[14] A spirit house is one of the small houses built during a ceremony.
[15] reference is probably to ancient Chinese jars.
[16] The custom, which still exists to a certain degree, was to offer food to a guest before any matter was discussed. In ancient times this was considered very necessary, as it still is among the Apayao who live north of the Tinguian. With them to refuse food is to refuse friendship.
[17] A drink made of fermented sugar-cane.
[18] The old jars possessed by the Tinguian today have notches broken in the rim, one for each generation through whose hands it has passed.
[19] When the first negotiations are made the boy’s parents offer some gift, nowadays usually a small bead. If this is accepted it signifies the willingness of the girl’s parents to consider the match.
[20] See [note 1, p. 15].
[21] The music for the dances is made by beating on drums and copper gongs. A man and a woman enter the circle, each carrying a large square of cloth on outstretched arms. Keeping time to the music with their hands and feet, they move about, coming near to each other and then drawing farther apart The woman follows the movements of the man and finally places her cloth on his outstretched arms, thus ending the dance; another couple then takes their place.
[22] An interesting parallel to this is found in the Dayak legend of Limbang, where a tree springs from the head of a dead giant; its flowers are beads; its leaves, cloth; and the fruit, jars. See Roth, The Natives of Sarawak and British North Borneo, Vol. I, p. 372.
[23] Throughout the Tinguian tales the characters are frequently described as changing themselves into oil, centipedes, birds, and other forms. This power is also found among the heroes of Dayak and Malay tales. See Roth, op. cit., Vol. I, p. 312; Perham, Journal Straits Branch R., Asiatic Society, No. 16, 1886; Wilkinson, Malay Beliefs, pp. 32, 59 (London, 1906).