The dead are, as a rule, burnt. By some of the Jhodia Porojas, the ashes are subsequently buried in a pit a few feet deep, near the burning-ground, and the grave is marked by a heap of stones. A pole is set up in this heap, and water poured on it for twelve days. On the fourth day, cooked rice and fish are set on the way leading to the spot where the corpse was burned. The celebrants of the death rite then take mango bark, paint it with cow-dung, and sprinkle themselves with it. The ceremony concludes with a bath, feast, and drink. Among the Bonda Porojas, some of the jewelry of the deceased person is burnt with the corpse, and the remainder given to the daughter or daughter-in-law. They observe pollution for three days, during which they do not enter their fields. On the fourth day, they anoint themselves with castor-oil and turmeric, and bathe. Mr. G. F. Paddison informs me that he once gave medicine to the Porojas during an epidemic of cholera in a village. They all took it eagerly, but, as he was going away, asked whether it would not be quicker cure to put the witch in the next village, who had brought on the cholera, into jail. A Bonda Poroja dance is said to be very humourous. The young men tie a string of bells round their legs, and do the active part of the dance. The women stand in a cluster, with faces to the middle, clap their hands, and scream at intervals, while the men hop and stamp, and whirl round them on their own axes. The following account of a dance by the Jhodia Poroja girls of the Koraput and Nandapuram country is given by Mr. W. Francis. [111] "Picturesque in the extreme," he writes, "is a dancing party of these cheery maidens, dressed all exactly alike in clean white cloths with cerise borders or checks, reaching barely half way to the knee; great rings on their fingers; brass bells on their toes; their substantial but shapely arms and legs tattooed from wrist to shoulder, and from ankle to knee; their left forearms hidden under a score of heavy brass bangles; and their feet loaded with chased brass anklets weighing perhaps a dozen pounds. The orchestra, which consists solely of drums of assorted shapes and sizes, dashes into an overture, and the girls quickly group themselves into a couple of corps de ballet, each under the leadership of a première danseuse, who marks the time with a long baton of peacock's feathers. Suddenly, the drums drop to a muffled beat, and each group strings out into a long line, headed by the leader with the feathers, each maiden passing her right hand behind the next girl's back, and grasping the left elbow of the next but one. Thus linked, and in time with the drums (which now break into allegro crescendo), the long chain of girls--dancing in perfect step, following the leader with her swaying baton, marking the time by clinking their anklets (right, left, right, clink; left, clink; right, left, right, clink; and so da capo), chanting the while