The idol which has been mentioned is called the Karwar, and is found in every house except those which belong to Mohammedan natives. The Karwar is a wooden figure, about eighteen inches in height, large-headed, wide-mouthed, and long-nosed,—this peculiarity of the Papuan face being exaggerated. It is represented as holding a shield, and wearing a calico wrapper on the body and a handkerchief on the head.
The Karwar plays an important part in the life of a Dory native. It is present at his birth, takes part in his funeral, and, as we have seen, is witness to his marriage. In all cases of perplexity the Karwar is consulted, the devotee stating his intentions, and abandoning them if he should feel nervous, such a sensation being supposed to be the Karwar’s answer. There are plenty of fetishes, but these are only supplementary to the Karwar.
Without going into the details of the various tribes which inhabit this part of the earth, we will glance at a few of the most interesting customs.
These Papuans have a strong love for flowers, especially those which possess a powerful scent. They twine such flowers in their hair, weave them into garlands for their necks, and carry them in their bracelets and armlets.
They are fond of singing and music, and, as far as has been ascertained, are in the habit of composing extempore songs, as well as singing those ditties which they know by heart. As for their musical instruments, they consist chiefly of the cylindrical drum, a trumpet made of a triton shell, and a sort of Pandean pipe, composed of six or seven reeds of different lengths lashed firmly together. There is also a wind instrument, which is nothing but a bamboo tube some two feet in length.
Accompanied by these instruments, they perform their curious dances, one of which as been well described by Mr. M’Gillivray. “They advanced and retreated together by sudden jerks, beating to quick or short time as required, and chanting an accompanying song, the cadence rising and falling according to the action. The attitude was a singular one—the back straight, chin protruded, knees bent in a crouching position, and the arms advanced.
“On another occasion, one of the same men exhibited himself before us in a war dance. In one hand he held a large wooden shield, nearly three feet in length, and rather more than one in width, and in the other a formidable looking weapon, two feet in length—a portion of the snout of the sword-fish, with long, sharp teeth projecting on each side. Placing himself in a crouching attitude, with one hand covered by the shield, and holding his weapon in a position to strike, he advanced rapidly in a succession of short bounds, striking the inner side of his shield with his left knee at each jerk, causing the large cowries hung round his waist and ankles to rattle violently. At the same time, with fierce gestures, he loudly chanted a song of defiance. The remainder of the pantomime was expressive of attack and defence, and exultation after victory.
“But a still more curious dance was once performed a few nights ago by a party of natives who had left the ship after sunset, and landed abreast of the anchorage. On seeing a number of lights along the beach, we at first thought they proceeded from a fishing party, but on looking through a night-glass the group was seen to consist of above a dozen people, each carrying a blazing torch, and going through the movements of the dance. At one time they extended rapidly into line, at another closed, dividing into two parties, advancing and retreating, crossing and recrossing, and mixing up with each other. This continued for half an hour, and, it having apparently been got up for our amusement, a rocket was sent up for theirs, and a blue light burned, but the dancing had ceased, and the lights disappeared.”
An accompanying [illustration] represents this wild and curious scene. In the foreground are the dancers, each with his torch in his hand, and indulging in the grotesque movements of the dance. To the left are seen the musicians, one playing on the bamboo pipe, and the other beating the drum which has before been mentioned. One of these drums is lying in the foreground. It is a hollow cylinder of palm wood, about two feet in length and four inches in diameter. One end is covered with lizard-skin, and along the side there run longitudinal slits. The native name for this drum is “baiatú.”
The funeral ceremonies appear to differ according to the locality. Among the Dory people, when a man dies, the body is rolled in white calico, and laid on its side in a grave, its head resting on an earthenware dish. The weapons and ornaments of the dead man are laid in the grave, which is then filled up, and a thatched roof erected over it.