Earring made from the beak of a helmeted hornbill

Sabaw is a pendant made from the beak of a helmeted hornbill, called anggang gading. This is the helmet part or the tubercle on the beak of a certain species of hornbill, the Rhinoplax vigil. The front part of the helmet is, like the beak, sand coloured and the back part is red. That piece was cut to create a pendant with a red band on the side and a sand-coloured top. At the pointed end, part of the upper half of the beak was taken and bent back under heat to create a hook to make an earring. A hole was also made in the top of the pendant, so that the pendant could also be used as an amulet to hang on the cord of a sword (mandau), possibly decorated with beads. The pendants were in use among the Kenyah-Kayan Dayak of East Kalimantan. \In this case, it has been made into an earring. Aso motifs are carved into the red. The aso is a dragon-like creature. The bottom of the red border has partially broken off due to use. In the sand-colored top are two large Aso motifs cut out with eyes. \Wearing these pendants was reserved for men who had proven to have great experience or courage, for example by killing and beheading someone. It would bring bad luck or illness if someone who had not yet done so were to wear such a pendant. The Kenyah believed that people have a certain life force, beruwa. In men and high nobility this was already higher at birth than in ordinary people. Yet this power had to be nurtured, among other things by obtaining a head. If the certain laden jewelry was still carried, while the strength was not strong enough, this could lead to parib. Parib was the anger of spirits, which could lead to disease. \The Aso motif The Aso is a dragon-like figure and in all parts of Borneo the symbol of the feminine and of the underworld. An animal that lives in the water or under the ground. The dragon goddess offered protection in daily life and sacrifices to the goddess could promote the fertility of the land and of the people. She is therefore the symbol of life force and fertility and rebirth after death (she watches over the dead). This may also explain why men who kill, (have) this symbolism incorporated into their ear jewelry.‖ She is associated with the earth, water, storms and lightning. Because it is dangerous to name the goddess, the Kayan call her representation aso, which literally means dog. The motif itself actually represents only the head, with a tongue sticking out, called hudo' or kambe or also aran (lightning). \The hornbill was an important animal among the various Dayak peoples of Borneo, appearing frequently in their myths. Its image had symbolic meaning and was a recurrent motif. For the Ngaju Dayak this bird was a symbol of the male and the upper world. He was a manifestation of the supreme god of the upper world who was called Mahatara. This name probably originated in the thirteenth century through influences from the Hindu kingdom of Majapahit, which then ruled many now Indonesian islands (including Borneo).Thus, certain concepts were adopted by the Dayak peoples (H. Schärer, 1963, pp. 12-15). In some Dayak groups, the hornbill motif was only allowed to be used by the aristocracy, as it would be too powerful for the lower classes. Often wooden statues were carved from the hornbill. These were then placed on poles to protect a village or used in ceremonies or grave architecture. The ivory from the hornbill's beak was often fashioned into ear ornaments, usually worn by warriors and aristocrats (B. Sellato, 1989, pp. 45-46). The hornbill was also seen as the embodiment of war. This explains why it was used as a symbol of strength. For example in the warrior costumes of some Dayak groups, they did this by adding hornbill feathers to it (M. Heppell, L.A. Melaka & E.A. Usen, 2005, p. 13 & 145-148). The hornbill was the male counterpart of the water snake which stood for the feminine and the underworld. Together they represented the entire cosmos. This unity in the universe was an important element in the different cultures of the various Dayak groups (J. Ave & V.T. King, 1986, p. 33-36).