MANDAILING CULTURE: A BRIEF OVERVIEW
By Edi Nasution
(b). Tradiotional
Dance
Traditional
dance held Mandailing ethnic group can be classified into three types, namely ‘tortor’, ‘sarama’, and ‘moncak’ ('often called 'cilek'),
which was held at various ceremonies and rituals such as haroan boru and mebat
(customary marriage), mambulungi
(traditional ceremonial demise), ‘sorang
danak’ (birth children), ‘mangido
udan’ (ask raining), and others. Various Mandailing traditional dance,
especially tortor and moncak, until now often displayed in
grand celebrations like Independence Day commemoration of the Republic of Indonesia,
National Education Day, and so on. The three types of traditional dance
Mandailing has the basics of beauty (aesthetics) in the form of unity, variety,
contrast, transition, repetition, sequence (linkage or continuity), balance,
climax, and harmony.
In a ritual
as ‘paturun sibaso’ (‘marsibaso’ or ‘pasusur begu’), sarama
dances accompanied by musical ensembles custom ‘gordang sambilan’ or ‘gondang
dua’, while the dancers of the person who called si baso, shaman is a character in the old religion Mandailing
called pelebegu. In the past, the
ritual ceremony ‘paturun si baso’ was
held when the ‘huta’ (‘banua’) a major disaster occurs such as
cholera outbreaks and drought or prolonged rainy season otherwise interfere
with agricultural activities so that the local population, which will
eventually lead to starvation because of endless supplies of rice as their
staple food to solve ‘bala na godang’
(major disaster), they ask for help begu,
ie the spirits of ancestors, through the mediation of ‘si baso’, because they believed that this is the first ‘si baso’ can only communicate with the ‘begu’.
Figure. Sarama or Manyarama.
‘Paturun sibaso’ ritual first ritual conducted in the
experience of alternating (wide page) in ‘bagas
godang’ (king's palace), which was attended by the ‘raja’, ‘namora Natoras’, ‘si tuan najaji’ (‘alak na jaji’, and a supernatural character named 'datu' very large role, especially for led
in the ritual ceremonies. At that time, Datu
seen as ‘treasury’ because it has a wide variety of traditional knowledge
(traditional wisdom) which is needed for the perfection of life or ‘banua’ (‘huta’) community.
In the
ritual ‘paturun si baso’ provided
special food for si baso, ie parlaslas, placed on a tray containing
among others a crisp (‘mera’ fish)
burned, ‘pege’, and ‘ngiro’ (‘sap water’) in the ‘tanduk ni orbo’ (container made of
buffalo horn). After ‘gordang sambilan’
played with ‘gondang’ (music
repertoire) special with name ‘mamele
begu’, then ‘si baso’ also danced
and then experienced a trance. In trance condition this, si baso asked to eat and drink. After eating and drinking, si baso back dancing. Not long after,
the datu came si baso to notify the existence of an event ‘bala na godang’ (major disaster) that has engulfed the population,
and appealed to ‘si baso’ so pleased
to inquire what is the cause and what's the solution to the begu because the
population is no longer able to cope. After that, si baso tell what is the cause and how to cope with the great
calamity to the datu. After that, ‘si baso’ was dropped, and
unconsciousness (passing out). A few moments later he was conscious again as
before , the situation before the ritual begins.
Tigers that
live and thrive in the dense forests, called babiat, for the Mandailing very important because in addition to
having incredible strength physically, also believed to have their own customs
and traditions. Mandailing people ‘marga’
(surnamed) Rangkuti and Parinduri who settled in the Maga region, which is the border between Mandailing Godang and Mandailing
Julu, believing that their first ancestor is ‘incarnation’ of the tiger.
They and other Mandailing people generally taboomentions a tiger by the name ‘babiat’ as deemed unethical. Therefore,
tigers are called by specific names such as ‘raja’ (we the kings), ‘ompung’
(our grandfather's ), ‘na maradati’
(which is the well-mannered), and ‘na gogo i’ (strong's ). So do not be
surprised if Mandailing people surnamed Rangkuti seen as the ‘dreaded ones’,
which translates from his family name consisting of two words, namely ‘rang’ (people ) and ‘kuti’ (dreaded)
The names of
the name for the tiger is one of the variety of language Mandailing, namely ‘hata parkapur’, specifically their use
while in the dense forests to search for ‘kapur
barus’ (champor, one of the ingredients to preserve human bodies) is one of
the important commodity traded in the past. And even now in the midst of the
people still live oral stories about ‘people first’ deemed ‘magic’ can ride a
tiger to visit areas distant from the settlements.
When there
is a tiger who comes close to residential areas, the locals will try to throw
in order to go back into the woods by sounding gondang dua (gondang topap).
But there are also ‘babiat’ (tiger) that
is unwilling to return to their habitat and disturb the tranquility of the
population because always take their pet animals such as goats and cattle, so
forced slain gang. After the tiger dead, then taken to the field to perform a
traditional ceremony because the tiger is also seen as having a customary. In
this ceremony, both is played ‘gordang
sambilan’ or ‘gondang dua’, and
in the middle of a field (of men), ie si
baso, danced with similar movements like a raging tiger with pain. The
dance is called ‘manyarama’,
accompanied by ‘gondang’ (music
repertoire) specifically named ‘sarama
babiat’. In the 1970s, events like this have occurred in Mandailing Julu and witnessed by many
people, young and old, both men and women. The traditional ceremony held in Singengu, which is located not far from
the ‘Pasar Kotanopan’.
Martial arts
in Mandailing called ‘moncak’, but
adakalnya also called ‘cilek’. Both
in Mandailing Godang and Mandailing Julu pretty much college
parried. In Batang Natal area (Mandailing Godang) there is a fairly
well-known martial arts school because teachers and students are tough players
and great martial arts moves with deadly. They are trained by the master in a
place called ‘Dolok Sigantang’. That
is why they are called ‘parsigantang’
and moves martial arts name is also called ‘si
gantang’.
Figure . Moncak.
While
in Mandailing Julu there are many colleges
was parried . Two of them are quite famous is the martial arts college in Saba Garabak (Huta Pungkut Jae) and Muara
Pungkut. In addition, ‘marmoncak’
(play martial arts) with his bare hands, the students who studied martial arts
in ‘Saba Garabak’ also use ‘podang’ (sword) and oris (dagger). While martial arts college that is quite well known
in the ‘Muara Pungkut’ anyway because
his martial arts moves taught special called ‘Linto’ (meaning ‘leech’), in which the movements of their legs
while playing like a leech -like martial arts ('leech'). In addition, students
from both universities are also studying the martial arts mysticism, namely 'aji-aji' (‘the spell’) specific, which
is ‘practiced’ in a battle to be able to match or beat the opponent.
Especially
for Tortor Naposo Nauli Bulung, there
is one term that is quite important is ‘tolu
saanggaran’. That is, the people who ‘manortor’
consists of three girls, each paired with a young man. Once they move toward
the right and left, their subsequent formation ‘triangle’. After ‘manortor’ while in that position, then
later they returned to the starting line up, they both facing forward. For this
Tortor Naposo Nauli Bulung, such a
movement cycle is usually repeated three times. Tortor Naposo Nauli Bulung is often called ‘tortor siutur sanggul’ and ‘ranggas
na maule-ule’. This ‘tortor’
called as chignon ‘siutur sanggul’ (decoration
that is in the heads of the girls) seem always ‘mutur’ (fast twitch) when they 're ‘manortor’, while ‘tortor na
maule-ule’ withered movements meant they (the girls) are when ‘manortor’ looked so weak - gracefully,
so that likened tub branches are rocking when the wind blows.[EN]
Last is tortor. If you look around the area
Mandailing natural, in the north there is a fairly broad lowland rice fields
and used by the local population, while in the south is generally hilly terrain
(‘high plateau), is part of the ‘Bukit Barisan’ existing along the Sumatran Island. There a hill called tor, and the hills were they named, as
in ‘Huta Pungkut’ is ‘Tor Sijanggut’ and ‘Tor Siojo’ in west of ‘Pasar
Kotanopan’. Part of the valley (lowland) of ‘Tor Siojo’ this a fairly extensive rice fields and in certain areas
used as residential places by the locals. Like ‘Aek Kapesong’, ‘Ranggasoli’,
‘Jambur Tarutung’, ‘Sindang Laya’ and ‘Sawahan’, are places belonging settlement called ‘banjar’.
Called ‘tortor’ dance has a very close
relationship with all the ancient religious systems Mandailing, ie ‘Pelebegu’. This is indicated by the presence
of a traditional phrase (term), ie “somba
do mulo ni tortor”, which literally means “origin-mulatortor is
worship". In this case, ‘somba’
(worship) or offerings devoted to ancestral spirits (begu) is believed to have supernatural powers and major effect 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 forest (called ‘naborgo-borgo’),
guo (‘cave’), in the mountains, ‘tor’ (hills), ‘ayu ara’ (large trees), and so on. However, the religious system pelebegu is now not much else is known
by people Mandailing own, even more so considering that most Mandailing people have
long embraced Islam and discard the old belief as contrary to the teachings of
their religion. Likewise, the ancient beliefs still leave traces , such as the
presence of ‘Pelebegu’ term, phrase “somba do mulo ni tortor”, statues made of
stone or wood named tagor dan sangkalon, music
repertoire in the rite called ‘gondang
mamele begu’ in ritual ‘pasusur begu’,
etc.
Figure. Naposo Nauli Bulung tortor.
Why is one
of the traditional dance called tortor? The answer is not known for certain.
Similarly, if the words tortor terms
of literal meaning. While the words tortor
was not commonly found in the ‘vocabulary’ Mandailing language. But some say
that the term ‘tortor’ is used as the
name of one of the traditional dance was probably derived from the word "tu tor tor", meaning "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.
Because it is well known that in Mandailing plateau, especially in the area of Mandailing Julu, there are a lot of office and each has its own name. If you look at the
term "tor tu tor" is, also
implies that depicts a state or certain things, where from one hill to the
other hill like a ‘line’ that down-climb, which is basically similar to one of
the movement in ‘tortor’. When the
dancers were ‘manortor’, their body
looks like ‘up-down’, by bending the legs to the rhythm ‘gondang’ (drums), and also in rhythm with the movement of both
hands of each such person being ‘marsomba’
(worship).
As for the
other words in the Mandailing language associated with the word ‘tor’, is ‘mangantor’. That is, a situation in which someone has a hand or
foot ‘certain vibe’ because hit on other objects, such as wood, but a little
bit hard so he felt pain. Thus, with reference to the definition of the word ‘mangantor’ and ‘tu tor tor’, which, when associated with ‘dance moves’ in ‘manortor’, hence the term ‘tortor’ can be interpreted as ‘hand
gestures’ of ‘panortor’ (dancer) that
‘vibrate’ or ‘sway’. This is particularly evident when the ‘panortor’ ( which are in the front row)
was ‘manortor’, where both hands of
each of them ‘panortor’ 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 rhythm
(simultaneously) with sound ‘ogung
dadaboru’ (gong female) on the first beat and ‘ogung jantan’ (male gong) on beats three, when they're engrossed ‘manortor’.
In any
event, there are two groups manortor
each person in 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 is at the
forefront of this are the people or groups of kinship that is respected by the
people who were in the back row (the second group). In accordance with the
provisions of Mandailing indigenous communities, there are some type of ‘tortor’ based on the status or social
position of the people who ‘manortor’,
namely: (1) Tortor Raja Panulusan Bulung;
(2) Tortor Raja-raja; (3) Tortor Suhut; (4) Tortor Kahanggi ni Suhut; (5) Tortor
Mora; ( 6 ) Tortor Anakboru; (7) Tortor Namorapule, and (8) Tortor Naposo Nauli Bulung.
Implementation
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 parties executing Mora
traditional wedding ceremony (called ‘suhut’),
while in the back row (the second group, ‘pangayapi’)
is ‘suhut’ that when it existed as ‘anak boru. If the Tortor Anak Boru, in the front row (‘na iayapi’) are the ones with the status of implementation of ceremonies
as ‘anak boru’ in the marriage
customs, then the people who were in the back row (‘pangayapi’) is "anak boru
ni anak boru" (anak boru of
the anak boru 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 is at the forefront (‘na isembar’) is the girl who has the
same surname eg Nasution, then in the
back row (‘pangayapi’) is the youth
who (have to) another example surnamed Lubis, or otherwise the girls in the front
row (‘na isembar’) surnamed Nasution, while the rear row (‘panyembar’) must bermarga Lubis, or other clans like Rangkuti, Pulungan, Matondang, Daulae,
and Batu Bara. Anyway the young men
and women who are in pairs ‘manortor’
it should not have a ‘marga’ (clan ) are the same. Ideally , ‘nauli bulung’ (girls) as a pair ‘naposo bulung’ (youth) is that girls (‘boru tulang’ from ‘mora’ (beehive) young man
.
Figure. Namorapule tortor.
Movement
of the foot between the two groups (‘pangayapi’)
and the first group (‘na iayapi’)
looks very clearly different when ‘manortor’.
The first group (front row) moves to the right or left by moving the tip of the
toes that called ‘manyerser’, while
the second group (back row) moving in a way step called ‘mangalangka’. If the first group (‘na isembar’) behave like someone who is worshiped (‘marsomba’) when ‘manortor’, while each of the second group (‘panyembar’) behave like ‘alihi’
(eagle) as if he were ‘protecting’ (glorified ) pair - his move toward the left
or right side, where both of his "open in front of the chest" under
shoulder height, which sometimes ‘roll’ to the left and to the right to follow
the direction of movement of the first group (‘na isembar’). In this ‘manortor’
activity, the first ‘panortor’ wich ‘manortor’ in place with the front
facing. After that, they move toward the right side, then back toward the front
‘manortor’. Then move toward the left
side, and back again to the starting line up, namely ‘manortor’ in place with the front facing. Typically, ‘manortor’ movement to the right and the
left were conducted 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 again to the starting line up,
and finally ‘manortor’ activity was
over.
Figure. Tolu Saangaran tortor.
Manortor
activities in ‘orja siriaon’
(traditional wedding ceremony) and ‘orja
siluluton’ (traditional ceremonial demise) using two types ‘gondang’ (music repertoire) are
different, ie ‘gondang sabe sabe’ – rapid
tempo (called ‘isar’) is used as an
appetizer ‘manortor’ activities, and
the ‘gondang tortor’ slow tempo (called
‘erer’) used to accompany the next ‘manortor’ activities. When ‘gondang sabe-sabe’ played, in ‘galanggang panortoran’ (special place
for ‘manortor’) present a man with a
motion ‘sarama’ (‘manyarama’) approached the ‘panortor’ to bring a piece of ‘custom
hooks’ (‘abit sende’ or ‘patani’ ) are stretched in both hands.
After being in near ‘panortor’, then ‘custom
cloth’ is placed on the shoulders of one ‘panortor’.
This is done to everyone who will ‘manortor’.
Once done to it, then ‘gondang tortor’
played, and follow long after ‘manortor’
activity began. When ‘manortor’ this
occurs, a man who acts as ‘panjeir’ which
sing a special song for ‘tortor’, ie ‘jeir’. And at the ‘manortor’ activity to be end, the ‘panortor’ always shouting ‘horas’,
who then welcomed also by the people who attended had gathered there with a
shout of the same word.
Figure. Suhut tortor.
