The Eternal Belief in Immortality & Worship of the Dead. James George Frazer

the following totemic ancestors:—Wollunqua, Pittongu (bat), Wongana (crow), wild dog, emu, bandicoot, and fish, whose lines of travel in the alcheringa formed a regular network over the whole countryside."¹⁴⁷

      Dramatic ceremonies to commemorate the doings of ancestors.

Similar evidence could be multiplied, but this may suffice to teach us how to the minds of these Central Australian savages the whole country is haunted, in the literal sense, not merely by the memories of their dead, but by the spirits which they left behind them and which are constantly undergoing reincarnation. And not only are the minds of the aborigines preoccupied by the thought of their ancestors, who are recalled to them by all the familiar features of the landscape, but they spend a considerable part of their time in dramatically representing the legendary doings of their rude forefathers of the remote past. It is astonishing, we are told, how large a part of a native's life is occupied with the performance of these dramatic ceremonies. The older he grows, the greater is the share he takes in them, until at last they actually absorb the greater part of his thoughts. The rites which seem so trivial to us are most serious matters to him. They are all connected with the great ancestors of the tribe, and he is firmly convinced that when he dies his spirit will rejoin theirs and live in communion with them until the time comes for him to be born again into the world. With such solemnity does he look on the celebration of these commemorative services, as we may call them, that none but initiated men are allowed to witness them; women and children are strictly excluded from the spectacle. These sacred dramas are often, though by no means always, associated with the rites of initiation which young men have to pass through before they are admitted to full membership of the tribe and to participation in its deepest mysteries. The rites of initiation are not all undergone by a youth at the same time; they succeed each other at longer or shorter intervals of time, and at each of them he is privileged to witness some of the solemn ceremonies in which the traditions of the tribal ancestors are dramatically set forth before him, until, when he has passed through the last of the rites and ordeals, he is free to behold and to take part in the whole series of mystery plays or professedly historical dramas. Sometimes the performance of these dramas extends over two or three months, during which one or more of them are acted daily.¹⁴⁸ For the most part, they are very short and simple, each of them generally lasting only a few minutes, though the costumes of the actors are often elaborate and may have taken hours to prepare. I will describe a few of them as samples.

      Ceremony of the Hakea flower totem.

We will begin with a ceremony of the Hakea flower totem in the Arunta tribe, as to which it may be premised that a decoction of the Hakea flower is a favourite drink of the natives. The little drama was acted by two men, each of whom was decorated on his bare body by broad bands of pearly grey edged with white down, which passed round his waist and over his shoulders, contrasting well with the chocolate colour of his skin. On his head each of them wore a kind of helmet made of twigs, and from their ears hung tips of the tails of rabbit-bandicoots. The two sat on the ground facing each other with a shield between them. One of them held in his hand some twigs representing the Hakea flower in bloom; these he pretended to steep in water so as to brew the favourite beverage of the natives, and the man sitting opposite him made believe to suck it up with a little mop. Meantime the other men ran round and round them shouting wha! wha! This was the substance of the play, which ended as usual by several men placing their hands on the shoulders of the performers as a signal to them to stop.¹⁴⁹

      Ceremony of a fish totem.

Again, to take another Arunta ceremony of a fish totem called interpitna. The fish is the bony bream (Chatoessus horni), which abounds in the water-holes of the country. The play was performed by a single actor, an old man, whose face was covered with a mass of white down contrasting strongly with a large bunch of black eagle-hawk feathers which he wore on his head. His body was decorated with bands of charcoal edged with white down. Squatting on the ground he moved his body and extended his arms from his sides, opening and closing them as he leaned forwards, so as to imitate a fish swelling itself out and opening and closing its gills. Then, holding twigs in his hands, he moved along mimicking the action of a man who drives fish before him with a branch in a pool, just as the natives do to catch the fish. Meantime an orchestra of four men squatted beside him singing and beating time with a stick on the ground.¹⁵⁰

      Ceremony of a plum-tree totem.

Again, another Arunta ceremony of the plum-tree totem was performed by four actors, who simply pretended to knock down and eat imaginary plums from an imaginary plum-tree.¹⁵¹ An interesting point in this very simple drama is that in it the men of the plum-tree totem are represented eating freely of their totem, which is quite contrary to the practice of the present day, but taken along with many similar ceremonies it goes far to prove that in the ancient days, to which all these dramatic ceremonies refer, it was the regular practice for men and women of a totem to eat their totemic animals or plants. As another example of a drama in which the performers are represented eating their totem we may take a ceremony of the ant totem in the Warramunga tribe. The legendary personages who figure in it are two women of the ant totem, ancestresses of the ant clan, who are said to have devoted all their time to catching and eating ants, except when they were engaged in the performance of ceremonies. The two men who personated these women in the drama (for no woman is allowed to witness, much less to act in, these sacred dramas) had the whole of the upper parts of their bodies, including their faces and the cylindrical helmets which they wore on their heads, covered with a dense mass of little specks of red down. These specks stood for the ants, alive or dead, and also for the stones and trees on the spots where the two women encamped. In the drama the two actors thus arrayed walked about the ground as if they were searching for ants to eat. Each of them carried a wooden trough and stooping down from time to time he turned over the ground and picked up small stones which he placed in the trough till it was full. The stones represented the masses of ants which the women gathered for food. After carrying on this pantomime for a time the two actors pretended to discover each other with surprise and to embrace with joy, much to the amusement of the spectators.¹⁵²

      In these ceremonies the action is appropriate to the totem. Ceremony of the witchetty grub totem.

In all these ceremonies you will observe that the action of the drama is strictly appropriate to the totem. In the drama of the Hakea flower totem the actors pretend to make and drink the beverage brewed from Hakea flowers; in the ceremony of the fish totem the actor feigns to be a fish and also to catch fish; in the ceremony of the plum-tree totem the actors pretend to knock down and eat plums; and in the ceremony of the ant totem the actors make believe to gather ants for food. Similarly, to take a few more examples, in a ceremony of the witchetty grub totem of the Arunta tribe the body of the actor was decorated with lines of white and red down, and he had a shield adorned with a number of concentric circles of down. The smaller circles represented the bush on which the grub lives first of all, and the larger circles represented the bush on which the adult insect lays its eggs. When all was ready, the performer seated himself on the ground and imitated the grub, alternately doubling himself up and rising on his knees, while he extended his arms and made them quiver in imitation of the insect's wings; and every now and then he would bend over the shield and sway to and fro, and up and down, in imitation of the insect hovering over the bushes on which it lays its eggs.¹⁵³ In another ceremony of the witchetty grub totem, which followed immediately the one I have just described, the actor had two shields beside him. The smaller of the shields was ornamented with zigzag lines of white pipe-clay which were supposed to indicate the tracks of the grub; the larger shield was covered with larger and smaller series of concentric circles, the larger representing the seeds of a bush on which the insect feeds, while the smaller stood for the eggs