THE ARTS OF THE CLUB. II 
nggunggu a club. timitimi a club. 
rumberumbe a becket rove through | totokia pandanus club (Fiji: 
holes in a club for tokia to peck). 
suspension. tumbetumbe the grip of a club. 
sambaya to ward off a blow, gen- | tundonu a club. 
erally by holding up | tuki to hit with a club. 
the club with a hand | ula a short missile club. 
at each end. ulaka to throw the ula. 
sakita to challenge. utoninokonoko a club. 
sakuta to knock on the head. vavangeumi war custom of taking 
sali a club. the club of one who 
samuta to beat with a heavy has killed. 
club or bludgeon. waka a club, rootstock type. 
sau malumu to cut clubs. wau generic term for clubs. 
silikaya a club. wesi a dance with a spear in 
taimba a club. the right hand, a club 
taledha a club. in the left. 
tatuki wounded or beaten with | yadrayadra weapons of one on guard 
a club. yarangi generic term for all weap- 
tembelaka to lift up a club. ons, inclusive of spears 
teivakatoga a club. and clubs. 
In the foregoing record there is an abundance of terms which set 
out in suggestive detail the match at cudgel play. 
It is easy to see in 
this list that, if clubbing matches so engaged the attention of the people 
as to give rise to a special vocabulary, the use of the club for its ap- 
pointed lethal end must have been improved by the amateur practice 
and the discovery of operative methods of attack and defense. The 
introduction of fire-arms operated largely to discourage the school of 
the club; that interesting arm lost its value in the field and was caught 
in the tangle of commerce which has eventually brought it into museum 
custody. Yet in the eighties of the nineteenth century, club contests 
still survived in Samoa and Tonga, and in the mountains of Viti Levu 
the ancient art of the club flourished with little diminution of its 
interest to the appreciative spectators and undoubtedly with much of 
the old-time skill on the part of the contestants. Even to the present 
day the dramatic dances of the club hand down in rhythmic show much 
of the fencer’s art, these being particularly interesting in Fiji, where 
the meke ni wau is a most dramatic spectacle under the soft rays of 
the full moon, and in Uvea, where a highly specialized art of the club 
is shown in the dance. ‘The following notes on club fencing are com- 
pacted from the spectacle of club matches, from the dances of the club, 
and from the vocabulary material here assembled. 
The art of this weapon is conditioned by the weight of the implement 
and the musculature of the fighter. Many of these weapons weigh as 
high as 12 or 13 pounds. ‘Two factors engage with this matter of 
weight: part of it arises from the need of securing such strength in 
the shaft as to avoid the chance of breakage in combat (Tonga: kolu), 
part massed in the head in order to add to the force of impact in the 
common smashing blow. In the general recension of these ethnica 
the attention is immediately challenged by observing the fact that while 
the Polynesians uniformly employ clubs of extremely heavy type, 
