516 ARTS AND CRAFTS OF GUIANA INDIANS [ETH. ANN. 38 
4H.—String in position 1, opening A. Exchange 7 loops (see. 
638). 
654. Visitor come and gone. Mak. (fig. 272). 
BH.—Position 1, opening A. 
LH.—Place ¢ loop on / and / loop on ¢. 
; RH.—Place ¢ loop on 7 and 7 
L ie a 2) loop on ¢. 
@ m) Pick up the LH 7 loop and place 
ENE RX it on Rm. 
iG — o) Pick up the RH ¢ loop and place 
Fic. cae ie Bees hairpins. (War- it on Lm. 
Ship Zm loop over into the palm 
and gradually draw out. With this movement the released loop (the 
visitor) becomes gradually shorter until it is entirely absorbed in the 
other strings (the visitor is now inside the house.) 
Slip &m loop over into the hand and draw out, when the figure 
will disappear (the visitor has gone!). 
Fic. 272.—Visitor come-and-gone. (Makusi.) Fic. 273.—Trap, snare. 
(Taruma.) 
655. Trap, snare. Tar. (fig. 273). 
Use a comparatively short string. 
BH —Position 1, opening 4. 
Pass 77 distal to R u/ 7 and PR ul 7 strings, but proximal to L ra 7 
string, and with back of its tip pick up Z w/ ¢ string. 
On the ulnar side of A/ there are now two strings—one passing 
to the center between the palms, another passing to the ulnar side 
of Li. 
Pass F7/ distal to (over) the former, but proximal to (under) the 
latter. 
Slip loops off Z7 and both indices over into the palm. 
Insert from proximal side the Z/ into the loop remaining on £7. 
It will be noticed that if the visitor puts his finger into either upper 
or lower loop it can be “ caught” by slipping the string off its respec- 
tive digits (JO). 
