CHAPTER XVI
The Rambang—Shoka music—Love-songs—Doleful singing—Abrupt ending—Solos—Smoking—When marriage is contemplated—The Delang—Adultery—Punishment.
Motema, a Shoka Beauty
One Shoka institution, surprising in a primitive people, but nevertheless, to my way of thinking, eminently sensible and advantageous, is the Rambang, a meeting-place or club where girls and young men come together at night, for the sake of better acquaintance, prior to entering into matrimony. Each village possesses one or more institutions of this kind, and they are indiscriminately patronised by all well-to-do people, who recognise the institution as a sound basis on which marriage can be arranged. The Rambang houses are either in the village itself, or half way between one village and the next, the young women of one village thus entering into amicable relations with the young men of the other and vice versâ. I visited many of these in company with Shokas, and found them very interesting. Round a big fire in the centre of the room men and women sat in couples, spinning wool and chatting merrily, for everything appeared decorous and cheerful. With the small hours of the morning, they seemed to become more sentimental, and began singing songs without instrumental accompaniment, the rise and fall of the voices sounding weird and haunting to a degree. The Shoka men and women possess soft, musical voices, and the sounds which they utter are not simply a series of notes emitted through the throat, but, as it were, the vibration of impressions coming from the heart, and transmitted by means of their voices to others. Eastern in its character, the Shoka music is pleasing to the Western ear, not because it possesses quick progressions, flourishes, or any elaborate technicalities, but because it conveys the impression of reality and feeling. The responsive duets, sung by a young man and answered by a girl, pleased me most.
On the Way to the Rambang
All their songs are plaintive, and contain modulations of the voice so mysteriously charming in effect, and so good in tone, that they really affect one profoundly. They only sing when the mood takes them; never with a view to please others, but always simply to give vent to their emotions. Their love-songs generally open with a sentimental recitative, and then change into actual singing, with frequent modulations from one key into another. The time is irregular, and though certain rhythmical peculiarities recur constantly, yet each performer gives to what he sings so strong a personality of execution as to make it almost an individual composition. Any one hearing Shokas sing for the first time would imagine that each singer was improvising as he went along, but on closer comparison it will be found that musical phrases, certain favourite passages and modulations in the voice, constantly recur not only in each song, but in all songs. They seem all of them based on the same doleful tune, probably a very ancient one, and only the different time in which it is given, and the eccentricities of the singer, give it a separate and special character. One characteristic of Shoka songs—as of so many other Oriental tunes—is that they have no rounded ending, and this, to my ears, rather spoiled them. A similar abrupt break is a feature of their dances and their drum-beating. The song suddenly stops in the middle of the air with a curious grating sound of the voice, and I could not obtain any entirely satisfactory explanation of this: the only answer given me was that the singer could not go on for ever, and that as long as he stopped it did not matter how he did it. Further, they considered an abrupt ending most suitable to music (or dancing), as it immediately brought you back to your normal state, should your mind have been carried away. One pleasant feature was that their songs were never sung in a loud tone of voice, nor did they aim at notes too high or too low for their voices, but kept themselves well within their compass.
