NOTE

THE CEREMONY OF THE HORSE AT RICE-HARVEST AMONG

THE GAROS

harvest

AMONG the Garos, an agricultural tribe of Assam, the close of the Effigy of a rice-harvest is celebrated by a festival in which the effigy of a horse horse in a figures prominently. The intention of the ceremony is not stated, festival of but possibly it may be to ensure a good rice crop in the following the Garos. year. If so, the artificial horse of the Garos would be analogous to the October horse of the Romans, as that animal has been explained by W. Mannhardt. For the sake of comparison it may be well to subjoin Major A. Playfair's account of the Garo ceremony :-1

"When the rice harvest has been fully gathered in, the great Major sacrifice and festival of the year, the Wangala or Guréwata, takes Playfair's description place. This is the most festive observance of the year, and com- of the bines religious sacrifice with much conviviality. It is celebrated by festival. all sections of the tribe except the Duals and some Plains Garos. The cost of the entertainment falls principally on the nokma [headman] of the village, who provides a pig to be eaten by his guests, and plenty of liquor. Among the Akawés and Chisaks of the north and north-eastern hills a curious feature of the ceremony is the manufacture of guré or 'horses' out of pieces of plantain-stem for the body, and of bamboo for the head and legs. The image of the 'horse' is laid on the floor of the nokma's house, and the assembled guests dance and sing around it the whole night long, with the usual intervals for refreshments. Early the next morning, the 'horse' is taken to the nearest river and launched on the water to find its way down stream on the current. For those who possess the necessary paraphernalia, the guré takes the shape of a horse's head of large size, made of straw, and covered with cloth. I once saw one in the village of Rongrong, which, when in use, was ornamented with discs of brass on both sides of the face. Its eyes and ears were made of the same metal, and between the ears were fixed a pair of wild goat's horns. To the head were attached a number 1 Major A. Playfair, The Garos (London, 1909), pp. 94 sq. PT. V. VOL. II

337

Ꮓ

Dance of a

mask of a horse's head.

of bronze bells similar to those hawked about by Bhutia pedlars. The owner, a laskar, was unable to tell me whence they came, but said that they were inherited from his wife's mother, and were many generations old.

"The manner in which this form of guré is used is the followman wear- ing. The head is mounted on a stick, which a man holds before ing the him in such a way that the head comes up to the level of his chest. Two straps pass over his shoulders to relieve his hands of the weight. The body of the 'horse' is then built round his own body with cane and cloth. For a tail, yak's tails are fastened in with his own hair, which, for the occasion, is allowed to hang down instead of being tied up. The performer thus apparelled, commences to dance a shuffling step to the usual music. In front of him dances the priest, who goes through the pantomime of beckoning the animal to come to him. The remaining guests of the nokma [headman] form a queue behind the 'horse,' and dance after it. When the first man gets tired, another takes his place, and the dancing goes on right through the night. A pleasant part of the performance is the pelting of the guré with eggs. A piece of egg-shell was still sticking to the horn of the guré which was shown

The effigy

at rice

harvest

perhaps

represents the spirit of the rice.

to me.

"Strictly speaking, this festival should last for three days and two nights. When it is over, the guré is taken to a stream and the body thrown into the water, the head being preserved for another year. The people who come to see it off, bring rice with them, and a meal by the water's edge closes the proceedings.

"At the Wangala, it is the custom to mix flour with water, and for the assembled people to dip their hands into the mixture and make white hand-marks on the posts and walls of the house and on the backs of the guests."

Can it be that the horse whose effigy is thus made at riceof the horse harvest and thrown into the water, while the head is kept for another year, represents the spirit of the rice? If that were so, the pelting of the head with eggs would be a charm to ensure fertility and the throwing of it into water would be a rain-charm. And on the same theory the horse's head would be comparable to the horseheaded Demeter of Phigalia1 as well as to the head of the October horse at Rome, which was nailed to a wall, probably to be kept there till next October. If we knew more about the rites of the horse-headed Demeter at Phigalia, we might find that amongst them was a dance of a man or woman who wore the mask of a horse's head and personated the goddess herself, just as, if I am right, the man who dances disguised as a horse at the harvest festival of the Garos, represents the spirit of the rice dancing among the garnered sheaves. The conjecture is to some extent supported by the remains

1 See above, p. 21.

of the magnificent marble drapery, which once adorned the colossal statue of Demeter or Persephone in the sanctuary of the two goddesses at Lycosura, in Arcadia ; for on that drapery are carved rows of semihuman, semi-bestial figures dancing and playing musical instruments; the bodies of the figures are those of women, but their heads, paws, and feet are those of animals. Among the heads set on the figures are those of a horse, a pig, a cat or a hare, and apparently an ass.1 It is reasonable to suppose that these dancing figures represent a ritual dance which was actually performed in the rites of Demeter and Persephone by masked men or women, who personated the goddesses in their character of beasts.

1 See my note on Pausanias, viii. 37. 3 (vol. iv. pp. 375 sqq.).

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