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"Selain itu dalam peranannya sebagai penafsir dan pelaku ritual, komunitas tidak dapat terlepas dari orientasi komunitas itu sendiri terhadap kaidah-kaidah yang berasal dari sumber lain. Orientasi komunitas dalam hal ini dijelaskan sebagai sistem kaidah atau norma yang muncul dalam pertunjukan tabut yang mengacu pada sistem tradisional dan sistem nasional. Lebih jelaskan, orientasi komunitas adalah kecenderungan-kecenderungan komunitas mengaplikasikan kaidah-kaidah, norma-norma yang diadaptasi dari berbagai sumber dalam praktek ritual, baik yang ditransmisikan antar generasi dalam intern komunitas maupun yang diterima melalui sosialisasi langsung dari luar komunitasnya. Kaidah-kaidah atau norma-norma yang dipungut dari sumber yang ditransmisikan antargenerasi dalam komunitas disebut sistem tradisional. Sedangkan kaidah-kaidah atau norma-norma yang diaplikasikan dalam ritual yang bersumber dari luar komunitas disebut sistem nasional."

"This writing is about Gondang music which exists among the Toba Batak Parmalim community of Hutatinggi in the district area of Toba Samosir, North Sumatra province of Indonesia. Content of discussion includes an historical background of the people and knowledge and expressions of Gondang music among Toba Batak people in general and Parmalim community in particular. The performance aspects of Parmalim gondangs, including music ensembles, repertoires and ritual-musical practices, will also be discussed as part of discussion."

"The assumption that theater functions as a document of the community falls under question. Such an assumption emerges, for example, from the ideas of Paul Ricoeur on theories of the text, which takes textual discourse as an inscription of oral discourse. Social reality is seen as oral discourse, allowing for the view that the narrative aspect of theater presents its textual discourse. The classic study of the ludruk theater by James Peacock demonstrates haw the ludruk holds within it the anxieties of members of the ludruk community in East Java over modernization. In Ricoeur's terms, such anxieties are inscribed in ludruk performances. Holding to the assumption of theater as document, one would expect to see performances related to the reformation movement of the present. However, the 'Gaya Baru' Lenong Theater, performed by the 'Sarkim' group at a wedding occasion on March 20, 1999 in the village of Jelabong, East Buaran, Serpong, displays no significant inclinations toward the reformation. During the performance that ran until 3.45 in the early morning, the author recorded only three pertinent words from the panjak's jokes: krisis, sembako and PHK. This leads to following question: should the assumption of the role of traditional theater in documenting the community be revised; or does the community see no importance in there formation that is occurring at the national level?"

"The khanduri of the tree blossom is performed in Jumadil Akhir (the sixth Islamic lunar month). The khanduri is held for fruit-bearing trees. It aim is tu ensure that the trees will bear fruit andtheir blossoms will not fade and fall onto the round prematurely, thatthey will not be attackedby pests so that they will contribute to the livelihood of human beings. This research is a fieldresearch and its data were obtained through meticulous observation and in depth interview withkey informants. The result of the research shows that it is the winds that cause the trees to blossom. The village people performed this ritual in order that the condition of fertility of fruit-bearing trees is safeguarded but the fertility is dependent upon much more important factorrs than just the willingess of the individual family to perform the ritual. The fertility of the tree is dependent upon collective village performance, dependent upon respecting jinn, dependent upon just leadership and dependent upon adat, particularly regarding probihition adn incest which are regarded as a major infringement on community life."

"Tulisan ini membahas implikasi dari ikatan-ikatan ritual sebagai suatu sarana kultural yang khusus untuk menjadi bagian dari masyarakat Bali. Dengan menggunakan contoh kasus suatu kelompok asal-mula (origin group) Bali Aga yang memiliki derajat tinggi, yakni Kabayan dari Wangaya Gede di Gunung Batukau, penulis berargumentasi bahwa sebagai suatu dimensi yang melengkapi atau yang menjadi alternatif dari keanggotaan dalam suatu kelompok asal-mula (origin group), subordinasi-ritual (ritual subordination) kepada para pemimpin kelompok itu menghasilkan suatu struktur hirarkhis yang bertentangan dengan ideologi egaliter yang selalu diasosiasikan dengan Bali Aga pada umumnya. Keunikan dari kelompok asal-mula Kabayan ini ialah terstrukturnya kelompok itu seputar suatu garis pusat (garis purusa). Dalam struktur itu, garis keturunan langsung dengan suatu kelompok kekerabatan berdasarkan satu garis keturunan (lineage) dari para pemimpin masa lalu yang memiliki prestige, merupakan hal yang amat penting. Keberadaan warga biasa (warga) yang melaksanakan subordinasi-ritual dalam bentuk masiwa ke garis purusa (memohon air suci yang diperlukan untuk ritualnya) merupakan kriteria yang relevan bagi keanggotaan dalam kelompok. Berdasarkan latar belakang etnografis tersebut, tulisan ini menunjukkan bahwa jauh dari kenyataan sebagai sub-kategori masyarakat Bali yang tidak memiliki penampilan hierarkhis kelompok asal-mula Bali Aga itu justru mewujudkan penampilan yang mirip dengan kelompok-kelompok bangsawan dalam masyarakat Bali umumnya. "

""Dengan tersedianya data etnografi suku-suku bangsa tersebut di atas, tahap awal daripemanfaatannya bagi Pembangunan Nasional dapat memperoleh momentumnya, meskipun dimensi, ciri-ciri khusus dan dinamikanya masing-masing masih harus diteliti dan diungkapkan. Pembangunan Nasional Indonesia melalui berbagai GBHN, Repelita dan RPJM, dan selanjutnya kelak RPJP, dilaksanakan meliputi seluruh penjuru Tanah Air Indonesia, baik Pembangunan Sektoral maupun Pembangunan Daerah. Pembangunan Nasional pada hakekatnya identik dengan Pembangunan Daerah, dalam artian Pembangunan Nasional dilaksanakan di daerah-daerah. Dalam era Otonomi Daerah saat ini, Pembangunan Daerah dalam rangka Pembangunan Nasional memperoleh ciri baru, yaitu Daerah Membangun untuk mengisi Pembangunan Nasional.""

"Indonesia is a multicultural society consisting of more than 500 ethnic groups, cultures, and various religious beliefs. They are united as a nation by the national state system of Indonesia. The Indonesian state was built by the founding fathers on the basis of the ideology of 'Unity in Diversity' (Bhinneka Tunggal Ika). During the Soeharto regime, it was turned into a state based on militarism, violence, totalitarianism, and was centered in the hands of the powerful elites. In line with the violence, militarism and totalitarianism, there has been an active use of primordialism (ethnicity and Islamic religion as the political tools). In this article the author presents the essence of Indonesia's multiculturalism and its potentials to unite and break up as a nation, as well as solutions on how to take care and maintain a democratic multiculturalism."

"Pada hemat kami, sirik pada orang Bugis-Makassar, kalau itu masih benar potensial untuk dapat menemukan reorientasi dan transformasi ke dalam interpretasi yang dapat menekapi etos kebudayaan nasional Pancasila, yang segenap unsur-unsurnya merupakan darah-daging pribadi sirik, maka sirik itu niscaya dapat menjadi daya dorong yang kuat bagi pembinaan kebudayaan Indonesia."

"Sebagai bab penyimpulan, maka ia pun berupaya memberikan penajaman atas masalah-masalah masa kini To-Kaili, yang akan mengantarkannya ke masa depan, atau hari esok."

"From the 1860's up to the 1940's, German missionaries under the leadership of Dr. I.L.Nommensen succeeded in converting many of the Batak Toba to Christianity, and along with the Dutch colonial government developed a Western education system in the Batak homeland. Following this, educational improvement among the Batak Toba helped foster the development of Christianity and the Church. As a further development, the Church has extended its reach from matters of personal life to the collective life of the Batak Toba. While introducing new values to the people, the Church seeks to eradicate traditional cultural values that are not in accord with its own, such as the gondang sabangunan and tortor (the ceremonial music and dance of the Batak Toba) and a number of ritual ceremonies. The Church's desire is today reflected in the book Hukum Siasat Gereja, which deals with the norms of Christian social life. Several articles in the book place restrict the musical activity of Christian Batak Toba, especially the performance of gondang sabangunan and tortor in the context of ritual ceremonies. Through an ethno historical approach, this article examines change in the functions and dynamics of gondang sabangunan and tortor performances among the Christian Batak Toba of North Sumatera. The study covers the period between the 1860's and the 1990's. Aside from discussing a number of social and cultural factors that have led to changes in the function of the ceremonial music and dance, several rulings on the performance of gondang sabangunan and tortor in the Hukum Siasat Gereja will also be discussed. The purpose of this last discussion is to show the extend of the Church's influence in the context of this change. The article also provides a discussion on the response of the Christian Batak Toba toward these rulings."