ENDE

“ENDE”, MANDAILING FOLK SONGS

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by Edi Nasution

As one of the ethnic groups in North Sumatra, society has various shades Mandailing folk songs and they call it "ende". A mother for example, singing as he cradled his son in order to fall asleep is called "ende bue-bue". Similarly, when a father for example expressing compassion through singing to his son who left for dead by her mother called "ende-uro uro".

"Ende mamuro" can be present in the loom when a farmer dispel sparrows who eat rice in the fields. There is also a vendor or seller "ngiro" (sap water) as "ari poken" (day of week) shouted: "... ngiro na ... ngiro na ... !!! patalak ... patalak ... so u patungkap ... " to include "near song" (Jan Harold Brunvand, 1968), is more concerned with the singing of "words" instead of the song, which is better known as "peddler's cries". Moreover, in some singing Mandailing present together dance "tortor custom", ie "jeir" that accompanied the ensemble music "Gondang Boru".

This time we try to explain a little about the two people singing Mandailaing. First, "ungut-ungut" contained in "Mandailaing Julu", and secondly, "sitogol" from "Mandailaing Godang". Which "ungut-ungut" usually can be present in various places and occasions. While "sitogol" usually sung person (youth) from above "tor" (small hills) are often interspersed with the sound of a musical instrument "olonglio" ("uyup-uyup durame" - free reed) and the occasional "dosik" (whistling) that can be heard and to the attention of the idol girl who was working in the fields are located in the valley hills.

AMBIGUITY

In the lyric song called "Sitogol dari Mandailaing Godang" created by Nahum Situmorang said that "Sitogol dari Mandailaing Godang" equals "Onang-Onang" contained in Angkola. As far as the authors that both singing it much different, both from the aspect of her music and in terms of use.

"Sitogol" from "Mandailaing Godang" has a rhythmic and melodic style that is much different from the "Onang-Onang" from Angkola, and "Sitogol" never present in the context of the traditional wedding ceremony for example, while "Onang-Onang" of Angkola it is "traditional singing "brought together dance "tortor” indigenous to the accompaniment of a musical ensemble "Gondang Dua". Although there are "Onang-Onang" sung not in the context of traditional ceremonies, but the cultivation of musical styles are not much different - just text or poem are calm - in the context of traditional ceremonies. So it is clear that "ende Sitogol" from "Mandailaing Godang" is not the same as "Onang-Onang" from Angkola.

In this case, Angkola is one ethnic group nearest neighbor Mandailaing ethnic groups in South Tapanuli. It may be said that between the two ethnic groups is more prevalent cultural similarities than differences. While South Tapanuli itself is a term for a government administrative region now that the status of "district" which is a Dutch colonial heritage. Therefore, there will never be "Gondang Tapanuli Selatan” (art and culture of South Tapanuli).

TEXTUAL ASPECTS

Both "ungut-ungut" or "sitogol" has text or poetic Mandailaing and generally contains jeremiads (expression of feelings) about love or even destitution. Therefore they are more concerned than song lyrics. Both the singing initially did not have the number of rows (the temple) which remains as sung spontaneously. There are times when 4 lines (structured poem), line 5, 6 lines and so on, but there is a tendency in the subsequent development of "structured rhyme". For "ungut-ungut" that "rhyming ab-ab", where the first line and the second is "sampiran", being the third and fourth line is "content". The text "sitogol" structured poem (or not) as well as a whole tend to contents, without any “sampiran” its.

In the text singing "ungut-ungut" and "sitogol" There are a lot of word 'mada', 'ile', ‘baya, 'da' and others that do not connote (meaningless syllables), the same position with the word 'lah', 'kah','kah’ or 'yang' in Indonesian. Words or syllables are used to support the "artistic effect" and sometimes to adjust the amount of syllables in each "range of melody" (phrase). Things like this was first formulated by cultural Drs. Z. Pangaduan Lubis in his paper: "Penelitian Tekstual Dalam Jeir: Suatu Pengamatan Awal“. Talk presented at the III Ethnomusicology 1987 at the Faculty of Letters USU Medan.

When considered in the composition or the number of syllables sung melody for each range, it does 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 in any stretch of the melody. Adjustment long or short sentence in each range melody when singing “ende sitogol” or “ungut-ungut” depending on the "expertise" of “si parende” (singer) itself.

ASPECTS OF MUSICAL

'Ungut-ungut"solo sung by a man with a moderate tempo, melodic style that is static (heightened speech), without meter (heterometris) and usually as an accompaniment is a wind instrument “distilled" or "salung". While “sitogol” also sung solo by men with moderate tempo, sometimes interspersed strains “olonglio” musical instruments and the occasional "dosik" (whistling). in addition, "sitogol" has kantur melodic ascending (up) and also without meters (heterometris). the fundamental difference, where "ungut-ungut" sung softly.

While “ende sitogol" shouted a bit stronger as sung from the top of the hill in order to be heard idol girl who was working in the fields, in the valley, the hills where he sang "sitogol". Both "ungut- ungut” or "sitogol" tend to be "strophic" because they always repeat the formula (form) the same melody but with a new song text. RizaIdi Siagian MA (Chairman of the Department of Ethnomusicology at the Faculty of Letters USU) suggests that music (vocal) as this is called "Logogenic". This means that more emphasis clicking the text songs to express ideas rather than the satisfaction of musical aspect.

CLOOSING

"Ungut-ungut" and "sitogol" is a folk song of Mandailaing (called "ende" only by them) that consists of words and songs, traditional form because there is and exists in Mandailaing society since the beginning until now. Also has many variants and circulated orally in society Mandailaing.

Furthermore, it can be argued that the two Mandailing folk songs can be categorized into lyrical folk songs that are real (James Danandjaya 1984; 14153). Because the lyrics express feelings without telling a story that is continued, and the dominant express feelings of sadness, despair at the loss of something, or love, or even destitution depicting human desires are never reached.(*)

Posted in Daily WASPADA Medan, 1991.

Mandailing Folk Songs

'ENDE': MANDAILING FOLK SONGS

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 …

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

Santabi nda jolo sappulu 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

u tampul ale uar-kuar

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~