Neolithic Age

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there also existed hybrid forms, in which - within the village as a territorial community - a division into genealogical groups is met with.

Whatever the outward form of these communities, the inner bond is always one of sacral nature, which finds expression in mythical tales and images. These reflect the way Neolithic man conceived the world about him.

Each community is, so to speak, a world of its own, an entity modeled or, the universe: everything is connected with everything is connected. The medium of this mystic union is a living force, generally referred to as mana. It is an indispenable prerequisite to pin control of mana if one is to obtain those guarantees which, it is believed, will ensure the continued existence of the community. But control over mana and influence upon it require a, external sign.

The actions and symbols with the aid of which man believes he can Magic.ritual influence mana or obtain certain things he desires can be summed up in the term 'magic ritual'.

It should be made perfectly clear that the ritual means used can vary greatly, although the basic idea of men who practice magic is everywhere the same. For all this great variety, one point stands out in relief: those expressions of men who think and act magically and which can be termed 'artistic expressions' were originally firmly rooted in magic ritual.

This is why L. Levy Brijhl, writing about Australian art, could remark: "le dessin ne les int6resse que par la participation mystique qu'il realisc". This also applies to man of the Neolithic era, with regard to music, dancing and games in the same way as to architecture and sculpture.

Neolithic man regards the material things lie creates, and which the Westerner habitually terms 'artistic expression', in the final instance simply as a means of attaining a particular aim, of achieving something he desires, in an irrational way. In his case "art springs unconsciously out of collective perception, out of an irresistible mystical impulse, a primitive demonic urge to seek fellowship with the powers that encompass him, the powers which lie cannot comprehend, by means of magic. He is driven by a strong impulse to give expression and shape to feelings of his which are outside reality, to very complex metaphysical and emotional sentiments, such as fear, or the desire to obtain protection from some tutelary power iii order to ward off unpropitious spirits, etc. This kind of creation is a sacred act.

It is easy to imagine that social conditions within the community are likewise determined by this myth-enshrouded outlook. Thus, for example, clan elders infer their social function of being primus inter pares from the office which they perform of supervising the observance of the sacrall prescriptive right, adat, which is rooted in myths and sacred traditions. Unwritten laws have to be observed - and, indeed, observed extremely strictly. For the mythical deified ancestor who have made these laws are watching carefully to ensure that they are obeyed exactly. Thus these ancestors occupy a very significant place