Before beginning the business of the day we walked about the village and examined one or two houses. These are all of one room, entered by a ladder drawn up at night, and set up on stout posts seven or eight feet high; the roof is thatched, and the walls, made of wattle _(suali)_, flare out from the base determined by the tops of the posts. In cutting the posts down to suitable size (say 10 inches in diameter), a flange, or collar, is left near the top to keep rats out; chicken-coops hang around, and formerly human skulls, too, were set about. But the Ifugaos, thanks to Gallman, as already said, have abandoned head-hunting, and the skulls in hand, if kept at all, are now hidden inside their owner's houses, their places being taken by carabao heads and horns. One house had a _tahibi_, or rest-couch; only rich people can own these, cut out as they are of a single log, in longitudinal cross-section like an inverted and very flat V with suitable head- and foot-supports. The notable who wishes to own one of these luxurious couches gets his friends to cut down the tree (which is necessarily of very large size), to haul the log, and to carve out the couch, feeding them the while. Considering the lack of tools, trails, and animals, the labor must be incredible and the cost enormous. However, wealth will have its way in Kiangan as well as in Paris. By the time we had done the village, the hour of business had come, and we moved up to the little parade in front of the _cuartel_, where an enormous crowd had already assembled. As at Campote, so here, and for the same reasons, very few old women were present, but about as many young ones and children as there were men. Our approach was the signal for the dancing to begin, and once begun, it lasted all day, the _gansas_ never ceasing their invitation. Apparently anybody could join in, and many did, informal circles being formed here and there, for the Ifugaos, like all the other highlanders, dance around in a circle. Both men and women took part, eyes on a point of the ground a yard or so ahead, the knees a little bent, left foot in front, body slightly forward on the hips, left arm out in front, hand upstretched with fingers joined, right arm akimbo, with hand behind right hip. The musicians kneel, stick the forked-stick handle of the _gansa_ in their gee-strings, with the _gansa_ convex side up on their thighs, and use both hands, the right sounding the note with a downward stroke, the left serving to damp the sound. The step is a very dignified, slow shuffle, accompanied by slow turns and twists of the left hand, and a peculiar and rapid up-and-down motion of the right. True to what had been said the day before, a particularly large circle was formed, and Cootes and I were invited to join, which we did; if any conclusion may be drawn from the applause we got (for the Ifugaos clap hands), why, modesty apart, we upheld the honor of the Service.