On last Monday night, I dreamed of catching a glimpse of my late father (Apai) in his full bard regalia, complete with a headgear adorned with hornbill and pheasant feathers. He also wore a blazer. I didn’t speak to him as it was a brief moment, and then he disappeared without uttering a word. Upon waking up, I realised it was a dream, perhaps the second one I’ve had of meeting or seeing him since he passed away at the age of 92 in June 2002.
He appeared to be in his prime, during his active moments when he used to lead bards performing the ‘timang jalung’ for Gawai Antu (a sing-song chanting performed throughout the night during the Festival Commemorating the Deceased). This reminded me of his active involvement in performing and leading the ‘timang jalung’ bards during such Gawai Antu celebrations in the 60s and 70s.
If my memory serves me right, I recall seeing him perform the timang jalung at these festivals in various longhouses in Saratok. Specifically, at Sungai Belung, Melupa in 1964, at Lubuk Bundung, next door to Sungai Belung in 1965, and followed by Munggu Embawang in 1966, which was a few kilometres away from Lubuk Bundung. The event hosted by my grandfather Jembu took place in Munggu Embawang, which was Apai’s birthplace.
The Sungai Belung festival was hosted by my granduncle Ligong Rembuyan, who was my grandma Kejuang Meling’s first cousin. During that time, I collected various discarded items (pieces of drawings) sold by the famous Iban inventor Dunging anak Gunggu (1904-1985), which I still keep to this day. I brought them with me during my seven-year stay in Brunei Darussalam. I remember Apai leading five other bards from my Kedap longhouse, along with a few from his original longhouse, Munggu Embawang.
In the Lubuk Bundung festival in 1965, Apai led the same group of bards. I was 11 years old at that time but took a keen interest in his ‘nuntungka jalung’ moments. These moments involved him asking various war heroes about their exploits and heroic acts in battle, as well as their nicknames after killing their enemies, if any. The war heroes were tasked with performing the ‘ngirup jalung,’ which involved drinking tuak rice wine from bowls carried by the bards throughout the night.
I remember him using the ‘tuntung sumpah’ on a so-called warrior whom Apai suspected of fabricating his warring achievements. The ‘tuntung sumpah’ was meant to curse or put a spell on the man if he had indeed lied about his war hero status and had never killed or conquered his enemies. We heard that the man from Rimbas, Saribas died a few weeks after the festival at Lubuk Bundung.
In the Munggu Embawang festival, held at Apai’s original longhouse in the uppermost Melupa basin, he led the same group of bards. I have a group photo taken during that time with my two brothers, Edward Jelani and Jon Chandi, our adopted brother James Buang Skam, our uncle Mathew Banyin (now deceased), and our cousin Dunstan Melling Undau (also deceased). The photo was taken in front of the longhouse, with other guests visible behind us. It was captured by a Chinese photographer named Ah Lok, who later sold us the copies. I still have my black-and-white copy of the photo.
In 1971, Apai led another group of bards to perform at the Bajau longhouse along the lower Krian River. I also joined as a family friend to one of the families. Although it wasn’t a grand celebration, Apai’s timang jalung group was content with their performances, despite the young and inexperienced bards in the group.
Perhaps Apai’s last timang jalung performance took place in the Ulu Rimbas longhouse in the Debak area. That was where he lost his bard charm, especially the ‘batu tekuyung’ (river snail stone) that he used to lead the bards over the years. This ‘batu tekuyung’ was believed to keep the status of a leading bard intact, just like the river snail that could withstand the fast river current without being moved. Apai claimed that the charm was stolen from his belongings while he was bathing in the river before the Gawai Antu night performance. This loss had such an impact that he lost his vigour and interest in further ‘timang jalung’ performances. The Ulu Rimbas festival became his last performance asa leading bard.
After that, his involvement in cultural activities shifted to mentoring and guiding young bards in preserving and promoting the traditional Iban arts. He shared his knowledge and skills with aspiring bards, ensuring that the rich heritage of the ‘timang jalung’ was passed down to the next generation.
Apai’s dream appearance in his bard regalia, combined with the blazer, may symbolize his connection to both the traditional and modern worlds. The feathers on his headgear represent his deep cultural roots and his role as a guardian of Iban traditions. The blazer could signify his adaptability and willingness to embrace new ideas and influences.
Dreams are highly personal and can hold different meanings for individuals. In this case, the dream of seeing your late father in his bard regalia may evoke nostalgia, fond memories, and a longing to reconnect with his presence. It could also serve as a reminder of his legacy and the importance of preserving cultural heritage.
It’s important to remember that dreams are subjective experiences and can be influenced by various factors, including personal emotions, memories, and subconscious thoughts. While dreams can sometimes carry symbolic significance, the interpretation ultimately depends on the dreamer’s associations and feelings toward the symbols and elements within the dream.
DISCLAIMER:
The views expressed here are those of the writer and do not necessarily represent the views of the New Sarawak Tribune.
