The Moï by nature is easy-going and idle and displays such energy as he has in devising fresh amusements. The prime distraction for him, however, remains the opening of a jar of spirits of rice.
Certain games of skill are in vogue, of which the most interesting is a form of fencing in which skill seems to blend with a good deal of flourish. The two combatants are armed with wooden sabres, smeared on the sharper edge with buffalo's blood so as to leave a mark wherever it touches. The point is blunted and cannot be used by the laws of the game. Unlike the European rules, it is not prohibited to strike the lower half of the adversary's body. Accordingly, the fencers do not maintain any fixed stance, but revolve about a central point and use their legs to ward off hostile passes. It is quite usual to see all four limbs requisitioned in an emergency. A high standard of acrobatic agility and sureness of eye and hand is attained.
A few of the Moï who have lived among the Laotians have brought back to their countrymen various borrowed amusements and, among them, primitive stage-plays. Of the plots of these, which are destitute of imagination or construction, the following is typical.
A few girls walk about under the watchful eyes of their parents. A stranger appears and tries to carry off an unsuspecting damsel. A free fight ensues, in the course of which the ravisher is vanquished and pretends to fly, but as soon as the pursuit slackens he returns, waits for a favourable moment, and catches his prey round the waist.
Shrieks for help! The lady faints!
The evil deed seems about to be crowned with success when a Spirit appears, strikes the bold wrongdoer to the ground, and leaves him lifeless at his intended victim's feet.
The women's parts are taken by boys in accordance with the unwavering rule throughout the Far East that females may not appear in any dramatic representation.
The Moï celebrate New Year's Day with a festival that lasts at least seven days. During this period etiquette requires that seven buffaloes, seven pigs, seven goats and seven white cocks should be consumed and this formidable fare is washed down, in accordance with the rites, with the contents of seven jars.
All the neighbours of the Laotians follow that race in the details of their observance of these ceremonies, which are called by their Laotian name of "the Festival of the Dead Year." The participants are formed up in a long procession. The girls sprinkle perfumed water on the boys they like and throw mud at those they dislike. Both the favoured and the despised recipients of these attentions take them with good humour as being part of the day's work. Actors then appear dressed to represent our First Parents. According to legend these two worthies, in the beginning of the world, were covered with thick hair like the beasts. Accordingly, the performers wear a covering made of innumerable strips of bamboo.
The actors who play Adam, Eve, and the Dragon, cover their heads with black wooden masks representing grinning devils with horrible fangs, enormous ears and a tangled mane reaching the ground. So far from exciting fear or even curiosity, however, these blood-curdling apparitions are greeted with a universal shout of merriment. A curious pantomime follows. The three performers fall on their knees, raise their right arms, and manipulate the movable lower jaw of their masks while delivering in concert a wonderful harangue, in the course of which they extol the virtues and voice the most intimate desires of each member of the audience. The last words are a wish for a Happy New Year to the village and every living creature within it.