Sanga Pangihoetan Simanjuntak

Batak paints against all odds

By: Kornelius Purba, The Jakarta Post, Jakarta



Many people were surprised when told that a Batak painter was holding a two-week solo exhibition at Sari Pan Pacific Hotel in Jakarta, marking his 20th year as a painter.

The Batak people are well known for their music and singing talents, probably thanks to their strong gospel tradition. Many have made their mark in the music and recording industry.

"A Batak painter is an oddity," the features editor of a national newspaper jokingly remarked upon hearing the name Sanga Pangihoetan Simanjuntak.

Of course there have been a few Batak people who have made a name for themselves in the fine arts, like visual artist Semsar Siahaan, sculptor Dolorosa Sinaga and installation artist Marida Nasution. But they are very few.

"Even my parents still see the profession of my choice as a strange one although they saw my talent as a child," the expressionist told The Jakarta Post at his exhibition.

His parents wanted him to become a government employee -- a common job for Batak people. They only wanted him to paint as a hobby and they did not want to hear people tell them that their son could become a famous painter one day.

Simanjuntak recalled how his sketches, many of them images of Jesus Christ and other prophets like Moses, were often displayed for the public by his teachers when he was still at primary school and senior high school.

But this still failed to impress his parents.

"For them to become a civil servant was everything," Simanjuntak said.

To show their disapproval for his chosen profession, his parents never asked him for any paintings. A few years ago he sent them one of his works but he is not sure whether they appreciated it.

Simanjuntak is displaying 14 paintings in his exhibition entitled The Hidden Legacy of Jakarta. His works, -- mostly of mixed media, acrylic, or acrylic and mixed media or gauche on paper -- include, Alun Alun Jakarta Tertua Yang Tersisa (The Relics of Jakarta Square, Sebuah Sisi Kali Besar (One side of Kali Besar), Menara Pasar Ikan (Pasar Ikan Tower), Kapal Kapal Nelayan Sunda Kelapa (Fishing vessels in Sunda Kelapa Port), Jembatan Gantung Kali Besar (Kali Besar Suspension Bridge), Arkade Gedung Tua (Old building Arcade), Gereja Immanuel (Immanuel Church) and Gereja Katedral (The Cathedral). It is his sixth solo exhibition.

The exhibition was opened by Germany's Ambassador to Indonesia Gerhard Fulda. It is not a coincidence, because some of Simanjuntak's works were auctioned to help the needy members of the Huria Kristen Batak Protestant (HKBP) church in Jakarta, which has strong relations with the Lutheran church in Germany. It was German missionary Ludwig Ingwer Nommensen who introduced Christianity to the Batak people in 1864.

Born in Tarutung, North Sumatra, on April 29, 1964, Simanjuntak finished senior high school in his hometown in 1982. Then he continued his studies in Jakarta along with his four siblings who were also studying here.

His father Mardin Simanjuntak, a civil servant and mother Riste Hutabarat, a coffee trader, wanted him to become a lawyer. Their reasoning was simple: the legal profession is very suitable for Batak people because they like to argue.

So, to please his parents, Simanjuntak registered at the Faculty of Law at the University of Indonesia, and without their knowledge he also registered at the art department of IKIP Jakarta (now named Jakarta State University).

"My parents of course were disappointed, but they hoped I would become a teacher after finishing my studies," he said, laughing.

He graduated in 1988. While studying he also worked as a designer in a national textile company but quit in 1999.

He married Linda Wahyu Winata in 1993. They have an eight-year-old daughter Lopian na Marsere, and are expecting their second child in August. Linda works with a textile firm.

In 1999 he resigned from his design job. Then, with the support of his wife he decided to become a full-time painter. He said he was grateful to U.S. businessman Garry L. Bohn because he decided to quit the company after Bohn bought nine of his paintings.

"My mother was shocked on hearing my decision. She asked me how I would support my family if I was 'jobless'," Simanjuntak recalled.

Simanjuntak said that his fellow Batak consider his works, which he sets at an average of Rp 5 million, too expensive.

"Some of them go as far as to demand to know how much I bought the paint for and want me to sell the painting for just a little more," he said.

The ongoing economic crisis however has also affected his activity, because many of the expatriates who were his biggest collectors have left the country. Now his collectors are mostly from Jakarta. They visit his studio in Bekasi, West Java.

"Painting is not only a matter of money, although I also need it," Simanjuntak said.

Bue ni Tondi (Fruit of the soul)

Cayung Siagian	Much of the Batak language is expressed in metaphor. So, for inspiration I would Fruit of the call it the natural spring of the heart, or the beautiful source. personally say "bue ni tondi" soul, but many Batak call it the natural spring of the heart, or the beautiful source. When I was 13 yrs old, I started witnessing a lot of local people in my land experiencing unexpected trances, and most of the cases happened in nature. Many times people would try to get the person back to normal consciousness by pray together, giving the Holy Book to the victim but it just make them wilder and more angry. The only way to get the person back to normal was by giving the whole case to the medicine man or woman and asking people to offer seven different flowers on the ground where the victim first experience the trance
So generally people think that the person is possessed by the evil, because most of the cases happen if the mystical places being treated in unpleasant way by human. Most of the affected person talk with the different intonation, of course with the very old traditional language. Most of the words that came from their mouth is the complaining because they felt being disturbed without any excuses or permission to the spirit of the places.
	The nice feminine lady that never scream crazy in her life could turn to become wild, yelling loudly, climbing the giant tree and jumps from branches to another branches like a monkey with no fear. The victim is not necessary as the abuser of the land, but become a representative of the spirit of the land keeper, something like that. This become my first weird inspiration because I personally would like to know what is the view in their eyes or other sense of atmosphere when they were experience it. Once I had a chance to ask one of them about what they have seen when they experience it. The answer was "I don't know, I though I was sleep". So until now this is still a real free twisted & wicked fantasy in my imagination as my inspiration.

Article #2

In Batak nation, in any circumstances, "bue ni tondi" means 'the fruit of soul' in metaphor is playing an important role. The tree as a soul, and the fruit as a blessing. After this blessing being appreciated, or practically or symbolically have been eaten, the seed thrown back to the earth, the time and nature turned it to a sprout, growing, flowering, and produce a new fruit. Fruit for hunger, eyes, feeling, for generation, and for knowledge.

Metaphor might have been emerged by the met of different origins and languages in Batak land in millenniums, yet it is also make this unique tribe fascinating to be researched.

My definition of inspiration or perhaps as definition of most Bataknese in general is the source of realization of humble and beautiful works. Means souls as the host of this inspiration being drives freely and automatically by natural energy to plan something valuable. Inspiration travel randomly together with civilization and knowledge. But so many times, the civilization or knowledge could also become the greatest wall to block the realization of someone inspiration because of financial and politic dilemma.

In my life, my dreams often inspire my works in any medium. In the Bataknese community in this era, we don't hear this "Bue ni Tondi" often. They usually say it as pangungkapon (natural expression) or habinsaran (the raising) and mual ni roha (spring of heart) to certain works. Bataknese also treat life as a pleasant work. Life itself is a piece of almighty inspiration.

Interview Questions

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Edwin: Could you give me an overview about the word for inspiration in Batakese?

Cayung: Much of the Batak language is expressed in metaphor. So, for iinspiration I would Fruit of the soul, but many Batakese call it the natural spring of the heart, or the beautiful source. personally say "bue ni tondi"

• "bue ni tondi"=Fruit of soul,

• "mual ni roha"=spring (natural water source) of heart,

• "pandaraman nauli"= beautiful source

I always can put only one (the general definition) if needed to be one or, I will include the translation in my "broken" understandable English for you to see the sense and you will let me know what you fell after reading it in order to get it a little bit civilized or...?

So I definitely can explain the expression and definition of Inspiration in my original tribal Batak include in Batak Skript/writing about using it, how its affect my personal work on art and writing, general and introductory to Batak art include art of words in in daily life of batak (get the feeling in www.lapotuak.com or mailing list lapotuak at yahoo group minimum). Minimum 300 words I think this is a good number.

Do you remember the first time you experienced inspiration or "bue ni tondi"?

When I was 13 yrs old. I started witnessing a lot of local people in my land experiencing unexpected trances, and most of the cases happened in nature Many times people would try to put the person back to concious by pray together, giving the Holly Book to the victim but it just make them wilder and more angry. The only way to get the person back to normal was by giving the whole case to the medicine man/woman and asking people to offer seven different flowers on the ground where the victim first experience the trance.

So generally people think that the person possessed by the evil (which is lately I am not agree), because most of the cases happen if the "mystical places" being treated in unpleasant way by human. Most of the affected person talk with the different intonation, of course with the very old traditional language. Most of the words that came from their mouth is the complaining because they felt being disturbed without any excuses or permission to the spirit of the places.

The nice feminine lady that never scream crazy in her life could turn to become wild, yelling loudly, climbing the giant tree and jumps from branches to another branches like a monkey with no fear. Lots of characters could appear. The victim is not necessary as the abuser of the land, but become a representative of the spirit of the land keeper, something like that. Edwin, I hope you still follow what I mean. This is become my first weird inspiration because I personally would like to know what is the view in their eyes or other sense of atmosphere when they were experience it. Once I had a chance to ask one of them about what they have seen when they experience it, ect. The answer was " I don't know, I though I was sleep". So until now this is still a real free twisted & wicked fantasy in my imagination as my inspiration.

What is the difference between Batakese and the English meaning?

I think is just the same meaning except the metaphor things. It is very close to animism believe about the life result of matters. In this case we symbolize it with tree, from its fern, its growing, flowering until producing fruits that would be ready to regrow again from its seeds. Something with other matter, water spring, rocks, dirt, animal, etc. Very simple explanation of source of Result or Result of source, could be both. And when we match this word with spirit matter Soul, Light and mind. It will just engage in one meaning (from two or three words). Inspiration=The natural result of spirit matters. I still have to pick the Bue ni Tondi Bue came from Parbue means Fruit and Tondi means Soul

In English I think they explain in in act, could be chemistry reaction in our body and soul in certain atmosphere that stimulate that Matter in to another act or work. Also sound easier to digest. To be honest when I open my Webster's dictionary, I can not really find the different. But there might be (in a difference consequences).

I pick the Bue ni Tondi for now, but I am still posting the three different choises with my friends in Batak mailing list asking them to vote the one that make more sense. I will let you know the result. (Just an information that 90% of them was civilized with biblical teaching since they are a kids). Me too, I just turn back into my tribal believe intensely and in to mysticism since 1995.

Have you seen any Batak art that explores the experience of inspiration?

Yes I do have seen one place of amazingly, Incredibly, fantastic Batak works. Mostly in architectural, but a lots of them in clothing, utensils, magic and medicinal stuff, utility, weapons, boats jewelries, sculptures and tools. Lets talk about one of them, Gorga (the Batak carving that mostly presented in their houses). If I have to speak like a kids I will cal it trippy multi-detail works of Batak Gorga. It was in the public market in Balige Town (Toba Samosir region in North Sumatra). Once I stood there for about three hours staring these works. Each facade of six and top of the building carving has a different pattern and tops. Brilliant inspiration. I hardly believe these people build this place in our normal conscious at that time. I took a picture at that time but the result was very bad. I wish I can go there again. Anyway if I have to go back there, I should need the video camera to record this works, because even wide angel lenses will not large enough to catch the size and details.

But right here in my studio. I have the survival of witness of Bataknese high art. It was also taken from the abandoned Batak house. The Singasingas. The house protectors that suppose to be placed in the front panel of the house as a protection from the bad spirits. Most of the Singasinga have been taken down and destroyed since the beginning of the Christian Mission and it conspiracy in Batak Land. I am so happy I still have them here a pear to protect my soul.See the attachment (poor resolution). Oh ya forgot to say that the secret color of Batak people are red Black and WhiteRed represent of Braves and Absences of pretending Black represent Magical Power and White represent The virgin souls.

The original Batak belief is a combination of Mysticism and Animism (completed with a touch of Hindu and Buddhism. Before the Christian and Islam arrived, I believe that Sufism ever influence some peoples. I am personally a Mysticim and Animism (but born as Christian), but openly absorb only anything that make senses such as Gnosticism and Time cycling and any others.

Parbinotoan, Cayung Siagian

Hi Edwin, guess what? I just finish the painting. And I finish it in 13 hours nonstop. It was very strong a night before yesterday. No way to block it after not doing some piece for almost a year. I was handle it very smooth and it was came from inspiration of life or evolution or civilization or beyond what we have seen and things in maya is just came from it self and back to its self. One of my two biggest finger painting after Farewell Green Karma in 1997.

I will tell you how did I get this inspiration. I call it in my tribal language; "Parbinotoan" (Knowledge).

The painting is not really the tree of the fruits that I was explain in the article because the painting it self is Bue ni Tondi (Inspiration) of my soul, I am just the tools of expressing it, while the Tree is my soul as the host of my Inspiration. It just coincident the painting visually in a tree form. My inspiration at that time was thinking about how the human using a knowledge for the purpose of Yin and Yang, and so many time Yin hiding behind the yang and yang sheltering behind the yin. So at that time I was plan to paint the tree with scrolls hanging and bloods dripping from it branches and roots. But the second inspiration said, The tree it self is already representing/symbolizing the knowledge. So I follow the movement of this messages.

That is why I title it "Parbinotoan" means Knowledge which is great if being used properly and danger if misused. Like I explain in the article, that knowledge could be the greatest support to make the inspiration comes in to a true pure work but also it could be the greatest gap to block the true pure work.

Have you heard of the Balinese word Taksu?

Yes I heard about Taksu so many time. Its inspiration. Its a magical instinct of ideas and work. Not only visual artist use it but also other worker such pande, fisher man, farmer and healer. Not all the people have taksu. Not a simply inspirasi, but similar and closer to ILHAM in Indonesian Bahasa. Sometime they call it Balian Tetakson.

I have ask some other Batak people in the mailing list. There is another word that could represent Inspiration in Bataknese called Pangungkapon. Came rom Ungkap, means born automatically and naturally. Not in biological meaning. I am still like the bue ni tondi. They also very agree with it. But I dont want any other Bataknese feel strange about this word. So that I would like to do more research in another week.

Article in Batakese

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Di portibi ni bangso Batak, hata bue ni tondi binsar sian pangisaraan. Sumuang do lapatanna dohot "habinsaran ni panagaman”, "pangungkapon" manang "mual ni roha”. Hata on diisarahon songon parbue ni hau namarlapatan, natubu, namagodang jala marparbue gabe sipanganon tu pamatang, tu simalolong, tu roha, dohot tuparbinotoan. Bagasan ni rohanghu mandok pangisaraan on binsar sian hapangaliluon ni angha jolma di parhataion siala namarragam haroroanna dohot panghataion nasida di tano Batak ujui. Umbahen i laho patoranghon panghataion i gabe diisarahon ma angha tompaan, dohot namasa laho pasumanhon hata nanaeng diunghaphonna be.

Sada haulion do on dipardalanan ni ngolu ni bangso Batak huhut gabe parsiajaran na manggokhon roha ni angha siboto surat.

Lapatan ni bue ni tondi ima habinsaran na gabe sipasaut ulaon haulion na mangihuthon parhusoran ni tinghi ni parbinotoan. Alai jotjotdo tong hagogoon ni parbinotoan i gabe panundati hasauton ni pangulaon ni sasahalak, disiala nasoada hagogoon ni sihumisikna dohot ulok ni rohana. Di parngoluanghu, jotjot do angha nipi mamboan bue ni tondi gabe sada pandaraman nauli. Ngolu i sambing ima sada ulaon nasian bue ni tondi ni namarhuaso.

AWK Samosir

Totalitas Buat Gondang dan Opera Batak
Kompas 24 April 2003
Salomo Simanungkalit.


Hampir seluruh hidupnya untuk gondang, uning-uningan, tortor dan opera Batak. Ia murid langsung almarhum Tilhang Oberlin Gultom itu (pendiri opera Batak akhir tahun 1920-an). Ia amat gelisah atas perkembangan kesenian Batak dewasa ini. Sebab, menurutnya, semua orang Batak sudah menyeleweng dari budayanya. Lihat pesta-pesta perkawinan, band lebih selalu ditanggap ketimbang gondang termasuk saat mangulosi, menyampirkan ulos kepada pengantin dan kerabatnya.

Menuju rumahnya di belahan timur Jakarta selepas tol, jalan aspal menanjak dan sempit. Hanya bilangan kilometer dari Taman Mini. Di sisi jalan menganga sebuah gang semak dan tanah coklat. Seorang perempuan muda cantik sedang menanti. Ia memandu kami.

Tak sampai tiga menit, tersua hamparan tanah merah 200-an meter persegi. Kering dan keras sebab matahari sedang terik. Tak satu belukar tumbuh. Hanya rumah petak berpintu lima yang kelihatan di seberang. Lantainya satu kaki di bawah permukaan tanah merah itu. Bila hujan turun, gumpalan lumpur mesti melekat di kasut mengonggok di lantai rumah bilik itu.

Sesosok laki-laki dengan seluruh rambut memutih berdiri di mulut pintu salah satu petak. Di tahun 1970 hingga 1980-an, wajah itu kerap terlihat di TVRI. Jarinya memetik kecapi di tengah gondang atau uning-uningan Toba. Tahunan ia menata dan mengisi tayangan tortor dan opera Batak di situ. Di tahun 1990-an sesekali ia mengiringi nyanyian dan tari Batak, bersama regu band Tarida Pandjaitan br Hutauruk, dalam program Horas di televisi swasta. Ia mudah dikenali dalam sorotan kamera, sebab pada usia tujuh puluhan, rambut putihnya selalu terkucir.

"Tak sulit sampai di sini?" kata AWK Samosir dalam Batak Toba, bahasa yang kami pakai selama percakapan. Di salah satu dinding bilik tamu itu beberapa kecapi dan suling tergantung. Di sebuah sudut di baliknya tersusun seperangkat instrumen musik Batak untuk gondang dan uning-uningan. Tak lebih tiga meter dari sana dapur dengan api dan asap mengepul.

Begitu duduk di sofa tua yang compang, murid langsung almarhum Tilhang Oberlin Gultom itu (pendiri opera Batak akhir tahun 1920-an di Tapanuli dan pencipta 360 lagu, 12 tumba, dan 24 judul drama sampai akhir hayatnya tahun 1970) memulai pembicaraan dengan satu keluhan. "Pikiranku sudah buntu mengembangkan kesenian Batak sebab semua orang Batak sudah menyeleweng dari budayanya," katanya.

Yang menyedihkan, katanya, mereka terutama dari kalangan tua. Lihat pesta-pesta perkawinan. Band lebih selalu ditanggap ketimbang gondang. Ini sebetulnya tak keliru asalkan band untuk mengiringi nyanyian selingan. Akan lain ceritanya bila dipakai pula saat mangulosi, menyampirkan ulos kepada pengantin dan kerabatnya.

"Apakah ulos itu mereka maksudkan bermanfaat atau tak bermanfaat sesuai dengan hakikatnya, sebaiknya gondang yang disajikan untuk menarikan ulos sebelum disampirkan," katanya. "Sebab saat ulos ditenun dan disampirkan, selalu ada sabda pemberi makna dan penjelas fungsinya."

Jadi, siapa yang salah?

"Semuanya. Yang menyampirkan dan menerima ulos, juga pemusiknya. Semua jadi bodoh," kata Samosir yang pernah menjadi dosen tortor di Institut Kesenian Jakarta. "Bayangkan, mereka meminta lagu Poco-poco saat mangulosi. Lalu, apa artinya ulos?"

Penghargaan pada budaya sendiri pun, menurut Samosir, orang Batak sekarang sama sekali tak dapat dibanggakan. Kemunafikan sangat jelas. Baptis, sidi, kawin, memasuki rumah, mengucapkan syukur untuk kandungan berusia tujuh bulan, mati, sampai mengumpulkan belulang orang mati kepinginnya orang Batak diselenggarakan dengan adat, selain ritus keagamaan.

Akan tetapi, mereka masih setengah hati menjalankan adat. Petunjuknya apa?

"Lihat, santabi tu angka na burju (kecuali orang yang mengerti), untuk menawar band orang Batak bersedia di atas Rp 2 juta, tapi untuk gondang rela kalau di bawah Rp 1 juta," kata ketua Gondang Pardolok na Uli ini. "Yang membuat hati saya teriris adalah bila ada yang mengatakan, ’Sudah cukup Rp 700.000’ untuk gondang, padahal pemain gondang yang berjumlah delapan itu seharian keringatan."

Lahir di Hutanamora, Onanrunggu, Pulau Samosir, pada 17 Agustus 1928, pria bernama Kasmin ini sudah menyanyi di usia 13 bersama opera keliling pimpinan Tilhang Gultom. Di tahun 1941 itulah ia kehilangan ibu yang meninggal setahun setelah sang ayah wafat. "Jadi, sekolahku hanya sampai kelas dua SR," katanya.

Bergabung dengan opera berarti bergaul liat dengan pemusik, penari, dan pelakon. Dari nyanyi, Samosir belajar tortor, lakon, memetik hasapi, dan meniup sulim. Sebagian ia dapat dari seniornya, sebagian lebih besar justru dari mimpi.

"Tahun 1952 aku bermimpi diajari memetik hasapi. Begitu bangun, aku langsung bisa memainkannya," katanya. "Jadi memang ada rahasia dalam gondang dan uning-uningan ini. Sebelum para pemain mendapatkan kemahirannya dari mimpi, ia tak akan pernah mencapai tahap empu."

Gondang yang ia maksud adalah kumpulan musik untuk adat. Uning- uningan ialah regu musik untuk panggung, hiburan. Gondang bolon terdiri dari 5 tagading, 1 gordang, 1 odap, 1 sarune bolon, 4 ogung (oloan, ihutan, panggora, doal), dan 1 hesek sebagai pengendali tempo. Uning-uningan terdiri atas 1 hasapi, 1 sarune getep, 1 sulim, 1 garantung, 1 tulila, 1 alatoit, 1 mengmung, 1 bulu maringgotolong, 1 tanduk banua, dan 1 hesek sebagai pengendali tempo.

"Nah, pengetahuan tentang ini pun belum menjadi milik pemusik gondang di Jakarta yang jumlahnya sekarang cukup banyak," katanya. "Termasuk mereka yang tahun 1991 bikin Orkes Simfoni Batak."

Opera keliling yang terus berganti nama ini-Tilhang, Pantja Ragam Tilhang, Serindo, dan sebagainya-membawa Samosir menjelajahi seluruh Sumatera, Jakarta, dan Bandung. Sejak 1970, tahun Tilhang meninggal, Samosir menetap di Jakarta seusai manggung di Bandung atas sponsor pengusaha sayur-mayur Thomas Simanungkalit.

Di situ ia memimpin Opera Batak Tilhang Serindo cabang Jakarta, mementaskan turi-turian rakyat di Ancol, Taman Ria, TIM, TMII, dan TVRI dari tahun 1977 sampai tahun 1987.

Sejak tahun 1985 cabang grup opera ini di Sumatera Utara tak manggung lagi sebab tak mendapat dukungan dari penontonnya. Sebagian besar anggotanya hijrah ke Ibu Kota, tapi cabang Jakarta sendiri tak mampu mempertahankan staminanya seperti di masa Ali Sadikin. Requiem opera Batak!

Samosir yang mendapat dua istri dari opera itu, penyanyi Pardamean br Hasibuan dan Mina br Purba, tak tinggal diam menghidupkan tortor dan gondang setelah mentok di opera. Tawaran Ali Sadikin supaya ia mengajar tari di IKJ ia terima hingga pensiun tahun 1986 dengan golongan I-A.

Suasana ruang tamu tempat kami berbincang tidak lazim. Satu meter dari plafon yang menaungi kami tergantung sebilah papan putih yang menempel di dinding. Di sepanjang ketiga sisinya menjuntai daun nyiur. "Ini altar tempat kami martonggo tiap Sabtu," katanya. Sumber penting tentang opera Batak ini sedang menuturkan tiga tahun lalu ia memeluk Parmalim, agama orang Batak sebelum misi masuk di Tapanuli, yang kini punya penganut 10 keluarga di Jakarta.

Terlahir sebagai Katolik, ayah tujuh anak ini menganut Islam sejak pernikahan pertamanya tahun 1948. Dia mendapat nama tambahan Abdul Wahab. "Saya masuk ke Parmalim karena inilah agama Batak," kata AWK Samosir yang telah menggubah belasan tortor. "Sejak 1998, dua tahun saya puasa, hanya minum air putih, memohon Mulajadi Na Bolon memberi saya membilang birama musik Batak."