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Show 3Q As the crowd assembled, a wiry old white-haired warrior iumoed forward to lead the haka, or war dance. His cry of command and instruction was followed by all at once. "A-a-a-a! He ringa oakia! Clap hands on thighs! A-a-a-a! He waewae takahia! Stamp right foot on ground!" Slowly the haka began. Public sentiment easily found expression through this uninhibited ritual war dance indulged in my both sexes. Limbs and bodies moved rhythmically tc the accompaniment of chanting voices. As the haka nicks UP momentum, the dancers' features become distorted and grotesque as each seeks to express individual defiance of the enemy. The precise rhythm is never broken as the participants move in an incredible unison of stamping feet and raoidly vigrating hands. Tongues protrude, eyes roll, bodies tx^rist into fearsome contortions while the men emit deep-chested guttural sounds. Any stranger who might happen to behold the haka in all its frenzied fury would not soon forget. The angry voices of the men and women ecu Id be heard far in the distance: |