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 worship. Such,
however, I am convinced was not the case, although I believe it to have
had some connection with their superstitions, 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 circumstances. 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 repetition 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 circumcision
Turtikarrolo paltando
Strike (him) with the blood of the arm. etc. etc.
Kartipaltapaltarlo padlara kundando
Wodliparrele kadlondo
Kanyamirarlo kadlondo
Karkopurrelo kadlondo
"This curse or imprecation is used in hunting a wild dog, which, by the
mysterious effects of those words, is induced to lie down securely to
sleep, when the natives steal upon and easily kill him. The first word in
each line denotes things sacred or secret, which the females and children
are never allowed to see.
* * *
KAWEMUKKA minnurappindo Durtikarro minnurappindo
Tarralye minnurappindo Wimmari minnurappindi
Kirki minurappindo Wattetarpirri minnurappindo
Worrikarro minurappindo
"These sentences are used in hunting opossums, to prevent their escape,
when the natives set fire to hollow trees in which the opossums are
living.
* * *
KARRO karro wimmari Karra yernka makkitia
Karro karro kauwemukka Makkitia mulyeria
Karro karro makkitia
"These words are rapidly repeated to the NGULTAS, while undergoing the
painful operation of tattooing; they are believed to be so powerful as to
soothe the pain, and prevent fatal consequences of that barbarous
operation."
Another specimen may be given from the Vocabulary published by Mr. Meyer,
another of the German Missionaries at Encounter Bay.
"Miny-el-ity yarluke an-ambe what is it road me for Aly-..el-..arr'
yerk-in yangaiak-ar! here are they standing up hill . . . . . . s
What a fine road is this for me winding between the hills!
"The above words compose one of the native songs. It refers to the road
between Encounter Bay and Willunga.
