Kalelon and Maka’aruyen: Voices of Minahasa’s Tradition

Today, many Tou Minahasa (Minahasan people) misunderstand and undervalue traditional music such as Kalelon or Maka’aruyen. Some view it as an obsolete and ancient musical genre; others see it as idolatrous music; and some have even altered it into a form that strays far from its primary essence as traditional music. Fortunately, there are still those who interpret Kalelon and Maka’aruyen as Minahasan traditional arts capable of providing hope and binding the memories of Minahasa’s past. This article was written based on observations, interviews, and an in-depth study of the lyrics, methods, stages, and everything related to the creative process of creating Maka’aruyen and Kalelon.

Some assume that Maka’aruyen and Kalelon were born only after Minahasa interacted with Westerners around the 15th century, upon the introduction of the juk or the guitar. However, long before the guitar was known in the land of Minahasa, Maka’aruyen and Kalelon manifested in the tradition of Marei’ndeng; when Minahasans—especially the Tonaas, Walian, and travelers—discovered the “one-stringed guitar,” better known as the Swassa. According to Tonaas Rinto Taroreh, the Swassa was a type of one-stringed guitar used for the Mareindeng and Masambo rituals. Its string was made from the spinal tendon of a black snake (wai). The Swassa is native to Minahasa. Therefore, it is clear that Maka’aruyen and Kalelon are authentic traditional arts of the Tou Minahasa. The seeds of Maka’aruyen and Kalelon are ritual music. Consequently, the lyrics and the way they are sung contain elements of the Marei’ndeng tradition.

As time passed, these lyrics and music encountered Western culture, specifically the guitar. The tradition of using the guitar in Kalelon and Maka’aruyen has persisted until today. However, one element preserved in the sound of Maka’aruyen and Kalelon on a modern guitar—identical to the Swassa—is the bass tone. Maka’aruyen and Kalelon were born from the Tou Minahasa as a creative effort to interpret hope for the future and safeguard the memories of the past.

Maka’aruyen and Kalelon actually originated in two different parts of Minahasa with different interpretations. The term Maka’aruyen is more widely known in Central, North, and Southeast Minahasa, as well as Tomohon, Bitung, and Manado. Meanwhile, the term Kalelon is more prevalent in South Minahasa. There is a long history behind this. The Minahasans who create and sing Maka’aruyen and Kalelon are known as Kasendukan poets (poets of longing/sorrow).

MAKA’ARUYEN

Terminologically, the word Maka’aruyen holds several meanings. Understanding Maka’aruyen depends on the context in which the word is used. Within Maka’aruyen lies the word aruy. Literally, aruy means a state or condition that is good, comfortable, and peaceful. Aruy can also mean an overflow of love and longing. Thus, Maka’aruyen is an expression of a good, comfortable, and peaceful condition. This state is a human interpretation of the profound sense of love and longing for fellow humans, nature, and the Creator. Maka’aruyen can also mean “hope”—specifically, the hope related to the character of Minahasans to live as humans ought to live in kaiombaan (the universe/world).

One meaning of Maka’aruyen is a symbol and depiction of the journey from Tuur in Tana’ (the origin of the land) toward Tana’ Ka’aruyen. Evidence of this lies in the fact that the Maka’aruyen musical tradition is largely inherited by Minahasans living around Tana’ Ka’aruyen, which refers to areas in central, eastern, and northern Minahasa.

KALELON

Kalelon is a Minahasan traditional art—a tradition that flows with eternal knowledge about the Tou and Tana’ (People and Land) of Minahasa. This eternal knowledge takes the form of lyrics, advice, and life guidance. Kalelon is not merely a musical genre. If viewed only as music, Kalelon could only be translated literally, and its true meaning would remain elusive. Kalelon is a ritual song and the ritual itself. To understand Kalelon is to understand the poetic language of humanity, nature, and the Creator. Understanding Kalelon lyrics requires a clarity of soul and sensitivity of heart, for Kalelon was created in that manner. Kalelon has touched the heart and mind when every lyric heard seems to beat in sync with one’s own heart. Empirically, those touched by Kalelon will shed tears, feel goosebumps, or feel as though they are standing within a ritual of the past.

Kalelon lyrics are created and sung on mountaintops, in muddy fields (pece), on the road, at workplaces, in bedrooms, in kitchens, atop oxcarts, on ships, and in every place where tranquility of soul or clarity of mind resides. Kalelon is the soulful knowledge of katouan (humanity) and karondoran (righteousness/integrity). One old lyric often sung is: “Ai lelo ang kuntung, taan marames ang nate”, meaning, “Yearned for on the mountain, but soaked [with tears] inside the heart.”

Another poetic name for Kalelon poets is “travelers of the silent path.” This is because most Kalelon lyrics are created by travelers—those who frequently journeyed from the areas around Tu’ur In Tana’ (Motoling, Tompaso Baru, Modoinding, Wakan) or from the central parts of Minahasa (Sonder). The “travelers of the silent path” also refers to those who choose a way of life rarely chosen by others—such as becoming a Kalelon or Maka’aruyen poet.

In Kalelon, lyrics spoken with specific pronunciation and methods produce a distinctive melody or “twist” known as maere’. Meanwhile, the sounds produced by musical instruments are essentially supportive. These instruments aim to create an atmosphere where the singer or poet can easily find the “form” of the Kalelon melody. Kalelon feels touching when every tone heard through the ear seems to pulse along with the heartbeat.

One very well-known Kalelon in Minahasa is Kalelon Wakan. It is called so because it originates from Wakan and is sung by native Wakan people. The Wakan style is typically sung by a duo—one male and one female—accompanied by a single guitar. The two most famous artists of this style were Samuel Lonteng and Rosye Poluan. Kalelon Wakan has been recorded and produced in two album editions, with the first edition being widely circulated among Minahasans. Another type is Kalelon Sematuari from Tompaso Baru. If we look at WorldCat libraries, Kalelon albums from both Wakan and Sematuari are recorded there, proving that Kalelon has been part of the world’s inventory for a long time.

Redefining Maka’aruyen and Kalelon

The traditional arts of Kalelon and Maka’aruyen are actually not accurately described as types of “music.” They transcend the boundaries and meanings of music as defined by Western music theory, which is often ill-suited to define the essence of Maka’aruyen and Kalelon.

Shin Nakagawa, a professor of music, suggested that to understand folk songs, one should use an ethnomusicological approach. A basic characteristic of this approach is viewing music as a part of culture, thus studying it within its local cultural context. It is inappropriate to use Western music theory to measure folk music. According to him, music researchers are generally influenced by Western theory, which utilizes 12 diatonic scales. When those accustomed to Western theory observe Kalelon, they might label it as “bad” or “ancient.” Therefore, the term “music” when applied to Kalelon and Maka’aruyen must be detached from Western terminology. If I use the term music, it is reconstructed to refer to “traditional art.” Kalelon and Maka’aruyen refer more to a unique form of Minahasan literature that emphasizes lyrics with profound meaning.

Based on their nature, the chant of Maka’aruyen is slightly “harder” than Kalelon. This is because Kalelon was born in the mountains near forests, within the Tontemboan tradition known for being soft and friendly. Thus, Kalelon takes a softer, more soulful form. Another reason is that in Minahasan tradition, one must not make loud noises while in the forest. Maka’aruyen, conversely, grew during journeys and even during times of war that required louder tones to boost spirit. Additionally, Maka’aruyen was born in coastal areas or along paths leading to the sea, making the music loud enough to rival the sound of waves or wind. This is depicted in the following verse:

Listening to Kalelon and Maka’aruyen requires clarity of mind and readiness of heart, much like a Christian listening to a sermon in church. Kalelon and Maka’aruyen are essentially Nuwu (the Word) containing values similar to the scriptures. In a Christian perspective, they are also Proverbs; they are also Psalms. They hold values like those found in the Torah or the Gospels. However, this does not mean they are identical or should be equated with Biblical texts. Kalelon is Kalelon. Maka’aruyen is Maka’aruyen. Proverbs are proverbs. Psalms are psalms. All are results of human civilization upholding life values through different spiritual activities. This similarity of values is like the timber joints in a traditional Minahasan house; if they do not fit perfectly, the house will shake or collapse. This intersection of values is, in my view, one of the reasons why Minahasans accepted and became Christians.

The current challenge for Minahasa, especially Christian Minahasans, is the fanatical Christian fundamentalists. They consider the act of singing or reciting Kalelon and Maka’aruyen lyrics as a form of worshipping “unknown gods.” They forget that long before they were born, their ancestors lived “more religiously” and succeeded in their labors because they lived by the teachings and spiritual activities directed toward the Creator stored within Kalelon and Maka’aruyen.

Kalelon and Maka’aruyen were created with the awareness that humans are creations. As creations, humans naturally have a Creator and are created alongside other creations. Therefore, as creations, humans create lyrics of praise, gratitude, respect, and worship to the Creator. Likewise, humans translate all their sensory experiences and appreciation for fellow creations (humans, animals, plants, and nature) into the lyrics of Kalelon and Maka’aruyen.

Kalelon and Maka’aruyen possess a very distinct “spirit.” The text, context, and nuances they create are spiritual. It is no wonder that people cry when hearing them. It can even make one’s hair stand on end (bulu nyawa). To me, Kalelon and Maka’aruyen are languages that are too poetic and too simple to be understood through ordinary language. Understanding the message of the lyrics requires clarity of soul and sensitivity of heart.

This is why Minahasans far from home immediately weep and remember their homeland upon hearing Maka’aruyen or Kalelon. Historically, those leaving the land of Minahasa sang these songs as a hope to find the right way of life in foreign lands while always remembering the place where their umbilical cord was buried.

The lyrics of Kalelon and Maka’aruyen are filled with adoration for the Creator, admiration for nature, and longing for the Tou and Tana’ of Minahasa. Kalelon shapes the character of Minahasans to see life’s opportunities by digging into the memories of past knowledge. Therefore, Kalelon and Maka’aruyen are reflections of hope and memory. This hope and memory are the life spirit carried by Kalelon and Maka’aruyen as the traditional arts of Minahasa.