Baca PDF (OCR): The Sa'dan Toradja Chant for the Deceased

HET KONINKLIJK INSTITUUT VOOR

TAAL-, LAND-EN VOLKENKUNDE

H. VAN DER VEEN

THE SA' DAN TORADJA

CHANT POR THE DECEASED

'S·GRAVENHAGE-MARTINUS NU HOFF-1966

Once more I owe a very great debt of gratitude to Jeune Scott-Kemball, who has been able to accomplish casting my Dutch translation in prose of the lines in trochaic metre of the Chants for the Deceased into a very elegant English verse form. This was not always very simple in view of the metaphorical manner of expression in the Toradja lines of verse.

The spelling used for the South Toradja text is that of present-day Bahasa Indonesia with the following exceptions: the glottal check, found in South Toradja only as a syllabe- or word-final, is not written as k but indicated by an apostrophe, for example, mampu' not mampuk ; and the velar nasal, because it is sometimes protracted in speech and must then be duplicated in writing, is not written ng but '3, for example, llnJÏ' not langi', ta'3'3a not tangnga. The spelling of the South Toradja words in the translation and notes differs from this system in one respect: y is used in stead of j, for example, kayu = kaju (text).

H. VAN DER VEEN
Leiden, August 1966

page INTRODUCTION

1. The badOfj as a part of the death feast. 1
2. The contents of the badOfj.. 3
3. The performing of the badOfj.... 10
4. The rettefj.......... 16
5. The metrical form of the badOfj and the Tetter}. 17
   

   TEXTS AND TRANSLATION

I A. Ossoran badOfj to dirapa'i, Traditional chant for the deceased for whom the elaborate ritual for the dead is carried out (version from SaJ}polobWJin) 19 I B. idem (version from LalJda) 37 1 c. idem (version from Tikala) 47 1 D. idem (version from KalindUIJan) 60 U A. BadOfj malolo to NonOfjan, Chant for the deceased as sung in NonOllJan 65 UB. BadOfj malolo to Pafjala', Chant for the deceased as sung in the PatJala' territory. 66

70 71 72 72 73

J.
UK. BadOfj to sofjlo', Chant for the deceased as sung by those who go downward in procession

Rettefj dipokada lako to sugi' ke den mate, Improvized verse for a man of high rank 74-

9.
RIO.

.. ....

1. The badoq as a part of the death feast One of the major features of the religion of the Sa'dan Toradja 1) is the cult of the dead. The death ritual, aluk to mate 2), in the elaborate form as carried out for a deceased person of rank, consists of a great number of different rites and ceremonies. Many buffaloes and other offering animals are slaughtered. Numerous people attend either as spectators or as participants in the ceremonies which grow into a great death feast that lasts for several days and nights. In the evenings the badorj = the chant for the deceased, is sung by a group of people attending the feast who while they sing perform particular dance movements. This singing of the chant for the deceased is a con- stituent part of the feast 3). It depends upon the rank of the dead personen which form of the ritual is performed for him and whether the chant for the deceased is sung. In some adat communities it cannot be sung unless a minimum of three buffaloes is killed. This form of the death ritual is called dipatallufJ borji = it is performed in three days. The chant is then sung on the evening of each day on which a specific rite of the death ritual has been carried out.
   1) The Sa'dan Toradja are the main group of people inhabiting the South Toradja area, South Celebes, Indonesia.
   2) Most of the Toradja terms used in this introduction and in the chants that follow it are to he found in my Tae' (Zuid-Toradjasch)-Nederlandsch Woor- denboek, The Hague, 1940.
   3) It is outside the scope of this hook to give a detailed description of the rituals of the dea.th fea.st. In the introduction and in the notes attached to the texts, only such details of the ceremonies are mentioned as are necessary for under-standing the chant for the decea.sed. Moreover, the data needed for an adequate description are not at my disposaI as most of my notes on the subject were lost during the war. For a short description of the rites for the dea.d in the territory of Ma'kale, see "Memorie van Overgave betreffende de onderafdeeling Ma'kale", by
   E. A. J. Nobele, Tijdschrift van het Bata'lJÏa6Sch Genootschap 'Van Kllnsten en Wetenschappen (T.B.G.) Vol. 65, 1923, pp. 38-57. A general description of the practices in rites for the dea.d throughout the country of the Sa'dan and Mamasa Toradja is to he found in the article by A. C. Kruyt, "De Toradja's van de Sa'dan-, Masuppu'-en Mamasa-Rivieren", TBG Vol. 62, 1923, pp. 137-160. Harry Wilcox, in his White Stranger (London 1949), gives some vivid impressions of a number of dea.th fea.sts he witnessed.

SA'DAN TORADJA CHANT FOR THE DECEASED

A more elaborate form is the dipalimafj bOfji = it is perfonned in five days, when a minimum of five buffaloes must be slaughtered. The supreme form of the death ritual is the dirapa'i: at least nine buffaloes are killed and in the course of the ritual there is an interval during which no part of it is held and the dead person is laid in a coffin shaped like a ricestamping block, dirapa'i = he is laid to rest, and there he is left until the next part of the ritual is commenced. When a major rite of this elaborate ritual has been performed, the chant is sung, if possible, in its entirety on the evening of the same day. When minor rites are perfonned, only a part of it is sung. The chant for the deceased which is always sung at the feast for the de ad person of rank for whom this supreme form of the ritual is to be carried out, is the badofj diosso'mo, the traditional chant for the deceased 4). This chant is the longest and the most important. It is sung only by men. It tells of the heavenly ancestor of the deceased; of all kinds of happenings in the life of the deceased himself; describes his soul's journey to Puya, the Land of the Souis; and its final ascent from there to the firmament. Within this general framework, the contents of the chant may he varied according to the circumstances of the person at whose death feast it is being sung. For, though the badofj diosso'mo is the traditional chant, it need not always be sung in exactly the same form. In fact, there is much local and individual variation, the latter introduced by the leader of the singers. To what extent several versions of the chant may differ from each other can be seen from the four texts I A-D. These were taken down from informants living in different regions: two in villages of the NonOl3an village-group, Kesu' territory; one in the Madandan territory; and one in the Tikala territory. In addition to the traditional badOfj, there are a number of shorter non-traditional chants which can be sung instead of the traditional one and can be repeated as of ten as the singers wish. They are, first, the badOfj maloIo = the 'young' or simple chant for the deceased, of which again four texts, 11 A-D are given here. Text 11 A comes from the NonOl3an village-group; 11 B from the Pa'l3ala' territory, Rantepao country; 11 C from the Sa'dan territory, the area near the source of the

4) diosso'mo = it is told in a systematic order, enumerated in a regular sequence; for example, the facts of a story, the generations of a genealogical tree. The text of the chant for the deceased in its regular, traditional order is called ossoran badOl'j.

simbOfJ podo' = chorus that is interrupted (11 E); pa'sakkun maTio = restraining grief(?) (11 F); pa'Tanden-Tanden = the speaking twice of the word Tanden = alas (11 G); passimban = maldng allusions (11 H); and bolu gatta = betel and gambir (11 J), a brief chant in which the performers ask for betel and gambir. The badOfJ to so1jlo' = the chant for the deceased as sung by those who go downward in procession (11 K), is sung when the corpse of the deceased is being borne from the house in which it has been lying to the place of the feast, called Tante = field, where the buffaloes are to be slaughtered and the continuing part of the ritual is to be carried out. When the people carrying the bier need a rest during the joumey from the death house to the Tante they lay the bier on the ground and sing this chant. It can he repeated as of ten as the singers desire. The .first strophe which is repeated, is always the same. The strophes that follow are chosen at random from the traditional chant. The text given in 11 K is simply an example.

2. The contents of the badoq The badotJ is a communal chant. Anyone who moums the death of the deceased can take part, those who are not his kinsmen as weIl as members of his family. People are summoned to the badOfJ with the words: sae nasafj to maTintin = let everyone who moums now come. Generally speaking, two different themes can be discemed in the badat3: the expression of grief at the death of the deceased and the veneration of the dead person. The first of these themes is to be found in specific parts of the chant and its significance is further heightened by the singers' use of the word batitJ = lament, for, though the chant as such is called badort}., this word does not occur in the chant itself; instead, the word batitJ is always used: for example, when the singers of the chant request the leader to prompt them loudly, they do so by saying the words: umba nakua batitJ = now teIl us how the lament goes. The batitJ is the personallament with which the family and friends of the deceased show their grief. Their sorrow is expressed by wailing and sobbing at those times when they are in close proximity to the corpse, i.e., in the death house and when the bearers of the bier start to carry the deceased from the Tante to the rock grave.

THE SA'DAN TORADJA CHANT FOR THE DECEASED

In the badOfj, the beginning of mourning is announced as follows (see Text I A):

1. Where are those of our village now, The ones who of our hamIet are? 2, Come, let us weave the lament (batÏ13) now That we may start the mourning song.
2. Let everyone who mourns now come, All of his kin from everywhere,

3. A dirge for our father to chant To mourn the one who begat us.
   In the badot} to sot}lo', those who carry the bier express their grief in the following words (see Text 11 K) :

4. We are the ones who mourning are We are lamenting everywhere.

5. Our father has forsaken us, Has left us he who begat us.
6. Now from his village has he gone His house behind him he has left
7. The clouds behind him he has left Enveloped in the mists is he The morning mist between us stands.
   The other theme of the ehant for the deeeased -the veneration of the dead person -is expressed in several of the short ehants; for example, in the opening lines of the badot} to s013lo' (Text 11 K) :

Look at that exceptional man Who was ereated by the gods.

The element of glorifieation of the deeeased is given its fullest expression, however, in the traditional ehant for the deeeased, the badOfj diosso'mo. Text I A is an example of this ehant, which was sung for a dead person who belonged to the clan house that is spoken of. In flowerv language the ehant tells of the deseent of the deceased from a heavenly aneestor, tu nene' mendeatanna, to dolo kapuatylnna = the aneestor who was divine, the forefather revered as Lord. This aneestor deseended to earth, ereeted a large clan house and held the bua' feast. He moved his clan house many times in the eourse of his journey from the south to the north. One of his desc.endants finally reaehed Siguntu',

the site of an old clan house of the people of NonOl}an, which lies on the right bank of the River Sa'dan. The chant then goes on to mention the birth of the deceased (str. 108-121) and his qualities (str. 135-141). He is spoken of as someone who had a golden character; as someone whose sagacity was like a golden necklace; who was exceptional in all things; as one to whom the gods had given everything. He had only to stretch forth his hand and the riches in it poured out, the possession in it poured forth. Then he became ill (str. 142) and his life's thread was cut (str. 145). The elaborate ritual was performed for him and he was interred in the rock grave. This is briefly described (str. 148-171). When the ritual had been completed, his spirit made its joumey to the Land of the Souls. From there, it went westward where it rose on high like a coconut palm and reached the firmament. There, "The Great Bear took him in its arms; The Pleiades embraced him; the shining stars pressed him to them" (str. 192). The chant ends with a wish for a successful life, prosperity and many children. According to this chant, since the deceased was a person of high rank, his spirit occupied a place in the firmament. It became a constellation lying between The Great Bear and The Pleiades. These constellations are considered as seasonal indicators for agriculture. So, people keep a look out for the appearance of the constellations of the spirit of the deceased in the sky as it is a sign that the rainy season is about to set in and they can begin sowing the rice. The growing rice is under the protection of this constellation. It is thus clear that the chant for a deceased person of rank portrays his personal image, representing him as a hero, as a divine being enthroned in the firmament. In accordance with this idea, the deceased for whom the supreme form of the ritual is to be carried out is given another and more illustrious name. Men are given names composed with the word 'sun' or the word 'heaven'. For example, Ta'dun Allo = Sun Hat; Kambuno Larji' = Sun Hat of the Firmament (the kambuno is the frond of the fan palm and is wom as a hat by the adat chief); Batara Lafji' = The Zenith of the Firmament; Lalofj Kila' = Sharp as Lightning. The last name is given to a courageous warrior. Women are also given such names: Datu Manurun = Princess Who Descended from Heaven; Datu Memonto = Far Famed Princess; and names composed with the word 'sea', for example: Liku Tasik = Deep Place of the Sea; Tiku

TORADJA CHANT FOR THE DECEASED

T asik = She Who Encircles the Sea; T asik M embida = Prolific of Progeny. The last name can even be given to a childless widow af ter her death. Af ter de ad persons of station in life have been interred and af ter the ritual for them has been completed, their spirits go to the Land of the Souis, Puya, which, according to the Sa'dan Toradja, lies in the south of the Toradja country in the vicinity of Mt. BambapuaIJ, between Kalosi and Enreka13' From there their spirits ascend to heaven. That this is not accepted as applying to people belonging to the lower class of the to makaka = freemen, was brought home to me once af ter I had spoken at an Evangelical gathering in one of tl.~ villages about the life hereafter as outlined in the Gospels. In the discussion at the end of the talk, one of the guests, an old man who was of the lower rank of the to makaka class, said to me: "That life in heaven about which you spoke, is not for such as us who are not of high rank. Our spirits do not ascend to heaven when we die; but only those of people of high rank who have held the great bua' feast during their life and for whom the ritual of the dirapa'i has been carried out." Though, in general, the spirits of the dead of all classes are said to be revered as ancestors, in reality, this does only apply to people of rank for whom an elaborate ritual has been carried out. It is thought th at their spirits become lords, gods, membali puafj. The following ceremony, conducted in the Kesu' territory, confirms that the spirits of deceased people of rank are believed to ascend to heaven and are thought to be taken into the circle of the deified ancestors. During the harvest period, a number of rites are performed some years af ter such a person has been interred in the rock grave. These rites are called mafjrara pare = to sprinkle the rice with blood. During these ceremonies, an offering of food, which has been placed on banana leaves, is made to the deceased. This offering is put down by the offerer at the north-east, the direction to which one turns when the offerings are made to the gods. Normally, when the food on the banana leaves is offered to an ancestor, it is laid down in the south-west. This change of direction when an offering for the dead is set down, is called dibalikan pesufjna = the offering meal is reversed for him. The veneration in which these deified ancestors are held is also apparent from the following ceremony. A considerable time af ter the death ritual for a person of rank has been completed, af ter a year or more, the members of his family go to

the grave to invoke a blessing. On this occasion, a pig is offered; people of high rank offer a buffalo. This offering is called ma'nene' or ma'- tomatua = to go to the ancestors; in some adat communities it is called mafJeka'. It is made af ter the harvested rice has been stored in the granaries at the end of the agricultural year, i.e. the period during which the rice is cultivated. A special fonn of such a ma'tomatua ceremony is that in which the entire adat community participates and the people address their prayers to the founder of the village, the pafjala tondok. For the details of such a ceremony, I am able to draw on the following data from the Tondon territory, to the east of the capital, Rantepao. First people gather at a place close to the rock grave. There, the leader of the offering, the to minaa, he who knows the adat prescriptions, speaks to the ancestor for whom the offering is intended, as follows: "Oh, ancestor, thou who hast founded the village in its fullest extent 5), we desire blessings, for the good day has dawned, upon which we, thy golden descendants, appear before thee."

The to minaa then makes it known that in three days' time the path must be consecrated, i.e. the path leading to the rock grave where the deceased has been interred. When the three days have passed, an areca nut, a sirih leaf, a quid of tobacco and some viscous rice are taken to the rock grave at PagasOll3an, in the Tondon territory. Three days later, a buffalo is taken to be offered to the ancestor, direndenanni tedOfj = a buffalo is led to him,

i.e., to Ne' Malo', one of the war leaders, the to pada tindo 6), who conducted the war against the king of Bone and his Buginese invaders in the seventeenth century. Three more days pass and the rock grave is opened and the beasts are then offered by different descendants of Ne' Malo'. The high adat chief of Tondon finally offers a buffalo. In another three days an offering is made to the gods: ma' palandoan- landoan = to put an offering on the small shelf, which resembles the ri) The South Toradja term used here is lepofjan totulok which means 'the circle of the village'.
6) The term fo pada tindo means the ones who had the same dream. This expression refers to the chiefs of the different adat comrnunities who assembied at the Sarira Rocks as a result of the signal fires lit on various mountain tops. From the Sarira Rocks they marched against AI'UI} Palakka, King of Bone. The expression to ma' pasá bOfji = those who held a market at night, also refers to these ancestors.

TORADJA CHANT FOR THE DECEASED

palandoan 7), of the offering tabie. Another three days pass, and in each clan house a pig is offered to the gods: ma' palflfjtln para = to put an offering meal on the shelf above the hearth. When three years have passed, the ritual is concluded by holding the merok feast 8). From the spirits of the people of high rank for whom the elaborate ritual for the dead has been carried out, great blessings are thought to flow for the whole adat community the members of which are the descendants of the heavenly ones who descended to earth in the time before memory. The family of the dead person also feel that their welfare is closely linked with him. So, they will endeavour to carry out the fitting death ritual in its entirety, even if this cannot he done until some years af ter his death. If at the time of the demise of this member of bis family a man could not dispose over the requisite number of buffaloes that had to be slaughtered for the deceased, those he did have would be killed and the slaughtering of the remainder would await a suitable opportunity in the future. Later, when he has been prosperous for some time, he can make good that part of the ritual he had not carried out earlier by slaughtering a buffalo or buffaloes at the dead person's grave. By this means he seeks to express his gratitude to the deceased for the blessings he has been able to enjoy through him or her. It is worthy of note that the veneration of the ancestors is in several ways connected with the cultivation of rice: among the blessings bestowed by the divine ancestors, an abundant rice crop, which is the chief means of subsistence of the people, is the most important. This associ- ation between a dead person of rank and rice is clearly shown by the mafjrara pare, the offering ritual I have already mentioned on p. 6. When the rice grains begin to form, an offering is taken to the riee-field of a person who had died sorne years previously and for whom the supreme form of the death ritual had then been carried out. A pig and a hen are offered. The offering is made by the to indo', the leader of the rice cultivation. A dog is also killed but it is not offered; it is eaten by the people of lowest rank, the slaves. Af ter the offering has been made, the rice plants are sprinkled with the blood of the pig and the hen. When the time arrives to harvest the rice, a hut is built on the plaee where the rice is to be dried and a connection between it and the rice-

1) palandoan = the shelf over the fire-place, where the fire-wood is placed.
8) See my The Merok Feast of the Sa'dan Toradja, The Hague, 1965. Herein- af ter referred to as The Merok Feast.

field is provided by a rope, which is made of bamboo. A daughter, a granddaughter, or a sister of the deceased is responsibie for tbe care of tbe hut and attends to the rites performed tbere. A second offering is taken to this ricefield and af ter tbat either four or six people, each of whom carries a torch, go to the field and tben the rice is sprinkled with the blood of a pig that has been offered. Some of tbe rice is then cut and made up into either two or four sheaves which are then tied up with strips of the outer skin of the stalk of tbe dt#JfJ-datyz flower (a kind of gladiolus); normally, the rice is tied up witb strips of bamboo. These sheaves of rice are tben laid in the hut. The following day, an offering is taken to the hut and the people go to tbe field and continue harvesting the rice. The first two or four sheaves of rice that are added to those in the hut are also tied up with strips of tbe outer skin of the dat)a-datyz flower. These sheaves are tben taken to the rice granary when the rice is ready to be stored in it. They must be taken to tbe granary by a daughter, a granddaughter, or a sister of the deceased. The sheaves are laid in a corner of the granary and must be left there. They may not be taken from it to be used as food. From these sheaves of rice flows tbe magical influence which protects all tbe rice in the granary. In tbe chant for the deceased, it is noteworthy that the word bombo = spirit of tbe deceased, does not occur. The dead person is still thought of as being in tbe world of the living. The Sa'dan Toradja concept of a human being's spiritual nature is that he has a sunga' = life force, in the sense of span of life, and a sumat)a' = life force, spirit, in the sense of his consciousness. In addition, they also speak of a man's deata = his vital force and his more or less personal spirit, his alter ego. Furthermore, a man also has a bombo = personal spirit, tbough usually this term is given to his personal spirit af ter his death. This bombo can leave a man's physical body during his life and there are people, such as a seer, who can see a man's bombo, can take hold of it and direct its actions, and can then return it to his body. But when a man dies, his bombo becomes restless and frightened and then it can no longer be controlled. Af ter the bombo of the dead man has left his body it goes to the buffaloes and the pigs that were slaughtered for him and takes the spirits of these animals away. The spirit of the deceased does not immediately go to the Land of tbe Souls af ter the corpse has been laid in the rock grave, but it wanders around the village and goes to the place where a feast is being held and importunes the people who are there. The spirit attaches itself to other

SA' DAN TORADJ ACHANT FOR THE DECEASED

spirits and they all gather in the open space under the house in which there is a dead person awaiting intennent. The spirit of a dead person only takes the path to the Land of the Souls when the entire death ritual has been carried out and the period of mourning is over and the last group of those who observe the moUf- ning customs again eat rice, kumande tampak = the last to eat rice. Rice for the deceased as well as the thigh bone of a pig, is then thrown from the house into the space beneath it, mafJTondonan bota = to throw down crumbs of cooked rice. Af ter that, the spirit is led at night southwards out of the village, one or two hours walk. The spirit then continues to sojourn outside the village. Only when the death ritual has been concluded with an offering to the gods, which act severs the connection between the world of the living and the world of the dead, does it proceed on its way to the Land of the Souis. There it leads a life corresponding to life on earth. Should the dead person be interred without any ritual, then the spirit has amiserable existence outside the Land of Souis. It feeds on kambola fruit, a kind of lefJkuas, a plant with long broad leaves and with fruit like that of the djambu. There is also an idea among the Sa'dan Toradja that the spirits of the dead become ants which of ten take to plants called fly traps or sundew (Drosera). The Sa'dan Toradja call those plants suke bombo = vessels for the spirits of the dead. When these ants die, they become the clouds which rise in the west and in due course give the rain that makes the rice grow.

3. The perfonnlng of the badol) The singing of the chant for the deceased, accompanied by the perfonning of particular dance movements, is called ma' badofJ (verb) or pa'badOfJ (noun). A good description of the rhythmic movements of the dancers during the singing of the chants is to be found in Claire Holt's Dance Quest in Celebes 9), pp. 52-54,115. This book contains also some beautiful photographs of the dancing during the singing of the chant for the deceased. The usual form of singing the badOfJ diosso'mo, the traditional chant for the deceased, and of performing the accompanying dance move-
   9) Les Archives Internationales de la Dance, Librairie G.P. Maisonneuve. Paris, 1938.

ments, is called ma'badOfj mbati'J = perfonning the chant for the deceased as a lament. I t is as follows. A group of dancers who are to sing the chant form a circle. Each dancer places his left hand on the shoulder of the man next to him. Slowly the dancers circle round in an anti-clockwise direction, keeping time to the chant with their steps and continually making a scooping movement with their right arms as they speak each line of a strophe to stress the rhythm 1()). Each step to the right is accompanied by a scooping movement to the left. Two or three of the singers who are facing north and south, act as leaders and start the singing. Another singer acts as a prompter 11 ). When the chant is about to start, one of the singers will ask: "Now tell us how the lament goes." Then the prompter asks: "Have you already heard it?" The one who asked the question replies: "Not yet." The prompter then speaks the first line of the first strophe which line is then sung by all the singers. When ihey have finished it, one or two of the leaders sing the second line of the strophe. Af ter that, all the singers sing the first line of the second strophe. Again someone will ask: "Now tell us how the lament goes." The prompter then speaks the second line of the strophe, and the same procedure as before is followed. The singers then sing a number of strophes until they decide that they want to change to a different manner of dancing. One of them will then say: "Let us change this for another", and someone will say, for example: "Let it he the pa'solli" 12), whereas the chant is then continued according to this form which is as follows. The performers stand in a circle as hefore. Each man places his left hand on the right shoulder of the man on his left. His right hand he slaps against the chest of the man on his right. He then removes rus hand and makes a scooping movement with his right arm. When the chant is again about to start, someone will ask: "Now tell us how the lament goes." The prompter then speaks the first line of the strophe following that at which the chant was broken off. All the singers then sing the line while making the scooping movement, the ending of the movement coinciding with their uttering the word solli.

10) This is termed umpasiala gamaranna = to let one's voice he in concert with.
11) The prompter is called to ma'kado"i = the one who speaks the kado". The strophes of the chant for the deceased are termed kadO'J. Probably, this word is origina\ly the same as kadO'J = bean.
1.2) ussolli-solli = to introduce threads hetween the others in the c\oth; pa' solli will here mean: the marmer of perlorming the chant for the deceased whkh acts as an alternant.

SA'DAN TORADJA CHANT FOR THE DECEASED

Again the prompter speaks the next line and the singers sing it. They then continue to sing the strophes following until someone again expresses a desire to change the form of dancing. One will then say, for example: "Let us follow the manner of singing of the people of Pai'." This form comes from the village of Pai' on the south side of Mt. Napo 13). The performers stand in a circle with their left hand hanging straight down. The scooping movement is also made in this form but thc hand is brought to rest on the chest of the next man in the circle. Again, one of the singers will ask: "Now teIl us how the lament goes," and the prompter takes up the first line of the strophe following the one at which the form was changed. The singers sing this line and this pattern is followed until they decide to end it, which they do with the words: ambe' to safJlembfl13 14) = father of the whole adat community, when the chant is being sung for a man, and: simbolot'j renden 15) = noble sister, when it is for a woman. In addition to the ma'badot'j mbatifJ, the pa'solli and the pa' toPai', just mentioned, there are several other ways of performing the movements that accompany the singing of the chant for the deceased:

a) pa'toSe'pon: this form comes from the village of Se'pon in the
Lolai village-group which is on Mt. Lebusan in the PaIJala' territory, to the north-west of the capital, Rantepao. The performers hold hands and swing their arms up and down, taking steps at the same time. The pa'toSe' pon is performed with quick movements.

b) pa'toPiot'jan = doing it in the manner of the people of PiOlJan.
This is the name of a territory to the west of the Rantepao country. The dancers hold hands and swing their arms slowly to and fro. The leaders stand opposite each other in two and three. They start the song, singing softly such of the strophes of the traditional chant as come to mind, then the rest join in singing loudly. Each group of the leaders sings a strophe alternately.

c) pa'toBala = doing it in the manner of the people of Bala, a
village in the MeIJkendek territory, Ma'kale country. The dancers form

13) Mt. Napo lies between the Dende' and PaJ)ala' territories in the RantepQo country.
14) sarjlembarj = the whole adat community; lembarj also means territory, region under the administration of one person sueh as, for example, tallIl lembarjna = the three kingdoms, i.e. SaI}aIla', MeJ)kendek and Ma'kaIe.
15) simbolo" = hairknot, is an honorifie bestowed on a woman of rank; renden = dearest brother, dearest sister, is a term of endearment used between brother and sister.

PiOlJan (see b). It bears a slight resemblance to the pa'toBala (see c). In the latter, the scooping movement is made with the arms: in the pa'sokko' tata', the dancers hold hands, their knees are bent and they make jigging movements.

e) pa'lape-Iape = hanging limp. This form is that of the people of
Lolai (see a). The dancers form a circle and place one arm on the shoulder of the next person. The left foot is raised and the hand, of which the fingers are stretched out but bent inwards, is then raised three times and the left foot lowered. The dancers make a scooping movement with their right arms, raise the right heel and take a step forward. The scooping movement of the arms is made af ter a strophe has been sung. Af ter the singing of a few strophes, lines containing jocular allusions are interpolated between them and the strophes following. For example, when the singers want to chew sirih-pinang, they sing: rio-rio malia puduk to lamban anna puduk to ma'badot) = the mourning lament recalls that the lips of the ones who have passed on were redder than those of us who sing the chant for the deceased. This form is concluded with the words: 'nobie woman', or 'beloved woman', or 'most youthful one'.

f) pa'toKe'pe' = doing it in the manner of the people of Ke'pe',
a village in the Lolai-village-group (see a). The dancers hold hands. The knees are not bent, the steps being made with the legs straight. A long scooping movement is made with the arms. The following is the concluding strophe:

maloen-Ioen londe to Riu daen datu to Ta'ba'. The chant of the people of Riu 16) goes to and fro. There is the Lord 17) of the people of Ta'ba' 18) •

16) Riu is the name of the group of villages on the north side of Mt. Sesean.
17) datu = god, spirit, prince, lord.
18) Ta'ba' lies on the north side of Mt. Sesean. In the SaJ)alla' territory, in the south-east of the Sa'dan region, this strophe reads:

SA'DAN TORADJA CHANT FOR THE DECEASED

g) papa oda' (= ?): this is a form from the PalJala' territory (see a).
The movements are those of the simbo1'.h the chorus which is sung at the bua' feast and also at the maro feast, both of which are offering feasts held for the gods. The dancers hold hands and move their bodies up and down twice and then take a step sideways.

h) badCJt3 disimpoi = the chant for the deceased at which the parti-
cipants are not on the same level, i.e., some are sitting and some standing (simpo = dissimilar in height and length: the one is high, the other low). The dancers hold hands and make a scooping movement with their right arms; this movement is made when part of the words have been sung. Some of the dancers then leave the circle and sit outside it. Af ter those who continue the chant have again finished a part of it and the dancers have again made the scooping movement with their arms, those who have been sitting stand up and those who have been standing go and sit down. When it is time for this form to be concluded, everybody stands up. H, af ter that, it is the general wish that the chant should be continued, someone will again ask: "Now tell us how the lament goes", etc.

i) pa'rdna = the speaking of the word ra'na = alas, woe. Here
the dancers stand in a circle and hold hands. Slowly they take a step and stamp their feet, following the stress of the words. When the dancers are about to start, the mourning lament is begun, as follows:

ra'na mario-riokan kami, makarorofJ silelekan. Alas, that we now mourning are, All here, are solitary now.

Af ter the dancers have circled round for a considerable time, they break the circle, one part forms an outer circle, the other an inner circle. At the end of the chant, the dancers join together again and make the scooping movements with their right arms. The pa'ra'na can also be sung and danced in the form of the badofJ disimpoi (see h) but the dancers do not then form a circle.

j) the Ne' Bura form: the dancers stand in a circle and place one (note 18 continueel) loen-loen londe to Riu, sn,o datu to Telbel. The Riu song goes to and fro, The song of the Lord of Ta'ba'.

hand on the neck of the person next to them. In the other hand each dancer holds a piece of wood which is waved slowly to and fro. In this chant also, there are people who start the singing. The chant is concluded with the words: bendo' = frightful!

k) barande' to mafjkambi' = the song of the buffalo herders (baran-
de' has the same meaning as pa'bare-barean = light-hearted song). The dancers stand in a circle and hold hands but they do not make the scooping movement with their arms as they circle round. The chant concludes with:

indeko te, bolu gatta! now let there be sirih, gambir!

Formerly, the object of singing these words was to ask for sirih and pinang.

I) simbot) podo' = chorus that is interrupted. The performers sing
this chant (see Text 11 E) while standing in a circle. Each man places his left hand on the shoulder of the man next to him. During the singing, theright hands are raised. When the performers have sung the last strophe, they drop their arms and all of them say: "Frightful, frightful!"

m) pa'randen-randen = the speaking twice of the word randen =
alas, woel (see Text 11 G). The direction of the dance is anti-clockwise. The performers stand in a circle. Each man places his outstretched arms on the shoulder of the man on either side of him. The singers take a step and then drop their arms. Again they place them as before and take a step to the right. When the song is finished, the performers say the word randen, alas.

n) passimban = making allusions (see Text 11 H). The performers
stand in a circle and hold hands. They raise their hands at the same time taking a step sideways and stretching their arms towards the centre of the circle. This sequence of movements precedes the singing of each word. Af ter the last word of the second strophe has been sung they say: dikkan ambe' = "Oh, father", or dikkan indo' = "Oh, mother", depending upon whether the chant is sung for a man or for a woman. When the chant is sung for an old person, the concluding words are: nakua induk = he has become as old as the heartwood of the sugar palm; for a child, the words are: bintoen ronno' = he is like a star that has fallen.

0) ma'badot) ma' palao = performing the chant for the deceased

SA'DAN TORADJA CHANT FOR THE DECEASED

when his corpse is being carried. This is sung when the bier is being taken from the death house to the rante; and also when the deceased is being carried from the rante to the rock grave. In this latter case the words are sung quickly to the accompaniment of jigging movements. The strophes sung are selected at random from the traditional chant by the leader.

p) badOfj to sOfjlo' = the chant of the people who go downward
in procession to the place of the feast carrying the bier (see Text 11 K). This is a kind of ma'badOfj ma'palao and is sung when the people carrying the bier need a rest and lay it on the ground. The bearers, and some of the people with them form up into two rows facing each other and while those in the one row take four steps forward, those in the other take four steps backward. Af ter the first strophe, which is always the same, has been sung and repeated there follow a number of strophes that are chosen at random from the traditional chant. Someone starts off, singing the words quickly and the others then sing the rest of the words of the strophe. Whereas the ma'badOfj mbatifj, the ma'badofj ma' palao (0) and the badOfj to sofjlo' (p) are performed by men alone, the other forms of the chant that have been mentioned can also be performed by women or by children or by men and women together. The younger generation sing the words quickly to amuse themselves at the feast for the dead.

4. The retteq In addition to the texts of the chant for the deceased, some examples are given of the kind of verse that is called rettet} (Texts R 1-12). A rettet} is an improvized verse which is recited by the person who composes it. The subject matter must bear on the occasion on which it is spoken and is selected by the composer; the number of strophes varies according to his ability. Rettet} are recited at the merok least-of which the clan house is the focal point -in the evening of the day of the great feast when the women, dressed in festival attire, sing in chorus (ma' dan dan; see The Merok Feast, p. 9); at the bua' or la'pa' feast which opens the new agricultural year and which is held to ensure fruitfulness in man, livestock and plants; and at a death feast. A rettefj that is recited when the chant for the deceased is being sung is introduced at an arbitrarily chosen place in the chant. During the course of the singing of the chant it may be one of the singers who

rettefj or it may be someone taking part at the feast. Before the to ma'rettefj, the person who is to recite a rettefj, commences, he picks up a short stick, bandafjan, to which goat hair is attached. This stick he holds in his hand while he recites his verse. A rettefj is spoken in a monotone and all the words are drawn out. When a rettefj has been recited there should be one given in reply. Rettefj spoken at a death feast may treat of a variety of subjects. In them, the deceased can be praised; those against whom he had a grievance can be criticised; satirical reference can be made to a person with whom he was associated in life; matters concerning the deceased can be alluded to; and people mayalso make verses referring covertly to each other. Texts R 1-10 are examples of rettefj spoken at a death feast; an example of a rettefj recited at the merok feast is given in R 11; one recited at the la' pa' feast, in R 12. In the Ma'kale territory, a particular procedure, called pa'Ze-le, is folIewed when a rettefj is to be recited at a death feast. When the singers of the chant for the deceased want someone to recite a rettefj they sing the first line of a strophe chosen at random from the chant, repeat it, and follow it with the exlamation: Ie, Ze, Ze!, "hey, hey, hey!" This is meant to encourage someone to recite a rettefj. While they are singing, each singer has his left hand on the shoulder of the man next in the circle; in his right hand he holds a piece of wood which he raises and lowers to the rhythm of the words. When the desired rettefj has been given, the singers sing the second line of the strophe and repeat it and again follow it with the words Ze, Ze, Ze!, in the hope that another rettefj will be forthcoming. Text R 10 is an example of a rettefj recited in this way.

5. The metrlcal form of the badoq and the retteq Each line of the badOfj and of a rettefj contains eight syllabies, making four trochaic feet. Each syllable contains one vowel. This scheme can be said to be consistent; only rarely is it broken by a line having one syllable more or less than eight. These octosyllabic lines are combined into strophes of, in the main, two lines each. Only occasionally does a strophe consist of three lines. In a great many cases, the two lines of a strophe are linked by parallelism, i.e., more or less the same content being expressed in both lines though with different words.

TORADJA CHANT FOR THE DECEASED

This twofold form, octosyllabism and parallelism between two lines, is also found in a number of other songs such as the gelO'tJ maro, the gelotJ pare and the bugi' which, in common with the bad0f3 and the rettCtJ, are sung during certain religious feasts or rituals. The same form is also used in the sitJgi recitative, which is recited, not sung, by to minaa at the great bua' feast. Other litanies that are recited at certain feasts, the merok feast, for example, are not, however, in metrical form and the lines are of varying length. Such litanies are constructed of strophes, with parallelism between one line and another.

AND TRANSLATION

IA IA

Ossoran badoq to dlrapa'i Traditional chant tor the deceased tor whom the elaborate rituaI tor the dead is carrled out

The informant was Ne' No'ra of the village of Sal3polobUl}in in the NonOlJan village-group, Kesu' territory, Rantepao country. The words were written down by Mr.]. Tammu.

That we may start the mouming song.

In the wide sky's down-arching vault,

= those who beloog to the same neighbourhood.

It consists of three oblong wooden beads overlaid

sumind~ = 9 saJJSapli = a space between two poles; a room between two watis. to palullUJJan = the all-enfolding. lo~ke = visible from afar. 10 tumaYaJJ: higher than other things. In speech, many territories still use the original aya form, whilst in others there is elision of the y and there such words as tumaYaJJ and paraya are pronounced tumaaJJ and paraa.

THE SA'DAN TORADJA CHANT FOR THE DECEASED

11 Randuk ke birromi allo, ke dollokki sulo padat}, ke kapana' -panaranna. 12 Lat}I}an ditambuli gandal}, disu'bak pa'paredean. 13 Anna dadi pole' todil}, nakombOf} pole' paIJloli. 14 Rokko ditambuli laIJi', dibuak pekali bassi. 15 Dipantananni lolona, diosok rambo-rambona. 16 Mampu' sat}Sesena lal}i', nasarombon tauninna, nabissik rambo-rambona. 17 Tu nene' mendeatanna, to dolo kapuaIJanna. 18 Umbat}unan lando 10IJa, unnosok salIe a'riri. 19 Dipatendanni patal}do, diosok lumbaa padat}.

11 Just at tbe time the sun rose up, Just when the earth's torch could be seen, Just as it fierce began to glow, 12 Then was the caul pierced there on high, Then broken open was the womb. 13 And then came forth the high born one, Then was born the glorious one. 14 A hole was then in heaven dug, The ground with an iron spade was turned 15 And then his cord was therein placed, Ris afterbirth was in it laid. 16 The firmament, its half was scorched Ris afterbirth did powder it Ris placenta bespattered it. 17 The ancestor who was divine The forefather revered as lord 18 Built that which has a roof high-pitched, Set up that which on tall poles stands, 19 The bua' feast stone set in pI ace The ritual bamboo planted.

womb.

15 rambo-rambo = thread, fringe, fibre.

house.

other territories this ceremony is called passomba ted01j.

11 Most of the strophes contain two lines, the one being usually the parallel of the other. A few strophes, however, consist of three lines. kapana' -panaran: the time when the heat of the sun is hot enough to burn one; pana' = heat of the sun; the heat of certain condiments. 12 gandarj = drum; the skin that is stretched over the drumhead. The original meaning: membrane, skin; gandarj-ganda1j tedo,,: the membrane enclosing the buffalo foetus in the

13 todi1j: distinguishing mark, for example, a spot of blood on the forehead of the participants at the merok feast. In the maro song, lua todi" means: the one who has a brood sign on the forehead; one of high rank; bai todi1j: pig with a white patch on its head. parjloli: black buffalo with a tail with a white tip, like a piece of cotton wound round a piece of wood: a buffalo of especial value. samara: black buffalo with a white patch on its head and a tail with a white tip; figuratively both words mean glorious.

18 I01jQ: the jutting out eaves at the front and back of the saddle-shaped roof of a Toradja

19 tarjdo = curse. In the Buntao' territory, ta1jdo teda1j means the words with which the buffalo that is to he offered at the maro feast or the la'pa' feast is consecrated; in the

patarjdo: the stone that is put up, with a small tjendana tree, in front of the clan house when the bua' feast is to be held, see The Merok Feast, p. 149, stro B 764, where it is called pararjka. According to tradition, the first bua' feast was held in heaven. Lumbaa padarj = lumbaa larji' is the name of a bamboo culm which is stuck in the ground at the place where the feast is being held. A small basket with a white fowl in it is placed on the top of this stake. A length of rattan is attached to the basket and the participants at

TEXTS AND TRANSLATION

Nanai 10lJke ma'bua', tumajat} ma'balinono, lil}gi' ma'kasea-sea. 21 Ma'kebua' tat} dilambi', menani tal} didoloi, la'pa' tat} disirantean. 22 Ta'bu sat}lampa nasura', sal}paraan naaI}gilo, sat}pati' nasora pindan. 23 Umbal}unan ala' -ala', bendan susi anak dara. 24 Dipepalat}kai dao, dipesondol} bulaanni. 25 Dibaju bat}goi lako, dibidakki pio bamban.

Merok Feast, stro B 478.

20 The bua' held the high bom one,

Sublime, he strode there in the row, The mighty one the great feast gave. 21 No one that bua' could attain, That menani feast was matchIess, That la' pa', unsurpassable. 22 A sugar cane node he incised, He cut designs on part of it Carved arrows, as upon a dish. 23 He set up the adorned bamboo The anak daTa then stood there. 24 It was affixed there, high above, Like a house front cornered, splendid. 25 With blouse of beauty was it dressed A girdle coarse and fine hung there

reference to Dr. J. Noorduyn.

somely, to be liberal; sea-sea =

poetical language.

of bI/a': ma'kebua' tuntlln lalan, menani lako-lakoan. He always held the bua' feast, menani rites he always did. sirantean = to be the equivalent of.

24 dipepalOl'jka (IOl'jka) = bulaan = golden.

very extensive.

the feast tug at this rope until someone breaks the bamboo and gets the fowl; see The

20 ma'balinollo: to proceed on foot in procession to the place where the bua' kasalle feast is to be held; in old Buginese, walinono = sun. In the Sa.I)alla' territory, balinono means the rainbow-like ring round the sun. According to Brandstetter, this word is related to the I1oko word alinóno which means 'whirlpool, eddy of water' (R Brandstetter, Ver- gleichendes Charakterbild eines Indonesischen Idiomes, Lucern 1911, p. 71). I owe this

ma'kasea (sea) = ma'kalalol'jan = invincible; ma'kasea-sea also means to pay out hand-

21 In this strophe it is dear that the bua' feast is the bua' kasalle feast, the great bua' feast, also called la'pa. La'pa' (Mal. lepas) means condusion, end. The great bua' feast is 50 named because it is the final feast in a cyde of feasts; hence, la'pa' bugi' = the condusion of the bugi' feast; the participants go in procession to this feast. ma'kebua' = to hold the bua' feast, is an uncommon derivative of bua' and is used in the

menani is the term used for the singing of the chorus at the bI/a' feast; here it is the parallel of bua'; in the Kesu' and Ma'kale territories, fo men ani is the name for the leader of the bI/a' padal'j feast. In the following lines menani also occurs as the parallel

22 ta'bu = sugar cane; here it is a poetical term for thin bamboo, i.e., the bamboo used for the struts, on which designs are incised, of the offering table at the bua' feast. 23 anak dara: a structure made of four pieces of bamboo to which young leaves of the sugar palm and other plants, as weil as a lance, are tied together and with the addition of a sword and a shield; it is then fixed on the north side of the central pole in the house. it was raised very high.

25 pio bamban : woven girdle with a weft consisting of a fine and a coarse thread alternately. dibidakki = dipempaliran = the one edge of the sarong is folded over the other.

TORADJA CHANT FOR THE DECEASED

26 Dilampa-Iampa darandat}, didandanni bUl}a rea. 27 Mendolok api daona, ra'rari tisea' dio13. 28 Disal3gil3an pao makkan, ambajal} katarananna. 29 Nametamba rekke buntu, meolJli' rekke tanete. 30 DeJ}ka buntu tal} natende!}, tanete tal} naloIloan, lombok tal} nasiri-siri? 31 Anna turun sae baan, anna lumaIle bugiran. 32 Tae' dikita lumalle, tal3 kojo13 passirukanna. 33 Seba makkan di01J to'na, ia umpamal}kai, dipa'anak deatai. 34 Tonna ke'de' daja mai, bu'tu lamban diot} mai. 35 MeIlao disorol} pindan, ke'de' dirande banaa.

26 Coloured stripes were in it woven And tufts of grass upon it drawn. 27 Fire hung there at the top of it, Flying ants spread at the bottom. 28 Green mafjga were for them cut thick, The embatjafj their sour fruit was. 29 His voice he sent North, to the hilIs, Called he northwards, to the mountains. 30 No hilI invited was unpraised No mountain called but was extolled No valley mentioned but with care 31 That parakeets would there descend Bugiran birds in number come. 32 Their numbers great, uncountable, The food placed there showed no inroad, 33 The apes disposed of what remained, They ate up everything there was; They are as children of the gods. 34 And then he from the North set out, From yonder was he seen to start, 35 The ritual dish was moved as weIl The rites' tray held on flat of hand,

26 dilampa-lampa

a tjindai

pp. S4 and 55.

30 nasiri-siri = he winnowed it.

gods had eaten of it. koym, = wound.

partaken of the essence of the meal.

= it is constructed with joints. 27 The first line refers to the red cotton c10th hanging from the allak dara; the second, to c10th on which there is a design of f1ying ants. 28 ambaym, (Mal. imbatjm,): kind of large mango with a smeU rather like turpentine, Mangifera odorata, Crifj. The women for whom these fruits are cut up are the to tumbm" the young women and girls who are in a state of taboo at the lá pa' feast and who must remain in the house of the giver of the feast for a specific time, see:]. Kruyt, "De Boea' en eenige andere feesten der Toradja's van Rantepao en Ma'kale", TBC, Vol. 60, 1921-22,

29 The heavenly ancestor invites the gods to partake of the offering.

31 The idea here is that the gods should appear in such numbers that they would be as swarms of parakeets and bugiran birds. These birds have yeUow-green feathers. 32 Such a quantity of food was provided that it did oot diminish, despite the fact that the

33 The children descended on the heavenly offering place, as they do that on earth, to devour the food af ter the offering prayer had been spoken and af ter the gods had

35 pindan = dish, is here the parallel of banaa, a small wooden dish in which, at the bua' feast, unhusked rice is put: this dish must he placed heside the anak dara.

TEXTS AND TRANSLATION

pal}laananna. 37 DipaseJ}gOl}i garatUl}, didedekki kuli' saa, rorel}na tandilo uia'. 38 Dao paty"antena pUal}, kala'paranna deata, kasipulu' -puluranna. 39 Pa'tol}koanna nene'na, esUl}anna to dolona. 40 U mpalele tOf3konanna, umbe'do kapajUl}anna. 41 Tu nene' mendeatanna, to dolo kapual}aDna. 42 Tonna ke'de' daja mai, tonna lao sambalin mai, 43 Karua gello natakin, annan gajaJ} diaakna. 44 N apa'petaIJkean uran, nasembaJ}an pini-pini.

Masuppu'- en Mamasa rivieren",

36 His burake preceded him, His people followed on behind. 37 The bead-hung drum was struck for him, The python skin was hit for him, Resounded the snake instrument 38 On that plain of the heavenly, At the godly bua' feast place, The plain where close around they pressed, 39 At the dwelling of his forbear The seat of his progenitor. 40 And then his clan house did he move, His shielding force he took elsewhere. 41 His ancestor who was divine His forefather revered as lord. 42 Now, when he from the North set out, When from the other side he went 43 Eight kris girded, patterns winding And six gold ones were at his waist. 44 He hewed the rain's boughs off with them, He cut the drizzIe's twigs with them.

TBG, Vol. 63, pp. 392-401.

slaughtered in her honour.

shaken the beads strike against it.

a cord stretched across it.

blood. 40 kapaYUfjan = the place of the sunshade. 41 mendeata = having become gods.

is Iike the hair of a dog.

36 burake: priestess at the great bua' feast, see: A. C. Kruyt, "De Toradja's van de Sa'dan-,

The welfare of the heavenly ancestor is dependent upon the bua' feast's being held for him. The burake is a heavenly being, having magical power, and honour must he accorded to her. In olden times, when the burake appeared on the field of battle, the fight had to he temporarily suspended. When a burake died, she was not carried outside through the door of the house but through the front of the house; the ba'ba deata = door of the gods, was opened for her. When the burake entered a village during the period when the rice was being harvested, she had to he invited into the house and a pig had to be

37 This strophe refers to the rites at the bua' feast during which the burake shakes the garatu", a small drum with a python's skin as the drumhead, and having cords attached to it round the waist. A bead is fixed to the end of each oord and when the drum is

tandilo : a musical instrument formerly in use and consisting of half a ooconut shell with

38 pUMJ is the parallel of deata = god, spirit. It is also the title of those who are of royal

kapullljan = having the status of a god or lord, it also means hearing the title of pUMJ. 44 napa' peta1Jkean is a derivative of the word ta1Jke = branch; metMJke = to try to obtain branches; napa'petMJkean = he cut the branches off with them, i.e., with the krisses. pini-pini = fine rain, morning rain; uran máblllu a.su also means fine rain: rain which

SA'DAN TORADJA CHANT FOR THE DECEASED

45 To dao to' lemo laa', pa'tol}koanna nene'na, eSUl}émna to dolona. 46 U mpalele tol}konanna, umbe'do kapajUl}anna. 47 Tonna ke'de' daja mai, tonna lao sambalin mai, 48 N adoloan burakena, naturu' pat}laananna. 49 Napaset}gorJi garatul}, nadedekki kuli' saa, rorel}na tandilo uia'. 50 To dao to' taba.t3 tua, pa'tol}koanna nene'na, eSUl}anna to dolona. 51 U mpalele tol}konanna, umbe'do kapajUl}anna. 52 BUI}kako ba'bana lal}i', pentiroanna deata. 53 La napolalanko batÏl}, la naolako mario. 54 Kurapak allo nanai, sumbal} bulan naesUl}i. 55 Pa'torJkoanna nene'na, eSUl}anna to dolona. 56 Lalan tal} lalan naola, ta.t3 lemboan napolalan. 57 Lalan magel}ge magial}, lalan ma'posa.t3a-sal}a. 58 Tindak sarira naola, mian kila' napolalan, sundallak napolambanan.

45 There by the sour one did it stand The dwelling of his ancestor The seat of his progenitor. 46 And then his clan house did he move, His shielding force he took elsewhere. 47 And when he from the North set out, When from the other side he went 48 His burake preceded him, His people followed on behind. 49 The bead-hung drum she struck for him, The python skin she hit for him, Resounded the snake instrument. 50 It stood there by the dark red plant The dwelling of his ancestor, The seat of his progenitor. 51 And then his clan house did he move, His shielding force he took elsewhere. 52 The gate of heaven open thou The window of the godly ones 53 To let the song of grief go through, To give the lament passage there. 54 Placed at a branching of the sun, Set in the region of the moon 55 That dwelling of his ancestor That seat of his progenitor. 56 He trod a way which no way was, He walked a path that no one walked, 57 A way of dread and frightfulness A path of danger, needing care. 58 He chose the rainbow as his path The flashing lightning was his way, He walked along the kindled forks.

saliulUIJ:

tabang.

45 "the sour one", is a kind of lemon tree, the lemo [aa'. It is a small kind of lemon; a piekle is made of it. It is eonsidered to be a fruit with a beautiful shape. 50 "the dark red plant" is the dragon's blood plant, the 52 At this point the lament begins to teil of the deseent to earth of the deceased's aneestor. 54 kurapak = joint; here the term kurapak allo is used, but at the maro feast the term is kurapakna batara : the plaee where the areh of heaven is jointed to the earth; kurapak the blue arch of heaven resting on the earth. 57 ma' posll1ja-sll1ja = to find an exeuse to put the blame on son'eone, or something, else.

59 Sae mellese iPoIJko', mentunannan riLebukan. 60 Pa'toIJkoanna nene'na, esuIJanna to dolona. 61 Umpalele t013konanna, umbe'do kapajuIJanna. 62 Tu nene' mendeatanna, to dolo kapuatJanna. 63 N adoloan burakena, naturu' palJlaananna. 64 DipaselJgOl3i garatuIJ, didedekki kuli' saa, rore!3na tandilo uIa'. 65 Sae mellese iSepatJ, mentunannan riKaratJan. 66 Pa'tolJkoanna nene'na, eSUlJanna to dolona. 67 Umpalele tOl3konanna, umbe'do kapajulJanna. 68 Tiumba'mo BambapuatJ, dollokmo Pintudewata. 69 N adoloan burakena, naturu' paIJlaananna. 70 NapaselJgOl3i garatUIJ, nadedekki kuli' saa, roreIJna tand ilo uIa'. 71 Sae mellese iRura, mentunannan riLellua.

AND TRANSLA TION 25

59 POIJko' he reached and trod thereon, There on Lebukan did he live 60 In the dwelling of his forbear The se at of his progenitor. 61 And then his clan house did he move, Ris shielding force he took elsewhere. 62 Ris ancestor who was divine Ris forefather revered as lord. 63 Ris burake preceded him, Ris people folIewed on behind. 64 The bead-hung drum was struck for him, The python skin was hit for him, Resounded the snake instrument. 65 Sepa13 he reached and trod thereon, There on Karal3an did he live 66 In the dwelling of his forbear The se at of his progenitor. 67 And then his clan house did he move, Ris shielding force he took elsewhere. 68 Showed BambapuaIJ suddenly, Came swiftly Pintudewata. 69 Ris burake preeeded him, Ris people followed on behind. 70 The bead-hung drum she struek for him, The python skin she hit for him, Resounded the snake instrument. 71 Rura he reaehed and trod therein, There in Lellua did he live

from heaven. Lebukan has the meaning of island.

off sideways. karCR'Jan = gravel, coarse sand.

of the Sa'dan Toradja.

59 POI'Jko': according to tradition, an island lying off the west coast of South Celebes (Sulawesi) and not far from the mouth of the River Sa'dan. It was there that one of the ancestors of the Sa'dan Toradja, LondOlJdilaJ}i' = The Cock in the Finnament, descended

65 SepaIJ is thought to lie at the mouth of the River Sa'dan. The word means to branch

68 Mt. BambapUalJ lies to the north of the capital of the territory of EnrekaJ}. The land of SouIs, Puya, of the Sa'dan Toradja is considered to he in the vicinity of this mountain; BambaPlICR'J = Gate of the Gods, Gate that Leads to the Gods. lts parallel is Pintlldewata, which has the same mearung. The word pintu does not otherwise occur in the language

71 Rura is the name of a plain Iying between EnrekaJ} and Kalosi. In olden times, it was the place where the children of LondOlJdilaJ}i' were married. Before the marriage took

SA'DAN TORADJA CHANT FOR THE DECEASED

72 Pa'tOl}koanna nene'na, esul}aJlna to dolona. 73 Tonna ke'de' lao' mai, tonna lao sambalin mai, 74 mellao disoro!} pindan, ke'de' dirande banaa. 75 Sae mellese iDuri, mentunannan riEndekan. 76 Pa'tol}koanna nene'na, eSUJ3anna to dolona. 77 U mpalele tOl}konanna, umbe'do kapajul}anna. 78 To nene' mendeatanna, to dolo kapua!}anna. 79 Sae mellese iSe'ke', mentunannan riSinadi. 80 Umbaf}unan lando 1000a, unnosok salIe a'riri. 81 N anai lol}ke ma'bua', tumajaf} ma'balinono, liJ3gi' ma'kasea-sea.

72 In the dwelling of his forbear The seat of his progenitor. 73 And when he from the South set out, When from the other side he went 74 The ritual dish was moved as weIl The rites' tray held on flat of hand. 75 Duri he reached and trod therein, There in Enreka13 did he live 76 In the dwelling of his forbear, The seat of his progenitor. 77 And then his clan house did he move, His shielding force he took elsewhere. 78 His ancestor who was divine His forefather revered as lord 79 Se'ke' did reach and trod thereon, There on Sinadi did he live, 80 Built that which has a roof high-pitched, Set up that which on tall poles stands. 81 The bua' held the high born one, Sublime, he strode there in the row, The mighty one the great feast gave.

was the right one.

feast held on earth.

country.

place, a messenger, POI3 Maratintin, went to heaven by the stairway to ask the Lord of Heaven whether it was right that they should marry. The Lord of Heaven split an areca nut in half and told the messenger that marriage between people so related, i.e., brother and sister, was forbidden. He then took one of the halves and split it and told POl} Maratintin that that marriage too, i.e., between full cousins, was prohibited. Then he split one of the quarters and said that that marriage, between cousins once removed,

POf} Maratintin returned to earth and deliberately told a lie by saying that Puaf} Matua approved of marriage between brother and sister. The marriage accordingly took place whereupon, at the command of PUaJ) Matua, the place where the feast was being held sank into the ground. The ancestor, LondOl3dirura = The Cock of Rura, and his wife were spared. Then a to minaa = priest, and a burake descended onto Mt. Sesean, in the North of the Sa'dan country, and went to Rura. An atonement offering was made and af ter that a bua' feast was held under the direction of the burake: this was the first bua'

75 Duri is a federation consisting of the three small kingdoms, Alla', Malua' and Buntubatu, which belong to the Ma'senrempulu' group, in the territory of Enreka!). The dialect of Duri has been influenced by Buginese but it is akin to the South Toradja tongue. 79 Sinadi is the name of a spur of Mt. LatimodjOf} in the South of the Sa'dan Toradja

According to another story, the son of LondOf3dirura, Taf}dilino', who was the ancestor of all the clans of the Sa'dan country, went from Rura to Marinding, in the Mef}kendek territory, and there erected the clan house called Puan, the mother clan house of the clan houses in the Sa'dan Toradja country.

82 Ma'kebua' taf} dilambi', menani taf} didoloi, la'pa' talJ disirantean. 83 Tonna ke'de' lao' mai, tonna lao sambalin mai, 84 nadoloan burakena, naturu' paf}laananna. 85 Napaset}gof}i garatUl3, nadedekki kuli' saa, roref}lla tandilo uIa'. 86 Ma'tete Batumo batif}, unnola landa Sarira. 87 Kasirimpuf}anna batÏf}, kakendenanna mario. 88 U mpalele tof}konanna, umbe'do kapajul3anna. 89 Sae mellese iKesu', mentunannan riBaf}kudu. 90 Pa'tof}lmanna nene'na, esul3anna to dolona. 91 Umpalele tOl}konanna, umbe'do kapajul3anna. 92 Sae mellese iBatu, mentunannan riSiguntu'.

AND TRANSLATION 27

82 No one that bua' could attain, That menani feast was matchiess, That la' pa', unsurpassable. 83 And when he from the South set out, When from the other side he went 84 Ris burake preceded him, Ris people followed on behind. 85 The bead-hung drum she struck for him, The python skin she hit for him, Resounded the snake instrument. 86 The song of grief walks on the Rocks, Walks upon the curved Sarira. 87 The songs there form their union, The mourning laments upward rise. 88 And then his clan house did he move, Ris shielding force he took elsewhere. 89 The Kesu' reached and trod thereon, There on Bat}kudu did h~ live 90 In the dwelling of his forbear The seat of his progenitor. 91 And then his clan house did he move, Ris shielding force he took elsewhere. 92 Batu he reached and trod thereon, There on Siguntu' did he live

the Sarira Rocks.

stairway turned into The Rocks.

daughter, Ambun diKesu' =

of Ba'tan.

NonOl}an village-group.

Morning Haze on the Kesu', married a descendant of the

86 The chant has now reached the point where the divine ancestor wended his way through

"The Rocks" is the parallel of Sari ra. These rocks, intersected by gullies, form a long line, extending from the Sal)alla' territory northward into the Kesu' territory. In olden times there was a stairway connecting heaven and earth. Now there was once a man, who Iived on earth, called POl} Sumblll}sarepio = The man with a loin c10th made of pieces joined together. He c1imbed to heaven by the stairway and stole the gold flint belonging to the Lord of Heaven. He became enraged, and toppled the stairway over. The

89 In the history of the people of rank in the Kesu' territory, it is told how their ancestor, PUal) riKesu', descended from heaven and established himself at the Kesu' Rocks. His

Iineage having LondOl}dirura as its ancestor. This descendant, Pabane', came from the Sal}aIla' territory and travelled past the Sarira Rocks. Bal)kudu is the name of a region situated on the spur of the Kesu', hard by the village

92 The ancestor of old, who established himself in Siguntu', crossed over the River Sa'dan. Batu and Siguntu' are the names of clan houses in the village of Kadundlll}, in the

SA'DAN TORADJA CHANT FOR THE DECEASED

93 Pa'tolJkoanna nene'na, esul}3.I1na to dolona. 94 U mpalele tolJkonanna, umbe'do kapajul}anna. 95 Tu nene' mendewatanna, to dolo kapual}anna, sae mellese iSil}ki'. 96 Pa'tor}koanna nene'na, esUt}anna to dolona. 97 Umpalele tot}konanna, umbe'do kapajuf3anna. 98 Tu nene' mendewatanna, to dolo kapual}anna. 99 N adoloan burakena, naturu' pal}laananna. 100 Napaset}g0!3i garatulJ, nadedekki kuli' saa, rorel}na tandilo uIa'. 101 La rampo indete tondok, kenden indete pal}leon. 102 Pa'tol}koanna nene'na, esUt}anna to dolona. 103 Dipatendanni patal}do, diosok lumbaa pada!}. 104 N anai IOl}ke ma'bua', tumajal} ma'balinono, lilJgi' ma'kasea-sea. 105 Ma'kebua' tal} dilambi', menani tal} didoloi, la'pa' tal} disirantean. 106 Tu nene' mendewatanna, to dolo kapual}anna. 107 Sundun sal}tat}kena bati.l}, Sa!} paraanna mario.

93 In the dwelling of his forbear The seat of his progenitor. 94 And then his clan house did he move, His shielding force he took elsewhere. 95 His ancestor who was divine His forefather rcvcred as lord Sil}ki' did reach and trod thereon, 96 In the dwelling of his forbear The scat of his progenitor. 97 And then his clan house did he move, His shielding force he took elsewhere 98 His ancestor who was divine His forefather revered as lord. 99 His burake preceded him, His people followed on behind. 100 The bead-hung drum she struck for him, The python skin she hit for him, Resounded the snake instrument. 101 And when he reached the village here, When to this hamIet he did come 102 To the dwelling of his forbear The seat of his progenitor, 103 The bua' feast stone set in place The ritual bamboo planted. 104 The bua' held the high bom one, Sublime, he strode there in the row, The mighty one the great feast gave. 105 No one that bua' could attain That menani feast was matchless That la'pa', unsurpassable 106 Of his forbear who was divine His forefather revered as lord. 107 Ends now a part of this lament, A section of this song of grief.

journey of the heavenly ancestor.

strophes 19, 20 and 21. 107 satJtatJke = one branch. satJparaan = a &mall amount.

95 SitJki' is a rock on the side of the River Sa'dan opposite the capital, Rantepao. The deceased for whom this lament is sung, came from this region and so it is the end of the

103, 104, 105: for an explanation of the terms used in these strophes, see the notes to

108 La kulambi'mo dadinna,

kudete'mo garaganna. 109 lari tonna dikombol}, tonna dibassei baju, 110 tal} kembuarika lal}Sa', taIJ tarri'rika durian, 111 Anna tal} kanderi indo', anna tal} onta-ontari? 112 Bulajan paIJidenanna, rara' elo' -eloranna. 113 Dao bulan sal}tampana, bintoen saIJgaraganna, allo sal}ba'na-ba'nanna. 114 Pada didadian bulan, pada kombol} BUI}a'lalan. 115 Tonna randuk didadian, tumajaIJ dikianakan, 116 randuk ke birroi allo, ke dellekki sulo padal}, ke kapana' -panaranna. 117 Anna dadi pole' todil}, nakombol} pole' pal}loli. 118 Lal}'3an ditambuli gandaIJ, disu'bak pa'paredean. 119 Rokko ditambuli padaIJ, dibuak pekali bassi. 120 Dipantananni lolona, diosok rambo-rambona. 121 Mendadi maa' lolona, kombol} sari ta uninna.

her baju

AND TRANSLATION 29

108 The time of his birth have I reaehed, To his genesis I have come. 109 Now, at the time when he was formed, The baju hung a eurvéd line. 110 Did not the laf'jSat tree bear fruit Did not the durian produee 111 That them the mother would not eat Then would not swallow in her greed! 112 She only fancied things of gold, A gold neeklet did she desire. 113 Ris form was as that of the moon, Re had the brightness of the stars, Ris beauty as that of the sun. 114 Bom as an image of the moon, Ris shape just as The Pleiades. 115 The time of his birth then drew near For the sublime one to eome forth, 116 Just at the time the sun rose up, Just when the earth's toreh eould be seen, Just as it fieree began to glow 117 Was then eome forth the high bom one Then was bom the glorious one 118 Then was the eaul piereed there on high, Then broken open was the womb. 119 A hole was then dug in the earth, The ground with an iron spade was tumed 120 And then his eord was therein plaeed, Ris afterbirth was in it laid. 121 Ris eord, it was a tjindai cloth, Ris afterbirth a blue white weave.

afterbirth. komb01j = to be formed as.

109 The meaning of the second line is that the mother' s pregnancy was so advanced that hung in a curved line over her stomach. The story of the ancestor is now finished and the chant then goes on to teil of the life of the deceased for whom the larnent is being sung. 121 maa' is the name of the ootton tjindai cloth introduced by the Dutch East India Company. It is considered to have magical power in that it can influence one's future welfare and one's prosperity. This is also considered to he a quality of the umbilical oord and the

sarita = an old long narrow blue cloth with white figures; sarita uninna: uninna is a shortened form of tauninna = his afterbirth; tauni is of ten shortened to toni. In the words sarita uninna, the syllable ta of tauninna is omitted in order to avoid repetition of the ta.

THE SA'DAN TORADJA CHANT FOR THE DECEASED

122 Unnarre-arre ambe'na, sumapuko ma'dadinna. 123 Ganna'mi tallu bOl}inna, ganna' bilal}-bilal}anna, 124 mellao rokkomi alal}, diOlJ landa' beloanna. 125 Diamparanomi ale, dilante-Ianteanomi. 126 Dilolloan anna lobo', ditende' anna kasalle. 127 Pada kasalle rundunna, pada lobo' beluakna. 128 Randuk ke birromi allo, ke kapana' -panaranna, 129 mellao lakomi bubun, to dio to' peIlal}iran. 130 Anna balik dio mai, napole sambalin mai. 131 N abaa rampo itondok, napakenden dipal}leon. 132 Pada kasalle indo'na, pada lobo' ma'dadinna. 133 Kasalle nairi' al}in, lobo' nasimbo darindil3. 134 Anna kasalle madomi', nalobo' tÏ1}kara-kara. 135 Ma'doke-doke ralJka'na, ma'pasoan tarunona. 136 Tu bulaan banne ba'taIJ, tu rara' ral}ga inaja, ponto passasaran tuju.

122 Ris father was exultant then, The war cry his begetter yelled. 123 Then when he was but three days' old When in full had passed that number 124 They brought him down to his rice house Below, to his storehouse adorned. 125 A mat was spread out there for him A sleeping place was made for him 126 Lullabies sung for his thriving Cradle-songs sung for his growing 127 That he should thrive just as his hair, Grow weIl, as that upon his head. 128 Just at the time the sun rose up, J ust as it fierce began to glow 129 Re was taken to the weIl there, There yonder, where folk wash their hair. 130 And then he came back from that place, He was again brought back from there. 131 Then to this village was he brought, Then to this hamIet he was fetched. 132 Big as his mother had he grown, Just as his father he had thrived. 133 The cool wind blewand made him grow, The mild breeze stirred and so he thrived. 134 And then it was he swiftly grew And then it was he quickly thrived. 135 Ris fingers, they were just as spears, Ris toes as shafts of lances were. 136 Ris many thoughts were just as gold Ris ideas a gold necklace were Ris advice as an armband was.

masakkc 134 tirjkara 136 banne ba'tOlJ = seed of the brain. rOlJga inaya = wealth of thoughts.

good advice.

tik ara = quickly.

122 When a male child is bom the father shouts the war cry to express his de1ight. 133 For the South Toradja, coolness is synonymous with health, well-being; the word also means having blessings, blesséd. is the poetical form of the colloquial

ponto: here this word means the lola', the large armband which has short sticks of gold projecting all round it with a small precious stooe set in the extremity of each stick. passasaran tl/yl/ = the place where the rushes are cut. The expression is of ten used to denote persons of high rank who, by virtue of their position, are in a positioo to give

Sanda sia malaenni, sanda nabenni dewata, sanda napatoeanni. 138 To roJ3ko' patalo dio, sitondon tindo boIJinna, sola mamma' karoenna. 139 Patarimako pala'mu, la natibolloi sugi', natikembo13i ianan. 140 Anna ma'sumpu matua, anna banu' karuru13an. 141 Piranmi allu'na pasa', bilaIJ-bila13na tammuan, anna laori ma'pasa'? 142 Sule masaki ulunna, sule ramban beluakna. 143 Dipalimbol}ffii to bara', sol a anak to makaka. 144 U13kaIJkananni pesuru', sola to ma13aku kumba'. 145 Tu Ne' Sarami patalo, sol a to massaro13 kumba.

138 patalo = to prevail.

TEXTS AND TRANSLATION 31

137 Unusual in all was he, The gods had every gift bestowed To him they had presented all. 138 Good fortune did on him attend As dreamed in dreams he had at night As in his evening sleep he saw. 139 The hollow of thy hand prepare The riches shall pour forth therein, Increase shall the possessions, too. 140 He reached the greatest age there was The heartwood of the sugar palm. 141 How many passed the market days What number gone the days of sale Since he came to the market here? 142 He had retumed with he ad in pain, And rumpled did his hair become. 143 Were summoned then the adat chiefs Together with the notables. 144 They made the cleansing rites for him, Rites for his confession willing. 145 But it was Ne' Sara who won; He wears the dried areca Ie af.

tammllan = meeting place.

Karataul}, the term to bam'

region, to makaka =

the ringed horny trunk,

is the title of the chief of the adat community.

141 piranmi allu'na pasa' = which of the fixed market days was it? In the Sa'dan Toradja country there are six main market places which are sited in different parts of the region. Each place has a specified day of the week on which a market can he held there and it is held every sixth day therefrom.

142 Rumpled hair is a sign that a person is very iJl. Another poetical term is makuyu laIJkan = having ruffled feathers Iike a bird of prey. 143 to bara' (Mal. berat) : in the Sa'dan country, this is the term for the prominent adat chief who acts as the offerer. Among the To Seko, in the former Masamba division; the people of Kalumpa13 on the lower Karama River; and the Ta M akki in the basin of the River

anak to makaka: the notables of the adat community who, as weil as the adat chiefs, the to parefJ13e', occupy an influential position. In the Toradja mountain district called Ranteballa, in the former division of Palopo, and in the ROI}kOl} district in the Masamba country, the chief of the adat community bears the title of to maka.ka. In the Sa'dan freeman, as distinct from a slave. 144 The atonement offerings are carried out to atone for the transgression which is the cause of the sickness. The nature of the transgression is determined by divination. maIJaku kumba': to confess guilt with a heart as weak as the pith of the high palm with Oncosperma jilamentosum, BI. 145 Ne' Sara is the name of the to mebalun, preparer of the corpse who, in NonOl}an, the region from which this chant for the deceased originates, directs the rites carried out when

isondol}, anna mamma' ibanua. 147 Matindo sisule pata', mamma' sitandi ban ua, untÏt3ara sel}O' papa. 148 Ditambaimi Ne' Sara, sola to massarol3 kumba. 149 Urrundunanni alukna, unteteimi bisaranna. 150 To mamma' lan lembal} [sura'na, to matindo lan lopi bulaanna.

146 There, in the house was he stretched out There, in the dwelling did he lay. 147 Across the main beam was he stretched, Athward the house, there he did lay, Up to the bamboo thatch he looked. 148 Ne' Sara, he was summoned then; He wears the dried areca leaf. 149 They followed all the rites for him The adat ritual for him. 150 He lay there in his curvéd prau,

He rested in his golden boat.

a corpse is to be prepared for burial. Should a sick person die, despite the atonement offerings made for him, then the to meballln is called to perform his duties. He belongs to a c1ass of slaves who wear a hat made of a leaf sheath of the areca palm. Because he is solely concerned with the business of preparing the corpse, a function he performs throughout his life, he is considered to be unc1ean and he may never enter the houses of other people, and must a1ways keep at a di stance from anything connected with the rice cult, and with offerings to the gods. 146 sondo'J is here the parallel of banIIa = house. Colloquially, sondo'J, in the combination sondo'J loc, denotes the smal I room on the north side of the house. 147 pateI: there are three beams that run longitudinally under a house; the pata' is the middle one. sC'Jo' papa: the slots in the roofing. The roofing of a Toradja house is made of bamboo culms split lengthwise. Two slots are cut on the convex surface of each piece of bamboo and a long narrow pin, made of a bamboo culm that has been squared off, is pushed through these slots to hold the pieces of bamboo together. The ends of the pin are tied to the laths resting on the rafters. sitandi = lying across each other. At the commencement of the death rites, the deceased is taken from the sleeping room at the south of the house to the central space in the house and is there laid with his head towards the W e~t, the point of the compass associated with the dead. The houses !ie on a north-south axis; the corpse of the dead person is laid across this axis. 149 The extent of the death feast is decided by the members of the deceased's family in con- sultation with the adat chiefs and the fo minaa. 150 The 'ship' and the 'boat' referred to in this strophe is the coffin, called rapasan = resting place, a hollowed out tree trunk, shaped Iike a rice-stamping block, in which the deceased is placed when the first part of the death feast has been completeci. In the Rantepao country, this part of the ritual is only held for a dead man for whom the supreme form of the death ritual is to he performed: the form at which a minimum of nine buffaloes has to he slaughtered. A dead man for whom this rituaI bas been held is said to he "dirapeI,"'. This colourful description of the rapasan refers to the boat shaped coffins in which, in a former period, the dead were laid. These coffins were placed in holes in the rocks. In the Sa'dan region, they are called ero'J; in the Ranteballa territory, in the Palopo country, and in the Bare'e country, they are called bln'jka, the Austronesian wln'jka = boat. A number of them, in the pure boot shape, are to be found in the Tindara ~ocks between Enrekal} and Kalosi. They are ornamented with carving, as are also those In the grottoes in the Sa'dan region, the designs being in the earliest known style; the

Siajo-ajo tombinna, sidoloan banderana, sola tombi to Luwunna. 152 Randuk ke birromi allo, ke dollokki sulo padat}, 153 mellao rokkomi al al}, diol} landa' beloanna. 154 Susi passura' to Bone, pa'katadan to Belanda, pal}ugi' to tana Bugi'. 155 Mellao rekkemi bamba, to daa to' sali-sali. 156 Nadoloanni Ne' Sara, sola to massarol} kumba. 157 Sumol}lo' rante kalua', diot} tandlll3 sea-sea. 158 N adoloan banderana, naturu' pal}laananna, sola tombi to Luwunna. 159 La natibolloi sarol}, natikembof}i kambuno.

TEXTS AND TRANSLATION 33

151 His banners stood out, fluttering, His flags and Luwu' pennons flew.

152 Just at the time the sun rose up, Just when the earth's torch could be seen 153· They brought him down to his rice house Below, to his storehouse adomed. 154 As of Bone were its caIVings With buffaloes there of the Dutd Engravings of the Buginese. 155 To the gateway, North, they took hiul, To the platform to the northward. 156 There Ne' Sara preceded him; He wears the dried areca leaf. 157 Below, to the wide plain went they, Down to the spread out field they went. 158 And there his flags did precede him, His people followed on behind, They borc his Luwu' pennons, too. 159 Protecting hats were then brought out, The fan palm leaves were widely spread.

sidoloan =

Pa1Jugi' is apoetical form of

under it.

159 tibolloi = it is poured forth.

may be wom only by the adat

pm'Jukr = carving.

chiefs.

coffins in the latter area are not boat-shaped. Probably the idea was that in these coffins the souls of the deceased would ;oumey to the tribal territory, the Island of POI}ko'. 151 At a death feast, bamboo stakes to which are affixed pennons and banners are erected before the house of the deceased. The pennons used in the Sa'dan territory are woven c1oths, pio ukr. Blue c1oths, sarita, with white designs on them, as well as pieces of red and white cotton c10th are also used. to hurry past each other. The Luwu' banners are pieces of c10th of varying colours which are attached to apoIe. In the SaI}a1la', Ma'kale and Mef)kendek territories, which are govemed by a Pua1J, these banners are only flown at the great death feast for a member of the family of the pUm'J. 154 Anything having a particularly beautiful shape is compared with something regarded as having originated either with the Buginese or the Dutch.

155 sali-sali is the name of a platform surrounded by bamboo and is situated on the north-east side of the forecourt of the house. It is put up at the maro feast and the sick person who is treated during the feast dances on it while the medicine man waves a burning torch

156 When the deceased is carried to the place where the second part of the death feast is to he held, the to mebalun, accompanied by his assistant, the pabalian, precedes the bier. They carry with them the pot containing the body fluids, the eating dish and the hat which is to he put down hefore the rock grave.

kambuno is the parallel of saro".!. It is the term for the leaves of the fan palm which are stitched together to make a hat to proteet the wearer against rain and sun. Such a hat

SA'DAN TORADJA CHANT FOR 'I'HE DECEASED

160 Kambuno to randan laI3i', ta'du!} to tetean uran. 161 Ul}garaga leppo'-leppo', sola to lempo bumarran. 162 Nanai mantaa lal}Sa', ussearan bua kaju. 163 Sandami ka'panan bala!}, sol a usuk penamile. 164 Tae'mi ma'kada boko', to mai bati' tikunna, sola daI3a' sariunna. 165 Randuk unte!}kai kalo', ullamban pasala dua. 166 Unnola tampo maloio, randanan t3.IJ kelok-kelok. 167 Anna ma'tendanan eran, anna ma'bul}karan ba'ba. 168 Anna ma'amparan ale, anna pandanni allonan. 169 Matindo sisura guntu', mamma' sitandi takia'. 170 Anna ma'tuturan ba'ba, anna ma'sedanan saro!}, anna ma'bental}an eran. 171 Anna balik dio mai, napole sambalin mai.

160 The fan palms from the sky's far rim The shielding from the place of rain. 161 A platform small they then put there, The stage to smell of meat was placed. 162 The la1jSat were divided there And there the tree fruits were spread out 163 Meat for the forbears held in hand The kerbaus' ribs were given too. 164 There was not one who made reproach Not one descendant anywhere, Ris offspring who were Iimitless. 165 And then over the ditch he stepped Across both channels did he go 166 Along the ricefields' straight dyke went, The bank's length where there is no bend. 167 The ladder was set up for him, They opened up the door for him 168 The sleeping mat spread out for him Head cushions there put down for him. 169 Read-to-toe to some he lay there, Ris arms across the others were. 170 And then the door they shut on him, His hat they hung, the steps removed.

171 Then they turned away from there, The people then went back from there.

pieces of offal to the ancestors. 164 ma'kada boko' =

sisura sura = man trap.

161 The small platform on high poles on which the flesh of the slaughtered buffaloes is placed is called bala'kaan. The meat, which has been divided up into pieces, is thrown from this platform to the persons entitled to receive it. 162 The IlRjSat and the other fruits mentioned in this strophe are the pieces of meat that are distributed from the platform; lafjsat, the Lansium, a tree having small round yell ow fruit. 163 ka'panan balafj = the holding of the !ights in the hand. The to minaa distributes these

to talk behind someone's back. 165 The 'ditches' and the 'channels' are the irrigation channels between the ricefields. The decea.sed is taken from the death house to the rock grave. 166 This strophe refers to the large straight banks of the ricefields of the deceased along which it is customary to carry his corpse. 167 A ladder is placed against the rock grave, liafj, which is sometimes about 25 feet from the ground. The entrance to the rock grave is closed with small doors. 169 A number of skeletons !ie in such a grave and the new corpse is placed on top of them. = getting entangled with each other;

t~? Malemo sau', apa to? Membuleammo. 173 Malemo naturu' gaun, naempa-empa salebu'. 174 Llambi' tambuttana tallu,

sola pol}ko' siannanan. 175 Nanai torro ma'palJf3an, unnesUl} ma'lea-Iea. 176 Anna saile tondokna, anna tiro banuanna. 177 Make'ri tal} tumal}i'ko, tal} ma'paidu-iduko? 178 TumaIJi' uran allo, si'dan pini-pinioi. 179 Apa to? Malemo sau', apa t~? Membuleammo. 180 Umpotedol}-tedol} batu, ma'pasilaga lolanan. 181 Nakua kada to Duri, randan puduk to Endekan : 182 Temmi to allo iol}Ï', anna lendu' daa mai, anna messa'de banua. 183 Ditambai, tal} mebali, diol}li', ta!3 sumu-sumu. 184 Pala' lentekna mebali, kambutu'na mekaio. 185 Tinau'mo Bambapual}, leakmo Pintudewata. 186 Sal}tOlJkonammo nene'na, satJesWJan to dolona. 187 Parannu-rannu nene'na, sende-sende to dolona. 188 Napa'parampoi sau', napa'baen-baenanni.

172 What's to be done, he's southward gone, What shall we do, he's there ahead! 173 The clouds have closed, behind him now, Enveloped in the mists is he. 174 The fallen's three grave mounds he [reached The ones which were in number six. 175 Sirih-pinang he stood chewing. He sat there making his mouth red. 176 Towards his village then he looked To his house here he sent his glance. 177 Now, could it be you would not weep, That all the time you would not sob! 178 His weeping is the morning rain His sobbing is the drizzle fine. 179 What's to be done, he's southward gone, What shall we do, he's there ahead! 180 With stones as buffaloes he played, While on his way he made them fight. 181 In Duri people spoke the words In EnrekaIJ lips uttered them: 182 "It was at this time yesterday That he passed by here from the North And walked between the houses here." 183 "We called him, but he answered not, We shouted, but he spoke no word." 184 "The sole of his foot answered us, His heel it was that made reply." 185 From sight had BambapuaT} gone Behind was Pintudewata. 186 He sits now with his ancestors, His seat is with his forefathers. 187 His ancestors are joyful now His forefathers are gladdened now. 188 Now southward do they go with him They go from place to place with him.

174 fambutfana or fambun ta-na is a small grave mound under which a stone is buried as a mark of recognition to a man who has fallen on the field of battle. A plantation of the bamboo called bituI'j is planted there, or a lambo' tree (a kind of fig). I could not find out where these small mounds are located except that they are far away to the South. 184 The soul of the deceased is on its way southward to the Land of Souis.

189 Tibaen rokko matampu', dio!} kalambunan allo. 190 Bendan kalukumo dio!}, la ma'induk tumajal3mo. 191 La lao la!}l3anmO laIJi', la dao to palullul}an. 192 Manda' natakia' Lemba, nasalu'l3ku BUII3a'lalan, nasipi' mendila-dila. 193 La ditiro ke mal}ambo', ke umparokkoi banne. 194 Ke massea' -searanni, anna tal} messala pare. 195 La sipasakkemo' batil3, la sibenmo' tuo-tuo. 196 Masakkeko kumasakke, tabassÏl} makole-kole. 197 Mukeanak kukeanak, tabassi!} tumakin pia. 198 Anakmu disat}a Dael}, anakki disal}a RippUl}. 199 Anna dael}-daet3 sugi', anna ripPU!} bala tedOlJ.

FOR THE DECEASED

189 Now westward does he pass from view Below, there where the sun descends. 190 A coconut palm he is there, A sugar palm, high over all. 191 There shall he to the heaven rise, There in the all-enfolding dweIl. 192 The Great Bear holds him in its arms The Pleiades clasp him to them The shining stars around him press. 193 We look for him to sow the riee, When time it is to strew the seed 194 When we should seatter it about So evil shall not strike the riee. 195 In this dirge let us blessings ask, Let eaeh for eaeh a long life wish. 196 May you prosper, may I prosper, May we eaeh a long life have. 197 May you have ehildren, may I, too, May we bear offspring on the hip. 198 May your ehildren be ealled Da~, May your offspring be ealled Rippuf'j. 199 Riehes may they gather to them Buffaloes eolleet in number.

where the sun descends.

a coconut palm.

189 The souls of those for whom the supreme form of the death ritual is not performed dweil in the Land of Souis. Those for whom it is carried out go to the horizon in the West,

190 There is a traditional variant which says that the deceased ascends to heaven by way of

191 The dead person for whom the mourning chant has been sung occupies a prominent position in the Land of Souis. Because of his wealth and rank he stands above the souls of those who were less wealthy and were of a les ser condition in Iife. 192 In the course of time, the soul of the dead person rises to heaven, where his ancestor originated, and there takes its place among the constellations. 193 The rising of The Pleiades is always taken as a sign that the new agricultural year has begun and that it is time to begin preparing the nursery beds and sowing the rice. 196 The kole tree is a large straight tree with small leaves; it provides good timber. 198 Dal!1j means to amass. Perhaps the Sa'dan Toradja also feel something of the Buginese meaning of this word. In Buginese it is a title of noble persons. RiPPUFj: this word is also used in the invocation called sirjgi', i.e., the benediction in which the to minaa asks for blessings for the participants at the bua' kasalle feast. There the word is used as follows: nene'mu disatja RippUFj = your ancestors are called RiPPUFj. 199 bala tedol'j is the enclosed space under the house where formerly buffaloes were stabied. In the poetical language it indicates the ownership of these beasts.

AND TRANSLATION37

200 Sundun sal}ta.t}kena batÏt3, 200 Now ends a part of this lament, A section of this song of grief. saIJparaanna mario.

IB IB

Ossoran badoq to dlrapa'l Traditional chant tor the deceased tor whom the elaborate rltuaI tor the dead Is carrled out

The informant was To' Bua' of the village of LarJda, Madandan territory. The words were written down by Mr. J. Tammu.

1 Unnola ba'bana lal}i', pentiroanna deata, pentoenna to palullUl}an. 2 Bu'tu tibaen todil}Da, tipailan samaranna. 3 Lalan ta.1J lalan naola, tal} limbuan nalimbui. 4 Tindak sarira naola, sundallak napolambanan, borroI} natete lumil}ka. 5 Sae mellese iPOI}ko', Kalebu' natirandukki. 6 Umbal}unan lando 10I}a, unnosok salle a'riri. 7 U mpalele toI}konanna, umbe'do sissareanna, tol}konan kapajUl}anna. 8 Sae mellese iRura, Malino natirandukki. 9 Umba.1Junan lando IOI}a, unnosok salIe a'riri. 10 Disurial} roroanna, ditallUI} kambaroanna.

3 ullimbui = to participate with others. 5 natirandukki (randuk) = he pricked. 7 sissarean

of this line.

1 Then he had passed through heaven's door Through the window of the godly, That by the firmament embraced. 2 Then it was men saw his brightness His lustre then it did burst forth. 3 He trod a way which no way was, He went where others did not go. 4 He choose the rainbow as his path, He walked along the kindled forks He trod across the fiery ones. 5 POIJko' he reached and trod thereon, On Kalebu' did he settle 6 Built that which has a roof high-pitched, Set up that which on tall poles stands. 7 And then his clan house did he move, That which he leaned on, moved elsewhere His clan house that was as a shield. 8 Rura he reached and trod thereon, In Malino did he settle 9 Built that which has a roof high-pitched, Set up that which on taU poles stands. 10 For its cross laths were uséd swords The three he summoned, slats became.

= that which one leans against. 10 disurian (surian) = they were made of surian-swords. I could not get an explanation

SA'DAN TORADJA CHANT FOR THE DECEASED

11 Kala'ka' tandi eanan, gajal} gumello pata'na. 12 RindÏl} tibaIJko lola'na, petuo lellua lal}l}an. 13 Bara'na bulian la'bi', pamp~ para dolo borrol3. 14 Sumu'duk ma'lana-Iana, kaso manik dao mai. 15 Tindak sarira randanna, mian kila' pamiril}na. 16 Sundallak rampanan papa, passel}oran illol} tedol}. 17 Kidilr3-kidil} tarampakna, papana roto bintoen. 18 Lotol} boko' bubUl}anna, darrak mlllJimba IDrJana. 19 Bendan law~-lawal} sugi', ke'de' patarJdo bulawan. 20 Natalimbu13 kulu-kulu, naapun arre barani,

sola sapuko londol3na. 21 Ke'de' nadodoi pusuk, naparembonan pelole'.

11 lts floor board joists of value were, The long main beam a waved gold kris. 12 lts walls were made of curved armbands, The middle poles rose high above. 13 lts cross beams were as blowpipes fine, The facade beams there shone aglow. 14 The ridge, it was a flaming red, The beadwork rafters downward stretched. 15 The edge beams there a rainbow were, The sloped vcrge baulks as lightning were. 16 The under roofing edges flashed, The slit roof cane, kerbaus' noses. 17 The bamboo roof tips, shining points, I ts roofing was like sparkling stars. 18 The ridge shield was a black-backed cloth, The sloped porch a swoln fabric old. 19 The adorned bamboo seat was placed The golden stone set on the court. 20 Thc kulu-kulu circlcd there, Brave were the shouts that there were [heard The cheers of their courageous men. 21 They clothed themselves with opened fronds Adorned themselves with leaves still closed.

darrak : old tjindai cloth.

this seato 20 10ndoJj = kulll-kulu: 21 pUSllk: pelole':

In the "Verhaal van Pano Bulaan", Mededeelingen van wege het Nederlandsch Zendeling- genootschap, 58ste Jaargang, 1914, p. 226, it is told how the hem had to make a boat with a canopy of swords and having an edge of sharpened iron. In this vessel, he went to fight the snake that had earried of rus mother by force. 12 petuo = bearers of life, are the three central poles in a clan house. They are erected on the longitudinal beam, pata'. The offerings for the clan house are placed beside the pctuo pole that is on the north side of the house. 13 bam': the longitudinal beams on the sides of the house and upon which the rafters are laid. 15 pamiritJ (birit}) : the beams of the overhanging eaves at the back and front of the saddle-shaped roof. They are joined to the ridge beam and are earved and brightly coloured. 16 The slots in the roofing bamboo are likened to buffaloes' noses. 18 10toJj boko': old cloth with a design of a buffalo having a black back.

19 The women who start the chorus at the merok feast and at the great blla' feast, sit on

male animal, cock: in the poetical language, a man. a kind of bird with a melodious eaU. unfolded young leaves of the sugar palm. closed young leaves of the sugar palm.

TEXTS AND TRANSLATION

roreJ}na tandilo uIa'. 23 Natibulantei ra'tuk, natikemboJ}Ï mariri, lindaJ3 barra' sajoanna. 24 DisalJa alukna bua', bisaranna balinono. 25 Ma'kebua' tal} dilambi', menani tal} didoloi, la'pa' tal} disirantean. 26 Sundunmo alukna bua', bisaranna balinono. 27 Tipalele pessaratu', tibe'do pemmanaJ}pulo. 28 Sae mellese iBatu, MarindÜJ natirandukki. 29 Pa'tol}koanna nene'na, nal} inan kapajuJ}anna. 30 Nanai sumio' aluk, untawa timba bisara, 31 UssassaJ} tallu kalo'na, tipalele susukomo, tibe'do katonanomo. 32 Tipalele pessaratu', tibe'do pemmanal}pulo. 33 N adoloan burakena, naturu' pal}lalananna, berylU sanda saratu'na. 34 NapaseJ}go13i garatu13, nadedekki kuli' sawa, roreJ}na tandilo uIa'. 35 Natibulantei ra'tuk,

22 The python skin they hit for him, Resounded the snake instrument. 23 Rice, roasted unhusked, thrown on them On them was rice made yellow strewn, They danced about, like scattered rice. 24 His bua' rites, they were extolled The adat ritual for him. 25 No one that bua' could attain, That men ani feast was matchiess, That la' pa', unsurpassable. 26 His bua' rites he finished then The adat ritual for him. 27 He moved it yet a hundred times, He took it three score times elsewhere. 28 The Rocks he reached and trod thereon, In MarindÜJ did he settle 29 In the dwelling of his forbear, It was indeed his shielding force. 30 There he the rites did regulate The ritual parts he assigned. 31 His channels three did walk across, The house changed, like a bound'ry post Moved it, as one would a landmark. 32 He moved it yet a hundred times, He took it three score times elsewhere. 33 His burake preceded him, His people followed on behind The ones possessed, they were five score. 34 The bead-hung drum they struck for him, The python skin they hit for him, Resounded the snake instrument. 35 Rice, roasted unhusked, thrown on them

is measured out at feasts.

guardian of the state regalia.

30 smnio' (do') = to measure out palm wine; the measure is a small container; the wine

u1Itawa (tawa) timbo = to distribute by means of a rimbo = small bamboo container. 33 bt7jSlt = bi'VU which, in The Merok Feast, B (passamba tcdorj) stro 755, was a parallel of burake = priestess, here means the women who are in a state of taboo at the bua' kasalle feast: usually they are called tumbarj. Birjsu is the older form of bissu. In various territories in Upper Binual} (Mamasa) and Pitu Ulunna Salu, the bissu officiates at the melarj~' feast which is held in those regions. The bissu at the court of Bone was the

THE SA'DAN TORADJA CHANT FOR THE DECEASED

natikembOl}i mariri, lindaJ} barra' sajoanna. 36 Nadoloan burakena, naturu' parYalananna, bet}su sanda saratu'na. 37 Sae mellese iKesu', Ba13kudu natirandukki. 38 UmbaJ3unan lando lorya, Unnosok salle a'riri. 39 Pa'tot}koanna nene'na, nal} inan kapajuryanna. 40 Sae mellese iTampak, Nonoryan natirandukki. 41 UmbaJ}unan lando 1000a, unnosok salle a'riri. 42 Bendan lawarylawaJ3 sugi', bendan pataJ3do bulawan. 43 NatalimbWJ kulu-kulu, naapun arre barani,

sola sapuko 10ndo13na. 44 Disarya alukna bua', bisaranna balinono. 45 Natibulantei ra'tuk, natikemboryi mariri, lindat} barra' sajoanna. 46 Nadedekki kuli' sawa, rore't}na tandilo uia', napasel}gOl3i garapury. 47 Sundunmo alukna bua', bisaranna balinono. 48 Umpalele tot}konanna, umbe'do sissareanna. 49 Napalele pessaratu', nabe'do pemmanarypulo. 50 Sae mellese iPo'po13, To' Let}ke' natirandukki.

On them was rice made yellow strewn,

They danced about, like scattered rice. 36 His burake preceded him, His people followed on behind The ones possessed, they were five score. 37 Kesu' he reached and trod thereon, In Bal}kudu did he settle 38 Built that which has a roof high-pitched, Set up that which on tall poles stands. 39 That dwelling of his ancestor, It was indeed his shielding force. 40 Tampak he reached and trod therein, In NonOl}an did he settle 41 Built that which has a roof high-pitched, Set up that which on tall poles stands. 42 The adomed bamboo seat was placed The golden stone set on the court. 43 The kulu-kulu circled there, Brave were the shouts that there were [heard The cheers of their courageous men. 44 His bua' rites, they were extolled The adat ritual for him. 45 Rice, roasted unhusked, thrown on them On them was rice made yellow strewn, They danced about, like scattered rice. 46 The python skin they hit for him, Resounded the snake instrument, The bead-hung drum they struck for him. 47 His bua' rites they finished then The adat ritual for him. 48 And then his clan house did he move, That which he leaned on, moved elsewhere. 49 He moved it yet a hundred times, He took it three score times elsewhere. 50 Po'pOt} he reached and trod therein, In To' LetJke' did he settle.

40 Tampak is a village in the N onOl)an village-group and is situated on the other side of the River Sa'dan, opposite the capital, Rantepao. 50 Po'POl) and To' Ld}ke' are settlements in the Madandan territory, Rantepao country.

51 La rampo indete tondok, indete sa'de banua. 52 Tau manoka ditambuk, melJkailil} dibannean, moka dibassei dodo. 53 To dadi dao pussakna, kombol} lan matalabona. 54 Apa nakande indo'na, apa nakasuallai? 55 Tal} ambajal} tal} dadeko, tal} pao, tal} ilu-ilu. 56 Bulawan pal}idenanna, rara' elo' -eloranna. 57 Anna kombOl3 pole tau, narende pole to lino. 58 N alambi' kanna bOl}inna, sola bilalJ-bilalJanna. 59 Untambai kaunanna, dua' maleke-Iekena. 60 Nasumurruk tama komborJ, to lajan pantanan nene'. 61 La ussembaJl} ao' gali, to bane' situal} bombol}, anna ti'pa' daun induk. 62 Nabawa lako barira,

AND TRANSLATION 41

51 Now, let us to this village come, Here, to the compound of this house. 52 He would not enter in the womb, To such conception, shook his head Wished not the baju to hang curved. 53 He came forth at the sky's far rim The zenith of the firmament. 54 What was it that his mother ate, In plenty, what did she take in? 55 No mafJga large, no mid-sized ones, No mafJga small, not any sour ones: 56 She only fancied things of gold, A gold necklet did she desire. 57 And then it was she bore a man, A child of earth did she bring 58 Exactly on the proper day Just at the precise point of time, 59 It was just then she called her slaves, Her nimbie servants summoned then. 60 One went into ancestral trees In the wood by forbears planted 61 To chop a yellow bamboo down Banana leaves complete to get To cut leaves from the sugar palm. 62 One took them to the circling wall,

stomaeh, see stro 109, IA. me1JkailiPJ = to shake one's head.

radiance of the sun, moon and stars. 56 pll1Jiden.an = 57 narende (rende) = she smelted.

bamba/u.

been torn in half.

52 Ris manner of conception was other than the usual one. moka dibassI!Ï dodo = did not wish the baju to hang curved, i.e., over hls mother's

53 matalabona: the rounded extremity of the firmament; talabo means a flat round armband of copper, cf. strs. 113 & 114, I A, in which the deceased is said to have had the

the state of having the fancies of a pregnant woman.

58 kanna = being of middle length, i.e., not too short and not too long. 60 komborJ: the plantation of bamboo and sugar palms that belongs to the clan house and to the produce of which all its members are entitled. 61 ao' gati, is a word used in the chant for the deceased for a kind of thick yellow bamboo, Bambusa vulgaris. In the rites performed at the death feast, the term daun gali is used to denote a kind oi thick liana: at the bua' feast, the liana is defined by the word

bomborJ: the main rib of the banana leaf when the latter is complete, i.e., before it has

62 barira : fence of bamboo culms split in half and placed rOlmd the open space under a

SA'DAN TORADJA CHANT FOR THE DECEASED

to dio tetuk banua, umpolilÏt} kalumbassik. 63 Napao'tonni palJl3anna, dipandan lantona pud u', sola te ta'bano lentek. 64 NatatJkean piso rof}ko', to bajak batu lapparan. 65 N apealla' tu usukna, naola pa'rua1J3llna. 66 NadikillatJ tarutunna, diblU}ka' sanda ilanna. 67 Limbo!} tOI}anmo pa'dunna, bannal} kandunmo ura'na. 68 Tuo lampa'mo buana, mef}kepakmo to bajana. 69 UlatJna takinan pia, to semberan loto!} ulu. 70 Napantiti'mo mammi'na, nasadi'mo marasanna. 71 Napantitiran to dolo, nasadiran to matua. 72 Randuk napatama suke, tallal} ma'buku bulawan. 73 Namanasu na malifJe', randuk naserekan bane'.

house.

There to the corners of the house Surrounded by split bamboo culms. 63 One heaped up the sirih-pinang, Laid down that which goes in the mouth And put the dirty-Iegged one down. 64 One took the fortune-bringing knife The sharp blade of prosperity. 65 He thrust it there between the ribs, There in the midriff stuck it in. 66 And then he lifted up its breast, And everything therein was bared. 67 lts gall bladder, round like a lake, lts muscles, as a stretched thread were, 68 lts heart rose, as a cone-shaped sack lts spleen was thereto firmly fixed, 69 A sign of children borne on hip Black haired ones carried in a scarf. 70 And then the choicest parts he took, Selected portions finely cut, 71 The small parts to the forbears gave To ancestors the morsels gave. 72 He put it in an internode, In thin bamboo with golden nodes. 73 Now, when it was completely cooked, He tore apart banana leaves,

the poetical desigllation of a pig.

beginning of the rice harvest,

69 ulatjna = the link hetween two things.

= to meet the rice.

IImpoliliIJ kalumbassik = to have an enclosure of arches made of split bamboo. 63 lantona pudu': that which is put to the lips but is hard, i.e., like partly cooked food. ta'bano fentek: the meaning of the word ta'bano is not c1ear; perhaps it stands for tatjbano = unwashed. It would then mean that which has unwashed feet and would he

64 batu lappa' : the scale on the foot of a fighting cock; batu lapparan = having scales on the feet. Figuratively: having a portent of good fortune. 68 fampo': cone-shaped sheath of the leaf of the areca palm, in which cooked rice is put. These sheaths are heaped up at the offering place to which the offering is taken at the menammu pare me?Jkepak comes from kepak = to carry on the hip. The word bas reference to the term takinan pia = tbe act of carrying children at the waist, in the strophe following.

lotorj ulu = the black-haired ones; a poetical expression for human heings. 70 The choicest parts are the heart, Iiver and lights. 72 In the various offerings to the gods and the ancestors the rice and the meat are cooked in bamboo containers, the rice and meat then being defined by the term dipiOrj.

74 Napasisola belundak, sola kaledo sirapi', sola to babona bo'bo'. 75 Nadandanan lako nene', nabato' lako to dolo. 76 NamasiaJ3 dio mai, nakulla' birro te allo.

n Untambai kaunanna,

dua' maleke-Iekena. 78 Nasumurruk tama komboJ3, to lajan pantanan nene'. 79 La ussembaJ3 ao' gadiJ3, tallaJ3 ma'buku bulawan. 80 Natibalik lajan mai, nasule sambali' mai, umpobabu' duri bal3a.

81 NapalaJ3l3an banuanna, umpolilU} kalumbassik. 82 Umpandan lantona pudu', Nnampa' bane' situ3f3 bomboJ3. 83 NakaJ3kanan bassi rOl3ko', to bajak batu lapparan. 84 Napealla'i usukna, naola pa'rual3anna. 85 Saba' tOJ3anmo rarana, la saba' te patJriwanna, lellua pantaranakna. 86 Nabul3ka'i to dadanna, nakillaIJi taru tunna. 87 Pal3so tOl3anmo pa'dunna, tuo lam po' to buana, bendan patuku ma'dandan. 88 UlaJ3na mendaun sugi', sola tuma'bi ewanan.

kaledo:

blR'Ja: high thorny palm, the 88 mendaun sugi' =

AND TRANSLATION 43

74 Beside put rice in palm leaves cooked lts partner, in banana leaves, Placed that which on cooked rice does 75 A row for the forbears set down [come. In line put for the ancestors. 76 And on the text day af ter that When the shining sun had risen

n lt was just then she called her slaves,

Her nimbie servants summoned then. 78 One went into ancestral trees In the wood by forbears planted 79 To chop a yellow bamboo down, A thin bamboo with golden nodes. 80 And when he went back from that place, And when from there he did return His back with palm thorns was then [clothed. 81 One took it to her house above Surrounded by split bamboo culms. 82 One laid down what goes in the mouth, One spread banana leaves complete. 83 One took the fortune-bringing iron The sharp blade of prosperity. 84 He thrust it there between the ribs, There in the midriff stuck it in. 85 lts blood then spurted like aflood, That many she would hold on lap, Many children she would cherish. 86 And then he opened up its breast, He bared its chest to look therein. 87 lts gall bladder was very long, lts heart rose, as a cone-shaped sack Like sheaves of rice set in a row. 88 A sign as leaves would be his wealth Possessions be as flowers of trees.

74 belundak: viscous rice wrapped in a young leaf of sugal' palm and then cooked in it. viscous rice put in a banana leaf and then cooked in it. 80 babu': covering for the back with shoulder loops on it to put the arms through: it is made of rushes or from the skin of a marsupial. nibll'J, Oncosperma filamentosum BI. rich, as the leaves of a tree.

89 Natunu pole api, natolla ma'lana-Iana. 90 Namanasu na maliIJe', napantitiran dewata, nasadiran To Menampa. 91 Randuk napatama suke, tallat}. ma'buku bulawan. 92 Namanasu na maliIJe', naserekan pole bane'. 93 Nadandanan lako pUaJ3, nabato' lako dewata. 94 Napantitiran mammi'na, nasadiran marasanna. 95 Nadoloan pesUIJna, sola to paIJurandena. 96 Dikombai pole bannat}, dibeke' pole mariri. 97 Sundunmo alukna tau, te bisaranna to lino. 98 Kasalle pole madomi', nalobo' tikara-kara. 99 Narandan matua induk, sola te mando karuruIJ. 100 Masaki-saki ulunna, maroramban beluakna. 10 1 Kuan nasat}mi to bara', mintu'na kambuno Iele. 102 Natoeanni pesalu, pessalossok ulelean.

FOR THE DECEASED

89 He roasted it then in the flames, He tumed it in the glowing ones. 90 Now, when it was completely cooked The small parts to the gods he gave, The morsels The Creator gave. 91 He put it in an internode, In thin bamboo with golden nodes. 92 Now, when it was completely cooked Again he tore banana leaves. 93 A row he set down for the lords, In line he put them for the gods. 94 For them he took the choicest parts, Selected portions finely cut. 95 But first, she took her off'ring leaves, Her off'ring gave on flat of hand. 96 A white thread round her arm was bound A band of yellow round her head. 97 The rites for mankind reached their end, The ritual for those on earth. 98 And then it was he swiftly grew And then it was he quickly thrived. 99 His age was as the sugar palm, Old as its heartwood he became. 100 Then fevered had become his head, And rumpled then his hair became. 101 They told it all the adat chiefs, The notables from far and wide. 102 They sought his transgressions to find To wash him clean of all of them.

aluk fo mate, rites for the dead.

mind. 101 kambllno

adat

adat chief.

95 peSUl'j: the banana leaves upon which the sirih-pinang (betel, areca nut sprinkled with Iime) and the offering meal (rice and the pieces of meat) are placed. 96 The binding of a white thread round the arm and a yellow band round the head is a sign that the offering ritual has been completed. 97 The offering ritual is divided as follows: aluk pad(gj, rites for agriculture; aluk pare, rites for the rice; aluk tau, rites for mankind;

100 maroramban: a qualitative composition of which the first member is maro = confused in

(see str. 159, I A). Here, it has the meaning of 102 Pesalu: enumeration of the different transgressions against the gods, the ancestors and the prescriptions which the sick man could have committed. pessalossok is a derivative of salossok: high lip of a ravine over which the water cascades;

103 Ta!} lakomi te pesalu, tal} tOl)an te pessalossok. 104 Tu patalomi nene'na, ma'budamo to dolona. 105 Male tiba!}ko lentekna, tirimbak pessojananna. 106 La dipatumbari lako, la didual} diapari. 107 Ke patalomi Pua!}ta, ma'buda To Tumampata? 108 Nakuan kada to Duri, sumbal} puduk to Endekan : 109 "Tenna lendu' daja mai, mental}l}a sa'de banua. 110 Ditadoi lako pal}!}an, dibel}an lako baolu. 111 Ditadoi pal}l}an moka, diben kalosi unnilit}." 112 Anna lendu' pole sau', lao' rumombena langi'. 113 Lao' tumal}kena gaun,

umpura!}anna salebu'. 114 N anai torro ma'pa.tV3an, unnesW} ma'lea-Iea. 115 Kuli' kalosi pasondok, limbo!} berak naoro13i. 116 Lao' tambuttana tallu, lao' p013ko' siannanan.

AND TRANSLATION 45

103 The ill they sought they failed to find, The washings clean had no effect. 104 His ancestors, their will prevailed, Successful his forbears' desire. 105 And then with bent knees he went forth, His arms were swaying to and fro. 106 What was there that could then be done, What was there then that they could do? 107 Now, when Oud Lord's will did prevail, When our Creator had success. 108 In Duri people spoke the words In Enreka13 lips uttered them: 109 "When he passed by here from the North And walked between the houses here 110 "Sirih-pinang him we offered, To him was given betel leaf. 111 "No sirih-pinang would he have His head shook to areca nut." 112 And then he passed here towards the South Where fringe the firmament the clouds 113 Southward, where the clouds start [branching Where mists like twigs do separate, 114 Sirih-pinang he stood chewing, He sat there making his mouth red. 115 Areca shells reached to his knees He swam in red juice from the quid, 116 South at the fallen's three grave mounds, The six of them there in the South

to take.

the transgressions that had caused it.

108 sumbQ1j = border. 111 unniliIJ = m~kaili", see SZ. 11Z rumombe

betel quid.

pessalossok = the act of pouring straight down, i.e., endeavouring to find the right course

103 In vain was an endeavour made to check the course of the siclmess by bringing to light

104 The decision of the ancestors was that he should die. 105 The ritual for the dead is now complete and the chant goes on to tell of the journey of the soul of the deceased to the Land of SouIs.

= to hang down Iike fringes. 114 ma'lea-Iea = to make oneself red, i.e., rnaking the mouth and tips red by chewing the

SA'DAN TORADJA CHANT FOR THE DECEASED

117 Lamban lian peamboryan, sambali' petanantian. 118 Umpotedory-tedory batu, umpokarambau tempe'. 119 Anna lendu' pole' sau', tary nalambi' tama mata, dikolak pentiro sau'. 120 Sa!!3t01}konammo nene'na, séUJesu'3an to dolona. 121 Bendan kalukumo lao', tuo induk tumajarymo. 122 Tibaen rokko matampu', sOll3ka rokko kalambunan, 123 La lao laf}f}anmo laJ}i', la dao to palulluI}an. 124 Dadi dewatamo dao, la kombol} to palullul}an. 125 Manda' natakia' Lemba, nasalul}ku BUf}a'lalan, naapun merykidi-kidi. 126 La ditiro ke mal}ambo', ke umparokkoki' banne, ke massewa' -sewararyki'. 127 Masakkeko kimasakke, anta pada marudindil}, kianakko kikianak. 128 Anakmu disarya Dael}, anna daeIJ-daeIIJ sugi'. 129 Anakki disal}a Reppul}, anna reppUJ'3 bala tedOlJ· 130 Pakianakko to belary, al}ki ma'sompo ma'kepak, ma'takia' patomali.

117 Where men fetch amb01J, there he went, To where men get tananti from. 118 With stones as buffaloes he played, The ricefields were kerbau to him. 119 And then on southward he passed here, Beyond the eyes' sight did he go But looking hard, South might be seen, 120 He sits now with his ancestors, His seat is with his forefathers. 121 South he stands, a coconut palm, A sugar palm, high over all. 122 Then westward does he pass from view, He goes down where the sun descends. 123 There shall he to the heaven rise, There in the all-enfolding dwell. 124 A deity shall there become The all-enfolding shall he be. 125 The Great Bear holds him in its arms The Pleiades clasp him to them The shining stars encompass him. 126 We look for him to sow the rice When time it is to strew the seed When we should scatter it about. 127 May you prosper, may we prosper, May each of us good fortune have, May you have children, may we all. 128 May your children be called Daet'J, Riches may they gather to them. 129 May our children be called Rippu'3, Buffaloes collect in number. 130 May you the childless children give For us to bear on back and hip For us to clasp within our arms.

used as a vegetable.

it has small round fruit. 119 dikolak (kalak) =

117 ambo~: a plant with blue flowers which grows on the dykes of small hillside ricefields;

tananti: a plant, probably Solanllm Minahassae, of which the leaves are used as a medicine:

it is thrown like a missile from a split bamboo. 127 marudindiJ3 is a variant of madari1ldi~ which is a derivation of darindiJ3 = breeze;

AND TRANSLATION 47

IC IC

Ossoran badoq to dlrapa'l Traditional chant lor the deceased lor whom the elabonte rltoal lor the dead Is carrled out

The informant was Ne' Tunna who lives in the Tikala territory. The words were written

J.

Of what kind is the mourning chant?

That are so that they do relate

Or kapok that is purified.

= = the ones who know the adat forms and the officiants at the offerings. Another name for the to minaa is bombofjOn = gong. S tete = bridge; made of bamboo culms. salunna mario = the appropriate form of the mourning chant. During the singing of the chant for the deceased, the differences in rank are observed: a dead man who was of no station in Iife is not honoured in his death chant as being one who was of heavenly origin, but as follows: To dadi lammai pa'lak, kombo" Ion to' pana'-palla'. He was one born out of the field, he came from pana' -pana' grass. pana'-pana' = grass, which has small tubers, Iike ginger. 6 sirenden = to be a guide to each other, following on each other. 7 pamuso' (buso'): kapok from which seeds have been removed. 9 tommu dipapore tampa = when thou wert shaped as asolid whole.

SA'DAN TORADJA CHANT FOR THE DECEASED

11 Tal3 membua'rika laIJsa', taIJ tarri'rika durian, 12 anna tal3 kandei indo'mu, anna taIJ onta-ontai? 13 Barra' diral3ga-diral3ga, bobo' didatui manna. 14 Nakande untampa lalo13, uITende-rende kakojan. 15 Ero-ero ponno pindan, manuntun la'bi banaja. 16 Dikande untampa lalol3, uITende-rende kakojan. 17 lari tommu dikombo13, tommu dipapore tampa, 18 marempa-rempa dadimmu, maga'gun mentolinomu. 19 Ditambai to minaa, diindan ral3ga inaa. 20 Sae umbille alukmu, umpemal}San bisarammu. 21 Anna randuk didadian, nakombol3 mentolinona. 22 Rokko ditambuli pada13, disu'bak pekali bassi. 23 Dipantananni lolona, dipaga' rambo-rambona. 24 Mian api lolona, borrol3 bia' tauninna. 25 La napandan anna sugi', naanna anna lellua. 26 Anna taIJ disirantean, anna ma'kasea-sea. 27 Anna kasalle dadinna, anna lobo' garaganna.

14 kakoyan = monster, frightful being.

to eat, so that they will he spirited. 18 mentolinomu =

11 Did not the latJSat tree bear fruit Did not the durian produce 12 That them thy mother would not eat Would not them swallow in her greed? 13 Prepared was rice of many hues Cooked rice made in a princely way. 14 She ate and brought the brave one forth, She gave birth to the fearful one. 15 A dish that was of horse-flies full A wooden dish brimful with wasps 16 Were eaten at the brave one's birth When she brought forth the fearful one. 17 Now at the time when thou wert formed When robust and well-shaped thou wert 18 Thy birth, it difficult became, Thou very slowly camest forth. 19 They called the ones who adat knew, Took those whose minds were very rich. 20 They came thy special rites to choose, The right ritual to select. 21 And then it was that he was bom, A human being he came forth. 22 A hole was then dug in the earth, The ground with an iron spade was turned. 23 And then his cord was in it laid, Three sticks put round his afterbirth. 24 His cord, it glowed just like a fire A flaming torch, his afterbirth. 25 For his welfare they placed it there, There put it, that his name should grow 26 That unsurpasséd he should be His wealth be able to display 27 That fine and stalwart he should grow, His body speedily mature.

15 ero-ero: horse flies which build nests Iike a beehive. The nests are given to the buffaloes

thy becoming a human being. 19 "took those whose minds were very rich", means that they made use of the knowledge of the adat ritual possessed by the fo minaa; diindan = they were leant against.

28 Naria tal3kean suru', to mai passara'kasan. 29 Ke lao rokkoi alaJ}, diol3 sembaJ} uru nal}ka'. 30 Anna marumbo dadinna, anna lobo' garaganna. 31 Naria taJ}kean suru', to mai passara'kasan. 32 Ke lao lakoi bubun, anna kasalle dadinna. 33 Naria sakke malino, anna kasalle dadinna, anna lobo' garaganna. 34 Randukmi pal3laja tedol3, anna kasalle dadinna. 35 Naria peJ3kalossoran, to mai mal3aku kumba'. 36 TumaJ}ke-mal}ke suru', tumetaJ} passara'kasan. 37 Natole tumal3ke suru', tumetaJ} passara'kasan. 38 Suru'na rampanan kapa', sola pa'sullean allo. 39 Turumi rampanan kapa', tumampa-mampami rara') rumende-mende sarapal3.

28 passa'rakasan:

AND TRANSLATION 49

28 The off'ring rites protected him And the atonement ritual. 29 When down to his rice house he came Below, to his storehouse of wood 30 So that he would there develop Ris body speedily mature, 31 The off'ring rites protected him And the atonement ritual. 32 And when they took him to the weU That fine and stalwart he should grow, 33 The limpid water cherished him, That fine and stalwart he should grow Ris body speedily mature. 34 Re started buffaloes to guard That fine and stalwart he should grow, 35 By the atonement off'ring watched, To his transgressions confessing, 36 The off'ring ritual he performed, Then the atonement rites he made. 37 Again the offerings he made Atonement rites he then performed. 38 The marriage offering he made, The rites of union he performed. 39 And then he was in marriage bound, And daughters did he then beget And sons he gave unto the world.

sara'kri = combo

form u"kalosso'i =

hand.

as is also, pa' sullean-allonan

= the fixing of the kapa',

tumampa-mampami rara' =

rumemJe-mende sarapOil'j

the atonement rituaI; a derivative of 29 sembtll'j: cut off aslant, is a shortened form of alm, sembOil'j = rice granary, of which the up-turned external horizontal and cross beams are cut off at an inc1ined plane. uru: tree with large broad leaves, M ichelia C elcbica; it provides good timber. 35 peJjkalossoran: the atonement offering; a derivative of losso', which is not in use; the to remove, e.g. c1othes, is in use. 36 tumOil'jke-mOiI'jkei: a partial repetition of tumOil'jke, an *um-*form of tOil'jke = to hold in the

38 pa' sullean allo: the changing of the activities of the day; a poetical expression for marriage, = the changing of pillows. 39 rampanan kapa': kapa' is the penalty to he paid by the one who breaks up a marriage and is of ten assessed when the spouses have been married for some time: rampanan kapa', has the meaning usually of marriage. tumampa-mampa: a partial repetition of tumampa, an *um-*form of tampa to forge: again and again to make a gold necklace. rumende-mende: a partial repetition of rumende, an *um-*form of rende to smelt, = again and again to make a gold kris.

THE SA'DAN TORADJA CHANT FOR THE DECEASED

40 Dadi taruk bulaanna, sola lolosu manikna. 41 Natole tumaIJke suru', tumetaf} passara'kasan. 42 VnnoroJ} tiku tal3kena, lamban tasik uaka'na. 43 Vaka'na diorof}i, taIJkena dikulea'i. 44 Orof}-orOlJan to topo, pessimboJ}an to taJ}dia'. 45 Anna la dadi susinna, la sipalinpa daona? 46 To Goa manna susinna, datu lamban lian manna. 47 Anna la denda susimmu, la sipalinpa daomu? 48 Panduluk bassi naanna, ka ju asik naruranni. 49 Ia umba'gi redekki, napaindo' tamanaf}i. 50 Anna la denda susimmu, la sipalinpa daomu, la pada tintianammu? 51 Vmbarana' landi tondok, rumoJ}le landi paf}leon. 52 To laen-laen dadinna, to serJa' paIJidenanna, kombof} kamasugiranna. 53 To dadi dao pussana, ombo' dao talabona.

40 l%m: crown, of a tree. 42 His offspring spread everywhere. 43 uaka'na diOl'Ofji = tal'jkena dikulea'i = 44 pessimboJ'jan = 48 "He watched it (=

their keep.

it as a childless person, is stingy. 53 dao talabolW:

40 To him were golden offspring bom, They were for him his splendid crown. 41 Again the offerings he made Atonement rites he then performed. 42 His branches stretched out everywhere His roots, across the sea they went. 43 To his roots men did turn for help, And from his branches they sought aid. 44 The starving turned to him for help The hungry made their way to him. 45 Is there one who is his equal, Exists there on sublime as he? 46 The Goanese did equal him And princes from across the sea. 47 Is there one who is thine equal, Exists there one sublime as thee? 48 He watched it like an iron wedge Like hardwood, kept it in the house. 49 He paid it out in pieces smalI, He kept watch, like a childless one. 50 Is there one who is thine equal, Exists there one as thee sublime, Exists there thy equivalent? 51 The village banyan, such was he, Throughout the region he did spread. 52 He was a man of special birth A man whose mother's needs were strange; And so his wealth it did increase. 53 He came forth at the sky's far rim The zenith of the firmament.

lan matalabona.

his roots that people drifted towards. rus branches that one swims overarm towards. the point at which people f10under in the water. his money)": He held fast to his possessions. naruranni = he has someone in his house, i.e., a family who, in most cases, work for

49 A childless woman is said to he a thrifty woman: mameJ'jQn to tamanal'j = to give as a childless one, i.e., not free-handed. Another saying is: napaináo' tamanaJ'j = he mothers

see I B, stro 53, where the reading is

TEXTS AND TRANSLATION

Pada didadian bulan, pada ombo' pariama. 55 Rokko ditambuli laI3i', disu'bak pekali bassi. 56 Dipantananni lolona, dipaga' rambo-rambona. 57 Malea api lolona, borrol} bia' tauninna. 58 Napandan anna sugi', naanna anna leIIua. 59 Anna taI3 disirantean, anna kasaIIe dadinna, anna lobo' garaganna. 60 Anna sol}lo' dao mai, nalao sambalin mai. 61 Rekke ditetei pusuk, dipelalanni pataI3do, diembe' lumbaa lal}Ï'. 62 Anna lao daa mai, nalao sambalin mai. 63 N adoloan burakena, nalalan raI3ga inaa. 64 Untandai padal} bal}la', padaI3 mariri Iitakna, til}gi OI}an banuanna. 65 Napantananni pamuntu, naosokki manik riri, napatundukki tadoran. 66 Napa'baI3unni banua,

way of the ritual.

Pad(6j

are put in the ground.

54 His birth was as that of the moon His coming as The Pleiades. 55 A hole was then in heaven dug, The ground with an iron spade was turned. 56 And then his cord was in it laid, Three sticks put round his afterbirth. 57 His cord, it glowed just Iike a fire, A fIaming torch, his afterbirth. 58 For his welfare they placed it there, There put it, th at his name should grow 59 That unsurpasséd he should be That fine and stalwart he should grow His body speedily mature. 60 Then he descended from on high, Then he came from the other side. 61 Upward, open leaves as steps placed The bua' stone a ladder was The ritual cane, a climbing rope 62 So that he should from on high come, Come from the other side he should. 63 His burake preceded him, He folIowed those whose minds were rich. 64 He put his sign upon new ground, The soiI, it yeIIow was in hue, Shade for his house were dark red beads. 65 A piece of cast iron he put there A yeIIow bead he planted there An inclined offring stake put up. 66 And then he built a house thereon,

the offering meal is placed.

61 The newly-born child is 'met' with a bua' offering so that he shall descend to earth by

65 This strophe describes the offering which the Ampu Pad(6j = Lord of the Earth must he given before a house can he built on him. This rite is called dialli pad(6j lako ArnPIl = land must he bought from the Lord of the Earth. pamuntu = cast iron roasting-dish. V,Then a new house is built a piece of cast iron, three old coins, U(6j, from the time of the Dutch East India Company, and three yellow beads,

napatundukki tadoran = he made the offering table lean; tadoran: bamboo stake set up inclining towards the north-east and to which young unfolded leaves of the sugar palm are fixed as weil as a small plaited oo.sket, made of the ribs of the sugar palm, in which

66 napa'maro~ka-rol'jkai = pleasant place did he make there, i.e. by planting all kinds of

SA'DAN TORADJA CHANT FOR THE DECEASED

napa'marof3ka-rOl}kai. 67 TumaIJke-ma1J.kei suru', tumetat} passara'kasan. 68 U13gala-gala bambana, u1J.kalampaIJ sulunanna. 69 N agala-gala pemala', nakalampaIJ kuli' piof3. 70 Natole tumafJke suru', tumetat} passara'kasan. 71 Suru'na rampanan kapa', sola pa'sullean allo. 72 Turumi rampanan kapa', sola pa'sullean allo. 73 Natole tumaIJke suru', tumetat} passara'kasan. 74 Suru'na mellolo tau, sola to takinan pia. 75 Anna kasalle dadinna, anna lobo' garaganna. 76 Natole tumaIJke suru', tumetat} passara'kasan. 77 Suru'na tClJko tiranduk, sola ajoka panoto. 78 Kendekmi tef3ko tiranduk,

sola ajoka panoto. 79 Nabaja rampo itondok, napakenden ripaIJleon. 80 Iato sesa nakande, ra'dak napatama kurin. 81 Nabaja rampo ipasa', napakenden ditammuan.

trees and by erecting a rice granary.

A pleasant place did he make there. 67 The off'ring ritual he performed Then the atonement rites he made. 68 The court's enclosure he then built And then he put the gate in place. 69 With offerings he fenced the court, In bamboo vessels offered them. 70 Again the offerings he made Atonement rites he then performed. 71 The marriage offering he made, The rites of union he performed. 72 And then was he in marriage bound, Then in the union he was tied. 73 Again the offerings he made Atonement rites he then performed. 74 The offering offspring to bear, To carry children on the hip 75 That fine and stalwart they should grow Their bodies speedily mature. 76 Again the offerings he made Atonement rites he then performed. 77 The off'ring for the tu ming plough That straight the yokéd ones should go. 78 The ploughed worked ground its harvest [bore Straight had the yokèd ones there gone. 79 To the village he then took it To the hamIet bore it upward. 80 What was left when his needs were met Left over from the cooking pot 81 That he then to the market took, To the place of sale he bore it.

cooked. 74 mellolo tau = 77 ayoka = yoke. panoto = to touch properly.

78 kendek = to rise up.

69 Before he made the forecourt he made the necessary offering to the gods; nagala-gala pemala' = he made a fence round it by making offerings; nakalamp01'j kltli' pio" = he put it in order by using the rind of the internode of bamboo in which the rice had been

the appearing of the umbilical oord of a man.

This strophe refers to the cultivation of the ricefields.

pisil}-pisÏ1J, diben panampa to Bone. 83 Sulemi ponno sepu'na, sule la'bi garopi'na. 84 Nasukun tu tama uma, nasukun lu tama tedol3. 85 KabidlUJammi umanna, kabidal}ammi tedOll}na. 86 Kendekmi daun sugi', ia tuma'bi eanan. 87 Tedol3 marapu iBuntal}, makurul}an diEndekan. 88 Rokko nakambio santUl}, nao'bi' pa'pairusan, talo dondan diol3 mai. 89 Tallu ratu' sall}ke'deran, sa'sa'bu sal}tial}karan. 90 TedOll} ma'inaa tau, sipaela' to ke aja', sita'tan ke kadakean. 91 Dolo pampal} undi pampal}, laUeu taJ)lI3a palepu'. 92 Misari bulan merrau, tanda pasal}nara to. 93 Ma'kalulJkW} sora pindan, massape-sape bulaan. 94 Iko to torro itondok, to kenden dipal}leon.

82 Old coins did they give him for it Gave that made by the Bone folk. 83 Returned he with fuU sirih bag Came back with box with money topped. 84 On ricefields did he lay it out And buffaloes he bought with it. 85 His ricefields increased one by one, His buffaloes in number grew. 86 As leaves on trees, he rich became He prospered in his property. 87 In Buntal} massed his buffaloes, In herds gathered in Enrekal3. 88 He signalied them to downward come, To drinking pool he beckoned them. With speed that herd then trotted out 89 Three hundred were the ones that left Three thousand were the ones that went. 90 The mind of men had those kerbau, Along steep slopes they slowly walked Each other warned when near ravines. 91 The first and last had right shaped horns Those in between a huge knot formed. 92 A light-skinned one among them mixed, Of that herd there he was the sign. 93 As arrows on a dish their hoofs The clefts in them were just as gold. 94 Now, you who in this village dwell Who in this region come and go

Balanda = that minted by the Duteh.

Fructicans)

have been stitched together. 87 marapu = forming a family group.

88 nakambio santUlj = nao'bi': the usual form is nako'bi' 90 sipaela' =

storing the bundies of rice.

= he beckoned.

82 pisitj-pisitJ = U01J: old coins from the time of the Dutch East India Company. panampa to Bone: Dutch East India Company's coinage; it is also called pantari' to

83 garoPi': a box to hold money; it is made of woven leaves of the nipa palm (Nipa; it can also he made of wood. 85 kabidOlJan = that which is added to something, for example, two pieces of c10th that

BuntaJ} is a village in the Lemo village-group, Ma'kale territory. he played on the stringed instrument.

they caused each other to go slowly. 91 palepu' = palipu': a large cylindrically shaped woven basket made of bamboo; used for

SA'DAN TORADJA CHANT FOR THE DECEASED

95 Balamoko dua lombok, rompoko taUu tanete. 96 Dipa'parampoi tedol}, dipa'palin-palinanni. 97 Tedol} tal} mate anakna, talJ marantan sumal}a'na. 98 Tallu ratu' edo' -edo', tal} sanda kambu bulaan. 99 Kambu kapipei pira, pal}ka gajat} sarapat}i. 100 Tedol} manoka didaja, manoka dikira-kira. 101 Iapi anna mellao, anna tumel}ka isulu'. 102 Tampat} rurapi nanai, panompok doke-dokean. 103 Tal} nauma ke marat}ke, ke nakalat}kai kalo'. 104 Bu'bu' -bu'bu'pi rrandanni, saruran tiku biril}Oa. 105 Padat} ma'lompo masapi, ma'ilalan bai tora. 106 Lendu' rokko makatanna, kendek to kapareanna. 107 Kendek patuku ma'dandan, sola lampo' sielol}an. 108 Urria ponnoan alat}, iami ma'telal} baluk, ia ma'kande silambi'. 109 Iato sesa nakande, ra'dak napatama kurin.

99 gaYaJj sarapaJj = large gold kris. plWjka: a forked piece of wood. 101 sftlft' = the bolt, i.e. of the house. 102 doke-doke: 105 ma'lompo = having fatness. 108 ponnoan = fullness.

silambi' = regularly.

95 A fence around two vaUeys place, Set an enclosure round three hills 96 So that kerbau can be led there, In number now can there be brought. 97 They did not die those kerbau calves, Their vital force did not depart. 98 Three hundred kerbau calves there were, Gold muzzles for them feil far short, 99 A rush basket on mouth had some Mouth guards of others were gold kris. 100 Those kerbau, they would not be cpaxed They simply could not be cajoled. 101 And every time that he went forth When from the bolted one he strode 102 Stayed by a ricefield water filled A dyked one full of water plants. 103 He made no ricefield on dry ground When water ditch was far away 104 But when small wells were near its banks Water channels round its edges. 105 lts soil was rich, just like the eel, lts texture as a tusked pig, fat, 106 Tbe poor earth was there far beneath Soil where the rice grew was above. 107 lts harvest, sheaves of rice in rows Bunches in a winding line set. 108 He took care the rice house was fuU In order to trade constantly And every day to eat of it. 109 His sustenance he looked to first, In cooking pot he had it placed.

98 The ca.lves had to be muzzled, so that the cows could he milked.

waterplant which grows in fertile water-filled ricefields.

ma'telaJj = to play tellWj. TelaJj is the name of a game played with a piece of bamboo and a small mat, about 1 ft. square, made of plaited bamboo. This mat is put on a stick. The pieces of bamboo are thrown at it ancl bounce back on striking it.

110 Pare manoka didaja, manoka dikira-kira. 111 Iapi anna mellao, anna tumel3ka iampal}. 112 Natingarapi lal}gesa', Nailal}pi b<>l3a'-bol}a'. 113 Ke lao tama ipasa', te lajan kasirampunan. 114 BOI}a'-bo13a' sal}ke'deran, sambao' saJ}tiaJ3karan, todi' sal}pembalabaran.

115 TibaliaJ} sarol} pondan, tibibi' pallolo datu. 116 Untiro ambana londot}, pa'kaleanna muane. 117 Pa'kaleanna diarru', ambana dimaa-maa, ditoio' riti bulaan. 118 Natole tumaJ3ke suru', tumetal} passara'kasan. 119 Suru'na lemba kalando, sola karandaJ3 kalua'. 120 Nasulean dio mai, nabalik sambalin mai. 121 Randuk masaki ulunna, madaramban beluakna. 122 Ditambai to minaa, diindan ral}ga inaa. 123 Sae umbille alukna,

AND TRANSLATION 55

110 That rice, it would not be coaxed, I t simply could not be ca joled. 111 Now, every time that he went forth Now when the threshhold he did cross 112 He only saw there young kerbau, He pushed his way through fleckéd young. 113 When he into the market went When at the place of sale did stay 114 The young flecked kerbau went in groups Grey buffaloes then started out Above climbed those with white marked [brows. 115 The woman of low rank glanced back Young women of high rank turned round 116 To gaze upon that stalwart form The strong form of that mighty man. 117 His shape, it had a gracefulness, His carriage, it was elegant, His form, composed as necklet gold. 118 Again the offerings he made Atonement rites he then performed. 119 The ofrring for a lengthened pole And for a basket that is large. 120 And then he brought it back with him, And then from there he bore it back. 121 Then fevered had become his head, And rumpled then his hair became. 122 They called the ones who adat knew, Took those whose minds were very rich. 123 They came his special rites to choose

112 natil'jara = he looked up. nailUl'j = he rubbed himself against.

hats are made of pineapple leaves. 117 diarru' = it bas been pared down. dimaa-maa = ditoIo' riti bulaall =

a carrying pole, pikulan; 123 umbille = to separate, to keep apart.

110 The riee bas a deata = soul, Iife force. The meaning is tbat the riee is to be treated with respect and tbat it is to he used with discretion.

115 sarol'j pondan: bats worn by women of low rank as a protection against sun and rain: the

it was made as beautiful as possible. he is strung Iike a gold necklet. 119 These offerings are made to en su re a rich riee harvest. The harvested rice is carried on it is of ten put in baskets.

SA'DAN TORADJA CHANT FOR THE DECEASED

umpemlU}san bisaranna. 124 Sae ma'rebolym didi, ia ma'rampe retokan. 125 Natumpumi tama darra', nakasa tama landa uai. 126 Sisarak lU}in natambuk, sola darindil} nasellc'. 127 Randuk dipopendio' boka', dipopessussu maregan. 128 Anna disanda beloi, dipapantan pareai. 129 Randuk didedekan gandlU}, dirembal} ate banua. 130 Iamo sarro budanna, pekaua' kailU}na. 131 Disembal} pantanan nene', pal}osokna to matua. 132 Dipasandami rere'na, ganna'mi loki-Iokinna. 133 Dipala.t}l}an banuanna, dipateka' dipalanta'.

The right ritual to select. 124 The sugar palm leaves they then broke And then the pieces counted out. 125 The rushing water caught at him, He struck against the swirling stream. 126 His breath and he, their union broke, The wind he always had with him, 127 With coconut oil him they washed, They rubbed away the dirt with it. 128 Dressed fully and adorned he was, In finery completely clothed. 129 And then they struck the drum for him Thc 'liver of the house' they hit, 130 The wailing there was very great The moaning was extremely loud. 131 Were chosen rites by forbears set Prescriptions of the ancestors. 132 Complete the beasts for slaughtering The animals that must be killed. 133 They took him then into his house, There, in the room in front was laid

ma'rampe = he put aside.

the period of crisis in a sickness. natumpumi = he pushed against. nakasa = he grazed against.

130 kaiatJ is a poetical word for kapua

determine the rituaI.

be redemption for a pledged ricefield.

rarrl, and a gold bracelet.

= great.

124 The breaking of the ribs of sugar palm leaves: tbis is a process by wbich the to minaa endeavours, by divination, to determine whether the offence that is the cause of the sickness is one that is against the gods, the ancestors, or the adat prescriptions.

125 "The rusbing water" and "the swirling stream" are figurative expressions used to denote

126 In another version of the chant for the deceased, the second line reads: sibokoran darindirj naselle' = he and the wind he had witbin him separated from each other; he breathed bis last. These expressions are also used in ordinary speech in respect of the dead. 128 A dead man of rank is always c10thed in trousers and jacket, wears the stately folded head c10th of a cbief, bas a gold neck chain and is girded with a gold kris. A dead woman of rank is dressed in a beautiful jacket and a coloured sarong, wears a necklace of wooden beads overlaid with gold, called 129 "the Iiver of the house", is a poetical expression for a drum.

131 pantanan nene' = that planted by the ancestors; patjosokna to matua = that driven into the ground by the forefathers. These expressions mean that the ancestors established ths order of the death ritual, that the form and extent of the rites are fixed. A variant of the expression disembOl'j pantanan nene' is diparandukmo sembatjan a/uk = they began to

132 The family of the deceased decides how many buffaloes are to be slaughtered. Some are given by various members of the family, some may be reciprocal presents, some may

pal}Clen, dipatukku andelen. 135 Ditananan bua lajuk, diosok kalintaro tua. 136 Dis3l}kinan bete tondok, biladol} sa'de banua. 137 Dipati' p3!}alukanna, bisara sitimajukna. 138 Namasial} to makale', nakulla' birro to allo. 139 Ditambai to mebalun, umpati' patJalukanna, te lajan rampe matampu'. 140 NamasÏal} to makale', nakulla' birro te allo. 141 Rampomi lembal} sura'na, sola lopi bulaan. 142 Dipasanda to ma'dudtUJ, bendan bandera leko'na. 143 Bendan bala'kajan duku', sola to lempo bumarran, te lajan rante kalua'.

134 paljden is a kind of fragrant grass.

134 Placed in a posture gently leaning In a position pleasant bent. 135 They planted the high fruit for him, The old areca palm put in. 136 "Fish of the village" tied to it, The bilad0f3 of the forecourt. 137 They fixed the order of his rites The adat forms befitting him. 138 On the next day, in the nwrning J ust as the glowing sun arose 139 The priest of death they summoned then To fix upon the rites for him Which are assignéd to the West. 140 On the next day, in the morning Just as the glowing sun arose 141 He came there in his carvéd prau, Arrived he in his golden boat. 142 The head-cloth wearers stood in line, For him the flags hung of the left, 143 The platform for the meat stood there, The stage that smelt of flesh was there There on the wide plain, there it was.

fish. Bath words denote the buffalo.

irante, see IC 150, and = mammo'mi ibatu, IC 152.

antIelen is a kind of fragrant grass which is bumt as incense at offering ceremonies. 135 "the high fruit", is the areca palm, the fruit being high up in the tree. This tree is also called buo dao in the poetical language. It is planted in the forecourt of the deceased's house when the first buffalo is to he slaughtered, ma' puli, and the beast is tied to it. 136 bete is the ikan gabus, a fish living in the water in the ricefields: bilado'J is also a kind of

139 According to adat, the west is the zone allocated to the death ritual and to the offerings to the ancestors. The offerings to the latter are directed towards the south-west. To the east zone is allocated the offering ritual to the gods which offerings are directed towards the north-east. The adat customs performed in the western zone are also called rambu solo' = smoke that descends, those in the eastern, rambu tuka' = smoke that ascends. 141 The dead man is kept in his coffin in the house for a period of time. rampomi lembO'J is a contraction of rampomi ilembO'J; similarly, lolo"mi rante = lolo"mi mammo'mi batu 142 to ma'dudfl1j: female members of the family who hold above their heads a single black c10th and who go in a proces sion to the place where the buffaloes are to he slaughtered at the second part of the death feast. The end of this long c10th is held by a slave. For three days none of these women may cross a river. "the f1ags hung of the left": these flags, tombi, are attached to bamboo poles. They are called flags of the left because they are only used at a death ritual and not at any ritual connected with the gods: the left is the west, which is associated with death.

SA'DAN TORADJA CHANT FOR THE DECEASED

144 LololJIIli bati' tikunna, sola mana' sariunna, 1010J3lllÎ metua' ponno. 145 Nasundun to alukna, to lajan rante kalua'. 146 Mamma'mi lan lembal} [sura'na, ilan lopi bulaanna. 147 Nalambi" tanda aHu'na, sola pa'indaoanna. 148 Bendanmi lakkean sura', te lajan rante kalua'. 149 Bendan tau-tau lampa, sola to bombo dikita. 150 Lolot}mi rante kalua', tama tanduf} kalonaran. 151 Ke'de'mi tekkenan doke, to lako toJ3konan bara'. 152 Nasundun to alukna, to lajan rante kalua', mamma'mi batu dilobaf}. 153 Male titeJ3ka lentekna, tirimba pessojananna. 154 Unnola barana' rombe,

144 From everywhere the offspring streamed And the descendants numberless, For blessings crowded they that place. 145 The ritual was fully done There on the wide plain carried out. 146 He lay there in his carvéd prau,

He rested in his golden boat. 147 The rites decided on were reached, The highest form they held for him. 148 The small carved house to hold his corpse Was on the wide plain then set up. 149 His bamboo image they set up, Was then his spirit manifest. 150 That wide plain people overflowed When entering that huge feast place. 151 Then came the right to hold the lance Of the clan house having power. 152 The ritual was fuHy done There on the wide plain carried out, Then in the opened grave he rested. 153 And then it was his feet strode forth, His arms were swinging to and fro. 154 He to the spreading banyan went,

it may be presumed that the use of naflJka wood is of later origin.

144 metua' = to endeavour to obtain a blessing: by bringing a buffalo or a pig to be slaughtered for the deceased one hopes to obtain blessings from him. 149 At the supreme form of the death feast, an image, ca11ed tau-tau or tatau, is made of the deceased. This image can be made of bamboo poles tied together and dressed with c1oths, the face is also made of cloth: such a tau-tau is called tau-tau lampa. The image can also be made out of nmjka wood. A tau-tau is attired in beautiful cloths and adomed with omaments. It is put on the noor of the rice granary and when the corpse is taken to the place of the feast, the tau-tau goes with it. Af ter the corpse has been interred in the rock grave, the tau-tau, stripped of its ornaments, is placed in a niche close by with a protecting rail in front of it. When the ritual for the deceased has been concluded aná when his soul has gone to the Land of the Souis, his spirit is manifested in the tau-tau. Since, in this traditional chant for the deceased, the image referred to is made of bamboo,

151 tekkenan doke: the cu stom whereby the lance with which one of the buffaloes is killed at the death feast, must be handed over to the clan house with which the participants have a mutual relationship. At a death feast for one of the members of the clan house called Bamba, in the adat-community of Al}in-AJ)in, for example, Bamba hands over this !ance to the clan house called AmpaJ}bassi, and at the death feast for a member of AmPaJ}bassi, the latter hands it over to Bamba. 154 The barana' = waringin is the tree in which the spirits dweil. The "falien's three grave

sola tambuttana tallu. 155 Tileak lembamo lao', tidollo panta'daranna. 156 Tipae'-pae' tombinna, tipailan banderana. 157 Tipae' lako matampu', dio kalambunan allo. 158 Tuo kalukumo dio, la ma'induk tumaatJmo. 159 La lao laIJ'Janmo lat3i', te dao to paol}anan. 160 Tindak sarira naola, mian kila' napolalan. 161 La ma'banuamo bulan, la ma'tondokmo bintoen. 162 Manda'mo naoli' Lemba, nasalWJku Pariama. 163 La dipopa'taunammo, la ditiro ke mal}ambo'. 164 Ke diparokkoi banne, ke massea' -searat}ki'. 165 N akuanna' dao mai, kada napatuleranna': 166 "Patarimako sambu'mu, balla'ko lindo bajummu. 167 Parokkoi tua' sanda, paraja sanda mairi', rOl}ko' todÎl} sola nasal}." 168 Nakuanna' dio mai, kada napatuleranna'. 169 Masakkeko kumasakke, TabassÎl} makole-kole.

166 sambu' = sarong worn by men. lindo bayummu =

AND TRANSLATION 59

To the fallen's three grave mounds. 155 And then this region southward passed, His spirit flowed as water, fast. 156 His flags were waving to and fro, His banners fluttered up and down. 157 They wave there, going to the West To that place where the sun descends. 158 A coconut palm, he grows there, A sugar palm, high over all. 159 There shall he to the heaven rise, There dweIl in the all-covering. 160 He takes the rainbow as his path, The flashing lightning is his way. 161 His dwelling shall be in the moon His living place, there in the stars. 162 The Great Bear, it embraces him The Pleiades clasp him to them. 163 For us he is the season's sign, We look for him to sow the riee 164 When time it is to strew the seed When we should scatter it about. 165 To me he speaks from high above The words of wisdom he gives me: 166 "For blessings, spread the cloth you wear, Your open jacket, lay it out." 167 "The fortune-bringing gifts lay there, All things that give prosperity, All benefits that are sublime." 168 To me he speaks from high above The words of wisdom he gives me. 169 May you prosper, may I prosper, May each of us a long life have.

mounds" are also dwelling places of thC' spi rits.

the face of your jacket.

THE SA'DAN TORADJA CHANT FOR THE DECEASED

ID

Ossoran badoq to dirapa'i

The informant was Rubak of the village of KalindUl)an in the N onOl)an village-group, Kesu' territory. The words were written down by Mr.

1 La kulambi'mo dadinna, kudete'mo garaganna, to dolo kapuaf}anna. 2 lari tonna dikombof}, tonna dipapore tampa, anna randuk didadian. 3 To taf} dikandean essun, tal} dileran bua kaju. 4 la nakande indo'na, dikande untampa rara'. 5 Urrende-urrende bulaan, tu la kombof}mi bulaan. 6 Randuk ke birroi allo, ke kendekki sulo padat}, ke kapana' -panaranna. 7 Rokko ditambuli padaf}, dibuak pekali bassi. 8 Dipantananni lolona, dadi sarita lolona. 9 Kombof} maa' tauninna, tu bulajan banne ba'taf}. 10 Anna kasalle dadinna, anna lobo' garaganna. 11 Tu bulajan banne ba'tal}, tu rara' raf}ga inaja, ponto passasaran tuju. 12 Inda ia la susinna, kasalle nairi' al}in, lobo' nasimba darindif}.

ID

Traditional chant tor the deceased tor whom

the elaborate ritual tor the dead is carried out

J. Tammu.

1 The time of his birth have I reached To his genesis I have come The forefather revered as lord. 2 Now, at the time when he was formed When robust and well-shaped he was When he was about to come forth 3 For him were eaten no sour things, No fruits were tasted for him then. 4 It was that which his mother ate, Ate, that as a necklet formed him. 5 She fashioned him to be as gold That he in splendour should come forth 6 Just at the time the sun rose up, Just when the earth's torch could be seen Just as it fierce began to glow. 7 A hole was then dug in the earth, The ground with an iron spade was turned. 8 And then his cord was therein, placed, His cord, it was a blue white cloth, 9 A tjindai cloth his afterbirth; His many thoughts were just as gold 10 That fine and stalwart he should grow His body speedily mature. 11 His many thoughts were just as gold, His ideas a gold necklace were, His advice as an armband was. 12 Is there one who can equal him? The cool wind blewand made him grow The mild breeze stirred and so he thrived.

5 Cf. strophe 112 of 1 A which tells that the mother desil'ed objects of gold, so that the child she was expecting would be Iike gold.

13 Nasindau talimpuru', natende' anna kasalle. 14 Anna kasalle madomi', nalobo' tikara-kara. 15 Kasalle naria suru', lobo' natandi sara'ka', te mai peJ3kalossoran. 16 Tu bulajan banne ba'tafJ, tu rara' rarJga inaja, ponto passasaran tuju. 17 Ma'doke-doke rafJka'na, ma'pasoan tarunona, sitondon tindo bOl3inna. 18 Kalimbaun ma'pagu'gu', batu napaturu-turu, nabandafJanni pekali. 19 Ke nasalaga rarJka'i, ke natefJko tarunoi. 20 Natarnbaimi sarJtondokna, naoIJli'mi sa13banuanna. 21 Ma'bajanan anna bekak, dikki' anna surusiak. 22 To laen-Iaen dadinna, to serJa' pal3garaganna. a) 40 BUl3ka'ko ba'bana laIJÏ', pentiroanna deata. 41 Tindak sarira naola, mian kila' napolalan, sundallak napolambanan. 42 Sae mellese iPol3ko', mentunannan riKalebu', te lajan bambana PoIJko'.

not given bere. 13 sindau:

AND TRANSLATION 61

13 The cydone whirled itself round him, It cradled him to make him big. 14 And then it was he swiftly grew And then it was he quickly thrived, 15 By off'ring rites watched swiftly grew, By deansing rites, supported, throve By purifying rituals. 16 His many thoughts were just as gold, His ideas a gold necklace were, His advice as an armband was. 17 His fingers, they were just like spears His toes as shafts of lances were As dreamed in dreams he had at night. 18 Huge doos of earth before him shook, He made the stones before him plead, Used digging stick as goat-haired lance 19 When as a harrow used his hands When as a plough rus fingers used. 20 And then he called his villagers His neighbours summoned with a shout. 21 They carne, in sum more than parrots, Their number greater than all birds. 22 He was a man of special birth A man strange in his coming forth. 40 The gates of heaven open thou The window of the godly ones. 41 He chose the rainbow as his path, The flashing lightning was his way He walked along the kindled forks. 42 POIJko' he reached and trod thereon, There on Kalebu' did he live, There in the region of POIJko'

dikki' really means "much".

a) Strophes 23 to 39 inclusive, are similar to a number of strophes in I A and are, therefore, to put a loop of rope round something. 17 The ancestor was skilled in agriculture. 21 dikki' = small, scanty. This word is used when it is desired deliberately to state the reverse of the actual facts, e.g., because the place where the harvested riee is dried in the sun must be respected, one does not say of a quantity of riee drying there: buda tu pare = there is mueh riee; one must say: dikki' tu pare = there is but Iittle rice. In sueh cases 42 POI)ko': see stro 59, I A, where the parallel region is Lebukan = island. POI)ko' and Kalebu' both mean islet; they also mean heap of earth, mound.

TORADJA CHANT FOR THE DECEASED

43 Umblll3unan lando lot}a, unnosok salle a'riri. 44 Randuk titel}ka lentekna, tirimbak pessojananna. 45 Sae mellese iTlll3sa, mentunannan riEndekan. 46 Umpalele tol}konanna, umbe'do kapajUlJanna. 47 Sae mellese Marindil}, mentunannan Banua Puan. 48 Umblll3unan lando 101}a, unnosok salIe a'riri. 49 Nanai 1000ke ma'bua', tumajal} ma'balinono, IÏl3gi' ma'kasea-sea. 50 N adoloan burakena, naturu' pal}lalananna. 51 NapasetJg01}i garatu13, nadedekki kuli' saa, rore1}Da tandilo uIa'. 52 Ma'tete Batuko, batÏl3, unnola landa Sarira! 53 Sae mel}kanna iKesu', mentunannan riBlUJkudu. 54 Umb3ll}unan lando 101}a, unnosok salle a'riri. 55 Nanai 1013ke ma'bua', tumajal} ma'balinono, lirJgi' ma'kasea-sea. 56 Randuk titetJka lentekna, tirimbak pessojananna. 57 Sae mellçse iBatu, mentunannan riSiguntu', 58 La rampo indete tondok, indete sa'de banua. 59 Umbal}unan t013konanna, unnosok salle a'riri. 60 Nanai tumlll3ke suru',

43 Built that which has a roof high-pitched, Set up that which on tall poles stands. 44 And then it was his feet strode forth, His arms were swinging to and fro. 45 TlUJsa he reached and trod therein, There in EnrekaJ3 did he live. 46 And then his clan house did he move, His shielding force he took elsewhere. 47 MarindÎIJ reached and trod therein, There in Banua Puan lived 48 Built that which has a roof high-pitched, Set up that which on tall poles stands. 49 The bua' held the high bom one, Sublime, he strode there in the row, The mighty one the great feast gave. 50 His burake preceded him, His people followed on behind, 51 The bead-hung drum she struck for him, The python skin she hit for him, Resounded the snake instrument. 52 Now, song of grief, walk on the Rocks Walk upon the curved Sarira. 53 He reached Kesu' and trod thereon, There on Bangkudu did he live 54 Built that which has a roof high-pitched, Set up that which on tall poles stands. 55 The bua' held the high bom one, Sublime, he strode there in the row, The mighty one the great feast gave. 56 And then it was his feet strode forth, His arms were swinging to and fro. 57 Batu he reached and trod thereon, There on Siguntu' did he live. 58 And then he reached the village here, Came to the compound of this house. 59 And then he put his clan house up Set up that which on tall poles stands. 60 There made the off'ring ritual

45 TaI}sa lies in the north of the Duri Federation, in the sub-division of Enrekal}.

tumetal} lindo sara'ka'. 61 Naria mendaun sugi', sitondon tindo bOf3inna, sola mamma' karoenna. 62 Minda ia la susinna, la sipalinpa daona? 63 Tu bulaan banne ba' tal}, tu rara' raJ3ga inaa. 64 La lao tamami pasa', te lajan kasirampunan. 65 Sule masaki ulunna, sule ramban beluakna. 66 Ditambammi to bara', sola anak to makaka. 67 UI}kaJ3kananni pesuru', tumetal} lindo sara'ka'. 68 Tu Ne' Sarami patalo, sola to massarof3 kumba. 69 Urrundunanni alukna, sal}ka' beIOl3-belOl3anna. 70 Anna matindo isondof3, anna mamma' ribanua. 71 Anna mellao rialal}, diof3 landa' beloanna. 72 La male tOl}anmo ambe', male untampe tondokna, umbokoran banuanna. 73 Sumolo' rante kalua', tama tandUf3 sea-sea. 74 Anna tibolloi sarol}, natikembof3i kambuno. 75 Ul}garaga leppo'-leppo', nanai mantaa laJ3sa', ussearan bua kaju. 76 Urrundunanni alukna, sal}ka' belof3-belol}anna. 77 Sandami ka'panan balarJ

IA.

AND TRANSLATION 63

The cycle of atonement rites. 61 Thus guarded, his wealth was as leaves, As dreamed in dreams he had at night As in his evening sleep he saw. 62 Who is there who can equal him, Exists there one just as sublime? 63 His many thoughts were just as gold, His ideas a gold necklace were, 64 Then to the market he did go There at the place of sale did stay. 65 Then fevered had become his head, And rumpled then his hair became. 66 Were summoned then the adat chiefs Together with the notables. 67 They made the cleansing rite for him The cycle of atonement rites. 68 But it was Ne' Sara who won; He wears the dried areca leaf. 69 They followed all the rites for him The ritual prescribed for him. 70 There, in the house was he stretched out, There in the dwelling he did lay. 71 They brought him down to his rice house Below, to his storehouse adorned. 72 Now, father really shall depart, He from his village now will go, Behind him he will leave his house. 73 Below to the wide plain they went Down to the spread out field they went. 74 Protecting hats were then brought out, The fan palm leaves were widely spread. 75 A platform small they then put there, The la1J.rat were divided there And there the tree fruits were spread out. 76 They followed all the rites for him The ritual prescribed for him. 77 Flesh for the forebears held in hand,

66 For an explanation of the words in this strophe and those following, see stro 143, et seqq.,

74 For an explanation of stro 74, et seqq., see stro 159, et seqq., I A.

THE SA'DAN TORADJA CHANT FOR THE DECEASED

tae'mi lindo menassan. 78 Sandami tallu b013inna, la male tOl3anmi ambe'. 79 Male tite1Jka lentekna, tirimbak pessojananna. 80 Randuk unte1Jkai kalo', ullamban pasala dua. 81 Lambi'mi bamba datunna, pessulunan karael3na. 82 Anna ma'tendanan eran, anna ma'bUlJkaran ba'ba, anna ma'amparan ale. 83 Matindo sisura guntu', mamma' sitandi takia'. 84 Anna ma'tuturan ba'ba, anna ma'benta1Jan lian. 85 Randuk tite1Jka lentekna, tirimbak pessajoanna. 86 Malemo natum' gaun, naempa-empa salebu'. 87 Lao' tambuttana tallu, lao' P013ko' siannanan. 88 Nanai torro ma'pa1313an, unnesul3 ma'lea-Iea. 89 Messaile tumarantan, mentiro ma'uran-uran. 90 Randuk unte1Jkai kalo', ullamban pasala dua. 91 Tileak lembalJmo lao', rokko kalambunan allo. 92 Bendan kalukumo dio13, la ma'induk tumajalJmo. 93 Tindak sarira naola, mian kila' napolalan, sundallak napolambanan.

No faces there displeasure showed. 78 Now, when in full had passed three days Then father really did depart, 79 And then it was his feet strode forth, His arms were swinging to and fro. 80 And then over the ditch he stepped Across both channels he did go. 81 And then he reached his royal abode His dwelling place of majesty. 82 The ladder was set up for him, For him they opened up the door Spread out for him the sleeping mat. 83 Head-to-toe to some he lay there, His arms across the others were. 84 And then they shut the door on him And somewhere else they took the steps. 85 And then it was his feet strode forth, His arms were swinging to and fro. 86 The clouds behind him he has left Enveloped in the mists is he. 87 South, at the fallens' three grave mounds The six of them, there in the south. 88 Sirih-pinang he stood chewing, He sat there making his mouth red. 89 And when he glanced back his tears flowed When he turned round there was fine rain. 90 And then over the ditch he stepped, Across both channels he did go. 91 And then this region southward passed Then went down where the sun descends. 92 A coconut palm is he there, A sugar palm high over all. 93 He takes the rainbow as his path, The flashing lightning is his way He walks along the kindled forks.

prince. 87 See note to strs. 174, 1 A.

80 This strophe bas the meaning tbat th!:' deceased is being taken to the rockgrave. 81 The Macassarese word karal!Jj, a title of princes and members of the nobility, is here the parallel of the South Toradja word datu which bas the different meaning of god, lord,

BUJ3ka'ko ba'bana lalJÏ', pentiroanna deata, te dao palullurYlD. 95 Manda'mo naluaJ} Lemba, nasalut}lm BWJa'lalan, naepun met}kidi-kidi. 96 La ditiro ke maJ}ambo', ke umparokkoi banne, ke massea' -searanni. 97 La sipasakkemo' batÏt}, la sibenmo' tuo-tuo, to mai kamarendet}an. 98 Kianakko, kikeanak, tabassÏt} pekamasean. 99 Anakmu disaIJ.a Daet}, anakki disaIJa RippW}. 100 Anna daet}-daet} sugi', anna rippUf} bala tedot}.

94 The gate of heaven open thou The window of the godly ones The all-enveloping above. 95 The Great Bear, it embraees him The Pleiades clasp him to them The shining stars eneompass him. 96 We look for him to sow the riee When time it is the seed to strew When we should seatter it about. 97 In this dirge let us blessings ask, Let eaeh for eaeh a long life wish, A long life of prosperity. 98 May you have ehildren, may we, too, May eaeh for eaeh for blessings ask. 99 May your ehildren be ealled DaeJ3, May our offspring be ealled RippuJ3. 100 Riehes may they gather to them, Buffaloes eolleet in number.

nA

BadOIJ maIolo to NonolJlLll

Mr. L. Pakan.

1 Le, Ie, Ie! tiromi tu tau t013an,

tu to natampa deata. 2 Iatonna dikombo13, randuk dipal3idenanni. 3 To tat} dikandean essun, tal} dilaesan bua kaju.

1 Ie tau t01Jan: a man in rea1ity.

nA

Chant tor the deceased as song in NonolJUL

1 Hey, hey, hey! Look at that exeeptional [man Who was ereated by the gods.. 2 Now, at the time when he was formed When first his mother fancies had 3 For him were eaten no sour things No fruits were tasted for him then.

94 Stro 192c, I A, reads: the shining stars around him press.

Some of the texts II A to II J, inc1usive, were written down by Mr. J. Tammu, others by

is an exclamation used to encourage the persons addressed to reply.

SA'DAN TORADJA CHANT FOR THE DECEASED

4 To diparende bumbul3an, to dikombol} pare pulu'. 5 To dadi lan pussakna, komh0J3 imatalabona. 6 Dikkan to malemo sau', dikkan to membuleammi. 7 Lalan sal}bamba naola, sal3bua' pe1Jkaleakan. 8 Mpellambi' bamba suruga, sola tondok to mario. 9 La sal}tol}konan nene'na, sat}islUJan to dolona.

4 diparelldc = 7 sarJbua': the adat

4 As white as milk was he then formed, Like viscous rice he was then shaped. 5 He came forth at the sky's far rim The zenith of the firmament. 6 Alas, he has now southward gone, Alas, he is now there ahead! 7 He has gone where all men must go To that place where men pass from sight. 8 The gate of heaven he has reached The village where they ever grieve. 9 Now lives he with his ancestors, He now dweIIs with his forefathers.

bua' feast.

UB

BadOJ] maIoIo To PalJ8la'

The informant was Karnbuno, a 10

1 Ambe'ki, umbamira sal3- [tondokna, to mai sal}Saroanna, sito'doan tarampakna? 2 Maiko anta unnondo, inde paJ}fante manikna. 3 Ambe', perangiimo' matin,

1 saroan is a derivative of sara

and receive pigs as payment.

close together. See stro II C 9.

UB

Chant tor the deceased as sUDg In the

PalJ&la' terrItory

minaa of the village of Tondon.

1 Our father, where are those of his village [now, The ones who to his group belong Whose eaves drip water each on each? 2 Come, let us start the dancing now On this plain, beautiful as beads. 3 Now, father, pay thou heed to us,

those who work for money; saroan means a hamIet,

iron ore is being smelted. community which as a whole holds the

When this chant is sung for a man of rank the words are as follows:

group of people belonging to one hamIet, who work the ground on a communaI basis. In the Madandan territory, sarJsaroan denotes a group of people who cultivate the ricefields

sito'doan larampakna = whose eaves drip on each other; i.e. whose houses are very

2 maiko: ko is the 2nd person singular; in the poeHcaI language ko is also used as 2nd person pluraI with the meaning of you all. unnondo = to make a j igging movement; e.g., Iike that made at the maro feast. Here the term refers to the steps the performers take while they cirde round.

inde naslU3mo rapummu, sola mana' sariummu. 4 Perangiimoko batilJIIlu, patananko talÏl}ammu, alenko pa'perangimmu. 5 Anna maleso mural}Ï, tilanta' lan talÜJammu, allen lan pa'perlU3immu. 6 Al}ki tolorlU3ko batÏl}, alJki ba'nlU3ko mario, al}ki etel3-eteIJlU3ko. 7 Battu la tetena batÎIJ, battu lalanna mario. 8 Morol}Ï tal} la tetena, talJ la lalanna mario. 9 Sisalo-salo batÜJna, sikalamban mariona. 10 PanilJomu tommu pea, lollo'mu tommu baitti', tommu randuk Ielelawa. 11 PanÜJo disurasammu, 10110' dialJgiloammu, dibetau-tauammu. 12 PanÜJo disura' selel}, 10110' dimata bulajan. 13 Sundun sal}tlU3kena batÏt3, saJl}parajanna mario. 14 La ditendok temmi batif3, diala temmi mario.

7 battu is the form of ba'tu

example: pea instead of pia. lollo':

belau 12 selt!f}: old tjindai woven c1oth. 14 ditendok (tendok)

AND TRANSLATION 67

To all thy kinsmen who are here

To thy descendants numberless. 4 Hear this chant of mourning, father Indine thine ears and listen now, Let thy hearing take it all in 5 So that thou now dost hear it weIl, That it may penetrate thine ears Within thy hearing shall be dear, 6 That we the lament string for thee The mourning song make beautiful That we like a bunch make for thee. 7 Which kind of lament should we sing, Now, which way goes the mourning chant? 8 Now, should the form unfitting be The mourning chant be incorrect 9 Then would the dirge for him be mixed The lament from its course would stray. 10 This was thy game when thou wert young Thee pleasure gave when thou wert small When with the handrail thou didst walk. 11 Thy game, with its motifs adorned Thy pleasure, with its carved designs, Like something made of betau wood. 12 Thy game, like that with selet} drawn, Thy joy, like sword blade gold inlaid. 13 Ends now a part of this lament, A section of this song of grief. 14 Use this to start to sing the dirge Take it to start the mourning song.

6 kietl!1J-etl!1J01Jko (etl!1J) = we arrange it in bunches for you; i.e., the strophes. that is used in the PaI)3.la' territory. 10 The dialect of the PaI)3.la' territory has e where i is used in the other territories, for

kind words; spoken with the object of touching the heart. 11 disura' (sura') and di01Jgilo (01Jgilo) both mean: designs have been incised, carved. is a tree with red wood and a red resin.

= it is ladled out bit by bit.

SA'DAN TORADJA CHANT FOR THE DECEASED

UC DC

BadOIJ To Sa.'dan Chant lor the decea.sed as song in the Sa.'dan terrltory

This chant consists of nine groups of strophes, each group containing two or three strophes of two or three Iines; the first group has five strophes.

al Maiko tatannun batÏ1},

tapana'ta' rio-rio. 2 Tiromi tu tau tOl}an, tu to natampa deata. 3 Malulun pada13 naola, ma'ti tomba!} napolalan. 4 Tilewak lembafJIIlo lao', tirabun pa'taunammo. 5 Ta!} diruamo dilambi', direnden dikilalai.

b 6 Inde dao to tUl3ara, rintin to mennulu sau'. umpolo bintanna sali. 7 Matindo situat} timbo, mamma' sitonda patoke'. 8 Dao tal3l13ana sondOl3, dao lisunna banua.

c 9 Anna lendu' daa mai, la messa'de banuammi, la merreke' tarampakmi. 10 Umpopani' pani' a!}in, umpolentek talimpuru'.

a 1 Come, let us weave the lament now The mourning song, in sequence right. 2 Look at that exceptional man Who was created by the gods. 3 The field's grasses has he trod down, The pond he walked across dried up. 4 Then he this region southward passed, Went, like the season, out of sight. 5 Now out of touch and out of reach Led away, but now forgotten.

b 6 He lies above here, on his back, Woe, like one with south pointing head! Across the bamboo floor slats lies. 7 He lies with palm wine holder there He sleeps with pack of viscous rice. 8 There, in the centre of the house The middle point of the abode.

c 9 And then he passed here from the North And walked beside your houses here Y our compounds here he did approach. 10 The wind's wings had he as his wings, The gales, he had them as his feet.

1 tapana'ta' (pana'ta') =

eli sion of the consonant w, 4 tilewak (lewak) = gone away (see 7 umpolo (polo) = bintan:

stro IJ BI).

deata. dewata for note on usage).

we perform it according to a straight line. dewata = god, spirit. This is the original form of the word and it is so spoken in the Sa'dan, Balusu and other territories. There are, however, some territories where there is the word then being pronounced

to cut through, to break through. bamboo slats that are tied to the floor joists. 9 tarampak: in the Kesu' and Pal3a1a' territories the word means eaves, guttering (see In the Tikala, Sa'dan and other territories it means compound.

Sumarruk susi burin ti, bali anakna betulal}.

d12 Tat}kan lentekna lumil}ka, tatJkan tuntun tarunona. 13 Lendu' titumbu tombinna, tipailan banderana, tilantuk baka buana.

e 14 Malemo situru' gaun, sikaloli' rambu roja. 15 Sau' tondok to mario, pessulunan makarorrol}. 16 Tondok tal} du'ku apinna, tat} disulun ruajanna.

f 17 Tibaen rokko matampu', dio!} kabotoan allo, kalambunan pidun-pidun. 18 Bendan kalukumi diol}, la ma'induk tumajal}IIlÎ.

g19 Te'dek bantat}mo sarira, ambuju'mo tarawe. 20 Napolalan la.t}J3an lat}i', naola latJl}an batara.

h21 Dadi deatami dao, kombo1}Illi to palullul}an. 22 PatontOlJan dao mai, dambassan katiro-tiro.

i 23 La umbenki' tua' sanda, paraja sanda mairi'. 24 Lan tondok sal}kaleleta, bamba ma'datu-datunta.

11 Fast as burinti birds he moved, Just like betulafj fledglings do.

d12 And then his footsteps weak became And then his fingers lost their grip. 13 Ris flags were waving as they passed Ris banners fluttered up and down, Ris goods in basket then went by.

e14 Re goes where douds do follow him To where the mists attend on him 15 Soutli, to village ever grieving To gateway that deserted is 16 To that place where no fire has bumed Where no coals on the hearth are put.

f 17 Now westward does he pass from view Below, there where the sun deseends There, where the shining one goes down. 18 A coconut palm, he stands there, A sugar palm, high over all.

g19 The rainbow there, immovable, The coloured arch, its full size, high. 20 Ris skyward path the rainbow is He walks to heaven along it.

h21 There he a deity shall be The all-enfolding shall become 22 Ever on high looking downward Continually watching us.

i 23 He shall to us full fortune give And blessings in their completeness 24 In this our village far renowned, In our region famed as princely.

no smoke rises.

11 burinti and betulatj are birds of the ricefields and are similar to each other. 16 In the poetical language, the grave is called banua tatj merambu = house from which

THE SA'DAN TORADJA CHANT FOR THE DECEASED

llD llD

BadOI) maIoIo To Kesu' Chant tor the deceased as sung in the Kesu' territory

This chant consists of four groups of strophes, each group containing four strophes.

al

2 To taf} dikandean essun, 2 For him: were eaten no sour things

POl} Lalondof},

7 La satJbanua nene'na, 7 His forbears are his neighbours now

c9 Kami, kami madandenkan,

= = fringe. The fringe is an

= the rim of the firmament, the horizon. The Land of Souls is far away on the horizon to the south-west. 6 POIJ LalondOlJ is the Lord of the Land of Souis, the Judge in the Land of Souis, who decides whether a soul sball he admitted, or not. POIJ LalondOlJ was the son of POIJ BaI3gairante and Tallo' MaI)ka Kalena. POIJ BaI)gairante was one of the children of the union of heaven and earth, see The Merok Feast, pp. 66-71, strs. 323-348. bambana mukkun = the place where men are ever active, is a poetical description of the Land of Souis. The activity of the people in the Land of Souls is probably meant to convey the idea tbat they are a1ways receiving souis.

11 Bendan kalukumo diol}, la ma'induk tumajal}mi. 12 La naola lal}f}lln lal}i', la kendek to palullul}an.

d13 Dadi deatamo dao, kombol}ffio to palullUl}an. 14 DitÏlr)ara ke mal}ambo', ke umparokkoki' banne. 15 La mendadi BUI}a'lalan, la kombol} bintoen tasak. 16 La dadi dao pussakna, kombol} lan matalabona.

UE

51mboq podo'

1 Bendo' bulan inde batil}, tibojol}. inde mario. 2 Metituran-turan ba'ta!}, merosso-rosso inawa. 3 Tal} madandenkoka iko, tae'ka dallo riomu? 4 Kami, kami madandenkan, dikki' to dallo rioki. 5 Allo sindi'mora te, lillinan sal}bol}Ïmora.

Bendo', bendo'.

AND TRANSLATION 71

11 A eoeonut palm, he stands there, A sugar palm, high over all. 12 He to the firmament shall rise Aseend to the all-enfolding.

d13 There he a deity shall be The all-enfolding shall beeome. 14 We look for him to sow the riee When time it is to strew the seed. 15 He shall The Pleiades beeome Beeome a yellow shining star 16 There, at the far rim of the sky There, at the zenith shall be ehanged.

3 dallo riomu = 5 sindi' is a poetical variant of sidi'

the world of men.

UE

Chorus that Is interrupted

This mourning ehant is terrible Frightful is this song of grief. 2 The feeling of the mind is ehanged, Dejeeted now beeomes the heart. 3 Should not you now affeeted be, Should not you mourn in sympathy? 4 We, we are the affeeted ones, Great is our grief and sympathy. 5 And now it is but a few days, The darkness of a single night.

Frightful, frightful!

= few.

1 bendo': a ferocious animal which, according to tradition, Iives in rivers. Bendo' is usually an exclamation of horror and anger. The meaning of the words bendo' bulan is not c1ear to me: bu/an means the light colouring of the albino; ted01j bu/an = Iight-coloured buffalo. The Toradja are forbidden to eat an albino buffalo. your grief and sympathy.

This strophe says that the dead man will he laid in rus grave and will then pass from

TORADJA CHANT FOR THE DECEASED

OF OF

Pa'sakkun marlo") Bestralnlng grief (?)

These strophes are concluded by the performers singing the words: "sakkun mario".")

1 Malemo naturu' gaun, 1 The douds behind him has he left naempa-empa salebu', Enveloped in the mists is he natalunduk pini-pini. The drizzling rain bends over him. 2 La sal}banua nene'na, 2 His forbears are his neighbours now la séU}tondok to dolona. His forefathers, fellow dweIlers.

Sakkun mario!

") sakkun mario: the following derivatives are Imown from sak kun : md sakkun are = to hold the chin in the hands; ma' sak kun-sak kun puduk = partly to cover the mouth with the hand; pdsakkun mario probably means restraining grief; mario = grief, sorrow.

fiG fiG

Pa'randen-randen Speaklng the word '&las' twlce

1 Ambe', la lumba minai, 1 Father, at what place art thou now, anna sanda pakean? Dressed in thy finery complete? 2 Umbai la lu tamamo 2 Hast thou perhaps gone to that house banua tal} merambu. The one where no smoke does ascend?

Randen, ehe randen! Alas, alack! Alas, alack! 3 Umbai disalli' leko', 3 Was it not locked the proper way, ditaruntun salian. The bolt from outside was shot home?

Randen! Alas!

3 The rock grave has a bolt fitted on the inside which is shot home from the outside. In addition to the expression disalli' leko', in the poetical Ianguage there is also ditaruntun kaïri = it was shot in the left (wrong) manner.

UH

Maklng alluslons

1 Now south, is he hid from our sight Hid, and now the seasons' sign is. 2 The rim of heaven he has reached, The hanging goat hair hints at it.

2 Here, the text is not c1ear to me but perhaps there is a relationship hetween the fringe of heaven and the goot hair on the staff held by tbe to ma'rette1j; see pp. 17 and 87

DJ

Betel and Gambir

1 Mourning ends: betel and gambir And lime are there: the mourning ends.

1 rido': I could not get a satisfactory explanation of this word. It is possible that it is a

sando may he a variant of sanda = complete. In some forms of the chant for the deceased we find: sando rido' rido' kal la lao: rido' kal la lao is the same as rido' kan Ict lao, the n of rido'kan being assimilated: rido'kan la lao = we have brought tbe mourning chant to its

UH

Passimban

Tileak bambami 1010', tirabun pa'taunammi. 2 Ullambi' rombena laI}i' simban bembe tirembon.

(note 17).

UJ

Bolu gatta

Sando rido', bolu gatta, sanda kapu', sanda rio.

variant of rio = mourning.

conclusion, let us go.

11K Badoq to soqlo' a)

1 Tiromi tu tau to!}an, tu to natampa deata. 2 To laen-Iaen dadinna, to sel}a' pal}Ïdenanna. 3 La natibolloi saro!}, natikembo!}i kambuno, ke lajan rante kalua'. 4 Kambuno to randan lal}Ï', ta'dUt} to lelean uran.

performed.

DK

Chant for the deceased as song by those who go downward in prooesslon

1 Look at that exceptional man Who was created by the gods. 2 He was a man of special birth A man whose mother's needs were strange. 3 Protecting hats were then brought out, The fan palm leaves were widely spread When he upon the wide plain was, 4 The fan palms from the sky's far rim, The shielding from the place of rain.

a) sCWJlo' = to go down; is a variant of solo'. In the context of a death feast, or of an offering feast, it means to go in procession to the field where the final rites are· to he

5 TatJ ditirorika lako, tal} ta'parika matanta? 6 Malulun buntu naola, ma'ti tombal} napolalan. 7 Umpotedol}-tedOl} batu, ma'pasilaga lolalan. 8 N adoloan burakena, naturu' pal}lalananna. 9 Mario-riokan kami, marorrol} silelekan. 10 Male natampa ambe'ki, naboko'i ma'dadil}ki. 11 Male untampe tondokna, umboko'i banuanna. 12 Malemi naturu' gaun, naempa-empa salebu', napararre' uran allo.

Rl

Rettel) dlpokada Iako to sugi' ke den mate

1 Kita al}ge mal}sal}bara',

mintu' to situran dadi. 2 Ke'de'ko anta umbatil}, anta tannun rosso inaa. 3 Tal} marandenkoka iko, tae'ka dallo riomu? 4 Kami, kami marandenkan, dikki' te dallo rioki. 5 Indete bamba to rammal}, tondok to mario-rio. 6 La mekutanana' aku, la meosik paramena', la mesanda sadasana'. 7 Lako to matua ulu, sola to banno beluak.

10 malua ulu = he whose head is old.

FOR THE DECEASED

5 Does it not come within our sight, Are not our eyes aware of it? 6 The mountain's grass did he tread down, The pond he walked across dried up. 7 With stones as buffaloes he played, While on his way he made them fight. 8 Ris burake preceded him, Ris people followed on behind. 9 We are the ones who mourning are We are lamenting everywhere. 10 Our father has forsaken us, Has left us he who begat us. 11 N ow from his village has he gone Ris house behind him has he left 12 The clouds behind him he has left Enveloped in the mists is he The morning rain between us stands.

Rl

Improvized verse for a man of high rank

1 We who are of the same age group We who were at the same time born 2 Come, let us sing the lament now Come, let us weave our hearts' distress. 3 Should not you now affected be, Should not you mourn in sympathy? 4 We, we are the affected ones, Great is our grief and sympathy 5 In this place of silent mourning In this village of the grieving. 6 Now, let me something ask about Let me a question calmly put Let me now of his kinsmen ask, 7 Of those with heads adorned with age Those with the hair that is so long.

"those with hair that is so long", is a referenee to older people who wear their hair long.

paJ}idenanna. 9 Dao to mennulu sau', sola menta'du lu rekke. 10 Buda kinaIlo lalanna, dikki' barra' maisona. 11 N apokinaIlo ilalan, to bombo mendeatanna. 12 N apobokol} rilambanan, lalundun kapuaJ}anna, sau' rumombena lal}Ï'. 13 Ullambi' bamba suruga, sola tondok POl} Lalondol}. 14 SlU3tOl}konammo nene'na, sal}esUJ3an to dolona. 15 Torro maelomo 1010', unnesUl} maja-majamo. 16 N atiromo POl} Lalond0J3, sola datunna suruga. 17 Ma'kadamo POl} Lalondol}, sumumi datu suruga: 18 "Buda kinallo lalanmu, dikki' barra' maisomu. 19 "Denmo gai'mu lumÏl}ka, unnola t3.J3l3ana lalan. 20 "Ma'rupa-rupa mubaa, dikki' apa mukaloli', dikki' apa mukaloli'."

Bendo', Ie! bendo'!

12 rumombena

8 Whieh was the month when he eame forth Which were the nights she fancies had? 9 Above now, with south faeing ones, With those whose feet point to the north. 10 For his journey there is mueh food Mueh riee for him, white and weil brayed. 11 Takes it as food when he goes on His soul whieh is a deity. 12 It uses as he journeys on, His shade that is as lord revered Southward to the rim of heaven. 13 He has now reaehed the hereafter, The village of POl} LalondOl}. 14 Now he lives with his aneestors He dwells now with his forefathers 15 There in the south, he lives in joy His dwelling there so pleasant is. 16 Looks upon him POI3 LalondOlJ Prinee of the region af ter life. 17 Then POl} LalondorJ says to him The Prinee of the hereafter speaks : 18 "For thy journey there is mueh food Mueh riee for you, white and weil brayed. 19 "This journey is one you must do To walk the middle of the way. 20 "You bring with you all kinds of things It is not little you have brought, It is not little you have brought."

Alas! Alaek!

= the hanging as a fringe. Cf. 11 D stro 5.

1 tOl'jkon = to sit down; in this context it means to sit down beside the deceased.

SA'DAN TORADJA CHANT FOR THE DECEASED

2 Mintu' ma'punti disa.t}gil}, al}ga ma'kekeran bassi. 3 Lo'bat} luarampa' sidi', palempe sal}piakanna'. 4 Kunai tumannun batil}, umpana'ta' rio-rio, untannun dosso inaa. 5 Ammi pera.t}iipa' sidi', ammi tandil} talil}apa'. 6 La lamban datumo rettel}, la tumel}ka karael}mi, messojan ampu lembat}mi. 7 Te dao lal}Ï' masa'ga', lalol} ma'kasolat}-solat}. 8 Dendaka buntu tal} nateka', tanete nakalambia', lombok natOl}loi lako? 9 Merambu sal}tanetemi, meumbun sal}leon-Ieon. 10 Pura barana' nalelleJ}, dikki' lamba' siosol}an. 11 Pa'kabua'na te lalOI}, pa'katumat}na muane. 12 Tonna dolonapa lalOI}, piranpara'na muane. 13 Kaluku natual} lamban, pat}i natonti unnorOl}.

2 Who eat banana pieces thick Those who upon the iron do bite 3 Make for me now a space so smalI, Indine your sides towards me now 4 When I the mouming song do weave The song of grief in sequence chant When I now weave our heart's distress, 5 So that you can pay heed to me You can indine your ears to me 6 So that the verse does princely go So that it royally is done Is like a ruler's swinging arms. 7 Might had he who now in heav'n is, A hero who destruction wrought. 8 Wasthere a peak he had not dimbed A summit that he had not scaled A ravine he had not looked in? 9 The smoke rose from surrounding peaks Enfolding all the houses dose. 10 The banyan trees, he hewed them all, The lam ba' trees together feIl 11 By that hero's actions subdued Destroyed by that courageous man. 12 In old times he a hero was, In former times a fearless man. 13 A coconut took as he passed, Bore cord-strung ptWji on his way.

prikatumQJj: acts that result in disaster.

pQJji: name of a fruit bearing tree (Pangium edule).

2 Before starting a mea.l, it is customary to bite on a piece of iron. The reason for this is adat decrees that during the period of mourning, maraa', rice, which is soft, must not be eaten, only oorn, which is hard. The iron is a substitute for the oorn and biting on it is a gesture in case a member of the family has died when away from home and his family are unaware of it, and they should he in mourning. This expression has to-day simply the meaning of: be in mourmng. That is also the meaning of: "Who eat banana pieces thick". 6 ampu lembQJj = the lord of the territory. In Luwu' the term is palempQJj; both terms are titles of the governors of the various dependencies of the kingdom of the Datu of Luwu'. 10 The banyan and lamba' trees denote the people in every territory who have power. 11 pa'kabua' = act; usually used when the act is harmful or results in a calamity.

untumQJj (tumQJj) = to lay on one as a burden; e.g. as does a transgression for which no atonement has been made and from which, as aresuit, ill luck will follow. 13 unnarm, (arm,) = floating, swimming, is here the parallel of lamban and meanS to march past. Strophes 13 and 14 teil of the heroic acts of the deceased in battle when he slew his enemies and carried their heads back to the village.

AND TRANSLATION 77

14 Nabakkai tal} kaluku, 14 He deft what was no coconut, He split what was no ptlfji fruit. napiak tal} patJi tOIJan. 15 Denmo gai'na masa'ga', 15 Of benefit his power was, surtU}3llna te malolle', The young here now must take his place, surul}anna te malolle'. The young here now must take his place.

Bendo', bendo', Ie! bendo'! Alas, alack! Oh, alas!

BS

Betteq lako to masokan ke den mafa

1 Kamu atJga tau buda, mintu' to massola nasarJ. 2 8iparapa'ko mairi', sikuaJ}ko sola nasal}. 3 Indete bamba to rammal}, tondok to mario-rio. 4 La miperal}iipa' sidi', la mitandÜ} talil}apa'. 5 La umpokadana' rettel}, la ussa'bu'na' mario. 6 Lako to sumpu matua, sola to mempuru' lampak. 7 8idi', sidi'ri retteJ}ku, tal} buda te marioku. 8 Apa to bekona' aku, tatJ paissan penaaJ}ku. 9 8idi', sidi', apa mammi', tal} buda, apa matannil}. 10 TumaI}Ï' tikumo tondok, si'dan nasaryno pa.t}leon. 11 Ta'de to ma'pakaboro', to masokan penaanna, natampekan sola nasal}, 12 La kipatumbari lako, la kiduatJ diapai!

6 sumpu matua:

BS

Improv1zed verse for a generous and noble man

All you here in your numbers great All in a mass assembIed here 2 Will each warn each to silent be, Will each teIl each to quiet be 3 In this place of silent mouming In this village of the grieving 4 80 that you can pay heed to me You can indine your ears to me. 5 An improvized verse I shall speak I shall a song of grief recite 6 For one whose age was very great For one whose span of life was done. 7 My verse is but a pal try thing My song of grief, it is not great 8 For I am but a dumsy one One who is not skilled with the mind. 9 It is but short, but beautiful, Brief, but 'tis full of melody. 10 The villages all round do weep Communities complete do sob. 11 He ~ho loved us now is no more, That one who was magnanimous He has forsaken all of us. 12 What is there now that we can do What is there that can now be done

a person who bas reached the greatest possible age.

SA'DAN TORADJA CHANT FOR THE DECEASED

13 Ke nalambi'i lampakna, ke nadete'mi garaganna. 14 Nakabe' To Tumampana. sola To Maf}garaganna. 15 Umba ia la susinna, la sipalinpa daona! 16 U mpakande redekkan, la umbarra' karoenkan. 17 Bua'rika dipatumba, bua'rika dipatumba!

Bendo', Ie, Ie! bendo' !

13 Now that his life's span has run out Now his existence is at end? 14 Ris Creator has taken him, The one it was who gave him form. 15 Who is there who can equal him, Who is there as sublime as he, 16 Who gave to us, our share of food, At eventide gave us brayed rice? 17 What is there that can now be done, What is there that can now be done?

Alas! Oh, oh, alas!

placed.

Of those who are the elders here

Of all together, to the last.

16 During the period when the ricefields are being cultivated, the wor kers in the field are given a meal of cooked rice at the meal hour and in the evening a coconut shell full of unhusked rice as payment for their work.

1 The adat communities of the Salu area comprise the villages of Salu, KaiindUl)a11 and SaI}polobUl}in in the NonOl}an village-group, Kesu' territory, Rantepao country. 4 pekaamberan = those who are addressed as father, i.e., the great and powerful adat chiefs. The elders are those people, of varying rank, upon whose judgement great value is

6 Ta'de gandal} manaral}ta, tandilo pande paliu, sulÏl}ta massola nasa!}. 7 Umba la susi oninna, la silio gamaranna? 8 Susi gamaranna santur\, temme' laal}na tulali. 9 Ma'ba'na-ba'na oninna, pantan laen gamaranna. 10 Susi gandal} randan laJ3i', tandilo lelean uran.

11 Rumel}an-mel}an oninna, gumarissil} gamaranna. 12 la mepa'disan tambuk, umpamasse penaanta. 13 La tapatumbapi to, la tadual} diapai? 14 TumaJ3i'ki' sola nasal}, si'danki' sal}ga mairi'. 15 TumaIJi' sola tondokta, si'dan sola banuanta. 16 Indako pande manaral}, paliu lan penaammu? 17 Unnukkunni kalimbuaJ3, sumillan liku mandalan? 18 Anna ke sulle te gandal}, ke sonda tandilo rante. 19 Ke den upa' tapoupa', to kita massola nasal}. 20 Paraja tapoparaja, al}ganta saJ3ga mairi'. 21 Tama'kurre sumaIJa'mo,

6 Both these instrurnents denote the

prayer and invocation.

references to the first to minaa

sumlDja' =

AND TRANSLATION 79

6 Our skilful drum is here no more The stringéd one exceptional The one who was a flute for us. 7 Where was a sound that was like him, That was an equal to his voice? 8 I t sounded like the pluckéd string, It had the clear sound of the flute. 9 His sound, it was in every key His voice had every kind of sound 10 Just like the drum at heaven's rim The stringed one where the rain comes [from. 11 His sound, he made it ring out clear His voice, it was melodious. 12 He made the mind the grief to feel, He made the heart affected be. 13 What is there now that we can do, What is there that can now be done? 14 All of us, we are wailing now To the last one, we are sobbing. 15 The village whoie, it weeps with us, With us sobs the community. 16 Who among you is so able, Who has a mind exceeding rich, 17 Who down into the weIl can dive Can plunge into the pool so deep 18 Can for this drum he suhstitute Succeed the stringed one of the fcasts 19 So that wc should good fortune have, All of us, everyone of us 20 Should with good fortune hencfit All of us, right down to the last? 21 We do our gratitude express,

to minaa.

who descended from heaven.

In his song of praise for the decea.sed, tOO to ma'"etlnj is not referring to the sound of the deceased's voice but to his eloquence, and to his Imowledge of every kind of offering

10 "the drum at heaven's rirn", and "the stringed one where the rain cornes from" are

21 ku""e sumlDja' = hail to the vita! force I These words surnrnon the vital force; ma' kurre to express good wishes; to express one's thanks.

THE SA'DAN TORADJA CHANT FOR THE DECEASED

tama'kurre sumaJ}a'mo! We do our gratitude express.

Bendo'! Ie, Ie, Ie o! bendo'! Alas! Oh, oh, oh, alas!

BIS

Betrel] Iako Sla Lal' Toban, balnena Sla BombeIaJuk

1 PoperJkammarampa' pia-pia, ta'tanampa' tal} unnissan! 2 Indete tondok to rammat}, inan to mario-rio. 3 Pantan uluanki' batÜJ, pantan tandurJki' mario. 4 Unnola taJ}1)a batirJku, mentialla' marioku. 5 Lolloan melona indo', tatendet} maja-majai. 6 Kuiese tikumo lembaJ}, Kusalol}i sl1l3mo pal31eon. 7 Buda pande dio 1embl1l3, dikki' to banne manaral3. 8 Ma'rupa-rupa alukna, pantan laen bisaranna. 9 Kulambi' bamba N at}gala, pessulunanna Kawasik. 10 Kutiro pande paliuk, lajuk lamba'na manaral3. 11 Sidi', sidi'ri nagirik, tal} buda te napakendek. 12 Anna kalando Ielena, natiranda karebanna.

3 tandfDJ : field where the feast is held.

surrounded. 11 nagirik (girik) = she turned it. 12 kalando = long, high.

BIS

Improvlzed verse for Lal' Toban, the wife of BombeIaJuk (a couple who lived in the N3J3gala territory, Rantepao country)

1 The children, make them calm for me Wam for me those who yet know naught, 2 In this place of silent mourning In this village of the grieving. 3 We have all kinds of mourning songs, We have all types of song of grief. 4 M y mourning song is add to them, My song of grief is mixed with them. 5 Let us laud the mother's goodness, Let us praise her at our best. 6 The country whole I have traversed Through all its areas have I gone. 7 The skilled in that region are great, Not scarce the able seed of Earth. 8 Their ritual is various, lts adat customs each does have. 9 And then I came to NarJgala To Kawasik village gateway. 10 I saw there one of skill so rare As clever as a fig tree high. 11 Though small, she turned it to account Though little, she did increase it 12 So that its fame spread far and wide In every place was it renowned.

9 pessulunan: gateway, the opening in the enc10sure with ",hieb, fonnerly, villages were

13 Kareba irandan lal}i', tiranda lelean uran. 14 Sel}a' panatta'na pande, laen kedona manarat}. 15 Sanda nakita ba'tetlIla, natiro pasiruanna, natiro pasiruanna.

Bendo' ! bendo' !

R6--9

BettelJ lako Sla poq Panlmba, kapala lompo distrlk Kesu'

AND TRANSLATION 81

13 It was known at the heaven's rim Was heard of where the rains come from. 14 She organized with wondrous skill, She ran her life with perfect ease. 15 Her mind gave heed to everything She gave good thought to all she did, She have good thought to all she did.

Alas! Alas!

R 6-9

Four rette'3 reclted by three different people

at the death feast for POIJ Panlmba, district

chiel ol Kesu'

R6 R6

R7

Betteq napokada Sa'palJ

Le, Ie, Ie! 1 Kada tOlJan toda to,

Our banyan, it has toppled down.

R7

Improvlzed verse reclted by Sa'paq

(a member of the deceased's farnily)

Hey, hey, hey! 1 This is the word of truth indeed,

TORADJA CHANT FOR THE DECEASED

puduk tal} sisala tot}an. My lips no contradictions speak. 2 Tibambal} tot}an lamba'ta, 2 True, our fig tree has fallen down sol}ka tOll3an barana'ta. True, our banyan has toppled down. 3 laku te akunna, 3 Now, if I speak just for myself te kale misa-misal}ku. Now, if but for myself I speak, 4 Tal} kupomadiOl} ba'teJ}, 4 I am not a dejected one tal} kuporosso inawa. I am not grieving in my heart 5 For it was writ that it should fall 5 Inat} allu' la sol}kami, ta'bulu' la tibambal}mi. The time had come for it to drop. 6 I t is the same for all mankind 6 Susi nasal} ia tau, When their life's span has run its course ke nalambi'mi sandana, When their existence is at end. nadete'mi garaganna.

Alas! Oh, alas! Bendo' ! Ie bendo' !

B8

~tteq napokada to mInaa So' Sen

Le, Ie, Ie! 1 Popet}kammaranna' pia, ta'tananna' tal} unnissan! 2 Indete tondok to rammal}, inan to ma'rio-rio. 3 Anta lolloan te ambe', tatendel} mendadianta. 4 Kulese tikumo lembal}, kusalOlJimo pa13leon. 5 Buda gajal} dio lembatJ, dikki' to banne tarapatJ· 6 Pada matasakna gajal}, pada du'kunna tarapal}.

B8

Improvlzed verse reclted by the to mtnaa,

So' Sere

(of the village of AlJin-A!)in, Kesu' territory)

Hey, hey, hey! 1 The children, make them calm for me, Warn for me those who yet know naught 2 In this place of silent mourning In this village of the grieving, 3 That we the father here may praise May laud the one who us begat. 4 The region whole have I traversed Each settlement have I been t~. 5 Gold krisses have they in a mass, Their huge gold krisses, numberless. 6 Of pure gold all those krisses are, Alike glitter those huge gold kris.

5 This is a reference to the many rieh people in the different regions.

7 When I to Ba'tan district went To MalenOlJ the stately porched 8 The gold kris saw surpassing all The gold kris that was not excelled. 9 Where is there one to equal it Which can in size be matched with it 10 Can constellations strew about Can sow the yellow shining stars, 11 That can the rim of heaven choose Seek out the place where rain comes from?

Alas! oh, alas!

7 In this strophe the spurs of the MalenOl} are likened to the front porch of a Toradja

10 This strophe praises some prominl'nt members of the village of Ba'tan, Kesu' territory, who, at the death feast, have distributed rix dollars to the people of lesser position. 11 This is a reference to the fact that those people in the community who hold positions of importance, who have become wealthy and who have held the feasts and have shown their liberality, ascend to the firmament when they die.

tal}do' la'bi'na Malenol}. 8 Kutiro tompo'na gajal}, membuleanna tarapaIJ. 9 Umbaora la susinna, la sipalinpa daona, 10 Ussioran ra'tuk lal}i', unnambo' bintoen tasak. 11 Ussulissin randan lal}Ï', ussisik lelean uran?

Bendo' ! Ie bendo' !

house.

Improvized verse recited by the to minaa, So' Sere a)

Hey, hey, hey! People, do you not know of it Now, have you not been told of it 2 I've heard folk say it, havn't I, It's penetrated to my ears? 3 But, I am but a clumsy one, One who is not skilled with the mind. 4 They say the heaven bears its fruit The all-enfolding is in bIoom.

Retteq napokada to mlnaa So' Sere

Le, Ie, Ie! 1 Tal} muissanraka tau, tae'ka mupeloloi? 2 N akua para' kural}Ï, tilanta' lan ta1ÏlJal}ku. 3 Apa to bekona' aku, tal} paissan penaa.IJku. 4 Nakua membua lat}i', menta'bi to palullul}3Jl.

4 A colourful way of saying that the deceased had issue.

0) In this rette1j, the composer is asking who will succeed the deceased as district chief.

THE SA'DAN TORADJA CHANT FOR THE DECEASED

5 To la tal} tot}3Jldika, ke naolai mamma'na, nakada!} tindo bol}Ïnna? 6 Susi duka te akunna, te kale misa-misal}ku. 7 Kita at}ga sola nasal}, mintu'ki' te tau buda. 8 Tatajan buanna Kesu', ta'binna bal}kudu tua. 9 Ke den upa' tapoupa'. paraja tapoparaja, rol}ko' todÜ} sola nasa!}.

dreams.

from the word bOljkudu

5 Do people then not speak the truth When teIl them of it do their dreams, Of what their nightly visions caught? 6 And so have I, too, I, myself I, too, myself, my very seIf. 7 All of us who are gathered here All in a mass assembied here 8 The fruits of Kesu' we await The blooms of the old madder plant. 9 When we shall then good fortune have With property we shall be blessed, Sublime will be our benefits.

RIO

Wam for me those who yet know naught

5 The meaning of this strophe is that the deceased's successor bas been seen in peoples

8 "the fruits of Kesu'" is a reference to the descendants of the mother clan house Kesu'. BaJ)kudu, the name of the region where the clan house Kesu' was situated, is derived = madder plant.

1 "The many who sour palm wine have", i.e., palm wine is part of the gifts which also include bananas and tubers, that are taken to the house of the deceased by friends and relatives as an expression of their grief.

7 Ba'tu la ia sirenden, ba'tu tenni sibalajan. 8 Sibalajan kenna bannal}, sirenden kenna pamuso'. 9 Kenna pembassean kala', pa'kembol}an kau-kau. ION a taI}Ïapa sirenden, nata!} tenpa sibalajan. 11 Al}ku pasondai batil}, lU}ku tuka'i mario. 12 N akuanna' inde pia, kadanna inde baitti': 13 "Da naia to mulambi', mudete' mukilalai." 14 Denki'ka tal} nauranni, t3.l} nabissik pini-pini. 15 To makaka nauranni, sabua' natarandakki. 16 Tal} diissan dilendokan, sanda' dipentirefUl}an. 1 7 Ke nasanda simisaki', ke nakanoto-notoki'. 18 Kita toda te to lino, te to kombol} tau mata. 19 T3.I} taissan talendokan, sanda' tapentilindul}aD. 20 Ke nakuamo PU3.l}ta, To mai To Tumampata. 21 Tallal} turananna Pu3.l}, ao' bela' -belaranna. 22 Ina!} to pekajuanna,

AND TRANSLATION 85

7 Would that these lines go each on each Would that it be they do relate. 8 Were they as threads, they would be linked Were they cleansed kapok, would cohere 9 Be like weft upon the heddle Be just like the swelling kapok. 10 Vet still they might not be weIl linked, It might be they would not cohere. 11 The mourning song I would then change The song of grief would alter then. 12 The children here, they say to me, The words of these small ones are such: 13 "Pay great attention to your words, So that they get not out of hand." 14 Does not the rain strike all of us Does not the drizzle touch us all? 15 The rain it does the free ones strike, It falls upon the slaves as weIl. 16 No one can run away from it No hiding place sufficient is. 1 7 It chooses each of us in turn It strikes us at the proper point. 18 We who live here upon the earth We who as living men are fonned 19 We can not run away from him No shelter is enough for us. 20 When our Lord has said it he so He, He who our Creator is. 21 We are the thin bamboo he fells The thick bamboo that he cuts down. 22 We are the place where he gets wood

9 pembassean:

Toradja, the word kaunan is used.

man).

oord or stick on which things are hung, e.g. c1othes. 14 The meaning of this strophe and the one following is that death misses nobody. 15 sabud = slave, is a word used in the Pali, Ba1la and Bettual} territories and in the Mamasa country. In the other territories of the Tana Toradja, the country of the Sa'dan

18 lau mala = Itl. an unripe man (i.e. a living man) in contrast to a ripe man (i.e. a dead

22 "a smooth and level floor", i.e. a noor from which nothing sticks up; this expression as weil as "the plain where rice does grow" mean that death overtakes everyone.

FOR THE DECEASED

We are the plain where rice does grow ma'pare rante mairi', A smooth and level wooden floor. sali papan sola nasa!}.

Ambe'! (Indo'!)

The singing of this ,.ett~ is conc1uded by all the singers saying: "ambe' " = father, when it bas been sung for a man, and "indo'" = mother, when the deceased is a woman.

RU

Bettel] Iako to merok

1 Kita a!}ge tau buda, mintu'ta massola naslU}. 2 POPel3kammaréU}ki' pia, ta'tanal}ki' tal} unnissan. 3 Indete rante buplU}den, te tondok busartU3lJu'. 4 Ma!}kamo tal}kean suru', sundunmo bamba sara'ka'. 5 Tarundunan aluk dolo, bisara to piran para'. 6 La umpokadana' rettct}, la ussa'bu' panÏl}oan. 7 Indete rante malona', dipaladan sea-sea. 8 Tumbara tel}ko taturu', batakan tasiullU}i? 9 Tu lat}13an talJl3ana llU}i', dipaladanna batara. 10 Te dao To Tumampata, sola To MalJgaraganta. 11 Nabenki' kamarendel}an, katuoanta sola naslU}.

RU

Improvized verse reclted at the merok feast

1 All of us here in numbers great All in a mass assembIed here 2 The children, make them calm for us Wam for us those who yet know naught, 3 On this plain that is so fragrant On this field that does smell so sweet, 4 The off'ring ritual is done, Ended are all the cleansing rites 5 For ,these we follow rites of old The adat rules of former times. 6 Let me this improvized verse speak This play of words let me recite 7 Here, on this plain that is so wide Here, on this forecourt that is broad. 8 What is the course that we should trace To which line should attach ourselves 9 That does to heaven's centre lead Goes to the firmament's forecourt 10 There above, to our Creator, To Him, who did give us our shape 11 That He give us prosperity And life to everyone of us,

batakan = pole of a plough. 8 t~ko = plough; in the poetical language it means a furrow made with a plough.

12 Anta keanak, keampo, mintu'ta nasambo lalJÏ', narande tana kal ua'. 13 Nabura' lindo masakke, N api'pik sanda marende13. 14 Anta e matua induk, anta banu' karurutyln. 15 Tasilele tua' sanda, palisu sampe mairi'. 16 R013ko' todif} sola nasaJ3, rot}ko' todÜJ sola nasa13. 1 7 Bela, bela! nakua kadanna todi13: "Kada13mo' bembe manik! kadalJmo' bembe manik!"

15 paliru

at feasts.

AND TRANSLATION 87

12 And children and grandchildren, We who are under heaven's arch By wide earth borne, on flat of hand? 13 May He grace scatter from His face, Prosperity may He pour forth 14 That ag'd as sugar palm we be Old as their heartwood do become, 15 That all of us good fortune have Have portents of prosperity. 16 May benefits then be sublime, May benefits then be sublime. 17 May it succeed, may it succeed, The sign gives forth its own words now: "Grasp me, splendid stick with goat haïr! Grasp me, splendid stick with goat hair!"

R12

Retteq Iako to Ia'pa'

1 Kita aJ3ge to melJkita, mairi' to sae b013i, AlJga to ratu malillin, 2 Siparapa'ko mairi', sikualJko sola nasaJ3. 3 La umpokadaki' rettef3, la ussa'bu' karombian. 4 Sae nasaJ3raka ganda13, tae'ka ta'de bombOfJan, tu mati' tandilo rante? 5 lake lalan ba'talJku, pamori' lan penaaJ3ku.

3 karombian: 5 lalan ba'taJ'jku:

R12

Improvized verse recited at the

la'pa' feast

1 All of us here who come to look All who at eventide do come All who appear now it is dark 2 Shall silence of each other pray Shall wam each other to be so. 3 Now improvized verse we recite, We shall the eulogy now speak. 4 Are all the drums now present here And all the gongs, are they here too, The stringed ones of this feasting place? 5 And it is what my heart desires It is what my mind has made up

la' pa' feast.

= hair whirl; usually regarded as a sign of good fortune. 17 bembe: stick with goat hair fixed to it, cp. the word bembe' = goat. This stick is carried

song of praise sung by the participants at the the way of my innermost heart.

SA'DAN TORADJA CHANT FOR THE DECEASED

6 Pada unnoniko gandaI}, pada motokko bomboJ3an, sumuko tandilo rante! 7 Anta 10Uoan te bua', anta tendel} kala'pasan. 8 Ma'misa gajat} didandan, taraplU} ma'paran-paran. 9 Rara' tatif}Oi tama, ma'misa masak didandan, tÏl}gi te ma'paran-paran. 10 La umpanÏt}oi bua', untendel} pa'maruasan. 11 Nakua aku rettet}ku, teen aku karombiaI}ku: 12 To pUaI} talJil}ana laI}i', dima'dikanna batara, 13 Umpondok taI}kean suru', tetaJ3an lindo sara'ka'. 14 UmpamaJ3ka kala'paran, umpasundun bua' padat}, to mai kapenanian. 15 Mintu' burake manakka, sola to bit}su mapato. 16 Anta masakke mairi', madadindÜJ sola nasat}. 17 Silele takinan pia, anta ma'sompo ma'kepak. 18 Ma'da'det} kataa-taa, anta e matua induk, anta banu' karurut}an. 19 Bela, bela, o! bela! Nakua kadanna todit}: "Kadal}IIlo' o! bembe manik!"

6 That drums, together you must sound Gongs, with each other you must strike. Speak, stringed ones of the feasting place 7 That we the bua' feast may praise That we the la' pa' feast may laud. 8 The krisses gold in line now stand Huge krisses gold, they form a row. 9 We turn east, to the necklaces Old beads skilfully set out Those dark red beads, there placed in rows 10 That we may hold the bua' feast This festival may eulogize. 11 My improvized verse, it does say, This eulogy of mine thus reads: 12 Lord of the centre of heaven Of the glorious firmament 13 Has fixed the offring ritual As weIl as the atonement rites. 14 The la' pa' feast he has performed The bua' for the harvest done And the men ani feast as weIl 15 With all the skilful burake The bitJSu, who the right way act 16 So that we have prosperity, That all shall in their lives fare weIl 17 Will carry children on the hip Lift on shoulder, bear at waist, 18 That we may ever laugh with joy Old as the sugar palm become The age of its heartwood may reach. 19 May it succeed, succeed, succeed! The sign gives forth its own words now: "Grasp me, splendid stick with goat hair!"

12 "The Lord of the Centre of Heavcn", is PUCRJ Matua. The term ma'dika = noble lord, is used in some territories to denote those who are of the blood of the pUCRJ. Here ma' dikanna = the glory of. 14 penanian is another name for the bua' padCRJ feast where the to menani, the leader of the feast, acts as leader of the women's chorus. The buá padCRJ feast is held to ensure a full harvest.

TORADJA WORDS

which are mentioned in the notes attached to the strophes.1

ambayarj: kind of large mango, I A 28. anak ta makaka: the notables of the adat community, I A 143. Bambapuarj = Gate of the Gods, I A 68. banaa: a small wooden dish in which at the bua' feast, unhusked rice is put, IA35. Bal'Jkudu: the name of the region where the clan house Kesu' was situated, I A 90, R9:8. banne ba'tarj = seed of the brain, I A 136. batu lapparan = having scales on the feet, I B 64. Batu: the name of a clan house in the village of Kadundlll3, I A 92. bembe: stick with goot hair fixed to it, R 11 :17. benda' : an exclamation of horror and anger, 11 F 1. be1JSU = b#jsu: the women who are in a state of taboo at the bua' kasalle feast, I B 33. birjsu = be1}Su: R 12:15. bamba,,: the main rib of the banana leaf when the latter is complete, I B 61. bua'feast: a feast to invoke blessings, Introduction 5. bulaan = golden, I A 24. burake: priestess at the great bua' feast, IA36. dae'} = to amass, I A 198. dalia namu = your grief and sympathy, 11 E8. deata = god, spirit, I A 38. dewata = god, spirit, 11 D 2. dikki' = small, scanty, I D 2l.

Dun: a federation of three small kingdoms, Alla', Malua' and Buntubatu, IA75. gandarj = drum, I A 12; it also denotes the to minaa, I C 3. garagammu = the forming of thee, I A 7. garatUJj: a small drum with a python's skin as the drumhead, I A 37. gayarj saraparj = large gold kris, I C 99. Kalebu': according to tradition an island lying off the west coast of South Celebes, I D 42. kambltna: the leaves of the fan palm which are sitched together to make a hat, I A 159; it sometimes denotes the adat chief, I B 101. kapana'-panaran: the time when the heat of the sun is hot enough to bum one, IA 11. kapaYUJjan = the place of the sunshade, I A 40. kapual'Jan = having the status of a god or lord, I A 41. karae'}: a title of princes and members of the nobility, I D 81. karombian: song of praise sung by the participants of the la'pel feast, R 12:3. K esu': the Kesu' Rocks !ie to the south east of the capital, Rantepao, I A 19. kole: a large straight tree with slnall leaves, I A 196. kamba,,: the plantation of bamboo and sugar palm that belongs to the clan house, I B 60. kombo1j = to be formed as, I A 12l.

letter.

1 Dnly words that appear frequently in the strophes are given. The list is not etymo- logically; the words are given in the form in which they occur in the notes. The number of the strophe given is that in which the word or the term are first mentioned. Strophe numbers from all the texts I A-R 12 are preceded bij the relevant

THE SA'DAN TORADJA CHANT FOR THE DECEASED

kulu-kulu: a kind of bird with a melodious call, I B 20. lamba'; the lamba' and banyan trees denote tbe people in every territory who have power, R2:10. la' pa': conclusion, end, I A 21. lantona pudu': that which is put to the lips but is hard, I B 63. latJSa' = latJSat, a tree having small round yellow fruit, I A 162. Ie is an exclamation used to encourage the persons addressed to reply, II A 1. lempo bumarran: the platform which smelIs of meat, I A 161. leppo'-leppo' = a small platform, I A 161. 101J0: the jutting out eaves at the front and back of the saddle-shaped roof of the Toradja house, I A 18. lt»jke = visible from afar, I A 9. maa': the name of the cotton tjindai c10th introduced by Dutch India Company, I A 121. ma'balinono: to proceed on foot in procession to the place where the bua' kasalle feast is to be held, I A 20. madadindilj = cool, fortunate, prosperous, R 12 : 16; = marudindilj, I B 127. ma' kasea-sea = invincible; to pay out handsomely, I A 20. ma'kebud to hold the bull feast, I A 21. mlllea-iea to make oneself red, I B 114. marudindilj cool, fortunate, prosperous, I B 127; = madadindilj, R 12: 16. matalabona: the rounded extremity of the firmament, I B 53; cp. talabona, I C 53. mendaun mgi' = rich, as the leaves of a tree, I B 88. menani = the singing of the chant at the bud feast, I A 21. mendeata = having become gods, I A 41. me1Jkaililj = to shake one's head, I B 52; = unnililj, I B 111. me1Jkepak = to carry on the hip, I B 68; cp. ma'kepak, I B 130. narende = she smelted, I B 57. natÏljara = he looked up, I C 112. lIatirandukki = he pricked, IBS. Ne' Sara: the name of the preparer of the corpse, when it is to be prepared for burial, I A 145.

pamuso': kapok from which seeds have been removed, IC 7. pat'jidenan = the state of having the fancies of a pregnant woman, I B 56. pat'jloli: black buffalo with a tail with a white tip, I A 13. pantanan nene' = that planted by the ancestors, I C 131. passara'kasan: the atonement ritual, IC28. passasaran tuyu = the place where the rushes are cut, 1 A 136. pata' = the middle one of the three beams that run longitudinally under a house, I A 147. patalo = he prevailed, I A 138. patat'jdo: the stone which is put up in front of the clan house, when the bua' feast is to be held, I A 19. pe1Jkalossoran: the atonement offering, I C35. pessulunan: gateway, R 5 :9. pindan = dish, I A 35. pini-pini = fine rain, I A 44. POrjko': according to tradition an island lying off the west coast of South Celebes, I A 59. P t»j LalondrWJ: the Lord of the Land of Souis, II E 6. ponto = armband, I A 136. PUat'j = god, spirit, I A 38. rambo-rambo thread, fringe, fibre, IA 15. rat'jga inaya wea1th of thoughts, I A 136. rara' = neck chain, I A 6. rombena lat'ji': fringe of the firmament, lIES. rumombe = to hang down like fringes, I B 112. Rura: the name of a plain, lying between Enrekang and Kalosi, I A 71. sat'jbanua = those who belong to the same neighbourhood, I A 1. sat'jparaan = a small amount, I A 107. satJSaroan: a group of people belonging to the same hamiet who work the ground on a communai basis, II B 1. sat'jtat'jke = one branch, I A 107. sarapat'j = large gold kris, I C 99; = tarapat'j, R 8 :8.

OF SA'DAN TORADJA WORDS 91

Sarira: the Sarira Rocks extend from the SaJ}IIlla' territory northward into the Kesu' territory, I A 86. sarita: a long, narrow blue c10th with white designs on it, I A 121. sembtll'j: cut off aslant; a shortened form of altll'j sembtll'j, I C 29. Siguntu': the name of a clan house in the village of KadundUl), I A 92. sirantean = to be on the same level with, I A 21. sirenden = to be a guide to each other, IC6. sisura = getting entangled with each other, I A 169. sitaOOi = lying across each other, IA 147. soOOo'J: in poetical language the parallel of banua = house, I A 146. sO'Jlo' = to go down, 11 K nt. a. sumpu matua: a person who has reached the greatest possible age, R 3 :6. takinan pia = the act of carrying children at the waist, I B 69. talabona: the zenith of the firmament, I C 53; cf. matalabona, I B 53. tambuttana: a small grave mound, I A 174. tandilo : a musical instrument consisting of half a coconut shell with a cord stretched across it, 1 A 37. tandU'J: field where the feast is held, R5:3. ttll'jke tikunna = all branches everywhere, IA3.

tarampak: in the Tikala, Sa'dan and other territories it means compound, IID9. taraptll'j = large gold kris, R 8 :8; saraptll'j, I C 99. tatannun = let us weave, I A 2. tau tOrJan: a man in reality, II A 1. terjko = plough, R 11 :8. tete = bridge, made of bamboo culms, I CS. twolloi = it is poured forth, I A 159. tilewak = gone away, II D 4. to bard: the term for the prominent adat chief who acts as the offerer, I A 143. toditj: a distinguishing mark, I A 13. to ma'kadO'Ji: the prompter. tommu dipapore tampa, when thou wert shaped as asolid whoie, I C 9. tO'Jkon: to sit down beside the deceased, R 10:1. to palullU'Jan = the a11-enfolding, I AIO. tumtll'jke-mtlI'jkei = he held in his hand, IC36. tumaytll'j: higher than other things, I AIO. uaka'na diorO'Ji = his roots that people drifted towards, I C 43. ultll'jna = the link between two things, I B 69. umpolilitj kalumbassik = to have an enclosure of arches made of split bamboo, I B 62. unnilitj = to shake one's head, I B 111; = metjkailirj, I B 52. unnoro'J = f1oating, swimming, R 2 : 13.

VOOR TAAL-, LANI). EN VOLKENKUNDE

VERHANDELINGEN

33. H. J. de Graaf, De regering van Sunan Mangku-Rat I Tegal-Wangi, Vorst van Mataram, 1646--1677. I. De ontbinding van het rijk.
1961.
34. H. Myron Bromley, The Phonology of Lower Grand Valley Dani.
1961.
35. J. C. Anceaux, The linguistic situation in the Islands of Yapen, Kurudu, Nau and Miosnum, New Guinea. 1961.
36. G. W. J. Drewes, De Biografie van een Minangkabausen Peper- handelaar in de Lampongs. 1961.
37. J. P. K. van Eechoud, Etnografie van de Kaowerawédj (Centraal Nieuw-Guinea). 1962.

38. Tapan Raychaudhuri, Jan Company in Coromandel, 1605-1960.

1962.
39. H. J. de Graaf, De regering van Sunan Mangku-Rat I Tegal-Wangi, Vorst van Mataram, 1646--1677. 11 Opstanding en ondergang.
1962.
40. C. Skinner, Sja'ir Perang Mengkasar (The Rhymed Chronicle of the Macassar War) by Entji' Amin. 1963.
41. Silvia W. de Groot, Van isolatie naar integratie. De Surinaamse Marrons en hun afstammelingen. Officiële documenten betreffende de Djoeka's (1845-1863). 1963.

42. P. Drabbe, Drie Asmat-dialecten. 1963.

43. S. J. Esser, De Uma-taal (West Midden-Celebes). Spraakkunstige schets en teksten. 1964.
44. J. C. Anceaux, The Nimboran Language. Phonology and Morphology. 1965.
45. H. van der Veen, The Merok Feast of the Sa'dan Toradja. 1965.
46. C. L. Voorhoeve, The Flamingo Bay Dialect of the Asmat Language. 1965.
47. H. K. J. Cowan, Grammar of the Sentani Language. 1965.
48. P. A. M. van der Stap, Outline of Dani Morphology. 1966.