VARIETIES OF SONGS*
By Edgar Aleo
This text describes venues for several song types, including flirting and courting songs, lullabies, shamans’ prayers at a sacrificial ceremony, and epics sung to entertain visitors.
1 Now, as for these* kinds of songs, we* will make known here all their various functions, and the occasions when they are sung.
2 This inadung* is the elders’ way of conversing, when they have visitors from another area, and also on occasions when there is a Subanen gathering. 3 And also on occasions when there is rice wine, that is, people are drinking. 4 And occasionally, when the elders are discussing their children, a maiden and a young man, when they are making an agreement to allow them to marry.
5 The inadung is also sometimes sung when there has been a death. 6 Then what is called a dirge* is sung.
7 The samba is similar to the inadung, but it may not be employed at the time of a death. 8 It may also be employed to proclaim the gospel about Jesus Christ, or to present other types of information.
9 The sinalig, in its turn, is a song sung by women. 10 However, men sing it also. 11 This song is means of people’s conversing, but it is most often used if men want to converse with women. 12 A man and woman sometimes become engaged through a sinalig.* 13 The sinalig is also nice for praising God.*
14 Now the belumin in turn is like* the sinalig, but many people sing it, men and women. 15 It is a good song to sing in praise to God, because this variety of song is called a song of love for children, neighbours and all people.
16 This biayen is similar to the lungli* and belumin, except that the biayen is high-pitched and soft. 17 But the same words can be used for the others as for the belumin.
18 The sandidi’ and tini’aman are songs of the people of Talinga.* 19 This song is also used by people when they are making information known by means of figures of speech; then they must sing the sandidi, and also when arbiters hold a discussion. 20 It is also used when putting a child to sleep.
