“Cette danse a un air qui lui est spécialement consacré et où la mesure est fortement marquée. Le talent pour la danseuse est dans la perfection avec laquelle elle peut faire mouvoir ses hanches et la partie inférieure de ses reins, en conservant tout le reste du corps dans une espèce d’immobilité, que ne lui font même pas perdre les faibles agitations de ses bras qui balancent les deux extrémités d’un mouchoir ou de son jupon. Un danseur s’approche d’elle, s’élance tout-à-coup, et tombe en mesure presque à la toucher. Il recule, il s’élance encore, et la provoque à la lutte la plus séduisante. La danse s’anime, et bientôt elle offre un tableau dont tous les traits d’abord voluptueux, deviennent ensuite lascifs. Il serait impossible de peindre le chica avec son véritable caractère, et je me bornerai à dire que l’impression qu’il cause est si puissante que l’Africain ou le Créole de n’importe quelle nuance, qui le verrait danser sans émotion, passerait pour avoir perdu jusqu’aux dernières étin celles de la sensibilité.” I watched its effect on the bystanders of all colours, and St. Méry has not exaggerated: the flushed faces, the excited eyes, the eager expression, the looks of ill-concealed passion, were fully shared by all. No modest woman would be present at such a scene; but the young females of the neighbourhood were delighted. Drink was flying freely about, and all the performers appeared half-intoxicated: the dance grew fast and furious; as night came on a few candles were lit, and then all are said to give themselves up to the most unreserved debauchery. I ought to add that few respectable girls of the peasant class would care to be seen at one of these dances, where the professionals, without shame, perform regardless of appearances. The _bamboula_, as practised among the peasantry, is more quiet, but sufficiently lascivious. I was once witness of a rather curious scene. A French opera company arrived at Port-au-Prince with a couple of ballet-girls. On the opening night of the theatre they commenced dancing; the pit, crowded with negroes, was at first quiet. The untravelled Haytian could not at first understand it; but shortly the applause became uproarious; shouts filled the house; the unaccustomed sight of two _white_ girls thus exhibiting themselves provoked the sensuality of the negro nature to such a degree that it was almost impossible to keep them quiet, and their admiration was so warmly expressed as even to frighten the girls, who turned pale with astonishment mingled with fear. This kind of applause made the foreigners feel uncomfortable, and we were not sorry when the ballet ceased.