Argonauts of the Western Pacific - Bronisław Malinowski (darmowa biblioteka online .TXT) 📖

In the u’ula he first repeats „Sacred (or ritual) eating of fish, sacred inside”, thus alluding to a belief that the toliwaga has in connection with this magic to partake ritually of baked fish. Then come the words — „Flutter, betel plant, leaving behind”, all associated with leading ideas of canoe magic — the flutter of pandanus streamers; the betel nut, which the ancestral spirits in other rites are invited to partake of; the speed by which all comrades will be left behind!

A list of ancestral names follows. Two of them, probably mythical personages, have significative names; „Stormy sea” and „Foaming”. Then the baloma (spirits) of these ancestors are asked to sit on the canoe slips and to chew betel, and they are invoked to take the pandanus streamer of the Kudayuri — a place in Kitava, where the flying canoe magic originated — and plant it on top of Teula or Tewara, the small island off the East coast of Fergusson.

The magician after that chants: „I shall turn, I shall turn towards you, O men of Kitava, you remain behind on the To’uru beach (in the Lagoon of Vakuta). Before you lies the sea arm of Pilolu. To-day, they kindle the festive fire of the Kudayuri, thou, O my boat” (here the personal name of the boat is uttered), „bind thy skirts together and fly!” In this passage — which is almost identical with one in the previously quoted Ligogu spell — there is a direct allusion to the Kudayuri myth, and to the custom of festive fires. Again the canoe is addressed as a woman who has to bind her grass petticoat together during her flight, a reference to the belief that a flying witch binds her skirts when starting into the air and to the tradition that this myth originates from Na’ukuwakula, one of the flying Kudayuri sisters. The following main part continues with this mythical allusion: Na’ukuwakula flew from Kitava through Sinaketa and Kayleula to Simsim, where she settled down and transmitted the magic to her progeny. In this spell the three places: Kuyawa (a creek and hillock near Sinaketa), Dikutuwa (a rock near Kayleula), and La’u (a cleft rock in the sea near Simsim, in the Lousançay Islands) are the leading words of the tapwana.

The last sentence of the first part, forming a transition into the tapwana, runs as follows: „I shall grasp the handle of the adze, I shall grip all the component parts of the canoe” — perhaps another allusion to the mythical construction of the Kudayuri canoe (comp. Chap. XII, Div. IV) — „I shall fly on the top of Kuyawa, I shall disappear; dissolve in mist, in smoke; become like a wind eddy, become alone — on top of Kuyawa”. The same words are then repeated, substituting for Kuyawa the two other above-mentioned spots, one after the other, and thus retracing the flight of Na’ukuwakula.

Then the magician returns to the beginning and recites the spell over again up to the phrase: „bind thy skirt together and fly”, which is followed this time by a second tapwana: „I shall outdistance all my comrades with the bottom of my canoe; I shall out-distance all my comrades with the prow-board of my canoe, etc., etc.”, repeating the prophetic boast with all the parts of the canoe, as is usual in the middle part of magical spells.

In the dogina, the last part, the magician addresses the waga in mythological terms, with allusions to the Kudayuri myth, and adds: „Canoe thou art a ghost, thou art like a wind eddy; vanish, my canoe, fly; break through your sea-passage of Kadimwatu, cleave through the promontory of Saramwa, pass through Loma; die away, disappear, vanish with an eddy, vanish with the mist; make your imprint in the sand, cut through the seaweed, go, put on your wreath of aromatic herbs”57.

After the wayugo has been ritually brought in, the lashing of the canoe begins. First of all the ribs are lashed into position, then the planks, and with this the body of the canoe is ready. This takes a varying time, according to the number of people at work, and to the amount of tallying and adjusting to be done at the final fitting. Sometimes one whole day’s work is spent on this stage, and the next piece of work, the construction of the outrigger, has to be postponed to another day. This is the next stage, and there is no magic to punctuate the course of technical activities. The big, solid log is put alongside the canoe, and a number of short, pointed sticks are driven into it. The sticks are put in crossways on the top of the float (lamina). Then the tops of these sticks are again attached to a number of horizontal poles, which have to be thrust through one side of the canoe-body, and attached to the other. All this naturally requires again adjusting and fitting. When these sticks and poles are bound together, there results a strong yet elastic frame, in which the canoe and the float are held together in parallel positions, and across them transversely there run the several horizontal poles which keep them together. Next, these poles are bridged over by many longitudinal sticks lashed together, and thus a platform is made between the edge of the canoe and the tops of the float sticks.

When that is done, the whole frame of the canoe is ready, and there remains only to caulk the holes and interstices. The caulking substance is prepared in the hut of the toliwaga, and a spell is recited over it on the evening before the work is begun. Then again, the whole community turn out and do the work in one day’s sitting.

The canoe is now ready for the sea, except for the painting, which is only for ornamentation. Three more magical rites have to be performed, however, before it is painted and then launched. All three refer directly to the canoe, and aim at giving it speed. At the same time all three are exorcisms against evil influences, resulting from various defilements or broken taboos, which possibly might have desecrated the waga.

The first is called Vakasulu, which means something like „ritual cooking” of the canoe. The toliwaga has to prepare a real witches’ cauldron of all sorts of things, which afterwards are burnt under the bottom of the canoe, and the smoke is supposed to exercise a speed-giving and cleansing influence. The ingredients are: the wings of a bat, the nest of a very small bird called posisiku, some dried bracken leaves, a bit of cotton fluff, and some lalang grass. All the substances are associated with flying and lightness. The wood used for kindling the fire is that of the light-timbered mimosa tree (liga). The twigs have to be obtained by throwing at the tree a piece of wood (never a stone), and when the broken-off twig falls, it must be caught in the hand, and not allowed to touch the ground.

The second rite, called Vaguri, is an exorcism only, and it consists of charming a stick, and then knocking the body of the canoe all over with it. This expells the evil witchery (bulubwalata), which it is only wise to suspect has been cast by some envious rivals, or persons jealous of the toliwaga.

Finally, the third of these rites, the Kaytapena wagi, consists in medicating a torch of coco-leaf with the appropriate spell, and fumigating with it the inside of the canoe. This gives speed and once more cleanses the canoe.

After another sitting of a few days, the whole outside of the canoe is painted in three colours. Over each of them a special spell is chanted again, the most important one over the black colour. This