CTJLTTJKE OF PEOPLE OF SOUTHEASTERN PANAMA 95 



the telescoping baskets of the Darien Indians (pi. 23, No. 4). They 

 introduce a third color, the reddish brown, where the Panamanian 

 tribes employ but two; the difference in the basketry elements em- 

 ployed is another aid in distinguishing between the two areas. A 

 decorative design in three colors requires the use of more filaments 

 and results in double lateral surfaces, so that the Chitimacha ware 

 assumes a more intricate technique and takes on the appearance of 

 a more finished piece of work. 



The Tule term applied to the small telescoping baskets is " kakku." 

 Their basket is quite small, 12.2 cm. (4.8 in.) in length with a 

 width of 7.7 cm. (3 in.) (Cat. No. 327541, U.S.N.M., pi. 23, 

 No. 4). The employment of a twill weave in natural straw 

 color and in black develops a decorative motive similar to that on 

 the surface of the telescoping baskets of the Guiana Indians of 

 tropical South America and of the Chitimacha Indians to the north. 

 Tule women use this little basket as a trinket container; it is known 

 among the Tule as the " woman's basket." 



A large basket, cylindrical in shape, from the San Bias coast is 

 constructed in the herringbone or twill weave, with diaper twill 

 base, and herringbone weave on lateral walls in black and straw 

 color. The base is rectangular; walls cylindrical with no corres- 

 ponding telescoping cover; designs on side walls appear in broken 

 hourglass patterns; margin is double with the cut ends of fila- 

 ments terminating just below the first encircling black band. (Cat. 

 No. 327,550, U.S.N.N.. pi. 23, No. 5). 



A basket tray made by the Nambikuaras Indians of Rondonio 

 Province, southern Brazil, collected by the Museo National, Rio de 

 Janeiro, and now in the National Museum (Cat. No. 324,545, 

 U.S.N.M., pi. 23, No. 6). shows a similarity in technique and dec 

 orative pattern to the basketry work previously mentioned from 

 Panama, Guiana, and Louisiana. That this harmony in technique, 

 decorative design, pattern, and color scheme is the result of bor- 

 rowing seems hardly plausible in the light of the known facts that 

 similar color schemes, technique, and pattern in basketry work are 

 found in Madagascar and Malaysia. In this light it also seems un- 

 convincing to associate each one of the many patterns with the por- 

 trayal of some form of plant and animal life. The Tule Indians 

 who visited the National Museum in December, 1924, had no knowl- 

 edge of such a realistic scheme. Undoubtedly baskets of the various 

 sizes and forms are not " made properly " unless they conform to 

 certain pattern and tribal traditions, which are closely followed by 

 the basket makers. The similarity of this hourglass type of basket 

 in the various area referred to is too close and the universality of 

 the design is too apparent, that is, the technique is too easily hit 



