Glossary
| Aki | Grandfather, also used before the name of a person, like Aki Daénah. See also the introduction on names in Appendix 3. ‘Ki’ is short for ‘Aki’. |
| Alok | Singing by a man who is ‘breaking into’ the performance by a female singer. This alternating singing is common in Sunda and also happens with the Baduy singing of susualan texts. See Section 7.3. |
| Ambu | Mother, also used before the name of a person, like Ambu Icot. See also Section 5.6 on gender and the introduction on names in Appendix 3. |
| Ampéan, ampian | Settlement, hamlet; part of a village (désa); I mostly use lembur. Indonesian: kampung. |
| Angklung | Set of 9 shaken bamboo idiophones. The nine idiophones have the following names from high (alit, leutik, small) to low (ageung, gedé, great): loér 1, loér 2 (or roél 1, roél 2), torolok, indung leutik, engklok, gunjing, dongdong, ringkung, and indung gedé. The two loér (roél) are played by one person and the other seven instruments are each played by one person. The three accompanying drums of the angklung ensemble are, from high to low pitch, called ketuk, talinting, and bedug. See Section 5.2. |
| Arca | An imitation in stone of a human being or an animal, statue. |
| Arca Domas | Literally: eight hundred statues; domas is an old word for ‘eight hundred’. Major place of worship southeast of Cikeusik, nowadays mostly called Sasaka Pusaka Buana or Pada Ageung (see there). Arca Domas is considered to be the place of origin of the world. |
| Awi | Bamboo. Different kinds of bamboo are used to make musical instruments: apus = tali, buluh = wuluh, bunar, gombong, surat, tamiang, temen, wulung = hideung (black), etc. |
| Ayah | Father, also used before a name of a person, like Ayah Karamaén. See also Section 5.6 on gender and the introduction on names in Appendix 3. |
| Babakan | A newly established hamlet, growing next to an existing one. It is often called after the original hamlet: Babakan Kompol is a hamlet that developed near Kompol, and Cikadu Babakan is a hamlet that developed near Cikadu. |
| Baksa | Male dancing with keromong music during circumcision ceremony by four men in two pairs, who dance towards each other. One pair keeps kitchen utensils, one keeps a spoon and coconut bowl and the other a fan and a rice spoon in their hands and the other pair of men each have a kris (A2016-1: 17, 22). The dance movements are relatively slow and the legs are lifted high. Baksa is also known outside the Baduy area. Compare ngalagé and topéng. See Section 5.5. |
| Balhum | According to Geise (1952: 244) this is used in southern Banten for a vigorous way of singing. I have never heard this word being used and it does not appear in Eringa (1984). |
| Bangbalikan | Also called wawangsalan. Special kind of susualan: the first two lines (cangkang) of the susualan text paraphrase some word not mentioned in the text. The sound structure of this particular word will correspond with that of a word (or mostly the last part of this word) in lines 3 and 4 (eusi) (Van Zanten 1989: 69). |
| Bangbrang | Also brangbrang: octave (A2014-1: 40, Kompol; md 2003-03, Hamdan). However, Karamaén (md 2003–13) seems to use brangbrang as a style of playing (or tuning?) as used in susualan (and not in pantun). Pleyte (1907: 26–27, footnote 1) gives bangbrang and bangbrang anak as the names for two kacapi zither strings. Also used as ‘to tune’. See also Eringa (1984) and Section 5.1. |
| Baresan | Council of elders in each of the Inner Baduy hamlets (Cikeusik, Cikartawana, Cibéo). |
| Batara Tunggal | God, the supreme deity in the religion of the Baduy. Batara is a general word for male gods and Batari for female gods. |
| Batik Lebak: | see mérong |
| Bedug | Largest drum in the angklung ensemble. The middle-sized drum is called talinting and the smallest one ketug. See Figure 35 in Section 5.3. |
| Bendé | Small gong with diameter about 40–60 cm. Used in the pencak silat music in West Java (Soepandi 1995b: 39; Pätzold 2000: 76). Already mentioned in the Old Sundanese manuscripts and pantun stories. In the past the bendé were used for official announcements of the court (Van Zanten 1989: 33). See Figure 42 in Section 5.4. |
| Béngkong | Baduy specialist who carries out the circumcision. Béngkong jalu are men who do the boys’ circumcision (sunatan), béngkong bikang are women who do the female circumcision (peupeuran). See Section 4.3. |
| Bidan | Midwife, medical specialist in the Indonesian health system. |
| Boéh larang/- rarang | White loosely-woven cloth, only used for ritual purposes such as wrapping a corpse before burying. |
| Brangbrang: | see bangbrang |
| Budaya wisata | Cultural tourism |
| Bupati | Head of an Indonesian regency (kabupaten), one level below the provincial level. |
| Burulung | Introductory section to the playing of an angklung piece (Rasudin, A2013: 27). See Section 5.2. |
| Buyut | Prohibition, forbidden by the ancestral rules. |
| Calintuh | Bamboo (tamiang) sticks, up to 5 meters long, sometimes not only open at the end, but also with a hole in each compartment (ruas) of the bamboo. When the wind blows through the holes it will produce sound that is, like the air screw of the kolécér, considered to be music for the children of the rice goddess Déwi Asri. The calintuh, in contrast to the kolécér, may also be found in the Inner Baduy area (A1992-1: 32, 40–41; A2013: 38, 42). |
| Calung | Xylophone made of bamboo, Outer Baduy play this solo. See Section 8.5 and listen to <AV29>. |
| Camat | Indonesian sub district head, responsible for several villages and to the district head/regent (bupati), a higher administrative officer. |
| Caning | Metallophone with 6 bronze keys as used in the Outer Baduy gamelan (keromong). This instrument is called saron elsewhere in Java. See Figures 37 and 39 in Section 5.3. |
| Cangkang: | see susualan |
| Carang-carang | ‘With large intervals, wide apart’. Term used for Baduy music ‘for happy occasions’, and supposedly music in a tone system that is similar to the Sundanese saléndro system (Soepandi 1995a: 49; Suryadi 1974:54). See also rindu (longing) and kerep (close together). |
| Carik | Village secretary. The Baduy carik should be a non-Baduy; a former Baduy could become carik, like Sapin (2007–2016) and the very first carik Tayun in the 19th century (Meinsma 1869: 327). |
| Carita pantun: | see pantun |
| Celempéng | Bamboo idiophone used in the in 2013–2014 established Baduy go-goongan ensemble see Figure 8 and photograph in Van Zanten (2017: 94). This instrument is called celempung, or kendang awi (bamboo drum) in other parts of west Java; see Kunst (1973[1934]: i-369, ii-451) and Soepandi (1995b: 49). See also Section 1.2. |
| Ceurik panglayungan | ‘Weeping for the corpse’. Saying a prayer by a family member of the deceased ‘so that the soul of the dead person will arrive in the holy place where the gods live and will not get lost in the underworld’ (Danasasmita and Djatisunda 1986: 72). |
| Cirambay | Literally ‘singing with tears in your eyes’: a style of pantun recitation that has slow and drawn-out sections of singing. Compare pada ramé singing. Listen to <AV13>. |
| Cukuran | Ceremonial cutting of hair when the child is about one month old. |
| Dangdang Ageung | The ‘large pond/lake’, lying near Cigula, Kanékés, with size about 100m x 150m. This pond is never empty. The Dangdang Ageung pond is mentioned in the story Budak Buncireung: when his mother looked at the valley with the Dangdang Ageung pond she saw the monster Iwak Gentur sleeping there (Geise 1952: 109–111, 218–220). There is also a much smaller pond in Kanékés, Dangdang Salak, between Kadujangkung and Campaka and size about 30m x 30m, almost hidden by the forest around it. I was told that around June (month Kalima) there was a (purification) ceremony for the lakes. See Figure 28 in Section 3.3. |
| Dangka | Hamlets used for enforcing Baduy customary law. Individuals who committed an offence may be temporarily expelled from their hamlet and banned to one of the dangka hamlets, where he or she will be taught the Baduy rules by the jaro dangka. The about 700 Baduy living in dangka hamlets outside Kanékés also follow the major customary rules. The dangka hamlets are important for the delineation of the Baduy community; see Section 2.2. |
| Déwi Asri | Goddess of rice, see also Nyi Pohaci (Sangiang Asri) |
| Dongdong | One of the nine angklung instruments; 7th one from highest to lowest instrument. |
| Dongéng | Story, fairy tale, shorter in length than the pantun stories and not involving music. |
| Durian: | see kadu |
| Elét | Five-finger hole end-blown flute of about 20cm long. It is called bangsing in other areas of west Java. The Baduy play the elét, like the suling lamus with the circular breathing technique. It is not played by the Inner Baduy. See Figure 52 in Section 8.3 and film fragment <AV24>. |
| Éngklok | One of the nine angklung instruments; 5th one from highest to lowest instrument. |
| Étém | Small knife for harvesting the rice, stalk by stalk; in Indonesian called ani-ani. See Figure 23 in Section 2.7 |
| Eusi: | see susualan |
| Galéong: | see suling lam(b)us |
| Gambang or gambang kayu | Xylophone played by the Outer Baduy and other Sundanese on its own, or in the keromong ensemble (gamelan). In the keromong ensemble the gambang plays the melodic parts. See also calung. |
| - kendang | ‘Drum xylophone’, added to the keromong ensemble between 2003 and 2013. See Figure 39 and also Plate 1 in Van Zanten (2015: 119). |
| Gamelan: | see keromong |
| Gendék (genék) | Ceremonial pounding of rice by a group of married women to announce (mainly) weddings in Inner and Outer Baduy area. It may also be used for receiving an important guest. The about 8–12 women produce rhythmic patterns with their pestles (halu): <AV10>, <AV11>. In other parts of Sunda also called tutunggulan or gondang. In 1992 the gendék was also described to me as rempugan, from rempug, to agree, to be in accordance. That is, the hamlet(s) agreed on organizing a ritual meal (hajat) on the occasion of a wedding or circumcisions and this was announced by women playing gendék. |
| Gilir naga | The direction in which the mythical snake moves in a circle, that is, in a clockwise direction. The anti-clockwise direction is indicated as the way in which the koréd knife (see Figure 23 in Section 2.7) is moving when weeding. It is also called mapag naga, to meet the mythical snake. |
| Girang | Up, upstream (hilir: downstream). Inner Baduy are also called urang girang. Also used as honorific title for a puun and his nearest assistant, the seurat: girang puun and girang seurat. |
| Go-goongan | Ensemble that was newly established by Kurdi in Cipondok in 2013–2014. It consisted of some instruments that have been around in Kanékés already for some time: Jew’s harp (karinding), violin (viol), zither (kacapi), two-string bowed violin (rendo) and suling (bamboo flutes). However, the used celempéng idiophones of bamboo have not been played in Kanékés before, as far as I know. See Section 1.2; Figure 8, <AV32>. |
| Golok | Big knife for daily use by Baduy men, called bedog in other parts of Sunda. See Figure 23 in Section 2.7. |
| Gondang: | see gendék |
| Goong | Baduy and Sundanese word for gamelan (or keromong/kromong or lénong). |
| Gunjing | One of the nine angklung instruments; 6th one from highest to lowest instrument. |
| Guriang | Spirits, ancestors who look after and protect Kanékés village. They are the ‘spiritual rulers’. |
| Hajat(an) | Ritual meal at life cycle events to ask for blessing and to avert evil influences. |
| Hak ulayat | Collective land rights |
| Halu | Pestle for pounding rice, also used for the ceremonial pounding gendék |
| Héot, ngahéot | Whistle just with the mouth, without an instrument. |
| Huma | Dry (non-irrigated rice) field, in other parts of Indonesia also called ladang |
| - Huma sérang | Dry rice field in each of the three Inner Baduy hamlets and considered to be sacral and collectively looked after. The harvest is used for the kawalu fasting ceremonies such as ngalaksa (Garna 1988: xxii, 192, 201–202) |
| - Huma tuladan | Dry rice field in Outer Baduy area with a similar role as the huma sérang in the Inner Baduy area (see Figure 32; Garna 1988: 192). |
| Icib(l)ungan | Producing rhythmic patterns by tapping with hands on the surface of the water (while bathing in the river). Sundanese: (i)cikib(l)ung. |
| Indung gedé | Lowest one of the nine angklung instruments. |
| Indung leutik | One of the nine angklung instruments; fourth one from highest to lowest instrument. |
| Jampé | Magical formula. |
| Jaro | Head of a group; in the larger Sundanese area mostly used for a village head. The Baduy use the word also for the leader of an angklung group: jaro angklung. |
| - jaro dangka | Outer Baduy official, whose main function is to assists the other leaders with enforcing Baduy customary law (pikukuh). There used to be nine dangka hamlets: Cihulu and Kaduketug Gedé in Kanékés village and seven dangka hamlets outside Kanékés village. It seems that currently there are only two jaro dangka living in hamlets outside Kanékés (Cikarého near Kompol, and in Garéhong village); the other five have moved to a hamlet inside Kanékés. See Section 2.2 and Garna (1988: 414–5). |
| -jaro pamaréntah (Ind.: jaro pemerintah/jaro gubernemen) | Secular head of Kanékés village. He is an Outer Baduy who mediates between the spiritual leaders (puun and others) and the Indonesian authorities. In colonial times he was mostly called jaro gubernemen. In the 19th century the tasks of the jaro pamaréntah used to be performed by the jaro warega. |
| - jaro tanggungan duabelas | An Outer Baduy who leads the group of twelve jaro: three jaro tangtu and nine jaro dangka. This group of jaro is responsible for having the Baduy live according to the rules of the ancestors (pikukuh). |
| - jaro tangtu | Secular head of one of the three Inner Baduy hamlets (Cikeusik, Cikartawana and Cibéo). |
| - jaro warega | An Outer Baduy who in current practice has a ceremonial task during the séba ceremony to pay homage to the rulers of the north, and other adat tasks. In the past the jaro warega did much of the work now done by the jaro pamaréntah. Garna (1988: xxiii) calls the jaro warega one of the jaro dangka who became their ‘leader’. |
| Jeungkal, | Sajeungkal: distance between tops of thumb and little finger when spread as much as possible, that is, about 20cm. An élét flute should be about this size: one jeungkal. |
| Kacang hérang | Dark blue woven sarong (samping poléng kacang hérang) worn by Outer Baduy women: Section 2.6. |
| Kacapi | Zither. There is the pantun zither (kacapi pantun), made of white lamé wood and used to accompany pantun recitation, used by both Inner and Outer Baduy men. The Outer Baduy also use the flat kacapi siter for entertainment music. See Section 8.4. |
| Kadu | Fruit and tree with the same name, called durian in Indonesian. The fruits have a pungent smell and taste. One of the important agricultural products of the Kanékés people that is sold on the market. The name of the hamlet Kadujangkung means ‘high kadu tree(s)’. |
| Kajeroan | Inner Baduy, see tangtu. |
| Kanékés | Village where the about 12.000 Baduy live (1 July 2016), an area of about 51 km2, south of Rangkasbitung and Leuwidamar. The Baduy are also referred to as the people of Kanékés: urang Kanékés. |
| Karinding | Jew’s harp made of the sugar palm (kawung); it is placed in a bamboo tube to produce a better resonance. See Section 8.5, Figure 57, <AV30> and <AV32>. |
| Kaulinan | Children’s games. See also pamaceuh, icib(l)ungan |
| Kaum daleum | Baduy of Inner Baduy descent who live with the Outer Baduy and cooperate with the tangtu leadership on rituals, other social activities and maintenance (Geise 1952: 24). |
| Kawalu | Fasting period in the Baduy months Kasa, Karo and Katiga. See Table 5 in Section 4.1. |
| Kawih | Singing, song, vocal music. Presumably the oldest Sundanese term for singing (Van Zanten 1989: 15–16). See Sections 3.1 and 6.5. |
| Kawinan | Marriage. |
| Kekeplokan | see pancure(u)ndang |
| Kendang awi | see celempéng |
| Kerep | ‘Close together’: used for the tone system pasieupan kerep or pasieupan rindu. (Soepandi 1995a: 19). According to him, it is equal to the pélog tone system and it is used to break the heart of a girl. Compare carang-carang and Section 5.1. |
| Keromong/kromong | Baduy gamelan, also called goong/gong or lénong. One of the instruments, consisting of ten bronze kettles resting on a horizontal frame, is also called keromong (bonang elsewhere in Java). See Section 5.3. |
| Ketug | Smallest drum in the angklung ensemble. The middle-sized drum is called talinting and the largest one bedug. See Figure 35 in Section 5.3. |
| Kidung | Incantation to avert illness, theft and other possible evils when venturing into places which might harbour spirits. The Baduy have songs for entertainment (keromong, susualan singing) that they call ‘kidung’: Kidung Rahayu, Kidung Opat Lima. For singing/reciting pantun stories they use kawih. |
| Koja | Bag made by crocheting the bark of trees. |
| Kolécér | Bamboo propeller, up to about 1 ½ m long, fixed to the top of a high tree, only in the Outer Baduy area of Kanékés. The produced sound is described as music to entertain the rice goddess Déwi Asri and her children (like the calintuh). Small boys sometimes run around with a small bamboo kolécér propeller as a toy. See Figure 9 in Section 1.2. |
| Kolot | Elder. The head of an Outer Baduy hamlet (lembur) is called kolot lembur. |
| Komala | Mosses to be found on the natural stones at Sasaka Pusaka Buana near Cikeusik. |
| Kumbang | see suling kumbang |
| Lagé | see ngalagé |
| Lagu | Melody, song. See Section 5.1. |
| Laksa | The (nga)laksa ritual takes place in the last kawalu fasting month at the end of the agricultural year, around March-May. At the laksa ritual the Baduy make a ‘puppet’ of rice flour vermicelli (laksa) for each human being in their hamlets. According to Garna (1988: 338) the small puppets serve as offerings to the spirits (guriang) in the forbidden forest (leuweung larangan) in the Inner Baduy area. These spirits are in fact ancestors who look after and protect Kanékés village. They are the ‘spiritual rulers’ (penguasa gaib), who get the offerings before the worldly rules of the north in the séba ritual. See Section 2.3. |
| Lalakon | see pantun |
| Lalamar | Formal proposal for a wedding. |
| Lamak | Shoulder cloth. See two examples of shoulder cloths for Outer Baduy women in Figure 19: lamak suat songkét and lamak suat samata. |
| Lam(b)us | Bellows; see also suling lamus (lamus flute). |
| Lamé | White wood used for making several string instruments, like kacapi, rendo and viol. |
| Lembur | Hamlet, settlement, as a part of a larger village unit. Also used: ampian, ampéan and in Indonesian: kampung. |
| Lénong | Baduy word for gamelan; also keromong and goong are used, of which keromong is the most commonly used. |
| Lesung | A 6-8m long wooden trough in an open, roofed space (saung lesung) for pounding rice with a pestle (halu). If a group of houses has been inaugurated as an official Baduy hamlet (nukuh lembur ritual) that hamlet may have a lesung. Apart from using the lesung for the daily pounding of rice, it may also be used for ceremonial purposes by a group of 8–12 women produce rhythmic patterns with their pestles: see gendék. |
| Leuit | Storage barn for rice. The leuit are placed apart from the houses in a special section of each hamlet. |
| Leuweung larangan | ‘Forbidden forest’: the south-eastern part of the Inner Baduy (tangtu) area of Kanékés on the slopes of Mount Kendeng with the holy places Sasaka Pusaka Buana (also called Arca Domas or Sasaka Pada Ageung) and Sasaka Parahiang. It is also the place where the Ujung river (Ciujung) originates. This area, almost half the size of Kanékés, cannot be used for agriculture. Only some Baduy officials may access this area to perform rituals on special occasions. |
| Loér or roél | Two highest tuned angklung instruments. |
| Macapat verse forms: | see manikaban. |
| Mandala | Holy region. The essence of the Baduy way of living has often been described as tapa di nagara, ‘asceticism in the kingdom’, or tapa di mandala, ‘practising asceticism in the holy region’. |
| Manikaban | Reading and reciting of exemplary deeds of Islamic saints (non-Baduy, outside Kanékés). This reading makes use of macapat verse forms originating from Central Java. |
| Mapag naga: | see gilir naga |
| Masyarakat adat | Indigenous community, ethnic minority group |
| Mencek | A small type of deer/roe that is difficult to find in Kanékés nowadays. The skin of the mencek (Indonesian: kijang) is used for the membranes of the angklung drums; no other skins may be used. |
| Menyan | Benzoin, incense, burnt before starting a ritual performance such as telling a pantun story, playing angklung or keromong. Also used as resin to make the bow of a violin (viol) rough and sticky. |
| Mérong | Printed batik cloth with dark blue figures of butterflies, flowers and leaves on a black or light blue background. This material, nowadays made from industrially produced yarns and chemical dyes, was in former times also specially made for the Baduy outside Kanékés. It is, for instance, used for the head cloth of Outer Baduy men and the sarongs for Outer Baduy women. In 2015 the mérong batik was patented and is now often called Batik Lebak (Van Zanten 2017: 92–93). Since that time the Outer Baduy men also wear shirts made from this mérong cloth: see Figure 16 in Section 2.4, Figures 38–40 in Section 5.3. See also Section 2.6. |
| Muuhan | Filling holes, made in the earth by men, with five or seven grains of rice. The holes are filled by women and children. See also ngaseuk. |
| Nangka | Jackfruit or jackfruit tree. The wood is used for the body of angklung drums. |
| Ngagubrugkeun | Finishing an angklung song with fast and loud playing while the players stand still: (Van Zanten 1995: 533). If there are dancers, they will be ‘chased’ by the drum players and run around the angklung players, who stand still. See Section 5.2 and film fragment <AV05>. |
| Ngahéot | see héot |
| Ngalagé | Dancing with angklung. Compare also baksa and topéng. See Section 5.5. |
| Ngarérémokeun | The ritual in which the goddess of rice, Nyi Pohaci Sangiang Asri (= Déwi Asri), is getting engaged to the Earth (Partiwi). See Section 4.2 |
| Ngaroronda | Singing of a song in turn by a group of young men in the evening, also with a kacapi. See Pleyte (1912: 255). |
| Ngaseuk | Making holes in the soil with a planting stick (aseuk, tugal) by men. These holes will each be filled (muuhan) with five or seven grains of rice by women and children. |
| Nikahan | Marriage. |
| Nini | Grandmother, from both mother’s and father’s side. |
| Nukuh lembur | Inauguration of a group of (about ten) houses to become an official hamlet in Kanékés. The hamlet may then have its communal wooden trough (lesung) for pounding rice and in an open, roofed space (saung). The inauguration ritual involves pantun recitation. See Section 6.4. |
| Nyacar | Cutting trees and bushes on the agricultural fields at the beginning of the agricultural season. |
| Nyawér | see sawér |
| Nyi Pohaci | The goddess of rice, also called Déwi Asri. In full she is called Nyi Pohaci Sang(h)iang Asri. |
| Pada ramé | Style of singing in pantun recitation: animated, festive (ramé) singing that is not immediately connected to the ritual context, but concerned with worldly matters, mainly human love, and that may distract from the major Baduy task of practising asceticism (tapa). It is also used to describe singing of short poems (susualan or sisindiran) for entertainment. Compare cirambay singing in pantun recitation, Section 6.5 and listen to <AV13> and <AV14>. |
| Pamaceuh | In Old Sundanese manuscripts presumably: game, something that distracts from asceticism. |
| Pamali | Prohibition, forbidden according to the ancestral rules. |
| Pamor | see sulangkar |
| Pamukiman (Ind.: pemukiman) | Resettlement area outside Kanékés. People of Baduy descent, living in the resettlement areas outside Kanékés, who do not take part in the rituals of Kanékés are no longer considered to be Baduy by the leaders of Kanékés village. |
| Panamping | Outer Baduy: the about 10.000 people (July 2016) living in Kanékés village, surrounding the holy area of the Inner Baduy (tangtu). Also called urang luar or Baduy Luar. |
| Pancure(u)ndang | Also called kekeplokan: piece of bamboo that is ‘played’ by running water and regularly makes a sound that scares off animals like wild pigs and otters. |
| Panerus | Metallophone with six keys and tuned one octave lower than the caning metallophone. |
| Pangiwa | Security official of puun. In the present administrative system the pangiwa is the head of a group of hamlets (rw), who assists the secular village head (jaro pamaréntah). |
| Pantun | Or carita pantun, pantun story: epic story told by a male bard. The recitation is solo, or may be accompanied by a kacapi pantun (not by a flat and varnished kacapi siter). In 2003, 2014 and 2016 I only heard the pantun recitation without accompaniment. See Chapter 6. The stories (carita) are also called lalakon. |
| Papajangan | Temporary awning where most circumcision rituals will take place: filing of teeth, actual circumcision of boys, pantun storytelling, etcetera. The papajangan is made of white cloth and also called saung sunatan. See Sections 4.3–4.4. |
| Pariwisata | Tourism. |
| Pasieupan | According to Suryadi (1974: 59–60): ‘tone system’. The Baduy use two ‘tone systems’ or modes: carang-carang and rindu. In Indonesian this is usually called laras; in Sundanese music also surupan (Van Zanten 1989: 112–130). See Section 5.1. |
| Pélah | A particular kind of rattan. In the past clothes were also made from pélah leaves. The fringes on top of the angklung instruments are said to be made of pélah leaves; these fringes are tumbal signs that protect against evil spirits and calamities (Djoewisno 1988: 47). |
| Peupeuran | ‘Circumcision’ of girls. It seems that Baduy peupeuran/peperan, or initiation of 5–10 year old girls into the world of women as Permata calls it, physically only consists of tooth filing. The actual incision in the clitoris has already taken place just after birth. For girls the tooth filing may take place at the time when it is done with the boys, just before the sunatan operation of the boys, but also during weddings. See also Moestapa (1946: 54 [1913: 41]): peperan is the refined (lemes) word for gusaran, filing of teeth and he places this in the context of a discussion about circumcision (sunatan). |
| Pikukuh | Rules about how to live and as handed down by the ancestors, customary law (Indonesian: adat law). |
| Poléng | Kinds of check pattern in woven cloth or plaiting. See the kacang hérang and paulunas patterns in Figure 19, Section 2.6. |
| Puun | Spiritual leader in each one of the three Inner Baduy hamlets: Cikeusik, Cikartawana and Cibéo. |
| Rajah | Sung beginning of a pantun story, also called rajah pamunah. It is an invocation in which the singer invokes the protection and blessing of the gods, asking pardon for any possible mistakes he might make in his telling of the story. See Section 6.5. |
| -Rajah pamungkas | Short, more or less standard, text to end a pantun recitation. There is also such rajah text, to be used when continuing the recitation after a break. |
| Ramé: | see pada ramé |
| Rebab | Two-string bowed lute that is forbidden in Kanékés since about 1980. The instrument was apparently for some time tolerated to be played in the Outer Baduy area: in 1956 Suraybrata made recordings of a rebab playing in a Baduy gamelan in Jakarta and in June and July 1976 I made recordings of the rebab in the keromong ensemble of Gajéboh. See Sections 5.3 and 8.4. |
| Rendo | Two-string bowed lute played by the Outer Baduy only. This instrument is similar to the slightly larger Sundanese tarawangsa; see Section 8.4 and film fragment <AV27>. |
| Rindu | Literally ‘languish, longing’. It is used to indicate a style of playing or tone system (pasieupan) that is similar to the Sundanese pélog. |
| Ringkung | One of the nine angklung instruments; one-but-lowest instrument. |
| Roél | see loér |
| Ronda | see ngaroronda |
| Ronggéng | Female vocalists, who also dance with men on the gamelan music. This seems to take place in the Outer Baduy area since about 2005–2010. See Sections 4.4 and 5.5. |
| Rumbak | Outer circumference of a flute near the blowing hole, used as a unit for determining the place of the finger holes, etcetera. |
| Sabuk | Belt to tighten sarong, ceremonial sash; see sabuk adu mancung in Figure 19, Section 2.6. |
| Sajeungkal | see jeungkal |
| Samping | Waist-cloth, sarong. In Indonesian called sarung or kain. |
| Sasajén | Offering before starting to perform angklung, pantun, gamelan, etc. |
| Sasaka | (Venerated) heirloom, heritage |
| - Sasaka Domas | Other name for Sasaka Parahiang near Cibéo: see there |
| - Sasaka Parahiang | Also called Mandala Parahiang or Sasaka Domas (Judistira Garna 1988: 280, 294; Ekadjati 1995: 69–70). Holy place near Cibéo and Cikartawana near the Ciparahiang river; the puun of Cibéo is responsible for guarding this sacred place. Sasaka Parahiang is considered to be the place of origin of the Baduy community: it is the place that was first visited by Batara Cikal, the eldest son of the highest god Batara Tunggal. Batara Cikal is considered to be the founder of Kanékés and ancestor of the different puun. It is believed that Sasaka Parahiang is also the place where the souls of the deceased Baduy will eventually go: back to their origin. |
| - Sasaka Pusaka Buana | Also called Pada Ageung or Arca Domas (Judistira Garna 1988: 280, 294). Sasaka Pusaka Buana is the most holy place for worshipping (pamujaan) of the Baduy. The puun of Cikeusik is responsible for guarding this sacred place that is considered to be the place of origin of the world (Garna 1988: 229–271). With a small party he visits the place during the days 16–18 of the Baduy month Kalima (around April-May). The party cleans the terraces and they look at the mosses to predict the future. The location is kept secret. However, the place was already visited by several non-Baduy visitors in the 19th and 20th century and described. It lies about 2 km southeast of Cikeusik near the origin of the Ciujung river in the southeast of the tangtu area, on the slopes of Mount Kendeng. This holy place consist of some crudely paved terraces, some of which contain stone remains. |
| Sawah | Wet (irrigated) rice field. In Kanékés village wet rice fields are not allowed, only the dry rice fields (huma). The only exception are the Muslim hamlets Cicakal Girang, where wet rice fields are tolerated by the Baduy. |
| Sawér/nyawér | To throw money, rice mixed with coins, sweets, etc. on the bridal couple or on a child just circumcised. See Sections 4.4, 4.5 and 6.3 (jampé nyawér). |
| Séba | Ceremony in which several agricultural products (like bananas, palm sugar, petai beans) and handicrafts (like cloths, kitchen utensils) of the Baduy are presented to the ´rulers of the north’, that is, the sub district head (camat) of Leuwidamar, the district head/regent (bupati) of Rangkasbitung (Lebak regency) and the governor of Sérang. The séba party of Inner and Outer Baduy leaves Kanékés on the date 1, 3, 5, or 7 Sapar/Kapat, and since the 1970s this has been between the beginning of April and the beginning of June (see Table 32). The Banten Province government has made the séba ceremony an important touristic event since the early 2000s and this may be seen from the increasing number of Baduy participants. See Section 2.2. |
| Sérén taun | Harvest feasts in west Java, for instance in Kasepuhan Ciptagelar; the Baduy do not use this term. |
| Seurat | In Cikeusik and Cibéo the spiritual leader puun is assisted by a seurat, also called with the honorific title: girang seurat. |
| Sindir/Sisindiran: | see susualan |
| Siter | see kacapi |
| Siwér/syiwér | The ring made of the leaf of the coconut palm tree (daun kalapa) to close the duct for the air flow of the lamus ring flute. |
| Songkét | Cloth with patterns made with a special weaving technique; in other parts of Java by using silk or gold thread (suat). See Figure 19 in Section 2.6: lamak suat songkét. |
| Suat samata: | see lamak |
| Sulangkar | Patterns on the blade of a knife, such as golok and kujang, made by hammering different pieces of steel into the blade: see Figure 19 in Section 2.6. Outside the Baduy area these patterns are mostly called pamor. |
| Suling | Flute; see also elét, tarawélét |
| - suling kumbang | Side-blown flute with two finger holes and about 70 cm long, made of tamiang bamboo. At the side of the blowing hole is a piece of about 10 cm of bamboo added to the natural partition (ruas) in the bamboo and in the form of a spearhead; this piece seems to have no musical function. See Section 8.1 and <AV20> to <AV22>. |
| - suling lam(b)us | Six-finger hole and end-blown ring flute of about 60–62 cm long; the Baduy play this flute with the circular breathing technique: producing a continuous flow of wind ‘like bellows’ (lambus). Soepandi (1995a: 18–19; 1995b: 69) used the term (suling) galéong to indicate the six-finger hole suling lamus. I have never heard this term from Baduy people. See Section 8.3 and film fragment <AV24>. |
| Sunatan | Circumcision of boys. See Section 4.3. |
| Sunda wiwitan | Religion of the Baduy as mentioned on their identity cards between around 1972 and 2011. Sunda wiwitan means ‘the beginning, the origin of Sunda’, the original Sundanese belief system that dates back from the Hindu kingdoms and earlier, and definitely before Islam entered West Java. Currently there are also other Sundanese who claim that they adhere to this belief system. In 2011 the Indonesian central government decided that Sunda wiwitan, with many other belief systems of indigenous groups, was not officially recognized as a religion. By law the Indonesian state recognizes only six religions: Islam, Catholicism, Protestantism, Hinduism, Buddhism and Confucianism. This means that as from 2011 the Baduy must choose one of these six religions or opt to leave the ‘religion’ field on their new (electronically produced) identification cards blank. The Baduy protested, and asked the central government to reconsider this decision.1 In May 2016 the central government had not changed its mind and some Baduy now asked to be registered as ‘Islam’, because to have ‘no religion’ can still be very problematic in Indonesia. See further Sections 2.3–2.4. |
| Susualan = sisindiran | A poem in which an allusion (sindir, sualan) is given by a combination of words which allude to the real meaning by sound association. These poems consist of a ‘cover’ or ‘rind’ (cangkang), mostly without meaning, followed by the ‘content’ or ‘essence’ (eusi), the real meaning. The Baduy use these texts, for instance, in the pantun recitation, angklung songs, and also in solo singing with the accompaniment of the kacapi, the rendo or the violin and/or a suling lamus. See Section 7.2. Compare also special susualan: bangbalikan or wawangsalan. |
| Taléot | see tarawélét |
| Talingtung | Apparatus to chase birds in the fields. It consists of a cord with bamboo parts or empty tins hanging from it. The bamboo parts and tins presumably make noise when hitting each other. See Appendix 4, 2003–12, stanza 4. Talingtung is not an entry in Eringa (1984) or kubs (1976). |
| Talinting | The middle-sized drum in the angklung ensemble. The largest drum is called bedug and the smallest one ketug. See Figure 35 in Section 5.2. |
| Tali paranti | Life cycle, consisting of the important events in human life, like circumcisions, marriages, etcetera. |
| Taneuh larangan | ‘Forbidden land:’ land in the Inner Baduy area of Kanékés, that is not available for agriculture and where the sacred places, like Sasaka Pusaka Buana and Sasaka Parahiang, are located. |
| Taneuh putih | White earth, found near the sanctuary Sasaka Pusaka Buana. |
| Tangkesan | Seer, astrologer and healer, who is advisor to the three puun. He lives in the Outer Baduy area in one of the hamlets Kaduketer, Cicatang or Cikopéng and his main task is to look after the spiritual well-being of the Outer Baduy (Garna 1988: 374–375). |
| Tangtu | Literally: firm, steady, certain; also: ancestors (Eringa 1984; Garna 1988: xxxi). Used to indicate a relation to the Inner Baduy, and the Inner Baduy themselves. (Urang) tangtu: the Inner Baduy, that is, the about 1200 people (July 2016) that live in the southern, most sacred part of Kanékés (also called kajeroan, urang girang). |
| - tangtu tilu | The three tangtu (Inner Baduy) hamlets (Cibéo, Cikartawana and Cikeusik), which are surrounded by the panamping (Outer Baduy) region. Also used to indicate the whole Inner Baduy region. |
| - tangtu tilu jaro tujuh | The symbolic way to indicate the whole system of organizing spiritual and secular matters of the Baduy by the three puun and seven jaro, referring to the seven ancestral Gods (Batara) from which the Baduy descend (see more in Garna 1988: 356–358 and Van Tricht 1929: 72–73). In a letter of 18 April 2016 to announce the dates and programme of the May 2016 séba, the village head Saijah mentioned that the Tangtu tilu jaro tujuh lembaga adat masyarakat Baduy (the Tangtu tilu jaro tujuh adat board of the Baduy community) had decided on this programme. |
| Tapa | Asceticism. The people of Kanékés are supposed to live in a very modest way. They should be ritually pure, as they ‘consider themselves as the guardians of the forest, sources [of rivers], and the soil, and at the same time they hold themselves responsible for the destiny of the world’ (Berthe 1965: 216–8). Thus, the Baduy ascetic way of life is for the well-being of the world. The essence of their way of living has often been described as tapa di nagara, ‘asceticism in the kingdom’, or tapa di mandala, ‘practising asceticism in the holy region’. |
| Tarawangsa | Two-string bowed lute in Sunda. In the literature the very similar Baduy rendo is often called tarawangsa. |
| Tarawélét, tarawélot | Side-blown bamboo flute with two finger holes, about 58 cm long; also called tarawélot or taléot. Made of tamiang bamboo. |
| Tatabeuhan | (In Old Sundanese manuscripts:) instrumental music, musical instruments. |
| Topéng | Dancing with keromong (gamelan) music in the Outer Baduy region; compare other types of Baduy dancing: baksa and ngalagé/lagé. Outside the Baduy area in the Sundanese regions topéng is used for a mask, a masked dancer or mask dance. Topéng is also used for ronggéng topéng, a public singer-dancer performing with a topéng group. See Section 5.5 on dancing. |
| Torolok | One of the nine angklung instruments; third one from highest to lowest instrument. |
| Tumbal | Signs to protect people from evil spirits and calamities (tolak bala), for instance those placed on the roof of a house. On musical instruments it is mostly a white cross on an instrument. The fringes on top of the angklung instruments are also tumbal (Djoewisno 1988: 47). The signs (babay) that are put above the main entrance door to a Baduy house at the ngalaksa harvest feast and stay there until the following year are also meant for protecting the people from calamities. |
| Tutunggulan | see gendék |
| Urang girang | Inner Baduy, see tangtu |
| Urang luar | Outer Baduy; see also panamping. |
| Wawangsalan | see bangbalikan |