The warrior priest turns toward the trail and addresses the invisible turtledove, beseeching it to sing out from the proper direction and thereby declare whether they may proceed or not. In one of the instances that came under my personal observation a little unhulled rice was placed upon a log for the regalement of the omen bird, and a tame pet omen bird in an adjoining house was petted and fed and asked to summon its wild mates of the encircling forest to sing the song of victory. Many of the band imitate the turtle bird's cry11 as a further inducement to get an answer from the wild omen birds that might be in the neighborhood.
11This is done by putting the hands crosswise, palm over palm and thumb beside thumb. The cavity between the palms must be tightly closed, leaving open a slit between the thumbs. The mouth is applied to this slit and by blowing in puffs the Manóbo can produce a sound that is natural enough to elicit in many cases response from a turtledove that may be within hearing distance. In fact, I have known the birds to approach within shooting distance of the artificial sounds.
THE TAGBÚSAU'S FEAST
In the ceremonies connected with, the celebration in honor of his war lord the warrior priest is the principal personage, but he is usually assisted by several of the chief priests of the ordinary class. Such is the general account, and such was the procedure in the ceremony that I witnessed in 1907, of which the following are the main details and which will serve as a general description of the ceremony:
The appurtenances of the ceremony were identical with those described before under ceremonial accessories, except that a piece of bamboo, about 30 centimeters long, parted and carved into the form of a crude crocodile with a betel-nut frond hanging from it, was suspended in the diminutive offering house referred to so many times before. Objects of this kind, like this piece of bamboo, have a mouthlike form and vary from 30 to 60 centimeters in length. They are, as it were, ceremonial salvers on which are set the offerings of blood and meat and gíbañg12 for the war deities.
12Gí-bañg is the nape of the neck, and here refers to that of a pig.
In the ceremony that I am describing I noticed a plate of rice set out on an upright piece of bamboo, the upper part of which had been spread out into an inverted cone to hold the plate. The pig had been bound already to its sacrificial table, but was ceaseless in its cries and in its efforts to release itself. Several war and ordinary priests, covered with all their wealth of charms and ornaments, were scattered throughout the assembly. The war priests particularly presented an imposing appearance, vested in the blood-red insignia of their rank. Around their necks were thrown the magic charm collars, with their pendants of shells, crocodile teeth, and herbs.
About 5 o'clock in the afternoon of the day in question the ceremony was ushered in in the usual way by several male and female priests. The warrior priests did not take part till the following day, though during the night they chanted legendary tales of great Manóbo fights and fighters. The following morning, however, they led the ceremonies.
During the whole performance there seemed to be no established system or order. Both warrior priests and others took up the invocation and the dance as the whim moved or as the opportunity allowed them. One noteworthy point about the ceremony was the ritual dance of the warrior priests in honor of their war deities. Attired as they were in the full panoply of war, with hempen coat and shield, lance, bolo, and dagger, they romped and pirouetted in turns around the victim to the wild war tattoo of the drum and the clang of the gong. Imagining the victim to be some doughty enemy of his, the dancer darted his lance at it back and forth, now advancing, now retreating, at times hiding behind his shield, and at others advancing uncovered as if to give the last long lunge. Under the inspiration of the occasion their eyes gleamed with a fierce glare and the whole physiognomy was kindled with the fire of war. The spectators on this particular occasion maintained silence and attention and manifested considerable fear. It is believed that the warrior priest, being under the influence of his war god, is liable to commit an act of violence.