dancers broke up. The drummers held their instruments, rendered damp and lax by the moist evening breeze, so close to the flames that I thought they would get burnt. Soon the music began again to a new tune; first the oboes, and then, as soon as they had got into the proper swing, the other instruments. The melody was not the same as before, but its two movements were repeated without intercession or change. In this dance females, as well as males, took part, grouped in a semi-circle, while the men completed the circle. The men danced boisterously and irregularly. Moving slowly forwards with the entire circle, each dancer turned right round from right to left and from left to right, so that, after every turn, they were facing the fire. The women danced with more precision and more artistically than the men. When they set out on the dance, they first bowed themselves before the fire, and then made left and right half turns with artistic regular steps. Their countenances expressed a mixture of pleasure and embarrassment. None of the dancers wore any special costume, but the women, who were nearly all old and ugly, had, for the most part, a quantity of ornaments in the ears and nose and on the neck, arms and legs. In the third dance, played once more in four-eight times, only females took part. It was the most artistic of all, and the slow movements had evidently been well rehearsed beforehand. The various figures consisted of stepping radially to and fro, turning, stepping forwards and backwards, etc., with measured seriousness and solemn dignity. It was for the women, who, at other times, get very little enjoyment, the most important and happiest day in the whole year."
In connection with Kota ceremonials, Dr. Rivers notes that "once a year there is a definite ceremony,
