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International audience ; Illustrated by 14 slides, this chronicle recounts an ethnomusicologist's return to the field, after a gap of 20 years, for a book launching. It tells of various kinds of change : demographical, architectural, economical, ritual, religious, musical and political. The changes invite us to grasp two contrary developments: on one hand, a taste for innovating, for adaptating to modernity, for creativity through borrowings (musik elekton, sound systems, western weddings, television programs) ; on the other hand, a strong desire to come back to the values of the ancient religious tradition, and a will to reappropriate a past largely destroyed by Christian conversions. The book launching proves to be an awakening that provokes intense debates between new generations of social actors. ; Après vingt ans, me voici de retour dans les montagnes du sud de Sulawesi avec le but que je m'étais fixé : restituer aux Toraja mes résultats de recherche dans leurs langues (toraja et indonésien) portant sur leur liturgie musicale éradiquée par la christianisation (fig. 1) 2. La tâche se révèle à la fois ardue et plaisante. Ardue, car enfin, comment rendre ? À qui ? Dans quelles conditions ? Comment rapporter un savoir musical et poétique ancien dans une société christianisée aujourd'hui rompue à la musique pop ? Tâche plaisante néanmoins, car restituer un savoir est une occasion trop rare dans nos vies de chercheurs pour ne pas en dire un mot ici. Plaisante enfin, car vingt ans après, je découvre une société renouvelée, enthousiaste, en pleine introspection.

In Indonesia, polymusic – juxtaposed music – is performed during major ceremonies. Several groups play simultaneously, in the same space, but different tunes. If many tunes are performed at the same time in the same space, who can listen to them ? Seven cases of Indonesian polymusic, from South Sulawesi, West Kalimantan, and Bali, recorded between 1991 and 2001 are described : a Sa'dan Toraja funeral (pasonglo), house ceremony (bua' sangrapu), and trance ritual (maro pabalikan), a Dayak Taman ritual for the ancestors (gawai mamandung), a Balinese temple ceremony (odalan). The seven examples are compared through an analysis of space and time, in order to disclose their common aspects and relevant meanings. Polymusic presents the musicologist with a paradox of temporal and spatial perception. While assembling groups of singers at the same time and in the same space, these rituals prescribe their separation and individualization. The analysis of space and time points to a double perception : that of a differentiated and an undifferentiated world. This is translated on the acoustic level by the simultaneous juxtaposition and synthesis of different repertoires and different groups, which reveals – both sensorily and intellectually – either the groups' differences or the achievement of a macro-unity expressing the ritual expenditure.

L'énigme des duos alternés à Flores et Solor (Lamaholot, Indonésie) Alors que depuis le début du XXe siècle l'Indonésie orientale est un terrain fécond pour les linguistes et les ethnologues, cette aire géographique n'a pas reçu la même attention de la part des ethnomusicologues. Pourtant, au regard de cette aire culturelle, la musique semble offrir un moyen assez précis pour reconstruire l'histoire des contacts entre cultures. Une musique atypique a été découverte à Flores dans les années 1930, puis décrite et enregistrée en partie dans les années 1990. Il s'agit d'un art rare, subtil, encore pratiqué dans certains villages sur une distance de 80 km, de Tana ' Ai à Tanjung Bunga (Flores oriental), en passant par l'ouest de Solor. Il est pratiqué par des locuteurs de deux groupes linguistiques : le dialecte tana ' ai de la langue sikka et plusieurs dialectes de la langue lamaholot. Appartenant à la famille des langues austronésiennes, la langue lamaholot est parlée par plus de 220 000 personnes occupant plusieurs îles, de la pointe orientale de l'île de Flores aux îles d'Adonara, Solor et Lembata, auxquels il faut ajouter des locuteurs habitant le long des côtes de Pantar et d'Alor. La particularité de cette musique est une forme en duos alternés, combinant une première voix (hodé') à une seconde voix (nuku), selon des règles précises. Surgissant dans un paysage de musiques pour gongs ou grands choeurs, elle pose une énigme au chercheur car elle fait figure d'isolat. Quelle est son origine ? À partir d'enquêtes de terrain récentes (2006-2007), et grâce à de nouvelles découvertes musicales, il est maintenant possible de suggérer une réponse à cette question. L'article propose une hypothèse de migration, fondée sur des éléments musicaux et d'autres traits culturels. La musique est ainsi utilisée pour comprendre et reconstruire l'histoire culturelle d'une région.

International audience ; The religion and music culture of the Toraja of southern Sulawesi (Indonesia) have undergone dramatic changes in the last century. Most of these involve the way that a formalized traditional belief system and an accompanying set of ritual musics were challenged by the advent of Christianity and pressures from the Indonesian government. In the Torajan ancestral religion, traditional music was strictly organized : balance of musical repertoires participated in the building of ritual morphology. Since the early twentieth century, several interrelated factors have contributed to changes in musical performances. As some rituals were prohibited, some of the old songs have been forbidden, others have been absorbed in Christian rituals and new songs have been introduced. The decontextualization of rising sun ritual songs has lead to artistic changes. External musical features were brought inside the traditional culture and also, native musical features were thrown inside the Christian ritual (inculturation). These two movements gives birth to a new musical identity in the context of monotheistic Indonesia.

International audience The religion and music culture of the Toraja of southern Sulawesi (Indonesia) have undergone dramatic changes in the last century. Most of these involve the way that a formalized traditional belief system and an accompanying set of ritual musics were challenged by the advent of Christianity and pressures from the Indonesian government. In the Torajan ancestral religion, traditional music was strictly organized : balance of musical repertoires participated in the building of ritual morphology. Since the early twentieth century, several interrelated factors have contributed to changes in musical performances. As some rituals were prohibited, some of the old songs have been forbidden, others have been absorbed in Christian rituals and new songs have been introduced. The decontextualization of rising sun ritual songs has lead to artistic changes. External musical features were brought inside the traditional culture and also, native musical features were thrown inside the Christian ritual (inculturation). These two movements gives birth to a new musical identity in the context of monotheistic Indonesia.

International audience ; The religion and music culture of the Toraja of southern Sulawesi (Indonesia) have undergone dramatic changes in the last century. Most of these involve the way that a formalized traditional belief system and an accompanying set of ritual musics were challenged by the advent of Christianity and pressures from the Indonesian government. In the Torajan ancestral religion, traditional music was strictly organized : balance of musical repertoires participated in the building of ritual morphology. Since the early twentieth century, several interrelated factors have contributed to changes in musical performances. As some rituals were prohibited, some of the old songs have been forbidden, others have been absorbed in Christian rituals and new songs have been introduced. The decontextualization of rising sun ritual songs has lead to artistic changes. External musical features were brought inside the traditional culture and also, native musical features were thrown inside the Christian ritual (inculturation). These two movements gives birth to a new musical identity in the context of monotheistic Indonesia.