A Brief Description of Si Raja Naiambaton (PARNA) in Batak Toba Society

A BRIEF DESCRIPTION OF SI RAJA NAIAMABATON (PARNA) IN BATAK TOBA SOCIETY

A PAPER

BY

LUKI TRINA MELFA

REG. NO. : 072202010

DIPLOMA III ENGLISH STUDY PROGRAM FACULTY OF LETTERS

UNIVERSITY OF SUMATERA UTARA MEDAN

Approved by Supervisor,

Drs. Bahagia Tarigan, M.A. NIP.195810171980011001

Submitted to Faculty of Letters, University of Sumatera Utara

In partial fulfillment of the requirements for DIPLOMA (D III) in English

Approved by

Head of Diploma III English Study Program,

Dra. Syahyar Hanum, DPFE NIP. 1951090717922001

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

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

The examination is held on ……….

Faculty of Letters, University of Sumatera Utara.

Dean,

Prof. Syaifuddin M.A., Ph.D NIP. 19650909 199403 1 004

Broad of Examiner and Reader: Examiner : Drs. Bahagia Tarigan M.A

AUTHOR’S DECLARATION

I am, Luki Trina Melfa, declare that I am the sole author of this paper. Expect 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 acknowledgement in the main text of the paper. This paper has not been submitted for the ward of another degree in any tertiary education.

Signed :

COPYRIGHT DECLARATION

Name : LUKI TRINA MELFA

Title of Paper : A Brief Description of Si Raja Naiambaton (PARNA) in Batak Toba Society

Qualification : D-III/ Ahli Madya Study Program : English

I am wiling that my paper should be available for reproduction of the discretion of the Librarian of the Diploma III English Study Program Faculty of Letters USU on the understanding that users are made aware of their obligation under law of the Republic of Indonesia.

Signed :____________

ABSTRACT

Kebudayaan Batak Toba merupakan salah satu sumber dari kebudayaan nasional yang kelestariannya perlu dijaga. Salah satu kebudayaan Batak Toba yang sangat di kenal di seluruh Indonesia adalah marga. Marga adalah kelompok kekerabatan menurut garis keturunan ayah (patrilineal) pada masyarakat Batak Toba. Marga berfungsi untuk mengetahui kelompok marga yang satu dengan kelompok marga yang lainnya. Kelompok marga yang tergolong dengan marga yang sama tidak dapat menikah dengan sesama marganya. Karena larangan keras dari para leluhur mereka. Dengan perkembangan zaman globalisasi, ada beberapa marga yang tidak lagi memperhatikan marga yang mereka sandang. Mereka melakukan pernikahan dengan sesama marganya. Bila pernikahan sesama marga sering terjadi, maka lama kelamaan marga tidak lagi memiliki fungsi dalam masyarakat Batak Toba. Penulisan kertas karya ini di tujukan kepada setiap generasi muda khususnya Batak Toba. Diharapkan kepada orangtua agar dapat menjelaskan salah satu budaya Batak Toba yaitu marga kepada generasi muda agar tidak melakukan pernikahan dengan sesama marganya. Si Raja Naiambaton (PARNA) merupakan sebuah ikatan marga yang paling banyak jumlahnya dari marga-marga yang ada di masyarakat Batak Toba. Untuk itu dengan mengetahui nama marga yang tergolong di dalamnya maka dapat membantu setiap marga khususnya yang tergolong dalam Si Raja Naiambaton untuk menghindari pernikahan sesama marganya sesuai dengan pesan para leluhur mereka.

ACKNOWLEDGMENTS

First of all I would like to thank the Almighty God Jesus Crist, who has given me strength, and ability to finish this paper as my last assignment at Diploma-III English Study Program at Universities Sumatera Utara. I also would like to express my gratitude and appreciation to all of the communities of people connected with Diploma-III English Study Program, Faculty of Letters, and University of Sumatera Utara.

1. The Dean of Faculty of Letters Drs. Syafuddin, M.A, Ph.D .

2. The Head of English Department Dra. Syahyar Hanum. DPFE, and as my supervisor who has given me advice, suggestion guidance support, and help in writing this paper.

3. Drs. Bahagia Tarigan, M.A, as my supervisor who has given me advice, suggestion, guidance, support, and help in writing this paper.

4. All lectures who have guided and given valuable knowledge and advice during the years of my study.

And for my beloved people in my life

1. To my mother Alice Prida Hutabarat. For their great love, pray, care, attention, and financial supports. I will do my best for you to make you happy.

2. To my brother Daniel, and also to my sisters Rani, Lira and also to my younger sister Butet, who have been giving me love and support.

3. To my best friends in campus Herlinda Situngkir, Ana Maria Barus, Evalya Sari, Regina, Evelina, Mariati, Mindouli, Fransiska, Ledy, thanks for helping me. And my special thanks also due to all of my friends in Diploma-III English Study Program that I can not mention their name one by one. Thank you very much.

4. My special thanks to Juwinta and Jufri Pardede who always support me in pray and advice.

5. All my relatives wherever you are I love you all.

Medan, June 2010 The Writer,

Luki Trina Melfa (NIM 072202010)

TABLE OF CONTENTS

AURHOR’S DECLARATION

COPYRIGHT

ABSTRACT

ACKNOWLEDGEMENT TABLE OF CONTENTS

CHAPTER I. INTRODUCTION ……….…...1

1.1The Background of the Study ….……….…..1

1.2The Scope of Study………....2

1.3The Objective of Study………..2

1.4The Significance of Study………..2

1.5The Method of Study……….3

CHAPTER II. DESCRIPTION OF BATAK TOBA SOCIETY……….4

2.1 Demography………...4

2.2 The Religion………..5

2.3 The Social Structure………..…6

CHAPTER III. The Branches of Si Raja Batak………..8

. 3.1 The Meaning of Si Raja Batak………...8

CHAPTER IV.Si Raja Naimbaton ( Parna)...12

4.1 The Meaning of Si Raja Naimbaton (Parna)………12

4.2 Description of Si Raja Naimbaton Branch………..14

4.3 Poda in Si Raja Naimbaton………..26

CHAPTER V. CONCLUSIONS AND SUGGETIONS………27

5.1 Conclusion………27

5.2 Suggestion………....28

ABSTRACT

Kebudayaan Batak Toba merupakan salah satu sumber dari kebudayaan nasional yang kelestariannya perlu dijaga. Salah satu kebudayaan Batak Toba yang sangat di kenal di seluruh Indonesia adalah marga. Marga adalah kelompok kekerabatan menurut garis keturunan ayah (patrilineal) pada masyarakat Batak Toba. Marga berfungsi untuk mengetahui kelompok marga yang satu dengan kelompok marga yang lainnya. Kelompok marga yang tergolong dengan marga yang sama tidak dapat menikah dengan sesama marganya. Karena larangan keras dari para leluhur mereka. Dengan perkembangan zaman globalisasi, ada beberapa marga yang tidak lagi memperhatikan marga yang mereka sandang. Mereka melakukan pernikahan dengan sesama marganya. Bila pernikahan sesama marga sering terjadi, maka lama kelamaan marga tidak lagi memiliki fungsi dalam masyarakat Batak Toba. Penulisan kertas karya ini di tujukan kepada setiap generasi muda khususnya Batak Toba. Diharapkan kepada orangtua agar dapat menjelaskan salah satu budaya Batak Toba yaitu marga kepada generasi muda agar tidak melakukan pernikahan dengan sesama marganya. Si Raja Naiambaton (PARNA) merupakan sebuah ikatan marga yang paling banyak jumlahnya dari marga-marga yang ada di masyarakat Batak Toba. Untuk itu dengan mengetahui nama marga yang tergolong di dalamnya maka dapat membantu setiap marga khususnya yang tergolong dalam Si Raja Naiambaton untuk menghindari pernikahan sesama marganya sesuai dengan pesan para leluhur mereka.

CHAPTER I

INTRODUCTION

1.1

Background of The Study

Batak Toba society is a sub or part of Batak tribes in Indonesia. They have rules in their daily life for maintaining the human relationship that is called Tarombo. Tarombo functions to know marga in Batak Toba society. Marga is the kinship group (patrilineal) (Harahap, 1955:27; www.wikipedia.org).

Nowadays, there are some people marry with the same marga. Actually it is prohibited in Batak Toba society. Occurrence of marriage among the same of marga might be caused by several things, such as the young man does not understand what the function of marga or does not know the origin of his marga. And maybe his parents do not give the explanation about it.

I have intentionally chosen the title for this paper “A Brief Description of Si Raja Naiambaton in Batak Toba society”, to avoid the problem mentioned above. As we all know that descendants of Si Raja Naiambaton which belong to the union of Naiambaton (PARNA) or Parsadaan Naiambaton that consists of various of marga in the list of clans in Batak Toba society. Si Raja Naiambaton has a dozen of marga in Batak Toba Society (Siahaan, 1964:81; www. facebook badge.com). So, I want to explain Si Raja Naiambaton as complete as possible. I want to show the readers that the culture of Batak Toba is very interesting to be

discussed. Moreover, this topic has been not written yet before. It also enriches our knowledge about Indonesian Culture.

1.2 The scope of Study

There are many things that can be discussed about Batak Toba, such as the death ceremony, wedding ceremony and traditional dance. In this case, I focus on the description of Si Raja Naiambaton (Parna) in Batak Toba Society, the meaning of Raja Naimbaton (Parna), the description of Raja Naimbaton branch and poda in Raja Naiambaton.

1.3 The Objective of Study

This paper is about the description of Si Raja Naiambaton (Parna) in Batak Toba society. This paper is also aimed at introducing Batak Toba culture to anyone who has not known about it yet.

1.4 Significance of the Study

This paper is written to share information about philosophy of Batak Toba, the description of Raja Naiambaton clans or marga in Batak Toba society. Even though Batak people have known about it, so many young generations of Batak know very little about Tobanese. As young generation, we have to know it because it is part of Indonesia culture that we should be proud of, and I hope the readers can understand when they read this paper.

1.5

Method of The Study

In writing this paper, I applied the library research that is by collecting some books that are related to the topic discussed. Besides I browsed the internet for further information. Both of these methods are really helpful in finding and selecting the important information that supports the topic being described.

Chapter

II

DESCRIPTION OF BATAK TOBA SOCIETY

2.1 The Demography

The province of North Sumatera consists of 11 regencies, 6 municipalities and 172 sub districts with the area of about 71,680 square kilometers with 10.256.073 inhabitants and lending industrial center in Medan. Most of Batak Toba society lives in North Sumatera Province, especially in Toba which has three regencies, they are: North Tapanuli regency, Toba Samosir regency, and Humbang regency. North Sumatera Province is bordered by provinces, strait and ocean.

-North : Nanggroe Aceh Darussalam province and Malacca Strait

- South : Riau and West Sumatera province - East : Malacca Strait

-West : Hindia Ocean

(Sandra, 1954:1; www.wikipedia.org)

Most of the regions of North Sumatera Province consist of mountains. It is the Bukit Barisan Mountain, which lies from North South of Sumatera Island. Batak land possesses a lot of natural resources. It has many high mountains such as Pusuk Buhit, Simanuk-manuk, Martimbang, Lunuk Raya, Kulab, Sorak Marapi, Sinabung, Sibayak. Besides the mountains areas, there are also rivers;

valley, lake, and the natural pledges that attract the tourist attention. The beautiful valley is found in Silindung, Lake Toba, and Karo region. (www.indonesia.co.id)

Batak Toba region is located in North Tapanuli regency. It stands on the southeastern side of Medan City. Toba areas are limited into:

-North : Dairi, Simalungun and Tanah Karo regency -South : Middle Tapanuli and South Tapanuli regency -East : Asahan and Labuhan Batu regency

-

West : Middle Tapanuli and Southeast regency (www.wikipedia.org).

The Sumatera island is crossed by the equator line, so it effects on the climate of North Sumatera. Dry and hot season that come, it causes the soil fertile, and it is good for growing plants. Generally, the man livelihood of Batak Toba people is agriculture. In addition, Batak Toba people practice the traditional cattle breeding. They let their cattle live free in the wide fields, such as pigs, cows, buffaloes, and chickens (www.indonesia.co.id).

2.2 Religion of Batak Toba

Batak Toba society has followed Protestant Christianity, which was spread by Nomensen German missionaries in 1863. Before the Batak Toba followed it, they had a religious belief system. They believed about Mulajadi Na Bolon who had the power in over in the heaven and his emitted power manifested in Debata Na Tolu. Debata Na Tolu is god of universe that divided into three levels: The Upper-world called “Banua Ginjang”, The Middle-World called

“Banua Tonga” and The Under-World called “Banua Toru” (www.wikipedia.org).

Batak Toba society knows three concepts of belief, namely:

-Tondi : The spirit of a person who can give life to man. A man gets it since from his mother womb. When tondi leave his body, he will get sick or die. They must make ceremony to fetch his tondi from sombaon who was captivated.

-Sahala : The spirit of power that someone. Everyone has tondi but

not all have sahala. Sahala is the luck or the power of magic that the king owned or hula-hula in Batak beliefs. -Begu : The spirit of died person or ghost (www.wikipedia.org). Part of Batak Toba society still believes in those concepts. They do not leave their beliefs although it is an ancient traditional.

2.3

The Social Structure

The social structure of the Batak Toba society based on “Dalihan Na Tolu” (trivet). Batak Toba society follows the patrilineal system. Each member of the society follows his or her hereditary family name. All children, sons, and daughters use their father’s clan. After getting married, a daughter has no right anymore to use her father’s clan. However, she has to use her husband’s clan. Sons have to use their father’s clan forever, even though he is married or not (Situmeang, 1968:12; Siahaan, 1964:78).

Batak Toba Society makes a relationship with another people. Everyone respects another and it is called Dalihan Na Tolu (three fireplaces), namely a division of society over three groups. Then, the three groups become the terms of kindship system in Batak Toba Society, they are Hula-hula, Boru, and Dongan Sabutuha (Situmeang, 1968:12; Sandra, 1954:107).

Dalihan Na Tolu has three principles, namely somba Marhula-hula means that we must respect to wife parent’s side; Manat Mardongan Tubu Means that we must be attentive to the same clan; and elek marboru that we must be persuasive the sister’s side. (www.indonesia.co.id; www.google.com)

CHAPTER

III

THE BRANCH OF SI RAJA BATAK

3.1 The Meaning of Si Raja Batak

Tapanuli area, like Silindung, Pahae, Habinsaran have historical stories of diverse culture (www.wikipedia.org). They have special meaning in their life. Batak Toba culture is very interesting and unique. For example, the culture of clan or marga.

Marga is kinship of group (patrilineal) in Batak Toba society (www.wikipedia.org; Siahaan, 1964:79). It is connected to the son. A father will be satisfied if he has a son in his descendant and he will be disappointed if he doesn’t have a son.

Batak Toba people try to know their genealogy of their marga and try to know the history of their ancestors, that is who are embedded with elements of myth. If the history is about several generations of a large, the possible element of its history is still greater, and certainly not free, from the influence of myth (Sandra, 1954:104; Siahaan, 1964:82).

The first person known as ancestor Batak Toba society is Si Raja Batak. He had background with unique myths. Long time ago there was a chicken named Manuk-manuk Hulambujati on the sky. It had a body size of giant butterfly and had eggs pot of soil. It didn’t know how to hatch its eggs. So, it asked the mighty

of heaven Mulajadi Na Bolon how to hatch it. It got the answer and it hatched (Sandra, 1954:113; Siahaan, 1964:82; Hutagalung, 1976:9; www.google.com).

Manuk-manuk Hulambujati had three eggs, the first was named is Tuan Batara Guru, with a wife named Si Boru Pareme. The second egg was named Ompu Tuan Soripada with a wife named Si Boru Parorot. The third was named Ompu Magalabulan with a wife named Si Boru Panuturi (Hutagalung, 1991:9; www.google.com).

Tuan Batara Guru and his wife were the ancestors of Si Raja Batak. They had three children. The daughter was the only one who was called Si Boru Deak Parujar and she had twins. The name of her twins was Raja Ihat Manisia and Si Boru Itam Manisia who were the parents of Si Raja Batak (Sandra, 1954:105; www.wikipedia.org).

3.2 The Branches of Si Raja Batak

Batak Toba society is really concerned about genealogy of marga up to now. It is also called Tarombo and has become tradition since the first time when they met other Batak Toba people who had the same marga. Marga is only handed down by generation of man. The man who does not have a son is called pupur and if he has just a daughter it is called punu in Batak Toba society. Si Raja Batak has two sons, Guru Tatea Bulan and Raja Isumbaon. They are divided into two major groups namely moon and sun (Hutagalung, 1991:33; Siahaan, 1964:114). Their children generate new clans.

Guru Tatea Bulan has five sons and four daughters (Hutagalung, 1991:33), they are:

1. Si Raja Biak-Biak.

2. Tuan Sariburaja has two descendants; they are Borbor and Lotung.

3. Limbong Mulana has two descendants; they are Palu Onggang and Langgat Limbong.

4. Sagala Raja.

5. Malau Raja has two descendants; they are Pase, Ambarita, Gurning and Lambe.

And the four daughters are: 6. Si Boru Pareme.

7. Si Boru Anting Sabungan. 8. Si Boru Biding Laut.

9. Si Boru Nan Tinjo.

Raja Isumbaon has a single son named Sorimangaraja (Hutagalung, 1991:34; www.wikipedia.org; Sinaga, 1996:118). His son has three children, they are:

1. Nai Ambaton has four descendants, they are Simbolon, Munte Tua, Saragi Tua and Tamba Tua.

2. Nai Rasaon has two descendants, they Raja Mangarerak and Raja Mardopang.

CHAPTER

IV

THE BRANCHES OF SI RAJA NAIAMBATON

4.1 The Meaning of Si Raja Naiambaton

Sorimangaraja who was the son of Si Raja Isumbaon had three wives namely, Nai Ambaton, Nai Rasaon and Nai Suanon. These created of Nai Ambaton descendants.Nai Ambaton had a child named was Si Raja Naiambaton. Si Raja Naiambaton was classified in the group of moon. He had two wives. He lived in Pangururan in Tapanuli area and had cattle. He grazed his sheep. The word of Naiambaton comes from his habit that grazed his sheep. He had many nick names, such as Tuan Sorbadijulu, Suli Raja, and Ompu Bolon in his old age (Sinaga, 1996:118 Hutagalung, 1991:138; Siahaan, 1964:94; www.wikipedia.org).

The Information about Si Raja Naiamabaton descendants has many versions. The first version was that he had three children. The second version was said he had four children and the third version was said he had five children. Although it consists of three versions, all people of Batak Toba agree totally about of marga and the branches of Si Raja Naiambaton (Sinaga, 1996:119; www.wikipedia.org).

The descendants of Si Raja Naiambaton have conflict. Simbolon Tua which was the first child did not admit his brother except his younger brother Munthe Tua. But, until now they still maintain fraternal relations between the two

offsprings (Hutagalung, 1991:138). Si Raja Naiambaton belongs to the union of Naiambaton (PARNA) or Parsadaan Naiambaton. The bond is celebrated in every place.

4.2 The Branches of Si Raja Naiambaton

Si Raja Naiambaton who was said to have four children in second version was the most agreed by Batak Toba society (Sinaga, 1996: 119). His children are:

1. Simbolon Tua 2. Tamba Tua 3. Saragi Tua 4. Munthe Tua

1. Simbolon Tua

The first child of Si Raja Naiambaton is Simbolon Tua. He had two children, namely Tunggul Sibisa and Tuan Suhut Nihuta. The grandsons of his children had seven children (Altong Nabegu, Simbolon Tua, Pande Sahata, Panihai, Raja Dapotan, Raja Hapotan and Raja Sirimbang). The descendant of Simbolon Tua used the marga of Simbolon except for the offsprings of Nahodaraja (Simbolon Tuan) who have already used the new clan (Sinaga, 1996:119; www.benyhardy.blogspot.com).

The marga of Simbolon lives in villages of Simbolon on the island of Samosir in general. Within a few generations, Simbolon Tuan group had never more than one child until his sixth generation. Tuan Batuholing had six sons, four sons of Tuan Batuholing stayed in Kampung Simbolon. Two of his sons went out from Simbolon village. Ompu Seul who was the second child of Tuan Batuholing

went to Siambaton areas. Upto now descendants of Ompu Seul still live in there. Descendants of Ompu Seul always call themselves Simbolon Tuan from Pakkat or Siambaton. Simbolon Tuan descendants who migrated to the area or the Pak-Pak marga of Tinambunan, Tumanggor, Pinanyungan, Maharaja, and Mahampun. They are often referred to as Si Onom Hudon (Sinaga, 1996:119; www.wikipedia.org).

2. Tamba Tua

Tamba Tua is the third of children of Si Raja Naiambaton, residing in Pintubatu and then he moved to Dalingmatogu. According to stories from some communities in Toba Batak, Butar-Butar and Sitorus are descended of Old Tamba. And some say that Butar-Butar and The Torus are descendants of Nai Rasaon born from the second wife of Sorimangaraja. Descendants of Tamba are Rumabolon, Rumaganjang and Rumahorbo. Some of the descendants are not known who migrated to Karo. The name of their offspring bond of unity that migrated to Karo was named "Gintingsuka". Rumaganjang descent was the third child of seven of Datu Parngongo that are Guru Sitindion, Guru Sojouon, Guru Saoan, Guru Debata, Guru Solasosan, Datu Ronggur and Marhatiulubalang (Si Raja Tamba). The seven descendants of those which created new kinds of marga that are Sidabutar, Sidabalok, Sidari, Sijabat, Turnip, Sidauruk, Sitio and Simarmata (Sinaga, 1996:126; www.benyhardy.blogspot.com).

Saragi Tua is the fourth child of Si Raja Naiambaton. Saragi Tua migrated to North of Pangururan region. From that place his descendants was also spread into the region, of Simalungun and partly went to the Karo region. Saragi Tua had two children they were Ompu Tuan Binur, and Ompu Saragi. Descendants of his two children were scattered to the North of the island of Samosir and partly to the region Simalungun and to the region, of Karo (Sinaga, 1996:135; www.benyhardy.blogspot.com).

The new kinds of marga are Simalango, Saing, Simarmata and Nadeak who were born by the grandson from the first child. The grandson of a second child was born form marga of Sidabungke. Descendants who belong to Saragi clan are descended from Ompu Harungguan (Tarigan) in Pustaha Batak. Marga of Tarigan according to the story of Toba Batak people are the descendants of Saragi and partly are categorized in the clan of descendent Siboro in Karo. Tarigan used to hunt in densely forest. Because of his habit, he got lost in the forest. He tried to find a way to return to his original residence, but he did not make it. He did not find his way instead he got lost in a new area called the river of Basirun Serinomba region (Sumatra) the new place where he lived with his children and grandchildren. The offspring was said belonged to Tarigan union tie. Basirun, Bolahan, Akarbejadi, Kaban, Jurung, and Telun are said to be descended from Tarigan (Siahaan, 1964: 94; Sinaga, 1996:135)

4. Munthe Tua

children. They were Ompu Raja Pangururan, Ompu Jelak Maribur and Ompu Jelak Karo. Ompu Jelak Maribur took a settlement in Tongging, Ompu Jelak Karo went to Tanah Karo and some descendants went to Aceh and Ompu Raja Pangururan lived in Pangururan (Sinaga, 1996:141; www.benyhardy.blogspot.com).

The descendants who belonged to marga of Munthe was descended by Jelak Maribur. Other descendants who went to South Tapanuli used marga Dali Munthe. Descendants Ompu Jelak Karo at Tanah Karo Karo used marga of Ginting Munthe. Some descendants of Ompu Jelak Karo went to Aceh around Lake Takengon and used marga of (blah) Munthe. Descendant of Raja Sitempang or Ompu Raja Pangururan already used marga of Sitanggang and Sigalingging, even the later development of a new marga was created (Sinaga, 1996:141).

The Chart of illustrated of Si Raja Naiambaton

1

The Chart of Simbolon Tua

Simbolon Tua 1.Tunggul

Sibisa

1.Altong Nabegu

1.Tuan Milang 2.Tuan Bogur

3.Ompu Raja Ningan

4.Ompu Basiha 1.Op.Dingkananauli Ompu Hutalaon 2.Op. Rongom

3. Op. Tombak 1.Op.

Sotauron 2.Op. Dairi

Simbolon Tua

Tamba Tua Saragi Tua Munthe

Tua

2.Simbolon Tuan(Nahoda raja)

1. Tuan Randing Nabolon 2. Nahampun 3. Tinambunan 4. Maharaja 5. Turutan 6. Pinayungan 7. Tumanggor

3.Pandesahata 1.Op.Raja Iang Op. Sohatindian 2.Guru Sininta

3.Op.Raja Juruk 1.Op. Sungkunan 2. Ampanjaitan 4. Panihai Op,Rambenatop 1.Op. Bonaguru

2.Tuan Suhut Nihuta

1. Raja Dapoton

2.Op. Raja Isondi 2.Raja

Sirimbang

1. Op. Sataralo 2. Pande

Dorahan

1.Raja Nibung 2. Marhadangdalu

Tamba Tua 1.Sitonggor dolok

1. Maria Raja 2. Pande Raja 3. Manggohi Raja 4. Simarmata Raja 1. Batu Mandiri 2. Siallagan 3. Raja Rea 4. Tuan

Lumbanpea

2.SiLumban Tonga-tonga

1. Rumaganjang 2. Si Lumban

Uruk

1.Guru Satea Bulan

2. Guru Sinanti

3. Dt.Paronggo 1.Gr.Sotindion 1.Sijabat 2.Siadari 3.Sidabalok 4.Sidabutar 2.Gr.Sajouon 1.Simarmata

2.Sitio 3. Sidauruk 4.Turnip 3. Gr.Saoan

5.Datu Salaosan

Siallagan

6.Datu Ronggur

Sinapitu

7.Marhati Ulubalang

3. Lumban Toruan

1. Rumaroha 2. Rumahorbo

1.Raja Diuruk

2.Tuan Horbo 1. Napitu

Saragi Tua 1. Tuan Binur

1.Langoraja (Simalango)

1. Ompu Saongan

Op.Bagading

2. Guru Manulus

1.aman ni Manulus 2.Op.Taringgo 1. Saing

2. Simarmata 1. Halihi

2. Dasi 1.Op.Tuan Rudang 2.Op.TuanSinga 3. Jurguk

3. Tuktuk 1.Guru Toganiaji 2.Bantenangnang 3. Nadeak 1. Taruntung

Ulubalang 2. Jagal

Hundul 3. Tuan

Galeam

2.Saragi 1.Saragi 2. Tarigan

Munthe Tua

1. Ompu Raja Pangurur an

1.Tanjabau (Sitanggang)

1.Sitanggang Bau 1.Raja Sitemapang 2.Raja Sungkunon

2.Op. Pangadatan 1.Lipan

2.Upar 1.Op. Lindi

2.Op. Harungguan 3.Op, Dihuta 3.Silo 1.Simanihuruk

2.Marhabonglali 2.Sigalinggin

g

1.Sigora

2.Si Tambolang 1.Op. Sinalsal

1.Op. Pande 2.Op. Bada

2. 2. Datu Ronggur

3.Parhaliang Juaragaja 1.Juarapane 2.Op.Tuan Nagoni

3. Ompu Jelak Maribur

1.Ompu sahala Ulubalang

2.Raja Isora Mora Niaji 1.Op Pamarpar 2.Op Tonga3.Op Nabue

1.Op Sait Pagar 2.Op Tinumpahan

4. Ompu Jelak Karo

4.3 Poda in Si Raja Naiambaton

Poda is an advice given by the ancestors to the descendants of the next successor in Batak Toba society. Advice can be a strategy to establish life or a way to adapt with people who become part of their environment. Si Raja Naiambaton adviced his descendants to maintain harmony among the descendants of the clan and to also must always avoid to marry with a clan that belongs to the bond of Naiambaton or PARNA (Parsadaan Naiamabaton).Si Raja Naiambaton handed or useful poda for his generations. The poda has the good lesson for human nowadays. The health expert says that the marriage with the same of marga can be called as insect. This can give abnormality effect gene to their descendants such as having idiot children (Sinaga, 1996:118; Hutagalung, 1976:97; Siahaan, 1964:81).

CHAPTER V

CONCLUSION AND SUGGESTION

5.1 CONCLUSION

There are many islands and tribes in Indonesia. Each of them has different custom, culture, and language. Every tribe has its own unique traditional customs which are still preserved. Batak Toba society has many kinds of traditional customs which are used for Panjambaran, Manulangi, Wedding ceremony, Death ceremony, etc.

Here are some conclusions of Si Raja Naiambaton,

1. Si Raja Naiambaton is the ancestor of a clan or marga in Batak Toba society.

2. Si Raja Naiambaton has many descendants of marga. He is one among other ancestors who has a big generation in Batak Toba Society.

3. The branches of Si Raja Naiambaton have four descendants. They are Simbolon Tua, Tamba Tua, Saragi Tua and Munthe Tua.

5.2 SUGGESTION

In order to overcome the difficulties about “Si Raja Naiambaton” in every ceremony in Batak Toba society, I have tried to describe it in this paper, but realize that it is still far from being perfect. Therefore, I am always open for constructive critsm and suggestion from the readers.

Finally, I would like to give some suggestions:

1. As young generation, we should take part in preserving the existence of the old Batak culture, especially Si Raja Naiambaton (Parna).

2. We should know our own culture. We are supposed to take care and continue the Batak Toba culture which is inherited from previous generations.

3. We should be active in giving our attention to understand it well and love the traditional ways of life.

4. We should develop our tradition; we can promote it as the culture values as one among other tourist objects for its unique custom performance.

REFERENCES

Hutagalung,WM. 1991. Pustaha Batak. Jakarta: CV. Tulus Jaya.

Harahap, Anwar. 1955. Buku Pusaka Warisan Marga-Marga. Medan: CV. Ulih Saber.

Hutagalung, Wasinta. 1976. Tarombo Ni Suku Batak. Jakarta: Inti Idayu Press. Siahaan N B.A. Cetakan Pertama, 1964. Sejarah Kebudayaan Batak Indonesia,

Medan: CV. Napitupulu and Sons.

Sinaga Richard. Edisi Pertama, 1066. Leluhur Marga: Marga Batak, Jakarta: Penerbit Dian Utama.

Sandra Ann Niessen. Edisi Pertama, 954. Motif of lIfe in Batak Toba Toronto, Albalasserdam: Offersedrukerj Kanters BV.

Situmeang, Doansa. 1968. Partuturan Batak Toba, Jakarta: P.N Balai Pustaka. Www.google.com

Www.indonesia.co.id Www.wikipedia.org

Www.benyhardy.blogspot.com Www.facebook badge.com

Munthe Tua

1. Ompu Raja Pangurur an

1.Tanjabau (Sitanggang)

1.Sitanggang Bau 1.Raja Sitemapang 2.Raja Sungkunon

2.Op. Pangadatan 1.Lipan

2.Upar 1.Op. Lindi

2.Op. Harungguan 3.Op, Dihuta 3.Silo 1.Simanihuruk

2.Marhabonglali 2.Sigalinggin

g

1.Sigora

2.Si Tambolang 1.Op. Sinalsal

1.Op. Pande 2.Op. Bada

2. 2. Datu Ronggur

3.Parhaliang Juaragaja 1.Juarapane 2.Op.Tuan Nagoni

3. Ompu Jelak Maribur

1.Ompu sahala Ulubalang

2.Raja Isora Mora Niaji 1.Op Pamarpar 2.Op Tonga3.Op Nabue

1.Op Sait Pagar 2.Op Tinumpahan

4. Ompu Jelak Karo

4.3 Poda in Si Raja Naiambaton

Poda is an advice given by the ancestors to the descendants of the next successor in Batak Toba society. Advice can be a strategy to establish life or a way to adapt with people who become part of their environment. Si Raja Naiambaton adviced his descendants to maintain harmony among the descendants of the clan and to also must always avoid to marry with a clan that belongs to the bond of Naiambaton or PARNA (Parsadaan Naiamabaton).Si Raja Naiambaton handed or useful poda for his generations. The poda has the good lesson for human nowadays. The health expert says that the marriage with the same of marga can be called as insect. This can give abnormality effect gene to their descendants such as having idiot children (Sinaga, 1996:118; Hutagalung, 1976:97; Siahaan, 1964:81).

CHAPTER V

CONCLUSION AND SUGGESTION

5.1 CONCLUSION

There are many islands and tribes in Indonesia. Each of them has different custom, culture, and language. Every tribe has its own unique traditional customs which are still preserved. Batak Toba society has many kinds of traditional customs which are used for Panjambaran, Manulangi, Wedding ceremony, Death ceremony, etc.

Here are some conclusions of Si Raja Naiambaton,

1. Si Raja Naiambaton is the ancestor of a clan or marga in Batak Toba

society.

2. Si Raja Naiambaton has many descendants of marga. He is one among

other ancestors who has a big generation in Batak Toba Society.

3. The branches of Si Raja Naiambaton have four descendants. They are

5.2 SUGGESTION

In order to overcome the difficulties about “Si Raja Naiambaton” in every ceremony in Batak Toba society, I have tried to describe it in this paper, but realize that it is still far from being perfect. Therefore, I am always open for constructive critsm and suggestion from the readers.

Finally, I would like to give some suggestions:

1. As young generation, we should take part in preserving the existence of the old Batak culture, especially Si Raja Naiambaton (Parna).

2. We should know our own culture. We are supposed to take care and

continue the Batak Toba culture which is inherited from previous generations.

3. We should be active in giving our attention to understand it well and love the traditional ways of life.

4. We should develop our tradition; we can promote it as the culture values as one among other tourist objects for its unique custom performance.

REFERENCES

Hutagalung,WM. 1991. Pustaha Batak. Jakarta: CV. Tulus Jaya.

Harahap, Anwar. 1955. Buku Pusaka Warisan Marga-Marga. Medan: CV. Ulih Saber.

Hutagalung, Wasinta. 1976. Tarombo Ni Suku Batak. Jakarta: Inti Idayu Press. Siahaan N B.A. Cetakan Pertama, 1964. Sejarah Kebudayaan Batak Indonesia,

Medan: CV. Napitupulu and Sons.

Sinaga Richard. Edisi Pertama, 1066. Leluhur Marga: Marga Batak, Jakarta: Penerbit Dian Utama.

Sandra Ann Niessen. Edisi Pertama, 954. Motif of lIfe in Batak Toba Toronto, Albalasserdam: Offersedrukerj Kanters BV.

Situmeang, Doansa. 1968. Partuturan Batak Toba, Jakarta: P.N Balai Pustaka. Www.google.com

Www.indonesia.co.id Www.wikipedia.org

Www.benyhardy.blogspot.com Www.facebook badge.com