A modification of the lauga puzzle is one in which the same strip of palm leaf is cut into two links. On looking closely, one finds that it is made thus: cut a piece of leaf (cardboard will do, but then the method of manufacture is too evident) right through the thick lines in the accompanying figure; cut half through the thickness of the leaf, or card, along the dotted lines, then split the material between these lines, and separate the upper and lower surfaces; the white portion will come away from the shaded link, as in the second figure; the two projecting spurs can be cut away if thought desirable. I cannot imagine how the natives found this out—that is, if it is their own invention; and they assure me such is the case.
Small cone shells are spun between the thumb and fingers like a teetotum.
Our old friend leap-frog is also a diversion for Papuan boys, as it occurs at such widely-spread places as Bulaa and Kiwai. A row of boys stand in a line some distance apart on their hands and feet; the last boy leaps over the others in succession, putting his hands on their backs in the usual way. He then takes his place in front of the others, and the now “last man” follows. This appears to be a very widely-spread game. In Korea and Japan it is called “jumping over,” and the same attitude on all-fours is taken there as in New Guinea. In England we stand on our legs only, and “tuck in our tuppenny.”
We also saw the children indulging in the familiar pig-a-back (pĕkĕkau), hopping (kaikai), jumping (puri), and skipping.
In the game called evanena two rows of boys face one another. Each boy takes hold of the arm of the boy opposite him at or immediately above or below the elbow with one hand, with the other hand he clasps his own arm, right hand may grasp the left arm or vice versâ. This position is similar to our “king’s chair” or “queen’s chair” with the exception that we clasp the wrist and not the arm. As all the boys stand close together they form a double row with a platform of arms between them. A small boy is placed standing on the arms of the last pair of boys, and he walks forward on those of the boys in front. As soon as he has left the last pair of boys they rush forward and place themselves in front of the others, and clasp their arms as before. In this way a continuous platform is maintained, and the game continues till the walker tumbles off. This game is also played at Elevara, Port Moresby.
A variant which I saw played at Elevara is called omoro, or “frog.” In this case the boy, instead of walking on the arms, lies full length on his stomach, and is jerked up and down and at the same time forwards. Ray also saw this game played at Saguana, Kiwai Island, where it is called mere kereme beretsi (“boy-throwing”).
The prettiest revolving game was that known as maki gegelaki. Four boys laid at full length on the ground at right angles to one another, so as to form a cross, with their feet touching; usually they placed a large piece of the husk of a coconut in the centre, against which they tightly pressed their feet. A small boy crouched on their feet to steady them. Four other boys stood between those lying down; they caught hold of their hands; this raised the arms and bodies of the latter. The standing boys walked round and round (right hand to centre), and the whole contrivance revolved like a four-spoked wheel.
Rapurapu. Four boys sit on the ground and interlock their legs in the form of a square in such a way that the instep of the right foot hooks over the pit of the knee of the boy to the right. They then stand up and hop round on the left foot, clapping their hands rhythmically and singing:—
“Rapu rapu tabai manu