If the definition of heaven is a strange but comforting melody revealing stories of the timelessness of the human soul, then a corner to find it is in the southernmost inhabited island in Indonesia; Rote.
Just a sail 2-4 hours to the southwest of its more famous neighbor Timor, Rote is a 70km long island covered in arid savannas and palm sugar ( Borassusflabellifer , known locally as killed or lontar ). Lontar is at the heart of life in Rota; as a source of food, fiber for weaving, wood for construction, and music.
Unfortunately, during my trip to Timor, I did not Rote because of maritime risks and canceled ferries. Fortunately, there is a place in Timor that makes me feel a little more Rote; Sasando the workshop of Jeremias in Oëbelo Pah, 22 kilometers east of Kupang.
Sasando Biola
Sasandu , a pentatonic harp made of bamboo core, bamboo or metal strings, setting mobile bridges, and a robust resonator made of palm leaves, is a native instrument of Rote. For generations, the clan Pah has been known as guardians of the musical heritage Rotinese and developers sasandu 's daughter modern diatonic, the biola of Sasando.
Sasando gained recent national attention in 09 when jazz composer Dwiki Dharmawan included in a performance before President Susilo Bambang Yudhoyono and the then Minister of Culture and Tourism Jero Wacik. The Chairman then called for a contest Sasando in Kupang, which attracted 358 of the 400 players known existing Sasando
When I arrived Pah appeared in traditional dress. White shirt, dark woven selimut with a matching scarf, and ti'Ilangga palm sombrero. With palm harp on his lap, the 75-year maestro savvy sitting at his laptop computer and recording equipment, and began playing Batu Matia - a traditional melody that I heard two musicians plays the same.
music is nothing like the gamelan of Java-Bali or bambu angklung . Traditional acoustic sasandu clean and crisp sounds like the banjo, but with a pentatonic chord played to the rhythm of a heartbeat. There was the unpretentious simplicity in melody, harmony and facial expression. Pah sang with the soul of a wise storyteller.
According to the unpublished thesis of Dr. Christopher Basile, based on interviews with four senior sasandu maestros in the 190s, the original sasandu was invented by Sangguana, a fisherman from the 17th century Rotinese who are shipwrecked and imprisoned in Ndana (zero southernmost island of Indonesia, now uninhabited). Despite the request of Basil of historical accuracy Sangguana, Pah does not endorse this story.
Jeremias in traditional costume with an acoustic sasandu and a giant replica
The Princess of Ndana fell in love with Sangguana and assigned him to invent music that has never existed before. With the inspiration of a hopeless dream, created a Sangguana sandu (Rotinese "tremble") from a length of bamboo, seven strings from roots of banyan tree, and a resonator solid palm leaf. Over the music lessons a day, the princess and Sangguana began a scandalous love affair that triggered chaos in Ndana and killed Sangguana.
The news reached the woman Sangguana in Rota, who was pregnant with their son when Nalesanggu Sangguana left there for years. When Nalesanggu came of age, his mother told him the tragic fate of his father. However, Nalesanggu massacred every person on Ndana, including the princess for whom sasandu was invented. Nalesanggu then brought the sasandu back to Rote and taught at Rotinese in honor of his father.
The sasandu then evolved into the biola Sasando of the early 20th century when Rota became increasingly Christian and adapted the Dutch customs, music and dance. Pah Pah Ougust and Edu, the father and uncle of Jeremias Pah respectively, were credited among the first developers Sasando biola.
Pah started learning Sasando as a child in the 1940s, '50s playing hymns in church. In 1962, he moved to Kupang to develop modern Sasando and give it greater exposure to other Indonesians and foreigners. As a devout Christian, Pah attributes the continuing legacy of his family Sasando to divine inspiration.
"Because of the resonator, the Sasando used to be difficult to transport," says Pah. One Sunday morning, the arrival of a guest unexpectedly delayed Pah plan to go to the church. "I arrived in the middle of a sermon and took the only seat left next to the ladies. It was hot, so a lady pulled out a folding fan of his bag. It was as if God was telling me to develop a folding fan resonator similar to the lady. "
Pah said he had no temporary difficulties on the musical tradition in his ten children. At least four of Pah adult son now make a full time living execution, making, and Sasando education.
"Passing on the tradition to his children should not be difficult. A non-Rotinese student of mine taught three songs on the Sasando in just four days, "said Pah." When there is a will, there is a way. The key is to start your kids early in the growth of a true love and interest in music. "
Jeremias and his adult son Berto on electric Sasando biola
Pah then called his youngest, 10 years Rino playing Bolelebo on the electric Sasando. for a young learner, Rino performance already sounded well structured and practiced. Smile proudly to his son, Pah hummed along melody and told me that Rino will perform in Singapore in December.
"Oh no, I play this game bad," the boy gave a shy laugh as he finished the song, before running into the house.
in 2010, the son of Pah Djitron and Berto were candidates in two shows distinct talents to the Indonesian national television. Each execution of the electric Sasando biola, their repertoire included Jason Mraz I Yours , I Il Divo Believe in yourself Ballade Pour Adeline Richard Clayderman and am Padi Begitu Indah
Among the many tunes Pah has made to the sasandu and Sasando biola, Pah summarizes the soul of his music in three songs: . Lelendo ( "Battle Song"), Te'o Renda ( "Embroidering Woman"), and Batu Matia ( "Heavy rock").
Lelendo is a song of the Rote son of bloodshed fought for the sovereignty of Indonesia in the colonial era. Te'o Renda is a song about a time of peace after the war, when women get up hours before dawn to make embroidery, like embroidering a bright future for the dawn of a new generation. Batu Matia is a song about a young man asking for the hand of the woman embroidering in marriage, committing to build a steadfast building love like a heavy rock as they tackle the harsh realities of life together.
As the maestro watch his children develop their generation version of the old harp palm of Rote, Pah continues to brim with memories timeless music he lived. And those who have had the privilege to meet him would also come home full of memories of melodies from the Far East of Indonesia.
Jeremias Pah Sasando Workshop
Jl. Timor Raya Km 22
Desa Oebelo
Kecamatan Kupang Tengah
Kabupaten Kupang
Nusa Tenggara Timur
Indonesia
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