BSA A10 Golden Flash 650


Make Model

BSA A10 Golden Flash 650



Air cooled. four stroke, parallel twin, OHV, 2 valve per cylinder.


Bore x Stroke 70 X 84mm
Compression Ratio 9.0:1


Single Amal carburetor

Ignition / Starting

Lucas magneto /

Max power

35 hp @ 5500 rpm

Max Torque

Transmission / Drive

4 Speed / chain

Front Suspension

Telescopic forks

Rear Suspension

Front Brakes


Rear Brakes


Front Tyre


Rear Tyre



425 lb

Fuel Capacity

Overview Motociclismo

Aprilia SL 750 Shiver

Engine Type V Twin
Cylinders 2
Engine Stroke 4-Stroke
Cooling Liquid
Valves 8
Valves Per Cylinder 4
Valve Configuration DOHC
Compression Ratio 11:1
Starter Electric
Fuel Requirements Premium
Fuel Type Gas

Transmission Type Manual
Number Of Speeds 6
Primary Drive (Rear Wheel) Chain

Wheels & Tires:
Front Tire (Full Spec) 120/70 ZR17
Rear Tire (Full Spec) 180/55 ZR17

Front Brake Type Dual Hydraulic Disc
Rear Brake Type Hydraulic Disc

Technical Specifications:
Wheelbase (in/mm) 56.7 / 1440
Fuel Capacity (gal/l) 4.4 / 16.7



Cerita Rakyat

- Asal Usul Tari Guel (Aceh)
- Jejok (Aceh)
Nanggroe Aceh Darussalam (1)
- Sumatera Utara (1)
- Riau (4)
- Kepulauan Riau (3)
- Bengkulu (4)
- Sumatera Selatan (1)
- Bangka-Belitung (1)
- Lampung (3)
- Banten (1)
- DKI Jakarta (9)
- Yogyakarta (6)
- Jawa Timur (8)
- Nusa Tenggara Barat (1)
- Kalimantan Tengah (1)
- Kalimantan Timur (11)
- Kalimantan Selatan (1)
- Sulawesi Selatan (3)
- Sulawesi Tengah (1)
- Murtado Macan Kemayoran (DKI Jakarta)
- Legenda Batu Kuda (Cibiru, Jawa Barat)
- Carita Pantun Kembang Panyarikan (Jawa Barat)
- Semangka Emas (Sambas, Kalimantan Barat)
- Ki Bodho (Yogyakarta)
- Gunung Bagus (Yogyakarta)
- Goa Nagabumi (Yogyakarta)
- Gunung Genthong (Yogyakarta)
- Nyai Andan Sari dan Kyai Guru Soka (Yogyakarta)
- Retna Lestari (Yogyakarta)
- Begawan Selapawening (Yogyakarta)
- Asal Mula Kanjeng Kyai Plered (Yogyakarta)
- Joko Umbaran (Yogyakarta)
- Keong Mas (Jawa Timur)
- I Teruna Tua (Bali)
- Bu Perjan (Bali)
- I Cikampeng (Bali)
- Ni Timun Mas dan I Lantang Hidung (Bali)
- Nang Butuh Mosel (Bali)
- Raga Dundang (NTB)
- Asal Usul Lintah (NTB)
- Tuan Guru (NTB)
- Tempiq-Empiq (NTB)
- Sundari Bungkah (NTB)
- Sari Bulan (NTB)
- Datu Pejanggiq (NTB)
- Bertanding Bicara (Sulawesi Selatan)
- La Tongko-tongko (Sulawesi Selatan)
- Makam Embung Puntiq (NTB)
- La Kuttu-kuttu Paddaga (Sulawesi Selatan)
- Si Baik Hati dan Si Busuk Hati (Sulawesi Selatan)
- Pelanduk dengan Macan (Sulawesi Selatan)
- Bolampa (Sulawesi Tengah)
- Tau Niulaya Nu Bau (Sulteng)
- Datu Pamona (Sulawesi Tengah)
- Asal Usul Raja Taura (Sulawesi Tengah)
- Sang Kancil dengan Buaya

Native Tattoo Meanings and Customs

By: Mark Jordan

Today many parents panic if their child gets a tattoo at some point in their life. Many think of it as a degrading practice that symbolizes rebellion. But it should be remembered that tattooing was and is an art that came naturally to various native peoples for hundreds of years. Tattooing has been a native custom in many tribes or races across the world, although the origin of it varied within each tribe or race. The Tattoo, over the years, has signified caste, citizenship, servility, pride or marital status for many races.

In the Hawaiian Islands tattooing was common prior to 1800 and would indicate what tribe or district you came from. The material used for coloring in native tattooing was vermillion, carbon, gunpowder and indigo. These were embedded in the skin with sharp knives or hand-made needles. Members of the Tucanoe tribe were known for three vertical blue lines tattooed on the body. This was an indication they belonged to that tribe.

In the South China Sea area where Borneo, the Philippines, Sumatra and Java are, tattooing was also common among the natives. In Borneo, members of the Kyan, Pakatan and Kermowit tribes were the only tribes where everyone was tattooed. Oddly, they were considered the least brave tribes in the area. Still their tattoos indicated they were part of a particular group. Another Borneo tribe, the Dyaks, tattooed all of the married women, usually on the hands and feet and possibly the thighs. It was considered a privilege for the married woman and a sign of dignity.

In the Polynesian Islands such as Tahiti, a tribe known as the Otaheites appeared to tattoo themselves for religious significance. Common tattoos among them were squares, circles and crescents, along with men and dog tattoos. In this tribe every person was tattooed without exception as they reached adulthood. In Fiji only women were tattooed in a tradition dating back hundreds of years. It was believed that they were tattooed more for adornment than any other reason. A tattoo was seen as a decoration that beautified the women in preparation to find or keep a husband.

Among native Australian tribes it was common, and is today, to tattoo yourself with the group’s totem, Otherwise known as a Wingong. A totem was a creature, plant or animal that the tribe believed they descended from. It could be a turtle, elk, owl, Cray-fish or snake, for instance. It might be considered the tribe’s logo.

In Burma tattooing has always been a sign of manhood. Early explorers of the islands saw almost no man without a tattoo. The leg was a popular spot to have one. It was witnessed that tattoo artists would go around with books of designs which contained every symbol for warding off any kind of evil or for bringing good luck.

Native American tribes were advocates of tattooing. The married women of the Apaches and Yumas in Arizona traditionally were distinguished by a tattoo consisting of several blue lines from the lower lip to the chin. It was also known that when a young female was wishing to become a mother, she would tattoo the figure of a child on her forehead. As well, Mojave women, after marriage would tattoo vertical blue lines on their chin.

Within native tribes and in specific geographic locations, the art of tattooing has been a long tradition. In the modern world the tattoo is used more for personal decoration of the body, and personal meaning than it is for customary 'tribal type' purposes such as designating a group, although violent gangs many times have a common tattoo. For most it is popular to merely acquire a tattoo that has a personal meaning, and for others it is simply a fancy adornment.

Mark D. Jordan, a native of Pennsylvania, is a researcher and writer with hobbies spanning from genealogy to Celtic culture. Other Tattoo information can be found at



- Membeli Bensin Kretek- Tanpa Sadel
- Ada Gondoruwo-
- Coca-Cola Advertising- Onta Padang Pasir
- Tiga Orang Gila dan Polisi- 3 sekawan: Kura, Katak, Ulat

- Pelaut Pulang Ke Rumah- Lagi 'M'
- Alasan Mengapa Saya Dirawat di RSJ-
- Mengisi Formulir Lamaran Pekerjaan- Begitu Saja kok Dimasukkan Hati
- Kelompok Sudah dan Belum- Gajah Nelpon
- Ditilang Pak Polisi
- Setara dengan 500 Kilogram Dinamit- Kisah Mat Punk
- Kisah Razak Membeli Ayam Panggang- Kisah Tiga Anak Dara
- Lumba 3 Ekor Pontianak-
- Pemabuk- Jatuh
- Mulut Atas dan Mulut Bawah-
- Susu dan Garam-
- Belajar Lawan Kata- Pasien Pertama Seorang Dokter Praktek
-- Apapun Agar Lulus Ujian...

Audiovox PPC5050 Pocket PC

Operating System:
Windows Mobile 2003
for Pocket PC Phone Edition


Processor Type:
Intel® XScale PXA250

Processor Speed:


3.5 inch, color transflective TFT

Number of Colors:
65,000 colors

Display Resolution:
240 x 320

73 x 129 x 18 mm (5.1 x 2.9 x 0.7 in)

176 grams (battery included), 6.7 oz

1500 mAh, Lithium-ion polymer (built-in)

Dual Band - CDMA/PCS


Expansion Slots:

IrDA, USB cable


Audiovox PPC4100 Pocket PC

Operating System:
Windows Mobile 2003 for Pocket PC Phone Edition

AT&T Wireless

Manufacturer, Audiovox PPC4100 Support:

Processor Type:

Processor Speed:



Number of Colors:
65,000 colors

Display Resolution:
240 x 320

109mm (L) x 69mm (W) x 22mm (H)
(4.29" x 2.70" x 0.85")

158g (5.57 oz)

1480mAh Li Ion Removeable battery

GSM tri-band 850/1800/1900
GPRS Class B / Multi-slot Class10

SD/MMC Expansion Slot

IrDA SIR, USB Cradle


Borneo's Tattooed Women 'Warriors' – Weavers of The Skrang Iban

By: Lars Krutak

A European official noted in 1855 the fearsome reputation of the Skrang Iban of Borneo:

As far north as Brunei and as far south as Pontianak in Kalimantan, the effect was that people learned to run away on merely seeing these Iban…otherwise the result would surely be decapitation. Even children all along the coast expressed great fear when the name of the Skrang Iban was heard. Embroideries were made on the headhunters’ reputations, and such customs as hauling people with hooks attached to poles and then cutting their throats were attributed to them.

In traditional Iban belief, headhunting served to maintain the ritual prosperity of the longhouse by ensuring agricultural and community fertility. In an Iban allegory, trophy heads are described as containers of seed, which have the object of enhancing the fertility of the hill rice, the Iban’s staple food.

This 'seed' [head], explains Shaman Guyak, says it is angry and crying, as it wants to be planted like young banana plants. This 'seed', explains Shaman Lambong, wants to be harvested as are the yams that are planted deep in the soil.

Although severed heads were construed as phallic in nature, it was the flowing blood that represented the life-giving symbol. And in the eyes of the Iban gods and deified ancestors, the taking of fresh heads was not only pleasing; it was also rewarded with many gifts. In response to headhunting, for example, the divine indicated locations in the forest where rice fields should be cleared and planted; they protected the rice fields against crop failure; they lent their diagnosis in times of illness; and they accompanied men in war or on the headhunt to insure success.

For the Skrang Iban, headhunting was an institution believed to maintain balance and harmony in the cosmos. And oftentimes a man’s status was not established until he had proven success in headhunting itself. Such proof not only came in the form of a severed head that would hang from the rafters of the longhouse, but later from the completed tattoos (pantang) that were lasting symbols of his participation in the human hunt.

But just as a great warrior was tattooed to mark his achievements in headhunting, Iban women were tattooed as proof of their accomplishments in weaving. Although many Skrang Iban women were accomplished weavers, gaining prestige and enhanced status through their labor-intensive work, only a few were truly experts, able to produce the sacred pua kumbu' blanket that contained the most powerful and intricate designs
and colors.

Iban Women's War
Weaving pua blankets was a hazardous spiritual undertaking, and was considered as important as the headhunting rites practiced by warriors. The Iban called it "women’s war" (kayau indu'), because dyeing the cotton yarn in the blood-red color was dangerous, since this natural red dye – like blood – attracted spirits that might bring trouble or death to the weaver, the weaver’s family or even the entire longhouse itself. Typically speaking, only one in 50 women even knew how to make the crimson liquid or "knew the secret of measuring out the drugs in order to obtain the rich color" (Orang tau nakar tau ngar). It was precisely these women who were allowed to be given special tattoos, ones that worked as kinds of protective devices.

As noted, the most important of Iban fabrics was the sacred blanket called pua kumbu'. Puas had several uses, the most significant being to receive freshly severed human heads captured by Iban warrior men. Iban shamans (manang) used puas too. They created sacred enclosures with them, sitting under their puas in anticipation of the arrival of their spirit-helpers (petara). Petara were summoned before wars, headhunts and healing ceremonies.

The entire process of creating a pua required great mastery and patience, not to mention ritual knowledge and actions, including the sacrifice of a pig or chicken whose blood appeased the spirits. Each woven design was vested with its own meaning and spiritual energy, and weavers were compelled to follow a type of ritual etiquette when conducting their work at the loom to avoid personal or collective disaster. For example, if a weaver overstepped her weaving competency, she risked invoking the wrath of spirits who could render her layu or “wilted.” If a weaver created a pua with anthropomorphic spirit figures (engkaramba) in the central panel, these had to be carefully "fenced-in" with centipede (kemebai) bands and strong top, bottom, and side designs. Otherwise, the spirits might break loose from the cloth and cause disharmony and misfortune in the longhouse.

Like Iban tattoo artists (who were men), weavers employed the use of many protective charms in their work, usually small sacred stones, porcupine quills or even meteorites. Generally speaking, the locations of these objects were revealed to the weaver by ancestors in their dreams. Weavers also fortified themselves against evil spirits by biting on pieces of steel to strengthen their souls. Furthermore, they communicated with spirit helpers (antu nulong) in their dreams to prevent irritating other spirits that were to be represented in a new textile and to advance their "psychic strength", especially if the pua was related to headhunting. Such supernatural communications also protected weavers from those spirits attracted to the blood-red dyes used in their pua creations which were nearly equivalent to human blood.

Obviously, pua weaving was a hazardous physical and spiritual undertaking. And for this reason it was considered complimentary to men’s headhunting practice. Expert weavers not only participated metaphorically in “war,” they also gained prestige and enhanced status for their spiritually charged textile works, not to mention the attention from bachelors living in the longhouse community!

Expert weavers who participated in “women’s war” were both socially and ritually marked, like headhunters, with small marks on the fingers or other tattoos that covered the thumbs. However, master weavers, or those who possessed the highest powers, were afforded another form of tattoo; one which specifically conveyed spiritual protection to its owner – the pala tumpa' or "head of bracelets" tattoo.

Although extremely rare today, pala tumpa' is both a tattoo and sometimes an heirloom passed from mother to daughter. The tattoo takes its name from the position on the body where it is placed, usually on the forearm, where successive rows of traditional bracelets were worn. Of the few that I could locate in Iban country, the scorpion (kala) and centipede (kemebai) motifs seemed to dominate each pala tumpa' design. I was told that each creature is believed to be a protective symbol, as they are among other indigenous peoples living in Indonesia, Papua New Guinea, the Philippines and Polynesia.

However, with changing lifestyles and values, the most powerful puas and tattoos associated with weavi ng have become obsolete. Contemporary weavers are converting to commercial ready-dyed yarns and tourist motifs, and pala tumpa' tattoos are now only worn on the arms of a few elderly experts. Sadly, 'women’s war' and the tattoos associated with it are being invaded by changing times. And within the next generation, perhaps both spiritual art forms will disappear forever.

Apache Puberty Rite

By: Rico Leffanta

Although most Southwestern Indian groups believe they emerged from the center of the earth, Apaches believe N'dee ("The People") began when "Changing Woman" (Is dzán naadleeshe') was washed ashore and emerged from a sea shell.

"NA-IH-ES", the Apache puberty rite popularly called the "Sunrise Ceremony", dramatizes this creation story and, in the process, the girl becomes Is dzán naadleeshe' with Changing Woman's power to heal the sick and restore goodness among N'dee.

Like thespians around the world, Apaches know "To be Is dzán naadleeshe' act like Is dzán naadleeshe'!" so selection of the abalone shell is just as important as selection of eagle feathers and the diiyin who will direct every aspect of the ceremony (Diiyin is popularly translated as 'medicine man' by Christians who don't believe women can receive power from God (it seems Christian women can only receive power from the Devil, or dark side, so Christian women can become witches, but not Catholic priestesses, nor Mormon bishopesses, etc.); the correct translation is "one who has power").

These choices are not acts of reason, but inspiration, i.e., the diiyin will determine the most propitious time and place to hold the ceremony. If the skies open up and dump seven inches of rain onto the dance ground, churning the land into a river of mud, the Sunrise Ceremony isn't "rained out"; it becomes a sacred test of the girl's belief, her ability to withstand hardship, and to maintain control of her own destiny.

The only "set" for this ceremony is the Gowa'a, four poles lashed together, each aligned to one of the four sacred directions and decorated with appropriate symbols and/or artifacts. Their sacred purpose is indicated with eagle feathers strung above the entrance to the East. This recreates the time and place where Is dzán naadleeshe' became a woman.

It is said that one morning Is dzán naadleeshe' sat cross-legged in front of her gowa'a, praying with arms outstretched to the sun, bending low to touch Mother Earth on the North side, then on the South side, a challenging movement not taught in aerobics classes!

Because she was naked (At that time, there were no critics to censure our Creator's work, nor envious people demanding she must conceal her charms with fashions of their choosing, or be confined) eventually a red beam of light from the sun shot between her legs, penetrating her and causing menses (her first period).

Thus primed, 4-shortly thereafter she became pregnant and gave birth to Naye' nazgháné; ("Slayer -of -Monsters") and, 4-shortly thereafter, became pregnant and gave birth to Túbasdeschine ("Born-of-Water-Old-Man"), who made the world habitable for N'dee.

There is no question Is dzán naadleeshe' was one tough lady!

Women today just don't have the hide to rock back and forth on bare earth, so today, a tarp is usually spread on the ground with soft blankets piled on top and covered with a deer hide to which an eagle feather tied to a turquoise stone has been affixed.

In front of the blankets will be one large basketful of blessings (táts'aa' - the Apache "burden basket" favoured by museums around the world) in the form of goodies the diiyin will eventually pour over the girl's head, a small basket of cigarettes for blowing smoke to the spirit world, and a basket of a good-medicine pollen mixture N'dee will use to bless the Ga'an ("Crowndancers") and the girl during the ceremony. Stretching East in a neat line from the baskets will be boxes of food, soda pop, and snacks. People who attend the ceremony without an invitation should have the courtesy to contribute a watermelon, case of soda pop, etc. to this line of goodies.

The girl will always face East, so her family will always be on her right (South) and her sponsor(s) will always be on her left (North).

The diiyin and singers will be standing directly behind her, covering their mouths as they sing so malevolent spirits can't sneak in to create mischief whilst the singers mouths are open.

As a sacred ceremony, it is improper for anyone to get between the girl and the sun or to block the stream of sunbeams, so traditional Apaches and guests never go on the east side, where white people invariably go with their 50-yard-line attitude that it is best to be in the dead center to see all the action.

Until recently, photography was forbidden - and it is likely to be banned again because so many white people stick a tripod and camera/video camera on the east side. They would, I'm sure, be upset if some tourist stuck a video camera on a tripod in the middle of the altar inside their church during a ceremony, but because the Ceremony isn't being held in their church, they think it is OK to desecrate someone else's sacred ceremony.

Apache Ga-an (called "Devil Dancers" by Christians, otherwise known as "Crowndancers") invariably arrive to purify the site.

Ga-an are impersonators of Mountain Spirits who, like disciples of Christ, are charged with using instruction and guidance to banish evil.

It is easy to identify children of traditional Apaches because, like Christ and Santa Claus, the Ga-an "know when you've been bad or good", so the Ga-an need only stop or stare at anyone with a guilty conscience and that kid will take off running like a jack rabbit with a coyote at its heels!

As everyone will witness, when the clown targets evil, its a 4-Ga-an conclusion evil will retreat, just as missionaries do when they see the Ga-an in action!

Although "Everything must be done exactly as it has always been done", Ga-an dancing with evergreen boughs is rarely seen anymore because 20th century Apache skin does not deflect pine needle punctures like 19th century Apache skin!

Also, to the horror of Christians and government agents everywhere who insist the required "camp dress" is now "traditional", the girl dancing in this photo is just wearing buckskin, exposing bare arms and who-knows-what-else to view!

As a sacred ceremony, I don't think its proper to reveal all to non-traditional Apaches. There are several books and papers purporting to reveal all the secrets of NA-IH-ES and Apache medicine, none of which I would recommend. Some of them quote sources of information who are not Apache, and others quote Apaches who have no real knowledge, or tell people just what they want to hear.

Why do Catholics cross themselves? Non-Catholics around the world have been to the movies and "know" Catholics cross themselves to ward off vampires and other malevolent spirits.

Catholics were outraged to find "their" cross was a sacred symbol to Native Americans, but found it better to kill them as heretics than to discover what the cross meant to a Native American. So, it seems to me, if you really want to know the secret rites and rituals, go to the source and apprentice yourself to an expert. A mushroom in one hand brings delight, in another hand, it kills, and always bear in mind that diiyin are people, and as such, they have good days when everything goes exactly as planned, and they have bad days when nothing seems to work and the limits of their power are truly tested.

The purpose of these pages is simply to reveal that, in Apache eyes, having a period doesn't make a girl into a woman. She must satisfy herself, tribal elders, the community, and the spirit world that she has earned the right to be recognized as a woman!

To a modern Apache girl, earning that right is not a bed of roses! She will be busy throughout the four holy days (and nights!), unable to wash herself, scratch herself (except with the anointed stick) or drink (except through the anointed tube).

She won't be able to stop when she wants a break, sit when she is tired nor enjoy many other "freedoms" today's youngsters take for granted.

The girl can count on the support of a friend who previously completed her own Sunrise Ceremony.

She can also count on her sponsor and all the tribal women- especially the elderly! - keeping a keen eye on her, looking for the slightest flaw in her "performance", and each one will take delight in being the first to notice it! If her hands are not held exactly right, if her posture slumps one little bit, or her head is tilted, or her cane doesn't strike the ground exactly right, or the bells don't tinkle loud enough, or for almost every conceivable reason the girl may be criticized - or remembered forever after - for not doing something exactly right!

So this ceremony is not only a reminder of history, clan, traditions, etc., nor just a test of physical stamina and discipline, it is also a critical test of the girl's social skills.

In the days of Geronimo, Apaches were in control of their lives and at home in their environment, so it was relatively easy to hold NA-IH-ES as required.

Today, legislation controlling eagle feathers and other endangered species (plants and animals) makes planning a ceremony an expensive, time-consuming bureaucratic nightmare!

Congress has made it abundantly clear that "Freedom of religion" does not extend to Native Americans!

In fact, many ceremonies - including the Apache puberty rite for boys, are prohibited by law. Diiyin are prohibited from designating the place for a ceremony because now there are laws governing public assembly, EPA, etc., laws which - in some abstruse way - do not apply to Evangelists who want to hold a revival on the Reservation!

For this reason, many NA-IH-ES ceremonies are held at the "Old Fairgrounds" where Christians and the BIA can observe and list the names of "sinners" and "miscreants" clearly unsuitable for employment, and complain about the noise of drums and singing wafting up and down the river, and echoing off the cliffs.

Nothing irritates a Christian more than seeing other people enjoying life, especially when those people are spending money the churches need in tithes! After Caesar has been paid and everything settled to government satisfaction, the four-day ceremony begins with a sweat bath in the morning, after which the girl's accoutrements are fashioned and the sponsor(s) sends a gift of prepared food to the girl's camp.

As the sun sets, bikee'ilzéé ("Dressing Her") begins; the diiyin sets out the girl's accoutrements (feathers, shell, pick stick, drinking tube, scarf, buckskin, and cane) and gives her instructions and guidance whilst her sponsor affixes the accoutrements.

Prayers are proffered, the sun sets, and the girl begins her dance into history.

Before sunrise of the second day of the ceremony, the diiyin and both camps are busy preparing for the l-o-n-g day and night they face, because all must be ready when the girl begins dancing at sunrise.

This part of the ceremony is called bildeenilkéé translated as "All alone she dances"

In fact, she invariably begins dancing with an experienced friend, i.e., one who has already experienced her own NA-IH-ES. It is not unusual to find the girl dancing by herself on the third morning of the ceremony simply because everyone else ran out of steam during the previous day - or night!

The diiyiin usually stands behind the girls, leading the singers in gohzhoosih ("Songs of harmony" i.e., beauty, goodness, etc.), groups of 4 songs (chants) which Apaches believe were originally sung by Is dzán naadleeshe'.

No one seems the least concerned that songs composed and sung by "Changing Woman" are now sung by men (I have never seen a woman singing with the singers. Apache men tell me that is because Apache women can't sing; Apache women say it is because men do the singing).

What is certain, is the girl must dance to each of the songs, and must dance to the complete satisfaction of all who attend the ceremony.

Opthamologists would cringe at the mere thought of a girl, head held high, eyes fixed on the rising sun, dancing hour after hour after hour staring into the sun, but she has no respite!

She can't run off to the toilet when her bladder wants to go. She can't sit down where she is, never mind sitting under the shade of a tree! She can't squat to give her legs a rest; she must stand straight and tall, dance correctly to every beat, ensuring her cone bells jangle with the required vigor, knowing critical eyes are watching every move she makes, looking for any hint of an expression which might reveal fatigue, dehydration, or any other sign of weakness.

The more she dances, the higher the sun rises, and the hotter she gets under her heavy buckskin and campdress. Sometimes her friend will use a beautiful handkerchief to wipe the salty sweat dripping into her eyes. Invariably the eyes of that friend will register that concern, the compassion, and empathy for the girl's personal struggle to continue dancing with honour.

After a few hours of watching the girl dance under the hot sun (or pouring rain) non-Apaches usually comment, "Even if I was born an Apache, you would never get me to do that!" - especially after the friend is relieved from "duty" by the Sponsor, and the Sponsor doesn't offer empathy, but demands renewed performance to the required standard!

After the requisite songs have been sung, the girl gets to "sit". Some girls sit crosslegged, but most girls will kneel (which makes it more challenging to be penetrated by a shooting red sunbeam, but satisfies modern morality). Either way is most uncomfortable because niztah ("sitting") recreates that moment in time when Is dzán naadleeshe' was penetrated by a sunbeam. During the requisite groups of four songs (chants), the girl must hold her hands in an acceptable way at an acceptable height swaying from North to South in an acceptable manner.

The girl is likely to be frequently corrected by the Diiyin, her sponsor, or any number of women during this stage of the ceremony.

You won't find this movement in any exercise routine because it is very physically challenging, especially after a few repetitions!

Niztah is the most photographed part of this ceremony, possibly due to the variety of expressions which flit across the girl's face, often ranging from agony to ecstasy.

All eyes are riveted on the girl as she sways back and forth, but the most interesting eyes are those of pre-pubescent girls questioning their own ability to do Niztah!

It is difficult for me to chose the "best" niztah photograph. The University of Arizona Press chose this one for the cover of "ARIZONA: The Land and The People" because they liked the expression on Jerilyn Gloshay's face; I like it because if ever there was to be a photograph of holy hands, Jerilyn's beautiful hands - open to the light of heaven - would be my choice. Clearly the hands of an healer, not an handmaiden!

I took many photographs of Tonita Hill, who must be the only girl in Apache history who could consistently sway from touching Mother Earth on the North to touching Mother Earth on the South; it doesn't seem humanly possible to bend so low, song after song.

I have one photo of Tammy Thomas the tabloids would probably pay a pretty penny for because in that photo, Tammy looks exactly like Sophia Loren instead of a young Apache girl.

But no matter how wonderful their performance, how magnificent their dress, nor how inspirational the moment may be, the memory which endures is the look in their eyes, that honest expression of a glorious world we all believe must exist.

After hours of strenuous movement, niztah ends, and the girl can look forward to a massage.

That sounds great, but niztii ("lying") isn't some grand adventure in lomilomi land! As can be seen in this photo, the massage is placing a moccasined foot where it can do some good, i.e.stepping on strained/sore muscles to make the girl fit for her next physical challenge.

People usually think the girl must be grateful for an opportunity to lay down, but if you look closely at this photo, you will see Gail Case is straining to keep her head up high in the required position.

Try that for a minute or two, then imagine yourself doing it through the required groups of 4 songs/chants with someone stomping all over your body!

After her "refreshing" massage, the girl gets to race against time.

Gishshizhaahá bidaa leedilyee ("Cane set out she runs around it")

requires the girl to dance, then run around a cane and back to her position so fast no one can catch her.

Each time she succeeds, the diiyin doesn't reward her by moving the cane closer and making it easier for the fatigued girl; the diiyin - oviously using inspiration as a guide - moves the cane further and further East, so she can run further and faster! After four times of running around the cane to the East, she gets to run around the cane to the South, West, and North.

Those who grow weary of chasing her may stop to rest, but the girl must continue to outrun their replacements!

I well remember the Apache runner, Heidi Quesada's NA-IH ES because Heidi ran around the cane so fast she was back in position before the dust hit the ground!

When Heidi ran to the West, she was back in postion before anyone else reached the cane!

After outrunning everyone and continuing to dance under the hot, desert sun, the girl faces what many girls describe as the most frightening part of the ceremony:

kéni naayiziid ("Candy, it is poured").

Not many people are willing to risk a camera by trying to take a photo of the "burden basketful of blessings" being dumped over the girl's head.

The instant the diiyin turns over the burden basket, hands appear from every conceivable direction to snatch the blessings (usually in the form of coins, candy, gum, etc.).

Some girls are clearly terrified by the sudden sea of hands thrust in their direction!

Not surprisingly, Apaches are not accustomed to being mobbed! - or being among so many outstretched hands in such a small area.

And, as if she wasn't hot enough, being completely enveloped by hot, sweaty bodies usually leaves the girl gasping for fresh air. But that air will be filled with dust caused by people rushing to grab every bit of food from the long line of blessings which once stretched East to her cane.

But, as every Apache knows, time continues to pass and her circumstance will change.

So in no time at all, she is back in position, dancing, whilst cigarettes and pollen are distributed for the next stage, baana'ildih ("Blessing her").

By this stage of the ceremony, the girl is well on her way to becoming an Is dzán naadleeshe' impersonator, i.e., a temporary recipient of Changing Woman's power.
If the girl is considered to have great power, or comes from a large family, or has some standing in the community, her trial is just beginning.

She must continue dancing whilst everyone queues up to bless her, then her sponsor, then the diiyin and finally, the eagle feather on the buckskin, a ritual blessing which sometimes seems to last for ever !!!! - especially when many people attend the Ceremony!

First she will be blessed by the Diiyin, who will sprinkle an handful of pollen-based good-medicine over her head, as can be seen in this photo of Apache Diiyin Bert Hinton blessing a girl.

Then prayers are offered whilst sprinkling the power over the sponsor. Then prayers are offered whilst sprinking power over the diiyin. Then prayers are offered whilst sprinking power over the eagle feather.

Some people find more to pray about than others, so sometimes it appears the line doesn't move at all, yet the girl must continue dancing, healing, keeping the power flowing.

Behind the Diiyin will be singers or other people of power, then usually men, followed by women, and in between the sick in mind and body seeking the healing touch of Is dzán naadleeshe'.

Much has been written about NA-IH-ES healing, but most of it differs from what I have actually observed, e.g., the girl DOES hold a sick baby (and lifts it up high above her head), and the girl WILL touch and massage a patient's body when directed to do so by the Diiyin. The fact that, after hours of activity under the desert sun, having the strength to lift anyone is quite an accomplishment!

Similar to most healing ceremonies, when the power is there, it is evident and everyone feels better for being there.

After blessings are finished, everyone but the clean-up crew return to their camps for more singing, dancing, and preparation for the night ceremony. The clean-up crew remove all the rubbish,unload and pile up all the firewood, then lay out the site so people can navigate - and dance - safely in the black of night.


Pantai Pangandaran (Ciamis, Jawa Barat)

Ciamis merupakan salah satu kabupaten yang ada di Provinsi Jawa Barat. Di sana, tepatnya di Desa Pananjung, Kecamatan Pangandaran, sekitar 92 kilometer arah selatan Kota Ciamis ada sebuah pantai yang bernama Pangandaran. Pantai yang menjadi obyek wisata primadona Jawa Barat ini konon sudah cukup terkenal sejak zaman penjajahan Belanda. Bahkan, pada zaman pendudukan Jepang salah satu bagian dari Pantai Pangandaran, yaitu di Teluk Pananjung pernah digunakan sebagai tempat pendaratan dan sekaligus tempat persembunyian tentara Jepang yang berupa goa-goa. Untuk dapat menuju lokasi Pantai Pangandaran yang berjarak sekitar 236 kilometer dari Kota Bandung, dapat dicapai melalui dua rute (menggunakan angkutan umum). Rute pertama, dari terminal bus Cicaheum menggunakan bus jurusan Bandung-Pangandaran atau bus-bus antarkota lain yang melewati wilayah pantai selatan Pulau Jawa. Namun, apabila menggunakan bus yang bukan langsung ke Pangandaran, maka sesampai di terminal Banjar harus berganti bus yang menuju ke Pangandaran. Sedangkan, rute kedua menggunakan kereta api ekonomi dari stasiun Kiaracondong hingga ke stasiun Banjar. Kemudian, perjalanan dilanjutkan dengan menggunakan bus umum hingga ke Pangandaran.

Kondisi Pantai
Pantai Pangandaran sangat istimewa karena berbentuk semenanjung atau lebih sederhananya adalah sebuah daratan yang menjorok ke lautan, sehingga sewaktu pagi dari sisi sebelah timur dapat melihat terbitnya matahari (sunrise) dan sore harinya dari sisi sebelah barat dengan jarak tempuh yang tidak begitu jauh dapat melihat terbenamnya matahari (sunset). Disamping itu, pantainya yang landai dengan airnya yang jernih serta pasang-surut air lautnya yang relatif lama, memungkinkan para pengunjung untuk berenang, meskipun sebenarnya ada larangan untuk berenang karena Pangandaran merupakan bagian dari pantai selatan Pulau Jawa yang terkenal mempunyai ombak besar dan sering memakan korban.

Daya tarik lainnya yang cukup menjanjikan sebagai kawasan tujuan wisata adalah adanya kegiatan-kegiatan, seperti: upacara hajat laut setiap bulan Muharam dengan melarung berbagai macam sesajen di Pantai Timur Pangandaran yang dilakukan oleh nelayan setempat sebagai perwujudan rasa terima kasih mereka terhadap Tuhan Yang Maha Esa; dan festival layang-layang internasional (Pangandaran International Kite Festival) pada bulan Juni atau Juli.

Sebagai catatan, bagi wisatawan yang ingin mengunjungi tempat wisata lain, tidak jauh dari Pantai Pangandaran masih ada beberapa obyek wisata lain yang cukup menarik, diantaranya adalah: Pantai Batukaras, Pantai Batu Hiu, Pantai Karang Nini, Pantai Lembah Putri, Pantai Keusik Luhur, Pantai Karang Tirta, Goa Donan, Pemandian Alam Citumang, Cukang Taneuh, dan Cagar Alam Pananjung.

Fasilitas Pantai Pangandaran
Fasilitas penunjang obyek wisata Pantai Pangandaran tergolong lengkap. Misalnya, bagi pengunjung yang ingin mengelilingi kawasan Pantai Pangandaran, dapat menyewa sepeda santai atau kendaraan bermotor roda empat dengan harga sewa yang cukup bervariasi, mulai dari Rp35.000,00 hingga Rp50.000,00 per jam, sesuai dengan model dan ukuran. Tempat penyewaan berbagai kendaraan tersebut dapat ditemukan dengan mudah di sepanjang jalan di kawasan obyek wisata ini.

Sementara, bagi pengunjung yang ingin berkeliling sambil menikmati pemandangan alam di pantai secara bersama-sama, dapat pula menyewa jasa pengantar pengunjung menggunakan delman atau dokar wisata. Dan, bagi yang ingin berlayar dapat menyewa perahu wisata milik para nelayan. Perahu wisata ini sebenarnya adalah perahu yang biasa digunakan oleh para nelayan untuk melaut yang telah dimodifikasi dengan memakai tenda agar para penumpangnya dapat menikmati panorama pantai dengan nyaman.

Beberapa hotel di Pangandaran juga menyediakan peralatan-peralatan untuk olahraga air, seperti parasailing, jetski, wind surfing, scuba diving, snorkling dan lain sebagainya. Namun, bagi pengunjung yang ingin melakukan olahraga air seperti tersebut di atas harus mentaati petunjuk-petunjuk dari petugas penjaga pantai agar keselamatannya terjaga.

Pengunjung juga dapat menikmati aneka masakan laut di restoran-restoran atau rumah makan yang ada di tempat wisata ini. Menu santapan pun dapat dipesan sesuai selera. Mulai dari ikan bakar, kepiting rebus, hingga udang tepung. Ikan-ikan laut tersebut langsung berasal dari Tempat Pelelangan Ikan (TPI) yang terletak di Pantai Timur Pangandaran. Sebagai catatan, selain dijual ke restoran-restoran, sebagian ikan-ikan yang didapat oleh para nelayan Pangandaran itu juga diolah untuk dijadikan makanan khas pangandaran, yaitu Jambal Roti (ikan yang diawetkan dengan cara diasinkan).

Selain berbagai fasilitas di atas, masih ada berbagai fasilitas penunjang lainnya yang membuat kawasan wisata Pantai Pangandaran banyak dikunjungi para wisatawan baik dari dalam maupun luar negeri. Fasilitas-fasilitas tersebut diantaranya adalah: lapangan parkir yang cukup luas, pusat informasi pariwisata, pelayanan pos, telekomunikasi dan money changer, kios-kios penjual cinderamata, gedung biskop, diskotik, kafe, bumi perkemahan, pondok wisata, hotel dan wisma dengan harga yang bervariasi, mulai dari Rp50.000,00 hingga Rp250.000,00 untuk satu malam. (gufron)


2009 Yamaha V Max Base

Engine Type V4
Cylinders 4
Engine Stroke 4-Stroke
Cooling Liquid
Valves 16
Valves Per Cylinder 4
Valve Configuration DOHC
Compression Ratio 11.3:1
Starter Electric
Fuel Requirements Regular
Fuel Type Gas

Transmission Type Manual
Number Of Speeds 5
Primary Drive (Rear Wheel) Shaft

Wheels & Tires:
Front Tire (Full Spec) Bridgestone® 120/70 R18
Rear Tire (Full Spec) Bridgestone® 200/50 R18

Front Brake Type Dual Hydraulic Disc
Rear Brake Type Hydraulic Disc

Technical Specifications:
Wheelbase (in/mm) 66.9 / 1699.3
Fuel Capacity (gal/l) 4 / 15


Motorola VE66

Motorola VE66
GSM 850 / 900 / 1800 / 1900
103 x 49.5 x 15.2 mm, 68 cc
121 gram
TFT, 256K colors
240 x 320 pixels, 2.2 inches
Call records
Card slot
1000 contacts, Photo call
20 dialed, 20 received, 20 missed calls
110 MB storage, 256 MB ROM
Infrared port
Class 12 (4+1/3+2/2+3/1+4 slots), 32 - 48 kbps

Class 12

Wi-Fi 802.11 b/g, DLNA
v2.0 with A2DP

v2.0 microUSB
Linux / Java-based MOTOMAGX
500 MHz Freescale MXC275-30 processor
SMS, MMS, Email
Vibration; Downloadable polyphonic, MP3 ringtones
WAP 2.0/xHTML, HTML (Opera browser)
Stereo FM radio with RDS

5 MP, 2560 x 1920 pixels, autofocus, LED flash

MIDP 2.0
- Loudspeaker
- Navigation scroll wheel
- Screensavers and wallpapers
- Widgets
- MP3/ WAV/ WMA/ AAC++ player
- MP4/ WMV/ H.263/ H.263 player
- Push to Talk
- Predictive text input
- Organizer
- Calendar
- Alarm

Talk time
Standard battery, Li-Ion 810 mAh
Up to 400 h
Up to 6 h 40 min


Butterfly Tribal Tattoos

By: Lucy Watson

Butterfly tribal tattoos are now famous because it represents beauty, grace, refinement and fragility. There are different sizes and shapes of butterfly tattoo designs that are most loved by men and women. Butterfly tattoos also come in different color schemes that ranges from two-tones to colorful ones. Butterfly tattoos known for its unique, gorgeous and striking colors. Anyone who has a butterfly tattoo can be a head turner. For sure, you have seen or come across people with butterfly tattoos because people are going crazy about it.

Females choose butterfly tattoos because it symbolizes magic, metamorphosis, femininity and rebirth. Most women want their butterfly tattoos tattooed on ankles, shoulders, lower back area, upper back area, chest and armbands or just about anywhere. With the huge number of butterfly images available, it can take quite some time to choose the perfect butterfly tattoo design. People who have chosen butterfly tattoos may have gone through a transformative experience in life and want to express it in the form of butterflies.

Butterfly tattoos are so famous that even high profile celebrities are choosing it. Drew Barrymore has a butterfly tattoo under her navel. Britney Spears and Paris Hilton also have butterfly tattoos, which prove that butterfly tattoos are feminine tattoos. Nowadays, more and more women and even men are considering butterfly tattoos.

There are instances and traditions where butterflies are used to signify witches, abundance and divine love. If you wish to have a butterfly tattoo, choose the one that represents your personality. Aside from representing metamorphosis, butterfly tattoos also symbolize life, freedom or life after death. With all the different butterfly tattoo designs, you can absolutely choose one that reflects your personality.

Oftentimes, many people ask about the meaning of the butterfly. In some cultures, butterflies are recognized as a bringer of bad news or bad luck, while most people regard it as a symbol of new life or a new beginning. The earlier cultures believed that caterpillars die to give life to the butterfly, which made them assume that butterflies are bad luck. The latter focused on the rebirth of the caterpillar through the butterfly, which made the significance of the butterfly tattoo popular.

In Japanese culture, butterflies are known as the embodiment of one’s soul. In Chinese culture, the butterfly represents young love of a young heart. They believe that it is a symbol of grace and is associated with romanticism.

There are hundreds of tattoo designs such as Hawaiian tribal tattoos, tribal bear tattoos and so much more. However, why do most females prefer butterfly tattoos? Many females choose butterfly tattoo designs for its symbolism and specification while some people choose it because of its appearance, without ever knowing its representation. When you go to a tattoo parlor, you will find pre made designs of butterfly tattoos or you can have it customized. Butterfly tattoo is one of the most popular tattoo designs among females because it helps them to convey their feminine side. They can choose from small to big and bold tribal butterflies and still there are hundreds of designs to choose from.

Butterfly tattoos are often placed on the back. Other women put the butterfly tattoo on their ankles and wrist, or on their chest. However, there are no rules concerning where you want to put a tattoo. You can have it hidden under clothing if you are looking for a job because some companies have restrictions when hiring people with body art. Those who consider tattoo as a fashion trend show off their tattoos and make it visible for others to see. If you want to have a butterfly tattoo, make sure that you choose the best design that reflects your personality. Also, choose the perfect spot so that other people can appreciate it.



- Arkeologi Konflik Sosial di Indonesia
- Australia's Aborigines
- Bangles in Hinduism
- Benteng Burangasi
- Benteng Ujung Pandang
- Bentuk Nisan Islam di Indonesia
- Belize - Cultural Melting Pot
- Borneo's Tattooed Women 'Warriors' – Weavers of The Skrang Iban
- Butterfly Tribal Tattoos
- Baby Rites in India
- Bundo Kanduang Ibu Sejati Menurut Adat Minangkabau
- Caste, Class, and Community in India
- Culture and Economy: the case of the milk...
- Calligraphy-The Arf of Handwriting
- Costum and Traditions in Britain
- Contemporary Shamanism
- Culture of Malaysia
- Conflict of Identities: The Case of South Africa's Cape Malays
- Consequence of Rakhi Festival in India & Gift Traditions
- Dances in India: Te Celebration of a Rich Culture
- Early Mexican History
- Empat Arca Perunggu Awalokiteswara
- Food Culture in China
- From Canadian corporate … to transnational…
- From "Melayu Patani" to "Thai Muslim": The…
- Gapura Bajangratu
- Aztec and the City of Tenochtitlan-A Brief History
- Kalpataru
- Gapura Bersayap di Kompleks Sendang Duwur (Jawa Timur)
- Genta Perunggu Zaman Hindu-Budha di Indonesia
- Goa Pawon (Jawa Barat)
- Gender Sensitivity Among Nigerian Ethnic Group
- Geisha: Flowers of the Willow World
- Hobbit Indonesia lebih Mirip Kera daripada Manusia?
- Hawaiian Arm Tattoo and Hawaiian Armbands
- History and People of Papua New Guinea
- Human Observation and Moroccan Cultural Residue
- Haiti Voodoo
- Identitas dan Pluralisme Budaya Melayu-Aceh
- Islam and The Malay Shadow Play
- Indonesia: Sebuah Budaya Kekerasan
- Indian Baby Names - Blending The Modern, Traditional and Religious
- Istana Kesultanan Ternate
- In the Realm of Spirits: Traditional Dayak Tattoo in Borneo
- Japanese Language Accelerated Learning Techniques
- Japanese Traditional Clothing
- Japanese Baby Names
- Japanese Zodiac
- Jelajah Manusia Prasejarah di Desa Wates (Lampung Selatan)
- Kebudayaan Mentawai Tidak Mengenal Logam?
- Kebiasaan Menginang pada Masyarakat Kalimantan Timur
- Ketupat sebagai Karya dan Ungkapan Budaya
- Orang Butun di Perairan Riau...
- Kekerasan Militer di Indonesia
- Kemampuan Menyesuaikan Diri Manusia Bugis
- Bahasa Melayu, Penyebar Budaya Naskah-naskah sebagai Saksi...
- Kenya History
- Kisah Berdirinya Keraton Yogyakarta
- Kubur Nekara Perunggu di Pesisir Utara Jawa Tengah
- Kumbh Mela Festival in India
- Kikuyu Wedding Traditions
- Kamajaya dan Dewi Ratih
- Lukisan Cap Tangan pada Dinding Gua di Sulawesi
- Manik-manik di Indonesia
- Melayu Betawi: Perkembangan dan Kontestasi
- Menuju Masyarakat Indonesia yang Multikultural
- Merangkul Tabu, Meretas Kekerasan Tersamar
- Malaysian Tamils and Tamil Linguistic Culture
- Malacca - Where History Lives On
- Madagascar and the Future of the Nusantarian World
- Makna Huruf Jawa pada Kata "Hurip" dan "Gesang"
- Makna Ajaran "Wong Urip Mung Mampir Ngombe"
- Mata Pencaharian Orang Kubu
- Mayan Civilization: Pretty Impressive
- Moro Bagong
- Moon Festival for Children
- Nala dan Damayanti
- Native Amazonian Cultures of Peru
- Native Tattoo Meanings and Customs
- Orang Samin dan Pandangan Hidupnya
- Pemberian Nama pada Masyarakat Suku Bangsa Jawa
- Purbakala
- Perahu Cadik pada Relief Candi Borobudur
- Peran Ganda Wanita Indonesia
- Perfume In Ancient Greece
- Polyandry a Social System in India: Now State of Disappearance
- Peninggalan Sejarah dan Purbakala di Kepulauan Banda
- Relief Gajah Wiku dari Candi Planggatan
- Raja dan Kerajaan di Simalungun
- Questioning the Definition of Astrology
- Rice: Representations and Reality
- Sisa "Rumah" Berlantai Enam di Situs Kota Kuno Trowulan
- Situs Tanjung Luari
- Situs Sangiran
- Siberian Shamanism
- Seabad Perkembangan Masyarakat Sentani 1900-2000
- Sistem Barter pada Orang Kubu
- Transseksual, Minoritas yang Terlupakan
- Tradisi Bersih Desa dalam Kehidupan Orang Jawa
- The History of Halloween
- The World of the Geisha
- The Iyomande Ritual of the Ainu (Hokkaido)
- Tattooing Among Japan's Ainu People
- The Act on The Encouragement of Ainu Culture
- The Practical Power of the Shaman
- Tanzania Bushmen in Lake Eyasi
- The Making of Tojin: Construction of the Other in Early Modern Japan
- The Ainu Language
- The Ainu People
- Tembikar Kasongan
- The History of The Jamaican People and Their Culture
- The History of Laos
- The Conflicts of Ethnic Groups of South Asian Regions
- Tantangan Perempuan Adat Indonesia
- Traditional Mi'kmaq (Micmac) Culture
- Tripama Watak Satria
- Trophy Hunting in Namibia and Africa
- Wadah
- Wanita Jawa, Quo Vadis?
- Wanita Nelayan di Kecamatan Kedung Jepara

Popular Posts