The Jungga songs compilation on Ludu Humba (Songs of Sumba) has implied two important overlapped aspects that embed in the music aesthetics of this Archipelago: complexity yet simplicity. The music in this album can be perceived as somewhat simple yet it contains a complex structure which aren’t easy to “cover” by any music band or singer. Especially for those who find comfort in ordinary beat counts (by 2 or 4). Try it. Therefore we have one basic keyword to understand the strength of this music: polymeric, the art of musical math.
The interlude between one song phrase and other can be different. And somehow it strongly flow in the heart of the Junggais, on the edge between spontaneity and intuitiveness. In one phrase, the gap is 6 taps, yet sometimes 5 and can be stretched to 13 or as they like. Or if we don’t want to get dizzy, we can turn back the time and go through the traces of melismatic Roman Gregorian music that flows without being bound to uniformity. That’s how the 4/4 beats kill the variety of world music, and it is not applied to this Sumba songs, and other traditional music from the Archipelago that bends with the law of time.
Oh also, it is important to know about heterophony unisonal: texture of two melodic paths (vocal and Jungga) that sounded almost parallel, as if they are the similar, but not always the same. They are look alike, follow each other, like canon, then notes become interwoven and emphasize each other, although randomly.
Mono chord aspect within the homorhythm and sustain each song, can’t be called recklessly as monotone or boring. We’ll be damned! It is actually the hidden strength in music from this Archipelago that strongly ties effort to achieve trance due to the frequency on range and stable amplitude. This creates potential for our nerves to become more firm and receive the messages easily.
Therefore Jungga music is also a therapy, not only because its lyrics on real conflicts within the society; romance, farewell, politics, environment, nature, etc. This effect is caused by hidden energies from the sound of their strings.
I have possibly an important tip: never listen this song with taste and even fanaticism to pop music! We will never reach the utmost sublimation in our comprehension process.
Of course there will be exception for us who doesn’t understand the translation of Kambera Language in these songs. How can we understand the meaning? Just contact the translator. But to be honest, translation will reduce the authenticity of these songs and its own language with brilliant local phoneme. Even the sound of words has meaning, not only from the language.
For example, “jancuk!!” (translator note: a swear word in East Java language) has an interesting sound with meaning but no exact translation: whether it is said as joke or insult —but there is a strong esoteric ties between people. In this aspect, enjoying the sound of lyrics in this album without understanding the meaning is a definite condition and God will not forbid us. Sure there will be something lost but try to enjoy the string of sound first.
Next let’s have a look at the characteristic of voice in each vocalist. They sound a bit similar. This show the variety of unique vocal techniques in this Archipelago. Their resonance is located in the mouth cavity while the spectrum is in the throat or neck. Pay attention to emphasis in the tip of tongue which cause neck pressure and create natural husky voice with a little bit of nasal sound. This sound last within their clear intonation and articulation. This excellent quality is special to the Junggaist.
In quoting Joseph Lamont (the producer of this compilation): “For Ata Ratu, the success of love song on forced farewell is in the ability to make the audience cry. Muhu Yawang has emphasize on the importance of Jungga song writer to spontaneusly respond to any kind of situation from the audience with good narration that hits the heart. Jungga songs at its can be used for repairing damage relation, seduce lover, mend broken heart, forbid tears and replace it with laugh and dance.” (Check out Joseph Lamont’s review included in the download files)
On the other hand, this recording has completed what Philip Yampolsky and his Ethnomusicologist peers in the 20 volumes of “Music of Indonesia” from Smithsonian Folkways in 20 years ago. Especially this recording completes the 20th volume on Indonesian strings.
Strings and singing are part of a long music history in this Archipelago. Listen to this record carefully and try to grasp the deep meaning. This is just one part out of thousands of musical tradition from the Archipelago! Certainly this is nutritious for your ear and knowledge.
credits
released February 6, 2019
Performances recorded between 2017-2019 in East Sumba
Recorded, mixed and mastered by Joseph Lamont
Cover designed by Harsya Wahono
Photos by Joseph Lamont
Liner note by Erie Setiawan
This album is dedicated to Hamba Takamara (1930-2018)
Track 1. “Jiaka ninya napa mbaili” Jungga and Vocal: Kahi Ata Ratu. Recorded outside her house in Desa Palanggay, East Sumba on 02.11.2017
Track 2. “Barangu na etingu” Jungga and Vocal: Bung Ndotur. Recorded inside his house in Desa Kambumoru, East Sumba on 08.01.2018
Track 3. “Rambu kuna mu kau” Jungga and Vocal: Jekson. Recorded on the porch of his house in Desa Kamanggi, East Sumba on 03.05.2018
Track 4. “Nahanduka na eti nggu” Jungga and Vocal: Haingu. Recorded on the porch of his house in Desa Patawang, East Sumba on 17.06.2017
Track 5. “Ai kanggiki na umayau biangga duku eri” Jungga and Vocal: Haling. Recorded inside his house in Desa Mbatakapidu, East Sumba on 11.02.2018
Track 6. “Lua kau pandengi” Jungga and Vocal: Purra Tanya. Recorded on the porch of his house in Desa Lambanapu, East Sumba on 07.12.2016. This recording session was co-produced by Palmer Keen
Track 7: “Pamandu nyana randi nda jaka hili ngu nggau” Jungga and Vocal: Amsel Lukanapu. Recorded behind his house in Desa Palanggay, East Sumba on 05.06.2018
Track 8: “Nggara mbawa nggara mai wu nggoi paduku” Jungga and Vocal: Muhu Yawang. Recorded on his porch in Desa Laimandar, East Sumba on 12.12.2017
Track 9: “Daningu anda monungu” Jungga and Vocal: Ata Ratu. Recorded outside on communal clan lands in Desa Rindi, East Sumba 06.06.2018
Special thanks to Rambu Kahi Ata Ratu, Rambu Nency Dwi Ratna, Yonas Sestakresna and Tukad Abu crew, Mama Nggedi, Sanggar Ori Angu, Mike Tuori, Harsya Wahono, Wok The Rock, Umbu Elthon Haumara, Umbu Paranggi Mahabar, Umbu Mattius Ranggaly, Umbu Kububu Palindima, Rambu Matha Hebi, Umbu Retang Wohangara, Umbu Nai Yuku, Umbu Maundima and Rambu Mbabu
Supported by Ciptamedia, Wikimedia Indonesia, Ford Foundation and Organ Budaya Indonesia
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