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Penan are one of the last such peoples remaining as hunters and gatherers. The Penan are noted for their practice of 'molong' which means never taking more than necessary. Most Penan were nomadic hunter-gatherers until the post-World War II missionaries settled many of the Penan, mainly in the Ulu-Baram district but also in the Limbang district.
Mandau [1] is the traditional weapon of the Dayak people of Borneo. [2] [3] It is also known as Parang Ilang among the Bidayuh, Iban and Penan people, Malat by the Kayan people or Baieng by the Kenyah people or Bandau by Lun Bawang or Pelepet/Felepet by Lundayeh. Mandau is mostly ceremonial.
1987 - Communities in Sarawak, such as Penan and Kayan, resisted logging by putting up a blockade in the Baram region - 42 activists were arrested. [9]1990 - The Voices for the Borneo Rainforest World Tour, brought Indigenous perspectives to forums across the globe, with the goal of raising awareness about the logging in Sarawak, and calling for an end to deforestation in primary rainforests ...
Tong Tana: A Journey to the Heart of Borneo is a 1989 Swedish documentary film about the Penan people of Sarawak, Borneo, a federal state of Malaysia, and their struggle to protect their tropical rainforest. [1]
Penan village at Melinau river near the national park. The local population in and around the park are the Orang Ulu, Kiput, Kenyah people, Kayan people, Mulut and Penan tribes. Penan people originally maintained a nomadic way of life, but they are now semi-settled around at the southwest portion of the park at Batu Bungan and Long Iman.
Bruno Manser (25 August 1954 – presumed dead 10 March 2005) was a Swiss environmentalist and human rights activist. From 1984 to 1990, he stayed with the Penan tribe in Malaysia, organising Indigenous rainforest blockades in Sarawak against timber companies.
San used rock art to record things that happened in their lives. Several instances of rock art have been found that resemble wagons and colonists. Dowson notes that, "The people who brought in the wagons and so forth thus became, whether they realized it or not, part of the social production of southern African rock art. They added a new ...
Men recorded their battle and hunting exploits on hide tipi liners, robes, and even shirts. [8] Figures were scattered across the hide and semi-transparent images sometimes overlapped each other. [9] Narrative hides were often read right to left, with the protagonist emerging from the right. [10] Allies are on the right with enemies on the left ...