Liturgical Music as a Means to Inculturation An Example from North Sumatra

Yoshiko Okazaki, RSCJ

INTRODUCTION: CHANGE IN L1TURGY­ keeping with the pure and authentic FROM UNIFORMITY TO DIVERSITY spirit ofthe liturgy. In certain parts of the world, especially RENEWAL IN lJTURGY in terms ofinculturation as laid down in directives from Vatican mission lands, people have their own Council II has resulted in a dramatic shift musical traditions, and those playa great from Western style liturgical uniformity in part in their religious and social life. the universal church to liturgical diversity in Thus, ... due importance is to be attached a variety of styles in local churches. Today to their music and a suitable place given languages, designs of churches, altars as to it, not only in forming their attitude well as vestments, postures, gestures and toward religion, but also in adapting songs used in the liturgy feature different worship to their native genius .... cultures and local styles, whether tradition­ But other instruments [those other than al or contemporary, indigenous or Western the pipe organ, the traditional musical or a mixture of both. Indeed the variety of instrument in the Latin Church] also liturgy in local churches in the whole world may be admitted for use in divine wor­ makes an extremely colorful picture, which ship ... ("International Commission on would have been unthinkable some thirty English in the Liturgy," 1982, articles years ago. Vital as this change has been in the 37,119,120: 4-28). history of the Roman Catholic Church, So the principle is quite clear. What is many questions have risen in the process. expected from local churches is to seek The Vatican Council's basic directive answers to the question: What form of litur­ towards the use of indigenous culture in gy, incorporating traditional elements of a liturgy! is stated as follows in The Consti­ culture, is relevant to a group of people tution on the Liturgy: gathering together to celebrate a liturgy? Even in the liturgy the Church has no (Chupungco 1992, 29). Many other ques­ wish to impose a rigid uniformity in tions occur when it comes to concrete matters that do not affect the faith or the implementation. Which elements of tradi­ good of the whole community; rather the tional culture can be chosen to be incorpo­ Church respects and fosters the genius rated into the liturgy, and with what criteria? and talents of the various races and peo­ If there is a conflict between an expression ples. The Church considers with sympa­ based on culture and one based on the thy and, if possible, preserves intact the church's teaching, how is it to be resolved? elements in these peoples' way of life How can old religious beliefs attached to that are not indissolubly bound up with traditional culture be reconciled with superstition and error. Sometimes in fact Christianity? Does the inculturated liturgy the Church admits such elements into help to create unity among a community, or the liturgy itself, provided they are in does it rather lead to divisiveness?

74 OKAZAKI: Liturgical Music

In this paper I shall focus on a liturgical THE TOBA BATAK PEOPLE: SOCIETY, inculturation experiment among the Toba CULTURE, AND MUSIC4 Batak people in the Medan Archdiocese of In the heart of Sumatra near Lake Toba live North Sumatra, Indonesia, which I the Toba Batak people. In Indonesia they observed and participated in during my are well-known as a Christian ethnic group fieldwork in ethnomusicology from 1989 to in a predominantly Islam country. Indeed 1992 and from 1996 to 1997. By presenting 90 percent of the total population of the some examples of liturgies that incorporate three million Toba Batak people belong to indigenous musical instruments, I shall the Toba Batak Protestant Church.5 This analyze different usages of these indige­ church resulted from the ministry of the nous musical instruments in the liturgy, in German Lutheran Church, which has been the light of different congregations in each successful in Christianizing the Toba Batak local church. people since the latter part of the nine­ Active participation being central to teenth century. Among the Christian Toba liturgical renewal,2 the composition of the Batak people exist a handful of Roman congregation becomes one of the crucial Catholics who comprise ten percent of all factors in determining the type of liturgical the Christians there. expression and form. In the case of the The Toba Batak people have unique Medan Archdiocese, which consists of at instrumental ensembles called gondang least eight different ethnic groups (Toba sabangunan and gondang hasapi. The for­ Batak, Karo Batak, Simalungun Batak, Pak­ mer, consisting of specific gongs, tuned Pak/Dairi Batak, Angkola Batak, Chinese, drums and oboe-like instruments, is an Javanese, and Niasans), the liturgies in official ensemble for solemn ceremonial local churches within the diocese are great­ feasts according to Toba Batak customs,6 ly diversified reflecting ethnic differences and for important occasions in present day (Pus at Penelitian Atma Jaya 1981, 29),3 The Toba Batak society, such as weddings, important point is that each of these ethnic funerals and ceremonies for dedication of monuments and buildings. In pre-Christian groups has a different language, culture, times especially, such ceremonies were customs and value system. This is not to almost always inseparable from the ritual mention the fact that traditional musical in trance based on a belief in spirits. The instruments and musical systems vary from latter, that is the gondang hasapi ensemble one ethnic group to the other. In this situa­ consisting of two plucked boat-lutes, a tion, experimentation in liturgical incultur­ xylophone and a clarinet-like instrument, ation in the Medan Archdiocese has been is mainly used for entertainment today, practiced quite energetically. especially accompanying singing. But this First of all I shall give some background type of ensemble also played an essential knowledge about the people, their religion role in Toba Batak religious rituals in the and culture as well as their music and past. musical instruments, the last of which is Musical instruments are often not only the focus of this paper. Much of the paper tools to produce sound but also play an will be spent on these background matters, important role as symbols (Becker 1988, since understanding the socio-cultural 390). They may symbolize a particular soci­ aspect of a people is essential to under­ ety, group of people, culture and religion­ standing why they do what they do in the for example, the pipe organ for the Christian liturgy. church and mokugyo (a wood block in the

75 JAPAN CHRISTIAN REVIEW 64 1998 shape of a fish) for the Japanese Buddhist Island, (3) mass for the anniversary of a ceremony, just to name a few; local seminary, (4) mass of dedication for a In pre-Christian Toba Batak society, gon­ new church on the outskirts of the city of dang sabangunan has been almost equiva­ Medan, and (5) Sunday mass at the Cathedral lent with Toba Batak religion and religious in Medan. ritual. Since spirit beliefs and ancestor wor­ ship rituals penetrated every aspect of Toba (1) The Golden Jubilee Mass of a Missionary in Batak life and a gondang performance was a Village of Samosir indispensable to the rituals, the gondang became the symbol, as it were, of Toba Batak Samosir Island on Lake Toba is heavily religion and the Toba Batak themselves.7 inhabited by the Toba Batak people. The Because of its deep connection with members of four parishes on the island practices related to belief in spirits, partic­ with as many as 65 outstation churches are ularly with trance ceremonies, the Lutheran almost all Toba Batak people. Therefore missionaries who pioneered the Christian­ Toba Batak language, customs, popular sym­ ization of the Toba Batak people forbade bols and ceremonial symbols often are fea­ the performance not only of the old religious tured in the Iiturgy . ritual, but also the gondang performance Just as large-scale ceremonial feasts, itself (Burton and Ward 1827, 502; Schrein­ such as weddings, funerals of eminent per­ er 1970, 408; Warneck 1909, 71-72, 75). sons and dedication of monuments, are to Today, however, gondang is being rein­ be celebrated according to Toba Batak cus­ troduced into Toba Batak society, on con­ toms with gondang sabangunan as the official dition that all the old religious meanings instruments, the same idea is transferred to and usage are stripped off (Schreiner 1970, Roman Catholic liturgy. It is considered 411) and clearly redefined as "traditional appropriate to celebrate big feasts, such as culture," not a part of religion. Today gon­ the dedication of a new church, anniver­ dang features the official music not only at saries or a priest's ordination ceremony, by Toba Batak traditional, customary cere­ performing gondang sabangunan and dance. monies but also at church events in both In such masses the traditional ceremonial Protestant and Roman Catholic churches. order is almost completely adapted to the In traditional ceremonies it accompanies Order of the Mass.s An appropriate reper­ dances performed by various kinship toire is chosen from traditional ceremonies, groups according to certain rules of Toba since no new gondang repertoire has been Batak customs (Okazaki 1994, 97-145). Gondang performances also take place in composed specifically for the Roman fund raising events at churches (Okazaki Catholic liturgy. The church leader who 1994,164-76). Indeed it is said that people takes the role of master of ceremonies pre­ become more generous when danCing to pares a ceremonial speech, called mangido gondang, because young and old alike gondang (meaning a request for gondang), enjoy dancing to gondang music while car­ between each gondang performance, plac­ rying and presenting gifts and money. ing each piece within the framework of a In the following section I shall introduce Christian meaning and the Order of the five examples of characteristic liturgies in Mass. As in Toba Batak ceremonies, seven terms of music and the use of musical (or five) gondang pieces are chosen and instruments: (1) the golden jubilee mass of a arranged according to the appropriate order missionary at a village of Samosir, (2) the from both the Toba Batak and Roman Easter vigil in a remote outstation of Samosir Catholic liturgical point of view.

76 OKAZAKI: Liturgical Music

A liturgical performance differs from a worship services on major occasions, gon­ traditional ceremony in at least three ways: dang hasapi is used much more flexibly (a) ceremonial dances are performed by the among the Toba Batak communities, as it is same representative group of people easier to assemble. Instruments are usually throughout the mass instead of rotating kin­ available among church members and it is ship groups, as in traditional ceremonies; relatively easy to find someone who can (b) Christian meanings are attributed to play the instruments. Most importantly, the gondang and dance pieces, and prayers are ensemble is not associated with Toba Batak included in the mangido gondang. traditional ceremonies and therefore can be A good example of a liturgical celebra­ performed in any liturgy. tion using gondang sabangunan and mangi­ Some mission churches in North Sumatra do gondang in their traditional ceremonial have come to use the bamboo flute and simple style was the mass of thanksgiving for the two-stringed plucked instruments to accom­ fiftieth anniversary of the priesthood of pany congregational singing at masses. Most Father Waterreus (August 1986). of the small churches cannot afford an organ At this mass the original meaning and pur­ but there is almost always someone among pose of gondang pieces at traditional cere­ the members who can play gondang hasapi monies were transmuted into Christian instruments. meanings in the following ways. Gandang In 1992 the Easter vigil liturgy at Silaban, Samba-samba, originally addressed to the a remote mission outstation church in gods, ancestors' spirits or kinship groups of Samosir Island, was celebrated using gon­ superior rank,9 was addressed to God the dang hasapi. Since Easter is the greatest Father or God the Almighty. Gandang Par­ liturgical feast in the church, about 500 siarabu, which originally meant gondang for people gathered together from four nearby death or an unhappy situation, was changed mission churches. Easter being the most to gondang for contrition of sins. Gandang significant and solemn of all liturgical cele­ Peiean, associated with offerings to spirits brations of the church, it may have been according to the medicine man's sugges­ more appropriate, from the Toba Batak sense tion, was earmarked to accompany the pro­ of propriety, to celebrate this significant cession dance in which people bring to the occasion with gondang sabangunan. How­ altar offertory gifts and ceremonial items ever, the members of a mission church in for the mass (bread, wine, flower, candles). Samosir came up with the idea of using Since the people are all Toba Batak, who gondang hasapi for the Easter vigil liturgy. are familiar with these traditional symbolic Interestingly the gondang hasapi ensem­ expressions adapted from Toba Batak cere­ ble for the liturgy included three taganing monies, almost all of them are satisfied and drums from the gondang sabangunan ensem­ feel proud of such a liturgy full of Toba ble. The reason for using only three rather Batak expression. Only a very few would than the normal five drums, according to question the validity of using all these sym­ Father Josue Stiener,lO who presided at the bols, while just reinterpreting the meaning mass, was that people decided after discus­ according to Christian understanding. sion that the full set of taganing could unleash undesirable associations with Toba Batak religious and trance ceremonies. (2) The Easter Vigil Mass at an Outstation in a Gondang hasapi accompanied all the Remate Village hymns during the mass. Old and young, While gondang sabangunan is generally men, women and small children all sang in performed infrequently-only in significant full voice with complete confidence under

77 JAPAN CHRISTIAN REVIEW 64 1998

the direction of a conductor. People after­ sion. Twelve players performed a combina­ wards said that they had never experienced tion style of gondang. Occasionally an elec­ such a joy-filled unity. The use of gondang tric organ and guitar were added to the and well-prepared, coordinated singing facil­ ensemble to achieve a clearer and more itated the congregation's full participation sustained rendition of the melody. This and aroused a sense of unity and satisfac­ style of combined ensemble has been tion, which is vital to a liturgy. developed during the past ten years by a From the viewpoint of appropriateness group of musicians among the seminarians, of the liturgical music, this example offers with the help of some professional gondang interesting points to consider. The fact that performers. It has become popular since the gondang hasapi, which is usually associated group accompanied some newly composed with lighter, less official music by the con­ hymns for cassette recordings in 1989.11 temporary Toba Batak people, was chosen for The main reason for combining the two the greatest feast in the church shows, from ensembles was a practical one: to get clear­ the liturgical point of view, that the people er pitches from the gondang hasapi instru­ felt free to do so in the Christian context, ments as well as typical Toba Batak rhythmic which differs from custom-bound Toba effects from the gondang sabangunan Batak ceremonies. Traditionally it is natur­ instruments. Four gongs playa syncopated al for the Toba Batak people to use gondang rhythmic pattern12 throughout a piece in sabangunan for major events. For the con­ every repertoire. It is interesting to note ventional Christian Easter liturgy, special that the seminarians enjoyed playing the hymns and choirs usually feature in the gongs even when the pitches didn't match liturgical music. Thus from both Toba the melody, according to a Western musi­ Batak and Roman Catholic liturgical points cal sense. The original function of each of view, the Easter vigil liturgy at the instrument is retained, except for the tagan­ church of Silaban was a breakthrough into ing that occasionally imitates the drum­ something new and free. ming style of Western popular music. Interestingly this instrumentation is also (3) Anniversary Mass at a Local Seminary common in popular music, although it is unclear whether or not the young seminar­ The fifth-year anniversary mass of the ians got the idea from that. In liturgy, how­ major seminary was celebrated in Pematang ever, they have not gone to extremes with Siantar, a town located halfway between such instrumentation, for example by cre­ the city of Medan and Lake Toba. The ethnic ating differently sized instruments or using composition of the seminarians was quite drum sets and synthesizers. rich, with Toba, Karo and Simalungun Bataks, plus those from Nias, Java, Sunda, (4) Mass for the Dedication of a New Church on Kalimantan, Flores and some other ethnic the Outskirts of the City of Medan groups. The average age was early- to mid- 20s. A Western-style new church, designed by The liturgical music planned by the an Italian architect, was completed on the seminarians was innovative in the sense that outskirts of the city of Medan, and a great they combined two instrumental ensem­ many people attended the opening mass bles-gondang sabangunan and gondang celebrated by the archbishop of Medan. A hasapi-and even added Western musical special liturgy was prepared by Father instruments to accompany hymn singing Purba, former director of the diocesan litur­ and simple dance at the offertory proces- gical commission, together with a young

78 OKAZAKI: Liturgical Music ethnomusicologist from among the parish­ Chinese and others, including Javanese, ioners. Sundanese, Florenese and Niasan. The liturgical music was a mixture of This ethnic composition of the city different ethnic expressions. Since 70 percent inevitably influences the liturgy in the of the parishioners are Karo Batak, and the cathedral. The idea of using one particular rest are Toba and Simalungun Bataks, the cultural expression from these ethnic groups repertoire of the Order of the Mass was is hardly acceptable in this situation. The divided among the three different Batak language has to be Indonesian, the common groups: the entrance procession in Karo language for all,13 For the same reason no Batak style, the Kyrie in Toba, the Sanctus by indigenous instrument except a medium­ Simalungun, the Agnus Dei by Toba again. sized hanging gong, probably taken from a For the offertory procession, other ethnic Javanese gamelan orchestra, is used during groups such as Niasans, Javanese and Kali­ the mass. The gong is beaten twice at the mantanese also joined in by carrying their consecration. The electronic organ, a West­ unique items of offering. Father Purba ques­ ern musical instrument, is used to accom­ tioned putting too much emphasis on the pany hymn singing and sometimes for offertory by using an elaborate and time­ interludes. Songs are chosen from the general consuming procession, but he had to yield to hymn book called Madah Bakti (Praise in the request because of each group's enthu­ Service), which includes hymns in the Indonesian language in various ethnic siasm for presenting their gifts in its own styles-Flores, Sulawesi, Java, Sunda, Bali, ethnic style. Small though this episode may Mulayu, Batak, Manado and so on. Each be, it shows an instance of conflict between ethnic hymn demonstrates specific differ­ cultural values and Church values. ences in style, melody, rhythm and general Another innovative experiment in this feeling. By singing repeatedly on Sundays, mass was the creation of a dance that incor­ people are exposed to the many styles and porated characteristic gestures of the vari­ characteristics of each region. No one ous ethnic dances. This was quite an excit­ specific culture dominates in the liturgy, ing part of the whole project in liturgical but European hymns and the organ, which inculturation, in the sense that it went belong to everybody and not to anyone beyond the mere borrowing or repeating of ethnic tradition, function best as "the com­ expressions already in use by the culture or mon expression" for all in such an ethni­ cultures. cally heterogeneous group.

(5) Sunday Mass at Medan Cathedral CONCLUSION On Sundays, Medan's Cathedral is filled These examples show how people in the with Roman Catholics who live in the city, Medan archdiocese have created various gathering together to celebrate the liturgy. styles of liturgy that incorporate traditional Many of the 300 ethnic groups in Indonesia musical elements-musical instruments to be are represented in the church membership. more specific, according to the composition While many of the villages in the rural of the congregation in each local church. In areas consist of just one ethnic group, a city addition there are innumerable examples of like Medan is truly multiethnic, comprised local churches with other situations and of various Batak ethnic groups, such as conditions. Each one illustrates either the Toba Batak, Simalungun Batak, Karo Batak, emphasis on traditional cultural elements Pak-Pak/Dairi Batak, plus Malay, Aceh, that are reinterpreted and given Christian

79 JAPAN CHRISTIAN REVIEW 64 1998 meaning or the emphasis more on external ment, is used. The organ functions in a cul­ cultural expression that is freely arranged turally neutral way in this situation. and often characterized by Westernization. In the case of the newly-built church on The different emphases are related to the the outskirts of the city of Medan, members composition of the congregation: those that used more than one ensemble to express are homogeneous like the Toba Batak, and the music of the various ethnic groups by those of mixed ethnic groups. assigning each group to perform different Examples one and two above are both portions of the mass. They also created a churches on Samosir Island where almost dance that mixed different characteristic all the members are Toba Batak. There are elements of each ethnic group. still quite a few villages on Samosir Island The third example of the mass at the and elsewhere with homogeneous ethnic seminary also represents a multi ethnic com­ groups, although they will not remain so munity, since seminarians come from various for long. In an ethnic composition a liturgy ethnic groups of Sumatra and the other incorporating traditional expressions and islands. These seminarians are more eager to styles into the mass makes sense, since look for some common expression rather people usually have a common knowledge than to emphasize one particular cultural and understanding about what each expres­ expression. Mixing the two gondang sion means within their community. ensembles certainly softens the identity of A congregation consisting of the same each one. The addition of some Western instruments shows the tendency to depart ethnic group can share common symbols, from the traditional rendition, choosing meaning and memory. Many Toba Batak what is better according to the practical are glad to participate in a mass that incor­ purpose of accompaniment to singing, and porates gondang sabangunan with Toba also according to what is more interesting Batak ceremonial ritual, dance and speech (and probably more "modern"). because they feel their prayers and praise Today, some 30 years after Vatican are being offered in a Toba Batak way. Council II, the world has changed from While this is true, some clergy, like Father what it used to be. It is now moving Purba, question to what degree it is possi­ towards urbanization, multiculturalization, ble and permissible to borrow from the old internationalization and globalization. There religion and reinterpret its elements as Chris­ is also, inevitably, a strong tendency towards tian and whether it is necessary instead to Westernization (Nettl 1981). Changes in compose completely new gondang pieces rural areas might be slower but they are and dances specifically for Catholic liturgy. surely happening. Socio-cultural realities In contrast the fourth and the fifth exam­ of local churches are also changing. Once ples represent multiethnic churches. In this homogeneous communities are becoming situation it is considered inappropriate to more heterogeneous. In such a situation it emphasize only one particular ethnic is necessary to realize that the meaning of expression. Something more general and "traditional culture" or "the cultural tradition inclusive or a completely new expression of a people" has to be considered from should be used. Interestingly the way in many different aspects. which traditional music and musical Gondang sabangunan, incorporated into instruments were incorporated in these two the liturgy with Toba Batak ceremonial examples are quite different. In the case of form, dance and speech, makes the most of the cathedral the traditional is abandoned the traditional Batak style, while adapting or avoided, and the organ, a foreign instru- a Christian interpretation of gondang and

80 OKAZAKI: Liturgical Music dance. Many Toba Batak feel proud to par­ because of the urgent need for new liturgy in ticipate in masses that have taken on a local churches, which are becoming more strong Toba Batak flavor. If this kind of litur­ pluralistic. An important and challenging gy makes sense only in ethnically homoge­ question is how people experience partici­ neous churches like those on Samosir pating in such a liturgy. Do they recognize it Island, how long such a situation will last is as "our celebration" or do they feel alienated? a question. Another question concerns the Depending on how traditional cultural validity of the adaptation and reinterpreta­ elements are used, the liturgy could create tion of the old religious meaning attached to either growth in community or divisive­ traditional culture as Christian. Although ness. An ethnomusicologist who observed very few people still know about the old a case in Papua New Guinea stated that religious beliefs, it is true that for some, since the singing of hymns in a vernacular certain old symbols may remind them of language could create divisiveness rather such beliefs. Whether or not this is still a than community among the people, indige­ very serious problem, someone like Father nization has to be pursued with care (Niles Purba strongly desires to stop adaptation 1997,6). and to start creating a liturgy with gondang Since musical instruments of various pieces specifically composed for Roman peoples are one of the most powerful cul­ Catholic masses.14 How to do this is a new tural markers, their use in liturgy can be challenge. effective or counter-productive in liturgical When gondang hasapi is incorporated inculturation, depending on the type of into the liturgy, it seems that more creative congregation in the local churches. Just as and freer ideas seem to operate, partly "inculturation" is defined as "the dynamic because this music is not tied so closely to relation between the Christian message and traditional ceremonies, and partly because it culture or cultures: an insertion of the is easier to perform. Whether instruments Christian life into a culture; and the ongoing of two different ensembles are combined or process of reciprocal and critical interac­ Western instruments are added, people tion and assimilation between them," the choose freely what seems to be "better" tension between socio-cultural factors and from a practical point of view or what is liturgical appropriateness will never fade more "interesting" and probably more (Azaevedo 1982, 11). Liturgical incultura­ "modern." The mixed gondang ensemble tion carried out with courage and care will with the organ and guitar performed by the give birth to expression that truly makes young seminarians definitely demonstrated sense, both from the cultural and Christian the Westernization of Toba Batak culture. points of view. Other experiments include the juxtapo­ sition of various ethnic expressions within NOTES one liturgy, making provision for the repre­ sentation of each element and the creation of 1 For "inculturation," see nos. 37-40, 119 and something new that incorporates elements of 123 in the Constitution on the Liturgy, although the differing cultural expressions. Fr. Purba's terminology, "inculturation" is not used in the doc­ idea-an ideal indeed-is to examine the ument. It came into usage only in the late 1 970s. essential elements of several cultural 2 For "active participation," see nos. 19, 26, expressions and to combine them in such a 28-30 and 100 in the Constitution on the Liturgy. way that various cultural elements are 3 The Toba Batak occupy 76.6%; Karo Batak, molded into an integrated expression.15 12.7%; Simalungun Batak, 6.0%; Pak-Pak Batak, This is probably the most demanding task 1.9%; Chinese, 2.0; the rest are small in number.

81 JAPAN CHRISTIAN REVIEW 64 1998

4 For more detail, see Okazaki 1994, 39-163; 13 All Indonesians are bilingual, speaking both Sherman 1990,36-116,312-21; Sibeth 1991; and their ethnic group's mother tongue and the stan­ Simon 1986 and 1995. dard language, Indonesian. The Indonesian lan­ guage was constructed in the 1920s for the purpose 5 The Toba Batak Protestant Church is known of national unity among the three hundred ethnic as HKBP (Huria Kristen Batak Protestan) in Indone­ groups in the country. sia and is exclusively for Toba Bataks. The church has become the largest Protestant denomination in 14 This was from an interview and informal Southeast Asia. For more detail see Nyhus 1987, conversation I had with Father Benyamin Purba 127-430. during my fieldwork (Pematang Siantar and 6 The detailed set of rules concerning rituals Medan, July and August, 1996 and 1997). and conduct among an ethnic group observed as 15 This kind of project, though it may be in customary law is called adat, which in origin has much larger scale, is already being experimented spiritual and religious aspects. Any inquiry into with among artists in Asia. The recent staging of the life of Toba Batak people (their philosophy, "Lear," which was produced through the cooperation values, culture and religion) would be impossible of artists from six Asian countries, is a good exam­ without a detailed understanding of adat. For more ple. A Singaporian director, Ong Keng Sen, says, detail, see Bruner 1959, 55, Okazaki 1994, 52-57, "Tradition has continued to include change, in Sianipar 1974, 28-29, and Vergouwen 1964. order to sustain its relevance .... As a traditional 7 Most of the Toba Batak know that even today theater it negotiates roots, identity and tradition" gondang is performed at the healing ceremony (Japan Foundation Asia Center 1997, 5). secretly done at midnight in remote mountain places. From this point of view, gondang can still be associated with old Toba Batak religion. REFERENCES 8 Bishop A.B.Sinaga of Sibolga Diocese, who is Azeavedo, M. de C. Inculturation and the competent in both Toba Batak religion and Christian Challenge of Modernity. Rome: Gregorian liturgy, is the person who studied the relationship University, 1982. between the two and created the mass that incor­ Becker, Judith. "Earth, Fire, Sakti, and the porates all the Toba Batak ceremonial symbolisms Javanese Gamelan," (Sinaga 1981). Ethnomusicology 32/3 (1988): 385-91. 9 According to Toba Batak adat (see note 5), Burton, Richard and Ward, Nathanael M. detailed rules are applied for reciprocal and "Report of the Journey into the Batak unequal relationships among three kinship groups through marriage: a husband's own lineage, his Country, in the Interior of Sumatra, in the father-in-Iaw's lineage, and his son-in-Iaw's lin­ Year 1824" Transactions of Royal Asiatic eage. Ceremonial dance gestures and the presentation Society of Great Britain and Ireland 11 of offerings, while dancing to gondang accompani­ (1827): 285-513. ment, express the status among the kin groups. Chupungco, Anscar J. Liturgical Incultura­ This is related to an ancient Toba Batak belief in tion. Collegeville: Liturgical Press, 1992. supernatural power flowing between these groups or persons. "International Commission of English in the Liturgy," Documents on the Liturgy. Trans. 10 Interviews with Father Josue (Mela, Sibolga, and ed. by Tomas O'Brien. Collegeville: June 4, 1992; Pematang Siantar, June 8,1992). The Liturgical Press, 1982. 11 The Medan Archdiocese Liturgical Commis­ Japan Foundation Asia Center. Lear. A pam­ sion published four cassette tapes of newly com­ phlet for the performance. Tokyo: The posed hymns in Toba Batak style, all of which are accompanied by traditional instruments and/or the Japan Foundation Asia Center, 1997. organ. Komisi Liturgi Seksi Musik. Madah Bakti. Yogyakarta: Pusat Musik Liturgi, 1980. 12 It is said that the syncopated rhythmic pattern constantly played by four gongs throughout a piece Niles, Don. "Traditional Music and Christian­ is the hallmark of Toba Batak gondang (Simon ity in Papua New Guinea." A paper pre­ 1986,25). sented at the 34th W orId Conference of the

82 OKAZAKI: Liturgical Music

International Council for Traditional Sianipar, F. H. "Religions and Adat," South Music. Nitra, Slovak Republic, 1997. East Asia Journal of Theology 113/1 (1972): Nettl, Bruno. The Western Impact on World 28-42. Music. New York: Shirmer Books, 1985. Sibeth, Achim. The Batak. With contribu­ Nyhus, Edward. "An Indonesian Church in tions by Uli Kozak and Juara R. Ginging. the Midst of Social Change; The Batak London: Thames and Hudson, 1991. Protestant Christian Church, 1924-1957 Simon, Artur. Gondang Batak Nord Sumatra. (Sumatra)," Unpublished Ph.D. disserta­ Record commentary. Museum Collection tion, University of Wisconsin, 1987. Berlin (West) MC-12, 1986. Okazaki, Yoshiko. "Music, Identity, and Reli­ --. "Gondang Batak Toba," Yearbook for gious Change among the Toba Batak Peo­ Traditional Music 23 (1993): 81-88. ple of North Sumatra," Ph.D. dissertation, Sinaga, Anicetus B. Gondang Batak Toba. University of California, Los Angeles, Sibolga: n.p., 1991. 1994. --. The Toba-Batak High God. St. Pusat Penelitian Atma Jaya. Archdiocese of Augustin, West Germany: Anthropos Insti­ Medan, North Sumatra Indonesia. Jakarta: tute, 1981. Atma Jaya, 1981. Vergouwen, Jacob C. The Social Organization Schreiner, Lothar. "Gondang-Musik als Uber­ and Customary Laws of the Toba Batak of lieferungsgestalt Altvolkischer Lebensord­ Northern Sumatra. Trans. by Jeune Scott­ nung," Bijdragen tat de Taal-, Land- en Kemball, with the preface by J. Keuning. Volkenkunde 126 (1970): 400-428. The Hague: Martinus Nijhoff, 1964. (Origi­ Sherman, D. George. Rice, Rupees, ad Ritual: nally published in Dutch, 1933) Economy and Society among the Samosir Warneck, Johannes. The Living Forces of the Batak of Sumatra. Stanford, Calif.: Stan­ Gospel. Edinburgh and London: Oliphant, ford University Press, 1990. Anderson and Ferrier, 1909.

83