Bisaya Gong Orchestra by Joseph Blandoi

Introduction

            Several writers or scholars have touched on the Bisaya music. Davis (1960) once described the Bisayas of Limbang music as bearing the same feature that found in Armenia. Limbang Bisayas are great music lovers. The gongs can be found in every house (Hussain & Newton: 1987), Asmah (1983), and Bewsher (1985) claim that Bisayas are supposed to be the best gong musicians in Sarawak (see also Punchak, 1989). Full Bisaya gong orchestras of nineteen pieces used to be shipped to Kuching for major state occasions in pre-war days (Bewsher, 1958).

            Despite  all these remarks and unlike the Anding (song) and Alai Anding (dance) which have become more or less the trademark for the Bisayas, the music played by the Gong Orchestra has never been made well known or promoted to the public, except in Bisaya villages (kampung) which are mainly found in Limbang, Sarawak. It is to be noted that the Bisaya settling in Padang Kerabau, Marudi, Long Linai and Long Terawan of Baram are also said to still have the Gong Orchestra skill, but little records or contacts have been made with them.

The Instruments

A complete set of the orchestra would include the following:

1. Dumbak

2. Bebandil

3. Agong (gong)

4. Tawak

5. Kalantangan/Gulingtangan

1. Dumbak

The dumbak (drum) is made of from hollow-log and covered at both ends with  animal skin, usually, of a monitor lizard or lagatan (Puncak, 1989). The sound of the dumbak is produced by hitting the skin. In Gong Orchestra, the dumbak player controls the beat of types of gandang played.

ii.       Bebandil

One set of bebandil consists of two types of bebandil, namely one taritik and two bandils. The bebandil is normally played by two players, although there are people who can play it single-handedly. If compared with modern orchestra/band, the bebandil assume the role of rhythm guitar.

iii.     Agong (Gong)

The Gong Orchestra has two sets of gongs. It is normally played by two persons.

iv.       Tawak

The tawak is played with one set of two tawaks, namely tawak indu and tawak anak with two different purposes. The tawak anak will produce ngembua sound (literally means propose, ask) and tawak indu produces peningkul sound (literally, reply/answer). It is played by two players. Tawak if compared to modern orchestra, plays the role of bass guitar.

v.       Kalantangan/Gulintangan

One set of kalantangan has eight or nine pieces. It is played by one person and normally performs the "lead guitar role in the gong orchestra of the Bisayas

Types of Gandang/Tune

               The types of tune or the melody played by the Gong Orchestra are many and depending on occasion or function it is played or required for. This includes celebration, marriages, deaths, birth and sickness (see Punchak, 1989). In other words, the type of gandang or tunes played signifies the occasion.

Some examples of tune played are as below

The Future Passing of Skills

             Traditionally, the skill of playing the gong orchestra is acquired by informal training through listening the sound of music and playing the instruments. Currently, this practise is quite difficult to follow out due to modernization or changes that take place within the community and its environment, such as migration to towns (you cannot make too much noise for concern of neighbour who normally of other ethnic group), schooling (no children at home) and difficulties in obtaining the instruments.

              It is quite difficult to get one complete or full set of instruments as it is normally divided (babagi rata) between the offspring of the owner once they passed away. In addition, the declining or diminishing of craftsmanship skills among the Bisayas does not help to solve the problem.

              The Bisaya Association Sarawak is now working on ways as to how to conserve and develop the music culture of the Bisaya, particularly the gong orchestra. Creation of awareness and action through organizing of activities have resulted in various groups formed by villages (both the old and young) in various kampungs. Perhaps, a Bisaya Music Gala or Concert should be organised in the near future.

Conclusion : Contribution Towards National and State Culture

               The gong orchestra, if promoted, could become another trademark and source of pride for Bisaya community, as well as the State of Sarawak and Malaysia as a whole. Its preservation and development would help to contribute and enrich further the cultural heritage of Sarawak in tandem with the idea of "confluence of rivers" and "unity in diversity" advocated by the state government leadership.

                 To date the Bisaya culture contributes little. If any at all, towards national or state culture. On rare occasions, Bisaya dance troupes do participate and perform at national and state level stage shows (Punchak, 1989). It is fervently hoped that the relevant authorities in the State (and Federal) could incorporate the Bisaya arts and culture, such as the Gong Orchestra, in their cultural-tourism promotion activities both locally or internationally. The Bisaya would love to contribute, as a partner (rumo) towards creating a harmonious diversity.

Reference

Asmah Hj. Omar (1983). The Malay People of Malaysia and their Languages. Kuala Lumpur, DBP

Bewsher, R.A. (1958) "The Bisaya Group" The Sarawak Gazette Dec. 31, No: 1210

Blandoi, J. (1990) "Upacara Kematian Masyarakat Bisaya" An Academic Exercise to obtain B.A. (Hons) in Anthropology & Sociology. UKM.

Davies, G.C. (1960) "Borneo Bisaya Music: In Western Ears" Sarawak Museum Journal Vol.9 No.15

Galis, Kathi (1990) Adat Perkahwinan Masyarakat Bisaya Sarawak, DBP

Hussain b. Jamil & Newton, J. (1987) "Limbang Bisaya: Society and Language" Sarawak Museum Journal.

Punchak, S.S. (1989) "Bisaya Ethnography: A Brief Report" Sarawak Museum Journal, Vol.XL