The Music Culture of 'Gordang Sambilan'

'GORDANG SAMBILAN':

MUSIC AND SOCIAL SYSTEM

OF MANDAIILING PEOPLE

By Edi Nasution

PROLOGUE

Mandailing is one of the 'tribal' (ethnic group) that still exist in Indonesia until now. They are located in a residential place inland southwestern coast in the northern of the island of Sumatra, which they call 'Tano Rura' or 'Tano Sere' (‘Tano Omas Sigumorsing’). In the vast area they generally are 'immigrants' (called 'alak na ro') and has been settled for centuries there to build and develop their own culture and civilization which is adapted to the natural environment in their settlements in ‘Bukit Barisan’ mountainous.

Traditionally, they are divided into two settlement sites, namely 'Mandailing Godang' is generally the 'lowland' very broad tilled into agricultural land (paddy fields), while the 'Mandailing Julu' a 'plateau' in the ‘Bukit Barisan’ mountain range. Because the rice fields to grow rice as their staple food is not so wide, only available in the valleys of the hills and river banks are pretty much goes there so it is not enough to meet the groceries for a year, the residents 'Mandailing Julu' generally to plant perennials such as rubber, coffee, cinnamon, and so forth, that result is then sold to buy rice and other necessities of life. Most areas 'Mandailing Godang' have heat temperate, otherwise the 'Mandailing Julu' region have air cool and cold enough. As with other ethnic groups in Indonesia, Mandailing tribal also have different kinds of traditional arts as their heritage. One of the performing arts are quite popular and phenomenal are 'Gordang Sambilan'. 

UNIQUENESS OF 'GORDANG SAMBILAN'

‘Gordang  Sambilan’ is Mandailing  tribal heritage unbeatable in other ethnic cultures in the world. According to ethnomusicology experts, 'Gordang Sambilan' as a musical ensemble that is quite unique (unususal) as in the cultivation of his music using some kind of 'meter' at the same time. According to Rizaldi Siagian (ethnomusicologist), that the music plays 'Gordang Sambilan' in some 'huta' or 'banua' (like in Pakantan, Huta Pungkut, Tamiang, and Ulu Pungkut) contained the names 'gondang' (rhythm) are different, but have speed (rhythm) game ('tempo') are relatively the same, for example 'gondang' (rhythm) of 'roba na mosok' and 'sampuara batu magulang'.

Issues related to 'tempo' in performing art 'Gordang Sambilan' be known only two types, namely 'ipas' (fast) and 'erer' (slow), while the terms of the arrangement (music) in the style of 'ostinato' unique and complementary ('division of rhythmic and density'), but  'ipas' and 'erer' tempo in the tradition of music in Mandailing society actually do not have a definite 'size' (subjective).

In some 'huta' or 'banua', that the names of the ‘gendang’ ('drum') that exists in indigenous music ensemble 'Gordang Sambilan' is different and varied as well. Drum called 'jangat', when in Pakantan only ‘two’, while in some 'huta' others are generally ‘three’. This may be closely related to the power system (government) in Mandailing past. For example, the royal power in the Pakantan region is divided into two 'huta', ie 'Pakantan Lombang' and 'Pakantan Dolok'. While in 'Huta Pungkut' is divided into three 'huta', ie 'Huta Pungkut Julu', 'Huta Pungkut Tonga', and 'Huta Pungku Jae'. Approximately the same situation in 'Mandailing Godang' especially in Panyabungan region ie 'Panyabungan Julu', 'Panyabungan Tonga', and 'Panyabungan Jae', where each 'huta' is autonomous, that should not be interfered with by 'huta' else. On the other hand, if the 'drum' which is the smallest in the ensemble 'Gordang Sambilan' called 'eneng-eneng' in 'Mandailing Julu', but a different name in the 'Mandailing Godang' ie 'tepe-tepe'. For the 'drum' else if 'drum' greater than 'eneng-eneng' named 'udong-kudong' in Tamiang, but the so-called 'jogo-jogo' in 'Manambin' and 'pakutili' in 'Tombang Bustak', although both 'huta' is contained in 'Mandailing Julu'. If the 'drum' greater than 'udong-kudong' called 'pangaloi' in Huta Pungkut, but in Ulu Pungkut be named 'panulus'.

In a later development, until now, there is a possibility of differences in patterns of rhythm in the 'Gordang Sambilan' performing arts between a 'huta' with 'huta' else. In Ulu Pungkut for example, the game 'Gordang Sambilan' usually starts with a small gong rang groups (called 'mongmongan' or 'momongan'), whereas in Tamiang and Huta Pungkut begins with a gong followed 'doal' , 'mongmongan', and 'tali sasayak' (cymbals), and 'udong- kudong' on 'Gordang Sambilan' ensamble. According to some traditional leaders, that the  'Gordang Sambilan' performing arts, first rang the 'nio-nio' ('doal') as an appetizer ('command giver'), and then followed by 'udong-kudong', 'paniga' ('pangaloi'), 'panulus', 'eneng-eneng', 'mongmongan' and 'tali sasyat(k)'. After all 'domu' (compact and harmonious), then 'the greatest drum-length (ie 'jangat') is played by the players, which is said to be 'bayo na malo mangatak-mangetong'. That is, 'someone who is very good at organizing and uniting'. Tus, to be able to be drum 'jangat' it should be someone who has had extensive and in-depth knowledge of custom (culture) of Mandailing people. 

PATTERN RHYTHMIC OF ‘GORDANG SAMBILAN’

'Gondang' (music repertoire), which played in the 'Gordang Sambilan' performing arts is not known so many. In Pakantan, there are three general 'gondang', which played the 'sarama datu', 'sarama babiat' and 'pamulihon' rite. In other areas, such as Huta Pungkut and Tamiang, found that some 'gondang' ie 'roba na mosok', 'sarama datu' 'sampuara magulang', 'paturun sibaso', and some taken from ensemble music 'gondang tortor' ('gondang boru' or 'gondang topap') repertoire as well as 'gondang tua', which has a pattern and rhythm of buildings different. While the names of 'gondang', which previously has called the scansion to be relatively exactly the same, except the speed (tempo) are different (see Rizaldi Siagian, “Gordang Sambilan: Ensambel Musik Adat Orang Mandailing di Tapanuli Selatan”, paper in "Temu Wicara Etnomusikologi II", Surakarta, 1986:84). That can be added at the Ulu Pungkut there is one name 'gondang' called 'aek magodang', who deliberately created to honor the event a settlement called 'mayup mompang' in the past.

According to Rizaldi Siagian, “Basically the key to building a rhythm 'gondang' types is located at the top of the fusion rhythm that was built by the pair 'udong-kudong', 'panduai', and 'patolu' (particularly in Pakantan). Meanwhile, families who have a gong order rhythmic figured ostinato act of driving meter its. The rind as the leader in ensemble unify the entire building with the rhythmic patterns and variations-rhythmic that appear from the ability of the players in the improvisation. Pattern or a short rhythm motifs and repeated the phrase to couplet-phrase that led listeners feel the 'tension'. The atmosphere is not left drag, but was brought to a resolution which directed the fall with the same wallop gong (downbeat). Feel sick, nauseated, using the paddle made of bamboo that is, providing a reaction against the 'tension' created rhythmic hide this (Ibid, p. 84-85).

In the game 'Gordang Sambilan', the formation of the building process begins with a rhythm play-not a quarter (see example 1) in unison by all the 'Gordang Sambilan' players. Then it evolved into a wallop rhythmic eighth multiplier (see example 2). At this level, rhythmic 'patolu' in the form of the raw materials. The 'patolu' next task is to maintain a constant tempo, to provide accents (pressure) falls hard on the gong (the first rap), knocking the second, and third. In the fourth beat, 'patolu' only impose mild wallop to the surface of the skin gordang, or break (see examples 3). When patolu to the rhythm pattern that is raw, rhythm 'udong-kudong' or 'panduai' developed on multiple levels rhythmic credits from third base. With the group itself is not played much more closely (not sixteen groups, see example 4). Here, the second pair to share work with 'Gordang Sambilan' ways: 'udong-kudong' hitting two nearest not with the accent on the beat 'first' of the four groups, and not rest on the third section (see example 5). In this cooperation, 'panduai' start knocking on wallop second its from 'udong kudong' and brunt of the second 'panduai' given accents. Thus, when the rest 'udong-kudong' filled with the brunt of the second 'panduai' (see example 6). When the note hand movement is the second players, it can be seen that at certain time one of the hands of both players will fall on the same wallop. Rhythmic combination of the three pairs drums ('udong-kudong', 'panduai' and 'patolu') is the motor in building a rhythm pattern of raw materials (basic) on the 'Gordang Sambilan' games (Ibid, p. 85-86).

When building a rhythm is more circumspect note will show the structure so complex and can lead to various interpretations. One structure is the metric that appear 'hemiola', or “three-meter-four opponent” (in one bar there 3 and 4 meters). In the three groups of four sixteen not, there are four groups of three-sixteen not (see example 7). This is caused by the shifting location of accents that continually 'moving' from the pair 'udong-kudong' and 'panduai' in three groups throughout the four-sixteen is not. When the second pair drum this, the rhythmic, irrespective relationship with 'patolu', the effect of the metrics that are caused by the order of four metric triplet (see examples 8). Whereas 'patolu' itself seems not to move with care meters four (4/4), by maintaining the accent on the beat accents-one, two and three in the duple rhythm and continue (or break) with a wallop weak in the fourth beat. Making cycle metrics between 'patolu' on the one hand, and 'udong-kudong' and 'panduai', on the other hand, are different. 'patolu' flows with four knocking duple (in metric 4/4, of 'gondang' is in metric), with a wallop unnerving knocking on the fourth, while 'udong kudong' three-knocking in a cycle that is in the bar 4/4. The interest in the 'meter ¾' there is another meter (4), which picked up from the second movement accents drum this tide. Thus, for 'udong-kudong' and 'panduai', to return to the cycle of the 'right' (which coincides with the fall knocking the first of 'patolu' and gong) must travel through time knocking the twelve in 3 bars in 4/4 meter (Ibid, p. 86-87).

In the game 'Gordang Sambilan' ensemble, which is the lead partner 'gordang' (drum) the most, namely 'jangat' (made from buffalo skin). Players given the degree 'panjangati' ('master of drums') is usually 'pargordang' ('musician') and who are able to control the pattern rhythmic each instrument in ensemble 'Gordang Sambilan'. 'Panjangati' (master of drums) have this sense of rhythmic very high. Motives development from the rhythm pattern instruments that are in ensemble 'Gordang Sambilan'. Even the type of rhythm, for example taken from 'udong-kudong' or 'patolu', but with accent on giving a different place, the effect of 'tension' the other. In the resolve 'tension' rhythmic there is a unique rhythm motive, namely play groups with 'four-sixteen not', in a way not rest on the first and third (see examples 9), and finishes on tap the following. Before the 'motives resolution' usually there are other motives, namely the 'two groups duple not' played with a haymaker pressure on the offbeat, while pounding breakdown in the (downbeat) was beaten with the pressure of the weak and even break at all (see examples 10). Merging the two forms of motive is to create 'phrase cadence' (see examples 11), which is very typical game from the rind and ended with a wallop along with the fall of a chest thump 'ogung boru-boru' (see examples 12). The phrase has a typical limit of elongation certain; rarely played more than one round gong. Generally, starting from knocking on the offbeat 'third' (during the fall brunt 'ogung jantan'), or on the beat 'second' (see examples 13). 'Gordang Sambilan' the most in the small Pakantan, namely, 'enek-enek' ('children') duty to provide reaction to the skin. Rhythm patterns from the raw-nauseated group is not a four-sixteen (see examples 14), with the beginning or end wallop is located in the fall of knocking 'a' and 'three'. In the face of reaction skin, feel sick, nauseated sometimes do rhythmic imitation of the rind. Sometimes even with the 'naughty' relationship it’s metric irrespective of the overall relationship rhythm. The definition of the word 'enek-enek' here to show freedom children-play with the rhythm pattern. Facts show that the other players also did not feel upset or angry when a rhythm pattern nauseated exit-point metric rhythmic or existing (Ibid, p. 91).

According to Rizaldi Siagian, the family gong neutralize and reinforce the form of meters on the types of 'gondang' on the ensemble 'Gordang Sambilan'. 'Ogung boru-boru' chest and cooperate in shaping the stress it’s metric. In the 'ogung boru-boru' transcript placed on the chest pounding 'first', while 'ogung boru-boru' knocking on the 'third'. Value duration not ogung each half is not. Each 'ogung' sometimes take control of this one-meter lap, with a value that is not the full duration; doal the case with other, calling each a role in knocking meters 4/4. Thus, knocking on second and third doal provide alternation between the gong sounds in the chest and 'gong boru-boru' (Ibid).

Rhythm patterns family 'mongmongan' different huta by Pakantan between Huta Pungkut and Tamiang. Pakantan 'mongmongan' in the family (especially 'panolongi' and 'panduai') share a rhythm with a long phrase one lap gong (see examples 15). The 'pamulusi' provide rhythms variations in the midst of a rhythm pattern pair 'panolongi' and 'panduai' start with a thump on the first position in the offbeat rap 'fourth' (see examples 16), or by adding extra wallop on the beat 'third' (see examples 17). Interlocking techniques in the family mongmongan this creates the impression melodic ostinato in the overall sound of musical ensemble 'Gordang Sambilan'. Not the same as in Pakantan, the interlocking techniques 'epong-epong' (family 'mongmongan') in Huta Pungkut, Tamiang and divide groups of four-pity not to six in two parts. 'Epong-epong' the two can not play one on sixteen knock down (downbeat), while playing partner motives ritem start with the same wallop on the offbeat (see examples 18). In Huta Pungkut and Tamiang, 'mongmongan' have two rhythm patterns that can be used in the entire building rhythm. First, with similar patterns 'doal' in Pakantan (see examples 19). Second, give syncopation on every beat in the it’s meter (see examples 20). Ensamble 'Gordang sambilan' in the game, which has a pair of cymbal crack and sonorous called 'tali sasayat' or 'tali sasayap' effect 'unify' (in Mandailing called 'domu') the overall sound of the instrument. 'Tali sasayat' rhythm patterns, especially when playes is very experienced, oriented in the pattern found in the family 'mongmongan' and arranged with the approach that tends to be improvisation. Like pattern is essentially a combination of 'not-duple' with the variation of accents echoic 'mongmongan' (Ibid, p. 89-90).

THE RELATIONSHIP BETWEEN 'GORDANG SAMBILAN' AND 'DALIAN NA TOLU'       

Now, how do we approach to explain the very close relationship between 'Gordang Sambilan' with 'Dalian Natolu' as a social system of Mandailing community? 

In Mandailing, rice farming activities on the farm (called 'marhauma' ) , and also to plant crops such as beans and corn, it takes a special tool sort of 'tugal' ('drill'). It is made from a piece of wood, a length of one meter and a diameter of about three to four centimeters, and at one end sharpened to make a hole in the ground. This simple tool called 'ordang', and the planting of crops in the field called 'mangordang'. In relation to the activities of 'mangordang' there is a traditional phrase (called 'uling-kulingan') in the form of questions and answers that are quite popular among teens as follows:

A : "Uling-kulinganca, taksipatuktak tolu do indega, aha mei ?" (whether it?)

B : "Anca ! Alak na mangordang!" (people who work 'mangordang' !)

The words 'taksipatutak tolu do indegena' contained in 'uling-kulingan' attracted our attention when the pronunciation tends to be rhythmic (musical), all the more so given the musical traditions of the Mandailing is 'oral tradition' , which in theory and practice (teaching) just delivered orally, by word of mouth. As said Rizaldi Siagian: "All valid oral and informal, ... Not like in Java and India. Although oral, her music teacher has a formality in the process of teaching. So, I had to reconstruct something that is abstract, because the rhythm patterns stored in the minds of musicians", revealed that when by chance he found the back 'Gordang Tano' as one Mandailing prehistoric musical instruments in Tamiang. In this case, the word 'taksipatuktak tolu do indegena' can transcription (subjectively) to determine rhythmic pattern, which is contained in it as follows :

Rhythmic patterns contained in the word 'taksipatuktak tolu do indegena' however, does seem very simple because it is leitmotivic (small motifs) with four triplet note. Likewise, not a string of rhythm ('music composition') are long and complex though it is generally constructed using motifs that are relatively small with varying cultivation anyway? No doubt about it because quite a lot of facts that showed that in the game with a string percussion instrument (sound) that is long and complex rhythmic it is commonly found motives underlying small. Exactly, identifying small motifs are very important in order to understand how the little motifs strung and with variations also it creates a rhythmic structure (music) is quite complex. But if we can only identify the motifs alone, though pleasing to the ear and perceived and considered unique, but it would not provide a better understanding of the 'music' itself, all the more traditional music that is owned by an ethnic group that is not only serve as mere entertainment. Using traditional music in ritual contexts 'mangido udan' as an example, a variety of functions, among others, as a symbol, a means of disclosure emosial and also as a communication tool. In this connection, it is strongly suspected that the origin of the 'Godang'Sambilan' stems from the tradition of the music 'Gordang Tano' is a source of ideas initially is 'mangordang' in 'hauma' in those days of yore.

In terms of language, the 'ordang' and 'gordang' words literal meaning is not the same, but both are 'tools' that are both made ​​from a piece of wood and is very useful for Mandailing people as a farming community. 'Ordang' is a tool used to make 'small hole' at ground level and then it is inserted into the crop seed is then covered with soil, while 'gordang' is a musical instrument that is struck (percussion) as 'Gordang Tano' (chordofone) and 'Gordang Sambilan' (membranofon). From the other side, for example, of the root may be found a close relationship between the two terms. The root of the 'gordang' word is 'gor' and 'dang', while the root of the 'ordang' word is 'or' and 'dang', where they both have the suffix 'dang'. Some words that use the suffix 'dang' in Mandailing vocabulary, which is related to the 'ordang' and 'gordang' words, namely: 'godang' (big) , 'padang-ilalang' ('reeds'), and 'lidang' (straight). In this case, 'Gordang Sambilan' consists of nine pieces 'big drum' (drum chime), and one 'gondang' (repertoire) are often played in a traditional ceremony is 'padang na mosok' (the rhythm of the burning thatch) or 'roba na mosok' (burning bushes), while 'ordang' are considered to be good is made ​​of wood that is straight. For the root 'gor' word on 'gordang', meaning 'light up'. The root of the 'gor' word is also present in a number of words such as: 'gorgor' (burning) and 'tagor' is a sacred statue found at ancient burial area called 'lobu' or 'huta Lobu', which at time will sound jarring (as a sign, like the sound of 'Gordang Sambilan' when played) will nobility who died. While the root of the 'or' word in the 'ordang' word, also found in other words as words: 'por' (strong desire, heavy rain), 'tapor' (broken), 'manguporpor' (like a thrashing action often performed by a shaman ('Sibaso') characters in every ritual ceremony), and 'siapor' (grasshoppers) are occasionally jumping around like a fly something like that occasionally performed by 'panjangati' who play two or three of the greatest drum ('jangat'). Thus, the definition of the word 'gordang' is a large musical instrument that is played more and rumbling sounds.

People who live as citizens 'huta' as community based indigenous farmers in Mandailing with 'Dalian Na Tolu' or also called indigenous 'Markoum-sisolkot' as a social system in their life together. They divided themselves into three functional kinship groups, namely 'mora' (giver girl), 'anak boru' (recipients girls) and 'kahanggi' (the people who have the 'clan' are the same or also called 'sisolkot'). In accordance with the position and roles (rights and obligations) of each of the kinship group in the social system Dalian Natolu this, 'mora' described as 'ulu bondar' (the source of the water of life), 'anak boru' is 'sitamba naurang siorus nalobi' (adds less and reduce more), and 'kahanggi' or 'sisolkot' is 'jait domu-domu' which unite or as an intermediate group (intermediate) between 'mora' and 'anak boru' kinship groups. In this case, each individual person Mandailing at one time a resident as 'mora', yet at times and other times can also be located as 'anak boru' (social status) because of the marital relationship between them, and at other times can also be social status as 'kahanggi' because to be related to people with the 'marga' (clan) together with him. Mandailing people the same air-clan has a grandfather with the (so-called 'saompu parsadaan' ) as 'Si Baroar' ('Sutan Diaru') for Nasution clan and Namora Pande Bosi to Lubis clan.

'Gordang Sambilan' as the Mandailing traditional music played in various ceremonies and rituals. As in the implementation of customary marriage 'orja aroan boru' (also called 'orja markaroan boru'), although not everyone has the same skill level, but the people who are already adults should play it (Gordang Sambilan), but play the 'greatest gordang' that 'jangat' because only 'bayo namalo mangatak-mangetong' ('a man who is very good at arranging and organizing') are allowed and able to play only, namely 'Namora Natoras', 'Raja Pamusuk' and 'Raja Panusunan Bulung', because they are the only are seen to have a broad and deep knowledge about the Mandailing customs. In addition to the 'jangat', the ensemble 'Gordang Sambilan' is also a 'gordang' called 'udong-kudong',  'paniga' and 'panulus', each of which is played by one player.

In building rhythm of the sound (music) on the game 'Gordang Sambilan', who first hit/ played/sounded is 'udong-kudong' by players grasping a wooden stick in his right hand and a wooden stick in his left hand again. Generally the 'first blow' performed by musicians 'udong-kudong' is to use the right hand and the left hand is used to do a 'second hit'. After the players 'udong-kudong' hit 'gordang' (musical sound) in continuous and constant, then later music player 'panulus' followed by taking the 'first blow' in the 'first blow' (right hand) and a 'second hit' (left hand) of music player 'udong-kudong' continuous and constant as well. Furthermore, the following are also players 'paniga' hit 'gordang' by taking 'first blow' in the 'first blow' of 'panulus' musician and 'second hit' of the music players 'udong kudong', while the 'second hit' of 'paniga' musician taken in the 'second hit' of the music players 'panulus' and 'second hit' of the music players 'udong-kudong'. The combination of punches from all three musicians 'Gordang Sambilan' (called 'pargordang') is 'udong- kudong', 'panulus' and 'paniga', they play constantly and continuously to produce a particular rhythm pattern , in which motifs contained small shaped 'triplet'.

After the third 'pargordang' it has been able to play with full compactness, harmonious and harmony, which in Mandailing called 'domu', only then the players 'panjangati' hit two or three of the greatest drum that 'jangat'. In keeping with the tradition of Mandailing people music who are oral (spoken), there are some "expression" or the words" figurative (metonymy) are quite popular (but seem facetious) with respect to the sound of 'gordang' played by 'panjangati', between another: "godang-godang baen korot-korotan na i - godang-godang baen korot-korotan na i" (for large meat cuts 2x), in the context of the traditional wedding ceremony, for example by cutting animals such as buffalo victim called 'longit'. There are also figures of speech are also quite popular in connection with musical sounds generated from game three small gong is "gule torung...gule torung... gule torung" (eggplant curry 3x), and there are more figures of speech such as "saba jae saba julu...saba jae saba julu" (rice paddy upstream downstream 2x), "patujolo kecapi...patujolo kecapi" (prioritizing the ketchup 2x), and so on.

In Mandailing there are many 'huta', and the names 'gordang' (drum) that exist in the ensemble 'Gordang Sambilan', ranging from the smallest and up to large short and long, are not all the same between the 'huta' with 'huta' others, and also there are many variations of rhythmic patterns built into the music game 'Gordang Sambilan', as described by Jasinaloan (Ahmad Bakhsan Parinduri) in a short story titled "Si Oto Na Bisuk" (2008) as follows: " ... tai sindok i, gorarna mantong jolma manusia. Nangkon be jolo nidok alak na sabanjar bope na saluat, salangkon saamang-sainang pe marbeso do pangalahona. Arambir pe marnagodang do na samayang i, suang muse songon tokok i ni Gordang Sambilan. I Pakantan udor gorarna, jogo-jogo ningna di Manambin, ditaan boto (Tombang Bustak), pakutili de i idokon dongan. ..." (That is , his name is also human. Instead of people who both live in the 'banjar' and 'luat', whereas those same mother same father-though distinct personality and behavior. Palm fruit bunch that was not as great, so do the ways of playing the 'Gordang Sambilan'. Wherever Pakantan when playing 'Gordang Sambilan' called 'udor', in Manambin called 'jogo-jogo', whereas in our hometown (Tombang Bustak) called 'patukili' by et al).

When viewed in terms of function (rights and obligations) of each group kinship ('mora, 'kahanggi', and 'anak boru'), and then compared with their respective functions 'pargordang' in music playing ('Gordang Sambilan'), then the implied the relationship between the two. 'pargordang' who plays 'udong kudong' the same function as the position of 'anak boru' who 'manyurdu burangir adat' (offering betel leaves and other) before the event 'markobar' ('customary speech') start in customary activities 'marpokat' )deliberation and consensus) on ach traditional ceremonies (rites too). While 'pargodang' who plays 'paniga' drum the same function as the position of 'kahanggi- suhut') in 'markobar adat' on the show 'marpokat' that is to 'open' or 'start' (representing the host) to explain the intent and purpose of the the traditional ceremony. Furthermore, those who spoke were 'anak boru' wholly give both moral and material support so that traditional ceremonies that can be done as well as possible (successful), where it is the same as a 'pargordang' who plays drum 'panulus', which is further supported also by the 'mora' when the 'kahanggi' and the 'anak boru' already agreed. When all three groups accord - kin had one word ('domu'), then 'hatobangon' ('Namora Natoras' and 'Raja') approved the implementation of the traditional ceremonies, the same as a ' panjangati 'to play 'Gordang Sambilan', which then greeted with joy by many communities, the same as a 'pargordang' which plays most small drum that is 'eneng-eneng' or 'tepe-tepe' or 'enek-enek'. Pattern and this procedure is to answer the question why the name 'gondang' (repertoire) vary (a lot) but generally have the same music tends to sound the same, which can sometimes be identified by the difference in 'tempo' (fast or slow).

Until the end of the 20th century, the rest of the ancient religion Mandailing ie 'pelebegu' which uses ensemble music 'Gordang Sambilan' for rituals, the scar still visible in public life Mandailing though Islam has become a fad them evenly. In some places still do the ceremony calling of the spirits (called 'pasusur begu' or 'marsibaso') were strongly condemned by Islamic clerics. In keeping with the religious traditions 'pelebegu' ritual is performed to ask for help ancestor spirits to overcome a difficult situation, for example when a drought occurs so damaging rice crops population. People who never watched the ritual 'mangido udan' is difficult to argue that they did see heavy rain in the middle of a long drought after the completion of the ritual.

  

'GORDANG SAMBILAN' POSITION AND ROLE DURING THE PAST AND PRESENT

In every 'little kingdoms' first, ie 'huta' or 'banua' in Mandailing have 'indigenous musical ensemble' ('saraban') called 'Gordang Sambilan'. Indigenous musical ensembles ('Gordang Sambilan') is played in various ceremonies and rituals. In line with the use and functions,  'Gordang Sambilan' as their heritage view has noble values ​​and sacred. Therefore 'Gordang Sambilan' is placed on a special place called 'Sopo Godang' ('Indigenous Convention'), which is located adjacent to the residence of the king of the so-called 'Bagas Godang'. The use of 'Gordang Sambilan' in every execution traditional ceremony is usually accompanied by a demonstration of 'customary oversized objects' Mandailing such as 'supreme flags' called 'tonggol', 'umbrella greatness' (yellow) called 'payung rarangan', and various types of weapons such as swords 'podang' (sword) , 'sijabut' (spear), and so on.

During the first Mandailing embracing animist belief system called 'pelebegu' ('worship ancestral spirits'), 'Gordang Sambilan' is used in ceremonies 'mamele begu' to 'summon ancestral spirits to ask for help. The rite is called 'pasusur begu' or 'paturuan si baso' which means 'call the spirits' to possess a character 'shaman', ie 'Si Baso' which serves as a medium between the real world and the supernatural. The goal is to ask for help ancestor spirits to overcome calamities that are befalling residents of a 'huta' ('banua'), for example, when an infectious and contagious diseases such as cholera mewawabah in society 'huta' ('banua'). In addition, 'Gordang Sambilan' is also used for ceremonies for rain drops (called 'mangido udan' or otherwise stop the rain too long (so-called 'paantak udan') for devastating crops (agricultural) population of a 'huta' ('banua').

Indigenous musical ensembles 'Gordang Sambilan' consists of nine drum with relatively large size and length ( 'drum chime'), which is made of a certain wood that is called 'ingul' and played by four or five players to wear staves wood, where each player uses two. Size (large and long) from the ninth storey drum ranging from the smallest to the short - to - long greatest . Resonator tube is made by means of wood to make a hole, and one end of the pit (the head) is closed with the 'membrane' made of 'skin of oxhide' (called 'jangat') stretched with rattan as well as a means of fastening.

The ninth drum has its own name which is not the same at all 'huta' ('banua') in Mandailing. The names of the instruments 'Gordang Sambilan' in Tamiang and Huta Pungkut (Mandailing Julu) from large to small are: (1) 'jangat' (siangkaan)', (2) 'jangat (silitonga)', (3) 'jangat (sianggian)', (4) 'pangaloi'; (5)'pangaloi'; (6) 'paniga'; (7) 'paniga'; (8) 'udong-kudong', and (9) 'eneng-eneng'.

Indigenous musical ensembles 'Gordang Sambilan' is equipped with two 'ogung' (gong-methalofone) is great. The greatest gong called 'ogung boru-boru' (female gong) and the smaller called 'ogung jantan' (gong male); a small gong called 'doal' and three even smaller gong called 'salempong' or 'mongmongan'; pair of small symbal called 'tali sasayat (k)', and a wind instrument called 'saleot' ('sarune'). The musical repertoire of indigenous 'Gordang Sambilan' among others as 'gondang' (repertoire): 'Sampuara Batu Magulang', 'Roba Na Mosok', 'Udan Potir', 'Aek Magodang', 'Mamele Begu', 'Mangido Udan', 'Jolo-jolo down', 'Alap-alap Tondi', 'Pamulihon', 'Raja-raja', 'Tua' , 'Porang', 'Mandailing', 'Sarama', 'orja', 'Sabe-sabe', and so on.

At the present time , although ' Gordang Sambilan' is still played in various ceremonies, but have started them was regarded as a musical instrument (art) traditionally, that has been gaining popularity in Indonesia and even in Europe and the United States (America). Because in some traditional Indonesian art trip to the two continent already introduced  'Gordang Sambilan'. While the nomads Mandailing that there are many people in Malaysia have started to also use 'Gordang Sambilan' in a variety of 'traditional ceremonies', especially in the implementation of customary marriage . With placed 'Gordang Sambilan' as 'music (arts) traditional' Mandailing, then 'Gordang Sambilan' is now used for a variety of purposes outside the context of traditional ceremonies Mandailing. For example, for the coming of the great guests, national celebrations, and celebration of the Feast of Islam that is Aidul Fitr.

In addition to the 'orja siriaon' ('excitement') such as traditional wedding ceremony, 'Gordang Sambilan' was also played at the custom ceremony 'orja siluluton' ('sadness') such as the death of the traditional ceremony called 'mambulungi'. The traditional ceremony 'mambulungi' held at the time of burial or can be implemented at a time to be determined in accordance with the occasion and the ability of the large family of the deceased person. If the 'orja siriaon', 'custom flags' posted on the page 'Bagas Godang' (royal palace) are all facing toward the outside, then reverse the 'orja siluluton', 'custom flags' were behind the faces 'funeral home' as a sign of mourning events. A king who died will be buried wearing a stretcher carried by specially named 'roto', and his departure was accompanied also by sounding ensemble of indigenous musical 'Gordang Lima' (also called 'bombat') to play a specific repertoire, namely 'gondang roto'.

'Gordang Sambilan' usage for both the ceremony, if for 'personal use' must first receive permission from a traditional leader called 'Namora Natoras' and also of 'Raja' ('King') as the head of government on a 'huta' or 'banua'. The license application was made ​​through a deliberative custom called 'markobar adat' which was attended by the leaders 'Namora Natoras', 'Raja', and the party will hold a traditional ceremony, and to be able to ring the 'Gordang Sambilan' should be slaughtered at least one adult male buffaloes. 'Gordang Sambilan' is also used to accompany dance called 'sarama'. 'Panyarama' or 'Si Baso' (people who do 'sarama' dance) occasionally experience trance at the time of dancing as entered by the spirits of ancestors, and similarly, the players of 'Gordang Sambilan'.

EPILOGUE

Mandailing people who know that 'Gordang Sambilan' is "uning-uningan ni ompunta na jumolo sunduti" ('the music of the ancestors who passed down through the generations from one generation to the next generation'), then they themselves have acknowledged the history and culture. At certain moments and in certain levels can also be 'Gordang Sambilan' becomes more important and meaningful to actualize himself instead of using 'Saro Mandailing' ('mother tongue'). In other words, 'Gordang Sambilan' not only reflects 'who he really is', but also can reconstruct identity as 'mandailing-to-late' itself. Maybe it's been ever happens that when a person watching the show music 'hard rock' that 'frenetic', or as he (she) read the word 'gordang' in a book, he's (she 's) instantly reminded of acquaintances, friends or family who live far away there ... 'Tano Sere' (Mandailing) in the interior southwest coast of Sumatra Island. I hope so. (EN)

Gandoang. March 5, 2014.

~o0o~