Journals of Expeditions of Discovery into Central Australia Part 39

When hostilely disposed from either fear or from having been previously ill-treated, I have seen the natives, without actually proceeding to extremities, resort to all the symptoms of defiance I have mentioned, or at other times, run about with fire-brands in their hands, lighting the bushes and the gra.s.s, either as a charm, or in the hope of burning out the intruders. When much alarmed and rather closely pressed, they have run up the trees like monkeys, and concealed themselves among the boughs, evidently thinking they were secure from pursuit there.

If tribes meet simply for the purpose of festivity, and have no deaths to avenge on either side, although they appear in warlike att.i.tude, painted and bearing spear and s.h.i.+eld, yet when they approach each other, they all become seated upon the ground. After which, the strangers, should there be any, undergo a formal introduction, and have their country and lineage described by the older men. At these meetings all occurrences of interest are narrated, information is given as to the localities in which food is most abundant, and invitations are issued by the proprietors of these districts, to their relations and friends to accompany them thither.

The position of one tribe towards another, whether on friendly terms or otherwise, is talked about, and consultations are held on the existing state of affairs, whether hostilities shall be continued or withdrawn, and future plans of operation are marked out.

Whilst the men are occupied in discussing these matters, the females engage in a narration of family occurrences, such as births of children, marriages, deaths, etc., not omitting a sprinkling of gossip and scandal, from which, even these ebon sisters of a fairer race, are not altogether exempt.

In the evening, the huts of the different tribes are built as near to each other as practicable, each tribe locating itself in the direction from whence it came. The size and character of the huts, with the number of their occupants, vary according to the state of the weather, and the local circ.u.mstances of their position. In fine weather, one hut will contain from two to five families, in wet weather more, each family however having a separate fire.

The amus.e.m.e.nts of the natives are various, but they generally have a reference to their future occupations or pursuits. Boys who are very young, have small reed spears made for them by their parents, the ends of which are padded with gra.s.s, to prevent them from hurting each other.

They then stand at a little distance, and engage in a mimic fight; and by this means acquire early that skill in the use of this weapon, for which, in after life, they are so much celebrated. At other times round pieces of bark are rolled along the ground, to represent an animal in the act of running, at which the spears are thrown for the sake of practice.

Another favourite amus.e.m.e.nt among the children, is to practise the dances and songs of the adults, and a boy is very proud if he attains sufficient skill in these, to be allowed to take part in the exhibitions that are made before other tribes.

String puzzles are another species of amus.e.m.e.nt with them. In these a European would be surprised to see the ingenuity they display, and the varied and singular figures which they produce. Our juvenile attempts in this way, are very meagre and uninteresting compared to them. [Note 63: An amus.e.m.e.nt of the New Zealand children.--Dieffenbach, vol. 2. p. 32.]

Other gratifications enjoyed by children, consist in learning the occupations and pursuits of after life, as to make twine, and weapons; to ascend trees; to procure food; to guide the canoe, and many other things, which enter into the pursuits of a savage.

The elder boys engage more extensively in similar occupations, as they are more particularly interested in them, and by their exertions have to provide chiefly for their own support. Mock combats frequently take place amongst them, in which they are encouraged by the adults, that they may acquire the dexterities of warfare, in which they are soon to be more seriously engaged. [Note 64: For an account of a similar practise among the American Indians, vide Catlin, vol. 1. p. 131.]

An amus.e.m.e.nt of the adults, is a large bunch of emu feathers tied together, (fig. 1. Pl. 1.) which is held out and shaken as if in defiance, by some individual, whilst the others advance to try to take it out of his hands. This occasions an amusing struggle before the prize is gained, in which it is not uncommon to see from ten to twenty strong and l.u.s.ty men rolling in a heap together. This is a sort of athletic exercise amongst them, for the purpose of testing each other's strength. On such an occasion they are all unarmed and naked.

At nights, dances or plays are performed by the different tribes in turn, the figures and scenes of which are extensively varied, but all are accompanied by songs, and a rude kind of music produced by beating two sticks together, or by the action of the hand upon a cloak of skins rolled tightly together, so as to imitate the sound of a drum. In some of the dances only are the women allowed to take a part; but they have dances of their own, in which the men do not join. At all times they are the chief musicians, vocal and instrumental. Sometimes, however, they have an old man to lead the band and pitch the tunes; and at others they are a.s.sisted by the old and young men indiscriminately.

The natives have not any war-dance, properly so called, though sometimes they are decorated in all the pomp and circ.u.mstance of war. Being excellent mimies, they imitate in many of their dances the habits and movements of animals. They also represent the mode of hunting, fighting, love-making, etc. New figures and new songs are constantly introduced, and are as much applauded and encored, as more refined productions of a similar kind in civilized communities; being sometimes pa.s.sed from tribe to tribe for a considerable distance. I have often seen dances performed to songs with which I was acquainted, and which I knew to belong to distant parts of the country where a different dialect was spoken, and which consequently could not be understood where I heard them. Many of the natives cannot even give an interpretation of the songs of their own districts [Note 65 at end of para.], and most of the explanations they do give are, I am inclined to think, generally very imperfect, as the measures or quant.i.ties of the syllables appear to be more attended to than the sense.

[Note 65: "Not one in ten of the young men who are dancing and singing it, know the meaning of the song they are chaunting over."--Catlin, vol. 1. p.

126. Also the case in New Zealand, with respect to some of the songs.--Vide Dieffenbach, vol. 2. p. 57.]

Of these amus.e.m.e.nts the natives are pa.s.sionately fond; and when once they have so far overcome their naturally indolent disposition as to be induced to engage in them there is no knowing when they will give over.

Dances are sometimes held during the day, but these are of rare occurrence, and seem to be in some way connected with their ceremonial observances or superst.i.tions, since rude figures, and lofty branches of trees, decorated with tufts of feathers, emu plumes, swan's down and red ochre, occupy a prominent part in the exhibition, although never met with in the dances by night.

The dances vary a great deal among the different tribes, both as to figures and music; the painting or decoration of their persons, their use of weapons, and the partic.i.p.ation of the females in them. Throughout the entire continent, as far as it is known. there are many points of resemblance in the dances of all the Aborigines, such as the practice of painting the body with white and red ochre, carrying boughs in their hands, or tying them round their limbs; adorning the head with feathers or down, bearing bunches of feathers, tied in tufts in their hands, the women singing and beating time upon folded skins, the men beating time upon sticks or some of their smaller weapons, an old man acting as leader of the band, and giving the time and tune to the others; the dances representing the actions of animals, the circ.u.mstances of the chase, of war, or of love; and the singular and extraordinary quivering motion of the thighs when the legs are distended, a peculiarity probably confined to the natives of the continent of Australia.

The most interesting dances are those which take place at the meeting of different tribes. Each tribe performs in turn, and as there is much rivalry, there is a corresponding stimulus to exertion. The dances usually commence an hour or two after dark, and are frequently kept up the greater part of the night, the performers becoming so much excited that, notwithstanding the violent exercise required to sustain all their evolutions, they are unwilling to leave off. It is sometimes difficult to induce them to commence a dance; but if they once begin, and enter into the spirit of it, it is still more difficult to induce them to break up.

The females of the tribe exhibiting, generally sit down in front of the performers, either irregularly, in a line, or a semicircle, folding up their skin cloaks into a hard ball, and then beating them upon their laps with the palm of their hand, and accompanying the noise thus produced with their voices. It is surprising to see the perfect time that is kept in this way, and the admirable manner in which the motions of the dancers accord with the music. There is no confusion, irregularity, or mistake.

Each person is conversant with his part; and all exhibit a degree of elasticity and gracefulness in their movements which, in some of the dances, is very striking and beautiful.

In many of the figures, weapons are carried, such as the waddy, the s.h.i.+eld, the spear, etc. and in these it is amazing to behold the facility and skill with which they form in close array, spread into open rank, change places, and thread through the mazes of the dance, without ever deranging their plans, or coming in contact with each other.

The tribes who are not engaged in dancing, are seated in a large semicircle as spectators, occasionally giving a rapturous exclamation of delight, as any part of the performance is well gone through or any remarkable feat of activity exhibited. Where natives have not much acquaintance with Europeans, so as to give up, in some measure, their original habits, if there is any degree of jealousy between the respective tribes, they are sometimes part.i.tioned off from each other by boughs of trees, whilst they look at the dance. On one occasion I saw five tribes met together, and the evening was of course spent in dancing.

Each tribe danced in turn, about forty being engaged at once, besides sixteen females, eight of whom were at each corner of the male performers. The men were naked, painted in various devices with red and white, and had their heads adorned with feathers. The women wore their opossum cloaks, and had bands of white down round their foreheads, with the long feathers of the c.o.c.katoo sticking up in front like horns. In the dance the men and women did not intermingle; but the two sets of women who were dancing at the corners of the line, occasionally changed places with each other, pa.s.sing in this transit, at the back of the men. All sung, and the men beat time upon their smaller weapons whilst dancing, the whole making up a wild and piercing noise, most deafening and ungrateful to the ears.

The natives of the Rufus and Lake Victoria (Tar-ru) have a great variety of dances and figures. One of these, which I witnessed, representing the character, habits, and chase of the kangaroo was admirably performed, and would have drawn down thunders of applause at any theatre in Europe. One part of this figure, where the whole of the dancers successively drop down from a standing to a crouching posture, and then hop off in this position with outstretched arms and legs, was excellently executed. The contrast of their sable skins with the broad white stripes painted down their legs; their peculiar att.i.tudes, and the order and regularity with which these were kept, as they moved in a large semicircle, in the softening light of the fire, produced a striking effect; and in connection with the wild and inspiriting song, which gave an impulse to their gesticulation, led me almost to believe that the scene was unearthly.

In some of the dances the music varies rapidly from slow to quick, and the movements alter accordingly. In some they are altogether measured and monotonous, in others very lively and quick, keeping the performers almost constantly at a double quick march, moving in advance and retreat, crossing past or threading through the ranks, and using a kind of motion with the feet in unison with the music, that bears a strong resemblance to the European mode of dancing. At particular points the figures terminate by some simultaneous motion of the whole performers, accompanied by a deep, gutteral "Waugh," [Note 66 at end of para.] uttered by all together; at others by the actors closing in a dense circle, and raising and pointing their weapons upwards with the same exclamation.

[Note 66: This very peculiar sound appears to be common among the American Indians, and to be used in a similar manner.--Vide Catlin, vol. 2. p.136.]

The "Paritke," or natives inhabiting the scrub north-west of Moorunde, have quite a different form of dancing from the river natives. They are painted or decorated with feathers in a similar way; but each dancer ties bunches of green boughs round the leg, above the knees, whilst the mode of dancing consists in stamping with the foot and uttering at each motion a deep ventral intonation, the boughs round the knees making a loud rustling noise in keeping with the time of the music. One person, who directs the others in the movements of this dance, holds in his hands an instrument in the form of a diamond, made of two slight sticks, from two and a half to three feet long, crossed and tied in the middle, round this a string, made of the hair of the opposum, is pressed from corner to corner, and continued successively towards the centre until there is only room left for the hand to hold the instrument. At each corner is appended a bunch of c.o.c.katoo feathers. With this the chief performer keeps a little in advance of the dancers, and whisking it up and down to the time of the music, regulates their movements.

In another dance, in which women are the chief performers, their bodies are painted with white streaks, and their hair adorned with c.o.c.katoo feathers. They carry large sticks in their hands, and place themselves in a row in front, whilst the men with their spears stand in a line behind them. They then all commence their movements, but without intermingling, the males and females dancing by themselves. There is little variety or life in this dance, yet it seems to be a favourite one with the natives.

The women have occasionally another mode of dancing, by joining the hands together over the head, closing the feet, and bringing the knees into contact. The legs are then thrown outwards from the knee, whilst the feet and hands are kept in their original position, and being drawn quickly in again a sharp sound is produced by the collision. This is either practised alone by young girls, or by several together for their own amus.e.m.e.nt. It is adopted also when a single woman is placed in front of a row of male dancers to excite their pa.s.sions; for many of the native dances are of a grossly licentious character. In another figure they keep the feet close together, without lifting them from the ground, and by a peculiar motion of the limbs advance onwards, describing a short semicircle. This amus.e.m.e.nt is almost exclusively confined to young females among themselves.

It has already been remarked, that the natives, on particular occasions, have dances which they perform in the day-time, which are different from others, and seem to have some connection with their ceremonial observances or superst.i.tions. I have only witnessed one of these. It took place at Moorunde, in March 1844, on the occasion of a large number of distant natives coming to visit the place; and the visitors were the performers. The Moorunde natives were seated upon the brow of a sand-bank; the strangers, consisting of two tribes, down in a hollow a little way off, among a few bushes. When ready, they advanced in a line towards the others, dancing and singing, being painted and decorated as usual, some having tufts of feathers placed upon their heads like c.o.c.kades and others carrying them in their hands tied to short sticks.

Nearly all the males carried bunches of green boughs, which they waved and shook to the time of the song. The women were also painted, and danced in a line with the men, those of each tribe stationing themselves at opposite ends of the line. Dancing for a while, they retired again towards the hollow, and after a short interval advanced as before, but with a person in the centre carrying a curious, rude-looking figure, raised up in the air. This singular object consisted of a large bundle of gra.s.s and reeds bound together, enveloped in a kangaroo skin, with the flesh side outwards, and painted all over in small white circles. From the top of this projected a thin stick, with a large tuft of feathers at the end to represent the head, and sticks were stuck out laterally from the sides for the arms, terminating in tufts of feathers stained red to represent the hands. From the front, a small stick about six inches long was projected, ending with a thick k.n.o.b, formed of gra.s.s, around which a piece of old cloth was tied. This was painted white and represented the navel. The figure was about eight feet long, and was evidently intended to symbolise a man. It was kept in its elevated position by the person who carried it, and who advanced and retired with the movements of the dancers. The position of the latter was alternately erect and crouching, whilst they sang and beat time with the green boughs. Sometimes they stretched out their right arms simultaneously, and at other times their left, apparently for the purpose of marking the time at particular parts of the song. After dancing for a while in this way, they again retired to the hollow, and for a few moments there was another pause; after which they again advanced as before, but without the image. In the place of this two standards were exhibited, made of poles, about twelve feet long, and borne by two persons. These were perfectly straight, and for the first eight feet free from boughs; above this nine branches were left upon each pole, having at their ends each a bunch of feathers of the hawk or owl. On the top of one of the standards was a bunch of emu feathers.

The branches were stripped of all their smaller twigs and leaves, and of their bark. They were painted white, and wound round with the white down of the black swan, twisted into a rope. This also extended for a considerable distance down the pole, below the undermost branch.

Having again retired towards the hollow, they remained there for a few minutes, and then advanced for the third time. On this occasion, however, instead of the image or standards, they all carried their spears. After dancing with these for some time, they went forward towards the Moorunde natives, who sprang upon their feet, and seizing their weapons, speared two or three of the strangers in the shoulder, and all was over. I was anxious to have got hold of the rude figure to have a drawing made of it, but it had been instantly destroyed. The standards I procured.

This dance took place between nine and ten in the morning, and was quite unlike any thing I had seen before. A stranger might have supposed it to be a religious ceremony, and the image the object of wors.h.i.+p. Such, however, I am convinced was not the case, although I believe it to have had some connection with their superst.i.tions, and that it was regarded in the light of a charm.

Before the country was occupied by Europeans, the natives say that this dance was frequently celebrated, but that latterly it has not been much in use. No other instance of it ever came under my own observation in any part of New Holland.

The songs of the natives are of a very rude and unmeaning character, rarely consisting of more than one or two ideas, which are continually repeated over and over again. They are chiefly made on the spur of the moment, and refer to something that has struck the attention at the time.

The measure of the song varies according to circ.u.mstances. It is gay and lively, for the dance; slow and solemn for the enchanter; and wild and pathetic for the mourner. The music is sometimes not unharmonious; and when heard in the stillness of the night and mellowed by distance, is often soothing and pleasing. I have frequently laid awake, after retiring to rest, to listen to it. Europeans, their property, presence, and habits, are frequently the subject of these songs; and as the natives possess great powers of mimicry, and are acute in the observation of anything that appears to them absurd or ludicrous, the white man often becomes the object of their jests or quizzing. I have heard songs of this kind sung at the dances in a kind of comic medley, where different speakers take up parts during the breaks in the song, and where a sentence or two of English is aptly introduced, or a quotation made from some native dialect, other than that of the performers. It is usually conducted in the form of question and answer, and the respective speakers use the language of the persons they are supposed to represent. The chorus is, however, still the same repet.i.tion of one or two words.

The following specimens, taken from a vocabulary published by Messrs.

Teichelmann, and Schurmann, German Missionaries to the Aborigines, will give an idea of the nature of the songs of the Adelaide tribe.

KADLITPIKO PALTI.

Pindi mai birkibirki parrato, parrato. (DE CAPO BIS.)

CAPTAIN JACK'S SONG.

The European food, the pease, I wished to eat, I wished to eat.

MULLAWIRRABURKARNA PALTI.

Natta ngai padlo ngaityarniappi; watteyernaurlo tappandi ngaityo parni tatti. (DA CAPO.)

KING JOHN'S SONG.

Now it (viz. the road or track) has tired me; throughout Yerna there is here unto me a continuous road.

WILTONGARROLO kundando Strike (him, viz. the dog) with the tuft of eagle feathers.

Kadlottikurrelo paltando Strike (him) with the girdle

Mangakurrelo paltando Strike (him) with the string round the head

Worrikarrolo paltando Strike (him) with the blood of circ.u.mcision

Turtikarrolo paltando Strike (him) with the blood of the arm. etc. etc.

Kartipaltapaltarlo padlara kundando