Much more nearly parallel to the development of the other forms of art is that of the _musical arts_, meaning by this all those arts which consist in the direct activity of man himself. The musical arts include the dance, poetry, and music, as well as the various combinations into which these enter with one another. Since it is the third of these arts, music, that manifests a particular tendency to combine with and to supplement the other two, all three may be comprehended under its name. This will also serve to suggest the fact that, just as the formative arts are closely related in that they give objective embodiment to the creations of the imagination, so also are the musical arts allied by virtue of their reliance on subjective expression. Of all these various arts, the _dance_ preserves the closest connection with the more primitive age. In the cult dance of the totemic period, however, the dance receives an extraordinarily rich development, reaching a stage of perfection comparable to that to which formative art attains in the external adornment of the body--that is, in tattooing. The dance and tattooing, indeed, are closely related, since nowhere else is the _personal body_ so directly the object and the means of artistic activity. To the dances of the primitive period, however, the totemic dance adds _one_ external feature--the _mask_--whose origin is directly due to totem belief. Even the Australians, of course, are not familiar with the mask-dance. They sometimes paint the face or mark it with single lines, and this may be regarded as the precursor of the mask; the mask itself however appears only in the later development of totemism, and continues far into the succeeding age. Moreover, as regards its distribution, there are considerable differences. It plays its most important rôle in American and Polynesian regions, a less prominent one in Africa. In America, the mask-dance and the elevation of masks into cult objects, to which the mask-dance occasionally gives rise, extend from the Esquimos of the north far down to the south. Koch-Grünberg has given a clear picture of the mask-dances and the mask-cult of the natives of the Brazilian forests. Here the masks are not a secondary means of magic, as it were--much less an occasional object of adornment. Every mask is a sort of sacred object. When the youth attains to manhood, he receives a mask, which is sacred to him throughout his entire life. After the great cult festivals, which are celebrated with mask-dances, the masks are carefully preserved. In the mask there is supposed to reside the demon who is represented by it, and the fear of the demon is transferred to the mask. The dancing of this period consists primarily of the animal dance, which is a rhythmic imitation, often wonderfully skilful, of the movements of an animal. The mask also, therefore, always represents, in a more or less altered or grotesquely exaggerated form, an animal's head, or a being intermediate between animal and man, thus vividly calling to mind certain totemic legends whose heroes are sometimes animals and sometimes human beings. On the more advanced stages of totemic culture, there are also masks representing objects of external nature. Mention has already been made of the cloud masks used in the vegetation festivals of the Hopi and Zuni. The rain-priests of these tribes, with these masks on their heads and with pictures of zigzag lightning on their garments, are the living representatives of storm demons. Thus, the mask imparts to its wearer the character of the demon represented by it. The characteristics of face-masks, such as enormous beards and teeth, huge eyes, noses, etc., cause them, particularly, to be the living embodiments of the fear of demons, and thus to be themselves regarded as demoniacal beings. Whatever may be their more specific nature, whether, for example, they represent demons of sickness or of fertility, they always present the same fear-inspiring features. A certain diversity of expression is much more likely to come as a result of the external character of the dance in which the masks are used. This may give rise to expressions portraying surprise and astonishment, or the more lively emotions of fear, terror, or exalted joy. In the latter case, we must bear in mind that representations of grinning laughter differ in but a few characteristic marks from those of violent weeping.