able to ascertain whether the natives sharply distinguish between those two
forms, whether there are general names and a difference in the ceremonial. 1)
any rate there is a quite clear distinction between the engagement (Vedani)
when marriage is in view and no sexual intercourse takes place, and the intrigue
(ui'ui) when the two cohabit without being decided to marry.

1)

As stated in a previous footnote, there was a sharp distinction between the two
forms in the Motu, Koita, Sinaughole. The Maoheni form (marriage by betrothal)
could be contracted only by a girl who had no previous sexual experiences (in
Motu called: Rami heboy; "having her grass petticoat together, unparted"). A girl
who has had Siharie (lovers) previously could contract only the Heraha form of
marriage. The Maoheni marriage was carried out with much more ceremonial and pre-
liminaries. The girl was promised when fairly young; in Sinaughole tribes further
inland of the Ligo district quite small gárls (3-5 years old) were betrothed. The
decision in and the formalities of the betrothal were mainly left to the care of
the older generation - this being quite obvious in the case of very young girls.
But the consent of the elder girls seems usually to be essential. The final and
most important part of this marriage form is the presentation of gifts in food and
native valuables. This is done by all the boy's relations in amounts proportional
to the closeness of their relationship.

The Heraha form of marriage called also Headava-henao - marriage by stealing - is
certainly the less decorous form, though it was the more frequent one before the
white man's advent. It derives its second name from the circumstance that a girl
thus wedded had been usually promised to another boy previously. Hence also the
difficulties often attending such marriages. The preliminary ceremonies of be-
trothal and exchange of gifts are absent and only the final one of bridal price

BETEL CHEWING.

I. Yaguma, Lime pot made of gourd.

II. Ebony mortars (Kaipita) and pestles (Kaimili), used for crushing green betel nut.

III.-XII. Ebony line spoons; the main difference lies in the pattern of the top of the handle.

III. Tautukuaki pattern; carved in imitation of a fruit. Also called Takubusana - "carving in form of the morning star".

IV. Tabulabola pattern; traditional, having no relation to nature.

V. Takakupuana; characterized by a longitudinal slit of the handle, hence its name.

VI. Tasorina; a square handle, topped by a band.

VII.

VIII. Ornamented with the Doka bird.

IX. Carvings with human figures (Tokualu). This pattern probably was not so popular with the natives in the olden days as it is now, when the majority of lime spoons are made for trade with the white man.

X. Mixed lime spoons without any definite pattern.

XI. Patterns in imitation of a cooking spoon (Takaneva) or of a steering rudder (Takuriga).

XII. Bird ornament.

## 1. TECHNOLOGY OF DOLE OR GRASS DUTTICOAT (TROBIA AND ISLANDS).

The petticoats are made: 1. of coconut leaves, 2. of leaves of the Palapola palm, and 3. of banana leaves.

The two first materials are used very seldom in the Trobri-
sans proper, though they are much in vogue in Kitsva and cro-
bally also in the Marshall Lennetts and Woodlark Island. By far
the most of the Dohe in the Trotriends are made of banana leaf
(a tall variety, Takaya, is used almost exclusively).

The making of the 3rd class of Dohe, i.e. those made of ban-
na leaves, consists of: A.) the preparatory stage, where the
various forms of material are made and B.) the putting or piec-
ing together of these materials.

### A.) Preparatory Process.
The material necessary for making a dohe consists of a.) a strand of best, b.) a string, c.) tufts or trinzes of frayed banana leaves, d.) trimming of bleached ban-danus leaf. Only c.) and d.) are specific material for petti-coats, and only these XXX need be described here.

### c.) Preparing of the banana tufts.
These are of two kinds: 1.) the plain ones Fairwana, and 2.) the ornamented ones, which, dyed or undyed, are made into bundles (called Nunniga). The first are prepared by scraping off the fleshy substance of the top of the banana leaf, and then the fibrous tissue of the leaf is frayed with the teeth of the Puataili fish (which, used in this manner, are called Kudуйia) or with a piece of crab's shell (Keli). After that, the frayed fringes thus obtained are dried in the sun and ready for use, and in this form are called

Seifrans. The preparation of 2.) is much more difficult. After
the fleshy substance has been scraped off from the top of the
leaf, this latter is scratched over with plain geometrical de-
signs. This is done on an oval shaped smooth board (Keida'waga)
with a small shell (Toriorin or Kidonatu). After that, the pie-
cing of leaf are bound into bundles (Nununiga) and in this form
play an important part in the mortuary distributions (Sagali).

The banana material is used. 1st undyed, 2nd dyed red, 3rd dark purple. The XXXXXXXX fringes are used undyed, and the Mununiga or scraped leaves are used dyed red or purple. 4nd is done by veins of roots of the Roku plant, which are scraped, and the liquid is mixed with lime; 5rd is obtained by boiling the leaves with the bark of theua' houga tree.

6.) The trimming of pandanus leaf. Leaves of a pandanus species, called by the natives Va'ora, are leached in front of a fire. Then they are cut into shape on a keida'waga board. The trimming consists of long and broad tabs (called again Va'ora), which reach to about ½ the length of the skirt, and of very short tabs (called Topidi), which form a short, overhanging ornamentation, finishing off the petticoat at the top.

E.) The piecing together of a Dobe. The woman takes a double
strand of last, called in this connection Woitabula, round her
waist and binds its two ends together with an auxiliary piece of
last or string (called Kanikokuwa), so that the whole forms a
ring. Then she inserts the bits of the various layers between
the two strands of the Woita'bula. Each time she puts in one bit
of each layer, so that the skirt is finished completely in its

WOOD DISHES (generic name for ALOHA)

1. Kaidodige. Large flat plate, used for serving food on festive occasions.

2. Kayaya'i. Small flat dish, used in every-day life for washing up food.

3. Kailuya. Large, deep, ornamented dish, used for serving up food on ceremonial occasions and for making coconut cream.

4. Kaikumusua. This name is given to small, ornamented, round vessels, and the oblong ones; used for preparing coconut cream and for serving food on ceremonial occasions.

5. Kaikweiwosi. Deep dish, used as washing basin for the ceremonial washing of sick people and infants.

6. Kura Kow. Small dish, used for diluting red or white paint.

*) Care as No. 111., only smaller, usually with inferior finish and less depth.

WOMAN'S DRESS.

I. Seyoyu. Coconut fibre, made in Kitava (one of the Marshall Bennett Islands) and probably in the other islands to the East of the Trobriands. Used seldom in the latter.

II. Sepulapola. Petticoats made of the leaves of the Pulanola palm. Used seldom, on festive occasions.

III. Same. Small specimen worn by little girls.

IV. Selatula form.

V. Same, with Bunadoga (cowrie-shell) belt and Puruwaiwo pendant; these being signs of rank.

VI. Same form, in small size for little girl.

VII. Kakasasa form.

VIII. Same, small size.

IX. Takulakola form.

X. Buabua'u form.

XI. Tagirikosa form.

XII. Saipwana form.

XIII.

XIV. Kaidawaga. Board for fraying and cutting the leaves.

XV. Small board used for the same purpose.

XVI.

XVII. Saipwana bunches.

XVIII. Nununiga bunches.

a.) This form is dyed red subsequently.

b.) This form is subsequently dyed purple.

In the ceremonial portuary distributions (Sagali) both forms are distributed either dyed or undyed.

XIX. Packet containing materials ready to be made up into a Dobe
 comp.special sheet with description of Dobe making).

1.) Saipwana for the bottom layer.

2.) Nununiga for the purple layer.

3.) Nununiga for the red layer.

4.) Back Lopidi.

5.) Vaoma.

6.) Short purple tufts, to cover the back strand of the Dobe.

7.) Front Lopidi.

XX. Skirt, in the process of being made up, showing the manner in
which the various tufts are bound between the two strands by
means of a string.

XXI. Basket with implements used for fraying and trimming the material for a Dobe.

1.) Kaniku, mussel shell, used for scraping the banana leaves
and for trimming the tufts.

2.) Keli, crabshell, used for fraying the leaves.

3.) Small spiral shells for marking the leaves, which are
afterwards made up into the Nununiga.

OILPAINTERS.

1. Lavers. White nose sticks, made of the giant clam shell (Danaus plicatus), ornamental with black fibre (Tutu).

2. Fauvres. Orange coloured nose sticks, made of the lip of the cassia shell (Tainyo).

3. Cassia shell and several lips of the shell, showing successive stages of manufacture of the nose stick.

4. Walearmshells, made of the Conus shell.

5. Puripuapu. Narrow armbells, consisting of narrow and short segments of polished Conus shell, bound together and ornamented at the joints with red beads (at present glass beads are fashionable, in pre-European times the red shell disks (lomas) were used).

6. Doga. Breast ornaments made of the flat base of a Conus shell in imitation of a circular boar's tusk.

7. Talora. Red shell disk in the making. 1.) Large fragments of a spondylus shell, showing the veins of pink matter.

2.) Small fragments, some of which consist almost exclusively of the pink layer. 3.) Flat disks obtained from (k) by polishing the fragments on a flat stone, to this end the fragments are inserted into the hollow of 4.) wooden cylinders.

5.) The flat disk, perforated by means of a pump-drill.

6.) The flat disks, strung on a piece of wood (Vidu), in which form they are polished on a flat stone and thus obtain the circular shape, 7.) Finished shell disks.

8. Sinata. Wooden combs.

9. Arlets, made of segments of a small coconut shell.

X. Earrings.

A. Earrings of Paya (broad, flat tortoises-shell ring) with a pendant of redshell disks (Kalora), linked into Kuorakuora ( thinner tortoises-shell rings with square sections).

B. Plain pendant of Kalora linked into Kuorakuora.

C. Earrings of Kalora, bound to one comparatively large tortoise-shell ring.

XII. **Lutuoda, Kaikela.** Calf ornament, made of lunadoma (white cowrie shell), bound so that the two loose shells dangle in front (such a pendant called Puruwaiwo). Calf ornament only allowed to Gumguyau, Puruwaiwo only to Gulan.

XII. **Wakala.** Belt made of lunadoma shell, it is considered Vaizu'a (object of wealth).

XIII. Entirely worthless belts, made of lumalani shell.

XIV. Beba (literally : butterfly), forhead ornament.

XV. Lunadoma shells, loose. Used for various ornaments (plaited into hair, made into belts, worn as basket ornaments, etc.).

XVI. **Necklets:** A. Made of wild banana seeds, ornamented with bunadoma shells. B. Necklace of beads and stalks of the Titibia plant. C. Necklace of beads and sections of the Lovilakeda (aromatic creeper).

XVII. Ornaments (frontlet and pendants) made of aromatic leaves (Pana).

XVIII. Buriduri. Belt, plaited of Kwasi fibre.

XIX. Kwasi'. Broad arlet, plaited of the fibre bearing the same name.

XX. Kulu Kulu, toupet made of hair, worn by baid or shaved men as

2.

people ventured from their fortified villages, which were pitched on top of
fairly high and steep hills down to the sea shore in order to get salt or fishes
or shells they were exposed to the danger of meeting the dreaded Naiu Islanders
who were frequently sailing about and would not miss for anything an opportunity
of securing a head or two for their collection in the Dubu. The Naiiu Island
people again, though practically safe on their own Island, had to go to less
near Table Point in order to get sago. They used to hunt on the mainland near
Nagubo (Greenaway Point). They used to go on distant trading expeditions, when
they could be blown ashore and wrecked. They had to go to the mainland in order
to get their timber. Thus one and all of the Naiiu speaking villages were more
or less exposed to the danger of some of its inmates getting among far superior
numbers of feres and being billed.

They used to take their precautions. When engaged in economic pursuits
away from the village and within the reach of enemies they used to put out
senteries (safyn) in full armour and war paint. This they did when felling trees
in the bush or getting sago in an exposed swamp - like the Naiiu in Lea where they
could be attacked by the Nagori.

The expeditions or raids could be curried out either by sea - this was
the only way open to the Naiiu, Leung and Laguoro villagers. Or they were

## 1) WARFARE: HEAD HUNTING.

The external relations of the Maileu villages with each other have been out-

lines in Chap. II. S. 1. On the whole, they were not friendly ones. The
tribe was subdivided into sections. Each section, comprising several neighbour-
ing villages was regaling a perpetual war against all the other sections. This
war consisted either of systematically planned, prearranged raids, or of attacks
on stray people, as often as chance offered. This was not very frequent and
good care was taken by travellers, hunters, fishermen etc. to make it as scarce
as possible. But it was not quite out of question.

1) The data of this paragraph are very scanty and unsatisfactory. This is partly owing to the intrinsic difficulty in obtaining authentic concrete accounts about war and fighting in bygone days. Partly because I was more interested in the social constitution of the tribe and my inquiries about war etc. were less extensive and intensive than on several other topics. The type of Maileu fighting seems to be identical with that of the Pt. Moresby tribes. There are some very good accounts collected by Prof. G. O. Seligman in his often quoted work; Chap. IX. (Koita); Chap. XII and XIII (S. Maseim) - roughly, they illustrate the fighting methods of all the tribes of the S. Coast - as far as I can judge.

The mainland people, especially if a village was situated on the border of a
"confederacy", were obviously exposed to raids. Again whenever the mainland

WEAPONS.

1. Shield (Va'yaulo).

11. ' ' ' ' , painted, as used only by exceptionally brave men in fight.

III. Fighting spear (Ka'yala), made of hardwood.

IV. " " " , made of ebony.

V. Harbed spear. Imported from the d'Entrecasteaux Islands (Kailake'okuma).

VI. Small spear, carried about as a weapon of defence, or used as ceremonial staff (Kaj'lena) in the performance of curien magic.

VII. Short walking stick (Kaitukuwa), used sometimes as light weapon in village brawls.

VIII. Short throwing sticks (Lewo), used as a light weapon in village brawls.

IX. Wooden sword clubs (fuluta).

1.

WAR AND WEAPONS AMONG THE NATIVITIES OF THE TROBRIAND ISLANDS. *)

*) Fighting and all that is connected with it is a thing of the past in Trobriand Archipelago, as in practically all the districts of British New Guinea. Therefore this account is given in the past tense. The social organisation of the Trobriand natives and many other features of their tribal life have been described in Dr. Seligman's "Melanesians of British New Guinea," Cambridge 1910, to which treatise the reader is referred.

By Fronislaw Malinowski, Ph.D.; D.Sc.

The natives of the Trobriands were neither cannibals nor head-hunters, and therefore lacked the two X inducements to warfare typical of Papuasia and Melanesia. Nevertheless they were keen on fighting and conducted systematic and relentless wars. Warfare was, however, carried out with a considerable amount of fairness and loyalty, there being strict rules of conduct which were scrupulously observed. They never practised nocturnal raids on another village - taking it by surprise and ruthlessly murdering all inhabitants in their sleep - a form of warfare very popular among the majority of Papuan tribes. Nor would they invite a party from another place and murder them treacherously. They never fought without warning, nor would they fight at night, and XXXXX though complete victory - death of the enemies and the destruction of their village - was the ultimate aim of a war, the mere fact of fighting as a sport and the glory derived from a display of daring and skill were an important incitement to warfare.

The Trobriand Archipelago and in particular the main island, Bwoiowa, was divided into a number of districts, which were at war with each other. The most important pair of such districts potentially at war were Kiriwina, with the capital village of Omarakana, and Tilataula, with the main place Kabuaku. Between these two districts the relations were always strained. A row over gardens, pigs, women,

If breach of etiquette, or suspected sorcery would result in a preliminary fight on the spot with light weapons, such as sword clubs, throwing sticks, light spears or walking sticks which the natives always used to carry about with them. This might be smoothed over or it might lead to a formal outbreak of war. In the latter case both parties would muster their forces, the chiefs of Omarsakane and Kabuaku sending word to all their adherents to appear at a certain date in each of the capitals respectively. Such a preliminary assertion would be addressed by the chief, after which coconuts would be distributed ceremonially and scraped, all the men snointing themselves with coconut grease. The warriors of the belligerent districts would now remain in the capital till the end of the war. Midway between the two capital villages a place was selected and a circular arena cleared, which would be the theatre of fighting. Both sides ranged themselves at both ends, the warriors standing at a distance of some 30-50 meters apart and throwing spears at each other. Behind the warriors stood or sat the women, helping the men with water, coconuts, sugar-cane, as well as with verbal encouragements.

The only weapons used in such regular fighting were the spear for offence and the shield for defence. The spears of the Trobriand islanders were all of the same type : stout round points without barbs. Barbed spears were imported sometimes from the d'Entrecasteaux Islands*, but they were seldom (or perhaps even never) used in regular warfare. The spears were of varying size, the longer, the lighter the wood. The shields were made of acacia wood and were fairly thick, but never so stout as to be entirely spear proof, since many of them did burst in the fight. They of varying sizes, sufficient to cover a man's body, the legs being exposed, and the art of protecting the

lower extremities by skilful jumping was one of the important accom-
plishments of a successful fighter.

Very seldom and only in the case of very brave and distinguished
warriors were the shields painted. Thus during the last serious war
between Omarakana and Katuaku in 1899 only two or three men had their
shielde painted, and both Numakala, then chief of Omarakana, and
Touluwa, his successor, had only plain wooden shields. To have one's
shield painted was a challenge, since it was a great honour to split
such a shield or to kill such a man. Therefore a painted shield at-
tracted many more spears than a plain one, and it was distinctly
dangerous to use this form of bravado. One of such shields used in
the above mentioned war showed as many as 56 spear marks. The war-
riors were decorated with exactly the same feather headdress as is
used in dancing (white cockatoo feathers stuck into the hair over-
topped by a red plume), and they were painted, face and body, in
various black and white patterns.

Fighting lasted as long as both parties could resist the onrush
of the opponents. When one party had to flee, the road to its vil-
lages was open, and the enemy would rush on killing men women and
children indiscriminately, turning the village and destroying the
trees. The only remedy for the defeated party was to abandon their
As a rule, practically everybody, especially the defenceless one, would succeed in escaping
villages small to fly for life right into another district. Thus in
1899 about a dozen villages were destroyed, and the vanquished had to
remain homeless for a time. The main village Omarakana was not re-
Ceremony built before a formal atonement had been held between the victors
and the vanquished, the latter having been living in a provisional
village some six miles to the South of their own village.*)

*) Comp. Seligman, op.cit., pp. 663-668.

In order to understand this lenient and conventional character

4.

of warfare one must remember that all inhabitants of the Trobriand Archipelago belonged to the same tribe, all speaking the same language, having exactly the same customs, intermarrying, participating mutually in all festivities, etc. It was in consequence rather a form of social "duel" in which one side earned glory and humiliated the other, than a warfare conducted to obtain any decisive advantage economic or other.

One very important factor of warfare has yet to be mentioned : war magic. As in all other activities depending on chance, in warfare magic was considered absolutely indispensable. In each belligerent district there was a family of experts in war magic, whose members handed down from generation to generation the sacred formulae. When all the men were assembled at the chief's bidding in the main village the magician coram publico chanted over the shields so as to impart them the power of warding off all spears. He chanted over some aromatic root (wild ginger root?) and went along the ranks spitting it all over the men so as to make them strong, enduring and fierce. Later on, after the fighting arena had been cleared in the bush, the magicians of both sides charmed it over, which had the inevitable effect of making the opponents run away. Obviously, however, one magic was always much more efficient than the other, since always only one side fled ! The same end - putting the enemy to flight - was also obtained by binding the branches of the Kuebila ( a sacred bush with aromatic leaves) which grows on the main place of practically each village. Such was the official war magic, practised by a specialist for the benefit of the whole community. The natives were deeply persuaded that the successful issue of a battle depended largely upon the proper performance of the official magic. Besides this, everybody