Sexual initiation is carried out very thoroughly in Azimba land, Central Africa.  H. Crawford Angus, the first European to visit the Azimba people, lived among them for a year, and has described the Chensamwali, or initiation ceremony, of girls.  “At the first sign of menstruation in a young girl, she is taught the mysteries of womanhood, and is shown the different positions for sexual intercourse.  The vagina is handled freely, and if not previously enlarged (which may have taken place at the harvest festival when a boy and girl are allowed to ‘keep house’ during the day-time by themselves, and when quasi-intercourse takes place) it is now enlarged by means of a horn or corn-cob, which is inserted and secured in place by bands of bark cloth.  When all signs [of menstruation] have passed, a public announcement of a dance is given to the women in the village.  At this dance no men are allowed to be present, and it was only with a great deal of trouble that I managed to witness it.  The girl to be ‘danced’ is led back from the bush to her mother’s hut where she is kept in solitude to the morning of the dance.  On that morning she is placed on the ground in a sitting position, while the dancers form a ring around her.  Several songs are then sung with reference to the genital organs.  The girl is then stripped and made to go through the mimic performance of sexual intercourse, and if the movements are not enacted properly, as is often the case when the girl is timid and bashful, one of the older women will take her place and show her how she is to perform.  Many songs about the relation between men and women are sung, and the girl is instructed as to all her duties when she becomes a wife.  She is also instructed that during the time of her menstruation she is unclean, and that during her monthly period she must close her vulva with a pad of fibre used for the purpose.  The object of the dance is to inculcate to the girl the knowledge of married life.  The girl is taught to be faithful to her husband and to try to bear children, and she is also taught the various arts and methods of making herself seductive and pleasing to her husband, and of thus retaining him in her power.” (H.  Crawford Angus, “The Chensamwali,” Zeitschrift fuer Ethnologie, 1898, Heft 6, p. 479).

In Abyssinia, as well as on the Zanzibar coast, according to Stecker (quoted by Ploss-Bartels, Das Weib, Section 119) young girls are educated in buttock movements which increase their charm in coitus.  These movements, of a rotatory character, are called Duk-Duk.  To be ignorant of Duk-Duk is a great disgrace to a girl.  Among the Swahili women of Zanzibar, indeed, a complete artistic system of hip-movements is cultivated, to be displayed in coitus.  It prevails more especially on the coast, and a Swahili woman is not counted a “lady” (bibi) unless she is acquainted with this art.  From sixty to eighty young women practice this buttock dance