HKB
THE POSITIVE CULT--continued
II.--Imitative Rites and the Principle of Causality
But the processes which we have just been describing are not the only ones employed to assure the fecundity of the totemic species. There are others which serve for the same end, whether they accompany the preceding ones or replace them.
I
In the very ceremonies which we have been describing, in addition to the oblations, whether bloody or otherwise, there are other rites which are frequently celebrated, whose object is to complete the former ones and to consolidate their effects. They consist in movements and cries whose object is to imitate the different attitudes and aspects of the animal whose reproduction is desired; therefore, we shall call them imitative.
Thus the Intichiuma of the Witchetty grub among the Arunta includes more than the rites performed upon the sacred rocks, of which we have already spoken. When these are finished, the men set out to return to camp; but when they still are about a mile away, they halt and all decorate themselves ritually; after this, the march is resumed. The decorations with which they thus adorn themselves announce that an important ceremony is going to take place. And, in fact, while the company was absent, one of the old men who had been left to guard the camp had built a shelter out of branches, called Umbana, which represented the chrysalis out of which the insect comes. All of those who had taken part in the previous ceremonies assemble near the spot where this construction has been raised; then they advance slowly, stopping from time to time, until they reach the Umbana, which they enter. At once all the men who do not belong to the phratry of the Witchetty grub totem, and who assist at the scene, though from a distance, lie down on the ground, with their faces against the earth; they must remain in this position without moving until they are allowed to get up again. Meanwhile, a chant arises from the interior of the Umbana, which describes the different phases through which the animal passes in the course of its development, and the myths of which the sacred rocks are the subject. When this hymn ceases, the Alatunja glides out of the Umbana, though remaining in a squatting position, and advances slowly over the ground before him; he is followed by all his companions who reproduce gestures whose evident object is to represent the insect as it leaves the chrysalis. Also, a hymn which is heard at just this moment and which is like an oral commentary on the rite, consists in a description of the movements made by the insect at this stage of its development.[1160]