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Costume MINANGKABAU and explanations

Pakaian Adat Minangkabau
Custom Apparel and explanation - Pakaiaan Minangkabau adat Minangkabau of West Sumatra is very feminine when viewed from the angle of fashion . Typical Clothing West Sumatra is divided into two , namely : Traditional Clothing and Apparel Bundo Minangkabau Kanduang . The products that we advertise is part of the Apparel Bundo Kanduang . A bladder bundo tengkuluk wearing antlers or tengkuluk ikek as headgear . The material comes from the Smart Brush woven fabric balapak Leopold. Shaped like a buffalo horn with two pointy ends of tufted gold or brass plated . Use of this tengkuluk symbolizes that women as homeowners gadang.Seorang woman who has been appointed as bundo Kanduang ( biological mother ) plays an important role in his people . Not all women can be bundo content . He should be wise people , heard his words , and asked to go home the place where news . He is also crate puruak Ambon , means the place or the holder of the inheritance of his people . It therefore has a different traditional clothes with other women . As well as the clothes prince , each region has its variations in Minangkabau adat respectively . But generally complete outfit consists of bundo Kanduang tengkuluk , baju kurung , sling fabrics , sarongs , and adorned with earrings and necklaces .

Custom Apparel Clothing Minangkabau as a bride

Custom clothing is a complement to a traditional wedding , some in Indonesian traditions upheld this custom clothes for later passed on to his descendants . We all know that the tribes in Indonesia is very diverse , therefore will try to find and help the bride and groom who want to know about the wedding dress custom in the region .

Clothing Minangkabau as the Bride Outfits

In Alek in Minangkabau in general use suntiang bride . Suntiang is the bride headdress or in the Minangkabau of West Sumatra . Large ornate golden or silvery color characteristic that makes weddings Minangkabau culture different from other cultures in Indonesia . Women should be proud of Minangkabau Minangkabau culture , especially about the wedding dress . generations , Minangkabau wedding dress is very typical , especially for women , which in addition to its traditional dresses long dress and gloves balapak brackets , do not miss the edit .

As for the actual headdress diverse forms . Currently , headwear " Suntiang Kambang " Pariaman origin who in commonly used in West Sumatra . Though there are many forms of headdress , there is a Banana edit Saparak (Originally Solok Salayo ) , Edit Pinang Bararak ( From Koto nan Godang Payakumbuh ) , Edit Mangkuto ( from Sungayang ) , Edit Kipeh ( Kurai Limo Jorong ) , Suntiang Sariantan ( Leopold ) , Matua Suntiang Palambaian , etc. .

Not only suntiang, in some areas also wore Tikiluak Tanduak with various forms, such as tikuluak tanduak batipua, tanduak Lilik (payakumbuh), Tanduak Balenggek of Sungayang, Tanduang of Lintau Buo, termasuak Tikuluak Amethyst from Magek. And there are only a cloth in lekapkan to the head, which is a special tengkuluk called talakuang and baju kurung called Batabue or studded, like Koto Tower. Unfortunately, a variety of ornaments are rarely used. Besides, due to lack laziman also because of our ignorance. Thus, only Suntiang Tower was considered downright Kids clothes Daro in Minangkabau.

Suntiang itself assembled using one quarter the size of wire mounted on the frame size of a zinc aluminum head . At the wire was installed at least five types of decoration . The fifth named garnish suntiang gyre , suntiang sieve , Mansi - Mansi , bungo , and sequence - sequence . The magnitude of a suntiang measured by the number of mansi or wire . Suntiang greatest mansi size 25 , then 23 Mansi , Mansi and the 21 most commonly used today . Suntiang made ​​also divided into three types according to material . More severe and expensive are still made ​​today are made from desert Mansi (a type of zinc aluminum brass ) . Then mansi kantau or regular , and now widely used , especially for students , suntiang of plastic which is much lighter . But the best should be later made ​​of titanium , unfortunately still expensive .

Suntiang not be separated from the clothes perangkatan Limpapeh nan Tower House Minangkabau . This Suntiang worn by girls dressed in traditional as well as by the bride. Regarding the type and name of this suntiang wide range . Broadly speaking, this is the type suntiang follows :

   1 . Suntiang bungo pudieng ( suntiang flowering pudding )
   2 . Suntiang saparak bananas ( banana suntiang sekebun )
   3 . Suntiang saikek bananas ( banana bunch suntiang )
   4 . Suntiang floating pan ( suntiang banana bunch )

In terms of the connective ( sets ) with all its variations suntiang can also be distinguished , suntiang coastal belt , belt suntiang Kurai , Solok Selayo suntiang belt , belt suntiang Banuhampu Puar River , suntiang connective Fifty City , suntiang connective Sijunjung Koto Seven , suntiang connective Batipuh X Koto , suntiang Sungayang belt , and Lintau Buo .

Suntiang connective bungo pudieng widely used Batipuh Tanah Datar area . Suntiang banana separak widely used areas Fifty LUHAK City , Solok , Sijunjung Koto Seven , and River ceiling . Suntiang banana sasikek widely used in coastal areas . Suntiang floating trays widely used in other areas .

For clothes , Minangkabau only know two types of clothes , namely baju kurung and baju kurung melayu basiba ( long kebaya ) . This shirt to two commonly used in the western psisir , machetes and pariaman . Similarly, the color , the clothes have a traditional Minangkabau grip colors that became his trademark . baju kurung red and gold as the characteristic black area of Padang and Solok area as characteristic .

Minangkabau traditional clothes which usually is some sort of brackets loose clothing ( not tight ) , thick ( not transparent , not dreamy , not invisibility) , polite , covered from neck to ankles and decorated with shaped headgear diverse accordance with a more specific area of ​​origin . Because the clothes of traditional customs that tend to be closed , loose and is not transparent , it is easy to combine them with the veil without eliminating the element of the original culture .

Supplies custom clothing Limpapeh Nan Tower House Minangkabau made ​​by himself . There is enough area famous for its clever embroidery like this in Minangkabau Padang , Pariaman , Sungayang Tanjung , Tanjung Bunga Batipuh , Koto Tower , Payakumbuh . While the Smart Brush upieh famous woven fabric ( cloth balapak ) . Bukittinggi is famous as the place suntiang sellers in various shapes and sizes . Generally bureau cosmetology daro children across West Sumatra , even outside the province , including Jakarta suntiang to buy shops in Bukittinggi . But , suntiang itself actually made ​​a bunch of artisans in Kampung Pisang , District Four Koto , Agam . Unfortunately, it is not widely known.

Symbolic Meaning Contained in Minangkabau Traditional Clothing

1 . Upper Clothing

Tengkuluk horn or tengkuluk ikek is a head covering made ​​of cloth balapak . These fixtures shaped like a horn ( spiky ) which berumai gold or brass plated . The symbolic meaning of this equipment is predicted home ownership . That is , people who wear them are bundo Kanduang ( owner of a house sieve ) .

2 . Clothing Midsection

Baju kurung with black , red , blue , or violet are adorned with gold thread and the edges are given minsai symbolic meaning , especially minsai her , that a bundo Kanduang and his people must comply with customs boundaries and should not be violated . Meanwhile , balapak are slung from the right shoulder to the left rib symbolic meaning that a responsible Kanduang bundo continue the descent .

3 . Bottom Clothing

Sarong ( codec ) balapak gold embroidered symbolic meaning wisdom . That is , a bundo Kanduang should be able to put something in place , as compared to the proverbial " endless takes , ducked ( hiding ) the lost - lost " .

4 . jewelry

In addition there are also some jewelry clothing or accessories are used by bundo Kanduang . The jewelry consists of a set of Kaluang ( necklace ) which consists of nine different forms , a set of bracelets and rings are also made ​​up of various shapes . Jewels are generally made ​​of gold and natural stones . Watch as set Kaluang and girder and the ring has a special distinction when compared to women's jewelry in general , because it is the symbols containing the norms and values ​​that can be used as a reference in social life . Thus , it can be said that the jewelry worn by bundo Kanduang not only serves to beautify the appearance , but also has a specific meaning associated with Minangkabau traditions . Necklaces and bracelets are worn only during traditional ceremonies performed where bundo Kanduang present in all his glory as an indigenous leader . The following are some of the kinds of jewelry ( necklaces , bracelets and rings ) is commonly used by bundo Kanduang in carrying out traditional ceremonies .

Sublime value contained in Minangkabau Custom Apparel

The function of clothing for a person not just as a body shield from cold weather and hot sun , but also has other functions in the social structure of a society . Of clothing worn by a person known to the social status of the person concerned in the society . In Minangkabau society , for example , traditional clothing worn by the indigenous stakeholders ( progenitor and shrinkage ) is different from most people , so that people know exactly social status of the wearer . Similarly, clothing worn by bundo Kanduang different from most women . Clothing worn by bundo Kanduang also not just fashion , but there is the symbolic meaning behind it is loaded with values ​​that in turn can be used as a reference in life . These values ​​are : leadership , determination and kebertanggung - answer , discretion , frugality , hard work , ketauladan , devotion , guidance , and obedience .

Leadership is reflected in the value of the symbolic meaning of a head covering called a horn or tengkuluk tengkuluk ikek . The head covering is a symbol of a leader in the sieve .
Dependability and value - answer kebertanggung reflected in the symbolic meaning minsai and balapak . Minsai is a symbol that a bundo bladder and his people know exactly about the customs and should not be violated . Meanwhile , balapak is the successor symbol descent . That is , a biological bundo responsible for continuing descent .

Wisdom is reflected in the value of the symbolic meaning sarong ( codec ) balapak embroidered gold , which is a bundo Kanduang should be able to put something in place . Meanwhile , the value effectiveness is reflected in the symbolic meaning dukuah nasura , that person must be able to apply life -saving mental attitude .

The value of hard work reflected in Palam dukuah symbolic meaning , namely life should not give up ( surrender ) but must think , act and fight to get something for the welfare of human beings .
Nilai ketauladanan tercermin dalam makna simbolik dukuah uang dukat, yaitu bundo kandung merupakan cermin seorang perempuan Minangkabau yang dapat menjadi pengayom bagi kaumnya dalam menjalani kehidupan.

Devotion is reflected in the value of the symbolic meaning: dukuah Rago-Rago, dukuah pinyaram, kaban armpit, and Kaban Kaban manangah predicted, Pillars of Islam that must be implemented by each of the Minangkabau, who embraced Islam in particular.

Aegis value reflected in the symbolic meaning behind the girder ula tigo, namely self paga useful for protecting all children nephew (the) bundo Kanduang. That is, a bundo Kanduang nagarinya expected to protect from damage or mess.

Obedience is reflected in the value of the symbolic meaning girder predicted, as pamagar (fence). That is, all actions or tasks performed by bundo Kanduang must comply with customs rules and approved by the mamak or panghulu. (Gufron)

Traditional Clothing Bali and explanation

Traditional Clothing Bali and articulated explanation and Completeness - Traditional Balinese Clothes tend to be flexible, depending on who, where, and for what it's used clothing. Bali fashion shapes and motifs across regions with other areas not to be exactly the same, it is strongly influenced by the ability of humans to interpret and imagination poured into a form of art that certainly does not diminish the significance of every detail of the dress.

This custom clothing has different usage principle between men and women, which will be discussed in a later section of the article and explanation Balinese traditional clothes. Its use was also vary, depending on circumstances and opportunities. This time I tried to explain what the function of traditional costumes Bali and at the same time how to be wearing the traditional clothes.

Supplies Custom Apparel Bali: 

Completeness bali custom clothing consists of several items. Kamen, among other items for men, songket for men and women, for men and bun udeng complete with tiara for women. Besides Balinese man wearing a dagger, while women use the fan as a complement. Talking about the price, Balinese traditional clothes is very varied. Bali Songket can be obtained with a variant of the price that corresponds to the ability of the buyer, which starts from five hundred thousand to millions of dollars to have a certain type of thread that is smooth and golden. While the ordinary and common people of Bali are under the price and widely available in traditional markets.

  • Cain Kampuh 
  • Wastra cloth or Kemben 
  • belt 
  • kris 
  • Undeng or headband 
  • Umpal or shawl fastener 
  • and some jewelry ornaments 

Supplies Custom Clothing for Women in Bali Among these: 

  • Kapih cloth or sinjang 
  • scarves Songket 
  • Cain wastra 
  • Sesenteng or songket cloth tank top 
  • Bun or chignon 
  • prada belt 
  • and a variety of jewelry ornaments

Based on the function, Traditional Clothing Bali can be classified into two general categories: 

- Clothing Ceremony

Sebagai Upacara Adat
For example, for a ceremony Metatah (cutting teeth), marriage, and others.

Religious clothing.

Sebagai Busana Keagamaan
For example, to pray to the temple, Tirtayatra, and so on

Traditional Clothing Bali philosophy: 

Not just nice and unique, it also keeps the Balinese traditional clothes are very deep philosophy. Philosophy Balinese traditional clothes in some cases may be almost the same as most other areas of traditional clothes, but because Bali is also a sacred place and was worldwide, the philosophy of Balinese traditional clothes come to be important in existence.

Asmat Traditional Weapons Daggers Knives

Asmat Traditional Weapons Daggers Knives - Asmat is a tribe in Papua . Asmat tribe known as the wood carving unique results . Asmat population is divided into two , namely those living in coastal areas and those living in the hinterland . Both of these populations differ from each other in dialect , way of life , social structure and ritual . The next coastal population is divided into two parts namely Bisman tribes located between the river and the river Sinesty Nin and Shimei tribes .

One of the traditional weapons in Papua is Knife Dagger . This weapon is made of cassowary leg bone and feathers adorn the upstream Dagger . The main weapon other indigenous people are Bows and Arrows . The arc of bamboo or wood , while the bow rope made ​​of rattan . Arrows made ​​of bamboo , wood or bone kangaroo . Bows and arrows used for hunting or war

Dagger is a kind of sharp weapon that works for piercing or stabbing . Its use can be by means of hand held or thrown . The size may be smaller or larger than the blade . This weapon has a range of long history and there are many kinds. In Indonesia , a type of weapon is the famous dagger dagger and dagger

Traditional Weapons in Central Java

This time I will discuss about the traditional Indonesian indigenous weapons gan , which is a traditional custom weapon from Java . Approximately already in the know yet what is the name of the custom weapons from Central Java . Now let us discuss one by one what is contained and what cultural values ​​as well as what function and how the process of making this sacred weapon

Central Java Traditional Weapons - Keris is a dagger stabbing weapon class ( pointy and sharp on both sides ) with many cultural functions are known in the western and central archipelago . The shape is distinctive and easily distinguished from other sharp weapons because it is not symmetrical at the base of the dilated , often winding blade , and many of them have the prestige ( Damascene ) , namely the visible fibers of a bright metallic coating on the strands of blades . Type of stabbing weapon that has a resemblance to the dagger is the dagger . Another stabbing weapon is kerambit original archipelago .
In the past kris serves as a weapon in a duel / battle , as well as complementary offerings objects . In use today , is more of a dagger accessory items ( ageman ) in dressing , has a number of cultural symbols , or becoming a collector's item that is assessed in terms of aesthetics .

Use of kris spread on area dwellers who never affected by the Majapahit , such as Java , Madura , Nusa Tenggara , Sumatra , Borneo coast , parts of Sulawesi , the Malay Peninsula , southern Thailand and southern Philippines ( Mindanao ) . Keris Mindanao known as dull . Keris in each region has its own peculiarities in appearance , function , technique filmed , and terminology .

Since ancient times , the keris has always been a symbol of strength , for both men and women . Basically , the keris is not different from other traditional weapons . Sharp -edged and used for cutting , stabbing , or slicing .

Keris has been made ​​by the master keris maker since ancient times . The mix of materials with meteorite steel , wrought folding techniques , making physical beauty dagger formed .

In the world of the keris , the technical term daden prestige . Daden is the prestige or the prestige of " light " that form spontaneously , without engineering the master keris maker . According to the experiments conducted , kris usually has a high content of radioactivity . Therefore there needs to be a way to neutralize it .

One way to counteract the dangers of radiation with a keris sheathed in wood frame specified . The wood used is wood Timoho , Trembalu , Sandalwood , Awar - awar , Galina tamarind , Liwung , or ivory .

In addition , there is also a term fame or prestige artificial counterparts . Prestige of colleagues is if since the beginning of making a dagger , the kris master wants " light " of certain keris .
Solo hallmark dagger , usually have a lot of accessories are studded with diamonds and framed fragrant sandalwood . In addition , the agency was not rare dagger gold inlay diamond .

Keris parts

Some terms in this section is taken from Javanese tradition , merely because the referral is available . Most experts classify tosan aji dagger as stabbing weapon , so the main part of a keris is wilah ( blades ) or lay language is like a blade . But because the dagger has other requirements , namely sheath ( sarong ) and a dagger or carving the handle portion , the unity of the whole apparatus called a dagger .

Kris or keris upstream grip

The handle kris (Javanese : gaman ) is an assortment of motives , for the Balinese keris there that resembled an idol, statue pedande , Raksaka statues , sculptures of dancers , an ascetic , forest , and there are carved with gold and precious stones kinatah .
Dagger grip Sulawesi describe seabirds . It was a symbol of the most professional people of Sulawesi are a sailor , while the bird is the symbol for the safety of the world . As well as the bird 's head motif used in Riau Lingga keris , and to other areas as the development center tosan aji such as Aceh , Bangkinang ( Riau ) , Palembang , Sambas , Kutai , Bugis , Luwu , Java , Madura and Sulu , has carved dagger and a different symbol . In addition , the materials used were derived from a variety of materials such as ivory , bone , metal , and wood are the most .
For Java kris handle , the outline consists of sirah sidekick ( back of the head ) , Jiling , cigir , superficial , bathuk ( front head ) , Weteng and cauliflower .

Sheath or the sheath

Sheath , or the sheath ( Banjar language : tainted ) , is a component of the dagger that has a specific function , especially in the social life of the Java community , not least because this is the part that is visible directly . Early sheath made ​​of wood ( which is common teak , sandalwood , Timoho , and yellow ) . In line with the addition of the times wrangka function as a reflection of social status for its users . The uppers or ladrang - Gayaman often replaced with ivory .
Broadly speaking there are two forms of the sheath , the sheath ladrang type consisting of the parts : tweezers , lata , beard , gandek , Godong ( shaped like a leaf ) , axle , ri and cangkring . And the other type is the type of wrangka Gayaman ( Gandon ) which is almost the same parts with wrangka ladrang but no tweezers , Godong , and gandek .
Rules wrangka use this form been determined , although it is not absolute . Wrangka ladrang used for official ceremonies , say to the king , the other palace official events ( coronation , royal appointments , marriage , etc. ) with the intent of respect . The procedure for its use is to slip axle dagger in the folds of the belt ( stagen ) on the back of the waist ( including as consideration for the safety of the king ) . While wrangka Gayaman used for daily purposes , and a dagger placed on the front ( near the waist ) or behind ( rear waist ) .
In war , the use is kris wrangka Gayaman , consideration is practical and concise terms , because wrangka more Gayaman allows quick and easy move , because the shape is more simple .
Ladrang and Gayaman a pattern - form wrangka , and the main part according wrangka function is shaped bottom length ( along wilah dagger ) called axle or antupan , then the function is to wrap wilah axle ( blades ) and are usually made ​​of wood ( considered to not damage the metal wilah mix ) .
Because the axle to wrap function , so the function of beauty is not preferred , it is to beautify it will be coated cylinder - like shell called pendok . Pendok parts ( shell layer ) is what usually carved very beautiful , made ​​of brass metal , a friendly at ( a mixture of copper gold ) , silver , gold . For areas outside of Java ( the kings of Bugis , Goa , Palembang , Riau , Bali ) pendoknya made ​​of gold , along with additional embellishments such as embroidery laces of gold and studded with diamonds flowers .
For Javanese kris , according pendok shape there are three kinds , namely ( 1 ) pendok bunton shaped shells without hemisphere flat on its side , ( 2 ) pendok cantaloupe ( blengah ) split lengthwise up on one end so that the axle will be visible , and ( 3 ) pendok topengan are only located in the middle of the slit . When viewed from the decorations , there are two kinds pendok pendok pendok carved and plain ( without engraving ) .


Wilah or wilahan is a major part of a dagger , and also consists of certain parts that are not the same for every wilahan , which is usually called the kitchen , or the naming of the various forms of wilah - bar ( there are dozens of forms of the kitchen ) . For example , Virgin tall kitchen can be mentioned , jaka lola , pinarak , diadem murub , cauliflower , kebo Tedan , pudak sitegal , etc. .
At the base there wilahan pesi , which is the lower end of the stalk of a keris or kris . This is the part that goes into the handle dagger ( engraving ) . This Pesi length between 5 cm to 7 cm , with a cross section of about 5 mm to 10 mm , round shape long as a pencil . In the area of ​​East Java, called the pivot , in Riau called nipple , while for local Sarawak , Brunei and Malaysia called punting .
At the base ( base dagger ) or the bottom of a keris called cannabis ( for local call aring Malay peninsula ) . In the middle there is a hole pesi ( round ) just to enter pesi , so that the integral wilah and marijuana . Aji tosan cultural observer said that it symbolizes unity unity phallus and yoni , which represents the symbol of yoni marijuana while pesi symbolizes lingganya . The marijuana -shaped cursory lizard , lizard front called sirah , called gulu meled neck , abdomen and tail called wetengan called SEBIT ron . Various forms of cannabis is diverse , wilut , dungkul , leeches and SEBIT rontal flashing .
Luke , is part of the winding - wilah keris , and seen from the shape of the keris can be divided into two major categories, namely keris dagger blade straight and winding or luk . One simple way to calculate luk on the bar , starting from the base toward the tip of the keris dagger , calculated from the convex side and carried on each side of both sides ( right and left ) , then the last number is the number of luk at wilah - blades and the number is always odd ( odd ) and never even, and the smallest was luk three ( 3 ) and most are luk thirteen ( 13 ) . If there keris luk number of his more than thirteen , usually called kalawija kris , or dagger unusual .
Tough kris

In the field of keris known grouping called tough that can mean the period of manufacture or making style . This is similar to the example with Javanese dance style of Yogyakarta and Surakarta . An understanding of the tough will help identify the physical characteristics of a dagger .

Some respite is commonly known :

• powerful Majapahit
• resilient Padjadjaran
• resilient Mataram
• resilient Yogyakarta
• tough Surakarta .


North Sumatra Traditional Weapons

Senjata Adat Sumatera Utara

North Sumatra Traditional Weapons - Hi this time I will share information about custom weapons from North Sumatra " Piso Gaja densely packed " or sring senbagi weapon called the Batak Toba . Let's examine one by one the history of the philosophy of the structure and function of indigenous weapons Piso Gaja densely packed .

At a Glance

Piso , meaning knife . Pointy and sharp , and cut mengarit . There is also interpreted differently , piso can also mention to face a rather pointy , sharp eyes .
Is pointy objects with ease to perform puncture . In Batak language called Rantos . Rantos is sharp. In Rantos society is the sharpness of thought , to the genius of a person's intelligence is defined as a acuity to see something problems, opportunities and intelligence conclusions and actions taken .

Gaja densely packed is the name for the form which have a carved elephant . Pisao Gaja densely packed is a knife that has a carving on the stalk . The carving Gaja densely packed .

Until now , there has been no historical records that mention when exactly Piso Gaja densely packed into the royal heritage of Batak . However, various sources suggest that the densely packed piso king is closely related to the leadership of King Sisingamaraja I. It is based on the public trust in myths derived from oral tradition which is then recorded in the script revolves around a man named Onan Bona Ni , which is the youngest son of King Sinambela .

Philosophy Weapons :

As a respected heritage , Piso Gaja densely packed contains symbols meaningful philosophical . Tapered shape of this weapon , the Batak language called Rantos meaningful thought and intellectual acuity as a acuity to see problems and opportunities are also in drawing conclusions and act . The message is contained Batak leader must have the sharpness of thought and intelligence in seeing a problem and also to deliberate in making decisions and deciding a course of action as a form of intelligence and sharpness of thought and continues to see problems . Gaja densely packed itself is a term for forms which have a carved elephant . This engraving allegedly taken from myth gives piso cannabis densely packed and a white elephant on Manghuntal or Sisingamaraja I.

Weapon function

North Sumatra Batak leader is expected to have a reliable intelligence for
beneficial action for all people . In the structure ,
intelligence think individuals can be assembled with a final agreement .
Agreement that the decision was called tampakna . Marnatampak
means sitting together , deliberation . The result of a joint decision is
results sharpness of mind , intelligence and on intellectual Batak people . result
This decision relied able to penetrate when operational .
This is called tampakna do rantosna , rim ni shit do gogona . result
agreement is a reliable intellectual decision and the
together into its operational strength .

Traditional House of North Sumatra Structure and Function

Rumah Adat Batak Toba
Traditional House of North Sumatra Structure and Function - Melodys Blog's - This time I headed North Sumatra and will discuss the culture of the North Sumatra ( Medan ) . We will discuss custom homes in North Sumatra are often referred to as a custom home tradisioanal the Karo Batak society or people around . This time I will discuss about the custom house Hall of Toba Batak of North Sumatra . We will discuss thoroughly the philosophy , structures that house , functions and cultural values ​​embodied in the culture of the Batak Toba traditional house of North Sumatra .

North Sumatra , a province that is crowded by people not only because of its capital , Medan , is one of the five largest cities in Indonesia , but also because of the viscosity of the customs and culture of the original inhabitants . Provinces inhabited by various ethnic groups certainly attract the general public to know the customs , culture , history and panorama that unfolds there ,
History and philosophy of origin :

The villages in the region of Lake Toba , although this time the village has lost dibandingkandengan past form , but there is still a common feature even in small villages , which are surrounded by a bamboo thicket . Bamboo trees are very tall and often difficult to see beyond the houses of the village , except the hilly areas . Around Balige , the long axis of the building has a North-South direction was in the hill area of building long shaft often oriented transversely to the direction of right angles to the hillsides . In the area of ​​Samosir , building long axis directed to the East - West .

At first Huta , Lumban , or village is only inhabited by one clan or clan and the Huta was built by the clan itself. So since the beginning of Huta it is common property . As is characteristic of the Batak people who like mutual aid , so they build Huta . Therefore Huta inhabited by a group of people who semarga , the family ties are very strong in the Huta . They are mutual help build and repair homes , jointly fix the shower bathing , irrigation repair , working the fields and rice paddies , and together also reap the results .

Structure of Toba Batak House Building

Stuktur bagunan Rumah Batak Toba

Cultural center around Lake Toba Batak Toba Samosir and Holy Island which is located in it . Jabu is a language Toba customary word for house . The houses are made ​​up of three parts . A large wooden pillar substructure resting on a flat stone ( or concrete moment ) to protect the structure from rising damp . Some of the pillars supporting longitudinal beams known as the labe - labe , which runs the length of the house at head height to carry a large roof . Other pillars carrying two large beams with carved lion's head , with two lateral beams mortised into it , forming a large ring beam bearing a small space . Substructure is reinforced with beams mortised into piles that double as evening stalls for cattle . Wall came out light and slim and provide additional stability to the structure . Wall and wall plates hanging from the rafters supporting labe - labe with rattan cable , while the base of the wall to sit on the ring beam . Rafters of the spring plate off the wall and roof sloping curve produces . In lieu of bracing battens horizontal , diagonal relationship walk from the center of the label the label to the gable - ends provide reinforcement .

The steep pitched gable roof again dominate large structures . Traditional roof is thatched , and without internal roof that rolls they provide a large internal space . Projected sharp triangular roof and gables overlap the entire substructure . Front gable extends much further than the rear gable and finely carved and painted with motifs of the sun , start , chicken , and geometric motifs in red , white , and black . Rear gable is plain .

Studies Framework

Custom builder ( traditional architect ) Batak tribe called Pande . As with other traditional house , traditional house of Batak is a symbol of the micro cosmos macro cosmos is divided into 3 sections or banua trinity , namely banua Tongga ( under the earth ) for the home leg , banua tonga ( the world ) to the body , banua Ginjang ( lion in the sky ) to roof of the house .

Toba Batak architecture consists of Ruma and sopo ( barns ) facing each other . Ruma and sopo separated by a vast courtyard that serves as a common room Huta residents . There are several designations for the Batak , in accordance with the conditions of her house . Custom home with lots of frills ( gorga ) , called Ruma Gorga Sarimunggu or Jabu Guru . While traditional house that is not carved , called Jabu Jabu Batara sloping or afternoon . Large house , called Ruma Bolon . and a small house , called a Jabu Parbale - balean . In addition, there Parsantian Ruma , which is custom home that is rightfully youngest child .

Establishing a process house .

Before setting up the house , first Batak collecting building materials required , the collection process is commonly referred to in Toba Batak " mangarade " . Desired materials include pole , tustus ( pegs ) , pandingdingan , parhongkom , urur , ninggor , ture - ture , sijongjongi , sitindangi , Songsong boltok and fibers as a roofing material . Also material to the lions , and so on the pit paung necessary .

In mangarade process is always carried out with mutual assistance in the Batak Toba language known as " marsirumpa " a form of cooperation between residents selfless compatriot .

After the building materials have the complete technical process is left to the " Pande " to design and realize the intended construction of custom and the wishes of the owner of the house is a form of " Ruma " or " Sopo " .

Stages usually implemented by Pande is for the selection of building materials used criteria based on the tinny sound of wood diketok by Pande with certain tools . Hi it's called " mamingning " .

Loudest voice wood used as poles " Jabu bona " . And a second timber with a loud voice to the pole " jabu soding " is so straight poles used for " jabu Suhat " and " slap the plate " .

The next stage is carried Pande " marsitiktik " . The first dituhil ( carved ) is a bona jabu pole corresponding philosophy that says " Tais pe king banjo Ganjang mandapot in Huta . Bolon pe ho gorga mandapot in jabu bona " .

One important thing to note in building a custom home is the foundation of this vagabond . There is a philosophical meaning Batak contained and implied in the construction of the foundation of their home , without layout bahwasannya strong foundation so the house would not have a sturdy stand . implicit philosophy " hot in ojahanna " Batak society the principle that where there walk on the ground in the sky dijungjung .

The foundation is made in terms of the formation of the four pillars of assisted several others . For the purpose of forming part of the wall consists of a " pandingdingan " heavy weight so that there is a philosophy that says " ndang tartea sahalak sada pandingdingan " as a gesture of a need to encourage cooperation and togetherness / compact to carry heavy loads .

Pandingdingan united with " parhongkom " using " HanSing - HanSing " as a unifying tool . In this case there is a saying that says " Hot in Batuna nets ransang in ransang - ransangna " and " HanSing in HanSing - hansingna " , which is the basis and foundation berpengertian that have been made and other components would also be standing strong . This is interpreted to indicate the existence of the house , and in everyday life . Also understood that every householder should always embraced embrace and have harmonious relationships with neighbors .

To support the upper frame called " bungkulan " supported by " pole ninggor " . In order ninggor can continue to stand tall , supported by " sitindangi " , and the support that is located in front of pole ninggor named " sijongjongi " . For the Batak , pole ninggor always positioned as a symbol of honesty , because the pole position rise perpendicularly upwards . And in upholding honesty included in upholding truth and justice have always supported and assisted by sitindangi and sijongjongi .

Under the roof of the front section there called " Arop - Arop " . It is a symbol of hope that the future existence can enjoy a decent living , and hope to always blessed by the Almighty God . In the beliefs of the Batak before know the religion called Mula So Na Bolon as the Creator and the Creator of the heavens and the earth in the Batak language is called " The Tompa hasiangan Sigomgom Parluhutan nets " .

On the front of the top of which is a component for knitting and hold the roof in order to remain sturdy no " Songsong boltok " . Meaning, if there are actions and services that are less loyal to include in a dish of food to be buried in the liver . As the saying goes Malay saying "If there is a broken needle should not be stored in a crate if there is one word that should not be stored in the liver .

" Ombis - ombis " disebalah located right and left that runs from back to front . The possibility of a modern house now called the plank list . Serves as a unifying force for " urur " that hold the roof is made of fibers that remain intact . In terms of the Batak ombis - ombis could symbolize that human life is not perfect and there is no escape from the limitations of capability , it is necessary to get advice and suggestions from fellow human beings . Figure individual character as it is called " Pangombisi do Ibana in figure ulaon dongan ni " is a person who always care about what happens to others both in times of sorrow and in joy .

Toba Batak extended joint family residing in their village .

The living room , which is supported by the lateral and transverse beams , small and dark . Light enters through a small window in each of the four sides . Residents spend most of their time outside the house and the house is mostly used for sleeping . An attic space is provided by a flat wooden ceiling over the front third of the living room . Family heirlooms and sometimes kept in the temple here . Traditionally , the Toba Batak will cook the fireplace in the front living room makes a smoky room . With recent changes in hygiene practices , often in the kitchen is now an extension at the back of the house .

Toba Batak houses are usually large communal house , but now has been scarce , with most homes now are built in the style of ethnic Malay with a modern and traditional materials . While more extensive , well ventilated , bright , and less expensive to build , jabu considered more prestigious . Where jabu still alive , they are generally smaller single family dwellings . Whereas previous versions of jabu accessed through a trap door to hide the steps on the floor , time is now less dangerous and more comfortable wooden staircase at the front of the house providing access .

Toba Batak rice barns ( sopo ) is built in a similar style but smaller than the jabu . Rice is stored in the roof and is supported by six large wooden pillars , which carry a large wooden disc to prevent the entry of rodents . Open platform beneath the roof structure is used as a work and storage space and the public as a bed for guests and men who are not married . Barns are now rarely used for grain storage , and many have been converted into a living room with open walling off sections between the sub - structure and roof , and adding doors .

Batak Toba traditional house functions :

Sub ethnic Batak Toba Samosir Batak also referred to dwell around Lake Toba and Samosir Island . Ancestral house with gable -shaped stage that curved ridge . The arch form is obtained from the flexibility of wood strung with roof construction horses are press - pull . Stability is achieved by the shape of the pressurized structure is supported by a frame structure framing the walls of the house .
Under the stage normally used as cattle sheds . House floor height varies based on the desire raising livestock . Small animals such as goats caused a floor height of the house is lower than other homes that maintain large animals such as buffalo . Because used as cattle sheds , then under the main structure in addition strengthened with pillars house , equipped with masts and other additional beams .

Toba Batak houses the main structure of the wood , made ​​by first collecting the ingredients . After all gathered wood , sage called handyman ( Pande ) to sort the material . wood and struck the loudest voice is used as the main structural poles . In making sculptures also have rules to sculpt the main mast before making sculptures in other parts of the house construction .

Batak Toba traditional house called ' Rumah Bolon ' . Inhabited by several families who occupy space in the shared openly . Position are clustered based on customary rules of most importance to other families in their respective functions . Right rear corner of the house is considered as a sacred location that can only be occupied by the leader of the house . At the back of the house there is an additional building that serves as the kitchen , where every family can have their own kitchen . Barns are located in a separate building called the ' sopo ' .

To enter the Toba Batak home made ​​ladder to the position of the hole under the stage floor . Traditionally it has been determined that the staircase should be an odd number . The stairs that quickly wears an honor for pemillik house that many people and guests who had entered his home . This ladder is called ' ladder - Rege Rege '

Ornamentation and decoration of the house contains the value of traditional Batak Toba philosophy for occupant safety . Location of elements of the house are decorated in gevel , the entrance , the corners of the house , even up to be in a whole wall . This ornament can be carved , can be colored , or just a picture alone . Three important elements of color is red , white and black . Red symbolizes knowledge / intelligence , symbolizes honesty white / black symbolizes purity and authority / leadership .

Cultural values ​​:

The cultural value and should be preserved so it can be placed as a basic philosophy as a way of life for future generations . Others have suggested that a great nation is a nation that can appreciate the culture , because it Bangso Batak need to maintain their identity and image for its existence remains a place in the association harmonious relationship .
The authors also acknowledge that this paper is still far from perfect then any form of advice and constructive feedback will be received with pleasure , God bless us all

Traditional House West Sumatra Structure and Function

Traditional House West Sumatra Structure and Function - Melodys Blog's - I returned to West Sumatra and will discuss the customary home . Not only that, other than I share the name of the traditional houses in West Sumatra ( Padang or Minang tribe ) I also discuss the value contained in it is the origin of the custom house , the philosophy and structure of the house and discuss the functions and benefits of the home . So stay tuned okay .

Tower House or Houses Godang is the name for traditional Minangkabau house which is the traditional home and many encountered in the province of West Sumatra , Indonesia . This house is also known by other names by the local people with the name Bagonjong house or there is also a mention by name Baanjung house .

Homes with this model is also often found in Negeri Sembilan , Malaysia . However, not all regions of the Minangkabau ( Darek ) are allowed to set up this custom home , only in areas that already have the status of a village 's House Tower should be established . So also in the area called the shoreline , this custom home is also no established previously by the nomads Minangkabau .
Rumah Gadang

The origins of the Tower

Gadang roof forms such as buffalo horn are often associated with stories of Natural Tambo Minangkabau . The story of the victory of the Minang people in the event of buffalo race against the Javanese .
The forms resemble buffalo horns are very commonly used Minangkabau people , either as a symbol or in jewelry . One of them in traditional dress , which is tingkuluak tanduak ( tengkuluk horn ) for Bundo Kanduang .

The origins of the predicted shape is also often associated with the journey of the ancestors of the Minangkabau . The legend says that the body shape that resembles a sieve Minangkabau body mimic the shape of the vessel is a boat Minangkabau ancestors in ancient times . Boat ancestor is known as presumptuous .

According to the story , it impudent ancestors originally sailed upstream Trunk Kampar . After arriving in an area , the passengers and crew went ashore . This sassy also pulled ashore so as not weathered by the river water .

Sassy then supported with timber to stand firmly . Then , it impudent roofed with screen hanging on a rope that is attached to the pole presumptuous . Furthermore , because the screen is hanging very heavy , the strings form a curve that resembles gonjong . This sassy become temporary shelter created . Furthermore , the passengers of the boat to make homes that resemble those sassy . Once the ancestors of the

Minangkabau is spread , the sassy shape bergonjong continue serve as the hallmark of their home form . Given this characteristic , their fellows even offspring becomes easier to recognize each other . They will easily find out that the house that had belonged to their relatives gonjong is derived from the same sassy landed on the side of Trunk Kampar .

Structure Gadang House

The system structure and architecture gadang , not only beautiful , but is a synthesis . All were obtained from nature . In nature , for example , there is no straight line , it adopted gadang gadang built departs from traditional Minangkabau who studied philosophy in nature .
First , the system predicted using pegs , not nailed dead . This makes the structure will also follow the elastic swaying motion , when an earthquake occurs , but not apart . "
At the bottom , the pole gadang not directly connected to the ground . " Under no stone pillar password , which will dampen vibrations from the ground during an earthquake , " said Mak Dahrizal nicknamed this katik .

At the top , he said , the roof of the house sieve made ​​of lightweight fibers . " Thus , reducing the heavy burden on the building . Now many are replacing with zinc , which is also relatively light . , But , no tile-roofed house predicted that heavy , " said Mak katik .
Similarly, researchers construction gadang Darmansyah said gadang safe from earthquakes due to material systems and construction systems are scalable .
In terms of material , the sieve is made from selected timber suitable . Pole is made of wood is hard, strong and durable . Likewise for the walls , roof and the horses chosen from good material and available in Minangkabau

Gadang House Function

Tower House serves as a residence and place custom event . The size of the space depends on the number of occupants in the house . However , space is usually an odd number , such as five- room , seven , nine or more . As a residence , the house has a large sieve rear cubicles inhabited by women who already bekeluarga , mothers , grandmothers and children .

Gadang function is also important as a custom accompaniment , such as set custom or customary places carry ceremonial event such as death , birth , marriage , oversized custom events , where consensus and others. Comparison of bed space with public space is one-third to two- thirds of the bed and in the public interest . This gift gives the sense that the public interest takes precedence over personal interests .

Cultural Values

Minangkabau society is the civilized society , no one in the daily kegiatanpun Minangkabau society apart from the customs that they hold dear for this .

Matrilineal kinship system that consumed during the They also have an impact as well as a huge influence in the Minangkabau society 's social life . Gadang , which is one of the Minangkabau culture artifact is also heavily influenced by the matrilineal system .

Gadang is one form of cultural output Minangkabau society truly born of the consequences matrilineal system adopted by the Minangkabau people . One of them we can clearly see the space in the home setting predicted , such as the use of the system and the lack of room to place their sons on the gadang .
The increasing activity and the increasingly diverse needs of Minangkabau society , not close to the transformation in the sieve . As a dynamic community and embrace the philosophy of life ' nature takambang so teacher ' has hinted that Minangkabau society is a society that is always open to change and will be developed in accordance with the demands of life and an increase in community activity .
Gadang , as one of the artifacts of Minangkabau culture is a culture of high-value products as well as an identity and the identity of the Minangkabau society and customs .

Traditional clothing of Sulawesi: West Sulawesi, North Sulawesi

Traditional clothing of Sulawesi: West Sulawesi, North Sulawesi, Central Sulawesi. Asslammualaikum, this time the melody will discuss about clothing or traditional dresses from Sulawesi region, ranging from Selawesi West, North Sulawesi and Central Sulawesi. While 3 was yes ... as for the area that will be discussed is about the origins and history of the origin of clothing custom custom clothing or Sulawesi. Fixtures and fittings what is needed. And in order to show how indigenous culture is mandatory in traditional dress wear. Is there currently pernikhan or other events that must be imposed. Here's philosophy regarding custom clothing Sulawesi, West, North and Central:


West Sulawesi province has a diversity of governance foam or traditional dress . This can be seen from the traditional dance of West Sulawesi that has diversity in busananya. The Manurutng Bamba dance that is commonly Traditional tribal dance performed during Produktion Indigenous party in the presence of the prince of indigenous and community leaders Produktion . Clothing worn on the dance outfit called Badu . As for equipment or accessories that decorate this dress is on - Beru Beru flower or jasmine flowers and fans

There is another dance Fur Londong which is a traditional dance performed as a thanksgiving event Rambutuka . This dance uses traditional dresses Mamasa . Mamasa traditional dresses made ​​of feathers . As for the accessories that complement the traditional dresses are a human head , sengo , natural bamboo trumpet , spear or sword

Other dance that dance is Ma'bundu which is a traditional war dance new creations combined with some traditional dances and the District Kalumpang districts Bonehau Produktion District of West Sulawesi . Clothing used in this dance are oversized clothes IDX . IDX oversized shirt decorated with carvings made ​​of tiny shells . IDX oversized clothes decorated with horned hats and berpalo - palo . Accessories in the form of Potto ballusu hand ( hand bracelets ) . The dancers use spears , drums .

In addition to the traditional clothes worn in the show dance , West Sulawesi is famous for its traditional ikat tenu sekomandi from Kalumpangan . Traditional ikat is a cultural product that has aged hundreds of years and continues to be maintained by those customary . Traditional weaving Sekomandi Kalumpang , made ​​of bark with natural dyes . The dye is taken from one of the chili . To give color , bark initially crushed and then processed for spinning . To make natural dyes from chilli , chilli raciK and then mix with other shades of color desired . Usually this weaving in and dominated with black , brown , red , and creams . The basic color is black .

The uniqueness of this fabric are woven in patterns , color , and fabric structure . Everything is done by hand and woven with traditional tools . Dbutuhkan take weeks to a matter of months to obtain the best quality fabrics that cost up to ten million dollars .
Sekomandi traditional weaving has been known in Bali mancanegara.karena marketed through cloth makers of Kalumpang . Many tourists also directly purchase the center of manufacture . Weaving can be used to for clothing , scarves , tablecloths , and much more .
The district government has actively Produktion conservation efforts . Preservation in the form of maintenance , documentation , and publish cultural heritage , traditional order of tourism assets is maintained.


Speaking customs and culture of North Sulawesi , we may not be able to discuss the tribe as a representative of the four tribes of indigenous people of North Sulawesi . These four tribes are natives ; Minahasa tribe , Gorontalo , Sangir Talaud , and Mongondow . Into four tribes have their own traditions , although in some cases there are similarities . So even when we talk about custom clothing . This paper will try to explain the traditional clothes of the four tribes .

Systematics this paper , we categorize the good custom clothing and jewelry according to the function and usefulness , namely ; everyday wear , ceremonial dress , and wedding ceremony attire . So that it is easy to see the difference that became typical variety in each region and find kesamaann among these particularities . Because if we discuss each one of these four tribes stretcher , this article might not be able to accommodate a wealth of meaning contained in the traditional dress of North Sulawesi society as a whole . Moreover, the population count ( BPS , 2010) population of 2,265,937 inhabitants, with a density of 147.5 / km ² , and the percentage of native tribes Minahasa ( 30 % ) , Sangir ( 19.8 % ) , Mongondow ( 11.3 % ) , Gorontalo ( 7.4 % ) , and Chinese descent ( 3 % ) , we would really need hundreds of pages and obserfasi field .

Well just let's talk about the daily wear of the four tribes of indigenous people of North Sulawesi . In Gorontalo people , their everyday clothes made ​​of cotton or raw -called molinggolo spun into yarn , and woven aka mohewo . Polapakaian women shaped and patterned kebaya and men short sleeve shirt . While the sarong worn by both and patterned .

People's daily clothing Bolaang Mongondow in earlier times were made of wood and leather and water -soaked pineapple few days then pounded and opened fiber . The fibers are then woven diebut lanut and become a sheet of cloth . But today fabric made from fiber lanut had not found anymore , because people Bolaang Mongondow have used cotton clothes ( cotton ) as their everyday clothes .

Just as society Bolaang Mongondow , Minahasa tribes in antiquity have mastered the knowledge and skills to make the fabric by utilizing bark and from the rest that can be called manilahenep . But now it is no longer found on the clothing of the handicrafts . There are only a kind of men's underwear called bajang in some places . But the custom of daily life that have to use your fabric production plant which can be purchased at fabric stores .

Semenetara everyday wear traditional communities Sangihe and Talaud , ie, clothing made from fabric Kofo and can be said now is not there anymore .

Gorontalo public ceremonial dress serves to check the status of someone in traditional ceremonies . The indigenous stakeholders bate - bate or wearing clothing with patterns and motifs are colored ; shaped brackets shirt , calf-length shorts leg ( batik ) commonly called talola calculi . While white robes or sandaria worn by religious leaders . And a black coat , black pants outfit is the security officials . If the heads of the village wearing a batik shirt dress shape brackets , white pants and wear gloves payungu aka fish head , indicating that they are ready to run the command ( Mahiya on waumatihimanga motubuhe tahilio lo ito Eya )

In a traditional ceremony , Mongondow Bolaang tribes wear traditional clothes made ​​of cotton cloth and raw materials tetoron . For men's apparel, usually called baniang . While for women called salu , to be made ​​kebaya , gloves , and scarves . In a traditional ceremony , men wearing headbands or Lenso sort of cloth or tied in the head . Also pomerus or adhesive cloth tied at the waist . While women wear salu with complementary fabric adhesive senket . On the chest decorated with gold called hamunse .

In Minahasa , ceremonial dress for men is a suit ( a pair ) , and or simply by wearing a shirt with a tie complement . For women in their underwear is not another form of sarong kebaya or Yapon .

For the people of Sangihe Talaud , a set of ceremonial clothing worn consisted of a long dress , belt and headband , with dominant colors of red , black and blue . The underwear model shape almost indistinguishable between for men and pempuan . Juhan alian resembles a shirt called " Tepu behavior " , distinguishing between the use of men and women only in length , for men only samapai mid- calf .

Let us return to the people of Gorontalo . In the marriage ceremony , Gorontalo tribes have traditional clothes called marriage uapacara urasipungu comprising ; bride kebaya made ​​of sateen and ornate silver plated . While the groom wore a sort of parenthesis shirt of the same material with the bride called kimunu . The bride also wore sarongs made ​​of satin . In addition the following complementary dalah Paluala which serves as the bride's headdress made ​​of satin fabric with a decorative biliu edit or silver . Other ornaments are kecubu , velvet cloth with silver decoration hanging on the neck of the bride.

In the marriage ceremony Mongondow Bolaang tribe , the bride wore edit ; sort of bun decoration material consists of gold . On the forehead of bridal wear called logical decoration made ​​of black yarn .

We live it on Sangihe Talaud custom clothing in general , their marriage ceremony attire similar to the upacar - traditional ceremonies such as festivals " Mohobing Datu " , penasbihan tuknag iron , special days , and the dancers .

Initially , North Sulawesi are four administrative regions which are divided by four area tribes wherewith we explained above . Namunkekinian , along with nuances of reform and decentralization , Gorontalo province was formed as a division of the North Sulawesi province through Act No. 38 of 2000 . Then the North Sulawesi province encompass ; City of Manado , Bitung , Kab . Minahasa regency . Sangihe and Talaud and Kab . Bolaang Mongondow .

At the 2003 North Sulawesi has the addition of 3 districts and 1 town again with the Minahasa Regency Regency ie holding South Minahasa District , North Minahasa regency and Tomohon and Talaud Islands . Then in 2007 another 4 again ketambahan County / City of the District . Southeast Minahasa , Kab . North Bolmong , Kab . Sitaro and Kotamobagu City . But actually , the original tribal people of South Sulawesi are four races over the culture and customs preserved deserves our attention before actually dimusiumkan .


Traditional clothing is a form of physical or cultural artifacts owned by a region . Clothes can show the cultural diversity and richness of this country . Clothes can also strengthen the regional identity of Indonesia as a nation that holds fast to the motto " Unity in Diversity Tungga " .

If Java is famous in her blouse , then in Nias is famous for oholu new clothes for men's underwear and clothing Õröba Si'öli for women . So in Central Sulawesi we will find many various custom clothing .
In Central Sulawesi , every ethnicity has its own customary attire . For example, the traditional clothes of ethnic Kaili city of Palu . Custom clothing for women is known as nggembe clothes . Nggembe shirt is the clothing worn by young women . This dress usually worn during the ceremony customary .

Clothes Nggembe rectangular , round collared sleeveless fabric width , length blouse to the waist and loose shaped . Nggembe shirt is equipped with a breastplate or shampoo chest and wearing a sequin dress as a sweetener . Donggala woven sarongs into the bottom of this clothing accessories . Donggala who have a certain type of thread of gold in Kaili language called Buya Sabe Kumbaja .
How to use custom -made is experiencing growth , the development of Donggala use gloves altered by binding gloves and then folded next to the left or right to beautify and provide freedom of movement for the wearer .

Gear used for this garment is long earrings or Dali Taroe , or Gemo -stranded necklace , bracelet length or Ponto Ndate , Pending or Pende .
Pende or pending a belt that is used when a person ( woman ) plays a typical dance of Central Sulawesi . Materials gold and silver into the material to make this belt with printed way . On the inside of listeners made ​​a point to include a strap yellow cloth and decorated . But in its development , the belt is no longer used as such. Belts more commonly used these days to wear with this outfit .

Semetara it , custom clothing for men named Clothes Koje / Puruka Pajana . This outfit consists of two parts , namely Koje and Puruka Pajama Clothes . Ceki Koje shirt or dress shirt that is part keragnya upright and fitting the neck , long sleeves , long shirt down to the hips and worn over pants . Puruka Pajana or knee-length pants , tight model , but killnya width should be easy to sit and walk . Waist holster , a dagger , and the portion of the head using a headband or siga into this garment accessories .

The next custom clothing custom clothing is ethnic Mori in the district . Morowali . Mori ethnic traditional clothing consists of custom clothing for women and men .

Womenfolk used to wear a long sleeve blouse or a language called Lambu Mori , with a decorative red and yellow colored chain motif . For subordinates they see themselves wearing a red colored long skirt or hawu also patterned yellow colored chain . Crown or pasapu used for the head .

The accessories used in these clothes is Bun or Pewutu Busoki , or Lansonggilo hairpin , earrings or Tole - tole , or Enu - enu Necklace , Bracelet Hand or Mala , Ban Waist or Pebo'o , Ring or Sinsi .

Meanwhile , the traditional clothes worn for men is a long sleeve shirt or as Lambu Mori language . This shirt is red with a decorative motif as yellow colored chain of women's clothing . For subordinate males using red colored trousers or Saluara . Bate or headband used on his head . Belt into gear to custom men's clothing .

The next ethnic traditional clothing is clothing of the indigenous ethnic Toli - Toli Toli - Toli on . Like the other indigenous , ethnic traditional clothing consists of Toli- Toli traditional clothes of women and men .

Women usually wear a short-sleeve blouse or Badu is on the arms are small folds , decorated beads and gold ribbon . Dikenakana subordinates , ie long pants or long Puyuka decorated golden ribbon and beads . Gloves are also used but the knee or LIPA . Then charged anyway shawl or Silempang and yellow waistcoat .

Accessories used in this pakaan is long earrings , bracelets long , long necklace yellow color , and flower rocking .

Meanwhile , for the male wearing a long-sleeved blouse with neck erect adorned with gold ribbons and beads in yellow . Weeks to subordinate or Puyuka long trousers . Also used gloves and headgear knee or Songgo .

Next is the Indigenous Ethnic clothing Saluan in the district . Luwuk . In this ethnic traditional clothing , women's clothing women wore blouses or called dalarn Saluan is Pakean Nu'boune language . Long skirt is called in Skirts Mahantan Saluan is subordinate adorn this outfit . Also used a star-shaped jewelry .
The accessories used are Potto bracelet or necklace or bats , edit , earrings or edit , jaling , sling or salandoeng .

The saluan atnis men wearing men's shirts in a language called Saluan is Pakean Nu'moane , trousers called in the language Saluan is Koja , head cover / cap ( lid Nu'ubak ) , sarong pants complement ( LIPA ) .

There is also the material used everyday clothing material is comprised of bark Nuru ( banyan tree ) . Making this fabric include :

  • kinning Nunu wood as a source material .
  • The bark boil until cooked and in a pack for three days .
  • Washed with water to clean sap and ash kitchen usually use anyway .
  • The bark on at with a tool called a pattern ( the material of the palm trunk ) to expand and widen . Then hit with a tool called tinahi which made ​​of stone rather rough . Here the material can be connected one with the other ingredients to be the width and length , in one after another with a smooth ike tool until the material has become a piece of cloth that is three to five meters in length .
  • Once into cloth and then hanged for aerating ( nillave )
  • After a dry folded to trim the scalloped pattern ( niparondo ) is a kind of board .

Ceremonial garments using Ivo bark as an ingredient . Bark bark Ivo is more refined and quality , and better than those made from the bark of Nunu .