Monbang Traditional Village

30 Agustus 2024

Hanna Gultom

The Kabola tribe, famous for their distinctive clothing made from tree bark, is a firm cultural representative of Alor, East Nusa Tenggara. They carved this heritage in the Monbang Traditional Village, a village located in Kopidil Village, North West Alor District, about 7 kilometers from the heart of Kalabahi City. Before woven cloth arrived in Alor, clothing made from tree bark had become part of their identity. This uniqueness strengthens the image of the Kabola tribe, creating a rare and interesting imprint, distinguishing them from other communities.

The Kabola tribe lives in traditional houses which carry a unique charm. Different from the traditional houses of other tribes in Alor, their houses are built with tall round wooden poles, covered by alang-alang roofs. The walls, made of woven bamboo, lontar, or planks, have 3 levels, creating a comfortable living space. In the past, their clothes were made from tree bark, a symbol of living in harmony with nature. Even though the Kabola people are now switching to modern clothing, the tradition of wearing bark clothing is still maintained, especially in traditional ceremonies. The manufacturing process is simple, starting with cutting down a large Ka tree, measuring it according to needs, and sometimes cleaning the bark by hand. The skin is then beaten until it is soft and shaped into clothing, before being hung in the sun to dry. With tenacity and skill, within two days, the bark clothes were ready to be worn, carrying the stories and rich culture of the Kabola tribe.

Bark clothing, a valuable heritage of the Kabola tribe, is not just ordinary clothing. Made with care and love, these clothes can last a long time, even through generations. Caring for it is simple, just make sure it doesn't come into contact with water, and if it does, immediately clean it and dry it again. The design of this garment is very distinctive: for men, only the bottom is made, while for women, the shape resembles a long dress up to the knees, covering the body except the arms. Equipped with accessories such as headbands, belts, bracelets, and anklets, as well as bags for storing betel nuts, this clothing is an embodiment of the rich culture of the Kabola tribe. More than just clothing, this traditional clothing contains a deep message: that the Kabola people remain united with nature, maintain harmony with their environment, and pass on these values from time to time.

Takpala Traditional Village

Stepping into the Takpala Traditional Village is to fully immerse yourself in the fascinating rich culture of Alor. Here, you can see a charming traditional house, built solidly from redwood as a foundation, woven bamboo that decorates the walls and floor, and a roof neatly arranged from reeds. There are 14 traditional houses called Fala Foka, with their 3-story structures beautifully woven from bamboo. On the first level, a friendly atmosphere is welcoming with a place to receive guests and gather together, while there is a wood stove provided for cooking. Up the stairs to the second level, there is a place to rest and store valuables. At the final level, a store of foodstuffs that complement daily life is arranged, symbolizing completeness and abundance which are carefully guarded by the Takpala people.

Among the 14 Fala Foka traditional houses, there are two different traditional houses, shaped like small warehouses known as Lopo houses. These two traditional houses are considered to have a higher level of sacredness than other houses. Lopo houses are divided into two types, namely Kolwat and Kanuruat. Kolwat, which means woman, is accessible to all village residents. Meanwhile, Kanuruat, which means man, can only be entered by certain individuals, such as Tua Adat. Kanuruat is only opened once a year, in the middle of the year, and only in a ritual procession that is considered sacred. In front of the Lopo traditional house, a stone circle is arranged to store sacred objects.

Apart from the features of their traditional houses, the Abui tribe displays unique activities and interactions, distinguishing them from other tribes. Living in the Takpala Traditional Village, the Abui tribe still maintains its cultural heritage in the form of the traditional Lego-lego and Cakalele dances. These two dances have a sacred meaning as a symbol of unity and togetherness. Performing this dance is a shared obligation for the entire Takpala community. Each dancer embraces each other to form a circle while singing rhymes that strengthen the bond of brotherhood. The Lego-lego dance is performed around the Mesang (Mesbah), which is in the center of the village. The accompaniment of gongs, drums, and the jingling anklets of female dancers add to the beauty and symbolic power of this performance.

On the other hand, Cakalele is a dance that is generally performed by two men, being a symbol of strength in the Abui tribe culture. This dance depicts the men's readiness to take up arms and face the enemy in battle. However, along with changes in social life, this dance has also become part of the welcoming ceremony for guests visiting the Takpala Traditional Village. As time passed, Cakalele was presented as a tribute to distinguished guests who arrived in Alor Regency.

Monbang Traditional Village

Weaving Of Umapura Ternate Island

Ternate Island, famous for its Umapura Village, depicts the harmony between fishermen's lives and the charming art of weaving. The village is in the middle of the sea, making its resident's main livelihood as fishermen, but mothers and daughters have for generations honed their weaving skills as a very valuable side activity. At every step, the weaving tradition in this village is carried out with full respect for ancestral heritage. Starting from spinning cotton to knitting thread into cloth, everything is done in traditional ways that are full of meaning. Umapura Village has developed into an amazing weaving center, offering more than 37 captivating motifs, enriched with more than 100 natural dyes from land to sea.

The resulting Ikat Weaving works depict more than just visual beauty. The motifs reflect the rich culture and traditions held in high esteem by the Umapura people. From the greatness of God to the celebration of life, every thread is a reflection of the values believed in and passed down from generation to generation. With each motif, the woven fabric becomes living proof of the magic and cultural richness that unites the people of Umapura.

Weaving Of The Kingdom Of Kui

The Kui tribe in Alor preserves the culture of woven cloth, especially in the villages of Lerabaing, Tribur, Pailelang, and Moru. They create woven fabrics with various motifs that attract tourists. Ethnic Kui woven fabric, or Kui sarong, is unique because it can be used as clothing, bags, and other knick-knacks. The motifs of the Kui people's sarong weaving reflect the social structure and gender differences. The Kui people produced two types of cloth: sarongs for women and blankets for men, differentiated by function and motif. Apart from that, the loom symbolizes the complementarity between men and women in carrying out life's tasks.

The motifs of the Kui tribe's sarong weaving reflect high historical, artistic, and philosophical values. The combination of these motifs provides a comprehensive picture of the life and values of the Kui people. They symbolize the balance between strength and beauty, family harmony, and courage and honesty. These motifs also reflect respect for history and ancestors, the importance of maintaining honor and dignity, and the awareness that property is not taken with the dead. Overall, the combination of these motifs tells the story of the cultural identity of the Kui tribe which is rich in philosophy, and social and spiritual values that are embedded in everyday life.

Weaving Of The Kingdom Of Batulolong

Initially, Batulolong songket weaving was brought by King Karlau Kep from East Timor. King Karlau Kep's journey started from Liku Bekeka/Ermera to Alor on a boat called Lakmakala. This boat is equipped with various equipment, including a wooden cross decorated with the Skar alona bata motif, indicating that the boat belonged to the king. This motif is a sign of the greatness and authority of King Karlau Kep to all his entourage. Other motifs passed down to this day are the creations of ancestors passed down from generation to generation, enriching the cultural heritage of Batulolong songket weaving.

Batulolong songket weaving is now spread across South Alor District and Teluk Mutiara District, Alor Regency. The distinctive characteristic of Batulolong songket compared to Kolana and Kui songket weaving lies in the weaving technique. The process of making motifs is carried out using the top pick and bottom pick technique, as well as careful thread distribution, resulting in a unique motif. These motifs are taken from ancient wisdom and natural products, reflecting deep philosophy and history. Apart from that, another characteristic of Batulolong songket weaving is the larger size or area of the cloth, which is specifically used as blankets for men. These blankets, with their distinctive motifs and dividing bars/getaraya, are used in various traditional ceremonies, including mourning events and welcoming guests. In Batulolong tradition, when a man dies, this blanket must be placed over the body, signifying last respects.

There are 34 recorded Batulolong songket motifs, with 19 of them still surviving today. Some of the famous motifs are the Raja Motif, the Suku Adik Motif, as well as the motifs used by the Bakiau, Ikau, and Playou tribes. Each of these motifs is not only visually beautiful but also full of meaning and philosophy, reflecting the rich cultural and historical heritage of the Batulolong tribe.

Weaving Of The Kingdom Of Kolana

North Kolana, a village in East Alor that borders Timor Leste has a rich weaving tradition. People in North Kolana create various types of woven fabric, such as blankets, scarves, and sarongs. Woven sarongs are divided into two types: Gibitir Keti and Gibitir Merek. Gibitir Keti, which means selected border flower, was previously only used by kings or nobles. Meanwhile, the Gibitir Merek, which means yellow border without flowers, is aimed at commanders or ordinary people. However, with permission from the king, now these two types of weaving can be worn by anyone, reflecting the combination of tradition and openness of the North Kolana people.

Every motif in Kolana's weaving tells a story about the lives of its people which are rich in meaning. These motifs provide a comprehensive picture of the balance that exists in their lives. Kolana weaving reflects solid strength, alluring beauty, high honor, and deep pride. Apart from that, the motifs also tell stories of abundance to be grateful for, sincere simplicity, resilience in facing challenges, creative imagination, and skilled skills. Together, these motifs describe the Kolana people's outlook on life, which highly values struggle and hard work, self-confidence, and the courage to face all situations, both in difficult times and when happiness comes.

Monbang Traditional VillageHome > cultural-heritage > Monbang Traditional Village