By Edi Nasution
'Muara Sipongi' is a name of settlements in the southern part of 'banua' (region) of Mandailing. It is not far from a place called 'Ranjobatu' other settlements, known as the border area between the region the Minangkabau and Mandailing. Natural conditions in the Muara Sipongi dominated by hills and forests, the air is cool and the air is cold enough anyway. Muara Sipongi is also crossed by several tributaries, one of which is named 'Si Pongi'. All tributaries was orphaned at the upper reaches of the Batang Gadis river located at the foot of Kulabu Mountain in Pakantan. Muara Sipongi is about 65 kilometers to the south of Pasar Panyabungan, or a distance of approximately 25 kilometers of Pasar Kotanopan.
The trip from Kotanopan to Muara Sipongi about ¾ hour can be reached by riding a motorcycle or a car public transport. Along the way many roads impassable there bends due to the winding. Paved road winding it's there on the side of small hills that line no unfailing, and underneath there is also Batang Gadis river where the water is flowing pretty heavy, like a large snake was slithering and long snaking.
Starting from Kotanopan, can be felt on the way the air is cool, and feels more cool again when it starts approaching Muara Sipongi because Muara Sipongi is above the hills, which is far higher above sea level than Kotanopan. With beautiful natural landscape background, as far as the eye could see, coupled with the cool air and cold, they can be flashed a short sentence in our minds: "a cup of hot coffee". Yes, exactly ! Then, the pleasure will be direguk moment when in front of the eyes is presented Pakantan cup of coffee, Arabica coffee is famous fragrant and tasty since ago time until now, up to foreign countries.
'Small Towns' in the interior
of North Sumatra
In the area of Mandailing Julu (Upper Mandailing), Kotanopan is a 'negeri kecil' ('small country') is deemed important enough for Mandailing people surnamed Lubis because it has historical values. Lubis clan has 'Ompu Parsadaan' ('one ancestor') named 'Namora Pande Bosi' ('the precious metal experts'), who according to the legend was the grandson of a sea captain named 'Angin Bugis' from Sulu Island, Sulawesi. According to their belief, around Kotanopan that advance the twin sons of Namora Pande Bosi, ie 'Si Langkitang' and 'Si Baitang' for the first time open a new resettlement sites. Both open settlements there at the command of his father, that if the odyssey to Mandailing Julu region they found somewhere where there are encounter estuary two rivers, then that's where they should open up a 'new colony'. The place was then called 'Muara Patontang', meaning encaounter place Aek Singengu estuary of the west and from the east Aek Singangir. Estuary of the river two small (Aek Singengu and Aek Singangir) facing each other and both empties into the Batang Gadis river. Furthermore, where a new settlement called is Muara Patontang, later became Huta Panopaan, which gradually renamed to Huta Nopan, and finally called Kotanopan. From where Si Langkitang go to a place which was then called Si Ngengu. Furthermore, this is the offspring of Si Ngengu spread and become kings surnamed Lubis (clan) in some new residential places such as Simpang Tolang, Sayurmaincat, Tambangan, and others. Meanwhile his twin brother Si Baitang odyssey continues further to the south. Later descendants are spread and become the kings of the surname Lubis in settlements like Huta Dangka, Tamiang, Huta Pungkut, Manambin, Huta Godang, and others.
Since a few centuries ago, people living in the Muara Sipongi is Alak Ulu (Ulu tribe) and Alak Mandailing (Mandailing ethnic group). Ulu people in groups residing in resettlement places like Bandar Panjang, Koto Baringin, Tanjung Alai, Ranjo Batu, Sibinail, Simpang Mandepo, Kampung Pinang, and Silogun. Settlements Ulu people in Muara Sipongi generally located in the eastern portion of 'Banua Mandailing', namely the Bukit Barisan mountain range. Ulu man was admitted as an indigenous people in Muara Sipongi because they were the first open settlements in the villages that they now occupy. While people are Mandailing immigrant population and they generally occupy the settlements in the west (Pakantan), such as Huta Julu, Huta Gambir, Huta Lancat, Huta Dolok, Huta Lombang, Huta Toras, and Huta Padang. Mandailing people are from the Panyabungan and Kotanopan area surnamed Lubis, Nasution, and other clans. In this area, the people Mandailing mostly Muslim (Isalam), and a small portion (less) Christian.
According to the history of its origin, Ulu people who live in the Muara Sipongi are descendants of migrants Rao in the 17th century. It seems, the Ulu people do have a lot of similarities with the Rao who live in Minangkabau (West Sumatra). While Rao people who migrated to the peninsula of Malaya (Malaysia country) since hundreds of years ago, known as the Rawa people (see: http://terombarawa.blogspot.com). And keep in Panyabungan unknown that there is any 'tribe' that is also regarded as a native, namely the Siladang tribe. There they lived together and always get along with people Mandailing. The people of this field is settled and farming in the hills (called 'marhauma' in Mandailing language) in the eastern Panyabungan district. Perhaps, that's why perhaps so they called Siladang by Mandailing people. While people who live in Panyabungan (Mandailing Godang) this, most likely also the people who came later to Panyabungan, which consisted of tribes (ethnic groups) various. With the premise that starting from Pidoli ('Piu Delhi'), Simangambat, up to Padang Bolak there are many relics of the Hindu civilization, either in the form of temples and other ancient artifacts. According to the oral stories that are still alive in the midst of society, all of which are the centers of Hindu worship, where believers are 'alak holing' (the Rivet-Indian) who settled there in the first period, and centers of religious worship is called 'Mandala Holing' (Hindu civilization). People later entrants consisting of various tribes and nations had also settled there, and live side by side with Rivet people (India). Their arrival to the region is to seek a better life, because the soil in the region have long heard they contain a lot of 'sere' (gold). In later days, the people who live and grow (proliferate) in the scope of the centers of Hindu civilization (Mandala Holing) in the past it was known as 'Alak Mandailing' (Mandailing people). To realize an order of a society that is orderly, peaceful, and harmonious, it was created a social system or customs according to their existence consisting of assorted tribal, namely 'Dalian Natolu' customs(pedestal three) or 'Markoum-Sisolkot' custom, which in turn make a total Mandailing people (called 'Bangso'), which consists of a number of 'huta' or 'banua' ('little kingdom') is autonomous with traditional leadership called 'Namora Natoras' headed by Raja Panusunan Bulung (King), but eventually became Mandailing ethnic groups, as part of the Indonesian, after Indonesia's independence was proclaimed in 1945 (Republic of Indonesia unitary state).
As in Mandailing Julu, Mandailing people surnamed Nasution saw Panyabungan as 'small country' in the historic Mandailing Godang ('Lowland Mandailing') district. Panyabungan are right in the middle of vast plains and very fertile soil for rice crops, that attract residents of other villages to move to Mandailing Godang to seek a better life as a farmer or merchant, such as those removals Mandailing surnamed Lubis who set up a new settlement called Huta Lubis, a distance of about half a kilometer from Panyabungan. For Mandailing region, Panyabungan is known as the 'granary' because it has an important role as a producer of staple foods are abundant enough paddy (rice) .
Why 'small country' in the area of Mandailing Godang was named Panyabungan, actually not known for certain. However, based on oral stories that have been around since the first until now, 'small country' was named Panyabungan (before the Republic of Indonesia was proclaimed), because 'local' is often used as the main venue for performing the 'Penyabungan ayam' act ('cock fighting arena'), which is said is one of the habits and preferences of the The local people in the past. While other versions of the story say that the 'small country' was named Panyabungan because the edges of Aek Mata creeks was used locals as 'Panyabunan', which means a place for washing clothes and bathing. Then over time, the process somehow, the 'panyabunan' words turned into Panyabungan used as the name of a 'small country' it. In addition there is also found the words 'Panyabungan' comes from the 'Punjab' word, is the name of a state in India. The place was given the name 'Punjab' ('Panyabungan') because it is inhabited by Hindu immigrants from India (the Rivet), which in Mandailing called 'Alak Holing' or 'Alak Koling'.
However, when starting from another perspective, it is likely that the name 'Panyabungan' to 'small country' that can initially also thought to have originated from the word 'Paya Bulan', which later changed to 'Panyabungan'. The strong suspicion is based on the assumption that Panyabungan is a rice producing areas are plentiful, and 'Paya Bulan' also is producing enough rice crop potential in Maga area, which is a place of settlement Mandailing people surnamed Rangkuti and Parinduri, where the Maga region as part of this Godang Mandailing region, since formerly known as the border area between Mandailing Godang and Mandailing Julu. In the meantime, the word 'paya' or less the same meaning with the word 'rura', which means "semak belukar yang berair' ('watering shrubs'), are the places that locals worked to grow rice. Godang Mandailing region, 'paya' or 'rura' this is very much once discovered and then cultivated locals, so that this region has a fairly extensive rice fields and act as a 'granary' in Mandailing region. Therefore Mandailing often referred to as 'Tano Rura'.
In contrast, Julu mandailing area does not have a lot of 'paya' and 'rura', so that in this region is not found extensive rice fields. Mandailing Julu residents only rice cultivation on a narrow area on the 'riverbank' (celled 'batang')) and tributaries (celled 'aek'), as well as on the slopes of the hills which have resources like 'simulmulan' and 'aek rura'. Because income is generally not enough to grow rice for groceries throughout the year, the population of Mandailing Julu open field (garden) in the woods. There they grow cash crops such as rubber, cinnamon, coffee, and clove trees, the results of which are used to buy rice and other necessities of life. When the results of those perennials that price drops in the market, or the lean times called 'aleon', Julu Mandailing population activities 'panning for gold " (callled 'manggore') in Batang Gadis so that they can still meet the needs of everyday life. In addition, in certain places there is a gold mining area as 'Garabak ni Agom' in Huta Godang-Ulu Pungkut, 'Tombang Ubi' near Muara Sipongi, and so on. That's why, in addition called 'Tano Rura', Mandailing also known as: 'Tano Sere'.
Until now, Panyabungan still divided into three important parts, namely Panyabungan Julu upstream, Panyabungan Tonga-Tonga in the middle, and Panyabungan Jae. at the downstream. Such zoning Panyabungan it in accordance with the direction of flow of a rivulet named 'Aek Mata' on Panyabungan, across from east to west and empties into the river Batang Gadis. In this case, the Mandailing people have a habit to divide and label the parts of the settlements where they are based on the direction of 'batang' (river) or 'aek' (tributary). Habits like these are also found in the area Mandailing Julu, such as the settlements named Huta Pungkut located on the edge of Aek Pungkut, divided into three main parts Huta Pungkut Julu, Huta Pungkut Tonga, and Huta Pungkut Jae. Likewise, the three major residential places that are near Aek Tambangan, which also empties into the river Batang Gadis, called Tambangan Julu, Tambangan Tonga, and Tambangan Jae.
Panyabungan Tonga-Tonga is a place of settlement considered quite important in the Mandailing Godang region, because Mandailing people surnamed Nasution believe that 'Ompu Parsadaan' (the ancestors) they are named Si Baroar for the first time live at the venue. After receiving the kingdom, Si Baroar given the title Sutan Diaru. The Bagas Godang (Royal Palace) and Sopo Godang (Indigenous Convention) is still there. The descent from here then Si Baroar (Sutan Diaru) spread into kings surnamed Nasution in the Mandailing Godang, among others such as Panyabungan Julu, Panyabungan Jae, Pidoli, Maga, and so on.
If you notice there are similarities between the patterns of life in the fields Siladang in Panyabungan and Ulu tribes in Muara Sipongi, they both settled and farmed in the highlands (hills) to meet the needs of their lives. In the language of Mandailing, hilly area called 'tor', while the activity is farming in the 'tor' called 'marhauma'. In contrast to the habits of people in general who Mandailing cultivating rice in the 'paya' or 'rura' (lowland) and at the edge of rivers and streams for irrigated rice fields, Mandailing Julu people gardening in the woods, and made settlements on the edge - the banks of the creek. In this connection, the same as the Siladang, that naming 'Alak Ulu' (Ulu tribe) against the indigenous population living Muara Sipongi and to cultivate in hilly areas, it is also given by the Mandailing. This is in line with their custom to name the places of their settlement, but in contrast to the use of the 'julu' term for sharing a 'huta' (village) of three main parts. namely julu, tonga-tonga, and jae as in Panyabungan. In the 'ulu' word here means embodied meaning 'head' or 'top'. Such as Mandailing people who live in the upper reaches of the Aek Ulu Pungkut (called 'Alak Ulu Pungkut'). People who live in the area Ulu-Pungkut (Mandailing Julu) is indeed located at the upstream of the Aek Pungkut, but their settlements were generally located in the highlands or hilly areas, such as Huta Godang which was originally located in the hills ( called Huta Dolok) , which is then transferred to 'lombang (lower plains) is a 'huta' near Aek Pungkut. So, 'Alak Ulu' means the people who place the settlements at the upstream of the creek that is located in the highlands or hills.
Related to other aspects of life, be said that from one side, the art is a blend of Ulu traditional art a blend of Minangkabau with Mandailing arts. One of the Ulu traditional art well-known person named 'Bodendak' (dancing at the same time singing), is a type of dance in pairs accompanied by two main instruments are violin and drum one hand, but also sometimes wearing a bamboo flute. It is also accompanied by singing rhymes sung like unrequited - counter ('unrequited rhyme'), which seems a bit like Ronggeng art in Malay society. 'Bodendak' art is usually held in a traditional wedding ceremony, the appointment and confirmation of a traditional leader called 'Datuk' of Ulu people, and in other contexts. Bodendak art event is usually preceded by an opening dance called 'patam-patam' ('martial arts'), and then proceed with 'Saputangen', 'Hitam Manis' dances, and others.
While the socio-cultural life of the Ulu rests on 'Tigo Tungu Sojorongen' or 'Tiga Tungku Sejarangan'. The purpose of the three 'tungku' it is custom, law, and the Book of Allah (Al-Qur'an). In this case, the Ulu tribe has a philosophy of life as it exists in the tribal Minangkabau is 'adat bersendi hukum, hukum bersendi Al Quran'. In other words, customary law is derived based on the Koran. The philosophy is different Ulu tribe philosophy of life (social and kinship systems) Mandailing tribe, namely 'Dalian Na Tolu' ('pedestal three'), who devote their lives to the socio-cultural kinship three groups namely 'mora', 'kahanggi', and 'anak boru', where the line offspring derived from the father (patrilineal), opposite the Ulu adopts matrilineal. Additionally, each person Ulu, the Field, and Mandailing has its own language, which is totally different from each other. , but the social interaction that occurs between them in everyday life, including business transactions (buying and selling) in the market at the time of the days of the week as in Muara Sipongi, Kotanopan, and Panyabungan usually used is 'saro' (language) Mandailing.
Life of border communities in the Muara Sipongi quite simple with the cultural characteristics of traditional agriculture. Meeting the needs of the everyday food derived from rice yields and also from the sale of tree crops cultivation in arid lands hilly areas. In addition, this region is also known as a producer of 'gulo bargot' (brown sugar) that is processed from palm trees, and 'miak nilam' ('patchouli oil' is prepared from a plant called 'nilam'). While in the west (Pakantan region) since the first well-known as a producer of coffee with best quality. Pakantan, once dubbed the 'Gunung Mas' country. A triumph of having experienced the area between the years 1835 to 1942. This coincided with the Dutch colonization over Mandailing at that time. Representing the triumph Pakantan (Mandailing) earning the nickname as the 'Gunung Mas' country, not because of the results of its arabica coffee overflow. Coffee plantations are planted in two places, namely in Pakantan Lombang and Pakantan Dolok, has provided prosperity for the locals because the price is very high. No wonder then that most of the Pakantan population can easily send their children to the island of Java. Therefore too many Pakantan people who have Hajj to the holy land of Mecca, and not a few who become merchants (called 'toke') in Mandailing Julu. However, the nickname Gunung Mas for Pakantan then ended with the arrival of the Japanese invaders in 1942, which prohibits farmers grow coffee and also export to Europe.
Mandailing quite vulnerable region of natural phenomena that cause damage and misery of the population, such as earthquakes, which in Mandailing called 'lalo'. That's why the main pillars of the houses there first generally supported by large rocks on the bottom that serves as a foundation. As we know that the Muara Sipongi 5.6 magnitude earthquake rocked the Richter scale (SR) about six years ago. The quake resulted in a landslide in Koto Rojo thus making houses collapsed and hit 4 occupants to death (see: Tempotinteraktif, "Earthquake Causes Landslide in Muara Sipongi, 4 Killed", December 18, 2006). But hundreds of years earlier, another source said that the earthquake was pretty awful as well have occurred in 1892. Information about earthquakes in the past it was recorded by missionaries Nikolai Wiebe. Mission Wiebe was followed by Johann Thiessen, who makes Muara Sipongi as well as the center 's primary mission Pakantan. For the period 1911-1927, Peter Machtigal work there, which is then submitted to the German missionaries (see: http://www.gameo.org/encyclopedia/contents/M750.html).
That's a bit of an idea about the existence of 'small countries' and the diversity of the population in the interior of the west coast of Sumatra, as the background of this paper. And about what matters further want exposed accordance with the title of this article, is the figure and the fruit of the work of the poets who were born in the 'small country' called Muara Sipongi, namely Muhammad Kasim Dalimunte (M. Kasim), Sanusi Pane and Armijn Pane brothers , and Z. Pangaduan Lubis.
In Indonesia Literature, Muhammad Kasim Dalimunte better known by the nickname M. Kasim alone. He is an author of novels and 'short stories' at the age of 'Balai Pustaka' in Jakarta. He was born in Muara Sipongi, North Sumatra, in 1886. With school teacher, he later became a grammar school teacher until 1935. But since 1922, he became known as a writer through the first novel published by Balai Pustaka, namely 'Moeda Teroena'. Two years later (1924) he won a competition to write a children's book , and won 'first prize' of 'Balai Pustaka', a gold watch. His work was later published under the title 'Pemandangan dalam Dunia kanak-kanak', which is better known in the wider community with the title 'Si Samin'. Literary works of others, which is also quite phenomenal is 'Bertengkar Berbisik' (1929), 'Buah di Kedai Kopi' (1930), and 'Teman Doedoek' (1936), the three literatur published by Balai Pustaka, Jakarta.
Collection of short stories 'Friends Doedoek' of M. Kasim regarded as the first collection of short stories in modern Indonesian literature. Novels and short stories are told about the rural population in Sumatra with a style that is simple and full of humor. There are two works of translation, namely 'Niki bahtera' (from In Woelige Dagen work Kieviet CJ) and 'Pangeran Hindi' (from De Vorstvan Indie works Lew Wallace), each of which was released in 1920 and 1931.
M. Kasim, who was born in Muara Sipongi is never settled in Kotanopan. His house is located in Sindang Laya, not far from the 'Pasanggerahan' contained in Pasar Kotanopan. This 'Pasanggerahan' resting place is a building resident during the Dutch colonial rule. M. Kasim home located in the Sindang Laya is still inhabited by descendants. The house is the residence of M. Kasim until now still looks sturdy and well maintained , and looks beautiful because it is located on higher ground and is strategic because it is not far from the Pasar Kotanopan. The region Kotanopan, M. Kasim invoked with less name 'Guru Kasim'.
Sanusi Pane is one of several Indonesian literary figures in the era of 'Pjangga Baru' (New Poet). Poets, known as a reformer literature in our homeland, was born in Muara Sipongi, North Sumatra, in 1905. He is a writer who contributed a lot of attention and work for the progress of Indonesian literature, especially in the period between 1919 and 1940 range. Wrestle with the world of literature in this country that when it 'staggering' in the era of colonization, but does not make Sanusi Pane lost the spirit of struggle in developing literature during his lifetime.
Sanusi Pane is the older brother of writer Armijn Pane. Both the son of an artist who is also a teacher in Mandailing named Sutan Pengurabaan Pane. Sanusi Pane at his school and ELS 's in 'Padang Sidempuan', North Sumatra. Then continued his education at MULO, who lived in Padang and Jakarta until completion in 1925. After graduating, Sanusi Pane preferring to continue his parents job as a teacher with continuing education in Kweekschool (School Teachers) in Gunung Sahari (Jakarta) and graduated in 1925, then the direct teaching at his alma mater, until Sanusi Pane transferred to Lembang, West Java. Before visiting India, Sanusi Pane also still had higher education (college) in learning ontologies in Rechtshogeschool (1929-1930) .
In every work of literature Sanusi Pane, appears clearly that the histories of the archipelago in the past, especially in the days of Hindu-Buddhist culture, which became the dominant background of each of his works, in which many instances of philosophy and his philosophy more to compare between East and West cultures, to compare the physical with the spiritual things, too many things to compare to each other is very contradictory. Maybe this is the basic things that are found Sanusi Pane during his visit to India. Sanusi Pane a form of inspiration is reflected in one of his works entitled 'Manusia Baru' (New Man), who in 1940 has been published by Balai Pustaka, Jakarta .
When Sanusi Pane returned from his visit to India, while still working as a teacher, he also became the Chief Editor of 'Timbul' magazine, a magazine published in the Dutch language. During his life Sanusi Pane written numerous essays on literature, philosophy and politics. In 1941, Sanusi Pane appointed as the Editor in Chief of 'Balai Pustaka', Jakarta. He died in Jakarta in 1968 under the age of 62 years. His works include: 'Prosa Berirama' (1926), 'Pancaran Cinta' (1926), 'Kumpulan Sajak' (1927), 'Puspa Mega' (1927), while the Dutch-speaking plays that 'Airlangga' (1928) dan 'Eenzame Caroedalueht' (1929). Other works are 'Madah Kelana' (1931), 'Kertajaya' (1932), 'Sandhyakala Ning Majapahit' (1933), 'Manusia Baru' (1940), dan 'Kakawin Arjuna Wiwaha (Mpu Kanwa, translation of Old Javanese, 1940).
>>>ARMIJN PANE (1908-1970)
According J.S. Badudu, et al (1984), Armijn Pane has quite a lot of nicknames, among others: Ammak, Ananta, Anom Lengghana, Intar Iras, AR, A.R., Ara bin Ari, and Aria Indra. The names that he uses in magazines 'Pedoman Masyarakat', 'Poedjangga Baroe', and 'Pandji Islam'. Armijn Pane, the third of eight children, was born in Muara Sipongi, South Tapanuli , North Sumatra, in 1908. His father Sutan Pangurabaan Pane is a local artist who has posted a story area titled 'Tolbok Haleoan'. Armijn Pane and his youngest brother, Prof. Dr. . Lafran Pane who became the first political scientist, also inherited his father's talent as an educator. Armijn Pane become teachers of students, while Lafran Pane is Professor of Teacher Training Institute and State Islamic University of Yogyakarta in Yogyakarta-Indonesia. Armijn Pane father was also an activist of the National Party during the National Movement in Palembang. It also implies that their father belonged to the love of the homeland. A love of the homeland is also passed on to his son, both Armijn Pane, Sanusi Pane, and Lafran Pane. At Armijn Pane it can be seen in his poem 'Tanah Air' and 'Masyarakat dalam Gamelan Djiwa' the second part. Armijn Pane died in 1970 in Jakarta, at the age of 62 years.
Armijn Pane began his education in Hollandsislandse School (HIS) Padang Sideempuan and Tanjung Balai. Then enter Europese Lagere School (ELS) , which is education for children in the Netherlands Sibolga and Bukit Tinggi. In 1923 he became one of the Studen Stovia (medical school) in Jakarta. However, he did not continue. In 1927, he moved to the Nederlands - Indische Artsenschool (Nias) , the medical school founded in 1913 in Surabaya. However, his artistic soul can not be controlled so that he then entered into the AMS section AI Languages and Literature Department in Surakarta until graduating in 1931. In education he has also been diving education as a teacher of languages and history in college 'Taman Siswa' students in Kediri and Jakarta. Therefore, one of the leaders 'Taman Siswa', Mr. Said, on behalf of all citizens of 'Taman Siwa' expressed appreciation for the funeral services of the deceased .
Does his experience as a medical studen (Stovia) in Jakarta and Surabaya, which lies behind the character of his doctors, as 'dr. Sukartono' in the novel title 'Belenggu' and 'dr. Abidin' in the drama 'Antara Bumi dan Langit' ? In both stories it does not seem fundamental things about the characters owned medical science, which served only the face and behavior of physicians in surface figure. It was probably because he did not get finished medical school so as not to appreciate everything related to medical science. Apparently, Armijn Pane is not attracted by the world of medicine, he was more interested in the art world. For that, he was able to finish his education at AMS AI (Department of Culture East) in Solo.
1949 Armijn Pane returned to Jakarta from Yogyakarta refuge. Armijn Pane arrival in Jakarta, she pursue the field of publishing. Armijn Pane also parenting magazine Indonesia since February 1955 with Mr. St. Moh. Saleh Shah and Boeyoeng. Armijn wrote the book The Story of Film Production in Indonesia as thick as 112 pages in the magazine Indonesia at that time. In addition, he also led the 'Kebudayaan Timur' (Eastern Culture) magazine issued by the office of Cultural Education. In the theatrical world, Armijn Pane became a leading member of a joint venture theatrical Java, in addition to the 'Ketua Muda Angkatan Baru' (Chairman of the Young New Force), is a gathering of artists in the cultural bureau. He began his career as an author and poet when he became a journalist and as a teacher in the 'Taman Siswa' Education. He has taught language and history at the School 'Taman Siswa' in Kendiri , then in Jakarta. His career in publishing was pioneered in the Central Library, as a clerk, in the office. Armijn Pane in 1936 was appointed editor.
During the Japanese occupation, he was Head of Literature at the Cultural Center of Djakarta. In addition, in 1938 he became Secretary of the Congress of Indonesian. He also became an advocate at the Center for Indonesian and Japanese period he became a member of the Commission term. In the world of organizational culture/literature, Armijn Pane is also active. He became an advocate and secretary of the Indonesian Cultural Institutions (IFIs) . Subsequently, he became a member of the National Cultural Council (BMKN) after 1950. In publishing, Armijn Pane is not only involved in the New Poet magazine, but also a member of the editorial board of the magazine in Indonesia. In the film world, Armijn active as a member of the sensor films (1950-1955). His poetry is 'Gamelan Jiwa' and 'Djiwa Berdjiwa', whereas short stories collection are 'Djinak-Djinak Merpati' (Balai Pustaka, 1940), and 'Kisah Antara Manusia' (Balai Pustaka, 1953). Another work in the form of a drama titled 'Antara Bumi dan Langit' (Pedoman, 1951) . For his services in the field of art (literature) , he gained Arts Award ('Anugrah Seni') from the Indonesian government in 1969.
>>>>Z. PANGADUAN LUBIS (1937-2011)
Students of the Faculty of Letters USU in Medan (North Sumatra) if there is a need and wanted to meet with Z. Pangaduan Lubis on campus, usually in the first place they will go to the two-wheeler parking lot to ascertain whether the Honda CB motorcycle white 70s there was parked there or not. If there meant he was on the campus to teach it or are there other purposes. As a lecturer in the Faculty of Letters, of course, the students are always concerned with Z. Pangaduan Lubis, who after meeting with them usually greet him as 'Pak Pangaduan' only. When he was not teaching in the classroom, 'Pak Pangaduan' quite often lounging over coffee in the cafeteria of the Faculty of Letters with fellow faculty colleagues and also of course the students. There are many things they talked about 'world campus' at the Faculty of Letters USU.
'Pak Pangaduan' figure is quite understated, but he is very critical in the disciplines of science, especially for the field of study that they do that is literature, theater, music, or culture in general. With its broad range of expertise that, so do not be surprised if 'Pak Pangaduan' sometimes referred to by many as a poet, artist, or cultural in North Sumatra. One thing that is quite interesting from this 'Pak Pangaduan' daily appearance is the presence of a 'akar bahar' bracelet around his left arm, and on the ring finger of his right hand pinned also a 'batu akik' ring (rocky agate) is quite large. Not only that, her hair was longish, but always looks neat because he diligently oiling and combing his hair.
As an artist, 'Pak Pangaduan' many workers involved with the arts in North Sumatra, especially the art of theater. In the field of theater arts, 'Pak Pangaduan' has some of his own works in the form of 'a play', among others such as 'Sarindan', 'Rimba Cermin-cermin', 'Paturun Sibaso' , and 'Kolak Susu'. So is the case in the field of cinematography (the film), he made a senetron scenario 'Janji Namboru' (1987) and 'Si Lemban' (1988). In addition, 'Pak Pangaduan' also quite a lot involved in making documentary films about art - ethnic culture in North Sumatra, in collaboration with national TVRI and private TV, among others, as 'Mararirayo di Tano Mandailing' and 'Horja ni Namora Natoras'. In the academic world, he has written a number of articles in the media, and create a paper presented in national seminars. Book he ever coral entitled Folklore of North Sumatra (1996), Kisak Marga-Marga Di Mandailing (Yapebuna, 1987), Ceritera Rakyat Dari Sumatera Utara, Lebih Jauh Tentang Willem skander dan Sibulus-bulus Si Rumbuk-rumbuk, Mandailing Polit, and with B. Zulkifli Lubis wrote a book titled 'Sipirok na Soli : Bianglala Kebudayaan Sipirok"(1998). In the field of literature was 'Pak Pangaduan' work as short stories titled In weather he made in 1973, and the 1966 prose work entitled 'Ribeli 1966' is a collection of poems with his best friend Aldian Aripin and Djohan A. Nasution, as well as Surat Cinta dan Nyanyian Anak-anak Miskin' (1997) with friends Iswadi his best. In addition, his poetry was also published in the 'Harian Kami', "Sinar Harapan', and 'Horizon' the literary magazine . While in the arts of music, 'Pak Pangaduan' creating Mandailing pop songs, among others, entitled: 'Mandailing', 'Willem Iskander', 'Bulung Gadung', 'Lubuk Larangan', and 'Jambatan Merah'.
One important thing that needs to be separate remarks about the figure of the artist, writer, humanist, and anthropologist named Z. Pangaduan Lubis ('Pak Pangaduan'), is the persistence to introduce the existence of ethnic or tribal Mandailing in the country (Indonesia) and abroad state. 'Pak Pangaduan' together with leaders of the 'Pemuda Pancasila' HMY Effendi Nasution (late), and a number of other Mandailing figures in the city of Medan, forming a special container for Mandailing people, namely Himpunan Keluarga Mandailing (HIKMA). Having formed the first time in the field, on his way then Hikma established in various cities in Indonesia such as Jakarta, even in Mandailing ancestral lands and also in Malaysia under the leadership of Abdur-Razaq Lubis with title Namora Sende.
Not only that, 'Pak Pangaduan' together with H. Amron Daulae, Zulkifli B. Lubis, Muhammad M. Bahksan Parinduri, Imsar Muda Nasution, Safrida Lubis, and others to form a foundation, namely "Yayasan Pengkajian Budaya Mandailing" (YAPEBUMA), which established specifically to examine various aspects of community life Mandailing, both traditional as well as for the development of arts and cultural orientation Mandailing in the future, by conducting academic research and studies. To that end, 'Pak Pangaduan' together YAPEBUMA other board quite often visit Mandailing ancestral lands. While returning to foster interest in and love for the community Mandailing against their own culture, particularly in the fields of arts, YAPEBUMA carry out several times "Festival Kesenian Mandailing" in the old country (Mandailing), such as in Muara Sipongi, Kotanopan, Panyabungan and Siabu. This art festival is named Pargalanggangan ni Uning-Uningan Mandailing by various traditional arts such as Gordang Sambilan, Sibaso (Manyarama), Tortor, Turi-turian, Moncak, Uyup-uyup, Ende-ende, Mandailing pop songs, and so on. This Mandailing arts festival held thanks to the help of sponsors (such as P.T. Kalbe Farma, P.T. ALS, and Yayasan Kehati Jakarta), as well as donations from Mandailing people own.
Regarding 'Pak Pangaduan' this figure, many friends, colleagues, fellow faculty colleagues, and 'students' who do not know his history in detail, including me (the author) himself. He knew the first time through a compatriot who had already been enrolled in the Faculty of Letters USU, namely Zulkifli B. Lubis. Because 'Pak Pangaduan' also teaches in the department of ethnomusicology, where I studied, so that over time our relationship grew close, and not infrequently I visited him in his home even just for 'markombur' ('coverse') alone, at night. During this 'markombur', 'Pak Pangaduan' introduce me about Mandailing traditional arts. Although I was born and raised in Mandailing, precisely in the district Kotanopan, but at first, indeed, has never occurred in my head about it. I lead studies in ethnomusicology at the beginning was purely economic considerations. At that time, the cost of the study there is much less expensive than if a private college for a field of study I wanted. My first choice is to study at USU Faculty of Economics, and the second option is Faculty of Social, but it turns out I was accepted in the Ethnomusicology department as my third choice. World ethnomusicology I entered only with the versatility to play rudimentary guitar alone, because in terms of playing guitar in the village (Pasar Kotanopan) just learned on my own, but diligent see and imitate the style of guitar play compatriot people older than me, like Mulyadi of 'Banjar Sawahan', Papa Dede (Satan) of 'Singengu', Kasto and Indrajit of 'Banjar Lombang' in Pasar Kotanopan area.
From year to the next, through the works of art and the works of academic, 'Pak Pangaduan' increasingly popular, both at national and international levels. The artwork is quite phenomenal theater, namely 'Sarindan' (Mandailing language term meaning 'the parasite'), been featured in 'Taman Ismail Marzuki' (TIM) Jakarta (1978), a collection of folk tales published by Scholastic North Sumatra, Jakarta; Oftentimes he was a resource person and speaker in various seminars that carries the themes of culture, both at home and abroad.
Finally, in accordance with their nature as human beings, 'Pak Pangaduan' stopped working due to the presence of the Lord had called him in 2011. At the end of the age of about 75 years, she has never experienced pain (stroke). Although eventually he was forced to sit in a wheelchair because of the pain, but he still serves the friends, colleagues, and families of relatives who came to visit to his home in Complex Journalists, Pulo Brayan, Medan. Previously, two beloved wife had already passed away to the Lord Almighty. With his first wife they had three children (two boys and one girl), whereas those of his second wife had two daughters and a son who gave the name of Dali, is a nickname for a boy meaning 'beacon of hope', and that (Dali) the same meaning to the term 'Lian' who is also the nickname for the boys in Mandailing.
Gandoang. March 17, 2014.
~o0o~
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