西南交通大学学报

第 58 卷 第 4 期 Vol. 58 No. 4
JOURNAL OF SOUTHWEST JIAOTONG UNIVERSITY Aug. 2 0 2 3
2023 年8月

ISSN: 0258-2724 DOI：10.35741/issn.0258-2724.58.4.32

Research article

Social Sciences

THE MEANING OF KELAMBUT MUSIC FOR THE SENTANI TRIBE,

PAPUA

嘉兰布 音乐对巴布亚森塔尼部落的意义

I. Wayan Rai S. a, Ni Made Ruastiti a, Gede Yoga Kharisma Pradana b,*, Yunus Wafom c
a
Indonesia Institute of the Arts (ISI)
Jl. Nusa Indah, Denpasar, Bali, Indonesia, wimbаruspawati@isi-dps.ac.id, mаdеruastiti@isi-dps.аc.id
b
The Institute of Tourism and International Business (IPBI)
Jl. Tari Kecak No. 12, Denpasar, Bali, Indonesia, yogа@stpbi.аc.id
c
The Tanah Papua Institute of Arts and Indonesia Culture (ISBI Tanah Papua)
Jl. Kampwolker Perumnas 3, Hedam, Jayapura, Papua, Indonesia

Received: May 15, 2023 ▪ Reviewed: June 13, 2023

▪ Accepted: July 11, 2023 ▪ Published: July 31, 2023

This article is an open-access article distributed under the terms and conditions of the Creative Commons
Attribution License (http://creativecommons.org/licenses/by/4.0)

Abstract
The purpose of this research is to reveal the meaning of kelambut for the Sentani tribe in Papua.
Kelambut is known as a traditional Papuan musical instrument. Kelambut is known to the people of
Sentani, Papua. However, is the kelambut instrument important for the cultural activities of the Sentani
people? The questions are: 1) What is kelambut?; 2) What does kelambut mean for the Sentani people in
Papua? This research was completed using qualitative methods. Observations, FGDs, and interviews have
been used to collect data on Papua, especially from informants. Literature studies are useful for collecting
secondary data about the Sentani tribe and traditional Papuan musical instruments. All data were analyzed
qualitatively using ethnomusic theory, symbol theory, and reception theory. The results showed: 1) The
kelambut is a traditional Papuan musical instrument shaped like a boat. The sound of kelambut music is
produced by being hit with a mallet made of forest wood. 2) The kelambut is a traditional musical
instrument that is important for the cultural activities of the Sentani tribe because it has esthetic meaning,
historical meaning, communication meaning, environmental meaning, social meaning, and religious
meaning. The novelty of this research is its multi-meaningful positive contribution to the preservation of
traditional art. It can be used as a review to refute the kelambut discourse that this instrument has become
extinct in the culture of the Sentani people. In addition, this finding may inspire other artists to enculturate
the arts.

Keywords: Meaning, Kelambut, Sentani Tribe, Papua

摘要 这项研究的目的是揭示凯兰布特对于巴布亚仙谷部落的意义。凯兰布特被称为巴布亚传统乐
 Rai S. et al. The Meaning of Kelambut Music for the Sentani Tribe, Papua, Vol. 58 No. 4 Aug. 2023
390
器。凯兰布特为巴布亚森塔尼 (仙谷) 人民所熟知。然而，凯兰布特乐器对于森塔尼人的文化活
动重要吗？问题是：1）什么是凯兰布特?;2)凯兰布特对巴布亚的森塔尼人意味着什么？这项研究
是使用定性方法完成的。观察、焦点小组讨论和访谈已被用来收集有关巴布亚的数据，特别是来
自线人的数据。文献研究对于收集有关森塔尼部落和传统巴布亚乐器的二手数据很有用。所有数
据均使用民族音乐理论、符号理论和接收理论进行定性分析。结果显示：1) 凯兰布特是一种传统
的巴布亚乐器，形状像船凯兰布特音乐,是通过森林木材制成的木槌敲击而产生的。2) 凯兰布特
是一种传统乐器，对仙谷部落的文化活动具有重要意义，因为它具有审美意义、历史意义、交流
意义、环境意义、社会意义和宗教意义。这项研究的新颖之处在于它对保护传统艺术做出了多方
面的积极贡献。可以作为反驳“凯兰布特”这种乐器在森塔尼人的文化中已经灭绝的言论的回顾
。此外，这一发现可能会激励其他艺术家融入艺术。
关键词: 意义，凯兰布，森塔尼部落，巴布亚
I. INTRODUCTION
As a multicultural nation, the Indonesian
people have very diverse wealth of traditional
music. Almost every ethnic group has traditional
music. As a country with thousands of islands
stretching from Sabang to Merauke, various
regional cultures arose and developed among the
many islands and their people [1]. Traditional art
is the identity and medium of the expression of
the supporting community [2], [3], [4], [5].
Emotional intelligence (EQ) can be developed
through the artistic expression of music [6].
Every ethnic group in Indonesia has traditional
music. Traditional art belonging to an ethnic
group has its own function in ethnic activities in
Indonesia. In general, the function of traditional
art is for ritual purposes, esthetic presentation,
and entertainment [7]. As part of Indonesian
traditional culture, ethnic music also has many
functions. According to Merriam [8], the
existence of music has functions, which include:
(1) the function of emotional expression; (2) the
function of aesthetic appreciation; (3) the
function of entertainment; (4) the function of
communication; (5) the function of symbolizing;
(6) the function of physical reactions; (7) the
function of social norms; (8) the function of
validating social institutions; (9) the function of
cultural continuity; and (10) the function of
integrating society. The various functions
contained in this musical art show the existence
of benefits and meanings for the preservation of
cultural activities [9], including sustainable
ethnic culture in Papua.
According to Nafurbenan [10], there are more
than 250 ethnic groups on a large island covering
an area of 421,981 km2 in the easternmost part of
the territory of the Republic of Indonesia, which
is called Papua. The presence of so many tribes
in Papua shows that there are so many cultural
traditions that have enormous potential as
national assets in relation to regional
development and the resilience of the civilization
of the Republic of Indonesia [11]. On the one
hand, the diversity of ethnic groups in Papua is
not immune from various security, political, and
mining problems.
Papua has a wide range of cultural diversity.
According to Samakori [12], the plurality of
ethnic cultures in Papua is very clearly spread
and institutionalized into the Mamta, Saireri, Mi-
Pago, Anim-ha, Bomberai, and Domberai areas.
Kelambut is known and used in tribal culture in
the Mamta region, also called Mamberamo-Tabi.
In the Mamta area, the Sentani tribe is one of the
83 ethnic groups that live in and know Kelambut.
Kelambut is a traditional musical instrument
that can be found not only in Papua but also in
several regions of Indonesia. Apart from Papua,
similar musical instruments can also be found in
Bali, Lombok, Sulawesi, Maluku, and Java. Each
region has a different name due to its cultural
context, which is also influenced by conformity
with the user's ethnic beliefs. Meaning can be
perceived based on symbols in a context [13]. For
example, in Bali, this kind of kelambut
instrument is called kentungan. Kentungan is
closely related to traditional ceremonies in Subak
or agricultural culture in Bali. The kentungan is
sustainable because it is always used by the
Balinese, including as an expression of gratitude
to God Almighty in the yadnya ceremony at the
temple, due to the abundance of agricultural
products during the yadnya ceremony at the
temple.
The accumulation of cultural symbols can
build identity meanings [14]. Even though the
kelambut and similar traditional musical
instruments are an important identity for the
culture of Indonesian society, ironically, these
musical instruments are increasingly

marginalized during the increasing influence of
global civilization and modernization on the
development of Indonesian society. This crisis
also occurs in the music of kelambut and in the
culture of the Sentani tribe. It is interesting that
there has been no research that reveals the
meaning of kelambut music itself. Kelambut is
known to the Sentani people of Papua. However,
the culture of the Sentani tribe, which uses
kelambut musical instruments, is becoming
increasingly rare. The questions are: 1) What is
kelambut? and 2) What does kelambut mean for
the Sentani people in Papua?
II. LITERATURE REVIEW
The research on the meaning of kelambut
music for the Sentani tribe in Papua is original. It
has been proven that there are no research results
on kelambut in Sentani culture. Similar research
can be summarized as follows:
Sroyer et al. [15] say that the shape of the
roof, which is called rum som, rum sram, and
sram mankubui, is rectangular, half-elliptical, and
trapezoidal. While Tifa's musical instrument
looks like a combination of two tumpeng that are
tied together and become one, Regarding the
meaning of kelambut music for the Sentani tribe,
Papua has similarities with the exploration of
ethnomusicology and traditional music tools. In
Biak-Papua Culture's section on traditional
Papuan ethnic musical instruments, the difference
is that in the meaning of kelambut music for the
Sentani tribe, Papua reveals the meaning of
traditional Papuan musical instruments, while in
the Exploration of Ethnomathematics of House
and Traditional Music Tools Biak-Papua culture
does not reveal the meaning of traditional Papuan
musical instruments.
Amha et al. [16] revealed that music beats
spoken language in identifying individuals
uniquely in two different communities. In
addition to their given names, which conform to
their language conventions, speakers of the Oyda
(Omotic; SW Ethiopia) and Yopno (Finisterre-
Huon; NE Papua New Guinea) languages have
"nada nama," short (1–4 second) melodies that
can be sung or whistled to call or to identify for
other purposes. Linguistically assigned names are
frequently not unique for the two communities;
people may be named after ancestors or
contemporaries or have the same name for
several individuals. However, for both
communities, name songs are generally
noncompositional and unique to individuals. This
means that each new generation will likely create
thousands of new anthems. In both communities,
the tone of names is produced in various
391
contexts, from everyday addressing and medium-
distance communications to ceremonial
occasions. The relationship between singing the
individual's name in Oyda and Yopno and the
meaning of kelambut music for the Sentani in
Papua lies in the superiority of the sound of
Papuan music. Singing the Individual: Name
tunes in Oyda and Yopno do not discuss
kelambut, while regarding the meaning of
kelambut music for the Sentani tribe, Papua
discusses kelambut.
Jeremy Wallach [17] reveals that the Feldian
ethnomusicological perspective is a correction to
ethnocentric tendencies and disparagement in the
study of popular music. Only a culturally
sensitive ethnographic approach can provide
insight into the important role of popular music
in the various social upheavals of the late 20th and
21st centuries. Rainforest to Raves:
Ethnomusicological Forays into Popular Music
reveal nothing about kelambut. Meanwhile,
Papua reveals the meaning of kelambut music for
the Sentani tribe. Both of these studies have
problems related to the study of Papuan ethnic
music.
Paul Wolffram states [18] that Buai is a form
of witchcraft known throughout the island of
New Guinea in Papua. This socially approved
form of magical practice is used mostly for
creative purposes, especially for the performance
of musical and dance attractions. The buai were
relied on to perform new songs and dances for
community celebrations and ritual performances.
Buai practitioners, known as tena buai, are
revered for their creative powers and sometimes
feared for their potential to use those powers for
destructive purposes. Through a combination of
personal experiences and conversations with the
Buai tena, this article explores how the Buai tena
are perceived by their community. The issue of
Papuan culture is explored in Experiencing and
Narrating the Spiritual Power of Music and
Dance in the New Guinea Island Region with the
Meaning of Kelambut Music for the Sentani
Tribe, Papua. Buai's "There is Good and Bad
There," Experiencing and Narrating the Spiritual
Power of Music and Dance in the New Guinea
Island Region, does not discuss kelambut, while
the meaning of kelambut music for the Sentani
tribe in Papua discusses kelambut.
Paramma and Kabanga [19] show that there
are six measurable categories, namely cuisine,
social lifestyle, language, music, and marriage of
different races, which show that exposure to
globalization culture makes a positive
contribution to the social relations of indigenous
Papuans with immigrants. The correlation
 Rai S. et al. The Meaning of Kelambut Music for the Sentani Tribe, Papua, Vol. 58 No. 4 Aug. 2023
392
between a qualitative study of indigenous Papuan
people who are exposed to cultural globalization
through their social relations with immigrants
and the meaning of kelambut music for the
Sentani tribe in Papua is in the culture of the
Papuan people. A Qualitative study of the
indigenous people of Papua exposed to cultural
globalization through their social relations with
Newcomers does not discuss the Sentani tribe,
while the meaning of kelambut music for the
Sentani tribe is discussed in Papua.
I Wayan Rai S. et al. [2] revealed that
kelambut is a traditional musical instrument made
from natural wood in the Sentani area. The shape
resembles a boat, is played by hitting the inside,
and serves as a means of communication and
musical accompaniment for soldiers. Apart from
seeing it as a work of art to balance life with the
environment, the Waena tribe also interprets
kelambut as sacred music that provides
protection, as a link with their ancestors, as a sign
of tribal chief appointment (Ondoafi), and as a
cultural identity. Relevance of Kelambut:
Traditional Music of the Waena Tribe Based on
the Environment of Sentani, Jayapura Papua with
the Meaning of Netting Music for the Sentani
Tribe, Papua lies at a point of comfort regarding
Kelambut. However, Kelambut: Traditional
Music Based on the Environment of the Waena
Ethnic, Sentani, Jayapura, Papua, does not
examine Sentani art, while the meaning of
Kelambut Music for the Sentani people, Papua,
examines the Sentani ethnic group.
I Wayan Rai S. et al. [3] said that Tifa as a
musical instrument can find spoken language,
which is inherited in the Papua region. Tifa
materials are wood and animal skins, where
wood and animals grow in each area. The
ornaments on Tifa, the costumes of the players,
and the paintings of the popular Tifa players, are
the people's livelihood. Tifa seems to be a symbol
of identity and pride for the Papuan people. In
addition, Tifa is also a symbol of unity, local
wisdom and harmony, as seen in the reliefs of
Pura Agung Surya Bhuvana, Jayapura. For
ceremonial purposes, Tifa can only be played by
men. A player must understand Tifa's basic
pattern and improvization well because they
relate to singing and dancing movements. Tifa is
a means of connecting with God, ancestors, and
other natural forces. As a means of cultural
expression, as an accompaniment to dance,
whether discussing customs, new creations, or
contemporary dance. The relationship between
Tifa From The Land of Papua: Text and Context
and The Meaning of Kelambut Music For The
Sentani Tribe, Papua, can be seen in the
similarity of actors, namely traditional Papuan
musical instruments. The difference is that Tifa
From The Land of Papua: Text and Context does
not examine kelambut, while The Meaning of
Kelambut Music For The Sentani Tribe, Papua,
examines research on kelambut.
Saidah and Fadilah [8] stated that the
existence of hadrah art in Papua, especially in the
city of Manokwari, is currently very popular, as
shown by the many competitions and hadrah
festivals held, the many sholawat assemblies
involving hadrah music as an accompaniment to
the verses of the Prophet's sholawat, and even the
existence of hadrah as an extracurricular activity
in educational institutions. With this research, it
is hoped that it can increase one's knowledge
about the development of Islam in the land of
Papua, one of which is in the field of hadrah art
as an Islamic art. In connection with The
Meaning of Kelambut Music for The Sentani
Tribe, Papua, there is a similarity in the object of
research, namely the art of music in Papua.
However, Hardah Spirit as an Islamic Arts in the
Land of Papua does not analyze kelambut, while
The Meaning of Kelambut Music for the Sentani
Tribe, Papua, examines kelambut.
Mentasan [11] reveals that forms of cultural
heterogeneity include the existing capitalist
economy with various job opportunities,
industrialization of fisheries and tourism, massive
exploitation of natural resources, control of
dominant groups such as the Raja Ampat
bureaucracy, rationalization of values, and
secularism without regional and customary
boundaries. However, this is also a problem
because the product of modernity mediates the
demands of life to move quickly, precisely,
effectively, and efficiently. The relevance of
Cultural Heterogenization in Raja Ampat
Traditional Society (Case Study on Modernity
Power in Waisai Regency of Raja Ampat, West
Papua) with The Meaning of Kelambut Music for
The Sentani Tribe, Papua lies in traditional
cultural activities in Papuan society. However,
Cultural Heterogenization in Raja Ampat
Traditional Society (Case Study on Modernity
Power in Waisai Regency of Raja Ampat, West
Papua) does not analyze kelambut, whereas The
Meaning of Kelambut Music for the Sentani
Tribe, Papua, analyzes kelambut.
Siahaya et al. [6] said that emotional
intelligence has a significant effect on music
learning achievement, which is equal to 60.1%.
In addition, learning motivation significantly
mediates the effect of emotional intelligence on
music-learning achievement by 95.1%. The art of
music is a lesson in school that helps one

understand one's emotions. With this research, it
is hoped that every school will be moved to foster
the emotional intelligence of its students in order
to obtain the right formula for building their
learning motivation. The relationship between
The Effect of Emotional Intelligence on Music
Art Learning Performance Mediated by
Motivation and The Meaning of Kelambut Music
for The Sentani Tribe, Papua, is in Papuan
Musical Arts. The difference is, The Meaning of
Kelambut Music for The Sentani Tribe, Papua,
examines the Sentani tribe, while The Effect of
Emotional Intelligence on Music Art Learning
Performance Mediated by Motivation does not
examine the Sentani tribe.
III. RESEARCH METHODS
Research on kelambut music has been
conducted in Papua for two years. Research on
the meaning of kelambut music for the Sentani
tribe was carried out in Papua because: 1) the
Sentani tribe in Papua knows and uses kelambut
in cultural activities; and 2) the Sentani tribe has
a point of origin in Papua.
Research on the meaning of kelambut music
for the Sentani tribe in Papua is materially
centered on a musical instrument called
kelambut. Formally, research on the meaning of
kelambut music for the Sentani tribe in Papua
focuses on the meaning of kelambut music.
Qualitative methods were used in completing this
research. Qualitative methods can be used to find
and process descriptive and visual data [20].
Observations, focus group discussions, and
interviews have been used to collect data in
Papua, especially from informants. Technically,
qualitative data can be collected through
observation, interviews, and focus groups
discussions [21]. While secondary research data
has been successfully collected through a
literature study, a literature study has been useful
in collecting secondary data about the Sentani
tribe and traditional Papuan musical instruments.
All data were analyzed qualitatively using
ethnomusical theory, symbol theory, and
reception theory. Ethnomusical theory, with the
help of symbol and reception theories, is used to
analyze the form of a traditional Papuan musical
instrument called the kelambut. Meanwhile,
symbol and reception theories, with the help of
ethnomusical theory, have been useful in finding
the meaning of kelambut music for the Sentani
tribe.
IV. RESULTS
A. Kelambut as a Traditional Papua Music
393
Instrument
Kelambut has a relationship with traditional
music in Sentani culture. The Sentani tribe is one
of the Papuan ethnic groups that live in the area
around Sentani Lake, Yonokom Island, Asei
Island, and Alfar Island [22]. They have cultural
traditions that differentiate them from the various
tribes in Papua. Among the Sentani tribe's
cultural traditions are those that involve the use
of kelambut. The kelambut is considered an
important instrument for the Sentani tribe in
sacred activities, entertainment, and socialization
and the enculturation of the Sentani culture. In
cultural enculturation, the social unity of the
Sentani tribal community on Yonokom Island,
Asei Island, and Alfar Island is mediated through
the sound of kelambut music. In other words,
kelambut has meaning in Sentani culture.
The Sentani tribe in Mamta plays kelambut, a
traditional Papuan musical instrument.
Mambramo Tabi (Mamta) is a Papua region
zoning that is recognized as the center of
residence for the Sentani tribe as well as the lives
of 82 other ethnic groups, complete with cultural
traditions. Apart from Mamta, kelambut is a
traditional Papuan musical instrument used in the
cultural life of the Sentani tribe, who live in the
Ralibu, Nolobu, and Waibu areas. Reception
influences the relationship between meaning,
form, and symbols [23]. Therefore, it can be seen
that the traditional musical instrument for the
Sentani tribe is the kelambut.
A series of symbols can build a shape
representation [24]. Kelambut is a traditional
Papuan musical instrument that has a shape
similar to a boat. The shape of the Kemambu
musical instrument resembles a small boat with
variations of Papuan cultural motifs. The shape
of this traditional Papuan musical instrument
resembles a boat, mortar, or clam in Balinese and
Javanese cultures. This traditional Papuan
musical instrument, which has a wide end of 5
cm, a middle width of 17 cm, a long hole depth
of 39 cm, a hole width of 9 cm, a height of 19
cm, and a length of up to 135 cm, is made of
wood that comes from forests in Papua. The
sound of this kelambut comes from the results of
various types of blows from a wooden instrument
called an oha against the body of the kelambut.
Based on the Sachs-Hornbastel classification,
kelambut is classified as an idiophone musical
instrument. Idiophone music emphasizes that the
beauty of the sound of a musical instrument will
be created after the instrument is hit with a
certain instrument. Kelambut is also classified as
a slit drum instrument when viewed from the
sound source of this traditional Papuan musical
 Rai S. et al. The Meaning of Kelambut Music for the Sentani Tribe, Papua, Vol. 58 No. 4 Aug. 2023
394
instrument (Fig. 1).
Figure 1. Kelambut
Beauty can be created through the mediation
of traditional ethnic art instruments [25]. Ethnic
traditional art motifs can represent ethnic cultural
identity [26], [27], [28]. Based on the picture
above, it can be seen that the beauty of the sound
of kelambut music comes from a hole or gap in
the middle of a traditional musical instrument
called kelambut. Apart from the beauty of the
sound of the music, there is a yoniki motif that
adorns the side, which has become the identity of
the kelambut. Through variations in the tempo
and rhythm of kelambut music, it can be seen that
kelambut has a musical rhythm pattern (Fig. 2)
that seeks to support the performance of Papuan
ethnic art and long-distance communication, as
well as conveying messages in safe and
conducive conditions and in situations of danger
or emergency.
Figure 2. Pattern of Kelambut signs
Functional potential can be clarified through
reception [29]. In the image above, you can see
an illustration of the rhythmic pattern of the
kelambut music sound that the Sentani tribe uses
for long-distance communication or to
accompanies a Papuan ethnic performing arts
performance when the environment is suitable
and safe. The rhythmic pattern of this kelambut
music is different from the rhythmic pattern of
the following kelambut music (Fig. 3).
Figure 3. Pattern of Kelambut signs
In general, differences in meaning are
reflected based on differences in symbol motifs
[30]. Based on the picture above, it can be
explained that an example of the rhythmic pattern
of the sound of kelambut music has a relationship
with a state of danger. The Sentani tribe
frequently uses the rhythmic pattern of the
aforementioned kelambut music in long-distance
communication to convey emergency messages
in times of danger. In this situation, variations in
the tone of the kelambut tend to be few and
monotonous.
B. The Meaning of Kelambut Music for the
Sentani Tribe in Papua
Expressions of the beauty of art can have
cultural meaning [31]. Cultural elements are
preserved socially because they have historical
meaning, environmental meaning, and religious
meaning [32]. Kembut music contains a very
noble meaning for the lives of the Sentani people
in Papua. The meaning includes esthetic
meaning, historical meaning, communication
meaning, environmental meaning, social
meaning, and religious meaning.
1) Aesthetic Meaning
Reception can reveal meaning [33]. The use
of this instrument by the Sentani tribe as an
accompaniment to dance performances during
festivals and customary ceremonies demonstrates
the artistic meaning of Kelambut music. The
lovely sound of kelambut music supports the
Sentani tribe's traditional dance or singing in
festivals or ceremonies. The rhythm in the sound
of the early Kelambut is seen as appropriate for
giving a signal, as when accompanying and
amplifying the traditional Sentani performance.
Those who use kelambut usually sit in a circular
formation or in two parallel rows to accompany
the Sentani dance.
Art can show the expression of the
perpetrator's feelings [34]. Expert artists who use
kelambut in a circular formation demonstrate the
expression of a sense of belonging in the
performing arts. The two lines that the artists,
who are skilled kelambut users, formed in a
parallel formation reflect the ideological
expression of understanding. The intonation of
certain musical sounds from the kelambut and the
two formations can strengthen the meaning of
cultural tolerance for the Sentani tribe through
the dance movements of the tribe, which are
staged for the sake of the festival.
Functions can be perceived based on
supported practice specifications on symbol and
domain relations [35]. Kelambut functions as a
supporter and reinforces the beauty of the Sentani
dance because of the beauty of the sound of the
music. The sound of kelambut music has also
become a guide for the dancers when performing
the Sentani dance. As the sound of kelambut
music accompanies the dancers in forming the
dance formations of the Sentani tribe, it has
meaning. The sound of kelambut music related to
the formation of the dancers' performances is
oriented toward strengthening instructions to

members of the Sentani tribe to immediately
gather at the location of the traditional ceremony,
fostering togetherness, and giving participants
warnings about the readiness of the traditional
ceremony.
2) Historical Meaning
The Sentani people view the kelambut as their
cultural heritage because it has historical
significance. Their various noble traditional
cultural activities have long involved the sound
of kelambut music. Kelambut has become a
functional art instrument for establishing and
maintaining cross-generational relationships
within the Sentani tribe. As a form, a symbol can
have a certain value because the elements of the
symbol are perceived in a certain realm [36].
For the sake of long-term social unity,
structuring in the community is oriented toward
ordering and harmonizing functional-structural
relationships [37]. Based on the existence of
cultural motifs on kelambut in Sentani culture, it
shows that they have tried to live in harmony
with the natural environment where they live for
a long time. This is backed up by the doctrine of
the ancestors, which says that kelambut must be
used for the good of their noble culture as the
sacralization of the new Sentani tribal chief's
appointment.
The existence of kelambut has become
evidence that can strengthen the cultural identity
of their tribe throughout the historical period of
the Indonesian nation. The melodies of kelambut
music can represent the culture of the Sentani
tribe in Papua. As the function of culture cannot
be separated from the manifestation of cultural
values in the relationship between social
practices and the environment and their
instruments [38], according to Levinus Pilemon
Modouw, a son of the chief of the Sentani tribe,
on July 5, 2017:
"The musical instrument was made in 1823,
but there is no written proof of when we first
started using it... Everything about using the
kelambut was taught to us orally by our leaders.
One thing is certain, the ornaments about the hair
are on the para-paras, and we still use them for
cultural activities."
Based on the aforementioned informants, the
Sentani tribe uses kelambut as a traditional
musical instrument for their cultural activities.
According to Sentani tribal tradition, Sentani
tribal leaders use the sound of kelambut music to
enculturate the Sentani tribe. The cultural
activities of the Sentani tribe include being able
to organize them well across generations,
accompanied by the sound of kelambut music.
The existence of the kelambut motif in their
395
traditional house, called para-para, serves to
emphasize their cultural identity. The
achievement of reception of the representation of
symbols can be used to understand the meaning
of identity [39].
3) Communicative Meaning
The manifestation of the symbol can be
perceived existentially because it is used in a
domain [40]. The Sentani is a tribe that use
kelambut in the Mamta region. Kelambut is a
means for members of the Sentani tribe in the
Mamta region to establish communicative
relations with Ondoafi in a cultural context. In
the Sentani cultural tradition, kelambut is often
used as a means of communication between
residents. As a result, the Sentani tribe's
traditional events held in the Mamta region
seldom lack the sound of kelambut music.
Meaning can be an indication of a potential
function or realm of practice [41]. Kelambut is a
musical instrument that contains the meaning of
communication. According to tradition, the tribal
chief Ondoafi will use kelambut to summon the
populace to a location where he will announce
important information. Through the sound of
kelambut with certain rhythm, people
immediately know it because it has been
systematized in their culture. Notification signs
such as gatherings, dangers related to forest fires
and tribal wars, appointing tribal chiefs, dance
accompaniment, and opening ceremonial events
are examples of kelambut that are useful for the
Sentani tribe, according to the context.
A social ethos, according to its context, is
crystallized in the form of culture [42]. As a
communication medium, the message behind the
song and the sound of kelambut music are
classified as difficult to understand if one is not
familiar with the cultural characteristics of the
Sentani tribe. As a social communication tool,
kelambut has become a sign language medium in
the communication process of the Sentani tribe.
For a long time, various sounds of kelambut have
been used by the Sentani tribe to summon family
members, convey distress, and signal tribal wars.
Those who can solve the problem behind the
typical sound of kelambut, which is repeated
right away, respond or send a signal through the
sound of kelambut.
4) Environmental Meaning
An understanding of symbol reception can
serve as the foundation for social practice [43].
The Sentani believe that their lives are linked to
their understanding of the natural environment.
They understand that the well-being of their lives
is influenced by the gifts of nature, which can be
called crops. They realize that the natural
 Rai S. et al. The Meaning of Kelambut Music for the Sentani Tribe, Papua, Vol. 58 No. 4 Aug. 2023
396
environment in which they live has become the
space and foundation for the activities of the
Sentani tribe as kinship. Their perspectives on
this natural environment include being built and
nurtured with kelambut. Kelambut is always
closely related to the zoning where the Sentani
people live because some materials for traditional
Papuan musical instruments come from the
surrounding natural environment. On the one
hand, they always try to prevent disasters in their
homes, starting with social warnings that come
from the sound of the wind, reducing
environmental damage, and maintaining the
beauty of their natural environment.
The clarity of the status symbol can be
understood based on the reception of practice in a
domain [44]. The meaning of the natural
environment in Sentani culture is also built
around the sound of kelambut music. The sound
of kelambut music that supports the performance
of the helaehili song in the environmental
territories of Mamta, Ralibu, and Waibu is
representative of the culture of the Sentani tribe.
The environmental meaning of kelambut for the
Sentani tribe is also built on the need for raw
materials for this traditional musical instrument,
which is always fulfilled because they can be
found in forest areas in the environment where
they live. Thus, they can determine about threats
and damage to the natural environment where
they live, including through the sound of
kelambut music.
The image of the Sentani people as being
among the Papuan people who are lucky to live
in the Mamta environmental zone correlates with
the Kelambut art tradition. They are seen as
having the advantages of a noble culture, a high
culture, and intelligent social practices, which are
supported, among other things, by their soft
voices. The recognition of nobility, excellence
and intelligence from the use of kelambut in
Sentani culture is no longer sanctioned by the 82
tribes that are indigenous to the Mamta
environmental zone. Among primitive
stereotypes, kelambut is one of the supporting
instruments for the purity of Sentani cultural
practices in the Mamta area. In the mamta
environmental zoning, the culture of the Sentani
tribe stands out and is clear, among others, due to
the contribution of social practices using
kelambut. Therefore, the environmental meaning
of the sound of kelambut music for the Sentani
tribe is also due to the high cultural image that
has been built and sustained due to the influence
of the Mamta habitat on the habits of the Sentani
tribe. The superiority of practice correlates with
symbols and symbol reception in a domain [45].
5) Social Meaning
The sound of kelambut music can also be
found in Sentani tribal activities that require
togetherness or social tolerance, such as seminars
and festivals. The melodies of kelambut music
can emphasize requests for tolerance or
togetherness. Thus, the sound of kelambut music
has been known as part of the cultural identity of
the Sentani tribe, maintaining unity and fostering
tolerance among members of the tribe for
traditional, social and artistic entertainment
activities in the Mamta region of Papua. The
melodies of Kelambut's voice give signs
according to the context, such as signs to gather,
signs of danger, tolerance, or signs of legitimacy
supporting the appointment of a new tribal chief.
The realm of using symbols can reinforce true
meaning and practice [46].
The reception of instrumental and symbolic
relationships can be built on the basis of practical
support [47]. The meaning of cultural tolerance
among the Sentani tribe can be heard in the sound
of kelambut music used by Agung Laksono, the
Coordinating Minister for Welfare of the
Republic of Indonesia, in inaugurating the
Sentani Art Festival in 2014 at the Office of the
Governor of Papua. In the sense of cultural
tolerance originating from the sound of kelambut
music, it is more in favor of establishing political
relations and supporting cultural promotion than
preserving the culture of the Sentani tribe.
6) Religious Meaning
Reception can reveal cultural values based on
the clarity of the relationship between symbols or
signs and the realm of practice [48]. The rhythm
of the kelambut gives a sign according to the
context, for example, a sign for the opening of a
ceremonial event. Therefore, kelambut has a
religious meaning. The sound of kelambut music
is believed by the Sentani tribe to strengthen the
magical properties needed in ceremonial
sacralization. To strengthen the purification
process and the qualities of heirlooms, the
Sentani tribe always presents kelambut as a
medium for musical art during rituals and
traditional ceremonies. The religious meaning of
kelambut can be observed in the production
process of traditional musical instruments. As
expressed by Levinus Pilemon Modouw, a son of
the chief of the Sentani tribe, on July 5, 2017:
"...so as not to perish....only people who are
chosen, chosen by ondoafi to make
kelambut, ..women are prohibited from using
kelambut..."
Symbol reception and domain support both
impact practice specifications [49]. It is clear
from the informants' expressions that not

everyone can perform the production of
kelambut, which serves a purpose in the Sentani
tribe's cultural tradition. Not all Sentani people
are allowed to produce kelambut for their cultural
activities. Apart from the Sentani people, who are
skilled in making musical instruments, a blessing
from Ondoafi, the head of the Sentani tribe, is
also needed for the production of kelambut. To
avoid bad effects and chaos for the unity of the
tribe members, they believe that the production
process up to the application of the kelambut
must be carried out by the men of the Sentani
tribe. The problem of life difficulties for the
Sentani tribe, which results in difficulties in
finding a life partner, divorce, serious illness,
madness, and sudden death, is their greatest fear,
which they believe is closely related to chaos and
violations of customary rules, such as violations
of traditional provisions in producing and
applying musical instruments called "hair" in a
cultural context. In another sense, the kelambut
that is considered important in preserving the
culture of the Sentani tribe, especially in sacred
ceremonial activities, is the kelambut that is
bound by genealogical relationships, including
the inauguration of the production process by the
leaders of the Sentani tribe. Religiously, the
sound of kelambut music, which is produced
based on genealogical relationships, including the
mandate of the Sentani tribal leaders, is believed
to be a blessing in performing traditional rituals
and ceremonies. Conversely, the sound of
kelambut music that is not supported by
genealogical relationships is believed to be a
disaster in connection with the implementation of
traditional ceremonies and rituals performed by
the Sentani tribe.
Reception depends on the coherence
relationship between the manifestation of values
and symbols in a domain [38]. The Sentani
people believe that their lives are related to their
horizons toward the natural environment. They
believe that the health of their family is a result
of the health of their natural environment. Their
beliefs about this natural area include the use of
kelambut in its construction and maintenance.
Kelambut is always closely related to the zoning
where the Sentani people live because some
materials for traditional Papuan musical
instruments come from the surrounding natural
environment. On the one hand, they always try to
prevent disasters in their homes, starting with
social warnings that come from the sound of the
wind, reducing environmental damage, and
maintaining the beauty of their natural
environment.
397
V. DISCUSSION
The area of the natural environment in Papua
and the communication process of the Sentani
tribe are related to the meaning of kelambut
music. The Sentani people value kelambut music
because the raw materials used to make this
traditional musical instrument are sourced from
the natural environment in which they live. The
meaning of kelambut music is also based on the
Sentani tribe's social needs in conveying indirect
or implied messages during traditional events
attended by Sentani chiefs, ondoafi, and
interacting with traditional leaders in Papua
regarding disaster threats and the impact of
climate change. As for requests for assistance in
connection with loss events due to climate
change impacts, the Sentani tribe sings to the
accompaniment of kelambut music, which can be
seen as follows:
Me bhoho nine hulwate ee
Hulwate, hulwate. Oo ee ee
Me fi klebham nine hulwate ee
Hulwate, hulwate. Oo ee ee
Me kho klebham nine nundeate
Nundeate, nundeate. Ee ee ee
Ara ara ya, ara ara ya
Fanye mayende ee
Me yea me yea
Meyea mea hire mayende. Ee ee ee
Meaning:
“Our forest is burnt down
Burnt out Oo ee ee
The sago forest is burning
Burned, burned. Oo ee ee
The coconut hamlet has disappeared.”
Through the expression of the song from the
Sentani tribe above, it can be seen that they are
grieving due to the impact of the disaster. They
preach about the damage to their environment
that has resulted in loss, pain and grief among
them. The sad atmosphere due to environmental
damage is reinforced by the beautiful variations
in the tones of the hair, which implies a request
for help and a solution to the problems they are
experiencing. On the one hand, it is clear from
the Sentani song's lyrics that their sadness is a
result of their failure to uphold cultural traditions
set forth by their ancestors, such as protecting the
environment and providing for their needs. Their
grief is also related to the loss of sources of
income and capital due to deforestation, illegal
logging, and forest burning in the area where they
live. Levinus Modouw, a Papuan traditional
leader, commented on this phenomenon on
December 16, 2019:
"...Irresponsible actions have caused fires and
resulted in landslides and flash floods. After
 Rai S. et al. The Meaning of Kelambut Music for the Sentani Tribe, Papua, Vol. 58 No. 4 Aug. 2023
398
landslides and flash floods, the sound of
kelambut often accompanies songs containing
expressions of sadness. This expression of
sadness is also caused by the loss of many
Sentani people. Apart from losing their relatives,
this expression continues to be conveyed because
of the loss of their property and gardens…"
The disaster news and news about the Sentani
tribe in connection with the informant's above
narrative by listening to a song that features the
sound of kelambut music. The confirmation
given shows that the sound of kelambut music
can support the process of conveying messages to
the tribes in Papua. Besides supporting the
socialization process, the sound of kelambut
music is believed to be relevant in fostering
sacred relationships and strengthening requests
for protection from their ancestors. The function
of the sound in this Kelambut music is heavily
influenced by their belief that their ancestors will
protect their descendants. Therefore, it is not
something new when they sing and pray to their
ancestors accompanied by soft voices, besides
asking for social assistance from the tribes in
Papua to solve their problems.
Helaehili is a song typical of the Sentani tribe,
with the support of the sound of kelambut music,
which is best known by the people of Papua
when they are grieving or need help with their
problems. The sound of kelambut music can be
used as a symbol that communicates to the
Papuan people about plans to inaugurate a new
Ondoafi or Sentani tribal chief. In traditional
ceremonies, the kelambut is one of the
instruments used to decide where and when to
meet to welcome and sacrifice the new Ondoafi
or Sentani tribal chief.
VI. CONCLUSIONS
An analysis of the significance of kelambut
music for the Sentani tribe in Papua based on
ethnomusic, symbolism and reception theory
leads to the following conclusion: 1) The
kelambut is a boat-shaped traditional Papuan
acoustic instrument. The sound of kelambut
music is produced by striking a mallet made of
forest wood; 2) The kelambut is an important
traditional musical instrument for the Sentani
tribe's cultural activities due to its esthetic
significance, historical significance,
communication significance, environmental
significance, social significance and religious
significance. The novelty of this study is its
positive contribution to the preservation of
traditional art in multiple ways. It can be used as
a rebuttal to the kelambut argument that this
instrument has become extinct in Sentani culture.
In addition, this discovery may inspire other
artists to pursue artistic endeavors.
ACKNOWLEDGMENTS
The first author is acknowledged for his
contribution to the resolution of operational
conflicts in the development of the research
outcomes. This research could not have been
completed without the assistance of field workers
for all the requirements of the second author
during the data analysis process and up to the
publication of this scientific paper.
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