Reviving Maengket: A Cultural Journey in Karimbow Talikuran

(A reflection on the re-emergence of Maengket Karimbow)

In recent years, awareness of village customs and cultural traditions in Minahasa has begun to rise again. This is carried out both by the community (youth/organizations) and by village governments. Some village governments have even formed specific bodies to handle these matters. For example, establishing traditional village institutions or facilitating young people to form Indigenous youth communities. This is what has been done in Karimbow Talikuran village.

On June 9, 2019, a Maengket competition was held in Karimbow Talikuran. The prize was several sheets of zinc roofing for first place. But it turned out that this was not merely about the prize. The community was indeed enthusiastic. The village government, through the youth organization, held the event to provide space for the community to restore village traditions that had long been lost and abandoned.

According to the Hukum Tua (village head) of Karimbow Talikuran, Djony Porajow, S.IP, the government should give serious attention to village customs, traditions, and culture. Because the character of the village and its future are also based on these aspects. This is why he supports and gives attention to the revitalization of Karimbow’s cultural traditions. One concrete step taken is reviving Maengket in the greater Karimbow area.

It turns out that Maengket Karimbow has its own uniqueness.

Karimbow has its own Maengket. Many elders in the village call it Maengket Tua (old Maengket)—a Maengket that has been practiced for generations. This means that this Maengket was born from the cultural context of Karimbow as part of Minahasa and has existed for a long time. It is somewhat different from the Maengket we often see on performance stages. The movements appear simple, with little variation. Its poetry is in the Tontemboan language. Treis Runtunuwu, aged 71, serves as the Kapel (lead singer/chant leader). He has held this role since he was young.

According to Mr. Efraim Lendo, a village elder, this form of Maengket is similar to the one in Pinabetengan village. This type of Maengket, according to him, falls into the category of older Maengket. It is different from most Maengket today, which has undergone many modifications for performances. In the past, Maengket Karimbow functioned as worship or a customary ritual. Dr. Ivan R. B. Kaunang, a cultural studies expert, has discussed extensively in his dissertation about the commodification of Maengket. This is something we can observe in Minahasan traditions—when something sacred and private becomes profane. This does not only happen to Maengket. Kawasaran and Kolintang have also experienced the same process.

That Sunday night, I was asked to be a judge in the Maengket competition. (Coincidentally, from Thursday to Sunday, I was a facilitator at the Smart Camp activity in Karimbow, organized by Smartphone Movement & Barisan Pemuda Adat Nusantara (BPAN) PD Minahasa Selatan in collaboration with the Indigenous youth of Karimbow village.) I felt honored to be part of the event. Especially because I was asked by traditional elders and community leaders of Karimbow to serve as the head of the judging panel. It was a great trust for me. Although, in truth, I felt that it is not appropriate to give numerical scores to something that is ritual in nature. However, with guidance and direction from the traditional elders, it became a reference for thinking together in deciding the winner of the competition.

There were two Maengket groups performed that night. In addition to the Maengket from Jaga I Karimbow, referred to as Maengket Tua, there was another Maengket. It was performed by Jaga VI Karimbow Talikuran. According to Mr. Lendo, this Maengket once won second place in a Minahasa Regency Maengket competition in the 1960s/70s. The group is called Pisok Rondor. At that time, Karimbow was still one village. Now it has expanded into two villages: Karimbow Talikuran and Karimbow. According to Mr. Lendo, this Maengket was trained by a coach from Tataaran. Besides being an elementary school teacher (now long retired), he was also once a Maengket trainer.

At this time, we can see a revival of awareness of Minahasan cultural traditions. The emergence of many Kawasaran groups in villages, the return of traditional music players of Kalelon Maka’aruyen, and the increasing number of activities focused on Minahasan customary rituals are clear signs.

Maengket is the same. Although in the 1960s/70s, Maengket once dominated cultural trends through festivals.

Hopefully, Maengket in villages will continue to rise again. As well as Kolintang and other traditional art forms.

Hopefully, many village governments, Hukum Tua, and their administrations can follow the example of the Karimbow Talikuran village government.

So that Maengket and other Minahasan traditional heritage can find their place again in the life of the Tou Minahasa (Minahasan people).