As Elsewhere Mentioned, (Chapter XIV), The Dancing, Which Is Similar To That Which Follows The Harvest, Is For The Benefit Of The Ghost And Is Distinct From The Usual Performance.

As soon as the tiwah feast has been decided upon the people start simultaneously to perfect the various arrangements, some looking for a water-buffalo or two, others beginning to make the several contrivances which the occasion demands.

Many men are thus occupied for several months. There are experts in the required handiwork, though a skilful man may be capable of performing all the various tasks. In earlier days the different memorials and the box containing the bones were placed in front of the house of the deceased, but of late years government officials have made some changes in this arrangement. When preparing for a tiwah feast it was the custom to close the river for perhaps three months by suspending a rattan rope on which were hung many spears of wood, tail feathers of the great hornbill, and leaves of certain trees. After a head had been secured the impediment was removed, but the government has forbidden the temporary obstruction.

A most important matter is the construction of the device to which the water-buffalo, formerly the slave, is tied when sacrificed. In its make-up it expresses symbolically the rules of behaviour for the widow until after the feast has been celebrated. Its name is panyanggaran, an obscure word which probably may be derived from sangar, which means to kill; the place of killing.

The foundation is a large post, usually of ironwood, firmly planted in the ground; its top is pointed and a little below, on either side, is attached horizontally a piece of dressed wood like two arms. Further below a number of sticks are affixed to each side, pointing obliquely upward, and all on a plane with the arms above. These sticks, usually three on each side but sometimes more, are considered as spears, and the top of each is finished with a rosette representing four spear-points, called kalapiting. The post itself is also regarded as a spear and is called balu (widow), while the sticks are named pampang-balu (widow rules). It seems possible that the post also represents the woman, head, arms, and body being recognisable. However that may be, the attached sticks are regarded as so many rules and reminders for the widow. In Kasungan I saw in one case eight sticks, in another only four. The rules may thus vary or be applicable to different cases, though some are fundamental.

Assuming that the requirements are six in number, according to my informant, the following should be observed by the widow: (1) To make the tiwah feast; (2) to refrain from remarriage until the feast has been celebrated; (3) to abstain from sexual intercourse; (4) to remain in the same place until after the feast; (5) to ask permission from the family of the deceased if she wants to leave the kampong temporarily; (6) to wear no red garments until the feast has been completed. Should any of these injunctions be disregarded a gutshi, the value of which may be twenty florins, must be paid to his relatives. If the widow desires to marry earlier than the tiwah feast she is required to pay the entire cost of the celebration, and sometimes an additional amount.

A simpler device than the panyanggaran is also used, serving a similar purpose and called sapundo. It consists of an upright post carved to represent the face of a good antoh, with tongue hanging out. To this pillar is tied a water-buffalo (as substitute for the slave formerly employed), a cow, or pig. As the sapundo is much easier to make it is used by the orang kampong or poor people. For a rich man who has gone hence both contrivances may be erected.

Another matter demanding attention is the erection of a tall, rather slender pole of ironwood, called pantar. A gong or gutshi strung near the top signifies that the deceased was a person of wealth and prominence, while a wooden image of the rhinoceros hornbill occupies a lofty position on the pinnacle. On account of its ability to discern objects at a great distance, this bird is regarded as a good watchman to guard the sacrifice, whether it be a water-buffalo or other animal. The pantar itself simply means "in memoriam," as if enjoining: "Don't forget this man!" These primitive monuments sometimes last over a hundred years, and more than one may be raised for the same man. Should it prove impossible to secure a water-buffalo, an ordinary cow may serve as sacrifice. The family thereby presents the animal's liao (soul) to the liao of the deceased, and the blian by dancing and sacrifice calls the latter to come and eat. Not only this, but the liao of every animal, bird, and fish which the family eats from the time of his death until the tiwah feast is given to him. Account is kept by incised cross-cuts on certain posts, notifying him of the number. I was told that when a raja died similar marks of account were made on a slave. The jaws of pigs or other animals, hanging by scores in the houses, together with heads of fish and legs of birds, are similar accounts for the same purpose, and all close with the tiwah feast.

A kapatong must be made, or, if the deceased were rich, perhaps two or three, which are inaugurated by the blian in the usual way, to be the ghost's attendants and guardians. The remaining duties to be performed are the making of a box or coffin for the bones to rest in, and the house in which it is to be deposited, either above or under the ground as may be decided. These tasks accomplished, no further responsibility devolves upon the widow or other members of the family.

On my return journey I stopped a few hours at a kampong in the vicinity to see some stones that, according to Katingan belief, are alive and multiplying.

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