1. INDIKA ENERGY 2012 | Corporate


    from Cundra Setiabudhi / Added

    1,507 Plays / / 4 Comments

    Narrator: Melanie Haynes
 Script: Idham B. Setiadi
 Director: Cundra Setiabudhi Production Crew: Alan Purwa, Saripah, Wawan Priono, Deden, Dedi Gayo Camera: Rofi'i, Ferry Rusli, Ludi Idwan Timelapse: Sony Seniawan, Jambul 
Offline: Luqman Thalib, Busyra Abie Online: Cundra Setiabudhi
 Graphics: Teguh Tejo Raharjo, Firman Sasongko Audio: Jimmy Mumuh
 Producer: Satriawan Bagus Music: AudioNetwork.com - Cheetah - Lincoln Grounds / Michael Pearse - Urgent Situation - Igor Dvorkin / Duncan Pittock - Spectroscope - Terry Devine-King - Underbelly - Barrie Gledden / Kes Loy - Bleepy Monkey - Kevin Browne - Chorale - Chris Blackwell

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    • Gugu Tahun Dayak Benuaq


      from agusmakkie / Added

      3,641 Plays / / 6 Comments

      Ceremony "Gugu Tahun" is an annual agenda for the Benuaq society that is usually carried out at the end of the year. Meaning contained in this ceremony is to send prayers and offerings to the ancestors and their ancestors for a special community Benuaq who lives in the village of new spontaneous healing and pain can be kept away from harm and given the long life of prosperity in the world. The ceremony is usually carried out or started from at 20.00 pm until the dawn or morning. 2 or 3 days before D-day society has prepared a wide range of needs and requirements that will be used for the ceremony. In addition to temporary longhouses made of wooden walls and thatched palm leaves (pandan leaves a lot of kind of grew up around the river Mahakam), large tents, the kitchen will prepare food for 300-400 people, all the knacks that are made from coconut palm, rice, glutinous, 7 large live pigs, chickens dozens of village life, a set of gamelan and drums, a long cloth of red and yellow langit2 decorate the house, fruits, the rice paddies and fields and offering 1 x 2m table which is made from bamboo and placed in the middle of the house. A crowd gathered around and play gamelan music accompaniment and drums beat fast with the Benuaq typical for 15 minutes, a new spontaneous village chiefs Osik Baron gave a speech that essentially to keep preserve native customs and culture of their ancestors in order to stay there or not extinct, and there are always consulted if deemed important matters (deaths, births, marriages, etc.). Chiefs also said issues related to today's ceremony that ban carrying weapons, drunk, making a scene, criminal in nature and will provide a very large penalty for the offender to a fine animals or pigs or money to reach millions of dollars. Do not forget to thank him for the citizens who had been present at this ceremony and introduced the evening's leader or handler to come from the village of Pondok Labu, about 2 hour road trip. The event was started by the handler who was accompanied by his assistant 3 male and 1 female parents with costume wearing a white skirt worn as often used (if spinning skirt will expand), which in bids garnished without wearing colorful clothes and leaf bracelet and headband of woven coconut powder. The face given flour or called Tinak Torup which means prosperity for society as a carrier of the Benuaq. For women to dress like a woman carrying your seller java bun wearing kebaya, but not only from the leaf headband, bracelet of coconut and was given the flour powder on the face is uneven. The handler reads the prayer or mantra or a spell called crate followed by his assistant who prepared some sajen or offering prepared to put around the table offering consisting of several rectangular containers made from coconut bowl of meatballs that were given a small lamp / candle and 1 chicken fried. At ancient offerings handler for the event Gugu year using a human head. Along with the completion of meter reading by the handler's music began to play the beat faster and the handler and his assistants began to shake her body and rotate in every corner of her mouth looks moving from the handler. The sooner the handler's body shake and gathered in front of an offering table, the handler takes a kind of yellow cloth with worn and rolled into rope-like or who later called Ulap wakku this rope worn around the patient's / patient to be treated. After completion of the process dimension to ulap wakku the handler began to dance around turn 360 degrees with a footstool so quickly that he was wearing fluffy skirts followed his assistants are on call Sentui Belian dance, this dance continues with a pause of 5 minutes and they wonder do not feel dizzy at all and this is done during 1 hour around the entire length of the house until the handler's body was possessed by ancestral spirits. After the handler in the unconscious by the assistants, handlers started taking ulap wakku and began calling one by one patient to be cured. Way of healing for the sick or just worn ulap pasian wakku and in spells and prayers read out meter is only about 1 or 2 minutes for a mild illness but can be 5 minutes more for patients who have severe disease. After all patients had received treatment, the handler immediately end the show that night with a meter reading without mantra and prayer followed by the strains of music and the silence was loud signing about the event has finished. The handler is called sweat chiefs spoke for a moment and continued with a little joke indicates the event was successful and uneventful, followed by cutting pork and chicken to eat the whole village together a new spontaneous. The handler is asked to splashes pig blood in the room throughout the house building as a sign that ancestral spirits come to see the ceremony tonight and hopefully the patient is given relief or healed and all citizens are given a new spontaneous live in a world of prosperity. Thanks to all my friends, crews and people who help us to make this happen in Jakarta and East Borneo.

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      • The forbidden forest of the Dayak - Borneo, Indonesia


        from UNUChannel / Added

        2,623 Plays / / 1 Comment

        Deep in the remaining old growth forests of Borneo, the Setulang Dayak village guards its forest with deep commitment. To date, the village's traditional law of Tana Olen (forbidden forest), withstands increasing pressure from encroaching logging industries. Now as rapid development rolls in, the village is trying to secure sustainable and forest-friendly future, including a eco-tourism venture and carbon credits. Featuring Pah Kole Adjung Co-director/Camera/Editor: Luis Patron Co-director/Producer/Editor: Citt Williams Associate Producers: Setulang Village Forest Management Board Graphics: David Jimenez Sound Mixer: Tfer Newsome Shot on location in East Kalimantan, Borneo, Indonesia Duration 9:05 minutes Developed and produced for United Nations University (UNU) by UNU Media Studio & Setulang Village Forest Management Board, in association with UNU-IAS Traditional knowledge Initiative and The Christensen Fund. Further information for this film can be found at film’s website: http://ourworld.unu.edu/en/forbidden-forest-of-the-dayak/ United Nations University has published this work under a Creative Commons license - share alike, attribution, no derivatives, non-commercial *About this Project* Collaboratively made with Indigenous storytellers, these videobriefs are told in local languages, respect Intellectual Property rights and provide storytellers with media training, resources and a fair media engagement model for future projects. The final videos played alongside other international climate change videos at a locally coordinated forum event, in April 2009’s Indigenous Peoples Climate Change Summit and later at a special screening at the National Museum of Denmark during the Copenhagen COP15 meeting. *About the filmmakers* Luis Patron- Co-director/Camera/Editor Luis Patron works as an independent documentary filmmaker, producer, HD cinematographer and editor. He teams up with talented local professionals in Japan and around the world to craft factual films for cinema and television. Citt Williams- Co-director/Producer/Editor Citt is a documentary filmmaker at the UNU Media Studio with over 12 years producing experience in broadcast media. Citt’s produced documentary films have been screened at festivals including Cannes (Yellow Fella), Sundance, Mumbai, Melbourne and by broadcasters including the Australian Broadcasting Corporation, Discovery and National Geographic. She has a Masters degree in documentary from the Australian Film Television and Radio School (Sydney) and a Business degree in Film and TV Production from QUT (Brisbane). Within UNU, her unit “Media Studio” (MS) has grounded expertise in online learning, interactive media and video production and in linking development issues with visual media and online content on social and environmental issues. Her role in the UNU-IAS Traditional Knowledge Initiative seeks to build greater understanding and facilitate awareness of traditional knowledge (TK) to inform action by Indigenous peoples, local communities and domestic and international policy makers. Key outputs include research activities, policy studies, capacity development and online learning and dissemination. Setulang Village Forest Management Board The village of Setulang in the Malinau District of Kalimantan is exceptionally committed to conserving their forest. There are, however, tenure disputes between Setulang and neighbouring villages who have brokered deals with logging companies. Yet, Setulang's commitment has piqued the conservation interests of neighbouring villages. Setulang is interested in marshalling support for the continued conservation of the Setulang forest area. General goals and specific objectives: (1) implementing conservation activities in the Setulang forest area and (2) working with neighbouring villages to resolve tenure disputes the area of conserved forest and better ensure its integrity, sustainability and management. IUCN projects have provided support to three villages for forest custodianship conflict-resolution, training in livelihood options for the benefit of forest conservation, and help local villagers to communicate with local government over forest management. United Nations University Media Studio The UNU Media Studio was established in March 2003 and works in collaboration with a global network of partners to develop and share open educational resources. Through a small team based in Tokyo, the UNU promotes innovation in the building of interactive content and video documentaries that engage, entertain and educate. The core creative team is comprised of specialists in web and graphic design, documentary and multimedia production, as well as educational technology and instructional design. In developing projects, this team collaborates with subject matter experts from within the UNU, from other UN bodies and from partner universities. The UNU Media Studio also collaborates with independent professionals in the area of documentary production, web application development, web design and instructional design. mediastudio.unu.edu United Nations University Institute of Advanced Studies - Traditional Knowledge Inititaive The UNU-IAS Traditional Knowledge Initiative seeks to build greater understanding and facilitate awareness of traditional knowledge (TK) to inform action by indigenous peoples, local communities and domestic and international policy makers. Key outputs include research activities, policy studies, capacity development and online learning and dissemination. unutki.org For more information: Our World 2.0 ourworld.unu.edu and UNU IAS-TKI unutki.org See related article at Our World 2.0: http://ourworld.unu.edu/en/forbidden-forest-of-the-dayak/ Also: unutki.org/news.php?news_id=51&doc_id=7 A high resolution version of this video, and additional langauge subtitles are available. Please contact us for details: Media Studio 53-70 Jingumae 5-chome Shibuya-ku Tokyo JAPAN 150-8925 Ph: +813 5467 1324 onlinelearning@unu.edu

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          from Roebeeh Productions / Added

          7,324 Plays / / 0 Comments

          A few years back I shot some footage of friends tattooing at the Rites of Passage tattoo convention in Melbourne. Here, finally, is a short clip compiled from this activity. For photos of this and more information visit the blog post here - http://www.roebeehproductions.com.au/tattoo-artist-durga/

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          • Muara Tae Diaries


            from EIA / Added

            Campaigners from the Environmental Investigation Agency visit the remote community of Muara Tae, in East Kalimantan, to highlight and support villagers' struggle to retain ancestral forests against the bulldozers of palm oil plantation companies.

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            • Kalimantan's Craft; Harmony of Culture and Nature


              from Gekko Studio / Added

              1,313 Plays / / 0 Comments

              Craft Kalimantan a film of indigenous weaving traditions with high quality art products. The products are the work of artisan groups, 90% of them being women, who live in and around forests, and those that continue to struggle in defense of their culture and tradition through the art of weaving crafts.

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              • We Can't Eat The Road


                from andrew garton / Added

                705 Plays / / 0 Comments

                Bidayuh travel to the Bakun Dam resettlement scheme and hear from the resettled Kenyah at Sungai Asap about their experiences and see first hand the results of relocation. They also meet with Iban at Rumah Agi who fought to retain customary right to their own land in the face of palm oil exploitation. For transcripts and more information go to http://sarawakgone.cc Licensed under a Creative Commons Attribution 2.5 Australia License. http://creativecommons.org/licenses/by/2.5/au/

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                • An Agreeable Sound: Beano


                  from Matt Dayak / Added

                  620 Plays / / 0 Comments

                  "An Agreeable Sound " is a video series I am working on. The concept is how some "good" and some"bad" music from the 1980's can make people from my generation feel. A certain song can make you think of the seventh grade dance or even just driving around in the old family car with your dad. The 80's were a big chunk of our childhood and every once in a while it is nice to go back to that place. Beano and I were laughing all afternoon the day we shot this. I believe he channeled raw emotion from this song to achieve his performance. Beano is a very sensitive man. Music by Mr. Mister -buy their music here-http://www.mrmisterofficial.com

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                  • Suku Kayan Tribe / Dayak / Kalimantan Barat / Putusibau / Desa Datah Diaan / Mendalam 2014. feb.


                    from fabianbelavideo / Added

                    167 Plays / / 0 Comments

                    KAYAN Az 1900-as években a Kayan törzsön belül egy lány tetoválása renkivül komoly folyamat volt,nem csak a rettenetes fájdalom szempontjából, hanem ceremónia fontossága miatt is,ami egy megtiszteltetés volt a tetovált személy számára. A folyamat olykor négy évig is eltartott,mivel egyszerre csak kis felületeket tetováltak be a bőrön és hosszú szüneteket tartottak a tetoválási szakaszok között. Például egy tízéves kislánynak legelőbb a lábujjait és a lábfejét tetoválták be,majd az alkarok következtek de csak egy év szünet után.A következő évben a combok következtek . Ezek a tetoválások a hiedelem szerint megvédték őket a gonosz szellemektől.Volt egy univerzális tetoválás is ,amit minden nő megkapott, amit „tedek-tuh’duck” nak neveztek.Úgy hitték, hogy ezek a tetoválások fáklyaként világítottak a túlvilágon,és elvezeti őket az őseikhez.Mindig a nők voltak a legjobb szakértői ennek a művészetnek,ellenben a férfiak csak egy darab fába vésték a modelleket.A tetováló poziciója ebben a társadalomban igen nagy fokon volt a ranglétrán ,az írástudókkal és a kovácsokkal egy rangon voltak elismerve. tetovalas-kayan-tattoo A legtöbb női tetováló a Kayan törzsből, szociális tabukhoz voltak kötve.Ha például a tetováló nőnek újszülött gyereke volt ,akkor meg volt tiltva neki a tetoválás, mert a hiedelem szerint a vérontás vonzaná a gonosz szellemeket,minek következtében ezek megszállották volna a gyerekeket,vagy betegségeket,halált okoztak.Nem tetoválhattak a rizs vetés ideje alatt sem,akkor sem ha egy új emeber volt a „szellemek házában”mert ezzel magukra haragították volna a szellemeket.Ha rémálmaik voltak(árvíz,vérontás), a tetoválási szakasz ideje alatt, akkor leállították a folyamatot. A tetoválási folyamatok alatt a tetováló nők nem ehettek nyers húst vagy halat azzal az érvvel hogy a szellemek megszállják őket.Ha megszegték ezeket a szabályokat, akkor a tetoválasok már nem világítottak eléggé a túlvilágon és a halálba vezették őket.Sokszor ezek a nők azért választották ezt a pályát, mert a hiedelem szerint a tetoválók szelleme „Bua Kalunk”,megvédte őket a betegségektől. A tetováló szerszámok egyszerűek voltak , ami egy pár tüskehegyből(ulang),egy kis fakalapácsból(tukun vagy pepak) állt, amit egy kis fakazettában (bungan)-ban tartottak.A fő szerszám egy pálca volt kiemelkedő csúccsal ,a végére három vagy négy apró tű volt erősítve.A kalapács erős fábol készűlt ,a nyele be volt tekerve egy darab kötéllel. A festékanyag, korom, víz, cukornád kivonat keverékből állt és egy kis fadobozban tartották amit „uit-ulang”-nak neveztek. Úgy hitték, hogy a legjobb korom egy üst elégett aljárol való, de használtak égetett gyanta utáni kormot is. A rajzokat egy darab fába(kelinge) vésték,majd majd festékbe mártották,utána rányomták arra a bőrfelületre ahova a tetoválást tervezték,igy alakult ki a rajz ami után dolgoztak. A tetoválásra váró ember a főldön feküdt,a tetováló és az aszisztense pedig a kliens két oldalán helyezkedtek el. orang_ulu_tattoo Legelőbb a tetováló nő egy pálmalevelet mártott a „festékbe”,majd rányomta a tetoválást követő helyre így csinálva meg a rajzot az illető bőrén. Az egyenes vonalak mentén,a tetováló bevarrta a kontürt(ikor) ,majd a vonalak között ,egy darab „festékbe” mártott faragott fadarabot préselt a bőrre. A tetováló vagy az aszisztense a lábukkal feszítették ki a bőrt,ahová kellett tetoválni. Majd a pálcára erősített tűt mártotta a festékbe és a kis fakalapáccsal ütögette,így juttatva a festéket a bőr alá(a kontürvonalak mentén). kayan-tetovalo-szerszam A folyamat nagyon fájdalmas volt ,de a tetováló soha nem hatódott meg ,folytatva a tetoválást végig. Az elmondások szerint a tetoválások ára legtöbbszőr fix összeg volt. Az alkarokra való tetoválás 8 és 20 dollár között mozgott,a combokra már 60 dollárra emelkedett,ha nagyon kifinomult munkát kértek.Az ujjak tetoválásáért a fizetség egy kissebb kard volt.2002-ben,egy kayani nő elmondása szerint ,az ő combján levő tetoválásokért a fizetség, 20dollár és két disznó volt.A XIX században azt beszélték, hogy ha a tetováló sok pénzt kért a munkáért, akkor egy éven belül életét veszti. Koszonet a leirasert: Tetoválás története http://www.tetovalas-tortenete.com/faklyak-a-tulvilagra/#more-73 About kayan tribe: http://en.wikipedia.org/wiki/Kayan_people_(Borneo)

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                    • We Not Ask For More!


                      from Nanang Sujana / Added

                      286 Plays / / 0 Comments

                      People of Sungai Utik village, a Dayak group in heart of Borneo have long struggle to have a recognition from Indonesian government for their customary forest... Why they ask for this? since early 1980 their forest is under threat from logging company, and recently large scale forest conversion is the main threat. to avoid this threat they use a different approach, Eco-label certification! The film show how their wisdom in protection the ancient forest as portrait of indigenous peoples movement in Indonesia.

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