Yanto Marapu

Innovation of Cultural Identity

Reggae has become a global culture. In 2018 it has been officially stipulated as a global cultural heritage by UNESCO. As a culture, reggae would often be appropriated and contextualised into various forms in almost every part of the world. The music is embraced and played by a vast and multiple types of community, ethnics, and religious groups just like in Indonesia. Reggae becomes a marker of membership and inclusion as a part of world cultural citizenship. With the massive ‘development’ of information and communication technology reggae is now moving so fast. Many outfits emerge with rich, unique flavour and taste. And no exception is a reggae band from eastern part of Indonesia. Sumba island, the land of savanna and sandalwood horses.

 

Yes, it is Marapu band, represented by their vocalist as the special guest of Kultur. Feriyanto Pekabanda, born in Sumba on February 10th, 1978 is known as Yanto Marapu. Started his musical career in 1999.

After graduating from senior high school in 1996, he decided to continue his study in Yogyakarta, a place that nurtured him to become a reggae musician with a deep militancy and consistency. It was just for fun but then turned into passion and profession. His love for reggae had actually bloomed back in the days in his village but it flourished even more when he was staying in Yogyakarta. The intensity of dance parties among the eastern Indonesia communities in Yogyakarta had become a moulding space and seedbed of reggae. Party and dance floor would later lead Yanto to stage performance and recording studio. It resembles the dissemination pattern of reggae in Jamaica.

Yanto had a vast reference to reggae back in those early days. It was proven by a large collection of cassettes which he always carried when hanging out with friends or even played in parties where it would be always festive with unique reggae vibes rumbled through the sound system and seduced the body to wine up to the beats. He would use his monthly savings to buy those cassettes and sometimes have them given by friends. His collections are like Bob Marley, Peter Tosh, Burning Spear, Alpha Blondy, Lucky Dube, and Oyaba. Those figures really influenced him finding his position and colour in the map of Jamaican music scene in Indonesia.   

Marapu band was formed on November 10th 1999 in Yogyakarta. The line up of players and manager had changed several times. According to Yanto, approximately there are more than thirty people ever been involved with the band up to this late formation. Now they have Yanto Pekabanda (vocalist), Dondho Kapita (bass guitar), Micah Johnston (drummer), Ryo Santoso (rhythm guitar), Novantara Bjs (lead guitar), Domi Kia Beda (Keys) and Arno Mariani (manager). The early members are only Yanto and Dondho. Both of them are the eternal flame that keeps on surviving and lighting up the spirit of creativity. 

The use of the name Marapu is to indicate the cultural identity. Marapu is a traditional belief in Sumba which is strongly bound to everyday life in Sumba long before the advent of modern religion and civilization and even still exist today.

Despite so many criticisms toward it, especially from the local religious leaders, Yanto remains steadily defend it. According to him, to condemn Marapu as blasphemy is just a narrow way of thinking and will reduce or even will eliminate the richness of the culture. Luckily, there is good progress today that Marapu has now been administratively acknowledged by the government. They can have it stated in the identity card and school’s report book of the adherents. “There’s no need to judge because in reality everything can walk side by side,” he added.

According to Yanto, the tradition of Marapu that builds a harmony between God, man and nature is similar to Rastafari in Jamaica. Musically the accented beat of Rasta drumming infused in reggae is also identical with the 4/4 beat of ‘gong’ drumming that accompanies traditional dance of Sumba like ‘kabokang’ and ‘kandingang.’ This element makes reggae has the potential to blend with traditional music. 

Yanto Marapu

The Marapu band comes from Sumba but they used to be very identical with Yogyakarta. The art and cultural atmosphere of the city seemed to give them more energy for creativity. They produced three albums when settled there: ‘The Color’s’ (2006), ‘Peace, Love & Freedom’ (2009), and ‘Terang Dunia’ (2011). Unfortunately, in 2012 Yanto moved to Bali in an attempt to find a new challenge. He admitted that he really loves Bali and the situation is so promising for his career. He hopes to expand the echoes of Marapu band more broadly. Slowly but sure, apparently it’s beginning to happen. The band’s new manager is from France and their 4th album ‘Won’t be fooled’ (2018) was a collaboration with a label from France as well. They also began to roam international stage performance in South East Asia countries and Australia.

From so many places he has visited, it is Melbourne that impressed Yanto most due to the amazing welcome and enthusiasm energy of the crowds in responding to the authentic Marapu’s signature. Unlike the previous performer who was unable to break the impasse of the crowds despite coming in an intimidating full force of musical instruments and played with musical scores, Marapu surprisingly cheered the spectators to wine up to their raw and suggestive entertainment. They then were asked to perform once more the next day.  

Having lived in Yogyakarta and now stay in Bali, yet keep on telling stories about the natural exoticism and cultural richness of eastern Indonesia make Yanto become a musician who is known for social and pluralistic sense and background. They become important elements to see his identity even clearer and better, the characteristic of the band who always make an appeal to “going back to your roots.” An effort to seek identity is very obvious in the combination of ‘roots reggae’ and ethnic taste of Sumba, Papua and Bali that so far are being infused into their composition like ‘Eri Rambu,’ ‘Kawarine,’ and ‘Putri cening ayu.’ Yanto also added that he has a mission to gain more interpretation and rendition from traditional songs in Indonesia, especially from his land of birth, Sumba. He wants to maintain the original notation of those songs and to collaborate them with reggae. It is his dream to make a music concert that puts reggae, traditional music and dance on the same stage.  

Other than ethnic oriented, Marapu band also puts a good concern on social and humanism issues. Their social commentaries are elegantly evident in the lyrics which are even much stronger and bolder in 4th album compared to the previous ones. As what is depicted in the hits, ‘Politician’ blatantly condemns corrupt politicians who misused their power for their personal, group, and class interests. Yanto rebukes them without discrediting their ministry and profession which is supposed to be a noble thing. While, ‘Our homeland’ was inspired by privatisation and the selling of land areas in Sumba for big companies and investors who marginalised the local people. Furthermore, ‘Educate yourself’ highlights human trafficking issue and the problem of Indonesian Labour Worker (Tenaga Kerja Indonesia). Many of the labourers come from Nusa Tenggara Timur (NTT). They are cheap workers without adequate skills, knowledge, and education that would end them up in exploitation, abuse, and slavery. So, the song is a moral support to the labourers and to the independent volunteers who work to solve the problems. For Yanto, education is the key towards self-emancipation. He hopes reggae music can be a media to raise people’s consciousness and bring a good change even though it takes time. He said, at least he keeps on voicing his concerns for the betterment of society, especially in eastern Indonesia as he would sing in the acoustic collaboration with ‘Conrad good vibration’ in ‘Suara Kemiskinan’ (the voice of the poor).          

Kultur asked, “who is your dreamed collaboration partner?” Yanto confidently mentioned three names. He wants to collaborate with Joe Mellow Mood, a reggae man from Lombok, Indonesia who now lives in Switzerland. While for the ethnic collaborator, he named Rambu Ata Ratu, an expert woman from Sumba for traditional song. Whereas for the international artist he mentioned Chronixx who is now a role model for contemporary reggae according to Yanto.     

Kultur also asked “what is the memorable achievement for Yanto so far?” He humbly replied the memorable achievement is the independence in music. No more hush and rush for a target but still productive to make music freely without any pressure.

It’s not about how much money I make from music or how famous I am. To me, I have my own satisfaction and that is what I am today. And I hope I can still be productive and can share some good things for the people.”

When asked whether he has a message for reggae lovers out there, Yanto said: “I think for the reggae fans they should keep on listening to reggae music. Surely [laughing] don’t feel bored! Secondly, to reggae musicians, be creative and keep on creating music. Always be positive and the key word is be consistent. Because no matter how talented we are but if we are not consistent then I think it is useless. And I guess now everything is made easier with social media, youtube, all kinds of things like that. So be creative, keep creating music and never be afraid.” 

Marapu has recently released their new single, “Welcome to Sumba” in Marapu Music Channel and in all digital platforms on November 18.

A special gift for Marapu band to celebrate their 21st year of musical journey. Long life Marapu band with your cultural and social consciousness movement through music! Kayakaya! (Sumba Ethnic shouts). 
(author: yedi; editor: Sam)

 

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