“Along the Rivers of Central Kalimantan: Cultural Heritage of the Ngaju and Ot Danum Dayak” by Arnoud H. Klokke

Mangkuhong (Sugai Miri) This boy carries in either hand a dried pumpkin (bango) with a handle. He is standing on a raft in the river. In the hard shell, left over after drying the pumpkin, a hole is made on either side of the handle and through thes… — Mangkuhong (Sugai Miri)
This boy carries in either hand a dried pumpkin (bango) with a handle. He is standing on a raft in the river. In the hard shell, left over after drying the pumpkin, a hole is made on either side of the handle and through these holes he can draw water from the river to bring home. The boy still uses a loincloth for his daily work; in fact, even in the uplands at the time of our visit, this is very old fashioned attire.

ALONG THE RIVERS OF CENTRAL KALIMANTAN

Cultural Heritage of the Ngaju
and Ot Danum Dayak

by Arnoud H. Klokke

Along the Rivers of Central Kalimantan.jpg

Dr. Arnoud H. Klokke

Published by C. Zwartenkot Art Books and Museum Volkenkunde | 2012.

All original photographs: © Dr. Arnoud H. Klokke

As a Protestant missionary doctor employed by the Indonesian Government in Central Kalimantan in the early 1950s, Arnoud H. Klokke traveled far up the great rivers, visiting villages of the Ngaju and Ot Danum peoples.

There he made photographs of the exceptional cultural heritage of these Dayak groups. This book presents a selection of Klokke’s fascinating photographs.

Tumbang Juto This ritual specialist, called tukang hanteran, offiates at the ceremony magah liau which guides the dead person to the afterworld. He is dressed in a waistcoat (baju sangkarut) upon which are stitched round buttons originating from the… — Tumbang Juto
This ritual specialist, called tukang hanteran, offiates at the ceremony magah liau which guides the dead person to the afterworld. He is dressed in a waistcoat (baju sangkarut) upon which are stitched round buttons originating from the base of the shell of a great watersnail (balusoh). Around his waist he wears a magic charm with crocodile teeth (tali penjang). He carries a double-edged sword (dohong) in his left hand. His head is covered by a plaited headpiece (sampulau anggang) adorned with feathers of the hornbill (tingang).

Tumbang Malahoi Dayak extended-family houses, equivalent to longhouses in other parts of Kalimantan, are rare in the Kapuas region of Central Kalimantan. By the second extended-family house in Tumbang Malahoi, shown here, many hampatong statues are … — Tumbang Malahoi
Dayak extended-family houses, equivalent to longhouses in other parts of Kalimantan, are rare in the Kapuas region of Central Kalimantan. By the second extended-family house in Tumbang Malahoi, shown here, many hampatong statues are seen to the left and right of the sandong. Suspended to the left of the entrance of the house is a sacrificial basket (ancak), usually used for invocations in case of illness.

Tumbang Mahoroi (Kahayan Hulu) This is the village residence of the famous head of customary law (damang), A. Pidjar Dohong. In this picture his younger brother is seen in traditional attire. He wears a loincloth (ewah) around his waist and uses a b… — Tumbang Mahoroi (Kahayan Hulu)
This is the village residence of the famous head of customary law (damang), A. Pidjar Dohong. In this picture his younger brother is seen in traditional attire. He wears a loincloth (ewah) around his waist and uses a belt, from which crocodile teeth (penjang), used as magic charms, are hung. A sword (mandau) hangs at his side, and his hand holds the shaft of a spear (lunju). He is barefooted, as befitting his traditional attire. He was a skilled sculptor of hilts for the traditional sword, made from the antlers of a deer.

Tumbang Malahoi Hampatong statues erected alongside the village road. The image of a woman carrying a betel nut set is a favorite subject. — Tumbang Malahoi
Hampatong statues erected alongside the village road. The image of a woman carrying a betel nut set is a favorite subject.

Pilang Brass bowl (sangko) filled with rice, on top of which a coconut has been placed whose shell is pierced by an iron bar with two curved side-pieces (tanduh), resembling the rawayang, an iron bar with flukes used for fishing. Behind the brass bo… — Pilang
Brass bowl (sangko) filled with rice, on top of which a coconut has been placed whose shell is pierced by an iron bar with two curved side-pieces (tanduh), resembling the rawayang, an iron bar with flukes used for fishing. Behind the brass bowl the stem of a sawang plant is visible. This arrangement is used for invocations for prosperity.

Tangkiling An offering-house (kramat) in which rice, food, tobacco and coins are placed for Sangumang, the powerful and most frequently invoked spirit (sangiang). — Tangkiling
An offering-house (kramat) in which rice, food, tobacco and coins are placed for Sangumang, the powerful and most frequently invoked spirit (sangiang).

Mangkuhong (Sugai Miri) This boy carries in either hand a dried pumpkin (bango) with a handle. He is standing on a raft in the river. In the hard shell, left over after drying the pumpkin, a hole is made on either side of the handle and through thes… — Mangkuhong (Sugai Miri)
This boy carries in either hand a dried pumpkin (bango) with a handle. He is standing on a raft in the river. In the hard shell, left over after drying the pumpkin, a hole is made on either side of the handle and through these holes he can draw water from the river to bring home. The boy still uses a loincloth for his daily work; in fact, even in the uplands at the time of our visit, this is very old fashioned attire.

Sungai Mandaun From this tributary of the Kapuas river, the Bukit Manjarung, the pointed mountain, is clearly visible. A footpath runs along here that leads to Puruk Cahu on the upper Barito riber that flows down southwards, to the east of the Kapua… — Sungai Mandaun
From this tributary of the Kapuas river, the Bukit Manjarung, the pointed mountain, is clearly visible. A footpath runs along here that leads to Puruk Cahu on the upper Barito riber that flows down southwards, to the east of the Kapuas river.

Batu Ngiwu Close-up views of an animal hampatong at the entrance to the village. — Batu Ngiwu
Close-up views of an animal hampatong at the entrance to the village.

Batu Ngiwu A house built in the characteristic style of the uplands: high posts taller than usual, the walls made of lengths of tree bark, the stairway (hejan) into the house a flattened tree-trunk carved with steps at regular intervals, divided hal… — Batu Ngiwu
A house built in the characteristic style of the uplands: high posts taller than usual, the walls made of lengths of tree bark, the stairway (hejan) into the house a flattened tree-trunk carved with steps at regular intervals, divided half way up by a platform: a hampatong statue stands upright at ground level on either side of the stairway. In the surroundings of this house are a number of other hampatong figures.

Tumbang Malahoi The extended-family house with a sandong, in front of which a sanggaran is erected. The sanggaran is a structure consisting of a long wooden pole that pierces an earthenware pot (blanga; Indonesian tempayan) and eight vertically-plac… — Tumbang Malahoi
The extended-family house with a sandong, in front of which a sanggaran is erected. The sanggaran is a structure consisting of a long wooden pole that pierces an earthenware pot (blanga; Indonesian tempayan) and eight vertically-placed “spears” crossed horizontally by a snake that symbolizes the underworld of the goddess Jata. The top of the pole is crowned by a bird, the hornbill (tingang) that symbolizes the upperworld of the god Mahatara. According to the Swiss missionary and ethnologist Hans Schärer (1963), this ia a representation of the Total Deity.

Kuala Kuron Long streamlined sandong on two posts. On the foremost post, at the top, is a frightening mask with long protruding tongue and white eyeballs. Underneath is a relief carving of an iguana (bajawak). — Kuala Kuron
Long streamlined sandong on two posts. On the foremost post, at the top, is a frightening mask with long protruding tongue and white eyeballs. Underneath is a relief carving of an iguana (bajawak).

Tumbang Korik (Sungai Hamputung) Hampatong statues carved in the shape of animals. Images of animals as hampatong form an exception among the more numerous hampatong depicting human effigies. — Tumbang Korik (Sungai Hamputung)
Hampatong statues carved in the shape of animals. Images of animals as hampatong form an exception among the more numerous hampatong depicting human effigies.

Tumbang Malahoi A village scene. The man carries a plaited basket (rambat) on his back. This basket is old, as indicated by the frayed edge. It reaches only to the lower end of his shoulder blade. It is not known what the contents of the basket are.… — Tumbang Malahoi
A village scene. The man carries a plaited basket (rambat) on his back. This basket is old, as indicated by the frayed edge. It reaches only to the lower end of his shoulder blade. It is not known what the contents of the basket are. It is rare for a man to wear a headcloth; usually they use plaited headwear (tanggoi).

Pangkoh Sandong built on four posts. Little hampatong figures decorate the fenced-in gallery constructed around the wooden coffin. — Pangkoh
Sandong built on four posts. Little hampatong figures decorate the fenced-in gallery constructed around the wooden coffin.

Lawang Oru House on the riverside with a foot plank to the landing stage for a prau. Two poles have been erected with a line between them, from which, towards the left, a sacrificial basket (ancak) is hanging, making it likely that in this house the… — Lawang Oru
House on the riverside with a foot plank to the landing stage for a prau. Two poles have been erected with a line between them, from which, towards the left, a sacrificial basket (ancak) is hanging, making it likely that in this house there is a patient for whose cure sacrifices are being offered.

Tumbang Tukun Indu Kuwik, the balian or priestess of the village, holding a drum (katambong). With this drum she accompanies the sacral songs during religious festivities. Displayed in front of her is he collection of utensils that she needs for her… — Tumbang Tukun
Indu Kuwik, the balian or priestess of the village, holding a drum (katambong). With this drum she accompanies the sacral songs during religious festivities. Displayed in front of her is he collection of utensils that she needs for her magical activities.

Disclaimer: This is not a sponsored post. Art of the Ancestors does not receive a commission should any of our readers purchase the aforementioned book. Art of the Ancestors is a strictly non-commercial educational platform and has no vested interest in the professional activities of the author listed above.

News 4Editorial TeamApril 15, 2020Art of the Ancestors, Steven G. Alpert, Asian Art, Island Southeast Asian Art, Oceanic Art, Asiatica, Ethnographica, Ethnographic Art, Art Collection, Fine Art, Primitive Art, Indonesian Art, Tribal Art, Eyes of the Ancestors, Dr. Reimar Schefold, Thread and Fire, Linda McIntosh