If the definition of heaven is a strange but comforting melody tells stories of the timelessness of the human soul, then a corner in Indonesia can be found southernmost inhabited island; By heart.
Located just 2-4 hours drive southwest from its famous neighbor Timor is memorizing a 70 km long dry island covered in savannas and palm sugar ( Borassusflabellifer , known locally as tua or Lontar ). Lontar life in memorization is central; as a source of food, fiber for weaving, wood for construction, and music.
Oh, on my trip to Timor, I have it on memorization not due to marine hazards and canceled ferries. Fortunately, there is a place in Timor, the feel one step closer to memorization; the Sasando workshop of Jeremias Pah in Oëbelo, 22 kilometers east of Kupang.
Sasando Biola
Sasandu , a pentatonic harp a bamboo core, bamboo or metal strings, movable Tuning bridges and a robust palm leaf resonator made, is a native instrument of redness. For generations, the clan has Pah as guardians of Rotinese musical heritage and developer of sasandu 's modern diatonic daughter Sasando known biola.
Sasando recently gained national attention in 09 when jazz composer Dwiki Dharmawan them in a performance before President Susilo Bambang Yudhoyono and the then Minister of Culture and Tourism Jero Wacik. The President then called for a Sasando competition in Kupang, the known
appeared 358 of the 400 existing attracted Sasando Player When I arrived Pah in traditional outfit. white shirt, dark woven selimut with matching scarf and ti'Ilangga Palm Sombrero. With a palm harp on his lap, the 75-year-old maestro sat in front of his savvy laptop and recording equipment, and began to play Batu Matia - a traditional tune that no two musicians I've heard of games equal.
, the music is nothing like Java Bali Gamelan or angklung bambu . The traditional acoustic sasandu sounds clean and crisp as the banjo, but with a pentatonic tuning played in the rhythm of your own heartbeat. It was unpretentious simplicity of melody, harmony and expression. Pah sang with the soul of a wise storyteller.
According to the unpublished dissertation by Dr. Christopher Basile, based on interviews with four senior sasandu Maestros from the 190s, the original sasandu was of Sangguana, a invented in the 17th century Rotinese fishermen who were shipwrecked and in Ndana (Indonesia point zero southernmost island, now uninhabited) imprisoned. Despite Basile assertion Sangguana historical accuracy, Pah does not own this story.
Jeremias with an acoustic sasandu and a large replica of
The Princess of Ndana fell in Sangguana and instructed to invent the traditional outfit
The news reached Sangguana woman in red, who was pregnant with her son Nalesanggu than leave Sangguana years. If Nalesanggu came of age, his mother told him tragic fate of his father. In revenge massacred Nalesanggu every single person on Ndana, including Princess, for the sasandu was invented. Nalesanggu then brought the sasandu to rote and taught it the Rotinese honor of his father.
The sasandu then evolved into the Sasando biola the early 20th century, as memorization became increasingly Christian and adapted Dutch customs, music and dance. Ougust Pah Pah and Edu, the father and uncle of Jeremiah Pah or were among the early developers of Sasando biola.
Pah began Sasando as a child in the 1940s-50s get credited hymns in church to play. In 1962 he moved to Kupang to develop modern Sasando and give it greater exposure to other Indonesians and foreigners. crediting As a devout Christian, his family Pah ongoing legacy of Sasando to divine inspiration. "Due to wear of the resonator used Sasando be difficult,"
, Pah said. One Sunday morning, the arrival of an unannounced guest delayed Pah plan to go to church. "I came in the middle of a sermon and took the only seat left some ladies. It was hot, so a lady pulled out a folding fan from her handbag. It was as if God told me a fan to develop a foldable resonator, similar to the lady. "
Pah, he said on the musical tradition had no difficulty in his ten children over. At least four adult sons Pah currently make a full time living performing to make teaching and Sasando.
"Passing on the tradition to his children should not be difficult. A non-Rotinese student of mine on the Sasando in just four days" learned three songs, Pah said. "Where there's a will, there's a way. The key is to start your kids early, a genuine love and interest in music in growing."
Jeremias and his adult son Berto then called to play his youngest, 10-year-old Rino Bolelebo on the electrical Sasando on the electrical Sasando biola
Pah. For a young learners already sounded Rino performance well structured and practiced. proud of his son smile Pah humming along to the tune and told me that Rino will perform in Singapore in December.
"Oh no, I played that part wrong," the boy gave a shy giggle when he finished the song before they run back into the house.
in 2010 Pah sons Djitron and Berto participants were Indonesian talent shows in two separate nationally televised. biola Each Type of electric Sasando containing their repertoire Jason Mraz I am your , Il Divo of I Believe in You , Richard Clayderman of Ballade pour Adeline and PADI has Begitu Indah
Among the many melodies Pah performed on the sasandu and Sasando biola, Pah the soul of his music in three songs summarizes .: Lelendo ( "Battle song"), Te'o Renda ( "embroidering woman") and Batu Matia ( "Heavy rock").
Lelendo is fighting the sons of memorization for Indonesia's sovereignty during the colonial time ~~ POS = HEADCOMP a song of bloodshed. Te'o Renda is a song about a time of peace after the war, when women hours before dawn rise embroidery to make, as if a bright future for the beginning of a new generation of embroidery. Batu Matia is a song about a young man who asks for embroidering the woman's hand in marriage, committing a steadfast immovable love like a heavy stone to build, how they are harsh realities of tackle Live. develop his children their generation version of the old palms Harp of memorization
as the Maestro observed Pah interspersed with timeless memories of the music to brim for he lived. And those who had the privilege to meet him would also come home, full with the memory of melodies from Indonesia Far South.
Jeremiah Pah Sasando workshop
Jl. Timor Raya Km 22
Desa Oebelo
Kecamatan Kupang Tengah
Kabupaten Kupang
Nusa Tenggara Timur
Indonesia
0 Komentar