Cikala le pong pong (SATB)


  • Catalog ID: S-461
  • First Line: Cikala le pong pong.....
  • Composer: Ken Steven
  • Voicing: satb divisi
  • Solo: S
  • Accompaniment: a cappella
  • Language: Pakpaknese
  • Country: Indonesia
  • Series: TOH Ban Sheng Choral Series
  • Other: new 2019
  • Score: View Score
  • Sound: Listen


Text and Translation

Cikala le pongpong
Ue merbuah si nangka bari le oe

Si manguda bagendari en Dak mengkabari
Mela mo cituk kene male

Ulang ulaken kene male Ulah-ulah nde neidi bagi Ulang mo… dak bagi…

Kade mo lemlem pagemu Pucuk bincoli mo kabir-kabiren Kade mo keleng ate mu
Anak maholi man pabing-abingen
Pong kirpong lepong kirpong

• Both vowels in the dipthong
ei are evenly pronounced.

p, t, and k are unaspirated, like Italian consonants. • c is pronounced like “ch” [tS], as in chair.

Program Notes

Immitating the sound of the drum Yes, yesterday the tree bore jackfruit Hi, friends!

The girls today
Always go out and stay up late Please behave

Do not do it anymore
Do not do things like that Please do not… do it anymore…

[Text defies translation]
What do you actually want?
Is it a handsome boy to hug? Immitating the sound of the drum


















pong, kirpong, mo, maholi




Cikala le Pong Pong is a Pakpaknese folksong from North Sumatra, Indonesia. Today, this song is more commonly performed at wedding celebrations, and opening ceremony and cultural events in the region. It is often accompanied by tradition dancing.

The text of the song describe “elders” (parents) advising their daughters to behave well and act lady-like, since girls today appear more aggressive than boys. The exception to this is the line Kade mo lemlem pagemu Pucuk bincoli mo kabir-kabiren, which has no meaning and was written to rhyme with the proceeding line of text.

By incorporating percussive effects such as foot stomping, clapping, snapping, and utilizing extreme vocal ranges through glissandi, the arranger has recreated the energetic, fun, and light-hearted atmosphere inherent in the song.

Singers are encouraged to use open-throat chest voice—especially in the low and mid registers—to capture the color of a vibrant tribal folk sound. The distinct change of vocal color and rhythmic rigor in this work promises sustained interest for young singers and promises to serve as an energetic addition to any performance program.