Religious and Cultural Harmonies in the Art of Masamper

This paper tries to track a potential religious harmony through a local tradition namely the art of Masamper in Sangir community. This study uses a qualitative- descriptive method to reveal the religious aspect in Art Masamper by first doing a study observations of implementation art in society, to further explore the values of divinity contained in Masamper process, to keep watching the dialectic of art and religion that were rolling. As one of the cultural-religious studies, this study is not an experimental research seeking a rule, but an interpretive research that searches for meaning. So that any meaning contained in the overall aspect of Masamper (processes, and religious dialectic of culture) becomes the point of analysis obtained from the observation, in-depth interviews, and a review of literatures related to discourse analysis. The results showed that Masamper as one of the remains of the ancestral cultural arts in Sangir society, other than as a means of proselytism, it also becomes one of the adhesives socio-religious harmony in North Sulawesi. Masamper can dilute the differences in beliefs into a cultural engagement through art performances which invites the public to appreciate each other in the name of culture and mutual respect in the practice of religious beliefs.


INTRODUCTION FROM THE EDITORIAL BOARDS
Analisa Journal of Social Science and Religion is successfully launched for the volume 1 number 2, July -December, 2016. This is the second volume published in English, since it is started in 2016. Many people have involved in this publication including advisory editorial, International editorial boards, editors, language advisors and assistant to editors. These people made this work run well in the midst of various challenges. The Analisa Journal has been accredited by the Indonesian Institute of Science since 2012 as an academic journal, and this year (2016) the Analisa Journal received a new extension accreditation for the next five years.
The articles published in this volume address the phenomenon of social and religious life, culture, and Islam either in Indonesia or in the global world denoted by an article that pictures Islamic religiosity in Austria. The issue of radicalism still becomes the focus of study, which is considerably actual and interesting for Indonesian scholars. Various cases of violence in Indonesia and other countries depict that the act of terrorism is a common enemy for humans. In Indonesia, since the fall of President Soeharto's leadership, radicalism has increased significantly; this can be seen from a series of bombing happened in various locations in the country and some violent-conflicts in the name of religion in some part of Indonesia.
In this edition, there are at least three articles inter-related on the same topic. An article written by Asfa Widiyanto researched the counter attack of radicalism in Indonesia and Austria. He mentioned and discussed in detail that Indonesia and Austria in this issue experience a same situation that entails commonalities among civil society and state law jointly supporting the eradication of radical movements. Then, Taufiqur Rahman wrote extensively on the discourse of Jihad in Indonesia. He found that Jihadist movement in the Indonesian context was originally demonstrated to fight the colonization that recently turns to be the act of terrorism in the name of religion. Meanwhile, Yusa 'Farchan in his article explained that Islamic thought in Indonesia has evolved over time. According to him, the Liberal Islam Network (LIN) in Indonesia has at least five main definitions. Regarding the topic, he revealed how LIN stands on gender equality, contextualizes religious doctrines, and promotes pluralism in Indonesia.
The presence of pluralism in Indonesia cannot be denied since the facts show that Indonesia has been recognizing six religions that are followed by most Indonesian citizens. The religious diversity, on the one hand reflects harmonization in the religious lives of Indonesian people. However, on the other hand, the diversity of language, ethnicity, culture, and religion can be a great threat if not managed systematically by the government. For instance, there are various religious schools of Islam, each of which is successfully able to establish harmony with others. The article collaboratively composed by Retnowati and Yedi Efriadi describes the religious life of Shia group that can harmoniously live with other communities in Salatiga. Their findings might constitute a social capital to build harmony among religious believers in Indonesia.
The diversity of ethnicity and religious beliefs in Indonesia in its broader practice allows the interreligious/interfaith marriage. The article transcribed by Muhammad Ansori and Yasser Amri elucidates, at great length, about religious conversions in Aceh. They assert that a religious conversion enables a religiosity of individuals. Despite being diverse in religious beliefs, Indonesia also possesses a variety of traditions that symbolizes harmony in ii building a society. Mahmudah Nur through her study gives detail on the value of religion in the rituals of Pasambahan in Minangkabau.
Religious texts written by local scholars such as Musdah Dahrizal contain a lot of issues on character education for humans. The content of the texts imparts the importance of education and harmony in society. Similarly, the article penned by Abu Muslim exposes the Masamper art in North Sulawesi. The author pictures in more detail on how the people of North Sulawesi build harmony through a traditional yet also pseudo religious art. Furthermore, Abu Muslim explains that Masamper tradition, besides being functioned as a means of propaganda, has become one of the tools to cement harmony and build the character of the local community.
In nowadays context, the character education is built by the Indonesian Government, through implementing the concept of 2013 curriculum-based education. The concept is applied in elementary to secondary education. An article written by Nur Laili Noviani basically outlines the process of 2013 curriculum learning in SMA Negeri 1 Salatiga which particularly focused on the implementation of Islamic education.
We hope you all enjoy a nice reading!

INTRODUCTION
Presentation and discussion of art displayed are basically manifestation of a pattern of two-way communication between the audience and the artists featuring the works, as well as a means to control each other mutually. The presence of the show should not merely provide entertainment to the audience, but also invite people to explore and understand the value and meaning contained within each play. One of the positive artful performances is that art could at once provide entertainment and moral awareness, as well as leave messages of deep touching on each presentation. An educational art is a cultural product that is expected to be an output in any implementation of the values of beauty in this world. There is no exception to the performing arts composed / inspired by the roots of culture and local wisdom of a particular community. It is precise to say if the art is a manifestation of culture that is processed in such a particular manner of art, the utility functions are not only obtained by the actors of this art, but also will make the souls of the local people carried in a strong, deep, and solemn atmosphere. Thus, art and culture will be a whole entity and integrated in the social structure that leads to beauty. People have become more familiar with the culture through the arts, and the art itself becomes sustainable by the community engagement.
Art involving the community does not always discuss the art itself as a single identity. If "emotions of the soul" has mingled in it with the exploration of special values that follow, it is possible to connect another dimension to get involved. Art is likely "deepened" to be in contact with the public trust. In fact, the art becomes an entrance to the spread of a belief / religion. It is formed by a social compromise or religious system that became one of the elements of culture. This religious system emerges from a religious emotion, the spiritual vibration or mind. Accordingly, this emotion will encourage all spiritual and cultural acts, which are to some extent sacred. These emotions will be associated with belief systems (read: religious). In addition, it will also be associated with emotional religious rituals concerning the place, time, and objects of a tradition. There are many elements of a religious ritual that need attention such as offerings, prayers, mantras, chants, behavior, meditation, and so on (Endraswara, in Prasetyo, www.wordpress.com).
North Sulawesi, which is inhabited by various tribes i.e., Minahasa, Sangihe, Bolaang Mongondow, Gorontalo, Bugis, and others, has a cultural diversity as well as other provinces in Indonesia. From those tribes, Sangir has a unique characteristic that stands out in people's daily life such as singing. Etymologically, Sangir derived from two words, Zang and ir. Zang means singing and ir means people. Thus, Sangir can be defined as those who sing, or people who love to sing. Sangir people like to sing along (sometimes accompanied by their body movement). This hereditary spirituality is performed in their daily life, especially in the funeral ritual, thanksgiving, and feast. The habit then officially becomes a performing art that is sometimes contested. Sangir community calls it as Art of Masamper (South, 2007: 63).
Later, the entire embodiment of art, culture, and religion can be seen through the rituals of singing and dancing as manifestation of Christianity which are not only performed in Sangir, but also belong to the community through the arts Masamper North Sulawesi. Thus, an in-depth study related to this art is considered important to be explored with the emphasis on religion based art and cultural studies. It should be stressed in the study of religious art and culture, according to Geertz that cultural studies are not "an experimental science seeking a rule / law, but an interpretive science looking for meaning" (Geertz, 1973: 5). Meaning must be sought within cultural phenomena. Belief in this sense, based on the conditions of human life, which according to Parsons and Weber has always been at three levels: (1) individual personality, formed and governed by, (2) a social system, which is, in turn, formed and controlled by, (3) a "cultural system". The latter is a complex nexus of symbols, values, and beliefs, interacted with individuals and communities.
In discussing religion, it is necessary to discuss the relationship between the traditions of diversity, plurality and cultural differences. Certain traditions experienced hybridization that will enter into discourse and religious rituals. If there is syncretism in the traditions, there is a dynamic and an iterative process which implies a constant factor in the reproduction of culture, and an un-static outcome. In short, syncretism is a concept that refers to "the issue of accommodation, contestation, feasibility, indigenization, and a platform for intercultural dynamic process". Geertz (1973) said that in the study of religious culture we are expected to understand religion as not merely a religion, but also as a cultural phenomenon. Religion is a cultural face of a nation which is unique. Religion is a belief on which the cultural aspects often float. This represents that religion is a universal and cultural phenomenon at the same time. Religion is a part of culture that is distinctive. Culture and religion are often different in practice and the implementation of confidence. Yet, both provide many interesting melting pots to be discussed. This is the attractiveness of Masamper, since as a product of the local culture, the role of religion in its preservation is also very important, as pointed out earlier, that the dimensions of arts / culture are often used as a 'propaganda tool' for the existence of religion and cultural assimilation in the practice of religious practice in its spread, Masamper which is basically singing, is a form of practice of Christianity as a manifestation of the Bible, Ephesians 5:19, "Singing and making melody to God with all your heart". This is further formulated into research problems that require a research inquiry how the existence and position of Masamper in North Sulawesi can be the cement for social harmony and become part in creating religious harmony.

CONCEPTUAL FRAMEWORK Functional Theory
Functional theory looks at society as a social institution that is in balance. It makes a pattern of human activity based on norms which are shared and considerably valid. Also, it binds roles of human beings. This complex institution as a whole is a social system in which each section (each institutional element) is interdependent with other parts so that changes in one part will affect another part and in turn will ultimately influence the overall system (Thomas F. O'Dea, 1985: 3).
Functional theory maintains that human beings in society are characterized by two types of needs and two kinds of tendencies. For the sake of the life continuation, they have to act on the environment, either by governing or adjusting and controlling. Functional theory also views society and social institutions as a system in which each part depends on each other and works together to create a balance (equilibrium), (An attempt to connect as much as possible every feature, customs, practices which have an impact on a functioning system that is stable and cohesive) (Durkheim, Parson, J. and Goode as cited in Ritzer, 2010: 118).
Robert K. Merton, as someone who might be considered to be an outstanding theorist, has developed a fundamental and clear statement on the functionalism theories. He was a proponent who proposed postulate more limitedly for this perspective. Acknowledgment of this approach (functional-structural) has brought progress to sociology. Merton has cited three postulates he quotes from the functional analysis and has perfected them. The first postulate, is functional unity of society which can be defined as a situation where all parts of the social system work together in a harmony or proper internal consistency level without resulting any longstanding conflict that cannot be resolved and managed. On this postulate, Merton proposes some correction that the perfect functional unity of a community is in opposition with the facts. This is possible due to the fact that something functional unity may happen in a group, but, may not in another group. The second postulates is universal functionalism which assumes that all social and cultural forms, which are regarded as standard, have positive functions. Toward this postulate, it is claimed that in fact there is a dual function besides a positive function of the social system. Some social behavior can be categorized into the form or nature of these dual functions. Therefore, the analysis of both should be taken into account. The third postulate, the indispensability which states that any type of civilization, every custom, idea, material object, and belief fulfilling several important functions has a number of tasks that must be undertaken and cannot be separated in the activities of the system as a whole. According to Merton, the third postulate is still unclear whether a function is a necessity or not (Poloma, 2004: 36-37).

Theory of Multiculturalism
Academic understanding of multiculturalism is grounded on the development of postmodernism philosophy and cultural studies which emphasize the paralogism principles over monologism, pluralism over unity.
Some issues of multiculturalism that become academic discussions are the concept of culture, cultural and political relations of minority rights, criticism of liberalism, tolerance and solidarity. The last issue mentioned is what we will explore further in this study, to interpret it as a condition or state of a diverse society in terms of culture, ethnicity, race, language and religion. Multiculturalism recently becomes a favorite study to be researched, after we get to know some perspectives in looking at diversity i.e., inclusivism, tolerance, and pluralism. Multiculturalism is meant to be a perspective of viewing diversity of which the emphasis is not only to respect individual differences, but also to notice the background of the nation and ethnicity (Bikhu Parekh, 2000).

Interpretation of Culture
Geertz obviously defines culture as a system of meaning and symbols arranged in the sense in which individuals define their world, express their feelings, and give its assessment; a pattern of meanings that is transmitted historically, manifested in symbolic forms by means of which people communicate, perpetuate, and develop their knowledge and their attitudes toward life; a collection of symbolic equipment to regulate behavior, an extra somatic information source. Since culture is a symbolic system, the process of culture must be read, translated, and interpreted (Kuper, 1999: 98).
Geertz focused the concept of culture on cultural values that guide people to act in dealing with various problems of live. At last, the concept of culture plays more as guidelines on the assessment of symptoms understood by the subjects of culture. The meaning contains assessments of existing subjects in the culture. In a culture, the meaning is not individual but public, when the system of meaning then becomes the collective property of a group. Culture turns out a pattern of meaning forwarded historically and it is embodied in symbols. Culture may also be system of inherited concepts expressed in symbolic forms with which humans communicate, preserve, and develop their knowledge of life and attitudes towards life (Geertz, 1992: 3).
The concept of culture proposed by Geertz above is a hermeneutic approach to nature. This inspires this study to see Masamper culture as a text to be read, translated, and interpreted. Based on this, the idea rises that the building of human knowledge in the art of Masamper, is not merely as a comprehensively set of sense report, but also as a structural fact that is a symbol and the law for they are given meaning. Thus, Masamper is expected to convey the meaning which can be easily read. The same treatment will be recognized when we treat the text conveyed through writing or even singing.

RESEARCH METHOD
This study operationalizes a qualitative method to describe Art Masamper of aspects of art and religiosity in society of North Sulawesi, by first conducting an observational study of the implementation of Masamper arts in the community. The next step is that it explores the religious/divine values of Masamper and keeps paying attention to the dialectics of art and religion which is rolling. In-depth interviews are also conducted to the informants who know Masamper details. Besides, it studies on the literatures related to the topic as the supporting data. Then, the data analysis is done through the discourse analysis that requires analysis regarding the relationship between the structures of discourse and social structure cognition (interdisciplinary) (Titscher, et.all, 2009: 238). This is aimed to find out what the structures of discourse in Masamper, strategies or tools text/context, conversation, verbal interaction or communicative events that play a role in the form of reproduction ( Van Dick, 1993: 2).
Critical analysis is applied to discern how the ideological messages delivered, either verbal or nonverbal acts, views, ideas, beliefs, expectations about the narrative discourse. Discourse Analysis is widely used in the cases of tradition. The analysis does not only describe the structure of discourse, but also explains what is contained in the structure that is a condition possessed by the social environment and the social structure itself, in particular. It is something that cannot be separated from one another (Fatmah AR, n.d.: 26-28). This study also employs a sociological, anthropological, and historical approach to uncover the existence of Masamper in the community in order to further understand on the religious terminology for tracing the roots of harmony in it.

Masamper Existence
Masamper is one of the folk traditions in the form of art performance "singing and dancing" which was originally acted by Sangihe and Talaud  Masamper itself comes from the Portuguese word Zyangfeer which means a group of singers. This art was performed for it is in line with the activities of building alliances and was started to sow the gospel. Zyangfeer was formed for the purpose of worship/liturgy among the adherents of Catholics. Several years later, after the influence of VOC landing in Sangihe Talaud, the role of the Portuguese (Catholic) faded and was replaced by Protestants especially after the arrival of Zending (evangelists) who brought new nuances in the church including the music service. They formed a singing group (choir) as what was done by the previous Portuguese. They gave the name in Dutch Zangvere (e) Ninging or Zang (de) Verzameling with the purpose for training and teaching the congregation in praising God the creator of the universe and grouping Psalms, Tahlil, and a prayer written in musical notes. While the articulation of Masamper originated from the difficulty of Sangir people in pronouncing zyangfere, so that the spoken word is samper/sampri. Furthermore, this word evolved into Masampere which means singing together. Yet, due to the influence of Manado dialect, Masampere then turned into Masamper (Maria, 2005: 35-36).
No one can really ensure when Masamper appeared for the first time. From the hereditary story, it is said that Masamper actually came into being simultaneously with the presence of Sangir residents who called that singing activities with the term mangantare (singing). Linguists denoted the process of change of Masamper and of Sangir Masamper words which are derived from the word zang (which means singing or people who love to sing) (Nebath, 1995: 21).
In the initial phase, Masamper was played in the funeral that serves as a means of consolation. Chanted songs were performed by men while making a coffin with the grief in the form of expressions of farewell until the coffin making was completed. Besides, the songs were sung reciprocally from night until dawn. They did not merely represent the expression of entertaining for the family, but at the same time they were part of local traditions intended to "accompany" the spirit of the recently deceased. This was done to prevent the bodies from the spirits roam and demonic interferences. For Sangir community, if the spirits roam, they would possess one of the members of the bereaved family. When it is happened, the impending doom as suffering from incurable diseases or accidents would occur. Spiritual hymns in the song lyrics reciprocally chanted by relatives, neighbors and friends are companions to the bodies and the bereaved families to avoid the things that are not desirable. In the further development, the habit of singing for Sangir people was not only performed in a grief, but also carried out in a joy like the thanksgiving parties, weddings, birthdays, housewarmings, and so forth (Maria, 2005: 49-50).
As a product of culture, the development of Masamper is a necessity. Along with the social life of society, in the 1970s, Masamper started to be contested. Not only was poetry modified, but also costume, time and styles of Masamper performance were changed to adjust with circumstances in which Masamper was demonstrated. Since then, Masamper was no longer just sung in a state of sitting, but also has been staged in conjunction with the movements and choreography adapted to the content of the song lyrics. Today, Masamper art can be mapped in three types; first is Masamper Sabuah (held on sabuah/ a tent performed by sitting for the consolation of the bereaved families, and thanksgiving for those who are happy). Second is Masamper performance which is played in order to celebrate the national holiday, provincial/district birthday, and or on special occasions at the request of the featured songs, lyrics, style, language, choreography, clothing, and expression in order to draw attentions of the audience. Third is Masamper competition shown in terms of cultural preservation through the competitions to find the best based on the criteria and themes (history, meeting, romance, war, separation, worship, sadness) It is determined by the organizers based on certain categories (South, 2007: 90-91).
In this study, one example of Masamper competitions has been made. The Masamper was held by the congregation Church GMIM Pria Kaum Bapa in the city of Bitung. It performed four elements of themes i.e., meeting, religious spiritual praises (God's relationship with man), regional literature (patriotism), physical love, as well as a meaningful farewell to respect each other.

Masamper in the View of Culture and Religiosity
Doing an art as an autonomous show does not indicate the full sense of freedom detached from social backgrounds that gave birth. However, greatness and popularity of the art are very dependent on its society (Ratna, 2007: 156). According to Selden, the canons of great literatures were produced by the community. This fact becomes the very remarkable issue in the contemporary theories especially that present intensity to the role of the reader/viewer/audience. Practically, an art is born and then is displayed only once. Yet, how it becomes a public treasury depends on the social and communal acceptance. Accordingly, it is crucial for an art to be appreciated. Then, its sustainability should be taken care of. Otherwise, it disappears from the knowledge of society (Selden, 1986: 21) This is the continuous challenge and opportunity to make Masamper as a sustainable art that thrives as a locally based art towards art and continuous character. There is sort of meaningful relationship between the community and Masamper. Masamper is present as manifestation of the Sangir people habits on singing, and Religion (Christian and Catholic) came to make Masamper as the entrance to disseminate it through the commandment to frequently praise the majesty of the Creator by singing.
Similarly, the social role of the community itself in various social and religious dimensions which in turn will generate new nuances in the art cruising along with the development and social imagination of the perpetrators. The existence of Masamper received very good response from the congregation because singing for Sangir people is an integral part of their daily activities, including expressing religious sense (cult) to the Creator.
Indeed, thematically, the tendency of Masamper to culture, religion, and love has contextually described how Masamper has processed a very strong linkage between singing culture, customs, and local wisdom, as well as religious and spiritual praises to God. Each of those things is in an adhesive element which complements each other. The existence of these three elements actually inspires any lyrics and the lyrics chanted in A very friendly dialectics should always be presented in every beginning of singing Masamper. In the show, "meeting" as the initial theme, demonstrates the synergy that should already have started each song. The theme of "meeting" in Masamper not only serves as a greeting at the beginning of the show, but also points to the social aspects of human beings who want an engagement with one another in God's fraternity, peace and love. All are interconnected with a friendly welcome and imply a moral message that the further process will bind tightly between the participants as a symbol of spiritual friendship nurtured from the beginning.
The theme of meeting is not only as a symbol that Masamper is begun, but at the same time also as a uniting part for social life among the participants. Each participant is required to release the ego and the individualistic nature. The ego has to be changed into a social sense of mutual respect of all participants, organizers, and spectators.
They all are involved in the process of Masamper (interview with Stivenson Bawias, June 10, 2014). Precisely, the core of all these Masamper processes is in the "meeting" for the good impression that should be put forward. It is as a signal that the momentum started with the intimacy is a guarantee for the sustainable harmony in the future. This is in line with the philosophy of the people living in North Sulawesi "Si Tou Tumou Timou Tou" (Man lives to support/to educate/to bless for others).
Meanwhile, as manifestation of Sangir community local values in Masamper, it is the presence of literary local themes which turn out to be the core areas in its show (in Masamper competition). Sangir regional languages can be classified into three categories (levels) namely: Firstly, fine language, which is used in high circles (royal). Secondly, language of seafarers (Sasahara/sasalili) serves as a secret language in nature. Thirdly, ordinary language is the language of everyday communication (sasahari).
In the art of Masamper-mebawalase, there are three kinds of level of language/literature used and arranged so that it results in the beauty of literary language. For example: Lumintu bou waleku (colloquially/plain language), Lisadeng bou wamalaku (sasalili language). The context of the sentence is spoken on land. In the area of literary themes, there are devotional values i.e., tenacity, resilience, and Sangihe Talaud civility based on the ability to think, taste, be creativity and be initiative in accordance with human beings existence and their relationship with the creator, fellow human beings and the world disclosed in a series of a beautiful language (Bawias, 2006: 7-8

This means:
Bukumbehi cut tree '(a type of cane that grows in the river) Into the forest, searching for trees bukumbehi ' Cut, drawn, cut, cleaned every ruasnya. Tied together and brought together Created tool livelihood (fishing) for life.

Deuteronomy:
Woven neat, to be a tool tumpina = (traps) Take the stone, belt at an angle, make ballast Take the rope belt at an angle so the grip or traction. Oil bait attached to kentos (tombong kelapa: Indonesian) Load traps on the boat, take it to the sea and drowned, Hopefully there is a blessing of the Divine.

This means: STARTING CHART
Cut tree light (dry) Cut following condition (condition of culture) (collecting materials for the chart during a full moon) Formed as a pillar of the building erected on the sea chart Basic foundation is taken from a dry bamboo, placed on the sea Building a gathering place for fish The launch nets into the sea, in order to catch fish to safeguard children and grandchildren.
In addition, Masamper also serves as a place or means to praise and glorify God, as well as the ministry of the Word where the expression glorifying God clearly illustrated in the content of the songs performed. This shows how the symbol of the glorification of God as a manifestation of religiosity in a culture is a necessity. Geertz even explicitly states that if we want to understand the cultural activities, it is one of the essential elements that must be considered is the religion. Religion serves as a cultural system, because religion is a symbol which aims to create a feeling and strong motivation, pervasive, and not easily lost in a person by means of forming conceptions of a general order of existence and embedding this concept to the emanations factual, and in the end the feelings and motivations of this will be seen as a unique reality (Geertz, 1983: 90 in Pals, 2012 This spiritual Praise theme inherent in the art Masamper has become an important reference in maximizing Masamper function as a medium of religious outreach. Masamper history that has been put forward at the beginning of this article shows that how Masamper who use the "singing" as the main aspect of presentation becomes an effective means for Christianity and Catholicism in symbols. History also notes that Masamper used to build alliances in order to proclaim the Gospel & Events consolation in grief. Today, Masamper also has been developed to become one of the singing at church services (interview Stievenson Bawias, June 9, 2014). Transformation in Masamper not just stop there, because now we can easily obtain the tapes Masamper on the market that also targeting young people in North Sulawesi with associate the genre of pop songs. This actually has a positive side in the framework of dissemination and socialization Masamper in the era of globalization, on the other hand, the protrusion of the culture and customs Masamper should not be separated from the social aspect where Masamper was born, how the processes and dynamics socialization, until the sacralization Masamper as a symbols Sangir customs and culture. The emergence Masamper community that is now almost scattered across North Sulawesi reflect an expansion of cultural identity which is very positive for the development and sustainability of arts Masamper, because by so doing, Masamper that once only belonged to the Sangir, has now become the collective property of the cultures of North Sulawesi, even if it is developed using the authority of the church as a symbol of the strengthening of proselytizing Christianity and Catholicism, it is not possible to sing unrequited art-reply to something means Christian and Catholic proselytizing massive, structured and systematic. It is indeed a reflection of the development of the concept of "construction hearts" in the community as a manifestation of gluten-cultural dimensions of indigenous communities and religiosity. "If the community is able to change the categories of nature where they live, they would compile as rationally as possible. The changes require a lot of contributing factors, one of which is the importance of a sense of religion " (Douglas, 1980: 93).

Masamper as the "Tools" of the Pillars
Reading Sangir with no regard to (ignore) culture will take us on the religious phenomenon of "discontinuity", because the social reality which happens sometimes grows and expands constraints such as perceptions of each religion that distort class X which is better than the denomination Y or vice versa. There are still many people in Sangihe society who recognize the old beliefs even though they had embraced Christianity and Islam. The one recognized as the supreme God, almighty and creator is Genggona Langi ± an expression of worship or spiritual power. According to Sangir, religious institutions (Catholic-Christian-Islamic) as modern manifestation of a universal religion run their lives based on the norms of religious affiliations. Uniquely, the dialectics of religion and universal belief do not stop there since there is also a developing belief stream which believes in God Almighty "Masade" positioning its existence as the old Islamic community. Don Javerius Walandungo in his thesis categorizes it as 'a lRFDO UHOLJLRQ ¶ :DOXNRZ 44). However, the presence of a cultural product (as a local wisdom) like Masamper gives a chance to a social process of accommodation and assimilation, in the associative frame between the citizens of religious communities and the adherents of faiths "Masade". They are very strict in their religious beliefs, yet become very loose in culture. Singing together is a symbol of religious diversity that glues them for the sake of culture. This reflection can be seen from the direct involvement of the people who are Muslims and the group "Masade" in Masamper even if there is a spiritual worship associated to Christianity. Masamper involvement, besides being one of the conditions in the competition which requires people to interact, has been owned by the community (Interview with Lukman Makapuas, June 11, 2014).
One of the factors supporting the high index of religious harmony in North Sulawesi is its local wisdom projecting on social cohesion, as Kitorang samua basaudara, baku-baku baek baku-baku sayang, (we all human beings are brothers, be kind to each other, and love each other) as well as social relations based on spatial relations in the conception initiated by Sam Ratulangi: si tou timou tumou tou (someone will be authentic when its role to support others without first identifying their religion) (Rais, 2012: 6).
Cultivation the values of brotherhood has basically been institutionalized in the lives of the people of North Sulawesi with a variety of tribes. Sangir with Masamper is one part of public supports to harmonious life, Masamper as a local wisdom previously described demonstrates the existence of art that continues to grow. The wisdom is not only inspired by the concept of Sam Ratulangi, but it might have been historically in Sangir in North Sulawesi. Masamper as an art performance, despite the aesthetic presentation of the spectacle, has another social function i.e., to be a social solidarity conductor and a social integrity builder (Soedarsono, 1999).
Masamper in the contextual view indirectly invites people to build a positive atmosphere of religious harmony in Sangir in particular, and North Sulawesi in general. Imagine, Masamper which formerly had been born naturally is played in order to entertain people. The purpose is to entertain the sad people through presenting a homely atmosphere in the songs in congregation and complementing each other which it turns into a means of entertainment which its existence is a feeling-oriented and the lookhappy expression on hue-hue happy in appearance. It shows that in fact there is a social manifestation of Masamper among human beings in a cultural context (Interview with Stievenson Bawias, June 2014). A strong religiosity nuance in the contextualization of Masamper is indirectly aimed at realizing that theology and religion, in the context of the culture, are a socioreligious entity concerning the activity of the mind. Both act ethically as manifestation of human consciousness as the locus of human relationships with God, others, and environment (customary) by means of "singing". This is in line with the concept and philosophy of Salam-Sarane initiated by Athloiab Watloly in order to synergize the pole of religions in the context of Moluccan culture as patron resurrection existence country boys (Waltoly, 2005: 190).
Another aspect, which makes Masamper as a "tool" in building harmony for the people of North Sulawesi, can be seen from the processes occurred in the implementation of Masamper and the cultural process in each events of everyday life and art performances. An active interaction and communication among players and audiences, and the art of replying the song among the participants who compete one another show how peace and harmony are infiltrated into something that ultimately happen and look very natural. Religious barriers are no longer something disputed in Masamper art, because the process of implementation often tucks a helping session by collecting money (read: donation). It involves the participation of people who join in Masamper (players, organizers, and audiences). This donation is sometimes used for helping building church although not all Christian followers did not present there.
Moreover, if we look at the content of the lyrics delivered in Masamper, particularly in the theme of romance/permesraan/love. It emotionally leads the players of Masamper through expressions and choreography that are very witty, makes the spectators energetic and causes the atmosphere more intimate and harmonious. Even, a very careful yet infrequent engagement can be established in the process of Masamper if it entails love in any appreciation of the lyrics and singing articulation because this is not merely active cheers serving as encouragement. Yet, it sometimes gets people immersed in the romantic and melancholic souls. Besides, it holds participants competing each other if the show is in a group of men and women in mutually reciprocated songs. Symbolically, the romantic theme serves as a very effective adhesive catalyst to society. Although, sometimes, the delivery of the lyrics is symbolically an objection against the declaration of love of the opponents, it is only part of the strategy to win the competition, but contextually implies an extraordinary intimacy reflected from the support of the audiences who looks even more given enthusiastic cheers.
To understand Masamper in the context of harmonization between culture and religion is adequate if we only see it as an art that is performed, or within the scope of the play. Masamper can be truly alive and connected with the people when viewed contextually through the whole process and the dynamics inherent of it. Starting from the conceptualization stage of the lyrics, training and strengthening WKH SOD\HUV ¶ character as well a the dynamic interaction between the players are intertwined to the process of assimilation of this art with the community through a cultural approach and religiosity inherent in every content valued in each phase.
Technically, Masamper is more vibrant if it is contested. Looking at its history, the Masamper plays as a means of entertainment for those who grieve. Transformation is then made into a very dynamic Masamper because it has a lot of contact with elements of the community and even then a major expansion of the Sangir local knowledge that is now the wisdom of Northern Sulawesi. In this context, the religious institution (read: church) holds Masamper as a system of culture and makes it as one of means of proselytism. Masamper is modified as the tool of propaganda, especially by the church. Masamper if translated more widely, is likely similar with the arts of qasidah/nasyid which have also been transformed into an effective means of propagation of Islam through inserting Islamic religious songs in any lyrics. It is rarely to find the texts of scripture pinned in the lyrics. This case implies that Islam is greater than what is written in the Islamic scriptures i.e., al-4XU ¶DQ DQG +DGLWK Masamper functionally also undergoes a considerable transformation in the sensitive times. At first, it was told in every stage of Masamper that it was considered invalid/unauthentic if the players of Masamper do not drink 'cap tikus' (a local drink made from a fermented palm sugar) before the performance. This was to give more spirit of the players to maximize the ability of singing, as well as to enhance confidence of the players on stage, since to them (the players) audience attention is paid. But, the habit becomes obsolete as the awareness of individual players Masamper recognizes the impacts of the adulterated liquors. Although there may be still a few people who make the "drinking cap tikus' as ritual / an integral part of Masamper. This in fact implies the call to the North Sulawesi government to urge people to stay away from all forms of potentially intoxicating beverages, or alcoholic drinks, with the tagline "berenti Jo 'Bagate" (Stop drunkenness).
In addition, Masamper development from year to year has shown that the cultural journey of Sangir people are very dynamic.
As mentioned earlier, Masamper is now also used as one of the singing performed at a mass Church. Surely, this is an active acculturation initiated by the church to be better assimilated with the social system. There is a coherent meaning oriented to the embodiment of harmony or in the context of this study is defined as harmonization, between utilization Masamper as a tool of cultural church propaganda with the involvement of active people 'outside' of the church. They become players ± through their willingness to sing the special songs which contain in certain themes grandeur and servitude of man to God (Jesus Christ)) ± or they become the audience who involved in the noise and undoubtedly also contributed positively to church. Hence, their involvement (the non-Christian singers of Masamper) in singing poems is only a requirement of the competition, but not the appreciation of the values of the church applied into their daily religious practice. Skill of singing is stiffly stressed here. Certainly, it is expected from them to remain professional to go into the deeper meaning of the songs in terms of revealing the character of seriousness in singing with the contemplative expression. Thus, the real contribution of solidarity is a mutual help between fellow brothers and sisters regardless of what their religions are.

CONCLUSION
Masamper as one of the remnants of the ancestral cultural arts of Sangir people, is a means of proselytism, and becomes a catalyst for socio-religious harmony in North Sulawesi. Masamper can melt the differences of beliefs into a cultural engagement through an art performance which invites the public to appreciate each other for the sake of culture and mutual respect within the practice of religious beliefs. Therefore, there should be promotion of cultural-religious propaganda in any art performance so that the community will be more cognizant of their culture through art. Then, art itself gets sustainable and enlightened by the cultural participation of the community. Religious principles that inspire each local art and tradition of the community should be one of the inspirations of education in terms of realizing an art education, and educative art.
Finally, this research leads to some recommendation that: a. The promotion of the cultural-religious da'wah should be done in any performing arts in order to be recognized by people so that they will be more of their culture and the art itself becomes a sustainable tradition and enlightened by the participation of the community. 5. How to present picture, graph, photo, and diagram a. Picture, graph, figure, photo and diagram should be placed at the center b. Number and title should be typed above the picture, graph, figure, photo and diagram. c. Number and the word of the picture, graph, figure, photo and diagram should be typed in bold, 12pt Font Georgia and at the center, while title of them should be typed in normal (not bold). d. Number of the picture, graph, figure, photo and diagram should use an Arabic word (1, 2, 3 and so forth). e. Source of the picture, graph, figure, photo and diagram should be typed below the table, align text to the left, 10pt font Georgia. f. Picture, graph, figure, photo, and diagram should not be in colorful type (should be in white and black, or gray).
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7LEL
DUJXHV WKDW ³,VODPLVP is not about violence but as the order RI WKH ZRUOG ´ ,W KDV EHHQ VXJJHVWHG WKDW ³,VODPLVP is not about violence but as the order RI WKH ZRUOG´ 7LEL -Citations -Paraphrasing a book or journal article Paraphrasing is when we use someone else ideas/works and write them in our own words. This can be done two ways, either is correct. Example: Batley (2013) argues that some of the detainees in the bombing cases were members of JI.
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