# In the Forbidden Land/Chapter XVII

FUNERAL RITES
    Departure of the Soul—Cremation—Amusement of the dead man's soul—The lay figure—Feasting—Doleful dance—Transmigration of the soul—Expensive ceremonies—Offerings before the lay figure—Dancing and contortions—Martial dances—Solo dances—The animal to be sacrificed and the lay figure—Chasing the animal from the village—Tearing out its heart—The yak driven over a precipice—Head shaving—A sacred cave.
THE Shokas ascribe death to the departure of the soul from the body, and to this notion is due the curious reverence they show for the spirit or memory of their dead. I witnessed a funeral ceremony quaint enough to deserve record.
A man had died a painful death, the result of an accident. His friends were immediately sent for, and the corpse, having been smeared with butter (ghi), was dressed in his best clothes. They bent his body double before the rigor set in, and placed him on a hurriedly constructed wooden hearse. He was covered with a blue-and-gold embroidered cloth, and a white one over it. At sunrise, the funeral procession left the house for the place of cremation. First came a row of ten women, their heads covered with a long strip of white cotton cloth, one end of which was tied to the hearse. Among these were the near relations of the deceased, including his wife and daughters, crying and wailing the words, "Oh bajo! Oh bajo!" (Oh father! oh father!), the rest of them sobbing and making great show of grief. The deceased having been somewhat of a favourite in Garbyang, the villagers turned out in force to render him this last tribute, and they took their place in the procession as it slowly wound down the cliff towards the river. The hearse was carried by two men, and each male Shoka following bore a log or bundle of firewood. We reached the Kali. The body was temporarily laid on the bank of the stream, while all the men, with heads uncovered, collected large stones and pieces of wood. With the stones a circular crematory oven, five feet high, six feet in diameter, with an opening on the side facing the wind, was erected by the water-side. The wife and daughters of the departed, with their hoods turned inside out and with covered faces, squatted down meanwhile by the hearse, moaning and keeping a small fire alight. When all preparations were made, the oven being heaped up with logs of wood, the body was untied from the stretcher and lifted by two intimates of the departed on to the funeral pile.
All valuables were removed, his gold earrings, his silver locket and bracelets; and a large knife was used for some purpose or other which I could not quite see, except in slitting the lobes of the corpse's ears to remove his earrings more quickly. Branches of pine-tree were deposited on the body, and a large pot of butter was set by its side. A brass bowl of chökti (wine) was poured on the head, and then, in profound silence, fire was set to the pile.
A few white puffs showed that it had caught fire, and then a dense column of black smoke rose from it, filling the atmosphere with a sickening smell of singed hair and burning flesh. The wind blew the smoke towards me, and I was enveloped in it for some moments, during which I could see nothing of what was going on, and I felt my eyes smart and my nostrils fill with the smoke and the stench. Gradually a tall flame, over twenty feet high, leaked out, consuming the body and showing me, as the atmosphere cleared, the Shokas down by the river washing their hands and faces to cleanse themselves of what they look upon as unclean, the contact with a corpse. Retracing their steps to the village, the women cried and moaned, carrying back to the house the clothes of the deceased and his brass bowls.
Reaching home, it was incumbent on them to provide lavishly for the amusement of the dead man's soul. A lay figure crudely constructed of straw and sticks was attired by them in the clothes of the departed, and covered over with Indian fabrics embroidered in gold and red and blue, and a turban was stuck on the head, with a panache made of a branch of fir-tree. The Kalihé was at the side of the image. When the fire was extinguished, a visit was paid to the cremation spot by the relatives of the deceased, and such pieces of bone as the knee-joints, elbows, and the larger vertebræ of the spine, usually left undestroyed by the flames, were collected and deposited inside the clothes of the image. Wheat, rice, and flour were purchased in large quantities and cooked to provide food for the multitude of friends who remained the guests of the family during the whole time of the funeral. A sheep a day is usually killed and eaten on such occasions, and cask after cask of chökti (wine), zahn (a liquor distilled from barley, rice and wheat), and anag (from fermented grain of various kinds) are emptied by the mourning crowd. The women folk of the dead man mourned round the effigy, resting their heads on it, crying and imploring the beloved one to return to life. Other rows of women, with their hoods turned inside out in sign of mourning, danced gracefully in circles round the dressed-up figure, left the house by one door in the basement, described an arc in the open, and returned by another door, while men were dancing a doleful dance outside the house. Beating of drums went on the whole day—languid and sad at moments; excited, violent and rowdy at others, according to the mood of the musicians and the quantity of liquor consumed by them. On each day of these proceedings, which lasted for three or four days, rice, baked wheat, and wine were placed before the effigy, until, when it was assumed that the soul of the dead had had a sufficiently amusing time, arrangements were made for its transmigration from the lay figure into a live sheep or yak. If the deceased is a man, the animal chosen to represent him is a male; if a woman, a female; but no ceremony of this sort follows the cremation of children under ten or twelve. In the case of the old man whose funeral I witnessed, a sheep was chosen, instead of the time-hallowed yak, the procuring of which from Tibet used to be a very costly business. The use of a sheep for these sacrifices is quite a recent innovation, brought into fashion by the greatest Shoka trader in Garbyang, called Gobaria, whose intention it was to put down the unnecessary waste of these ceremonies; but many pious Shokas, I was assured, are not satisfied with so small an offering as a single sheep, and slaughter two or even more on these occasions.
After several days' dancing and gorging indoors, a crowd collects, to the sound of the drums, outside the habitation. The lay figure is from the room transported either directly outside the dwelling or to some picturesque spot in the woods. This is generally on the fourth day. Bowls with food are placed in front of it, and the dancing is begun, to a curious sentimental strain, with a graceful series of contortions, by girls and women waving large pieces of white material. The legs keep time with the arms, and each leg is alternately bent at the knee until it nearly touches the ground. The head is inclined to the right or left, and thrown backwards or forwards according to the beating of the drum. The circular motion in the dancing begins first very slowly, and the speed then increases by degrees, abruptly ending in odd and suggestive postures. During the intervals of dancing the relatives go round and round the lay figure, dusting and fanning it with their white cloths.
In the afternoon the men join the performance, and though their dancing has practically the same characteristics and motions as the women's dance, it is usually so much more violent that it almost partakes of the character of a war-dance. They hold in their right hands a sword, in the left a circular shield, and some of the younger men show great skill in the rapid manipulation of their blades, twirling them round their heads and behind their backs. There are solos, duets and trios, in which the drummer or drummers take part, and when the dancing is collective, they head the procession, contorting their bodies and beating their drums with a stick on one side and the palm of the hand on the other.
The whole crowd is constantly regaled by the family with corn baked with sugar, roasted Indian corn, rice, sweets, ghur and miseri, when the lay figure is supposed to have had its fill. While the mob eat, the ladies of the house return to the effigy with quick beating of the drums, and again double themselves up in solemn lengthy curtsies. Perhaps the most interesting, because the most accomplished, were the solo male dancers, each performer displaying his own particular genius. The drummer beats his drum whimsically—fast and slow alternately, with no rule—just as it pleases his fancy, and the dancer always keeps time with him in all his frenzies and eccentricities, so that his movements are sometimes so slow as to be barely noticeable, and at others so rapid that his arms and legs can no longer be distinguished. I happened to witness no less than six funerals simultaneously in Garbyang, and a collective war-dance of as many as three hundred men. It went on during a whole day and the greater part of the following night, torches and a big bonfire burning.
Eventually, amidst firing of guns, howls, yells and deafening hissing of the assembled crowd, the animal to be sacrificed is dragged before the lay figure. Long coloured ribbons are tied round its horns, and the ends left hanging by the side of its head. Sandal-wood is burnt under the beast's nostrils, which is supposed to induce the soul of the departed to enter and establish itself in the animal. The clothes, the turban, the shield, the jewellery, are torn from the figure's back and piled on to the goat, which is now the impersonation of the deceased. It is fed until it can hold no more, wine and liquor being poured down its throat, and large dishes of all possible delicacies being placed before it. The women relatives devote to it their tenderest affection, and shed tears over it in the conviction that it holds the spirit of their lost protector. Stuffed with food, and stupefied by the alcohol, the beast submits, emotionless and immovable, to the wild caresses, prayers, and salaams showered on it. Again the hissing, whistling and yelling begin, and a rush is made for the animal, which is seized by the horns, the neck, the tail, wherever it can be caught hold of, and dragged, pushed, beaten, and at last chased out of the village, but not until after the clothes, shield, sword, turban, and ornaments have been torn from its back. It is eventually handed over to the Hunyas or Jumlis or Humlis, who on these occasions benefit by the simplicity and superstition of the Shokas, and who throw it down, rip the body open, and pull out the heart, or twist it in the inside with a jerk that kills instantly. This method applies to sheep or goat.
When a yak is sacrificed, very much the same rites take place up to the moment when the lay figure is deprived of its clothing and the yak invested with it. It is similarly beaten and dragged about, and left on the top of some mountain, the crowd calling after it, "Go! go! We have feasted, fêted and fed you. We have done all in our power for your welfare. We cannot do more! Go now!" With this the yak, with the soul that has been driven into it, is left to its own devices, and as soon as the Shokas have departed, is driven by the Tibetans over a precipice, it being against their faith to draw blood from a yak. In the fatal leap the animal is smashed to pieces, and the Tibetans, collecting the remains, gorge themselves with the prized meat of their cherished yak.
As a mark of reverence the Shoka men remove their caps not only while following the corpse to cremation, but also during the feasting, the male relatives themselves even shaving their heads; and this practice is occasionally extended to the whole male community in the case of a particularly respected villager dying. The women remove their jewellery, and, as already noted, turn their hoods inside out.
When all is over, some restitution of his property is made to the dead, and odd articles, such as brass bowls or a gun or a shield or sword, are placed in a sacred cave, which none dare desecrate by entering to remove anything. These caves are high up on the mountain-sides, and are said to be full of sacred offerings, which have accumulated there in the centuries.
I expressed the wish to see the cave on the mountain side above Garbyang, but the natives politely asked me not to do so, as the visit of a stranger to this sacred spot might bring misfortune on the Shoka living community. Therefore I abstained from going rather than cause unpleasantness.