Wa'anak Witu Watu
Director: Natasha Tontey, 娜塔莎．通蒂
Duration: 00:24:37; Aspect Ratio: 1.778:1; Hue: 3.580; Saturation: 0.130; Lightness: 0.322; Volume: 0.206; Cuts per Minute: 20.874; Words per Minute: 35.494
Summary: In the films Wa’anak Witu Watu and The Epoch of Mapalucene, Natasha Tontey refers to the cosmology of the Minahasan stone revering tradition organised according to the gift economy of Mapalus, which until colonial, patriarchal influences from the West was based on volunteerism, kinship with nature and mutual aid. Minahasans creationary myth marks a departure from heteronormativity and patriarchy, and also distinctions between human/non-human as they believe that the first human was a woman who gave birth through a stone. Today their ancient spiritual beliefs have evolved into a stone-based exchange system and are informed Christian-influenced capitalist ideas, but the mythology presents what could have been an alternative society based on reciprocity, devoid of anthropocentrism.
娜塔莎．通蒂的影片〈Wa’anak Witu Watu〉以及〈馬帕盧斯紀元〉奠基於米納哈薩受到西方殖民與父權勢力影響之前，以石頭為中心的傳統文化、馬帕盧斯的禮物經濟，以及其中自願、與自然共生與互助的模式。米納哈薩人的創世傳說與異性戀本位、父權、人類/非人類區隔的思維模式相異；他們相信世上第一個人類是女性，並且透過石頭創造了其他人類。如今，米納哈薩人的古老信仰已轉化為以石頭為基礎的交易系統，也因為基督教而收到資本主義的影響。然而，神話展現了奠基於互惠、非人類中心主義的另類未來樣貌。
Acknowledgement: Other Futures, Mawale Movement, Divisi 62, and DDDBandidos Studio
Wa'anak Witu Watu is a film based on Natasha Tontey's experience of the Minahasan mythology, tradition, cosmology and philosophy. Divided into chapters, the film is committed to world building through an approach that is based on a speculative geological epoch, based on mutual interactions, and solidarity amongst Earth inhabitants, directly influenced by Minahasan cosmology and philosophy. Fiction, science and mythology converge in the film. The animated sequences in the film present digital objects that emerge from oral narratives and feminist imaginaries while documentary footage carries living traditions in the community. In the Minahasan tradition, God is not a patriarchal deity, but a woman who is one with the earth and the stone. Their creation myth also places emphasis on the non-human and non-heteronormative readings of how the world around us came to be. Even as parts of Tontey's experience in the region and spiritual encounters in Minahasa could not be recorded, the community's identifications are represented with documentation of their spiritual life and ritual juxtaposed with their cultural imagination in a speculative mode, melding the real and distant, fact and fantasy.
《Wa'anak Witu Watu 》是娜塔莎．通蒂表達其對米納哈薩神話、傳統、宇宙學和哲學理解的一
部影片。由數個章節組成，這部影片試圖透過推測地質時代的方法進行世界建構，而地質時代的
判讀則直接受到米納哈薩宇宙學和哲學的影響，以地球居民之間的互動和團結為基準。影片融合
了小說、科學和神話等元素，而影片裡的動畫則呈現了口說敘事和女性主義想像中出現的數位物
件；紀錄片的部分則帶出了社區中生活中持續被實踐的傳統。在米納哈薩的傳統中，「神」不是
一個重男輕女的神，而是一個與大地和石頭合而為一的女人。他們的創世神話也強調以非人類和
非異性戀文化來解讀世界如何形成。儘管通蒂在米納哈薩的某些經歷和靈性之旅無法被紀錄，但
在地社群的身份認同卻還是得以透過其靈性生活與儀式的紀錄，和推測性的文化想像並列呈現，
將真實與虛幻、事實與幻想融為一體。
The creation myth in the Minahasan tradition holds that the first woman was made from stone and gave birth through a stone, blurring distinctions between life and non-life. The opening sequence depicts a ceremony traditionally held on the 3rd of January every year where this lineage is acknowledged and commemorated to celebrate the new year. This was filmed in 2020 right before the onset of the pandemic in Indonesia. In this opening sequence women are barely present in the rituals despite the community's matriarchal past. The artist critiques these changes to their society since the arrival of modernity.
米納哈薩傳統中的創世神話認為，世界上的第一個女人是用石頭製成、由石頭分娩的，而這一說
法則是模糊了生命與非生命之間的區別。影片開頭描繪了傳統上在每年 1 月 3 日舉行的儀式，而
該儀式便是透過肯認和紀念這個起源來慶祝新年。這部影片是在 2020 年印尼的疫情爆發之前拍
攝的。儘管該社群有母系氏族的歷史，但在這個開場片段裡，幾乎沒有女性出現在儀式中；藝術
家則是對該社會在現代性到來以後所產生的這些變化進行批判。
(Prays in Ancient Minahasan)
Most of the contemporary culture of Minahasa includes older traditions integrated with colonial influence and modern religion. Even as the ritual that is being documented has its roots in matriarchy, it has been absorbed into frameworks of patriarchy and capitalist desire. Their culture is seen to be consumed and disseminated passively here, complicit with the methods introduced by modern technology, as is the case almost anywhere else in the world.
在米納哈薩的當代文化裡，大多都能看到傳統與殖民影響和現代宗教的融合。即使鏡頭下的這個
儀式源於母系制度，它也被吸納進父權制和資本主義欲望的框架中，與現代技術引進的方式共謀
。他們的文化正如世界上其他任何地方一樣，在此處被動地被消費和傳播。
People look on as the leader of one of the Minahasan communities perform the ritual in a space where the stone significant to their creation myth, Watu Pinewetengan is reigned in by modern infrastructure, and alienated from nature. The book that is being passed around is also a more recent addition introduced after the arrival of Christianity with Colonialism. This ritual is a way of giving thanks for the new year and seeking blessing from a higher power, represented by the stone which is said to have been the one from which the first human was born.
人們看著米納哈薩當地的一位領導者在某處進行儀式，石頭對他們的創世神話具有重要意義，但
Watu Pinewetengan 已被現代基礎設施所統治，並早已遠離了自然。大家彼此傳閱的書籍也是在
基督教隨著殖民主義到來之後才於近代增添的。以據說是第一個人類誕生的石頭為作為代表，這
個儀式是一種對新的一年表示感謝，並尋求更高力量祝福的方式。
Offerings are made to the deity in bamboo cups, served with eggs as well as burning incense sticks. The offerings are overlaid with shots from the Karai ritual that the artist found on tiktok. This juxtaposition is an aesthetic device to present a fragmented narrative as the Minahasan tradition is followed by many communities who have their own unique rituals related to the stone. Red is a spiritual colour in the Minahasan tradition, which informs the ceremonial clothes. Karai literally means "wearing rope from the ancestors" indicating continuity. In the background later on we see the natural context within which the mythology emerged in opposition to the tiled boundary within which the stone is worshipped. We also see a close up of a Police badge indicating state presence, and how they are being watched.
祭品被放在竹杯中祭祀神靈，配以雞蛋和燃燒的線香。祭品的畫面重疊著藝術家在抖音上發現的
Karai 儀式拍攝畫面。因為各個米納哈薩社群都有自己獨特的、與石頭相關的儀式，這種並置成
了一種美學手段，用以呈現支離破碎的敘事。紅色是米納哈薩傳統中一種靈性的顏色，用在儀式
服飾上。 Karai 的字面意思是「穿著祖先留下的繩子」，代表著傳統的連續性。在稍後的背景中
，我們看到了產生其神話故事的自然脈絡，與祭石旁的瓷磚邊界形成對比。我們也看到一個警察
徽章的特寫，代表國家的存在，以及人們如何被監控。
Tuama / Brotherhood
Thank you! We have to keep united
Harmony is not only the government’s responsibility
The military or police
but harmony is the responsibility of all of us. The protector of Toar-Lumimuut land
As a devoted citizen
I Yayat U Santi!
(immitating battle-cry)
Maybe today, there are
other organisations coming here besides the Waraney, outside our community
Our ancestors had declared that everyone who is born and or lives in this land of Toar-Lumimuut
are Waraney. They are us
Tuama!
In this sequence we see a performance of Kawasaran, a traditional martial dance. It is now usually performed by men, but we see an exception here as it includes the only woman who performs the dance, a little girl named Rosalinda Chya Kalalo who became interested in the form and started learning it at a really young age, becoming the sole female presence in the dance group.
在這個片段，我們看到了傳統戰鬥舞蹈（Kawasaran）的表演。雖然現在通常是由男性表演，但
在這裡我們可以看到一個特殊案例。表演中有一個名叫 Rosalinda Chya Kalalo 的小女孩，她從
小就對這種舞蹈感興趣並自行練習，成為舞蹈團中唯一的女性。
I couldn’t portray her other than vivid movements
The animation begins with a close up of the Lake of Tondano filled with lotus flowers. The film shifts to the Goddess Karema who created the first human, a woman who would go on to become pregnant while facing the west wind, and give birth as a result of the heating, cooling and erosion of the surface of the earth to the first man. Goddess Karema is often represented by a ruby geode, so no one knows what she looks like. Natasha Tontey depicts her as a woman, and imagines her form with a skull face, drawing reference from the costumes of the Kawasaran dance. The first woman and man get married according to mythology, but the artist imagines their union to be more connected to one another like an anthropomorphic centipede.
動畫以開滿蓮花的通達諾湖的特寫鏡頭開始，轉向創造第一個人類的女神——一個在面向西風時
受孕，並因地球表面的加熱、冷卻和侵蝕而生下第一個男人的女神，Karema。Karema經常以一
個紅寶石晶洞作為自身象徵，所以沒有人知道她長什麼樣。 娜塔莎．通蒂將她描繪成一個女人，
並從戰鬥舞蹈的服裝中汲取靈感，想像她有一張骷髏般的臉。根據神話傳說，世界上的第一個女
人與男人跟彼此結婚，但藝術家將他們的結合化作一種人形蜈蚣般的連結。
Scarlet nails, and bright agony
God was a woman
She is more than a scarlet ruby geode
I possibly can’t do some sort of cycle
of melting, cooling, eroding, compacting
or deforming that you have been doing for a million years
as the earth’s crust began to grow and erode
Resulting in pregnancy without a coitus
Even as all the rituals and traditions of Minahasa are connected to stone, most houses are made of concrete and cement. Natasha Tontey instead imagines a house made of stone and a material world that consists entirely of stone, including the pumice stone which is formed by the cooling of molten lava from the centre of the earth. The voice over and the animation juxtaposed over it is from the video game Magic School Bus: Adventures inside the earth, which the artist really enjoys. An active volcano in the region supports this imagination. The molten lava has the capacity for destruction, and to erase the concrete houses.
儘管米納哈薩的所有儀式和傳統都與石頭有關，但大多數房屋都是由混凝土和水泥製成的。娜塔
莎．通蒂因此想像了一座由石頭建造的房子，和一個完全由石頭組成的物質世界，包括由地心熔
岩冷卻形成的浮石。畫外音和影像裡的動畫來自藝術家自己相當喜愛的一個電動遊戲《魔法校車
：鑽入地底》。該地區的一座活火山則成為這種想像的證據。熔化的熔岩不僅相當具有破壞力，
也能夠從地表上消滅混凝土房屋。
Wow! I can see the crystals!
it recorded earthquake which can happen under the volcano
Earthquake? Volcano?
Yup! It is an earthquake happens under a volcano
that means molten rock cause magma cause rising towards the surface
That the volcano could erupt
Sometimes animals could tell when volcano is about to erupt and they scram!
This is such a cool looking mountain
It shaped like an upside down ice cream cone!
Like a cone? I think I heard all volcanoes are cone shaped
Hmm!
This is…
I’ve never seen any smoked mountain like this before
I wonder if it has a cough too!
Igneous rock is made when the melted rock cools down
Hey, this sounds it’s smoking
Some mentions it is actual volcano
so maybe it would blow!
Eruption time! Back to the bus class, two by two please!
This sequence hails the arrival of the colonisers and their perspective towards the local mythology and the cosmology of the stone. An existing monument marks the treaty between the Dutch colonial armed forces and the warriors who fought them, killed them and wore their clothes.
這個片段歡慶殖民者的到來，讚賞他們對當地神話和石頭宇宙觀的看法。一座現存的紀念碑則是
標誌著當地戰士如何與荷蘭殖民武裝部隊作戰、殺死並穿上他們的衣服。
Communicate with stone? That is mental!!
You ask about the future to a stranded stone?
That sounds mental.
Why would you ask those stones your own future?
Stones are still objects, they move because something pushes them
Then, you still want to ask your future to them?
‘Dear stone, when can I get a wife?’
‘Stone, please make my business profits’
Those stones stand still on the road
and yet you still ask them for fortune
wealth, and well-being
That’s just mad
could our communication with nature be well-developed?
We see a traditional Minahasan burial ground, Waruga Lotta, which also includes the grave of her great great grandfather. The land’s fate is precarious as it has been handed from one form of private ownership to another.
我們看到一個傳統的米納哈薩墓園Waruga Lotta，她曾曾曾祖父的墳墓也位在裡面。這片土地的
命運未卜，因為它的所有權已經從某人的手中轉移到了另一個私人手裡。
Ok well, if one wants to communicate with nature through stone, it’s a bit crazy
The warriors who fought the Dutch included Natasha Tontey's great great grandfather Sarapung and the other victorious warrior in the monument was Korengkeng. They are depicted wearing the clothes taken from the colonisers.
與荷蘭人作戰的戰士包括娜塔莎．通蒂的曾曾祖父薩拉蓬，而紀念碑上的另一位勝利戰士是科倫
肯。他們穿著從殖民者那裡取得的衣服示人。
First of all, stone can’t speak
From Waruga Lotta and the monument we move to the gemstone market in Jakarta on google street view where we navigate the stores that commodify the stones which were at one time considered to be one with humans. The market for gemstones also embodies colonial legacy and trade, and also the spiritual association between traditions and various types of stones. The voice over is that of a woman the artist encountered in the northern part of Minahasa, who insisted that she does not believe in such ritualistic practices. We see another stone being worshiped in the video juxtaposed on the google street view. There are smaller stones in the surrounding area and each stone has a particular power associated with them, and functioning as extended representations of the large stone that we see at the start of the video.
從Waruga Lotta墓園和紀念碑，我們在谷歌街景圖中移動到雅加達的寶石市場，逛逛將寶石商品
化的商店，而這些寶石曾被認為與人類是一體的。寶石市場也是殖民遺產和貿易的縮影，以及傳
統與各種寶石之間的靈性聯繫。畫外音是藝術家在米納哈薩北部遇到的一位女性，她堅稱自己不
相信這些儀式的效果。我們在谷歌街景的影片中看到另一塊被崇拜的石頭與周遭較小的石頭，每
塊石頭都有與它們相關的特殊力量，並作為我們在影片開頭看到的大石的延伸。
It’s a one way communication. The stone will not give you any feedback
Talking stone? Are you dumb?
How are they supposed to talk?
If stone can talk, they probably says
‘we are brothers of stone, I am the stone from Mount Klabat’
Then you talk to stone from Mount Klabat, what would you like to ask?
‘Dear stone, I despise this person, please curse them!’
Those stones just stand still on the road and in Mount Klabat
What would they do for the person you hate? Impossible!
If we want to communicate with nature, we should understand them
Not this cuckoo idea of talking with stone, you monkey face!
There is no communication with stone!
How do you even think that stone can get your revenge?
Causing an earthquake, eh? no way!
If something like that exists, we will never suffer in this world
If we can get any answer in this world by asking stones
in sorrow and anger we ask stones to do something
it is just impossible, you monkey!
The chapter ends with a sequence of Kawasaran, indicating continuity of tradition amidst disbelief among some, patriarchy, and commodification.
The chapter ends with a sequence of Kawasaran, indicating continuity of tradition amidst
disbelief among some, patriarchy, and commodification.
本章以戰鬥舞蹈Kawasaran的部分結尾，表達在部分人士的質疑、父權制和商品化中，傳統如何
延續。
In the absence of custodians of traditional and ritual practices who are women, Natasha Tontey creates an animation sequence where all the performers of Kawasaran are women, reclaiming the matriarchal origins of the people of Minahasa. Stones give birth to more stones, and ultimately a patriarch in a demonic apparition destroys the dancers, indicating the arrival of patriarchal dominance.
在傳統和儀式實踐都少了女性長者的情況下，娜塔莎．通蒂做了一段所有戰鬥舞蹈表演者都是女
性的動畫，重新詮釋米納哈薩人的母系血統。石頭會生出更多的石頭，而最終，一個父權惡魔消
滅了舞者，象徵父權社會的到來。
You remember the stone child goddess
she might be a real goddess whilst the history is mostly mentioning her son
She might be suffering on her moon days of internal bleeding
which skirmish on day-to-day errands
She spawn her son with your incantation before her moon days
And it is highly probable
that she has the manner-others might call it nerve
Henceforth, an object from the outer space you are
Do you know how to sing Comet Kilapong?
The matriarchal legacy now resides with this young girl and her claim over a traditionally male ritual. She dances by herself at the edge of the forest to the rhythm of drums played by Rival Runtukahu.
母系制度的文化，遺留在現今這個年輕女孩和她對傳統男性儀式的介入。她在森林邊緣，獨自隨
著Rival Runtukahu的鼓點節奏跳舞。
Each community in Minahasa has their own ritual associated with the stone. On the 3rd of January, they all want to visit the site to make their offerings and to seek blessings.
米納哈薩的每個社群都有各自與石頭相關的儀式。 他們都會在1 月 3 日造訪這個地方，以進行祭
祀並祈求加持。
Tuama!
Manguni Makasiouw!
Another scene from the Magic School Bus takes us under the sea as a comment on the mining of stones for commodification as smaller precious stones from the oceanic floor.
《魔法校車》的另一個場景將我們帶到海底，作為從海底開採石頭、再將其商品化成小顆寶石的
註解。
From the local cosmology of stones in the Minahasan context, we move towards considerations on the international trade and marketing of precious and semi-precious stones.
從米納哈薩的文化脈絡中的石頭宇宙觀，我們來到了寶石和半寶石的國際貿易和行銷。
Please choose anything you want boss!
Hey! Where did you put your stone from Garut?
This is Labradorite. From Africa, Papua
What are you talking about? From Africa to Papua?
No, this is from Africa, Papua, Australia, and Canada
Here’s an example, after-before. Before contact with water and after
If it’s polished the stone will be shiny
It’s still a chunk
This is Minahasan stone, Red Manguni
What is it for?
(Sigh) I have no idea
With voice over from The Magic School Bus, we speculate on the geode and its effects.
通過《魔法校車》的配音，我們能夠思考晶洞的影響力。
This crystal looks glassy!
The most beautiful crystals grows inside a geode
Sure, I said I love geode
but I don’t remember I wanted to go inside one
Now we are actually in geode
Everything looks crystal clear
Natasha Tontey returns to the Waruga Lotta with a family member to see the tombstones that are believed to belong to the second and third person in the Minahasan tradition.
娜塔莎．通蒂與家人一起返回Waruga Lotta墓園，查看米納哈薩傳說中，世界上的第二和第三個
人的墓碑。
The hills have faces on them, anthropomorphising them, just like the faces carved into a prayer hill in the region. The original tombstone in the area becomes an entry point to another animation sequence where the tombstones are broken. This refers to grave robbers who are destroying the stones and also the ongoing land conflict in Minahasa where indigenous land is subject to private ownership and redevelopment.
山丘上有人臉，人臉將山丘擬人化，就像雕刻在該地區祈禱山上的面孔一樣。該區域中的原始墓
碑成為另一段動畫的入口，而在動畫裡的墓碑則遭到了破壞。此處指涉的，是破壞石頭的盜墓者
以及正在米納哈薩發生的土地爭議，原民土地變成了私人所有和重新開發的對象。
It’s a merry-orbit-go-round life with my plastic fantasy
Even wonky than the neolithic person, they thought bitterly
Was better equipped with tools than they were
And as for weapons. We are now strangled by our fantasy
Neon-not-earthenware paraphernalia
The first woman and man fight here, indicating how conflict is integral to human history.
世界上的第一個女人和男人在這裡戰鬥，顯示衝突是人類歷史不可或缺的一部分。
Another fight continues, this time on a television screen while Natasha Tontey interviews the wife of a dealer of precious stones on Christmas eve.
另一場戰鬥仍在繼續，這一次是在電視螢幕上；而娜塔莎．通蒂則在聖誕節前夕採訪了一位寶石
經銷商的妻子。
On the same Christmas eve, they celebrate over karaoke and the artist contextualises it against the volcano in the background.
在同一個聖誕節前夕，他們去唱卡拉 OK 慶祝，而藝術家則在背景用火山與影像互相搭配。
The dealer of precious stones elaborates on the mythology and controversies surrounding the site of Watu Pinewetengan.
寶石經銷商詳細闡述了圍繞在Watu Pinewetengan遺址的神話和爭議。
When those two missionaries (Riedel-Schwarz)
Came and found that stone (Pinawetengan), I can’t remember what year exactly
But they found the stone still in the Kanonang area
That’s why Kanonang is there but now it’s Pinawetengan. Ouch!
Nav, please get me a mop
It was recognised as the Kanonang area when there was an ‘old law’
The old photographs showed the stone position
Is lower than today
Well, I know the caretaker who guards the stone
Named Uncle ari and we are close friends
Isser (my cousin) who introduced us
Caretaker they said. You can ask him, Uncle Ari.
Yes, it is real. Even priests walked there looking for ube (Brazilian money)
Warlock’s Samurai who can slice steel nails
red rubies, and other things to gecko they were looking for
Gecko which they deem worth 5 billion
We return to Watu Pinewetengan, this time without people and Natasha Tontey gives us a view of the stone from all sides, similar to how a precious gem is usually featured in a showroom.
我們回到Watu Pinewetengan，這次那裡沒有人，而藝術家則是讓我們從不同角度看到這塊石頭
，就像陳列室裡常展示的奇石一樣。
Once again, we see a Karai ritual. The ritual is essentially not masculine but the culture that has evolved around it is hyper-masculine and women are discouraged from participating.
我們再一次看到了Karai儀式。儀式在本質上並不屬於男性，但它發展出來的文化卻超男性化，完
全排除女性參與。
But we are the guardians of Toar-Lumimuut’s land
I Yayat U Santi!
The last animation sequence reclaims the feminine in Minahasan worship practices and rituals by evoking the mother Goddess who birthed humanity. Here she is surrounded by women devotees who blow conch shells in her name.
最後一個動畫片段則是透過喚醒創造人類的母親女神，在米納哈薩的祭祀實踐和儀式中找回女性
的本質。在這裡，女神周圍環繞著以她的名義吹海螺殼的女信徒。
My Mother My Majesty
You were a priestess who can spout all the rituals and incantations
What do you know about the spell of spawning stone?
What about the Great Fire and the great plague?
I know I was wicked
But what about the mad stone in my kidney?
Apologia and credits
道歉啟事與工作人員列表
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