Keris: The Spiritual and Cultural Icon of Southeast Asia

The material culture of power in Southeast Asia is most perfectly encapsulated by an object renowned throughout the Malay archipelago: the keris. This iconic dagger symbolizes potent connections to the invisible world and was particularly significant in pre-colonial Bali. The keris, with its intricate craftsmanship and mystical associations, served not just as a weapon but as an object of profound spiritual and cultural significance.

Keris are long daggers designed for close combat. Their blades are often spectacularly decorated, making them as much an art piece as a weapon. The upper part of the blade typically features curlicues, barbs, or intricate figures carved into it. The silver and black damascene patterns that run along the length of the blade are created through a meticulous process called pamor, where alternating layers of iron are beaten to reveal the design. This technique not only enhances the blade’s beauty but also signifies its mystical properties.

Many keris also have wavy blades, resembling flames or the sinuous motion of a snake. These curves, known as luk, typically come in odd numbers. This design is not merely aesthetic; it reflects the spiritual beliefs of the Balinese people. The blade of the keris is considered a portable shrine, akin to the multi-tiered roofs of Balinese temples. In both instances, the higher the number of curves or tiers, the higher the spirit believed to inhabit them.

Creating a keris was a deeply spiritual process in traditional Balinese society. The smiths, or empus, required more than just technical skills; they needed to perform specific rituals and recite mantras at every stage of the forging process. These rituals imbued the keris with a distinct “personality” and efficacy, making each blade unique. This spiritual essence needed to be maintained through regular offerings and rituals, symbolically reproducing the keris's creation.

One such ritual is observed on Tumpek Landep, a day sacred to metal objects and weapons, especially the keris. This day falls on Saturday-Kliwon in the Balinese week of Landep, which means “sharp.” On Tumpek Landep, keris are taken down from their shrines, cleaned, and rubbed with oil. They are then purified with holy water and provided with offerings. The most significant offering is the tebasan pasupati, which includes red ingredients such as the meat of a red chicken, red rice, red fruits, red pastries, and a dab of chicken blood. This offering is believed to recharge the keris's “kesaktian,” or mystical power.

In contemporary times, while the practical use of keris in combat has diminished, their cultural and spiritual significance remains strong. They are revered as heirlooms, symbols of power, and embodiments of ancestral spirits. The keris continues to be a potent emblem of the intricate relationship between the material and spiritual worlds in Balinese culture, reflecting a rich heritage that persists through generations.
Keris: The Spiritual and Cultural Icon of Southeast Asia

Minangkabau Dance: Rich Heritage

Dance holds a profound significance in the cultural tapestry of Minangkabau, showcasing the immense richness of this heritage. One exemplary dance form is the vivacious umbrella dance, a welcoming performance that vividly depicts a young man expressing his affection for his beloved. The dynamic 'tari piring' takes the artistry to another level, featuring dancers skillfully leaping barefoot on fragments of broken china. Meanwhile, the captivating 'tari lilin' demands female dancers to adeptly juggle and balance china saucers adorned with burning candles, all accompanied by the rhythmic clicking of castanets.

In the diverse array of Minangkabau dances, randai emerges as the most popular. This dance drama, a common feature at weddings, harvest festivals, and various celebrations, incorporates movements from pencak silat, a traditional self-defense routine. The choreography seamlessly weaves together elements from literature and gamelan music, creating a mesmerizing spectacle. In West Sumatra, every village typically boasts at least one all-male randai group, composed of approximately 20 performers. The traditional randai storyline unfolds the narrative of a rebellious and malevolent woman expelled from her village to avert an impending disaster.

Youth in Minangkabau adhere to the tradition of spending time in a surau (prayer house), where they receive instruction in diverse skills, including self-care and the practice of pencak silat. The Mudo style of pencak silat, frequently showcased, simulates a battle that escalates to the brink of violence before finding resolution. This dramatic dance involves intricate techniques, graceful footwork, and deliberate pauses, intensifying the overall suspense and artistry.

Complementing these dances are percussion instruments reminiscent of Javanese gamelan, collectively known as telempong in West Sumatra. Moreover, the puput and salung, flute-like instruments crafted from bamboo, reed, or rice stalks, contribute to the melodious backdrop of Minangkabau's cultural expressions. The intricate synergy of these elements paints a vibrant picture of a cultural heritage that is not only visually stunning but also deeply rooted in tradition and storytelling. As these dances continue to evolve, they serve as a living testament to the enduring legacy of Minangkabau's rich cultural heritage.
Minangkabau Dance: Rich Heritage

Dayak headhunter

Dayak is a term for natives of the island of Borneo. They are a tribe of people living in Kalimantan especially in Central Kalimantan. Dayak, divided into 405 sub-sub clans. Each sub-Dayak both Indonesia and Malaysia are identical. Dayak customs and culture comes from the word "Power" which means upstream, to refer to people who live in inland areas or in the interior of Borneo. In the arsenal of art and culture, Dayak has many similarities such as; saber, chopsticks, beliong, betang, cupai, renjung, empajang and others.

Warfare, including headhunting, slave capture, plunder and conquest, was practiced by Dayaks in various parts of Borneo until early part of the 20th century.

Until now there are still some Dayak tribal customs are still preserved. Dayak supernatural world in ancient times still looked strong until now. This custom is one of the cultural property owned by the Indonesian nation. A long time ago the famous Dayak with the term "ngayau" (adventuring by finding the opponent's head to become "Dengah").

Headhunting played a central role in the social organization, religion, and worldview of nearly all Dayak groups of Borneo. Headhunting among the tribe is believed to have begun when the land inhabited by the Ibans grew into over-population and confrontation was an inevitable requirement for survival.

Headhunting, derived from the word "me and ngayau". Me means action, ngayau: beheading enemies, decapitating enemy action (Mengayau contained in the Iban language and Ibanik, also on the Dayak community in general).

Successful headhunters enhanced their own prestige, in part because their actions were perceived to contributes to the prosperity of kin and community through the performance of certain important rituals.

These rituals, such as the Iban kenyalang and the Kenyah mamat, required fresh human heads for their performance.

Headhunting has been associated with ideas regarding the head as the seat of the soul, with some forms of cannibalism in which the body or part of the body is consumed in order to transfer to the eater the soul matter of the victim, and with phallic cults and fertility rites intended to imbue the soil with productivity.

A few groups decorated their trophy skulls in characteristic ways by either attaching wooden or other elements to individual skulls and/or by engraving mostly floral elements on the neurocranial and facial parts of the trophy.

Dayaks are very careful to defend their females, hence in their system of head-taking, the heads of females are more highly valued than those of the men, in as much as it requires more artifice and bravery to obtain them.
Dayak headhunter

Sirih (Betel Pepper): History and culture

In English literature known as Betel Pepper Liquid Extract. But botanical name known as “Piper betel”It is under family of Piperaceae. However, Malay called it Sirih.

There is archaeological evidence that the betel leaves have been chewed along with the Arica nut since very ancient times it is not known when these two different stimulants substances were first put together. Betel leaf and areca nut are regarded as auspicious symbols of hospitality, and denote a moral, social, and legal commitment. Malay culture and tradition hold betel nut and betel leaves in high esteem, evident through their use in many social and religious ceremonies.

According to De Candolle in 1884 betel pepper might have originated in the Malay Archipelago. In 1966 Burkill described the native place as Central and Eastern Malaysia where the crop as cultivated and spread though tropical Asia and Malaysia.

The Portuguese doctor, Tome Pires, who lived in Malacca between 1512 and 1515, wrote that betel chewing, “helps digestion, comforts the brain, strengthens the teeth and sweetens the breath” as well as holding ceremonial, social and symbolic meanings.

With known ethno-medicinal properties, this plant is widely use in India, Indonesia and other countries of the Indochina region (Malaysia, Vietnam, Laos, Kampuchea, Thailand, Myanmar, Singapore).

Many experts interested in betel leaves a new source of natural antioxidant because the leaves are traditional used to maintain healthy health.

It is common custom throughout India, Malaysia and Indonesia the leaves are chewed, alone or with other plant materials including the areca nut, lime, and catechu for their mouth-freshening, digestives, aphrodisiac and sense of wellbeing properties.

Betel leaf or Piper betle or sirih has been described from ancient times as an aromatic stimulo-carminitive, astringent and aphrodisiac.

There is activity known as makan sireh in Malaysia. It needs three different plants used in combination: the betel nut which is the seed of the areca palm, the betel leaf which comes from the pan plant, and lime. The leaf is first daubed with lime paste and topped with thin slices of the nut before it is folded or rolled into a bite-size quid. It acts as a mouth freshener, helps digestion and creates a sense of euphoria almost like chocolate does.

The leaves are aromatic and produces an aromatic volatile oil containing a phenol called chavicol which has powerful antiseptic properties. It is also containing oxalic acid, tannin and terpenes. It tastes varies from sweet to pungent.

Pharmacological effects of betel chewing include abundant flow of saliva, temporary dulled of taste perception, stimulation of muscular and mental efficiency.

The extraction from the leaves form Java, Manila shows that the leaves contain starch, sugars, tannin, diastase and an essential oil to the extent of 4,2%. The essential oil is a light yellow liquid of aromatic odor and sharp burning taste.
Sirih (Betel Pepper): History and culture

Minangkabau

West Sumatra is the homeland of the Minangkabau. The center of the Minangkabau culture is the highland of West Sumatra. This highland is ‘traditionally’ divided into three regions: Limapuluh Koto, Tanah Datar and Agam. All the areas outside (even the coastal areas of West Sumatra) are called rantau.

The fame and glory of the Minangkabau cultural society has existed since 500 AD. Legend has it that the Minangkabau descended from the wandering Macedonian tyrant, Alexander the Great. 

According to the legend, the ancestors of the Minangkabau arrived in Sumatra under the leadership of King Maharo Dirajo, the youngest son of Alexander, more commonly known in Indonesia as Iskandar Zulkarnain.

The Minangkabau are strongly Islamic, but also follow their ethnic tradition or adat. The relationship between Islam and cultural tradition is describes by the saying adat basandi syarak, syarak basandi Kitabullah. It means that the tradition is founded upon Islamic law, and the Islamic law is founded upon the Holy Qur’an.
Minangkabau