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Brooke Low, amongst the Kayans of the Upper Rejang; it also appears to be a doc, derivative, and no doubt was used for the tatu of the front of a woman's thigh, being serially repeated in three or four rows as with the Long Glat.
"Ton't know mine own Tite," he repeated, raising his head and looking up in Tite's face, "yes I does. Yes, I shay mine Tite will cum home; an' he cums home and mine poor old heart he pees sho glat. Yes, he pees you, mine Tite. You prings shoy into mine house. Mine poor Tite he com'd home t' mine house. Tar pees no more shorrow now in mine house." The old man was overcome with joy.
In the Long Glat thigh-tatu the bands of pattern are not separated by lines of IKOR, as with the Kayans. A of the plate is termed BETIK KULE, leopard pattern, and is supposed to be a representation of the spots on the leopard's skin; it is stated to be taken from a Long Tepai tatu-block; the knuckles are tatued with a double row of wedges, the finger joints with quadrangles.
This belief appears to be universal amongst the Kenyah-Klemantan of the Upper Mahakam and Batang Kayan. On Pl. 86 of Nieuwenhuis' book is figured the thigh tatu of a Long Glat woman; the front of the thigh is occupied with two rows of the hornbill MOTIF to which reference has already been made.
At the age of eighteen to twenty the front of the thigh is tatued, and later on in life the back of the thigh; unlike the Kayans it is not necessary that the tatu of the thighs should be finished before child-bearing. A Long Glat woman on each day that she is tatued must kill a black fowl as food for the artist.
"Vell, so you come to town," said Tina. "Ya. Ay get a yob," said Bea. "Vell. . . . You got a fella now?" "Ya. Yim Yacobson." "Vell. I'm glat to see you. How much you vant a veek?" "Sex dollar." "There ain't nobody pay dat. Vait! Dr. Kennicott, I t'ink he marry a girl from de Cities. Maybe she pay dat. Vell. You go take a valk." "Ya," said Bea.
The hornbill plays an important part in the decorative art of the Long Glat, a Klemantan tribe of the Mahakkam river, and we suspect that, if these Blu-u Kayans are of true Kayan stock, they have borrowed the hornbill design from their neighbours.
Und I pick dis place mitout hope off a neighbor. Id iss goot lant. Veil, let us to der house go. Id vill rest der mule und Gretchen, der cow. Hah!" He rolled a blue eye on his incongruous team, and grinned widely. "Come," he invited; "mine vife vill be glat." They found her a matron of thirty-odd; fresh-cheeked, round-faced like her husband, typically German, without his accent of the Fatherland.
And ven he gets der bread he es sotisfite only a leetle vile. He soon vants butter on id. Ven he gets der butter in a leetle vile he vants meat, and den he vants vine and a goot cigar, and ven he gets all dese t'ings, he gets seek. I am a seek man. Eef I got id feeften 'undret could haf borrowed dot much I vould haf bought id, but I couldn't get dot feeften 'undret, and now I am glat.
It must be remembered that the Long Glat design is tatued in rows down the front and sides of the thigh, whilst these Kayan designs have been modified to form more or less of a sinuous line design for the back of the thigh; or, in other words, the hornbill elements in the Long Glat design, though they are serially repeated, are quite separate and distinct one from the other, whilst in the Kayan designs the hornbill elements are fused and modified to produce the sinuous line pattern that in one form or another is generally employed for the decoration of the back of the thigh.
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