Page:Margaret Mead - Coming of age in Samoa; a psychological study of primitive youth for western civilisation.pdf/143

 The matai and his wife and possibly a related matai and the other elders of the household sit at the back of the house, in direct reversal of the customary procedure according to which the place of the young people is in the background. Around the ends cluster women and children, and outside lurk the boys and girls who are not participating in the dancing, although at any moment they may be drawn into it. On such occasions the dancing is usually started by the small children, beginning possibly with seven- and eight-year-olds. The chief's wife or one of the young men will call out the names of the children and they are stood up in a group of three, sometimes all boys or girls, sometimes with a girl between two boys, which is the conventional adult grouping for the taupo and her two talking chiefs. The young men, sitting in a group near the centre of the house, provide the music, one of them standing and leading the singing to the accompaniment of an imported stringed instrument which has taken the place of the rude bamboo drum of earlier times. The leader sets the key and the whole company join in either in the song, or by clapping, or by beating on the floor with their knuckles. The dancers themselves are the final arbiters of the excellence of the music and it is not counted as petulance for a dancer to stop in the middle and demand better music as the price of continuing. The songs sung are few in number; the young people of one village seldom know more than a dozen airs; and perhaps twice as many sets of words which are sung now