Emotion Concepts of the Ibans in Sarawak
By Lilly Metom
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Emotion Concepts of the Ibans in Sarawak - Lilly Metom
Copyright © 2014 by Lilly Metom.
All rights reserved. No part of this book may be used or reproduced by any means, graphic, electronic, or mechanical, including photocopying, recording, taping or by any information storage retrieval system without the written permission of the publisher except in the case of brief quotations embodied in critical articles and reviews.
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Table Of Contents
Preface
Acknowledgements
List Of Tables
List Of Figures
CHAPTER I: INTRODUCTION
Introduction
Statement of the Problem
Research Questions
Significance of the Study
Clarifying Some Relevant Concepts
Culture
Values
Communication
Aims of the Study
Limitations of the Study
CHAPTER II: LITERATURE REVIEW
Introduction
Concepts of Emotions across Cultures
Some Features of the Ibans’ Lived Culture
The Iban Longhouse
Religion
The Iban Adat
Headhunting
Language
Relationships of the Ibans with ‘Others’
Conclusion
CHAPTER III: RESEARCH METHODOLOGY
Research Design
Subjects
Procedure
Analysis of Data
Cultural Continuum
Natural Semantic Metalanguage (NSM)
CHAPTER IV: SOCIAL EMOTIONS AND EXPRESSIONS IN IBAN
Introduction
Interpretations and Explications of the Ibans’ Social Emotions and Expressions
The Social Emotion of Malu
The Social Emotions of Pedis Ati, Ransi, Ringat and Kudi
The Emotion Expressions of Benchi, Begedi and Bebulu Ati
The Social Expression of Gratitude
The Social Expression of Minta Ampun or ‘Sorry’
The Emotion Expression of Tekenyit or Abis Ati
The Social Emotion of Buyan
Facial Expressions as a Means of Expressing Emotions
Indirectness as a Rule of Speaking among the Ibans
Borrowing as a Means of Language Acquisition in Iban
Locating the Ibans’ Way of Interaction on the Cultural Continuum
CHAPTER V: CONCLUSION
Summary
Implications of the Study
Recommendations for Further Research
Concluding Remarks
About The Author
References
Appendix A
Glossary Of Iban Words And Phrases
In Memory of
Professor Vin D’Cruz (1933-2008)
PREFACE
The emotion concepts of the Iban community in Sarawak are different from other cultures in Malaysia, although there is a close resemblance with those of the Malays. The different way of expressing emotions is closely related to the Ibans’ unique cultural values, which are still persevered in this speech community despite modernization.
This book is an outcome of the research that I conducted in 2000. The study argues that, because terminologies of emotion concepts are culture-specific in Iban, drawing their meaning from the context of the Ibans’ historical and cultural background, they cannot be simply explained through English words, or else the explanation will be imposed by ethnocentric bias. The interpretations and explications of the emotion concepts in this book illustrate why and how this is so. Hence, the research falls within the area of linguistics called pragmatics, which deals with meaning in context.
In analysing the Iban emotion concepts, the study utilized Natural Semantic Metalanguage (NSM), which is an analytical tool developed and elaborated by Anna Wierzbicka (1991), and the Concrete/Abstract Cultural Continuum framework, that is a framework developed by J. Vin D’Cruz and G. Tham (1993), and later, J. Vin D’Cruz and William Steele (2000). NSM enables emotion terminologies in the Iban language to be explicated and further defined along the Concrete/Abstract Cultural Continuum framework. By employing these two analytical tools, the readers are then able to see and understand what is truly happening in the mind of the Ibans.
On the presentation of this book, Chapter 1 introduces the readers to the statement of the problem—that the Ibans tend to express their emotions in non-verbal forms, and are therefore, prone to misinterpretation by the culturally insensitive. A clarification of core concepts relevant to the research (e.g. culture, values, communication, etc.) is also included in this chapter. Chapter 2 outlines the specific cultural and structural aspects of the Ibans’ way of life, including the communal life of the longhouse, their religion, the law of adat, the earlier practice of headhunting in the ancient times, their language and the Ibans’ relationship to the spiritual world, the society and the nature. Chapter 3 explains the methodology used for analysis and discussions of the emotion concepts in this ethic group, with particular reference to Natural Semantic Metalanguage and the Concrete/Abstract Cultural Continuum framework. The data were gathered through interviews and my own personal observation of the selected Iban speakers. The respondents of this study were the villagers from Sbangki Panjai, which is an Iban longhouse located in Lubok Antu, Sarawak (i.e. one of the states in Malaysia). Needless to say, as an Iban speaker myself and also one of the longhouse members, I encountered no restrictions in interacting with the respondents while conducting this research. Chapter 4 presents the explications and discussions of the Iban emotion concepts, which include the findings and analyses of interview results and observations. Finally, Chapter 5 summarises the findings, draws out some significant implications, highlights the limitations of the study and suggests recommendations for further research in the area.
The findings of this research significantly reveal the core cultural values that underlie the behavioural conduct of the Ibans in the ways they express their emotional feelings. The concept of adat and the rules of speaking in this ethnic community, in particular, are discussed in detail in this book, which explain the communicative behaviours of these people. This book offers insights into the Ibans’ world of meanings that essentially describes how these people relate themselves to others in their interaction.
Lilly Metom
February 2013
ACKNOWLEDGEMENTS
I am profoundly grateful to my former employer, Universiti Malaysia Sabah, for sponsoring me to undertake my master’s degree and attending to my financial needs throughout the length of my studies. I am indebted to the late Professor Vin D’Cruz, my supervisor, who first introduced me to the area of Language and Culture. I am also deeply grateful to Dr. Subakir and Dr. Hazidi for reading and commenting on my thesis. My gratification also goes to Amy, Saira, Lydia, Maureen, Affidah, Huzai, Aiza and Norlida for being supportive friends. I’m also truly grateful to Jones Mackean, a good friend of mine, who has generously granted the permission to use his splendid pictures, especially the one on the cover page. Special thanks go to my family, my mom and dad, my brothers and sister, Ramzi, Bobby, Robenson and Sophia, for their endless moral support, love and encouragement. Thanks also go to my brother-in-law, Balachandran, who has given his encouragement and moral support to this book publication. Last but not least, I am deeply indebted to my husband, Thony, for his valuable love, care and support, and my three lovely sons, Joel, Ashley and Daniell, who are the apples of my eyes.
LIST OF TABLES
Table 1: Seven principal birds of augury in the Iban community
Table 2: Expressions of anger, shame, disgust and surprise
Table 3: Expression of gratitude/joy
Table 4: Expression of love/affection
Table 5: Expression of loneliness
Table 6: Expression of guilt
Table 7: Expression of fear
Table 8: Expression of sympathy
Table 9: The Iban emotion terminologies
Table 10: Loanwords in Iban
Table 11: Pronunciation of Malay loanwords in Iban
Table 12: Pronunciation of English loanwords in Iban
LIST OF FIGURES
Front Piece: An Iban girl dressed in a traditional Iban costume
Figure 1: The relationships of the Ibans and ‘Others’
Figure 2: An Iban girl dressed in all the finery of the
traditional costume
Figure 3: An Iban man clad in a traditional costume
Figure 4: Iban headmen in their ritual costumes during a
gawai feast
Figure 5: The location of Sbangki Panjai on the map of Sarawak
Figure 6: The longhouse of Sbangki Panjai in Lubok Antu, Sarawak
Figure 7: The tanju (veranda or walkway)
Figure 8: The living room in an Iban bilik
Figure 9: The dining room in an Iban bilik
Figure 10: The opening in the kitchen
Figure