comparative study of traditional architecture toraja and mamasa

COMPARATIVE STUDY OF TRADITIONAL ARCHITECTURE

TORAJA AND MAMASA

Wasilah

Architecture Departement, Islamic State University, Sultan Alauddin Street

Makassar, Sulawesi Selatan, Indonesia

[email protected]

http://www.uin-alauddin.ac.id/

PROF.DR.IR. JOSEF PRIJOTOMO, M.ARCH

Promotor in Architectural Engineering, Institute Technology Sepuluh November

Surabaya, Jawa Timur, Indonesia

[email protected]

http://www.its.ac.id/

DR.IR. MURNI RACHMAWATI,MT

Co Promotor in Architectural Engineering, Institute Technology Sepuluh November

Surabaya, Jawa Timur, Indonesia

[email protected] http://www.its.ac.id/

Abstract :

This study aims to introduce the traditional architecture Toraja and Mamasa about form, function and ornament buildings and cultural are relatively similar in separate places.

The method used in this study is "purposive sampling". This study also uses the method of literature studies. The results of this study indicate that traditional architecture in the process of formation of evolution until now based on empirical experience. In particular traditions of society is a reflection of culture, lifestyle, mindset of people and is suitable even one with nature and the environment.

Keywords: cultural; buildings; evolution

1. Introduction

Architectural studies are grouped into: traditional, classical, and modern. The three differ in concept

and pattern of view in the process of forming a building or building complex. Tradition is part of the culture

handed down from generation to generation, in a society. Traditional architecture is the result of interaction

between man and man in the group, and with nature, in this case including the location, climate, topography and

environmental factors in which groups of people live and live. Traditional communities are formed because of

the limitations of geography and nature (forests, rivers, mountains, islands, etc.).

Wasilah et al. / International Journal of Engineering Science and Technology (IJEST)

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The condition of this archipelago consists of islands, mountains, seas, rivers create rich in traditional

ethnic groups who have traditional culture, including unique and beautiful architecture. Therefore, the study

every form of traditional architecture is very important to preserve.

This study examines a comparison between traditional architecture Mamasa and Toraja. Architecture

that is part of culture, of course, be concerned and affected participate in keduannya. Based on geographical and

sociological conditions are very different, then of course problems handling the physical structure is also very

different, though both places have a concept of culture is almost the same physical environment of home

architecture.

The architecture is the container for the activities of structure of the House of life on the basis of

cultural values. application fuerte-débil or the igualdad-diferencia of architecture in the House of Mamasa

Toraja were identified based on geographic territory, spatial location (interior and exterior) and the design of the

façade (proportion, ornament, texture, decoration, etc.)

Indonesia is rich with cultural heritage including architectural reliability regions in various places and

could be a regional cultural identity (Budihardjo, 1997). Unique shape is displayed is a reflection of local

identity that enriches the cultural treasures of the archipelago. Anthropologists Waterson (1990), tells the

diversity of traditional houses in the archipelago in the nuances of high art and philosophy of equality, but rich

in architecture. Meanwhile, according to Crowe (1977), the formation of traditional architecture took place in a

relatively long process of trial and error, as a result of human intervention.

Traditional architecture is a reflection of cultural values and ditradisikan by society (Gökhan, 2002).

According to Yulianto Sumalyo (2008), study every form of architecture is very important to be preserved, there

is little comparison with many ethnic groups existing architecture.

Therefore, the need for a comparative study between traditional architecture Mamasa and Toraja in

order to define the concept of conservation. Consequences to be faced is figuring out equations behind these

differences.

The existence of similarities and differences in the study of traditional architecture, Mamasa and Toraja

is interesting, since they are two different districts of the province, and in the remote location, but did not rule

out the possibility of equality in the exhibition of the cultural treasures between the two ethnic groups

arsitekturan, in particular in terms of form, function and ornament. Thus, the scope of the discussion is limited

to the traditional architectural similarities and the people Toraja and Mamasa differences and other factors that

influence it, namely, the cultural elements, the element of the Government and legal and traditional elements.

2. Material and Methods

Both the architecture of the archipelago only a fraction of which there are hundreds, but both can be

represented by looking at the similarities in principle, especially in terms of form, function and ornament. The

difference, in principle, also establishes that each has characteristics, including the expression of the concept of

cosmology, the customs, rituals, etc of the life of society.

The method used in this study is "purposive sampling" (sampling aims). According Moleong (2007:

224), purposive sampling technique is the determination of the samples commonly used in qualitative research

aimed to explore the specific characteristics of the object under study to obtain information on which to base the

design and the emerging theory. In this study, purposive sampling performed by the unit of analysis refers to


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research that include function, form, and ornaments architectural Toraja and Mamasa Regency. This study also

used the method of literary study which is the study of a very important activity in research should be done.

Several aspects need to be searched and examined include: issues, theories, concepts, and conclusions (Nasution

1946:14). In other words, is a collection of literary study by reading books related to this research. Data obtained

from the reference is then analyzed to obtain conclusions.

Determine of the focus of research has two parts: firstly, the determination of limiting the approach to

the study of what it means that the focus of the determination that the research becomes more feasible.

Secondly, the determination to identify effectively through the specification of criteria and indicators to capture

the information flowing in (Moleong, 2000: 237). To achieve the objective desired research it is necessary to

limit the object of study through the definition of variables and criteria and indicators. The variables and criteria

and indicators are intended to be the main factors of the identification of theoretical conclusions (Nasution,

1996). Variables determines based on the study of the theories used in research. In this kind of exploratory

study, the variables of study designed to explain various physical phenomena and not physical surrounding the

presence of Toraja and Mamasa Regency architecture summarized in several main aspects, namely: form,

function and ornaments.

For non-physical object is done through non-structural oral interview, the informant who understand

and know the background history of the object of study, for both social history and physical information to the

District Mamasa and Toraja region as the object of current research.

Technique research is to examine the data in the form of books related to issues to be discussed. So the

data collection techniques used are library research. In addition, the authors also take advantage of private

collections, and other information from Internet sites that discuss issues that will be discussed to complement

the data in this study.

3. Result and Discussion

Comparative study of traditional architecture Mamasa and Toraja is done based on form, function and

building ornameb. Nguyen Van Huyen (1987) classifies the stage house architecture in Southeast Asia based on

the criteria in a circle, square, box, etc., associated with lifestyle habits and population trust (aspects of

anthropology). Custom home architecture and Mamasa and Toraja regency as in the traditional architecture of

the most common, in addition to functioning as a residence also has various other functions, including social and

spiritual. According to Rapoport (1982), that the shape of houses on stilts built for various aspects of the outside,

among others, the influence of nature (floods, land is not flat, rolling hills, humidity, security and others).

Factors of the important role of customs, beliefs and religion (Domenig Gaudenz, 1980). This fact indicates that

the traditional architecture in the evolution process of the formation until now based on empirical experience

that truly reflects the culture, lifestyle, mindset of people and is suitable even one with nature and the

environment.

Wolff Schoemaker a Dutch architect a lot of research about traditional architecture in Indonesia, said

that the salient characteristic is the presence of horizontal and vertical elements are formed by columns and

beams, the symbol of the integrity of man and nature. Both these elements and other materials directly taken

from nature by the simple process also becomes an important feature of traditional architecture in Indonesia

(Yulianto Sumalyo, 1993).


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3.1. Geographical Districts Mamasa and Toraja

Mamasa District is one district in West Sulawesi province, Indonesia. The capital of this district is

located in the City of Mamasa, about 340 km from Makassar in South Sulawesi province, can reach about 6

hours by car from the town of Pare-Pare. Mamasa District originally consisted of 4 sub-districts, namely Sub

Mamasa, Mambi, Sumarorong and Pana, then developed into 10 districts and 123 villages/village. District

Majene, Mamasa, Mamuju, North Mamuju and Polewali Mandar which is a district in South Sulawesi province

officially became a district in West Sulawesi province in line with the founding of the province on October 5,

2004 under Law No. 26 of 2004.

Fig. 1. Map showing the island of Sulawesi, Mamasa and Toraja district

Sources of compass Pinkan elita dundu, 2010

Toraja Regency is one of regencies in the South of the province of Sulawesi, known for its unique

culture and its natural panoramic beauty, is geographically located between latitude and 119o23 at 120°

longitude and the 2o40 ' of South latitude to the 3rd. Its natural state is mountainous, situated at an altitude of

300 meters to 2.889 meters above sea level.

3.2. Customs and Culture Toraja and Mamasa

Based on the book Toraja culture and cuisine (LI Tangdilintin, 1975:50-55) that the trust adopted

Toraja Aluk Todolo mean religion / rules of the ancestors (aluk = religion / rules, Todolo = ancestor). Lowering

their beliefs in everyday life oral, hereditary, and tie. However, residents abide by the rules and willing to

undergo the punishment if caught violating. Aluk Todolo adherents worship must glorify their ancestors and

manifested in various forms and attitudes of life and ritual expression. "Adherents Aluk Todolo relatively open

to modernization and the outside world they believe. The rules that make their ancestors will give a sense of

security, peace, prosperity, and give welfare of citizens.


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Fig. 2. Death ceremony performed in the middle of the field

Sources of compass Pinkan elita dundu, 2010

The same thing applies in the District Mamasa, adherents Aluk Todolo uphold truth and honesty. They

are so firmly implement the rule of their fathers. Dare to violate the means would miserable population, for

example, bring catastrophic crop failure. All errors and fraud to deal with law and this applies to all, including

close relatives, distant relatives, or immigrants. Aluk Todolo is public trust in divine religions Mamasa before

entering the area. Aluk means 'rule', Todolo means 'ancestor' (Pingkan Elita Dundu, 2010).

The funeral is also an important element in the lives of Toraja. Institution Toraja community members

who died was buried before the funeral. Corpses before burial is considered and treated, stored at home or

tongkonan, diberimakan like people who are still alive. Traditional rituals of death according to Toraja quite

complex, involving all communities need a few days. Not until the last event of the highly complex ritual is

actually more appropriately buried the bodies were buried in a hole carved into the cliffs or hillsides form a kind

of cave.

Traidisi is also true in Mamasa district, as long as the body has not been buried, the whole family,

villagers, and the perpetrators should not be eating rice ritual as sign'm sorry on the passing of a loved one. They

can only eat rice corn. They will only eat rice again if pa'tomate ritual ended, a day after the funeral. Other

provisions, during the procession wrapping corpses, those who stayed at home the deceased did not have to cook

all kinds of vegetables. If violated, the body will rot and smell attached. In fact, during the process, no one was

allowed to spit in the near corpse. If violated, the mystical power to preserve the corpses to prevent decay will

be lost. Those who dare to violate would be sick. After the bodies were buried, those who follow the cemetery to

dig Lahad should go back to the funeral home before returning to their homes. In violation will have an accident

on his way. To avoid violations, repeated until the rule was announced before the corpse was sent to the grave.

If there are people who forgot to govern, he must be praying for the old leaders of the ritual procession.

3.3. Functional, Form and Ornamentation of Buildings

Based on the shape and functions of the house in the district of Mamasa and Toraja is basically the

same. On the roof, which is believed to be the place of the gods, then the formation of their roofs are made as


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grand as possible to honor and glorify the gods. Trust the spirit atao god in the formation of the roof to produce

a roof that dominates the whole building custom homes "Tongkonan" this. Tongkonan Stage is the

manifestation of the cosmological world's top, middle world and the underworld. Longa or eaves jutting into the

front and rear slightly smaller is the process of two polar opposite affinity perpendicular to the direction of

sunrise and came back with a live Puang Matua (North) as well as dirty or burial place (south).

Fig. 3. Toraja regency house form Fig. 4. Mamasa regency house form Source Analysist Collection, 2010 Source Analysist Collection, 2010

In architecture Mamasa and Toraja, a symbol of social stratification is represented by the Somba tulak

buffalo horn. Horn buffalo are sacrificed at funerals. More and more tulak Somba buffalo horn at a higher level

of socio-economic owner. Besides Somba tulak, sharing the floor also indicated social status. The more complex

the division of the higher floors of social static.

In addition, the ornament also plays a role in the architecture Mamasa and Toraja. Ornament consisting

of a symbol of nature, flora and fauna. Such Katik bird-shaped head with long neck (Lando Kalliong)

symbolizes the wife of chicken first in the heavens and a high social standing. Ne `limbongan (lake) symbolizes

spring that never dried and gave on nature and human life around him. Pa `londong Manuk (chicken) is

considered as a wise animal and measurement instruments and night symbolize the policy and adjustment to the

situation.


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pa’tedong (buffalo)

pa’barre allo

(sun)

pa’re’po’ sanguba

(dancing)

ne’limbongan

(legendary designer)

Fig. 5. Meaning of the motifs in buildings tongkonan Source : http://www.batusura.de/ukiran.htm

Toraja language is spoken and has no writing system. To demonstrate the concept of religion and

social, ethnic Toraja make wood carvings and Pa'ssura called (or "write"). Therefore, wood carving is a

manifestation of the culture of Toraja. Each carving has a special name. The motive usually is of animals and

plants that symbolize goodness, for example, water plants such as aquatic weeds and animals such as crabs and

tadpoles which symbolizes fertility. Picture left shows examples of wood carvings of the Toraja, consisting of

15 square panels. Lower middle panel is a buffalo or wealth, as hopes for a family get a lot of buffalo. Middle

panel is a knot and a box, a hope for all the descendants of the family will be happy and live in peace, as goods

that are stored in a box. The top box represents the left-and right-aquatic animals, demonstrating the need to

move quickly and work hard, like an animal that moves on the surface of the water. Is this also indicates the

need for special expertise to produce good results. Regularity and order is the general nature of wood carving in

Toraja (see table below design), but also wood carvings and geometric abstract Toraja. Nature is often used as

the basis of ornament Toraja, because the full nature of abstraction and regular geometry. Ornaments

ethnomatematika Toraja learn to reveal the structure of mathematics, although Toraja make carvings that are

based solely on their own estimates. Toraja Tribe to use bamboo to make oranamen geometric.

4. Conclusion

Traditional Architecture Mamasa and Toraja only a very small part that there are hundreds, but they

may be represented by looking at similarities in principle. The difference in principle also states that each have

characteristics, including expression of the concept of Geographical Location, Indigenous, and other rituals of

life of traditionalism.

The stronger the ties of nature that form the traditional society, traditions and cosmology more unique

and strong as well.


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Traditional architectural elements always have a symbolic or abstract symbols, both in form, function

and ornament. In addition to being a form that can make building a stable and strong, also the expression and

incorporation of tradition and human nature.

References

[1] Budiharjo, Eko (Ed), 1997. Arsitektur, Pembangunan dan Konservation. Djambatan, Jakarta. [2] Roxana Waterson, Construction Rate dalam Indonesian Heritage, Archipelago Press, Ed Didier Millet, Singapore, 1998, pp. 20 [3] Crowe, 1977 [4] Gokhan, Cigdem Berdi, 2002. In The Search of Concept of Vernaculer Architecture for the New Millenium. Second International

Seminar on Vernaculer Settlement, pp 354-419, Departement of Architecture Indonesian University, Jakarta. [5] Yulianto Sumalyo, Arsitektur Kolonial di Indonesia, Gama Press, Yogyakarta,1933.pp 70 [6] Moloeng, Lexy J, 1996. Methodologi Penelitian Kualitatif. Penerbit Remaja Rosdakarya, Bandung. [7] Nasution, 1946:14 [8] Nguyen van Huyen, Habitation sur pilotis dans l’Asie du Sud-Est, Librarie Orientaliste Paul Geuthner, 1983 [9] Rapoport Amos, Antropology of the house. Dunond Paris, 1982 [10] Domenig Gaudenz, Tektonik im primitive dachbau, Göttersitz und Menschenhaus, Zürich, 1980. [11] L.I. Tangdilintin, Toraja dan Kebudayaannya, Yalabu, Tana Toraja, 1975.pp 50-55 [12] Pinkan Elite Dundu, 2010, Article at the Kompas about Mamasa [13] http://www.batusura.de/ukiran.htm


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comparative study of traditional architecture toraja and mamasa

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