While the jacales are not consistently oriented, they reveal a primary preference for facing away from the prevailing wind and toward the nearest sea, with a secondary preference for southern and eastern exposures—the former preference being easily explained, since a gale from the front quickly strips walls and roof and scatters the materials afar. No definite order is observed in the placement of the several jacales in the larger rancherias; apparently the first is located at the choice of the leading elderwoman, and the others are clustered about it at the common convenience. Usually the several jacales are entirely separate; but at Punta Tormenta, Punta Narragansett, and still more notably at Rada Ballena, individual huts were found either extended to double length or joined obliquely in such wise as to show two fronts (as illustrated in plate VI). The conventional frameworks appear to be common tribal property, at least to the extent that an abandoned skeleton may be preempted by any comer; while the addition of walls and roof appears to afford a prescriptive proprietary right to the elderwoman and family by whom the work is done—though the right seems to hold only during occupancy, or until the temporary covering is dislodged.
BUREAU OF AMERICAN ETHNOLOGY
SEVENTEENTH ANNUAL REPORT PL. XXXII
PAINTED OLLA, WITH OLLA RING
The jacales are without semblance of furnishing, beyond an occasional ahst and a few loose pebbles used as hupfs; though the nooks behind the bows and tie-sticks sometimes serve as places of concealment for paint-cups, awls, hair bobbins, and other domestic trifles. There is no floor but earth, and this remains in natural condition, except for trampling and wearing into wallows, recalling those of fowls and swine, which afford a rough measure of the periods of occupancy; there is no fireplace—indeed, fires are rarely made in the jacales, nor for that matter frequently anywhere; and there are no fixed places for bedding, water ollas, or other portable possessions, none of which are left behind when the householders are abroad.
Little is known of the actual process of jacal building, especially in Seriland proper; but the observations of Señor Encinas and his vaqueros on the frontier corroborate Mashém’s statements that the houses are built by (and belong to) the matrons; that several women customarily cooperate in the collection of the okatilla and erection of the framework; that the only tools used in the processes are hupfs and miscellaneous sticks; and that the placing and fitting of the beams and tie sticks are accompanied by a chant, usually led by the eldest matron of the group. The same informants support the ready inference from the structure that the shrubbery and other material forming walls and roofs are gathered and placed from time to time by the women occupying the jacales.
The Seri building chant is suggestive. Neither Señor Encinas nor Mashém regarded it as religious or even ritualistic, but merely as a work-song designed (in the naive notion of the latter) to make the task lighter; and it seems probable that the local interpretation is correct. If so, the simple chant at once offers rational explanation for its own existence, and opens the way to explanation of the elaborate building rituals of more advanced tribes. The work-song is a common device in many lowly activities, ranging from those of children at play to those of sailors at the windlass, and undoubtedly serves a useful purpose in guiding, coordinating, and concentrating effort; to some extent the vocal accompaniment to the manual or bodily action apparently expresses that normal interrelation of functions manifested by secondary sense-effects (as when the sense of smell is intensified by exercise of the organs of taste), or, in another direction, by the habit of the youthful penman who shapes his letters by aid of lingual and facial contortion; yet it is a characteristic of primitive life—one doubtless due to the interrelations of psycho-physical functions—to not only employ but to greatly exalt vocal formulas associated with manual activities, so that words, and eventually the Word, acquires a mystical or talismanic or sacred significance pervading all lower culture—indeed the savage shaman is unable to work his marvels without mumbled incantations ending in some formulated and well-understood utterance, and his practice persists in the meaningless mummery and culminating “presto” of modern jugglery. So, viewed in the light of psycho-physical causes and prevalent customs connected with vocal formulas, it would seem probable that the conventional features of the Seri jacales are crystallized in the tribal lore quite as effectually through the associated work-chants as through direct memory of the forms and structures themselves. And the simple runes chanted in unison by Seri matrons engaged in bending and lashing their okatilla house-bows apparently define a nascent stage in the development of the elaborate fiducial house-building ceremonies characteristic of various higher tribes; for the spontaneous vocal accompaniment tends naturally to run into ritual under that law of the development of myth or fable which explains so many of the customs and notions of primitive peoples.[289]
APPARELING
Slightly as they have been affected by three centuries of sporadic contact with higher culture, the Seri reveal many marks of acculturation; and the most conspicuous of these are connected with clothing, especially on the frontier, where women and even warriors habitually wear a livery of subserviency in the form of cast-off Caucasian rags (as illustrated in most of the photographs taken at Costa Rica). Even in the depths of Seriland the native fabrics are largely replaced by white men’s stuffs, obtained by barter, beggary, and robbery; yet it is easy to distinguish the harlequin veneer of borrowed trappings from the few fixed types of covering that seem characteristic.