TWO 01 kJMi PANDA'S DANCIN'Ci (ilKLS. 
39 
child, when she adopts the short skirt worn by the older women. The girls represented in the Plate afford ordinary 
examples of the Zulu women betorc marriage: strong and athletic, and frequently as masculine in their appearance 
as the young men, they employ themselves in working in the field, hoeing the maize plantations, carrying wood and 
thatch for the kraal, and bearing jars and baskets ot beer and corn on their heads from one spot to another. 
It is no unusual sight foi the tiavellci on approaching one oi the kings larger kraals to see a string of these virgins, 
all bearing pietuiesque baskets and vessels tilled with provisions tor the harem, pursuing the narrow footpaths over 
hill and dale, and following one anothei like a tile ot soldiers. At other times, one meets a line of women and girls 
carrying huge sheaves ot thatch-reeds on their heads, all singing, and keeping step to their wild, yet monotonous 
song. 
A married woman without children is termed “umfa/.i," and a woman having a family, “enemi.” After a girl is betrothed, 
and previously to her marriage, the bridegroom-elect places a feather in his head, and as soon as the bride perceives 
it, she comes dancing up with bet maidens, ami approaches so near as to pluck out the feather; a speech is delivered 
in praise of the girl by one of her relations, saying that “ the bridegroom’s kraal is a place of grass, but the bride will 
make it a garden ot maize,’ and using similar references to her agricultural worth, the hardest workers in the field 
being always considered as the best wives. After the speech in favour of the bride, another is delivered praising the 
prowess and exploits of the young man about to become her husband. The bride then conceals herself amongst the 
other girls ot the village, and a grand dance, with beer-drinking and feasting for three clays, concludes the marriage 
ceremony. 
VX .'.I'M lt.\ ,M A KIN o POTThfr'i 
