AN ANALYSIS OF SYMBOLS IN TOBA BATAK TRADITIONAL HOUSE
A THESIS
BY LILIS HANDAYANI NAPITUPULU REG. NO. 140721025
DEPARTMENT OF ENGLISH FACULTY OF CULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA MEDAN 2016
UNIVERSITAS SUMATERA UTARA AN ANALYSIS OF SYMBOLS IN TOBA BATAK TRADITIONAL HOUSE
A THESIS
BY LILIS HANDAYANI NAPITUPULU REG. NO. 140721025
SUPERVISOR CO-SUPERVISOR
Dr. Ridwan Hanafiah, SH., MA Rahmadsyah Rangkuti, MA., Ph.D NIP. 19560705 198903 1 002 NIP. 19750209 200812 1 002
SUBMITTED TO FACULTY OF CULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA IN PARTIAL FULFILLMENT OF REQUIREMENT FOR DEGREE OF SARJANA SASTRA FROM DEPARTMENT OF ENGLISH.
DEPARTMENT OF ENGLISH FACULTY OF CULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA MEDAN 2016
UNIVERSITAS SUMATERA UTARA APPROVED BY DEPARTMENT OF ENGLISH, FACULTY OF CULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA (USU) MEDAN AS A THESIS FOR THE SARJANA SASTRA EXAMINATION
Head, Secretary,
Dr. H. Muhizar Muchtar, MS Rahmadsyah Rangkuti, MA, Ph.D NIP. 19541117 1980031 002 NIP. 19750209 200812 002
UNIVERSITAS SUMATERA UTARA ACCEPTED BY THE BOARD OF EXAMINERS IN PARTIAL FULFILMENT OF REQUIREMENTS FOR THE DEGREE OF SARJANA SASTRA FROM DEPARTMENT OF ENGLISH, FACULTY OF CULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA
THE EXAMINATION IS HELD IN DEPARTMENT OF ENGLISH FACULTY OF CULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA ON ………………
Dean Faculty of Cultural Studies
Dr. Drs. Budi Agustono, M.S. NIP. 19600805198703 1 001
UNIVERSITAS SUMATERA UTARA AUTHOR’S DECLARATION
I, LILIS HANDAYANI NAPITUPULU DECLARE THAT I AM THE SOLE AUTHOR OF THIS THESIS EXCEPT WHERE REFERENCE IS MADE IN THE TEXT OF THIS THESIS. THIS THESIS CONTAINS NO MATERIAL PUBLISHED ELSEWHERE OR EXTRACTED IN WHOLE OR IN PART FROM A THESIS BY WHICH I HAVE QUALIFIED FOR OR AWARDED ANOTHER DEGREE.
NO OTHER PERSON’S WORK HAS BEEN USED WITHOUT DUE ACKNOWLEDGEMENTS IN THE MAIN TEXT OF THIS THESIS. THIS THESIS HAS NOT BEEN SUBMITTED FOR THE AWARD OF ANOTHER DEGREE IN ANY TERTIARY EDUCATION.
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UNIVERSITAS SUMATERA UTARA COPYRIGHT DECLARATION
Name : LILIS HANDAYANI NAPITUPULU
Title of Thesis : An Analysis of Symbols in Toba Batak Traditional House
Qualification : S-1 / Sarjana Sastra
Department : English
I am willing that my thesis should be available for reproduction at the discretion of the Librarian of the English Department Faculty of Cultural Studies University of Sumatera Utara on the understanding that users are made aware of their obligation under the law of the Republic of Indonesia.
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UNIVERSITAS SUMATERA UTARA ACKNOWLEDGEMENTS
First of all, the writer would like thank and praise to Lord Jesus Christ, The Almighty God, for blessing me in completing this thesis as one of the requirements to get a Diploma certificate in English Department at Faculty of Cultural Studies University of Sumatera Utara. The writer would like to express gratitude to the Dean of Faculty of Cultural Studies Dr. Drs. Budi Agustono, M.S. and the Head of English Department Dr. H. Muhizar Muchtar, MS. The writer would like to express special gratitude to her supervisor Dr. Ridwan Hanafiah, SH, MA and her co-supervisor Rahmadsyah Rangkuti, MA., Ph.D for their willingness to spend their valuable time and guidance this thesis and to give suggestion and criticism during the process of writing. The writer also thank to other lecturers of English Department who have contributed their knowledge in teaching the writer during academic years. The writer would like to express most special thank to her beloved parents, Drs. Marihot Napitupulu, SE and Rosita Saragih, SKM, M.Kes for their love and patience, supporting the writer morally, spiritually, and financially in completing this thesis. The writer also would like to thank her lovely brothers Tumpal Roy Napitupulu, S.Th. and Try Putra Napitupulu and her lovely sister Dewi Fortuna Napitupulu. The writer would like to express most special thank to her dearest man, her special one and only one Horas Sinurat, SE. The writer would like to thank for everything that they have passed together. The writer would like to thank her friends in English Department of Faculty of Cultural Studies University of Sumatera Utara in 2014 academic year for all the supports. May God always bless them all. Medan, 2016
Lilis Handayani Napitupulu 140721025
UNIVERSITAS SUMATERA UTARA ABSTRACT
The title of this thesis is ―An Analysis of Symbols in Toba Batak Traditional House‖. The thesis describes symbols, the meanings of symbols and reason they are used in Toba Batak traditional house. The purposes of writing this thesis are to know the symbols, the meaning of symbols found in Toba Batak traditional house and the reason they are used in Toba Batak traditional house. This thesis uses qualitative descriptive method. Toba Batak Traditional Houses in T.B. Silalahi Center Balige is the primary source of data that also clarified by some speakers besides books that are applied as secondary sources. The result of this thesis is symbols in Toba Batak Traditional House have meanings in symbolizing Tarus symbol as prosperity and mother‘s love, Boraspati symbol as fertility, Jenggar symbol as strength, Singa- singa symbol as prestigious, Ulupaung as wisdom, Gaja Dompak symbol as truth, Santung-santung symbol as truth and law, Simeol-eol and Simeol-eol Marsialoan symbols as happiness and tolerance, Ipon-ipon symbol as beauty and harmony, Silintong symbol as faith, Simataniari symbol as warmth, and Desa Na Ualu symbol as balance.
Keywords: symbols, Toba Batak traditional house
UNIVERSITAS SUMATERA UTARA ABSTRAK
Judul skripsi ini adalah ―An Analysis of Symbols in Toba Batak Traditional House‖.. Skripsi ini berisi tentang simbol, makna simbol yang ada di rumah adat Batak Toba dan alasan digunakannya simbol itu pada rumah adat Batak Toba. Tujuan penulisan skripsi ini adalah untuk mengetahui simbol, makna dari simbol dan alasan digunakannya simbol itu pada rumah adat Batak Toba. Skripsi ini menggunakan metode deskriptif kualitatif. Rumah adat yang ada di T.B. Silalahi Center Balige merupakan sumber data utama dalam penelitian ini yang juga telah diperjelas oleh beberapa narasumber di samping buku yang berkaitan dengan sastra sebagai sumber data pendukung. Hasil dari skripsi ini adalah makna-makna yang terkandung didalam rumah adat Batak Toba adalah secara garis besar yaitu simbol Tarus yang melambangkan kasih ibu dan kemakmuran, simbol Boraspati yang melambangkan kesuburan, simbol Jenggar yang melambangkan kekuatan, simbol Singa-singa yang melambangkan kewibawaan, simbol Ulupaung yang melambangkan kebijaksanaan, simbol Gaja Dompak yang melambangkan kebenaran, simbol Santung-santung yang melambangkan kebenaran dan keadilan, simbol Simeol-eol dan Simeol-eol Marsialoan yang melambangkan kebahagiaan dan toleransi, simbol Ipon-ipon yang melambangkan keindahan dan keharmonisan, simbol Silintong yang melambangkan iman, simbol Simataniari yang melambangkan kehangatan, dan simbol Desa Na Ualu yang melambangkan keseimbangan.
Kata kunci: simbol-simbol, rumah adat Batak Toba
UNIVERSITAS SUMATERA UTARA TABLE OF CONTENTS
AUTHOR’S DECLARATION ...... i
COPYRIGHT DECLARATION ...... ii
ACKNOWLEDGEMENTS ...... iii
ABSTRACT ...... iv
ABSTRAK ...... v
TABLE OF CONTENTS ...... vi
CHAPTER I: INTRODUCTION ...... 1
1.1 Background of the Study ...... 1
1.2 Problem of the Study ...... 5
1.3 Objective of the Study ...... 5
1.4 Scope of the Study ...... 5
1.5 Significance of the Study ...... 5
CHAPTER II: REVIEW OF LITERATURE ...... 6
2.1 Sociolinguistics ...... 6
2.2 Semiotics ...... 7
2.2.1 Relation between Semiotics and Semantics ...... 8
2.3 Symbols ...... 9
2.4 The Batak ...... 12
2.4.1 Toba Batak ...... 14
2.4.2 Toba Batak Traditional House ...... 15
2.5 Megalithic Culture ...... 19
2.6 Previous Related Studies ...... 20
UNIVERSITAS SUMATERA UTARA
CHAPTER III: METHOD OF RESEARCH ...... 22
3.1 Research Design ...... 22
3.2 Location and Time ...... 23
3.3 Data & Source of Data ...... 24
3.4 Data Collecting Method ...... 24
3.5 Data Analyzing Method ...... 25
CHAPTER IV: ANALYSIS AND FINDING ...... 26
4.1 Analysis ...... 26
4.1.1 Tarus symbol ...... 26
4.1.2 Jenggar symbol ...... 28
4.1.3 Singa-singa symbol ...... 29
4.1.4 Ulupaung symbol ...... 31
4.1.5 Gaja Dompak symbol ...... 32
4.1.6 Santung-santung symbol ...... 35
4.1.7 Simeol-eol symbol ...... 36
4.1.8 Simeol-eol Marsialoan symbol ...... 37
4.1.9 Ipon-ipon symbol ...... 38
4.1.10 Silintong symbol ...... 39
4.1.11 Simataniari symbol ...... 41
4.1.12 Desa Na Ualu symbol ...... 42
4.2 Finding ...... 44
4.3 Discussion ...... 46
UNIVERSITAS SUMATERA UTARA UNIVERSITAS SUMATERA UTARA
CHAPTER V: CONCLUSION AND SUGGESTION ...... 48
5.1 Conclusion ...... 48
5.2 Suggestion ...... 51
REFERENCES ...... 52
APPENDICES
UNIVERSITAS SUMATERA UTARA UNIVERSITAS SUMATERA UTARA INTRODUCTION
1.1 Background of the Study
‗Batak‘ is the term that refers to congeries of culturally related groups or tribes who inhabit the greater part of hinterland of the province of North Sumatera in the centre of which is located in Toba Lake (Viner, 1979:90). Some scholars believe that
‗Batak‘ is already used in the 17th century, was originally a derogatory Old Malay term for ―robber‖ (Dalton, 1991:567). Yet another theory insists that the word originates from ‗Bataha‘, the name of a Karen village in the Burma/Siam area which the Batak people came (Sangti, 1978:26).
Symbol is something associated with something else that it signifies or represents. Langer (1953:93) argues that symbols are the basis of all human understanding and serve as vehicles of conception for all human knowledge. The function of a symbol is to represent a reality or a truth and to reveal them either instantaneously or gradually. The relationship of the symbol to a reality is conceived of as somewhat direct and intimate and also as somewhat indirect and distant.
The importance of symbol in Batak has been confirmed, widened, and deepened by the study of primitive cultures and religions and by the comparative study of world religions to represent a reality or a truth and to reveal them either instantaneously or gradually. The relationship of the symbol to Batak life is conceived of as somewhat direct and intimate and also somewhat indirect and distant. Systems of symbols that are constituted in Batak relationship to the form, content, and intention of the presentation are believed to be among the most important means of knowing and expressing religious facts; symbol of life for Batak society. Such systems also contribute to the maintenance and strengthening of the
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UNIVERSITAS SUMATERA UTARA relationships between Batak society and Batak hereditary culture. The symbol is, in effect, the mediator, presence, and real representation of the meaning life and the greatness of Batak itself.
The reasons why the writer chooses the title of the thesis An Analysis of
Symbols in Toba Batak Traditional House are because:
1. Toba Batak is one of Batak tribes that cannot be divided with other tribes, so
the writer wants to replenish and arouse a sense of belonging for Batak tribe by
uncover and develop old relic ancestors that mulak tondi tu jabu (the spirit/the
holy spirit back into home) or in other words back to the original image of the
Toba Batak traditional house.
2. Batak nowadays is generally embracing Moslem, Protestantism, and
Catholicism and some are embracing the traditional belief namely Malim
tradition (animistic belief) although this belief is already disappeared. Because
of that this thesis is generally can be known and understood by all the people
who attracts and needs to regardless of the terms of the religion.
3. By learning knowledge of the Batak culture and what is still left of current can
be carried out more easily because the writer can associate directly with the
language that she used with people she interviewed.
Toba Batak tribe has its trademark greeting; Horas, Syalom Jala Gabe Ma Di
Hita Saluhutna! (/hɒrʌʃ/, /ʃʌlom/ /dʒᴂlʌ/ /gabe/ /mʌ/ /dɪ/ /hɪtʌ/ /sʌljuhutnʌ/). A form of kinship based on lineage can be seen from Batak genealogy from Si Raja Batak; where all Batak ethnic have a clan. In Batak tradition, things that become united in indigenous are marga (family name or genus). For example, Napitupulu, the unity of its tradition is the family of Sonak Malela (Simangunsong clan, Marpaung clan,
Napitupulu clan, Pardede clan).
UNIVERSITAS SUMATERA UTARA Related to the title of the thesis An Analysis of Symbols in Toba Batak
Traditional House, the writer would like to analyze the meaning of symbols that found in Toba Batak Traditional House because:
1. Some of the symbols in Toba Batak traditional house are look like same each
other but actually have different meanings in culture and its function.
2. Young generations especially in Toba Batak tribe are mostly do not know the
meaning of symbols in Toba Batak traditional house; even the name of the
symbols.
3. The writer can continue the researches related to the symbols of Toba Batak
traditional house so that more people can know, understand, and apply the
hidden meanings culturally in the symbols of the Toba Batak traditional house.
4. The data that will be shown are also supported and clarified by some of Batak
people.
There are two types of traditional house in Toba Batak village; Ruma and Sopo.
Ruma is a word from Batak language means house. It is sometimes called as ruma gorga because the house is almost full of carving and sculpture (gorga in Batak tribe is carving or sculpture that contains mythical thing). On the other hand, sopo is formerly used as a rice granary. It also has a variety of roles that as a meeting place and dormitory for bachelors in the lower floor and lodging for guests. Sopo is also used for the young couple that married, shelter from the rain, the place for weaving mats and baskets, or else for storage of goods such as mortar, looms, and agriculture.
Usually Ruma and Sopo are placed facing each other. At first glance, these two types of traditional house look similar, but actually differ in terms of design and functionality. One of the most distinguishing them is the placement of the entrance stairs and the house door. Sopo ladder placed outside and directly to the door located
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UNIVERSITAS SUMATERA UTARA at the front wall. Ruma ladder placed toward inside door, which is put on the front floor of the house. In terms of function, ruma is the place to stay while sopo is a place to do daily activities, welcoming guests, grain storage, and a place for guests who stay overnight. (T.B. Silalahi Center; Dalton, 1991:570; Barbier, 1983:92).
Figure no. 1
Figure no. 1 is a craving of symbol namely boraspati. Boraspati in English is
‗lizard‘. Ariyandini, an anthropologist expert from University of Indonesia, states that the philosophy of life in Batak is boraspati. A philosophy of life that can be learned from boraspati‘s life is that it can adjust in any environment or place.
Ancestor of Batak people expect future generations to be able to adjust in any environment like boraspati does, no matter what the circumstances they would face.
This symbol is familiar in Toba Batak people and it can be found in Toba Batak traditional house.
This work allows us to know that apart from Batak culture specificity; there are still elements of cultural similarities with other tribes in the archipelago. And with analyzing the meaning of the symbols that found in the Toba Batak traditional house itself, the writer hopes readers will be interests and understands about the rich culture of the native Batak in this wonderful Indonesia, rich in beautiful arts and means very knowledgeable and helpful to society.
UNIVERSITAS SUMATERA UTARA 1.2 Problem of the Study
Based on the background of the study above, the writer finds some problems that appear in the study. They are formulated as follows:
1. What are the symbols found in Toba Batak traditional house?
2. What are the meaning of symbols found in Toba Batak traditional house?
3. Why are the symbols used in Toba Batak traditional house?
1.3 Objective of the Study
Related to the problems of the study above, the study is aimed to:
1. Find the symbols in Toba Batak traditional house.
2. Find the meaning of symbols in Toba Batak traditional house.
3. Find the reason why the symbols are used in Toba Batak traditional house.
1.4 Scope of the Study
The writer will focus the study on analyzing the symbols, meaning of symbols, and the reason they are used in Toba Batak traditional house.
1.5 Significance of the Study
Theoretically, the significance of this study is an important contribution to the development of semiotic studies, especially to the analysis of symbols in Toba Batak traditional house. Practically, this thesis may be used as a reference to those who have curiosity and interest in studying semiotics.
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UNIVERSITAS SUMATERA UTARA CHAPTER II
REVIEW OF LITERATURE
2.1 Sociolinguistics
Language is central to human nature. Each human language is a complex of knowledge and abilities enabling speakers of the language to communicate with each other to express ideas, hypotheses, emotions, desires, and all the other things that need expressing. Linguistics is the study of these knowledge systems in all their aspects of language. Linguistics is the scientific study of language (Halliday,
2006:vii).The linguistics itself grows informal approaches to the study of other aspects of human language, such as social and cultural factors namely sociolinguistics that focuses on the society‘s effect on language.
Sociolinguistics examines language, society, and the relation between language and society (Aslinda et.al., 2007:12). The language used by the society as a means of communication between people. Since society is composed of different layers, the language will used vary certainly. Studies on the variation of the language are one part of the sociolinguistics.
Sociolinguistics differs from sociology of language in that the focus of sociology of language is the effect of language on the society, while sociolinguistics focuses on the society‘s effect on language. Nababan (1991:2) states that sociolinguistics is used to discuss aspects of society, especially the variation contained in language-related factors. Thus, it can be said that the relationship between sociology and sociolinguistics is quite close. Sociolinguistics is historically closely related to linguistic anthropology.
UNIVERSITAS SUMATERA UTARA 2.2 Semiotics
Semiotics is closely related to the field of linguistics, which, for its part, studies the structure and meaning of language more specifically. Its tradition explores the study of signs and symbols as a significant part of communications.
(Ullmann,1972:14; Innis, 1985:vii) states that semiotics is special science studies the system the signs and symbols. Another name of semiotics is semiology from Greek language semeion that meaningful sign or symbol, closely related to semiotics term
(Lyons, I, 1977:100). Society is governed by various systems. Semantics discusses the system of meaning, while semiotics is a theory of sign and symbols. (Pateda,
2010:29).
Pateda (2010:29) states that there are at least 9 kinds of semiotics, namely:
1. Analytic semiotic, analyzes the semiotic system of signs and symbols.
2. Descriptive semiotic, is semiotic that notices the sign and symbols system that
can be experienced now. For instance, the overcast sky indicating that the rain
will be come.
3. Faunal semiotic (zoo semiotics), is special semiotic that notices sign and
symbol system produced by animal.
4. Cultural semiotic, is specifically examines semiotic that notices sign and
symbol system that applicable in certain culture society. It is known that the
society as social beings have a certain cultural system that has been hereditary
maintained and respected. Cultures that contained in a society that is also a
system, uses certain signs and symbols which distinguish the culture of other
regions in Indonesia and the world.
5. Narrative semiotic, is semiotic that analyzes signs and symbols system in
narrative in folklore form.
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UNIVERSITAS SUMATERA UTARA 6. Natural semiotic, is special semiotic that notices signs and symbols system
produced by nature.
7. Normative semiotic, is semiotic that specifically talks about signs and symbols
system made by human in intangible norms, traffic signs for example.
8. Social semiotic, is special semiotic that analyzed signs and symbols sign
produced by human in symbol, intangible words or sentences.
9. Structural semiotic, is semiotic that notices signs and symbols system that
manifested from language structure.
2.2.1 Relation between Semantics and Semiotics
Language elements called word that usually heard or read called symbol.
Symbols in semiotic is usually called sign. Because of symbol has meaning and meaning is semantic object, while symbol itself called sign in semiotic, then there is a reason to examines the relation between semantics and semiotics.
Sturrock (1979) states that when semantics focuses on the denotative dimension of the meaning of words, semiotics offers a broader prospective of the meaning by focusing on connotative and denotative dimensions of signs. Burton
(2011:2) believes that meaning is not a semantic property but a semiotic relation (to semantic property).
The relation between semiotics and semantics is that between a knife or a fork and cutlery. While a knife or a fork is an item of cutlery, cutlery is not necessarily a knife or a fork. While semantics deals with linguistic meaning, semiotic deals with meanings that transcend linguistics. Semiotics deals with meaning also in paralinguistic features, such as gestures and kinesics that aid communication and extra linguistic contexts.
UNIVERSITAS SUMATERA UTARA 2.3 Symbols
Symbols are something associated with something else that it signifies or represents. Language, consequently, is a form of symbolism that not only accepts ambiguity but in some measure employs it effectively. Symbols are not translations of our thought; they are its organs (Eco, 1984:135).
The function of a symbol is to represent a reality or a truth and to reveal them either instantaneously or gradually. The relationship of the symbol to a reality is conceived of as somewhat direct and intimate and also as somewhat indirect and distant. Tillich (1964:59) states that symbols are always ‗point beyond itself‘ to something that is unquantifiable and mysterious; symbols open up the depth dimension of reality itself.
To conserve the fund of general meanings in terms of which each individual interprets his experience and organizes his conduct, religion is in part an attempt. But meanings can only be ―stored‖ in symbols: a cross, a crescent, or a feathered serpent
(Geertz, 1973:127). Such religious symbols, dramatized in rituals or related in myths, are felt somehow to sum up, for those for whom they are resonant, what is known about the way the world is, the quality of the emotional life it supports, and the way one ought to behave while in it. Sacred symbols thus relate an ontology and a cosmology to an aesthetics and a morality: their peculiar power comes from their presumed ability to identify fact with value at the most fundamental level, to give to what is otherwise merely actual, a comprehensive normative import.
What is frequently appreciated in many so-called symbols is exactly their vagueness, their openness, their fruitful ineffectiveness to express a ‗final‘ meaning, so that with symbols and by symbols one indicates what is always beyond one‘s reach (Eco, 1984:130).
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UNIVERSITAS SUMATERA UTARA Whereas signs are often arbitrary in character, symbols frequently are based on a likeness. The lion represents courage because lions are said to be brave. The lily symbolizes purity because it is white. Such symbols often have the force of metaphor or comparison. When they embody or imply a moral statement, proverb, or motto, they are called emblems or, if they are personal devices, impress. Of this sort is the symbol of the cherry blossom, which in Japan represents the professional warrior, the samurai, because it is beautiful, it blooms early, and it dies soon.
If one looks for a definable common denominator for the various types of symbols, one could perhaps choose the term ‗meaning picture‘ or ‗meaning sign‘ to best describe the religious experience. The symbol (religious and other) is intended primarily for the circle of the initiated and involves the acknowledgment of the experience that it expresses. The symbol is not, however, kept hidden in meaning; to some extent, it even has a revelatory character. It indicates the need for communication and yet conceals the details and inner most aspects of its contents.
To some extent, symbols reflect culture and are used to convey specific ideologies, social cultures and different aspects of different cultures. That is to say, the true meaning of a symbol lies in the cultural background it belongs to (Lei,
2015:2165). Symbols help us get a better understanding of the world we live in and guide us through the way we make judgments.
The symbol is sometimes identified with the reality that it represents and sometimes regarded as a pure transparency of it. As a ‗sign‘ or ‗picture‘ the representation of the experience of and relationship to reality has either a denotative or a truly representative meaning.
While simple signification appears to be a mechanism operating on even the lowest biologic levels, symbols become complex in proportion to the development of
UNIVERSITAS SUMATERA UTARA intellect. Humankind has been called a symbolizing animal. It seems clear that at some point in its evolution—perhaps in Neolithic times—the human species distinguished itself by forming conceptions of the cosmos that made the environment in some degree comprehensible.
Such conceptions, normally based on human patterns of behavior, served to order the external world in terms of symbols that functioned as reality until they were superseded by symbols of greater cogency and were consigned to the fantasy world of myth.
The two dominant models of what constitutes a sign are those of the linguist
Ferdinand de Saussure and the philosopher Charles Sanders Pierce (Chandler, 2014).
Saussure offered a ‗dyadic‘ or two-part model of the sign. He defined a sign as
being composed of:
a ‗signifier‘ – the form which the sign takes
the ‗signified‘ – the concept it represents
In contrast to Saussure‘s model of the sign in the form of a ‗self-contained
dyad‘, Pierce offered a triadic model:
The ‗Representamen‘ – the form which the sign takes
An ‗Interpretant‘ – not an interpreter but rather the sense made of the sign
An ‗Object‘ – to which the sign refers
Saussure explained that a sign was not only a sound-image but also a concept.
Thus he divided the sign into two components: the signifier (sound-image) and the signified (concept). (Berger, 2012:2). For Saussure, the signified and signifier were purely psychological; they were form rather than substance. Today, the signifier is interpreted as the material form (something can be seen, heard, touched, smelled or tasted) and the signified as the mental concept.
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UNIVERSITAS SUMATERA UTARA Symbol is one part of semiotics because special science studying the system of sign or symbol (Ullmann in Pateda, 1972:14). Semiotics is the study of how meaning is created, not what it is. Campbell (2002:143) states that a symbol is an energy evoking, and directing, agent. He expands his states that a symbol, like everything else, shows a double aspect. We must distinguish, therefore between the ‗sense‘ and the ‗meaning‘ of the symbol. It seems to Campbell perfectly clear that all the great and little symbolical systems of the past functioned simultaneously on three levels: the corporeal of waking consciousness, the spiritual of dream, and the ineffable of the absolutely unknowable. Semiotics is closely related to the field of linguistics that studies structure and meaning of language more specifically. Linguistics is the scientific study of language (Halliday, 2006:vii). The linguistics itself grows informal approaches to the study of other aspects of human language, such as social and cultural factors namely sociolinguistics that focuses on the society‘s effects on language, which is related to the analysis of the study that discusses about symbols that used in Toba Batak traditional house by Toba Batak people.
The writer used Saussure‘s theory which is ‗dyadic‘ model of the sign that contains ‗signifier‘ and ‗signified‘ to analyzed symbols in Toba Batak traditional house besides it has been particularly influential in the study of linguistic signs.
2.4 The Batak
Some scholars believe that the word ‗Batak‘, already use in the 17th century, was originally a derogatory Old Malay term for ―robber‖. Yet another theory insists that the word originates from ‗Bataha‘, the name of a Karen village in the
Burma/Siam area from where the Batak people originate.
UNIVERSITAS SUMATERA UTARA In Sanskrit language, bhata or bhrta means ‗mercenary guards, soldiers, maid‘, that goes into the ancient Javanese language. In Maleisch – Nederlands
Woordenboek dictionary (Wall 1877) and Nieuw Maleisch – Nederlandsch
Woodenboek (Klinkert 1930) there is a word ‗membatak‘ which means rob.
On the other hand, historians and anthropologists are still trying to research and learn about the origin, development, culture tribes in Indonesia. Many of the theories and opinions are questioned the origin of the Batak tribe. Gultom Rajamarpodang
(1992: 3-4) states that Claudius Ptolomeus, an expert on earth Alexandria have already written that the Batak tribe originating from China. Proven in existing
Kedukan Bukit inscription on the Tatang River near Palembang written by a
Buddhist Padri named I-Tsing (635-713) during his journey as follows:
―Selamat tahun Caka telah berjalan 605, tanggal 11 paro terang bulan waicaka. Dapunta Hiyang naik perahu mengambil perjalanan suci. Pada tanggal 7 paro terang bulan Iyesta Dapunta Hiyang berangkat dari Minanga—Tamwan membawa bala tentara 20.000 dengan peti 200 berjalan diperahu, dengan jalan darat tiga ratus sepuluh dua banyaknya‖
―Happy Caka year that has run 605, date 11 half waicaka moonlit. Dapunta Hiyang rode a boat took a sacred journey. On date 7 half waicaka Dapunta Hiyang departed from Minanga—Tamwan brang an army of 20,000 with a crate of 200 walked on the boat, with three hundred and twelve of miles‖
The historians are focused to the word ―Minanga-Tamwan‖. When viewed from the Batak language and composition of the Batak number of words contained in the inscription Kedukan Bukit, was more inclined to the Batak language. "Minanga" on the inscription is "Binanga" in Batak language, "Tamwan" on the inscription is
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UNIVERSITAS SUMATERA UTARA "Tomuan" in Batak language. So "Minanga Tamwan" on the inscription is "Binanga
Tomuan" if the English language means "Meeting of the Two Rivers".
Because of mass migrations of Batak seeking in a better life in the lowland regions and Jakarta, modernization in the Batak homeland is slow. Their society is stubbornly traditional, the majority living in small, independent, self-sufficient, tightly knit villages. Many of the tribes‘ (particularly the Toba Batak) traditional agriculture and land-tenure practices—thus their way of life—remain almost unchanged.
Sibarani (1997: 1) states that the Batak tribe consists of five sub tribe namely
Toba Batak, Karo Batak, Simalungun Batak, Pakpak-Dairi Batak, and Angkola-
Mandailing Batak.
Though many of their culture customs are different, they all share the same cultural patterns. The Toba Batak is the only clan which strongly identifies with the name Batak; the other tribes seem ashamed to be known as such.
2.4.1 Toba Batak
Toba Batak (also referred to as Toba Batak people or often simply Batak) are the most numerous of the Batak people of North Sumatra, Indonesia, and often considered the classical Batak, most likely to willingly self-identify as Batak. One million strong, they are considered the most kasar (rude) and it does not bother them a bit. The oldest tribe from which all the others are believed to have originated, the
Toba Batak have the purest lineages and speak the most uncorrupted dialect. The
Toba people are found in Toba Samosir Regency, Humbang Hasundutan Regency,
Samosir Regency, North Tapanuli Regency, part of Dairi Regency, Central Tapanuli
Regency, Sibolga and its surrounding regions. The Toba Batak society speaks in
UNIVERSITAS SUMATERA UTARA Toba Batak language and is centered on Lake Toba and Samosir Island within the lake. Toba Batak people frequently build in traditional Batak architecture styles which are common on Samosir. Cultural demonstrations, performances and festivities such as Sigale Gale are often held for tourists.
2.4.2 Toba Batak Traditional House
Figure no. 2
Toba Batak traditional house also called as rumah bolon, ruma gorga, etc. that shaped stage with the main building materials such as wood. The most unique thing is in its curved and tapered behind of the house. Batak tribal house has its own meaning and significance (Marpaung and Pasaribu, 2000:14). This traditional house carved, colored, pictured, and sculptured. All the cravings, sculptures, picture, and all the forms have meaning on their own. When a person enters the house, one must bow in order to avoid one's head from knocking the transverse beam at the entrance of the traditional house. The interpretation of this is that the guests must respect the owner of the house.
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UNIVERSITAS SUMATERA UTARA Currently, this traditional house is commonly called by carved Ruma Gorga, colored, and some are drawn and sculptured. Forshee (2006:97) states that ruma gorga (carved house) is the most prestigious structure among the Toba Batak.
Entering from beneath, these homes are exquisitely carved and painted with deities and mythical creatures. All craving, sculpture, pictures and form of the house has deep meanings. It is regrettable that Batak traditional house is rare nowadays. This is because some of the Bataknese are already forgetting and leaving the original culture so it is not traditional house if they built a house. If not be preserved, traditional house would be just gone.
Figure no. 3
For example, in figure no. 3, there is singa-singa (lion) that is craved on the left and right of the house. In addition, in every corner of the house, usually there are
Boraspati (lizard) pictures. In front side, there is also a Baringin (banyan tree) between breasts picture. There are also dila-dila (tongue) directly over the statue of a woman‘s face while two faces of other women lined face down. The cravings are predominantly in red, black, and white colors to give the austere impression, the ancestral great work of the Batak.
UNIVERSITAS SUMATERA UTARA In Toba Batak tribe, these symbols usually called gorga. Gorga is wide carving, staining the walls with the three basic colors of Toba Batak identity; white, black, and red (Warneck, 2001:108). Usually these three kinds of color is called three bolit. The materials for the gorga are usually soft wood that is easily scraped and painted. According to the process, there are two kinds of gorga namely:
1. Gorga Uhir
Gorga Uhir is carved using a chisel and once is ready, the sculpture will be painted.
It is usually found on the façade of Toba Batak traditional house.
2. Gorga Dais
Gorga Dais is illustrated with color paint of the tiga bolit. It is complementary to the
Toba Batak house. It is found on the both left and right sides and inside of the Toba
Batak traditional house.
All the carvings, statues, and pictures that are unite in the traditional house made by skilled hands of Pande Tungkang (artisan). Marpaung and Pasaribu
(2000:15) states that Pande Tungkang is much respected; they are considered marsahala (charismatic). They are actually the most who knows what the meanings of all they do. Unfortunately they are very rare. However it does not mean that the ancestral work can not be interpreted.
Jabu or Ruma is the Toba language word for rumah adat (traditional house).
The traditional houses are made up of three sections. A substructure of large wooden pillars resting on flat stones (or concrete nowadays) protects the structure from rising damp. Some of these pillars support longitudinal beams known as labe-labe, which run the length of the house at head height to carry the massive roof. Other pillars carry two large beams with carved singa heads which, with two lateral beams mortised into them, form a great ring beam bearing the small living area. The
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UNIVERSITAS SUMATERA UTARA substructure is strengthened by beams mortised into the piles which double as night stalls for cattle. Walls are lightweight and lean outwards and provide additional stability to the structure. The wall and the wall plate supporting the rafters hang from the labe-labe with rattan cord, while the base of the wall sits on the ring beam. The rafters spring from the wall plate and are angled outwards producing the roof curve.
In lieu of horizontal bracing battens, diagonal ties—running from the middle of the labe-labe to the gable ends—provide reinforcement.
The large steeply-pitched saddle back roof dominates the structure. The roofs are traditionally thatched, and with no internal roof trusses they provide a large internal space. Sharply projected triangular eaves and gables overlap all around the substructure. The front gable extends further than the rear gable and is finely carved and painted with motifs of suns, starts, cockerels, and geometric motifs in red, white, and black. The rear gable remains plain.
The living area, which is supported by lateral and transverse beams, is small and dark. Light enters through a small window in each of the four sides. The inhabitants spend most of their time outdoors and the house is largely used for sleeping. An attic space is provided by a flat wooden ceiling over the front third of the living area. Family heirlooms and sometimes shrines are stored here.
Traditionally, the Toba Batak would cook over a hearth at the front of the living room making the living area smoky. With recent changes in hygiene practices, the kitchen is now often in an extension at the rear of the house.
The original Toba Batak houses were large communal houses, but these have now become rare, with most houses now built in the ethnic Malay style with both modern and traditional materials. While more spacious, better ventilated, brighter, and cheaper to build, the jabu or ruma is considered more prestigious. Where jabu or
UNIVERSITAS SUMATERA UTARA ruma are still lived, they are generally smaller single-family dwellings. ‗House‘ in
Batak culture is the first place to study law or rules and customs of Dalihan Na Tolu too. Aritonang dkk (2006) stated that Dalihan Na Tolu is a philosophical or socio- cultural insight that concerns the society and culture of Batak. This means each that out from house education means he has grown in terms of the whole.
2.5 Megalithic Culture
Batak culture is the result of the intermingling of old pre-Hindu culture and the influence of India, namely Buddhist and Hindu which appeared in the 5th century. As the proof, people pointed to the remains of the temples in the valley in the south land of Batak (Pedersen, 1980:19; Siregar, 1981:13; Schnitger 1937).
Pre-Hindu culture can be called ancient megalithic culture that which the characteristics of Batak art and culture now. Among the characteristics of Batak art and culture, the first that should mention is megalithic culture. The word
―Megalithic‖ describes structures made of such large stones, utilizing an interlocking system without the use of mortar or concrete, as well as representing periods of prehistory characterized by such constructions.
This megalithic culture heritage is still known in the form of a lion‘s large head as tomb‘s ornament nowadays. This cultural influence also reflected in the form of a buffalo horn shaped roofs. Megalithic culture influence is also seen in shades of
Batak tribe arts and social patterns, customs, beliefs, and religion.
India influence directly or indirectly through the Hindu-Javanese culture or
Hindu-Sumatran play an important role in the formation of Batak culture. According to Gonda, Dutch researchers, the influence is also apparent in Batak language, which is almost 10% of the vocabulary derived from Sanskrit. Some of the words below is
19
UNIVERSITAS SUMATERA UTARA an evidence to the influence of Sanskrit, most likely through the Malay language
(Hasibuan, 1985:240):
Sanskrit language Malay language Batak language Hari /hʌrɪ/ Hari /hʌrɪ/ Ari /ʌrɪ/ Arta /ʌrtʌ/ Harta /hʌrtʌ/ Arta /ʌrtʌ/ Agama /ʌgʌmʌ/ Agama /ʌgʌmʌ/ Ugamo /ju:gʌmo/ Arga /ʌrgʌ/ Harga /hʌrgʌ/ Arga /ʌrgʌ/ Dosa /dəsʌ/ Dosa /dɒsʌ/ Dosa /dɒsʌ/ Pustaka /pʊstʌkʌ/ Pustaka /pʊstʌkʌ/ Pustaha /pʊstʌhʌ/ Sri /srɪ/ Seri /sɜrɪ/ Sori /sərɪ/ Guru /gʊrʊ/ Guru /gʊrʊ/ Guru /gʊrʊ/ Maharadja /mʌhʌrʌdʒʌ/ Maharaja /mʌhʌrʌdʒʌ/ Mangaraja/mʌngʌrʌdʒʌ/ Kuta /kʊtʌ/ Kota /kətʌ/ Huta /hʊtʌ/
2.6 Previous Related Studies
As the additional guidance and references for the writer in writing this thesis, she has consulted some theses related to symbols.
M. Syamhudi Harahap (2004), An Analysis of the Symbol Meaning in
Advertisement in ―Times‖ concludes that the advertisers use simple sentences to get the attention and concern of customers, advertisers may also use an effective way of introducing their product to the general public. The advertiser uses the phrases and pictures to support the idea and explain the usefulness of their products. The advertisers use the phrase as their messages, and pictures for the purpose of the message that is to be said, in addition these two elements have a relationship between one with the other as an illustration of the concept of the advertisement. Other than that, the advertisers also use a common phrase often used by people that is general sentence with proper grammar.
Dortama Lumban Gaol (2007), An Analysis of Symbols in Wallace Steven
Poems concludes that symbol blackbird in the poem ―Thirteen Ways of Looking at a
Blackbird‖ is a symbol of a man who was alone in life with so many challenges face
UNIVERSITAS SUMATERA UTARA in life both in day and night. It is symbolized by snow kept attached to the tree leaves blackbird resting place. Symbol blue guitar in poetry ―The Man With the Blue
Guitar‖ is a symbol of a man who continue to hope in reached his goal is symbolized by the voice of the guitar strap that is played in poetry.
Muhammad Savrizal (2009), An Analysis of Symbols in Dan Brown’s Novel
Angels and Demons focuses to interpreted the symbols which are portrayed in the novel by choosing some certain symbols not a whole symbols. The finding of the analysis is that every symbol has another meaning that explains another too. It teaches that one could not exist without the other and it gives the universe the balance to move and function as one in the world.
Boy Canser Tarigan (2010), An Analysis of Symbols Used in Mikie Funland
Berastagi concludes that there are thirty five datas found in Mikie Holiday Funland
Berastagi with the classification, 16 regulatory as prohibition, 0 regulatory as mandatory, 1 warning as caution, 1 warning as danger, 0 information as emergency, and 17 information guidance and information. From the calculation above, the information as guidance and information type is the most dominant type of symbols used in Mikie Holiday Funland Berastagi with the number of 17.
Dealing with the information after reading the theses, the objectives of the analysis are different with this thesis. In this thesis, the objectives are to find the symbols in Toba Batak traditional house, the meaning of symbols in Toba Batak traditional house and the reason why the symbols are used in Toba Batak traditional house.
21
UNIVERSITAS SUMATERA UTARA CHAPTER III
METHOD OF RESEARCH
3.1 Research Design
In this study the first step that is performed by the writer is to collect data and compile them and then explain it before the data analysis stage. Before that, the writer headed to the stage of selecting the method of implementation research.
(Selitiz et al., 1962: 50-53; Hyman, 1960: 66) states that there are three types of research, namely:
a. Research that is exploring, aims to deepen the knowledge of a particular
symptom, or get new ideas about the phenomenon, with a view to
formulating the problem in more detail or to generate hypotheses. In this case
the problem is very open and there is no hypothesis.
b. Descriptive research, aims to describe accurately the properties of an
individual, the state, or the symptoms of a particular group, or to determine
the frequency or the frequency of a symptom or a specific relationship
between a symptom and other symptoms in the community. In this case there
could have been hypotheses, maybe not, depending on the knowledge about
the problem in question.
c. Explicative Research, aims to tests the hypotheses about the causal
relationship between the variables studied and has been hypothesized by
itself.
Based on the above three types of research, the writer intends to use descriptive research as this may give a description that is as carefully as possible about an
UNIVERSITAS SUMATERA UTARA individual, the state, or the symptoms of a particular group (Koentjaraningrat, 1997:
30). The writer uses qualitative data as research methods.
3.2 Location and Time
The location in this research is Balige. Balige is a district and also as a capital city of districts in Toba Samosir, North Sumatra, Indonesia.
In this city, there is a special museum contains relic of history in the land of
Batak, namely T.B. Silalahi Center, which was also founded by honorable Batak people; T.B. Silalahi. Therefore, T.B. Silalahi Center will be the primary location of the research by the writer.
Balige itself is located at:
North latitude : 2° 15‘ - 2° 21‘
East longitude : 99° 00‘ - 99° 11‘
Above the sea level : 905 – 1200 m
Land area : 91.05 km2
Temperature av. : 22 -25°c
Figure no. 5
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UNIVERSITAS SUMATERA UTARA According to figure no. 5, Balige District shares land borders with Toba Lake to the north, Tapanuli Utara District to the south, Tampahan Sub-district to the west, and Laguboti Sub-district to the east.
The writer chooses Balige beside it is a place that writer used to live since childhood; there is also a special museum, T.B. Silalahi Center, that contains many
Toba Batak traditional houses that will be observed by the writer. Many visitors come from another city to see the traditional houses to admiring and understanding the beautiful Toba Batak heritage; because of that the culture of Toba Batak will always be remembered.
3.3 Data and Source of Data
All the data are in the form of symbols in Toba Batak traditional house. The primary source of data is the 7 Toba Batak traditional houses (4 Sopo and 3 Ruma) in
T.B. Silalahi Center and the secondary data is from books and internet.
3.4 Data Collecting Method
Marshall and Rossman (2006:97) state that qualitative researchers typically rely on four methods for gathering information: (a) participating in the setting, (b) observing directly, (c) interviewing in depth, and (d) analyzing documents or material culture. A document is a text-based file that may include primary data
(collected by the researcher) or secondary data (collected and archived or published by others).
So, in doing this research, the writer chooses analyzing document as the data collecting method. The writer analyzes the document to find any symbols in Toba
Batak traditional house to be analyzed further.
UNIVERSITAS SUMATERA UTARA 3.5 Data Analyzing Method
Miles, Huberman and Saldana (2014:8) present three streams in analyzing the data after the process of data collecting. They describe the major phases of data analysis as follows.
1. Data condensation refers to the process of selecting, focusing, simplifying,
abstracting, and/or transforming the data that appear in the full corpus (body)
of written-up field notes, interview transcripts, documents, and other
empirical materials. Data condensation is not something separate from
analysis. It is a part of analysis.
Therefore, in this research the writer focusing the study of semiotics which contains symbols in Toba Batak traditional house.
2. Data display is the second phase to analyze the data. A display is an organized,
compressed assembly of information that permits conclusion drawing and
action. In the qualitative research, the data can be displayed in the form of
table, graphic, phi chard, pictogram, and other equivalent of them.
3. The third stream of analysis activity is conclusion drawing and verification.
Conclusions are verified as the analyst proceeds. Verification may be as brief
as fleeting second thought crossing the analyst‘s mind during writing, with a
short excursion back to the field notes, or it may be thorough and elaborate,
with lengthy argumentation.
In this research, the writer will make the conclusion based on the finding of data analysis. The writer will explain and describe the result of analysis by drawing the conclusion or verification in order to answer the problem of the analysis of this study.
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UNIVERSITAS SUMATERA UTARA CHAPTER IV
ANALYSIS AND FINDING
4.1 Analysis
In this chapter, all the data are taken from T.B. Silalahi Center in Balige. The data were collected in two days (on 26th March and 23th May 2016) by using the camera and mobile phone for taking pictures of the symbols.
The writer analyzing symbols that found in 7 Toba Batak traditional houses in
Huta Batak (Batak Village) in T.B. Silalahi Center which are divided into 4 Sopo
(Sopo 1, Sopo 2, Sopo 3, Sopo 4) and 3 Ruma (Ruma 1, Ruma 2, Ruma 3).
4.1.1 Tarus
Figure 4.1 a. Name of symbol :
Tarus
b. Meaning of symbol :
Tarus is a symbol that has meaning in English language as ―breasts‖. It is
also called adop-adop in Batak language and susu-susu in Indonesian
language. It is carved to resemble four breasts located on the bottom of the
façade of the Toba Batak traditional house. Tarus that is found was painted in
white color.
UNIVERSITAS SUMATERA UTARA Currently, woman representing love and fertility were associated with
breasts and breast milk. Breasts are meant for feeding babies, plain and simple.
Going beyond the physical function of supplying nutrition, breasts represent
the ability to sustain life through care, support, and nurturing and that are
mothers‘ do (Gultom Rajamarpodang, 1992:401). They symbolize the power
and potential to nurture and sustain life because their breasts help create
feelings of warmth, love, safety and security.
The breast was the object of the greatest significance to the infant, and it
came to represent not only the mother but a ‗symbol of all goodness, love and
security‘ (Weininger, 1992:54). c. The reason symbol Tarus used in Toba Batak traditional house
In Batak people life, tarus is the symbol of life because it comes from a
mother that has a responsibility in order to keep her child alive. It is also
symbolizing prosperity and wealth (Napitupulu, 1997:84) because a mother‘s
breast milk gives her child always healthy because health is a treasure can not
be purchased with currency and symbolizing purity because of mother‘s love
has no limit. Tarus is usually carved with boraspati that is faced the four
breasts. Boraspati is symbolizing lizard that can live and adapt easily in any
place. The design of paired tarus and boraspati means that wherever Batak
people live, they will always remember that their knowledge was given from
their house (parents, especially mother) because they realize they can be like
now because of mother‘s blessing (Marpaung & Pasaribu, 2000:28).
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UNIVERSITAS SUMATERA UTARA 4.1.2 Jenggar
Figure 4.2
a. Name of symbol :
Jenggar
b. Meaning of symbol :
Jenggar is a symbol that looks like delusion or beast. It is called jorngom
or ulu singa in Batak language and raksasa in Indonesian language. It is carved
to resemble beast located on the middle of the façade of the Toba Batak
traditional house. Jenggar is also made to resemble half-human and half-
animal that becomes more like beasts if being analysed carefully.
Jenggar is look like some ornaments found in a temple (Napitupulu,
1997:85). Such religious symbol like jenggar, dramatized in rituals or related
in myths, are felt somehow to sum up, for those for whom they are resonant,
what is known about the way the world is, the quality of the emotional life it
supports, and the way one ought to behave while in it.
Jenggar usually found in front of the door of the traditional house, lined
up to the top of the traditional house (Marbun & Hutapea, 1987:67).
This house ornament is called Jorngom or Jenggar, depicting a Tricornic
―mythical animal‖ or ―Singa‖ head, placed on a horizontal bar of the balcony
of a traditional Batak house facing the village-yard (Hasibuan, 1986:37).
UNIVERSITAS SUMATERA UTARA c. The reason symbol Jenggar used in Toba Batak traditional house
Jenggar is believed to protect the Toba Batak traditional house
(Napitupulu, 1997:85) and the occupant of the house from demons because it is
believed have a power like gods do that able to resist all kinds of demons.
Batak people believed that the gigantic form regarded as god who could
resist all kinds of demons, as strength and greatness to protect them that lived
in the house from any threat or malicious intent of others or demons
(Napitupulu, 1997:85-86). The ancestors of the Toba Batak also believed
deities are lived in this sculpture to protect mankind especially Toba Batak
family that lived in the traditional house (Hasibuan, 1986:37).
4.1.3 Singa-singa
Figure 4.3
a. Name of symbol :
Singa-singa
b. Meaning of symbol :
Singa-singa is a symbol that has meaning in English language as lion-
look-alike. It is also called singa in Indonesian language. It is carved to
29
UNIVERSITAS SUMATERA UTARA resemble lion located on the left and right of the façade of the Toba Batak
traditional house.
Some singa-singa clearly has identifiable legs besides the face. Its form
varies in each location. However, it has the similar appearances, which are the
lengthened face, the round bulging red impressive eyes, highly developed eye
brows and painted in black, white, and red color (Hasibuan, 1985:243; Dalton,
1991:570) . Based on its symbolic function, appearance and his power upon the
dead by its presence in the sarcophagus, probably the singa-singa is imaginery
depiction of the dreadful god of Batak ancestor; Mangala Bulan (Hasibuan,
1985:243). c. The reason symbol Singa-singa used in Toba Batak traditional house
Lion is known as one of powerful animals; king of the forest. It has a big
body, strong power, prestigious and charismatic apperarance. But the shap
e of singa-singa unlike the actual shape of lion in common. The face of singa-
singa is like human face with a squat stance. The head is large, the feet are
small, the staring eyes, sticking its tongue until it covers the chin. Besides to its
function to beautify and supporting the traditional house (Barbier, 1983:84), it
is believed symbolizing prestigious to the traditional house because not
everyone can built this traditional house caused by such factors for example
economic factor and also as the symbol of law and truth (Napitupulu, 1997:92)
and also as a protector (Hasibuan, 1985:243). Batak people who can build
traditional house are known as prestigious one in their village.
UNIVERSITAS SUMATERA UTARA 4.1.4 Ulupaung
Figure 4.4 a. Name of symbol :
Ulupaung
b. Meaning of symbol :
Ulupaung is a symbol that has meaning as the crown of the Toba Batak
traditional house. It is carved to resemble beast located on the top of the façade
of the Toba Batak traditional house but if observed carefully, ulupaung is
shaped in half-human and half-animal.
A crown is the traditional symbolic form of headgear worn by a monarch
or by a deity, for whom the crown traditionally represent power, legitimacy,
victory, triumph, honor, and glory, as well as immortality, righteousness, and
resurrection. For that reason, a crown or called ulupaung in Toba Batak
traditional house is made on the top of the Toba Batak traditional house
(Marpaung & Pasaribu, 2000:19). Without Ulupaung on the top of the house, it
will look less majestic and mighty or it can be said, there will be no Toba
Batak traditional house without ulupaung because it is one of identities in the
Toba Batak traditional house.
c. The reason symbol Ulupaung used in Toba Batak traditional house
Toba Batak tribe believed this symbol is a symbol of strength to protect
the whole house of demons, as courage to protect people from all threats or
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UNIVERSITAS SUMATERA UTARA malicious intent of others that come from outside the village (Gultom
Rajamarpodang, 1992:401) because they used to be attack from devil power
from the outside of the house to create a conflict between a husband and a wife
and made the people that lived in the house had disturbed sleep or fear, also
physical pain and other kinds of disharmony in the family. Ulupaung is made
to protect the whole family in the traditional house from all of it (Napitupulu,
1997:87). That is why ulupaung is a symbol of strength to protect the whole
house of demons.
In Toba Batak culture, Ulupaung is related to the three future goals of
Batak society; the anchestoral word of wisdoms (T.B. Silalahi Museum):
i. Hasangapon (seek dignity and nobility)
ii. Hagabeon (fulfill your fullest life accomplishment)
iii. Hamoraon (seek wealth and fortune)
One of those three anchestoral word of wisdom that closely related to the
symbol of Ulupaung is hasangapon. In Toba Batak people, Hasangapon means
trying to be respectable in the society. In this case, the Batak people are very
concerned with their children. Even though there is no money, Batak parents
strive to have their children being educated.
4.1.5 Gaja Dompak
Figure 4.5
UNIVERSITAS SUMATERA UTARA a. Name of symbol :
Gaja Dompak b. Meaning of symbol :
Gaja dompak is a symbol that has meaning as elephant head in English
language and gajah in Indonesian. It is carved to resemble elephant head at the
bottom, above the tarus and boraspati symbol on the Toba Batak traditional
house. It represents several beings from the animal world besides human
(Hasibuan, 1982:36).
Gaja dompak is sometimes carved look like jenggar (Napitupulu,
1997:86). It is also placed to replace the tarus symbol if tarus symbol is not
carved in the traditional house.
Literally, gaja dompak means elephant facing forward in case of the
guardian in conscious and standing position. Gaja dompak is sometimes called
similar with singa-singa in some area in Toba Batak land because of the shape
of the head of the lion is also the head of the elephant (Barbier, 1983:90). c. The reason symbol Gaja Dompak used in Toba Batak traditional house
Elephant symbolizes strength, honor, stability, and patients (Napitupulu,
1997:86-87). To the Hindu way of thought, the elephant is found in the form of
god of Ganesha who is the god of luck, fortune, protection and is a blessing
upon all new projects (Gultom Rajamarpodang, 1992:401). The elephant in
symbolic meaning can be gathered by observing it in nature. Specifically, the
elephant is considered a symbol of responsibility because it takes great care
and responsibility of its offspring as well as their elders. They can stand up for
others and always defending members of the group in its natural habitat.
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UNIVERSITAS SUMATERA UTARA It is no doubt that the ancestors of Toba Batak choose elephant as one of
the symbol in the traditional house because of its positivities are already spread
around the world in many tribes, many countries, many believes. In Toba
Batak, elephant resembles the nature of truth for Batak that means Toba Batak
people must uphold the truth implied in customs as a trust from god of
Mulajadi Nabolon, the creator of the universe (Toba Batak ancestors‘ belief).
The Toba Batak‘s original belief system are Malim, which is a belief that
prioritize purity of Hamalimon (Gultom, 2009). They believe in Mulajadi
Nabolon (The God of the Universe) with power in the heavens (banua
ginjang), earth (banua tonga), and underworld (banua toru). It is also serves as
the symbol of the law of truth to mankind.
4.1.6 Santung-santung
Figure 4.6
a. Name of symbol :
Santung-santung
b. Meaning of symbol :
Santung-santung is a symbol that has meaning as banana blossom in
English language and jantung pisang in Indonesian language. It is carved to
resemble banana blossom located on the middle of the façade of the Toba
UNIVERSITAS SUMATERA UTARA Batak traditional house straight below the Ulupaung symbol. Santung-santung
is said to be looks like banana blossom because its base is rather large and its
edge is sharp (Marpaung & Pasaribu, 2000:20). Santung-santung is also known
as dila-dila. Dila-dila means tongue in English language and lidah in
Indonesian language. Furthermore, the shape of tongue is almost same as
banana blossom.
c. The reason symbol Santung-santung used in Toba Batak traditional house
Santung-santung can be said as the heart of the Toba Batak traditional
house because of its vertical position in the middle of the façade of the Toba
Batak traditional house (Domenig, 1979:397).
Santung-santung is also known as a symbol of truth and rule of law. The
truth and law is universal and in its unfolding gives us the highest possible
relation. The position of santung-santung is support the meaning itself that
pointing forward the front of the Toba Batak traditional house (Marpaung &
Pasaribu, 2000:20).
Santung-santung can also related to the one of the three future goals of
Batak society; the anchestoral word of wisdoms, which is hagabeon (fulfill
your fullest life accomplishment) (Marpaung & Pasaribu, 2000:20).
4.1.7 Simeol-eol
Figure 4.7
a. Name of symbol :
Simeol-eol
35
UNIVERSITAS SUMATERA UTARA b. Meaning of symbol :
Simeol-eol is a symbol that has a meaning in English language as the
mosses motion with swing direction. It is carved to resemble mosses plant
located on the left and right of the wall of the Toba Batak traditional house.
Simeol-eol that is found was painted in black, red, and white color.
c. The reason symbol Simeol-eol used in Toba Batak traditional house
The resulting motion gives rhythm and curved lines into a united symbol
which is look like follow the pattern of the letter ―s‖. For Batak people, as well
as the moss plant that lives swayed with graceful motion and firmly root, they
hope the same to their life that will always grateful and happy but still basically
put the interests of heavenly and that is the beauty as simeol-eol is;
symbolizing happiness (Napitupulu, 1997:80) and supports other symbol‘s
beauty.
In general, swing direction has meaning as happy, having fun, surprised,
content, amazed, curious, enjoying, secure and in good mood. Swing direction
can also has meaning as unstable and sway a lot; it is from the freedom of
outward place to the equality of inner space (Fraim, 2003:137). On a world
scale, the symbol of equality and space was symbolized in totalitarian
movements and their embodiment of a collective desire to ―escape from
freedom‖.
4.1.8 Simeol-eol Marsialoan
Figure 4.8
UNIVERSITAS SUMATERA UTARA a. Name of symbol :
Simeol-eol Marsialoan b. Meaning of symbol :
Simeol-eol Marsialoan is a symbol that has meaning in English
language as the mosses plant motion with swing direction but in opposite
direction with the simeol-eol symbol. It is carved to resemble mosses plant
located on the left and right of the wall of the Toba Batak traditional house.
Simeol-eol that is found was painted in black, red, and white color. c. The reason symbol Simeol-eol Marsialoan used in Toba Batak traditional
house
As well as simeol-eol marsialoan that has opposite direction with simeol-
eol, Batak people believed that it is a symbol of tolerance and a sense of
happiness (Napitupulu, 1997:80) even able to share in the range of differences.
Like simeol-eol marsialoan that has opposite shape from simeol-eol but
still remains a united symbol that shows interlocking motion rhythm, Batak
people will always be remembered to give comfort and tolerance to each other
even in opposite position with them. Because of the swing motion of the
mosses plant that almost has symmetrical shape with every curve, simeol-eol
marsialoan is also interpreted as a symbol of happiness (Rosmida Saragih as
Informant).
The swing is related ro fertility rites; in such cases, the movement of the
swing is apparently associated with the ebb and flow of natural frowthl perhaps
it is also reminiscent of the wind (Becker, 2000:290).
37
UNIVERSITAS SUMATERA UTARA 4.1.9 Ipon-ipon
Figure 4.9
a. Name of symbol :
Ipon-ipon
b. Meaning of symbol :
Ipon-ipon is a symbol that has meaning in English language as teeth. It is
also called gigi in Indonesian language. Ipon-ipon is carved to resemble teeth
located on every edge of the façade of the Toba Batak traditional house.
Ipon-ipon represents a form of teeth alignment which is formed triangle
repeatedly. Some ipon-ipon have variety of forms with triangular shape, as
well as ―V‖, ―S‖, and other letter patterns. With the implementation that can be
made to the structure of repetitive shapes to look united, ipon-ipon also has
meaning as the symbol of progress or harmony because people hope their next
generation will be more success than their parents (Napitupulu, 1997:90).
c. The reason symbol Ipon-ipon used in Toba Batak traditional house
Ipon-ipon is intended to give the function to decorating other symbols
that it accompanies. It is said to decorating other symbols for its existence
related to other symbols completeness (Saleh, 1981:35).
The symbol of teeth are fewer, are easily understood and remembered,
render unnecessary the endless repetition of the verbal definition of the parts,
harmonize conflicting synonyms, serve as a universal language, and express
the author‘s meaning in the fewest and clearest terms (Owen, 1854:304).
As well as a man without his teeth is very unattractive, the traditional
house without ipon-ipon is lacking of beauty and harmony. Ipon-ipon or teeth
UNIVERSITAS SUMATERA UTARA is also can be symbolized as beauty (Ryken, Wilhoit, Longman, 1998:847).
The beauty of teeth in in part related to their fragile nature, heightened in
ancient times with the lack of modern dental restoration.
4.1.10 Silintong
Figure 4.10
a. Name of symbol :
Silintong
b. Meaning of symbol :
Silintong is a symbol that has forming a whirlpool. It is also called
pusaran air in Indonesian language. Silintong is carved to resemble whirlpool
located on the top of the façade of the Toba Batak traditional house. Silintong
that is found is painted in black, red, and white color. Silintong is formed
because of the spiral-shaped vortex generating concentric deformation of the
silintong symbol.
c. The reason symbol Silintong used in Toba Batak traditional house
The spiral symbols can represent the path leading from outer
consciousness (materialism, external awareness, ego, outward perception) to
the inner soul (enlightenment, unseen essence, nirvana, cosmic awareness)
(Buchalter, 2013:159). Movements between the inner world and the outer
39
UNIVERSITAS SUMATERA UTARA world are mapped by the spiraling of archetypal rings; marking the evolution of
humankind on both an individual and collective scale.
As the form that the spiral look like, Toba Batak believed it represents
people coming back to the same point in their life but with new and better
kinds of understanding. In most cultures, it is a symbol of eternal life. The
symbol spirals out infinitely, thus reinforcing the concept of life, death, and
rebirth (Buchalter, 2013:159).
Many cultures already knew the spiral meaning to their tribe, for example
in Greece, spiral means infinity and represent continual motion and balance. In
Celtic cultures, spiral represents birth, development, and expansion.
4.1.11 Simataniari
Figure 4.11
a. Name of symbol :
Simataniari
b. Meaning of symbol :
Simataniari is a symbol that has meaning as sun in English language and
matahari in Indonesian language. It is carved to resemble sun (Marbun,
Hutapea, 1987:49; Situmeang, 2003:iv) located on the top of the façade of the
Toba Batak traditional house. Sun can be said as the one of the primary
UNIVERSITAS SUMATERA UTARA reasons that life exists on earth and has lots of benefits for human beings,
animals, plants, and other living things (Napitupulu, 1997:91).
The sun is regarded as representing the center of the field of
consciousness—the ego (Miller, 1990:125).
c. The reason symbol Simataniari used in Toba Batak traditional house
As well as sun, simataniari is interpreted as giver of light and for Batak
people it is important to have the character of this giver of light, which means
this character will lead people to success and good progress because of sun is
believed to always provide subsistence and light for living things in nature
(Shrimplin, 2000:179). Simataniari as sun is only a symbol of the highest
manifestation of life, although there is a certain indication in every nativity
which shows the general trend of the moral character (Leo, 2005:62). With
such similarites that appear in simataniari symbol puts the Toba Batak society
especially the head of the family as the breadwinner of the family (Taylor,
2014:175).
Without the light of the sun, there would not be any life on earth, no star
to orbit, and no heat to sustain. In short, we would not even exist (Napitupulu,
1997:91).
4.1.12 Desa Na Ualu
Figure 4.12
41
UNIVERSITAS SUMATERA UTARA a. Name of symbol :
Desa Na Ualu b. Meaning of symbol :
Desa Na Ualu is a symbol that has meaning in English language as wind
direction. It is also called arah mata angin Indonesian language. It is carved to
resemble the eight points of the compass located on the top of the façade of the
Toba Batak traditional house. Eight triangle points in one of four directions and
can be arranged as a compass (Page, 2002:73).
Indonesia people know their basic four winds direction such as north,
south, west, and east. Perception about the wind direction is not equally
developed in the islands of Indonesia. There are tribes who only know two
directions, namely the direction of the sea and Toba Batak society are already
familiar with relic of the wind (Napitupulu, 1997:92). Desa Na Ualu in Batak
culture is called as the eight wind direction of Toba Batak (Aritonang,
1994:65), they are:
i. Purba (east)
ii. Anggoni (southeast)
iii. Dangsina (south)
iv. Nariti (southwest)
v. Pastima (west)
vi. Manabia (northwest)
vii. Utara (north)
viii. Irisanna (northeast) c. The reason symbol Desa Na Ualu used in Toba Batak traditional house
UNIVERSITAS SUMATERA UTARA Desa Na Ualu is the symbol of the eight points of the wind direction which is believed earlier as astrology science used as a forecasting mediator, ritual activities, agricultural season, and fishing season (Aritonang, 1994:65-
66).
In Batak culture, Desa Na Ualu also has a magical function (Dalton,
1991:571) to determine the day and the month if it is good or not for humans.
The goal of this symbol is to find the balance as well as a suggestion to overcome the limitations of human beings with hopes of finding other forces outside them. It is rather a spiritual direction with meaning pertinent to the eternal salvation plan (Gashe, 2011:492).
Besides Desa Na Ualu, there is also a calendar of Toba Batak tribe namely Parhalaan also used to determine a good or bad day to set an occasion
(Aritonang, 1994:65). Batak people never set an occasion without consulting the Parhalaan. It is also has same function as the Desa Na Ualu such as reference to set a good date for a ceremony, and also tell fortunes of a new born baby, good date for a journey, repelling black magic, and determine the day of war and all of that are read by Datu of Batak, regarded as the master of cultural and spiritual aspect of Batak society because theya re believed to posses the strength and ability to communicate with nature, ancestor, and supernatural beings (T.B. Silalahi Museum). Batak calendar has twelve months which always ends on a new moon do the full moon always occurs on the 15th.
The days in Batak tribe (T.B. Silalahi Museum), they are:
i. Artia (Sunday)
ii. Suma (Monday) iii. Anggara (Tuesday)
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UNIVERSITAS SUMATERA UTARA iv. Muda (Wednesday)
v. Boraspati (Thursday)
vi. Singkora (Friday)
vii. Samisara (Saturday)
4.2 Finding
There are 12 symbols found in traditional houses in T.B. Silalahi Center.
Symbols which are found in 7 traditional houses would be classified in the table below.
No Name of Picture of Signifier Signified Reason it is used . symbol symbol 1. Tarus Woman‘s Prosperity It comes from a breast and mother that has mother‘s responsibility in love order to keep her child alive and makes Batak people realize they can live today because of mother‘s blessing 2. Jenggar Beast / Strength To protect people half- that lived in the human house from any half- threat or malicious animal intent of others or demons. 3. Singa- Lion Prestigious In Batak people singa village, not everyone can built this traditional house caused by such factors for example economic factor 4. Ulupaung Beast / Wisdom, To reminds Batak half- Strength people to be human respectable in half- society if they are animal not want to be disturbed
UNIVERSITAS SUMATERA UTARA 5. Gaja Elephant Truth, Elephant resembles Dompak Strength the nature of truth for Batak that they must uphold the truth implied in customs as a trust from Toba Batak god by ancestor‘s belief
6. Santung- Banana Truth, In its unfolding santung blossom Law, shape gives meaning Attitude as the highest possible relation and supports the meaning that pointing forward the house 7. Simeol-eol Moss Happiness, Batak people hope Torelance the same to their life that will always happy and grateful through every condition in ups and downs they pass 8. Simeol-eol Moss Happiness, Batak people hope Marsialoan Tolerance the same to their life that will always happy and grateful through every condition in ups and downs they pass 9. Ipon-ipon Teeth Harmony To decorating other symbols for its existence related to other symbols completeness 10. Silintong Whirlpool Evolution It gives new life and better kinds of understanding to Batak people in life
11. Simataniari Sun Warmth It is interpreted as warmth, as giver of light, the source of life that will lead Batak people to success and good
45
UNIVERSITAS SUMATERA UTARA progress because it always provide subsistence 12. Desa Na Wind Balance To overcome the Ualu direction / limitations of Batak compass people with hopes of finding other forces outside them
4.3 Discussion
In this subchapter, the writer makes interview activity with informants and visitors in order to get information about the symbols by asking comprehension about the symbols found in T.B. Silalahi Center as supporting data.
a. Interview with Informant
After interviewing the informant who works in T.B. Silalahi Center, the
writer gets information about the traditional houses are built and gathered in
one place namely Huta Batak, so the visitors will be easy to see and take
pictures with the entire traditional houses. The dominant traditional house is
Toba Batak traditional house (7 traditional houses) beside other traditional
houses such as Karo Batak traditional house and Simalungun Batak traditional
house.
The writer also interviewed the informant who lives in Laguboti about
the Toba Batak traditional house namely Firman Sinurat, Rosmida Saragih and
Delpi Saragih that totally understand about the Toba Batak traditional house.
The writer got information about the traditional house in the table below.
No. Informant Opinion 1. Firman Sinurat ―Simbol-simbol yang terdapat pada rumah adat Batak Toba itu seperti Tarus, Singa-singa, dan Ulupaung umumnya sangat menjadi ciri khas dari rumah adat itu sendiri, fungsinya pula menurut nenek moyang orang Batak jaman dulu menjadi pelindung dari setan-setan yang mengganggu
UNIVERSITAS SUMATERA UTARA keluarga tersebut dari luar lingkungan mereka.‖ 2. Rosmida Saragih ―Saya ingat simbol Simeol-eol yang bentuknya seperti tumbuhan lumut itu digambar mengikuti lekukan tumbuhan tersebut, lenggak lenggok, indah bentuknya sehingga menjadi pemanis rumah adat Batak Toba itu sendiri.‖ 3. Delpi Saragih ―Dari seluruh simbol yang ada di rumah adat Batak Toba, dapat diartikan sebagai pelindung dan pengingat penghuni rumah adat Batak Toba itu sendiri bahwa keyakinan akan iman dan pengharapan tidak boleh hilang dan harus selalu dilestarikan agar kebudayaan Batak Toba dapat selalu dikenal oleh generasi-generasi berikutnya yang akan datang.‖
b. Interview with Visitors
Comprehension No Hometow Name Age Totally Partly Do Not . n understand understand understand 1. Sihar 50 Laguboti x 2. Sarah 53 Tigadolok x 3. Tina 30 Tigadolok x 4. Putra 19 Medan x 5. Dewi 17 Medan x 6. Nur 15 Laguboti x 7. Tommy 49 Laguboti x 8. Rosita 46 Medan x 9. Tika 25 Siantar x 10. Roy 23 Medan x
From the table the writer concludes there are 10 visitors (5 adults, 5
adolescents) with the classification, no visitor tottaly understand about the
symbols, 4 visitors partly understand about the symbols, and 6 visitors do not
understand about the symbols. Most of the visitors do not understand about the
symbols in Toba Batak traditional house.
47
UNIVERSITAS SUMATERA UTARA CHAPTER V
CONCLUSION & SUGGESTION
5.1 Conclusion
After analyzing the symbols that found in Toba Batak traditional house that is located in T.B. Silalahi Center in Balige, North Sumatra, Indonesia from 7 Toba
Batak traditional houses (Sopo 1, Sopo 2, Sopo 3, Sopo 4, Ruma 1, Ruma 2, Ruma 3) as the primary source of data, then the writer conclude:
1. From the 7 traditional houses that contain symbols of Toba Batak, the writer
has found 12 symbols in Toba Batak traditional house located on the façade
(top, middle, and bottom) of the house, the left side of the house, and the right
side of the house, they are:
a. Tarus symbol
b. Jenggar symbol
c. Singa-singa symbol
d. Ulupaung symbol
e. Gaja Dompak symbol
f. Santung-santung symbol
g. Simeol-eol symbol
h. Simeol-eol Marsialoan symbol
i. Ipon-ipon symbol
j. Silintong symbol
k. Simataniari symbol
l. Desa Na Ualu symbol
UNIVERSITAS SUMATERA UTARA 2. The meanings of the 12 symbols are summarized in the following table:
No Name of Picture of Signifier Signified Reason it is used . symbol symbol 1. Tarus Woman‘s Prosperity It comes from a breast and mother that has mother‘s responsibility in love order to keep her child alive and makes Batak people realize they can live today because of mother‘s blessing 2. Jenggar Beast / Strength To protect people half- that lived in the human house from any half- threat or malicious animal intent of others or demons. 3. Singa- Lion Prestigious In Batak people singa village, not everyone can built this traditional house caused by such factors for example economic factor 4. Ulupaung Beast / Wisdom, To reminds Batak half- Strength people to be human respectable in half- society if they are animal not want to be disturbed 5. Gaja Elephant Truth, Elephant resembles Dompak Strength the nature of truth for Batak that they must uphold the truth implied in customs as a trust from Toba Batak god by ancestor‘s belief 6. Santung- Banana Truth, In its unfolding santung blossom Law, shape gives meaning Attitude as the highest possible relation and supports the meaning that pointing forward the house
49
UNIVERSITAS SUMATERA UTARA 7. Simeol-eol Moss Happiness, Batak people hope Torelance the same to their life that will always happy and grateful through every condition in ups and downs they pass 8. Simeol-eol Moss Happiness, Batak people hope Marsialoan Tolerance the same to their life that will always happy and grateful through every condition in ups and downs they pass 9. Ipon-ipon Teeth Beauty To decorating other and symbols for its harmony existence related to other symbols completeness 10. Silintong Whirlpool Evolution It gives new life and better kinds of understanding to Batak people in life
11. Simataniari Sun Warmth It is interpreted as warmth, as giver of light, the source of life that will lead Batak people to success and good progress because it always provide subsistence 12. Desa Na Wind Balance To overcome the Ualu direction / limitations of Batak compass people with hopes of finding other forces outside them
3. The reason symbols are used in Toba Batak traditional house:
The symbols in Toba Batak traditional house are generally become an identity of the traditional house itself, and the function also according to the ancestor of Toba
Batak people is become a protector from demons that will disturb the family in the
UNIVERSITAS SUMATERA UTARA traditional house from the outside of their environment (Firman Sinurat as
Informant).
From all of the symbols in Toba Batak traditional house, it can be interpreted that they are used as protector and reminder to the resident of the traditional house.
The belief in faith and hope of Toba Batak culture should be preserved and will always be known by generation to generation in future (Delpi Saragih as Informant).
5.2 Suggestion
The writer believed that this thesis is still one of the essential parts of so many studies to enrich a discipline especially the science of linguistics on Toba
Batak. Then the writer suggests:
1. Make further research about Toba Batak culture not only symbols of
traditional house but also elements related to society and culture found in
Toba Batak.
2. Symbols found in Toba Batak traditional house are wealth of culture that
must be preserved. Related to this, this thesis reminds the important role of
symbols not only in the traditional house but also in Toba Batak people life
and culture.
51
UNIVERSITAS SUMATERA UTARA REFERENCES
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CHAPTER I
UNIVERSITAS SUMATERA UTARA