£98 Journal of the F.M.S. Museums. [Vou. IX, 
they are not unusually incorrect. Still I have taken a 
considerable amount of trouble to insure accuracy and I 
think that any mistakes that remain are, probably, not 
serious. 
During a séance the /:a/ak is possessed by many spirits. 
nearly’ all Chinoi, these speak through him in the snatches 
of songs which he sings. I have indicated in each case the 
regard to the actual performance. The singing of the women 
and children, who squatted outside the panoh, and took up 
the chants given out by the halak, was both musicai and 
sweet. The antics of the halak while hidden from sight with- 
in the panoh are worth alluding to. Sounds of grunting, 
whistling, growling, shouting, singing, chest-beating, and slap- 
ping with the hands on the walling, proceeded from the inside 
before the halak began his chants under the inspiration of the 
Chinoi. 
The following are the songs together with attempted 
word-for-word and free translations :— 
Junkeh, ’Rem, tabeR® laweh! yek gantong 
Head Herem, salutations head! I hang 
(a cross- chebelhat. 
beam) moment. 
Sakan gantong dadak ’Rem. 
Big hang breast Herem. 
Salutations to your head! I will hang yet a moment on 
the cross-timber of the Batu Herem. Swollen I hang on the 
breast of the Herem. 
The word sakan is said to be peculiar to the Chinoi 
language. (It is a female Chinoi who is speaking. 
Yam bedlat keping Tapern ; 
I go ove Tapern ; 
agat pengweurng Yak Tanggoi. 
Giddy (?) house (hut) grand-mother Rambutan. 
! His face shines (Tokeh, 1921), 
Tabek is a Malay term of salutation. In the sense of “I ask your 
pardon,” it is frequently used when some one is about to d action which 
may be considered rude. The Chinoi asks for pardon for hanging above the 
pr of its father, the halak. The head is, of course, the most sacred part of 
e body. 
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