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Music of the Baduy People of Western Java Verhandelingen van het Koninklijk Instituut voor Taal- , Land- en Volkenkunde Edited by Rosemarijn Hoefte (kitlv, Leiden) Henk Schulte Nordholt (kitlv, Leiden) Editorial Board Michael Laffan (Princeton University) Adrian Vickers (The University of Sydney) Anna Tsing (University of California Santa Cruz) volume 313 The titles published in this series are listed at brill.com/ vki Music of the Baduy People of Western Java Singing is a Medicine By Wim van Zanten LEIDEN | BOSTON This is an open access title distributed under the terms of the CC BY- NC- ND 4.0 license, which permits any non- commercial use, distribution, and reproduction in any medium, provided no alterations are made and the original author(s) and source are credited. Further information and the complete license text can be found at https:// creativecommons.org/ licenses/ by- nc- nd/ 4.0/ The terms of the CC license apply only to the original material. The use of material from other sources (indicated by a reference) such as diagrams, illustrations, photos and text samples may require further permission from the respective copyright holder. Cover illustration: Front: angklung players in Kadujangkung, Kanékés village, 15 October 1992. Back: players of gongs and xylophone in keromong ensemble at circumcision festivities in Cicakal Leuwi Buleud, Kanékés, 5 July 2016. Translations from Indonesian, Sundanese, Dutch, French and German were made by the author, unless stated otherwise. The Library of Congress Cataloging-in-Publication Data is available online at http://catalog.loc.gov LC record available at http://lccn.loc.gov/2020045251 Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”. See and download: brill.com/brill- typeface. issn 1572- 1892 isbn 978- 90- 04- 42440- 1 (hardback) isbn 978- 90- 04- 44447- 8 (e- book) Copyright 2021 by Wim van Zanten. Published by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Brill Hes & De Graaf, Brill Nijhoff, Brill Rodopi, Brill Sense, Hotei Publishing, mentis Verlag, Verlag Ferdinand Schöningh and Wilhelm Fink Verlag. Koninklijke Brill NV reserves the right to protect this publication against unauthorized use. This book is printed on acid- free paper and produced in a sustainable manner. Contents Preface ix Orthography and Maps xiii List of Illustrations xvi List of Tables xxi Audio- Visual Examples (AV) xxiii 1 Introduction 1 1.1 The Baduy People of Kanékés Village and Their Music and Dance 2 1.1.1 The Name of the Indigenous Group 10 1.2 Overview of Baduy Music and Dance 11 1.3 Outline of the Book 17 2 Social Organization and Economic Situation 22 2.1 Socio- Political Organization and Major Spiritual and Secular Officials 23 2.2 Dangka Hamlets and Their Role in the Delineation of Baduy Culture 30 2.3 Agricultural Land, Non- Irrigated Fields and Religion 39 2.4 Relations with Indonesian Authorities and Cultural Tourism 44 2.4.1 Hand Phones 47 2.4.2 Séba 50 2.5 Non- Governmental Organisations: Trust, Social Justice and Environment 55 2.6 Weaving, Clothes and Production of Textiles for Sale 60 2.7 Production of Other Goods 62 2.7.1 Palm Sugar (gula kawung) 63 2.7.2 Knives 65 3 Methodological Issues and Theoretical Starting Points 72 3.1 Historical Sources and Earlier Publications on Music and Dance 74 3.2 Restrictions for Researchers and Other Methodological Issues 81 3.3 Visits to the Holy Places in Kanékés between 1822 and 1931 88 3.3.1 Blume (1822) 90 3.3.2 Van Hoëvell (1845) 91 3.3.3 Koorders (1864) 93 3.3.4 Criticism by Jacobs and Meijer (1891) and Pennings (1902) 94 3.3.5 Koolhoven (1931) 96 3.3.6 Van Tricht (1928) 97 vi Contents 3.4 Fieldwork Periods Present Author 98 3.5 Some Theoretical Issues and Definitions 102 4 Seasons for Music and Major Rituals 107 4.1 Agricultural Calendar and Musical Seasons 107 4.2 Angklung Music for the Engagement Ritual of the Goddess of Rice 113 4.3 Circumcisions and Weddings 119 4.4 Circumcision in Kadujangkung 123 4.5 Circumcision in Cicakal Leuwi Buleud 127 4.6 Weddings and Other Rituals; Some General Observations 131 5 Tone Systems, angklung, keromong, Dancing and Gender Aspects 135 5.1 General Musical Concepts: Tone Systems, Modes and Styles of Playing 136 5.1.1 Transcription of Music for Analysis 136 5.1.2 Tone Systems 138 5.2 Angklung for Rituals and for Entertainment 145 5.3 Keromong (gamelan) 157 5.4 The History of a Baduy Gamelan between 1976 and 2019 162 5.4.1 Commentary 170 5.5 Dancing 173 5.6 Gender Aspects and Gendék Ceremonial Pounding of Rice 176 5.6.1 Musicians and Gender 178 5.6.2 Gendék 180 6 Carita Pantun Storytelling 181 6.1 Baduy Oral Literature in the Larger Sundanese Context 181 6.2 Baduy Pantun Stories 185 6.3 Pantun Texts and Audio- Visual Recordings since 1905 190 6.4 Own Recordings and Observations of Pantun Storytellers 195 6.4.1 Direction that the Pantun Performer Should Be Facing 197 6.5 Recited Text and Performing Aspects of Pantun Recitation 202 7 Song Texts in Music for Entertainment 216 7.1 Earlier Publications of Song Texts 216 7.2 Formal Aspects of the Song Texts 219 7.3 Song Texts Used in Performance by Female Singer Raidah in 2003 221 7.3.1 Kidung Rahayu 222 Contents vii 7.3.2 Tepang Sono 223 7.3.3 Daun Hiris 223 7.3.4 Jalan 224 7.3.5 Gunjaér Mundur 224 7.3.6 Kacang Asin 224 7.3.7 Bayu- Bayu 225 7.3.8 Poho Kabalik 225 7.3.9 Kapergok 225 7.3.10 Daun Puspa 228 7.3.11 Ucing- Ucingan 228 7.4 Major Themes in Other Song Texts 230 7.4.1 Moral Advice 230 7.4.2 Hurt by Outsiders 230 7.4.3 Dirty Words 231 7.4.4 References to Music and Dance 231 7.4.5 False Instruments and Social Order 232 8 Wind, String and Other Instruments 234 8.1 Kumbang Flute 236 8.2 Tarawélét Flute 245 8.3 Lamus Flute and Elét 250 8.3.1 Elét 254 8.4 String Instruments 258 8.4.1 Kacapi Pantun 258 8.4.2 Siter and Falsetto Voice 261 8.4.3 Rendo 261 8.4.4 Viol 264 8.4.5 Rebab 264 8.5 Xylophones and Jew’s Harp 265 8.5.1 Gambang or Gambang Kayu 265 8.5.2 Calung 267 8.5.3 Karinding 267 9 Concluding Remarks 272 9.1 Negotiating Rules and Mutual Respect 272 9.1.1 The 2003 unesco Convention on Living Culture 276 9.2 Safeguarding, Cultural Tourism and Future Research 278 Appendix 1 A Map of Kanékés and a List of Its Hamlets 283 Appendix 2 The Baduy Calendar 304 viii Contents Appendix 3 List of People Interviewed and/ or Recorded 310 Appendix 4 Song Texts for Entertainment 324 Glossary 357 References 372 Index 384 Preface This book is based on fieldwork with the indigenous Baduy group in West Java, Indonesia, between 1976 and 2016. It is in the first place meant for those who are interested in the study of music and dance of small ethnic groups. A selec- tion of my audio and film material is published with this book and becomes available on the Internet. The original fieldwork recordings were donated to and can be consulted in the Leiden University Libraries. Baduy leaders have always encouraged me to document their music and dance. On 27 March 2003, one week after the invasion of Iraq by the United States of America and their allies, this was demonstrated in a very special way. The secular village head told me that it would be nice if my film on Baduy mu- sic would be shown on Dutch television: much better than images of the just started Iraq war, with dead people. In this way he also expressed the general feeling that the performing arts play a positive role in their society. The positive attitude of the leaders of the community encouraged me to make my knowl- edge more widely available in this publication. Like all visitors to the Baduy, I was not allowed to freely record any ritual with music and dance. There are limitations to what can be published too. And thirdly, what does the ‘prior informed consent’ of the Baduy leaders mean, as they cannot read publications in foreign languages? Also, intellectual property rights were developed for individuals and not for communities. To a large ex- tent it remains a question of trust between researcher and community. Up to the present day the spiritual leaders of the Baduy community do not allow their children to go to school. However, we may expect that the Baduy’s ability to read and write will increase rapidly, for instance, because of the availability of hand phones, which are officially still forbidden by the spiritual leaders, but nevertheless widely used. Also, there is an increasing number of people of Baduy descent, who left their village Kanékés and no longer live a life according to the Baduy ancestral rules. Their children receive formal school- ing; some even have a university degree. At some point these people may be- come interested in their past and appreciate this documentation of their mu- sic and dance. There is a second reason which stimulated me to write this book. In 2002 I became involved in the preparatory work for what would become the 2003 unesco ‘Convention for the Safeguarding of the Intangible Cultural Heritage’.
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