affairs being disclosed, I studied carefully the nature of the
curious ceremony ; but it was altogether so extraordinary
and obscure that I could not quite comprehend its full
import. Various presents, however, were laid before the
performer, and my observations led to the inference that
the mummery was a sort of exorcism of leonine spirits, or a
peacemaking with the king of beasts.
In Senhor Eubero’s town the Msenga minstrels and conjurers
would come before us at intervals, followed by an
admiring crowd. Their performances were as varied and
remarkable as they were energetic, and that is saying a
good deal. I never heard them sing together ; their entertainments
were usually gone through individually, no
matter what fête was proceeding.
Decidedly unique costumes were worn by the minstrels.
The principal had his hair in a form resembling a frizzette,
passing over the top of the head, shaved on each side, and
coloured with red bark, while a wreath from a wild hog’s
mane encircled his head, giving him a peculiarly savage
appearance, as the bristles stood out stiffly all around.
Cicatrices covered his face and body. On his neck and
wrists he wore a profusion of charms, consisting of crocodile’s
teeth and wild beast’s claws, strung upon gut, and intermingled
with porcelain beads, brass wire, and jungle grass.
Girding his waist, shells and large red beads alternately
skirted many skins of the monkey and baboon, the tails
reaching to the ground. The contrast of colours had rather
a pleasing effect. Below the knee were leglets of goatskin,
white and black, twisted like a spiral spring. Eunning in
a line down the sides of the calves of his legs were rows of
bells made from the husks of wild fruit, and loaded with
small pebbles. Shells of this description also encircled his
ankles.
Altogether, the garb of the Msenga juggler was very passable
for a man in his line of business in any country.
His dances before us were of the wildest character, and
called forth most powerful exertions. Crossing one foot
rapidly in front of the other, he repeated the movement
over and over again, keeping time to a hideous noise he
made with an instrument consisting of a narrow block of
wood, upon which nix very strong strings of gut were
stretched to their fullest tension,-all being firmly fixed upon
a large hollow calabash covered with little pieces of bark,
shells, and bones, which gave to his song a rattling accompaniment
like the clatter of a harsh tambourine. Every
now and then he would shake all over, and touch the strings
with a master effort, while the perspiration poured down
his body like globules of foam.
The snake dance was a singular feat. Lying on his back,
and playing all the while, he worked himself through the
dust along the ground, making his flexible frame bend
in a manner that would have brought applause to any
contortionist, even to the “ boneless men ” whose feats are
sometimes advertised.
Best of ail, however, was the gorilla dance, in which the
performer looked quickly over one shoulder, and then
wriggled his body so violently that the numerous monkey
tails of his robes were thrown up as high as his head. Then
glancing rapidly over his other shoulder he viewed the tails
as they rose, being switched up with a dexterity that gave
one the impression that they were natural appendages of
■the man. He then lay flat upon the ground, holding on his
chest a wooden mortar in which was some rice. Two
powerful men grasped thick poles, and using them as pestles,
pounded away with might and main until the admiring
audience were perfectly satisfied that the rice was husked.