| THE Bugis epic La Galigo is considered the longest written poem in human history.
At 300,000 lines, it is longer than Homer’s Odyssey or The Iliad, or the Indian Ramayana and Mahabharata.
The Odyssey and The Iliad contained 15,693 and 12,110 lines, respectively, while the Mahabharata and Ramayana have more than 200,000.
One of the earliest written versions of La Galigo, in a five-syllable metre, discovered by Europeans in early 20th century, was categorised under 118 "items" totalling 28,086 pages of text.
A researcher, Campbell Macknight, suggested the materials be appropriated as "a cycle of stories". Very little is known of La Galigo although some of the texts are languishing in major libraries in Europe. Macknight has been trying to bring La Galigo to the attention of Western scholars, researchers and artists since 1975, but with little success.
For thousands of years, La Galigo was probably part of the oral tradition of the Bugis, the people of South Sulawesi. But for the last 200 years, La Galigo, like any written narrative in the Malay world, has been part of the palace tradition. Perhaps it was there that royal copiers took the liberty to transform these oral compositions into written ones.
La Galigo played a crucial role in pre-Islamic Bugis society. The Bugis anthropologist Mattulada called La Galigo a reference book dealing with the social and cultural background of the Bugis. Another anthropologist, Eric Havelock, regarded La Galigo as "a tribal encyclopaedia". Rightly so, considering that it is a massive repository of knowledge pertaining to all things Bugis — ethics, politics, history, worldview, psyche, and everything else
But what is La Galigo? Consider this story line: In the land of the Middle Kingdom (Luweq) twins were born to a noble family — a boy who became a dashing young man, Sawerigading, and a girl, We Tenriabeng, whose beauty was the stuff of legend.
He was destined to be a warrior-adventurer, she a priestess. Sawerigading travelled the world, but never saw anyone as beautiful as his twin sister. He fell for her, much to the horror of his parents. He was told, "Your pleasure cannot be put before the kingdom."
In his anguish, he terrorised Luweq. Only We Tenriabeng could save him and the Middle Kingdom. She was as perplexed as others why her brother was so obsessed with her.
"It is your beauty, your face, the curve of your back, the glow of your skin," he told her. Politely she told him, if it was her body he desired, there was a cousin by the name of We Cudaiq, who was her exact double. She resided in China.
So, with the help of Welenrengge, the benevolent dewa (god), ships were made and Sawerigading sailed to China. Unfortunately, We Cudaiq, though possessing the beauty of We Tenriabeng, was vain and arrogant. To add insult to injury, she mistook an emissary of Sawerigading as the man himself. The man was ill-mannered, ugly and uncouth.
She refused to marry Sawerigading. To win her, he had to go to war. Even when she relented, she refused to see his face in daylight. La Galigo was born of such encounters.
There is an interesting footnote to this story. As far as I can remember, there are only two other literary works in the Malay world that touch on incestuous tendencies. One is the famous Javanese legend of Sangkuriang (better known in Java as the story of Tangkuban Perahu).
A boy separated from his mother comes back to confront a beautiful woman. He falls for her and on the eve of their marriage discovers she is his long lost mother (Hints of Oedipus, you say?).
In Hikayat Raja-raja Pasai, one of the most notable Malay historiographies, Sultan Ahmad lusted after his own daughter, Tengku Takiah Dara. He was stopped by his son, Tun Beraim Bapa, who paid with his life to save his sister.
La Galigo was "rediscovered" by a filmmaker, Rhoda Grauer. She was in Sulawesi to film a documentary on the myths and rituals of the legendary Bugis shipbuilders when she stumbled upon it.
She discovered the role of Bissu priests in Bugis society. Astonishingly, these beautiful priests were, in fact, men, The tradition of the Bissu priests, she found out, originated from the old Bugis legend of La Galigo. She ended up filming the Bissu tradition and, in doing so, reintroduced La Galigo to Western audiences.
It captivated the imagination of Robert Wilson, a stage director familiar with Indonesia. To cut the story short, La Galigo became a stage production directed by Wilson.
Wilson engaged authorities on La Galigo from all parts of the world — Dr Sirtjo Koolhoof, Dr Christian Peltras, Dr Roger Tol as well as local Indonesian scholars like Dr Nurhayati Rachman and Dr Mohammad Salim and Bugis elders like Pua Matoa Saidi, Andi Anton Pengerang, Yusuf Majid and Ibu Andi Ummu.
La Galigo’s world premiere was held at the Esplanade-on-the-Bay, Singapore, in 2004, followed by performances in New York, Amsterdam, Barcelona and Madrid, to critical acclaim.
As many as 50 of Indonesia’s finest artists were involved, headed by composer Rahayu Supanggah. The world famous Bali Purnati Centre for the Arts was the prime mover of the project.
Even before the performances, renewed interest in La Galigo resulted in the Festival and International Seminar of La Galigo in Desa Pencana, Kabupaten Barru, Sulawesi, in March 2002.
The village was chosen because it was the birth place of Retna Kencana Colliq Pujie Arung Pencana Toa, the princess of Ternate who was responsible for saving some of the Bugis cultural paraphernalia. She even copied La Galigo herself, 12 copies of which survive in Leiden University in Holland.
More importantly, the papers presented in the seminar were compiled in La Galigo: Menelusuri Jejak Warisan Sastera Dunia. It is a must-read for anyone interested in understanding this truly remarkable literary achievement.
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