The Tradition of Gondang Sabangunan and Custom Ceremony of the

Toba Batak People in Samosir District: Challenge, Hope and

Opportunity

Mauly Purba

Muhammad Takari

and Fadlin

Lecturer of MagisterArts Creative and Studies Program, Faculty of Cultural Sciencies, Universitas Sumatera Utara, Jln.

Universitas No. 19, Kampus USU Medan 20155

Lecturer of Ethnomusicology Department, Faculty of Cultural Sciencies, Universitas Sumatera Utara, Jln. Universitas No.

19, Kampus USU Medan 20155

Keywords Gondang Sabangunan, Batak Toba, Samosir

Abstract: This research is entitled "The Tradition of Gondang Sabangunan and Adat Ceremony of the Toba Batak

People in Samosir District: Challenge, Hope and Opportunity." This research uses qualitative method,

involving techniques of interviewing, an in-depth observation, direct field research, recordings of the gondang

music performances and ulaon adat (adat ceremony) of the Toba Batak. In the discussion it applies the theory

of acculturation and traditional ceremony. The results of the research show that nowadays the gondang

sabangunan musicians in Samosir region become less in quantity. This is caused by the changing era of the

more functional 'keyboard music' in the culture of the society nowadays. On the other hand, there is a desire

among artists and members of the Batak Toba community to maintain gondang sabangunan in various social

functions, due to the expectation from the perspective of cultural identity. The opportunitiy for that is

enormous, should it be accompanied by the awareness of the importance of continuing the cultural heritage

in the space and time gone through.

1 INTRODUCTION

The tradition of the Gondang Sabangunan

(ceremonial music), tortor (ceremonial dance) and

ulaon adat (traditional ceremony) are parts of the

strong identity of Toba Batak culture. The three

aspects have important values in the context of the

continuity and change of the Toba Batak culture.

Gondang Sabangunan is seen as a symbol of the

community's traditional strength. Gondang

Sabangunan is also perceived fully of ritual values

that maintain the cosmological relationships of men

both as individual and as groups with God and the

universe. Even after the introduction of the Protestant

and Catholic teachings, the Toba Batak people

continuosly put effort of inculturating their adat

practices, including the practice of the gondang

sabangunan and tortor, with their new religions. The

gondang sabangunan and tortor tradition is also

identical with the traditional ceremony in Toba

culture holistically, habatahon.(Purba 2000: 25-29).

The aim of this study is to explore the continuity

and change of Gondang Sabangunan and tortor

tradition including the practice of adat ceremony

(ulaon adat). There are various models of continuity

in the context of the gondang sabangunan and tortor

tradition. (1) Firstly, it is a purely continuity model

with an ensemble format that has already been present

prior to the entry of external influences-such as

Protestant and Catholic Christian religion and

education. All instruments in gondang tradition are

used with no other instruments used. (2) Secondly,

there is also a modified model that combines several

musical instruments (such as taganing and gonrang

and ogung) with other instruments-for example,

gondang hasapi instrument and / or instruments that

are popular in Western popular music, and usually

with electronic instruments. Thirdly, the model of

change and continuity of Gondang tradition and

traditional ceremony that occurred in Toba Batak

society in Samosir Regency is happening

continuosly, exposed to various activities of

traditional ceremony and social media in society such

as internet, mobile phone, newsletter, magazine, and

television broadcast.

Along with the development of time, then

various aspects related to tradition of gondang

sabangunan and traditional ceremonies are also

Purba, M., Takari, M. and Fadlin, .

The Tradition of Gondang Sabangunan and Custom Ceremony of the Toba Batak People in Samosir District: Challenge, Hope and Opportunity.

DOI: 10.5220/0010081614371443

In Proceedings of the International Conference of Science, Technology, Engineering, Environmental and Ramiﬁcation Researches (ICOSTEERR 2018) - Research in Industry 4.0, pages

1437-1443

ISBN: 978-989-758-449-7

1437

influenced by various changes, both in aspects of

social function and in the technical aspects of the

performances, including the rules applied in the

community in relation to how the tradition is used.

[Purba 2000: 25-26; 2014: 258-275]. In general there

is also degradation of the number of pargonsi (music

players) who are originally involved in gondang

sabangunan. On the other hand there is an increasing

number of keyboardists. This research also targets

data that describes the distribution of local musicians

in gondang sabangunan nowadays.

From the existence of godang in the Toba Batak

society, it is important to look at the social aspect,

namely: challenges, hopes and opportunities. The

challenge is the shift of musical taste of Toba society

from gondang sabangunan to the form of keyboard

music. In addition, there is also a distortion of musical

culture, from taganing as early as mixed musical

instruments, as well as among the religions that come

into the culture of the Batak Toba community has a

variety of sosioreligious resistance to the presence of

this goddess of warning, so it must get adaptation as

way out. The hope that happens is that the Batak Toba

people still have perceptions about the importance of

gondang sabangunan and traditional ceremonies as an

amplifier of cultural identity.Gondang sabangunan is

also identical with the Batak culture that reflects their

existence traversing the history of civilization. On the

other hand the opportunity for continuity of the

gondang sabangunan remained in the midst of a

changing society. Opportunities are important to find,

especially the functional ways in culture, and the way

of putting gondang sabangunan

back in both the context of the traditions and

contemporary cultural context of the Toba Batak

society, with various cultural and social

considerations. This can be seen from the previous

study by Simon (1984), Schreiner (1994) and Liberty

Manik (1970) that depicted of how the gondang

sabangunan tradition related to various aspect of the

toba batak sosial and religious life, including numbers

of ritual ceremonies, such as exhumation of bones

ceremonies (mangongkal holi), funeral ceremonies

(saur matua), and healing ceremonies (gondang

saem). Other studies also explained that the gondang

sabangunan tradition maintain the people identity

(Purba: 2000, 2014). Throught gondang sabangunan

tradition the Toba batak people expressed their

batakness and that make them feel toba batak people.

These social factors, can not be ignored in viewing

the course of gondang sabangunan as a main power

of Toba Batak music. For this reason this study is

conducted.

2 THEORY AND

METHODOLOGY

To examine the challenge, hope and opportunity for

gondang sabangunan and traditional ceremony in the

culture of Batak Toba community in Samosir District,

the researchers used the theory of cultural contact. In

the cultural contact, the main thing is how further the

certain individual has bound themselves in the

process of acculturation. Several indicatos are the

level of formal education, participation in the paid

work, the extent of urbanization, the usage of mass

media, political participation, religious change,

language change, daily life practices and social

relations. A number of variables may be related to

each other. So, herein, we find in the literature of

efforts and attempts to develop the scale or the index

of contact and participation that unite various of

experiences.

The forms of cultural contact that lead to the

acculturation process include: (1) Contact can occur

between the whole society or several parts only. It can

also occur between the individuals from two groups.

(2) Contacts can also be classified between friendly

groups and even hostile groups. (3) Contacts can also

arise between a controlling society and politically or

economically controlled society. (4) cultural contact

can occur between people who: (a)just as great (b)

just as different, (5) cultural contact can occur

between material and non-material aspects between

simple cultures, between simple and complex culture

and also between complex cultures.

In the cultural contact, there will be quality

known as the process and also quality known as

outcome which is generated from that cultural

contact. Furthermore, Kartomi (1981: 275-297)

explains that there are three process of cultural

contact, which are : transculturation, musical

synthesis and musical syncretisim.

In these three terminologies stored an

understanding of a fusion process that needs time; and

there are six type of results/outcomes generated from

this cultural contact, which are : (i) virtual rejection

of an impinging music, (ii) transfer of discrete

musical traits, (iii) pluralistic coexistence of music,

(iv) nativistic musical revival, (v) musical

abandonment, (vi) musical impoverishment

Therefore, it is necessary to understand the

theory of tradition that developed in the Toba Batak

society in general. Based on emic approach, all

people in this world have various kinds of ceremony,

which serve as the fulfillment of cultural needs, both

for individual and groups. In Toba Batak culture,

when tribal religion is still the main model in the Toba

ICOSTEERR 2018 - International Conference of Science, Technology, Engineering, Environmental and Ramiﬁcation Researches

1438

Batak society, tradition is understood as a series or

order of social and religious norms.The tradition

regulates social life, human beings with their

ancestors, vertical relations to the Creator, and the

execution of religious ritual ceremonies. Tradition

can not be changed, but it must be obeyed.

The method used in this study is a qualitative

method, which relies on the data of the gondang

sabangunan performances and traditional

ceremonies, information provided by key informants

and the base in the framework of exploring the form

of ideas behind the gondang sabangunan

performances and traditional ceremonies. The data is

recorded audiovisually. The techniques used are

interviews, recording of research events, participated-

observation, and analysis through the humanities and

social sciences.

3 RESULT AND DISCUSSION

The result of this research is discussed into 5 sub-

sections, which are : existency and challenge in the

present day, challenge, hope and opportunity of

gondangs sabangunan and traditional cermenoies of

the Toba Batak culture in the Samosir District.

3.1 Existence and Challenge in the

Present Day

One of the logic consequence of the social change and

local culture that has not yet been anticipated

maximally in the Samosir District, is not only the

degrading of the knowledge of the local society about

their own culture, but also the lesser contribution of

energy by them [attention, usage and documentaries

in the society].

The further effect is that in the present day,

based on the field research, every area in Samosir that

has been seen as the Batak center of civilization, there

has only been one to six music players (pargonsi)

specifically the taganing player (partaganing) and the

sarune player (parsarune), even in one of the cultural

region, there has not been found any music player,

which is in Sitio. More of it can be seen in this table

below.

Table 1: Distribution of Pargonsi (Players) of Gondang

Sabangunan in Samosir District

No Re

ion Partaganing Parsarune

1 Pangu

Ruran

1. Naibaho (50) 1. Sinurat

(55)

2. Jaliton

Ambarita

(65)

3. Barton

Ambarita

2Nain

olan - -

3 Onan

Runggu

BapakSamosir

1. Sitinjak

(70)

2. Sitinjak

(

)

4 Palipi 1. Marudut

Sinaga (58)

2. Jagossi

Sinaga (58)

3. Robinson

Sinaga (54)

1. Sahat

Sinaga (60)

2. Kamel

Rumapea

(45)

3. Saladin

Rumapea

(

)

5 Ronggurni

Huta

1. Baja Silalahi

(60)

1. Binsar

Nadeak

(67)

2. S.S.

Simbolon

(67)

6 Harian Boho - -

7 Sianjur

Mula-mula

1. Aliman

Limbong (55)

8 Simanindo 1. Mian Turnip

(53)

2. Laspear

Turnip (53)

3. Jo Simarmata

(39)

4. Jonri

Sidauruk (52)

1. Titer

Nainggolan

(54)

2. Jonder

Sitio (43)

9 Sitio - -

Beside that fact, there isn’t any growth in the

numbers of musicians of gondang sabangunan in this

Samosir District. Several factors that make the

growth of the numbers of musicians of gondang

sabangunan [parsarune and partaganing] are very

little in quantity among others are due to these socio-

musical things below :

(a) There has become fewer artists / pargonsi

who have knowledge of the tradition of

gondang sabangunan and a few indeed who

have succeeded in passing it down their

future generation.

(b) There has been no maximum effort either by

the community or the government in

overcoming the problem lacking of experts

The Tradition of Gondang Sabangunan and Custom Ceremony of the Toba Batak People in Samosir District: Challenge, Hope and

Opportunity

1439

who master the philosophical meaning of the

tradition of gondang, tortor and traditional

ceremony in the Toba Batak society in

Samosir.

down their knowledge to the younger

generation.

(d) Revitalization has only been done so far in

the context of developing the art galleries

financed by Local Government (District).

1. Revitalization has not touched on

how the tradition of gondang

sabangunan can be passed down to

the young generation both as

institutional and as non-formal

2. Local knowledge about the tradition

of gondang sabangunan, tortor and

traditional ceremony (ulaon adata) is

disappearing along with the death of

the artists / pargonsi because of their

old age and not passing down their

knowledge to the young people.

3. Moreover, many young people are

not trying to learn about how to play

the gondang sabangunan, they even

learn more about how to play

keyboard instead.

The phenomenon of this socio-cultural of

gondang sabangunan brought opinions from some of

the pargonsi that the existence of keyboard music in

the traditional ceremony in the society of Toba Batak

has been considered as an element that “shut off” the

tradition of gondang sabangunan. In this situation,

strong friction occurs between the gondang

sabangunan and the keyboard.

There is an opinion saying that many pargonsi

actually switch to keyboard music due to three main

factors, namely: (i) economy (greater honorarium);

(ii) more offers (demand) received to perform, and

(iii) indeed the wishes of community members. Thus,

the direction of the existence of gondang sabangunan

in the tradition of Batak Toba should inevitably deal

with the existing social phenomenon. The financial

factor (wage for the music players / pargonsi) and the

incompatibility of ancestral traditions with religious

ethics adopted by most members of the Toba Batak

community in Samosir District [including artists of

gondang sabangunan] is another reason that makes

people prefer keyboard music rather than the original

gondang sabangunan. This is the main reason besides

the supply and demand factors.

For some people, the essence of the tradition of

gondang / tortor / ulaon is not as equally same as in

pre-Christian time era because the existing one has

undergone a change, as a consequence of the change

of mindset of the society. This is closely related to the

invasion of advances in technology, information,

economics, education and socio-cultural society in

the society worldwide. The effect of this progress has

not only entered into the social life of people in the

city and in the remote areas, but also into the order of

their spiritual life. As a result, matters relating to the

implementation of rituals / customs and religions

must receive / undergo various changes through

various existing agents of change, such as mass

media, schools / education and various subjects of

other agents of change.

The tradition of gondang sabangunan (in practice

not in its instrumentation) has also experienced many

changes, especially related to the mindset of its user

community, and especially the people doing the

tradition. Many things, including the process and

rules related to the presentation of the tradition of

gondang sabangunan tailored to the needs and social

conditions that exist. This effort is made to gain

legitimacy from religious institutions as well as

conformity with the religious teachings of each

individual (user) community of users of that tradition.

There are also members of the community who

want different music instruments; some instruments

of the gondang sabangunan built and used with other

instruments like keyboard, trumpet, trombone, guitar,

sulim, hasapi, tamtam. In addition there are also

musicians of gondang sabangunan who switch from

the gondang sabangunan ensemble to a different kind

of ensemble that use instruments from the gondang

sabangunan

Although the tradition of gondang sabangunan

still exist but its presence in the community is

threatened with the occurence of the ensemble of

music gondang / keyboard that has been used often as

a replacement of the original gondang sabangunan in

the traditional ceremony. This condition (the use of

keyboard music) may be caused by several issues:

economic / financial in terms of usage charges;

customs and tradition which is complicated if

involving pargonsi; the tradition that is inconsistent

with one's beliefs / community; the tradition that still

adheres to pargonism; the prohibition by religious

institutions and the difficulty of finding Pargonsi.

It has also been a fact that there has been different

perception/concept in how to behave (how one

should have a certain attitude towards the tradition of

gondang sabangunan and on how it is presented in a

traditional ceremony/ ulaon adat, especially among

other different denominates believers [among

Protestants, Catholics and Pentecostal].

ICOSTEERR 2018 - International Conference of Science, Technology, Engineering, Environmental and Ramiﬁcation Researches

1440

Overall, the whole community of Toba Batak,

either the pargonsi (gondang sabangunan and

gondang hasapi), parmusik (keyboard), brass band

players, and etc, should understandthe importance of

continuity in the gondang sabangunan that is loaded

with many values and identity of Toba Batak. For that

reason, culturally and socially, there are hope and

opportunity widely open for gondang sabangunan.

3.2 Hope

The hope for the existence and development of the

tradition of gondang sabangun and ulaon adat is very

widely open if the people are aware of the importance

of cultural values rooted in the tradition inherited

from the ancestors of the Toba Batak community.The

tradition of gondang sabangunan is a heritage

inherited by the ancestors of Toba Batak

people/sijolo-jolo tube (people who were born prior).

The concept of local elders, especially the gondang

musicians (pargonsi) about the tradition of gondang

sabangunan is that the instruments used in the

ceremony, the rules on presenting, for some of it, still

considered the same with the tradition of gondang

sabangunan during the pre-Christian era : that the

conducts expressed during the ceremony of gondang

sabangunan is mainly worship.

In other words, the essence of the tradition of

gondang and traditional ceremony also contains a

belief that is loaded with the spiritual values,

togetherness, cooperation, kinship and sustainability

of the genealogy and kinship system itself.

In the practice of the tradition of gondang

sabangunan and the traditional ceremony (ulaon adat)

inherited to the members of Toba Batak community

in Samosir, there is also contained social science or

social education. Ulaon adat (traditional ceremonies)

is performed as the basis of laying the lineage or

kinship. People coming to traditional ceremonies are

not limited to eating and drinking onlyy, but further

to maintain the stability of brotherly relationships

among fellow descendants of a clan. Kinship must be

nurtured (constructed) so that it will last. Loss of

kinship (lack of understanding of family position in

the genealogy) results in the loss of one's status.

What is done in a traditional ceremony (ulaon

adat) is to maintain the continuity of kinship,

receiving and giving their obligations traditionally to

their fellow relatives.

The reason why gondang sabangunan has always

been present in a traditional ceremony (ulaon adat) is

due to the conducts expressed through music and

tortor in it is believed to be the way that the prayers

and requests of people can be forwarded to The

Almighty. The tradition of gondang sabangunan (in

this case the players, especially partaganing (taganing

player)and the panarune (the sarune players) are the

ones who are perceived as spiritually capable

individuals to reach God Almighty (Mulajadi Na

Bolon).

In addition, there are rules that must be appreciated

and followed in every traditional ceremony of

gondang sabangunan. The rules vary greatly;

depending on the user, the educational background,

religion /belief, economy, and others.

In the perspective of the cultural artists and

musicians of Toba Batak, when asked if the

traditional ceremony (ulaon adat) could be held

without the gondang sabangunan and their answer

was yes, it could, depending on the rules and what

tradition one takes as their beliefs, but usually people

would use the gondang sabangunan. Thus, the hope

that gondang sabangunan would remain in its

existence still be maintained according to their

perception of this.

Other expectations are also revealed when asked

whether the tortors should be presented only if they

are performed along with the gondang sabangunan,

and their answer was yes. Gondang sabangunan is

only in accordance with the tortor dance. There are no

other body movements, except the so-called tortors

that are suitable to be presented with the gondang

sabangunan. In addition there is a rule in manortor

(doing the tortor dance) the context of traiditional

ceremony (ulaon adat), because every movement in

the tortor dance has a philosopical meaning. Through

the tortor dance on the presentation of gondang

sabangunan the performers express their desire or

feelings towrad what/who they worship.

The tradition of gondang sabangunan and the

traditional ceremony are heritage of the ancestors, of

which the usage in the social life (traditional

party/rituals) would generate many beneficial things

including the more socialization of the importance

education, as a medium of preservation of social

norms (partuturon), as one of the tools to enhance

tolerance and respects to each other (marhula-hula,

marboru (in the aspect of dalih annatolu) and in terms

of increasing the recongnition in the values of the

bataknese practice, including language, tortor dance,

umpasa/umpama, also the local culinary that still

exist and have a central role and considered important

in a traditional ceremony (paradaton). This

knowledge was stressed by pargonsi (gondang

sabangunan msuicians) and local adat expert during

field research conducted in different villages in

Samosir.

The Tradition of Gondang Sabangunan and Custom Ceremony of the Toba Batak People in Samosir District: Challenge, Hope and

Opportunity

1441

3.3 Opportunity

The existence of traditional ceremony (ulaon adat)

(especially ulaon saur matua and mangongkal holi) is

a routine activity in the community that gives access

to the tradition of gondang sabangunan to survive in

society, although in certain conditions many

community members who want keyboard music

combined with some instruments from the tradition

gondang sabangunan and by using popular songs that

have nothing to do with the melodies of the tradition

of gondang music.

Another opportunity to continue to exist and

maintaining the development of gondang sabangunan

and traditional ceremony (ulaon adat) is that there is

a striking difference between a traditional ceremony

(ulaon adat) that is accompanied by gondang

sabangunan and by keyboard music. In a ceremony

that accompanied by the keyboard music,it is always

not clear anymore about the rules in the manortor as

well as in the maminta gondang's manner. Similarly,

the partuturon (kinship relationship) that occurs often

does not indicate the "harmony" of the performers,

because many things happen that have ignored the

proper relationships-that is, according to customary

norms . This [kinship and aesthetic values according

to customary norms] is what is missing if a

ceremonial / ulaon adat is accompanied by a keyboard

music.

4 CONCLUSIONS

From the above discussion it can be concluded that

things related to challenges, hopes and opportunities

have a close relationship with each other. The

challenge on the sustainability of the tradition of

gondang sabangunan, tortor and traditional ceremony

illustrates the level of need of the community for the

tradition of gondang sabangunan, tortor and

traditional ceremony in the social life of Toba Batak

community in Samosir District.

Similarly, expectations and opportunities are also

a projection of the need and availability of such

practices in society. The lesser need of the practice of

the tradition, the smaller opportunity there would be

for the continuity of the tradition itself. This situation

indeed affects the continuity of cultural values

(wisdom) that is contained in it.

The change in the concept of the traditional

meaning of the tradition itself is a cognitive area that

can be replaced at any time depending on the

educational background and the background of the

belief or religion of the performers of the tradition.

The existence of different religious believers in

society is also the substance that determines the

fundamental understanding of the tradition of

gondang sabangunan, tortor and traditional

ceremony.

The diversity that exists in relation to the meaning

or essence of the tradition of gondang sabangunan,

tortor and traditional ceremonies is a inevitability.

The situation must be received by the Toba Batak

community with different religion/beliefs in Samosir

District as a cultural richness and not vice versa.

Furthermore, observing the condition of

traditional gondang sabangunan, tortor and traditional

ceremony that took place in Toba Batak society in

Samosir district today, it is necessary to have a

planned and measurable revitalization activities and

also to involve cooperation in society including

government, private parties, artists and the

community itself as the actual user and actors.

ACKNOWLEDGEMENTS

The authors gratefully acknowledge that the present

research is supported by Ministry of Research and

Technology and Higher Education Republic of

Indonesia. The support is under the research grant

TALENTA USU of Year 2018 Contract Number:

2590/UN5.1.R/PPM/2018 at 16

March 2018.

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