the ground with her lips, is the result of long training, and the rhythmic unison of movement attained by a troupe is reached only after patient drilling under a master. The sexes are always separated in the troupes. The women-dancers are brilliantly dressed in damask tameins, woven in silk and silver thread, and with white cotton jackets, winged like those of the traditional fairies, and embroidered with spangles. The King's dancers used to be gorgeously dressed, with gilded crowns on their heads and wings on their legs. The complicated evolutions of the brilliantly dressed and well-drilled figures, rhythmically contorting their pliant bodies to the sound of the noisy though harmonic music, produce a coup cVceil which is not easily forgotten by a stranger.
The dancing of the men is much more animated. The troupe is generally composed of a band of the young men of a village, who
voluntarily submit themselves to training in order to do honour to some great man or visitor, or to give a pw on the occasion of some village fte. The simultaneous movements of the dancers are synchronous with, and illustrative of, the events described in a long dramatic poem, which is sung in chorus by the dancers.
Religious dancing is much more active and spontaneous
a dancer.a dancer.