Chapter VIII (contd.): Funeral Celebrations

FUNERAL CELEBRATIONS

(continuation of chapter VIII)

TABLE OF CONTENTS (FUNERALS)

(see following subchapters 2-9)

4. THE KUMSA FUNERAL CELEBRATION

Descriptions, fieldnotes and quotes from written sources

4.1 Preliminary remarks on the funeral celebrations

4.1.1 Terminological and methodological considerations

4.1.2 The soul (chiik) of the dead

4.1.3 General information on the funeral celebrations

4.1.3.1 Abolition of taboos (kisita, sing. kisuk) of everyday life

4.1.3.2 Further general brief information on the Kumsa funeral celebration

4.1.4 Preparations and planning for the first funeral celebration

4.1.4.1 Planned invitations and cost breakdowns for Asik Yeri, Badomsa (see genealogy in Appendix 2)

4.1.4.2 Planned invitations and dates: Apok Yeri, Wiaga-Yisobsa-Napulinsa

4.1.4.3 Planning funerals in Anyenangdu Yeri, Wiaga-Badomsa

4.1.4.4 Divination visits and the leaders of funerals

4.1.4.5 Preparatory meeting one or more days before the celebration

4.1.5 Going to the market

4.2 Chronological listing of the events of the Kumsa celebration

4.2.1 First day: Kalika or kuub kpieng dai or taasa yieka dai (removal of the mats)

4.2.1.1 Informing the ancestors through sacrifice (not observed)

4.2.1.2 Gathering of elders and neighbours

4.2.1.3 Showing the millet beer produced

4.2.1.4 Weapons are brought to the granary

4.2.1.5 Entertaining guests in the kusung with millet beer

4.2.1.6 Signalling the start of the celebration with a firecracker shot

4.2.1.7 Closing the central granary (bui lika)

4.2.1.8 The elders, singing kum yiila, dance to the granary (on several days)

4.2.1.9 Zong zuk cheka drumming on the flat roof

4.2.1.10 Naapierik ginggana (‘war dance-like dance’)

4.2.1.11 More death mats are collected from neighbouring compounds

4.2.1.12 The eldest son and the impersonator put on the deceased man’s clothes

4.2.1.13 Shooting arrows

4.2.1.14 The widows go to the death mat at the granary

4.2.1.15 Sinsan-guli chants (women singing to the accompaniment of basket rattles)

4.2.1.16 Cherika or cheri-deka (imitation)

4.2.1.17 Ritual treatment of relatives: hand rope or scarve, red cap, nabiin-soruk necklace, bell, painting with daluk clay

4.2.1.18 Processions around the compound

4.2.1.19 Dressing the granary and objects of the deceased people in front of it

4.2.1.20 Nang-foba mat rites with chickens

4.2.1.21 The nang-foba mammals

4.2.1.22 Plugging the ears of the widow(er)s

4.2.1.23 Going to the market

4.2.1.24 Funeral visits

4.2.2 Second day: tika dai or leelik dai (‘assembly day’ or ‘war dance day’)

4.2.2.1 The kpaglika sacrifice

4.2.2.2 Procession to the ancestral house (guuk) and the earth shrine (tanggbain)

4.2.2.3 Carrying mats out to a shade tree and back to the cattle yard

4.2.2.4 War dances (leelisa, sing. leelik)

4.2.2.5 Speeches (moolinka)

4.2.2.6 Bow, quiver and other weapons

4.2.2.7 Nang-foba tabika (stepping on the dead nang-foba animals)

4.2.2.8 Tiak juka (mat burning)

4.2.3 Third day: kpaata dai or kpaam tue dai

4.2.3.1 Preparation of millet porridge and millet beer

4.2.3.2 Shea butter production

4.2.3.3 Preparing beans (suma and tue)

4.2.3.4 Preparation and consumption

4.2.3.5 Walking dances and singing

4.2.4 The fourth day: gbanta dai

4.2.4.1 Procession of sinsan-guli women and imitators to the kusung dok of the elders

4.2.4.2 Siinika (literally ‘piling up’): Distributing gifts

4.2.4.3 Unbloody killing of the sheep/goat by the sinsan-guli women (ngmetika = pinching)

4.2.4.4 Bath of the widows

4.2.4.5 Cheri dungsa (‘killing animals’) or cheri-deka (cheri: ‘to shed [blood]’)

4.2.4.6 Parika kaabka (= cheri kaabka?): Sacrifice to the compound wall by women

4.2.4.7 Snatching (chiaka; infinitive: chiagi):

4.2.4.8 Gbanta (divination)

4.2.4.9 Da-tuek (bitter pito)

4.2.4.10 Visit of the sons-in-law (chichambisa) [endnote 92] and tying an animal to a stake (bob-zangi)

4.2.4.11 Washing off the earth paint

4.2.4.12 Further gifts to participants and guests

4.2.4.13 Bow and quiver

4.2.4.14 Food for the guests

4.2.4.15 Widow’s pobsika at the main entrance

4.2.4.16 Opening the grain store (bui)

ENDNOTES (Kumsa) 70-96

5 THE (KUUB-) JUKA OR NGOMSIKA FUNERAL CELEBRATION

5.1 Introduction to the Juka funeral

5.1.1 Juka celebrations attended by the author

5.1.2 General information about the Juka

5.2 Chronological listing of the ritual events

5.2.0 Previous day: Cheesika (collecting) or (loan word Twi) Bogsika

5.2.1 First day: Kpaama ngabika dai (preparing malt)

5.2.1.1 Elders in the kusung

5.2.1.2 Brewing the millet beer and opening (announcement) of the celebration

5.2.1.3 Guests sleep in the Funeral House until the end of the Juka celebration

5.2.2 Second day: Nyaata soka dai or jueta soka dai (‘day of the bath’) or (according to Azognab) also Juem soka dai (the day of the ritual bathing of the widows)

5.2.2.1 Welcoming guest and holding speeches (in the afternoon)

5.2.2.2 Preparation of the widows

5.2.2.3 Shaving and bathing widows (not observed)

5.2.2.4 Meal of the widow(er)s at the tampoi

5.2.2.5 The widows are taken to their living quarters

5.2.2.6 Biisa lika (closing the female breasts)

5.2.2.7 The poali leather arm ring with medicine

5.2.2.8 Vei [vie] cheesika

5.2.3 Third day: Sira manika dai (day of millet porridge preparation), lok tulimka dai or lokta juka dai (day of turning over or burning quivers) or (at a woman’s funeral) puuta-dai (day of puuk pots)

5.2.3.1 Kpagluk sacrifice (Cf. kpagluk of the Kumsa celebration, 4.2.2.1)

5.2.3.2 Skin bag oracle

5.2.3.3 zong-zuk-cheka: Musicians on the flat roof

5.2.3.4 Preparation of the meal and distribution

5.2.3.5 Parik kaabka, sacrifice of the compound wall by men

5.2.3.6 Sacrifice of the cook

5.2.3.7 Preparations for burning the quivers and other weapons

5.2.3.8 Sacrifice to the quiver in the dalong

5.2.3.9 Carrying out the weapons

5.2.3.10 Chopping up and burning the weapons (lokta juka)

5.2.3.11 Destruction of pots in front of the compound

5.2.3.12 War dance in everyday clothes and ‘first storming’ of the tampoi

5.2.3.13 Burning of the mat stalks

5.2.3.14 Puuta-mobika or puuta-cheka (destroying the puuk pots)

5.2.3.15 Dancing on the potsherds

5.2.3.16 Production of a fine, light-coloured powder

5.2.3.17 The grave

5.2.3.18 Imitation of the deceased by a woman

5.2.3.19 Visit to the market

5.2.3.20 Compensation for services and gifts

5.2.4 Fourth day: Senlengsa dai (double bell day) or daata nyuka dai (day of drinking pito), according to Azognab also Kusung-puusika dai (day of greeting the elders)

5.2.4.1 Millet porridge (saab) for the orphans

5.2.4.2 Completion of the millet beer preparation that began on the first day and its distribution

5.2.4.3 (Second) Market visit

5.2.4.4 “Offering” to the compound wall (compare 4.2.4.6: Parika kaabka at the Kumsa)

5.2.4.5 Remarks on the senlengsa dance

5.2.4.6 Naapierik ginggana (dance to the ash heap)

5.2.4.7 Procession to the guuk of the compound

5.2.4.8 Remarriage of widows (not observed)

5.2.4.9 Discarding the body cords (miisa folika) and second head shave

5.2.4.10 Koaling tika (the giving of goods, inheritance)

5.3 Excursus (summary): The grave and the burial bowl

6. FINAL THOUGHTS: LIFE AFTER DEATH

6.1 The dead person goes lives on in the compound until the end of the funeral ceremonies

6.2 Ghosts (kokta)

6.3 Incarnation in animals

6.4 Realms of the dead

6.5 Ancestor status

7. FUNERALS AND RITES OF PASSAGE

7.1 Rites of passage according to A. van Gennep and V. Turner

7.2. The three phases in the funeral celebrations of the Bulsa

7.2.1 Changing established gender roles

7.2.2 Non-observance of taboos (kisita, sing. kisuk)

7.2.3 Ritual theft without sanctions (chiaka, ‘snatching’)

7.2.4 Sexual license

7.2.5 Aggression and open rebellion

ENDNOTES (7) 115-119

8. THE ROLE OF WOMEN IN FUNERALS

8.1 Preparation of food and drinks for funeral participants and sacrifices

8.2 Women and death mats

8.3 Imitation (cherika or che-deka)

8.4 Women sacrifice to the compound wall

8.5 The widows (pokonga, sing. pokong)

ENDNOTES (8) 120-129

9. REDUNDANCIES IN THE TWO FUNERAL CELEBRATIONS