334 THE POPULAR SCIENCE MONTHLY. 



ing the limbs and body as closely together as possible. All the 

 dances have an obscene element, and, with the exception of the 

 war-dance, suggest nothing higher than an exaltation of physical 

 love. The war-dances, whether executed as entertainments or as 

 a part of serious work, include a series of boastful, challenging 

 movements. In those of the Wanjamuesi, a champion who has 

 killed an enemy in battle executes an attack against a drum that 

 stands in the middle of the circle of dancers. Approaching the 

 instrument With great solemnity, or with leaps, he assumes a 

 position like that of a theatrical hero who is fulfilling an oath of 

 vengeance. With upraised lance he points to all the quarters of 

 the sky, to indicate that he has performed his deeds everywhere. 

 Then he looks wildly around, nodding his head energetically 

 without bending his neck ; nods a second time, holding his head 

 straight up and only bending it forward; and again, with his 

 whole upper body. In another war-dance one of the partici- 

 pants takes a lance or a stick and goes around the circle of 

 dancers in a stooping position, stabbing at a feigned enemy who is 

 supposed to be lying on the ground ; then, leaping into the air, 

 strikes at him horse-fashion, with one leg, but without touching 

 any one. A common, peculiar movement of sand-shoving is re- 

 garded as a very imposing challenge. The performer, stooping a 

 little, strides along with a gliding step, shambling at every few 

 paces with his foot along the ground, so as to draw a line after 

 him, then slowly raises his foot and pushes the sand forward. 

 His impudent bearing gives the performance the offensive aspect 

 it is intended to bear, which is emphasized by his kicking back- 

 ward with most contemptuous gestures at his enemy, culminating 

 with looking down between his legs at him. When a traveler in 

 Africa, after a few rubs with the natives, finds them drawing 

 lines with their feet in the sand, he may be sure that mischief is 

 brewing against him. These, and a variety of other performances 

 of similar import, are employed in earnest as well as in the 

 dance and the sham battle; and even when death has reaped 

 its harvest there still prevails a peculiar humor, with shout and 

 song, and the adversaries continue to mock one another. 



On occasions of grief the negro sits with his chin in his un- 

 supported hand, slowly shaking his head. Weeping and shedding 

 of tears are rarely witnessed. Mourning is exhibited by tearing 

 the hair and a distressful howling. 



Anger is manifested with great show of violence. The raging 

 negro distorts his face, bites at his finger but without harming it, 

 while the froth runs out of his mouth. The gesture of slinging 

 away this froth with the middle and fore-finger is also employed 

 in times of grief, or when anything unpleasant has occurred. 

 The angry man beats around with his club, striking vessels, trees, 



