Several spirits follow, and as the morning wears on, the medium becomes more and more intense. The muscles of her neck and the veins of her forehead stand out like cords, while perspiration streams from her bod. Taking a shield and head-axe in her hand, she does a sort of muscle dance, then goes to each member of the family, and strikes the weapons together over their heads; from them she goes to the doors and windows, and strikes at them with the axe. Finally she returns to the mat, balances a cup of basi on the weapon, and causes the host to drink. Another attack on the doors follows, and then in exhaustion she sinks beside the mat. After a short rest, she dips beads in oil, and with them touches the heads of the family. The musicians strike up a lively tattoo at this point, and again seizing her weapons, the medium dances in front of the spirit shield. Going to the rooster on the mat, she cuts off a part of its comb, and presses the bloody fowl against the back or leg of each person in the room. The spirit drinks and disappears.
The next visitor dances with the host, and then wrestles with him, but upon getting the worst of the match takes leave. As in the Tangpap, large number of minor beings call for a moment or two and Page 353pass on. One spirit places the family beneath a blanket, cuts a coconut in two above their heads, and first allows the water to run over them; then finally the halves are allowed to drop. She waves burning rice-straw above them, and removes the blanket. It is explained that the water washes all evil away, and that as the shells fall from the family, so will sickness leave them. Evil spirits are afraid of the fire, and leave when the burning rice-straw is waved about the blanket.
As a final act the members of the family are instructed to hold, in their hands the head-axe, chicken feathers, agate beads, and other articles, and then to mount the rice-mortar in the yard. Soon one or more of the mediums is possessed by spirits, who rush toward the mortar, and strive to seize the prized objects. Before they can accomplish their design, they are met by old men and women, who fight them off. At last they abandon the attempt and, together with the host and his wife, go to the edge of the town, where they pick sweet smelling leaves and vines. These they carry back to the village to give to the guests, and to place in the house and spirit dwellings.
As a final act basi is served to all, and tadek is danced until the guests are ready to return to their homes.
In San Juan they make the spirit raft—taltalabong—as in Tangpap, and set it afloat at sunset.
The mediums are paid off in rice, a portion of the slaughtered animals, beads, one or two blankets, and perhaps a weapon or piece of money.
During the succeeding month the family is prevented from doing any work, from approaching a dead body, or entering the house of death. Wild carabao, pig, beef, eels, and wild peppers may not be eaten during this period, and wild chickens are taboo for one year.
Special Ceremonies
The two ceremonies which follow do not have a wide distribution, neither are they hereditary. They are given at this time because of their similarity to the great ceremonies just described.