DAYAK STUDIES Oral Lit~rature Series, No.3

APAI ALUI BECOMES A SHAMAN Uni AND OTHER IBAN COMIC TALESGR

APAI ALUI NYADI MANANG S3 ENGGAU ENSERA IBAN BUKAIA639 No.3

Compiled by Clifford Sather

UNIVERSITI MALAYSIA SARAWAK The Institute ofEast Asian Studies

316

APAI ALUI BECOMES A SHAMAN AND OTHER IBAN COMIC TALES

Compiled by

CLIFFORD SATHER

UNlVERSITI MALAYSIA SAKAWAK • DAYAK STUDIES Oral Literature Series No.3

2001

APAl ALUI BECOMES A SHAMAN AND OTHER mAN COMIC TALES

Dayak Studies Monographs, Oral Literature Series, Number 3 The Institute of East Asian Studies, UNIMAS

PubJishedby Universiti Malaysia Sarawak (UNlMAS) Copyright © 2001 by Clifford Sather

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the written permission of the publisher.

Orders: Institute of East Asian Studies Universiti Malaysia Sarawak Kota Samarahan 94300 Sarawak

PRINTED IN MALAYSIA

Perpustakaan Negara Malaysia Cataloguing-in-Publication Data

Apai Alui Becomes A Shaman And Other Than Comic Tales Sather, Clifford

ISBN 983-9257-09-9 1. Iban (Bomean people)-Sarawak-Folklore, Social Life and Customs. 2. Ethnology-Sarawak. I. Title

Credits: Cover Illustration, "Tree of Life" by Tusau Padan Drawings by Gerald Oscar Sindon

Printed by Lee Ming Press Company Lot 143, 1st Floor, Abell Road, 93100 Kuching, Sarawak

TheD Sarawak i Studies, ( FOundatiOl tennresea of the islat

In thi! publicatiOl papers and Literature

A rna rnaintainiIl cultural in arts- st01 central an, important face ofraI lost. Other andrneani

Thep publicatiOl literature. of oralliti changing 1 introduced narrator 01 carried oul were nam

FOREWORD

Dayak Studies and the Oral Literature Series

The Dayak Studies Program was inaugurated at the Universiti Malaysia Sarawak in January 2001. Constituted within the Institute of East Asian Studies, and sustained by an endowment from the Dayak Cultural Foundation, the program was established for the purpose ofpromoting long­term research on issues confronting the Dayak communities ofSarawak and ofthe island of Borneo more generally.

In this connection, the Dayak Studies Program has initiated two publication series: 1) a Contemporary Society Series (comprised of data papers and monographs relating to issues ofcurrent concern), and 2) an Oral Literature Series.

About the Dayak Studies Oral Literature Series

A major challenge facing Dayak communities today is that of maintaining, or in some cases, of rediscovering the vitality of community cultural institutions and identities. Traditionally, the verbal and expressive arts- storytelling, epics, sacred and historical narratives- all formed a central and cherished part of Dayak life and embodied many of the most important values on which cultural identities were founded. Today, in the face of rapid change, many of these narrative forms are in danger ofbeing lost. Others are being radically reshaped or are assuming new cultural roles and meanings.

The purpose of this series is to make possible the recording and publication of some part of this rich and rapidly changing corpus of oral literature. It is intended not only to preserve arecord oftraditional examples of oral literature threatened with loss, but also to record and document changing forms of contemporary Dayak expressive culture. Each volume is introduced by its author(s)/compiler(s) with an account identifying the narrator or storyteller and describing the context in which recording was carried out. Texts are presented in both the original language in which they were narrated and in English translation. Where relevant, particular genres

11

are described and their cultural significance within the community is explained as a background to the texts.

In addition to the publication of this series, a further objective of the Dayak Studies Program is to preserve original recordings of Dayak oral literature, including oral history, biography and life-history narratives, in a permanent sound archive, maintained in co-operation by the Majlis Adat Istiadat (Chief Minister's Office), the Tun Jugah Foundation, the Dayak Cultural Foundation, and the Institute ofEast Asian Studies, UNIMAS. It is intended that most ofthe texts presented in this series (as well as others) will also be available in the form of sound recordings, so that it will be possible in the future to listen to the actual words spoken or sung, as well as to read them on the printed page. In some cases, as indicated in individual volumes, this is already possible in our existing recording collections. In the future, we hope to make it universally so.

Professor Clifford Sather Chair, Dayak Studies

Institute ofEast Asian Studies, UNIMAS

Progra Universiti program ti Asian Stuj program tu panjaipek: mega di PI

Dalam bengkah b enggau pel

Siti pe1 baka ni ki1 penemupa mulut eng renung, pe chara raba] pemadu b, Dayak ti b( nyau deka tauka bisi 1

Kebual tusun lema penemu D punas, tanl bansa Day: ulih orang

111

JakuPemuka

Pelajar Penemu Dayak enggau Leman Leka Main

Program Pelajar Penemu Dayak (Dayak Studies) tu ditumbuhka ba Universiti Malaysia Sarawak dalam bulan satu taun 2001. Diarika siti program ti bisi penemu pasal pelajar bansa Dayal<, iya nya Institute of East Asian Studies laiu dipenyadi sereta dibayar Dayak Cultural Foundation, program tu dipenyadika kena ngangkatka pengawa mansik dalam timpuh ke panjai pekara ti bisi besangkut-paut enggau bansa Dayak di Sarawak lalu pia mega di Pulau Borneo.

Dalam pekara tu, Program Pelajar Penemu Dayak tu bisi mansutka dua bengkah bup: - 1) pasal cherita tauka surat dikena belajar besangkut-paut enggau pekara ke nyadi kemaya hari tu; enggau - 2) pasal tusun leka main.

Pasal Leman Leka Main ba Pelajar Penemu Dayak

Siti pekara ti seruran nuntung raban bansa Dayak ke rebak diatu, iya nya, baka ni kitai deka ngetan tauka ngidupka siti gerempung ti tau meri kitai penemu pasal pengidup kitai. Nitihka adat raban bansa Dayak, bejaku ngena mulut enggau bisi pengelandik nusui mayuh macham ensera, cherita, renung, pengap - semua utai nya digelumu ngambika tau nyadi ka siti ari chara raban bansa Dayak ngidupka diri laiu dibantaika nyadi siti ari utai ti pemadu beguna sereta amat berega ti ulih nunjukka pun pendiau bansa Dayak ti bendar. Diatu, dunya udah berubah lalu mayuh ari ensera asal nya nyau deka punas. Bisi sekeda utai nya berubah lalu dikumbai utai ke bam tauka bisi reti ti bam.

Kebuah leman tu digaga awakka sekeda ari pengaya jaku asal ti ulih ari tusun leman Ieka jaku ti jampat berubah tau dirikot sereta dichelak. Tuju penemu Dayak tu ukai semina deka ngerikot pasal adat kitai ti nyau deka punas, tang pia mega deka ngerikot sereta nyimpan dokumen pasal adat bansa Dayak ti seruran berubah. Sebengkah-sebengkah bup tu diterangka ulih orang ti nulis tauka nusun sereta mega enggau penerang pasal orang ke

iv

nusui cherita tauka ensera lalu nerangka reti chara ngerikot ti udah dikena. Bup tu ditusun ngena jaku asallalu mega disalin ngagai Jaku English. Tang enti serna bisi jaku bukai ti besangkut-paut enggau jalai pengidup raban bansa Dayak, siti jaku penerang deka dikena, kena nerangka reti genteran jakunya.

Nambahka pengawa ke nyelak bup tu, siti agi tuju Program Pelajar Penemu Dayak, iya nya, kena naruh rikot asal penemu Dayak ke nyerangkung cherita tuai, jerita pengidup, jerita diri ke alai nyimpan rikot nyawa dalam timpuh ke tan lama, dipejalaika begulai enggau Opis Majlis Adat Istiadat (Chief Minister's Office), Tun Jugah Foundation, Dayak Cultural Foundation sereta enggau Instititute of East Asian Studies, UNlMAS. Juluk ati kami deka nyimpan semua bup ti bisi dalam tusun tu (enggau iya ke bukai) mega deka disediaka dalam chara rikot nyawa awakka dudi ari ila, leka jaku ke asal enggau baka ni patah nyawa ke bendar ulih dedinga, lalu pia mega ulih dibacha udah iya dichelak. Dalam sekeda pekara, baka ti digumpul dalam siti-siti bup, utai tu udah ulih dikereja naka ti ulih digumpul kami diatu. Iya ke dudi hari ila, kami arapka ulih ngereja tu sereta dunya.

Professor Clifford Sather Chair, Dayak Studies

Institute ofEast Asian Studies

Foreword..

Illustration

The Storyt(

Introductio

EnglishSt.

Palui Visiu Henry Ger

ApaiAlui: Henry Ger

ApaiAlui 1 Henry Ger

ApaiAlui 1 Henry Ger

ApaiAlui HenryGer

Palui Chal] HenryGer

Father-of-~ HenryGer

Palui Goes HenryGer

Palui and I HenryGer

ApaiAlui : Henry Ger

v

Contents

Foreword. .. .. .. .............. .... ... .... ............. .. .. .... ................. .. .. ... .... ....... 11

Illustrations ..................................................................................... V111

The Storyteller ................................................................................ x

Introduction ..................................................................................... 1

English Section

Palui Visits Foreign Lands 11 Henry Gerijih ................................................................................ ..

Apai Alui and the Rajah 16 Henry Gerijih ................................................................................. .

Apai Alui Becomes a Shaman Henry Gerijih ............. .................................................................. 25

Apai Alui Makes a Banana Garden Henry Gerijih .... ............ ......... ..................... .. ............ .......... ...... ..... 42

Apai Alui Hunts a Fat Animal Henry Gerijih .................................................................... .............. 48

Palui Challenges Keling's Followers of Panggau to a Cockfight Henry Gerijih .................................................................................. 60

Father-of-Sumang-Umang and Father-of-Alui Set Fishtraps Henry Gerijih ............................... ................................................... 67

Palui Goes Fishing Henry Gerijih .................................................................................. 76

Palui and Father-of-Sumang-Umang Deceive Each Other Henry Gerijih .................................................................................. 83

Apai Alui Sets Out a Fishtrap at Lemayung Reach in the Otherworld Henry Gerijih ................................................................................. 90

VI

Bagilban

Palui Be1e1ang ke Menua Bukai Henry Gerijih ................................................................................ . 96

Apai Alui enggau Rajah Siku Henry Gerijih ................................................................................ . 101

Palui Nyadi Manang Henry Gerijih ................................................................................ . 110

Apai Alui Bekebun Pisang Henry Gerijih ................................................................................ . 126

Palui Nyumpit lelu Gemu Henry Gerijih ................................................................................. . 132

Palui Belaban Nyabung enggau Sida Ke1ing di Panggau Henry Gerijih ................................................................................ . 145

Apai Sumang-Umang Seduai Apai Alui Nan Bubu Henry Gerijih ................................................................................ . 152

Palui Nginti Henry Gerijih ................................................................................ . 161

Palui Seduai Apai Sumang-Umang Bebalas Beduan Pangan Diri Nginti ba Letung Henry Gerijih ................................................................................ . 167

Apai Alui Nan Bubu ngagai Menua Sebayan Dikumbai Rantau Lemayung Henry Gerijih ................................................................................. . 174

As soon as and then sa

Father-of-P around the black jar c(

While they planks the)

"Ah! This YOurthing1 huntsman."

"How is it

"The price and a large

"Stop runn said Boar..

"Why are ~ asked Bar1

When the ( arrived, bri

He and the many ofth

"Hess! So our countr

VB

lliustraiions

As soon as he had finished, the princess awoke and then sat up................................................................................................... .. 14

Father-of-Alui ordered the Rajah's attendants to dig carefully around the roots ofthe tree. They soon uncovered a small black jar covered with cloth.......................................................................... 23

While they ate, he hid all their tools under one end of the planks they had cut. .......................................................................................... 28

"Ah! This is very difficult, Sempurai, my nephew. Your things have been stolen by a demon huntsman."............................................................................................................. 35

"How .. h th b d' Id?"IS It t at ese ananas on t turn to go . . ........................... 46

"The price of a small bunch is three ringgit, and a large bunch, two ringgit.".................................................................. 47

"Stop running, Uncle. If the ghost comes, I'll fight it," said Boar................................................................................................................. 54

"Why are you running, Uncle?" asked Barking Deer........................................................................................... 57

When the agreed-upon day came, everyone from both sides arrived, bringing their fighting cocks to the arena............................ 64

He and the demons wrestled, but, because there were so many of them, the demons soon defeated him.................................... 73

"Hess! So it's you again, come to steal fish from our country." ......................................................................................................... 94

Vlll

Gambar Bagilban

Udah nya anak Rajah la1u tau angkat lalu duduk.............................. 100

Apai Alui lalu ngasuh orang numbak baruh bandir rian nya jimat-jimat. Dia sida lalu nemu kebuk chelum sigi disangkabung enggau kain................................................................. .. 107

Dia Apai A1ui lalu ngeialaika semua perengka ban nya dilalaika iya ba ujung ban nya empu....................................................... 112

"Eh' M Akan, S . ] u d' b' . " 121. ar tu, empurat. Iam 1 antu geras!. ................

"Kan. a at uah . da nya I mas:'>"......................................... 128I' b plsang tu en d'

"Satu tangkai ke mit rega tiga ringgit. Lalu setangkai ke besai rega dua."............................................................................................ .. 131

"Eh! Anang nuan rari, Aya! Lagi aku ngelaban iya ti iya ku'aku B b'datal,." pIa. J a 1. ................................................................................. 138

"N . dik'ka A, '>" . ku Ki'. arna uta! eran nuan, n.ya: pia Jang......................... .. 139

Lebuh nyau datai ba maya hari ti disemaya iya ke sebelas hari, semua ari sepiak-sepiak sarna datai mai manuk kemenalan............................................................................................................ 148

Dia sida berekak bebaring belat, tang laban antu nya mayuh, nya alai Apai Alui laiu alah........................................................................... 159

"Hess! Nuan tu selalu ngenchmi ikan ba menua kami." ............. 178

The narra !ban auth Kumang written in will be \\i

originally DewanB.

HenryGe Paku, Sar Nakoda ( Paku trav( series of\ !ban trave Jabo, was Lawas, il permanen and in 191 had begm father, Jab

During hi~ grandmotl own acco Anotherir well-kno",

Henry Ge Anyut, Pa trained at 1952 on", AnglicanJ

I These are Kurn

ix

The Storyteller

The narrator of these stories, Henry Gerijih anak Jabo, is a well-known Than author. His retelling of the traditional ensera, Satanglmi (1963), Kumang Betelu (1963), Raja Langit (1964), and Aur Kira (1967), written in Than and published by the former Borneo Literature Bureau, will be well-known to many older Than readers. Three of his books, originally published in Than, have been translated and reprinted by the Dewan Bahasa dan Pustaka in Bahasa Malaysia l

•

Henry Gerijih was born on 15 June 1917 at Samu Longhouse, in the Uiu Paku, Saribas. Both his father, Jabo anak Gurang, and his grandfather, Nakoda Gurang anak Ramping, were well-known tum-of-the-century Paku travelers. At the age of20, his grandfather, Gurang, departed on a series of wild-rubber collecting journeys that took him, like many other Than travelers ofthe era, to Malaya, Sumatra and Sabah. Gerijih's father, Jabo, was born around 1895. At the age of 19, Jabo joined his father at Lawas, in northern Sarawak, and from there the two returned permanently to the Saribas. Two years after their return, Jabo married and in 1917, Henry Gerijih was born. By the time ofhis birth, his family had begun pioneer rubber planting and later in life, for ten years, his father, Jabo, was headman of the Nanga Samu Longhouse.

During his childhood, Gerijih learned many traditional ensera from his grandmother, Kerandang, the wife of Nakoda Gurang, including, by his own account, the Apai Alui stories that are recorded in this book. Another important source was Lemambang Luat anak Jabu, a friend and well-known Paku bard.

Henry Gerijih was educated at St. Andrew's mission school, Nanga Anyut, Paku, and at St. Augustine's School, Betong. In 1950-51 he trained at Batu Lintang Teachers' Training College, Kuching, and from 1952 onward, for the next twenty years, he taught at a number of Anglican mission schools in the Sri Arnan Division, including St. Peter's

1These are Kumang Betelu (1990), Raja Langit (1994) and Setangkai (1995).

x

School, Saratok, S1. Michael's School, Engkerebai, S1. Bartholomew's School, Geraji, and S1. Christopher's School, Debak, from which he retired in 1973.

In his youth, Henry Gerijih studied and performed as a bard (lemambang). Following his retirement, he returned to Rumah Bawin, at Nanga Samu, where today he is recognized as a storyteller and genealogist (tukang tusut). Throughout the Paku, on ceremonial occasions, he is often invited to recite the sampi miau piring and the miau pengabang, prayers to welcome offerings and to greet ceremonial visitors. Although no longer practicing as a bard, he is well versed in the pengap (bardic chants) and other ritual language traditions. Henry Gerijih is married and has three children, two sons and a daughter.

Iya ke] sida Than k ianyaSatw Aur Kim Literature j

Tiga iti bu BahasaMa

Henry I Saribas. A Ramping, 1

umur iya d nyatu, sere1 sereta ke S4 Lebuh lim: di Sarawak ari nyin, Ja1 iya ada, sid nyadi tuai r

Ku Gel nyerangkur Kerandang, Lemamban

Henry ( Paku,engg belajar di E 1952,ngag Anglican d Michael's S Christophel

I Tu Kumang Be;

xi

Penusui Ensera

,

Iya ke nusui semua ensera tu, Henry Gerijih anak Jabo, dikelala mayuh sida Than ke tuai laban iya bisi nulis mayuh bup Than. Bup ensera asal iya, ianya Satangkai (1963), Kumang Betelu (1963), Raja Langit (1964), enggau Aur Kira (1967) ti ditulis dalam Jaku Than lalu dichelak ulih Borneo Literature Bureau, bisi meri penemu ke mayuh pemacha Than ke tuai agio Tiga iti bup iya keterubah dichelak dalam Jaku Than, udah disalin ngagai Bahasa Malaysia ulih Dewan Bahasa dan Pustaka I.

Henry Gerijih ada kena 15/6/1917 di rumah panjai Samu, di Ulu Paku, Saribas. Apai iya, Jabo anak Gurang, enggau aki iya, Nakoda Gurang anak Ramping, nya orang tebilang ke bejalai ari Paku lebuh maya nya. Lebuh umur iya dua puluh taUll, aki iya, Gurang, bekejang ari Paku bejalai ngiga nyatu, sereta enggau mayuh Than bukai lebuh nya, ke Malaya, ke Sumatra, sereta ke Sabah. Apai Gerijih, Jabo, diadaka kurang lebih dalam taun 1895. Lebuh umur iya semilan belas taUll, Jabo nemuai ngagai apai iya di Lawas, di Sarawak utara, lalu ngambi apai iya pulai ke Saribas. Dua taUll udah pulai ari nyin, Jabo lalu bebini, lalu dalam taUll 1917, Henry Gerijih ada. Lebuh iya ada, sida sebilik udah berengkah bekebUll getah. Udah nya, apai iya lalu nyadi tuai rumah di Samu, pengelama sepuluh taUll.

Ku Gerijih, lebuh iya agi biak, iya belajar pasal leka ensera tuai nyerangkung semua ensera Apai Alui ti ditulis dalam bup tu ari ini iya, Kerandang, bini Nakoda Gurang. Iya belajar mega ari pangan iya niang Lemambang Luat anak Jabu, siku tuai lemambang ari Paku.

Henry Gerijih besekula di sekula mission St. Andrew's, Nanga Anyut, Paku, enggau di St. Augustine's School, Betong. Dalam taUll 1950-51, iya belajar di Batu Lintang Teachers' Training College, Kuching, lalu ari taUll 1952, ngagai lebih dua puluh taUll udah nya, iya nyadi pengajar di sekula Anglican di Bagi Sri Arnan, nyerangkung St. Peter's School, Saratok, St. Michael's School, Engkerebai, St. Bartholomew's School, Geraji, enggau St. Christopher's School, Debak. Iya pinchin dalam taU'll 1973.

1 Tn Kumang Betelu (1990), Raja Langit (1994), enggau Satangkai (1995).

xii

Lebuh iya agi bujang, Henry Gerijih be1ajarka leka pengap laiu nyadi lemambang. Udah iya pinehill, iya pulai ke Rumah Bawin, tauka Nanga Samu, laiu kemaya hari tu iya dikeiaia orang nyadi penusui ensera enggau tukang tusut. Dalam ai Paku, Iebuh maya gawai, iya seialu diasuh orang nyampi tauka miau piring enggau miau pengabang. Taja pan iya diatu enda agi nyadi Iemambang, iya nemu amat Ieka pengap sereta enggau leka main bukai. Henry Gerijih udah bebini laiu bisi riga iku anak, dua iku lelaki enggau siku indu.

The ten Palui or e} adventures Pak Sali, or poke fun at

Apai AI other times behaves foe Some tales inherent in Garden;'th between th( Thus, he as mas) mustr he threaten originally g. comes out \ figurative s customers i1 their whole of-Sumang­his neighbol repay Fathe only to suffi through his

This last tale. Becau Alui again ~ story. Thest misbehaviot

In somt (Tambap), e:

xiii

f'

Introduction

The ten stories that follow are examples ofwhat the Than call ensera Palui or ensera Apai Alui. These are humorous stories relating the adventures of the Than comic hero, variously known as Palui, Sali-ali, Pak Sali, or Apai Alui. Most carry a moral lesson, but, at the same time, poke fun at everyday social conventions and behaviour.

Apai Alui appears in the ensera Palui sometimes as a trickster and other times as a fool, or, occasionally, as both. In many of the tales, he behaves foolishly, contrary to common sense and his own best interests. Some tales play, for example, on the potential for comic confusion inherent in language itself. Thus, in the story, "Palui Plants a Banana Garden;' the hero's literal-mindedness prevents him from distinguishing between the names that are given to things and the things themselves. Thus, he assumes that a banana plant called a "gold banana" (pisang mas) must necessarily bear fruit of real gold. When this fails to happen, he threatens to take legal action against Sempurai, the hero who originally gave him the gold banana cuttings. In this case, however, all comes out well in the end, as Apai Alui and his son are able, in a more figurative sense, to turn their banana fruit into gold by outwitting customers into believing that they are getting a bargain, and so ofselling their whole banana crop for a considerable profit. In "Palui and Father­of-Sumang-Umang Deceive Each Other," Apai Alui is first cheated by his neighbor, Father-of-Sumang-Umang. He then foolishly attempts to repay Father-of-Sumang-Umang by playing precisely the same trick, only to suffer disastrous consequences, as the latter is able to easily see through his plan.

This last story, like many other ensera Palui, is basically a cautionary tale. Because of his stupidity, greed, impulsiveness, or gullibility, Apai Alui again and again suffers misfortune or humiliation at the end of a story. These tales thus convey a lesson about the consequences of misbehaviour.

In some tales, Apai Alui is simply called "Idiot" or "Fool'" (Tambap), especially by his wife, Enchelegit. Although he often behaves

1

foolishly, he is nevertheless, for Than audiences, a figure of genuine affection. In everyday life, someone who behaves foolishly may similarly be called palui or alui. These terms are used, not to convey disapproval or condemnation, but with fondness, as terms of endearment. Between close friends, the term palui may, in fact, be used as a reciprocal address term, to connote a relationship of special intimacy, affection, or camaraderie. Similarly, between friends, "Tambap lap!" roughly, "You idiot!" is a common expression ofaffection.

In the first three stories, Apai Alui appears as a shaman (manang). Here, he is not a fool, but, rather, even if sometimes unintentionally, a figure of wit and shrewdness. Elsewhere, I have published brief translated versions of these stories, together with a more extended commentaryl. All three reflect, I would argue, the ambivalence which most ordinary Thans feel toward shamans, as being, in some instances, both miraculous healers and, at the same time, possible cheats and tricksters. Here, doubt is made an occasion for humor. In the second and third stories, ''Apai Alui and the Rajah" and ''Apai Alui Becomes a Shaman;' Apai Alui, at the climax of each story, performs a complex litual (one, in the first instance, to recover a missing ring, and, in the other, missing tools), which is, in fact, an elaborate parody of a shamanic ritual, and a complete hoax. Yet, even though a hoax, each "ritual" succeeds brilliantly. At their conclusion, the Rajah, in the second story, and the spmt heroes, in the third, are totally satisfied with the outcome and more convinced than ever by what takes place of Apai Alui's extraordinary powers as a shaman. In the same way, in the first story, Apai Alui seemingly brings a princess back from the dead. We, of course, as part of the storyteller's audience, know better, and are able to see these "rituals" for what they really are: ingeniously clever deceptions. Yet, deceptions or not, the Rajah gets back his ring, the heroes, their tools, and a princess is brought back to life, and for his cleverness, Apai Alui is richly rewarded. Thus, the tales blur distinctions between make-believe and reality, play and ritual, travesty and seriousness2

•

1 See "Shaman and Fool: Representations of the Shaman in Iban Comic Fables;' IN: Robert L Winzeler, ed., The &en and the Unseen: Shamanism, Mediumship and Possession in Borneo. 1993, Williamsburg: Borneo Research Council, Monograph 2, pp. 281-322.

2 "Shaman and Fool"pp. 310-313.

In the eli as Mother-l number of< still a bach< married Ion Literally, it longhouse] sake of pol mainly chil< personal na as "mothe "grandfathe most often, follow, Fath the longhou Gelung Riv brother of( the Panggal although a J

and heroine

The ens entertainme the ensera ~ romances 0

enseraApal animal stor (pelanduk) ; an idealize< contrast, of namely, the between fri( Hence, APi Umang,cor of-Alui attt

3 As opposed to or "true" (ben

2

In the ensera Palui tradition, Father-of-Alui has a wife, who is known as Mother-of-Alui, or Enchelegit; a son and namesake, Alui; and a number of other children, usually seven in all. In the first story, Palui is still a bachelor, while in the second, he and Enchelegit have not been married long and still have only two children, Alui and a sister, Leminda. Literally, in Than, Apai Alui means "Father-of-Alui". In ordinary longhouse life, the use of personal names is generally avoided for the sake of politeness. Only the most junior members of a community, mainly children and unmarried youths, are addressed by means of their personal names. Others are typically addressed by generational terms, as "mother (indai)," "father (apai)," "grandmother (ini ')," or "grandfather (aid ')" ofa particular child, usually a couple's first-born, or, most often, as here, their first-born son (or grandson). In the stories that follow, Father-of-Alui and his family live at Emperan Embawang, near the longhouses of the spirit heroes and heroines, along the Panggau and Gelung Rivers. Apai Alui, in the first story, is described as the elder brother of Gila Gundi, who is the father of Keling, the leading hero of the Panggau-Gelung world. This is interesting because it means that, although a fool, Apai AIui is an elder kinsman of the Than spirit heroes and heroines.

The ensera, more generally, are fictional narratives told chiefly for entertainment3

• Within the ensera tradition, the Than distinguish between the ensera Orang Panggau, heroic sagas that relate the adventures and romances of the Than spirit heroes and heroines (Orang Panggau); the ensera Apai Alui, the comic tales; and the ensera jelu, the latter being animal stories concerned mainly with the adventures of Mouse Deer (pelanduk) and Tortoise (tekura). While the heroic sagas tend to portray an idealized version of traditional society, the ensera Apai Alui, by contrast, often satirize the most basic relationships of everyday life: namely, those between husband and wife, parents and children, and between friends. Here, social ideals are frequently turned on their head. Hence, Apai Alui and his friend and neighbor, Father-of-Sumang­Umang, constantly try to get the better of one another. Similarly, Father­of-Alui attempts to deceive his wife and children, for example, by

As opposed to the cherita (orjerita), which relate events, or chronicle experiences, that are purportedly "real" or "true" (bendar).

3

3

keeping food for himself and not sharing it with the rest of his family, only to be outwitted by his wife and children, and have his selfish schemes fail in the end, often with disastrous results to himself. Mother­of-Alui often gets the best of her husband by impersonating the make­believe, eye-gouging ''Ngingit spirits," or the buttocks-biting "Barukap spirits"5. Significantly, these make-believe "spirits" (and others) are used by Than parents to threaten misbehaving children and to keep them quiet at night, the time when the Apai Alui stories were typically told in the past. In the last story in this collection, "Apai Alui Sets Out a Fishtrap at Lemayung Reach in the Otherworld," Apai Alui uses the same device to frighten off the spirits of the dead. Later, Father-of­Sumang-Umang, trying to repeat his friend's success, fails to use this trick, and so receives a severe beating, not from make-believe, but from genuine, spirits.

In the Than heroic ensera, women are seldom portrayed as heroic figures, although they often incite men to deeds ofbravery. In the comic stories, the situation is often reversed. Here, Apai Alui is outsmarted again and again by his wife, Enchelegit, and in the story, "Apai Alui Challenges Keling and his Followers to a Cockfight," the wives of the Panggau-Gelung heroes are forced to rescue their husbands from slavery after the latter have foolishly wagered their freedom in a cockfighting contest with Apai Alui.

The ensera Palui are most often told at night, after children have been put to bed. They are generally told to youngsters by an elderly caretaker, most often a grandmother, although parents may also tell them as well. In the past, particularly during times of intensive farm work, young children were often entrusted to the care of grandparents, and many looked forward to these times as occasions for nightly storytelling. At such times, both Apai Alui and animal stories were told. It is important to note that these are oral stories, meant to be heard rather than read. For example, Apai Alui is depicted as speaking through his nose, with a

4 For examples, see Clifford Sather, Apai Aloi Goes Hunting and Other stories (Kuching: Persatuan Kesusasteraan Sarawak, 1984) pp.viii, 7·10, 18·23.

5 ApaiAloi Goes Hunting and Other Stories, pp.viii, 22·23.

6 See Clifford Sather, "Origin of the Iban Comic Hero Apai Alai: A Saribas Saga Version" Sarawak Museum Journal, 34 (1981), p. 74.

peculiar na Alui's spee( hilarity of t that is lost i

As a sto Panggau ar the collecti traditions ft Alui and th

In pres! established

First, an patience am in transcrib duringuniv at the begi Governmen and the Sal thank, too, their carefu A special 1

introductiOl Roslind am Klemperer· colloquial I

7 Dayak Cultur

4

peculiar nasal voice (idul'l. When told by a skillful storyteller, Apai Alui's speech is at once recognizable, and this quality adds greatly to the hilarity of the tales, as oral literature. Unfortunately, this is something that is lost in written versions of the stories.

As a storyteller, Henry Gerijih is a master of both the ensera Orang Panggau and the ensera Palui traditions, and one important feature of the collection of stories that follows is the blending of these two traditions through the repeated encounters that occur here between Apai Alui and the heroes and heroines of the Panggau-Gelung world.

In presenting the Than stories, I have followed the orthography established by the Komiti Penusun Sepil Jaku Than Sarawak7

•

Acknowledgements

First, and foremost, I wish to thank Henry Gerijih anak Jabo for his patience and the time he took in telling me these stories and assisting me in transcribing them. All were recorded at Nanga Samu Longhouse during university holidays. The year ofrecording is indicated in brackets at the beginning of each story. I am also grateful to the Sarawak Government for permission to carry out research in the Saribas District and the Sarawak Museum for acting as my local research sponsor. I thank, too, Easter Andoh, Dr. Dimbab Ngidang, and Jantan Umbat for their careful reading ofthe Than texts and their many useful corrections. A special thanks goes to Jantan Umbat for his help with my Than introduction. Elizabeth Etta anak Nyadang and Roshima Abdullah (@ Roslind anak Janggot) assisted with the typing. Finally, I thank Louise Klemperer for her invaluable help in editing and putting these stories into colloquial English.

Clifford Sather Chair, Dayak Studies

Institute of East Asian Studies Universiti Malaysia Sarawak

July 2001

7 Dayak Cultural Foundation, Atur Sepil Jaku [ban (Kucbing: Dayak Cultural Foundation, 1995).

5

l

Jaku Penerang

Sepuluh iti ensera ti ditusui dalam bup tu nya chunto ensera ti dikumbai dalam Jaku Than "ensera Palui" tauka "ensera Apai AIui". Sida tu ensera ti ngelika ati ke nyeritaka pasal pengawa enggau ulah siku Than ke jenaka ti diemu enggau mayuh bali nama baka Palui, Sali-ali, Apai Sali, tauka Apai Alui. Nyauka semua ensera tu ngundan lalau pendiau, sereta lalu ngayanka tundi enggau uti, ulah enggau jelekah dalam pengidup ninting hari raban bansa Than.

Dalam ensera, Apai AIui kadang-kadang nyadi orang pemusin, kadang-kadang nyadi orang tambap, lalu bisi mega nyadi kedua-dua orang nya. Ba mayuh ensera, iya nyadi lap laban selalu ngena runding diri empu ti nyelai ari enggi orang bukai lalu nya ke suah ngenusahka iya empu. Ba sekeda ensera, penyarut nyadi ketegal Apai AIui ke saruka reti leka jaku. Nya alai, ba ensera ''Apai Alui Bekebun Pisang", Apai AIui enda nemu bida antara nama utai enggau utai nya ke bendar. Nya alai ku iya, "pisang mas", mestilah bebuahka mas. Lebuh utai nya enda nyadi, iya lalu deka nunggu Sempurai laban bulaka iya lebuh Sempurai meri tambak pisang mas nya ngagai iya. Taja pia, ba pengujung ensera tu, semua utai nyadi manah ketegal Apai AIui enggau anak iya mujur nukar buah pisang seduai iya nyadi "mas" laban seduai iya mujur ngasuh orang ke meli buah pisang pechayaka seduai iya ngelilung buah pisang seduai ti ngujungka seduai iya bulih untung besai. Dalam ensera "Palui Seduai Apai Sumang-Umang Bebalas Beduan Pangan Nginti Letung", Apai AI~dikeduan pangan iya, Apai Sumang-Umang. Udah nya Apai AIui nguji malas Apai Sumang-Umang ngena akal ke dikena Apai Sumang-Umang ke beduan iya. Apai Sumang-Umang udah nemu pasal utai ti deka dikereja Apai AIui. Nya mih ti ngujungka penusah besai ninggang tudah Apai Alui.

Ensera siti ke penudi nya sebaka mega enggau mayuh ensera Palui ke bukai, laban nya ensera ke meri jaku tangkan. Ketegal penambap, pengerangka, enggau jelekah ke ngereja utai enda berunding dulu, tauka ke kelalu arapka utai ti ditusui orang, Apai Alui serman bulih penusah, pemerinsa, pengerugi sereta pemalu ba pengujung ensera. Ensera tu mai pesan siku-siku orang deka dituntung penusah enti iya ngereja pengawa ti enda menyana.

Baenst ulih bini i) meruan ny hari Than, : "palui." Ja enggauati ngangauka penyayau1 ati ti gaga:

Ba ens, orang ke t; nyelak em diselitka er pengarap 1 endang ka pengawa I1

lalu digag: AIui engg: ba pengujl pta mega, PengawaJ. pelian iya ketiga, Ra bendarpel daiamens indu Raja nemu belli nipu tauk~ anakiyap kena beba lalu nguju antara uta pengawa 1

1 Silak lamba Winzeler, e( Williamsbel]

2 "Shaman ane

6

Ba ensera ke bukai, Apai Alui seruran dikumbai tambap lap lebih agi ulih bini iya Enchelegit. Taja iya selalu ngaga ulah ti tambap, tang iya mernan nyadi orang ke dikangkunka bala Than. Ba pengidup tiap-tiap hari Than, siku-siku orang ke ngereja pengawa ke beli, mega dikumbai "palui." Jaku tu dikena ukai ketegal begedi tauka bejai, tang iya dikena enggau ati rindu tanda angkun. Jaku "palui" kadang-kadang dikena Than ngangauka pangan diri ke serambau ke tanda bisi pengankun enggau penyayau ke pangan diri. Pia mega, "tambap lap!" dikena mansutka asai ati ti gaga sereta rindu begulai.

Ba ensera keternbah, Apai Alui nyadi manang. Dia iya ukai nyadi orang ke tambap, tang iya orang ke pandai sereta pintar. Aku udah bisi nyelak ensera nya ba bup bukai ti disalin ngagai Jaku English, lalu diselitka enggau penerang ti lenak l . Ketiga-tiga ensera nya bisi ngayanka pengarap Than ke bebelah-bagi pasal pengawa bemanang ti dianggap endang kala sidi lalu ulih ngeraika orang ke sakit, lalu bisi mega maya pengawa nya jalai musin sereta nipu. Ba nya asai ati ti enda andal nya lalu digaga nyadi utai ngelugi. Ba ensera kedua enggau ketiga, 'Apai Alui enggau Rajah Siku' enggau 'Apai Alui Nyadi Manang', Apai Alui ba pengujung ensera, bisi belian lalu ulih mulaika tinchin ti lenyau lalu pia mega, dalam ensera ketiga, iya tetemuka perengka ban ke dichuri. Pengawa Apai Alui nya utai ti bula nyadi amat. Taja mandangka pemula, pelian iya udah mujur bendar. Ba pengujung ensera kedua enggau ketiga, Raja, lalu pia mega Keling, Laja enggau Sempurai nyau bisi bendar pengandal ke penyidi Apai Alui nyadi manang. Baka nya mega dalam ensera keternbah, Apai Alui baka ke amat-amat ulih ngambi anak indu Raja pulai idup barn. Ba kitai ke macha tauka ninga ensera tu, nemu bendar pelian Apai Alui nya nipu. Taja pia, enda ngira Apai Alui nipu tauka enda, Raja gaga laban tinchin iya udah temu, lalu pia mega anak iya pulai idup barn. Nyadi sida Keling pan lantang laban perengka kena beban sida udah temu. Semua nya nyadi ari pemintar Apai Alui, lalu ngujungka iya untung bendar. Nya alai, ensera nya ngaburka bida antara utai dikelulu enggau utai ti bendar, utai enggau pelian amat, pengawa bungah enggau pengawa ke bendar2.

I Silak lambar "Shaman and Fool: Representation of the Shaman in Than Comic Fables", Dalam: Robert L. Winzeler, ed., The Seen and the Unseen: Shamanism, Mediumship and Possession in Borneo. 1993, Williarnsberg: Borneo Research Council, Monograph 2, lambar 281-322.

2"Shaman and Fool", lambar 310-313.

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,... •

Dalam ensera Palui, Apai Alui bisi bini ke dikumbai Indai Alui tauka Enchelegit; anak iya Alui enggau sida menyadi tujuh iku semua iya. Dalam ensera ketembah, Palui agi bujang. Ba ensera kedua, iya bam udah jadi enggau Enchelegit, lalu seduai melaki bini bam bisi dua iku an~ iya nya Alui enggau adi indu iya, Leminda. Nitihka ensera, Apai Alui sebilik diau di Emperan Embawang, semak rumah panjai Orang Panggau ba tebing Batang Panggau. Kenu ku ensera, Apai Alui nya aka tuai apai Keling ke benama Gila Gundi, iya nya endang tuai orang di Panggau. Pekara tu chukup narit ati, laban tajaApaiAlui tambap lap, iya bemenyadika orang ke benama.

Semua bansa ensera endang bisi cherita kelulu dikena nyadi ke pemerindang3• Ensera tuai nya dibagi ngagai ensera Orang Panggau ti nusui pasal pendiau, pemerani enggau cherita bujang enggau darn dia ke beambai enggau sida di Gelung; ensera Apai Alui nya ensera jenaka; ensera jelu ti mayuh nyeritaka pasal Pelanduk seduai Tekura.

Ensera Orang Panggau ngayanka pendiau orang kelia ke chukup manah sereta nadai penimpang, lalu ensera Apai Alui amat bebida laban nya mandangka pengelemi penyidup diri sebilik ninting hari baka kaul antara melaki bini, kaul apai indai enggau anak lalu pia mega enggau orang ke berimbai pendiau. Ba ensera Apai Alui, pengawa ke ngidupka diri suah tunsang. Nya alai Apai Alui enggau pangan iya, Apai Sumang­Umang, seruran besemekih ngakal pangan diri. Baka nya mega Apai Alui suah ngakal bini enggau anak iya. Ambi ke chunto, Apai Alui galak nguji deka nengali pemakai lalu enggai magi nya enggau bini anak iya. Dalam pekara tu, Apai Alui selalu alah laban bini enggau anak iya ti ngujungka iya bulih penusah4. Indai Alui selalu menang lalu bulih penguntung baka lebuh iya ke nyadi "Antu Ngingif' enggau "Antu Barukap"5. Nyadi bala apai indai raban bansa Than kelia nusui ensera ke ngeluluka diri nyadi antu tu dikena ngegap tauka ngenakutka anak mit ke manchal awakka sida enda ragak lebuh malam hari. Dalam ensera ke penudi ba tusun ttl, ''Apai Alui Nan Bubu ngagai Menua Sebayan

3Tu ukai cherita ke nusui utai enggau pegawa ke nyadi sereta peneleba ke amat nyadi.

4 K.e chunto, tilik lambar Clifford Sather, Apai Aloi Goes Hunting and Other Stories (Kuching: Persatuan Kesusasteraan Sarawak, 1984) lambar viii, 7-10, 18-23.

5 Apai Aloi Goes Hunting and Other Stories, lambar viii, 22-23.

Dikumbai sebayan. ' baka nya 1

tang iyam

Dalam sereta ben berani. N ApaiAlui Belaban l' Panggaun ketegal ke lalu udah:

Ensera tinduk. En ini, taja pa bumai, an semran ga ditusuikel tu semina Alui ditus lebuhenst dikelala,l Tang saya

Nyadi nya: ensel ensera dal Alui bisi (

Lebub sereta dik

6 Silik lambar lduseumJm

7 Dayak Cultu

8

Dikumbai Rantau Lemayung;' Apai Alui ngena jalai ke sarna mum antu sebayan. Tang lebuh pangan iya, Apai Sumang-Umang, nguji akal ke baka nya udah bekau nya, iya enda mujur. Iya ukai semina enda mujur tang iya mega lalu bulih penusah dijamah kaban antu ke bendar.

Dalarn ensera Orang Panggau, sida ke indu jarang dicheritaka berani sereta berakal. Taja pan pia, sida suah meransang sida ke lelaki nyadi berani. Nyadi ba ensera Palui, utai ke nyadi nya tebalit. Ba ensera tu, Apai Alui alah laban pemintar bini iya, Enchelegit. Dalam ensera "Palui Belaban Nyabung enggau Sida Keling di Panggau," kaban bini Orang Panggau mesti nyangga bala laki sida ke udah diarnbi Apai AIui ke ulun ketegal ke udah ngadai diri nyadi ke entaruh nyabung ngelaban Palui lalu udah alah.

Ensera Palui selalu ditusui maya lemai hari sebedau bala anak mit tinduk. Ensera nya ditusui orang tuai ke ngibun anak mit, ke suah agi nya ini, taja pan suah mega apai indai. Dulu menya, kelebih agi lebuh maya bumai, anak mit endang suah diibun aki ini. Nya alai bala anak mit seruran gaga nganti maya ke beensera nya. Maya nya, ensera jelu mega ditusui kelimpah ari enseraApai AIui. Siti utai ti patut dikingatka, ensera tu semina ditusui ke didinga aja lalu ukai ke bacha. Dalarn ensera, Apai Alui ditusui bejaku nengah idung iya, nya alai jaku iya idu16• Nya alai, lebuh ensera nya ditusui tukang ensera ke landik, jaku Apai AIui endang dikelala, lalu nya ti ngasuh ensera nya balat agi ngerinduka ati peninga. Tang sayau bendar, pemanis ensera nya nadai agi lebuh iya ditulis.

Nyadi Henry Gerijih endang arnat landik ba kedua-dua bansa ensera nya: ensera Orang Panggau enggau ensera Apai AIui Nya alai dalarn ensera dalarn bup tu, kedua-dua bansa ensera tu bisi begulai laban Apai AIui bisi dicheritaka begulai sejalai enggau Orang Panggau.

Lebuh nulis ensera tu, aku ngena atur sepil Jaku Than ti udah ditusun sereta dikemendarka Komiti Penusun Sepil Jaku Than Sarawak7•

6 Silik lambar Clifford Sather, "Origin of the !ban Comic Hero Apai Aloi: A Saribas Saga Version. Sarawak Museum Journal, 34 (1981), p. 74.

7 Dayak Cultural Foundation, Atur Sepi/ Jaku [ban (Kuching: Dayak Cultural Foundation, 1995).

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