scholarly journals Ausstellungskatalog “Die Macht der Schrift: Die Manuskriptkultur der Toba-Batak aus Nord-Sumatra” / Exhibition Catalogue “The Power of Writing: The Manuscript Culture of the Toba Batak from North Sumatra”, by Jan van der Putten and Roberta Zollo

2021 ◽  
Vol 177 (4) ◽  
pp. 585-588
Author(s):  
Dick van der Meij
Keyword(s):  
Manuscript Culture ◽  
Toba Batak ◽  
North Sumatra

NILAI KERJA DITINJAU DARI ETNIS BATAK TOBA PADA ANGGOTA SATUAN BRIGADE MOBILE KEPOLISIAN DAERAH SUMATERA UTARA

2019 ◽  
Vol 4 (1) ◽  
pp. 8-14
Author(s):  
Debi Angelina Br. Barus
Keyword(s):  
Work Values ◽  
Quantitative Description ◽  
The North ◽  
Work Value ◽  
Toba Batak ◽  
Relationship Of ◽  
The Relationship ◽  
North Sumatra

This study aims to determine the relationship of work values with the Batak Toba ethnic. This research was conducted at the Mobile Brigade Unit of the North Sumatra Regional Police. The subjects in this study were 45 people. This study uses a quantitative description approach. The results of the study are to find that hamoraon, hagabeon and hasangapon (3H) are in line with the principle of the work value of Brimob members. 3H is the peak achievement of individual Toba Batak ethnic work value in the mobile brigade unit of the North Sumatra regional police. Keyword: Work value, Batak Toba Etnic   Penelitian ini bertujuan untuk mengetahui hubungan nilai kerja dengan etnis Batak Toba. Penelitian ini dilakukan di Satuan Brigade Mobile Kepolisian Daerah Sumatera Utara. Subjek dalam penelitian ini adalah 45 orang. Penelitian ini menggunakan pendekatan kuantitatif deskripsi. Hasil penelitian adalah menemukan bahwa hamoraon, hagabeon dan hasangapon (3H) sejalan dengan prinsip nilai kerja pada satuan anggota Brimob. 3H merupakan puncak pencapaian dari nilai kerja individu yang beretnis Batak Toba di satuan brigade mobile kepolisian daerah Sumatera Utara. Kata Kunci: Nilai kerja, Etnis Batak Toba

scholarly journals Menyimak (Kembali) Integrasi Budaya di Tanah Batak Toba

2017 ◽  
Vol 1 (1) ◽  
pp. 34
Author(s):  
Sugiyarto Sugiyarto
Keyword(s):  
Ethnic Groups ◽  
Dominant Culture ◽  
Public Places ◽  
Toba Batak ◽  
North Sumatra ◽  
The Trinity

Toba Batak Land is one of the areas in North Sumatra Province that have dominant culture characterized by among others by: (1) the majority of indigenous Batak people; (2) Batak culture (Toba) becomes a reference for the behavior of the population in interacting in local public places; (3) Batak leadership is implemented based on elements of Batak culture. In the meantime, there are also ethnic groups of immigrants, Hindus and Christians. The embodiment of ethnicity of ethnic groups of migrants finally can integrate culturally because there are similarities of divine concepts such as Trimurti on Hindu teachings, Debata na tolu on the teachings of Parmalin in Batak Toba, as well as the Trinity in the teachings of Christians

scholarly journals Characterizing the Cultural Spatial Structure of The Pangururan District Context

2021 ◽  
Vol 5 (3) ◽  
pp. 277-282
Author(s):  
Hery Samuel Simarmata
Keyword(s):  
Spatial Structure ◽  
Cultural Aspects ◽  
Hill Area ◽  
Toba Batak ◽  
The Hill ◽  
North Sumatra

An area is basically formed due to geographical conditions and local cultural aspects that influence it. In this Pangururan village, its geographical condition is close to Lake Toba, and the Toba Batak culture is the most abundant culture in this region. The Toba Batak culture generally inhabits around of Lake Toba in North Sumatra, which means it is located between a lake and a mountain so that the average community works as fishermen and farmers. This led to the growth of settlements around the hill area and also on the edge around Lake Toba. This is certainly an aspect that affects the characterizing of the cultural spatial structure of Pangururan district context. The purpose of this study was to get an overview of the Cultural Spatial Structure of Pangururan Regency.

scholarly journals TOBA BATAK LANGUAGE MORPHOLOGICAL SYSTEM: A GENERATIVE TRANSFORMATIONAL STUDY

2018 ◽  
Author(s):  
Esron Ambarita
Keyword(s):  
Predictive Power ◽  
Word Formation ◽  
The Other ◽  
Relevant Theory ◽  
System A ◽  
Qualitative Descriptive ◽  
Toba Batak ◽  
North Sumatra ◽  
Descriptive Method ◽  
Morphological System

The objective of this study is to investigate morphological system of Toba Batak language from the view of generative transformational study. The major issue in this microlinguistic study is word formations through the processes of affixation, reduplication, and compounding. Most studies done morphologically are structural based theory which explore language phenomena unsatisfactorily. For instance, in Indonesian language the following forms are never found: *ambilan “something taken”, *berpesawat “go by aeroplane”, *keobatan “being dead or sick because of consuming too much medicine”. We, on the other hand, will find the words kiriman “something sent”, bersepeda “go by bicycle”, keracunan “being dead or sick because of consuming something poisonous”. In Toba Batak language, for example, we will not find the words *lehonan “a give”, *marsintua “visit a church functionary to consult something”, *mamiso “use a knife to cut something”. Whereas the forms tongosan “something sent”, mardatu “go to a shaman to ask for help”, and manakkul “use a hoe to do the farm” are actual words that have been used by Toba Batak language speakers. Based on the Toba Batak language phenomena above, the most relevant theory to be applied to treat such problems and the like exhaustively from descriptive to explanatory adequacy is generative morphology. In so doing, this study rests on the theory of generative morphology proposed by Halle (1973), Aronoff (1976), Scalise (1984), and Dardjowidjojo (1988). The theory requires four separated components, they are: (1) List of Morphemes, (2) Word Formation Rules, (3) Filter, and (4) Dictionary. Generative morphology has predictive power to generate actual words and potential words. The method of the study that will be applied is qualitative descriptive method, that is, a kind of linguistic method to describe language phenomena naturally without manipulation. This research will be conducted in 4 regencies in North Sumatra, they are: (1) Samosir Regency, (2) Toba Samosir Regency, (3) Humbang Hasundutan Regency, and (4) North Tapanuli Regency. There are three types of data that will be collected in this study, they are: (1) oral, (2) written, and (3) intuition. Oral data will be collected by observing, interviewing, listening attentively, and chatting with the informants. Written data will be originated from story books in Toba Batak language and bible in Toba Batak language. Intuition data will be based on the writer’s intuition because the writer is a native Toba Batak language speaker. The data will be analyzed using equal and distributional methods.

scholarly journals MAKNA DAN FUNGSI KAIN ULOS PADA PUSAT LATIHAN OPERA BATAK PEMATANG SIANTAR (PLOt) DI PEMATANG SIANTAR PROVINSI SUMATERA UTARA

2021 ◽  
Vol 10 (1) ◽  
pp. 94
Author(s):  
Enrico Alamo ◽  
Meria Eliza ◽  
Giat Syailillah
Keyword(s):  
Cultural Heritage ◽  
Natural Dyes ◽  
Training Center ◽  
Artistic Value ◽  
The Past ◽  
User Communities ◽  
Toba Batak ◽  
Traditional Arts ◽  
North Sumatra ◽  
Social Level

Ulos is a traditional Batak clothing that we can find in traditional events; birth, marriage, death and other Batak traditional ceremonies such as: Mandailing, Pakpak, Dairi, Sipirok-Angkola and Karo. Apart from being a typical cloth in the Batak community, Ulos is believed to be able to create a feeling of warmth and raise tondi (raga) because of the 'sacred' element inherent in Ulos. In the past, Ulos cloth was woven by 'spiritual' weavers using natural dyes. Ulos cloth is also a regional marker cloth; social level, and clan (surname). So not just any Ulos cloth can be given to someone or the community. Batak Opera Training Center (PLOt) Pematang Siantar. North Sumatra is one of the Ulos cloth user communities in every activity. The Batak Opera Group has undoubtedly existed until now. His performances reached many countries. The plays that are played also tell about the life of the Batak people and the epics of Batak heroism. The group's mission is to protect cultural heritage and develop traditional arts. For this reason, every stage of the PLOt is faithful in using hand-woven Ulos cloth. Judging from the patterns, colors and motifs of the Ulos fabrics used by PLOt, they seem "luxurious" because of their artistic value. This, of course, is not just any modification made by PLOt because the function and meaning of Ulos cloth is culturally meaningful with customary provisions. In this regard, we tried to examine the function and meaning of the Ulos cloth in the Batak Opera Training Center group which is domiciled in Pematang Siantar. North Sumatra. This research is also part of the task of the Center for Traditional Clothing Studies, which is not only examining patterns and motifs but furthermore the use of Ulos cloth outside of traditional events and traditional ceremonies.Keywords: ulos, custom, meaning, function, PLOt. AbstrakUlos merupakan pakaian tradisi yang dapat kita lihat dalam berbagai acara adat Batak seperti; lahiran, pernikahan, kematian dan upacara-upacara adat Batak lainnya di sub Batak; Mandailing, Pakpak, Dairi, Sipirok-Angkola dan Karo. Selain sebagai kain khas di masyarakat Batak, Ulos diyakini dapat menimbulkan rasa hangat dan menaikkan tondi (raga) karena unsur ‘sakral’ yang melekat didalam Ulos. Pada masa lalu kain Ulos ditenun oleh penenun ‘spritual’ dengan menggunakan pewarna alami. Kain Ulos juga merupakan kain penanda daerah; tingkatan sosial dan marga (nama keluarga). Maka tidak sembarang kain Ulos dapat diberikan kepada seseorang ataupun komunitas. Pusat Latihan Opera Batak (PLOt) Pematang Siantar. Sumatera Utara salah satu komunitas pengguna kain Ulos dalam setiap kegiatannya. Group Opera Batak ini sampai sekarang masih bertahan dan eksis dalam berbagai pertunjukan. Pentas-pentasnya merambah banyak negara. Lakon-lakon yang dimainkan berkisah tentang kehidupan masyarakat Batak dan epos kepahlawanan Batak. Misi group ini menjaga warisan budaya dan mengembangkan seni tradisi. Untuk itu, setiap pemanggungannya PLOt setia dalam menggunakan kain Ulos hasil tenunan tangan. Dilihat dari corak, warna dan motif kain-kain Ulos yang digunakan PLOt terkesan ‘mewah’ karena nilai artistik didalamnya. Hal ini, tentunya tidak sembarang modifikasi yang dilakukan oleh PLOt karena fungsi dan makna kain Ulos secara budaya memiliki arti yang sarat dengan ketentuan adat. Dalam hal tersebut, kami mencoba meneliti fungsi dan makna kain Ulos pada group Pusat Latihan Opera Batak yang berdomisili di Pematang Siantar. Sumatera Utara. Penelitian ini juga sebagai bagian dari tugas Pusat Kajian Pakaian Tradisi yang tidak saja meneliti corak dan motif tapi lebih jauh penggunaan kain Ulos diluar acara adat dan upacara-upacara adat.Kata Kunci: ulos, adat, makna, fungsi, PLOt.Authors: Enrico Alamo : Institut Seni Indonesia PadangpanjangMeria Eliza : Institut Seni Indonesia PadangpanjangGiat Syailillah : Institut Seni Indonesia PadangpanjangReferences:Alamo, E., Minawati, R., Sulaiman, S., & Novalinda, S. (2020). Opera Batak Sisingamangaraja XII Episode Ugamo Malim Horja Bolon Na Parpudi: Usungan Tradisi dan Kontemporer. Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang, 3(2), 59. https://doi.org/10.24821/dtr.v3i2.4418.Emir. Threes dan Wattimena. Samuel. (2017). Pesona Kain Indonesa, Kain Ulos Danau Toba. Jakarta: Kompas Gramedia.Hariwijaya, M. (2007). Metodologi dan Tehnik Penulisan Skripsi, Tesis, dan Disertasi. _______: Elmatera Publishing.Harahap, B.H. dan H.M. Siahaan. (1987). Orientasi Nilai-Nilai Budaya Batak. Jakarta: Sanggar Willem Iskandar.Hasibuan, Jamaludin. (1985). Art Et Culture: Seni Budaya Batak. Jakarta: PT Jayakarta Agung Offset.Moleong, Lexy J. (2000). Metodologi Penelitian Kualitatif. Bandung: Remaja Rosdakarya.Niessen, SA. (1985). Motifs of Life in Toba Batak Texts and Textiles. Belanda: Foris Publications.Oktavianus, Matondang. (2020). “Opera Batak Pematang Siantar (Plot)”. Hasil Wawancara Pribadi: 15 Agustus 2020, Pematang Siantar. Situmorang, Sitor. (2004). Toba Na Sae. Jakarta: Komunitas Bambu.Soedarsono, R.M. (2001). Metodologi Seni Pertunjukan Dan Seni Rupa, Bandung: Masyarakat Seni Pertunjukan Indonesia.Sutopo, H.B. (2006). Metodologi Penelitian Kualitatif Dasar Teori dan Terapannya dalam Penelitian. Surakarta: UNS Press.Soemardjo, Jakob dan  Saini. (1997). Apresiasi Kesusasteraan. Jakarta: Gramedia Pustaka Utama.Tompson Parningotan Hutasoit. (2020). “Opera Batak Pematang Siantar (Plot)”. Hasil Wawancara Pribadi: 21 Agustus 2020, Pematang Siantar.Vergouwen, J.C. (1986). Masyarakat dan Hukum Adat Batak Toba (terjemahan).Jakarta: Pustaka Azet.Zainal, N. H. (2008). Analisis Kesesuaian Tigas Pokok dan Fungsi dengan Kompetensi Pegawai pada Sekretariat Pemerintah Kota Makasar. Makassar: Fisipol. 

scholarly journals STUDI PERBANDINGAN ARSITEKTUR TRADISIONAL ANGKOLA DENGAN ARSITEKTUR TRADISIONAL BATAK TOBA DITINJAU DARI STRUKTUR BANGUNAN

2019 ◽  
Vol 2 (2) ◽  
pp. 30-41
Author(s):  
Wengky Billy Putra Giawa ◽  
Raimundus Pakpahan ◽  
Yulianto Yulianto
Keyword(s):  
Cultural Integration ◽  
Traditional Architecture ◽  
Structure System ◽  
The People ◽  
Toba Batak ◽  
Karo Batak ◽  
North Sumatra ◽  
Mutual Agreement

The Batak are the majority in North Sumatra. The Batak tribe even has another sub-tribe, namely Toba  Batak, Karo Batak, Simalungun Batak, Mandailing Batak and Angkola Batak. Every Batak tribe has its own  distinctive culture and identity. Batak tribes have traditional buildings which are traditional Batak  architectural identities. The diversity of the Batak tribe caused the phenomenon of visual aspect equality in  traditional buildings because of the effects of secession and cultural integration. The Toba Batak  architecture has the concept of a stilt house and pointed gable construction in both directions and a peg and pen structure system is evidence of similarities with Angkola Batak architecture. Angkola Bataks are part of the Batak tribe. Angkola Batak is a tribe in the area of South Tapanuli. The Toba Batak is the center of the Batak culture. The Toba Batak has one of the traditional Sopo buildings, namely Sopo. Sopo functions as a barn, but also an art venue and meeting place. Angkola Batak has one traditional building that represents the traditional architecture of the Angkola Batak namely Sopo Godang. Serves as a meeting place for the king and the people. It is a place where tradition is based on Dalihan Na Tolu which produces consensus and mutual agreement (The King and People). Sopo Godang is a part of traditional Batak architecture that needs to be preserved. The benefit of this study is to collect data on traditional Angkola Batak architecture and data on structures that are characteristic of the Angkola Batak

scholarly journals Pengembangan Seni Pertunjukan Opera Batak Dalam Mendukung Daya Tarik Wisata Desa Sitamiang Kabupaten Samosir Syahidullah

2020 ◽  
Vol 3 (1) ◽  
Author(s):  
Habibie ◽  
Dwira Nirfalini Aulia
Keyword(s):  
Cultural Tourism ◽  
Toba Batak ◽  
North Sumatra

Pulau Samosir merupakan salah satu objek wisata di Provinsi Sumatera Utara dengan kunjungan wisatawan tertinggi dan keseluruhan memiliki unsur daya tarik wisata budaya, Desa Sitamiang merupakan salah satu desa yang terletak di Pulau Samosir, desa ini memiliki potensi daya tarik alam dan sosial yang menarik dikembangkan mejadi pariwisata, akan tetapi pariwisata di Desa Sitamiang in kurang menarik dibandingkan dengan Tuktuk maupun Tomok, oleh karena itu diperlukan pengembangan daya tarik berupa pertunjukan seni Opera batak agar menjadi khas daya tarik sendiri di Desa Sitamiang ini, agar Desa Sitamiang ini dapat bersaing dalam pengembangan pariwsita dengan daerah lainnya di Pulau Samosir. Melihat nama Opera Batak tentu tidak dapat dipisahkan dari yang Namanya Desa Sitamiang ini. Opera Batak ini akan direncanakan dan dirancang dengan konsep outdoor agar dapat menyatu dengan alam dan bangunan sekitarnya, dan agar menjadi daya Tarik tersendiri bangunan OperaBatak dikelilingi oleh alam dan permukiman masyarakat yang masih menggunakan rumah beraksitektur Batak Toba sehingga memanjakan visual wisatawan. Samosir Island is one of the attractions in North Sumatra Province with the highest tourist visits and overall has an element of cultural tourism attraction, Sitamiang Village is one of the villages located on Samosir Island, this village has the potential for natural and social attractions that are attractive developed into tourism However, tourism in the Sitamiang Village is less attractive compared to Tuktuk and Tomok, therefore it is necessary to develop an attraction in the form of Batak Opera art performances to become a distinctive attraction in this Sitamiang Village, so that the Sitamiang Village can compete in the development of tourism with the region others on Samosir Island. Seeing the name of the Opera Batak certainly can not be separated from this Sitamiang Village. This Batak Opera will be planned and designed with an outdoor concept so that it can blend with nature and the surrounding buildings, and to become an attraction. OperaBatak's buildings are surrounded by nature and community settlements that still use houses with Toba Batak architecture so that they indulge visual tourists.

Perkembangan Ritual Adat Mangongkal Holi Batak Toba dalam Kekristenan di Tanah Batak

2020 ◽  
Vol 6 (1) ◽  
pp. 84
Author(s):  
Firman Oktavianus Hutagaol ◽  
Iky Sumarthita P. Prayitno
Keyword(s):  
Qualitative Analysis ◽  
Cultural Values ◽  
Max Weber ◽  
Emile Durkheim ◽  
Direct Observations ◽  
The Social ◽  
Toba Batak ◽  
Mechanical Solidarity ◽  
North Sumatra

This paper is the result of observations and analysis of religious sociology on the traditional mangongkal holi rituals in Pahae Julu, North Tapanuli Regency, North Sumatra. This paper aims to explore and explain the social and cultural values contained in this traditional ritual. This ritual survives and adheres to the Toba Batak tribe even though its implementation has been adapted to the teachings of Christianity prevailing in the Batak Land. Some of the social and cultural values contained in the ritual still survive and are important for the Toba Batak people. To approach this problem, theoretical references from Emile Durkheim and Max Weber are used. Data was collected through literature studies, interviews, and direct observations of these traditional rituals in the Pahae Julu area, as well as qualitative analysis. This paper concludes that this traditional ritual contains mechanical solidarity and the role of the charismatic ritual leader for the Batak people.

scholarly journals AKULTURASI NILAI BUDAYA MELAYU DAN BATAK TOBA PADA MASYARAKAT MELAYU KOTA TANJUNGBALAI ASAHAN

2017 ◽  
Vol 41 (1) ◽  
Author(s):  
Mailin Mailin
Keyword(s):  
Cultural Values ◽  
Religious Leaders ◽  
Two Cultures ◽  
Acculturation Process ◽  
Toba Batak ◽  
Independence Era ◽  
The Republic ◽  
The Government ◽  
North Sumatra ◽  
The City

<p><strong>Abstract: </strong>This paper attempts to analyze the acculturation process of Malays and Toba Batak cultures in Asahan Tanjungbalai, and to what extent the Sultan of Asahan influenced the process of acculturation. This study uses descriptive qualitative research method. The findings of this research showed that the process of acculturation Malay and Muslim Toba Batak culture in the city emerged from the government of Tanjungbalai Sultan Asahan I who ruled in the city before the independence era of the Republic of Indonesia. Religious leaders (ulama) and traditional leaders also played a role in the acculturation process of Malay cultural values in Tanjungbalai, especially in the Batak Toba ethnic Muslim milieu. Acculturation between these two cultures gave birth to a Malay culture which led to a different characteristic to the Malay culture in the archipelago. The author affirms that Malays in the city, by nature, tends to be tough in character as a result of Toba Batak ethnic character.<br /> <br /><strong>Abstrak: </strong><strong>Acculturation of the Malay and Toba Batak Cultural Values on Malay Societies in Tanjung Balai City Asahan North Sumatra</strong>.<strong> </strong>Penelitian ini adalah penelitian lapangan yang bertujuan untuk mengetahui proses akulturasi budaya Melayu dan Batak Toba di Tanjungbalai Asahan, serta seberapa besar pengaruh Sultan Asahan dalam proses akulturasi budaya Melayu dan Batak Toba di Asahan. Penelitian ini menggunakan metode penelitian kualitatif deskriptif. Hasil penelitian menunjukkan bahwa proses akulturasi budaya Melayu dan budaya Batak Toba Muslim di kota Tanjungbalai berawal  dari  pemerintah Sultan Asahan I yang memerintah di kota Tanjungbalai sebelum kemerdekaan  Negara Republik Indonesia. Tokoh agama (ulama) dan tokoh adat juga turut berperan dalam  proses akulturasi nilai budaya Melayu di Kota Tanjungbalai, khususnya pada etnis Batak Toba Muslim. Akulturasi antar dua budaya ini melahirkan sebuah budaya Melayu yang memiliki ciri khas yang berbeda dengan budaya Melayu di Nusantara. Melayu di kota ini memiliki sifat serta karakter yang cenderung kasar dan keras, seperti karakter etnis Batak toba.</p><p><br /> <strong>Kata Kunci: </strong>Melayu, Batak Toba, Kesultanan Asahan, Islam</p>

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