Weaving and Cultural Identity of Batak Toba Women

2020 ◽  
pp. 002190962095803
Author(s):  
Catur Nugroho ◽  
Iis Kurnia Nurhayati ◽  
Kharisma Nasionalita ◽  
Ruth Mei Ulina Malau
Keyword(s):  
Cultural Identity ◽  
Cultural Heritage ◽  
Economic Conditions ◽  
Cultural Inheritance ◽  
Cultural Characteristics ◽  
Artistic Value ◽  
The Social ◽  
Area North ◽  
North Sumatra

Women weavers in the Toba area, North Sumatera, Indonesia, are the main key to the continuation of the Toba’s Ulos cultural weaving and the preservation of artefacts through the process of the cultural inheritance. The women are spread in various regions around Lake Toba with a variety of their unique cultural characteristics reflected in their woven cloths. However, the existence of the women weavers has not been optimally empowered as a cultural heritage with high economic and artistic value. This study aims to uncover the social and cultural mapping of the current condition of Ulos Toba weavers by identifying female weavers in the Lake Toba region related to the inheritance of traditional weaving as the cultural identity of the Batak Toba. This research is expected to be the basis for designing strategies to utilize Ulos woven artefacts as one of the cultural heritages and identities in the Lake Toba region to provide sustainable benefits for the weavers, so that they can provide solutions to the problem of extinction threats to this Batak cultural inheritance. In detail, this study provides an overview of the social and economic conditions of women weavers in inheriting and maintaining Ulos weaving as a cultural identity of the Batak Toba community, North Sumatra, Indonesia.

scholarly journals Dziedzictwo kulturowe wspólnot lokalnych w tradycji ustnej

2020 ◽  
Vol 7 (1) ◽  
pp. 65-78
Author(s):  
Tadeusz Paleczny
Keyword(s):  
Cultural Identity ◽  
Cultural Heritage ◽  
Oral History ◽  
Social Memory ◽  
Social Bonds ◽  
Local Communities ◽  
Small Community ◽  
Small Communities ◽  
The Social

Cultural Heritage of Local Communities in Oral History. The Base of Constructing the Social Memory  Local communities construct their own cultural heritage on the base of speaking traditions means as oral history. Each small community protects its own set of symbols and elements of tradition, including belief, dialect and private stories and anecdotes. The oral history performs a function of a part of social memory and sustains close social bonds among members of small communities. The article concerns the oral history’s role in preserving the cultural identity of small local communities.

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 Research on the Application of Emotional Design in Cultural Creative Product Design

2020 ◽  
Vol 179 ◽  
pp. 02119
Author(s):  
Yajing Hou
Keyword(s):  
Cultural Identity ◽  
Cultural Heritage ◽  
Product Design ◽  
Creative Industries ◽  
Emotional Design ◽  
The Social ◽  
Design Activities ◽  
Important Means ◽  
Creative Products ◽  
Important Branch

In recent years, cultural creative products as an important branch of cultural creative industries, have been widespread concern and promotion. It is not only a cultural heritage, but also the crystallization of the wisdom of designers, and it is one of the important means of cultural heritage and spread. The creative design is the interpretation of cultural heritage and the refinement of cultural spirit, and it needs to combine the characteristics of the present era and the series of cultural re-design activities carried out by the social aesthetic. The product design needs not only to embody the functionality of the product, but also to the inheritance of cultural spirit, and to pay more attention to people’s sense of identity and belonging to the culture. Based on the three-level theory of emotional design proposed by Professor Donald Arthur Norman, this paper analyzes its specific application in the design of cultural and creative products, in order to establish the emotional design criteria of cultural and creative products centered on user experience. It aims to help consumers establish a sense of design identity and cultural identity for cultural and creative products, and put cultural confidence into practice.

scholarly journals PEWARISAN BUDAYA DALAM KESENIAN BRINGBRUNG DI KELURAHAN LEDENG, KECAMATAN CIDADAP HILIR, KOTA BANDUNG

2021 ◽  
Vol 4 (2) ◽  
Author(s):  
Ricky Nugraha Oktovan ◽  
Dede Suryamah ◽  
Sriati Dwiatmini
Keyword(s):  
Cultural Heritage ◽  
Cultural Theory ◽  
Cultural Anthropology ◽  
Organizational Management ◽  
Qualitative Approach ◽  
Future Generations ◽  
Cultural Inheritance ◽  
Traditional Art ◽  
Inhibiting Factors ◽  
The Social

ABSTRAK Skripsi ini adalah hasil penelitian Antropologi budaya mengenai pewarisan budaya dalam kesenian, yaitu kesenian Bringbrung di Kelurahan Ledeng, Kecamatan Cidadap Hilir, Kota Bandung. Penelitian berjudul “Pewarisan Budaya dalam kesenian Bringbrung di Kelurahan Ledeng, Kecamatan Cidadap Hilir, Kota Bandung”, pembahasannya menggunakan pendekatan kualitatif dengan metode deskriptif analitik. Teori yang digunakan adalah teori sosial dan budaya yang mengungkap pewarisan budaya secara sosialisasi, enkulturasi dan internaslisasi. Penelitian ini, bertujuan untuk menjelaskan sistem sosial dalam pewarisan budaya kesenian Bringbrung di Kelurahan Ledeng Kecamatan Cidadap Hilir, Kota Bandung. Hasil penelitian ini adalah mengungkap tentang: 1) Proses pewarisan dalam Kesenian Bringbrung dilakukan secara Sosialisasi, Enkulturasi dan Internalisasi; 2) Media pewarisan meliputi praktek menabuh terebang, menyayikan lagu-lagu, menari dan pengelolaan keorganisasian; 3) Faktor pendukung dalam pewarisan adalah masyarakat, orang-tua, pemerintah, media sosial, seniman dan sanggar seni Bringbrung; sedangkan faktor penghambat meliputi keterbatasan mengenal budaya leluhur, profit seni Bringbrung tidak menjamin kehidupan, dan derasnya globalisasi yang memarjinalkan seni tradisional. Pewarisan budaya yang dilakukan oleh seniman Bringbrung kepada generasi-generasi penerus bertujuan agar kesenian Bringbrung dapat dilestarikan keberadaannya.Kata Kunci: Bringbrung, Pewarisan Budaya, Kelurahan Ledeng ABSTRACT This thesis is the result of cultural anthropology research on cultural inheritance in art, namely Bringbrung art in Ledeng sub-district, Cidadap Hilir, Bandung.The research with the title 'Cultural Heritage in Bringbrung art in Ledeng sub-district of Cidadap Hilir, Bandung', discussion uses a qualitative approach with descriptive analytic methods. The theory that is used in this research is a social and cultural theory that reveals cultural inheritance through socialization, enculturation, and internalization. This study aims to explain the social system in the cultural inheritance of Bringbrung art in Ledeng sub-district, Cidadap Hilir, Bandung. The results of this study are revealing about: 1) The process of inheritance in Bringbrung Art is carried out in socialization, enculturation and internalization; 2) Media of inheritance includes the practice of beating beats, singing songs, dancing and organizational management; 3) The supporting factors in inheritance are the community, parents, government, social media, artists and Bringbrung art studios: while inhibiting factors include limitations on knowing the ancestral culture, Bringbrung's art profit does not guarantee life, the rapid globalization that marginalizes traditional art. The cultural heritage carried out by Bringbrung artists to future generations aims to preserve the existence of Bringbrung art.Keywords: Bringbrung, Cultural Heritage, Ledeng Village

scholarly journals Organização coletiva e sementes crioulas: uma forma de luta e resistência pela identidade sociocultural quilombola na comunidade Sítio Veiga em Quixadá-CE

2020 ◽  
pp. 1-27
Author(s):  
Fernanda Ielpo da Cunha ◽  
Luis Tomas Domingos ◽  
Ana Maria Eugenio da Silva ◽  
Jose Gerardo Vasconcelos
Keyword(s):  
Cultural Identity ◽  
Cultural Heritage ◽  
Participant Observation ◽  
Observation Methods ◽  
The Social ◽  
Life Itself ◽  
Qualitative Nature ◽  
The City ◽  
Traditional Communities

The cultivation of Creole seeds is part of the wisdom of the ancestral legacy, which can be told since the beginning of the agriculture history, being the traditional communities the great guardians of this cultural heritage, whose teachings transpose the preservation of their memories, since they call attention to the preservation of life itself on the planet and of the next generations, where the preservation of the genetic heritage of these seeds will guarantee the biodiversity existing on Earth. Faced with this reality, this study aims to analyze how the ways of collective organization based on the cultivation of Creole seeds contribute to the preservation of the Quilombola socio-cultural identity in the quilombo community Sítio Veiga in the city of Quixadá, in Ceará state. This research has a qualitative nature, carried out in loco, whose guiding mode was ethnographic, with participant observation, methods that are fundamental for a greater approximation and interaction with the social subjects of the research and the actions inherent to the cultivation of Creole seeds.

PROBLEMS OF CLASSIFICATION OF CULTURAL HERITAGE OBJECTS

2020 ◽  
Vol 10 (2) ◽  
pp. 158-168
Author(s):  
SVETLANA IVANOVA ◽  
Keyword(s):  
Cultural Heritage ◽  
Cultural Values ◽  
Research Work ◽  
Cultural Property ◽  
Cultural Inheritance ◽  
Federal Laws ◽  
Cultural Heritage Objects ◽  
Cultural Monuments

The purpose of the research work is to analyze the norms of Federal laws, as well as the laws of the Russian Federation's constituent entities, devoted to the definitions and classification of the concepts “cultural heritage”, “historical and cultural monuments”, “cultural values”. Conclusions obtained in the course of the research: based on the study of current legislation, it is concluded that the definitions of “cultural values”, “cultural property”, “objects of cultural inheritance” contained in various normative legal acts differ in content. Based on the research, the author proposes the concept of “cultural values”.

TELLING THE TALE, TELLING THE NATION: TIV TALES, MODERNITY AND THE (RE)CONSTRUCTION OF NIGERIAN NATIONHOOD

2016 ◽  
Vol 25 (2) ◽  
Author(s):  
James Tsaaior
Keyword(s):  
Cultural Heritage ◽  
Methodological Approach ◽  
Intangible Cultural Heritage ◽  
Cultural Process ◽  
The Social ◽  
Oral Cultures ◽  
High Literature

Scholarship negotiating African folktales and the entire folkloric tradition in Africa has always been constituted as harbouring fundamental lacks. One of these lacks is the supposed incapacity of oral cultures to produce high literature. However, it is true that folktales and other oral forms in Africa can participate actively in the social, political and cultural process. In this paper, we engage folktales told by the Tiv of central Nigeria and situate them within the dynamic of history, culture, modernity and national construction in Nigeria. The paper adopts a historicist and culturalist perspective in its interpretation of the folktales which were collected in particular Tiv communities. This methodological approach helps to crystallize the historical and cultural lineaments embedded in the people’s experiences, values and worldviews. It also constitutes a contextual background for the understanding of the folktales as they offer informed commentaries on social currents and political contingencies in Nigeria. It argues that though folktales belong to a pre-scientific and pre-industrial dispensation, they are part of the people’s intangible cultural heritage and are capable of distilling powerful statements which negotiate Nigerian modernity and postcolonial condition. The paper underscores the dynamism and functionality of folktales even in an increasingly globalised ethos.

Popularitas Tari Piring sebagai Identitas Budaya Minangkabau

Panggung ◽  
2013 ◽  
Vol 23 (3) ◽  
Author(s):  
Indrayuda
Keyword(s):  
Cultural Heritage ◽  
Life Style ◽  
Social Life ◽  
Attitudes And Behaviors ◽  
Cultural Life ◽  
The People ◽  
The Social ◽  
West Sumatra ◽  
And Behaviors ◽  
Origin Area

ABSTRACT This article aims to explain the existence of Tari Piring dance as a culture identity of Minang- kabau people, both the people who live in the origin area and outside the area. Tari Piring dance is a traditional cultural heritage of Minangkabau people which is used and preserved by Minangkabau people in their life so that it becomes culture identity of Minangkabau people. As the identity of Minangkabau people, Piring dance is able to express attitudes and behaviors as well as the charac- teristics of Minangkabau people. The dance can serve as a reflection of social and cultural life style of Minangkabau society. Through Tari Piring performance, the outsider can understand Minangkabau people and their culture. Tari Piring, therefore, is getting more adhere to the social life of Minang- kabau people in West Sumatra and in the regions overseas. In the spirit of togetherness, Minang- kabau society preserves the existence of Piring dance as the identity and cultural heritage up to the present time. Keywords: Piring Dance, Minangkabau culture  ABSTRAK Artikel ini bertujuan untuk menjelaskan keberadaan Tari Piring sebagai identitas bu- daya masyarakat Minangkabau, baik yang berada di daerah asal maupun di daerah peran- tauan. Tari Piring merupakan warisan budaya tradisional masyarakat Minangkabau yang digunakan dan dilestarikan oleh masyarakat Minangkabau dalam kehidupannya sehingga menjadi identitas budaya Minangkabau. Sebagai jati diri masyarakat Minangkabau, Tari Piring mampu mengungkapkan sikap dan prilaku serta karakteristik orang Minangkabau. Tari Piring dapat berperan sebagai cerminan dari corak kehidupan sosial budaya masyara- kat Minangkabau. Melalui pertunjukan Tari Piring, masyarakat luar dapat memahami orang Minangkabau dan budayanya. Oleh karena itu, sampai saat ini Tari Piring semakin melekat dengan kehidupan sosial masyarakat Minangkabau di Sumatera Barat maupun di daerah perantauan. Dengan semangat kebersamaan, masyarakat Minangkabau mampu mempertahankan keberadaan Tari Piring sebagai identitas dan warisan budayanya hingga masa kini. Kata kunci : Tari Piring, budaya Minangkabau

scholarly journals Does the Law Determine What Heritage to Remember?

2021 ◽  
Author(s):  
Marie-Sophie de Clippele
Keyword(s):  
Cultural Identity ◽  
Cultural Heritage ◽  
State Intervention ◽  
Historical Knowledge ◽  
Human Right ◽  
Political Will ◽  
The Public ◽  
The Past ◽  
The Law ◽  
Ideological Manipulation

AbstractCultural heritage can offer tangible and intangible traces of the past. A past that shapes cultural identity, but also a past from which one sometimes wishes to detach oneself and which nevertheless needs to be remembered, even commemorated. These themes of memory, history and oblivion are examined by the philosopher Paul Ricoeur in his work La mémoire, l’histoire, l’oubli (2000). Inspired by these ideas, this paper analyses how they are closely linked to cultural heritage. Heritage serves as a support for memory, even if it can be mishandled, which in turn can affect heritage policies. Memory and heritage can be abused as a result of wounds from the past or for reasons of ideological manipulation or because of a political will to force people to remember. Furthermore, heritage, as a vehicule of memory, contributes to historical knowledge, but can remain marked by a certain form of subjectivism during the heritage and conservation operation, for which heritage professionals (representatives of the public authority or other experts) are responsible. Yet, the responsibility for conserving cultural heritage also implies the need to avoid any loss of heritage, and to fight against oblivion. Nonetheless, this struggle cannot become totalitarian, nor can it deprive the community of a sometimes salutary oblivion to its own identity construction. These theoretical and philosophical concepts shall be examined in the light of legal discourse, and in particular in Belgian legislation regarding cultural heritage. It is clear that the shift from monument to heritage broadens the legal scope and consequently raises the question of who gets to decide what is considered heritage according to the law, and whether there is something such as a collective human right to cultural heritage. Nonetheless, this broadening of the legislation extends the State intervention into cultural heritage, which in turn entails certain risks, as will be analysed with Belgium’s colonial heritage.

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