Vaihoho (dadolin kanta; sung poetry)

Vaihoho (dadolin kanta; sung poetry)

Oral Traditions And Expressions

TETUM
Istória orál Fataluku nian maioria mak dadolin kanta ne'ebé ema koñese ho naran vaihoho. Vaihoho uza metáfora atu konta kona-ba akontesimentu istóriku. Uluk vaihoho sira barak liu haree ba tema domin no sentimentu terus tanba domin, maibé agora sira konta barak kona-ba konflitu, funu no triste. Tema seluk mak kona-ba ko'a hare no silu batar.

Vaihoho mak dadolin tradisionál ne'ebé bele ko'alia ka kanta, dala barak tuir formatu bolu-hatán no koru boot ka ki'ik mak kanta. Vaihoho ne'ebé kanta ho parte rua baibain kanta atu simu bainaka, ka iha kazamentu, tempu ko'a hare, serimónia hakoi mate no servisu todan (hanesan hamoos foos, dada ai boot sai husi ai-laran, monta ai-riin ba uma foun, foti meci, la'o dook no halimar). Ema Fataluku uza simbolizmu no imajen bainhira sira konta vaihoho, ne'ebé bele badak ka bele naruk loos. Dadolin vaihoho bele konta ka kanta uza lingua loron-loron nian, maibé dala barak ema uza lingua Fataluku aas ne'ebé inklui liafuan ne'ebé baibain la uza. Atu bele kanta vaihoho presiza kompriende didi'ak nia regulamentu komplikadu nomós kompriende liafuan aas barak. Tanba nune'e, oportunidade atu aprende vaihoho agora menus ona no ema uitoan de'it ne'ebé moris depois de 1980 hatene kanta vaihoho.

Peskiza ida-ne'e dokumenta vaihoho oi-oin, inklui kantiga barlake nian, lipal vaihoho nu, ne'ebé uza bainhira halo negosiasaun kona-ba barlake; kantiga fahe hare (orontafa) ne'ebé kanta bainhira prepara foos ba serimónia; kantiga kona-ba domin, iha-rala vaihoho, no kantaiga kona-ba hasoru susar durante hala'o rezisténsia iha tempu okupasaun Indonézia, halu vaihoho, ne'ebé uza metáfora kona-ba ai boot ne'ebé monu ba rai; no vaihoho iharala, kantiga kona-ba oan-kiak iha tempu funu. Kanta iha serimónia hakoi-mate, sa’u, mak uza bainhira avó ruma mate no iha ninia rituál espesífiku inklui oferta animál no tais. Tanba rituál sa'u lulik, ekipa peskiza labele dokumenta ida-ne'e, maske akontese beibeik iha área Lautem.

ENGLISH
Much of Fataluku oral literature is held and told through the vast body of sung poetry known as vaihoho. Vaihoho engage metaphor to tell historical events. Vaihoho were once predominantly themed around the melancholia of love, but are now more about recent tragedies of conflict, war and loss. Others themes pertain to harvest.

Vaihoho are traditional poems either spoken or sung, often in call-and-response format performed a capella by choirs of varying sizes. Vaihoho two-part singing is performed for welcoming guests, weddings, harvests, funerals and heavy work (threshing rice, hauling a tree from the forest, planting the post of a house, harvesting sea worms, walking, passing the time). Symbolism and imagery is engaged in the telling of vaihoho, which range in length from one to many stanzas. Vaihoho poems may be told in the ordinary daily language, but often use a high literature language with rare or archaic words. To be able to sing vaihoho requires understanding its complicated and intricate rules and archaic words. For this reason opportunities to learn vaihoho are diminished today, and few people born after 1980 are able to sing vaihoho.

A range of vaihoho were documented in this study, including a bride price song, lipal vaihoho nu, used in negotiating a wedding contract; rice husking songs (orontafa) used when preparing rice for ceremonies; songs about love, iha-rala vaihoho, and songs about the hardships of the period of resistance to the Indonesian occupation, halu vaihoho, which uses a metaphor of a large tree that falls on the land; and vaihoho iharala, songs about the orphans left after war. Funeral singing, sa’u, is used at the funerals of elders, and has its own rituals involving making offerings of gifts of animals and textiles. As sa'u rituals are sacred, these were not able to be documented by researchers, despite their frequent occurrence in the Lautem region.