1812. 
RIIZO'S DANCE. 
87 
we found no part of the goat left. Soon after this, they returned 
to their huts, well satisfied with the treatment they had met with ; 
and, certainly, not sorry that a white-man had visited their kraal. 
My own people, having now dismissed all those apprehensions 
which their first uncertainty respecting a friendly reception by the 
natives, had excited, enjoyed the evening apparently as much as 
they ; and even followed them to the huts, and remained sitting by 
their fires till a late hour. 
I also, passed some part of the night at the kraal, to witness 
again the pleasures of the dance. Here I found the * ball-room' so 
crowded that there was but just space enough left for the dancer's 
feet : but this seemed not at all to incommode the party. Riizo was 
the chief performer ; and I heard the next morning, that he continued 
incessantly dancing during the greatest part of the night. The style 
of the dance, and the accompaniments, were exactly the same as at 
Kaabi's Kraal, excepting that instead of the words Wa wa koo and 
their corresponding notes, Riizo made use of Lok a tee (Lok a tay), 
thus : 
The Company. 
The Dancer. 
The 
Water-Drum. 
I I » 
Aye O Aye O Aye O Aye eh Aye O O O 
5 
zs. 
Lok a tay Lok a tay 
Lok a tay 
P- — P P P 
The syllables Lok a tay have no more signification than those of 
Wa wa koo, and were intended only as an assistance to the notes. These 
the dancer kept on singing, as if heedless of every thing but himself: 
without appearing to take any notice of the company about him, he 
continued his dancing, first with one leg, and then with the other, 
much to the gratification of his friends, though they had allowed him 
barely room for the sole of his foot ; while the lowness of the hut 
