1. Origin

Petalangan people is another “indigenous” ethnic group of Riau Province who settle in Langgam Subdistrict, Pengkalan Kuras, Bunut and Kuala Lumpur, Pelalawan Regency (Tenas Effendy et.al., nd.:107). They are called “indigenous” because, according to Tenas Effendy, they belong to Proto-Malay race (Old Malay) who became the first inhabitant of the area now called Riau Province. Given this, Petalangan people are refered as “Orang Asal” or “Orang Asli” (indigenous) (Effendy et.al., nd.:107).

The addressing of Petalangan is thought to be caused by the action of the people fencing their village and took water by means of buluh “talang” (buluh = bamboo, talang = gutter). Thus, the people were then refered as “Orang Talang” (Talang people), or generally called “Orang Petalangan” ethnic group (Effendy et.al., nd.:107).

Petalangan people settle in Hutan Tanah Wilayat through generations. They hand down their cultural tradition through generations as well. Here lies the importance of preserving the culture (tradition) of orang Petalangan and Tanah Hutan Wilayat. One of the effort is by spreading them through oral tradition.

For Petalangan people, Hutan Tanah Wilayat holds a significant role. It becomes a source of living, culture, costumary and traditional activities; the pride and self esteem; even as the identity of certan ethnic group (Effendy, 1997:24). Losing Hutan Tanah Wilayat means losing the identity. This is due to in the concept of traditional belief of Petalangan people, nature is the symbol of themselves and the place from which they gain numerous materials for the sake of rituals, including curing and others. Considering the importance of Hutan Tanah Wilayat for Petalangan people, a maximum effort must be done to preserve it.

In managing Hutan Tanah Wilayat, Petalangan people organize its utilization according to the custom reference. They divided it into four parts: tanah kampung (settlement ground), tanah dusun (farming and spare-settlement ground), tanah perladangan (migratory cultivation ground) and rimba larangan which is divided into two: rimba kepungan sialang where sialang trees grow (trees for bees to nest) and rimba simpanan (the habitat for various kinds of trees and animals) (Effendy, 1997:25-26).

According to the custom, the right upon Hutan Tanah Wilayat is determined by tombo or terombo of each ethnic group. Tombo refers to religious advice, guidance, and history of the origin of Hutan Tanah Wilayat. Once, according to tombo, the kings of Pelalawan Kingdom claimed for the ownership, governance, utilization and the maintenance of Hutan Tanah Wilayat by issuing a kind of Certificate upon Hutan Tanah Wilayat to each chieftain who owned it (Effendy, 1997:19)[1].

Not only does tombo contain the origin of Hutan Tanah Wilayat and the owner, it also contains Malay local wisdom or the religious advices and admonition on the cultural values, reference to customary law, and the philosophy handed down trough generations (Effendy, 1997:19, 43). Referring to its content, tombo becomes something fundamental and is handed down through generations by means of oral traditions (oral literature), one of them is narrated in Nyanyi Panjang (Effendy, 1997:19).

Accoring to tombo or terombo, the ethnic group is divided into two. The first part tells about the early people who opened Hutan Tanah Wilayat which later becomes Hutan Tanah Wilayat of the ethnic group or in other words it tells about the origin of the ethnic group itself and it is narrated in Nyanyi Panjang. The second one is narrated in cerita biaso (ordinary story), no rhythm, which later develops into Nyanyi Panjang Biasa (Effendy, 1997:30-31).

The origin of Nyanyi Panjang is the tradition of naming their habitat called Hutan Tanah Wilayat or Tanah Wilayat (Effendy, 1997:19). Each ethnic group owns its Tanah Wilayat. The ownership, utilization and maintanance are well arranged based on the local custom, as is it reflected in its numerous customary expressions. Hitherto, Nyanyi Panjang is well preserved in the culture of Petalangan people.

2. The Characteristics of Nyanyi Panjang

Nyanyi Panjang is a story sung, and singing it takes some time, of around one night for each story. The stories are narrated by a storyteller (sometimes called tukang Nyanyi Panjang) by using a certain song and rhythm suitable with the the story title[2]. Nyanyi Panjang is a story about a figure or a man who possesses supernatural power gained by many ways (Sudirman Shomary, 2004:2-3).

Nyanyi Panjang is a narrative oral literature (story) performed in front of public by tukang Nyanyi Panjang of Petalangan in form of a song (Shomary, 2004:35). The term “Nyanyi Panjang” consists of two words: “Nyanyi” (singing) which signifies a performance, and “Panjang” which refers to the time needed to deliver (Shomary, 2004:35).

According to Walter J. Ong (1982) in Shomary (2004), the stories in Nyanyi Panjang can be classified as Primary Orality. This means that the stories in Nyanyi Panjang are the creations of Petalangan people which are narrated and handed down orally. Hitherto, there has been no single book as reference for Petalangan people to tell stories. Nyanyi Panjang is somehow different from oral literature generally found in Alam Melayu, such as the narration of syair (poem), nazam (composition [in Arabic it means a poem used to deliver Islamic teaching]), and barzanji (praise to Lord and the tale of Mohammed articulated in a certain rhythm or tone). Generally, oral literaure in Alam Melayu has a strong foundation of basic text which can be categorized as Semi Primary Orality (Shomary, 2004:35).

Some characteristics of primary orality in Nyanyi Panjang are the prosaic lyric figure of speech or rhythmical prose; repetitions; resemblance between the story structure with other Malay stories which consists of introduction, exploration, and resolution; and pantun bebalam as the opening. The use of quatrain as the opening is due to the way of singing the quatrain resembles to the sound of Balam (bird) (http://melayuonline.com/).

In practice, there are two kinds of Nyanyi Panjang: Nyanyi Panjang Tombo and Nyanyi Panjang Biasa (ordinary). Tombo is the kind of Nyanyi Panjang which contains history, law and customary rules. Therefore, Tombo is considered sacred and becomes a source of civil law (http://melayuonline.com/).

Tukang cerita Tombo or Tombo storyteller is called Pebilang Tombo. In daily life, people put his status in a high respect. Tombo is a rhythmical prose and sung in a standard and unalterable form. There are many ancient poetic formulas, religious advices and moral messages in Tombo. The content of Nyanyi Panjang Tombo is particular (related only to certain ethnic group). Whereas Nyanyi Panjang Biasa is more general and it belongs to everyone of all ethnic groups (http://melayuonline.com/).

3. Kinds of Nyanyi Panjang

• Nyanyi Panjang Tombo

It is the kind of Nyanyi Panjang which presents in a rhythmical prose and sung in standard and unalterable expressions. The standard expressions are often presented repeatedly (Effendy, 1997:31). Tombo contains many ancient poetic formulas, religious advices and moral messages. The content of Nyanyi Panjang Tombo is particular, related only to certain ethnic group (http://melayuonline.com/). The characteristics of Nyanyi Panjang Tombo are:

1. The language is bound to a common (standard) pattern
2. Long stories
3. Does not contain clear details of Hutan Tanah Wilayat borders
4. Completed with Malay local wisdom as well as common and standard expressions
5. Narrated in rhythm
6. Long stories and difficult narration make it relatively hard to memorize (Effendy, 1997:31-32)

• Nyanyi Panjang Biasa

Nyanyi Panjang Biasa is general, belongs to everyone of all ethnic groups (http://melayuonline.com/). The characteristics of Nyanyi Panjang Biasa are:

1. The language is free-narrated
2. The story is more brief
3. It contains clear detail of Hutan Tanah Wilayat borders
4. It specializes on Tombo and is not completed with  or other standard expression
5. Ordinarily narrated
6. It can be easily memorized because the narration does not need special requirements (Effendy, 1997:31-32)

4. Instruments and Players

There are four interelated and interplay elements in Nyanyi Panjang performance: tukang Nyanyi Panjang, the story, the performance atmosphere and the audience (the public) (http://melayuonline.com/). Tukang Nyanyi Panjang or the narrator is the central figure in Nyanyi Panjang performance. Here, the narrator plays important roles, not only as tukang Nyanyi Panjang but also as the arranger, singer and composer (Shomary, 2004:52).

In addition, tukang Nyanyi Panjang is required to be able to animate the story so that the audience or listeners enjoy the beauty of the language structure and the music. Rhyme, alliteration (the same consonant sound at the beginning of several words in close succession), assonance (refrain of vowel sounds to create internal rhyming within phrases or sentences), rhythm, parallelism (parallelism of meaning or sound) result in a special effect for the audience (Shomary, 2004:52).

A tukang Nyanyi Panjang named Leman performing Nyanyi Panjang
Sutan Duani at Tambun, Bunut Subdistrict, Pelalawan Regency

The music in Nyanyi Panjang performance does not have a particular portion. Even then, narrators told stories accompanied only by a kettledrum or a food tray which he beat by himself (Effendy, 1997:9).

5. Nyanyi Panjang Performance

Nyanyi Panjang performance is a fundamental part in preserving Nyanyi Panjang tradition itself. Nani Tuloli (1994:6) in Shomary (2004) mentions that “Penampilan atau penceritaan merupakan kesempatan untuk mempertahankan, menyebarluaskan, dan meneruskan sastra lisan. Tanpa penampilan, maka sastra lisan akan dilupakan orang atau tidak berwujud” (Shomary, 2004:57), (“A performance or narration is an opportunity to preserve, spread, and pass along oral literature. Without performance, oral literature will be forgotten and vanished”).

The importance of media such as a performance causes Nyanyi Panjang to be included into several customary ceremony agendas, such as wedding ceremony. For a wedding ceremony, Nyanyi Panjang is performed for five to seven nights, from 9 pm to 3 am local time (http://melayuonline.com/).

In general, Nyanyi Panjang performance is held from 8.30 pm to 4 am local time. When the show is about to begin, tukang Nyanyi Panjang takes his place provided by the host of the ceremony. Tukang Nyanyi Panjang seat is usually a small mattress or an ordinary mat. Before starting the performance tukang Nyanyi Panjang asks for permission to the host and the audience in a common language. Thereupon, he goes on singing pantun bebalam (the length of pantun bebalam is adjusted to the will of tukang Nyanyi Panjang and the response of the audience). After singing pantun bebalam, tukang Nyanyi Panjang then begins telling the story (Nyanyi Panjang) (Shomary, 2004:58).

The atmosphere of Nyanyi Panjang depends on the plot of the story. To animate the atmosphere and to encourage tukang Nyanyi Panjang, in certain segments the audience usually reply with certain words such as a a, hu hu, kurrih, itu dia, lantaklah, and so on (Shomary, 2004:59). The atmosphere is getting more joyful if the replies are responded by tukang Nyanyi Panjang in ascending intonation. This also signifies that the message or purpose of the story is well accepted by the audience. Sometimes, tukang Nyanyi Panjang pauses and sings pantun bebalam (Shomary, 2004:59).

In certain parts of the story, tukang Nyanyi Panjang pauses. To fill the pause, tukang Nyanyi Panjang  lards with some gibberish, usually about occupations and daily life. The break is also used to drink, smoke and enjoy the servings prepared by the host. After 15-30 minutes of break, the story continues. Each episode lasts for 20-45 minutes. This is the way Nyanyi Panjang is performed until the end of the story (Shomari, 2004:59 dan 62).

In the tradition of Petalangan people, Nyanyi Panjang is not narrated in monotonous tones, instead, it is sung according to one particular song. Tukang Nyanyi Panjang (the narrator) may choose between two songs, Indang Padonai or Indang Padodo. He may also shift from one song to the other one. However, most narrators only use one song, namely Indang Padonai (Tenas Effendy, 1997:9).

As quoted in Effendy (1997), in the process of narrating Nyanyi Panjang, particularly Nyanyi Panjang Tombo, the content is generally put in several parts of episodes:

• The origin of the major character who is considered as the ancestor of the ethnic group involved.

There is also the narration of the major character‘s profile including his parents (father and mother), his family and his home country. The story then continues to the story of the main character and his descendants, at least until the characters settles in a certain area and opens Hutan Tanah Wilayat.

• The origin of Hutan Tanah Wilayat

It tells how the character gains Hutan Tanah Wilayat, what effort he did to get it (whether it is on his own struggle or is it given), the location of Hutan Tanah Wilayat, the original name of Hutan Tanah Wilayat, etc.

• Malay local wisdom

It coveys of religious advice, message, customary law and other provisions applied in society, it also contains moral messages handed down through generations.

• Others

It contains several complementary aspects to the story the way common oral literature is narrated, including the standard expression for the jungle, daylight or night time, girls‘ beauty or young men‘s charm and so on.

• Closing

Nyanyi Panjang Tombo always has a happy ending. The main character always succeeds in achieving his aspiration of becoming a king, a noble person, or a dinive. In addition he succeeds to own a certain territory for Hutan Tanah Wilayat. He is then perceived as the anchestor of the ethnic group, glorified and raised through generations. The higher the position of the character perceived as the ancestor, the higher their pride is.

In its realization, Nyanyi Panjang performance is proceeded by singing opening quatrain usually called pantun bebalam. Here is an example of pantun bebalam lyric of Indang Padonai song quoted from http://melayuonline.com/:

6. Cultural Value

As quoted in Shomary (2004), as a Malay “cerita pelipur lara” which functions as a media of social education and teaching, the stories in Nyanyi Panjang contain several elements of thought and values useful for life. Long before formal school existed, a performance of Nyanyi Panjang meant a public “open school”. The chieftain and adat figures of Petalangan then utilized the stories as the media to deliver various thoughts and values to people. The narration is informal, intimate, and entertaining (Shomary, 2004:115).

Inheriting tombo to ethnic group is highly likely by passing it along through Nyanyi Panjang performance. The story in tombo which is also the identity of an ethnic group is automatically preserved by Nyanyi Panjang performance. The story is repeated, even performed at different ethnic groups, thus, it will make the cultural value of an ethnic group well-preserved.

7. Epilogue

Nyanyi Panjang is a cultural inheritance for Petalangan people. Nyanyi Panjang is not merely an ordinary art performance, but it is also a form of a tradition which contains moral messages such as Malay local wisdom which is used as a media to preserve Hutan Tanah Wilayat, and even more, as the identity of a certain ethnic group.

Each Nyanyi Panjang (particularly Nyanyi Panjang Tombo) is completed with messages, religious advices and admonitions which are not only related to the preservation of Hutan Tanah Wilayat but also contain moral supreme values of culture and social norms. That is why it is said that “di dalam tombo banyak yang bersua” (many things meet in tombo), or else, “if you wish to know about a nation, study its tombo”. (Effendy, 1997:43).

Some of the contents of Nyanyi Panjang are the origin of a particular ethnic group and the opening of Hutan Tanah Wilayat. Preserving Nyanyi Panjang also means teaching the young generation of Petalangan to take care of Hutan Tanah Wilayat. Nyanyi Panjang is a natural media to teach how moral messages are conveyed through oral literature.

Tunggul Tauladan (bdy/02/01-2010)

Translation by Apri Widiastuti (trns/09/02-10)

Reference:

• “Koba/ Nyanyi Panjang”. 23 Jan. 2010 <http://melayuonline.com>
• “Nyanyi Panjang Bujang Tan Domang”. 25 Jan. 2010 <http://melayuonline.com>
• Sudirman Shomary. Nyanyi Panjang orang Petalangan Kabupaten Pelalawan. Pekanbaru: UIR Press, 2004.
• Tenas Effendy et.al., nd., Dari Pekantua ke Pelalawan. Riau: Penerbitan Buku Sejarah Pelalawan.
• Tenas Effendy, 1997. Bujang Tan Domang: Sastra lisan orang Petalangan. Yogyakarta: Yayasan Bentang Budaya.

Picture Source

• Sudirman Shomary, Nyanyi Panjang orang Petalangan Kabupaten Pelalawan. Pekanbaru: UIR Press, 2004.
• Tenas Effendy, 1997. Bujang Tan Domang: Sastra lisan orang Petalangan. Yogyakarta: Yayasan Bentang Budaya.
  

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