Dabuih/dabus

Audio 5.4: Audio Example 4 in Chapter 5 of book: Margaret Kartomi, ‘Musical Journeys in Sumatra’, Champaign-Urbana: University of Illinois Press, 2012. In the Minangkabau region of West Sumatra, the ritual performance known as “dabuih” (in Minangkabau language, “dabus” in Arabic and Indonesian) is one of several genres with a Muslim theme. “Dabuih” participants aim to attain union with Allah and often achieve a condition of altered consciousness, or trance through religious concentration, which enables them to perform exciting displays of self-mutilation without injury. On reaching the highest stage of mystical ecstasy, they feel that their bodies become immune to pain and would be invulnerable in battle. To attain union, they perform songs (“indang” or “dikia”, lit. ‘remembrance of God’) that repeat the names and attributes of Allah or the syllable Hu (meaning ‘He’) over and over and play frame drums (“indang” or “rabano”) with a vigor that reflects their intense religious concentration. Our example, recorded in January 1972, contains five excerpts from a “dabuih” performance which was presented by the Sungai Pendahan Dabuih ensemble led by Bp Burhannudin. At least six of the male soloists and chorus members of the group also played frame drums. The first excerpt is taken from the start of the performance, with the religious leader (“kalipah”) singing the greeting “Assalamū’ ‘alaikum” and other religious texts in free meter, with vocal slides and ornamentation in a very legato style. The chorus responds in a similar manner. The alternation between solo and group singing, which is heterophonic, recurs throughout. The second excerpt is an example of group drumming in strict meter with some incidences of interlocking rhythms. In the third and fourth excerpts, the men continue to alternate between solo and chorus singing in strict quadruple meter as they accompany themselves on the frame drums. The fifth excerpt is strongly metric, faster and trance-like; the chorus repeatedly sings a short motif, like a mantra, while providing a repetitive rhythmic pattern on the frame drums. Duration: 6 min. 18 sec. [Excerpt 1: 2 min. 57 sec; Excerpt 2: 0 min. 30 sec; Excerpt 3: 0 min. 35 sec; Excerpt 4: 0 min. 43 sec; Excerpt 5: 0 min. 43 sec.]

Copyright 1972. Margaret J. Kartomi.

音频5.4：书籍《苏门答腊的音乐之旅》（Musical Journeys in Sumatra）第五章的示例4，作者玛格丽特·卡尔托米（Margaret Kartomi），出版地：尚佩恩-厄巴纳，出版社：伊利诺伊大学出版社，2012年。

在西苏门答腊的米南加保（Minangkabau）地区，名为dabuih（米南加保语称dabus，阿拉伯语与印尼语亦作此称）的仪式表演是数类带有伊斯兰主题的乐种之一。dabuih的参与者旨在与真主（Allah）合一，常通过宗教冥想进入意识恍惚（trance）状态，借此可完成极具冲击力的自伤式表演却毫发无损。当抵达神秘狂喜的最高境界时，他们会感知自身躯体无惧疼痛，于战场中亦刀枪不入。

为达成与真主的合一，他们会演唱名为indang或dikia（字面意为“铭记真主”）的歌曲，反复吟诵真主的尊名与属性，或是重复音节“Hu”（意为“他”），同时以充满力量的姿态演奏框鼓（frame drum），其演奏活力恰如其分地传递出他们炽热的宗教专注力。

本次示例录制于1972年1月，内容取自由布尔哈努丁先生（Bp Burhannudin）率领的双溪班达罕（Sungai Pendahan）dabuih乐团的一场仪式表演，共包含五段节选。该乐团至少有六名男性独唱者与合唱成员同时演奏框鼓。

第一段节选取自表演开篇，由宗教领袖（kalipah）演唱问候语“愿主赐你平安（Assalamū’ ‘alaikum）”及其他自由节拍的宗教文本，演唱中带有滑音与装饰音，风格极为连奏（legato）。合唱队以相似方式回应。独奏与合唱间的交替——该形式为支声复调（heterophonic）——贯穿整场表演。

第二段节选为严格节拍下的集体鼓乐表演，其中存在若干交错节奏段落。

第三及第四段节选里，表演者以严格的四拍子节拍交替进行独唱与合唱，同时以框鼓为自身伴奏。

第五段节选节拍鲜明，速度更快，且带有恍惚感；合唱队反复演唱一段类似真言（mantra）的短小动机，同时以框鼓演奏重复的节奏型。

总时长：6分18秒。【节选1：2分57秒；节选2：0分30秒；节选3：0分35秒；节选4：0分43秒；节选5：0分43秒。】

版权所有1972年，玛格丽特·J·卡尔托米（Margaret J. Kartomi）。