Pagan races of the Malay Peninsula - Sabrizain.org

CHAP. IX SAKAI OF PERAK 485
pattern was that it was connected in some way with
the " tabong " legend. Beginning at the open end
of the bamboo, the second important figure was the
rattan creeper, but the significance of the numerous
triangular figures could not be made out. Only in
one respect was opinion unanimous. The rattan re-
ferred to shows fruit and leaves, and a whip will be
seen in the same figure. Hence the conventional
forms of the rattan depend in each case upon the use
which is to be made of it.^
Fig-. 14.—This is the original pattern - of a " tuang-
tuang " which is sounded by those who are about to
collect the acid fruit of the " nipah- " or thatch-palm"^
(as well as that of a similar sort of palm called " k'lubi
asam " in Malay) before entering the swamp in which
they grow. These particular fruits are employed as
spices by the Sakai. The palms in question resemble
the " bertam "-palm in being stemless. The leaves
grow out of the ground in a great tuft, and the rootclump
itself, swelling gradually as the plant gets
older, forms a small hillock in the swampy ground.
These hillocks are full of scolopendra attracted by the
fruit, which always grows upon a thick stem, suspended
only a few centimetres above the surface of the ground.
Because of these scolopendra the women are not
allowed, as a rule, to pick the fruit, which is the
business of the men.
The figures depicted at a in the top panel of the
design are the typical " frogs'-leg " pattern, which are
said to be always used as the symbol of a " swamp."
The fact that the figures are represented both at
the top and the bottom signifies that the entire region
where the fruit grows is swampy. The panel marked
' Z.f.E. xxvi. 181. - •' Ibid. pp. 1S2, 1S3. Nipa fruticans.