Alang Pardosi is thus portrayed as having achieved authority over Rambe and its border with Tukka Dolok and put himself in a position where he could control all movement between the two. Historians belived that the movement which mattered was the passage of champor and benzoin which, as already seen, had to be brough through Rambe and Tukka on its way down to the coast.
Alang Pardosi succesfully restored order and economy in the state by his policies to institute arrangements for market to be held (onan) and agreement which instituted “bongbong” or taxes. In political sphere, Alang Pardosi again restored his power over Rambe, the stronghold of Simamora’s immigrants. In cultural term, Alang Pardosi is the king who responsible in the progress of Batak megaliths arts. In more recent works Jean Paul Barbier, in The Megalith of The Toba-Batak Country, describe “pangulubalang” built by Alang Pardosi as “magical statues” and discusses their origin and purpose, including the possibilities that they are considered as ancestor effigies or involve human sacrifice.
Many states laws and regulations made by Alang Pardosi are still existed till now as a part of adat or cultural norms which always preserved by Batak people. The form of tribute paid by Si Namora, the heads of all animals and fish captured, according to Ypes, such forms were still used in the first part of the twentieth century in many Batak areas in recognition of land rights. The Onan institutions also become an unseparated part of Batak culture and formally adopted by later rulers of Batak such as inland Batak ruler of Singamangaraja I in Bakkara till Singamangaraja XII.
Alang Pardosi succesfully restored order and economy in the state by his policies to institute arrangements for market to be held (onan) and agreement which instituted “bongbong” or taxes. In political sphere, Alang Pardosi again restored his power over Rambe, the stronghold of Simamora’s immigrants. In cultural term, Alang Pardosi is the king who responsible in the progress of Batak megaliths arts. In more recent works Jean Paul Barbier, in The Megalith of The Toba-Batak Country, describe “pangulubalang” built by Alang Pardosi as “magical statues” and discusses their origin and purpose, including the possibilities that they are considered as ancestor effigies or involve human sacrifice.
Many states laws and regulations made by Alang Pardosi are still existed till now as a part of adat or cultural norms which always preserved by Batak people. The form of tribute paid by Si Namora, the heads of all animals and fish captured, according to Ypes, such forms were still used in the first part of the twentieth century in many Batak areas in recognition of land rights. The Onan institutions also become an unseparated part of Batak culture and formally adopted by later rulers of Batak such as inland Batak ruler of Singamangaraja I in Bakkara till Singamangaraja XII.
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