86 ANNALS NEW YORK ACADEMY OF SCIENCES 



"Baliti," representing the quivering of the leaves of the baliti tree; 



"Karamag to kawayan," the leaves of a bamboo swaying in the wind 

 (danced by a man); 



"Bukason," a snake dance; 



"Tibarun," and "Manok," bird dances (performed by two women); 



'•Bulayan," a descriptive dance to express fear of the Atas (performed by 

 two girls); 



"Kulagsoy penek ka kayo," a squirrel running up the trunk of a tree 

 (danced by one man); 



u Ug-tube," the god-brother in the sky (a girls' dance in honor of the 

 god-brother) ; 



"Salangayd," a dance for the god of that name (performed by a man). 



The dancers, both men and women, wear their usual full dress 

 costumes made from hemp and from cotton textiles, elaborately 

 embroidered and beaded. The "magani" wear tankulu twisted 

 about their heads, while youths who have not yet killed anybody 

 have cotton kerchiefs woven in bright stripes and decorated with 

 beaded and tasseled edges. Leglets and armlets of brass and of 

 vegetable fibre are generally worn by the men, and those of the 

 wealthier class are gorgeous in their wide, richly-beaded belts and 

 enormous ear-plugs made of discs of pure white ivory. 



Certain hair ornaments are regularly worn by women dancers. 

 and to appear without these ornaments would be extremely bad 

 form. One is a wooden comb in the shape of a half-moon, deco- 

 rated in carved designs, with beads stuck in wax, and witli 

 heavily-beaded tassels. Another is a long brass pin called /0////7. 

 that is run vertically into the back coil of hair. It is decorated 

 with tufts of dyed goat's hair tipped with brilliant down from 

 birds' plumage and tied to the pin with fine brass wire. The 

 clusters of bright-colored goat's hair and feathers bob and wave in 

 time with the steps of the dancer in a very effective manner. 

 There is one essential accessory to tin- costume of a woman per- 

 forming a ceremonial dance, and that is the wide closed scarf 

 called salugboy. This scarf, worn diagonally across the right 

 shoulder and under the left arm-pit, lias the daily utility function 

 of supporting the baby or of holding needlework and parcels; but at 

 a festival this scarf becomes an aesthetic element that figures prom- 

 inently in the dance. As she dances, the girl clasps the salugboy 

 with both hands and holds it out loosely from her body, or she 

 removes it entirely and lets it drape freely from her hands. It is 

 a pretty sight to see her swaying her body from side to side in 



