Part 39 (2/2)

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

<script>