a few days and when dancing has been discontinued, young men and girls congregate in the outer apartment of the hut, and begin singing, clapping their hands, and making a grunting noise to show their joy.  At nightfall most of the young girls who were the intonjane’s attendants, leave for their own homes for the night, to return the following morning.  Thereafter the young men and girls who gathered into the hut in the afternoon separate into pairs and sleep together in puris naturalibus, for that is strictly ordained by custom.  Sexual intercourse is not allowed, but what is known as metsha or ukumetsha is the sole purpose of the novel arrangement. Ukumetsha may be defined as partial intercourse.  Every man who sleeps thus with a girl has to send to the father of the intonjane an assegai; should he have formed an attachment for his partner of the night and wish to pay her his addresses, he sends two assegais.” (Rev. J. Macdonald, “Manners, etc., of South African Tribes,” Journal of the Anthropological Institute, vol. xx, November, 1890, p. 117.)

Goncourt reports the account given him by a French officer from Senegal of the dances of the women, “a dance which is a gentle oscillation of the body, with gradually increasing excitement, from time to time a woman darting forward from the group to stand in front of her lover, contorting herself as though in a passionate embrace, and, on passing her hand between her thighs, showing it covered with the moisture of amorous enjoyment.” (Journal, vol. ix, p. 79.) The dance here referred to is probably the Bamboula dance of the Wolofs, a spring festival which has been described by Pierre Loti in his Roman d’un Spahi, and concerning which various details are furnished by a French army-surgeon, acquainted with Senegal, in his Untrodden Fields of Anthropology.  The dance, as described by the latter, takes place at night during full moon, the dancers, male and female, beginning timidly, but, as the beat of the tam-tams and the encouraging cries of the spectators become louder, the dance becomes more furious.  The native name of the dance is anamalis fobil, “the dance of the treading drake.”  “The dancer in his movements imitates the copulation of the great Indian duck.  This drake has a member of a corkscrew shape, and a peculiar movement is required to introduce it into the duck.  The woman tucks up her clothes and convulsively agitates the lower part of her body; she alternately shows her partner her vulva and hides it from him by a regular movement, backward and forward, of the body.” (Untrodden Fields of Anthropology, Paris, 1898, vol. ii, p. 112.)

Among the Gurus of the Ivory Coast (Gulf of Guinea), Eysseric observes, dancing is usually carried on at night and more especially by the men, and on certain occasions women must not appear, for if they assisted at fetichistic dances “they