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THE NIMANGKI AND NELEMEW 363
ground and only rarely glancing up at the man opposite him.
There is a certain reserve, a certain deferential respect observable
on the part of the buyer of a Nimangki towards the seller. This
discussion between Filin Mal and Siul continued for some time,
and came to a close at about eight in the evening. Then the men
oi the ‘home-village ' moved to the dancing ground, which was
now quite dark savc for a ï¬Åre near the gongs. These some of them
manned and began, for practice, to execute various rhythms, for
the most part those belonging to the various localities, especially
the localities whence the principal sellers came, this being done to
honour them. Finally, after a rest, the men began the rhythm of
nitmr cut, and we came out on to the dancing ground, everyone
decorated to the full with scarlet leaves stuck in belt and armbands,
and carrying a musket or club. A rough column of tour deep,
headed by a leader, was made round one side of the gongs. Film
Mal, the ' maker ' (nemwannm) of the Nimamgki, did not take part
in the dance on this night as he was to have a long day on the
morrow.
" Coming to the end of the introduction, the gongs were silenced
abruptly. The leader of the dancers now stepped to the fore and
worked himself gradually into the refrain of one oi the nitmr
songs, stamping as he did so to get the correct rhythm ior the
dance. Presently all took up the song and the stamping, and the
column swung round the gangs, beating Lime with canes against
their muskets or clubs. The singing is of a lusty, ‘ chanty '
character and strangely familiar to a European car. Many songs
use only the notes C, D, E, F, and G, natural, with the upper C
and sometimes an A thrown in; the key, though generally a
major one, sometimes changes into a minor.
“ This ï¬Årst burst oi dancing and singing is iollowed by another
performance on the gongs, The rhythms are marvellously
exhilarating, with their incredible speed and mathematical,
inhuman precision. During this volley of beating, the dancers,
rather paradoxically, break into an irregular walk round the
gongs, silent and relaxed. The second burst on the gongs terminates
as abruptly and unexpectedly as the ï¬Årst, and another nitow song
is begun, led perhaps b a. diï¬Åerent man. Thus it continues
throughout the night, with alternate bouts of singing and dancing
and of beating on the gongs. The monotony of the songs is greatly
relieved by suddenly, at a certain point, taking up the refrain one
whole tone higher. The effect is one of great power, especially
when it is combined with an ext:-a outburst of singing. If possible,
a song is not sung twice on one night ; the principal interest in
the niteur is in the cycle of songs which is gone through. Further,
there are certain songs which are appropriate to certain times of
night, as ior instance a cock-crowing song for the dawn. The
dancing consists of swinging round the gongs at a trot, bringing
down a foot heavily and very exactly on each beat. Sometimes
this is in two-four time, sometimes in three-four, thus: LRL—
RLR—ZRL-—RLR—. Dancing and singing in this way, niteur was
performed till sunrise.