FOREIGNIZATION AND DOMESTICATION OF THE INDONESIAN

CULTURE-SPECIFIC TERMS IN KORRIE LAYUN RAMPAN’S UPACARA

AS REALIZED IN GEORGE A FOWLER’S CEREMONY

A THESIS

Presented as a Partial Fulfillment of the Requirements for the Attainment of

a Sarjana Sastra Degree in English Language and Literature

MEGA NURCAHYANI
12211144038

ENGLISH LITERATURE STUDY PROGRAM

ENGLISH EDUCATION DEPARTMENT
FACULTY OF LANGUAGES AND ARTS
STATE UNIVERSITY OF YOGYAKARTA
2017
 MOTTO

“Everyone has inside of him a piece of good news. The good

news is you don’t know how great you can be! How much you

can love! What you can accomplish! And what your potential

is.”

--Anne Frank--

v
DEDICATIONS

I specially dedicate this work to

my beloved parents,

who always give me irreplaceable loves,

and

my sister,

who always give me never ending support

vi
 ACKNOWLEDMENTS

Alhamdulillahirobbil’alamin, praise and gratitude be only to Allah SWT, the

Glorious, the Lord and the Almighty, the Merciful and the Compassionate, who has

given blessing and opportunity for the researcher to accomplish this thesis. Greeting

and invocation are presented to the Prophet Muhammad SAW, who has guided

mankind to the right path blessed by Allah SWT.

The researcher realizes that it is impossible to finish this thesis without any help,

support, encouragement, and advice from others due to her limited knowledge.

Therefore, she would like to express her deep gratitude and appreciation to the

following people:

1. her first and second supervisors, Bapak Drs. Suhaini Muhammad Saleh, M.A.

and Bapak Andy Bayu Nugroho, S.S., M.Hum. who have patiently given helps,

advise, guidance, corrections and willingness to her in completing this thesis;

2. her academic supervisor, Ibu Nandy Intan Kurnia, S.S., M. Hum., who have

guided and supported her during her academic years;

3. the honorable founder of Ponpes Al-Barokah, Abah K.H. Rosim Al-Fatih, Lc.

and Ibu Anita Durotul Yatimah, who have given her advice and guidance for

several years of study;

4. her beloved parents (Pak Suroso and Ibu Maryati) and sister (Hana Faridha) who

always give her the tremendous love, care, support and prayers to finish the

research paper;

vii
5. all of the lecturers in English Literature Study Program of Yogyakarta State

University for their wholeheartedly assistance in these passed years of study;

6. all of her friends in the English Literature of 2012, especially her classmates in H

class (Maulida, Citra, Tari, Ajeng, Yosep, Anggun, Bernadia, Nadia, Rusdi, Nia,

Tio, Anas, Galih, Dea) and her classmates in Translation concentration, who have

spent many college times together;

7. all of her Aisyah roommates in Ponpes Al-Barokah, Mbak Zidni, Fathna, Lisfi,

Fafa, Amalia, Mbak Firoh, Wiqo, Fani, Artha, and Hindun roommates, Rita, Laila,

Isna, Winda, Rifa, Rifda, Fatimah, Syifa, for sharing many inspiring stories;

8. the dearest friends, Kak Esti, Nailil, Yulia, Nadia, Halimah, Afi, Inay, Heni, Mbak

Hana, Mak Ning, for many times we spend together;

9. her close friends, Kak El and Dek Laily, for the wonderful friendship and great

support during accomplishing the research paper; and

10. the triangulators, Selvia Fitriani, S.S., Yosep Saputra, and Bernadia Errisa

Maharani, for the help;

Finally, the researcher will be most interested to hear any criticism and

suggestion for this thesis and endeavor to improve or rectify matters of her writing

skill in the subsequence chance.

Yogyakarta, July 17th 2017

Mega Nurcahyani

viii
 TABLE OF CONTENTS

A THESIS....................................................................................................................... i
APPROVAL SHEET..................................................................................................... ii
RATIFICATION SHEET..............................................................................................iii
PERNYATAAN............................................................................................................ iv
MOTTO......................................................................................................................... v
DEDICATIONS............................................................................................................ vi
ACKNOWLEDMENTS.............................................................................................. vii
TABLE OF CONTENTS..............................................................................................ix
LIST OF TABLES........................................................................................................ xi
LIST OF FIGURES..................................................................................................... xii
LIST OF ABBREVIATIONS..................................................................................... xiii
ABSTRACT............................................................................................................... xiv
CHAPTER I................................................................................................................... 1
INTRODUCTION......................................................................................................... 1
A. Background of the Study.................................................................................. 1
B. Focus of the Study.............................................................................................4
C. Objective of the study....................................................................................... 6
D. Significance of the study...................................................................................6
CHAPTER II..................................................................................................................8
LITERATURE REVIEW AND CONCEPTUAL FRAMEWORK............................... 8
A. Literature Review..............................................................................................8
1. Translation................................................................................................. 8
2. Culture.....................................................................................................17
3. Foreignization and Domestication........................................................... 23
4. The Novel Upacara................................................................................. 33
B. Previous Studies..............................................................................................34

ix
 C. Conceptual Framework...................................................................................36
D. Analytical Construct........................................................................................38
CHAPTER III.............................................................................................................. 39
RESEARCH METHOD.............................................................................................. 39
A. Type of Research.............................................................................................39
B. Data and Sources of Data................................................................................ 40
C. Research Instruments...................................................................................... 39
D. Data Collection Technique..............................................................................42
E. Data Analysis Technique.................................................................................42
F. Trustworthiness................................................................................................43
CHAPTER IV.............................................................................................................. 44
FINDINGS AND DISCUSSION.................................................................................44
A. Findings...........................................................................................................44
1. Description of CST’s Found in Korrie Layun Rampan’s Upacara and
George A Fowler’s Ceremony......................................................................44
2. The Identification of Translation Strategies that Represent Foreignization
and Domestication in Korrie Layun Rampan’s Upacara............................ 46
B. Discussion.......................................................................................................52
1. Description of Indonesian CST’s............................................................. 52
2. Description of Foreignization and Domestication Strategies of the
Indonesian CST’s in Korrie Layun Rampan’s Upacara............................. 66
CHAPTER V............................................................................................................... 91
CONCLUSIONS AND SUGGESTIONS....................................................................91
A. Conclusions.....................................................................................................91
B. Suggestions.....................................................................................................93
REFERENCES............................................................................................................ 95
APPENDICES.............................................................................................................98
SURAT PERNYATAAN TRIANGULASI...................................................................163

x
 LIST OF TABLES

Table 1. Data Sheet .....................................................................................................41

Table 2. The Frequency and Percentage of CST’s Found in Korrie Layun

Rampan’s Upacara ………………...............................................................45

Table 3. The Frequency and Percentage of Translation Strategies that Represent

Foreignization and Domestication in Korrie Layun Rampan’s Upacara......47

Table 4. The Frequency of CST’s and Translation Strategies .....................................49

xi
 LIST OF FIGURES

Figure 1. Translation process by Nida and Taber …………………………...............14

Figure 2. The Continuum of Foreignization and Domestication Strategies by

Judickaitė ……………………………………………..................................27

Figure 3. Analytical Construct..............................…………………………...............38

xii
 LIST OF ABBREVIATIONS

AD : Addition

CE : Cultural Equivalence

CR : Creation

EC : Ecology

ET : Equivalence Translation

CST’s : Culture Specific Terms

GH : Gestures and Habits

GL : Globalization

LT : Literal Translation

MC : Material Culture

NA : Naturalization

OM : Omission

OC : Organizations, customs, and ideas

PR : Preservation

SC : Social Culture

SL : Source Language

TL : Target Language

TM : Translation by more specific words

xiii
 FOREIGNIZATION AND DOMESTICATION OF THE INDONESIAN
CULTURE-SPECIFIC TERMS IN KORRIE LAYUN RAMPAN’S UPACARA
AS REALIZED IN GEORGE A FOWLER’S CEREMONY

By:
Mega Nurcahyani
12211144038

ABSTRACT

This research aims at identifying the types of Indonesian culture-specific

terms (CST’s) in Korrie Layun Rampan’s Upacara and revealing foreignization and
domestication strategies applied in translating the Indonesian CST’s of Korrie Layun
Rampan’s Upacara in George A Fowler’s Ceremony.
Since the research emphasized on describing the translation phenomena of
foreignization and domestication in Korrie Layun Rampan’s Upacara, a descriptive
qualitative approach was employed in this research. Moreover, quantitative data were
added to support the analysis. The data of this research were the Indonesian CST’s in
the forms of words and phrases and their English translation. Then, the sources of this
data were the original version of the novel, Upacara by Korrie Layun Rampan, and
its translation, Ceremony by George A Fowler.
This study reveals two findings. In terms of CST’s, there are five categories
that are employed in the novel. They are ecology in 109 data, material culture in 115
data, social culture in 22 data, organizations in 64 data, and gestures in 6 data. Among
them, CST’s in terms of material culture has the highest number. It occurs because the
theme of the novel tells about the social condition of Dayak tribe. In terms of
translation strategies, there are four foreignizing translation strategies that are
employed in this research. They are preservation in 64 data, addition in 68 data,
naturalization in 10 data, and literal translation in 11 data. As for domesticating
translation strategies, there are four strategies used by the translator, they are cultural
equivalence in 52 data, omission in 11 data, globalization in 13 data, and equivalent
translation in 86 data. There is not any data translated by employing translation by
more specific terms and creation. It can be concluded that from 315 data in the novel,
there are 153 data or (48.58%) belong to foreignization strategies and 162 data or
(51.42 %) belong to domestication strategies. In spite of the fact that domestication
strategies are used more higher than foreignization strategies, the difference between
them is still balanced. It is likely that the translator offers the SL terms to make the
target readers interested in foreign cultures although the translator desires the target
readers easy to read the TL because the SL is translated in the transparent and clear
way.

Keywords: culture-specific terms, foreignization, domestication,

xiv
 CHAPTER I

INTRODUCTION

A. Background of the Study

There are many cultures that exist in this world, and they produce many

languages. To understand these languages, people need to understand the culture well.

The reflection of a culture can be found in many literary or creative works such as

poems, dramas, novels, and movies.

Literary or creative works become the product of culture because they express

the social condition of society. They are the results of author’s expression about life,

event, and other life experiences in the author’s social environment. The works are

created by raising the social-cultural background that can be realized in the characters

shown by the customs, art system, social and cultural objects that are reflected.

Therefore, they are written based on a particular community's social life and the

cultural story behind them. The following works are the examples of Indonesian

works that are translated into English language. The first is the poem of Sapardi

Djoko Damono’s Sebelum Fajar translated into Before Dawn by John H. McGlynn.

The second is the drama of Kwee Tek Hoay’s Antologi Drama Indonesia translated

into The Lontar Anthology of Indonesian Drama by John McGlynn. The third is

Pramoedya Ananta Toer’s novels i.e. Bumi Manusia translated into This Earth of

1
 2

Mankind and Anak Semua Bangsa into Child of All Nations by Maxe Lane; the work

of Oka Rusmini, Tarian Bumi translated into Earth Dance by Rani Amboyo and

Thomas M. Hunter; the work of Mochtar Lubis, Senja di Jakarta translated into

Twilight in Jakarta by Claire Holt. The forth is the film of Butet Manurung’s Sokola

Rimba translated into The Jungle School. Those are the Indonesian literary or creative

works that have been translated into English language.

Novel becomes a work that coheres with literature because it has an intrinsic

element. It reflects the society described in the novel through the language use and

through its story. When reading a novel, a reader is invited to imagine what the story

is about. Through the story, the reader can hear, see, feel, learn, understand how the

culture happens in other countries. Nowadays, many novels have been translated into

various languages.

Indonesian novel is widely known in International circles. Many works of

Indonesian writers have purchased their rights by foreign publishers and are

translated into various languages, such as German, English, Malay, and Korean. In

2015, Indonesia was given an opportunity as a guest of honor in Frankfurt Book Fair,

Germany. This is an opportunity for Indonesian literature and culture to introduce the

Indonesian wealthy of literature and culture through the International realm. Many

Indonesian novels took a part at the event. More than twenty Indonesian publishers

were elected to contribute in this event. One of them was Lontar Foundation. This

publisher has translated many Indonesian classical novels. It aims to promote the
 3

literature and culture of Indonesia through the translation of Indonesia literary works.

Therefore, the translation awakes the growth and development of Indonesian

literature rapidly, makes Indonesian literary works accessible to International

audiences, and perpetuates the Indonesian literary documentation for future

generations. Many Indonesian literary works are translated into foreign languages, but

it does not guarantee that the works are classical works. This occurs because a skilled

marketing strategy.

One of the Lontar Foundation’s translation is Upacara by Korrie Layun

Rampan translated in Ceremony by George A Fowler. This novel tells the life of

Dayak tribe, one ethnic group of the island of Borneo, Kalimantan. Their life is full of

several ceremonies and religious rituals, that are conducted since a person is still

infant to the death. Basically, there are two kinds of rituals: rituals of life and rituals

of death. There are many culture specific terms used in this novel as this story tells

the culture of the inland tribal of Indonesia, Dayak tribe.

To understand the message in the novel, people need translation. Translation is

the interpretation of the source language to the target language to deliver the message

from the source language. The source language will be translated into the target

language, it means that the meaning of the source language will be transferred into

the target language. In the translation studies, there are many problems that appear in

the process of translation. One of the common problems is the translation of

culture-specific terms. Below is one of the examples.

 4

SL: Musik kendang dan bonang mengiring tarian balian dengan mamang yang

telah mendekati akhir.

TL: The music of the kendang drum and the gongs accompanied the balian

dance, along with the ritual language now reaching its end.

To translate the cultural text, a translator needs to understand the regional culture

of the target language. The translator not only becomes a bilingual or a multilingual,

but they have to be a bicultural or a multicultural in order to convey the message of

the source language to target language. It is not easy to translate the cultural text. To

avoid the cultural problems, Venuti in his book, The Translator’s Invisibility (1995),

recommends that translators apply domestication and foreignization to help the

process of cultural translation.

Hence, the researcher picks the topic up to present in-depth examinations of the

controversial issues. The researcher chooses Korrie Layun Rampan’s Upacara and

George A Fowler’s Ceremony as the data sources that will be in terms of Indonesian

culture-specific terms. This novel was first published in 1978 and it received second

place in the Jakarta Arts Council Novel Competition. The novel focuses on the rituals

of a Dayak tribe in the hinterland of Kalimantan, an island in Indonesia and how they

affect the life of the main character. Thus, there are many Indonesian culture-specific

terms in this novel.

B. Focus of the Study

Culture-specific term (CST’s) becomes an important roles in this novel because

 5

almost the whole of the story tells about the culture of Dayak tribe. This novel uses

many Indonesian CST’s to introduce the reader of the novel to the wealthy culture of

Dayak tribe. However, when the SL translated into TL, the sense of the story may be

changed. It happens because the culture between one country and other country is

different. Every country has their own languages and they have their own cultures too.

In this complication, the translator becomes a bridge between SL to TL. The more

skills translator have, the more sense TL’s reader get. To translate the CST’s, the

translator needs a certain strategies.

This study focuses on finding the type of the Indonesian CST’s in Korrie Layun

Upacara and revealing the foreignization and domestication strategies of the

Indonesian CST’s of Korrie Layun Rampan’s Upacara in George A Fowler’s

Ceremony. The strategy can be foreignization or domestication. If the translator still

bring the Indonesian CST’s in the target language, it means that the translator wants

to introduce the new culture to the target reader and it is called foreignization.

Meanwhile, if the Indonesian culture-specific terms were changed to the equivalent

terms of the target reader, it means that the translator uses the domestication strategies

to ease the target reader understand the text.

Based on the identification of the problem above, the research study is

formulated as the following questions.

1. What are the types of the Indonesian culture-specific terms found in Korrie

Layun Rampan’s Upacara?

 6

2. What foreignization and domestication strategies are applied in translating the

Indonesian culture-specific terms of Korrie Layun Rampan’s Upacara in George

A Fowler’s Ceremony?

C. Objective of the study

Based on the focus of the study, the objectives of the study are:

1. to discover the types of the Indonesian culture-specific terms of Korrie Layun

Rampan’s Upacara,

2. to reveal the foreignization and domestication strategies of the Indonesian

culture-specific terms of Korrie Layun Rampan’s Upacara in George A Fowler’s

Ceremony.

D. Significance of the study

This study discusses the types of the Indonesian culture-specific terms of Korrie

Layun Rampan’s Upacara and the foreignization and domestication strategies of the

Indonesian culture-specific terms of Korrie Layun Rampan’s Upacara in George A

Fowler’s Ceremony.

. Hopefully, these discussions will give some benefits in some aspects.

1. Theoretical Benefits

The study provides information on translation strategies especially in the literary

works. Besides, the research enriches the theoretical of the translation strategies

which represent the Indonesian culture-specific terms. It also improves the knowledge

of the researcher about the variation of translation strategies.

 7

2. Practical Benefits

a. Readers

The study becomes beneficial to the readers especially to the beginner translators

to provide and improve their understanding about translation strategies to handle the

same problems that exist. It can give the translators more skills when they are

translating literary works because they have a wider knowledge about the translation

strategies.

b. Other researchers

The study can encourage other researchers to conduct the similar study. Moreover,

it can be used as a reference for other researchers who have the same interest in the

same field.

c. English Education Department of State University of Yogyakarta

The research supports the development of the subject dealing with translation

strategies. It gives contribution to English Education Department as the additional

references for the student learning in English Translation Major.

 CHAPTER II

LITERATURE REVIEW AND CONCEPTUAL FRAMEWORK

This chapter consists of four sections; they are literature review, previous study,

conceptual framework, and analytical construct. Literature review concerns with the

theories conducted in this research. Previous study tells about the studies that are

relevant to this study. Conceptual framework explains the concept of the conducted

study. Then, analytical construct draws how the research is conducted.

A. Literature Review

This section encompasses four parts, i.e. translation, culture, foreignization and

domestication, and the review of novel Upacara.

1. Translation

This part comprises notions of translation, types of translation, and process of

translation. Notions of translation present the definition of translation from many

scholars. Types of translation convey that the translation can be applied in many ways.

Then, the process of translation describes the steps of how translation is conducted.

a. Notions of Translation

Many scholars describe translation in various perspectives. The scholar

definitions of translation developed from time to time. Based on “The Art of

Translation”, translation is made possible by an equivalent of thought that lies behind

8
 9

its different verbal expressions (Savory, 1969). This definition shows that the main

point of translation is the idea or concept of the SL. The idea is expressed in different

ways through the various language. Every language has a style of language, so that

the expression may different but the idea is still same.

Furthermore, Nida and Taber in “The Theory and Practice of Translation”, say

that translating consists of reproducing in the receptor (TL) the closest natural

equivalence of the source language message, first in terms of meaning and secondly

in terms of style (1982: 12). It means that the priority of translation is on meaning

firstly and style secondly. The translator has a responsibility to reproduce the message

in the closest equivalent meaning of SL. Then the message delivers in the natural

equivalence style of language. This case can be seen in connotative translation or

metaphor translation. For example, the sentence ‘He is like a dog’ literally in

Indonesia means ‘Dia seperti anjing’. This translation does not represent the message

of the SL. The message is not fully transferred into TL by the translator. The

translator should understand the culture both languages (SL and TL). The meaning of

loyalty will be obtained if the translator understands that the term of dog is a symbol

of loyalty in western culture. Whereas in TL, Indonesia, the term is one of

vituperation. This case points out that the difference culture brings a different

meaning.

Meanwhile, Brislin (1976:1) in ‘Translation: Applications and Research’

explains that translation is a replacement of ideas in one language to another language.

 10

The language can be cognate or not cognate language. For examples, English to

Indonesian, Indonesian to Arabic, Javanese in Majapahit time to Javanese now,

Sundanese to Indonesian, etc.

Translation is the general term of referring to the transfer of thoughts and ideas
from one language (source) to another (target), whether the languages are in
written or oral form; whether the language have established ortographies or do
not have such standardization or whether one or both languages is based on signs,
as with sign languages of the deaf.

Moreover, Pinhhuck (1977: 38) defines translation as a process of finding a TL

equivalent for an SL utterance. In other words, translation is an activity to produce an

idea of textual material or oral material in different language. The form of the

language can be changed (SL to TL), but the meaning has to be equal.

Meanwhile, McGuire (1980: 2) clarifies that there are two important things that

have to pay attention when translating. First, the translator has to defend the meaning

of the SL so the TL will catch the same expression from SL. Second, the only thing

that can change is grammar. The grammar will bring in line with TL. Thus, TL will

have the same expression with SL, and the structure of TL will not be out of order.

Translation involves the rendering of a source language (SL) text into the target
language (TL) so as to ensure that (1) the surface meaning of the two will be
approximately similar and (2) the structure of the SL will be preserved as closely
as possible, but not so closely that the TL structure will be seriously distorted.

Also Wills in Noss (1982: 3) states that translation is a process of language

transformation. He limits the translation in written texts as the Newmark’s concept.

The oral translation is called interpretation. In the translating process, the translator

involves the semantic, syntactic and pragmatic of both languages (SL and TL). In this
 11

case, the translator’s understanding about the languages will take a contribution in the

translation process because linguistically there is not any similar word in the different

language.The form of language may change, but the message must be equivalent.

Translation is a transfer process which aims at the transformation of a written SL

text into an optimally equivalent TL text, and which requires the syntactic, the
semantic and the pragmatic understanding and analytical processing of the SL.

There are three similar points of translation definitions in 1960s and 1970s. First

is the change of one language to another language. Second is the meaning or message

that has to be maintained. Third is the closest equivalent of SL in TL. Also, in the

early time, the definition of translation focuses on discussing the meaning equivalent

while in the 1980s the definition focuses on the translation process.

From these definitions, it can be concluded that the central idea of translation is

the process of transferring meaning from SL to the TL in order to present the original

sense and naturalness of the expression. The meaning or message of TL has to be

equivalent with the SL even though the structure of language changes.

b. Types of Translation

Based on the translation definition of Newmark (1981:7), translation is a craft

consisting in the attempt to replace a written message and/or statement in one

language by the same message and/or statement in another language. However, in a

seminar paper ‘On linguistic aspects of translation’, a Russo-American structuralist

Roman Jakobson (Munday, 2012: 8) categorizes translation into three types.

 12

1) Intralingual translation

Intralingual translation or rewording is an interpretation of verbal signs by means

of other signs of the same language. It happens when the translator rewrites the text

based on the translator interpretation in the same language. For example, the poem of

Gunawan Muhammad’s Dongeng Sebelum Tidur is rewritten in a prosa.

2) Interlingual translation

Interlingual translation or translation proper is an interpretation of verbal signs

by means of some other language. This happens when a translator translates a text

from one language to another language but still in the same text genre: prose

translated in prose, poem in poem, song in song, etc. For example, Mochtar Lubis’s

Senja di Jakarta translated in Twilight in Jakarta by Claire Holt.

3) Intersemiotic translation

Intersemiotic translation or transmutation is an interpretation of verbal signs by

means of signs of nonverbal sign systems. This is an interpretation of a text into

another sign genre or system. For example, the interpretation of Karmila novel by

Marga T into a film with the same title.

Then, Larson (1998: 17) divides translation into two types, literal translation and

idiomatic translation. The literal translation is form-based translation that attempts to

follow the for of the source language. Whereas, idiomatic translation is

meaning-based translations that make every effort to communicate the meaning of the

SL text.
 13

Furthermore, Brislin states in El-Shafey (2012: 4) that translation is categorized

into four types based on the purpose of translation, i.e. pragmatic translation,

aesthetic-poetic translation, ethnographic translation, and linguistic translation. The

explanation of these types is below.

a) Pragmatic translation

Pragmatic translation is the translation of a message with an interest in accuracy

of the information meant to be communicated in the target language form (Brislin in

El-Shafey, 2012: 4). The example of this translation can be found usually in technical

information, such as repairing instructions.

b) Aesthetic-poetic translation

Aesthetic-poetic translation does not only focus on the information, but also the

emotion, feeling, beauty involved in the original text (Brislin in El-Shafey, 2012: 4).

This type of translation can be found in translating literary works.

c) Ethnographic translation

Brislin states (in El-Shafey 2012: 4) that ethnographic translation explicates the

cultural context of the source and second language versions.

d) Linguistic translation

Linguistic translation is concerned with equivalent meanings of the constituent

morphemes of the second language and with grammatical forms (Brislin in El-Shafey,

2012: 4).
 14

c. Translation Process

In the process of translation, translator needs to follow the steps of translation

process carefully. The translator has a responsible to the text they are translated. The

quality of the translated text will give some effects to the reader. The quality of

translation product can be assessed from the degree of accuracy, acceptability, and

readability. Many scholars offer various processes of translation.

Nida and Taber (1982: 33) draw the process of translation in three stages as

follows.

A (Source) B (Receptor)

(Analysis) (Restructuring)

X (Transfer) Y

Figure 1. Translation process by Nida and Taber (1982: 33)

These three stages system of translation process can be described in this explanation.

1) Analysis

In the analysis stage, a translator analyses the whole content of the source text.

He must have a wide knowledge about the field material text they translated. For

example, if the translator translated medical or technological or economical or social

or scientific or political or art material text, it means the translator has gotten the best

knowledge of those fields. Then, the translator analyzes the grammatical relationship
 15

and semantic too. The translator is expected to understand the message of the source

text. Hence, the message of the author of SL can be fully delivered in target text. The

result of this stage is the understandable source text that is transferred in the

translator’s mind.

2) Transfer

In the transfer stage, a translator starts to ensure what strategies, techniques, or

methods that will be applied in the SL. The source text may have many idioms,

figurative languages, verbal humors etc. In this problem, the translator has a

significant role to determine the certain strategies, techniques, or methods of

translation. Then, the meaning of source language is translated into the TL. The

expertise of translator in transferring source language will influence the result of the

translation.

3) Restructuring

In the last stage, restructuring, the translator checks the equivalence of words,

phrases, and sentences of source language in target language. The grammar and style

of translation text must be appropriate with grammatical and stylistic features of

target text. After those translation processes, the text is expected having a fully

acceptable translation. Thus, the target reader will get the entire message from the

author.

Similar to Nida’s three-stage system of translation, Seleskovitch and Lederer (in

Munday, 2012) applied reading and understanding, deverbalization, and re-expression

 16

as an (overlapping) three-stage process of translation. The explanation of these

process can be seen as follows.

1) Reading and understanding

In reading and understanding, a translator has to read the whole text carefully.

Linguistic competence both source language and target language is needed to deliver

the authorial intention in target language. It is not only the message of source

language that translator translates, but the translator also has to understand the style of

both source language and target language. The world knowledge is necessary to help

translator in understanding the message of source language because it will be

de-verbalized, theoretical, general, encyclopedic and cultural and activated differently

in different translators and by different texts (Lederer, 2003:31). That is why

translators express the message of the source text in different words and styles.

2) Deverbalization

In deverbalization, translators transfer the message of the SL to the TL language.

When transferring the SL to TL, it is supposedly through sense and no words because

deverbalization is claimed to be ’less obvious in translation ... but is still present’

(Lederer, 2003:13).

3) Re-expression

In the last phase, re-expression, the TL is rearranged based on the understanding

of deverbalized sense. Thus, the result of TL should follow the style of TL in order to

keep the naturalness of the text to the readers.

 17

Moreover, Newmark (1988: 20) proposes “two approaches to translating (and

many compromises between them)” that are described below.

1) The translator starts translating sentence by sentence, for example, the first

paragraph or chapter, to get the feel and the feeling tone of the text, and then

deliberately sit back, review the position, and read the rest of the SL text, and

2) The translator reads the whole text two or three times, and finds the intention,

register, tone, marks the difficult words and passages and starts translating only

when the translator feels composed.

2. Culture

This part consists of two pieces. First is the notions of culture that deliver the

definition of culture from some experts. Second is the culture-specific terms that tell

the category of culture-specific terms.

a. Notions of Culture

Culture is not only understood as the advanced intellectual development of

mankind as reflected in the arts, but it refers to all socially conditioned aspects of

human life (Snell-Hornby, 1988). The definition points out that the notion of culture

does not only refer to people’s knowledge poured in the artworks like Kecak Dance

from Bali, instrument music “Angklung” from West Java, and so on, but it covered the

whole social life in society. For examples, when Javanese people get married, they

must check off the date they were born; it called ‘pasaran’. If the pasaran is
 18

considered not fit each other, both future bride and broom have to cancel their

marriage. In Papua, there is a culture of cutting finger when one of their close

relatives died. They believe that this ritual is a symbol of pain of someone who lost

their family members.

According to Newmark (1988: 94), culture is the way of life and its

manifestations that are peculiar to a community who uses a particular language as its

means of expression. It implies that every community has a special characteristics of

the way they live. As examples, they have custom homes, traditional clothes,

traditional cuisines, local languages etc. which are different from one to another

community.

In The World Book Encyclopedia (1995: 112), culture is a term used by social

scientist for a way of life. Every human society has a culture. Culture includes society

arts, beliefs, customs, institutions, inventions, language, technology and values. It

means that every social community has varieties of how they live. One region and

others have a different way to survive. In East Nusa Tenggara, Rote and Sabu people

live by cultivating the fields and tapping lontar palms. They cultivate lontar palms

into food, beverage, and household equipment. Even sometimes the product of the

palm is traded such as syrup and sugar that are already exported to several islands

around.

These definitions show that every human society lives with a culture. They

survive in different ways. Through culture they can recognize human life, the ways
 19

human groups construct knowledge, express their feelings, and how they act.

b. Culture-Specific Terms

It cannot be denied that culture-specific terms are one of the most topic that

often appears in translation. Because of translating always engaging with two

languages or more, it will definitely coincide with the culture of both SL and TL.

Although there are some equal or resembling culture between both languages, many

different cultures will be found out. The difference in culture will be difficult to be

translated in the TL.

Baker (1992: 21) mentions culture-specific terms as “culture specific concept”. It

includes religious belief, social custom, and type of food. The concept maybe difficult

to understand by people from other cultures because they do not know it in their

languages.

The source-language word may express a concept which is totally unknown in

the target culture. The concept in question may be abstract or concrete; it may
relate religious belief, a social custom, or even a type of food. Such concepts are
often referred to as ‘culture-specific’.

Moreover, Newmark (1988: 94) differentiates the use of cultural language with

universal language. Universal language is a language concept that will be found

across most cultures. It will be fine in translation if universal language is translated in

other languages like sleep, book, die, run, shoes and so on. However, cultural

language will get some problems when it is translated because the concept between

both SL and TL is different, such as monsoon, capoeira, steppe, and so on. He states
 20

that most ‘cultural’ words are easy to detect, since they are associated with a

particular language and cannot be literally translated, but many cultural customs are

described in ordinary language, where literal translation will distort the meaning

(Newmark, 1988: 94). Then, he mentions five categories of culture-specific terms as

follows.

1) Ecology

Ecological features are different from other cultural terms that usually related to

political and commercial value. This happens because the features are based on nature.

They originally arise without human intervening. Every country has a special local

color depending on their geographical areas. For examples, tropical countries only

have two seasons; dry season and rainy season whereas subtropical countries have

five seasons; spring, summer, autumn, and winter season. This difference in season

makes many countries have varieties of flora and fauna. The vast majority of penguin

inhabits in colder climates where their large bodies are suitable with these conditions,

in spite of some species inhabit the place with warmer climate. This ecological terms

include the term of flora, fauna, winds, climate, plains, hills, etc. Below is the

example of ecological term in a sentence.

SL : Lantai itu sebagian besar berlepotan ludah sirih yang telah mengering.

TL : Most of the rattan strips were stained from now dried sirih leaf spit.

(1/U.P1/C.P2)
 21

2) Material culture

Material culture entails many things made by people in various regions.

Inter-regional people make the local things in different forms. They have a variety of

typical items to support their survival. It includes artifacts, foods, clothes, houses,

towns, transports, etc. For examples, Japan has Kimono for its traditional clothes,

Lampung has Nuwo Balak for its custom house, and Italia has pizza for its food.

These examples are a mandatory needs of people in their everyday life. Below is the

example of material culture-term in a sentence.

SL : Kau sadari, anak lelaki adalah tiang lamin, adalah mandau dan sumpitan dan

perisai baja, dalam keadaan tertentu ia adalah panah yang secepat kilat

memburu mangsa.

TL : You are aware that a son is the pillar of the longhouse, the sacred decapitating

blade, the blowpipe and the steel shield, and at certain times he is the arrow swift

as lightening hunting its prey.

(117/U.P11/C.P12)

3) Social culture

Social culture turns up over the habits of people in society. They make value

from the things they do. Newmark (1988: 95) mentions work and leisure activities as

the concern of social culture. The work terms are like ‘the masses’, ‘the working

people’, ‘the proletariat’, etc. The terms of badminton, cricket, hockey, and

Melbourne Cup are categorized as leisure activities in sports. Below is the example of
 22

social culture-term in a sentence.

SL: Sang sais memacu, kuda menghela kereta mengitari kota yang menakjubkan.

TL: The syce shakes the reins, and the horses take us around this astonishing city.

(139/U.P19/C.P19)

4) Organizations, customs, activities, procedures or concepts

Organizations, customs, activities, procedures or concepts encompass artistic,

religious, political and administrative subcategories. For examples, the different

political system between England and Indonesia is the Queen as the chief of England

and President as the chief of Indonesia. England practices Kingdom system for its

country whereas Indonesia practices presidential system for it. Below is the example

of organizations, customs, activities, procedures or concepts-term in a sentence.

SL: Upacara senteau, yaitu upacara pencari sebab penyakit, telah diadakan kemarin

dulu.

TL: The senteau ritual of clairvoyance that searches for the cause of sickness, was

held the day before yesterday.

(149/U.P28/C.P29)

5) Gestures and habits

Gestures and habits often become a crucial problem in cultural words. Newmark

(1988: 102) says that there is a distinction between description and function which

can be made where necessary in ambiguous cases. It means that the same gestures

and habits can have different meaning in different countries. In America, most people
 23

make eye contact to their interlocutor as a sign that what they tell is a truth. Whereas

in Java, people should not make eye contact or should bow their eyes when having a

conversation with an older person as a sign that the young people respect the older

people. Below is the example of gestures and habits-term in a sentence.

SL: Musik kendang dan bonang mengiring tarian balian dengan mamang yang telah

mendekati akhir.

TL: The music of the kendang drum and the gongs accompanied the balian dance,

along with the ritual language now reaching its end.

(9/U.P2/C.P3)

3. Foreignization and Domestication

This part consists of notions and strategies of foreignization and domestication.

Notions of foreignization and domestication describe the foreignization and

domestication definition of scholars. Besides, foreignization and domestication

strategies explain the strategies used in translating the culture-specific terms.

a. Notions of Foreignization and Domestication

To overcome the cultural problems in translation, Venuti in his book The

Translator Invisibility: A History of Translation (1995) introduces the concept of

foreignization and domestication. Translator can determine where the purpose of

material translation product is, whether the translator makes the target reader strange

with the text or the translator brings the target reader familiar with the text. Friedrich

Schleirmacher, a German theologian and philosopher, states either the translator

 24

leaves the author in peace, as much as possible, and moves the reader towards him; or

he leaves the reader in peace, as much as possible, and moves the author towards him

(Venuti, 1995: 20). The word ‘leaves the author in peace’ means the translator

domesticates the text and the word ‘leaves the reader in peace’ means the translator

foreignizes the text.

1) Foreignization

Foreignized translation expects a translator to raise up the new culture from the

source text. It aims to make the target reader know the culture in the source text.

Venuti states that foreignizating translation is an ethnodeviant pressure on those

values to register the linguistic and cultural difference of the foreign text, sending the

reader abroad (1995: 20). This definition points out that foreignization brings the

cultural and linguistic difference between source and target text. The readers are

invited to introduce the structure, style, syntax and so on of source language. They

also will find the new cultures from source language which are not present in their

languages. The new ‘terms’ from source language will often appear in the target text.

Thus, the foreignization translation needs an educated reader to understand the text

because the reader is expected to know the knowledge over the world.

2) Domestication

Domesticated translation orients on the taste of target language. A translator must

translate all things of source language in target language and match the culture of

source language and target language. This is done to make the reader easily
 25

understand the target text. Like Venuti said that domesticating translation is an

ethnocentric reduction of the foreign text to target-language cultural values, bringing

the author back home (1995: 20). It means that the translator leaves the strange words

of source language and replaces them with the familiar words from target language

that resemble with the culture of source language. In such a way, the reader will

attempt to imagine that the culture in source language resembles with the target

culture. However, this case may reduce some cultural knowledge from source

language.

Following the observation from Venuti (1995), the presence of foreignization

concept was caused by the American community that tries to assimilate the translation

works to their own culture. They did the domesticating translation to keep their

cultural value, so the Anglo-American culture will be not reduced. However, this

domestication translation raised up the ethnocentric racism and violence. To handle

this case, Venuti offers the foreignization translation in order to make the

ethnocentrism controllable. He gives his sound that domestication is “a form of

ethnocentric racism and violence, and he believes that the dominant aesthetics should

be challenged [by foreignization] in order to combat this ethnocentrism (Ranua , 2009:

30)”.

b. Foreignizing and Domesticating Translation Strategies

Molina and Albir (2002: 507-8) differentiate the meaning of translation methods,

techniques, and strategies grounded on their focuses. Translation methods are defined
 26

as the way a particular translation process is carried out in terms of the translator‘s

objective. It means that the translator has a big dominance in the process of translation to

decide the purpose of translation that will effect the translated text. Whereas, translation

techniques are procedures used to analyze and classify how translation equivalence works,

translation strategies are the procedures (conscious or unconscious, verbal or non-verbal)

used by the translator to solve problems that emerge when carrying out the translation

process with a particular objective in mind (Molina and Albir, 2002: 507). It can be

concluded that translation techniques are the steps used by translator in the translation

process to analyze and classify the work of translation equivalence. Then, translation

strategies are particular ways to encounter the problems in the process of translation. In

the same manner as translating idioms in a novel, the translator needs special strategies to

translate the novel containing idioms.

Many experts offer various domestication and foreignization strategies to solve

problems in translating cultural text. Vinay and Darbelnet (Munday, 2012: 86-88) propose

four domestication strategies and three foreignization strategies. The domestication

strategies include transposition, modulation, equivalence, and adaptation. Borrowing,

calque, and literal translation are categorized in foreignization strategies.

Furthermore, Newmark (1988:45) formulates tree translation model as the method to

solve the cultural problems in the translating process. He calls it as Source Language

emphasis and Target Language emphasis. SL emphasis includes word-for-word

translation, literal translation, faithful translation, and semantic translation. Later, TL

emphasis includes adaptation, free translation, idiomatic translation, and communicative

 27

translation.

Moreover, Judickaitė (2009: 23) proposes four foreignization and six

domestication strategies to carry out the problems in translating culture-specific terms.

These strategies make reference to two models of Danytė, the Professor at Vytautas

Magnus University, and Padersen in his article entitled “How is Culture Rendered in

Subtitles”.

Literal Translation Globalization Equivalence

Preservation Cultural Equivalence

Translation by a more
Addition concrete word

Naturalization Omission Creation

Foreignization Domestication

Figure 2. The Continuum of Foreignization and Domestication Strategies by

Judickaitė (2009: 23)

1) Foreignization

a) Preservation

Davies (in Judickaitė, 2009: 16) describes preservation as the strategy which is

used when an entity in the ST has no close equivalent in the target culture. In such

cases a translator may decide to maintain the ST term in the translation. It means that

the translator is allowed to copy the SL term into TL term without changing or adding

any words when the translator does not find the equivalent or closest SL term in TL

term. Here is the example.

 28

SL: Bekas geseran dadanya pada lumpur dan pasir mudah diketahui, orang-orang

kampung yang menjumpainya dengan gembira mengangkut telur-telur itu

dalam keruntung rotan yang mereka namai anjat.

TL: Their undersides leave a trail in the mud and sand that’s easy to recognize, and

the kampung folk who discover this happily place the eggs into their rattan anjat

baskets.

(104/U.P10/C.P11)

b) Addition

Davies (in Judickaitė, 2009: 16) states that this strategy implies the addition of

information which is not present in a ST but which serves as an explanation of culture

specific items to the TL reader or viewer. This strategy is common in rendering SL

proper nouns; in such cases a generic noun is added as an explanation. It can be

concluded that this strategy makes an additional information to the SL term to help

the reader understanding the culture-specific terms in the text. The addition can be

footnotes, glossaries, or additional words in the sentence. Here is the example.

SL: Suara gerenyit lantai rotan di bawah tikar jaliq mericit-ricit ketika Paman

Tunding meliukkan pertunjukkan tarian baliannya mendekat kearahku dengan

selolo, sobekan-sobekan halus daun pisang.

TL: The rattan floor twitched and creaked beneath the rough-stitched jaliq mat as

Uncle Tunding swayed and swung his dance toward me, bearing pieces of finely

shredded banana leaf.

 29

(12/U.P2/C.P4)

c) Naturalization

Newmark (1988: 82) defines naturalization as a procedure that succeeds

transference and adapts the SL word first to the normal pronunciation, then to the

normal morphology (word-forms) of the TL. It means that the SL’s culture-specific

terms are adapted to the pronunciation and morphology of TL, so that it will make the

text natural when the reader is enjoying the text. Here is the example.

SL: Setelah melewati beberapa danau, kebun karet, kebun rotan, kebun ketiau, karet

hutan, kebun buah-buahan, hutan rumbia, hutan-hutan nipah, hutan enau,

hutan-hutan bambu, dan beberapa petak kebun palawija, akhirnya kami tiba

kembali di halaman lamin.

TL: After passing several lakes, rubber plantations, fruit orchards, groves of sago,

nipa, and sugar palm, bamboo thickets, and a few plots of cropland, we finally

arrive back at the grounds of our longhouse.

(110/U.P10/C.P12)

d) Literal Translation

Based on Vinay and Darbelnet, literal translation is defined as the direct transfer

of a SL text into a grammatically and idiomatically appropriate TL text in which the

translators’ task is limited to observing the adherence to the linguistic servitudes of

the TL (1995: 34). This strategy is called as direct translation because the process of

translation is word for word. Here is the example.

 30

SL: Hatinya masih rusuh ketika mulutnya meniup lilin, menabur beras kuning,

melipat “kain pengaca” dan mematikan api di dapur pedupaan.

TL: He was still feeling out of sorts when he blew out the candles, sprinkled yellow

grains of raw rice, folded the “cloth of mirrors” and extinguished the incense

burner.

151/U.P28/C.P29

2) Domestication

a) Cultural Equivalence

Cultural equivalence is an appropriate translation where a SL cultural word is

translated by a TL cultural word and it is not accurate (Newmark, 1988: 82-83). It

points out that the SL’s culture-specific term is replaced by a new word in TL. The

word is very different if it is translated literally, but it has an equivalent meaning.

Here is the example.

SL: Kami memasuki hutan menjumpai anak sungai di mana terpasang bubu di

empangan.

TL: We enter it and come across a brook where fish traps have been set on its banks.

(76/U.P9/C.P10)

b) Omission

Baker states that if the meaning conveyed by a particular item or expression is

not vital enough to the development of the text to justify distracting the reader with

lengthy explanations, translators can and often do simply omit translating the word or
 31

expression in question (1992: 40). It means that it does not matter if a translator just

leaves the translation in some conditions without replacing it with anything. Here is

the example.

SL: Sambal, gulai dan lalap timun, pecel, adalah rekan nasi yang membuat peluh

berkucur dan perut mengenyang

TL: Spicy condiments, curries and cucumber, and steamed vegetable salad with

peanut dressing are the companions of the rice that fill the stomach and make the

sweat run.

(293/U.P88/C.P92)

c) Globalization

Davies (in Judickaitė, 2009: 17) says that globalization is the strategy that refers

to the process of replacing culture-specific references with one which is more neutral

or general. It can be concluded that this strategy makes the information more general

than the original text. Here is the example.

SL: Musik pun berhenti ditabuh, tinggal sisa mamang balian yang segera disambut

oleh sinden.

TL: Even the music stopped, leaving only the chanting of the last of the mantras,

immediately answered by the women singers.

(191/U.P46/C.P47)

d) Translation by a more Concrete Word

Judickaitė (2009: 15) explains that a strategy by more concrete word differs from
 32

the strategy of explicitation as no information to the SL word is added, only the SL

word which has a broad meaning is specified in the translation. This strategy is the

opposite strategy of globalization. If the globalization makes the meaning of SL more

general, this strategy makes the meaning of SL’s culture-specific terms more specific

in TL. Here is the example.

SL: Ustad sama Ibu, boleh senyum dikit, dimiringkan mukanya ke kanan dikit,

TL: Ustad and Mrs. Saliha, could you smile a bit, and tilt your head a little to the

right?

e) Creation

According to Paizis (in Judickaitė, 2009: 17), translators are advised to use

creation strategy while translating SL names which are meaningful and contribute to a

character definition. It means the translator should invent a new term in TL to

describe SL’s term that is important in the text. This strategy is suggested to make the

reader of TL familiar with the term. Here is the example.

SL: ‘... have discovered the delights of the Mirror of Erised.’

TL: “... telah menemukan kesenangan yang bisa didapat dari Cermin Tarsah.”

f) Equivalence

Vinay and Darbelnet state that equivalence is a case where languages describe the

same situation by different stylistic or structural means (in Munday, 2001: 58). It

means that the culture-specific terms of SL are translated with its equivalent words in

TL. Here is the example.

 33

SL: Waktu demikian saja pergi bagaikan lanun meninggalkan berbagai peristiwa.

TL: And so, like that, time passed the way pirates do leaving all sorts of events

behind.

(261/U.P79/C.P83)

4. The Novel Upacara

Upacara is a romance literature work that was written by Korrie Layun Rampan.

He had written about 300 literature books. They were novels, short stories, essays,

literature criticism, and poems. This literature masterpiece, Upacara, is one of the

best romance works that has won the Roman Writing Contest Jakarta Arts Council in

1976. The novel was firstly published by Pustaka Jaya in 1978 and 2000 with 128

pages. In 2007 and 2014, the novel was republished by Grasindo with 23 pages. Later,

in 2014 The Lontar Foundation published the English version entitled Ceremony that

was translated by George A Fowler with 139 pages.

Upacara tells the tradition and local culture, a Dayak tribe, in Kalimantan island.

The ceremonies in the novel represent the local cultural phenomena in many aspects

of life. The protagonist experienced hesitancy in his heart on the tradition that had

been implemented in his village. In the beginning of the story, the protagonist’s soul

roamed to Lumut (Heaven). People implemented balian ceremony to ask the lost soul

of the protagonist that was arrested by Tonoy (God of Earth). Unfortunately, the

protagonist’s girl friend passed away because the crocodile glutted her. Therefore,

people held kewangkey ceremony to bury her bones. In this village there were
 34

foreign people coming to conduct a research. The presence of foreign people was

believed causing great disasters to the village, so that the Dayak community held

nalin taun ceremony to ask the salvation to their village. In the end of the story, there

was pelulung ceremony to celebrate the marriage of the protagonist. All ceremonies

are great ceremonies held in Dayak community. Besidess, there are still some small

ceremonies.

B. Previous Studies

The first relevant study is a scientific journal by Zare-Behtash and Firoozkohi

from Department of English Language, Chabahar Maritime University, Iran entitled

‘A Diachronic Study of Domestication and Foreignization Strategies of

Culture-Specific Items: in English-Persian Translations of Six of Hemingway’s

Works.’ The objective of the study is to find what has been the most frequently-used

translation strategy in dealing with culture-specific items in the process of translating

Hemingway’s books from the 1950s to 2000s. The result of the study shows that both

domestication and foreignization strategies have been used over the last six decades,

but domestication has been the most pervasive cultural translation strategy from the

1950s up to the 2000s.

The second study is a thesis by Pradana entitled Domestication and

Foreignization Ideologies in The Translations of Culture-Specific Collocations of

Fuadi’s Negeri 5 Menara into Kilbane’s The Land of Five Towers. The study aims at

describing the techniques employed, describing how domestication and foreignization

 35

ideologies are implemented, and describing the accuracy and the naturalness of the

translations of the culture-specific collocations found in Negeri 5 Menara and its

English version entitled The Land of Five Towers. The results show that there are

seven techniques employed, namely neutralization, cultural substitution, omission,

translation by a collocation of similar meaning but dissimilar form, loan collocation,

literal translation, and paraphrasing. Moreover, foreignization is the dominant

ideology of the translation in order to detach the global target readers. Also, the

translations of the culture specific collocations under foreignization ideology tend to be

more accurate than natural, whereas the translations under domestication ideology tend to

be more natural than accurate.

The third study is a thesis conducted by Fitriyani entitled Foreignization and

Domestication of Indonesian Culturally-Bound Expressions of Pramoedya Ananta

Toer’s Bumi Manusia in Max Lane’s This Earth of Mankind. The objectives of the

study are describing the Indonesian culturally-bound expressions, describing the

foreignizing and domesticating translation techniques, and describing the degree of

meaning equivalence of culturally-bound expressions in Premoedya Ananta Toer’s

Bumi Manusia. The study reveals that there are nine categories of culturally-bound

expressions, i.e. (1) ecology, (2) material culture, (3) social culture, (4) organizations,

(5) gestures and habits, (6) toponym, (7) anthroponym, (8) fictional characters, and (9)

sayings, metaphors, idioms. In terms of foreignizated translation techniques, there are

five foreignized translation techniques: addition, expansion, borrowing, literal

translation, and combined-translation techniques in the context of foreignization. On

 36

the other side, there are also five domesticated translation techniques: generalization,

omission, equivalence, adaptation, and combined-translation techniques in the context

of domestication. The researcher also adds one classification, i.e.

combined-translation techniques of foreignization and domestication. Then, in terms

of meaning equivalence, the Indonesian culturally-bound expressions in Bumi

Manusia are (93%) successfully translated in This Earth of Mankind by applying both

foreignization and domestication.

C. Conceptual Framework

This research takes the definition of translation from Nida and Taber (1969: 21)

saying that translating consists of reproducing in the receptor (Target Language) the

closest natural equivalence of the source language message, first in terms of meaning

and secondly in terms of style. According to Jakobson (in Munday, 2012: 8), there are

three types of translation i.e. intralingual translation, interlingual translation, and

intersemiotic translation. Finally, this research belongs to the interlingual translation

type since the analysis invokes two novels in the same title but in the different

language, Indonesian and English.

This research is aimed to observe the types of the Indonesian culture-specific

terms of Korrie Layun Rampan’s Upacara and domestication and foreignization

strategies of the Indonesian culture-specific terms of Korrie Layun Rampan’s

Upacara in George A Fowler’s Ceremony. This research uses five categories of

culture-specific terms proposed by Newmark (1988: 94), which are ecology, material
 37

culture, social culture, organizations, and gestures and habits. The strategies used in

this research are four foreignization strategies and six domestication strategies

proposed by Ligita Judickaitė. The foreignization strategies include preservation,

addition, naturalization, and literal translation. Whereas, the domestication strategies

include cultural equivalent, omission, globalization, translation by a more concrete

word, creation, and equivalent translation.

 38

D. Analytical Construct

Translation

Lingual Translation Nonlingual Translation

Intralingual Translation Interlingual Translation Intersemiotic Translation

Multilingual Translation Bilingual Translation

Source Language: Upacara Target Language: Ceremony

Expressions

The Cultural-Specific Terms The Translation of the

Cultural-Specific Terms

Types of CSTs Translation Strategies

1. Ecology Foreignization Domestication

2. Material culture
3. Social culture
4. Organizations 1. Preservation 1. Cultural equivalence
5. Gestures and 2. Addition 2. Omission
habits 3. Naturalization 3. Globalization
4. Literal 4. More specific words
translation 5. Equivalence translation
6. Creation

Figure 3. Analytical Construct

 CHAPTER III

RESEARCH METHOD

This chapter consists of six sections, they are type of the research, data and

sources of the data, research instrument, data collection technique, data analysis

technique, and trustworthiness. The type of the research describes what kind of the

research conducted in this study. Data and sources of the data provide the form of the

data, context of the data, and source of the data. The research instrument mentions the

instruments used to conduct the study. The data collection technique explains what is

the techniques used to collect the data in the study. The data analysis technique

describes the procedures when the researcher analyzes the research data. And the

trustworthiness states how the researcher checks the validity of the data.

A. Type of Research

This study employed a descriptive-qualitative method. According to Vanderstoep

(2009: 167), the researcher of qualitative study imposes the cultural, social, and

personal identity on any interpretation of the research participant’s experience. This

study described the classification of the Indonesian culture-specific terms in a

bilingual translation between original Indonesian novel and English version. This

study compared the message between the source language and the target language

from the novel. The researcher analyzed deeply based on the expert’s theory to get a

valid result. In addition, Cresswell (1994: 145) states that qualitative research is

39
 40

descriptive in that the researcher is interested in process, meaning, and understanding

gained through words or pictures. Based on this definition, qualitative research uses

words or pictures to present the result of the research. To support the research analysis,

the researcher added quantitative data in the result of the research.

B. Data and Sources of Data

According to Schreiber (2008: 185) the term data refers to a collection of

information that can be in forms of numbers, words, pictures, video, audio and

concepts. In this research the data were the Indonesian culture-specific terms in the

forms of words and phrases and their English translation. The context of the data was

in sentences, conversations and paragraphs. The sources of this data were the original

version of the novel, Upacara by Korrie Layun Rampan, and its translation,

Ceremony by George A Fowler.

C. Research Instruments

The main research instrument of this study was the researcher herself. Lincoln

and Guba in Vanderstoep and Johnston (2009:18) state that human is the best

instrument for a qualitative analysis. The researcher planned, collected, analyzed, and

reported the findings. The second instrument of this research was a data sheet. It notes

the classifications of Indonesian cultural-specific terms in the novels and analyze the

foreignization and domestication strategies used in translating the Indonesian

cultural-specific terms in the novels. The researcher also used other instruments. They

are a notebook, pens, pencils, and dictionaries to help classifying the data.
Table 1. Data Sheet

Data Types of CSTs Translation Techniques

No. Code Foreignization Domestication
SL TL EC MC SC OC GH
PR AD NA LI CE OM GL TM ET CR
Climbing Mount Lumut:
1. 1/U.P1/C.P2 Anan La Lumut √ √
Ascending To Heaven
Oh, right -- had to be my
O, ya, itu pasti kokok jagoku
Speckle crowing in his cage,
si Burik dalam kerangkeng
2. 6/U.P1/C.P3 something I had not heard √ √
yang telah lama tak kudengar
since I was last awake, a long
suaranya dalam jaga.
time ago.
Paman Tunding masih asik Uncle Tunding was still
3. 7/U.P1/C.P3 dengan tarian baliannya caught up in his balian dance √ √
dikou, serambi depan lamin. . on the longhouse veranda.

Notes: Cultural Categories Translation Strategies Code

EC : Ecology Foreignization: Domestication: 7/U.P1/C.P3
MC: Material Culture PR: Preservation CE: Cultural Equivalent 7: Data 7
SC: Social Culture AD: Addition OM: Omission U.P1: Page 1 of Upacara
OC: Organizations, NA: Naturalization GL: Globalization C.P3: Page 3 of Ceremony
Customs, Ideas LT : Literal Translation TM: Translation by more specific words
GH: Gestures and Habits ET: Equivalent Translation
CR: Creation

41
 42

D. Data Collection Technique

In the process of collecting the data, the researcher used several procedures

described bellows.

1. The researcher read the two versions of the novel, original version and translated

one, that are Upacara by Korrie Layun Rampan and Ceremony by George A

Fowler.

2. The researcher marked the Indonesian cultural-specific terms in both the original

and translated versions of the novel.

3. The researcher listed the Indonesian cultural-specific terms of the novels in the

context of words, phrases, and clauses into data sheet to be analyzed.

E. Data Analysis Technique

In the process of the data analysis, the researcher conducted multiple methods.

Here are the methods.

1. The Indonesian cultural-specific terms of the novels was classified to the

Newmark’s concept, that are ecological culture, material culture, social culture,

organizations, and gestures and habits.

2. The researcher checked the meaning of the Indonesian cultural-specific terms in

the two versions of the novel, original version and translated one, which are

Upacara by Korrie Layun Rampan and Ceremony by George A Fowler.

3. The researcher used Judickaitė’s theory to analyze the translation strategies in

Upacara by Korrie Layun Rampan.

 43

4. The analysis was consulted to the supervisors and peer reviews.

5. The result of the analysis was written in the report.

F. Trustworthiness

To achieve the trustworthiness, the researcher applied triangulation. Moleong

(2014:178) states that triangulation is a technique to crosscheck data trustworthiness

by using outside of the data to verify them. He provided several criteria as the basic

of trustworthiness. They are credibility, dependability, confirmability and transferability.

Credibility is performed in deep and detail observation on the data in order to achieve the

credibility of the data. A student of English Language and Literature was asked to

validate the data. Addition, this research employed Kamus Besar Bahasa Indonesia

(KBBI), Oxford Advanced Learner’s Dictionary, and Oxford Collocation Dictionary as

well to validate and confirm the data. To gain dependability, a triangulation technique that

utilized to verify the data was employed. There are four main types of triangulation; by

sources, by methods, by researchers and by theories. In this research, only sources and

theories were employed. The former was in the form of novel Upacara and its English

version Ceremony. For the latter, some books, journals, undergraduate theses, papers and

some written sources from the internet related to culture-specific terms theories were

checked. To set the degree of conformability, the data and the analysis were checked from

the point of view of the two supervisors, i.e. Suhaini M. Saleh, M.A. and Andy Bayu

Nugroho, S.S, M.Hum. The peer reviews were also asked to assess the accuracy and the

naturalness of the data.

 CHAPTER IV

FINDINGS AND DISCUSSION

There are two sections in this chapter; findings and discussion. The first section

provides the result of the research in Indonesian culture specific terms (CST’s) found

in Korrie Layun’s Upacara and the translation strategies of CST’s of Korrie Layun’s

Upacara in George A Fowler’s Ceremony. The second section is the discussion of the

findings based on the research objective which explores the types of CST’s in Korrie

Layun’s Upacara and the foreignization and domestication strategies applied in

translating Korrie Layun’s Upacara in George A Fowler’s Ceremony.

A. Findings

In this section, there are two findings that are presented in this research. Each

finding shows the frequency and the percentage of the analyzed data. There are 315

data of Indonesian CST’s found in Korrie Layun Rampan’s Upacara.

1. Description of CST’s Found in Korrie Layun Rampan’s Upacara and

George A Fowler’s Ceremony

As stated in the theoretical framework, the categorization of Indonesian CST’s is

based on the concept of Newmark (1988). They are ecology, material culture, social

culture, organizations, and gestures and habits. Below is the findings of Indonesian

CST’s in Korrie Layun Rampan’s Upacara.

44
 45

Table 2. The Frequency and Percentage of CST’s Found in Korrie Layun

Rampan’s Upacara

No. CST's Categories Frequency Percentage

1. Ecology 109 34.60%
2. Material Culture 115 36.50%
3. Social Culture 22 6.99%
4. Organizations 64 20.31%
5. Gestures and Habits 6 1.90%
Total 315 100%

Table 2 shows 315 Indonesian CST’s in Korrie Layun Rampan’s Upacara. From

the table, it can be seen that the highest number of CST’s category is material culture.

This category 90occurs 115 times or (36.50%). The second highest number of CST’s

category is ecology which occurs 109 times or (34.60%). Then it is followed by

organizations that occurs 64 times or (20.31%), and social culture occurs 22 times or

(6.99%). Meanwhile, the lowest number of CST’’s category is gestures and habits that

occurs only six times or (1.90%).

It can be concluded that the highest number of CST’s are material culture and

ecology . It occurs because the theme of the novel tells about the social condition of

Dayak tribe. They have various rituals for every activity, such as rituals of life and

death, rituals for the living, rituals for the dead, and farming rituals. In conducting the

rituals or ceremony, there are many material cultures used during the process of

rituals. They are artifacts, traditional foods, traditional clothes, houses, etc as the

cultural items of Dayak tribe. Then, to get foods and money, they are going to forest
 46

for farming. The outcome of farming is for consumption and for commerce. That is

why many ecological terms are found in the novel. The author of the novel mentions

many flora and fauna to present the readers knowledge about the natural capital of

Borneo Island.

2. The Identification of Translation Strategies that Represent Foreignization

and Domestication in Korrie Layun Rampan’s Upacara

From four foreignization strategies and six domestication strategies proposed by

Judickaitė, there are two foreignization strategies that are not employed by the

translator, namely translation by more specific words and creation. Below is

frequency and the percentage of translation strategies that represent foreignization

and domestication in Korrie Layun Rampan’s Upacara.

Table 3 shows that domestication strategies are higher than foreignization

strategies. There are 162 Indonesian CST’s or (51.42%) in domestication strategies

and 153 Indonesian CST’s or (48.57%) in foreignization strategies. In the

domestication category, the highest number of translation strategy is equivalence

translation that occurs 86 times or (27.30%) and the second is cultural equivalence

that occurs 52 times or (16.50%). Then it is followed by globalization in 13 times or

(4.11%). Omission has the lowest number of domestication strategy because it only

occurs 11 times or (3.50%). They are not any translation by more specific words and

creation in the novel.

 47

Table 3. The Frequency and Percentage of Translation Strategies that Represent

Foreignization and Domestication in Korrie Layun Rampan’s Upacara

No. Translation Strategies Frequency Percentage

Foreignization
1. Preservation 64 20.31%
2. Addition 64 21.59%
3. Naturalization 10 3.18%
4. Literal Translation 11 3.50%
Total 153 48.58%
Domestication
1. Cultural Equivalence 52 16.50%
2. Omission 11 3.50%
3. Globalization 13 4.11%
4. Translation by more specific words - -
5. Equivalence translation 86 27.30%
6. Creation - -
Total 162 51.42%
Total 315 100%

In the foreignization category, addition has the highest number of translation

strategy that occurs 64 times or (21.59%) and the second is preservation that occurs

64 times or (20.31%). Then it is followed by literal translation that occurs 11 times or

(3.50%) and the last one is naturalization that has the lowest number of translation

strategy because it only occurs 10 times or (3.18%).

Preservation and addition become the most highest number of foreignization

strategies because the translator wanted to defend the local culture of Dayak tribe.

Preservation does not decrease the meaning of the SL, so the TL is still has the same

meaning as SL. Then, addition is the most useful strategy for target readers because
 48

the translator give an extra information about the SL while preservation only loan the

SL terms. Thus, preservation needs an educated reader.

Equivalence translation is the most frequent strategy that appears in the novel

because it transfers the SL terms without considering the structural and stylistic of the

TL. In the novel, the translator translated many SL terms by giving descriptions about

the terms. This strategy is frequently used because the translator wants to help the

readers more familiar with the CST’s. It is expected to make the readers enjoy reading

more the TL because they will not find a strange term in the TL.

In spite of the fact that domestication strategies are higher than foreignization

strategies, the difference between them is still balanced. It is likely that the translator

offers the SL terms to make the target readers interested in foreign cultures although

the translator desires the target readers easy to read the TL because the SL is

translated in the transparent and clear way.

Table 4 shows that from 109 data of ecology, 18 data are translated by employing

preservation; 14 data are translated by addition; four data are translated by

naturalization; five data are translated by literal translation; 20 data translated by

cultural equivalence; five data are translated by omission; five data are translated by

globalization; 37 data are translated by equivalence translation; and there is not any

data translated by more specific words and creation. Thus, it can be concluded that

the most frequent strategies that are employed in the translated version of ecological

terms which exist in the novel Ceremony tend to be domesticated by the translator by
 49

mostly employing equivalence translation technique in 37 times.

In order to make a detailed description, the researcher provide a complete data of

types of culture-specific terms and translation strategies. The data are presented in the

table below.

Table 4. The Frequency of CST’s and Translation Strategies

Types of CST's
Material Social Gestures &
Ecology Organizations Total
Culture Culture Habits
Translation
Strategies
Preservation 18 14 2 29 1 64
Addition 14 26 7 20 1 64
Naturalization 4 5 1 0 0 10
Literal
5 3 1 2 0 11
Translation
Foreignization 41 48 11 51 2 153
Cultural
20 21 7 3 1 52
Equivalence
Omission 5 5 0 1 0 11
Globalization 5 5 1 2 0 13
Translation by
more specific 0 0 0 0 0 0
words
Equivalence
37 36 3 7 3 86
translation
Creation 0 0 0 0 0 0
Domestication 71 66 11 13 4 162
Total 109 115 22 64 6 315

Out of 115 data of material culture, 14 data are translated by conveying

preservation; 26 data are translated conveying by addition; five data are translated by

naturalization; three data are translated by literal translation; 21 data are translated by
 50

cultural equivalence; five data are translated by omission; five data are translated by

globalization; 36 data are translated by equivalence translation; and there is not any

datum translated by conveying more specific words and creation. Therefore, it can be

inferred that domestication is the most used translation strategies to translate material

culture terms by employing equivalence translation in 36 times.

In translating 22 data of social culture, the translator employed preservation in

two data, addition in seven data, naturalization in one datum, literal translation in one

datum, cultural equivalence in seven data, globalization in one datum, equivalence

translation in three datum, and there is no datum translated by employing omission,

more specific words and creation. Thus, it can be concluded that the most used

strategies are foreignization strategies by employing addition in seven times.

In 64 data under the type of organization category, 29 data are translated by

applying preservation; 20 data are translated by applying addition; two data are

translated by literal translation; three data are translated by cultural equivalence; one

datum translated by omission; two data are translated by globalization; seven data are

translated by equivalence; and there are not any datum translated by applying

naturalization, more specific words and creation. Thus, it can be inferred that

organization is mostly translated by foreignization strategies by applying preservation

in 29 times.

In translating six data of gestures and habits, the translator only employed three

strategies of domestication and foreignization, that are preservation in one datum,

 51

addition in one datum, cultural equivalence in one datum and equivalence translation

in three data. There are not any datum translated by employing naturalization, literal

translation, omission, globalization, more specific words, and creation. Therefore, it

can be concluded that the translator mostly uses domestication strategies to translate

gestures and habits by applying equivalence translation in three times.

From the table, mostly organization terms are translated by applying preservation

and addition in order to maintain the cultures of the SL. There are many religious

terms and activities in organization terms that are maintained by the translator

because he did not want to change or decrease the meaning of the organization terms.

The translator defended the organization terms to make the reader have a fully

understanding about the terms since the organization term is a significant thing in the

human life. Besides, equivalence translation is frequently used by the translator in

translating the ecological terms and material cultures by give some explanations

about them without maintaining the SL terms. It is not harmful for the TL because the

equivalence translation still presents the meaning of the SL in different ways. Then,

there are not any type of CST’s translated by employing translation by more specific

words in the novel because the translator did not find the equivalent specific words in

TL text to replace the SL terms. Later, creation is not employed to translate the CST’s

because there is not any SL term that is considered as a meaningful term and needed

to be recreated.
 52

B. Discussion

In this section, there are two parts that provide in-depth explanation of the

findings. The discussion part presents the detailed information to clarify the

objectives of the research that covering the types of the Indonesian CST’s found in

Korrie Layun Rampan’s Upacara and foreignization and domestication strategies that

are applied in translating the Indonesian CST’s of Korrie Layun Rampan’s Upacara

in George A Fowler’s Ceremony.

1. Description of Indonesian CST’s

This part aims to analyze the CST’s found in the novels, namely ecology,

material culture, social culture, organizations, and gestures and habits. The data were

discovered in the source novel and the target novel. The researcher applied Google,

Cambridge Advanced Learner’s Dictionary and Kamus Besar Bahasa Indonesia to

analyze the types of Indonesian CST’s. Below are the elaborations and examples of

each type.

a. Ecology

Newmark (1988) mentions that ecology is distinguished from other cultural terms

in that they are usually value-free, politically and commercially. They are flora, fauna,

winds, plains, etc in this category. From 315 CST’s in the research, there are 109 data

or (34.60%) belong to ecology category. This is the most frequent data found in the

novel. Below is the example of the ecology category.

SL: Hutan yang kami tempuh adalah hutan belukar, bekas ladang yang berpindah-
 53

pindah.

TL: The forest we are making our way through is belukar, secondary growth, the

remains of dry-field farming that had once been here and now has shifted

elsewhere.

(58/U.P8/C.P9)

In Kamus Besar Bahasa Indonesia (KBBI), ladang is mentioned as tanah yang

diusahakan dan ditanami (ubi, jagung, dsb) dengan tidak diairi; tegal. (a cultivated

land (sweet potatoes, corn, etc.) that is not irrigated; dry field near the rice fields but

used for vegetables and other secondary crops). Generally, ladang is a grove that is

cut down and hoed becoming farmland. This farmland can be planted by vegetables

like string bean, tomato, carrot, etc. and palawija plants like cassava, corn, tuber, etc.

Farmland is not watered by farmers because it can grow in the dry-condition, so it is

only watered by rainwater. Then, ladang is translated to “dry-field farming” by

employing equivalence translation in domestication strategy. It can be said that this

translation is equivalent because the meaning of the SL term is fully transferred. The

next example is ecology category in term of flora.

SL: Di bagian yang agak berpaya-paya tumbuh subur keladi sulur dan batang-

batang kangkung merayap dengan merdeka.

TL: The more marshy areas are dense with taro, and stalks of kangkung creep about

with total freedom.

 54

Glossary:

Kangkung: Ipomoea aquatica, commonly called water spinach, a highly nutritious

tropical semi-aquatic leaf vegetable, widely used in Souhest Asian cooking.

(66/U.P8/C.P10)

Based on Kamus Besar Bahasa Indonesia (KBBI), kangkung is described as

tumbuhan sayuran yang menjalar, batangnya berair, daunnya berbentuk tameng

dan meruncing pada bagian ujungnya, bertangkai panjang dengan permukaan
daun sebelah atas berwarna hijau yang lebih tua daripada permukaan sebelah
bawah, bunganya berbentuk trompet berwarna lila, buahnya berbentuk bulat
telur; Ipomea reptans (a creeping vegetable that has aqueous stems, shield-
shaped and tapered leaves at the ends, long-stemmed with an upper green
leaf surface older than the lower surface, flower-shaped flowers of lilac,
egg-shaped fruit; Ipomea reptans).

From that definition, it can be concluded that kangkung is one of the ecology

categories in terms of plants. There are two kinds of kangkung based on the

cultivation. The first is kangkung darat that can grow on land. The characteristics of

kangkung darat are having little branch colored white green, thin and soft leaves that

are easy to wilt when cooked, and flower colored fresh white. The second is

kangkung air that can grow in the sawah, moat, or stilling basin. The characteristics

of this kangkung are having large branch colored dark green, wide and hard leaves

that are not easy to wilt when they are cooked, and its flower colored red white. Then,

the term kangkung is translated to kangkung by the translator in order to make the

readers know the local plant of Indonesia. It is Asian flora that is easily found in the

watered area. The term is translated by employing addition in foreignization strategy.

The addition is in the form of glossary. This translation is partly equivalent because
 55

the glossary increases the meaning of the SL term. Another example of ecology

category in term of fauna is below.

SL: Di musim kemarau teluk-teluk sungai ini banyak menyimpan ikan-ikan jelawat,

ikan lempam, ikan patin, ikan baung, yang sering disebut pike.

TL: In the dry season, the bends in this river hold lots of milkfish, and also mackerel,

our dolphin-like ikan patin, and ikan baung, often called pike.

(91/U.P10/C.P11)

Ikan baung is categorized as ecological category in the term of fauna. Based on

Kamus Besar Bahasa Indonesia (KBBI), baung is described as ikan sungai yang

sangat besar seperti limbat atau ikan sembilang, tidak bersisik; Macrones spp ( a

very large river fish such as stripped eel catfish or slender walking catfish, not scaly;

Macrones spp). Since baung is a name for fish, it can be grouped to ecological

category in the term of fauna. The term ikan baung is translated to ikan baung by

employing preservation in foreignization strategy. This translation is equivalent

because the meaning of the SL term is fully transferred by the translator.

b. Material Culture

Newmark (1988) mentions food, clothes, houses and towns, transport, etc as

material culture. Hence, it can be said that material culture is a local things made by

people in different forms. From 315 CST’s in the research, there are 115 data or

(36.50%) that belong to material culture category. This is the second frequent data

found in the novel. The example of the data is presented below.

 56

SL: Kutangkap denyar pagi dari kisi-kisi lamin, kokok ayam di luar.

TL: I glimpsed a flash of the morning through the lattice of the longhouse wall

and heard the clucking and crowing of the chickens outside.

(5/U.P1/C.P3)

Based on the Kamus Besar Bahasa Indonesia (KBBI), lamin is bangunan (rumah)

kolektif pada suku Dayak Kenyan, bentuknya besar memanjang dan bertingkat,

dihuni oleh banyak keluarga (collective building (house) on the Kenyan Dayak tribe,

its shape is large elongated and staged, inhabited by many families). It can be inferred

that lamin is a Dayak custom house. In the novel, Dayak Benuaq people populate in

the lamin along Mahakam River, Kedang Pahu River, and Nyuatan River. They live

together in the longhouse that have many rooms with many families. Usually, one

lamin is populated by hundreds of people because one community in a village only

has one lamin. Since lamin is a name for house, it can be categorized as a material

culture. Then, the term is translated to lamin by employing equivalence translation in

domestication strategy. This translation is equivalence because the translator

successfully transfers the meaning of SL term. The next example is material culture in

term of artifact.

SL: Sedangkan di bawah pian tergantung para yang khusus untuk menyimpan

berbagai jenis tombak dan senjata perang.

TL: Below the ceiling hung racks of plaited bamboo for holding spears and other

weapons of war.
 57

(29/U.P3/C.P4)

In the Kamus Besar Bahasa Indonesia (KBBI), tombak is described as senjata

tajam dan runcing, bermata dua, bertangkai panjang, untuk menusuk dari jarak

dekat atau jauh (dengan cara melemparkannya) (sharp and pointed weapon,

double-edged, long-stemmed, for piercing from close or far range (by throwing it)). It

can be concluded that tombak is a sharp and pointed weapon used by throwing it.

Usually, people use it to hunt animals in the forest. Since tombak is a name of

weapons, it is categorized as a material culture in terms of artifact. Then, the term is

translated by employing equivalence translation of the domestication strategy. This

translation is equivalent because the meaning of SL is fully transferred by the

translator. Another example of material culture in terms of food is below.

SL: Sambal, gulai dan lalap timun, pecel, adalah rekan nasi yang membuat peluh

berkucur dan perut mengenyang.

TL: Spicy condiments, curries and cucumber, and steamed vegetable salad with

peanut dressing are the companions of the rice that fill the stomach and make

the sweat run.

(271/U.P88/C.P92)

In the Kamus Besar Bahasa Indonesia (KBBI), pecel is mentioned as makanan

yang terdiri atas sayuran rebus, seperti kacang panjang, bayam, taoge yang disiram

dengan kuah sambal kacang dan sebagainya (food consisting of boiled vegetables,

such as long beans, spinach, sprouts doused with peanut sauce and so on). It is a
 58

traditional Javanese salad that is usually served with cooked rice or lontong. Lontong

is rice covered banana leaf that cooked or steamed in the boiling water. Since pecel is

a name for foods, it is categorized as material culture. The term is translated as

“steamed vegetable salad with peanut dressing” by employing equivalence translation

of domestication strategy. The translator transfers the term by explaining the

composition of pecel. Thus, the term is fully equivalent because both SL and TL have

the same meaning.

c. Social Culture

Newmark (1988: 95) mentions that work and leisure activities are the concern of

social culture. From 315 CST’s in the research, there are only 22 data or (6.99%)

belonging to the material culture category. This is the second rare data found in the

novel. The example of the data is presented below.

SL: Sebelas pemuda yang lain siaga mengitari kereta, dua orang baru yang

berpakaian opas segera menyambut tanganku lalu menggiring.

TL: The eleven other youths arrange themselves on guard around the carriage, while

two new ones dressed as attendants take my hand and lead me off.

(86/U.P20/C.P20)

Based on the Kamus Besar Bahasa Indonesia (KBBI), opas is described as 1

penjaga kantor; 2 agen polisi (1 office guard; 2 police agent). In the life of the West

Indies age, opas is a domestic worker for Dutch family, nobleman, and colonial

administration official who live in the West Indies. It can be said that opas is people
 59

who work as attendant and security guard for noblemen. Since opas is a name for a

work, it is classified as social culture in terms of work. Then, the translator translated

opas to attendants by employing cultural equivalence of domestication strategy. This

translation is non equivalent because the translator replaces the term opas to

“attendants”. Based on Cambridge Advanced Learner’s Dictionary, attendant is

described as someone whose job is to be in a place and help visitors or customers.

From the definition, the duty both opas and attendant are different. Opas can be said

as bodyguard that accompanies someone where he goes, whereas attendant only helps

someone in a certain place. The next example is social culture in terms of leisure.

SL: Ada saatnya main manten-mantenan.

TL: One time I played bride-and-groom.

(277/U.P90/C.P94)

Based on the Kamus Besar Bahasa Indonesia (KBBI), manten is pengantin (the

bride and groom). It is derived from Javanese language. Manten-mantenan is a

traditional game in Indonesia which one pretends to be a bride and another pretends

to be a groom. In the novel, when the main character was in childhood, he used to

play manten-mantenan with his friends. They pretended to be a bride, a groom,

witnesses, a penghulu, and parents of bride and groom. Since manten-mantenan is a

traditional game, it is classified as social culture in terms of leisure. Then, the

translator transferred the term manten-mantenan to “bride-and-groom” by employing

literal translation. This translation is equivalent because the translator can transfer the
 60

meaning of SL. Another example of social culture is below.

SL: Seorang dukun telah memilih hari dan saat yang paling baik.

TL: A healer had chosen the very best moment of the very best day.

(310/U.P109/C.P114)

In the Kamus Besar Bahasa Indonesia (KBBI), dukun is defined as orang yang

mengobati, menolong orang sakit, memberi jampi-jampi (mantra, guna-guna, dsb)

(people who cure, help the sick, give spells (mantras, witches, etc.)). In Indonesian

culture, dukun is believed as a person who has supernatural power to help people

getting sick and a leader to hold a ceremony. Like in the novel, when Dayak people

hold ceremonies of life, death, and marriage, there was a healer that led the

ceremonies. Therefore, it can be said that a healer is a religious and custom leader

who leads the religious and traditional ceremonies. Since dukun is a name of an

occupation in the society, it can be categorized as social culture in terms of work.

Then, the term is translated to a healer by employing cultural equivalence of

domestication strategy. This translation is fully equivalent since the translator

successfully transfers the meaning of SL.

d. Organizations, customs, and ideas

Newmark (1988: 95) identifies political, social, legal, religious, and artistic terms

as organization category. From 315 CST’s in the research, there are 64 data or

(20.31%) belonging to organizations, customs, ideas category. Below is the example

of the data.
 61

SL: Kadang-kadang pula lenggak lenggoknya seperti penari yang kesurupan di

tengah arena, menyambar sana-sini seakan seorang pemain jatilan yang

sedang kerasukan.

TL: And, then again, swaying and twisting from side to side like a possessed

dancer in the middle of the arena, striking out here and there like in jatilan,

with its demonically possessed dancer astride his plaited bamboo horse.

Glossary:

Jatilan: one of the traditional possession dances of Java, this one involving a plaited

bamboo hobbyhorse.

(131/U.P29/C.P29)

Kamus Besar Bahasa Indonesia (KBBI) describes jatilan as kesenian khas Jawa

Tengah berupa tarian yang penarinya menaiki kuda lumping, diiringi gamelan (bende,

kendang, dsb); kuda lumping (the typical arts of Central Java in the form of dances

whose dancers ride lumping horse, accompanied by gamelan orchestra (small bronze

or copper gong, small drum covered with leather at each end, etc.); leathered horse).

It is a pop art that combines art dance and magic. This dance is also called kuda

lumping, kuda kepang, and jaran kepang. There is a kuda term or a horse term

because the dancers use an artificial horse made from plaited bamboo as an outfit to

dance. The dance is completed by an orchestra that puts on a life message through

songs. In the middle of performance, the dancers are possessed by unseen wraiths or

(trance) that make the dancers do unreasonable things like eating leaves, flowers,
 62

broken glasses, a roof-tile, etc. This performance is lead by a pawang and there are

many ritual offerings when the performance is conducted. From that explanation, it

can be concluded that jatilan is an art dance that is categorized as organizations

category in terms of artistic terms. Then, the translator translated the term to jatilan

and added an extra information in the glossary. The translator employed addition of

foreignization strategy to translate it. Thus, the translation is partly equivalent

because there is a glossary that increases the meaning of SL. The next example of

organization category is below.

SL: Yang pada suku Benuaq banyak sekali diwakili oleh lambang-lambang binatang.

TL: Among the Benuaq people, these are very often represented by animal totems.

(152/U.P41/C.P42)

In Kamus Besar Bahasa Indonesia (KBBI), Benuaq is described as suku bangsa

yang mendiami daerah Kutai, Kalimantan Timur (an ethnic group who inhabits Kutai

area, East Kalimantan). There are many ethic groups who settle in East Kalimantan.

One of which is Benuaq people. It is said by Sellato in Rampan, (2014) that Benuaq

people are the largest ethnic group of Kutai Barat regency in East Kalimantan who

occupy the southern tributaries of the middle course of the Mahakam River along the

border with Central Kalimantan Province as well as around the Jempang Lake area

and town of Tenggarong, with some in the upper Teweh River drainage. From that

description, it can be inferred that Benuaq people are a community that occupies

Kalimantan. Hence, Dayak is categorized in the organization category. Then, the

 63

translator transferred the SL term by employing preservation of foreignization

strategy. The translation is fully equivalent because the SL term is borrowed by TL.

Thus the meaning of SL is fully transferred by the translator. Another example of

organization, custom, and ideas is below.

SL: Yang perempuan belajar menenun, memasak, berhias, mengatur rumah tangga;

perabot-perabot, perhiasan kelengkapan dirinya seperti sandang dan tempat

tidur, anting-anting, gelang, bahkan cara memoles gincu di bibir.

TL: A woman learns to weave, cook, to dress up, run a home, and about furniture and

utensils, the adornments to complete herself with clothing and bedding, earrings

that dangle, bracelets, and even how to apply lipstick.

(272/U.P89/C.P92)

Based on Kamus Besar Bahasa Indonesia (KBBI), menenun is membuat

barang-barang tenun (dari benang kapas, sutra, dsb) (making woven items (from

cotton yarn, silk, etc.)). In other words, menenun is making traditional clothes or

fabric by spinning the yarns. This activity can last one month because the process is

difficult. Menenun is a necessity in some ethic groups like in the novel, girls and boys

who grow old will try to learn about social and housekeeping to prepare their family

after marriage. Thus, a Dayak woman learn to make a woven. From that definition,

menenun can be categorized as a cultural activity category. Then, the translator

transferred the SL term by employing equivalence translation of domestication

strategy. Hence, the translation is fully equivalent because both SL and TL have the
 64

same meaning.

e. Gestures and Habits

In this category, Newmark (1988: 102) says gestures and habits category is often

described in non-cultural language. For example, both America and Indonesia have an

eye contact but the meaning of the eye contact between America and Indonesia is

different. From 315 CST’s in the research, there are only 6 data or (1.90%) belong to

gestures and habits category. This is the most infrequently data that appears in this

research. Below is the example of the data.

SL: Sumpah serapah yang tak mengenal peradaban sopan santun, sorot mata

bagaikan telaga api dari kepala sejuta.

TL: A ferocious wave of anger from the spectators billows and overflows, like

the rolling and rumbling of terrible flood waters.

(113/U.P22/C.P22)

In Kamus Besar Bahasa Indonesia (KBBI), sumpah serapah is berbagai

kata-kata yang buruk, maki-makian disertai kutukan dan sebagainya (various bad

words, vituperation with curses and so on). From that definition, it can be concluded

that sumpah serapah is bad words or swearwords that are expressed by an angry-man.

Therefore, sumpah serapah is categorized as culture-specific terms in terms of habits

category. Then, the translator transferred the SL by employing equivalence translation

of domestication strategy. Thus, the translation is equivalent because both SL and TL

have the same meaning although they have different stylistic features. Another
 65

example of gestures category is presented below.

SL: Mengelus dan membelai, kata-kata renyah, wajah sumringah.

TL: Caressing and stroking, pleasant-sounding words, a cheerful face.

(64/U.P48/C.P49)

Based on http://id.m.wiktionary.org/wiki/sumringah, sumringah is menunjukkan

kebahagian yang sangat besar hingga bakal nampak jelas terlihat di wajah

pelakunya. Pelaku bisa tampak tersenyum sangat lebar dan raut mukanya berseri

(showing great happiness until it will appear clearly on the one’s face. The one may

appear to be smiling very wide and his face is beaming). In other words, sumringah is

an expression of a happy feeling. People will smile widely and brightly when they are

in a happy feeling. Since sumringah is a face expression, it can be categorized as

culture specific-terms in terms of gestures category. Then, the translator transferred

the SL term by employing equivalence translation. The translator translated the term

by giving an explanation abut the SL term. Thus, the translation is equivalent because

the meaning of SL is fully transferred by the translator. Another example of habits

category is below.

SL: Begitu kata adat, begitu besar rasa gotong royong dan setia kawan, rasa

harga diri, apalagi kalau mempelai itu bukan berasal dari kampung yang

sama.

TL: That’s what adat demands, that’s how great the feelings are of gotong royong,

that is, everyone bearing a burden together, of personal loyalties and pride,
 66

especially if the marriage partners come from different kampung.

(185/U.P54/C.P52)

In Kamus Besar Bahasa Indonesia (KBBI), gotong royong is bekerja bersama-

sama (tolong-menolong, bantu-membantu) (working together (help each other)). This

term is very closely related to the Indonesian culture. This culture is an enthusiasm

form of Indonesian people doing something together for individual or public interest

without expecting retribution. Therefore, gotong royong can be classified as

Indonesian culture-specific terms in terms of the habit category. Then, the translator

transferred the SL term by employing addition of foreignization strategy. The

translator gives an explanation of SL in the sentence. Thus, the translation is partly

equivalent because the meaning of SL is increased.

2. Description of Foreignization and Domestication Strategies of Indonesian

CST’s in Korrie Layun Rampan’s Upacara

This part aims to analyze the foreignization and domestication strategies of

Indonesian CST’s applied in translating Korrie Layun’s Upacara in George A

Fowler’s Ceremony. The researcher uses Google, Cambridge Advanced Learner’s

Dictionary and Kamus Besar Bahasa Indonesia to analyze the strategies.

a. Foreignization

There are four strategies of foreignization in this research. They are preservation,

addition, naturalization, and literal translation. The researcher found 153 data or

(48.58 %) that belong to foreignization strategies. The description and the examples
 67

of each strategy are presented below.

1) Preservation

Preservation is the second frequent strategy of foreignization that is employed by

the translator in the novel. From 315 data in the research, the researcher found 64 data

or (20.31 %). Preservation is employed to translate the Indonesian CST’s because the

translator does not find the equivalent words or related words to translate the terms.

Hence, the translator borrows the SL language to TL language without giving

additional information. Here is the example of the preservation strategy.

SL: Bekas geseran dadanya pada lumpur dan pasir mudah diketahui, orang-orang

kampung yang menjumpainya dengan gembira mengangkut telur-telur itu

dalam keruntung rotan yang mereka namai anjat.

TL: Their undersides leave a trail in the mud and sand that’s easy to recognize, and

the kampung folk who discover this happily place the eggs into their rattan anjat

baskets.

(97/U.P10/C.P11)

Based on Kamus Besar Bahasa Indonesia (KBBI), anjat is described as tas

berbentuk bundar, digendong di punggung, hasil kerajinan rotan suku Dayak di

Kalimantan Timur (a round-shaped bag, held on the back, the Dayak rattan

handicrafts in East Kalimantan). It can be inferred that anjat is a Dayak traditional

bag made from rattan in cylinder shape. Since anjat is a Dayak traditional bag, it is

categorized as material culture. In days of yore, Dayak men use anjat to bring
 68

supplies when they are hunting in the forest. However, Dayak women use it to carry

clothes and foods when they are farming in the unirrigated agricultural field. The term

anjat is translated to anjat by the translator because the he does not find the

equivalent words to describe it. Thus, the translator decides to borrow the SL term.

The translation is fully equivalent because the meanings of both SL and TL are equal.

There is no increased or decreased meaning. The next example of preservation is

presented below.

SL: Seekor beruang, seekor singa, seekor harimau, seekor orang utan, beberapa

ekor buaya dan biawak.

TL: A bear, a lion, a tiger, an orangutan, several crocodiles and lizards.

(86/U.P13/C.P14)

Kamus Besar Bahasa Indonesia (KBBI) defines orang utan as kera besar dan

kuat yang hanya terdapat di hutan di Sumatera dan Kalimantan, berbulu merah

kecoklat-coklatan, tidak berekor, hidup dari buah-buahan, daun, dan kuncup; mawas

[Pongo pygmaeus] (a large and powerful ape found only in the forests of Sumatra and

Borneo, with reddish brown hair, no tail, living from fruits, leaves, and buds; a large

ape [Pongo pygmaeus]). Since orang utan is only found in the Sumatera and

Kalimantan, it can be said that orang utan is classified as ecology culture in terms of

fauna. The term “orang utan” comes from Malay Language, i.e. orang and utan.

Orang means human and utan means forest. It can be concluded that orang utan is

human who lives in the forest. Orang utan lives in the tropical forest of Sumatera and
 69

Kalimantan. It is still categorized as great apes like chimpanzee and gorilla and called

orang because it is still has same DNA in 94 %. The translator translated the term

orang utan to orang utan because he wants to introduce the fauna of Indonesia to the

target language. That is why he copying the original term of source language. The

translation is fully equivalent because the meaning of SL is successfully transferred

by the translator. The next example is organizations, customs, and ideas category that

is translated by employing preservation.

SL: Mungkin aku terkena malaria.

TL: Maybe malaria had gotten me.

(152f/U.P44/C.P45)

In Kamus Besar Bahasa Indonesia (KBBI), malaria is defined as penyakit infeksi

yang banyak dijumpai di daerah tropis, disertai gejala demam dan turun naiknya

suhu yang tidak teratur, ditularkan oleh nyamuk anofeles (infectious diseases that are

common in the tropics, with symptoms of fever and the ups and downs of the

irregular temperatures, transmitted by anopheles mosquitoes). Moreover, Cambridge

Advanced Learner’s Dictionary describes that a disease that you can get from the bite

of a particular type of mosquito (= a small flying insect) which causes periods of

fever and makes you very cold and shake. It is common in many hotter parts of the

world. From that definitions, it can be inferred that malaria is an infection disease of

female Anopheles mosquito contaminated by biting the human skin. The symptoms

usually comes 10 to 15 days after Anopheles has bitten the human skin. The
 70

symptoms are headache, fever, and vomiting, fatigue, chills and sweating. The serious

condition of malaria can cause death. This disease can be prevented by cleaning the

water reservoir, burying trace can, closing the dustbin and the water reservoir which

in Indonesia it is called 3 M (Menguras, Mengubur, dan Menutup). Other prevention

is fogging and wearing net bed when sleeping. The term malaria is not only used in

Indonesia but used in the tropical countries that have same disease. The translator

keeps borrowing the term malaria to give a knowledge to the target language cultural

disease in Indonesia. This term is categorized as organization, customs, ideas category.

The translation is fully equivalent because the meaning of SL is fully transferred by

the translator.

2) Addition

Addition is the most frequent strategy of foreignization employed by the

translator in the novel. From 315 data in the research, the researcher found 70 data or

(21.59 %). Addition is employed to translate the Indonesian culture-specific terms

because in the translator perspective, he still needs to give an extra information of the

source language that has been translated. The information can be in the form of

footnotes, glossaries, and additional words in the sentence. The example of the

addition in the form of additional words in the sentence is below.

SL: Sedangkan beberapa orang mengacungkan badik, di tangan kiri terpegang

perisai menutupi bagian dada.

TL: Some of them brandish the badik knives of Makasar in one hand and cover their
 71

chests with shields.

(229/U.P17/C.P17)

Kamus Besar Bahasa Indonesia (KBBI) describes badik as alat yang berbentuk

pisau belati bermata satu (a tool with the shape of a single-eyed dagger). From that

definition, it can be inferred that badik is one of material culture in terms of artifact.

Then, the translator translated “badik” to “the badik knives of Makasar”. In the

process of translation, the translator firstly borrows the term of source language to the

target language then secondly he gives an information about the term “badik”. This

strategy is employed by the translator to introduce the Makasar traditional knife, one

of the material culture of Indonesia. This translation is partly equivalent because the

translator gives an additional information of the term that makes the meaning of SL

increases. Below is presented the example of addition in the form of glossary.

SL: “Kakak akan segera kembali?”

TL: “Will you be coming soon, Kakak?”

Glossary:

Kakak/Kak: generally, older sibling, and here mostly older brother. Besides being the

normal kinship term, older brother is also one of the intimate endearment used by a

girl for her male sweetheart. Similarly, Adik (younger siblings), and here little sister,

is how Kakak would address his girlfriend.

(169/U.P48/C.P49)

Kamus Besar Bahasa Indonesia (KBBI) mentions that kakak is 1 saudara tua; 2
 72

kata sapaan kepada orang (laki-laki atau perempuan) yang dianggap leih tua; 3

sapaan kepada suami (1 an old brother; 2 an address term to a person (male or female)

deemed to be older; 3 an address term to a husband). It can be concluded that the term

is used by a younger person to an older person. This term is classified as material

culture category. In translating the term, the translator firstly borrows the source

language to the target language, then the translator adds an explanation in the glossary.

The translator decides to use this strategy to make the reader knows the Indonesian

address term. This translation is partly equivalent because the translator gives an

additional information of the term in the form of glossary that makes the meaning of

SL increases. Another example of addition in the form of additional words in the

sentence is presented below.

SL: Dan mulai dari tebing tepian, menyusur kiri-kanan jalan hingga ke halaman

lamin bergantungan umbul-umbul dan bendera dari kain dengan pola-pola yang

cerah pada ujung-ujung tiang.

TL: And right from the edge of the landing, along both sides of the road t the open

space in front of the longhouse hung umbul-umbul--- log pennants and flags of

brightly patterned cloth attached to the tops of poles.

(304/U.P105/C.P109)

Kamus Besar Bahasa Indonesia (KBBI) describes umbul-umbul into bendera

beraneka warna yang dipasang memanjang ke atas dan meruncing pada ujungnya,

dipasang untuk memeriahkan suasana serta menarik perhatian (multicolored flags

 73

put extending upward and tapering at the ends, fitted to enliven the atmosphere and

attract attention). Therefore, umbul-umbul is classified as material culture in terms of

artifact. In Indonesia, when there are events, many colorful pennants are put over the

walking ways of the location. The translator keeps to loan the source language

“umbul-umbul” then adds “log pennants” to the target language to give a clear

information about the term. It is mentioned log pennants because the pennants usually

are set up on the long bamboo or iron along the ways. This translation is partly

equivalent because the translator gives an additional information of the term that

makes the meaning of SL increases. The additional information is presented in the

sentence by the translator.

3) Naturalization

Naturalization is defined as a procedure that succeeds transference and adapts

the SL word first to the normal pronunciation, then to the normal morphology

(word-forms) of the TL (Newmark, 1988: 82). From 315 data in the research, the

researcher only found 10 data or (3.18 %). This is the most rare strategy that is

employed by the translator. The examples of naturalization are served as follows.

SL: Pelataran yang disebut pasah itu merupakan tempat para wanita lamin

biasanya menumbuk padi atau membuat tepung beras.

TL: This is where the women of the longhouse usually pound the paddy or make

rice flour.

(46/U.P6/C.P8)
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Kamus Besar Bahasa Indonesia (KBBI) describes padi as 1 tumbuhan yang

menghasilkan beras, termasuk jenis Oryza (ada banyak macam dan namanya) 2 butir

dan buah padi (1 plants that produce rice, including the Oryza species (there are

many kinds and names) 2 grain and seed of rice). From that definition, it can be said

that padi is one of ecology culture in terms of flora. The translator translated the term

“padi” to “paddy” because he did not find the equivalent words to describe the term.

Hence, the translator made a new word in target language adopted from source

language. The translator adopted the pronunciation first and then to the morphology.

The pronunciation of “paddy” is /pæd.i/ that has same pronunciation of Indonesian

term “padi”. Then, the translator replaces the letter “i” with “y” and adds double “d”

in term “padi”. This translation is fully equivalent because the translator transferred

the meaning of SL successfully. The next example of naturalization is presented

below.

SL: Setelah melewati beberapa danau, kebun karet, kebun rotan, kebun ketiau,

karet hutan, kebun buah-buahan, hutan rumbia, hutan-hutan nipah, hutan

enau, hutan-hutan bambu, dan beberapa petak kebun palawija, akhirnya

kami tiba kembali di halaman lamin.

TL: After passing several lakes, rubber plantations, fruit orchards, groves of sago,

nipa, and sugar palm, bamboo thickets, and a few plots of cropland, we

finally arrive back at the grounds of our longhouse.

(102/U.P10/C.P11)
 75

In Kamus Besar Bahasa Indonesia (KBBI), nipah is defined as palem yang

tumbuh merumpun di rawa-rawa daerah tropis, tinggi mencapai 8 m, daunnya

digunakan untuk bahan atap, tikar, keranjang, topi dan payung, nira dari sadapan

perbungaanya digunakan untuk pembuatan gula dan alkohol (Nipa fruticans) (palms

grown in swamps of tropical areas, high up to 8 m, the leaves are used for roofing

materials, mats, baskets, hats and umbrellas, sap from its flower extract used for

making sugar and alcohol (Nipa fruticans)). Thus, the term is categorized as ecology

culture in terms of flora. The translator transferred the term “nipah” to “nipa”

because he did not find an equivalent term in target language. Therefore, he decided

to naturalize the term “nipah” in phonological system of target language. This

translation is fully equivalent because the translator transferred the meaning of SL

successfully. There are not any meaning that is decreased or increased by the

translator. Another example of naturalization is mentioned below.

SL: Sang sais memacu, kuda menghela kereta mengitari kota yang menakjubkan.

TL: The syce shakes the reins, and the horses take us around this astonishing city.

(119/U.P19/C.P19)

In Kamus Besar Bahasa Indonesia (KBBI) sais is kusir (coachman). Kusir means

a man that drives a horse-drawn buggy (dokar). Therefore, the term is categorized as

social culture in terms of work. The translator translated the term “sang sais” to “the

syce“ by adapting the phonological and morphological system of SL. An online

dictionary, htttp://en.oxforddictionaries.com describes “syce” to (especially in India)

 76

a groom (taking care of horses). This term is originated from Persian and Urdu where

many of their words come from Arab. Persian is one of Western Iranian languages

within the Indo-Iranian branch of Indo-European language family. It is known as

“farsi”. This language is official language of Iran, Afghanistan, and Tajikistan.

Moreover, Urdu is the official language of Pakistan and India. The term “syce“ is

derived from ُ‫اﻟﺴﱠﺎ ﺋِﺲ‬. It is isim fa’il or subject from ُ‫ ﺳَﺎسَ ﯾُﺴَﻮﱢس‬. َ‫ ﺳَﺎس‬is fi’il madhi or

past tense that indicates something that has been occurs while ُ‫ ﯾُﺴَﻮﱢس‬is fi’il mudhari’

or simple present that indicates something that is happening. Then, the plural or

jamak from the term is ُ‫ ﺳَﺎﺳَﺔ‬. From that definition, the meaning of both terms is

different. Thus, this translation is non equivalent because the meaning of SL term is

not transferred successfully by the translator.

4) Literal Translation

Vinay and Darbelet in Judickaitė (2009) define literal translation as the direct

transfer of a SL text into a grammatical and idiomatically appropriate text. From 315

data in the research, the researcher only found 11 data or (3.50 %). This is the second

rare strategy of foreignization that is employed by the translator. The examples of

literal translation are served as follows.

SL: O, ya, itu pasti kokok jagoku si Burik dalam kerangkeng yang telah lama tak

kudengar suaranya dalam jaga.

TL: Oh, right -- had to be my Speckle crowing in his cage, something I had not heard

since I was last awake, a long time ago.

 77

(6/U.P1/C.P3)

Kamus Besar Bahasa Indonesia (KBBI) mentions burik as 1 bopeng; 2

berbintik-bintik putih (pd bulu ayam); kurik (1 pockmarked; 2 White specks (on

chicken feathers); speckled). Then, Cambridge Advanced Learner’s Dictionary

describes speckle as a very small mark of a different colour from the surface on

which it is found, and which is usually found with a large number of other marks of

the same type. Since the term is a name of animals, it can be categorized as ecology

category in terms of fauna. The translator translated the term “burik” to “speckle”

directly without adding an extra information about it. He transferred the meaning

word-for-word. Thus, the translation of the term is equivalent because both SL and

TL have the same meaning. The next example of literal translation is below.

SL: Pohon itu dipangkas menjadi ketian dan dengan burung-burung pemikat,

pengati, burung-burung sejenis akan hinggap oleh panggilan suara si

pengati.

TL: People use these trees to catch birds. A tree would be pruned to release its

sap, and decoy birds would call their fellows to alight there and then be

stuck in the sap.

(74/U.P9/C.P10)

Kamus Besar Bahasa Indonesia (KBBI) mentions pemikat as 1 (orang yg

memikat); 2 burung yg dipakai untuk memikat (1 (smoothie); 2 trap birds. In the

novel, the translator translated literally the term “burung pemikat” to “decoy bird”. In
 78

Cambridge Advanced Learner’s Dictionary, decoy means something or someone used

to trick or confuse other people or animals into doing something, especially

something dangerous. From that definition, it can be concluded that “burung

pemikat” is a name of birds. Thus, it can be categorized as ecology category in terms

of fauna. Then, the translator transferred the meaning of source language directly to

the target language because the term is not commonly used in the target language.

This translation is equivalent because the meaning of SL term is equally transferred.

Another example of literal translation is below.

SL: Hatinya masih rusuh ketika mulutnya meniup lilin, menabur beras kuning,

melipat “kain pengaca” dan mematikan api di dapur pedupaan.

TL: He was still feeling out of sorts when he blew out the candles, sprinkled yellow

grains of raw rice, folded the “cloth of mirrors” and extinguished the incense

burner.

(129/U.P28/C.P29)

In the novel “Upacara”, kain pengaca is declared as kain yang dikiaskan seperti

kaca untuk mendiagnosis penyakit (cloth that is figured like a glass to diagnose an

illness). The term is classified as material culture since it is a name of artifact. Then,

the translator transferred the meaning of the term literally into target language without

giving an additional information about the material culture. The reader maybe have

another perspective about the term that is mentioned because he only translated the

source language word-for-word. This translation is not equivalent because the

 79

meaning of the SL did not transferred successfully. The translator should give an extra

information about the term.

b. Domestication

Based on Judickaitė, there are six strategies categorized as foreignization

strategies, that are cultural equivalence, omission, globalization, translation by more

specific words, and equivalence translation. In this research, there are only four

strategies found by the researcher because the translator did not employ the

translation by more specific words and creation. There are 162 data or (51.42 %)

found by the researcher that belongs to foreignization strategies. The description and

the examples of each strategy are presented below.

1) Cultural Equivalence

Cultural equivalence is where the translator substitutes the term of source

language with the different term of target language, but it has an equivalent meaning

to the target language. From 315 data in the research, the researcher found 52 data or

(16.50 %) of Indonesian culture-specific terms. This is the second frequent strategy of

domestication that is applied by the translator. Below is the example of the cultural

equivalence strategy.

SL: Musik kendang dan bonang mengiring tarian balian dengan mamang yang telah

mendekati akhir.

TL: The music of the kendang drum and the gongs accompanied the balian dance,

along with the ritual language now reaching its end.

 80

(10/U.P2/C.P3)

Kamus Besar Bahasa Indonesia (KBBI) defines bonang as alat musik pukul dl

orkes gamelan, terbuat dr perunggu, bentuknya menyerupai periuk atau belanga,

atau gong kecil yang disusun di atas tali yg terentang di antara kerangka sandaran

kayu (a musical instrument at a gamelan orchestra, made of bronze, its shape

resembles a cooking pot or an earthen cooking pot, or a small gong arranged on a

string stretched between a wooden frame). While in Cambridge Advanced Learner’s

Dictionary, gong is described as a round piece of metal which is hung in a frame and

hit with a stick to produce a sound, usually for musical purposes but sometimes as a

signal. Since the term is a name of music instrument, it can be classified as material

culture in terms of artifacts. From those definitions, it can be inferred that both

bonang and gong are a musical device used by hitting the device. Yet, the form of the

devices is different. Bonang has small forms arranged in the wood framework,

whereas gong has a bigger form that it is hang in a frame. The translator uses this

translation strategy in order to make the reader recognizes the cultural term. This

translation is partly equivalent because the form of the terms in SL and TL is different.

The next example of cultural equivalence is presented below.

SL: Bersama Timang sering aku memasang pulut untuk menangkap burung-burung

rangkong, punai, beo, dan burung apa saja yang sial tersangkut pada getah

pulut kami.

TL: Together with Timang, I often spread birdlime to catch hornbills, quail, parrots,
 81

and whatever else ill-fated enough to be caught by our sticky traps.

(79/U.P9/C.P10)

Kamus Besar Bahasa Indonesia (KBBI) identifies punai as burung yg bulu

kepala dan lehernya berwarna biru keabu-abuan, punggung dan sayap bagian atas

berwarna cokelat tua kemerah-merahan, sedangkan bagian sayap yg lain berwarna

hitam; Treron curvirostra (a bird whose head and neck feathers are gray-blue, the

upper back and wings are dark reddish, whereas the other wings are black; Treron

curvirostra). Then, in Cambridge Advanced Learner’s Dictionary quail is described

as a small brown bird which is shot for sport or food, or the meat of this bird. The

scientific name of quail is Coturnix coturnix. Since punai is a name of birds, it can be

classified as ecology category in terms of fauna. From those definitions, it can be

concluded that punai and quail are different. They have different features and

characteristics. In Indonesia, a quail is called burung puyuh. Indonesian people

usually eat the egg of quails. The translator replaced the term ‘punai’ to ‘quail’ in

order to help the reader familiar with the term. Thus, the translation is non equivalent

because both SL and TL indicate that they are different birds. Another example of

cultural equivalence is below.

SL: Di musim kering ini, buaya-buaya dan bulus biasanya bertelur.

TL: It is during the hot seasons that the crocodiles and turtles normally lay their

eggs.

(93/U.P10/C.P11)
 82

In Kamus Besar Bahasa Indonesia (KBBI), bulus is defined as ikan laut, tubuh

berwarna keabu-abuan, daging berwarna putih perak, panjang mencapai 35 cm,

hidup di perairan tropis dgn kedalaman 20-214 m, tersebar di perairan Indo-Pasifik

Barat; Decapterus macrosoma ( a sea fish, grayish body, silver white flesh, 35 cm at

length, lives in tropical waters with depths of 20-214 meters, spreads over West

Indo-Pacific waters; Decapterus macrosoma). While Cambridge Advanced Learner’s

Dictionary mentions turtle as an animal which lives in or near water and has a thick

shell covering its body into which it can move its head and legs for protection. Since

bulus is a name of fishes, it can be categorized as ecology category in terms of fauna.

Then, the translator transferred the term ‘bulus’ to ‘turtle’ in order to make the target

reader understand easily the term. The translator replaced the source language with

the equivalent term of target language. The translation is not equivalent because both

SL and TL have different characteristics of animal.

2) Omission

Baker states that if the meaning conveyed by a particular item or expression is

not vital enough to the development of the text to justify distracting the reader with

lengthy explanations, translators can and often do simply omit translating the word or

expression in question (1992: 40). There are two kinds of omission in this research,

they are total omission and partial omission. From 315 data in the research, the

researcher only found 11 data or (3.50 %). This is the most rare strategy of

domestication that is employed by the translator. The example of total omission is

 83

served as follows.

SL: Setelah melewati beberapa danau, kebun karet, kebun rotan, kebun ketiau, karet

hutan, kebun buah-buahan, hutan rumbia, hutan-hutan nipah, hutan enau,

hutan-hutan bambu, dan beberapa petak kebun palawija, akhirnya kami tiba

kembali di halaman lamin.

TL: After passing several lakes, rubber plantations, fruit orchards, groves of sago,

nipa, and sugar palm, bamboo thickets, and a few plots of cropland, we finally

arrive back at the grounds of our longhouse.

(99/U.P10/C.P11)

Kamus Besar Bahasa Indonesia (KBBI) defines ketiau as 1 pohon yang kayunya

untuk bangunan rumah, bijinya biasa dibuat minyak; Ganua motleyana; 2 biji dari

pohon ketiau (1 trees whose wooden for house buildings, the seeds are usually made

for oil; Ganua motleyana; 2 Seeds from the tree ketiau). Since the term is a name of

trees, it can be classified as ecology category in terms of flora. Then, the translator

replaced the source language with nothing because he did not find an equivalent to

describe the source language term. Thus, this translation is unrealized because the

translator omits the SL term. The next example of partial omission is served below.

SL: Sambal, gulai dan lalap timun, pecel, adalah rekan nasi yang membuat

peluh berkucur dan perut mengenyang.

TL: Spicy condiments, curries and cucumber, and steamed vegetable salad with

peanut dressing are the companions of the rice that fill the stomach and make
 84

the sweat run.

(270/U.P83/ C.P84)

Kamus Besar Bahasa Indonesia (KBBI) mentions lalap as daun-daun muda,

mentimun, petai mentah, dsb yg dimakan bersama-sama dgn sambal dan nasi (young

leaves, cucumbers, raw petai, etc. which are eaten together with spicy condiments and

rice). This term is categorized as material culture because it is a name of food in

Indonesia. Then, the translator translated the term ‘timun’ to ‘cucumber’ and omitted

the term ‘lalap’ because there are not any equivalent terms to describe it. Thus, this

translation is partial equivalent because the translator still maintains the term

‘cucumber’. The next example of partial omission is presented below.

SL: Lawang sekepeng itu berhias aneka bunga-bungaan dan janur-janur ringit yang

diberi warna-wani.

TL: The temporary gate for the visitors was festooned with flowers of all kinds and

colorful young coconut fronds.

(303/U.P105/C.P109)

In the novel Upacara, ringit is described as janur yang telah dirangkai dengan

berbagai motif warna (young coconut fronds that have been strung with various color

motifs). Thus, this term is categorized as material culture because it is a name of

artifact. Then, in the process of translation, the translator only transferred the term

‘janur-janur’ into ‘young coconut fronds’ and the term ‘ringit’ is deleted in the target

language. Therefore, this translation is partial equivalent because the translator still
 85

translates the term ‘janur-janur’.

3) Globalization

Davies (in Judickaitė, 2009: 17) says that globalization is the strategy that refers

to the process of replacing culture-specific references with one which are more

neutral or general. From 315 data in the research, the researcher only found 13 data or

(4.12 %). This is the second rare strategy of domestication that is employed by the

translator. The example of globalization is presented as follows.

SL: Pada cabang-cabang tanduk-tanduk itu bergelantungan berbagai jenis

parang dalam sarung-sarung yang diukir dengan pola gambar-gambar

satwa dan pemandangan.

TL: From those horns and antlers dangled various kinds of swords in their

sheaths on which were carved scenes and animal images.

(25/U.P3/C.P4)

Kamus Besar Bahasa Indonesia (KBBI) defines parang as pisau besar (lebih

besar daripada pisau biasa, tetapi lebih pendek dari pedang, ada bermacam-macam);

golok (large knives (bigger than ordinary knives, but shorter than swords, there are all

sorts); machete). The term sword, in Cambridge Advanced Learner’s Dictionary, is

described as a weapon with a long sharp metal blade and a handle, used especially in

the past. Since the term is a name of a sword, it is classified as material culture in

terms of artifact. Then, the translator transferred parang into swords. In the process of

the translation, the translator replaced the source language with the general term.
 86

Parang is a kind of swords from East Java, Indonesia. The translator decided to

generalize the term in order to make the target reader familiar with the term. Thus, the

translation is partly equivalent because the translator did not transferred fully the

meaning of SL. The next example of globalization is follow.

SL: Musik pun berhenti ditabuh, tinggal sisa mamang balian yang segera

disambut oleh sinden.

TL: Even the music stopped, leaving only the chanting of the last of the mantras,

immediately answered by the women singers.

(167/U.P46/C.P47)

Kamus Besar Bahasa Indonesia (KBBI) mentions sinden as penyanyi wanita

pada seni gamelan atau dalam pertunjukan wayang (golek, kulit) (female singers on

gamelan art or in puppet shows (marionette, leather puppet)). Since the term sinden is

a name of an occupation, it can be classified as social culture in terms of work. Then,

the translator replaced the source term with the general term, that is women singers.

The meaning of women singers is very wide. The term women singers can be a solo

singer, a group singer, a pop singer, a dangdut singer, etc and the term sinden is one

kind of women singers. It is women singers who sing in the wayang puppet exhibition.

Thus, this translation is partly equivalent because the translator did not transferred

successfully the SL term. Another example of globalization is served below.

SL: Beberapa pokok kayu leban telah kupotong, bertumpuk di depan dangau huma.

TL: I had cut down a few trees which were now piled up in front of the hut.
 87

(296/U.P96/C.P100)

Kamus Besar Bahasa Indonesia (KBBI) described leban as 1 pohon, tinggi

hingga 25 m, bercabang dekat tanah, kayunya putih kekuning-kuningan dan awet,

digunakan untuk bajak, bahan bangunan dan perkakas rumah tangga, kulit kayu dan

daunnya biasa digunakan untuk obat; Vitex pubescus; 2 kayu leban (1 trees, up to 25

meters tall, branched near the ground, yellowish white and durable wood, used for

plowing, building materials and household utensils, its bark and leaves commonly

used for medicine; Vitex pubescus; 2 leban wood). Since the term is a name of trees,

it can be categorized as ecology category in terms of fora. Then, in the process of

translation, the translator brought the meaning more general. He only mentioned the

term ‘kayu leban’ to ‘trees’. In truth, there are many kinds of trees like pine trees,

fruit trees, palm trees, etc. Thus, this translation is partly equivalent because the

translator did not full transferred the meaning of SL.

4) Equivalence Translation

Vinay and Darbelnet in Judickaitė, (2009) state that equivalence occurs in such

cases when then same situation is rendered by two texts using completely different

stylistic and structural method. From 315 data in the research, the researcher found 86

data or (27.30 %). This is the most frequent strategy of domestication that is

employed by the translator. The example of equivalence translation is served as

follows.

SL: Suara suling dan suara kendang berbaur.

 88

TL: The sounds of flute and drum blended.

(125/U.P27/C.P28)

In Kamus Besar Bahasa Indonesia (KBBI), suling is 1 seruling; bansi; 2 peluit

kapal, kereta api, dsb); and seruling is alat musik tiup yg terbuat dr buluh, logam,

dsb; suling (flute; flute typical of West Sumatera; 2 ship whistles, trains, etc.); and

flute is a wind instrument made of reeds, metal, etc.; flute). Moreover, in Cambridge

Advanced Learner’s Dictionary, flute is described as a tube-shaped musical

instrument with a hole you blow across at one end while holding the tube out

horizontally to one side of you. Since the term is a name of musical instrument, it can

be categorized as material culture in terms of artifact. From the definitions, it can be

concluded that the translator fully transferred the SL term. The others example of

equivalence translation is presented as follow.

SL: Itulah sebabnya orang-orang kampung tak bisa menuntut pesangon maupun

harta gono-gini karena perjanjian tertulis untuk itu memang tak terlintas dalam

kepala mereka yang cara berpikirnya masih alami.

TL: That’s why the kampung people were unable to demand compensation or

division of the couple’s join property acquired through marriage, for it never

occurs to them to get a written agreement about such things, their way of

thinking being still quite unspoiled.

(249/U.P82/C.P86)

Kamus Besar Bahasa Indonesia (KBBI) defines gono gini→ gana-gini, as 1

 89

harta yg berhasil dikumpulkan selama berumah tangga sehingga menjadi hak berdua

suami dan istri (the treasure collected during marriage so that it becomes the rights of

both husband and wife). From that definition, it can be inferred that the term is

material culture. Then, the translator replaced the SL term to ‘division of the couple’s

join property’ by giving description of the term. This description has the same

meaning as the SL although they have different stylistic and structural forms. Thus, it

can be said that the translation is fully equivalent. Another example of equivalence

translation is presented as follow.

SL: “Letala! Letala! O, Nayuq Timang! Anakku, Anakku! Syukur, syukur....

Letala! Anakku! O, Liau, Nayuq Timang. Syukur, syukur, syukur...!”

TL: “God! God! Oh Divine One! My child, my child! Oh thank you! Thank

you... God! My child! Oh, departed soul, Divine One. Thank you! Thank you!

Thank you...!”

(37/U.P90/C.P94)

In the novel Upacara, it is mentioned that letala is Tuhan. Kamus Besar Bahasa

Indonesia (KBBI) describes Tuhan as sesuatu yang diyakini, dipuja, dan disembah

oleh manusia sebagai yang Mahakuasa, Mahaperkasa, dan sebagainya (something

that is believed, adored, and worshiped by human beings as the Almighty, the Mighty,

and so forth). From the definition, it can be concluded that the term is classified into

organizations, customs, and ideas category in term of religion. Then, the translator

replaced the term with God because it has an equivalent meaning. In Cambridge
 90

Advanced Learner’s Dictionary, God is (in especially Christian, Jewish and Muslim

belief) the being which made the universe, the Earth and its people and is believed to

have an effect on all things. From that definition, it can be inferred that God has an

equal meaning to Letala. Hence, the translation is fully equivalent.

 CHAPTER V

CONCLUSIONS AND SUGGESTIONS

This chapter is divided into two sections, they are conclusions and suggestions.

The conclusion section delivers the summary of the research findings and discussion

based on the objectives of the research which are the types of Indonesian

culture-specific terms (CST’) of Korrie Layun Rampan’s Upacara and the

foreignization and domestication strategies applied in translating the Indonesian

CST’s of Korrie Layun Rampan’s Upacara in George A Fowler’s Ceremony. Then,

the suggestion presents some advice to the translators, students majoring in

translation, and future researchers.

A. Conclusions

Based on the research findings and discussion, the conclusion can be drawn as

follows.

1. There are five Indonesian culture-specific terms found in Korrie Layun Rampan’s

Upacara. They are ecology, material culture, social culture, organizations, and

gestures and habits. The highest number of CST’s category is material culture.

This category occurs 115 times or (36.50%). The second highest number of

CST’s category is preservation which occurs 109 times or (34.60%). Then it is

followed by organizations that occurs 64 times or (20.31%) and social culture

occurs 22 times or (6.99%). Meanwhile, the lowest number of CST’s category is

91
 92

gestures and habits that occurs only 6 times or (1.90%).

It can be concluded that the highest numbers of CST’s are ecology and material

culture. It is occurred because the theme of the novel tells about the social

condition of Dayak tribe. They have various rituals for every activity, such as

rituals of life and death, rituals for the living, rituals for the dead, and farming

rituals. In conducting the rituals or ceremony, there are many material cultures

used during the process of rituals. They have artifacts, traditional foods,

traditional clothes, houses, etc as the cultural items of Dayak tribe. To get foods

and money, they are going to forest for farming. The outcome of farming is for

consumption and for commerce. That is why many ecological terms are found in

the novel. The author of the novel mentions many flora and fauna to present the

readers knowledge about the natural capital of Borneo Island.

2. In translating the CSTs, the translator employed both foreignization and

domestication strategies. From 315 data in the novel, there are 153 data or

(48.58%) that belong to foreignization strategies and 162 data or (51.42 %) that

belong to domestication strategies. There are four foreignization strategies that

are preservation, addition, naturalization, and literal translation and four

domestication strategies that are cultural equivalence, omission, globalization,

and equivalence translation used by the translator in the novel. There is not any

datum translated by employing translation by more specific words and creation.

In the domestication category, the highest number of translation strategy is

 93

equivalence translation that occurs 86 times or (27.30%) and the second is

cultural equivalence that occurs 52 times or (16.50%). Then it is followed by

globalization in 13 times or (4.12%). Omission has the lowest number of

domestication strategy because it only occurs 11 times or (3.50%). In the

foreignization category, addition has the highest number of translation strategy

that occurs 68 times or (21.59%), and the second is preservation that occurs 64

times or (20.31%). Then it is followed by literal translation that occurs 11 times

or (3.50%), and the last one is naturalization that has the lowest number of

translation strategy because it only occurs 10 times or (3.18%). In spite of the

fact that domestication strategies are higher than foreignization strategies, the

difference between the domestication and foreingnization strategies is still

balanced. It is likely that the translator offers the SL terms to make the target

readers interested in foreign cultures although the translator desires the target

readers easy to read the TL because the SL is translated in the transparent and

clear way.

B. Suggestions

After conducting the research, the researcher gives some suggestion based on the

findings and discussion. Below is the suggestion drawn.

1. To Translators

The target language depends on how the translator transferring the source text to

the target text. The translator has an opportunity to decide whether the target text will
 94

be close or strange to the reader, it depends on what is the aim of the translation. If

the translator desires to bring the source text closely to the target text, it means the

translator domesticates the text. Besides, if the translator desires to bring the source

text strange to the target text, it means the translator foreignizes the text. Since both

domestication and foreignization strategies are not easy to conduct, the translator is

suggested to learn deeply about culture in source language and target language. The

translator also must master the linguistics of both languages to make the target text

readable.

2. To Students Majoring in Translation

There are many problems when translating the cultural text. One of them is

translating culture-specific terms. For students majoring in translation, it is suggested

to read many articles, journals, and sources related to the cultures from both

languages. It will give them varied knowledge about theories from many experts to

translating the culture-specific terms.

3. To Future Researchers

This researcher realizes that the research conducted is far from being perfect. The

researcher did not find the appropriate dictionary related to Dayak culture, one of the

Indonesian culture-specific terms in the novel. The researcher only relies on the

explanation in the novel and Google. Therefore, the future researchers are suggested

to prepare the appropriate dictionary or other materials related to the data to

strengthen to make the research more credible.

 REFERENCES

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APPENDICES

98
A. Data Sheet

Notes: Cultural Categories Translation Strategies Code

EC: Ecology Foreignization: Domestication: 7/U.P1/C.P3
MC: Material Culture PR: Preservation CE: Cultural Equivalent 7: Data 7
SC: Social Culture AD: Addition OM: Omission U.P1: Page 1 of Upacara
OC: Organizations, NA: Naturalization GL: Globalization C.P3: Page 3 of Ceremony
Customs, Ideas LT : Literal Translation TM: Translation by more specific words
GH: Gestures and Habits ET: Equivalent Translation
CR: Creation

99
 Data Types of CSTs Translation Techniques
Code Foreignization Domestication
E M S O G
SL TL P A N L C O G T E C
C C C C H
R D A T E M L M T R
Climbing Mount Lumut:
1/U.P1/C.P2

Ascending To Heaven
Glossary:
Lumut: according to the Benuaq
ethnic group of Dayak in East
1. . Anan La Lumut √ √
Kalimantan and the group central to
Ceremony, Heaven is at the top of
Mount Lumut, which is located on
the border between East and
Central Kalimantan.
Ada gemerincing getang dan A jingling of hand bells and metal
.P3
2/U.P1/C

giring-giring, ada nyanyian balian bracelets, soft singing of the balian

2. √ √
bawo yang lirih, ada pula isak yang bawo -- the healer--and, right
sendu di sisiku. beside me, mournful sobbing.
Ada gemerincing getang dan A jingling of hand bells and metal
.P3
3/U.P1/C

giring-giring, ada nyanyian balian bracelets, soft singing of the balian

3. √ √
bawo yang lirih, ada pula isak yang bawo -- the healer--and, right
sendu di sisiku. beside me, mournful sobbing.
Ada gemerincing getang dan A jingling of hand bells and metal
.P3
4/U.P1/C

giring-giring, ada nyanyian balian bracelets, soft singing of the balian

4. √ √
bawo yang lirih, ada pula isak yang bawo -- the healer--and, right
sendu di sisiku. beside me, mournful sobbing.
I glimpsed a flash of the morning
.P3
5/U.P1/C

Kutangkap denyar pagi dari kisi-kisi through the lattice of the longhouse
5. √ √
lamin, kokok ayam di luar. wall and heard the clucking and
crowing of the chickens outside.

100
 Data Types of CSTs Translation Techniques
Code Foreignization Domestication
E M S O G
SL TL P A N L C O G T E C
C C C C H
R D A T E M L M T R
O, ya, itu pasti kokok jagoku si Oh, right -- had to be my Speckle
.P3
6/U.P1/C

Burik dalam kerangkeng yang telah crowing in his cage, something I

6. √ √
lama tak kudengar suaranya dalam had not heard since I was last
jaga. awake, a long time ago.
Uncle Tunding was still caught up
7/U.P1/C.P3

in his balian dance on the

longhouse veranda.
Paman Tunding masih asik dengan Glossary:
7. tarian baliannya dikou, serambi Balian: both the shaman/ healer √ √
depan lamin. (dukun in Indonesian) and the
ceremony he or she (there are
female balian) performs or assists
in.
.P3
8/U.P2/C

Paman Tunding masih asik dengan Uncle Tunding was still caught up
8. tarian baliannya dikou, serambi in his balian dance on the √ √
depan lamin. longhouse veranda.
The music of the kendang drum
.P3
9/U.P2/C

Musik kendang dan bonang

and the gongs accompanied the
9. mengiring tarian balian dengan √ √
balian dance, along with the ritual
mamang yang telah mendekati akhir.
language now reaching its end.
The music of the kendang drum and
C.P3
10/U.P2/

Musik kendang dan bonang

the gongs accompanied the balian
10. mengiring tarian balian dengan √ √
dance, along with the ritual
mamang yang telah mendekati akhir.
language now reaching its end.
Musik kendang dan bonang The music of the kendang drum and
C.P3
11/U.P2/

mengiring tarian balian dengan the gongs accompanied the balian

11. √ √
mamang yang telah mendekati dance, along with the ritual
akhir. language now reaching its end.

101
 Data Types of CSTs Translation Techniques
Code Foreignization Domestication
E M S O G
SL TL P A N L C O G T E C
C C C C H
R D A T E M L M T R
Suara gerenyit lantai rotan di The rattan floor twitched and
12/U.P2/C.P4

bawah tikar jaliq mericit-ricit ketika creaked beneath the rough-stitched

Paman Tunding meliukkan jaliq mat as Uncle Tunding swayed
12. √ √
pertunjukkan tarian baliannya and swung his dance toward me,
mendekat kearahku dengan selolo, bearing pieces of finely shredded
sobekan-sobekan halus daun pisang. banana leaf.
Suara gerenyit lantai rotan di The rattan floor twitched and
13/U.P2/C.P4

bawah tikar jaliq mericit-ricit ketika creaked beneath the

Paman Tunding meliukkan rough-stitched jaliq mat as Uncle
13. √ √
pertunjukkan tarian baliannya Tunding swayed and swung his
mendekat kearahku dengan selolo, dance toward me, bearing pieces of
sobekan-sobekan halus daun pisang. finely shredded banana leaf.
Suara gerenyit lantai rotan di The rattan floor twitched and
1/U.P1/C.P2

bawah tikar jaliq mericit-ricit ketika creaked beneath the rough-stitched

Paman Tunding meliukkan jaliq mat as Uncle Tunding swayed
14. √ √
pertunjukkan tarian baliannya and swung his dance toward me,
mendekat kearahku dengan selolo, bearing pieces of finely shredded
sobekan-sobekan halus daun pisang. banana leaf.
.P2
1/U.P1/C

Lantai itu sebagian besar Most of the rattan strips were

15. berlepotan ludah sirih yang telah stained from now dried sirih leaf √ √
mengering. spit.
Sedangkan aku terhantar di atas Meanwhile, I was laid out on a mat
1/U.P1/C.P2

tikar rotan sega delapan jengkal of fine, shiny sega cane eight hand
yang memiliki makna khusus pada spans in length that held special
16. √ √
saat-saat genting, terlebih untuk meaning in critical moments,
orang orang sakit atau wanita yang particularly for sick people or
hendak bersalin. women about to give birth.

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Kurasa diriku agak mengurus,
1/U.P1/C.P2

Thinned down, I felt, all wrapped in

terbungkus dalam selimut kerop
a blanket woven by Mother from
tenunan Ibu yang amat jarang
kerop root fibers and rarely used,
17. dipakai, kecuali kalau ada pesta √ √
unless for a big feast or when
besar atau sedang menempuh
undertaking long and dangerous
perjalanan jauh yang sangat
travel.
berbahaya.
Kurasa diriku agak mengurus,
18/U.P2/C.P4

Thinned down, I felt, all wrapped in

terbungkus dalam selimut kerop
a blanket woven by Mother from
tenunan Ibu yang amat jarang
kerop root fibers and rarely used,
18. dipakai, kecuali kalau ada pesta √ √
unless for a big feast or when
besar atau sedang menempuh
undertaking long and dangerous
perjalanan jauh yang sangat
travel.
berbahaya.
C.P4
19/U.P2/

Near the corner of the room

Agak di sudut kemelip nyala damar
19. flickered the fading pale resin √ √
yang pucat memudar.
flame.
C.P4
20/U.P2/

Beberapa batang delan masih A few rosined sticks burned feebly

20. √ √
bernyala sayu di kou. on the veranda.

Mataku tertancap ke ulin My eyes fastened on the ironwood

P4
21/U.P2/C.

tiang-tiang lamin, beberapa kepala pillars of the longhouse upon which

21. rusa dan menjangan dengan were nailed the heads of various √ √
tanduknya yang bercabang-cabang kinds of deer with their branching
terikat di sana. antlers.

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Mataku tertancap ke ulin My eyes fastened on the ironwood
P4
22/U.P2/C.

tiang-tiang lamin, beberapa kepala pillars of the longhouse upon which

22. rusa dan menjangan dengan were nailed the heads of various √ √
tanduknya yang bercabang-cabang kinds of deer with their branching
terikat di sana. antlers.
C.P4
23/U.P2/

Ada juga tanduk kerbau dan tanduk Also up there were the horns of
23. banteng terpaku pada tiang-tiang water buffalo and wild cattle √ √
lainnya. attached to other pillars.
C.P4
24/U.P2/

Ada juga tanduk kerbau dan tanduk Also up there were the horns of
24. banteng terpaku pada tiang-tiang water buffalo and wild cattle √ √
lainnya. attached to other pillars.
Pada cabang-cabang tanduk-tanduk
P4
25/U.P3/C.

From those horns and antlers

itu bergelantungan berbagai jenis
dangled various kinds of swords in
25. parang dalam sarung-sarung yang √ √
their sheaths on which were carved
diukir dengan pola gambar-gambar
scenes and animal images.
satwa dan pemandangan.
Pada cabang-cabang tanduk-tanduk
P4
26/U.P3/C.

From those horns and antlers

itu bergelantungan berbagai jenis
dangled various kinds of swords in
26. parang dalam sarung-sarung yang √ √
their sheaths on which were carved
diukir dengan pola gambar-gambar
scenes and animal images.
satwa dan pemandangan.
Sedangkan di bawah pian
C.P4
27/U.P3/

Below the ceiling hung racks of

tergantung para yang khusus untuk √
27. plaited bamboo for holding spears √
menyimpan berbagai jenis tombak
and other weapons of war.
dan senjata perang.

104
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Sedangkan di bawah pian
C.P4
28/U.P3/

Below the ceiling hung racks of

tergantung para yang khusus untuk
28. plaited bamboo for holding spears √ √
menyimpan berbagai jenis tombak
and other weapons of war.
dan senjata perang,
Sedangkan di bawah pian
C.P4
29/U.P3/

Below the ceiling hung racks of

tergantung para yang khusus untuk
29. plaited bamboo for holding spears √ √
menyimpan berbagai jenis tombak
and other weapons of war.
dan senjata perang.
A disorderly line of a few human
30/U.P3/C.P4

heads faded away down the veranda

Di lawang tergantung ancak,
until it reached the door, where
30. buah-buah pisang dan pinang pada √ √
hung baskets of offering the bad
tandannya yang utuh.
spirits, with bananas and pinang
nuts still in bunches.
A disorderly line of a few human
31/U.P3/C.P4

heads faded away down the veranda

Di lawang tergantung ancak,
until it reached the door, where
31. buah-buah pisang dan pinang pada √ √
hung baskets of offering the bad
tandannya yang utuh.
spirits, with bananas and pinang
nuts still in bunches.
C.P4
32/U.P3/

Di seluruh sisi lawang menjurai The door was entirely fringed with
32. janur yang telah dirangkai dan gorgeously colored young coconut √ √
diberi warna yang semarak. fronds.
Over to the right hung the flowers
C.P5
33/U.P3/

Agak ke sebelah kanan tergantung

of nibung palm, and coconut
33. kembang nibung dan bunga kelapa √ √
flowers burst forth from their
yang baru dibuka dari seludangnya.
sheaths.

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In the middle of the veranda hung
34/U.P3/C.P5

flowers together with the requisites

for the “ladder of gold” ceremony.
Di tengah kou tergantung kembang Glossary:
34. berikut peralatan upacara tukar Ladder of gold: it is where the √ √
bulau. deities descend to earth during the
healing ceremony. Their appearance
on the tukar bulau seems to
precipitate its own ceremony.
Bahannya remeh temeh, hanya The materials were piddling and
35/U.P3/C.P5

dahan pelepah pinang digantung trivial, merely boughs of betel

terjuntai di antara batang pisang, fronds dangling among banana
35. √ √
dikitari talam-talam tembaga yang stems and surrounded by copper
penuh berisi berbagai macam salvers brimming with various
jamuan, sorts of festive foods.
Bahannya remeh temeh, hanya The materials were piddling and
36/U.P3/C.P5

dahan pelepah pinang digantung trivial, merely boughs of betel

terjuntai di antara batang pisang, fronds dangling among banana
36. √ √
dikitari talam-talam tembaga yang stems and surrounded by copper
penuh berisi berbagai macam salvers brimming with various sorts
jamuan, of festive foods.
“God! God! Oh Divine One! My
P5
37/U.P3/C.

“Letala! Letala! O, Nayuq Timang!

child, my child! Oh thank you!
Anakku, Anakku! Syukur, syukur....
37. Thank you... God! My child! Oh, √ √
Letala! Anakku! O, Liau, Nayuq
departed soul, Divine One. Thank
Timang. Syukur, syukur, syukur...!”
you! Thank you! Thank you...!”

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“God! God! Oh Divine One! My
P5
38/U.P3/C.

“Letala! Letala! O, Nayuq Timang!

child, my child! Oh thank you!
Anakku, Anakku! Syukur, syukur....
38. Thank you... God! My child! Oh, √ √
Letala! Anakku! O, Liau, Nayuq
departed soul, Divine One. Thank
Timang. Syukur, syukur, syukur...!”
you! Thank you! Thank you...!”
“God! God! Oh Divine One! My
P5
39/U.P3/C.

“Letala! Letala! O, Nayuq Timang!

child, my child! Oh thank you!
Anakku, Anakku! Syukur, syukur....
39. Thank you... God! My child! Oh, √ √
Letala! Anakku! O, Liau, Nayuq
departed soul, Divine One. Thank
Timang. Syukur, syukur, syukur...!”
you! Thank you! Thank you...!”
But realizing the sumptuousness of
P6
40/U.P4/C.

Sedang menilik lengkapnya sesajen,

the offerings, I knew that the
mestinya si penderita yang dibaliani
40. patient now undergoing such a √ √
telah sampai pada taraf yang sangat
ritual must have arrived at the most
kritis.
critical stage.
Secara naluriah kupejamkan
C.P6
41/U.P4/

I instinctively, I shut my eyes tight

mataku, sementara Paman Tunding
41. as Uncle Tunding brought his final √ √
menyelesaikan mamang
incantations to an end.
terakhirnya.
Aku tiba di pelataran terbuka di
C.P7
41/U.P6/

I arrive at the open ground where

mana dua batang lesung berbaring
42. two mortars are lying quietly √ √
diam dalam kedudukan yang
overturned on the ground.
bertunggingan.
C.P7
42/U.P6/

Dedak bertaburan di atas pelataran, Bran, scattered all over the place,
43. dan sebagaian bertumpuk di tanah with some of it piled beneath the √ √
di bawah lesung. mortars.

107
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C.P2
43/U.P6/

Beberapa alu didirikan di sisi Several pounders have been set

44. pelataran, ujung bawahnya standing on end at the edge of the √ √
menyentuh tanah. yard.
Pelataran yang disebut pasah itu
C.P8
45/U.P6/

This is where the women of the

merupakan tempat para wanita
45. longhouse usually pound the paddy √ √
lamin biasanya menumbuk padi
or make rice flour.
atau membuat tepung beras.
Pelataran yang disebut pasah itu
C.P8
46/U.P6/

This is where the women of the

merupakan tempat para wanita
46. longhouse usually pound the paddy √ √
lamin biasanya menumbuk padi
or make rice flour.
atau membuat tepung beras.
C.P8
47/U.P6/

Di kedua sisinya di pasang alau, On both sides a sort of railing has

47. kayu pegangan sebelah-menyebelah been set up to serve as wooden √ √
tangga . handholds.
There sampans and perahu are
48/U.P7/C.P8

moored to a jamban, a platform of

floating logs secured to the
riverbank.
Glossary:
Di tepian itu tertambat jamban, di Jamban: a floating platform made
48. jamban tertambat sampan-sampan of logs secured to the riverbank by √ √
dan perahu. rope, rattan or cable that can be let
out or drawn in according to the
height of the river. It is where boats
come to moor, people bathe and
wash clothes, and often includes a
closed and roofed outhouse.

108
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There sampans and perahu are
C.P8
49/U.P7/

Di tepian itu tertambat jamban, di

moored to a jamban, a platform of
49. jamban tertambat sampan-sampan √ √
floating logs secured to the
dan perahu.
riverbank.
There sampans and perahu are
50/U.P7/C.P8

moored to a jamban, a platform of

Di tepian itu tertambat jamban, di floating logs secured to the
50. jamban tertambat sampan-sampan riverbank. √ √
dan perahu. Glossary:
Perahu: general term for boats and
watercraft other than rafts.
C.P8
51/U.P7/

Sedangkan di sebelah barat lagi Further to the west, cane scrapers

51. terikat alat runti, jauh di luar are bound up, and far beyond the √ √
halaman terhampar jemuran rotan. yard, rattan is spread out to dry.
C.P8
52/U.P7/

Rotan-rotan sega dan jahap yang Rattan and cane scraped clean of
52. telah dirunti- dibuang kulit arinya- their outer skins whitening on top √ √
tampak memutih di atas jemuran. of drying racks.
Several cages for parrots cages
C.P9
53/U.P7/

Beberapa sangkar beo dan sangkar

and other kinds of birds are
53. beburungan lain tergantung √ √
suspended indifferently on the
seenaknya di luar dinding lamin.
building walls.
C.P9
54/U.P7/

These also hold the sort of

54. Ada juga burung pialing dan teriep. parakeets called pialing and √ √
teriep.

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C.P9
55/U.P7/

These also hold the sort of

55. Ada juga burung pialing dan teriep. √ √
parakeets called pialing and teriep.
C.P9
56/U.P7/

“Telah kubunyikan sentapit - “I’ve heard the death bird, the

56. √ √
burung kematian - itu tujuh kali. sentapit, sing seven times,”

The aroma of the coffee berries

P9
57/U.P8/C.

Aroma bunga kopi menyeruak ke

seeps into our noses. Elsewhere,
hidung, di bagian lain busukan
57. the rottenness of the durian √ √
kembang durian melenyek seperti
flowers squish, like when you step
ludah terinjak kaki.
on spit.
The forest we are making our way
P9
58/U.P8/C.

Hutan yang kami tempuh adalah through is belukar, secondary

58. hutan belukar, bekas ladang yang growth, the remains of dry-field √ √
berpindah-pindah. farming that had once been here
and now has shifted elsewhere.
The forest we are making our way
P9
59/U.P8/C.

Hutan yang kami tempuh adalah through is belukar, secondary

59. hutan belukar, bekas ladang yang growth, the remains of dry-field √ √
berpindah-pindah. farming that had once been here
and now has shifted elsewhere.
We arrive at the newly cleared
0
60/U.P8/C.P1

cropland we call huma.

Glossary:
60. Kami tiba di huma-huma. √ √
Huma: land cleared by the
slash-and-burn method for hill-rice
cultivation.

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Kadang-kadang ada rumpun nenas, Sometimes there are the leafy
.P10
6/U.P8/C

pohon-pohon pisang, pokok-pokok clusters of pineapple plants,

61. √ √
pepaya, dan rambatan akar-akar papaya and banana trees, and wild
gadung merimbun. yams and other forest tubers.
Kadang-kadang ada rumpun nenas, Sometimes there are the leafy
C.P10
62/U.P8/

pohon-pohon pisang, pokok-pokok clusters of pineapple plants,

62. √ √
pepaya, dan rambatan akar-akar papaya and banana trees, and wild
gadung merimbun. yams and other forest tubers.
Kadang-kadang ada rumpun nenas, Sometimes there are the leafy
C.P10
63/U.P8/

pohon-pohon pisang, pokok-pokok clusters of pineapple plants, papaya

63. √ √
pepaya, dan rambatan akar-akar and banana trees, and wild yams
gadung merimbun. and other forest tubers.
Segalanya liar tak terurus, rumput
C.P10
64/U.P8/

The excrement of polecats and bird

meninggi; kotoran-kotoran musang
64. dropping are spatted and piled √ √
dan tahi burung berleleran tak
everywhere.
karuan.
Di bagian yang agak berpaya-paya
C.P10
65/U.P8/

The more marshy areas are dense

tumbuh subur keladi sulur dan
65. with taro, and stalks of kangkung √
batang-batang kangkung merayap √
creep about with total freedom.
dengan merdeka.
The more marshy areas are dense
66/U.P8/C.P10

with taro, and stalks of kangkung

creep about with total freedom.
Di bagian yang agak berpaya-paya
Glossary:
tumbuh subur keladi sulur dan
66. Kangkung: Ipomoea aquatica, √ √
batang-batang kangkung merayap
commonly called water spinach, a
dengan merdeka.
highly nutritious tropical
semi-aquatic leaf vegetable, widely
used in Souhest Asian cooking.

111
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C.P10
67/U.P8/

Arah ke barat ada jalan menurun As we proceed westward, the road

67. yang berakhir di sebatang descends and ends at a bamboo √ √
pancuran. water pipe.
C.P10
68/U.P9/

Di bagian hilir, pancuran itu Its water has been dammed below
68. dibendung sehingga air tergenang it, resulting in a kind of little fish √ √
menyerupai tebat. pond.
C.P10
69/U.P9/

Sedang di sepanjang tebing tebat All along the edge of the pond
69. sungai kecil itu berlingkaran formed by the little stream is the √ √
akar-akar tuba. fish-poison plant.
C.P10
70/U.P9/

Kami memasuki hutan menjumpai We enter it and come across a

70. anak sungai di mana terpasang brook where fish traps have been √ √
bubu di empangan. set on its banks.
C.P10
71/U.P9/

Kami memasuki hutan menjumpai We enter it and come across a

71. anak sungai di mana terpasang brook where fish traps have been √ √
bubu di empangan. set on its banks.
Kami sampai ke dataran yang agak
C.P10
72/U.P9/

We come to a slightly raised

ketinggian di mana menjulang
72. stretches of land where great √ √
pohon-pohon jengan yang di pakai
jengan trees tower overhead.
untuk menangkap burung.
Pohon itu dipangkas menjadi ketian People use these trees to catch
P10
73/U.P9/C.

dan dengan burung-burung pemikat, birds. A tree would be pruned to

73. pengati, burung-burung sejenis release its sap, and decoy birds √ √
akan hinggap oleh panggilan suara would call their fellows to alight
si pengati. there and then be stuck in the sap.

112
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Pohon itu dipangkas menjadi ketian People use these trees to catch
P10
74/U.P9/C.

dan dengan burung-burung birds. A tree would be pruned to

74. pemikat, pengati, burung-burung release its sap, and decoy birds √ √
sejenis akan hinggap oleh panggilan would call their fellows to alight
suara si pengati. there and then be stuck in the sap.
Pohon itu dipangkas menjadi ketian People use these trees to catch
P10
75/U.P9/C.

dan dengan burung-burung pemikat, birds. A tree would be pruned to

75. pengati, burung-burung sejenis release its sap, and decoy birds √ √
akan hinggap oleh panggilan suara would call their fellows to alight
si pengati. there and then be stuck in the sap.
Di arah lain merimbun pokok
C.P10
76/U.P9/

Elsewhere there is a vast and shady

beringin yang sedang didauni
76. banyan tree as thick with birds as √ √
burung-burung karena buahnya
with its leaves.
sedang masak.
Bersama Timang sering aku Together with Timang, I often
P10
77/U.P9/C.

memasang pulut untuk menangkap spread birdlime to catch hornbills,

77. burung-burung rangkong, punai, quail, parrots, and whatever else √ √
beo, dan burung apa saja yang sial ill-fated enough to be caught by our
tersangkut pada getah pulut kami. sticky traps.
Bersama Timang sering aku Together with Timang, I often
P10
78/U.P9/C.

memasang pulut untuk menangkap spread birdlime to catch hornbills,

78. burung-burung rangkong, punai, quail, parrots, and whatever else √ √
beo, dan burung apa saja yang sial ill-fated enough to be caught by our
tersangkut pada getah pulut kami. sticky traps.
Bersama Timang sering aku Together with Timang, I often
P10
79/U.P9/C.

memasang pulut untuk menangkap spread birdlime to catch hornbills,

79. burung-burung rangkong, punai, quail, parrots, and whatever else √ √
beo, dan burung apa saja yang sial ill-fated enough to be caught by our
tersangkut pada getah pulut kami. sticky traps.

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Bersama Timang sering aku Together with Timang, I often
P10
80/U.P9/C.

memasang pulut untuk menangkap spread birdlime to catch hornbills,

80. burung-burung rangkong, punai, quail, parrots, and whatever else √ √
beo, dan burung apa saja yang sial ill-fated enough to be caught by our
tersangkut pada getah pulut kami. sticky traps.
C.P11
81/U.P9/

Di tebing itu terpasang

There are poti and sungaq snares
81. ranjau-ranjau bambu, poti dan √ √
of bamboo are set.
sungaq.
C.P11
82/U.P9/

Di tebing itu terpasang

There are poti and sungaq snares of
82. ranjau-ranjau bambu, poti dan √ √
bamboo are set.
sungaq.
C.P11
83/U.P9/

Di tebing itu terpasang

There are poti and sungaq snares of
83. ranjau-ranjau bambu, poti dan √ √
bamboo are set.
sungaq.
Kedua macam ranjau ini sangat
C.P11
84/U.P9/

These are very dangerous, and pigs,

berbahaya, sering memangsa babi,
84. deer, wild cows, and even rhinos √ √
rusa, menjangan, banteng liar,
often fall prey to them.
bahkan badak.
Kedua macam ranjau ini sangat
C.P11
85/U.P9/

These are very dangerous, and pigs,

berbahaya, sering memangsa babi,
85. deer, wild cows, and even rhinos √ √
rusa, menjangan, banteng liar,
often fall prey to them.
bahkan badak.
C.P11
86/U.P9/

Jerat-jerat ijuk itu sering mujur With luck these bristly traps often
86. memangsa landak-landak yang catch porcupines whose stomachs √ √
mengandung geliga. contain bezoars.

114
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Di musim banjir di dataran ini Often during the flood season here,
0/C.P11
87/U.P1

sering dipasang kalak, jenis bubu bamboo fishnets called kalak are
87. √ √
yang pemasangannya menghadap ke set up, their mouths facing the
hulu melawan arus. source and flow of the current.
Di musim kemarau teluk-teluk In the dry season, the bends in this
.P11
88/U.P10/C

sungai ini banyak menyimpan river hold lots of milkfish, and also
88. ikan-ikan jelawat, ikan lempam, mackerel, our dolphin-like ikan √ √
ikan patin, ikan baung, yang sering patin, and ikan baung, often called
disebut pike. pike.
Di musim kemarau teluk-teluk In the dry season, the bends in this
.P11
89/U.P10/C

sungai ini banyak menyimpan river hold lots of milkfish, and also
89. ikan-ikan jelawat, ikan lempam, mackerel, our dolphin-like ikan √ √
ikan patin, ikan baung, yang sering patin, and ikan baung, often called
disebut pike. pike.
Di musim kemarau teluk-teluk In the dry season, the bends in this
.P11
90/U.P10/C

sungai ini banyak menyimpan river hold lots of milkfish, and also
90. ikan-ikan jelawat, ikan lempam, mackerel, our dolphin-like ikan √ √
ikan patin, ikan baung, yang sering patin, and ikan baung, often called
disebut pike. pike.
Di musim kemarau teluk-teluk In the dry season, the bends in this
.P11
91/U.P10/C

sungai ini banyak menyimpan river hold lots of milkfish, and also
91. ikan-ikan jelawat, ikan lempam, mackerel, our dolphin-like ikan √ √
ikan patin, ikan baung, yang sering patin, and ikan baung, often called
disebut pike. pike.
Di musim kemarau teluk-teluk In the dry season, the bends in this
.P11
92/U.P10/C

sungai ini banyak menyimpan river hold lots of milkfish, and also
92. ikan-ikan jelawat, ikan lempam, mackerel, our dolphin-like ikan √ √
ikan patin, ikan baung, yang sering patin, and ikan baung, often called
disebut pike. pike.

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0/C.P11
93/U.P1

It is during the hot seasons that the

Di musim kering ini, buaya-buaya
93. crocodiles and turtles normally lay √ √
dan bulus biasanya bertelur.
their eggs.
The crocodiles are the stupider of
.P11
94/U.P10/C

Buaya-buaya lebih dungu, telur

the two their eggs are left in a mess
mereka diletakkan dalam pasir
94. of leaves and sand between the √ √
bercampur dedaunan, di sela-sela
broad roots of trees fairly far
banir kayu agak jauh ke darat.
inland.
Their undersides leave a trail in the
95/U.P10/C.P11

Bekas geseran dadanya pada

mud and sand that’s easy to
lumpur dan pasir mudah diketahui,
recognize, and the kampung folk
orang-orang kampung yang
who discover this happily place the
95. menjumpainya dengan gembira √ √
eggs into their rattan anjat baskets.
mengangkut telur-telur itu dalam
Glossary:
keruntung rotan yang mereka namai
Kampung: general term for either a
anjat.
rural or urban village.
Bekas geseran dadanya pada
96/U.P10/C.P11

Their undersides leave a trail in the

lumpur dan pasir mudah diketahui,
mud and sand that’s easy to
orang-orang kampung yang
recognize, and the kampung folk
96. menjumpainya dengan gembira √ √
who discover this happily place the
mengangkut telur-telur itu dalam
eggs into their rattan anjat
keruntung rotan yang mereka
baskets.
namai anjat.

116
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Bekas geseran dadanya pada
97/U.P10/C.P11

lumpur dan pasir mudah diketahui, Their undersides leave a trail in the
orang-orang kampung yang mud and sand that’s easy to
97. menjumpainya dengan gembira recognize, and the kampung folk √ √
mengangkut telur-telur itu dalam who discover this happily place the
keruntung rotan yang mereka namai eggs into their rattan anjat baskets.
anjat.
Setelah melewati beberapa danau,
98/U.P10/C.P12

kebun karet, kebun rotan, kebun After passing several lakes, rubber
ketiau, karet hutan, kebun plantations, fruit orchards, groves
buah-buahan, hutan rumbia, of sago, nipa, and sugar palm,
98. √ √
hutan-hutan nipah, hutan enau, bamboo thickets, and a few plots of
hutan-hutan bambu, dan beberapa cropland, we finally arrive back at
petak kebun palawija, akhirnya the grounds of our longhouse.
kami tiba kembali di halaman lamin.
Setelah melewati beberapa danau,
99/U.P10/C.P12

kebun karet, kebun rotan, kebun After passing several lakes, rubber
ketiau, karet hutan, kebun plantations, fruit orchards, groves
buah-buahan, hutan rumbia, of sago, nipa, and sugar palm,
99. √ √
hutan-hutan nipah, hutan enau, bamboo thickets, and a few plots of
hutan-hutan bambu, dan beberapa cropland, we finally arrive back at
petak kebun palawija, akhirnya the grounds of our longhouse.
kami tiba kembali di halaman lamin.
Setelah melewati beberapa danau,
100/U.P10/C.P12

kebun karet, kebun rotan, kebun After passing several lakes, rubber
ketiau, karet hutan, kebun plantations, fruit orchards, groves
buah-buahan, hutan rumbia, of sago, nipa, and sugar palm,
100. √ √
hutan-hutan nipah, hutan enau, bamboo thickets, and a few plots of
hutan-hutan bambu, dan beberapa cropland, we finally arrive back at
petak kebun palawija, akhirnya the grounds of our longhouse.
kami tiba kembali di halaman lamin.
117
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Setelah melewati beberapa danau,
101/U.P10/C.P12

kebun karet, kebun rotan, kebun After passing several lakes, rubber
ketiau, karet hutan, kebun plantations, fruit orchards, groves
buah-buahan, hutan rumbia, of sago, nipa, and sugar palm,
101. √ √
hutan-hutan nipah, hutan enau, bamboo thickets, and a few plots of
hutan-hutan bambu, dan beberapa cropland, we finally arrive back at
petak kebun palawija, akhirnya the grounds of our longhouse.
kami tiba kembali di halaman lamin.
Setelah melewati beberapa danau,
102/U.P10/C.P12

kebun karet, kebun rotan, kebun After passing several lakes, rubber
ketiau, karet hutan, kebun plantations, fruit orchards, groves
buah-buahan, hutan rumbia, of sago, nipa, and sugar palm,
102. √ √
hutan-hutan nipah, hutan enau, bamboo thickets, and a few plots of
hutan-hutan bambu, dan beberapa cropland, we finally arrive back at
petak kebun palawija, akhirnya the grounds of our longhouse.
kami tiba kembali di halaman lamin.
Setelah melewati beberapa danau,
103/U.P10/C.P12

kebun karet, kebun rotan, kebun After passing several lakes, rubber
ketiau, karet hutan, kebun plantations, fruit orchards, groves
buah-buahan, hutan rumbia, of sago, nipa, and sugar palm,
103. √ √
hutan-hutan nipah, hutan enau, bamboo thickets, and a few plots of
hutan-hutan bambu, dan beberapa cropland, we finally arrive back at
petak kebun palawija, akhirnya the grounds of our longhouse.
kami tiba kembali di halaman lamin.

118
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Setelah melewati beberapa danau,
104/U.P10/C.P12

kebun karet, kebun rotan, kebun After passing several lakes, rubber
ketiau, karet hutan, kebun plantations, fruit orchards, groves
buah-buahan, hutan rumbia, of sago, nipa, and sugar palm,
104. √ √
hutan-hutan nipah, hutan enau, bamboo thickets, and a few plots of
hutan-hutan bambu, dan beberapa cropland, we finally arrive back at
petak kebun palawija, akhirnya the grounds of our longhouse.
kami tiba kembali di halaman lamin.
Kau sadari, anak lelaki adalah tiang You are aware that a son is the
P12
105/U.P11/C.

lamin, adalah mandau dan pillar of the longhouse, the sacred

sumpitan dan perisai baja, dalam decapitating blade, the blowpipe
105. √ √
keadaan tertentu ia adalah panah and the steel shield, and at certain
yang secepat kilat memburu times he is the arrow swift as
mangsa. lightening hunting its prey.
Kau sadari, anak lelaki adalah tiang You are aware that a son is the
P12
106/U.P11/C.

lamin, adalah mandau dan pillar of the longhouse, the sacred

sumpitan dan perisai baja, dalam decapitating blade, the blowpipe
106. √ √
keadaan tertentu ia adalah panah and the steel shield, and at certain
yang secepat kilat memburu times he is the arrow swift as
mangsa. lightening hunting its prey.
12/C.P13
107/U.P

Aku tak membantah. Kuambil I don’t dispute this and just take the
107. √ √
dayung. paddle.
13/C.P14
108/U.P

Di atas daun itu tertulis sesuatu

On the leaf is written a script and
108. aksara dengan goresan yang tak aku √ √
scratching I don’t understand.
mengerti.

119
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13/C.P14
109/U.P

Seekor ular sawa besar

A big python hisses when I have to
109. mendesis-desis, sedangkan aku √ √
walk in front of it.
harus lewat di mukanya.
3/C.P14
110/U.P1

Seekor beruang, seekor singa, A bear, a lion, a tiger, an

110. seekor harimau, seekor orang utan, orangutan, several crocodiles and √ √
beberapa ekor buaya dan biawak. lizards.
3/C.P14
111/U.P1

Seekor beruang, seekor singa,

A bear, a lion, a tiger, an orangutan,
111. seekor harimau, seekor orang utan, √ √
several crocodiles and lizards.
beberapa ekor buaya dan biawak.
“Engkau akan segera masuk ke “You will very soon enter into a
4/C.P15
112/U.P1

dalam kehidupan yang tak bertara!” new life without equal!” His voice
112. √ √
suara lelaki itu seperti kicau murai sounds like the squawking of a
yang mabuk. drunken magpie.
Ada yang memegang gada, sekian
7
113/U.P817/C.P1

Some grip cudgels and spears,

orang menyandang tombak, ada
while others hold blowpipes,
yang memegang sumpitan, mandau,
decapitating knives, axes, short
113. kampak, kelewang, pisau, beberapa √ √
swords, knives, numerous
bilah senjata tajam, yang lainnya
sharp-bladed weapons, while still
menyandang beberapa utas tali
others carry lengths of strong rope.
yang kukuh.
Ada yang memegang gada, sekian
114/U.P17/C.P17

Some grip cudgels and spears,

orang menyandang tombak, ada
while others hold blowpipes,
yang memegang sumpitan, mandau,
decapitating knives, axes, short
114. kampak, kelewang, pisau, beberapa √ √
swords, knives, numerous
bilah senjata tajam, yang lainnya
sharp-bladed weapons, while still
menyandang beberapa utas tali
others carry lengths of strong rope.
yang kukuh.
120
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Sedangkan beberapa orang
7/C.P17
115/U.P1

Some of them brandish the badik

mengacungkan badik, di tangan kiri
115. knives of Makasar in one hand √ √
terpegang perisai menutupi bagian
and cover their chests with shields.
dada.
7/C.P17
116/U.P1

Rupanya sepasukan orang katai ini It seems this troop of dwarves are
116. bertugas mengawalku melewati to escort me under guard through √ √
pelengkungan. this archway.
Lidah keduanya menjulur Their protruding tongues lick the
7/C.P17
117/U.P1

menjilat-jilat udara, mata merah air, and their eyes, red as saga
117. √ √
saga berkedip-kedip garang dan berries, blink ferociously and
lapar. hungrily.
This truly is the climax of the
C.P19
118/U.P18/

Betul-betul puncak pesta tahunan yearly feast that I know as erau

118. yang kukenal sebagai erau-ngungu ngungu tahun, the honoring of the √ √
tahun. Deity in return for all its blessings
bestowed on us over the past hear.
9/C.P19
119/U.P1

Sang sais memacu, kuda menghela The syce shakes the reins, and the
119. kereta mengitari kota yang horses take us around this √ √
menakjubkan. astonishing city.
Sebelas pemuda yang lain siaga The eleven other youths arrange
C.P20
120/U.P20/

mengitari kereta, dua orang baru themselves on guard around the

120. yang berpakaian opas segera carriage, while two new ones √ √
menyambut tanganku lalu dressed as attendants take my hand
menggiring. and lead me off.
21/C.P21
121/U.P

Tak ada kecurangan atau main

121. There’s no cheating or scheming. √ √
kongkalikong.

121
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22/C.P22
122/U.P

Ketika ia menerjang ke bagian dada When he pounces onto the breast of

122. jago lawannya, tajinya sempat his enemy, his spurs catch the flesh √ √
mengenai bagian ketiak. under his opponent’s wingpit.
Sumpah serapah yang tak A ferocious wave of anger from
23/C.P23
123/U.P

mengenal peradaban sopan santun, the spectators billows and

123. √ √
sorot mata bagaikan telaga api dari overflows, like the rolling and
kepala sejuta. rumbling of terrible flood waters.
The price for the fruit of the
124/U.P27/C.P28

tengkawang tree was less than

satisfatory.
Glossary:
Tengkawang: Kalimantan people
use the buttery seed or nut oil from
Harga buah tengkawang tak
124. the tengkawang tree for frying and √ √
memuaskan.
medicines. Indonesia is the main
exporter of tengkawang products
widely used as substitutes for cocoa
butter in chocolate, and for wax,
cosmetics, pharmaceuticals, soap,
margarine, and grease.
27/C.P28
125/U.P

Suara suling dan suara kendang The sounds of flute and drum
125. √ √
berbaur. blended.
28/C.P28
126/U.P

Ada puluhan tak berirama pada There was a rhythmless beating on

126. √ √
bonang dan gong. the bronze kettles and iron gongs.

122
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The senteau ritual of clairvoyance
28/C.P29
127/U.P

Upacara senteau, yaitu upacara

that searches for the cause of
127. pencari sebab penyakit, telah √ √
sickness, was held the day before
diadakan kemarin dulu.
yesterday.
He was still feeling out of sorts
P29
128/U.P28/C.

Hatinya masih rusuh ketika

when he blew out the candles,
mulutnya meniup lilin, menabur
sprinkled yellow grains of raw
128. beras kuning, melipat “kain √ √
rice, folded the “cloth of mirrors”
pengaca” dan mematikan api di
and extinguished the incense
dapur pedupaan.
burner.
Hatinya masih rusuh ketika He was still feeling out of sorts
C.P29
129/U.P28/

mulutnya meniup lilin, menabur when he blew out the candles,

129. beras kuning, melipat “kain sprinkled yellow grains of raw rice, √ √
pengaca” dan mematikan api di folded the “cloth of mirrors” and
dapur pedupaan. extinguished the incense burner.
Sometimes it seemed to be stabbing
130/U.P29/C.P29

with a kris, sometimes seeming to

Kadang-kadang seperti
raise a black hand to lash out with a
menusuk-nusuk dengan sebilah
whip.
130. keris, kadang-kadang timbul tangan √ √
Glossary:
hitam seperti melecut dengan
Kris: the wavy stabbing knife of the
cemeti.
Malay world, ritually forged and
hence with mystical powers.

123
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And, then again, swaying and
131/U.P29/C.P29

twisting from side to side like a

possessed dancer in the middle of
Kadang-kadang pula lenggak the arena, striking out here and
lenggoknya seperti penari yang there like in jatilan, with its
kesurupan di tengah arena, demonically possessed dancer
131. √ √
menyambar sana-sini seakan astride his plaited bamboo horse.
seorang pemain jatilan yang sedang Glossary:
kerasukan. Jatilan: one of the traditional
possession dances of Java, this one
involving a plaited bamboo
hobbyhorse.
29/C.P30
132/U.P

The road itself was bordered by

Jalan itu dipagari pohon belutas
132. thick and soft-leaved belutas √ √
yang dipangkas setinggi dada.
bushes trimmed chest-high.
30/C.P31
133/U.P

The house was built in the form a

Rumah itu di bangun berbentuk
133. “stage” house, that is, one built √ √
rumah panggung.
on stilts.
Berhiaskan ukiran pola Lawangan, These were decorated with carvings
C.P31
134/U.P30/

yaitu bentuk ukir seni orang-orang in the Lawangan style, that is, like
134. Lawangan yang merupakan induk the woodcarving of the Lawangan √ √
suku-suku kecil di daerah people who were the parent group
pedalaman. of the little tribes in the interior.

124
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“I hate the long-nosed, red-haired
135/U.P32/C.P32

bekantan.
Glossary:
Bekantan: the proboscis monkey.
135. “Aku benci bekantan-bekantan. √ √
With its image of reddish-brown
colored fur and absurdly long nose,
bekantan is also a disparaging term
of Westerners.
32/C.P32
136/U.P

I, Tonoy, will not have my

Tonoy namaku tak mau turunanku
136. offspring be led astray by √ √
disesatkan!”
bekantan!”
32/C.P33
137/U.P

Including the pig’s blood and liver

Termasuk hati dan darah babi yang
137. cooked with sticky rice inside √ √
ditinting, dimasak dalam bambu!
young bamboo!
33/C.P34
138/U.P

Sekali pancingnya dimakan ikan The moment he hooked a big river

138. haruan, siallah, haruannya fish, damned if that fish didn’t get √ √
disambar buaya. snapped up by a crocodile.
33/C.P34
139/U.P

Apakah ini benar-benar Lumut Was that really and truly Lumut, or
139. √ √
ataukah hanya famorgana? only a fata morgana?

125
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Must we go back to ngayau times,
140/U.P34/C.P34

when we too heads?”

Glossary:
Ngayau: from the verb kayau, to
decapitate, behead and the word
Haruskah kita kembali ke zaman
140. widely used for the ritual √ √
ngayau?”
headhunting of the intertribal wars
and feuding that wound after the
Dutch-sponsored “Peace Meeting”
at Tumbang Anoi, Central
Kalimantan, 1894.

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Crowds of spectators stood around
141/U.P36/C.P37

the balai-balai structures

following the ceremony.
Glossary:
Balai-balai: a platform, about a
half a meter above the ground,
made especially for a part of the
ceremony being held outside the
longhouse. At the balai-balai, a
special ceremony calls down
certain gods and goddesses not yet
Penonton banyak sekali yang berdiri involved in the ceremony. The
141. di sekitar balai-balai mengikuti special ceremony held here √ √
upacara. sometimes takes up to three days
and nights; 2) a kind of temporary
sitting arrangement (kursi
sementara) made from yellow
bamboo, where newly arrived
guests are received in a form of
ritualized welcome, whereby they
may be smeared with plain flour
and prayed over to free them from
all misfortune and danger, and then
cleansed with water in a manner
prescribed by adat.

127
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From there he will swoop down to
142/U.P36/C.P10

the river in front of us, calling out

Dari situ ia akan menukik ke sungai
three times before reaching the top
di depan kita, bersuara tiga kali
142. of that cork tree, and from there √ √
sebelum mencapai puncak benuang
will finally return to heaven, which
itu.
is called jaun turu lepir-the
seven-layered cloud.”
From there he will swoop down to
143/U.P36/C.P10

the river in front of us, calling out

Dari situ ia akhirnya pulang ke three times before reaching the top
143. surga yang di sebut jaun turu of that cork tree, and from there √ √
lepir.” will finally return to heaven, which
is called jaun turu lepir-the
seven-layered cloud.”
“Letala Senieng Jatu,” replied
36/C.P10
144/U.P

“Letala Senieng Jatu,” jawab Uncle Jomoq quickly, naming the

144. √ √
Paman Jomoq cepat. god who had lowered humanity
down from heaven.
37/C.P38
145/U.P

145. Burung punai? A pigeon? √ √

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The spirits of dead persons who
146/U.P38/C.P39

were sent off to heaven in the tiwah

and kewangkey ceremonies, their
bones purified and put in their final
resting place.”
Si mati yang sudah ditiwah, sudah Glossary:
146. dikewangey. Disucikan dalam Tiwah: another kind of Dayak √ √
upacara.” secondary burial ritual, this one
performed by the Ngaju Dayak of
Central Kalimantan. Similar to
kewangkey of the Benuaq. In this
novel, the author uses the terms
synonymously.
The spirits of dead persons who
8/C.P39
1747/U.P3

Si mati yang sudah ditiwah, sudah were sent off to heaven in the tiwah
147. dikewangey. Disucikan dalam and kewangkey ceremonies, their √ √
upacara.” bones purified and put in their final
resting place.”

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At the time, I was only fourteen
148/U.P39/C.P40

years old. Ompong was imposed on

our village, that is to say , the
ancient adat tradition that mostly
was of a showy nature, the
Ketika itu usiaku baru empat belas, exhibition of wealth, goods and
desa kami dijatuhi ompong, yaitu power.
148. adat kuno yang lebih banyak Glossary: √ √
bersifat peraga, pamer kekayaan, Ompong: a status ritual of the
harta benda dan kekuasaan. Benuaq Dayak involving the
conferring of personal obligation in
exchange for the acceptance of a
gift; the more ancient and valuable
the gift, the heavier the burden of
obligation to the acceptor.
At the time, I was only fourteen
149/U.P39/C.P40

years old. Ompong was imposed on

our village, that is to say , the
ancient adat tradition that mostly
was of a showy nature, the
Ketika itu usiaku baru empat belas,
exhibition of wealth, goods and
desa kami dijatuhi ompong, yaitu
power.
149. adat kuno yang lebih banyak √ √
Glossary:
bersifat peraga, pamer kekayaan,
Adat: (Ar) all the differing
harta benda dan kekuasaan.
unwritten traditional laws, rules,
and norms governing societal
interaction and behavior within the
various ethnic and tribal groups
throughout Indonesia and Malaysia.

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Our longhouse was the salung, the
150/U.39/C.P41

first guests among all those invited.

Lamin kamilah yang menjadi Glossary:
150. salung, tamu pertama dari seluruh Salung: visitors from other villages √ √
undangan. or longhouses, invited for a special
reason, such as witnessing a
ceremony.
The bule were keen to see one of
P42
151/U.P41/C.

the gods in actual manifestation.

Orang bule itu ingin sekali melihat
Glossary:
151. salah satu tuhan dalam wujud √ √
Bule: (Jav) Literally, albino. Now a
nyata.
common derisive term throughout
Indonesia for white Westerners.
41/C.P42
152/U.P

Yang pada suku Benuaq banyak Among the Benuaq people, these
152. sekali diwakili oleh are very often represented by √ √
lambang-lambang binatang. animal totems.
42/C.P43
153/U.P

Drifting with the winds like the

153. Melayang seperti garuda. √ √
garuda eagle.
42/C.P44
154/U.P

Kalau putri bunga tanah yang Embarrassing, if the earth flower

154. disebut ape bungen tana tak girl, the first woman to be created, √ √
muncul. Ape Bungen Tana, did not appear.
43/C.P44
155/U.P

Aneh, di tengah lapangan tiba-tiba Strange! A cobra appeared in the

155. √ √
muncul ular sendok. middle of the field.

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44/C.P45
156/U.P

156. Mungkin aku terkena malaria. Maybe malaria had gotten me. √ √
44/C.P45
157/U.P

Paya-paya dan rawa banyak sekali The swamps and marshes are the
157. √ √
menyimpan nyamuk. home of vast clouds of mosquitoes.
44/C.P45
158/U.P

Paya-paya dan rawa banyak sekali The swamps and marshes are the
158. √ √
menyimpan nyamuk. home of vast clouds of mosquitoes.
44/C.P45
159/U.P

Paya-paya dan rawa banyak sekali The swamps and marshes are the
159. √ √
menyimpan nyamuk. home of vast clouds of mosquitoes.

Sebatang lilin lebah menerangi

45/C.P46
160/U.P

A candle of beeswax brightened his

perjalanannya, malam yang dipalit
160. way, wax spread on a rag the size √ √
pada kain rombeng, sebesar
of a little finger.
kelingking.
Sebatang lilin lebah menerangi
45/C.P46
161/U.P

A candle of beeswax brightened his

perjalanannya, malam yang dipalit
161. way, wax spread on a rag the size √ √
pada kain rombeng, sebesar
of a little finger.
kelingking.
45/C.P46
162/U.P

Ditaruh di atas ubun-ubun, Placed on the crown of his head and

162. √ √
terlindung oleh destar hitam. concealed by a black head scarf.

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45/C.P46
163/U.P

In his hand were leaves of the

163. Di tangannya daun kepunding. √ √
kepunding plant.
45/C.P47
164/U.P

164. Sumang sawit namanya. Sumang sawit, it’s called. √ √

A mid-length skirt called sempet

165/U.P45/C.P47

covers the lower part of his body

Bagian bawah memakai kain sempet
and a sash called sempilit, with
dan sempilit dengan motif yang
165. ends dangling alongside each leg, is √ √
menggambarkan sebuah dunia
tied around his waist, and has
magis.
motifs that portray a world of
magic.
A mid-length skirt called sempet
166/U.P45/C.P47

covers the lower part of his body

Bagian bawah memakai kain sempet
and a sash called sempilit, with
dan sempilit dengan motif yang
166. ends dangling alongside each leg, is √ √
menggambarkan sebuah dunia
tied around his waist, and has
magis.
motifs that portray a world of
magic.
Even the music stopped, leaving
46/C.P47
167/U.P

Musik pun berhenti ditabuh, tinggal

only the chanting of the last of the
167. sisa mamang balian yang segera √ √
mantras, immediately answered by
disambut oleh sinden.
the women singers.
48/C.P49
168/U.P

Caressing and stroking,

Mengelus dan membelai, kata-kata
168. pleasant-sounding words, a √ √
renyah, wajah sumringah.
cheerful face.

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“Will you be coming soon,
169/U.P48/C.P49

Kakak?”
Glossary:
Kakak/Kak: generally, older sibling,
and here mostly older brother.
Besides being the normal kinship
169. “Kakak akan segera kembali?” √ √
term, older brother is also one of
the intimate endearment used by a
girl for her male sweetheart.
Similarly, Adik (younger siblings),
and here little sister, is how Kakak
would address his girlfriend.
48/C.P49
170/U.P

Kepalanya menunduk, tangannya Her head was bowed, in her hand a

170. memegang linga, alat merumput linga, a tool for wedding the dry √ √
padi huma. paddy lands.
Burung-burung memintas di atas
48/C.P50
171/U.P

Birds swooped over the little grain

dangau, bermandikan gemawan,
171. barns and batched in the clouds as √ √
angin mengelus wajah kami
the wind gently caressed our faces.
perlahan-lahan.
48/C.P50
172/U.P

“Aku memakai ulap dengan renda “I’ll wear the ulap with lace,
172. √ √
dan bunga ribunya sekali. together with all the little glitters.
48/C.P50
173/U.P

“Aku memakai ulap dengan renda “I’ll wear the ulap with lace,
173. √ √
dan bunga ribunya sekali. together with all the little glitters.

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“And of course you’ll wear a
49/C.P50
174/U.P

“Kau tentu memakai cawat

fringed and tasseled loincloth, the
174. berambu, baju sonang dan destar √ √
baju sonang and the purple head
ungu?
cloth?
“And of course you’ll wear a
49/C.P50
175/U.P

“Kau tentu memakai cawat

fringed and tasseled loincloth, the
175. berambu, baju sonang dan destar √ √
baju sonang and the purple head
ungu?
cloth?
50/C.P2
176/U.P

176. Angin pun memetik kecapi. And the wind plucked at lutes. √ √
51/C.P52
177/U.P

Semenjak kecil kami diadu bagai Ever since we were small, we were
177. √ √
ayam sabungan. paired off like fighting cocks.

A tujang, symbol of a
178/U.P52/C.P54

sampan-shaped flying ship.

Glossary:
Dipergunakan tujang, kendaraan Tujang: a boat-shaped object with
178. √ √
udara. imagined flying powers used in the
balian ceremony to search for the
lost or abducted soul of a sick
person.
Para sinden melepas mereka dengan The singers sent them off with a
52/C.P54
179/U.P

lele, yaitu nyanyian seruan lele, that is, a sung call for release
179. √ √
pelepasan yang hanya satu nada consisting of only one note and one
dan satu kata. word.

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53/C.P55
180/U.P

Mayang pinang muda digantung di The betel tree blossoms were hung
180. depan tujang dibungkus dengan in front of the tujang, tilted with the √ √
tinting. tinting.
The betel tree blossoms were hung
181/U.P53/C.P55

in front of the tujang, tilted with the

Mayang pinang muda digantung di tinting.
181. depan tujang dibungkus dengan Glossary: √ √
tinting. Tinting: red sticky rice, cooked by
steaming in a section of young
bamboo.
Seven of us went on berahan,
182/U.P53/C.P55

gathering jungle produce.

Glossary:
Bertujuh kami pergi ke berahan. Berahan: when, after rice planting
182. √ √
Mengumpul hasil hutan. is completed, the village men go
into the forest to gather forest
produce to sell in the larger
populated areas or to middlemen.
Kebiasaan di daerah ini, apabila The custom in this region is that
183/U.P54/C.P56

musim menanam padi telah berlalu, when the season for planting rice
para lelaki akan berangkat ke hutan had passed, the men will leave for
mencari damar dan rotan, the forest in search of resin and
mengumpulkan sarang burung, lilin rattan, to collect birds nests,
183. lebah dan madunya sekali, beeswax, and honey, to capture √ √
menangkap ular sawa, ular besisi, pythons and the spotted water
mengumpulkan empedu beruang, snakes, to get bear’s bile and
kulit buaya, membuat dendeng babi crocodile skins, and make the pig
dan rusa yang sangat disukai orang and deer jerky that the Chinese like
Cina. so much.

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Kebiasaan di daerah ini, apabila The custom in this region is that
184/U.P54/C.P56

musim menanam padi telah berlalu, when the season for planting rice
para lelaki akan berangkat ke hutan had passed, the men will leave for
mencari damar dan rotan, the forest in search of resin and
mengumpulkan sarang burung, lilin rattan, to collect birds nests,
184. lebah dan madunya sekali, beeswax, and honey, to capture √ √
menangkap ular sawa, ular besisi, pythons and the spotted water
mengumpulkan empedu beruang, snakes, to get bear’s bile and
kulit buaya, membuat dendeng babi crocodile skins, and make the pig
dan rusa yang sangat disukai orang and deer jerky that the Chinese like
Cina. so much.
That’s what adat demands, that’s
185/U.P54/C.P56

Begitu kata adat, begitu besar rasa how great the feelings are of
gotong royong dan setia kawan, gotong royong, that is, everyone
185. rasa harga diri, apalagi kalau bearing a burden together, of √ √
mempelai itu bukan berasal dari personal loyalties and pride,
kampung yang sama. especially if the marriage partners
come from different kampung.
Mujur sekali, hutan itu banyak
7
55/C.P56
186/U.P

Luckily, those woods held much

menyimpan damar, rotan,
186. resin, rattan, and tanyut trees that √ √
pohon-pohon tanyut sarat dengan
were filled with honeycomb hives.
madu.
Kalau tak ada aral, besok pagi If nothing amiss occurred, the rafts
56/C.P58
187/U.P

rakit-rakit sudah ditambatkan di would be moored on the other bank

187. √ √
seberang tepian, bertentangan tomorrow morning, right opposite
jamban lamin. the longhouse pier.
Kalau tak ada aral, besok pagi If nothing amiss occurred, the rafts
56/C.P58
188/U.P

rakit-rakit sudah ditambatkan di would be moored on the other bank

188. √ √
seberang tepian, bertentangan tomorrow morning, right opposite
jamban lamin. the longhouse pier.

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57/C.P59
189/U.P

Oh, damn! Waning’s water gourd

189. Sial! Labu Waning jatuh ke sungai. √ √
fell into the river.
57/C.P61
190/U.P

“Waning diambil Jewata! Dewa “Waning’s been taken by Jewata!

190. air!” Ibu menyongsongku The water god!” Mother rushed √ √
tergopoh-gopoh. over to meet me.
57/C.P61
191/U.P

Dua hari kemudian barulah seorang It was only two days later that an
191. pawang tua dapat memanggil buaya old shaman was able to summon √ √
yang bersalah. the guilty crocodile.
Signs for jariq, the ritual
C.P62
192/U.P59/

Dipasang tanda-tanda pemantang

prohibition against visiting to
bertandang di sekitar lamin, jariq,
192. socialize upon the completion of a √ √
pemberitahuan orang luar agar
balian, were put up all around the
menghormati masa-masa pantang.
longhouse.

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Kewangey: Burying the Bones
193/U.P62/C.P64

Glossary:
Kewangkey: the secondary
burialritual of the Benuaq Dayak,
whereby the bones or any other
remains of the deceased are
removed from a temporary resting
193. Kewangkey √ √
place and placed in a hanging
coffin called a tempelaq. The
purpose of completing the various
kinds of secondary burial among
the Dayak is for the souls of the
departed to achieve a peaceful and
glorified state in the afterlife.
Dipandang dari hilir maupun dari Seen from downriver or from
62/C.P65
194/U.P

hulu tampak jelas, karena lamin upstream it is clearly visible,

194. √ √
berdiri tepat di atas sebuah rantau because the longhouse stands right
yang lurus. above a straight river front.
During the langui season when
63/C.P66
195/U.P

Di musim langui orang kampung

wild pigs cross the river, the
195. biasanya menghadang di √ √
kampung people usually head them
tebing-tebing terjal.
off at the steep slopes.
The dempak fields, that is to say,
196/U.P64/C.P66

the bottomland reached by the flood

Huma dempak, yaitu ladang di waters, and the mountain fields.
dataran rendah sungai yang Glossary:
196. √ √
terjangkau banjir, dan huma Dempak: low-lying croplands,
gunung. vulnerable to frequent flooding, but
gaining much soil nutrients from
that.

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Generally, the corpse is placed in
197/U.P65/C.P68

the coffin, a hollowed-out tree

trunk known as lungun that
serves as the receptacle of the
remains, and the seventh day, a
Umumnya jenazah ditaruh dalam
kind of half-way burial ceremony is
197. lungun, pada hari ketujuh diadakan √ √
held.
upacara penguburan tanggung.
Glossary:
Lungun: the hollowed-out tree
trunk serving as a preliminary
coffin for the departed family
member.
Generally, the corpse is placed in
P68
198/U.P65/C.

the coffin, a hollowed-out tree

Umumnya jenazah ditaruh dalam
trunk known as lungun that serves
198. lungun, pada hari ketujuh diadakan √ √
as the receptacle of the remains,
upacara penguburan tanggung.
and the seventh day, a kind of
half-way burial ceremony is held.
54/C.P68
199/U.P

Lungun tidak dikubur, tetapi ditaruh The lungun is not buried, but placed
199. di dalam garey sebuah pondok kecil in the garey, a little hut near the √ √
di dekat kuburan. burial plot.
Setahun atau dua tahun kemudian A year or two later, the bones are
65/C.P68
200/U.P

tulang-tulang diambil dari lungun, taken from the lungun, and then a
200. √ √
lalu diadakan upacara penguburan second half-way burial ceremony is
tanggung kedua, disebut nulang. performed, called nulang.
65/C.P68
201/U.P

201. Kuburan ini dinamai rinaq. This burial place is called a rinaq. √ √

140
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If the departed was someone who
202/U.P65/C.P68

Kalau yang meninggal itu orang

was well-regarded, a selong would
terpandang, selong sebagai
be used for the lungun, that is to
lungunnya yaitu lungun dengan
say, a coffin of larger dimensions,
202. ukuran yang lebih besar, pola-pola √ √
one with pictures and painting
lukisan dan gambar-gambar diukir
carved in a way suitable to this
sesuai dengan martabat dan
person’s rank during his or her
kedudukannya semasa masih hidup.
lifetime.
Then, and only after a sufficient
203/U.P65/C.P68

amount was paid, the kewangkey

Setelah cukup biaya barulah ceremony was held, the final burial
diadakan upacara kewangkey, ceremony, whereby the bones of the
upacara terakhir penguburan, deceased were set to rest in a
203. manakala tulang-tulang si mati tempelaq, a hanging coffin, √ √
dikubur dalam tempelaq, kuburan normally of ironwood.
gantung yang biasanya dibuat dari Glossary:
kayu ulin. Tempelaq: a hanging coffin for the
bones of the deceased in the final
stage of the kewangkey ceremony.
The sounds of domek, the funeral
C.P68
204/U.P66/

dirges, billowed and rolled sadly.

Suara domek, lagu musik kematian,
204. Glossary: √ √
mengalun sedih.
Domek: funeral dirges of the
kewangkey ceremony.
66/C.P68
205/U.P

The spirit mediums had begun the

205. Para wara telah memulai upacara. √ √
ceremony.

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67/C.P69
206/U.P

206. Lagu ngakey. The ngakey song. √ √

The men, on other hand, would fast

67/C.P7
207/U.P

Sedangkan para lelaki, mereka akan

and a undergo askese, the
207. melakukan puasa dan askese untuk √ √
repression of lusts and worldly
beberapa waktu lamanya.
appetites.
Diberi sesaji, makanan-makanan, Given offerings, various foods,
67/C.P70
208/U.P

berbagai macam makanan, tumpi, local snacks, sticky rice cakes,

208. √ √
juadah, roti, masakan kesuakaan bread, all their favorite cooking
selama hidupnya di bumi. while they lived on earth.
Diberi sesaji, makanan-makanan, Given offerings, various foods,
67/C.P70
209/U.P

berbagai macam makanan, tumpi, local snacks, sticky rice cakes,

209. √ √
juadah, roti, masakan kesukaan bread, all their favorite cooking
selama hidupnya di bumi while they lived on earth.
Sticky rice cooked in bamboo
P70
210/U.P68/C.

sections, local snacks and edible

Tinting,tumpi, solok, masakan;
contributions, cooking. Chickens
210. ayam dan babi selalu disembelih √ √
and pigs are always slaughtered in
dalam jumlah ganjil disetiap senja.
odd-numbered amounts every day
at dusk.
Dibuat bepak khusus untuk para
C.P71
211/U.P68/

A special hut is set up for the

pemain, hiburan-hiburan,
players, and entertainments and
211. pertunjukan dan bentuk-bentuk √ √
performances are provided to the
kesenangan dihidangkan kepada
spectators.
para penonton.

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During the intervals between the
68/C.P71
212/U.P

Di sela-sela wara ada saatnya untuk ceremonies are the times for
212. √ √
menari. Tari ngerangkau namanya. shamans to dance the ngerangkau
dance.
68/C.P71
213/U.P

Selain itu ada lagi tarian yang

Another dance permitted is the
213. diperbolehkan yaitu Tari √ √
tumandang dance.
Tumandang.
Tarian ini memiliki sifat kasar This dance has a violent quality to
P71
214/U.P68/C.

karena harus dilanjutkan dengan it, as it has to be followed by

tarian pukul rotan yang disebut another dance called mengkopes,
214. √ √
mengkopes. Kedua penari memakai which involves two dancers hitting
seloko berupa tameng penangkis each other with rattan and warding
pukulan lawan. off the blows with shields.
Tarian ini memiliki sifat kasar This dance has a violent quality to
P71
215/U.P68/C.

karena harus dilanjutkan dengan it, as it has to be followed by

tarian pukul rotan yang disebut another dance called mengkopes,
215. √ √
mengkopes. Kedua penari memakai which involves two dancers hitting
seloko berupa tameng penangkis each other with rattan and warding
pukulan lawan. off the blows with shields.
The longhouse rooms were packed
69/C.P71
216/U.P

Kamar-kamar lamin penuh pepak,

tight, the ritual structures for the
216. serapo-serapo, bangsal-bangsal √ √
balian, temporary sheds, all were
darurat, semuanya padat.
crowded tight.

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I let behind an antang, which is an
217/U.P70/C.P72

heirloom earthenware jug in

Kampung Ulu.
Sebuah antang, guci kuno, Glossary:
217. √ √
kutinggakan di Kampung Ulu. Antang: a heirloom earthenware jug
(guci kuno). Accumulating these is
viewed as a sign of one’s growing
wealth.
70/C.P73
218/U.P

218. Barbarian! Ngayau. Barbarians! Headhunters! √ √

70/C.P73
219/U.P

219. Barbarian! Ngayau. Barbarians! Headhunters! √ √

70/C.P73
220/U.P

Inilah saatnya para wanita untuk This was the atmosphere for
220. ngeraring, menangisi awah-arwah weeping, weeping in song for the √ √
dengan lagu-lagu. wandering souls.
The hardwood belontang statues
221/U.P71/C.P74

to which they’d be tethered, were

ready to be carved in seven
different ways to commemorate the
Belontang telah siap diukir dalam
221. ceremony. √ √
tujuh macam jenis.
Glossary:
Belontang: carved post of ironwood
used to tether the sacrificial water
buffalo in the kewangkey ceremony.

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Seven open spaces, so the buffalo
C.P56
222/U.P71/

Tujuh tanah lapang, kerbau-kerbau

wouldn’t bump into each other
tak berantukan kala dilepas,
222. when they were let loose to roam √ √
selampit-selampit diikat di leher
about, rattan ropes tied around
mereka.
their necks and to the belontang.
In another part was Cinta--Love--
71/C.P74
223/U.P

Dibagian lain terdapat cinta yang

which depicted the deity Senieng
223. mengambarkan penurunan manusia √ √
Jatu lowering down from Cinta on
oleh Senieng Jatu ke dunia ini.
Lumut to this world.
The better class of people, the
224/U.P71/C.P74

Priyayi-priyayi atas angin yang tak

advantaged ones who never
pernah bekerja, yang terlalu pintar
worked, who were too clever and
dan dianggap berbahaya-- mereka
224. considered dangerous-- these were √ √
inilah yang diturunkan ke bumi agar
the ones who were lowered to earth,
berkucur peluh dan merasakan
to swear and experience the burden
beban penderitaan.
of suffering.
71/C.P74
225/U.P

Langkar? This was the device that

Langkar? Inilah alat penurunan
225. lowered mankind down into this √ √
manusia ke dunia.
world.
71/C.P74
226/U.P

Langkar atau penalaq namanya! Langkar or penalaq, it was called!

226. √ √
Dilukiskan pada tempelaq itu. Painted on the coffin.

On the tails were tied sompun, a

72/C.P75
227/U.P

Pada ekor diikat sompun yang fragrant kind of swamp tree

227. √ √
ujungnya dibakar. bark, whose ends now had been
burned.

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The selampit?
C.P75
228/U.P72/

Glossary:
228. Selampit? Selampit: a length of rattan that √ √
tethers the sacrificial water buffalo
to the belontang carved post.
73/C.P76
229/U.P

Para penombak siap di tepi The spearmen were ready at the

229. lapangan, tombak-tombak, mandau edge of the field, spear, sword, √ √
dan badik siap di tangan, telanjang! dagger in hand, naked!
74/C.P77
230/U.P

We call it a baley tota.

230. Baley tota namanya. Glossary: √ √
Baley tota: a bathing balai-balai.
Maka untuk membuka hari-hari
76/C.P79
231/U.P

Thus, to start the new day free from

baru yang terlepas dari tangis dan
231. weeping and tears,the bathing √ √
air mata, harus diadakan upacara
ceremony, nota, has to be held.
permandian, nota.
All sorts of flowers were finely
C.P80
232/U.P77/

Berbagai macam bunga-bungaan

sliced and mixed with a watery rice
diracik halus dicampur dengan
232. flour batter called burey, which √ √
adonan tepung beras encer, burey
was then put into large jars filled
namanya.
with water.
All sorts of flowers were finely
C.P80
233/U.P77/

Adonan itu dimasukkan ke dalam sliced and mixed with a watery rice
233. tempayan-tempayan yang penuh flour batter called burey, which was √ √
berisi air. then put into large jars filled with
water.

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77/C.P80
234/U.P

Sebagai penutup, diadakan upacara As a closing, the thanksgiving rite

234. syukuran kepada dewa-dewa yang to the gods called pesengket nayuq √ √
disebut pesengket nayuq. was held.
79/C.P82
235/U.P

Nalin taun: the ceremony

235. Nalin taun √ √
offering
79/C.P83
236/U.P

Waktu demikian saja pergi bagaikan And so, like that, time passed the
236. lanun meninggalkan berbagai way pirates do leaving all sorts of √ √
peristiwa. events behind.
79/C.P83
237/U.P

Intong jatuh dari tanyu ketika Intong fell from the honey tree
237. √ √
mengambil sarang madu. when removing a honeycomb.
79/C.P83
238/U.P

Ular bentung mebinasakan pula

A cobra killed a girl barely into her
238. seorang gadis yang baru meningkat √ √
adolescence.
remaja.
Hanya pisang, singkong, talas, Only bananas, cassava, the various
79/C.P83
239/U.P

gadung, dan keladi yang ditanam di kinds of taro, and the wild yams
239. √ √
huma gunung saja yang tetap planted in mountainside fields kept
tumbuh subur. their luxuriance.

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Perkawinan tabu ini disebut Such a forbidden marriage is called
240/U.P54/C.P83

sumbang dan mengakibatkan musim sumbang, meaning incest,and was

tak bagus, ladang tak menjadi, the cause of poor seasons, the
240. bunga- bunga luruh dari pohon unproductive fields unripe fruit √ √
sebelum menjadi buah, berburu dropping from the trees, difficult
sukar dan menimbulkan berbagai hunting,and the occurrence of
macam kesialan. various kinds of bad luck.
Mereka mendirikan barak-barak di They erected barracks on the
C.P84
241/U.P80/

pinggir sungai, menebang riverbank and cut down tees in the

241. pohon-pohon di rimba, meranti, forest. Meranti, keruing, bengkirai, √ √
keruing, bengkira, ulin dan ulin,and other kinds of trees were
berbagai pokok kayu dirobohkan. felled.
Mereka mendirikan barak-barak di They erected barracks on the
C.P84
242/U.P80/

pinggir sungai, menebang riverbank and cut down tees in the

242. pohon-pohon di rimba, meranti, forest. Meranti, keruing, bengkirai, √ √
keruing, bengkira, ulin dan ulin,and other kinds of trees were
berbagai pokok kayu dirobohkan. felled.
Mereka mendirikan barak-barak di They erected barracks on the
C.P84
243/U.P80/

pinggir sungai, menebang riverbank and cut down tees in the

243. pohon-pohon di rimba, meranti, forest. Meranti, keruing, bengkirai, √ √
keruing, bengkirai, ulin dan ulin,and other kinds of trees were
berbagai pokok kayu dirobohkan. felled.
80/C.P84
244/U.P

The logs were carried downstream

Gelondong-gelondong dihanyutkan
244. by the current to the mouth of the √ √
ke hilir menuju kuala.
river.
81/C.P85
245/U.P

Untung silatnya baik juga, Luckily, his fighting arts were

245. orang-orang kampung melerai dan good and the kampung people got √ √
si orang asing itu lepas. things calmed own and let him go.

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Orang-orang yang pergi The men who had gone pole
81/C.P85
246/U.P

memancing, menjala, memukat akan fishing, net fishing, seine fishing

246. √ √
berhenti sejenak mendengar would stop for a moment to hear
kisah-kisah baru. the latest stories.
Orang-orang yang pergi The men who had gone pole
81/C.P85
247/U.P

memancing, menjala, memukat fishing, net fishing, seine fishing

247. √ √
akan berhenti sejenak mendengar would stop for a moment to hear
kisah-kisah baru. the latest stories.
That’s why the kampung people
248/U.P82/C.P86

Itulah sebabnya orang-orang were unable to demand

kampung tak bisa menuntut compensation or division of the
pesangon maupun harta gono-gini couple’s join property acquired
248. karena perjanjian tertulis untuk itu through marriage, for it never √ √
memang tak terlintas dalam kepala occurred to them to get a written
mereka yang cara berpikirnya masih agreement about such things, their
alami. way of thinking being still quite
unspoiled.
That’s why the kampung people
249/U.P82/C.P86

Itulah sebabnya orang-orang were unable to demand

kampung tak bisa menuntut compensation or division of the
pesangon maupun harta gono-gini couple’s join property acquired
249. karena perjanjian tertulis untuk itu through marriage, for it never √ √
memang tak terlintas dalam kepala occurred to them to get a written
mereka yang cara berpikirnya masih agreement about such things, their
alami. way of thinking being still quite
unspoiled.

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Rie was the lead dancer of the
250/U.P85/C.P88

gantar dance.
Glossary:
Gantar: dance held on happy
occasions. Gantar means a joint of
Di malam hari Rie jadi pemimpin
250. bamboo filled with gravel or √ √
Tari Gantar.
kernels of corn and whose ends
have been plugged by wood. The
right hand shakes the gantar to
create a certain rhythm of sound
while the left hand holds a stick.
85/C.P89
251/U.P

Yang terus-menerus
Which keeps connected two
251. menghubungkan dua wadag yang √ √
separate bodies in happy combat.
terpisah dalam sesah yang bahagia.
87/C.P90
252/U.P

Tawon-tawon marah karena The wasps were mad because their

252. √ √
sarangnya dirusak. nests had been destroyed.
87/C.P91
253/U.P

Dragged up to Uncle Kiso’s

253. Dinaikkan ke wantilan Paman Kiso. √ √
sawmill.
87/C.P91
254/U.P

Mendirikan bangsal khusus serapo, Erected s special structure called a

254. membuat balai-balai dan serapo, like a long shed, and make √ √
ancak-ancak. sitting platform and racks.

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Balian Lawangan dan balian bawe, Balian lawangan and balian bawe,
87/C.P91
255/U.P

yaitu balian khusus yang dibawakan this second one for a special balian
255. √ √
oleh seorang wanita. Itulah upacara ceremony performed by a woman:
timeq. the long and costly timeq ritual.
Balian Lawangan dan balian bawe, Balian lawangan and balian bawe,
87/C.P91
256/U.P

yaitu balian khusus yang dibawakan this second one for a special balian
256. √ √
oleh seorang wanita. Itulah upacara ceremony performed by a woman:
timeq. the long and costly timeq ritual.
Balian Lawangan dan balian bawe, Balian lawangan and balian bawe,
87/C.P91
257/U.P

yaitu balian khusus yang dibawakan this second one for a special balian
257. √ √
oleh seorang wanita. Itulah upacara ceremony performed by a woman:
timeq. the long and costly timeq ritual.
87/C.P91
258/U.P

Pada saat bayi lahir harus ada The moment a baby is born a balian
258. seorang balian mengadakan must perform the ngejakat √ √
upacara ngejakat. ceremony.
87/C.P91
259/U.P

Ketika tali pusarnya mengering dan When his umbilical cord dries and
259. tanggal, diadakan lagi suatu is removed, another rite is held, the √ √
upacara tempong pusong. tempong pusong.
87/C.P91
260/U.P

260. Itulah upacara ngenus. That is the ngenus ceremony. √ √

When the child is ready to learn to

C.P91
261/U.P87/

Ketika anak itu sudah bisa berjalan walk, there is a ceremony whereby
261. diadakan upacara pelepasan ke he or she is let down to the ground, √ √
tanah, turun tana namanya. turun tana is its name,when the
child’s feet touch the ground.

151
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Sampailah upacara terakhir,
P91
262/U.P87/C.

Then comes to the final ritual, the

lambang pelepasan masa kanak
symbolic release from the straits of
yang sempit dan kecil dengan
262. childhood, the meles ceremony, √ √
mengadakan upacara meles, yaitu
that is, when children are about five
ketika anak-anak itu sudah berusia
or six years old.
sekitar lima atau enam tahun.
For that, the ritual of peles tana is
263/U.P88/C.P91

performed to placate the earth god,

Untuk itu diadakan upacara peles Tonoy, when, for the first time, he
tana, yaitu mula-mula sekali ia cuts down little tress to make his
263. √ √
menebas pokok-pokok kecil di hutan own huma.
yang akan dijadikan humanya. Glossary:
Peles: a ritualized placatory
offering to the gods.
88/C.P92
264/U.P

Di saat menanam padi diadakan At rice-planting time, the ngasek

264. √ √
upacara ngasek. ritual is held.

Each type of young rice is taken

P92
265/U.P88/C.

Setiap jenis padi muda itu diambil

little by little, some to be made into
sedikit-sedikit, dibuat emping,
fried crisps called emping, and
265. lainnya dibikin beras dengan cara √ √
some to end up as cooking rice by
digoreng terlebih dahulu lalu
being first fried and then pounded
ditumbuk di lesung.
in a mortar.
Cooked rice made from the young
C.P92
266/U.P88/

Nasi beras padi muda harus sekali, fruit of the fields is extremely
266. ditanak dalam kuali dengan air fragrant, boiled first in a wok-like √ √
yang dididihkan terlebih dahulu. pan called a kuali with pre-boiled
water.

152
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Nasinya akas, tapi enak, apalagi The rice is “stiff” but tasty,
88/C.P92
267/U.P

kalau dimakan semasa masih especially if eaten while still hot

267. √ √
hangat dengan lauk ikan-ikan kali with side dishes of fried river fish
yang digoreng atau panggang ayam. or roasted chicken.
Spicy condiments, curries and
C.P92
268/U.P88/

Sambal, gulai dan lalap timun,

cucumber, and steamed vegetable
pecel, adalah rekan nasi yang
268. salad with peanut dressing are the √ √
membuat peluh berkucur dan perut
companions of the rice that fill the
mengenyang.
stomach and make the sweat run.
Spicy condiments, curries and
C.P92
269/U.P88/

Sambal, gulai dan lalap timun,

cucumber, and steamed vegetable
pecel, adalah rekan nasi yang
269. salad with peanut dressing are the √ √
membuat peluh berkucur dan perut
companions of the rice that fill the
mengenyang.
stomach and make the sweat run.
Spicy condiments, curries and
C.P92
270/U.P88/

Sambal, gulai dan lalap timun,

cucumber, and steamed vegetable
pecel, adalah rekan nasi yang
270. salad with peanut dressing are the √ √
membuat peluh berkucur dan perut
companions of the rice that fill the
mengenyang.
stomach and make the sweat run.
Spicy condiments, curries and
C.P92
271/U.P88/

Sambal, gulai dan lalap timun,

cucumber, and steamed vegetable
pecel, adalah rekan nasi yang
271. salad with peanut dressing are the √ √
membuat peluh berkucur dan perut
companions of the rice that fill the
mengenyang.
stomach and make the sweat run.

153
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Yang perempuan belajar menenun, A woman learns to weave, cook, to
272/U.P89/C.P92

memasak, berhias, mengatur rumah dress up, run a home, and about
tangga; perabot-perabot, perhiasan furniture and utensils, the
272. kelengkapan dirinya seperti adornments to complete herself √ √
sandang dan tempat tidur, with clothing and bedding, earrings
anting-anting, gelang, bahkan cara that dangle, bracelets, and even
memoles gincu di bibir. how to apply lipstick.
Males learn how to plait bamboo,
273/U.P89/C.P93

Yang lelaki belajar menganyam, make mats, the plaited bags known
membuat tikar, anjat, berahan, as anjat, to gather forest products,
273. berburu, memanjat tanyun, hunt, climb the log stair into the √ √
memasang poti, berhuma, membuat longhouse, set snares for animals,
rumah dan belajar adat besara. to work the huma dry rice fields, to
build a house and learn adat besara.
Males learn how to plait bamboo,
274/U.P89/C.P93

make mats, the plaited bags known

as anjat, to gather forest products,
hunt, climb the log stair into the
longhouse, set snares for animals,
Yang lelaki belajar menganyam, to work the huma dry rice fields, to
membuat tikar, anjat, berahan, build a house and learn adat
274. berburu, memanjat tanyun, besara. √ √
memasang poti, berhuma, membuat Glossary:
rumah dan belajar adat besara. Adat besara: dispute adjudication
by the kampung’s team of adat law
experts. Adat law and norms are
believed to have been handed down
by the authority of adat law in the
eighth layer of heaven.

154
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Males learn how to plait bamboo,
275/U.P89/C.P93

Yang lelaki belajar menganyam, make mats, the plaited bags known
membuat tikar, anjat, berahan, as anjat, to gather forest products,
275. berburu, memanjat tanyun, hunt, climb the log stair into the √ √
memasang poti, berhuma, membuat longhouse, set snares for animals,
rumah dan belajar adat besara. to work the huma dry rice fields, to
build a house and learn adat besara.
Males learn how to plait bamboo,
276/U.P89/C.P93

Yang lelaki belajar menganyam, make mats, the plaited bags known
membuat tikar, anjat, berahan, as anjat, to gather forest products,
276. berburu, memanjat tanyun, hunt, climb the log stair into the √ √
memasang poti, berhuma, membuat longhouse, set snares for animals,
rumah dan belajar adat besara. to work the huma dry rice fields, to
build a house and lear adat besara.
90/C.P94
277/U.P

Ada saatnya main One time I played

277. √ √
manten-mantenan. bride-and-groom.

The land in this region was fertile

278/U.P91/C.P95

Tanah di daerah ini cukup subur,

enough, and, during good seasons,
pada musim yang baik buah-buah
durians hung on he high branches,
durian bergantungan di dahan-
278. the langsat trees were swollen with √ √
dahan yang tingi, pohon langsat
their little plump-like fruit, and the
sarat, pohon rambutan menyala
rambutan trees glowed with their
bagai unggun api raksasa.
red offerings like giant bonfires.

155
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The land in this region was fertile
279/U.P91/C.P95

Tanah di daerah ini cukup subur,

enough, and, during good seasons,
pada musim yang baik buah-buah
durians hung on he high branches,
durian bergantungan di dahan-
279. the langsat trees were swollen with √ √
dahan yang tingi, pohon langsat
their little plump-like fruit, and the
sarat, pohon rambutan menyala
rambutan trees glowed with their
bagai unggun api raksasa.
red offerings like giant bonfires.
Durian and cempadak fruit fell to
P95
280/U.P91/C.

Buah-buahan durian, buah

the ground rolling and came to rest
cempedak berpanting dan
against one another. Cardamom,
280. berkalang sesamanya; buah kapul, √ √
long durians, and our Kalimantan
buah kertongan, buah asam putar
mango all rotted away here and
membusuk di sana-sini.
there.
Durian and cempadak fruit fell to
P95
281/U.P91/C.

Buah-buahan durian, buah

the ground rolling and came to rest
cempedak berpanting dan berkalang
against one another. Cardamom,
281. sesamanya; buah kapul, buah √ √
long durians, and our Kalimantan
kertongan, buah asam putar
mango all rotted away here and
membusuk di sana-sini.
there.
Durian and cempadak fruit fell to
P95
282/U.P91/C.

Buah-buahan durian, buah

the ground rolling and came to rest
cempedak berpanting dan berkalang
against one another. Cardamom,
282. sesamanya; buah kapul, buah √ √
long durians, and our Kalimantan
kertongan, buah asam putar
mango all rotted away here and
membusuk di sana-sini.
there.

156
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Durian and cempadak fruit fell to
P95
283/U.P91/C.

Buah-buahan durian, buah

the ground rolling and came to rest
cempedak berpanting dan berkalang
against one another. Cardamom,
283. sesamanya; buah kapul, buah √ √
long durians, and our Kalimantan
kertongan, buah asam putar
mango all rotted away here and
membusuk di sana-sini.
there.
91/C.P95
284/U.P

Pigtailed monkeys, leaf monkeys,

Beruk, kaliawat, babi, rusa,
284. pigs, deer, mousedeer, porcupines, √ √
pelanduk, landak, dan tenggiling.
and pangolins.
91/C.P95
285/U.P

Pigtailed monkeys, leaf monkeys,

Beruk, kaliawat, babi, rusa,
285. pigs, deer, mousedeer, porcupines, √ √
pelanduk, landak, dan tenggiling.
and pangolins.
91/C.P95
286/U.P

Pigtailed monkeys, leaf monkeys,

Beruk, kaliawat, babi, rusa,
286. pigs, deer, mousedeer, porcupines, √ √
pelanduk, landak, dan tenggiling.
and pangolins.
91/C.P95
287/U.P

Pigtailed monkeys, leaf monkeys,

Beruk, kaliawat, babi, rusa,
287. pigs, deer, mousedeer, porcupines, √ √
pelanduk, landak, dan tenggiling.
and pangolins.
Tupai tak mengerat kelapa, luak tak The squirrel didn’t gnaw on
91/C.P95
288/U.P

memakan kopi, mereka mencari coconuts, the civet didn’t eat the
288. √ √
buah-buahan di kebun atau di coffee beans. They looked for fruit
hutan. in the gardens or in the forests.
92/C.P96
289/U.P

289. “Namanya Jantur Geronggong.” “It’s called Cavity Falls.” √ √

157
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92/C.P96
290/U.P

“Kalau-kalau kau tersesat di hutan “In case you get lost in a forest
290. √ √
yang hanya dihuni para banci.” where only cross-dressers live.”
94/C.P98
291/U.P

Huma-huma itu kita ubah menjadi Those dry fields we’d change into
291. √ √
sawah. wet rice fields, huma into sawah.
8
94/C.P92
292/U.P

292. Di situ kita bikin kincir. Over there we’ll build a mill. √ √
9/C.P99
293/U.P

Ia berceloteh panjang bagai beo She chattered on and on like a

293. √ √
saja. magpie.
0
96/C.P10
294/U.P

Telah kusiapkan benda-benda yang

I had prepared the various items
294. diperlukan sebagai syarat √ √
required for the official proposal.
pinangan.
And kitchen knives, bracelets,
C.P100
295/U.P96/

Berikut pisau dapur, gelang, anting, hanging earrings, necklaces,

295. kalung, sampo berupa langir wakay, shampoo in the form of a certain √ √
dan sebagainya. root with foaming properties, and
the like.
0
96/C.P10
296/U.P

Beberapa pokok kayu leban telah I had cut down a few trees which
296. kupotong, bertumpuk di depan were now piled up in front of the √ √
dangau huma. hut.

158
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This ceremony was divided into
297/U.P97/C.P101

three areas: within the longhouse

interior, at the serapo, and at the
riverbank alongside the longhouse.
Glossary:
Upacara ini terbagi dalam tiga
Serapo: a kind of balai-balai-like
297. bagian. Di dalam lamin, di serapo √ √
structure up to about 100 meters in
dan di tepian lou.
length and roofed over with
rumbia (sago) fronds. The serapo is
constructed to accommodate
visitors when ceremonies are
performed.
This ceremony was divided into
C.P101
298/U.P97/

Upacara ini terbagi dalam tiga three areas: within the longhouse
298. bagian. Di dalam lamin, di serapo interior, at the serapo, and at the √ √
dan di tepian lou. riverbank alongside the
longhouse.
1
97/C.P10
299/U.P

At a certain points in the ceremony,

Pada waktu-waktu tertentu
299. the music was accompanied by the √ √
upacaranya diiringi musik buntang.
gong-and-drum buntang music.
1
97/C.P10
300/U.P

Balian melagukan mamang

300. The balian chanted mantras. √ √
mempang.
08
104/C.P1
301/U.P

301. Pelulung Pelulung: the marriage ceremony √ √

159
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The temporary gate for the
09
104/C.P1
302/U.P

Lawang sekepeng itu berhias aneka

visitors was festooned with flowers
302. bunga-bungaan dan janur-janur √ √
of all kinds and colorful young
ringit yang diberi warna-wani.
coconut fronds.
The temporary gate for the visitors
09
105/C.P1
303/U.P

Lawang sekepeng itu berhias aneka

was festooned with flowers of all
303. bunga-bungaan dan janur-janur √ √
kinds and colorful young coconut
ringit yang diberi warna-wani.
fronds.
And right from the edge of the
09
304/U.P105/C.P1

Dan mulai dari tebing tepian,

landing, along both sides of the
menyusur kiri-kanan jalan hingga
road t the open space in front of the
ke halaman lamin bergantungan
304. longhouse hung umbul-umbul--- √ √
umbul-umbul dan bendera dari
log pennants and flags of brightly
kain dengan pola-pola yang cerah
patterned cloth attached to the tops
pada ujung-ujung tiang.
of poles.
Biasanya setelah melewati ompong, Usually, after passing through
5/C.P109
305/U.P10

para tamu dipersilahkan ompong, the guests would shake off

305. melepaskan lelahnya sambil their fatigue while enjoying the √ √
menikmati nyanyian loak yang loak singing of the young boys and
diucapkan para muda-mudi. girls.
Inside the longhouse the guests
5/C.P110
306/U.P10

Di dalam lamin mereka disambut

were greeted with the cheerily
lagu-lagu deguq dan dongkoy yang
306. rhyming deguq triplet verses and √ √
meriah sebagai pengormatan dan
antiphonal dongkoy songs in their
penghargaan terhadap para tamu.
honor.
Inside the longhouse the guests
5/C.P110
307/U.P10

Di dalam lamin mereka disambut

were greeted with the cheerily
lagu-lagu deguq dan dongkoy yang
307. rhyming deguq triplet verses and √ √
meriah sebagai pengormatan dan
antiphonal dongkoy songs in their
penghargaan terhadap para tamu.
honor.

160
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10
106/C.P1
308/U.P

Malam harinya dilanjutkan dengan This was followed during the night
308. upacara ngelengot, yaitu penyajian with the ngelengot ceremony, √ √
cerita yang dilagukan. when stories were told in song.
Kamarku seperti juga kamar Ifing, My room was just like Ifing’s,
13
108/C.P1
309/U.P

berada di luar bangunan lamin outside the longhouse itself and

309. √ √
dibangun menyerupai mahligai, constructed in the form of royal
dinamai jayung. bower, called jayung.
14
109/C.P1
310/U.P

Seorang dukun telah memilih hari A healer had chosen the very best
310. √ √
dan saat yag paling baik. moment of he very best day.
09/C.P92
311/U.P1

Burung-burung pipit mematuk Sparrows pecked at the young rice

311. √ √
buah-buah padi muda. on their shoots.
6
11/C.P11 11/C.P11
312/U.P1 313/U.P1

Ia telah memakai baju kurung yang She had been wearing a long lacey
312. √ √
agak terawang. jacket.
6

Toddies and other kids of drinks

Tuak-tuak, minuman, dan makanan
313. and food during parties like this √ √
di saat pesta begini terus mengalir.
kept coming forth.
Or go pole-fishing or digging
.P117
314/U.P112/C

Atau memancing, mengambil ubi,

tubers or taro, cutting down
talas, atau pisang, merotan, bahkan
bananas or rattan, and even paying
314. bertandang ke bilik lamin lainnya, √ √
a call on other longhouses. No
ke manapun pergi selalu berdua
matter were, they have to be
selama empat puluh hari.
together for forty days.
161
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Or go pole-fishing or digging tubers
.P117
315/U.P112/C

Atau memancing, mengambil ubi,

or taro, cutting down bananas or
talas, atau pisang, merotan, bahkan
rattan, and even paying a call on
315. bertandang ke bilik lamin lainnya, √ √
other longhouses. No matter were,
ke manapun pergi selalu berdua
they have to be together for forty
selama empat puluh hari.
days.
1
11 2 1 5 1 1 8
0 64 6 64 68 10 0 0
5 2 1 2 1 3 6
8
Total
153 162
315
315

162