At daybreak the party leave the Amphletts. This is the stage when the parting gifts, the talo’i, are given. The clay pots, the several kinds of produce of the islands and of the Koya, which had been laid aside the previous day, are now brought to the canoes (see Plate XLVII). Neither the giver nor the main receiver, the toliwaga, take much notice of the proceedings, great nonchalance about give and take being the correct attitude prescribed by good manners. Children bring the objects, and the junior members of the crew stow them away. The general behaviour of the crowds, ashore and in the canoes, is as unostentatious at this moment of parting as it was at the arrival. No more farewells than greetings are spoken or shouted, nor are there any visible or formal signs of grief, or of hope of meeting again, or of any other emotions. The busy, self-absorbed crews push off stolidly, step the mast, set sail, and glide away.
They now approach the broad front of Koyatabu, which with a favourable wind, they might reach within two hours or so. They probably sail near enough to get a clear view of the big trees standing on the edge of the jungle, and of the long waterfall dividing the mountain’s flank right down the middle; of the triangular patches under cultivation, covered with the vine of yams and big leaves of taro. They could also perceive here and there smoke curling out of the jungle where, hidden under the trees, there lies a village, composed of a few miserable huts. Nowadays these villages have come down to the water’s edge, in order to supplement their garden yield with fish. In olden days they were all high up on the slope, and their huts hardly ever visible from the sea.
The inhabitants of these small and ramshackle villages are shy and timid, though in olden days they would have been dangerous to the Trobrianders. They speak a language which differs from that of Dobu and is usually called by the natives „the Basima talk”. There seem to be about four or five various languages on the island of Fergusson, besides that of Dobu. My acquaintance with the Basima natives is very small, due only to two forced landings in their district. They struck me as being physically of a different type from the Dobuans, though this is only an impression. They have got no boats, and do the little sailing they require on small rafts of three or five logs tied together. Their houses are smaller and less well-made than those in Dobu. Further investigation of these natives would be very interesting, and probably also very difficult, as is always the case when studying very small communities, living at the same time right out of touch with any white man.
This land must remain, for the present anyhow, veiled for ourselves, as it also is for the Trobriand natives. For these, indeed, the few attempts which they occasionally made to come into contact with these natives, and the few mishaps which brought them to their shores, were all far from encouraging in results, and only strengthened the traditional superstitious fear of them. Several generations ago, a canoe or two from Burakwa, in the island of Kayeula, made an exploring trip to the district of Gabu, lying in a wide bay under the North-West flank of Koyatabu. The natives of Gabu, receiving them at first with a show of interest, and pretending to enter into commercial relations, afterwards fell on them treacherously and slew the chief Toraya and all his companions. This story has become famous, and indeed one of the outstanding historical events of the Trobriands, because Tomakam, the slain chief’s younger brother, went to the Koya of Gabu, and killed the head man of one of the villages, avenging thus his brother’s death. He then composed a song and a dance which is performed to this day in Kiriwina, and has indeed one of the finest melodies in the islands.
This is the verbatim account of the story as it was told to me by To’uluwa himself, the chief of Omarakana, who at present „owns” this Gumagabu dance, his ancestors having acquired it from the descendants of Tomakam by a laga payment84. It is a commentary to the song, and begins only with the avenging expedition of Tomakam, which is also the theme of the song.
The story of Gumagabu
Tomakam got a new waga. He blew the conch shell and went to the Koya. He spoke to his mother” (that is, before leaving), „My mother, you remain, I shall sail. One conch shell you hear, it will be a conch shell of a necklace”, (That is, it will be a sign that he has been successful in getting a good Kula necklace), „The second conch shell will be the conch shell of the dead man; the sign that I have already carried out my revenge. I shall sail, I shall anchor, I shall sleep. The second day I shall sail, I shall anchor, I shall sleep. The third day I shall anchor in a village, having already arrived in the Mountain. The fourth day I shall give pari, the Kinana (the Southern foreigner) will come, I shall hit him. The fifth day I shall return. I shall sail fast, till night grows on the sea. The next day I shall anchor at Burakwa. You hear the conch shell, you sleep in the house, arise. One blow you hear of the shell the blow of the bagi (necklace). Two blows you hear, the blow of the dead man! Then the men of Burakwa will say: „Two conch shells, two necklaces”, then, you come out of the house, you speak : „Men of Burakwa, from one side of the village and from the other; indeed you mocked my son, Tomakam. Your speech was go, carry out thy vendetta in Gabu. The first conch shell is that of the necklace, the second conch shell is that of the dead man. I have spoken!” (Here ends the speech of Tomakam to his mother.)
He anchored in the village in the Koya. He told his younger brother: „Go, tell the Kinana men these words: Your friend has a sore leg, well, if we together go to the canoe he will give the pari!”. The younger brother went and spoke those words to the head-man of the Kinana: „Some green coco-nuts, some betel-nut, some pig, bring this to us and we shall give you pari. Your arm-shells, your big stone blade, your boar’s tusk, your whale-bone spatula await you in the canoe. The message for you is that your friend has a sore leg and cannot walk”. Says the Kinana man : „Well, let us go!”.
He caught a pig, he collected betel-nut, sugar cane, bananas, necklaces, betel-pod, he said : „Well, let us go together to the canoe”. Pu’u he gives the necklace ; pu’u, the pig; then he gave the coco-nut, the betel-nut, the sugar cane, the bananas. Tomakam lay on one side; his leg he wrapped up in a white, soft pandanus mat. Before he had spoken to his younger brother (i.e., he gave him this instruction also, when he sent him to meet the people of Gabu): „You all come with the Kinana man. Do not remain in the village”. Then (after the first gifts were exchanged) the Kinana man stood up in the canoe. His betel-pod fell down. Spoke Tomakam, addressing the Kinana man: „My friend, pick up the betel-pod. It fell and went down into the canoe. The Kinana man bent down, he took the betel-pod. Tomakam saw that the Kinana bent down, he took an axe, and sitting he made a stroke at him. He cut off his neck. Then Tomakam took the head, threw the body into the sea. The head he stuck on a stick of his canoe. They sailed, they arrived in their village. He caught a pig, prepared a taro pudding, cut sugar cane, they had a big feast, he invented this song.
Such was the story told me by the chief of Omarakana about the song and dance of Gumagabu, which at that time they were singing and performing in his village. I have adduced it in full, in an almost literal translation from the native text, in order to show it side by side with the song. The narrative thus reproduced shows characteristic gaps, and it does not cover even the incidents of the song.