82 ANNALS NEW YORK ACADEMY OF SCIENCES 



They say that they make use of pamalugu to keep oft' sickness and 

 to cure sickness; to drive anger from the heart; to get things and 

 to grow rich. In other words, while every single rite has its own 

 specific motive, yet there is a feeling, not too nicely defined, that 

 any ceremony, properly performed, promotes in several directions 

 tin- general well-being of the Bagobo. 



Recitation of Ritual Words. At each of the rites thus far men- 

 tioned (that is to say, at the; formal presentation before the supernatural 

 beings of human blood, of sacred food, of ceremonial liquor, of 

 fresh betel, of artificial products, and also during the lavations) set 

 forms of words are uttered by the official functionary, some of 

 which are short ritual formulae and others are prolonged liturgical 

 recitations. The unseen personalities are apostrophised by name: 

 the objects offered are mentioned, or even listed, class by class; 

 and definite petitions are put up, the burden of which is that the 

 approach of disease may be checked, that all buso may be banished 

 from the ceremonial, and that the protecting gods may be present 

 to help the Bagobo. 



Ceremonial Chant. An impressive element of the ceremonial 

 is a peculiar form of chant called ()'nt<l<nj<<, which, in its manner 

 of presentation, is distinctly marked off from other musical perform- 

 ances. I will give, first, a definition of gindaya offered by the 

 Bagobo themselves, and add to that such observations as I made 

 on different occasions. The Bagobo explain thai gindaya is sung 

 in a loud voice (in contradistinction to the o</an. a low-voiced song 

 accompanied by the guitar); that an even number of voices — two 

 or four or six or eight — sing against the same number; that 

 gindaya is sung at (Jinum, but only on those nights when balabba 

 is drunk; that no young men can sing in the gindaya unless they 



take hold of the hand posts, or of the spears tied to the bamboo; 



that they lav hold of the bamboo in order to make their voices 



sweet-toned. 



My own records verify the above statement, except that sometimes 



a chant of one voice is answered back by one voice, and I have 

 not heard more than two at a time sing against another two. 

 Often, again, the chants are given with slight volume of sound, 



not always in a loud voire; vet as compared to the soft singing 



of an ogan. which is much like humming, gindaya may be called 



loud, for the tones are pure and clear. In regard to the occasion, 

 it should be noted that whenever a Bagobo wants to sav that 



