Dances Mandailing

THE TYPES OF MANDAILING

TRADITIONAL DANCES 

By Edi Nasution*

INTRODUCTION

Ethnic group or Mandailing community has different types of traditional arts as a legacy of the ancestors who passed down the generations from one generation to the next. One is the "traditional dance" which can be classified into three types, namely tortor, sarama, andmoncak, held at various ceremonies and rituals like Haroan Boru and Pabuat Boru (customary marriage), Mambulungi (death ceremony), Sorang ni Danak (birth of a child), Mangido Udan (ask for rain), and others. Various traditional dance Mandailing, especiallytortor and moncak, until now often presented in grand celebrations like Independence Day of the Republic of Indonesia, National Education Day, etc. The three types of traditional dance Mandailing has the basics of beauty (aesthetics), among others: unity, variety, contrast, transition, repetition, sequence (linkage or continuity), balance, climax, and harmony.

When studying the art of dance, the initial question that often arises is why do people dance? In many ethnic groups, participates in dance considered a unifying factor between groups in society. Indeed, there are various reasons why people dance, but many facts showing that dancing has a positive effect because it can improve the quality of life physically (healthy), to build a better mental attitude, and raise the social status.

Since its existence in this world, humans have been dancing. The dance is a form of human expression that can replace the "verbal language" (words) to convey the meanings of life and living in a form of dance movements that although it seems very simple. Social activities such as the "birth" and "marriage" are the two most common reasons for holding a celebration party, which is always present in the implementation performance art of dance. The majority of humanity living on the earth it believes in the entity that "Almighty", God. And the conviction that led to the human desire to communicate with him (God) and hoping to earn God's blessings. The proof, various dances sacred rituals people have practiced for centuries in different parts of the world.

As social beings, humans have made use of dance as a means (medium) to strengthen the relationship among them. In the meantime, why do people dance can be affected by "noise" or music. A baby, for example, when he heard the "ticking" it will respond by moving his legs. Thus, the art of dance we have now is not just a legacy of the ancestors, but it is also our birthright as human beings.

The following section describes the three types of traditional dance Mandailig, whichSarama (Sarama Datu and Sarama Babiat), Moncak, and Tortor.

SARAMA DATU

In a ritual as paturun sibaso (marsibaso) or also called pasusur begu, Sarama dance accompanied by music ensemble Gordang Sambilan, while the dancers one calledSibaso, Shaman is a character in the old religious Mandailing called Sipelebegu. In the past, the ritual ceremony held paturun sibaso when a major disaster occurs huta or banua outbreaks of diseases like cholera, and the dry season or a prolonged rainy season otherwise disrupting agricultural activities of local residents, which will eventually lead to starvation because the endless supply of rice as their staple food. To cope with bala na godang (major disaster), they ask for help begu, ie the spirits of the ancestors, through the intercession Sibaso because they believed that this was previously only sibaso can communicate with begu. In the past paturun sibaso rituals performed in alternating experiences (courtyard) of Bagas Godang (king's palace), which was attended by Raja(King), Namora Natoras, Si Tuan Najaji (local residents), and a supernatural character named Datu a very large role, especially for leading the implementation of the rituals. At that time, datu seen as "treasury" because it has a wide range of traditional knowledge (traditional wisdom) which is needed for the perfection of life huta or banua community.

In paturun sibaso ritual reserved for special meals sibaso, ie parlaslas, are laid out on a tray containing among others: garing (jurung fish) were burned and pege (a plant that has a spicy flavor), sira (salt) and ngiro (sap water) in tanduk ni orbo (container made of buffalo horn). After gordang sambilan sounded odd to play rhythm gondang (music repertoire) specifically named Mamele Begu, Sibaso was dancing and then experienced trance. In this trance, Sibaso asked to eat and drink. After eating and drinking, Sibasoback dancing. Not long after, the datu came Sibaso to notify the host of an event bala na godang (major disaster) that has engulfed the population, and appealed to sibaso so willing to ask what is the cause and what's the solution to begu because people are no longer able to cope. After that, Sibaso tell what causes and how to cope with the great calamity to the datu. After that, sibaso had fallen and was unconscious (fainting). Moments later he regained consciousness as before, the situation before the ritual begins.

SARAMA BABIAT

Tigers that live and thrive in the dense forests, called babiat, for Mandailing very important because in addition to having tremendous strength physically, apparently babiat also believed to have their own customs. People who have a clan Rangkuti and Parinduri who settled in the region Maga, which is the border between Mandailing Godang andMandailing Julu, believing that their first ancestor is the "incarnation" of the tiger. They and other Mandailing people generally taboo to mention tigers babiat name because it was considered unethical. Therefore tiger called by specific names such as "Rajai" (king we were), "ompungi" (our grandfather's), "namaradati" (a habitual it), and "nagogoi" (strong's). So do not be surprised if people surnamed Rangkuti seen as "those who feared", which translates from his clan name consisting of two words, namely "rang" (people) and "kuti" (the dreaded).

The names of the name for the tiger is one of the great diversity of languages Mandailing, namely hata parkapur, specifically their use while in the woods to look for mothballs, is one of the important commodity traded in the past. And even now in the midst of the community still alive oral stories about "people first" is considered "magic" can ride a tiger to visit areas far away from the settlements.

Wherever there is a tiger who came to close to the settlements, the locals will try to throw in order to go back into the woods by sounding Gondang Dua (Gondang Topap) ensamble. But there are also babiat who do not want to go back to their habitat and always disturb the tranquility of the population by feeding their pet livestock such as goats and cattle, so that they are forced to hunt and kill him together. After the tiger died, and was brought to the field to perform a traditional ceremony because the tiger is also considered to have a custom. In this ceremony, Gordang Sambilan dan Gondang Dua is played, and in the middle of the field a (male), namely Sibaso, seemed to dance with movements that resembles a tiger that was raging because of the pain. Dance like this called manyarama, accompanied by gondang (music repertoire) specifically named Sarama Babiat. In the 1970's, an event like this ever happened in Mandailing Julu and witnessed by many people, young and old, male and female. The traditional ceremony held in Singengu, which is located not far from the Pasar Kotanopan.

MONCAK

Pencak silat in Mandailing called Moncak, but sometimes also called “cilek” which means "silat". Both in Mandailing Godang and Mandailing Julu enough arts colleges. In the area of Batang Natal (Mandailing Godang) there is a well-known arts colleges for teachers and students are tough players and great arts with deadly moves. They were trained by the master in a place called Dolok Sigantang. That is why they are called Parsigantang and name moves silatnya also called Sigantang.

While in Mandailing Julu there were many arts college. Two of them are quite famous arts college that is in Saba Garabak (Huta Pungkut Jae) and Muara Pungkut. In addition marmoncak (playing pencak silat) with his bare hands, the students who studied martial arts in Saba Garabak also use podang (sword) and oris (dagger). While pencak silatcollege in the Muara Pungkut quite famous also because the students are taught a specialpencak silat moves called Linto (meaning "leech"), in which the movements of their feet while playing martial arts much like leeches. In addition, students from both universities will also learn pencak silat of mysticism, which is "aji-aji" (“jampi-jampi”) specific, a "practiced" in a game or fight to defeat the opponent.

TORTOR

If we look at the natural environment of the area Mandailing, in the north there is a fairly extensive lowland rice cultivation by the local population, while in the south is generally hilly areas (the Highlands), is part of the Bukit Barisan existing along the island of Sumatra. There a hill called tor, and hills that they named, like Tor Sijanggut in Huta Pungkut andTor Siojo the west of Pasar Kotanopan. The valleys (lowland) of Tor Siojo call is a fairly extensive rice fields and in certain areas used as residential places by the locals. As Aek Kapesong, Ranggasoli, Jambur Tarutung, Sindang Laya and Sawahan, these settlements are classified banjar.

Their size and population density, settlements in Mandailing ranging from the smallest known pagaran, greater than pagaran called banjar, and greater than row called lumban. All these types of settlements are included in a single region called huta or banua. In Mandailing, each huta union territory has its own and has its own system of government (autonomous) under the leadership of Namora Natoras headed by a king, Raja Pamusuk. While a combination of several huta, each of which originally came from and sanctionedhuta induk (mother village) with a "partnership law" (adattrechts gemeenschap, Mandailing terms in the language is an Janjian). A combination of some huta orbanua was also led by Namora Natoras but headed by a monarch who holds Raja Panusunan Bulung. In the past, a combination of some huta or banua headed by Raja Panusunan Bulung, is "small empire" are quite numerous in Mandailing, both in the region Mandailing Godang and Mandailing Julu.

Mandailing tribal social system has called Dalian Na Tolo (three pedestal), who devote their lives to the three kinship groups, namely functional kinship mora, kahanggi, andanakboru. In this case, the mora is "the party that gives girls" and instead anakboru is "receiving party girls", while kahanggi are people who have the same clan (also calledsisolkot) because they come from one Ompu persadaan (ancestors) are the same. As clan Nasution has Ompu parsadaan named Si Baroar, and Namora Pande Bosi isOmpu parsadaan from people who have Lubis clan in Mandailing.

Besides having a patterned system of kinship by embracing the lineage withdrawal by the father (patrilineal), in the community are also Mandailing stratification (coating) that goes social for generations in three layers. First, Namora-mora is the nobility. Second, Alak Na Jaji or Si Tuan na Jaji was the most ordinary people. Third, hatoban or partangga buluare slaves. Those who belong to hatoban caused by several things, among others, for failing to pay debts, deliberately purchased to be mastered, and defeat (losing) the war. However, in some huta and Janjian there is one more layer called natoras-toras, are community leaders (the intelligentsia) who are not status as nobility (Namora-mora), nor the common people (Alak na Jaji). The nobility in Mandailing easily recognizable because they hold the title of Raja, Sutan, Mangaraja, and Baginda. In addition, residence (home) they called bagas na marbolang or bagas na martanduk as decorated with traditional ornaments typical, so it appears clearly different from ordinary people's homes in a huta.

Dance called tortor have a very close relationship with all the ancient religious systems Mandailing, namely Sipelebegu. This is indicated by the presence of a traditional expression (term), ie "somba do mulo ni tortor", which literally means "tortor origin is worship". In this case, somba (worship) or targeted offerings to the spirits of ancestors (begu) believed to have supernatural powers and great influence on various aspects of their lives. In the past, the spirits of the ancestors (begu) is believed to be that resides in certain places in the woods (naborgo-borgo), in the mountains, tor (hills), large trees, and so on. However, Sipelebegu religious system is now not much more is known by people Mandailing own, especially more so since most people Mandailing have long embraced Islam and discard old belief because contrary to the teachings of their religion. Likewise, ancient beliefs are still leaving traces, such as the Sipelebegu terms, phrases "somba do mulo ni tortor", statues or sculpture made of stone or wood named tagor and sangkalon, repertoire of music in ritual pasusur begu named gondang mamele begu, etc.

Why one of their traditional dance is called tortor? The answer is not known for certain. Similarly, if the terms of tortor words literally. While the word "tortor" was not commonly found in the "vocabulary" Mandailing language. But some say that the term "tortor" used as the name of one of the traditional dance was probably derived from the word "tor tu tor", which means "from one hill to the other hills", which later changed (abbreviated) to "tortor". In this case, it may be interpreted from another point of view, is not based on a literal meaning. Since it is well known that in the highlands Mandailing, especially in the area of Mandailing Julu, there are a lot of tor and each has its own name. If we look at the term "tor tu tor", also may contain terms that describe a situation or certain things, where from hill to hill another look like a "line" up and down, take the form of "equilateral triangles" lined up, which is basically similar to a movement in tortor. When the dancers were manortor(tortor dance), their body looks like "up and down", by bending the legs to the rhythmgondang (drum), and also in tune with the movement of both hands of each such person being marsomba (worship).

As for the other words in the language Mandailing associated with the word "tor", is "mangantor". That is, a situation in which a person's hands or feet had "specific vibration" because struck on other objects, such as wood, but it is rather hard bit so he feels pain. Thus, with reference to the sense of the word "mangantor" and "tor tu tor", which when linked to the "dance moves" in manortor, hence the term "tortor" can be interpreted as a "gesture" of panortor (dancer) that "vibrate" or "be move". This was evident when thepanortor (who are on the front row) was manortor, where both hands of each of thempanortor always wiggle to the music accompaniment (called gondang dua, gondang topap, gondang tunggu-tunggu dua, or gondang boru). Strictly speaking, "hand gesture" they are always in tune (along) with sound ogung dadaboru (gong female) on the first beat and ogung jantan (male gong) on the third knock, when they were manortor.

In any event, there are two groups manortor each one pairs. The first group lined up in the front row, while the second group is also lined up right behind the first group. The second group is called "pangayapi" or "panyembar", and the first group is called "na iayapi" or "na isembar". The first group who were in the forefront of this is the people or kinship group which was respected by the people who were in the back row (the second group). In accordance with customary Mandailing community, there are some types of tortor based on the status or social position of the people who manortoryaitu: (1) Tortor Raja Panulusan Bulung, (2) Tortor Raja-Raja, (3) Tortor Suhut, (4) Tortor Kahanggi Suhut, (5) Tortor Mora, (6) Tortor Anakboru, (7) Tortor Namorapule, and (8) Tortor Naposo Nauli Bulung.

Tortor Mora in ceremonial marriage (Haroan Boru), for example, that manortor in the vanguard (the first group, na iayapi) are the ones that existed as of the mora conducting marriage ceremonies (called Suhut), while in the back row (the second group, pangayapi) is Suhut when it existed as Anakboru. If the Tortor Anakboru, at the forefront (na iayapi) are the ones that existed as Anakboru in traditional wedding, then the people who were in the back row (pangayapi) is "Anakboru ni Anakboru " (Anakboru of Anakboru it himself) called Kijang Jorat. In the implementation of these two types tortor, all of whom are men. Yet another case with the implementation tortor Naposo Nauli Bulung, which in the forefront (na isembar) is the girl who has the same surname as Nasution, then in the back row (pangayapi) is the youth who (had) another example surnamed Lubis, or otherwise the girls in the front row (na isembar) surnamed Nasution, while the front rear (panyembar) should Lubis clan, or other clans like Rangkuti, Pulungan, Matondang,Daulae, and Batubara. Anyway the young men and women are paired manortor should not have a clan of the same. Ideally, Nauli bulung (girls) as a pair naposo bulung (youth) are girls from mora (or tulang) of the young man called boru tulang.

Movement of the foot between the two groups (pangayapi) and the first group (na iayapi) so apparently different when manortor. The first group (front row) moves to the right or left by moving the tip of their toes called manyerser, whereas the second group (back row) moving in a way to step called mangalangka. If the first group (na isembar) behave like someone who is worshiped (marsomba) when manortor, while each person from the second group (panyembar) behave like alihi (eagle) as if it were "protecting" (glorified) partner move toward the left or the right, where both of his "open chest" in height below the shoulder, sometimes "shaky" to the left and to the right to follow the direction of movement of the first group (na isembar). In manortor activity, the panortor will manortor in place with the front facing. After that, they move to the right side, then back manortor forward. Then move to the left side, and back again to the initial formation, ie manortor in place with the front facing. Typically, the movement toward manortor right and left are performed three times, and after that they then formed a new lineup of "circular" and moments later returned to its original formation, then moved again to the right and left side. Further back to the initial formation, and finally manortor activity was over.

Manortor activities in Orja Siriaon (marriage ceremonies) and Orja Siluluton (death ceremony) using two types of gondang (music repertoire) are different, ie gondang sabe-sabe with upbeat (isar) is used as the "opener" manortor activities and gondang tortorthe slow tempo (erer) used to accompany manortor activity next. When gondang sabe sabe played, in galanggang panortoran (a special place for manortor) comes a man with a motion sarama (manyarama) panortor approached carrying a "custom hooks" (abit sende or patani), which stretched on his hands. After being in near panortor, then "custom cloth" is placed on the shoulders of one panortor. This is done to all those who willmanortor. Once done to it, then gondang tortor played, and soon follow manortor activity began. When manortor this occurs, a man who acts as panjeir sing a special song fortortor, namely jeir. And at the end manortor, the panortor always shouting horas, which also welcomed by those in attendance gathered to shout the same word.

Here are written some poetry or lyrics strands of ende (songs) that called Jeir. Ende is sung by Abdul Hakim Lubis (Jatumaya) when implementing traditional wedding ceremony in Maga Lombang in 1991.

J E I R

o … santabi sapulu baya noli santabi laung

o … di boru ni ayu ara na godang parsilaungan

o … tortor muyu on tortor maroban domu dohot haratan

o … hamu na opat dimanjujung i mada 

o … panortor ni boru na mora habang dongan so tarboto-boto mai

o … na songgop so tarbege-bege boti

o … ayu ara na godang parsilaungan 

o … tortor muyu nian na borkat maroban holong dohot domu

o … amu na tolu simanjujung 

o … santabi sapulu dongan noli santabi baya

o … di boru ni ayu ara na godang parsilaungan

on mada dongan ibana tortor ni ale nauli bulung do

on di napa-napa boti i tano Maga Lombang on Gunung Marapi do na martua 

o … banua ni Raja Panusunan Bulung na sakti on do

o … Mangaraja Bangun dongan Pandapotan panyundut i

o … suang songon parhabang na ni dongan sitamba laut do

o … tortor ni boru na mora

o … na mora amu na tolu

o … simanjujung 

o … manortor margindar dongan tolu da sanggar an ma

o … mangadopkon raja-raja humaliang humalogo

o … na tolu simanjujung 

o … na suang songon parpusuk ni maldo boti di dolok do

o … tortor ni boru na mora di luat ale tano Maga

o … ayu ara na godang parsilaungan

o … adiankon jolo le somba on laos tu pudi baya

o … marsomba ho inang tu siamun dohot somba tu siambirang ale

o … so horas ko nian da na manortor boru suti

o … na jongjong mada opat boti saanggaran samo ginjang samo godang do

o … di ulu nai da baya naso marrongit do bagas godang na martua do

o … banir na bolak parkolipan

o … ulang kamu maila dina manortor palontik tangan

o … siambirang 

o … ulang kamu tolu dongan bajora boru rangkuti baya

o … na di pudi do bayo jambu dongan na mongkol Maga baya

o … i ma bayo dongan na sakti on tarmauk na tarbonggal

o … di luat ni Mandailing on o … boru rangkuti i mada … 

Horas ... horas ... horas ...

Especially for tortor Naposo Nauli Bulung, there is one term that is quite important: "tolu saanggaran". That is, the people who manortor consists of three girls, each paired with a young man. Once they move to the right and left side, then their formation "triangle". Aftermanortor some time in that position, then later they returned to the initial formation, they both facing forward. To tortor Naposo Nauli Bulung, the cycle is usually repeated gestures like three times. Tortor Naposo Nauli Bulung is often called Tortor Siutur Sanggul and tortor Ranggas Namaule-ule. Called Tortor Siutur Sanggul (decoration that is in the heads of the girls) seem to be always "mutur" (moving quickly) when they'remanortor, while tortor Sanggar Namaule-ule movements meant they (the girls) are whenmanortor looked so weak-grace of so likened branches like a rock when the wind blows.

EPILOG

Many facts show that humans have specialized neurons for processing music (Ayotte et al, 2002; Johnsrude et al, 2000; Peretz, 1996; Peretz and Morais, 1993; Perry et al, 1999), but still little evidence of such a to a combination of two arts, the "music and dance". Human beings, according to Edward H. Hagen and Gregory A. Bryant (2009), are unique among primates in their ability to form cooperative alliances between groups in society despite the absence of a relationship "partnership". It is likely that a unique form of human social organization based on music and dance. Music and dance may have evolved as a coalition signaling system that serves as a useful means of communication and at the same time to improve the quality of the coalition itself, so allow for meaningful partnerships among groups that exist in a community or ethnic group.

In the lives of people to communicate with three basic channels, namely language, music, and dance. Language (words) that we use in conversation is the basis of all human communication. In this case, the "words" is a "small packets of meaning" which is then formed into a "sentence" that allows human beings to communicate by connecting to each other. As we know that there are words that are neutral such as "street", "cold", and "sculpture", but other than that there are words that are emotional as "sad", "fall in love" and "happy". Having regard to the words that are emotional and then interpret, particularly with regard to the context in which those words are used, it can help us to understand the emotions of human beings. However, studies that have been done indicate that the "words" in communication can only explain about 10%. Examples such as "love letters", is a form of human communication are quite "poor".

Unlike verbal language ("words") man, "music" talk to "tonal languages" such as pitch, rhythm, melody, and so on. Human emotion can be heard and felt strong in music, as well as emotional conditions such as a sense of happiness and excitement can be clearly detected in the music. Research shows that 30 to 40% of communication is through music, which is clearly far more than through "words" only.

Higher frequency of the (music) that the communication is "body language" (dance), which reached almost 50%. But the body language (dance) is very delicate and easily misunderstood its meaning by the viewer. Dance is the language of the most difficult for people to control, as there are hundreds of muscles in the human body, many of which are beyond the control of the human consciousness. Still, the dance may be the most reliable indicator to know and understand what is actually thinking and feeling human beings. To get to the "point" is a complete and comprehensive understanding, then we must examine the cultural context of the dance in the dance owners themselves holistically. Really, there is no other way.

Cileungsi, March 13, 2012

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*ethnomusicologist