March 28, 2013
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Table of Contents Map of Tana Toraja Mind Map of Torajan Funeral Rites The Tana Toraja: Ritual and Death in Indonesia by Andrea Bissonnette The Rites of the Dead: Aluk to Mate by Andrea Bissonnette Extravagant Funeral Feasts by Karina Andersson A Home Where the Buffalo Roam by Milan Gaida Tau Tau: The Wooden Gatekeepers of Tana Toraja by Deanna Williams Quiz: What Torajan Symbol best represents you? Buried in the Wind: Baby Trees of Tana Toraja by Karina Andersson Hanging Graves: Final Resting Place or Tourist Attraction? by Karina Andersson Where’s Your Head At? by Milan Gaida The Walking Dead of Tana Toraja by Shawn Curé If It Ain’t Broke, Don’t Fix It by Deanna Williams
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Tau Tau
The wooden gatekeepers of Tana Toraja
Deanna Williams, UVIC
Wood carving is a major form of cultural expression in Toraja culture. It has been passed on through generations with such specificity that even modern wood carvers can perform carvings with exacting mathematical proportions and curves without intention. This cultural phenomenon has been termed ethnomathematics ‐ geometry and precision without intent. Modernization has largely replaced general use wood carving with manufactured goods like plastic, but the practice has persisted in architecture and agriculture and remarkably, in the creation of the tau tau.
Tau tau means “person‐like” or “little person”. They are carved wooden statues or effigies that play a large part in many funeral rituals. According to traditional beliefs they house the souls of those that have passed, and are carved specifically to depict deceased ancestors in their live form. It has been suggested that tau tau indicate status, wealth, heritage – though this is represented more so in colours and clothing adorning the effigy, rather than effigy itself. Traditionally, tau tau were only created for those of high status and wealth, though technology and lowering time and money costs have made the practice more universal in recent times.
Tau tau are a fond reminder to the still living of those they resemble. Their purpose is to contain and reveal the identity (in life) of their deceased counterpart. They have increased in detail over the years from less stylized to more realistic. Could this have occurred as a response to the pillaging of Toraja grave sites for foreign showcasing? The increasing likeness of the statues to those they memorialize may indicate the desire of the locals to bring more meaning to the rituals that tourism seems to be diluting. An alternate explanation may be due to the influx of Christianity. Older, stylized effigies that do not specifically resemble a deceased individual or appear human in general may give the impression of paganism in the eye of the Church. Global modernization also plays a role. Due to changing technology, wood carvers are now more likely to carve effigies in their own workshops with the assistance of a recent photo. Photography has allowed for more realistic carvings but has taken away the time a wood carver spends with the family of the deceased; a description of appearance is no longer required for the deceased to be properly memorialized. Though efficiency and quality have increased, modernizing wood carving may have a negative impact on kinship ties within the communities of Tana Toraja. What does this mean for those phony, manufactured effigies (souvenirs) that are created strictly for tourist consumption? This author believes that these effigies are not tau tau as they commemorate no one, and rather are watered down pieces of culture stolen for the rest of the world to share. Some locals do not agree, though those on defense are likely the shopkeepers gaining monetary benefit in exchange for borrowed traditions.
Steps of making an effigy: 1. 2. 3. 4. 5. 6. 7.
wait for death in the family to happen search out and cut down a jackfruit tree sacrifice a dog and a chicken feast on the meat treat the wood make limbs and body make head and insert wooden eyes, wide open 8. sacrifice a pig 9. feast again 10. for the funeral, dress the effigy in traditionally appropriate attire 11. following the funeral and grave prep, place the effigy at the burial site
Arms and legs of the effigy are removable, and the wood, originally yellow, darkens over time to resemble Torajan skin tone. For Christian tau tau carving, animals sacrifice is skipped. Tau tau are traditionally placed to overlook the remains of those that they commemorate, though the rise of tourism and subsequent grave robbing in the 1980s of tau tau for souvenir, artifact, or art trade have initiated safer storage of many effigies within the tombs themselves. During ma’nene’ (page xx), tau tau of the long dead ancestors are repaired and redressed alongside their organic muses.
QUIZ! What Torajan Symbol Best Represents You?
6) What genre of movie do you prefer? A. B. C. D. E.
Action Classics Family channel Rom Com War
7) What’s your favourite type of music? 1) In school, what were your favourite activities? A. B. C. D. E.
Working in the student body government Career and life management class Volunteering in the community Home economics, art, and design Playing on a full contact sports team
2) What’s your favourite colour? A. B. C. D. E.
Purple, like royalty. Green, like money. Yellow, calm and neutral. Pink – pretty! Red, the colour you “see” often.
3) Who’s your favourite character on television? A. B. C. D. E.
Donald Draper, Mad Men Mr Burns, The Simpsons Rev. Eric Camden, Seventh Heaven Carrie Bradshaw, Sex and the City Sterling Archer, Archer
4) What food would you most prefer to eat? A. Anything as long as its fed to you by your serving staff B. The most expensive caviar you can buy C. Pizza so you can share a meal with your family D. A salad with daintily cut ingredients presented well E. STEAK AND POTATOS. You might even eat with your hands. 5) Your friends rely on you most for your: A. Dictating. You are the one that organizes plans. B. Money. You fund trips and cover when your roommates are short on rent. C. Generosity. You commonly cook group dinners and chauffeur people around. D. Sensitivity. You are always there to listen and offer courteous advice. E. Protection. You are the first to stand up for your friend and get kicked out of the bar.
A. B. C. D. E.
Rock and roll Hip Hop Folk music Classical Heavy Metal
8) What would be your ideal vacation? A. Fly to Europe to view the castles and do as the royals do. B. Fly to New York City, so Wall Street can teach you how to enhance your wealth. C. Road trip with the family to your cabin. D. Paris, France so you can shop at fancy boutiques and pamper yourself. E. A trip to Spain to run with the bulls. 9) How do you exercise? A. Weightlifting – you gotta be the biggest. B. Yoga – Encompasses both the mind and body for the long term. C. Team sports – you challenge one another to be better and work together. D. Dance class. E. Extreme sports – nothing like an adrenaline rush. 10) What are your hobbies? A. B. C. D.
Racetrack betting. Investment banking. Camping with a group of family and friends. Going to the spa.
Fight club. 11) What would you chose to eat for dessert? A. B. C. D. E.
Whatever you want, you can have Champagne and strawberries Grandma’s homemade apple pie Chocolate mousse with fancy whipped cream Flambé (your dessert, on fire)
12) What position do you take on group projects? A. B. C. D. E.
Boss everyone around Pay someone else to do your work for you The mediator. You resolve conflicts. You edit for appearances and flow. The creator of new ideas
13) At a party, where would you most likely be found? A. B. C. D.
At the center of attention Paying the doorman for the pizza In a drum circle Doesn’t matter, you’re still the best looking one there. E. Trying to find a way back in. You got kicked out an hour ago. 14) What periodicals do you keep up with? A. B. C. D. E.
Forbes Magazine Investment Weekly Canadian Living Vogue Magazine Extreme Sports Magazine
15) What type of student are you? A. The president. B. A straight A student. All your doors are open, and you get scholarships. C. You tutor and volunteer. D. A feminist. E. A procrastinator, you leave everything until the last minute. Now, add up your results and count how many of each letter you have.
Mostly As? You are pa’tedong, the water buffalo. You are characterised by virility, strength, prestige, and power. Mostly Bs? You are rice grasses. You represent life and prosperity. Mostly Cs? Your symbol is branches of intertwined moss. This means your life’s focus is on daily cooperation and family. Mostly Ds? A bird head is your symbol. It dictates elegance and femininity. Mostly Es? Your symbol is the fighting cock and rising sun. This represents aggressiveness and fearlessness, equally masculine and feminine.
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If It Ain’t Broke, Don’t Fix It an exposé on the impact of tourism on culture in Tana Toraja
Tourism websites advertise Tana Toraja as an undiscovered paradise with dark secrets. Methods of discovery and travel to grave sites are described like they are classified information, despite being available on numerous travel sites across the web. Some websites are written in broken English, signifying the likelihood they are the product of a local entrepreneur. Many websites use sensationalized phrases to hone in on an outsider’s curiosity for the eccentric. “Tau‐tau stand up high, as if they were alive”, “baby trees..and graves [that] are [a] hundred years old”, “way of life has not changed much in the last 100 years”. A source states you can even witness “buffalo fights in which the bulls, quite rightly agitated by the insertion of chilli up their behind, lock horns and strain against each other”. Sites that lack direct ties to funeral practices have descriptions that seem like an apology – forgive our hot springs, for they are not HOT SPRINGS OF DEATH (maybe an exaggeration, but this is the vibe). The area is touted as being “home to a people whose love of religious spectacle is equaled only by their hospitality”. Are the Toraja people really that eager to share their sacred funerary rites with hoards of strangers? Research has led this journalist to believe that desire for Toraja tourism is dictated more by politics than the general public is lead to believe. Dutch colonization was the first step for the modernization and globalization of Tana Toraja. Nobles traditionally lived distant from one another in their hilltop tongkonans until Dutch leaders began to threaten the degree of power these nobles had. They moved closer to Dutch camps in order to maintain hold on their hierarchal status in the community. After the Dutch colonization period and Indonesian independence, much of the Toraja population adopted values of Christianity over previous animism beliefs. Families also began to work outside their communities in high paying industry jobs. The funnelling of wealth back to Tana Toraja allowed for lower ranking families to afford elaborate life and death rituals normally reserved for the elite. A cycle begins here, where an increase in general wealth allows for increased ritual (and publicity of rituals), which gains the interest of tourists and triggers the tourism industry to increase wealth further. This positive feedback circle has a breaking point, and that breaking point is becoming apparent through a probable dilution of culture. The question here is: do something, or do nothing? Tourism is a very profitable and important industry relative to globalization of the modern world. The involved governments in Indonesia recognized this and set out to form policy for Tana Toraja in the 1960s and 70s. The policies aimed to create pockets of tourist areas (obyek turis or obyek wisata) to focus tourism in pre‐determined communities and sites. There were several inherent problems with this. The first was that the committee members set to decide these locations were not of Toraja descent, and rather were from rival regions within the Sulawesi. The Buginese, the main contributors to the government in South Sulawesi are a prominently Muslim community that hold longstanding conflict with Toraja. Historically, the conflict was between resources for trade of coffee and slaves but was now poised at appeal for tourism assets. Due to intricate beliefs and traditions, Tana Toraja gained a higher profile for tourism; the fate of which landed in the hands of a jealous and vindictive counterpart with no respect for differing ideology. The Buginese remain with their hands in the Toraja cookie jar into modern day; Buginese retailers sell their own Buginese silk in form of shirts that have been silkscreened with borrowed Toraja symbolism. The Javanese, though lacking any rivalry, also did not share the belief system of Toraja and thus were inclined to make decisions based on their own cultural understandings. Another problem lies in the link between the sites proposed for tourism, and the fact that these sites are not just shelter or a resting place; they are strictly linked with social hierarchy, heritage, and belief. Your home is not a tourist attraction. This idea is offensive, belittling, and confusing. Especially when, in Toraja culture, homes and gravesites commonly dictate status and prestige – by choosing one site over another, entire identities are demeaned and the status hierarchy is disturbed. A third problem involves the living situation. How does one continue to live a normal life in their home or community when it is considered a tourist attraction?
Traditionally, certain rituals are practiced during specified seasons of the year and these rituals cannot be mixed or overlapped. Additional tourism zoning plans approached this issue by suggesting a “tradition‐free” area where rituals would be held out of season solely for the benefit of tourists with conflicting schedules. Rituals would thus be staged, and those involved could charge admission. Performers who sing and dance could make extra money for their families. Like an indigenous Disneyland that doubles as home. What an insult to a culture! Tourism zoning also stated that to maintain authenticity, changes to tongkonans and burial sites were strictly not allowed. No adding or removing of structures or renovation of appearances. Culture destroyed by halting it in its tracks.
Imagine with me, for a second – Once upon a time there was an alternate universe, and in this universe the the Western world was zoning for tourism. The outside world was baffled and intrigued by the way of life of North Americans and firsthand insight into the ins and outs of daily life was in high demand. Your Hometown, Canada has been selected as a cultural landscape for outsiders to peruse at their travel convenience. Your freedom of choice and privacy, and your human desire to always improve have been stifled by your government – but they don’t care. They live in Nowheresville, Ontario and have been struggling to capitalize on tourism in their own backyards, so they’re borrowing yours. You are asked (and essentially told) by law that you can’t make changes to your homes or community centres and that you must live daily life while hoards of strangers scrutinize your every move. You better be dead set on that wall colour, it’s never changing. Shag carpet and wood panelling – for always. Hope you like that outfit you’re wearing, and that brand of toothpaste. You will be with them until the end of days. The rest of the world gets the new iPhone 5 and you’re still stuck with that Samsung flip phone. How do you feel? Stifled? Resentful? Uncomfortable? There you go. Pigeonholing an entire culture to suit the fascination of the outside world is an unfair way to make a quick buck. Especially when the culture in question is either uninformed of the pros and cons or has overall no say in the matter.
By preserving villages such as Ke’te Kesu’ in Tana Toraja, do‐ good organizations like UNESCO are effectively putting the cultural evolution of the area to a halt. This status could potentially bring more harm than good. Stifling of human growth allows for festering of other human tendencies – already apparent in the endless rivalry between the Buginese and Toraja. Bitterness of a lifestyle deemed backwards to many, and yes, even within the local community of Toraja due to Dutch colonization and modernization across the globe may lead to the downfall of the Toraja culture as a whole.
written by Deanna Williams
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Article References “A Home Where the Buffalo Roam” & “Where’s Your Head At?” by Milan Gaida Adams, R. L. (2004). An Ethnoarchaeological Study of Feastin in Sulawesi, Indonesia. Journal of Anthropological Archaeology, 56-78. Hollan, D. W., & Wellenkamp, J. C. (1996). The Thread of Life: Toraja Reflections on the Life Cycle. Honolulu: University of Hawaii Press. Thompson, R. (2000). Playing the Stockmarket in Tana Toraja. The Australian Journal of Anthropology, 42-58. Tsintjilonis, D. (2000). A Head for the Dead: Sacred Violence in Tana Toraja. Archipel, 27-50. Tsintjilonis, D. (2000). Death and the Sacrifice of Signs: 'Measuring' the Dead in Tana Toraja. Oceania, 1-17. Tsintjilonis, D. (2007). The Death-Bearing Senses in Tana Toraja. Ethnos, 173-194.
“Buried in the Wind: Baby Trees of Tana Toraja”, “Extravagant Funeral Feasts”, & “Hanging Graves: Final Resting Place or Tourist Attraction?” by Karina Andersson Adams, K. M. (1993). Club Dead, Not Club Med: Staging Death in Conteporary Tana Toraja (Indonesia). Southeast Asian Journal of Social Science , 21 (2), 62-73. Adams, K. M. (1984). Come to Tana Toraja "Land of the Heavenly Kings": Travel Agents as Brokers in Ethnicity. Annals of Tourism Research , 11 (3). Adams, R. L. (2004). An ethnoarchaeological study of feasting in Sulawesi, Indonesia. Journal of Anthropological Archaeology (23), 56-73. Power, L. (2002, May 11). Dying to meet you. The Age , p. 15. Scarduelli, P. (2005). Dynamics of Cultural Change among the Toraja of Sulawesi. The Commodization of Tradition . Anthropos , 100 (2), 389-400. Tsintjilonis, D. (2000). Death and the Sacrifice of Signs: 'Measuring' the Dead in Tana Toraja. Oceania , 71 (1), 1-17. Waterson, R. (1995). Houses, Graves and the Limits of Kinship Groupings among the Sa'dan Toraja. Bijdragen tot de Taal-, Land-en Volkenkunde , 151 (2), 194-217. Waterson, R. (1993). Taking the Place of Sorrow: The Dynamics of Mortuary Rites amongthe Sa'dan Toraja. Southeast Asian Journal of Social Science , 21 (2), 73-96.
“The Tana Toraja: Ritual and Death in Indonesia” & “The Rites of the Dead: Aluk to Mate” by Andrea Bissonnette Nooy-Palm, C.H.M. (1975). Introduction to the Sa’dan Toraja People and their Country. Archipel (10), 53-91. Palmer, Leo. (2002). Land of the Living Dead. Photographic Society of America Journal. 68 (6), 32. Tsintjilonis, D. (2000). A Head for the Dead: Sacred Violence in Tana Toraja. Archipel, 27-50. Waterson, Roxana. (1995). Houses, Graves and the Limits of Kinship Groupings among the Sa’dan Toraja. KITLV, Royal Netherlands Insitute of Southeast Asian and Caribbean Studies. 151 (2), 194-217. Widjaja, Elizabeth A. (1988). Ethnobotany of the Funeral Ceremony of the Torajanese. Economic Botany. 42 (2), 250-254.
“The Walking Dead of Tana Toraja” by Shawn Curé Coville, E. (2002). Remembering our dead: the care of the ancestors in tana toraja. In Chambert-Loir, H. & Reid, A. (Eds.).The potent dead – ancestors, saints and heroes in contemporary Indonesia (pp. 69-87). Honolulu: University of Hawai’i Press Hollan, D. W. & Wellenkamp, J. C. (1996).The thread of life: toraja reflections of the life cycle. Honolulu: University of Hawai’i Press Hollan, D. W. & Wellenkamp, J. C. (1994).Contempt and suffering: culture and experience in toraja. New York: Columbia University Press Nooy-Palm, H. (1986).The sa’dan-toraja: a study of their social life and religion II – rituals of east and west. Dordrecht, Holland: Fortis Publications Holland Watson, L. (2012, August 24). I wouldn't be seen dead in that! mummies dug up for a change of wardrobe. Retrieved from http://www.dailymail.co.uk/news/article-2193132/Mummies-dug-change-wardrobe.html?ito=feeds-newsxml Wellenkamp, J. C. (1991). Fallen leaves: death and grieving in toraja. In D. R. Counts, & D. A. Counts (Eds.). Coping with the final tragedy: cultural variation in dying and grieving (pp. 113-134). Amityville, NY: Baywood Publishing Company, Inc.
“Tau Tau: The Wooden Gatekeepers of Tana Toraja” & “If It Ain’t Broke, Don’t Fix It” by Deanna Williams Zerner, C. (1982). Tourism and the arts in Southern Sulawesi. Cultural Survival Quarterly 6(4): 21-23. Adams, K.M. (1990). Cultural Commoditization in Tana Toraja, Indonesia. Cultural Survival Quarterly, 14(1): 31-34.) Volkman, T. (1982). Tana Toraja: A decade of tourism. Cultural Survival Quarterly, 6(3). Adams, K.A. (2003). The politics of heritage in Tana Toraja, Indonesia: Interplaying the local and the global. Indonesia and the Malay World, 31: 91-107. Palmer, M. A. (2006). The Kira-kira method of the Torajan woodcarvers of Sulawesi to divide a segment into equal parts. Retrieved from www.math.auckland.ac.nz/Events/2006/.../Alberti-paper.doc Adams, K.A. (2006). Art as politics: re-crafting identities, tourism, and power in Tana Toraja, Indonesia. Honolulu, HI: University of Hawai'i Press. Crystal, E. (1989). Myth, symbol, and function of the Toraja house. Tradtional Dwellings and Settlement Review 1: 7-17. Adventure Indonesia. (n.d.). Tana Toraja Tour, South Sulawesi. Retrieved March 22, 2013, from http://www.adventureindonesia.com/toraja-welcome.htm Wisesa, A. (2013). Tana Toraja tourism travel guide and tourist attractions. Retrieved March 22, 2013, from http://www.sulawesiexperience.com/toraja-tourism-guide.html Wikitravel. (2013). Tana Toraja. Retrieved March 22, 2013, from http://wikitravel.org/en/Tana_Toraja
Additional Article Media Links 2 men & corpse picture: http://www.bubblews.com/assets/images/news/1817923157_1358493908.jpg 2 people & female corpse picture: http://daizszyxbqbb5.cloudfront.net/wp-content/uploads/2012/03/Toraja-walking-dead.jpg Baby tree picture: http://www.flickr.com/photos/mattpaish/7400896722/ Cleaning female corpse picture: http://i.dailymail.co.uk/i/pix/2012/08/24/article-2193132-14AD30BF000005DC-195_964x689.jpg Corpse & coffin picture: http://i.dailymail.co.uk/i/pix/2012/08/24/article-2193132-14ACFD80000005DC-297_964x637.jpg Highlands picture: http://enchantingeden.files.wordpress.com/2010/08/tana-toraja_south-sulawesi-13.jpg Skulls picture: http://lamochiladeltrotamundos.blogspot.ca/2012/09/un-tomate-en-tana-toraja.html Standing suited corpse picture: http://klimg.com/merdeka.com/i/w/photonews/2012/08/24/81786/540x270/ritual-ganti-pakaianmayat-leluhur-toraja-003-debby.jpg?20120825093310 Bracken, Tim (Photographer). (2009). Pioneer Square, Victoria BC [Photograph], Retrieved March 27, 2013, from: http://www.flickr.com/photos/timcbracken/3584365814/ (Pioneer Square picture) Waterson, R. (n.d.). Chapter 4. The Contested Landscapes of Myth and History in Tana Toraja. Retrieved March 27, 2013, from epress: http://epress.anu.edu.au/austronesians/poetic/mobile_devices/ch04.html (map) “Walking Dead Zombie in Real World” Youtube video: https://www.youtube.com/watch?feature=player_detailpage&v=hcEgerTznDw