Jungle Dances and their Variations


This booklet has been compiled in response to a number of suggestions that
the variations in the Jungle Dances which have appeared in The Canadian
Leader from time to time should be collected together in a convenient form.
With these are reprinted the Founder's own descriptions from The Wolf Cub's
Handbook, and a few explanatory notes which may be found helpful.

It should be remembered that there is no intention to limit the number of
the Dances to those already published in the Handbook.  In proof of this,
the original four have been increased to five by the addition of the Dance
of Shere Khan's Death, now one of the most popular of the series.  Nor is it
intended for the Pack, and are to be welcomed so long as the Dances are not
thereby made unduly elaborate and difficult to follow.  The Cub Department
at Baden Powell House will always be glad to hear of new Dances or fresh
variations, for publication in The Canadian Leader or in future editions of
this booklet.

Grateful acknowledgment is made to those whose variations have been used in
the following pages.

Teaching the Dances

It is not desired to lay down any hard-and-fast methods of teaching the
Dances.  That would be absurd, for each Akela must discover by experience
the most successful method for his or her Pack.

In the Jungle Dances, which are really plays of the Jungle, the Founder
combined profit with pleasure.  He has provided a means of expression for
the boy's imaginative instinct and love of acting, and at the same time he
has set forth certain very valuable lessons -- the moral lessons of the
bullying Tiger and the sneaking Jackal, the disciplinary lessons of
obedience (Kaa Dance) and Akela, bearing in mind all that can be learnt from
these Jungle Dances, should give them thought and careful attention so that
the Cubs will really enter into them.  If they do not go down well, it will
generally be found that the fault lies with Akela and that it is directly
due to one or more of the following mistakes:

(I) Want of imagination. (II) Teaching the Dances in the first instance to
boys of ten (or even eleven!) years of age; (they are not likely to prove
successful in such case; the older Cub will only like them if he has been
brought up on them).  (III) Treating the Dances as a number of movements to
be gone through in a certain fashion and in a certain order, and nothing
more; whereas they are much more exercises in acting and character portrayal.
(IV) Teaching them in a slipshod way, without any particular attempt at
method and without giving enough time to them. (V) Omitting to ensure that
all the Cubs know the story thoroughly well beforehand.

In order to teach the Dances properly we should take care to avoid all five
errors.  I need hardly add that Akela must be prepared to demonstrate a
particular point himself, whether it is to chase his tail like one of the
Bandarlog or crawl on his tummy like Bagheera; and that the Dances are only
half done if they are done standing up, instead of getting down to it on all
fours or quite flat, as the case may be.

If, as sometimes happens, a few boys have joined the Pack when they are too
old to be interested in the Jungle Dances, it is advisable to use a
separate evening when teaching these to the younger Cubs, or to keep the
older boys apart under the jurisdiction of one of the Old Wolves and
employing them in something better suited to their age.

Never try to teach more than one Dance at a single Meeting, and always give
plenty of thought to its preparation.

Start with the yarn concerning the particular incident to be dramatised.
This is probably best told in your own words, if you know the story through
and through and can tell it vividly.  If you do read it from The Jungle Book,
a little cutting and editing may be necessary.  Take pains to make the
animals appear as real, live characters, emphasising their particular
characteristics, as well as the adventurous nature of their story.

Then explain fully how it is to be acted.  Go through each part of the Dance,
demonstrating when necessary.  Then let the Pack try it, and give praise to
those who have really tried to act their parts.  If you have prepared the
ground well, it should go reasonably well, and, with one or two more
practices, it should become quite a polished performance.  But don't drill
the fun and spontaneity out of it.  If the Cubs don't enjoy it, it has not
been a success.

General Notes

1. The Dances may truly be called Jungle Plays.

2. They are all greatly improved if done out of doors.

3. Don't overdo the Dances.  Once a Pack is established, it is not necessary
   to do a Dance every Pack meeting.  One dance a month is quite sufficient.
   There are plenty of other play-acting stunts.

4. When introducing new chums to the Jungle Stories don't bore the rest of
   the Pack but give them something else to do.  However, when doing a Dance
   it is necessary to recreate in the minds of the Cubs the atmosphere of
   the Jungle.  On this occasion the story should be briefly told to the
   whole Pack as vividly and dramatically as possible, e.g. the horror of
   Kaa, the atmosphere of the Cold Lairs, the suspense of Mowgli's hunting,
   etc., are then clearly evoked in the Cubs' imagination.

5. In making your preparations to tell the story, you will find it useful to
   supplement the Founder's account with the descriptions and explanations
   of the Dances given in Letters to a Wolf Cub.

The Dance of Baloo

Now we will form the Parade Circle, and try the dance of Baloo, the bear.
He was the animal in the Jungle Book who taught the Law of the Jungle to
Mowgli.  He was good-natured, burly old thing, very like a big policeman.

When therefore the order "Baloo" is given, every Cub will turn to the right
and follow his leader, marching very slowly and stiffly, as proud as Punch,
with his stomach forward and his elbows stuck out, chin in the air, looking
left and right in a haughty way; and as he goes along he gives out the two
Cub Laws in a loud voice, so that everybody shall know them -- "The Cub
respects the Old Wolf: the Cub respects himself."

When the Cubmaster gives the signal or order to halt, the Cubs at once stop,
turn inwards, and become themselves, standing strictly at the "Alert" till
they get further orders.  This Dance is not suitable for older Cubs.

(Music, if desired -- "The Teddy Bear Picnic"; or the "Policeman's Chorus,"
Pirates of Penzance.)

Variation One

Pack in circle.  One Cub sitting in centre of circle -- Mowgli.  The rest,
standing, are each of them Baloo.

Idea -- Mowgli learning the lesson of the Law from Baloo on a hot afternoon.
Mowgli rather weary and perhaps a little hurt by Baloo's insistence upon a
lesson he (Mowgli) knows by heart.

Action -- All the Cubs are Baloos.  They start in a circle, turn right --
paws up -- ponderous and majestic.  Stepping off with the right foot, take
four slow steps and turn inwards.  All Baloos to Mowgli: "The Cub respects
the Old Wolf; the Cub respects himself".  (Emphasize with beats of paws.)
The Baloos turn right and move round again.  Four slow steps, turn in and
repeat the Law again.

These actions are repeated four times, then Mowgli, who has been listening
attentively all the time, says: "I hear thee, O Baloo, and I will remember."

Variation Two

The Cubs of the Seeonee Pack are all gathered in the Jungle clearing for
their morning lesson.  Pack in circle (crouching as wolves), Baloo kneeling
in centre -- forepaws up -- as a bear sitting.

He expounds the Law.

Now this is the Law of the Jungle --
As old and as true as the sky;
And the Wolf that shall keep it may prosper,
But the Wolf that shall break it must die.
Wash daily from nose-tip to tail-tip (Pack pretends to lick themselves as a
     cat might);
Drink deeply (Pack bends down and drinks at drinking pool), but never too
And remember the night is for hunting,
And forget not the day is for sleep (Pack nods gravely).
The Jackal may follow the Tiger,
But, Cub, when thy whiskers are grown,
Remember the Wolf is a hunter --
Go forth and get food of thine own! (Cubs growl softly.)
Because of his age and his cunning,
Because of his gripe and his paw,
In all that the Law leaveth open,
The Word of the Head Wolf is law.

Cubs turn right and prowl slowly round, repeating the Law.  (Note -- Don't
try to keep the words in time with the crawling steps.)  "The Cub respects
the Old Wolf; the Cub respects himself."

All turn inwards, throw up their heads and call: "Akela!  We'll do our best!"
All turn, to face centre, and chant together:

Now these are the Laws of the Jungle,
And many and might are they;
But the head and the hoof of the Law
And the haunch and the hump is -- Obey!

Spring to Alert, both hands up.  Baloo calls: "Then Good Hunting, Brothers!"
All break off.

Variation Three

The Cubs squat in their lairs (six corners).  Baloo (preferably an Old Wolf
or a Cub Instructor) ambles, bear-like, into the centre of the clearing
(hall or open space) and squats down.

Baloo: (Calling) "Little brothers! Little brothers!"
Cubs:  (Running from their lairs and squatting, as for the Grand Howl, in a
       circle around him). "Baloo-oo-oo!"
Baloo: "Little brothers, this is the Law of the Wolf Cub Pack -- the Cub
       respects the Old Wolf, the Cub respects himself."  (While Baloo is
       speaking, the Cubs look at one another and nod in assent.)
(The Cubs then crawl round in their circle, clockwise, and say the following
words twice, keeping movement and words in time.)

Cubs:  "We hear the Law, we hear the Law, and we'll _learn_ the Law, we'll
       _learn_ the Law."  (Repeat).
(The Cubs turn to face Baloo, sitting back on their heels and giving
emphasis to the words underlined by hitting one fist into the palm of the
other hand.)

Cubs:  "And we'll do our _best_, Baloo, to _keep_ the Law."  (An extra big
       thump is given on the word "Keep".)
Baloo: "Well said, little brothers, well said."  (Then turning to any Cub
       he chooses in the circle): "Little brother, what is the second Cub
Cub:   "The Cub respects himself."

(Baloo repeats this question to another Cub, or to two more if the circle is
large.  To any of the answers throughout he may reply -- "That's right!",
"Good!", etc., if he chooses.)

Baloo: (to a different Cub) "What is the meaning of this Law?"
Cub:   "Think first of others."
Baloo: (to another Cub) "And?"
Cub:   "Keep on trying."
(These questions and answers are repeated as above.)
Baloo: (to another Cub): "What is the first Cub Law?"
Cub:   "The Cub respects the Old Wolf."
Baloo: "Now, little brothers, all together -- What is the meaning of the
       first Cub Law?"
Cubs:  (Quickly changing from sitting on their heels to the squatting
       position and throwing up their heads like a dog howling): "Obey-ey-ey!
       Obey-ey-ey!  Obey-ey-ey!"

(Baloo then waves them away and they scamper back to their lairs, while
Baloo ambles out of the clearing again.)

(Baloo should see to it that as many different Cubs as possible are asked a

The Dance of Bagheera

Bagheera was the black panther who could climb trees, or creep silently and
quite unseen in the shadows by night.  He was the crafty and skilful hunter,
brave and enduring.

Although he could be fierce and terrible when he liked, he had a kind heart,
and he taught Mowgli how to hunt and get his food.

For the Bagheera Dance each Cub becomes a panther.

The Pack being in the Parade Circle, each Cub moves along in a crouching
position, looking out to the right and left for game to hunt.  Suddenly
game is in sight.  Every Cub squats down, turning his head and gazing
towards the centre of the circle, where he must imagine there is a deer
feeding.  In order not to be seen, he quietly gets on to all fours, and
turns towards the centre, and then crawls backwards a few paces, in order
to get a little farther away from the deer, so as not to frighten him.  Then
every Cub begins to crawl slowly towards the centre.  As they get nearer,
all creep closer to the ground and move slowly.  When they get near, all lie
flat till the leader says "Now!" when they all spring forward on to the
imaginary deer with a yell, seize him and tear him to pieces.  They all fall
outwards and run jumping back to their places in the Parade Circle, carrying
and biting imaginary lumps of deer meat.

During the dance every Cub must watch the leader, and instantly do the same
thing he does.

There must be plenty of space for this Dance to be effective.  It is 100 per
cent better out of doors.


1. The 'crouching position' is first standing on your feet, bending your
   body over with your hands loose in front of you, not quite touching the

2. When you 'squat', it is simpler to get down on all fours.

3. It is worth providing something to represent the deer, even if it is only
   a paper bag or a piece of crumpled-up brown paper.

4. Choose on of the Sixers as leader.  The Pack must realize tha the success
   of the Dance largely depends upon each Cub exactly following his leader's
   movements and being careful not to get ahead of him.

5. The Jungle Dances are not just things for little kids, as some people try
   or make us believe.  It's not everyone who can turn himself into a bear
   or panther when he pleases, and really be a bear or panther except for
   just the shaggy coat or the spotted skin.

6. Variations can be arrived at by combining this Dance with various kinds
   of stalking games, which will, however, necessitate discarding the circle

The Hunger Dance of Kaa the Python

The leader will be Kaa's head, and the rest of the Pack will tail on behind
him, each holding the Cub in front of him, and will follow the head wherever
it goes, moving as slowly as possible, and keeping step with the Cub in
front of him.

The head will quietly glide along on a track like the figure of eight, and
will then wind his tail up into a circle, gradually getting smaller and
smaller, until he turns round and works his way out again in the figure
which the Scouts call the "Spiral".

Every Cub will keep on hissing during the whole performance, and will walk
on the tips of his toes without making the slightest noise, so that the
whole body sounds like a snake rustling through the grass, making occasionally
the louder hiss which is a snake's way of calling to his friends.

When Kaa has thus coiled and uncoiled himself, the leader gives the command
"Bandarlog," and at once the snake breaks up and each Cub runs about in his
own way, imitating the monkeys.

One will run as if on urgent business in a certain direction and will
suddenly stop, sit down, and look at the sky.  Another will dance on all
fours round and round without any real object.  Another will hunt his own
tail.  Others will climb imaginary branches and sit down and scratch in the
middle of it.  One will keep running round in a figure of eight.  Another
will creep on all fours up to some imaginary enemy and then suddenly sit
down and look up at the stars.  Another runs after his own tail, walks a few
paces, and then runs after his tail again.  Another will keep prancing,
pick up an imaginary straw and examine it and prance again.  Another turns
head over heels, sits up and scratches himself.  Another will walk very
hurriedly for a few paces as if on important business, stop, forget what he
was going for, scratch his head and walk rapidly again in a new direction,
and do the same thing over again.

In fact, do any silly thing you like such as monkeys do -- but don't take
any interest in what anybody else is doing.  Be very busy all the time and
do all the different things in turn.  The whole time you keep on giving the
monkey's call.  All will be in a state of confusion doing aimlessly silly
things, and all will at the same time give the monkey's cry -- "Goorrukk,
goorrukk how, how, goorrukk."

Suddenly, the leader shouts "Kaa."  The monkeys freeze with horror, for they
know, only too well, what their terrible enemy will do to them.

The Cub who forms Kaa's head stands up with arms outstretched, thumbs clasped,
head down, and slowly swings his body to and fro.  He hisses once, and all
the monkeys take an unwilling step forward.  He points out one of them.  The
frightened victim crawls forward between his legs and is "swallowed," and
then tails on behind the leader, as in the first part of the Dance.  Perhaps
a dozen monkeys go this way, one after the other, and so re-form the body of
Kaa; the others slowly move round to the back and retake their places as his
tail.  When all have joined up, the snake moves heavily round in a circle,
and then lies down and goes to sleep after his heavy meal.

This is done by all lying down, one after the other, starting with the
leader, each Cub resting his head on the back of the fellow in front of him.
At the call of "Pack! Pack! Pack!" everybody jumps up, shouts the answer
"Pack!" and forms Parade Circle.


1. Some Cubs hold on to each other by the shoulders...  Some Packs prefer to
   hold by the waist.  It is also better for the Cubs to have their heads
   well down rather than held erect.

2. Emphasize the frozen horror of each monkey when the dreaded call of
   "Kaa!" is heard.  He must keep very still, with eyes glued to Kaa, until
   Kaa points to him.

3. When Kaa goes to sleep at the end, it is rather easier if the Pack kneels,
   one Cub after the other, as the preliminary to lying down.

Variation (for a small Pack)

A small Pack will find that a much more snake-like appearance is obtained by
allowing the Cubs to hold hands, instead of placing them on the shoulders of
the boy in front.

The Cubs stand in a line according to size, and clasp hands stretching the
right hand forward and the left hand back.  Bending slightly, they move
forward in step, advancing with the right foot only and bringing the left
foot up to it.  Both knees should be slightly bent.  A nice slithering
jointed snake should result.

In a small Pack each Cub can be "swallowed" under the legs of the leader,
but of the leader only, the first victim being the smallest boy, since he
eventually becomes the tail end.  The second smallest is then swallowed, and
joins on between the smallest and the leader;  the third, between the leader
and the second; and so on up to the tallest.

If they then clasp right and left hands as before, they are in the right
position for lying down in a jointed snake-like manner, or if each Cub steps
over the joined hands in front of him, they are ready for "Skinning the

The Dance of Tabaqui

Tabaqui is the jackal, a sneaking sort of a fellow.  He is afraid to go about
alone, so he always keeps near his fellow jackals; although he tries to look
like a wolf, he never hunts or earns his food like one, bu sneaks about
trying to steal or beg it from others.  Then when he has got it he is not
a bit grateful, but runs about yapping and yelling, disturbing the game and
making a regular nuisance of himself.  There are lots of boys like Tabaqui
who rush about yelling and making little asses of themselves and bothering
people, always ready to beg for a penny or a bit of grub, but never anxious
to do any work.  They are quite ready to jeer or throw mud at people if they
are at a safe distance away, but are awful little cowards really.

I hope no Cub will ever deserve to be called Tabaqui.

Then there is Shere Kan.  He was the big ferocious-looking tiger.  An awful
bully.  He was not clever enough to hunt and catch wild game, so he used to
sneak about near a village and kill poor little calves and goats, and even a
defenceless old man -- if he could catch him asleep.  Otherwise he was
desperately afraid of man.

Well, the Tabaqui thought a tremendous lot of Shere Khan.  They followed him
about, and though he bullied them they kept telling him he was King of the
Jungle and the finest fellow on earth.  Of course they did this in order
that he should give them a bit of his kill when he was eating it.  I have
known Shere Khans among boys -- big ferocious-looking boys who bullied the
smaller ones in order to get what they wanted out of the, but they were
arrant cowards really if the small boy would only stick up to them.

In the Tabaqui Dance the Pack is divided into two sections.  Half of the
Cubs -- with a leader who is Shere Khan -- are the Tabaqui, the others are
the Wolves, who, of course, have Mowgli with them.

The Tabaqui and Shere Kan do their part first, so while the Wolves lie and
wait at one end of the room (or field), the jackals form a circle round
Shere Khan, who prances proudly in the centre; swaggers for all he is worth;
and seems to challenge any and everyone to come on and fight.  "I'm Shere
Khan, the Tiger King," he snarls, and the jackals, as they move around him,
murmur "Jackal, Jackal."

Suddenly a Tabaqui leaves the circle, sneaks up to Shere Khan and bows most
humbly to him.  Shere Khan, just for the bullying fun of the think, aims a
kick at his follower.  The jackal dodges the kick, bows low again as if to
say "Thank you" and runs back to his place.  All this time he has been where
Shere Khan can see him, but when he gets behind the tiger a great change
comes over him -- he stops cringing (that is, bending humbly) and makes a
face at Shere Khan.

They're a nice Cubby set of people, aren't they?  But look!  The Wolves are
moving.  They sweep down on the Tabaqui and each of them carries off one of
these little sneaks.  When the noise and scuffle have died away, and the
Wolves with their captives are lying quiet again, Shere Khan, who was just a
little nervous during the tumult, looks around him, sees that he is alone
and thinks to himself: "I'm greater than even I thought I was."  "I'm Shere
Khan, the Tiger King", he roars, hoping that all the Jungle Fold will hear
him and believe him.

The Jungle Folk might believe him, but Mowgli has always known the Tiger to
be just a cowardly bully.  He comes across now, very slowly, with one arm
outstretched (a finger pointing) and his eyes on those of the tiger.  Shere
Khan cannot look at Man.  He is afraid, and though he goes on saying that he
is the Tiger King, he gradually cringes down till he is flat at Mowgli's

The Dance is over, and the whole Pack rushes in to form Parade Circle.

You may feel that it is rather a difficult Dance, but it is well worth
trying, for keen Cubs can make it very real and exciting.  Others can, of
course, spoil it altogether by playing about and not even trying to act.
The whole success or failure rests on one thing, Cubs: you either want to
show that you, for one, don't like sneaks or bullies, or you haven't
worried to think!

1. Don't let Shere Khan repeat "I am Shere Khan, the Tiger King," too often.
   In between, he should be snarling and growling, and sometimes just
   prowling about impatiently.

2. The call "Jackal! Jackal!" should be a high squeak on one note, starting
   quite softly but gradually getting louder and louder.

3. The Dance is often dragged out too long because the Wolves do not start
   from their lair early enough.  Let them start out quite soon after the
   Tabaqui have started their cries of "Jackal! Jackal!" and surround them
   before pouncing on them and bearing them off.

4. This Dance holds more appeal for Cubs if all the actions and cries are
   mimetic.  The call "Jackal! Jackal!" is then replaced by the yapping of
   jackals rather after the fashion of a hungry puppy who is trying to
   ingratiate himself with his master.  Shere Khan says no words, but conveys
   their meaning by the tone and strength of his roars.


A very effective opening is as follows.  The Wolves and Tabaqui are sitting
quietly in their corners, Tabaqui keeping a sharp lookout for Shere Khan.
The Wolves are not interested in that, but busy in a quiet way on their own
affairs with Mowgli.

Shere Khan comes on alone, stalking an imaginary prey.  Very quietly he
advances until the time comes to spring upon it.  He then rends his prey,
and makes an excellent meal == but don't let him be too long about it!  After
his meal he falls asleep in the middle of the clearing.

The moment they see that Shere Khan is asleep the Tabaqui creep out in single
file until they have formed a circle round Shere Khan.  Excitement increases
as they see the tempting remains of his meal, and they start to call softly
"Jackal! Jackal!" and to run round the circle.  As they grow bolder the
noise increases, and one or two of the bolder spririts dart into the circle
and snatch a piece of meat.  At this stage the Wolves, disturbed by the
noise, stop their business and attend to what is going on in the clearing.
When the chattering is at its height Shere Khan wakes up, and in a great rage
at being disturbed leaps to his feet shouting: "I am Shere Khan, the Tiger

Then the Dance proceeds as in the Handbook.

The Dance of Shere Khan's Death

Now back to the Jungle for the Dance of Shere Khan's Death.  The bullying
tiger's last day came when rudely awakened from a sleep in a dry ravine of
the Waingunga River.  At dawn he had killed and eaten a pig, and had drunk,
too.  Mowgli, with the help of Akela and Grey Brother, divided a herd of
buffalo in two, and drove them into the ravine from opposite ends.  Shere
Khan, unable to clamber up the sides of the ravine after his big meal, was
trampled to death beneath the feet of the terrified buffaloes.  It was a
dog's death.  Now for the Dance.  First the Pack form a circle, and turning
to the left walk round singing the following words to the tune of Frere

   Mowgli's hunting,
   Mowgli's hunting,
   Killed Shere Khan,
   Killed Shere Khan,
   Skinned the Cattle-eater,
   Skinned the Cattle-eater,

(For after Shere Khan was dead Mowgli skinned him, although he had a quarrel
with old Buldeo the Hunter first, and had to ask Grey Brother to hold the
man to the ground until he promised to go away.  Mowgli took the skin to the
Council Rock afterwards, as you know.)  Now return to the song.  One step is
taken to each line, and the song is immediately repeated, with everyone
turning about and moving in the opposite direction.  The actions are as
follows: Line 1, move off with right foot and right hand; the hand is held
to shade the eyes in the attitude of a Scout peering over the country.  Line
2, repeat with left hand.  Line 3, a vigorous stabbing movement with the
right hand, as though stabbing the tiger.  Line 4, repeat.  Line 5, both
hands raised in front of face, imitate action of skinning by tearing the
hide apart.  Line 6, repeat.  Line 7, dance round to the right, waving the
arm above the head.  Line 8, repeat.

For the second part, Cubs get down on all fours facing to the centre of the
circle, with the leader outside.  This part of the dance consists of a series
of taunts to the dead tiger by the leader, the Pack responding to each by
growling and crawling a little towards the centre of the circle.  There are
four taunts in all.  Both taunts and growls start fairly softly and increase
gradually in noise and anger.  There should be no movement or sound from the
Pack between the growls.  The four taunts are: Lungri, Frog-eater, Burned
Beast of the Jungle, Hunter of little naked Man Cubs!  By the time of the
fourth growl the Pack should have reached the Rock Circle.

You begin the third part of the Dance by kneeling back on your haunches,
hands hanging loosely by the sides.  The leader should already be in place
in the centre by the Council Rock.

He kneels back in the same way, stretches both hands above his head, and says
slowly and dramatically, "Shere Khan is DEAD!"

The Pack then stretch their arms up in the same position and, taking their
time from him and keeping their hands in the same position, bow forward
three times till heads and hands touch the ground, saying "Dead-dead-dead!"
Then all jump up and shout "Hurrah!" excitedly three times, and dorp to the
ground as though shot in mid-air.  After lying in dead silence for about
five seconds the signal is given to get up, and the Dance of Death is over.
The Dance is not nearly so hard as it sounds from the description, and if
each part is tried separately before putting them all together, any Pack can
learn it.

If you want to entertain your fathers and mothers and friends, it is good to
do the Dance of Tabaqui, and immediately afterwards the Dance of Shere Khan's
Death, only somebody should explain the story first.


1. This is a dance of pure triumph, and is no time for being gentle and

2. Part I:

   Lines 3,4.  Use the right hand each time for stabbing.  And a real stab,
   not a pat, otherwise you will never get through an animal's tough hide.

   Lines 5,6.  Elbows out at each side on a level with the face, fingers
   outwards.  Pull the hands apart with a real physical effort so as to
   expand the chest and take the shoulders as far back as they will go.
   Some Cubs do this as if they were drawing the bedroom curtains unwillingly
   in the morning!

   You may prefer dropping on one knee for these lines, slitting the
   imaginary hide and then rending it apart.

   Lines 7,8.  A real war-dance of joy and a shout!

3. Part 2.  Allow plenty of room between each Cub and practise moving in
   quite a short distance each time, so that the Pack is just in Rock Circle
   for Part 3.

Variation One

Instead of Parts 2 and 3 as in the Handbook, the following has been found

At the commencement of Part 2, Mowgli is outside the circle, with Shere Khan's
skin on his head.  Pack as in Handbook.  Mowgli enters circle of waiting
Wolves and casts the skin on the Council Rock.  Then the taunts begin and
the Wolves respond, exactly as in the Handbook, but Mowgli is already within
the Circle and ready for Part 3.

At the end of Part 2 Mowgli falls excitedly upon the skin.  Then, while still
on his knees, he raised his body and flings up his hands in triumph, crying,
"Shere Khan is dead!"  The Wolves throw up their hands and howl to the Moon,
"Dead! Dead! Dead!" and proceed just as in the Handbook.

Variation Two

There is another version of this dance which some may prefer.  The actions
are the same, but, instead of singing the words "Mowgli's hunting", utter
them in as dramatic a way as possible almost whispering the first couplet,
increasing the volume on each line and so working up to the final yell of
triumph.  When you come to the yell at the end, instead of shouting
"Rah-rah-rah!" and dancing around, throw up your arms and heads with a great
shout of "Woof!"

You can, if you like, repeat this cry of joy at the end of the dance instead
of the word "Hurrah!".

But the great thing to remember is that it really is a fine piece of acting
if you put every ounce of yourself into it.

Jungle Dances and their Variations
B.P. House,