[Note: this transcription was produced by an automatic OCR engine]
THE VILLAGE AND VILLAGE LIFE 29 the border line between that part of the village which was igah and that which was ileo. The mmgguranggm naval on the other hand screened off what may be regarded as the holy of holies from the rest of the dancing ground which itself possessed a certain “sanctity â€ù, although women were allowed to enter it. On the side of the dancing ground opposite the nanggunmggur mzvat grows a gigantic banyan tree, overshadowing the whole place. Approximately in the centre of the dancing ground is a
‘ l , EKG/’N'l'!C ’ ' , BANYAN Tue. i »‘ Fm. 2. The Dancing onnina of Sarembal. , 0 -= Upright’Monoliths. U-= Four, slabs of stone laid on top of each other. SN = S'nm nnmbwilnzghai (The “Mother Gong ") KN = Nilugvm nm nambwilaghai ' The three principal lg = Niwmli nan nambwiltlghai 3°“5“" rectangular stone slab measuring 2 by 2% feet, resting on four uprights. This serves as a seat for the man who is beating the gongs. It is called loghola, which is the name of a certain variety of bird, and the four supports are netalu Zoghola " the feet of the lnghola_".1 Beside this stone seat are three gongs: a large I re is interesting to notice that the name of this same bird is 'ven to th , . , _ _ 1 red paint which is used for painting the sacred objects connected witgh the secret iLSSOC1a,t1o11 ll] thls district, the Ntmfllgki T16/.—C. H. W. 3%
