THE BLESSING OF SAGO IN THE LAND OF CARVERS
All eyes were drawn to the behavior of Hendrikus Wowokti's three children. The guests see a peculiar scene. These children stride nimbly across the muddy waters between the sago trees. They are proud to show the richness of biodiversity and nature of Erma village, a tiny speck on the map of Papua.
They walk with a purpose, the Hendrikus' children invite their guests to visit the sago forest. They want to demonstrate how traditional wisdom teaches people to harvest the staple crop. For the villagers, sago is an abundant blessing that must be sustained. The plant, that grows in tidal areas, breathes civilization into the Asmat people, a community gifted with the ability to carve.
Along with the changing times, the sago forest became one of the areas affected by climate change. As the permafrost in the polar regions melt, increasing the water level of tides that flow through the sago plants. The timing of low and high tides is also disrupted.
Hendrikus Wowokti, known as Hengky, has served as the head of Erma village for many years. This middle-aged man has a muscular build, like most Asmat men. He is proud of the artistic coastal Papuan heritage that run through his blood. For this reason, he invites guests from far away cities, hundreds of kilometers to the village he leads.
The young Asmat man who guides the guests moves with ease. Their steps look light as they walk on the thick muddy surface of the sago forest floor. For people from big cities, this condition makes it difficult to stand comfortably. Not to mention that their feet must be protected by boots up to their calves.
Erma's sago community forest is located on the edge of the Papuan waters. To reach it, we need a small tin boat as a means of transportation. The distance is about 20 minutes from the village dock.
Upon arriving among the thriving sago plants, Hengky's three children start moving quickly. After disembarking from the small boat, they ask for some cigarette butts to offer the ancestors as a pre-harvesting ritual. Two of the kids prepared the sago chopping processions.
Meanwhile, Filemon, the youngest son of the friendly village chief, sliced coconut leaves. He will use the leaves to create a footpath for guests to walk through the sago forest. Understandably, the people who live in metropolitan cities have little experience walking on a forest floor with mud as deep as 80 cm. Filemon deftly created a path to help people walk easily.
The guests from the city unload from the tin boat onto the path made of coconut leaves that had been meticulously prepared on the muddy sago forest. Despite being aware of the sturdiness of coconut leaves, Hengky’s guests appeared awkward as they step through the path. The concentration of their faces was apparent as they tried to avoid slipping on the leaves. If they slip, their feet will plunge onto the muddy forest floor. As a bonus, they can also risk getting scratched by protruding thorns.
As they go deeper in the forest, Henky’s guests encountered a freshly skinned sago tree. A number of bees swarm the area. Pig flies were eager to get acquainted with the sweet skin of city folk. To cope with the swarm of insects, they used tree branches as fans.
Filemon led the ritual from his ancestors. The reason was simple. His two older brothers were reluctant to lead the ritual in front of their father's guests. Shy and unaccustomed, they said.
Filemon has the same stature and face as Hengky. His body was well-built, but his shoulders were not broad. He was also not very tall, but full of confidence and friendliness. His jawbone, nose and lips were very similar to Mr. Hengky's, except that he was not as wrinkly as his father.
His two older siblings were quite different from him. The first child has a more reserved personality. His eyes are more slanted and his smile radiates warmth. However, he could not speak Indonesian because he had never received formal education.
Therefore, we didn't talk to him much. The same goes for the second child. Despite his high school education, he still didn't talk much. Unlike Filemon, who is outspoken despite having only graduated from junior high school.
As the loudest and most confident person, Filemon explained the sago harvesting process. Usually, they use a rowing boat as transportation to the sago forest. In addition, the sago harvesting time should not be too late in the afternoon because the water tide level will be too low. If this happens, the boat must be pushed. Furthermore, when they want to cut down a sago plant, they must ask permission to the ancestors. After cutting down the tree, the inside and outside of the sago trunk must be opened to continue the sago chopping process. It's no wonder that bees often land on the sago, as the aroma of sago is indeed very sweet.
"The sago that needs to be harvested belongs to this sub-village here. We have discussions before harvesting. This is the tool we use to cut,”
Filemon explained to his newly acquainted guests. This agile young Asmat then continued to describe the sago harvesting process.
“When the sun comes out, we choose which plant to harvest. After cutting down the tree, we peel the outer bark and take the inner part. Then, we open and chop the inner part into pieces. After chopping, we ramas, ramas.”
Suddenly, Hengky's guest's face creased. "What is ramas, please excuse me?" asked one of them in a confused tone.
Suddenly, the face of Hengky, one of the guests, wrinkled. "What is 'ramas’? I'm sorry," he asked in confusion.
Filemon quickly answered the first-time viewers of the Asmat sago harvesting process. “After the the sago plant is chopped. The chopped sago plant is put in 4 of these containers made to release and separate the sago from the plant itself. We take water and pour it over chopped sago in the container and then we squeeze and knead the mixture. The container strains the sago plant pulp, and the water that remains will contain the sago starch. This process takes quite a long time about 24 hours.”
In the process of chopping the sago into little pieces, they use pangkur (an axe-like tool) made of wood to dice the inside of the sago. After that, they will make a sago releasing container made from a piece of bamboo halved lengthwise (long enough) to knead the sago. The sago kneading process is carried out simultaneously while watering the shredded sago that has been chopped. Water is obtained through streams available in the mud near the sago trees.
When kneading the sago, water also flows on through the sago releasing container. Next, the water becomes white and solid. This texture allows the sago to be rolled up and placed on the noken (traditional bag) they have brought. Before being placed into the noken, pandanus leaves are taken to line the inside of the noken. The curved side of the leaf is rubbed using the back of the head, so that the leaf becomes flat and covers the entire surface of the noken.
The sea water has moved away from the sago forest floor where Hengky's guests stand. The low tide forced the three Asmat youths to work together with the captain of the small boat to push the contraption out of the sago plant forest. The impact of climate change have also forced the community to adapt to shifting conditions of nature.
Hengky and the people of Erma village welcomed the Voices for Just Climate Action (VCA) program with open arms. This alliance program brings together global and local voices by connecting diverse civil society organizations representing women, youth, indigenous peoples, the urban poor, digital activists, and more. The program is implemented by an alliance led by four strong Southern CSOs - Akina Mama wa Afrika (AMwA), Fundación Avina, Slum Dwellers International (SDI) and SouthSouthNorth (SSN) - and two Global CSOs - Hivos and WWF-Dutch - under the Dutch Ministry of Foreign Affairs' five-year strategic partnership: "Power of Voices".
The VCA presents a fair, just and solution-oriented agenda that integrates social and economic rights into climate action. Together – partners alliances and local civil society organizations - we create a
democratic playing field and amplify locally inventive solutions to spur broader development.
development. In doing so, we are poised to shape a new reality for people and nature.
Zaani Inaury, who is the VCA Project Leader for WWF-Indonesia explained in detail about the program that has started in the Papua region since 2021. "So far climate change has become an issue that has greatly affected all aspects of human life so far, and the hope is that it needs inclusive decision-making. So (this VCA program) puts forward the concept and method of inclusive conservation."
The mas who has experienced many ups and downs in the world of civil society organizations continued his statement. He said, VCA has three targets which are translated through three pillars.
"These three pillars mean that there is more focus about activities or what has been done. This VCA means that WWF is not working alone. There are 7 partners who become subgrants working at the site level. So, these 7 partners are divided into two provinces, Papua and West Papua. Although today, Papua province itself has been divided into six, and there are two work locations that have changed to South Papua and Southwest Papua," Zaani explained at length.
The VCA project leader explained further about the three pillars that form the basis for working at the community or site level. "Of these three pillars, how do we strengthen the capacity of the community to later do advocacy. Then, in the second pillar, how do we use this capacity to form a forum, a place to voice concerns. Now, in the third pillar, the voice, how can it be heard, in a policy, in this case, both at every level of government, starting from the village, district, regency, province, and even national."
Zaani didn’t only explain about VCA’s background in Indonesia's easternmost island, Zaani also explained the reason why they chose Asmat.
"With the current geographical conditions and also the increased rate of investment causing rapid deforestation to occur there and also means that WWF's own journey in South Papua is quite long, and that became one of the reasons we chose Asmat. Then, existing cases such as malnutrition and famine that year became another reason we chose this site."
In addition to Asmat, VCA also works in the Jayapura area, which is the center of civilization of the island of Papua. "Jayapura is divided into five villages. So, in Asmat, the indigenous community has a cluster system, but actually in one cluster it can be 10-12 villages. For Asmat itself, until today there are 20 villages assisted by the VCA program. So, there are two clusters, each clump has 10 villages," Zaani explained in more detail about the the reason they chose Asmat in this project.
VCA builds broad community support for local solutions and stimulates action from multiple perspectives and alternative approaches. We facilitate unexpected coalitions that protect and expand civic space and engage in inclusive dialogue that builds mutual trust. In doing so, we shift ownership to local civil society and support them in building their own movements, elevating their voices to the global level and challenging the balance of power.
of power.
VCA sees women's leadership as key to ensuring the voices of marginalized groups are heard. Gender equality is the cornerstone of a strong approach to climate justice. By recognizing the root causes of problems and integrating intersectional analysis, we strive to address inequalities and transform power relations based on gender and identity, race, and class, among others.
Asmat is one of the strategically selected locations based on its economic interests and the challenges faced in terms of climate vulnerability and limited civic space.
At the same time, many exciting local initiatives and movements are emerging in these countries, providing an opportunity to showcase how we can transition to a just, equitable and sustainable world.
The climate crisis is profoundly affecting nature and adversely affecting human lives -
and rights. We are at a tipping point in our fight against rising temperatures and in transforming our societies in a sustainable, just, and inclusive way. The tipping point is now. There is a huge opportunity to make change. We need to renegotiate unequal rights and reimagine and restore the balance between people and nature. We believe this is only possible through local civil society leadership and ownership at the next level. Via innovation, climate justice approaches, and strong coalitions for equitable climate action.
Hengky shared more about his introduction to the VCA program. He tells the story fluently inside his unique home, typical of the generation of Asmat carvers that is so unique.
His house is simple for a village chief. The terrace is also small, just enough to fit two pink chairs or one chair with a small table. The walls are dominated by green with a hint of yellow. Although I could not enter, I could see that his living room was decorated with Catholic religious attributes, such as the Virgin Mary and Jesus, as well as HVS A4 papers containing his selfies.
Mr. Hengky was dressed in a blue polo with beige trousers. Mr. Hengky is not very tall, his face looks like other coastal Papuans, a firm facial line with a slightly forward jawbone, brow bone, and lips, his eyes are quite round. His nasal bones are also higher and more advanced than those of other people in the village.
He showed us the village hall opposite his house. They call it the Jee. The Jew is almost as big as the rectory we live in, maybe a little narrower. The difference is that the Jee is only rectangular, with a triangular roof, just like a conventional long house. The roof is made of thatch/sago leaves. Meanwhile, the floor is made of sago stalks that have been 'flattened'.
There are rattan ties that hang along the road in the Jew. Each tie symbolizes a clan in Erma and Sono Villages. For information, these two villages share the same Jee. Some families have distinctive statues to represent their ancestors. The ancestral statue is approximately two meters high. The statue is white, naked while carrying a noken and typical Asmat accessories. Noken is a natural knitted bag made of bark fiber or rattan. For the Asmat people, noken is very meaningful because it can carry things that sustain their lives, from sago to children.
In the center of Jee, there is a statue of the cross of Jesus covered with two dried coconut leaves because it is still in the process of being sculpted. The hands of the statue have not yet been made. This statue is usually made collectively.
In other words, the men take turns making this statue at the same period. According to the elders, every year during Easter, the statue of Jesus is always replaced. Later during the Easter Vigil celebration, the statue, which is in the process of being sculpted, will be paraded throughout the village area.
Behind the statue of the ancestors carved by the indigenous people, there is a furnace as a representation of the ancestors. These furnaces should be burning, but now they are only wrapped in dead ashes, eroded by modernization. That's what Hengky said as he introduced us to Jee, which faces the sea directly.
The Asmat people or Asmat tribe is one of the major tribal groups in Papua, precisely in the southern part of Papua. The geography of the southern region of Papua with a natural environment in the form of mangrove forests, swamps with many streams affects the life and cultural character of the Asmat people as a community of hunters, gatherers, and fishers in rivers or in fresh water.
Art is a tradition of the Asmat people, especially carving, is very unique and has high cultural value. Carving art has a close relationship with the religious life of the Asmat people (traditional religion) which they believe in, especially those related to oral traditions in myths, legends and folk tales that are considered by them sacred and related to the history of the lives of their ancestors or ancestors who greatly influenced their religious life such as the Fumiripts myth and the Mbisman myth as well as traditional houses or Jee and Mbis (statues of dead spirits / statues that symbolize the presence of ancestral spirits).
The Asmat people believe that carved objects are a medium to connect life in this world with life in the spirit world, especially with their ancestors. Death such as due to black magic or because of an opponent's weapon must be avenged with death. All types of carvings made such as in paddles, shields, tifa, bows and so on after being worked on will be named according to the person who has died. Giving this name is to remind them of the person who died and they will take revenge because they think that before avenging death, the spirit of the deceased cannot rest peacefully in the afterlife.
Asmat carving is mostly done by men. The designation of carvings is generally used for ritual purposes and sold as a source of livelihood to increase the family economy. Each Asmat carving has its own distinctive characteristics, especially those intended for traditional rituals and the differences are very clear.
Asmat carvings that are visible on the carvings, are actually a representative of concepts of reality that is imagines in a way that can be understood. Asmat carving contains their religious beliefs that aims to worship the spirits of the ancestors. Carving is their activity as a procession of expressing personal states into ideological, psychological, and religious states.
To maintain the custom, Hengky also shared that there are three feasts that his village always celebrates. The first feast is called 'Pokman' which means the feast of the presence of spirits.
The next is the 'Sago Caterpillar Party'. At this party, the women dance at the top of the Jee, while the men can only go downstairs and hit the tifa. Afterwards, the sago used is given to the neighboring village as hospitality. Finally, the 'New Boat Party' is an appreciation party for their main livelihood as gatherers.
While telling the story, Hengky also admitted how external challenges (read: modernization) are uncontrollable. It undermines the culture that has existed since the beginning of time. Hengky said that one of the concrete manifestations of the collapse of their culture is the reduction of clans in Asmat. Twelve clans became nine clans. This reduction was caused by the clans' negligence in carrying their cultural symbols, such as taboos for example, in traditional ceremonies. The absence of cultural symbols in traditional ceremonies removes the spirit of the ancestors. This problem proves the fading of cultural awareness in Asmat.
However, he still expresses his gratitude because external parties, such as the church and traditional leaders, encourage them to preserve their culture while keeping up with the times. It was this teaching that led Mr. Hengky and his village to open up and accept VCA's assistance.
The participatory mapping assistance offered by VCA stemmed from a meeting between five village heads through the church. Mr. Hengky said the meeting aimed to agree that they did not want to imprison their children and grandchildren in customary conflicts. Without the presence of territorial mapping, the Erma community in the past often fought with anyone who carelessly cut down food sources in their area. However, the village head realized that this happened because there were no clear boundaries on land ownership in the village.
In general, participatory mapping is used to strengthen customary rights, so that natural resources are not exploited by external managers, such as palm oil for example. This mapping struggle eventually gave birth to the legal umbrella 'Asmat Regent Decree No. 552 of 2022'. In the decree, it is written that the Sawa Erma District gets the eastern area of the entire 81,264.14 hectares of customary territory owned by the Keenok Clump or the Pomar Sirau Clump.
Even so, the Erma community, at least through Hengky, sees the benefits of this mapping as a middle ground for their customary conflicts. As a form of participation in the mapping effort, male representatives in the community often plant guavas, breadfruit, and coconuts to mark their territory.
"Actually, one of the main activities for Asmat in this VCA program is the mapping of customary areas in the Pomar Sirau Cluster. This mapping is a participatory mapping that involves the community from the beginning. So, since 2021, starting from the pre-conditions, then the mapping of the area carried out with the Pomar Sirau cluster community, meaning there are ten villages, where they participatively made a map that was used as an advocacy tool to get the Regent's Decree," explained Zaani Inaury. His statement seemed to corroborate the activities that had been carried out by the residents led by Hengky.
On the other hand, Mama Maryana, an artisan in Erma Village, explained how women who have not received equality in decision-making or working in the field. However, they still contributed to the success of this agenda.