Page:Margaret Mead - Coming of age in Samoa; a psychological study of primitive youth for western civilisation.pdf/148

 The form of the dance itself is eminently individualistic. No figures are prescribed except the half dozen formal little claps which open the dance and the use of one of a few set endings. There are twenty-five or thirty figures, two or three set transitional positions, and at least three definite styles, the dance of the taupo, the dance of the boys, and the dance of the jesters. These three styles relate definitely to the kind of dance and not to the status of the dancer. The taupo's dance is grave, aloof, beautiful. She is required to preserve a set, dreamy, nonchalant expression of infinite hauteur and detachment. The only permissible alternative to this expression is a series of grimaces, impudent rather than comic in nature and deriving their principal appeal from the strong contrast which they present to the more customary gravity. The manaia also when he dances in his manaia rôle is required to follow this same decorous and dignified pattern. Most little girls and a few little boys pattern their dancing on this convention. Chiefs, on the rare occasions when they consent to dance, and older women of rank have the privilege of choosing between this style and the adoption of a comedian's rôle. The boys' dance is much jollier than the girls'. There is much greater freedom of movement and a great deal of emphasis on the noise made by giving rapid rhythmical slaps to the unclothed portions of the body which produce a crackling tattoo of sound. This style is neither salacious nor languorous although the taupo's dance is often both. It is athletic, slightly