Guide to the Hull Museum of Southeast Asian Craft and Belief

Introduction

Dear Visitor

Welcome to the Hull Museum of Southeast Asian Craft and Belief. We hope that you will find this booklet useful in exploring the museum. It contains information about the objects in the 87 cases displayed in the museum. You will also find 12 large panels in the museum, covering wider crosscutting themes relating to craft and belief in Southeast Asia. Suggestions of cases and panels that you may wish to go on to are provided for each case and each panel. We hope that these will prove useful. But there is no ‘right’ path through the museum. Please wander and discover following your own interests.

Please return this booklet to the stand where you found it when you have finished visiting the museum.

Enjoy the museum!

Dr. Monica Janowski Curator

Acknowledgements

The museum as you see it now is the result of work done between 2024 and 2026 to transform the museum from a teaching collection to a public-facing museum. This has involved a thorough reorganization of the cases, including the creation of 28 new cases.

The production of this booklet and of the themed panels has been made possible through a grant from the Humberside Museums Partnership funded by Arts Council England. We are very grateful for this grant, which inspired the reorganization of our cases. Our hope is that this new interpretation helps the beautiful objects on display connect with, and be enjoyed by, as many visitors as possible.

We would like to acknowledge the support and contributions of the following in the work to reorganize the museum and produce the panels and booklet:

• Andy West
• Anna Ingleby
• Annabel Gallop
• Catherine Wynne
• Cecelia Mercer
• Charissa Tiong Teo
• Chris Awre
• Datuk Leonard Linggi Jugah
• Derek Anderson
• Dora Jok
• Fiona Kerlogue
• Ellie Chen Chai Xin
• Helga Ngu
• Henny Ngu
• Joseph Salang
• Judy King
• Kaz Janowski
• Kenneth Wertheim
• Lisa Jones
• Maire Justice
• Marvellous Marsel Setiawan
• Maynard Keyne Langet
• Melia Linggi
• Mike Hitchcock
• Olwyn Reading
• Peter Abrams
• Polycarp Teo Sebom
• Rina Arya
• Sally Fairfax
• Sarah Shaw
• Shawn Ras
• Tara Broadley
• Terry (Victor) King
• Tuson Chong
• Xin Ying Lim
• Yang Jiang

Booklet © Monica Janowski

Case 1. Wayang Golek Puppets made by Asep Sunandar Sunarya

This set of puppets was made by the famous Javanese puppeteer Asep Sunandar Sunarya (1954– 2014) for a tour in the UK in 2006–7. Asep Sunandar Sunarya revolutionized West Java's wayang golek theatre, transforming the traditional art by engineering innovative mechanical puppets that could somersault or change expressions.

These puppets, which represent a range of characters from the Javanese adaptation of the Hindu Mahabharata epic, were donated to the museum after their tour, and were used in the Yorkshire 'Precious Cargo' projects 'Breath of Life' and 'Power of Story' as part of the museum's contribution to the Cultural Olympiad in 2012.

1. Dewi Permani. She thinks she loves Batara Guru, but so offends him that he makes her into a raksasa (ogre). Humus 2011.3.1.
2. Citrasoma. One of the hundred Kaurava brothers. In performance he is depicted as a boastful, stuttering, foolish prince who provides comic relief. Humus 2011.3.3.
3. Dewi Arimbi. Sister of Prabu Arimba, King of the raksasa (giant)’s country of Pringgandani and has magical powers. Humus 2011.3.5.
4. Raden Buriswara. Son of King Salya of Mandraka and Setyawati, a demon’s daughter. Humus 2011.3.6.
5. A buta (ogre). Humus 2011.3.2.
6. Dewi Subadra. An incarnation of Dewi Sri, the Rice Goddess (see Case 38). Humus 2011.3.4.

Relevant thematic panels: Shadows, Water and Wood; The Cosmic Duo; Cooking the Cosmos

Case 2. The Golden Deer

This case relates to an episode in the Ramayana epic, which derives from the Indian sub-continent. Southeast Asian versions of the Indian Ramayana epic are well known throughout the region.

In this episode, the evil Rawana captures the hero Prince Rama’s wife Princess Sita using a cunning ruse. He forces his servant Marika to become a beautiful golden deer in the forest. While Rama chases after the deer, his wife is kidnapped. This key event, the abduction of Sita, triggers a long search and ultimately a fierce war.

1. Carved wooden deer. Bali. With caste mark in coloured glass and mirror decoration on gold grounds. Mathieson collection. Humus 1992.3.21.
2. Wayang golek puppet of a hero. West Java. Humus 2010.4.

Also see Cases 1, 21 and 22 for more wayang golek puppets.

Relevant thematic panels: A Cultural Melting Pot; Sentient Landscapes; Harvest of the Wild

Case 3. Performance: Face and Fingers

Dance-drama is a key performance style in Southeast Asia. This case displays two of the key accoutrements used in dance-drama: fingernail extensions and masks.

The metal fingernail extensions in this case are from Laos. The masks are ones used in a dance-drama style in Java and Bali, which is called topeng. In Java, topeng performances depict Javanese legends centred on the adventures of Prince Panji and Princess Candra Kirana, set in the 12th-century kingdoms of East Java. Facial colours indicate qualities of character and mood. In Bali, topeng is used to perform historical dramas about the kingdoms of Gelgel and Klungklung.

Both fingernail extensions and masks like the ones shown here are still used in performances in the region in local lifecycle and ritual events. They are now also used in performances staged for tourists.

1. Blue Javanese mask. Probably Prince Panji. The blue colour represents his refined, cool and calm temperament. Dartington Hall collection. Probably collected in 1927. Humus 1992.11.46.
2. Javanese mask of a minister, Patih Nambi. Dartington Hall collection. Probably collected in 1927. Humus 1992.11.44.
3. Balinese mask representing an uncouth, coarse character. Dartington Hall collection. Probably collected in 1927. Humus 1992.11.43.
4. Balinese monkey mask. Coll. L. Hill 1975. Humus 1975.17.
5. Pink Javanese mask of a young princess. The pink colour represents her youth, beauty and refined grace. Panji cycle. Coll. M.A. Jaspan 1969. Humus 1969.94.
6. White Javanese mask of a prince. Possibly Raden Gubung Sari, Prince of Kediri. The white colour represents his refined temperament. Panji cycle. Coll. M.A. Jaspan 1969. Humus 1969.93.
7. Yellow Javanese mask of a young prince. The yellow colour represents majesty, glory and nobility. Coll. M.A. Jaspan 1965. Humus 1975.L29.
8. Blue Javanese mask of an elderly man. The blue colour represents his refined, cool and calm temperament. Coll. M.A. Jaspan 1965. Humus 1975.L30.
9. White Balinese mask of a raja (king). The white colour represents his refined temperament. Coll. M.A. Jaspan 1965. Humus 1975.L28.
10. Brown Balinese mask of a minister. The brown colour represents his stable, earthy temperament. Coll. M.A. Jaspan 1969. Humus 1969.95.
11. Metal fingernails used in classical dance. Laos. Coll E. Aitken 1969. Humus 1978.35.1–10.

Relevant thematic panels: Shadows, Water and Wood; Threads of Meaning

Case 4. Iban Textile from Sarawak: Selampai

This silk shawl (selampai) was presented to the University of Hull in 2023 by Datuk Patinggi Tan Sri Leonard Linggi Jugah, a prominent lawyer and politician from Sarawak, Malaysia, and a Hull University alumnus. The gift reflects Datuk Linggi Jugah’s heritage as a Sarawakian and a member of the Iban community. In his own words, it was presented ‘with the intention of sharing a textile that reflects Sarawak’s rich Iban weaving heritage, while symbolising friendship and cultural exchange between our communities and in recognition of the fond memories of my time reading law in the University’.

The selampai was made on a backstrap loom using the ikat method of dyeing the tied threads before weaving, using natural dyes from morinda root and indigo leaves. It is an adaptation of traditional Iban design motifs and carries the aesthetic language of a pua kumbu, the sacred traditional blanket used in ritual ceremonies. The design on this piece is entitled ‘Ulu Lungga Indai Cherengga Muda’ which means ‘Knife Handle of Cherengga Muda’s mother’. It was woven by Madu anak Buda, one of the senior weavers at the Tun Jugah Foundation in Kuching in Sarawak, which includes a training centre for ikat-weaving. This was set up by Datuk Linggi in memory of his father Tun Datuk Patinggi Tan Sri Jugah Barieng, a seminal Sarawakian statesman who was the last Paramount Chief (Temenggong) of all Ibans in Sarawak and a prime mover in the formation of Malaysia in 1963.

Gift from Datuk Patinggi Tan Sri Leonard Linggi Juga 2023. Humus 2023.1

See Cases 27, 31, 33 and 83 for other examples of Iban ikat and Case 32 for the backstrap loom upon which ikat is woven.

Relevant thematic panels: Threads of Meaning; Crafting the Cosmos; Sentient Landscapes

Case 5. Nyonya Clothing

This case contains clothes worn by ladies of the Peranakan or Straits Chinese group, of mixed Chinese and Malay heritage, until about the 1980s. These ladies were known as nyonya, while the men of the community were known as baba. The Straits Chinese group developed from the 14th century onwards in Singapore, Malacca and Penang on the Malay Peninsula and were prosperous communities with high status. While most were absorbed into the wider Chinese community in the 20th century, memories of Peranakan ancestry are still treasured. These items were all given to the museum by Annabel Gallop in 2025. Some of the clothing, including the shoes, was worn by her mother and some she has worn herself.

1. Kebaya blouse. Singapore or Malaya. Embroidered cotton. Humus 2026.1.1.
2. Sarong or kain (wrapped skirt). Singapore or Malaya. Cotton dyed using batik method. Humus 2026.1.2.
3. Kerongsang pin made of silver. Singapore or Malaya. Holds the kebaya edges together, in place of buttons. Humus 2026.1.3.
4. Silver belt. Singapore or Malaya. To be worn around the top of the sarong to hold it in place. Probably made in the very early 20th century as part of a bridal trousseau. The buckle incorporates a bird, perhaps a phoenix, which symbolizes high virtue and the Chinese Empress. Humus 2026.1.4.
5. Embroidered shoes. Singapore or Malaya. Known as kasut kodok ('frog shoes') or kasut tongkang ('boathead shoes'), reflecting their shape. Probably made in the very early 20th century as part of a bridal trousseau. Embroidered with the mythical qilin 麒麟, symbolising prosperity and many children. Humus 2026.1.5.

Relevant thematic panels: Threads of Meaning; A Cultural Melting Pot

Case 6. Akha Women’s Clothing

These are clothes worn by the women of the Akha group, who live in a wide region covering parts of Thailand, Myanmar, Vietnam, Laos and China. They formed part of a larger collection that was exhibited in the major exhibition that toured the Humber region in 1987–89, ‘Costumes of the Golden Triangle’.

1. Akha woman’s sash. Humus 1976.44.
2. Pair of Akha woman’s leggings. Black hemp cloth with decorations of applique cloth, seeds and buttons. Humus 1976.41.
3. Akha woman’s ‘Shan’ bag. Geometric decorations of applique cloth, embroidery, buttons, feathers and aluminium discs. Humus 1976.45.
4. Akha woman’s skirt. Dark blue cloth with knife pleats. Humus 1976.39. All collected by R. Cooper in the village of Mae Sai, Chiang Rai province, Thailand in 1975.

Relevant thematic panels: Threads of Meaning

Case 7. The Inseparable Couple I

This case and Case 11 highlight the profound importance of the union between male and female principles in the region.

In Java, this sacred duality is exemplified by large carvings like those in the case, of the Loro Blonyo, which means ‘inseparable couple’ in Javanese. Representing the goddess of fertility or rice mother, Dewi Sri (see Case 38) and her consort, Raden Sadono, such carvings were once a mark of high social standing, found primarily in the homes of the Javanese aristocracy (ningrat). Kept in the sacred central chamber of a noble joglo residence, they served as spiritual vessels for ancestral blessings and domestic harmony. Today, Loro Blonyo have transitioned into prominent symbols of cultural identity.

This same focus on complementarity and unity of male and female is expressed through the Balinese cili figure displayed here made of palm leaf. While most cili represent only Dewi Sri, some incorporate her spouse, Sedana, as does this one, which joins Dewi Sri and Sedana at the bottom, underlining their unity. Combining male and female in one figure echoes the importance of transgender people in the region, who often act as shaman-healers or spirit mediums (see Case 72).

Cili are made at the rice harvest to carry the spirit of Dewi Sri and to ensure abundance, and they are also used in temple offerings. In recent years they have evolved from a temporary ritual object into a permanent icon of Balinese cultural identity and the silhouette of the cili is widely integrated into contemporary architecture, temple decorations and fine art.

1. Female member of Loro Blonyo couple. Java, Indonesia. Carved and painted wood. Represents the rice goddess, Dewi Sri. 19th century. Coll. M.A. Jaspan 1969. Humus 1969.1
2. Male member of a Loro Blonyo couple. Java, Indonesia. Carved and painted wood. Represents Dewi Sri’s consort, Raden Sadono. 19th century. Coll. M.A. Jaspan 1969. Humus 1969.2.
3. Pair of cili figures. Bali, Indonesia. Made of palm leaf, attached at the bottom, representing the rice goddess, Dewi Sri, and her spouse and male counterpart, Sedana. Second half of 20th century. Humus 2011.2.3.

Also see Case 11.

Relevant thematic panels: The Cosmic Duo; Sentient Landscapes; From Headhunting to Head of State; Shadows, Water and Wood

Case 8. Betel and Areca Chewing

This case focuses on the ancient Southeast Asian practice of chewing a ‘quid’ of areca nut (Areca catechu), betel leaf (Piper betle) and slaked lime. This releases a red juice and historically stained teeth a prestigious, refined black. Tobacco, cloves, cardamom or gambier extract are sometimes added to the chew in island Southeast Asia, while turmeric is often mixed with the slaked lime in the mainland parts of the region.

Areca nut serves as a mild stimulant. The chewing of the quid has over many centuries, perhaps millennia, been a vital social catalyst, central to hospitality and to marriage negotiations. One of the photographs in the case shows the presentation of 'ancient betel' as a formal act of hospitality among the Rejang people in Sumatra. Betel leaf is associated with female and areca nut with male, and their union symbolizes cosmological harmony and the marital bond. The cosmological importance of the quid is expressed in the forms of the tools used in preparing it, which often incorporate powerful spiritual entities.

Throughout Southeast Asia, shaman-healers have utilized the betel plant for healing, applying the leaf as a heated poultice to soothe physical pains and blowing the masticated red juice of the betel and areca chew over the patient to restore spiritual harmony and vital energy to the body.

While in cities and towns betel and areca chewing has declined in recent years, it remains an important symbol of communal identity in many rural areas.

1. Copper box for betel and areca set. Maranao. Mindanao, Philippines. With internal compartments for lime paste, betel and areca. Ifor Powell collection. Coll. in the 1920s. Humus 1986.2.74.
2. Box for slaked lime. Maguindanao. Mindanao, Philippines. Ifor Powell collection. Coll. in the 1920s. Humus 1986.2.78.5.
3. Gourd container for slaked lime. Probably Eastern Indonesia. Philla Davis collection. Humus 1990.14.170.
4. Bamboo container for slaked lime. Timor, Indonesia. With incised decorations. Coll. V.T. King and S. Jay in Singapore 1995. Humus 1995.13.1–2.
5. Bamboo container for slaked lime with attached spatula. Iban. Rejang river, Sarawak, Malaysia. Incised and coloured red. Bettison Collection. Coll.1940s/1950s. Humus 1980.2.1–2.
6. Lacquerware betel and areca set. Chiang Mai, Thailand. Its flowered design is called zin-me, which is the old name for Chiang Mai. One bowl contains areca nut slices and another contains packets of slaked lime mixed with turmeric for chewing with the betel and areca. Coll. T. North and R. Carter 1985 as part of the Hull University Betel Expedition. Humus 1985.2.11.1–8.
7. Brass betel and areca set. Probably Trengganu, Malaya. Including holder for betel leaves and small containers to hold sliced areca nut and spices. Coll. R. Carter 1985. Humus 1985.2.25.1–7.
8. Brass betel and areca set. Trengganu, Malaya. Including tongs, areca cutter and containers for sliced areca nut and spices. Coll. M.A. Jaspan 1969. Humus 1969.154.
9. Round lacquer box for betel and areca set. Myanmar. With internal tray. Mathieson collection. Humus 1992.3.32.
10. Round lacquer box for betel and areca set. Myanmar. With internal tray. Collected in Hull by M. Poprdan 1990. Humus 1990.19.10.
11. Octagonal lacquer box for betel and areca set. Laos. Displayed with strung areca nuts, prepared using a method traditionally used to air-dry the crop and formally present it for chewing. Coll. M.A. Jaspan 1973. Box Humus 1973.30. Strung areca nuts Humus 1985.2.12.
12. Two areca nut chopper handles in the form of demons. Bali, Indonesia. Painted wood. The demons (bhuta or leyak) are believed to ward off malevolent spirits and neutralize impurities during the ritual preparation of the betel and areca chew. Coll. L. Hill 1982. Humus 1982.14.9–10.
13. Areca nut cutter. Sarawak, Malaysia. Shaped as the monkey deity Hanuman, acting as a protective charm and referencing the Ramayana epic. Coll. J. Glanville 1999. Humus 1999.7.2.
14. Areca nut cutter. Sarawak, Malaysia. Featuring a horse head motif, symbolizing masculine strength and prestige in traditional courtship ceremonies. Coll. J. Glanville 1999. Humus 1999.7.3.
15. Areca nut cutter. Sarawak, Malaysia. Shaped as a peacock, serving as a prestige luxury object used for elite hospitality or wedding gifts. Coll. J. Glanville 1999. Humus 1999.7.4.
16. Brass betel and areca set. Probably Maguindanao. Mindanao, Philippines. Tray and three boxes for sliced areca nut and aromatic spices. Ifor Powell collection. Coll. in the 1920s. Humus 1986.2.78.1–4.

Also see the betel and areca chewing items in Cases 33 and 83, and Case 72 on Healing and the Spirit World.

Relevant thematic panels: Altered States; The Cosmic Duo; Crafting the Cosmos; Sentient Landscapes

Case 9. The Lontar Palm in Rote

On Rote Island in Eastern Indonesia, the lontar palm (Borassus flabellifer) is spoken of as a mother. Its sweet, life-giving sap (nira) is compared directly to breast milk. It is a nutritional staple harvested twice a day that sustains the population during the long dry season, when other crops may fail. As well as being consumed fresh, it is boiled into a thick syrup (gula air) and processed into solid sugar blocks. It is also fermented and made in to tua, which is sometimes distilled to make sopi.

Beyond nutrition, every part of the palm is utilized for construction and craftsmanship. The trunks provide timber for housing, while the leaf stalks are often used to make fences to protect gardens from livestock. The leaves are woven into baskets, mats, betel boxes and the fan-shaped hats signifying male dignity known as ti’i langga. They are even made into resonators for the sasandu. Examples of all of these are displayed here.

1. Sasandu musical instrument. The lontar palm leaf hemisphere acts as a resonator. This one has 28 strings and was made by the Pah family of Rotenese musicians. Humus 1993.3.1.
2. Ti’i langga hat. Made of lontar palm. The Rotenese have at least 14 different forms of these men’s hats, which are based on 16th century Portuguese hats. Lontar is used to make the entire hat, including the feathers. Humus 1993.3.3.
3. Box for betel and areca (ndunak). Made of lontar palm. A woman’s box with a secret drawer inside for a gold ring. This is part of a ceremonial gift from a man’s family to the family of his desired bride. Humus 1993.3.4.

All made in the early 1990s and collected by D. Patty and M. Patty-Noach in 1993.

Relevant thematic panels: Crafting the Cosmos; Altered States; Emerald Horizons; Shadows, Water and Wood; Threads of Meaning

Case 10. Rice Alcohol in Sarawak

Rice is central in the region (see Cases 38 and 39), and in Sarawak rice beer, known as tuak or borak, is important socially and ritually, as it is throughout the region. Traditionally, rice beer was brewed and drunk from jars (tajau) like the one shown here, often much bigger than this.

Distilled, rice beer becomes a spirit locally called langkau in Sarawak. Spirits distilled from rice made in China have also been imported into Sarawak, such as the bottle in the case, which includes male silkworm moths in the distillate, believed to impart health.

Southeast Asia has a growing craft rice beer scene, making beers like those shown here. Craft gin based on rice is also being produced, by further distilling langkau and adding Borneo botanicals. Examples of both craft rice beer and craft rice gin are displayed here.

Commercially-produced beer in the region, which is usually made partly and sometimes wholly from rice, markets itself as rooted in local place, as can be seen in the beer tin shown here, made for sale in Sarawak in a Sarawakian-themed tin.

Alcohol is also made in the region from the sap from palm trees (see Case 9) and from sugar cane (the blue-and-white Chinese jar on open display was almost certainly used for this), and also from millet, Job's tears, yams, taro and cassava.

1. Atelier ‘Serai’ craft rice beer. Sarawak, Malaysia. Coll. M. Janowski 2026. Humus 2026.23.9.
2. Bujang Senang craft rice beer. Sarawak, Malaysia. Coll. M. Janowski 2026. Humus 2026.23.10.
3. Tuak Dayak craft rice beer. Sarawak, Malaysia. Coll. M. Janowski 2026. Humus 2026.23.11.
4. Ringin craft rice gin. Sarawak, Malaysia. Coll. M. Janowski 2026. Humus 2026.23.12.
5. Silkworm moth rice spirit (蛾酒 蒸). China. Known as langkau in Sarawak. Exported to Sarawak. Coll. M. Janowski 2026. Humus 2026.23.13.
6. Carlsberg beer tin with Sarawakian design. Sarawak, Malaysia. Made from a mix of rice and barley. Coll. M. Janowski 2026. Humus 2026.23.14.
7. Ragi (yeast for making rice beer). Kuching, Sarawak, Malaysia. Coll. M. Janowski 2026. Humus 2026.23.15.
8. Sample of glutinous rice. As used to make rice beer. Humus 2026.23.16.
9. Stoneware jar (tajau). Sarawak, Malaysia. Jars like this are used for brewing and drinking rice beer (tuak). Relatively small jars like this one, which are called guri, are used for serving rice beer rather than fermentation. Gift of Tuson Chong. Humus 2026.6.
10. Publicity materials and labels for Bad Cat beers (tuak). Bad Cat is a small craft beer (tuak) producer in Kuching, Sarawak, Malaysia, making tuak not only from rice but also from various types of fruit. Included here are Bad Cat posters, a leaflet and labels. The brewery is owned by Maynard Keyne Langet, a Bidayuh from Serian, Sarawak. Gifts from Maynard Keyne Langet 2026. Humus 2026.12.1–11.
11. Bad Cat ‘Original’ craft rice beer bottle. Gift from Maynard Keyne Langet 2026. Humus 2026.12.2.
12. Bad Cat ‘Premium’ craft rice beer. This is made from rice from Maynard Keyne Langet’s family rice field, and is aged in ancestral Bidayuh ceramic jars. Gift from Maynard Keyne Langet 2026. Humus 2026.12.3. Coll. M. Janowski 2026. Humus 2026.23.10.

Relevant thematic panels: Altered States; Cooking the Cosmos; Emerald Horizons

Case 11. The Inseparable Couple II

This case contains expressions of the profound importance of the union between male and female principles in the region. This includes a Javanese Loro Blonyo couple like that in Case 7. See the text for Case 7.

Also in this case is a palm leaf cili figure from Bali, which combines male and female in one hermaphroditic figure. This echoes the importance of transgender people in the region, who often act as shaman healers or spirit mediums. See Case 72.

1. Female member of Loro Blonyo couple. Java, Indonesia. Represents the rice goddess, Dewi Sri. Carved and painted wooden statue. 19th century. Coll. M.A. Jaspan 1969. Humus 1969.79.
2. Male member of a Loro Blonyo couple. Java, Indonesia. Represents Dewi Sri’s consort, Raden Sadono. Carved and painted wooden statue. 19th century. Coll M.A. Jaspan 1969. Humus 1969.80.
3. Cili figure. Bali. Made of palm, with eyes and mouth made of Chinese coins. Representing Dewi Sri, the Rice Goddess. Humus 2026.2.

Relevant thematic panels: The Cosmic Duo; Sentient Landscapes; From Headhunting to Head of State; Shadows, Water and Wood

Case 12. Vietnamese Water Puppets

These puppets were made by the Đồng Ngư Water Puppetry Troupe from Vietnam. They are replicas of puppets made in 2022 by the same troupe for a British Academy-funded research project led by Professor Lisa Jones from the University of Hull alongside Vietnamese partners, which explored youth-led perspectives on regional climate change adaptation. This led to a water puppetry performance that debuted at the Vietnam Museum of Ethnology in Hanoi in December 2022.

That performance drew on a centuries-old art form native to the wet-rice agricultural landscape of northern Vietnam’s Red River Delta. Water puppetry takes place in a pool of water, with puppeteers standing waist-deep behind a screen to manipulate the wooden figures using underwater rods and strings. The recent project adapted the medium to share a contemporary narrative. The innovative production blended age-old indigenous crafting techniques, such as hand-carving wooden puppets and using traditional pigments, with modern themes and research. Rather than focusing solely on historical delta life, the performance included upland ethnic minorities such as Hmong and Dao, and local youth wearing their blue Youth Union uniforms. The aim was to stimulate dialogue between grassroots communities and policymakers on environmental resilience.

1. Hmong woman. Humus 2026.57.
2. Member of Youth Union. Humus 2026.58.
3. Dao woman. Humus 2026.59.

Relevant thematic panels: Shadows, Water and Wood; Sentient Landscapes; Emerald Horizons; Crafting the Cosmos

Case 13. Myanmar String Puppets

String puppets (yote thé ရုပ်သေး) like the two in this case dominate Myanmar puppet theatre, which is regarded as superior to theatre with human actors, as puppets can perform feats impossible for humans. A set usually includes 28 puppets, including gods, royalty and mythical animals like the garuda and naga.

The puppets displayed here are of a minister, recognisable by his moustache and court cap, and a prince, who has a white face and royal costume. The puppets are dressed in garments adorned with shwe chi htoe (ရွှေချည်ထိုး), a traditional embroidery technique using metallic threads and glass sequins to catch the stage lights. (Another example of shwe chi htoe is the framed embroidered dragon from Myanmar on open display.) Each performance is a spiritual event, beginning with a ritual dance to appease the forest spirits and accompanied by a live hsaing waing ဆိုင်းဝိုင်း percussion orchestra. While the art form faced a decline in the 20th century, it is currently experiencing a revival through dedicated puppet theatres in Mandalay and Yangon.

1. Minister. (wungyi ဝန်ကြီး ). Identified through court cap and mustache. A standard troupe includes four ministers, representing the four cardinal directions/departments of state. Probably first half of 20th century. Humus 1992.3.23.
2. Prince. (mintha). Probably first half of 20th century. Humus 1992.3.24.

Both from the Mathieson collection.

Relevant thematic panels: Shadows, Water and Wood; Sentient Landscapes; The Cosmic Duo; A Cultural Melting Pot

Case 14. Thai and Cambodian Shadow Puppets

One of the two shadow puppets in this case is from Thailand and the other is from Cambodia. They represent characters from the Hindu Ramayana, grounded in the Hindu-Buddhist heritage of the region. Traditionally used for popular village storytelling, performances blend classical episodes from the Hindu Ramayana epic with local folklore, humour and social commentary.

1. Nang talung (shadow puppet) of the demon king, Thotsakan. Thailand. Cow or buffalo hide. From the Thai version of the Ramayana, the Ramakien. Coll. A. Crowther 1978. Humus 1978.6.
2. Sbek touch (shadow puppet) of Prince Rama. Cambodia. Cow or buffalo hide. From the Cambodian version of the Ramayana, the Reamker. Coll. M.A. Jaspan 1968. Humus 1975.L6.

Relevant thematic panels: Shadows, Water and Wood; A Cultural Melting Pot; Crafting the Cosmos; The Cosmic Duo

Case 15. Balinese Shadow Puppets

Balinese shadow puppetry (wayang kulit) preserves a more naturalistic, human proportion and iconographic style than its Javanese counterpart. Puppets are made of buffalo hide. Guided by a master puppeteer (dalang), performances adapt episodes from the Mahabharata and Ramayana. The narrative relies on sacred retainer-clowns (parekan) who translate the archaic kawi (Old Javanese) text spoken by noble heroes into regional Balinese, delivering moral discourse, social commentary and comic relief.

1. Noble hero figure. Humus 2008.1.1.
2. Sacred retainer-clown (parekan). Humus 2008.1.2.

Both collected by Kathie Jenkins in 1979 in Denpasar, Bali.

Relevant thematic panels: Shadows, Water and Wood; A Cultural Melting Pot; Crafting the Cosmos; The Cosmic Duo

Case 16. Malay Shadow Puppets

These puppets are from the wayang kulit Siam, the most popular form of shadow puppetry in the Malay Peninsula. Two represent the traditions of Kelantan, where the art form is most celebrated, and the third originates from Pahang. Made from cow hide and painted in vibrant colours, two of these figures are distinguished by their single movable arm and profiles influenced by Thai aesthetics. Performances by a master puppeteer (tok dalang) adapt episodes from the Hindu Ramayana epic into the local Malay dialect. Although Malays are Muslim, they have a deeply-rooted memory of Hindu epics from a time in the past when their ancestors were Hindu-Buddhist.

1. Prince Sri Rama, husband of Siti Dewi. Kelantan, Malaya. Humus 1969.81.
2. Princess Siti Dewi, wife of Sri Rama. Kelantan, Malaya. Humus 1969.82.
3. Rural commoner or comedic servant. Pahang, Malaya. Humus 1969.149.

All collected by M.A. Jaspan in 1969.

Relevant thematic panels: Shadows, Water and Wood; A Cultural Melting Pot; The Cosmic Duo

Case 17. Central Java Shadow Puppets

These wayang kulit shadow puppets, from Central Java, made of buffalo hide, portray Kresna and Arjuna, two of the most significant figures in Javanese theatre. Although most Javanese are Muslim, they have a deeply-rooted memory of Hindu epics brought to life through puppetry, from a time when their ancestors were Hindu-Buddhist. In the Hindu Mahabharata epic, the refined warrior prince Arjuna is guided by the wisdom of Kresna, who serves as his divine mentor and charioteer. Both have black faces indicating his calmness, humility and great physical and mental strength. The figures are made of buffalo hide and represent the peak of the Javanese tradition, characterized by their gold-leaf detailing and highly stylized, elongated limbs. A Javanese performance is led by a master puppeteer (dalang), who brings complex philosophical dialogues to life.

1. Kresna. Humus 1968.2.
2. Arjuna. Humus 1968.1.

Both gifts from Kartini Sabekti in 1968.

Relevant thematic panels: Shadows, Water and Wood; A Cultural Melting Pot; Threads of Meaning; The Cosmic Duo

Case 18. Gunungan: The Sacred Mountain-Tree

The sacred mountain-tree, the gunungan, is a central figure in Indonesian shadow puppetry, representing both a sacred mountain and the ‘Tree of Life’. It acts as a map of the universe, featuring a gateway flanked by animals that symbolises the transition between the earthly and spiritual realms. In performance, the dalang (puppeteer) uses a shadow puppet of a gunungan like this one, made of buffalo hide, to mark the beginning and end of the play, or to represent elemental forces like wind, fire and water. When placed at the centre of the screen, it signifies a world in perfect balance before the drama of the story unfolds.

Collected. L. Hill 1975. Humus 1975.23.

Relevant thematic panels: The Cosmic Duo; Sentient Landscapes; Shadows, Water and Wood; From Headhunting to Head of State; Cooking the Cosmos

Case 19. Brotoseno

This is a buffalo hide shadow puppet of Brotoseno, the youthful name for the legendary hero Bima, who is a central figure in wayang kulit in East Java. This is distinguished by its vigorous, earthy style compared to the more formal traditions of Central Java. The puppets in East Java are more robust and less stylised, reflecting a local preference for directness and energy. Brotoseno is known for his immense physical strength, bravery and unwavering honesty. He refuses to use refined language, even when speaking to gods. In East Javanese tradition, Brotoseno represents the ideal of the ‘rough’ hero: a protector whose raw power and blunt integrity are used to defend the community and uphold justice.

Made by Pak Bari of Tulungagung in 1994. Gift from Gatut Bintoro of Hasanuddin University in 1996. Humus 1996.3.

Relevant thematic panels: Shadows, Water and Wood; The Cosmic Duo; From Headhunting to Head of State

Case 20. East Java Shadow Puppets

This case contains two shadow puppets from East Java: the divine clown-servant Semar and a figure of an uncouth youth. Semar is a wayang kulit puppet, made of buffalo hide, while the youth belongs to the wayang krucil tradition – figures carved from flat wood with leather arms. While wayang kulit often tells stories from the Hindu Mahabharata, wooden wayang krucil puppets were specifically used to perform the Damarwulan legends, a cycle of stories unique to East Javanese history.

The youth’s kasar (coarse) features signify a bold and impulsive temperament. In contrast, Semar is a supreme deity in disguise whose androgynous form symbolizes his role as an all-encompassing spiritual guide. He originates in ancient Javanese theatre, and was later incorporated into the Hindu Mahabharata during the period when Java was Hindu-Buddhist. He is a representative of ‘the People’ and the enduring wisdom of the Javanese soul.

1. Quick-tempered noble youth. Humus 1980.24.
2. Semar. Divine companion and spiritual guide. Humus 1980.23.

Both collected by L. Goh in 1979.

Relevant thematic panels: Shadows, Water and Wood; The Cosmic Duo; Crafting the Cosmos; From Headhunting to Head of State; A Cultural Melting Pot

Case 21. Coastal West Java Wayang Golek Puppets

The two wayang golek puppets in this case are from the coastal area of West Java. The figures probably represent an Arab merchant and a European official, demonstrating contact with the outside world along the coast, They demonstrate how the local puppetry tradition was adapted to reflect the social landscape of colonial-era Indonesia. The puppets are dressed in tailored jackets and traditional batik sarongs, highlighting the fusion of local and foreign styles. While traditional wayang golek often performs the Hindu Mahabharata or the Islamic menak cycles, characters like these were used in more secular or satirical plays. Their distinct costumes and facial features allowed the audience to immediately identify them as foreign figures, who often served as comic or bureaucratic foils to local heroes.

Nowadays, wayang golek continues to be adapted to the changing world, as is shown by the puppet of President Megawati in the photograph in the case.

1. Foreign character, perhaps an Arab merchant. 19th or early 20th century. Humus 1969.132.
2. Foreign character, perhaps a European official. 19th or early 20th century. Humus 1969.133.

Both collected by M.A. Jaspan in 1969.

Relevant thematic panels: Shadows, Water and Wood; Threads of Meaning; A Cultural Melting Pot

Case 22. Sundanese Wayang Golek Puppets

These wayang golek puppets bring to life the Hindu epics of the Mahabharata and the Ramayana, building on the Hindu-Buddhist past of the island. Every detail, from the tilt of a puppet’s head to the colour of its face, serves as a visual code for its character’s temperament and social status. Characterized by intricate batik costumes and expressive features, wayang golek remains a cornerstone of storytelling, traditionally brought to life by a master puppeteer (dalang) and the rhythmic resonance of a gamelan orchestra.

Included in this case is a punokawan, a sacred retainer and moral guardian. While the royal figures handle the grand, divine battles of the story, their jester-servant provides the grounded wisdom and humour that connects these ancient myths to the everyday lives of the audience. Punokawan are both of low status and are the most ancient of deities. They are led by Semar (see Case 20). The photograph in the case shows a puppeteer demonstrating the antics of Cepot, a punokawan who is the son of Semar.

1. Male court official. Humus 1969.97.
2. Princess. Humus 1969.130.
3. Punokawan. Humus 1969.98.

All collected by M.A. Jaspan in 1969.

Relevant thematic panels: Shadows, Water and Wood; The Cosmic Duo; Crafting the Cosmos; A Cultural Melting Pot

Case 23. Barkcloth Tunic from Borneo

Barkcloth is an ancient textile tradition in Southeast Asia, predating weaving. It is produced from trees in the Moraceae family, primarily wild fig and Artocarpus species. To make barkcloth, the inner bark of the tree is soaked and pounded with mallets until the fibres fuse into sheets.

This man's sleeveless tunic (upak nyamu) comes from the Ngaju Dayak in the interior of Central Kalimantan, Indonesia. While lowland coastal populations adopted woven fabrics and stitched garments centuries earlier through trade and religious influences, many interior communities continued to use barkcloth for some purposes until late in the 20th century, though it is no longer used for clothing now and this tunic was made for sale as a souvenir.

In interior areas, daily dress historically consisted of barkcloth loincloths for men and skirts for women, leaving the torso bare. Tunics like this male version were reserved for highland cold, travel or ceremonies. Daily upper-body clothing only became common in the interior during the mid-to-late twentieth century.

Gift from Yustina Ngampar. Humus 1995.1.7.

Relevant thematic panels: Threads of Meaning; Crafting the Cosmos; Harvest of the Wild

Case 24. Dayak Benuaq Textile: Ulap Doyo

Although cotton has been produced in Southeast Asia, and also imported from India, for many centuries, people in some areas of Sotheast Asia used other fibres to produce cloth. This ulap doyo (doyo cloth) made by the Dayak Benuaq of East Kalimantan (Indonesia) on the island of Borneo is an example of the use of the leaves of Curculigo latifolia, a low-growing forest plant. Across maritime Southeast Asia, fibres from this leaf, known as doyo or lemba, were used in the past to make clothing, straps and fibres. The Dayak Benuaq of Kalimantan stopped using doyo in the 1980s for everyday clothing and objects, but still use it today to make cloth for ceremonial uses. This textile was made on a backstrap loom (see Case 32), probably in the 1960s or 1970s.

While a piece like this would traditionally have been a skirt cloth, this has been made for sale. The iconography on it represents protective ancestral spirits, but their sideways layout reflects their apparent intended use as a horizontal decorative runner. It has been dyed and woven using warp ikat (resist-dye), and features a repeating procession of stylized human silhouettes.

The fabric is dyed using both traditional and modern materials. The charcoal black ground is derived from an indigenous process using iron-rich river mud, possibly combined with water boiled from soot or local kebuau leaves. The dusty-mauve background is dyed using traditional plant extracts from boiled mengkudu roots, secang heartwood, or native uar bark. In contrast, the vibrant teal and magenta pinstripes have been dyed using commercial, imported aniline powders.

Gift from F. Kerlogue 2026. Humus 2026.22.

Relevant thematic panels: Threads of Meaning; Crafting the Cosmos; Cultural Melting Pot; Emerald Horizons

Case 25. Sumatran Formal Textiles: Songket

This case highlights songket, a prestigious supplementary weft weaving technique used throughout island Southeast Asia. The maker inserts gold threads into the weave to create shimmering, raised geometric patterns. Historically, these textiles served as a visible marker of high social status and a form of family heirloom wealth across the Indonesian archipelago.

The long textile is from the historic city of Palembang in South Sumatra. It is a kain selendang songket, a ceremonial woman’s shoulder shawl or scarf made of silk. Beside it is a piece of cotton songket folded into a ceremonial man’s headcloth, also from Sumatra. A headcloth like this is an essential part of formal male traditional dress within Minangkabau society, where the arrangement of the folds historically indicated a man’s lineage, authority and role within the community.

1. Kain selendang songket (woman’s shawl). Silk and gold thread. Palembang, Sumatra, Indonesia. Coll. U. Megumi 2006. Humus 2006.1.2.
2. Piece of songket folded into a man’s headcloth. Cotton. Selongkang, Sumatra, Indonesia. Coll. M.A. Jaspan 1972. Humus 1973.51.

Relevant thematic panels: Threads of Meaning; Crafting the Cosmos; From Headhunting to Head of State; The Cosmic Duo

Case 26. Toba Batak Ceremonial Textile: Ulos Ragidup

This cotton cloth is known as an ulos ragidup (‘pattern of life’) and is the most ritually significant cloth woven by the Toba Batak people of North Sumatra. Ulos ragidup are still made and used. It has been made on a backstrap loom (see Case 32), and highly engineered in three distinct sections – two dark, indigo-dyed side panels and a complex white central field. These are stitched together along vertical seams.

The intricate geometric blocks at each end are woven using a supplementary weft technique, where an extra set of decorative threads is woven directly into the loom at the same time as the fabric is being built, creating a raised, pattern-on-top effect. The block at one end is symbolically female and that at the other end is symbolically male; together they convey a message of wholeness, fertility and the continuum of life.

In Batak custom (adat), a cloth like this acts as a tangible blessing. Ulos ragidup are traditionally presented to members of the groom’s side by the bride’s side during a wedding ceremony to formalize the marriage alliance, reciprocating the male gifts (money and sometimes jewellery or livestock) that have come to the bride’s side from the groom’s side. Believed to possess a protective soul (tondi), an ulos ragidup serves as a spiritual shield for the family. It is brought out to mark major life-cycle thresholds, lineage councils and elite community events. An ulos ragidup is also given to a mother by her parents on the birth of a child, as a ‘soul-cloth’ that accompanies the child through life.

Coll. M.A. Jaspan 1969.

Humus 1969.59.

Relevant thematic panels: Threads of Meaning; The Cosmic Duo; Crafting the Cosmos; The Porous Vessel; From Headhunting to Head of State

Case 27. Iban Ceremonial Textile: Pua Kumbu

This cotton pua kumbu was made by a weaver belonging to Iban people of Sarawak, Malaysia on the island of Borneo, using the kebat (warp-ikat) resist-dyeing technique, where patterns are bound and dyed onto warp threads prior to weaving (also see Cases 4, 31 and 83). The weaver has woven her name into the side of the cloth, reading ‘Made by Dayang’. It has been made on a backstrap loom (see Case 32).

The pua kumbu is a sacred object used to mark ritual boundaries, communicate with spirits, and shield the longhouse from danger. It serves as a protective canopy during weddings, a covering for harvest festival offerings, and a funeral shroud. The two central figures with diamondshaped heads and exposed ribs probably represent engkaramba – ancestral spirit guardians. Each holds a trophy head dangling from their hand. In Iban culture, only certain women of high social standing and advanced ritual knowledge possess the spiritual authority to safely weave powerful supernatural motifs like these. Positioned beneath the guardians are segmented columns representing centipedes (kemebai), which serve as defensive talismans to ward off malevolent forces.

Thwaites collection. Probably collected in the 1950s. Humus 2003.6.102.

See Cases 4, 31, 33 and 83 for other examples of Iban ikat and Case 32 for the backstrap loom upon which ikat is woven; and Cases 51-54 for the significance of headhunting.

Relevant thematic panels: Threads of Meaning; Crafting the Cosmos; From Headhunting to Head of State; Porous Vessel; Sentient Landscapes

Case 28. Javanese Batik

This case shows examples of Javanese batik, a dyeing technique that uses a wax-resist method. Batik is used all over the region. While there are various techniques for applying wax, the most prized technique is batik tulis (‘written batik’), where an artisan uses a canting – the copper-spouted tools with bamboo handles displayed here – to hand-draw liquid wax onto cloth. The fabric samples displayed here illustrate this labour-intensive process, showing how patterns emerge sequentially through repeated cycles of waxing, dyeing and boiling away the resist layers.

The two completed textiles shown here, both made of cotton and dyed using natural dyes, demonstrate two local applications of the batik tulis technique within Java. The cream and brown cloth features batik kawung, an ancient geometric pattern from the royal courts of Central Java. Its intersecting circles resemble sacred palm fruits, historically serving as an explicit political symbol of justice, cosmic balance and royal authority. The blue cloth is a carrying sash (sayut putihan) and is made from batik gedog, a traditional textile from coastal Kerek, East Java. Unlike the fine, imported Indian cotton used for batik kawung, this sash is crafted from handspun cotton. It carries protective, talismanic motifs, including triangular tumpal panels and facing winged birds.

1. Samples of batik showing the stages of the process of dyeing. Yogyajakarta, Java, Indonesia. Coll. M.A. Jaspan 1969. Humus 1969.75.1–9.
2. Two canting pens. For applying wax using the batik tulis method. Yogyajakarta, Java, Indonesia. Humus 1969.72 & 1969.74.
3. Batik kawung cloth. Yogyajakarta, Java, Indonesia. Cotton. Coll. Fiona Kerlogue 1995. Humus 1995.32.15.
4. Batik gedog nila carrying sash (sayut putihan). Kerek, East Java. Handloomed cotton. Coll. Fiona Kerlogue 1995. Humus 1995.32.5.

Relevant thematic panels: Threads of Meaning; Crafting the Cosmos

Case 29. Lahu Shi Women’s Clothing

These are the clothes worn by women of the Lahu Shi (Yellow Lahu), who live in a wide region covering parts of Thailand, Myanmar, Vietnam, Laos and China. They formed part of a larger collection that was exhibited in the major exhibition that toured the Humber region in 1987–89, ‘Costumes of the Golden Triangle’.

1. Lahu Shi women’s shoulder bag. Humus 1976.61.
2. Lahu Shi woman’s phat hung (wrapped skirt). Humus 1976.60.
3. Lahu Shi woman’s jacket. Humus 1976.59.

All collected in Pha Pu Chorn near Chiang Mai, Thailand by R. Cooper in 1976.

Relevant thematic panels: Threads of Meaning; Harvest of the Wild

Case 30. Hmong Women’s Clothing and Jewellery

The Hmong live in the mountainous border regions of China, Vietnam, Laos and Thailand. They are renowned for their intricate textile arts, particularly batik and embroidery, and for their silverwork.

The skirt shown here displays the distinctive ‘razor-pleated’ skirts, which combine batik and embroidery, made and worn by the Hmong Ngua (Green Hmong). A sample of batik and a tool used to apply wax are also displayed. Some of the high-quality silver jewellery made by the Hmong is also presented in the case. This traditionally represents a family’s wealth and is also a spiritual shield intended to protect the wearer’s soul.

1. Sample of Hmong batik. Chiang Mai province, Thailand. Coll. Dr. Robert Cooper, 1975. Humus 1976.88.
2. Hmong Ngua girl’s skirt. Chiang Mai province, Thailand. Razor-pleated batik with appliqued and embroidered bands. Coll. Dr. Robert Cooper, 1975. Humus 1976.51.
3. Hmong Ngua batik waxing tool. Chiang Mai province, Thailand. Coll. Dr. Robert Cooper, 1975. Humus 1976.83.
4. Hmong silver necklet. Laos. Coll. Dr. Martin Barber, 1969. Humus 1970.37.
5. Hmong silver earrings. Laos. Coll Dr. Martin Barber, 1969. Humus 1970.L4.

Relevant thematic panels: Threads of Meaning; The Porous Vessel; Crafting the Cosmos

Case 31. Borneo Craft and Belief

This case explores the way in which spiritual life and material culture intertwine on the island of Borneo, evolving to incorporate modern inventions. The centrepiece is a hat that originally belonged to a Kayan or Kenyah warrior of high status. The Kayan and Kenyah are traditionally hierarchical and some motifs, such as the kalong kepala (the face with botanical motifs growing out of it), rendered in beadwork on this hat, were restricted to those of highest rank. The use of the feathers of the rhinoceros hornbill, also part of this hat (the black and white feathers at the back) was restricted to men of the highest rank who had taken a head (see Cases 53 and 54).

The second piece in the case is a carving made in the 1950s that was probably made for sale to a foreign collector. It combines symbolic motifs from different Borneo groups: the Iban and the Kayan/Kenyah. The rosettes on the shoulders and arms are an Iban motif, the bunga terung (aubergine flower) traditionally tattooed on warriors' shoulders. The dog appears to represent the dragon-dog or aso', which is a Kayan/Kenyah cosmological motif. The extensions at the sides of the head are characteristic of Kayan huduq masks used to represent spirits. Their meaning is unclear but such head extensions appear to have deep significance in the wider region, as they are present in ancient stone carvings like that shown in the photograph accompanying this case, which occur in Borneo, Sulawesi and Sumatra.

An Iban pua cloth is the third piece in the case. This includes both what are probably protective engkaramba figures as well as helicopters and aeroplanes. It was made in the 1960s, when the people of Sarawak and Kalimantan, both on the island of Borneo, were caught up in a crossborder war involving soldiers from Indonesia, Malaysia and the UK, called 'Confrontation'. The pua was made using the ikat method, with a backstrap loom.

1. Kayan or Kenyah ceremonial male hat (lavong). Sarawak, Malaysia. Made of bamboo and rattan, with a beaded panel across the front and with rhinoceros hornbill (Buceros rhinoceros) feathers, a pheasant feather, goat's hair and chicken feathers decorating the hat at the sides and on top. Coll. 1950s. Thwaites collection. Humus 2003.6.44.
2. Woodcarving of a male figure with dragon-dog (aso’), lizard and fish. Sarawak, Malaysia. Coll. 1950s. Thwaites collection. Humus 2003.6.1.
3. Iban ikat-woven pua cloth with airplanes and helicopters. Sarawak, Malaysia. Coll. 1970s by V.T. King. Humus 2013.2.1.

See Cases 4, 27, 33 and 83 for other examples of Iban ikat and Case 32 for the backstrap loom upon which ikat is woven.

Relevant thematic panels: The Cosmic Duo; Crafting the Cosmos; Sentient Landscapes; Threads of Meaning

Case 32. Looms

This case explores the technology used to weave spun thread, contrasting two regional loom types shaped by ancient migration and lifestyles: the backstrap loom and the frame loom.

The components of a portable body-tension backstrap loom from an Ifugao community in the highlands of Luzon, Philippines are displayed here. This ancient technology spread across island Southeast Asia via early Austronesian migrations and remains dominant among interior highland communities. The weaver controls tension entirely through body posture - leaning back while strapped into the backstrap, which pulls against the warp beam. A wooden heddle rod lifts alternating threads to create a gap, a lease stick maintains thread order, wooden shuttles carry the cross-threads, and a hardwood weaving 'sword' packs each row tight.

In contrast, the model from Luang Prabang, Laos represents a stationary frame loom. Brought southward into mainland Southeast Asia by migrating Tai-Kadai groups, this became standard across lowland, sedentary river-valley societies. Permanently set up under stilted houses, its heavy frame supports complex mechanisms that allow larger pieces of fabric to be woven. Backstrap loom parts. Ifugao. Chaya, Mayaoyao, Luzon, Philippines. Coll. G. Nettleton, 1977.

1. Backstrap. Leather. Humus 1978.13.1.
2. Warp beam. Wooden. Humus 1978.13.5.
3. Weaving sword. Wooden. Humus 1978.13.2.
4. Shuttle. Wooden. Humus 1978.13.4.
5. Shuttle. Wooden. Humus 1978.13.3.
6. Heddle rod. Wooden. Humus 1978.13.7.
7. Lease stick. Wooden. Humus 1978.13.6.
8. Model frame loom. Luang Prabang. Laos. Coll. Martin Barber 1968. Humus 1970.28.

Relevant thematic panels: Threads of Meaning; The Living Landscape

Case 33: The Water Dragon

The objects in this case highlight the shared belief across Southeast Asia in the water dragon, a sentient embodiment of the power flowing through water. They are the result of a process of cultural fusion grounded in a mix of ancient indigenous beliefs (some shared with New Guinea and Australia), Hindu-Buddhist beliefs in the serpent deities of India, and the celestial, rainbringing dragons of East Asia. These beings, known to the Chinese as lung (龙), are often known in the region as naga, using a Sanskrit term from India, but also by a range of local names, such as neak នាគ among the Khmer, nagar (နဂါးး�) in Myanmar and nabau among the Iban of Sarawak.

1. Buddha shielded by the nagar (နဂါးး􀅰) king Mucalinda. Burma. During a violent post-enlightenment storm, Mucalinda coiled his body beneath the Buddha to lift him above the floods and spread his multi-headed hood like an umbrella to shield him from the rain. Once the storm passed, the dragon king bowed in reverence to the Buddha’s spiritual victory. Mathieson collection. Humus 1992.3.20.
2. Two gold armlets in the form of a naga. Bali, Indonesia. Dragon or serpent forms in jewellery protect the wearer, mark rank and connect the body to cosmic energy. Dartington Hall collection. Probably collected in 1927. Humus 1992.11.93.1 and 1992.11.93.2.
3. Silver spoon and fork with naga head finials. Malaya. The maker’s mark is on the handle in Malay jawi script. Bateson collection 1940. Humus 1989.9.1–2.
4. Chinese tobacco pipe. With incised water dragon (lung 龙), Malaysia. Early 1950s. Christie collection. Humus 2026.5.
5. Areca nut slicer in the form of a naga head. Thailand. Coll. R. Carter & T. North 1985. Humus 1985.2.6.
6. Besihung. Lampung, Sumatra, Indonesia. Vessel used for the mineral-and-sap mixture used for ritual tooth-blackening. Humus 2026.3.
7. Pair of carved wooden naga. Probably Sarawak, Malaysia. Possibly an architectural finial or shrine decoration. Gift from I. Chou 1991. Humus 1992.1.6.1 and Humus 1992.1.6.2.
8. Carving of nagar (နဂါး). Myanmar. Decorated with small pieces of mirror to represent scales. Broken into two halves. Coll. A. Crowther 1978. Humus 1970.22.1–2.
9. Labong Bungai Nu’ing ikat strip. Iban. Sarawak, Malaysia. Ikat strip (labong) with nabau water dragon woven into it, used as protection by travellers. Bungai Nu’ing is a culture hero believed to have become a protective spirit on his death and to appear as a water dragon. Made by Ejah Jepon in the early 2020s. Coll. M Janowski 2023. Humus 2026.L1.
10. End-blown flute (suling bangsi) with naga in pyrography. Bali, Indonesia. With a rattan loop to hold a piece of rattan or rubber over the intake hole to help direct the player’s breath. The long, winding body of the naga reflects the flow of human breath travelling down the length of the bamboo tube to create music. Crowther-Cole collection. Collected 1979. Humus 1989.2.4.
11. Blowpipe gun in the shape of a naga. Probably Kalimantan, Indonesian Borneo. The dragon’s long body forms the barrel, transforming the projectile into a channel for its breath. Possibly coll. Clive Christie. Humus 2026.4.

Also see the framed embroidered water dragon from Myanmar on open display.

Relevant thematic panels: Sentient Landscapes; The Cosmic Duo; A Cultural Melting Pot; From Headhunting to Head of State; Altered States

Case 34. Cotton Pod to Spun Thread

This case shows some of the implements used to produce cotton thread. Makers pass cotton pods through a cotton gin, like the example from Cambodia shown here, to extract the seeds from the fibres. Once cleared of seeds, the loose cotton fibres must be carded to straighten them. The artisan then spins the prepared fibres into a continuous thread using a traditional spinning wheel, represented here by a model from Luang Prabang, Laos.

The finished women’s ceremonial wrapped skirt-cloth (hoba) from Flores, Indonesia, demonstrates the final result of this handspun cotton thread production. To create its geometric warp-ikat patterns, the weaver binds sections of these raw yarn strands with plant fibres to resist colour and dyes these before weaving them. Achieving the deep blue-black bands requires fermentation of indigo leaves over several days, while the contrasting rich, reddish-brown stripes are derived from the root bark of the engkudu tree.

1. Hoba skirt cloth. Flores, Indonesia. Philla Davis collection. Coll. 1970s. Humus 1990.14.11.
2. Model spinning wheel. Luang Prabang, Laos. Coll. Martin Barber 1968. Humus 1970.32.
3. Cotton gin. Cambodia. Coll. F. Kerlogue 1999. Humus 1999.L1.

Also see Cases 4, 27 and 31, and case 32 for the backstrap loom upon which a hoba like this was woven.

Relevant thematic panels: Threads of Meaning; The Living Landscape; Emerald Horizons

Case 35. Borneo Wood Carvings

A Kenyah carving of a brahminy kite, an aso’ (dragon-dog) and a crocodile provides a visual map of the cosmos. Within this object, the brahminy kite represents the Upper World of celestial deities, the aso’ guards the Middle World of humans, and the crocodile serves as a messenger for the Under World. The carving of the bird with a snake in its beak illustrates the essential unity of the upper and lower realms, symbolizing the balance between the masculine Upper World and the feminine Under World. The Melanau belum is a carving of a spirit causing disease (also see Case 72). Finally, the Iban hornbill carvings represent a sacred intermediary believed to carry human prayers and messages to the supreme god of the Upper World.

1. Seated man. Kayan. Coll. M.A. Jaspan 1971. Humus 71.41.
2. Bust of man. Possibly Kayan. Probably made in Kalimantan, Indonesia. Note extended ear lobes (see Case 80). Coll. M.A. Jaspan 1971 in Kuching, Sarawak. Humus 1971.39.
3. Bust of woman. Possibly Kayan. Probably made in Kalimantan, Indonesia. Note extended ear lobes (see Case 80). Coll. M.A. Jaspan 1971 in Kuching, Sarawak. Humus 1971.40.
4. Warrior’s head. Kayan. Coll. M.A. Jaspan. Humus 1972.10.
5. Stylised carving of a rhinoceros hornbill (Buceros rhinoceros) (kenyalang). Iban. Painted in bright colours. Bettison collection. Coll 1940s/50s. Humus 1980.10.
6. Tortoise. Coll. M.A. Jaspan 1968. Humus 1968.L3.
7. Sickness image (belum). Melanau. Sarawak, Malaysia. Humus 2003.6.49.
8. Bird with a snake in its beak. Probably Kenyah. Thwaites collection. Coll. 1950s. Humus 2003.6.48.
9. Brahminy kite (Haliastur indus). Kenyah. It has in its talons a mythical aso’ (dragon-dog) and holds a crocodile in its beak. Thwaites collection. Coll. 1950s. Humus 2003.6.21.
10. Stylised carving of a rhinoceros hornbill (Buceros rhinoceros) (kenyalang). Iban. Sarawak, Malaysia. Thwaites collection. Coll. 1950s. Humus 2003.6.20.

Relevant thematic panels: The Cosmic Duo; Crafting the Cosmos; Threads of Meaning; Sentient Landscapes

Case 36. Performance: Countenance and Crown

In this case are objects from Thai, Javanese and Chinese traditions, which all serve to bridge the physical world and the spiritual realm. From the Thai khon tradition, a demon mask and a royal princess headdress represent opposing forces in the epic Ramakien, the Thai version of the Indian Ramayana.

Three Indonesian topeng masks are included. Two are from Bali: a green monkey mask and a topeng klana mask, representing a wild 'wandering' character who cannot control his emotions and passions. One is from Java: a character with blackened teeth, which signify inner calm and the mastery of animal passions - the opposite of the topeng klana character.

Finally, the case also contains a lion dance mask, used by Chinese communities in Southeast Asia to ward off evil spirits and bring good fortune.

1. Topeng klana mask. Bali, Indonesia. Gift from A. Kirk-Spriggs 1994. Humus 1996.14.3.
2. Royal crown for a female character. Thailand. Probably for a princess. Used in Thai khon dance-dramas with stories from the epic Ramakien. Gosling collection. Humus 1984.L1.9.
3. Chinese lion dance mask. Java or Bali, Indonesia. Dartington Hall collection. Probably collected in 1927. Humus 1992.11.39.
4. Topeng mask with blackened teeth. Java, Indonesia. Humus 1992.11.45.
5. Topeng mask of monkey. Bali, Indonesia. Coll. M.A. Jaspan 1969. Humus 1969.96.
6. Mask of a demon. Thailand. Used in khon dance-dramas with stories from the epic Ramakien. Humus 2026.16.

Relevant thematic panels: Shadows, Water and Wood; A Cultural Melting Pot; Sentient Landscapes; The Cosmic Duo; Altered States

Case 37. Orang Asli Spirit Carvings

These carvings represent the bes, or forest spirits, which, for the Jah Hut people, one of the Orang Asli people of the Malay Peninsula, inhabit the landscape. In traditional healing rituals, a shaman-healer (poyang) identifies a disease spirit while in trance, and describes its form to a carver, who brings these visions to life using light palmwood. The carvings serve as physical vessels that are then used by the poyang to ‘trap’ the spirits causing ailments, and are later cast away, removing the disease from the patient and restoring his or her health. Treatment of disease is now largely through modern medicine, and sepili are no longer carved for this purpose.

In 1958, Anthony Ratos, an Indian-Malaysian who was Deputy Commissioner for the Orang Asli, began supplying Orang Asli craftspeople with fine steel tools and commissioning carvings from tropical hardwoods from them. In doing this, he catalysed a communal village collective, and craftsmen like Yaman Hijau and Tok Ngah, whose carvings are included in this case, began signing their names on their carvings and immortalizing their oral cosmology into permanent works of fine art that gave physical form to Jah Hut oral folklore, dreamscapes and invisible forest spirits (bes). In 1959 Ratos organized an exhibition of their work at the National Gallery in Kuala Lumpur and then touring exhibitions in European cities. Most of the carvings now reside in a dedicated museum in Kuala Lumpur, the Orang Asli Craft Museum, and the museum in Hull is very fortunate to have this collection. In 2006 Ratos published a book about the carvings, Orang Asli and their Wood Art.

For the Jah Hut, the red-bearded bee-eater pictured in the photograph in the case, which they know as biau, is believed to be the carrier of human souls. When someone dies it is believed that their soul leaves the body in the form of the bird, and when a pregnant woman hears the cry of the bird she knows that the baby's soul has entered its body.

1. Bes Dlogong. Spirit that causes bloating or organ distension. Made by Yaman Hijau. Humus 1969.115.
2. Bes. Forest spirit. Made by unknown Jah Hut carver. Humus 1969.112.
3. Bes. Forest spirit. Made by unknown Jah Hut carver. Humus 1969.113.
4. Bes Musang. Shape-shifting predatory spirit. Made by Yaman Hijau. Humus 1969.116.
5. Bes. Forest spirit. Made by unknown Jah Hut carver. Humus 1997.8.1.
6. Bes. Forest spirit. Made by unknown Jah Hut carver. Humus 1969.119.
7. Bes Mati Beranak. 'Spirit causing death in childbirth’. Made by Yaman Hijau. Humus 1969.117.
8. Bes Nihem. 'Lurking Spirit'. Made by Tok Ngah. Humus 1969.114.
9. Bes. Forest spirit. Made by unknown Jah Hut carver. Humus 1969.108.
10. Bes Cema. 'Spitting Spirit'. Made by Asan. Humus 1969.118.

All collected by M.A. Jaspan in 1969.

Also see Cases 35 and 72 for similar carvings made by the Melanau of Sarawak.

Relevant thematic panels: Sentient Landscapes; The Porous Vessel; Crafting the Cosmos

Case 38. The Rice Goddess

This case focuses on the Rice Goddess or Rice Mother, a deity revered across Southeast Asia as the divine source of life and fertility. She is known as Dewi Sri in Indonesia and Malaysia, Mae Phosop in Thailand, Nang Khosop in Laos, Po Ino Nogar among the Cham people of Vietnam and Cambodia, and by many other local terms in other parts of the region.

The objects in this case are from the veneration of the goddess in Bali, where they are used to propitiate her as she oversees the agricultural cycle. Several palm leaf cili figures are shown here, which represent the goddess and are traditionally placed in rice fields to protect the crop. They are then used during harvest to ‘carry’ the spirit of the goddess from the field to the family rice barn. A mask used in the Janger dance is also featured, which dramatizes the myth of Dewi Sri’s creation from a single tear of the god Antaboga. In the case we also have a figure representing the goddess made from Chinese coins, known locally as kepeng. These coins are central to Balinese ritual, with their round shape and square holes symbolizing the balance of the universe and the metal of which they are made signifying the presence of divine wealth. Their use underlines the close connections between Chinese and local culture in the region.

1. Cili figure of Dewi Sri. Philla Davis collection. Humus 1990.14.144.
2. Cili figure of Dewi Sri. Probably Philla Davis collection. Humus 2011.3.
3. Cili figure of Dewi Sri. Philla Davis collection. Humus 1990.14.145.
4. Cili figure of Dewi Sri. Gift from H. Jaspan 2010. Pre-1960s. Humus 2026.17.
5. Figure of Dewi Sri made of Chinese coins. Gift from K. Sabekti 1968. Humus 1968.3.
6. Mask of Dewi Sri. Used in Janger dance. Dartington Hall collection. Probably collected in 1927. Humus 1992.11.53.

Also see Case 39.

Relevant thematic panels: Cooking the Cosmos; The Cosmic Duo; Sentient Landscapes; Shadows, Water and Wood; Crafting the Cosmos

Case 39. Rice

Across Southeast Asia, rice is the central crop and the Rice Goddess is a key deity (see Case 38). It is grown both in flooded wet fields and in dry shifting culivation. Souvenir matchbooks displayed here illustrate the twelve phases of cultivation in wet fields. Traditionally, each community grew a range of rice varieties such as that shown here, (see no. 13 below) grown by the Maloh of Kalimantan. These were grown for different uses and to guard against crop failure.

The sacred nature of rice has shaped traditional farming practices. The social and spiritual importance of the rice harvest is highlighted by the model of a Toraja rice barn (alang) from Sulawesi. Its dramatically curved, boat-shaped roof honours the seafaring vessels of the community’s ancestors and aligns with cosmic axes to channel blessings into the stored crop. The display features a range of small hand rice-cutters from across the region. Only the ear of the rice is traditionally harvested with these. It is traditionally considered important to harvest gently so as not to startle the ‘rice soul’. In the past, some cultures even used a sliver of bamboo, such as the Lun Bawang cutter shown here, rather than metal, to avoid offending this spirit. Today, modern shifts towards greater efficiency mean that the use of sickles is increasingly common, and two of these are displayed here.

Glutinous rice – ‘sticky rice’ – is the preferred form of rice used for regional ritual offerings and in making rice beer in most areas, (see Case 10) and in highland mainland Southeast Asia it is eaten at daily meals. Its dense, adhesive properties symbolise social unity, with traditional baskets like those displayed here crafted to carry it on journeys or to weddings.

1. Twelve books of matches showing the phases of the wet rice cultivation cycle. Malaysia. Souvenir pack brought out for an agricultural conference in 1970. Coll. M.A. Jaspan 1974. Humus 1974.25.
2. Iban hand rice-cutter. Sarawak, Malaysia. Wood, metal and bark string. Coll. J. Morrison 1993. Humus 1993.2.1.
3. Lun Bawang hand rice-cutter. Temburong, Brunei. Made of a sliver of bamboo. Coll. Dayang Donnaliza Abdullah 1996. Humus 1996.6.6.2.
4. Dusun hand rice-cutter. Tuaran, Sabah, Malaysia. Iron. Coll. L. Hill 1989. Humus 1989.6.6.1.
5. Iban hand rice-cutter. Entawau, Baleh, Sarawak, Malaysia. Wood and bamboo. Coll. T. Gavin 1994. Humus 1994.4.1.
6. Iban hand rice-cutter. Sri Aman, Sarawak, Malaysia. Wood, bamboo and metal. Coll. Rashid Abdullah 1992. Humus 1993.8.
7. Sasak hand rice-cutter. Lombok, Indonesia. Bone and metal with ancestor figure and bird incised into bone. Christie collection. Humus 1982.10.
8. Bontoc hand rice-cutter. Luzon, Philippines. Wood and iron. Coll. M.A. Jaspan, 1974. Humus 1974.45.
9. Hand rice-cutter. Bali, Indonesia. Wood and iron. Coll. L. Hill 1975. Humus 1975.11.
10. Sickle for cutting rice. Cambodia. Coll. M.A. Jaspan 1969. Humus 1969.14.
11. Minangkabau sickle for cutting rice. Sumatra, Indonesia. Coll. M.A. Jaspan, 1972. Humus 1973.9.
12. Rice barn. Toraja. Sulawesi, Indonesia. Wooden model. Coll. M.A. Jaspan 1971. Humus 1972.1.
13. Reed grass cutout showing girls pounding padi. Bandung, Java, Indonesia. Coll. M.A. Jaspan 1969. Humus 1969.26.
14. Collection of traditional lowland rice varieties. Maloh. West Kalimantan, Indonesia. As cultivated in dry shifting rice fields in 1973. Coll. V.T. King. Humus 2026.6.
15. Container for cooked glutinous rice. Thailand. Bamboo. For token gift. Coll. R. Cooper 1975. Humus 1977.L5.
16. Container for cooked glutinous rice. Thailand. Bamboo. For token gift. Coll. R. Cooper 1975. Humus 1977.L7.
17. Khmer container (eip khao) for cooked glutinous rice. Probably Cambodia. For carrying rice to work, on journeys or to weddings. Gift from E. Aitken 1969. Humus 1969.36.
18. Container for cooked glutinous rice. Laos. Bamboo. Gift from E. Aitken 1969. Humus 1978.27.
19. Rice sheaf beater. Bali, Indonesia. Coll. F. Kerlogue. Humus 2026.7.

Relevant thematic panels: Cooking the Cosmos; Sentient Landscapes; Emerald Horizons; Altered States; Crafting the Cosmos

Case 40. Barong and Rangda in Bali

This display illustrates the Balinese concept of rwa bhineda, a cornerstone of Hindu cosmology that views the universe as a perpetual struggle for balance between opposing forces. Central to this cosmic drama is the encounter between Rangda, the fearsome Queen of supernatural forces, and the Barong, the King of the Spirits. These figures represent the cyclical nature of destruction and creation, mirroring the roles of Hindu Shiva and Vishnu, where neither side can ever truly be defeated.

When the Barong is engaged in battle with Rangda, it appears as a lion, paralleling the lion in the Chinese lion dance (see Cases 36 and 78) – a good example of the melting pot that is Southeast Asia. The lion Barong (known as Barong Ket) can be seen battling with Rangda in a ritualised dance in the painting adjacent to this case (no. 4 below).

The Barong also takes many other forms, which have the function of cleansing the village and its environs of spirits and disease. In the case we have two of these forms: the Barong Landung ('tall Barong') and the Barong Bangkal ('wild boar Barong'). The Barong Landung is also known as Jero Gede, and is regarded in some accounts as the embodiment of a 12th century Balinese king, Sri Jaya Pangus, who was transformed into a powerful demon by a mountain spirit (hence his bulging eyes). He always appears together with his Chinese queen, Kang Ching Wie, who is also known as Jero Nyoman, and together they roam the streets seeking out high-flying spirits and chasing them away.

1. Mask of Rangda. Gianyar, Bali, Indonesia. With long hair. Coll. L. Hill 1975. Humus 1975.16.
2. Mask of wild boar Barong (Barong Bangkal). Bali, Indonesia. This takes the form of a wild boar. Dartington Hall collection. Probably collected in 1927. Humus 1992.11.51.
3. Mask of Barong Landung. Bali, Indonesia. Dartington Hall collection. Probably collected in 1927. Humus 1992.11.52.

Outside the case:

4. Painting of the lion Barong (Barong Ket) in a ritualised dance-battle with Rangda. Artist: Astawa. Unknown date.

Relevant thematic panels: The Cosmic Duo; Shadows, Water and Wood; A Cultural Melting Pot; Sentient Landscapes; From Headhunting to Head of State

Case 41. Buddhism

This display brings together a collection of objects used in the daily lives and rituals of Theravada Buddhist practitioners in Thailand and Myanmar (Burma). Central to the case are a Thai figure of the Buddha and a figure of his disciple Moggallana (ရှင်မဟာမောဂ္ဂလာန်) from Myanmar, with a Thai copy of the Bhikkhupatimokkhapali ภิกขุปาติโมกขปาฬิ (monastic regulations), two talapat ตาลปัตร (monk’s fans) from Thailand and a kyi-zi ကြေးစည် (spinning triangle gong) from Myanmar, which marks the rhythm of monastery life. A close bond connects the monastic community and lay devotees. Some of the offerings made by devotees are presented in this case. Many young men spend time as monks, while laypeople routinely support the monks, earning spiritual ‘merit’ through regular offerings. Alms bowls like the one on display here symbolize the monks' humility and reliance on the community.

1. Bhikkhupatimokkhapali ภิกขุปาติโมกขปาฬิ (Regulations for Buddhist Monks). Thailand. Humus 2026.8.
2. Lacquered and gilded wooden figure of Moggallana (ရှင်မဟာမောဂ္ဂလာန်). Myanmar. Moggallana was the second of the Buddha Shakyamuni’s disciples. This figure is usually placed on the left of the Buddha in shrines in Myanmar. Coll. H. Thompson, 1973. Humus 1973.L3.
3. Gilded brass figure of seated Buddha. Thailand. Made in 1982 to commemorate the bicentenary of the founding of Bangkok. Gosling collection. Humus 1984.L1.19.
4. ‘Floral garland’ offering of jasmine-scented soap (phuang malai พวงมาลัย). Thailand. Gift from Munlika Hansakui 1994. Humus 1994.10.
5. Model offering stand (phu to mu bucha โต๊ะหม่บู ูชา). Thailand. Coll. F. Kerlogue 2001. Humus 2001.5.16.
6. Spinning triangle gong (kyi-zi ကြေးစည်). Myanmar. Struck to signal prayer times in Buddhist monasteries. Humus 2026.9.
7. Spired offering vessel (hsun ok ဆွမ်းအုပ်). Rangoon, Myanmar. Coll. M.A. Jaspan 1970. Humus 1970.20.3
8. Alms bowl used by monks (bat บาตร). Thailand. With lid, stand and straps. Coll. F. Kerlogue 2001. Humus 2001.5.2.
9. Pair of model seven-tiered ceremonial umbrellas. (chat thong ฉัตรเงิน ฉัตรทอง). Thailand. One silver and the other gold. Coll. F. Kerlogue. Humus 2001.5.14 and 15.
10. Buddhist monk’s ceremonial fan (talapat ตาลปัตร). Thailand. Written on it in Thai is: ‘Remembering the Kathina Ceremony’. This is the annual offering of new robes held after the three-month annual retreat during the monsoon period. Gosling collection. Humus 1984.L1.28.
11. Buddhist monk’s ceremonial fan (talapat ตาลปัตร). Thailand. Written on it in Thai is ‘Training in Ordination Work’. Gosling collection. Humus 2026.10.

Relevant thematic panels: A Cultural Melting Pot; Altered States; From Headhunting to Head of State; Shadows, Water and Wood

Case 42. Hinduism

While ancient Hindu empires across Southeast Asia have long since faded, Hinduism remains a vibrant living tradition today in parts of the region, and many cultural, aesthetic and cosmological traces or Hinduism remain. Bali and its neighbouring islands, including Nusa Penida and western Lombok, are the primary heartland of Hinduism nowadays, but there are pockets of Hinduism elsewhere too, such as in the Tengger highlands of East Java and among the Cham people of Vietnam.

The old carvings in this case represent a long heritage of temple craftsmanship in Bali. Protective figures such as raksasa (ogres), dvarapala (gate guardians) and the deity Vishnu riding his celestial bird mount Garuda are traditionally placed at temple gates to ward off negative energy.

The two wooden wall plaques in the case show the enduring heritage of Hinduism in Java. They illustrate a profoundly important cosmological balance: the contrast between the still, composed female and the active, expressive male. This uses a visual vocabulary – the bulging eyes and the fierce expression of the coarse (kasar) male compared to the calm, refined (halus) woman – that stems directly from ancient Indian Hindu traditions.

1. Carving of raksasa (ogre). Bali, Indonesia. Dartington Hall collection. Probably collected in 1927. Humus 1992.11.55.
2. Carving of Vishnu riding Garuda. Bali, Indonesia. Dartington Hall collection. Probably collected in 1927. Humus 1992.11.54.
3. Carving of dancing figure with headdress. Bali, Indonesia. Dartington Hall collection. Probably collected in 1927. Humus 1992.11.60.
4. Carving of a dvarapala or door guardian. Bali, Indonesia. These are placed at temple gates to protect against negative spirits. Dartington Hall collection. Probably collected in 1927. Humus 1992.11.57.
5. Pair of small carved figures. Bali, Indonesia. Humus 2026.11.1–2.
6. Wooden panel depicting a refined (halus) woman on horseback. Probably Java, Indonesia. Coll. M.A. Jaspan in Kuala Lumpur 1969. Humus 1970.54.
7. Wooden panel depicting a coarse (kasar) man on horseback. Probably Java, Indonesia. Coll. M.A. Jaspan in Kuala Lumpur 1969. Humus 1970.53.

Relevant thematic panels: A Cultural Melting Pot; The Cosmic Duo; Sentient Landscapes; Crafting the Cosmos; Shadows, Water and Wood

Case 43. From Human to Spirit

This display features Burmese nat (နတ)် and Chinese shen (神). In both traditions, human beings who are outstanding in life can become powerful supernatural beings after death. Devotees petition them to grant wishes, ensure prosperity and provide protection. The collection includes a standing female nat and male nat, and the buffalo-horned Bago Medaw of lower Myanmar, petitioned for household harmony and good fortune in business. Seated below is a Chinese shen, probably the Earth God, Tu Di Kong (土地公), a cosmic landlord whose permission and favour humans must seek in relation to agriculture, building and burials.

1. Female nat (နတ်). Myanmar. Mathieson collection. Humus 1992.3.19.
2. Male nat (နတ်). Myanmar. Mathieson collection. Humus 1992.3.18.
3. Bago Medaw (ပဲခူးမယ်တော) the ‘Royal Mother of Bago’. Myanmar. With buffalo headdress; also called the ‘Buffalo Mother’. Mathieson collection. Humus 1992.3.12.
4. Chinese shen (神), probably Tu Di Kong (土地公). Gift from H. Hunt 1969. Humus 1969.60.

Relevant thematic panels: A Cultural Melting Pot; Sentient Landscapes; From Headhunting to Head of State

Case 44. Bronze and Brass Musical Instruments

This display highlights the technical mastery and spiritual significance of metalwork in Southeast Asian ceremonial life. Both bronze and brass are cast in the region to make gongs, cymbals and bells. In many areas, bronze, the traditional ‘bell metal’, which produces deep, warm vibrations, is used to make gongs that are used in communal and sacred life to mark time and to anchor the rhythms of local festivals, as it is regarded as carrying spiritual potency.

However, brass was also used to make gongs in the region. In some places, such as Borneo and parts of the Philippines, it was preferred for its brighter sound. The souvenir set of gongs from Brunei displayed here, which replicates the gulingtangan, Brunei’s premier traditional musical ensemble, represents its heritage as the centre of Bornean brass-casting. The brassware made in Brunei was not only valued locally but was distributed widely on the island and became heirlooms (pusaka) for many local people. It included gongs, ceremonial kettles and cannons, often carrying raised motifs of water dragons, crocodiles and sea creatures and believed to be inhabited by spirits.

Also see Case 65.

1. Hmong festival cymbals (chas). Northern Laos. Brass. Coll. M.A. Jaspan 1973. Humus 1973.35.
2. Pair of small bossed gongs (maung yit မောင်းရစ်). Rangoon, Myanmar. Bronze. Used in theatrical and ritual percussion ensembles. Coll. M.A. Jaspan 1969. Humus 1969.143.
3. Bells used in Buddhist rituals (chuzi ခြူးစည်). Rangoon, Myanmar. Bronze. Coll. M.A. Jaspan 1969. Humus 1969.142.
4. Large bossed gong (gong mhu). Hmong. Luang Prabang. Coll. M.A. Jaspan 1973. Humus 1973.33.
5. Medium-sized bossed gong (maung မောင်း). Rangoon, Myanmar. Bronze. Coll. M.A. Jaspan 1969. Humus 1970.10.
6. Souvenir set of gongs (gulingtangan). Brunei. Brass. Approx. 1/3 scale. Gift from Apsah binti Haji Kamaluddin 1989. Humus 2026.64.

Relevant thematic panels: Threads of Meaning; From Headhunting to Head of State; Crafting the Cosmos; Porous Vessel; Sentient Landscapes

Case 45. Bamboo Musical Instruments

This case celebrates the musical versatility of bamboo, a material synonymous with the resilience and ingenuity of Southeast Asian cultures. From the flutes of Bali and Thailand to the complex mouth organs of the Kadazan-Dusun and Hmong, these instruments transform a common forest resource into a sophisticated medium for music and ritual. The hollow nature of bamboo is viewed as a vessel for the breath of the player, creating a voice that bridges the gap between the earthly landscape and the spirit world.

1. Man playing an end-blown flute (suling). Bali, Indonesia. Sculpture from the famous woodcarving village of Mas. Coll. M.A. Jaspan 1969, Jakarta. Humus 1969.11.
2. Bamboo buzzer (bungkaka). Central Cordillera, Luzon, Philippines. Played by striking the bamboo tongues with the hand to create a buzzing sound. Also used to frighten spirits when walking along mountain paths. Ifor Powell collection. Coll. 1920s. Humus 1986.2.66.
3. Set of 5 bamboo gongs (togunggak). Kadazan. Sabah, Malaysia. Gift from C. Malakun, 1980. Humus 1980.22.
4. Bamboo flute (khlui ขลุ่ย). Thailand. Gift from P. Wilkinson, 1984. Humus 1985.1.1.
5. Gourd and bamboo mouth organ (sompoton). Dusun. Sabah, Malaysia. Coll. L. Hill 1990. Humus 1990.10.22.
6. Wood and bamboo mouth organ (qeej). Hmong Njua. Thailand. Coll. A. Crowther 1994. Humus 1976.75.
7. Bamboo tube zither (kerenting). Orang Asli. Pahang, Peninsular Malaysia. Coll. M.A. Jaspan 1969. Humus 1969.56.

Relevant thematic panels: Shadows, Water and Wood; Crafting the Cosmos; Emerald Horizons