MANNERS AND CUSTOMS 
fantastic device of feathers, built upon a light frame- 
work. The Bird of Paradise and the Gaura pigeon are 
laid under tribute for its construction, and the feathers 
of the different birds, and of different species of the 
same bird, are kept carefully apart, and are arranged in 
rows according to their natural order. <A few lines 
of Bird of Paradise, a few lines of Gaura pigeon, then 
a few lines of another species of Bird of Paradise, 
and so on. The whole contrivance is most fantastic, 
and looks really impressive in the weird light of the 
torches as the dancers, decorated with flowing bunches 
of grass behind, proceed with their revel. 
The dances of the hill tribes are not elaborate in 
form, and consist principally of violent jumping up 
and down, accompanied by wild singing and noise, 
but the coast dances, as carried out by the members 
of the native police at Port Moresby, by permission 
of the authorities, although less effective in point of 
costume—for little dress at all is worn—have some- 
thing of the orderly and progressive arrangement of 
the ballet of civilisation. On the day set apart for 
the dance at Port Moresby, a circle of native 
drummers would seat themselves on the ground, and 
would begin their monotonous performance—bang, 
bang, bang; bang, bang, bang—apparently without 
end, and with a wearisomely monotonous rhythm. 
Suddenly, to the orchestra and the spectators would 
enter two members of the Fly River police off duty, 
carrying a long, thin reed. These would begin the 
performance. They jumped up and down in regular 
rhythm, crouching lower and lower as the dance pro- 
ceeded, their movements getting quicker and quicker 
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