Chapter XVIII: Section IV: Of the Interment of the Dead

The ceremony of burial upon the Windward Coast of Africa is conducted with great singularity, solemnity, and extravagant circumstances of condolence.

The body of the deceased is wrapped up in a cloth, closely sewed around it, and the head is covered with a white cap of cotton, which is the colour universally adopted in mourning. The relatives of the deceased bedaub themselves from head to foot with white clay, upon which they form the most disgusting figures, while scarcely a leg or an arm exhibits the same feature. I have even seen serpents and other frightful animals delineated with great accuracy on many parts of the body, which gives them a most hideous appearance during the season of mourning.

When the corps has been washed, and put into a white cloth of cotton, of the manufacture of the country, the whole is inclosed in a mat, and laid out in state.

The corps is placed over the grave upon four sticks across, and after one of the nearest relatives has collected all the finery with which the deceased was accustomed to decorate himself, and that also which remains among his family, he asks him, with expressions of sorrow, if he wants such and such an article for his comfort in the other world, in which he is accompanied by the remainder of his family and friends, who join in _making cry,_ or more property speaking, in dancing and rejoicing. The following night the dance and song is continued with demonstrations of mirth and glee, and are kept up every successive night during that moon; and if the deceased has been of consequence in his tribe, these extravagant acts of lamentation continue for months together.

_On the Amusements, Musical Instruments, &c. of the Africans._

Upon all occasions of mirth or sorrow, the dance is uniformly introduced, with monotonous songs, sometimes tender and agreeable, at other times savage and ferocious, but always accompanied by a slow movement; and it may with propriety be said, that all the nights in Africa are spent in dancing; for after the setting of the sun, every village resounds with songs, and music; and I have often listened to them with attention and pleasure, during the tranquil evenings of the dry season.

Villages a league distant from each other frequently perform the same song, and alternately change it, for hours together. While this harmonic correspondence continues, and the inhabitants of the neighbouring villages chaunt their couplets, the youth of both sexes listen with the greatest attention and pleasure.

Among the several kinds of instruments of music which accompany the ceremonies of mourning or mirth among the Africans, the drum is the principal. It is made from a hard thin wood, about three feet long, which is covered with a skin distended to the utmost. They strike it with the fingers of the right hand collected together, which serves to beat time in all their dances. Among the Foulahs and Soosees they have a kind of flute, made of a hard reed, which produces sounds both unmusical and harsh: but all the Africans of the Windward district are the most barbarous musicians that can be conceived.

They have also a kind of guitar, formed from the calabash, which they call _kilara_. Some of these are of an enormous size, and the musician performs upon it by placing himself on the ground, and putting the _kilara_ between his thighs; he performs on it with both his hands, in a manner similar to the playing on the harp in this country.

They have another instrument of a very complicated construction, about two feet deep, four feet long, and eighteen inches wide, which they call _balafau_. It is constructed by parallel intervals, covered with bits of hard polished wood, so as to give each a different tone, and are connected by cords of catgut fastened at each extremity of the instrument. The musician strikes these pieces of wood with knobbed sticks covered with skin, which produces a most detestable jargon of confused noise.

Jugglers and buffoons are very common, and are the constant attendants of the courts of Negro kings and princes, upon whom they lavish the most extravagant eulogiums, and abject flattery. These jesters are also the panders of concupiscense; they are astrologers, musicians, and poets, and are well received every where, and live by public contribution.