As has been said above, the two stages differ from one another in the nature of work done and in their sociological and ceremonial setting. So far, we have seen only a few men engaged in cutting the tree and scooping it out and then preparing the various parts of the canoe. Industriously, but slowly and deliberately, with many pauses, they toil over their work, sitting on the brown, trodden soil of the village in front of the huts, or scooping the canoe in the central place. The first part of the task, the felling of the tree, took us to the tall jungle and intricate undergrowth, climbing and festooned around the fantastic shapes of coral rocks.

Now, with the second stage, the scene shifts to the clean, snow-white sand of a coral beach, where hundreds of natives in festive array crowd around the freshly scraped body of the canoe. The carved boards, painted in black, white and red, the green fringe of palms and jungle trees, the blue of the sea—all lend colour to the vivid and lively scene. Thus I saw the building of a canoe done on the East shore of the Trobriands, and in this setting I remember it. In Sinaketa, instead of the blue, open sea, breaking in a belt of white foam outside on the fringing reef and coming in limpid waves to the beach, there are the dull, muddy browns and greens of the Lagoon, playing into pure emerald tints where the clean sandy bottom begins.

Into one of these two scenes, we must now imagine the dug-out transported from the village, after all is ready, and after the summons of the chief or headman has gone round the neighbouring villages. In the case of a big chief, several hundreds of natives will assemble to help, or to gaze on the performance. When a small community with a second-rate headman construct their canoe, only a few dozen people will come, the relatives-in-law of the headman and of other notables, and their close friends.

After the body of the canoe and all the accessories have been placed in readiness, the proceedings are opened by a magical rite, called Katuliliva tabuyo. This rite belongs to the Kula magic, for which the natives have a special expression; they call it mwasila. It is connected with the inserting of the ornamental prow-boards into their grooves at both ends of the canoe. These ornamental parts of the canoe are put in first of all, and this is done ceremonially. A few sprigs of the mint plant are inserted under the boards, as they are put in, and the toliwaga (owner of the canoe) hammers the boards in by means of a special stone imported from Dobu, and ritually repeats a formula of the mwasila magic. The mint plant (sulumwoya) plays an important part in the mwasila (Kula magic) as well as in love spells, and in the magic of beauty. Whenever a substance is to be medicated for the purpose of charming, seducing, or persuading, as a rule sulumwoya is used. This plant figures also in several myths, where it plays a similar part, the mythical hero always conquering the foe or winning a woman by the use of the sulumwoya.

I shall not adduce the magical formulÆ in this account, with the exception of the most important one. Even a short summary of each of them would obstruct the narrative, and it would blur completely the outline of the consecutive account of the various activities. The various complexities of the magical ritual and of the formulÆ will be set forth in Chapter XVII. It may be mentioned here, however, that not only are there several types of magic performed during canoe building, such as the mwasila (Kula magic), the canoe speed magic, exorcisms against evil magic, and exorcism of the tokway, but within each of these types, there are different systems of magic, each with its own mythological basis, each localised in a different district, and each having of course different formulÆ and slightly different rites.3

After the prow-boards are put in, and before the next bit of technical work is done, another magical rite has to be performed. The body of the canoe, now bright with the three-coloured boards, is pushed into the water. A handful of leaves, of a shrub called bobi’u, is charmed by the owner or by the builder, and the body of the canoe is washed in sea water with the leaves. All the men participate in the washing, and this rite is intended to make the canoe fast, by removing the traces of any evil influence, which might still have remained, in spite of the previous magic, performed on the waga. After the waga has been rubbed and washed, it is pulled ashore again and placed on the skid logs.

Now the natives proceed to the main and most important constructive part of their work; this consists of the erection of the gunwale planks at the sides of the dug-out log, so as to form the deep and wide well of the built-up canoe. They are kept in position by an internal framework of some twelve to twenty pairs of ribs, and all of this is lashed together with a special creeper called wayugo, and the holes and interstices are caulked with a resinous substance.

I cannot enter here into details of building, though from the technological point of view, this is the most interesting phase, showing us the native at grips with real problems of construction. He has a whole array of component parts, and he must make them fit together with a considerable degree of precision, and that without having any exact means of measurement. By a rough appreciation based on long experience and great skill, he estimates the relative shapes and sizes of the planks, the angles and dimensions of the ribs, and the lengths of the various poles. Then, in shaping them out, the builder tests and fits them in a preliminary manner as work goes on, and as a rule the result is good. But now, when all these component parts have to be pieced finally together, it nearly always happens that some bit or other fails to fit properly with the rest. These details have to be adjusted, a bit taken off the body of the canoe, a plank or pole shortened, or even a piece added. The natives have a very efficient way of lashing on a whole bit of a plank, if this proves too short, or if, by some accident, it breaks at the end. After all has been finally fitted, and made to tally, the framework of ribs is put into the canoe (see Plate XXVII), and the natives proceed to lash them to the body of the dug-out, and to the two longitudinal poles to which the ribs are threaded.

And now a few words must be said about the wayugo, the lashing creeper. Only one species of creeper is used for the lashing of boats, and it is of the utmost importance that this creeper should be sound and strong. It is this alone that maintains the cohesion of the various parts, and in rough weather, very much depends on how the lashings will stand the strain. The other parts of the canoe—the outrigger poles—can be more easily tested, and as they are made of strong, elastic wood, they usually stand any weather quite well. Thus the element of danger and uncertainty in a canoe is due mainly to the creeper. No wonder, therefore, that the magic of the creeper is considered as one of the most important ritual items in canoe-building.

In fact, wayugo, the name of that creeper species, is also used as a general term for canoe magic. When a man has the reputation of building or owning a good and fast canoe, the usual way of explaining it is to say that he has, or knows “a good wayugo.” For, as in all other magic, there are several types of wayugo spells. The ritual is always practically the same: five coils of the creeper are, on the previous day, placed on a large wooden dish and chanted over in the owner’s hut by himself. Only exceptionally can this magic be done by the builder. Next day they are brought to the beach ceremonially on the wooden plate. In one of the wayugo systems, there is an additional rite, in which the toliwaga (canoe owner) takes a piece of the creeper, inserts it into one of the holes pierced in the rim of the dug-out for the lashing, and pulling it to and fro, recites once more the spell.

In consideration of the importance of this magic, the formula will be here adduced in full. It consists of an exordium (u’ula), a double main part (tapwana), and a concluding period (dogina).4

                                                                                                                                                                                                                                                                                                           

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