The greatest social functions of the farm were the Ngomas,—the big Native dances. At these occasions we entertained up to fifteen hundred or two thousand guests. The entertainment offered by the house was however in itself modest. We would give the old bald mothers of the dancing Morani and the Nditos,—the maidens,—snuff, and the children,—at those dances to which children were brought,—sugar, distributed by Kamante in wooden spoons, and I sometimes asked the D.C.’s permission for my Squatters to make tembu, a deadly drink, fabricated from sugar cane. But the real performers, the indefatigable young dancers, brought the glory and luxury of the festivity with them, they were immune to foreign influence, and concentrated upon the sweetness and fire within themselves. One thing only did they demand from the outside world: a space of level ground to dance on. This was to be found near my house, the big lawn was plain under the trees, and the square, in the forest between my boys’ huts, had been laid out level. For this reason the farm was highly thought of by the young people of the country, and the invitations to my balls much valued.
The Ngomas were held sometimes in the day and sometimes at night, In the day-time the Ngomas needed more room, since they brought with them as many onlookers as dancers; they therefore took place on the lawn. At most Ngomas the dancers stand in a large circle, or in a number of smaller circles, and there keep jumping up and down, the head thrown back, or stamping the ground to a rhythm, throwing themselves forward on one foot, and back on to the other, or again slowly and solemnly walking round sideways with their faces to the centre of the ring, the prominent dancers separating themselves from the ring, to perform, jump, and run in the middle of it. The day-time Ngomas left their mark stamped upon the lawn in larger and smaller dry brown rings, as if the grass had here been burnt away by fire, and these magic rings would only slowly disappear.
The big day-time Ngomas had the character more of a fair than of a ball. Crowds of onlookers followed the dancers and grouped themselves under the trees. When the rumour of the Ngoma had spread widely enough we would even see here the flighty ladies of Nairobi,—the Malaya, a pretty word in Swaheli,—arriving in style, in Ali Khan’s mule-traps, all wrapped in lengths of gay large-patterned calico, and looking, when seated, like large flowers on the grass. The honest young girls on the farm in their traditional oiled and greased leather skirts and mantles, took up their position close to them, and frankly discussed their clothes and manners, but the beauties of the town, cross-legged, remained as quiet as glass-eyed dolls of dark wood, and smoked their little cigars. Swarms of children, enraptured by the dances, and keen to learn and imitate, stormed from one ring to another, or were carried away to form little dancing-rings of their own on the outskirts of the lawn, and there jumped up and down.
The Kikuyu, when going to a Ngoma, rub themselves all over with a particular kind of pale red chalk, which is much in demand and is bought and sold; it gives them a strangely blond look. The colour is neither of the animal nor the vegetable world, in it the young people themselves look fossilized, like statues cut in rock. The girls in their demure, bead-embroidered, tanned leather garments cover these, as well as themselves, with the earth, and look all one with them,—clothed statues in which the folds and draperies are daintily carried out by a skilled artist. The young men are naked for an Ngoma, but on such occasions make much out of their coiffures, clapping the chalk on to their manes and pigtails, and carrying their limestone heads high. During my last years in Africa, the Government forbade the people to put chalk on the head. In both sexes the rig-out is of the greatest effect: diamonds and high decorations will not impart to their bearers a more decided gala appearance. Whenever at a distance you catch sight, in the landscape, of a group of red-chalked Kikuyu on the march, you feel the atmosphere vibrating with festivity.
An open-air dance in the day suffers from lack of limitation. The stage is far too big for it,—where does it begin and where end? The small figures of the individual dancers may be all dyed, with the entire back-part of an ostrich floating behind their heads, and the bold cavalier-like cockspurs made of Colobus-monkey skin at the heels, they cannot help looking spread and scattered under the tall trees. The show,—including larger and smaller rings of dancers, spread-out groups of onlookers, and children running to and fro,—flings your eyes from one corner of it to the other. The whole scene has some likeness to those old pictures of a battle, observed from an eminence, in which you will see the cavalry advancing at one side, while the artillery takes up its position at the other, and isolated figures of ordnance officers gallop diagonally across the field of view.
The day-time Ngomas were likewise very noisy affairs. The dancing music from flutes and drums was often drowned in the clamour from the audience, the dancing girls themselves gave out a strange, long-drawn and shrill shriek when, in one of the figures executed by male dancers, a Moran made a jump, or swung his spear over his head, in an exceptionally fine manner. An unbroken stream of congenial conversation was kept up amongst the old people on the grass. It was pleasant here to watch a couple of ancient Kikuyu women carousing, with a calabash between them, absorbed in gay talk, presumably of the days when they had themselves cut a figure in the dancing ring, their faces more and more radiant with happiness as, in the course of the afternoon, the sun sank lower, and the supply of tembu in the calabash as well. At times, when the group was joined by a couple of old husbands, one of the women would be so carried away by the memories of her young days that she stumbled to her feet and, flapping her arms, took a running step or two in the true Ndito manner. She was ignored by the crowd, but enthusiastically applauded by her little circle of contemporaries.
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.