Mandailing Architecture

The Concept of Banua 

in Mandailing Architecture

by Cut Nuraini 

This manuscript are presented in “CIB International Conference – Local Wisdom in Global Era”, in UKDW Yogyakarta, January 21-22, 2011.

I. Introduction

The existence of Mandailing has been recognized since 14^th century based on the word of honor of  Palapa Gadjah Mada on verse 13 Kakawin Negarakertagama by Mpu Prapanca as the expansion territory of Majapahit in 1287 Caka (1365 AD). The Kakawin hand writing was found at Pura Cakranegara Lombok and afterward, Dr. J. Brandes from Holland published it in 1902 based on its origin language and letter with the title Negara Kertagama, loftdicht van Prapanca op koning Radjasanagara, Hajam Wuruk van Majapahit (Lubis, 1986 : II, 1)

The settlement of Mandailing consist of some villages which their locations spread in Mandailing Julu and Mandailing Godang. At the beginning, those villages were huta called desa. The pattern of the settle has been exists since the first inhabitant came to this area. By living as permanent residence, those people build their own villages as Huta. The newly forming Huta could be a main village by process of Horja which is symbolized as a king and a building named Bagas Godang as the mansion of the king and the other building Sopo Godang as public hall meeting and Sopo Eme as the rice barn. Huta village has also a large yard Alaman Bolak Selangseutang as a place for all village activities which located in front of Bagas Godang (lubis, 1999:VI,82).

The interesting phenomenon of Mandailing settlement is that the pattern setting of the building and its element form certain unique structure. Their traditional buildings consist of some types and each type has its physical characteristic with certain ornaments and symbols. Each building and its element in Huta has unique pattern based on concept of Banua which has been believed since long time ago.

II. THE STUDY OF MANDAILING ARCHITECTURE

2.1. The Belief  System and Banua Concept in Mandailing

Before Islam came and became a majority religion in this area, Mandailingpeople had a belief that this universe is divided into three parts or calledBanua, they are :

1. Banua Parginjang (upper world), this is a place where God, the human master that called Datu Natumompa Tano Nagumorga Langit as the creator and the owner of this sky and earth;
2. Banua Tonga (middle world), this is a place where human does daily life activities. This place is symbolized by red color;
3. Banua Partoru (bottom world), this is a place for dead people or called as spirit world. This place is symbolized by black color.

…to be continued … ^_^

The three beliefs world can be seen in Mandailing social life setting as micro scale(house) as well as macro scale (spatial domain). The three world cosmologies, Partoru, Partonga dan Parginjang are applied by Mandailingpeople to build their houses. House is lifted from the ground (bottom world) as the reason that it is considered as a place where the dead people are evil and dirty, thus, the type of this  building is grandstand house.

2.2. Mandailing Traditional Architecture

Mandailing traditional architecture as a product of high culture and enriched by symbols like the other traditional building in Indonesia. Product of Mandailingtraditional architecture consist of Bagas Godang and Sopo Godang which are equipped with Sopo Eme or Hopuk. These building spread in Penyabungan District, Kotanopan and Muara Sipongi. These traditional building are the inheritance of kingdoms from Lubis and Nasution clan in Mandailing.

Bagas Godang is also called village bagas and this is house for the huta’s king or tunggane ni huta or King Panusunan as the leader,  huta’s regulator,  upholder and as the village guardian. Bagas Godang as a main village building in a huta and a clan symbolizes bono bulu which means a custom unity withnamoranotoras (honorable leaders), kahanggi (family in same clan), anak boru(family for son-or daughter-in-law), datu, si baso, ulu baling, artist and kingPamusuk as king of the village.

Bagas Godang also has a function as a place for gathering or meeting and as a place of protection for each member of the society who has disturbance from other huta. Closed by Bagas Godang, a Sopo Godang which is used as museum for art instruments like gordang sambilan. Ogung is a place for discussing and conference, place to decide customary, place for visitors and tortoar as stage for art performance.

Bagas Godang and Sopo Godang are also equipped with Sopo Eme or Hopukwhose their function as rice barn. Sopo Eme and hopuk have a meaning of social prosperity and each member of society who doesn’t have enough food, they could ask help to the king.

In front of Bagas Godang, there is wide flat ground as the yard of BagasGodang or Alaman Bolak Selangseutang. This yard is a place for traditional ceremony and protection from outside disturbance. Every member who takes cover at Alaman Bolak could not be disturbed, hurted, or hit because that person has been under protection of the king. The King will bring the justice by discussing with the honorable leaders. Today, this yard also becomes a place for art performance gordang sambilan, monortor, martial art training and other Islamic occasions.

The other facility in a huta is Pancur Paridian or tapian mandi. A hut in rice field called Sopo Saba, and in garden called Sopo Ladang. The king graves are protected by a building called Bale.

2.3. History of Huta

The settle living pattern has been exist in Mandailing since the ancestors of Mandailing people came to this area. At the beginning, Mandailing people lived in mountain range and being nomadic. At that time, they did not have a certain belief and only believed Sipelebegu, an invisible creature and their ancestor’s holy spirits. Afterward, they moved from the mountain range and made new village for settle.  They still used their lands in mountain as agricultural field even though they had settled in their new village (source: direct interview with some main informants, 2002)

The classification of  Huta (kampong) in Mandailing are divided into some phases which reflect the status of  huta by some certain traditional ceremonies:

1.      Banjar, a small kampong (village)  with two or five houses.

2.      Pagaran, kampong that consists some banjar.

3.      Huta or huta adat, kampong that has already completeness of  mores and becomes a mansion of the King. Huta has a king and its apparatus.

During the existence process of a kampong in Mandailing, it is always started by the building of people houses or ordinary bagas by certain group of clan who come from mountain range. Each group has  only  three or five houses called pagaran. Henceforward, a pagaran could become  a banjar and abanjar would  become a huta.

To become a huta; a pagaran or  a banjar must have a completeness of moresto do horja (traditional ceremonies to legitimize a huta becomes a huta adat). Thus, the process to become a huta does not always need some steps, like mentioned above.  A pagaran or banjar can be  directly become a huta if they could fill all main conditions as huta adat by equipping the completeness of mores and showing the ability to do horja. Other condition is that a kampongmust have a small kampong as the expansion territory from its origin kampong that would be a huta adat (sumber: direct interview with some main informants, 2001).

At the beginning, the kampongs had a rule between king and people that to build Bagas Godang – it is forbidden if its position back of the sun, while people houses usually back of the sun. It is believed that only king who can face the sun power and also as the source of life. Beside as intellectual, the king must have magic and spiritual power.

A matter of fact, only some Bagas Godang that lead to  the sunrise or east but the position do not back of sunrise in the east. In some cases, geographically, this is the position of Bagas Godang in Huta. When Bagas Godang leads to the east like the first belief, it should be put in the west while west is the position of  Alaman. It is impossible to be  directed to the north due to the other buildings and also it is not quite wide for Bagas Godang because its big size. In that condition, the most possible is position directed to the south or south east or the elements setting are influenced by environment.

Nature and environment character are not the only factor that make the difference of building in Alaman Bolak. In some cases, most of Bagas Godanghave the oriented direction to the others houses (ordinary people houses) and houses of king’s relatives (conversely, the houses around Alaman Bolah orient to Bagas Godang). Beside that, the position of Bagas Godang face to the entrance road to the village even though indirectly. Everyone who comes to the village can find Alaman Bolak location because the entrance road always directs to the Alaman Bolak. It is related to the kinship system and social systemDalihan Na Tolu that keep custom values by an homage to the king as the founding father of Kampong, leader as well as servant of the people and to theKahanggi whose privilege as decision maker is more important that the king in society life.

Dolok and Lombang are decided based on their position to the river and not only used as normative value but also in all cases contextually. From cosmology concept, it can be seen that jae, julu and tonga are part of Banua Partonga or middle world. It is appropriate to the Mandailing ancestors belief that have made Banua Partonga as a place for human to do daily activities, in such a wayAlaman Bolak as center activities for the people in Banua Partonga.

Lombang that shows the “bottom world” and closed to the river is part of Banua Parginjang. Literally, lombang that has  meaning “bottom”, it is not appropriate with the meaning of Banua Parginjang that has meaning “upper world” as sacred place of the Almighty Creator. However, for farther observation,lombang with the river is always close to the hill. The hill and river are believed as Banua Parginjang.

River and mosque throughout its side are located  in lombang. From cosmology concept, this position is in Banua Parginjang  area. As source of life, water is sacred for Mandailing people and it becomes a basic of water division in the village. Banua Parginjang as sacred upper world is symbolized by a river.

Dolok (Hill) is a part of Banua Partoru which means “bottom world” where the dead people stay. Literally, dolok  is also not appropriate with the meaning ofPartoru (beneath or humiliated). However, from all cases show that dolok is part of Banua Partoeru because it is always marked by the existence of old graves. The graves in tonga and located closed to people houses are new graves. Therefore, the “bottom world” as a place for the dead people is not place in bottom place as the meaning of Partoru, but precisely in upper place and far from the river. It is appropriated to the Mandailing ancestors belief that the dead people should be kept away from life source “sun and water”. For farther observation, it can be seen that all old graves are always located in the west area (sunset spot) and far from river. Although some graves are located closed to the river,, there is always certain difference such as a sharp contour, thus the grave is always located in upper place.

to be continued ….

Banua Parginjang which means sacred upper world is always located in the east or north east and not in the west. It is appropriated to the belief ofMandailing ancestor. Before Islam came, they had a belief of sun power as the source of life and the Almighty Datu Natumompas Tano Nagumorga Langit who created and controlled the sky and the earth, thus Banus Parginjang is always area in the east where the sun rises.

Mosque as a worship place which was built when Islam came to this area. Its function as a place for worship activities and it is placed in Tongawhich part ofBanua Partonga zone.

Basically, Mandailing people still use the older cosmology concept to decide a location and the placement of huta’s elements. The change of a certain element location which is not appropriated to cosmology concept occur due to the system belief alteration from Sipele Begu to Islam, therefore the grave as an humiliated area must be kept away from human area where the location is closed to the people houses even though it is located in the higher area.

Conclusion

The placement of each element in Huta is classified based on 3 aspect as well as hierarchy, i.g. (a) Banua cosmology, (b) belief system which related to the river and sun power, (c) nature condition. Physical object location is decided according to the sun position. If natural condition did not support, the orientation could be change but it would be the opposite of the direction where  the sun rises. In this case, Banua concept application and belief to the river during orientation direction decision in Huta are consistent , while belief system to the sun power depend on nature condition.

Alaman Bolak has a function as the center of activities, which means it is located in Banua Partonga zone. The position of Alaman Bolak and configuration of the buildings depend on Huta’s status, the existence of Bagas Godang and Sopo Godang, Physically(environment) or non-physically (Banuaconcept, custom and belief. Alaman Bolak is an important element and a main condition for every Huta which becomes Huta adat and power state. AlamanBolak position is decided early than Bagas Godang and Sopo Godang.

In macro side, the position of Alaman Bolak on Huta is configurated to its function as a center for people activities which is wide enough as well as in the right zone. The proper places as Alaman Bolak location in huta is (1) jae means downstream area; (2) tonga means middle area of huta and (3) julu means headwater area. Those places are located in Banua Partonga zone.

The position of Alaman Bolak is a manifestation of older Mandailing people belief which came from their ancestor tenets as (1) Banua conception which is believed as 3 different worlds, i.g. (a) Parginjang Banua or tua haratan, asupper world where the Almighty Datu Natumompas Tano nagumorga Langit, (b) Banua Partonga or hanjonjongan diha sianganon as middle world where human does the daily activities, and (c) Banua Partoru or honding situmandokas bottom world for dead people or spirit world; (2) The belief to the river as a sacred element and a foundation to decide Banua kampong zone and the power of the sun which means morning sunrise as a sacred direction.

Alaman Bolak dan Sopo Godang as a center of mores occasion is located inBanua Partonga zone, while Bagas Godang is located in Banua Parginjang Zone. The orientation of Bagas Godang is not the opposite of the  morning sunrise. The grave as a place for dead people is located in Banua Partoru zone,  as the sunrise spot and kept away from Banua Tonga as place human and river as sacred place in Banua Parginjang.

In meso scale, the position of Bagas Godang is located in Banua Parginjang andSopo Godang in Banua Partonga. The personification of non-physic belief aspect, placement and configuration of Huta’s elements also consider physical aspects such as nature and environment condition. If the nature condition does not support, it is supposed to be in other zones except Banua Partoru. Thus, nature condition becomes a consideration to apply or to personified the non-physic belief aspects into physic aspect. The exception is in the placement ofAlaman Bolak in Banua Partoru.

BIBLIOGRAPHY

Harahap, H.M.D., 1986, Adat Istiadat Tapanuli Selatan, First Edition, Grafindo Utama,Jakarta

Lubis, M. Dolok dan Harisdani, D. Devriza, 1999,  Mandailing : Sejarah, Adat dan Arsitektur, Karya Ilmiah, Program Studi Arsitektur Fakultas Teknik Universitas Sumatera Utara,Medan

Nuraini, Cut., 2004, Permukiman Suku Batak Mandailing,GadjahMadaUniversity Press,Yogyakarta

Pemerintah Kabupaten Daerah Tingkat II Mandailing Natal  Kecamatan Kotanopan, 2000, Data Monografi Kecamatan, Pemerintah Kabupaten Daerah Tingkat II MandailingNatal

Samingoen, Sampoerna, dkk, 1993, Album Arsitektur Tradisional Sumatera Utara, Departemen Pendidikan dan Kebudayaan, Direktorat Jenderal Kebudayaan, Proyek Pengembangan Media Kebudayaan, Medan

Situmorang, Oloan, 1997, Mengenali Bangunan serta Ornamen Rumah Adat Daerah Mandailing dan Hubungannya dengan Perlambangan Adat, Cv. Angkasa Wira Usaha

Sudjatmoko, Eko, dkk, 1999, Struktur dan Konstruksi Rumah Tradisional Mandailing Julu, Laporan Seminar Arsitektur Jurusan Arsitektur, Institut Teknologi Medan (ITM),Medan

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Mandailing Culture (11)

MANDAILING CULTURE: A BRIEF OVERVIEW

By Edi Nasution

(f). Traditional Architecture

Architectural buildings such as Bagas Godang and Sopo Godang in Mandailing also classified as a cultural element that contains a pattern expression of beauty, or art containing aesthetic values​​. In it attached to humanitarian efforts in order to express himself, which contained the outpouring of the human mind in his day, so that creates results (artwork), often called the art of traditional architecture.

Bagas Godang and Sopo Godang is one example of the work of man, which is very rich in ornament shaped symbols variety of ornaments. Symbolic values ​​that exist on these ornaments is closely associated with indigenous life and customs of their ancestors.

Figure. Bagas Godang and Sopo Godang.

 It may be said that both the Mandailing traditional architecture building is evidence of 'physical culture' which has a high civilization. The remains of the Mandailing traditional architecture (Bagas Godang and Sopo Godang) we can still see to this day and is one of the few relics of the work of the traditional architecture of Indonesia.

Figure. Bindu or Tutup Ari.

Many forms of ornaments can traditionally be found in the 'tutup ari' or also called 'bindu matoga-matogu' of Sopo Godang and Bagas Godang. In the language of Mandailing, these ornaments are called 'bolang', which serves as a symbol and have the meanings are very deep for Mandailing community. It contains the values​​, ideas, concepts, norms, rules, laws and customs provisions on which the ark mengharungi and handle in life.

‘Bolang’ was used as a symbol made ​​of three types of material: (1) plants, such as bamboo rods that symbolize 'huta' or 'bona bulu'; 'burangir' or 'aropik' symbolizes 'Raja' and 'Namora Natoras' as a place to ask for help; 'pusuk ni robung' called 'bindu' custom symbolizes 'Dalian Na Tolu' or custom 'Markoum-Sisolkot', (2) the animal or animals, such as ‘hala’ ('idolatry') and ‘lipan’ ('centipede') symbolizes ‘timbangan’ (‘can’) that has the force of law; 'ulok' (snake) symbolizes greatness and glory; 'parapoti' (bird) symbolizes livelihood activities to support the family; 'tanduk ni orbo' symbolizes nobility, (3) equipment of daily life, such as ‘oris’ ('weight') and 'podang' (sword) symbolizing justice; 'takar' (‘shell’) symbolizes relief for the needy; 'loting' (‘lighter’) symbolizes the efforts to make a living, and so forth.

Making 'bolang' on the roof of Sopo Godang and Bagas Godang is done in a way to weave or braid, and some are carved. The materials used for matting is bamboo sheets that have made with certain forms and then mounted on a 'tutup ari'. Ornaments were mostly given color 'na rara' (red) , 'na lomlom' (black) and 'na bontar' (white), which is closely related to the cosmologies Mandailing in the past, mainly related to the division of the universe into three parts, namely ‘banua ginjang’, ‘banua tonga’, and ‘banua toru’.

(g). Ceremony ('Orja')

As far as is known there are three (3) types of traditional ceremonies (‘orja’) in Mandailing: (1) ‘siriaon’ ('excitement'); (2) ‘siluluton’ ('sadness'); and (3) ‘siulaon’ ('workmanship'). While based on the shape of its implementation is divided into (3) three levels, namely: (1) orja godang, where cattle are slaughtered buffalo (‘longit’), and the parties are invited pretty much kinship group ‘dalian na tolu’ (mora, kahanggi, and anak boru), ‘raja-raja torbing balok’ ('huta leaders neighbors'), Namora natoras, Raja Panusunan bulung; and the entire population of ‘huta’; (2) orja manonga, where cattle are slaughtered goat, and the parties are invited kinship group dalian na tolu (mora, kahanggi, and anak boru), ‘the-relatives’ closest, Namora Natoras and raja pamusuk in ‘huta’ ('village') where ‘orja’ implementation; and (3) orja menek, where cattle are slaughtered chickens, and the people who are invited are only limited ‘koum-sisolkot’ (‘the-relatives’) are the nearest course.

Figure. Pokat Godang.   

If a person (a 'nuclear family') was about to hold a traditional ceremony (‘orja’), then he should first discussion with a kinship group of his clan, namely ‘kahanggi’, to achieve ‘domu’ ('mutual agreement') that the intention to carry out traditional ceremonies (‘orja’) was realized. For that, they usually first implement 'pokat menek' ('little deliberation') to implement consensus in residence (home) of the clan as their brother (‘suhut’) wishing (intend) to implement traditional ceremonies (‘orja’ ) it, and in 'pokat menek' that they discuss important matters concerning implementation for mutually agreed together. In this case, there is a traditional phrase that says: “tampak do rantosna rim ni tahi do gogona”. That is, "a deal is a source of strength and togetherness". Correspondingly, there is also another expression that is “rukrek ni parau matoban tu rapotna”. That is , "despite the cross - opinion every assembly but it will eventually be able to create cohesiveness and an agreement" .

Figure. Longit.

After a few key points regarding the implementation of traditional ceremonies (‘orja’) is agreed upon (‘sapokat’), then a few days later then im-ment subsequent greater deliberation, namely 'pokat godang' by inviting the presence of kinship groups dalian na tolu (mora, kahanggi, and children boru), other kinship groups (such as mora mora ni, anak boru ni anak boru, etc.), as well as the Raja Panusunan bulung and Namora Natoras.

Figure. Mardahan.

‘Pokat Godang’ activity is usually held in the evening after evening prayers finished, and the show begins with the first marpokat, but before done event custom ‘manyurdu burangir’ (‘napuran’) by ‘anak boru’ (‘pisang raut’) in turns to face before the Raja Panusunan Bulung, Namora natoras, and so on to the mora ni mora, mora, suhut, and others. After completion ‘manyurdu burangir’ custom, then they are doing activities ‘markobar’ ('customary speech'), which was started by ‘kahanggi ni suhut’ as 'opening' to explain their intention to hold a traditional ceremony (‘orja’) is. So that in turn is a ‘anak boru’ for ‘markobar’ (‘pisang raut’), mora ni mora, mora, and terminated by hatobangon, all of which expressed support for the implementation of traditional ceremonies (‘orja’) it, and then show ‘marpokat’ it closed with the reading of a prayer by clergy.

Figure. Orja Siriaon.

In the event 'pokat godang' has been agreed and assigned jobs (tasks) of each kinship group and other parties within the framework of the organization of traditional ceremonies (‘orja’) such as for example Naposo Nauli bulung ('the young people') assigned to ‘pataonkon’ (invited community leaders and families of relatives to attend the traditional ceremony, both who live in villages where the traditional ceremony organizing and to neighboring villages) and ‘mangoloi’ ('serve the guests eat together' ), ‘umak-umak’ ('mothers') assigned to ‘mardahan’ ('cook rice') and ‘ama-ama’ ('the father') for ‘marmasak’ ('cooking side dishes'​​).

‘Koum-sisolkot’ (‘the-relatives’) who live in villages are quite far from the village where the implementation of the traditional ceremony, which has ‘ipataon’ (invited) to come attend the traditional ceremony (‘orja’) is often already come early before the conduct traditional ceremony. For that they stay one or two nights at a relative's house clan (‘kahanggi’) they are in the village, and there are times when they helped also helped the preparation of ‘orja’.

In the 'H' implementation of traditional ceremonies (‘orja’) which usually takes place in the morning , the villagers , people - relatives , leaders and community leaders , as well as other invited guests in a gang came to the house where the implementation ‘orja’. Typically, ‘umak-umak’ ('mothers') came with a 'mug' rice that is inserted into a special container for it (‘baul-baul’) as a sign of participation to be given to 'host ' a traditional ceremony organizer (‘orja’).

Figure. ‘ego (youth ) based on marital relationships’.

‘Orja Siriaon’ (traditional wedding ceremony) in Mandailing community is still ongoing traditionally. In this case, the customary marriage Mandailin is ‘manjujur’, which is exogamy patriarchat, where after the traditional wedding ceremony is held, the 'bride' to leave his clan and into the ‘marga’ ( clan ) and her husband became head of the family and the children born of the marriage will follow the clan from his father. Ideally marriage within society customs Mandailing it is among ‘anak namboru’ with boru tulang’ (girls from the younger brother of the mother of ‘our’ (male). Application custom ‘manjujur’ ​​intended to maintain the balance of the woman's family for the loss of a family member who has entered into the husband's family members. As for the 'materials' (objects) that will be given as honest is a sere as 'dowry' (called ‘tuor’ ) and submit honest term is called ‘manulak sere’ meaning for the present purposes as an aid to complete the girl for her luggage (such as buying mattresses, clothing, etc.) or for an additional cost of providing traditional wedding ceremony (‘orja’). In the process of this ‘manulak sere’, the prospective groom are required to bring ‘batang boban’ (dowry) which is the amount agreed in advance to the prospective bride. 

When sitting alone in the aisle, the bride and groom (‘namorapule’) wearing 'traditional dress' like ‘ampu’ as a 'cap' of the groom, and headdress for the bride on the head and charged ‘gajah meong’. In Highborn marriage (‘na mora-mora’), after the bride and groom live - ceremony and procession ‘mangupa’ dam overthrow ‘goar harajaon’ (special for the groom), and both are accompanied by musical ensembles ‘gondang dua’ (‘gondang topap’) for ‘manortor’ (called ‘tortor namora pule’).

In addition, the ‘Raja Panusunan Bulung’, ‘Namora Natoras’, ‘raja-raja tording balok’, ‘mora’ (and ‘mora ni mora’) are ‘iayapi’ (‘isembar’) by ‘anak boru’ (‘pisang raut’), ‘suhut’ with ‘kahanggi’, and ‘Naposo Nauli Bulung’ also manortor; while the ensemble music sounded ‘gordang sambilan’ in ‘sopo godang’ ('customary convention center') by playing a repertoire, and 'custom flags' was fluttering in the yard ‘Bagas Godang’ ('the royal palace').  All ofa it makes the atmosphere lively traditional wedding ceremony (‘orja siriaon’), which sometimes lasted for seven days and festive nights in a row. In the afternoon after the noon prayers, all those who attended the traditional ceremony (‘orja’) that eat together at people's homes in ‘huta’ that serviced by ‘Naposo Nauli Bulung’.

‘Orja Siluluton’ (traditional ceremonial demise) in Mandailng society also still ongoing until now traditionally called ‘mambulungi’. According to custom Mandailing, a marriage which at the time held the traditional wedding ceremony (‘orja’), then at the time of death must also be done with the traditional ceremony of death, especially for ‘na mora-mora’ (the nobility). A descendant of the king's son in Mandailing, when his father died then obliged to carry out traditional ceremonies ‘mambulungi’. If the ‘mambulungi’ traditional ceremony has not been done (called ‘mandali’), then the derivative (the family) will remain a 'debt indigenous' (obligation) forever. As a consequence, if not done well, then if there are descendants who are getting married, are not allowed to hold a traditional ceremony marriage (‘orja siriaon’).

‘Mambulungi’ traditional ceremony held at the time of burial, or can be held at a time yet to be determined in accordance with the opportunity and ability descent (his family) is. If in the ‘orja siriaon’ this ‘custom flags ' are installed in pages of ‘bagas godang’ (the royal palace) facing out, then reverse the ‘orja siluluton’, 'custom flags' were reversed facing house as a sign of mourning. When the deceased king to be buried taken using a special stretcher called ‘roto’, and the disappearance of indigenous music ensemble sounded too ‘gordang lima’ by playing a special repertoire also is ‘gondang roto’.

‘Orja siulaon’ (traditional ceremonial work) is a traditional ceremony performed to initiate an activity (work) together to complete a specific job, such as setting up a new home, set up a new colony (‘mamungka huta’), open new rice fields, and so on. It may be said that this is ‘orja siulaon' local wisdom (local genius) that makes culture 'ethnic group' that has 'root' is essential and therefore every culture of the ethnic group often serves as a source or reference for creativity new (innovation). Mandailing local wisdom that can be seen with the eye (tangible ) up to now, among others, such as performing arts ‘godang sambialan’ and ‘tortor’, namely ‘bagas godang’  and ‘sopo godang’ custom home, as well as others.[EN]