Fig. 23. Rock Pictographs in Kiriri
One afternoon we sailed to the neighbouring island of Kiriri (Hammond Island) to examine some rock paintings. These proved to be of a very simple character, representing totems (hammer-headed shark, turtle, dugong, and so on). Two canoes were also represented; these were supposed to illustrate the canoes in which the spirits paddle about on calm nights when they want to catch turtle, dugong, or fish. Among the crevices of the boulders in the vicinity of these paintings several skulls and bones have been found. We brought away two skulls that were found beneath the painted rocks, and we found another close by. This was our last little pilgrimage to old sacred spots in the islands.
MURALUG
Towards the end of 1888 I paid a short visit to Muralug, commonly known as Prince of Wales Island. This is the largest island in Torres Straits, and it lies only a short distance from Cape York. I climbed one of the hills on the northern coast of the island, and obtained a good view of the country. Inland there were numerous timber-covered hills; towards the shore the hills came down close to the sea, and were interspersed with flat, low-lying mangrove swamps.
As dusk fell I strolled to the village, and found a family party seated on mats by the fire in an inclosure at the back of the chief’s house; the inclosure served the double purpose of a wind-screen, and a fence to keep out obtrusive pigs. By the fire sat Serb, Tuigana’s wife, while Tuigana (the chief) was playing cards with his three little nephews. In the background were Georgie and Pattie; they had not long been married, and they were quietly enjoying themselves in a way akin to that which is not unusual among newly married people at home. I joined the family party, and, lying on a mat, watched the group with interest. The card players were playing what was said to be a Malay game called “Jaro,” and it was amusing to hear English names and phrases mixed with native language. Thus, in the midst of a chatter of words I could not understand, would come, “I have six tricks.” “What are trumps?” “Spades.” “That card will kill him.” And so on. From time to time Serb replenished the bamboo pipe for her husband, and passed it to him for a “smoke.” Altogether this was a pleasant little glimpse of real family life; the smoke of the wood fire was very pungent, however, and made my eyes smart, so that I soon left the happy group.
The day following I was entertained with a war-dance, a most interesting rehearsal of a dance which forty years ago would have commemorated some deed of valour or treachery. I gathered that such dances were never indulged in for mere amusement, and were quite distinct from what may be termed the festive dance.
It was evening, on a sandy shore. A gloomy mangrove swamp extended away to the right; to the left stretched a bay edged with a beach of white coral sand, against which the waves gently lapped. In the foreground were three fires. Near one was a native house of flimsy construction open to the wind, in which were the women and some children. The view behind was blocked by trees on rising ground; above was a clear blue sky studded with sparkling stars; and the moon, being in her second quarter, shed a soft silvery light on all.
Near a fire sat the primitive orchestra. The drums were beaten in a rhythmical monotone, and a wailing chant accompanied them. Gradually from the far distance swarthy forms came, as it were, into focus, and marched along in twos or threes; then, in sinuous course, they performed their evolutions, varying the celerity of their movements to the time of the weird singing. A mass of dried herbage thrown on a fire lighted up the scene and revealed a glowing picture of savagery.
The blackness of the dancers’ nether parts was intensified artificially. The upper portion of their body was smeared with red ochre; the frontlets, crossed shoulder-belts, and anklets of pale yellow leaves gleamed brightly. The round shell ornaments stood out with opaque whiteness against the ruddled chests, while the pearly crescentic breastplates shone with a softer lustre. The loin-cloths and bits of red calico on the armlets or in the hair gave further colour; bunches of leaves inserted in the armlets, at the shoulders, appeared as verdant epaulettes; other bunches were inserted in a belt behind, the green showing up in vivid hue by the camp fires. The bizarre effect was enhanced by black cassowary plumes projecting from the gauntlet on the left arm, or stuck tailwise into the belt at the back.
The yellow frontlet or chaplet was either a simple band or looped, or was prolonged into two streamers; again, white feathers were occasionally inserted into the black, frizzly hair, or a fine effect was produced by a coronet of cassowary feathers.