The Interculturation of Catholic Mission and Nias Traditional Arts with Special Respect to Music Thoma
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A SONG FOR LOWALANGI – THE INTERCULTURATION OF CATHOLIC MISSION AND NIAS TRADITIONAL ARTS WITH SPECIAL RESPECT TO MUSIC THOMAS MARKUS MANHART (MA, Passau University) A THESIS SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY SOUTHEAST ASIA STUDIES PROGRAMME NATIONAL UNIVERSITY OF SINGAPORE 2004 1 ACKNOWLEDGEMENTS Many people have contributed to the realization of this research project. I owe them my deep gratitude. On top of the list are all the Niassan people who have shared information with me about their culture, their history and their thoughts and sentiments. A researcher’s success is highly dependant on the access he is granted by the local people to a region. My Niassan friends made Nias feel like a second home to me, and my connection to Nias has far exceeded the limits of mere research during the last six years. For a participating observer, the host institution and its members are vital sources of information and contacts as well as a personal environment for research in an initially foreign environment. My thanks go to the Order of the Capuchins on Nias and all monks and nuns, as well as to the staff of the museum in Gunungsitoli for their tolerance, hospitality, helpfulness and friendship long after the field research stage. My most heartfelt thanks, however, go to the children of the orphanage in Gidö and the home for handicapped children in Fodo. They were the first reason I went to Nias for my social internship during my studies in Germany in 1998; they are the reason why I wanted to return to Nias and take up my studies, and they are the reason why now, after this work has been completed, I still have not have enough of Nias. The other helpful people were in Singapore. I am most grateful for the flexibility of the National University of Singapore in putting together a trio of 2 supervisors from different disciplines and departments who helped me in this interdisciplinary research project. With Prof. Dr. John Miksic, Prof. Dr. Roxana Waterson, Dr. Ho Chee Kong, I have not only been assured of the best academic support but also personal guidance through my studies and my life as researcher and musician in Singapore and Indonesia. My special thanks go to Prof. Miksic who took the risk of accepting me as musician and theologian from Germany with English only as a third language into his class of Southeast Asian Studies scholars. I highly respect his efforts and patience persistently to teach me more anthropological views and restructure my concept of scientific argumentation from a German towards an English writing style with all its linguistic and structural problems. Many friends have also supported me. Dr. Gloria Poedjosoedomo has contributed as linguistic advisor and reviser, Muhammad Mustakim assisted me in editing matters of printing and creating the CD Rom. Prof. Jan Mrazek and Prof. Jennifer Lindsay shaped my view and evaluations in ethnomusicological questions and, actively playing music with me, motivated me continuously to pursue my topic. Finally and basically, I want to thank my parents and family who, despite their disagreement with my decision to undertake an overseas project, always stayed behind me as last retreat, morally as well as financially. 3 Table of Figures Figure 1: Map of Sumatra......................................................................................... 234 Figure 2: Map of Nias............................................................................................... 234 Figure 3: Keys of a doli-doli; Laverna Monastery.................................................... 235 Figure 4: Doli-doli as leg xylophone with 4 keys (Kunst, Music in Nias. PL.IV, 7) ........................................................................................................................... 235 Figure 5: Doli-doli on a wooden frame; Laverna Monastery ................................... 235 Figure 6: Duri dana .................................................................................................. 235 Figure 7: Duri mbewe ............................................................................................... 235 Figure 8: Aramba in an omo laraga, Hiliana’a, North Nias...................................... 236 Figure 9: Göndra in Laverna Monastery................................................................... 236 Figure 10: Tamburu; Museum Yayasan Pusaka Nias............................................... 236 Figure 11: Faritia as wall relief; Church of Gidö...................................................... 236 Figure 12: Aramba and two faritia in the church of Tögozota ................................. 236 Figure 13: Göndra and aramba hung ober a ceiling pillar, Convent Santa Clara, Gunungsitoli...................................................................................................... 236 Figure 14: Fondrahi.................................................................................................. 237 Figure 15: Chu Chu Hao........................................................................................... 237 Figure 16: Lagia........................................................................................................ 237 Figure 17: Different types of flutes found by Jaap Kunst in Nias in 1939 (Kunst, Music in Nias. PL.IX, 26) ................................................................................. 237 Figure 18: Nose blown flute, accoring to Jaap Kunst found in Nias (Kunst, Music in Nias, PL.VIII, 22) ............................................................................................. 237 Figure19: Omo laraga, Siwahili, North Nias ............................................................ 238 Figure 20: Omo sebua, house of the King of Bawomataluo..................................... 238 Figure 21: Omo sebua in Bawomataluo; diagonal pillars are in front of the horicontal; ........................................................................................................................... 238 Figure 22: BNKP church in Orahili.......................................................................... 239 Figure 23: Church of Teluk Dalam in the style of a South Nias omo sebua ............ 239 Figure 24: Church near Tögozita, in the style of a North Nias omo laraga.............. 239 Figure 25a: Church near Undreboli, in the style of a North Nias omo laraga .......... 239 Figure 25b: Church of Gidö; recent extension in the style of a North Nias omo laraga ........................................................................................................................... 239 Figure 26: left: central pillar in the King's House in Bawomataluo; right: imitation in the church of Teluk Dalam (left: Waterson, The Living House, p.110)........... 240 Figure 27: Altar area in the church of Teluk Dalam................................................. 240 Figure 28: Last example of a Central Nias ewe from the Tögizita style house ........ 240 Figure 29: Imitation of the ewe at the bell tower of the church in Tögizita ............. 240 Figure 30: Imitation of the ewe in a church near Tögizita........................................ 240 Figure 31: Church of Tögizita with the flank ornaments of a North Nias omo laraga ........................................................................................................................... 241 Figure 32: Saint Francis Church in Gunungsitoli, North Nias, with ewe in the style of South Nias houses............................................................................................. 241 Figure 33: Group of megalithic sculptures in Olayama, Central Nias...................... 241 4 Figure 34: Osa osa si tölu högö................................................................................. 241 Figure 35: Stone monuments in front of the King's house in Bawomataluo, South Nias ................................................................................................................... 242 Figure 36: Group of Behu in concrete foundation, Ko'endrafö, Central Nias .......... 242 Figure 37: Group of Behu in concrete foundation and framed by a fence; Hiliotalau, Central Nias ...................................................................................................... 242 Figure 38: Lombat Batu, stone jumping in Bawomataluo ........................................ 242 Figure 39: Vertical stone monument with its owner, Ama Attalia Zebua, Siwahili, North Nias......................................................................................................... 242 Figure 40: Group of stone monuments, Behu, stool and table, beside its owner’s grave; Sanguwasi, Central Nias ........................................................................ 243 Figure 41: Group of stone monuments beside a Christian grave; Siwahili, North Nias ........................................................................................................................... 243 Figure 42: Stone monument at a grave in Tögizita................................................... 243 Figure 43: Awina stone used as altar table in Tögizita ............................................. 244 Figure 44: Carving workshop in Tögizita producing traditional Behu (left) and Christian motives (right)................................................................................... 244 Figure 45: Behu from Tögizita used as basin for Holy Water; the concrete top has been added for the use in church....................................................................... 244 Figure 46: