“There is a singular class of professional musicians who make their appearance decked out in the most fantastic way, with feathers, and covered with a promiscuous array of bits of wood and roots, and all the pretentious emblems of magical art, the feet of earth-pigs, the shell of tortoises, the beaks of eagles, the claws of birds, and teeth in every variety. Whenever one of this fraternity presents himself, he at once begins to recite all the details of his travels and experiences, in an emphatic recitative, and never forgets to conclude by an appeal to the liberality of his audience, and to remind them that he looks for a reward either of rings of copper, or of beads.”[213] With some slight differences these men may be found throughout Africa; almost everywhere they are sought for and their talents enjoyed, but they themselves held in contempt. Among the Nyam-Nyams, their appellation in itself (“Nzangah”) implies contempt, being similar to that which is applied to despised and outcast women. Contrary to the custom of almost all other savages, the Nyam-Nyams delight most in gentle music; some of the minstrels sing so softly that it is impossible to hear them a few yards off. The light Mandolin accompaniment is in good accord with this _pianissimo_ style of music. Their dances, given by male and female performers, are wonderfully swift, intricate and pleasant. A great “Congo” or dance was given by some of these people to Col. C. Chaillé Long, an American officer on the staff of the Khedive of Egypt, who made a very interesting expedition to the Makraka Nyam-Nyams, and Lake Victoria Nyanza in 1874. He thus describes the scene:—[214] “Invitations had been sent to all the Nyam-Nyam lasses, who came even from as far as Parafio, and did honor to the occasion by brightening up their copper and iron fastenings, and in putting on fresh fig leaves. The loose bands that encased their ankles, kept perfect time in loud clanking sound to music really euphonious, and of a symphony that my unmusical ear I regret cannot translate here, evoked from a Sinon-like wooden horse, that was beaten on its sides with drum-sticks, or by parallel banana trees that were traversed by different sized pieces of dry wood, upon which several performers beat successively. This musical instrument, as well as drums and horns, the latter made of Elephants’ tusks, were very similar to those I had seen at Ugunda.... The Sheik, a robust, powerfully developed man, led his brave warriors in the dance, holding in his hand, a curiously-shaped sword, his insignia of office, whilst the round little forms of hundreds of Nyam-Nyam maidens followed, each with giddy swiftness as the “cancan” fantasia became fast and furious. The festivity continued until the ‘wee sma hours’ of the morning.”