The fact that the existence of traditional music which began forgotten today is a phenomenon that can not be denied. What response etonomusicolog Rithaony Hutajulu about this? The following excerpt interview with me.
What causes this phenomenon?
There are a few things. The first, the influence of religion. Especially in the traditional Batak, images music tradition is always associated with the old beliefs. There is a bad stigma of traditional art itself.
Second, modernization. There are images which assume that the traditional music of ancient aka outdated. This factor is very strong impact.
The third is a very rare media displays of traditional arts. Why do young people a sense of musical time is westernized? Because the music from where [the West - Red] that they often heard and seen. What they heard through the electronic media, its dominance is very high. Music that comes from the west [not Classic Pop] become a better music than other music for them.
How to answer this [as well as the technology has become the most important element in music]?
We know the technology also has become the most important element in music. But let us not hostile technologies. But embraced. That is, we must have a strategy is also to include this traditional art to the media. In the form of a CD recording for example. Or anything else, including the creation of composition.
Real effort was made. Such as the creation of World Music, which takes elements of tradition. In the West, this is already a lot done. Also in our country. For example by collaborating with Crishye Waljinah singer. Although maybe that was talkative, but at least can be an opportunity for young musicians to return to the tradition.
It is also likely to have done Irwansyah Harahap, Medan artist who has combined traditional elements of Batak into a single new idea. This is one way to enter the musical element in the younger generation to the next.
Also needed is a culture bags, which also displays traditional art. So who came not only artists, but from all walks of life. In Java it has long done with the Gedung Kesenian Jakarta [the routine featuring classical music performances - contemporary and traditional], for example. Teater Utan Kayu in Jakarta, Kedai Kebun in Yogyakarta that is also frequented by the expats.
In addition, in through educational channels. How to make the program packages how the tradition of teaching art that is packed to the schools. Our own education system has been actually been wrong. The perception that the art of traditional music is an important element to be taught in schools, are often ignored. After that, making socialization into the community. Section, in this traditional art is so far still been associated with customs.
Another matter, today's society prefer a practical and cost about traditional music, how is this?
It can not be denied. Now, a phenomenon that occurs in the community prefer a practical and inexpensive. For example by ordering a dish of keyboard music elements eliminate the original music.
If it is more important keyboard is used for reasons of cost, traditional musical instruments should not be forgotten original. Keyboard may be included, but not to eliminate the element of music available. But rather to enrich the traditional musical elements that already exist it.
The issue is, if artists can not live in the economy then he will leave the traditional music itself. Like many Batak Opera maestro who left traditional art after a golden era in the 1970s.
Therefore, traditional performing arts, such as Opera Batak who used to have a social function; medium of communication between the Batak people, must be raised again. Unfortunately, the opera could not follow the hobo as happens in Java. Puppet example, which until today still become a spectacle that still rage that with modernization. Still capable of being a puppet of educational media for the public, especially Java.
So not only the traditional music on traditional spikes only. Where there are traditional events, new in the traditional artists working there. If there is a regular media published outside the traditional music of the indigenous needs. Unfortunately, the government [Department of Culture and Tourism] also did not have the seriousness to address this.
What is unfortunate from this?
Doubt, the next generation might lose its identity as the problem of regenerating it. For instance, drum Karo said to be the world's smallest drum is very difficult to find someone who can play right now. Which is even harder, find someone who can make it.
While Japanese people bothered to record the ethnic music of the world, including the Batak, why do we even leave our own music.
In Japan ethnic music recognition is done through the schools to educate school children that there are a lot of music in this world. In essence, not only was the music that is around you. Musical horizons so that Japanese society is very broad. So after a child growing up, he already has a strong base, though he lived in the era of modernization that was all sophisticated.
Well, what about the younger generation in our country, North Sumatra [Field] in particular?
Our young generation is already hegemony by the taste [Pop] West. Well, in this condition is not addressed with the pessimistic attitude. The solution is what? That's what should be considered.
We do not expect the future of all young people to be lovers or uniform tradition artists. However, at least can be used as musical inspiration.
In the current global era, people should be more aware of the identity. Therefore, traditional music is also a part of self identity.
Revitalization of Traditional Music
Since a year later and Rithaony Hutajulu Irwansyah Harahap [both powering the Community Arts Music Traditional Suara Sama ("Same Voice")] has run the program for the revitalization of traditional music from the Ford Foundation support the United States.
"This program lasted for two years and has been running for a year," said Rithaony.
The purpose of this program is to revive traditional music in the four regions in North Sumatra, the Toba Batak [Parmalim; because they still have an element of the Batak culture is still closely], Karo, and Simalungun Pakpak Bharat.
In each ethnic tradition was 6-7 musicians who are empowered to teach traditional music to the next generation.
In addition, Rithaony said, this program also aims to study music applying traditions may be very different from the first.
"Actually, the Cultural Park Field itself is often traditional music training like this. Unfortunately nature is not continuous, so the results do not appear. No trace alias simply disappear," he commented.
According to Rithaony, Cultural Department actually has a budget for this. "But, God knows where the budget is made I know," he said again.
Well, this program is made more intensive. Bring an evaluator: Filifina music professor who evaluates the methods and other things.
Irwansyah Harahap and Rithaony also being a founder of draft art studio, which will begin as planned next July 2008. Scope, "Not only moving on music alone. But also other arts, " said Ritha.
In essence, through the galleries is expected to be established art community which is "intimate". "So later, people can slowly appreciate the art itself," said Rithaony hope.
"Sure someone could play jazz, rock or pop. That is fine. However, it would be nice if the art is maintained tradition. Least known. Because it is also part of our identity," he said.
Yes, music is also a symbol identity .*
Traditional Music of North Sumatra Phenomenon
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