THE ART ON MEGALITICAL RELICS OF WARUGA IN NORTH MINAHASA Seni Hias Tinggalan Megalitik Waruga di Minahasa Utara

Ipak Fahriani Balai Arkeologi Sulut Jalan Pingkan Matindas no. 92, , Utara Email: [email protected]

Abstrak Wilayah Minahasa merupakan daerah yang cukup potensial memiliki tinggalan budaya megalitik, salah satunya adalah wadah kubur batu “waruga”, yang tersebar di hampir seluruh bagian wilayah Minahasa. Salah satu keunikan kubur batu waruga ini terletak pada Ragam hias yang terdapat pada bagian wadah dan tutup waruga. Penggambaran ragam hias pada obyek tersebut ternyata memiliki berbagai fungsi, sehingga menarik untuk dikaji bagaimana perkembangan budaya Minahasa melalui ragam hias yang ada di Waruga. Pengumpulan data dalam tulisan ini bersifat deskriptif yang diperoleh berdasarkan survei yang dilakukan terhadap situs Waruga di Minahasa Utara. Berdasarkan pengamatan yang telah dilakukan, ternyata dapat diperkirakan adanya pengetahuan tentang kepercayaan dan seni yang berkembang pada masa berlangsungnya budaya Megalitik di wilayah ini, sehingga dapat diperoleh gambaran tentang berbagai aktivitas yang pernah terjadi di wilayah Minahasa pada masa lampau. Kata Kunci: Waruga, ragam hias, simbol dan kepercayaan, estetika.

I. Introduction , particularly in I.1 Background Minahasa called "waruga". A prehistoric site showing human The results from data collection migration and cultural spread in North and data description on the megalithic Sulawesi is common. Generally, there site that were found in Minahasa in are settlement sites form that have general indicate the existence of pattern paleolytic-neolithic and megalithic that was spread the potential megalithic characteristics, as well as sites that sites. Research on this object has have neolithic-paleometallic charac- yielded quite diverse information of teristic, including sites that was found various activities in the region at the in Minahasa. Its distribution, especially past. One of megalithic relics that was megalithic in this region is quite a lot found in the Minahasan region is the and shows the potential archaeological, megalithic object of the waruga. The because it is useful for data collection to research results on waruga megalithic reveal and reconstruct a cultural history carry an important picture of past and process in the past. activities, a funeral activity. The burial At a megalic era, it was known aspect is important for research, since that there was a burial system using many things can be expressed as containers or without container. The activities, such as social stratification development using containers was and belief at that time related to prevalent in in different background of using large stones, even shapes, sizes, and decorations. One of technology. megalithic tomb containers found in I.2. Problems

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Until now, the research results tendency to use nature as life support on the object relics of waruga megalithic means and infrastructures has applied that spread in the Minahasan region since the past. Dependent indication on have reached thousands of waruga, natural surroundings can be seen from which already have been described and how humans manage and use nature in classified. The waruga are scattered in everyday life. It can be seen on the almost all parts of Minahasa, especially megalithic relics spreading in in North Minahasa relatively having Indonesia, including the megalithic dense spread compared to other relics scattering in North Sulawesi, for Minahasan areas (Central, South example container object of "waruga" Minahasa, and Southeast Minahasa). grave which is commonly found in From the overall shapes and sizes of Minahasa. waruga scattering in Minahasan region, As a region with a considerable unique objects of cultural relics lies on amount of waruga resources, North decorative motifs, whether done Minahasa has become a strategic through sculpturing as well as casting location for cultural development of techniques. waruga megalithic in the past. The use So far, studies on waruga development of waruga containers in decorative art have not been done and Minahasa Utara is long enough and has known, so a description about social a wide variety of decorations, sizes, and stratification or belief concept possibility shapes. Therefore, to reveal how the through decorative patterns has not cultural developments occurring in this been much revealed. Therefore, in this region in the past, it will be studied paper it will be studied how roles of through the megalithic relics scattering ornamental art inscribing or imprinting in the region of North Minahasa. on waruga. Because of waruga’s wide In accordance with the study spreads in Minahasa, a study area of focus about this waruga, method used waruga art be focused in Northern in the data search is collecting data Minahasa region. This region is the horizontally through literature study and largest waruga spread and has a wide field survey using archaeological rules. variety of decoration. Concerning the study focus on I.3. Aim ornamental art of waruga in North To find data through decorative Minahasa, the method in collecting data arts on waruga megalithic relics is inseparable from the survey activities spreading in the North Minahasa, it is to observe the symptoms supporting expected to be disclosed and the objects existence on the field. The reconstructed megalithic culture environment also becomes an history, especially to the burial activity. important thing in searching data about In addition, this study results are resources supporting the object expected to be utilized as input existence of these waruga. materials for regional planning and interests in education and cultural II. Waruga Decorative Variety tourism in North Sulawesi region in Decoration is a basic form that general. will usually be a repeating ornamental I.4. Theoretical Framework and pattern in a craft or art. Variety of Methodology ornamental itself can be distiled Humans are inseparable from (stilired), so that the form varies, even it their dependence on nature. A can have spiritual meaning poured in

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the stylization of decoration (Wikipedia: or patterns that exist in North Minahasa 2011). can be grouped into ornamental The ornamental pattern use in patterns, among others: the prehistoric cultural relics, especially - Fauna decorative pattern: a megalithic era is numerous. Its decoration form that has a shape or presence in the megalithic period had various and varied animal shapes. several functions, such as symbolic, Generally, research results on aesthetic, and constructive. From waruga’s ornamental variety in ornament variety contained in waruga’s Minahasa are animal species used container and cover in the Northern are snakes and others, such as Minahasan region, some serve as cattle/ox, pigs, birds, and elements of beauty and others have a combinations of poultry, snakes, and certain background (as a ruminants. Each Minahasan symbol/magical element). The waruga’s ornamental motif variation decorative techniques on the container of animal species is made in pairs or and the cover of waruga are sculpting twins. Some are formed separately, and scratching techniques that were but most animal motifs were made commonly depicted on the front, back, together of one body with two heads. and sides or sides of each section of This animal ornament or decorative waruga. The appearances of these pattern is found almost on every ornaments on the front, back, and sides waruga spreading in Minahasa, or sides of each section are also varied. especially in the north, whether done Its cover is with a dense ornamental on its container or cover. pattern, but its container is plain (on the waruga in North Minahasa). On other waruga findings, container sections are with the decorated motif variation, but the lids are plain. However, there are also the rich decorative motifs on both waruga parts, both on its container and cover. The ornamental motifs that were made, either on the waruga’s cover or container, generally not only in one decorative motif type, but also sometimes more than one decoration, Figure 1.A fauna decorative pattern: a so it looks full and beautiful. There is pair of cows found on Paslaten Site of North also a medium decorative pattern, Minahasa where a decoration on waruga’s cover is not full or too much. In addition, there is also a plain or not found any decoration on the waruga’s cap. The result of data processing on the spread of waruga’s megalithic site in the Northern Minahasa show various kinds of the ornaments that were made on the parts of the waruga’s container or cover. Waruga’s ornamental shapes Figure 2 Info: a fauna ornamental pattern having a dragon-shaped (stylized) found on the Matelenteng site, North Minahasa. 109

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the future, where megalitic culture still live in Minahasa, although the existing - A human ornamental pattern: a belief values have developed and be decorative form that has a human suited with applied norms in the society. shape pattern, whether as a whole Generally, the findings with the pattern human pattern, a human’s body part of those decorations are found on a pattern, or other pattern shapes that location surrounding habitants’ describes a human feature. This settlements and are found at around the human motif pattern was sculpted public graves that are still used as their and drawn in the various shapes cemetaries. In a site, it sometimes be and in the varied positions. The found a mixture of waruga findings result of data processing on the having a prehistoric decorative pattern. decorative ornaments that are As an example on a waruga finding, spread in the North Minahasa shows there is a human together with an that an ornaments of human animal decorative patterns, such as a decoration also lots enough are dog with a sharp tool meaning the found on the megalitic site in this buried people in waruga during the life region. This pattern of human has the profession. decoration in general is sculpting or

drawing a human who has a kangkang pattern with the stress on a part of reproductive organ (both of man and woman reproductive organs). Beside that, there is another pattern of decoration that has a face pattern of human being in Figure 3 Examples of a human decorative pattern starring expression with a wide sculptured on waruga’s cover and container parts in var nose, and sharp teeth that were drawn standing up, as well as - Flora decorative pattern: decorative having torns. Another human form describing floral or plant description is a brave human form decorative patterns, such as flowers, with a stright and strong body leaves, and all forms describing holding a weapon. Another plant, both in a whole or parts, both decoration is a picture of a mother be stilised or modified. giving a birth in kangkang position and at a lower part between her both feet picturing a baby who is born from the mother as well as other human decoration.

Beside the above decorative patterns, some patterns found on megalic sites in other North Minahasa possibly show there is decoration or picture showing their professions or activities during their lives. The Figure 4 examples of floral ornamental decorative pattern possibly appear in patterns found on some scattered waruga sites in Northern Minahasa 110

Ipak Fahriani : The Art on Megalitical Relics of Waruga in North Minahasa

- An ornamental pattern of Tassels/Kabalas/Kendi or mace: this decorative form is located on sides. This decoration is described as a tassel or an oval shape hanging down (carved one or two pieces). Some developing assumptions about the existence of the shape or pattern of ornaments (tassels): Minahasan Figure 6 The decorative pattern is triangular, box people recognize the ornamental lines (geometric gias patterns), found in some pattern of the tassels as a kabalas waruga spread in North Minahasa. fruit, others interpret the ornamental includes the oldest motifs in the pattern as a jug of water, and there prehistoric art of the ornament. The are also some people who define the motif uses a line shape and abstract symbol as a club. This decorative space meaning a form cannot be motif is found almost on every recognized as natural object. This waruga site found in Minahasa, not motif evolved from repeating form of limited on waruga findings existing in dots, lines or fields, from simple North Minahasa region only. forms to complex patterns. In

addition to geometric ornamental

patterns, also found several other

decorative patterns, in a decorative

motif shape of the sun and moon,

such as found on the Minawanua

site, Treman village.

III. Discussion

In a megalithic culture period in

some regions in Indonesia, it has

emerged an idea of making stone.

Although there were based on a same

belief, but in reality megalithic objects in

each region are different. The

megalithic objects are different, but they

have a basic concept that was

embraced at that time and have a

source from a belief about an existence

Figure 5 Examples of tassels or kabalas of supra natural power, such as or mace patterns found in some waruga strength in ancestral spirit. It is scattered in North Minahasa necessary to worship the spirits using - Other decorative patterns: means or buildings made of stone decorative shapes consisting of a (Haris Sukendar, 1993: 152). combination of geometric motifs, One of the megalithic relics in the such as the straight lines, the curved Minahasa in the Northern Sulawesi is a lines, boxes, gunongan (inverted rock tomb of "waruga". It has been triangle), circles, as well as triangles. argued that it is composed of two parts, This pattern of a geometric ornament namely a box, rectangular, round, and

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Tumotowa Vol. 1 No. 2 Desemb2018 other containers, which are parts of the old graves with tombe consisting planted in soil and a closing portion is of stone piles in the Napu valley has a sometimes reminiscent of a shape roof. form of house. However, the form of A shape of a waruga container was waruga spreading in the Minahasa does basically adjusted to a posture of a not all show the roof-shaped cover corpse who would be placed inside the (limas). In lots of waruga that were waruga, such as in a squat position with found in Minahasan area, especially in two hands folding and knees drawing the northern part, the appearance of the down to his/her chin. This squat burial waruga’s cover is more diverse and position of the corpse in this way has varied, while those that were found in actually already existed since the the southern part look simpler. prehistoric times. Generally, this squat However, if we look at the basic concept burial position method is also often of manufacture is the same, where found in the prehistoric sites in waruga is still divided into two parts like Indonesian area. In the Karo Batak tribe a house, have a body and roof as its it is known that they buried the cover. ancestors with sitting postures and in Another interesting thing that can the Southern Nias tribe it was indicated be studied from the cultural heritage by the existences of stone troughs or a findings of this "waruga" megalithic is four-square vessel to place the corpse. the decorative patterns that were In Sumba Island it is also already known placed on the containers or the covers that the uses of the large stones as the of the waruga. Survey results burial infrastructures, in the forms of conducted on waruga sites scattering stone crates consisting of four standing especially in the North Minahasa region fruits as well as stones that were placed show the existence of variations of transversely. Some stones are planted decorative patterns carved / scrawled fully in the ground, but others are only on the container and cover of waruga. partially and their cover made at the top. Decorative patterns that were They are flat rocks where corpses are emblazoned on waruga is functioning shelved and carved with kabaina symbolic as well as serving aesthetic. A (woman) and kamonina (man). Another decorative pattern having symbolic example, in Bali also found many function or meaning is generally vessels of stone intended as a grave adapted to growing beliefs of time. container (Bertling: 1932). Besides, it can also show the profession A waruga cover form in the or activity of the person during his life Minahasan region is generally formed when the person alive. While a like a house (bumbungan) roof. It brings decorative pattern having aesthetic assumption, in a waruga era, a society meaning is generally only an beatiful had belief that graves were considered expression or mere art beautifying the as cloning houses. Those cloning object. houses were made to give an honour - A pattern of a human decoration: a and comfort for those people who were sculpture or a painting of human is a already died. In other areas of cloning pattern of an ornament that is quite houses giving an honour, such forms of commonly found in the waruga in the burial are also already quite well known. Northern part of the Minahasan For example in the Napu valley, there region in North Sulawesi. The forms are many old graves with tombe and styles of the various human were consisting of only piles of stones. One made both in the containers and the

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cover of waruga. Generally, this the Northern part of Minahasa. decorative pattern is not intended as Snake motifs are sometimes a decorative ornament, but rather as described as realistic (waruga motifs a "revelation" of something or more found in Kuwil, Kalawat subdistrict), meaningful to religious-magical and others as ornaments for fringe elements, but they do not always do coverings (snake ornaments in the same. In some places, such as Maumbi and Treman). This snake Maumbi and Airmadidi sites, waruga motif is depicted with a fringe findings have a woman ornamental ornament consisting of a two-headed pattern of standing on legs with a snake (wewengkalen). Some baby head hanging down, it shows opinions or notions about snake 'partus' (maton tunuwu). According symbols that are developed in to society’s telling that the woman prehistoric times, including: died in childbirth, so she would be according to R. P Knight in the placed in a waruga, and if anyone "symbolical language of ancient art", would open the cover of waruga it is said that a symbol of a serpent would consider the baby was born has a meaning to give life back, a (Bertling, 1932). Another opinion snake has a property to change skin about the decorative pattern and clearly renew youth. Similar to description is more pointed to the Kruyt, serpent symbol flourishes in a profession of the dead. It is bread island and Marindanim (Irian mentioned that such picture of a Jaya South Coast). In the places, the decorative pattern brings a notion snake symbols indicate that these that the dead had been a nurse. animals cannot die, just exchanging Several other ornamental patterns their skin. Another case with an are illustrated by a frightening author of R. R. Marett in his folklore expression and style with a title: “Pre-Animistic Religion", it is projection of their reproduction said that the form of these animals apparatus, as can be seen in waruga are creepy and they like to live in the in the Kawiley and Tumaluntung places of graves (Bertling, 1932). In villages. In the Minahasan society Minahasa itself, the snake animals, beliefs, the embodiment of such especially the black snakes are images aims to avoid those who considered as unlucky animals. have died or those who were Some people even assume that relatives and abandoned because of snakes (small black) are the order of the evil forces that were surrounding Mitu or the spirit of the dead one. An theirlives. If the dead as a Tonaas or opinion and belief developing in respected and honoured person in those days shows that to avoid his neighborhood (kampung), an misfortune, the dead were protected ornamental pattern imposed on a from ancestor spirits and it is grave (waruga) is a human carving necessary to make symbols on grave steadily holding a weapon/mean. keeping eternal realm. Other animal - A pattern of fauna decoration: with an motifs on the waruga that are also appearance of animals, such as found in the Northern part of snakes, dragons, owls, cows and Minahasa are owls. Although they others that are also can be found on are not many, they are found, waruga in Minahasa, especially in example in one of waruga in

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Sawangan and Airmadidi. In the - A flora pattern: the floral motif or the beliefs of the Minahasan community motif of plants in the prehistoric period and still believed today, even used as has not developed yet. In prehistoric era a symbol of the Minahasan region, there was no plant ornament, but then this owl is regarded as a vehicle or in Hindu era influences coming from pet of the gods and is the bearer of India. The ornament of plants or the the news. Beside these two animal flora motifs become very common and motifs that are quite surprising in they become a part which is a major in waruga, such as those found in the world of the ornamentation in Kema, Treman, Pangairan Lontak, Indonesian country area (Aryo and Sawangan, there are motifs in Sunaryo, 2009: 153). Decorative plant the realisitic or symmetrical patterns that were found in some ornaments. The meanings or waruga scattering throughout North mythologies of these cow animals in Minahasa are generally stylized and the period of prehistory are not species are not clearly identified, widely known. The images of these making it difficult to give an existence cow animal mythologies are then sense. expanding in the next periods of the Similar to a faunal animal pattern in times. Belief development in animal Paslaten, a floral ornament presence, mythology is growing in a Persian for example lotus flower ornament is region and Asia Minor (8th century). illustrated by buds with stilir leaves at The cows have the meaning of Tumaluntung, influenced from outside Phalis, that can be interpreted as a Minahasa. Not yet known meaning of virility or acourage (Bertling, 1932). some decorative motifs of plants in In the beliefs of the Minahasan waruga in North Minahasa, but when people themselves, these cows are compared with a lotus ornament in Bali, not so often spoken, as a matter of according to Herayati (1999/2000) in snakes and birds, so the meanings Aryo Sunaryo (154). The ornaments of and functions that are contained in this lotus flower have several symbols them until now are not yet clear. of the purity and sanctity (a belief of However, if you see these animal Hindu). In Buddhist belief, lotus is a motif workmanship and placement purity symbol because it appears that are quite regular and patterned impeccable from mud (Sunaryo: 154). (a two-cow facing each other, with Another possibility that can be delivered big bodies and mighty in Pangairan at this time is a flora decorative motif in Lontak, Paslaten,). Surely, motif of some waruga in Minahasa with an two big/mighty cows facing each aesthetic function or to further highlight other means more than just as a a beauty element in a waruga’s mere decoration?!. The mytology container. developed in Indonesia, for example - Decorative patterns of Tassels / in Bali, where it is very holy as a Kabalas / jags: Other important sacred animal. Has such a belief of a decorative motifs that are almost and very holy or sacred cow animala also always presenting in the waruga is a ever been developed in Minahasa as motif of tassel that is next to the top of well? Until now it still need to look for the cover of the waruga. The tassel a proof, either through the narrative motif is carved or/and also scratched in of history or other information. the various shapes as well as in the various models. The simplest form is

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depicted as a kabalas (rounded) or - Other decorative patterns: Other pitcher (two forms are in waruga spots common ornaments emblazoned or in Minahasa), and others are described scrawled on waruga are combination more ornamental found in some waruga motifs, such as flower and geometric in Treman and Maumbi. This decorative ornamental patterns, tumpal, and motif of tassel pattern is always placed others ornaments. They show on the top of the cloak cover of the decorative ornamental patterns waruga, thus this motif brings the belief developed during prehistoric times in that this object is the unity with the cover Indonesia in general. Geometric or the roof of the waruga. This motif is ornamental patterns are quite also an evident in the existence of commonly found in waruga spreading in Minahasan community houses in the North Minahasa. These geometric past, where they placed tassels or ornamental patterns also include the wooden bars on the roofs of their oldest motifs in the pre-historic houses, as a symbol of the robustness ornamental arts. A motif uses lines and of the house. According to the Mogot fields that are abstract meaning a form (the Old Langowan's Law) in "The cannot be recognized as natural Waruga & Hockerbestattung", it is objects. These motifs evolve from the explained that this tassel motif is the form of repeating dots, lines, or fields picture of the old orange flowers that from simple to complex patterns. are from the Tombaloi tree. These Geometric motifs illustrate objects, but woods are used as reinforcement tools because a form has undergone a (so strong as well as good) and people change, difficult to recognize. also like to carry these woods when On waruga in North Minahasa, it was they were faced with some problems, found a decorative motif in ornamental especially after hearing a warning from pattern of sun and moon. Sun's bird. Symbols of tree flowers are tied to description is a round shape follows a leader’s shoulders in war as a surrounding light lines and a full round reinforcement making them brave. It is or crescent moon. The motif is placed at clear that a tassel motif is more a cover top, the sun and moon as a intended as a symbol of protection and symbol of human life originating from strength, and good deeds. In the art of God. The sun and the moon are seen prehistory or belief that is developed as elements of life in the form of day and during a megalithic period this symbol is night. unknown. It is seen on symbols on an In the next period, when a ancient house’s roof in Indonesia, such modernization and religious norm have as Minang and Toraja house wearing been presented in Minahasa and buffalo headdress or on people’s home surrounding, a decorative pattern on Roti Island wearing deer development began to vary and headdresses on the roof. Does this override the magical ornaments. tassel of tallalo / tombaloi on the roofs Embellishments at the time seemed of the ancient houses have the same more beauty, aimed at remembering a meaning? Proving the clarity, it is loved or respected person, No research certainly needed a deeper historical on a perception truth of ornamental search given the historical data about it patterns in Minahasa, but a community until now that is still vague and unclear. believe it.

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IV. CLOSING spreading in Minahasa, certainly add to Waruga is one of the findings of the diversity repertoire of Indonesian grave containers in Indonesia that has ornamental art in general and North enough potential to reveal one of Sulawesi in particular. An ornament cultural traits, in a form of megalithic beauty is able to increase an ornament beliefs in Indonesia, especially in diversity knowledge of an Indonesian Minahasan society in past. A waruga decorative arts. In addition to a distribution covering almost every area waruga’s decorative motif beauty, it can in North Minahasa indicates that in the be used as decorative motifs on past the North Minahasa was a fairly regional fabrics. Therefore, it can be intense area using this container worth selling and serve as one of equipment as a burial facility and is tourism promotions in the area of this quite popular. It cannot be separated North Sulawesi. from the conveniences prepared by the natural surroundings and human wisdom in the exploitations. Bibliography A megalithic culture deve- lopment in the Minahasan region, if Bertling. 1931. “De Minahassische judging from the pattern of waruga’s Waroega en Hockerbestattung” ornamental development, it can be NION: Amsterdam-Denhagag. seen a Minahasa society dynamism Fahriani, Ipak. 1996. “Masyarakat addressing culture development. The Minahasa kuno : tinjauan atas uniqueness and the characteristic of the ragam hias waruga”. dalam PIA waruga can be seen on the shape, on VII. Cipanas : Puslit Arkenas. the the size, and on the patterns of the ______. 2008. Kajian megalitik ornament that were carved or were waruga di Minahasa Utara”. scratched on the container and the Dalam LPA. Manado : Balar cover of the waruga. Decorative pattern Manado. varieties on waruga spreading in ______. 2009. “Kajian megalitik Minahasa illustrates trust values in waruga di Minahasa Utara”. Minahasan past. However, because of Dalam LPA. Manado : Balar a following era and cultural Manado. development, especially a foreign ______. 2010. “Kajian megalitik cultural influence during a Minahasan waruga di Minahasa Utara”. territory occupation by foreign nations, Dalam LPA. Manado : Balar the decorative patterns also have Manado. developed. In a next era, patterns Siswanto, Joko. 1998.“Pola describe about various life activities Pemukiman Masyarakat experienced by the person placed in Pendukung Budaya Megalitik di waruga. When modernization existing Minahasa: Berdasarkan in this region, a pattern development on Persebaran Waruga”. Dalam waruga focused on a beauty aspect. EHPA Bogor: Puslit Arkenas Finally, the container use of this Soejono, R.P. 1977. “Sistem waruga grave stone disappeared penguburan pada akhir masa around 1700s along with the religion prasejarah di Bali”. Jakarta : influences in Minahasan region. Universitas Indonesia. The diversity of the decorative patterns that was found in waruga

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