TORTOR BATAK: Ekspresi Seni Budaya, Hiburan, dan Komoditi Wisata

Bila mendengar istilah "Tortor Batak" maka yang terbayangkan adalah sekelompok orang (Batak Toba) yang menari (manortor) diiringi seperangkat alat musik tradisional (gondang sabangunan). Gerak tari yang gembira ria, lenggak-lenggok yang monoton, yang digelar dalam sebuah pesta (suka/duka) di kawasan Tapanuli  Dulu, tradisi manortor pada umumnya berlangsung dalam kehidupan masyarakat Batak antara lain wilayah Samosir, wilayah Toba dan sebagian Humbang. Sementara untuk kawasan Silindung setelah masuknya Kristen dikenal budaya "menyanyi" dan tarian "moderen" dan di kawasan Pahae dikenal tumba (tarian gembira dengan lagu berpantun) seperti disebut Pahae do mula ni tumba.

Perkembangan selanjutnya hingga memasuki abad "modern" masyarakat Batak membawa seni budayanya ke tanah perantauan di luar Tapanuli  termasuk seni tortor yang pada awalnya menggunakan musik rekaman (kaset) hingga akhirnya seperangkat alat gondang sabangunan dibawa hijrah yang kemudian kelompok musik tradisionalnya melayani masyarakat Batak sekaligus mata pencaharian atau bisnis musik.
  
Di tahun 1970- hingga 1980-an, hampir semua kegiatan adat masyarakat dilakukan dalam bentuk tortor dan gondang sabangunan, baik dalam pesta adat perkawinan, pesta peresmian rumah parsattian, pesta tugu, pesta membentuk huta/perkampungan juga pesta adat kematian orangtua, bahkan kalangan pemuda menggelar "pesta naposo"sebagai ajang hiburan dan perkenalan (mencari jodoh). Pesta Naposo, di beberapa daerah disebut juga pesta rondang bulan (Samosir), pesta rondang bintang (Simalungun). Tidak ketinggalan Pemerintah Daerah Tapanuli Utara, dalam rangka pelestarian seni budaya Batak Toba selalu menggelar festival tortor menjelang perayaan Hari Kemerdekaan 17 Agustus. Festival ini dilakukan mulai dari tingkat Kecamatan hingga diperoleh utusan dari 5 wilayah (Silindung, Humbang I, Humbang II,  Toba dan  Samosir) untuk mengikuti Festival Tortor Tingkat Kabupaten, dan selanjutnya juara-juara menjadi peserta pada Festival Tortor di tingkat Propinsi. Setelah otonomi daerah, masing-masing Kabupaten ex Tapanuli Utara juga menggelar festival tortor dalam berbagai kegiatan pesta perayaan hari jadi atau hari-hari besar lainnya juga untuk kegiatan kepariwisataan.

Seiring dengan perkembangan zaman dan bergulirnya waktu, kehadiran gerak tari yang trend di tahun 1990-an seperti dansa, jojing dsb, simultan dengan munculnya alat musik elektronik (keyboard), di beberapa wilayah  Tapanuli, penggunaan tortor dan gondang sabangunan hampir tidak kelihatan lagi, hingga bila masyarakat ingin menyaksikan gondang sabangunan dan tortor Batak harus secara khusus ke daerah wisata yang memang tersedia kelompok seni budaya tradisionalnya seperti Tomok, Simanindo, Pangururan di Samosir, Perkampungan Wisata di Jangga kec.Lumbanjulu Toba, sementara kelompok gondang sabangunan kelihatannya "bubar" atau hijrah ke luar bona pasogit antara lain ke Jakarta atau Jawa, Riau dan sebagainya. Kalaupun ada hajatan atau pesta yang menginginkan gondang Batak biasanya dipesan dari wilayah Toba (Balige, Porsea, Laguboti) dan wilayah Samosir, sedang di wilayah Humbang peralatan musik gondang yang digunakan kelihatannya tidak lengkap (hanya ada beberapa buah taganing, ogung dan seruling).

Hingga memasuki abad 21, alat musik yang dipergunakan merupakan campuran dari alat musik modern (keyboard, drum) dengan alat musik tradisional (taganing, seruling) saja, dan hampir seluruh daerah/wilayah memilikinya dengan menggunakan "lagu/nyanyian" modern yang diciptakan seiring dengan trend lagu yang berkembang. Mungkin bagi orang-orang yang mendalami adat dan seni budaya Batak tradisional, kondisi ini sedikit menimbulkan pertentangan bathin bahkan tidak respek, sementara bagi masyarakat umum tidak mempersoalkannya bahkan menikmatinya.

Ada ironi yang terjadi dalam penyelenggaraan pesta yang menggunakan musik modern atau campuran sebagaimana disebutkan diatas, yakni ketika penyelenggara (hasuhuton) dan para tetamu, undangan (naniontang) akan manortor, maka dia meminta pemusik untuk menggelar musiknya dengan menyebut "Panggual-Pargonsi, baen hamu ma jo gondang i, asa manortor hami, baen hamu ma gondang mula-mula, gondang somba, gondang simonang-monang, gondang hasahatan sitio-tio".  Maka kelompok musik akan menabuh drum dan membunyikan keyboardnya dengan lagu-rythim modern dan tarian yang dipertunjukkan sudah pasti tarian "modern" bukan lagi tortor Batak.               

Kondisi yang demikian tentu akan semakin mempercepat punahnya tortor Batak dan musik tradisional Batak-gondang sabangunan, hal ini sudah menggejala dan kelihatan nyata terutama bagi generasi muda Batak, mereka tidak lagi mengetahui tortor dan musik Batak yang sebenarnya, yang mereka ketahui adalah apa yang mereka lihat selama ini "musik dan tarian modern" yang ddigelar dalam pesta-pesta, itulah tortor dan musik Batak. Timbul pertanyaan, haruskah kita biarkan tortor-musik tradisional Batak ini punah? Bukankah tortor dan musik Batak tersebut adalah identitas budaya Batak dalam keragaman seni budaya Indonesia?


Tortor, Makna Kehidupan Seni-Budaya Orang Batak
Sebagaimana lazimnya dalam berbagai etnis di dunia, gerak tari sebagai bagian dari seni budaya merupakan refleksi dan perwujudan dari sikap, sifat, perilaku dan perlakuan serta pengalaman hidup masyarakat itu sendiri. Bahasa menunjukkan bangsa, sebut para budayawan, maka tarian/gerak adalah juga bahasa (tubuh) yang menggambarkan bangsa. Dalam tarian tergambar cita rasa, daya cipta dan karsa dari sekelompok orang-orang. Tarian Melayu yang lemah gemulai, tarian Nias atau Papua yang menghentak-hentak, atau tarian Mexico yang cepat-sigap, menggambarkan bahasa hati/jiwa, sikap hidup mereka.

Akan halnya tortor Batak, tidak jauh berbeda dengan makna yang digambarkannya dalam gerak yang selalu diiringi oleh musik tradisional gondang sabangunan. Tortor Batak juga menggambarkan pengalaman hidup orang Batak dalam kehidupan keseharian, gembira/senang, bermenung, berdoa/menyembah, menangis, bahkan keinginan-cita-cita dan harapan dan lain sebagainya dapat tergambar dalam Tortor Batak. Karenanya, penulis tidak menerima pernyataan sementara orang-orang bahwa Tortor Batak sifatnya "monoton" atau begitu-begitu saja.

Di era masuknya agama Kristen ke tanah Batak, pernah terjadi di sebuah wilayah bahwa tortor Batak tidak diperbolehkan dipagelarkan dalam pesta atau hajatan lain, karena dianggap bernuansa "animisme" bahkan di zaman inipun justru ada "agama" yang mengharamkan menggunakan ulos,, tortor, gondang sabangunan dan adat Batak  dengan alasan bahwa mereka yang menggunakannya bukan orang yang beragama. Kenyataan di dalam masyarakat, ulospun dibakar, mereka yang menggelar gondang dan tortor Batak dikeluarkan dari sekte gereja.

Dapat digambarkan bahwa tortor Batak memaknai kehidupan seni-budaya Batak, persoalannya apakah bertentangan dengan agama atau tidak tergantung kepada cara pandang dan pemahaman kita. Bahkan akhir-akhir ini, justru dalam kebaktian agama (gereja) tortor dan gondang Batak telah menjadi bagian dan pendukung acara kebaktian (misalnya lakon pengakuan dosa dan mengantar persembahan digambarkan/dikoreografis dengan tortor Batak). Gambaran kehidupan orang Batak sebagaimana direfleksikan dalam tortor Batak tentu akan dapat dipahami melalui urut-urutan dan nama musik gondang yang diminta oleh tetua kelompok (paminta gondang), biasanya didahului dengan Gondang Mula-mula, Gondang Somba, Gondang Mangaliat, Gondang Simonang-monang, Gondang Sibungajambu, Gondang Marhusip, dan seterusnya yang  diakhiri dengan Gondang Hasahatan Sitio-tio. Demikian juga tortor/gerakan yang dilakonkan akan berbeda sesuai dengan irama dari gondang yang dibunyikan oleh Pargonsi (Pemusik).

Bagi mereka yang mengetahui, memahami dan menikmati irama gondang dan tortor akan menyadari betul apa yang digambarkan dan dimaknai tortor yang dipagelarkan. Dengan demikian, semua orang Batak dapat manortor tetapi tidak semua disebut panortor (penari) atau "pandai manortor"  karena untuk menjadi panortor Batak haruslah memiliki talenta dan latihan yang kontinu.


Hal-hal yang Harus Diperhatikan dalam Tortor (Batak)
Dalam melakonkan Tortor, sudah barang tentu tidak sekedar membuat gerak tangan, kaki atau badan, juga gerak mata (pandangan) dan ekspressi (mimik) tetapi juga musik pengiring yang dipergunakan harus berirama Batak  yakni gondang sabangunan yang terdiri ada taganing, ogung (doal, panggora, oloan), sarune, odap gordang dan hesek, sebab gerakan manortor harus mengikuti irama/rytme perangkat musik tersebut. Selain itu, pakaian yang lazim digunakan juga harus sesuai dengan motif Batak, misalnya selendang atau ulos yang dipakai  tergantung maksud dan tujuan acara-pesta seperti ulos  sibolang, ragi idup, tali-tali, suri-suri dan sebagainya

Sebagaimana disebutkan di atas bahwa gerak tortor Batak berbeda dalam setiap jenis musik yang diperdengarkan dan berbeda pula gerak tortor laki-laki dan gerak tortor perempuan. Menurut para pemerhati tortor, bahwa tortor yang dilakonkan juga dibedakan antara tortor raja dengan tortor natorop.

Sementara perangkat lain dalam acara tortor Batak biasanya harus ada orang yang menjadi pemimpin kelompok tortor dan pengatur acara/juru bicara (paminta gondang), untuk yang terakhir ini sangat dibutuhkan kemampuan untuk memahami urutan gondang dan jalinan kata-kata serta umpasa dalam meminta gondang. Bagaimanapun juga, tortor Batak adalah identitas seni budaya masyarakat Batak yang harus dilestarikan dan tidak lenyap oleh perkembangan zaman dan peradaban manusia. Dalam tortor Batak terdapat nilai-nilai etika, moral dan budi pekerti yang perlu ditanamkan kepada generasi muda.

Jika belakangan ini dilansir bahwa generasi muda Batak kehilangan jati diri ditandai dengan tidak mampu berbahasa Batak, tidak bersikap seperti orang Batak, tidak memahami seluk-beluk adat Batak, maka ke depan hal ini harus menjadi bagian dari perhatian masyarakat Batak dan Pemerintah di Bona Pasogit.

Selayaknya kita berterima kasih kepada Pemerintah Daerah yang berupaya melestarikan budaya Batak baik melalui penetapan Belajar Aksara Batak menjadi muatan lokal di sekolah SD, (mungkin perlu hingga tingkat SMP dan SMA); tetapi alangkah baiknya bila Pemerintah Daerah juga memberi perhatian terhadap pelestarian adat budaya Batak seperti Festival Marhata Adat, Festival Tortor, Festival Marturi-turian, Lomba Menulis Cerita-Legenda/Sejarah, dan lain sebagainya. (*)


Sumber : Melani Butarbutar

Ulos Batak

Manufacture of yarn.Cotton spinning process already known to the public Batak first called "mamipis" with a tool called "sorha". Previous hapas "dibebe" to develop uniformity in size makes the spinner form. A spin and a rotating sorha. Then sorha is simplified by adopting technologies that were taken by the Japanese during the occupation. Sorha a more modern mill with the power to make one person.Staining.Ulos woven cloth that is woven using a special pattern called "gatip"Ulos was made of yarn, thread spun from cotton. Originally white yarn, and to get the red color is called "manubar" and to get the black color is called "mansop".Ulos dyes made from various types of dipermentasi daundaunan making it the desired color. Additional material staining of permwntasi process is called "Itom" which in the 60's era still exist in the market found toba.People doing this yarn dyeing called "parsigira"Gatip.Graphic series were found in ulos created at the time yarn strung with a size standard. This thread is called "humpalan". Unit number of threads to use a fabric called "sanghumpal, two humpal" and so on. Gatip made prior to staining done. The desired yarn remains white, bound with a binder composed of fibers or leaves of lemon grass.Poultry.Uanggas thread is a process of enlightenment. In general, the finished yarn or disop ditubar, the color is rather dull. This yarn diunggas to further give the impression of more brilliant. People who do this work called "pangunggas" with equipment "pangunggasan".Yarn covered with rice and then scrubbed with a brush dilumerkan round of the fibers. Dilumerkan rice was biasanta called "beauty bonang ni".The yarn is diunggas is fairly resilient and increasingly unraveled after dried under the hot sun.

AniThe finished yarn then enters diunggas penguntaian process called "mangani". However, to simplify mangani, the previous thread "dihuhul" rolled up in a ball shape. Tools needed are "anian" which terditi of a block of wood on which it is plugged ulos cosh fit the desired size. In this process, pangani expertise is crucial to the size and beauty ulos calculation of the number of strands of yarn in the color composition.TonunTonun (weaving) is the process of forming a thread that is "Leipzig" became a ulos. They are the lajim called "partonun".MeshThe final process is making a full ulos "manirat". People who do this work called "panirat". Sirat is a decorative fastener ulos signs. Usually formed by Gorga motif.

Types UlosA. Ulos Jugia.Ulos is also called "ra naso ulos pipot or" pinunsaan ".Usually ulos the price and value is very expensive in the Batak tribe called ulos "homitan" stored in "hombung" or "parmonang-monangan" (a Iemari in earlier times when). According to the beliefs of Batak, ulos indiscriminate use is not allowed except for people who already "saur matua" or in other words "shade Gabe" (parents who already have children and grandchildren of men and women).

    As long as there are unmarried children or descendants have not yet even have to have sprung from sebahagian children, the parents may not be called or classified by tingkalan matua saur. Only the so-called "nagabe" alone is entitled to wear the ulos. So the size of the indigenous tribe of Batak hagabeon is not viewed from the position of the rank and wealth.The high usage rules causes ulos ulos type is a rare thing to many people who do not know. Ulos often the most visible legacy of parents to their children and nialainya equal to "sitoppi" (gold worn by the king's wife at a party) whose size is equal to the size of rice as agreed and certainly a large amount.2. Yeast ulos Life.Below this level Ulos Ulos Jugia. Many people assume ulos is the highest value the given ulos wearer is popular in the community in Batak traditional ceremonies.Ulos can be used for various purposes at a ceremony or ritual mourning joy. And can also be used by the Kings as well as by the middle. In ancient times used also for "mangupa Tondi" (reinforce the spirit) of a newborn child. Ulos is also used by the habolonan suhut (the host). This is what distinguishes it from other suhut, which in the version of "Na Tolu Dalihan" called dongan tubu.

    In the Batak kinship system. Group of genera (dongan tubu) are a group of "body-body sisada sisada Somba" to the other clan groups. There is a saying "do suhul martanda, marbona sakkalan, marnata do suhut, marnampuna do ugasan", which means even if the party was for the common good, the right to have a basic need (suhut sihabolonan) is still recognized as the last word decision (final decision).
    By using this ulos be obvious who the real host.Making this ulos ulos different from making other, because it can be done ulos mutual cooperation. In other words, done separately by different people. Both left and right sides ulos (ambi) done by two people. Ulos head up and down (tinorpa) done by two people as well, while the middle part or body ulos (office) work of one person. So wholly executed five people. Then the work of the five people are brought together (diihot) into a single unit called ulos "Yeast Life".Why should it be done this way? Ulos doing this must be completed within a certain time according to "hatiha" Batak (Batak calendar). When starting Artia (first day) was completed at the Tula (the middle day of twenty).When a Parent's death, the use of this ulos is the eldest child while others wear ulos "sibolang". Ulos is also very good when given as ulos "Panggabei" (Saur Ulos Matua) the grandson of the deceased child. At that time the yeast ulos Living with ulos jugia.In the marriage ceremony, is usually given as ulos ulos "Pansamot" (for the parents of the groom) and ulos can not be given to the bride by anyone. And area Simalungun ulos Yeast Life should not be worn by women.3. Hotang yeast.Ulos is usually given to a bride and groom are referred to as ulos "Marjabu". The provision is intended to ulos bond such as rattan (Hotang).Way of gift to the bride and groom is draped from the right side of the bride, the tip was held with the right hand Iaki male and female ends left by the middle of the chest and then put together like a bound.In antiquity wicker is leash an object that is considered the most powerful and potent. This is symbolized by the yeast (pattern) is.4. Ulos Sadum.Ulos is full of bright colors is perfect to wear to the atmosphere of joy. In South Tapanuli ulos is usually used as panjangki / parompa (sling) for the descendants of the king or Mangaraja Daulat. To invite (marontang) king of kings, was used as a base ulos whiting on a large plate (plate godang burangir / harunduk panyurduan).Ulos usage rules so tight that there are certain groups in South Tapanuli ulos forbidden to wear it. This is so beautiful ulos so in other areas is often used as a memento ulos and even made also as wall hangings. Ulos is often given as the official recalled the memory of officers who visit the area.5. Ulos Runjat.Ulos is usually worn by the rich or the privileged as ulos "edang-edang" (used at the time of going to the invitation). Ulos can also be given to the bride by the family according to the version (tohonan) Dalihan Natolu outside hasuhutan Bolon, for example by Bone (uncle), pariban (brother of the bride is already married), and pamarai (uncle of the bride). Ulos can also be given at the time "mangupa-upa" in the party happy (ulaon Silas ni Roha).

    The fifth type is a ulos ulos homitan (deposits) are only visible at certain times. Because it is rarely used to ulos not need to be washed and are usually quite dry in the afternoon at the full moon (Tula).6. Ulos Sibolang.Ulos can be used for purposes of grief or joy. For the purpose of grief is usually selected from a type of black color stands out, is when the joy of the event is selected from the white color stands out. In the event ulos grief is most widely used one. To ulos "saput" or ulos "tujung" should be of this kind and should not be ulos of another kind.In the marriage ceremony is usually used as ulos "ni Ampang closed" and can also be worn, but is selected from the kind of white color stands out. This is called "ulos pamontari". Because ulos can be used for all events this custom ulos the most highly valued in terms of traditional Batak. Prices are relatively cheap so it can reach the average person. Ulos is not used as ulos pangupa lajim or parompa.7. Suri-suri Ulos Ganjang.Usually called just ulos Suri-suri, since the comb-shaped elongated s type. Formerly this ulos diperguakan as ampe-ampe/hande-hande. At the time Margondang (beating drum) is used ulos hula boru children welcome party. Ulos can also be given as "ulos Tondi" to the bride. Ulos is often also used as a women-Sabe Sabe. There is ulos privilege because of the length exceeds the usual ulos. When used as ampe-ampe can achieve twice the convolution on the left and right shoulder that looks like wearing two ulos sipemakai.8. Ulos Mangiring.Ulos has a style that coincided with each other procession. It symbolizes fertility and agreements. Ulos parents are often given as ulos parompa to her grandson. Along with the provision that would later ulos born child, and her sisters also born as a friend along and in line. Ulos can also be used as everyday wear in the form of ropes (whir) for men. For women can also be used as saong (hood). At the time of the ceremony "mampe Goar" (baptism of the child) ulos can also be worn as a headdress, headdress, given the hula-hula to the law. When mampe Goar for his eldest son should ulos type "maratur Stars".9. Maratur star.Ulos illustrates the regular lined star. Lined a regular star in this show who ulos obedient, harmonious accord, and one word in the bonds of kinship. Also in terms of "sinadongan" (wealth) or hasangapon (glory) nothing is lame, all in the average level of the same. In everyday life can be used as-Hande Hande (ampe-ampe), can also be used as ropes or saong. While the value and functions the same as ulos Mangiring and the price is relatively the same.10. Sitoluntuho-Bolean.Ulos is usually only used as a headband or scarf women. Has no meaning unless it is customary given to a newborn child as ulos parompa. Ulos types can be used in addition, that the term indigenous Batak ulos panoropi said to be given to the hula-hula boru the already distant relatives. Sitoluntuho called because raginya / coraknya lined three, is "tuho" or "drill" is usually used to make a hollow ground for planting seeds.11. Uos tipping.This type of ulos Ulos "nanidondang" or ulos paruda (gems). Purada or an ornamental jewel of the ulos. This ulos formerly worn by the girl child and the family of the Kings to Hoba Hoba-used up to the chest. Also used to receive guests at magnifying or at mating time.

    At the time of yore, purada or jewels was brought by merchants from India via Bandar Barus. In the mid-twentieth century, the gems are no longer traded. Then the form of yeast ulos jewel is replaced by "manjungkit" (mengkait) ulos the thread. Yeast is made almost similar to the songket cloth or artificial Rejang Lebong. Because the manufacturing process is very difficult, causing ulos is a rare commodity, then the position is replaced by the songket cloth. This is why both the ancestral area was at the time of King Batak wedding songket cloth is usually worn by girls / women as a substitute bride ulos nanidondang. Here is a sign or a proof has been fading ulos value to the Batak people.12. Ulos Lobu-Lobu.Ulos types are usually booked directly by the people who need it, because this ulos have very special needs, especially those who are afflicted with misfortune (the death of a child). Therefore never be traded or stored diparmonang-monangan, which is why people rarely know this ulos. Shaped like a sarong and rambunya should not be cut. Ulos also called ulos "giun hinarharan". Ancient times the parents often gave to his son ulos who are pregnant (pregnancy). The goal is that eventually the children were born safely.There are many other kinds of shades and ulos names include: Panai Yeast, Yeast Hatirangga, Ambasang Yeast, Yeast Sidosdos, Sampuborna Yeast, Yeast Siattar, Sapot Yeast, Yeast Hirik the imput ni, Ulos Bugis, Padang Ulos Deer, Ulos Simata, Ulos Happu, Ulos Tukku, Ulos Gipul, Ulos Takkup, and more ulos names that have not been mentioned here. According to the old people kind ulos to 57 species.As already explained, ulos have a very high value in the Batak ceremonial, because it's unlikely we're talking about without talking about the indigenous Batak hiou, ois, obit UIS godang or all of which is a identintas Batak people.Recipients UlosAccording to the customs procedures Batak, each person will receive a minimum of 3 kinds ulos from birth until his death. This is called ulos "marsintuhu na" (ulos necessary) in accordance with the philosophy of dalihan na tolu. When he first received the new birth is called ulos "parompa" formerly known as ulos "paralo-alo Tondi". The second received at the time he entered the threshold of new life (marriage) called ulos "marjabu" for the bride and groom (currently desebut ulos "hela").So the third is yattg ulos received when he died. ulos world called "saput".I. Ulos At Birth.There are two things to note. The first is whether the child is born the eldest son or not. And the second is the firstborn child of a child born of one family. A. When born the eldest son of a father who is not the eldest son of Goar mampe sianak addition, it is only parents (Amani mar ...). 2. Was when the child is the eldest son of an eldest son in a family so that in addition sianak mampe Goar, also his father and grandfather (marama Ompu ni ni ... and ...).

    Ompu title ... if the title has an inset word "si", which earned it the title of the eldest female diperdapat (ompung bao).
    When not get a word ... then insert the title Ompu received from the firstborn males (Ompung Suhut).For the first point, then the hula-hula only provide two ulos the ulos parompa to sianak and ulos pargomgom mampe Goar for his father. To sianak as may be provided ulos parompa Mangiring and can be given to his father-suri suri ulos ganjang or ulos sitoluntuho.For the second point, hula-hula ulos must provide three pieces, namely ulos parompa to sianak, ulos pargomgom to his father, and ulos-headdress headdress for ompungnya.Along with giving ulos always delivered the words that would contain the expectation that the child's name in bold and large after dianya later able to obtain the blessing of God Almighty. Delivered through the instance (rhyme). Hula party providing the type of ulos ulos maratur star, but if they just gave ulos ulos Mangiring parompa okay.II. Ulos When MarriageIn the marriage ceremony, the hula-hula should be able to provide ulos "the tot ni pansa" namely: 1. Ulos marjabu (for bride), 2. Ulos pansamot / pargomgom for the parents of the groom, 3. Ulos pamarai given to the older brother of the groom's father or siblings, 4. Ulos simolohon given to iboto (adek / sister) groom. If no one has been married then this can be given to ulos iboto of his father. Ulos called in accordance with the provisions of the above is ulos to be provided by the hula-hula (the parents of the bride).

    The lid ulos Ampang received by boru ni diampuan (sihunti Ampang) only if the marriage is performed in place of the family of women (dialap sell). If the marriage is performed in place a family man (ditaruhon sell) ulos Ampang closed ni is not given.Often we see so many ulos given to the bride by a close family. Ulos first is called "yeast-yeast ni sinamot". Usually that gets yeast ni sinamot (receiving party of sinamot) ulos give in return. In the instance (verse) in the Batak tribe called "malo manapol ingkon mananggal". This verse implies, the Batak peoples not payable.But with the term originally meant pinudun signs to shorten the time, resulting in blurring of who the recipient of the "Goli-Goli" of yeast-yeast ni sinamot. Position that should not arise (margoli-Goli) so that the public invitation (ale, ale) on the pretext of the term "ulos holong" ulos also provided to the bride.The procedure to grant.A ulos (usually yeast Hotang) are provided for the bride by the hula-hula. The bride's parents immediately provide (manguloshon) to the bride and groom are called "ulos marjabu". When the female parents represented by the immediate family, then he is entitled to give ulos the bride, but when the parents of men who represented, then it must be accepted pansamot ulos folded.While ulos pargomgom (for pangamai) is acceptable according to the usual manner, and in this event must be provided by two strands ulos (ulos pasamot and ulos pargomgom). In the delivery ulos usually accompanied by a variety of rhyme (umpasa) and a variety of words that contain a blessing (cheekbone). After the continued delivery of rice diulosi cheekbone (Boras warden ni Tondi) sprinkled including the public by saying "long live" three times.Then followed by giving ulos to parents of the groom or his representative in this regard along with the delivery of the words umpasa and advice. After the walk giving the tot ni ulos pansa to pamarai and simolohon. This provision is usually made by suhut paidua (family / relatives derivatives grandmother).After running the other ulos as the cover is the gift of bone ulos (uncle) groom.Ulos procedures for granting the order is as follows: 1. At first that gives ulos are parents of the bride, 2. The new bone followed by the bride rorobot including bone, 3. Then followed the dongan Sabutuha of the bride's parents called paidua (pamarai), 4. Followed by the pariban boru of the bride's parents, 5. And the last is bone of the groom, after he was given a portion of the received sinamot parboru of paranak of the agreed amount as much as 2/3 of the parboru and 1/3 of paranak. Courant was presented by the parents of the bride to the bone / uncle of the groom, is called "tintin marangkup".III. Ulos When Death.Ulos the third and the last is given to a person who is ulos accepted at the time he died. Levels (state and derivatives memurut age) one can determine the type ulos received.If someone dies young (hadirianna mate) then it receives ulos, ulos is called "parolang-olangan" usually of the type parompa.When seseorng died after the family (matipul ulu, marompas tataring) then was given to him ulos "saput" and the left (widowers, widows) are given ulos "tujung".When a parent dies is complete in terms of heredity and circumstances (juice / saur matua) then he was given ulos "Panggabei".Ulos "jugia" can only be given to the offspring of parents who no one has died (martilaha Martua).Specifically about ulos saput and tujung should be stressed about the gift. According to the parents, who gave saput is the "bone", as evidence that the bone still has something to do with the nephew (berenya).Was given tujung ulos hula, and it is important to do again repeat the wrong gift.Procedures for the administration.When the death of a child (not married) then there is no saput ceremony. If the deceased was a married man, having heard the hula-hula khabar about this, disediakanlah a tujung ulos to the bone and provide ulos saput. Gift accompanied by the words of condolence (marhabot ni Roha). After a few days ago, continued with the opening (reveal) tujung performed the hula-hula. After the bodies were buried, at that time revealed no tujung implemented, depending on the agreement of both parties.Hula-hula provide dipiring rice (ni Tondi warden), clean water to wash my face (AEK parsuapan), one glass of water (AEK sitio-tio). Implementation of the show reveals tujung generally made in the morning (eye panangkok ni ni ari). After the opening hula balu tujung from, followed by washing the face (marsuap). Abandoned children also washed his face, then continued with the sowing of rice on his head a widow and her children.Give ulos panggabei.When one parent who sari / saur matua dies, then all will give hula ulos ulos called Panggabei. Usually ulos is no longer given to the deceased but to all of its derivatives (children, pahompu, and great-grandchildren). Usually this ulos amount in the order starting from the hula-hula hula-hula, bone bona, bona ni ari, and all the hula-hula hula children and grandchildren / great-grandson.Event of death for old people like this usually takes a very long time, sometimes reaching 3-5 day event. The cost of the show is quite large, because this is the peak of the last living person.Gives UlosIn the Toba, Karo Simalungun and, in principle, the hula-hulalah which gives ulos to parboru / boru (in marriage). But the region Pakpak / Dairi and South Tapanuli, borulah party giving to the kula-kula ulos (kalimbubu) or mora. Specific differences are not that reduce the value and meaning in traditional ceremonies ulos.All custom implementation batak dititik beratkan accordance with the "na tolu dalihan" (stove / kitchen consists of three stones) which is the sense in traditional Batak dongan tubu, boru, hula-hula should help each other and mutual respect.In the Toba area are eligible to ulos is: 1. Hula-hula party (bone-in-law, bona bone, bona ni ari, and bone rorobot). 2. Dongan tubu party (father, brother's father, grandfather, brother of the bridegroom go higher in family status). 3. Pariban parties (in order of height in the family).Ale-ale (family friend) that we see poised to give ulos, is actually outside tohonan Dalihan na tolu (ale-ale provision should be determined not ulos, sometimes given as gifts and others).From the above it is clear that the order is eligible to ulos are those who have a higher position in the sequence of the recipient ulos family.