CATEGORIES OF ACTION IN DOMBA The accounts of domba which Stayt (1931:111-24) received from his informants agree in essence, and often in detail, with what I myself witnessed in Vendaland between 1956 and 1958. Furthermore, Stayt's interpretations and sociological observations are generally sound. Unless I specifically refer to Stayt's or van Warmelo's contributions to the study of domba, all that I describe here will be based on my own field-work. I have already mentioned some of the categories of action that the Venda distinguish: the compulsory dzigoma (special rites), the maano (mimes or shows), and nyimbo dza mitambo (recreational songs). The description of the beginning and end of domba in the section 'Milayo' included descriptions of three dzigoma: tshilala-ndo-ima, tshivhuyu, and dumbu (or ). Other dzigoma, and also certain ma, whose form is suggested and/or accompanied by words in the ritual domba song, are given in the section 'The Great Domba Song'. Some of the dzingoma and ma described in this part are accompanied by special songs. These, together with the recreational songs, will be numbered consecutively as songs, regardless of the category to which the accompanying actions belong. Whenever there are new milayo to explain them, these will be numbered following on the sequence of numbers given in the 'Milayo' section. Masters of initiation are not entirely consistent in classifying the activities of domba. In general, it is said that dzingoma are for instruction and maano for pleasure. But several maano are also intended to convey lessons. To my mind, the essential difference is that each novice must herself perform all the dzingoma, but they are merely spectators of the maano. An important difference between two types of rite is therefore recognised by the Venda, but there are no adequate English words to express it. All novices participate in both dzingoma and maano, and in both they may sing songs. But most dzingoma are essential rites that are repeated several times, so that every novice can herself perform the actions. Maano are rarely shown more than once, attendance is not compulsory, and the action is generally done for the novices, who merely watch. Dzingoma are truly rites of passage, since they are actions that all young domba novices should do, if they are to qualify for graduation. Again, not all actions that the novices do themselves are called dzingoma. Some are referred to as punishments (tshengedzo); and Dole and Gombalume, which are usually performed also at vhusha and tshikanda respectively, may be called ndayo (exercises). Dzingoma may be done by day or by night. The domba dance is stopped; novices are told to kneel down and hide their faces; meanwhile the master prepares the no and his assistant throws more wood on the fire, to make it bright (unless darkness is essential for effect). When all is ready, the girls are told to sit up: they either sing the song which accompanies the maano or simply look at what is shown to them.