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Dances and Ceremonies Performed by Bosavi People

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Dances and Ceremonies Performed by Bosavi People Appendix I Dances and Ceremonies Performed by Bosavi People Aside from Gisaro, the people of Bosavi perform five other types of dances and ceremonies: Ilib Kuwc, Sæbio, Kcluba, Heyalo, and Iwc. Ilib Kuwc Ilib Kuwc is not a full-scale ceremony but a kind of celebratory dance performed in the longhouse during the day by one to four men to project an exciting atmosphere for some significant event. The dancers are costumed as in Heyalo and Kcluba with characteristic arched-frame headdresses of white cockatoo feath- ers with palm-leaf streamers (fasela), and they wear springing rattles of crayfish claws in their waistbands at the back. Dancers usually position themselves two at each end of the longhouse facing the interior and bounce back and forth in short hops across the hall from side to side beating hand drums (ilib). There is no singing, and the dancers make no effort to coor- dinate their motion or drumming. As in all Bosavi ceremonies, each performer is withdrawn and does not address or relate to his audience. When a dancer tires, he turns around to face the end of the hall and rests for a while. Members of a longhouse community may perform Ilib Kuwc among themselves to mark a noteworthy occasion such as a 225 226 / APPENDIX I successful raid or the preparations to receive a ceremonial party of guests. In the latter case, the dancers customarily move into the houseyard to greet the arrival procession, and the arrivals in turn lead out of the forest with their own Ilib Kuwc dancers. The newly arrived dancers then replace those of the hosts in the longhouse to provide the Ilib Kuwc entertainment until evening, when a major ceremony may be performed. Kaluli say that Ilib Kuwc originally came up from the south- east side of the mountain at the same time that drums were introduced. Ilib Kuwc is now familiar to every longhouse north of the mountain. Sæbio Sæbio is also a minor dance, though it occasionally may be per- formed for a whole night in the absence of another ceremony. It is usually performed from about dusk to ten o’clock at night by the youths and young men of a group visiting another long- house (for example, as carriers for a government patrol) and seems aimed at catching the attention of the local girls. Alternately, if the occasion for the visit is an important one at which an all-night ceremony is to be performed, people may perform Sæbio in the late afternoon amid the Ilib Kuwc dancing until shortly before the other major ceremony is to begin. In performing Sæbio, the youths stand in two lines facing each other across the head of the hall, wearing no special cos- tume beyond the usual finery of visitors. The singing is led by those at the ends of the lines, who tap the rhythm with ax han- dles or sticks on the floor, while the others jiggle rapidly up and down in place. The song, which is usually no more than two lines, is passed from one youth to another up and down the two lines in a call-response manner. After about three songs, the youths trot to the center of the hall, where they sing for a while in the same manner. From there they move to the women’s end of the hall to sing, then back to the center, and finally return to the head where they may take a short break before forming up again and continuing the performance. Sæbio songs consist of conventional two-line formulae into which new words (food names, wealth objects) may be inserted. APPENDIX I / 227 Place names do not usually appear in Sæbio songs, but with- out them the performance is not moving. Kaluli say that Sæbio originated in the area southeast of Bosavi and that only those with connections to clans Wasu and Swabesi know how to do it. It appears, however, that the knowledge of the dance is more widespread among Bosavi people than this. Kcluba Kcluba is a major all-night ceremony performed at the usual occasions for such things. The performers do not arrive with the rest of the visitors but remain in the forest to prepare for the ceremony. At dark, eighteen to twenty-four young men (cos- tumed as in Ilib Kuwc and Heyalo) emerge from the forest in procession three abreast and enter the longhouse. They move with little bouncing steps once up and down the hall singing a procession song. Then all but two dancers sit down in a semi- circle along the edges of the sleeping platforms at the head of the hall. The two remaining dancers face each other at the head of the hall and, hopping up and down, tap time with sticks on the floor and sing. At the end of the song, they move with lit- tle hopping steps to the middle of the hall, where they sing the song again. Then they proceed in the same way to the women’s end, the middle, and back to the head, where they finally sit down and another pair of dancers stands up. After all have danced up and down the hall in this manner, they wind up with a procession around the hall. Then they sit down in the semicircle again and pairs of men dance as before with a new set of songs. Songs are made up for each occasion; they con- cern place names and evoke sorrow and burning of the dancers. Kcluba is said to have originated with clans Wasu and Swabesi to the southeast of the mountain and was still moving westward into the Kaluli area in 1967. Heyalo Heyalo (or Feyalo) is a major all-night ceremony. As with Kcluba, the male performers do not appear until dark, when they emerge in procession from the forest and enter the longhouse. 228 / APPENDIX I The eighteen to twenty dancers (costumed as in Ilib Kuwc or Kcluba) are joined by five or six women in sosomaya regalia. With their backs to the audience, the male dancers sidle up one side of the hall and down the other with a hopping step while singing and beating drums. The women precede and fol- low the line as it moves around the hall and shout “Aeo! Aeo!” in high-pitched voices. After singing one song several times, which takes about twenty minutes, the dancers all sit down for a five minute break before starting up again with a new song. The songs, which are made up anew for each occasion, mention places in the local territory and evoke weeping in the audience and burning of the dancers. Heyalo is said to have originated among the westward Bosavi neighbors of the Kaluli, and the origin myth of the ceremony associates it with Lake Campbell. Heyalo is as familiar and widely practiced north of the mountain as Gisaro. It evidently has changed in form since the 1930s, when it was danced without drums, with a different song style, and with male and female dancers alternating in the line around the hall. Iwc Iwc is danced only on the night before pigs are killed, making it the one ceremony in Bosavi that relates to a specific type of event. The performers (both hosts and guests) decorate them- selves openly amid the afternoon gathering of people in front of the pigs “so that the pigs will see them and turn out fat.” The performance begins after dark when two men burst through the door of the longhouse, shouting and banging axes on the floor in the middle of the hall. They are immediately followed by the dancers, who are arranged in order of height, the tallest first and the shortest last. In Iwc, boys from the age of about five to men well into their fifties may dance. Singing is led by a man (host or guest) who knows the traditional one- or two-line songs. The songs are picked up and repeated by the dancers for about fifteen minutes as they shuffle around the hall in single file. After each song, the dancers rest for a minute until two men burst through the door as before APPENDIX I / 229 and bang axes on the floor, following which a new song is introduced. The songs are supposed to be traditional and known only to men who have connections to the southwest of the mountain among the “Aibalisc” people (Kokonesi longhouse), who are said to be the originators of the songs. Unless there are a few men present who know the songs, the ceremony cannot be performed. Song lines mention rivers and place names framed in references to pigs. However, the places mentioned are all on “Aibalisc” ground unfamiliar to Kaluli and hence are not moving. Iwc seems to have been performed among the Bosavi people for at least thirty years. Appendix II Selected Bibliography of Bosavi since 1968 This book leaves the Kaluli (or Bosavi) people as they were in 1968. Since that time a great deal of ethnographic fieldwork has been undertaken in Bosavi both by myself and by my col- leagues Steven Feld and Bambi Schieffelin. My subsequent work has focused on issues of Bosavi symbolic culture, emotion, society and history. Steven Feld’s work focuses on Bosavi songs, poetry, and ecology, and Bambi Schieffelin’s work as focused on Bosavi language, socialization and literacy. Those who are interested in learning more about the Bosavi people, can explore the following selected writings: E. L. SCHIEFFELIN l982 The Bau A Ceremonial Hunting Lodge: An Alternative to Initiation.
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