The issue over, dancing began. In this only men and boys took part, to the music of small rude fiddles, tuned in fifths, [18] played by the men, and of a queer instrument consisting of two or three joints of bamboo with strings stretched over bridges, beaten with little sticks by the women. The fiddles must be of European origin. The orchestra, seven or eight all told, sat in the shade, surrounded by an admiring crowd. Among them was a damsel holding a civilized umbrella over her head, whereof the stick and the rib-points were coquettishly decorated with white horse-hair tied in little brushes, doubtless furnished by our white pony. The dancing at once fixed our attention. Two or three men, though usually only two, took position on the little terreplein below the shack, and began a slow movement, taking very short, formal, staccato steps in a circle against the sun. Keeping back to back and side to side, they maintained the whole body in a tense, rigid posture with the chest out, head up and thrown back, abdomen drawn in, right hand straight out, the left also, holding a shield, eyes glazed and fixed, knees bent forward. Between the steps, the dancers would stand in this strained, tense position, then move forward a few inches, and so on around the circle. After a little of this business, for that is just what it was, the next part came on, a simulation of fighting: and, as everything before was as stiff, strained, and rigid as it was possible to be, so now everything was light, graceful, agile, and quick; leaps forward and back, leaps sideways, the two combatants maneuvering, as it were, one around the other, for position. It was hard to realize that human motions could be so graceful, light and easy. Then head-knives were drawn, and cuts right, and cuts left, cuts at every part of the body from the head to the ankles, were added to the motion; the man on the defensive for the moment making suitable parries with his shield. The dance completed, the dancers would advance and face Mr. Worcester, put their heels together in true military fashion, hold their arms out right and left, and make a slight inclination of the head, a sort of salute, in fact, to the one they regarded as the principal personage of the party. We saw much dancing later on in our trip, but none that equalled this in intensity and character, apart from its being of a totally different kind, Heiser managed, with some difficulty, to take a photograph of the tense phase of one of the dances; it gives a better idea of the phase than my imperfect description.