Mandailing literary art is transmitted through a distinctive tradition, for example through the following media:[2]
Marturi: Tradition tells the story in a verbal social context. Stories are transmitted from generation to generation. The plot uses advanced themes and a lot of content about manners.
Ende Ungut-Ungut: Differentiated by the theme. Ende is an expression of the heart, a change due to various things, such as the misery of life due to death, abandonment, and others. It also contains knowledge, advice, moral teachings, kinship system, and so on. Ende laments use the pattern of rhymes with ab-ab or aa-aa. Attachments usually use a lot of plant names, because the language leaves.[clarification needed]
Example:
Mandailing
tu sigama pe so lalu
madung donok tu Ujung Gading
di angan-angan pe so lalu
laing tungkus abit partinggal
English
To Sigama was not up
It's close to Ujung Gading
What not even in the imagination
Keep the memorable cloth
Colonial period
Some of the literary milestones that developed in the colonial period include:
Hendrik Nadenggan Roa, Sada Boekoe Basaon ni Dakdanak (Translations). Padang: Van Zadelhoff and Fabritius (1865).
Leesboek van W.C. Thurn in het Mandhelingsch Vertaald. Batavia: Landsdrukkerij (1871).
Si Bulus-bulus Si Rumbuk-rumbuk (1872).
Taringot ragam ni Parbinotoan dohot Sinaloan ni Alak Eropa. This text is adapted from the book The Story of the Science of the White Persons written by Abdullah Munsyi, a Malay linguist and linguist (1873).
Soetan Martua Raja (Siregar). He was born into an aristocratic family in Bagas Lombang Sipirok, an educated HIS, an elite school in Pematang Siantar. His works include:
Hamajuon (elementary school reading material).
Doea Sadjoli: Boekoe Siseon ni Dakdanak di Sikola (1917). This book raises the critique of children's thinking and is written in Latin script (Soerat Oelando), which is relatively developed secular pedagogy. This book adopts a poda, a kind of storyteller that gives advice and moral teachings in a context appropriate for children.
Ranto Omas (Golden Chain), 1918.
Soetan Hasoendoetan (Sipahutar), novelist and journalist. His works:
Turi-Turian (stories, tells the relationship of interaction between man and the ruler of the sky).
Sitti Djaoerah: Padan Djandji na Togoe (1927–1929), an Angkola Mandailing-language series in 457 pages. The series is published in the weekly Pustaha published in Sibolga. This story is believed to be the reason readers buy the newspaper.[citation needed] The series adopts epic tales, turi-turian, and various social terminology of Angkola-Mandailing society and is written in novel style. This is in line with the development of Malay-language novels published by the colonial government. In the history of Indonesian literature, this period is known as the Angkatan Balai Pustaka or Angkatan 1920s. Hasundutan said that he wrote the novel because after being inspired by the novel Siti Nurbaja (Marah Rusli, 1922) which was very popular at that time.
Datoek Toengkoe Adji Malim Leman (1941), published by Sjarief, Pematang Siantar.
Mangaradja Goenoeng Sorik Marapi wrote the book Turian-turian ni Raja Gorga di Langit dohot Raja Suasa di Portibi. It is published by Pustaka Murni, Pematang Siantar titled 1914.[clarification needed]
Sutan Pangurabaan. His works include Ampang Limo Bapole (1930), Parkalaan Tondoeng (1937), Parpadanan (1930), and a Malay book, Mentjapai Doenia Baroe (1934). In addition to books written by Willem Iskander, his books were also used in colonial school.
Soetan Habiaran Siregar explores the languages, dances, and songs from Angkola-Mandailing. He writes several royalties, among others: Turi-turian ni Tunggal Panaluan, Panangkok Saring-Saring tu Tambak na Timbo (1983), and others. In addition, he also composed songs using a rhythmic cha-cha beat.
In addition to Mandailing Angkola's literary language, it is important to note the growth of Malay-language Indonesian literature adopting local color: for example, the novel Azab dan Sengsara (1921) written by Merari Siregar. This novel includes contextual customs and cultures such as forced marriage, inheritance, kinship relations, and the local traditions of Mandailing-Angkola.[2]
Contemporary
Contemporary Mandailing literature is no longer developed since pre-independence, as the changing national education curriculum using the national language by itself erodes the use of Mandailing languages.[2]
Entertainment
Lyrics and musical dramas in the Mandailing language include:
The musical drama of the 1970s in a tape cassette recorder.[clarification needed]
In the past, the Mandailing people also had a particular communication tool or kind of language called Hata bulung-bulung ('foliage language'). This language is not a symbol of sound but uses the leaves of plants as a symbol.[5][3]
Numbers
English
Indonesian
Mandailing
one
satu
sada
two
dua
dua
three
tiga
tolu
four
empat
opat
five
lima
lima
six
enam
onom
seven
tujuh
pitu
eight
delapan
salapan
nine
sembilan
sambilan
ten
sepuluh
sapulu
Questions
English
Indonesian
Mandailing
what
apa
aha
how
bagaimana
songondia/biadoma
how many
berapa
sadia
where
di mana
idia
where to
kemana
tudia
dari mana
tingondia/ngundia
mana
idia
who
siapa
ise
why
mengapa
aso
when
kapan
andigan
wow
kenapa
maoa/mangoa
Sources
(in English) Adelaar, Alexander, The Austronesian Languages of Asia and Madagascar: A Historical Perspective, The Austronesian Languages of Asia and Madagascar, pp.1–42, Routledge Language Family Series, Londres: Routledge, 2005, ISBN0-7007-1286-0
(in Indonesian) Siregar, Ahmad Samin, Kamus Bahasa Angkola/Mandailing Indonesia, Jakarta: Pusat Pembinaan Dan Pengembangan Bahasa, Departemen Pendidikan Dan Kebudayaan, 1977.
References
Mandailing at Ethnologue (18th ed., 2015) (subscription required)
Другой контент может иметь иную лицензию. Перед использованием материалов сайта WikiSort.org внимательно изучите правила лицензирования конкретных элементов наполнения сайта.
2019-2025 WikiSort.org - проект по пересортировке и дополнению контента Википедии