ing the limbs and body as closely together as possible. All the dances have an obscene element, and, with the exception of the war-dance, suggest nothing higher than an exaltation of physical love. The war-dances, whether executed as entertainments or as a part of serious work, include a series of boastful, challenging movements. In those of the Wanjamuesi, a champion who has killed an enemy in battle executes an attack against a drum that stands in the middle of the circle of dancers. Approaching the instrument With great solemnity, or with leaps, he assumes a position like that of a theatrical hero who is fulfilling an oath of vengeance. With upraised lance he points to all the quarters of the sky, to indicate that he has performed his deeds everywhere. Then he looks wildly around, nodding his head energetically without bending his neck; nods a second time, holding his head straight up and only bending it forward; and again, with his whole upper body. In another war-dance one of the participants takes a lance or a stick and goes around the circle of dancers in a stooping position, stabbing at a feigned enemy who is supposed to be lying on the ground; then, leaping into the air, strikes at him horse-fashion, with one leg, but without touching any one. A common, peculiar movement of sand-shoving is regarded as a very imposing challenge. The performer, stooping a little, strides along with a gliding step, shambling at every few paces with his foot along the ground, so as to draw a line after him, then slowly raises his foot and pushes the sand forward. His impudent bearing gives the performance the offensive aspect it is intended to bear, which is emphasized by his kicking backward with most contemptuous gestures at his enemy, culminating with looking down between his legs at him. When a traveler in Africa, after a few rubs with the natives, finds them drawing lines with their feet in the sand, he may be sure that mischief is brewing against him. These, and a variety of other performances of similar import, are employed in earnest as well as in the dance and the sham battle; and even when death has reaped its harvest there still prevails a peculiar humor, with shout and song, and the adversaries continue to mock one another.
On occasions of grief the negro sits with his chin in his unsupported hand, slowly shaking his head. Weeping and shedding of tears are rarely witnessed. Mourning is exhibited by tearing the hair and a distressful howling.
Anger is manifested with great show of violence. The raging negro distorts his face, bites at his finger but without harming it, while the froth runs out of his mouth. The gesture of slinging away this froth with the middle and fore-finger is also employed in times of grief, or when anything unpleasant has occurred. The angry man beats around with his club, striking vessels, trees,
