The day was still alive when a group of Abui people danced in a circle around the ‘maasang’ – the central altar of their village – alternating coordinated movements with rhythmic pauses. The drums were played, marking each step with their sounds, believed to connect the world of the gods with the world of humans.
They were performing the ‘lego-lego’ dance, an integral part of ancestral rituals. The dance was directed by the cadenced rhythm produced by the ‘Moko’ drums, distinctive musical instruments that are also prestigious heirlooms and sacred tools, mostly found in the Alor-Pantar archipelago, in East Nusa Tenggara.
Recently, with Shiyue Wu, my Research Assistant at Xi’an Jiaotong-Liverpool University (Suzhou, Jiangsu, China), I developed and published research about the names of the ‘Moko’ drums and bronze gongs from Alor in three representative Papuan languages spoken in the island: Abui (Central Alor), Sawila (Eastern Alor), and Kula (Eastern Alor).
This research aims to increase our knowledge on the ‘Moko’ drums and their significance and sanctity for the cultural identity and heritage of the peoples living in the Alor-Pantar archipelago.
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Unclear historical references
Among the many ancestral traditions and ritual objects attested in Southeastern Indonesia, the ‘Moko’ drums represent a unique blend of symbolic and religious values and practical functions in the social life of the local Papuan communities. Technically, they are bronze kettle-drums, specifically membranophones, instruments that produce their sounds by being hit on their vibrating skins, or membranes.
Despite their widespread use and cultural significance among indigenous communities in Alor, Pantar and beyond — like in Timor and among the Austronesian and Papuan groups of Flores —, the history and origins of these musical instruments are still relatively obscure and seem to fade into the mists of time.
The ‘bronze gongs’ from the Alor-Pantar archipelago vary in size and are typically round, flat metal discs played with a mallet. They are equivalent to the ‘Moko’ drums, at the level of musical and social functions.
The indigenous peoples believe that the drums and gongs have no local origins from the islands, but their possible place of production is unknown. We recently confirmed this through fieldwork conversations with our Abui local consultant.
‘Moko’ drums’ unique attributes
Each ‘Moko’ drum (and bronze gong) is characterised by physical (size, shape, and the produced sounds) and aesthetic (iconography and decorations) features, which make it unique. The uniqueness of the drums and gongs is strengthened by the fact that each type of these membranophones has an ‘individual’ name, which indicates a specific category, with its dedicated musical and iconographic attributes.
For example, there are ‘fiyaai futal’ (in Abui), the “candlenut-flower” drum, and ‘bileeqwea / bileeq-wea‘ (in Abui), the “lizard-blood” drum.
All the ethnic groups in Alor, Pantar and surrounding areas use their own local variants for the names of the different drums. This nomenclature reflects specific ritual and trading features of each musical instrument.
Despite this, the native speakers cannot explain the name ‘Moko’ in itself, with its etymological and semantic origins. They agree upon the likely foreign origin of the instruments, but no one can pinpoint a possible location for their production (some say Java, Makassar, India, Vietnam, or even China, but without any conclusive evidence) or the trade routes across which they were likely imported to the islands.
Some local myths and origin stories) tell about the unexpected discovery, by local people, of ‘Moko’ drums buried in the ground, adding a veil of mystery to their enigmatic roots. Being treasured items, the drums were actually buried under the ground by locals, to avoid the risk to fall into the hands of colonisers or to be taken away by outsiders.
The term ‘Moko’ is universally attested and used in everyday conversations by the Alor-Pantar speakers, independently of their languages and villages. However, nobody, among the locals, can explain the roots of the name or propose an interpretation for its possible meaning. The ‘Moko’ drums are, therefore, an unsolved puzzle in the context of the material culture and linguistic landscape of the Alor-Pantar archipelago.
It is possible that the name ‘Moko’ was coined ‘internally’, in Alor and Pantar, perhaps in the ‘Alor Malay’ language, which is commonly spoken in the archipelago since the 14th century. The denomination would have, then, spread towards external areas.
However, this hypothesis cannot be proven with incontrovertible evidence, and the direction of the naming process could have also been the opposite, from outside into Alor and Pantar.
Our paper presents systematic lists of the names of drums and gongs, with the original denominations in the three different above-mentioned languages, the related translations, name-by-name, synthetic notes on the possible origins of their nomenclature, a catalogue of the instruments by categories (based on fieldwork and direct observation), and a set of pictures reproducing a small selection of drums according to their cultural significance.
Beyond musical functions
The ‘Moko‘ drums are relatively ancient ritual objects commonly used, in the past, in generally pre-Christian worship ceremonies performed by the indigenous communities. The traditions survived until today, through local folklore and public celebrations.
The drums, as well as the related bronze gongs, still play an important role as a valuable local ‘currency’. Highly regarded as prestigious family possessions, they are used for trade and social practices embedded into traditional customs, like bride-price negotiations.
The path towards a full understanding of the historical dynamics of the production and spread of the ‘Moko’ drums and gongs — as well as their provenance and the etymologies of their names — might still be long. However, this does not diminish their cultural and material significance among the Alor-Pantar peoples.
Despite their obscure origins, ‘Moko’ drums and bronze gongs are meticulously catalogued, described and rated by the local communities in the islands. Periodically, a multi-ethnic council gathers to assess, update and validate the different values and levels of social prestige and rarity of every single instrument.
This safeguarding effort, combined with the collection and systematisation of ‘first hand’ data, which we are currently developing, may considerably help in shedding light on the nature and origins of these enigmatic instruments.
Francesco Perono Cacciafoco received funding from Xi'an Jiaotong-Liverpool University (XJTLU): Research Development Fund (RDF) Grant, "Place Names and Cultural Identity: Toponyms and Their Diachronic Evolution among the Kula People from Alor Island", Grant Number: RDF-23-01-014, School of Humanities and Social Sciences (HSS), Xi'an Jiaotong-Liverpool University (XJTLU), Suzhou (Jiangsu), China, 2024-2025.
This article was originally published on The Conversation. Read the original article.
