THESIS

INTERPRETING PERFORMED BY INTERPRETERS IN MEDIATING CULTURAL DIFFERENCES IN KAMASAN VILLAGE, KLUNGKUNG-BALI

DEWA AYU TRI KUSUMAWATI

POSTGRADUATE PROGRAM UDAYANA UNIVERSITY DENPASAR 2013

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THESIS

INTERPRETING PERFORMED BY INTERPRETERS IN MEDIATING CULTURAL DIFFERENCES IN KAMASAN VILLAGE, KLUNGKUNG-BALI

DEWA AYU TRI KUSUMAWATI NIM 09901610046

MAGISTER PROGRAM LINGUISTIC PROGRAMTRANSLATION STUDY POSTGRADUATE PROGRAM UDAYANA UNIVERSITY DENPASAR 2013

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INTERPRETING PERFORMED BY INTERPRETERS IN MEDIATING CULTURAL DIFFERENCES IN KAMASAN VILLAGE, KLUNGKUNG-BALI

Thesis for Obtaining Magister Degree at Magister Program, Linguistic Program Study Translation Program Magister Program of Udayana University

DEWA AYU TRI KUSUMAWATI NIM 09901610046

MAGISTER PROGRAM LINGUISTIC PROGRAM TRANSLATION STUDY POSTGRADUATE PROGRAM UDAYANA UNIVERSITY DENPASAR 2013

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APPROVAL SHEET

This thesis was approved on November 26th 2013

Supervisor I

Supervisor II

Prof. Drs. I Made Suastra, Ph.D NIP: 19541224 198303 1 001

Prof. Dr. Drs. I.B Putra Yadnya, M.A. NIP: 19521225 1979031 004

Approved by, Head of Master Program in Linguistics Department Postgraduate Program Udayana University Director of Postgraduate Program Udayana University

Prof. Dr. I Nyoman Suparwa, M. Hum. NIP. 19620310 198503 1 005

Prof. Dr. dr. A.A. Raka Sudewi, Sp. S(K). NIP. 195902151985102001

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This thesis was examined by the Board of examiners On Tuesday, November 26th 2013 The examiner committee according to the Decree of Rector of Udayana University, Number: 3186/UN14.4/HK/2013, Date: November 14th 2013

Chairman Secretary Members

: Prof. Drs. I Made Suastra, Ph.D : Prof. Dr. Drs. I.B Putra Yadnya, M.A. : 1. Prof. Dr. I Nengah Sudipa, M.A. 2. Dr. Frans I Made Brata, M. Hum. 3. Dr. NL Ketut Mas Indrawati, M.A.

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SURAT PERNYATAAN BEBAS PLAGIAT

Saya yang bertanda tangan di bawah ini: Nama NIM Program Studi Kosentrasi Judul Thesis : Dewa Ayu Tri Kusumawati : 09901610046 : Linguistik : Linguistik Terapan (Penerjemahan) : Interpreting Performed by Interpreters in Mediating Cultural Differences in Kamasan Village, Klungkung-Bali

Dengan ini menyatakan bahwa Karya Ilmiah Tesis ini bebas plagiat. Apabila dikemudian hari terbukti terdapat plagiat dalam karya ilmiah ini, maka saya bersedia menerima sangsi semua peraturan Menteri Pendidikan Nasional Republik Indonesia No. 17 Tahun 2010 dan peraturan perundang-undangan yang berlaku.

Klungkung, November 2013

Dewa Ayu Tri Kusumawati NIM 09901610046

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ACKNOWLEDGEMENTS

First of all I would like to express my sincere gratitude to the Almighty God, Ida Sang Hyang Widhi Wasa for His blessing so that this thesis could be completed. On this occasion, I would like to thank Prof. Drs. I Made Suastra, Ph.D, as my first supervisor who never stopped encouraging the continuity of my writing and was always ready to give time. My great gratitude also goes to Prof. Dr. Drs. I.B Putra Yadnya, MA, as my second supervisor who always helped and motivated me to finish this writing, and also to my three examiners, Prof. Prof. Dr. I Nengah Sudipa, M.A., Dr. Frans I Made Brata, M. Hum., Dr. NL Ketut Mas Indrawati, M.A. for their guidance and suggestions for the completion of this writing. Many thanks were also addressed to the Rector of Udayana University, Prof. Dr. dr. Ketut Suastika, Sp.PD-KEMD for the opportunity given to me to complete the master program at Udayana University. A word of appreciation was also addressed to the Director of the Postgraduate Program at Udayana University, Prof. Dr. dr. A.A. Raka Sudewi, Sp. S(K) for the opportunity given to me to be a master student at Udayana University. In this occasion I would also like to express my gratitude to Drs. I Nyoman Suparwa, M.Hum., head of the Master Program in Linguistics, Udayana University, and all the administrative staff in the Linguistics Department who have guided, helped and

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motivated me in the process of writing this thesis. I would like to extend my best gratitude to my parents, father and mother who are always ready to support and enlighten me whenever I am in the darkness. My best gratitude also goes to my foster mother and father in Germany for always giving a helping hand whenever I need, to my Japanese papa, Hiraoka for always giving motivation and support in business, career, and education. To my beloved brother and sister who always encourage and inspire me to pursue my dreams. Moreover, to my sister in law and brother in law who always support and encourage me to finish my thesis. My deep appreciation goes especially to my beloved sweetheart, Ida Bagus Vichardes for his love, affection, motivation, and spirit. He always does his best to overcome my problems and difficulties. To my best friends and creative team in Karang Kompiyang Foundation, Ms Widna and Ms. Supar who always support and motivate me to finish my thesis and take good care of the children. To my beloved children in the Foundation for always supporting and praying for me. To my dear friends in Singapore, Elly, Made, and Mazlan for always supporting and motivating me. May God always bless those who have contributed to the completion of this thesis.

Klungkung, November 2013

Dewa Ayu Tri Kusumawati

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ABSTRACT

INTERPRETING PERFORMED BY INTERPRETERS IN MEDIATING CULTURAL DIFFERENCES IN KAMASAN VILLAGE, KLUNGKUNG-BALI

This study was aimed at analyzing the interpreting of cultural differences made by the interpreters in Kamasan Village, Klungkung-Bali. The topic of this research is an oral translation. Hence, the design used a descriptive qualitative approach. This research was intended to observe and identify the process of interpreting information and ideas, from SL into TL, which were mediated by interpreters. After obtaining the data, they were analyzed and examined based on the theory of modes of interpreting proposed by Hatim and Mason (1997) and Gentile, Ozolins, & Vasilakakos (1996) and theory of translation which is relevant for interpreting the oral translation to find the procedures used by the interpreter to interpret the cultural differences of the two languages as proposed by Newmark (1988). There were several instruments used to collect the intended data namely, the researcher, tape recorder, field notes, and interview guide. The data in this research contained spoken data from the conversations among the participants. In order to gain valid and reliable data about the interpreters modes and procedures on cultural mediation in Kamasan village, observation and interview methods were used (Fraenkel & Wallen, 1993). Finally, the data were analyzed to identify the participants conversations. The method of conversational analysis was used to observe the interpreters modes and procedures in dealing with different cultures within the conversations. Subsequently, the data were classified into the specific categories of the procedures. The result of this analysis in this study reveals the mode used by the interpreter was liaison mode. Six procedures were applied namely transference, cultural equivalent, functional equivalent, compensation, adaptation, and couplets. These procedures were used by the interpreter to mediate the cultural differences in Kamasan Village.

Key words: interpreting, liaison, procedure.

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ABSTRAK

Penelitian ini bertujuan untuk menganalisis penerjemahan perbedaan budaya oleh penerjemah di Desa Kamasan, Klungkung-Bali. Topik penelitian ini adalah terjemahan lisan. Oleh karena itu, disain menggunakan pendekatan deskriptif kualitatif. Penelitian ini bertujuan untuk mengamati dan mengidentifikasi proses penerjemahan informasi dan gagasan, dari bahasa sumber ke bahasa target, yang dimediasi oleh penerjemah. Setelah mendapatkan data, kemudian dianalisa dan dijelaskan berdasarkan teori modus penerjemahan oleh Hatim dan Mason (1997) dan Gentile, Ozolins, & Vasilakakos (1996) dan teori terjemahan yang relevan untuk penerjemahan lisan untuk menemukan prosedur terjemahan yang dipakai untuk menengahi perbedaan budaya antara dua bahasa seperti yang dikemukakan oleh Newmark (1988). Ada beberapa instrumen yang digunakan untuk mengumpulkan data yaitu, peneliti, perekam, catatan lapangan, dan wawancara. Kemudian, data dalam penelitian ini adalah data lisan dari percakapan diantara para peserta. Untuk mendapatkan data yang valid tentang modus penerjemahan dan prosedur mediasi budaya di desa Kamasan, maka metode yang digunakan adalah observasi dan wawancara (Fraenkel & Wallen, 1993). Akhirnya, data dianalisis oleh peneliti untuk mengidentifikasi percakapan peserta. Metode analisis percakapan digunakan untuk mengamati modus dan prosedur penerjemahan untuk menangani perbedaan budaya dalam percakapan. Selanjutnya, data diklasifikasikan ke dalam kategori prosedur penerjemahan. Hasil analisis dalam penelitian ini mengungkapkan modus yang digunakan oleh penerjemah adalah modus liaison. Enam prosedur yang diterapkan yaitu transferensi, padanan budaya, padanan fungsi, kompensasi, adaptasi, dan kuplet. Prosedur ini digunakan oleh penerjemah untuk memediasi perbedaan budaya di Desa Kamasan

Kata kunci: interpreting, liaison, procedure.

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TABLE OF CONTENTS

CONTENT INSIDE FRONT COVER .................................................................................. TITLE PREREQUISITE .................................................................................. APPROVAL SHEET ......................................................................................... THE DECREE OF THE COMMITTEE OF EXAMINERS PLAGARISM FREE STATEMENT .. ACKNOWLEDGEMENTS ............................................................................ ABSTRACT ................................................................................................. ABSTRAKSI ... TABLE OF CONTENTS ............................................................................... LIST OF FIGURES ........................................................................................ LIST OF ABBREVIATIONS AND TERMS................................................ CHAPTER I INTRODUCTION 1.1 1.2 1.3 1.3.1 13.2 Background....

Page i ii iii iv v vi viii ix x xiii xiv 1 1

Problems. 4 Aims of the Study. General Aim... Specific Aim.. 4 5 5

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1.4 1.5

Significance of the Study. Scope of the Study ....

5 7

CHAPTER II LITERATURE REVIEW, CONCEPTS, THEORETICAL FRAMEWORK, AND RESEARCH MODEL 2.1 2.2 2.2.1 2.2.2 2.2.3 2.2.4 2.3 2.3.1 2.3.2 2.4 Literature Review. Concepts .. The Concept of Cultural Mediation.. The Concept of Wayang Kamasan Painting The Concept of Interpreting. Modes of Interpreting .. Theoretical Framework. Theory of Liaison Interpreting Interpreting Procedures Research Model...

8 8 11 11 14 17 20 22 22 25 31

CHAPTER III RESEARCH METHOD. 3.1 3.2 3.3 3.4 3.5 Research Approach. Research Setting. Research Subject Research Instruments. Method and Technique of Collecting Data.

33 33 34 36 37 39

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3.6 3.7

Method and Technique of Analyzing Data. Method and Technique of Presenting Data.

41 42

CHAPTER IV THE ANALYSIS AND DISCUSSION OF INTERPRETING CULTURAL DIFFERENCES MADE BY INTERPRETERS IN KAMASAN VILLAGE, KLUNGKUNG-BALI......................................... 43 4.1 4.2 4.2.1 4.2.2 4.2.3 4.2.4 4.2.5 4.2.6 The Analysis of the Mode of Interpreting The Analysis of the Procedures of Interpreting... Cultural Equivalent.. Transference. Couplets 44 54 54 62 67

Functional Equivalent. 76 Compensation.. 77 Adaptation 79

CHAPTER V CONCLUSIONS AND SUGGESTIONS... 5.1 5.2 Conclusion Suggestions..

81 81 81

REFERENCES APPENDIX ........................................................................................................ Printed Transcript

83

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LIST OF FIGURES

Figure Figure 1. Three levels of uniqueness in mental programming Figure 2. Andersons type-case model of three-party interaction Figure 3. Research Model

Page 12 19 31

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LIST OF ABBREVIATIONS AND TERMS ABBREVIATIONS SL TL IS TS TERMS Wayang : Traditional puppet shadow : Source Language (Balinese) : Target Language (English) : Interpreting Studies : Translation Studies

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CHAPTER I INTRODUCTION

1.1

Background Language is one of the most powerful emblems of social behavior. We use it

to send vital social messages and it is often shocking to realize how extensively we may judge a persons background, character, and intentions based simply upon the persons language, dialect, or, in some instances, even the choice of a single word. It is a means of communication existing in a community. Its characteristics as a means of communication are very much related to and varied in accordance with the characteristics of the community in which the language is spoken. It is said that language is the close co-variation with the social facts of the community concerned (Seken, 1993). Therefore, one significant factor about language is its relationship to the culture of the social group. The use of language in the society is greatly influenced by the social culture of the society. In a speech community, the way people talk to each another is influenced by the culture. It stands to reason that culture has a deep impact on uses of its language within all communities. These two parts are interrelated and cannot be separated from one another. Language is a key component to culture and the primary medium for transmitting much of culture. Without language, culture would not be possible. On the other hand, language is influenced and shaped by culture. Cultural

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differences are the most serious areas causing misunderstanding, unpleasantness and even conflict in cross-cultural communication. Regarding the concept of interpreting as a form of translation in which a first and final rendition in another language is produced on the basis of a one-time presentation of an utterance in a source language (Pchhacker, 2004). It is clear that this form of translation deals with two different languages as well as their cultural differences due to the relationship between language and culture, which are bound together. Thus, the task in interpreting is not only one of mediating linguistic gaps, but also mediating cultural gaps. In line with this, Namy stated that interpreting is not merely transposing from one language to another, it is rather throwing a semantic bridge between two different cultures between two different thought-worlds (as cited in Al-Zahran, 2007). Moreover, Pchhacker (2004) explained, viewed from a social rather than a cognitive- psychological perspective, the interpreter is seen as a mediator not only between languages but also between cultures and value systems (as cited in Munday, 2009). The interpreter plays an important role to bridge the gap between two people or groups of people because they do not speak the same language. It means that the interpreter is a mediator connecting two different languages and bridging people with different languages and cultures. In line with this, a research conducted by Al-Zahran (2007) on interpreting, attempted to analyze the mediation of cultural procedures to show that conference interpreters apply several procedures in handling cultural differences as a cultural

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mediator. Moreover, a study conducted by Kelly (2000) revealed the need for the role of a court interpreter to be redefined taking into account the fact that there has been and may be situations where the interpreter has to make explanations and to convey cultural information. Referring to the previous discussion, it is clear that interpreters use some procedures in mediating cultural differences. Bali as a tourist destination requires good service across languages and cultures. Reliable procedures of mediating

communication across languages and cultures are, after all, an essential pre-requisite to deal effectively with the increasing number of individuals from different languages and cultural backgrounds come to experience the Balinese unique art and cultures. However, the analysis upon such procedures of interpreting especially in Klungkung, east Bali has seldom been conducted. It was interesting to investigate the mode of interpreting and the application of the procedures adopted by the interpreters in the process of interpreting. In relation to this, the research was intended to analyze conversations among the participants that were mediated by interpreters in order to find out the mode of interpreting and the procedures which were applied by the interpreters in the process of interpreting in the area of Kamasan village in Klungkung, east Bali. It is considered representative as the setting in this study because it is very famous as a tourism object for wayang painting. Wayang Kamasan painting is one of the most important classical arts in Bali that can be considered the hub art of Balinese culture.

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It cannot be separated from religious values. There are a lot of aspects dealing with it like philosophy, education, spiritual, technical, economy, social, and culture. The interpreters must possess a diverse knowledge about the Balinese culture because it is more than art. It is integrally linked to the Balinese culture, religion and daily life. This study was expected to find out the mode of interpreting and significant procedures applied by the interpreters to mediate cultural differences.

1.2

Problems Based on the background mentioned above, the problems that would be

answered in this research can be formulated as follows: 1. What interpreting mode and procedures were applied by the interpreter in Kamasan village? 2. Why did the interpreters adopt those procedures?

1.3

Aims of the Study This research was aimed to analyze the interpreters mode and procedures

used in cultural mediation in a tourism setting especially about wayang painting and Kamasan village that is integrally linked to the Balinese culture. By analyzing the

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data from the participants and interpreters and from the actual interpreting performance, it was aimed at finding out the objectives in the following sections. 1.3.1 General Aims Generally, this research was aimed at investigating the scope of interpreting cultural mediation. The analysis of conversation was emphasized in order to find out the mode and interpreting procedures applied by the interpreters to mediate any significant cultural differences among the participants of different languages. 1.3.2 Specific Aim Referring to the general objective stated previously, the specific objective of this present research was to investigate the mode and procedures of interpreters as the cultural mediators to handle the culture differences in Kamasan village.

1.4

Significance of the Study This research is expected to give a theoretical, practical, and also prospective

significance for the enhancement of theory, the adaptation of the theory, and the extension of insight and perspectives of a scientific framework in interpreting, specifically about intercultural issues.

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1.4.1

Theoretical Significance This research can motivate and trigger the researcher to be able to apply,

adapt, and develop theories in interpreting with intercultural issues, especially upon the mode and procedures of interpreting adopted by the interpreters as cultural mediators in handling cultural differences. It is useful to the development of cultural linguistic studies, particularly the Balinese culture terms used by the painters and villagers in explaining wayang and Kamasan village equivalence into English. In addition, it is also useful to those who want to learn about interpreting and to those who want to be an ideal interpreter by understanding theoretically linguistic and cultural differences 1.4.2 Practical Significance This research exemplifies how unique cultural terms in one language can be interpreted into another language with a very different cultural background, especially from Balinese into English and vise versa. Those who are interested in interpreting will find this study helpful and useful in comprehend the mode and procedures adopted by the interpreter. In addition, those who are interested in interpreting can also realize that culture takes an important part when interpreting two different languages of two very different cultural backgrounds. Finally, it is hoped that the result of this study can contribute to a foundation for further research in this field.

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1.5

Scope of the Study The discussion focused on the mode of interpreting and interpreting

procedures, which were adopted by the interpreters in handling cultural differences in Kamasan village that is famous for its wayang painting and center of art.

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CHAPTER II LITERATURE REVIEW, CONCEPTS, THEORETICAL FRAMEWORK, AND RESEARCH MODEL

2.1

Literature Review Several thesis, articles, and papers are critically reviewed related to the

interpreting mode and procedures of handling cultural differences in the process of interpreting. There are also some views on cultural mediation and translation, which could certainly be relevant for interpreting as well. Those descriptions are reviewed in this chapter since they are considered as having relation to the object of this study. A study conducted by Al-Zahran (2007) upon interpreting in an attempt to analyze the mediation of cultural procedures showed as conference interpreters apply several procedures in handling cultural differences as cultural mediators. The

discussion focused on the procedures borrowed mainly from the contributions in the field of Translation Studies, Newmark (1981/1988) and Ivir (1987), which can certainly be valid for interpreting as well (Al-Zahran, 2007). The presence of two or more different cultural systems in interpreting communication can give rise to disparities between the receivers textual and linguistic expectations on the one hand, and the way the sender chooses to relay his/her message on the other. Therefore, the intercultural factor is considered a source

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of potential noise in the communication channel (Kirchhoff, 1976 as cited in Kondo et al. 1997). If the interpreters ideal function is to ensure smooth communication between the speaker and audience, then the interpreters role is to remedy the potential cultural noise by adapting the culturally-bound peculiarities of the original to the receptors culturally determined expectations (Kirchhoff, 1976 as cited in Kondo et al. 1997). In a survey carried out in healthcare settings in Canada, Mesa (2000) used the term cultural interpreter to define the ideal interpreter, who is expected to help both parties in the interaction understand, in addition to the language, the values, concepts and cultural practices of each other. Moreover, Kelly (2000) addressed the role of the interpreter with regard to cultural issues in the courtroom in a survey in order to ascertain the perceived limits surrounding the interpreters ability to serve as a cultural bridge while acting as a language facilitator. Kelly pointed out the need for the court interpreters role to be redefined taking into account the fact that there are and may be situations where the interpreter has to make explanations and convey cultural information. Kelly nevertheless argued that the plausibility of the traditional passive role should be questioned. Another thesis reviewed in this study is the study conducted by Budiartana (2007) entitled The Process of Interpreting Performed by the Tour Guides at Sukawati Art Market. The writer discusses about the mode of interpreting, setting,

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and procedures applied in interpreting process by the tour guides. There are five out of seven procedures, namely equivalent, literal, modulation, transposition, and borrowing applied by the tour guides. In line with the research conducted by Budiartana (2007), which investigated the interpreting mode and procedures applied by the tour guide in Sukawati art market, this study investigated the mode and procedures applied by the interpreters in handling cultural differences in Kamasan village. Both the studies dealt with the data of the Balinese environment and culture. Puspani (2010) states that the modes of the interpreting applied at court are the consecutive and simultaneous interpreting and there are three translation strategies applied by the interpreter in court proceedings namely shift, addition and deletion of information. The research also focuses on several factors that underline the application of those strategies, (a) shift strategy which occurred due to the different structure between the SL and the TL, (b) the strategy of the addition of information which occurred when the interpreter emphasized the meaning of the message of the SL in the TL, and (c) the strategy of deletion of information which occurred when the message of the SL rendered into the TL had covered the implied meaning in the TL. She also analyses the impact of the application of those strategies towards the interpreting quality. The research conducted by Puspani (2010) analyzed Court Interpreting at Denpasar Court meanwhile, whereas this research focused on

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interpreting in Kamasan village. However, both studies analyzed the mode and translation strategies applied by the interpreters in interpreting process.

2.2

Concepts The concepts that are accordance with the current research are based on

several ideas proposed by the experts in the field of interpreting. There are some concepts that are highly necessary to be made obvious, namely concepts of cultural mediation, wayang painting, interpreting, and, modes of interpreting.

2.2.1

The Concept of Culture Mediation It has been mentioned in advance that language and culture are interrelated

and cannot be separated. However, before starting to go into detail on cultural mediation, it makes sense to define the term culture in general. The expression culture is among the most complex terms of language and is heavily discussed in social sciences. Nevertheless, it is one of the most frequently words of our time. Nowadays, there are countless definitions for culture ranging from highly scientific and complicated phrases to the simple statement describing culture as the way of life. Hofstede (2010) explained the very illustrative definition of culture as the collective programming of the mind which distinguishes the members of one group or category

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of people from another. In general, culture is believed to be a shared system of attitudes, values, beliefs, and behavior. Again referring to what Hofstede (2010) believed that culture is learned not innate. It is shaped by parents, relatives, teachers, friends, and the society.

Specific to Individual

Inherited and learned

PERSONALITY Specific to group or category Learned CULTURE HUMAN NATURE

Universal

Inherited

Figure 1. Three levels of uniqueness in mental programming (Hofstede, 2010) From the figure above, it can be seen that culture is the second of three levels of uniqueness in human mental programming after the level of human nature, which is common to all human beings. The third level is an individuals personality, which is not shared with other members of the group but is unique to one person. Culture contributes a deep impact of the use of the language in a speech community. Referring to this, Pchhacker (2004) stated that culture determines the way people think, act and interact. This research does not claim that any of these

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definitions is better than others, but simply emphasizes the role that cultural elements play in communication from the interpreters perspective. Moreover, Reeves (1994) explained that in translating and interpreting, as well as in communication in general, transmissions of messages have a chance to succeed if the receiver shares that cultural and social knowledge. If not, the utterance does not make sense to the receivers as it does not correspond to any reality they have experienced. Furthermore, Taft explained, A cultural mediator is a person who facilitates communication, understanding and action between persons or groups who differ with respect to language and culture. The role of the mediator is performed by interpreting the expressions, intentions, perceptions, and expectations of each cultural group to the other, that is, by establishing and balancing the communication between them. In order to serve as a link in this sense, the mediator must be able to participate to some extent in both cultures. Thus a mediator must be to a certain extent bicultural (as cited in Katan, 2004). Thus it can be concluded that culture mediation is very important in interpreting in order to offer good service across languages and cultures. Reliable culture mediation in communication across languages and cultures are, after all, an essential pre-requisite to deal effectively with the increasing number of individuals coming from different languages and cultural backgrounds. The interpreter or translator should be able to mediate the various languages and cultural backgrounds of the people who get involved in the communication.

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2.2.2

The Concept of Wayang Kamasan Painting The word wayang means shadow play puppet. The wayang paintings come

from a small village of Kamasan, Klungkung in east Bali. Klungkung is well known as a tourism object for its Kerta Gosa or Justice Hall and floating pavilion, with beautiful painting ceilings of wayang Kamasan style. The painters of the ceilings of Kerta Gosa came from Kamasan village. Besides being used in palaces, traditional paintings can be found in many family and community temples. Wayang Kamasan paintings have the function to tell epic stories of Mahabrata and Ramayana, Balis oldest stories, remember ancestors merit, present god and goddess, understand religion thought and ritual decoration. The paintings have moral values and lessons that the painters want to share about the behavior of gods, heroes, demons and humankind through the epic stories being portrayed. They are closely linked with ritual activity as a source of knowledge or education and life guidance. According to Vickers (1983), the paintings are found in many forms, as langse (curtains) for the sides of the pavilions; as the squarer tabing or back clothes of platforms in pavilions (sometimes they are painted directly onto back-boards of these platforms), and as ider-ider, long thin cloths hung around the eaves of pavilions or enclosed pavilions; in addition, paintings can also be done onto ceilings of the pavilions.

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There are several strict rules and guidelines or conventions of the wayang Kamasan style that should be followed by the painters. As in the shadow puppet theater, gods and heroes tend to be lighter in body color, with narrower eyes and more refined teeth. Their head dresses, clothing and jewelry are always prominent and their gestures and postures graceful. On the other hand, devils, giants, demons, and unrefined characters in the paintings prone to anger are darker, usually painted in reds or browns; their eyes are rounder, bulging and more pronounced; their bodies are fat, their teeth sharper with canine fangs and animal-like. Higher-born characters namely kings and princes, occupy higher territory in the scenes in which they appear meanwhile lower-status ones appear below them. The kings, princess, noblemen and heroes always have to be drawn with certain colors to understand their characters and status. The process of painting wayang Kamasan style begins with dividing and drawing plan, and then makes forms like puppet figures, stone, tree, awon-awon or cloud, animals, etc. It has various symbols, meaning, function of figures, animals, trees, stone, water, etc. Even every move is meaningful. Wayang paintings also use the concept of day and night that depend on the stories being portrayed. The day time concept in the paintings can be symbolized by surya or the bright sun and the night time can be symbolized by the candra or moon and owls. All these concepts will have consideration of good meaning and message for the audience because the painters

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explain, share, transfer, and educate people through the message of their masterpieces of art. Vickers (1983) believed the relation of painting and the context of their use, especially ritual context. The paintings do not serve as icons in the religious sense, but they do contain representation of gods, kings, priests, princes, demons, witches, and various sorts of divine beings. All the paintings are narrative works, and the stories have some degree of appropriateness (expressed in Balinese terms pantes and patut, appropriate) to their contexts. Thus, for instance, in the pavilion where the Brahma/Brahmin the high priest will later come and perform his ritual of making holy water, it is usual to have a tabing depicting the story of the Churning of the Ocean of Milk from the Adiparwa, the old Japanese version of the first book of the Indian Mahabrata. The story illustrates not only the type of narrative generally considered appropriate in temple settings, but shows how the contents of such narrative have significance for the way members of the congregation see themselves as acting socially.

Moreover, as stated previously, the concept of wayang Kamasan has close affiliations to the wayang shadow puppet theater. Thus, it can be concluded that wayang kamasan painting is a media of education through its epic stories where the painters present their art works as if there were a puppeteer or dalang play the figures from behind the canvas as the live entertainment performance to entertain the audience.

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2.2.3

The Concept of Interpreting Language as a means of communication exists in a community. If human

beings could not live together in a community, perhaps language will never come into existence. Because of language, people can communicate to exchange and flow of information and ideas. In communication, there is a process of transmitting ideas, information, or feeling with one another. Effective communication occurs only if they understand the exact information or idea that is intended to transmit. It is easier when they communicate in the same language with the same cultural background. They understand the information or ideas that are intended to transmit. However, when people communicate in different languages as well as cultural backgrounds, the transmitting of information and idea may become a tough way, so even simple messages can be misunderstood. And many words have different meanings to confuse the issue even more. Therefore, interpreting is very important to solve the problems. When people do not share a common language but need to communicate with each other in order to transmit or share information and ideas, that is, when interpreting takes an important role. There are several definitions of interpreting which generally tend to focus on the spoken or oral aspects. Consider the following definition as explained in the translation research terms: a tentative glossary for moments of perplexity and dispute by Pym (2011) that interpreting is spoken translation. Moreover, interpreting is a

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form of translation in which a first and final rendition in another language is produced on the basis of a one-time presentation of an utterance in a source language (Pchhacker, 2004). In addition, Setton (1999) states that interpreting is a process by which a spoken language or utterances take place in one language which is intended or presumed to convey the same meaning as previously existing in another language. Interpreting is the act of facilitating communication from one language form into its equivalent, in another language. Many people are confused about the concepts of translating with interpreting. The main difference is that translation is written, while interpreting is verbal. In line with this, Mikkelson (2000) states that interpreting is the transfer of an oral message from one language to another in real time. In addition, De Jongh (1992) argues along the same lines that translation is the transfer of thoughts and ideas through a process of written words from source language to target language. Meanwhile, interpreting is an oral process of communication. She further added translation converts a written text into another written text, while interpreting converts an oral message into another oral message. There are three ways of communication in interpreting, namely the speaker, the interpreter, and the hearer. Interpreting as the oral translation is focused on the time of the rendering immediately after the delivery of the utterances from the speaker; the interpreter renders the message of the speaker to the hearer. In order to interpret the message the interpreter must be able to receive and understand the incoming message

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and then express the meaning in the target language. Interpretation is also held to a different standard of accuracy than translation. While interpreters try to achieve total accuracy at all times, details of the original speech can be omitted from the interpretation into the target language, without a pause. In order to accomplish this task, the interpreter must go through an overlapping series of cognitive processing activities. These include: attending to the message, concentrating on the task at hand, remembering the message, comprehending the meaning of the message, analyzing the message for meaning, visualizing the message nonverbally, and finally reformulating the message in the target language. Anderson (1976/2002) stated that monolingual of language A

communicating with monolingual of language B via an interpreter commanding in both languages (as cited in Pchhacker, 2004). The process of interpreting can be described in the following basic interaction model. Monolingual Speaker of Language A Interpreter Monolingual Speaker of Language B

Sa
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Iaba!

Sb
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Figure 2. Andersons type-case model of three-party interaction (as cited in Pchhacker, 2004)

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From the basic interaction model proposed by Anderson, it can be seen that bilingual interpreter takes an important role to bridge the information in both language A and language B. Interpreter as a mediator of the monolingual speaker A in giving some information or ideas to monolingual B and vise versa (Anderson, 1976/2002 as cited in Pchhacker, 2004).

2.2.4 Modes of Interpreting There are three principal modes of interpreting namely, simultaneous, consecutive and the liaison (Hatim and Mason, 1997) a. Hatim and Mason (1997) stated that texture comes to the fore in simultaneous interpreting. The term texture refers to various linguistic devices applied in a text with a purpose to build a flow of sense and to make a sequence of sentence operational or what is said as cohesive and coherence. In this type of interpreting, the interpreter should react and interact from one utterance to another utterance where overlapping between various elements of sequence is unavoidable. b. Consecutive interpreter, whose output comes after the source text has been delivered, tends to focus on information relevant to text structure. Effective

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consecutive output thus exhibits a clear outline of the way the text is structured (Hatim and Mason, 1997). c. Hatim and Mason (1997) stated that the liaison interpreter has access only to a partial view of texture and structure, both of which would be unfolding piece meal in the two way exchange. In this case, context would seem to be the main resource which the interpreter draws on in the task of maintaining the continuity of the exchange. Liaison interpreting is a very common form of interpreting and takes place in a range of different situations ranging from very formal contexts, such as business or talks between heads of state to less formal situations such as work visits, parties or even casual conversation between people who do not share the same language. One example of liaison interpreting is escort interpreting. In this setting, an interpreter accompanies a person or a delegation on a tour, on a visit, or to a meeting or interview. An interpreter in this role is called an escort interpreter or an escorting interpreter.

The escort Interpreter translates what is said in SL into TL and expresses what the people want to ask or say in the TL. The interpreters must have a very good level in both languages; especially it is very important that the interpreter knows in detail both cultural backgrounds. The interpreter has an important role as a cultural mediator. In addition, Pym (2011) described escort interpreting as a term once used

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for services where an interpreter accompanies someone or a group of people to provide language mediation. Furthermore, according to Mikkelson (1999), escort interpreting refers to interpreting that is carried out during on-site visits made by official figures, business executives, investors, etc. to factories, buildings, monuments, parties, and so on, thus putting the interpreting in a variety of formal and informal situations.

2.3

Theoretical Framework The theories implemented in this research are the theory of liaison

interpreting proposed by Hatim and Mason (1997), Gentile, Ozolins, & Vasilakakos (1996) and the theory of translation proposed by Newmark (1988) which are relevant for interpreting as spoken translation Pym (2011).

2.3.1

Theory of Liaison Interpreting Hatim and Mason (1997) states that the liaison interpreter has access only

to a partial view of texture and structure, both of which would be unfolding piece meal in the two-way exchange. Again, Hatim and Mason (1997) state that liaison interpreting is a form of oral interpreting in which two speakers who do not know each others language or know them imperfectly communicate through an interpreter,

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normally in spontaneous conversational settings. Moreover, they state about the focus of the information when interpreting is conducted. In the case of simultaneous interpreting, context and structure are revealed only piecemeal and can thus be accessed more effectively via texture, i.e. the word as they are spoken. In the case of consecutive interpreting, texture and context are retained only in a most short-lived manner and can thus be stored more effectively via structure. In the case of liaisons interpreting, texture and structure are manifested only partially and can thus be negotiated more effectively via context. (Hatim and Mason, 1997). They state that context is more readily available to liaison interpreting. Moreover, they explain that because liaison interpreter is force to interpret short segments, she/he cannot rely on the whole text structure and texture to deduce meaning, but must rely on context to pre-empt the rest of the text. Moreover, Hatim and Mason state about the similarity and the difference between simultaneous and liaison interpreting as follows: Liaison interpreting input bears an interesting resemblance to that of simultaneous; in both cases the interpreter receives a first installment of a longer text and more or less immediately embarks upon delivery. But the resemblance ends here: while the second installment of simultaneous input is never long in coming, providing the interpreter with more textural information to be processed, the liaison interpreter has to treat the first portion as a self-contained unit. (Hatim and Mason, 1997) It indicates the liaison interpreter only depends on self-reliance to interpret what is being said by the speaker, since the text is not given to them. Furthermore, Gentile et al (1996) state the definition of liaison interpreting includes interpreting in business and tourism setting as follows:

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We use the term liaison interpreting to refer to a growing area of interpreting throughout the world: in business settings, where executives from different cultures and languages meet each other; in meetings between societys legal, medical, educational, and welfare institutions and its immigrants who speak a different language; in relation to a dominant society and indigenous people speaking different languages; in a whole host of less formal situations in tourism, education, and cultural contacts. Liaison interpreting is a genre that is performed in two language directions by the same person (Gentile et aI., 1996). Moreover, Gentile et al (1996) provide the following characteristics of liaison interpreting: Liaison interpreting is the name given to the genre of interpreting where the interpreting is performed in two language directions by the same person. [...] Liaison interpreting is widely used where two or more interlocutors do not share a language and where the interpreter must be present in order to bridge the communication gap. Typically, these are situations where the acquiring or giving of information is based on exchanges between interlocutors which produce a resolution of some problem or lead to a decision, a diagnosis or generally improved understanding between interlocutors. These interlocutors are ipso facto the clients of the interpreter. According to Gentile et all (1966), as factors which distinguish liaison interpreting from conference interpreting, namely: 1. the physical proximity of interpreter and clients; 2. an information gap between the clients; 3. a likely status differential between the clients; 4. the necessity to interpret into both language directions; 5. working as an individual and not as part of the team. Liaison Interpreting is performed in less formal contexts, without a distinction between the listeners and speakers so there is physical proximity of

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interpreter and clients. The idea of liaison interpreting is as a link, a connection between people to bridge the information gap. In other words, we may say that culture is the real gap between the clients. Interpreter plays a fundamental role as a mediator so interpreters should be able to mediate beyond the language pairs. The third characteristic of liaison interpreting based on Gentile et al., (1996) is the status differential between clients and between the client and the interpreter. This is said about liaison interpreting in situations, which may include medical consultations, teacher/parent interviews, court cases, business negotiations, group therapy, pre-trial briefings, police interviews and many more. Furthermore, liaison interpreting is a notion used for a mode which usually entails working in both language directions, which is usually characterized by shorter speaking turns of participants, and a smaller number of participants. The level of formality may differ.

2.3.2

Interpreting Procedures The procedures to overcome cultural differences in this study are mainly

from the contributions in the field of TS, Newmark (1988) due to the lack of a detailed issue on culture mediation procedures in the field of TS in general and escort interpreting in particular. Some scholars agreed interpreting and translating share the view that translation includes interpreting. Therefore, they recommended that a

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student should get a good grasp of translation in order to understand interpreting. Nord (1997) believed that translation and interpreting as two varieties of the same intercultural communicative inter- action based on a source text. Padilla and Martin (1992) based on their teaching experience, argued that it is far easier for them to teach students with a translation background to become interpreters than without one. Moreover, the use of translating procedures is quite relevant because interpreting is spoken translation (Pym, 2011) and interpreting is a form of translation in which a first and final rendition in another language is produced on the basis of a one-time presentation of an utterance in a source language (Pchhacker, 2004). Therefore, Newmarks procedures, listed below, were examined to test

whether they were applicable for interpreting cultural elements, and whether they had been employed consciously or unconsciously by the interpreter to transfer these elements from Balinese into English or vise versa and mediate the cultural gaps or not. The procedures which are presented by Newmark (1988) are as follows: 1. Transference: transferring a SL word to a TL text as a translation procedure. It is known also as emprunt, loan word, transcription. 2. Naturalization: Adapting the SL word first to the normal pronunciation and then to the

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normal morphology of the TL. It is a procedure which converts SL pronunciation into normal TL spelling. 3. Cultural Equivalent: replacing a SL cultural element/situation with one of the TL. When communicative situations are difficult to understand in the culture of TL and the situation of the SL does not exist in the TL a cultural gap another equivalent situation has to be created. It is considered an approximate translation where an SL cultural word is translated by a TL cultural word. 4. Functional equivalent Neutralizing or generalizing a SL cultural word by using a culture-free word as an equivalent. Therefore, this procedure occupies the middle or universal position between the SL and TL cultures. 5. Descriptive equivalent Neutralizing or generalizing a SL cultural word using a description. It may occur when a single word in SL text is translated into a description form in TL text. 6. Synonymy: Using a near TL equivalent to an SL word in a context, where a precise equivalent may or may not exist. This procedure is used for an SL word where there is no clear one-to-one equivalent, and the word is not important in the text, in particular for adjectives or adverbs of quality (which in principle are outside the

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grammar and less important than other components of sentence. It means synonymy is used only when there is no clear equivalent for the SL in the TL and the word is not important enough for the whole text. 7. Through-Translation: transferring a SL word or expression into the Target Text using a literal translation of its component elements, usually common collocations and names of international organizations. Normally, through translation should be used only when there are already recognized terms. It is known as loan translation as well. 8. Shift or Transposition: Changing a grammatical category. A 'shift* (Catford's term) or 'transposition* (Vinay and Darbelnet) is a procedure involving a change in the grammar from SL to TL. 9. Modulation Changing the point of view or substantial conceptual concept in the translation, for instance, using the name of a category for a specific member of the category, using a part for the whole (and vice versa), active for passive, changing polarity etc. 10. Recognized translation Using a well-known accepted target language translation for a specific source language institutional term.

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11. Translation label Translating a new institutional term, and put it in inverted commas. Provisional target language translation of a source language term that does not have any conventional translation in the target language. 12. Compensation Making up for the loss of something in the source text, by adding something else in the target text. 13. Componential Analysis Splitting up a lexical unit into its sense components. It is not appropriate in translating cultural lexical items because it excludes the culture. Newmark (1988) described as being the most accurate translation procedure, which excludes the culture and highlights the message. 14. Reduction/expansion Adding or removing elements in translation (essentially a type of shift). 15. Paraphrase Explaining a linguistic or cultural element that is difficult to interpret in the TL due to the absence of an appropriate TL equivalent. In other words, it is amplification or explanation of meaning in target text. 16. Other Procedures Vinay and Darbelnet (as cited in Newmark, 1988) quoted from in the following about other translation strategies:

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1) Equivalence, an unfortunately named term implying approximate equivalence, accounting for the same situation in different terms. 2) Adaptation, use of a recognized equivalent between two situations. This is a matter of cultural equivalence. 17. Couplets Combining some procedures to translate a single word, as Newmark (1988:91) suggested couplets, triplets, quadruplets combine two, three or four of the above mentioned procedures respectively for dealing with a single problem. They are particularly common for words, if transference is combined with a functional or a cultural equivalent. Newmark (1988) also gave explanation about quadruplet as part of couplets that quadruplets are only used for metalingual words: thus, if you translate the sentence... you might also: (a) transfer it; (b) explain it...(c) produce a translation label; (d) give an example, with TL literal and functional translation. 18. Notes, Addition, Glosses Giving additional information in translation. A translator may add to his version what is normally cultural (accounting for difference between SL and TL culture), technical (relating to the topic) or linguistic (explaining wayward use of words), and is dependent on the requirement of his, as opposed to the original, readership.

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2.4

Research Model

The model of the research analysis can be seen in the following figure: Translation!

Written!

Oral (interpreting)!

SL!

Interpreter/mediator!

TL!

Research Method (Qualitative)

Sources!

Modes and Interpreting Procedures on Culture Instrumentation

Collection!

! Observation ! Interview

Investigator

Analysis

Findings Figure 3 Research Model

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The topic of this research is an oral translation (interpreting), which is in the rank of translation. Hence, the design used a descriptive qualitative approach. The research model above describes that the first step of this research was to observe and identify the process of transmitting information and ideas, from SL into TL, which were mediated by interpreters. After obtaining the data, then they were analyzed and explained based on the theory of modes of interpreting proposed by Hatim and Mason (1997) and Gentile, et al (1996) and theory of translation which is relevant for interpreting as the oral translation to find the procedures of the interpreter in mediating the cultural differences of the two languages as proposed by Newmark (1988). There were several instruments used to collect the intended data namely, the researcher, tape recorder, field notes, and interview guide. Then, the data in this research contained spoken data from the conversations among the participants. In order to gain valid and reliable data about the interpreters mode and procedures on cultural mediation in Kamasan village, the methods were utilized, namely observation and interview (Fraenkel & Wallen, 1993:384). Finally, the data were analyzed by the investigator/researcher to identify the participants conversations. The method of conversational analysis was used to observe the interpreters mode and procedures in dealing with culture within the conversations. Subsequently, the data were classified into the specific categories of the procedures of phenomena in the analyzed conversations.

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CHAPTER III RESEARCH METHOD

The method in conducting a research plays a fundamental role because it deals with the validity of the result of the research. In other words, it can be

concluded that to develop in-depth understanding of how to conduct and attain objectives of this research, research method determines the importance of this part. This chapter is concerned with research approach, research setting, research subject, research instruments, method and technique of collecting data, method and technique of analyzing data, and method and technique of presenting data. 3.1 Research Approach This research investigated the mode and procedures which were adopted by the interpreter on cultural mediation between the villagers and the tourists in Kamasan village. Hence, the design used was a descriptive qualitative approach.

The term qualitative research refers to research investigations on the quality of relationships, activities, situations, or materials (Fraenkel & Wallen, 1993). Holloway (1997) states that qualitative research consists of words or actions of the participants which the researcher hears and observes. The qualitative analysis was

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carried out on a selection of examples from interpreters actual performances. These actual performances were discussed as illustrations about the use of procedures on cultural mediation. Moreover, this research was a descriptive analytical study because the results were presented in a description form. The sources of the data used in this study were the conversations among the participants that were mediated by the Interpreter from Balinese into English and from English into Balinese.

3.2

Research Setting

The village of Kamasan is located in East Bali. The village is lying just south of Klungkung town. Klungkung is known as a tourism object mainly because its Kerta Gosa which has two pavilions with painting ceilings of wayang Kamasan style. All the painters of Kerta Gosa came from Kamasan village. It is geographically including lowland coastal villages and close to Klotok beach. The area is famous for a simple traditional way of life. It has produced generations of skillful artists. The uniqueness of this village it is rich in art and culture, such as the art of traditional painting, silver, and gold. The research location was selected based on the reason that it is one of the tourism objects in Bali. It is well known for its wayang paintings that make this village the mother of Balinese traditional paintings. It is fully packed with artists homes and studios because almost every member of families in the village gets

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involved in the making process of a painting. Moreover, it is the center of classical wayang paintings that somehow leads back to similar figures of puppets in ancient Java. They introduce religious subjects, astrological charts and calendars in stunning colors. Kamasan style uses color from natural pigments, such as black from charcoal and others from fruit or leaves. Shades of blue are achieved with a blend of indigo leaves, yellow is from ochre oxide, brown and orange from iron oxide, while white is derived from pieces of bone, horn and calcium from ashes. The Puppet figures of Kamasan painting are mostly about the epic story of Ramayana, Mahabharata, Arjuna Wiwaha, and Suthasoma. Therefore, the style of the painting can be said to be rather old age of the context of its history. Through the stories, it gives moral messages and values for the people. It is a media for religious education as well as entertainment. For example, one of the very famous Kamasan artworks, which is from the epic Hindu epic stories of Mahabharata. The story tells of the conflict of five brothers and their struggle to maintain their reign over an ancient Hindu kingdom. One of the finest examples of this unique art form can be seen on the elevated ceiling of Bale Kerta Gosa or the Hall of Justice that is located in the center town of Klungkung in East Bali. Regarding the research topic which was on interpreting, the researcher was interested in observing the mode and procedures adopted by the interpreters as a culture mediators between the villagers and tourists. Beside, the villagers or local

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artists and interpreters were very friendly and informative that eased the researcher to accomplish observations concerning the research topic and was done as qualitative study that took time to conduct. The data were obtained from the conversations between the villagers and tourists then mediated by the Interpreters. 3.3 Research Subject In accordance with the setting, the research subjects of the conversations were the villagers, specifically local artists who stay around Kamasan village. Purposive sample was used in selecting the subject. According to Wimmer and Dominick (2000), by means of purposive sampling, it is possible to select subjects on the basis of specific qualities and characteristics. Previous information was used to select samples. It was expected that each sample selected would be in themselves representative of the population. There were seven people as research subjects: two males and one female from the villagers and two English native speakers that were mediated by two Interpreters. They were involved in the recording of conversations intended to gather natural conversations. The ages ranged from 14 to 75 years old. Besides, the researcher interviewed the informants (kelian adat, perbekel, and pemangku in the community) in order to get clear explanation about the tradition or cultural background of this community.

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3.4

Research Instruments The instruments used to collect the intended data are as follows:

3.4.1

The researcher The instruments used by the researcher as the investigator to collect the

intended data were a tape recorder, field notes, and an interview guide. Bogdan and Biklen (1992) state that the researcher is the key instrument in a qualitative research (as cited in Fraenkel & Wallen, 1993). Therefore, the researcher was the key instrument of this research, since she investigated the behavior and the context in which the data were taken. The researcher was the crucial instrument of the current study since the human instrument was the most effective instrument to gather the data which were not obtained by other research instruments. Moreover, Fraenkel and Wallen (1993) state that when a researcher has the role of being the participant observer, he participates fully in the activities in the group being studied, but also making it clear that he is conducting a research. The collection of the data was accomplished by involving the researcher as a participant observer. Thus, the researcher observed the peoples attitudes and behavior in their real lives, and dwellings. In such setting, the observer could investigate the real speech of the villagers in the daily lives in order to find out the mode of interpreting and the procedures of the interpreters on cultural mediation between the villagers and the tourists. In this case, several instruments were used, namely:

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3.4.2

Tape recorder Audio recordings were used by the researcher to record all conversations

among the participants. Patton said that a tape recorder is "indispensable" and recordings have the advantage of capturing data more faithfully than hurriedly written notes might, and can make it easier for the researcher to focus on the interview (as cited in Hoepfl, 1997). 3.4.3 Field notes Hoepfl (1997) states that field researchers rely most heavily on the use of field notes, which are running descriptions of settings, people, activities, and sounds. Field notes may include drawings or maps. Field notes were used to write down the actions of the participants within the conversations as well as in the setting. In this case, the actions were their body movements, imitations, and vocal intonations. Acknowledging the difficulty of writing extensive field notes during an observation, Lofland and Lofland (as cited in Hoepfl, 1997) recommend jotting down notes that will serve as a memory aid when full field notes are constructed. This should happen as soon after observation as possible, preferably on the same day.

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3.4.4

Interview guide An interview guide was used to gain additional data about the speaker and

word spoken. Lofland & Lofland (1984) explain, An interview guide or "schedule" is a list of questions or general topics that the interviewer wants to explore during each interview. Interview guides ensure good use of limited interview time; they make interviewing multiple subjects more systematic and comprehensive; and they help to keep interactions focused. In keeping with the flexible nature of qualitative research designs, interview guides can be modified over time to focus attention on areas of particular importance, or to exclude questions the researcher has found to be unproductive for the goals of the research (as cited in Hoepfl, 1997). In this case, interviews were conducted with the native research subjects of the community and informants (adat practitioners). 3.5 Method and Technique of Collecting Data The data in this research contained spoken data from the conversations among the participants. The sources of data in this research were the participants who did not share the same language mediated by interpreters. They were villagers in Kamasan village, in the regency of Klungkung and the tourists. The methods of observation and interview were employed in order to gain valid and reliable data about the mode and procedures which were applied on cultural mediation in Kamasan village.

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3.5.1

The Method of Observation. Hoepfl (1997) states that observational data are used for the purpose of

description of settings, activities, people, and the meanings of what is observed from the perspective of the participants. Patton (1990) states that observation can lead to deeper understandings than interviews alone, because it provides a knowledge of the context in which events occur, and may enable the researcher to see things that participants themselves are not aware of, or that they are unwilling to discuss (as cited in Hoepfl, 1997). The observation observed the conversational processes to gain the data about the mode and procedures performed by the interpreters during the cultural mediation between the villagers and the tourists. In this research the researcher was called the participant-observer. It was expected that through the informal contact with the other group members, the observer could participate in the informal interaction so that the data obtained existed as natural data and the recorded conversations represented the vernacular or natural daily language realities. Language behavior was recorded and transcribed, and then the transcription was translated into two languages, namely Balinese and English.

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3.5.2

The Method of Interview The researcher used an interview method to gather data which was

supported by information collected through observation. Moreover, the interview was supported by note taking and recording techniques. The researcher acted as a nonparticipant in order to get the informants experiences of certain topic or specific situation of the observed topic. Moreover, interviewing (i.e., the careful asking of relevant question) is an important way for a researcher to check the accuracy to verify the impressions the researcher has gained through observation (Fraenkel & Wallen, 1993). 3.6 Method and Technique of Analyzing Data The objective of the data analysis is to identify the participants conversations enabling the researcher to find out the mode of interpreting and procedures adopted by the interpreters while engaged in cultural mediation between the villagers and the tourists in Kamasan village. The method was used for the data analysis, namely: conversational analysis. The conversational analysis was used to observe the procedures in dealing with culture within the conversations. Subsequently, the data were classified into the specific categories of the procedures of phenomena in the analyzed conversations. After gathering the occurrences of the cultural words, then the data were analyzed based on the theory of liaison interpreting

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proposed by Hatim and Mason (1997), Gentile, Ozolins, & Vasilakakos (1996) and the translation procedures theory proposed by Newmark (1988). 3.7 Method and Technique of Presenting the Data The results of the data analysis were descriptively and argumentatively presented. Furthermore, the functions and meanings, which were related to cultural value, tradition, and the social role of the speech community, were then be narratively explained.

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CHAPTER IV THE ANALYSIS AND DISCUSSION OF INTERPRETING CULTURAL DIFFERENCES MADE BY INTERPRETERS IN KAMASAN VILLAGE, KLUNGKUNG-BALI

This chapter presents the data and discussion of the data related to the problems of the study. As mentioned in the previous chapter, this study was aimed at analyzing the modes of interpreting and procedures, which were applied by the interpreters in the process of interpreting in Kamasan Village, Klungkung. The analyses in this chapter used the theory of interpreting proposed by Hatim and Mason (1997) and Gentile et al. (1996) and the theory proposed Newmark (1981) about translation procedures. The data taken for analysis were the conversations among tourists and villagers, which were mediated by the interpreters. There were four data in the form of transcriptions of the conversations to be analyzed in this study and they were extracted in the form of SL (the lay of the tourists or villagers) and TL (the lay of the Interpreter) to analyze the modes and procedures applied by the interpreters in the process of interpreting.

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4.1 The Analysis of the Mode of Interpreting Based on the theory of the modes of interpreting proposed by Hatim and Mason (1997), there are three modes of interpreting used, namely: simultaneous interpreting, consecutive interpreting, and liaison interpreting. In this study, the mode of interpreting done by the interpreters was liaison interpreting because the interpreters in mediating the conversations among the speakers who did not share the same language applied some characteristics of liaison interpreting proposed by Hatim and Mason (1997) and Gentile et al. (1996). The characteristics of liaison interpreting were found as follows: Example 1 (in data 1, utterances 48 and 52) 47. Tourist 48. Interpreter 49. Painter 50. Interpreter 51. Tourist 52. Interpreter 53. Painter 54. Woman 55. Interpreter 56. Tourist : I like the meaning, how much is it? : Ji kude ajine? : Niki seket juta : Fifty million rupiah : Its too expensive, but I love the story : Wenten sane mudahan gih? : Niki ten adol tyang. Wenten sane pekaryan ibu-ibu driki. Kude to keaturin ragane? : Niki telung ngatus sampun ambil. : Three hundred thousand rupiah : Ill take it

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The above example was the casual conversation between a tourist and two villagers who did not share the same language mediated by an interpreter. It took place in informal situation in Kamasan village where the interpreter had to facilitate the participants namely the painter and the tourist who wanted to buy the painting. In this case, the interpreting was done after a short speech and no equipment was used to maintain a continued conversation. Moreover, the interpreter focused on the context as the main resource. In utterance 48, he interpreted what the tourist said simply by the context of the utterance. He did not interpret based on the texture or the structure of the sentence; he tried to interpret the main point of what the tourist wanted to know from the painter based on the context of short utterances. He did not interpret the first sentence but interpret only the main question in the second sentence about the bargain of the tourist. Again, in this spontaneous conversational setting, he interpreted based on the context as shown in utterance 52 the interpreter only interpreted the main point of the bargain. He did not interpret the sentence based on texture and structure. There were cultural differences between the tourist and the painter, especially, when the tourist said that the painting was too expensive and the interpreter mediated the participants by asking the cheaper painting. In this case, the interpreter tried to maintain the continuity of the exchange of the message of the participants and create harmonious communication. Moreover, it was still acceptable in the TL culture. In line with the theory proposed by Hatim and Mason (1997) about the modes

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of interpreting, it was found that the interpreter applied the characteristics of liaison interpreting. Hatim and Mason (1997) state that the consecutive interpreting focuses on the structure of the text, while simultaneous interpreting focuses more in the texture and liaison interpreting relies on the context of the text. In this analysis, it was found that the utterances were translated based on the context to maintain the continuity of the exchange of the message of the participants and create harmonious communication. Moreover, Hatim and Mason state about the similarity and the difference between simultaneous and liaison interpreting namely: Liaison interpreting input bears an interesting resemblance to that of simultaneous; in both cases the interpreter receives a first instalment of a longer text and more or less immediately embarks upon delivery. But the resemblance ends here: while the second instalment of simultaneous input is never long in coming, providing the interpreter with more textural information to be processed, the liaison interpreter has to treat the first portion as a self-contained unit. (1997) In this spontaneous conversational situation, the interpreter only depended on self-reliance to interpret what was said by the speaker because the text was not given to him and no equipment was used by him. Furthermore, this spontaneous conversational situation between a tourist and a painter took place in tourism area in Kamasan village to negotiate business. It is in line with the theory proposed by Gentile et al (1996) that liaison interpreting includes interpreting in business and tourism setting. Moreover, it was in less formal situations in tourism and cultural contacts. Moreover, in this spontaneous conversational

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following characteristics of liaison interpreting proposed by Gentile et al (1996) were found. This interpreting was performed in less formal contexts, without a distinction between the listeners and speakers so there is physical proximity of interpreter and clients who were the tourists who wanted to buy a painting. The idea of liaison interpreting is as a link, a connection between people to bridge the information gap. In other words, the interpreter in this situation played a very fundamental role as a mediator to connect the negotiation. This was liaison interpreting in situation which included business negotiation. Furthermore, this interpreting was performed in both language directions by the interpreter, it was characterized by shorter speaking turns of participants, and there were only three participants involved in this situation. Example 2 (in data 2, utterance 63) 62. Tourist 63. Interpreter 64. Painter 65. Interpreter : Oh, long time ago. By the way, the wooden carving of this orchestra is so amazing. What is the wood? : Taru napi niki? : Niki taru tewel : This is tewel, the yellowish wood from the jackfruit tree.

The above example was the spontaneous conversation between a tourist and a villager who did not share the same language mediated by an interpreter. It took place in informal situation in Kamasan village where the interpreter had to facilitate the participants. In this case, no equipment was used by the interpreter. Based on the interpretation above, the context was the main focus; meanwhile the texture and

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structure had access only to a partial view as shown in utterance 63. It can be seen clearly that he did not focus on the texture and structure but focused on the context of the text. He only relied on the main point of the tourists question by interpreting only the third sentence. The interpreter wanted to maintain the continuity of the exchange of the message of the participants. It is in line with the theory proposed Hatim and Mason (1997) that texture and structure are manifested only partially and can thus be negotiated more effectively via context. Furthermore, this spontaneous conversational situation between a tourist and a painter took place in tourism area in Kamasan village which is one of the tourism objects. It is in line with the theory proposed by Gentile et al (1996) that liaison interpreting includes interpreting tourism setting. Moreover, it was in less formal situations in tourisms and cultural contacts. Moreover, in this spontaneous conversational were found following characteristics of liaison interpreting proposed by Gentile et al (1996). This Interpreting was performed in less formal contexts, without a distinction between the listeners and speakers so there is physical proximity between the interpreter and client who was the tourist who wanted to know about Balinese culture, that is, the wood of Balinese orchestra. In this situation, the interpreter played a very fundamental role as a mediator to connect culture gaps between the participants. Furthermore, this interpreting was performed in both

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language directions by the interpreter; it was characterized by only two participants involved in this conversation and shorter speaking turns of participants. Example 3 (in data 3, utterances 61, 63, and 65) 60. Tourist 61. Interpreter 62. Painter 63. Interpreter 64. Tourist 65. Interpreter 66. Painter 67. Interpreter 68. Painter : Its interesting to know more about Balinese calendar, how much? : ji kude niki? : Niki becik, aturang tyang limang ngatus tali anggen garus : five hundred rupiah : Its quite expensive : Dados kirang gih? : Gih ambil sampun samas nika : four hundred thousand : Ok good price

The above example took place in informal situation in Kamasan village where the interpreter had to facilitate the participants who were two villagers and the tourist who wanted to buy the painting. Both the participants did not share the same language; therefore, the role of the interpreter took an important role to bridge the linguistic and cultural gaps between them. In this case, the interpreting was done after a short speech and no equipment was used to maintain a continued conversation. Moreover, the interpreter focused on the context as the main resource. In line with the theory of Hatim and Mason, 1997 that the interpreter in this case had access only to a

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partial view of texture and structure, both of which would be unfolding piece meal in the two way exchange as shown in utterances 61. In this case, context would seem to be the main resource which the interpreter drew on in the task of maintaining the continuity of the exchange. The interpreter only interpreted the second sentence about the bargain of the tourist. Again, in this spontaneous conversational setting, he interpreted based on the context as shown in utterance 63; he only interpreted the main point about the price that the painter offered to the tourist. Again in utterance 65, the interpreter only interpreted the point of the bargain. He did not interpret the sentence based on texture and structure. The tourist said that the painting was too expensive and in this case the interpreter did not transfer what the tourist said to the painter because the participants were from different cultural backgrounds. The painter mediated the participants by asking the cheaper painting. In this case, the interpreter tried to maintain the continuity of the exchange of the message of the participants and create harmonious communication. Moreover, it was still acceptable in the TL culture. Moreover, this spontaneous conversational situation between a tourist and a painter took place in tourism area in Kamasan village to negotiate business. It is in line with the theory proposed by Gentile et al (1996) that liaison interpreting includes interpreting in business and tourism setting. Moreover, it was in less formal situations in tourism and cultural contacts. Moreover, in this spontaneous conversation the following characteristics of liaison interpreting proposed by Gentile et al (1996) were

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found. This interpreting was performed in less formal contexts, without a distinction between the listeners and speakers so there is physical proximity of the interpreter and the client who was the tourist who wanted to buy a painting. Moreover, the interpreter in this situation played a very fundamental role as a mediator to connect the negotiation. This was liaison interpreting in situation which includes business negotiation. Furthermore, this interpreting was performed in both language directions by the interpreter, it was characterized by shorter speaking turns of participants, and there were only a few participants involved in this situation. Example 4 (In data 4, utterance 27) 25. Interpreter 26. Tourist 27. Interpreter 28. Painter : There are two servants. The good side is Semar. The bad side is Delem. : For some reasons, I like this figure but its not really detail. How much is it? : Aji kude ajine? : Roras juta care niki ukuranne, tyang ngreka manten istri-istri sane mekarya.

The above example was the casual conversation between a tourist and a painter who did not share the same language mediated by an interpreter. It took place in informal situation in Kamasan village where the interpreter had to facilitate the participants namely the painter and the tourist who wanted to buy the painting. In this case, the interpreting was done after a short speech and no equipment was used to

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maintain the continued conversation. It is based on the theory proposed Hatim and Mason state about the similarity and the difference between simultaneous and liaison interpreting namely: Liaison interpreting input bears an interesting resemblance to that of simultaneous; in both cases the interpreter receives a first instalment of a longer text and more or less immediately embarks upon delivery. But the resemblance ends here: while the second instalment of simultaneous input is never long in coming, providing the interpreter with more textural information to be processed, the liaison interpreter has to treat the first portion as a self-contained unit. (1997) In this spontaneous conversational situation, the interpreter only depended on self-reliance to interpret what was said by the speaker because the text was not given to him and no equipment was used by him Moreover, based on theory proposed by Hatim and Mason (1997), the interpreter focused on the context as the main source. In this case, the interpreter had access only to a partial view of texture and structure, both of which would be unfolding piece meal in the two way exchange as shown in utterance 27, in this case, the context would seem to be the main resource which the interpreter drew on in the task of maintaining the continuity of the exchange. The interpreter only interpreted the main point of the tourist. He did not interpret the sentence based on the texture and structure. The tourist said that he liked the figure in the story but the interpreter only interpreted the main point about the question of the price of the painting. In this case, the interpreter tried to maintain the continuity of the exchange of the message of the participants and create harmonious communication. Hatim and Mason (1997)

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stated that liaison interpreting rely on the context of the text. Furthermore, this spontaneous conversational situation between a tourist and a painter took place in tourism area in Kamasan village to negotiate business. It is in line with the theory proposed by Gentile et al (1996) that liaison interpreting includes interpreting in business and tourism setting. Moreover, it was in less formal situation in tourism and cultural contacts. Moreover, in this spontaneous conversation the following characteristics of liaison interpreting proposed by Gentile et al (1996) were found. This interpreting was performed in a less formal context, without a distinction between the listener and speaker so there was physical proximity of the interpreter and the client who was a tourist who wanted to buy a painting. The idea of liaison interpreting is as a link, a connection between people to bridge the information gap. In other words, the interpreter in this situation played a very fundamental role as a mediator to connect the negotiation. This was liaison interpreting in situation, which include business negotiation. Furthermore, this interpreting was performed in both language directions by the interpreter, it was characterized by shorter speaking turns of participants, and there were only a small number of participants involved in this situation.

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4.2 The Analysis of the Procedures in Interpreting The procedures in interpreting applied by the Interpreters were based on the procedures proposed by Newmark (1981). There were 6 procedures applied by the Interpreters: transference, cultural equivalent, functional equivalent, compensation, adaptation, and couplets. To make the explanation more obvious and understandable, the discussions of the procedures applied by the Interpreters in Kamasan village are as follows.

4.2.1 Cultural Equivalent Cultural Equivalent is replacing a SL cultural element/situation with one of the TL. When communicative situations are difficult to understand in the culture of TL and when the situation of the SL does not exist in the TL, another equivalent situation has to be created. It is considered an approximate translation where an SL cultural word is translated by a TL cultural word. It is usually used to translate the concepts which are unknown in the TL. That is why the words of the SL are translated by using the words which are not exactly the same but culturally acceptable in the TL. There were cultural equivalents adopted to translate SL cultural lexical items SL (the lay of the tourists or villagers) into TL (the lay of the Interpreter). Some examples found in the data are as follows:

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Example 1 (in data 1, utterances 17 and 18) SL Betara sareng Detia sareng-sareng menggoncang segara mangda ngemolihang tirta amerta. TL Both the gods and the demons would have to churn the sea to get the tirta amerta.

In the example above the word detia in the SL was translated into the closest equivalent of TL word demons. Based on the context above, the word detia in the SL, means a general form of demons: evil spirit that has negative energy. And the word demons in The Merriam Webster Dictionary (2004) means an evil spirit. Therefore, the procedure applied by the Interpreter in interpreting the word detia into demons refers to cultural equivalent procedure as proposed by Newmark (1981) because the situation of the SL in the TL was one and almost the same and it culturally could be accepted in the TL, English. Example 2 (in data 1, utterances 23 and 24) SL TL Nah sane niki Betari pertiwi sane This is the goddess Pertiwi giving ngicen tirta amerta marep ring para tirta amerta to the demons. detia.

In the example above, the interpreter tried to find the one and almost the same situation of the SL in the TL. The word Betari in the SL was translated into the

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closest equivalent of TL word goddess. According to the SL, Betari means a general term for gods, respectively female. And the word goddess in Longman Dictionary (1978) means a being (fem, one of many) which is worshipped, as one who made or rules over (a part of) the life of the world. Therefore, the procedure applied by the interpreter in interpreting the word Betari into goddess refers to cultural equivalent procedure as proposed by Newmark (1981) because it culturally could be accepted in the TL, English. Example 3 (in data 1, utterances 25 and 26) SL TL Niki Betara Baruna sane ngelawan This is the god Baruna chases away Betara Wisnu the god Wisnu

In the example above, it can be seen that the interpreter tried to look for the equivalent of the word Betara in Balinese into god in English. Betara in SL means a general term for gods, respectively male. And the word god in Longman Dictionary (1978) means a being (Masculine, one of many) which is worshipped, as one who made or rules over (a part of) the life of the world. The interpretation of the interpreter in the example above applied the cultural equivalent procedure because the word god could be culturally accepted in the TL.

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Example 4 (in data 2, utterances 4 and 5) SL TL Gamelan gong lan bale niki polih Gamelan gong and this pavilion were wantuan saking pemerintah donated by the government.

From the data above, it can be analyzed that the interpreter applied cultural equivalent procedure. In this situation, the interpreter found out that the closest equivalent of the word bale in Balinese was pavilion in English. Based on the context above, the word bale in the SL means an open place that is used for entertainment and pleasure, in this case for art performance. The word pavilion in The Merriam Webster Dictionary (2004) means a building in a park or garden that usually has open sides and is used for parties, concerts, or other events. The word bale in the SL was interpreted into the word pavilion by applying cultural equivalent procedure to make the message and meaning culturally acceptable in the TL. Example 5 (in data 2, utterances 42 and 43) SL TL Gih, seka gong mangda The orchestra group should hear the mirengang angsel angsels, great dynamic range.

The translation procedure used by the interpreter was cultural equivalent. It can be said so since the interpreter tried to look for the equivalent of the word seka gong in Balinese into orchestra group in English. seka gong in the SL means a

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group of people who play Balinese traditional music instrument together such as gong, gangsa, kenyur, jegog, etc. And orchestra group in the TL means a large group of people who play music together, especially on stringed instruments (and usually also other sorts of instruments). The words seka gong of the SL were interpreted by using the words orchestra group which were not exactly the same but culturally acceptable in the TL. Example 6 and 7 (in data 2, utterances 46 and 47) SL TL bih akeh nike, niki anggen For ceremony in odalan ring pura, ngaben lan cremation, and etc lianan

the

temples,

In the example above, the interpreter tried to find the one and almost the same situation of the SL in the TL. The word odalan in the SL was translated into the closest equivalent of TL word ceremony. According to the SL, odalan means the anniversary of a Hindu-Balinese temple. And the word ceremony in Longman

Dictionary (1978) means a special formal, solemn, and well-established actions or set of actions used for marking an important private or public, social or religious event. Therefore, the procedure applied by the interpreter in interpreting the word odalan into ceremony refers to cultural equivalent procedure as proposed by Newmark (1981) because it culturally could be accepted in the TL, English.

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Similar to the previous example that the word ngaben was simply interpreted into cremation in English. The word ngaben in the SL means a ritual to purify and freed the persons spirit or soul from its material remains. As the soul migrates to its next existence, the physical body continues to burn. The word cremate in The Merriam Webster Dictionary (2004) means to burn (the body of a person who has died) so the word cremation means the act of cremating. In this situation, the closest equivalent which had similarity with ngaben was cremation, even though they were different in the ritual context but it could be accepted in the TL culture. Example 8 (in data 2, utterances 66 and 67) SL TL Emmm. I see. Can I try to play Dados ipun nepak kendange niki? the drum?

In the example above, it can be seen that the interpreter tried to look for the equivalent of the word drum in English into kendang in Balinese. The word drum in SL means a musical instrument consisting of a skin or skinlike surface stretched tight over one or both sides of a hollow circular frame, and struck by hand or with a stick (Longman Dictionary, 1978). And the word kendang in the TL is a two-headed drum used by Balinese as one of the primary instruments used in gamelan orchestra. The interpreter in the example above applied the cultural equivalent procedure because the word kendang could be culturally accepted in the TL.

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Example 9, and 10 (in data 3, utterances 23 and 24) SL TL Pawukon keanggen uger-uger Pawukon controls ceremonies in the piodalan ring pura - pura lan temples and house temple. merajan

In the example 9, the translation procedure used by the interpreter was cultural equivalent. It can be said so since the interpreter tried to look for the equivalent of the word pura-pura in Balinese into temples in English. Based on the context above, pura-pura in the SL means the places of worshiping and praying for Balinese Hinduism. And temples in the TL the places for the worship of a god or gods, esp. in the Hindu, Buddist, Mormon, or modern Jewish religions (Longman

Dictionary:1978). Therefore, the procedure applied by the interpreter in interpreting the word pura-pura into the word temples refers to cultural equivalent procedure as proposed by Newmark (1981) to make the transferred word culturally accepted in the TL. Moreover, it can be seen in the example 10 that the interpreter tried to look for the equivalent of the word merajan in Balinese into house temple in English. The word merajan in SL means a place to worship the ancestors and the god Hyang Guru. The interpreter in the example above applied the cultural equivalent procedure because the word house temple could be easily understood by the target listener as a

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holy place which was built in every family compound. Moreover, it was culturally acceptable in the TL. Example 11 (in data 3, utterances 31 and 32) SL TL Gih anggen nyantenang indik Yes, it specifies what offerings should bebantenan sane patut sekadi be according to the day of the birth. rahina pelekadan.

In the example above, the interpreter tried to find the one and almost the same situation of the SL in the TL. The word bebantenan in the SL was translated into the closest equivalent of TL word offerings. According to the SL, bebantenan means a general term of offering (something offered as our gratefulness to god). And the word offering in Longman Dictionary (1978) means something offered, especially to god. Therefore, the procedure applied by the interpreter in interpreting the word bebantenan into the word offerings refers to cultural equivalent procedure as proposed by Newmark (1981) to make the transferred word culturally accepted in the TL. Example 12 (in data 3, utterances 31 and 32) SL TL

Lumrah nyane nunasang ring The Balinese will ask about it to a priest Pedanda lan Balian. or a balian, medicine man.

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In the example above, the interpreter applied cultural equivalent. It can be said so since the translator tried to look for the equivalence of the word pedanda in Balinese into priest in English. Pedanda in the SL means a priest from the brahmana caste, who performs certain holy ceremonies and services for Balinese Hindus. And priest in the TL means a specially trained person with related duties and responsibilities in certain non-Christians religious. The word pedanda in the SL was interpreted into the word priest by applying cultural equivalent procedure to make the message and meaning culturally acceptable in the TL.

4.2.2 Transference Transferring a SL word to a TL text as a translation procedure is known also as emprunt, loan word, or transcription. The word in this procedure does not change the original form of the SL that is translated into TL. It is usually used in terms of new technical or unknown concepts to overcome a gap. It is not always justified by lexical gap in the TL, but it can mainly be used as a way to give the local color of the word, or be used out of fear from losing some of the cultural aspects of the word if it is translated. In this research, there were transference procedures adopted to translate SL cultural lexical items (the lay of the tourists or villagers) into TL (the lay of the

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Interpreter). Here are some examples of transference, as follows: Example 1 (in data 1, utterances 17 and 18) SL Betara sareng detia sareng-sareng menggoncang segara mangda ngemolihang tirta amerta. TL Both the gods and the demons would have to churn the sea to get the tirta amerta.

The example above shows that there was no similar concept found or created in the TL to express the concept of the SL. The word tirta amerta in the SL means holy water which was created by the churning of the sea by the gods and demons to get immortality. The concepts of the SL word tirta amerta did not exist in the TL, therefore the interpreter kept the SL word. The procedure used to interpret the word tirta amerta was transference, by borrowing the word tirta amerta in the TL. The interpreter applied the procedure of transference to maintain the message since the similar concept could not be found in the TL culture. The Balinese and English cultures were quite different so one of the best solutions of interpreting the Balinese words was by keeping the Balinese words in English. Example 2 (in data 2, utterances 4 and 5) SL TL Gamelan gong lan bale niki Gamelan gong and this pavilion were polih wantuan saking pemerintah donated by the government.

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The example above shows that there was no relevant concept created in the TL to express the concept of the SL word gamelan gong. In this case, the procedure of keeping the SL word was not a wrong choice, especially when the concept of the SL was unknown in the TL. The word gamelan gong which means a word for any of the many types of Balinese orchestral groups was not intepreted into English. It occurred because there was no fixed word that could replace the word gamelan gong in English. Moreover, the interpreter kept the word gamelan gong in English as a way to give the local color of the word and to keep the cultural aspects of the transferred word. Thus, the interpreter applied the procedure of transference in the TL by keeping the word gamelan gong in the TL. Example 3 (in data 3, utterances 23 and 24) SL TL Pawukon keanggen uger-uger Pawukon controls ceremonies in the piodalan ring pura- pura lan temples and house temple. merajan

In example above, it can be seen that there was no right or similar concept for the word pawukon in the TL culture to express the concept of the SL word, so this word just being transferred into the TL. The word pawukon in the TL means a year which last 210 days was not interpreted into English. In this case, the decision of keeping the SL word was the right choice, especially when the concept of the SL was

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unknown in the TL. The Balinese and English cultures are quite different so in this case, one of the best solutions of interpreting the Balinese word pawukon was by keeping the Balinese word into English. Moreover, the interpreter tried to preserve the local color of the word pawukon and introduced Balinese culture into the TL culture, English. Thus, the procedure applied by the interpreter was transference procedure. Example 4 (in data 4, utterances 11 and 12) SL Niki Betara Siwa ngeseng Betara Semara. Niki Betara Siwa dados Pamurtian. TL Betara Siwa incinerates Betara Semara. This is Betara Siwa changes into his Pamurtian form, the nine headed form that Gods can assume when enraged.

The example above shows that there was no similar concept created in the TL to express the concept of the SL word Betara. In this case, the procedure of keeping the SL word was not a wrong choice, especially when the concept had a special meaning in the SL culture. The word Betara which means a general term for gods, respectively male is not intepreted into English. It occurred because there was no relevant culture word that could replace the word betara in English. Moreover, the interpreter kept the word betara in English as a way to give the local color of the

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word and to keep the cultural aspects of the transferred word. Thus, the interpreter applied the procedure of transference in the TL by keeping the word betara in the TL. Example 5 (in data 4, utterances 15 and 16) SL TL Gih. Sane niki Betari Ratih Betari Ratih is so sad then joins Betara sungsut kayune lan seda sareng Semara in death. Betara Semara.

In the example above, the interpreter applied transference. It can be said so since the interpreter did not change the original form of the SL word betari that was translated into TL. In this case, the procedure of keeping the SL word was a good choice because the interpreter wanted to give the local color of the word and to keep the cultural aspects of the transferred word. The word betari which means a general term for gods, respectively female was not intepreted into English. It occurred because there was no relevant word in term of culture that could replace the word betari in English. Example 6 (in data 4, utterances 47 and 48) SL Sekadi mantra munggah ring lontar, Surya Pangkaja Ya Madiaste Ya Namah Namah. TL There is a mantra based on the lontar, palm leaf manuscript Surya pangkaja ya Madiate ye namah Swaha. Pangkaja means Tunjung

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The example above shows that there was no relevant concept for the word mantra in the TL culture to express the concept of the SL word, so this word just being transferred into the TL. The word mantra which means holy word was not interpreted into English. In this case, the decision of keeping the SL word was the right choice, especially when the concept of the SL was unknown in the TL. The Balinese and English cultures were quite different so in this case, one of the best solutions of interpreting the Balinese word mantra was by keeping the Balinese word into English. Moreover, the interpreter tried to preserve the local color of the word mantra and introduced Balinese culture into the TL culture, English. Thus, the procedure applied by the interpreter was transference procedure.

4.2.3 Couplets Couplets, triplets, quadruplets are combinations of two, three or four of the mentioned procedures above respectively for dealing with a single problem. They are particularly common for cultural words, if transference combined with a functional or a cultural equivalent. Example 1 (in data 1, utterances 7 and 8) SL Raris mubuhin. TL It is first boiled in rice flour which is called mubuhin.

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In the example above, the term mubuhin was interpreted by couplet procedure by combining two different procedures; the first procedure was transference by borrowing the term mubuhin in the TL. Newmark (1981) stated that this procedure is applied since the concept is unknown in the TL culture and it is applied in order to keep the cultural aspect. The second procedure was by making notes as additional information in the next sentence. Example 2 (in data 1, utterances 37 and 38) SL Niki ring nimbus betara Wisnu mesiluman dados anak luh jegeg raris maekin detiane sami. Raris ipun ngemolihang tirta amerta. TL This is the god Wisnu seen in a nimbus, this bright cloud then transforms himself into a beautiful girl to approach the demons. Then she gets tirta amerta.

The interpreter applied couplet procedure to interpret the word nimbus by combining two different procedures. The first procedure was transference procedure, the interpreter transferred the word nimbus into the TL in order to keep the cultural aspect or the local color in the TL. Then the interpreter applied notes as the second procedure this bright cloud because the word nimbus was unfamiliar in the target language and it needed further explanation to be. Therefore, additional information about the word was mentioned in order to give better interpretation.

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Example 3 (in data 1, utterances 45 and 56) SL TL Betara wisnu raris nibakang cakra The god Wisnu throws his cakra, a tur mengel prabu kala rau. magic discuss and cuts of his head.

The interpreter did not change the original form of the SL word cakra that was translated into TL. There was no right equivalent for the word cakra in the TL culture to express the concept of the SL word, so this word just being transferred into the TL. In order to succeed the transference procedure, the interpreter applied notes to explain the meaning of the SL word cakra. The notes procedure was useful to deliver the intended message of the original SL word cakra as a magic discuss to the target speaker. In this case, couplet procedure was applied by combining two different procedures, namely: transference and notes. Example 4 (in data 2, utterances 1 and 2) SL TL Tiang medue gamelan gong, jagi he has gamelan gong, Balinese music nyingakin? orchestra, do you want to have a look?

The interpreter applied couplet procedure to interpret the word gamelan gong which consists of transference procedure, by borrowing the word, gamelan gong in the TL, and cultural equivalent as the second procedure, Balinese music

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orchestra. In this case, the SL and the TL were not equivalent because the Balinese word was unknown in the TL culture, thus additional information about the word was mentioned in order to give better interpretation. Example 5 (in data 2, utterances 38 and 39) SL Niki mewasta cengceng. TL This is cengceng, the most whimsical instrument in the gamelan.

In the example above, the word cengceng was interpreted by couplet procedure by combining two different procedures, the first procedure was transference by borrowing the term cengceng in the TL. There was no relevant word for replacing the word cengceng in the TL since the word did not exist in the TL culture. Therefore, the word was transferred into the TL and in order to make it clearer for the TL speaker, the interpreter combined transference with notes procedure cengceng, the most whimsical instrument in the gamela. It was a good to combine these two procedures to give good understanding about the SL content to the TL speaker and still kept the local color of the word. Example 6 (in data 2, utterances 42 and 43) SL Gih, sekaa gong mirengang angsel. TL mangda The orchestra group should hear the angsels, great dynamic range.

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The interpreter applied couplet procedure to interpret the word angsel by combining two different procedures. The first procedure was transference procedure, the interpreter transferred the word angsel into the TL in order to keep the cultural aspect or the local color in the TL. Then the interpreter applied notes as the second procedure, angsels, great dynamic range because the word angsel was unfamiliar in the target language and it needed further explanation to be. Therefore, additional information about the word was mentioned in order to give better interpretation. Example 7 and 8 (in data 3, utterances 27 and 28) SL Ten makasami, nanging akehan piodalan nganggen warsa Pawukon, sekadi ngelubulanin lan galungan. TL Not all, But most religious ceremonies are on Pawukon year, for instance ngelubulanin, a ceremony for newborn child occurs after three of these months and Galungan day or the victory of dharma, good over adharma, bad.

In the two examples above, the interpreter applied couplet procedures. It can be seen in example 7 that the interpreter combined two procedures, namely: transference and notes. The word ngelubulanin was just transferred into the TL without changing the original form and became a loan word. Newmark (1988) stated that the application of transference procedure is appropriate in translating religious term because the language of the other world tends to be transferred. Then, the

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interpreter applied notes as the second procedure ngelubulanin, a ceremony for newborn child occurs after three of these months. It was a good for explaining the meaning in order to make the TL speaker understood about the SL word ngelubulanin. Similar to the previous example, the interpreter applied couplet procedure to deal with SL word galungan. The interpreter transferred the word galungan without changing the original form in order to give local color. There was no relevant word for replacing the word galungan in the TL since the word did not exist in the TL culture. Then, the interpreter applied notes procedures by giving accurate explanation about the SL word galungan day or the victory of dharma, good over adharma, bad. Example 9 (in data 3, utterances 31 and 32) SL Lumrah nyane nunasang ring Pedanda lan Balian. TL The Balinese will ask about it to a high priest or a balian, medicine man.

The interpreter applied couplet procedure to interpret the word balian by combining two different procedures. The first procedure was transference procedure, by borrowing the word, balian in the TL because the word was unknown in the TL and in order to keep the cultural aspect or the local color in the TL. Then the

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interpreter applied cultural equivalent as the second procedure medicine man. In this case, the SL and the TL were not equivalent because the Balinese word was unknown in the TL culture, thus additional information about the word was mentioned in order to give better interpretation. Example 10 (in data 3, utterances 34 and 35) SL TL Anake sane lekad ring rahinane The person born on this day will be puniki sekadi Buta Kala. like a Buta Kala, the evil spirit.

In the example above, the interpreter applied couplet procedure to interpret the word Buta Kala by combining two different procedures. The first procedure was transference procedure, by borrowing the SL word, Buta Kala directly from the TL because the there was no such word in the TL and to keep the cultural aspect or the local color in the TL. Next, the interpreter applied cultural equivalent as the second procedure the evil spirit in order to find the closet equivalent word in the TL. In this case, the SL and the TL were not equivalent because the Balinese word was unknown in the TL culture, thus the closest equivalent about the word was mentioned in order to give better interpretation.

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Example 11 (in data 4, utterances 11 and 12) SL Niki Betara Siwa ngeseng Betara Semara. Niki Betara Siwa dados Pamurtian. TL Betara Siwa incinerates Betara Semara. This is Betara Siwa changes into his Pamurtian form, the nine headed form that Gods can assume when enraged

In the example above, the word pamurtian was interpreted by couplet procedure by combining two different procedures, the first procedure was transference by borrowing the term pamurtian in the TL. There was no relevant word for replacing the word pamurtian in the TL since the word did not exist in the TL culture. Therefore, the word was transferred into the TL and in order to make it clearer for the TL speaker, the interpreter combined transference with notes procedure pamurtian form, the nine headed form that Gods can assume when enraged. It was a good to combine these two procedures because the SL and the TL were not equivalent since the Balinese word was unknown in the TL culture, thus additional information about the word was mentioned in order to give better interpretation. Example 12 (in data 4, utterances 32 and 33) SL TL Niki Garuda. Niki Betara Surya, This is Garuda, the mythical bird who niki okane. become Wisnus vehicle. This is Betara Surya and this is his daughter.

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In the example above, the interpreter applied couplet procedures by combinng two different procedures. The first procedure was transference procedure, by borrowing the SL word, garuda directly from the TL because the there was no such word in the TL and to keep the cultural aspect or the local color in the TL. Next, the interpreter applied notes procedure. It was appropriate to use notes as the second procedure because the word garuda was unfamiliar for speaker in the target culture thus the interpreter gave further explanation about the SL meaning. Example 13 (in data 4, utterances 47 and 48) SL TL Sekadi mantra munggah ring There is a mantra based on the lontar, lontar, Surya pangkaja ya palm leaf manuscript Surya pangkaja Madiate ye namah namah. ya Madiate ye namah Swaha.

The example above shows that there was no right equivalent for the word lontar in the TL culture to express the concept of the SL word, so this word just being transferred into the TL. In this case, the decision of borrowing the SL word directly into the TL was not a wrong choice, especially when the concept of the SL is unknown in the TL. The Balinese and English cultures were quite different so one of the best solutions of interpreting the Balinese word was by keeping the Balinese word into English. Moreover, the interpreter tried to preserve the local color of the word mantra and introduced Balinese culture into the TL culture, English. Next, the interpreter gave additional information palm leaf manuscript in order to give better

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interpretation Thus, the procedure applied by the interpreter was couplet by combining two different procedures namely transference and cultural equivalent procedures. Example 14 (in data 4, utterances 51 and 52) SL TL gih, Bumi Pertiwi sane kagambar Yes, Bumi pertiwi, the earth should be kapertama. drawn firstly.

In the example above, the interpreter applied couplet procedure to interpret the word Bumi pertiwi by combining two different procedures. The first procedure was transference procedure, by borrowing the SL word, Bumi pertiwi directly from the TL because the there was no such word in the TL and to keep the cultural aspect or the local color in the TL. Next, the interpreter applied cultural equivalent as the second procedure the earth in order to find the closet equivalent word in the TL. In this case, the SL and the TL were not equivalent because the Balinese word was unknown in the TL culture, thus the closest equivalent about the word was mentioned in order to give better interpretation.

4.2.4 Functional Equivalent Functional equivalent is applied to cultural words, requiring the use of a

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culture-free word, sometimes with a new specific term; it therefore neutralizes or generalizes the SL word as an equivalent. Therefore, this procedure occupies the middle or universal position between the SL and TL cultures. Here is the example of functional equivalent in this research: Example 1 (in data 2, utterances 48 and 49) SL TL Biasane gamelan wenten ring The gamelan is generally in Bale Bale Banjar Banjar, the village meeting hall.

In the example above, the interpreter used the procedure of functional equivalent. The phrase bale banjar in Balinese was interpreted into the village meeting hall in TL which used culture free word that is hall and the translation in English gave a new specific term; it therefore neutralized or generalized the SL word bale banjar.

4.2.5 Compensation Compensation is said to occur when loss of meaning, sound-effect of metaphor or pragmatic effect in one part of a sentence is compensated in another part, on in contiguous sentence.

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Example 1 (in data 2, utterances 12 and 13) SL Niki mewasta gangsa. TL This we called gangsa, the xylophone
like instruments.

In the example above, the interpreter interpreted gangsa into gangsa, the xylophone. Both material and form of gangsa and xylophone are different. The interpreter interpreted gangsa into gangsa, the xylophone to preserve the name of gangsa as the musical instrument since in the target culture there was no musical instrument which was exactly the same as gangsa. The interpreter applied compensation technique in translating gangsa into gangsa, the xylophone. The procedure was chosen by the interpreter to make the interpretation acceptable in the TL. Newmark (1981) stated that it is applied when loss of meaning, sound-effect of metaphor or pragmatic effect in one part of a sentence is compensated in another part. The word gangsa could not be understood by the listener in the TL so it needed additional explanation in order to give a better understanding about the SL content. The interpreter introduced the word xylophone to the target listener to give a close description of gangsa as musical instrument. The words gangsa and xylophone have some similar characteristics. Both of them are made from material coming from tree and it is organized in a row with different sizes to produce different kinds of sounds. And both of them are played by hitting the row of bamboo or wood. The

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interpreter aimed at preserving the source culture by keeping the word gangsa but he also wanted to give an overview to the target listener by inserting the word xylophone so that the target listener understood the use of the instrument. If the interpreter applied transference by keeping the word gangsa only, the target listeners would not understand and could not imagine what was meant by gangsa.

4.2.6 Adaptation Adaptation as proposed by Vinay and Darbelnet in Newmark (1988) is the use of recognized equivalent between two situations. This procedure involves modifying a cultural reference for the target text readership. Therefore, adaptation is a special kind of equivalence, a situational equivalence. The example of adaptation procedure to translate SL cultural lexical item SL found in the data is as follows: Example 1 (in data 1, utterances 17 and 18) SL TL Niki satwa Pamuteran Mandara This is the story of the churning of the Giri ngewentenang tirta amerta. sea of milk about the creation of tirta amerta or the holy water.

In the example above, the interpreter used the procedure of adaptation in interpreting Pamuteran Mandara Giri into the churning of the sea of milk to create a

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new situation that could be considered being equivalent. The interpreters purpose in applying the procedure of adaptation as shown in the example above was to make his interpreting sound more natural so the target language hearer had strong feeling when listening to the explanation of the interpreter.

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CHAPTER V CONCLUSION AND SUGGESTIONS

5.1 Conclusion Based on the analysis of the mode of interpreting and the procedures applied by the interpreter in the interpreting process in Kamasan village it can be concluded that interpreting does not only deal with two languages but also two different cultures. Therefore, in bridging those two differences there were some characteristics of liaison mode of interpreting performed by the interpreters and some procedures were applied by the interpreters. The procedures that were applied in interpreting process by the interpreters in Kamasan village were 6 procedures namely transference, cultural equivalent, functional equivalent, compensation, adaptation, and couplets. Most of the procedures applied by the interpreters were combined procedures. These procedures were adopted by the interpreters to mediate the cultural differences in Kamasan village.

5.2 Suggestions Interpreting is the act of facilitating communication from one language form into its equivalent, in another language. Interpreting process is affected by cultural

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differences between the two languages due to the relationship between language and culture which are bound together. Thus, the task in interpreting is not only one of mediating linguistic gaps, but also mediating cultural gaps. An interpreter should have deep understanding of the SL and the TL linguistically and culturally to interpret it accurately and be able to transfer it into another oral language in just one time presentation. Moreover, it is hoped that the results and conclusions arrived at in this thesis can trigger further research in the area of IS, especially escort interpreting to seek answers to some of the questions that could not be addressed in the present study. The researcher therefore suggests that the interpreting examples discussed as illustrations for the use of the cultural mediation procedures are only a few examples and in one language combination (Balinese-English). Thus, further research is needed to conduct analyses on as many examples of culture-specific terms as possible and in various language combinations.

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REFERENCES Al-Zahran, A. 2007. The Consecutive Conference Interpreter as Intercultural Mediator: A Cognitive-Pragmatic Approach to the Interpreters Role. (unpublished thesis). University of Salford, UK. Retrieved from
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http://usir.salford.ac.uk/2060/1/Dr_A_Al-Zahran's_PhD_Thesis.pdf

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Gambier, Daniel Gile, Christopher Taylor (eds). Amsterdam/Philadelphia: John Benjamins, 149- 166. Longman Dictionary of Contemporary English (3rd Ed.). England: Longman. Mikkelson, H. 1999. Interpreting is interpreting or is it? [online]. Paper presented at the 30th Anniversary Conference of the MIIS Graduate School of Translation and Interpretation, Monterey, California, 1113 January 1999. (s.l.): ACEBO. Retrieved from: http://www.acebo.com/papers/interp1.htm. Mikkelson, H. 2000. Introduction to Court Interpreting. Manchester: St. Jerome Publishing. Munday, J. 2009. The Routledge Companion to Translation Studies (revised.ed). Taylor & Francis e-Library: Routledge. Retrieved from http://books.google.co.id/books/about/Routledge_Companion_to_Translatio _Studi.html Newmark, P. 1998. A text book of translation. London: Prentice Hall. Puspani, I. A. M. 2010. Penerjemahan Lisan di Pengadilan Negeri Denpasar (dissertation). Denpasar: Udayana University. Pym. A. 2011 Translation research terms: a tentative glossary for moments of perplexity and dispute. Tarragona: Intercultural Studies Group. Retrieved from http://isg.urv.es/publicity/isg/publications/trp_3_2011/pym.pdf Pchhacker, F. 2004. Introducing Interpreting Studies. London and New York: Routledge. Reeves, N. B. R. 1994. Translating and Interpreting as Cultural Intermediation Some Theoretical Issues Reconsidered. In Literary Studies East and West, Translation and Interpreting: Bridging East and West, Selected Conference Papers, Richard K. Seymour & C.C. Liu (eds). Honolulu: University of Hawaii Press. Seken, I. K. 1993. Introduction to Linguistic: Fakultas Keguruan dan Ilmu Pendidikan Universitas Udayana.

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Setton, R. 1999. Simultaneous Interpretation: A Cognitive-Pragmatic Analysis. Amsterdam/ Philadelphia: John Benjamins. Vickers, A. 1983. Commoner Temple, Commoner Painters: The Village Temple and Modern Ideas of Traditional Balinese Painting. In: Popular Art in Asia. The People as Patrons ed. J. Masselos. pp. 1-21. Sydney University Centre for Asian Studies Working Papers 1, Sydney: Pathfinder Press Websters New World Dictionary: Third College Edition. New York: Prentice Hall. Wimmer, R. D., & Dominic, R. D. 2000. Mass Media Research: An Introduction. Belmont, CA: Wadsworth

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