BETEL NUT BOXES; The Chosen Collection

BETEL NUT BOXES 
Tempat Sirih - Pinang 
THE CHOSEN COLLECTION OF SIWALIMA MUSEUM

Introduction

The using of “sirih-pinang” (sirih=betel leaf / Piperaceae and pinang=areca nut / Areca catechu Linn) is not only known in Maluku but also through the whole Indonesian archipelago, South east Asia and Melanesia. Since when “sirih-pinang” were used by our ancestor in Maluku is not known. Sirih and pinang are chewed together with a mixture of lime, tobacco, betel flower (fruit) and others.  

Nowadays, “sirih-pinang” are not only for daily enjoyment but it also functions as medicine, prestige, social interaction, initiation rituals, offerings to the soul of the ancestors and religious rituals  and customs.The “sirih-pinang” plays a central role during all those rituals. As a media of enjoyment “sirih-pinang” is used either by men and women. The using of “sirih-pinang” in the city has been replaced by cigarettes, but is still alive in the villages.

The Chosen “sirih-pinang” Collection

1. Wlaya

This “sirih-pinang” media originates from Iblatmumta, Babar island in South Western Maluku. It is called “wlaya” and is only used during sacred rituals. This triangle “sirih-pinang” media is formed by three stages; the upper stage symbolizes the place of the deities and Upulera (the cretor), the center stage symbolizes  the place where humans live and the lower stage is the place of the souls of the ancestors as the source of power, strength, protection and prosperity. The accompanying media are a bamboo tube to put in sopi (alcoholic drink derived from palmwine), a “sirih-pinang” pounder and “kain basta” a piece of cloth considered sacred.

 

2. Tampa Tabaku

A small “sirih-pinang” and tobacco basket originates from the village Klis on the island of Moa South Western Maluku. It is made of plaited pandanus leaves and especially made for a wedding ritual.

3. Epo

A “sirih-pinang” bag made of woven tree fibers. The surface of the bag is smeared with animal blood. It has 2 pockets. Stuff usually brought in this “sirih-pinang” bag are “sirih-pinang”, tobacco, knife and matches.

4. Tempat Sirih

Plaited “sirih-pinang” box made of pandanus leaves adored with geometric motives. Originates from the island Buano. It is made for daily use or to sell as souvenir.

5. Tempat Sirih

Plaited “sirih-pinang” box made of pandanus leaves adored with geometric motives. Originates from the island Buano. It is made for daily use or to sell as souvenir.

6. Lopa Lopa

Lopa-Lopa, sometomes called Barua is a “sirih-pinang” bag typical to Ambon and Seram island  . Made of sago material (water proof). Used during hunting in the forest or fishing at see. It contains “sirih-pinang”, tobacco and matches.

7. Tasi

Made  of red tarpaulin by the Nualu tribe of Seram island. The Nuaulu tribe is considered the native tribe of Seram. Tasi is made to take along “sirih-pinang”, tobacco, matches, magic spell, an amulet and other stuff when they go hunting. It is said that this bag will boost out colored rays of light when an evil spirit is in the neighborhood. 

8. Pota

A betel nut box made of red colored sewed pandanus leaves. Red color are sacred to the Nuaulu tribe of Seram island. This “sirih-pinang” is only used during wedding rituals.

TRADITIONAL WEAVING

Kowalwaan, a spinning wheel

Kanune, cloth made of fibers of the palm leaf

Weaving to cover a dead person (shroud)

Hand weaving is a cultural inheritance that once existed in any part of Maluku. Today, this cultural aspect is dying, except in the South Eastern parts of Maluku. According to the rule stated by the ancestors, a girl is not allow to marry before she masters the art of weaving. Threads for weaving are from wild cottons. The tribes in Seram used fibers of the wild sago palm leaf. Fabrics of sago fibers are called “kanune” originally originating from west Seram.
Before people were able to spin threads from fibers and cotton they used tree bark as basic material for making clothes (loin cloth). Tree bark cloth from Seram is called “cidaku”. Preparing the cidaku they had to use “batu cidaku” (stone pounders).
      A weaving cloth is also used to as tool of payment, dowry etc. Sometimes a cloth is adored with sea shells.

THE SULTANATE'S OF NORTH MALUKU

Centuries before the coming of the white people (Europeans) Maluku was ruled by the sultans of North Maluku. There were four sultans: The sultan of Tidore, Bacan, Jailolo and Ternate which was the most popular. He had a widespread influence and ruled a quite big area. Today the Ternate Sultan’s palace functions as a museum. Ternate ruled also over Ambon and Seram island.

Symbolic Meaning of the Exterior Decorations

The Main Gate
Siwalima Museum is located at the hill of Taman Makmur, some hundred meters above sea-level. from afar, people can see its main gate, where both sides are adored with 2 guardian statues. right above the gte are 7 arrows pointed towards the sky; symbolizing the crystalization of siwa and lima (9+5=14:2=7).

Garden Statues of Siwalima Museum

Garden Statues

At the center one can see a group of garden statues consisting of a "kowalwaan" (spinning wheel), a "babal" (drum) and a "lirena" (sacred house pillar). The kowalwaan signify that the art and technique of weaving, as a home industry, has been well known for centuries. The babal, besides a music instrument, also functions as a medium of communication and information. Lirena contains an important meaning in the socio-cultural and religious life of the Maluku man. The main house pillar is the most important structure to support and strengthen a house; architectually and spiritually seen. That's why the making of such a pillar must follow certain rules based on traditional-religious concepts.
The enlarged spinning wheel symbolizes traditional weaving industry. The patterns and colors of the weaving are of high value of natural indigenous art.
On the other hand, the combination of Babal, Lirena and KOwalwaan represents a vertical relationship between man and his creator and a horizontally relation between man and his natural environment.

The Ethnographic Exhibition Hall
The display system of the ethnographic exhibition hall is not based on geographical conditionas of Maluku but on groups of types of collections. Furthermore, these collections are displayed in a story-telling system; a story about man, nature and his culture. And that became the theme of this exhibition Man, Nature and Culture.
Our story will start with the happenings of today and slowly step by step enters into the pre-historical times, even unto the space and time when God created this planet for us to live on. Reaching this point in history, our story will “flash back” passing the centuries of cave-man, developments of man’s culture until recent days.
Subjects of this exhibition are: Usu Mae Upu, houses and household tools, the Sultanate of Ternate and Tidore, dressing and traditional weaving technique, jewelry and handy craft, magic tools and weapons, food-gathering, evolution of planet earth, evolution of man and caveman, religion, music instruments, history, local pottery and foreign ceramic and numismatic materials.

THE EXHIBITION

Usu Mae Upu

Betel-nut Box

Entering the hall you’ll be greeted by “usu mae upu” (please come in Sir). This is a welcome greeting. A betel-nut box as a sign of friendship with next to it an ancestor statue, is an invitation for you to enter the world of Maluku.

A King’s sleeping room
Until today the term “radja” is still being used to address a village head. A radja is a representative person of the whole community and of it’s social and cultural aspirations. This exhibition starts its story by representing a king’s sleeping room. Because we believe that life, normally, starts in a sleeping room. The furniture here are not all local made some are from other places of Indonesia, as well as from Europe. This explains that since centuries ago Maluku had received many cultural influences which still remain until today.

The sitting room
The sitting room is filled with collections of the Dutch colonial period. But the walls are built by using “gaba-gaba” a sago palm material. Herewith we can understand that natural materials such as sago are of good quality and decorative to build modern houses.

Houses
The typical Maluku house, in miniature, shows that 90% of the building materials are of sago palm material. Formerly, the houses in Maluku were built on poles as a mean of protection against wild animals and enemies. Baileu Siwalima is the village community house. The 9 poles at the front and back and 5 at the sides represent the siwa and the lima social groups. At the other corner you can find a miniature of the “kakehang” house, where the original one is in Hila-Kaitetu, at the northern coast of Ambon island. Kakehang is a village secret organization where it’s members are only men. This organization is an element of the old religion based on “head-hunting”. In taking new members of the kakehang-ship, all boys between the age of 13 – 15 years, must attend a ceremony held in the rumah kakehang which will last for several days. In order to finish this ritual, the boys must go out head-hunting. And when they successfully return from a head-hunting raid, they will be accepted as men. Shortly, this is an “initiation ritual”. And from this time on the boy (now men) will be wearing a loin-cloth made of tree bark, especially made by the “mauweng” the village shaman.

Miniature of Wapa Uwe Mosque

Islamic influences entered Maluku around 1465. The Islam were brought by Arabian merchants. In those days Ternate (in North Maluku) was the center of commerce of East Indonesia archipelago, so the spreading point of Islam in eastern Indonesia was Ternate. Islamic influences became more and more stronger because the Sultan of Ternate became Moslem too. In not a too long period Islam spread over the colonies of Ternate including Seram and Ambon island. It is interesting to tell that since 1414 a mosque already exists in Ambon. “Mesjid Wapa Uwe”is the oldest mosque ever build in Maluku. It is now one of the most unique historical religious objects of Maluku.

House hold tools

In general, the kitchens of Maluku still have the shape of what is being represented here. The tools are also quite the same. “Lesa” is one of the oldest types of tables. It is made of plaited mid-ribs of palm leaf. A well known Ambon proverb says “kalau dapat meja putih, jangan lupa lesa”, meaning if you are educated, have a good job, live in a big city, you may not forget your lesa (adat or tradition).

Clasification of ancestral statues according to it's form and function

Deities (Upulera)

A deity statue which has an anthropomorphic form, being in a sitting position and the knees are bent reaching his chest and both arms resting on the knees. This statue is placed on a carved wooden pole. On the top of the pole, extended to the left and right, are two wings (or a boat symbol). There are two wings, one bigger than the other, probably this symbolizes a vertical-down relationship to dere and luli (the founding fathers) and a vertical-up relationship with “it matromna” (the creator of the universe). The wings wriggles like flames of fire (symbol of divine power). This statue is a personification of the sun god (upulera). Upulera statues are always on poles because of it’s high status.



Fertility statue

The fertility statue “upuinai” is a deity statue of the earth/moon. Fertility statues are female statues in the form of a “tree of life” and than carved in such a way until it has an anthropomorphic form, where the whole surface is covered by carvings of the symbol of fertility. Both arms stretched to the left and right and the tips of her fingers are flames of fire. Included in this classification are also the fertility carvings. Very fine and beautiful spiral carvings carved on a flat wooden surface. There are also standing upright or torso upuinai on a block of wood and a small cup to put offering into.



Founding fathers ancestor statues

There are three types of founding fathers statues, all three are anthropomorphic. The first type has a standard position placed on a wooden pole. The second type has a common style and placed in a boat on a wooden pole. The third type is in a sitting position with both legs on a carved wooden chair.



Protective statues

Among protective statues are “walut” and “protector of the gardens”. Wealut has an anthropomorphic style, standing as well as torso. Usually, walut’s are placed in houses to protect from evil spirits, enemies, thieves and diseases. The “protector of the garden” statues are usually placed at the gardens. It has an anthropomorphic form, either male or female. These statues are very simple made, including some branches functioning as arms or legs. Its face is very simple carved. But the genitals are more detailed and eye-catching. By calling the spirits of the ancestors to stay in these protective statues their gardens will be secured from bad spirits.


Preventive acts like this are a characteristic of a traditional society. Their life depends directly to the nature. They do not have the technology, yet, to use fertilizer, irrigation etc to increase their production. They were forced to surrender to nature and destruction of the plants by pests. They can not fight back using their own strength. That’s why they tried to find protection from other powers which were higher and more powerful than theirs; the supernatural powers. Walut and other protective statues including offering rituals, magic-religious rituals, dances etc, became an important and central role in their society.



Offering statue

There are two types of offering statues. The first one is an ancestor statue consisting of three statues each on a carved wooden pole. The three of them are connected by a horizontal beam positioned slightly under the feet of the statues. Offerings of garden products are hanged on the wooden beam. The second type is a small statue sitting on a carved wooden beam and the beam rested on a carved block of wood. There is also a cup to put in offerings.



Family statues

Family statues are small scale statues either adult or child, malke and female. Distinction between male and female could be seen fom its sitting position, the statues are placed on a wooden plate. Family statues are a manifestation of family members who has passed away. These family statues functions as protective spirits.
Ancestor statues as symbol of authority


The first type of this group is the so called “tongkat komando” (baton). It’s handle or grip is in the form of an ancestor statue, either in standing or sitting position. The sitting position is more complicated with a difficult carving’s technique, on the other hand the standing position is more simple. The second type of this group is called “lirena”; carved house poles of the house of a village head or a noble person. The lirena’s are considered sacred.

The third type of this group is the “babal”; the drum. An ancestral figure in a sitting position holds the drum upon his head. This is a symbol of obedience of the people towards their leaders and spirits of the ancestors. A babal is used to accompany traditional dances. The next type of this group is the

“kowalwaan” which is a spinning wheel and “korluri” which are carved decorations of the king’s boat or house.

Religious concepts as background of ancestor worship

“………… Eka upuleru kerun mai, nunu upasnu kakeperni lisar nida ilaa nida loom. Katuwawi tenorma amuetma polu wutu spuou liarnu spuou wooni. Leter woru rusnuru woru roduwutu ratema pempeunu teptepra. Rapolaa upulera orporeke tetpioo naanu rerlai po nemnu kukuma po nana rapalpala po nemnu. Nensalmeka resa sewowoone wuku sewowoone. Siwi meyetap wawleianu mukakarse. Nodi nusriala rumerwaata aane rowaate. Pola upuleru rowaklaa upulera nawiru nowakawi lelis niani masa snaani. Sutre pipui snrue marne liawanne wusru liawanne. Pelemse rnu lelenwalse makamate wawi makamte liol makapupuprupu makiaata kaunmakiaata. Nodimai netemnelaa liarnu spaou wooni mutusieri muturiarme nedrumlole sakarlole tetliole tetliole toplole. Jomuutki nimamu pele rasoi wenu, toikus metme nimamu pele retiki wenu letworu nawerwerna. Netertesra …… “

This was a prayer sang in hoarse voices through dry throats sounds to heaven begging for mercy and a drop of rain from the heavenly gods by humans on dry and barren earth. When, for a long period during the dry season no rain has fallen and the South Eastern wind blew without carrying a drop of dew, life for humans as well as animals and vegetation would become miserable. Man will cry for upulera “the sun god” and beg for rain to fall and wet mother earth. A free translation of the prayer song above is as follows: “………..Ea Upuleru, come down to earth, because the nunu tree has started to give young buds. Eat as much as you want from these offerings that we have brought for you and make the earth alive again, rise and fertilize this land with your rain water. Make this land (island) a shining dot drifting on the waves of the ocean. O upuleru, please tell the lighting to prepare himself, so that the roots of our trees can loosen themselves from so long being enslaved by the dry and hardened soil”…….

This prayer for help is accompanied by a fiesta called “poreka”. Various kinds of food including pork, goat, buffaloes, palm wine, elephant tusks, golden ear rings and necklaces etc were offered to upuleru.


The background of this ritual is lack of knowledge and technology. Facing consequences of tomorrow which is uncertain and death could be the result of dryness, makes man lean on powers he believed are more powerful than he is. This cause man makes religious acts of rituals. And through those rituals he hoped to have a more secure life.


This religious system is based on holy stories that sometimes have its roots in the past, which is called myth. Myths do not mean true or not true. In this case myth is different than lullabies. Myths are dreams of supernatural truth, which contain reality, such as cosmos, deities and divine natural powers, formulas of law and ethics and social law. That’s why myth became the highest truth which forward patterns or basics of live.

There are many myths about one super natural power, which is the creator of man and the universe. This power created, planned and organized the live of man. He is the ultimate super natural being called “It Matromna” (South East Moluccas) and “Upu Lanite” (Central Moluccas).


One stage below “It Matromna”/Upu Lanite are personifications of bodies of the universe such as “upuleu” (the sun god), “upu inai” (mother earth) and others. Myths of the worshiping of the sun and the earth in relation with the creation of land and man, especially on Leti island is as follows: “Once upon a time upulera sent a young girl named “Osakramiasa” (meaning island, gold or female) with the help of the lightning (symbol of male) into the ocean. Commanded by upulera, a snake crept into her lap and Osakramiasa became pregnant. She gave birth to a red feathered rooster. When the rooster wanted to fly away Osakramiasa caught the legs of the rooster and did not let go. So when the rooster flew up from the bottom of the sea to the surface, he pulled Osakramiasa along with him and she became the island Leti.

In a simple way this myth could be translated as follows: upulera (male) has a relation with upuinai (female), through the lightning (male symbol of fertility because lightning is identical to rain) and the girl (symbol of fertility) which met in the sea (water is also a symbol of fertility). Thoughts of fertility became accentuated when the myth tells about the snake which crept into the lap of the girl (coitus), got pregnant and finally gave birth to a red feathered rooster. A rooster is the symbol of the sun, which in turn means the source of live. Through the power of this live giving source, an island was created, the island of Leti. This means that new live on earth was the result of interaction between natural powers such as the sun and the earth.


The people of the Moluccas, especially in the South Eastern islands, believe that man has 2 souls. The first soul lives in the body of the man which gives him the will and strength to live. This soul will die when the man dies. The second soul lives in the shadow of the man, but will not die when the man dies, it will move to another place and live forever. After a death, the second soul will be called “nitu”. When the man belongs to the ursiwa social group, his nitu will travel to an island called Baer, and when he belongs tyo the lorlim social group his soul will travel to an island called Ohimas. On these islands the nitu does live an everlasting live, but they are not bound there forever. The nitu’s are free to leave the island and visit their village of origin and their relatives (descendants). Their visits occur through the phenomena of dreams. Their visit could occur on their own free will or they were called upon by their living descendants. Basically a nitu’s visit could either be constructive, if his living descendants frequently bring offerings to him, or it could be destructive if his living descendants neglected to bring offerings. A constructive visit will bring forth fertility to the gardens. A destructive visit could take the form of sickness, death or the gardens failed to give crops.


Nitu’s are souls of ancestors which are not worshiped collectively by the whole village, except by his or her own descendants. Nitu’s of village leaders have a higher position than a common nitu. That’s why they are worshiped and offerings are being brought by the whole village. In Serwaru archipelago (Lati, Moa, Lakor) “dere” and “luli” are the founding couple of the villages. Both nitu are the protectors and also mediators of the common nitu’s and upulera/upuinai. Because of holiness of upulera/upuinai, the common nitu’s does not have direct access to them, therefore dere and luli became mediators.


Believing in sacred deities and ancestor spirits became an object of worship and tribute of man transformed into works of art. Those works of art are wooden and stone statues were treated in a sacred magic-religious way; since the cutting of the knawa tree, the carving process and the worshipping rituals.

The Objectives of Museum Siwalima

           The objectives of Museum Siwalima is to become an important and strategic source to introduce Maluku man, nature and culture to the world. Museum Siwalima, as a non-profit institution under the Department of Culture and Tourism of Indonesia, gathers and exhibits material culture of the past and the present of Maluku man, nature and its culture. The collections are carefully conserved and preserved and than communicated to the audience through its permanent exhibition, temporary exhibition and also traveling exhibitions.  The main course of this museum is: 
1) to develop and improve human resources to become professionals, 
2) develop the exhibition quality to create appreciation, innovation and imagination of the visitors, 
3) improve conservation methods to preserve the collections.

         Most people think a museum is a place to store old unused things. This concept of thinking must be pull back to the real meaning of a museum. That a museum is a place to learn, to enjoy, to experience new things. A museum has an educational goal, to educate people and making them live a better  and positive life.