The koala is a major draw for Australian zoos and wildlife parks. They are featured heavily in Australia-related advertisements, cartoons, and soft toys. If one were to name the animal most closely associated with Australia, it is very likely that the koala or the kangaroo would be mentioned. Personality-wise, the koalas’ most enduring quality is probably their laid-back nature. They generally look as happy and comfortable being in the arms of humans as they are climbing trees and eating eucalyptus leaves.
Although they have the power to change their shape at will and appear as animals, monsters, or beautiful women, sculptures and literatures generally depict the Rakshasas with a terrifying appearance – fearful side tusks, ugly eyes, curling brows and carrying a variety of horrible weapon. But, as with everything else in life, not all Rakshasas are ugly.
Legends about the Ebu Gogo go back to early western exploration of Flores by the Portuguese in 1511 CE, who heard that there was a tribe of wild men and women who stole food and kidnapped children.
Nyai Roro Kidul is a well-known figure in Javanese mythology who is still venerated by the Javanese today as the spirit queen of the Indian Ocean. Living in her palace on the bottom of the ocean off the south coast of Central Java, she rules the ocean, the spirits, nymphs, and other beings from the underworld.
The art of shadow puppetry, or shadow play, is an ancient form of storytelling which utilizes flat translucent screen. It has a long history in China, India, Nepal, and Southeast Asia, as well as in Turkey and Greece, surviving everything from war and famine to cultural revolutions. Shadow puppetry is so embraced by many different cultures that each culture seems to have their own history and legend of the first shadow play performance— therefore claiming it, or at least different versions of it, as their own.
As fire is “divine” and heavily associated with creation (creation of food, creation of warmth and so on), a lot of ancient myths imply that fire was meant for the gods, not mankind, to control. Therefore, the giving of fire or, more often, the theft of fire for the benefit of humanity who were not meant to hold such power, is a theme that recurs in many world mythologies.
One afternoon in the 1960s, the people of Magelang in Java, Indonesia, gathered on the edge of the main road which connects Magelang and Yogyakarta and sounded anything they could find which could make a loud noise. After some time, the wind blew from the south. This southern wind, according to the local legend, was a Lampor. A Lampor refers to trips to several regions in Java which are carried out by the soldiers of Nyi Roro Kidul, the mythical Queen of the Southern Seas, led by her commander Nyi Blorong.
Stories of Hanuman’s heroic deeds have been passed down through generations for thousands of years. us monkey was born in East Asia through the first Chinese novel Hsi-Yu Chi (“Journey to the West”). The story is based on a Buddhist monk who journeyed to India in search of Buddhist sutras from 602-664 CE. Protecting him on his journey, according to the book, are four companions also led by a divine monkey, Sun Wu Kong.
The story of Adam or Eve is by no means universal. According to the Iroquois, Huron and Navajo people, the first human being was, in fact, a woman. Nevertheless, the role of the woman in many legends are the most intriguing as, varied as they are in the way in which they were created and in their circumstances, the first woman share many similar characteristics across cultures – they are beautiful, they change the course of the world through their mere existence and they provide us with glimpses of personalities that women around the world still inherit to this day.
Apart from being a shrine to the Lord Buddha, Borobudur is also a temple for Buddhist pilgrimage. A pilgrim’s journey begins at the base of the monument and follows a path around the temple. The pilgrim then ascends to the top of the monument through the three realms in the Buddhist cosmology. Those three realms are Kamadhatu (“the world of desire”), Rupadhatu (“the world of forms”) and Arupadhatu (“the world of formlessness”). However, to experience this journey, the pilgrim will first walk through the gate of the temple adorned with a terrifying head which gives the illusion of the gate looking like the open mouth of the giant. The giant head represents Kala (“time”).
Semar is probably one of the oldest characters in Indonesian mythology who was said to not have been derived from Hindu mythology. He was made famous by performances of Wayang (Shadow Puppets) in the islands of Java and Bali as a rather unattractive, short man with breasts, a great sized behind, and uncontrollable urge for farting. However, underneath his peculiar appearance, Semar plays a major part in the Indonesian creation myth as the elder brother of the supreme god Batara Guru (the Hindu god Shiva).
Virgil, in his Aeneid, describes Deiphobe, better known as the Sibyl of Cumae, as coming from “a hundred perforations in the rock, a hundred mouths from which the many utterances rush”. But she was not the only Sibyl. There were others. Many of these women rubbed shoulders with the greatest warriors and leaders of their ages, shaping the future instead of merely foretelling it.