Let go of the modern concept of ‘the marketplace’ for a
moment and think of the power of the market in the pre-colonial Batak world. It
was a world of internecine warface. Village warred with village, marga
(lineage) with marga, region with region. Batak ‘wars’ were always cunning (conducted
with the help of magic, spells and potions), occasionally involving face-to-face fighting
(but more often guerilla-style attacks and counter attacks), and often of long
duration. But life had to go on, food and ironware had to be obtained, produce
had to be sold including to external markets, and so the ‘peace of the
marketplace’ was set up. All of the great markets around the lake worked on a
set schedule. On those market days pacts ensured safety from village to market
and especially in the market. Warring was set aside temporarily for the sake of
trade. Markets were large and busy and because of the transportation opportunity
offered by the lake, they could be attended by huge crowds, all of whom made
their way there in the solu bolon (large dug-out canoes) bearing their trade goods.
One can imagine, then, that the marketplace was a place of
singular importance. The marketplace was the
place to meet and exchange the news. Women introduced their newborn babies on
the market, a kind of ‘social’ baptism. This was also the original crucible in
which textile design was introduced, exchanged and innovations achieved
consensus. Logically, disputes were settled on the market. The large waringin
trees mark the spot where adat leaders would meet to hear cases and try their
hand at settling the problem. There were also large ritual gatherings, called bius, but these were infrequent and
involved the population of a region, and were choreographed for the occasion.
Markets consisted of motley crews, people from near and far and the unexpected was
expected to happen.
When I thought of the places where I would like to
re-introduce Rangsa ni Tonun into the Batak community, the Batak market sprang
to mind. The Batak village was my first choice, in the village square. During
the journey, the weather did not work in our favour, alas. There was so much
rain. In the end, we had no screenings in village squares at all, but always in
Batak homes crowded full with everybody who could fit in. The ancient Batak
markets took place on grassy plains under the open skies, but the current
markets are covered over and dark. That would work to our advantage.
When we left the Festival Danau Toba on 12 September, our
goal was the Nainggolan Market, but it was a barren, desolate (and smelly)
place and turned out to not be the wrong spot for that day, so we chugged on in
our Boat Budaya to Muara.
Muara! Immediately we were recognized! There was Febry, home
from Bali, flaunting his news about his successful engagement to a Dutch girl
for all to hear. Close to the entrance to the market we ran into Ompu Rido
selling steamed rice cakes. She was wearing our Pulang Kampung III t-shirt and
became so excited when she saw us she scarcely knew what she was doing and
began to jitter! We left her with a huge bag of rice cakes in our hands. Then
we saw Restuala’s Mom and Ompu Joshua’s daughter; it was like a homecoming with
the true spirit and warmth of the marketplace.
Restuala's Mom and Ompu Rido on the street in front of the market. |
Nashir stubbornly pressed on. The marketplace may have been
my harebrained idea, but his stubbornness made it happen. We found a market
stall willing to accommodate us. We chose a textile stall and explained our
need for a place to set up a projector and Pak Jerry’s bulky sound system. That
might sound easy, but we had to bring the generator from the boat, purchase
fuel for it,
and make sure our extension cords could reach it. Just like other people with bales of wares, we pushed our equipment on two-wheeled trollies through the muddy aisles.
Fueling the generator on the street before entering the market. The young man wearing our Pulang Kampung T-shirt is the 'boat-guy', the assistant to Captain Siregar. |
and make sure our extension cords could reach it. Just like other people with bales of wares, we pushed our equipment on two-wheeled trollies through the muddy aisles.
The generator in the market being managed by Ojak Silaban and the Captain's assistant |
The aisles filled up with people of every age.
Nashir stood beside the rigged up, white cotton screen and tried out the microphone. It worked. Paul Manahara Tambunan manned the projector atop a bale of textiles.
Paul Manahara Tambunan manned the projector |
Ojak Silaban and said a few words to introduce the film and then Nashir clicked the right keys on his computer and started the show.
By that time, Ompu Rido had joined us and when Boru Hasagian
appeared on the screen
, she was beside herself once again, and didn’t know whether to try to hide amongst the textiles in her shyness or stand up and take a bow. She shrieked a few times and flopped back on her back. It was her crowning moment in her own village and when I said a few words at the end to thank the textile proprietor, I also thanked Ompu Rido for her participation in the film. I was sorry that not all of Huta Godang was there as so many of our film stars are from there.
Boru Hasagian on our makeshift screen. Nashir examines his documentation of the screening. I over-exposed the shot so that Nashir would be visible in the dark. |
, she was beside herself once again, and didn’t know whether to try to hide amongst the textiles in her shyness or stand up and take a bow. She shrieked a few times and flopped back on her back. It was her crowning moment in her own village and when I said a few words at the end to thank the textile proprietor, I also thanked Ompu Rido for her participation in the film. I was sorry that not all of Huta Godang was there as so many of our film stars are from there.
The film attracted alot of attention. |
Lasma and Febrina snuggled into the bales of machine-made textiles for sale in the stall to watch the film |
Ompu Rido joined us and sat transfixed next to Lasma |
Isma, the reporter from Tempo Magazine, was with us for this leg of the journey. |
Photo by MJA Nashsir showing the constraints of the market stall. |
In an attempt to get a bit of a discussion going, a few
words were spoken by a clever woman who immediately realized the power of the
film. She expressed the wish that Batak textiles would thrive. Lasma made a few
resounding comments to thank the visitors for watching and to remind them that
the survival of Batak weaving depends on them.
Then there was the requisite photo session. “Please Miss, a
photo?” The stall proprietor’s son draped their best textiles over our
shoulders and photograph after photograph was snapped.
Thus we introduced ‘our baby’, Rangsa ni Tonun, on the
market of the place that feels the most like home for us in Tano Batak. It was an experiment and one that we liked alot. The screening wasn't perfect, however. There just wasn't enough room to accommodate all the people who wanted to see it and although we had a strong sound system, the sound got lost in amongst all the textiles. We weighed the pros and cons of every screening and no screening was ever perfect, but this one had magic. We will always think of it with a smile.
Sosialisasi yg cerdas dan tepat sasaran
ReplyDeletesukses kawan2 mari giatkan budaya kita.
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