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Show IHVKiMKA TEDLOUK from the top of the head, and turquoise moccasins (see Bunzel 1932b:Plate 37d). Whenever there are individualists in the line they separate them, "with one fifth in line and the other twelfth or so, just so it'll look good." After assembling their costumes, all the dancers gather at their kiva; if the dance is to be performed outdoors, the time of this gathering is early afternoon. They give their gourd rattles and turtle shell rattles to the Dance Chief. He prays to these, calling them nana, 'grandfather', and asks them for tek7ohannanne, 'daylight'. He docs not pray to the sleigh bells or wooden rattles which are used in some of the more recent dances because "they're man-made, but turtles and gourds are 7a-ho7?i, 'beings'." After these prayers are over, the men tie their turtle shell rattles to their legs, put their masks on, and leave the kiva in single file. As they pass by the Dance Chief he spits Payatamu medicine on them to help them attract a large audience. If they are to perform outdoors, as in the Summer Series, they should now make four clockwise circuits of the four plazas, dancing in each of them. However, they often make only one circuit, in which they may walk through the first two plazas, Back Wall and Rat's Place, until they arrive at 'torn Place, the main plaza in front of the head kiva, where they dance a few songs and then leave through Big Plaza, near the church. At this time there are often only 10 or 15 dancers and an audience of only a dozen small children, and a handful of adults. Consequently, the Dance Chief usually saves the best songs for later in the day when there will be a larger audience. After this circuit they retire to their kiva, where their wives bring their meals to them. Then, in late afternoon or early evening, they come out again and pass through the first two plazas, saving their dancing for 'torn Place Plaza. Now there are many more dancers, perhaps as many as 25 or 30. During this late afternoon dance the clowns appear for the first time that day, beating a log drum with butterflies imprisoned inside to bring out the people. However, the Summer Dances rarely have very large audiences. As in Stevenson's time, there are often more dancers than audience members (see Stevenson 1904:Plate LXIX). As Li (1937:66) noted during his fieldwork at Zuni: "Apart from those who are performing, the people in general do not attend as bystanders all the time on such occa- 30 |
