Borneo: Shaman Medicine

I was going to tell you about Malaysian Borneo when I got sidetracked by their neighbor Brunei. Moving on quickly (which is what we did as we flew over the sultanate on our way to the state of Sarawak), we landed in Kuching. What a lovely, lovely city. Kuching should get its own post, and likely will. We roamed along the riverfront walk and slurped down laksa noodle dishes with gusto. Kuching is a great spot to head out to various national parks to see wildlife.

Borneo is home of the native Dayak tribes. Remember childhood tales of the wild headhunters of Borneo? The Dayak call this ritual Ngayau. We visited Dayak long houses. Smoked skulls still hang at the hearth in the central long house.

The most important tribal figure is the head chief, closely followed by the shaman. This medicine man, also known as a balian [1] is responsible for the health of the tribe as well as interceding between the worlds.

During our time in Kuching I’d been glancing in shops without actually entering any of them. Among the streets of tourist trinkets, one store fascinated me. On the last day I made a beeline for that shop. [2]

And then I made a beeline for a shelf lined with containers topped by human figures.

Jerry Ang, the soft-spoken shop owner, kindly answered all my questions. He told me these were Dayak shaman medicine containers. The figures are hand carved from polished buffalo or cow bone. A shaman had hand-etched the jar with scrimshaw patterns. Dayak shamans used the containers to store herbs, magic powders and betal lime to make medical potions. Some still contained resins – Jerry and I opened each jar and sniffed.

The carved figure indicates the illness the potion was intended to treat. Some of the figures held their heads (aches and pains of the head) or their stomachs. Some figures even depicted a person crouched over… the traveler’s curse of diarrhea for sure.

My piece has a prawn carved on the back: Jerry thought maybe prawns were one of the main ingredients in the medicine. Or perhaps the prawn indicated the woman who made the potion (he said the figure was female), or an ancestor. An on-line source tells me the scrimshaw work represents animals that bring good luck. If anyone can give me more information, I’d be most grateful!

NOTES: [1] Balian is the term used for traditional healers on Bali, too. Healing arts are passed down through generations. Twenty years ago I did a massage exchange with the son of a balian there; he had been taught by his father. To learn more about the Dayak shamans go to http://factsanddetails.com. The article gives the following information: “Shamanic curing, or balian, is one of the core features of these ritual practices. Because illness is thought to result in a loss of the soul, the ritual healing practices are devoted to its spiritual and ceremonial retrieval. In general, religious practices focus on the body, and on the health of the body politic more broadly. Sickness results from giving offense to one of the many spirits inhabiting the earth and fields, usually from a failure to sacrifice to them. The goal of the balian is to call back the wayward soul and restore the health of the community through trance, dance, and possession.” [Source: Library of Congress, 2006] Or see Wikipedia: The Dayak People [2] See also Unika Borneo, the shop where I found my figure. I receive no commission for mentioning the store. I just think they deserve to be mentioned.  More figures can be admired at https://borneoartifact.com and https://www.esotericstuff.com

© Jadi Campbell 2019. All photos © Uwe Hartmann. To see more of Uwe’s pics from our trips go to viewpics.de.

Click here for my author page to learn more about my books and me.

Remembering How to Feel

I have to relearn how to feel. My mother-in-law went into the hospital with a lung infection for a long week and a half. She rallied, and returned to the nursing home. I finished my third novel Grounded and began preparing it for publication on Amazon. Then Mama grew weaker again. A few days later we got the call we’d been expecting. The home phoned and said that we should come. Uwe and I had the blessing of being at her side as she died. Less than 48 hours later, my book became available.

We were busy with all the details that follow a death. People had to be contacted, and a funeral arranged, and Mama’s body transported to the town where she would be interred next to Uwe’s father. We drove down to meet with the funeral hall director and a pastor, and to visit Mama’s sister and her family. We cleaned out her room in the nursing home, sorted through the little that remained, moved furniture. The book would wait. I’d celebrate its release later. And I wanted to stay strong and present for Uwe, because these are the moments when your partner is so much more important than anything else.

When we finally got done with all the details a few days ago, I turned my attention back to a very special project that will take place next Monday, June 6th. My first-ever writing commission has been to write a story to connect an evening of Gershwin songs. In February I wrote in a 2-week blaze of inspiration for NEAT, the New English American Theater in Stuttgart.  The four singers and a pianist rehearsed the songs. A Welsh actor will read my story. All I have to do is show up and sit in the audience and marvel and enjoy the talent on the stage.

I went to a rehearsal a few nights ago and heard my story spoken aloud for the first time. It is a surreal experience to hear one’s creative work interpreted and combined into a greater artistic work. I was speechless as I watched and listened. Up to that night, I’ve been numb. I figured I could finally allow myself to feel proud, to be satisfied with all the hard work I’ve done with my writing. I gave myself permission to be excited about my book and the Gershwin evening. But when I let myself open up to feeling something emotional, a tidal wave of grief hit me. I’m mourning my mother-in-law of course. I’m grieving for her, even knowing she was ready to go and had given us the gift of waiting until we got to her bedside to leave us. One of us, Uwe or I, have visited her pretty much every other day for the two years that she lived in the nursing home near us. I don’t have to feel bad about not seeing her enough, or caring enough. But I write this in the present tense, because it’s all occurring in real time still. The birth of my book, the death of Mama, the use of my words to connect the magic of timeless songs, it all weaves together for me, I can’t separate out any of the strands. I’m a hot mess, trying to remember how to feel again. I remind myself that any one of these emotions is huge, fraught with anticipation and months or years of living and taking form and interconnecting with hopes and expectations. Love, sorrow, hope, creativity, illness, dying, death, coming into being, leaving this earthly plane…. Trying to remember how to feel any one of these emotions, let alone all of them all at once, overwhelms me.

But mostly, mostly, perhaps what I feel is gratitude. To know what I have in my mother-in-law and my art. To literally feel in body and soul how it all connects. To be able to feel again, even if it leaves me in tears.

And to know I’ve got a lot more tears in me.

NOTES: In loving memory of Margaretha Hartmann.

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