The women gather round the corpse, crouching on the ground, wailing and tearing their hair. The men stand about, affecting an air of utter indifference. The deceased is now placed in one half of the hollowed trunk, into which the relatives throw amulets, domestic utensils (carefully broken first), rice, maize and various kinds of fruit. Sometimes a hollow cane is passed through the lid of the coffin and the earth above, ending in a small funnel through which liquids can be poured.
As soon as the earth has been returned the bearers stamp it down with their feet and cover the spot with brambles to keep off marauding beasts. A kind of roof of palm leaves is erected over the tomb and on this are placed the broken pieces of the deceased's cooking-pot and cup and a further supply of provisions which are renewed at each new moon during the first year but less frequently afterwards. The mourners now leave and strive to forget their grief in a feast which varies in magnificence with the influence and social position of the departed brother.
Apart from the renewal of the provisions and the annual commemorative festival, I noticed no other particular mortuary observances among the Moï. The individual gravestone which is met with everywhere in China and Annam seems to be unknown among the uncivilized groups of Indo-China.
The chief sign of mourning is to keep the hair cropped quite close for a period varying from one to five years. The return to ordinary life is marked by a ceremony, in the course of which some animal is sacrificed. The liberated mourner boils its head and carries it to lay on the tomb of the deceased, after which all are at liberty to make short work of the rest of the animal.
It is hardly surprising that mourning is not expressed by any change of dress, for the scanty supply of flimsy wrappings does not permit of much variation.
This is perhaps a convenient moment to mention certain burial rites, which seem peculiar to the savage tribes of Tong-King, where the influence of Chinese customs and manners is easily traceable.
When a Tho dies the family strew the floor of the house with a vast number of minute pieces of gold and silver paper. These baubles attract the Spirits, which can then be easily captured. A cloth mask is placed over the dead man's face and goose feathers are fastened into his clothing to enable him to soar over the rivers which might otherwise impede his progress in the world beyond. A complete set of writing materials is put in the coffin so that he may have no difficulty in communicating his ideas and experiences to the living. The Sorcerer furnishes the deceased with a passport and complete directions as to his behaviour in the new existence. The grave is not dug until the Geomancer has determined the exact spot by means of two sticks and a piece of cord. An immense catafalque painted in five colours is raised over the corpse, and under this imposing arch the dead man's sons pass in procession, leaning on their "Weeping Sticks" and preceded by an attendant who throws handfuls of maize into the air to distract the attention of evil Spirits.
When the interment is over the Sorcerer proceeds to burn the catafalque, which, being no more than a slender framework of bamboo covered with sheets of paper or flimsy material, offers no resistance.
A few days after this ceremony those of the dead man's sons who have founded a household of their own raise a small hut near their own establishment to accommodate the personal belongings of the deceased.
Lest the soul should grow weary in its new abode pipes of opium are constantly prepared for it and placed in this hut. Further, occasional diversion is provided by organizing a ritual dance, in which many persons take part. To complete the entertainment of the Spirit, the dancers wear quite special costume, consisting of a mask representing the marabout stork. From this mask falls a long veil which completely conceals the dancer's body and produces a resemblance lively enough to give to this ceremony the name of "The Dance of the Marabouts."