A.C.T - Toraja

Uleleanna Serre' Datu (Bahasa Toraja)

Den misa' to sugi' unnampui serre' datu. Den sangallo na ma'kada tu to sugi' lako serre'na nakua: “Torromoko ammu manda'i pa'kampamu ku malepa undaka' bale ta pa'kandiananni.” Ia tonna makaroen sulemi umbaa bale sangburia' na patorroi diong sali. Ma'dondomi sae tu serre' datu unnalai tu bale misa'. Naula'mi naalai dio mai tu bale. Mangka to na pesissikimi tu bale, na tollo'i. Pakalan saeomi na ala serre' datu tu bale misa'. Naula'mi, na la'ka'i tu serre' datu anna durru'i api tu danggo'na anna mararang tu pudukna. Mallaimi te serre' lako leko' dapo'.

Ia tonna la kumandemo te puangna, natambaimi tu serre' datu dio mai leko' dapo', apa noka sae. Pempiran-piran ditambai apa tontong bang ma'dokko dio leko' dapo' belanna sengke tu penaanna mangka didurru' api.

Tonna mamma'mo tu puangna, mengkondongmi tu serre' datu langngan para anna dedek-dedekki tu Baka Bua nanii balo' lan sisola maa', gayang, rara', lola' sia mintu' eanan banua. Na pa'kadaimi serre' datu tu mentu' parea dao para nakua: “Torromokomi kamu. La malemo' aku belanna mangkamo' aku didurru' api sia puramo danggo'ku nakande api.” Mebalimi tu issinna Baka Bua kumua: “Minda lamorai torro napesserang balao. La male dukakan kami.”

Mengkalaomi tu serre' datu rokko sali nakua kuanni tu La'bo' Penai: “Torromoko iko la'bo', la malemo' aku.” Apa nakua La'bo' Penai: “Minda lamorai torro nabenga' balao. La male dukana' aku.”

Kendek omo langngan alang te serre' datu, nakuami lako Pare: “Torromoko iko bo'bo', la malemo' aku.” Nakuami tu Pare: “Minda la torro napesserang sia napura balao, la male dukakan kami.”

Maleomi te serre' datu ungkuan Tedong tama balana, kumua: “Torromoko iko, Tedong. La malemo' aku. Mangkamo' didurru' api.” Nakuami Tedong: “Minda la torro napebalulangi balao, la undi dukakan kami.”

Nakutanaiomi serre' tu Bai kumua: “Torromoko iko Bai, la malemo' aku. Mangkamo' dipa'dikki.” Nakuami Bai ma'kada: “Inda ia latorro nabu'bu'i balao tu bulunta.”

Napa'kadaiomi serre' datu tu Manuk, nakua: “Torromoko iko manuk, la laomo' aku.” Nakuami tu Manuk: “Minda latorro nakondongngi balao, la male dukakan kami.”

Sirampunmi sola nasang anna sangke'deran male.

Dolomi tu serre' datu anna sangundian tu pare sia muntu' parea sia patuoan dio boko'na. Ullambi'mi misa' banua nanii tau sengke sia untendang baka bua lako salian. Sangundianmi tu issinna baka bua unturu' serre' datu.

Ullambi'omi tu to umpakande asunna apa mukkun duka nabamba. Lussu'mi tu asu anna male unturu' serre' datu.

Nalambi'omi tu to umpakande manuk, apa mukkun duka naleba' batu. Undi omi tu manuk unturu' serre' datu.

Na lambi'omi tu tomarassan umpakande tedongna apa marassa duka nabamba tu kamorokna. Mallaimi tu tedong na undi unturu' serre' datu.

Marassan lumingka tu serre' datu sola sangsiturusanna, pakalan anna membali nasangmo tu rupanna susi tolino. Napatarru'i tu kalingkanna anna lambi' tu da'dua pia baine biungmo marassan ussaro banni' dio to sugi' sangbanuanna tu unnampui da'dua anak muane.

Sulemi te pia biung sola duai umbawa banni' lako to'banuanna, anna undi unturu' serre' datu sola solana. Tonna rampomo lako banuanna natiromi tu tau undi unturu'i. Ma'kadami sola duai nakua: “Lendu'komi mai, da' ammi dio bang salian.” Mebalimi tu serre' datu nakua: “La tarru' siakan, melayo bangrakan sattu'." Nakuami tinde pia biung: “Ta ma'kalembo' pissanpa mimane umpatarru' lalanmi.” Ma'kadaomi tu serre' datu nakua: “La silasa riki'ka tu banni' mi kalembo', anna buda-budakan sibaa?” Mebalimi tu pia biung nakua: “Pirarokomi sola nasang?” Mebalimi serre' datu, nakua: “Tallung annan, tallung pitu, sangpulo pitu kasera” (Kennanu nakua serre' datu kumua; Buda liu kan). Nakuami tu pia biung: “Kita raka la buda na lise'na bo'bo'.”

Masemi penaanna serre' datu sola sangsiturusanna urrangngi kadanna pia biung. Nakuami serre' datu: “Iate kami sola nasang, latorromokanni ussisolankomi.” Tiramban kapuami te pia biung sola duai. Naumpu'i serre' nakua: “Iake tallung bongipa la memala' komi ma'kurre sumanga' belanna pada la untorroikan torroan malesoki la ussisolan komi.”

Nakua serre' datu: “La diona' aku to' dapo'.” Ma'kada eanan banua: “La lankan kami baka bua.” Susi dukato tu asu, manuk, tedong, bai, pare sia senga'-senga'na pada umpaka inan natorroi. Pakalan pada umporupamo rupanna tu serre' datu sola sangsiturusanna anna torro sisola te pia biung.

Sugi' sangattu'mi te pia biung makario-rio. Katampakanna ia te pia baine sola duai sibali tu pia muane anakna to sugi' nasisangbanuan simisaran. Sakerangngan-rangngannami tu kasugiranna. Apa tae' na pamadao penaai sangadinna tontong nakilalai tu apa mangka dadi, sia tontong napakaboro' sia nakananna'i tu apa den dio kalena.

Iamoto anna randuk tau umpakaboro'i tu serre' belanna disangan garonto'na eanan, sia biasa diposengo-sengo dikua : Serre'ri oto' na eanan, salimbanna baka bua, ia petamba eanan, peongli angge maritik, dio mai randan langi', to dio oloan uran.

Na ulelean sule : Admin ACT

Tale of Serre' Datu - The King's Cat [English version]

noreply@blogger.com (Unknown) — Wed, 12 Jun 2024 14:14:00 +0000

category : Tale & Folklore

Polopadang And Deatanna [English Version] - (Part 1)

There was a rich man who had a king's cat, among the Toraja people this type of cat was called Serre' Datu. One day this rich man said to his cat, "Just look after the house well, I'll go look for fish for our side dishes later." When evening approached, he returned home carrying a large basket of fish, then put the basket on the floor. Serre' Datu, who smelled the fishy smell of the fish, then approached the basket, took a fish from the basket and took it away. Seeing this the rich man chased him and managed to snatch the fish from the cat's mouth and took it back to the fish basket. Then he started cleaning the fish he had caught earlier to cook. However, not long after, without his knowledge, Serre' Datu came back to take a fish that had been cleaned. So he was angry. He chased the cat again, after catching it, he took firewood that was burning in the kitchen stove and burned Serre' Datu's whiskers with fire, so that Serre' Datu's mouth became blistered. Because he was feel in pain he went from there to the back of the kitchen.

When it was time to eat, the rich man called to his cat, who was sitting quietly behind the kitchen. But Serre' Datu wouldn't come. The rich man tried calling his cat several times, but it still sat there quietly, angry because it was still in pain and its whiskers had been burned by the fire.

When the rich man went to bed, Serre' Datu leaped onto the goods storage rack. There, he knocked over the Baka Bua, a kind of basket used for storing valuables. Inside the Baka Bua were amulets, precious cloth, kerises, gold necklaces and bracelets – all the expensive possessions in the house. Serre' Datu then spoke to the objects, saying, "You all stay in this house. I'm leaving because I was abused earlier. My mouth and whiskers were burned by the fire." The entire contents of the Baka Bua, all the valuables, answered back! "Who else will live in this house if you leave?" they said. "We don't want it to become a nesting place for mice. We'll come with you!"

Not long after, the cat climbed down to the floor and found La'bo' Penai, a type of machete used in war. Its handle was decorated with beautiful, eye-catching tassels. "You stay, La'bo'," the cat said. "I'll go." But La'bo' Penai answered, "I don't want to stay in this house without you. I'll come with you. I wouldn't want the decorations on my handle to be ruined by rats."

Serre' Datu then left the house. He walked towards the rice barns and leaped up. Inside, he found mountains of sheaves of rice rising towards the ceiling. "You all stay," he said, "I'm leaving this place." Surprisingly, the sheaves of rice rustled and spoke in unison. "We will all come with you," they said. "We don't want to become a nesting place for mice and be eaten by them!"

After that, Serre' Datu went to meet the buffalo in its pen. "You stay, buffalo," he said. "I'm leaving this place. I was abused earlier." The buffalo rumbled a reply, "We will also come with you. We don't want to be treated the same way and be skinned by rats later."

Buffalo and Serre' Datu the cat

Close to the buffalo pen was a pig house. Serre' Datu walked there and met the pigs. "Stay, pigs," he said. "I'm leaving. I've been wronged." The pigs squealed in response, "Who wants to stay here? We'll come with you! We're afraid the rats will come and pull out our hair if you're gone."

Serre' Datu the cat in Pig House

Finally, Serre' Datu spoke to the chickens in their coop. "I'm going to leave here," he said. "Stay well, chickens!" But the chickens clucked back, "We don't want to stay as playthings for mice! We're afraid of mice jumping on us. We will come with you!"

Serre' Datu the cat came to chickens coop

So they gathered together, and not long afterward, they all left that place.

Led by Serre' Datu, a peculiar procession left the rich man's residence. A line of rice sheaves followed, along with all the valuable objects and the house pets.

Serre' Datu the cat leads his group

After a long journey, they stumbled upon a house where the owner had angrily thrown out a basket overflowing with belongings. The scattered contents landed near Serre' Datu's group, and the displaced objects, seeking refuge, joined their company.

On their way, they encountered a man feeding his dog. However, the man was also hitting the dog, causing it to struggle free from its restraints in pain. The dog fled towards Serre' Datu's group and was welcomed into their growing band.

They witnessed another troubling scene: a man who was supposed to be feeding his chickens was instead throwing stones at them. The frightened chickens abandoned their cruel master and joined Serre' Datu's group as well.

Later, they came across someone who, while seemingly feeding his buffalo, was also hitting the animal in the mouth. The mistreated buffalo, sensing a chance for a better life, broke free and followed Serre' Datu's group.

As Serre' Datu and his growing entourage walked, they all underwent a remarkable transformation, changing their shapes and appearances to resemble humans. They continued their journey until they found two orphaned girls collecting "banni'" or groats, the remnants of rice trays, from the house of a wealthy man not far from their own home. This rich man, coincidentally, had two sons the same age as that the two girls.

The two young girls returned home with their meager collection, unaware that a group of people following them were Serre' Datu's entourage in disguise.

Arriving home, they saw a crowd of people gathered outside their house. Thinking them to be travelers, the girls invited them in. "Gentlemen," they said, "please come in, don't stand outside."

The leader of the group, Serre' Datu, replied, "Thank you for your hospitality. We'll just rest for a while before continuing our journey."

One of the girls offered, "Let us make rice porridge for you before you leave."

Serre' Datu inquired, "Would the 'banni' groats you collected be enough to make porridge for all of us?"

The girl asked, "How many are there in your group?"

Serre' Datu, trying to express their large number, replied, "Three-six, three-seven, ten-seven-nine."

The girl, cleverly interpreting his cryptic answer, said, "So, will there be more of us than grains of rice?"

Touched by the girl's words, Serre' Datu and his group decided to stay. "We will all live together with you two from now on," he declared. The girls were shocked by this unexpected offer.

Serre' Datu continued, outlining a plan. "In three nights, you must perform a thanksgiving ritual. Then, we will all return to our original forms and take our rightful places to live together with you."

He then explained their future roles: "I will be in the kitchen," he said. The valuable objects chimed in, "We will reside in the treasure basket." Likewise, the dogs, chickens, buffalo, pigs, rice, and others designated their future placements.

Soon after, the group transformed back to their original forms and settled into their designated places, living harmoniously with the two girls. The once-orphaned girls were now wealthy. Eventually, each girl married a son from the neighboring rich family. They lived side by side in their own homes, their wealth steadily increasing. Yet, they remained humble, cherishing their good fortune and taking good care of everything they had.

This story fostered a love and respect for cats, as they were seen as symbols of prosperity.

It became a tradition to chant a phrase in social gatherings: "Cat, the root of your possessions, fill your treasure basket full, call your possessions to come to you, he who calls abundant blessings from all over, from faraway people."

Translated by Pentong from the original Toraja-language story, "Uleleanna Serre' Datu."

👉 also read folklore of :

Polopadang And Deatanna [English Version] - (Part 2)

Mengenal Ulelean Pare-na Toraya

noreply@blogger.com (Unknown) — Fri, 07 Jun 2024 05:00:00 +0000

category : Hystory and Culture

Apa itu Ulelean Pare?

Ulelean Pare adalah tradisi lisan masyarakat Toraja di Sulawesi Selatan, Indonesia. Tradisi ini berupa cerita rakyat yang dituturkan oleh orang tua atau nenek kepada anak-anak dan cucu-cucunya secara turun-temurun, biasanya pada malam hari sebelum tidur.

Secara harfiah ulelean pare berarti “Cerita Padi”. Penamaan ini karena pada masa lalu masyarakat tradisional Toraja yang umumnya adalah petani seringkali menceritakan cerita-cerita tersebut kepada anak-anak mereka saat menunggu musim panen padi tiba. Ketika mereka memiliki banyak kesempatan untuk bercerita secara santai dengan anak-anak mereka. Sebab itu dalam bahasa Toraja cerita-cerita ini dikenal sebagai ulelean pare. Cerita-cerita ini sarat dengan nilai-nilai moral dan kearifan lokal masyarakat Toraja., seperti kejujuran, keberanian, keadilan, dan rasa hormat kepada alam dan leluhur.

Cakupan Ulelean Pare

Biasanya berkisar tentang kehidupan sehari-hari masyarakat Toraja, asal-usul manusia-menceritakan tentang bagaimana manusia pertama kali diciptakan di bumi, leluhur-bagaimana mereka tiba di Toraja, adat istiadat-upacara kematian, pernikahan dan syukuran panen dan kepercayaan-animisme dan dinamisme. Cerita-cerita ini juga sering kali mengandung unsur magis dan fantasi, yang membuat anak-anak semakin tertarik untuk mendengarkannya.

Diantaranya seperti cerita tentang asal mula padi, cerita tentang pahlawan Toraja, cerita tentang binatang yang berbicara, cerita mistis, dan banyak lagi jenisnya, Beberapa cerita dari Ulelean Pare ini dapat dilihat di Cerita Rakyat dalam blog ini.

Fungsi Ulelean Pare

Dalam masyarakat Toraja, ulelean pare menjadi sarana atau media untuk pendidikan, hiburan, pemersatu dan pelestarian budaya.

Media pendidikan, Ulelean Pare mengandung nilai-nilai moral dan kearifan lokal yang dapat menjadi pelajaran bagi anak-anak

Media hiburan, Ulelean Pare menjadi pengisi waktu senggang bagi masyarkat Toraja, membangun keakraban antara orangtua dan anak. Cerita-cerita yang menarik dan penuh dengan imainasi, membuat anak-anak yang mendengarkannya menjadi senang dan terhibur.

Media pemersatu, Ulelean Pare memperkuat rasa persatuan dan kebersamaan dalam masyarakat melalui cerita-cerita yang bersifat heroik dan fantastis

Media pelestarian budaya, cerita-cerita dalam Ulelean Pare memuat berbagai tradisi, adat istiadat, dan kepercayaan masyarakat Toraja.

Upaya pelestarian Ulelean Pare:

Pada masa sekarang ulelean pare sudah jarang dituturkan dalam kehidupan masyarakat Toraja yang modern, bahkan hampir dilupakan sama sekali. Tidak banyak yang mengetahui cerita-cerita ulelean pare ini. Jika ditanyakan kepada generasi muda Toraja sebagian besar tidak tahu dan tidak pernah mendengar cerita-cerita ulelean pare tersebut, padahal ini adalah warisan leluhur dan menjadi identitas masyarakat Toraja yang sangat berharg. Karena itu sangat diharapkan upaya-upaya untuk pelestarian salah satu budaya yang dimiliki masyarakat Toraja ini, seperti:

Menceritakan kembali Ulelean Pare kepada anak-anak: Orangtua dapat menceritakan Ulelean Pare kepada anak-cucunya pada malam hari, menjelang tidur.
Menerbitkan buku cerita untuk anak yang berupa kumpulan Ulelean Pare, mengumpulkan cerita-cerita Ulelean Pare dalam satu buku
Menyebarkan melalui internet di media-media sosial,
Memasukkan Ulelean Pare dalam kurikulum sekolah: Ulelean Pare dapat dimasukkan dalam kurikulum sekolah sebagai materi pelajaran muatan lokal.

Dan masih banyak lagi kemungkinan di masa mendatang upaya-upaya baru yang dapat ditempuh. Dengan upaya-upaya tersebut, diharapkan tradisi Ulelean Pare dapat terus lestari dan diwariskan kepada generasi muda Toraja secara berkelanjutan. Ulelean Pare adalah Kekayaan Budaya Toraja yang sangat berharga, jangan sampai hilang di telan jaman, mari kita lestarikan!

Mau Baca Kumpulan Ulelean Pare? - Cari tahu Legenda dan Cerita Rakyat Toraja di sini! 👉

Cerita Lalong - Riwayat Orang Toraja Seko-Rongkong

noreply@blogger.com (Unknown) — Sat, 26 Sep 2020 04:29:00 +0000

Judul Asli : Ceritra Lalong (Ceritra Rakyat dari Daerah Tana Toraja)

Oleh : L.T. Tangdilintin

Kategori : Ulelean Pare

Cerita Lalong ini menceritakan seorang ksatria dari wilayah Toraja yang berpindah bersama rakyatnya ke wilayah Luwu’ bagian Utara di tempat yang dikenal dengan nama wilayah Seko-Rongkong. Mereka membentuk satu komunitas yang sekarang ini menjadi rumpun suku Toraja Seko-Rongkong.

Lalong menurut sejarahnya adalah seorang perkasa dan pemberani dari Toraja bagian Timur yang diperkirakan berasal dari daerah Rantebua - Ranteballa. Lalong mempunyai kesaktian yang luar biasa. Ia disebutkan dapat menombak batu hingga keluar air menjadi mata air, serta kekuatan dahsyat yang dapat menginjak batu besar dan meninggalkan bekas tapak kakinya. Pekerjaannya sehari-hari adalah beternak kerbau.

Lalong sedang menggembalakan kerbaunya

Dikisahkan pada waktu itu sekitar abad III M, Kerajaan Luwu’ (Wara’) masih berpusat di daerah Baebunta wilayah Luwu Utara. Suatu ketika Kerajaan Luwu ini diserang oleh suku bangsa yang asalnya dari sebelah Utara (Sulawesi Tengah), dipimpin oleh seorang penguasa bernama Tariando’.

Pasukan Tariando’ memasuki Kerajaan Luwu dari arah Utara dan Barat dan berhasil menguasai satu kawasan daerah pegunungan di wilayah itu setelah sebelumnya melakukan kekacauan dan merampas harta dari penduduk sekitar. Daerah yang sekarang dikenal sebagai daerah Seko-Rongkong itu kemudian dijadikan sebagai pusat pertahanan dari pasukan Tariando’. Dari tempat itu mereka merencanakan dan mempersiapkan serangan selanjutnya ke daerah Baebunta, yang menjadi pusat pemerintahan Luwu’ di masa itu.

Daerah yang dahulunya masih merupakan bagian dari Kerajaan Baebunta Luwu’, setelah dikuasai Tariando’, kini semua penduduknya mengungsi meninggalkan wilayah itu, tak lama kemudian diganti oleh rakyat Tariando’ yang datang kemudian mengisi wilayah yang sudah kosong tersebut.

Oleh karena upaya yang terus-menerus dilakukan pasukan Tariando’ yang mengancam Kerajaan Baebunta Luwu’, maka Datu Luwu di Baebunta mengeluarkan maklumat kepada seluruh wilayah kekuasaannya serta tetangga kerajaannya bahwa barang siapa yang berhasil menaklukkan Tariando’ maka akan diberi hadiah apa saja dari Datu Luwu’.

Maklumat sang Datu Luwu’ itu didengar pula oleh Lalong di Toraja bahwa Datu Makole’ Baebunta sedang mencari orang kuat dan berani untuk melawan Tariando’, maka Lalong kemudian pergi menghadap Datu di Luwu’ serta menyatakan kesediaannya untuk membantu Datu Luwu’ mengatasi kekacauan yang diakibatkan oleh Tariando’ dan pasukannya tersebut.

Datu Luwu’ pun menjanjikan akan memenuhi apa saja keinginan Lalong jika ia berhasil mengalahkan Tariando’. Segera Lalong kembali ke Toraja untuk mengumpulkan pasukannya. Setelah terkumpul, mereka berangkat ke Luwu’ untuk kemudian menuju ke daerah pendudukan Tariando’. Dalam serangan tersebut mereka didukung pula oleh pasukan-pasukan dari Datu Luwu’.

Lalong mulai bergerak menyusuri sungai Sa’bang yang merupakan jalan menuju ke daerah pertahanan dari Tariando’. Seperti diketahui bahwa Tariando’ selalu menganggap dirinya berani dan kebal. Dia akan menantang siapa saja orang yang datang dengan maksud merebut kembali daerah yang telah dikuasainya itu.

Selama beberapa waktu berlalu Lalong bersama pasukannya berjalan kaki sampailah mereka di sekitar pertahanan dan persembunyian dari pasukan Tariando’ di Seko-Rongkong. Suatu saat Lalong akhirnya dapat berhadapan langsung dengan Tariando’ sang pemimpin pasukan lawan, di suatu tempat ketinggian bernama Lena’. Perang tanding berlangsung dengan sengit dan tidak berapa lama kemudian Tariando’ kalah dan tewas di tempat itu.

Setelah menewaskan Tariando’, dengan kesaktian yang dimilikinya Lalong kemudian menghantam batu tempatnya berdiri dengan hentakan kaki sehingga meninggalkan tapak kakinya di atas batu. Kejadian itu sangat mengagetkan dan membuat takjub sisa pasukan Tariando’. Karena ketakutan mereka semua kemudian melarikan diri tercerai berai. Sampai sekarang bekas telapak kaki dari Lalong masih ada dan menjadi cerita besar di kalangan masyarakat Luwu’ dan orang Toraja Rongkong. Situs batu Bekas Telapak Kaki Lalong dapat ditemukan di Batu Api Gunung Tiroan, sedangkan Benteng Lalong yang merupakan susunan batu yang menyerupai benteng berada di Buntu Tiroan.

Situs Batu Tapak Kaki Lalong di Tiroan
(Sumber ilustrasi : Arisandi Har Channel)

Sejak tewasnya Tariando’, semua pengikut dan rakyatnya lari meninggalkan Rongkong dan Seko kembali ke wilayah asalnya di utara di bagian tengah Sulawesi. Kemudian wilayah yang ditinggalkan tersebut kini ditempati oleh pasukan-pasukan dari Lalong. Dikemudian hari mereka mengajak keluarga-keluarganya masing-masing untuk pindah dan menetap di tempat itu. Mereka inilah yang kemudian dikenal sebagai orang Toraja Rongkong dan Seko.

Lalong yang telah berhasil menaklukkan Tariando’, lalu menghadap Datu Luwu’ Baebunta untuk menyampaikan kemenangannya. Datu pun sudah siap akan memberi hadiah kepada Lalong, sesuai yang dijanjikannya. Namun Lalong mengatakan bahwa dia tidak memerlukan harta yang banyak, dia hanya akan meminta wilayah tertentu untuk tempat mengembalakan ternak kerbaunya bersama pengikutnya.

Datu Luwu’ menyetujui dan memberikan kesempatan pada Lalong untuk memilih lokasi yang diingikan. Sesuai dengan permintaan Lalong sendiri bahwa daerah yang dipilihnya itu nantinya hanya seluas jarak yang dicapai oleh tembakan sumpitnya. Kemudian di tempat yang telah dipilih oleh Lalong, Datu Luwu’ mempersilahkannya menyumpit ke arah Timur, Barat, Utara dan Selatan.

Lalong meniupkan sumpitnya untuk menandai lokasinya

Datu Luwu’ tak menyangka bahwa Lalong adalah orang yang luar biasa lagi sakti, setelah mulai menyumpit kali pertama dari daerah tempatnya berdiri di daerah yang dinamakan Tiroan Rongkong dengan satu sumpitan yang mengarah sangat jauh ke sebelah Timur sampai Malawe Salu Lemo. Kemudian arah ke Barat sampai di Beroppa’, dan ke arah Selatan sampai Salu Banga (Batu sitanduk), serta di sebelah Utara sampai Patila di perbatasan Sulawesi Tengah.

Karena sebelumnya sudah dijanjikan dan disetujui oleh Datu Luwu, maka di seluruh wilayah itu Lalong bisa leluasa menggembalakan kerbaunya, yakni dari daerah yang merupakan separuh dari Kerajaan Luwu’.

Persetujuan ini berlaku pula bagi orang Toraja Rongkong. Mereka dapat bertani dan beternak di dalam wilayah itu. Seluruh wilayah tersebut termasuk wilayah pemerintahan atau kekuasaan dari Datu Luwu’ Baebunta.

Dengan menetapnya keluarga-keluarga dari pasukan Lalong di daerah Rongkong, maka wilayah Seko-Rongkong menjadi wilayah yang didiami oleh turunan Lalong dan pengikutnya sebagai Suku Toraja Seko-Rongkong. Mereka dapat menggembalakan ternaknya sejauh sesuai perjanjian Lalong dengan Datu Baebunta.

Sampai sekarang cerita Lalong sebagai pahlawan dari Kerajaan Luwu’ dahulu kala masih tetap diwarisi oleh suku Toraja Rongkong dan Seko dengan perjanjian :

“Iko Rongkong na po ulunna Wara’, napotinti malambe’na Palopo dengan tanda keris.” Artinya: Rongkong adalah ujung kepala dari Kerajaan Wara’ (Luwu’), dan pengharapan dari Palopo, maka tiap tahun Rongkong Ma’gawe/ makasiwiang kerbau dan Seko Besi ke Raja Luwu’ di Palopo.

Demikianlah cerita legenda Lalong dari daerah Toraja yang diceritakan kembali oleh admin ACTblog dengan beberapa revisi kalimat namun tidak mengubah jalannya cerita utuh seperti yang dibuat oleh L.T. Tangdilintin dalam buku I Ceritra Rakyat dengan judul yang sama.

Sumber: (Cerita Rakyat Bagian I - diterbitkan oleh Balai Penelitian Sejarah Dan Budaya – Ujung Pandang Thn. 1980)

👉 Cerita Lainnya:

Cerita Rakyat-Tulangdidi' (Bahasa Indonesia)

Cerita Rakyat-Lalong (Bahasa Indonesia)

Cerita Tulang Didi' [Indonesian]

noreply@blogger.com (Unknown) — Sat, 07 Sep 2019 08:33:00 +0000

Judul Asli : Uleleanna Tulang Didi'
by : Drs. J.S. Sande

category : Ulelean Pare

Uleleanna Serre' Datu (Bahasa Toraja)

Ada seorang anak perempuan bernama Tulang Didi’ dan pekerjaannya setiap hari adalah menenun. Dia selalu dimanjakan orang tuanya. Ayah Tulang Didi’ setiap hari pekerjaannya adalah berkebun dan pergi berburu di hutan.

Pada suatu hari Tulang Didi’ menenun, dan ayahnya pergi melihat tanaman padinya di sawah. Tulang Didi’ sedang menenun dengan asiknya di kolong rumah, tiba-tiba datanglah anjing kesayangan ayahnya merusak dan mengotori tenunannya. Tulang Didi’, karena sangat marahnya, dipukullah anjing kesayangan ayahnya dengan Balida’ (batang kayu untuk memadatkan benang pada sebuah alat tenun, biasanya terbuat dari kayu buangin – sejenis cemara) dan anjing itu pun mati. Karena sangat takut akan murka ayahnya, Tulang Didi’ menyembunyikan bangkai anjing itu, menutupinya dengan potongan tikar yang sudah usang di samping rumah.

Ketika ayahnya pulang dari sawah, Tulang Didi’ pura-pura tetap menenun di kolong rumah. Tiba-tiba datang terbang seekor burung gagak di samping rumah sambil mengeluarkan suara, “Kaaak …kaaak gagak …, ada apa di samping rumah dibungkus dan ditutupi tikar usang yang robek.” Ayah Tulang Didi’ yang mendengar suara burung gagak itu, lalu mananyakan hal itu kepada Tulang Didi’.

Tulang Didi’ lalu menjawab, “Ayah, … tadi saat sedang menenun, datang si Bolong (nama anjing ayahnya) merusak dan mengotori kain tenunan saya. Lalu saya pukul dengan Balida’ sampai mati.” Mendengar itu ayahnya sangat marah, saat itu juga ia berkata kepada Tulang Didi’, “Karena engkau sudah membunuh anjing kesayangan ayah maka ayah akan membunuh engkau pula.”

Ketika ayahnya keluar dari rumah hendak membawa Tulang Didi’ untuk dibunuhnya, dengan sembunyi-sembunyi sang Ibu yang sangat menyayangi anak perempuannya itu memberikan sebiji telur ayam dan tiga butir beras kepada Tulang Didi’ sebagai bekal di jalan. Demikianlah Tulang Didi’ lalu mengikut ayahnya ke padang belantara untuk dibunuh. Setelah agak lama berjalan, bertanyalah sang ayah kepada Tulang Didi’ katanya, “Di sinikah tempat yang tepat untuk membunuhmu?” Tulang Didi’ lalu menjawab, “Masih jauh ayah, tempat itu adalah tempat dimana binatang-binatang berkumpul dan burung-burung berkerumun.” Mereka lalu meneruskan perjalanannya lagi dan akhirnya tiba di sebuah bukit yang menjadi tempat orang-orang biasa melakukan persembahan kurban dan menjadi tempat bertengger burung-burung. Tulang Didi’ melihat sebuah sarang burung Tekukur di rumpun-rumpun pohon ilalang, lalu segera meletakkan dengan sembunyi-sembunyi telur ayam dan beras yang diberikan ibunya tadi pada waktu berangkat. Setelah itu ayahnya bertanya lagi, “Di sinikah tempatnya hai Tulang Didi’?” Tulang Didi’ lalu menjawab, “Yah disinilah ayah, laksanakanlah niatmu ayah, dan sekarang aku serahkan diriku untuk dibunuh dan silahkan ayah membunuh aku.” Ayah Tulang Didi’ lalu melakukan niatnya membunuh anaknya di tempat itu, kemudian ia pulang kembali ke rumahnya.

Kira-kira empat minggu kemudian atau dua puluh delapan hari lamanya setelah Tulang Didi’ dibunuh ayahnya, telur ayam yang diletakkan Tulang Didi’ di sarang burung Tekukur menetas dan keluarlah seekor ayam jantan yang biasa disebut dalam bahasa Toraja “Londong”. Londong atau ayam jantan ini makin hari makin bertambah besar sehingga mulai belajar berkokok. Londong tersebut pergi pula mencari makan dan kemudian menemukan ulat Tulang Didi’ berhamburan di tanah. Ia lalu berkokok untuk mengumpulkan ulat-ulat tersebut. Ayam itu berkokok lagi, berturut-turut sambil bersuara, “Kukkua’ …kukkua’, ….. berkumpullah tulang-tulang Tulang Didi’; Kukkua’ …kukkua’ …. berkumpullah daging Tulang Didi’; Kukkua’ … kukkua’ ….. hiduplah kembali hai Tulang Didi’.” Akhirnya Tulang Didi’ hidup kembali karena ayam jantan ini berkokok terus menghidupkan kembali tuannya.

Tulang Didi’ yang telah hidup kembali, setelah dapat berbicara lalu berkata kepada ayam jantannya, “Sekarang saya telah hidup kembali tetapi tidak ada pakaian dan makanan.” Lalu ayam itu berkokok lagi sehingga lengkaplah segala kebutuhan bagi Tulang Didi’.

Setelah kebutuhan ini sudah mencukupi semuanya dan lengkap adanya lalu Tulang Didi’ berkata pada ayamnya, “Sekarang kita telah kaya, hidup serba cukup tetapi tidak mempunyai rumah, tidak ada tempat untuk berkebun dan mengolah sawah.” Ayam itu lalu berkokok lagi, “Kukkua’ … lengkaplah rumah tuanku Tulang Didi’; Kukkua’ …lengkaplah wilayah kuasa Tulang Didi’.” Semua permohonan Tulang Didi’ terkabul dengan melalui kokok ayam sakti ini.

Akhirnya Tulang Didi’ berkata lagi kepada ayamnya, “Kita ini sudah tidak kurang sesuatu apa, makanan ada, rumah ada, tanah ada, tetapi ada satu lagi yaitu manusia untuk mengisi negeri yang kaya raya ini dan untuk mengolah tanah yang luas ini.” Ayam jantan atau Londong Tulang Didi’ itu berkokok lagi, “Kukkua’ … jadilah manusia dalam negeri ini.” Pada saat itu terciptalah manusia penduduk negeri yang serba ada itu.

Pada suatu hari ibunda Tulang Didi’ pergi mencari sayuran pakis di dekat muara sungai yang kebetulan alirannya bersumber dari hutan tempat Tulang Didi’ dan ayam jantannya membangun satu negeri yang indah dan lengkap. Dari aliran sungai itu dia melihat gabah-gabah beras yang sedemikian banyak dihanyutkan air sungai ke muara. Melihat kejadian itu, ibu Tulang Didi’ kembali pulang kerumahnya, kepada suaminya ia menceritakan tentang apa yang dilihatnya tadi, bahwa di dalam hutan pasti ada seorang raja yang kaya raya dengan tanahnya yang subur dan luas. Kedua orang itu saling mempercakapkan peristiwa yang aneh tersebut, lalu mereka berkesimpulan untuk pergi melihat dan mencari tahu tempat asal atau sumber daripada gabah-gabah padi yang dihanyutkan air sungai.

Keesokan harinya kedua orang tua ini pergi menelusuri aliran sungai dari hutan itu jauh masuk ke dalam hutan. Ditengah-tengah hutan itu mereka mendengarkan bunyi lesung orang sedang menumbuk padi dengan ramainya. Mereka terus mencari sumber bunyi lesung itu. Akhirnya sampailah mereka di suatu negeri yang indah dengan bangunan rumah-rumah adat yang diukir, lumbung tempat padi yang berjejer beserta masyarakat yang hidup aman dan makmur. Melihat keadaan ini kedua orang tua tersebut menjadi segan untuk masuk bertanya ke dalam halaman rumah sehingga ia terpaksa hanya berjalan di luar pagar halaman rumah. Dari atas rumah Tulang Didi’ melihat kedua orang tuanya itu, lalu disuruhlah hambanya untuk menjemput mereka. Mereka berdua dipersilahkan masuk ke dalam halaman rumah, lalu diterima sebagai tamu di lumbung oleh Tulang Didi’.

Dalam percakapan dengan mereka, Tulang Didi’ masih berusaha untuk menyembunyikan fakta bahwa dia adalah anak mereka, tetapi kedua orang tua itu tetap kukuh bahwa roman muka dari orang yang diajak mereka berbicara sangat mirip dengan anak mereka yakni Tulang Didi’.

Pada akhirnya, Tulang Didi’ mengaku dan berkata, “Akulah Tulang Didi’ yang kamu bunuh di padang belantara oleh karena membunuh anjing kesayanganmu yang bernama Bolong, dan saya hidup kembali oleh karena telur ayam yang diberikan Ibundaku menetaskan seekor ayam jantan. Ayam jantan inilah yang berbunyi dan berkokok menghimpun seluruh tulang-tulangku, daging-dagingku yang sudah berhamburan untuk dihidupkan kembali.” Mulai pada waktu itu mereka hidup bersama dalam negeri yang indah itu dengan bahagia, aman dan makmur sebab segala kebutuhan serba lengkap.

Pada suatu hari Tulang Didi’ akan mengadakan pesta pengucapan syukur. Dia dan rakyatnya mulai mempersiapkan segala sesuatunya karena pesta adat ini adalah pesta yang dianggap paling mulia dan paling tinggi.

Rakyat di dalam negeri itu masing-masing melaksanakan pembagian tugasnya sesuai dengan perintah dari tuannya. Perempuan-perempuan dan gadis-gadis yang masih remaja menumbuk padi dengan alunan bunyi lesung yang sangat ramai sebagaimana lazimnya di kampung-kampung. Tiba-tiba ayam jantan kesayangan Tulang Didi’ ini pergi ke dekat lesung memakan beras, lalu seorang yang bekerja di situ langsung memukulnya dengan nyiru.

Londong atau ayam jantan ini lalu pergi mendapati tuannya, dan berkata, “Saya telah dipukul oleh orang yang bekerja di tempat menumbuk padi, sekarang saya mohon izin untuk pergi dari sini.” Tulang Didi’ kemudian menjawab, “Kalau demikian keinginanmu saya juga akan turut pergi mengikut engkau, kemana pun engkau pergi saya akan ikut.”

Tulang Didi’ dan ayam jantannya kemudian memohon izin kepada kedua orang tuanya sambil berpesan, “Sekarang saya dan ayam kesayanganku akan pergi, Ayah dan Ibu tidak perlu lagi bersusah karena semuanya telah sedia dan lengkap. Jika Ayah dan Ibu rindu padaku tengoklah anakmu bersama ayam kesayangannya di bulan dan sekarang izinkanlah kami berangkat.”

Ayam jantan itu dengan tangkasnya terbang menuju ke bulan dan Tulang Didi’ berpegang pada jalu atau susuh kaki ayam itu. Itulah sebabnya jika bulan purnama nampaklah bayangan seperti manusia di dalam bulan dan menurut orang Toraja itulah Tulang Didi’ dengan ayamnya yang sudah menjadi dewi bulan.

Mengenai Ayah dan Ibunya serta semua penghuni negeri tinggallah di bumi dan itulah yang berkembang dan menjadi leluhur manusia toraja yang ada sekarang.

Demikianlah cerita Tulang Didi’ ini.

Uleleanna Tulang Didi' [Bahasa Toraja]

noreply@blogger.com (Unknown) — Tue, 03 Sep 2019 06:22:00 +0000

Judul Asli : Uleleanna Tulang Didi'
Oleh : Drs. J.S. Sande

Kategori : Ulelean Pare

Cerita Rakyat Lalong (Bahasa Indonesia)

Den misa’ pia baine disanga Tulang Didi’. Iate Tulang Didi’ manarang ma’tannun. Iatu Tulang Didi’ napakaboro’bang tomatuanna. Ambe’na Tulang Didi’ birisan lako padang sia pangngula’ bai ala’ tama pangngala’. Iatu ambe’na Tulang Didi’ umpatuo misa’ asu bolong. Iatu asunna susi tau.

illus. Tulangdidi' - marassan ma'tannun

Denmi sangngallo ma’tannunmi tu Tulang Didi’, naia tu ambe’na male untiro parena lako padang. Iatonna marassan ma’tannun tu Tulang Didi’ lan bala (sulluk banua), saemi tu asu bolong ussalangka-langka tannunna Tulang Didi’, nasambakkimi balida tu asu namate. Belanna mataku’ lako ambe’na tu Tulang Didi’ nasamboimi sareale dio la’pek banua.

illus. Tulangdidi' na bolong

Iatonna sulemo tu ambe’na Tulang Didi’ untiro parena, marassambang tu Tulang Didi’ ma’tannun lan sulluk banua. Pakalan anna saemo tu kadoya dio la’pek banua ma’kaak-kaak nakua, “Kaak …kaak kadoya …. ba’tu apa dio la’pek banua disamboi sareale ditilanni sare ampa’.” Narangngimi ambe’na Tulang Didi’ namebali nakua, “Apamo ade’to Tulang Didi’.”

Ma’kadami tu Tulang Didi’ lan mai sulluk banua nakua, “Ladipatumbari ia ambe’ anna bolong tu kusambakki balida ina’ namate.” Sengkemi tu ambe’na Tulang Didi’ nakua, “Asu tangkumasean penaa tu, totemo laku pasipuli’ko tu bolong.” Iatonna laumpatei ambe’na tu Tulang Didi’ na alanni indo’na tallo’ manuk misa’ na pakinalloanni sola barra’ tallung lise’.

Susito malemi nasolan ambe’na tu Tulang Didi’ lana patei dio tangnga padang. Tonna malilumo tu ambe’na lumingka mekutanami lako Tulang Didi’ nakua, “Umbara nani lakuni umpateiko? iamoraka indete?” Nakuami tu Tulang Didi’, “Mambelapa ambe’ tu kasirampunanna olo’-olo’ tu kasiunduanna bu’ku’-bu’ku’.”

Iatonna lambi’mi tu misa’ tanete inan pemalaran nakitta’mi Tulang Didi’ tu serang bu’ku’ napessisiran bunimi Tulang Didi’ tu tallo’ manukna rokko to’ serang bu’ku’ lan to’ garonto’ botto’, namane mekutana tu ambe’na nakua , “Iamoraka te tu lakuni umpateiko?” mebalimi tu Tulang Didi’ nakua, “Iamo te ambe’, pogau’mi tu pa’porannuanmi.” Napateimi ambe’na tu Tulang Didi’ indeto tanete iato. Tonna matemo tu Tulang Didi’, sulemi tu ambe’na lako banua.


illus. tallo'manukna Tulangdidi' dio to'serang bu'ku'

illus. manukna Tulangdidi'

Umbai patang pasa’ mangkanna napatei ambe’na tu Tulang Didi’, ma’tesseimi tu bu’ku’, natessei duka tu tallo’ manuk napopentiola Tulang Didi’, undadian misa’ manuk “londong”. Iate Londong sia kasalle-sallena sia kinaa-naanna duka ia .

Tonna randukmo unnoni, denmi pissan namale undaka’ batik lako tu dininna unpatei Tulang Didi’. Nakitta’mi tu ulli’ Tulang Didi’ tisambo’-sambo’. Unnonimi tinde Londong nakua, “Sirampunko ulli’na Tulang Didi’.” Sirampunmi sae tu ulli’na Tulang Didi’. Natolei unnoni tu londong nakua , “Sirampunko bukunna Tulang Didi’. Sirampun omi sae tu bukunna Tulang Didi’. Namane untolei unnoni tu londong nakua, “Sirampunko duku’na Tulang Didi’.” Sirampun omi sae tu duku’na Tulang Didi’, nama’katampakanna unnoni tu londong nakua, “Tuoko sule Tulang Didi’.” Sae lako tuo tongan sule tu Tulang Didi’.

Iatonna tuomo sule tu Tulang Didi’ nakuami lako manuk londongna, “Tuomo’ dikka’ apa tae’mo pakeanku.” Natolemi unnoni tu londong nakua, “Saeko pakeanna Tulang Didi’.” Saemi tu pakean sanda rupanna lanapake Tulang Didi’.

Tonna ganna’mo tu pakeanna Tulang Didi’, ma’kadaomi tu Tulang Didi’ nakua, “Denmo tu pakean apa tae’mo tu ladikandena.” Unnoniomi tu londongna nakua, “Saekeo kande sanda rupanna.” Mangkato nakuami Tulang Didi’, “Ganna’mo sae tu ladikandena, apa tae’omira tu banua ladinii umpatuo rambu.” Unnoniomi tu londongna nakua, “Saeko banua sakka’ parena,” saemi tu banua sibaa alang ponno pare dao.

illus. manuk londongna Tulangdidi'

Iatonna ganna’mo katuoanna tu Tulang Didi’, nakuami Tulang Didi’ lako londongna, “Sakka’mo rupanna tu ladi potuonna, sugi’ moki’, apa tae’mira tu tau laumpengkaranganki’. Natolemi tu londongna unnoni nakua, “Saeko ma’rupa tau.” Iatonna mangkamo unnoni, saemi tu tau ba’tu pira-pira lanasua mengkarang dio padang sia dio banua.

Tonna dadi nasangmo, ganna’mo sia sundunmo tu katuoanna Tulang Didi’, budamo kaunanna. Iatu tau allo-allo bangmo mengkarang sia ma’lambuk lan tu tangnga pangngala’ nanii Tulang Didi’.

Pakalan denmi sangngallo, malemi tu indo’na Tulang Didi’ undaka’ utan paku lako randan salu sikandappi’ pangngala’ nanii Tulang Didi’. Natiromi tu ta’pian nabaa wai lanmai pangngala’. Mangngami tu indo’na Tulang Didi’ untiroi kumua nadenno ia ta’pian nabaa uai lammai pangngala’.

Sulemi tu indo’na Tulang Didi’ lako banua umpokadanni ambe’na kumua den ia ta’pian nabaa uai lanmai pangngala’. Tonna mangkamo indo’na Tulang Didi’ ungkuanni, sipa’kada-kadami sola duai nakua tamale umpellambi’i, ba’tindamo ia tu buda parena lan pangngala’, tantuya to sugi’to.

Malemi sola duai urrundunanni tu salu nanii tassu’ ta’pian lanmai pangngala’. Pakalan anna tiallingmo narangngi sola duai tu toma’lambuk. Tonna rampomo tama to’ luba’ba (paladan) sola duai, makalidikmi kalena untiroi banua sola alang sura’ sia iatu mintu’ tomengkarang lendu’ ia budanna.

Iatonna tiromi Tulang Didi’ bendan dio to’ babangan nasuami tu tau lalo untammui anna disua unno’ko’ dao alang dadi toratu. Tae’ anna ta’de dio pentirona Tulang Didi’ tu rupanna ambe’na sola indo’na, susi dukato tu tau sola duai simpolo tilantak diong penaanna tu rupanna Tulang Didi’.

Tonna sipa’kada-kadamo Tulang Didi’ tu toratunna soladuai, nabuni bangmi kaunanna kumua tangngia ia Tulang Didi’. Ma’pentallunnari namane mangngaku tu Tulang Didi’ nakua, “Akumo Tulang Didi’ tumangka mipatei lan pangngala’, tumipasipuli’ asu bolong. Iari kutuo sule, iari tu tallo’ manuk napakinalloanna’ indo’ku umpatuona’ sule.”

Iatonna makaroenmo diposaranmi ma’rupa-rupa kande melo, ditunuan tedong, bai, manuk sia mintu’-mintu’na kande melo tongan. Randuk allo iato, iatu tomatuanna torromo ia sola Tulang Didi’, manamanmo katuoanna, belanna napapa’kannimo ia Tulang Didi’ tu pandarananna indo’na sola ambe’na.

Apa den pissan nalama’marua’-rua’ tu Tulang Didi’ laumpogau’ sara’. Mengkarangmi tu kaunanna, sia ma’lambuk, pandolo-dolomi te londongna Tulang Didi’, dio to’ issong, nasambakkimi barang toma’lambuk. Sengkemi te londong lako Puangna (Tulang Didi’) nakua, “Mangkana’ nasambakki barang to ma’lambuk lan to’ issong, lamalemo’ aku.” Nakuami Tulang Didi’, “Umba-umba munii male ia duka lakunii male unnula’ko.”

Mentia’mi te londongna Tulang Didi’ langngan langi’, na iatu Tulang Didi’ undi dio to’ tarana namale tama Bulan dao langi’. Iatonna lamalemo nakuami lako tomatuanna sola duai kumua, “Iake mamali’komi tirobangmokan lan bulan sola londongku.”

illus. Tulangdidi' sola manukna mentia' langgan bulan

Tulang Didi’ mora sola manukna tu Kanaan lan bulan tu ditiro ke bulan melo (bulan taro-taro). Susito torromi ia tu Tulang Didi’ dao bulan sola londongna, naia tu pa’kurinanna (kaunanna), ambe’na sola indo’na torromo lan lino, iamo tu memba’ka’ sae lako totemo.

Dikisahkan kembali oleh : Admin A.C.T

👉 Cerita lainnya:

Cerita Lebonna,Paerengan, dan Dodeng

Cerita Serre' Datu

Toraja Photos - Rambu Solo' Event

noreply@blogger.com (Unknown) — Tue, 11 Aug 2015 03:55:00 +0000

Ma'Palao - Tongkonan Tanete Buntao'

Tongkonan Tanete Buntao'

Ma'Pairu' (penerimaan tamu) - Tongkonan Tanete Buntao'

Penerimaan Tamu dengan iringan Pa'Marakka - Tongkonan Tanete Buntao'

To Mamulle Bai (pada saat penerimaan tamu) - Tongkonan Tanete Buntao'

Tongkonan Tanete Buntao' - Acara Rambu Solo'

Passuling Toraja (Pa'Marakka) Buntao'

Top 7 Hotels In Tana Toraja

noreply@blogger.com (Unknown) — Sat, 23 Apr 2011 15:36:00 +0000

Category: Tourism/ Hotel

Tana Toraja is one of the most exotic tourist destination of Indonesia. Toraja is under the territory of South Sulawesi which is about 30 minutes drive from Pongtiku Airport in Toraja or about 8 hours from Makassar, the main capital city of South Sulawesi. Toraja is well-known as a main tourist destination of Indonesia offering nice landscape, mountain view, rice fields with terraces, and also unique culture and traditional from Torajanese people.

Since tourism is one of the main industries for this region, the accommodations are top class. You can choose your place of stay according to your preference and budget. You might go for modest facilities in a medium sized hotel or you might put up in a luxurious and trendy resort with a huge room and a glorious view.

Hotels in Toraja cater to people of all tastes. A hotel might offer deluxe or luxury rooms depending upon your budget.

You can review some of the Hotels that exist used by tourist when visit Toraja. This simple guide to the 7 top hotels in Tana Toraja that we found and collecting from some source:

1. Indra Toraja Hotel - (Star: )
Location : Rantepao - Jl. Landorundun No.63

Indra Toraja Hotel

The Indra Toraja Hotel features affordable accommodation through its 65 spacious and air-conditioned guest rooms. Guest at the Indra Toraja may arrange to use the Hotel's equipped conference rooms and business center for organizing corporate events and social gatherings. The Hotel also offers various dining options including a restaurant located within the premises.

2. Misiliana Toraja Hotel - (Star: )
Location : Rantepao - Jl. Jurusan Makale

Misiliana Toraja Hotel

Misiliana Hotel Tana Toraja is located in Tana Toraja, Rantepao the Majestic highlands of South Sulawesi. Misiliana Hotel Tana Toraja decorated and designed with architecture and atmosphere of Toraja land.

This hotel offers rooms that feature contemporary furnishings and décor. The friendliness of the staff of Misiliana Hotel Toraja and excellent facilities and fine cuisine complement the beauty of its surrounding.

3. Toraja Prince Hotel - (Star: )
Location: Rantepao

Toraja Prince Hotel Tana Toraja is set amidst lovely gardens. Surrounded by lush green vegetation and offering an insight into the Torajanese culture.

Toraja Prince Hotel Tana Toraja offers you a scope to explore the subtle nuances of the Torajanese culture as well as enjoy the traditional Toraja hospitality and warmth. From the location of Toraja Prince Hotel Tana Toraja, you can visit a number of interesting destinations.

Each room offers a splendid view from the mini-terrace. The rooms are all airy, spacious and surrounded by dense vegetation. Room facilities at Toraja Prince Hotel include all the modern amenities to make your stay most comfortable.

4. Marante Toraja Hotel - (Star: )
Location: Rantepao - Jl. Jurusan Palopo

Marante Toraja Hotel

The Marante Toraja Hotel is a constant favorite among travelers. Whether visiting for business or pleasure, guests of the Marante Toraja can find everything they need from spacious, swimming pool to state of the art meeting facilities.

Tongkonan or Toraja traditional houses are symbolic of kinship and hospitality. This is reflected in the architecture and atmosphere of Hotel Marante Toraja. A Haven of luxury and tranquility, ideal for travelers exploring Tana Toraja.

Continental and Indonesian delicacies promise fine dining at the Maleo Restaurant. Relaxed evenings to complement a perfect day. A traditional cultural performance, cocktail in the club lounge, or a quiet drink at the bar. Meet the friendly staffs, enjoy excellent facilities and the beauty of its surrounding.

5. Sahid Hotel in Toraja - (Star: )
     Location : Mengkedek - Jl. Raya Gettengan No.1

The Sahid Hotel is one of the best hotels to stay at while in town. All hotel's guestrooms have all the conveniences expected in a hotel in its class to suit guests' utmost comforts. The accommodation contains all of the facilities and conveniences you would expect from a hotel in its class.
This hotel is characterized by a combination of modern comfort and traditional element of Sulawesi Selatan (South Sulawesi), making it a distinct accommodation

6. Toraja Heritage Hotel - (Star: )
     Location: Rantepao - Jl. Kete kesu

Heritage Hotel Tana Toraja is located in the rugged mountain peaks of South Central Sulawesi which gives you an experience of your lifetime. The Location of Toraja Heritage Hotel is convenient for the guests explore the city.

The warmth of their hospitality is what makes Heritage Hotel Toraja special and makes you look forward to it.

Heritage Hotel Tana Toraja has some of the best landscaping and tropical gardens. All guests can relish their stay where all their needs are met up with smiling faces.
For shopaholics, there are many markets and shops alongside the streets where you simply cannot resist the bargains. For those who dare to be adventurous, there is an array of activities like mountain biking, hiking, mountaineering and many more.

7. Luta Resort, Tana Toraja - (star : )
     Location : Rantepao - Jl. Dr. Ratulangi. No.26

Luta Resort, Tana Toraja

Luta Resort Tana Toraja is one of the best and favorite hotels in Rantepao, Toraja, located at the center of Rantepao with view over the rice fields and mountains, on the back of the hotel adjacent to the River Sa'dan

Luta Resort in Toraja was adapted from the local traditional architecture of Torajan House. Interiorly furnish with International standard amenities of a starred hotel.

Quality services paired with stylish amenities assure the guests with a comfortable and luxurious stay at Luta Hotel Toraja. The hotel is plush but quite affordable. If you want to have luxury at an affordable price then this is the best holiday retreat for you.

The picturesque locale, wonderful accommodation facilities and the assortment of amenities are the reason for which the accommodation is regarded as a favorite of the tourists.

You can also search other hotels in Toraja through our hotel search box that we provide to help you find the best hotel. Please try the hotel search box now.

~o~

American Indian Myths and Legends (Pantheon Fairy Tale & Folklore Libr…

Polopadang And Deatanna [English] - (Part 2)

noreply@blogger.com (Unknown) — Sat, 16 Apr 2011 13:43:00 +0000

by : Bua' Sarungallo

category : Tale & Folklore

One day, Polopadang arrived at the waterfront. In the distance the skyline. He was hampered by a vast ocean to reach the edge of the sky. Polopadang cry of despair. How to cross the sea?

When it appears an albino buffalo (aka. Tedong Bulan). On his back stuck a spear.

"Why are you crying?" He told Polopadang.
Polopadang tells his desire to reach the edge of the sky to climb into the sky looking for his wife and son.

Tedong bulan promised to take him across the sea, provided that Polopadang willing to pull out the spear stuck in his body.

Polopadang not just pull out the spear, but also promised that he and his descendants will not eat the meat of albino buffalo. (That was the beginning of why Toraja people does not eat meat of "albino buffalo"). Who breaks the promise Polopadang, would be affected with scurvy.

Tedong Bulan then transports Polopadang up to the edge of the sky. Apparently, there also he could not climb into the sky. Again he cried sniffle.

Hear the cries Polopadang, the Sun feel moved. Sun asks her sister, the Moon, for bringing Polopadang to the sky.

With the help of the Moon, Polopadang finally arrived at the sky. He then hid near a well, when one of the girls maid Deatanna, come take a water bath for Pairunan. Polopadang secretly put a top that he brought from Earth into the water tube.

When Pairunan was fun washed away, a top fall out of water tube. Pairunan and Deatanna aware that Polopadang has reached the heavens.

However, suffered Polopadang not over. When he was about to meet his wife, he was ordered to carry water in a basket for his wife.

How is it possible? Polopadang back tears of despair.

As well as on the Earth, animals in the sky also intrigued to hear cries of polopadang. At first the eel come to help. He was wrapping his body in the basket, so that water can be transported without dripping out. In return, Polopadang had to promise that he and his descendants would not eat the meat of eel. Without other options, Polopadang then promise.

Transporting the water successfully met, appears other terms. Polopadang have to supplying water from the well to the house Deatanna, that distance is far enough. Fortunately a group of crab willing to help dig the drains.

After making the channel, he was required to spend all of sweet potatoes in the garden. Boar reaches out for help. whole sweet potatoes out devoured by the hordes of boar.

Deatanna not yet convinced. Polopadang was ordered again to fill the four fruit basket with corn seeds. Should not be at once,, but must be entered one by one, the seeds for the seed. Mice turn helps Polopadang.

Deatanna heart finally persuaded. She and Pairunan willing to return to earth. But there is one condition that must be filled Polopadang.

As a husband and father, he should be able to recognize his wife and son among many people in the dark. Fireflies and the Cats came to help Polopadang. The cat approached Deatanna and Pairunan, and meows give instructions for Polopadang. Relying on the sound of a cat, Polopadng over to his wife and son. After the close, firefly landed on bun Deatanna. By flashing fireflies, Polopadang can recognize his wife and son at the same time.

Toraja Folklore or myth, often used by parents in Toraja in the past to convey moral messages for young people, and often retold by word of mouth, from generation to generation.

There is no record that became an official benchmark the actual source of the story. The story remains a myth that is usually only known by their parents or who still know more about the sagas of Toraja.

As it is known that myths usually based upon the beliefs of the local people against the supposition would be something and be forgotten or lost along with the change of the culture and beliefs.

Until now many Toraja People who do not know anymore their local sagas and forget a lot of the attract stories of Toraja.

Hopefully , Myth of Deatanna and Polopadang it could increase the repertory of stories and myths of the past Toraja culture.

Meet For the Next Story .....

Next: 👉 Also read folklore of SERRE' DATU

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Polopadang And Deatanna [English] - (Part 1)

noreply@blogger.com (Unknown) — Wed, 23 Mar 2011 21:02:00 +0000

by : Bua' Sarungallo

category : History and Culture

On a sunny day, Polopadang came out for a walk alone. He is still single. Suddenly, he saw the light of the Rainbow are based on a garden corn. Polopadang stunned, her curiosity emerged. Wonder and amazement, in his mind asks why Rainbows could appear in there ? He then ran down there.

Arrive in there, he was flabbergasted. He saw a beautiful girl is stepping down from the Rainbow. Mindlessly, Polopadang crashing out and embraced her tightly.

Embraced by a man who is not known, the girl who turns out was a goddess of the heaven named Deatanna immediately snapped: "why you dare touch me that a goddess!"

" Beautiful Princess, I want to make you as my wife," answer Polopadang without trepidation.

Deatanna rebelled, attempting to escape, but failed. Polopadang too tight hugs. Polopadang does not want the goddess regardless of his hand. Deatanna finally gave up and accepting Polopadang proposed. But, on the condition that Polopadang should not be uttered the word vile nor a curse.

"If you say the words, I will return to the heaven", firm Deatanna.

Polopadang promised not to violate the requirements of the given Deatanna.

Deatanna stay with him on Earth. Living pillars with Polopadang who founded the House in Gantanan. From their marriage was born a son named Pairunan.

One day, when Pairunan was engrossed playing a top that Polopadang made for him, top it off on his father's feet. Polopadang shocked. Nerve pain jerking. Without he realize, he was cursing his son.

Hear the speech of her husband Deatanna immediately called the Rainbow, and with Pairunan up to the sky, go back to heaven. Polopadang trying to ride the Rainbow but failed. Polopadang stay alone on Earth, single-handedly, mourning his fate.

Life for him does not mean anymore. The bustle of everyday could reduce the desire to Deatanna and Pairunan. Polopadang then departs from Gantanan, down the Earth's surface, looking for his wife and son.

(continued to Polopadang and Deatanna - Part 2)

10 Great Travel Tips

noreply@blogger.com (Unknown) — Tue, 19 Oct 2010 06:48:00 +0000

by : Dan Kiraly

category : Tourism/Travel Tips

I have been to 80 cities in 30 countries. I'm not a travel expert by any means, but I do have some travel advice for the next guy. The biggest tip I can give is to do your research. Most of the tips I'm going to provide fall in this category and will be explained in greater detail.

1. Check travel Warnings and Alerts.
Make sure it is safe to travel where you're heading. Travel Warnings and Alerts are available at any of the regional passport agencies and U.S. embassies and consulates abroad. The information is also available online at the Department of State homepage. All information about travel warnings and alerts are updated constantly.

2. Register your trip.
It is a free service provided by the State Department.
I don't want to deter you from traveling, but there is a good number of tourists that disappear each year. By registering your trip, they will at least have a starting place to look if you go missing.

3. Have the address and phone number of your local Embassy
When traveling abroad, make sure you have the address and phone number of your local Embassy.
In an emergency you want to have this information readily available.

4. Find out if your health insurance company will cover you in an emergency abroad
Before traveling, find out if your health insurance company will cover you in an emergency abroad.
In the event of an emergency, cost is not your first concern, I know. It is however, a third or fourth concern. I had a friend who traveled to Thailand and had to have an emergency appendectomy. He spent four days in a hospital in Bangkok and when he got home he had a bill for $20,000 that wasn't covered by his U.S. provider. A travel insurance policy would have cut that cost to almost nothing.

5. Notify your credit card companies
Notify your credit card companies when traveling to unusual places or for long periods of time. The last thing you want to happen is to have your cards canceled by your credit card company because they believed the card had been stolen.

6. Use a pack cover
When checking your backpack at an airport, use a pack cover to prevent pockets opening and straps catching on conveyor belts. Now I can tell you from experience you don't want to be the person at the airport collecting their pack that is open and ripped to shreds. To add insult to injury, my journal was missing and everyone in baggage claim saw what type of boxers I wear.

7. Keep 20 bucks in your shoe
In an emergency, $20 can get you a ride, meal, and a phone call. It hasn't happened to me but I have met people with horror stories about being robbed abroad. With no money and no ID, they had to beg for a few bucks for a cab ride to the U.S. Embassy.

8. Use a water bottle with a filter
If your unsure about drinking the water where you're going, use a water bottle with a filter.
You can get one at any camping store. When I was in Egypt and I was kicking myself for not having one of these. Remember different countries have different organisms in the water that the locals' bodies are used to. Forgieners might not have that same luck in drinking the water. When in doubt, drink bottled water with a name that you trust.

9. Go with the flow
Traveling, especially aboard is one of the best experiences you could possibly have. You'll meet tons of travelers who just want to see the world and have a good time doing it. Be respectful of others and their beliefs when abroad because they might be different from your own.

10. Be open minded and friendly Be open minded and friendly and I guarantee you'll have a great time.
Until my next article, cheers!

Dictionary Toraja - English

noreply@blogger.com (Unknown) — Sun, 27 Jun 2010 21:02:00 +0000

by : Ravenna

category : History and Culture
Sub Category : Language

Dictionary Toraja-English is a handbook that can help you when do the travel to Toraja or when you do study literature about Toraja. In this dictionary you can found the meaning of words that usually used in both main ceremony type that held in Toraja.

Eventhough yet still in this dictionary Toraja-English that translated in general terms. I mean some words in high level language Torajans is not yet to understand by public and today just used at a particular time when do the ceremony by some people that understanding, be known as to minaa .

Dictionary Toraja-English below containing terminology that commonly found in text articles about Toraja that I collect from various source in term as an guide text. But not it all to the utmost complete set as well as considerable study to understanding Toraja in culture simple enough.

Dictionary Toraja-English

A
Aluk rapasan   = The rules of funeral ceremony for the high nobility in Tana Toraja
Aluk Todolo (aka.Alukta) = original Trust Toraja society, which essentially is a belief in ancestral spirits.
Arruan   = migration groups who entered the Tana Toraja area in search of new residential areas
Arruan Patang Pulo = representatives of indigenous groups in forming an alliance (union) which             mounted to 40.
Arung = title for the leader of the group Arruan forming a customs alliance.

Balakkayan = special building with function to share the flesh from the sacrifice in the funeral ceremony in      Tana Toraja.
Bambapuang = name of a region as well as the limits of the ethnic territory toraja
Bane ' = banana leaves used as a place of offerings
Basse = which is one type of Menhir contained in the death ceremony for the high nobility in Tana Toraja. Literally means the oath or covenant, in a broader sense is a place of covenant or oath relating to human relationships as well as with the all-glorious. Batu Angsa = natural stone that looks like a goose, which is used as a means of ancestor worship ceremonies.
Bombo = ancestral spirits who wander around human settlements.
Bubun = wells or springs.

D
Deata = God according to the belief that the Toraja people in charge to protect human life in the world.
Didoya = One session in a funeral ceremony in Toraja society and takes place in a few days.
Dipasangbongi = Ceremony of death for Toraja people that only transpire in one day.

E
Erong = container for the Toraja tomb made of wood. Used for people who come from middle social stratification or nobles.

K
Kapuran Pangngan = A simple ceremony with offerings of betel set food for Puang Matua as an indication of holding a larger ceremony.
Kandeandulang = footed bowl made of wood
Karopik = square shaped stone structure used as the first burial place for the nobles Toraja.

L
Lakkian = building for storing the bodies in the field of death ceremony.
Lau '   = appelation to the area at Sea

Liang = Complex burial place of a traditional group, which consists of:
        - Liang Sillik : Tomb of the glen /cave
        - Liang Erong : Grave using container erong
        - Liang Toke' : Hanging Grave on the walls of cave
        - Liang Paa' : a carved stone grave
        - Patane : Tomb of special building made to resemble a traditional house Tongkonan

M
Ma'Bugi '   = a kind of ceremony that surrounded the village with a special song to ask the spirits of the ancestors in order to eliminate all the troubles and disasters are rampant.
Ma 'Batang = initial rate of death ceremony, held at Tongkonan for the high nobility.
Ma 'Badong = dancing with a circular formation is accompanied by songs and poems of grief, at the time of the funeral ceremony.
Ma ' Peliang = A funeral bodies in complex Liang.
Ma ' Palao = Ritual death second level have been implemented in the field (aka.rante) for the high nobility.
Ma 'Tundan = ceremony as a wake body, this is will mark the start of the second stage of funeral rites.
Ma ' Pasilaga Tedong = Spreading buffalo in the middle of the field at the time of the funeral ceremony for the high nobility.
Ma 'Parampe = Funeral symbolically on the house before the funeral ceremony was held on a large scale for the high nobility.
Ma 'Tinggoro   = one method to slaughtered a buffalo without bound it with way a single swing of machette in to the neck .
Ma 'Dampi = Treating the sick or people with an unclean spirit.
Mangrui'batu   = one kind of ceremony to held with pull about Menhir (stone) from the place of origin to the field where to be established (set).
Mantunu    = Next stages of slaughtering animal in Tana Toraja's death ceremony
Massemba '    = popular game for men in a way that try a fall (collision) feet, fighting took place on the field and be done in death ceremony .
Massaung    = The game pitted cocks, took place in the field and be done at the time of death ceremony.
Massalusalu   = ceremony that dedicated to the ancestral spirits, in order to out of disaster.
Massura'tallang   = ceremony of thanksgiving to the spirits of the ancestors for the safety and welfare
Merook   = ceremony that dedicated to the highest god as a sign that their ancestors had been accepted as a god in Puya.

P
Padang = 1)Soil ; 2) large areas.
Pa'Puangan   = special place to perform the ceremony, addressed to the supreme god (Puang Matua)
Patane   = tomb which type-shaped Toraja house.
Pesung   = libation ; dedicated offerings in the worship ceremony
Pesungan Bane ' = 1) A type of offerings that are placed on banana leaves, 2)Can also mean a standing stone is used as a medium during a ceremony - for the safety and welfare of mankind.
Puang   = high noble title in Tana Toraja
Puang Matua   = highest god as the creator of the universe and its contents.
Puya = The spirits world (afterlife), it be inhabited by ancestral spirits who have reached the level of saintliness.

R
Rapasan   = special ceremony for the death of the high nobility.
Rambu Tuka '   = ceremony associated with human life in the world, held in the morning in the eastern part Tongkonan.
Rambu Solo '   = ceremony associated with death, held in the afternoon in the west Tongkonan.
Rante   = Place the flat and wide (= field)
Rante Sarapuk   = Place of the ceremony as a sign of gratitude to the ancestors for the welfare and safety.
Rante Simbuang   = The place of a special funeral ceremony for the high nobility.

S
Sarapuk   = Altar stone receptacle in the worship of thanksgiving offerings to deata.
Sarigan   = Place to carry the bodies, shaped like a traditional home Tongkonan.
Sillik    = literally means stuffed. In a broader sense is as a form of burial for the people who come from low social stratification (slave), usually the bodies buried in the crevices of natural caves or in crevices of roots / tree trunks.
Simbuang   = Menhir (standing stone) that serves as a symbol of the ancestors in the implementation of the death ceremony. Also be a place to tie the buffalo were slaughtered in the field before the ceremony for the royal party high mortality.

T
Tana '   = division of social stratification for the Toraja, consisting of:
                  - Tana 'Bulaan (= Noble High)
                  - Tana 'Bassi (= Group medium)
                  - Tana 'Karurung (= Society Regular)
                  - Tana 'KuaKua (= Group of Slaves)
TauTau   = statues are made of wood as the personification of the people who have died
To Manurun   = People who descended from the heaven as leaders of customary groups in Tana Toraja.
To Mabalun    = The special duty to bind the body.
To Membali Puang    = ancestral spirits who have reached the level of god.
To Minaa   = religious leaders
Tondok Lepongan Bulan Tana Matari 'Allo = customs union territories Name Tanah Toraja, before the term used Toraja. The meaning of the name is a country shaped like the moon and illuminated by the sun, which is a country that is a unified whole and intact with a system of power or rule of customary Aluk Todolo.
Tongkonan = House of Traditional Toraja, consisting of
                  - Tongkonan Bato'Ariri   = Tongkonan with function for the family residence in general)
                  - Tongkonan To Parengnge ' = Tongkonan that serves as the home of the head of a group of indigenous customary particular.
                  - Tongkonan Layuk = Tongkonan that serves as a regional government center alliance some custom union. And is the traditional term for a typical Toraja house first built by a particular community in the past, as a place of origin of all the customary rules of society.
To Do (= Dao = Jao) = People who live in higher areas, or in a symbolic show of a ruler.
To Diong (= Jiong) = People who live in lower areas, or in a symbolic show an originating from lower social classes.
To Lannya’ (= To Malajang) = is a person who died just disappear without a note where the bodies.
To Parengnge '= Degree for Indigenous leader or ruling on a particular indigenous group.
Tumpuang = Menhir that serves as the boundary between the sacred and the profane, or as a sign of rejection Try.

Usage A Bamboo As Media For Cooking Food

noreply@blogger.com (Unknown) — Thu, 10 Sep 2009 14:44:00 +0000

by : Ravenna

category : History and Culture

Sub category : At Glance (Toraja Specialty Food)

Cook in a bamboo tube for Torajan is a conventional method that always do. It is a typically food of Torajan that called with Piong. There are several types, but usually find in common fiesta is this one. As a traditional cuisine, Pa'piong was popular menu offered for the guests who attend in a custom ceremony. Also with a special drink called tuak (palm wine).

Guests or visitors that present at the ceremony will be placed in "lantang" that is made specifically to receive the guests. First, the guest will be offered with pangngan (for female guests) and cigarettes (for male guests) as a symbol of appreciation from the family of conducting a ceremony for their guests.

Generally, tourist who came in Toraja to see how the processing of the ceremony, whether it is burial (mourning ) or gratitude ceremonies that called "mangrara banua".

In mourning ceremony, numbers of buffalo that slaughterd of tens or even hundreds.

Attractively when slaughtering held, do without tide up buffalo, someone who will do this procession usually is an expert. One hand holding the rein rope and the other holding the machete. While point upwarding buffalo head, with once swing own's machete in neck buffalo.

Ma'Tinggoro Tedong
Pic Source :Click Here to see Full Size

This procession is called as Ma'Tinggoro Tedong. After the buffalo fall down usually there are person with sprightly will accommodate buffalo blood with media bamboo. Next, this blood will be use as a mixture of ingredients for cooking pa'piong.

Ma' Tinggoro Tedong
Pic Source :Click Here to see Full Size

Piong for community of Toraja is a typical dish of food and have always made at the time of the ceremony somewhere in both rambu tuka ' or rambu solo' ceremony .

There are two types of Piong in general, and in distinction from the making.

1. Piong with the main material of the sticky rice, made at the time gratitude to God ceremony in harvest. Usually called as Pa'piong Bo'bo '.

Pa'Piong Bo'bo'
Pic Source :Click Here to see Full Size

2. Piong with the main ingredients of meat and vegetables mixed with a simple mixture. Called as Pa’piong Duku’.

Pa 'piong duku' was given this name more appropriate type of meat used and divided as:

a. Pa'piong duku 'tedong (meat of buffalo)

b. Pa'piong duku 'Bai (meat of pigs)

c. Pa'piong duku 'manuk (meat of chicken)

Pa'Piong Manuk
Pic Source :Click Here to see Full Size

d. Pa’piong Bale (meat of fish)

Pa'piong duku 'tedong and duku' bai generally mixed use mayana ( Coleus scutellarioides) leafs and a few places in the Toraja region replace it with Apple Guava (Psidium guajava) leafs, while for pa'piong duku ' manuk use sliced banana tree mixed with coconut grating, for Torajan in Sa’dan (the northern of Toraja) named the pa'piong duku 'manuk as Pa’piong Burak.

Pa'piong cooked in bamboo tubes measure approximately 70 cm with diameter of 6 - 8cm. The concoction of this cuisine is accommodate all the meat that has been prepared in the previous patch in a large vessel, and mixed with some measure of buffalo blood. Stirred together with the added mayana leaves, some other spices, chilli and salt sufficient, after the compound is then inserted in the bamboo tube filled with the ¾ full and then corked with a leaf stalk mayana or banana leaf. Finally , ready to burn on the fireplace that usually made to accommodate 8-10 bamboo of pa'piong. Bamboos based on in a row over the fireplace .

Burning Pa'Piong
Pic Source :Click Here to see Full Size

At the time of burning must be controlled so that it does not on fire . Pa'piong that has been cooked and then cooled, cleaned with peeled the skin burnt and ready to presented for the guests.

~o~

Tau Tau : History and The Making

noreply@blogger.com (Unknown) — Thu, 10 Sep 2009 14:42:00 +0000

category : History and Culture, Art

There are four stages in the manufacture of both Tau Tau Nangka’ or Tau Tau Lampa, namely:

a. Stage Manglelleng Kayu Nangka’ (Jackfruit wood cutting).
In stage one must be sacrificed as an offering dogs to cast out the spirits contained in the tree;

b. Stage Massembang Bulo (cut a small bamboo tree) for offering in the manufacture Tau Tau statue.

c. Events Dilassak (event for Tau Tau statue genital making ).
At the time of making the genitals, held offerings to cut a pig. Pig blood was drawn on the genitals to be formed.

d. The ceremony was Tau Tau's acceptance as a symbol of the dead.

Tau Tau - Toraja

The formal ceremony of the symbol is considered very important because with symbols, the family members always imagined profile of their parents or family members who are gone. Inauguration means inviting agreement family members so that no one of them is denied. In this stage was held slaughtering a pig.

At the time it was not found again The Tau Tau Lampa. Due to Tau Tau Lampa easily damaged and not durable. But process in making the Tau Tau Lampa not different in making Tau Tau Nangka'. Differentiation only on ingredients.

After the ceremony, bamboo as the main material is cut to the foot, body until the head and the hands of Tau Tau. The size of these pieces is uncertain but it could take the average size as follows:

- The size of the body until the head of 60 cm - 70 cm

- The size of the foot between 40 cm - 50 cm

- The size of the hand between 40 cm - 50 cm

- The size of the upper shoulder between 20 cm - 30 cm

- The size of the lower shoulder 20 cm - 30 cm

To make one's face, then taken stem nut tree (Kalosi) and then sliced to resemble a round face. Eyes, nose and mouth formed by way of a hole. After the face and the part of face is formed, then attached to the bamboo formed previously. The head then given a twist of grass weeds (aka. Ria). Hair is taken from the feathers palm trees. Pieces of bamboo which form the legs, body, hands and shoulders covered with weeds. To strengthen the structure, used rope fibers to tie. For Tau Tau Lampa distinguish between men and women is part of the head difference. Men always attached two buffalo horns above his ears, while for women do not wear horns.

Tau Tau - Toraja

Tau Tau Nangka’

At the time the ceremony Rapasan level, sometimes Tau Tau Nangka’ is replaced with Tuang Tuang that is Tau Tau made from pieces of small bamboo. Sometimes also a character created for a Tau Tau Nangka’ and Tuang Tuang simultaneously.

Tuang Tuang in the making also have stages of the ceremony as follows:

a. Event Massembang Bulo (small bamboo cutting)

When the event was held so sacrificed a chicken (feathers should be red) and a dog. Animal sacrifice is not eaten but used as offerings to ward off the spirits that have the tree.

b. Events Mangrere ' Bulo (bamboo cutting ceremony)

In the event that sacrificed a pig. Animal sacrifice was partly eaten by the participants of the ceremony and there is a special section set aside for offering to deata (god).

c. Events Manto'tok Bulo (pierce the pieces of bamboo)

When it was held, sacrificed a pig again.

d. Events Ma'sa'bu '(the inauguration)

At this time, Tuang Tuang certified as a symbol of the dead. In the event that sacrificed a pig.

e. Events Mantoke 'Bulo (event hanging Tuang Tuang)

At this stage, sacrificed a chicken red fur.

It is said that the provisions outlined by Tamboro Langi ' as place to put Tau Tau Nangka' is at Liang (grave stone which held the body), whereas for the Tuang Tuang treated the same function as Tau Tau Nangka', placed in Alang (rice granary) .

Rules, although not written, but considered a necessity and if the offense would get a penalty.

Like other megalitis community, every behavior and material culture of the Toraja people will always be full of meaning from another interconnected. Similarly, the use of Jackfruit wood and bamboo as material Tau Tau, all of them have specific meaning. Jackfruit wood is selected as the material for Tau Tau Nangka’ because it has a white sap that is personified by the blood of god. Blood Gods is white in comprehension.

Because of the high nobility was the incarnation of the god, as a manifestation, so Tau Tau should be made of Jackfruit wood. Myth of trees for the Toraja showed similarities with the myth of the tree for the Asmat tribe in Papua. In Asmat, timber trees are not only used for equipment but a source of the belief that every human being can be equated with tree. Roots compared to the human foot, trunk compared with the body's, branches compared with the hand and the fruit equated with a human head.

Not all regions in Toraja applicable rules regarding creation of Tau Tau. Toraja society, there are three important toponym recognized and believed to be the incarnation of the god, they are Mengkendek, Sangngalla ' and Makale. Third toponyms are usually known by the confederation Tallu Lembangna. Therefore, other Toraja people should not make Tau Tau Nangka’ because it's not a god or not the incarnation of nobility.

Actually there is one other area besides Tallu Lembangna ever be allowed to make Tau Tau Nangka’ but now no longer allowed. That allowed to created is Tau Tau Lampa (Tau Tau from bamboo) because of the acts violating the custom. Talion area or community name with the title called Sangpiak Padang, now included in Saluputti districts.

The story begins when a nobleman of this region died and they made Tau Tau Nangka' as the procession Aluk Pitung Sa'bu Pitu Ratu’ Pitung Pulo Pitu (Aluk 7777) in three regions of Tallu Lembangna. The ceremony went smoothly and it’s over. Tau Tau Nangka’ of the nobleman to be stored in Liang.

Onother day, one of the royal family need a tool to be used to work in the fields. Because not find the equipment, he was taken the Tau Tau that placed in Liang and used it as tools to cultivate his fields. The foot of the Tau Tau sharpened and used it for digging. At that time, seen by the people and reported to community leaders. At the meeting between community leaders Toraja it was decided that the acts violated customary, and for the Talion area imposed sanctions that for an aristocrat who died must not be made Tau Tau Nangka’ but must Tau Tau Lampa.

~o~

Tau Tau In Toraja Culture System

noreply@blogger.com (Unknown) — Tue, 25 Aug 2009 15:40:00 +0000

category : History and Culture, Art
(Executive summary about tau-tau by Army Lenggo and M. Nur)

Torajan is a society Devotees Ancestors, and is often referred to as a museum of ethnography. Archaeological heritage, behavioral and philosophy are reflecting a traditional society with sincerity and continue maintaining its tradition from generation to generation, although its people professes Christianity and Islam. Cultural resistance is clearly defined at the tradition Rambu Solo ' , because in practice there is the habit of giving and receiving is considered a natural thing, and not a cultural conspiracy.

The resistance of Toraja Cultural more easily explained as a result of geographical isolation, causing the Toraja people became believer Aluk Todolo as beliefs that have been integrated with all aspects of life.

One of the interesting habits of mind and reflect the actual megalitic is making Tau Tau (ancestral statues made of wood) .

Tau Tau
Pic Source :Click Here to see Full Size

Making a statue or sculpture is a universal customs, both in Indonesia and the Pacific. But the statues built to worship the ancestors look different with Tau Tau found in Tana Toraja, generally these statues are made of stone while in Toraja made of wood.

Tau Tau made of Wood
Pic Source :Click Here to see Full Size

Until now no comprehensive studies about it and when the custom started. Clearly that the Toraja community in terms of archaeological does not have a high skill in the art of stone carving.

ToManurung ( The Advocate )

By Toraja society, mythology underlying making Tau Tau was Aluk Pitung Sa'bu Pitu Ratu’ Pitung Pulo Pitu (aka. Aluk 7777), the teachings brought by a figure from the Heaven called Tamboro Langi' (Drums of Heaven).

Tamboro Langi ' relied as To Manurung descended from Heaven to lead and teach his people. There are three places reliably to be the incarnation locations, Makale, Ullin and Kandora.

In Kandora, Tamboro Langi ' for temporary residence. Soon after, he married a beautiful woman who recounted suddenly emergence from swirl of water at the confluence of the rivers Sa'dan and Maulu. Beautiful woman named Sanda Bilik.

Prior to ascended back into the sky and leaving his wife on earth, Tamboro Langi ' stop at Mount Sinaji where there is a market called Sampean and that's where he gives strict orders, all the customary rules should be firmly held. One of the point that the abandonment is a matter of making Tau Tau.

The doctrine of Tamboro Langi’ about making Tau Tau based on the material, and can be divided into two types namely :

• Tau Tau Nangka’

• Tau Tau Lampa

Both types of Tau Tau is highly related to social stratification. Tau Tau Nangka’ created specifically for the high nobility (Tana' Bulaan), whereas Tau Tau Lampa intended for the medium (Tana' Bassi). The name of the ritual also distinguished, the ritual in making Tau Tau Nangka’ called as funeral ceremony Rapasan level, while the naming ceremony for making Tau Tau Lampa is called as Di DoyaTedong or Di Batang level.

The most fundamental difference between the two is the amount of the buffalo that sacrificed. Rapasan level should be more than seven buffalos and more shall depend on the family's ability, while for the level of Di Doya Tedong provided enough five to seven water buffaloes.

Very believed by the Toraja people that the party organization with a lot of animal sacrifice can earlier their ancestors became To Membali Puang (Deity).

By the community Toraja, Aluk To Dolo is a collective beliefs. The concept of collectivity is very strong in their spiritual life is at its largest portion of funeral rites. In the concept of death, the corpse does not represent own individual or family. Bodies are considered as belonging to the Toraja society in general. Giving and receiving is a must in the implementation of a ceremony of death.

Although already professes Christianity and Islam, the Toraja people still believe that the festive party will causing the body earlier reached to the other world (aka. Puya). A festive party requires expenditure of energy, goods, time and a great individual as well. Thus, the burden of ceremony can not be handled by the family of the dead.

Tau Tau that is one part of the procession must also contain the values of collectivity.

Tau Tau on The Cliff : Stone Graves
Pic Source :Click Here to see Full Size

Meaning in the placement and attitude of Tau Tau affirm the value of the collectivity. Placement Tau Tau at the carved cliff and facing the east (mountain Sinaji) which lies underneath the area of rice fields are intended as a request to the welfare of the community life. The fields must be productive and ancestral spirits would give fertility. After harvest, the people made offerings through ritual. It is an agreement between the Toraja people with their ancestors. Thus, Tau Tau as a manifestation of the ancestors is considered alive. Death is not understood as a death in the Islamic teachings. Toraja society like other megalithic people think that death is not a fundamental change for humans.

There are three functions of Tau Tau for the Toraja.

1. Tau Tau is the embodiment of the ancestors or relatives who have died

2. As a symbol of fertility and life

3. As fields and village guards

~o~

What's The Unique Custom That Toraja Have ?

noreply@blogger.com (Unknown) — Mon, 13 Jul 2009 05:36:00 +0000

category : History and Culture, Tourism

There are many attraction you will find when visiting the great high land of Toraja, some of them just performed when the local society carrying out a big event of their custom such as
Mangrara banua (classified in Rambu Tuka'/ Gratitude Ceremonies) or when they do the Grieve Ceremony (Rambu Solo') that they usually called as pesta.

In these event always performed numerous unique attraction that still follow the
pure custom of their ancestors.

In addition you must know if these always done in period June - December or during the National Vacation in Indonesia, because in this time all the families can come together in a place.

So,what is Mangrara Banua ?

Banua was mean a house, and mangrara have mean purify with blood. After a Tongkonan House had been developed or renovation, must be ceremonied with a custom ritual as called as mangrara banua.

As the conviction (Aluk Todolo) belief if all material in the world have a spirit like a human, likewise Tongkonan (kindred House) have a spirit . In eternity, they are presence too. If Tongkonan in the real world good cared by the generation of the creator, so, the spirit of tongkonan will be good together with the spirit of the creator, and the generation who care for the house will be blessed by Puang Matua.

The process of Mangrara Banua :

Overall the event divided in two phases, i.e.:

1. During the begining of development

2. Gratitude to God after development is completed

Each activity preceded with a ritual that has been determined and always implement from one generation to the other, namely: Ma'pallin and Manglika ' Biang.

After the two ritual is done, continued with sacrificing a chicken or offering pigs.

Phase I: The sequence related to the ceremonial stage of development a Tongkonan, include:

1. Ma'Pallin ; drive away evil, do with sacrificing a chicken, that is self-consecration ritual ( purify of soul).

2. Manglika 'Biang ; ritual to invoke blessings and presence of Puang Matua and the gods, performed on the same day with Ma'Pallin, more chicken as a sacrifice.

3. Manglelleng Kayu ; ritual before felling down trees which is used for development Tongkonan. Sacrifice a rooster.

According to legend, when people still live in the sky and want to build the first house, the man went to the forest and chop down trees.Every times filled, the tree slide into the water and disappear. The trees appears again after Puang Matua give the advice to holds the ritual , it's like a ceremonial meal.

4. Ma'Patassu 'Kayu ; removing the timber from the forest, before the timber was taken, a rooster is needed to sacrificed.

5. Ma'Tamben ; assembling a simple design of the body house without pole (before construction begins). Sacrificed a chicken. Sometimes there is also a pig.

6. Mangrondon; dismantle old buildings Tongkonan (if the development is the renovation or repair of existing Tongkonan).

7. Manglo'po 'Patongkon; making holes at main pillar, that is a pillar of the middle (a'riri posi') as the first step of development. At this section, the building experts (to manarang) will butcher a pig.

8. Ma 'Pabendan ; Assembling the poles . This ritual do with a pig sacrifice.

9. MangOno ' ; Compiling material of the roof. It is a pieces of bamboo that split in two in order to easily installation process.

10. Ma 'Palumbang pata'; assembling the pata' (lengthwise wood in the middle of the house) that is placed above the pole (a'riri posi'), no sacrifice.

11. Ma 'kemun Rinding ; assembling the wall, no sacrifice.

12. Ma'Papa ; a pig sacrificed before the roof fited up. In addition to offering , some pigs butchered as a wage matters for workers who install the roof.

Phase II: The sequence of ceremony after the development is completed, which is known as mangrara banua. The ceremony began with the ritual:

1. Ma'Pallin

2. Manglika 'Biang

3. Mangrimpung or Mangrapu; all the family, together go to a place outside the area of Tongkonan, share the ritual offerings to the spirits of their ancestors, seeking prayer and blessing. Sacrifice a pig.

4. Ma'Pakande To Matua; feeding ritual (offering) to the ancestor in the west side of Tongkonan, a ceremony that is also always done in other ceremonies. When is held, the people believe if the ancestors presence and settle down in Tongkonan.

5. After that, Mangrara Banua begins. In this time, family and the guests who represent the other Tongkonan, already in the location of the ceremony.

6. On the first day, ma'tarampak implemented, its mean installing the roof symbolically, led by to indo '(= someone who regarded as a matriarchal in this society of a meaningful as the source of life, paddy / rice). Slaughtering one or two pig in front of Tongkonan , and the meat will be distributed by to indo'. In the night, passomba 'tedong (worship to the buffalo) will be do. But before starting, usually, manimbong and ma'dandan will be danced (and will be continued in the next day). The doer of Passomba' Tedong is a Toparengnge ' from a Tongkonan which is a pair of Tongkonan that is ceremonied. Usually in convey the words in passomba tedong there is a Tominaa who replaces To parengnge '.

Passomba Tedong preceded with ma'tambuli, which is seeking permission to the gods of the land , to serve patok in form of sandalwood in the North side (slightly to the East) to the chain Buffalo. The another doer of the custom is a Tomangrande Londong (which holds the rooster). This custom officer is standing on the side of Tominaa who revere the buffalo while tote a Sella '(the type of rooster with red-furred, white-legged and ear).

Passomba Tedong went on from twilight in the first day till the dawn is breaking on the perform day (aka.allona) because the script of family tree must be read and very long.

7. On the second day (The perform Day) held a ritual is called ma'papa.

The ceremony is led by Toparengnge Sokkong Bayu that praise (mangimbo) on page of Tongkonan.

[The mean of sokkong bayu actually the holder of the highest degree in a customary area (aka.lembang = village), which is recognized as a head of the customs, both as religious leaders and government. But understanding is also often refers to highest level of Tongkonan in a family of tongkonan so Toparengnge '(= indigenous stakeholders) from that Tongkonan regarded as a sokkong bayu].

In Tongkonan, datu baine (the second Toparengnge') have a duty to say prayers of adoration all at once serving a ritual offering that put on banana leafs (called as ma'pesung).

If the previously rituals are basically done by the family who care for the Tongkonan (to untokei 'buria'), then at the ritual ma'papa whole the great family of Tongkonan come together and bring pigs to sacrifice.

The Stretchers (lettoan) of pigs are decorated and processed entrance to the location of the ceremony. The atmosphere is very gay. And usually, families divisible in groups according to the branch from the descendants of the founder of Tongkonan.

Division is visible ,both when entering the yard and at the time they were in the ritual location. Beside pigs as a form of donations, each group usually tries to bring the entourage of arts such as to ma'gellu ', to manganda', to ma'bugi ', and to manimbong.

In the morning, ma'gellu ' will be danced, a performance that can only danced on the ceremonies associated with life. In the midday, women form a line and sing along while their bodies form a swing nature dance experience (ma'dandan or ma'ore'-ore '). On the day, the pigs slaughtered, there is only slaughter one pig, there is also up to the hundreds. The pork chop distributed to the guests and the people who attend, and for the building experts (to manarang) and whomsoever involved in the ceremony (to ma'pesung, to mangimbo, to mano'bo and others) get a certain part .

8. On the third day held ma'bubung. Tomano'bo move back and forth above ridge while holding the torch. Crown made of leaves put on head and he was wearing long robe, other hand holding the machete . At peak of ritual, he will be throw the torch from the ridge into the tray on the ground. So after tomano'bo finished its work, actually finished entire ceremony of mangrara banua. Next ritual, which is mantanan sendana (implant the sandalwood), only to sign that has been held mangrara ceremonies for the Tongkonan that mentioned above.

~o~

" ALUK TODOLO"

noreply@blogger.com (Unknown) — Thu, 02 Jul 2009 13:53:00 +0000

category : History and Culture
Sub category : Religion
(courtesy of Sejarah dan Budaya Toraja; by Andi Fatmawaty Umar)

Before Torajans profess Christianity, and Islamic, have been known a belief in animism that from their ancestors called Aluk Todolo.
After the entry of Christian in this region. The situation of community life gradually began to change, especially in attitudes and way of life, although not entirely leave the setting of a traditional life.

The presence of religion in people's lives still remain side by side with derived habits of their ancestors. Such as the belief about the good days and bad, belief in causal of catastrophe when get travel, to plant rice and do the ceremony.

In the plurality always visible religious harmony does not occur and the impact of religion and belief in it.
This is caused by the feeling of mutual understanding and respect at the same time respect the trust between them.
The mutual respect existence is also visible on the nature of mutual help, and they visit each other, especially in the feast.

Before insertion of religion, whether Christian or Islamic, Toraja people follow the belief that ancestors are inherited from generation to generation until now. The society believe that everything in this world have a life (Harahap 1952:16) even more human lives continue to live even though they have died, usually given food, drink and even have it delivered every day to eat.
This indicates that they believe as though the dead are alive because this always been the need to eat and drink or even have died (aka.ma'pakande tomate).

Spirituality hereditary and is considered a religious belief in original and better known by the name Aluk Todolo.

According to LT Tangdilintin , the meaning of Aluk Todolo; Aluk is religion / rules, and Todolo is the ancestor.
So Aluk Todolo means ancestor religion.

Aluk Todolo is a form of animism the belief that each thought that the stone or objects have any power, and is one of the religious system that has been traditionally held by the residents of Toraja since IX century– BC and are still inherited from generation to generation until now.

Rante (Menhir Stone) _ Inheritance of Aluk To Dolo Toraja

According Tangdilintin, Aluk Todolo is one of faith or conviction that is revealed by Puang Matua (the Creator).
Rules (aka.aluk) that passed on Datu Laukku which contains the religious rules that people and all the occupant of this earth must worship.
Worship is at Puang Matua , the Creator, as expressed in the form of a dish. Puang Matua as the Creator gives power to the deata-deata (the custodian).

Human practice is required in all the world and worshipPuang Matua and Deata-Deata . AlukTodolo teachings the cult to both supreme deities above.

In Aluk Todolo known three groups of deata, namely:

1. Deata Tangnga Langi '; affairs in the sky

2. Deata Kapadanganna; affairs of the Earth

3. Deata Tangngana Padang; affairs all over the land fill.

In addition to the three classes of Deata, Aluk Todolo teachings to follow provisions appropriate point in religion (aka.sukaran aluk), then people need to worship to the third rule, namely:

1. Puang Matua

2. Deata-Deata

3. To Membali Puang

Based on the third of Deata is mentioned above is clear that the Aluk Todolo teachings conseptual structure of the gods who arranged vertically.
Puang Matua on the one hand be seen as the supreme deity as the creator of all nature. Meanwhile, on the other hand deata- deata as caretaker, authority, arrange life of the creation of Puang Matua.

When Puang Matua as supreme deity or the deity who is considered the Creator of all nature is believed reside in the north side (aka.karopokna langi '), then the deata-deata considered reside in the eastern (aka.mata allo). This concept shows that Puang Matua not only have the function and role that is different from the deities, but the sit is different.

How to worship to them, by the Aluk Todolo done with the dish. With the offerings in the different way according to the levels of each:

a. Worship to Puang Matua (the Creator), as the highest ceremony with slaughtering the animals.

b. Tribute to the affairs that is intended to deata-deata (deities) and the present offering.

c. Offering to To Membali Puang (supervisor) made by his descendants to commemorate the spirit of the ancestors .

The three elements of worship as described above, based on the teachings and rules that apply. Rules and teachings orient on faith system.
In realization this ceremony supported by community group that passed on from one generation to the other.

~o~

The Carvings

noreply@blogger.com (Unknown) — Tue, 07 Apr 2009 11:33:00 +0000

Category : Art/Carving, Photos

Passura'/Ukiran (Carvings) is a decorative and sculpture forms in Toraja architecture. Toraja carving (Passura'/ukiran) always used in Tongkonan, and they have more type, mean and name for each one. The pictures below show some of the types of Toraja carvings in the cultural life of Toraja people :

Toraja Carvings [Ukiran/Passura']

Toraja Carving [Ukiran Toraja] :
Pa'Bungkang Tasik

Toraja Carving [Ukiran Toraja] :
Pa'Bulintong Siteba'

Toraja Carving [Ukiran Toraja] :
Pa'Tangke Lumu'

Toraja Carving [Ukiran Toraja] :
Pa'Tedong Tumuru

Toraja Carving [Ukiran Toraja] :
Pa'Sekong Sala

Toraja Carving [Ukiran Toraja] :
Pa'Re'po' Sangbua'

Toraja Carving [Ukiran Toraja] :
Pa'Erong

Toraja Carving [Ukiran Toraja] :
Pa'Boko' Komba Kalua'

Toraja Carving [Ukiran Toraja]:
Pa'Sala'bi'

Toraja Carving [Ukiran Toraja] :
Pa' Sepu' Torongkong

Toraja Carving [Ukiran Toraja] :
Pa' Manik-Manik

Toraja Carving [Ukiran Toraja] :
Pa'Kangkung

Toraja Carving [Ukiran Toraja] :
Pa'Kollong Bu'ku'

Toraja Carving [Ukiran Toraja] :
Pa'Bombo Uai

Toraja Carving [Ukiran Toraja] :
Pa'Ulu Gayang

Toraja Carving [Ukiran Toraja] :
Pa'Pollo' Gayang

Toraja Carving [Ukiran Toraja] :
Pa'Tanduk Re'pe'

Toraja Carving [Ukiran Toraja] :
Pa'Tedong

Toraja Carving [Ukiran Toraja] :
Pa'Bulu Londong

Toraja Carving [Ukiran Toraja] :
Pa'Sulun Sangbua

Toraja Carving [Ukiran Toraja] :
Pa'Kadang Pao

Toraja Carving [Ukiran Toraja] :
Ne' Limbongan

Toraja Carving [Ukiran Toraja] :
Pa'Barre Allo

Toraja Carving [Ukiran Toraja] :
Pa'Kapu' Baka

Toraja Carvings

noreply@blogger.com (Unknown) — Mon, 16 Mar 2009 16:48:00 +0000

By : L.T. Tangdilintin [Tongkonan(Rumah Adat Toraja),1976]

Category : Art/Carving

Toraja carving (Passura') are complement of house building (Tongkonan), and as a symbol that has a specific meaning. Carving is a decorative and sculpture forms in Toraja architecture, which is divided into 4 groups according to the role and meaning of each of these carvings, which are:

Garonto' Passura' (Fundamental Carvings)

That have the role as a symbols of the basic life of Toraja people.

Consist of :

Pa' Barre Allo

Ukiran Toraja - Pa' Barre Allo

Pa' Manuk Londong

Ukiran Toraja - Pa' Bulu Londong

Pa' Tedong

Ukiran Toraja - Pa' Tedong

Pa' Sussuk

Ukiran Toraja - Pa' Sussuk

Passura' To Dolo (Head Carvings)

That symbolizes the life guidance, rules of life, worship and equipment for the ceremonies event; they are :

Pa' Erong
Pa' Ulu Karua

Ukiran Toraja - Pa' Ulu Karua

Pa' Doti Langi'
Pa' Kadang Pao

Ukiran Toraja - Pa' Kadang Pao

Pa' Barana'

Ukiran Toraja - Pa' Barana'

Pa' Lolo Tabang
Pa' Daun Bolu

Ukiran Toraja - Pa' Daun Bolu

Pa' Daun Paria
Pa' Bombo Uai

Ukiran Toraja - Pa' Bombo Uai

Pa' Kapu' Baka

Ukiran Toraja - Pa' Kapu' Baka

Pa' Tangke Lumu'
Pa' Bungkang Tasik

Ukiran Toraja - Pa' Bungkang Tasik

Pa' Lolo Paku
Pa' Tangki' Pattung
Pa' Katik
Pa' Talinga Tedong, etc

Passura' Malolle (Carving of Development)

The carvings that symbolizes development and association of human life, that can be used in all part of place where the carved, like a house, barn, equipment and trappings in ceremonial.

Also, most use in carved commonly house and Tongkonan that not have a custom role (Tongkonan Batu A'riri).

The carvings that include of this group, are :

Pa' Sala'bi'
Pa' Tanduk Ra'pe
Pa' Takku Pare
Pa' Bunga Kaliki
Pa' Poya Mundan
Pa' Bulintang Siteba'

Ukiran Toraja - Pa' Bulintong Siteba'

Pa' Bulintang Situru'
Pa' Karrang Longa
Pa' Papan Kandaure
Passura' Passulan
Pa' Sepu' To Rongkong

Ukiran Toraja - Pa' Sepu' To Rongkong

Passura' Pa'barean

That symbolize the excitement and have a mass or plural motif, many used in ceremonial equipment and trappings in decorative arts of Toraja; consist of :

Pa' Manik Bu'ku'
Pa' Ara' Dena'
Pa' Komba Kalua'
Pa' Barra'-Barra'
Pa' Bua Kapa'
Pa' Gayang

Those above, was part of types of Toraja carvings that estimated numbers is about 80 and not all at once installed in an object.

But sometimes only a few of them are placed that significance in accordance with its function.

There are still one type of carving that is not behind when installation, namely Pa' Bannangan. This type is stright line and serve as a barrier, or as section of any engraving.

To sculpt with decorative Toraja multiformity, just take 4 kind of colors, as follow :

- Malotong (black)

- Mabusa (white)

- Mararang (red)

- Mariri (Yellow)

and, these colors have meaning apart.

~o~