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This study examines the cultural diversity of the Batak people in North Sumatra through a systematic literature review of three core pillars: language, traditions, and social systems. Findings reveal significant inter-sub-ethnic variations (e.g., Toba, Karo, Simalungun), including linguistic diversity (V-S-O structures in Toba vs. complex affixation in Karo), distinct rituals (such as Saur Matua and Manulangi Natuatua), and kinship systems rooted in the Dalihan Na Tolu philosophy. Amid positive dynamics like digitalization of traditional arts (Tortor Martonun) and gender transformations, Batak culture faces critical threats: symbolic desacralization (commodification of ulos textiles), kinship disintegration (atomization of Dalihan Na Tolu due to urbanization), and erosion of transcendental knowledge (extinction of Hata Andung rituals). The study recommends a community-based participatory research (CBPR) preservation model, integrating local content curricula and geographical indication certification. A key limitation is the literature bias toward the Toba sub-group, necessitating urgent comparative studies across sub-ethnicities and analysis of digital media’s impact on cultural transmission.

The creation of this artwork was inspired by the artist, who is a native of the Batak Toba tribe from Pollung District, Humbang Hasundutan Regency. This area is known as a horse breeding region, which produces waste in the form of horsehide scraps. This waste is then utilized as an alternative medium for painting. The idea for the artwork was inspired by traditional Batak Toba games rich in cultural value. This research aims to visualize the form, historical background, and function of traditional Batak Toba games through paintings. In the creation process, horsehide and oil paint were used as media. Each painting depicts the visual form of the traditional game with a simple approach yet still reflects the characteristics and meaning of the games. The method of creating the artwork is based on the stages described by Hedriyana, which include five stages: preparation, elaboration, contemplation, the creation process, and completion of the artwork. The final result of this research is a series of paintings with various titles, as the author's visual interpretation of traditional Batak Toba games.

This creation aims to design characters based on mythological figures from the origin story of the Batak tribe using the visual approach of the seinen manga art style. Batak mythology, which is rich in cultural values and ancestral narratives, is explored through a visual style that resonates with contemporary audiences. The seinen manga style is chosen due to its realistic, emotional, and thematically mature characteristics, making it appropriate for depicting traditional myths without diminishing the respect for cultural beliefs and values. The methods applied in this character design process include literature studies on Batak mythology, visual analysis of the seinen manga style, and concept exploration through stages of digital art creation. The main characters depicted are Debata Bataraguru, Debata Soripada, and Debata Mangalabulan, accompanied by traditional attributes that represent the cultural values of the Batak tribe.

The case of young couples at the beginning of marriage still choose to live in the same house with their parents, especially from the husband's side, so that the wife is also required to follow her husband to live with his parents, in this case the in-laws for the wife, so that it can trigger household problems that encourage the in-laws to interfere in it. This study aims to determine the type of interpersonal conflict between daughters-in-law and mothers-in-law who live in the same house in the Batak Toba tribe in Situmeang Hasundutan Village, Sipoholon District and the causes of "sanding" between daughters-in-law and mothers-in-law who live in the same house in the Batak Toba tribe in Situmeang Hasundutan Village, Sipoholon District and How is the stereotype of society towards sanding between daughters-in-law and mothers-in-law who live in the same house in the Batak Toba tribe in Situmeang Hasundutan Village, Sipoholon District. This study uses a qualitative method with a descriptive approach. Data collection was conducted through direct interviews with informants; daughter-in-law, mother-in-law, husband, traditional leader, community. Descriptive analysis technique was conducted to analyze the “Case of “Sanding” Between Daughter-in-Law and Mother-in-Law Who Live in the Same House in the Batak Toba Community in Situmeang Hasundutan Village, Sipoholon District, North Tapanuli Regency”. The results of this study indicate that in the Batak Toba community in Situmeang Hasundutan Village, the conflict between daughter-in-law and mother-in-law is seen as a natural thing that is unavoidable, because there are several factors that occur, namely several types of conflicts that occur: Role conflict, Communication conflict, Cultural value conflict, Personality conflict. There are 2 Stereotypes of the Batak Toba community in Situmeang Hasundutan Village towards daughters-in-law who live in the same house with their mothers-in-law, namely positive stereotypes and negative stereotypes. Positive stereotypes: Role as a household manager, Guardian of customary values, Helping each other with household chores. Negative stereotypes: Intergenerational conflict, feelings of being pressured or unappreciated, lack of privacy.

The Batak tribe has several sub-tribes, namely, Toba, Mandailing, Pakpak, Angkola, Simalungun and Karo. Each sub-tribe has its own local church except the Mandailing Batak which joined the Angkola Batak. Of all the Batak sub-tribes, the Toba Batak is the most dominant sub-tribe compared to the others. Due to the large number of people from the Toba Batak sub-tribe, HKBP as the Toba Batak tribal church has the most people compared to other sub-tribes. Not only among the Batak sub-tribe, HKBP is also the largest church denomination in Southeast Asia. This research examines the collaboration between Toba Batak culture and the HKBP church. The research location was carried out in the overseas area and also the area of ​​origin of the Toba Batak sub-tribe. The research method used was qualitative. Data sources were obtained through interviews and literature studies. Data collection techniques in this research are by observation, interviews, literature study and document study. The theories used are postcolonial theory and hegemony theory. The research results show that Toba Batak culture is very collaborative with the HKBP church. On the other hand, the HKBP church is very collaborative with Toba Batak culture. Between culture and the HKBP church there is a relationship that is mutually supportive and mutually beneficial.