Art Council of Mongolia, Culture Naadam Project

Art Council of Mongolia, Culture Naadam Project

Art Council of Mongolia, Culture Naadam Project

Art Council of Mongolia, Culture Naadam Project

Art Council of Mongolia, Culture Naadam Project

Art Council of Mongolia, Culture Naadam Project

Art Council of Mongolia, Culture Naadam Project

Art Council of Mongolia, Culture Naadam Project

"Datun Julud" means "long dance" in Dayak Kenyah language, "Hivan Joh" in Kayan, and "Arang Kadang" in Kelabit. It is traditionally danced by a group of ladies on ceremonious occasions, by the Orang Ulu people of Borneo. The Datun Julud was said to have been created by a Kenyah prince called Nyik Selung, to symbolise happiness and gratitude. A solo dancer, a barefooted woman, usually begins the dance, moving spontaneously with a fluid motion to emulate a hornbill in flight. Gracefully, gently, the dancer moves her arms, legs and torso, careful to keep her head erect and motionless so as to keep her earrings - heavy brass ornaments that dangle from elongated earlobes - from swaying too much. The dancer is usually dressed in a colourful sarong and an elaborate headdress, which is adorned with protruding tufts symbolising the deities. To represent the wings of the hornbill, she holds beautiful fans made out of the feathers of the sacred bird. After she is done, another woman takes her place, and this goes on until all the women in the longhouse have each taken their turn. On various occasions, the dance is performed by a group of up to four women. The Datun Julud is often accompanied by the beautiful sounds of the sape, a traditional lute peculiar to the Orang Ulu community or "upriver people" of central Borneo. Today, the Datun Julud has become a dance of formal entertainment that is often performed in the rumah panjang (longhouse) to greet visitors and tourists.

"Datun Julud" means "long dance" in Dayak Kenyah language, "Hivan Joh" in Kayan, and "Arang Kadang" in Kelabit. It is traditionally danced by a group of ladies on ceremonious occasions, by the Orang Ulu people of Borneo. The Datun Julud was said to have been created by a Kenyah prince called Nyik Selung, to symbolise happiness and gratitude. A solo dancer, a barefooted woman, usually begins the dance, moving spontaneously with a fluid motion to emulate a hornbill in flight. Gracefully, gently, the dancer moves her arms, legs and torso, careful to keep her head erect and motionless so as to keep her earrings - heavy brass ornaments that dangle from elongated earlobes - from swaying too much. The dancer is usually dressed in a colourful sarong and an elaborate headdress, which is adorned with protruding tufts symbolising the deities. To represent the wings of the hornbill, she holds beautiful fans made out of the feathers of the sacred bird. After she is done, another woman takes her place, and this goes on until all the women in the longhouse have each taken their turn. On various occasions, the dance is performed by a group of up to four women. The Datun Julud is often accompanied by the beautiful sounds of the sape, a traditional lute peculiar to the Orang Ulu community or "upriver people" of central Borneo. Today, the Datun Julud has become a dance of formal entertainment that is often performed in the rumah panjang (longhouse) to greet visitors and tourists.

Along the southern coast of Java, in places like Pareng Kusuma, Pelabuhan Ratu and Cilacap, some people still believe in Ratu Kidul and make offerings on special occasions. At least three times a year, large crowds converge at Pareng Kusuma to witness the larung ceremony in which three palanquins containing offerings including batik cloth worn by the Sultan are taken to the ocean in ceremonial procession and submerged. Annually on the eve of the Javanese New Year (called Sura) thousands gather on Pareng Kusuma beach, and some make flower offerings. On the anniversary of the King’s ascension to the throne, the sacred Bedoyo Ketawang Dance is peformed annually before the kings in Java and symbolises the meeting of the king with anjeng Ratu Kidul, who is believed to appear and mystically guide the dancers. The goddess is depicted as an exceptionally beautiful woman dressed in greenish cloth, residing on the ocean floor with her many servants. Out of respect for the goddess, wearing green is still considered taboo for visitors to the south coast of Java. Ratu Kidul is believed to be a spiritual being who provides guidance to leaders, while her servants may also inflict punishments in the form of natural disasters if leaders neglect to perform noble actions for the benefit and welfare of the people.

Along the southern coast of Java, in places like Pareng Kusuma, Pelabuhan Ratu and Cilacap, some people still believe in Ratu Kidul and make offerings on special occasions. At least three times a year, large crowds converge at Pareng Kusuma to witness the larung ceremony in which three palanquins containing offerings including batik cloth worn by the Sultan are taken to the ocean in ceremonial procession and submerged. Annually on the eve of the Javanese New Year (called Sura) thousands gather on Pareng Kusuma beach, and some make flower offerings. On the anniversary of the King’s ascension to the throne, the sacred Bedoyo Ketawang Dance is peformed annually before the kings in Java and symbolises the meeting of the king with anjeng Ratu Kidul, who is believed to appear and mystically guide the dancers. The goddess is depicted as an exceptionally beautiful woman dressed in greenish cloth, residing on the ocean floor with her many servants. Out of respect for the goddess, wearing green is still considered taboo for visitors to the south coast of Java. Ratu Kidul is believed to be a spiritual being who provides guidance to leaders, while her servants may also inflict punishments in the form of natural disasters if leaders neglect to perform noble actions for the benefit and welfare of the people.