Genderuwo

The figure of the Genderuwo occupies a central place within Javanese supernatural cosmology and stands as one of the most culturally persistent entities in Indonesian folklore. Belonging to the broader category of dhanyang or guardian spirits, demit, and ancestral beings that populate the unseen realm (alam halus), the Genderuwo functions not only as a supernatural creature within traditional belief systems but also as a symbolic construct embedded in social norms, gender relations, ecological awareness, and contemporary media. Although modern interpretations often reduce the Genderuwo to a comedic or sensational horror figure, its deeper cultural significance remains tied to Javanese metaphysics and the moral anxieties of society. This chapter explores the multifaceted nature of the Genderuwo through an interdisciplinary lens, bringing together anthropology, folklore studies, cultural history, and media theory to produce a comprehensive analysis grounded in academic research. Through this examination, the study aims to articulate how the Genderuwo emerges as both a reflection of and a response to the social, ecological, and moral structures of Javanese communities.

Origins And Historical Development
The origins of the Genderuwo are deeply rooted in Javanese spiritual traditions that predate the spread of Hindu-Buddhist influences in the archipelago. Early animistic belief systems conceptualized the natural environment as inhabited by spiritual entities that governed particular spaces such as forests, caves, large trees, and rivers (Koentjaraningrat, 1990). The Genderuwo is believed to be one such spirit, connected particularly to dense forests, banyan trees, and abandoned buildings. Its existence emerges from pre-Islamic Javanese cosmology, in which spirits formed an integral part of everyday life, mediating between humans and the natural world.

Historical accounts and classical Javanese literature also reveal early depictions of giant, hairy forest spirits resembling the contemporary Genderuwo. The Serat Centhini, a monumental Javanese text compiled in the early nineteenth century, includes references to monstrous or demonic beings associated with wilderness and forbidden spaces, suggesting that the figure existed in at least a proto-form centuries before modern terminology solidified. Furthermore, oral traditions collected by Dutch scholars during the colonial period describe a spirit known as gandrung wulung or gandaruwa, which closely resembles the modern Genderuwo in both anatomy and behavior (Wessing, 1995). The evolution of the term “Genderuwo” likely reflects the blending of local animistic beliefs with imported cosmological symbols, particularly those from Hindu-Buddhist demonology.

The figure also underwent reinterpretation during the Islamization of Java. Islamic cosmology introduced new categories such as jinn, iblis, and syaitan, which were gradually mapped onto existing local supernatural beings. The Genderuwo was neither fully demonized nor removed but became positioned within a liminal space: not entirely evil yet not benevolent, a trickster-like spirit capable of mischief, seduction, or protection depending on context (Geertz, 1960). This syncretic process ensured the survival of the creature as a culturally relevant figure into the modern era.

Physical Appearance And Characteristics
Descriptions of the Genderuwo across regions show considerable consistency, although certain variations reflect local geographic and cultural differences. Generally, the Genderuwo is depicted as a large humanoid figure covered with thick, reddish-brown hair, possessing muscular limbs, a broad torso, and exaggerated facial features. The face is typically described as terrifying: bulging eyes, wide mouth, protruding fangs, and an elongated nose. Endraswara (2018) emphasizes that these features symbolize untamed physicality and vitality, marking the Genderuwo as a manifestation of primal masculine power within Javanese imagination.

One notable element in traditional accounts is the spirit’s ability to shape-shift. The Genderuwo is said to assume the appearance of a human—often a deceased relative or an attractive man—in order to deceive or seduce women. This ability aligns with Javanese notions of spiritual permeability, where entities of the unseen realm mimic the living to facilitate interaction or disruption. In many narratives, shape-shifting represents the tension between appearance and essence, underscoring the epistemological uncertainty that surrounds encounters with the supernatural (Mulder, 2005).

Another repeated characteristic is the Genderuwo’s liminality. It typically resides in large trees, caves, riverbanks, and the remnants of colonial buildings, all categorized in Javanese cosmology as liminal locations—spaces where the boundaries between human and nonhuman worlds are fluid. According to Koentjaraningrat (1990), such spaces hold complex symbolic meaning: they mark transitions, thresholds, and moral ambiguity. The Genderuwo’s association with these spaces reinforces its role as an intermediary being that both guards and threatens the margins of human habitation.

Behaviorally, the Genderuwo is often portrayed as mischievous, playful, and sexually aggressive. Accounts frequently highlight its interactions with women, sometimes through seduction, sometimes through harassment. Although this aspect is sensationalized in modern media, traditional interpretations view such behavior symbolically, as addressing issues of vulnerability, sexuality, and gender norms in Javanese villages (Wessing, 1995). The creature becomes a narrative tool for expressing social anxieties around female sexuality, domestic boundaries, and moral conduct.

Social Functions And Cultural Symbolism
Within Javanese communities, belief in the Genderuwo historically served several important social functions. One of the most prominent is its role in social regulation. Folklore scholars have long documented how stories of supernatural beings are used to enforce rules about proper behavior, especially regarding boundaries, gender norms, and environmental stewardship (Endraswara, 2018). The Genderuwo discourages individuals from entering dangerous areas such as forests or abandoned buildings at night, functioning as a protective mechanism that safeguards community members from physical harm. This regulation mirrors what Koentjaraningrat (1990) identifies as the broader cultural function of spirits in traditional Javanese society: to maintain communal order through culturally encoded fear and respect.

The Genderuwo also serves as a symbolic representation of masculine energy and uncontrolled sexuality. In contrast with female spirits such as the Kuntilanak, which embody the social anxieties surrounding women’s suffering, the Genderuwo gives form to fears concerning male aggression, hypermasculinity, and boundary transgressions. Federici (2004) has discussed how bodies and sexualities become ideologically charged within patriarchal systems; applying this framework, the Genderuwo can be interpreted as the embodiment of anxieties about predatory masculinity within communal life. The narratives warn against abusive power, improper sexual behavior, and the violation of domestic spaces.

Additionally, the Genderuwo functions as an ecological symbol. In many Javanese villages, large trees—especially banyan trees—are considered sacred because they serve as ecological anchors and social landmarks. By attributing these trees to the dwelling place of powerful spirits, traditional cosmology ensures their preservation (Wessing, 1995). Thus, the Genderuwo indirectly supports environmental conservation through spiritual framing. This symbolic ecology aligns with broader Southeast Asian animistic traditions that conceptualize forests as spiritually inhabited spaces, thereby discouraging unnecessary exploitation.

Finally, the Genderuwo plays a role in constructing communal identity. Folklore narratives create a shared cultural vocabulary that reinforces social cohesion. Stories of encounters with the Genderuwo are often recounted during communal gatherings, acting as a form of cultural memory and a vehicle for reaffirming collective values. Through these stories, communities articulate their relationship to the land, to gender norms, and to the unseen world.

Gender, Sexuality, And Power
One of the most distinctive aspects of Genderuwo lore is its connection to sexuality. Unlike the Kuntilanak—whose narratives revolve around female suffering and unfulfilled motherhood—the Genderuwo embodies exaggerated male sexuality, often depicted as seducing or harassing human women. While sensational and often misunderstood in modern retellings, this motif functions symbolically within traditional contexts.

Davis (2015), in her study of spirit narratives in Southeast Asia, argues that supernatural seduction myths reflect deeper societal concerns about boundaries and transgressive desire. For women, the Genderuwo represents the dangers of vulnerability, loneliness, or emotional neglect. For men, the figure acts as a warning against unrestrained sexual aggression or infidelity.

The shape-shifting seduction motif also reveals tensions between consent, identity, and deception. When the Genderuwo takes the form of a woman’s husband or lover, the narrative dramatizes anxieties about the instability of trust within intimate relationships. Mulder (2005) notes that Javanese culture places high value on emotional harmony (rukun) and discretion (tepo seliro); thus, the Genderuwo disrupts these ideals by introducing chaos and moral ambiguity.

From a symbolic perspective, the creature functions as a representation of uncontrollable male fertility and aggressive vitality. Its exaggerated physicality mirrors the fear of socially disruptive masculinity, while its gross and comedic depictions—especially in contemporary media—serve to contain and domesticate that fear through humor. As Federici (2004) argues, cultures often transform threatening figures into comedic ones to neutralize their ideological power.

Representations In Modern Media
The Genderuwo has undergone significant transformation within contemporary Indonesian media. Early portrayals in traditional theater forms such as ketoprak and wayang orang presented the Genderuwo as a fearsome yet sometimes comedic figure, reflecting its dual nature within folklore. With the rise of television in the late twentieth century, the creature became a staple in supernatural-themed programming. Kitley (2000) notes that shows such as Misteri Gunung Merapi and Dunia Lain helped solidify the Genderuwo’s presence as both an object of fear and a source of entertainment.

Film portrayals have also evolved. During the 1970s and 1980s Indonesian horror boom, the Genderuwo was often depicted as a monstrous antagonist, echoing global horror trends while retaining local mythological specificity. Heider (1991), in his study of Indonesian cinema, argues that these films used supernatural figures as metaphors for moral and social anxieties during periods of political tension.

In the 2000s and 2010s, the Genderuwo frequently appeared in comedic horror films and soap operas, becoming increasingly anthropomorphized and humorous. Heryanto (2014) attributes this shift to the commercialization of folklore within the entertainment industry, where spirits are repackaged to suit the demands of mass audiences. This comedic turn also reflects social mechanisms for managing fear through laughter.

Digital media has further transformed the Genderuwo into a viral icon. On platforms such as YouTube and TikTok, users create short comedic sketches featuring bumbling or flirtatious Genderuwo characters. Burgess and Green (2018), in their study of online participatory culture, note that such reinterpretations reflect the democratization of myth-making in the digital age. Folklore becomes participatory, remixable, and rapidly disseminated, blurring the boundary between tradition and pop culture.

Despite these transformations, core motifs—such as the creature’s hairy body, deep voice, forest habitat, and mischievous nature—remain intact, demonstrating the resilience of traditional symbols even when adapted into new media ecosystems.

Contemporary Reinterpretations and Cultural Continuity
Modern reinterpretations of the Genderuwo reveal dynamic cultural negotiations about masculinity, morality, and identity. Urban audiences increasingly perceive the Genderuwo as a humorous rather than frightening figure, yet rural communities still maintain traditional beliefs that anchor the creature within local cosmologies. This distinction underscores the broader cultural tension between modernization and tradition.

Contemporary writers and artists also use the Genderuwo to explore themes of alienation, environmental degradation, and social inequality. In literature, the creature appears as a metaphor for marginalized masculinity or as a guardian spirit protesting ecological destruction. In these narratives, the Genderuwo becomes a cultural lens through which systemic issues are critiqued.

Despite these reinterpretations, the Genderuwo continues to function as a cultural bridge, connecting modern Indonesians with ancestral worldviews. Its ability to persist across centuries and media formats reflects its adaptability and symbolic richness.

Conclusion
The Genderuwo is far more than a folkloric monster or pop-culture icon. It is a complex cultural symbol that mediates between humans and the natural world, between social norms and transgressive desires, between fear and humor, and between tradition and modernity. Its presence in Javanese belief systems reveals deep insights into how communities negotiate gender, power, ecology, and morality. Through its enduring role in oral tradition, ritual practice, and contemporary media, the Genderuwo continues to shape and reflect the cultural imagination of Indonesia.

References
Burgess, J., & Green, J. (2018). YouTube: Online video and participatory culture. Polity Press.
Davis, C. (2015). The haunted body: Ghosts, sexuality, and gender in Southeast Asian folklore. Routledge.
Endraswara, S. (2018). Folklor Jawa: Bentuk, isi, dan fungsi. Pustaka Widyatama.
Federici, S. (2004). Caliban and the witch: Women, the body, and primitive accumulation. Autonomedia.
Geertz, C. (1960). The religion of Java. University of Chicago Press.
Heider, K. (1991). Indonesian cinema: National culture on screen. University of Hawaii Press.
Heryanto, A. (2014). Identity and pleasure: The politics of Indonesian screen culture. NUS Press.
Kitley, P. (2000). Television, nation, and culture in Indonesia. Ohio University Press.
Koentjaraningrat. (1990). Kebudayaan Jawa. Balai Pustaka.
Mulder, N. (2005). Mysticism in Java: Ideology in Indonesia. Penerbit Kanisius.
Wessing, R. (1995). The soul of ambiguity: The tiger in Southeast Asia. Northern Illinois University Press.

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Kuyang

Origins of the Kuyang

The phenomenon of the kuyang in the oral traditions of Kalimantan (particularly East and West Kalimantan) is one of the most prominent examples of a supernatural being shaped by a mixture of local cosmology, magical practices, and belief systems concerning the female body. In the worldview of Dayak communities and coastal Malay groups, the kuyang is described as a woman who practices black magic in the pursuit of beauty or immortality. As a consequence of the ritual she undergoes, her body becomes able to separate at night—leaving only her head and dangling internal organs, which fly in search of blood or fetuses as sources of magical power (King, 2018; Sellato, 1994). This concept positions the kuyang not merely as a mystical creature but as a liminal figure situated between human and spirit, sacred and profane, and life and death.

The origins of the kuyang are often traced to ancient traditions concerning inner energy, attraction magic, and bodily refinement practiced among various ethnic groups in Kalimantan. According to Sellato (1994), several Dayak communities believe that individuals possessing certain magical abilities can separate their consciousness or “shadow soul” from the physical body for ritual purposes. Although this notion is not identical to the modern kuyang phenomenon, it provides a conceptual foundation for the idea of a body that can “detach” through supernatural power. Meanwhile, in coastal Malay traditions, stories of women who practice witchcraft to obtain beauty or power appear in various forms, including figures such as the langsuir and penanggalan in the Malay Peninsula (Winstedt, 1951). The kuyang is often regarded as a localized variant of these mythological systems but developed with characteristics distinct to Kalimantan.

In Dayak Benuaq and Tunjung communities, the kuyang is linked to narratives of women who willingly “surrender themselves” to supernatural forces in exchange for eternal beauty or longevity (Hamzah, 2012). Some ethnographic sources describe initial rituals involving magical oils, spirit-binding pacts, or gradual transformational processes that eventually allow the human body to detach its head from its torso. These beliefs reflect the significance of the female body as a locus of power and vulnerability in many traditional societies. As Federici (2004) notes, in many cultures the female body is positioned as a site of moral regulation, making myths about women who “break boundaries” (whether through excessive beauty, spiritual authority, or magical knowledge)often constructed as threats.

Beyond local influences, the origins of the kuyang are frequently connected to the widespread Southeast Asian folklore about “flying heads,” known in anthropological literature as detachable head spirits. Reid (1988) notes similarities among figures such as the penanggalan (Malaysia), krasue (Thailand), manananggal (Philippines), and leyak (Bali), which share structural commonalities in regional mythology. These parallels suggest the existence of a vast network of cultural exchange across Southeast Asia since early trade periods. The kuyang can therefore be understood as the Kalimantan variant with strong local specificities, especially given its association with female witchcraft and the consumption of blood as a source of energy.

During the colonial era, several Dutch records mention stories of women who “fly with their organs exposed,” categorized in ethnographic archives as zwervende hoofden, or “wandering heads” (Veth, 1875; Nieuwenhuis, 1900). Although colonial writers often misunderstood or dismissed such accounts as mere superstition, these records demonstrate that kuyang stories have deep historical roots and have been part of local cosmology since before the 19th century.

Contemporary researchers interpret the origin of the kuyang as a social construct related to the female body, gender status, and beauty. Davis (2015), in her analysis of female Southeast Asian ghosts, argues that women who lose bodily integrity or undergo extreme physical distortion often represent metaphors for social instability and moral ambiguity. The kuyang as a woman who pursues beauty through magical means reflects societal anxieties about women who exceed traditional roles or gender hierarchies. In modern contexts, kuyang stories also mirror tensions between local traditions and rapid urbanization, in which moral, social, and religious boundaries continually shift.

Thus, the origins of the kuyang cannot be understood solely as a supernatural tale but represent the interplay between local oral traditions, regional Southeast Asian cultural exchanges, gender dynamics, and the moral systems of Kalimantan communities. The kuyang embodies fear, admiration, and social critique toward women who possess power beyond accepted norms. It stands as a potent symbol of liminality—a being born from the human body yet transcending humanity through supernatural transformation that blurs the boundaries between the physical and spiritual worlds.

Physical Characteristics and Belief Concepts of the Kuyang
In Kalimantan folklore, the kuyang is described as a woman capable of detaching her head from her body and flying at night with her internal organs dangling below her neck. This visual representation is characteristic of Dayak mythology, which incorporates the notion of the body as an entity that can be separated from the soul through certain ritual practices (Sillander, 2016). Descriptions of a flying head with trailing entrails are also found in early ethnographic records documenting beliefs about blood-seeking aerial creatures (Mallinckrodt, 1924). The terrifying physical structure of the kuyang reinforces its position as a liminal being—existing between the human world and the spirit world (Schiller, 1997).

Local narratives also record the kuyang’s ability to change form. During the daytime, the kuyang is believed to disguise herself as a beautiful woman, a form of shape-shifting commonly found in Southeast Asian mythology (Wessing, 1995). This disguise reflects widespread beliefs that supernatural beings can conceal their true identities through manipulations of energy or magical power, consistent with Dayak animistic beliefs about spirit transformations (sanang) and guardian beings (Sellato, 1995). This ability further strengthens the symbolic portrayal of the kuyang as an embodiment of moral ambivalence, appearing attractive on the surface yet harboring danger beneath (Tsing, 2005).

Most Dayak communities associate the kuyang with magical practices, particularly attraction magic intended to gain eternal beauty, longevity, or specific spiritual powers (Riwut, 2003). These beliefs are based on the idea that the kuyang originates from ordinary women who undergo ritual soul-separation through spiritual sacrifice—a motif also seen in legends of female witches in Malaysia, Thailand, and the Philippines (Endicott, 2012). In some versions, the woman must protect her empty torso from harm, because if the body is damaged or stolen, she cannot return to human form (King, 1999). This narrative provides a cosmological explanation for the concept of a body without a soul and the relationship between physical form and spiritual essence.

Another key characteristic of the kuyang is its dependence on fresh blood, particularly from infants or pregnant women. This belief is connected to Dayak conceptions of vitality and life essence contained in blood (Djuweng, 1996). Blood is viewed as a substance linking humans to the spirit realm, so the kuyang’s consumption of blood is understood as an effort to maintain magical strength obtained through spiritual transformation. This motif shows structural similarities to penanggalan in Malaysia and krasue in Thailand, which, according to Bellwood (2007), share historical roots in Austronesian migration networks.

In traditional interpretations, the kuyang is not simply an evil creature but part of a cosmology that places humans, spirits, and nature in mutually influencing relationships. Some communities view the kuyang as an individual trapped by the consequences of ritual rather than inherently wicked (Alexander, 2010). This interpretation aligns with Dayak narratives that portray supernatural beings as the result of imbalances between the physical and spiritual worlds. In modern contexts, depictions of the kuyang have been standardized by films, internet stories, and digital media that emphasize visual horror, though the core elements—flying head and thirst for blood—remain intact (Paramadhita, 2018).

Thus, the physical characteristics and belief concepts surrounding the kuyang reflect a blend of Dayak cosmology, animistic tradition, and modern adaptations. The kuyang functions as a complex symbol (simultaneously a manifestation of bodily transformation, spiritual energy, and social fear) making it one of the most iconic mythological figures of Kalimantan and broader Southeast Asia.

Origins and Dissemination of Kuyang Mythology
The origins of kuyang mythology are closely tied to the animistic and dynamic belief systems of Dayak communities, who have long viewed the physical and spiritual worlds as an interconnected cosmological whole (Sellato, 1995). Early oral stories about the kuyang are often linked to attraction magic or supernatural practices performed by women seeking eternal beauty or certain spiritual powers—a motif also found in Southeast Asian narratives of female witches (Endicott, 2012). In the earliest ethnographic accounts of Kalimantan, women who sought such abilities had to undergo transformative rituals with both physical and spiritual consequences—namely, the ability and curse of detaching their heads and flying at night (King, 1999). This myth then functioned as a moral narrative warning against greed and the violation of sacred boundaries (Tsing, 2005).

The dissemination of kuyang mythology can be traced through variations across different regions of Kalimantan. In East Kalimantan, the kuyang is often associated with forest spirits, so its appearance signals human transgressions against sacred places (Djuweng, 1996). In South Kalimantan, Banjar communities interpret it through a moral debate between white magic and black magic, reflecting religious changes following the arrival of Islam (Riwut, 2003). In Kaharingan tradition in Central Kalimantan, the kuyang is understood as a liminal entity that occupies a space between the living and the dead, consistent with the concept of temporary death found in Dayak belief (Schiller, 1997). These cross-regional variations show that the kuyang is more than a local figure—it is part of a broader narrative network shaped by social and religious interactions.

The resemblance of the kuyang to similar Southeast Asian beings—such as the Malaysian penanggalan, Thai krasue, and Filipino manananggal—indicates historical cultural exchanges across the maritime world (Wessing, 1995). Many anthropologists believe that these similarities arose from Austronesian migration and trade networks that facilitated the spread of mythologies across islands thousands of years ago (Bellwood, 2007). Even so, the kuyang retains distinct local characteristics, especially in relation to Dayak rituals, traditional herbal use, and the concept of the separable body and soul (Sillander, 2016).

In oral history, kuyang stories spread through family tales, ritual chants, and storytelling traditions in longhouses, which long served as spaces for intergenerational knowledge transmission (King, 2015). Besides entertainment, kuyang narratives also function as social education tools—for example, warning children not to leave home at night or advising young women against engaging in forbidden magical practices (Alexander, 2010). Colonial-era ethnographic records from the Dutch also mention the story, often misclassifying it as “native witchcraft” that frightened local communities (Mallinckrodt, 1924). In the modern era, the dissemination of kuyang stories has expanded through horror films, social media, and digital content, further establishing it as a staple of Indonesian popular culture (Paramadhita, 2018).

Thus, the origins and dissemination of kuyang mythology reflect the complex interplay between ancient traditions, social change, cultural migration, and modern adaptation. The kuyang endures not only as a supernatural figure but also as a cultural marker mapping human–nature–spirit relations in Kalimantan and Southeast Asia.

Social Functions and Symbolic Meanings of the Kuyang
In cultural anthropology, the kuyang is not merely understood as a supernatural being but as a social symbol that regulates behavior, reinforces moral norms, and delineates cultural boundaries within Dayak society. As Koentjaraningrat (1990) explains, traditional belief systems often employ supernatural entities to guide community behavior and issue warnings against certain dangers. In the case of the kuyang, stories of its threat toward pregnant women and infants act as a form of social protection, promoting greater communal care toward maternal health—especially at times when access to modern medical care was limited (Riwut, 2003). Thus, the kuyang indirectly strengthens community solidarity in protecting vulnerable groups, particularly women and children.

The symbolic meaning of the kuyang is closely connected to representations of the female body in Kalimantan culture. The motif of a split body—a flying head with dangling organs—can be interpreted as a metaphor for social pressures experienced by women, particularly those related to beauty, fertility, and domestic roles. Federici (2004) argues that in many societies, the female body becomes a site of tension between social control and individual desire, and the kuyang myth can be read as an articulation of this tension. In some Dayak narratives, women become kuyang because they pursue eternal beauty or special powers that require bodily sacrifice (Sillander, 2016). These stories function as moral critiques of ambitions that exceed social limits and demonstrate how the female body becomes an arena of negotiation involving power, morality, and spirituality.

The kuyang also carries ecological and cosmological functions. In Dayak belief, supernatural beings often act as guardians of certain territories or indicators of ecological imbalance (Sellato, 1995). Appearances of the kuyang in local narratives are frequently linked to taboo violations, environmental damage, or disturbances in sacred areas. As such, the kuyang helps enforce respect for ecological boundaries, similar to forest guardian myths in other Indigenous traditions (Djuweng, 1996).

At the social level, kuyang stories help build group identity and maintain cultural boundaries. King (1999) notes that kuyang myths are often told to emphasize distinctions between Dayak communities and other ethnic groups in Kalimantan. As a symbol of identity, the kuyang reinforces traditional values, human–spirit relations, and Kalimantan’s unique cosmology, distinguishing it from outside influences. This supports the function of myth as a tool for preserving cultural continuity amid social changes brought by urbanization and modernization.

In modern interpretations, the meaning of the kuyang has shifted with the rise of mass media and popular culture. Paramadhita (2018) notes that female supernatural figures in contemporary media are often resemanticized, so their meanings are no longer tied strictly to traditional cosmology. Even though film and internet portrayals emphasize visual horror, symbolic elements concerning the body, social fears, and morality remain integral to the kuyang’s identity.

Overall, the social functions and symbolic meanings of the kuyang reflect complex relationships between the female body, social norms, spiritual power, and ecological structures in Dayak culture. The kuyang acts as moral educator, social critique, ecological guardian, and cultural identity marker, making it a dynamic cultural phenomenon that continues to evolve in modern society.

Representations of the Kuyang in Modern Media
Representations of the kuyang in modern media reveal a significant transformation from a Dayak mythological figure into a national horror icon featured across various popular culture platforms. In his study of Indonesian horror film development, Heider (1991) notes that local supernatural themes became widely adapted beginning in the 1970s, even though the kuyang was not as popular as the kuntilanak or genderuwo at the time. However, starting in the 2000s—particularly after the revival of Indonesian horror cinema—the kuyang began appearing in films centered on Kalimantan localities, such as Kuyang: Iblis Wanita (2015) and Kuyang: Perempuan Terbang (2017). These films emphasize extreme visual portrayals—flying heads with exposed organs—that reinforce the kuyang’s appeal as a form of body horror. According to Heryanto (2014), such representational strategies reflect how commercial cinema utilizes local elements to produce modern visual sensations without detaching them from their traditional identities.

Indonesian television has also played a role in popularizing the kuyang. Semi-documentary programs such as Dunia Lain and Uka-Uka frequently feature the kuyang in episodes themed around Kalimantan. Kitley (2000) explains that such television formats blend dramatic elements, reconstruction, and documentary aesthetics to create a sense of “real presence.” For the kuyang, this strategy amplifies public belief in its existence, despite the highly constructed nature of the presentation. Thus, television not only popularizes the kuyang but also reshapes public perceptions of the myth through media-driven aesthetics of fear.

Digital cinema and online media further contribute to the resemanticization of the kuyang. Burgess and Green (2018) argue that platforms like YouTube enable flexible, fast, and fragmented forms of horror storytelling. This is evident in numerous viral kuyang-themed videos—from amateur “sightings” and short animations to humorous content circulating on YouTube and TikTok. These representations move the kuyang from sacred contexts into the realm of fast entertainment, making it easily shareable and adaptable across communities. Even so, essential features—flying head, trailing organs, thirst for infant blood—remain intact, preserving its traditional identity.

In Indonesian comics and horror literature, the kuyang also receives new layers of interpretation. Paramaditha (2012) notes that supernatural female figures in contemporary literature are often used to explore issues of the body, gendered violence, and patriarchal power relations. Several Indonesian horror comics, including digital Webtoon works, portray the kuyang as a complex antagonist with emotional backstories rather than a simple monster. This reflects a modern trend of adding psychological depth to traditional horror figures, aligned with global developments in representing women in media. Recent developments show that the kuyang has become a recognizable symbol of internet culture, largely due to its extreme and distinctive visual form. This illustrates how, in digital ecosystems, traditional myths can undergo transformation while retaining core symbolic features.

Reference:
Davis, H. (2015). Haunting and the feminine: Ghosts, bodies, and gender in Southeast Asian folklore. Routledge.
Federici, S. (2004). Caliban and the witch: Women, the body, and primitive accumulation. Autonomedia.
Hamzah, A. (2012). Tradisi lisan dan praktik mistik dalam masyarakat Dayak Benuaq. Jurnal Etnografi Borneo, 5(2), 77–94.
King, V. T. (2018). The sociology of Southeast Asia: Transformations in a developing region. NIAS Press.
Nieuwenhuis, A. W. (1900). Indie: Anthropologische en ethnographische notities uit de binnenlanden van Borneo. Martinus Nijhoff.
Reid, A. (1988). Southeast Asia in the age of commerce 1450–1680: Volume I: The lands below the winds. Yale University Press.
Sellato, B. (1994). Nomads of the Borneo rainforest: The economics, politics, and ideology of settling down. University of Hawai‘i Press.
Veth, P. J. (1875). Borneo's Wester-Afdeeling: Geographisch, statistisch, historisch. E.J. Brill.
Winstedt, R. O. (1951). The Malay magician: Being shaman, saiva and sufi. Hutchinson’s University Library.
Bellwood, P. (2007). Prehistory of the Indo-Malaysian Archipelago (3rd ed.). ANU Press.
Endicott, K. (2012). Witches, tigers, and terrorists: Anthropology of the supernatural in Southeast Asia. Southeast Asian Studies Press.
Schiller, A. (1997). Small sacrifices: Religious change and cultural identity among the Ngaju of Borneo. Oxford University Press.
Sillander, K. (2016). Local cultures of Southeast Asia: Ritual, kinship, and cosmology. Routledge.
Tsing, A. L. (2005). Friction: An ethnography of global connection. Princeton University Press.
Wessing, R. (1995). The last house of the head: Comparative studies of Southeast Asian detached-head spirits. Asian Folklore Studies, 54(2), 211–242.
Alexander, J. (2010). The longhouse narratives: Oral traditions and social regulation in Borneo communities. Borneo Research Council Monograph Series.
Endicott, K. (2012). Witches, tigers, and terrorists: Anthropology of the supernatural in Southeast Asia. Southeast Asian Studies Press.
King, V. T. (1999). Anthropology and society in Southeast Asia. Oxford University Press.
Mallinckrodt, C. J. (1924). Verslag van ethnographische notities op Borneo. Leiden Ethnographic Archives.
Paramadhita, I. (2018). Feminist monsters: Gender, horror, and Indonesian popular culture. Indonesia and the Malay World, 46(135), 257–276.
Schiller, A. (1997). Small sacrifices: Religious change and cultural identity among the Ngaju of Borneo. Oxford University Press.
Wessing, R. (1995). The last house of the head: Comparative studies of Southeast Asian detached-head spirits. Asian Folklore Studies, 54(2), 211–242.
Djuweng, S. (1996). Spirituality and nature: Indigenous environmental management in Borneo. Institut Dayakologi.
Federici, S. (2004). Caliban and the witch: Women, the body and primitive accumulation. Autonomedia.
Koentjaraningrat. (1990). Pengantar ilmu antropologi. Rineka Cipta.
Burgess, J., & Green, J. (2018). YouTube: Online video and participatory culture (2nd ed.). Polity Press.
Kitley, P. (2000). Television, nation and culture in Indonesia. Ohio University Press.

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Bahaya, Asal Pasang Aplikasi Boks pada Motor

Boks tambahan pada sepeda motor muncul akibat ada keterbatasan ruang penyimpanan. Jadi, boks tambahan sejatinya adalah wadah penampung barang bawaan seputar perlengkapan berkendara. Namun dalam prakteknya banyak pengendara yang asal memilih boks tanpa menyesuaikan dengan kendaraannya dengan harapan dapat menampung banyak barang bawaan.

Padahal, hal utama yang harus diperhitungkan saat pemasangan boks tambahan adalah unsur keselamatan dan juga estetika. Penggunaan boks harus disesuaikan dengan bobot kendaraan. Ukuran boks yang terlalu besar dapat mengganggu kenyamanan berkendara, dan bahkan dapat pula berpotensi menimbulkan kecelakaan. Hal ini berkaitan dengan pengaruhnya dalam bermanufer, stabilitas saat berkendara, serta ruang gerak dari pengendara sendiri. Selain itu, boks yang terlalu besar juga akan mengganggu juga akan mengganggu pandangan mata pengendara (dari kaca spion) saat melihat ke arah samping belakang.

Jadi, untuk para pengendara yang ingin memasang boks tambahan sebaiknya menyesuaikan dimensi boks yang akan dipasang dengan ukuran tidak boleh melebihi lebar dari dimensi stang. Apabila melebihi kapasitas yang sewajarnya, bukan hanya stabilitas dan kenyamanan berkendara akan terganggu, tetapi juga dapat membuat konsumsi bahan bakar menjadi lebih boros, umur suspensi dan juga ban akan lebih singkat karena menahan beban yang tidak semestinya. AG/03/2019)

Foto: https://macantua.com/2017/08/30/motor-pakai-box-tambahan-awas-rawan-tilang-di-bandung/

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Belitung Gelar Festival Tanjung Kelayang

Festival Tanjung Kelayang (FTK) diluncurkan oleh Bupati Belitung H. Sahani Saleh bersama Ukus Kuswara (Sekretaris Kementerian Pariwisata) dan Esthy Reko Astuty (Staf Ahli Menteri Pariwisata Bidang Multikultural) di Balairung Soesilo Soedarman, Gedung Sapta Pesona, Kantor Kementerian Pariwisata pada Senin, 5 November 2018. Festival ini menjadi ajang promosi Kabupaten Belitung yang memiliki Tanjung Kelayang sebagai salah satu destinasi prioritas dengan wisata bahari yang menjadi daya tarik utamanya.

Selain itu, peluncuran Festival Tanjung Kelayang juga dimaksudkan sebagai upaya memperkuat unsur 3A (atraksi, amenitas, dan aksesibilitas) khususnya pengembangan unsur atraksi budaya, alam, dan buatan manusia. Tanjung Kelayang sendiri telah ditetapkan sebagai Kawasan Ekonomi Khusus (KEK) Pariwisata dan menjadi salah satu dari 10 destinasi pariwisata prioritas (DPP) untuk dikembangkan sebagai “Bali Baru” dalam upaya mendukung target kunjungan 20 juta wisatawan mancanegara ke Indonesia dan pergerakan 270 juta wisatawan nusantara di Tanah Air pada 2019.

Tahun ini FTK yang juga masuk dalam Top 100 Calendar Of Event Wonderful Indonesia 2018 akan berlangsung untuk pertama kali di Pantai Wisata Tanjung Kelayang, Kabupaten Belitung pada 15-19 November. Gelaran rencananya akan dimeriahkan dengan berbagai acara, antara lain: Fashion Show Batik Daerah, Seminar Geopark, Lomba Lukis, Lomba Layang-layang, Lomba Vlog Pariwisata, Lomba Lari 10K, Fun Run On The Beach, Parade Pelangi Budaya, Bersih Pantai, Kolaborasi Musik Tradisional dan Modern, Festival Kuliner, Pagelaran Kesenian, Pameran Produk KUKM, Festival Obor, serta Workshop dan Seminar Kebaharian. (AG/06/2018)

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History of the NFL Super Bowl Game

By Rich Stephenson

Prior to the merger, NFL and AFL leagues were two bitter rivals. There was a need to unit all fans and club sides from both leagues, hence the landmark agreement that cemented and brought about the Super Bowl.

Super Bowl Sunday is that day of the year in which winners from both leagues (NFL and AFL) come together to determine who is the champion of the world. The winning team gets the Vince Lombardi Trophy --posthumously named after the coach of the Green Bay Packers that won the first two Super Bowl games. Vinci Lombardi died in September 1970.

The game, which is usually played once in a year has witnessed many date shifts; from first to mid Sunday in of the month of January, it later settled on the second Sunday and from which point it went off again to the third unto the last and later revised back to the first Sunday in the month of February. Let us hope there is no further shift in date!!

Kansas City Chiefs owner Lamar Hunt coined the name ''Super Bowl''. He got the idea from the toy Super Ball after watching his children playing with it. There were other suggestions like ''The Big one’’ and whatnot. The name Super Bowl was initially supposed to be a temporary name for the championship game. The name Super Bowl has gained so much popularity in such a way that, it is now the official name of America’s de facto holiday.

NFL’s Green Bay Packers won the first two Super Bowl matches. The first and second Super Bowl Championship Games were not advantage with roman numerals until the third Super Bowl championship game(Super Bowl III), talking of which was won by AFL's New York Jets. Kansas City Chiefs subsequently won Super Bowl IV in New Orleans.

In the United States alone, the Super Bowl is the most-watch TV broadcast. The game has the highest rating in terms of viewership: watched by an average of 90 million Americans. The game has also recorded viewership as high as 200 million and above. Outside the United States about 140 million viewers tune up to watch the championship every super bowl Sunday.

Super Bowl Sunday halftime show has grown from mere matching parades by High School bands to a super show that commands the respect of the global entertainment industry. Thought the halftime show is only 30 minutes, it is no doubt, one of the important highlights of the championship game. Various America and international top musicians have performed in halftime shows.

The Super Bowl is without any forms of controversies. A case in point was Super Bowl XXXVIII in 2004, when Justin Timberlake exposed Janet Jackson’s right breast for the entire world to see in what appeared to be a mistake. Her nipple had a star-shaped ring around it. The incident prompted organizers to place a ban on MTV that forbids the media company from involving in another halftime show, in any capacity, in the future.

Rich Stephenson is in the web development field for a ticket broker that sells tickets to all sports, concert and theater events. Ticket broker also sells Super Bowl Tickets as well as Cheap Football Tickets for and all other football games.

Source: http://www.articlesbase.com

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Key Moves for Keeping Pace on the Soccer Pitch

By: Sandra Prior

When it comes to the social soccer game everybody wants to be the striker - the glory boy who gets to score all the goals. Sadly, as with most things of this nature, it's a lot less glamorous and a damn sight tougher than it seems. The pros make it seem effortless; pros like Kaiser Chiefs' striker Kaizer Motaung Junior.

He's the son of South African soccer legend and Kaizer Chiefs' founder Kaizer Motaung, but don't for a minute think that the 27-year-old is a daddy's boy who's had an easy path to the top.

From his debut for Amakhosi in 2004, it's taken the former under-23 international a few seasons to establish himself at PSL level. Today, with the help of a rigorous training program, he's one of the league's most feared strikers. You might never wear the number seven in black and gold, but read on to find out what it takes to kick more than ass in front of the goal.

Training: Balance
Good balance is a crucial attribute of a good striker. Example I: if you're dribbling towards goal and an opponent bumps into you, you need to be able to shift your body weight appropriately so you don't lose control of the ball. Example 2: you trap the ball with your back to the goal and have to turn to shoot into the top corner. Both situations require considerable balance to perform. Here's an exercise that will help you maintain your balance.

Hoverstep-Up
Use a fairly heavy box approximately 25cm in height. Stand on top of it with your left foot on the edge, keeping a slight bend in the left leg. Move your right foot away from the left so that it's dangling above the ground. Bring your body forwards so that your body weight is suspended directly above your left ankle. Slowly lower your body using your left leg, until the right foot is about three to five centimetres away from the ground. Hold for 10 seconds (and for longer lengths of time later), then return to your original position. Alternate feet. Don't straighten your legs because you want your glutes and quads to remain contracted at all times.

How to Step-Over like Ronaldinho
The Ronaldinho step-over move, also effectively used by Cristiano Ronaldo and Lionel Messi, is a great weapon for tricking your defender.

Step 1
Start by driving the ball forwards with your right foot. Your centre of gravity should be between both feet.

Step 2 and 3
Now, with your left foot, step over the ball quickly. As your left foot is planted, transfer your body weight quickly to your left foot.

Step 4
With your weight transferred to your left foot point your right foot down and use the outside of your foot to move the ball to the right. Now, transfer your weight back to your right foot. Turn your body towards the ball and perform a quick sprint with the ball away from your opponent.
Sandra Prior runs her own bodybuilding website at http://bodybuild.rr.nu.

Source: http://www.articlesroom.com

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Women's Wrestling- Why Not?

By: Belinda Belle

Women's Wrestling? That's right. And why not? Contact sports like women's wrestling are not for everyone, but the ladies that do it, do it because the love it. Why do they love it? Well, being that I have been in the sport for over 25yrs, and having made a living from it, I think it is safe to say that I know a thing or two about it.

Yes, women's wrestling, (also known as female wrestling or girl's wrestling) like other contact sports, is physically demanding and mentally challenging. The women that indulge in it are smart, competitive, creative and physical gals that love engaging in the challenges that women's wrestling offers.

In all the years I've been wrestling, it still provides a challenge to stay at the top of my game both mentally and physically, but it's also just plain fun!

Fitness Benefits Women's wrestling has some great fitness benefits outside of just being great fun. It keeps you in excellent shape! Great muscle tone and great cardio! Plus, in this stressful world, it is a wonderful stress reliever! So why not women's wrestling? Let's just touch on a few items on health.

Women's Wrestling Provides Stronger Bones In Pro Women's Wrestling, we constantly take what we call "bumps," or falls to the canvas. The benefits of these bumps are stronger, denser bones, which we all know that women need, especially as they get older.

Women's Wrestling Body Awareness And Confidence. The body awareness you acquire is tremendous and carries over into all walks of life and all other sports.

Women's wrestling is also a huge confidence builder! Not only with some of the moves, which I call fear moves, but also in knowing that you have trained up and can compete, the confidence built up in engaging in women's wrestling is a great character builder. Just learning some of the moves is a wonderful confidence builder, knowing that you can take care of yourself and that you have excellent body awareness.

Women's Wrestling Offers Self Defense And may I also mention self-defense! Lots of women are timid by nature, and that is a beautiful thing, but that can leave them wide open and venerable. Women's wrestling helps them develop the skill and confidence to protect themselves!

Women's Wrestling Offers Stress Relief And again, stress relief! Go pound around on the mat, take some bumps, take someone down or be taken down, wrestle with all your strength, not thinking about anything else, except how to over-power or out-maneuver your opponent, and when it's all said and done, you're relaxed, calm, balanced. You don't need pills, video games, or TV. Just what comes natural to all of us, like kids-- just wrestle! It's super fun and aren't we all just kids anyway?

Women's Wrestling Offers Fetishes I know you might be thinking - Oh, women's wrestling is a fetish. Might I say, yes, you're right. But there are also car fetishes, book fetishes-- you name it there is a fetish for it.

I will say though that just because we are women who wrestle, there will always be a sexual overtone just by association. That is simply human nature. If a woman is in the business of selling real estate, a lawyer or just selling hot dogs, there will always be some kind of sexual overtone. We are sensual creatures, and thank God for that! We understand this and don't care what certain societies label us. We love the fight game, studying our craft and looking damn good doing it!

Women's Wrestling And Mixed Wrestling What's more fun than to really get competitive against the physically stronger sex! Either if you're in for a fun semi-competitive match with your husband or boyfriend, or a real competitive match, you're sure to not only learn your strong suits but you can improve on your weaker ones.

So that is why Women's Wrestling! Give it a try Ladies-- you just might discover the beautiful inner Diva you've been looking for your whole life!

Source: http://www.articlebiz.com

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The Three Golf Secrets!

By: Randall Scott

When you boil it down, there are only three things you need to do to MASTER your golf game in order to start shooting in the 70s and 80s. Now, it's important for me to say two things right up front:

1) When I say "only" three things, that doesn't mean they're not important...I'm not trying to minimize them (as you'll see).

2) Shooting in the 70s and 80s doesn't make you Tiger Woods, who often shoots in the 60s on the world's most challenging courses...but I guarantee it'll make you look pretty darn good when you play with your friends and colleagues.

Okay, so what are these three secrets? The first is your mind. This is the most powerful element in the entire game. Sure, you have to hit the ball, but your thoughts influence your performance. Remember in a lot of ways golf is like chess with sticks? That's the mind game. It's why Tiger Woods is so successful. Yes, he has great mechanics, but his mind game just about shreds everyone else's, and that's why he wins so often! Everybody on the PGA Tour can play good golf. But not all of them THINK good golf. That's the difference.

The second secret is your swing. This isn't a surprise, right? If you don't have a good swing that consistently sends the ball straight where you aim, you'll end up in trouble on almost every shot. Think about Tiger Woods again. He can be a little wild off the tee with his driver. But when he's consistent, he's almost unbeatable. An unpredictable swing can easily add 10, 20 or 30 strokes to a round of golf. You'll always be trying to do wacky things to straighten the ball out, but you'll be fighting so many problems that you can't make sense of the mess.

The third secret is putting. This is also the biggest secret for every pro out there. If you three-putt (or more) every hole, it almost doesn't matter how well you did getting to the green...your score will stink. Back to Tiger Woods again. When he's struggling with his putting, his scores shoot up (relatively speaking). When he's "rolling his rock" well, he destroys the competition. Putting well is simply the key to shaving more strokes than any other single element of the game. Yes, you have to get to the green first, but most people lose more strokes with the short stick than they do hitting the long clubs.

Now you know the secrets. The best part of all of this is that yes, you can MASTER the game of golf if you learn the correct strategies.

By learning the best way to do things and perfecting ALL of the mechanics you need to know you will create a fluid, consistent swing. You will be hitting shots better than most people can ever dream of. I'll show you the right grip, the right swing mechanics, the right way to play shots, the smart course tactics and strategy to set yourself up for success...

Second, I will show you how to putt. I'll show you how to keep from psyching yourself out, the right posture for putting (extremely important) and the right swing mechanics to put the ball in the hole. And what about your mind? I set you up for that as well. Once you master the mechanics I'll show you, your confidence will build. Then you can start refining how you think about your shots.

There's no reason to struggle for years and get frustrated with golf. Why struggle when my easy book takes you past all that?

Source: http://www.articlebiz.com

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The Soccer Shirt and its History

By: Soophott Lert

When you watch the game of soccer, your main focus is on your favorite team winning the game. It is not very often that you pay attention the clothes that each team is wearing or even think about how the uniforms became about. If you were to do some research on the soccer shirt, you may be surprised at some of the facts and information that you may find.

For example, you will find that in the beginning of the game, teams did not have a specific uniform that they needed to wear. They had colored caps and scarves so that team members could be identified from each other and from the crowd. As time went on, there was a great demand to find a way to correct this problem so that teams would stand out and the games could be better organized. This is when the soccer shirt first came into play. They started out as white shirts with long sleeves and eventually became colored shirts that were solid and then of course designs started showing up.

All teams needed to have their own color and could copy anyone else's. They also needed to register their specific colors with the club so that it could not be recognized by another team. Of course, fans started to purchase their teams colors so they could show their support for a favorite player or just for the team in general. It brought new life to the fans of the game and helped the economy as well.

Coming into the mid 20th century, numbers started showing up on the backs of the soccer shirt and of course became statue for all teams. The number 1 was designated for the goalie and then each teammate received a number up to 11. Over time this changed but players still always received a number on the back.

The style of shirt also changed over time to make it more comfortable for the players. They became lightweight and the material changed as well so that did not soak in all of the sweat of a player. This was to keep them cool during the time of play.

Further into the 20th century, businesses started to place their company logos onto the shirts to advertise their companies. This meant that they would get publicity and because they paid the teams to do this, they were making money towards the equipment that they needed. The soccer shirt has been through many different changes since the beginning of the game. It started out as something plain and white and grew into a source of advertisement and identification.

With all of the changes that have been made over the years, you can believe that more changes are to come in the pending future. They will be made to fit the players better, keep them cooler during play time and the design will probably become completely different as well. So watch the soccer shirt since changes are going to happen.

If you want to find out more about Cheap Football Shirt , please visit Football Shirts Website for more information

Source: http://www.articlecompilation.com

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Italian league has common football fans

By: Aleks G

Install inwards 1898, the Italian League, besides experienced because Italian football, the all about eminent football conference in the area. Serie A, begun in 1929, the aiming down by the breeze division of Italian Soccer, and is inch the first place, a mobile call off up companionship TIM Italian patrons. Number of Italian Soccer is divided into regional aggroup. Championship status is often raised as Scudetto titles, album "humble" because uniforms League, a small crest of the next government strengthen the defense. After chatting up a lot of than 100 days, Italian football bewilders at the crown of popularity, is incoming the orbs of both devotees and fortes. How brawl we cognize that today, totally the Serie An elite parade of the Italian league? extra lands are in Serie B perfection.

Auction Italy national football house, has attracted 18 teams with the guild of 18 or 20 in the series that additional full teams in both eccentric to make their home stadium and at home with their former adversaries. successful the first one-half of harden makes up of canonical Italian Soccer all team, late before any diametrical club.Inwards taste left in the second half is to invite competition assonant isolation is a difference attitude to the game.

As for the describe, the Italian Soccer indoor team incurs cardinal points for a acquire, one bespeak for a absorb and one shoot down.If there is to see the results that have laurelled booster club, the team is based on unchanging overall management of taste. If both teams are in the flooring at the end of hardening the two teams meet in Match Play-offs.The four best’s teams inch Serie A and Serie B football in Italy will specify for the Italian League.

In this country, the Italian Soccer has a robust account and custom. Fiddling with winner for many years, challengers, a lot of the troubles. Since September 2006, three players to capture the major figures Paolo Maldini, Gianluca Pagliuca and Dino Zoff. Reading is the oldest Histrion Belong Marco Ballotta and Dino Zoff.incoming 2005-06 saucer of capital of Italy's most consecutive clears with an total of 11 nonparallel triumphs.

A more detailed information about the serie A and Italian football, the latest product news, updates, photos of it, the diachronic scope, news, and the Italian league is available online and is used mainly in Italian.
Professionally projected colorful charm in that gets at this locate very basic amid football fans in Italian league.Football is still a common entertain the world and is celebrated in many different countries. Legions of fans around the creation, it seems that the players seem to be stage for many year

This Article is related to the subject of Serie B . If you are looking for information on italian soccer then www.footballitaliano.org/ is the greatest place for you.

Source: http://www.articlecompilation.com

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History of Paintballs

By: Michael Russell

Paintballing is a relatively new sport that has come into popularity since its creation almost 20 years ago. The core of the idea behind paintball was to recreate the thrill of hunting wild game in Africa without the expenses included in making such a trip. Inspired by Richard Connell's The Most Dangerous Game and eager to recreate the adrenaline rush of the hunt, three friends--Hayes Noel, Bob Gurnsey, and Charles Gaines--eventually worked out the most important qualities that a hunter could possess, but what they lacked was the necessary tool to make such a game possible.

It wasn't until a friend of theirs showed them a paintball gun manufactured by the Nelson Paint Company that they found that tool. The paintballs and guns produced by Nelson Paint Company were originally designed for agricultural purposes--tree marking, etc. However, this did not stop these men from developing a game designed along the lines of capture the flag based around them. The very first paintball game took place June 2, 1981, with a dozen players competing against one another. An article was published that same month in Sports Illustrated on that game. The first games were crude compared to today's standards, with extremely limited ammunition per gun. Players would even resort to throwing paintballs at one another.

Interest in paintball climbed steadily, and Bob Gurnsey eventually founded National Survival Game and contracted with Nelson Paint Company to be the sole distributor of their guns and paintballs. This initial monopoly allowed Gurnsey to turn a profit in six months. Competitor manufacturers of paintballs quickly appeared in the early 1980s, spurring development in paintball technology. Nelson Paint Company would later split into two companies: Nelson Paint Company, which focused on traditional paint products, and Nelson Technologies, Inc. (better known as Nelson Paintballs), which still produces paintballs today.

Competitive tournaments have been going on nearly since the sport's inception. The first major paintball tournament was held in 1983, with the Canadian-based team The Unknown Rebels from London, Ontario, winning. Originally played in the woods, tournaments shifted over to the speedball format in the late 1990s. Speedball is similar to the idea of indoor soccer, with an even, enclosed field with a set terrain that afforded neither team an unfair advantage over the other. Tournaments since then have largely been in this format. The world's largest, the World Cup, takes place each October at Disney's Wide World of Sports in Kissimmee, Florida.

Paintballs themselves have evolved over time as well. When the game first began in the early 1980s, paintballs were oil-based. Turpentine parties were not common after a game to get the paint off. Today's paintballs are a gelatin shell filled with vegetable oil and food coloring. A number of variations have been developed for paintballs, including glow in the dark, scented, and cold weather ones. Some teams in tournament play will put their paintballs in a freezer to cool them and make the paint more brittle to shatter easier on impact and reduce the odds of a ricochet.a

Tina Powers is a retailer of paintballs and other paintball supplies at Unlimited Paintballs. If you're interested in improving your game, check out her web site at http://www.UnlimitedPaintballs.com.

Source: http://www.ArticleBiz.com

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How to hit Long Golf Drives in the Real World

By: Paul Bailey

You begin every hole you ever play at the tee. If you have difficulty driving the ball, then you're opening every single hole playing catch up. You might scramble a bunch of pars with great chipping and putting, but you could well be putting for birdies if your driving is up to scratch.

For nearly all golfers, long golf drives and consistency with the driver aren't impossible. Hitting the long ball is easier than most people recognize.

With modern drivers and golf balls, long drives come from hitting the ball on a high launch angle and getting the best angle of descent. It isn't about low carrying drives any longer. Long golf drives are now a result of high launch and long carry.

Sure, with their remarkable club speed and pure striking, pros can still get height on the ball, even with low lofted drivers. For the majority of club players however, playing additional loft in their drivers will enhance accuracy and carry. The majority of club golfers would do best with drivers in the 11 – 14 degree loft range.

Fitting the appropriate driver shaft is crucial when it comes to hitting consistently long golf drives. The shaft plays a crucial part in all your clubs, but the effects of playing the wrong shaft in your driver are magnified.

Most golfers now play graphite shafts in their drivers. Sadly, most golfers also play shafts that are too stiff for their swing speeds. That probabably has a lot to do with the most common fault in golf, the slice. Play a shaft that is too stiff and you'll most likely slice the ball.

This has a lot to do with the popular mistaken belief that graphite shafts aren't strong enough. That could well have been the case 10 years ago, but current graphite shaft fiber patterns have given us excellent models with very even playing characteristics.

Most club golfers would get more consistent results from fitting a light-weight, medium torque shaft in their drivers. Using a lighter shaft will enhance your swing speed and the medium torque will allow the shaft to load properly during the swing, delivering the most energy into your drives. More yards come from more energy.

The inflexibility of the shaft's tip will also influence the trajectories. Use a shaft that is excessively tip stiff and your launch angles will suffer. The launch angle is where a long golf drive starts. Take into account, we're looking for a strong flight, not a low worm burner.

To consistently hit long golf drives you have to choose a driver / shaft combo to fit your swing. You want your driver to help your game, not work against it.

We could all do with some extra yards and the easiect place to start is at our Clone Golf Clubs . Home of the Low Cost Long Hitting Driver

Source: http://www.articlecompilation.com

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How Golf Can Be Incorporate In Your Life

By: slivenqxme

If you live near a golf course, make sure you set aside some time each week for a quick game. Even if you are not able to really enjoy the luxury of playing as often as you want, you should still make a valiant effort to play at least once a week. Set this as a specific schedule and stick to it. Having an activity that you enjoy which can help you have a bit of stress relief will be quite helpful when you are feeling highly stressed out.

An additional way to pack in some extra time on the green is to ask a client if they enjoy golf. If they do you could perhaps arrange your next meeting out on the green. Many, many, many business deals have been arranged on a golf course. When people are enjoying each other’s company and actually making friendships rather than just discussing business you would be surprised at how much more successful meetings can be. Golf is the perfect sport for a sports meeting since it allows you to get out of the office, get fresh air, and still stay at a slow enough pace that you can clearly talk to the client without sounding breathless.

For those who are planning a vacation to a fabulous golf resort who have a family a good idea is to look for a golf course located close to activities that the rest of your family will enjoy as well. While going to that fabulous golf course may seem absolutely perfect, taking along a family who hates golf and does not want to be there can really put a damper into your plans. If you ensure that your travel destination has some options for those in the family who dislike golf you will be able to enjoy the entire vacation much more. This ensures that everyone has a great time.

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