1. Chant of Kiama Kia Kagita, "secret witchcraft society" ( sic ), Meru District, 1908-1929. Before that, one of the supernatural dancing societies formed by deviant family heads of both sexes. Matiri (Paul) wa Kirongoro (Muthambi), MOS 29.

2. Holding, "Some Preliminary Notes," 58-65.

3. Data from former members of the Chigiira, a women's Kiama in Mwimbi and Igoji, notably Mrs. Gacaba Murungi (Igoji), MOS 65; Mrs. Mwa-kireu Gikabu (Igoji), MOS 64; Mrs. Kainyu Murungi (Igoji), MOS 63; and one informant (Geto village, Igoji) who withheld her name, MOS 62.

4. Lambert, "The Social and Political Institutions," 476, Lambert Papers.

5. As recounted by Meru informants who served as officials in Horne's colonial administration (usually as porter, policeman, headman, chief) from its inception. Their detestation of the dancing Kiamas remains evident to this day. M'Muraa wa Kairanyi, MOS 13, is notable.

6. Marjorie R. Horne, wife of E. B. Horne. Personal interview, Nairobi, Kenya, 1969.

7. M'Mucheke Likira (Tigania), MOS 54; and Nguluu M'Mungaine (Tigania), MOS 53. Most frequent Tigania version, 1969. Also collected in Imenti, 1950s; see Bernardi, Mugwe , 58.

8. Kairu Baimwera (Mwimbi), MOS 58; Matiri wa Kirongoro, (Muthambi), MOS 29; M'Thaara M'Mutani (Muthambi), MOS 28; and Mrs. Jwanina Murungi, MOS 67; Mrs. Gacaba Murungi, MOS 65; Mrs. Mwakireu Gikabu, MOS 64; and Mrs. Kainyu Murungi, MOS 63 (all women from Igoji); Data corroborated by male elders in Imenti, Tigania-Igembe. All informants were once involved with the Kagita.

9. See note 8 above.

10. See note 8 above.

11. J. Ainsworth to British East Africa Company, letter, 1898 (month illegible), marked EO. 2/73, copy in Lambert Papers.

12. Muriuki, A History of the Kikuyu , 155, n. 80.

13. Involved with the Kagita: MOS 63-65, 67, 53-54, 58, 28-29.

14. See note 13 above.

15. See note 13 above.

16. See note 13 above.

17. Fadiman, Oral History , chap. 6, "Courtship and Marriage," 125ff. Dancing was the first of four stages of courtship. Each was strictly regulated, and conducted in public view to permit everyone in the community to appraise the match. The Kagita broke with the tradition of public dancing, holding its dances in pitch darkness and total secrecy.