+106+. The dances that are so common among savage tribes are in many instances now (and doubtless this has always been the case) simply the expression of animal joyousness.[213] They are like the caperings of young animals--only, the human feeling of rhythm asserts itself, the movements are often measured and graceful. There is naturally an accompaniment of noise--shouting and beating on pieces of wood, bone, or metal, with songs or chants, the beginnings of vocal and instrumental music. Words and melodies are simple and rude; they are the productions of individual singers, often, of course, made from a stock of material common to all members of the clan or the tribe. In Australia songs are thought to be obtained by bards during sleep from the souls of the dead (sometimes from Bunjil), or the bard is possessed by the soul of a beast; chants are employed in magical ceremonies, and there are lullabies and other children's songs.[214] The Muscogee "Song of the Sabbea" is very sacred.[215] In West Africa minstrels recite song-stories, every story being attached to an object (bone, feather, etc.).[216] Songs are chanted at festivals in Guiana (and at night men tell endless stories).[217] +107+. The movements of the dance are sometimes in imitation of those of animals,[218] sometimes spontaneous, and sometimes from our point of view indecent. The indecency and obscenity originated and has continued in a period when no moral element entered into such performances--they simply follow animal instincts and impulses, are controlled by them, and appear usually not to affect the customs relating to marriage and chastity (so in the Areoi festivities of Tahiti, and among the Central Australians[219]). +108+. In accordance with the law by which religion appropriates social customs, the dance is devoted to religious purposes and acquires a sacred character.[220] It is a common ceremony as a preparation for war: the warriors of the tribe jump about with violent gesticulations and shouts, brandishing weapons and mimicking the acts of attacking and slaying enemies.[221] Here, doubtless, the object is partly to excite the men to fury and thus prepare them for combat, but there is also the conviction that the ceremony itself has a sacred potency.[222] A similar occult power is attached to dancing in Timorlaut, where, when a ship is at sea, the girls sing and dance on the beach daily to bring the men back.[223] There are dances in commemoration of the dead[224]--apparently a combination of affection and homage, with the general purpose of conciliating the departed and procuring their aid; the belief being, apparently, that the dead see these demonstrations and are pleased with them. A Ghost Dance formerly performed in California had for its object bringing back the dead.[225]