Plate 19.—Pĕdikir.
Model, showing the performance of pĕdikir (a kind of dance) before a newly-married couple. The performers are two girls, who carry fans and wear a peculiar head-dress towards the left of the picture are seated the musicians with tambourines (rĕbana), and on the right some spectators. The bride and bridegroom are seated on the dais, the latter towards the middle of the picture. Near him are seen the marriage-pillows (which are in correct proportion), and overhead the ornamental clothes-rod with clothes. The tree-like object on the left is the sĕtakona: it is the only object out of proportion, being too large. Rolled up in front are the striped hangings used at Malay weddings.
Page 466.
We now come to a class of dances in which certain inanimate objects, that are believed to be temporarily animated, are the performers, and which therefore closely correspond to the performances of our own spiritualists.
The Palm-blossom dance is a very curious exhibition, which I once saw performed in the Langat District of Selangor. Two freshly-gathered sheaves of areca-palm blossom (each several feet in length) were deposited upon a new mat, near a tray containing a censer and the three kinds of sacrificial rice.
The magician (’Che Ganti by name) commenced the performance by playing a prelude on his violin. Presently his wife (an aged Selangor woman) took some of the rice in her hand and commenced to chant the words of the invocation, she being almost immediately joined in the chant by a younger woman. Starting with the words, “Thus I brace up, I brace up the Palm-blossom” (’ku anggit mayang ’ku anggit), their voices rose higher and higher until the seventh stanza was reached, when the old woman covered the two sheaves of Palm-blossom with a Malay plaid skirt (sarong) and the usual “five cubits of white cloth” (folded double), both of which had of course first been fumigated. Then followed seven more stanzas (“Borrow the hammer, Borrow the anvil,” and its companion verses), and rice having been thrown over one of the sheaves of palm-blossom, its sheath was opened and the contents fumigated. Then the old woman took the newly-fumigated sheaf between her hands, and the chant recommenced with the third septet of stanzas (“Dig up, dig up, the wild ginger plant”), as the erect palm-blossom swayed from side to side in time to the music. Finally the fiddle stopped and tambourines were substituted, and at this point the sheaf of blossom commenced to jump about on its stalk, as if it were indeed possessed, and eventually dashed itself upon the ground. After one or two repetitions of this performance, other persons present were invited to try it, and did so with varying success, which depended, I was told, upon the impressionability of their souls, as the palm-blossom would not dance for anybody whose soul was not impressionable (lĕmah sĕmangat).
When the first blossom-sheaf had been destroyed by the rough treatment which it had to undergo, the second was duly fumigated and introduced to the company, and finally the performance was brought to a close by the chanting of the stanzas in which the spirit is requested to return to his own place. The two spoiled sheaves of blossom were then carried respectfully out of the house and laid on the ground beneath a banana-tree.
The Dancing Fish-trap (main lukah) is a spiritualistic performance, in which a fish-trap (lukah) is substituted for the sheaf of palm-blossom, and a different invocation is used. In other respects there is very little difference between the two. The fish-trap is dressed up much in the same way as a “scare-crow,” so as to present a rough and ready resemblance to the human figure, i.e. it is dressed in a woman’s coat and plaid skirt (sarong), both of which must, if possible, have been worn previously; a stick is run through it to serve as the arms of the figure, and a (sterile) cocoa-nut shell (tĕmpurong jantan) clapped on the top to serve as a head. The invocation is then chanted in the same manner and to the same accompaniment as that used for the “Palm-blossom.” At its conclusion the magician whispers, so to speak, into the fish-trap’s ear, bidding it “not to disgrace him,” but rise up and dance, and the fish-trap presently commences to rock to and fro, and to leap about in a manner which of course proves it to be “possessed” by the spirit. Two different specimens of the invocations used will be found in the Appendix.
Buffalo Fights and Cock Fights
“The Malays are passionately addicted to buffalo and cock fighting. Whole poems are devoted to enthusiastic descriptions of these ‘sports of princes,’ and laws laid down for the latter as minute as those of the Hoyleian code.”[155]