THE RELATIONSHIP BETWEEN UMPASA AND ULOS IN TOBA BATAK SOCIETY.

IN

TOB1\

BA'fAK SOCIETY

g\

Submitted to the Graduate Program of English Applied Unguistics In Partial Fulfillment for the D~gree of

l\1AGISTI<:R H UI\-1A NIORA

By :

s~·

&f.

MJUK

PERPUST

AKAAi

UNIM~

GRADrJAT E P R O G RAM

ENG

~SH

APPLIED LlNGUISifCS

l'IIE STA~E-U

N IVERSI

T Y

OF MED~~N

Tlli::SIS

TI-IR

RELATIONSHIP

BETWEEN UMPASA AND ULOS

IN TOBA

BAT

AK SOCIETY

' -

~

~

Arranged and

~ ro!)Ose

d

by;

& ...,.

Elisa

Betty

~lanullang

~

Reg.No: 025010052

/1.

Has been defended befon: th~..: Thesis Examination Com mittee Qn

::!

August 28, 2004 and declared to have IU!tilled the requirements

. . . Approved by:

Consultant Commission .---.

z

First Consultant, Second Consultant,

l'rof. l>r . .Jawasi Naibahu l)rof. 8ahren IJmar Siregar, Ph.D

English Applied Linguistics Graduate Program UNIMED

Head, Director

I

The writer's greah.:st thanks should be addressed to the Lord Jesus Christ for

His blessing to the writ~r. so that she has been able to complete this thesis for the

shake or fulfill ing one of the requireme nts for getting Magister Humaniora from the

E nglish Applied I .in gu isli~o:s of Graduate Program of The State University of Medan.

T he writer owes rx:opk many thank s and this 1s the right momenf to express

her profound gratitude to all of them for all generous guidance a nd assistance. First

of all. she would like to ~xprcss her brratitude and th:mkfulm:ss to her first consultant

Prof. Dr. J. Naihaho, for his valuable time, ideas, commc::nts and moral support

shared to the wr1 tcr in her finishing thts thesis without his kindness thi s thesis would

not have heen written ami also as the I fead of English Applied Linguistics Program

for his assistance in the process completing the ncct:ssary reqUlrements.

The same gratitud-= is extended to l)rof. Bahrcn llmar Siregar, Ph.D, her

second consultant for the ~orrection, ideas, moral support and supervision, and Ora.

l\leisuri, M.A, as Secrdary of English Applied Linguistics f(,r her suggestion and

administrative work during the study and the process of conducting the research.

The writer's feeling

or

thankfulness is also si ncerdy expressed to Drs H .A.

Siburian, M.A, her proof-reader for correcting the lang uag~ s of the manuscript of

th~ lhcsis during its devdo pm~: n t. Lord's b lessing always together with his fam ily

and himself Beside, she also thanks all of her proposal revJC\\ICrs Prof. Tina

M.Pd, who had given comm~lllS, suggl!st ion and corrections on the thesis proposal before conducting the research. This thesis will probably have never been completed

without their help,

Thanks are al so due to all lecturers of Graduate Program particularly on

r.nglish Applied l...inguistics Program, lhc staff of LTBI (Ms. Tio Siregar, ST),

librarian

or

Graduate Program (Mr. Mana lu), librarians of Nomme nscn University (Mr. Nababan and Mr. Simanjuntotk) and librarians of UNIMED, where the

writer has been benefited greatly from them, for lecturing, guidance, and

enc ourag t:m~.:nt during her a12ademil: class and for using the fal:ilities from the

librarx.

Her sincerest thanks arc also due to all the informanb where the writer has

been helped and supported for the information by giving accurate information,

suggestion and lov<.: her during conducti ng the research.

l kr sincerest thanks arc spt:cially addressed to her bdovcd parents St. K.

Manullang, BA and S. Rr. Sinambela, her brothers ' family lr. R. Hasar

l\lanullang, MM & Dra. Rr. :\dji Pandansari, Robert ~ -lanuiJang, Sll & Alfl·ida Hr. Marbun, Bestrnan R. l\lanullang & Nurhaeni Hr. llutahaean, Okto R.

Manullang, ST, MT & Valentina Br. Marpaung, SE. and also her sisters ' family

Oelo ra Oagub & Rumondang l:V. Rr. 1\tanullang, SE.Ak and E. Pangaribuan

& Roy a na Rr. Manu liang, AM K for their prayer, love, material, support and

encouragement throughout h~.:1 studtes als(l with her niccs and nephews Particularly to her dearest sister K ' lbm~h .Erni Rr. Manullang, Sll whu had given her spiril,

research, tht: writer loves them so much.

The writl:!r also thank:-. to Ora. Lamria Sr. Manullang, M.Hum, from the

deepest heart nicest aunty in the world who had given and lent her books to the

writer, moral support during her study who never get bored of supporting her to

linish her study and this thesis. She would also like to thank to her friends B'David

lbj, B'Paul l, grbn, Rudolf Sir, Amd, and Sircgar CS who had given s upport,

knowledge of Computer, pray~r and playing a jnkc are entirely valuable. She will

never fo rgct them. Lord hkssl!s and gives the br.:st thing to thl!ir life.

Furthem'lore, she also expresses her gratitude to all her friends in Engl ish Applied Linguistics of Graduate Program of lJNIMLD at the Third Generation of

Regular Class. The writer's dearest friends with whom sht: could cooperate during

the lecture and the study group K'Tiara Br. Pasaribu, BA, K'Nelly R r.

Tampubolon, S.Pd, Gia Sara~ih, S.Pd, and 8' Erickson Saragih, S.Pd, for their

assistance and charity during the study and the process of conducting the research.

The writer has also been encouraged by her close l'rit!nds Susi Panggabcan, SS,

S.Pd, K ristina Marpaung, SS, Melda Simanjuntak, SS, Taty Tambunan, S.Pd,

Pola Sircgar, S.Pd and Mary Panggebean, S.l'd they gave her nice words when she was a hit bored with th~ task and should have the \Vritt.:r'..s kindest for their

friendly attitude especially \\hen she had to solve a personal problem. FinaHy, to all

her friends where the writer could not mention the name one by one who had

supported her spiritually throughout her study. May our friendship last everl astingly.

All hc..:r love and charity is for them and Lord ksus Chri!:it' lovc.; always bless

them all.

••TilE LORU \VILL PROVIDE"

Medan, /\ugust.2004

1-:li"a B.Manullang

Manullang, Elisa Detty. 2004. Th~ Relationship Between Umpasa and Ulos in Toba Hatak Society. Thesis, English Applied Linguistics Program. Graduate Probrram of State University of Mcdan. Consultants: (I) Prof Dr. J.

Naihaho, (II) Pcof. Rahrcn Umar Siregar, Ph.D.

This Thesis discusses a simpk topic on Ethnobrraphy in the cultural event of

Tuba 13atak Society. T oba Hatak Society holds the values of BataR: Culture. The

writer intends to understand deeper about the theme ofUmpasa and the role ofUios in each of cultural event ofToha Batak Soci~ty, such as in a baby' s birth ceremony,

a wedding ceremony and a funeral ceremony. The theme of Umpasa and the role of

Ulos in the three events (cl!remony) have become the primacy topics of this work.

T h~.: research dc~ign in this thesis is qualitative approach and based

on

ethnographic research (th~ work of describing a culture). The location of this research conducted at Bakara (Tapanuli Utara), located on Desa S1nambela-Simanullang, district of Kecamatan Bakara Kahupatcn Humbang Hasundutan regency. The sourct:s or data are field-notes which were collecte<! through

interviews, transcript, official documents, references on Toba Aatak Culture and

other malcrials relevant to this research. The subjects

or

this research arc leade rs or speaker man in each of the cultural events. The cultural events were attended by the researcher on the ccremnny of the baby's birth, wedding ceremony and funeral cen.:rnony, and the purpos~ is to make easier tor her to observe and be fami liar with these events. The data arc gathered through Participant-observation and Interview Technique and were later analyzed according to Spraedley's Analysis particularly cultural theme analysis.

From data

analysis, it

was

found

that

the types of Ulos used in

each of

the three events range from Sibolang, Boleun, Sitoluntulw. Suri-suri, Mcmgiring,

Sunswtg maratur. Uagi ldup, Siholung l)umon/ari, Sadum ami Ragi Hotang. T he

theme of l Jmpasas also rdated to the role of Utos on each of the cultural events. f rom the result

or

collection and analyzing the data, it may be concl u([cd that every time an Ulos is presented to someone it should be followed by enunciating Umpasas related to the type and the role of Ulos in each of the cultural events in Toba Batak Society. Otherwise, the presentation will not have any meaning at a11. T hus, the result of this research will he dt!vcloping a new theocy on the relationship between Ump'*sa and Ulos. Umpa::;a and Ulos arc integral parts in some cultural events such

as provided above and they are inseparabl1

. J'he writer cxpcl:ts that this research worK would bcGomc a valuable

guidance

tb~

further

$lcps f(>r those who are

interested

in studying ethnographic (Culture description oflhc Toba Hatak customary law).

ABSTRAK

Elisa Bt;:tly Manullang. 2004. Hubungan Antara Umpasa dan Ulos dulam Masyarakat Batak Toha. Tt!sis, Program Linguistik Tcrapan Uahasa lng6rris. Program Pas(.;asarjana Universitas Negeri Medan. Pembimbing (! ) Prof. Dr. J.

Naibaho, (II) Prof Bahrc n Umar Sircgar, Ph.D

Tcsis ini membicarakan sebuah topic ~ ang sederhamt pada Etnography dalam

adat istiadat masyarakat Batak Toba. Masyarakat Bntak Toba memegang nilai-nilai kebudayaan batak. Penu)is ingin mengerti lehih dalam tt:ntang isi dari Umpasa dan peranan Ulos dalam s ~tiap adat istiadat masyarakat Batak Toha, seperti dalam sebuah pcrayaan kelahiran hayi, sebuah pemberkatan pemikahan dan scbuah acara pengguburan. lsi Umpasa dan pcranan Ulos dalam ketiga perayaan tersebut menjadi topic utama penelitian ini.

Rancangan pcnclitian dalam tesis ini adalah pendekatan qualitative dan didasarkan pada penetitian ethnographic (Penditian yang mcnggambarkan sebuah

kebudayaan). Lokasi pcnditian ini dilakukan di Rakara (Tapanuli Utara), bcrlokasi di

desn Sinamhela-Simanullang, Kecamatan Bakara, Kabupaten Humbang Hasundutan. Sumber-sumbcr data adalah catatan lapangan yang dikumpulkan melalui interview, dokurnen, buku-buku kebudayaan Batak Toba dan materi lain yang relevant untuk. pcnelitian ini. Subjek penelitian ini adalah pemuka adat didalam setiap adat istiadat tersebut. Adat istiadat itu dihadiri oleh peneliti pada acara kelahiran bayi, acara pemberkatan pcmikahan dan acara penguburan, yang berlujuan untuk mcmbuat

pencliti tebih gampang mengobscrvasi dan akrab dengan acara tersebut. Data

diperoleh melalui pengamatan Jangsung dan tckni~ interview dan nantinya dianalisa mcnurut Analisa Spraedley yang terutama sekali Analisa lsi Kebudayaan.

Oari data analisa tcrsebul, ditcmukan bahwa jcnis-:_icnis Ulos yang digunakan dalam sctiap kctiga adat tcrscbut adalah Sibolang, Bolean, Sitoluntuho, Suri-suri, Mangiring, Sunsang Maratur, Ragi ldup, Sibolang Pamuntari, Sadum dan Ragi Hotang. lsi Umpasa itu juga dihuhungkan kepada peranan Ulos dalam setiap acara

adatnya. Dari hasil pengumpulan dan pcnganalisaan data, maka disimpulkan bahwa

setiap kali U1os diherikan kepada seseorang haru!> diikuti dcngan pengucapan Umpasa yang d ihubungkan ke jenis dan peranan Ulos dalam setiap adat isttadat Masyarakat Batak Toba. Jika tidak, pcmberian Ulos itu tidak akan mt:mpunyai makna sa ma sekali. Maka, hasil pcnelitian inipun akan mengembangkan sebuah tcori baru pada hubungan antara Ul]lpasa dan Ulos. Umpasa dan Ulos adalah bagian yang utuh dalam bcbcrapa adat i$tiadat sepcrti yang disebutkan di atas dan mcrckb tidak bisa dipisahkan.

Penulis hcrharap bahwa p~.: nd itiaJ l ini ~ kan mcnjadi scbuah panduan yang

berh"'rga untuk langkah

-sclanjutny(l

bagi

mereka

yang

tcrtarik dalam mempclajari ethnography (Ciambaran Kcbudayaall pada hukum dan aluran ailat masyarakat Batak Tuba).

AC KNOWLEDGEJ\1ENTS

ABSTRACT

TABLE

OF

CONTENTS

CHAPTER 1: INTRO OliCTION

l. 1 T he Background of the Study ... ... .. ... .. .... ... ... .. ..

--.-... 1.2 The Pocus of tht: Study ... ... ... . 1.2. 1 The Research Problems ... .. .... ... ... .. . 1.2 .2 The Objectives of' the Study ... ... . 1.3 The Significance of the Study ... . .

C HAPTER II: REVlE\V OF RELATED LITERATURE

2.1 Linguistics and Anthropology ... .... ... ... ... .. .. .. . .. . .... 7

2.2 Tht: Meaning of Culture... ... ... .. ... ... ... 8

2.3 Toha Batak Society ... ... .... ... .... ... ... ... lO

2.3.1 Births in Toba Ratak Society ... ... . .. ... ... ... ... .... 13

2.3.2 Wedding Ceremony in TB Society .. .. . . . ... . .. .. .. .. 15

2.3.3 Funeral Ceremony in TR Society ... . ... .19

2.4 Umpasa in Toba Batak Society ... ... .... .... ... .... 2 1

2.4.1 The Philosophy of Umpasa Batak... ... 26

2.5 Ulos in Toba Batak Socidy . . . . .. . .. .. .. . .. . . .. . .. ... ... .. ... ... ... .. ... .. 29

2.5.1 The llistory ofUios in TB Society... 30

2 .5.2 The Types of Ulos Toba Batak . . . . . .. . . .. .. . . 32

2.6 Theoretical Argument.. .. ... . ... ... . .. . . .. ... ... ... .. . . ... 36

CHAPTER Ill:

1\lETHOllOLOGY

OF RESEARCH

3. 1 Research D~,;sign . . . 37

3.2T he Location of the Research 37

3.3 Sources ofthl! Data... ... ... .. .. .. . . . . . . .. . .. . . ... ... 39

3.4 Subjects of the Research... . ... ... ... .. .. ... .. .... ... 39

3.5 The Attendance of the Researcher.. . ... ... ... ... .39

3.6 The i ec hni<.~e of Data Collection.... . ... ... . ... .. . .. . . .. .... 40

3. 7 The Technique of Oata Analysis... . .. . . .. .. . .. . . .. .. .41

CIIAPTER IV: THE UATA ANALYSIS

4 .1 The Data ... .. .... . .. ... .. .. ... ... ... ... .... .. ... ... . 4.1 . 1 Umpasa ... ... ... .. ... .. ... .. . 4.1.2 Ulos ... ... ... ... .. .

4.2 The Data Analysis ... ... ... ... ... ..

CHAPTER

V: CO 'CLI ISION

ANO

Sl lGGESTIOSS

42

42

49

65

79

5.2 Sugge~t io ns ... ... ... ... ... ... ... ... ... ... ... . . . . ... .. . .. . . . . .. 81

APPE NDIX

INTERVIEW 1\tiATERL\L

LIST OF INFORMANTS

~lA P

OF BAKARA

z

~

m

INTROOlJCTION

NIILIK PERPUST AkA AN '·

UNIMEi)

.

Language is a system of arbitrary and convenlional symbols by means of

which human beings as members of a social group participate in cultural and communication activities. In our daily activities, we use language as a mediwn to

express our ideas, emotions, thoughts, imaginations and o ur whole inner life.

Mastering a language is very essential to any indjvidual in any society $ince it would

b~ more beneficial to him to enable him to expr~ss his ideas in relevant possible

situations. l.anguage is a learned, shared and an arbitrary system of vocal symbols through which human beings in the same speech community or subculture interact and hence communicate in terms of common cultural experience and expectation.

Language as a communication system is part of the cultural system and it has a close rdationship to all cultural aspects.

The human culture will not exist and be sustainable without the usc of language. Therefore, languages are factors that form the basis of culture. Culture in

gener.al is the sum total of the learned, shared and transmitted, pattemed and systematized ways of someone who goes about meeting the problem raisen

py

his

environment.

A.

culture can be said as the total way of life of a society, that is, a !_,rroup

of people who arc seen to bound together by ~ommon experiences and expectations.

2

all of his attitudes, assumptions, beliefs and values, the products of his head and heart

as well as of his hands.

Human cultures are all alike in furni shing the set of systematized answer to

the universal problems of human extstence, but the answers an: all different and each culture is therefore unique. Each individ ual of our species is born into a society, we are devoid of instincts, and we must learn to become human by internalizing the culture of our group. Language itself is a system of human culture, in fact, the system

is important, the system through which others are principally rell.ected and

transmitted. Once language is in man's possessions, culture and his unique adaptive mechanism, become possible. Without language there could be no culture, and man

remained hominoid; with language and culture he could and did

become

hominy.

If

we talk

about

cultur~. actually we

will

have to talk

about

society. Since, it is impossible for any culture to exist if there is no society. ln this case the relationship

between cultures with a group of society is often viewed unique. In sociolinguistic

view, the Wliquc relationship between cultures and social group is often described

through a unique process between them that sometimes they have the same strength.

On o ne side, the development of attitude and social behavior is always intluenced by

culture that is determined by attitude of the group of society. To formulate the unique relationship between society and culture, this relationship is like the relationship

between mother and child. As a ~o the r, th~ c ultural play out gives guidance to a group of society; o n the other hand as a child the existence of culture depends on the

will never stop evolving since the life of society always moves following the social

needs.

1.1 The Background of the Study

Indonesia consists of thousands of islands big and small occupied by over

200.000.000 of people of dllTerent ethnic groups. Each area has its own culture such

as Sumbawa, Lombok, Java, Bugis, Toraja and North Sumatera. O ne: of

the

ethnic

groups

having in North Sumatra is 8atak Toba. Batak Toba consists of

5 sub ethnic

groups namely, Batak Toba, Oatak Simalungun, Batak Karo, Batak Pakpak Dairi and

Batak Angkola Mandailing.

The specific of woven cloth in Aatalc Toba worn for specific occasions ) s-Ulos.

Ulos for Batak

ethnic group

is

made from yam; it

is

not just a piece

of

cloth but

it

is

also believed as having special meaning in the cultural life of the Batak society. This

Ulos is an element in all Batak culture, which is expressed by all members of the sub

ethnics groups.

In this research, the writer is interested in the values Batak culture assigned to

Ulos and Umpasa which are always found in Toba Batak cultural ceremonies such as

in a wedding ceremony and giving a name ceremony to a child, in which along

with

Umpasas. Ulos plays an important role . With that role in m ina, the writer intends to

understand deeper and del~ ~.. ~ into the roles o f

tnos

and Umpasas in Toba Batak

culture. One of the uniquenes~es of Toba Batak culture must have some beneficial or

soured intentions of the giver .. Otherwise. it would be a worthless gift. The

4

bac kground of this research that is the values Toba l3atak cultun.: assigned, as it is her culture herself. Viewed from language use, Umpasa is a podic tradition and the

writer always observes, that it has hel.!n a hab it in each tradi tional ceremony in Toba

Oatak socie ty, presenting Ulos"'ls followed by pronouncing Umpasas.

1.2 The l' ocus of the Study

N

The topic in this study is r~>cuscd on the themes of Umpa.c;as allotted to the birth

of a baby ceremony, the wedding ceremony and funeral ceremony in which the roles

of Ulos take part. The theml.!s of Umpasas are analyzed according to the rules of the

cultural events. Thl: native speaker's knowledge of the:: Toba I3atak language being

invesligatcd can be used to explore in depth how the theme of Urnpasa and the role of

Ulos

arc actually intended to attain spiritual cultural goals. These cultural events are

perlorml:d among the Toha Batak Christians people, and until today these cultural

events arc still conducted or practical.

1.1.1 The Research Problems

The problems to be (:Xplored can be stated in the foltowing questioJIS:

1. What are the interpretations of the theme of Urnpasa in each cu tural event (the hahy' s birth ceremony, the wedding ceremony and the runcral ceremony)

in the Toba Batak soctvty'!

2. What are the roles of t.:Jios in each cultural event (the babf-s 6trth ceremony,

1.2.2 The Objectives of the Study

The objectives of this study are:

l . To describe the interpretation of the theme of Umpasa in each cultural event

that includes the baby•s birth ceremony, the wedding ceremony and the

funernl ceremony in the Toba Batak society.

2. To describe the role of Ulos in each cultural event that includes the baby' s

birth ceremony, the wedding ceremony and the funeral ceremony in the Toba

Batak society.

1.3 The Significance of the Study

A study that is designed to discover some intended results should have some

significance. In this study,

it

is hoped that

it

will be give some relevant contribution to:

The members of the Toba Batak society who want to 1mprove their

knowledge especially in the culture.

- Toba I3atak society who want to maintain well the values Toba Batak culture.

Toba Batak people who want to practice the traditional ceremony of Toba

Batak culture as they should prepare themselves by mastering'

Ompasa

and

knowing Ulos role in each cultural event.

Other writers or readers who arc interested in culture and want to investigate

BABY

CONCLUSION AND SUGGESTIONS

5.1 (.~onclusion

I

MIUK.PERPUSTAt~AA~

i

f

UN IMEO

I

' " · · - - - ·

After the collection a nd data analysis have

been

conducted, the writer can conclude that the types of Ulos in the three events of Toba Batak cerc::mony are Ragi

/dup, lJintang Maratur, .\'adum, Sttoluntuho, ivlangiring, Bolean, Sibolang, Sibolang

Pamontari, ragi hotang and Surisuri.

All the Ulos are presented to the recipients together with the enunciating of Umpasa

depending on the ceremonial events.

Generally, the dominant color of Ulos is white, red and black. TraditionalJy,

the function of Ulos is a symbol of religious and respect rites on cultw-al events of

Toba

Batak Society, as a

traditional cloth,

as

a

symbol

of gratitude and

as a tool

of cultural protector. Initially, it was used as a piece of clothing

If someone presents Ulos to other people always accompanied together ~th

the enunciating of the interpretation is blessing the requirement with by enunciating

Umpasa . Because it was a way of the presenter to ask the Lord's blessing and until now Toba Ratak Society still conducts and uses Umpasa in the each ceremonial

events. The presenter of Ulos is from 1/ula-hula (the w i fe~ giv er ,s side). Hula-hula is

considered godly, and therefore every Toba Batak people clan and individual can

become

Hula-hula

or

Boru

(the

wit ~- taker's side) depending on

which they/he

stands. That is why all Toba Batak. people are called kings whereas their sons are

called the sons of kings

(Anak ni raja}

their daughters are called the daughters of

kings (Bvru ni raja).

The Toba Batak Society very respects the values (;Ultural events and care

much for the advice of elders. The presentation of Ulos to someone is always

accompanied by the enunciating of Umpasa, which contained a grave wish I a hope to the Lord's blessing for the recipients. The themes ofUmpasas are:

•!• Blessing for goday of descendant ( lfmpasa HagaheonJ

•!• Request for power, wealth and wisdom (

Umpasa Hasangapon).

•>

Entreaties for longevity to be able to enj oy life ( Umpa.sa Saur Matua) .

..:. Entreaties for the happiness and strong bond of the family ( Umpasa Hot

parripeon).

Umpasa do not only function in/during cultural events but also as a fonn of

literature and social control of the Toba Bntak society. These are the reasons why the relationship between Umpasas and Uloses are based on cultural events and the types

of Ulos presented on the relevant cultural events must always be aligned. Ulosis used

fo r fhe important events only not just giveaway.

Because of the type of this research is in Multicase study that focuses on

modiiicd analytic induction (an approach to collecting and analyzing data as well as

finding out and developing a new theory), thus the writer concludes that for the Toba

Batak Society Umpasas and Uloses are one unity or intebJTal part which can not be

separated. ']:hey have a high value for society despite the influence of Christianity.

And from the result of this-.research, it was found out a new theory and that can

..

.

.

81

Toba Batak Culture. Therefore, the new theory is that there is a strong relationship

bt:tween Umpasas and Uloses in Toba Batak Society.

5.2 Suggestions

To carry out a research on ethnob'Taphy requires some knowledge of the

culture and value system of cultural events of the people being investigated. The

validity of information can only be proven through the real participant-observation

and interviews on the people who really conduct the ceremonial events I cultural

event such as there is in the Toba Batak society.

To improve the quality of the research, the following steps might be takes

usefully:

•!• The researcher should be able to contact the informants who really are familiar with Umpasas and Uloses and can explain their function in various the cultural

events.

•:• The researcher should have extra knowledge to analyze or understand the theme

of Umpasas and the role of Ulos in conducting the cultural events by learning the

language.

The researcher should understand deeply the cultural events and the cultural value

Bala k ~ roba Society has reading some references and previous researcher.

It is the \vriter's expectation that this research work would become a va uable

she has overlooked from the data and it is her expectation also that ~thnographic will

be studied better to be able to keep the values of Indonesian Cultures.

"'

..

REFERENCES

Aruan D.M 1977. Fung.~i "Umpama' dan "Umpa.~a sehagai Tata Krama Ma<>yarakat

Batak Toba. Jakarta: Pusat Pembinaan dan Pengembangan Bahasa Departemen Pendidikan dan Kebudayaan.

Bogdan,C.Robert. 1992. Qualitative Research.for Education :An Introduction to The Theory and Methods. Needham Heights,MA:

Allyn

and Bacon

Gunakayasa,A Widiada.l 986.Sosiologi dan Antropologi .Bandung: Ganeca Exact Bandung Press.

Marbun,MA and Hutapea, lMT. 1 987.Kamus Budaya Batak Toba. Jakarta: Balai

Pustaka.

Me Kay, Sandra Lee. t 996. Sociolingui:Uics and language Teaclzi1rg. Cambridge:

Cambridge

University Press.

Platt,JohnT I 975. The Social Significance of Speech. Victoria: Monash University

Seidman,I.E. 1991. In Interviewing as Qualitative Research: A Guidefor Researchers in Education and

the

Social Sciences. NewYork: Teachers Collage Press:

Sihombing ,T.M. l986.Filsajat Batak. Jakarta: Balai Pustaka

Sihombing,T.M. 1987. Jambar Rata: Dongan tu Ulaon Adat. Jakarta: CV,Tulus Jaya

Simanjuntak,Sataronggal.l978. Umpama!UmpasaNalvfarlapatan.P.Siantar.

Simanjuntak,J. 1978.Adal Batak Toba. P.Siantar

Sinaga,A.B.DR. 1981.Daya /kat Perkawinan Adat Batak Toba.Medan: Keuskupan

Agung

Siregar,M.T. l985.Ulos dalam Tala Cara Adat Batak.lakarta: Gunung Mulia.

Siburian, H.~ Dr s . 1997. A Brieflntroduction to Sociolinguistic.r..Medan: Methodist

University of Indonesia

980. Participant Ob.tervation. New York ~ Holt, Reinhart and

; ...

Tampubolon,C.S. 1986. U/os Batak.Jakarta: Gunung Mulia

Trudgill, Peter.l983. Socioiinguisrics:An Introduction lo Language and Society. New

York: Penguin Books

Wardhaugh,R. 1986. An Introduction to Sociolinguistics. New York: Blackwell

I

'"" ..

I

.

_ UNIMEl_!_j

MIUK

PERPUSTAKAA1\I

~

CHAPTER II

REVIE\\' OF RELATED LITERATURE

Speech is used in different ways among different groups of people. Each

group has its own norms of linguistic behavior. f or example, a particular group may

not be encouraged talking lor the sake of talking and members of such a group may

appear to he quite tacit to outsiders who relish talk, or they may feel overwhelmed by

the demands made on them if the others insist on talking. ln contrast. in another

group to express the ideas may be encouraged to the extent that it may even appear to

be quite disorderly to an obs~::rver who has internalized a different set or rules for the

conduct of talk. We must try to understand how different groups of people use their language if we are to achieve a comprehensive understanding of how that language

(or those languages) is related to the society that uses it. A society that encourages a wide variety of kinds of talk is likely to be rather ditferent in any non linguistic ways

from one in which speakers are expected neither to waste words nor to use words

lightly.

In this study, the writ~r will describe and explain specific cultural events in

T oba Batak society. The ex.a~.;t nature of relationship between language (Umpasa) and

culture (Ulos) has fascinated and continues to fascinate. People are from a wide

variety o(.ba.ckgrounds. Jt would

appear

t}tat the only problem is deciding the nature

of the relationship and finding suitable ways to demonstrate it.

2.1 Linguistics and AnthropQiogy

The subject matter of linguistics is language, man's pnme means of

communication. Language is the chief instrwnent through which man thinks and with

which he integrates himself, both internally and externally, both as a functioning

individual and as an active participant in a human group, as a member of human

society. Language is the principal tool through which a man possesses on his personal

and social integration, his cultivated ways of behavior to his o ffspring and through

which he induces his peers to share his cutture with him to form a tongcr social

group.

The subject matter of anthropology is man. Anthropology studies man's body, as

it is today and as it was in thee past. It studies the behavior of man's body, and through

the external manifestations of that behavior, its etli..'Cts on other men and on man ' s

physical surroundings.

The tie with anthropoloh'Y is a historical one in that linguists grew out of a

necessity for understanding the languages of people. Today the relationship between

anthropology and linguistics arc less close than in the past, languages no longer

appear 'to vary in all sorts of unpredictable ways as we find out more about different

languages. Some of the ideas in which intrigued early anthropological linguist, such

as the relations h~ between language and culture, no longer generate the lcind of

excitement.

As some oft~ interest and excitement has d iminished however ,..a concern for the

relationship between language and society has developed. One of the most rapidly

8

context. The needs and contents of an ethnographic approach and relations among

anthropological interests have three aspects namely:

1. The components of cultural events

2. The relation among components

3 . The capacity and state of components and the activity o f the system .

Man ts an internally complex animal, it is so great in his inner complexity, and so

potentially large the number and varied the character of the elements through which

that internal complexity may be externally manifest, that every human group behaves

in peculiar ways and every human individual possesses certain elements of behavior

or certain characteristics of such elements which are for the moment at least. unique

to h im as an individual. Among human activities language is probably the most

complex and the most vari~J. Man speaks many tongues. Lt is not surprising. then,

that language, properly hroken up into its component elements and properly characterized with respect to the larger structures within which the elements function

can serve as a sensitive ind~;x to other human activity, to the culture and the social

organization of human groups and to the private cultures and the social placement of

indtvidual men. And as a modem society, culture increases the number and the

complexity of the demands it makes upon such individuals, their needs are becoming

ever more apparent.

2.2 The

Meaniag

Q[ Culture

ln our daily life we ot1enulk about culture and always find the results of culture.

Bronislaw Malinowski (as quoted Gunakayasa; 80: 1986) argued that the meaning of

cultural determinism as everything that can be found in the society is made by culture

po ss es~d by the society ilsdf. Then Herskovits (as quoted Gunakayasa; 80: 1986) said that culture is a superorganic, because the cullurc from one generation to other

generations still continues alive even though the people that become members of a

society often change caused by death and birth.

The word r.culture" is "hudaya" in the Indonesian l an gu a ~ , which is derived

from Sa nskrit " huddhayah ". It is a plural

tonn

from word ''huddhi " means hu~l i

or

aka/ (brain). So culture can mean as everything that relates to the hrain or kindness.

E.B. Tylor (as quoted Gunakayasa; 86: 1986) said that culture is a complex thing

that relates to knowledge, religions, arts, laws, cultural events, ethnics, ability and

habit found by human beings as a member of society. While Socmardi (as q uoted Gunakayasa; 86: 1986) proposed that the culture is all of the result of the work of a

society, the sense of a society and the creation of a society.

The work of a society created in the: fonns of technology and material culture are

needed by human beings to master all nature, so that their result can be

used

tbr

human needs. T he sense of a society is to involve human soul, create social values to

manage problems in the society, such religion, ideology, art and al( etements as

results of expression from social spirit that live as member of:. society.

The creation of a society is an invulnerable ability and thinking abihty from

people' s life in Ute society that is between philosophy and knowledge.. The sense of

lO

Every society

has its own

culture. The difference

between

one culture and one

society is more complicated than the other aspects. They try to fulfill their needs in

quite different from each other that create different developments between

themselves. Nevertheless~ we may see universat elements in society in general. The

element of universal society is the elements, which is always found in every

culture

in this world. They are the contc.mts from all cultures in the world.

The elements of universal culture are consisl of:

I.

Religion system

and religious ceremonies.

2.

Systems

and

social organizations.

J. Knowledge system

4. Language

5. Art

6. Occupation system, economic system and technological system.

2.3 T oba Batak Society

The word "society" is derived from Latin "socius" means '"friend". T he English

tenn

of society itself comes from Arabic that is, " .. t;)yakara" mean

''participate". Thus,

according to GWlakayasa ( 1986 ) society is a group of human beings that relate to

<!aeh other or interact with one another. A unit of human beings can have tool or mt:diwn of their community to make interaction, for instance tel«ommunication

network, television, radio, various newspapers and many o..thers. Those are more

possible to every community to interac intensively, and extentsively is high

An ethnic group like thcToba Bato.k may have the ability to interact by means of

the Toba Batak lan!,ruage. But the ability is not just the one that ca uses all the Toba

Batak people to devdop many activities that can bring interactions intensively among

themselves. One brroup of new h uman beings is called society if members interact with one another and posses a specific something that

makes

that society stand apart

from others societies.

A society with specific lhings that become its identity among all human being

which makes that society different from the rest. Besides, a

society

should have

rules,

laws by which they manage their behavior and attitude. A society is a new unit or group of human beings~ it can be said a society if they have the four characte,ristics as in the followings (Gunakayasa: 1986):

1. They have interactions among o ne another.

2. They have cultural events, laws, and specific rules.

3. All behaviors and attitudes must be sustainable.

Their identity must b~ so strong that makes them inseparable.

Thafs why Prof. lJjojodigoeno, a lt..'(;turcr in Sociology at GaJih Mada

Univer-si ty (as quoted Gunakayasa; 107: 1986) distinguishes two different concepts

between "society in a large meaning " and "society in a narrow meaning". The first

refers to a unity of all connections in the society that cover ..aH levels like Indonesian,

society that cons-ists of Javanesses society, Sumateraneses society and so on. On the

other side, society in a narrow meaning is a society in which it only consists of just

12

The Toba Batak society is a society who holds cultural events inherited from

their forefathers (Omputta ,\'i Jolo-jolo Tubu) in daily social life. The philosophy of

the Toba Batak society is Dulihan Natolu (DN1), (for short, a three pi~lars system). lt

is a system by which one person relates himself to the three other individuals, such as

a person of the same family name, another of different surname (a wife giver's side),

and another different person

of a

different

name (or wife

taker's side), wherever

members of the Toba Batak society meet. After knowing, introducing and locating

each

other by

means of

the

family ' s names,

hopefully

their s~i al relationship will

become clos~:: .

Their duty of addressing (Partuturon) other people whetner they belong to the

same kind (same family name) or in-laws (Marlue,Marhuru) and with the highest

addressing level Marhulu-hula (members of the wife-giver's side) is primarily based

on the function denoted by DNT in the society of Toba Batak. The function Qf DNT

in making or speaking whether one is a member of Dongan Tubu, as Boru (or

persuasion toward the wif~-taker's side) or as Hula-hulu should make the ego

conduct Somba Murhula-hulu (or respect toward the wife giver' s side), Elek marboru

(or persuasion toward the wife taker's side) und Manat Mardongan Tubu (or caution

toward our own him).

Dalihan Natolu (DN1) itself consists of:

Hula-hula i!;

all people

of

the same family

name from wife giver's side.

Bt)ru

is all people of the same

family

name

to whom our

daughters were

married off.

The Toba Batak society still holds the cultural events on many occasions starting

when someone was born to this world, briving

a

name to the baby (in Baptism), when someone is getting married and funerals for the died. All the activities should be

conducted in cultural events-according to the nature and the kinds of events.

2.3.1 Bi .. ths in Toba Batak ~ie ty

Someone will receive an Ulos at least three times on di tlerent occasio ns during his lifetime, that is, when she/he

was

born to the world, on his/her wedding day and his/het.funeral time.

In the Toba Batak society when a mother prior to delivers the baby, a mother will

sit o r lie down near a special place (heath) close to the firing place (dituturing or hudohon upi). The firing place is a small special portion of the kitchen to

make

herself and her baby feel warm . The condition will take seven days depending on the mother's health. After she and her baby teet

fit

thus the baby will go with her

mother.

In

Humbang

area

two months before the first baby's bi rth, the mother

receives

an

" Uimi 'l'ondi",

and

after baptism the baby starts getting an Ulos

called

"'(nos

Parompa". " Ulos Tondi" is a piece of woven cloth specifically presented to the

expectant mother with the c::xpectation that the providence guard and keep tbe woman

and her baby

sate

and row1d until birth. "Uios Parompu" is an Ulos to hold the baby

in somebody's back (MunKompa), such as on hi!U'her younger brother/sister. This

piece of cloth or "lllos Pam mpa'' is commonly called 'Uios Jvfungiring". It implies

14

Parompa is given to the baby as soon as the baptism is held in church to officiate its

name by representative of the Hula-hula, usually the maternal uncle. The cultural event of baby's birth consists of two kinds namely:

a. Giving a name (Mamumpe Goar)

lt is an important cultural event when giving a,name to a baby. Based on the Toba

Ratak culture jf a boy or a girl is given a name, the event that is called Nfamampe

Goar. Mamumpe Goar has two levels: J:iving name for tlvr;e per:.;ons and giving

name j()r jive persons.

Giving

name

(A4amampe Goar)

for

three

phases happen when

the first child will get a name, thus the name will be given to his parents too. For the

second child, the third child and so on wilt not get a given name (Mamampe Gaar)

anymore. For example if the first child names David, so hi s father also gets name

'·Ama David" (David's father) and his mother also gets "Nai David'' (David' s

mother). Giving a name (Mwnampe Goar) is b.;ven to three persons: to the baby, his

father and his mother.

b. Giving a name (Mamampe Goar) for five persons

'if

the baby is the oldest baby from an oldest child in a family (this shoold be

interpreted as an extended Hunily), in other words the baby's father is an oldest child from his grandparents thus the people who get the name will consist of five persons

his parents, hrrandparents and the baby itself.

For example: the baby names T ahi. his tather is lahi 's father (A ma Tahi), his mot her is

Nai 1'ahi

(Tahi's mother). His grandfather is

Ompung Tahi Doli

(Tahl's

Commonly his grandparents will get an Ulos Sitoluntulw, hut in another area an Ulos

,)'iloluntulw can be changed to become an Ulos Sibolang ur Ulos Ragih()tang.

2.3.1 Wedding Ceremony ofToba Batak Society

It is a tradition for Toba Batak society that a wedding ceremony must be

based on culture rules even though

it

has already been endorsed by the church and

through Civil Administr.1tion.

If

the people's wedding ceremony takes (another way)

"Mangulw" or elopment that is a wedding endorsed by the church and civil administration, hopefully one day they would

try

holding

a

customary since they are no longer a new couple, the official ceremony is called "A,fangadati" ur "Pasahat

.. t.,~u la ng- S ulang Ni Palwmpu" (translated conceptually as holding a customary a..party

or presenting the grandchildren's)

The legitimate customary marriage based on culture imlplies that the marriage

has obtained the consent of village leaders aside from the Christian ceremony. All

leaders of ceremonial events, plus guests prayers of the day of the customary

marriage shower the new couple and the children in the hope that the family would

live tong and happiness, a lot of blessing with some more children. If someone has

gotten married in the fullfilment of the Toba Batak tradition, thus she/he has already

had full of authOrity to attend and share materials portion of the ceremony in

an

cere monial events. So shcihe already has got the rrght and responsibility in all ceremonial events hold withm Dalihan Nato/u (Three Pillar Sy.stem).

Dangk.a ni hariara ma

Tanggo

pinangait-aitlum

Sai tubu ma anak dolwt boru

tongka panuhit-nahiton.

l6

The theme of this Umpasa is that, the spoker man and his group (from the bride's side

and the

wite

taker's side) greatly expects that the couple will get children male and

fem ale all safe.

ln the marriages hascd on the tradition there is parents' responsit>ihty to their

children according to the philosophy of the

Toba

Batak Society on marriage

saying

and sound:

A4agodang A nak ing)wn do panp,olihommlwn

Magodang Boru mgkort do pamulion.

lt means that male adult sons must get married, and adult female daughters Batak

must be married off. on occasion to conduct the cultural ceremonial events in a

wedding ceremony.

Traditionally, there are stages leading toward marriage ceremony in the Toba Batak

society:

l. Marhustp (Whispering): where the f,'Toom's side directly consults the bride's

side on the dowry, usually only very close relatives at:e invited.

After the young people have already known and shown their love for each other

thus they will make a plan to form a new

family.

They will express their wishes first

to their parents. If thetr parents accept their wishes, the would-be-groom's parents

Marlwri-hori Dinding or Marhwdp (Whispering). This consultation is held to talk

about all the primary plans for the wedding ceremony in addition to the dowry.

Commonly, this event of Marhusip is held at the would-bc·bride's home.

2. A'lurhata Sinamot {Discussion. on the bride' s pri~c)

Commonly this event is combined with the Martumpul in a church. Martumpol is

an ~vent of engagement t h~ formal according to Christian marriage, where the bride's

father and the groom's father plus two other withnesses from both sides allow their

consent to the

engagement

in front of the priest.

Marhata Sinamut is a small party

attended by about 150 guests fran both sides attended by the representatives or

Dalihan Nawlu (DNJ) also from

both

sides. The groom's family and their

relatives

are called "Rcya N1 Boru" (or king's of the wife taker) and the br1de's family and

relatives are called '·Raja Ni Hula-hula''(or k.ing's of the wife giver). Here is where

the dowry made public, the wedding day, the number of invitee, the venue of

tne

party, what animal to slaughter, the procedure of dividing the portion of the

slaughtered animal and how should the bride's price beggar.

3. Mar.sibuha-huhai /~'vent (Opening the Wedding ceremony)

Prio r to the wedding ceremony on the day of the event, mar.o;ibuha·buhai begins

with both sides (very few chosen people) having breakfast together at the bride's

home

about

9 o clock am. The meaning of Alursibuha-buhai is to make the marriage

puhlic by the speaker of the groqm 's side that beginning from that very day. They

18

this marriage be blessed by the providence. There after, the two sides go to church to

make:: the marriage and the couple become one blessed by God.

4. Marriage Blessing

Commonly, this event stans at 10 or 11 o'clock am and lasts for an hour. This is

the time the Priest delivers his sermon to advices and hopes the couple to become a

true Christian family,

be

blessed by God, be devoted to each other in times of trails

and temptations until death do them a part. Thereafter, the church attendants follow

lhc couple to the venue where the customary ceremony is conducted .

During this discussion on the bride's price, it is agreed too, that the custom

system of presenting the dowry may be of two types:

If .\'inamot (The bride's price) is given completc::ly together with the ceremony

cost is called "Silomhof' meaning " whole" which means the ceremony is

called "/Jialap Jual" (the bride is picked up from her parents' home), in

which after the ceremony, the bride does not return home to her parents' .

If Sinamot (The brid~'s Price) is given only "Tuhor Nt Boru', the ceremony cost is not included in that the whole ceremony. This ceremony is called

"taruhon .luaf' (The bride together with her family will meet the bridegroom

and go to his home).

rf the ceremony is the first choice (/Jialap .Jual) thus the prepanltion of the ceremony

will be arranged by--the bridt!-side . On the other hand, when

it

is the s ~nd choice

( Taruhon Jual), the preparation of the ceremo ny is arranged by

t!JC

All the guests will bring gifts to the new couple now seated in the groom side

facing the bride's parents, relative and all the inviters. The gifts can be divided into

two kinds namely:

a. lf the guests are from the groom-side, they will devote the contribution in the

form of money in which is called ''Tumpak" received after the wedding lunch

IS over.

This kind of contribution event 1s called Manjlllo Tumpak (accepting the

contribution).

b. If the guests are from the bride-side, they will give rice (.\'ipir m Tondi) or (the

strength of the spirit symbolizing the vitality of the human spirit). The receiver of

this rice depend'i on who prepares and arrange for the ceremony, i.e the briUe side

or the groom side.

Funeral Ceremony in Toba Batak Society

If someone's deceased (Monding), she/he must be buried based on his/her

condition or status tradition. ln the Toba Batak Society,

if

someone has

paid

up the

dowry to his/her hula-hula during his/her live and when he/she passed away, he/she

will receive a customary obligation from his/her hula-lmlu. Therefore

we

often face

problems if someoQe passed away before paying up the dowry or holding the

customury wedding party, w~ will nut know how she/he will

ile

b uried.

There are some types of death in tlte Toba Batak Society, namely:

20

If a hoy or a girl dies, his/her parents are called " Tiluhuon" (lost a child).

tilahaon (losing a child) is divided into A1artilahu Na Metmet and ~fartilaha Na

!vfagodang (The death of young girl/young boy or old girl/old boy). There is no

cultural or ceremony preparation in children's death. Yet DNT· side Hula-hula,

f)ongan Tuhu, Horu and Oongan sahuw should come to attend the body of the

boy/the girl while giving consolation words and contribution of money to his/her

parents.

2. (Na) Mate Purpur (D~ath without descendant)

In Batak

motto "Anaklwnhi do hamumwt di ahu" means my children

are

my

wealth. This statement describes how poor we would be if we have no children. The

wealth is not only measured by the happiness of one fa mily, or persuasion material

things. Therefore one family without a child and then one of the spouses died oJ ~ the

death is called "Mate Purpur or l)urmateon Siranggapuri ", (death without a child)

the death is called Stborgat hau naso mardakka, so nrarrantmg so marbulung. It

implies that the death is l ik~ cutting down a tree without a bough, a b ranch, a twig nor

a leaf. The death of a childless husband is called '(Nu) N!ate Punu '. Instead the death

of a wife without a child is called 'Nu Maha/u Jonjong '.

3. (Na) Mate A1an.gkur (the death without grandchildren)

The term of "( Na) mate mangkar" means when a husband or a wife died but they

have one or two married children have no children yet. Therefore, their death is

considered out these not having grandchildren o r the third generation.

The term "(Na) Mate Sarimalua" means the death of a husband or a wife that

already has children from their sons and daughters but one of the sons or daughter is

still single . (Na) Mate Sarimalua is the death in which the situation where one of the

children is not married. ln other words, one or two of the second generations is I are

not yet married.

5. (Nu) tvfate Saur /1;/atuu

N

The term "(Na) Mate Saur Matua" is the death from husband or wife that already

have children and grandchildren from all their children. All their c hildren have

got

married. Na Mate Saur Matua is a release where the dead person's worlds or social responsibility is completely fulfilled. Mate Saur Matua is the death that is greatly

wished by the Toba Batak people. The death is a longed for release as the dead person

does not leave any worry to the family because the children have husbands or ..wives

and

children etc.

1.4 Umpasa in Toba Bata1k Society

Umpasa is a literature form in the Toba Batak society that is always used in

each

ceremonial event. Umpasa is like a poetry or poem. The theme of Umpasas are

invoking, requesting or wishing for the Lord's blessing.

Umpasas in the Toba Batak culture have three stages or phases as the

following:

1. An introduction after having meals together.

22

3. An introduction in Marhata ,)'i1Ulmot (an event to discuss the bride' s price

prior to the wedding ceremony).

4. A prologue to presenting the Ulos (Mangulo ... ij.

All the words in the Umpasas do not have similarity in meaning to the next words

since each words content and context of the Umpasas is aligned with the event for

which blessing, consolation or advice in it is expected to shower the people

concerned- An CJmpasa is like poetry. Umpasa can be changed according to the

cercmomal

events or

the

cultural events. For instance, the classing in a

wedding

ceremony or even in bereavement.

.Sahat- sahat ni solu

Salta! ma tu hontean

Sahat ma hita leleng mangolu

Jala sahat tu panggabean

When interpreted to the Indonesian language:

Kayulah hiduk

,\'umpai ke labuhan pamai

f.anjutl(lh kita hit/up

Akngecap / menikmali kemakmuran

Which implies, may the Lord bless our daily life to enjoy success and prosperity.

T his

Umpasa can

be

chang.:d

to other

ceremonial

events, for

instance:

Sahat-sahal ni .mlu

s:ahat ma (U bonlean

Alai mwmnta marragean

Wht!n interpreted to the Indonesian Language:

Kl~yuhlah biduk

Sampui ke lahuhan , pantai

IAmjutlah umur k1ta <li dunia ini

Mu."iuh kilalah yang beranwkan

Which implies, in this life we must walk together with the Lord, so that we have long

life and do not have any enemy in this world.

Umpasa

also can be modified so that the theme of Umpasa can become more

interesting, such as:

/, Ompu RaJa Ijo/o

Martungkot siala gundi

Pinungka ni angka Omputta parjo/o

S1ihuthonon m hila'"' di pudi

When interpreted to the Indonesian language:

RaJa kita yang pi!rlama

IJertongkat siala gundi

Rmtisan' nasehat raja kila yang penama

w{~jib dit uroti/diikuti o/ell orang-orang sekarang.

OmpJ!. rtJ)a ljolo

I

T his Umpasa is modified to:

A,fartungktJI Sia/a gundi

24

Siihuthonon ni hila na parpudi.

When interpreted to the Indonesian language:

Raja Kit a yang perluma

Rertongkat sia/a gutali

Semua na.,·ehat lrint iscm para pendahulu kit a yang bagu ~

Wajib kila ikuti clan laksanakall

The theme of this Umpasa means that all advice /messages which given

by

our forefathers or the tirst Batak's king should be upheld by the Toba Batak society in

their daily life.

Bintang na rumiris

Ombun na sumorop

A nak pe riris

Horu pe torop

W hen interpreted to the Indonesian lanbruage:

Di langit hintang hersemarak

Di bumi emhun mem:e1cah

Anak le/aki berbilang banyak

Anak. perempuan berlipat jum/ah

One more stanza is

added to this

Umpasa

that make it interesting:

Hintang mu na rumiri ... , omqun na .sunwrop

'l'oho mndang ni bulan

Anak pe antong riris. boru pe torop

When interpreted to the Indonesian language:

Di langil hanya bintang yang bercalwya, dz bumi embun mencecah

J>ada waktu bulan pumama hersinar di musimnya

Anak lelaki benar-bt:nur hanyakjumlahnya, bt:Kitupun anak perempuan

Semua anak tersebut takut pada Tuhan

The theme of this Umpasa implies that a great expectation is put to their children so

that they should fear God for His blessing to them. They must fo11ow all God's

commands a.nd love each other as they Jove themselves.

Umpasa can also be modified to suit modernization of the Toba Batak society such

as:

3. Manggureng di balanga

:::a

Mardisir mardosor

Sai tubu rna anglw boru na gube sarjana

JJohot angka anak 1w gabe professor.

When

interpreted to the Indonesian lanh:ruage:

Menggoreng dr kual i

Berbunyi .w:mgat nyaring

Kiranya anak p erempuan yang lah1r bisa jadi sat:fana

Dengan lmak laki-laki yangjadi prQlessor

The theme of this Umpasa is a wish /a hope to their sons or daughters to become a

scholar and professor.

-1. Nangkok dalan /u Berastagi mamelok dalan tu Parapal

26

k\'ui unung

ma hamu mardalan pat

Naeng ma nian parmowr sedan

When interpreted to the Indonesian language:

Jalanan mendaki ke tlrastagi

Mcnurun jalan ke Medan

Janganlah kira11ya a11da beryalan kaki

Hendaknyalah memakai mobil sedan

The theme of this Umpa.sa is on improving our life for the future where we must work

hard to improve our condition.

2.4.1 The Philosophy of U mpasa Batak (Batak Speech)

From the writer's observalion at a wedding ceremony and also in giving the name

to a baby (!vfamampe Goar). When the wife giver presents Ulos to the new co uple,

this is where that interests the writer. Umpasas are enunciated in various

modifications, a kind of oral literature among Toba Batak, with same sort of

expectation bestowed to the new couple. The procedure is introductory words from

the parents of the bride must be the first to present the specific Ulos to the parents of

the groom and when this Ulosis being turned round the groom's parent( the bride's

father holds the fri ngers, of the Ulos (as a symbol of uniting the couple in the solemn

hope). Umpasa is a -kind of literature of the Batak Toba in which is often used in the

l3atak Toba socie!Y during cultural ceremony. DM. Arua!l (.-197J: 56) said that

llmpasa and Umpama are both literature forms of Batak Toba that are always used in

During ceremonies whether in joy and sorrow Umpasa fitted to the situation will

always be used by the Batak ceremony leaders.

Sotaronggal Simanjuntak (1978: 67) holds that the sources ofUmpasa come from

a collection of rules and regulations contained in the Batak pustaha called "Palik". Lt

used to be conventional, but now some have tried to write books on this norm to

future generation.

In the dictionary of Batak Toba culture (MarbWJ, 1987), it is said that the

understanding of Umpasa, a language in the form of a poem contains prayers or

blessinl:'. Umpasa looks like a poem that invokes blessings of the Lord (pasu-pasu).

So the similarity of opinions between Marbun's and Simanjuntak's on the content of

umpasa that is, that both of them beseech the Lord's blessing.

Nowadays misinterpretations on enunciating or reiterating Umpasa, in the J'oba Batak fexturties otlen happen that both Umpama and Umpasa are the same. Both

forms of literature are widely different (Sihombing, 1987: 9). The writer observed

that during the presentation of Ulos sometimes the presenter uses Umpama although

he should use Umpasa, such as:

Diorong asu do na so ompurw.

J>aniseon do halak di na so padanna.

Thls is an Umpama, because sometimes an Umpama is heard like an Umpasa.

It may be concluded that an Umpasa in general consists of fou r stanzas, rhyming a b a b or aa bb, in the form of a verse whose contents centers around exhortations,

28

proverb or an adage, usually presented in a few words referring to advice, example,

comparison, etc.

For example: (Sihombing, 1987: 15)

!Jintang na rumiris

Ombun na sumorop

Anak .pe nris

Horu

pe torop

When interpreted to the Indonesian language:

/)t langil bintang bersemarak

Di bumi embun mencecah

Anak lelaki herb;lang hanyak

Anuk perempuun her/ ipat jum/ah

This Umpasa means that a hope to have many children, which is frequently said

d uring the wedding ceremony to the new couple, whereas Umpama is a motto/proverb in which contains advice.

For example:

Marluga sitindaon manga/oas1 .Hgapiton

Tujolo ni/angkahonm pudi sinarihon

When interpreted to the Indonesian Language:

Sambi/ melangkah m(l}U Ice depan

Hendaknya pikirkan pula ke helakang

This Umpama is a proverb in which gives advice to us not to be hasty in making a

2.~ Ulos in Toba Batak Society

In the Toba Hatak Society, { Uis in the Karo Batak language, Hiou in Batak

Simalungun language (Siregar: 1985)} holds an important role in every cultural event

such as in a wedding ceremony or a funeral ceremony. This traditional cloth (Uios) is

still used until now by man or woman in each of the cultural events .

In the Toba Batak ociety, presenting ulos (Mangulosi) is an important thing in

conducting and completing the cultural

event.

North swnatera or

to

be

specific

Tapanuti is a region where Ulos is produced. Many varieties of Ulos with different

color and beautiful forms with unique design in fine thready are fascinating. (1)

Traditionally Ulos is a piece of cloth worn by a man or woman in the ancient time.

=I'he

missionaries

introduced

pants and dresses to the ancient Batak duril!& the christianization era in which looks more practical and attractive to the Batak anq then these were adopted used until today. (2) To look and admire, Ulos can describe the elements of a close relationship with belief, prayers to the Lord and praise His

creation. Ulos has high value in cultural events of the Toba Batak society. It is not

possible, when we talk about the Toba Batak culture without having to d iscuss the

roles o f Ulos. Ulos is one of the identities of the Toha Batak culture. Presenting an

UlosIS subject to rules, we cannot present it as we like but we should follow the rules

of presenting Ulos. The rule specifies that it should be presented whose position is the

highest for oldest in generation in a close family relationship with the receiver of

Ulos. They are:

1. Hula hula (close Hula. Jirita, Tulan~ {maternal uncle}. Bona Tulang, Bona ni

30

2. Dongan tubu or siblings of the highest level (father, Grandfather, Father's

brother I Grandmother's brother or sister).

3 . Parihan the highest level (Aunty {Namburu}, Mother's sister).

In society, someone will receive Ulos during his lifetime at least three times namely:

l. When he/she

was

hom to this world and

given

a

name.

2. Wedding day.

3. On funeral time.

These are such kinds of Ulos that bear spiritual meaning and high values in every

cultural event such as Ulo!i Ragidup, Ulos Sibo/ang, (!los Ragihotang. Ragi Jdup is

the highest degree of all Ulo~cs, because it can only be presented in manages (by the

bride's parents to the groom 's parents) and before funeral time from the wif ~ giver

side on condition that the receiver deceased become a b'Tandtather or grandmother.

Vlos

A-kmgiring, Bintang lvlaratur also often is used in the cultural events

(ceremonial events) as Ulos Parompa or Mamampe Goar can be included as (Ros

Panoropi. Ulos Sadum and Ulos Sito/untuho can be used daily as a scarf.

2.5.1 The History of Ulo!l in Toba Batak Society

The history of'Ulos in the Toba Batak society is based on a myth in which Ulos

was the first time designed by the legendary Sihoru Oeak Parujar that is Batara

Guru's daughter, with which she was born with a piece of white cotton-plant together

with an iron stick. Siboru Deak Parujar was the designer of Ulos. She has five

the myth, it was learned that Siboru Deak Parujar created Ulos by spinning

cotton-plant and weaved it to become a piece of Ulos in order to become a cover of a book

(the book