The American traveller Stephens was loud in his praises of Yucatecan
dancing. Perhaps it has altered in the last sixty years. It certainly
seemed to us the dullest performance we had ever witnessed. Those
mechanical toys, metal trays upon which are fixed several couples of tin
figures which, when wound up, go slowly round and round in a melancholy
way on the same spot, give about the best idea of a Yucatecan dance.
There is no life, no spirited movement, no gaiety in the entertainment.
Perhaps this is really the fault of the orchestra. It is difficult even
to speak of Yucatecan music without a shudder. It is curious that a
people so devoted to dancing, even if it is only of the humming-top
type, should have no music in them. They seem to be ignorant of air,
tune, or time. Their dance music is one long droning chant, flat, stale,
and unprofitable, absolutely maddening in its reiteration, reminiscent
of childhood's jest about "the tune the cow died to." The band at
Holboch consisted of a kettledrum and a concertina. There was no fixed
orchestra; anybody who was handy beat the drum, and everybody in turn
had a go at the concertina; each performer adding his little best to the
musicless horror of the noise. There appeared to be no fixed step; some
couples hopped round, some went round with a sliding slither, and others
seemed to be walking round rapidly. As long as the music lasted the
men's faces bore a look of concentrated earnestness, the girls' that of
submissive boredom. When the music stopped, the girls were placed on the
benches, and the men walked out into the plaza and stood staring at
them. We were much interested in one performer, a young fellow of about
twenty. We had seen him earlier in the day engaged in bathing in a pail,
a method of ablution requiring much persistence. And now, in the most
spotless of linen breeches and coloured cotton vest, he had thrown
himself heart and soul into the evening's enjoyment. He danced as long
as the drum beat, and then he put his partner upon the shelf, and came
out into the plaza and mopped his forehead till the drum began again.
Public-domain text, read in full here on John Shaqi.
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