ing without gang'-sa music, and it
is seldom that a man dances unless he plays a gang'-sa. The dance
step is slower than the beats on the gang'-sa; there is one complete
"step" to every full 4/4 count. At times the "step" is simply a
high-stepping slow run, really a springing prance. Again it is a
hitching movement with both feet close to the earth, and one foot
behind the other. The line of dancers, well shown in Pls. CXXXI, CLI,
and CLII, passes slowly around the circle, now and again following
the leader in a spiral movement toward the center of the circle and
then uncoiling backward from the center to the path. Now and again
the line moves rapidly for half the distance of the circumference,
and then slowly backs a short distance, and again it all but stops
while the men stoop forward and crouch stealthily along as though in
ambush, creeping on an enemy. In all this dancing there is perfect
rhythm in music and movements. There is no singing or even talking --
the dance is a serious but pleasurable pastime for those participating.

As is shown also by the illustrations, the women dance. They throw
their blankets about them and extend their arms, usually clutching
tobacco leaves in either hand -- which are offerings to the old men and
which some old man frequently passes among them and collects -- and
they dance with less movement of the feet than do the men. Generally
the toes scarcely leave the earth, though a few of the older women
invariably dance with a high movement and backward pawing of one foot
which throws the dust and gravel over all behind them. I have more than
once seen the dance circle a cloud of dust raised by one pawing woman,
and the people at the margin of the circle dodging the gravel thrown
back, yet they only laughed and left the woman to pursue her peculiar
and discomforting "step." The dancing women are generally immediately
outside the circle, and from them the rhythm spreads to the spectators
until a score of women are dancing on their toes where they stand
among the onlookers, and little girls everywhere are imitating their
mothers. The rhythmic music is fascinating, and one always feels out
of place standing stiff legged in heavy, hobnailed shoes among the
pulsating, rhythmic crowd. Now and again a woman dances between two
men of the line, forcing her way to the center of the circle. She is
usually more spectacular than those about the margin, and frequently
holds in her hand her camote stic