Ulit a Shamanic Healing Ritual following the Commemoration of the Master of Flowers Tamwäy ät Ämpuq ät Burak in Palawan Highlands. Dialogism, Polyglossy, Plurivocality, Spectral analysis
Résumé
To commemorate the Master of Flowers, the Pala’wan have an annual ritual making and drinking
the Mead, Simbug. On June 26-27, 1983, in the large meeting-house of Taruwän in the Highlands
of Mt. Mantalingayan - named by them Käbätangan, “The Trunks” - it was performed and I was
a witness of it.
Using ethnography of the spoken word and ethno-pragmatics, I propose to focus on the motions
and speech acts of Panu, the Elder in the community. Followed by a healing session of a very
young maiden, Rusi, in the presence of her mother Carmen, the plaintiff, Panu officiated as a
shaman with Kälulut, his acolyte. The three of them attempted by speech to relate to invisible
addressees, and negociate the return of Rusi’s captive soul.
The verbal and co-verbal communication process is the focus of our attention in this analysis
intertwining dialogues between the genuine Human Beings Taw banar, and other Beings,
Benevolents/Malevolents, living in the same realm, in order to successfully conduct a discussion
according to the rules of a negociation, come to an agreement and be successful in bringing back
Rusi’s soul-double.
What are the distinctive features at the kinetic, vocalic and linguistic levels, characterizing the
various interacting ways of speaking in this ritual context?
If one considers that the sound production in singing or speaking contributes to the meaning of an
utterance, it is important to take into account the acoustic features of the prosody, its intonation
pattern, intensity and tempo. A spectral analysis of Lumbaga, Bulikata, performed by Panu
according to his style and Bisara performed by Carmen, will bring to light at a physical level, the
prosodic characterisitics and quality of each of these three vocal styles and the semantic
intentionality of the shaman in his esoteric discourse.
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