Perlakuan Terhadap Orang Meninggal Dalam Tradisi Penguburan Masyarakat Desa Trunyan Bali

Total Page:16

File Type:pdf, Size:1020Kb

Perlakuan Terhadap Orang Meninggal Dalam Tradisi Penguburan Masyarakat Desa Trunyan Bali BAB III Tradisi Penguburan Masyarakat Trunyan Bali 3.1. Letak Geografi1 Desa Trunyan yang terletak di Kaki Bukit Abang sebelah timur, di Tepi Danau Batur yang sering disebut kawasan Bintang Danu, adalah salah satu desa dari 48 desa yang ada di kecamatan Kintamani, dengan latar belakang pegunungan yang terjal dan curam. Desa Trunyan merupakan daerah berbukit dan berlembah, secara geografis terletak di: 1. Sebelah Timur berbatasan dengan Kabupaten Karangasem 2. Sebelah Barat berbatasan dengan Danau Batur 3. Sebelah Utara berbatasan dengan Desa Songan 4. Sebelah Selatan berbatasan dengan Desa Abang Batudinding Desa Trunyan terletak disebelah timur Kota Kecamatan dengan jarak orbital ke ibukota kecamatan 20 Km, ke ibu kota kabupaten 35 Km, serta ke kota provinsi 70 Km. Trunyan yang merupakan daerah berbukit dengan kondisi masih cukup kritis, dengan tipe iklim 6 bulan musim hujan, dan 6 bulan musim kering dengan curah hujan 1, 860 mm/ tahun (Sumber BPS Kintamani). Luas wilayah Desa Trunyan 1963 Ha, dan secara administratif desa ini terbagi dalam Lima Banjar Dinas, yaitu: Banjar Dinas Trunyan, Banjar Dinas Madia, Banjar Dinas Bunut, Banjar Dinas Puseh, dan Banjar Dinas Mukus. 1 Data Desa Trunyan, diambil dari Gambaran Umum Desa dan Potensi Desa 27 Konon riwayatnya pada tahun Saka 833 (911 Masehi), Raja Singhamandawa mengizinkan penduduk Turunan (Trunyan) membangun kuil. Kuil berupa bangunan bertingkat tujuh ini merupakan tempat pemujaan Bhatara Da Tonta. Desa Trunyan merupakan desa Tua di Bali, yang masih memegang teguh warisan dan tradisi leluhur. Untuk menjangkau lokasi, ada dua akses yaitu yang pertama adalah lewat askes dengan menggunakan sarana angkutan penyeberangan perahu tempel dan dayung, dan dari darat. Dari dermaga Kedisan, perjalanan bisa ditempuh kira-kira 15 menit, sedangkan dari dermaga di Desa Trunyan perjalanan memakan waktu separuhnya atau sekitar 7 menit. 2 3.2. Sistim Sosial Masyarakat Trunyan 3.2.1 Keadaan Ekonomi. 3 Desa Trunyan masih sangat bercorak agraris yang menitik beratkan pada sektor pertanian. Hal ini didukung oleh penggunaan lahan pertanian yang masih mempunyai porsi terbesar sebanyak 100% dari total penggunaan lahan desa. Juga 80% mata pencaharian penduduk menggantungkan hidup pada sektor pertanian. Hasil komoditi sebagai andalan adalah hasil pertanian. Beberapa sektor ekonomi yang tergolong Economic Base dan menonjol di samping pertanian adalah peternakan dan perikanan. Pada sektor perdagangan sebagai penggerak ekonomi masyarakat fasilitas pasar yang ada yaitu pasar satu buah. Pada sektor jasa, yang menonjol adalah tumbuhnya lembaga/istitusi Keuangan Mikro berupa Koperasi LPD sebagai pendukung ekonomi 2 Hasil wawancara dengan Kepala Desa Trunyan 3 Data Desa tentang kondisi Desa trunyan 28 desa. Hal ini diharapkan akan membawa dampak positif dalam perkembangan ekonomi desa secara keseluruhan. 3.2.2. Keadaan Sosial Budaya dan Keagamaan.4 Jumlah penduduk Desa Trunyan berdasarkan hasil sensus pada tahun 2013 sebanyak 2.886 jiwa, terdiri dari 1.497 jiwa penduduk laki-laki dan 1.389 jiwa penduduk perempuan, yang terdiri dari 759 KK. Struktur penduduk menurut pendidikan menunjukkan kualitas sumber daya manusia yang dipunyai Desa Trunyan, yaitu Tidak Bersekolah 1.221 jiwa, SD sebanyak 1395 jiwa, SLTP sebanyak 137 jiwa, SLTA sebanyak 113 jiwa, Perguruan tinggi sebanyak 20 jiwa sedangkan yang berusia 16 tahun (usia di atas pendidikan dasar) yang belum pernah bersekolah 44,21 % sedangkan yang mengikuti pendidikan 48,1% dan sisanya 9,2% tidak bersekolah lagi baik pada tingkat lanjut dan perguruan tinggi. Potensi yang dimiliki Desa Trunyan pada umumnya dipergunakan dan dimanfaatkan untuk kepentingan seluruh masyarakat terkait dengan pelayanan dalam mewujudkan kesejahteraan masyarakat. Potensi khusus yang dimiliki oleh Desa Trunyan adalah sebagai objek pariwisata, Desa Trunyan memiliki objek wisata yang sangat unik dan menarik yang tidak dimiliki oleh daerah-daerah lain seperti kuburan yang unik, Pura/tempat ibadah serta wisata alam yang belum dikembangkan dan dikelola dengan baik. Desa Trunyan tidak mempunyai sistim kasta seperti pada masyarakat Bali pada umumnya atau Bali Besar, karena desa ini merupakan Desa Tua Bali atau sering disebut 4 Data Desa berdasarkan Hasil Sensus Tahun 2010 29 dengan Bali Tua. Kesejahteraan bersama menjadi tujuan masyarakat Trunyan, untuk ini kebersamaan, keramahan, serta menjaga dan memelihara segala warisan dari nenek moyang menjadi kewajiban dan bagian dari kehidupan masyarakat Desa Trunyan. Struktur penduduk menurut agama menunjukkan sebagian besar penduduk Desa Trunyan beragama Hindu (100%), sehingga kebudayaan Desa Trunyan tidak terlepas dan diwarnai oleh Agama Hindu dengan konsep “Tri Hita Karana”(hubungan yang selaras, seimbang, dan serasi antara manusia dengan Tuhannya, manusia dengan manusia dan manusia dengan lingkungan). Sebagaimana simbol-simbol dan upacara-upacara yang dilakukan penganut agama Hindu masyarakat Bali pada umumnya di Trunyan juga ada Pura, ada dewa-dewa yang dipercaya oleh masyarakat, serta ada upacara Ngaben bagi orang meninggal. 3.3. Sistim Kepercayaan Masyarakat Trunyan Religi orang Trunyan adalah suatu Variant, atau salah satu versi berbeda dari agama Hindu Bali, yang dapat disebut sebagai agama Hindu Bali Trunyan dan selanjutnya merupakan sebagian dari agama Hindu Dharma, yang telah diakui sebagai salah satu agama resmi di Indonesia. Agama Variant (versi berbeda) dari agama Hindu Bali, karena agama tersebut pada dasarnya masih lebih banyak berlandaskan kepada kepercayaan Trunyan asli. Kepercayaan Trunyan asli itu adalah kepercayaan yang berdasarkan kepada pemujaan Roh Leluhur (ancestor worship); yakin tentang adanya Roh lainnya di alam sekeliling tempat tinggalnya, sehingga perlu untuk dipuja (animisme); percaya bahwa benda-benda dan tumbuh-tumbuhan di sekelilingnya selain berjiwa dapat juga berperasaan seperti manusia (animatisme); dan percaya tentang 30 adanya kekuatan sakti pada segala hal atau benda yang luar biasa (dinamisme). Agama Hindu Trunyan berbeda dengan agama Hindu Bali karena, umatnya tidak merayakan upacara-upacara Hindu Bali yang terpenting seperti Galungan, Kuningan, Nyepi, Ciwaratri, Sarasawati, dan Pagarwesi, secara yang dilakukan oleh orang Bali Hindu, melainkan umat Hindu Trunyan merayakan upacara penting khas Trunyan sendiri atau tidak merayakannya sama sekali. Tapi ada upacara-upacara penting dalam masyarakat Trunyan yang wajib untuk dijalankan adalah upacara kelahiran, upacara perkawinan, dan upacara kematian.5 Sistim kepercayaan orang Trunyan adalah kepercayaan mengenai: (1) Dunia Gaib, (2) Dewa-Dewa, (3) Mahluk-mahluk halus, (4) Roh Pribadi dan Roh Leluhur, (5) Kekuatan sakti, (6) Kepercayaan mengenai penyakit dan kematian, (7) Kepercayaan mengenai hidup dan dunia setelah mati, dan (8) Kepercayaaan kesusastraan suci.6 1. Kepercayaan akan Dunia Gaib, Orang Trunyan sadar bahwa dunianya terdiri dari dua aspek, yaitu dunia nyata dan dunia yang tidak tampak. Dunia ini berada diluar panca inderanya dan di luar batas akalnya, dunia ini adalah dunia gaib. Dalam aspek dunia inilah terdapat berbagai mahluk halus dan kekuatan sakti, yang tidak dapat dikuasai manusia secara biasa. 2. Kepercayaan akan Dewa-Dewa. Jumlah dewa orang Trunyan banyak dan ada susunannya, sehingga merupakan suatu pantheon tersendiri. Kebanyakan dari mereka itu mempunyai tempat bersemayam tersendiri didalam kuil utama Trunyan, Bali desa Pancering Jagat Bali. Para dewa ini 5 Goris, R. Sifat Religius Masyarakat Trunyan, (Denpasar: Universitas Udayana Press,2012).20-25 6Ibid., 318-325. 31 sama dengan dewa dipulau Bali lainnya. Para dewa baru akan hadir jika ada upacara sedang dilakukan. 3. Kepercayaan akan Mahluk-mahluk halus. Selain para dewa, orang Trunyan juga meyakini bahwa di dunia gaib mereka berdiam mahluk-mahluk halus seperti Jin, buta kala, anak di peteng, dan binatang-binatang gaib. Jin adalah roh seorang wanita atau seorang pria, roh ini dibedakan dengan hantu karena asal-usulnya tidak diketahui. Dan bagi masyarakat mereka tidak berasal dari oraang Trunyan. Buta kala adalah Roh halus yang bukan berasal dari manusia kedudukannya lebih rendah dari dewa, jadi mereka berbeda dengan para dewa karena para dewa Trunyan tergolong pada mahluk gaib dari dunia atas, sedangkan buta kala tergolong pada makhluk dari dunia bawah. Dan jika dewa orang Trunyan berasal dari para leluhur maka buta kala bukan. Buta kala dikategorikan berbeda dengan para dewa karena buta kalah yang mempunyai sifat bermusuhan dengan manusia dan selalu mengganggu kehidupan manusia. Anak dipeteng adalah bagian dari Jin yang ada pada anak kecil atau roh anak kecil yang sering menampakkan dirinya pada batu atau setra Ngudah atau kuburan kedua yaitu kuburan bayi tempat pemakaman anak kecil. Binatang-binatang gaib, yang disebut Druwe yang dianggap sebagai piaraan para dewa, bintang-binatang ini seperti naga bersisik dan naga brejengger emas. 4. Kepercayan akan Roh Pribadi dan Roh Leluhur. Orang Trunyan membedakan antara badan kasar dan dunia halus, jika badan kasar dapat lenyap setelah orang yang memilikinya meninggal, maka badan halusnya atau rohya tidak. Roh manusia bagi masyarakat Trunyan adalah abadi dan roh tersebut 32 akan terus kembali menitis ketubuh kasar orang se- dadianya.7 Penitisan terus menerus suatu roh didalam suatu dadia dari generasi yang satu ke genarasi yang lain menyebabkan orang Trunyan tidak berani menyakiti anak dan keturunannya, karena takut anak dan keturunannya itu adalah titisan dari Roh leluhurnya. 5. Kepercayaan akan Kekuatan sakti. Orang Trunyan seeprti halnya
Recommended publications
  • Prosiding Seminar Nasional
    PROSIDING SEMINAR NASIONAL PEMAJUAN SENI RUPA DAN DESAIN UNTUK MEMBANGUN KEBUDAYAAN DAN PERADABAN YANG BERKEPRIBADIAN Ruang Vicom, Gedung Citta Kelangen Lt.2 Institut Seni Indonesia Denpasar Selasa, 4 September 2018 FAKULTAS SENI RUPA DAN DESAIN INSTITUT SENI INDONESIA DENPASAR 2018 PROSIDING SEMINAR NASIONAL! Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Denpasar Pemajuan Seni Rupa dan Desain!untuk Membangun Kebudayaan dan Peradaban yang Berkepribadian Ruang Vicom, Gedung Citta Kelangen Lt.2 Institut Seni Indonesia Denpasar Selasa, 4 September 2018 Reviewer : Dr. Drs. I Gede Mugi Raharja, M.Sn Dr. Drs. I Wayan Mudana, M.Par Ida Bagus Ketut Trinawindu, S.Sn., M.Erg Dr. I Nyoman Larry Julianto, S.Sn., M.Ds Tata letak dan desain : I Made Saryana, S.Sn., M.Sn Amoga Lelo Octaviano PENERBIT Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Denpasar Jalan Nusa Indah, Denpasar 80235, Bali Telp. 0361-227316 Fax. 0361- 236100 web. www.isi-dps.ac.id 8+342 halaman, 29.7 x 21 cm cetakan pertama: september 2018 Hak Cipta Dilindungi Undang-undang Copyright @2018 ISBN: 978-602-51033-8-4 KATA PENGANTAR Perkembangan bidang seni rupa dan desain Indonesia, dapat ditelusuri dari peninggalan purbakala berupa benda-benda yang tebuat dari batu, logam, tanah liat (gerabah dan terakota), manik-manik (asesoris) dan lukisan di gua-gua prasejarah. Setelah berkembangnya sistem pemerintahan kerajaan di Indonesia, kemudian dikenal aturan-aturan tentang penciptaan karya seni rupa dan desain, serta telah mempercepat lajunya perkembangan seni rupa dan desain pada masa Indonesia klasik. Masuknya pengaruh budaya kolonial, menyebabkan terjadinya perkembangan seni rupa dan desain modern di Indonesia.
    [Show full text]
  • Bali: So Many Faces--Short Stories and Other Literary Excerpts in Indonesian. INSTITUTION Western Sydney Univ., Macarthur (Australia)
    DOCUMENT RESUME ED 411 529 CS 215 987 AUTHOR Cork, Vern, Comp. TITLE Bali: So Many Faces--Short Stories and Other Literary Excerpts in Indonesian. INSTITUTION Western Sydney Univ., Macarthur (Australia). Language Acquisition Research Centre.; Australian National Languages and Literacy Inst., Deakin. ISBN ISBN-1-87560-40-7 PUB DATE 1996-00-00 NOTE 200p. PUB TYPE Collected Works General (020) Creative Works (030) LANGUAGE English, Indonesian EDRS PRICE MF01/PC08 Plus Postage. DESCRIPTORS Anthologies; *Audience Awareness; Cultural Background; *Cultural Context; Foreign Countries; *Indonesian; Literary Devices; Non Western Civilization; *Short Stories; *Social Change; Tourism IDENTIFIERS *Bali; *Balinese Literature; Indonesia ABSTRACT This collection of 25 short stories (in Indonesian) by Balinese writers aims to give Bali's writers a wider public. Some of the stories in the collection are distinctly and uniquely Balinese, while others are more universal in their approach and are self-contained. But according to the collection's foreword, in all of the stories, experiences of Bali are presented from the inside, from the other side of the hotels, tour buses, and restaurants of "tourist" Bali. The writers presented come from a range of backgrounds, reflecting the diversity cf Balinese society--different castes, differences between urban and rural baa4xiouncl.s, .and varieties of ethnicity are all important to the multiplicity of voices found in the collection. In addition, the collection draws from backgrounds of journalism, theater, cartoons, poetry, and academia, and from writers who may have been born in other parts of Indonesia but who have lived for decades in Bali and reflect Bali's inseparability from the Indonesian nation.
    [Show full text]
  • Women on the Margins : an Alternative to Kodrat?
    WOMEN ON THE MARGINS AN ALTERNATIVE TO KODRAT? by Heather M. Curnow Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy. University of Tasmania, Hobart School of Asian Languages and Studies October 2007 STATEMENTS OF OrtiONALITY / AUTHORITY TO ACCESS Declaration of otiginahtY: ibis thesis contains no material which has been acep ted for a degree or diploma by the University or any other institutions, except by way of hackground information and duly acknowledged in the thesis, and to the best of the candidate's knowledge and belief, no material previously published or written by another person, except- uthere due actabowledgement has been made in the text of the thesis. Statement of Authority of access: This thesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. ,C70 11leather Cuniow Date: A,5 hit tibigki ittool ABSTRACT: WOMEN ON THE MARGINS During New Order Indonesia (1966 — 1998) women's roles were officially defined by the Panca Darma Wanita (The Five Duties of Women). Based on traditional notions of womanhood, these duties were used by the Indonesian State to restrict women's activities to the private sphere, that is, the family and domesticity. Linked with the Five Duties was kodrat wanita (women's destiny), an unofficial code of conduct, loosely based on biological determinism. Kodrat wanita became a benchmark by which women were measured during this period, and to a large extent this code is still valid today. In this thesis, I have analyzed female characters in Indonesian literature with specific identities that are on the periphery of this dominant discourse.
    [Show full text]
  • Ideologi Kedok Muka Kala Pada Bangunan Suci Di Bali Telaah Tentang Ideologi-Religi
    Forum Arkeologi Volume 26, Nomor 1, April 2013 (52 - 62) IDEOLOGI KEDOK MUKA KALA PADA BANGUNAN SUCI DI BALI TELAAH TENTANG IDEOLOGI-RELIGI IDEOLOGY OF KEDOK MUKA KALA AT HOLY SHRINE IN BALI: AN ARCAEOLOGICAL-RELIGIOUS STUDY I Made Surada Pascasarjana IHDN Denpasar Jl. Kenyeri No: 57 Denpasar Email : [email protected] Naskah masuk : 16-02-2013 Naskah setelah perbaikan : 04-03-2013 Naskah disetujui untuk dimuat : 08-04-2013 Abstract Religion is a part of the culture systems that can explain the things that humans do not understand, to find serenity in order to face things out of reach. So that, it is necessary to do research on the religious of the past and its continuation until now mainly on the kedok muka kala (face mask decoration) which probably a continued tradition from the creepy face mask decoration of sarcophagus ornaments. The problems to be discussed in this study is the ideology of kedok muka kala. There are two theories used in this study namely religious theory which relates to rites and ceremonial equipment and theory of symbol which elaborate that symbol is a media of communication and dialogue between man and beyond. Based on the analysis it can be seen that kala is energy of the universe, the laws of nature with regard to good and evil, space and time, as well as a means of solving problems with ruwatan tradition and balancing the universe so that natural well-being and everything in it can be created. Keywords: kala, religion, Panca Mahabhuta Abstrak Religi bagian dari sistem budaya yang dapat menerangkan hal-hal yang tidak dipahami manusia, sehingga mendapat ketenangan untuk menghadapi hal-hal di luar jangkauan.
    [Show full text]
  • Packaged for Export 21 February 1984 R Peter Bird Martin Institute of Current World Affairs Whee Lock House 4 West Wheelock Street Hanover NH 08755
    INSTITUTE OF CURRENT WORLD AFFAIRS BEB-24 28892 Top of the World Laguna Beach CA 92651 Packaged For Export 21 February 1984 r Peter Bird Martin Institute of Current World Affairs Whee lock House 4 West Wheelock Street Hanover NH 08755 Dear Peter In 1597, eighty-seven years after the Spice Islands were discovered by the Portugese, Dutch ships under the command of Cornelius Houtman dropped anchor near the island of Bali. So warm was the welcome from the local ruler, so abundant the hospitality of the local populace, that many of Houtman's crew refused to leave; it took him two years to round up enough crewmen to sail back to Holland. It took almost another three and a half centuries fo. the rest of the world to make good Houtman's discovery. Today, a bare fifty years since the word got out, Bali suffers from an annual tourist invasion so immense, so rapacious, it threatens the island's traditional culture With complete suffocation. Today, tourist arrivals total around 850,000. By 1986 the numbers are expected to. top 750,000. Not lon afterwards, the Balinese will be playing host to almest a million tourists a year. This on an island of only 5,682 square kilometers" (2,095square miles) with a resident populat$on of almost three million. As Houtman and others found out,_ Bali is unique. I the fifteenth century before the first known Western contact, Bali had been the on-aain, off-again vassal of eastern lava's Majapahit empire. By the sixteenth century, however, Majapahit was decaying and finally fell under the advanci.ng scourge of Islam.
    [Show full text]
  • The Gods & the Forge
    ificah International Foundation of Indonesian Culture and Asian Heritage The Gods & the Forge Balinese Ceremonial Blades The Gods & the Forge in a Cultural Context This publication is the companion volume for the exhibition of the same name at the IFICAH Museum of Asian Culture in Hollenstedt-Wohlesbostel, Germany December 2015 to October 2016. Title number IFICAH V01E © IFICAH, International Foundation of Indonesian Culture and Asian Heritage Text: Dr. Achim Weihrauch, Efringen-Kirchen, Germany Dr. Udo Kloubert, Erkrath, Germany Adni Aljunied, Singapore Photography: Günther Heckmann, Hollenstedt, Germany Printing: Digital Repro Druck GmbH, Ostfildern, Germany Layout: S&K Kommunikation, Osnabrück, Germany Editing: Kerstin Thierschmidt, Düsseldorf, Germany Image editing: Concept 33, Ostfildern, Germany Exhibition design: IFICAH Display cases: Glaserei Ahlgrim, Zeven, Germany "Tradition is not holding onto the ashes, Metallbau Stamer, Grauen, Germany Conservation care: but the passing on of the flame." Daniela Heckmann, Hollenstedt, Germany Thomas Moore (1477–1535) Translation: Comlogos, Fellbach, Germany 04 05 Foreword Summer 2015. Ketut, a native of Bali, picks me Years earlier, the fishermen had sold the land up on an ancient motorcycle. With our feet bordering the beach to Western estate agents, clad in nothing more resilient than sandals, we which meant however that they can now no ride along streets barely worthy of the name longer access the sea with their boats ... to the hinterland. We meet people from dif- ferent generations who live in impoverished It is precisely these experiences that underline conditions by western standards and who wel- the urgency of the work carried out by IFICAH – come the "giants from the West" with typi- International Foundation of Indonesian Culture cal Balinese warmth.
    [Show full text]
  • A Comparative Study of Japanese and Indonesian Folklores *
    Southeast Asian Studies, Vol. 33, No.3, December 1995 A Comparative Study of Japanese and Indonesian Folklores James DANANDJAJA * The History of Folklore Research in Japan and Indonesia As in Indonesia, folklore has long been collected and studied by Japanese scholars, especially those in the humanities. The difference is that, in .Japan. folklore was from the outset collected by the Japanese themselves, while in Indonesia it was mostly collected by European scholars, especially Dutch, in the initial stage. While, beginning in 1910, and particularly since 1930, Japanese folklore materials were collected by Japanese folklorists, in Indonesia such was not the case, since folklore materials were collected by scholars in other disciplines, such as philologists, musicologists, cultural anthropologists, theologists (Catholics as well as Protestant), Dutch civil servants etc. [Danandjaja 1994b: 9-10J. According to Ronald A. Morse, folklore in Japan began to be recorded in 1910 by folklorists or folklore lovers. and by 1930 folklore had become a discipline in its own right, since when it has grown into an independent and mature discipline [Morse 1990: xvJ. Officially the first folklore in Japan was collected in 1910, in which year Yanagita Kunio collected and published the first book of folklore, entitled Tono Monogatari (The Legend of Tono), a literal work that is now considered to be a classic [Zoe. cit.J. The year 1930 was also important, because it was then that folklore in Japan become a separate discipline, and folklore study was intensified. In that period there were three groups of folklorists in Japan. The first group led by Yanagita Kunio, emphasized the expressive aspect of folklore and tried to reconstruct the history of folk ideas.
    [Show full text]
  • Sample File Sample File
    Sample file Sample file “Whoever fights monsters should see to it that in the process he does not become a monster. And if you gaze long enough into an abyss, the abyss will gaze back into you.” Friedrich Nietzsche 1 ATLANTIS: The Second Age Theragraphica Contents ELysIum 34 GondwAnA 60 What Is This Book? 4 Elang Laut 35 Anteater, Giant 61 Adversaries 5 Ngendi 36 Basilisk 61 Attributes 5 Ngurai 37 Bennu Birds 62 Skill Ratings For Creatures 5 Pua Tu Tahi 37 Dan Ida Hwedo 62 Ability Levels During Combat 5 Tiki Toniwha 38 Egun Gun 63 Tinirau 38 Eloko 64 Tipua 39 Golems 65 ALBA And IBER 6 Uhinipili 39 Gorgosian Hag 66 Albish Ogre 7 Grootslang 67 Bánánach 8 RIA Impundulu 68 Boggart 9 E 40 Binesi 41 Inkanyamba 68 Caorthannach 9 Kishi 69 Carraig Fuileachdach 10 Bishagishkah 42 Jeebay 43 Kongamato 69 The Dullahan 11 Ninki Nanka 70 Fearbeag 12 Manidoon 44 Mikinahk 45 Rompo 70 Phouka 12 Sasabonsam 71 Sluagh 13 Naaldlooshi 46 Uhkten 47 Silver Ants 71 Tapper 14 Termites, Giant 72 Wickerman 15 War Bison 48 Wihmbahg 48 Tikoloshe 72 Windigo 49 Umdhlebi 73 Anostos 16 Worm Wood 50 Winged White Ape 73 Ash Wraith 17 Conquering Worms 51 Bas’lok 17 HEspERIA 74 Blydvine 18 uRopA Chimera 75 Brass Horror 19 E 52 Adoniat 53 Cyclopes 76 Fomorian 20 Hydra 76 Huldufolk 21 Alkonost 54 Black Hound 54 Lamia 77 Mythsiger 22 Nymph 77 The Uln 23 Boar Rat 55 Boddenman 55 Satyr 78 CroidubhSample The Deathless, file Nightmare Stymphalian 79 AtlantIs 24 Lord 56 Apata Ori 25 Isari 57 JAmBu 80 Bronze Sentinels 26 Lavalu 57 Berbalang 81 Crypt Keepers 27 Longana 58 Diwata 82 Diomekses
    [Show full text]
  • Encyclopedia of Vampire Mythology This Page Intentionally Left Blank Encyclopedia of Vampire Mythology
    Encyclopedia of Vampire Mythology This page intentionally left blank Encyclopedia of Vampire Mythology THERESA BANE McFarland & Company, Inc., Publishers Jefferson, North Carolina, and London LIBRARY OF CONGRESS CATALOGUING-IN-PUBLICATION DATA Bane, Theresa, ¡969– Encyclopedia of vampire mythology / Theresa Bane. p. cm. Includes bibliographical references and index. ISBN 978-0-7864-4452-6 illustrated case binding : 50# alkaline paper ¡. Vampires—Encyclopedias. I. Title. GR830.V3B34 2010 398.21'003—dc22 2010015576 British Library cataloguing data are available ©2010 Theresa Bane. All rights reserved No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying or recording, or by any information storage and retrieval system, without permission in writing from the publisher. Cover illustration by Joseph Maclise, from his Surgical Anatomy, 1859 Manufactured in the United States of America McFarland & Company, Inc., Publishers Box 6¡¡, Je›erson, North Carolina 28640 www.mcfarlandpub.com To my father, Amedeo C. Falcone, Noli nothi permittere te terere. This page intentionally left blank Table of Contents Preface 1 Introduction 7 THE ENCYCLOPEDIA 13 Bibliography 155 Index 183 vii This page intentionally left blank Preface I am a vampirologist—a mythologist who specializes in cross- cultural vampire studies. There are many people who claim to be experts on vampire lore and legend who will say that they know all about Vlad Tepes and Count Dracula or that they can name several different types of vampiric species. I can do that, too, but that is not how I came to be a known vam- pirologist. Knowing the “who, what and where” is one thing, but knowing and more impor- tantly understanding the “why” is another.
    [Show full text]
  • Intersection of Asian Supernatural Beings in Asian Folk Literature: a Pan-Asian Identity
    The Asian Conference on Asian Studies 2013 Official Conference Proceedings Osaka, Japan Intersection of Asian Supernatural Beings in Asian Folk Literature: A Pan-Asian Identity Ronel Laranjo*1, Kristina Martinez-Erbite*2, Zarina Joy Santos*2 *1Korea University, Korea, *2University of the Philippines, Philippines 0102 The Asian Conference on Asian Studies 2013 Official Conference Proceedings 2013 iafor The International Academic Forum www.iafor.org 15 The Asian Conference on Asian Studies 2013 Official Conference Proceedings Osaka, Japan INTRODUCTION Asian nations have a rich cultural and literary tradition, through these; we can see the common features that bind these nations. This commonality can be considered as the Pan- Asian identity. Folklore, as being mirrored in folk literature, is a rich source of a community's cultural values. Jansen notes that the other significance of folklore is that it provides a group's image of itself and images of other groups (Dundes, 1965). In the era of globalization, folklore serves its function in literary and cultural realm. This study focuses on the cross-cultural intersections of Southeast Asian nations' folk literature in terms of names and descriptions of supernatural beings, and their functions in the society. The study will examine the commonality of terms and description of supernatural beings found in the narratives of folk literature (myths, legends, folktales and epics) of six nations (Cambodia, Indonesia, Laos, Malaysia, Philippines, and Thailand). The countries stated above will be collectively called as Pan-Asia in this paper. According to Foucault (1973), the study of space also known as heterotopia provides an avenue to describe places and spaces that function in non-hegemonic conditions.
    [Show full text]
  • Deconstructing Gender Stereotypes in Leak
    Jurnal Komunitas 7 (1) (2015): 71-78. DOI: 10.15294/komunitas.v7i1.3597 ResearchJURNAL & Learning inKOMUNITAS Sociology and Anthropology http://journal.unnes.ac.id/nju/index.php/komunitas Deconstructing Gender Stereotypes in Leak Nengah Bawa Atmadja1, Luh Putu Sendratari2, I Wayan Rai3 1,2Sociology Education Major, Faculty of Social Science, Undiksha, Indonesia 3Sport, Health, and Recreation Education Major, Faculty of Sport and Health, Undiksha, Indonesia Permalink/DOI: http://dx.doi.org/10.15294/komunitas.v7i1.3597 Received : January 2015; Accepted: February 2015; Published: March 2015 Abstract The belief of Balinese people towards leak still survive. Leak is a magic based on durgaism that can transform a person from human to another form, such as apes, pigs, etc. People tend to regard leak as evil. In general, the evilness is constructed in gender stereotypes, so it is identified that leak are always women. This idea is a power game based on the ideology of patriarchy that provides legitimacy for men to dominate women with a plea for social harmony. As a result, women are marginalized in the Balinese society. Women should be aware of so it would provide encouragement for them to make emancipatory changes dialogically. Abstrak Kepercayaan orang Bali terhadap leak tetap bertahan sampai saat ini. Leak adalah sihir yang berbasiskan durgaisme yang dapat mengakibatkan seseorang bisa merubah bentuk dari manusia ke wujud yang lain, misalnya kera, babi, dll. Leak termasuk magi hitam sehingga dinilai bersifat jelek. Pada umumnya perempuan diidentikkan dengan leak sehingga melahirkan asumsi yang bermuatan steriotip gender bahwa leak = perempuan. Gagasan ini merupakan permainan kekuasaan berbasis ideologi patriarkhi dan sekaligus memberikan legitimasi bagi laki-laki untuk menguasai perempuan dengan dalih demi keharmonisan sosial.
    [Show full text]
  • Lists for Dragon Rampant
    Lists for Dragon Rampant Steve Holmes Contents Introduction ............................................................................................................................................ 2 Japanese Yokai ........................................................................................................................................ 3 Sengoku Japanese ................................................................................................................................... 4 Ming China .............................................................................................................................................. 5 Indonesian or Malay ............................................................................................................................... 6 Mughal .................................................................................................................................................... 7 Rajput ...................................................................................................................................................... 8 Southern Hindu Indian ............................................................................................................................ 9 Indian Legendary Elements ................................................................................................................... 10 Ottoman Expansion .............................................................................................................................
    [Show full text]