Eighth Annual Report Part 31

[Ill.u.s.tration: Plate CXXI. SECOND SAND PAINTING.]

Upon completion of the painting the song-priest, who stood to the east of it holding in his hand a bag of sacred meal, stepped carefully between the figures, sprinkling pollen upon the feet and heart of each.

He then sprinkled a thread of pollen up each cheek and down the middle of the face of the figures, afterwards extending his right hand toward the east. The face of the encircling rainbow G.o.ddess was also sprinkled.

The song-priest placed the sacred wands around the rainbow, commencing on the west side of the painting, and repeated a prayer, pointing his finger to the head of each figure. He also placed a small gourd of medicine water in the hands of the rainbow G.o.ddess and laid a small cedar twig on the gourd. The invalid upon entering the lodge was handed an Apache basket containing sacred meal, which he sprinkled over the painting and placed the basket near the feet of the rainbow G.o.ddesses; the song-priest and choir sang to the accompaniment of the rattle. A short time after the entrance of the invalid Hasjelti appeared, and taking the evergreen from the gourd dipped it into the medicine water and sprinkled the feet, heart, and heads of the sand figures, after which the invalid sat in the center of the cross. Hasjelti gave him a sip of the sacred water from the gourd and returned the gourd to its place; then he touched the feet, heart, and head of each figure successively with his right hand, each time touching the corresponding parts of the body of the invalid. Every time Hasjelti touched the invalid he gave a weird hoot. After he had been touched with sands from all the paintings the theurgist, selecting a few live coals from a small fire which had been kept burning near the door, threw them in front of the invalid, who still retained his seat in the center of the painting.

The theurgist placed herbs, which he took from a buckskin bag, on the coals from which a very pleasant aroma arose. An attendant sprinkled water on the coals and a moment after threw them out of the fire opening. The song-priest gathered the wands from around the edge of the painting and four attendants began to erase it by sc.r.a.ping the sands from the cardinal points to the center. Again the people hurried to take sand from the hearts, heads, and limbs of the figures to rub upon themselves. The sands were gathered into a blanket and deposited at the base of a pion tree about one hundred yards north of the lodge. A chant closed the ceremony.

SEVENTH DAY.

The first business of the day was the preparation of an elaborate sand picture, and though the artists worked industriously from dawn, it was not completed until after 3 oclock. The paint grinder was kept busy to supply the artists. It was observed that in drawing some of the lines the artists used a string of stretched yarn instead of the weaving stick. When five of the figures had been completed, six young men came into the lodge, removed their clothes, and whitened their bodies and limbs with kaolin; they then left the lodge to solicit food from the people, who were now quite thickly gathered over the mesa to witness the closing ceremonies. The mesa top for a mile around was crowded with Indians, horses, sheep, and hogans (lodges); groups of 3 to 20 Indians could be seen here and there gambling, while foot and horse racing were features of special interest. Indeed, the people generally were enjoying themselves at the expense of the invalid. The rainbow G.o.ddess, Nattsilit, surrounding the painting, was about 25 feet in length. Upon the completion of the painting the song-priest sprinkled the figures with pollen as before described and planted the feather wands around the pictures.

In the ill.u.s.tration of this painting, Pl. CXXIII, Hasjelti will be recognized as the leader. He carries a fawn skin filled with sacred meal; the spots on the skin are seven and in the form of a great bear.

The fawn skin indicates him as the chief of all game. It was Hasjelti who created game. The first six figures following Hasjelti are the Ethsethle. The next six figures are their wives. Toneennili, the water sprinkler (_to_, water, and _yonily_, to sprinkle), follows carrying a water jug, from which he sprinkles the earth. The Ethsethle wear leggings of corn pollen and the forearms of the G.o.ds are covered with pollen. Their wives have their arms and bodies covered with the same.

The skirts of the Ethsethle are elaborately ornamented and their pouches at their sides are decorated with many beads, feathers, and fringes. The G.o.ds are walking upon black clouds and mist (the yellow denoting mist), the women upon blue clouds and mist.

During the ceremony an Apache basket containing meal was brought in and placed at the feet of the rainbow G.o.ddess. The invalid entered the lodge, which had become quite filled with privileged spectators, and receiving the basket of meal, sprinkled the figures from left to right; he then removed all his clothing except his breech cloth and stood east of the painting. Hostjoghon stepped to the head of the rainbow G.o.ddess and taking the small gourd of medicine water dipped the cedar twig into the water and sprinkled the figures, then touched the twig to the feet, heart, and head of each figure, commencing at the male figure to the north and pa.s.sing south, then beginning with the female figures to the north and pa.s.sing south. The invalid took his seat in the center of the painting with his knees drawn to his chin. Hostjoghon held the medicine gourd over each figure and pa.s.sed it to the invalid, who took four sips, Hostjoghon hooting each time he pa.s.sed the gourd to the invalid. After returning the gourd and twig to their former position he placed the palms of his hands to the feet and head of each figure and then placed his palms on the corresponding parts of the invalids body, and pressed his head several times between his hands. After touching any part of the invalid, Hostjoghon threw his hands upward and gave one of his characteristic hoots. The song-priest placed coals in front of the invalid and herbs upon them, as he had done the day before, and then retired. The coals were afterwards thrown out of the fire opening and the crowd rushed to the painting to rub their bodies with the sand. The painting was obliterated in the usual manner and the sand carried out and deposited at the base of a pion tree some 200 yards from the lodge.

[Ill.u.s.tration: Plate CXXII. THIRD SAND PAINTING.]

EIGHTH DAY.

The grinding of the paint began at daylight, and just at sunrise the artists commenced their work. When any mistake occurred, which was very seldom, it was obliterated by sifting the ground color over it. Each artist endeavored to finish his special design first, and there was considerable betting as to who would succeed. The rapidity with which these paints are handled is quite remarkable, particularly as most of the lines are drawn entirely by the eye. After the completion of the painting, each figure being three and a half feet long, corn pollen was sprinkled over the whole by the song priest. (See ill.u.s.tration, Pl.

CXXIII.)

The corn stalk in the picture signifies the main subsistence of life; the square base and triangle are clouds, and the three white lines at the base of the corn stalk denote the roots of the corn. The figures of this picture are each 3 feet in length. These are the Zenichi (people of the white rock with a red streak through it) and their wives. Their homes are high in the canyon wall. The black parallelogram to the west of the painting designates a red streak in the rock in which are their homes. The delicate white lines indicate their houses, which are in the interior or depths of the rock, and can not be seen from the surface.

This canyon wall is located north of the Ute Mountain. These people of the rocks move in the air like birds. The red portion of the bodies of the Zenichi denote red corn; the black portion black clouds. The red half of the face represents also the red corn; the blue of the bodies of the others denote vegetation in general, and the yellow, pollen of all vegetation. The zigzag lines of the bodies is lightning; the black lines around the head, zigzagged with white, are cloud baskets that hold red corn, which is stacked in pyramidal form and capped with three eagle plumes. There are five feathers of the red and black shafted flicker (_Colapteo cafer_) on either side of the head. A lightning bow is held in the left hand, the right holds a rattle ornamented with feathers. The females carry in their hands decorated baskets and sprigs of pion, and they wear white leggings and beaded moccasins. The Zenichi never dance.

These G.o.ds are also called Zaadoljaii, meaning rough mouth, or anything that protrudes roughly from the mouth. (The mouth and eyes of these G.o.ds protrude.) The rainbow G.o.ddess is represented at the north and south end of the painting. The corn stalk has two ears of corn, while the original stalk had 12 ears. Two of these ears the G.o.ds gave to the younger brother of the Tolchini when they commanded him to return to the Navajo and instruct them how to represent the G.o.ds in sand painting and in masks. The four corner figures will be recognized as the Naashiddi (hunchback, or mountain sheep).

[Ill.u.s.tration: Plate CXXIII. FOURTH SAND PAINTING.]

During the ceremony Hasjelti, dressed in black velvet ornamented with silver, and Hostjoboard, with her nude body painted white and with silk scarf around the loins caught on with silver belt, left the lodge to gather the children upon the mesa for the purpose of initiating them; but the children had already been summoned by men who rode over the mesa on horseback, visiting every hogan to see that all the children were brought for initiation. A buffalo robe was spread at the end of the avenue which extended from the medicine lodge some three hundred yards.

The head of the robe was to the east; at the end of the robe blankets were spread in a kind of semicircle. Most of the children were accompanied by their mothers. The boys were stripped of their clothing and sat upon the buffalo robe. The head of the line being to the north, they all faced east with their feet stretched out. Their arms hung by their sides and their heads were bent forward. The girls sat in line upon the blanket in company with their mothers and the mothers of the boys. It is entirely a matter of choice whether or not a mother accompanies her child or takes any part in the ceremony. The girls also sat like the boys, their heads bent forward. Their heads were bent down that they might not look upon the G.o.ds until they had been initiated. Up to this time they were supposed never to have had a close view of the masks or to have inspected anything pertaining to their religious ceremonies. The children ranged from five to ten years of age. At this particular ceremony nine boys and six girls were initiated. When the children were all in position, Hasjelti, carrying a fawn skin containing sacred meal, and Hostjoboard, carrying two needles of the Spanish bayonet, stood in front of the children. The boy at the head of the line was led out and stood facing the east. Hasjelti, with the sacred meal, formed a cross on his breast, at the same time giving his peculiar hoot.

Hostjoboard struck him upon the breast, first with the needles held in her right hand and then with those held in the left. Hasjelti then turned the boy toward the right until he faced west and made a cross with meal upon his back, when Hostjoboard struck him twice on the back with the needles. He was again turned to face the east, when both arms were extended and brought together. Hasjelti made a cross over the arms and then over the knees. Each time the boy was crossed with the meal Hostjoboard struck the spot first with the needles in the right hand and then with those in the left, after which the boy returned to his seat.

The cross denotes the scalp knot. Most of the boys advanced quite bravely to receive the chastis.e.m.e.nt. I noticed but one who seemed very nervous, and with great difficulty he kept back the tears. The boys ceremony over, the G.o.ds approached the girls, beginning at the end of the line next to the boys. Hasjelti marked a line of meal on each side of the foot of the girl, when Hostjoboard, now holding two ears of yellow corn wrapped with pion twigs, placed them to the soles of the girls feet and Hasjelti drew a line of meal on each hand; after which Hostjoboard placed the ears of corn to the palms of the hands, she holding the corn in her palms and pressing it to the palms of the girls hands. Hasjelti formed a cross on the breast with the meal and Hostjoboard pressed the two ears of corn to the breast; a cross was made on the back and the two ears of corn pressed to the back. Hasjelti, with his right hand, then drew a line on the girls left shoulder, and with his left hand a line on the girls right shoulder, the corn being pressed to the shoulders in the manner described. Two lines of meal were run over the forehead back to the top of the head, and the two ears of corn pressed to the top of head. The boys were nude but the girls were gayly dressed in blankets, jewelry, etc. At the close of this ceremony the representatives of the G.o.ds removed their masks and called upon the children to raise their heads. The amazement depicted upon the faces of the children when they discovered their own people and not G.o.ds afforded much amus.e.m.e.nt to the spectators. The masks were laid upon a blanket and the girls and boys were commanded to look upon them. Hostjoboard placed her mask upon the face of each boy and girl and woman in the line, beginning at the north end of the line, giving a hoot each time the mask was placed upon anyone. Great care was taken that the mask should be so arranged upon the face that the eyes might look directly through the eyeholes, for should any blunder occur the sight of at least one eye would be lost. It is scarcely on before it is removed. After the masks had been placed on all the faces it was laid beside Hasjeltis. The man personating Hasjelti sprinkled his mask and then Hostjoboards with pollen, and the man personating Hostjoboard sprinkled Hasjeltis mask and then his own with pollen. The boy to the north end of the line was called out and from the pollen bag took a pinch of pollen and sprinkled first the mask of Hasjelti and then Hostioboards. This was repeated by each boy, girl, and woman in the line. In approaching the masks they always pa.s.s back of the line around to the north side and then step in front of the masks. The mask is sprinkled in this wise: A line of pollen is run from the top of the head down to the mouth; pa.s.sing around to the right the line is drawn upward over the left cheek; the hand continues to move outside of the mask to a point below the right cheek, then up the right cheek. The younger childrens hands were guided by the representatives of the G.o.ds. It would be a great fatality to sprinkle a drop of meal over the eye holes; the individual committing such an error would become blind at least in one eye. Great care is also taken that the line is run up the cheek, for if it was run down not only would vegetation be stunted, but the lives of the people would become so, as all people and things should aim upward not downward. The line running down through the center of the face calls upon the G.o.ds above to send down rain upon the earth and health to all people. Two or three children started through ignorance to run the meal down one of the cheeks; they were instantly stopped by Hasjelti, but not until the people looking on had expressed great horror. All in the line having gone through this ceremony the crowd of spectators sprinkled the masks in the same manner.

I was requested to sprinkle them, and at the same time was specially instructed to run the lines up the cheeks. This closed the ceremony of initiation. The boys were then permitted to go around at will and look at the masks and enter the lodge and view the sand painting. Hasjelti and Hostjoboard returned to the lodge, carrying their masks in their hands.

About an hour after the ceremony of the initiation of the children a large buffalo robe was spread on the avenue with his head to the east, around which a circle of some hundred feet in diameter was formed by hors.e.m.e.n and pedestrians who gathered, eager to witness the outdoot ceremony. The theurgist and invalid were seated outside of the lodge, south of the entrance. The dieties personated in this occasion were the G.o.ds Hasjelti and Taadotjaii, and the G.o.ddess Tebahdi. Haskjelti wore black velvet and silver ornaments, with red silk scarf around the waist.

Taadotjaii was nude, his body being painted a reddish color. The limbs and body were zigzagged with white, representing lightning and downy breast feathers of the eagle, and in his right hand a gourd rattle devoid of ornamentation. Yebahdi wore the ordinary squaws dress and moccasins, with many silver ornaments, and a large blanket around her shoulders touching the ground. Hasjelti approached dancing, and sprinkled meal over the buffalo robe, and the invalid stood upon the robe. Hasjelti, followed by Zaadoltjaii, again entered the circle and sprinkled meal upon the robe. The G.o.ddess Yebahdi following, stood within the circle some 20 feet from the robe on the east side and facing west. Hasjelti, amidst hoots and anties, sprinkled meal upon the invalid, throwing both his hands upward. Immediately Zaadoltjaii, with arrow in the left hand and rattle int he right, threw both hands up over the invalid amidst hoots and antics. They then pa.s.sed to Yebahdi, who holds with both hands a basket containing the two yellow ears of corn wrapped with pine twigs that were used in the childrens ceremony, and indulged in similar antics over the G.o.ddess. As each representative of the G.o.ds threw up his hands she raised her basket high above and in front of her head. Hasjelti, together with Zaadoltjaii and Yebahdi, then pa.s.sed around within the circle to the other three points of the compa.s.s. At each point Yebahdi took her position about 20 feet from the buffalo robe, when Hasjelti and Zaadoltjhaii repeated their performance over the invalid and then over Yebahdi each time she elevated the basket. The invalid then entered the lodge, followed by the representatives of the G.o.ds, who were careful to remove their masks before going in. The invalid sat on the cornstalk in the center of the sand painting, facing east. Zaadoltjaii stepped upon the painting, and taking the little medicine gourd from the hands of the rainbow G.o.ddess, dipped the cedar twig into the medicine water and sprinkled the painting, beginning at the south side. Zaadoltjaii gave the invalid a draft from the gourd, and waving the gourd from left to right formed a circle, amidst the wildest cries. He gave three more drafts to the invalid, each time waving the gourd around the invalid with a wave toward the east. He then placed the palm of his hand over the feet of all the figures, beginning with the figure at the south end, west side; running up that line he began with the figure on the north end east side, running down that line; he then placed his hands to the soles of the feet of the invalid, hooting twice; then the heart of the invalid was touched in the same manner with the palm of the right hand, the left hand being placed to his back. The body was pressed in this way four times amid loud cries. This was repeated upon the invalid. After touching each figure of the painting, the right hand was placed to the forehead of the invalid and the left hand to the back of the head, and the head pressed in this way on all sides. The song-priest put live coals before the invalid and upon them sprinkled tobacco and water, the fumes of which the invalid inhaled. An attendant then threw the coals out of the fire opening, and the song-priest gathered the twelve turkey wands from around the painting while the inmates of the lodge hastened forward to press their hands upon what remained of the figures, then drawing a breath from their hands, they pressed them upon their bodies that they might be cured of any infirmities, moral or physical, after which four men gathered at the points of the compa.s.s and swept the sand to the center of the painting, and placing it in a blanket deposited it a short distance from the lodge.

NINTH DAY.

FIRST CEREMONY.

The final decoration of masks with ribbons, plumes, etc., began at sunrise and consumed most of the morning. About noon two sticks 1 inch in diameter and 6 inches long were colored; one, of pion, was painted black, the other, of cedar, was colored red. Three medicine tubes were made, one black, one red, and one blue. These were placed in a basket half filled with meal; the basket stood in the niche behind the song-priest. Two men personated Naiyenesgony and Tobaidischinni.

Naiyenesgonys body was painted black (from the embers of a burnt weed of which specimens were procured) and on the outside of his legs below the knee, on the upper arms, breast and scapula were bows in white but without arrows. Tobaidischinni had his body painted with the scalp knot in white in relative positions to the bows on Naiyenesgony. A third man, personating the turquois hermaphrodite Ahsonnutli, wore the usual squaws dress with a blanket fastened over the shoulders reaching to the ground. Her mask was blue. The three left the lodge carrying their masks in their hands. Pa.s.sing some distance down the avenue to the east they put on their masks and returned to the lodge. A buffalo robe had been spread in front of the lodge. Just as the maskers returned, the invalid, wrapped in a fine red Navajo blanket and bearing a basket of sacred meal, stepped upon the robe; he had before stood in front of the lodge by the side of the song-priest. The many spectators on foot and horseback clad in their rich blankets formed a brilliant surrounding for this ceremony, which took place just at the setting of the son.

Naiyenesgony carried in his right hand a large lava celt which was painted white. Tobaidischinni followed next carrying in his right hand the black wood stick which had been prepared in the morning, and in his left hand the red stick. Ahsonnutli followed with bow and arrow in the left hand and an arrow in the right with a quiver thrown over the shoulder.

Naiyenesgony drew so close to the invalid that their faces almost touched and pointed his celt toward the invalid. Tobaidischinni then approached and in the same manner pointed the sticks toward him, after which he was approached by Ahsonnutli with her bow and arrows. This was repeated on the south, west, and north sides of the invalid; each time the invalid partially turned his arm, shoulder, and back to sprinkle meal upon the G.o.ds. The G.o.ds then rushed to the entrance of the medicine lodge repeating the ceremony there, when they hurried to the south side of the lodge (the invalid having returned to the lodge; the buffalo robe was carried in by an attendant). The G.o.ds went from the south side of the lodge to the west and then to the north performing the same ceremony. As the invalid had spent many days in the lodge and the disease at each days ceremony exuded from his body, it was deemed necessary that these G.o.ds should go to the four points of the compa.s.s and draw the disease from the lodge. When they entered the lodge the buffalo robe had been spread in front of the song-priest with its head north. Upon this robe each G.o.d knelt on his left knee, Naiyenesgony on the north end of the robe, Ahsonnutli on the south end, and Tobaidischinni between them, all facing east. The song-priest, followed by the invalid, advanced to the front of the line carrying the basket containing the medicine tubes. He sprinkled Naiyenesgony with corn pollen, pa.s.sing it up the right arm over the head and down the left arm to the hand. He placed the black tube in the palm, of the left hand of the G.o.d, the priest chanting all the while a prayer. The red tube was given with the same ceremony to Tobaidischinni, and the blue tube with the same ceremony to Ahsonnutli. The quiver was removed from Ahsonnutli before she knelt. The song-priest, kneeling in front of Naiyenesgony, repeated a long litany with responses by the invalid, when the G.o.ds left the lodge led by Naiyenesgony who deposited his tube and stick in a pion tree, Tobaidischinni depositing his in a cedar tree, and Ahsonnutli hers in the heart of a shrub.

SECOND CEREMONY.

The scene was a brilliant one. Long before the time for the dance a line of four immense fires burned on each side of the avenue where the dance was to take place, and Navajo men and women clad in their bright colored blankets and all their rare beads and silver encircled each fire. Logs were piled 5 or 6 feet high. In addition to these eight fires there were many others near and far, around which groups of gamblers gathered, all gay and happy. Until this night no women but those who carried food to the lodge had been present at any of the ceremonies except at the initiation of the children. To say that there were 1,200 Navajo would be a moderate calculation. This indeed was a picture never to be forgotten.

Many had been the objections to our sketching and writing, but throughout the nine days the song-priest stood steadfastly by us. One chief in particular denounced the theurgist for allowing the medicine to be put on paper and carried to Washington. But his words availed nothing. We were treated with every consideration. We were allowed to handle the masks and examine them closely, and at times the artists working at the sand painting really inconvenienced themselves and allowed us to crowd them that we might observe closely the many minute details which otherwise could not have been perceived, as many of their color lines in the skirt and sash decorations were like threads. The accompanying sketches show every detail.

The green or dressing room was a circular inclosure of pine boughs at the end of the avenue. It was about 10 feet high by 20 feet in diameter made of pion branches with their b.u.t.ts planted in the ground, their tops forming a brush or hedge. Within this inclosure the masks were arranged in a row on the west side. A large fire burned in the center affording both heat and light. The different sets, when a change of dress from one set of men to another was to be made, repaired to this green room for that purpose. This inclosure was also the resort during the night for many Indians who a.s.sisted the dancers in their toilets.

At 10 oclock the ceremonies opened by the entrance upon the avenue of the song-priest who came from the green room. He wore a rich red blanket and over this a mountain lion skin; immediately after him followed Hasjelti, leading the four Etsethle (the first ones). These represented first, natan (corn); second, natin (rain); third, nanase (vegetation); fourth, jadetin (corn pollen). Their masks were blue ornamented with feathers and were similar to the masks worn by the dancers; their bodies were painted white with many rare beads around their necks, and they wore loin skirts with silver belts; a gray fox skin was attached pendant to the back of the belt, and blue stockings, tied with red garters, and moccasins completed their dress. They carried in their right hands gourd rattles painted white. The handles of these may be of any kind of wood, but it must be selected from some tree near which lightning has struck, but not of the wood of the tree struck by lightning. Corn pollen was in the palms of their left hands and in the same hand they carried also a pion bough. Hasjelti wore a suit of velvet ornamented with silver b.u.t.tons; he never speaks except by signs. They advanced single file with a slow regular step and when within 20 feet of the lodge the priest turned and faced Hasjelti and repeated a short prayer, when the Etsethle sang.

SONG OF THE ETSETHLE.

From below (the earth) my corn comes I walk with you.

From above water young (comes) I walk with you.

From above vegetation (comes to the earth) I walk with you.

From below the earth corn pollen comes I walk with you.

These lines are repeated four times. The first line indicates that corn is the chief subsistence; the second, that it is necessary to pray to Hasjelti that the earth may be watered; the third, that the earth must be embraced by the sun in order to have vegetation; the fourth, that pollen is essential in all religious ceremonies. The Etsethle signify doubling the essential things by which names they are known, corn, grain, etc., they are the mystic people who dwell in canyon sides unseen. After the song the invalid with meal basket in hand pa.s.sed hurriedly down the line of G.o.ds and sprinkled each one with meal, pa.s.sing it from the right hand up to the right arm, to the head then down the left arm to the hand, placing a pinch in the palm of the left hand. The invalid then returned and stood to the north side of Hasjelti who was to the left of the song-priest. The theurgist stood facing natan (corn) and offered a prayer which was repeated by the invalid.

Continency must be observed by the invalid during the nine days ceremonial and for four days thereafter.

PRAYER TO THE ETSETHLE.

People, you come to see us; you have a house in the heart of the rocks; you are the chief of them; you are beautiful. Come inside of our houses.

Your feet are white; come into our house! Your legs are white; come into our house! Your bodies are white; come into our house! Your face is white; come into our house! Old man, this world is beautiful; the people look upon you and they are happy. This day let all things be beautiful.

This prayer is repeated many times, merely subst.i.tuting for old man old woman, then youth, young girl, boy, then all children. The old man and woman spoken of are not the first old man and woman in the myth of the old man and woman of the first world. After the prayer the song-priest and invalid took seats by the entrance of the lodge. Hasjelti took his position to the west end and to the north of the line of the Etsethle.

He remained standing while the four slowly raised the right foot squarely from the ground, then on the toe of the left foot, which motion shook the rattle. In a short time Hasjelti pa.s.sed down the line hooting.

He pa.s.sed around the east end, then returned up the north side to his former position, and again hooting, resumed the leadership of the Etsethle, who gave a long shake of the rattle as soon as Hasjelti stood in front of them. They then followed their leader to the dressing room.

CONCLUSION--THE DANCE.

The song-priest having returned to the green room, emerged therefrom, followed by Hasjelti, who carried a fawn skin partially filled with meal, and by twelve dancers and Hostjoghon, holding in each hand a feather wand. The twelve dancers represented the old man and woman six times duplicated. Hasjelti led the dancers and Hostjoghon followed in the rear. When they came near the lodge the song-priest turned and faced the dancers, and being joined by the invalid, he led him down the line of dancers on the north side, the invalid carrying a sacred meal basket, and sprinkled the right side of each dancer. The song-priest and invalid then returned to their seats in front of the lodge. Hasjelti pa.s.sed down the line on the north side and joined Hostjoghon at the east end of the line, both then pa.s.sing to the west end, where each one endeavored to be the first to stamp twice upon the ground immediately in front of the leading dancer. This double stamp is given with hoots, and they then returned down the line to the center, when Hasjelti dashes back to the west end, clasping the throat of the fawn skin with his right hand and holding the legs with his left, with both his arms extended to the front. Hostjoghon extending his hands with the feather wands in them, they point the head of the skin and tops of the wands directly in front of them as they stand facing each other, hooting at the same time.

Reversing sides by dashing past each other, Hasjelti points his fawn skin to the east while Hostjoghon points his wands to the west. They then return to their respective positions as leader and follower.

After the dance begins Hasjelti pa.s.ses down the north side and joins Hostjoghon at the east end of the dancers, Hasjelti keeping to the north side of Hostjoghon. Three of the men, representing women, were dressed in Navajo squaw dresses and three of them in Tusayan squaw dresses; they held their arms horizontally to the elbow and the lower arm vertically, and, keeping their feet close together, raised themselves simultaneously on their toes. The dance was begun in single file, the men raising only their right feet to any height and balancing on the left. After a minute or two the line broke, the women pa.s.sing over to the north side and the men to the south side; almost instantaneously, however, they grouped into a promiscuous crowd, women carrying a pine twig in each hand and the men a gourd rattle in the right hand and a pine twig in the left.

The mens bodies were painted white and were nude, excepting the silk scarfs and mountain lion and other skins worn around the loins. Just before the stamping of the feet in the beginning of the dance, a rattle was shaken by all the male dancers, which was the signal for a peculiar back motion of the right arm and body and one which preceded the actual dancing. The six males lean their bodies to the right side extending the right hand backward, and then bringing it forward in a circular under sweep around to the mouth with a hoot. They then turn and face the east, and bending their bodies toward the south perform the same motion as before, when they turn to the west and repeat it in that direction. At the same time the leader and follower repeat their peculiar performance with the fawn skin and wands to the east and west. Dancing promiscuously for a few moments to song and rattle, the men representing women singing in feminine tones, they form again in two lines, the women as before on the north side. The man at the west end of the male line and the woman at the same end of the female line, meeting each other midway between the lines she pa.s.ses her right arm through the arm of her partner, his arm being bent to receive it; they pa.s.s between the line and are met a short distance from the other end of the line by Hasjelti and Hostjoghon, who dance up to meet them, the movement resembling closely the old-fashioned Virginia reel. The couple then dance backward between the lines to their starting point, then down again, when they separate, the man taking his place in the rear of the male line and the woman hers in the rear of the female line. This couple starting down the second time, the man and woman immediately next in line lock arms and pa.s.s down in the same manner, Hasjelti and Hostjoghon scarcely waiting for the first couple to separate before dancing up to meet the second couple; the remaining couples following in like order until the first couple find themselves in their former position at the head of the line. Now a group dance is indulged in for a minute or two when lines are again formed, and a second figure exactly like the first is danced. This figure was again repeated without variation, after which the men and women fell into single file, and, led by Hasjelti and followed by Hostjoghon, left the dancing ground. They did not go to the green, however, but moved off a short distance to rest for a moment and returned. Upon each return the invalid pa.s.sed down the line on the north side sprinkling each dancer with meal, Hasjelti and Hostjoghon performing with the fawn skin and wands. This dance of four figures was repeated twelve times, each time the dancers resting but a moment. After the twelve dances the dancers pa.s.sed to the green room, where they were relieved by a second set of men. The second series of dances were exactly like the first. There were twenty-one dances, four figures in each dance, and each time the dancers appeared they were sprinkled with meal by the invalid, while Hasjelti and Hostjoghon performed their antics with fawn skin and wands. The third series embraced all the dances exactly like the above. The fourth series embraced nineteen dances. The only variation in this was that the leaders were often more clownish in their performances, and upon several occasions only four men representing women appeared. In this case two men danced together. Some of the dancers dropped out from weariness, which caused diminution in some of the sets. The last dance closed at the first light of day. The song-priest had preceded the last dancers to the green room and awaited their arrival to obtain the masks, which were his special property.