The daily telegram. [volume] (Clarksburg, W. Va.) 1901-1926, 1906-09-12

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IN A4A
gheg Sc r -srt; tss4 re 4insy deas.
ORE ~ gss;t Ts.e. 1890 erSottcSl
g. ~ 81 s.sg q sea life Iil
GEE e-aa sseiss.iaps wsiisL
,,tbe F.1cc t.Sss5t vsisoA siras, ~ o. resr-
INK. = The JiJlsis. $40 it people.
OF TIE n1rlil central psri q Aiada2as-
car. They d.snce ilistr.t OF walking.
ail1 iii.seead OF ra1u.ng they oEly dance
faster Their fei5ssas3 cerez5cnies are
dances; thsir aTitUseilisnt IS dancing
They dance eseD wIislc iseWIag trees,
erecting horses or gathering rice. They
have daaee1 50 long Tor t-E;lny genera
lions thag Hiay have forgltten other
gaIts and other rfofiolS, and 50 through
life in one long delirious vvliirL
Besides dancing IA quantity, It IS de
cIared that their dances. or some Of
them. are tie most expressive and
meaningful, as vel as the most beau
tifuIly and gracefully executed. Ia the
world.
Every emotion OF the human race e
expressed In their dances, and the
forms OF the dance are as numerous
as the emotions OF the dancer. says
the chicago Tribune. They dance with
arms, with legs. with bodies and with
faces, posing in every conceivable att
ttude and doing steps and executing
movements that would make the most
skIIIfm Of stagc dancers wild with
envy.
Every form Of the dance. almost, IS
used among these forest people" At
the beginning Of one Of their dances
the warriors thrilling with pride and
the lust of battle, go forth to meet the
foe. Then comes the conflict, the wild
struggle, in which the dancers work
themselves up to a pitch of frenzy.
screaming rhythmicaIIy, while the
musical Instruments rise higher and
higher, and the crowd OF spectators,
resting from their own efforts IN other
dances, Join In the cries, urging the
dancers to wilder exertions. The de
feat, the rout, the capture, follow rap
idly, made so plain and SO clear in
meaning fhat any one Of any land could
II md, then the tStture, in
bodies of the dancers writhe
ar able and their faces express
acute agony and fear. the awful sup
plicatIon, ana then woe and disgrace az
they dance away into captivity.
The musical Instruments which are
used in their ceremonial dances, such
as the arrival OF distinguished Wis
itor. the Installing OF 4 new official
or the buriN Of 4 great dancer, are of
Interest. The greatest Is sort OF
Either. and next IS 4 primitive form
OF the Violin, with four strings, which
Is shaped Ike huge melon. Also
20 which |
is made OF oaa,6oo. THEY have a
bamboo drum. the head Of which is !
hide, and also a drum covered at !
both ends with hide. inside of which |
round stones are shaken rhythmically.'
Their chants and their Wild weird |
music from the odd orchestra furnish |
n remarkable accompaniment for the |
dances; but with Or without music. |
these odd people dance.
It Is common sight. according to |
the French explorer. to see scores of |
men vorisiuE in the rice fields. shut |
fling their feet. swaylng their bodies
and chanting melodiously while work
ing. In Sahasinaka. the principal town
OF Tanaia, the men can be seen dane
ing along the streets IN . sort OF swing
ing t-,-ostep. ana the carriers when
packing heavy loads through the great
forests dance along under their bur
dens. for a time swayIng their bodies,
then doing little crow jig with their
feet as they advance, and. although
four men may be carrying a priest or
an important man in a litter. they
dance all the way. seeming never to
lire.
The children begin to dance almost
IS soon as they can tOddie, and literally
lance to the grave. The explorers saw
4 funeral, four men carrying the body
If n petty chief on their shoulders, with
1 procession Of mourners following,
he entire crowd dancing toward the
big burial pit, where the bodies OF all
who die in that village are thrown.
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