136 THE MANOBOS OF MINDANAO— GARVAN [Memo {vo? a xxii" 



And thus the dance goes on, now slow, now fast, now stately, now grotesque, the feet pound- 

 ing the floor in regular and exact time to the music, and every part of the body moving, according 

 to the whim of the dancer, with graceful and expressive modulation. 



The whole dance requires great exertion, as is evidenced by the perspiration that appears 

 upon the dancer's body after a few minutes. For this reason, a dancer rarely continues for 

 more than ten minutes. He names his successor by dancing up to him, and putting the ker- 

 chiefs on his shoulders. The appointee nearly always excuses himself on the plea that he 

 does not know how to dance, that his foot is sore, or with some other excuse, but finally yields 

 to the screams of request and exhortation from the encircb'ng spectators. 



One who has witnessed a Manobo dance at night by the flare of fire and torch will not 

 forget the scene. Squatted around in the semidarkness are the russet figures of the merry, 

 primitive spectators, lit up by the nickering glare of the unsteady light, the children usually 

 naked, and the men having frequently bared the upper parts of their bodies. In the center 

 circles the dancer with his wealth of ornaments, advancing, retreating, and posturing. The 

 drum booms, the gong clangs, and the dancer poimds the floor in rhythm. The jingle bells 

 and the wire anklets of the dancer tinkle. The spectators scream in exultation, encour- 

 agement, and approval. The dogs add to the pandemonium by an occasional canine chorus 

 of their own, which coupled with the crying of the babies and several other incidental sounds, 

 serves to enhance the rejoicing and to add eclat to the celebration. 



THE RELIGIOUS DANCE 



Unlike the secular dance just described, the sacred dance is performed exclusively by the 

 male and female priests and by the warrior chiefs of the tribes. It may be performed either in the 

 house or out on the ground, according to the place selected for the sacrifice. In the case of the 

 sacrifice of a pig, the dance and its accompanying rites are always performed out of doors near 

 the house of one of the priests. 



The dress of the priests is always as elaborate as possible, as in ordinary festive dancing. 

 Their various portable charms and talismans are always worn around the neck and, instead 

 of kerchiefs being held in the hands, palm fronds 29 are used, one in each hand. 



The music is similar to that described for the ordinary dance, and the step and movements 

 are identical except that the dance is more moderate, there being no attempt at grotesque or 

 fantastic movements. As it is usually performed before an altar, a mat is spread upon the 

 floor, so that the dancing range is limited. In general, the sacred dance presents, in its sim- 

 plicity and its lack of violent contortions, rapid motions, and gestures, an element of respect 

 and religious quietude that is not observed in secular dancing. The encircling spectators do 

 not indulge in such unseemly acclamations, though it may be remarked that they assume no 

 posture indicative of religious worship, for they continue to talk among themselves and to 

 indulge in the ordinary occupation of betel-nut chewing, leaving the performance of the dance 

 and the attendant ceremonies to the priests, whose profession it is to attend to such matters. 



The dance is performed either consecutively or simultaneously by the priests but is inter- 

 rupted occasionally by other rites proper to the ceremony. 30 



MIMETIC DANCES 



Mimetic dances in no wise differ from the ordinary festal dancing except that they are a 

 pantomimic representation, by gestures, by postures, and by mimicry of some feature of Man6bo 

 life. So far as I know these dances are never performed by women. 



Mimetic dances are very popular in Manoboland, and visitors whom it is desired to honor, 

 are often treated, without solicitation on their part, to a series of these performances. They 

 often contain an element of what we would call lasciviousness, but to the Man6bo they merely 

 represent ordinary natural acts. The following are some of the mimetic dances which I have 

 witnessed. 



» Ma-vun-hau. » See Chapter XXVI. 



