Chanting Eb Yaghai Tribe, Mappi South Papua 

chant Eb is a singing tradition passed down from generation to generation from the ancestors of the Yaghai tribe. Eb tells about the history of human life in its relationship with fellow humans, humans with nature and humans with God. eb has a musical characteristic that is simple, meaningful and shows the identity of the Yaghai tribe. Chanting eb sounding the same range of tones, not having many tones but having repetitions of tones that are characteristic of the Yaghai tribe's singing. This simplicity is the main characteristic in traditional Eb singing and is the location of the musical identity of a song Eb which is heard. 

Eb tells the story of human relations with humans or social relations between fellow humans which have very high cultural and traditional values. Cooperation, mutual respect, mutual support, togetherness in a party or thanksgiving ritual from birth to death. This relationship is clearly told in the song eb; for example, chanting eb which narrates the tradition of the past about the custom of beheading or cutting off human (enemy) heads, if the war leaders and members succeed in bringing the results of human heads then the whole village will welcome with joy in chanting eb who is happy and excited. A term used to describe singing Eb this is qaqau eb. This success was warmly welcomed by the entire village community, hitting Kindo or Tifa, singing and dancing. This story is a story from the past before the church mission entered South Papua. 

The people who supported the culture of the Yaghai tribe before embracing Catholicism believed in the traditional belief that the God of the Yaghai tribe was the Sun "Find". After religion entered with the presence of missionary priests and catechists, people who supported the Yaghai culture submitted themselves to baptism and followed Christ in the teachings of the Catholic Religion. This story is also told in the chant Eb (Qaqau Eb). Until now, singing eb which tells the story of the success of the war leaders was converted into a song eb to welcome guests, big people, government leaders, church leaders or big man. This shows a deep understanding, advanced thinking, openness and a developing civilization in the Yaghai ethnic community.

    

A Journey of Documenting the Eb Chants of the Yaghai tribe of Mappi, South Papua

(septina layan, 2018)

 

 SAGU (DA') VS SAWIT - Music Composition for Vocal and Papuan Music Ensemble. 

Sago vs Palm Oil is a contemporary composition based on Papuan tradition that was born from personal experience. After returning from overseas and wanting to visit her childhood place in the village of Tof-tof Bupul VII (2015), Septina was shocked by the natural changes that had occurred. The sago forests and dense forest trees in her childhood place had turned into vast oil palm plantations. People changed their livelihoods, while forest-dwelling animals scurried to find new homes. This experience gave me the impetus to express it through the work lamentation of Sagu (da') VS Sawit, which was performed in 2017 in Jayapura, Papua. This work also received a women's art grant
from the Kelola Foundation. 

Kanaiwa Kasasodla....Kanaiwa Kawihe....Bekai Kanaiwa Awihe..

Sagu (da') VS Sawit- 2017 (septina layan-2017)

Because Something that is Written will be Eternal. 

IHIN SAKIL SOMALAE  

Music composition for orchestra, choir and ensemble.

Ihin Sakil Somalae is a musical work with an extramusical concept, namely the meaning of Ihin Sakil Somalae and a musical concept that uses rhythmic patterns, harmonies, musical instruments, poetry in the Malind language of Papua and the Tanimbar language of Maluku which are poured into the creation of choral works. 

in the creation of a choral work. Ihin Sakil Somalae's music composition is a depiction of the current condition. Cendrawasih with its beauty as an illustration of the beauty of Papua which is unique, mysterious and different from other regions. Ihin in Malind language means lament, describing the current condition of Papua. In simple terms, Ihin is a lament and sakil/somalae or Cendrawasih as a symbol of the Earth of Papua, so Ihin sakil somalae “Lament of Cendrawasih” is the same as “Lament of the Earth of Papua”. The meaning and significance of Ihin Sakil Somalae as a picture of the earth of Papua, inspires the author to compose or organize tone, rhythmic, poetic, harmony in accordance with the meaning of the extramusical concept. IHIN SAKIL SOMALAE is a work from 2014, when I chose a silent path and got out of my comfort zone for customary literacy and knowledge of Papuan people who are very minimal in literacy. Through music I talk about people, nature and culture in the Land of Papua. 

Ihin Sakil Somalae is a musical work with an extramusical concept, namely the meaning of Ihin Sakil Somalae and a musical concept that uses rhythmic patterns, harmonies, musical instruments, poems in the Malind language of Papua and the Tanimbar language of Maluku which are poured into the creation of choral, orchestral and ensemble works of Papuan and Maluku traditions.

IHIN SAKIL SOMALAE- 2014

(Septina Layan)

 

The Sound Artifact Residency preserves local knowledge, singing and musical traditions in Merauke, Papua through the research and documentation of traditional chants and their connection to church liturgical songs. This includes an analysis of modes, rhythms, rhythmic patterns, melodic characteristics, vocal timbres and documentation into songbooks and musical transcriptions. 

This documentation aims to find Malind songs that have become difficult to hear due to the lack of traditional speakers. These Malind songs were then recorded and mapped based on their type and meaning, in addition to finding their musical identity. This process then becomes important for the process of composing new compositions, based on Malind cultural songs for the Inculturation Liturgy Music of the Catholic church in Merauke, South Papua.

    Merauke Papua| At Bevak Samanim

A relaxed and intimate atmosphere. We discussed Malind chanting and I listened to the history of the Malind tribe through chanting. 

video documentation of the Residency process of sound artifacts.