about equal to the start, when they again turn and pass.  Occasionally the man will take a few rapid steps toward the woman, with exaggerated high knee action and much stamping of feet, or he will dance backward a few steps.  At times the cloth is held at arm’s length in front or at the side; again it is wrapped about the waist, the woman always following the actions of the man.  At last they meet; the man extends his hand, the woman does likewise, but instead of taking his, she moves her own in a circle about his, avoiding contact.  Again they dance away, only returning to repeat the performance.  Finally she accepts the proffered hand, the headman brings basi for the couple to drink, and the dance is over.  The man sometimes ends the dance by the sharp snapping of his cloth, or by putting it on his extended arms and dancing toward the woman, who places her cloth upon his (Plate LXXXI, Fig. 1).

Musical Instruments, Songs, and Dances.—­The Tinguian is naturally musical.  He sings at his work, he beats time with his head-axe against his shield as he tramps the mountain trails, he chants the stories of long ago as the workers gather about the fires each evening of the dry season, he sings the praises of his host at feasts and festivals, [248] joins with others in the dirge which follows a burial, and he and many others will sing together as they dance the da-eng.  But his music does not stop with his vocal accomplishments.  In the folk-tales the pan pipe (dew-dew-as) occupies a most important place, and to-day the maidens still play them in the evening hours.  It is a simple device made of reeds of various lengths lashed together (Fig. 26, No. 1).  The player holds the instrument just in front of her lips, and blows into the reeds, meanwhile moving them to and fro, producing a series of low notes without tune.

Another instrument of great importance in the legends is the nose flute (kalaleng).  This is a long reed with holes cut in the side, to be stopped by the fingers in producing the notes.  The player closes one nostril with a bit of cotton, and then forces the air from the other into a small hole cut in the end of the tube.  The instrument is popular with the men, and often one can hear the plaintive note of the nose flute far into the night (Plate LXXXII).

The mouth flute (tulali) is similar to that found in civilized lands, but is constructed from a reed.

A peculiar device used solely by the women is the bunkaka (Fig. 26, No. 2).  This consists of a bamboo tube with one end cut away so as to leave only two thin vibrating strips.  These, when struck against the palm of the left hand, give out a note which can be changed by placing a finger over the opening at x.

A Jew’s harp is constructed like a netting needle, but with a tongue of bamboo cut so that it will vibrate when struck, or when a cord attached to the end is jerked sharply (Fig. 26, No. 3).  If made of bamboo, the instrument is known as kolibau; if brass, agiweng.  It is often mentioned in the tales, and to-day is played by nearly all the men.