From the text, a witchetty grub represents either a moiety or an edible animal. 

A moiety is an exogamous, intermarrying group. The fundamental rule is that men of one moiety must marry women of the other.

Among the Native tribes of Central Australia, Witchetty grub men and women eat the grub very sparingly. They are not absolutely forbidden to eat it, but they must do so only in small amounts. This is because if they were to eat too much, their ability to successfully perform the Intichiuma would diminish, and the grub population would decline.

Conversely, it is equally important for them, especially for the Alatunja (tribal leader), to eat a little of the totemic animal, as eating none would have the same negative effect as eating too freely.

Alice Springs is considered “the most important centre of the witchetty grubs, where, amongst forty individuals, thirty-five belong to the Bulthara and Panunga, and five only to the other moiety of the tribe.”

The witchetty grub is also clearly an edible animal, as evidenced by an account from the northern tribe of central Australia which states that “when he had gone they came out again and walked about eating charcoal and witchetty grubs.”

According to the customs of the Natives of Central Australia, the grub must not be eaten like other food out in the bush, or the men of the totem would become angry and the grubs would vanish. 

After the Intichiuma ceremony, when the grubs become plentiful and fully grown, the Witchetty grub men, women, and children collect large daily supplies. They bring these into camp to be cooked until dry and brittle, after which they are stored in pitchis (wooden vessels) and pieces of bark. At the same time, those who do not belong to the totem are also out collecting.

The supply of grubs lasts only a very short time, as the animals appear after rain. When they grow less plentiful, the store of cooked material is taken to the Ungunja, or men’s camp, where all the men assemble, acting as usual under the instructions of the Alatunja. 

The “didgeridoo” is made of wood. This wood can be either bamboo (all the sources agree on this), woolly-butt eucalyptus, or the green stem of a native hibiscus bush (according to Herbert Basedow). Spencer, in his recordings of Australian Aboriginal singing also mentioned trumpets can be “made out of a hollow branch of gum trees, ironwood etc.” 

A typical didgeridoo size varies from 2 to 9 feet long. Roderick Flanagan describes it as having “about three feet in length” and Spencer said “it measured 7-9 feet in length.” Spencer also reported a trumpet which was “five feet in length” and had a diameter at larger end of 2.5 inches and 2 inches at the mouth while Basedow asserts that it should be “four to five feet long” which aligns with the trumpet observed in Native Tribe of the Northern Territory of Australia.

The mouthpiece was often refined for comfort and to create a proper seal. Spencer observed that “as a general rule, the mouth end is coated with wax so that the lips can fit on tightly,” a detail also mentioned in the Native Tribes of Central Australia that the end is “covered with a circle of resin so as to make the margins smoother.”

The external surface was frequently decorated, transforming it into a personal and cultural artifact. Spencer in the Native Tribes of Central Australia described two such decorated instruments in his possession: one was ornamented with “alternate circles of yellow ochre and white kaolin,” while the other featured “two rings of white kaolin” connected by longitudinal lines.”

Herbert Basedow called it a “bamboo trumpet”, “drone-pipe” or “didjeridoo.” Sir Baldwin Spencer in his analysis of recordings of the Australian Aboriginal singing suggested the more specific term “conch,” drawing a comparison to shell trumpets despite it being made of wood or bamboo, noting it was “commonly called a trumpet by the whites, but really a kind of conch, made out of a hollow bough.”

Spencer, in his analysis of recordings, referred to the work of Roth, who documented the term “yiki-yiki” for a long wooden trumpet used in areas of the Cape York Peninsula. In his own documentation of Native Tribes of the Northern Territory of Australia, Spencer also listed the sacred names “jiboulu” for the everyday trumpet and its ritual counterpart, “Purakakka.”

From Central Australia, Spencer and Gillen described the “ilpirra” (or “ulpirra”), a shorter, rudimentary tube used in love-magic ceremonies, which they distinguished as a “rudimentary trumpet” that was sung through to intensify the voice rather than played with vibrating lips.

The name “didgeridoo” was first used in a 1908 newspaper account “Retribution,” where it was written as “did-gery-do,” phonetically capturing the rhythmic sound heard on a Northern Territory cattle run. The term simply did not exist in print until the early 20th century.