Movatterモバイル変換
[0]
ホーム
URL:
画像なし
夜間モード
93
5
THE
FIRST
FUNERAL
DANCE
(I)
milimika
pu-u9-k9jimi,
milimika
r/a
rjara
alikampwamU
apu
wuta
rjara
i^imini
4Jnnce
pi
they-lk-make
dance
pi
for
him
pelican
well
they
his
brother
jmjkBnarjki.
waij
aurjwara
joi
pu-ui-mi
kayi
milimika,
pu-tB-ua-waijajjir-aJiin,
engle
now
here
dance
they-lk-do
at
dance
pi
they-p-lk-compete-recip
wuta
alikampwcun
a'wi
namini
j^at^kanayki,
waruma
pu'ta-ja-pidn-ani.
ap
awara
ihcy
pelican
and
that
eagle
dance
they-p-lk-hit-rep
that
^^ni
wani'tampuf^a
kapi-narfki,
rfani
joi
wu-ji-mi,
a-wuta
kapi-narfki
them-follow
pl-here
when
dance
they-lk-do
that-they
pl-here
tymajii
ijarakaraki
uatuwati.
awarawojja,
am-pa-japa-ta-kuja,
jir^wampa
(his
two
island
the
same
she-np-them-fut-die
others
Qwarawoya
joi
wu-ta-ami,
j(arakalan-uwi,
jtatif^oj-uwi,
waij
awara
jati
kayi
the
same
dance
they-fut-do
turtle-pl
boy-pl
now
that
one
where
pu-ja-kauimi
wuta
alikampwajni
wuta
jlar^kanaijki,
kipima
karampi
â
ihey-lk-make
they
pelican
they
eagle
pelican
far
amujjkwa
pwa^a,
rfani
kauama
Jli-na-ji-piin-ani.
wuta
iaijkanarjki^
wut
no
bone
when
dance
he-loc-lk-hit-rep
they
eagle
they
alikampwajni,^
wut
awuta
pu-ta-na-ji-pamayi
kauama.
ap
awuta
pelican
they
those
they-p-loc-lk-know
dance
and
those
f^an-tU'Wan-tampun-offimi,
ka
rjara
ma-manta
purukupajli,
rjara
mojntirja
we-p-them-foUow-all
to
his
pl-friend
Purukupajli
he
boss
purukupajli.
Jii-mu-kum
rjara
majani
kiijli-ni,
purukupajli.
apu
waij
aurjwara
Purukupajli
she-him-die
his
son
little-m
Purukupajli
now
here
joi
pu-ji-mi.
taikuwa-pi
wuta'ji
rjani
jarakapai
joi
wu-ji-mi.
(only)
dance
they-lk-do
all-pl
mixed
when
crocodile
dance
they-lk-do
only
jati
purukupajli
majntina.
jati
majntina
purukupajli.
jitjkuj-ti
majntir}a
awara
one
Purukupajli
boss
one
boss
Purukupajli
big-m
boss
"
that
purukupajli.
ji-i-mara-mu
taikuwa-rja
jimpajliffa.
wamutiroja^
wamutiroja,
Purukupajli
he-lk-with-sit
many-f
woman
ten
ten
tjar
awara
ji-i-mara-mu
purukupajli.
jitjkuj'ti
majntina
awara.
ju'wan-tojlimpiri
he
that
he-lk-with-sit
Purukupajli
big-m
boss
that
he-them-carry
taikuwa-pi
kapi-nmjki.
all-pl
pl-this
Textual
Note
i
The
informant
actually
said
wuta
^arjkanaijki
wuta
narakati,
*eagle
and
eagle',
but
what
he
meant
to
say
was
wuta
^aijkanarjki
wut
alikampwojni,
*eagle
and
pehcan',
and
I
have
amended
the
text
accordingly,
jarakati
(pronounced
ijarakati
by
this
informant)
is
simply
an
alternative
name
for
jtarjkanarjki,
the
white-breasted
sea
eagle.
Translatioii
They
made
a
dancing
place,
a
dancing
place
for
Alikampwajni
and
his
brother-
in-law
Xagkonagki.!
Then
they
danced
at
the
dancing
place.
They
competed
with
one
another,
Alikampwajni
and
Xatjksnarjki.
They
did
the
waruma.^
And
these
people
here
follow
them
in
that
when
they
dance,
these
people
on
these
two
islands.
And,
when
they
are
all
dead,
others
will
dance
just
the
same.
Women
and
men
will
dance
that
same
one
that
was
made
by
Alikampwajni
and
X^ilkonagki.
94
The
pelican
was
by
far
the
best,
because
he
was
supple
when
he
did
kdjamar>
Xar}k9nar)ki
and
Alikampwaini,
they
really
knew
how
to
kduama.
We
have
followed
them,
Purukupajli's
friends.
Purukupajli
was
the
boss.
His
little
son
was
dead.
That
was
when
they
danced.
Everyone
is
mixed
up
when
they
do
the
crocodile
dance.
Only
Purukupajli
is
boss.
Only
Purukupajli
is
boss.
He
was
a
big
boss
that
Purukupajli.
He
had
many
women.
He
had
twenty.
He
was
a
big
boss,
that
one.
He
ruled
over
all
these
people.
Explanatory
Notes
1
Text
5
is
an
account
of
the
original
funeral
dance,
held
according
to
Purukupajli's
instructions
after
the
death
of
his
son
Xip^ni.
All
funeral
dances
held
since
then,
and
all
those
to
be
held
in
the
future,
are
modelled
on
this
original
dance
and
derive
from
Purukupajli's
command.
Alikampwajni
(pelican)
and
Xai)konar)ki
(white-breasted
sea
eagle)
were
the
original
dancers.
The
dancing
place
referred
to
is
a
circular
space
cleared
of
stumps,
roots
and
stones
so
that
the
dancers
will
not
hurt
their
feet.
2
waruma
is
a
dance
imitative
of
that
performed
by
pelicans.
The
legs
are
kept
wide
apart
and
the
arms
are
bent
over
the
chest
and
flapped
like
wings.
3
kamma
is
an
alternative
name
for
waruma.
6
THE
FIRST
FUNERAL
DANCE
(H)
kari
rjara
niBAani,
Jiipani,
paJiurjwani
ji-pinti,
apa
ji-i-mi
nakayi,
when
his
son
Xioani
dead
he-stand
then
he-lk-say
look
'^na-rU'Wa'ji!
r^a-ru-wa'ji
tp-ra-kBdimi
tutini.
na-ru-wa^ji
^d-ra-kauimi
tutini.
pl-imp-go
pl-imp-go
pl-imp-make
post
pl-imp-go
pl-imp-make
post
pakiffa
jilaniya'
â
paupau
a-wu-ra-apL
kUiiini
awara
â
'^apa,
kari
waija
first"
dance
clap
he-cp-fut-do
little
that
then
when
already
(finishim)!
â
j^ari
rjam-pd-dd-kuu^ji,
kari
rfam-pB-uB-piaijaniya
jakuiuwini,
finish
when
you-np-lk-finish
when
you-np-lk-clear
ground
ap
aurjwari
t^B-ru-waji-pa
r^B-rjan-ta-liara.''
pojtua,
^rja-wij^a
waija
rjani
waija
then
pl-imp-go-loc
pl-me-imp-tell
then
we-go
now
as
now
jiloti.
joi.
auikula-ni.
joi.*
pattuarj
ki
joi
pu-ji-mi.
tjira-^tu
final
dance
big-m
dance
finished
then
dance
they-lk-do
she-too
jimpajlit}a
pamatikimi.
r}ira-'tu
pamatikimi
jimpaulina,
apa
nira
Jfi-i-majirjara.
woman"
Pamatikimi
she-too
Pamatikimi
woman
she
she-lk-sit
nira-tu
jjorfa
ii-i-mi
ijdni
â
r}ira-'tu
j^orja
p-i-mi
â
ijara
purukupajli
she-too
other
she-lk-do
er
she-too
other
she-lk-do
he
Purukupajli
rjunanta-ni
apu
ijara
ji-i-mi
kiau.
pili
rjara
auikula-ni^
rjara
ka/lu
bereaved-m
he
he-lk-do
kiau
for
he
big-m
he
not
kijijli-n-amaui.
rjara
auikula-ni.
rjara
ji-i-'mu
aurjwari,
joi
ji-i-mi.
iiira-tu
little-m-not
he
big-m
he
he-lk-sit
when
dance
he-lk-do
she-too
jimpajli^a
Jii-i-mi,
pamatikimi.
mua
nar-uwi,
auikula-rja
wuta.
iiira-tu
woman
she-lk-do
Pamatikimi
our
mother-pl
big-f
they
she-too
waijai,
waijai
jli-i-m-ani.
waija
wuta
rjara
punaj-uwi,
purukupajli.
Waijai
Waijai
she-lk-do-rep
already
they
his
wife-pl
Purukupajli.
95
Textual
Note
1
The
informant
broke
off
at
this
point
and
apologised
for
using
an
English
word.
Translation
When
his
son,
Jiljani,
was
dead,
he
called
outi
*Go,
all
of
you!
You
must
go
and
make
grave
posts.
Go
and
make
grave
posts
!2
First
there
will
be
a
preliminary
dance,'3
(that's
when
they
clap.^
It's
a
httle
dance)
*then,
when
you
have
finished
â
when
you
have
finished,
when
you
have
cleared
the
ground,^
come
and
tell
me.'
Then,6
*We're
going,
as
there's
a
big
dance
now!?
A
dance.
A
big
one.
A
dance.'
Then
they
danced.
She
too
the
woman
Pamatikimi.8
She
too
Pamatikimi
the
woman.
Then
she
sat
down.
Then
the
other
woman
â
the
other
woman.^
But
first
the
bereaved
Purukupaali
stretched
out
his
arms,io
for
he
was
a
big
man.n
He
was
not
young.
He
was
a
big
man.
First
he
sat
down,
then
he
danced.
The
woman
Pamatikimi
danced
as
well.
Our
mothers
were
big.
Waijai
as
well,
Waijai
danced.
They
were
Purukupaili's
wives.
Explanatory
Notes
1
Both
pronouns
refer
to
Purukupaili.
The
death
of
Tioani
occurs
in
the
story
of
Purukupajli
and
Tapara
(Text
1).
Text
6,
like
Text
5,
is
an
account
of
the
original
funeral
ceremony
â
that
held
by
Purukupajli
for
his
dead
son.
2
The
grave
posts
are
carved
painted
posts,
anything
from
five
to
fifteen
feet
high,
and
anything
up
to
fifteen
in
number,
which
are
stood
in
the
ground
around
the
grave.
The
only
reason
the
Tiwi
can
give
for
making
the
posts
is
that
Purukupajli
conmianded
it.
3
A
Tiwi
funeral
ceremony
consists
of
a
series
of
dances
held
at
intervals
over
a
period
of
several
months.
There
are
first
a
number
of
small
preliminary
dances
(called
jilaniya),
and
then
the
whole
series
culminates
in
a
big
final
dance
(called
jiloti).
4
The
Tiwi
clap
their
hands
on
their
buttocks
to
provide
the
rhythmic
beat
for
dancing.
5
A
circular
space
is
cleared
for
dancing
by
removing
all
stones
and
other
objects
which
might
hurt
the
dancers'
feet.
The
ground
is,
of
course,
only
soft
dust,
so,
once
the
stones
are
removed,
the
dancers
can
stamp
as
hard
as
they
like.
^
The
reader
has
to
imagine
a
time
interval
at
this
point,
during
which
all
the
preliminaries
have
been
gone
through
and
the
day
of
the
final
dance
has
arrived.
That
is,
the
final
dance,
jiloti.
8
Pamatikimi
(angel
fish)
was
one
of
Purukupajli's
wives.
9
Waijai.
10
The
informant
suddenly
remembered
that,
before
the
women
could
dance,
the
proceedings
had
to
be
begun
by
Purukupajli.
Purukupajli
begins
the
ceremony
by
extending
his
arms
horizontally
in
imitation
of
the
outspread
wings
of
Tai3k3naT)ki
(white-breasted
sea
eagle),
and
intoning
the
necessary
ritual
phrases.
The
congregation
respond
to
each
phrase
with
a
shout
of
*ia!\
1
1
Not
big
in
a
physical
sense,
of
course,
but
in
the
sense
of
seniority
and
importance.
7
Osborne,
C.
R.
1974.
The
Tiwi
Language.
Canberra:
Australian
Institute
of
Aboriginal
Studies.
[8]
ページ先頭
©2009-2025
Movatter.jp