'Dikir in Mandailing

“GONDANG DIKIR”

“Dikir” is one form of Islamic art that have long life and thrive throughout the region ('Banua') Mandailing. There, this 'Dikir' performing arts consists of three or four players 'gondang dikir' as accompaniment songs 'Dikir'. Usually one of the players 'gondang dikir' it simultaneously acts as the lead singer and the other acts as a 'backup singer'. This 'Dikir' performing arts can be categorized as a 'musical polyphony' which was held in the great days of Islam such as 'Birth of the Prophet' and 'Hari Raya Idul Fitri Islam'. In addition, the 'Dikir' often performed in a traditional wedding ceremony as 'orja haroan Boru' and 'mebat' in Mandailing .

'Gondang Dikir' is a kind of 'tambourine' large with a diameter of 600 to 900 mm (60 cm) round shape. The top was covered with 'membrane' of a bull or goat skin, while the lower part is not closed (open). As for the songs sung in Arabic using certain modes of musical traditions Jasirah Pan- Islam in Arabic. The theme song among other things, contains the history of the Prophet Muhammad, the teachings of Islam and so forth. In this case, the question for us is where does the inclusion of the 'Dikir' performing arts to Mandailing?

To the south of the region ('Luat') Mandailing contained Minangkabau ethnic group which has been held since the first contact with the Mandailing community. In this connection it may be argued that in the 'Mandailing Julu' (Subdistrict Kotanopan) are still found places named 'Garabak ni Agom' around Huta Na Godang. The nickname 'Garabak ni Agom' was given to the former site of the 'Agam people' (Minangkabau) in Mandailing Julu gold mine in the past. In addition, from reading materials about "Padri movement in Minangkabau tribe" can be seen that during the second decade of the 19th century (between the years 1815 to 1820) The Padri have started entering the Mandailing to spread Islam. But in previous years some of the King in Mandailing already Muslim. When the spread of Islam has not been widely implemented, where the majority of children Mandailing country still adhered to the old belief system of animism ('sipelebegu'). Can be added, there are also people who go learn Mandailing Islam to Bonjol (Minangkabau), as proposed by Hamka in his book "Dari Perbendaharaan lama" (1963 : 96). Meanwhile The Padri who did the spread of Islam in the region had reached the area Mandailing, Angkola and Padang Lawas, who at that time headed by Tuanku Rao and Tuanku Tambusai (see FM Schanitger, "The Forgotten Kingdom in Sumatra", 1964:71-84) .

Departing from the above historical facts, that Islam was brought by The Padri to Mandailing, but art can not be ascertained from the 'Dikir' or on the initiative of The Padri. This is because the tribe itself is Padri The Wahabis who hate or do not justify the practice of art. Mangaraja Onggang Parlindungan in his book "Tuanku Rao" (1964: 179), there is written that "a small portion of the population of Padang Lawas already Muslim South, which evolved from the Sultanate of Malacca since approximately 1451 AD". If this information can be verified, in which the South of Padang Lawas spread of Islam moved to Mandailing. This fact can we associate also with the statement that "The Padri before entering the existing Mandailing Mandailing kings who embraced Islam". Even earlier than Minangkabau where Shaykh Burhanuddin, roughly concurrent with the heyday of Islam in Aceh. Meanwhile, in the Malay Peninsula itself until now we find also the practice of Dikir performing arts as proposed by William P. Malm in his book "Music Cultures of the Pacific, the Near East, and Asia", second edition, (1977 : 133).

From northwest majors, Mandailing region bordering 'Central Tapanuli', and on the west coast lies the old town Barus yangs ince formerly known as "port city and trade" much frequented by merchants from all over the world. In addition , the city is assumed as the Barus introduction of Islam to North Sumatra.

Barus trade in the city at that time traded commodities and one that is quite of potential and is a well-known commodity 'kapur barus' ('mothballs'). In this connection it is known that there are people Mandailing livelihood as search 'kapur barus' in the forests and perhaps also as a merchant. It can be seen from 'sirkumlocusi' heritage language they use when searching for 'kapur barus' in the woods, which is 'Hata parkapur' as one of five regional variations of tribal owned Mandailing (Marapi, 1957: 61) .

Based on the facts above, it is also possible that the Mandailing commodity trading 'kapur barus' to the Barus trading town, where they are along the west coast of Sumatra island that began with 'Natal'. In fact there is also the possibility that once they get in Barus, some are bringing the merchandise to the cities of other trading centers such as Malacca or Ocean Pasai in Aceh. In cities such trade them (Mandailing people)  trade and associate with Islamic traders as from Persian, Arabic, Gujarati and others. As a result of these interactions, until now in the Mandailing still often we hear the words like 'Ratib jongjong', 'Podang Saidina Ali', "Tenju Saidina Ali', and so on, where these sayings came from the 'Shyiah Islamic' understanding, which many role in developing the arts in the Islamic world.

Of various description above for a while it can be argued that the doxology art contained in Mandailing brought by traders camphor Mandailing people to their ancestral land. Mandailing where traders are taking art doxology of the trade center in ancient times (Barus, Malacca, or Sumadera Pasai ) and they have developed in their ancestral land, which tano sere Mandailing. (EN)

Gandoang , January 15 , 2014

Edi Nasution