A Description of Color Concept Ulos in Batak Toba

A PAPER

WRITTEN

SARI DINA SIANIPAR

REG. NO : 162202047

DIPLOMA III ENGLISH STUDY PROGRAM

FACULTY OF CULTURAL STUDIES

UNIVERSITY OF SUMATERA UTARA

MEDAN

2019

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Universitas Sumatera Utara AUTHOR’S DECLARATION

I am SARI DINA SIANIPAR, declare that I the sole author of this paper. Except where the reference is made in the text of this paper, this paper contains no material published elsewhere or extracted in whole or in part from a paper by which I have qualified for or awarded another degree.

No other person’s work has been used without due acknowledgement in the main text of this paper. This paper has not been submitted for the award of another degree in any tertiary education.

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Date :

Universitas Sumatera Utara COPYRIGHT DECLARATION

Name : SARI DINA SIANIPAR

Title of Paper : A Description of Color Concept Ulos in Batak Toba

Qualification : D-III / Ahli Madya

Study Program : English

I am willing that my paper should be available for reproduction at the discretion of the Librarian of the Diploma III English Faculty of Cultural Study University of Sumatera Utara the understanding that users are made aware of their obligation under law of the Republic of Indonesia.

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Universitas Sumatera Utara ABSTRACT

Every tribe in Indonesia has a diverse cultural wealth in the form of customs, traditional arts, and regional languages. As in the Batak Toba tribe which has one of the distinctive features of traditional custom clothing namely Ulos. In general the making of Ulos is the same, what distinguishes it is the name, color, pattern or motif, and the nature of the position of use that must be in accordance with the type of traditional ceremony when giving it. The author in the title of this paper describes the color concept of Ulos in Batak Toba. Therefore, the this paper entitled: "A Description of Color Concept Ulos in Batak Toba". Through this paper, the author describes what colors are present in Ulos Batak Toba, the color meaning and function of the Ulos Batak Toba. The colors that are identical to the Batak Toba culture, such as one of the traditional Batak traditional clothing called "Ulos" are classified in 3 colors, namely Red, Black and White, each of which has meaning and function in the Ulos. The purpose of the author in this paper is to contribute information to the Batak Toba community about the meaning and function of colors, so that the existing color concepts are not taken for granted as a myth that must be followed without logical understanding, but can be understood and interpreted better. Keywords : color, ulos, batak toba

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Universitas Sumatera Utara ABSTRAK

Setiap suku di Indonesia, mempunyai kekayaan budaya yang beraneka ragam dalam bentuk adat istiadat, seni tradisional, dan bahasa daerah. Seperti pada suku Batak Toba yang memiliki salah satu ciri khas dari pakaian adat tradisional yaitu Ulos. Secara umum pembuatan Ulos adalah sama, yang membedakannya adalah nama, warna, corak atau motif, dan sifat kedudukan pemakaiannya yang harus sesuai dengan jenis upacara adat ketika memberikannya. Penulis dalam judul kertas karya ini mendeskripsikan konsep warna pada kain Ulos Batak Toba. Oleh karena itu kertas karya ini berjudul “ A Description of Color Concept Ulos in Batak Toba “. Melalui kertas karya ini, penulis mendeskripsikan tentang warna apa saja yang ada pada Ulos Batak Toba, makna warna dan fungsinya pada Ulos Batak Toba. Warna yang identik dengan budaya Batak Toba seperti pada salah satu pakaian adat khas suku Batak yang disebut “Ulos” digolongkan dalam 3 warna yaitu warna Merah, Hitam dan Putih yang masing-masing warna ini memiliki makna dan fungsi pada Ulos. Tujuan penulis dalam kertas karya ini adalah memberikan sumbangan informasi kepada masyarakat Batak Toba tentang makna dan fungsi warna, sehingga konsep warna yang ada tidak diterima begitu saja sebagai sebuah mitos yang harus diikuti tanpa pengertian yang logis, akan tetapi dapat dipahami dan dimaknai dengan lebih baik.

Universitas Sumatera Utara ACKNOWLEDGEMENTS

First of all, I would like to Thank to God, who gives me health, strength, and capability to finish this paper as my last assignment to finish my study at English

Diploma III Department, University of North Sumatera.

Then I would like to express a deep gratitude, love, and a appreciation to :

 Dr. Budi Agustono, M.S. as Dean Faculty of Cultural Study for all of his

assistance to the students in Faculty of Cultural Study in carrying out

activities in the field of guidance and student welfare services and helping

in signing all other important documents issued by the faculty.

 Dra. Swesana Mardia Lubis, M.Hum. as The Head of Diploma III

English Study Program for gives me a lot of knowledge, her time, advice,

and for your support that help me to complete this paper.

 Drs. Parlindungan Purba, M.Hum. as My Supervisor who gives me a

lot of knowledge, his time, advice, to correct this paper during the process

of writing and for your support that help me to complete this paper.

 All of the Lecturers in English Diploma Study Program for giving me

instruction, and knowledge.

 A. Sianipar and N. Br. Pakpahan as my beloved parents for all your

motivation, advice, prays, and loves. I present this paper for you.

 Frando Yosua Sianipar, S.Kom as my beloved brother for your support,

pray and love. I present this paper for you.

 S. Br. Sinaga as my beloved Grandmother for your support, pray and

love.

Universitas Sumatera Utara  David Sinambela as my beloved partner for your love, pray, patience,and

anything that i can’t mention more to support me to finish this paper.

 All my friends in Diploma III English Study Program/Solidas 2016.

Thank you for your support that help me to complete this paper. I will be

missing you all.

 Ike Fadhillah and Rosmawaty Nainggolan as my beloved bestfriend for

your love and support me to finish this paper. Thank you for the nice

friendship during our study. I will be missing the days we spent together.

 Arwita Sianipar as my beloved friend. Thank you for your support me to

finish this paper.

 Gratia Hutabarat and Andri Afriani as my beloved friends for your

support me. I’ll missing you all.

Finally, I do realise that this paper is still far from being perfect. Therefore I welcome any constructive criticism and suggestions towards this paper. Hopefully this paper can inspire and give knowledge for anyone in the future.

Date,

The Writer

Sari Dina Sianipar Reg. 162202047

Universitas Sumatera Utara TABLE OF CONTENTS

AUTHOR’S DECLARATION ...... i COPYRIGHT DECLARATION ...... ii ABSTRACT ...... iii ABSTRAK ...... iv ACKNOWLEGEMENTS...... v TABLE OF CONTENTS ...... vii 1. INTRODUCTION ...... 1 1. 1 Background of the Study ...... 1 1. 2 The Problem of the Study ...... 3 1. 3 The Objective of the Study ...... 3 1. 4 The Scope of the Study ...... 4 1. 5 The Significance of the Study ...... 4 1. 6 The Method of the Study ...... 4

2. REVIEW OF RELATED LITERATURE ...... 6 2. 1 Color Concept ...... 6 2.1.1 Colors in the Batak Toba Culture ...... 8 2.1.2 The Meaning of Ulos ...... 9 2.1.3 The Color Meaning of Ulos in Batak Toba Culture ...... 13 2.1.4 The Colors Function of Ulos in Batak Toba Culture...... 17 2. 2 Batak Toba Culture ...... 20

3. A DESCRIPTION OF COLOR CONCEPT ULOS IN BATAK TOBA ...... 22 3. 1 The Colors of Ulos in Batak Toba ...... 22 3. 2 The Color Meaning and Function of Ulos in Batak Toba ...... 30

4. CONCLUSIONS AND SUGGESTIONS ...... 36 4.1 Conclusions ...... 36 4.2 Suggestions ...... 37 REFERENCES...... 38 APPENDICES A. Photos of 8 types Ulos in Batak Toba

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CHAPTER I

INTRODUCTION

1.1 The Background of The Study

Color is not a symptom that can only be observed, color can also affect the

behaviour of every human being, plays an important role in aesthetic

assessment and helps determine whether or not we like various kinds of

objects as J.Linschoten and Drs. Mansyur (in Mofit, 2004:28) said. From this

understanding, it can be explained that color can only be seen from the eye, it

can influence a person's behavior such as determining whether or not someone

likes an object and influences a person's judgment based on the perceptions

and interpretations of the human mind as well as beliefs and feelings.

The special characteristics possessed by each color, in broad outline the

characteristic possessed by color are two large groups, namely hot colors and

cold colors. Among these colors there is a color between or intermidiates.

Color which is classified into two major groups because of reasons based on

symbolic meaning. For examples like the first, because Red is often associated

with the sun, blood, fire, where these objects give the impression of heat or

stimulate psychological emotions. Then the colors of the sky, mountains,

water, in generally turn blue or green, giving the impression of being cool or

calm. Therefore from this understanding, colors that are said to affect behavior

and determine whether someone likes or likes an object can be understood as

an example, the color Red will always be synonymous with the nature or

behavior of someone who is full of emotions or angry, active and passionate.

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Conversely, the color Blue is identical to the nature or behavior of someone who is calm, peaceful and full of deep feelings.

In general, color is defined as an element of light reflected by an object and then forwarded by the eye based on the light that hits the object. As according to (Wijanarko, 2010:135) said, Color is one of the very important aesthetic components, through color we can clearly see the beauty of an object. The meaning of color will vary between regions with each other, between countries with other countries. Like the color of culture in Indonesia, each region has a dominant color that is white, black and red for most

Indonesian tribes as a symbolic color. Symbolic color arrangements that are still used in some art and ethnic groups in Indonesia.

Indonesia is one of the countries that has various ethnic groups. One of the tribes owned by Indonesia is the Batak Toba tribe. The Batak Toba community is a group of social units from the sub-section of the Batak tribe in

North Sumatra, especially as the origin of birth which then spread to various regions. The Batak Toba people live around Lake Toba and the southern part of Lake Toba, which after division was in the area of North Tapanuli District,

Humbang Hasundutan District, Toba Samosir District, and Samosir District

(Togar Nainggolan, 2012:84).

In the Batak Toba tribe, values are often not explored, either because of the inability of the owner of the culture, or because of the trend of global uniformity, for example the colors of Ulos in the Batak Toba. As is known, based on previous color understanding that says each region and within a tribe must have identical colors in it, so does the tribe and the Batak Toba culture

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which has three distinctive colors namely “Black, White, Red and

Yellow”. Each of these colors means "Death, Holiness, Life and

Rich/Fertility". For the Batak Toba community, the three colors are often

found in Batak woven fabrics or often called “Ulos”. For the Batak Toba

people, Ulos is seen as giving warmth (halason) to the body and soul. Halason

comes from the word "las" or "hot", but means joy, encouragement, power

and can be uplifting.

Therefore, based on the explanation above the writer is interested in

discussing about the colors of Ulos in the Batak Toba culture because the

explanation of the paper on the concept color of Ulos in the Batak Toba is

very special because it depends on the culture and beliefs of the Batak Toba

people. The colours in the Batak Toba culture are interesting cultural events to

study. It is interesting to study because each culture has a different color and

function in that culture.

1.2 The Problems of Study

The problems of this study are :

1. What are the colors of Ulos in Batak Toba?

2. What is the meaning and function of colors in Ulos Batak Toba?

1.3 The Objective of The Study

The objectives of study concern with the problem of the study. The objectives of study are:

1. To find out the colors of Ulos in Batak Toba.

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2. To find out the color meaning and function of colours in Ulos Batak

Toba.

1.4 The Scope of The Study

There are many things that can be discussed about the Color Concept of

Ulos in Batak Toba, so the scope of this research is that the writer only focuses on the colours of Ulos, the meaning and function of Ulos in Batak Toba culture, because it has an important role in writing this paper and is used to limit the focus.

1.5 The Significance of The Study

The significance of the study are Theoretically and Practically existed:

1. Theoretically, benefits of writing this paper are expected to contribute

information to the Batak Toba community about the meaning of color,

so that the existing color concepts are not taken for granted as a myth

that must be followed without logical understanding, but can be

understood and interpreted better.

2. Practically, benefits of writing this paper are expected to provide

benefits to the writer in the form of facts in the field in improving the

power, critical and analysis of the writer so as to obtain additional

knowledge from the writer.

1.6 The Method of The Study

Method is something that is very important to succeed in the renewal of this work of art. The method uses in this paper uses systematic steps. In making this proposal, the writer obtaines more information about "The Color Concept of

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Ulos in Batak Toba Culture" apart from the internet, journals or books, the authors get information from culturalist or informants.

To get information or the data, the writer chooses an Open Interview technique. The writer conducts unstructured open interviews to get information directly through questions and answers from the informants, so the writer can clearer information about the meaning and function colors of Ulos in Batak Toba culture.

Then the writer uses the descriptive qualitative methods. The data obtained by the writer is contained in the notes in order to provide an overview of the results of observations that make it easier for the writer to search for the data obtained. Furthermore, from the method the writer applies a descriptive qualitative method by finding relevant supporting references from data or information obtained through books, journals or the internet so that they can be re- analyzed.

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CHAPTER II

REVIEW OF RELATED LITERATURE

2.1 Color Concept

Color has a very important meaning and function in the life of an organism. Not only humans but also animals and plants with an interest in color.

Humans can use colors both for various purposes of daily life and to explore knowledge. Color can be seen by humans and some animal groups because of the sense of sight. Color is something we know is no stranger to hearing or seeing it.

Because everything in this universe has color. Color is something that is related to human emotions and can cause psychological influence. For example, we can feel comfortable with color. We can feel something like calmness, a sense of freedom, we can even feel hot or depressed according to the color character itself.

Sadjiman Ebdi Sanyoto (2005:15) says, “color can be defined objectively or physically as the nature of the light emitted. Subjectively or psychologically as part of the sense of vision experience”. Color is defined Physically, namely the nature of the light emitted (different wavelengths of light will be captured by the sense of sight as a different color). Without light the color will not appear. Color is defined Psychologically, namely the color that emerges from the human part of the view that holds the role as a means to further reinforce and strengthen the impression or purpose and has a function to strengthen aspects of identity.

Ali Nugraha (2008: 35) says, the theory of color grouping is from

Brewster's theory dividing colors in nature into four groups of colors, namely

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primary, secondary, tertiary, and neutral colors. The color group refers to the color circle of Brewster's theory, namely:

 Primary color is the base color that does not come from a

mixture of other colors. According to the pigment color theory

of Brewster, the primary color is the basic colors (Ali Nugraha,

2008: 37). Three primary colors that are still used today,

namely red like blood, blue like sky / sea, and yellow like egg

yolk. These three colors are known as primary pigment colors

used in fine art.

 Secondary colors are colors that are often referred to as the

second color, which means colors that come from mixing 2

primary colors. Blon's theory (Sulasmi Darma Prawira, 1989:

18) proves that the mixture of primary colors produces

secondary colors. Orange is the result of a mixture of red and

yellow. Green is a mixture of blue and yellow. Purple is a

mixture of red and blue.

 Tertiary color is a mixture of one primary color with one

secondary color. For example, yellowish orange color is

obtained from mixing yellow primary colors and orange

secondary colors. The term tertiary color initially refers to

neutral colors made by mixing three primary colors in a color

space. The definition is still common in technical writings.

 Neutral colors are the result of a mixture of all three basic

colors. Neutral colors often appear as a counterweight to

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 contrasting colors in nature. The neutral color comes from the

three main color mixes, namely red, yellow and blue mixed

together with the same ratio. In short, this type of color is

called neutral color because inside it already contains all the

existing color elements, which is why, white and black will

remain harmonious when combined with any color.

Munsell's theory (Sulasmi Darma Prawira, 1989: 70),

presents a theory that supports Brewster's theory. Munsell said

that: The three main colors are the base and are called primary

colors, namely red (M), yellow (K), and blue (B). If the colors

of the two primary colors are mixed, it will produce a second

color or a secondary color. If the primary color is mixed with a

secondary color, a third color or tertiary color will be produced.

If between tertiary colors are mixed again with primary and

secondary colors will produce a neutral color.

2.1.1 Colors in the Batak Toba culture

Color in culture is a symbol that contains values. Like the

colors in the Batak Toba culture. There is a basic color that is

identical to the Batak Toba people namely “black, red and white”.

These colors will be meaningful if the arrangement is right. If the

shape is a pyramid, then red is the most basic color. next white,

then black at the top.

For the Batak Toba community according to existing

traditions, these three colors are representations of Debata Na Tolu

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(Three Gods). The three gods in the Batak Toba community,

namely the Batara Guru , Sorisohaliapan, and Mangalabulan

(Rajamarpodang, 1995: 368). In the Batak Toba belief, to Debata

Na Tolu this is the future of the earth and its life submitted by

Mulajadi Nabolon (creator). The scope of his power is in the first

layer of the universe consisting of planetary elements or called

Banua Tonga / Middle World. In principle, the Debata Na Tolu

collaboration is Mulajadi Nabolon. In another sense, Debata Na

Tolu is part of each of the Mulajadi Nabolon functions.

According to Rajamarpodang, (1995: 368-369) in Batak

Toba culture color does not only refer to objects, but colors also

show symbols of people's beliefs and culture. The colors in the

Batak Toba culture are unique because there are different meanings

in the same color domain. For example, Ulos in Batak Toba, ie

White symbolizes holiness, Red symbolizes life, heroism and

courage, Yellow symbolizes wealth and fertility, and Black

symbolizes grief or death. The white color of Sorisohaliapan

symbolizes purity in accordance with its duty to invite humans to

repent, black in the Batara Guru symbolizes wisdom according to

its function as a supreme judge, and red on Mangalabulan as a

symbol of strength.

2.1.2 The meaning of Ulos

Jhon Pardosi (2008: 102) says, Ulos is a piece of cloth

woven as a craft by women with various patterns and rules. Ulos is

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a characteristic of traditional Batak Toba culture in the form of artefax or concrete culture. Ulos was used in any traditional ceremony at Batak Toba community in particular. The process of granting ulos (mangulosi) on the Batak Toba society this will be done in accordance with the Dalihan Natolu system has a very important role in any ceremony either in the marriage ceremony, in the funerals, in birth ceremony, in entering the new home. Ulos types most often used in any traditional ceremony as:

(a) Ulos in Marriage Ceremony: Ulos Ragidup, Ulos Ragi Hotang,

Ulos Sadum, Ulos Bintang Maratur.

(b) Ulos in Funerals: Ulos Sibolang Rasa Pamontari, Ulos Ragi

Pakko.

Maratur.

(d) Ulos in the Ceremony of Entering a New House: Ulos Suri-

Suri Ganjang.

Chandra Agustina (2006:02) says, Batak Toba society Ulos has a meaning and a very important function, Any custom event

Batak Toba surely they would use Ulos. The granting of this phrase conveys a sense of Ulos affection from parents to their children. In the traditional ceremony of marriage and the death of Batak Toba communities in the process of granting this Ulos (mangulosi) are always followed by a musical accompaniment (gondang). Batak

Toba Ulos on has a different Meaning in each condition or in a

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custom what Ulos will be used. Ulos a result Batak Toba woven this has value, so this became one of ulos living extra for craftsmen or weavers Ulos that want to help finance his family as well as adding to the income of the husband. Granting of Ulos in a traditional ceremony of marriage and death of this Ceremony will be accompanied by the music, which is where the music will be adjusted to the condition or State of the traditional ceremony which is being run by Batak Toba society.

Ulos Batak is known as the identity of Batak people according to their culture and customs. Batak people often refer to themselves as "Bangso" Batak. This is consistent with the history inherent in the tribe. Formerly the Batak tribe already had its own

Kingdom, it was marked by its existence as a tribe which had

"Mardebata Mulajadi Nabolon" (the great creator), had Batak literacy letter, and had exchange money namely Batak Ringgit

(Ringgit Sitio Suara), Uning-uningan na marragam (diverse music), has indigenous culture, and has its own customary law.

Ulos Batak are considered to have their own values according to their meaning and function based on variety and type. The diversity of ulos has been determined according to the meaning and purpose of the gift.

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One of the works of the Batak Toba ethnic community is "Ulos".

The work is full of aesthetic values and at the same time as part of the nature and existence of the tribal community itself. As a work that has a high meaning, Ulos has become part of an identity that has a high cultural value and contains economic meaning and social meaning. Therefore the circulation of Ulos will not run carelessly without referring to the meanings and values that have been determined based on agreed rules and customary norms. This means that "Ulos" is in accordance with the type and its meaning

At first the ancestors of the Batak people relied on sunlight and fire as a shield against the cold. A small problem arises when they realize that the sun cannot be ruled according to human desires. On cloudy days it is often unfriendly. While at night the cold is getting worse and the fire as the second choice turns out to be not very practical to use during sleep because of the high risk.

So, Ulos was born as a product of indigenous Batak culture. Of course the Ulos did not immediately become sacred in the early days of its appearance. In accordance with the natural law of Ulos, it has also gone through a fairly long process that took a long time, before finally becoming one of the symbols of the Batak tribe as it is now.

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Unlike the sacred Ulos that we know, Ulos used to be a blanket or sleeping mat by the ancestors of the Batak tribe.

But the Ulos they use is of much higher quality, thicker, softer and with very artistic motifs. After becoming known, Ulos is increasingly popular because it is practical. Unlike the sun which sometimes stings and sometimes hides, it is not like a fire that can cause disaster, Ulos can be carried everywhere. Ulos is gradually becoming a primary need, because it can also be used as beautiful clothing material with attractive motifs.

Ulos then has a more important meaning when it is used by traditional elders and village leaders in official adat meetings.

Coupled with the custom of the ancestors of the Batak tribe who always chose ulos to be used as gifts or gifts to the people they loved. Now, ulos has a symbolic function for various things in all aspects of Batak people's lives. Ulos is an inseparable part of the

Batak tribe's traditional life. Mangulosi, is one of the most important things in Batak customs. Mangulosi literally means giving ulos. Mangulosi is not just giving ordinary gifts, because this ritual has a deep meaning. Mangulosi symbolizes blessing, outpouring of love, hope and other virtues.

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The types of Ulos in general are Bintang Maratur, Ulos Mangiring,

Ulos Ragi Hotang, Ulos Sibolang, Ulos Ragi Idup. Literally, ulos

means a blanket that warms the body and protects it from exposure

to cold air.

2.1.3 The Color Meaning of Ulos in Batak Toba culture

The symbolic meaning of Ulos generally consists of three parts, namely:

Hapal (thick) provides warmth of the body and spirit for those who receive it.

Sitorop rambu (lots of signs at the tip of ulos) mean to get many offspring of sons and daughters for those who receive them. Ganjang (long) which means that the person who receives it is longevity.

Besides having the function of cloth ulos also has special meaning for

Batak people. In general, the meaning contained in the use of ulos cloth is religious. Because in ancient times the ancestral beliefs of the Batak people were animism. Because in ancient times every use of ulos cloth in traditional ceremonies was always accompanied by requests that ancestral spirits always protect the ulos recipient. The meaning of ulos cloth in a wedding ceremony is different from the death ceremony and birth ceremony.

 In Wedding Ceremony

In the wedding ceremony given is ulos Ragi Hotang, ulos Ragidup,

ulos Sadum, ulos Bintang Maratur. This ulos is given to the bride

with the meaning that they are always given safety, health in their

lives, obtain offspring, long life.

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 In Birth Ceremony

The meaning of giving ulos cloth to a pregnant mother is expected

so that during the womb the mother is always given health and

until birth is always given health. The type of ulos given at a time

when a mother is pregnant is ulos Mangiring, ulos Bintang

Maratur.

 In Funerals

The meaning of giving ulos cloth at the ceremony of death is a sign

of grief. The ulos given from the family and by other parties as a

sign of grieving ulos Sibolang Rasa Pamontari, Ulos Ragi Pakko.

Ulos is a typical woven Batak shawl. This sacred object is a

symbol of blessing, affection and unity, in accordance with the

Batak proverb that reads: "Ijuk pangihot ni hodong, Ulos pangihot

ni holong", which means if the ijuk is a midrib tie on the trunk,

ulos is a bond between affection.

Literally, Ulos means a blanket that warms the body and

protects it from exposure to cold air. According to the Batak

ancestral beliefs there are three sources that give heat to humans,

namely sun, fire and ulos. Of the three sources of warmth, Ulos is

considered the most comfortable and familiar with everyday life.

Ulos cannot be separated from the lives of Batak people. Each ulos

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has meaning, nature, condition and relationship with certain things or things. In the view of the Batak tribe, there are three elements that are based on human life, namely blood, breath and heat. The previous two elements are God's gifts, while the third element is not so. The heat given by the sun is not enough to fend off the cold air in the Batak tribal settlements, especially at night.

In the perception of the Batak people, there are three sources that give heat to the human body, namely the sun, fire and ulos. So from that "ulos" is always raised in cultural custom events where the meaning of embedding ulos is:

1. Symbol of brotherhood, because both parties have been bound together with brotherly love.

2. The symbol of appreciation, that the ulos giver believes that the kinship relationship that has taken place has been based on mutual respect.

3. The spiritual symbol of the ulos-giving group who hopes for the grace of the divine God for the welfare of the ulos beneficiary family, both in health, but also for the children / grandchildren of the ulos recipient.

The three elements above are a manifestation of the meaning / benefits of ulos for every citizen of the Batak indigenous community. The world community has acknowledged the cultural values of the Batak tribe civilization, through the rite of embedding the ulos adat in various official ceremonies in the Batak lands and

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outside the Batak lands. Ulos Batak have differences between one area and another. The difference is in the name, color, motive and use. The color of the fabric in Ulos also has its own meaning that is believed in Batak Toba communities such as:

• White (symbolizes purity and honesty)

• Red (symbolizes heroism and courage)

• Black (symbolizes grief)

The color of ulos in North Tapanuli generally consists of three colors, namely White, Red and Black. As for the karo area, the basic color is dark blue. For Toba and Simalungun it is brownish or whitish black. Ulos Tapanuli Selatan has four main colors and decorated with beads that are white and black. The color used in ulos cloth also has to do with trust. In the Toba people the colors meant: White, symbolizing the upper Continent or the symbol of the throne of Mulajadi na Bolon, also means the symbol of life. White in Batak is called "Bontar". Black, symbolizes the lower continent, also symbolizes peace. Black in Batak is called

“Birong”. Red, symbolizes the middle continent, which also symbolizes courage and supernatural power. Red in Batak is called

“Rara” The other colors are the result of the combination of these three colors or because they have begun to shift from the value of the Ulos Batak which has a ruhut = rule.

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2.1.4 The Color Function of Ulos in Batak Toba culture

Color have a function in the use of ulos in the traditional

events of the Batak Toba community. For the use of ulos cloth can

not be worn carelessly, where the use must be in accordance with

the program including such as at the event:

 Marriage: Using Ulos Ragi Idup, Ulos Ragi Hotang, Ulos Sadum,

Ulos Bintang Maratur (Bright color = Red)

 Funeral: Using Ulos Sibolang Rasa Pamontari, Ulos Ragi Pakko

(Dark = Black)

Batak people also recognize the Mangulosi ceremony as a

ritual of Giving Warmth and Love. And generally the ulos giver is:

Parents to their children,sister to her brother or “Hula-hula” (male

family from the female side) to Boru.

Description of the emergence of ulos based on the

sociohistorical context of the Batak people who gave birth to it, so

ulos is a part of the life of the Batak people long ago. Ulos is a

piece of Batak woven fabric with a certain pattern and size where

both ends are long dangling. This cloth initially functions to protect

the body and is always done by women using cotton. Ulos is a

daily outfit for Batak men and women. Batak women use it to

cover the body from the chest to the legs and for Batak men to use

the waist to the leg. How to make ulos is woven, in Batak language

is ulos. In these cases ulos has shown an outward sign that is easily

seen in the lives of Batak people in Batak land.

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After the Batak region had open and very intensive relations with the West and East from outside the Tapanuli area, this influenced the attitudes and ways of thinking of the Batak people. According to old documents, the Batak people have been trading with the outside world since centuries ago. One of the changes that occurred was that no longer used ulos as everyday clothes, but the latest clothes such as trousers, shirts, suits, dresses and skirts. Batak people accept various forms of clothing that have never been seen or seen.

In that case there are two categories of clothing, namely traditional clothing that is local in nature from the Batak culture and modern clothing which is characterized by an official pattern.

Traditional clothing is the basis of the understanding of the Batak people about their own needs in the social world, so they wear the main clothing ulos as their own identification in the Batak community. Modern clothing shows attitudes and ways of thinking and how to act in accordance with the demands of the times, so that it also affects clothing in one place. This shows that modernization is a sign of changing times.

However, the usefulness of ulos traditional activities has not changed, such as ulos as Ulos Adat, Ulos Modom and Ulos

Parompa. Especially “Ulos Adat” for ritual as giving, which is called Ulos Marpandohan means that "implies." Customary Ulos for the official activities of the Batak community and Batak custom

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are still very much needed as gifts from super-ordinates to sub- ordinates according to the Batak kinship system. Therefore ulos adat persists in a new world where Batak people live.

From the explanations above, there are two main things, namely:

1. Ulos is a cloth that is used as everyday clothing or other purposes and does not have an important role in traditional ceremonies.

2. Ulos as a traditional cloth (Ulos Adat) for the official activities of the Batak community and traditional Batak ceremonies, so that it also has its own meaning.

Ulos in Batak language means the same as cloth, initially it functions to protect the body and is done by Batak women using cotton. Then and in the present time the ulos is used for Batak traditional ceremonies which have their own meaning. With its function as a gift for traditional ceremonies in connection with birth, marriage and death. In addition, ulos for several other traditional ceremonies such as the coronation of adat leaders, or the conferring of adat titles.

Today the use of ulos has developed, which is the development of cultural works, so the idea was then to combine ulos with creativity to process ulos as home decorations such as tablecloths, curtains, as women's scarves, or children's scarves for dancing, gloves, headbands etc. Thus this woven cloth not only has a social and cultural role, but also economic value for its people.

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2.2 Batak Toba Culture

The Batak are one of the largest ethnic groups in Indonesia. This name is a collective theme to identify several ethnic groups who live and originate from the West Coast and East Coast in North Sumatra Province. The ethnic groups categorized as Batak are Toba, Karo, Pakpak, Simalungun, Angkola, and

Mandailing. Batak is a family of tribes that inhabit a large part of North Sumatra.

But very often people consider the mention of Batak only to the Toba tribe even though the Batak are not represented by the Toba tribe. So that there is no Batak culture and language but the culture and language of Toba, Karo, Simalungun and other allied tribes. At present the Batak people generally follow Christian

Protestant, Christian Catholics , and Islam. But there are also those who adhere to traditional beliefs, namely: The Malim tradition and also adhere to animist beliefs, although now the number of adherents to these two teachings has diminished.

The Batak tribe is one of hundreds of tribes found in Indonesia. Batak tribes are found in the North Sumatra region. According to a legend believed by some Batak people, that the Batak tribe originated from Pusuk Buhit in the Sianjur area, Mula Mula, west of Pangururan on the outskirts of Lake Toba. If the version of the Batak historian says that King Batak and his entourage came from

Thailand who crossed to Sumatra via Peninsular Malaysia and finally arrived at

Sianjur Mula-Mula and settled there.

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CHAPTER III

A DESCRIPTION OF COLOR CONCEPT ULOS IN BATAK TOBA

3.1 The Colors of Ulos in Batak Toba

Traditional works of art, which are manifested in traditional clothes, traditional musical instruments, traditional weapons, cultural artifacts, accessories that complement solidity, contain elements of color that add to the aesthetic impression in traditional artwork. The dominant color that is always present in every region in Indonesia is White, Black, and Red for most ethnic groups in

Indonesia is a color worth sombolis. Symbolic color arrangements that are still used in some art and ethnic groups in Indonesia. As in one of the traditional works of the Batak Toba tribe namely Ulos.

Ulos which is often called ulos cloth is one of the typical Indonesian fabrics which has been inherited from the Batak people for generations. Ulos has a very important function and meaning. Various traditional ceremonies such as birth, marriage, death, and other rituals were never carried out without ulos.

At this time Ulos has begun to be sought after by people outside the Batak

Toba tribe, the proof is that many ulos have been used as raw materials for making clothes, suits, bags, wallets and the like. Not only limited to the craft of cultural arts, Ulos Batak cloth is also loaded with meaning. Most of the Batak people consider Ulos woven fabric to be a symbol of a love bond, a symbol of position, and a symbol of communication in Batak indigenous peoples.

In addition to being useful as a body warmer when a cold hit, ulos is often considered a talisman which is believed to have magical powers so as to protect

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the wearer's body from evil spirits. The color that is in the Ulos fabric actually has its own meaning. Before discussing the meaning of each color in the Ulos, it's good to know the colors that are usually found in Ulos Batak Toba, namely the dominant colors in the Ulos are Red, Black, White and Yellow decorated with a variety of woven gold or silver threads.

Decorative motifs and colors displayed on certain ulos provide a certain meaning in the view of the Batak tribe community. For example in the discussion we took one type of ulos, namely Ragi Idup, with the white motif and color causing this ulos to have a high value, be seen as sacred, symbolic of life, the fund gave a kind of calmness, strength in facing life's trials for those who possessed it.

Traditional ceremonies within the framework of the life cycle related to the giving of ulos and also at the ceremony of entering a new house. The life cycle ceremony is related to giving ulos and also at the ceremony of entering a new house. The life cycle ceremony is for example a pregnancy ceremony. Birth ceremony, sidi rite ceremony, marriage ceremony, death ceremony, grave digging ceremony. The gift of ulos involved the “Dalihan Na Tolu” element.

Each color means "Death", "Life and Holiness", and the attributes of

Batara Guru who control the underworld. Ulos is seen as giving warmth

(halason) to body and soul. Halason comes from the word las or hot, but it means joy, encouragement, strength, and can attach spirit and philosophy all are represented in red from ulos.

Ulos is so charming with various natural colors dominated by black, red, white and also the dominant additional colors such as yellow and blue and

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decorated with a variety of woven gold or silver threads. For centuries Batak women weave textiles with traditional looms, their dedication has resulted in aesthetic and technically diverse art treasury. Each Ulos woven cloth produced turns out to have its own meaning, both for the owner and for the person who receives it. For example, Ulos Ragidup. This Ulos Ragidup motive must look like really a living painting. Therefore, this type of ulos is often interpreted as ulos which symbolizes life and blessing for happiness in life.

Ulos of various types, each of which has different colors, patterns, and motifs. But only a few Ulos may be known by the Indonesian people, especially the Batak people. Here are some of the types of Ulos and their colors commonly known to the public, complete with their descriptions:

1. The Color of Ulos Ragidup

The color of Ulos Ragidup is brownish red with a mixture of white

and black. According to Batak belief, Ulos Ragidup is an ulos who has

the highest degree. It is called Ulos Ragidup because the word "aragi"

means life. Therefore, Ulos Ragidup is a symbol and symbol of life.

From here we can also understand why batak people are very low

regard for suicide and consider this action to be the most stupid act.

The Ulos Ragidup motif is the most complicated motif among the

other ulos. Not only that, this ulos is an ulos with the highest level of

difficulty in the manufacturing process. How to use ulos is usually by

making a scarf.

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If this ulos is considered carefully and attentively, then the colors,

the appearance of the painting and the "ragi/yeast" (the pattern) which

are all very impressive, really appear "alive". That is why ulos was

given the name "Ragidup" (living yeast) and was made a symbol of

life (livelihood). Usually Ulos Ragidup is also given as a symbol of

blessing, hoping that the recipient will get happiness in his life,

especially Gabe (of many descendants) and Saur Sarimatua (long life).

Ulos Ragidup was given by the bride's parents to the parents of the

groom as Ulos Pargomgom symbolizing hope that the old man with

God's help could sustain (protect) his daughter-in-law. Ulos Ragidup

was also given by parents to his daughter who was pregnant with her

first child as ulos tondi, with the intention that the daughter and baby

she conceived received God's help.

2. The Color of Ragi Hotang

The colors of ulos Ragi Hotang, namely red, black and white make

it much in demand. Ulos is usually given to a pair of brides called ulos

"Marjabu". By giving ulos, it is intended that the inner bond is like

rattan (hotang). The way it is given to the bride and groom is to be

draped from the right side of the bride, the tip is held by the right hand

of the male, and the left end is held by the female and then held

together in the middle of the chest as if tied. In ancient times rattan

was a rope that was considered the most powerful and effective. This

is what the yeast/ragi (style) symbolizes. Hotang means rattan, this

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type of ulos also belongs to high class, but the method of making it is

not as complicated as Ulos Ragidup. In the death ceremony, this ulos

can also be used to cover the body or to wrap the bones in the second

funeral ceremony.

3. The Color of Ulos Sibolang Rasa Pamontari

This ulos is dominant with dark colors like dark blue with a blend

of black. Sibolang means that it can be said to be a symbol of grief,

ulos with a long name is commonly used when mourning. Used by a

family that gets a misfortune, for example, dies, this ulos is used, it

shows that the person concerned is a close family member of the

person who died. Not only that, the Sibolang ulos was also given to

people who were very meritorious in respecting the parties of the

parents of the bride to promote the father of the groom at the time of

the traditional Batak marriage.

In addition, this ulos will also have another name or its name will

change to Ulos Tujung, used by the wife / husband who is left by his

partner and they do not have grandchildren. His name will also be

changed to Ulos Saput when used by a husband or wife and they do

not have grandchildren and their children are still immature.

4. The Color of Ulos Sadum

Ulos Sadum is very identical to the basic color of red and has a

very crowded flower and gorga motif. The characteristic of sadum ulos

always has a dark striped frame on each side. Ulos Sadum is

interpreted by the Batak tribe as a symbol of joy as a sign of

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motivation for encouragement in a family to remain happy doing all

daily activities. This ulos is so beautiful that other areas are often used

as mementos ulos and even made as wall decorations. Ulos is often

also given as a memento to officials of officials visiting the area.

5. The Color of Ulos Mangiring

The original Ulos Mangiring comes from Tarutung weaving which

is dominated by many colors including blue, green, yellow, red, and

gold thread with an accompaniment or lyrical lyrical pattern. The basic

colors that are widely woven include black and red. This symbolizes

fertility and agreement. Ulos is often given by parents as ulos

"parompa" (carrying tool) to his grandson. This ulos mangiring

(parompa) cloth according to the Batak Toba custom was given by a

woman's grandfather or grandmother to her daughter after giving birth

to her first child.

But at this time, custom like this was enough to be carried out to

the families of parents who gave birth to only the first child. It is said

that it is believed that it can provide safety from the influence of bad

things and provide health to children and their mothers. The use of

Ulos Mangiring is usually used as a headband by men and a head

covering or veil for women before they have their first child or this

ulos is used if their children have grown up.

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6. The Color of Ulos Bintang Maratur

There are two types of Ulos Bintang Maratur. Or rather there are

two types of origin of this type of ulos maker, namely from Tapanuli

(Tarutung) and Toba (Balige and surrounding Samosir). You could say

the motifs and patterns are almost the same, namely the zigzag motif

similar to the pulse wave (up and down) or more similar to the picture

of sound waves / audio with ulos colors that are identical to the basic

colors red and black, coupled with other colors such as yellow and

white. There is something that distinguishes the Ulos Bintang Maratur

from the two origin mentioned above. If Ulos Bintang Maratur

originating from North Tapanuli (Tarutung) has an additional motif

which is in the form of a large star image on the ulos head or on both

ends of the ulos. While those from Toba have no additional motives.

This Ulos illustrates a row of regular stars. Regular star lines in this

ulos show people who are obedient, harmoniously seiya and sekata in

family ties, then this ulos has different meanings and functions

according to each region. Although in general the concept and

understanding in Batak custom is the same. In essence, this Ulos

Bintang Maratur is an intercession of joyful speech or good news

given to certain people who receive blessings so that everyone around

them also feels happiness. Like a star beam that gives a small light

around it, so is the meaning of Ulos Bintang Maratur.

7. The Color of Ulos Suri-Suri Ganjang

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This Ulos is also named Ulos Gabe-Gabe. These ulos are usually

dark colored like black with a white lyrical pattern in the middle of the

ulos cloth and added red to the end of this ulos cloth. The specialty of

this ulos is that it exceeds the usual ulos length. When used as "ampe-

ampe" it can reach twice the wrap around the left and right shoulder so

that the wearer looks like he is wearing two ulos.

The function of ulos is usually Ulos used as Hande-hande (scarves)

at the time of margondang (dancing with the Batak music square) and

also used by the Hulahula (parents from the wife's side) to Manggabei

(giving blessings) to the party (descendants) because it is also called

Ulos Gabegabe (blessing).

8. The Color of Ulos Ragi Pako

Ulos Ragi Pako is commonly used as a blanket in ancient times and

a woman who is from a wealthy family introduces two yeasts for

blankets that are used daily, and it is also when later after the parents

die they will be clothed with yeast/ragi plus Ulos which is caused by

Ragi Pakko because the color is black like Pakko.

The writer describes the concept of color in Ulos based on several types of

Ulos that are commonly known among the public. From this explanation the author obtained 8 types of Ulos which were able to be described and concluded that the dominant colors in the Batak Toba Ulos were Red, White and Black.

These three colors are the yeast of life for the Batak Toba people. Red which means courage, Black means death and White means holiness. Apart from these three colors, it is commonly referred to as "sekka-sekka". Sekka-Sekka is a ulos

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cloth whose value is lower than ordinary ulos, whose fabric is also smaller than ulos cloth in general and is commonly used in a traditional Batak event if it does not find Ulos that actually wants to be used or can be said to be an alternative

Ulos which is performed any custom, anytime can be used.

3.2 The color meaning and function of Ulos in Batak Toba

Ulos has symbolic meaning and function for various things in all aspects of Batak people's lives. Ulos is an inseparable part of the Batak tribe's traditional life at this time. According to the thoughts of the ancestors of the Batak people, one of the elements that gives life to the human body is "warmth". Considering that Batak people used to choose to live on high plains so that they have cold temperatures. Therefore there are 3 things that are believed to be ancestors of

Batak people who give life to the human body, namely: Blood, Breath and

Warmth. So that "warmth" becomes a need that is coveted at any time. There are 3

"sources of warmth" which are believed by the ancestors of the Batak people, namely: Sun, Fire and Ulos. The sun rises and sets itself at any time. Fire can be turned on at any time, but it is impractical to use to warm the body, for example the amount of fire must be maintained at all times so that when sleeping throughout the night also has a high risk of safety. However, this is not the case with Ulos which is very practical to use anywhere and anytime.

In Batak there is also a ritual known and referred to as the "Mangulosi" ritual or giving Ulos. This ritual has several rules, including that someone can only sing someone who is genealogically below it. So, children should not neglect parents. But, parents can buy children. Each Ulos cloth also has its own meaning.

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Starting from when it is used, in what kind of traditional ceremonies, to whom, and others. Each type of ulos fabric has its own function and cannot be exchanged. And what is equally important, the type of ulos cloth that is given must not violate customary provisions. That is, it must be in accordance with traditional provisions. Along with the development of time, Ulos was not only given to Batak people. But also given to "Non-Batak" people. Giving ulos to Non-

Batak people can usually mean as a symbol of love or respect. For example, when ulos is given to officials, the accompanying prayer is so that the warmth and affection of officials to their people always accompany them when carrying out their duties.

Ulos is a symbol of unity, affection and blessing. In addition, ulos fabrics have identical patterns, motifs and colors and give an attractive impression.

Besides that, every color in the Ulos has the meaning and function of each in it.

As is known, the colors in the Batak Toba culture have three distinctive colors, namely black, white, and red. Likewise, as found in the Ulos, these three colors become the dominant colors or identical colors in the Ulos. In Batak Toba culture color does not only refer to objects, but colors also symbolize people's beliefs and culture. The colors in the Batak Toba culture are unique because there are different meanings in the same color domain. As in the Ulos Batak Toba, namely

White symbolizes purity and honesty, Red symbolizes heroism and courage,

Yellow symbolizes wealth and fertility, and Black symbolizes grief.

Ulos which functions as a gift for traditional ceremonies in the form of a large scarf, with both ends fringed with a length of 220 cm and a width of 150 cm.

In ulos it is always divided into three parts. Ulos is generally divided into three

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parts on the ulos body, namely; top, middle and bottom. Three parts as an illustration of the upper, middle and lower world ". This means, ulos in three parts is one unit. In addition, ulos thread is also generally in three colors, namely white, red and black. White as a symbol of a sacred personality. The color red like the color of blood symbolizes the symbol of life. Black symbolizes steady behavior.

There is also a view that says that the color of the Ulos Batak first uses two colors of thread, namely, black and white. But ulos in other colors is also determined by each Batak sub-tribe.

The color of the ulos of North Tapanuli is black, red and white. The color of Ulos Karo area: black, red, yellow and white. South Ulos Tapanuli has the color black, red, yellow, bluish white and decorated with beads. More than that not according to the rules. Through an explanation of the origin of Ulos, the use or use, context and position of ulos in the official activities of the Batak community and the Batak custom. Thus the description of ulos in its meaning is based on the socio-historical context of the Batak community. As with the aim of ulos in the official activities of the Batak community and the Batak custom is for the benefit of the Batak community. For this reason a description based on an explanation of the ulos concept states the following:

1. Ulos gives warmth in relationships with others and relatives. In the view

of the Batak people there are three essential elements to being able to live

to humans, namely, blood (mudar), life (hosa), warmth (halason). Blood

and life are natural processes, so they are united in the human body. But

warmth is obtained through human effort in relations with others, or

objects such as ulos.

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2. Ulos gives heat is pleasant. “Batak philosophy about ulos reads: Sibahen

na las na so dung olo mohop, Sialo na ngali, sitenggang ombun

manorop”. That means that ulos gives heat so that it is feel good, but that

which never burns and defeats cold dew is low.

3. Ulos gives warmth to the body and soul (body and soul) so that it has life

force. Ulos literally means cloth to warm the body. The warmth of the

body by receiving ulos can also make the warmth of the soul so that the

soul becomes hard which has the power of life (not sluggish). That is the

meaning of ulos at first.

4. Ulos with the meaning of hope that moves to be excited in life. "Ulos has a

symbolic function of hope according to its meaning".

5. Ulos binding to love according to age. Batak Philosophy states, “Ijuk

pangihot ni holong, ulos pangihot ni holong”. The meaning of midrib

binding fibers on the stem such as affectionate ulos.

6. Ulos in the sense of trust in the spiritual source for perpetuating the cycle

of human life.

7. Ulos in meaning envelops the soul or gives soul to the main person and

becomes enthusiastic. Blanket of soul or spirit (ulos ni tondi) is one of the

means of salvation. In that case the soul or spirit needs to be protested. As

long as the ulos is on the recipient, so long as the spirit and soul are always

covered and protected. According to the beliefs of the Batak people in

ancient times, the soul (tondi) also needs to be passed on. The soul (tondi)

is the spirit of the person himself as well as strength. The soul (tondi) is

the power of giving life to the ulos recipient.

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8. Ulos means “Ulos ni tondi as a means of salvation through surrender or

giving in traditional Batak ceremonies. Ulos means ulos ni tondi if the

giving or giving is through a traditional ceremony, then ulos means “adati”

for the recipient.

9. Ulos in the meaning of family ties. Ulos and mangulosi people according

to kinship are under us. For example children are under the father, younger

siblings under brother, boru under hula-hula. Mangulosi the person above

us is abstinence. Boru can’t “mangulosi” hula hula. Parents including

hula-hula means love their children. Therefore ulos means a symbol of

affection, so that only parents should deserve a child.

10. Ulos in the meaning of blessing (pasu-pasu) hula-hula to boru, like God's

blessing to humans. Giving ulos is always accompanied by blessing words

(pasu-pasu). If giving ulos with sincere expression and the recipient can

appreciate it, then maybe the body and soul get warmth. Because it does

not conflict with religion if it is called “Ulos ni badan” and “Ulos ni

tondi”. Because the meaning of tondi here is psychological.

A thorough and integrated explanation of the events of Batak people and ulos in local notions in Batak culture originating from the Tapanuli area -

North Sumatra. Through the creativity or intelligence of the mind Batak people make ulos that are useful both as everyday clothes and other purposes.

Even as traditional cloth (ulos adat) in the event of birth, marriage and death with traditional Batak, which has various concepts of meaning. Also the relationship between material ulos and "Dalihan na tolu" and the official

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activities of the Batak and Batak peoples in the concept of formal meanings as they apply to those events according to Batak custom.

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CHAPTER IV

CONLUSIONS AND SUGGESTIONS

4.1 Conclusions

The North Sumatra region has a diverse cultural property in the form of customs, traditional arts, and regional languages. The community consists of several tribes, such as Malay, Nias, Batak and other tribes. The ethnic groups categorized as Batak are Toba, Karo, Pakpak, Simalungun, Angkola, and

Mandailing. Batak is a family of tribes that inhabit a large part of North

Sumatra. The Batak Toba also has one of the distinctive features of traditional clothing called “Ulos”.

After describing Ulos based on the meaning of the color concept and its function, it can be concluded that:

 Colors that are identical to the Batak Toba culture, such as one of

the Batak traditional clothing called "Ulos" are classified in 3

colors, namely Red, Black and White. And outside of these three

colors it is usually called "sekka-sekka".

 The colors in the Batak Toba culture are unique because there are

different meanings and function in the same color domain. As in

Ulos Batak Toba; namely White symbolizes purity and honesty,

Red symbolizes heroism and courage, and Black symbolizes grief.

And Color has a function in the use of Ulos in the traditional

events of the Batak Toba community. For the use of cloth Ulos can

not be worn carelessly, where the use must be in accordance with

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 the program including such as at the event; Marriage uses a

brightly patterned (Red), and at a funeral such as a funeral using

Dark (Black). For the Batak Toba people, Ulos is seen as giving

warmth (halason) to the body and soul. Halason comes from the

word "las" or "hot", but means joy, encouragement, power and can

be uplifting.

4.2 Suggestions

After describing Colour Concept of Ulos in Batak Toba, the writer would like to give some suggestions that is, so that everyone especially the Batak Toba people can find out what identical colors exist in Ulos or even identical to the

Batak Toba tribe and can understand the meaning and function rather than colors that is in the Ulos. The writer is also expected to contribute information to the

Batak Toba community about the color meaning of the Ulos, so that the existing color concepts are not taken for granted as a myth that must be followed without logical understanding, but can be understood and interpreted better and the writer also wants to contribute information about Ulos so that one of the traditional custom clothing of the Batak tribe can be preserved.

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REFERENCES Agustina, Chandra. 2006. The Meaning and Function of Ulos in Batak Toba custom in the village of talang mandi of mandau subdistrict of bengkalisregency. Pekanbaru Riau: Jom Fisip. Ebdi Sanyoto, Sadjiman.2010. Nirmana Elemen-Elemen Seni Dan Desain. Yogyakarta:Jalasutra. Gultom, Rajamarpodang. 1995. Dalihan Natolu dan Prinsip Dasar Nilai Budaya Batak. Medan: Phorus Media. Nainggolan, Togar. 2012. Batak Toba, Sejarah dan Trasformasi Religi. Medan: Bina Media Perintis. Nugraha, Ali .2008. Pengembangan Pembelajaran Sains pada Anak Usia Dini. Bandung: JILSI Foundation. Pardosi, Jhon. 2008. Makna Simbolik Umpasa, Sinamot, dan Ulos pada Adat Perkawinan Batak Toba. Medan: LOGAT Jurnal-jurnal bahasa dan sastra. Prawira, Sulasmi Darma. 1989. Warna sebagai salah satu unsur seni & desain. Jakarta: P2LPTK. Siahaan, Naomi. 1982. Adat Dalihan Natolu Prinsip dan Pelaksanaannya. Jakarta: Tulus Jaya. Sitompul, St.R.H.P,Bsc. 2009. Ulos Batak Tempo Dulu-Masa Kini. Jakarta: Kerabat ( Kerukunan Masyarakat Batak).

Tampubolo, Emil H. 1982. Sekelumit Mengenai Masyarakat Batak Toba Dan Kebudayaannya. Bandung: Tarsito. Wijanarko, Lizard. 2010. Teori Warna. From http://www.ahlidesain.com/teoriwar na.html.

Warna Batak dan Teori Freud. From: https://tanobatak.wordpress.com/2014/01/24/warna-batak-dan-teori-freud/. Retrieved 29 Mei 2019. Sejarah singkat, Asal-usul dan Kebudayaan Batak Toba:. From: https://www.pardisinaga.com/2018/06/asal-usul-suku-batak.html. Retrieved 29 Mei 2019. http://tekateki1234.blogspot.com/2015/07/pengertian-warna.html. Retrieved 30 Mei 2019.

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A. Photos of 8 types Ulos in Batak Toba

Ulos Ragidup

Ulos Ragi Hotang

Universitas Sumatera Utara Ulos Sibolang Rasa Pamontari

Ulos Sadum

Universitas Sumatera Utara Ulos Mangiring

Ulos Bintang Maratur

Universitas Sumatera Utara Ulos Suri-Suri Ganjang

Ulos Ragi Pako

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