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INSTITUTE OF SOCIAL ANTHROPOLOGY — PUBLICATION NO. 13 



over a bar of the frame, so that each of the four 

 dancers has a loose end of rope at hand. This is 

 tied about the waist, using the knot shown in fig- 

 ure 48, e. This particular knot has the advantage 

 of tightening, nooselike, not against the body, but 

 against the upstanding loop. An identical knot 

 is used in tethering a horse by the neck; another 

 is said to serve equally well, but we neglected to 

 record it. 



Still another group of dancers makes use of a 

 knot. These are the Negritos, whose performance 

 is, in large part, a rapid tap dance executed on 

 a sounding board. The planks of the latter are 

 lashed to transverse bamboos, which raise them a 

 few inches above the ground. Figure 48, /, shows 

 the planks from above, each traversed by a rope ; in 

 <7, the planks have been separated slightly, to show 

 how the rope encloses the bamboo beneath ; A gives 

 the section of this lashing. 



The knots and lashings noted above are used by 

 men, in the course of house building, dancing, or 

 tethering animals; men also affix a leather strap 

 to the sheath of the machete in various ways (fig. 

 69). Women utilize a different series of knots 

 in making the fringe that adorns their textile 

 products (fig. 62). 



BRAIDS 



Women braid their hair in three strands. 

 Otherwise, braiding appears to be confined to the 

 manufacture of the head tump, made from the 



Figure 49. — Braids. Models made by Modesto Gon- 

 zalez, a, Seven-strand. At the point illustrated, 

 strand 7 would pass next under 6 and 5, and over 4. 

 Following this move, strand 1 would pass beneath 2 

 and 3, and over 7, the latter now being in central posi- 

 tion. 6, 11-strand braid. The next strand to shift 

 position is 1, which passes beneath 2 and 3, over 4 and 

 5, and under 6. Next, strand 11 is passed beneath 10 

 and 9, over 8 and 7, and under 1 , the latter now being 

 in central position. 



bark of one of the jonotes (see above). Accord- 

 ing to the desired width, the braid may be of 7 

 (fig. 49, a) , 9 or 11 strands (fig. 49, b ) . The braid 

 is held in both hands and is worked away from 

 the operator (pi. 26, a). When it is sufficiently 

 long to be looped over the crown of the head and 

 to reach the chest, it is tied. In a small model 

 made for us, the loose strands of the braid, at 

 each end, were twisted to form cordage, as de- 

 scribed above. Generally, however, the end of 

 the braid is turned back on itself and secured in 

 place, while a rope or other strong cord is affixed 

 to the end (fig. 50). 



Figure 50. — Model tumpline. Of seven-strand braid; 

 made by Modesto Gonzalez, of the bark of jonole 

 Colorado. Width ca. 3 cm. 



PALM WEAVING 

 ALTAR ORNAMENTS 



An assortment of palm figures (pi. 27) is woven 

 by the men for certain ceremonial occasions, es- 

 pecially those which center about the domestic 

 shrine. Flat, rosettelike ornaments are attached 



