mes a feast in which,
drunk with honey, he becomes hilarious.

The Torture Dance

This dance, which commemorates the capture of an enemy, is performed
in much the same manner as the "talbun" except that there is no song
connected with it. The captive is bound to a stake in the center and
a dozen men circle slowly around him, in the same manner as already
described, one hand over the mouth and uttering long-drawn notes. The
movement becomes faster and faster until it consists wholly of frenzied
leaps, and the performers, worked up to the proper pitch draw their
bolos, close in on their victim, and slash him to pieces.

When executed at night in the light of a bonfire this dance is most
grotesque and terrible. The naked black bodies, gleaming in the fire,
the blood-curdling yells, and the demoniacal figures of the howling,
leaping dancers, remind one of the Indian war dances.

The dance seems to be a relic of more barbarous days when the Negritos
were, in truth, savages. They say that they never kill a prisoner in
this manner now, but that when they find it necessary to put a man
to death they do it in the quickest manner possible with a single
blow of the knife. (See Pl. L.)

The Lovers' Dance

As might be expected, a man and a woman take part in the lovers'
dance. The women are not such energetic and tireless dancers as the
men, and in the lovers' dance the woman, although keeping her feet
moving in time to the music, performs in an indolent, passive manner,
and does not move from the spot where she begins. But the man circles
about her, casting amorous glances, now coming up quite close, and
then backing away again, and at times clapping his hands and going
through all sorts of evolutions as if to attract the woman. This sort
of thing is kept up until one or both are tired.

The Duel Dance

The duel dance is by far the most realistic and interesting of any of
the Negrito dances. Is the name suggests, the dance, is performed by
two men, warriors, armed with bows and arrows and bolos. An oblong
space about 8 feet in width and 15 feet long serves as an arena for
the imaginary conflict. After the musician has got well into his
tune the performers jump into either end of the space with a whoop
and a flourish of weapons, and go through the characteristic Negrito
heel-and-toe movement, all the time casting looks of malignant hate at
each, other but each keeping well to his end of the ring. Then the