Grotesque dresses and adornments are, of course, an essential attribute in these entertainments. Neither are buffoons wanting. According to B. Seeman, the entertainment called _Kalau Rere_, which he witnessed in the Fiji Islands, "with its high poles, streamers, evergreens, masquerading, trumpet-shells, chants and other wild music, is the nearest approach to dramatic representation the Fijians seem to have made, and it is with them what private theatricals are with us. They are also on other occasions very fond of dressing themselves in fantastic, often very ridiculous costume; and in nearly every large assembly there are buffoons. Court fools, in many instances hunchbacks, are attached to the chief's establishment."[89] Also the Negroes in Senegambia and Upper Guinea have buffoons, who delight the people with their antics and acting in processions and public festivities. Buffoons are popular even in Mohammedan countries, where dramatic performances are generally considered objectionable. Morier states that in Persia the princes, governors of provinces, etc., as well as the King, have a band of _Looties_, or buffoons, in their pay, who are looked upon as a necessary part of Persian state. They attend at merry-makings and public festivals, and some of them are endowed with great natural wit. This was, for instance, the case with a certain buffoon named Looti Bashee. "His dress, when he came to the ambassador, was composed of a felt hat, the crown of which was made like ours, but with two long ears projecting before, and two behind. Others of his troop were dressed in the same way; all looked grotesque, and I conjectured that nothing could give one a better idea of Satyrs and Bacchanalians, particularly as they were attended by a suite of monkeys headed by a large ape, which were educated to perform all sorts of tricks. They carried copper drums slung under the arm, which they beat with their fingers, making a noise like castanets; others played the tambourine; and when all this was put into motion, with their voices roaring in loud chorus, the scene was unique."[90] Sir Robert Ker Porter witnessed at Bagdad, in the beginning of the present century, a kind of musical drama performed by men and boys, the latter being dressed like females. "This amusement," he remarks, "is the only one of a theatrical complexion known among the people. It is often called for by the female part of the inhabitants; but I am told that with the men it is now very rare, the Pasha so setting his face against it as to forbid the avowed existence of hirable dancing-boys in his capital."[91] There is a Turkish theatre at Pera in which Turkish plays, adapted from the Italian, are acted by Turkish actors, and Turkish women appear unveiled upon the stage.[92] The women in the hareem, who in their diversions are only permitted to employ slaves of their own sex, occasionally make them act melodramas, the subject of which is generally a love story.