[Note: this transcription was produced by an automatic OCR engine]
1. tr 4' t “W 3 i. I-< 4 .. :l <~ 31¢ “ii rm; NALAWAN socrerv 397 then go into the bush and cut posts from which to make the mzainggol, the characteristic structure of this grade. Two short ones of tree-fern and one long bamboo are taken. These are brought to the village and laid on the ground near to the umel in such a way that the short posts lie parallel to each other, and the long one on top of and at right angles to them. Four crotons are then planted, as though marking the corners of a rectangular enclosure about these posts. Next day the introducer comes to the dancing ground, and the candidate pays him one small pig (lohrmkobran or mbuas Mos) for the faces which the introducer is going to help him to carve. As in the rites of the N imangki, to make such a payment is termed ikikina, meaning “ he pays for the faces". The presentation is made in the usual way by an old man of high Nalawan rank, who pronounces the formula: " Telmbwir nimbuas ihu ran naainggal binggm mmgk mmgk" (“ Tehnbwir pig he gives for naainggol unto thee "). The introducer and candidate then carry the posts into the amel and there proceed to carve them. A face of large proportions is cut in each of the tree-fern posts, and beneath this the representa- tion of a beard is carved on one, on the other a design signifying a woman’s breasts. The former is said to represent “ the father " the latter “ the mother". Projecting from the region of the temples on both these, are two sticks, seemingly bound around with grass and with wisps of grass hanging from their ends. These are called nimbal nin and are found also on the carved poles known as 1u'tm's which are erected at entrance to some of the higher Nalawan. To either end of the bamboo pole, a smaller carving of a human face is aflixed and these are known as “ the children â€ù 1 (see Fig. 23). The day following that on which the carvings are executed is spent in painting these faces and in manufacturing the nauinggol masks. The men who are engaged in this work have to sleep in the amel until it is ï¬Ånished ; they may not have sexual intercourse with any woman, and may not even enter their houses where their wives are, nor may they climb anywhere.‘ The night of the day on which the masks are made is spent in dancing nimbumbal, beginning at sunset and continuing until just before sunrise. No gongs are beaten 1 Unfortunatel there is no clue $8 to whet family these posts are sipposcd to represent.-C. in w. ' Compare this with the restriction on climbing in the presence of the wile‘: m0ther.—A. B. D.
