There are a number of minor ceremonies connected with food; one of which is, that the women are not allowed to eat goat flesh or fowls, the probable reason being, according to M. du Chaillu, that the men want to eat these articles themselves.
In Ashango-land, as well as among the Ishogos, the temple, or idol hut, is one of the most conspicuous buildings. Generally, the people did not like strangers to enter their temples, but in one village he succeeded in entering a temple, or M’buiti house, and seeing the strange worship which was conducted.
“This idol was kept at the end of a long, narrow, and low hut, forty or fifty feet long, and ten feet broad, and was painted in red, white, and black colors. When I entered the hut, it was full of Ashango people, ranged in order on each side, with lighted torches stuck in the ground before them. Among them were conspicuous two M’buiti men, or, as they might be called, priests, dressed in cloth of vegetable fibre, with their skins painted grotesquely in various colors, one side of the face red, the other white, and in the middle of the breast a broad, yellow stripe; the circuit of the eyes was also daubed with paint. These colors are made by boiling various kinds of wood and mixing the decoction with clay.
“The rest of the Ashangos were also streaked and daubed with various colors, and by the light of their torches they looked like a troop of devils assembled in the lower regions to celebrate some diabolical rite; around their legs were bound white leaves from the heart of the palm tree; some wore feathers, others had leaves twisted in the shape of horns behind their ears, and all had a bundle of palm leaves in their hands.
“Soon after I entered, the rites began: all the men squatted down on their haunches, and set up a deafening kind of wild song. There was an orchestra of instrumental performers near the idol, consisting of three drummers with two drumsticks each, one harper, and a performer on the sounding-stick, which latter did not touch the ground, but rested on two other sticks, so that the noise was made the more resonant. The two M’buiti men, in the mean time, were dancing in a fantastical manner in the middle of the temple, putting their bodies into all sorts of strange contortions. Every time the M’buiti men opened their mouths to speak, a dead silence ensued.
“As the ceremony continued, the crowd rose and surrounded the dancing men, redoubling at the same time the volume of their songs, and, after this went on for some time, returning to their former positions. This was repeated several times. It seemed to me to be a kind of village feast.
“The M’buiti men, I ought to mention, had been sent for from a distance to officiate on the occasion, and the whole affair was similar to a rude sort of theatrical representation. The M’buiti men, like the witchcraft doctors, are important persons among these inland tribes; some have more reputation than others, but in general those who live furthest off are much esteemed. At length, wearied out with the noise, and being unable to see any meaning or any change in the performances, I returned to my hut at half past ten.”
Being exceedingly superstitious, the Ashangos generally thought that their white visitor was not a man, but a spirit, as he could perform such wonders. He had a musical box, and set it playing, to the great consternation of the people. Their awe was increased by his leaving the box where it stood, and going away into the forest. The fact that the instrument should continue to play with no one near it was still more terrible, and a crowd of people stood round in dead silence—a very convincing proof of their awe-stricken state. An accordion produced even a greater sensation, and none but the chief dared to utter a sound. Even he was very much frightened, and continued beating his “kendo,” or magic bell of office, and invoking help from the spirits of his ancestors.
This chief was a very pious man in his own fashion. He had a little temple or oratory of his own, and every morning and evening he repaired to the oratory, shut himself up, beat his bell, and invoked the spirits, and at night he always lighted a fire before beating the bell.
The “kendo” is a very remarkable badge of office. It is bell-shaped, but has a long iron handle bent in a hook-like shape, so that the “kendo” can be carried on the shoulder. Leopard’s fur is fastened to it, much to the deadening of the sound, and the whole instrument forms an emblem which is respected as much as the sceptre among ourselves. As the chief walks along, he rings the bell, which announces his presence by a sound like that of a common sheep or cow bell.