I am a Primitive Man
Chapter 241 – Adding an instrument for the ceremony – Drums
Regarding how to conduct the sacrifice this time, Shaman is consulting Han Cheng’s opinion.
In the past, Shaman never asked others about this matter, even if it was Han Cheng, who was treated like a god.
But things are different now because, under Han Cheng’s earnest assurance, the totem pole has been moved from the inner cave to the house, changing the environment. Shaman is now uncertain.
After a conversation, Han Cheng understands Shaman’s intention.
He wants to move the totem pole back to the inner cave for the sacrifice and then back to the house after the ritual is complete.
Because the space inside the room is too small and unsuitable for a proper sacrifice.
However, they have never done this before, and Shaman is undecided because he is worried that moving the totem pole back and forth like this might offend the gods.
Han Cheng might have considered it carefully if he were a true god. However, he is just a time traveler pretending to be god, naturally fearless, and doing things as conveniently as possible.
After receiving affirmation from Han Cheng, Shaman suddenly becomes enthusiastic.
While arranging for the cave to be cleaned, he prepares to move the totem pole, but Han Cheng stops him.
Han Cheng tells Shaman that the totem pole cannot be moved so quickly; it needs something else to accompany it.
Shaman has never experienced such a situation before, and previous Shamans leave no precedents on how to handle such matters, so he must obey Han Cheng’s command.
At the same time, he is curious about what the Divine Child mentioned that needs to accompany the totem pole.
Han Cheng mentioned a drum, a standard item in later times.
Adding drama to the totem pole was a spur-of-the-moment idea by Han Cheng.
Heavy snowfall restricts people’s movements, leaving them with little to do. He also feels that the sacrifices of the Green Sparrow tribe lack ceremony, so he wants to do something about it. Therefore, he casually mentioned the drum.
After saying it, Han Cheng regrets it a bit because it’s extremely difficult to make a drum at this time due to the lack of tools and materials.
Even if they didn’t use wood to make the drum body and used pottery instead, it’s not feasible because the clay would quickly freeze and could not be fired in cold weather.
After pondering for a while, Han Cheng realizes there is no good solution. He can’t help but sniff and bitterly scold himself for making things difficult. What was originally a simple matter now feels like lifting a stone to smash his foot…
With his hands behind his back, Han Cheng strolls. The old sheepskin cloak hangs down, swaying gently with his movement.
His slightly tense face, with his eyes occasionally scanning the surroundings cautiously, exudes an aura of scrutinizing subjects, like an emperor observing his ministers or a high-ranking figure hosting a court selection.
Of course, this premise requires the various pottery vessels placed on both sides to be replaced with ministers or carefully chosen and beautiful women…
Han Cheng’s footsteps stopped, and his gaze fell on a small nearby basin.
This basin is about seventy centimeters tall, with a diameter of about thirty centimeters at the mouth, thicker in the middle, and tapering at both ends.
“This is it.”
Han Cheng says to Shaman and Hei Wa, who are following him.
Hei Wa steps forward and lifts the basin as instructed.
Then, following Han Cheng’s instructions, the basin was turned upside down, and a relatively thin and rough stone was used to rub back and forth along its bottom.
After rubbing for a while, a shallow line appeared.
This task was tiring, so Han Cheng had someone fetch Mu Tou to take over Hei Wa’s work.
He was more skilled at polishing stone tools.
You guessed it right: Han Cheng was planning to use this basin as the body of the drum, but first, the bottom of the small basin needed to be removed.
While Mu Tou dealt with the small basin, Han Cheng searched the Green Sparrow tribe’s storage for something, specifically nitrate-treated hides.
After quite a while, he found a hide with little fur left.
Then he had someone bring a wooden stick and pounded the hide on a smooth piece of Mu Tou to soften it.
Then, using a carefully crafted stone knife, he scraped the hide repeatedly to remove the remaining fur and thin out the thicker areas as much as possible. This was a very time-consuming task.
It wasn’t until the second day that the bottom of the small basin was removed. Mu Tou did an excellent job, leaving the basin undamaged.
Han Cheng then marked two circles on the wall of the small basin near its ends.
He then had Hei Wa take over from Mu Tou and carefully drill holes in these marks using relatively sharp stones. It was crucial not to damage the basin.
It took three days for these tasks to be completed thoroughly.
The hide, which Hei Wa had meticulously polished, and still had a considerable gap from those of later times, was split in half from the middle. Holes were pierced around the edges of the hide, each tied with a thin rope.
Han Cheng covered the mouth of the small basin with the hide, threading the ropes through the pre-drilled holes and pulling them tight.
He only demonstrated this, leaving it to Hei Wa and Mu Tou to complete.
This was mainly because stretching the drumhead required considerable strength and skill; otherwise, the drumhead would be loose, resulting in a weak sound.
Han Cheng was no stranger to big drums, gongs, cymbals, and brass instruments. Many villages had such sets, which would be brought out and played around the New Year.
Dragon dances, lion dances, spider dances, and the like usually accompany these brass instruments. Unfortunately, the dragon in their village had long been broken…
Of course, these scenes were almost twenty years ago. As people gradually went out to make a living, life became faster-paced, and these things were rarely touched anymore, gathering dust in the houses of a few families in the village…
To achieve a better effect, after the drumhead was stretched, Han Cheng went out with some people to fetch some pine resin not far from the Green Sparrow tribe. After heating and melting it in a small pottery jar, he used a small branch to plug each hole through which the ropes passed and sealed the edges of the hide attached to the basin wall.
After doing all this, the drum was finally complete.
Han Cheng tapped on it with his fingers, producing a dull sound. It wasn’t as good as the wooden barrel drums from later times, but Han Cheng was already delighted with the drum considering the conditions.
Han Cheng didn’t let people play the drum randomly.
Because, as he said, and they also knew, it was for use in the future worship of the gods, everyone, including the few people involved in its making, held a curious and reverent attitude toward the newly appeared drum.
After making the drum, Han Cheng instructed Hei Wa to cut out two wooden sticks that were about thirty centimeters long and three centimeters in diameter. One end of each stick was wrapped with the leftover hide from making the drum, and thus, two drumsticks were created.
Han Cheng regretted only that there was no red cloth or red fuel; otherwise, these two drumsticks would have been more festive and expressive.
After the drumsticks were made, wood was cut and tied together to make a drum stand. With this, the set was finally complete.
The people of the Green Sparrow tribe had never looked forward to a sacrifice like this before.
They were eager to see what effect the exquisite things made by the Divine Child with great effort would have and how they would be used in the sacrifice.
Even the old shaman couldn’t contain his excitement and anticipation.
Chapter 241 – Adding an instrument for the ceremony – Drums
Regarding how to conduct the sacrifice this time, Shaman is consulting Han Cheng’s opinion.
In the past, Shaman never asked others about this matter, even if it was Han Cheng, who was treated like a god.
But things are different now because, under Han Cheng’s earnest assurance, the totem pole has been moved from the inner cave to the house, changing the environment. Shaman is now uncertain.
After a conversation, Han Cheng understands Shaman’s intention.
He wants to move the totem pole back to the inner cave for the sacrifice and then back to the house after the ritual is complete.
Because the space inside the room is too small and unsuitable for a proper sacrifice.
However, they have never done this before, and Shaman is undecided because he is worried that moving the totem pole back and forth like this might offend the gods.
Han Cheng might have considered it carefully if he were a true god. However, he is just a time traveler pretending to be god, naturally fearless, and doing things as conveniently as possible.
After receiving affirmation from Han Cheng, Shaman suddenly becomes enthusiastic.
While arranging for the cave to be cleaned, he prepares to move the totem pole, but Han Cheng stops him.
Han Cheng tells Shaman that the totem pole cannot be moved so quickly; it needs something else to accompany it.
Shaman has never experienced such a situation before, and previous Shamans leave no precedents on how to handle such matters, so he must obey Han Cheng’s command.
At the same time, he is curious about what the Divine Child mentioned that needs to accompany the totem pole.
Han Cheng mentioned a drum, a standard item in later times.
Adding drama to the totem pole was a spur-of-the-moment idea by Han Cheng.
Heavy snowfall restricts people’s movements, leaving them with little to do. He also feels that the sacrifices of the Green Sparrow tribe lack ceremony, so he wants to do something about it. Therefore, he casually mentioned the drum.
After saying it, Han Cheng regrets it a bit because it’s extremely difficult to make a drum at this time due to the lack of tools and materials.
Even if they didn’t use wood to make the drum body and used pottery instead, it’s not feasible because the clay would quickly freeze and could not be fired in cold weather.
After pondering for a while, Han Cheng realizes there is no good solution. He can’t help but sniff and bitterly scold himself for making things difficult. What was originally a simple matter now feels like lifting a stone to smash his foot…
With his hands behind his back, Han Cheng strolls. The old sheepskin cloak hangs down, swaying gently with his movement.
His slightly tense face, with his eyes occasionally scanning the surroundings cautiously, exudes an aura of scrutinizing subjects, like an emperor observing his ministers or a high-ranking figure hosting a court selection.
Of course, this premise requires the various pottery vessels placed on both sides to be replaced with ministers or carefully chosen and beautiful women…
Han Cheng’s footsteps stopped, and his gaze fell on a small nearby basin.
This basin is about seventy centimeters tall, with a diameter of about thirty centimeters at the mouth, thicker in the middle, and tapering at both ends.
“This is it.”
Han Cheng says to Shaman and Hei Wa, who are following him.
Hei Wa steps forward and lifts the basin as instructed.
Then, following Han Cheng’s instructions, the basin was turned upside down, and a relatively thin and rough stone was used to rub back and forth along its bottom.
After rubbing for a while, a shallow line appeared.
This task was tiring, so Han Cheng had someone fetch Mu Tou to take over Hei Wa’s work.
He was more skilled at polishing stone tools.
You guessed it right: Han Cheng was planning to use this basin as the body of the drum, but first, the bottom of the small basin needed to be removed.
While Mu Tou dealt with the small basin, Han Cheng searched the Green Sparrow tribe’s storage for something, specifically nitrate-treated hides.
After quite a while, he found a hide with little fur left.
Then he had someone bring a wooden stick and pounded the hide on a smooth piece of Mu Tou to soften it.
Then, using a carefully crafted stone knife, he scraped the hide repeatedly to remove the remaining fur and thin out the thicker areas as much as possible. This was a very time-consuming task.
It wasn’t until the second day that the bottom of the small basin was removed. Mu Tou did an excellent job, leaving the basin undamaged.
Han Cheng then marked two circles on the wall of the small basin near its ends.
He then had Hei Wa take over from Mu Tou and carefully drill holes in these marks using relatively sharp stones. It was crucial not to damage the basin.
It took three days for these tasks to be completed thoroughly.
The hide, which Hei Wa had meticulously polished, and still had a considerable gap from those of later times, was split in half from the middle. Holes were pierced around the edges of the hide, each tied with a thin rope.
Han Cheng covered the mouth of the small basin with the hide, threading the ropes through the pre-drilled holes and pulling them tight.
He only demonstrated this, leaving it to Hei Wa and Mu Tou to complete.
This was mainly because stretching the drumhead required considerable strength and skill; otherwise, the drumhead would be loose, resulting in a weak sound.
Han Cheng was no stranger to big drums, gongs, cymbals, and brass instruments. Many villages had such sets, which would be brought out and played around the New Year.
Dragon dances, lion dances, spider dances, and the like usually accompany these brass instruments. Unfortunately, the dragon in their village had long been broken…
Of course, these scenes were almost twenty years ago. As people gradually went out to make a living, life became faster-paced, and these things were rarely touched anymore, gathering dust in the houses of a few families in the village…
To achieve a better effect, after the drumhead was stretched, Han Cheng went out with some people to fetch some pine resin not far from the Green Sparrow tribe. After heating and melting it in a small pottery jar, he used a small branch to plug each hole through which the ropes passed and sealed the edges of the hide attached to the basin wall.
After doing all this, the drum was finally complete.
Han Cheng tapped on it with his fingers, producing a dull sound. It wasn’t as good as the wooden barrel drums from later times, but Han Cheng was already delighted with the drum considering the conditions.
Han Cheng didn’t let people play the drum randomly.
Because, as he said, and they also knew, it was for use in the future worship of the gods, everyone, including the few people involved in its making, held a curious and reverent attitude toward the newly appeared drum.
After making the drum, Han Cheng instructed Hei Wa to cut out two wooden sticks that were about thirty centimeters long and three centimeters in diameter. One end of each stick was wrapped with the leftover hide from making the drum, and thus, two drumsticks were created.
Han Cheng regretted only that there was no red cloth or red fuel; otherwise, these two drumsticks would have been more festive and expressive.
After the drumsticks were made, wood was cut and tied together to make a drum stand. With this, the set was finally complete.
The people of the Green Sparrow tribe had never looked forward to a sacrifice like this before.
They were eager to see what effect the exquisite things made by the Divine Child with great effort would have and how they would be used in the sacrifice.
Even the old shaman couldn’t contain his excitement and anticipation.
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