Denkst du daran, mein tapfer Lagienka, dass ich dereinst in unserm Vaterland, an eurer Spitze nah bei Dubienka, viertausend gegen sechzehntausend stand? Denkst du daran, wie ich vom Feind umgeben, mit Mühe nur die Freiheit uns gewann? Ich denke dran, ich danke dir mein Leben; doch du, Soldat, Soldat denkst du daran.[Trans. 1] Yo trobador, yo pobre sin fortuna, si te admiro las gracias que tu tienes; yo no te veo mas bella que la luna, si te adoro me perdonas otra vez. Proscrito yo, en extranjero suelo, no hay piedad de un triste trobador. Proscrito yo en extranjero suelo, no hay piedad de un triste trobador.[Trans. 2] ] [Trans. 1] Do you remember, my brave Lagienka, that I once stood in our fatherland, at your head near Dubienka, four thousand against sixteen thousand? Do you remember how I was surrounded by the enemy, how hard it was to gain our freedom? I remember, I owe you my life; but you, soldier, soldier, remember it too. [Trans. 2] I troubadour, I poor without fortune, if I admire the graces that you have; I don’t see you more beautiful than the moon, if I adore you, forgive me again. Banished I, in a foreign soil, there is no mercy for a sad troubadour. Banished I, in a foreign soil, there is no mercy for a sad troubadour. We observe among all primitive tribes that emotions finding vent in motor activities adopt a definite form. In this sense dance as an art form may be purely formal, that is, devoid of symbolic meaning. Its esthetic effect may be founded on the enjoyment of body movement, often reinforced by that emotional excitement that is released by the dance movement. The more formal the dance, the stronger will be the purely esthetic enjoyment, as against the emotional element. We are not well informed in regard to the local distribution of dance types among primitive people but enough is known to allow us to state that, as in decorative art and in music, areas of similar dance forms occur. The joint dances of the Pueblo Indians in which participate a large number of dancers dressed alike and in formation, are quite foreign to the North Pacific coast where the single dance prevails. In the formal woman’s dance of the Northwest Coast, the dancer stays in the same place with hands raised to the height of the face, palms forward and trembling. The body movements are carried on by gentle bending of the knees and slight swaying of the body. The Koryak dancer who holds the drum, moves in quite another way, swinging his body from the hips and beating the drum (see fig. 73, p. 79). Joint dances of the two sexes are rare and the dancers do not often so move that their bodies are in intimate contact. We find more frequently either single dances or a number of performers who repeat the same movements. The effectiveness of the dance is increased by the order in which the dancers stand and move.