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2018

A History of the Organizational Structure

of Pesparani/Pesparawi: How Choral Music
Helped Promote Unity in Indonesia
Henry Susanto Pranoto

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 FLORIDA STATE UNIVERSITY

COLLEGE OF MUSIC

A HISTORY OF THE ORGANIZATIONAL STRUCTURE OF PESPARANI/PESPARAWI:

HOW CHORAL MUSIC HELPED PROMOTE UNITY IN INDONESIA

By

HENRY SUSANTO PRANOTO

A Dissertation submitted to the

College of Music
in partial fulfillment of the
requirements for the degree of
Doctor of Philosophy

2018
Henry Susanto Pranoto defended this dissertation on April 16, 2018.
The members of the supervisory committee were:

Kevin Fenton
Professor Directing Dissertation

Frank Gunderson
University Representative

Andre Thomas
Committee Member

Kimberly VanWeelden
Committee Member

The Graduate School has verified and approved the above-named committee members, and
certifies that the dissertation has been approved in accordance with university requirements.

ii
Dedicated to: my beloved wife, Christy Rahma Septiani and my baby girl Zephaniah Emanuelle
Pranoto

iii
 ACKNOWLEDGMENTS

The author wishes to express sincere appreciation to the following individuals:

• To Kevin Fenton for providing necessary guidance and continual encouragement

throughout the writing process of this dissertation.

• To Andre Thomas for his continual support as teacher who enables me to further pursue
my education.

• To VanWeelden for her kind heart, encouragement, support, and love.

• To Frank Gunderson for his willingness to facilitate, kindly support, and encourage me in
writing this dissertation.

• To Suzanne Byrne for her continual support and help throughout my dissertation writing
process.

• To Tatty Pohan, Ronald Pohan, Aida Swenson, LPPN administrators (Santun Situmorang
and Marali Purba), and all YAMUGER members (Soni Hutomo, Robert Nainggolan, and
many others) who facilitate and provide necessary documents for this Dissertation.

• To Amy Kimura and Westminster Choir College Library that provide me with necessary
documents for this research.

• To my beloved mother, father and my whole family who consistently love and support
me in prayers.

• To my wife and my baby Zephaniah who lovely support and provide continues
encouragement for me.

• To many Indonesian friends, musicians, composers, and conductors throughout Indonesia

who willingly participate and support this research project.

iv
 TABLE OF CONTENTS

List of Tables ................................................................................................................................ vii

List of Figures .............................................................................................................................. viii
Abstract .......................................................................................................................................... xi

1. INTRODUCTION: PURPOSE AND PROCEDURES ..............................................................1

1.1 Problem Statement ...............................................................................................................1

1.1.1 Sub-problems ............................................................................................................1
1.2 Definition of Terms .............................................................................................................2
1.2.1 Delimitations .............................................................................................................2
1.3 Need for the Study ..............................................................................................................3
1.3.1 Purpose of the Study .................................................................................................3
1.4 Procedures ...........................................................................................................................3
1.4.1 Organization of the Study .........................................................................................4

2. NATIONAL PESPARANI/PESPARAWI CHURCH FESTIVAL FROM 1983 TO 1996 .......5

2.1 Two Institutions Preceding the Establishment of National PESPARANI/PESPARAWI ...5

2.1.1 The Indonesian Government .....................................................................................5
2.1.2 YAMUGER ..............................................................................................................6
2.1.2.1 The Establishment of the Church Music Foundation (YAMUGER).........12
2.1.2.2 PESPARANI/PESPARAWI YAMUGER ................................................14
2.1.3 The Early Development of National PESPARANI/PESPARAWI in 1973............18
2.1.4 The Establishment of National PESPARANI/PESPARAWI I ...............................20
2.1.4.1 The Legalization of National PESPARANI/PESPARAWI in Indonesia ..21
2.2 National PESPARANI/PESPARAWI I – V: The Development Period of Indonesia (1983
– 1998) ...............................................................................................................................23
2.2.1 The Delay of the National PESPARAWI VI Celebration ......................................33

3. NATIONAL PESPARAWI CHURCH FESTIVAL FROM 2000 TO 2015 .............................37

3.1 The New Order Regime (1967 – 1998) and Indonesian Reformation in 1998 ..................37
3.2 National PESPARAWI VI - XI ........................................................................................40

4. AN EXAMINATION OF CHORAL LITERATURE FROM PESPARANI/PESPARAWI

1983 TO 2015 ................................................................................................................................66
4.1 Compiling Repertoire Performed at the National PESPARANI/PESPARAWI I - XI......66
4.1.1 Categorization the Repertoire National PESPARANI/PESPARAWI I - XI ..........68
4.1.2 Music Analysis of Song God is with Us by Binsar Sitompul .................................77
4.1.3 Theme and Sub-Theme of National PESPARANI/PESPARAWI I - XI................81

5. SUMMARY, CONCLUSIONS, & RECOMMENDATIONS FOR FUTURE RESEARCH ...82

v
 5.1 Summary ...........................................................................................................................82
5.2 Conclusions .......................................................................................................................83
5.3 Recommendations for Future Research ............................................................................85

APPENDICES ...............................................................................................................................86

A. REPERTOIRE LITERARURES OF NATIONAL PESPARAWI I - XI .................................86

B. THE FULL ANALYZED MUSIC SCORE OF THE SONG GOD IS WITH US BY BINSAR
SITOMPUL....................................................................................................................................98
C. IRB APPROVAL MEMO .......................................................................................................108
D. LEGAL LETTER MINISTER OF RELIGION (MR) 19/2005 - LPPN .................................109
E. THE NUMBERING NOTATION (CHORAL PART) OF THE SONG DIBERKATILAH
YANG DATANG – BENEDICTUS FROM REQUIEM BY MOZART (KV 626) USED IN
PESPARAWI VI FOR MIXED ADULT CHOIR .......................................................................122
F. THE PIANO ACCOMPANIMENT PART OF THE SONG DIBERKATILAH YANG
DATANG – BENEDICTUS FROM REQUIEM BY MOZART (KV 626) USED IN PESPARAWI
VI FOR MIXED ADULT CHOIR ..............................................................................................123
G. THE MUSIC SCORE BENEDICTUS OF REQUIEM BY MOZART (KV 626) USED IN
PESPARAWI VI FOR MIXED ADULT CHOIR .......................................................................124
H. THEMES AND SUB-THEMES OF THE NATIONAL PESPARANI/PESPARAWI I - XI 125

References ....................................................................................................................................126

Biographical Sketch .....................................................................................................................133

vi
 LIST OF TABLES

Table 2.1 List of Twenty-Six Provinces Participated in the National Festival I ...........................24

Table 2.2 Chronological List of Legal Letters and Events for National
PESPARANI/PESPARAWI I - V .................................................................................................35

Table 3.1 The List of Participate Institutions Inaugurated the National PESPARAWI VI ...........41

Table 3.2 List of Indonesian Provinces Participated in the Nationanal PESPARAWI VI ...........42

Table 3.3 Thirty-Two Provinces Participated in PESPARAWI VII..............................................47

Table 3.4 List of Folk Music Songs Performed During PESPARAWI X Celebration ................57

Table 3.5 Chronological List of Legal Letters and Events National PESPARAWI VI - XI ........64

Table 4.1 Numbers of Music Performed in PESPARANI/PESPARAWI I – XI with Lyrics/Title

of Unity ..........................................................................................................................................70

Table 4.2 Represented Provinces at Each PESPARANI/PESPARAWI for All Categories ..........71

Table 4.3 Music by Indonesian and Western Composers for the Festivals ...................................73

Table 4.4 Numbers of Songs by Indonesian and Western Composers Repeated During the
Celebration of National PESPARANI/PESPARAWI I - XI .........................................................74

vii
 LIST OF FIGURES

Figure 2.1. Picture of Epaphroditus Laurentius Pohan. Courtesy of Admin Padamu. Accessed on
April 16, 2018. https://www.padamu.net/lagu-dan-lirik-mars-korpri .............................................6

Figure 2.2. Picture of Javanese Church Worship of GKJ Kabluk, accompanies by Gamelan
instruments, Panembromo – Ngesti Laras. Courtesy of Arie Noegroho .........................................8

Figure 2.3. Westminster Choir under the conductor, John Finley Williamson in St. Andrew’s
Cathedral, Singapore on December 1956. Courtesy of Singapore memory. Accessed on February
12, 2018. https://www.singaporememory.sg/contents/SMB-3dc3eaf0-615d-4081-8f0e-
00918dc254b3 .................................................................................................................................9

Figure 2.4. Indonesian choir director, trained by F. Williamson, led the Renata choir. Courtesy of
Talbott Library Special Collections, Westminster Choir College of Rider University .................10

Figure 2.5. Picture of John Finley Williamson conducting, in front of window (Bristol chapel?).
Courtesy of Talbott Library Special Collections, Westminster Choir College of Rider Universi 11

Figure 2.6. Finley Williamson, conducting Indonesian Choir and Congregation on his visit to
Yogyakarta in 1961. Courtesy of Talbott Library Special Collections, Westminster Choir College
of Rider University ........................................................................................................................12

Figure 2.7. Picture of the Garuda Bird, namely “Garuda Pancasila.” Accessed on March 14,
2018. Courtesy of vonvon Indonesia.
http://www.vonvon.id/sejarah-perumusan-pancasila .....................................................................19

Figure 2.8. Picture of choir performance during the National PESPARAWI I (1983). Courtesy of
Rosenman Manihuruk. Accessed on April 4, 2018.
http://rosenmanmanihuruk.blogspot.com/2012/07/sejarah-terbentuknya-pesparawi-
nasional.html ..................................................................................................................................25

Figure 2.9. Picture of the raising PESPARAWI flag ceremony for the first time during the
National PESPARAWI III in Semarang (1990). Courtesy of LPPN .............................................29

Figure 2.10. Picture of choir during the National PESPARAWI III (1990) in Semarang. Courtesy
of Rosenman Manihuruk. Accessed on April 4, 2018.
http://rosenmanmanihuruk.blogspot.com/2012/07/sejarah-terbentuknya-pesparawi-
nasional.html ..................................................................................................................................30

Figure 2.11. Picture of vocal group performance during the National PESPARAWI IV (1993).
Courtesy of Rosenman Manihuruk. Accessed on April 4, 2018.
http://rosenmanmanihuruk.blogspot.com/2012/07/sejarah-terbentuknya-pesparawi-
nasional.html ..................................................................................................................................31

viii
Figure 2.12. Trisakti demonstration tragedy on May 12, 1998. Accessed on March 8, 2018.
https://nusantara.news/pembubaran-hti-kado-pahit-peringatan-19-tahun-reformasi/ ...................34

Figure 3.1. Leaders from Indonesian National Church Instritutions who inaugurated the . National
PESPARAWI VI at Istora Senayan Stadium, Jakarta, September 17, 2000. Courtesy of LPPN ..42

Figure 3.2. The Indonesian President, K. H. Abdurrachman Wahid (second from the left, on ...the
first row) closed the National PESPARAWI VI on September 22, 2000. Courtesy of LPPN ......43

Figure 3.3. A choir performed on the ascending-row-seating of the stadium, PESPARAWI VI.
Courtesy of LPPN ..........................................................................................................................44

Figure 3.4. The Indonesian President, Soesilo Bambang Yudhoyono (on red) inaugurated the
National PESPARAWI VIII, on July 9, 2006. Courtesy of LPPN ................................................49

Figure 3.5. Traditional dance and singing performance by choir from South Korea during the
opening ceremony of PESPARAWI VIII, Medan, 2006. Courtesy of LPPN ...............................50

Figure 3.6. Choir from Alor, NTT province, participated in PESPARAWI IX, 2009. Henry
Pranoto (standing in the middle with a red scarf) conducted the choir for Mixed Adult Choir and
Folk Music categories. Courtesy by LPPN and Imanuel Nikson Olidela ......................................53

Figure 3.7. The Governor of Southeast Sulawesi, Haji Nur Alam, delivered his opening speech
for the PESPARAWI X, accompanied by five religious leader representations from Islam, Hindu
Buddha, Christian, and Catholic (from left to right). Courtesy of LPPN ......................................55

Figure 3.8. Picture of MTQ complex used to host the National PESPARAWI X, Kendari, on July
1-11, 2012. Courtesy of LPPN .......................................................................................................56

Figure 3.9. The West Papuan choir performed the traditional dance at the closing ceremony of
PESPARAWI X, celebrating their victory. Courtesy of LPPN .....................................................58

Figure 3.10. The Great Choir (Koor Agung) performed the theme song Bahtera Mas – Golden
Ark – during the closing ceremony of PESPARAWI X. Courtesy of LPPN ................................59

Figure 3.11. Picture of Indonesian President Joko Widodo inaugurating and attending the
National PESPARAWI XI, Ambon, accessed on February 7, 2018.
http://www.suarawajarfm.com/2015/10/07/7804 ..........................................................................62

Figure 4.1. From the left, Soni Utomo (Yamuger’s office manager), Marali Purba (staff . member
of LPPN), Henry Pranoto, Yanthi Charolina (staff member of LPPN). Henry Pranoto and Soni
Utomo, visited the LPPN office on August 9, 2017. Courtesy of Henry Pranoto. ........................68

Figure 4.2. Lyric of the Song God is with Us by Binsar Sitompul (mm. 28-29) Scored in Unison
Referring to God’s Attributes ........................................................................................................78

ix
Figure 4.3. A Unison C, on Beat 4 of Measure 43, Depicts Unity ................................................80

x
 ABSTRACT

The Pesta Paduan Suara Gerejawi (PESPARAWI), an Indonesian Christian choral

festival or its predecessor the Pesta Paduan Suara Gerejani (PESPARANI), has become a

nationwide celebratory event in Indonesia and has helped Indonesian government create national

stability by preserving Indonesian cultures and bringing unity. This study documents the history

of PESPARAWI by exploring the following: 1) the events and institutions preceding the

establishment of PESPARAWI; 2) the purpose and philosophy of the PESPARAWI; 3)

contribution of Indonesian composers; and 4) a list of repertoires performed at PESPARAWI

from 1983 to 2015.

The national tragic event (G30 S/PKI) in 1965, had brought Indonesia to a troublesome

situation. More than millions of lives were killed because of political uprising and instability to

maintain its independence. The Indonesian government responded to the tragedy by supporting

several religious social activities that focused on building trust, creating unity, and enhancing

moral standards in Indonesia. One such religious social activity was the festival PESPARAWI,

which became nationwide in 1983. Originally, the festival was for adult choirs, but the festival

has grown to include 12 categories. As a result, the festival has influenced choral literature

internationally. Through PESPARAWI, Indonesian people maintained the Unity in Diversity

(Bhinneka Tunggal Ika), and thereof PESPARAWI can be an example of national unification

efforts through choral music.

xi
 CHAPTER 1

INTRODUCTION: PURPOSE AND PROCEDURES

1.1 Problem Statement

The Pesta Paduan Suara Gerejawi (PESPARAWI), an Indonesian Christian choral

festival that promotes national unity through singing, has been celebrated since 1983. This

festival, and its predecessor the Pesta Paduan Suara Gerejani (PESPARANI), has been one of the

initiatives that has helped the Indonesian government encourage and maintain unity within the

country, such as after the mass killings of the military generals by the Indonesian Communist

Party in 1965 (G30S/PKI) and the economic crisis and subsequent violent demonstration of

1998, as its specific mission is to create stability by preserving the unique cultures of the country

and uniting them together. Thus, this study will document the history of the PESPARAWI choral

festival (church division) from its establishment in 1983 to the most recent festival in 2015.

1.1.1 Sub-problems

1. What individuals, events, and institutions led to the establishment of PESPARAWI?

2. What is the purpose and philosophical background of establishing PESPARAWI and

have those principles changed over the years?

3. Who are the Indonesian composers considered music contributors to PESPARAWI and

to the choral world?

4. In what way does the repertoire of PESPARAWI and its festival category development

reflect the purpose of PESPARAWI from 1983 to 2015.

1
 1.2 Definition of Terms

PESPARAWI is a national church choral festival held in Indonesia. It is the acronym for

“Pesta Paduan Suara Gerejawi,” literally translated as Church Choral Festival. The former name

of PESPARAWI was PESPARANI, an acronym for “Pesta Paduan Suara Gerejani.” “Gereja” is

the word for church so both Gerejawi and Gerejani translate to Church Choral Festival. The word

was changed to set a functional distinction between the Church Choral Festival celebrated by

YAMUGER (Church Music Board) and the Indonesian government national church choir

competition. The National PESPARAWI of Church category is also different from the collegiate

level competition of PESPARAWI.

1.2.1 Delimitations

This study makes no attempt to document the complete history of Indonesian music

development.

This study makes no attempt to document the complete history of singing schools,

singing tradition, and traditional singing cultures in Indonesia.

This study makes no attempt to document the complete history of all musical activities

throughout Indonesia.

This study will include choral activities and repertoire of PESPARAWI festivals I – XI

(1983 – 2015).

PESPARAWI takes place in Indonesia, however, no attempt will be made to document

the complete history of Indonesia as a people or a nation.

This study will make no attempt to document the complete history of political uprisings

in Indonesia.

2
 1.3 Need for the Study

Sicne there is no known sources outlining the National PESPARAWI, there is a need to

document its history in relationship to its function as a national unification event. It is important

to help people understand the challenges to be overcome in the creation of such an event. Using

the National PESPARAWI, the Indonesian government was able to maintain political stability

and national unity.

1.3.1 Purpose of the Study

This study will report the history of PESPARAWI including all events leading up to its

establishment as well as its development throughout the years. Meanwhile, the repertoire lists

from PESPARAWI I – XI (1983 – 2015) will provide Indonesian conductors and community

choral leaders with valuable information as they develop their music programs and festivals. The

repertoire will also be a nice addition to the collected world choral literature. This study makes

no attempt to document the complete history of Indonesian music development.

1.4 Procedures

The following procedures were employed:

1. Preparation of a bibliography, collection of the data and interviews.

2. Organization of the data into categories:

a. Events leading to the development of PESPARAWI

b. Purpose and development of PESPARAWI I – XI

c. Repertoire from PESPARAWI I – XI, for all categories

3. Organization and composition of the dissertation.

3
1.4.1 Organization of the Study

CHAPTER 1: INTRODUCTION: PURPOSE AND PROCEDURES

1.1 Problem Statement

1.1.1 Sub-problems
1.2 Definition of Terms
1.2.1 Delimitations
1.3 Need for the Study
1.3.1 Purpose of the Study
1.4 Procedures
1.4.1 Organization of the Study

CHAPTER 2: NATIONAL PESPARANI/PESPARAWI CHURCH FESTIVAL FROM 1983 TO

1996

2.1 Two Institutions Preceding the Establishment of National PESPARANI/PESPARAWI

2.1.1 The Indonesian Government
2.1.2 YAMUGER
2.1.2.1 The Establishment of the Church Music Foundation (YAMUGER)
2.1.2.2 PESPARANI/PESPARAWI YAMUGER
2.1.3 The Early Development of National PESPARANI/PESPARAWI in 1973
2.1.4 The Establishment of National PESPARANI/PESPARAWI I
2.1.4.1 The Legalization of National PESPARANI/PESPARAWI in Indonesia
2.2 NATIONAL PESPARANI/PESPARAWI I – V: THE DEVELOPMENT PERIOD OF
INDONESIA (1983 – 1998)
2.2.1 The Delay of the National PESPARAWI VI Celebration

CHAPTER 3: NATIONAL PESPARAWI CHURCH FESTIVAL FROM 2000 TO 2015

3.1 The New Order Regime (1967 – 1998) and Indonesian Reformation in 1998
3.2 National PESPARAWI VI - XI

CHAPTER 4: AN EXAMINATION OF CHORAL LITERATURE FROM

PESPARANI/PESPARAWI 1983 TO 2015

4.1 Compiling Repertoire Performed at the National PESPARANI/PESPARAWI I - XI

4.1.1 Categorization the Repertoire National PESPARANI/PESPARAWI I - XI
4.1.2 Music Analysis of Song God is with Us by Binsar Sitompul
4.1.3 Theme and Sub-Theme of National PESPARANI/PESPARAWI I - XI

CHAPTER 5: SUMMARY, CONCLUSIONS, & RECOMMENDATIONS FOR FUTURE

RESEARCH
5.1 Summary
5.2 Conclusions
5.3 Recommendations for Future Research

4
 CHAPTER 2

NATIONAL PESPARANI/PESPARAWI CHURCH FESTIVAL FROM 1983

TO 1996

2.1 Two Institutions Preceding the Establishment of National PESPARANI/PESPARAWI

Two institutions encouraged the establishment of National PESPARANI/PESPARAWI

were the Indonesian government and the Church Music Foundation (YAMUGER). The

Indonesian government fully supported financially the festival and provided the necessary

permits and organizational support. The YAMUGER provided music and leadership for the

festival.

2.1.1 The Indonesian Government

The newly established Indonesian government (1945) acknowledged the power, the

positive aspects, and the effectiveness of music and songs, especially during Indonesia

Independence movement which the music was used to strengthen the morale of people, give

them an Indonesian identity, and unite all people of Indonesia. The first Indonesian President,

Soekarno, legalized and enforced the use of music, especially in the singing of national songs

and the National Anthem per the Government Guiding Rule of Education, Teaching, and Culture

No. 1, August 17, 1959. Unfortunately, the national tragic event (G30 S/PKI)/GESTAPU in

1965, had brought Indonesia to a troublesome situation. More than millions of lives were killed

because of political uprising and instability to maintain its independence. The Indonesian

government responded to the tragedy by supporting several religious social activities that

focused on building trust, creating unity, and enhancing moral standards in Indonesia. One such

5
religious social activity was the festival PESPARANI/PESPARAWI, which later became

nationwide in 1983.

2.1.2 YAMUGER

Epaphroditus Laurentius Pohan and John Finley Williamson were two persons who

encouraged the establishment of the Church Music Foundation (YAMUGER) in 1967.

Figure 2.1. Picture of Epaphroditus Laurentius Pohan. Courtesy of Admin Padamu.

Accessed on April 16, 2018.
https://www.padamu.net/lagu-dan-lirik-mars-korpri.

As a Batak musician, Pohan grew up with a hymn singing tradition in church. The Indonesian

singing culture, a form of hymn singing/four-part singing, has been recognized and mainly

influenced by Western missionaries in Indonesia, especially in Sumatra where Pohan was

6
originally from. The German, Nommensen (1861-1940) ministered to the Batak community,

Sumatra, in 1861. He translated many German hymns into the Batak Toba language from 1871

to 1872 so that the people could understand what they were singing in church. Two important

Batak hymnbooks were published as a result of the missionaries’ efforts. The first is a Batak

hymnal, Ende-ende ni halak Kristen na di Tano batak angka na marhatab. It includes 90 hymns

and was published in Bielefeld, Germany (n.d.). The second hymnal, titled the same, included

278 hymn texts and tunes. It was compiled in 1901 by Meerwaldt, another German missionary.

These hymn books had been the only source of four-part singing for the Batak people of

Sumatra, before YAMUGER published their first hymn book in 1984. As a result of this great

acculturation by Nommensen, the Batak church that is known as Huria Kristen Batak Protestan

(HKBP) – Batak Christian Protestant Church – is considered the largest Protestant church in

Southeast Asia today and have been the stronghold of the music establishment in Indonesia

particularly in terms of choral music. Four-part singing, introduced by Christian missionaries is

the source for the new singing tradition in Indonesia, especially in Sumatra.

Equipped with musical heritage and musical skills, E. L. Pohan was burdened throughout

his musical carriers, as he witnessed the underdeveloped church music in Indonesia and its lack

of direction:

“People tend to sing incorrectly and casually that forced him to correct their

singing. But, how can he correct them all when all people in Indonesia have been

taught incorrectly and have habitually followed misguided direction or

undirected.”1

1
Victor Sihite, “40 Tahun Yamuger Teguh Mengemban Misi.” Memorial book to celebrate the fourtieth anniversary
of Yamuger. Jakarta (2007): 4.

7
This problem occurred because most of Indonesian choirs were led by self-taught conductors or

music leaders. In addition, the converted Indonesian people to Christianity established their own

churches, based on their tribes, cultural traditions, and singing background. Thus, their church

music practices are based on their cultural background. These overwhelming diverse conditions

have created a serious problem in churches throughout Indonesia.

Figure 2.2. Picture of Javanese Church Worship of GKJ Kabluk, accompanies by Gamelan instruments,
Panembromo – Ngesti Laras. Courtesy of Arie Noegroho.

In 1961, the encounter between E. L. Pohan and Williamson, the founder of Westminster

Choir College, set the new course for the church music in Indonesia. The reason for

Williamson’s visit to Indonesia was to verify the information that he received during his visit

with Leopold Stokowski to Singapore in 1956, regarding the congregational churches that were

able to sing in harmony (possibly four-part singing) during their worship.

8
Figure 2.3. Westminster Choir under the conductor, John Finley Williamson in St. Andrew’s Cathedral, Singapore
on December 1956. Courtesy of Singapore memory. Accessed on February 12, 2018.
https://www.singaporememory.sg/contents/SMB-3dc3eaf0-615d-4081-8f0e-00918dc254b3

With the help of the Indonesian Church Association (PGI),2 Williamson was invited to

attend the church worship at HKBP in Kebayoran, Jakarta, to witness the memorized four-part

singing during his visit in 1961. During his visit to Jakarta, Williamson also visited (SGA) – the

Advanced Teacher School – that was operated by (YBPK) – the Foundation of Christian Education

2
The Indonesian Church Association was still under the name The Board of Indonesian Churches (BOIC) when
Williamson visited Indonesia in 1961.
9
Institution – and trained the school choir. At that time, Williamson met E. L. Pohan, the school

principle of SGA and the chief leader of the Christian Foundation.

Figure 2.4. Indonesian choir director, trained by F. Williamson, led the Renata choir. 3
Courtesy of Talbott Library Special Collections, Westminster Choir College of Rider University.

No specific evidence pointed to YAMUGER’s establishment was the reason of

Williamson’s visit to Indonesia. The encounter between E. L. Pohan and Williamson in 1961,

however, resulted in many musical developments in Indonesia, such as YAMUGER’s

establishment in 1967 and the YAMUGER musical activities/programs. The most important

thing was the beginning of PESPARAWI festival, known as PESPARANI/PESPARAWI

3
The Renata Choir was part of GMKI (Student Christian Movement). In this period, many singing groups were
established and were part of many Nationalists movement in Indonesia. Many of them were also a component of
political parties.
10
YAMUGER that was organized by E. L. Pohan and Alfred Simanjuntak in 1961. It later led to

the establishment of an annual celebration of regional PESPARANI/PESPARAWI festivals and

even to the celebration of the National PESPARANI/PESPARAWI throughout Indonesia. Pohan

established the Indonesian choral festival that was named PESPARANI, the foremost form of

PESPARAWI.4 During Williamson’s visit to Indonesia, he visited Jakarta, Semarang, and

Yogyakarta and trained many Indonesian conductors, musicians, and choirs.

Figure 2.5. Picture of John Finley Williamson conducting, in front of window (Bristol
chapel?). Courtesy of Talbott Library Special Collections, Westminster Choir College of
Rider University.

4
Victor Sihite, “50 Year YAMUGER: Remembrance, Repertoire & Regeneration.” YAMUGER: Jakarta, February
(2018): 85.
Henry Pranoto received the book in a draft form of the unpublished book from Soni Hutomo, the present chief office
of YAMUGER.
11
 Indonesian vocal music was admired by great musicians such as John Finley Williamson.

In a personal letter describing John Finley and his wife’s visit to Indonesia in 1961, they stated

that they “have heard many choirs sing and have decided (that) these people have exceptionally

good voices.”5 Williamson, as a great musician and one of the founding figures of music practice

in the United States, validated the marvelous quality of Indonesian choral singing at the time.

Figure 2.6. Finley Williamson, conducting Indonesian Choir and Congregation on his visit to Yogyakarta in 1961.
Courtesy of Talbott Library Special Collections, Westminster Choir College of Rider University.

5
Rhea B. Williamson, a personal letter to friends in the USA, February 9, 1961. This letter and the personal diary of
Rhea B. Williamson were kept in the private collection at Westminster of Choir College of Rider University,
Princeton, New Jersey. Finley Williamson (the founder of Westminster Choir College) and his wife Rhea
Williamson have visited Indonesia from January 23 to February 12, 1961. Photograph Collection 14/A/19, Talbott
Library Special Collections, Westminster Choir College of Rider University. Personal Diary: John Finley
Williamson Collection 1/B/18, Talbott Library Collections, Westminster Choir College of Rider University.
Personal Letter: John Finley Williamson Collection 1/A/4, Talbott Library Collections, Westminster Choir College
of Rider University.
12
 2.1.2.1 The Establishment of the Church Music Foundation (YAMUGER).

Epaphroditus Laurentius Pohan was the pioneer of YAMUGER’s establishment in 1967.

YAMUGER was involved in organizing the festival, providing the music for the

PESPARANI/PESPARAWI, and even locating financial sponsorship for the festival. Thus, the

festival was well-organized when the Indonesian government, under The General Director of

Christian People Counselor, took over the event and turned it into a National

PESPARANI/PESPARAWI festival in 1983. The first leadership committee of the foundation,

based on the legal letter of establishment No.7/1967 consisted of 17 people:

“1. Chief of leadership: Epaphroditus Laurentius Pohan

2. Vice Chief: Pieter Domingus Soplanit
3. First Secretary: Lauw Kian Joe, who was a law graduate
4. Second Secretary: Alfred Simanjuntak
5. Third Secretary: Samuel Amanupunnjo
6. First Treasury: Tan Kiem Swan
7. Second Treasury: Wilhelmina Wuwungan Roring
8. Other helpers: Radja Pingkir Sidabutar (a doctor), Mrs. Thetekdjoe,
Ms. Elga Oey, Mr. Njoo Goei Poo, Lukito Handojo (a pastor),
Ardin Pakpahan, Soegiarto Tjokrosoegondo, Frederik Wienfried Raintung,
and two other people who will be assigned by The Board of Indonesian
Churches.”6

Through this certified establishment in 1967, point number eight stated that there would be two

members of the YAMUGER committee who would be assigned directly by The Board of

Indonesian Churches (BOIC).7 The chief leadership of BOIC, in 1960-1980, was Johannes

Ludwig Chrysostomus Abineno. The BOIC has been involved since the establishment of

YAMUGER. This involvement showed that YAMUGER has always been supported by many

churches, organized under the BOIC/PGI. Thus, the main function of YAMUGER’s existence

6
The leadership committee listed on the legal document - certificate establishment of YAMUGER, February 11,
1967, and on the renewal certificate establishment re-registered to the Indonesian government on February 19, 2008,
in Jakarta.
7
BOIC was established on May 25, 1950. Today, there are about 30 Indonesian church synods united under BOIC.
13
was to support the need of many Indonesian churches, especially all churches that were part of

the BOIC/PGI. Through the certificate of establishment, under the article of Association, we can

find seven purposes of YAMUGER being established:

“1. Giving leadership and guidance for church choirs and all activities related to
church music.
2. Improving the quality of church choirs by establishing music courses and
other activities that have the same goals for choir conductors/ choir leaders
of churches in Indonesia.
3. Working on the establishment of Church Music School.
4. Working on the publication of Church Music Magazines/Journals in
Indonesia.
5. Working on publishing repertoire for church music.
6. Optimizing all efforts that motivate the composition of new songs/repertoires
for churches in Indonesia.
7. Organizing church music festivals, and especially in organizing church
choir festivals.”8

This article of Association was later revised, from seven points into eight points. The additional

point was inserted as point six of the list (the original point six became point seven, etc.). The

added point was to conduct research in liturgical music, hymnology, and ethnomusicology in

Indonesia.9 The PESPARANI/PESPARAWI festival was the application of the last point on the

YAMUGER establishment purpose.

2.1.2.2 PESPARANI/PESPARAWI YAMUGER. According to an interview

(August 9, 2017) with the YAMUGER officials, D. R. Nainggolan (the chief of the Leadership

Board, 2005-2010), Ronald Pohan (a member of TING), and Soni Hutomo (the current head

officer), the choir festival celebration of YAMUGER started in 1961 in Jakarta, under the name

8
The organizational purpose of YAMUGER, mentioned on the certificate legal document of YAMUGER, February
11, 1967 and on the renewal certificate establishment re-registered to the Indonesian government on February 19,
2008, in Jakarta.
9
Victor Sihite, “40 Tahun Yamuger Teguh Mengemban Misi.” Memorial book to celebrate the fortieth anniversary
of Yamuger. Jakarta: SMk Grafika Desa Putera, (2007): 35-36
14
PESPARANI. To this day, people recognize it as the PESPARANI/PESPARAWI YAMUGER.

The initial idea for the festival came from E. L. Pohan.10 Even though there was no

documentation found for the early celebration of the festivals, Nainggolan stated that the

YAMUGER choir festival (PESPARANI/PESPARAWI) was celebrated annually in Jakarta

since 1961.

The earliest documentation of the regional PESPARANI/PESPARAWI festival

celebration on April 6, 1981, in Jakarta, was found within the song collection of Jerry T. Silangit,

(repertoire collection found in the YAMUGER music library, August 2017). It listed five songs:

one mandatory song and four songs of optional: all songs were selected and transcribed from

Western composers. The mandatory song was Arah Ke Surga Cemerlang – The Lord Ascendeth

Up on High – by Johann Gottfried Schicht. Both the Indonesian and the English title of the song

were written on the manuscript. Other original title of the songs within the collection, except for

the song Jesus Lover of My Soul, had to be searched by or translated from the Indonesian title.

Out of the four songs of optional listed, there were only three songs found in the

collection. The song Tuhanku Bangkit – Seele dein Heiland ist frei von den Banden – by Rudolf

Scheuermann and Seluruh Umat Tuhan OlehNya Dikenal – Es kennt der Herr die Seinen – by T.

W Elfässer were later compiled in the YAMUGER’s Kidung Jemaat – Congregation Songs –

number 212 and 282. It was common for the regional PESPARANI/PESPARAWI festival

throughout Indonesia to select a four-parts song from the Congregation Songs book. The third

song found in the repertoire collection was Yesus Oleh KasihMu – Jesus Lover of My Soul – by

Joseph Parry. The optional song Sekarang B’ri Syukur – Now We Give Thanks was not included

10
Interview with DR. Robert Nainggolan, Soni Hutomo, and Ronald Pohan, on February 9, 2017, at the
YAMUGER office, Wisma Jaya 11, Rawamangun, Jakarta. Min. 0:07.
15
in the collection. We do not know who the composer is and what the original title of the song

was, since the repertoire list only mentioned the Indonesian title of the song.

The regional celebrations of the PESPARANI/PESPARAWI usually occurred within the

same church synod or within a nearby region. The chief leader of the festival would commonly

use his or her church to host the event. The leadership of the festival, the chief and committee

members, were selected from the synod members, such as the church synods of Gereja Protestant

di Indonesia (GPIB) – Protestant Church in Indonesia,– Gereja Kristen Indonesia (GKI) –

Indonesian Christian Church,– Huria Kristen Batak Protestan (HKBP) – Batak Christian

Protestant Church, – and many other churches that are affiliated with and united under Persatuan

Gereja-gereja Indonesia (PGI) – the Indonesian Church Association.11 They took turns

organizing and leading the festival, even after the establishment of YAMUGER. The participants

of the festival were from diverse churches, including Batak Churches, Javanese churches, and

Catholic churches. In addition, there were some church participants who were from outside of

Jakarta. The celebration of the PESPARANI/PESPARAWI YAMUGER usually happened in the

middle of the year and was often held around the Easter season.12 The festivals were celebrated

every year from 1961 until 1983. The festival was even celebrated in 1965, during the year of

G30S/PKI (Indonesia coup d’état), because the PESPARANI/PESPARAWI festival usually

occurred prior to the event that year.13 Unfortunately, no documentation or evidence regarding

the early event of the PESPARANI/PESPARAWI YAMUGER has been found.

The repertoire used for the early PESPARANI/PESPARAWI contest, before the

establishment of YAMUGER, were selected by E.L. Pohan. Songs were selected, organized, and

11
The PGI is the present name of Dewan Geraja-gereja Indonesia (DGI) – The Board of Indonesian Churches.
12
WhatsApp communication with DR. Robert Nainggolan, on February 14, 2018, using WhatsApp text messenger.
13
WhatsApp communication with DR. Robert Nainggolan, on February 14, 2018.
16
compiled mostly from Western song repertoires, especially from many congregational church

song repertoires. Pohan translated the lyrics into Indonesian and transcribed the music into

Indonesian notation (a form of numbering notation). Many of these transcribed songs were later

selected for the song book Kidung Jemaat – Congregation Songs – published by YAMUGER.

YAMUGER was established to sponsor the PESPARANI events.14 People considered the need

of a permanent institution to support the important establishment and the continuity of the

festivals. Thus, the YAMUGER institution was supported by people, musicians, and composers

who have passion and God’s calling to help the development of Indonesian church music. Thus,

BOIC/PGI has always been part of the YAMUGER establishment and the supporter of

Indonesian Church music development.

The way of selecting repertoire of the early PESPARANI/PESPARAWI also applied in

later development of the national festivals of which many musicians often transcribed the music

from Western notation into numbers notation. Indonesian composers often separate the choral

score in numbers notation (see detail in Appendix E) with the accompaniment part (in Appendix

F). By having and observing both numbers notation and the accompaniment part, musicians will

find where the piece was taken from, for example the music by Mozart, Requiem (KV 626), in

Appendix G, was used in the National PESPARANI/PESPARAWI VI for Mixed Adult Choir

category.

Because of the positive result of uniting Christian people from all denominations,

including Catholic churches, the Religious Department of Indonesia15 supported the celebration

of the PESPARANI/PESPARAWI festival. The Catholic churches later established their own

14
Interview with DR. Robert Nainggolan, Soni Hutomo, and Ronald Pohan Interview, February 9, 2017. Min. 4:48.
15
The Religious Department of Indonesia was the former name of The Indonesian Minister of Religion (MR).
17
choir festival because they saw the importance of festival. Nevertheless, the Catholic choir

festival was not celebrated consistently.

2.1.3 The Early Development of National PESPARANI/PESPARAWI in 1973

PESPARANI/PESPARAWI was introduced and initiated by E. L. Pohan. It began in

1961 and became an annual event held by the church synodal within the area of Jakarta (DKI

Jakarta & surrounding areas). The event was hosted by the appointed church synodal. The

PESPARANI/PESPARAWI events resulted in the establishment of Yayasan Musik Gereja

(YAMUGER) – the Church Music Foundation – in 1967. The YAMUGER’s most important

function was to organize and maintain the annual PESPARANI/PESPARAWI celebration.

During Suharto’s first 5-year presidential period (1967-1971), he successfully applied the

Five-Year Plan to build economic policy in Indonesia. The Indonesian economic climate

improved as, oil production, experienced a significant increase until it reached 40% of the total

revenue in 1972.16 Thus, the government was able to provide financial support for national

programs that also promoted unity in Indonesia. The Indonesian government’s most significant

contribution was to support and encourage the establishment of PESPARANI/PESPARAWI in

1973. The idea of unity was mentioned by Dr. H. A. Mukti Ali, M. A., Indonesian Minister of

Religion (MR),17 in 1971, during the national religious activities.18 Given this encouragement, P.

N. Harefa,19 the General Director of Protestant People Counselor20 (GDPPC) encouraged choral

16
Arnold C. Brackman, Indonesia: Suharto’s Road (New York: American-Asian Educational Exchange, 1973), 25-
26.
17
Indonesian Minister of Religious (MR) was previously named Department of Religion (DR).
18
Robert J Palandeng and Djnaus Pakpahan, Pesparawi National X: Bermazmur Memuliakan Tuhan, ed. Robert
Palandeng (Jakarta: Ditjen Bimas Kristen Kementerian Agama RI and LPPN, 2013), 7.
19
Interview with Santun Situmorang, at the office of LPPN on December 14, 2017, Jakarta.
20
The General Director of Protestant People Counselor (GDPPC) was the early name for The General Director of
Christian Counselor (GDCC). Based on the Minister of Religion No. 18/1975, the name GDPPC was changed to
GDCC in 1975.The title of Christian Counselor will be referring to GDCC.
18
music and promoted the National Church Choir Festival, named Pesta Paduan Suara Gerejani

(PESPARANI). The National PESPARANI/PESPARAWI event was designed to focus on the

use of music for worship within a local church setting. It aimed to develop religious norms that

were already part of the National Legal Right of Indonesia: Pancasila and the UUD 1945.21

The picture of the Garuda Pancasila bird represents the philosophical foundation of

Indonesia’s establishment as a country, with its five symbolized principles depicted and

explained. It includes the national motto, “Bhinneka Tunggal Ika,” which means that even

though we are different (many differences), we are still and always one (literal translation). It

commonly translated Unity in Diversity.

Figure 2.7. Picture of the Garuda Bird, namely “Garuda Pancasila.” Accessed on March 14, 2018.
Courtesy of vonvon Indonesia.22
http://www.vonvon.id/sejarah-perumusan-pancasila

21
UUD 1945 (the 1945 Constitution) is the constitution of Indonesia as a Republic Country. It is the foundation of
Indonesia as a nation independently established and proclaimed in August 17, 1945. Therefore, the 1945 constitution
that consists of 37 articles, must be defended at all cost. Anything against the Constitution was considered a serious
national threat to the stability and security of Indonesia.
22
Nadia Nadia, “Sejarah Perumusan Pancasila, Dasar Negara Republik Indonesia,” December 20, 2017, accessed on
March 14, 2018. http://www.vonvon.id/sejarah-perumusan-pancasila.
19
Since Indonesia is a religious country and the people are religious in nature, the government

suggested that national unity and stability could be established through religious events. The idea

of National PESPARANI/PESPARAWI23 received enthusiastic responses from the people from

NTT (East Timor), Central Kalimantan, Jakarta, North Sumatra, East Java, as well as from some

other islands.24 This was the first attempt to establish national celebration of the

PESPARANI/PESPARAWI festival. Despite its popularity, the idea of national choral festival

could not grow because it was still considered a “local event.” Since there was limited

publication of the event, it failed to be celebrated as a nationwide unification event. During the

early development of PESPARANI/PESPARAWI, there was also resistance from the churches

since the wondered if worship music should be in a competition. Considering the positive aspects

and many benefits that churches could gain, YAMUGER still celebrated the choir festival

PESPARANI/PESPARAWI festivals almost every year (PESPARANI/PESPARAWI

YAMUGER). Meanwhile, the National PESPARANI/PESPARAWI festival, organized and

supported by churches, the Indonesian Church Association, and the Indonesian Government,

under the name National PESPARANI/PESPARAWI, was held in every three years throughout

Indonesia and is typically hosted by the provinces’ capital, started in 1983.

2.1.4 The Establishment of National PESPARANI/PESPARAWI I

Change came in the 1980s, when the festival began to be established as a national event.

Based on an interview with Santun Sitomoran, an administrator at the Institution of National

23
PESPARANI (Pesta Paduan Suara Gerejani) was later changed the name into PESPARAWI (Pesta Paduan Suara
Gerejawi). Both names have the same translation in English as Indonesian Church Choir Festival. The event
PESPARANI was only celebrated locally for each Indonesian province. It was not a national gathering as National
PESPARAWI. Thus, the name was changed from PESPARANI to PESPARAWI for the purpose of a national
gathering of all Indonesian Church Choirs.
24
Mangara Tua Bakara and Robert J Palandeng, PESPARAWI: Rumah Kita Bermazmur (Jakarta: Ditjen Bimas
Kristen and LPPN, 2012): 8.
20
PESPARAWI Development (LPPN), the idea of national unity through a Christian Choir

Festival was again introduced in 1981 by P. N. Harefa. Harefa was the General Director of

Christian Counselor25 (GDCC), the was Christian congregation representative to the Indonesian

government. The event was proposed as a device to build Christian fellowship amongst all races

throughout Indonesia. The Indonesian Christian could therefore actively participate in creating

and maintaining national unity. Despite the rise of political obstacles and concern for people’s

safety, the Indonesian government insisted on supporting the idea of national unity through

PESPARANI/PESPARAWI.26 On September 20, 1982, the Minister of Religion of Indonesia

(MR), H. Alamsyah Ratu Perwiranegara, generated the government law No. B.IV/01/426/198227

that stated support regarding the establishment of a National PESPARANI/PESPARAWI,

providing legitimation and legality for a national gathering. The Christian Counselor, Soenarto

Martowirjono, based on the government law by Prawiranegara, produced decision letter No. 52,

198228 to act on behalf of the MR of Indonesia. In addition, St. W. Panjaitan was appointed as a

team leader. In a meeting held on March 10, 1983, Panjaitan was replaced by Pdt. J. J. Matulessy

without explanation. The appointment was made legal by the Christian Counselor Letter No. 18,

1983 on March 23, 1983.29

2.1.4.1 The Legalization of National PESPARANI/PESPARAWI in Indonesia. The

National festival event was established because of Indonesia’s rocky political climate in 1965.

The festival needed a solid foundation as well as the full support of the Indonesian government.

25
Interview with Santun Situmorang. Min 00:51.
26
Ibid.
27
Mangara Tua Bakara and Robert J. Palandeng, “PESPARAWI Rumah Kita Bermazmur.” Ditjen Bimas Kristen
Agama RI LLPN, Jakarta, (2012): 11
28
Ibid.
29
Buku acara Pespawari Nasional I/ 1983 (The Program Handbook National Pesparawi I/1983): 10-14.
21
Thus, all legal documents were very important for the establishment of National

PESPARANI/PESPARAWI showing that the Indonesian government legalized and fully

supported the festival. This legalization was, in retrospect, necessary, considering the

consequences imposed during and following the tragedy Gestapu. Additionally, government

presence during the National festival is very important, including their involvement at

inauguration and the closing ceremonies. Legalization and physical presence demonstrate the

Indonesian government’s support of and commitment to establishing stability and Bhinneka

Tunggal Ika – Unity in Diversity – throughout Indonesia.

For the purpose of preservation and reference, I compiled all legal documents and any

other documents that might possibly be found and arranged those files in chronological order.

The organizing of the documents was necessary because nothing like that existed. By placing the

documents in chronological order, we can have a better understanding of the process of

establishing the National PESPARANI/PESPARAWI celebrations.

The implementation of the nationwide PESPARANI/PESPARAWI was not easy.

Leadership faced many problems including, finding financial support. In fact, the first National

PESPARANI/PESPARAWI I (1983) implementation nearly failed because the organization did

not have enough funds 3 weeks preceding the event (only half had been collected). Thankfully,

the national PESPARANI/PESPARAWI I was successfully celebrated because of the support

from Dr. Radius Prawiro, who was able to raise funds for the event in less than 3 weeks. His

name, together with the Minister of Religion, M. Panggabean, and the Governor of Jakarta – R.

Soeprapto – was later mentioned on the first National PESPARANI booklet program as patrons

of the festival. Prawiro’s wife, Leoni, and E. L. Pohan were listed as some of the 17 assigned

advisors for the festival. The position of leadership was assigned through the decision letter by

22
the MR No. 18/1983, on March 23, 1983.30 According to the opening speech by The Christian

Counselor, who also acted as a representative of the MR of Indonesia, Soenarto Martonowirjono,

the celebration of National festival I in 1983 was a fulfilment of hope regarding church unity that

had been a dream for 33 years.31 To differentiate the event from YAMUGER’s festival, a local

choir festival, the name National festival was named National PESPARANI/PESPARAWI.32

2.2 National PESPARANI/PESPARAWI I – V: The Development Period of Indonesia

(1983 – 1998)

The National PESPARAWI I (still named PESPARANI), was celebrated on June 16-20,

1983 in Jakarta. Even though the idea of changing the festival name from PESPARANI to

PESPARAWI took place in 1986, the actual name change occurred during the celebration of

National PESPARAWI IV in Palangkaraya, on 1993. The theme of National PESPARANI I was

PESPARANI Sebagai Sarana Peningkatan Kesadaran Iman dan Kesetiaan Kepada Tuhan

Dalam Mensukseskan Pembangunan Nasional yang Berdasarkan Pancasila dan UUD 1945 –

PESPARANI as a Means of Increasing Faith and Faithfulness to God in Succeeding National

Development Based on Pancasila and UUD 1945. In accordance with the government program,

the committee of the National PESPARANI I applied a sub-theme Dengan PESPARANI Kita

Tingkatkan Hidup Beragama Demi Suksesnya Pembangunan – Through PESPARANI, We

Increase Religious Life for the Sake of Indonesian Development Program. Haji (H) Alamsyah

Ratu Perwiranegara, The Indonesian Minister of People’s Welfare Coordinator (Menko Kesra),

participated in the festival inaugurated on June 16, 1983. The theme and the sub-theme of the

30
The National PESPARANI booklet program, Jakarta: Balai Sidang Senayan, June 16-20 (1983): 12.
31
Ibid., 3.
32
The PESPARAWI I in 1983 still used the name PESPARANI. The name was later changed to PESPARAWI
during the fourth national festival was celebrated.
23
National festival I were also included in the published festival handbook that had been

distributed to all participants. Twenty-Six Indonesian provinces participated during the National

PESPARANI I.33 The festival celebration started with a church service as the opening ceremony

of the festival on June 16, at the Convention Hall Senayan, Jakarta. During the opening

ceremony, E. L. Pohan conducted Koor Agung, a choir of 250 singers. They sang three songs:

Hallelujah by G. F. Handel, Doa Untuk Nusa dan Bangsa – Prayer for the Country and the

Nation – by E. L. Pohan, and Syukur – Give Thanks – by H. Mutakhar.

Table 2.1

List of Twenty-Six Provinces Participated in the National Festival I34

Indonesian Province Participants of PESPARANI/PESPARWI I

1 D. I. Aceh 14 Bali
2 North Sumatra 15 West Kalimantan
3 West Sumatra 16 East Kalimantan
4 Riau 17 Central Kalimantan
5 Jambi 18 South Kalimantan
6 Bengkulu 19 North Sulawesi
7 South Sumatra 20 Central Sulawesi
8 Lampung 21 South East Sulawesi
9 D. K. I. Jakarta 22 South Sulawesi
10 West Java 23 Maluku
11 Central Java 24 West Nusa Tenggara
12 D. I. Yogyakarta 25 East Nusa Tenggara
13 East Java 26 Irian Jaya

33
Buku acara Pesparani Nasional I/ 1983 (The Program Handbook National Pesparani I/1983): 44.
34
Mangara Tua Bakara and Robert J. Palandeng, 279.
24
The published program of the festival in 1983 contained the liturgy for the opening worship

service on June 16,35 the second worship service on June 19,36 and the closing worship service of

the festival on June 20, 1983.37 During the National PESPARANI I, seven songs were listed for

the adult choir category, as recorded by LPPN – Institution of National PESPARAWI

Development. The committee members for the festival were appointed for this specific event.

The committee was dissolved on June 20, 1983, as soon as the festival concluded.

Figure 2.8. Picture of choir performance during the National PESPARAWI I (1983). Courtesy of Rosenman
Manihuruk. Accessed on April 4, 2018.
http://rosenmanmanihuruk.blogspot.com/2012/07/sejarah-terbentuknya-pesparawi-nasional.html

35
Buku acara Pesparani Nasional I/ 1983 (The Program Handbook National Pesparani I/1983): 19-21.
36
Ibid., 22-24.
37
Ibid., 25-27.
25
 Before the role of festival leadership ended, the committee conducted the Musyawarah

Nasional (Munas) – National Meeting – during the celebration of the annual PESPARANI, to

discuss items related to upcoming events, including the venue, the appointed date, and the

content of the next festival. The national meeting has always been scheduled during the

celebration of the National PESPARANI, so that all participants can attend in the meeting.

During the first Munas, Manado, North Sulawesi, was appointed as the venue for PESPARANI

II. Suggestions were also made to hold a church music seminar as well as musical training for

composers, conductors, and church musicians, in order to better equip church musicians and

improve the quality of church music in Indonesia. The festival was closed by Haji (H) Munawir

Sjadzali, The Indonesian Minister of Religion 1983 – 1993. PESPARANI I was a great success,

thus motivating organizers to hold The National Church Choral Festival (PESPARAWI) every 3

years throughout Indonesia. The future venue was always announced at the general meeting

(Munas).

In order to organize the National PESPARANI II, a committee had to be formed to help

with the issues of legalization and support of the event by the Indonesian government. Based on

the government law No. 74/198438 put forth by the MR, Soenarto Martonowirjono (acting as the

GDCC), formed an institution to help supervise the development of National PESPARANI

(October 1984). The institution was approved by the government on November 3, 1984

(government law No. 81/1984).39 Even though the appointed institution of PESPARANI was

acknowledged as a non-permanent/incidental organization by the Indonesian government,

committee members were appointed based on the legitimization of the government law No.

81/1984. Both leaderships of PESPARANI and government agreed on the need to form a

38
Mangara Tua Bakara and Robert J. Palandeng, (2012): 165-175.
39
Ibid., 177-180.
26
supervisory team for observing the PESPARANI institution. The team was formed based on The

Christian Counselor instructional letter No. 14/1985.40

Preparations were being made for the National PESPARAWI II (titled, National

PESPARANI II), C. J. Rantung, governor of North Sulawesi, requested via a letter, No.

452/10/151, April 17, 1985,41 that the National PESPARANI II take place in North Sulawesi. He

also met the MR on April 22, 1985 to inform him of his plan concerning PESPARANI II. The

Christian Counselor showed enthusiasm for Governor Rantung’s suggestion, by responding with

circular letter No. F/74/1138/85, on April 27, 1985,42 stating that the National PESPARAWI

should be celebrated in Manado, North Sulawesi. As a result of this circular letter, the Governor

of North Sulawesi appointed committee organize and produce the National PESPARANI II.

Committee members were selected through the Governor’s letter No. 132/ 1985 on June 12,

198543 and were appointed on October 30, 1983 by the Governor’s decision letter No. 247/

1985.44 The appointed general head leadership was G. E. Kandau. The appointed committee of

PESPARANI II, supported by the province governor of North Sulawesi, made all preparations

ensuring that the festival was successfully celebrated on June 24-29, 1986. Twenty-seven

provinces participated in PESPARANI II.45 Those participants were 26 previous provinces

participated during the National PESPARANI I with the additional province of East Timor.46

After the opening ceremony (church service), the festival was inaugurated by H. A. R.

Perwiranegara. The theme of the festival was Pujilah Tuhan, Muliakanlah Dia dan Bernyanyilah

– Praise the Lord, Glorify Him and Lift Up Your Voice. In supporting the government program,

40
Mangara Tua Bakara and Robert J. Palandeng, 181-184.
41
Ibid., 20.
42
Ibid.
43
Ibid.
44
Ibid.
45
Ibid., 280.
46
Ibid.
27
the National PESPARANI II committee also used a sub-theme Melalui PESPARANI Tingkat

Nasional II Kita Tingkatkan Ketaqwaan Bangsa Kepada Tuhan, Dalam Mensukseskan

Pembangunan Sebagai Pengamalan Pancasila – Through National PESPARANI II, We Will

Increase the Nation’s Devotion to God in Succeeding National Development as a practice of

Pancasila.47 The theme and the sub-theme did not appear on the repertoire collection that I had

collected, which supposedly distributed to all participants of the PESPARANI II.

During the National PESPARANI II, the choir from Yogyakarta Special Region was

appointed champion. They were the first to receive the Indonesian President’s trophy to be

awarded at each subsequent National PESPARAWI festival. Beside the trophy, the idea for

changing name of PESPARANI to PESPARAWI also came about. Dr. J. S. Badudu, an

Indonesian linguistic expertise, suggested at his seminar and panel discussion during the

National PESPARANI II that “the correct loanword for Gerejani should have been Gerejawi.”48

His suggestion was approved by everyone who was attending the National Congregational

Meeting during PESPARANI II. Nevertheless, changing the name from PESPARANI to

PESPARAWI did not actually occur until the National festival IV in Palangkaraya, Borneo,

1993. The National PESPARANI II committee was dissolved following the festival in 1986. The

MR, H. Munawir Sjadzali, conducted the closing ceremony.

The preparation for the next National PESPARANI/PESPARAWI III in Semarang was

done through the MR Order No. 104/ 1989, distributed on May 16, 1989.49 It ordered the local

governors, through the GDCC and its local Christian Counselor, to form an organizing

committee for National PESPARANI/PESPARAWI III. The appointed leader of this festival was

47
Pancasila is a foundational philosophy of the Indonesian State.
48
Mangara Tua Bakara and Robert J. Palandeng, “PESPARAWI Rumah Kita Bermazmur.” Ditjen Bimas Kristen
Agama RI LLPN, Jakarta, (2012): 16
49
Ibid., 20.
28
Letkol Polisi50 (Purn)51 Christian Soenadi M. The National PESPARANI/PESPARAWI III was

celebrated on June 25 – July 1, 1990 in Semarang, occurred four years after the celebration of

PESPARANI/PESPARAWI II. No explanation was supplied regarding the delay of the festival.

The festival was inaugurated by Letjen52 (Purn) Soepardjo Roestam, Indonesian Minister of

Menko Kesra at Manahan Stadion, Semarang.

Figure 2.9. Picture of the raising PESPARAWI flag ceremony for the first time during the National PESPARANI III
in Semarang (1990).53 Courtesy of LPPN.

For the first time, the flag of PESPARANI/PESPARAWI was raised during the opening

ceremony of National PESPARANI/PESPARAWI III. The gesture was accompanied by a song,

50
It is the range of military personnel from police branch as Lieutenant colonel.
51
Purnawirawan (Purn) means that the military personnel already retired.
52
It is the range of the army military personnel as Lieutenant general.
53
Mangara Tua Bakara and Robert J. Palandeng, 37.
29
Mars PESPARANI/PESPARAWI, composed by Nortir Simanungkalit.54 The closing ceremony of

National PESPARANI/PESPARAWI III was conducted by H. Munawir Sjadzali and was

marked by the lowering of the PESPARANI/PESPARAWI flag accompanied by Hymn

PESPARANI/PESPARAWI by Ronald Pohan. Once again, the National PESPARANI III

committee was dissolved at the conclusion of the festival on July 1, 1990.

Figure 2.10. Picture of choir during the National PESPARANI III (1990) in Semarang. Courtesy of Rosenman
Manihuruk. Accessed on April 4, 2018.
http://rosenmanmanihuruk.blogspot.com/2012/07/sejarah-terbentuknya-pesparawi-nasional.html

The theme of National PESPARANI III was PESPARANI Meningkatkan Kedewasaan

Iman – PESPARANI Increases Maturity of Faith. The sub-theme of the festival, in accordance

54
Mangara Tua Bakara and Robert J. Palandeng, viii – xiv. The LPPN Handbooks included the Mars PESPARAWI
composed by N. Simanungkalit in 1992, and hymn PESPARAWI composed by Ronald Pohan in 1993.
30
with the government program, was Dengan PESPARANI Kita Suskeskan Pelita V – Through

PESPARANI We Will Participate in the Success of Indonesian Development Program (Pelita V).

The theme and the sub-theme were not included on the repertoire collection that was distributed

to all participants. Twenty-seven provinces participated in the festival,55 with the province of

DKI Jakarta receiving the Indonesian President’s trophy.

Figure 2.11. Picture of vocal group performance during the National PESPARAWI IV (1993). Courtesy of
Rosenman Manihuruk. Accessed on April 4, 2018.
http://rosenmanmanihuruk.blogspot.com/2012/07/sejarah-terbentuknya-pesparawi-nasional.html

Preparations for the national choral festival IV began in 1992. The name National

PESPARANI was changed to National PESPARAWI, per the GDCC Decision Letter

55
Mangara Tua Bakara and Robert J. Palandeng, 280-281.
31
No.77/1992, dated February 1992.56 The committee was formed based on the MR Order No.

153/ 1992 by Munawir Sjadzali.57 The letter was distributed on July 1, 1992.58 Included in this

letter of order was the naming of H. J. Andries as the leader of the committee. He also served as

a Vice Governor of Central Kalimantan. The National PESPARAWI IV took place June 22 – 26,

1993 in Palangkaraya, Borneo. The name PESPARAWI was maintained for subsequent festival.

For the first time, the National festival – PESPARAWI IV – was inaugurated by the

Indonesian Vice President, Try Sutrisno on June 22, 1993. The theme was Bersukacitalah

Karena Tuhan, dan Nyanyikanlah Syukur Bagi NamaNya Yang Kudus – Rejoice Because of God

and Give Him Thanks for His Name is Holy – taken from Psalm 97:12. The sub-theme was

Dengan Semangat Kebersamaan Kita Mantapkan Landasan Moral, Etik, dan Spiritualitas

Dalam Memasuki Pembangunan Jangka Panjang Tahap II – Through the Spirit of Unity, We

Establish the Foundations of Moral, Ethics, and Spirituality as We enter the Second Period of

Long Term National Development. The theme and the sub-theme were not printed on the

repertoire collection that was distributed to all participants. Twenty-seven provinces participated

in the festival.59 The awarding of Indonesian President’s trophy was not indicated in the National

PESPARAWI IV, V, and VI, due to the establishment of favorite based awards for each

adjudicated category. Based on the characteristic decision as champion, according to the rule and

regulation by LPPN, the champion trophy was given to the provincial participant achieved the

highest score totaled from all categories, with the exceptional of folklore music. The awarding of

the Indonesian President’s trophy continued to be indicated in the National PESPARAWI VII.

56
Djanus Pakpahan and Robert J. Palandeng, (2013): 23-24.
57
The MR, Munawir Sjadzali was replaced by H. Tamizi Taher on March 17, 1993.
58
Mangara Tua Bakara and Robert J. Palandeng, (2012): 20.
59
Ibid., 281.
32
The festival committee was dissolved at the conclusion of the event. The new appointed Minister

of Religion, Dr. H. Tarmizi Taher, presided over the closing ceremony.

PESPARAWI V was prepared based on the MR Order No. 428/ 1995,60 distributed on

September 5, 1995. The letter appointed R. Soeharko as general head leadership of the National

PESPARAWI V committee. Papua (Irian Jaya) was originally named as the PESPARAWI V

venue but, the regional calendar was to full, that the local government requested the event be

moved. Surabaya was later appointed. The committee, under the leadership of R. Soeharko,

organized and celebrated National PESPARAWI V on June 23 – 29, 1996, in Surabaya. The

Indonesian Vice President, Try Sutrisno, and the MR, Tarmizi Taher, inaugurated the

PESPARAWI V at Gelora 10 November stadium, Surabaya. The theme of the festival was

Bernyanyilah Bagi Tuhan dengan Nyanyian Syukur – Praise God with Song of Thanksgiving –

taken from Psalm 147:7a. The sub-theme of the festival was Melalui PESPARAWI Kita

Tingkatkan Peranserta Umat Kristiani Protestan dalam Pembangunan Jangka Panjang Tahap II

– Through PESPARAWI, We Increase the Involvement of Christian Protestant People in the

Second Period of Long Term National Development. The theme and the sub-theme were not

printed on the repertoire collection that was distributed to all participants. Twenty-seven

provinces participated in the National PESPARAWI V.61 The closing ceremony was conducted

by Tarmizi Taher, and the organizing committee was dissolved at the conclusion of the festival.

2.2.1 The Delay of the National PESPARAWI VI Celebration

National PESPARAWI VI was planned after PESPARAWI V. The PESPARAWI

congressional meeting in 1996, Surabaya, suggested that the venue for the PESPARAWI VI

60
Mangara Tua Bakara and Robert J. Palandeng, 21.
61
Ibid., 282.
33
(1999) would be in East Nusa Tenggara (NTT). Unfortunately, Indonesia had experienced a

bitter “tragedy of May” in 1998 as a result of the world economic crisis of 1997 that effected the

Asian countries, especially South East Asia. The climax of the long period of global economic

crisis was a massive, violent demonstration that ending in the tragedy of May 1998.

Figure 2.12. Trisakti demonstration tragedy on May 12, 1998. Accessed on March 8, 2018.
https://nusantara.news/pembubaran-hti-kado-pahit-peringatan-19-tahun-reformasi/

Thus, the local governor of NTT was unable to host National PESPARAWI VI.

Furthermore, Indonesian government was facing the serious problem of unifying the country as a

result of the horrific tragedy in 1998. The tragedy started with a political uprising by the

Indonesian people, demanding that Soeharto, the Indonesian president, step down from his seat

because of his 30-year dictatorship. Political tension resulted in a public massacre by the

34
Indonesian military that took many lives of Indonesian’s university students on May 1998, in

Jakarta. The tragedy was followed by many riots and political uprisings throughout Indonesia

costing many lives. Thus, it triggered the start of the Indonesian Reformation Era, which created

even more instability throughout Indonesia. The Indonesian government even lost control over

one of its territories, East Timor (Timor Leste), in 1999. The celebration of PESPARAWI VI

was postponed, due to the uncertainty and instability in Indonesia, a unified country with the

national motto Bhinneka Tunggal Ika – Unity in Diversity.

Table 2.2

Chronological List of Legal Letters and Events for National PESPARANI/PESPARAWI I - V

Decision Letter
No. Name Title/Position Number/Occurrence Dates
PESPARANI Regional Choir Festival -
A E.L.Pohan Initiation PESPARANI 1961
YAMUGER was established –
YAMUGER/PESPARANI Regional PESPARANI YAMUGER 1967
B H. A Mukti Ali DR Religious Festival Initiation/Idea 1971
P. N. Harefa GDCPC Response of the idea 1973
I H. A. R. Perwiranegara MR MR - B.IV/01/426/1982 9/20/1982
S. Martonowirjono GDCC GDCC - No. 52/1982 UNKNOWN
S. Martonowirjono GDCC Committee Meeting Decision 3/10/1983
S. Martonowirjono GDCC GDCC - No. 18 /1983 3/23/1983
PESPARANI I National Celebrated 6/16/1983
Committee’s Responsibility
PESPARANI I National ended 6/20/1983
PESPARANI Insitution
S. Martonowirjono GDCC & MR MR - No. 74 /1984 10/9/1984
PESPARANI II Committee
S. Martonowirjono GDCC & MR MR - No. 81/1984 11/3/1984
PESPARANI Supervisory Team
S. Martonowirjono GDCC GDCC - No. 14 /1985 2/14/1985

35
Table 2.2 (Continued)

Decision Letter
No. Name Title/Position Number/Occurrence Dates
II C.J. Rantung PG North Sulawesi PG - No. 452/10/151 4/17/1985
Munawir Sjadzali MR PG & MR meeting 4/22/1985
GDCC - Circular Letter No.
S. Martonowirjono GDCC & all DR F/74/1138/85 4/27/1985
C.J. Rantung PG North Sulawesi PG - No. 132/1985 6/12/1985
C.J. Rantung PG North Sulawesi PG - No. 247/1985 10/30/1985
PESPARANI II National Celebrated 6/24/1986
PESPARANI II National Deceased Responsibility 6/29/1986
III Munawir Sjadzali MR No. 104/1989 5/16/1989
PESPARANI III National Celebrated 6/25/1990
IV Naming of PESPARAWI GDCC No. 77/1992 2//1992
Munawir Sjadzali MR No. 153/1992 7/1/1992
PESPARAWI IV National Celebrated 6/22/1993
V H. Basofi Sudirman PG East Java No. 451/8803/031/1995 6/14/1995
H. Tarmizi Taher MR No. 428/1995 9/5/1995
PESPARAWI V National Celebrated 6/23/1996

36
 CHAPTER 3

NATIONAL PESPARAWI CHURCH FESTIVAL FROM 2000 TO 2015

3.1 The New Order Regime (1967 – 1998) and Indonesian Reformation in 1998

Under the leadership of President Suharto (March 12, 1967 – May 21, 1998) – the new

order regime, – Indonesia gained political stability and attained significant economic growth by

maintaining strict financial and political control over all of the provinces and regional districts.62

Suharto used the military to suppress riots and rebellions to gain political support, which allowed

him to establish the New Order and a five-year development plan by implementing “the basic

five pillars:

1. Pancasila is the legitimate vision of the nation.

2. The UUD 1945 – Constitution of 1945 – was the guiding executive order for
the President.
3. The central and hierarchical government was unified and expanded to include
all Indonesian provinces, districts, and sub-districts.
4. Limited capability and freedom for political parties was instituted. Meanwhile,
the functional government party – Golkar63 – operated in full capacity.
5. The key objective of the regime was “development.” It was used to counter the
flourishing communist party that became prosperous because of the state of poverty in
Indonesia during the President Sukarno’s rule.”64

Because of the Newly Industrializing Economy (NIE), the World Bank listed Indonesia as a

High Performing Asian Economy.65 With this economic success, the Indonesian government was

able to financially support the National PESPARANI/PESPARAWI I – V and provided financial

support to the province hosting the National PESPARANI/PESPARAWI. In addition to

62
Jacques Bertrand, Nationalism and Ethnic Conflict in Indonesia (New York: Cambridge University Press, 2004),
199.
63
Golkar was the only political party that all government officials and employees belong to. They would be
dismissed from employment if they were suspected to be part of other political parties.
64
Bertrand, 38-39.
65
Fadli Zon, The Politics of The May 1998 Riots (Jakarta: Solstice Publishing, 2004): 12.
37
government funding, the leadership of the Institution of National PESPARAWI Development

(LPPN) and the committee of PESPARAWI also organized funding of the festival through

sponsorships and other private funding. Therefore, the host province could provide

accommodations (room and board), transportation, security, food, and any other facilities (road

constructions and any necessary repairs/building constructions). The LPPN leadership

committees recorded the total participants of the festivals: PESPARAWI I (1,085), II (2,110), III

(1,625), IV (1,981), V (2,507), VI (1,334), VII (N/A), VIII (3,521), IX (5,832),66 X (5,801),67

and XI (6,868).68 These recorded numbers included participants for each PESPARAWI, with the

exception of PESPARAWI VII (no record).

Suharto’s support of Indonesian unity was questioned at the increase of ethnic clashes

and violence in many Indonesian regions in 1990s. Varshney’s study reported that the total

percentage of deaths in Indonesia resulting from ethno-communal violence was 89.3% of

approximately 9,612 deaths, from 1990 to 2003.69 The increase of tensions and clashes between

ethnic groups diminished any unification efforts established during the New Order, including

National PESPARAWI. In an effort to unify Indonesia and encourage families to move to less

populated areas, Suharto organized national events and gathering to encourage individuals to

explore other regions of Indonesia. This movement of families created drastic social/economic

change that lead to tension in the new region the rise of (ethno-communal) conflict. The

government’s in-migration program contradicted with the unification purpose and function of

National PESPARAWI. Ethnical and political tensions had grown intensely by the end of

66
Mangara Tua Bakara and Robert J. Palandeng, 279-286.
67
Djanus Pakpahan and Robert J. Palandeng, 417-418.
68
Bedah Nusantara, “Pesparawi Nasional Ke-XI, Lahirkan Kontingen Terbanyak.” Bedahnusantara.com. Accessed
February 7, 2018.
69
Varshney, Ashutosh, Mohammad Zulfan Tadjoeddin, and Rizal Panggabean. “Creating Datasets in Information-
Poor Environments: Patterns of Collective Violence in Indonesia, 1990-2003.” Journal of East Asian Studies, no. 8
(2008): 379.
38
Suharto’s presidential regime (1997).70 The economic crisis of 1997 put Indonesia and Suharto’s

regime into turmoil. By the end of 1997 (Pelita VI, 1994 – 1999), the inflation rate in Indonesia

reached 11%, drastically higher than the 6.38% rise in 1996.71 The tragedy of May 1998, which

took place in Jakarta, as a result of Indonesian poor economic status and the ensuing political

mess, led to the Indonesian reformation that ended the 30-year of Suharto’s New Order regime.

Victims were primarily Indonesian minorities, such as non-pribumi72 (Indonesian-Chinese

descent),73 Christians, no-Islamic and other minority groups as reported by the Joint Fact-Finding

Team (TGPF), including 1,217 deaths (1,190 died of burns).74 PESPARAWI VI was postponed

to 2000 due to the tragedy of May 1998.

From 1998 through 2001, three presidential successions took place. Two months after

Suharto was re-elected President on March 10, 1998 (ended on May 21, 1998), Suharto was

replaced by B. J. Habibie (Law No. 26/1998) who eliminated discrimination and abolished the

pribumi and non-pribumi. Habibie (Law No. 22/1999)75 moved away from centralized system of

government by applying autonomy laws and fiscal decentralizations to reduce riots and violence

throughout Indonesia. As a result, Indonesian government granted: Aceh be named Nanggroe76

Aceh Darussalam (NAD) and promoted the Muslim law – Syariah, Iran Jaya be named Papua.

East Timor became independent from Indonesia in 1999. As a result of the autonomous districts,

Indonesian government decided to form new provinces and applied new provinces’ names,

70
Fadli Zon, 21-22.
71
Ibid., 12.
72
The term pribumi refers to the native Indonesian people and refers to all of their characteristics, such as darker
skin tone, wide eyes, and usually Muslim believers. Therefore, the term non-pribumi applies to all people who do
not have similar characteristics as the pribumi. In this study, the term non-pribumi mainly refers to all people of
Indonesian-Chinese descent.
73
Bertrand, 46.
74
Zon, 102-103.
75
Ibid., 201.
76
Nanggroe means country or state.
39
which also increased the number of participants who participated since the National

PESPARAWI VII (2003). In January 2000, Habibi’s successor, Abdurrahman Wahid (Decision

Letter No. 6/2000) abolished the President Instruction No. 41, 1967 that had prohibited the

celebration of the Chinese New Year as well as other cultural events that publicly performed.

This prohibition would also apply to the folk music performance in the National PESPARAWI,

since people considered the festival as public event. Without the revoking of the Law, it is

impossible for the LPPN leadership to add traditional/folk music. The rapid transformation of

government law during the Indonesian reformation era (1998 – 2000) encouraged the LPPN

leadership to reform the PESPARAWI as well as promote Indonesian unity by adding the folk

music in PESPARAWI VI.

3.2 National PESPARAWI VI – XI

Given the tragedy of May 1998, the General Director of Christian Counselor (GDCC)

decided to move the venue for PESPARAWI VI to Jakarta to ensure adequate security for all

participants. Indonesian Minister of Religion, A. Malik Fajar (Decision Letter No. 567C/ 1999,

October 1, 1999)77 ordered the LPPN to form a committee for PESPARAWI VI with Payaman J.

Simanjuntak, as chair.

The LPPN leadership originally scheduled the celebration of National PESPARAWI VI

in July 2000. Because so it would occur near the Annual Session of The People’s Consultative

Assembly (MPR), which was scheduled for August 7-18, 2000, that no one could predict the

result of the MPR meeting and government could not guarantee the safety of people nearby, the

festival was, therefore, re-scheduled to September 17-22, 2000 and was to be held in Jakarta.

During this particular PESPARAWI, the festival included the Folk Music category as celebratory

77
Mangara Tua Bakara and Robert J. Palandeng, (2012): 21.
40
performances in order to promote and encourage unity amongst the participants from Indonesia’s

provinces.

The leadership committee determined a theme and sub-theme for PESPARAWI VI:

Bernyanyilah dan Pujilah Tuhan dengan Roh dan Akal Budi – Sing and Praise the Lord in Spirit

and Wisdom; and PESPARAWI Memantapkan Pesekutuan dan Membarui Spiritualitas Umat

Kristiani Sebagai Kontribusi Bagi Perwujudan Indonesia Baru yang Bersatu, Berkadilan, Penuh

Damai Sejahtera serta Menghargai Kemajemukan – PESPARAWI Strengthens Fellowship and

Renews the Spirituality of Christians as a Contribution to the Embodiment of Indonesia as a

New, United, Just, Peaceful Country that Appreciates Plurality. Considering the effects of the

tragedy of May 1998 on Indonesian Unity, the planning committee decided to have

representation from many churches and faiths to inaugurate the festival at Taman Mini Indonesia

Indah building complex, Jakarta. The church leadership representatives also signed the document

of festival guidelines.

Table 3.1

The List of Participate Institutions Inaugurated the National PESPARAWI VI 78

No Institutions Title Title in English Representative Leader

1 PGI Council of Churches in Indonesia Soelarso Sopater
Union of Indonesian Pentecostal
2 PGPI Churches Samuel Budhi
3 PII Indonesian Evangelical Fellowship Chris Marantika
4 PBI Unity of Indonesian Baptist Sentot S. Sadono
5 GMAHK Seventh Day Adventist Church B. H. Panjaitan
Balai
6 Keselamatan The Salvation Army Indonesia Johannes Watilete

78
Djanus Pakpahan, Robert J. Palandeng, (2013): 34.
41
 Figure 3.1. Leaders from Indonesian National Church Institutions
who inaugurated the National PESPARAWI VI at Istora Senayan
Stadium, Jakarta, September 17, 2000.79 Courtesy of LPPN.

Of the 27 provinces in Indonesia, 24 participated in the 2000 festival.80 The provinces of

East Nusa Tenggara (NTT) and West Nusa Tenggara (NTB) also sent a delegation to parts of the

celebration, including the music workshop and Munas. The province of East Timor had been

preparing for its independence since October 25, 199981 and so did not participate.

Table 3.2

List of Indonesian Provinces Participated in the National PESARAWI VI

Indonesian Province Participants of PESPARAWI VI

1 D. I. Aceh 13 South Kalimantan
2 North Sumatra 14 North Sulawesi
3 West Sumatra 15 Central Sulawesi
4 Riau 16 South East Sulawesi
5 Jambi 17 South Sulawesi
6 Bengkulu 18 Maluku
7 South Sumatra 19 Papua82
8 Lampung 20 D. I. Yogyakarta
9 DKI Jakarta 21 Central Java
10 West Kalimantan 22 East Java
11 East Kalimantan 23 West Java
12 Central Kalimantan 24 Bali

79
Mangara Tua Bakara and Robert J. Palandeng (2012): 67.
80
Ibid., 283.
81
East Timor became fully independent country on May 20, 2002.
82
Irian Jaya province changed to Papua in the early 2000.
42
The newly appointed Indonesian President, K. H. Abdurrachman Wahid led the closing

ceremony of PESPARAWI VI at Istora Senayan stadium, in Jakarta on September 22, 2000.

Figure 3.2. The Indonesian President, K. H. Abdurrachman Wahid (second from the left, on the first row) closed the
National PESPARAWI VI on September 22, 2000. Courtesy of LPPN.

Even though the PESPARAWI committee modestly prepared this festival, people

considered the event special because the Indonesian President participated for the first time and

led the closing ceremony of the festival. The committee did not build or prepare choir risers

because all choirs performed their songs using the first four-ascending-rows of the prepared seats

at the stadium, amplified by few microphones. The closing ceremony took place at the important

stadium Istora Senayan which was part of the biggest and historic stadium Gelora Bung Karno

43
Sports Complex. The first Indonesian President had a stadium built to celebrate the Asian Games

in 1962. As was tradition, the festival committee was also dissolved at that time.

Figure 3.3. A choir performed on the ascending-row-seating of the stadium, PESPARAWI VI.83 Courtesy of LPPN.

For the first time, choir participants performed a folk music and sang selections from a

variety of Indonesian tribes during PESPARAWI VI. Thus, it marked the beginning of folk

music performances during the celebration of each festival. The LPPN leadership and the

PESPARAWI committee added the Folk Music category into the contest list for PESPARAWI

VIII. Even though the folk music performances were not contested in PESPARAWI VI, the

assessment team decided to give performance appreciations to choirs from Central Kalimantan

83
Mangara Tua Bakara and Robert J. Palandeng, 68.
44
for their excellent singing technique, East Java for their great piano accompaniment, and D. I.

Yogyakarta for their collaborative accompaniment of piano and traditional instrument.

PESPARAWI has been a musical way to share the varied Indonesian cultural heritage, towards a

goal of all cultures and traditions from throughout Indonesia being introduced, respected, and

preserved. PESPARAWI had a positive impact by encouraging Christians and tribal people to

promote unity throughout Indonesia.

As an active response to the successful celebration of National PESPARAWI VI,

Indonesian Minister of Religion, H. Said Agil Husein Al Munawar (Letter No. 511/ 2001, on

November 27, 2001)84 established Lembaga Pengembangan Pesparawi Nasional – Institution of

National PESPARAWI Development (LPPN). This organization would prepare and organize the

National PESPARAWI festival. Based on the Minister Letter, the GDCC established the rules

and regulations for carrying out the institutional roles and duties of the LPPN. This was the first

time LPPN was organized and established as a legal institution by the Indonesian government.

This recognition insured participants that PESPARAWI would be financially and legally

supported by the government in the years that followed. The National PESPARAWI continues to

be the only government-supported choir-based festival and is a part of governmental festival

celebrations. People happily responded the establishment of the LPPN that made the future

festival well-prepared and more organized. The legalized institution of LPPN also helped the

leadership and the committee of PESPARAWI to gain financial support from private funding

and other sponsorship organizations. This legal establishment of LPPN also legalized the

PESPARAWI festival. This legal standing of PESPARAWI confirmed the annual celebration of

PESPARAWI to all provinces that encouraged all provinces’ choirs to optimally prepare for the

84
Mangara Tua Bakara and Robert J. Palandeng, 185-193.
45
upcoming festival. By this time, many choirs invited conductors, vocal trainings, and many

qualified musicians, from both national or international, to help them prepare for the festival.

Thus, the PESPARAWI festival has grown rapidly in numbers of participants, contestants’

singing quality, and even the seriousness of the PESPARAWI committee in preparing the

festivals.

Preparations for National PESPARAWI VII started soon after the establishment of the

LPPN and the leadership of LPPN (national) and LPPD85 (district) announced Makassar, South

Sulawesi as the venue for PESPARAWI VII (letter No. DJ.III/KEP/HK.00.5/69/2196/2002, May

29, 2002).86 Minister, H. Said Agil Husein Al Munawar, appointed the leadership of LPPN

(letter No. 364/ 2002, August 7, 2002)87 in order to have the institution up and running prior to

PESPARAWI VII in Makassar (2003). This leadership of LPPN held the appointed position for

3 years (2002-2005). Based on the recommendation of the LPPN, Al Munawar (Letter No. 432/

2003, October 15, 2002)88 appointed John Pieter as chair of PESPARAWI VII. Unfortunately, he

resigned on January 27, 2003. As a result, Poltak Siahaan, the GDCC (acting chair of LPPN)

appointed Sampe Paembonan as chair for PESPARAWI VII (letter No.

DJ.III/BA.00/18/269/2003, January 29, 2003).89 In consideration of the complexity of organizing

LPPN as an independent institution, the GDCC (letter No. DJ.III/KEP/HK.00/20/529/2003,

February 22, 2003)90 added board members for the LPPN to organize funds and composition

contests for the PESPARAWI. The festival was delayed from September 15-21 to December 5-

12, 2003. Contrary to previous PPESPARAWI leadership, committee members of the National

85
LPPD is the abbreviation from Lembaga Pengembangan PESPARAWI Daerah - the Institution of Regional
PESPARAWI Development.
86
Mangara Tua Bakara and Robert J. Palandeng, (2012): 22.
87
Ibid., 195-201.
88
Ibid., 22.
89
Ibid.
90
Ibid., 202-205.
46
PESPARAWI VII were still legally able to prepare the next PESPARAWI and were replaced

once their leadership period expired.

The leadership of LPPN applied the theme for PESPARAWI VII: Bernyanilah Bagi

Tuhan Hai Segenap Bumi – Sing to the Lord, All Who Dwell on Earth; and the sub-theme:

PESPARAWI Memperkuat Pesekutuan Kristiani Demi Optimalisasi Kontribusi Bagi Perwujudan

Indonesia Yang Damai, Bersatu dan Adil Berdasarkan Pancasila – PESPARAWI Strengthens

Christian Fellowship to Optimize Contribution for the Embodiment of Indonesia that is Peaceful,

United, and Just Based on Pancasila. The minister of Menkokesra, H. M. Yusuf Kalla,91

inaugurated PESPARAWI VII, at Andi Matalatta stadium, Makassar, on December 5, prior to

the Christmas celebration in 2003.

Table 3.3

Thirty-Two Provinces Participated in PESPARAWI VII.92

Indonesian Province Participants of PESPARAWI VII

1 Nanggroe Aceh Darussalam (NAD) 17 South Sulawesi
2 North Sumatra 18 Bangka Belitung
3 West Sumatra 19 Riau Islanders
4 Riau 20 DKI Jakarta
5 Jambi 21 West Java
6 Bengkulu 22 Central Java
7 South Sumatra 23 D. I. Yogyakarta
8 Lampung 24 East Java
9 Bali 25 Banten
10 West Kalimantan 26 West Sulawesi
11 East Kalimantan 27 Gorontalo
12 Central Kalimantan 28 Maluku
13 South Kalimantan 29 North Maluku
14 North Sulawesi 30 West Nusa Tenggara
15 Central Sulawesi 31 East Nusa Tenggara
16 Southeast Sulawesi 32 Papua

91
Yusuf Kalla later became Indonesian Vice President (October 9, 2004-2009, 2014-present).
92
Mangara Tua Bakara and Robert J. Palandeng, (2012): 283-284.
47
The new provinces/new provinces’ names were the autonomous districts born of the Indonesian

reformation (North Maluku, Gorontalo, Banten, Bangka Belitung, Riau Islanders, NAD, and

Papua). The songs used for the festival were set by the LPPN leadership (letter No. 12/2003 on

January 15, 2003). The festival committee introduced two new activities – arts exhibition and

spiritual tourism – that participants could experience and enjoy while participating in

PESPARAWI VII. The festival concluded on December 12, 2003 under the hand of the MR, H.

Said Agil Husin Al Munawar.

During the Munas of PESPARAWI VII, Chief leader of LPPN appointed Medan, North

Sumatra province, as the venue for the National PESPARAWI VIII, 2006. The meeting also

designated two alternative venues, Papua and East Kalimantan (Borneo). The Governor of North

Sumatra, Rudolf M. Pardede (letter No. 431/2550/2004)93 accepted the decision from the Munas

to host PESPARAWI VIII. The GDCC (letter No. DJ.III/KEP/HK.00.5/126/3309/2004, July 26,

2004)94 confirmed Medan, North Sumatra to host PESPARAWI VIII.

In response to the letter by LPPN/GDCC, Indonesian Minister of Religion, Muhammad

M. Basyuni (letter No. 215/2005, April 21, 2005)95 recommended a PESPARAWI committee be

formed with Rudolf M. Pardede, the Governor of North Sumatra, as chair for PESPARAWI VIII.

Since the LPPN leadership period was about to end, Basyuni (letter No. 19/2005, August 15,

2005 – including in Appendix D), legalized the LPPN (2005 – 2010) and established the

leadership of LPPN for this period (letter No. 569/ 2005, December 2005).96 The celebration of

PESPARAWI VIII occurred on July 8-17, 2006 in Medan, North Sumatra. The LPPN leadership

chose the theme of PESPARAWI VIII: Bangun dan Pujilah Tuhan Allahmu sampai selama-

93
Mangara Tua Bakara and Robert J. Palandeng, 23.
94
Ibid.
95
Ibid. This letter also terminated the expired letter that legalized LPPN in 2001 (letter No. 511/2001).
96
Ibid., 229-235.
48
lamanya – Rise and Praise the Lord Your God Forever (from Nehemiah 9:5b); and the sub-

theme: PESPARAWI Memperkuat Kebersamaan dan Memberi Inspirasi Dalam Melanjutkan

Proses Transformasi Demi Terwujudnya Persatuan dan Kesejahteraan Bangsa – PESPARAWI

Strengthens Fellowship and Inspires the Transformation Process in forming National Unity and

Welfare. Again, 32 provinces participated in the festival.97 During PESPARAWI VIII, the art

exhibition event started on July 8 so that participants could arrange their early arrival in Medan

(one day earlier) and had more time to refresh and make better preparation for the contest. The

Indonesian President, H. Soesilo Bambang Yudhoyono, initiated the festival on July 9, 2006.

Figure 3.4. The Indonesian President, Soesilo Bambang Yudhoyono (on red) inaugurated the National
PESPARAWI VIII, on July 9, 2006.98 Courtesy of LPPN.

97
Mangara Tua Bakara and Robert J. Palandeng, 284-285.
98
Ibid., 138.
49
 During the opening ceremony, all participants sang a folk song, Arbab, to encouraged

unity in the festival, conducted by the arranger, Bonar Gultom. The committee of PESPARAWI

VIII invited a choir from South Korea to perform Indonesian Choral music to add to the

excitement of the festival.

Figure 3.5. Traditional dance and singing performance by choir from South Korea during the opening ceremony of
PESPARAWI VIII, Medan, 2006.99 Courtesy of LPPN.

The festival also provided a seminar in Liturgy and Music with keynote speakers: Sung

Mo Mon and Suh Sung Min, vocal seminar in Vocal Technique given by William Lock, and a

conducting workshop led by David Hughes. The LPPN leadership, for the first time in

PESPARAWI, invited and assigned two adjudicators from the United States: William Lock

99
Mangara Tua Bakara and Robert J. Palandeng, 139.
50
adjudicated Mixed Adult Choir category and David Hughes adjudicated Children Choir category.

During PESPARAWI VIII, the festival committee also prepared arts exhibition and provided

spiritual tourism to Toba Lake for all participants. The MR, M. Basyuni closed the festival on

July 17, 2006.

For preparing PESPARAWI IX, the GDCC (letter No. DJ.III/BA.00.5/43/670/2007,

February 19, 2007)100 requested East Kalimantan (Borneo) to host PESPARAWI IX in 2009.

The Governor of East Kalimantan (letter No. 452.5/8535/B.SOS 7PP/2007,101 October 23, 2007)

responded and stated that East Kalimantan would be willing and happy to host the festival. Thus,

the GDCC (acting chair of LPPN) assigned East Kalimantan as the host of PESPARAWI IX

(letter No. DJ.III/KEP/HK.005/3225/2007, November 12, 2007).102 A year later, Indonesian

Minister of Religion, Basyuni (letter No. 124/2008, September 15, 2008)103 appointed a

committee with Marthin Billa, as chair of the festival. The Governor planned to situate the

festival in Samarinda, the capital of East Kalimantan and assigned the vice Governor of East

Kalimantan, H. Farid Wajdy to make all preparations for the festival. As early as January 7,

2009, the vice Governor of East Kalimantan province met the governor of Samarinda to begin

preparations for the festival. Through hard work, the PESPARAWI committee and its members

prepared and successfully celebrated the National PESPARAWI IX on November 6 - 16, 2009.

Thirty-three provinces (32 returning provinces and West Papua, which was a new established

province), participated in PESPARAWI IX. The Chief leader of LPPN assigned the theme of the

festival: Berakar, Dibangun dan Bertambah Teguh di Dalam Tuhan – Be Rooted, Be Built, and

Be Strengthened in God (Colossians 2:7) and the sub-theme: Dalam Syukur Kepada Tuhan

100
Mangara Tua Bakara and Robert J. Palandeng, 23.
101
Ibid., 24.
102
Ibid.
103
Ibid.
51
Bersama-sama Kita Bangun Masyarakat Berakhlak Mulia, Bermoral, Beretika dan Beradab

Berdasarkan Pancasila – With Thanksgiving to God, Together, We Build Society that is Noble

and Civilized, with Morally and Ethically Inclined, Based on Pancasila. The opening ceremony

was led by the MR, H. Suryadharma Ali on November 8, 2009 (Note: this date is different than

the dates inscribed on the song collection, which read November 6-16). The LPPN leadership

distributed the song books to all participants of National PESPARAWI IX on November 28,

2008, a year before the appointed date of the festival celebration. Thus, the LPPN leadership and

PESPARAWI committee still had time to announce the correct celebration date to all provinces

that would participate in PESPARAWI IX on November 8-13, 2009.

Another date discrepancy occurred in the list of National PESPARAWI events, given to

me by Marali Purba during my visit at the LPPN head office. The list mentioned the celebration

of the festival was November 6 – 17, 2009. Two handbooks104 published by LPPN stated that

“the schedule dates for the festival was on November 8 – 13, 2009 and was participated by

contestants from 33 Indonesian provinces with a total of 5,863 people.”105 I based on my

decision of using November 8th as the correct start date based on the date of the opening speech

by the MR106 and from the two handbooks by LPPN. The opening ceremony of PESPARAWI IX

continued with the performance of the Hudok dancer which performed a dance form of six-

sequence-story, regarding the religious journey of Dayak tribes. During the PESPARAWI IX,

the choir from North Sulawesi province was appointed champion, receiving the Indonesian

President’s trophy.

104
Both handbooks published by LPPN mentioned that the festival date of National PESPARAWI IX was on
November 8-13, 2009. Both handbooks mentioned different number of the total participants. The first handbook
“PESPARAWI Rumah Kita Bermazmur” mentioned 5,863 people participated. Meanwhile, the other handbook
“PESPARAWI x Bermazmur Memuliakan TUhan” mentioned 5,832 people participated during the festival
PESPARAWI IX.
105
Mangara Tua Bakara and Robert J. Palandeng, (2012): 130.
106
Accessed on March 2018 from the website of Indonesian Minister of Religion.
52
 I had an opportunity to witness this festival celebration and conducted the Mixed Adult

Choir from Alor of NTT province. I also had the opportunity to rehearse the choir in Alor, for

about 2 months before the celebration, and helped prepare their traditional costumes for the Folk

Music category.

Figure 3.6. Choir from Alor, NTT province, participated in PESPARAWI IX, 2009. Henry Pranoto (standing in the
middle with a red scarf) conducted the choir for the Mixed Adult Choir and Folk Music categories. Courtesy of
LPPN and Imanuel Nikson Olidela.

The process of creating the costume and costume wearing in full attire required more time

because it was made from a tree skin. Therefore, the folk music celebration usually placed

toward the end of the celebration date and required a longer contesting period. After about three

days journey by ship and airplane, we finally arrived and joined the festival on November 7,

2009. Beside participating in the Mixed Adult Choir category, we also joined the Folk Music

category and performed the traditional song from NTT – Sombolo – which is usually sang to

celebrate harvest season. The audience appreciated the performance and the choir received a gold

medal in the Folk Music category. People expressed their excitement and joy participating the

festival while building fellowship amongst participants from other provinces and tribes

53
throughout Indonesia. The closing ceremony was led by H. Farid Wajdy, the vice Governor of

East Kalimantan (Borneo) on November 13, 2009.

The Governor of Southeast Sulawesi, H. Nur Alam, initiated the preparations for

PESPARAWI X and wrote a Governor’s letter to the MR, Basyuni, on May 20, 2009. Nur Alam

requested hosting PESPARAWI X. This was the first time that Indonesian Provincial Governors

requested to host the venue of National PESPARAWI. The LPPN leaderships and the LPPD107

delegation from all provinces usually decided the future venue and the program for the next

PESPARAWI during the National communal meeting of PESPARAWI (Munas) which took

place following the conclusion of the festival. Outside from this regularity, chief leader of LPPN,

through the GDCC decision letter (No. DJ.III/KEP/HK.00.5/136/2010 March 31, 2010)108

documented the discussion regarding the future venue of PESPARAWI X that took place during

the Munas on May 29, 2009 meeting (letter No. 106/LPPN/XI/2009, November 25, 2009)109 and

recommended a PESPARAWI committee be formed with the Governor Nur Alam, Governor of

Southeast Sulawesi, as chair (Governor’s letter No. 611/2010, September 27, 2010).110

Indonesian Minister of Religion, Suryadharma Ali (legal document No. 176/2010)111 approved

the PESPARAWI committee recommendation on December 30, 2010.

In order to let LPPN prepare for and organize PESPARAWI X, the MR needed to renew

the assignment letter for the legalization of LPPN. Thus, Suryadharma Ali (letter No. 149/2010,

November 2, 2010)112 assigned the new leadership of LPPN for the period of 2010 to October

107
LPPD is the abbreviation from Lembaga Pengembangan PESPARAWI Daerah - the Institution of Regional
PESPARAWI Development.
108
Ibid.
109
Mangara Tua Bakara and Robert J. Palandeng, (2012): 25.
110
Djanus Pakpahan and Robert J Palandeng, Pesparawi National X: Bermazmur Memuliakan Tuhan, ed. Robert
Palandeng. Jakarta: Ditjen Bimas Kristen Kementerian Agama RI LPPN, (2013): 351-376.
111
Ibid., 377-401.
112
Mangara Tua Bakara and Robert J. Palandeng, (2012): 237-242.
54
2015. The leadership of LPPN selected the theme of PESPARAWI X: Ia Allahku, Kupuji Dia, Ia

Allah Bapaku, Kuluhurkan Dia – He is My God, I Praise Him, He is My Father, I Honor Him

(Exodus 15:2b); and the sub-theme: Melalui Puji-Pujian Kepada Tuhan, Kita Wujudkan

Pencerahan dan Pencerdasan Spiritual Untuk Membentuk Karakter Bangsa – Through All

Praises to God, We Embody Spiritual Enlightenment and Intelligence to Form National

Character. The committee of National PESPARAWI X also applied a motto – Sukses

Pelaksanaan, Sukses Kebersamaan dan Sukses Prestasi – Successful Performance, Successful

Solidarity, and Successful Achievement – that showed support from communities throughout

South East Sulawesi in accommodating the success of the festival.

Figure 3.7. The Governor of Southeast Sulawesi, Haji Nur Alam, delivered his opening speech for the
PESPARAWI X, accompanied by five religious leader representations from Islam, Hindu Buddha,
Christian, and Catholic (from left to right). 113 Courtesy of LPPN.

This Minister Letter was also mentioned on the second handbook published by LPPN, “PESPARAWI Nasional X:
Bermazmur Memuliakan Tuhan,” Jakarta, 2013, pp 345-350.
113
Djanus Pakpahan and Robert J. Palandeng (2013): 55.
55
The support of various religious community in Kendari showed during the opening speech

ceremony by Nur Alam. During his speech, Nur Alam accompanied by five religious leader

representations from Islam, Christian, Catholic, Hindu, and Buddha that showed Unity in

Diversity aspect in the celebration of the National PESPARAWI X in Kendari.

The celebration of National PESPARAWI X took place in Kendari, Southeast Sulawesi,

on July 1-11, 2012. The actual choir contest of the festival took place on July 3-9, 2012. Thus,

the Indonesian Minister of Menko Kesra, H. Agung Laksono, Menko Kesra opened the festival

celebration on July 3, 2012. The festival was unique because the celebration of National

PESPARAWI X took place at the Muslim facility MTQ Square building. The Musabaqah

Tilawatil Quran – MTQ – is an Islamic National gathering like PESPARAWI, annually

celebrated throughout Indonesia.

Figure 3.8. Picture of MTQ complex used to host the National PESPARAWI X, Kendari, on
July 1-11, 2012.114 Courtesy of LPPN.

114
Mangara Tua Bakara and Robert J. Palandeng, 291.
56
 During PESPARAWI X, the LPPN leadership and PESPARAWI committee invited Paul

Kwangjong Suh (South Korea) to adjudicate the Children Choir category; and Edward C. Van

Nes (USA) to adjudicate the Mixed Adult Choir as well as the Folk Music categories.

Unfortunately, the leaderships of LPPN and the committees of PESPARAWI never had any

records of folk music that participants performed since PESPARAWI VI (2000). Only

PESPARAWI X recorded the list of folk songs and their provincial performers. Only twenty-

eight provinces, out of the thirty-three115 participated provinces, listed during the performance of

Folk Music category.

Table 3.4

List of Folk Music Songs Performed During PESPARAWI X Celebration116

TITLE COMPOSER / ARRANGER / TEXT Provincial

NO TRANSLATION
Indonesian and Native/Tribe Language Performer
1 Haleluya Puji Tuhan Theodora Sinaga Sumatra Utara
2 Toggauat Nuntut Bagamai Pastor Bernard Lie, dkk Sumatra Barat
3 Two Folksongs from Riau Anonymous Kepulauan Riau
4 Orang Kayo Hitam Firdaus Chatab Jambi
5 Segera Bertobatlah Manumpak Pane Bengkulu
6 Cup Mailang Anonymous Sumatra Selatan
7 Sambutlah Direi Ikam, Ya Tuhan Petrus Dasarwanto Lampung
8 Cai Ngadegdeg Barang Ningal Ka Gusti Atonius Priyanto Banten
9 Ondel-Ondel Joy T. Nilo DKI Jakarta
10 Cing Cang Keling Anonymous Jawa Barat
11 Dak Sawang Mareming Atiku Hermantika Sinapa Jawa Tengah
12 Jaranan Hadisoekatno D.I. Yogyakarta
13 Kangen Marang Gusti Yosafat Rannu Gusti Jawa Timur
14 Dongisi Kekar Yulius Atakai Djobo Nusa Tenggara Timur
15 Dara Amutin Alpino Kalimantan Barat
16 Riwut Halemei (Angin Sore) Gerhard Gere Masal Kalimantan Tengah
17 Kuwa' Kimet Dalem Tuhan Pdt. Hermanus Tuai Kalimantan Timur
18 Pasar Tarapung Y. Burhanuddin Kalimantan Selatan

115
Djanus Pakpahan and Robert J Palandeng (2013): 416
116
Ibid., 430-431
57
Table 3.4 (Continued)

TITLE COMPOSER / ARRANGER / TEXT Provincial

NO TRANSLATION
Indonesian and Native/Tribe Language Performer

19 Zazani Wia Se Kimaweng Perry Rumengan Sulawesi Utara

20 To Mambe Orimani Moide Kandori Wute Sulawesi Tengah
21 Tomepare Arruan Pasau and D. Pualillin Sulawesi Barat
22 Reree'o Apu Kua Wita Moronene Samuel Kadmaerubun and Ndasi Sulawesi Tenggara
23 Kamenomban Pdt. Tiku Rari and Ira Sardy Sulawesi Selatan
24 Dandai Kokoi Tjirna Monoarfa Gorontalo
25 Tilu Rences Alfons Maluku
26 Rasai Indonesia (Damaikan Indonesia) Fred Riung Maluku Utara
27 Wos Injir Ine Sam Kapisa Papua
28 Funa Wobok Johanis Marthin Yeuwun Papua Barat

I made no attempt on providing the English translation for the folk song title because of my

limited knowledge in Indonesian tribal languages. West Papua province choir had won the

championship and received the Indonesian President’s trophy.

Figure 3.9. The West Papuan choir performed the traditional dance at the closing
ceremony of PESPARAWI X, celebrating their victory. 117 Courtesy of LPPN.

117
Mangara Tua Bakara and Robert J. Palandeng, 307.
58
 The Governor of South East Sulawesi, H. Nur Alam officially closed the PESPARAWI X

on July 9, 2012. In addition to the raising and the lowering flag ceremonies, accompanied by

PESPARAWI’s Hymn and Marsh songs, the Great Choir (Koor Agung) performed Hallelujah

by Handel during the opening ceremony (July 3, 2012) and sang Bahtera Mas – Golden Ark – for

the closing ceremony (July 9, 2012). Of note was the peaceful election of Governor and vice

Governor of Kendari on July 7, 2012, as PESPARAWI X was taking place.

Figure 3.10. The Great Choir (Koor Agung) performed the theme song Bahtera Mas – Golden Ark – during the
closing ceremony of PESPARAWI X.118

118
Mangara Tua Bakara and Robert J. Palandeng, 292.
59
 Many people have experienced the benefits of National PESPARAWI and felt the need to

track the history of the festivals, especially from the prospective of Christian faith in Indonesia.

Therefore, the GDCC (letter No. DJ.III/KEP/HK.00.5/52/2012)119 appointed a team to write the

history of PESPARAWI I-IX, in 2012. LPPN published the book in July 2012 and entitled

PESPARAWI: Rumah Kita Bermazmur. It included the history of National PESPARAWI I – IX

because PESPARAWI X took place in 2012. The Chief leader of LPPN assigned Djanus

Pakpahan to write the book along with a writing team of eight members as part of the writing

team, including Mangara Tua Bakara, Robert Palandeng, John R. P. Hutabarat, Rico Pasaribu,

Jarusman, Marali Purba, Yanthy Caroline, and Nani Tuti Juliana.120

LPPN published another book about the PESARAWI in September 2013 (one year after

PESPARAWI X)121 and entitled: PESPARAWI Nasional X: Bermazmur Memuliakan Tuhan –

National PESPARAWI X: Glorify God in Psalm. Djanus Pakpahan and Robert J. Palandeng

(editors) were responsible for creating the book. The book included the history of National

PESPARAWI I – IX and specifically documented the celebration of National PESPARAWI X.

The chair of LPPN, Oditha R. Hutabarat (letter No. SKEP/12/LPPN-XII/13, December

12, 2013) began the preparations of PESPARAWI XI by appointing Ambon in the province of

Maluku as the next festival venue. As a response to the LPPN’s letter, the Governor of Maluku

(letter No. 223/2014) accepted hosting PESPARAWI XI. Based on those letters, Indonesian

Minister of Religion, Lukman Hakim Siafuddin (letter No. 08/2015) recommended a

PESPARAWI committee be formed with the Vice Governor of Maluku, Zeth Sahaburua, as

chair. PESPARAWI XI was successfully celebrated on October 2-12, 2015, in Ambon, Maluku.

119
Mangara Tua Bakara and Robert J. Palandeng, 287.
120
Ibid., 288.
121
Djanus Pakpahan and Robert J Palandeng (2013): foreward xxi.
60
It had been the greatest attendance of all PESPARAWI as Sahuburua mentioned that there were

“about 6,868 participants from all provinces of Indonesia and 12,000 people attending the

opening ceremony of National PESPARAWI XI.”122 The marching band from the Islamic school

Madrasah Aliyah Negeri I, Ambon, performed during the opening celebration of the festival.123

The participation of various communities (Muslim, Hindu, Buddhist, Christian, and Catholic)

throughout Maluku in the celebration of PESPARAWI, showed the application of Pancasila’s

principle Bhinneka Tunggal Ika – Unity in Diversity – throughout the joyful celebration of the

festival.124

The current President of Indonesia, Joko Widodo, inaugurated the National PESPARAWI

XI at the Mandala Remaja Stadium, Ambon, Maluku on October 6, 2015. The LPPN leadership

selected the theme: Sungguh Alangkah Baik dan Indahnya Hidup Dalam Persaudaraan Yang

Rukun – How Good and Beautiful It is, If We Live in A Harmonious Fraternity (Psalm 133:1-3)

and the sub-theme: Melalui Puji-Pujian Kita Pererat Kasih Persaudaraan Dalam Rangka

Mewujudkan Indonesia yang Adil, Sejahtera, Demokratis, serta Menghargai Kemajemukan –

Through Praises, We Strengthen Our Brotherly Love to Create an Indonesia that is Just,

Prosperous, Democratic, and Cherishes Diversity. Thirty-Four Indonesian provinces participated

in the festival, including the newly established province of North Kalimantan (2012). The

Indonesian Minister of Research, Technology, and Higher Education, Muhammad Nasir, led the

closing ceremony on October 10, 2015. The champion of the National PESPARAWI XI to

122
Bedah Nusantara, “Pesparawi Nasional Ke-XI, Lahirkan Kontingen Terbanyak.” Bedahnusantara.com. Accessed
February 7, 2018.
123
Agastya R. Listya and Karen Bradberry, ed., “Uniting Indonesia’s Diversity Through the Church Choral
Festival,” http://icb.ifcm.net/en_US/uniting-indonesias-diversity-church-choral-festival/?print=pdf. Accessed March
28, 2018.
124
Bedah Nusantara, “Pesparawi Nasional Ke-XI, Lahirkan Kontingen Terbanyak.” Bedahnusantara.com. Accessed
February 7, 2018.
61
receive the Indonesian President’s trophy was the province of Maluku, who had also won the

trophy during PESPARAWI VII and VIII.

Figure 3.11. Picture of Indonesian President Joko Widodo inaugurating and attending the National PESPARAWI
XI, Ambon, accessed on February 7, 2018. Courtesy of www.suarawajarfm.com
http://www.suarawajarfm.com/2015/10/07/7804.

The appointed period of the LPPN’s leadership would expire right after PESPARAWI

XI. Thus, the Minister of Religion of Indonesia, Lukman Hakim Saifuddin (letter No. 420/2015,

December 2015) extended the leadership of LPPN for 2015-2020. Based on the MR’s decision

letter, LPPN would be able to fully run and optimally prepare for National PESPARAWI XII.

The Chief leader of LPPN, during the Munas XI, appointed Pontianak, West Kalimantan

(Borneo) to host the National PESPARAWI XII, July 31 – August 4, 2018 and affirmed by the

62
GDCC on Junuary 6, 2016 (letter No. DJ.III/HK.00.5/17/2016). The LPPN leadership applied

the theme for PESPARAWI XII: Mataku Tetap Terarah Kepada Tuhan, Sebab Ia Mengeluarkan

Kakiku Dari Jaring – My Eyes Look to God, For He Delivers My Feet from the Snare (Psalm

25:15) and the sub-theme: Melalui PESPARAWI, Gereja Membaharui Mental dan Komitmen

Untuk Membebaskan Masyarakat dari Jaring Kemiskinan dan Kerusakan Lingkungan, demi

Indonesia Baru – Through PESPARAWI, the Church Renews the Mentality and Commitment to

Deliver the People from The Toil of Poverty and Environmental Destruction for The New

Indonesia.

Music has been used and recognized as an influential medium to unify the people of

Indonesia through many generations by Muslim leader Wali Kalidjogo; missionaries (Ingwer

Ludwig Nommensen, Johann Gottlob Geiβler, & Carl Wilhelm Ottow); and many independent

Indonesian movements (Wage Rudolf Supratman, Kusbini, Cornel Simanjuntak, Alfred

Simanjuntak, & E. L. Pohan). Unfortunately, the abusive and negative power of music is also

known. By looking at the past of Indonesia regarding the positive application of choral singing

(Wali Kalidjogo), Indonesian people may become more tolerant of each other in terms of race,

social class, tribe, education, economic status, and religious background. Moreover, choral

singing and musical groups can be a powerful medium to unify Indonesia throughout its 17,504

or more islands.125 The LPPN leadership and the Indonesian Goverenment encouraged national

unity for all Indonesian tribes and provinces of various religions, through choral singing fetival

PESPARAWI. Today, there are many choral festivals and gatherings including both national and

125
Information Bureau and Kemenko Maritime Law, “UN Verifies Names of 16,056 Indonesian Islands.” Accessed
on February 23, 2018. The total number of 16,056 – Indonesian named islands – was verified by The United Nations
Group of Experts on Geographical Names (UNGEGN) during the 30 th UNGEGN meeting and the 11th UN
Conference on Geographical Name Standardization at the UN Headquarters, New York, on August 7-18, 2017.
63
International events throughout Indonesia. In fact, PESPARAWI even encourages other non-

Christian nation events/gatherings that also promotes national unity throughout Indonesia.

Table 3.5

Chronological List of Legal Letters and Events National PESPARAWI VI-XI

Decision Letter
No. Name Title/Position Number/Occurrence Dates
VI A. Malik Fajar MR No. 567C Tahun 1999 10/1/1999
PESPARAWI VI National Celebrated 9/17/2000
H. Said A. H. Al
LLPN 1 Munawar MR MR - No. 511/2001 11/27/2001
GDCC - No.
VII P. Siahaan GDCC DJ.III/KEP/HK.00.5/69/2196/2002 5/29/2002
H. Said A. H. Al
Munawar MR MR - No. 432/2002 10/15/2002
H. Said A. H. Al
LLPN Munawar MR MR - No. 364/2002 8/7/2002
2002/05
LPPN - No. DJ.
P. Siahaan GDCC & GC LPPN III/BA.00/18/269/2003 1/29/2003
LPPN - No. DJ.
LLPN GDCC & GC LPPN III/KEP/HK.00/20/529/2003 2/22/2003
PESPARAWI VII National Celebrated 12/5/2003
VIII Rudolf M. Pardede PG North Sumatra PG - No. 431/2550 Tahun 2004
GDCC - No.
Jason Lase GDCC DJ.III/KEP/HK.00.5/126/3309/2004 7/26/2004
Muhammad M.
Basyuni MR MR - No. 215/2005 4/21/2005
Muhammad M.
LLPN Basyuni MR MR - No. 19/2005 8/15/2005
Muhammad M.
LLPN Basyuni MR MR - No. 569/2005 12/8/2005
2005/10
PESPARAWI VIII National Celebrated 7/8/2006
GDCC - No.
IX Jason Lase GDCC DJ.III/BA.00.5/43/670/2007 2/19/2007
H. Awang Faroek
Ishak PG East Borneo PG - No. 452.5/8535/B.SOS 7PP/2007 10/23/2007
GC - LPPN - No.
Jason Lase GDCC & GC LPPN DJ.III/KEP/HK.00.5/3225/2007 11/12/2007
H. Suryadharma Ali MR MR - No. 124/2008 9/15/2008
LPPN/D & Vice Governor of East
Borneo 1/7/2009
PESPARAWI IX National Celebrated 11/8/2009

64
Table 3.5 (Continued)

Decision Letter
No. Name Title/Position Number/Occurrence Dates
PG South East
X H. Nur Alam Sulawesi PG - No. 431/1945 5/20/2009
LPPN & all LPPD LPPN/LPPD Meeting 5/29/2009
Saur Hasugian Chairman LPPN SK No. 106/LPPN/XI/2009 11/25/2009
GDCC - No.
Saur Hasugian GDCC DJ.III/KEP/HK.00.5/136/2010 3/31/2010
PG South East
H. Nur Alam Sulawesi PG - No. 611/2010 9/27/2010

LLPN H. Suryadharma Ali MR MR - No. 149/2010 11/2/2010

2010/15
H. Suryadharma Ali MR MR - No. 176/2010 12/30/2010
PESPARAWI X National Celebrated 7/1/2012
XI Saur Hasugian GDCC - LPPN No. SKEP/27/LPPN-VII/2012 7/9/2012
Karel Albert
Ralahalu PG Maluku PG - No. 431-99/2012 9/28/2012
GDCC - No.
Saur Hasugian GDCC DJ.III/KEP/HK.00.5/883/2012 7/9/2012
Oditha R. Hutabarat LPPN No. SKEP/12/LPPN-XII/13 12/12/2013
Lukman H.
Saifuddin MR MR - No. 8/2015 1/21/2015
PESPARAWI XI National Celebrated 10/2/2015

Lukman H.
LLPN Saifuddin MR MR - No. 420/2015 12/30/2015
2015/20
XII Oditha R. Hutabarat GDCC GDCC - No. DJ. III/HK.00.5/17/2016 1/6/2016
PESPARAWI XII National To be Celebrated 7/29/2018

65
 CHAPTER 4

AN EXAMINATION OF CHORAL LITERATURE FROM

PESPARANI/PESPARAWI 1983 TO 2015

In order to investigate the overlying theme of unity of the PESPARANI/PESPARAWI,

the repertoire performed at the festivals I – XI was examined. Specifically, this investigation

sough to determine: (a) How many pieces of music performed at the PESPARANI/PESPARAWI

festivals had lyrics that contained ideas about unity? (b) Which provinces were represented at

each PESPARANI/PESPARAWI festival? (c) What percentage of the music performed at the

PESPARANI/PESPARAWI festivals were composed by Indonesian and Western composers?

and (d) How many songs were repeated more than once during the PESPARANI/PESPARAWI I

– XI festivals?

4.1 Compilation of the Repertoire Performed at the PESPARANI/PESPARAWI I – XI

The materials and the repertoire performed in the festivals were gathered through interviews with

individuals associated with PESPARAWI I – XI and/or retrieved from the YAMUGER’s library.

Marali Purba, the administrator of LPPN, was able to provide a printed list of songs for

PESPARAWI I – XI. From him, I also located the published repertoire collection for each

contest category for PESPARAWI I, II, III, VII, VIII, IX, X, and XI. Some files went missing as

a result the LPPN office relocation and had not been digitized, including all the repertoire for

PESPARAWI IV, V, and VI as well as the collection for male chorus for PESPARAWI IX. The

LPPN had not collected music for the fFolk Music category from PESPARAWI I – XI because

participants sang from memory.

I was able to compile the repertoire for all categories of PESPARAWI V from Agastya

Rahma Listya, Salatiga. Similarly, I located and compiled songs (adult choir category) for
66
PESPARAWI IV through Obaja Yulianto in Semarang. At the same time, I found a song

collection (including piano accompaniment) for PESPARAWI VI which only held one category

for adult choir. The missing repertoire includes music from the following categories:

PESPARAWI IV (1993), Children Choir and Small Ensemble (12 songs), and PESPARAWI IX

(2009), Male Choir (6 songs).

In searching PESPARAWI I, on August 9, 2017, I found three different published

collections. The first publication was the PESPARANI Booklet Program for PESPARAWI I

(June 16-20, 1983, at Senayan, Jakarta), which included five of the six songs (the missing piece

of music being Hallelujah Amen by G. F. Handel). The next collection was the Song Compilation

for National PESPARAWI I/II, 1983-1986, which was published by LPPN/the General Director

of Christian Counselor (GDCC) under direction of the Indonesian Minister of Religion (MR),

Jakarta and was retrieved from the YAMUGER’s library on August 9, 2017. Within this

collection only three of the six songs for the PESPARAWI I were included – Datanglah

KerajaanMu (Your Kingdom Come), Doa – (Prayer) and Dengan Kidung Kuberdoa (In Psalm I

Pray) – while Umat Kristus Maju Membangun (Christian Congregation Come Forward and

Build), Bersatu Dalam Kasih (Unity in Love), and Hallelujah & Amen were omitted. The third

collection was The Song Compilation of National PESPARAWI from 1983-1990, First Series,

published by LPPN/GDCC under the MR, in 1999, Jakarta, which contained the same material

as the 1998 compilation.

By going through the list of songs supplied by Marali Purba, I located the six songs used

for National PESPARAWI I. Since varied sources provided different information, I decided to

use Marali’s list as a reference and combined all sources to compile the final list. The LPPN

67
published two books describing the early history of the PESPARAWI festival126 providing me

with information regarding its evolution and changing purpose. By analyzing the literature, I can

determine the trends in Indonesian choral music as a result of PESPARAWI.

Figure 4.1. From the left, Soni Utomo (Yamuger’s office manager), Marali Purba (staff member of LPPN), Henry
Pranoto, Yanthi Charolina (staff member of LPPN). Henry Pranoto and Soni Utomo, visited the LPPN office on
August 9, 2017. Courtesy of Henry Pranoto.

4.1.1 Categorization of the Repertoire Performed at the PESPARANI/PESPARAWI I – XI

Once the repertoire was compiled, each piece of music was categorized as follows:

126
The two important books describing the early history of the PESPARAWI festival Pesparawi National X:
Bermazmur Memuliakan Tuhan by Djanus Pakpahan and Robert J. Palandeng; and Pesparawi: Rumah Kita
Bermazmur by Mangara Tua Bakara and Robert J. Palandeng.
68
1. Songs listed by each festival

2. Song title in Indonesian

3. Song title in English

4. Indonesian composer’s name/arranger’s name/translator of the text

5. Original composer’s name

6. Festival category

7. The Instrument accompaniment or unaccompanied (a cappella)

8. Mandatory or optional

9. Notes for text and translation of song

10. Other notes

Results

How many pieces of music performed at the PESPARANI/PESPARAWI festivals had

lyrics that contained ideas about unity?

The repertoire was analyzed to obtain sums and percentages to answer this research question.

Results found that all but one of the PESPARANI/PERSPARWI festivals had over 50% of its

music containing ideas of unity. Of special note were those festivals that held the greatest

percentage of pieces of music with unity as its theme – festival XI in 2015 (89.71%), festival I in

1983 (83.33%), and festival III in 1990 (75.00%) – and the festivals that had the least percentage

– VIII in 2006 (38.00%), and II in 1986 (55.56%). See Table 4.1 for full results.

69
Table 4.1

Numbers of Music Performed in PESPARANI/PESPARAWI I – XI with Lyrics/Title of Unity

Overall Number of Lyrics/Title of Unity

PESPARANI/PESPARAWI Music

Σ Σ %

I (1983) 6 5 83.33

II (1986) 9 5 55.56

III (1990) 12 9 75.00

IV (1993) 21 14 66.67

V (1996) 35 25 71.43

VI (2000) 13 8 61.54

VII (2003) 42 26 61.90

VIII (2006) 50 19 38.00

IX (2009) 50 31 62.00

X (2012) 63 46 73.02

XI (2015) 68 61 89.71

TOTAL 369 249 67.48

Which provinces were represented at each PESPARANI/PESPARAWI festival?

The number of provinces within Indonesia has changed several times since 1983. For example,

during the 1983 PESPARANI/PESPARAWI I festival, Indonesia consisted of 27 provinces;

however, in 1999, the East Timor Province became independent, which reduced the total number

to 26. This number changed again after the celebration of PESPARAWI VI in 2000 when

70
Indonesia went from government law to autonomous districts, which increased the number of

provinces to 32. From 2004 to 2012, the Indonesian government restructured twice more to

recognize additional provinces (33 and 34 respectively) so that by the most recent National

PESPARAWI celebration in 2015 there were 34 Indonesian provinces.

To answer this research question, the choirs were categorized by province from which they came

and sums were calculated by province. Results found choral group attendance at the early

PESPARANI/ PESPARAWI festivals (I – VI) was from most or all of the recognized provinces

of that current time – although it should be mentioned that the choir categories were limited.

Later festivals (VII – XI) were also well attended by choral groups from most or all of the

provinces; however, certain choir categories were not as fully represented (e.g., Mixed Youth,

Quartet/Men’s Choir, Trio/Women’s Choir). Table 4.2 lists the full results.

Table 4.2

Represented Provinces at Each PESPARANI/PESPARAWI for All Categories

Festivals and I II III IV V VI VII VIII IX X XI

Categories (n = 27) (n = 27) (n = 27) (n = 27) (n = 27) (n = 26) (n = 32) (n = 32) (n = 33) (n = 33) (n = 34)

Mixed Adult 26 27 27 27 27 24 32 32 32 32 33
Choir

Children’s - - 27 27 27 - 32 32 21 20 21
Choir

Vocal Group - - - 27 27 - 32 32 23 28 29

Youth Female - - - - - - 32 32 27 30 31
Solo

Youth Female - - - - - - 32 32 27 33 29
Solo

71
Table 4.2 (Continued)

Festivals and I II III IV V VI VII VIII IX X XI

Categories (n = 27) (n = 27) (n = 27) (n = 27) (n = 27) (n = 26) (n = 32) (n = 32) (n = 33) (n = 33) (n = 34)

Mixed Youth - - - - - - - - 19 20 25
Choir

Quartet/Male - - - - - - - 32 18 21 23
Choir

Trio/Female - - - - - - - 32 18 20 23
Choir

Child Solo - - - - - - 32 32 - - -

Child Male - - - - - - - - 24 - -
Solo

Child Female - - - - - - - - 28 - -
Solo

Child Solo (7- - - - - - - - - - 25 28

9)

Child Solo - - - - - - - - - 22 29
(10-13)

Folk Music - - - - - - - 32 27 28 30

Church Pop - - - - - - - - - - 22
Music

Note: The dash (-) denotes choral categories that were not a part of the overall festival.

What percentage of the music performed at the PESPARANI/PESPARAWI festivals were

composed by Indonesian and Western composers?

The composer(s) for each piece of music performed during the PESPARANI/

PESPARAWI festivals were examined and sums and percentages were obtained. For these

calculations, Western music that was translated into Indonesian or arranged by an Indonesian

72
composer was categorized under Western. Only those pieces that were composed by an

Indonesian composer were counted under that category. Results found that all but two festivals

(II and VI) had the majority of music (> 50%) composed by Indonesian composers. See Table

4.3 for full results.

Table 4.3

Music Composed by Indonesian Composers and Western Composers for the Festivals

PESPARANI/PESPARAWI Total Number of Indonesian Western

Pieces Σ % Σ %

I 6 5 83.33 1 16.67

II 9 4 44.44 5 55.56

III 12 7 58.33 5 41.67

IV 21 19 90.48 2 9.52

V 35 35 100.00 0 0.00

VI 13 5 38.46 8 61.54

VII 42 42 100.00 0 0.00

VIII 50 40 80.00 10 20.00

IX 50 49 98.00 1 2.00

X 63 62 98.41 1 1.59

XI 68 65 95.59 3 4.41

TOTAL 369 333 90.24 36 9.76

73
How many songs were repeated more than once during the PESPARANI/PESPARAWI I –

XI festivals?

To answer the final research question, the repertoire was examined to determine (a)

which songs were performed more than one time over the course of all the PESPARANI/

PESPARAWI festivals, (b) how many times these songs were repeated, (c) the festivals in which

the repeated songs appeared, and (d) the origin of the composers for the repeated songs. Results

found there were 37 songs that were performed at two festivals, five that were performed at three

festivals, and one song that was performed at four festivals. Of these repeated songs, Indonesian

composers composed most of this music. Table 4.4 lists the full results by song.

Table 4.4

The Songs Repeated During the PESPARANI/PESPARAWI I – XI Festivals

Number of Uses Total Number of Songs Composer Origin Festival

Indonesian Western

Two Festivals 37 33 4

The Universe and Its Contents Michiel Karatem IX, X

Amen Hallelujah J. A. Sandan VIII, X

Like Dew Drops Maruli IV, V

Simorangkir

Happy is the People Who Fear the Ronald Pohan IX, X

Lord

Pray and Sing H. A. Van Dopp IV, VIII

God’s Blessing to His People Who A. R. Listya XI, XI

Peacefully Live Together

Open Up the Gate of Thy Love Ronald Pohan II, X

74
Table 4.4 (Continued)

Number of Uses Total Number of Songs Composer Origin Festival

Indonesian Western

The Creed – I Believe B. G. Soebagio IV, V

Let Thy Kingdom Come E. L. Pohan I, X

Listen to My Prayer, O Lord Wahono Hadi IX, X

in Gog We are Alive A. H. Tama VII, X

The Prayer S. K. Atmodjo I, VIII

My Shepherd D. R. Yuwono VII, VIII

My Friends Mariana - Daniel VII, XI

The Only One I Long for J. T. Silangit IV, V

My Heart Rejoice Sinar VIII, X

The Most Kindness Wife Pontas Purba IX, X

My Soul Longs for the Lord Bonar IX, X

Gultom/Gorga

We are Indonesian Children Victor Nadapdap VII, IX

Jesus’ Love Sinar VII, X

To Whom Should I be Afraid Bonar VII, XI

Gultom/Gorga

The Story of Jonah Faida Delta IX, X

I Sing His Love J. A. Sandan VII, IX

Move Your Nation Forward Nortir III, VII

Simanungkalit

Flowing Love of Jesus Gerhard Gere IX, X

Okuli M. R. D. Panjaitan VII, XI

75
Table 4.4 (Continued)

Number of Uses Total Number of Songs Composer Origin Festival

Indonesian Western

Peaceful Brotherhood Bonar IV, V

Gultom/Gorga

Give Thanks to the Lord M. N. Abdullah IV, V

Listen Carefully Victor Nadapdap V, IX

Beautiful is Your Name P. D. Hananto VIII, X

Give Thanks to You, Oh Lord B. G. Wibisono IX, X

The Lord is My Light & My Ronald Pohan IX, XI

Salvation

Lead Me T. P. Hutauruk III, X

In God’s Love F. Mendelssohn IX, X

Your Word is the Light of My Life Roland Rogers VIII, XI

The Sun is No Longer be Your Light H. H. II, IV

Woodward

Abide with Me W. Sterndale - II, IV

Bennet

Three Festivals 5 5 0

Steadfast in God’s Word Wily Sinaulan VII, X, XI

My Prayer Y. C. Pranowo IX, X, XI

Love is Patient and Kind Michiel Karetem IX, X, XI

Psalm 51 A. Simanjuntak VII, X, XI

Who Art Thou? Victor Nadapdap V, VII, X

Four Festivals 1 1 0

God is with Us Binsar Sitompul II, IV, V, X

76
Results of these repeated songs, encouraged me to perform musical analysis on the song God is

with Us by Binsar Sitompul in order to understand the music and the unity aspect within the

piece since it was repeatedly used for four times.

4.1.2 Music Analysis of Song God is with Us by Binsar Sitompul

The song God Is with Us by Binsar Sitompul will be analyzed in detail (lyric, musical

form, & harmony) in order to bring forth possible reason it was reused for four times. The piece

was used in the Mixed Adult Choir category in PESPARAWI II, and assigned as a mandatory

song and as an optional selection in PESPARAWI IV, V, and X (NB: It did not figure on the list

provided by Marali Purba). The lyrics and the music were by Binsar Sitompul.

LYRICS
Maha mulya Kau Tuhan! You are Glorious oh Lord!
Maha kudus dan besar! You are Holy and Mighty!
Setiap hari, setiap saat, Every day, every moment,
Kau b’ri berkat. You bless us.
Kau sertai kami. You are with us.
Maha murah Kau Tuhan! You are merciful, oh Lord!
Maha kudus dan benar! You are Holy and Just!

Kau limpahkan Tuhan You pour out, of Lord,

berkat pengasihanMu, Kepada umatMu. Your merciful blessing, to your people.
Puji syukur Tuhan dan s’gala kemulian. I give you thanks and honor.
Maha Agung Kau ya Tuhanku! Great are you, my Lord!

Tiada batas kemurahaanMu! Un-measured is your loving kindness!

Kau s’lalu beserta kami. May You always be with us.
Kau s’lalu memimpin kami. May You always guide us.
Setiap saat dan waktu, Every moment and hour,
Kami aman dalam tanganMu. We are safe in your hands.

Ya Bapa kami, beri iman teguh. You are our Father, grant us a firm faith
Sertailah umatMu selalu. Please be with us always.
Kita bangkit bersatu dalam iman yang teguh. We arise in a unity through strong belief
Tuhan setia kepada umatNya (that my) Lord is faithful to his people
Tuhan selalu beserta kita! God is with us!

77
 The lyrics strongly encourage the concept of unity in worshiping and proclaiming God’s

loving kindness to all people. All words in referring to God’s attributes were scored in unison:

You are Glorious oh Lord (mm. 5-6); You are Holy and Mighty (mm. 7-8); You are merciful, oh

Lord (mm. 14-15); You are Holy and Just (mm. 16-17); Great are you, my Lord (Figure 4.6);

and Un-measured is your loving kindness (mm. 30-31).

Figure 4.2. Lyric of the song God is with Us by Binsar Sitompul (mm. 28-29) scored in unison referring to God’s
attributes.

God is named without any specific Deity in mind (such as Jesus or Allah). In addition, the

composer specifically scored a unison C to the word bersatu – unity – (mm. 49-50) and follows it

with harmony on iman – faith (me. 51) leading to the interpretation that people of all faiths

should sing in unity to proclaim God’s goodness and majesty.

78
 God is with us is through-composed. The musical form is A, B, C (C1, C2, & C3).

Sections A (mm. 1-18), in the key of d minor, and C section (mm. 32-68), in the key of F major

are both written in chordal (hymn) style. A specific compositional technique, one-voice part

(Soprano) versus three voice parts (Alto, Tenor, & Bass) in a responsorial style, is used in a short

section of B (mm. 19-31). A return to the chordal/hymn style, occurs in measures 28-31 as

people sing the word attributed to God. Thereafter, Great are you, my Lord, Un-measured is your

loving kindness (mm. 28-31), is sang in unison, depicting praise to the glory of God by all

voices/people. Binsar Sitompul, then, brings back the chordal harmony in the C section (in F

major) to cement the feeling of unity for the rest of the song. The C section is divided into C1

(mm. 32-39) in F major, C2 (mm. 40-47) in f minor, and C3 (mm. 48-62) in F major. The final

section in F major provides a strong invitation to all people to rise and unite in proclaiming

God’s faithfulness and his continuous presence in our lives.

Sitompul sets the key tonality of d minor (in the bass section) to begin the piece, while

other chords float around the key center. The extended tonicization in the beginning section of

the piece – section A, for example: mm. 1-2 (and further sections referring to God) seems to

produce both feelings of fear due to unworthiness, and awe toward the greatness of God. The

minor keys (d minor & f minor) within the piece created more drama in depicting the potential

fall of human if God is not included in their lives.

The composer used modal mixture, applied chords, and chromatic harmonies throughout

the piece to intensify the music and to provide a smoother transition between sections. He only

uses a French augmented six, once, in measure 3, beat 1. The ascending scale (measure 3, beat 1)

followed by ascending chromaticism (measure 3, beat 3), refers to the resolution/hope by moving

toward the dominant chord (A major), finally returning to tonic (d minor) in measure 5.

79
Measures 1 through 5 set the tone of the piece. The composer was also able to create the feeling

of hopelessness by using prepared chromatics, – descending chromatic chords – in measures 6,

12, 15, and 18. The struggle ends when it reaches the major key center, focusing on God’s

attributes. The people of God gain confidence to present themselves as one before God, in the B

section. He also uses applied third (measure 21) to applied fourth (mm. 22-26) and finally to the

dominant chords function (measure 27), leading to the tonic of d minor. The end of the B section

strongly affirms with the use of both a dominant chord and a fermata, depicting the promise of a

new beginning which raises hope and happiness by using the key of F major (mm. 32-40). He

also uses applied third (measure 21) to applied fourth (mm. 22-26) and finally to the dominant

chords function (measure 27), leading to the tonic of d minor. The end of the B section strongly

affirms with the use of both a dominant chord and a fermata, depicting the promise of a new

beginning which raises hope and happiness by using the key of F major (mm. 32-40).

Figure 4.3. A unison C, on beat 4 of measure 43, depicts unity.

80
 The hope and happiness feeling are quickly disrupted with the use of a plagal cadence

resulting in a shift to f minor – I – iv6 – I (mm. 40-41). The use of a unison C shows in Figure

4.7, depicting unity in pleading God to be ever present, which then moves to a Picardy third in

measure 44, resurrects feelings of joy and hope. The composer also uses an anticipation (measure

69, beat 4) to give a stronger feeling of anticipated joy and hope. The piece ends strongly with

perfect authentic cadence in F major chord (mm. 61-62) (See Appendix B to find the full length

alayzed musical score of God is with Us by Binsar Sitompul).

4.1.3 Theme and Sub-Theme of National PESPARANI/PESPARAWI I – XI

The themes and sub-themes of National PESPARANI/PESPARAWI I – XI strongly

suggest a message of unity. Sub-themes show the National festivals’ support of a governmental

program to establish and strengthen unity in Indonesia (See Appendix H to find full length of

Themes and Sub Themes of National PESPARANI/PESPARAWI I – XI).

81
 CHAPTER 5

SUMMARY, CONCLUSIONS, AND RECOMMENDATIONS FOR

FUTURE RESEARCH

5.1 Summary

The Indonesian Christian churches (including YAMUGER) and the Indonesian

Government under the GDCC, the MR, LPPN leadership, and the national festival committees

established and organized the celebration of the National PESPARANI/PESPARAWI I – XI in

Indonesia despite of political upheaval and unrest. Readers can find information regarding the

unification purpose of the PESPARANI/PESPARAWI festival from chapter summaries,

interviews, and reflection throughout this dissertation.

Chapter 2 summarized the important of Finley Williamson’s visit to Indonesia, the role of

E. L. Pohan and other important musicians in the establishment of YAMUGER that eventually

led to the creation of the National PESPARANI/PESPARAWI, in collaboration with the

Indonesian Government. Literature and interviews support the nature of the National

PESPARANI/PESPARAWI encourage unity in diversity beginning with the unity of Christian

faiths through choral singing. The unification purpose of PESPARANI/PESPARAWI

encouraged and empowered national stability and unity despite of tragedies throughout the

history of Indonesia. The establishment of first National PESPARANI/PESPARAWI in 1983, as

an Indonesian Government reconciliation effort following the Gestapu tragedy of 1965. The

Indonesian Government collaborated with the Indonesian Board of churches to create National

PESPARANI/PESPARAWI in order to promote unity throughout Indonesia, starting with the

Christian faiths in 1983. Thus, national unity has always been the purpose of the National

82
PESPARANI/PESPARAWI. This chapter also highlighted the development and progression of

PESPARANI/PESPARAWI I – V and the delay of PESPARAWI VI.

Chapter 3 summarizes the reconciliation effort by the Indonesian Government, following

the tragedy of May 1998 that caused a delay in the celebration of PESPARAWI VI. The LPPN

leadership and the Indonesian Government added the Folk Music category during National

PESPARAWI VI in order to encourage national unity within and amongst Indonesian tribes and

provinces. This chapter also includes the development of the PESPARAWI from the inception of

festival VI up to and including the most recent festival at the time of the dissertation was being

written, PESPARAWI XI.

Chapter 4 details the process of collecting PESPARANI/PESPARAWI repertoire lists for

festivals I – XI. It also explains the process used for data organization. This chapter includes the

results of this study as well as the score analysis of Binsar Sitompul’s important song, God is

With Us since it is the song that was reused the most over the duration of the festivals. Foremost,

this study seeks to emphasize the importance of establishing both political and musical unity

throughout the festival.

5.2 Conclusions

The main purpose of establishing the PESPARANI/PEPSPARAWI was to promote and

support national unity for Indonesian tribes and regions, for religions using choral music as a

vehicle. Pioneers of the event collaborated using their talents and organizational skills, in order

to establish the National PESPARANI/PESPARAWI festival. Musicians in general and

Indonesian people more specifically should express their appreciation for early Indonesian

church musicians, Epaphroditus Laurentius Pohan, Alfred Simanjuntak, music composers of

83
YAMUGER (TING – the Core Team of Church Music), and other Indonesian church musicians,

as well as the influence of Western musicians, such as John Finley Williamson for promoting

unity and national stability through teaching and encouraging choral singing in Indonesia.

The Indonesian Government and the LPPN leadership chose to celebrate

PESPARANI/PESPARAWI in order to encourage national unity. PESPARANI/PESPARAWI

has survived political tragedies and have demonstrated the power of music in unifying people of

diverse backgrounds in Indonesia. They experienced the power and significance of choral music

in creating Indonesian unity in diversity – Bhinneka Tunggal Ika. Music (including choral

singing) is known as a universal language, helping in the unification of Indonesia with its 17,508

islands and more than 300 tribes.

The structure of the National PESPARANI/PESPARAWI has changed throughout its

history. The LPPN leadership and PESPARANI/PESPARAWI committee expanded the festival

from one to 12 categories demonstrating increase interest. The inclusion of Folk Music category

within the Church Music Festival (PESPARAWI) is unique and enriching musical elements of

churches. Adding the Folk Music category also showed that the LPPN leadership and Indonesian

Government wanted to encourage further participation and strengthen national unity. All

provincial participants are exposed to and therefore able to appreciate other cultures, creating

unity through Christian fellowship and singing.

The research carried out for this dissertation, showed the power of choral music in

unifying people from many different backgrounds throughout Indonesia, therefore attaining the

objective of encouraging the unity in diversity, as stated in Pancasila – Bhinneka Tunggal Ika.

84
 5. 3 Recommendations for Future Research

There were some limitations in this research process. Time and resources were quite

limited. Future researchers could analyze the 369 selections used in the National PESPARAWI

in order to determine stronger ties to unity and glorification of God such as those found in the

score analysis of Binsar Sitompul’s song, God is With Us. It is my hope that musicians

worldwide will be encouraged to explore and perform Indonesian music from the PESPARAWI

repertoire.

Funding and time limitation also hindered the viewing of all video recordings made by all

PESPARAWI hosts from the various provinces. Viewing and analyzing these audio-visual

documents will likely help gather even more precise information regarding PESPARAWI. It is

my hope to study the university level National PESPARAWI in order to understand the parallels

and differences between church and secular festivals. A larger number of research hours and a

larger financial commitment are needed in order to gather further information since Indonesians

prefer to communicate face-to-face.

85
 APPENDIX A

REPERTOIRE LITERARURES OF NATIONAL PESPARAWI I – XI

TITLE COMPOSER /
ORIGINAL
NO ARRANGER / TEXT
INDONESIAN ENGLISH TRANSLATION COMPOSER

1 Datanglah KerajaanMu Let Thy Kingdom Come E. L. Pohan

Umat Kristus Maju Christian Congregation Come
2 Membangun Forward and Build Binsar Sitompul
3 Doa The Prayer S. K. Atmodjo
4 Bersatu Dalam Kasih Unity in Love A. Soetanta S. J
5 Dengan Kidung kuberdoa In Psalm I Pray B. G. Soebagio
6 Halleluyah & Amen Hallelujah & Amen G. F. Handel
7 Tuhan Beserta Kita God Is with Us Binsar Sitompul
W. Sterndale -
8 Tinggal SertaKu Abide with Me E. L. Pohan Bennet
9 Angungkan NamaNya Glorify Thy Name B. G. Soebagio
Sang Surya Tak Lagi Jadi The Sun is No Longer be Your H. H.
10 Penerangmu Light Alfred Simanjuntak Woodward
L. V.
11 Nyanyian Pertobatan Song of Repentance Binsar Sitompul Beethoven
12 Lagu Pujian Song of Praise E. L. Pohan Carl Ecker
Orlando di
13 Sungguh Bahagialah Truly Joyful Alfred Simanjuntak Lasso
14 Bukakan Pintu KasihMu Open up The Gate of Thy Love Ronald Pohan
15 Indonesia Indonesia E. L. Pohan
16 Alleluya, Puji Tuhan Hallelujah Praise God Ronald Pohan
17 SabdaMu Ilahi Your Word of Lord B. G. Soebagio
18 Puji Tuhan, Puji Dia! Praise God, Praise Him! Binsar Sitompul
19 Majukanlah Bangsamu Move Your Nationa Forward Nortir Simanungkalit
20 Tuntun Aku Lead me T. P. Hutauruk
Come, Thou Long Expected
Kau Yang Lama Dinantikan
21 Jesus P. A. Soetanta SJ. R. H. Prichard
22 Yesus Telah Bangkit Jesus has Risen Alfred Simanjuntak Em Benedict
W. B.
Tuhan, Kau Gembala Kami God, you are our Shepherd
23 YAMUGER 1978 Bradbury
24 Siarkanlah Proclaim Binsar Sitompul Robert Leaf
Bolehkah Kudatang
May I come to You, Jesus
25 PadaMu, Yesus B. G. Soebagio
26 Puji Tuhan Praise God B. G. Soebagio
Kala Anak Manusia
When the Son of Man Returns
27 Kembali Binsar Sitompul Robert Leaf
28 Tuhan, Engkau Mengenalku God, you know me Alfred Simanjuntak
29 Surat - Surat Paulus letters of St Paul Nortir Simanungkalit
30 Puji Syukur Bagi Tuhan Give Thanks to the Lord M. N. Abdullah

86
 COMPOSER /
TITLE ARRANGER / ORIGINAL
NO TEXT COMPOSER
INDONESIAN ENGLISH TRANSLATION
31 Credo - Aku Percaya The Creed - I Believe B. G. Soebagio
32 Tiada Kasih There is no love St. A. K. Saragih
33 Bermazmurlah Bagi Tuhan Sing Psalm to the Lord J. T. Silangit
34 Tuhan Beserta Kita God Is with Us Binsar Sitompul
Sang Surya Tak Lagi Jadi The Sun is No Longer be Alfred H. H.
35 Penerangmu Your Light Simanjuntak Woodward
W. Sterndale -
Tinggal Sertaku Abide with Me E. L. Pohan
36 Bennet
37 O, Kawan – Kawan O, Friends Victor Nadapdap
38 Berdoa dan Bernyanyi Pray and Sing H. A. Van Dopp
39 Doa Seorang Bocah The prayer of a child B. G. Soebagio
40 Tuhan Yesus dan Remaja Jesus and the youth G. G. Pahan
41 Tuhan Yang Pemurah God who is Gracious G. G. Pahan
42 Bersatu Dalam Iman Together in Faith Harry Riwayadi
Marilah Kita Menghadap
Let’s come to His Presence J. T. Silangit
43 KehadiratNya
44 Tuhan, Kau Karuniakan Kami God, you have given us Michiel Karatem
45 Hanya Satu Kerinduanku The Only One I Long For J. T. Silangit
46 Marilah Memuji Let’s praise J. T. Silangit
Bonar Gultom
Persaudaraan Yang Rukun Peaceful Brotherhood
47 (Gorga)
Maruli
Bagai Tetes Embun Like Dew Drops
48 Simorangkir
49 Penebus Disalib My savior was crucified F. E. Lango
P. J.
50 Kudengar SuaraMu Tuhan I heard Your voice of God Leiwakabessy
51 Kuserahkan Hidupku PadaMu I surrender my life to You F. E. Lango
52 Wartakan InjilNya Proclaim His Gospel Gatot Sutarno
53 Maha Besar Kau Allahku How Great are you my God M. N. Abdullah
Bonar Gultom
Pertolongan Kita Our Help
54 (Gorga)
55 Halleluya Hallelujah J. T. Silangit
Nortir
RUT Ruth
56 Simanungkalit
57 Renungan Meditation B. G. Soebagio
58 Khotbah di Bukit Sacrifice on the Hill B. G. Soebagio
59 Puji Syukur Bagi Tuhan Give Thanks to the Lord M. N. Abdullah
60 Credo - Aku Percaya The Creed - I Believe B. G. Soebagio
61 Tuhan Beserta Kita God Is with Us Binsar Sitompul
62 Pohon Kecil Small Tree Victor Nadapdap
63 Bersyukurlah Pada Tuhan Be thankful to God J. T. Silangit
Bonar Gultom
Marilah Kawan Let’s come friends
64 (Gorga)

87
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TITLE ARRANGER / ORIGINAL
NO TEXT COMPOSER
INDONESIAN ENGLISH TRANSLATION
Bonar Gultom
Bangun Pagi Wake up in the morning
65 (Gorga)
B. G.
Tepuk Tangan Riang Ria Clap Your hands happily
66 Soebagio
67 Tetaplah Berdoa Keep on Praying Yason Christy
C. S.
Seluruh Dunia Harus Tahu All the earth must know
68 Patadungan
Kris
Halleluya Hallelujah
69 Boedianto
70 Doa Prayer K. Boedianto
Thimotius
71 O, Betapa Kudibimbing O, how I was guided Tandi
Victor
Siapa Gerangan Who Art Thou?
72 Nadapdap
Cain, where are your H. A. Van
Kayin Dimana Adikmu?
73 brother? Dopp
D. K.
Ku Mau Jadi MuridMu I want to be your disciple
74 Soediyar
75 Bernyanyilah Anak Tuhan Let’s sing Children of God B. P. Pahan
76 Masa Muda dan Masa Depan Youth age and the Future G. G. Pahan
77 Bersatu Dalam Tuhan Unity in God G. G. Pahan
Harry
78 Bagaikan Sekuntum Bunga As A Flower Riwayadi
79 Jangan Seorangpun Don’t let Anyone J. T. Silangit
Victor
Sendengkanlah Listen carefully
80 Nadapdap
81 Hanya Satu Kerinduanku The Only One I Long For J. T. Silangit
Persaudaraan Yang Rukun - Maz Peaceful Brotherhood - Bonar Gultom
82 133 Psalm 133 (Gorga)
Maruli
83 Bagai Tetes Embun Like Dew Drops Simorangkir
Praise God in His Holy Bonar Gultom
84 Pujilah Allah di Tempat Kudus-Nya Place (Gorga)
Aku Melihat Langit and Bumi Yang I look at the new heaven
A. K. Saragih
85 Baru and earth
86 Janganlah Murka Tuhanku Do not be angry my God Pontas Purba
87 Aku Akan Memuji Tuhan I will Praise the Lord F. E. Lango
88 Satu Tubuh Kita Semua One Body, We are one Leo Matheos
O God Who by The Thomas Thomas
Allah Bapa
89 Leading of a Star Attwood Attwood
Hans Leo
Gloria - Misa 2 Gloria - Mass II H. L. Hassler
90 Hassler
Praise The Lord & Call George J.
Syukur Pada Tuhan George J. Elvey
91 Upon His Name Elvey
Blessed is He - Benedictus
Diberkatilah Yang Datang W. A. Mozart W A Mozart
92 K626
Joyce Eilers
Kuasa dan Kemuliaan The Power and The Glory J. E. Bacak
93 Bacak
94 Dia Tidak Pernah Meninggalkanku He never Failed Me Yet Robert Ray Robert Ray

88
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TITLE ARRANGER / ORIGINAL
NO TEXT COMPOSER
INDONESIAN ENGLISH TRANSLATION
95 Sorak-sorailah Dalam Tuhan Shout Out your Joy Emily Crocker Emily Crocker
96 Puji Tuhan, Hai Alam Semesta O be Joyful in The Lord John Rutter John Rutter
Tune -
Mazmur Pujian - Selamanya Hendak Balikpapan
97 'ku Puji Tuhan Psalm of Praise L. Metheos Permai
Tune - BP-KIII-
98 Halleluya Hallelujah L. Metheos 224
Aku Memandang ke Gunung – I am looking at the
99 Gunung mountains around Pontas Purba
To Whom Should I be Bonar Gultom
Kepada Siapa Aku Harus Takut
100 Afraid (Gorga)
Godlief
Lautan Kasih The Ocean of Love
101 Soumokil
Alfred
Mazmur 51 Psalm 51 Ronald Pohan
102 Simanjuntak
Don’t Avenged Who is
Janganlah Membalas Yang Jahat J. T. Silangit
103 Bad
B. G.
Rumah Bapa The Father’s House
104 Soebagio
105 Doa Bapa Kami The Lord’s Prayer T. Y. Husodo
L. D. N.
Mazmur 145
106 Psalm 145 Batuara
Michiel
107 Setelah Allah Menciptakan After God has created Karatem
We are Indonesian Victor
108 Kami Anak-anak Indonesia Children Nadapdap
109 Damailah Indonesia Peaceful Indonesia Victor Purba
110 Tuhan Yesus Pimpinlah Kami Jesus, Please Guide Me G. G. Pahan
111 Beribadah Pada Tuhan Come and Worship God H. J. Jocom
112 Gembalaku My Shepherd D. R. Yuwono
E. Tj.
Besarlah Kasih SayangNya How Great is His Love
113 Sinulingga
114 Haleluya Hallelujah Y. C. Pranowo
S. D.
Sobat Yang Setia Faithful Friend
115 Simomora
116 Kunyanyikan KasihNya I Sing His Love J.A. Sandan
Godlief
117 Hai Dengarlah Anakku Hi Listen, My Child Soumokil
Put the Peace in My
118 Tempatkan Damai di Hatiku Heart Y. C. Pranowo
P. J.
Dambaan Kasih Tuhan Hope of God’s Love
119 Leiwakabessy
120 Pujilah Tuhan Hai Jiwaku Praise God oh My Soul J.A. Sandan
S. D.
Pertobatan Repentance
121 Simamora
122 Pada Bukit Itu On That Hill Y. C. Pranowo
The Way of the
123 Jalan Orang Benar Righteous A. W. Haan

89
 COMPOSER /
TITLE ARRANGER / ORIGINAL
NO TEXT COMPOSER
INDONESIAN ENGLISH TRANSLATION
Aku Melayangkan Mataku ke Bonar Gultom
124 Gunung-gunung I open my eyes to see mountains (Gorga)
M. R. D.
125 Okuli Okuli Panjaitan
The Salt and The Light of The Mariana-Daniel
Garam dan Terang Dunia
126 World S
127 Di Dalam Tuhan Kita Hidup In God, We are Alive A. H. Tama
128 Pertolonganku Dari Tuhan Our Help is from God Cutdyaningsih
129 Jadilah Teladan Be an Example Sinar
130 Masihkah Kasih Tuhan Ada Is God’s Love still there Sutarto
Berpegang Pada Firman
131 Tuhan Steadfast in God’s Word Wily Sinaulan
132 Kasih Yesus Jesus’ Love Sinar
133 Beritakan Injil Proclaim the Gospel R. W. Tahalea
134 Allah Menciptakan God Created R. W. Tahalea
135 Mari Kita Bergembira Let’s Us be Joyful Cutdyaningsih
Mariana -
Hai Kawan Hi, Friends
136 Daniel
137 Ajar Aku Melakukan Teach me on my doing A. I. Apituley
138 Hatiku dan Hatimu My Heart and Your Heart B.G. Soebagio
Perry
139 Bapa Kami Our Father Rumengan
Bonar Gultom
140 Doa Bagi Negara The Prayer for my Country (Gorga)
Bonar Gultom
141 Langit Menceritakan The Heavens are Telling (Gorga)
142 Tuhan, Berapa Lama Lagi God, How much more Pontas Purba
143 Marilah Kita Muliakan Let’s Glorify J. T. Silangit
144 Haleluya Puji Tuhan Hallelujah, Praise God A. K. Saragih
Nortir
Majukanlah Bangsamu Move Your Nationa Forward
145 Simanungkalit
146 Doa The Prayer S. K. Atmodjo
147 Agungkan NamaNya Glorify His Name B. G. Soebagio
148 Dengarkanlah Listen G. Soumokil
Pujiah Tuhan, Dengan
149 Bersorak Praise God with shouting A. R. Listya
Membina Persahabatan Yang
150 Indah Nurture a Beautiful Friendship G. G. Pahan
H. A. Van
Berdoa and Bernyanyi Pray and Sing
151 Dopp
152 Mari Kawan Puji Tuhan Let’s Praising God o, Friends S. D. Simamora
153 Terpujilah Tuhan Praise be to God B. E. Picanussa
154 Ya Allahku Hatiku Siap O My God, My Heart is Ready A. I. Apituley

90
 COMPOSER /
TITLE ARRANGER / ORIGINAL
NO TEXT COMPOSER
INDONESIAN ENGLISH TRANSLATION
Victor
155 Siapa Gerangan Who Art Thou? Nadapdap
156 Gembalaku My Shepherd D. R. Juwono
157 Yesus Ada di Dalam Doa Jesus is in my Prayer Heroyent
158 Kupuji Kau Tuhan Allahku I praise you My Lord God Poedji Soesilo
159 Kasih Love J.A. Sandan
160 Pujilah Dia Praise Him Frietje Engko
Pujilah Tuhan Hai Seg’nap Praise the Lord, all Ye
A. R. Listya
161 UmatNya People
Riki
Kusemaikan KasihMu I Sprout out Your Love
162 Marionatan
M. M.
163 Yesus Turut Serta Jesus Come Along Tinungki
Sungguh Indah NamaMu
164 Tuhan Beautiful is Your Name P. D. Hananto
165 Tuhanlah Rajaku The Lord is my King Jerry Silangit
A. C. W.
Raja Yang Maha Mulia The King who is Noble
166 Gaspersz
Yanni
Bukankah Kita Satu Are we not one?
167 Latuheru
168 Amen Haleluya Amen Hallelujah J. A. Sandan
169 Pujilah Tuhan Hai Jiwaku Praise God o my Soul Sinar
170 Tidak Dingin Tidak Panas Luckwarm Endro
Bangun dan Pujilah Tuhan Rise and Praise your Lord
171 Allahmu God D. R. Juwono
Thy Word is the Light of Roland
FirmanMu Pelita Bagi Hidupku Roland Rogers
172 My Life Rogers
173 Hatiku Senang My heart is joyful Mariana
174 Kidung Pujian Psalm of Praise A. Latuperissa
175 Hatiku Riang Gembira My Heart Rejoices Sinar
176 Kubernyanyi I am Singing Endro
S. D.
177 Yesus Mengetuk Hatimu Jesus Knocks on your Heart Simamora Wayne Hooper
Rita
Halleluya Hallelujah Wayne Hooper
178 Hutagalung
Fabiola
Tuhan Penuhiku O Lord fill me up L.V. Beethoven
179 Chianiago
Fabiola
Hidup Manusia The life of Mankind Has George Nageli
180 Chianiago
Victor
O Datanglah Immanuel O Come Emmanuel Wayne Hooper
181 Nadapdap
S. D. text and music
182 Tuhan Juruselamatku Lord My Savior Simamora Anonymous
Wanny
Lord Jesus
183 Tuhan Yesus Bongawan Sall de Ford
184 Pakailah Aku Ya Tuhan Use me o Lord D. Anthony D.Bolks

91
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TITLE ARRANGER / ORIGINAL
NO TEXT COMPOSER
INDONESIAN ENGLISH TRANSLATION
185 Malam Indah dan Kudus Holy Night and Beautiful Victor Nadapdap E. L. Pohan
Nyanyikanlah Lagu Yang
Sing a New Song Bern Klein P Bern Klein
186 Baru
187 Damai Pemberian Tuhan Peace’s given from God Bilhorn S Bilhorn S
Bonar Gultom
188 Yesusku Juruslamatku My Jesus my Savior (Gorga)
Berakar dan Dibangun di
189 Dalam Dia Rooted and Growth in Him A. R. Listya
190 Pujilah Allahmu Maha Besar Praise your Majestic God G. Soumokil
191 Iman Pengembara Wonderer’s Faith Perry Rumengan
Bahagialah Orang Yang
Happy is He Who Depend on God J. T. Silangit
192 Andalkan Tuhan
Berakar, Dibangun dan Rooted, Growth, and Firmly Bonar Gultom
193 Bertambah Teguh Established (Gorga)
194 Kyrie Eleison Gloria Lord Have Mercy, Glory be to God Michiel Karatem
195 Bertumbuh dan Berbuah Growth and be Fruitful A. R. Listya
Besar dan Perkasa Kau,
Great and Mighty are you, my Lord G. Soumokil
196 Allahku
197 Hidup Yang Berbuah Life that is fruitful Y. C. Pranowo
S’bab Merekalah Umat Because They are Your chosen
Jeckron Lubis
198 PilihanMu people
199 Mengalir Kasih Yesus Flowing Love of Jesus Gerhard Gere
200 Jubilate Deo Jubilate Deo Rainer Revireina
201 Puji Tuhan Hai Jiwaku Praise the Lord O My Soul A. I. Apituley
202 Ayo Teman Let’s Friends G. Soumokil
203 Kami Anak-anak Indonesia We are Indonesian Children Victor Nadapdap
Tuhan Mampukan Kami
Lord Enables us to sing Michiel Karatem
204 Bernyanyi
205 KasihNya Sungguh Besar His Love is so Great D. R. Sitompul
206 Kunyanyikan KasihNya I Sing His Love J.A. Sandan
Bonar Gultom
207 Berakarlah Be Rooted (Gorga)
Aku Berseru, Ya Tuhan
I am pleading, O Lord Please Listen G. Soumokil
208 Dengarlah
209 Dengarlah Doaku, Ya Tuhan Listen to My Prayer, Oh Lord Wahono Hadi
210 Bagi Dia Yang Berkuasa To Him, whom the power belongs J. T. Silangit
Tuhan Adalah Terangku dan The Lord is My Light & My
Ronald Pohan
211 Keselamatanku Salvation
Berbahagialah Orang Yang Happy is the people who fear the
212 Takut Akan Tuhan Lord Ronald Pohan
213 Kasih Love Perry Rumengan
214 Istri Yang Teramat Baik The Most Kindness Wife Pontas Purba
215 Perbarui Hidupku Renew My Life Bintang Nugroho
F.
Di Dalam Kasih Tuhan In God’s Love E. L. Pohan
216 Mendelssohn

92
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ORIGINAL
NO ARRANGER / TEXT
INDONESIAN ENGLISH TRANSLATION COMPOSER

217 Kasih Itu Sabar, Murah Hati Love is Patient and Kind Michiel Karatem
The Universe and Its
218 Alam Serta Isinya Contents Michiel Karatem
219 Pelabuhan Sentosa Safe and Peaceful Port R. J. Saragih
Bonar Gultom
Kolose 2:6-7 Colossian 2: 6-7
220 (Gorga)
221 Sendengkanlah Listen carefully Victor Nadapdap
222 Menjadi Baru Be a new Harry Riwayadi
223 Korban Syukur Sacrifice of thanksgiving Jeckron Lubis
Lihatlah, Aku Menjadikan
224 Segala Sesuatu Baru Look, I made everything new E. D. H. Siahaan
Bonar Gultom
225 Jiwaku Merindukan Tuhan My Soul Longs for the Lord (Gorga)
Give Thanks to You, Oh
226 Syukur PadaMu Tuhan Lord B. G. Wibisono
227 Teguh Dalam Tuhan Firm in The Lord F. A. Hendrasmoro
228 Imanku My Faith Beno Manabung
229 Doa Sujud Prostrate Prayer M. M. Tinungki
230 Bersama Yesusku Along with My Jesus Poedji Soesila
Bonar Gultom
231 Ketika Aku Dijadikan When I Was Created (Gorga)
232 Kisah Yunus The Story of Jonah Faida Delta
233 Talita-Kum Talita-Kum Faida Delta
234 Doaku My prayer Y. C. Pranowo
Your Name, I always
NamaMu Slalu kusebut S. D. Simamora
235 proclaim
236 Doa Untuk Ayah Ibu Prayer for Father and Mother Harry Riwayadi
237 Aku Bersyukur I am thankful Bartje Istia
238 Berikanlah Kepadaku Please give to me E. D. H. Siahaan
Aku Mau Bernyanyi Bagi
239 Tuhan I want to sing for God Hermant Sinapa
240 Kerinduan Dalam Kesesakan Longing within Distress Hermant Sinapa
Allah Pembebas dan God is My Redeemer and My
Perry Rumengan
241 Penyelamatku Savior
242 Tuhan Sang Pemenang The Lord is the victorious A. R. Listya
243 Nyanyian Bangsa Song of The Nation F. A. Hendrasmoro
Open up The Gate of Thy
244 Bukakan Pintu KasihMu Love Ronald Pohan
245 Tuhan Beserta Kita God Is with Us Binsar Sitompul
246 Datanglah KerajaanMu Let Thy Kingdom Come E. L.Pohan
247 Mazmur 51 Psalm 51 Alfred Simanjuntak
248 Tuhan Penolong Hidupku God is The Help of My Life A. R. Listya
Kubermusik dan Bernyanyi I Play and Sing the Music for
J. S. Bahat
249 BagiNya Him
Yesus Tuhan Penolong Lord Jesus is the Help of my
Perry Rumengan
250 Hidupku life

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NO TEXT
INDONESIAN ENGLISH TRANSLATION COMPOSER
The Lord is My Strength and
Tuhan Kekuatan dan Mazmurku Theodora Sinaga
251 My Psalm
252 Mengalir Kasih Yesus Flowing Love of Jesus Gerhard Gere
253 Betapa Baiknya Kau Tuhan How Gracious You are Lord Hermant Sinapa
I want to be be the Children of
254 Ku Ingin Jadi Anak Tuhan God K. S. Permana
Tuhan Penyelamat dan The Lord is my Savior and my
A. R. Listya
255 Kekuatanku Strength
Godlief
Bunga-bunga Indah Beautiful Flowers
256 Soumokil
257 Ia Allahku Kupuji Dia He is my God, I praise Him B. G. Wibisono
258 Siapa Gerangan Who Art Thou? Victor Nadapdap
259 Tuntun Aku Lead Me T. P. Hutauruk
260 Bernyanyi Dengan Senang Sing Joyfully P. D. Hananto
261 Bangunlah Hai Jiwaku Awake o My Soul R. H. Yuka
262 Turut SabdaMu Obey Your Word K. S. Permana
263 Hanya Kristus Yang Sanggup Only Chirst is Able Perry Rumengan
Berbahagialah Orang Yang Happy is the People who fear
Ronald Pohan
264 Takut Akan Tuhan the Lord
265 Dengarlah Doaku, Ya Tuhan Listen to My Prayer, Oh Lord Wahono Hadi
Puji Tuhan Karena Kasih Praise the Lord because of His
266 SetiaNya Loving Kindness Perry Rumengan
267 Aku Mau Bernyanyi Bagi Tuhan I Will Sing to the Lord Wahono Hadi
268 Alam Serta Isinya The Universe and Its Contents Michiel Karatem
269 Istri Yang Teramat Baik The Most Kindness Wife Pontas Purba
F.
Di Dalam Kasih Tuhan In God’s Love E. L. Pohan
270 Mendelssohn
271 Kasih Itu Sabar, Murah Hati Love is Patient and Kind Michiel Karatem
272 Dia Allahku, Ku MemujiNya He is My God, I praise Him Wahono Hadi
Bambang
Dialah Allah Bagiku He is my God to me
273 Yuswohadi
Allah Pembebas dan Penyelamat God is Redeemer and Savior of
A. R. Listya
274 UmatNya His People
275 Umatku Diselamatkan My People be saved Poedji Soesila
276 Tuhan Itu Raja The Lord is King Bartje Istia
Sungguh, Allah Itu
277 Keselamatanku Surely, My God is my Salvation J. S. Bahat
278 Ia Allahku Ku Puji Dia He is My God, I Praise Him Beno Manabung
279 Baiklah Bumi Memandang Lets the Earth See J. S. Bahat
280 Tuhan Penolongku The Lord is My Helper R. Y. Huka
Bonar Gultom
Jiwaku Merindukan Tuhan My Soul Longs for the Lord
281 (Gorga)

94
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282 Amen Haleluya Amen Hallelujah J. A. Sandan
283 Sungguh Indah NamaMu Tuhan Beautiful is Your Name P. D. Hananto
With All Our Heart We Praise
284 Setulus Hati MemujiMu You P. D. Hananto
285 Allah Yang Kudus Mulia God is Holy and Noble Togar Hutasoit
286 Dialah Perlindunganku He is My Refuge B. G. Wibisono
287 Di Dalam Tuhan Kita Hidup In God, We are Alive A. H. Tama
288 Berpegang Pada Firman Tuhan Steadfast in God’s Word Willy Sinaulan
289 Syukur PadaMu Tuhan Give Thanks to You, Oh Lord B. G. Wibisono
290 Aku Mau Bernyanyi Bagi Tuhan I Want to Sing to the Lord Melyoritha Maliyarnita
291 Kau Selalu di Hatiku You are always in My Heart Bartje Istia
292 Belajar Dari Semut Learning from the Ant Faida Delta
293 Baiklah Aku Menyanyi Let Me Sing to Him J. S. Bahat
294 Kasih Yesus Jesus’ Love Sinar
295 Kisah Yunus The Story of Jonah Faida Delta
296 Jadi Lilin Penerang Be The Candle of Light Faida Delta
297 Pujilah Tuhan Allah Bapamu Praise the Lord Your Father E. D.H. Siahaan
298 Nyanyikanlah Mazmurmu Sing your Psalm J. S. Bahat
Allah Bapa Di Sorga Thou Art in Heaven, Glorify
E. D.H. Siahaan
299 Dikuduskanlah NamaMu Thy Name
300 Doaku My Prayer Y. C. Pranowo
301 Hatiku Riang Gembira My Heart Rejoices Sinar
O how Beautiful is Peaceful
302 Oh, Indahnya Hidup Rukun living to one another C. I. Tamaela
303 Betapa Baik dan Indah How kind and lovely Peodji Soesila
304 Doa Bagi Bangsaku The Prayer for my Nation A. R. Listya
305 Kaulah Raja Damai You are The King of Peace Vonty S. Nahan
306 Hidup Rukun Hadirkan Damai Peaceful Living brings Peace K. S. Permana
Alfred
Mazmur 51 Psalm 51 Ronald Polan
307 Simanjuntak
Bonar Gultom
308 Kepada Siapa Aku Harus Takut To Whom Should I be Afraid (Gorga)
309 Tifa Pujian The Praise of Tifa C. I. Tamaela
How Beautiful is the peaceful
Indahnya Hidup Rukun A. R. Listya
310 living together
311 Hidup Dalam Kasih Tuhan Living in God’s Love Perry Rumengan
312 Hai Bangkitlah Umat Tuhan Arise, O Children of Israel Wahono Hadi Tom Mclairn
John W.
Di Jalan Hidupku Along the Road of Life Y. N. Komalig Peterson
313 (1964)
314 Serikat Persaudaraan Union of Brotherhood Theodora Sinaga

95
 COMPOSER /
TITLE ARRANGER / ORIGINAL
NO TEXT COMPOSER
INDONESIAN ENGLISH TRANSLATION
315 Alangkah Baik, Alangkah Indah O How Kind, O how Beautiful Wahono Hadi
316 Tuhan, Ini Aku Lord, Here I Am Wahono Hadi
Delima
317 Mazmur 117 Psalm 117 Simamora
Live Together Peacefully in
Hidup Rukun Dalam Tuhan A. R. Listya
318 God
319 Seperti Pelangi It is Like a Rainbow Poedji Soesila
320 Sungguh Baik dan Indahnya How Kind and Beautiful Wahono Hadi
L. A. Wahyudi
Aku Bahagia I am Happy
321 M
Seperti Embun dan Minyak Yang
322 Baik As the Best Dew and Oil J. S. Bahat
323 Bahana Kerukunan Great Peaceful Living E. D.H. Siahaan
Berkat Tuhan Bagi Umat Yang God’s Blessing to His People
324 Hidup Rukun Who Peacefully Live Together A. R. Listya
Sungguh Indah Hidup Rukun dan How Beautiful is living
Perry Rumengan
325 Damai together in Harmony and Peace
326 Aman Dalam Tangan Tuhan Securely safe in God’s Hands P. A. Dohong
327 Puji Tuhan Halleluya Praise the Lord, Hallelujah E. D. H. Siahaan
Muliakanlah, Muliakanlah Tuhan Honor Him, Honor Him the
Jay Saragih
328 Allah Lord
Tuhan Adalah Terangku dan The Lord is My Light & My
329 Keselamatanku Salvation Ronald Pohan
Berkat Tuhan Bagi Umat Yang God’s Blessing to His People
330 Hidup Rukun Who Peacefully Live Together A. R. Listya
Let’s Live in Harmony and
Mari Hidup Rukun dan Damai Perry Rumengan
331 Peace
332 S’perti Embun Mengalir As the Flowing Dew K. S. Permana
Nyanyian Pujian Maria – Luke
The Song of Praise from Marry J. A. Sandan
333 1:46-55
334 Kasih Itu Sabar, Murah Hati Love is Patient and Kind Michiel Karatem
335 Laksana Pelangi As a Rainbow Poedji Soesila
336 Berbeda Dalam Damai Harmony in Diversity Harry Riwayadi
337 Kerukunan Dalam Umat Harmony within Congregation J. T. Prastawa
338 Pela Gandong Pela Gandong Faida Delta
Living in Harmony is so
Hidup Rukun Sungguhlah Indah A. R. Listya
339 Beautiful
340 Indonesia Penuh Damai Indonesia is full of Peace K. S. Permana
341 Mazmur 133 Psalm 133 J. S. Bahat
D. B. Kusuma,
342 Sejuta Umat Millions of Congregations Esterina, J. Bahat
343 Nyanyian Ziarah Daud The Song of David’s lament U. P. Siahaan
344 Jadikan Indah Dunia Make the World Beautiful P. D. Hananto
345 Bagai Lilin Penerang As the Candle of Light Wahono Hadi

96
 TITLE COMPOSER / ORIGINAL
NO ARRANGER / TEXT COMPOSE
INDONESIAN ENGLISH TRANSLATION R
346 Buatlah Dunia Ini Bersinar Make this World be Shining D. E. Gultom
Hiduplah Dalam Perdamaian Living in Harmony to All
347 Dengan Semua Orang People E. D.H. Siahaan
Bambang
348 Sungguh Alangkah Baik It is so Great Yuswohadi
349 Hidup di Dalam Perdamaian Live in Peace B. G. Wibisono
350 Kasih Yesus Love of Jesus D. R. Yuwono
351 Doa Adalah Jawaban Praying is the Answer Harry Riwayadi
352 Okuli Okuli M. R. D. Panjaitan
353 Hai Kawan Hi, Friends Mariana - Daniel
Jesus is Glad that We are
354 Yesus Senang Kita Bersaudara brothers L. A. Wahyudi M
355 Bersinar Bagi Sesama Be Shining for Others M. D. Ista
356 Doaku My Prayer Y. C. Pranowo
357 Pelangi Rainbow T. Y. Husodo
358 Rukun itu Indah Harmony is Beautiful J. S. Bahat
Your Word is the Light of My Roland
359 FirmanMu Pelita Bagi Hidupku Life Roland Rogers Rogers
360 Berubah dan Berbuah Be Changed and Be Fruitful T. Y. Husodo
It is so Boring if the Color
Bosan Jika Warna Hanya Merah L. A. Wahyudi M
361 were just Red
Hidup Dalam Persaudaraan Yang
Living in Peaceful Harmony D. R. Yuwono
362 Rukun
363 Sungguh Baik dan Indahnya So nice and Beautiful Sinar
It is so Great to live in
Alangkah Baik Bila Hidup Rukun Margareth Lilipory
364 Harmony
365 Berpegang Pada Firman Tuhan Steadfast in God’s Word Willy Sinaulan
366 Wajah Damai di Dinding Peaceful Face on the Wall Ronny Lopies
Sungguh Alangkah Baik dan
How Great and Beautiful it is J. T. Prastawa
367 Indahnya
Bambang
Lihat di Sekitarmu Look Around you
368 Yuswohadi
369 Hidup Manis Manis Life is so Sweet Ronny Lopies

NOTES:
Festival Song Order Number
I 1-6
II 7 - 15
III 16 - 27
IV 28 - 48
V 49 - 83
VI 84 - 96
VII 97 - 138
VIII 139 - 188
IX 189 - 238
X 239 - 301
XI 302 - 369

97
 APPENDIX B
THE FULL ANALYZED MUSIC SCORE OF THE SONG GOD IS WITH US
BY BINSAR SITOMPUL

D minor: la

i i ⅴ Ⅲ Ⅲ iiØ/v
i V9/VII i ⅴ6 Fr+6 Ⅴ7/V i6 Ⅴ6/ⅳ

Ⅵ Ⅴ i6 i6 Ⅲ
ⅳ V35 /Ⅴ Ⅴ i Ⅲ V46 iiØ/v Ⅵ Ⅴ
98
 Ⅲ i6 Ⅲ i
i ⅴ i iiØ53 Ⅵ

ⅳ i ⅳ V 43 /ⅳ ⅳ6 Ⅴ7 i Ⅳ Ⅴ/Ⅲ VI42 /Ⅲ iv35

99
 Ⅵ ⅳ Ⅴ i6 i6 Ⅲ
V 64 Ⅴ7
i V 64 iiØ/v Ⅵ Ⅴ

Ⅲ i6 Ⅲ iiØ/v i Descending Chromatic scale

i Ⅴ Ⅵ 7
V 64 Ⅵ7 Ⅵ6

100
 B

Descending Chromatic
Ø5
Ⅴ
7
ii 3
Ⅵ Ⅴ/Ⅲ Ⅴ7/Ⅲ Ⅲ6

(ant) Ⅵ
Ⅳ/ⅳ Ⅴ/ⅳ Ⅴ/ⅳ ⅳ Ⅴ/ⅳ ⅴ Ⅳ

101
Ⅴ7/Ⅲ Ⅴ7/ⅳ ⅳ iiØ42 Ⅵ7 Ⅴ7

i6 -Ⅴ6/Ⅴ-ⅳ7-Ⅴ6/Ⅴ-i6-Ⅲ (Ant) ⅴ64 i6 Ⅲ7 i6 ⅴ64 i

i iiØ42/Ⅴ Ⅴ7/Ⅴ  ⅴ

102
 F major: C1
do

ⅳ Ⅴ/Ⅲ Ⅴ I Ⅴ I Ⅴ ii V I

I6 i6 Ⅴ64 Ⅴ7/Ⅴ Ⅴ7/Ⅴ Ⅴ Ⅴ42 Ⅴ/ⅵ Ⅴ/ii ii

103
Ⅳ/Ⅳ Ⅳ Ⅳ6/Ⅳ Ⅳ Ⅳ/Ⅳ Ⅴ6 ii - Ⅴ/Ⅴ Ⅴ7

C2 F minor:
la

I ⅳ6 i Ⅵ ⅳ Ⅵ43 ⅳ Ⅴ64 ⅳ6
Plagal
Cadence

104
 Ⅴ i I ⅳ Ⅴ/Ⅴ Ⅴ
Picardy
chord F major: C3
do

i vii/Ⅴ Ⅴ Ⅴ/Ⅴ Ⅴ -- 7
Ⅴ/Ⅴ Ⅴ I ⅵ Ⅴ

105
Ⅳ vii/Ⅴ Ⅴ64 ⅵ Ⅴ/Ⅴ Ⅴ Ⅴ7 I6

Ⅴ64 Ⅴ I Ⅳ ii Ⅳ42 I6 ⅵ ii53

106
ⅵ64 Ⅳ42 Ⅴsus/Ⅴ Ⅳ42 Ⅴ/ⅵ ⅵ6 ⅵ Ⅳ Ⅴ

I V I IV ii7-6 V I V I
(PAC)

107
 APPENDIX C

IRB APPROVAL MEMO

108
 APPENDIX D

LEGAL LETTER MINISTER OF RELIGION (MR) NO. 19/2005 - LPPN

109
110
111
112
113
114
115
116
117
118
119
120
121
 APPENDIX E

THE NUMBERING NOTATION (CHORAL PART) OF THE SONG

DIBERKATILAH YANG DATANG - BENDICTUS FROM REQUIEM BY
MOZART (KV 626) USED IN PESPARAWI VI FOR MIXED ADULT
CHOIR

122
 APPENDIX F

THE PIANO ACCOMPANIMENT PART OF THE SONG DIBERKATILAH

YANG DATANG - BENDICTUS FROM REQUIEM BY MOZART (KV 626)
USED IN PESPARAWI VI FOR MIXED ADULT CHOIR

123
 APPENDIX G

THE MUSIC SCORE BENDICTUS OF REQUIEM BY MOZART (KV 626)

USED IN PESPARAWI VI FOR MIXED ADULT CHOIR

124
 APPENDIX H

THEMES AND SUB-THEMES OF THE NATIONAL

PESPARANI/PESPARAWI I – XI
No Theme Sub-Theme
I PESPARANI as a Means of Through PESPARANI, We Increase Religious Life
Increasing Faith and Faithfulness to for the Sake of the Indonesian Development Program
God in Succeeding National
Development Based on Pancasila and
UUD 1945
II Praise the Lord, Glorify Him and Lift Through National PESPARANI II, We Will Increase
Up Your Voice the Nation’s Devotion to God in Succeeding National
Development as a practice of Pancasila
III PESPARANI Increases Maturity of Through PESPARANI We Will Participate in the
Faith Success of the Indonesian Development Program
(Pelita V)
IV Rejoice Because of God and Give Through the Spirit of Unity, We Establish the
Him Thanks for His Name is Holy Foundations of Morality, Ethics, and Spirituality as
We enter the Second Period of Long Term National
Development
V Praise God with Song of Through PESPARAWI, We Increase the
Thanksgiving Involvement of Christian Protestant People in the
Second Period of Long Term National Development
VI Sing and Praise the Lord in Spirit and PESPARAWI Strengthens Fellowship and Renews
Wisdom the Spirituality of Christians as a Contribution to the
Embodiment of Indonesia as a New, United, Just,
Peaceful nation that appreciates plurality
VII Sing to the Lord, All Who Dwell on PESPARAWI Strengthens Christian Fellowship to
Earth Optimize Contribution for the Embodiment of
Indonesia that is Peaceful, United, and Just Based on
Pancasila
VIII Rise and Praise the Lord Your God PESPARAWI Strengthens Fellowship and Inspires
Forever the Transformation Process in forming National
Unity and Welfare
IX Be Rooted, Be Built, and Be With Thanksgiving to God, Together, We Build a
Strengthened in God Society that is Noble and Civilized, Morally and
Ethically Inclined, Based on Pancasila
X He is My God, I Praise Him, He is Through All Praise to God, We Embody Spiritual
My Father, I Honor Him Enlightenment and Intelligence to Form a National
Character
XI How Good and Beautiful It is, If We Through Praises, We Strengthen Our Brotherly Love
Live in A Harmonious Fraternity to Create an Indonesia that is Just, Prosper,
Democratic, and Cherishes Diversity

125
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live.

Szczepansku, Kallie. “History’s Largest Empire: Genghis Khan and the Mongol Khanate.”
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195041.

Varshney, Ashutosh, Mohammad Zulfan Tadjoeddin, and Rizal Panggabean. “Creating Datasets
in Information-Poor Environments: Patterns of Collective Violence in Indonesia, 1990-
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_Dalam_Konteks_Persatuan_Bangsa_Arti.

Vourloumis, Hypatia. “AlterNations: Performing Indonesia Communicability.” PhD diss., New

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29DAC2CD348495APQ/1.

Zon, Fadli. The Politics of the May 1998 Riots. Jakarta: Solstice Publishing, 2004.

PERSONAL INTERVIEWS
Mangara Tua Bakara, Interview by Henry Susanto Pranoto, August 9, 2017, Yamuger office
manager, Rawamangun, Jakarta.

D. Robert Nainggolan (administrator board principle of Yamuger), Ronald Pohan (supervisor

board of Yamuger), and Soni W. Utomo (office manager of Yamuger), Yamuger office,
Interview by Henry Susanto Pranoto, August 9, 2017, Rawamangun, Jakarta.

Ronald Pohan, Interview by Henry Susanto Pranoto, August 5, 2017, Roland Pohan’s residence
house, Buaran, Jakarta.

Santun Situmorang, Interview by Henry Susanto Pranoto, December 13, 2017, LPPN head
office, Rawamangun, Jakarta.

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 BIOGRAPHICAL SKETCH

Curriculum Vitae
Henry Susanto Pranoto
http://gracejhsp.wixsite.com/henrypranoto
Ph.D. Music Education in Choral Conducting
Florida State University. Tallahassee, Florida 32301
Education

Ph.D., Music Education, Florida State University, May 2018

Fields: Music Education & Choral Conducting

Dissertation: A History of the Organizational Structure of PESPARANI/PESPARAWI:

How Choral Music Helped Promote Unity in Indonesia

Committee: Kevin Fenton, Andre Thomas, Frank Gunderson, and Kimberly

VanWeelden.

M.M., Sacred Music, Westminster Choir College, May 2008

B.M., Church Music, Philadelphia Biblical University (currently Cairn University), May 2006

B.S., in Bible, Philadelphia Biblical University (currently Cairn University), May 2006

Professional Experience—University Teaching

USA

2015 – 2018 Florida State University, Tallahassee

Assistant Conductor, Chamber Choir

Assistant Conductor, University Singers
Teaching Assistant, Undergraduate Conducting Class
Co-Conductor, Choral Union
Assistant Conductor, Collegians (Men’s Glee)

Westminster Choir College, Princeton

Assistant Conductor, Westminster Concert Bell Choir

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 Indonesia

2008 – 2015 Satya Wacana Christian University, Salatiga

Conducting
Conductor, Collegium Musicum
Director, Vocal Ensemble (Lab Ensemble)
Conductor, University Handbell choir
Teaching
Beginning Conducting
Choral Conducting
Introduction to Church Music
Church Music Literature
Music History Survey
Hymnology
Handbell class
Voice Lessons
Vocal Literature
Intro to Old Testament
Intro to New Testament

2008 – 2013 STT Abdiel, Ungaran

Music Appreciation
Vocal Lessons

2012 – 2015 STT Alfa Omega, BSB, Semarang

Beginning Composition

Professional Experience—Primary, Secondary, and High School

2010 – 2015 Karangturi International School, Semarang, Indonesia

Professional Experience—Church and Community

USA

First Presbyterian Church Monticello, Florida

Choir/Music Director

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 Wynnefield Presbyterian Church, Philadelphia
Music Director

Ascension Lutheran Church, Newtown

Music Director

Calvary Baptist Church, Bristol

Music Director Internship

Holy Trinity Evangelical Lutheran Church

Music Director Internship

Indonesia

Indonesian Christian Church (GKI) Emaus Church, Surabaya

Music Director and Music Minister

Founder, Music director, and Conductor of Semarang Music Society

Semarang Choral Society
Voice of Classic
Semarang Children Choir (Combined with Children Orphanage Choir)
G4 - Strings Chamber Orchestra
Semarang Philharmonic Orchestra
Gendhing Melismatas Handbell Choir
Graceful Melody Band

Handbell music representative for South East Asia region by Malmark inc., USA

Publications

Pranoto, Henry. “Javanese Gamelan: Its History and influence.” Jurnal Ilmiah Seni Musik 1 (2):
133-146, 2009.

Pranoto, Henry. “Sacrilegious Aspect of Javanese Gamelan: past and future.” Harmonia 13 (1):
56-68, 2013.

Conference Presentations & Invited Talks

“Workshop on Indonesian music, folklore, and culture.” Taylor University, Indiana, January
2018.

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 “Performance and teaching of Ratoh Duek: Indonesian (Aceh) Folklore music and dance.”
ACDA state conference, Lake Mary, Florida, November 2017.

“Healthy Singing and Speaking Seminar and Workshop for Leaders and Trainers of Public
Speakers.” INDANA, teachers and leaderships training, Indonesia, 2017.

“Singing Congregation and Church Music Liturgy Workshop.” Sydney, Australia, 2013

Professional Experience--Tenor

Florida State University

University Singers. Chamber Choir, Tallahassee Community Choir, Collegians

(Men’s Glee)

Atlanta Symphony
Shaw Symposium participant

Westminster Choir College

Symphonic Choir

Philadelphia Biblical University (Cairn University)

Freelance Tenor Soloist
Under Jahja Ling (Music Director of San Diego Symphony,USA)
Gianni Schicchi opera performance: The role of Gherardo
Community Chorus
Chamber Singers
Philadelphia Biblical University Choral

Clinician Experience
Choir Director and Clinician – Hoi An, Vietnam, hosted by the Catholic Church Bishop

of Danang

Church Music Coaching and Clinician – Sydney, Australia, hosted by Reformed

Evangelical Church of Indonesia and St. Basil’s Anglican Church

Vocal and Choral Clinician, Choir and Vocal Judicator – Indonesia

Fellowships & Awards

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 Conducting Master Class - Under: Robert Porco, Dr. Earl Rivers
Nominee of Presser Graduate Music Award Program by Music Education Department of

Florida State University

Clayton Krehbiel Memorial Choral Scholarship - Florida State University

Tallahassee Music Guild Scholarship

Westminster Choir College Donald Allured Handbells Scholarship

Philadelphia Biblical University Achievement Scholarship

Music Scholarship from Philadelphia Biblical University

Honors and Society Memberships

Member of Phi Kappa Lambda National Honorary Music Society

American Choral Director Association

Competitions Awards

Vietnam

Conducting Jorih Jerah Choir at 4th Vietnam International Choir Competition

• Gold Medal
Indonesia
Dahsyatnya Indonesia Terdahsyat Nominee – Gendhing Melismatas Handbell Choir
• Rajawali Citra Televisi Indonesia (RCTI) Awards

Male Choir Grand Final adjudicator, Minahasa Evanglical Church, Manado

Conducted Semarang Adult Choir

• Received Silver Medal

Adjudicator for Church Choir Competition X for All Papua, Manokwari, West Papua

Conducted NTT Choir

• Gold Medal (Folk Music Category)

Male Choir Competition adjudicator in Minahasa Evanglical Church, Manado

The Youngest adjudicator of National PESPARAWI X – University Level

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