The dancer names the rhythm he desires and it is the rule, rather than the exception, that several starts are made, and several drummers tried before a good dancer feels satisfied with the method of playing. This is an indication of the excellent ear which the Manóbo has developed for this apparently rude and primitive form of music.
The women in dancing are more gentle in their manner than the men; they make fewer bending motions and do not posture so much. In other respects the dancing of the men and women is identical.
The step may be called dactyllic28 in that a long or accented beat is struck with one foot and, in immediate succession, two quick short steps are taken with the other. This is varied at recurring intervals by omitting the two short steps, especially in mimetic or dramatic dances when the dancer desires to return to the center or to execute some extra evolution.
28A term borrowed from Latin and Greek versification.
To give a satisfactory description of the attitude and movements of the dancer is impossible, as the skill and grace of the dance consists essentially in postures and gestures, and each individual has his own variations and combination. In fact no two men dance alike, though the women are much alike in their style of dancing, due to the fact that they bend the body and gesticulate comparatively little and that they display less force and exertion. Suffice it to say that the dancer moves his feet in perfect time to the rhythm of the drum and gong, at the same time keeping the arms, hands, fingers, head, and shoulders in constant movement. Now one hand is laid upon the hip while the other is extended upward and at an oblique angle from the shoulder. Again both hands are placed upon the hips and the dancer trips around a few times when suddenly turning, he retires hastily, but in perfect time, with both arms extended upwards and at an angle from the shoulders, the two kerchiefs waving all the time to the movements of the body. During all his movements the arms, hands, and fingers are twisted and turned with graceful and varied, but measured, modulation. Now he raises one shoulder and then another. Now he gazes up with a look of defiance upon his countenance, as if at some imaginary foe, and then down, as if in quest of something. At one time he stops and gently moves his feet to the rhythm of the music for several seconds, at another he circles around with uplifted arms and flying kerchiefs, and scurries to the other end of the dancing space, as if pursued by some foeman. At this point he may circle around again and, the music of the drum and gong surging loud, stamp defiance as if at an imaginary enemy, in measured beat and with quick, wild movements of the legs and the whole body.
And thus the dance goes on, now slow, now fast, now stately, now grotesque, the feet pounding the floor in regular and exact time to the music, and every part of the body moving, according to the whim of the dancer, with graceful and expressive modulation.
The whole dance requires great exertion, as is evidenced by the perspiration that appears upon the dancer's body after a few minutes. For this reason, a dancer rarely continues for more than ten minutes. He names his successor by dancing up to him, and putting the kerchiefs on his shoulders. The appointee nearly always excuses himself on the plea that he does not know how to dance, that his foot is sore, or with some other excuse, but finally yields to the screams of request and exhortation from the encircling spectators.
One who has witnessed a Manóbo dance at night by the flare of fire and torch will not forget the scene. Squatted around in the semidarkness are the russet figures of the merry, primitive spectators, lit up by the flickering glare of the unsteady light, the children usually naked, and the men having frequently bared the upper parts of their bodies. In the center circles the dancer with his wealth of ornaments, advancing, retreating, and posturing. The drum booms, the gong clangs, and the dancer pounds the floor in rhythm. The jingle bells and the wire anklets of the dancer tinkle. The spectators scream in exultation, encouragement, and approval. The dogs add to the pandemonium by an occasional canine chorus of their own, which coupled with the crying of the babies and several other incidental sounds, serves to enhance the rejoicing and to add eclat to the celebration.