noTH] MUSICAL INSTRUMENTS 455 
their connecting septum being partially removed by means of a 
longitudinal opening in the outer surface, which aperture is subse- 
quently plugged. Some three or four holes are drilled into this 
closed cylinder below the divided septum, that intended for the mouth 
being above it and markedly larger. It is stated that these instru- 
ments could occasionally be played upon by breathing into them 
through the nose (CC, 48). Opinion seems to differ as to the quality 
of the music derivable from them. Speaking of certain Indians seen 
in Demerara, probably Arawak, Dr. Pinckard talks of one of them 
having in his hand a piece of a large and coarse reed, nearly 2 feet 
long, with two or three holes cut in it like a flute. With this, we did 
prevail upon him to blow a few harsh and simple notes; and these he 
seemed to consider very superior to all the varied sounds of the 
German flute which was played to him by one of the officers; for he 
refused to accept the flute in exchange for his reed (Pnk, 1, 153). 
St. Clair describes these instruments as each having four notes 
(StC, 1, 328). They also make a kind of flute of the bamboo called 
quama [kuamma=bamboo], which, however, only produces three 
= TRE BE 
Fic. 234.—Taruma flutes, 
notes, and very much resembles the howling of a dog in distress 
(BE, 45). In Surinam they had a kind of flute called too-too, 
made of a single piece of thick reed, on which they make a sound no 
better than the lowing of an ox (St, 1, 393). The present-day Pome- 
roon Warrau call it harri-harri, which seems to have become cor- 
rupted by others into awiarri, while the local Carib express it by the 
Spanish term of bandola. They may be played in pairs. The Wapi- 
shana, Makusi, and Patamona have a more carefully manufactured 
instrument cut from a long-joint bamboo so as to include two septa, 
thus avoiding the necessity for perforating any intermediate one 
(pl. 163 B). This particular bamboo comes from the Essequibo below 
the Rappu Falls. The instrument is not used for dancing purposes. 
It is known as kir-mu (Wapishana), akai-kara (Makusi), etc. 
The Taruma, Parikuta, etc., have their instruments decorated in 
red and black patterns, painted thereon (fig. 234). Both ends are 
closed, either naturally or artificially. Like the Akawai and Carib 
already mentioned, the Taruma occasionally blow these flutes with 
the nose. The Waiwai and Parikuta invariably do so (JO). The 
Oyana also play their flutes with the nose (GOE, pl. vu, fig. 11). 
