Makato and the Cowrie Shell

Makato and the Cowrie Shell (A Thai Folktale) by Supanee Khanchanathiti

O

nce upon a time, there was a boy whose name was Makato. He was an orphan, for his

father and mother died when he was very young. He had no brothers, sisters, cousins or friends to take care of him, so he had to make a living for himself. He did every kind of work—carrying heavy things, clearing away the forest, or feeding pigs. He never idled. Although he was paid only small wages, he was satisfied. He knew that if he would not work, he would starve. Wherever he went, his employers praised him for being sensible, hardworking, good-tempered and cheerful. One fine evening after he had finished chopping up a big pile of wood, he sat down to rest and thought of all he would like to do in the future. He wanted to try his luck in far–off strange lands, for he longed for exciting adventures. ―What are you thinking about so deeply, my boy?‖ asked his employer. ―I would like to go on a journey for adventure,‖ said Makato, pointing to the northeast. ―I heard that the land is fertile and the people are kind. I wish I could see the land for myself.‖ His eyes sparked with excitement. ―The land you wish to go to is called Sukhothai,‖ said his employer. ―They say Pra Ruang of Sukhothai is a very kind–hearted king. You might be lucky if you could go there.‖ Sometime later, Makato decided to try his fortune. He left his village and set out in the wide world .He walked along cheerfully, enjoying new insights and talking to the people he met on the way. After a month‘s journey, he reached a village on the boundary of the Kingdom of Sukhothai. ―Please, can I have some water to drink?‖ Makato asked an old woman with a big water pot on her head. ―I‘m so thirsty.‖ ―Where did you come from? Why are you here alone? You look as if you‘ve come a long way,‖ said the old woman, pouring cold water from her pot into a small cup and handling it to Makato. ―Thank you so much,‖ said the boy. ―Who are your father and mother? Haven‘t you any family?‖ the old woman asked again. ―I come from the City of Mon over there,‖ replied Makato. ―Good heavens! Have you really come from Môn? How is it that you are travelling alone, such a young boy as you are?‖ ―I wanted to see Pra Ruang of Sukhothai,‖ replied Makato.‖They say he is a very kindhearted king.‖ ―You are a very determined boy!‖ said the woman.‖Come along with me .Who knows? You might see Pra Ruang someday.‖ Makato was glad to go with her. If he could work with this kind of woman, he would have a place to sleep, some food to eat and perhaps someday, he might be lucky enough to see the king. The old woman was one of the Pra Ruang Mahouts, which meant that she helped the mahout find the food for the elephant and clean out the elephants‘ sheds. He worked hard and well, and the mahout and his wife grew fond of him. One day, the sky was clear and the weather so fine, it seemed to Makato that it must be a lucky day. As he worked in the elephants‘ sheds, a tall young man in a splendid costume, followed by attendants, came in. It was Pra Ruang himself. Makato bowed low at once with his hands clasped together before him. His heart beat fast. ―Where did the boy come from?‖ the king asked the mahout, who was attending him. ―How old is he?‖ the king asked further. ―12 years old, your Majesty,‖ replied the mahout. ―A good-looking and hardworking boy,‖ said the king. ―Take good care of him.‖ As the king walked away, Makato saw a little cowrie shell lying on the ground .He ran to

pick up and held it to the king, but the king said with a smile, ―You may keep it.‖ ―How wonderful!‖ Makato thought, ―the king has given me a cowrie shell.‖ At the time, the people of Sukhothai used cowrie shells as money. Although one cowrie had little value, Makato wanted to make as much use of it as possible, for it was the king‘s gift. For a long time, he could not think of a way to use it so that it would earn money for him. One day, he passed by a stall in the market where the seeds of many different plants were sold. He looked along the stall and caught sight of a basket full of lettuce seed. Lettuces! He could grow small plants like that. He asked the joyful woman at the stall, ―Can I buy some lettuce seed?‖ ―Oh yes, my boy. How much do you want?‖ said the old woman. ―I have one cowrie shell!‖ said Makato. ―One cowrie shell!‖ said the woman, laughing.‖ That won‘t buy anything. I can‘t even measure that much.‖ ―Look!‖ said Makato eagerly. ―I will dip my finger into the pile of seeds. Then, I will take the seeds that stick to it. That must be right for one cowrie shell.‖ ―Well, why not?‖ said the amused woman at his suggestions. ―All right boy. Help yourself.‖ Makato paid the woman his one cowrie shell .Then, he dipped his finger into the pile of seeds. When he pulled his wet finger out, it was covered with seeds. He carefully scraped them of his finger into the palm of his hand and went away, happily clutching the seeds. Now that he had seeds, Makato broke the soil and sowed them at once. He watered the seed bed every day and soon, the young plants appeared. Day by day, he cleared more ground and planted more lettuce seedlings until the kitchen garden was covered with them. He was very proud of himself because he had done so well. ―I wish I could give the king some lettuces,‖ he thought. One day, the king passed by the elephants‘ sheds again. Makato waited for an opportunity, then knelt down and proudly presented his biggest lettuces to the king. ―Where did you get this?‖ the king asked, surprised. ―I grew them from the cowrie shell you gave me, Your Majesty,‖ answered Makato, beaming with a smile. ―How could you do that?‖ asked the puzzled king. Makato told the king the whole story. The king was impressed with his intelligence and industry, so much so that later on, he gave Makato a job in the palace. As the years passed, Makato grew tall and handsome. He mastered every grace and served the king well. He was so loyal that the king trusted him absolutely. He was promoted to higher positions until he was given a title of Kun Wang, which meant that he was the most important person in the king‘s court. He was also happily married to the beautiful young daughter of the king. After that, the king made him the ruler of the Mon. So it was that Makato, who had once been a poor orphan, became the king of that prosperous kingdom.

The Two Brothers Egyptian Folktale

O

nce there were two brothers. Anpu was the elder, and Bata was the younger. When their

parents died, Anpu was already married and had a house of his own, so he took his little brother with him and treated him like his son. When the little brother grew to be a young man, he became an excellent worker. He did the plowing. He harvested the corn, and there was no one his equal in the whole land. Behold, the spirit of the god was within him. Every morning, the younger brother followed his oxen and worked all day in the fields, and every evening, he returned to the house with vegetables, milk, and wood. He laid all these before his elder brother, and he took with him his bread, and he drove the cattle into the field. Because Anpu loved his younger brother very much, his wife became very jealous and she wanted to destroy Bata. One day, when Anpu and Bata were in the fields, they needed some corn, so Anpu sent Bata home to get some. The younger brother found the wife combing her hair and said to her, ―Get up and give me some corn that I may run to the field for my elder brother is in a hurry. Do not delay.‖ At eventide, Anpu returned home earlier than his brother because Bata had much work to do in the fields. Anpu was met by his wife, who was crying bitterly. She showed him her arms and legs which he had painted black and blue and accused Bata of having beaten her up. She pretended to be in great pain. She did not give him water to wash his hands with. She did not light the fire for him. She pretended that she was very sick. Anpu became very angry. He sharpened his knife and waited for Bata in the stable. When the sun went down, Bata came home as usual, loaded with herbs, milk and wood. As he entered the door, he saw the feet of his brother and the sharp knife hanging by his side. The brother sprang from him and Bata fled praying to the god Ra. ―My good Lord! Save me from death, thou who divines the evil from the good.‖ Ra heard his cry. He made a river flow between one brother and the other and filled it with crocodiles. Bata asked his elder brother, ―Why do you seek to kill me? Am I not your brother and have you not always treated me as if you were my father? Has not your wife been as mother to me? Now since you want to kill me, I shall go to the Valley of the Acacia.‖ Anpu answered, ―Why did you beat up my wife and almost kill her.‖ Bata answered, ―I did not do such thing. Have I told you that I have always looked upon her as my mother?‖ So, Anpu went home. He found his wife near the river washing off the black and blue dye with which she had painted herself. Filled with great anger, Anpu killed his wife and cast her to the dogs. Then, he sat down, poured ashes on his head and mourned for his younger brother. Bata reached the Valley of Acacia. Since there was no one with him, he slew wild beasts for food, built himself a house and met the Nine Gods who knew of his innocence and goodness. Ra said to the god Khunumu, ―Behold, frame a woman for Bata that he may not remain alone.‖So Khunumu made for Bata a wife to dwell with him. She was indeed more beautiful than any other woman in the whole land. She was like a goddess, and Bata loved her very much.

The Taximan’s Story by Catherine Lim

V

ery good, Madam. Sure, will take you there in plenty good time for your meeting, madam.

This way better, less traffic, less car jams. Half hour should make it, madam, so not to worry. 2 What is it you say, madam? Yes, yes, ha, ha, been taxi man for twenty years now, madam. Long time ago. Singapore not like this so crowded so busy. Last time more peaceful, not so much taximen, or so much cars and buses. 3 Yes madam, can make a living. So so. What to do. Must work hard if wants to success in Singapore. People like us, no education, no capital for business, we must sweat to earn money for wife and children. 4 Yes, madam, quite big family---eight children, six sons, two daughters. Big family! Ha! Ha! No good, madam. In those days. Where got Family Planning in Singapore? People born many, many children, every year, one childs. Is no good at all. Today is much better. Two children, three children, enough, stop. Our government say stop. 5 Luck for me, all my children big now. Four of my sons working---one a businessman, two clerks, one a teacher in Primary school, one in National Service, one still schooling, in Secondary Two. My eldest daughter, she is twenty plus, stay at home, help the mother. No, not married yet---Very shy and her health not so good, but a good, and obedient girl. My other girl Oh, Madam! Very hard for father when daughter is no good and go against her parents. Very sad like punishment from God. Today, young people not like us when we are young. We obey. Our parents say don‘t do this, we never do. Otherwise, the cane. My father cane me. I was big enough to be married, and still, got caning. My father he was very strict, and that is good thing for parents to be strict. If not, young boys and girls become very useless. Do not want to study, but run away, and go to night clubs and take drugs and make love. You agree with me madam? 6 Today, young people they are very trouble to their parents. Madam, you see this young people over there, outside the coffee house? See what I mean, madam? They are only school boys and school girls, but they act like big shots, spending money, smoking, wearing latest fashion, and making love. Ah, Madam, I know, I know! As taximan, I know them and their habits. Madam, you are a teacher, you say? You know or not that young school girls, fifteen, sixteen years old, they go to public lavatory or hotel and change into these clothes, and they put make-up on their face. Their parents never know. They tell their Mum got school meeting, got sports and games, this, that, but they really come out and play the fool. 7 Ah, madam, I see you surprise, but I know, I know all their tricks. I take them about in my taxi. They usual is wait in bowling alley or coffee house or hotel, and they walk up, and friend, friend, the European and American tourists, and this is how they make fun and also extra money. Madam, you believe or not when I tell you how much money they got? I say! Last night, madam, fourth floor flat---and she open her purse to pay me, and I say! All American notes---ten dollar notes all, and she pull one out and say keep change as she has no time already. Madam, I tell you this, every month, I get more money from these young girls and their American and European boyfriends in my taxi, more than I get from other people who bargain and say don‘t want go by meter and wait even for ten cents change. Phui!! Some of them really make me mad. But these young girls and their boyfriends don‘t bargain, they just pay, pay, and they make love in taxi so much they don‘t know if you go round and round and charge them by meter! I tell you, Madam, some of them don‘t care how much they spend on taxis. It is like this: after the 1 a.m. taxi fare double, and I prefer working this time, because naturally, much more money. I go and wait outside Elroy Hotel or Tung Court or Orchid mansions, and sure enough, madam, will have plenty business. Last Saturday, madam, no joking, on one day alone I make nearly one hundred and fifty dollars! Some of it for services. Some of tourists don‘t know where, so I tell them and take them there, and that‘s extra money. Ah, madam, if I tell you, no end to the story.

But I will tell you this, Madam. If you have a young daughter and she says Mummy I got meeting today in school and will not come home, you must not say, Yes, yes but you must go and ask her where and why and who, and you find out. Today young people not to trust, like young people in many years ago. Oh, Madam, I tell you because I myself have a daughter---oh, madam, a daughter I love very much, and she is so good and study hard. And I see her report cards and her teacher write ―Good work‖ and ―Excellent‖ so on, so on. Oh, madam, she my favorite child, and I ask her what she want to be after left school, and she says go to University. None of my other children could go to University, but this one, she is very smart and intelligent--no boasting, madam her teachers write ―Good‖ and ―Excellent‖, and so on, so on, in her report cards. She study at home, and help the mother, but sometime a little lazy, and she say teacher want her to go back to school to do extra work, extra coaching, in her weak subject, which is maths, madam. So I let her stay back in school and day after day she come home in evening, then she do her studies and go to sleep. Then one day, oh madam, it makes me so angry even now---one day, I in my taxi driving, driving along and hey! I see a girl looking like my Lay Choo, with other girls and some European outside a coffee---house but I think, it cannot be Lay Choo, how can, Lay Choo is in school, and this girl is all dressed up and make-up, and very bold in her behavior, and this is not like my daughter at all. Then they all go inside the coffee-house, and my heart is very, very--- hoe you describe it, madam, my heart is very “susah hati” and I say to myself, I will watch that Lay Choo and see her monkey tricks. 9 The very next day she is there again I stop my taxi, madam, and I am so angry. I rush up to this wicked daughter and I catch her by the shoulders and neck, and slap her and she scream, but I don‘t care. Then I drag her to my taxi and drive all the way home, and at home I trash her stupid fool and I beat her and slap her till like hell. My wife and some neighbors they pull me away, and I think if they not pull me away, I sure to kill that girl. I lock her up in her room for three days, and I ashamed to tell her teacher, so I just tell the teacher that Lay Choo is sick, so please to excuse her. Oh, madam, how you feel in my place? Make herself so cheap, when her father drive taxi all day to save money for her University. 10 Wat is it, Madam? Yes, yes, everything okay now, thank you. She cannot leave the house except to go to school, and I tell her mother always check, check, in everything she do, and her friends---what sort of people they are. Ah, madam, young people today, what trouble they are… What, madam? Oh, sorry, madam, cannot wait for you to finish your meeting. Must go off, please to excuse me. In a hurry, madam. Must go off to Hotel Elroy- there plenty young people pick up. So very sorry. madam, and thank you very much. 8

What is Intangible Cultural Heritage? The term ‗cultural heritage‘ has changed content considerably in recent decades, partially owing to the instruments developed by UNESCO. Cultural heritage does not end at monuments and collections of objects. It also includes traditions or living expressions inherited from our ancestors and passed on to our descendants, such as oral traditions, performing arts, social practices, rituals, festive events, knowledge and practices concerning nature and the universe or the knowledge and skills to produce traditional crafts. While fragile, intangible cultural heritage is an important factor in maintaining cultural diversity in the face of growing globalization. An understanding of the intangible cultural heritage of different communities helps with intercultural dialogue, and encourages mutual respect for other ways of life. The importance of intangible cultural heritage is not the cultural manifestation itself but rather the wealth of knowledge and skills that is transmitted through it from one generation to the next. The social and economic value of this transmission of knowledge is relevant for minority groups and for mainstream social groups within a State, and is as important for developing States as for developed ones. Intangible cultural heritage is:  Traditional, contemporary and living at the same time: intangible cultural heritage does not only represent inherited traditions from the past but also contemporary rural and urban practices in which diverse cultural groups take part;  Inclusive: we may share expressions of intangible cultural heritage that are similar to those practiced by others. Whether they are from the neighboring village, from a city on the opposite side of the world, or have been adapted by peoples who have migrated and settled in a different region, they all are intangible cultural heritage: they have been passed from one generation to another, have evolved in response to their environments and they contribute to giving us a sense of identity and continuity, providing a link from our past, through the present, and into our future. Intangible cultural heritage does not give rise to questions of whether or not certain practices are specific to a culture. It contributes to social cohesion, encouraging a sense of identity and responsibility which helps individuals to feel part of one or different communities and to feel part of society at large;  Representative: intangible cultural heritage is not merely valued as a cultural good, on a comparative basis, for its exclusivity or its exceptional value. It thrives on its basis in communities and depends on those whose knowledge of traditions, skills and customs are passed on to the rest of the community, from generation to generation, or to other communities;  Community-based: intangible cultural heritage can only be heritage when it is recognized as such by the communities, groups or individuals that create, maintain and transmit it – without their recognition, nobody else can decide for them that a given expression or practice is their heritage. Source: http://www.unesco.org/culture/ich/index.php?lg=en&pg=00002

The Intangible Heritage List 1) The List of Intangible Cultural Heritage in Need of Urgent Safeguarding is composed of intangible heritage elements* that concerned communities and States Parties consider require urgent measures to keep them alive. Inscriptions on this List help to mobilize international cooperation and assistance for stakeholders to undertake appropriate safeguarding measures. In 2009, the Committee inscribed 12 and in 2010 - 4 elements. In 2011, it inscribed additionally 11 elements. 2) The Representative List of the Intangible Cultural Heritage of Humanity is made up of those intangible heritage practices and expressions help demonstrate the diversity of this heritage and raise awareness about its importance. It aims at ensuring better visibility of the intangible cultural heritage and raising awareness of its importance while encouraging dialogue that respects cultural diversity. The Committee incorporated 90 elements in 2008 (items formerly proclaimed Masterpieces) and inscribed 76 elements in 2009 and 47 elements in 2010. In 2011, 19 new elements have been added to the list. 3) The Register of Best Safeguarding Practices includes programs, projects and activities on the national, sub regional and/or international levels that the Committee considers to best reflect the principles and objectives of the Convention. It aims at ensuring exchange and cooperation at the international level for programs with proven success in safeguarding intangible cultural heritage. Three programs were selected for the Register in 2009 by the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage. In 2011, five more programs were added to the list. 4) Following the sixth session of the Committee for the Safeguarding of the Intangible Cultural Heritage, held in Bali, Indonesia, in November 2011, there are 27 elements on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding, 232 elements on the Representative List of the Intangible Cultural Heritage of Humanity, and 8 programs included in the Register of Best Safeguarding Practices. * — are components of a country's cultural heritage that are equally as important as physical cultural elements, like World Heritage Sites. The elements are abstract and must be learned, encompassing traditional knowledge which includes festivals, music, performances, celebrations, handicrafts, and oral traditions. Source: http://www.unesco.org/culture/ich/en/lists/

Outwitting a Crocodile (Kisah Sang Kancil dengan Buaya) A Traditional Malaysian Folktale Retold by Chok Yoon Foo from Malaysia

S

ang Kancil is a clever, tricky mouse deer who is always finding himself in predicaments with

animals that want to eat him or harm him, but he cleverly manages to escape each time. In this story, Sang Kancil outwits a big, bad crocodile. Sang Kancil was a clever mouse deer. Whenever he was in a bad situation, he always played a clever trick to escape. In this story, Sang Kancil outwitted Sang Buaya, a big, bad crocodile, who wanted to eat him. There were many trees where Sang Kancil's lived along the river, so he never had trouble finding food. There were always lots of leaves. He spent his time running and jumping and looking into the river. Sang Buaya, the big bad crocodile, lived in the river with other crocodiles. They were always waiting to catch Sang Kancil for dinner. One day when Sang Buaya was walking along the river, he saw some delicious fruit on the trees on the other side of the river. Sang Kancil wanted to taste the tasty-looking fruit because he was a little tired of eating leaves. He tried to think of a way to cross the river, but he had to be careful. He didn't want to be caught and eaten by Sang Buaya. He needed to trick Sang Buaya. Sang Kancil suddenly had an idea. He called out to the crocodile, "Sang Buaya! Sang Buaya!" Sang Buaya slowly came out of the water and asked Sang Kancil why he was shouting his name. He asked Sang Kancil, "Aren't you afraid I will eat you?" Then he opened his big mouth very wide to scare Sang Kancil. Sang Kancil said, "Of course, I am afraid of you, but the king wants me to do something. He is having a big feast with lots of food, and he is inviting everyone, including you and all the other crocodiles. But first, I have to count all of you. He needs to know how many of you will come. Please line up across the river, so I can walk across your heads and count all of you." Sang Buaya was excited and left to tell the other crocodiles about the feast with all the good food. Soon, they came and made a line across the river. Sang Kancil said, "Promise not to eat me or I can't report to the king how many of you are coming.‖ They promised not to eat him. Sang Kancil stepped on Sang Buaya's head and counted one. Then he stepped on the next one and said, "Two." He stepped on each crocodile, counting each one, and finally reached the other side of the river. Then he said to Sang Buaya,"Thank you for helping me to cross the river to my new home." Sang Buaya was shocked and angry. He shouted at Sang Kancil, "You tricked us! There is no feast, is there?" All of the crocodiles looked at Sang Buaya angrily. They were angry because he let Sang Kancil trick all of them. Sang Kancil loved his new home on the other side of the river because he had a lot of tasty food to eat. Poor Sang Buaya was not so lucky. After that, none of the other crocodiles ever talked to him again. Source: http://www.topics-mag.com/folk-tales/folk-tale-cleverness-mayl.htm

Heritage Literature as a Teaching Tool Heritage literary passages are versatile tools for language study. They illustrate heritage literature (HL) in use (a wide range of styles, genres, registers, and varieties); they provide meaningful and memorable contexts for vocabulary expansion and grammar practice; they can serve as the basis for listening, reading, speaking, and writing activities; and they develop students’ ability to think critically by inferring meaning, making interpretations, and expressing their own ideas and emotions (Lazar 1993: 19). · Vocabulary comprehension and expansion. Heritage learners can expand their vocabulary by reading

a variety of literary selections. In each text, the instructor will highlight the lexical items related to the chapter's topic or theme. He/She may also point out idiomatic expressions (to foster understanding of cultural commonalities and differences), literary words, regionalisms, cultural connotations, words/phrases coined by the author and adopted by the language, etc. Students will then be able to analyze the key structural features of the language of the selection. · Grammar identification and practice. Heritage literary texts can illustrate grammatical structures

taught in class. Students identify the target structures in the passage and then practice them as they appear in that context or give examples related to their own lives (personalization). A wide range of grammatical structures, sentence types, and cohesive devices, especially those characteristic of the written language, can be taught or reviewed. · Spelling. Depending on the HL, "troublesome" words can be targeted in literary texts to help learners

improve their orthography or eliminate the interference of English spelling. · Reading comprehension. Students can answer questions based on content. They can fill in missing

words, find synonyms for key words, paraphrase sentences, summarize paragraphs or the text as a whole. Literary characters can be matched to actions or facts related to them. Student drawings or collages based on the text will help students visualize and remember the characters in the story. · Oral and written literary assignments. A multitude of literary tasks empower students to think and act

critically and develop an appreciation of literature while developing language proficiency (McKay 2001: 321-326). Such tasks include: describing the features of a literary genre and identifying them in the reading; analyzing the characters’ and/or the author’s point(s) of view; relating the text to the work it has been excerpted from, and the work to the personal/historical circumstances in which it was written; analyzing the literary techniques/ language/style used by the author; placing the text/author within the heritage literary tradition; writing a literary analysis of the piece; describing the relevance of the selection for contemporary readers in general and for heritage learners in particular; and writing an argumentative essay about the literary passage. · Cultural understanding and appreciation. Heritage literature helps students understand themselves,

their families, and their communities better as members of a particular culture. By reading folk tales and legends, for example, they learn about "the origin of traditional cultural values and beliefs" (Diamond & Moore 1995: 221). The understanding and appreciation of culture that results from the study of literature helps students develop a positive self-image and attitude toward their heritage language and culture. If heritage literary works are compared to writings from the dominant culture or other, heritage or non-heritage, cultures, students gain a deeper understanding, acceptance, and respect for other systems of traditions, beliefs, values, and behaviors. Source: http://www.international.ucla.edu/article.asp?parentid=60803

Batu Belah Batu Bertangkup (The Devouring Rock) A Famous Malay Folktale

T

his story is about Mak Minah, a widow, and her two children, her daughter Mawar, and her

young son, Bulat. Mak Minah would work hard at several jobs in a day. She would work in both a field and as a fisherwoman to support her fairly young children as best as she could. One morning, while fishing, she catches a tembakul fish (local river fish). She of course is really happy, and fantasizes all day about eating the fish with her children for dinner. At noon, Mak Minah goes home and starts to clean the fish, and is even happier when she realizes that there is fish roe inside. Fish roe back then was very, very expensive and was a delicacy, one that poor people like herself would very rarely be able to enjoy. She happily fries it before she goes to work in the fields and cuts it into three equal parts, one for her older daughter, one for her young son, and the other for herself. As she heads out the door, Mak Minah tells her children that they may each have their portion, but she asked them to leave her one of the pieces to eat when she comes home. Mak Minah spent the entire evening at the field thinking of eating the roe. When she came home, she finds all three portions eaten. Mawar explained to her that she and her brother had both eaten their portions, but after finishing his, Bulat demanded the other portion and threw a horrible tantrum when she said no, and that he had taken the piece anyway. Mak Minah was so devastated that she didn‘t say anything and just went to bed. That night Mak Minah was kept awake by the calling of the batu belah batu bertangkup, the eater of suicides. She heard the rock calling her, saying ―You never managed to eat your roe because as much as you desired it, it never desired to be eaten by you. This is the way of the world: what we desire to touch has no desire to be touched by us. But I am your death and I have longed for you since you were born. And now all I ask you is that you have the same longing for me.‖ She then snaps and runs to the rock. Mawar, hearing the commotion of her mother storming out of the house, wakes up Bulat and they try to chase her down. They called out after their mother, but it was no use, the voice of the rock drowned out everything else. Mak Minah stopped only once on her way to the rock, and just long enough for her children to catch sight of her, right in front of it, where she made a funnel and filled it with her breast milk for her young son. As she did so, the rock split, and beckoned her to enter. Mak Minah left the funnel on the floor and fled deep into the rock.

How to Write a Movie Review There are numerous formats you can follow in writing a movie review, but they all have the same content. In this particular format, it consists of five parts.

Five Parts of a Movie Review 1. Opening: Catch the Reader's Attention Think about how advertisements sell movies: "trailers" show you a few seconds of the movie to get you interested. When you begin your movie review, make your own "trailer." If you liked the movie, then your trailer should make people want to see it; but if you did not like it, the trailer should be something that shows why you did not like it. Do not explain why you liked it or did not like it; make the reader like or not like the movie by what you describe. Begin your review by retelling an incident or moment from the movie which you think captures the spirit of the movie as you understood it. Alternative: Begin your review with another kind of story or interesting fact--about one of the star actors, or about the making of the movie, or about the director. 2. Second Paragraph: Take Care of Business Near the beginning of the review, you have to tell the reader all the obligatory stuff--the title of the movie, the director, the studio, the main actors, the year it was made (if you watched it on video), the rating. This paragraph tells the reader the things they have to know about the movie. Also, in one sentence or two, you should explain very simply what the movie is all about--not necessarily what happens, but that might work, too, if you can say it in one two sentences. 3. Third Paragraph: Character and Plot Summary What happens in the movie? You should not tell everything that happens--and especially not the ending. But you want to summarize the basic plot of the movie, in more detail than you do in the paragraph above. One way to do this might be to write a sentence about each main character. 4. Fourth Paragraph: A Key Moment or Idea In this paragraph, go into detail about something important that interested you about the movie. If it was a musical, you should say something about the songs. If the soundtrack was good, talk about that. Write more about one character who was really intriguing, or retell another big moment from the movie and explain why it is important. If you think the "idea" behind a movie was really interesting, explain that idea and talk about it a little bit. In this paragraph, you must go into depth about the movie. 5. Fifth Paragraph: Evaluate the Movie Do you recommend it or not? Who will like it (kids or adults)? The most important thing here is that you must also explain why you are making your recommendation. You must justify your opinion--and that opinion should grow out of what you write in the rest of the review. Give at least two reasons why you liked or did not like the movie. Watch these video on YouTube about making a ―filmed‖ movie review. Use these URL: A: http://www.youtube.com/watch?v=dU-J91tIgGA B: http://www.youtube.com/watch?v=EDIygoCcK48 C: http://www.youtube.com/watch?v=YIEZHlYY9s4

Then combine what you have learned from the lecture and from these video when you are going to write a movie review. A. On Culture 1. Culture is based on nationality. Probably, but you cannot measure culture solely by one’s nationality. You may argue that culture is a set of values and behaviors that are learned and shared by a group of people who have common experiences and influences, but this “national culture” is only one of the many cultures that affect us. Our view of culture is affected by the subcultures we have at home, work, school and organizations we are in. This is also affected by particular life experiences, socio-economic experiences, geographic location, gender identity, age, religious faith, ethnic background and sexual orientation (Parrilla, 2012). 2. Some cultures are just more evolved than others. Cultures exist because a group has found a way to make their lives better. No culture is inherently worse or better than any other. Rather, some cultures may have values and behaviors that do not support success when their environment changes. In addition, most cultures are benevolent and have positive intentions behind any values they instill. (The vast majority of people do not want to intentionally create conflict or fail!). It’s our inability to see things wholeheartedly from their perspective that may cause us to judge another culture as cruel, stupid, antiquated, or naïve (Parrilla, 2012). 3. Globalization is causing an inevitable homogenization of cultures. The environment we all live in may be changing (slowly or quickly) impacted by such things as the internet, or YouTube, or Hollywood, or Bollywood, or 15 hour flights that connect Asia to Europe, or pandemics like the flu, or outsourcing, or migration – but the bottom line is that we all still interact with these commonalities based on our cultures. In the long run, we may begin to share certain values and behaviors, but the French will always have French history and French pride, and the Bolivians will always have Bolivian history and Bolivian pride. Until such time as we all speak the same language, go to the same schools, share the same history, and have uniform laws, policies, and holidays, we will continue to be unique (Parrilla, 2012). B. On Multiculturalism 1. People from the same nation or geographic region, or those who speak the same language, share a common culture. These people may share the same nation, geographic region, language, but they cannot be considered as one ethnic group sharing a similar culture. Tremendous historical, racial, and cultural differences must be acknowledged (Banks & Banks, 1997). In Malaysia, there are Malays, Chinese, East Indians, and the tribal groups of Sarawak. To view regions or nations as if they were monocultural is erroneous, and it may inhibit students’ construction of the fact that many parts contribute to the whole (Aldridge et al., 2000). 2. Families from the same culture share the same values. This notion is especially false for nondominant cultures living in the United States. Lynch and Hanson (1998) reported at least four ways individuals and families from other countries “live out” their culture in the United States. These include “1) mainstreamers, 2) bicultural individuals, 3) culturally different individuals, and 4) culturally marginal individuals” (p. 19). In reality, a continuum of cultural identity exists and the entire range often can be found within the same family. For example, grandparents may maintain their original culture, while their grandchildren may be bicultural or mainstreamers (Aldridge et al., 2012). 3. Multiculturalism is divisive. According to this myth, immigrants coming to the United States eventually have been

assimilated and considered themselves to be Americans. The myth goes on to state that when ethnicity is turned into a defining characteristic, it promotes division rather than unity. This shallow reasoning denies the multiple diversities that always have existed and continue to exist throughout the United States (Swiniarski, Breitborde, & Murphy, 1999). 4. In predominantly monocultural or bicultural societies, there is no need to study other cultures. This myth is pervasive in such societies. With an increasingly diverse society, bicultural and monocultural areas especially need to learn about cultures to which they will be in close proximity in the immediate future (Greenfield & Cocking, 1994). 5. Most people identify with only one culture. Increasingly, children and families are multiethnic in nature. Here are just two examples. Maria is an Evangelical Christian from Ecuador who married Mohammed, a Muslim from Pakistan. They have two elementary-age children who are being raised in Queens, New York. The children have never visited Ecuador or Pakistan. Patrick is of Chinese heritage, but was born in Jamaica. His family later moved to Toronto and now lives in Miami. These children are not stereotypical. They have a unique cultural heritage. Multicultural education should examine intrapersonal cultural diversity as well as the interpersonal. If this is not acknowledged and valued, children like Patrick could experience intrapsychic cultural conflict (Aldridge et al., 2012). C. On Literature 1. Studying literature can help you understand different cultures or time periods. Studying literature can be an enriching, eye opening experience. By following the histories presented throughout English literature, it’s possible to understand how contemporary western culture has developed into what it is today (Priyadarshini, 2010). 2. The study of literature allows people to develop new ideas, ethical standpoints and can help an individual to present themselves as educated members of the society. Literature allows us to understand the philosophical movements and ideas that permeated a particular culture at a particular time. As an example in English literature, Mary Shelley’s “Frankenstein” shows us the ambivalence the British felt towards empiricism. Reading new words and phrases can increase anyone’s lexicon. Literature is also crucial to learning stylistic and artistic conventions for communication and writing (Priyadarshini, 2010).

The Legend of Banyuwangi Adapted from an Indonesian Folktale A long time ago, Banyuwangi is known as Blambangan. Its kingdom has a wise king who has a handsome and smart son named Raden Banterang. Raden prefers hunting that he often went to forest around Blambangan to hunt for animals. One day, when Raden was in a forest he spotted a deer. He chased it and the deer ran deeper into the forest. His horse was so good and strong that he left his guards behind. Unfortunately, he lost the deer. As he took a rest under a big banyan tree suddenly a beautiful girl appeared in front of him. She was all alone in the forest. He suspected that the girl may not be human after all. So he asked her, ―Excuse me, lovely lady, do you live around here?‖ ―No, I don‘t. I‘m from Klungkung, Bali. My name is Surati. I‘m a princess, the daughter of the king of Klungkung. The rebels killed my father but I managed to escape. My guards took me here but I got lost. Now I‗m alone. I don‘t know where to go. I have no relatives here. Please help me,‖ Surati begged. ―You come to the right person. I‘m Prince Banterang from the kingdom of Blambangan. I am going to protect you. Please come with me,‖ said the prince. Then, Raden took Surati home. He fell in love with her and then several months later he married her. One day when Surati was in the street he met a man. The man called her. ―Surati, Surati.‖ She was surprised to see her brother Rupaksa. His brother revealed that it was Raden Banterang who killed their father. He came to Blambangan to take revenge. At this time, he asked Surati to join him. Surati refused to join. ―Raden Banterang is now my husband. He‘s very kind to me. He never hurts me. He‘s protecting me. As a good wife, I will never betray him. It is my duty to serve him,‖ Surati pleaded. ―But he killed our father,‖ Rupaksa ―It is hard for me to believe it. When I met Raden, he was here and not in Klungkung.‖ Rupaksa was disappointed with her sister. He was very angry and upset. ―All right then, I have to go now. But please keep my head dress, put it under your pillow,‖ Rupaksa demanded. Rupaksa gave his head dress to his sister Surati. To respect her older brother, Surati put it under her pillow. Several days later, Raden was hunting in a forest when he met a man that looked like a priest. The man greeted him politely. Then he said something. ―You life is in danger. Someone has an evil intention on you,‖ the man said. ―Who is he?‖ asked Raden. ―Your wife Surati,‖ the man quickly replied ―Surati? How do you know?‖ Raden verified. ―I am a priest. I have a clear spiritual vision. I just want to save you. Search her room. If you find a head dress under her pillow then my words are correct. It is from a man who will help her kill you.‖ ―Thank you your holiness,‖ Raden uttered. When he reached the palace, he immediately searched Surati‘s bedroom. He found the head dress under Surati‘s pillow. The priest was right. Raden confronted Surati, ―You not faithful to me. I know that you want me dead. This is the evidence. This is from a man who will help you kill me. Tell me who he is.‖ Surati was defenseless, she cried. ―It is my brother‘s head dress. I met him several days ago when you went hunting. He gave me his head dress and told me to put it under my pillow. So I put it there to show my respect for him. It is Rupaksa who wants to kill you, not me.‖ But Raden no longer trust her. He decided to penalize Surati by giving her a death

sentence near the riverbank. ―Before I die, let me say a few words,‖ Surati pleaded. ―Please do,‖ Raden granted Surati‘s request. Surati spoke calmly, ―When I die, just throw my body into the river. If water becomes dirty and smelly, it means that I am guilty. But if the water becomes clear and fragrant, it means that I am innocent.‖ Then as Raden stabbed her wife with a kris, Surati threw herself into the river. Amazingly the water became clear and fragrant. Surati was innocent! Raden regretted what he had done. From then on, he changed the name of his kingdom into Banyuwangi. Banyu means water and Wangi means fragrance.

The Century Carver by Oka Rusmini

K

opag dropped his sharp chiseling knife, almost slicing open his own leg—and all because

he'd detected a strange smell coming from the direction of the door, an aroma of dry leaves and damp wood. Odd, where was it coming from, this smell that made him feel so agitated? It wafted closer. "Who's there?" "It's me, Srenggi." "Srenggi? Srenggi who?!" Kopag was trembling with trepidation now. The smell was coming closer and he was finding it hard to breathe. His hands were bereft; he needed his chiseling tools. His mind conjured up images of sharp knives. Kopag trembled as the smell exposed him to the reality of being a man. "Tell me who you are!" "I am the one who will serve all your needs—from this moment on, till the end of time." The voice sounded nervous. "What did you say your name was?" Kopag began to calm down a little. "Srenggi," the voice quivered. It was the voice of a woman. What was happening to him? Kopag cursed himself. He had the strange sensation of suddenly being submerged in the ocean. The voice seemed to be full of honesty, compassion and sincerity. Kopag was sure his judgment was right: this was the one, the woman he'd been seeking for centuries. And now God had sent her for him. A woman, was that really the voice of a woman? When Kopag went to pick up his cane, Srenggi quickly stepped in to help. Their hands touched, increasing Kopag's anxiety. The woman's skin felt like bark. Surely her beauty rivaled that of a tree trunk, she was more beautiful than the most sacred pile of timber. For the first time Kopag felt able to enjoy life. He was able to provide an objective evaluation of the living creature known as man. Usually he was treated as an object, merely subject to the decisions of the people closest to him, submitting to whatever was said by those around him. This time he felt that he had encountered a truth that was different from that developed by people who used their own truth as a personal yardstick. "Is truth always manifested on earth in a homogeneous form?" Kopag had asked his servant Gubreg with a trembling voice. "Even when I'm judging beauty, do I have to use their criteria?" "Their criteria? I'm not convinced that they're capable of genuinely seeing the beauty of life!" Kopag's voice was tense; his thoughts in a muddle! Kopag was aware, intensely aware. Although, of course, it was no cause for celebration to have been born blind. His eyes would never see a woman. But are people born complete with all their senses capable of capturing all the secrets of this life—secrets that are held onto and kept hidden by nature? Would it be wrong if Kopag were suddenly to encounter extraordinary beauty in Srenggi? A beauty that he could see with his thoughts and feelings? Would that be wrong? The beauty of this young woman was extraordinary. The indentations of her body and her face resembled those in a piece of timber. She was timber of exquisite beauty. It was odd that other people were unable to see her loveliness, to appreciate the beauty that nature had entrusted to her. Even old Gubreg made no comment when Kopag praised the prettiness of this eighteen-year-old girl. What was wrong with the criteria he had used to judge her beauty? As a boy, life had imposed the label "Ida Bagus Madé" onto Kopag, so that people would recognize him and be able to distinguish him from others. He was the second son in the richest family in the compound. The title "Ida Bagus" indicated that he was of the brahmana caste, the highest caste in the Balinese social structure. His father was a highly respected man who held an important government position. He also owned dozens of painting and sculpture galleries.

Unfortunately he had a wandering eye. He was an animal, an appalling one. People used to say that any woman was fair game for him. It didn't bother him whether she was beautiful or not, healthy or not; for Kopag's father, any creature with a hole could be entered. One day, after an absence of many months, he came home in a sickening state. He was thin and pale. Before long his debts began to mount. His wealth evaporated. And in those circumstances he forced his wife to have sex with him. She resisted. She knew he would impregnate her with the seed of an animal. But what is the power of a woman? Especially since, from an early age, she had been educated to become a noblewoman who would respect her husband. She became pregnant—and died giving birth to a baby boy. Being born blind was redemption of a kind, considering the circumstances of his birth. How miraculous it would be if life could be acted out, turned into a performance. Like a piece of timber with its captivating curves, Srenggi's body was where life was created for this man who, ever since his first encounter with the aroma of the earth and life, could feel only darkness as his language, his life. The life that Kopag so frequently cursed turned out to be quite democratic in fact. It gave him qualities that others could not possibly possess. He could transform a piece of dry wood into a work of art that attracted the elite of the art world. Kopag had reinvented the idea of artistic endeavor. He didn't just carve wood; he carved his thoughts, his brain, and his dreams as well. For the first time, nature had surrendered to his power, just as Kopag had surrendered to the blindness that was his constant companion. Kopag drew a deep breath. He touched the dry wood that always accompanied him wherever he went. To be honest, Kopag loved the wood that had introduced him to his world. The world he wanted. Solitude fenced in by beauty—without the sound of his sister-in-law harping. "What can that blind brother of yours do? Tell me? He's a bloody nuisance!" The young woman's voice always set his nerves on edge. She was always making a fuss about something. He'd trodden on the plants in the side garden, or his cane had got tangled up with the bougainvillea that that gasbag of a woman had just planted, or the plates and glasses were in the wrong place in the kitchen. His sister-in-law's voice constantly rang in his ears. How could a woman that everyone said was so beautiful and elegant speak with such a foul mouth? Her screech was enough to blunt his chiseling knives. Her name was Ni Luh Putu Sari but because she hadn't been born into the brahmana caste she had had to change her name to Jero Melati. A member of the commoner sudra caste, she had married Kopag's brother and had thus become a member of their noble family. Outsiders only knew her extraordinary physical beauty and her much-lauded skin; in short, her body was one that all the men talked about. Kopag often wondered whether human beings could ever share a genuinely objective set of views. How could this incredibly crude and carping woman be the one all the men adored? In Kopag's view, she was the perfect example of a playactor. She had been focused on joining a brahmana family. In her absolute commitment to assuming the role of the wife of a brahmana, she had to demonstrate to everyone in the village her right to join the family. Kopag had sensed this the first time his sister-in-law greeted him. Her hands felt like those of a rotting corpse. Every time she opened her mouth, Kopag could smell the rancid stench of blood, a smell that leaped from those lips that were apparently so sweet, so red, so perfect. Even Gubreg, the faithful servant who had looked after Kopag since he was a child, commented on how lucky his brother was to have married the most beautiful girl in the village. Gubreg also talked about the beautiful skin of Ni Luh Putu Sari, now known as Jero Melati, on account of her having married into a high caste family. Her bearing, he said, resembled that of the daughters of the Balinese king. "She really is extraordinarily beautiful." "Describe her to me, Gubreg. Tell me everything in detail. I want to know what she's like, and I want to feel it too. For the moment, I'll trust your eyes."

The old man fell silent. He looked deep into Kopag's eyes. A pain fluttered in his chest. Ida Bagus Madé Kopag had a very fine body. He was tall and exceptionally skilled with his hands. Since he'd been a small boy, his grandfather alone had taught him how to work with wood, to better acquaint him with life. On occasion, a teacher would be brought in to teach him to read. "The boy is blind, Gubreg. He's paying for the sins of his father. When I watch his development I am constantly reminded of the things that my son did. His karma has fallen to his own son. My grandson will know darkness for all eternity. I still believe that we can learn from such a life. You see it, don't you? Life has given him an extraordinary gift. My grandson is in possession of all the eyes of everyone on this earth. See how he produces perfectly carved statues. Look after him well, Gubreg. Think of him as your own son!" That had been Ida Bagus Rai's last instruction before he passed away. "Gubreg, you haven't answered my question. Tell me what she's like. Is she like this piece of banyan wood—cold, but still appealing? Can you see, Gubreg, how it moves me? Gubreg, what is this feeling that overcomes me so often, is that what it feels like to be a man? Is that a sign of masculinity?" Kopag spoke slowly. God in Heaven! Master of the universe! Kopag had grown up; he was approaching his twenty-fifth birthday. He loved reading his Braille books. And from time to time, the Frenchman Frans Kafkasau would pay him a visit. The middle-aged Kafkasau got on Gubreg's nerves, with all the things he always brought with him. Sometimes he would read foreign books to Kopag, books he'd translated, about Michelangelo Buanorotti who Frans said was a famous Renaissance sculptor. It was hard. Too hard. Every since he'd gotten to know Frans, Kopag would ask Gubreg all manner of questions. "Aren't you going to answer my question, Gubreg?" "Don't ask me weird things, master. I can't explain things like Frans can. Why don't you ask him?" Gubreg's voice was heavy with envy. The old man was quick-tempered these days. It didn't take much to fire him up. A single sound uttered by the Frenchman was enough to make his stomach churn. It made him so mad! Kopag no longer had any time to talk about things. The Frenchman had given him a new sort of education, a different perspective on the world. Kopag didn't need Gubreg any more. The old man felt that something was missing inside him. Kopag had always been as much a part of him as his own breath. Ever since Kopag was a child, it was Gubreg who had taught him about the texture of wood. He transferred everything he knew about carving to the body of the powerless little boy. It was Gubreg who taught Kopag that all things have souls, including his rows of chiseling knives. And Gubreg taught him how to bring out the best in the knives and savor the aroma of their sharpness. He still remembered Kopag's cry when he first touched those naked knives; he had been seven years old at the time. "Gubreg, I tremble every time I touch these knives. Their sharpness, it's so beautiful. So mysterious. It's extraordinary, Gubreg." The sun's rays flashed off the edges of the chiseling knives. Gubreg noticed how the powerful rays scattered and died away the moment they touched the sharp edge of each knife. The knife's brilliance seemed to challenge that of the sun. In Kopag's hands the knife became cold, arrogant, and hungry. Despite pondering it until almost midnight, Gubreg couldn't answer the question about what it means to be a man. What were these feelings struggling inside Kopag's body? Gubreg was afraid—afraid of answering the question about the true meaning of masculinity. Kopag was already in his studio bright and early in the morning. "I need to talk to you." Kopag's voice was laden with curiosity. "About what, master?" "About the beauty of a woman." "I…I can't talk to you about the beauty of a woman. Everyone makes their own judgment about it. A woman…"

Gubreg's voice broke off. He drew several breaths. He understood. He knew what was happening. He too was a man and had felt the stirrings of desire upon first encountering his own humanness. It was such an onerous thing, so unsettling, when his body began to need, to crave the body of another to feast upon. That feeling suddenly reemerged in his own brain and his brittle bones began to connect him to his past once more. At the time Gubreg was a disheveled fourteen-year-old. He was often given the task of escorting Dayu Centaga when she went to bathe in the Badung river. Her body was like a snake, encircling and squeezing his body. His legs would cramp every time her wet body emerged from the water, encased in a sarong. Her white feet made his brain explode. And on top of all that, she would always get Gubreg to scrub her back with a river stone. Until this day Gubreg could still sense her aroma on his body, a scent that could not be erased by the borrowed time that he lived on. Over time Gubreg was wracked by extraordinary pain. He was anxious, wounded from a sort of misplaced hunger. As a commoner male he knew that he could never possess the body of a brahmana woman. A woman he had put on a pedestal, a woman he greatly respected. There wasn't a soul with whom he could talk about his anxiety; he was nobody, a man who lived off the compassion of Dayu Centaga's family. Every time he thought about the barriers between himself and Dayu Centaga, Gubreg felt as if someone was boring holes into his body. Often he would wake up in the middle of the night, breathing fast. Gubreg realized that his hunger could no longer be contained. He became pale. The brahmana family sought out a balian for him. The old ritual healer cast her spells. Gubreg's body was encircled by smoke which restricted his breathing. The balian explained that Gubreg had thrown rubbish on the river's edge. The river god happened to be resting at the time. The balian went on to say that the river god had also wanted to get his hands on Dayu Centaga. Thanks to Gubreg's efforts, she had been unharmed. And Gubreg incurred the wrath of the river god. In order to restore Gubreg's health, the brahmana family took an offering to the river god. Gubreg could not talk about his male yearnings. He did not resist when the balian bathed him at the edge of the river. She said it was so that evil spirits would leave the family be. Out of respect for the brahmana family, Gubreg was prepared to undergo the ceremony. Nobody knew that the healer's communications with the spirit world were false. Gubreg was not sick, and he hadn't been possessed by an evil spirit. He could feel the changes in his body, the current within him no longer resembled the flowing of a river, it was more like floodwater. And Gubreg knew that the water in his body needed an estuary. He felt a deep and powerful love for Dayu Centaga. It was a love that rendered him rigid, cold, and no longer able to enjoy normal human diversions. To this day, approaching his seventy-fifth birthday, Gubreg was still faithful to the Griya family. Without a wife, without the passion of a man. So Gubreg could understand why Kopag was asking about beauty. Nature had entrusted something awe-inspiring to him. Gubreg looked closely at Kopag's body as he finished his carving. "Gubreg, you haven't answered my question yet," said Kopag slowly. He took several breaths. "Gubreg, do you remember what Frans said?" "What in particular?" "He said that my wild manner of creating the human form from wood reminded him of Picasso's Guernica. Basically I'm curious, Gubreg. Why does the wood always draw me into a discussion, a dialogue, encourage me to debate, to think? It's a consuming curiosity that overwhelms my brain, my hands, and my body, and even works its way into my dreams. Dreams of the tree with its growing branches, and its body, until in the end its timbers find themselves in my hands. I have my own dreams, too, about those fragments of wood. Frans and one of his friends once told me that my carvings of women were perfect. Very surrealistic, they said. The beauty of the women that I portray in wood reminded Frans of the passion of Martha Graham, who used her whole body to bring into being the character she was playing. I feel the beauty of the women through my fingertips, Gubreg. Wood and knives have given me

different eyes." Gubreg said nothing. He was trying to come to terms with the very private and very profound thing that Kopag was trying to convey. Kopag had been taught to endeavor to understand life. In fact Gubreg was willing to let the boy steal, page by page, the secrets of the journey and pain he himself had endured as a man whose whole life had been dedicated to serving others. Thanks to Kopag, the extended family managed to recover from their debts. Kopag's carved statues were in great demand and drew a great deal of interest from both local and overseas collectors. And now all was calm within the family. Jero Melati had stopped her nagging; she was at liberty to spend Kopag's money however she pleased. Kopag's brother had even been able to open a big sculpture gallery, which was the most highly regarded in Bali, on account of the rigorous selection process it subjected potential exhibits to. Last month, the gallery had received funding support from Germany and France. Gubreg never knew what Kopag wanted. The young man never attached any meaning to having money, or not having it. The only thing that Gubreg had picked up on was that Kopag needed a woman. "We need to find a wife for the boy," Gubreg's voice was very guarded. Jero Melati smiled when she heard Gubreg's words. "How about he marries the girl I've picked out for him." "You've already chosen someone?" "I have. I've been thinking about it for a long time." "Who?" "My sister," she replied seriously. Gubreg stared sharply at the woman. For the first time he sensed that this beautiful body was enveloped by an evil force. Kopag was right; she was not a good woman. She was driven by a desire for status. "Surely you can convince him that my sister is the right woman for him." The tone of her voice verged on a command. Gubreg did not respond. He knew that Jero Melati's sister was a wild and wicked woman. Rumor had it that she sold her own body. Unthinkable! But she was very beautiful. Unfortunately, she couldn't tolerate being poor. Whereas, poverty, if one makes a commitment to it, has its own beauty. "Gubreg, I want to talk to you!" This time Kopag's voice was serious. Gubreg did his best to figure out where the conversation was headed. Five minutes passed with not a word. Pacing the room, Kopag seemed distracted. "My Lord, what is it you want? Don't be afraid. You seem very distressed." "I am, Gubreg. I want to get married." Kopag's voice was very serious indeed. "I hope you'll forgive me, my Lord, but I've already discussed this with Jero and your brother." "And what did they say." "They agree. In fact they've chosen a future wife for you." Gubreg raised his head, keen to see Kopag's face light up. But strangely, the face remained as impassive as stone. "I've already chosen my wife. And this time nothing will change it!" "Who is it?" "Srenggi!" "My Lord…?" Gubreg felt as if he was suffocating. Srenggi…? Were his old ears deceiving him? Wasn't Srenggi the woman who attended to all Kopag's needs, cleaned his studio, prepared his meals and fetched his chiseling knives for him? She wasn't a woman. She was more like a horrible monster—lame, stooped over, with a hump on her back. And she had but one good eye; all that remained of her left one was the socket. Her face was a pitiful sight. Her skin was rough. God in Heaven! What had possessed Kopag? Did he have no idea of the meaning of beauty? Gubreg took a deep breath and clutched his chest. "I've been taking her to bed every night, Gubreg. Her body is a hollow in a piece of wood. Her skin is bark. Do you know that when I fell into her body, I was swallowed up and I

disappeared? She is the most beautiful woman, even more beautiful than my timbers. When she is naked, no knife can rival her sharpness. She is the one who honed this male body of mine." Gubreg collapsed, a chiseling knife in his bony chest. Source: http://wordswithoutborders.org/article/the-century-carver/

Lạc Long Quân and Âu Cơ: The Legend of Ancient Vietnam

T

housands of years ago, during the reign of King Kinh Dương Vương, the Xích Quỷ kingdom

was an unknown stretch of a vast land on the far East, leaning its back on a range of high mountains while looking out facing the oceans from a long shoreline. He married princess Long Nữ, the daughter of Động Đình Vương - sovereign of the Động Đình Lake. They were then blessed with one child, a boy whom they called Sung Lam, popularly known in the kingdom as Lạc Long Quân, the "Dragon Lord of Lạc‖. Because of Long Nữ‘s origin, their son was believed to be a descendant from the line of the Dragons. And indeed, Lạc Long Quân had extraordinary strength and supreme intelligence. But his succession from his mother‘s underwater world developed in him a strong fascination for the ocean, and the young man is often seen along the shorelines enjoying the waves and exploring the many sea creatures in sight. Soon, he succeeded his father‘s throne and governed the Lac-Viet tribe. Meanwhile, another kingdom rules the highlands in the north. Their king, Đế Lai, has a beautiful daughter named Âu Cơ. Wanting to unite his northern tribe with Lạc Long Quân‘s kingdom; he agreed to give his daughter‘s hand for marriage with the young man. And a lavish feast was prepared as princess Âu Cơ was wed with Lạc Long Quân. The two kingdoms then celebrated their unity. Time went by, Âu Cơ gave birth to a pouch filled with one hundred eggs, which soon hatched into one hundred beautiful children. The children grew up strong and smart like their father, and as kind-hearted and skilful like their mother. They were taught well how to cultivate their lands and live nobly. But soon after, the couple started to grow unhappy. Lạc Long Quân always finds his heart longing for the coasts while Âu Cơ constantly yearns for the highlands. The couple decided to divide their children, of whom fifty will live with Lạc Long Quân along the coasts. Âu Cơ will lead the other fifty to dwell with her in the highlands. However, they made a promise that despite the distance and separation, they must look after each other and always be there to lend a hand should one be in need. So, Lạc Long Quân took fifty children to the coast and divided the areas for them to govern. He taught them the skills of fishing and the art of tattoos to scare off sea creatures as they dive and hunt for food. He also trained them to plant and harvest rice, as well as how to cook them in bamboo tubes. Âu Cơ, who took fifty children to the highlands, also divided her areas for them to govern. They were taught to live in the jungles and mountains, breed animals and cultivate the soil to grow fruit trees for food. They learned to build houses raised on bamboo stilts to keep themselves safe from wild animals. The children of Lạc Long Quân and Âu Cơ are believed to be the ancestors of Vietnam. Today, Vietnamese people call themselves ―the children of the Dragon and the Fairy‖ referring to Lạc Long Quân‘s lineage from the world of the Dragons and Âu Cơ‘s Fairy Clan from the highlands. Therefore, whichever part of the country one hails from, he belongs to one origin. Just as Lạc Long Quân and Âu Cơ promised to each other, all Vietnamese should love, honor and protect one another. This legend, then, has become the pride and bond of unity for all Vietnamese. Source: http://www.vietnam.com/article/lc-long-qun-and-u-c-the-legend-of-ancient-vietnam.html

The Peasant, the Buffalo and the Tiger: A Tale of Strength and Wisdom

A

long time ago, when animals still had the power of speech, the buffalo used to have sharp

front teeth while the mighty tiger was a pure golden beast. A young peasant was resting under a mango tree one fine afternoon. He and his water buffalo had plowed the rice field the whole morning and stopped for a while to have something to eat. While the buffalo grazed and the peasant is enjoying his meal, a tiger came up to the buffalo, demanding answers for something that had puzzled him for a long time now. "I have watched you everyday from the edge of the forest," the tiger said, "I noticed the quite curious spectacle of your toil. How is it possible that that Man, a small and upright being who neither has great strength, sharp vision or a keen sense of smell manages to lead you and make you work for him? You are ten times heavier and stronger. Your horns are sharp enough to cut him and your hooves are mighty enough to trample him. The only weapon he carries is a flimsy bamboo stick, yet he rules you and you never run away." Calmly, the water buffalo answered, "I have not been able to solve that puzzle myself, mighty tiger. No matter how I ponder the situation, I only know of one thing. I can never free myself from his mastery. Whatever power he possesses, only he has knowledge of it. Eager to have such powers, the tiger resolved to ask the peasant. If he could rule all animals like how the man ruled the buffalo, he would no longer need to hunt for food. Instead, he could just order the animals to come and then choose a suitable meal. "Please tell me, Mr. Farmer, what power do you have over the buffalo that makes him obey you so willingly?" the tiger asked the peasant. "I will tell you, mighty tiger," he answered, "I posses something that allows me to rule over all animals, making them do as I say. It is called wisdom." "I would do anything to see this amazing thing you call wisdom. Would you be kind enough to show it to me?" asked the tiger. "Unfortunately, I left it at home. Wisdom is too precious for me to carry around the fields. Instead, I keep it in a gilded box carved with dragons and a golden phoenix to make sure it's well protected. But if you want it so badly, I can go back and fetch it for you." replied the young peasant. Delighted by the peasant's words, the tiger agreed. "I will gladly stay and watch over your water buffalo while you are gone." But the young man said, "I have heard your stomach rumble and I am greatly concerned over the possibility that you might eat my buffalo while I am gone. I have great need of it in my daily work. If you agree, I will tie you to a tree so my mind will be free. Then I would willingly go get the wisdom you want to see." Eager to see wisdom so badly, the tiger was willing to agree to anything. He strolled up to the palm tree, held up his legs and said, "Go ahead and tie me up." So the farmer passed ropes around his body, secured him tightly to the palm tree and left. But sly as the tiger was, he planned on jumping on the man when he returns to untie him. He then, would eat his water buffalo, take his magic box of wisdom, and spend the rest of his days commanding the cows and dears and the delicious wild boars to come and be eaten as his meal. He would never have to hunt for food again. Soon after, the farmer returned carrying bundles of straws behind his back. Eagerly, the tiger asked, "Did you bring the wisdom for me to see?" "Oh yes, foolish tiger, and I am about to show you." replied the peasant. "I never keep my wisdom in a box, it is here in my head all along. Now I will teach you to stay away from my precious water buffalo." He then piled the straws around the tiger, and with a burning torch, he set them on fire. The tiger roared in pain and raged as the ropes burned around his golden body. As the air

filled with smell of the tiger's singed fur and as the fire burned through the ropes, the beast finally managed to free himself. He quickly leaped away from the flames and dashed into the jungle. The sight of this spectacle amused the buffalo so greatly that he laughed so hard and fell, hitting his mouth against a rock. This caused the buffalo to knock all his front teeth out. Though his burns have healed after some time, the tiger could no longer rid himself of the long black stripes that now circle his golden body. But most importantly, the tiger realized that his strength could never defeat man who has wisdom he knew he could never have. Up to this day, the tiger has his stripes and the water buffalo never grew back his teeth. Source: http://www.motherland-heritage.com/Legend-stories/the-peasant-the-buffalo-andthe-tiger-a-tale-of-strength-and-wisdom.html