A Brief Description Of The Meaning And The Usage Ulos And Ruma Batak In Batak Toba

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A BRIEF DESCRIPTION OF THE MEANING AND

THE USAGE ULOS AND RUMA BATAK IN

BATAK TOBA

A PAPER

BY

CHRISTINA TAMPUBOLON

REG. NO. 062202081

DIPLOMA III ENGLISH STUDY PROGRAM

FACULTY OF LETTERS

UUNIVERSITY OF SUMATERA UTARA

MEDAN

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Approved by

Supervisor,

Drs. Syamir Marulafau NIP: 131460771

Submitted to Faculty of Letters University of Sumatera Utara in partial fulfillment of the requirements for DIPLOMA (D-III) in English.

Approved by

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Dra. Syahyar Hanum, DPFE NIP: 130702287

Approved by the Diploma of English Study Program Faculty of Letters, University of Sumatera Utara

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Accepted by the Board Examiners in partial fulfillment of the requirements for the D-III Examination of the Diploma III of English Study Program, Faculty of Letters, University of Sumatera Utara.

The examination is held on the Faculty of Letters, University of Sumatera Utara

Faculty of Letters, University of Sumatera Utara

Dean,

Drs. Syaifuddin, M.A, Ph.D NIP: 132098531

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Board of Examiner and Reader

Examiner : Drs. Syamir Marulafau

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AUTHOR’S DECLARATION

I am CHRISTINA TAMPUBOLON, declare that I am the sole author of this paper. Except where reference is made in the text of this paper. This paper contains no material published elsewhere or extracted in whole or in part from a paper by which I have qualified for or awarded another degree.

No other person’s work has been used without due to acknowledgment in the main text of the paper. This paper has not been submitted for the award of another degree in any tertiary education.

Signed :

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COPYRIGHT DECLARATION

Name : CHRISTINA TAMPUBOLON

Title of Paper : A BRIEF DESCRIPTION OF THE USAGE AND THE MEANING ULOS AND RUMA BATAK IN TOBA BATAK SOCIETY

Qualification : D-III/ Ahli Madya

Study Program : English

1. I am willing that my paper should be available for reproduction at the discretion of the Librarian of the Diploma III English Study Program Faculty of Letters University of Sumatera Utara on the understanding that users are made aware of their obligation under law of the republic of Indonesia.

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ABSTRACT

Sumatera Utara merupakan salah satu pulau pulau terbesar, Sumatera memiliki berbagai suku dan sub suku yang berbeda, tiap sub suku memiliki adat, kebiasaan dan hasil budaya diwarisi dari nenek moyang mereka juga berbeda sehingga menjadi suatu bagian dari kehidupan sub suku tersebut merupakan identitas dari adat sub suku bangsa tersebut. Adat, kebiasaan dan hasil budaya ini masih dilaksanakan hingga sekarang oleh anggota masyarakat atau sub suku bangsa. Salah satu suku yang ada di Sumatera yaitu Suku Batak dan sub sukunya yaitu Batak Toba.

Melalui kertas karya ini, penulis mencoba mengemukakan beberapa bagian dari adat yaitu pakaian adat dan rumah adat Batak Toba yang menjadi ciri khas suku Batak Toba yaitu Ulos dan Ruma Batak. Dalam paper ini penulis membahas tentang fungsi, makna dan proses pembuatan Ulos Batak atau proses pembangunan Ruma Batak. Diterjemahkan ke dalam bahasa inggris yaitu “A Brief Description of The Usage and The Meaning Ulos and Ruma Batak in Toba Batak society”. Penulis membahas tentang pengertian Ulos, fungsi, proses bertenun, jenis-jenis Ulos dan penggunaan Ulos pada saat upacara kelahiran, pernikahan, dan upacara kematian adalah satu keharusan bagi masyarakat Batak Toba menerima Ulos sebanyak tiga kali selama hidupnya. Penulis juga membahas tentang Ruma batak yaitu jenis, fungsi, proses mendirikan Ruma Batak, dan pembagian ruangan Ruma Batak.

Adapun tujuan penulis dalam menulis kertas karya ini adalah untuk memperkenalkan keunikan Ulos dan Ruma Batak dimulai dari proses pembuatan Ulos dan proses mendirikan Ruma Batak yang tergolong tradisionil dan sakral. Dimana arti dan fungsi Ulos dan Ruma Batak memiliki kesamaan yaitu sebagai sumber kehangatan dan tempat berlindung. Ulos diyakini oleh suku Batak Toba mampu melindungi jiwa yang menerima Ulos dan Ruma Batak melindungi secara jasmani. Dengan adanya kertas karya ini penulis memperkenalkan dan mengajak para pembaca agar peduli dengan adat, kebiasaan serta hasil budaya yang telah diwarisi nenek moyang terdahulu seperti: Ulos dan Ruma Batak Toba dan tetap mempertahankan kesakralan Ulos dan Ruma Batak yang mengandung nilai seni dan budaya yang tinggi. Untuk itu penulis mengharapkan kepedulian masyarakat untuk mempertahankan dan mengembangkan hasil kebudayaan yang diwarisi nenek moyang Batak Toba terkhusus bagi generasi Batak Toba.

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ACKNOWLEDGMENTS

First of all I would like thanks to God Almighty who has given me health and strength to finish this paper.

I also would like to express her special deep appreciation to Drs. Syamir Marulafau as the supervisor, for his willingness to guide her to complete this paper. Her thanks also due to Drs. Syaifudin, M. A. Ph. D as the Dean of Faculty of Letters, Dra. Syahyar Hanum, DPFE as the head of English Diploma program, and also my reader. And to all the lectures, for their valuable knowledge, guidance and advice during the years of her study in the faculty.

Her deep love and special gratitude are also extended to her beloved mother, Maimunah Napitupulu who have supported her materially and morally during her study, and also for my sister Chiska, Bonita, Maria and my brother Guntur, Lambok and Boris and even all my relatives.

Furthermore, her thanks are also due to my roommate Adelina Marpaung, My friends: Hotman A Hutagaol, Sri Maharani Purba, Maylin and Fachri Syahdana and Depo Patra Dinata for their help in doing my paper and gave some support for me. And thanks for all of my friends in class A, of 2006 generations of English Diploma Program for their support throughout the years altogether.

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Finally I realize that this paper may have some weaknesses. Therefore, I open mind to constructive criticsm and suggestion in ordere to make it better. May the Almighty God blesses all of us.

Medan, June 2009

The Writer

Christina Tampubolon Reg No. 062202081

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TABLE OF CONTENT

AUTHOR’S DECLARATION

COPYRIGHT DECLARATION

ABSTRACT... i

ACKNOWLEDGMENTS……… ii

TABLE OF CONTENTS………. iv

CHAPTER 1 INTRODUCTION 1.1 TheBackground of Study ... 1

1.2 The Scope of Study ... 3

1.3 The Purpose of Study ... 3

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CHAPTER 2 GENERAL DESCRIPTION OF BATAKNESE

2.1 The History of Bataknese ... 5

2.1.1 Mythology of Toba Batak ... 6

2.2 The Location and Geographical Condition... 7

2.3 The Religion and belief ... 7

2.4 The Social Structure ... 8

2.4.1 Marsomba Tu Hula-hula ... 9

2.4.2 Elek marboru ... 9

2.4.3 Manat Mardongan Tubu ... 10

CHAPTER 3 DESCRIPTION OF ULOS BATAK 3.1 General Description Of Ulos ... 11

3.2 Definition and The Meaning of Ulos ... 13

3.3 The Development of Ulos Batak ... 14

3.4 The Process of Weaving Ulos Batak in Toba Region ... 14

3.4.1 The Thread Fabrication ... 15

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3.4.3 Manggatip ... 16

3.4.4 Mangunggas ... 16

3.4.5 Mangani ... 16

3.4.6 Martonum ... 16

3.4.7 Manirat ... 16

3.5 Kinds of Ulos Batak for Toba Batak ... 17

3.5.1 Ulos Ragidup ... 17

3.5.2 Ulos Sitoluntuho ... 18

3.5.3 Ulos Ragi Hotang ... 18

3.5.4 Ulos Mangiring ... 20

3.5.5 Ulos Tumtuman ... 20

3.5.6 Ulos Suri-suri ... 21

3.5.7 Ulos Sadum ... 21

3.5.8 Ulos Sibolang ... 21

3.5.9 Ulos Runjat ... 22

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3.5.11Ulos Lobu-lobu ... 22

3.5.12Ulos Mangiring, Bintang Maratur ... 22

3.6 The Usage of Ulos Batak Tradisional Ceremony ... 23

3.6.1 Ulos at Birth Cremony ... 23

3.6.2 Ulos at Marriage Ceremony ... 23

3.6.3 Ulos at Death Ceremony ... 24

CHAPTER 4 DECRIPTION OF RUMA BATAK 4.1 Ruma Batak ... 25

4.2 Definition of Ruma Batak ... 30

4.3 The History of Ruma Batak ... 31

4.4 The Constructive Process Of Ruma Batak ... 32

4.4.1 The architect of Toba Bayak houses ... 34

4.4.2 The architect of Toba Batak based on ... 35

4.5 Types of Ruma and Sopo ... 35

4.6 The Division of Ruma Batak Room ... 40

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4.6.2 According To The Room Division ... 41

4.7 Gorga Batak ... 43

CHAPTER 5 CONCLUSION AND SUGGESTION

5.1 Cunclusion... 45

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ABSTRACT

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CHAPTER 1 INTRODUCTION

1. 1 Background of Study

There are many islands and tribes in Indonesia each tribe has its own custom. Habits, values, belief, culture and language. In the province of North Sumatera there are a lot of tribes, such as Bataknese, Karonese, Malay, and so on.

Batak is a collective term used to identify a number of ethnic groups found in the highlands of North Sumatra, Indonesia. Their heartland lies to the west of Medan centre on Lake Toba. In fact the "Batak" include several groups with distinct, albeit related, languages and customs. While the term is used to include the Toba, Karo, Pak Pak, Simalungun, Angkola and Mandailing tribes.

In Toba Batak society the patrilineal clan having it’s own the relationship among the three groups symbolized in “Dalihan Natolu” literally: the three earth-stones is the three functional groups which form the Batak society they are “Dongan Sabutuha” or marga companios, “Hula-hula” or bride-giver marga, or daughter giving group for marriage, and “Boru” or bride taker marga, or daughter receiving group for marriage.

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Dalihan Natolu plays an important role for Toba Batak livelihood including the whole life aspects of Toba Batak even to arrange marriage, particularly for Ulos and Ruma Batak are related to the function and the meaning of both Toba Batak ancestor heritage. Ulos is a rectangular shawl of Toba Batak woven cloth and the shawl is drapped by the authorized persons in the custom ceremonial and it has the sacred meaning.

Furthermore the basic color is only three colors they are white, red and black. However Ruma Batak has many relations to Ulos Batak like the color in Gorga. There are only three colors and it has the same meaning also. The function of Ulos and Ruma related into each other whereas Ulos is to warm body and Ruma is a place to protect them from wild animals, heat and cool. Ruma Batak and Ulos Batak including marriage, death, birth, entering the new houses ceremony.

I am interested in describing the Ulos and Ruma Batak as one of the cultural heritages

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1. 2 Scope of Study

The scope of this paper is to describe the historical also cultural heritage of Toba Batak which includes Ulos Batak and Ruma Batak. It is has the limitation in process of weaving the Ulos Batak, kinds of Ulos and the meaning of Ulos, the constructive process of Ruma Batak, the divisions also the function of both of them.

1. 3 Purpose of Study

The purpose of writing this paper:

1. To explain the meaning and function of Ulos and Ruma Batak in Toba Batak.

2. To identify kinds of Ulos which are used in customs ceremony such as for

death ceremonial, birth ceremonial and wedding ceremony etc.

3. To explain the meaning and the difference between Sopo and Ruma because

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1. 4 Significance of Study

1. As the requirement to get Ahli Madya from Diploma Program of English

Department, Faculty of Letters University of North Sumatera.

2. To answer the curious of the writer in Ulos and Ruma Batak

3. To introduce the specific cultural sense of Toba Batak particularly about Ulos and Ruma Batak.

1. 5 The Method of writing

It is common for each of Bataknese particularly for Toba Batak to see Ruma Batak or to wear Ulos Batak. The writer of this paper has several times watch many kinds of Ruma Batak also the ornaments even to wear Ulos Batak through watching and wearing some characteristic of both of them the writer become curious. In this paper, the writer also describes the kinds of Ulos and Ruma Batak of Toba Batak. The description is based on library research by reading some books about Toba Batak, read some articles, and browsing in internet such as website of Toba batak to explore.

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CHAPTER 2 GENERAL DESCRIPTION OF BATAKNESE

2. 1 The History of Bataknese

The ancestor of Bataknese lived in Sumatera Utara and spread into other regions in Sumatera (Ypes,1932:69). The ancestor of Bataknese set foot on Sumatera Island in south of Haru bay (Pasai) Aceh, and from the Haru bay the ancestor of Bataknese set foot on Tanah Gayo and Alas (South east Aceh) and then they moved into South of Sumatera Island, in Pusuk Buhit and permanent resident of the Pusuk Buhit. Most of the ancestor of Bataknese entered the hinterland of Toba region by Asahan river and then resident permanently.

From pusuk Buhit they spread into whole of Batak region, like in north Tapanuli, middle Tapanuli, and south Tapanuli and then to Asahan Regency, Simalungun, Deli serdang (east Sumatera), Labuhan Batu, South east Aceh and the outside of Sumatera.

2. 1. 1 The Mythology of Toba Batak

Among the world’s diverse cultures with different mythologies, many tell the story of the ancestor of each culture or region. Batak Toba cosmology recognize the entity of deity, the local spirit and the belief in ghost.

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In Batak Toba mythology, the swallow is a bird that serves as a messenger between the sky and earth. In a Toba Batik myth, the bird is told by Mulajadi Nabolon to deliver lodong, a bamboo made water sack containing seeds, to Boru Deak Parujar, daughter of the deity who dwells on earth. On arrival, the bird asks Boru Deak Parujar weave Ulos Ragidup, a beautiful Batik ceremonial textile. After she does so, the bird asks her to open sack. Boru Deak Parujar follows all the instruction. When she opens Lodong, a fine-looking man is there. As an unmarried woman, she feels fortunate,

The man is Tuan Mulana. It is loud and clear that Mulajadi Nabolon wants Boru Deak Parujar to accept Tuan Mulana as her consort. If she accepts the marriage, Boru Deak Parujar will become mortal, a fact Mulajadi Nabolon thinks she is unaware of. In fact, the maiden is well aware she will become mortal creature just like her husband. But the maiden Boru Deak Parujar is prepared to relinguish her noble blood. Because of this woman’s great love, the couple were married and created a new people, and the ancestor of Batak Toba is both of them who bare Si Raja Batak dwell on Pusuk Buhit.

2. 2 The Location and Geographical Condition

Batak land located in a large region at the Province of North Sumatera including Regency of North Tapanuli regency, Toba regency, and Samosir regency. The North Batak Toba region border is on Simalungun Regency, Karo and Aceh Tenggara, in the east of Toba Batak region border is on Asahan regency and Labuhan

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Batu and in South border is on Riau Province and West Sumatera, and Hindia ocean in the west.

2. 3 The Religion and belief

The Batak Toba religion is found among the Toba Batak societies around the Lake Toba in North Sumatra. While most Batak Toba religion myths and rituals focus on cultivation and kinship. The two spheres integrated into a cosmological order represented in religious art forms, dance, oratory and gift giving ceremonies. The kinship system based on marriage alliances the marriage system is an important part of Batak Toba religion and involves hours of ritual oratory. In this religion there is an upper world inhabited by Gods, a middle world lived in by men and a lower world that is home of dragon. The creator is Mulajadi Nabolon links three worlds as lord of the universe. Mulajadi Nabolon is good and evil, male and female. The homeland of the Batak Toba extends over the central highland of North Sumatra.

Bataknese who live in North Sumatra, are divided into six ethnic groups. Two Bataknese races, the Mandailing and the Angkola Batak, became Moeslem in the middle of the nineteenth century, and Batak Toba was converted to Christianity in 1864 by the German Rheinish Missionary Society. The others kept their native religion, though there have been converts to Islam and Christian more recently

In Indonesia, when traveling in the area around Lake Toba, one encounters a distinctive landscape characterized by Christian churches with crosses on the top of the steeple and a wide variety of tombs which appear to compete one another in

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splendor. Such tombs are especially numerous in the regions on the southeastern shore of the lake called Toba Holbung and the island of Samosir . A great many of the Toba Batak have converted to Christianity as a result of the missionary undertaking by a Gernlan Protestant mission (Rheinischen Missions-Gesellshaft) which established itself in the northern Tapanuli in the 1860s [Pedersen 1970: 47-72]. Nowa-days most of the Toba Batak are Christian, although the precise number could not be ascertained owing to the lack of statistics classified according to ethnic affiliations after the Revolution (a war of independence against the Netherlands in the period 1945-1949).

2. 4 The Social Structure

Batak societies are patriarchal organized along clans known as “Marga”. The Batak Toba believe that they originate from one ancestor "Si Raja Batak", with all “Marga”, descended from him. A family tree that defines the father-son relationship among Batak people is called tarombo. Marga Batak Bataknese are patrichial family names or marga in Bataknese from the male line. They believe that they originate from one ancestor “siraja batak” with all margas descendents for him.

In Batak Toba society the patrilineal clan having its own name such as Simanjuntak, Hutagaol and Tampubolon is called marga, which is also a unit of exogamy. The relationship among the following three groups - hula-hula (wife-givers), dongan tubu (one's own patrilineal clan) and boru (wife-receivers) is termed dalihan na tolu (three stones for placing a cooking pot). As well as being of marked

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importance in ritual contexts, it is fundamental to the social relationship of the Toba. The wife-givers are believed to be spiritually superior to the wife-receivers. One of example mores of Toba Batak is “dalihan Natolu”.

“Dalihan Natolu “ this symbolize attitude to life of people of Toba Batak in going into society. “Dalihan Natolu” is:

2. 4. 1 Marsomba Tu Hula-hula

“Hula-hula” is parent from woman married by a man, Hula-hula can be interpreted widely. All relatives of woman married by a man can be referred to Hula-hula. Marsomba Tu hula-hula it is meaning a man has to respect to act family of his wife.

2. 4. 2 Elek marboru

“Boru” is daughter from a clan, for example boru Tampubolon is a daughter from clan of Tampubolon. In wide meaning, term of this boru meaning daughter from a family and also from the clan. Elek Marboru means as man has been able to huddle up this boru.

2. 4. 3 Manat mardongan Tubu

Dongan tubu are brothers and sisters as clan. Manat Mardongan Tubu symbols, relation or link with brothers for men and pariban for women as clan as. This Dalihan natolu become guide among people of Batak in daily life.

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CHAPTER 3 DESCRIPTION OF ULOS BATAK

3. 1 General Description Of Ulos

The Batakland, located in the centre of the region, are known for their hand-woven textiles. Made exclusively by women, these cloths are used as traditional clothing and ritual gifts of exchange. Ulos is a rectangular piece of traditional woven cloth, holds significant traditional values that is respected and used in various sacred ceremonies. It symbolize a great many thing, physically, and spiritually, therefore carries great importance and meaning to be the people of Toba Batak not only worn, it is also used in many religious initation such as birth, marriage, death and many other rites.

The Batak Toba have a story of weaving cloth of the soul (Ulos ni tondi) for ritual and ceremonial purposes that dates back to their earliest history. Weaving is still a vital and important part of the Toba Batak way of life. The traditional Batak Toba Ulos is handmade on a body tension (back strap) loom using hand dyed thread. Often villages produce only one or two Ulos designs, slight variations are seen between weavers. Some pieces have limited avaibility. Natural dyes are used in combination with commercial dyes. Twinning and brIding are techniques specifically used by the Batak Toba. Women are traditional weavers, children and men assist in

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twinning and spooling. Ulos has some rituals and ceremonial meaning and are worn as head cloth, shoulder o hip cloth. Toba Batak are proud and cherish their own personal Ulos Batak and weaving traditions. Today you can see a fabulous array of personal Ulos being worn at ceremonies and celebrations, or being used as everyday carrying cloths and clothing. There are three ways to use Ulos in Batak Toba culture:

1. Siabithononton (is used): Ragidup, Sibolang, Runjat, Djobit, Ragi Pangko.

2. Sihadanghononton (is used on the head or just put on your shoulder): Sirara, Sombat Bolean, Mangiring, Suri-suri, and Sadum.

3. Sitalihononton (is used on your waist like a sarong): Tumtuman, Mangiring, and Padangrusa.

Traditionally and to this day Ulos Batak form part of a family’s assets. Ulos are brought out and worn or displayed during ceremonies, used as dowry items and exchange during ceremonies. Batak families keep a careful eye on which clan donates what type of Ulos and give certain Ulos back in exchange in a very formal, ritualized set of ceremonies as a family asset, these textile were sometimes sold to raise cash for education, funeral, wedding, birth and reburial tomb (mangokhal holi), etc. There are some of weaving equipment: pipisan, sorha, anian, erdeng-erdeng or hulhulan, baliga, balobas, turak, hasoli, parsosaan, songka, lili, paniratan, tipak, etc.

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3. 2 Definition and The Meaning of Ulos

Ulos is a rectangular piece of traditional woven cloth, holds significant traditional values that is respected and used in various sacred ceremonies. It is symbolize love between parent and children, someone to others, physically and spiritually. Furthermore Ulos, traditional woven cloth of Batak Toba which is believed to be a symbol of spiritual power it is carries great importance and meaning to be the people of Toba Batak.

The ancestor of Toba batak need the life giver related to the physical life, because geography condition of Tapanuli and Toba regions are plain and the height of sea level is very cold, so it will make the body condition of Batak Toba warm and the spiritual happy, so the understanding of “ Las ni roha” or joyful, they are sun, fire and Batak Ulos. Sun and fire are God s, given, meanwhile fire is not safe to make the body warm at night, but Ulos is only worn around the body to avoid it from cold. It means that the ancestor of Batak Toba really needed Ulos to give warm to their children and Ulos is daily needs. Ulos is warm around the body as clothing at that time. Finally, Ulos is used as gifts in Batak Toba tradition.

The marriage causes a union and integration among three parties mentioned above, as if it is three important hearths in the kitchen in daily life. Generally, Ulos is used in traditional ceremony or party especially when there is condolence such as “Saur matua and Sari matua” . However Ulos can also he given to someone whom we

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respect , such as Government top official functionaries, foreigners. Ulos can also be used as wall accessories.

3. 3 The Development of Ulos Batak

Weaving Ulos primarily in social and economical of Toba Batak way of life. In Batak Toba original myth, the earth is creation of a weaver, and in pre colonial worldwide, weaving was strongly associated with fertility. The ideal bride was a weaver who could provide for the needs family. The region of Ulos Batak could be found in Silindung Valley, south of Lake Toba, the most productive Batak Toba weaving centre also the region that produces the most modern textile variant.

3. 4 The Process of Weaving Ulos Batak in Toba Region

Batak Ulos is a traditional hand woven of Batak Toba textile or cloth with a lot of symbolic meaning in almost every aspect of Toba Batak societies especially in ritual and ceremonial event. There is a lot of Ulos patterns and styles which have respective meaning. The traditional of Toba Batak ulos is made of a body tension or back strap loom using hand dyed thread and natural dyes are used in combination with commercial dyes. Often villages only produce a few designs, slight variations are seen between though some pieces have limited availability. Twinning and braiding are techniques specifically used to create ulos.

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preparing the yarn), but they are also related to religious matter. This is true because each design and motif of the fabric, particularly for the Ulos Batak, have very profound symbolic significance. Therefore, each expert weaver (partonun) must understand the significance of the symbol which she weaves into the cloth.

3. 4. 1 The Thread Fabrication

The process of Twine the thread already known anciently called “Mamipis” used the appliance named “sorha”. The thread “Dibebe” the function is to settled the thread into the weaving traditional machine.

3. 4. 2 The Process of Coloration

Toba Batak weaver in South of Lake Toba (Jasper and Pirngadie 1912:69) who used the dye plant Morinda citrifolia after an intensive and lengthy process, this plant produced a sober, auburn colour. In the twentieth century the Toba Batak weavers delighted with the broad and bright synthetic colour palette made to them by the Christian mission. It was considerably easier and faster to use then the vegetable indigo. Today the use of natural indigo is exceptional and rare in some isolated regions, and the use of natural red and yellow dyes has been entirely phased out, as hand spinning. white color symbolize of heaven or the upper world, Mulajadi Nabolon, the symbol of life, red symbolize the middle world, braveness and power, and black color symbolize the lower world, occult.

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3. 4. 3 Manggatip

Graphic sequence created while the thread decomposed named “humpalan”.

3. 4. 4 Mangunggas

Mangunggas is the brightening thread. Generally the bleak thread steamed then smear the hot porridge into the thread, after the thread smeared the thread polished by the palm fiber. And the function is to make the thread colour brighter

3. 4. 5 Mangani

Mangani process is the composed thread process the function is to ease the weaver weaving Ulos by scroll the thread and the thread put on a piece of wood the lower wood put on it functioned to determine the the desire measure of Ulos.

3. 4. 6 Martonun

The process of weaving Ulos, by using some of weaving equipment: pipisan, sorha, anian, erdeng-erdeng or hulhulan, iran, pangunggasan, pamapan, pagabe, pamunggung, hatulungan, baliga, balobas, turak, hasoli, parsosaan, songka, lili, paniratan, tipak, etc

3. 4. 7 Manirat

The final process is “manirat” it is for the weaving process of Ulos already, Manirat function is binding the edge of Ulos and motif is shape of Gorga similar with Gorga (the carving in Ruma Batak).

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3. 5 Kinds of Ulos Batak for Toba Batak

3. 5. 1 Ulos Ragidup

Ulos Ragidup is one of the ceremonial textile in the toba batak region, a particular type of textile, known as an ulos Ragidup, was traditionally given to the mother of the bridgeroom from the father of the bride at his daughter ‘s wedding. This ceremonial exchange was meant to ensure the fertility of the couple and solidity the union of the two families. Occasionally, ulos Ragidup were also used during funerary ceremonies to cover the exhumed bones of the dead or the exterior coffin. The Ulos Ragidup is traditionally used at wedding, the father of the bride presents this cloth to the mother of the bridegroom. This symbolic act unites the two families and ensure the fertility of the couple. It is then passed down from one generation to the next as an heirloom, along with jewelry and other household objects.

This ulos Ragidup consits of a wide central panel flanked by narrower strips on either side. The central panel is divided into three horizontal sections. With the two large end panels woven in white, an a middle panel adorned with fine white and dark blue stripes. By connecting the warp of the end panels to the warp of the central panel adorned, the woman who created the textile was able to physically weave the three panels together as one, as opened to sewing together three separate pieces. The ingenious weaving technique is unique to the Batak, and occurs nowhere else in Indonesia.

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3. 5. 2 Ulos Sitoluntuho

An old, fine condition, indigo dyed ikat ceremonial cloth from the Lake Toba, the ritually important ulos Sitoluntuho, or Suri-suri. Deeply saturated colors with very little fading. Some historical mending, very well done. States that these sorts of idigo dyed cloths are part of a nucleus of the Batak textile tradition, with more than one hundred other design types within that tradition that are only additions to the elegant blue core.

Ulos sitoluntuho can be worn by poor people at wedding as an ulos ni tondi, or soul cloth, worn by an individual at religious ritual ceremonies. An ulos ni tondi is very personalized and such a cloth may accompany a person throughout her or his life, believed to empower the owner even to the extent of curing illness and healing injuries.

3. 5. 3 Ulos Ragi Hotang

Ulos Ragi Hotang one of the most important types of textile (Ulos) made by the Toba Batak people of North Sumatra, this ulos ragihotang shows the tri-partitioned Batak textile structuretwo deep wine-red panel frame a dark central panel of dash ikat, with end panels of supplementary weft motifs spanning the whole width. The extraordinarily fine ikat design visible in the close up) represents rattan by stippled or dash cream or indigo ikat between deep red pinstripes, interspaced by a

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consummate Toba Batak mastery of simple stripes, the motifs are difficult to execute and showcase the skill of the weaver.

Particularly significant for the Ragi hotang’s use as a ceremonial wedding shawl is the subtle difference between the main supplementary motifs in the weft bands at each end for the lozenges motif (boru-boru) at the top in the images represent the female principle and the double stars (baoa) at the bottom symbolize the male.

Ulos Ragi Hotang execute in white with glimmering touches of red, yellow, and green, these motifs present a beautiful variation as they shift from the black to the deep red ground. Special finishing touches that distinguish the textile’s quality are the fine lines of supplementary wrap-faced float weaving that mark off the center panel from the red side panels (Toba Batak textile uniquely combine supplementary warp and weft weave), and the wide band of red, black, white are twining in crisp hook and key motifs at each end. The long fringes are finely twisted. A rich, magnificient of Ulos Batak refined the execution and sophiscated dignity of Batak weaving.

The Ulos Ragi Hotang is close cousin to the Ulos Pinussaan, both of which have an ancient precedence among Toba Batak textiles, and show similar small geometric motifs in the end panels, as well as a symbolic distinction between male and female main motifs at either end. Indispensable in certain rites, both Pinussaan and Ragi Hotang are still woven, but only southeast of Lake Toba. The ritual

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significance of textiles in traditional Toba Batak society is manifested in the role of Ragi Hotang as ceremonial wedding mantle, where as a symbol of rattan, it binds the couple together with toughness and longevity.

At the moment when the marriage is made, an act called mangulosi is performed by the happy life and many children. They then pull the ends together create a full circle as a symbol of unity that binds them together as tightly as rattan. The band of twining at the ends called Sirat Godang is wider than that on any other Toba Batak textile.

3. 5. 4 Ulos Mangiring

Ulos mangiring come from Toba batak, a hand woven ikat cloth called Ulos Mangiring. Ulos Mangiring are always deep red or maroon and feature solid side panels and a central area defined with small pinstripes in different colors. The Ulos Mangiring serves as the Ulos Parompa, or carrying cloth, that is presented by the maternal grandparents on the birth of their daughter’s first child. It is also seen as a head cloth on festive occasions.

3. 5. 5 Ulos Tumtuman

Ulos Tumtuman woven in early twentieth century, Ulos Tumtuman wore by a shaman (Datu) the function as a headcloth for a ritual ceremonies like a transfer of the bones to the reburial tomb called Panangkokhon saring-saring. Words panangkokhon and saring-saring originally meant “raising” and respectively. Ulos Tumtuman rarely

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Tumtuman become a primary cloth for their ritual. The scarce of Ulos Tumtuman result the generations of Toba Batak unknown Ulos Tumtuman.

3. 5. 6 Ulos Suri-suri

Handwoven ikat shoulder cloth from the Toba Batak people, central panel with dark ground and fine lined sharp geometric motifs in succeeding parallel bands. Each end features multiple colored bands in supplementary weft. Three analogous bands run acroos the body of the cloth. Twined finishing band, with corded fringe. Ulos suri-suri

3. 5. 7 Ulos Sadum

Ulos Sadum motive are colourfull, nowadays uses in a joyful ceremony like marriage, it is put on bridge shoulder in order to they are happy and get children, but the other function of Ulos Sadum more functional in a formal ceremony for welcoming a high functionary symbolize a honourity.

3. 5. 8 Ulos Sibolang

Ulos Sibolang could be wear for happiness and sorrow ceremonial, for sorrow ceremonial choosed a pitch black, and for happiness ceremonial choosed a black grey colour. For death ceremonial ritual like for Saurmatua could be use Ulos Sibolang as Ulos Sampe-sampe could not change the other kind of Ulos, in marriage ceremonial usually could be wear as Hande-hande named “sipamontari”. Most of ceremonial

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could be wear Ulos sibolang because it has two functional that could be wear in sorrow or ceremonial as a result Ulos Sibolang become conform to Toba Batak norm.

3. 5. 9 Ulos Runjat

Ulos runjat usually wear a richman, girl or well-known person while they attended a ceremonies, Ulos runjat could be awarded to bridge and bridegroom, in Mangupa-upa ceremonies or the other happiness ceremonial.

3. 5. 10 Ulos Jugia

Ulos Jugia also named “Ulos na so ra Pipot” or “Ulos Pinussaan”, nowadays most of Toba Batak unknown the characteristic and the function of Ulos Jugia only for death ceremonial and the eldest children who has got grandchild could be wear Ulos Jugia at the Saurmatua ceremonial. Saurmatua ceremonial is a death ceremonial who has got grandchild from his sons and daughters.

3. 5. 11 Ulos Lobu-lobu

Ulos Lobu-lobu usually ordered the wearer according to their necessity, usually in a specific necessity particularly for the unlucky men or women ( the death of their children). Ulos Lobu-lobu rarely sold or keep in Parmonang-monangan or cupboard as the result is Toba Batak scarce to collect even to know Ulos Lobu-lobu.

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3. 5. 12 Ulos Mangiring, Bintang Maratur

Ulos Mangiring or Ulos Bintang Maratur specific for family meaning usually awarded to bridge and bridegroom wished they get children and happy. Ulos Bintang Maratur symbolize love between other people, allegiance etc

3. 6 The Usage of Ulos Batak in Toba Batak Traditional Ceremony

3. 6. 1 Ulos at Birth Ceremony

For birth ceremonial there are two things have to be attention the first is the position of the child whether the eldest or not. The second is whether the eldest child’s father is the eldest also. If the eldest child father is not the eldest his father title become “mar amani….” and if the eldest grandchild his father also the eldest then his grandfather title become “ompu ni….”. Ompu is a title inserted “si” before his grandchild name like: Ompu si… if the eldest grandchild is get from his eldest daughter named “Ompung bao” and Ompu… is a title he get from his eldest grandchild from his eldest son. While the baptism ceremonial held the son and father’s son get two Ulos for the child named “ulos parompa” and the ulos batak for his father is Ulos Suri-suri Ganjang or Ulos sitoluntuho-bolean.

3. 6. 2 Ulos at Marriage ceremony

In marriage ceremonial, “hula-hula” bride-giver marga, or daughter giving group for marriage could be given Ulos “Si tot ni pansa” they are: Ulos Marjabu (for bride and briderom), Ulos Pansamot/Pargomgom for bride parents, Ulos Pamarai is

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given to the elder brider’s brother or brother of briderom’s father, Ulos Simolohon is given to the bride’s sister “iboto or ito” who has married but if bride’s sisters has not married yet Ulos Simolohon could be given to the sister of bride’s father “Namboru” . there are many Ulos given to the bride and briderom named “ragi-ragi ni sinamot” usually accepted by briderom family whereas they have accepted “sinamot” amount of many for briderom parents.

3. 6. 3 Ulos at Death Ceremony

The third Ulos and the final Ulos would be given to someone who passed away. The statue according to the age and descent would be determined what kind of Ulos would be accept. If someone passed away in young age “mate hadirianna” the Ulos is “Ulos Parolang-olangan”, and if someone passed away while he has married named “matipul ulu or marompas tataring” the Ulos would be given is “Ulos Saput” and for widow or widower is given “Ulos Tajung”, however someone passed away determined from almost his descent have got grandchild already named “saur matua or sari matua” the Ulos would be given is “Ulos Panggabei” they are is Ulos Pinussaan and Ulos Jugia.

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CHAPTER 4 DESCRIPTION OF RUMA BATAK

4. 1 Ruma Batak

The Toba Batak is one of six Batak tribes that inhabit northern and central Sumatra. Each tribe has a distinctive culture and architectural style. Two Batak tribes are Moslem, while the Toba and another tribe Christian. The Toba Batak concentrated around Lake Toba, the world largest caldera lake. Their houses are among the most distinctive in Indonesia, with their famous boat-shaped roofs and finely-decorated carvings.

Toba Batak houses are found in groups of ten or less, constituting small villages. Because of frequent warfare among the other tribes in the past, the houses are built close together, often side by side (though rarely connected). Since much of the area is wet year-round, the Batak place their buildings on stilt to avoid flooding and dampness. A typical village consist of a row of houses flanking a corresponding number of small rice granaries, one for each house. Between the two rows of buildings runs a street called an “alaman”, which used to serve as work yard an as a place for drying out rice in the hot sun. nowadays, most of the granary buildings have been converted into houses, but their original purpose remains recognizable since the granaries were always built on six pillars, while house had more. The Toba Batak

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houses is one of the most distinctive traditional building in southeast asia. No one knows when the creation of these house started, but the Toba Batak houses have been around as long as anyone can remember.

These house can be found around Lake Toba. Toba Batak houses are built close to each other due to the history of the fights between the tribes, and this features gives them more advantage to defend themselves. They are construct on top of rows and columns of pillar, a foundation that goes above the ground, in order to avoid damages caused by floods. It is roof are boat-shaped and tend to be very tall and tilted, Reaching down as far as the main living area

The Toba Batak house is recognized vertically into three distinct zones. The lower zone-the area beneath the house raised on piers-functioned as work area and as an open-air pen for animals. The next zone-the floor of the house is a living area where as many as four different families crowded together nowadays there I usually one family per house. Ladders were once used to access the living area from the ground, so that in times of war ladder could be quickly retracted and the opening sealed. At present, many families have installed stairs for convenience.

The highest and most important level of the house is upper storey, which extends about a third of of the depth in front of the house. In this area family valuables and ancestral shrines are located. In front of this area, facing the street, is a verandah used for open air storage. The roofs of the Toba Batak houses are formed of sugar palm fiber thatch, held together with rattan cords, many houses have abandoned

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the labor intensive thatched roof and have converted to zinc metal roofs, which are far more durable in the humid climate.

Traditionally, Toba Batak communal houses were richly decorated with geometric designs and naturalistic figures brightly painted in red, white and black. The main decorative elements on the houses were large, carved animal heads incised with complex curvilinear motifs. The architectural ornaments on the sides of the house consisted predominantly of horses or buffalo heads. These highly ornate pieces were not only decorative but also served as supernatural guardians that ensured the safety and security of the structure’s inhabitants symbols on The Toba Batak region, buffalo consecrated to the realm ancestors. They were also symbol of high status, since only the elite could afford to own them.

Toba Batak houses up till twentieth century the Toba Batak are one of six Batak tribes that inhabit northern and central sumatera. Each tribe has a distinctive culture and architectural style. Toba Batak are concentrated around Lake Toba, the world’s largest caldera lake. Their houses are among the most distinctive in Indonesia, with their famous boat-shaped roofs and finely decorated carvings.

The house for the Toba Batak of North sumatra is of central importance. Bataks typically settle in closed villages and form small communities. Usually, a community (a group) consists of several different clans (marga) or Bataks with familial relations. A closed village is called a huta. A huta used to be surrounded by walls made of stone / earth soil (parik), planted with bamboo trees closely adjacent

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one to another. There is one, or a maximum of two entrance gates (bahal) located at the front (jolo) and the back (pudi). A banyan tree (baringin) and or a hariara tree are usually present close to the bahal.

There are two types of the traditional houses inside a huta Batak that face one another, the ruma and the sopo. Between the two buildings is a wide common area (alaman) where parents and children conduct their activities. These two buildings, despite their similar look, are in fact different from one another, functionally as well as from the construction perspective.

Huta Batak at consists of three ruma and three sopo. These six buildings were contributions from families that truly care about the conservation of the Batak culture. According to the information provided by the original owners, the buildings are approximately 120-150 years old. Improvements had been done to several parts of the buildings. Huta Batak was created in such a way in accordance with its original format with modifications in the shape of the bahal, parik and alaman.

The hariara tree plays a significant role in the Batak Tradition. A hariara is often planted as a sign separating one huta (the village) to another, the symbol of the village’s guardian, as the place for mamele (prayer to supernatural powers) or as the sign of ownership of a territory, as a symbol for one particular clan (marga), or even as a witness in agreements between communities.

This tree has philosophical values for a Batak person. The hariara is often regarded as the tree of life for the Batak ethnic group because of its ability to grow

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luxuriant leaves provide cool shade and shelter for the villagers. Many discussions between villagers took place under this tree. Various living creatures of all kinds also live and look to make a living in this tree. This tree is like a ”kingdom” without a king, full of life but without the disorder.

G A. Jabu Bona, the important

house for Raja Huta

B. Panggambiran the house of Raja Huta deputy

C. Ruma D. Open Sopo E. Sopo

F. Pantil function is to oversee the enemy

G. Harbangan, gate

Picture 4. 1. 1 The Huta Structure of Toba Batak F

A B

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Picture 4. 1. 2 The Rows of Sopo and Ruma in Huta

4. 2 Definition of Ruma Batak

Ruma has the same meaning with house it is possess many ways mentioned according to the function. When the ancestor of Toba Batak stow their paddy inside Ruma the warehouse named Sopo Parpeopan Eme. When Ruma or Sopo for holder glorification functional to Debata Mula Jadi Nabolon (God Supreme), the Ruma named joro accordingly. The other words for mention Jabu named Baganding Tua.

Baganding Tua terminology denoted for wife and husband as simanguliman. While the traditional ceremony arranged Ruma by a parable “bagas sibaganding tua simanguliman” or interpreted that wife and husband both of them alive. Toba Batak interpreted Ruma Batak as Mamarampang Namarjual means Ruma Batak or house a place for wealthy agglomerate, for generation and honourity however for a family if a wife passed away the family would be lose a honourity Ruma as Mamarampang

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Namarjual no longer mentioned house it is “Bale-bale” however it is oppositioned with Ruma Batak.

The Toba batak who grew up in Batak region describes the family house of the more wealthy the early part of the twentieth century named “Bale-bale” this is no more than a hut on four poles, it is walls were made of beaten bamboo and it is roof of paddy stalks (the floor was changed every year so it would not get the holes in it). The other houses were called “Sopo” and “Ruma”, which were much larger and more beautiful; they were the houses of rich people. The ruma, for instance, had eight pillars, its walls were made of carved wood planks and it is roof was of black sugar palm fiber.

These houses had a single room, in which people ate, slept, and receiving guest. The pillars were very tall, so that the space underneath the house could be used as a pen for livestock, which made it rather “fragrant”. The Toba Batak houses is one of the most distinctive traditional building in southeast asia. No one knows when the creation of these house started, but the Toba batak houses have been around as long as anyone can remember. These house can be found around Lake Toba. Batak Toba houses are built close to each other due to the history of the fights between the tribes, and this features gives them more advantage to defend themselves. They are construct on top of rows and columns of pillar, a foundation that goes above the ground, in order to avoid damages caused by floods. It is roof are boat-shaped and tend to be very tall and tilted, Reaching down as far as the main living area.

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4. 3 The History of Ruma Batak

The Batak Toba houses is one of the most distinctive traditional building in southeast asia. No one knows when the creation of these house started, but the Toba batak houses have been around as long as anyone can remember. These house can be found around Lake Toba. Batak Toba houses are built close to each other due to the history of the fights between the tribes, and this features gives them more advantage to defend themselves. They are construct on top of rows and columns of pillar, a foundation that goes above the ground, in order to avoid damages caused by floods. It is roof are boat-shaped and tend to be very tall and tilted, Reaching down as far as the main living area.

4. 4 The Constructive Process Of Ruma Batak

Before construct the Ruma Batak, the materials constructive have to be collected firstly in Toba Batak language named “mangarade”. Desireable constructive materials they are: tiang, tustus (pasak), pandingdingan, parhongkom, urur, ninggor, ture-ture,sijongjongi, sitindangi, songsong boltok and palm fiber (ijuk) as the roof material. The material for singa-singa ulu paung.

For furnished the constructive materials worked by mutual corporation in Toba Batak language known “marsirumpa” without wished a reward. After the material already furnished then the constructive technical to build Ruma Batak by “pande” (constructive expert) and handyman according to the owner desire whether the constructive Ruma or Sopo. The working steps usually the selection of material

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constructive based on the high pitched voice by knocking of wood named “mamingming”. The wood which have the highest pitched voice used for Jabu Bona pole and the higher used for Jabu Soding pole continued to Jabu Suhat and Si Tampar Piring pole have to be arranged according to the high of wood pitched voice.

A Pande further step is “marsitiktik” carved or “dituhil” the first pole carved is Jabu Bona pole. One of the most important accentuate for foundation determining. Like in Toba Batak philosophy “hot di ojahanna” without sturdy foundation would not be sturdy. While the principle of Toba Batak upbringing value. Faith have to be strongly taught to children consequently they will be good behave while they are adult. Foundations construct within square formation sustained some crutches.

Components of constructive buttress consist of “pandingdingan” heavy weight consequently the philosophy of Toba Batak “ndang tartea sahalak sada pandingdingan” as one of the requisite to construct of Ruma Batak is mutual corporation. Pandingdingan united to “parhongkom” using “hansing-hansing” as a unifying forces related to the philosophy “hot dibatuna iala ransang di ransang-ransangna” and hansing-hansingna means foundations and components already sturdy construct it has the significance to the owner of Ruma Batak and their neighborh congruence in social intercourse.

The upper buttress named “bungkulan" sustained “tiang niggor” in order that keep at stand arectly, prop up ”sitindangi” and the abutment the position is in front of niggor pole named “sijonjongi”. For Toba Batak niggor affirm as the integrity under

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part of roof named “arop-arop” symbolized wishful have enough to live in future. In front of the upper that withstand component of the roof consequently remain sturdy named “songsong boltok” the philosophy is there is no oftened or grudge in future because of someone mistake. Ombis-ombis laid in the left and right spread out from behind in to infront for modern houses named list plank the function is unifier for “urur” that withstand palmfiber-roof. According to Toba Batak understanding ombis-ombis symbolize that nobody is ferfect everyone needs advices and suggestions from other.

The constructive of Ruma Batak or sopo spent the period of time within five years. The expenses are most expensive because there are many buffalo, cattle or pig to fulfill the requirements of sacred ceremonial, even before and after the constructive done. The sacred ceremonial before constructive of Ruma Batak named “pesta mangusung bunti”, at the time during the constructive process named “pesta parsik tiang”. The wall the constructive process named “pesta pajongjong urur” until the Ruma Batak or sopo have done the constructive already. The author of Ruma Batak held a ceremony to enter a new dwelling named “mangopoi jabu” and the ceremony to celebrate the nem house named “pamestahon jabu”.

4. 4. 1 The architect of Batak Toba houses

The Batak House in a way parallel to the complexity of tribes grouped into the sub-tribes of the batak people, the architectural forms and models for the batak houses are varied as well. But whatever example is noted, all observers agree that

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the Batak houses prossesses a high quality style of architecture and construction, although from the side of its healthfulness, admittedly perhaps it does not fulfil modern hygienic conditions. The ceremonies conducted during its building, and the technical details of its architecture. What we want to stress here is only that building such a house demands knowledge and considerable technical. The most distinctive element of Batak culture is traditional architecture. Batak Toba houses are built on stilts, up to two metres the ground with a saddleback roof ending in sharp rising points said to resemble buffalo horns. Ruma Batak are traditionally made of wood (sloted and bound together without nails) and roofed with sugar-palm fiber or, more often these days, rusting corrugated iron. The gables are usually extravagantly embellished with carvings of serpent, spirals, lizards and monster heads complete with bulbous eyes.

4. 4. 2 The architect of Toba Batak based on:

 Transcendent axis system oriented in Pusuk Buhit mountain.  Houses alignment have to be followed from north to south axis

 Edifice epoch consist of the three main divisions compare 1:1:5,

accentuate in roof section.

 The wall edifice of room (buttress) shape of oblique symbolize the

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 Each of village “huta” in Toba region there is a banyan tree, Ficus Benjamina or “Hariara” assumed as a destiny tree of Toba Batak society.

 The ridge of Toba Batak houses of roof were buckle up.

4. 5 Types of Ruma and Sopo

There are four main Toba building types, two types of Ruma and two types of Sopo. Ruma is the Toba Batik word for house that is commonly used in opposition to Sopo. Whereas the Ruma is a permanent traditional dwelling house with a characteristic structure, the Sopo differs structurally, the older type functionally as well. The latter is an open building, in the sense of having an open-air-sitting-floor but no walls underneath the attic.

The main structural characteristic that distinguish the Sopo are the cantilevered attic floor, which is supported by posts positioned some distance inside from the edges, and the position of the roof-plates which rest on top that floor, instead of below it as in the Ruma. The open-air-sitting-floor, there were also Sopo of smaller dimensions that served only as granaries and did not have such a floor. The larger kind, which does feature a sitting floor, functioned in the old days either as a village meeting and council hall, the closed attic serving as a shrine and a granary, or it was

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in more modest versions, a private attic granary with the open sitting space used for various activities.

In both cases the Open Sopo with it is sitting-floor could serve as a sheltered outdoor living and working place, as a dormitory for unmarried men, and as a lodging for foreign visitors. Although in literature usually called simply a granary, the Sopo was in reality often a multi-functional building that also served some important temporary dwelling functions. It was as it were, an outer part of the Ruma to which belonged, which it complemented, and with which it formed a dwelling of a more comfortable and more complete kind. Spatially the Sopo was therefore closely related to the Ruma, it is position usually being directly opposite, on the other side of the street-like village square.

It seems that already in the 1930s only a few Sopo of this open kind remained, but the structural system of the Sopo survives in numerous samples of the converted kind, that is, of the Sopo that has been fully walled in and turned into a permanent dwelling, or dwelling grananry (where the attic is still used for storing rice). The Sopo of this converted kind. Is still quite common in villages on the eastern and south eastern sides of lake Toba. Normally it is called simply Sopo, just like the open Sopo kind. But it necessary, it can be distinguished by using the compound Jabu Sopo, in which Jabu means family dwelling space and dwelling house. Similarity the Ruma can be called Jabu Ruma to distinguish it from other Jabu, such as the Jabu Sopo and dwelling house of a foreign style.

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Turning now to the two kinds of traditional standard house “Ruma”, these are distinguished according to the way in which the entrance is provided. The simpler Ruma Sisampurna has the entrance front wall, reached by an outside flight of stairs or by a ladder. In the Ruma Sitolumbea, the more complex kind, there is a second row of posts some distance the front posts, and the satirs positioned in between, underneath the floor. The entrance is either by a trap door in the floor or by a normal door in the middle of the second row of posts. In the latter case the sides of the stairwell are provided with walls in the upper part of the house. Finally there are two important additional features which are always present in the Ruma Sitolumbea: partial attic floors and a kind of balcony in the front gable. These elements, although now usually also found in the Ruma Sisampurna of an older kind.

The main characteristics of the four building types can be summarized as follows:

Open Sopo: Multipurpose building with a closed attic and no walls; differs in

structure from the Ruma was formerly either only a granary or when equipped with a sitting-floor, a multi functional structure (village meeting and council hall, shrine, granary, protected outdoor living and working space, temporary dwelling for guests, dormitory for unmarried men.

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Picture 4.5.1 The Open Sopo

Jabu Sopo: functionally a permanent family dwelling, structurally a sopo that has been fully equipped with walls; has the stairs outside and the door in front wall.

Picture 4. 5. 2 Jabu Sopo

Ruma Sisampurna: permanent dwelling; stairs outside, door in front wall; now usually with partial attic floors and some kind of gable balcony; differs in structure from the Sopo.

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Picture 4. 5. 3 Ruma Sisampurna

Ruma sitolumbea: permanent dwelling; stairs inside, underneath the floor, between a double row of front posts, door inside (trap door or normal); partial attic floors; gable balcony; differs in structure from Ruma Sisampurna.

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4. 6 The Division of Ruma Batak Room

The traditional communal houses of the Batak have three levels, which correspond to the three levels of their universe: the upper world, the middle world, and the lower world. The high roof represents the upper world, the real of the gods. The living level (elevated above the ground on pillars) is symbolic of the middle world where human dwell. The space for animals below the living level represents the lower world, belived to be the home of a mythological dragon. The main decorative elements of communal houses are large, cerved animals heads. These sculptures, positioned at the ends of side beams, function as protective devices that have the ability to release positive energy as well as protect the inhabitants from disease or evil.

4. 6. 1 According To The Floor of Ruma Batak

The lower part functioned as livestock like buffalo, cattle, etc. in the middle part is the space for human dwelling and the upper part is the space for store up the shrines “ugasan” or “homitan”. The floor divide into:

1. The lower part (Tombara) consist of stones as the Ruma Batik foundations

named “Ojahan”, the short pole, peg “rancang” that unified in a pole and the function is a stairs “balatuk”.

2. The middle part (Tonga) consist of exterior wall, side wall, and the behind wall.

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3. The upper part (Ginjang) consist of roof “tarup” which is made from palm fiber “ijuk”.

4. 6. 2 According To The Room Division

According to a Dutch researcher of Gorga Batak, (Ruma Batak) in 1920 named D. W. N De Boer, his book is Het Toba Batik Huis the third continents: the lower world “banua toru”, middle world “banua tonga”, and the upper world “banua ginjang”. According to the Toba Batak reliance that the third continents Mula Jadi Bolon creation similar with world division also divided into three divisions.

The ancestor of Toba Batak named Ruma Batak as “Jabu Namarampang Namarjual” where as ampang and jual a space for measure rice or the other crops. Ruma Batak and sopo has the certain rule, criteria and the function. Although in Ruma Batak inside has no buttress but there are some of space or room in Ruma Batak are straighten up. Ruma Batak usually consits of four divisions they are:

1. Jabu Bona is the right corner room behind of the Ruma Batak entrance this

room usually dwelled a host of host family.

2. Jabu Soding is the left corner room behind of the Ruma Batak entrance. Jabu soding dwelled for under fifteen year old age children.

3. Jabu Suhat a corner space in the front part the entrance. Jabu Suhat room dwelled the oldest have marriage already because in previous there is no

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house to hire, the new bride have to be dwelled Jabu Suhat until they get Ruma for them.

4. Jabu Tampar Piring the position is in right corner in front part near to Ruma Batak entrance. Jabu Tampar Piring specialized for the host guest who come from the other city and live there for several days.

Beside the fourth of the important corners there is the other space or room between Jabu Bona and Jabu Tampar Piring named Jabu Tonga Ni Jabu Bona and the space between Jabu Soding and Jabu Suhat named Jabu Tonga-tonag Ni Jabu Soding. Ruma Batak could be divided into four or six space according to the author. The constructive expense in Toba Batak is most expensive and to construct Ruma Batak could be fund in together although they have no bloody relative named “marripe-ripe dibagas” or house associate the men who dwelled Jabu Bona would be most fund the constructive Ruma Batak expenses. The men dwelled the part of Jabu Parjolo Suhat, Parsoding Jolo-jolo, and Parsoding Pudi-pudi fund fewer the constructive expense. Even to slove problem the other dweller have to solve it to the author of Parjabu Bona. Until now if Toba Batak would be held a traditional ceremony they always told “marpungu hita di jabunta na marampang namarjual on jabu na masangap na martua on” etc. As the result that each of problem have to be solved together even from the outside.

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Picture IV. 6. 2. 1. The Room Division

4. 7 Gorga Batak

Among the Toba Batak people of northern Sumatra, communal houses were, and in some areas still are, richly adorned with ornate architectural carvings, painted in red, white, and black. The carvings consisted primarily of foliate geometric designs in low relief interspersed with the heads or figures of real or fantastic creatures, carved in the round. Although the ends of the house were adorned primarily with images of singa (composite creatures that served as supernatural guardians), the sides of the houses were often decorated with horses' heads, such as the present work, which also served as supernatural protectors. In Toba Batak religion, horses were believed to have the ability to carry individuals to the land of the ancestors. On earth, they served as status symbols, as only wealthy members of the elite could afford to own them.

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The Ruma Gorga (carved house) is the most homes are exquisitely carved and painted with deities and mythical creatures. Carving on the exteriors is especially fine and mythical creatures. Make tap a razor sharp carving knife. Most gorga work consist of three parallel grooves and requires master carvers. Gorga Batak is the traditional carving on the outside wall of Ruma or Sopo, gorga Batik painted in to three colours named three “bolit” the material of gorga batak is a blandly wood the ancestor of Toba Batak named “hau ungil” the material of gorga as same as for boat or “solu” material.

Therefore the painting material of Gorga Batak naturally created like red colour acquired from “batu hula” a kind of red natural stone, “batu hula” melted into water and smear them into carving of Ruma Batak or Sopo. White color acquired from clayey in Toba Batik language named “tano buro”, and then black color acquired from castor oil plant crushed until smooth mixed with soot and poured water and it is similar with black color painted. Three colors of Gorga similar with Ulos motifs at the edge of Ulos Batak, white color symbolize of heaven or the upper world, Mulajadi Nabolon, the symbol of life, red symbolize the middle world, braveness and power, and black color symbolize the lower world, occult.

Kinds of Gorga divided into two type according to the carving process and shape of gorga. According to carving process consist of two kinds they are Gorga Uhir and Gorga dais, than kinds of gorga according to the Gorga shape they are:

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Gorga Ipon, Gorga Sitompi, Gorga Simataniari, Gorga Desa Naualu, Gorga Si Marogung-ogung, Gorga Singa-singa, Gorga Jorgom, Gorga Boras Pati, Gorga Adop-adop and Gorga Ulu Paung.

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CHAPTER 5 CONCLUSION AND SUGGESTION

5. 1 Conclusion

Ulos and Ruma Batak in Toba Batik society in previous parts, it can be concluded that there are important cultural meaning and the similarities of Ulos and Ruma Batak in Toba Batak society. Whereas Ulos is a kind of shawl it is draped by authorized person in cultural ceremony, it is Hula-hula or the wife giver side who are reliable to give Ulos, twelve Ulos which are commonly performed in Toba Batak ceremony are: Ulos Ragidup, Ulos Ragi Hotang, Sadum, Lobu-lobu, Mangiring, Bintang-Maratur, Sitoluntuho-Bolean, Suri-suri,etc. The process of weaving Ulos Batak still traditional.

There some of the similarity between Ulos and Ruma Batak it is the carved on the Ruma Batak wall and the motif of Ulos Batak particularly at the edge of Ulos Batak. The awarded “Mangulosi” of Ulos Batak is based on Dalihan natolu and the divide of Ruma Batak also based on Dalihan Natolu. Now adays the constructive process of Ruma Batak is still traditionally and sacred, even the weaving process of Ulos also traditionally and sacred. The same of region weaving Ulos and the constructive of Ruma Batak still defend the characteristic of traditional village like in Samosir, Humbang, Balige, etc.

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5. 2 Suggestion

After describing the function, kinds, the usage furthermore the similarities between of them for Toba Batak society. The writer would like to give some suggestions. They are:

1. The young generation of Batak Toba should know their culture better.

They can maintain and keep the value of the culture.

2. People should give an attention to lead the function of Dalihan Na Tolu. It will help their life attitudes, especially to give back the meaning of Ulos, Ruma Batak both of the function of them different kinds, the process of weaving and constructive, even the function of Ulos and Ruma Batak. Generally for all peoples Particularly, Batak Toba society have to develop their tradition. They can promote it as the cultural values and the tourist’s objects, for its unique adat performance.

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