening fall.

The Drinks

Akademi, the open-aired cocktail bar, lab and training centre houses root-to-flower cocktails that shine a spotlight on native botanicals like arak and jamu. Cocktail magic that is unique to Potato Head is achieved with locally distilled spirits, native ingredients and juices that are all concocted in-house.

The Art Scene

Treated as an additional vehicle to raise awareness whilst celebrating local and global artists alike, Potato Head seeks prolific names in the art world across disciplines to shape interactive, interesting and holistic experiences. Majority of the art pieces are formulated from renewable materials, such as the recent collaboration with Futura2000 titled “Pointman – River Warrior”, a sculpture made from repurposed waste materials collected from the waterways in Bali as a social commentary on pollution.

The Design

Other design aspects of the hotel merge Brutalist architecture with its tropical setting – highlighting the luscious vegetation and hypnotic forms of nature that surround the Desa. Each detail is charged by the soul of its designer, whilst a great deal of Indonesian artisanal craftsmanship is showcased throughout the Potato Head Suites – down to the amenities offered in room such as beach sets woven by indigenous Dayak people, botanically tinted, hand-woven rugs, linens and tapestries from a natural-dye house Tarum and Jengki furniture which is custom made from handpicked teak.

The Community

Potato Head is also committed in supporting future change makers – especially grassroot communities that aim to restore natural ecosystems, create safe walking trails and connect carbon offsets to real projects. During the pandemic, the Sweet Potato Project was born around regenerative farming that could not only provide nutritious meals to local populations, but also create purpose, jobs and hope.

The Sustainability

Actions speak louder than words – and at Potato Head, it’s what they do to create a beautiful, sustainable existence that counts. At Waste Lab, the open-air workshop where passion for the environment breeds creativity, anyone who passes through is welcome to explore and learn about waste management – how they give clothing a second life, or turn plastic and Styrofoam waste into furniture or objects of art to be admired once again. The lifestyle brand has cultivated an environment where eco-innovators co-exist, inspire and teach each other how to design a circular future. Through the activities at Sweet Potato Kids, the next generation is engaged in a sustainable manner where they draw and plant seeds, make boats out of coconut shells and adorn their arms with bracelets of recycled plastic beads.

The Wellness

Potato Head’s wellness service, MERASA which is Indonesian for ‘to feel’ is a tailor made approach to discovering resolutions for the body, mind and spirit. Honouring the philosophy of duality within Balinese culture which embraces life’s pleasures and challenges, the service is a guidance towards a natural inner balance while integrating both traditional and modern practices. Visitors can expect wellness consultation, talks, workshops from Potato Head’s mix of local and international wellness experts – covering everything from frequency meditations, yoga, qi gong, intention setting, oracle cards, nutrition basics, native medicine and gut health through the service. The gym is 24 hours too, and appropriate workouts are also designed with children in mind.

MERASA also offers Sanctuary, a wellness experience that offers alternative forms of wellness and spirituality such as vibroacoustic audio visual therapy, sound healing, breath work, ice bath therapy, energy medicine, somatic release, and awakenings 6-days per week. This temple of wellness connects its hosts with their flow state, in turn, heightening either their sense of concentration or state of relaxation, as they simultaneously awaken a higher level of consciousness.

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Hands tell us a lot about the people we meet. In the West, we greet each other with a handshake, and Giorgio Gaber, an Italian singer, composer, actor and playwright, even wrote a song about them: ‘Le mani’. 

-“A civilised meeting between polite people who stand up and greet each other, a somewhat anonymous meeting made more human by a cordial handshake”. He then continues ‘singing’ different types of hands, with the subtle irony that has always distinguished this artist.

It is a fact: in Europe, when we shake hands in that first meeting, we can get an idea of ​​the person we are facing straight away. Moreover, precisely from that initial handshake, we form a judgment that immediately becomes a verdict, often without appeal, upon the character encountered.

Tattoos in Borneo

When you leave the national borders and you find yourself wandering in the third largest island in the world, even there you realise that the hands can tell you something about an interlocutor. If this, for example, is an Iban, descendant of the Dayak population and, looking at the back of his hands, you notice some tattoos, well… While times have changed, the wisest decision to make is still to leave, and quickly. 

According to tradition, that tattoo called ‘tengulun’ means that the owner of that hand may have taken part in a headhunting expedition against someone belonging to an enemy tribe. This person may have returned home with at least one head detached from the shoulder of some unlucky guy as a souvenir.

Ill-fated and unlucky or, at least, very unforeseen, since it would probably have been enough to have a ‘pantang rekung’ tattooed on the throat. This tattoo is well-known to strengthen the skin, making it more resistant to the action of the ‘Parang Ilang’, the local sword, which is preparing to snoop behind your Adam’s apple annoyingly indiscreet. The ‘pantang rekung’ is in fact the second tattoo that Iban boys receive around the time of puberty.

Tattoos in modern times

Nowadays, in the civilised world, tattoos are considered a fashion, a body decoration, a way to make a memory or a situation eternal, and at least an act of rebellion. Frankly, however, I believe that tattoos are not elements that particularly reflect our culture, so much so that, in the first place, getting tattooed is a relatively recent practice and, secondly, almost always the designs we imprint on our skin are part of other cultures, such as that of the Maori or the Japanese.

Far be it from me, of course, to express judgments on anyone who has their skin engraved with any type of design: everyone is free to do what they want with their own bodies. Moreover, here I do not intend to speak of a more or less recent Western fashion. I speak instead of people who have made tattoos a kind of logbook of their existence, imprinting themselves on the body with an indelible testimony of what is called the ‘bejalai’, which means journey, wandering, and the path of one’s life.

Things that happen on the third largest island in the world.

Sarawakian people

We are in the Malaysian Borneo, more precisely in Sarawak, meandering between Kuching‘s Rainforest World Music Festival and Miri‘s Borneo Jazz. And it is precisely in Miri, as part of this latest event, that we ​​stumble upon Ukir Anyam Tattoo & Beauty Studio amongst the spaces dedicated to the various aspects of local life.

Local people, modern people, nice people with whom pleasantly exchanging a few words. Someone, like Sylvester, sports his dreadlocks; almost everyone has piercings and everyone, absolutely everyone, has a body covered with tattoos. After exchanging a few words, we realise that their tattoos are not the product of a trend, or perhaps of a passing fashion: they are precise symbols of an ancient culture that they do not intend to give up for any reason. For them, getting a traditional tattoo is a way of keeping Iban art and culture alive, my friend Seth tells me, even if, perhaps, one no longer believes in the magical and ritual meaning of tattooing.

Obviously there is nothing magical nor ritual in the current equipment used for tattooing: there are machines surmounted by an ink tank, a cross between a futuristic pen and a kind of printer. Their needles enter the skin at a speed of about fifty penetrations per second, reaching a layer of skin not subject to continuous cell changes. This is done to prevent these from regenerating themselves, hence deteriorating the tattoo in a short time.

Tattoos from the past

In the past, however, the techniques that were used were slower and more painful, and the tools used were more primitive. It was the time when the Dayak dressed in loincloths and adorned themselves with feathers and beads in everyday life and not only to participate in festivals; when the ‘Parang Ilang‘ was used to cut heads and not as an object to be put on display for sale; and when the bodies were covered with tattoos that were dictated by a form of spirituality, or were intended to tell fundamental moments in the life of the one who wore them. 

The tattoos were handmade with two wooden sticks: one of them had one or more bamboo spines called ‘kayok tatok’ at one end, and the other was used to strike the first stick in order to push the needle into the skin. These tattoos were made by artists who, in addition to having skilful hands and knowing how to dose their strength adequately, also consulted the spirits so they would reveal the right design to be chosen.

The first tattoo ran parallel to the aforementioned bejalai, so that this was engraved on one’s skin, and it was made when one was considered mature. The transition to adulthood was marked with the ‘bungai terung’, represented by a double spiral that it develops from the center of a black spot, taking the shape of a flower, the so-called aubergine flower. After that, the tradition continued according to the person’s experiences, which resulted in more bejalai and more tattoos. 

Seth explains to me that Iban tattoos were believed to protect against evil spirits and the bad, but it was also thought that they were a way ‘to remind the Gods of our existence’, and to allow them ‘to see us after we die’. To tribes like the Orang Ulu, tattoos represent a hallmark of the class they belong to, distinguishing the nobles from the lower class members.

Different meanings for different tribes, different meanings for different designs. And since the Iban believe that every living being has a soul and a spirit, their tattoos symbolise all animated beings.

But these are things of the past: Seth admits that his tattoos are just a way to remember his ancestors, to tell moments of his history and to keep this art form alive. “I don’t believe in their magical and spiritual meaning, yet tattoos are a part of my identity, of who I am”.

Photos by Guglielmo Zanchi (Pluto)

The post BORNEO TRIBAL TATTOOS appeared first on Asian Itinerary.

Personally, I appreciate traditions in an almost exaggerated way. The phrases, the actions, the events; in one word, a culture that characterises the roots of a people and which, in oral or written form, is handed down from generation to generation. I think it is important to know where we come from and to whom or to what we owe for being who we are today.

Asian Itinerary author with Batuan Ethnic Fusion

Sure enough, the world is shrinking, peoples are mingling with each other generating new cultures. These new cultures are the natural result of a mix of original cultures, and we are rapidly moving towards a world in which the new password is globalisation. This is a nice word, an end in itself, were it not for the fact that the meaning attributed to it almost universally does not appear as exclusive. On the contrary, it tends to exclude individual cultures to the advantage of a “non-culture” that must include everyone but that does not represent anyone.

We can clearly see this in the controversies surrounding the definition of World Music. This term was coined by the American ethnomusicologist Robert Edward “Bob” Brown to describe music influenced by traditional cultures. World Music has nowadays taken on an almost derogatory meaning for the use of it by the music industry and record labels of the Western world in the 1980s to describe non-English recordings. Multi-instrumentalist and music producer Brian Clark believes that this term classifies “most non-Western music into an outcast group destined to the fringes of music festivals and lonely corner music shops”.

Sape Workshop

Asia is the cradle of ancient civilisations, and in the specific case here in Sarawak, progress in its various forms cannot ignore the past. Today the Dayak people are called Iban, and though they have obviously modernised, they still adopt the principles of a past to which they have always been related. This can be seen in those Iban who still live by choice in the Longhouses, a kind of wooden one-storey “condominiums” often built on stilts. These longhouses give shelter to several families and were originally created with the aim of keeping groups united so to defend oneself from the frequent incursions of other tribes. It can also be seen in those original tattoos that almost every local has, and that reflect symbols of bygone times. Last but not least, it can definitely be seen in the evolution of local music which, while moving forward, always maintains a certain attention to what is produced by its fathers.

This is something we noticed straight away at the Rainforest World Music Festival, right from the usual meetings with the artists, where on more than one occasion the thin and not so invisible thread that inextricably binds various generations was remarked.

Pinanak Sentah

Pinanak Sentah are six kids with clean faces and reading glasses, something that denounces a lot of time spent on books. They are Malaysians, from Siburan, less than 50km from Kuching, and they are somehow making their musical dream come true. They are a family: brothers and cousins accompanied by their father/uncle, who is also a musician, but who is not active part of the group. Well, not physically at least. But in terms of idea, he is the inspirer model for his children and grandchildren that range from the 15 years of drummer Emmanuel to the 26 years of guitarist Akinson and keyboardist Rick. They play a mix of tribal and modern music accompanied by both traditional and modern instruments. They are able to switch, with the ease of consummate musicians, from a Sape to a bass and an electric guitar, and from wooden xylophones to drums.

We chatted with them off the stage, where they sported a certain confidence. The smile that lit up on their faces was not ostentatious or flaunted; it was genuine, spontaneous and typical of that age in which one looks at the world with confidence, aware that the world is in their hands.

Pinanak Sentah drummer

Then you see them on stage and, assuming there is still room for a transformation, this  transformation takes place there. Emmanuel skilfully strikes his instrument by sliding his sticks on the drums with the exuberance of his 15 years of age; Natalina, 17, who seemed almost intimidated by our questions during the press meeting, replaces her top-of-the-class student glasses with colourful beaded hair clips, immerses herself in a private world of her own, and produces harmonic sounds from her jatung utang, a kind of wooden xylophone, focusing seriously only on her instrument. She smiles little on stage: perhaps the large audience that listens in religious silence intimidates her. In the end, she is still little more than a child; nevertheless, she does not show it and she manages to deliver a feeling of mastery for each instrument that she plays. And only when at the end of each piece the silence is interrupted by thunderous applause, she lets herself go to a satisfied, not so imperceptible smile. What a beauty.

Natalina in a workshop

Then there is 20 years old Ethania, a little secluded in the background. She plays the bass with delicacy, elegance and confidence. In front of her stand the two front-men, who together represent the ideological synthesis of the group: Ethaniel, 22 years old, a neat haircut, traditional clothing and a Sape in his arms, instrument that he masters without hesitation; and the aforementioned Akinson on the electric guitar: a red ribbon in his hair and an attitude that is somewhat reminiscent of Jimi Hendrix. Pinanak Sentah are there, on stage, with their father/uncle who, after passing the baton of tradition to them, observes from behind the scenes this Malaysian musical fable that continues its path towards a future that does not give space to amnesia on the past.

These are second generations: groups that grew up with the tribal music of their fathers in the ears, together with rock, jazz and pop.

Batuan Ethnic Fusion

Wayan Balawan is a Balinese musician on the threshold of his fifties, and he is considered one of the fastest guitarists in World Music, to the point of being nicknamed the “guitarist with the magic finger” in Indonesian musical circles. Balawan grew up listening to rock music, and he talks to me about his passion for the Beatles and the Deep Purple, something we share. He also tells me how he went from gamelan – a kind of traditional Indonesian orchestra – through rock to jazz, which he studied at the Australian Institute of Music in Sidney. Balawan has always maintained a connection with the music of his fathers through the instruments his band employ.

At the Rainforest World Music Festival, Balawan played with the line-up he founded on his return from Australia, the Batuan Ethnic Fusion, which combine the Balinese style of gamelan with a form of fusion jazz. On stage, they gave life to a brilliant and exciting show.

Sape Workshop

These are just two of several examples of generational transitions that we witnessed during the festival. The mentality and the firm will of not wanting to see the extinction of the ancient arts of the folk people starts to spread also on an educational level in Sarawak. Persatuan Anak Seni Sape Kuching is an NGO that caters to children, teaching them how to play the Sape, the most traditional of traditional instruments, and after less than a year of activity they have already reached thirty registrations. This clearly suggests that tribal music will have its own continuity and future. And the best support we can give them is to attend to World Music festivals! Thanks again to Rainforest World Music Festival for the amazing experience. Not to be missed.

The post Fathers and sons in World Music appeared first on Asian Itinerary.

Join earth-music medicine wisdomkeeper Kirsty Ka and David Metcalf for an inspirational and expansive journey into the sacred lands and holistic lifeways of the Dayak Iban people of West Kalimantan, Indonesia. This eco-spiritual journey offers a unique opportunity to immerse yourself in ancient culture, learn holistic wisdom, partake in meditative walks and nature quests, make ceremonial offerings, receive personal healings and deepen your understanding of how to live in the heart and closer to Mother Earth.
On October 4th we fly to Puttisibau, Indonesia. There we will meet our Dayak guides and travel to the village of Sungai Utik. This Dayak community was recognised by the United Nations Development Programme’s Equator Prize in June of this year for their successful preservation of community forest, traditional culture and sustainable way of life. Our local guides will take us into original forests, up pristine rivers and into Lake Sentarum National Park to explore one of the most significant wetlands on the planet. This little known and rarely visited area is home to several tribal communities and renowned for its beauty, tranquility and abundant wildlife.

During our time in Kalimantan we will visit several Dayak Iban villages, sleep in traditional longhouses, share meals, listen to ancient stories, sing songs, learn about their weaving practices and be treated like family. Throughout our journey Kirsty and the Dayak elders will intersperse periods of reflection and time to attend to personal wellbeing. They will share universal practices, facilitate space for you to harmonise mind-body-spirit, deepen connection with inner wisdom, listen to Mother Nature and evolve personal consciousness.
On October 11th we will return home from Kalimantan with a wealth of new experience, connections, holistic practices and inspiration for life.
Kirsty Ka facilitates healing and transformational retreats around the world. Working closely with indigenous elders and communities, their programs blend native wisdom, shamanic-somatic healing, nature immersion, elemental ceremonies and music medicine to help people embody their true essence and find contentment in a world of constant change.

KIRSTY KA is a keeper of earth and sound medicine, retreat facilitator and life consultant. She offers earth-based wisdom, ceremonies, nature immersion, music and holistic practices to help people empower and transform their lives, professions and relationships. Her work focuses on helping others find peace, joy, confidence and wholeness; relate to the sacredness of the Earth, daily life and all of our relations.

DAVID METCALF is a professional photographer and film producer based in Bali. He has traveled into indigenous communities on a regular basis for the past seven years and supports a number of cultural and environmental programs. He was the co-founder of the first international indigenous film festival in Bali in 2018. He has dedicated his life to helping preserve and support the wisdom and beauty of indigenous wisdom.

COST : $2,600 USD – INCLUDES LOCAL TRANSPORT BY AIR-CONDITIONED VAN, BOAT TRIPS, ALL FOOD, ACCOMMODATIONS AND LOCAL GUIDE FEES.

This program supports indigenous Dayak communities and their culture. 10% of all moneys from this trip goes directly to support indigenous preservation projects.

Interested to join? Email Central Borneo Guide – Miss Lun Pratiwi at cbguide.info@gmail.com 

The post HEALING JOURNEY INTO THE HEART OF BORNEO appeared first on Asian Itinerary.

Sibu is the largest port and commercial centre in the Rejang Basin and the gateway to Central Sarawak in Malaysia. Located at the confluence of the Rejang and Igan Rivers, approximately 130 km from the South China Sea, Sibu is a thriving modern town with a vibrant centre and a bustling, crowded waterfront.

Sibu was settled by James Brooke, the White Raja, in 1862 when he built a fort in the town to fend off attacks by the indigenous Dayak people. Following this, a small group of Chinese Hokkien people settled around the fort to carry out business activities safely in the town.

To visitors, today Sibu feels more down-to-earth than relaxed Kuching. There is still something of the pioneer style about the town, and its people are direct, plain-speaking and assertively friendly. Of course, their smiles may be partly due to the belief that Sibu has more millionaires per capita than any other city in Borneo.

The mighty Rejang, almost 1,6 km wide, is the dominant feature of the town, and a room with a river view is highly recommended for vibrant impressions of waterfront life. The river is a source of constant activity, with ocean-going vessels manoeuvring delicately between speeding express boats, battered river launches and tiny sampans. Rejang sunsets can be truly spectacular.

Sibu is not only fascinating in its own right; with its excellent road, air and river transport links it is also the ideal jumping-off point for exploring the whole Rejang Basin, from the coastal town of Mukah to the furthest reaches of the Upper Rejang, over 600km upriver.

Sibu quick facts:

– Biggest town on the Rajang River in Sarawak

– Capital of Sibu District

– At the confluence of the Rajang and the Igan Rivers

– Population 200,000

Getting There

From Kuching: The town can be reached by plane (40 minutes), bus (half a day) or for the adventurous who want a great experience, by boat (5.5 hours).

The post Sibu – Nature in the heart of Borneo appeared first on Asian Itinerary.

“We believe that the human body is inhabited by a life giving spirit. We call this an amirue. When a person dies, his or her spirit becomes an adiau, just for the time of its journey to the place where the amirue resides. During the nine days of the Ijame ceremony we help the adiau make its way.”

Wadian peoplke from Murutuwu Village

These words were spoken to me by Ibu Nyupur, a wadian (shawoman) from Murutuwu. This village is located six hours by road from Palangkaraya, Central Kalimantan, and lies deep in the heart of Dayak Ma’anyan country. The Ma’anyan are one of approximately 200 Dayak tribes, the original inhabitants of the large island of Borneo. In July this year Murutuwu Village played host to an Ijame, or death ceremony, which I was fortunate to attend.

The Wadian

There are two types of wadian in the Dayak Ma’anyan culture. Some preside over “life ceremonies”, such as healing, purification and thanksgiving. Others preside over “death ceremonies” and are experts in the afterworld. “Death ceremony” wadians play a critical role during the Ijame, as they are responsible for dealing with the bad spirits who may try to intervene and prevent the adiau from making its passage to the world of spirits where it belongs. The wadians do this by making special food offerings (pisarakan) and performing ancient chants throughout the night.

The Ijame Ceremony

The Ijame death ceremony has been conducted for hundreds of years, but only in Paju Epat, an area including four villages in East Barito. It is the only ceremony that the entire village community participates in and plays an important role in keeping the Ma’anyan culture alive. Ijame is conducted in an area of the village where the cemetery and the village assembly hall, or balai, are located. A cremation structure (papuian) is erected in the area. This is where the bones of the deceased are placed for burning on the final day. There is also a large coffin-like box made from ironwood (tambak), which is a repository for family ashes.

Digging up of the Bones

Digging up of the bones of a local villager during Ijame

The Ijame I attended began with the digging up of the bones of a local villager, who had died two years previously. Bones from three others were brought from neighbouring villages, and they were all placed in a temporary small wooden repository in the assembly hall. On the first day of every Ijame, special offerings are placed in four areas on the outskirts of the village to keep the bad spirits away. This is also the time that the idiran is constructed. Daily rituals are then performed during the ceremony, including the slaughter of at least one pig. Each evening the wadian perform endless chants, offering food, supplies and guidance to the adiau spirits.

Cockfighting

On the second day cockfights and gambling begin and are performed in the morning and afternoon. The losing (dead) cock from each fight is then hung up on a post, as an offering for the spirits and later made into soup. I was asked to share a bowl with the village cultural leader (kapala adat) and I can vouch for its tasty flavour!

Preparations and Animal Sacrifice

Cockfights and gambling are performed in the morning and afternoon during Ijame

During the following days, the men focus on constructing the papuian, while in the assembly hall the women prepare baskets, rice and other items considered of use in the spirit world. Day eight attracts officials and others from neighbouring villages to join in the feast. This is the day of slaughter when pigs and buffalo are sacrificed, speeches are delivered and a festive mood takes over.

The Burning

The ninth and final day is the busiest. It begins with the wadians’ chanting, then the idaran is dismantled and the wood used as a platform on which the ashes will be raked after burning. Various other rituals are performed until the bones are ready for burning. After burning, the ashes are retrieved by the families of the deceased and placed in the tambaks. Then a chicken is released as a symbolic gesture of the soul’s journey to freedom. In the evening the best orator in the village delivers a final speech. It always includes some local history and traditional stories.

The Preservation of Ijame

Today, There are only a few hundred Dayak Ma’anyan that are truly animist

So what of the future of Ijame? In the past, there were sometimes hundreds of deceased cremated at one time at these ceremonies. Back in those times almost all the people in the Paju Empat villages were animist. However, missionaries started making their way into these areas in the 50s and have been very successful in their conversion efforts. Today, most of the Dayak Ma’anyan do not follow their ancient ways. There are only a few hundred that are truly animist. The search is on for the younger generation to fulfil the role of wadians.

The Future of Ijame

As Pak Batarius, the kepala adat and “wisdom keeper” of the village explained, “It seems the younger generation are losing their culture, and this is of great concern to those of us who are responsible for passing on the wisdom and knowledge of the ancestors. Ijame is an important ritual, and we hope it will continue. This year the tourism office of the local government helped fund the ceremony and we hope other foreigners like you will come and witness this special event.

Ijame is a death celebrations, heritage of the wadian people

This will help us get funding to have more death celebrations like this in the future. The high cost can sometimes be a barrier”.

As the first foreign visitor to come to Murutuwu in many years, I was welcomed with genuine hospitality and immediately included as part of the village family. It was such an honour to witness the Ijame. Many young people attending the Ijame seemed to marvel at this expression of their original culture. They enthusiastically watched and took part in the rituals. I had the distinct feeling that, in participating, they were gaining a better understanding of their identity and appreciation of their culture. In the end, I was left thinking that the future was in good hands.

Published in Hidden Heritage October 2017 – Text and Photos: David Metcalf

David Metcalf runs photography and cultural tours in Bali, Asia, and the USA. David operates the Taksu Photo Gallery in Ubud, Bali. He supports education and health programs in Bali and Kalimantan. Read about David HERE !

https://www.davidmetcalfphotography.com

E-mail: davidmetcalf3@mac.com

TAKSU Photo Gallery Centre for creative photography Jl. Wenara Wana (Monkey Forest) Road 11A 80571 Ubud / Bali / Indonesia

Website: www.taksuphotogallery.com
Phone:  +62 811 1331 255 / +62 812 5388 1385 / +62 361 972 500

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The Textile Museum Sarawak in Kuching (Sarawak, Borneo, Malaysia) was opened in 2005 and is housed in a magnificent colonial Baroque-style building dated 1909. It showcases some superb examples of traditional authentic Sarawakian textiles made by the main ethnic communities of Sarawak.

Mural beads and weaving

On display at the Textile Museum Sarawak are contemporary work of designs based on traditional weaving and design techniques, as well as traditional costumes and fashion accessories used in ceremonies. Visitors follow an exhibition flow of the stages of textile manufacturing processes, and experience how a finished product such as weaving is brought to life. They also have the opportunity to test their skills on the loom and ‘touch-on’ exhibits.

Items exposed at the Textile Museum Sarawak include Malay songket (gold brocade cloth), hats, mats, belts, basketwork, beadwork, silver-work, bark-work, bangles and ceremonial headdresses. These are created by ethnic communities of Sarawak like the Iban, Bidayuh and Penan, as well as other Dayak groups. Dioramas recreate the sartorial exuberance of Orang Ulu, Malay, Chinese and Indian weddings. Explanatory panels shed light on materials and techniques.

Songket (gold brocade cloth)

The architecture of the Textile Museum Sarawak building is an attraction in itself, being a combination of English renaissance and colonial theme. Rectangular in structure, the Pavilion Building, as it is known, was first constructed in 1907 as a medical center. The 3-storey building later became the headquarter of the State Education department.

The museum is located in the historical quarter of downtown Kuching and it is within walking distance from popular accommodation services in the city. Make sure you give yourself at least an hour to time your visit.

FACTSHEET

map Textile Museum Sarawak

Address: Jalan Tun Abang Haji Openg, 93100, Kuching, Sarawak, Malaysia

Opening hours: Monday to Friday 9.00 am to 4.45 pm – Saturday & Sunday 10.00 am to 4.00 pm

General admission fee: Free

www: http://www.museum.sarawak.gov.my/pages.php?mod=webpage&sub=page&id=98&menu_id=87&sub_id=127

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Secret Cruise takes guests from Borneo and Indonesia to the fabled Mekong and Irrawaddy Rivers. Secret Retreats, a collection of nearly 100 independently owned boutique hotels, restaurants and cruises, offers unique opportunities to voyage Asian waters far from the usual cruising.

Secret Cruises curated collection of vessels combines the epitome of luxury travel with exclusive discovery encountering simple villages along timeless waterways, exploring deserted tropical islands and navigating lush rainforests teeming with wildlife.

Rahai’i Pangun

Jungle cruises in Borneo: voyage three different Kalimantan Rivers aboard a choice of vessels operated by WOW Borneo. By working with local Dayak people, the cruises offer an intimate encounter with Kalimantan’s forests, wildlife (including an orangutan rehabilitation sanctuary), black water lake systems and traditional villages.

A fleet of four vessels offers options for private charter or join-in cruises:

The Spirit of Kalimantan is a traditional Kalimantan barge with three cabins available for private charter.

Ruhui Rahayu

Ruhui Rahayu is a rustic 22-metre long boat with just one cabin.

Sekonyer, launched in August 2017, is a converted traditional local klotok vessel with three luxurious air conditioned cabins and a sublime upper viewing deck used for join-in cruises.

Rahai’s Pangun is a converted traditional river boat with six cabins also for group cruising.

Alila Purnama

For discovering fabled historic and spiritual sites like Wat Phou in Laos, Angkor Wat in Cambodia and Bagan in Myanmar, Secret Retreats offers a fleet of four vessels for voyages along both Asian Mighty Rivers the Mekong and the Irrawaddy:

·      Designed to reflect the British colonial spirit of India with its hand painted walls and Hindu motifs, The Jahan cruises between Saigon and Siem Reap, home to the world famous Angkor Wat. Featuring a sundeck with large Jacuzzi, spa, gym, observatory, elegant lounge, restaurant and outdoor bar, each of the 26 cabins has its own private balcony.

·

The Jahan

On a leisurely 3-day Mekong journey between Pakse and Champasak in Southern Laos, The Vat Phou bears witness to one of the region’s most remarkable treasures, the UNESCO-recognised Wat Phou Temple, considered the birthplace of Khmer architecture. Featuring 12 cabins, the river cruise passes through timeless landscapes, including the stunning “4,000 Islands” and Southeast Asia’s largest waterfalls at Pha Pheng.

·      Along the northern reaches of the Mekong, the custom built luxury river boat Luang Say cruises between Huay Xai and Luang Prabang on a two-day voyage with overnight accommodation in Laotian riverbank bungalows at Luang Say Lodge. The journey includes stops at villages to discover how local handicrafts and rice whiskey are made, as well as Pak Ou Caves, which contain thousands of Buddha images.

The Vat Phou boat

Cruising between the fabled plain of temples of Bagan and Mandalay, the elegant 23-cabin Anawrahta offers the finest onboard experience along Myanmar’s Irrawaddy. Built to resemble a British colonial paddle steamer, the vessel takes guests back in time to an era of bygone elegance, with gleaming white rails, polished lacquer and intricate woodwork.

Sailing through the Indonesian archipelago is a true adventurewith mostly private charters where itineraries can be tailored according to personal interests. Secret Cruises offers five options to explore Eastern Indonesia:

·         The 5-cabin Silolona and 3-cabin Si Datu Bua are converted traditional

Silolona

Indonesian phinisi boats, as sailed by the Bugis seafarers from south Sulawesi. Complete with exquisite culinary experiences and a well-equipped dive facility, they cruise East Indonesia from April to November, and up in the Andaman archipelago from December to March.

·         Alila Purnama is a luxurious 5-cabin phinisi providing modern and elegant accommodation for up to ten passengers for cruising around Komodo, Flores, Raja Ampat…

·         Blending authentic Indonesian tradition with contemporary allure designed by a French interior architect, the 7-cabin magnificent 32-metre yacht Nyaman Perjuangan was launched in May 2017, cruising around Komodo National Park. 

·         Salila Expeditions offer adventure seekers seafaring voyages through remote parts of Indonesia in the comfort of a luxury private 10-cabin yacht, from Flores in the Lesser Sunda Islands laden with beaches, to the aromatic ‘Spice Islands’ of the Moluccas, famous for their nutmeg, cloves and mace.

“Secret Cruises define a new way to explore Asia. With the complete privacy of chartered yachts, soft adventure experiences and exploration of remote areas, they offer unique experiences for guests far from the well-trodden tourist trails,” says Secret Retreats Managing Director Stéphane Junca.

Staff on the Pak Ou

Complete conditions and schedules for all cruises are available on https://www.secret-retreats.com/cruises

or through the Secret Retreats Concierge team: dream@secret-retreats.com.

 About Secret Retreats:

Secret Retreats is a collection of unique properties and experiences – including boutique hotels, villas, cruises, restaurants and exclusive itineraries – throughout Asia. It is a community built by independent owners and chefs to share resources and ideas. Together, we offer our guests authentic travel experiences that go beyond typical offerings to connect to the very heart of Asian culture and traditions. Secret Retreats Members are vibrant advocates of their surroundings and passionate about sharing special moments with travellers curious to discover the “essence of Asia”. All properties, experiences and journeys also emphasize supporting local communities, environments and sustainability efforts in which they are based to ensure continued opportunities for both locals and travellers for years to come. Learn more at www.secret-retreats.com.

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Their music has been described as “heavenly music that allows one to see the mountains and hear the breeze”. The Taiwu Ancient Ballads Troupe was formed at the Taiwu Elementary School in Taiwu Township of Pingtung County, Taiwan, situated near the sacred North Dawu Mountain. Their leader, Camake Valaule, began documenting ancient songs of the region that had previously only been handed down orally.

This amazing tribe from Taiwan, inhabiting an ancient and sacred area of Taiwan, was voted as “Amazing Voice” by the Japanese NHK Network Programme, and not without reasons.

Asian Itinerary interviewing Taiwanese tribesman

I was lucky to participate once again to the Rainforest World Music Festival, which in its agenda showcases unique cultural and traditional music from all around the world. And this year, Taiwu Ancient Ballads Troupe was on the line up of performers thanks to a cooperation with the Taiwan Tourism Board.

I was lucky enough, after the second day press conference at the festival, to manage to stop their leader, 38 years old Camake Valaule, who allowed me a few words.

Camake is the teacher of Taiwu Elementary School in Taiwu Township, Pingtung, and he is a real indegenous people of Taiwan. As a member of the Paiwan tribe, he told me that a lot is expected from him. Apart from teaching physical education, he is in charge of teaching a   wide range of subject to local students such as Mathematic, Science, Chinese language, environment and history.

Taiwu Ancient Ballads Troupe performing

Camake has a real passion in keeping his traditional culture alive, and this is reflected in the way he teaches it in the school, as he firmly believes the local children of Taiwan should get to know their culture better.

He tells me that one of the unique things about the Paiwan tribe is that “each of the ballads is tightly related with the tribe and to familys’ history. Even love songs and chants used during ceremonies follow strict rules. Singing ballads is a way to let the children learn about themselves”.

Taiwu Ancient Ballads Troupe at the presentation

During his teaching times, he has started to form a group that plays and sings traditional music; members are children and kids from his tribe with an age range that spans from 5 to 28 years old. At the beginning of this project he has little expectations, but as the years passed their performances began to become well known to the people of Taiwan and not only.

Taiwu Ancient Ballads Troupe has been performing for over 16 years and they have so far recorded two albums, and even winning some Taiwan Award.

And as I talked to Camake through the help of his translator, Pei-Ti Huang, I realized the Paiwan people are not only amazing with their traditional culture and costumes, but are also very similar to the Dayak of Sarawak. Among the similarities are the beads, the woven clothes and also the patterns.

A colourful bunch

Being a local, I believe that studying Asian tribes’ similarities is paramount to get to know our background and to realize that we are all related, from a time when Asia was a big lump of land, long before Taiwan became an island. In fact, Camake told me that his government, the Taiwan Aboriginal Government, has already sent representatives to Sarawak to study these similarities. Impressive.

So in the end, what Japanese NHK Network said was true: the amazing voices of Paiwan’s Taiwu Ancient Ballads Troupe are amazing indeed.

Check out their facebook page https://www.facebook.com/TaiwuAncientBalladsTroupe/?ref=ts&fref=ts

The post Taiwu Ancient Ballads Troupe appeared first on Asian Itinerary.

Crowd and artists at the Gawai celebrations

The harvest time has finally reached West Kalimantan, Borneo, Indonesia, where the Dayak people celebrate together the so-called Gawai festival (or harvest festival).

Borneo is a land full of biodiversity, and it is famous for the animals icons of this island: the orangutan and the hornbill. The Dayak people are the inhabitants of this special place. These people are highly tolerant of other beings and are blessed with a unique culture characterized by a special togetherness, as well as being well-known for the magic science employed by their ancestors.

Buddhist Chinese temple at Pontianak

West Kalimantan is populated by 3 main tribes being the Chinese, the Malay and the Dayak. Each of these tribes has its own festivals, and Gawai, an event held every year in the West Kalimantan provincial capital Pontianak, is one of the biggest festivals in the province.

During Gawai festival in West Kalimantan, various kinds of competitions are held, and participations to these are also open to Dayak people not originally from West Kalimantan Province tribes. Dayak participants that gather in Pontianak are from all over the place, in particular from Sarawak, Brunei Darussalam, Central Kalimantan and East Kalimantan.

One of the activities at Gawai festival

Competitions held at the Gawai festival include regional dances, playing blow pipe, tattoo making, pig catching, beads competitions, crafts-making, traditional spinning top, traditional singing, story-telling and more. No wonder thousands of tourists come to visit over and over every year, and their number is soaring.

In addition, Gawai festival-goers can try popular west Borneo dishes such as Bir Pletok, Choi Pan and Aloe vera on ice, as well as visiting tourist sites such as the equator monument, monasteries, palaces and a Dayak house.

Hornbills

How to get there: You can fly to Pontianak from several locations after your international flight, including the nearby Bali or Jakarta.

Join a Central Borneo Guide tour, browse www.centralborneoguide.com

Central Borneo Guide is a tourism guide service that was set up by Yun Pratiwi, a local Dayaknese woman from Central Borneo. The main idea of their service is to help local and international tourists to visit and to explore the Indonesian Borneo.

Yun from Central Borneo Guide at the Chinese themple

They specialize on culture, nature and on the local Dayak ethnic people. Tourists can get full advantage of Central Borneo Guide experience and knowledge of local culture, which provides them a memorable experience not easy to match.

Credit photos by Apriyadi (from Spirit of the Hornbill dance academy)

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Sebangau National Park logo

Located in the jungle on the south of Central Kalimantan, Indonesian Borneo, and enclosing Katingan Regency, Pulang Pisau Regency and Palangka Raya City, Sebangau National Park was established in 2012 and has an area of approximately 568,700 hectares.

Amongst Sebangau National Park amazing natural features, the vast variety of protected flora and fauna species include 166 flora species – among those species is the Ramin tree, a genus of about 30 species of hardwood trees -, 116 bird species – one is the Bangau Tong-tong, a kind of stork-, 35 species of mammals and 36 species of fish. Sebangau National Park provides the suitable habitat to Orangutan, Proboscis Monkeys, Macan Dahan (clouded leopard), Owa gibbons and more.

Big orangutan at Sebangau National Park

Moreover, Sebangau National Park is one of the last Peatland swamp forest – tropical moist forests where waterlogged soil prevents dead leaves and wood from fully decomposing – left at Central Kalimantan. This is an area with great economic importance as it provides a source of living to the local inhabitants, and for this its protection receives a considerable amount of support from the local community.

As an icon of natural tourism for Central Kalimantan, Sebangau National Park is a regional pride and an essential ecosystem that needs to be preserved. This task is efficiently covered by the park management board, Balai UPT, whose duty is to implement conservation projects based on legislations and regulations. Their tasks include area restoration, unblocking of clogged canals, forest rehabilitation and fire control, society empowerment, nature tourism, enhancement of the population of threatened species, research and protection.

Peat swamp forest at Sebangau National Park

Area restoration is particularly essential at Sebangau National Park. The main pressing function is the creation and up-keeping of canal dams – locally known as Tabat. Built out of wood, Tabats have the function to block water from flowing out from peat land areas to rivers so land around the canals remain wet and humid during droughts. Another function of Tabats is to secure land areas from the risk of forest fire.

Sebangau Natural Park management together with WWF Indonesia have already built over 1000 dams since 2006, and planting activities amount to an area of 9,418 hectares. This important rehabilitation in the area has not been quite enough to make up to the massive loss of 85% of the total wood in the area due to massive logging concessions given out between 1980 and 1995. It has been estimated that the park will need several centuries to be back to its pre-logged state.

Arial view

Despite the damage still perpetrated by illegal loggers, which blocks some of the orangutans routes, a recent study has shown that, thanks to the proper protection of the western part of the park, the hydrological integrity of the forest has been maintained, and it is ecologically resilient.

Other challenges faced by Sebangau National Park management include the implementation of regulations, the control and prevention of forest fires and the marketing of the park to the tourist sector, with a consequent need to improve existing services.

View from the boat

Central Borneo Guide (CBG) is a tourism guide service started by Yun Pratiwi, a local Dayaknese woman from Central Borneo, who strives to facilitate local and international tourists to visit and explore the nature and the local culture of the Dayak people of Borneo. Their tour to Sebangau National Park and Rungan River will allow you to explore primate country and the conservation forest, to experience traditional village life on the river and to gain contact with the local Dayak culture in a pristine jungle environment. For a peep at this fantastic tour program, CLICK HERE !

Central Borneo Guide wishes to thank Tatan Suwardi for the data of the above article, and David Metcalf, a professional photographer from New Zealand,who helped them to start and keeps supporting the cause. Follow David on http://davidmetcalfphotography.com  or read about his charity project and documentary Long Sa’an – the journey back

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Parang at the Rainforest World Music Festival 2016

It was while exploring the various stalls at the Rainforest World Music Festival 2016 that I stumbled upon Parang, the new game from publishing company Beast of Borneo, based in Kuching, Sarawak, Malaysian Borneo. I got interested in the game thanks to the PR people present at the stall, who kindly invited me fort a game at the table set out in the sunshine. I sat with a guy and a girl and played my first game of Parang: it was love at first sight.
But let me give you a bit of a background on the the outfit behind this game. Beast of Borneo is a small local enterprise set out in Kuching and captained by Alex Jefferson, a British with a passion for Sarawak.

Exciting new game Parang is here

Their mission is to pry people away from their handphones and computers, bringing them together and helping to reconnect with each other again. Beast of Borneo hopes, through their socially interactive card games and board games, to gently poke players back into the immediate present, melting the glue that keeps them attached to their phones playing mobile games, and at the same time promoting the amazing heritage of the people of Sarawak. Everyone loves to play games, especially fun and easy to play games. Parang has all these qualities, as well as celebrating Sarawakian culture and environment.

Parang is simple to learn but quick and fun to play; it makes use of the traditional Dayak warrior equipment – swords, shields, hornbill feathers and masks.

Topeng beats 4 Parang

The players challenge each other for Head Trophies (Antu Pala), and only the player with the highest number of Antu Pala at the end of the game is the winner. The challenges are are meant to out-play and out-wit your opponents and are played adopting the more familiar rock-paper-scissors concept but using the familiar Sarawakian icons as the Terabai (shield), the Bulu (hornbill feather) and the Parang (sword). Parang can be played head-to-head in a two-player game or in a three or four player game. One of the great things about Parang is that even the weak cards have a chance to beat the strong ones, so you have to choose wisely about when and where to play each card, trying to remember the cards your opponents have already used.

The back of a Parang card

Creator Alex Jefferson, who feels at home in the land of the headhunters showed up for a chat. He told me that it took him and the team one and a half year to put Parang together. Apparently the game was too complicated at first, so he chose to simplify it, getting to the final version through trying out a lot of different versions to see what worked and what wouldn’t. He also told me that the response from their first pre-launch game back in May was largely positive thanks to its easy-to-play and fun factors.
I thanked Alex and went back to the table, where I manage to lose not one but two games with experienced Beast of Borneo staff; however, my loss was not so bad, plus they told me I was a ‘fast-learner’ – whether they told me so to make me buy the game or because they believed so, it is hard to say… Over all, Parang is fun whether you play casually or if you have a good enough memory to count cards. I bought a deck of course, and I have been playing with friends since getting back home. And everyone loves it!
INFO FOR PARANG CARDS

antu-pala

parang

terabai

bulu

topeng

wild

Antu Pala – heads were collected by warriors for power, status and strength, but they were also used for magical protection and a bountiful harvest. These are collected in order to win the game.
Parang – a sword essential for cutting trails through the dense rainforests of Borneo, as well as the perfect weapon for collecting heads.

Terabai – these shields are always decorated with ornate designs, and are the physical protection a warrior needs in battle.

Bulu – feathers from Hornbill that adorn the headgear of warriors.

Topeng – this mask was worn during rituals of fertility and protection of crops, and was also worn by the Shaman who used it to scare away the bad spirits that cause illness.
Wild – the great Rafflesia is one of the wild flower of Borneo rainforest, who need to be revered and respected. The Rafflesia is the largest flower in the world. Read about Rafflesia HERE or HERE
Bunga Terung – these are powerful sign of protection and new life, traditionally tattooed onto the shoulders of Iban tribes boys when their journey begins to become men.

A Parang game in session during the last preview

Beast of Borneo has been going around teaching people how to play Parang since its debut in May 2016. Beast of Borneo guarantees every game they create is original and unique; once you play with them, you will want to play over and over again. Parang is now on shelves at major shops and convenience stores in Kuching, and will be available to purchase online on http://beastofborneo.com/online-order/ . The price is RM25.00 \ £5 GBP \ $7 USD \ €6.50 Euro each deck excludes postage & packaging.
For updates of their next game, check out https://www.facebook.com/borneobeast/ – http://beastofborneo.com – or email beastofborneo@gmail.com

The post Parang, the Borneo ‘head-hunting’ game appeared first on Asian Itinerary.

Special offering this year! Central Borneo Guide would like to offer people to join their special tour in Central Kalimantan this October 4th-7th 2016. The price of package is USD 700/person, quota is 6 people in a group.

Central Borneo Guide

Central Borneo has unique tribes that are rich in culture and tradition like no other. The tribe you will visit is almost similar to American Indians for their clothes and traditional dances. The area has iconic primates such as Orang Utan and proboscis monkeys.
We would like you to join our Orang Utan and Dayak Cultural Tour. This tour supports small local business in Palangkaraya, the capital city of Central Borneo. Small local business include batik makers and the Spirit of Hornbill Dance Academy in Palangkaraya. By booking this tour you also support small local business and give them a chance to improve their life. Tour schedule is as follows:

Day one
The group will be picked up at Tjilik Riwut airport and transferred to the hotel to check in. Lunch will be in a restaurant serving traditional food. The group will then meet and greet the Spirit of Hornbill Dance Academy, before being taken to Old Town.

Day two
The group is taken to the Bapalas Island to see the Orang Utan conservation camp on small boats, as well as to Kaja Island, another Orang Utan park. Back to Palangkaraya, the group will visit Museum Balanga to discover the ethnography of Dayak people and their old religion. Lunch will be followed by a visit to a batik workshop. The group will learn how to make traditional batik. Finally, the group travels back to the hotel and get ready for dinner.

Day three
The group will board a river cruise to visit Ransel Buku in Petuk Katimpun village. The project is designed to give a chance to local children to love books, the environment and the culture – we would like to encourage you to donate some education book or story books, stationary and anything you feel like to this program. Back to Palangkaraya for lunch, after which the group is taken to a traditional souvenir shop. Last activities are a visit to a museum and a special dance performance exclusively performed for the group.

Day four
Transfer to airport early morning. End of tour.

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Quota is 6people in a group. Price includes entrance to all locations, meals and alcoholic drinks, hotels, car rental and boat. Price excludes personal expenses, flight tickets and tipping the guide.
If the quota is less than 6 people, additional charges may apply. For details, price list and booking visit this link http://centralborneoguide.com/package/orang-utan-and-dayak-cultural-tour/ or contact Pratiwi Yun at pratiwiyun@gmail.com or +62811 5233 389

Here are some reviews of the tour in Trip Advisor: https://www.tripadvisor.com/Attraction_Review-g303951-d10376399-Reviews-Central_Borneo_Guide-Palangkaraya_Central_Kalimantan_Kalimantan.html 

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Isen Mulang Festival contest participants

Central Kalimantan is the third largest province in Indonesia; located in the island of Borneo, it is divided into 13 districts and one single town: its capital Palangkaraya. Each Dayak district has its own language, and there are more than 15 Dayak languages, with the majority of Central Kalimantan speaking Dayak Ngaju. Isen Mulang Festival is a very special event celebrated for the past eight years, which seems to get bigger every year. It comprises a series of competitions held yearly in the month of May in Palangkaraya, exposing the Dayak culture of Central Kalimantan.

Isen Mulang (Isen = Abstinence, Mulang = Surrender) means ‘never give up and strive to achieve’. Isen Mulang Festival fosters the spirit of Dayak citizens: to unite, build together, tolerate and to keep the human dignity high.

A local feathered beauty at Isen Mulang Festival

During the competitions, there are races and dancing contests both inland and on the coast, and dances, songs, beauty, sports and traditional games. Thousands of Dayak males and females from the forests and inland villages, young and old, representing their districts and hometowns, participate in a National Carnival traditional parade held mainly in the center of this small town.

Isen Mulang Festival also holds an exhibition that promotes regional produce and handicraft made with regional resources: a wide range of local food and snacks (including a grand food baking competition) as well as clothes and wicker items. Also presented are the traditional Manyipet, a local blowpipe, and the Gasing, a spinning top, as well as a fascinating but serious game of ‘fireball football’ (Sepak Sawut), which sees teams compete on a small sized football field with coconuts that are literally doused in petrol and set alight!

Special vibes awaiting you

There are competitions to catch fish by the bare hand, traditional canoe races (Besei Kambe), Prince and Princess of Tourism competition, wood chopping, blow dart shooting, traditional Karungut singing and very loud contest of building ornamental Dragon Boats, where much care and effort is put into decorating the boats in intricate Dayak motifs, which are then paraded up and down the river.

Each area of expertise has a winner, with participants collecting points that will count towards winning the title of overall champion. Local people dance, socialise and pose for cameras.

Needless to say, all Dayak citizens are always very enthusiastic to participate in this festival, which also attracts many other Indonesian cultures – Java, Sumatra, Sulawesi, Papua, the Maluku Islands, Bali and Nusa Tenggara are all represented through the streets of Palangkaraya – and lots of foreigners who attend this important cultural event. Beautiful Dayak women sing and dance, young warriors dressed in feathers, their bodies adorned with tattoos, chant ancient songs and swing their machetes in the air. It is one of the few opportunities in Kalimantan to watch a gathering of so many Dayak tribes together in one place.

Great shows and events at Isen Mulang Festival

Be part of moments of this event, which occurs on May the 18th each year. This is a great opportunity to talk to the very friendly people of Palangkaraya, who are very excited to meet foreigners. Watch the parade and join in the festivities in a spirit of dance, fun, joy and cultural expression, with the large stage filling with giant feathers, bear claws, pointed hornbill beaks, bells and chains.

More info and bookings with Central Borneo Guide on http://centralborneoguide.com/package/isen-mulang-festival-cultural-show-extravaganza/

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