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
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
Dra. Syahyar Hanum, DPFE
NIP: 130702287
Approved by the Diploma of English Study Program
Faculty of Letters, University of Sumatera Utara
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
Board of Examiner and Reader
Examiner : Drs. Syamir Marulafau
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 :
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.
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.
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
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
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
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
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
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
4.6.2 According To The Room Division ... 41
4.7 Gorga Batak ... 43
CHAPTER 5 CONCLUSION AND SUGGESTION
5.1 Cunclusion... 45
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.
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
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
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
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
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
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
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
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
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.
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
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,
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
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.
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,
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
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
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
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
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
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
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
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
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
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
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
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
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
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.
H
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
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
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
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
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
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
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
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
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
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,
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
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.
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
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
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
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
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
Gorga Ipon, Gorga Sitompi, Gorga Simataniari, Gorga Desa Naualu, Gorga Si
Marogung-ogung, Gorga Singa-singa, Gorga Jorgom, Gorga Boras Pati, Gorga
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
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
