Tabuik

Audio 4.1: Audio Example 1 in Chapter 4 of book: Margaret Kartomi, ‘Musical Journeys in Sumatra’, Champaign-Urbana: University of Illinois Press, 2012. “Tabut” is a spectacular pageant-like festival that first emerged in the predominantly Shi’a Muslim communities of Persia and was transplanted to North India, and is still held in various forms in those locations. In Bengkulu and Pariaman, situated on the west coast of Sumatra, a few remaining believers have also continued with annual celebrations of “tabut” on the first ten days of Muharram (the first month in the Islamic calendar), attracting crowds of tourists. “Tabut”, spelt “tabuik” in Minangkabau, was probably transplanted from North India to Bengkulu by Indian Ghurka soldiers of the British when Thomas Stamford Raffles commanded the British settlement there in the early 19th century. Soon thereafter, the Ghurkas dispersed to Pariaman and other Sumatran towns, where they intermarried, bringing their “tabuik” skills with them. During the ten days of the “tabuik” festival, teams of drummers roam the streets practicing their repertoire. Each team contains a score or several scores of large drums (“dol”) and one to three small drums (“tasa”). The intense volume of sound produced by their sheer numbers, and the variety of exciting rhythms played, help to create the passionate religious atmosphere that typifies the festival for believers. Usually one “tasa”, a penetratingly-sounding kettle drum, leads a performance and the few score large barrel-shaped “dol” drums play a separate part. They perform en masse during the final procession when a “burok” is thrown into the sea. The “burok” is a mythical horse with a female human face believed to have transported the martyr Hosen (grandson of the prophet Muhammad) and his brother Hasan to heaven on their defeat at the 7th century Karbala war in Persia. “Dol” and “tasa” drumming became a local Pariaman musical form that was also detached from the festival and became popular in its hinterland, where competitions between groups of musicians are held. Drum rhythms retain their Persian names, eg the fast warring (“basosoh”) rhythm, which is one of the rhythms performed in our excerpt, recorded at a competition of “dol/tasa” music in the village of Tandikat in January 1972. Bp M. Djarang was the head drummer, playing “tasa”. Duration: 4 min. 02 sec. Copyright 1972. Margaret J. Kartomi.音频4.1：本书第4章音频示例1，出自玛格丽特·卡尔托米（Margaret Kartomi）所著《苏门答腊的音乐之旅》（Musical Journeys in Sumatra），尚佩恩-厄巴纳：伊利诺伊大学出版社，2012年。 “塔布特（Tabut）”是一种场面恢宏的庆典式节庆活动，最早兴起于波斯以什叶派穆斯林为主的聚居社群，后传入北印度，至今仍在当地以多种形式传承举办。在苏门答腊西海岸的明古鲁与帕里亚曼，仍有少数信徒在伊斯兰历第一个月穆哈兰姆月（Muharram）的前十天举办一年一度的“塔布特”庆典，吸引大量游客前来。在米南加保语（Minangkabau）中，“塔布特”拼写为“tabuik”，该仪式很可能在19世纪早期托马斯·斯坦福·莱佛士（Thomas Stamford Raffles）统领英国在当地的殖民定居点时，由英国统辖下的印度廓尔喀士兵从北印度传入明古鲁。此后不久，廓尔喀士兵分散前往帕里亚曼与苏门答腊其他城镇，与当地居民通婚，并将他们的“tabuik”演奏技艺带至当地。 在“塔布特”庆典的十天期间，鼓手团队沿街巡游，演练常备演出曲目。每个团队配备数十面大型鼓（“dol”）以及1至3面小型鼓（“tasa”）。庞大的演奏阵容所带来的厚重声响，搭配丰富多变的动感节奏，共同营造出信徒眼中该节庆标志性的热烈宗教氛围。通常由一面音色穿透力极强的定音鼓（“tasa”）领奏，数十面桶状大型“dol”鼓则演奏独立声部。在最终将“burok”投入海中的游行环节中，全体团队会联袂演出。“burok”是一种带有女性人面的神话坐骑，相传在7世纪波斯卡尔巴拉战役（Karbala war）中，先知穆罕默德的外孙侯赛因与其兄哈桑战败后，正是乘此坐骑升入天堂。 “dol”与“tasa”鼓乐后来发展为帕里亚曼当地的特色音乐形式，甚至脱离节庆活动，在内陆地区广为流传，当地还会举办乐手团体间的竞技赛事。鼓乐节奏仍沿用波斯语名称，例如快节奏战鼓节奏“basosoh”，本次节选音频正是录制于1972年1月在坦迪卡特村（Tandikat）举办的“dol/tasa”鼓乐竞技赛事。本次演奏的领队鼓手为M·杰伦（Bp M. Djarang），负责演奏“tasa”。音频时长：4分02秒。 版权所有：1972年，玛格丽特·J·卡尔托米（Margaret J. Kartomi）。