PANGUNRAUN IN MARIAGE NEGOTIATIONS OF MAANYAN DAYAK OF CENTRAL KALIMANTAN

SEMANTIC ANALYSIS OF ETHNOPOETICS OF PANGUNRAUN IN MARIAGE NEGOTIATIONS OF MAANYAN DAYAK OF CENTRAL KALIMANTAN

Arnusianto M. Mage

Palangka Raya University, Central Kalimantan, Indonesia magearnusianto@gmail.com

Abstract: This paper is intended to describe what is the content of ethnopetic of Pangunraunas they are practised in negotiating marriage proposals of Maanyan Dayak of Central Kalimantan. Semantic analysis was adopted to unfold layers of meaning with observation, interview, and FGD as main data collection techniques. As most couplets have lost the context, word to word translation is extremely difficult to perceive. The study revealed that the negotiation is more than ordinary marriage negotiation, but there are rigid agenda, as appeal to tradition. They include: rice-wine party, negotiating the speakers, reasons for visit, marriage proposal, negotiating the seriousness, negotiating the bridal gift, agreement, and the last asking for blessing from the adat elders.

Keywords: Maanyan Dayak, Borneo, marriage negotiations, Patatiba, Ethnopoetics, Pangunraun

INTRODUCTION

as Hudson observed in the1960s, there were few Pangunraun is a poetic variation of Maanyan

speakers who mastered it and that number has language, a sub language of Dayak included

now decreased even more significantly. in Barito Isolect languages. Maanyan is spoken

Pangunraun is also a ritual language spoken in two regencies South of Barito and East of

in all rituals of the Dayak Maanyan people. The Barito, Central Kalimantan province. Hudson

most accessible sample to the practice of Basa (1963), after two years of fieldwork in East

Pangunraun is found in Maanyan Marriage Barito Regency, describes his personal account

Negotiations. In traditional religion belief, of dealing with the poetic language:

officially called Kaharingan since March 31 st

I would say, without hesitation, that it was 1980 (Schiller 1997:120), marriage negotiations the art of public speaking that was most highly

involve two rituals called Natas Banyang and developed and most appreciated. There are several

Patatiba . It is mandatory to include these rituals speechmaking styles, ranging from a so-called

in the marriage negotiations and as such they “ancient language” (basa Pangunraun) that is

are well maintained. Maanyan have adhered characterized by the extensive use of periphrasis,

to this belief for centuries. to a more colloquial and comparatively laconic

In this paper I would focus myself on “modern” style (Hudson 1963: 408-9).

Patatiba, the second rite of marriage negotiation, Fortunately, after almost fifty years Basa

Patatiba , is always initiated with a section called Pangunraun is somehow still exist and is still

manggayung tuak , a minor rice wine feast. As ‘the premier art form of the region’ today, but

this service is organised into three rounds and

The Multifaceted Dimensions of English Linguistics, Literature, and Education ~ 343 The Multifaceted Dimensions of English Linguistics, Literature, and Education ~ 343

using rope of riti the coil of yellowish (two wine boys).

rattan (14) Uluy anri uluyan iket ulang

The First Section

Using a woven rope

To initiate the rice wine feast the anak panakuan

(15) uey heke ngaliura rayu

recites a chant paying tribute to the spirit that of heke rattan grows on top of trees takes care of the rice wine as well as giving the

(16) yiru bu takam nguqut

name (manggalar) to the rice wine. The following therefore now we drink is the only example found.

These couplets are mainly a description on

Model 5

taking honey from a honey tree, the ingredient added to the rice wine as a sweetening.

(1) Sajang ngarang tuak bantuq lawi raqan The second round of the service is initiated Sajang ngarang rice wine bantu end of with a speech by either anak panggayungan or branches bunsuq panakuan. This section states the reason for (2) Sajang danang tingang lalutung mangun organising the rice wine feast, where the couplets paku are very brief as follows. Variations are notable Sajang danang tingang lalutung grows its if different bards deliver the speeches. shoots

(3) Samula ammay here dammung mani

Model 5

manyang (1) Sariak ringkay kayu masarumang baliq Climbed by prince taking bath on areca

A crying sparrow at a twisting tree bud

(2) hayu takam minum tuak tapay (4) tungken raden ganta langit

let us drink rice wine ascended by prince visit the sky

(3) tutukan takam ngitung kawan ratik basaq (5) Puqay dammung kinurung lingngangk

sadiq

Set a fire by Prince Kinurung-lingngang while we remember some verses of old

(6) rerey raden kangkamut raqan

language

prince waves the smoke down the (4) Takam sameh-sameh ngummung juntay branches

bakir

(7) Hang yiru balalu nguruweah amas junung Let us come together under the shade lawuq

(5) pada-pada nanraq kalun berang That like grains of rice the embers fall

cooperatively we are below the crown down

(6) Takut kapusunan kala iwek sahur (8) nguruwusuy wulan tunyung mirah gugur

In case we might have bad luck like a like golden rattles the fire fell down

sacrificed pig

(9) Balalu uluy here dammung timmangan (7) katenrekan alang manuq tagas kaleh

have an unfortunate incident like a tagas Then the hives are sent down through a

chicken

long rope by a prince of mighty scale (8) Balalu kami mulai ngenney ni (10) tarasat here Katian runsaq

So we start to drink

sent down by mighty Katian (11) Uluy here anri uluyan kawat

Model 9

Using a rope of wire (1) Takut barang yiti naqan (12) ulang uey gansa walang

In case this drink contains dangerous the coil of strong rattan

substances

344 ~ The Multifaceted Dimensions of English Linguistics, Literature, and Education

(2) pudis umpan inrin rasun (3) tajaw inreng siburan halaq harung like traditional poisons, pesticides,

the wine jar is leaning the container stands poison

loosely

(3) atawa tampirik jujuh kikiran gansaq (4) bakul tummangk haut banar rabah tampirik-jujuh, iron powder

the bag has fallen down the gambling (4) elah aku nguqut dahulu

boss is bankrupt

let me drink it first (5) Intur ku ma bakam kasaq (5) Tuqu kamis kamunringen

The bottles of drink

It is very sweet (6) bakam kasa haut jatuh ipaumme tummang (6) kimet ngalulangut wawu

hundreds of them have fallen each it sweetness touches the inside part of a

others

bone (7) summing ilaw haut riwu ipajujung juat (7) kala kamis wani Puning kala kimet nuan

the bottles lean of each other Babai

(8) Bakam kasaq haut galis daray hang as sweet as the bees of Puning sweet like

pulempen

the honey of Babai They have broken at the threshold (8) Kala wani waqu uteh raqan

(9) summing ilaw jarah leqah hang pumatas Like beehives freshly taken from the

the glass containers have broken at the branches

doorstep

(9) alang nuan hanyar mubuk tulung (10) Luwan amun galas kammang like nuan honey freshly taken from tree’s

The flower-pattern glasses cannot go hollows

(11) haut puang kaqiuh urik ansuh (10) Kala gula waqu punnut

back and forth

Like sugar just put in the pack (12) muneng hang ruang luwuq (11) nimmang juruh hanyar paning

within the house

like a brown sugar just put in sack (13) sangker patik puang kaqiuh isahansa neteq (12) Babagi Jarang anri Hiang

spotted cups cannot circulate around the Share it with Jarang and Hiyang

house

(13) pahurey Jalu unru Unay

(14) hang jaru lelun tuah

share it with Jalu and Unay

like swans

As soon as the third round of the service (15) Amun tampurung sinaq puang kaqiuh ile- begins, the anak panakuan suddenly arises and

ile

delivers a speech to inform the assembly that The Chinese coconut shells cannot the rice wine is finished; therefore the third

circle

round is cancelled. The main issues include in (16) muneng hang ruang luwuq this speech are: the organisers of the party are

around the house

in a terribly embarrassing situation, the rice (17) amun wangeq niuy teka Tanyung Jawa wine is finished or is not of a good quality,

coconut shells from Java cannot and an attempt is made to find help. The lines

(18) ang kaqiuh user-user

to express the issue “the wine is finished” are circulate around the building incredibly various, the following are two of

The images that the bard uses to describe the models.

that the rice wine is finished include leaning jar, (1) Daya inun aku iwaraq hang kasampatan

container stands loosely, basket fells, gambler yiti

I will inform you this moment bankrupts, falling bottles, broken bottles, the (2) tuak galis paparitan puang tutuk

glasses and cups can not go back and forth, that the rice wine is finished but not

Chinese of Javanese coconut shells can not everyone has had a drink

circulate around the building.

The Multifaceted Dimensions of English Linguistics, Literature, and Education ~ 345

Model 2

(4) anuh kansaku ialah telang nansalukan lawi (1) Ari aku iwaraq aku sa jurung ayak

like bamboo trees we twist the crown

I inform the assembly that it was I (5) Hi Nanyu jaga batang inupian (2) bannung tuwuq

A man who guards the bathing place who led the boat of tuwuq

(6) hi Lungai gaduh wiruga inungkaran (3) jurung esur kilang manaw

a man who awaits the water drinking who pulled the boat of manaw

place

(4) Bahum yiri samula hanteq (7) Gere nasip maqeh ialah nasip

I wish I could take the boat a great Hopefully he has good luck like ancient distance

(8) ammah Jarang sadi

(5) sikak hampe luyuh watuntangun

Jarang’s father had

up to Luyuh-watun-tangun (9) ialah untung bapang Suga hurap (6) kalunsing balay anraw

like a lucky man of ancient Father-Suga Kalunsing-balay-anraw

(10) Jaga batang sumur bayu (7) Nequ nganyak bannung tuwuq

Who had a drinking water well for navigating the boat of tuwuq

(11) gaduh ummak idunriang lalung (8) nequ ngesur kilang manaw

owned a well called umak-idunriang- sailing the boat of manaw

lalung.

(9) Tauq-tauq hang wuang kamalangan (12) Biar kaping mahuq jatuh taqun But I encountered a serious problem

Even in a dry season for a hundred (10) hang wuang tummang tuju yina,

years

on my way to conduct that intent (13) karing kekeh riwu wulan (11) taripi daya kaping mahu naqan jatuh taqun

a drought for a thousand months it hasbeen a dry season for a hundred

(14) Ibaruse sikaq puang malu kahak year

The water volume did not reduce (12) karing kekeh jarah riwu wulan

(15) ijumpalit ngahuq mantar surut

a long drought for a thousand of months the water level did not decrease The images this bard used include boat

(16) Tatap suey tummang puru pusiq of tuwuq and boat of mannaw to describe the

It was still nine times the height of a pusiq rice wine. These two: manaw and tuwuq are

tree

also ingredients added into the rice wine to (17) waluq etang ruyan tanir make it is more intoxicated. Navigate the boat

eight times the height of a durian tree symbolically means to lead the rite of rice wine

The images used here include sharing drinking feast. Dry season symbolically means

a bunch, (a cluster, a base and a crown) to the rice wine is finished.

represent sharing responsibility in leading the drinking wine feast. The images like bathing

The Second Section

place and drinking-water hole symbolise the In section two, the anak panakuan asks help

wine jar. Again, dry season refers to the rice from anak panggayungan:

wine is finished. The bard refers the situation (1) Aku talip iti naqan hengawku ipapurun

to the ancient Jarang’s Father from the story of tunun

Pangunraun Ruampulurueh about an extraordinary

I ask my friend to share the bunch water hole that the water was always full. (2) naan kansa ku igaganap langar

In response to the speech delivered by anak my companion to join the cluster

panakuan, and anak panggayungan confirms that (3) Naqan hengauku ialah batung mira putut

the rice wine is finished, and tells the assembly My friend like giant bamboo trees we

that they (as the host) are greatly embarrassed share the base

for organising a feast without being able to

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ladder to ascend door to enter. (1) Kami haut leteng wuwungan

(3) Gare masih kaqayuh nammah nanrayang, We are on the sinking crest of flood

Could you please add more food, water

(4) kaqayuh mubung nimmaw. (2) tingalam lea langki

more support more provision. reaching the roof

(5) Gere kaqayuh tuak baqanuh dalam, (3) haut rangi wehuq haut banar balik

Hopefully the house can provide more salt stock is wet a gambler is bankrupt

rice-

(4) haut bakul tummang (6) kajuat pasiq bakurung kunsiq. the bag has fallen down.

wine, more locked bottles. (5) Puang kaqiuh nyanak nangkeq

(7) Gere ulun ruang lewuq talaga rampan, We cannot stop

Hopefully the owner of the house can (6) tuntunan ramaq lawatan wahay, provide,

the assembly leaving, (8) kaqiuh lagi libu anning nyurung wureq, (7) daya ungkus kaqadaqan kami haut galis.

lots of wine with bubbling foam, because we have no more food.

(9) tuak bangkah mumpung sari. (8) Kami ganyah angkeng hang ranuq mahak

lots of rice wine that increases the We are on a dry river

appetite. (9) hang watang deleng, (10) Kaqiuh tuak kala kareh punte, on a worn out trunk bridge,

The rice wine will be like water overflowing (10) muneng hang wureq ranuq hanteq

adam,

on the foam of flood water (11) sajang nimmang balat jujuh. (11) hang lelap apuy ammaw.

the liquor like water flows from a collapsed on a high flame.

dam.

(12) Buluq muhut urung aku alang lepung, In case the owner of the house can not Wipe my nose as if it were broken off,

provide the assembly with more rice wine, (13) nangkur dada alang lemmah.

the anak panggayungan appeals to the owner beat my chest as if I broke my ribs.

of the house to tell the assembly the reason (14) Hanteq supan umangan malu babahe.

to call them to gather. In traditional Maanyan

A terribly embarrassing situation. villagers were called by mean of gong’s sound. (15) Ngitik uluq aku kala wuding watu,

As soon as they came to the place where the Shaking my head as if it were a rock,

gong was beaten, they were served food and (16) mepay wulu aku alang rangkang jatang.

drink. Only when the villagers had enough, the beating my hair as if it were wire.

reason for gathering was announced. Model 5 The images utilised include big troubles like

shows the example.

on flood, salt stock is wet, fallen bag (line 1 to

Model 5

2), and shallow water, a nearly collapse bridge and house is on fire, which all refer to serious

(1) Jadi hang wuang perkumpulan disaster. Embarrassing situation is described

therefore in this assembly as to wipe nose, to beat chest, shake head and

(2) takam yinaq innaku

beating hair.

I guess

As a way out, the anak panggayungan asks (3) naqan tummang tujuq naqan sungkuq santah the owner of the house to help, here are two

must have a direction to which trees fall examples:

to

(1) Uu ruang lewuq uu talaga rampan, (4) naqan etuk lawi jumpet papuru, Please the owner of the house,

trees to lean to, the tops to curve to, the

The Multifaceted Dimensions of English Linguistics, Literature, and Education ~ 347 The Multifaceted Dimensions of English Linguistics, Literature, and Education ~ 347

(ulun putut). Concerned that his clan members although I cannot tell

cannot provide the required food and drink, the (6) Innaku naqan na itur parunru,

appeal is extended to his neighbours, friends

I think there is a problem that needs to be of the same village, surrounding villagers, and settled

visitors (ulun hawiqen). However, this appeal (7) naqan ansam pamani,

is perceived symbolically, not literally; the something that has to be discussed

real intention is to give an opportunity to any (8) arah anri maksud

individual to deliver a poetic speech for the the specific problem

purpose of entertainment, as well as a chance (9) puang ku taqu iwara ma takam.

to get to know each other, especially for the

I cannot tell couple’s families. Another important point (10) Jari sa taqu iwaraq mungkin here ruang

is that he has to ensure that the guests do not lewuq

leave.

those who can tell are the owners of the

Model 8

house (11) here jurung kukuy wakay jurung tangkur

(Speech for asking help from the clan ladit.

members)

they who banged the exposed root who (1) Tapi ha ammaw kala yiru kira-kira wituq pulled the vine

aku

(12) Amun eaw here takam haut Despite the matter, I think If they say the room is silent the hall is

(2) masih puang sa anule ugang pihatu quiet

guntung,

(13) nasuni ruang nasuni pantay najaraq uran the owner of the house is not like a pond nataduh riwut, ha tasarah here.

with no clan, like a billabong with no the rain has stopped, the storm is over,

family,

what can I say ? (3) hawi na puang teka bunguq tane (14) P a d a a m u n n a q u e y m u s u k n a p u k a q

he does not come from a earthen dune nyurung,

(4) hingka dengkul wakay. But if like rattan grows, like bamboo

from a bent vine.

shoot (5) Puang metuq teka tulung batung (15) tasarah witu here.

Pop up from the hollow of a giant develops, it is their own business

bamboo

The images the bard used include ‘the (6) metuq teka tulung tamiang, direction a tree to fall to, tree to lean to, the

come up from the cavity of a little tops to curve to’, which are all indicating to

bamboo,

‘a direction’ symbolically means that there (7) daya yiru hayuq sa aku neraw must be a reason or agenda for the meeting.

therefore let me call This speech is also a closing section for the

(8) here purus wali pamatang asbah rice-wine feast.

the elders from his clan (9) nampalus wat takam yina.

The Third Section

to continue the rite.

Section three includes a response to the speech (10) Gare naun sa ulun dada mapeq pungung from anak panggayungan, where the owner of

mapeq,

the house expresses his embarrassment for You must be men with hard chests and not being able to help the situation, instead,

hard backs,

he asks help from his clan members who are

348 ~ The Multifaceted Dimensions of English Linguistics, Literature, and Education

(11) ulun mira tunun langar gagang tingkil down the big trees and burning them. Usually men who share the bunch, the cluster,

the stumps are left out by the fire and are let the stem

there to decompose and are still notable for years. (12) mira putut parukat paqung walailuh.

In the border of the lands of two neighbours, share the root system, share the stump.

tree stumps are closed to each others. Line 1 to 4 describes that the owner of the

Speech for asking help from surrounding house is not like a pond or a billabong has no

villagers and visitors:

brother. He did not come from earthen dune, or (1) Jakaq ngitung ma tumpuk isaq pajuq rueh

a hollow of a bamboo. Therefore he must have If I remember one village two

a family, clan and elders. These elders should

settlements

help their clan members if they involved in (2) tekaq batay rawi riuk tampungan, such a serious trouble.

huts, hamlets,

Speech for asking help from neighbours or (3) hingka tumpuk natat gumi halaman. friends of the same village:

from the village enclosure land and (1) Jakaq ngitung ma tutuk tungun rapat pirang

yard.

If we remember those who have close (4) Hingka gunung Pangunraun jatuh stumps

From the mountains of Pangunraun-jatuh (2) mira wawungan sampuk sansirang

(5) watu Ngampet malem balah riwu, close ridges, close roofs at this village,

the rock of Ngampet-malem-balah-riwu, (3) hang tumpuk yiti, kiraq-kiraq wituq aku masih

(6) hingka tanyung abun hingka rantaw tutuy. heneq iuh naheraw.

from the Cape of Abun from straight

I think there are many, we can call.

reaches.

(4) Daya yiru Uu naun tutuk tungun rapat (7) Hingka tumpuk lawit paju uruq, pirang

From distant villages, from far Therefore those that have close stumps of

settlements,

trees (8) hingka tumpuk ulun lain gumi hapa bukan. (5) sampuk wuwungan tutuk haruqen,

from foreign villages, lands with no friendly those that close the ridges, close the

connection to us.

roofs (9) Hampe tane ha subarang gumi mampang (6) mira natat talanyaan mira apar papara.

ipay,

those who share the yard share the bathing To the shore of the other land, soil of the place

other side,

(7) Ati kami hang bala hante, (10) hingka tahik tayap hingka tummaq rasa please help us, we are in a great crisis

iring.

(8) gere naun sa kaqayuh nammah nanrayang from the wide ocean, from the vast perhaps you could support, contribute

marsh.

(9) kaqiuh mubung nimmaw,

(11) Awat kami yati hang

you could add Please help, we are on the (10) jakaq pinang batunun luat batangkay,

(12) leteng wuwungan tingalam lea langki. areca nut in clusters, betel leaf in stumps

sinking crest of a flooded roof. (11) jakaq luen maerang isip makapan, awat.

Two speeches that requesting the assembly

a salty dish, crusty rice

not to leave:

Neighbours are mentioned as close ridges,

Speech 1:

close roof meaning that their roof of their house are closed to ours. There is also a weird term:

(1) Daya sebab yiru takam ada hinang close stumps of trees. This term is related to the

Therefore stay firmly seated, land clearing practise in Maanyan by felling

(2) rangang harung, ada hinang kinar kisat.

The Multifaceted Dimensions of English Linguistics, Literature, and Education ~ 349 The Multifaceted Dimensions of English Linguistics, Literature, and Education ~ 349

(7) Himat daya naqan

(3) Ada hinang ngitung Surely we have the direction to where Do not begin to remember the lovely

(8) sungkuq santah jungkung lawi jumpet papuru, children the

the tree leans, the tree bends, the crown (4) ma anak kalelu bunsuq kakasan,

curves,

dearest youngest one, (9) tummuk tiba sinruk pangiluwu. (5) ada hinang tulak tarajang itun tarababus.

the flowers are thrown. (10) Atawa naqan pakaq rirung nyawang do not hurriedly jump, go away.

Surely we have a branch of the rirung (6) Ada hinang ialah wayuang ngitung janah

plant

Do not be like a bear and go back to the (11) naqan huli tanruk muqang, jungle

we have the horn of the muqang beetle, (7) tulumpiaw ngitung hepung,

(12) maupun tumpaq ma Juranang-Meaq do not be like a siamang monkey and go

another way to Juranang-meaq back to the orchard

(13) ranuq janah sinumparing lain. (8) wayu ngitung lubuk.

water leaks like branches of bamboo.

a crocodile goes back to a pool.

(14) Jari innaku kawan

(9) Ada hinang iwawani tumur inanuan tubak,

Therefore all of you

Do not be like panicked bees like annoyed (15) sulin niwulian kawan riak rayu rungan wasps,

visitors from all directions, (10) ada hinang maleng ma pangamudi mudi

(16) ada hinang maleng ma pangamudi mudi do not turn to the way home

do not turn your helm back, (11) mutar ma panaluan mantuk,

(17) ngitar ma panaluan mantuk. back to the home direction,

do not turn your prow back home. (12) naqan sungkuq santah etuk lawi jumpet

(18) Ada hinang maleng upus nansarabun papuru.

Do not turn your boat to the jungle, it must be a direction to where a tree leans,

(19) ngitar pangkah lingar nyana.

a tree bends, a crown curves, a top falls. turn your empty boat home. (13) Aku huqan luga antah leaq tenung,

(20) Ada hinnang ngetuk ma gunung bujalin

I do not yet have clear foresight, an obvious Do not bend to the bujalin mountain prediction

(21) nuwet ma watu kariaqen. do not curve to the rock of kariyaqen

speech 2:

The issue on “real agenda” here is described (1) Amun naun ngabihue ma

metaphorically as ‘another branch of Rirung, If the visitors come like white ants to

horn of muaqang beetle, another way to Juranang- (2) tumpuk natat gumi halaman yina

meaq and nother water leak’. ‘Going home’ is this village and yard, land and

symbolically described as turn the prow, as if enclosure,

it were conducting a journey by a boat. (3) himat daya naqan tulan mamuraga.

there must be a reason.

The Fourth Section

(4) Luwan kami neraw wuwa, From here, the speaker order is rather That is why we call you,

unpredictable as there is no clear regulation. The (5) kami marak pangil.

convention is for clan members of the bride(ulun we invite the assembly,

putut ) to speak first followed by friends of the (6) kami nangkur tukat nalitik waenawang.

same village, and visitors including the groom’s we bang your ladders, knock on your

family and friends (ulun hawiqen). In terms of doors.

age, the youngest bards tend to speak earlier

350 ~ The Multifaceted Dimensions of English Linguistics, Literature, and Education 350 ~ The Multifaceted Dimensions of English Linguistics, Literature, and Education

(12) rantaw ammaw haut ula luluy surut.

a serious infringement to the conventional my long reach has dried up. guidelines of the rite does, the elders correct

(13) Luwan rungkup puyuh haut lawah the bard and redirect the negotiation. In this

Rungkup- puyuh has had no coins stage the issues being discussed are still about

(14) puang kaiuh nguray ringgit, “help to provide the rice wine”. Until this

for a long time,

stage the terms for participants are still host (15) pangun japuq haut ang kajuat ngugur and visitor, only after a marriage proposal is

payung.

clearly mentioned, a change occurs. pangung-japuq does not have shade. As a reaction to the appeal from anak

Line 1 to 4 describes bard’s incapability panggayungan to provide “more quality rice

to help, majority of his couplets are quoted wine”, everybody expresses their inability to

from chants that a female shaman usually help. Like the appeal itself is not referential,

recites when a shamanic rite is not successful the reaction is not referential. It is a standard

to help the ill person, in the ritual of Miqempu. content to reply such appeal; therefore I classify

In helping the people to find the medication, these speeches (until this stage) as phatic

after a long recitation of the shamanic chant, a language. The following are some examples

female shaman just squeezes her long garment. of such speeches.

If the ritual is successful, the needed medication will drop from the garment automatically.

Model 5 (e)

The reason for him that he could not help is (Examples of couplets expressing inability

described in line 7 to 10, where he said that he to help)

has nothing to give.

(1) Haut ang kukaqiuh ngapeut

I cannot squeeze

Text 2 (d)

(2) kawan ennuq teka rammu kanrung, (1) Bujur ungkup pulaw bemeh rayun

a dew drop from the end of my long It is true that I am included in the garment,

extended

(3) ngampulay kawan panas wente babat.

(2) kude yati iwaraq,

cannot press the sweat from the end of my family, but I am telling you belly garment.

(3) turay papah desa turay wadung senay, (4) Ang ku kaqiuh ngampeut,

there is nothing to hope for from me,

I cannot squeeze a dew drop from the (4) upah pinang haut bubar balah end

the areca nuts have all finished (5) kawan ennuq wirun sinyang

(5) ang maribasaq.

of a long garment, This is not just a metaphor. (6) ang ku kajuat ngampulay

(6) Lumiang kami galis tanan kahak, cannot press the sweat from the end of

Our lumiang beads have been left by the (7) kawan panas tampuk gunyay.

water,

my garment. (7) batumani kami jarah luluy pasang, (8) Himpan bangkaq unru

our precious stones have dried out, So that big container

(8) tummang kami galis ipaumme (9) takam masih kaqiuh inamuqun upiq,

we are falling on each other, is still exceedingly full,

(9) rabah kami jarah ipajujung juat. (10) ginsi wulan takam kajuat inyusupan lummuq.

we fall upon one another. high jar is still extremely full.

(10) Bakam kasaq kami galis daray ha pulempen (11) Lubuk lalem haut pada lawah tanan kahak

Our bottles are all broken on the

The Multifaceted Dimensions of English Linguistics, Literature, and Education ~ 351 The Multifaceted Dimensions of English Linguistics, Literature, and Education ~ 351

They produce paddy with ears of gold, glass containers are all smashed at the

(5) luleq nunrun alang mirah. threshold.

rice plants bear ears of ruby. (12) Taping karabung kami galis minyahanyang

(6) Hampe menuq karangking mudit karammas, Our bathing place has drifted away,

That fill the bark bin, fill the rice (13) rahayani ganning kami jarah idadirak-diray.

container,

a place to take drinking water flowed (7) menuq durung mudit lupuq. away.

fill the bark container, fill the rice sack. (14) Samula haut ang uweng anraw kunuq,

(8) Kude, amun aku paung silay siluq There is nothing to expect,

But if I did not mishear (15) anuh juat hequ awe.

(9) mate ganta langit

there is nothing to hope for. my eyes did not go to the sky, (10) nas alkitab basaq yari huni,

The Fifth Section

The bible verses that had been read, After everybody has a chance to deliver his/

(11) ialah huqan nanturungan ilay Jungak anri her poetic performances, one speaker switches

Jauh

the topic to the next issue, ‘to guess’ why the like Jungak is far from Jauh, owner of the house has organised the feast and

(12) ware nanumukan angkuh Banyar anri Kuin. invited so many visitors. As has been described

like Banjar is not similar to Kuin. previously, in the past, people were invited

(13) Huqan nanturungan Idung nuhi lunan, by beating a gong, once the gong sound was

Does not match like Idung split the heard, people would leave their daily activities

cover,

and come to the place of the sounding gong. (14) huqan nanumukan Ayu malah kumpang. As no one knew why they were called, they

does not suit like Ayu hacked the shield. would ask, and make guesses as to what was

(15) Karueh,

happening. Symbolically ‘the guess’ is meant

Secondly,

to remind the villagers that they should think (16) eh ang, gere sa here yina about organising such rituals once they are

Perhaps the household remembers economically capable. At the same time the

(17) daya hampe wulan duawalas forum is an occasion for the bards to show off

this is the twelfth month their knowledge of traditional adat, hinting to

(18) unru hantakan taqun,

the public that he/she is now qualified to be a the last week of the year,

mantir, a member of adjudicating committee. (19) pesta natal malem barasih ngitung. The following are two examples, one from a

the holy night, a celebration for Christian bard, and the other from a Kaharingan

(20) pihawiqan Tuhan Yesus bard.

Lord Jesus’ birthday.

Model 9b(d)

(21) Haqawe amun iaq itaraun tampun But where is a child who brings tampun

Christian bard

plants

(1) Partama, amun here yina basukur ma Alatala (22) simangerang rammu puyun Firstly, if this household thanks God

one end of a cloth

(2) nequ nepah pangantuhan muji hajat parapah, (23) regeq kakaw ni kayawun to pay their promise huge pine tree, growing with needle (3) daya here ngume naqun nyasap nanaman.

leaves, (24) tummuq malar pilus raun, kayu piraqay kayu

for their garden and farm. malar inyaranang lawi.

352 ~ The Multifaceted Dimensions of English Linguistics, Literature, and Education 352 ~ The Multifaceted Dimensions of English Linguistics, Literature, and Education

around the hall of cleared land, nothing. where is hymn number thirty one

(19) Jakaq ma here wawey

(26) malem kudus suni suwung,

To the females

holy night, silent night (20) iaq itawuaq nunuk tumas para ni tabilung, (27) ang ku taqu tanguh.

a child picks fruits of the banyan they fill

I cannot predict that. up the bottom of an earthen jar, (21) haqawe takam kainni negey ma putiri panuk

Model 8 (f)

there is no little basket called (1) Tanguh ku ulun yiti ngitung maq

(22) diang dara upak uyung. diang-dara-upak-

I guess they invoke uyung. Siangan Bintang-halun-dagang (2) nanyu saniang hiang piumung tunuy diwata

A cradle for Bintang-halun-dagang guardian spirits

(23) tutuyan Jaya-layar-lengan, (3) tapi haqawe kawan

a swing for Jaya-layar-lengan, but I do not see

(24) jadi ang ku taqu tanguh. (4) tabak piurayan sinyang pamulakeh,

but I cannot guess that way. tabak-piurayan sinyang-pamulakeh,

From the two examples (Model 8(f), and (5) jumu saruku-ruku ayaw samurayung rawen,

Model 9b(d) we can see the main different of the jumu-saruku-ruku ayaw-samurayung-

Christian bard and Kaharingan bard. Christian rawen

bard (Model 9b(d)) constantly makes new verses (6) ma tawasan dua walas, pa uweng takam

adopting modern change of social cultural kainni.

situation being incorporated into Patatiba, tawasan dua-walas but I do not see any.

as we can see the description of Christmas (7) Tanguh ku daya ulun nequ ma

celebration. Kaharingan Bard only recites the

I guess these people want to begin conventional verses, including Kaharingan (8) pupuh ume ma pangkat bakas

rituals like invocation of ancestor spirits in farming activities

isirap mihampe (line 1 to 5), and the rutual of (9) nequ ulun ma parey winiq ma halun pangkan,

Rice Planting (line 6 to 12) in details. people begin the rice planting,

(10) ulun nulak banung muntia,

The Sixth Section

in a rite called nulak-dammung-Muntia, Only after everyone has finished delivering (11) tapi ha awe uweng takam nebuq maq

their speeches does the speaker for the groom but we did not go

tell the bride’s family members the real intention (12) pupuh ume maq pangkat bakas.

to put forth a marriage proposal. Here the bard to any paddy field.

has to choose one of the four basic metaphoric (13) Jakaq iaq itawuaq resek

models (see Chapter 2); and as I said earlier, If a child picks the fruits of resek and fills

from here the division of ‘bride’s group’ and up the

‘groom’s group is made. Every body who (14) tumas para ni wangkalang

wants to deliver his/her poetic performance bottom ofabasket

has to position him/herself into the party he/ (15) haqawe takam kategeyan dammung ehek

she belongs to. The following is the marriage there is no rice-planting stick

proposal according to Papak Raden Limmungk (16) uria nguris bantang,

basic metaphoric model.

men make holes in straight lines

Model 2b (h)

(17) hang wuang umme jangka kereng in a paddy field

(1) Ekat itati aku ekat ijampa ma riwayat, But now I recall a story,

The Multifaceted Dimensions of English Linguistics, Literature, and Education ~ 353

(2) sehingga kami munsul hang yiti. (22) Leqe pakay ulun muras wae the reason that brings us here.

The rest of one that had been used to (3) Hanya terkesah hang yiti

cure

The story is only about (23) hi papak raden Limmungk sadi, (4) hingkaq salah satu riwayat

This is the speech from bard representing an biography of one person

the groom, to put forth the marriage proposal. (5) hang wuang rummung yiti,

As has been mentioned earlier in metaphoric of this contingent,

model of Papak Raden Limmungk, the groom is (6) ulun sa ialah tuga wajip mait rampan balay,

symbolically mentioned as Prince Limmungk, like a guardian who hauls the roof of a

the leaf of Sakur-Raringunu-Dariangaw from hall,

Mountain Alin refers to the bride. (7) sangar bihara batak tihang nalu agung.

The Seventh Section

a house caretaker to pull a big pillar. (8) Kami itannang ma here wadian Ingar

The bride’s family first reaction is to doubt Therefore we asked shaman Ingar to

the seriousness of the marriage proposal. There help

are three issues the bards generally put forth (9) balanut nampuk gammung,

to express their doubt. The first is an allegation

a shaman with beating drum, that the groom might not have made sufficient

(10) maq hi Ingar wulan welum effort to find the right woman by venturing to

from shaman Ingar with full moon many places, as in the following couplets: (11) tampuk gammung awahat jari.

Model 1a (f)

beating drum in a period of raising stars. (1) Gare huqan sukup tannang, (12) Ingar parumata, You might not have made enough effort Ingar with a diamond,

to seek

(13) nampuk gammung watu lanang. (2) alam tumpuk ulun lain, beating a drum with a precious stones

in foreign villages,

(14) Kami laku kilang antah, (3) tarika alam gumi hapa bukan. We ask them to see try looking in the land of strangers. (15) kami lakuq inniq enteng here, (4) Gare naqan tanyung luluy lunta Jarang, we ask them to predict, There might be a cape that Jarang has, (16) inun mamuraga kawan kenah ngapudien (5) sisa rantaw parak pangil Jalu. what makes him like this? what fish

skipped, astretch that Jalu passed over. makes (6) Gare naqan gunung huqan hunnang Jarang, (17) iwak ranuq ngaliunen? There might be a mountain Jarang has him sick, what water creatures make him

missed,

suffer? (7) uweng watu sisa parak pangil Jalu. (18) Bu hang yaru ruwe-ruwu rawen lulu there might be a rock Jalu has passed piqantahan,

over.

There the leaf of a predictor is moving, (8) Gere hang yaru kaqiyuh mepay luntaq banang, (19) putang lasi pitenungan ru niqen. Possibly there we could cast the net, the sheet of a forecaster is shaking.

(9) nabuh jalu rapat.

(20) Hang yaru naqan rawen sakur ringut

set a tied net.

raringunu, (10) Gare kaqayuh tapah manaway wulu, There is the leaf of sakur raringunu, Hopefully we will catch a tapah fish with (21) dariangaw teka gunung Alin.

long hair,

dariangaw from the mountain of Alin.

354 ~ The Multifaceted Dimensions of English Linguistics, Literature, and Education

(11) iwak raman katinawung. (5) Nganue huqan kayem panyumpilang raman fish with red colour.

wunrung

(12) Gare kaqayuh tauman biru, While we do not capsize like a folding Hopefully we will ensnare a green tauman

(6) hang Riam Epatpulu,

fish, coconut leaf at the Forty Rapids, (13) tarak tamuy gamurinsing.

(7) rumpak tamuraku hang Ulak-tiga-likur. the scales sound like steel.

overturn like rubbish at the Thirty (14) Wadire ngutaq lumut langit,

Eddys.

Wadire fish eats grass of the sky, The images the bard used include capsize, (15) balida naruk tangkay bintang.

sink, and overturn to symbolise a serious balida fish grazes on the stem of stars.

disaster, if the decision is proved to be wrong (16) Yaru sa taqu kahuang umme,

in the later days.

There we will fill the backpack, Still questioning the seriousness of the (17) kalimpaw kaput.

groom, the bride’s speaker humbles the bride by we will satisfy the sack.

saying that the bride does not meet the quality (18) Lanyung taqu inamuqun upi,

demanded by the groom, as exemplified by the

A backpack will be full like taking taro Model 1b(b) in previous example. Some bards plants,

even quest on the previous girlfriends that the (19) wungkalang inusupan tewu.

groom might have left, by ‘suggesting him’

a rattan basket will be full like taking sugar to go back to them, as the following couplets canes.

depict.

(20) Erang awe ha Tibalung lalum, Model 7 (f) Like the flooding of the Tabalung river,

(21) Balangahan-uwa nimpar pampang. (1) Ware hanyu lagi ngalaulek ma like Balangahan-Uwa river breaks its

You may go back to the mountain banks.

(2) gunung palegungan tungkaq, The action of seeking a wife is symbolically

where you used to step your feet, described as catching fish, where Jarang or Jalu

(3) namunelu ma watu paninyauwan puqu. refers to the groom. This speech is delivered by

go back to the rock you used to sway your

a bard represents the bride suggest the groom

feet..

to conduct another searching to find a better (4) Ngalaulek ma lasi bantan atuk woman, symbolically described as some sort

Back to the smoky bush, of valuable fish like tapah, tauman, and wadire,

(5) namulelu ma janah merang ire. who will satisfy the groom greatly.

back to the old jungle of merang. The next issue is whether the groom has

(6) Nganue utas angang nu thoroughly considered the proposal and will

Take advantage of the angang rings that not regret on his decision, as in the following

may be

couplets: (7) masih sibabahum nyamm, (1) Takut teun manginelu,

used any time you wish, You might regret,

(8) paku lungkang nu sinahana ngurut. (2) lagi tiwas manasal.

shoot of lungkang may be taken any time and be sorry later.

you like.

(3) Nganue huqan kayem hang tanyung abun, (9) Daya jaraw jatuhnu hene inananan, While we do not yet capsize at a long

Because you left many jaraw trees, cape,

(10) jantang riwunu euk inanuluy. (4) rumpak iwu rantaw tutuy.

you left many jantang trees. sink at straight reaches.

The Multifaceted Dimensions of English Linguistics, Literature, and Education ~ 355

(11) Ware hanyu ngalaulek ma tanyung ha Because my track has been overgrown by tupian,

Angang grass,

You may go back to the cape bathing (5) enuy lannakku jarah maku lungkang. place,

my porcupine’s trail has been (12) namulelu ma rantaw inungkaran.

overgrown.

go back to the reaches of drinking water, (6) Daya mangunturku galis emme padang, (13) Hang yaru hene bilis itarata bintang

Because my cockfighting arena has been There are many minnows like stars,

overgrown with padang grass, (14) saluang rinu kuta manyan.

(7) kudalangunku jarah punyam panri. saluang fish shade the water-platform.

my cockfighting arena is full of weeds. (15) Upa upi hene ma panuang umme,

(8) Daya galis inamuku kala gunung Kulun, Upa-upi fish will fill the backpack,

Because they have been left behind like (16) kadintungan euk ma panimpaw kaput.

KulunMountain,

kaditungan fish will satisfy the sack. (9) inyanapeh u alang watu Inen. Here the previous girlfriends are described

they have been put aside like the rock of as some beautiful places like a mountain, rock, a

Inen.

smoky bush, bathing place, and drinking-water (10) Daya lumiang Tinting ni turaju hole even some beautiful objects like jaraw tree,

Because beads of Tinting are tied jantang tree, and some kinds of fish.

(11) suqut gampar ni tawudien, the discarded ironwood jams,

The Eighth Section

(12) wunrung amirueku galis tapuqanyu In this section, the groom’s speaker endeavours

my spirit has been given [ to the bride] to convince the bride’s family that the groom is

(13) salulunganku puang juat ampudiqen. very serious with his proposal by “denying” all

my soul cannot be taken back. the allegations and taking a chance to impress

His previous girlfriends are described the bride with his “flirting” verses. Here the

with some images include a tree, track, trail, tension on the groom’s side is high for they

cockfighting arena, which all have been put are being “interrogated”, but the witty bards

aside. Because his soul and spirit have been of both sides have to manage to release the

given to the bride only, and can not be taken tension and create a cheerful situation in order

back (line 10 and 11).

to entertain the guests. Examples of couplets addressing this issue are quite numerous as they

Text 3 (j)

also illustrate how every bard shows his/her (1) Jari itati lepuh ulek pepet literary talent. Look at the following couplets,

So now we come forthe broken sap, where the bard refuses some allegations of

(2) haut lepuh namulelu jurah. having many girlfriends by saying that he has

go back to find the past claiming. left all of them and his hearth been captured

(3) Daya kakaw dangki ringin yiru uweng wayu, by the bride only.

=Because the tree of Dangki-ringin has spirits,

Model 7a (g)

(4) here Tarusan-ilaw Lelay-bahigantan-lalaq. (1) Haut wewung awe aku kayu ha Sarunai,

those called Tarusan-ilaw Lelay-barigantan-

I have forgotten the tree in Sarunai,

lalaq.

(2) haut kika inun aku (5) Wuluni maeh mapaw pungung,

I cannot remember The hair is beautiful covering her back, (3) tummu malar ngammang talam.

(6) jata piu mapayungan panti.

a tree that grew in Ngammang Talam. the hair is good to cover a house. (4) Daya lalan jangkungku galis emme angang,

356 ~ The Multifaceted Dimensions of English Linguistics, Literature, and Education

(7) Wuluni tuntum tungkaq, Therefore bard uses this habit to signify the The hair reaches her feet,

first agreement. The later couplets (line 3 to (8) raun mulung natat lantay.

21) are flirting on how beautiful is the bride, the hair reaches the floor.

by referring her as the spirit of the banyan tree (9) Jujung sarak hanye ingaluga,

named Tarusan-Ilaw. The images the bard On her hair is a long comb,

used include giant bamboo shoot to describe (10) hurut galuh inyaranan .

the chignon, and shaking yellow bamboos to

a girl’s comb is long.

describe her feet.

(11) Kaqiuh hanye At the end the groom’s speaker assures the she can have

bride’s family that the decision is now for the (12) pulehni maimuka batung,

bride’s family to make, by saying:

a hair bun is like a giant bamboo shoot,

Model 1b (j)

(13) bubuk bukurni kaqiuh hampe langit. her chignon reaches the sky.

(1) Haqawe sa kami heqey

(14) Daya inun sa sabab, How could we be so brave Why do I want to marry her?

(2) ijaquju nutu rampang gabang, (15) daya haut luput tawah, amun siwu

demandingly pounding a sack of dried nantewengan,

cassava,

because it has been cleared like a forest of

(3) haqawe kami taqu

siwu the trees have been felled down,

how could we be

(16) amun lehat inatasan wakay. (4) inalujungan ngutaq kulat tummuq like lehat the twisting vines have been

so persistent to eat a mushroom growing cleared.

(5) hang watang inyalungan. (17) Kira-kira kami

at a regrowing trunk

We think (6) Daya rampang gabang yiru (18) Puquni kaqayuh gumalutung unru,

Because the sack of dried cassava her feet are like tall lalutung trees,

(7) natutu hang lehung lemput luwang, (19) lungunni piu gumah haur gading.

is being pounded at a broken mortar, her feet are beautiful like a shaking yellow

(8) daya kulat maka nawen bamboo.

because the mushroom that grows at a (20) Sikaq gumulutung unru

regrowing

The tall lalutung trees have been (9) sa tummu hang watang manyalungan. (21) haut maqeh tawah riwut,

trunk is poisonous.

cleared up by thewind, (10) Tuqu elah heput kulu ma tane gunung uri (22) gumah haur gading piu sipat angin.

Let us go back to a land of mountains with shaking yellow bamboo has been cleared

pillars,

by the breeze. (11) impeh nyasar galang ma tane luyung In the beginning couplets, the bard representing

nungkun.

the groom, tells the reason for their visiting let us move the wheel to the land Luyung- (line 1 and 2). It is to continue their previous

nungkun.

agreement symbolically referred as a broken

(12) Kude nelang

sapling. In the community, when a Maanyan

But with

finds a tree in a jungle (for the fruit or the (13) muhut urung kami nanam lepung timber), and decides to claim it, he just needs to

wipe the nose we feel as if it pulls off break some saplings around the tree. Anybody

(14) erang awe malit wangku, comes to the tree and see the broken sapling

like wiping a coconut shell, knows that someone has claimed the tree.

The Multifaceted Dimensions of English Linguistics, Literature, and Education ~ 357

(15) nangkur dada alang lemmah (6) huan uweng pangulalir anri ganning raya. beat the chest as if the ribs are broken

there is no base of large gong. (16) erang awe nangkur ayaw tulung .

(7) Huqan uweng pitummu anri tinting lumiang, like banging a hollow tree.

There is no ladder rung made of beads, (17) Muhut wae kami kala wulan telen,

(8) tummuk sibur anri runtay batu manni. We just wipe our faces as if in a moon’s

stepping rungs made of chain of beads. eclipse,

(9) Huqan uweng pawiramang anri wilaq wulu, (18) nyapuq sarukanyan kami nimmang kalam

There is no security rope made of lock of rakun.

hair,

wipe the face as if in a dark cloud. (10) pamulakeh anri raun mulung. (19) Elahni amakaq la iuh

no safety cord made of hair. No use crying over spilt porridge, what

(11) Ha awe sa hi Angar taqu mammay sigay can we do?

How could Angar climb up the tree, (20) Amakaq saq iuh pukul paksa teken musti,

(12) ha awe sa hi Lungki taqu nungken uyur. We cannot hit, force, sign, and must,

how could Lungky mount the ladder. (21) pukul maraja teken maratu.

(13) Lawit sa hi Angar taqu

hit like a king, sign like a queen. It would be impossible for Angar to light (22) Elah ma diam tangan impeh ma paker palat,

a fire

Let my hand be still, let my fist be idle (14) nutung lutut widang kuning (23) e l a h n a t u t u p m u l u t i m p e h n a k u n s i

on the torch of yellow bark, muntung.

(15) gutuk apuy katinawung, let my mouth close let my mouth lock.

flame of fire of Katinawung, (16) daya nanam huqan sukup sarat.

The Ninth Section

because the pre-requisite is not yet After being convinced by the groom’s speaker,

fulfilled.

the bride’s speaker requests proof of their (17) Jari amun sa ngatatuqu naun, sincerity, by asking the jujuran ‘bride price’. The

Therefore if you are serious like the following uses the Angar Naniran pattern (see

straight

the four basic metaphoric models in Chapter (18) rammu agung nulus, 2). Surprisingly that the way to ask the proof

tassel of a gong,

is rather uniform, here are two models. (19) ngabubanar wente ha pinuka najam. true like the knot of cockfighting ‘s

Model 5 (j)

knife.

(1) Amun sigay sangngang lagi huqan hampe (20) Maraq kaluar itati hadapan danrahayan harung raqan, please come forward now in front of the If the ladder does not yet reach the

(21) tenga sabarapa.

branch,

attending elders.