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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1916 edition. Excerpt: ...as accessories to the agong rite, both in association with the altar itself, and as shrines on which the gifts that had previously been offered on the agongs might be hung. At Tubison, on the contrary, separate ritual recitations were uttered by the elder brother of Datu Imbal, while standing before two of the four tambara that occupied the corners of the house, and these devotions were accompanied by some display of dramatic action which cannot at the present time be discussed. One of the distinguishing characteristics of this festival at Tubison was the notable part taken by women, particularly in the singing. While the chanting of gindaya was, as usual, reserved for young men alone--indeed, the women told me that the daughters of Datu Imbal did not know the words of the gindaya--' yet many other vocal performances were given by girls and women. My notes, taken during the night, mention thirteen of these songs and chants, six of which were performed by a chorus of adult women, three by young girls assisted by a few young men, three were recitatives by single female voices, and one was a duet between Imbal's sister and his brother's son, the same nephew who carried the burden of the gindaya. Alternating with the songs of the women, or sometimes massed in consecutive numbers, came choruses by male voices, including the war song (dura), while ever and anon rose the chanting of gindaya by Iti, Umpa and Imba, sons of Datu Imbal, and by Ume, son of Imbal's brother. Some of the women's songs were given in a high key and with an explosive utterance that approached a shriek; others were softly chanted at a low pitch. One, at least, of the women's choruses was led by Siat, the wife of Datu Imbal, a middle-aged woman of remarkably impelling personality,...
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