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everyone is drunk. When the original performer has exhausted his 
resources, he hands the handkerchief on to some one else who takes his 
place. As the night advances, the excitement becomes more and more 
intense and the cafiao not infrequently breaks up in a drunken row, in 
_ the course of which men inflict serious injuries upon one another. How- 
ever, it is generally understood that one is not responsible for what he 
does when he is drunk at a canao, and little, or no, ill will seems to be 
borne afterwards. ; 
Annually, just before harvest, all of the skulls in the rancheria collec- 
tion are brought out and exposed in bamboo baskets throughout an entire 
night. Old women conduct the ensuing ceremony in which the men are 
not allowed to participate, although they watch it with interest. Before 
inaugurating it, one of the old women sticks a lance in the ground in 
front of the baskets containing the skulls and she and her assistants stand 
behind it throughout the performance. Ultimately, one of them informs 
the men whether or not it is necessary that they should go to war and 
take more heads in order to protect their crops from a mythical big bird 
which is supposed to come each year and devour them. As a matter of 
fact the rice is eaten by many very small birds, but the Kalingas refuse 
to believe that such small creatures can do so much damage and insist 
that their crops are destroyed by a big bird which they have never seen. 
The canao circle is the scene of more than the recounting and acting 
out of warlike exploits. All important events and affairs which especially 
concern the settlement as a whole are discussed there, the man who has 
the floor invariably speaking in the high, staccato tones above described. 
Within this circle the dances are also held. Although nose-flutes are 
occasionally met with, dance-music is ordinarily furnished by a battery 
of four or more gansas played with great energy and skill by men who 
beat them with their hands. The dancing is participated in by women as 
well as men. Ordinarily, one man and one woman perform at the same 
time, but if the man is an especially good dancer, two or more women may 
compliment him by coming into the circle with him. The dancing is of 
a decidedly vigorous sort and involves much jumping and noisy stamping 
of the feet. Especially when slightly intoxicated, the Kalingas are prone 
to insist that strangers enter the circle and do their share toward the 
entertainment of the assembly by dancing or singing. If one is neither 
a dancer nor a musician he may readily satisfy his audience by performing 
a few sleight of hand tricks or burning a little magnesium wire or red 
fire. Even a candle is in many rancherias a great curiosity. 
The Kalingas do not, as a rule, have boats, but are excellent swimmers 
and expert raftsmen, taking their bamboo rafts in safety down rapids 
where one would expect them to be dashed to pieces. (Pl. LVITI, fig. 2.) 
I have never seen any evidence of worship, or of attempts to propitiate 
good or bad spirits, among the Negritos, but in nearly every Kalinga 
settlement one will find some secluded spot where anitos are made. 
e 
