TALES FROM EXOTIC SUMBA

Encounter with a village teenager with dreams

Story and Photographs By Ferry R. Tan

Wiwin, a teenage girl from Praijing village with dreams

Prai'jing village is located in Tebara, Waikabubak Subdistrict, West Sumba District, Nusa Tenggara Timur Province. The village counts 38 traditional houses which are typical to Sumba. Before the fire in 2000, which destroyed 20 homes, the village counted 42 houses.

A view of Prai'jing traditional village

In this village lives a pretty girl, named Wiwin. On my latest trip, I paid a brief visit to her village when her beautiful bright eyes met mine as I went past her little stall. Wiwin is a benign and lively girl who is not shy at all. She loves to read books and listening to stories about our great world.

Wiwin is 14 years old and like any other teenage girl of her age, she too, has big dreams and hers is to see the big city and become a model when she's old enough, she told me. Well, she has my blessings because she definitely got the looks.

However, the sad reality is that Wiwin is only one of the many children in Sumba and everywhere in Indonesia, who is destined to struggle, day after day to make ends meet, without knowing what the future has in store for them. I sincerely hope that the future has something great up its sleeve for Wiwin.

Wiwin was raised by her grandmother when her biological parents abandoned her after birth. Wiwin’s father is of Indian origin, hence her exotic appearance but so far, she has no knowledge of her parents’ whereabouts.

Wiwin dreams of becoming a model when she's grown up

Selfie time with my beautiful friend from Prai'jing village

To make a living, Wiwin and her grandmother sell their homemade Sumbanese handicrafts to visitors from the porch of their home. If you happen to visit Sumba, do not walk past Wiwin's small "store" and see their wonderful craftsmanship and maybe you want to buy something from her.

With a little help, perhaps once, Wiwin's little dream of becoming a model will come true. But I especially hope that she will grow up in dignity with the confidence that she can determine her own future. A great future for her self and that will contribute to the future of her country.

By: Ferry R. Tan – 2020

ferryrtan@gmail.com

A JOURNEY TO THE ORIGIN OF IKAT #05

Sumba, a Dynamic Mystery

Story and Photos by Ferry R. Tan

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THE MEGALITHIC CULTURE

Sumba is a remnant of one of the last megalithic cultures in the world, where burials are carried out as a 'living tradition' for prominent people when they pass away. Large bollard blocks of 20 tons each are cut and dragged over great distances to build mausoleums for the wealthy and the nobles. Some tombs are decorated or carved with figures like crocodiles, turtles or other creatures to symbolize the noble birth or wealth of the deceased.

Funerals can be postponed for years or even decades, keeping the bodies of the deceased in the homes of the living. Not carrying out the necessary rites, including sacrificing large numbers of buffalo, cows, pigs and nocturnal protection rituals at the quarries where the stones were cut, may risk the fury of malicious ancestral forces. Animal guts are consulted to seek the approval of malignant ancestral spirits.

It often happens that people put themselves and their families in debt to be able to build gravestones according to the tradition to perform the necessary burial rituals. If it does not seem feasible in their lifetime, the duty is transferred to the next generation.

Sumba's history is one with a lot of folklore. Until this date, the culture of the island still demands that the faith of Marapu remains respected and worshiped. We see that reflected in the countless tombs and in annually recurring events such as the Pasola, an ancient war ritual and Wulla Poddu, the bitter month. Sumba's megalithic culture is almost 5,000 years old, but has remained well preserved.

This culture, in the form of stone tombs and, can literally be found everywhere in villages, by the roadsides and even in the courtyard of the police station. Most graves have their own distinctive forms. The decorations have a high artistic value. The images and characters are determined by the region in which they were created.

The Sumbanese believe in a life after death and bury their deceased family members close to home, which is why there are cemeteries in every traditional village. They regard their houses as homes for the living, while tombs are considered houses of the dead. A grave is in general, larger in size as a form of respect for the ancestors, but also reflects the status of the deceased.

In West Sumba, for example, there are large stone slabs supported by four legs. The table-like grave is decorated with stone figures, carved with various ornaments. In general, these kinds of tombs are dedicated to kings and nobles. The locals call them Watu Pawa'i. A Watu pawa’i is not always built as a tomb, but also as a monument.

The simplest is called Watumanyoba, a stone slab directly placed on the ground. They are different in shape, including rectangular, square and oval and other irregular shapes. These graves are meant for ordinary people.

Ornaments usually come in three-dimensional reliefs and sometimes two-dimensional. There are also patterns that depict historical figures such as animals or geometric patterns from the latest era. Patterns are strongly influenced by the religious belief and the status of the deceased. The richer the people, the more luxurious are their graves.

According to archaeologists, the decorative patterns of the graves are the only ones that really represent the megalithic culture. Although other tribes in Indonesia also have this kind of megalithic cultures such as those in Nias, Sabu, Flores, and Timor but it is only Sumba that applies beautiful three-dimensional reliefs and sculptures.

However, something is interesting about the megalithic culture of Sumba. Although Sumba firmly sticks to their traditions and culture, it has not been preserved of modernization. In some villages, there are tombs made of more modern materials such as ceramics or marble. Again, modern or not, the social status of the owner is decisive.

Sumba is steeped in prehistoric cultures that have gradually evolved to the present. Ancestral traditions handed over to the next generations have influenced the lifestyle and culture of the past for centuries. However, these ancient cultures and beliefs are still respected by the younger generations.

Villages are formed by rows or a circle of houses around large megalithic tombs. The relatives of you can leave this earthly life, but they will never leave their village because they are all related in some way. In the center there is often an open space for performing ritual dances and sacrifices, and sometimes a kind of altar or temple surrounded by a wooden fence. Others have a small house-like structures for storing cultural artifacts. Small stepping stones can be the graves of slaves.

THE MARAPU

Villagers, dressed as warriors with machetes and shields perform a dance of ancestral worship in a polonaise formation

As I traveled through Sumba, I discovered many things about the treasures of the island that many are unfamiliar with. I visited traditional villages and became intimate with the villagers and where I had the privilege to learn profoundly about their customs and traditions. I have learned that villagers claim to be Protestant, but still, pay tribute to their homeland Marapu with bloody sacrificial rituals.

The spiritual tradition is very much alive in Sumba and centers on the Marapu belief. Marapu is focused on creating harmonious relationships between humans and ancestral spirits, the Ina Ama (female/male). The earthly life is temporal, but the Ina Ama live eternally in Prai Marapu (Marapu Heaven). The Rato is a traditional priest who can pass messages between ordinary folk and the Ina Ama. One way to convey a godly message is by reading chicken intestines and pig or buffalo livers. Many things are considered “pamali” or taboo, such as particular paths in villages or rocks.

Waitabar, a traditional village in west Sumba with villagers carrying a scarificial animal for the Wulla Poddu ceremony

The Marapu has influenced almost every aspect of the lives of the Islanders, from the shape of their houses to the funerals. In the spirit of Marapu, people believe that they are guarded by their ancestors and therefore maintain a harmonious relationship with them through ceremonies led by priests they call Rato, who is seen as direct communicators.

A Rato is always a male person who is a respected and honored member of the community. The rule to becoming a Rato often passes from father to son. A Rato must have an impeccable memory, because there is no formal written version of Marapu prayers, that the Rato must recite the prayers orally in all ceremonies. Some rituals can last up to 12 hours which makes this oral tradition an art in itself.

Other rituals are based on life such as birth, weddings, and funerals. Rituals around death seem to be more important than life itself. The Sumbanese spend a lot of time and money at appeasing their ancestors. For example, the ritual of Tingi Watu focuses on moving huge boulders from quarries to make graves and can take days. The Pasola, a spear-throwing festival on hose-backs to celebrate a successful harvest, took four days but has become a tourist attraction. The spirits are appeased by rituals and sacrifices to keep the world in balance. This kind of ceremonies can be elaborate and expensive, for instance, once there was a king who had to wait 17 years after his death before he could afford his own funeral ceremony.

PERSONAL POINT OF VIEW

A young Sumbanese boy encourages his pony to run faster

I continually look for images that tell a story, and Sumba has delivered those images. A picture is a memory and a kind of time machine that takes us back in time. Photographs are memories of events that we can either cherish or ignore. The choice is up to us. My trip to Sumba was an experience not to be forgotten.

A Sandalwood pony seeks shelter on the epic savanna s of Puru Kambera

I believe that the best thing someone can do is do the things that he loves. For me, it is traveling and capturing moments I can share with others to remind them of the importance of preserving history, especially in the remote regions of Indonesia that seem to be forgotten.

Curiosity drives me to explore destinations off the beaten path and go to places some people can only imagine, and meet people to learn about their customs and traditions. I love the outdoors, and to be one with nature. I prefer to travel light with a minimum of equipment.

A majestic starlit night a the beach of Watu Parunnu, East Sumba

Moreover, Sumba is a photographer's paradise. The remarkable local architecture and landscapes are absolutely breathtaking, and a must see. It was a privilege to learn about the island life.

If you ever plan to visit Sumba, then keep in mind that the island has more to offer than just its stunning landscapes and breathtaking beaches.

If you ever plan on visiting Sumba, then keep in mind that it has more to offer than breathtaking scenery and stunning beaches. If you are prepared to travel off the beaten track and change your living standards, but also able to disappear from your digital world for a little while, I guarantee that you will get the best of everything Sumba has to offer. I have been to quite some places, but Sumba has provided the authenticity that I so far haven't found in other places I've been to in Indonesia.

Mai La Humba!

Photography is my work

And travel is my game

They are the reason why I survive

In my Body and in my Mind

My work brings the food to my table

...and pays for my game

And my game brings the food for my soul

Therefore, I am my work and my game

Ferry R. Tan – 2020

Click Here To Read Part #01

Click Here To Read Part #02

Click Here To Read Part #03

Click Here To Read Part #04

Share your thoughts at ferryrtan@gmail.com and help me improve my stories.

Thanks!

A JOURNEY TO THE ORIGIN OF IKAT #04

Sumba, a Dynamic Mystery

Story and Photos by Ferry R. Tan

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THE CONNECTION BETWEEN ARCHITECTURE AND BELIEF

The island of Sumba consists of various cultural and language communities; however, having visited a significant number of traditional villages in different parts of Sumba, I learned that they all share a common architectural heritage. The general architecture strongly reflects the spiritual influence of the Marapu, an animistic belief which dominates the society of the island. It includes worshiping the spirits of the dead, holy places and sacred objects and instruments as a means of communication with the spiritual world.

Nowadays, less than a fifth of the population lives in and around one of the two main cities of Waingapu in the east, and Waikabubak in the western part of Sumba. The majority resides in rural settlements. The location of the villages was traditionally determined by the need for defense. They were therefore preferably situated on hilltops and were surrounded by dense vegetation, thorny hedges, fences and stone walls. Scattered over the countryside, one still find villages on hills with clan houses grouped around megalithic tombs.

A traditional village is usually located at elevated locations, with houses (Uma) that form two or more rows on either side of a central square. The central square is aligned from north to south and contains megalithic tombs and other sacred objects so that the houses mix with the graves.

Many settlements have remained at their original location. Since the need for defense has declined, many families have moved closer to their fields, water sources, and roads. The island's structure has remained well preserved. Since the island is non-volcanic, it physically seems nothing like the islands of Indonesia in the north.

TYPE OF HOUSES AND THEIR SIGNIFICANCE

Uma Mbatangu means peaked house and refers to the vernacular architecture in Sumba. It's characterized by a rectangular layout and high grass-covered roof made of alang-alang and is somewhat similar to the roof of a Javanese Joglo-house, although much higher peaked. Like the main house, it is used for rituals relating to the clan unity as well as for weddings and funerals. It is also the permanent residence of the oldest person in the village.

Sumbanese houses are built based on Marapu cosmology and have three levels. The space below the house is the space where the animals are kept and the central part, the most important one, is for the human being. The tall roof is for the gods and ancestral spirits and often where holy artifacts are stored. The higher peaked the roof is, the closer one is to God. Only elderly male are granted access to this further empty part of the building, and even that is only allowed on rare occasions. The roof itself is a representation of the female/male duality, the peak being male, and the outer shape, a skirt, female. This male/female balance is reflected in symbols and sculptures like turtles (female) and crocodiles (male).

The largest peaked house is known as Uma Bungguru meaning house of the fellowship. Another type, Uma Kamadungu, meaning the bald house is also known as Uma Maringu meaning cool house. It has no central peak and therefore not hot thus considered suitable for rituals and for several smaller or larger families.

Access is provided by two entrances which are positioned to the left and right of the house. The house has no windows. Transverse ventilation occurs through small openings. Walls are made of braided Areca palm and buffalo skin for the very rich. Buffalo horns often enhance the walls to remind of past sacrifices.

A clan-house is mainly built of timber and bamboo. Bamboo is being more used on the western side of Sumba than on the east. Tree trunks constitute the four principal pillars of the house. For the construction of the Uma Marapu, a house solely dedicated to the ancestral spirits, only certain types of hardwood are being applied. Whole bamboo culms constitute the floors. The roof is made of a dense thatch of alang - alang grass, tied with coconut leaf to battens made from saplings.

DESIGN AND USE

Seen from the front the interior is divided into two sections. The right is considered masculine, while the left is female. The side on the right is the main floor (Kaheli Bokulu) and mainly reserved for rituals and other public affairs conducted by men only. The left side is called Kaheli Maringu meaning the cool house floor and is designated for female domestic activities, like preparing meals and as a dining space.

Sleeping areas are divided according to one’s relationship to the pillars. The house is divided into a female and male section, with separate external platforms at either side. Decorations of buffalo horns display wealth and status. Building a new house or replacing a roof is always accompanied by ceremonies and requires sacrifices.

In the Sumbanese society, women are considered owners of the house (mangu umangu) because they spend more time at home than men. On the other hand, men are associated with the exterior and with an external relation among clans as well as communication with spiritual beings. Similarly, the door at the front right is reserved for male access, while the one on the left rear is reserved for female access, each leading to a slightly lower verandah and to the exterior.

PRECEPT OF THE FOUR MAIN PILLARS

The interior is essentially square-shaped with four pillars inside and as small as 5 x 5 meters or as large as 15 x 15 meters, each decorated and steeped in mystical symbolism and crowned with a ringed plateau, a place for offerings and an image of the female and the male. Each pillar, usually carved with ornaments, represents the cardinal directions and its own ancestral spirit. At the center is the cooking fire.

The precept of right and left, and front and back are further reflected in these four main pillars. These pillars support the peak of the roof. A hearth is located at the center of these four pillars. During the construction, the front right-hand pole is given priority, followed by the right-rear pole, then by the left rear and left front.

The front-right pillar is called the "augury post" (kambaniru uratungu ) and relates to rituals dedicated to the Marapu wherein a priest or Rato inquires what the Marapu spirits desire and conveys the answer by sticking a spear into the front-right post. The front-right area is also where the Sumbanese keep the bundled mummified corpses. The corpses are placed in a sitting position and facing towards the main (right front) post in the same way as a Rato is engaged in ritual performances.

The front-left pillar is named "the pillar that scoops the rice" (kambaniru mataku) because this is where women prepare rice before passing it through a special opening to the Rato who formally offers the food to Marapu in the right front part of the house. The back-right pillar is known as "the pillar that divides" (kambaniru mapaberingu) since this is where the men butcher and divide the meat of sacrificed animals. The left-hand pillar is called "the pillar that feeds the chicken and pigs" and forms a link with space for the care of sacrificial animals to the Marapu spirits.

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Mai La Humba!

Photography is my work

And travel is my game

They are the reason why I survive

In my Body and in my Mind

My work brings the food to my table

...and pays for my game

And my game brings the food for my soul

Therefore, I am my work and my game

Ferry R. Tan – 2020

Click here To Read part #05

Click Here To Read Part #01

Click Here To Read Part #02

Click Here To Read Part #03

Click Here To Read Part #04

Share your thoughts at ferryrtan@gmail.com and help me improve my stories.

Thanks!