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The point of the dance for which every one waits is to mark the recurring accentuated pause in some particular way, generally by dropping on both knees. When the dancer replaces his palm-leaf fan on the corresponding opposite offering-bowl the person sitting behind it must rise and do a similar dance. There is a great deal of laughter at each fresh invention. Some are nervous and hurry over it as fast as possible. One only walks across brandishing his fin, to place it on the next bowl. Some dance with leaps and springs and frantic dashes. A small boy dances with great grace and skill; an old woman with tripping steps and wriggling hips and sweet smiles. She gives the true character of the dance-a Mendet (offering-dance) parodied. A fat man and a small frisky comic make further armusing variations. Some anticipate the accent and are ridiculed.

. If any cheat by replacing the fan too soon they are headed off and obliged to begin again. When every offering has been treated in manner, the ceremony is over. the medium comes out of trance and is undressed, the women are sitting again in prayer before the shrine of Surya, the sun god, under the full moon.

Walter Spies writes, without describing them, of a number of unfamiliar Sanghyang ceremonies recently seen in east Bali. The following notes are taken from his summary in Dutch of Balinese dances, in the autumn number of Djawa,

Sanghyang Panjalin, different from the one mentioned on It is found In the village of Banjoening in north Bali. A young girl is brought into trance in the usual way by song and incense smoke. A choir of male and female singers sit in rows facing other, and the Sanghyang dances between them upon rattan rods. The mariner of her dancing is not described.

Sanghyany Tpleng, in the villages of Pasarom and Doeda in east Bali. A man, decorated with black sugar-palin fibre, dances through the village on all fours to represent a pig (TIdeno), accompanying himself by grunts.

Sanghyang Memedi. This form is mentioned by earlier writers, for instance van der Tuuk. The dancers were brought into trance by the smoke of horse-dung and when in trance carried some of the spectators to the graveyard and laid them down there, apparently to the accompaniment of filthy language. But another Sanghyang Memea still survives in north Bali, in a ward of Singaradja, in which a boy, sitting in the middle of a male choir, is brought into trance by the smoke of rice-chaff. Memedi is the name of an invisible spook which steals children (cf. the orang boeman of Sumatra).

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