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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. composition: set of gongs on galentang frame, two drums with two gendang skins, tawak. It's 2 a.m. Among men in an advanced state of intoxication. Gansa completely drunk dances the mandaria. The two drums are now closer together. same name but not really same rhythm as the previous one.
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. composition: set of gongs on galentang frame, two drums with two gendang skins, tawak. It's 2 a.m. Among men in an advanced state of intoxication. A drunk dancer knocks over the microphones. Gansa completely drunk dances the mandaria.
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. Rhythm of nostalgia.
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. A group comes down from the house, passing over the drawbridge between the cages and the house. We can clearly hear the rhythm of the kangkuang slit drum and the tuung cylindrical drum. Children's voices.
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. Each group of gongs has finished, the women continue the Timang Chanting at the top, the men prepare to go down in front of the longhouse to circle and dance around the cow cages (pandung)
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. 4 women. Pleading for no rain
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. cycle repeated three times. Closing with the rhythmic Taba' Jaum, then the women play the manimang again
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. Composition: galentang, tawak, kangkuang, tuung, babandi. Good catch, shouts of mandaria
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. Also called dondoronak.
Composition: 6 instrumentalists2 on tawak 1 and 2, 1 on galentang, 1 playing 2 babandi gongs, 1 kangkuang slot drum, 1 tuung cylindrical drum. The cycle is repeated three times.
Over the three cycles, each time, the tempo slows down by half. They drink again before playing.
It is the strike which sends the dead to his grave or which drives the body. These strikes are reserved for those who have done Gawai.
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. Composition: modern galentang (six blades), well tuned, resonates. He tunes one of his blades with the babandi gong. Scale: D F G B C. B is common to babandis who play B - C#
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. Composition: kangkuang rectangular slot drum + tuung hanging cylindrical drum + 4 large garantung gong (played by three men) + babandi gong. Behind we hear the women chanting (to manimang). The musicians have vests. The rhythm is repeated three times.
Oral comments from 11'
cannon fire at 12'
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. Composition: kangkuang rectangular slot drum + suspended cylindrical drum tuung
- Cannon blast
- Shouts: they make the gong players drink before playing. The cry follows the drinking.
long periods of atmosphere in the house
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. Four women are seated in front of offerings, on the side of the house. Opposite, the men are in suits. The third group upstream of the house;
Extraneous noises behind (generator, dog, other slit drum sounds in the gallery). Then a cannon shot.
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. saturated at first.
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. taken very close. Downstream from the house. Screams at the end. 2 rooms. We don't hear the gendang drums.
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. other galentang, gendang drum, gong tawak, gong babandi. The dancer screams. I'm upstream from the house
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations.
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations.
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. composition: gendang drum, set of gongs on galentang frame, tawak gong, babandi gong. The gong tawak is saturated. Behind, the women, disorder.
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. composition: gendang drum, set of gongs on galentang frame (modern), tawak gong, note: no babandi gong. A man dances the mandaria dance. Scale: E F G Bb C. At the end of the passage, rhythm of Taba' Jaum.
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. Deaf, bad sound
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. the galentang resonates more.
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. Composition: gong tawak, galentang, Dua gendang (gendang parang), babandi. Also called taba' turunggu or taba' mandaria. softer than manjaratun (maam/barat). taba' tu tio (rhythm of the living). The main instrument is the tawak which plays "turunggu".
Here, noisy take because the other groups are also playing. In the second round, a gandang player will dance the mandaria with a sword (mandau)
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. called taba' dandoronak. Composition: Galentang + babandi + 2 tawak gongs + tuung. It is the blow that sends the dead to his grave or drives the body. These strikes are reserved for those who have done Gawai.
The pattern is played three times.
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. funeral rhythm in three beats, also called taba' kolak kolak or kokolak. composition: kangkuang, tuung, babandi, 4 gong garantung. This is the rhythm of the Gawai to repeat the funeral strike. Because he has already done a Gawai, we play this rhythm for him. Kolak kolak comes from the sound of the rooster.
Kangkuang+tuung+ babandi = in unison, one strike, the garantung strikes three strikes
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. For three days in a row, an evening takes place which is repeated in an identical manner around eight p.m., at three points in the common gallery - corresponding to the three families, the same ritual takes place. Straight and hieratic, four "Singers", in ritual dress, with large feather headdresses, sit on gongs, facing the offerings of cakes and cooked rice. Facing them, about four meters away, sit six gong players, in ceremonial clothes, wearing feathers. In a slow tempo, in hushed tones, the women chant a song (menyombang "invocation") which will not be interrupted until dawn. Before playing, they give the musicians a drink. All groups play at the same time.
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. Cannon fire, disorderly. Polymusic. kangkuang, tuung, 3 tawak, 2 babandi, 1 galentang. The tawaks play in reverse. 1/1/1/22. The third follows the second in reverse. instrum majorkangkuang.For three days in a row, an evening takes place which is repeated in an identical manner around eight p.m., at three points in the common gallery - corresponding to the three families, the same ritual takes place. Straight and hieratic, four "Singers", in ritual dress, with large feather headdresses, sit on gongs, facing the offerings of cakes and cooked rice. Facing them, about four meters away, sit six gong players, in ceremonial clothes, wearing feathers. In a slow tempo, in hushed tones, the women chant a song (menyombang "invocation") which will not be interrupted until dawn. Before playing, they give the musicians a drink. All groups play at the same time.
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. For three days in a row, an evening takes place which is repeated in an identical manner around eight p.m., at three points in the common gallery - corresponding to the three families, the same ritual takes place. Straight and hieratic, four "Singers", in ritual dress, with large feather headdresses, sit on gongs, facing the offerings of cakes and cooked rice. Facing them, about four meters away, sit six gong players, in ceremonial clothes, wearing feathers. In a slow tempo, in hushed tones, the women chant a song (menyombang "invocation") which will not be interrupted until dawn. Before playing, they give the musicians a drink. All groups play at the same time.
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. Lots of wind. They all sing at the same time, alternating. Polymusic. Too much microphone noise. The banks of the river are cleaned and planted with multicolored standards which flutter in the wind. At the end of the morning, the men will build the cages for the cows which will be sacrificed five days later. They level the space by weeding it and spread yellow rice on the ground. Three groups of four "Singers" in ceremonial clothing, wearing hornbill feathers, are seated next to them, facing the river, each group a few meters from each other, corresponding respectively to the three families who perform the ritual. In front of them, food offerings. Each group of singers begins a chanted song, performed simultaneously but separately. The voices are weak and trembling. The fact that they sing next to each other does not bother them or the others since no one seems to be listening. In fact, the Song is intended for invisible entities. He invites the spirits to come and consume the offerings and to guarantee the smooth running of the ritual. They "pray" to the moon (menyombang bulan), they "sing" the wooden cages (manimangi pandung), they consecrate the cages with the sung word, so that the cows do not die there before being killed, so that men are not turned into stone, so that the spirits do not bring any disorder.
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. Composition - 1 kangkuang slot drum - 1 tuung cylindrical drum.
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. also called taba' rami-rami (animated). reception rhythm. Composition: kangkuang slot drum, tuung cylindrical drum, 3 tawak hanging gongs, 3 babandi hanging gongs, 1 set of gongs on galentang frame. The tawaks play in reverse. 1/1/1/22. The third follows the second in reverse. major instrumental kangkuang.
The intro and conclusion of the strike are done with percussion (kangkuang + tuung) in a loop three times
Here the kangkuang slit drum is not present enough, the sound of the tawak is too muffled
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. composition:
- panyarai, hand-held gong, without bulb
- babandi (3)
- galentang, set of gongs placed on a frame.
Shouts of a young person on the megaphone: e ia e ia
The panyarai is used when giving drinks to guests
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. composition:
- tuung
- babandi (3)
- galentang, set of gongs placed on frame.
The scale of Sayut's galentang seems different, or poorly tuned. Saturation.
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. composition: 10 instrumentalists
- tuung
- kangkuang
- tawak (3)
- babandi (3)
- galentang, set of gongs placed on a frame.
4-beat cyclical pattern.
Saturated range (microphone bp)
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. composition: 10 instrumentalists
- tuung
- kangkuang
- tawak (3)
- babandi (3)
- galentang, set of gongs placed on a frame.
Sung from 14'. Ostinato au tawak
We cut the beginning and the end (at 23'20) for microphone saturation problems
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. good shot, laughter and background noises
composition:
- tawak (3)
- babandi (3)
- galentang, set of gongs placed on frame
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. 6'20 to 6'54: saturated?
composition:
- kangkuang, slotted drum
- tuung, suspended cylindrical drum
- tawak (3)
- babandi (3)
- galentang, set of gongs placed on frame
The gong has a large suspended bulb.
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. Long hollowed out rectangular wooden box made of ironwood (panyao or belian). Length 110 cm and height 60 cm. Base wider than top. It is struck using 2 wooden sticks. No neighboring population plays this drum. used for communication with spirits
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. long cylindrical drum with one skin, suspended at the top of the common gallery of the long house. It measures 150 to 200 cm long. It is struck using 2 sticks. Compared to the kangkuang slot drum, its sound is rather dry and hollow. This drum introduces the welcome musical pieces.
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. gong of five spans in circumference and 40 cm in diameter. These gongs are played by three, by two players only. One marks all the beats on a single gong while the other strikes the other two alternately in corches.
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. The tawak gong is common to all populations of Borneo. it measures seven to ten spans in circumference and approximately seventy centimeters in diameter. It is distinguished by the size of its buble and its rim. The prominent bulb of the tawak is longer than that of the garantung and therefore the sound is more balanced and deeper. They are played in threes, of different sizes and in hiccups.
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. Set of gongs placed on a frame. Game of five to six gongs. The tuning is done according to a hemitonic pentatonic scale. (F# G# A B D.
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. The soloist is called Junai
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. A soloist and a chorus in response. Well, not noisy, bug.
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. Lute set for healing dance, tun jak tun jak. Two-stringed lute, no opening of the sound box, oar-shaped end of the lute
onomatopoeiatun jak, tun jak (for taba' balien, manyarung)
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. Alimongon song "nostalgia", played by Junai. The A string is always empty. The pattern is looped. Very soft. Taba' pasen. Two-stringed lute, no opening of the sound box, end of the lute in the shape of an oar. Onomatopoeia tun jak, tun jak (for taba' balien, manyarung)
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. Tuning of the lute played by Junai, tuning to the minor third. Two-stringed lute, no opening of the resonance box, end of the lute in the shape of an oar
onomatopoeia andun jak, tun jak (for taba' balien, manyarung)
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. To blow the flute: manyuling. Junai, Betang 3, a 57-year-old man, plays a four-hole flute with a caval-like mouthpiece
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. Two Balien healers Sing alternately then together. Bad take, unstable voice, laughter
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Field recordings made in West Kalimantan, Indonesia, in 1997 by D. Rappoport :Dayak, Iban, Kayan populations. The manggin song is usually performed during the major Mamandun festival during Bumbulan, (first three days of the festival). Alternating semi-chanted song by five old women: Lintung Junai (Junai's wife), Bolom Indu' Rinding, Landa, Mama' Si, Hatin Pano (Ambo's wife). 2 leaders (one maratas, the other manggungap), and 3 followers (maloi). The voices are weak and poorly placed. One begins, the other follows with the same pattern, the other three join the second by going ooo.. The Song tells the story of a boy whose parents wanted to marry an ugly girl. he opposed his parents and went according to his will, chose a girl according to his heart. The parents did not agree, and the boy committed suicide.