Traditional buildings tongkonan toraja

Toraja traditional house, better known by the name of the container or Tongkonan a gathering place for the nobility Toraja, gather and discuss issues related to customs. Tongkonan literally means a place to sit. This paper aims to explain a few things related to the form and symbolic meaning tongkonan custom home in Tana Toraja.

True to its name, the name of a location or position tongkonan tongkonan by itself, as a means Tongkonan Belo Langi tongkonan highest places, also based on regional names such as Tongkonan Garampa and the special meaning attached to these tongkonan. As Tongkonan Merbali.

The big difference in the structure of the three tongkonan is solely due to the success of deliberation room of a building.

The difference in the amount of room a tongkonan social and economic meaning that more and more office tongkonan the higher position. The position or location of stairs and doors tongkonan adjusted to the concept of public trust that is Aluk Todolo Toraja. Basically decorative patterns on the third tongkonan generally implies many social, economic and religious magic that deal mainly with the realities of life in Toraja community.

Traditional House Minangkabau

The Indonesian nation known for its cultural and ethnic diversity, of course, with all the attributes of their culture. While sustainability are increasingly being dudengungkan people, but on the other hand there are many who - consciously or not - it does not care about sustainability. Call it a clear example, traditional houses. Includes a traditional Minangkabau in West Sumatra, its existence must be considered, if indeed we want the building can still be enjoyed by our children and grandchildren someday.

Traditional buildings is a feature for each region. Structure may know the identity of these areas, because it is normal to typical buildings that need to be conserved. But on the other hand, the inhabitants of these buildings may have a desire to replace his old house Dehgan modern new building, if at all possible. Of course, this is understandable considering they also want to enjoy the development in this era of increasingly sophisticated. And this problem is not going to go away without any effort and all parties.
Things to consider is the importance of the introduction of these buildings, so the desire to preserve the stronger and may be used as well as for building owners motifator distinctive buildings to also maintain traditional buildings

There is a myth that our ancestors came from Minang people who came across the sea by boat. Based on some investigation Minang people from Asia who came in about the year 200 BC and lived in the stone age nomadic pattern (moving ternpat). The next wave, Tonkin people from Southeast Asia into the Minang culture with a metal. And from this culture Tonkin, born Indonesian culture in general and the Minang culture in particular. Thus continue to grow until Islam arrived in the 16th century. Since then, the Minang closely with the teachings of Islam, even today.
Minang culture is unique, not unlike other areas in this country of ours. There is one difference in the Minang community system, which is not found in other areas. The system is a family line which, according to the mother line, known as Matrilineal. The system is so strongly inherent in every society Minang, to affect the composition or her plan.
Broadly speaking, Minang kinship systems can be divided into four, namely the House, headed by mamak home; then paruik, which is formed by one family and a few houses. Genealogical ties still. Third, is Kampuang led by the village headman and shaped by some paruik. And lastly, the tribe led by chiefs and formed by several villages. Here we can see the hierarchy in the kinship system Minang society. In a family, all family matters are taken care of by an adult male of the family, which acts as a "ninik mamak" for the family. Family responsibilities is located at a mamak or relative of the mother. And a father in the family including the Minangkabau is another family of his wife and son. Similarly, boys, including another family of his father's family. A man at home his wife is a "sumando" or honored guests. In terms perkawinanpun, there are rules that need to be rules. In an ideal society is marriage Minang their cross cousins ​​or Exogarni Cross Cousin Marriage (ECCM), the marriage mobreda "brother or mother-daughter, the marriage between men with the daughter of mamaknya. Can also be found among men in marriage with the nephew or son sister father. In addition, the Minang culture is considered feasible if a man marries one of his sisters and his late wife or a widow to marry her brother. Marriage kind of noodles are very respected and known as "menyiliehkan" Another thing is no stranger to the marriage dowry in society Minang, but the "money transfers". Usually also held the two families exchange symbol objects known as "batuka Tando", in the form of a ring or dagger.

In the Minang, settlement patterns at the macro or settlement called "villages". And its constituent elements include taratak area, the area of ​​the fields and the forest around villages and a source of income seharii-day. Then local habitation, which is a residential area which has a central orientation of the central villages.

Center nagari usually formed of several functions of public buildings, such as the customs hall, where traditional leaders held a meeting to solve a big problem, nagari hall, mosque and market. Concentration permukirnan instinctively forming spaces taratak flanking regions as areas where the daily livelihood. Overall, the pattern also depends on Nagari Minang of the ground situation, but there is still the main street of houses arranged to follow the roads that form. Composition of the house, usually rnenghadap way, either parallel or perpendicular to the road. Sometimes there is also a rnenghadap sun​​.
settlement patterns Minang community based system of government called "Kampuang" or village. And kampuang consists of several paruik, which can mean one of the big but still there consanguinity. The village is often referred to as an ellipse. As a group, can be divided into two groups occupancy. Small residential groups, is a descendant of Seibu. If a family does not have enough space for all the women in the house, it is usually made ​​a new home on family land. The houses can face each other or side by side. The house was known as a traditional house. And the front of the house there is usually a traditional granary number one to three, depending on the level of family income. Barn is called "rangkiang" which is also a symbol of social status.

Another group is the dwelling hesar. The group is in the kinship system called paruik, or it means the stomach, which is a descendant of a wider / bigger and the direct descendant.

Usually paruik group consists of several custom homes. Traditionally Minang people do not know the orientation of the building in particular. The buildings there are made ​​to adjust to the road, usually parallel to the direction of the road. Houses are usually turned the second tier and the third tier dealing with the second layer. And so on, but it depends also by soil conditions. It lands in the Minangkabau region consists of lowlands and highlands. Minangkabau which is located in the province of West Sumatra are on the ground with a height varies from 2 meters to 927 meters above sea level. The average height of about 368 meters above sea level.

In the case of houses, Minangkabau society is closely associated with the customs. Rumahpun functions will vary and depend upon several things such as, position the man who built the house of the family or tribe, the status of the land on which the house was built, and the influence of family environment that builds them. It can be said there are two types of houses, namely: custom homes and home gadang. The traditional house is a family home that accommodates all activities ceremonies with completeness. While the house just, although the same shape with custom homes but its function is more adapted to the needs of the family, not for custom events. Because, for a custom house needed certain requirements that not just anyone can create these custom homes.
Review plans for traditional Minang rurnah can be seen in their ancestral home. Usually made ​​symmetrical arrangement with a plan to get in on the center of the longitudinal axis direction. The amount of space, adjusted by the number of girls or women who lived at home, but still made ​​the odd amount of space for taking care of the symmetry earlier impression. All the rooms in the house is reserved for women, where they can receive husbands at night. So it is not unknown for the men's room. Large sitting room located at the front for guests menerirna and ceremonial place. There is a kind of implicit sense of a large sitting room, the fact that the Minang people are very familiar with the schools of "democracy" is termed "low sitting together, stand as tall". This space is also used for casual conversation, even perabotannyapun almost nothing. Usually people sit under the mats, as well as at mealtime, sit under anyway. lounge in, to support the activities of the large sitting room.

The kitchen is usually found on the back of the house, does not become one with the house. But if you want to put the kitchen in the house, they usually take place in the living room back, exactly on the axis entrance. As for the bathroom at home custom homes are usually placed separately. On the left and right side, there is usually a special space to sit or weaving for women. This space is usually called "anjuang" and raised the floor a little bit of the living room. The room is this woman doing crafts, whether it be weaving, knitting, embroidery or other activities. Of their activities is born handicrafts typical of the region traditionally enrich us.

As with other areas of traditional buildings, homes Minang also known head-body-feet at the building. Head indicated the roof has a typical shape, such as a saw blade upside down by the lines curve and facing out. Of course shortened form of the roof looks like an isosceles triangle are slightly curved. Roof forms such as "gonjong" or canopy that supposedly derived from the basic form of buffalo horn, and said Minangkabau (Kabau means buffalo). Gonjong this is a traditional symbol of greatness. At each custom home, there are usually four gonjong, but many were added on each anjuang gonjong, bringing the total number to six gonjongnya. The house with six gonjong it can be enjoyed in TMII, Jakarta.
Materials for the roof are usually selected fibers, likely to have easy time forming arches. Gradually, many are replacing the roof with zinc, can also be seen even now building a roof gonjong the roofing material of tiles.
The body is a wall of the house. At a meeting between the roof and the body, there is a "ceiling" that serves as a place to store items that are rarely used. Usually the same as the ceiling material flooring materials, namely wood (board), and a two-layered walls. The outer layer is made of woven bamboo and "sasak bugih" and next to the wall using the board. In the family were, many adorned his wall carvings or ornament-colorful ornaments. Indeed, the color in Minang quite "bold". This can be seen not only from the trappings of home, but also and customary attire.
The bottom is the foot, which is realized by the vault. The entire floor of the house is raised, forming a hollow, as usual our traditional buildings. The height of the ground floor is usually reached by stairs, and wood or stone. And traditional houses are still many villages in West Sumatra stands high enough, there is even a section kolongnya adults can enter without having to bend. The function is similar to pit-trap under the other is a place to store goods or livestock. Usually vault was closed but not permanent. Sometimes the lid is placed next to the outside so it looks more building stands on a pole.
Traditional buildings, however memiiki characteristics. He needs to be considered not only to enrich our culture, but it is also necessary to demonstrate how our nation is so much variety can remain united. coexist even help each other. 
 
  

 

Weaving Songket Palembang

1. origin
Is the provincial capital of Palembang in South Sumatra, Indonesia. In this area there is a craft of weaving called "Weaving / siwet Songket Palembang". Songket is a woven fabric made ​​with a technique to add as a garnish to the weft yarn inserting silver, gold or colored thread over the warp threads. The word "songket" itself comes from the word "skewer" and "fork" that diakronimkan be "sukit", later changed to "sungki" and eventually became "songket".

Perhaps, woven from Palembang has existed since the time of the Kingdom of Srivijaya. Manufacturing technology is not actually originate in the area, but from China, India and Arab. The existence of trade between nations is the kingdom of Srivijaya led to acculturation, namely mutual absorbing elements from another culture. And, one of the cultural elements of foreign nations that have been absorbed by the Palembang is a woven fabric manufacturing technology which is still practiced by most people.

Palembang songket cloth worn by many women in the marriage ceremony, both the bride, dancing girls and women are invited to attend. In addition, songket is also used in official events welcoming guests (officers) from the outside or from Palembang itself. Consumption songket are limited to events or specific activities was due songket is a type of clothing that high value, highly appreciated by the people of Palembang.

In ancient times (the kingdom of Sriwijaya) Palembang songket fabric not only traded in the surrounding area (on the island of Sumatra only), but also to other countries, such as China, Siam, India and Arab. However, when the Dutch and Japanese, weaving songket suffered a setback. In fact, when the physical Revolution (1945 - 1950) in Palembang songket weaving craft was stopped due to lack of raw materials. However, at the beginning of the 1960s Palembang songket made ​​progress since the government provides and bring in raw materials and assist marketing.

Work in Palembang woven fabric is usually done by "moonlighting" by teenage girls who married before and mothers who are elderly while waiting to perform the ritual prayers. In general, the manufacture of songket done by women.

Today weaving songket Palembang songket only produce one type, such as gloves and or fabric. However, along with the times, has spread to other types of products, such as wall pictures, table cloth, pictorial tapestries, clothes women, sprey, chair clothes, tapestry cushions, scarves, Serber, kitchen cloth, handkerchief, shirt material and tussor (diagonal woven material).
2. Equipment and Materials
Palembang songket weaving equipment can basically be categorized into two, namely the principal and auxiliary equipment. Both are made of wood and bamboo. Tools are a set of basic loom itself, which by their so-called "dayan". A set of tools measuring 2 x 1.5 meter consists of rolls / boom (a device used to weave the thread base), penyincing (a tool used to stretch and get yarn woven), beliro (a tool used to make songket motifs), cahcah (a tool used to insert another thread to thread base), and gun1 (a tool to remove the thread). Meanwhile, additional equipment to adjust the position while being woven yarn is peleting, gala, belero range, and binoculars palette. Additional equipment is placed to the right of the weavers, to be easily reached by hand.
The basic ingredients are woven songket weaving yarn called the warp or weft. The warp threads are made of cotton, bark, banana fiber, pineapple fiber, and palm leaves. Meanwhile, jewelry consists of silk yarn and thread emas2. Silk comes from Taiwan and China, while the golden thread from India, Japan, Thailand, Germany and France. In addition to yarn, there are goods to be imported from Germany and the UK are dye yarn.
How to make the warp threads is done by using weights that are played with the fingers. Ballast is shaped like a top and is made of wood or terracotta. Another way that many found in the western part of Indonesia (Sumatra, Java, Bali and Lombok) is to use antih (device consisting of a wheel width that can be played following the clamps to rotate the wheel). Meanwhile, in order to obtain tertentu3 color, it will be colored threads soaked in soap for at least 14 minutes. The point is that the thread has lost its oil substances. After that, just dyed with the desired color, then dried. Furthermore, once dried, the yarn dikelos (rolled). After that, penganian, which set the number of threads that will be woven according to the type and songket or form to be created. However, today only some people do. Others simply buy yarn colors have been produced by a factory in Indonesia or imported from India, China, Japan or Thailand.
3. Weaving Songket Making Techniques
Palembang songket weaving is basically done in two stages: stage basic fabric weave fabric construction with flat or plain weave and stage decoration part is an additional part of the weft yarn. America and the European Community called how to weave such as "inlay weaving system".
a. Stage Fabric Weaving Basics
In this phase is to generate a flat woven and plain. To that end, the first step is a thread that has been dikani, one end is stretched on the table. Meanwhile, the other end is inserted into the hole suri (comb). Filling yarn is arranged in such a way that about 25 suri holes, each hole can contain 4 strands of yarn. It is intended to make the suburban fabric. Meanwhile, the other holes, each hole is filled with 2 strands of yarn.
Once the yarn is inserted into the animation and arranged in such a way (on average), then the thread then rolled with a wooden boom. The work is called menyajin or mensayin thread. After that, the installation of two gun or thread lifter place close to the comb. In accordance with what was done, the work is referred to as "gun mounting penyenyit". Furthermore, the seating position, weavers began to move dayan by stepping on one pedal to separate threads such that the threads are rolled can be inserted easily, either from left to right (past the entire field dayan) or from right to left (alternately ). Thread the transverse position when sealed with air-suri dayan will form the base fabric.
b. Making Stage Variety Decorative
After basic cloth materialized, then the next stage (the second stage) is manufacturing decorative. In this stage the basic fabric is plain it is decorated with gold or silk yarn with supplementary weft technique or suplementary weft. The trick is rather complicated because to put it into the base fabric must go through careful calculation. In this part of the fabric flowers that gun fitted with gold or silk thread can be incorporated, thus forming a motive. That said, this work takes a long time because the gold or silk thread should be counted one by one from the right side of the fabric to the left side by a certain count, according to the motif instances to be created. Next, thread the sealed one after the other, thus forming the desired decoration.
Old and whether the creation of a songket weaving, in addition to depending on the type of fabric that is created and its size, smoothness and complexity songketnya motif. The more subtle and intricate motifs songketnya, the longer the process. Manufacture of gloves and or fabric, for example, can take approximately two to six months. In fact, often more than six months for each day an average craftsman can only complete fabric along 5-10 centimeters.
4. Variety of Ornamental Weaving Motif Songket Palembang
Natural wealth Palembang greatly influenced the decorative style with amazing patterns. Once the decoration was created from a simple tool, but the weave is a very high art value. So, songket is not just fabric, but has become a form of art that removed from the creativity, taste and intention weaver. Motives range of Palembang songket are generally composed of three parts, namely: vegetation patterns (especially the stylized shapes of flowers), geometric patterns and motifs mixture of herbs and geometric.
The motives of the ancients until now passed from generation to generation, so that the pattern does not change, because of the way memola motif itself is only done by certain people, and not every weaver can create their own motives. People who live weaving implement predetermined pattern. So, handicraft weaving is a work that is collective. For the record, the weavers in Palembang entirely done by women, both young and old. Weaving expertise is generally inherited from generation to generation.
Some names decorative or Palembang songket motifs include: piham Lepus, Lepus plain, straight puler Lepus, Lepus puler waves, star Lepus, Lepus dragon besaung, Lepus Bunge falls, chain Lepus, Lepus limp cage, drops meder, cino Bunge, Bunge jasmine, Bunge intense, pacik Bunge, Bunge tribal green, studded Bunge, Bunge rose, melon seeds, jando ornate, pyramid chain, basic limai, shoots shoots, tigo country and heart of gold.
In addition to functioning as something woven beautify (songket), decoration also has meaning. One example is a form of decoration that tekenal the "dragon besaung" (dragon fight). In this case, the dragon is considered as an animal that symbolizes prosperity and glory. People who wear songket motifs Nago besaung surely hoped to secure prosperity and glory in his life. This motif is taken from one of the elements of Chinese culture dragons are considered as a mythological animal that can bring prosperity and kajayaan. For the record, in the ancient kingdom of Srivijaya much visited by strangers from China, India and others to trade. Another example is the motif shoots bamboo shoots and flowers (cloves, cape, jasmine, and rose). Bamboo shoots are considered as small plants since the material can be used for vegetables. When it has grown up and become a bamboo still remains useful, ie as a building material and so on. People taking this motif would have been expected to be useful also for people (like bamboo which is very useful for humans). Meanwhile, flowers symbolize purity, elegance, and kindness sustenance.
4. Cultural Values
Weaving Songket Palembang, if examined carefully, in it contains values ​​that in turn can be used as a reference in everyday life for the supporters. These values ​​include: sanctity, beauty (art), diligence, thoroughness, and patience.

Sacred values ​​reflected in their use generally only wear them to events or activities that are related to the ceremony, such as marriage, the ceremony to pick up guests and others. Values ​​reflected the beauty of the decoration motifs are made ​​in such a way that radiates beauty. Meanwhile, the value of persistence, thoroughness, and patience is reflected from the manufacturing process that requires patience, precision, and patience. Without these values ​​are not likely to materialize a songket weaving beautiful and full of meaning.            

Fabric Ulos Typical North Sumatra

In addition to Lake Toba, ulos fabric is the mascot of North Sumatra. This fabric has been part of culture since ancient Batak society until now. Cain ulos also be souvenirs of North Sumatra. Indonesia is famous for its diverse tribes and peoples and its culture. Apart from Java batik and songket from Palembang, fabric ulos of land in North Sumatra Batak is also no less good.

One place to look is in the manufacture of cloth ulos Samosir Island, which is in the middle of Lake Toba. You can see the beauty of Lake Toba and learning ulos fabric manufacture. There were also many souvenir shops that sell fabric ulos as souvenirs.

On the island of Samosir, there are many craftsmen who use cloth ulos traditional tools. The craftsmen of Samosir Island is known for its expertise in making this fabric. One of the manufacture of cloth ulos on Samosir Island is Perbaba village. The traveler can also try making cloth ulos with traditional tools here.

If you notice, there are 3 basic colors of fabric ulos, namely red, black and white. The level of difficulty of making cloth ulos also vary. Some of these types ulos sibolang, ragihotang, Mangiring, Sadum and others. Ulos fabric prices range from tens of thousands to millions of dollars. It depends on the type, pattern and material.

According to the Batak belief, there are three sources of warmth of the sun, fire, and fabric ulos. Batak tribe mostly live in the cool hills, besides the sun, ulos also be a source of warmth for them. Ulos Fabric has an important role in the life of Batak society. In addition to use in their daily activities, ulos fabric is also used in large events such as weddings, births and funerals.

Ulos Fabric has a distinctive feature in Batak society. Not surprisingly, in ancient times, usually ulos fabric used by the royal family Batak is gold and silver. In addition, if there is some big event celebration that does not use ulos, it is not legitimate event.

There are many teachings in the Batak tribe ulos cloth. One of them, should not be given ulos cloth from a low to a higher position. For example, from a child to his father. There are many other teachings of the Batak tribe and its history regarding ulos fabric.

Been to North Sumatra will feel complete when you buy fabric ulos for souvenirs. In addition to promoting local economies, of course, you also have to appreciate original culture of Indonesia. Horas!