Note (return) — LECTURE V

What are we to think of the intention of these little dramas which the Central Australian aborigines regard as sacred and to the performance of which they devote so much time and labour? At first sight they are simply commemorative services, designed to represent the ancestors as they lived and moved in the far-past times, to recall their adventures, of which legend has preserved the memory, and to set them dramatically before the eyes of their living descendants. So far, therefore, the dramas might be described as purely historical in intention, if not in reality. But there are reasons for thinking that in all cases a deeper meaning underlies, or formerly underlay, the performance of all these apparently simple historical plays; in fact, we may suspect that originally they were all magical ceremonies observed for the practical purpose of supplying the people with food, water, sunshine, and everything else of which they stand in need. This conclusion is suggested first of all by the practice of the Arunta and other Central Australian tribes, who observe very similar ceremonies with the avowed intention of thereby multiplying the totemic animals and plants in order that they may be eaten by the tribe, though not by the particular clan which has these animals or plants for its totem. It is true that the Arunta distinguish these magical ceremonies for the multiplication of the totems from what we may call the more purely commemorative or historical performances, and they have a special name for the former, namely intichiuma, which they do not bestow on the latter. Yet these intichiuma or magical ceremonies resemble the commemorative ceremonies so closely that it is difficult to suppose they can always have been wholly distinct. For example, in the magical ceremonies for the multiplication of witchetty grubs the performers pretend to be the insects emerging from their chrysalis cases,156 just as the actors do in the similar commemorative ceremony which I have described; and again in a magical ceremony for the multiplication of emus the performers wear head-dresses to represent the long neck and small head of the bird, and they mimic its gait,157 exactly as the actors do in the commemorative ceremony. It seems reasonable, therefore, to conjecture that the ceremonies which now are, or seem to be, purely commemorative or historical were originally magical in intention, being observed for the practical purpose of multiplying edible animals and plants or supplying other wants of the tribe.