Out of Africa: And Shadows on the Grass (20 page)

But the Ngomas of the night were set about in earnest.

They were held in the autumn only, after the maize-harvesting, and below the full moon. I do not think that they had any religious significance to them, but they may have had so once; the manner of the performers and onlookers suggested a mysterious and sacred moment. These dancers may have been a thousand years old. Some of them,—which was highly approved of by the mothers and grandmothers of the dancers,—were held by the white settlers to be immoral, they felt that they must have them prohibited by law. One time, when I came back from a holiday in Europe, I found that twenty-five of my young warriors had, in the height of the coffee-picking season, been sent to jail by my Manager for having danced a forbidden dance at a night Ngoma on the farm. My Manager informed me that his wife could not possibly put up with the dance. I upbraided the elders of the Squatters for having held their Ngoma near my Manager’s house, but they gravely explained to me that they had been dancing at Kathegu’s manyatta, four or five miles away from it. I then had to go to Nairobi to talk matters over with our D.C., who let the whole lot of dancers come back to the farm to pick coffee.

The night dances were fine spectacles. Here you were not in doubt as to the theatre of the show, it was formed by the fires and extended as far out as the light spread, indeed fire was the central principle of the Ngoma. It was not really needed for the dancing, for the moonlight of the African Highlands is marvellously clear and white; it was brought to create an effect. The fire made of the dancing place a stage of the first order, it collected all the colours and movements within it into a unity.

Natives will rarely overdo an effect. They had no great flaming bonfires lighted. Firewood was carried to the dancing-place during the day before the dance by the Squatter women of the farm, who will have looked upon themselves as hostesses to the feast, and was here piled up in the centre of the dancing-ring. The old women who honoured the ball with their presence at night took their seats round this central pile, and from there a row of small fires, like a circle of stars, was fed through the hours of the night. The dancers again were dancing and running outside the fires, with the forest-night as a background. The place had to be fairly big or the heat and smoke would get into the eyes of the old onlookers, but it was all the same an enclosed place in the world, as if it had been a large house for the joint use of all within it.

Natives have no sense or taste for contrasts, the umbilical cord of Nature has, with them, not been quite cut through. They held their Ngomas only during the time of the full moon. When the moon did her best they did theirs. With the landscape bathing and swimming in gentle powerful light from the sky, to the great illumination over Africa they added their little red-hot glow.

The guests arrived in small parties, sometimes three at a time, sometimes a dozen or fifteen,—friends who came together by appointment, or who had joined company on the road. Many of these dancers had walked fifteen miles to get to the Ngoma. When travelling many together they brought flutes or drums with them, so that, on the night of the big dance, all the roads and pathways of the country would resound and ring with music, like jingles shaken at the face of the moon. At the entrance to the dancing-ring the wanderers paused and waited for the ring to open to them; sometimes, when they came from very far away, or were sons of the big neighbouring Chiefs, they were received into it by one of the
old Squatters or prominent dancers of the farm, or by the monitors of the dance.

The monitors of the Ngoma were young men from the farm like the others, but they were there to keep up the ceremonial of the dance, and made the most of their position. Before the dancing began, they strutted up and down in front of the dancers with knitted brows and a grave face; as the dance grew livelier they ran from one side of the ring to another, to watch that everything was going as it should. They were effectively armed, carrying bundles of sticks tied together, the one end of which they kept burning, by dipping them from time to time into the fire. They kept a sharp eye upon the dancers, and wherever they espied anything of an unseemly nature going on, they were at them at once; with a terrible expression and a furious snarl they hurled their whole bunch of sticks, the burning end foremost, straight at the body of the offender. The victim was seen to be bent double at the stroke, but he never gave a sound. Perhaps a burn of this kind was no dishonourable wound to be carrying away from an Ngoma.

In one of the dances the girls would stand demurely upon the feet of the young men and clasp them round the waist, while the young warriors with an outstretched arm at each side of the girl’s head, held on to their spear with both hands, from time to time lifting it and striking it down to the ground with all their might. It made a pretty picture, of the young women of the tribe having taken refuge at the bosom of their men against some great danger, and of the men guarding them, even by letting them stand on their feet, protecting them against snakes or any other dangers from the ground. As the dance went on for hours the faces of the dancers took on an expression of angelic ecstasy, as if they were really all ready to die for one another.

They had other dances in which the dancers ran in and
out amongst the fires, where one head-dancer made a number of very high jumps and leaps, and there was much swinging of spears; it was, I believe, built upon a lion-hunt.

They had singers at the Ngoma, as well as flutes and drums. Some of these singers were famous all over the country, and were made to come from far away. Their singing was more a rhythmical recitation than a song. They were improvisators, and made up their ballads off-hand, with the quick, attentive chorus of the dancers joining in. It was pleasant to listen, in the night air, to the one gentle voice being raised, and to the regularly repeated, measured call of young voices. But as it went on all night, with the drums falling in for an effect from time to time, it became both deadly monotonous and strangely excruciating to hear, as if you could not bear either to have it going on for one moment longer, or to have it ever stopped.

The most famous singer of my day came from Dagoretti. He had a clear strong voice and was, besides, himself a great dancer. When singing he would walk or run inside the dancing-ring in a long, sliding stride, half-kneeling at every step, he held the one flat hand to the corner of his mouth; it was probably done to concentrate the sound, but it gave effect of a great dangerous secret being confided to the congregation. He looked like the African echo itself. He used to move his audience to happiness or to a warlike mood as he chose, or to real convulsions of laughter. He sang one formidable song, a war song, in which the singer is, I believe, imagined running from village to village calling the nation to war, and describing to them the massacre and the loot. A hundred years ago it would have made the blood of the white immigrants run cold. But generally he was not so terrifying. One night he sang three songs, which I asked Ramante to translate to me. The first of them was a fantasy: the whole party of the dancers were imagined getting hold of a ship and sailing to
Volaia. The second song, Kamante explained to me, was all in praise of the old women, the mothers and grandmothers of the singer and the dancers. This song sounded sweet to me, it was long, and must have described in detail the wisdom and kindness of the toothless bald old Kikuyu wives, who listened at the pile of firewood in the centre of the place, and nodded their heads. The third song was short, but drew great shouts of laughter from everybody, the singer had to raise his shrill voice to be heard through it, and laughed himself as he sang. The old women, who had now been put in good humour by being so strongly flattered, beat their thighs, and threw up big gapes, like crocodiles, at it. Kamante was loth to translate it to me, he said it was nonsense, and gave it me only very much shortened. The theme of it was simple: after a recent epidemic of plague, the Government had set a price upon each dead rat handed into the D.C.’s,—the song described how the rats, universally pursued, were taking refuge in the beds of the old and young women of the tribe, and what happened to them there. It must have been amusing in its details, which I did not get; Kamante himself, while translating it to me very much against his wish, at times could not repress a sour smile.

At one of the night Ngomas a dramatic incident took place.

The Ngoma was a farewell feast, given in my honour a short time before I was going to Europe on a visit. We had had a good year, it was held in great style, there may have been fifteen hundred Kikuyu present. The dance had been going on for a few hours; as I came out to have another look at it before going to bed, a chair was placed for me with its back to one of the boys’ huts, and I was entertained by a couple of the old Squatters.

All at once a great stir ran through the ring of dancers, a deep movement of surprise or fear, a curious sound, as when
the wind blows through a bed of rushes. The dance slowed up, slowed up, but it did not stop yet. I asked one of the old men what was the matter. He answered quickly, in a low voice: “Masai na-kudja,”—the Masai are coming.

The news must have been brought by a runner, for it lasted some time before anything more happened, probably the Kikuyu were sending back to say that their guests would be received. It was against the law for the Masai to come to a Kikuyu Ngoma, too much trouble had arisen from this kind of thing in the past. My houseboys came up and stood by my chair; everybody looked towards the entrance of the dancing-ground. When the Masai came in, the dance stopped altogether.

There were twelve young Masai warriors walking in, and when they had taken a few steps they stopped, waited, and looked neither right nor left; they blinked a little towards the fire. They were naked except for their weapons and their magnificent head-dresses. One of them had on the lion-skin head-dress of the Moran at war. A broad stripe of scarlet was painted vertically from the knee to the foot, as if the blood was running down the leg. They stood erect, stiff-legged, their heads thrown back, silent and deadly grave, their attitude was at the same time that of the conqueror and the prisoner. It was felt that they had come to the Ngoma against their own will. The dull beating of the drum had run across the river into the Reserve, had gone on, and gone on, and troubled the hearts of the young warriors there; twelve of them had not had it in them to resist the call.

The Kikuyu were deeply agitated, too, but they behaved well to their guests. The chief dancer of the farm welcomed them into the dancing ring, where in deep silence they took their place, and the dance was begun once more. It was, however, different from what it had been before, the air was loaded now. The drums began to beat in a louder voice, and
a more rapid rhythm. Had the Ngoma gone on, we should have seen some striking feats, when Kikuyu and Masai would have taken upon themselves to show one another their vigour and skill as dancers. But it did not come to that: there are things which can not be carried through even with the good will of everybody concerned.

What happened I do not know. All of a sudden the ring swayed, and was broken, some one shrieked aloud, in some seconds the whole place before me was a mass of running, thronging people, there was the sound of blows and of bodies falling to the ground, and over our heads the night air was undulating with spears. We all got up, even the wise old women of the centre, who crawled on to the stacks of firewood to see what was going on.

When the emotion had calmed down, and the storming crowd had dissolved again, I found myself in the centre of the swarm, with a little cleared space round me. Two of the old Squatters came up to me, and reluctantly explained what had happened: the violation of law and order committed by the Masai, and the present state of things: a Masai and three Kikuyu were badly wounded, “cut to pieces,” their expression was. Would I now, they went on gravely, consent to sew them up again?—otherwise everybody was likely to get much trouble from the
Selikali
,—the Government. I asked the old man what the fighters had had cut off. “The head,” he answered proudly, with the Native instinct to make the most of a catastrophe. At that moment Kamante was seen to advance across the place, carrying a long-threaded darning needle, and my thimble. I still hesitated, and at that moment old Awaru came forward. He had learned tailoring during the seven years that he had been in prison. He must have been looking for an opportunity for practising, and showing off his craft, he volunteered to take charge of the case, and at once the interest concentrated upon him. He did indeed sew up
the wounded, they got well under his hands, and he himself in after times made much of the achievement, but Ramante told me in confidence that the heads had not been off.

As the presence of the Masai at the dance had been illegal, we for a long time had to conceal the wounded Masai in the hut reserved for white visitors’ servants. Here he recovered, and from here in the end he disappeared without a word of thanks to Awaru. It comes hard, I believe, to the heart of a Masai to be wounded,—and healed,—by Kikuyu.

When towards the end of the night of the Ngoma, I walked out to ask for news of the wounded people, I found, in the grey morning air, the fires still smouldering. A number of young Kikuyu were in action round them, leaping and poking long sticks into the embers, under the direction of a very old Squatter wife, Wainaina’s mother. They were making a spell to prevent the Masai from having any success in love with the Kikuyu girls.

2

A VISITOR FROM ASIA

T
he Ngomas were neighbourly
and traditionally social functions. In the course of time, it was the younger brothers and sisters and, later on, the sons and daughters of the first dancers known by me, who came to the dancing-ground.

But we had visitors from distant countries as well. The monsoon blows from Bombay: wise and experienced old people travelled in ships, all the way from India, and came to the farm.