MUSIC OF INDONESIA VOL. 18: Sulawesi: Festivals, Funerals, and Work
Recorded, compiled, and annotated by Philip Yampolsky. 32- page booklet with map. 73
minutes. SFW 40445 (1999)
This file provides transcriptions (and some translations) of the texts sung in Volume 18 of the
20-volume Music of Indonesia series published by Smithsonian Folkways Recordings:
In addition to song texts, we include a few small addenda and corrections, and we provide the
references that were cited in the published text but could not be included there for reasons of
space. At the end of the list of references we add some further references that were not cited
in the text but are relevant to the topics discussed there and in volume 15.
Tracks 1 & 2. Jangang Lea’-lea’, parts 3 and 4
Text of track 1 (vocables omitted):
Tamanrunanna [mo bedeng??]
Leko’ kayu mammoterang
Text of track 2 (vocables omitted):
Iyarakkang jinjo bedeng
Nia ero’ tallung bangngi
Note: the text here—aside from the words shown in brackets above—was written down by
Abdul Muin Daeng Mile for me, and the text as he wrote it is indeed audible. He gets it out of
the way quickly, and the rest of the vocal in each track is just vocables.
The first word of track 1, tamanrunanna, was incorrectly shown in the published commentary as
tamanrunna, with one syllable omitted. As for the words mo bedeng, shown in brackets in the
text for track 1: I believe I hear them, although Dg. Mile did not write them. Knowing scarcely a
word of Bahasa Makasar, but emboldened by the presence of bedeng in the written text of the
first line of track 2, I offer them tentatively, allowing for the possibility that they are vocables and
not part of the basic text, or that they are some other words, not spelt this way at all. — Philip
Yampolsky
Track 3. Rikong
Transcription (from Bahasa Konjo) & translation by Baharuddin Muslim and Nurcaya Muslim.
1. Lampa kunnikisse’ mae
manningara tamboritta
naungki je’ne’
natania turungenta
alla rikong
Pergi kita ke sini lagi
menengadah pada suatu tempat
turun ke air
bukan kita yang dikhususkan
2. Tallomonaka nisa’ring
kapa’mae’ tea tappu’
urang siana’
tea nisolang-solangi
alla rikong
Bukannya karena persaudaraan
yang tak akan putus
teman saudara
jangan dirusak [=dinodai]
3. Punna rie’ angen battu
teako ta’bangka-bangka
pasanna jintu
russana’ bella kamponna
alla rikong
Kalau ada angin datang
janganlah kamu terkejut
hanya pesannya
datang dari [temanmu yang] jauh
[Note: I am unable to connect this transcribed text with the sound, though I think I may hear alla
rikong at the end of each verse. —PY]
Track 5. Simbong
Transcription (from Bahasa Toraja) & translation by A. Halilintar Lathief.
Note: track 5 begins after the third men’s verse, and fades out after the beginning of the sixth
women’s verse. The text here shows all the verses sung in the unedited recording.
1. Women:
Masaemi sikikuwa
masaemi siki
kekidempa sola torro
kekidempa sola
Sudah lama kami idam-idamkan
kalau boleh kita serumah
1. Men:
Paillangkan simbolommu
paillangkan simbo
tantannike’ mammallikko
tantannike’ mamma
Simpan dalam sanggulmu
jika rindu bukalah rambut itu
2. Women:
O le dikuan Ambek to Pongko
dikuan Ambek to
oo gayale bulawan
oo gayale bula
Seperti Ambek orang Pongko
keris bertata emas
2. Men:
Kekimanik oran-oran
kekimanik oran
angki illallang kollongmu
angki illallang ko
Andaikan kami bagai kalung
melingkar pada leher
3. Women:
O le paiyaokan talimmu
Letakkanlah kopi pada topimu
paiyaokan ta
o le ammu ondo-ondo ankan
ammu ondo-ondo
dan bergembiralah menari-nari
3. Men:
Kaloek dau mamallai
kaloek dau ma
indek siamokan kamik
indek siamokan
[Burung] kaloek jangan rindu
kami ada di sini
[
Track 5 begins here:]
4. Women:
O le garagang ponto lolakan
garagang ponto lo
o le dikuan Ambek to Pongko
dikuan Ambek to
Buatlah kami bagai gelang lola
bagai Ambek orang Pongko
4. Men:
Dondon bulan mokomai
dondon bulan mo
angki timang bintoengko
angki timang binto
Jatuhlah bagai rembulan
kami tadah bagai bintang
5. Women:
Oi sompokan antalaomo
sompokan antala
o le lutama Bambana Batu
lutama Bambana
Usunglah kami bila berangkat
masuk ke [kampung] Bambana Batu
5. Men:
Liling gongga talaona
liling gongga tala
[last two lines not sung; cf. men’s verse 7]
Mari kita berkeliling
---
6. Women:
Purak tarik batattana
[
track 5 fades out here]
purak tarik bata
o le taola mallai bongngi
taola mallai
Jalan kayu telah dibersihkan
kita berjalan malam
6. Men:
Losso pole inawangki
losso pole ina
nalambi pappura ingki
nalambi pappura
Kami telah bahagia
cita-cita telah tercapai
7. Women:
Iamo antalaomo
Mari kita berangkat
iamo antala
o le lutama Bambana Batu
lutama Bambana
masuk ke [kampung] Bambana Batu
7. Men:
Liling gongga talaona
liling gongga tala
lusau Bambana Pongko
lusau Bambana
Mari kita berkeliling
masuk ke [kampung] Bambana Pongko
Track 6. Raego’
Transcription (from Bahasa Rumoe and Uma) & translation (into Indonesian) by Thomas Dado
(Bapak Suliman).
The refrain of the song is a sentence in Rumoe, the “mushroom language”:
Boli risei ronto
tali.
Thomas Dado (Bapak Suliman), the former Kepala Desa of Onu, wrote out a translation of
this line in everyday Bahasa Uma, but unfortunately we cannot read the first word of his
translation. It might be turika: Turika [?] ronto na kupososora. He further translated it into
Indonesian: Berikan pakaian bekas menjadi kenang-kenangan, and we translate that into
English as: “Give some old clothing [of the deceased] as a remembrance.”
Each choral statement of the refrain is preceded by a solo sung in Bahasa Uma. The solo lines
are shown below. Each one is answered by the refrain.
1. Seina tagolinda mompai boli…
The event that happened…
2. Isei tulounda mompai talie…
I recall it every moment…
3. Moronto morontomo talina mompai…
Never again will the deceased come
home…
4. Tabolohi tabolihi lounda mompai…
Put something away as a memento…
5. Risei moompi…
We join together as a family…
6. Morontomi tali idei…
Our family has lost someone…
7. Hirei rauli ta…
It was said there is a memento here…
8. Hangkale damole ta…
There is nothing we can do…
9–12. Marani songs
(approximate texts)
Note: these texts are highly unreliable! The problem is this: after our recording, the director of
the singers, Thomas Rotikan, wrote down a number of the texts for us, and his daughter, Paula
Rotikan, wrote down some others. But Thomas Rotikan tended to write whole lines of songs as
one long word, which, not knowing Bahasa Tombulu, I could not break down into component
parts; and I had difficulty in reading the handwriting of both father and daughter. If I had been
able to bring some knowledge of the language to bear I could probably have deciphered the
handwriting. As it was, I worked with Paula Rotikan on both sets of texts, trying to determine
what the letters were, but I am not certain that I got them all correctly. In particular, there is a
phoneme in Tombulu—to me it sounds like z—that was variously written as s, r, and z. (The
word I have written as marani, on the advice of specialists who said z is rare or nonexistent in
Minahasa languages, sounds to me like mazani.) I also had trouble distinguishing between the
written forms of a and o, and between u, m, and n. What’s more, there were (as of course
often happens) some clear discrepancies between what was written and what was actually
sung. Paula and I tried to work out the actual sung texts.
Thus the versions here are the result of my attempts to read (in consultation with Paula
Rotikan) the texts handwritten by Thomas and Paula Rotikan, combined with Paula’s and my
efforts to amend the written texts to match the recorded singing. That’s too many editors for
one set of lyrics—especially when one editor is not competent in the primary language, and the
others are not trained in the conventions of transcription. I was tempted to simply suppress
these flawed texts, but eventually I decided that a specialist in Tombulu might be able to make
something out of them. If a specialist will send me corrections, I will post them here and gladly
throw out the garble that is all I can offer at the moment.
9.
Esa na wia-wia mokaria
(text provided by Thomas Rotikan)
Solo:
Esanawiawiamokaria
Chorus:
Epelengsetirotumarendem
Solo:
Epelengsetirotumarendem
Chorus:
Esanawiawiamokaria
Solo:
Esangalian neni komokan
Chorus :
Ekaria reiwerenanla
Solo:
Ekaria reiwerenanla
Chorus:
Esangalian neni komokan
Solo:
Ewisa alinampangnganume
Chorus:
Katuu reitinemboname
Solo:
Katuu reitinemboname
Chorus:
Ewisa alinampangnganume
Solo:
Limampang kantaremekaria
Chorus:
Ewanantoro ambalenera
Solo:
Ewanantoro ambalenera
Chorus:
Limampang kantaremekaria
Solo:
Okewurkampe ondanokaria
Chorus:
Elinampangan nemahkaria
Solo:
Elinampangan nemahkaria
Chorus:
Okewurkampe ondanokaria
[in Thomas Rotikan’s handwritten text, but not sung in this performance:]
Esalumampalampang lakaria
Eseroyor elarasakenwe
Elumampangngi mboondo kariya
Ewolaker semanembonembo
Esaulit salolambotto kariya
Ereimo simanembonembo
10.
Tanumo
(text provided by Thomas Rotikan)
Solo:
Tanumo kuana wia niko
Chorus:
Samapontolo nikamumo zua
Solo:
Samapontolo nikamumo zua
Chorus:
Tanumo kuana wia niko
Solo:
Kinuramumo aku endoone
Chorus:
Endeimo maliuzwia niko
Solo:
Endeimo maliuzwia niko
Chorus:
Kinuramumo aku endoone
Solo:
Sasiroyor sa lumangkoyyo
Chorus:
Katengkar ate nemamuley
Solo:
Katengkar ate nemamuley
Chorus:
Sasiroyor sa lumangkoyyo
11.
Sei si maka leso ekaria
(text provided by Paula Rotikan)
Each verse sung twice:
Solo:
Sei si maka leso ekaria
Chorus:
Memayaze wana sendangan
Solo:
Memayaze wana sendangan
Chorus:
Sei si maka leso ekaria
Solo:
Leso ni kanaramen ekaria
Chorus:
Ni pasigi umbalenera
Solo:
Ni pasigi umbalenera
Chorus:
Leso ni kanaramen ekaria
12.
Iwehe
(text provided by Paula Rotikan)
Each line below is sung first as a solo or duet, then repeated by chorus, which adds a closing
phrase, O royoz endo e zoe.
Iwehe momaniko uleso wo lepetena
Lepeten malualus si royoz wo iraraatena
Salamo katu ni ko ya nimanaram si leos uman
Lamokan manaramlah wana sitoyo genang-genangen
Mahasaasaranlah kamu zua seinolatan
Sei sinimalewo wana ni mengasangasaran
13. Maengket: Ma’owei kamberu
Basic text (in Bahasa Tontemboan) provided by Semuel Assa; text-flow markings added by PY.
Winoilan — Oweica
Turuanai lalan karondoran — Oweica
Tayang waya sekaengko-engkolan — Oweica
E mone se-mangale-ngalei wene — Oweica
O Empung Renga-rengan maturu lalan karondoran — Oweica (2x)
Kamangenai se-mangale-ngalei wene — Oweica (2x)
Waya si Opo empangaleyane kamberu owei (2x)
Opo Wailan makakolano imbene owei (2x)
[line missing] (2x)
Pangaleyan imbene imbuena kamberu owei (2x)
O Winoilane oweye
Kamberu Wailane oweye
O Winoilane oweye
Kamberu Wailane oweye
Opo e kamberu weanai — oweye
Waya mangale-ngalei — oweye
Waya mangalei — kamberu owei
Sendo-sendotai — kamberu owei
Wue-wuenai — kamberu owei
Wailan i combak-e — kamberu owei
Waya kumombak-kombak — kamberu owei
Kamberu Wailan kamberu oweye (4x)
Sa maupu imbene kamberu, tiyo paento-entosan kamberu owei (2x)
Sa maupu imbene kamberu, tiyo palenge-lenge en kamberu owei (2x)
Sumempu-sempung waya asi Opo Wailan oweye kamberu oweye (4x)
Si Opo rumekos sumesempung imbene-e owei kamberu (2x)
Tembonai wene kamberu malewuo bene-e owei kamberu (2x)
Wailan paregesan rongkoranai wuena owei kamberu (2x)
Oweyen bene e kamberu e waya si Opo o Wailane (2x)
Kamangenai semangale-ngalei wene waya si Opo o Wailane (2x)
Kekekow e kamberu — Waya kumalekew imbene kamberu
O ya wene sapa sipangaleian — Yande pangaleian kawayaan bene
Wene rendang — wene pondos owei
Wene kulo — wene sumando owei
Wene ruwaticanai — paloyanai owei
Raitoro — wo paentosen owei.
ADDENDA AND CORRECTIONS
1. The first word of the text of Jangang lea’-lea’ part 3 (track 1) is tamanrunanna, not
tamanrunna.
2. The name of the “mushroom language” in which the basic texts of raego’ are sung (see track
6) is Rumoe.
3. The description of the singing-plan for track 12 should be revised. The text is not really in
couplets. Instead (as shown above) it consists of single lines that are sung first as a solo or
duet and then repeated by the chorus, which adds a closing phrase. Note also that the spelling
of the title should be Iwehe, not Ivehe as in the published version.
REFERENCES CITED IN THE PUBLISHED COMMENTARY FOR VOLUME 18
In Part I of this bibliography, the series editor provides the references that were cited in the
published text but could not be included for reasons of space. In Part II, he adds some further
references that were not cited in the text but are relevant to the topics discussed there and in
volume 15. Part III consists of additional references, added after the compilation of biographies
I and II. All three were compiled by Philip Yampolsky.
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———. “Lyric, history, and allegory, or the end of headhunting ritual in upland Sulawesi.”
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Volkman, Toby Alice. “Great performances: Toraja cultural identity in the 1970s.” American
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———. Feasts of honor: ritual and change in the Toraja highlands. Urbana: University of
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