Only one person takes part in the potato dance. At first the performer leaps into the open space and dances around in a circle, clapping his hands as if warming up, the usual preliminary to all the dances. Presently in pantomime he finds a potato patch, and goes through the various motions of digging the potatoes, putting them in a sack, and throwing the sack over his shoulder, all the time keeping close watch to prevent his being caught in the act of stealing. He comes to the brush fence which surrounds every “caiñgin,” draws his bolo, cuts his way through, and proceeds until he comes to a river. This is significant as showing that the potato patch he is robbing does not belong to anyone in his own village but is across a river which he must pass on his way home. He sounds for deep water with a stick. It is too deep, and he tries another place. Here he loses his footing, drops his sack, and the swift current carries it beyond his reach. While going through the various motions necessary to depict these actions the movement of the dance is kept up, the body bent forward in a crouching position, the feet leaving the ground alternately in rapid motion but never out of time with the music. Such agility and tirelessness one could scarcely find anywhere else.
The Bee Dance, or Piña Pa-ni-lan
This dance is also performed by one person and in a similar manner as the potato dance. A piece of cloth tied to a pole serves as a nest of bees. The performer dances around the circle several times; presently he spies the nest and approaches slowly, shading his eyes for a better view. Having satisfied himself that he has really made a find, he lights a smudge, goes through the motion of climbing the tree, and in holding the smudge under the nest he is stung several times and has to retreat. This is repeated until all the bees are smoked out and the honey is gathered. Then comes a feast in which, drunk with honey, he becomes hilarious.
The Torture Dance
This dance, which commemorates the capture of an enemy, is performed in much the same manner as the “talbun” except that there is no song connected with it. The captive is bound to a stake in the center and a dozen men circle slowly around him, in the same manner as already described, one hand over the mouth and uttering long-drawn notes. The movement becomes faster and faster until it consists wholly of frenzied leaps, and the performers, worked up to the proper pitch draw their bolos, close in on their victim, and slash him to pieces.
When executed at night in the light of a bonfire this dance is most grotesque and terrible. The naked black bodies, gleaming in the fire, the blood-curdling yells, and the demoniacal figures of the howling, leaping dancers, remind one of the Indian war dances.
The dance seems to be a relic of more barbarous days when the Negritos were, in truth, savages. They say that they never kill a prisoner in this manner now, but that when they find it necessary to put a man to death they do it in the quickest manner possible with a single blow of the knife. (See [Pl. L].)
The Lovers’ Dance
As might be expected, a man and a woman take part in the lovers’ dance. The women are not such energetic and tireless dancers as the men, and in the lovers’ dance the woman, although keeping her feet moving in time to the music, performs in an indolent, passive manner, and does not move from the spot where she begins. But the man circles about her, casting amorous glances, now coming up quite close, and then backing away again, and at times clapping his hands and going through all sorts of evolutions as if to attract the woman. This sort of thing is kept up until one or both are tired.