Saturday 13 March 2010

Jenglot




A jenglot is a type of mysterious creature or vampire in Indonesian and Malaysian culture and mythology. It is described as looking much like a tiny, living human doll. It is usually depicted as a mythical creature, sometimes seen in cryptozoology, and occasionally purported to have actually been a human body.

Toyol




A Toyol or Tuyul is a mythical spirit in the Malay mythology of South-East Asia (notably Indonesia, Thailand, Malaysia and Singapore). It is a small child spirit invoked by a bomoh (Malay witch doctor) from a dead human foetus using black magic. It is possible to buy a toyol from such a bomoh.




A person who owns a toyol uses it mainly to steal things from other people, or to do mischief. According to a well-known superstition, if money or jewellery keeps disappearing mysteriously from your house, a toyol might be responsible. One way to ward off a toyol is to place some needles under your money, for toyols are afraid of being hurt by needles.

Pocong






A pocong is an Indonesian or Malaysian ghost that is said to be the soul of a dead person trapped in their suit. The pocong suit (shroud) is used by Muslims to cover the body of the dead person. They cover the dead body with white fabric and tie the clothing over the head, under the feet, and on the neck. According to the native beliefs, the soul of a dead person will stay on the earth for 40 days after the death. When the ties aren't released after 40 days, the body is said to jump out from the grave to warn people that the soul need the bonds to be released. After the ties are released, the soul will leave the earth and never show up anymore. Because of the tie under the feet, the ghost can't walk. This causes the pocong to hop.

Ju-on




The Ju-on follow the lives of the people affected by a curse created by a murdered housewife in a house in Nerima. It was said that when one person dies with a deep and burning grudge, a curse is born. The curse gathers in the place where that person has died or where he was frequent at (in the series's case, the house in Nerima) and repeats itself there. The curse manifests on those who encounter the curse by any means, such as entering the house or being in contact with somebody who was already cursed. The curse's manifestation is mainly death, where the victims' bodies may or may not disappear. The following deaths create more curses and spreads the curse in other places. This concept was further extended in Ju-on: The Grudge where the curse caused the end of humanity.

Oiwa


Oiwa is an onryō, a ghost who seeks vengeance. Her strong passion for revenge allows her to bridge the gap back to Earth. She shares most of the common traits of this style of Japanese ghost, including the white dress representing the burial kimono she would have worn, the long, ragged hair and white/indigo face that marks a ghost in kabuki theater.

There are specific traits to Oiwa that set her apart physically from other onryo. Most famous is her left eye, which droops down her face due to poison given her by Iemon. This feature is exaggerated in kabuki performances to give Oiwa a distinct appearance. She is often shown as partially bald, another effect of the poison. In a spectacular scene in the kabuki play, the living Oiwa sits before a mirror and combs her hair, which comes falling out due to the poison. This scene is a subversion of erotically-charged hair combing scenes in kabuki love plays. The hair piles up to tremendous heights, achieved by a stage hand who sits under the stage and pushes more and more hair up through the floor while Oiwa is combing.

Pontianak



The word pontianak — probably from bunting anak, "pregnant with child" — means the undead vampire of a woman who died while during childbirth. Disguised as a beautiful woman, the pontianak goes around murdering unwary men, harming pregnant woman and eating babies, but they can be controlled by plunging a nail into a hole in the back of their neck.

Legend said at the first time of Abdurrahman Alqadrie group arrival in the uninhabited area of Pontianak, it was haunted by pontianaks/kuntilanaks, which deterred many of his companions by their scary voices at nights. To sweep these ghosts away, Alqadrie ordered his men to fire their cannons to the forest which was believed to be their base. Afterwards, no more pontianaks' voice were heard ever.

In 1771, Abdurrahman Alqadrie cut down the forest which was at the crossing between Kapuas and Landak river, then settled there. He was awarded the title Sultan. Under his leadership, he succeeded to attract many traders, most of which are ethnic Malay, as well as some Dayaks from the upstream of Kapuas river.

Following the civil war and widespread poverty in China at the end of 19th century, many Chinese migrated to Indonesia, which also targeted Pontianak due to its strategic location for trading, main occupation of the Chinese. This later added Chinese culture to history of Pontianak. Chinese sub-ethnics in Pontianak are mainly Teochew, Hakka, and some Cantonese--dominant Chinese citizens in Hong Kong.

In the early of 19th century, the Dutch occupied Pontianak and the rest of West Kalimantan cities as part of its colonial campaign. Pontianak is occupied to become its trading post to gain rich natural resources, mainly rubber and wood, from the upstream of Kapuas river. Resistances committed by both ethnic Malay and Dayak occur sporadically, which forced the Dutch colonial armed forces to request for reinforcement from Batavia/Jakarta frequently.

Dutch occupation ended in 1941 during the World War 2 when Japanese imperial forces overrun their bases from the north, which were not deployed by reasonable amount of soldiers in order to defend strategic Java island. During Japanese occupation, they massacred tens of thousands of civilians and intellectuals, mainly those who refused to recognise the emperor of Japan.

When the Japanese retreated, the Dutch under the Allied Forces umbrella re-entered West Kalimantan. Their colonial government over Pontianak ended few years later after series of diplomatic missions and local resistances which have also freed the other Indonesian territories at the same time.

Vampire



Vampires are mythological or folkloric beings who subsist by feeding on the life essence (generally in the form of blood) of living creatures, regardless of whether they are undead or a living person.Although vampiric entities have been recorded in many cultures and according to speculation by literary historian Brian Frost that the "belief in vampires and bloodsucking demons is as old as man himself", and may go back to "prehistoric times",the term vampire was not popularized until the early 18th century, after an influx of vampire superstition into Western Europe from areas where vampire legends were frequent, such as the Balkans and Eastern Europe, although local variants were also known by different names, such as vampir (вампир) in Serbia and Bulgaria, vrykolakas in Greece and strigoi in Romania. This increased level of vampire superstition in Europe led to mass hysteria and in some cases resulted in corpses actually being staked and people being accused of vampirism.

While even folkloric vampires of the Balkans and Eastern Europe had a wide range of appearance ranging from nearly human to bloated rotting corpses, it was the success of John Polidori's 1819 The Vampyre that established the charismatic and sophisticated vampire of fiction as it is arguably the most influential vampire work of the early 19th century inspiring such works as Varney the Vampire and eventually Dracula.
However, it is Bram Stoker's 1897 novel Dracula that is remembered as the quintessential vampire novel and which provided the basis of modern vampire fiction. Dracula drew on earlier mythologies of werewolves and similar imaginary demons and "was to voice the anxieties of an age", and the "fears of late Victorian patriarchy". The success of this book spawned a distinctive vampire genre, still popular in the 21st century, with books, films, video games, and television shows. The vampire is such a dominant figure in the horror genre that literary historian Susan Sellers places the current vampire myth in the "comparative safety of nightmare fantasy