'ENDE': MANDAILING
By Edi Nasution
As one of the ethnic groups in
North Sumatra, Mandailing people also have different types of traditional song
and they call it ‘ende’. A mother, for example, singing while cradling a sleeping child should be called 'ende bue-bue'. And when a father's example expresses
compassion through singing to his son who left to go (die) by her mother called
'ende
uro-uro'.
In addition, 'ende
mamuro' may be present in the loom when a farmer banish sparrows that
eat rice in their fields. There is also a vendor or seller ‘ngiro’
(water tree sap) during the course of 'ari poken' (the day of week)
occasionally yell: "... ngiro na ngiro na... ! Patalak
... patalak ... so u patungkap ..." to include ‘near the song'
(see: Jan Harold Brunvand, 1968), is a song which is more concerned with 'lyrics'
rather than a song (melody aspecs), which is better known as 'peddler's cries'.
The song comes together with traditional dances 'tortor', ie 'jeir'
accompanied by musical ensembles 'gondang boru' (‘gondang topap’).
This time we tried a little describe about two types of Mandailing folk songs namely: (1) 'ungut-ungut'
is more widely known in the region ('banua') 'Mandailing Julu', and (2)
is 'sitogol'
is more widely known in the region ('banua') 'Mandailing Godang'. In
this case, 'ende ungut-ungut' could normally be present in various places
and occasions such as in the fields and homesteads in garden, 'sopo podoman', and so on. ‘Sopo
podoman’ as a youth bed, on the edge of the river, or in the woods.
While 'ende sitogol' usually sung by person (youth) from above 'tor'
(hills) are often interspersed with puffs of musical instruments 'olanglio'
(‘uyup-uyup
durame’-free reed) and occasionally with 'dosik' (whistling) in
order to be heard and to the attention of the girl idol who was working in the
fields are located in the valley of the hills.
Textual aspects
'Ende sitogol' contained in
Mandailing Godang have rhythmic and melodic style that is much different from
the ‘ende
onang-onang' has Angkola tribe. This has never sung in the context of
the traditional ceremony of marriage for example (called 'markaroan’ or 'haroan boru'), while 'ende
onang-onang’ of Angkola it is 'customary chant' which is always present
together with indigenous dance 'tortor' accompanied by a music
ensemble 'gondang dua' ('gondang boru'). Although there are 'ende onang-onang’
that is not sung in the context of traditional ceremonies, but the cultivation
of his musical style is not much different - just text or poem just a calm
adjusted to - context. So it is clear that 'ende sitogol' of Mandailing
Godang is not the same as 'ende onang-onang’ has Angkola tribe.
In this case, Angkola is an ethnic group nearest neighbor Mandailing ethnic
group in South Tapanuli (north Sumatra). It may be said that between the two
ethnic groups is more often found cultural similarities rather than
differences. While South Tapanuli itself is the name for a government
administrative region now that the status of the district which is a Dutch
colonial heritage. Therefore, there is no 'Gondang Tapanuli Selatan' ('art and
culture of South Tapanuli'), that there is art, culture and the arts-culture
Mandailing and Angkola, each tribe that has a distinct musical character.
However, in recent decades, indigenous music ensemble 'gondang dua' and 'ende
onang-onang’ has become a traditional art in Mandailing, which is often
served in a traditional wedding party. In various traditional ceremonies
earlier in Mandailing, custom music ensemble 'gondang dua'
('gondang
topap') which is usually accompanied also by indigenous chants called 'jeir'.
Here are the lyrics 'ende jeir', 'ende sitogol', 'ende
ungut-ungut', and 'ende onang-onang' to show the
differences in the four singing tardisional.
Lirics ende Jeir
o … santabi sapulu baya noli santabi laung
o
… di boru ni ayu ara na godang parsilaungan
o
… tortor muyu on tortor maroban domu dohot haratan
o
… hamu na opat dimanjujung i mada
o
… panortor ni boru na mora habang dongan so tarboto-boto mai
o
… na songgop so tarbege-bege boti
o
… ayu ara na godang parsilaungan
o
… tortor muyu nian na borkat maroban holong dohot domu
o
… amu na tolu simanjujung
o
… santabi sapulu dongan noli santabi baya
o
… di boru ni ayu ara na godang parsilaungan
on
mada dongan ibana tortor ni ale nauli bulung do
on
di napa-napa boti i tano Maga Lombang on Gunung Marapi do na martua
o
… banua ni Raja Panusunan Bulung na sakti on do
o
… Mangaraja Bangun dongan Pandapotan panyundut i
o
… suang songon parhabang na ni dongan sitamba laut do
o
… tortor ni boru na mora
o
… na mora amu na tolu
o
… simanjujung
o
… manortor margindar dongan tolu da sanggar an ma
o
… mangadopkon raja-raja humaliang humalogo
o
… na tolu simanjujung
o
… na suang songon parpusuk ni maldo boti di dolok do
o
… tortor ni boru na mora di luat ale tano Maga
o
… ayu ara na godang parsilaungan
o
… adiankon jolo le somba on laos tu pudi baya
o
… marsomba ho inang tu siamun dohot somba tu siambirang ale
o
… so horas ko nian da na manortor boru suti
o
… na jongjong mada opat boti saanggaran samo ginjang samo godang do
o
… di ulu nai da baya naso marrongit do bagas godang na martua do
o
… banir na bolak parkolipan
o
… ulang kamu maila dina manortor palontik tangan
o
… siambirang
o
… ulang kamu tolu dongan bajora boru rangkuti baya
o
… na di pudi do bayo jambu dongan na mongkol Maga baya
o
… i ma bayo dongan na sakti on tarmauk na tarbonggal
o
… di luat ni Mandailing on
o
… boru rangkuti i mada …
Horas … horas … horas …
Santabi nda jolo sappulu on
Lirics ende Onang-onang
Ile onang baya onang
tapuka ma le tajolo mulai on
nda asok ma jolo le fikiri ada
ulang nda maruba nian ale luai on
sian najolo indu nda sannari on
sappulu noli marsatabi on
tu jolo na dua le tolu on
lobi nda tarpasangapi on
ois nda taronang ale baya onang
ois onang baya onang
parsanggulon doda pe baya hoda on
da napayak boti di sima manjungjung on
on mada na pasonangon ile roha on
na panortor ni nauli boti bulung on
tortorkon bole baya tu toruon
tortorkon bole…tu toruon
di galanggang ke baya boti siriaon i
di galanggang ke na so marrongit on
di guluan ken a so marlitta on
ile onang taronang ale ile onang
Lirics ende Sitogol
mangguris so tarpadaek le
suratan
bagian baya
sonang
i son baya ita marbaris ningku da
ulang
ita buat ayu di ujung ni aek
sanga
tong do ro baya tolbak dohot banjir bagian da baya
ancit
ni na mandurung jo
na
sora nian mian marangan-angan
pukul
sapulu au baya ando mangan
muda
di ho do dai inang manggadis
inte
do toke baya parutangan bagian baya
Mandailing
Kotanopan alale
na
so unjung na dangol baya
madabu
ampang sitare-tare ningku da
on
pe madung ro baya parkancitan
mananggung badan
simanare da baya
Lirics ende Ungut-ungut
u tampul ale uar-kuar
mambaen
tungkot panjolung tanaon
ulang
ale baya ita padiar-diar
i
ganggu alak baya arangantaon
pantak-pantak
baya di tonga saba
ulang
ale baya ita padiar-diar
sanga
tong marsik aek ni saba
pantak-pantak
baya di tonga saba
pala
i oban pade ambaen soban
muda
na marsik ale aek ni saba
pasti
nangkan susut baya pandapotan
poken
ale di kotanopan
adong
poken baya di simangambat
muda
peto ale madung susut pandapotan
nangkan
na ita do na malarat
Both ‘ende ungut-ungut’ and ‘ende sitogol’ in Mandailing have poetic text or generally contains lament (expression of
feelings) about love and no squalor of life. Because it is both more concerned
than song lyrics. The second song of the first did not have the number of rows which remains as sung spontaneously. There are times when the 4
lines (poem structured), 5 lines, 6 lines and so on, but there is a tendency
in the later development of structured rhymes. For 'ende ungut-ungut' rhyme 'ab
- ab', where the first line and the second is 'sampiran' (‘figures of
speech’), being the third and fourth lines are the contents. The text is
structured sitogol rhyme (or not) as well as a whole tend contents, without any
'sampiran'.
In the text ‘ende ungut-ungut’ and ‘ende
sitogol’ there are many words, like 'mada', 'ile',
'baya',
'da'
and others that do not contain meaning (meaningless syllables), which is the
same position with the word 'lah', 'kah', 'yang'
or 'wahai'
in Indonesian. The words or syllables are used to support the ‘artistic effect’
and sometimes to adjust the number of syllables in each 'range of melody' (phrase)
It 's like the first one formulated by
cultural Drs. Z. Pangaduan Lubis in the paper: "Studi tekstual Dalam Jeir: Suatu Pengamatan Awal” presented at the
Ethnomusicology III of 1987 at the Faculty of Letters USU Medan.
When considered in the
arrangement or number of syllables sung for each 'spanning melody' (phrase),
did not have the same amount. This situation shows that the number of syllables
for each range of the melody is not binding by default. It can form sentences
long or short otherwise in any stretch of the melody. Adjustment long or short
sentence in any stretch of the melody when singing the 'ende sitogol' or 'ende
ungut-ungut' depends on 'expertise' singers (called 'si
parende') itself. But one thing should be noted that both the ende
should not be in public and also in any place because it was considered
inappropriate (taboo). A young man who sang 'ende ungut-ngut' and 'ende
sitogol' in front of the audience will make older people feel offended
and the young man will be scolded or even face slapped by parents for being
brash (do not have manners or ethics) and said : "na rumo!" this
implies that 'desires or personal interests' should not be openly in public.
Musical aspects
'Ende ungut-ungut' is a
solo sung by a man with a moderate tempo, melodic style that has a static (heightened
speech), without a meter (heterometris) and usually as an accompaniment is a
wind instrument like a ‘suling’ or ‘salung’ (both flute). While 'ende
sitogol' also sung solo by a man with a moderate tempo, sometimes
interspersed strains wind instruments called 'olanglio' ('uyup-uyup
durame' with a magnifying volume loops palm leaves called 'pokak',
and occasionally with 'dosik' (whistling). Besides, 'ende
sitogol' has cantur melodic ascending (rising) and also without a meter
(heterometris). fundamental difference between the two, where 'ende
ungut-ungut' sung - fish with weak - soft , otherwise 'ende
sitogol' sung loud enough (shouted) as sung from the top of the hill in
order to be heard idol girl who was working in the fields located in the valley
of a small hill where he sang 'ende sitogol'.
Both 'ende ungut-ungut' and 'ende
sitogol' tend strophic form because they are always repeating the
formula (form) the same melody but with a new song text. According RizaIdi Siagian. M.A. (never be Chairman of the Department of Ethnomusicology at theFaculty of Letters USU) that music (vocal) is called 'Logogenic'. This means
that the text prefers singing to express musical ideas rather than satisfaction
aspects.
Tentative conclusions
'Ende ungut-ungut' and 'ende
sitogol' is a folk song of Mandailing people (referred to only by their ‘ende’)
consisting of the words and the songs (music composition), which is the
traditional form because there exists in Mandailing society since the
beginning until now. Also has many variants and circulating orally in
Mandailing community.
Both types Mandailing folk songs can be
categorized into lyrical folk songs that are real (see: James Danandjaya 1984,
141-53). Because the lyrics express feelings without telling a story that is
serialized, and predominantly express feelings of sadness, despair at the loss
of something, or love that depict human desires that never
materialize. (EN)
Gandoang. March 3, 2014.
~o0o~
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