On the morning of the seventeenth day, the men kill two pigs, usually by chasing them through the brush and spearing them to death. They are prepared in the usual way, and are placed, one in the balaua, the other in the sogayob, where they are cut up. A bit of the flesh is left in each structure, the fore half of one animal is carried into the yard, but the rest is prepared for food.
On an inverted rice-mortar, in the yard, is placed a jar of basi, notched chicken feathers, and boar's tusks. The man and his wife are summoned before this, are decorated as on the day before, and are instructed to dance three times around the mortar. While this is going on, a shield and a rice winnower are leaned against each other so as to form an arch on which lies a sheaf of rice. From the middle hangs a piece of burning wood, while over all a fish net is thrown. As in a former ceremony (cf. p. 347), the rice and fire represent the life of some member of the family, which the evil spirits may desire to seize, but they are prevented, since they are unable to pass through the meshes of the net. Going to the half of the pig, which stands upright in a rice winnower, the medium places a string of beads—agate and gold—around its neck and attaches bits of gold to its legs. Then she places a thin stick in each nostril and pumps them alternately up and down, as a smith would work his forge. After a little she removes the plungers, and with them strokes the bodies of members of the family. Near to the pig stands a dish of water in which the heart is lying. The host goes to this, removes the heart, and placing it on his head-axe, takes it in front of the animal, where it lies, while he pumps the nostril-sticks up and down ten times. Meanwhile his wife Page 350is decorated with wreathes of leaves and vines; a leaf containing the pig's tail and some of the flesh is placed on her head, and a spear is put in her left hand. As her husband completes his task, she goes to the mortar, where she finds one dish full of blood and rice and the empty coconut shells. The rice and blood represent the lives of the family, and following the instructions of the medium, she takes these lives and places them little by little on the shells, but before all is gone, the medium bids her return them to the big dish. In a like manner the spirits may take a part of the life of the family, but will return it again. This act is repeated ten times. Next she takes a piece of woven bamboo, shaped like two triangles set end on end[36], and goes to the batog, where her daughter sits under a fish-net holding a similar “shield.” They press these together, and the mother returns to the mortar eight times. The mediums who have gathered beneath the sogayob begin to sing, while one of them beats time with a split bamboo stick. At the conclusion of the song, one of them offers basi to the spirits and guests, and then placing a bundle of green leaves on the ground, she pours water over it, while the host and his wife are made to tramp in the mud. The man is now carrying the spear, while the woman holds a cock in one hand, and an empty dish in the other. As they are stamping on the damp leaves, old women stand near by showering them with rice and water.
Since early morning a dog has been tied at the end of the house. It is now brought up to the bundle of leaves, and is knocked on the head with a club, its throat is cut, and some of its blood is applied with a head-axe to the backs of the man and woman. More water is poured on the bundle, again they tramp in the mud, and again they are showered with rice and water. The man goes to one side of the balaua, and throws a bundle of rice over it to his wife, who returns it eight times.
A strange procession now forms and winds its way to the stream. In the lead is the host armed with spear, shield, and head-axe; next comes the medium carrying the bamboo rack—talapitap—like a shield, and the split bamboo—dakidak—as a spear; next is an old woman with a coconut shell dish, then another with a bundle of burning rice straw; behind her is the wife followed by a man who drags the dead dog. They stop outside of the village, while the medium hides the rack and split bamboo near the trail. Soon the man with the dog leaves the line and drags the animal to a distant tree, where he ties it in the Page 351branches. As they arrive at the stream, the people pause, while the medium holds the shell cup beside the burning straw, and recites a dīam. The writer tried on two occasions to get this dīam, but it was given so low and indistinctly that its full content was not secured, neither was it possible to get the medium to repeat it after the ceremony. From what was heard it seems probable it is the dawak dīam,[37] a guess made more probable by the killing of the dog and the bathing which follows. As soon as the medium finishes, the whole party disrobes and bathes.
Upon their return to the village, they are met by a company of men and boys who assail them by throwing small green nuts. The host secures the spirit rack which the medium had hidden, and with it attempts to ward off the missiles. Despite this show of hostility, the company proceeds to the sogayob, where the man and his wife wash their faces in water containing pieces of coconut leaves. During all the morning a number of women have been preparing food, and this is now served to the guests, a considerable company of whom have collected. Late in the afternoon, all the spirits are remembered in a great offering of food. A framework is constructed in the yard,[38] and on it are placed eggs, meat, fish, rice cakes, sugar, betel-nut, tobacco, basi, and rice mixed with blood. After allowing the superior beings a few moments to finish their repast, the viands are removed, and from then until sunset all the guests dance tadek. As darkness comes, a great fire is lighted in the yard, and within the circle of its light the company gathers, while the more important men sing daleng.
In some of the villages men gather the next morning to do any necessary work on the balaua, and then the mediums celebrate the dawak,[39] which always forms a part of this ceremony. In Manabo the dawak follows after an interval of three days.
This great and final event is so much like the procedure which makes up the Tangpap ceremony that it seems necessary to give it only in skeleton form, adding explanations whenever they appear to be necessary. In the balaua is spread a mat covered with gifts for the spirits who are expected. Here also is the spirit shield from the dwelling, and a great heap of refuse made up of the leaves, vines and other articles used in the preceding days. Page 352
When all is ready, a medium seats herself by the mat, dips oil from a shallow dish with a small head-axe, and lets it drip onto the ground; then she does the same with basi, and finally strokes a rooster which lies beside the jar, all the while reciting the proper dīam.
Taking the spirit shield, which belongs in the dwelling, she puts oil at each corner, and then touches the heads of all the family with it. Beads and betel-leaf are added, and the shield is carried to the house, where it is again fastened to the wall, as a testimony to all passing spirits that the ceremony has been made, and food provided for them.
The time has now arrived for the spirits to appear. Seating herself beside the mat, the medium strikes on a plate with her shells or a piece of lead, and then starts her song. She rubs her hands together with a revolving motion, swings her arms, and begins to tremble from head to foot. Suddenly she is possessed by a spirit, and under his direction holds oil to the nostrils of the host, and beats him with a small whip of braided betel-leaf. This done, she drinks for the spirit, and it departs. Again she sings, and again she is possessed. One spirit takes the rooster, and with its wings cleans up the rubbish in the balaua and in the yard, empties it in a tray, and orders it taken from the village. In the same way all sickness and misfortune will be removed from the settlement.