16.

MARRIAGE: The main consideration taken by Iban parents when arranging for the marriage of their son depends very much on the number of people in their family. If there are many people in the family then the son can be asked to marry much later, unless there is a shortage of men within the family. At about the age twenty-two and twenty-three years, a boys parents usually arrange for his marriage. The marriage is arranged for their son at this age because he is considered matured enough to start his own family life. The methods practiced by the Ibans when arranging for the marriage of their son are as follows. The girl whom the parents want their son to marry will be the one who has a close relationship with them. They normally prefer their sons first cousin. If their son has no first cousin of marriageable age, his parents will try to seek second or third cousins who are of matrimonial ages. This again depends on the number of relatives they have at that time. After they have found a suitable girl, they will give hints to her parents. They will go to the girls longhouse to ask for her hand in marriage if their hints carry weight. Normally, several people, including women make this mission. During that mission, both parents discussed the form of marriage customs to be used if what they ask is favorably accepted by the girls side. When they have finished discussing the matter, the boys parents then leave behind a silver girdle or sword to affirm their agreement. They also fix the wedding date. On their return to their longhouse a few days after the mission, the boys parents will assemble the people of the longhouse at their gallery where they will announce the upcoming event. They will also tell them the date and time fixed for the wedding. After they have told their longhouse mates of the wedding plan, they will try to earn money and prepare all the things which they would have to prepare and provide for the occasion. On the girls side, after they have held a meeting they will prepare themselves for the wedding day. Their preparation is more elaborate as their longhouse will be hosting the event. They prepare rice wine, make flour buns and select domestic animals such as buffalo, cow or pig for slaughter to prepare for the wedding feast. Four or five days before the wedding day, the girls parents will assemble their longhouse mates again to find out their preparations to receive their guest for the occasion. They will select which other longhouses to be invited in the wedding celebrations. After they have agreed on this issue, two persons are appointed to invite people from the longhouses concerned. One of them goes upstream while the other, downstream. They bring along with them, strings with knots folded on it. The number of knots indicates the number of days left for the wedding day. These knotted strings are distributed to each invited longhouses. The knots on the strings have to be unfolded daily by the invited guest. The day when the last knot on each string is unfolded will be the day for all the guests to turn up for the wedding. Everyone, irrespective of their ages is asked to attend the wedding. On the wedding day, the boys parents come by boat which they cover with woven blankets. This applies to cases where a river is the only means of communication. If they are from the different watershed, they would walk cross country to the brides longhouse.

On arrival at the host boat landing place, the guest took their bath at the host bathing place. When they have finished bathing they put on their best fanciful traditional costumes. The girls wear corsets, large bracelets, and rings with silver coins over the corsets, large combs with arabesques inscribed on them, and scarves. These are described in the Iban songs translated as follows: The women put on the sarong of monotypic designs, That resembles the bambang fruit. Then they put on their silver bracelets, This shines as if they have just been drawn, From the spaces between the coal. Later, they put on their corsets, That encloses their ribs all sides. Then they fasten their girdles, All made of silver coins. Then they rolled up their hair obliquely like buns, Decorated with tual flowers, That flap like the birds which fly leisurely. Afterwards they put on their large combs, Standing like the poles of fishing nets (empang). Then they wear as their scarves, the big sash, Looking like fire spreading on the felled trees. The men put on loin-clothes, mans wooden or bone armlets, plumes, calf plaited rings (unus), shell armlets (tengkelai), and bottom clothes (iko sirat). These are described in the Iban songs as follows: They fasten their loin-clothes made of red clothes, They then put on their beautiful armlets, Later, they tie up their kerchiefs made of Surabaya, once, In which they insert feathers of brown hornbills. After that they fasten swords which have brass handles, Which have tufts of human hair on its hilt, They are as handsome as Keling and Laja, Who have just arrived from their home, At the source of Panggau Dulang. After finished dressing up, they proceed to the landing place (tengah laman) of the host longhouse in orderly manner according to their seniority and status. The guest would continuously play the percussion instruments to indicate their arrival and to drown any noise made by omen birds. The people from the brides longhouse would fire their brass cannons to salute the arrival of the guest. A few people from the brides longhouse then go out to meet the guest at the landing place. There they exchange greeting, lay a mat and formally invite the leaders of the visiting party to sit down to discuss the omen they encounter on their journey for the wedding. After this discussion, the host would wave a rooster and pray to god that all is well. The guest are then invited and escorted into the host longhouse.

When their leader who leads the way arrives at the foot of the longhouse ladder, he is asked to spear a pig (manchak babi) to welcome them to the house. There is an exchange of the firing of shotguns into the air when the pig is being speared. After the pig has been speared, the guests proceed up the ladder to the main entrance of the longhouse. There, they are stopped at a stockade (kuta) erected by the host using hand woven blanket. The stockade symbolizes an obstacle to proceed if they do not offer to clear it with their eloquence. The guests are not allowed to go beyond the stockade unless they have recited the right key words to the host. Upon giving the correct recitation, the host then dismantles the stockade to let them pass by the spot. As they walk along the inner gallery (ruai) of the longhouse, passing by every apartment, they are served with rice wine and arrack by the respective owner. At this stage there is a lot of cheerful noise going on because everybody is in a festive mood. Humors fluently flow from their lips as they greet each other. Note: When welcoming guests for festivals and wedding, guest are marched through the inner gallery of the hosts longhouse. If it just a normal visit on any other day, the guest or the longhouse resident themselves are expected to walk along the five foot way (tempuan) which is located between the inner gallery and the apartment room wall (dinding ukoi). However, when they approached the middle of the longhouse they are confronted with another stockade which the host ask them to open with the correct key words as they did at the entrance earlier. After the second barrier has been cleared, the guests encounter the third stockade at the end of the longhouse. The host makes the same demand as what was done at the last two stockades. The main purpose of the whole affairs to make the guest appreciate the hand woven blankets displayed and decorations used to welcome them. This is the opportune time for the host to proudly present and display all their hand woven blankets to the invited guest for them to appraise. The guest women folk will judge for themselves the skill level of the hosts women folks. The host at each stockade is usually presented with little monetary gifts as appreciations for the display and for their effort in welcoming them. After the welcoming event is over, the guests proceed to the brides gallery. On arrival, the women guests are brought inside the brides apartment room while the men are seated at the outermost of the covered verandah (pantar). Here there is a possibility that jokes will be further exchanged as a test of their eloquence and oratory skill (e.g. muka kujok), provided the brides room has been gaily decorated for the purpose. For example, the guests are requested to open the door which has been barred with spears from the outside, while on the inside, blankets are being hung. The door is opened for them to get in after the guest and host have exchanged witty jokes. However, that is not the final test of their eloquence because at the further end of the room there is a bed covered with a mosquito net which has to be opened by their elders. Only when the mosquito net has been opened than the female guests are allowed to enter the room, which is described in Iban oral tradition as follows: Inside the brides room they have spread panchar mats, Which look like the pieces of bekuang mats. They have unrolled rotan mats, Which are closely knitted to cover gaps. They spread a flowing lined mat, Which was woven by Miss Lemok,

Following the curve of the rainbow. On the various mats lie betel-nut boxes, The containers of unripe betel-nuts. Golden betel-nut boxes that glitter. Then the young, well-built unmarried girls sit down, Like the full moon. The well-mannered spinsters sit gracefully, Like the valuable jars of the swallows. Then they begin to chat, Splitting the betel-nuts. The male guests at the gallery are being entertained by their hosts. First, they are given drinks to quench their thirst and later, they are served with drinks which is termed ai untong, mainly allocated for each and everyone of the guest. The amount of drinks given to them depends very much on their social status. A longhouse chief is being allocated with a special quantity termed as one hundred, which means that he has to drink ten glasses of tuak. The next precedence of their social status will be given eighty and fifty, while ordinary guests are given forty. After this, men and women of the host longhouse start to walk along the inner gallery (besundang) and are accompanied by people playing gongs on their way to serve the guests with some more drinks. They are dressed smartly to display their traditional attire to the guest. After they have gone around the inner gallery three times (3 kali besundang), they start to serve their guests with drinks called ai basu (washing water). The rest of the guests are given the same treatment. When the welcoming ceremony is over, the people from the longhouse begin to invite them to their respective galleries to enjoy the food and drinks prepared for them. If the guests do not intend to spend a night at the brides house, they are only entertained to a luncheon after which they will be served with coffee at about two oclock. The serving of food and drinks will take place more often if they spend a night at the longhouse. The seating positions for those who will speak during the marriage is made in such a way that representatives from the bridegrooms side are seated at the outermost section of the covered verandah (pantar), while those representing the bride are seated facing the visitors. When everybody has settled in their respective seat, an appointed person will act as a master ceremony and offer drink to both the guests and hosts representatives with the recitation to start a formal marriage ceremony. At this point, every body listens tentatively to the eloquences of the speakers. To start with, the host representative will offer a drink to brides representative to rise and to ask the guest the purpose of their visit. The master ceremony begins to pour a drink to a small glass and make a recitation as follows: This is the water drop of the Pleiades constellation, Falling on the current by the river mouth. This is the thunderous water of falling stars, Like the light of the oil lamp. This is the splashing water that broke a stone, Poured with the blood of a domestic pig.

Brought down by us during the fading of a fog, Hidden by us for six nights, Inside valuable jars. There it turns red in color, Brewing up inside a round bottle. This evening, therefore, It spurts out a bit, Onto a flowery saucer, And falls on mats of varied pattern, Because we use it to assemble here, To ask what the news is. I use it to raise the pitch Of your voice, uncle/cousin, Come talk and ask what the news is, To make you audible for everyone to hear. Tu ai teratak bintang banyak, Ninggang awak arus nanga. Tu ai gemuroh bintang laboh, Baka suloh lampu kelita. Tu ai kechapah batu belah, Panjah darah babi menoa. Di turun ka kami nyerumba sebun ambun nyaia, Di pelam kami enam malam di pelawan benda menaga, Dia iya lalu bebali nyadi bisa, Tak prabansang dalam balang butol segala. Nya alai ke lemai tu, Iya merenchit mimit ninggang chubit chawan bebunga, Engkah ka kami manah-manah di klasah tikai sana. Tu ga kena kitai begempuru bejako nanya ka berita, Tu ga kena aku ngasoh nuan nebah tatah dabong seleka enggi nuan aya, Ngasoh nuan dulu bejako inggar didinga, Nanya ka berita di moa bala pengabang. When the recitation is over, the drink is then offered to the person who has been appointed to ask about the tidings; he begins with humble words of apology as follows: My heart is in my mouth, Because I have been given the brewage of nibong padi, Which you pour into a deep bowl, That has been nicknamed by the Bard, Bujang Luong, To him who gives me. It is being nicknamed as the water of rocks, Which he fetches from the current of rapids, Which he gropes (ngama) from the head of the pools, When he heard the voice of the sasia abnormis (katupong), The lucky man. He said that he used it to make my voice sweet, That my humming might flow fluently to seek tidings in front of the guests.

It, however, makes me afraid, To see you crowding around, It darkens my lungs, To see the large gathering of guests. May this be how the late Rentap, The father of Tambong felt the last time, When he implanted cannon, On the top of Mount Sadok, Being nicknamed as Bujang Timpang Berang (One arm bachelor). After he has expressed his apology, he will then proceed to ask the guests what tidings they have brought with the following rhythm: I hesitate and feel nervous to talk in front of you all, The reason I say so is because I realize that you are the mothers of porcupines, Covered with cross-stripped white quills, Pointed like bradawls. I notice that you are the mothers of hornbills, With tails striped, crossing at right angles, Which claim that they can fly to Brunei and return the same day. I see that you are the mothers of bears, Which have stout arms to make holes on the trunks of iron-wood trees. We, therefore, have been sitting next to each other. I would like to ask, Which one of you is the mother of the hornbill? For I am about to ask you to spit out the seeds of the belili tree, In order that they can be picked up by a tall, unmarried lady, So that they can be turned into the tusks of a pig, As charm for the unripe ears left till the last in reaping, With which we fill our padi bins. Which one of you is the one whom we nicknamed as the male hornbill? Because will ask him to spit out the seeds of the engkilili tree. Onto the mat with vertical patterns, So that they can be turned into the tusks of a male pig, Which are picked up by the well-mannered unmarried lady as charm for her padi, So that it cannot be used up. We, therefore, have been sitting facing each other. I am about to ask which one of you is nicknamed as a brown hornbill? I am asking him to spit out the seeds of the kembayau jera (fruits used for perserves), Onto the mat with double designs, Because later it can be turned into the tusks of a domestic pig, So that they can be picked by lengayun endun dara (spinster), As charm for puya padi, Used by her to fill the lengthened bins. Nya alai aku tu tak sangkal ke bejako ngagai kita. Laban aku nyau tepeda ka kita ke landai indu landak bebulu burak,

Bekengkang punggang putting juring ngujong geraji, Aku tepeda ka kita tajak indu tajai belanggai panjai, Taja kepai-kepai ngambu diri terbai ka Brunei pulai hari. Aku tepeda ka kita bruang indu raak, Ganggam lengan ngerumpang batang tebelian. Nya alai lama kitai tu udah berimbai dudok besendi, Aku nyau deka nanya sapa kita ke kenyalang indu kenyali, Laban aku deka ngasoh kita ngelua ka sapi buah belili, Awak ka diambi sida teruna dara tinggi. Lagi iya tau bebali nyadi taring uting ngeli jani, Ka ubat kena kami ngambi sempeli, Kena kami ngisi igi tibang rarentan. Sapa kita ke dikumbai orang kenyalang kenyali lelaki, Laban aku tu nyau deka ngasoh kita ngelua, Ka buah engkelili ditikai anyam diri. Lagi iya bebali nyadi ngeli jani babi lelaki, Diambi endu teruna dara mereti, Jadi ka ubat padi awak ka tebekan lalu jadian. Sapa kita ke dikumbai kenyalang kenyali banda, Laban aku deka ngasoh kita ngelua, Ka kembayau jera di tikai anyam dua, Diambi sida lengayan endun dara, Laban lagi iya tau bebali nyadi taring uting babi menoa, Jadi ka ubat padi paya kena ngisi moa tibang tundan. As he finishes his recitation with which to obtain news, the master ceremony will again recite the following words of encouragement to the guest who has been appointed to explain the purpose of their visit: This is the brewage of the padi that can be reaped earlier, Hanging like the bunch of the fruits of rotan (jelai), Therefore, this is the water to sharpen, Just like sharpening an axe, Having a handle, Sharpening the old broken iron. This brewage of the padi that can be reaped earlier, Handed by me on my palm, And my middle finger, With which I sponge your mouth, uncle/cousin, With which I ask you to talk, To find an answer to the riddle, Because you are being asked by people, To preserve the jokes of the elders. Tu ai buah padi mudah, Baka buah jelai merundai. Nyadi tu ai ansah,

Ukai baka ke ngansah beliong bisi predah, Ngansah rantong besi patah. Tu ga ai buah padi mudah, Disua ka aku enggau tapa tunjok tengah, Di kena aku nyiram simpan geman dabong tatah nuan aya/unggal. Tu kena aku ngasoh nuan dulu bejako, Ngara ka leka entelah, Laban nuan endang dipadu ka orang, Landik bungah bejako tuai. The water of encouragement (ai ansah) is then drunk by the person appointed to reply to the question as to why they have made the visit. After he has drunk the water, he begins to recite with the following words of apology first: I am a bit nervous, After drinking the brewage of sticky hill padi, Which you put inside a saucer, The mother of pot with spout and handle, Which the son of the bard sky love-bird handed, Using the palm of the tilted hand. To him who handed it over to me, Just to make me fully hilarious. It, however, makes my thoughts, Grow less and gradually disappear, Probably this was how the late Aji felt the last time, When he fought on the dry shingles of (Kerangan) Langit River, He who said that he wanted to erect a stockade made of fastened bamboo. It, however, became loose And convolvulus, like the leaves of imperata cylindrica (lalang). Nyau kesal mimit meh aku, Udah diberi kita ai sempuli padi bukit, Ke udah diengkah ka kita dalam chawan indu chubit. Udah disua ka anak bujang lemambang entelit langit, Ngena tapa jari chawit. Ko iya ti meri ngagai aku, Ngasoh ati aku gaga be-ati gagit, Tang tu tak ngasoh kira aku nyaia mansang mit. Kada enda asai tu ati sida niang Aji menya, Leboh gasan nan di Krangan Sungai Langit. Ko iya deka ngaga kota kepit buloh temiang, Tang iya tekinsit mimit nyadi kemibit daun lalang. When he finishes expressing these words of apology, he proceeds to narrate the episode thus: Uncle/cousin, We are the so called the young river fish (anak tengas), Who swims overbearingly up River Ketungau, Who used to spawn on the shingles of Sandau Miang, Going to the ripple of the mouth of a fish-trap.

We are called the young crocodiles, That wanders aimlessly, Swimming up the Salimbau River, We who open our mouths, As big as the doorway. We are being nicknamed as the young hornbills, Who used to make noises at the upper part of Julau River, Ready to fly to the ripe kembayau fruit tree. Uncle/cousin, We are the Sunda Island gibbons, Who used to swing from the creepers of kubal tusu. Our corning, therefore, has a meaning, Our visit has intentions. We are brought by the parents of so and so to move the door of the closely fitted sky, Like the closing of the tortoise shell. We are about to move the door of the flat sky, Like the seeds of the kepayang tree (pangium edule), Therefore, if it is truly the scent of the flowers of the betel vines, That has sweet fragrance, If that is truly the scent of flowers, That emits fragrance all day long. That is the purpose of our coming here. Brought along by women, To touch Mars (Bintang buyu), As big as a deep bowl. We are brought along by spinsters, To watch a lone star, As big as the fruit of the blue kepayang tree (pangium edule). Brought along by the youngsters to shovel the constellation, That appears at the zenith of the sky. We are, therefore, trailing the scent of flowers, That emits scent for half a month. We wish to smell the scent of the rotten flower. This is brought by the southern wind. We, therefore, wish to extend our right hands, Lengthened by a ladder, Through which Renggan passed the last time to reach for the moving stars. We wish to extend the palms of our hands, Lengthened by Bejis ladder, The way through which Beji broke open the key to the sky. The reason for my saying so is, Because we wish to move the plank, The seat of the burah flower, This is painted in colour, That has a red-coloured border. We are brought by people to touch the charms of the cut plank The seat of the kapu flower, This has a design similar to the features of a poisonous snake. We wish to lift up the plank,

Supported by a fork of the flower of a scented fruit, This is dangling half way, This is dangling half way up the sky. That is the purpose of our coming, our visit, Together with the cream of the people and women, Together with the children. We wish to ensure whether it is true, We wish to hear; If that is certain, We wish to know. Unggal/Aya, Kami tu meh dikumbai orang anak tengas, Ke jelas-jelas mudik batang ulu Ketunggau, Ngempas ka kaban di kranggan sandau miang, Napat ka riap tampun bubu. Kami tu meh ke dikumbai orang anak baya, Ke kaya-kaya mudik batang ulu Salimbau, Ke benyawa nukang ka raang, Mesai selambang moa pintu. Kami tu me ka digelar orang anak kenyalang, Ngenggang di batang Ulu Julau, Napat ka kembayau mansau ngabu. Aya/Unggal, Kami tu wuok empeliau arang, Masai berua di randau kubal tusu. Nya alai penatai kami tu bisi reti, Penemuai kami bisi utai ko-ati. Nya alai nyerumba buli nyin kemari, Ke cheli-cheli tumboh lemai, Nyerumba sedan bulan mingkai, Kami bisi datai ditu, Nganjong tebinsu langgu buah binjai, Nya alai lalu diengkah ka kami manah-manah di kelasah tengah tikai, Enda dilengka ka kami sengapa pia sabarang alai. Disua ka kami ngagai kita, Leboh kitai ke kemumok dudok di ruai, Leboh kitai ke bepangkang ke pengedang baku Brunei, Serta disambut kita enggau kukut jari pamegai, Dikurong kita dalam pebenong tajau rawai, Dikerbat kita enggau kawat panjai tigai. Nyadi nya ko kitai suba jadi ka sengkeram jako semaia kitai. Nya ti ngasoh kami datai baka ka saharitu, Enggau anembiak, enggau ke tuai, Enggau sida ke mit, enggau sida ke besai, Mai bala nitih ka semia.

Nya alai nyerumba buli ke cheli-cheli nyin kemari tumboh malam, Nyerumba senayah bulan keleman, Bisi kami udah datai ditu, Datai ari Batang Kerangan Pinggai tebing kanan, Nganjong tebinsu langgu buah kemantan, Ke lalu diterima kita enggau tapa jari ngengam, Disambut kita enggau kukut jari kanan. Dibungkus kita enggau saratus bali belantan, Ditaroh kita tegoh-tegoh dalam mandoh benda pelawan, Kerbat kita enggau kawat panjai enam, Dijereki kita enggau badi ilang kayan. Nyadi nya ko kitai suba jadi ka geran jako sama. Nya alai baka ka saharitu kami datai ditu, Mai indu, mai kalu, Mai anembiak, mai redak, Mai gendang, mai sebang, Deka nentu ka enti utai nya amat, kami deka ninga, Enti utai nya tentu, kami deka nemu. Nya alai ka saharitu kami tu dibai sida apai sanu seduai indai sanu, Nginsit ka pintu langit rapit baka tambit terkura umang, Dibai sida ngansat ka pintu langit entap baka singkap krang kepayang. Enti nya amat rengut bunga buot ke bebau bali-ali, Enti nya amat aba bau bunga ke ngaba basari-sari. Nya kabuah kami ke datai kitu, Laban dibai sida ke indu negu bintang buyu mesai jalu jalong jebong, Dibai sida ke dara ngemata ka bintang saleka mesai krang kepayang pabong, Dibai sida ke biak nyubak bintang banyak tumboh di kebong langit landong. Nya alai kami tu deka nyidi aba bau bunga ke ngaba satengah bulan. Kami tu deka nyium rengut bunga buot, Puput ka ribut angin selatan. Nya alai kami nyau deka nyua ka tapa jari kanan, Ditampong enggau jari sukan, Jalai Renggan menya ngulih ka basiran bintang tekinsit. Kami nyau deka nyua ka tapa dada jari, Tampong enggau tangga Bejie, Nya ga jalai Bejie ngulih ka kunchi pintu langit. Laban kami nyau deka mindah ka genteran papan punggah, Penudok perampang bunga burah, Ke berendah mansau jara, Ke berendah mansau tisi. Kami dibai orang negu genturan papan timpu, Penudok perampang bunga kapu, Ke besudu ular bisa, Ke besudu ular lidi. Kami deka nginsit ka genturan singit, Tambun berurah bunga bangkit,

Ke begantong tengan menoa, Ke begantong tengan ari. Nya meh penatai, penemuai kami. Datai enggau antu enggau indu. Sama enggau anak enggau anembiak. Kami deka nentu ka utai nya amat, Kami deka ninga ka utai nya tentu. Kami deka nemu. After the person has finished reciting the purpose of their visit the appointed master ceremony will again prepare to serve the drink to the person assigned to answer on behalf of the bride. He uses the following recitation: This is the water bound by wire, Like the blaze. This is the water of lime, The first to become brandy, Which we bring down, The same time as the fog of the dawn, Stored by us for six months, Inside a valuable jar. We kept it well hidden, Inside a fine jar. There we saw it turned red in colour, Which spurted into a large bottle. However, this evening, uncle/cousin, It fizzes from the bottom of the valuable jar, Its foams fell onto a carpet, Which I will use to sharpen your teeth, So that its pitch will be high. However, I used it before, To sharpen small swords, Of Antau Linggang Nengeri (the rocker of town) And Gun Mangku Bumi (the holder of the earth) Together with Nanang and Aji, Which they used to fight all day long, To attack the stockade of pointed ends. On their return they were very happy and glad, To hold the head festival. This is therefore, the water of the bunch of wild ginger, Uncle/cousin, this is the water of the stump of the indigo plant, Which I put onto the mat of parallel patterns, That has been exposed to the dew by the girls named endun, For one year of the life span of puya padi. This has been watered by humorous spinsters, With the blood of the pig that has produced piglets; This has been kept by us well, Inside a large jar. This evening, however,

It spurts out a bit from the bottom of the glass, Which I use to sharpen the single tooth, Of yours, uncle/cousin. I have used it in the past to sharpen, The small brass swords, Of Garran and Mula, Of Ngumbang the father of Lada, And of Bantin the father of Rengga. He said that they were then more powerful than the pointed bamboo, Because it was used by the well-mannered men, To attack the corner of the Rajas stockade, At the mouth of Skrang River. However, this evening, uncle/cousin, It is used by me to sharpen your single tooth, In order that it can be audibly heard, Which I compare to the sound of the ship Zahora, When the Rajas wife, the Ranee sailed on it, To go up the Simanggang River, I once again compare your clear and loud voice to that of the radio, Which was used by Koh the father of Segura, To claim that the state has begun to develop. However, after you, uncle/cousin, have drunk this water, It will not cause you to die. It merely makes you lively and noisy, To ask what are the tidings, Distinctively heard by all the guests. Tu ai kerbat pakau kawat, Baka jilap daun api. Ai teritis limau manis, Ke teruba nyadi brandy. Bai kami nurun nyerumba sebun ambun pagi, Di pelam kami enam bulan di pelawan benda guchi, Taroh kami tegoh-tegoh dalam mandoh benda menaga, Dia iya bebali mansau jara, Dituang ka kami ngagai balang butol besegi. Nya alai ka lemai tu Aya/Unggal, Tak perabansang pansut ari balang butol besegi. Di engkah ka kami ba klasah tengah tikai. Tu ga kena kami ngansah tatah dabong gigi enggi nuan, Ngambi ka nekis nyerais inggar bemunyi. Kalia udah ga tu kena kami ngansah perapang pedang panjai, Enggi Antau Linggang Negeri seduai Gun Mangku Bumi, Katiga enggi Nanang seduai Ajie, Ti dikena sida bamok ngapus ka ari, Ngalah ka segi kota simbang.

Pemulai tu sida iya gaga lantang ati, Lalu niri ka gawai igi balang. Nya alai tu ai tangkai lia kerapa, Ai pun tarum kemuja, Di engkah ka kami di klasah sana jawa, Di perambun ka endu endun nyerumba sebun ambun nyaia, Sataun mangun pun padi paya, Udah dipanjah sida dara bungah enggau darah babi menoa, Udah dikarong kami dalam benong benda menaga, Nya alai ka lemai tu, Merenchit mimit iya ari burit gelas kacha, Kena aku ngansah tatah dabong saleka, Enggi nuan aya/unggal. Udah ga tu dikena aku ngansah perapang pedang temaga, Enggi Garran seduai Mula, Enggi Ngumbang apai Lada seduai Bantin Apai Rengga, Udah nya kenu ko sida, Tajam ari mata simbang jerungkang, Laban tu udah dikena orang ke besai nampak nama jelai berita, Ngeruntoh ka kota Tuan Raja, Di nanga arong Skrang. Nya alai ka lemai tu aya, Dikena aku ngansah tatah dabong saleka enggi nuan, Ngambi ka nyawa nuan nekis nyaris inggar didinga, Disema ka aku ngagai panjong kapal johara, Enggi Ranee bini Sultan Tuan Raja, Mudik nanga Batang Simanggang. Agi ga aku nyema ka nyawa nuan, Samunyi enggau Radio, Di kena Koh apai Segura, Madah ka menoa deras mansang. Having finished the drink, the appointed man from the host longhouse start to make a riddle for the guest to unfold, using recitation as follows: During the previous wane of the full moon, When I was sleeping on a piece of plank, When I was sleeping on a mat of various colors, Veiled with a handwoven blanket (bali mensuga), I had a dream. Dreamt to have been called for by Tutong and Laja, Who came from their home at Nanga Panggau Dulang. There I dreamed that they brought me to cut a hanging bunch of oak-leaf fern which was guarded by the cobra, the mother of a dragon. Dreamt to have been brought by them to shovel the constellation, As wide as a plate, Which fell and turn into a valuable jar (tajau menaga),

That looked very attractive. It appeared to be a young Dayak, Having the eyes of a young Chinese, Whom we can ask to rule a country, To impose a fine of fifty cents. Because it appeared to be unique, All of us at the longhouse were excited, To see the valuable jar (tajau menaga). We therefore, blessed it by waving a brown fowl over it, We gave sufficient offerings to it, Because we felt it was as if we served the son of god, Entertaining members of the guests. During the sunset, During the whole period of last month, When I was sleeping on a piece of plank, Lying on pieces of a mat, Wrapped with a handwoven blanket (bali begajai), There I dreamed to have been called for by Sanggul Labong and Nawang Gundai, Who came from their home, At Nanga Gelong Merundai, Fringy, like a bunch of strips of palm leaves (takang isang). There I dreamed to have been called for by them, To cut a bunch of fruit of oncosperma iigillaria (or a set of spears set round a post), That hangs down the stem like fringes. I dreamed to have been brought by them to touch Mars, Falling as big as a bowl that has been sung to, It fell and turns into a jar of a swallow. All of us from our longhouse were excited. Glad to see the child of the lump of gold, Appeared to be seen lying, Appeared to have known to unroll a mat, Serving visitors, entertaining guests. All our longhouse mates were glad to see what had happened, We, therefore, waved a fowl over it. We then prepared some offerings of popped rice (or corn), We experienced it as if we welcomed the Great King, Who came from his country across the great ocean. Therefore, uncle/cousin, what you asked was true. Sometime during the month of this day of __, So and so paid us a visit here. However, at that time the whole thing was still in disorder. That was why we said that we still wanted to make it tame, To let it come nearer. Nevertheless, we awaited your arrival, You did not come here again.

Now our round lump of gold is no longer here, We have kept it well inside a valuable jar (ningka), We have fenced it with bars of steel. We have mended the gaps with daggers, Locked by us with boxes placed on top of the other, Fastened by us with three fathom wires. We wanted to take it back but the effort failed, We wished to climb over but it proved to be impossible, Because it is covered with thorns made of iron daggers. We wanted to cut it down but it could not be felled, Because the stem has a pitch made of a lump of steel. We wished to burn it but it is non-combustible, Because there is a fountain as big as a pattern of brass kettle Its foot is guarded by a squirrel-like animal (spirits hound), the dragon, The cobra, the old cobra coiled around its stem. Its first branch is guarded by brown bees. Its top could not be touched with a pronged spear, Because it is guarded by an owl, Watching the halo of a full moon, Which is crying during the full moon. Nyerumba sedan bulan pernama, Leboh aku tindok di retok papan pelangka, Gali galai di tikai sana jawa, Bebungkor enggau selanggor bali mensuga, Dia aku bisi mimpi. Mimpi asai ka betemu enggau Tutong seduai Laja, Datai ari menoa raya di nanga Panggau Dulang. Dia aku asai ka dibai seduai nyimpong, Ujong semambu ngandong, Sengkelong tedong ular naga. Mimpi asai ka dibai seduai nyubah, Bintang banyak mesai chapak jalong temaga, Laboh ka baroh nyadi pebenong benda menaga, Nadai utai ngemanah nya gaya, Dipeda baka gamal anak Dayak, Bemata baka gamal anak China, Baka ke tau diasoh nyadi tuai megai menoa, Ngadu ka uta wang timbang. Laban meda utai nyelai bakanya, Dia kami sarumah tak bela tekenyit, Tepeda ka pemanah benda menaga, Lalu dibiau kami enggau selanjau manok banda, Ading kami enggau piring chukop perengka, Laban asai ti nyambut penatai anak Petara, Nyambut antu bala pengabang.

Nyerumba tinda sabong lemai, Nyerumba sedan bulan mingkai, Leboh aku tindok di retok papan lekai, Gali di linti lambar tikai, Bebungkor enggau selanggor bali belulai, Dia aku asai ka bisi mimpi. Mimpi asai ka diasoh Sanggol Labong seduai Nawang Gundai, Datai ari menoa raya sida di nanga Gelong Merundai, Ke begamal baka guchai, Murai ka tangkai takang isang. Dia aku asai ka diasoh sida iya, Nyarau tandan tangkai ranyai, Ke merundai laboh begitang. Mimpi asai ka diasoh sida negu bintang buyu, Laboh mesai jalu jalong timang, Lalu laboh ngimbai ningka tajau lelayang. Dia kami sarumah lalu tekenyit serta gaga, Tepeda ka anak gemala tekang gempanang, Dipeda baka ka tau nganchau tikai, Ngintu temuai mela pengabang. Samoa kami bela rindu serta enggau ati lantang, Biau kami enggau selanjau manok labang, Diading kami enggau pamping piring letup pulut jentawang, Asai ke nyambut penatai tuan Raja Tuai, Datai ari gilik tasik besai ledong lelinang. Nya alai Unggal/Aya, Samoa utai ti ditanya ka nuan nya amat magang. Nya alai skali nyerumba sedan bulan nyin kemari, Sanu seduai sanu bisi datai nemuai ngagai kami kitu. Leboh nya semua jako sama agi rapas, Nya alai kami agi deka bejinak, Agi deka ngasoh semak. Nya alai ngelamatu kami seruran nganti penatai kita, Tang nadai ga meda kita datai agi. Nya alai diatu tekang gempanang mau segala nadai agi ditu, Udah dikurong kami dalam pebenong benda menaga, Udah di jerai kami enggau duri besi kemuja, Udah dipelali kami enggau badi bemata changka, Di kunchi kami dalam peti menanyi ringkat dua, Udah kerebat kami enggau kawah panjai tiga. Kami deka muka enda ulih buka agi, Ka ditiki enda ulih tiki, Beduri ba badi mata changka. Ditebang enda ulih tebang, Bepuak ka belembang lampang besi. Ka ditunu enda ulih ditunu,

Ai nyau ngeching mesai tangkong kendi temaga. Pun di ibun pasun diwan pesilar ular naga. Batang belit kendawang tedong bisa. Pun dan wan ranyuan madu banda. Puchok enda ulih di tutok enggau tirok sangkoh bemata dua, Wan kejatan burong tunggok, Sikok-sikok nyabak ka rayok bulan pernama. When that recitation is over, the people from the bridegroom side will ask one of them to unfold the riddle. After he has been given a drink, he recites following words: Uncle/cousin, All what you have said is true, because we know that you have kept it well. However, we have no fear, we have no worries. We are well prepared for this. We have brought along the antidote of the river snake. Which was once possessed by the late Minggat, the father of Runai. When he went abroad to Kerinchi Pantai Panai, At the peak of his fame, Where he died and was buried at the mouth of San river. If it is the antidote of the dragon snake, We have also brought it along, This was once possessed by the late Rekaya Dana. When he went on a war expedition to Batang Sungai Raya, And strayed on to conquer a Chinese settlement of Batang Singkawang. If it is the antidote of the pit-viper, We have also brought it along. The one which the late Linggir Mali Lebu formerly obtained, When he collected forty-one adopted children, From the upper dry Sugai river. If it is the antidote of the cobra, We have also brought it along, The one which the late Tarang Apai Dungkong obtained, When he sunk enemy boats off Nanga Rajang. However, we are no longer using such antidotes, Because they are too anachronistic. But during the period of the last full moon, We have been ordered by Sultan Insong, To plant latex-producing nyatu trees, There we found a new type of charm, The one which is more powerful than the fangs of a cobra, If thrown, it can bounce off far away, If gently touched, it can push itself forward.

Uncle/cousin, if we use these charms. There is no need for us to let it fly. By moving slightly from our seating positions, The door to your room will be wide open. Unggal/Aya, Nya alai samoa utai ti ko nuan nya amat magang. Tang dalam pia, Kami nadai penakut, nadai penangi. Kami endang nyikap diri. Nya alai tipang pesilar ular beluai, Bisi dibai kami ditu, Diempu niang Minggat apai Runai, Leboh gumi ke pegi ngagai kerinchi pantai Panai, Parai sebrai tiban Nanga San. Enti tipang pesilar ular naga, Bisi ga dibai kami ditu. Dikena niang Rekaya Dana, Leboh lupu ngulu ka orang nyerang ngagai Batang Sungai Raya, Trus ngalah ka china nyentok ka nanga Batang Sengkawang. Enti tipang pesilar ular engkudu, Bisi dibai kami ditu, Olih niang Linggir Mali Lebu, Leboh lupu ke mupu anak iru bulih 41 ka Ulu Sugai Langkang. Tipang pesilar ular tedong bisi ga dibai kami ditu, Olih niang Tarang apai Dungkong, Leboh medong ngaram ka bangkong nanga Rajang. Tang tipang tu enda dikena kami agi, Laban iya udah enda bisa. Tang nyerumbu randang bulan kembong tu kemari, Kami diasoh Sultan tuan Insong, Nanam nyatu getah nyelutong. Dia deh kami nemu pengaroh baru, Ke bisa ari gigi pesiri ular tedong. Enti di tikam, iya tau engkanjong, Enti di tegu, iya tau nyurong. Nya alai aya/unggal, Enda iboh kami ngasoh iya terebai, Semina ngansat ari kami ke besarok dudok berintai, Pintu kita lalu tekesai lalu tetukang. When the riddle is answered, the representatives who speak from the brides and bridegrooms sides will ask a person who is expert in genealogy to set forth the pedigree for the information of the people regarding the relationship between the bride and bridegroom. This will facilitate the discussion on appropriate customs to be applied in case the marriage may cause disaster. First and foremost, the genealogist is given rice wine or arrack by the master ceremony and again he will recite the following before the genealogist set forth the pedigree thus:

This is the water of the leaf-stalk of a nipah palm, Growing at the head of the muddy bank, This is the water of the stem of a creaking tree (bindang beduyah), Planted by Saripah Dayang Mai. This is the water of the branch of meranjan butan (a type of fruit tree), On which an owl perches, Sobbing under the halo of the full moon. Tu ai palepah apong nipah, Tumboh di tanah pala pantai. Tu ai batang bindang beduyah, Tanam Seripah Dayang Mai. Tu ai dan meranjang bulan, Tepan kaban burong Tunggok, Sikok-sikok nyabak ka rayong bulan pernama. Kita ke tuai udah berintai besarok dudok. Nya alai aku ngelar kita ngagai bidok, Linggar kepar-kepar ngelayar lansar pala lubok. Leboh menoa kitai ke agi dipegai Menira Raja Brooke, Nadai ga aku ninga nuan sebana madah ka diri suntok. Enti temuai datai, nadai ga aku ninga nuan enggai mai temuai dudok. Laban nuan endang sidi di jari ujong tunjok, Teleba maras tulok moa pasu. Tu meh ai ganja bisa teleba bemain di moa burit mangkok, Ai ganjai nyamai ngasoh grai angkat mabok, Sua ka aku enggau tapa ujong tunjok, Sambut nuan enggau tangkup dabong rasok. Tu ga kena kami ngasoh nuan muka randau kara, Ngusai ka randau rambai, Nyila lambar buok ke berasok pampang saribu. Tu ga kena nuan ngusai ka jala panjai, Ngambi ka ngerembai mungkor dunya, Kena nuan nesa penyauh sida, Kena ngusai ka penyauh kitai, Ka meda ka penyauh antara. Dikena nuan ngempong daun apong, Diara ka di moa bala mensia, Kena tinda nuan ngara ka leka, Besebut ka rurun tusut. The elders have sat and intermingled, I, therefore, nickname you as a small shaky boat Plying the head of the deep lagoon. When our country was under the flag of Raja Brooke, Never did I hear you being destitute, If visitors came, I never heard you refusing to unroll a mat inviting them to sit down,

Because you have powerful finger tips, That is used to handle and level the mouth of a dry measuring basket (pasu). This is the pure rice toddy that is playing on the bottom of bowl. The delicious water that makes you feels fresh after being drunk, Handed over by me from the finger tips of my left hand, Received by you with the mouth, Into the interlocked notches of your jaws, This I use to beg you to loosen the roots of banyan plant, Uproot the fibrous stems of fern (rambai), Split the hair, which intermingles in its thousands. Tis I use to beg you to spread out the fishing net, So that it spreadout and cover the world, Tis for you to measure their distances, Tis for you to measure our distances, We want to see the distances of their boundary. Tis for you to gather the palm leaves, Tis for you to spread it out in front of the crowd, For you to detail out, The correct order of their genealogy. After finishing the Ai Ansah drink (literally means, sharpening water), the appointed genealogist holds nipah leaves (for rolling tobacco) with which he sets forth the pedigree. He starts his pedigree taking Sengalang Burong as the basis because from there he will able to relate the marriage customs originating from the marriage of Sengalang Burongs son, Aji, whose chivalry is beyond the moon, also known as Suka Raja Rengayan, who was married to Endu Anggu Kaul Ketapu, Endu Kuku Anyam Saribu, the daughter of Simpulag Gana and Endu Endun Serentum Tanah Tumboh, lying exposed the sunshine at the middle of the country, Endu lyak Cherindak Tanggui Buloh, hovering over the neighbouring farms. Starting from there, he will also relate the first time Raja Simpulang Gana demanded Sengalang Burong to give him a dowry of a fowl of the size of a sparrow which had spurs coiled onto its knees, a pig as big as a rat that had tusks coiled onto the tuft of bristles on the head of that certain pig, and a black jar with a sprout together with a gong. In addition, he also recites the customs regarding marriage in defiance of the generation taboo which is disastrous, following Sengalang Burongs advice which he gave to his grandson, Sera Gunting who committed incest with his mothers sister, Endu Dara Chempaka Tempurong Alang alias Dayang Patri Langit. After he has related those customs, he then begins to set forth his pedigree further and gives information regarding his forefathers expense dowries as they were rich and chivalrous. On reaching the generation of the bride and bridegroom, he then discloses their relationship. The people will discuss the appropriate customs to remedy the marriage which might happen to be in defiance of the generation taboo, after the genealogist has set forth his pedigree up to that stage. If their relationship is calculated from their parents, and is in the ratio of one to two (which means that he is married to his auntie or niece), then a sin cleansing event called partitioned by water will be performed for them whereby two pigs will be sacrificed: one is to be killed in the water while the other will be butchered on land. They are requested to bathe themselves with the water that has been saturated with the pig blood. The pigs to be slaughtered must be the ones that have produced litters seven times, and the jar that the bridegroom produces must be

equivalent to the monetary value of nine dollars while the bride pays seven dollars. (Other customs are obtainable from a book entitled Sengalang Burong.) If their generation ratio is at two to three, the water is being partitioned for them and the number of pigs that have had litters is the same. But the amount of money paid decreases. A pig is slaughtered to smear the land if their generation ratio is at three to four. They are forced to cut down fruit trees if their marriage is at the generation gap of four to five ratios. When their generation ratio is five to six, they are only asked to bite on a piece of iron. The bride and bridegroom are requested to bite grains of salt if their marriage is at the generation ratio of six to seven. This is to protect their bodies and souls. After discussing these customs, the brides parents proceed with their demand for dowry and other fees from the bridegrooms parents as shown below: (a) If the do wry is $25.00 the marriage fee is $1.00 (sigijabir). (b) If the dowry is $50.00 the marriage fee is $2.00 (sigi panding). (c) If the do wry is $75.00 the marriage fee is $4.00 (sigi alas muda). (d) If the dowry is $100.00 the marriage fee is $5.00 (sigi alas ngerang). In addition, the brides side also asks for the splitter of the ladder an adze, a spear as an opener to a door, a sword as an opener to a mosquito net, a broom and other fees. The bridegrooms parents pay all these fees. However, they reciprocate by demanding fees from the brides parents. The fees that they ask in return are: - a jar (tepayan), as a container for holding water to wash the feet; - a gong (bendai), as a support to lean onto; - a blowpipe, as a punting pole; - a hand woven blanket, as an awning; - other fees equivalent to the amount demanded by the brides side. Besides the dowry and marriage fees, and all other fees, both sides do not incur any loss because the demands for such fees serve as a means for the elders to outwit each other.

Ex-Temenggong Mathew Dana (kanan) Nyua ka Derian Ngagai Pengari Indu. When the discussion regarding this is over, the elders declare that if any of them commits a breach of marriage without any proper reason, for instance, if the bridegroom divorces his wife, the dowry will automatically be in the custody of the bride. In the case where the bride divorces her husband the dowry will be returned to the bridegroom with an additional amount of fifty dollars. The married couple are warned that if either one of them asks for a divorce within a period of one month, he or she will be fined four dollar supplementing the fine for the divorce. Upon the completion of discussion on this matter, a woman then carries betel nuts placed in a basket, which has pieces painted half with red, and the other half remaining un-painted (termed as selok sundan menarang). These nuts are carried from the room to be split at the gallery. The basket is being slung on her shoulders. The woman who splits the betel nuts is chosen among the fortunate an productive Iban women. The number of slices is three, five or seven. The number of slices of the betel nuts represents on the number of days the couple will visit the longhouse again. If their homes are within short distances from each other, then the number of the slice is lesser and vice versa. A bard is requested to chant a traditional renong song called putting a child to sleep after the slicing of the betel nuts event is over. When the child is presumed to have slept, the bard will chant another traditional song called waking the baby. During the cutting of betel nuts into slices, the people are in joyous mood, drinking rice toddy, coffee and eating cakes, buns an various other foods. Later, the guests are asked to take their seats to consume breakfast. After the breakfast the newly-wedded couple will undergo another event to release them from taboo if they are married in defiance of it. They are brought to a river where they will be bathe in the blood of a pig on the river. If their marriage is not in defiance of these taboos and will not cause disaster, the formal marriage ceremony will normally end after the bard completed chanting his traditional song on waking of the child. If the marriage is in defiance of the marriage rules related earlier by the genealogist, a cleansing ceremony have to be performed to release them from taboo. They will dress up and will be brought to a river in a procession, accompanied by the beating of gongs. They are brought by elders, and the couple will hold onto a loin-cloth of seven feet long. Leading the procession is a person who has been appointed to spear a pig. He is immediately followed by

the one who will make an invocation to God. Next comes the bearer of a jug meant as a coop or container for their souls, followed by woman who carries the offerings. The newly-wedded couple and other elders have been selected to act out certain parts during the ceremony. The man who has been appointed to act as a ghost had earlier taken up his position on the other side of the river, opposite to the bathing place where the ceremony to release the couple from the incestuous taboo will be performed. Arriving at the river, the appointed man proceeds to make an invocation, calling for God and all members of the marine super natural spirits, so that they will know about the ceremony of releasing the couple who are married in defiance of the taboo. He also appeals to God and the marine supernatural spirits not to cause disaster because of their sin for getting married in defiance of the generation taboo. The situation has been corrected in accordance with the customs and procedures laid down by Sengalang Burong. The person who has been appointed to slaughter the pig then kills it with a sword. Its blood flows downriver to the place where the couples, who are to be released from the taboo, are taking their ceremonial bath. While the pig is being slaughtered, the man who has been assigned to act as a ghost across river shouts at the people on the other side of the river as to why they are making such a lot of noise. In response to his question, an elder from this side of the river answers: We are releasing so and so from the generation taboo as they are married in defiance of it. In accordance with our old marriage customs, we are, therefore, smearing lands with the blood of a ceremonial pig, in order to prevent supernatural disasters such as earthquakes, floods, mud-slide, disease and other natural disaster. In addition to this, we are also harmonizing the water with the following:

A long sword to separate the moving clouds. An adze used for cutting the root of the lensat tree (lansium domesticiim). A blow-pipe of tapang wood for blocking the holes of lightning. A kumbu rayong blanket for covering the overhanging banks of the river to prevent snails from emerging. A coloured cloth for wiping away thick clouds. A large bowl for obstructing erosion. An iron step for the legs to stand fast. A shell armlet as a fee to prevent the water of the river from rippling. A jar in which to keep the souls safely.

This means (In Iban):

Pedang panjang kena ngerandang remang rarat. Beliong lajong kena mungga urat lensat. Sumpit tapang kena ngerejang lubang kilat. Kumbu rayong kena nyerayong tekuyong dalam ungkap. Kain beragi kena miau moa-hari sarat bebuat. Pinggai besai kena nyekat tanah rarat. Besi panti landi ke alai kaki betakat. Rangki siti kena nasih ai ngambi enda beriap. Tepayan endor nyimpan samengat.

After the appointed man has killed the pig at the river, he slaughters another one to smear the land with the blood. The blood of the pig is then buried, while some is sent to farms to prevent disaster. This cleansing ceremony ends after the slaughtering of the pig. When they return to the longhouse, the couple dress themselves up to prepare for their journey to the bridegrooms house. After they have dressed up, the guests go back to their homes, bringing along with them, the bride. Throughout their journey home, like when they came the previous day, they beat gongs along the way until they reach their own longhouse. On arrival, the bride is led by spinsters from the longhouse into the bridegrooms room where beautiful mats and decorative blankets have been unrolled and put up respectively. The degree of decoration depends on how wealthy the family of the bridegroom is. After dinner that evening, the bridegrooms parents call their longhouse mates to assemble at their room to witness the waving of fowl to bless the newly-wedded. The couple are being asked to sit down on the two gongs placed side by side. The bride sits next to the bridesmaid while the best man takes his seat by the side of the bridegroom. When everything is ready, an elderly person (or a bard if there is any), stands up and waves a fowl over them. He uses the following invocation: One. two, three, four, five, six, seven! I shall not be punished to wave a fighting cock, I shall not be subjected to supernatural punishment to wave a fowl, I shall not die to wave an able-bodied cock! Oh, what has led me to be cursed? What makes me unable to stand up? My feet stand on the solid rock, My lips have bitten a harpoon of retribution, My arms have been fastened with brass armlets. I am of the fountain; I am the scion of the older generation; the new growth. I am neither experimenting nor inventing, I have something to follow, Something to come after, Like the creeper lengthened by a cord, Like the rotan lengthening the danan (a kind of rotan), Oh, I am following the honour laid down by Simpulang Gana, Following the customs initiated by Putong Kempat, Who a drifted carrying a jetty, Following the taboo of Belang Pinggang, That became around under the senuyong, I am following the taboo of a demon, Residing at the zenith of the sky. O ha! O ha! O ha! Now I call for Selampeta who can create,

Selampetoh who can forge, Selampandai who can create us! I wish them to bear offspring, Let them grow like a bamboo shoot, Have a new growth like a fern. I appeal to the God, Ini Inda, To make their lives full of riches and wealth. I appeal to the God of Manang, the God of Kejakang, To make them healthy and full of longevity, Free from misery and poverty. When the invocation is over, someone will distribute more rice wine to those present. After the entertainment, the elders inform the couple who their brothers, sisters-in-law and parentsin-law are, and whom they are prohibited from calling by names according to the customs lay down by Sengalang Burong. If their brothers and sisters-in-law are their juniors, then they are known as their younger brothers and sisters (adi). For those older, they are termed as their older brothers and sisters (ika). They call their father-in-law bapa. Furthermore, the elders instruct them on the correct ways of living happily together as husband and wife, to respect each other, and not to be unnecessarily jealous, as it is not good for a married couple to be too possessive of one another. They also advise the bridegroom to respect the room of his parents-in-law when the couple pays a ceremonial visit to her parents. They remind him of the old customs he should follow when he talks to the people who happen to converse with him during the visit. In addition to these, they also remind him to show due respect to the people who have been married, which is still known to people today. They are advised also, on the respect for wives, brothers and sisters-in-laws, parents-in-law and other relatives of their wives. Their longhouse mates go back to their own rooms after the elders have advised the couple. As he does not want to defy the old custom the bridegroom will sleep at the gallery and not with his wife on that particular night. There is nothing wrong if he so wishes to sleep with his partner that night but this act will not be a pleasant sight to others, because such an action does not conform to tradition. The couples ceremonial visit to the brides parents depends on the number of slices of betel nuts the people cut on their wedding day. However, on the eve of the visit, they will be very busy in preparing buns and cooking rice in bamboo cans which they will bring along with them. On the morning of this ceremonial visit, they will go together with the bridegrooms father. On arrival, they are being welcomed by the brides parents. All the things brought by them are taken to the brides room. Soon after their arrival, those people present at the longhouse at that time assemble to greet them. After dinner that evening, many people including ladies and children come to greet them. Men and boys assemble to welcome the bridegroom and his father while women and girls get together to greet the bride.

During this ceremonial visit, the bridegroom never sits at the outermost section of the covered verandah, but sits near a leaning pole facing the elders and his father-in-law, who will position themselves there. Within the period of this ceremonial visit, they talk about customs and omen birds which are used in farming and in war expeditions. In addition, they will also discuss better ways of leading meaningful lives. In olden days, this was the period for the bridegrooms father-in-law to observe whether his new son-in-law could tolerate endless conversations with people, without sleeping up to three, five and even seven successive nights. One of the most important things which the bridegroom must do during this visit is to fetch firewood. This has been traditionally done. The couple will stay at the wifes parents house for an equal number of days as they had spent at her husbands house. When the period is over, they will go back to the bridegrooms longhouse. Thereafter, they seldom visit her parents unless the latter longs to see them. There is no limit to the number of duration of their visits. It depends on how much leisure time they have