of all sorts of things, which afterwards are burnt under the bottom of the canoe, and the smoke is supposed to exercise a speed-giving and cleansing influence. The ingredients are: the wings of a bat, the nest of a very small bird called posisiku, some dried bracken leaves, a bit of cotton fluff, and some lalang grass. All the substances are associated with flying and lightness. The wood used for kindling the fire is that of the light-timbered mimosa tree (liga). The twigs have to be obtained by throwing at the tree a piece of wood (never a stone), and when the broken-off twig falls, it must be caught in the hand, and not allowed to touch the ground.
The second rite, called Vaguri, is an exorcism only, and it consists of charming a stick, and then knocking the body of the canoe all over with it. This expels the evil witchery (bulubwalata), which it is only wise to suspect has been cast by some envious rivals, or persons jealous of the toliwaga.
Finally, the third of these rites, the Kaytapena waga, consists in medicating a torch of coco-leaf with the appropriate spell, and fumigating with it the inside of the canoe. This gives speed and once more cleanses the canoe.
After another sitting of a few days, the whole outside of the canoe is painted in three colours. Over each of them a special spell is chanted again, the most important one over the black colour. This is never omitted, while the red and white spells are optional. In the rite of the black colour, again, a whole mixture of substances is used—a dry bracken leaf, grass, and a posisiku nest—all this is charred with some coco-nut husk, and the first strokes of the black paint are made with the mixture. The rest is painted with a watery mixture of charred coco-nut. For red colour, a sort of ochre, imported from the d’Entrecasteaux Islands, is used; the white one is made of a chalky earth, found in certain parts of the sea shore.
Sail-making is done on another day, usually in the village, by communal labour, and, with a number of people helping, the tedious and complicated work is performed in a relatively short time. The triangular outline of the sail is first pegged out on the ground, as a rule the old sail being used as a pattern. After this is done, tapes of dried pandanus leaf (see Plates XXVIII, XXIX) are stretched on the ground and first fixed along the borders of the sail. Then, starting at the apex of the triangle, the sail-makers put tapes radiating towards the base, sewing them together with awls of flying fox bone, and using as thread narrow strips of specially toughened pandanus leaf. Two layers of tapes are sewn one on top of the other to make a solid fabric.
IV
The canoe is now quite ready to be launched. But before we go on to an account of the ceremonial launching and the associated festivities, one or two general remarks must be made retrospectively about the proceedings just described.
The whole of the first stage of canoe-building, that is, the cutting of the tree, the scooping out of the log, and the preparation of the other component parts, with all their associated magic, is done only when a new canoe is built.
But the second stage has to be performed over all the canoes before every great overseas Kula expedition. On such an occasion, all the canoes have to be re-lashed, re-caulked, and re-painted. This obviously requires that they should all be taken to pieces and then lashed, caulked and painted exactly as is done with a new canoe.