emphasize the curves of the flanks and the breasts, though at the
same time the defects of their legs are exhibited in this series
of rhythmic contortions which constitute a Nias dance. The most
graceful movement they execute is a lascivious undulation of the
flanks while the face and breast are slowly wound round by the
_sarong_ [a sort of skirt] held in the hands, and then again
revealed. These movements are executed with jerks of the wrist
and contortions of the flanks, not always graceful, but which
excite the admiration of the spectators, even of the women, who
form in groups to sing in chorus a compliment, more or less
sincere, in which they say: 'They dance with the grace of birds
when they fly. They dance as the hawk flies; it is lovely to
see.' They sing and dance both at weddings and at other
festivals." (Elio Modigliani, _Un Viaggio a Nias_, 1890, p. 549.)

In Sumatra Marsden states that chastity prevails more, perhaps,
than among any other people: "But little apparent courtship
precedes their marriages. Their manners do not admit of it, the
_boojong_ and _geddas_ (youths of each sex) being carefully kept
asunder and the latter seldom trusted from under the wings of
their mothers.... The opportunities which the young people have
of seeing and conversing with each other are at the _birnbangs_,
or public festivals. On these occasions the young people meet
together and dance and sing in company. The men, when determined
in their regard, generally employ an old woman as their agent, by
whom they make known their sentiments, and send presents to the
female of their choice. The parents then interfere, and the
preliminaries being settled, a _birnbang_ takes place. The young
women proceed in a body to the upper end of the _balli_ (hall),
where there is a part divided off for them by a curtain. They do