We are singing to the American to show him what we can do; perhaps if we sing well he will give us some rice or some cloth. The words are repeated over and over, with only the variation of raising or lowering the tone. At intervals all the performers stop and yell at the top of their voices. Sometimes a person on the outside of the circle will take up the strain on a long-held note of the singers. This song also serves for festive occasions, such as weddings. (See Pl. XLVII.) Dancing Dancing forms the chief amusement of the Negritos and allows an outlet for their naturally exuberant spirits. I had no more than set, up camp near the first rancheria I visited than I was entertained by dancing. Among the Negritos helping me was one with an old violin, and as soon as a place was cleared of brush and the tent was up he struck up a tune. Whereupon two or three youngsters jumped out and performed a good imitation of a buck-and-wing dance. However, dancing is not generally indulged in by everybody, but two or three in every rancheria are especially adept at it. Aside from the general dances, called "ta-li'-pi," which consist of a series of heel-and-toe movements in excellent time to the music of violin or guitar, and which are performed on any occasion such as the setting up of my tent, there are several mimetic dances having a special character or meaning. Such are the potato dance, the bee dance, the torture dance, the lover's dance, and the duel dance. (See Pls. XLVIII, XLIX.) The Potato Dance, or Pina Camote Only one person takes part in the potato dance. At first the performer leaps into the open space and dances around in a circle, clapping his hands as if warming up, the usual preliminary to all the dances. Presently in pantomime he finds a potato patch, and goes through the various motions of digging the potatoes, putting them in a sack, and throwing the sack over his shoulder, all the time keeping close watch to prevent his being caught in the act of stealing. He comes to the brush fence which surrounds every "caingin," draws his bolo, cuts his way through, and proceeds until he comes to a river. This is significant as showing that the potato patch he is robbing does not belong to anyone in his own village but is across a river which he must pass on his way home. He sounds for deep water with a stick. It is too deep, and he tries another place. Here he loses his footing, drops his sack, and the swift current carries it beyond his reach. While going through the various motions necessary to depict these actions the movement of the dance is kept up, the body bent forward in a crouching position, the feet leaving the ground alternately in rapid motion but never out of time with the music. Such agility and tirelessness one could scarcely find anywhere else. The Bee Dance, or Pina Pa-ni-lan