ANALYSIS OF UNPRI USE OF USE OF BATAK LANGUAGE

AS PROSA MATERIALS TEACHING FKIP STUDENTS 'STUDENTS

Abstract
This study aims to analyze the meaning of the Batak language found in the mouths of the
traditional Batak program. The data in this study are descriptive qualitative research methods.
The instruments in this study are the researchers themselves. The urgency of this research is to
find out the value or meaning contained in the variety of oral literature (umpasa) in Batak
customs. This oral literature in the form of umpasa in traditional Batk has meaning that is full of
values for life, including religious, cultural and social values.

Keywords: pemaknaan umpasa, adat suku batak.

1. Introduction

A. Background
Umpasa is a variety of oral literature that belongs to the Toba Batak community. As a variety of
oral literature, the initial character developed in traditional societies. Umpasa is usually spoken in the
traditional events of the Toba Batak community. Usually the words are spoken by traditional elders or
elder people (considered to have knowledge about the term) during traditional ceremonies. This happened
because the Toba Batak community believed that the word that was spoken contained goodness, such as
blessings, advice, and requests submitted to God. The expected speech is expected to be a blessing for
those who receive it. He said that maybe there are many people who have never heard of it, especially
people who are not Batak tribes. Umpasa is almost the same as pantun, the Malay pantun. In terms of
form, there are terms that have the same pattern of taxation as Malay poetry, namely the pattern of
taxation a-b-a-b. But not all people use the taxation pattern, there are people who have the same pattern of
taxation as poetry, that is, patterned taxation a-a-a-a. In addition, the symbols used in alumph text are
symbols that exist in the community of the owner of the umpasa, such as plant symbols and animal
symbols. Umpasa and Malay pantun both have sampiran and contents. If in the Malay pantun the first and
second lines are sampiran and the third and fourth lines are contents, umpasa also has sampiran (first and
second lines) and contents (third and fourth lines). As oral literature, umpasa is classified into the form of
old poetry because the characters are related, rhyme, rhythmic, and consist of two rows as linked and four
rows as they are. If two lines are linked, the first line is sampiran and the second row is the contents. If
four lines are linked, the first and second lines are sampiran and the third and fourth lines are contents..

2. RESEARCH METHODS

This study is a literary value study that is generally classified as qualitative research. The
method that is qualitative research is descriptive. As an effort to achieve the research
objectives, researchers used a qualitative approach by applying descriptive methods. In his
study, descriptive methods are research methods that describe and describe problems in
accordance with reality. The results of the study are in the form of data in the form of words
that can be studied empirically. The author tries to obtain data as accurately as possible and
compiles it in the form of a report.
 The data sources used by the authors in this study were oral texts used in the traditional
ceremonies of the death of the Toba Batak Saur community in Nagasaribu, Lintongnihuta
District, Humbang Hasundutan District, which originated from sources and had been used as
text by the author. The author uses data from the resource person because the resource person
has an important role in the ceremony carried out by the Toba Batak community in Nagasaribu
Village, Lintongnihuta District, Humbang Hasundutan Regency. The data from oral interviews
are then transcribed in written form. The author also used the video of the traditional
ceremony of the death saur matua Ibu Basaria br Silaban (Op. Ester Boru), died on March 6,
2014 and the traditional cerur saur matua on March 9, 2014

Analysis of the data in this study is used to analyze collected data so that it is easy to process.
The efforts that the author did in this analysis are as follows:

 1. Collect data analyzed through observation, interview, library techniques.

 2. Identify and classify data in accordance with the basic forms, roles and views of the
community on the use of umpasa in the traditional ceremony of death saur matua.

3. Translating words from the Toba Batak language into Indonesian.

 4. Taking conclusions on the data obtained in accordance with the aspects of the analysis of
the problem under study.

3. RESULTS AND DISCUSSION

A. The Umpasa Mandate Used in the Death Ceremony of the Saur Matua Toba
Batak Community in Nagasaribu, Lintongnihuta District

1). King

Didia do donganni pangunggasan Where is his friend luck

Dia do parsaulian donganni parhorasan   Where is the kindness of his friend, the
Marakkup do na uli mardongan na denggan success of the beautiful and the good
Tangkas do ipaboa amanta suhutan As explained by this Suhut

The above pantun shows the connection between good and luck. Beautiful, which is
meant in this expression, is not focused on beauty / face, but also includes beautiful heart,
mind, and behavior. The message is on the sampiran umpasa. The message is that when we do
good things, luck and success will follow. In this phrase also reminds us that what we sow we
will reap, sow good, reap good, sow evil will reap evil.

2). mompo
Balok ma balok ni hauma Block rice fields More blocks of our village
Balokan ni balok ni huta blocks
Batapasahatma natua-tuan on tu ruma Na enter this old man into his house. Only he is
Baholan imana Na punasa the owner

Sampiran pada umpasa di atas membandingkan balok yang ada disawah dengan balok
yang ada di dalam kampung, yang mana yang paling kuat dan yang mana yang paling lama dan
yang akan dipilih untuk menjadi batang/peti untuk almarhum/almarhumah. Dan isinya tentang
penyerahaan almarhum/almarhumah kepada tangan penciptanya.

Dari uraian di atas dapat disimpulkan bahwa amanat dari umpasa di atas ialah untuk
segala sesuatu indah pada waktunya dan segala sesuatu kadang harus dikembalikan kepada
penciptanya

Asa tubu ma ninna lata In order to grow the word seed Above it the
di dolok ni tapian spring Bless the Lord to the first and the first
manumpak ma Debata
tu na parjolo ma parjolo hian

The attachment in this example illustrates things that are not possible or that are
impossible because there will not be a seedling that grows if planted on water. The message
conveyed in this phrase is something that is impossible even if it is the will of God. And it will
make a better result if God's hand has come down to bless.

B. Rima Umpasa Used in the Death Ceremony of the Saur Matua Toba Batak
Community in Nagasaribu, Lintongnihuta District

1. Early Rima

Sahat-sahat ni solu

Sahat-sahat tu bontean

Sahat amanta on tu ruma-rumana

Sahat ma hita on tu parhorasan dohot panggabean

In the verses above, there is an initial rhyme with repetition of sound [sahat]
found in each row located at the beginning of the line. This term uses syllables as
 2. Middle Rima

Didia do donganni pangunggasan

Dia do parsaulian dongan par horasan

Marakkup do na uli mardongan na denggan

Tangkas do dipaboa amanta suhutan

In the asa verse above there is a middle rhyme with repetition that is [do] on
each row, while lines one, two and four have the word [dongan]. The sound of [do] in this
expression is an affirmative word in Batak Language.

3. Final Rima

Siangkup ni uli jala dongan na dengganna

Nah hualu-aluhon hami tu hamuna

Ai hamu do pangalap hata

Dohot pangalapan roha si ulaonta

Pada bait umpasa di atas terdapat rima akhir dengan pengulangan bunyi [na] di
baris satu dan dua, sedangkan baris tiga dan empat pengulangan bunyi [ta].

4. Rima is not perfect

Tubu hau parira

Di ladang ni simangonding

Tung naung matua pe natorasniba

Sai lungun do roha molo monding

In the verse above, there is an imperfect rhyme with just the sound equation found on
each line. Like [au] repetition in the hau syllable and shade, repetition of [u] in tubu, hau, tung,
lungun, is forming an imperfect rhyme.

5. Rima Berangkai
 Tuat ma sian dolok martukkot siala gundi

Adat pinungka ni ompunta na jumali

Asa anggiat manghorasi akka tondi

Namartua Debata di sude pomparan ni

In the asa verse above there is a repetition of the [i] sound at each end of the line. The
repetition is stated with the final rhyme. with the poem a-a-a-a.

6. Rima Merata

Balok ma balok ni hauma

Nalokan ni nalak ni hata

Batapasahat ma natua-tuan on tu ruma

Na Baholan imana Na punasa

In the verses above there are even rhymes with verses a-a-a-a.

7. Rima Berselang

Didia do donganni pangunggasan

Dia do parsaulian dongan par horasan

Marakkup do na uli mardongan na denggan

Tangkas do dipaboa amanta suhutan

Umpasa there are rhymes intermittent with repeats of the sound [san] and [an]
at the end of the line. Food is always rhyme a-a-b-b.

8. Rima Berpeluk

Tinaba hau situlan, binola bahen silean

Sai tubu man dihamu pomparani namboru on

Angka dakdanak na boi pangaluahon

Dohot angka boru na boi paulaen

In the verse above, there is a rhyme with a rhyme a-b-b-a.

 C) Community Jurisdiction Used in the Death Ceremony of Saur Matua Toba Batak
Community in Nagasaribu, Lintongnihuta District.

Balok ma balok ni hauma Block rice fields More blocks of village blocks
Balokan ni balok ni huta We put these parents in His house. Only he is
Batapasahatma natua-tuan on tu ruma Na the owner
Baholan imana Na punasa

Umpasa above is a phrase used in mompo ceremonies, the connotative meaning found
in the third row of the umpasa in the word ruma Na in Indonesian is interpreted as His house.
The house in the sense of this expression is not a physical home that can be seen in plain sight
but a house in this area to express the surge of residence of the creator.

Asa tubu ma ninna lata In order to grow the word seed Above it the
di dolok ni tapian spring Bless the Lord to the first and the first
manumpak ma Debata
tu na parjolo ma parjolo hian

Umpasa above uses majas or figuratively to invite listeners to imagine. Umpasa above
invites listeners to imagine how to plant seeds on water. Things that cannot happen can
happen.

Sahat-sahat ni solu Come to the boat until the harbor. Come to

Sahat-sahat tu bontean the father to his house. Hopefully we will
Sahat amanta on tu ruma-rumana become a parhorasan and begabean
Sai sahat ma hita on tu parhorasan dohot
panggabean

D) Umpasa Forms Used in the Death Ceremony of the Saur Matua Toba Batak
Community in Nagasaribu, Lintongnihuta District

1. Umpasa which consists of two rows of rhymes which only consist of two rows
commonly referred to as flash rhyme (karmina). Characteristics of asa which consists of two
lines, namely; the first line is sampiran and the second row is the content, a-rhyme and consists
of 8-12 syllables.

 2. Umpasa which consists of Four Lines Characteristics of a character that consists of
four lines, namely the first row is the second row and third row and four are the contents of the
umpasa. Usually uses rhymes a-b-a-b but does not close using rhymes aa-a-a or a-b-b-a.

 3. Umpasa consisting of Six Pantun Rows consisting of more than four lines in one
pantun is called talibun. The characteristics of the first to third rows are sampiran fourth to
sixth rows are the contents, the form of the poem a-b-ca-b-c. no different from umpasa in
Batak language, talibun in Indonesian has the same characteristics as the Toba Batak style
consisting of six lines.

E) The Role of Umpasa Used in the Death Ceremony of the Saur Matua Toba Batak
Community in Nagasaribu, Lintongnihuta District

The role of morality contained in each delivery of expressions in a traditional ceremonial

death can be seen from the function of character as a moral advisor and character builder. In a
series of ceremonies contained moral values can be seen from the delivery of the reason.

1. The Role of Religion Religious roles are literary works that contain religious values
that must be exemplified by the user. In the custom of death the delivery of sentences has a
strong value in religion, this can be seen from the expression of thanksgiving conveyed to God
and invites every listener to remain in the way of God. Umpasa can also be a warning for those
who have gone too far to leave the path of religion and become heart conditioning.

2. The Role of the Family Membership Submitting the custom of Toba Batak death
adheres to a very close family system. Because according to the Toba Batak custom, every
person who expresses a wish must have a line of family relations. Umpasa can also remind
every listener to maintain close kinship with advice not to abandon the paradigm (association
of batak people).

 3. Role of Deliberation The role of deliberation contained in the terms of the custom of
death can be seen from the respect of a high level of mutual respect between relatives to
decide something must be discussed first by gathering relatives who have a family relationship.
In expressing an opinion or input for a ceremonial activity the speaker first clings in order to
melt the atmosphere of the ceremony.

Berikut beberapa contooh umpasa dan pemakanaanya

No UMPASA (PARABLE) MEANING

1 Bintang na rumiris, I hope you get,

ombun na sumorop. many boys,

Sai tubu di hamu anak na riris, and women.

boru pe antong torop.

2 Andor hadukka, May you have children and grandchildren,

 togutogu ni lombu. and longevity

Sai sahat hamu saurmatua. so that he was led by grandchildren

togutoguan ni pahompu.

3 Tumbur ni pangkat, Wherever you step foot,

tu tumbur ni hotang. hopefully always get fortune.

Tusi Hamu mangalangka,

tusi dapotan pangomoan.

4 Sai torop ma dangkana, May the noble ones live happily;

rugun dohot bulungna. so is his daughter

Horas jala gabe hula-hulana,

sogon i dohot boruna.

5 Simbora gukguk, May we all live in prosperity,

di julu ni tapian, and get fortune in the process of life.

Horas jala gabe hita luhut,

jala dapotan parsaulian.

CONCLUSION
In each series of traditional ceremonies, the death of Saur Matua was found by the
umpas studied by the author based on the form, the role of the character, the rhyme in each
reading of the word. So from the description some conclusions are drawn as follows:

1. The form of the umpte used in the death ceremony of the Saur matua is three forms.
That is a term which consists of two lines, a group consisting of four lines and a column
consisting of six lines.

  2. The role of Angasa in the Death Saur Matua traditional ceremony includes morality,
religious roles, family roles and the role of deliberation.
  3. The form of rhyme contained in the mouth at the traditional ceremony of the death
of Saur Matua is the repetition of sounds found on each line that makes a beautiful expression
to be played during the ceremony. The rhyme forms are 11 forms but the form of rhyme
contained in the mouth at the traditional ceremony of the death of the Toba Batak saur matua
in Nagasaribu there are only 8 forms, namely: initial rhyme, middle, final rhyme, imperfect
rhyme, rhizome rhyme, even rima, intermittent rhyme , rhymes hugging.

 Based on the above conclusions, the authors suggest the Humbang Hasundutan District
government to publish and disseminate books on the Toba Batak language, whether in the
death ceremonies, marriage customs, births and entering the house. Because the Toba batak is
a unique literary work that is not yet known to the general public.

DAFTAR PUSTAKA.
Winsted, R.O., 2013. Pengertian, Ciri, Jenis Pantun . (Online),
http://www.pengertianahli.com/pengertian-ciri-jenis-pantun.html (diakses desember 2013).

Rani,Abdul. 2006. Pantun. http://eci-muachpinky.blogspot.com/2012/11/makalahpantun.html

(diakses November 2012) Wikipedia, 2014. Sumatera Utara. http://

wikipediabahasaindonesia.com/2014/06/sumatrautara.html (diakses 6 Mei 2014)

https://media.neliti.com/media/publications/202125-umpasa-dalam-upacara-adat-kematian-
saur.pdf