Coe: BIE Livi ZG, Z Z tj GLE ZY o Z i DN ap i cle bee “5 = : 7" 2 7 . j ; ee _ a : st) : =. Y 7 4 y p 9 7 E i - : ; . 7 = , _ 3 (2 7 i ~ 9 7 «¢e ss 4 i E « . — a _ 1 ie “ 1 if ‘ ‘ S . . ; c 7 7 . _ -_ > ¢ SMITHSONIAN INSTITUTION \y,\ BUREAU OF AMERICAN ETHNOLOGY oe BULLETIN 187 IROQUOIS MUSIC AND DANCE: CEREMONIAL ARTS OF TWO SENECA LONGHOUSES By GERTRUDE P. KURATH U.S. GOVERNMENT PRINTING OFFICE WASHINGTON : 1964 For sale by the Superintendent of Documents, U.S. Government Printing Office Washington D.C., 20402 - Price $1.50 (Paper) LETTER OF TRANSMITTAL SMITHSONIAN INSTITUTION, BurEAU OF AMERICAN ETHNOLOGY, Washington, D.C., March 30, 1962. Str: I have the honor to submit the accompanying manuscript, entitled “Iroquois Music and Dance: Ceremonial Arts of Two Seneca Longhouses,” by Gertrude P. Kurath, and to recommend that it be published as a bulletin of the Bureau of American Ethnology. Very respectfully yours, Frank H. H. Roserts, Jr., Director. Dr. Leonarp CARMICHAEL, Secretary, Smithsonian Institution. CONTENTS PAGE Riore word = -45 eae eae Sur nines “Mit here tm bm ewer) Ups eile XI BieunVestic ALONG! = = 5s == se bs see 5 eee pay nlp heed ad 2 Ss XI fibre rlon Gh OuUseN = spe Sete a nee Een ek See oe ep we XU ING wee ses site st ee Sr BR ek BIS Mave 922 XV MIN SUSE C MO Lets ee eee ae te De se 2 eee fs ee Ey EY XVI PART CL SOM SCRIPTION/AND ANALYSIS. (Suhel) Jiuelt tute aljptes wee oo 1 RMtROGUChOMer see iy= Bers apee oP ee tse eee 1 Theijlongshouse:and:the people=. 52.22 -ucralh Auaiege 2. 2 2 1 ihe study 2 Spo hee meta os. 19 Hand-in-hand or Linking-arms Dance_______________--_-- 20 SocialwDances—-stomp type._._ =... 2) 2a ee fe ee 21 Shake-the-pumpkin or Shaking-the-jug__________________- 21 Garters ance. teen wee aa Oe Eo 21 PassengersPigeonjorsDove Dance. . -2 see" 46 oe ease 92 Ducks Mancerorponps 8 ee aes 22 Shaking-the-bush or Naked Dance________________---__-_- 22 BO bine Wane see, oye. Sane See PRR EI, 23 SMITESOR AR wsinaion «= APR 3.0 yop DV; CONTENTS Part 1. DESCRIPTION AND ANALYSIS—Continued The dance cycles—Continued PAGE Social: Dances—fishitype 3-222 8 Se ee 23 Mish) Dance: was she 2 oe 2 Ses ee ee 23 Raccoon Wance ss. sete = ea ee ora 24 Chicken, Dances2 22 2222220 Bh, 2 ee a Oe ae ee 25 Sharpen-a-stick< 1c 2045 Week LA es ec. ee 25 Choose=4-partner 2.) 21. he Be ee a ee 25 Miscellany of songs not adequately recorded at Coldspring, but in’ “Tonawanda;series. 2... 325-422. - 2... bee 20 Wishing 252 22 bi hoe se 8 ee ee 25 Cherokee Dancé.22 5-0 fal 2 ee 25 Grinding-an-arrow=.2 2258 SoS es ee 25 Knee-rattle: and: Devil. Dance 5826453 34. Baers 25 Alligator. 2ii5 ee anes! So Se ee 26 Marriage: Dances .o 54.4525: See fee ieee ane 26 Musicalanalysis< 2.255255. . oid Bae aye APE eee pe 27 The.matertal i: 2.2 so 52). 2 eo 2 27 Performance: <2 2-222 eee St eee eee 27 Instruments: 2: 3.52.52 265 Sees ee eee ee 27 SIMpim G2 22) 27s es PRE PpERR Ey ope ee ce ye 27 Methodhof study 2% -~ == 2 5.2 2 epee eee 28 Transcription == AAs sate ee 1h) ye ey eee 28 Comparative procedure: = -__~. ) S yiegee ee ee 29 Nucleus‘and development: 2522-2) S35. 5 3. ee eee eee 29 Tonality = =. 6 22255 ee he ee ee eee 29 Weighted scaless ve Ata: fot irk sao eae eee ee 29 Pocusi.222).24eus2 42-554. 5 ee eee 32 @omipositerseales 1 se 8% Sas aah Gem oe ie st ere eee 33 Progressions—intervals2.. <4 250s. eee ee ee 33 Rangeoricompass'.'- © 4a! tin sek fee ae eee eee 34 Summ anys 2:2 Sey ol ihe go ees es Lee eee 35 Penipoy 222 207 es. ued iter 4. St cpa eee 36 Rhythmicificuress2 3252 {22 59225 eees eee eee ee 36 Instruments 2.23 22 et a ee ae 36 Melodiés =: 2302 2:2 sbou' p S8 heel ae eee 37 Meteri22 lot Pe is 22 2 he oe he pene 40 Structures aa) as 40 Nuclear construction«: + -<-taee4 oot ne See eee 40 Consecutive constructions=2 42028 25458. eee 42 Distributions, joes 22 2 Se ee ee ee ee eee 42 Manipulation... 2.22.2. 26534 Se ee ea eee 43 Onejor two themes 2. 2 ss See eee 43 Patterncanalysis’ 22 2. spe ee) ag aps cece ee eee 44 Contours... 22-42 otk ae ek eh ee oe gy Ee as ee eee 44 Types:ofantiphony~ 2. 232... See) eee eee 45 Interlonghouse variation and personal creativity_________-- 46 Summary 22 ee ead el ree 49 Choreographicvanalysis.) «22 Se awe en Suge fies eae eee eee ee 50 Performance’. 22.) 6 a2 322 on a ee 50 (he setting = =o.) Sa Sods" ee alae aie a eee 50 Participation.2. sce on oe en ee ee 50 CONTENTS Part 1. DESCRIPTION AND ANALYSIS—Continued Choreographic analysis—Continued IMieChodsyoristU Gyse= a eee en eae ee eee eS eee PRPATISCEUDUION: 9) ee tee he eee aS Sa erg eee Comparative procedure: =. 2-24 9o220) 228 Sek esha oS Ground plans =< 9 ect Bee eee nA TSS eh eee eee enh UOUMC Stee es tee ee ee 5 ee a ere ae Straight}lines*es22 5-22.52 5-22 Melee ee Stee Distribution] 2.3.3 = ee ee eae et ee bie. ee SIGE tS to 00 foe eS 2 Re gl eo a eS eee = Ronwardsstomip es 22a) see eee ape ad aie A ch ae Pat-step or step=pats:. nss.l eee 2 Ot ot bee eho nlite ATS aa CO aT O UTA eae a Sy a pe ee HishsDance steps .- 2 oo oe ey ee ME aes 2 Heathers Dancerstepos. eeaeen eae oe eo ey hg Bg ek oe DrumweWancerstepses = = 2) 2222 - Se eh ee eee ee Eee Womens Heather Dancerstep_— — 52 =e see ee eee WiomenssiShufiless..2 2 ee en ae ee aUULR EVE f= a KN te ee oh eas ey eA Ce FE POS ae ap eng SE as @rouchingsho pe aes ee Ree ees ae ore eee eel = Bouya etlOness see. nae ei eee ee ek Sales St Relationship of action to music Runetronyan deforma tee = As ses ee ee ee bo ee - Choreographic and musical grouping Time dimension vI CONTENTS Danceiscript-.=-- 2 esse See eee eee ae Ose ee See eee eee Rituals addressed to the Rituals addressed to the Shamanistiec cures_---__- Creators.oo ee eee ee Midpantheon... 52425-222_ 555. Sree Wioments Medicine: SOCIeCICS ie eae ea Rituals addressed to the Rood: Spirits +3.5525 22 8 eee ee Social wdances—-Stomp! types. =a 55" 25s ses =a ee Social dances—Fish type Part 3. SONGS AND TEXTS OF TONAWANDA LONGHOUSE=2222 22232 =—-— Ritualszaddresseditonthe (Create nosy ae Rituals addressed to the Shamanistic cures _ -__-_-_- Rituals addressed to the Midpantheonws 2 280s Se eee ee Food Spiritsa 2.2953 0 sae ee ee ee Socialidances—Stomp ty peters 220545 32a eee eee Social dances—Fish type Miscellany of songs-_-_-_-_- TABLES 1. Dance function and musical characteristics___._._._._._....____-.--- 2; Dance functionandlchoreography~ = = ee ee ILLUSTRATIONS PLATES (All plates follow page 260) 1. Fanny Stevens, a Faithkeeper, and Chauncey Johnny John, a singer. 2. Albert Jones, a singer, with horn rattle. Two water drums on ground. 3. Chiefs and singers at Green Corn Festival. Photographs by W. N. Fenton. FIGURES (Designed by author) PART 1. DESCRIPTION AND ANALYSIS PAGE IPRS CAL GS yet oI ee Se enc la AS ee SS ner ae hd 79 EPPS ULC Soa eee ae 8 a ed Ee ee ca he ee we ae ny hh 80 SS RMSE ots ee re gs eg ene ee Bs oe da ey Bg aca emt eg Eee Ee 81 CASE say UG TUNT CET OUTROS mpeg soe pe gee apn nde ri ee eR oe ore REY (ome 82 Ommery Diy ha] CUT CS see oe ep ae ep ee ee i See a Ns yee 83 Gee luliyG ier amuse me Nano ee a Nam re ne fae SE SE ou 84 eer iyi Minn) CRO UNGS ya. c re nee cote Seen a en Opell a ele Spee a) 85 Saehihy thi Cemoutesm te 2 eee ee eee ae ee oe Ee ae 86 OREO G MI Con OURCS ester aya ao eee ek pee een eee ee a 87 ECON COUCS seer eee ene eee Mie ewe ec! Rare Oe Se Ge 2 88 PM VOUNGS = ONE SExet rerun 9 awe fou os Pie Wei es Tele Ok 89 2 MUOUNGS sSexes seprepated == 5 6 278 Filet ees as he SE ee 2S 90 tjeehvounds=ssexesvaltermates! P25 52-2 £22 Sos eS Ik ses 2 91 ie ounas weaned "double mies == s= 522 2% Sars SS Soe velo = Fes ee 92 tay Rounds: "side twist, double stomp types «5 2225.2 £22 sel 93 LGA PLEAS FE VET g 0 FH 06/9 a 94 Wastishtaance:typess: teens © eases prementt Ber Ee fe ee 95 iSpy SUT EUT a mi) GY Sys a thle F nclace sa pa A eae SN eA | eh ena oN DET 96 19. Stick figures of False Faces and Wasase War dancers_________-_-_-- 97 202 Steps. ovompeanddish: ty pess ol soo ee SS Es OS 98 iS be DS ey VOMIE IB eTMON Sieg yap goon yor rey ee er REE TRAE 99 22, Jumps iandkicks sand: musicalsymbols#< 255.4. — es ee 100 PART 2. SONGS AND TEXTS OF COLDSPRING LONGHOUSE (*—With dance script excerpts) RITUALS ADDRESSED TO THE CREATOR NUMBER OF SONGS PAGE 232i. Great Heather Dance*. 22522222 2252 250525 3) ree. 113-117 28-30) rummy Dances 2s. se see eee ee eee UAE Gee = Se 118-120 SEMA GON Wax pet seep ete ey re cee re iN Gries Dem ae 121 RITUALS ADDRESSED TO THE MIDPANTHEON 32S HARLEM AN CO ay or.) jak yee te ee eee ee PS iat ex fees ate 122-125 36. Sun Rite (Striking-the-stick) ______________- Asia Fine eS gah fe 126 SESte \ieie I DENIES) (ONE RING) oa oe ee (Sees 2 See ee 127-128 DO OC Al el AN CO messy ree ais ee se eles Dy erence ee 128 Vill ILLUSTRATIONS PART 2. SONGS AND TEXTS OF COLDSPRING LONGHOUSE—Con. SHAMANISTIC CURES NUMBER OF SONGS PAGE 30-A0s HalseshiacesDance tse =a ee ee PA (ee Bes, oa tt ese 129-131 A EUSk hacen) ances sien eee Je a eee Sete se nee 131 AD RAS ENA GIAIG OSes Seas ae © eee eae Ree pS (OY ered ote a 132-138 AG— Fh Oe B ui al ou) ar Ce ee ee O27 Gus eae 139-140 Hie 52s Bean Dances = saeet = ee oe ee ee 1h tee eee eet 141-142 53-59. Dark Dance WOMEN’S MEDICINE SOCIETIES he sth a aN HT) hei) Sam 16+34+24 __ 143-149 60=62:# Quavering se: > se Aine 2 Nee eae a> oY eee ae 150-152 638s ©hanoind—a—rilly =n y= ee ee AbD gee AS Ska 153-158 RITUALS ADDRESSED TO THE FOOD SPIRITS 69= (OM DRowlsastee sess ee eee ee OND sen ee 159-160 O=eeOldakinskanvers 0s se =.) mama ses Sheu nee ae Oe ee ee 160-161 (2—(5. ims kanyerOwas 2 = sof Se Sees reeSe Sees Qi ee 162-165 (601. New Women’s Shuffle*! =~ 22-222 Y (pai isis Tobe Doh 166-167 1S 1 Oe Corny Dan ce eae ee ae ae ee ae (speed ek Sr aes | 168-169 (9=82* and-in-HandeDancel==25 2. 2a =e ae Be See eee 169-172 SOCIAL DANCES—STOMP TYPE S3-8):, Lrottme Dancer #22) 222 -e e 125-3. ae ee 173-175 86 he ae eer a ES ae oe a real See Dt Da) a eee 176 BUGartersHOance? sect aoe ate eee ee Disa: Denn eel poe ee 176 SischigeonsDancer = 2 2.6 2 atom a ee 5 eee Serge Ue oe 177 SSD uckeDancetheseie 2.2 ete eee aye pee TP ah te ie 178 89-90) (Shaking-a-bushs— - 25-2225 5. Sees eee 1 (ae eer ee 179-180 O1=925eRobingD an cet as se ae = Oe ene oe os ee ee 181-182 SOCIAL DANCES—FISH TYPE OS F Mishe Dances sss sae Seen eee a eee oe 17 Ean sy Scie GR nse 183 O4= OG BRiaccoone Dance tse ee ee ee eee PB ae ticvenBett SOP aes 184-186 Oe Chiekene Dames eet es eee i pat ait oe Ra ge ne Bw A bot hi aoe et 187 OSsaShanpen=a-s bic keys ayes = ee eee eee > ee ene I I 188 99... Choose=a-partners <= t= — se. aces a y ple Reon eer 2 189 100. Fish, Raccoon, Sharpen-a-stick, 1933 ------_- Qs NS veces 0 eee prone 190 101- Marriage Dances 2222 2 aoe = bye een sat al 2 eo 191 NOQEsReat herr acess ae eran et eee ON SA! LO S= OAD rue) aire ee ee eee ee ey ce i es eS ener 198- NOS AG On Wer ate aa eae ee eee ee [5 ape ae Pain ee RITUALS ADDRESSED TO THE MIDPANTHEON L0G. DawnyvSongs one genes ee ee ee / abe Rm ROR: OE 2 O 107-108; HaglesDance. o> 0%, 2S ae he ea eee i jie ln plo 202- HOODS Sumit hee teeee eres ee ee eas ee Beemiere here irc Tir (Oa Ua Bae A 8A ps Ds 8 oY cle ernie pep reat Ny ap epi eet Mae oes Son arse eee ene PART 3. SONGS AND TEXTS OF TONAWANDA LONGHOUSE RITUALS ADDRESSED TO THE CREATOR 197 200 201 204 ILLUSTRATIONS Ix PART 3. SONGS AND TEXTS OF TONAWANDA LONGHOUSE—Con. SHAMANISTIC CURES NUMBER OF SONGS PAGE 2A bee balsesNacessa= sees eee eon we oes ae ee 13+6+6_____ 207-210 ASS a tusk Haces] J 22 eee eee oe ee Ee eee Py De, tay Ue aes ace t 210 Gop Meld Osman mee eres ae AI ye Ae he pte fe ies Seas ears 211 jh seeoialom ances. Seon ocean ee he ete eee re 212-213 OSS Bears Dancec tele Ceo ee ee ye Se Es Tal Geen aie 214-216 WOMEN’S MEDICINE SOCIETIES 12212350 arkeD ances ss saves ere She Oe Uae mites, Ga ko PSs So 217-218 24 2ossQuanering ==" S220 250 nk A i OFA eee S 219-220 Zbl SO. Chanping-a-rib = 2-22 2 222 ee Seen pee ce 221-225 131-133. Ohgiwe and Carry-out-the-kettle___________ i ahaa oh 226-228 RITUALS ADDRESSED TO THE FOOD SPIRITS S435. Oldtinskanyes bios. ieee: ot eee wets) S LOR PSM es eee 229-230 136. Women’s Food Dance (enskanyegowa)______ 5_____________- Doi 1S7—138) New Enskanyec theta a vei viionhlok Seklisers deat... bya 232-233 9 TAORACornyDances—" 2 aaa 2 oe Sho ee a G2 as eee ae 234-235 141-144. Hand-in-hand Dance_____________________- Oat st aa a 236-239 SOCIAL DANCES—STOMP TYPE 14 routing Dance se. sens 28 eee LAN ee eS 8 OX SUG Fo FRE 240 LAGI (oe GarterseDances ss. =e ae er. ee Sui sea ees 241-242 ASA Om eireon mance. 2 0\j. fo ee Gaye dal ena 243-244 LAG De Ky I) ATCO eeene cee 20 MOEN STAY tee a iia ee eyes See ts 244 150—V5l. Shaking-a-bush—=_- = 22 Uys Fee OS Sa ae 245-246 L522 Robin Dances a= Sea ee a re bae: 2 ee ener Lene is Ei ht 8 247 SOCIAL DANCES—FISH TYPE RS Jars o. I Dimov =O iol ey es Gee hee etna 248 154 SRaccoon Wancess22- 2 = ae A ean Se ta Ase SAE Eee 249 li omehickenaWances/ 02.522 soe ee oN ES wt AN yw eR 250 W50>phanpen-a-stiek= eo. 92202 ep Sal Spee ee 251 15% Choose-a-partner. -4 2 fy ee ers sei rs - ae nt pen UE 252 MISCELLANY 15S: calligatorWanceve .- ee2ee ee eee 1 pe a a ee i 253 Ma fe hay 9] IVS GU OY Aa Mah Ye eal A na pel eh elle ti de li DEAT) ANS Sere. 253 159 Knee-rattletD ances = 9 ses Me we Peas Ahk aS BYTE ee eS 254 160 ea ig Oi as I EE ae es ERD 2 co Satis De Rye pe aly ae eh tyes = 255 ‘(Delaware Skin Beating Dance____________- Pee cra cee oie 255 TGi Devil ance =... My Sy eg he Ge see ete ern ae 256 NGZee SCORVISONPS = a eee oe ek ao eee Ne aa Bes le tn 250 62-1632" Moccasin: Gamers! 2) ot Fo ee bese) oe a i 257-258 G4: Show: Songs £22008. O2)s ies Uae ee MS Bis Pee 259 i’. ve Pini Te ie. 'o a ne aren RO Ny, ee NY secre rtyay, SOPOT: aneuenwh = , GAS Poh e UII RENT OTT ie | cise = 4) Se A ek eerie! al eine Pa jit j an : ; oo ate = ig ee | ee oyna joplalakdsgoe aa ssiathd At Wh, ile Ba a8 | itt aitemaren! Pea - i oo a aCe "1 ee a nid NO oy Lee ewes) east Sow! en o so a te = ll! ace ay a ae he ge a agony. ie bp PE Sapa en hea res sonbenb — ie aarti on we ea mae raed ws i hap od vine is Me a we SMES bda'cd, oe ld, a i. im - a ; COT - a r) 7 7 Te on = j fe ee, FOREWORD The music in this volume includes only a segment of recorded Iroquois songs. It presents the repertoire of a few leading singers from 2 of the 20 reservations in New York State and Canada: Alle- gany, with Coldspring longhouse, and Tonawanda. ‘The scores are transcriptions from recordings by two collectors, William N. Fenton and Martha Champion Huot (now Mrs. E. P. Randle), between 1933 and 1951: 1933, by Fenton at Coldspring, cylinders transferred to 10 disks, deposited at Yale University, then Columbia University, then Indiana University Ar- chives of Folk and Primitive Music; duplicates authorized by George Herzog in 1949. 1936, by Randle and Fenton at Tonawanda, 53 disks, deposited at Columbia, then Indiana Archives; duplicates authorized by Herzog in 1951. 1941, by Fenton at Coldspring, 29 disks (Nos. 34-62), originals at Library of Congress Archives, copies provided by Fenton in 1948, selections published in Fenton, 1942. 1945, by Fenton at Coldspring, 5 disks (Nos. 33-38), Library of Congress, copies by Fenton in 1949, selections published in Fenton, 1948. 1948, by Fenton at both longhouses, 2 tape reels, transcriptions from originals in his private collection. 1950 and 1951, by Fenton at Coldspring, 4 tape reels, transcriptions from originals in his private collection. Copies of all 12-inch disks are in the Library of the American Philosophical Society. THE INVESTIGATIONS Between 1933 and 1937 Fenton lived on both the Coldspring and Tonawanda Reservations and collected materials for his dissertation at Yale University. The Institute of Human Relations sponsored these trips to Coldspring in 1933 and 1934. Frank Speck encouraged the work and suggested a method of outlining ceremonies (Fenton, 1936, 1941). The stay at Tonawanda extended for 2% years, from February 1935 to September 1937, in the employ of the U.S. Indian Service. In 1936, Fenton enlisted the collaboration of Randle, then a graduate den at Columbia University. He rounded up the singers and took the texts; she made the records, which sampled virtually all song types. By this time Fenton could cope with the Seneca language and was able to sing many of the songs. Later, as a staff member of the Bureau of American Ethnology and, with funds from the Wenner-Gren Foundation, using recording xI XII FOREWORD equipment supplied by the Library of Congress, he made two large collections in 1941 and 1945, at Six Nations Reserve and at Cold- spring. During subsequent recording sessions, in 1948, 1950, and 1951, he made use of tape recorders from the Library of Congress and the Bureau of American Ethnology. Through his prolonged experience with longhouse ceremonies, Fenton realized the significance of music and dance to the Iroquois. He also realized that “ethnologists are quite ill-equipped ordinarily to describe dances as part of ceremonialism. The need for an ade- quate choreographic technique is quite as apparent as the need for musical annotation” (Fenton, ed., 1951 a, p. 8). It is a source of pride to me that he considered my professional training adequate to this double task and gave me his encouragement and collaboration. I did not enter the picture until 1946. In the midst of my career as a modern creative dancer, I became acquainted with the American Indian dance, largely though not entirely, through publications. I was struck by the inadequacies of choreographic descriptions. By 1946 I was so determined to explore these expressions of native culture that I undertook a Mexican field trip in the spring of that year. My subsequent concentration on Iroquois arts resulted from a coincidence. In July 1946, I met Chauncey Johnny John (pl. 1), not in his native haunts, but at the University of Michigan Linguistic Institute. As “professor” for Carl Voegelin’s students, he basked in the scholarly environment. On several free evenings he changed to his artistic role and his ceremonial costume, and, in our living room, showed samples of the War, Eagle, and other dances and of the songs he had sung into “Bill Fenton’s machine.”’ When Fenton and I met in Washington in the fall of 1947, he persuaded me to attend a Midwinter Ceremony at the earliest oppor- tunity. This opportunity came during the week of February 14, 1948. I witnessed a ceremony at Soursprings Cayuga longhouse on Six Nations Reserve, thanks to the advice of John Witthoft, then a graduate student at the University of Michigan; to Volney Jones, who introduced me; to Cayuga chief Deskaheh, who extended me an invitation; and to Mohawk Sadie Jamieson, who opened to me her home in Ohsweken. An equally friendly reception awaited me at Coldspring longhouse in the summer of 1948. The Fenton family was spending the entire summer near the reservation, and my family rented a cottage for a month in adjacent Allegany State Park. During my month’s stay I held many sessions with the entire Johnny John family—not only Chauncey, but his singer son, Amos; the expert dancers, his grandsons, Richard and Arthur, and Arthur’s wife, Pearl. Fanny Stevens (pl. 1), Geneva Jones, and Albert Jones (pl. 2) were FOREWORD XIII communicative then and also on subsequent visits. I notated dances during the gatherings and after the culminating Green Corn Festival over Labor Day weekend. Also, I attended two important recording sessions by Fenton: one of the Coldspring Towisas ceremonies, with Fannie Stevens and Sadie Butler as leaders; and another, with Jesse Cornplanter at Tonawanda Reservation. During 1949, I added song transcriptions to the choreographies, utilizing a grant from the Viking Fund (now the Wenner-Gren Foun- dation for Anthropological Research) to study Herzog’s shipment of disk copies. In 1951, Fenton procured for me a commission from the American Philosophical Society for a manuscript, which I forwarded to the library by the fall of that year. The following year he arranged another commission for me from the Society—the transcription and analysis of the Tonawanda collections. In 1960, Richard H. Shryock and Gertrude Hess released my two manuscripts, which constitute this volume. Subsequently, I revisited Allegany Reservation, sometimes in con- nection with Iroquois Conferences in the Allegany State Park at Red House, N.Y. But most of my Iroquois fieldwork and all of my own tape recordings, took place at Six Nations Reserve and at Onondaga longhouse near Nedrow, N.Y. I also made several trips to Qualla Cherokee Reservation, N.C., and spent 4 years studying the Algon- quians of Michigan, Wisconsin, and Iowa, usually in the company of my daughter, Ellen, or my son, Edward. My wider experience I owe to the American Philosophical Society and, repeatedly, to the Michi- gan Academy of Science, Arts and Letters. In publications, my approaches complemented Fenton’s ethnological presentations. The first collaboration appeared as paper No. 7 of Bureau of American Ethnology Bulletin 149 (Fenton and Kurath, 1951); the second and larger one, as Bureau of American Ethnology Bulletin 156 (Fenton and Kurath, 1953). Also, I shared in the symposia (Kurath, 1951, 1961). The collaborations largely took the form of correspondence, but in the summer of 1951, when Fenton taught at the University of Michigan, consultations were possible. THE LONGHOUSES For completeness, the present volume should contain an expert description of the history and social structure of the longhouses in relation to the ceremonialism. However, Fenton’s copious notes must await monographic treatment separately. Meanwhile, the Foreword gives a brief survey, with references to recent ethnological literature. The prehistory and history of the Iroquois are complex. The former is still under debate (Fenton and Gulick, eds., 1961, Nos. 4-6); XIV FOREWORD the latter is being clarified. A chronology appears in Bureau of American Ethnology Bulletin 180 (bid., p. 259). Fenton has de- termined the geographical position of the Iroquois League in relation to surrounding Algonquians and other Iroquoian tribes. He has studied the politics and movements of the League members—Seneca, Cayuga, Onondaga, Oneida, Mohawk, and Tuscarora—and the effects of the religious reforms by the Seneca prophet, Handsome Lake (Fenton, 1940; Fenton and Gulick, eds., 1961). Other writers have made more special studies of these reforms, as Deardorff (1951, pp. 77-107) and Wallace (1961, pp. 139-151), with comments by Chafe (1961 a, pp. 153-157). Coldspring longhouse is close to the home of Handsome Lake on Cornplanter Reservation, and it immediately felt the impact of his revelation. Also, it harbored Quaker missionaries, who influenced the Seneca reforms. Allegany Reservation stretches along the picturesque oxbow of the Allegheny River, on both sides of modern Salamanca and to the Pennsylvania State line southwest of that city. Most of the homes and the longhouse are situated on the highway north of Quaker Bridge. ‘Tourists passing in automobiles and visitors to the Allegany State Park are little aware of the unique proceedings in the longhouse, which has the appearance of a grange hall. Tona- wanda Reservation, in a more secluded location near Akron, N.Y., has been a stronghold of conservative adherents. When delegates from all longhouses hold their fall Six Nations meetings, they always start at Tonawanda and proceed from there. The reforms of Handsome Lake made some major adjustments to the encroaching White culture and religion. While the ancient animal medicine rites were temporarily displaced, the four rituals to the Creator formed the ceremonial core. Certain rites had to shift from obsolescent functions, as hunt and war, to cure. Others, notably the agricultural rites, remained. So did mutual aid and singing societies. The longhouse religion has combined such flexibility with preservation of the essence of the ritual. The persistence is at least in part due to the Iroquois organizational genius; . . . ‘their tendency to systematize the elements of their culture into great institutional showpieces is what has given their culture stability over the years” (Fenton and Gulick, eds., 1961, p. 260). The native social organization has remained, but entirely in a ritual capacity. It presents two interlocking dichotomies, an interaction of moiety and sex. Fenton (1936) has discussed the religious organiza- tion of the officials who are keepers of Handsome Lake’s Code and their assistants who control the present longhouse centers. He has also analyzed the moiety structure and tabulated the clans that remain active in the moieties (1951 a, p. 50). At Coldspring, Moiety I FOREWORD XV includes Bear, Wolf, Beaver, and Turtle clans; Moiety II includes Deer, Snipe, Heron, and Hawk. At Tonawanda, Moiety I comprises Wolf, Turtle, Bear, and Beaver; Moiety II has Snipe, Hawk, Deer, Heron, and Eel. The moieties have specific seating arrangements in the longhouse, differing somewhat for summer and winter ceremonies. They also follow set patterns in dances (e.g., Fenton and Kurath, 1953, pp. 138, 230, 232). Moiety arrangement crosscuts the separate seating of men and women, as in other longhouses (Speck, 1949, fig. 1). Likewise, the interaction of male and female officials crosscuts moiety in ritual preparation and dance. Each sex has special functions and assigned places in the dance line. Men are in charge of the Midwinter and Thanksgiving festivals, and women manage the summer food cere- monies. However, men and women may officiate at each other’s medicine ceremonies. Woman’s role has remained more functional in daily life than man’s. Men have transferred to white men’s jobs; women still prepare meals and are mothers of their families and clans. Though men took over the active farming after 1800, an activity now in decline, women remained identified with crop fertility. Despite the perseverance of ritual and an amazing repertoire of songs and dances, there are increasing signs of change. Young people rarely trouble to memorize long rituals with a hundred songs, and therefore the aged ceremonialists, realizing that they are not being adequately replaced, are becoming concerned. Ritual holders have decided that the songs must be preserved and are therefore less re- luctant (some are even enthusiastic) to record for trusted ethnologists and friends. Indeed, after the death of Fannie Stevens, the Cold- spring women requested a copy of Fenton’s recording of Towisas. NIAWE In conclusion I wish to say thanks—niawe—to the Indians who have given friendly help with songs and dances, and to the people and organizations who have helped with funds or working disks. Two officials of the American Philosophical Society deserve my special gratitude: William E. Lingelbach and Gertrude Hess. Through their help the two manuscripts came into being, and by the kind permission of the American Philosophical Society they are now transferred to the printed page. I wish to thank Curt Sachs and George Herzog for musicological advice. Above all, I am grateful to Wallace L. Chafe; without his patient unraveling of editorial problems, publication would have languished. GERTRUDE ProkoscH KURATH, Ann Arbor, Michigan, September 1961. LINGUISTIC NOTE Seneca words are cited in this work in spellings which are based on the phonetic transcriptions in the field notes and publications of Dr. Fenton. A description of Seneca phonology can be found in Chafe, 1960-61 or 1962. Roughly, Fenton’s «, ¢, 9, d, g, dj, 8, apostrophe, reverse apostrophe, and raised dot can be related respectively to Chafe’s e, e, 0, t, k, j (or ty), sy, ?, h, and colon. Phonemic spellings of the names of songs and dances are given in brackets in the list on pages 73-74. XVI IROQUOIS MUSIC AND DANCE: CEREMONIAL ARTS OF TWO SENECA LONGHOUSES By Gerrrupe P. Kurata PART 1. DESCRIPTION AND ANALYSIS INTRODUCTION THE LONGHOUSE AND THE PEOPLE Centuries of impact have completely metamorphosed the external life of the once powerful Iroquois tribes. White encroachment has shrunk the New York holdings of the Seneca to three small tracts in the western part of the State, namely, Allegany, Cattaraugus, and Tonawanda Reservations. The last two are within 25 miles of Buffalo, and Allegany Reservation follows a well-traveled highway, in a narrow strip of land along the Allegheny River from Salamanca south beyond Quaker Bridge. The modest framehouses could belong to any White community; the wooden longhouse could be a rural grange hall; the pedestrians and the occupants of the latest models of automobiles could be ordinary farmers or laborers but for their swarthy complexions. Only the initiated would know that these people are gathering for a celebration stemming from this soil. In the longhouse, they are seated on wooden benches along the wall, but they are grouped according to their ancestral custom, with sexes and moieties separated. Singers occupy a plain wooden bench, but they beat ancient rhythms with instruments that for the most part are of traditional construction, and they sing melodies of un- known antiquity. Feet tramp on wooden floors around two iron stoves, but they trace the patterns of rounds that were not brought overseas by the White invader. At this point I shall say no more about the structure of their ceremonialism and its social implications, but shall refer to past descriptions (Morgan, 1901; Fenton, 1936, 1941). Ishall introduce the chief artists and then proceed to the special problem—the songs and the dances, at their own value. During contact with Coldspring ceremonials, one gifted family was indispensable in longhouse festivals and in private sessions for i 634-599 O—64——_2 2 BUREAU OF AMERICAN ETHNOLOGY [Bun. 187 study. They were the late Chauncey Johnny John, originally from Cattaraugus, one of the chief singers; his son, Amos, and grandson, Richard, both prominent as dancers and singers; his other grandson, Arthur, and his grand-daughter-in-law, Pearl, two excellent dancers. At the present time one of the prominent singers is Chauncey’s former partner, Albert Jones. The latter’s wife, Geneva, imparts her excellent information willingly. Her mother was the late Fannie Stevens, who was the leader of the Women’s Society of Planters (towisas), with Sadie Butler as her partner, and who stood out in the ceremonies by her inimitable dance style. Other fine singers were Jonas Snow, Henry and Sherman Redeye, Edward Curry, Lyn Dowdy, and Avery Jimerson. Most of these men have been employed as track workers for the Erie Railroad. They and their women also cultivate small patches of corn and other vegetables, sometimes with the aid of tractors. Whatever their outside contacts, they never forget their songs; they render them with all their heart and soul at the great Midwinter Festival, at the Food Spirit Festivals, and at the occasional social gatherings. The young people, less fervent, cause the longhouse leaders some concern, because they do not trouble to learn the long ceremonial cycles and consequently may fail to perpetuate the traditions. Tonawanda singers have variant versions of the same song cycles. In this volume the singers are the late Jesse Cornplanter, originally from Cattaraugus, and Robert Shanks and Edward Black. Some of their songs are juxtaposed with versions from other longhouses, particularly from Coldspring but also from Onondaga Valley and Six Nations Reserve. THE STUDY OF THE SONGS AND DANCES The songs and dances are here classified according to the present concepts. Fenton has already published the classification and the variant compositions of the seasonal ceremonies at Coldspring and Tonawanda (Fenton, 1941 b, pp. 163-164; field notes). The Mid- winter rites feature the rituals for the Creator, the medicine rites, and social dances, but in a different sequence. Summer food dances repeat combinations of Feather Dance and Women’s Dance, for planting, for berries, and for corn. The great Green Corn Festival recapitulates the nuclear days of the Midwinter Festival. At other longhouses the sequence is somewhat different. The dances themselves, as observed at five different longhouses, are essentially similar and vary chiefly in improvisational details. Their recurrent patterns justified grouping the choreographies accord- ing to types of ground plans and steps. The grouping takes the form of diagrams, steps, some stick figures, and verbal descriptions. The KuraTH] IROQUOIS MUSIC AND DANCE 3 analysis issues directly from the artistic patterns, but the interpre- tation takes into account the function and ceremonial associations. The descriptions of dance cycles fit all longhouses, though the examples refer to the Coldspring song collection. The analyses, when not identified as Coldspring or Tonawanda, also apply to both collec- tions or generally to longhouse style. THE DANCE CYCLES RITUALS ADDRESSED TO THE CREATOR Great FreatHeR DANCE (ost6-we'go-wa’): Function.—The first of the four rituals of thanks to the Creator for all benefits and in particular for crops. Occasions.—Coldspring: Midwinter Festival circuit on third day, twice on sixth day; Green Corn first day, twice on second day; Planting and Strawberry Festivals, every morning of meetings and councils of Six Nations. Tonawanda: Midwinter circuit third day; twice on fifth day, also seventh; Green Corn first and third days; other occasions like Coldspring. Songs.—Accompaniment by two singers, face to face astride a bench in the center of the dance space, both beating turtle rattles against the bench. (a) Antiphonal call: leader, ‘“hyo’’’; crowd, “‘yo hee’’’; twice re- peated. (b) 2 introductory chants with free voice and rattle tempo. (c) 32 dance songs, as recorded, from a repertoire of over a hundred. For each song, a gradual rattle acceleration till the vocal entrance, then a fast iambic beat; on repetition a slow even beat and again the fast beat, always opening and concluding with the antiphonal cell—two terminal beats. Melodic character distinguished by pulsation, long sustained notes, and syncopations alternating with even quarter notes, on predomi- nantly triad scales with much play on intervals of a third. Dance.—(a) To the first dance song, a few male leaders, with a step- pat to the slow even rattle beats and a vigorous feather dance step to the iambic beat: a powerful stamping two-step with raising of the free knee and improvisatory arm gesticulation up or to the side, wing- fashion or in charging postures. (6) With each song, an increasing number of men, lined up behind the leaders single file and circling counterclockwise; increasing anima- tion with pivots, foot twists, interpolated yells. (c) About the fourth dance, a few leading matrons, back of the men, facing center and gliding to the right, shoulder to shoulder with the women’s feather dance step: a smooth swivel twist of parallel feet. 1 The construction of the instruments is not described here, but can be found in Fenton, 1942, pp. 9-11, also field notes; Mason, 1938, pp. 143-146, 171-173, 187, 189-191; Conklin and Sturtevant, 1953. 4 KurATH] IROQUOIS MUSIC AND DANCE 5) (d) To the end of the dance a continuous accumulation of dancers, men, women, and children, lined up with their respective sex, some- times up to 200 dancers on very festive occasions, winding into a triple spiral. Remarks.—One of the few consistently costumed dances: men with the Iroquois gastowe or feather headdress, or else with Sioux war bonnets, bright shirts, leggings, breechclouts with beadwork, some- times moccasins and knee jingles of small hoofs (pl. 3); women with smocks, beaded skirts, and leggings of 19th century Iroquoian style. THANKSGIVING OR Drum Danck (gané 0’Q): Function.—The second of the four great rituals. Occasions.—Coldspring: Midwinter circuit on fourth day, in long- house on seventh day; Green Corn on third day. Tonawanda: Midwinter on fifth day; Green Corn on first day. Songs.—Two singers astride a central bench, the leader with a water drum, the assistant with a horn rattle. (a2) One introductory chant recorded, out of possible three, each introduced by a yell of a special whooper. Free triple percussion beat, changing to even duple beat and synchronization with the voices just before the first dance song. (b) Dance songs, 15 recorded out of a repertoire of over 120. For each song, a steady percussion beat in moderate tempo, starting on quarter notes during the first section, A, and continuing throughout B and the song repetition with sixteenth notes, to three terminal beats during the whoop or sliding call. Consistent statement of each first theme by the leader (S), echo by the assistant (Ch), and continuation by both voices. Occasional harmonies a third apart. Frequent sequential repetition on lower levels. (c) A series of up to 13 monotone antiphonal chants, alternating with short prayers, wa’do’ gwaiye’, addressed by the preacher in thanks to all spirits from the ground to the celestial scale and finally the Creator. (d) Recapitulation of the dance songs, with reversal of percussion roles. Dance.—Same cumulative form as Feather Dance, same walkaround between songs; but somewhat different steps to a slower tempo; double heel bumps by the men along with knee raising and gesticulating, the enskinye or women’s shuffle dance step by the women. No change in dance forms during monotone chants. Remarks.—Costumes as for Feather Dance. At Coldspring a small bow and arrow, carried by the dance leader, handed to the speaker during prayer chants and returned for last section (recapitulation) to dance leader. 6 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 INDIVIDUAL CHANTS oF MEN (ado-we’): Function.—The third of the four great rituals, personal thanksgiving’ Occasions.—Always preceding Drum Dance, at Tonawanda also on the sixth day of Midwinter; interpolated in the towisas ceremony of women planters. Songs.—Unaccompanied by percussion, but introduced by a long wail of men’s voices and continuing with a background of male ‘heh, heh’ and female clapping. Completely individual and varied from simple to complex melodies. Dance.—A simple circuit with a halting walk, by the singer and sometimes a companion, covering one side of a square for each song repetition. RITUALS ADDRESSED TO THE MIDPANTHEON ASHES STIRRING (gandéiow1’): Function.—Dream fulfillment. Occasions.—Opening mornings of Midwinter Festivals, Coldspring on first and second days, Tonawanda second and third days. Songs.—Individual. Tonawanda examples available for this col- lection. Dance.—No dance, only the ceremony of fire renewal. HacuEe DANcE (gane’gwa’e’): Function.—Dream fulfillment and cure for ‘‘eagle sickness’”’ by placating the spirit of the Dew Eagle (shada’géa’), association with war and peace. Occasions.—Private rituals in the patient’s home and renewal at the Midwinter Festival; at Coldspring on the third and fifth days, at Tonawanda on the second day. Songs.—Two singers seated on a bench set against the wall, the leader with a drum, the assistant with a horn rattle. (a) Coldspring: three introductory chants for a tobacco invocation, and for the distribution of instruments to the singers and parapher- nalia to the dancers. Free melodic style with sequential descent, to percussion tremolo. Tonawanda: two introductory chants, in even more rhapsodic style, steeper descent and more intervals of a fourth, than at Coldspring. (6) Coldspring: 14 dance songs, all with a recurrent formula of alternate percussion tremolo and regular beat to a melodic pattern of A ABA B. Tremolo during A, a variable pattern of quarter and eighth notes during B, with three rapid terminal beats. Four- and five-tone scales built variously on a nucleus of a second and a third (see Analysis), and centered on the main tone. Moderate descent from the initial fifth to the terminal main tone. Tonawanda: seven Kurata] IROQUOIS MUSIC AND DANCE 7 dance songs, similar in character to those of Coldspring, except for a continuous duple beat with alternate accents during part B. (c) Final song for depositing wands and rattles. Coldspring: Extended form of A A B AB A to correspond to ritual action, with drum and rattle pattern as for other dance songs. Melodic dips bolder than in previous dance songs, fading to monotone in sustained final phrases. Tonawanda: Form of A A B A B, otherwise similar in character to Coldspring. Dance.—Eagle mime by two pairs of youths face to face, forming a square. (a) During distribution of paraphernalia, dancers seated on two benches, each one handed a feather wand and small gourd rattle, respectively for right and left hand. (6) Corresponding to musical form: AA—Danceers shiver and shake their rattles, still seated on benches. B—All four hop to center of room till partners meet, using a deep crouch, and shaking rattles in time with the drum. A—AIl four lunge and shiver shoulders and rattles, with arms extended, partners face to face. B—All simultaneously retreat to their benches with the crouch- ing hop. (c) Coldspring: AA—Shiver. B—Advance to partner with hop. A—Lunge and shiver. B—Retreat with hop. A—Lunge near perch, then lay down fans and rattles. Tonawanda: same form as other dances, with terminal deposit of paraphernalia. Remarks.—Interruption of each song by one of society members striking a cane on the floor, giving a speech of jokes or well-wishing and distributing gifts (Fenton and Kurath, 1953, pp. 283-284 passim.) (See page 67.) STRIKING-THE-STICK (PoLE) DANCE (wai’eno’e’), also termed SuN Rite (¢ni’dji’): Funcetion.—Cure in Midwinter and private rituals, also an invoca- tion to the sun, in the spring to bring rain. Occasions —At dream renewals in the longhouse, in private homes, and as sun rite out of doors whenever rain is needed. Songs.—A short series of dance songs, in A A B A B form, correspond- ing to choreography. Two sets differ in character of tonality: 1933 recording by Sherman Redeye, in modified sequences and descent to 8 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 basic groundtone; by phrases covering interval of a fourth; five songs, to drum and rattle. 1951 recording by Ed Curry, in level melodic line, descending a fifth (1 and 2), or centered on a main tone (3), with intervals of a third and second; four songs. Fourth song more like 1933 version. Many melodic syncopations. Dance.—Two lines of dancers, formerly entirely of men, now of men and women; face to face and parallel. A A—Step-pat in place. Slow instrumental beat, in quarter notes. B—Drum Dance step, that is, men with heel-bump two-step, women with enskanye. Approach to partner and retreat. Fast beat, in eighth notes. A—Cross-over with walking step. Slow beat. B—Drum Dance step. Fast beat. Remarks.—According to Henry Redeye, former old Iroquois war dance, preceding war, or after victory for narration of exploits. According to Ed Curry, two lines centered on Little Water Medicine in the cenfer of the floor. The men charged and crossed over. War DANCE (wasa’-se’) or THUNDER RITE: Function.—Similar to Striking-the-stick, addressed to Thunder, hino. Occasions.—Similar to Striking-the-stick, particularly to avoid drought in spring or summer. Songs.—Sequential descent, similar to 1933 version of Striking-the- stick. Similar binary form, with part A stated by leader and echoed by assistant; similar preference for syncopations. Drum and horn rattle, in alternate quarter and eighth note patterns. Dance.—Different from Striking-the-stick. No set ground plan. Male dancers in any position on ground, facing two singers against the wall. Step improvisations on jump-hops: jump on both feet, hop on one, or hop on alternate feet with heavy thumping and belligerent gestures. Remarks.—Attributed by Speck (1949, p. 118) to a Siouan origin, specifically in view of name Wasase of the Osage, an Omaha band. Originally part of war cycle, addressed to patrons of war, sun, and thunder. Vestige of exploit narration in speeches which interrupt songs, just as in Eagle Dance, also in some texts, as in song 7 from the St. Regis area. ScauPpInGc DANcE (ganehé): Function.—Formerly victory dance with enemy scalps, now show dance. Occasions.—Shows for White audiences, frequently at Lacrosse games. KuratH] IROQUOIS MUSIC AND DANCE 9 Songs.—In general, similar to other war dance songs, with drum- ming; but with greater variety of forms, scales, and rhythmic units, that is, without set formula. White influence in diatonic scales and sharp seventh. Dance.—Miscellaneous war-dance steps with battle mime and en- actment of paddling in canoe and scalping victims, to bring back anoe or scalp. SHAMANISTIC CURES, ADDRESSED IN PART TO ANIMAL SPIRITS Fars Facs Company (Sagodyowéhgo wa-hadja’ dot ‘a’ and hodigo- séska’a): Function.—Exorcism of disease and cure of face and eye ailments. Occasions.—In spring and fall, public rituals of exorcism from house to house, on the third and fifth nights of Midwinter public cures and renewals; occasional private ceremonies in homes. Songs.—(a) Marching song, similar to Ashes Stirring (not recorded). (6) The common face (hodigoséska’a), six songs. Accompaniment by two special singers with turtle rattles, as for Feather Dance, and by spasmodic shaking of dancers’ large turtle rattles and their moans and roars. Archaic, rugged melodies with repetitious themes and narrow compass and intervals of a second and third, preceded and followed by three chromatic calls of ‘‘hoi’’ and continuing directly into the next song. (c) 'Thumbs-up Dance—picking out partners (da’adinyot‘a’), two songs. Similar to songs of Common Faces, entirely with intervals of a third. (d) Round Dance—moving one foot after another (deyesi’dadi’as), seven songs. onality and compass similar to previous songs, but with reiteration of a skipping rhythm and with discrepancy between song and rattle tempi. Husk Faces in this round dance—two songs with irregular phrasing but even rattle beat. Final dances—two songs with repetitive motifs and syncopated rattle beat. Dance.—(a) Entrance of company into the longhouse, with the conductor in the lead. Crawl toward fire. Tobacco invocation. (6) Step—jump on both feet, hop on left; then reverse, raising free leg out in angular fashion, bending torso from side to side, and raising arms with bent elbows. Sometimes grotesque improvisation, foot twists, hip shaking. Ritual action—ashes from stove rubbed on arms, legs, and hair of the patient, seated on the singer’s bench. Participants—male members of the society, patient in a passive role. (c) Step—Hop-kick step on alternate feet, that is, hop on right while raising left knee and then kicking foot forward; reverse. Thumbs-up—left arm extended forward, right arm flexed close to shoulder, fingers closed into palm, both thumbs pointed vertically 10 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 upward. Participants—two False Faces and two matrons of the society paired face to face, the men backing up toward the door; then in turn other coupled society members; one husk face watching the door. (d) Step—male heel-bumping, that is, right foot flat forward, right heel raised and forcibly thumped on the floor; reverse; female enskanye step as in ganéo’9; counterclockwise circling. Participants—by compulsion, all members, men line up first, women in the rear; by option, all present. During sponsor’s song (16) special entrance of sponsor into the round, under guidance of a husk face. During two special songs (17 and 18) entrance of two husk faces into the round. Final dances—ash blowing on the sponsor and patient by two false faces and a husk face. Remarks.—Costume—wooden carved masks of various forms, particularly the doctor masks of the great world rim dwellers who officiate as doorkeepers in the round dance (shagodyowéhgo.wa-) and impersonators of wind and disease spirits (hodigoséska’a).? Breechclout, dungarees, a woman’s shawl or skirt, or any old thing to heighten comedy, as football helmet and hula skirt. Mime—some differentiation of two main classes of gagéhsa’ or faces, erect or crawling, and of masked expression, awful or indolent. Husk Faces or Busuy Heaps (gadji‘sa”): Function.—Messengers for False Faces in house purging, messengers of the three Food Spirit Sisters at Midwinter, also curative agents. Occastons.—False Face spring and autumn circuits, Midwinter medicine ceremony nights, occasional private rituals. Songs.—Two types: during False Face ritual, songs similar in type to False Face melodies, also to turtle rattle accompaniment; for special dances monotone repetitious short phrases, to characteristic rhythms of turtle rattle or of wooden paddle knocked on the bench, and to the rapid knocking of their own staves on the floor. No grunting like False Faces. Dance.—Entrance crawling and leaping, with great din of staves. Two types of dance: (a) Individual, ad lib leaping by male maskers, jump-hops similar to those of False Faces, or foot twists similar to Fish Dance (see below), or stiff-legged straddle, or galloping around staves. (b) Round dancing by male and female members, the latter with eskanye. Remarks.—Costume—fringed masks made of braided or twined corn husks, female types differentiated by dangling tassels or knobs; 2 For classification of mask types and origin legends, see Fenton, 1941 a, especially pages 408-412, 416-417; Kurath, 1956 a. Kurata] IROQUOIS MUSIC AND DANCE 1l wooden staves, otherwise ordinary male and female clothes. Agrar- ian associations—legendary origin in a place of many stumps and transference of agriculture from this place; headman’s title ‘long earsofcorn.” Fertility associations—transvestitism, that is, exchange of clothes between male and female participants, references to crying babies at home, and prophecies of multiplication.® MeEpIcINE CoMPANY OR SOCIETY OF SHAMANS (hadii?dos or yei?dos): Function.—Cure, particularly to release medicine administered to a patient in the Little Water Medicine ritual. Occasions.—Usually in secret at night in the patient’s home, infre- quently during medicine rite renewals of Midwinter Festivals; at special meetings three times a year—June, September, and at Mid- winter. Songs.—(a) Marching songs of hadi’hadiya’s or gahadiya’go “ooing through the forest,’ 5 songs, by entire company of 12 to 15 men all shaking gourd rattles (1). Slow, free delivery of ingeniously combined “‘Scotch snap” and triplet figures, in a scale of five to eight notes range, with rattle tremolo. (b) Messenger’s songs, 15 songs in groups of twos and threes (II). Free combinations of even notes, syncopations, and triplets, in narrow range scales of five tones, with rattle in triple time against duple time of melodies. (c) Throwing songs or individual songs, any number, eight recorded (III). Solos by individual singers, in a great variety of tonalities and patterns, containing from 3 to 6 notes of the scale, with a range of 4 notes to 12, with repetition of the same short phrase triplets in a descending scale (1) or free phrasing (3). (d) Middle songs (gainowé’tahg) or Curing songs, 10 songs by the Messenger and helper (IV). Groups of two or three songs, all constructed on a similar theme, stated in the first song, similar in tonality and rhythm to the Marching songs, but with a preference for an octave’s range. Each song rendered twice, with alternation of rattle tremolo and even duple beat. (e) Round Dance, ganényahgwe’, 64 songs by the entire company (V), many of them in pairs. Triplets and syncopation in play on confined melodies, mostly of three tones encompassing four to five notes, in thirds and seconds, the last song with fourths. Usually five repeats, with tremolo during first and fourth repeat. Dance and ritual action.—(a) (part 1) Marching from an adjoining house to ritual site. (6) (part II) and (c) (part III) in place. 3 See Fenton, 1941 a, pp. 416-417, for legend and symbolism. 12 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 (dq) Curing ritual by the following participants (part IV): Messenger @-————--——— ee MP atient ———— Sponsor Helper) << Crossover during first rendering of each song; return to original places during second rendering. (e) (part V) Round dance in three phases: i. In place, seated, 11 songs, with rising during twelfth. il. Standing, 5 songs. iii. Dancing by the assembly, songs 18-47; by the sponsor and a masked figure, songs 48-55, ashes strewn; by the assembly, songs 56-62; in place, standing, final songs 63-64. Step—facing center of circle, a sideward stamping shuffle and raising of alternate knees, sometimes a quick two-step or two suc- cessive stamps with one foot. Actions: 41: rattles stood on end of handle several feet above floor. 42: rattles planted in center of dance lodge. 52-54: masker and sponsor face to face like two people kissing, ashes strewn by the masker. 63: rattles held against head like horns during butting mime. Remarks.—Textual references to mystic animals and magical actions. Ordinary clothes except for black and white mask. Rela- tion to even more esoteric Little Water Medicine Society.* BuFrrauo Society Dance Sones (degiya’ go?é6eng’): Function.—Cure of cramps in the shoulders, or fulfillment of dreams about the buffalo. Occasions—Midwinter medicine rite celebrations, and private ceremonies. Songs.—One male singer with water drum, seated on central bench, with patient next to him. (a) Introductory tobacco invocation chant, one song. (b) A short series of dance songs, similar in two versions, all A ABA B. 1933 recording by Sherman Redeye, five songs, each with a single theme repeated in various levels, and each with a prefer- ence for direct or hidden fourths. 1941 recording by Chauncey Johnny John, eight songs mostly the same as Redeye’s, but excluding the 1933 final song with the “magic word’’ (see texts) and including a final song with syncopations and terminal antiphony. Dance.—(a) Tobacco invocation and treatment of the patient. 4 See Fenton, 1941 a, p. 421; field notes. KuRATH] IROQUOIS MUSIC AND DANCE 13 (6) Round dance by— i. The ritual conductor, sponsor, and society members. ii. The community, men in the lead, women in the rear. Step—first half of each song (A A B), facing center of circle, a right sideward stamping shuffle; second half of each song (A B), facing outside of circle, a left sideward stamping shuffle. Action—butting and bellowing by male members. Remarks.—Mimetic illusion not heightened by costumes, such as skins or horns, and according to Johnny John not in the past either. Treatment of patient—traditionally by administering a piece of salt clay. (See pages 65-66 for mimetic aspects.) Bear Society Dance Sones (nyagwai? oeng?): Function.—Cure of neurotic spasms, or fulfillment of dreams of the bear. Occasions.—Midwinter medicine rites and private ceremonies. Songs.—One male singer with water drum, seated on central bench, with patient next to him. (a) Introductory tobacco chant, two songs. (b) Nine dance songs, similar in tonality to Buffalo songs, but with less variation in level and more variation by rhythmic modification, in three groups: i. Three songs with similar themes and different treatment, variously developed by transposition or contraction (see “Musical Analysis’’). ii. Four songs, each a variation on the same themes with a triad skeleton. iii. Two songs with terminal antiphony between the singer and dance leaders, one (song 10) constructed on a skeleton ot a hidden fourth, the other (song 11) constructed on a triad. Concluding puffing and blowing by male participants. Dance.—(a) Tobacco invocation and treatment of the patient. (6) Round Dance, similar in arrangement to Buffalo Dance. Step—continuous forward stomp by all performers. Action—waddling and clomping in imitation of the bear and dur- ing song 9 communion with bear food, huckleberry or blackberry juice in a pail. Remarks.—Mimetic illusion not heightened by costume. Treatment of patient—spraying with berry juice, communal puffing of smoke from a pipe. (See pages 66-67.) WOMEN’S MEDICINE SOCIETIES Dark Dances (deyédasodaigo): Function. —Cure of general debility with aid of medicine in a charm bundle. 14 BUREAU OF AMERICAN ETHNOLOGY [Buny. 187 Occasions.—In secret at the patient’s home any time of year, always at night, in complete darkness. Songs.—Male song leader with a drum, two assistants with horn rattles, a fourth man to help. Female singers an octave higher than male voices. Three groups of songs during three periods of darkness (sometimes four), alternating with two periods of rest, lights, and smoking: i. Four chants by leader in two groups of twos. 13 dance songs, each one stated by male voices (A) and repeated and continued by the entire chorus. il. Four paired chants by leader, each one sung twice. 30 dance songs stated and reiterated as during the first period, mostly in groups of twos, songs 13-18 in one identical group. ii. Four chants, each one sung once. 20 dance songs stated and reiterated as before. In all songs a prevalence of sequential treatment, of thematic repetition on lower levels, a preponderance of seconds and thirds preferably grouped within a compass of a fourth (such as phrase 1 of song 8 in first period). Dance.—Female performers, facing center of circle, side stomp to right, varied with jumps on both heels, pivots, and stamping. Remarks.—Association with mystic animals and with legendary pygmies in pursuit of a great beast, djonyosquat.5 (See Buffalo connotations, p. 66.) QUAVERING (fyonda‘tha?): Function.—Cure for lassitude and neuritis or in dream fulfillment. Occasions.—At the patient’s home any time of year. Songs.—Special male singers seated at one end of room, manipulat: ing drum and horn rattle. Female chorus as for Dark Dance. Four song groups: i. Introductory songs, 3 by men, drum tremolo, 3 by men and women (last two not on record). ii. 19 dance songs with bantering texts for men and women, as in Dark Dance. Percussion accompaniment in even eighth notes. iii. 4 songs for cloth distribution, last 3 alike. Percussion accompaniment in even quarter notes, thus in slower tempo. iv. 7 final dance songs, with eighth note beat, in faster tempo. 5 See Parker, 1909, pp. 167-170, for list of animals. KuratH] IROQUOIS MUSIC AND DANCE 15 Five-tone scales and sequential structure similar to Dark Dance, but more syncopation and triplet figures in Quavering. Dance.—Entirely by women. i. Women singers stationed in front of male song leaders. ii. Round Dance, facing center of circle, side stomp to right. iii. Reciprocal gifts of cloth, from sponsor to dancers and from dancers to sponsor; the former waved back and forth to the music, the latter wound around the sponsor. iv. Another Round Dance, with lively improvisation of two- steps and jumps. Remarks.—Bantering texts inspired by origin legend.® CHANGING-A-R1B (deswandényQ’): Function.—Cure, as sequel to Quavering. Occasions.—In private homes, usually after Quavering, sometimes separately. Songs.—Same character and grouping as Quavering: i. 3 chants. ii. 7 dance songs with eighth note beats. iii. 11 songs for cloth distribution, the first eight in pairs. Kighth note instrumental beat; hence no slower than dance. iv. 21 dance songs in faster tempo, some with form AA BAB, some A A B A. Similarity to Dark Dances even in rhythmic figures; for instance, Dark Dance 5 and 8 compared with Changing-a-rib 38 and 34. Considerable variety in phrasing and range, from limited range of final songs, to octave or more in range of cloth distribu- tion songs. Dance.—Like Quavering. Remarks.—Burden syllables instead of meaningful texts. Fast For THE DeEap (‘ohgtwe): An important curative ritual, similar to the previous two feasts, but not recorded for Coldspring longhouse. Songs similar to those studied at Six Nations Reserve,’ with a melodic line and scale noted in other womens’ rites, but with characteristic terminal vocal pulsa- tion, and steady drum syncopation. Dancers’ relation to center of circle slightly oblique. Final dance like women’s shuffle dance or enskanye. In Tonawanda collection, 9 songs—2 chants, 7 dance songs; 4 songs for Carry-out-the-kettle sequel. 6 The legend tells of a bachelor who married a frog woman. See Fenton, 1942, pp. 11-12. 7 For discussion, song transcription, and choreography, see Fenton and Kurath, 1951, pp. 139-165; Kurath, 1951, pp. 98-99; 1952, pp. 126-127. 16 BUREAU OF AMERICAN ETHNOLOGY [BULL. 187 RITUALS AND DANCES ADDRESSED TO THE FOOD SPIRITS Society oF WoMEN PLANTERS (towisas): Function.—Thanks to the vegetables (djoh’ehko), our life sustainers, the Three Sisters—corn, beans, and squash; today also potatoes. Occasions.—In the longhouse, ninth afternoon of Midwinter, fourth afternoon of Green Corn festival. Songs.—(a) Leader of ritual, box turtle in hand, four introductory songs (two recorded) ; antiphonal response by other women. (b) Individual songs by society members, one by one, preceded by prayer. (c) Individual songs (adonwe’) by attendant men. (d) Antiphonal marching songs by the women, continuous. All melodies repetitious, with simple rhythms and limited recurrent intervals of a third and second. Steady beat of rattle by striking against palm of left hand. Dance.—(a) Women seated in two parallel facing lines, in south- west corner of longhouse; men at north end; spectators along walls according to sex. One song leader for each moiety of society members. (6) Women standing still, face to face. Starting with headwoman and members of her moiety, order of singing counterclockwise. Accompaniment by tortoise-shell rattle which makes rounds, or by the broom struck on floor. (c) Individual men captured and obliged to sing; otherwise (for- merly) disgraced by face blackening with soot from stove. Accompani- ment by tortoise rattle, returned to headwoman after song. (d) Counterclockwise walking procession by all women, including audience, around stove or in center of longhouse. Remarks.—Southern affinities: tortoise rattle of Carolina type; origin legend which attributes ceremony to Cherokee. (See Kurath 1961, with comments by Sturtevant.) WomeEn’s SHUFFLE Dance (eskinye’): Three types of songs with, however, the same step. WoMEN’S OLD TIME SHUFFLE DANCE (eskiinye’ gaino-gafyoka’): Function.—Supplication and thanks to the food spirits, in particular the corn which is identified with the women. Occasions.—Between two Feather Dances at Midwinter and at agricultural festivals; at Tonawanda also on seventh night of Mid- winter and as first dance of Green Bean Festival and Harvest Festival. Songs.—Two male singers on a central bench, with water drum and horn rattle. Each song stated by leader vibrating drum, then taken up by assistant with instrumental duple beat. Any number of songs, usually 12 to 18 in no set order. All of the same type, with simple KurAtH] IROQUOIS MUSIC AND DANCE ef. repetitious themes in rapid eighth notes and occasional syncopated melodic figures, in four-tone scales with limited range. Dance.—Women only, in single file counterclockwise round, facing center of circle or occasionally pivoting on own axis. Step—a saw-foot progression to right, with slight knee flection on every beat. Pull right foot right, turning toe in (actually pulling with heel), twist left heel to right; swish right foot to right by shuffling toe out in small arc, twist left toes to right. Gesture—elbows close to waist, forearms swing right and left, or alternately up and down; elbows at shoulder level, wrists rotate. Remarks.—Same step used by women in False-Face Round, Drum Dance, Striking-the-stick, and if desired, in Fish Dance in place of Fish step. Gestures, though apparently nonmimetic, said to repre- sent agricultural activities. WOMEN’S GREAT SHUFFLE DANCE (eskanyeg6-wah): Function.—Address to the food spirits, at planting time in supplica- tion for a good harvest, at harvest time in rejoicing. Occasions.—Coldspring: Planting, Harvest, fifth night of Mid- winter; Tonawanda: Planting, Harvest, seventh night of Midwinter. Sometimes at councils. Songs.—Two or three male singers with drum and horn rattles. (a) 5 introductory songs by men, drum tremolo. (b) 9 songs with meaningful texts, by men and women an octave higher, asin Dark Dance. After initial drum tremolo, an even duple beat, songs 6-10 with eighth notes, songs 11-14 with quarter notes. (c) 12 or more dance songs by men alone, women dancing. Same form in essentials as old time dance, namely A A A’ A A’ or AABAB. Alternately accented duple beat throughout, accelerating during each song. Most songs in extended scales with frequent use of fourths and a typical syncopated rhythm in the melody. Dance songs more con- servative than first 14 songs, either by limited tonal material (18 and 19) or by repetitious short thematic material (16, 21, 23). Dance.—Same as Women’s Old Time Shuffle Dance. Remarks.—Bantering textual references to beans which grow up cornstalks (in this context symbolizing men) and which go on to the next stalk. Association with ancient custom of planting beans and squash in same hills with corn. NEW WOMEN’S SHUFFLE DANCE: Function.—Social dance. Occasions.—Social gatherings, after long rites and during Six Na- tions meetings, during special song sessions in homes, especially after mutual aid in work. 634-599 O—64—_3 18 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 Songs.—Compositions by individual male singers but sung by group of six or eight or more men seated face to face on two benches. Instru- ments: drum, horn rattles, heel bumping on the floor. Melodies ap- parently bold and free in rendering, but constructed on traditional lines, by extension of range, expansion of phrases made up of simple rhythmic units, by interpolation of additional themes, and by long terminal extension on the ground tone. Melodic themes sometimes adapted from White men’s tunes, such as ‘Little Red Wing’”’ (com- posed by Willy Stevens in 1913). Rapid percussion beat in somewhat free relationship to melody and in steady acceleration and crescendo. Thematic and percussion relationship as follows: Aab—soloist, even drum and heel-bumping a—chorus, drum and rattle tremolo, even heel-bumping bBcb—chorus, even instrumental beat Aa—chorus, drum and rattle tremolo, even heel-bumping bBceb—chorus, uniform instrumental beat or else: Aa—soloist, drum tremolo b—soloist, even beat Aa—chorus, tremolo b—chorus, even beat B—chorus, even beat A, B—chorus, even beat Aa—instrumental tremolo, heel-bumping b, B—even beat Remarks.—Some humorous textual references inserted among bur- den syllables, such as “Barney Google,” ‘automobile’ (Lyn Dowdy, Ed Curry, 1933), for pleasure at ‘“‘sings,’’ not for dancing. Corn Dance (onéot?éenq’ or corn song): Function.—Worship of corn spirit, at present mostly a social dance. Occasions.—Sequel to Midwinter and Green Corn Festivals, at ceremony called ‘“‘gaindéso?eh” or songs of all kinds, at Coldspring on evening before bowl game and again afterward if game not com- pleted; at Tonawanda on evening of day following bowl game, also a week after Midwinter. Songs.—Two dance and song leaders at head of line, striking horn rattles against palm of left hand. Two recorded versions are: Coldspring.—1 introductory chant and 5 dance songs. Tonawanda.—Same introductory chant and 8 dance songs, partly the same as Coldspring; Coldspring songs 4 and 2 combined into Cornplanter’s 4 (Tonawanda). All songs pleasing and flowing, in five-tone melodies and smooth rhythms livened by occasional synco- pation. Each song developed from single theme in various skillful ways (see Analysis). Occasional antiphony. KURATH] IROQUOIS MUSIC AND DANCE 19 Dance.—During chant, dance leaders stationed by men’s stove. Dance progression in counterclockwise single file, with simple stomp step, men commencing and women entering at any time. Alternate arrangement of sexes. On repetition of song, momentary side stomp optional. Remarks.—At discretion of leaders, sometimes serpentine winding during last song. Likely, Cattaraugus origin of songs. Stomp or Trottine Dance, also called StanDING QuivER (ga’d4so't): Function.—Sccial dance, associated with food spirit ceremonies. Occasions.—Same as Corn Dance, at Tonawanda also at Maple Planting, Green Bean, and Harvest Festival. Always at social dances following long rituals and during Six Nations meetings. At Cold- spring, invariably as first dance; at Tonawanda, usually as second or third dance. Songs.—No percussion accompaniment except for rhythmic tramp- ing of feet in time with melodies, but slightly retarded on each impulse. Antiphony throughout by dance leader, helper, and chorus of male dancers who line up. First song always monotone, remaining songs in any order and different in every repertoire, but all of the same pattern and tonality, namely: A (repeated three or four times)—statement and melodic antiph- ony usually on ground tone and third above, sometimes also fourth below, as bugle call. B (once)—melody raised to a higher level, statement usually extending from an upper fifth to second of scale, response usually on second of scale; then a transitional statement and response returning to ground tone. A (three or four times)—same as before or slightly varied. Song sometimes repeated all over again. Concluding antiphonal call, wailing downward from high fifth. Two versions—1933 by Albert Jones and Lyn Dowdy; 1951 by Ed Curry and Avery Jimerson. First two songs alike in essentials but with variations. Remaining third song of 1933 unlike any of 12 songs of 1951. Dance.—Counterclockwise round, with stomp step, started by male leaders chugging around stove during first song, then venturing out to center of floor, and with accumulation of dancers circling complete length of longhouse around both stoves. Women’s entrance ad lib, between men, thus sexes in alternation. Each song form echoed by characteristic dance pattern: A—forward stomp, arms dangling and head erect. § For interlonghouse variations and Seneca version of serpentine course, see Kurath, 1951, pp. 126-128, and fig. 6. 20 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 B—sideward stomp to right, facing center, arms swinging in front from side to side. Improvisation and horseplay permissible, staggering toward center and out again, hops, kicks, series of 3 stamps which resound antiphonally around the circle. A—return to forward stomp. Remarks.—Original meaning of name associated with warriors who bear quivers on their backs. Now, as Stomp Dance par excellence, other dances with this step classified as “ga’d4so-t ka”, in manner of ga’da So-t. Texts sometimes have mildly pornographic allusions interspersed with burden syllables, but without extending this attitude to liberties with women’s persons (not during dance, at least). Dignity not destroyed by gaiety. HAND-IN-HAND oR Linxinc-arMs Dance (deyodandsgnta?), also Bran Dance. Function.—Social dance, probably formerly food spirit dance.° Occasions.—Same as ga’d4so-t stomp. Songs.—Accompaniment by male dance leader with horn rattle, joined by chorus of male dancers in his wake, much like Corn Dance. Three versions: 1933 by Albert Jones, one introductory song and two dance songs, terminal calls. 1948 by Jesse Cornplanter of Tona- wanda, two chants and nine dance songs. Second chant and first dance same as Jones, others different, notably several with a large range (5,7,9). Last two with monotone terminal antiphony. 1951 by Ed Curry and Avery Jimerson, one chant omitting one phrase of the Jones version, first dance same as Jones, others distinct. Last two antiphony. All songs distinguished by sedate tempo and rattle beat, by radiant melodies in flowing descent, by wide intervals, with complete scales including semitones and surprising shifts of tonality. Many se- quences, usually downward, in Cornplanter 9 ascending. All songs started by soloist, echoed by chorus, and continued ensemble. Cycle followed by regular ga’d4so-t stomp. Dance.—Circular processional with slow shuffling walk, half of regular stomp tempo, men and women in alternate array. Ensuing stomp in typical speed and pattern without percussion. Remarks.—Said to be old dance, formerly featuring hand linking.” ® At Six Nations Reserve Hand-in-hand Dance is fused with Corn Dance and with Green Bean symbolism. At Soursprings longhouse, it is always included in the food spirit rites, and is sometimes performed with linked hands. © Conflicting with the bean idea, a legend tells of a victory celebration after surviving a siege by the Shawnee (see Speck, 1949, p. 153). Fenton states (personal communication): “‘Other informants say the Kah’kwa, or Erie.” KurAtH] IROQUOIS MUSIC AND DANCE Dill SOCIAL DANCES—STOMP TYPE, GA’DASO-TKA’ Funetion.—Sociability with, however, a ceremonial undertone. Occasions.—“‘Songs of all kinds” in longhouse and private homes, at the conclusion of festivals, the evening before “shoving off their canoes” for Six Nations meetings, afternoons and evenings of Six Nations meetings, formerly at Coldspring regularly on Sunday evenings. SHAKE-THE-PUMPKIN OR SHAKING-THE-JUG (gashedondadg’): Songs.—Accompaniment by two male singers with drum and horn rattle, not, as implied by name, with gourd rattles. Only two songs available from 1933 version of Cattaraugus songs recorded by Allegany Seneca Sherman Redeye. Each song in following pattern: A B A— body of melody in short, abrupt phrases, limited scale and themes. Antiphony between singers and dancers, on brief monotone phrases, 12 to 16 times. Body of song repeated, no change in duple drum beat. Antiphony repeated. Wailing call. After exhaustion of the song leader’s repertoire, a regular ga’daSo’t stomp. Dance.—Shuffling stomp in continuous round, as in ga’daéso’t, but with all men lined up in front, and women bringing up the rear as in Bear Dance. On dance leader’s signal “ha 4 ha 4,’’ women move ahead and alternate with men, or wait at south end of longhouse for men to pass and make room for insertion. Then stomp in typical alternate array, without instruments. Remarks.—Former food spirit associations, with the squash plant." Conservative tendencies evident in archaic type of melody and of antiphony, and in segregation of sexes. Garters Dance (dewatéihdsio?): Songs.—Two dance-song leaders with horn rattles. Tonality and type of antiphony similar to ga’d4so’t stomp, but in extended form to fit dance, namely, A repeated, B, A repeated, B, A repeated. Dance.—Extended, eclectic pattern, on fundamental stomp step— A—forward stomp, in first songs men alone, in later songs sexes coupled. B—sideward stomp, as in ga’déso’t A—forward stomp B—partners change places with walking step A—forward step Sometimes in addition: B—partners cross back to original places A—forward stomp 11 This dance is included in Six Nations Cayuga food spirit festivals as Squash Dance. Note the separa- tion of the sexes in the manner of rituals. 29 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 PASSENGER PiGEON or Dove Dance (djigowa? deng?, dove “Big Bread”’ song): Songs—Two dance-song leaders side by side with horn rattles. A chant and two dance songs available from 1933 version by Deforest Abrams. In all, theme stated by leader and taken up by helper, then restated at end, resulting in form A A B A plus call, third song by repetition A A B A B A x. Main theme repeated sequentially on lower levels, thus small intervals of theme adding up to a large scale. Dance.—Double file round with stomp step, pairs of men alternating with pairs of women. No choreographic change at Six Nations, but at Seneca longhouses partners face, leader back-stepping, then reverse on song repeat. (See p. 69 for mimetic implications.) Duck Dancs or Song (twen? éenq’): Songs.—Two special singers with drum and horn rattle. Melodies connected in alternation into one continuous song, as no other cycle except Alligator. Flowing rhythms in “major” triad tonality, sec- tions A and C ona higher pitch than B. Unwavering even drum beat. Dance.—Double file round, pairs of men and women in alternation, women in the lead stomping backward, men forward, pairs holding hands: A—women backward, men forward in continuous circling. B—same continued. C—men raise inner hands into a bridge, women pass under, all stomping straight ahead (men and women in opposite direc- tions), till end of phrase. B—arms lowered, stomping as in previous B. D or C—crossing through bridges as before. B—stomping as in beginning. A—women pass through several bridges, all calling “twe twe’ (quack-quack), till women suddenly caught by lowered arms of men. (See pp. 68-69.) Dance continued in this fashion as long as desired, with great gusto. SHAKING-THE-BUSH OR NAKED DANCE (gasgoiodadg’): Songs.—Two special singers with drum and rattle. Songs as follows: (a) Two introductory melodies for men and for a group of women lined up in front of singers. (6) Song 3 ff.—songs by men only, with moderately extended scales and very extended form because of repetition needed for dance. Dance.—(a) No dance action. (6) Women shuffle ahead in pairs during song 3; in song 4 face about and are joined by pairs of men in alternate array. Thus always Kuratu] IROQUOIS MUSIC AND DANCE 23 two women and two men face to face. Remaining songs the following form: A—women backward, men forward as in Duck Dance. B—A-B—same continued. A—men and women change places, leading couple stepping aside, walking step. B—stomping, this time men backward, women forward. Next song recrossing into place during recapitulation. Rosin Dance (djowiyaik? d6enq’): Songs.—Two song-dance leaders with horn rattles. No specified order or number of six songs recorded). Same songs in different order represented in two versions by same singers, 1933 and 1941. Well- defined archaic triad scales and repetitious themes with buoyant rhythms. Special form for dance. Dance.—x (call), alternately accented rattle beat. Song—men and women, segregated as in rituals, facing center, stomp sideward right, as in Medicine Men’s Rite, Buffalo, and B of ga’daso’t. x—with three hops, all face about. Song—facing outside of circle, all stomp to left, as in Buffalo Dance. x—all face about to center of circle. Step variations permissible, two-steps, hops, pivots. All songs choreographed with combinations used by Fannie Stevens, some set, some improvised. General remarks.—Bird dances possible hunting dances for mating and propagation (hence coupling), for capture as in Duck Dance. (See p. 69.) ) SOCIAL DANCES—FISH TYPE, g¢dzd’enq’ ka. Function.—Sociability .” Occasions.—Same as other social dances. FisH Dance (gedzé’eng): Songs.—Two kinds, old and new, the latter faster and bolder.” Available versions all of old type, each repertoire different. 1933 songs by Ed Curry and Lyn Dowdy: first one only resembles one of 1945 series by Chauncey J. John and Albert Jones. No set number; six recorded in 1945. All characterized by flexible rhythms both in instruments and melody. Usually six singers, one with drum, the 12 At Soursprings, Fish Dance is frequently included in Midwinter medicine rite renewals. 13 See Kurath, 1951, p. 134, for comparison of old and new types of the Women’s and Fish Dances. 24 BUREAU OF AMERICAN ETHNOLOGY [Buun. 187 rest with rattles, manipulating as follows: A—Halftime percussion beat, sometimes quarter notes or syn- copated quarters, or eighth notes with strong alternate accents. Rendered by soloist. A—Accelerating even beat by all singers. B—Rapid even beat continued. A—Halftime beat with drum, tremolo with rattles. B—Rapid even beat with all instruments. In melody, B sometimes a second theme, or more frequently same as A in variants by transposition or inversion. Characteristic rhythmic shift from even eighth or quarter notes to triplets. Char- acteristic contour of up and down wavering, close to ground tone. Dance.—Coupling. First song men in pairs, after that women in pairs inserted between pairs of men, so that opposite sexes coupled.“ Formula: A—AIl saunter, facing ahead in counterclockwise circling. A—All pat-step: right foot placed lightly abead and raised, then set down. Same with left foot. B—Couples face to face in fish step: right foot forward, twist both feet out and in; right foot behind left, same twist. Or forward, back, closed.“ Reverse. Women sometimes eskanye step. A—Partners cross-over, men usually on outside but not nec- essarily. An elastic walking step to drum quarter beats. B—Fish step Between songs, sauntering during initial tremolo by singer. Next dance the same, partners crossing back to original positions. (See Dp: 95;) Remarks.—This pattern interpreted as imitative of fish crossing in water. Same musical and dance pattern prevalent in other Fish-type series. Raccoon Dances (djoega?éeng’): Songs and Dance.—Specific sequence: (a) Introductory chant to tremolo. (6) Slow dance by men, stomp type: forward step, knee flection or forward step right, forward kick left during knee flection on right. Circling. (c) Pairing of men during song 3, then of men and inserted pairs of women during song 4. Stomp step during B and crossover as in Fish Dance. "4 Custom differs somewhat from Shaking-the-bush, where the ritual conductor selects couples for insertion. In Fish Dance, one woman asks another to join in the dance and must not be refused. 15 The step is often compared to the Charleston, even by the Seneca themselves. The resemblance is certainly a coincidence, for Morgan (1901, p. 273) witnessed the Fish Dance in its present form in 1851, while the Charleston originated in South Carolina about 1926. KuratH] IROQUOIS MUSIC AND DANCE 25 (d) Pattern exactly as in Fish Dance. Songs similar in type to Fish Dance, but with prevalence of dotted melodic rhythms rather than triplets. End of dance signaled by singers’ yelping like a raccoon and striking twice on drum. CHICKEN DANCE (dagii’¢?6eng’): Songs and dance—Sequence: (a) 2 songs by men and by women stationed before singers. (b) 3 songs with eskinye step by women. (c) 3 or more songs Fish type but in alternate array like Corn Dance. Songs with more syncopation than Fish, shorter antiphonal phrases. End signaled by leading hen crowing like rooster, ‘“‘dakdag e: gh ve SHARPEN-A-STICK (wai’enotiy6’): Songs and dance.—Similar to Fish Dance, except for reputedly greater speed. Actually faster start for each dance, but acceleration not beyond regular Fish-type tempo. Varying repertoires and arbi- trary order. 1951 version by Ed Curry, learned from Jonas Snow, Chauncey Johnny John, and Willy Stevens, same first two songs and different ensuing songs when compared with 1933 version by Jonas Snow, Lyn Dowdy, and Ed Curry. Beat of instruments as in Fish songs, but melodies more concise, with short-clipped phrases and duple rhythms, and with four or five repeats notably in part B. Dance like Fish type, except for greater speed and more raising of heels after foot twist. Specialty of young blades, ‘‘sharp sticks.” -A- jndenyotges), cousins’ dance: CHOOSE-A-PARTNER (deyé 6S), Songs and dance.—Instrumental, structural, and choreographic form same as for Fish dance. However, melodies extended to wider descending scales, with fourths and octave range, ornamented with some complex, crisp rhythms (2, 3, 7), sometimes enlarged into two or three themes (1, 4). Special name-giving feature: women’s choice of partner from brother’s or father’s brother’s children. MISCELLANY OF SONGS NOT ADEQUATELY RECORDED AT COLDSPRING, BUT IN TONAWANDA SERIES FisH1nGe (oshé-we’)—stomp; women in group, chosen by men as partners. CHEROKEE DaNcE—stomp, ending in serpentine and spiral.'® GRINDING-AN-ARROW (ganogeyQ’)—stomp. KNEE-RATTLE (gahs6’e’) and Devin Dancer (djfhaya)—Fish type (°?). 16 Six Nations Cayuga, Willie John, learned Cherokee dance songs in Oklahoma; he led the dance at his longhouse, and has recorded the tunes. 26 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 ALLIGATOR (deganodéntgeha’)—couple dance.’” One continuous song. MarriaGE Dance (hadiwaniydés)—1933 songs reproduced, not analyzed. Pair of bride and groom step-pat across room in straight line (no diagram). 17 Alligator Dance still forms part of the social dance repertoire at Upper Cayuga Longhouse, Six Nations Reserve. I have participated in it during a Six Nations meeting. MUSICAL ANALYSIS THE MATERIAL PERFORMANCE Instruments: Percussion instruments serve as background to singing. A whistle tootles intermittently during the Little Water Medicine ritual, and a six-hole flageolet courts for a lonesome lover. Dance instruments are plied during dances by special singers seated on benches or by dance leaders. Dancers, singers, and instrumentalists are identical in the Medicine Men’s round and in the Society of Women Planters. Song leaders, one or two, of opposite moieties, strike a horn rattle against the palm of their left hand in Corn, Hand-in-hand, Garters, Pigeon, and Robin Dances—all of the choreographic stomp type. In Feather Dance and False Face rites, one or two special singers strike a turtle rattle mercilessly against the bench. In all other cycles, except for the unaccompanied adonwe and ga’d&so't stomp, drum and horn rattle are combined in increasing numbers, from one in Bear and Buffalo Dance to six or more in eskinye and Fish Dance type. The drum rests obliquely against the left knee; a wooden beater follows the impulse of a relaxed right wrist. The horn rattle can be struck against the thigh or the palm of the left hand. To obtain a tremolo effect, it is shaken vertically or horizontally with extended arm. Foot tramping and heel bumping intensify the pulsation. Extraneous noises increase the maskers’ din—the huge turtle-shell rattles of the False Faces and the staves of the Husk Faces. The singers’ bench occupies the floor center in most special accompaniments. It rests against the men’s west wall in rites to the Midpantheon and in women’s medicine rites. It serves as a dance focus and seat for the patient, as well as an enhancement of tonal volume. Singing: Musical ability decides the selection of singers. This ability appears particularly to belong to the male sex but does not entirely neglect the matrons. Women monopolize the chanting in their Society of Planters and they join the men an octave higher in their own Medicine Societies and in two social dances, Shaking-the-bush and Chicken Dance. The men have the resonant voices, and the 27 a8 BUREAU OF AMERICAN ETHNOLOGY [BuLy. 187 women intone meekly and rarely do they offend the ear with shrill labored soprano. Fannie Stevens, in fact, used to chant towisas in a middle register, lower than the male rendering of new ¢skdinye songs. In both sexes leading singers show their individuality in their rendering, the men to a much greater extent. The soaring Eagle Dance songs differ from the husky, propulsive Bear Dance songs; the pulsating Feather Dance songs are in no danger of being confused with the panting Husk Face chants, or the crisp Chicken Dance songs with the sustained melodies of Hand-in-hand. Similarly, Chauncey Johnny John’s free eccentric huskiness differs from Albert Jones’ sonorous sturdiness. Ed Curry has adopted some of Chauncey’s ways and blended them with his calm personal style. The patterns of the songs will presently be examined more closely. It is easier to observe the great variety from cycle to cycle than to summarize pervading unifying qualities. In no case is the pattern arbitrary. The flow of the melody and its relationship to the instruments is safeguarded by tradition. METHOD OF STUDY Transcription: The most satisfactory agent for transmission of melodies from singers to musical staff remains the phonographic disk, and this has provided the material for most of the enclosed reproductions. A few Scalp songs were written down by ear, and some recent tape recordings have been transcribed directly from a reel. All of these recordings are the work of William N. Fenton in the course of 18 years: 1933, 1941, 1945, 1948, and 1951. Tonawanda recordings materialized as a project of Martha Champion Randle with the aid of Dr. Fenton. Most of the songs have lent themselves fairly well to conventional notation, with the addition of a few symbols for ‘‘blue’”’ notes slightly below or above pitch and for a few other characteristics that did not defy translation into symbols. In the first drafts time signatures were used, but they have now been abandoned as unsuited to the Indians’ musical perception. Any metrical divisions are arbitrary and perforce tentative. Certain divisions occur only at the end of phrases and larger sections. Similarly, key signatures and accidentals have been avoided when possible. For better writing and for com- parative purposes, most songs have been transposed downward from a third to a fifth. This seemed feasible because of the Indians’ relative rather than absolute sense of pitch. The percussion accompaniment appears directly beneath the corresponding melody, in only a few instances in full. As a rule, the characteristic beat appears at its first occurrence. A change of beat during the song or in an ensuing song is similarly indicated. Char- KuraTu] IROQUOIS MUSIC AND DANCE 29 acteristic terminal beats accompany the last notes of a number of songs. Structural labels (A, B, a, b, etc.) identify typical songs, but not every single one. The number of repetitions is mentioned only in unusual cases. The tempo heads each series with a new type of tim- ing. Unless otherwise indicated, it stands for both voice and instru- ment. Separate tempi are rare—False Face round, Feather Dance introduction. Metronome readings of tremolos have seemed unnec- essary, for the instrumental vibration is free and independent of the equally free vocal rendering of chants. In order to preserve the outlines, two peculiarities are reproduced in simplification. In the first place, the voice lags behind the instru- ment in stomp-type dances. Each component has a regular beat, but the two are in syncopation, thus alee In the second place, the rebounds of the kernels in any form of rattle create a faint subsidiary sound J7J9=JJ. Nonetheless, the main beat is in eighth notes and is written as such. Comparative Procedure: Musical quality stems from a great number of properties, some of them completely elusive, others more palpable. The most concrete properties are tonality, that is, scale type and range, rhythmic units, and phrases, form or structure, and melodic contour. These have been carefully studied in the individual cycles, most precisely in Eagle Dance.'8 Owing to the scope of the materials, typical examples must here suffice for comparisons and tabulations. It must be understood that these paradigms represent the majority of, say, Feather Dance or Changing-a-rib, but that they can be contradicted by numerous exceptions even within their own series. NUCLEUS AND DEVELOPMENT TONALITY Weighted scales (see figs. 1-3, p. 79-81): Weighted scales reveal the tonal skeleton. Each note is checked for its frequency and prominence. The most functional note is labeled as a whole note, the next in importance as a half note and so on to the completely incidental notes marked as sixteenth notes. This has no connection with their rhythmic value but merely serves as a graphic means of discovering the tonal nucleus. The beginning note is marked w and the final note ™. A semicadence is marked 9. The comparative tabulations show a tremendous variety, from a single note in Husk Face, two notes in several songs of Changing-a-rib 18 See the comparative study of four versions in Fenton and Kurath, 1953, pp. 250-263. 30 BUREAU OF AMERICAN ETHNOLOGY [BuLy. 187 and ¢skanyegowa, three in parts of Drum Dance and Yeidos med- icine rite, through four- and five-tone scales of Feather, Eagle, Strik- ing-the-stick, Little Water, various agricultural, animal and_ bird dances, to the large scales of various introductory chants, individual songs, Drum Dance, women’s dances, and several social dances. This distribution has no apparent connection with function. However, esoteric rites lie at the meager end of the scale, and some social dances lie at the full-scaled extreme along with new compositions, with food rites in between. The following examples are from Coldspring. These scales are here classified into four main types according to their tonal nucleus. The first is monotone, confined to chantlike pas- sages, antiphony, and calls or whoops. The next classification is termed secundal because of the predominance of two adjacent notes, that is, the ground tone and the second of its scale. Other notes may lie above and at times below, but they are less important. The third group is termed tertial because the two nuclear notes lie a third apart, namely the ground tone and the third above. Tertial scales tend to build up their entire scale on a skeleton of thirds, sometimes both above and below the ground tone, as in Yeidos and some Feather Dance songs. Most commonly, they build in series above. Two con- secutive thirds add up to a fifth. When the melody dips down to a fourth below the ground tone (the fifth of the lower octave), as in ga’daso‘t, Duck Dance and others, an octave results in intervals known to buglers. Three consecutive thirds add up to a seventh, as in ’ohgiwe and Pigeon Dance, which add an extra note to complete the octave. In rare instances, four thirds build up to a ninth, as in Shaking-the-bush 3. This superimposes a chain of four thirds on another chain of three thirds. These chained thirds are an exception in Iroquois music. Their rare occurrences may be significant. The fourth group is termed quartal because of the nuclear position of notes a fourth apart, sometimes a single interval of a fourth, often two or even three, as labeled, in war type, women’s, and recent songs. These scales are not confined respectively to intervals of a second, third, and fourth, but may contain a variety. The last category, in particular, may include many incidental notes, up to a complete diatonic scale in Shaking-a-bush. The terminology refers to the functional notes and tonal progressions. Quartal scales may connect their nuclear tones directly in jumps of a fourth, or indirectly, that is, 42 21, asin Changing-a-rib. The fourth of the scale varies greatly in importance, from true secundal songs, through Buffalo songs with fairly emphasized fourth to Hand-in-hand Dance with its great gaps of fourths. Thus secundal and quartal scales are related. Though scales range from monotone to diatonic, they are predomi- nantly four- or five-tone. Quartal scales build on tones 54 21; tertial KuratH] IROQUOIS MUSIC AND DANCE 31 scales on 5 321 or 543 1, adding the sixth or seventh. Sometimes there are chained thirds—7 5 3 1. True secundal scales are in the minority—Drum, Eagle, Husk Face, Quavering, Changing-a-rib, a few songs of Trotting, Garters, and Chicken Dance, and are thus largely in rituals. However, a secundal nucleus is still evident in the quartal Bear and Buffalo Dances, and in the terminal play on two adjacent notes in a number of complex scales—Eagle 2 (Tonawanda), Yeidos 1, Changing-a-rib 5, Devil Dance 5, and others. Tertial scales occur in all cycles except Drum Dance and Sun Rite, and characterize Stomp type and Fish type social dances, including the obsolete variety. Quartal scales remain conservative in adonwe, animal dances, both ritual and social, ohgiwe, Old «skinye, and food spirit stomps. They swell to formidable size in many introductory chants, notably Drum and Eagle Dances, in some Yeidos, War, and New ekanye songs. They combine with a tertial substratum in these last three cycles, also in Quavering, Changing-a-rib, Hand-in-hand, Pigeon, Knee-rattle, and Devil Dance. The nuclei do not always appear in the same manner and in the same combination with other tones, but on the contrary exhibit great variety. Almost all Feather Dance songs are tertial, that is, they are constructed on intervals of thirds. Tonawanda 1, 2, 5, and 7 exem- plify three different ways of focusing a 5 3 1 combination and of pro- ducing a range of a fifth or, by duplicating note 5 on a lower octave, a range of an octave. Songs 6, 3, and 4 add other notes in intervals of seconds and produce as many scales, song 4 building downward below the main tone E. Drum Dance, entirely secundal and quartal, builds downward during the first four songs, from a cluster of a fourth plus a second (song 1) to two clusters of fourths (song 2) to three quartal clusters dangling downward (songs 3 and 4). The main tone remains at the base of the topmost cluster. The next set of songs, 5-9, shrinks again to a secundal core, only to expand into quartal 10 and11. This terminates the dance cycle proper. The middle of the rite consists of a series of monotone chants (12, 13). The last part recapitulates the varied dance songs. Thus, within the rite as a whole and within each series of dance songs, the nuclear, small-range songs are in the middle, just as in each song the main tone is in the center. Ado'we and War Dance also show various ways of building up scales. Tonawanda War Dances 6, 1, and 5, in particular, illustrate the growth of additional quartal clusters. Song 5, however, termi- nates on the uppermost note of the bottom cluster—G. Other scales can be likewise examined. It is the variable insertion and addition of subsidiary notes that produces the various types of five-tone scales and the six-tone and diatonic songs. 32 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 The clusters are not always in consecutive blocks but may overlap. Changing-a-rib 3 overlaps groups of fourths and thirds, 5 overlaps groups of fourths. Corn Dance shifts tonality in song 5, as indicated by the labels. The same phenomena of tonal shifts can be observed in the weighted scales of Hand-in-hand, Shaking-a-bush, and other social dances, notably Hand-in-hand 4 and Knee-rattle 3. A semi- close on VII gives an effect of tonal shift in Eagle 5 and 9, Carry-out- the-kettle 4, and Old eskanye 10. This device is rare. A semiclose on the fifth of the scale retains the basic tonality in all Buffalo songs, in Bear 1, 4, and 5, in a number of Drum, Eagle, War, Pigeon, and Shaking-a-bush. This common device does not imply a composite tonal structure but results from melodic sequence, to be discussed below. Modulation is generally not typical of Iroquois songs, but it forms the basis of the ternary (A B A) structure of the antiphonal Trotting and Garters Dances. These sections are labeled in the weighted scales, along with their semiclose. In every instance Part B rises, with a semiclose on the second or third of the scale. Focus: Many songs focus intensely on the ground tone, by reiteration and by consistent return to this center from upper and lower notes. Some songs, furthermore, begin and end on the same note. Feather Dance makes much of its main tone, but it consistently begins on the fifth and rarely dips below (in Coldspring 26, 29, 34). Eagle, Robin, Duck, and Chicken Dance songs behave similarly, but with more com- mon dips below the main tone. Yeidos Round Dance songs habitually begin and end on the same note, which also lies in the melodic center. Other cycles show fragmentary examples—False Face 9, Buffalo Dance 3, eskanyegowa archaic song 18, a few Eagle and Chicken songs, and other scattered instances. The prevalent type is the Feather Dance method of starting on the fifth and oscillating within this note and its tonic, keeping other notes outside this range completely incidental. Virtually all secundal and tertial melodies but very few quartal songs, as Buffalo and Bear, are focused. A few tertial songs and the run of quartal tunes are more diffuse. Nuclear notes receive less insistent attention; subsidiary notes have definite melodic value, thus in Drum Dance and Shaking-a-bush. The main tone lies at the bottom of a complete octave or more, for instance in Pigeon songs. Occasionally, a very low note dives below this octave, as in Yeidos individual song 7 and in some of Cornplanter’s Hand-in-hand songs. Some adventurous compositions shift focus. As shown by a label on the scale-tabulation, Hand-in-hand and Shaking-a-bush invariably conclude the first section a fifth above the KuratH] IROQUOIS MUSIC AND DANCE 33 main tone and shift to the lower level during the second section, thus presenting two quartal blocks one above the other. Composite Scales: This shift of focus may, however, be less obvious. Chauncey’s adonwe repeats its theme on three overlapping levels and furthermore modulates from minor to major. Towisas and ga’d4so-t songs carry through a recurrent formula of tonal shift by raising or lowering the main tone by one interval in part B. The former usually lowers part B, the latter always raises it. They invariably return to the original main tone during a recapitulation of part A. As we have seen, ga’d4so-t accompanies this phenomenon with a shift in dance direction, but towisas does not. Both cycles are antiphonal. Other cycles show scattered and more subtle instances of over- lapping, in Coldspring Feather Dance 16, Drum Dance 14, Eagle Dance 3, War Dance 1, Quavering 3, Fish Dance 5. Bear Dance 10 hops between the fifth and second of the scale and finally stretches from the fifth down to the tonic. Shaking-a-bush descends from C down a seventh to D, then concludes on melodic play from E to A, thus overlapping two schemes of thirds. Progressions—Intervals: The scales show that the majority of songs start on a high note and end on a lower note; in focused melodies commonly on a fifth below the initial tone, in diffuse melodies commonly an octave below. Con- sequently, the majority of intervals tend downward. But this is far from a uniform rule. In the first place, some songs begin on the main tone. In the second place, many cycles prefer an initial state- ment on a lower level than the development, particularly the Yeidos round and ga’d4so-t. Less regular rising trends occur in Coldspring Eagle 3, Bear Dance 4, Quavering 14, Drum Dance 14, and others. In the third place, melodic oscillation is as prevalent as descent. The theme wavers up and down most noticeably in Feather, Men’s Medicine, towisas, ga’d4so-t, Garters, less evidently in Buffalo, Bear, Robin, and Fish type. Consistent descents characterize most introductory chants, was4se War Dance, New eskinye, Hand-in- hand Dance. A combination of long descents and subsequent rise and fall brings variety into women’s rites and shuffle dances. These progressions are effected by means of intervals preferably between a second and a fourth, by a fifth or sixth as part of the melody only in the bolder stomp-type songs, in most instances between the conclusion of a low phrase and the recapitulation on a high level. In general, the songs with limited scales prefer small intervals, and melodies with extended scales add large intervals. In summary the 634-599 O—64—__4 34 BUREAU OF AMERICAN ETHNOLOGY [BuLt. 187 various intervals can be related to their function as follows: Monotone—in monotone chants and antiphony, commonly prolonged in terminal phrases, often pulsated; recurrent in melodic texture in combination with all other intervals, in all positions. Semitone—rare as a clear-cut interval, usually as a passing note, for instance, in Hand-in-hand. Three-quarter tone—sometimes between a neutral or ‘“‘blue”’ third and seventh, and an adjacent note, as marked by signs + or —; in reality an interval fluctuating between a semitone and a second. Second—in all songs except tertial songs, commonly in stepwise fourths and fifths. Third—in practically all except monotone songs, in tertial scales as nucleus, in quartal scales as substratum; frequently constituting quartal progressions in combination with a second, as a third and second equal a fourth. Fourth—direct in descent in quartal songs, particularly those showing great gaps in their scales; rebound in dips below the main tone; ascent in phrase begin- nings. Indirect in both secundal and quartal melodies as 4 2 1, or in tertial melodies as 4 3 1, sometimes stepwise as 4221 or 4331. Fifth—rare as direct interval ascent at phrase beginnings; indirect similar to indirect fourths, as 5 4 2 1 and 5 4 3 1, in tertial scales as 5 3 1, in quartal scales as 5 41 or 521. Sixth—as direct interval only in ascent in Hand-in-hand and Pigeon, and in introductions such as Eagle 1. Stepwise in all conceivable combinations of smaller intervals descending or ascending. Seventh and octave—never direct, indirectly only by long progressions of an entire phrase. Exception: octave rise in New ¢skanye initial attack. Range or Compass: The range is evident from the weighted scale. As already men- tioned at the beginning of this discussion, melodic compass varies from a third to 12 notes, but functional tones most commonly encompass a fifth in tertial and secundal scales, or an octave in quartal and extended tertial scales. The range, as distinct from the scale, is the distance between the top and bottom of the melody. In addition to the monotone in calls, antiphonies, and Husk Face, the distribution is as follows, with Tonawanda examples: Second—False Face 5 and 14. Third—ado'w¢ 6. Fourth—Drum 9, False Face 4 (Black) 5, Quavering 4. Fifth—Drum 1, 7, Eagle 4, 7, War 6, False Face 3, 12, 13, 14, Bear 2, Quavering 1, Raccoon 1, Trotting 3, Shaking-a-bush 4. Sixth—Feather 3, 6, Drum 7, Eagle 5, yeidos 4, Bear 3, Changing-a-rib 17, ohgiwe 1, 4, 6, 7, Corn 2. Seventh—adg-we 4, Sun Rite 3, Changing-a-rib 1, 8, Old Fish 1, Robin 3 (associated with chained thirds). Octave—Feather 4, 5, Drum 2, 5, 6, 8, 11; ado-we 1, 2, 3, 5, all Ashes Stirring, Eagle 1, 6, War 1, 2, Sun Rite 1, False Face 2, 8, all Buffalo, Changing-a-rib, 1, 14, 16, ohgiwe 8, Carry-out-the-kettle 3, 4, Old eskanye all except 10, many New eskanye, Corn 2, Hand-in-hand 5, 9, Trotting and Garters generally, Raccoon 3, Duck, Robin 1 and 2, Knee-rattle 3, Devil Dance and Delaware Dance all, Show and Story songs. Kuratu] IROQUOIS MUSIC AND DANCE 35 Ninth—Drum 2, Eagle 2, War 3, Sun Rite 1, Dark Dance 2, 5, 6, Carry-out- the-Kettle 1, 2, Old eskinye 10, Corn 4 (1948), Hand-in-hand 4, New Fish, Choose-a-partner 2, Garters 1, Shaking-a-bush 2, Knee-rattle 1. Tenth—False-Face 1. Eleventh— Drum 3, yeidos 3, Dark Dance 1, Quavering 3, 4, New ¢skanye 1, 4; Corn 9, 10 (1948), Hand-in-hand 1, Shaking-a-bush 6, all Pigeon. Twelfth—Hand-in-hand 5, 9 (1948). This selective list shows the vast preference for an octave’s range, sometimes by dipping to the fifth below a central main tone, sometimes by descending to a basic main tone. The fifth and ninth run second. Very small and very large ranges are uncommon, as are very small and very full scales. Functionally, the octave and other average ranges are well distributed, the smallest compasses occur in sacred rites, the largest in social and new dances, and in some war-type songs. From another angle, Drum, False Face, War, women’s medicine rites, and individual chants show extremes of compass. The octave pre- dominates in animal rites and social dances, eskinye and Trotting Dance. To an extent the compass guides the magnitude of the scale and the intervals; a compass of an octave or more gives more space than one of a second or even a fourth. However, Choose-a-partner 1 and 4, with a compass of an octave, contain a four-tone scale; whereas the diatonic Hand-in-hand song 4 extends to a compass of a ninth. Consequently, the sparsely strewn Choose-a-partner songs demand many intervals of a fourth and fifth, and the Hand-in-hand song moves stepwise in small intervals. Summary: While Iroquois songs show a bewildering variety of tonal materials and handling, moderation is preferred in all aspects: in the majority of five-tone scales, of tertial nuclei, of moderate or small intervals, and of an octave’s range. Though tonal types are distributed through all functional categories, and though some cycles, as Drum Dance and False Face, include extremes, in general the following tendencies con- form to ritual types: (1) Secundal and small-tone songs with small compass are found mostly in sacred rites for the Creator or shamanistic rites. (2) Average properties characterize animal rites, Trotting and Fish type, Old eskinye and Corn cycles. These are largely tertial, focus centrally. (3) Large and diffuse scales are common in Drum, War, and women’s medicine rites, also in Hand-in-hand and double-column stomp social dances as well as most new compositions. These tend to be quartal or composite, often with the main tone at or near the bottom of the scale. 36 BUREAU OF AMERICAN ETHNOLOGY [BuLy. 187 Similar tonal properties do not always unite rites of similar objective. Feather and Drum Dances differ greatly, as do Corn and Hand-in- hand Dances. Neither do rites to the Midpantheon and the Creator exhibit the most conservative tendencies. The greatest conservatism and homogeneity characterizes the animal dances. TEMPO (See table 1, p. 41) The tempi of all songs, as measured by the metronome, accompany all transcriptions, all excerpts of rhythmic units in figures 4-9, and the comparative tabulation on page 55. Wherever voice and percussion differ, the instrumental tempo is also given. Usually voice and percussion synchronize, except for a slight instrumental lag in stomp-type dances, and except for regular syncopation in False Face round, Husk Face, the last song of Changing-a-rib, and ohgiwe. Voice and drum have different tempi in False Face round 10, Yeidos 5, and Devil Dance 5. The dance step follows the percussion beat wherever the beats differ. The tempi will be summarized according to relative speed: Very fast—152, 164—-Feather Dance, False Face Round. Fast—112—138(accelerating) False Face Dance, Husk Face, New eskanye, Fish type. 112—Eagle Dance, Knee-rattle, Grinding- an-arrow, Robin (accelerating). Moderate—100 or 104—Sun Rite, War Dance, Buffalo, Bear, Dark Dance, Old eskanye (accelerating), Corn, Trotting, Garters, Duck, Shaking-a-bush, Alligator, Delaware Dance, Fishing; notably, stomp type. Slow—88—yeidos, Quavering, Changing-a-rib, Carry-out-the-kettle, Pigeon, Devil Dance, most introductory chants; Drum Dance. Very slow—100—ohgiwe; 88—Hand-in-hand Dance. (The step is half the tempo of stomp type dances, for one step synchronizes with each quarter note beat, in stomp type with each eighth note beat.) Tempo crosscuts functional categories. However, very frenzied and very slow speeds pertain to sacred and medicine rites, and average speed to the vigorous war and stomp dances. Generally the intro- ductory chants are slow, the first dance song accelerates to the tempo of the remaining dance songs. In certain types, as Feather Dance, New eskinye and Fish Dances, all songs accelerate. RHYTHMIC FIGURES (See figs. 4-9, pp. 82-87) Instruments: Instrumental beats ordinarily consist of continuous even or alter- nately accented duple strokes. Bear Dance is even, Buffalo Dance KuraTH} IROQUOIS MUSIC AND DANCE SE accented. A rapid tremolo accompanies all chants and commonly announces the coming song. False Faces and women dancers are introduced by the regular beats. A common device is alternate tremolo and beat in an A A B A B pattern with tremolo on A. This has been described for yeidos, Eagle, Fish type, and others. Fish type usually substitutes a syncopated halfbeat for the tremolo in the drum, against a background of rattle vibration. In women’s shuffle dances, heels steadily bump out the duple beat, whatever the instrumental variation. Very few cycles use complex rhythms. Feather Dance alone has a background of rapid dotted notes—an iambic beat. Eagle Dance, part B, varies in a combination of slow and fast beats. Husk Face rattles syncopate. Instead of attracting attention, the instru- ments pulsate a steady background to the melodic figurations. Melodies: (a) Even, placid rhythms—combinations of quarter and eighth notes. Drum Dance, ado’we’, animal rites, women’s rites, social bird dances, Hand-in-hand. (6) Uneven, dotted quarter with eighth or dotted eighth with sixteenth. Some Feather, Drum, False Face, ¢skanye, Corn, bird rites and dances, Fish type, Fishing, show songs. (c) Syncopation—slow—Feather, Changing-a-rib, ohgiwe, Hand- in-hand. Fast—Men’s ado’we’ and medicine rites, women’s medicine rites, and eskinye, Trotting and Garters, Grinding-an-arrow, Knee- rattle, Devil Dance, Moccasin game. (d) Triplets—Ashes Stirring, False Face 1 and 9, yeidos, Bear 2, Changing-a-rib 3 (Tonawanda). (e) Quick, crisp three-note rhythms—eighth and two sixteenths or vice versa. War type, especially Sun Rite, Bear 5, Carry-out-the- kettle, Shaking-a-bush, Chicken, Moccasin game. The tempo greatly affects the nature of these units. For instance, dotted quarter and eighth is a rest and an upbeat, whereas dotted eighth with sixteenth intensifies the movement impulse by its pattern of prolonged and short beats. This, we may note, is the rhythm of the Feather Dance rattle. The slow form of syncopation of eighth and quarter notes in ohgiwe and Hand-in-hand, the faster types in Feather Dance, and Sun Rite vary in their effect from a gentle lift to incisive impact. This fast form of syncopation and categories (d and e) represents as many arrangements of three notes within a duple count, and as variable effects, from the flowing triplet to the impatient a hl ee Similarly, the triplet form of the iambic rhythm f § flows more smoothly than the dotted form P{°. Combination of triple and duple 38 BUREAU OF AMERICAN ETHNOLOGY [BULL. 187 rhythms in one and the same phrase enhances the contrasting effects, thus in Changing-a-rib 7, Trotting 6, Pigeon 2 and 3. Ornamentation.—The more rapid figures partake so much of an ornamental function as to be distinguished from grace notes and trills only by the manner of writing. The writing has been determined by the accent, by its placement on the first, second, or third note of the ornament. For instance, with Tonawanda examples— Ef Feather Dance 5 as against oe Feather 6, Drum 1 and 2. pp. Feather 7 as against Jd, Drum 3, Eagle 5 and Lf? Eagle 4, War 4. PP Corn 2 as against Ef’ Corn 4. P appears in three forms, as vibrato on one note, in Drum 3; as trill in Drum 7, False Face 2 (Black); as downward glide in Eagle 5, False Face 2 (Cornplanter). Similarly, JJ p can pulsate on one note in Eagle 6, glide downward in Eagle 4 or upward in 6 B. The grace notes are sometimes replaced by a slur; upward in War 1, or downward in War 2. Because of their varying contour and tempo, trills have all been written in full, to distinguish the slow EfE/ from rapid é) ele of Eagle 5; and trills on a second, as False Face 2 (Black) from trills on a third, as Drum 7 and Eagle 5. Often portions of the melody proper produce an effect of trill, as the first triplet in Changing-a-rib 3 and the second triplet in4. The unit & in its various combinations, as Sun Rite 2 and 3, Bear 5, is ornamental. Vocal pulsation, marked P also serves as ornament, by breaking up a sustained note into small vibrating particles. Ornamentation is an important enriching factor in Iroquois music and, one may add, a factor susceptible to individual variation. It can add spice to any and all of the song cycles, and appears inevitably in War dance type and ¢skanye, as pulsation in Feather, ohgiwe, and Corn Dance. Grouping of units into phrases.—Each song uses its own special device for grouping small rhythmic units into a pattern. Yet out of the variety we can select typical devices for the various cycles, and we can attempt a classification of patterns. The salient combinations are: (1) Repetition—False Face 6, Drum 10, False Face 4, Husk Face, Buffalo, Quavering 3, Old eskinye 3, Corn 2 and 4, Trotting and Garters, Robin, Duck, Grinding-an-arrow, Knee-rattle, Moccasin gaming (Tonawanda). (2) Patterned combination of units in a number of ways, as: (a) Tapering from fast to slow units—Feather 5, Eagle 1, 6, Dark Dance 4, Changing-a-rib 2, Fish type, Devil Dance. KuRATH] IROQUOIS MUSIC AND DANCE 39 (6) Intensification from slow to fast units—Changing-a-rib 17. (c) Symmetrical timing, by progression from slow to fast to slow units—Drum 3, Eagle 5, False Face 1, Bear 2, Carry-out- the-kettle 4, Old eskinye 1, Corn 1, Hand-in-hand, Shaking- a-bush 5, Alligator, Show songs, Delaware Dance. (d) Two short tapering spurts—Sun Rite 2, War, Yei’dos 1; Quavering 5, ohgiwe 3, Old ¢skinye Pigeon 2, Fishing, Moccasin 1. (3) Erratic Grouping—Commonly Feather, as 5, commonly False Face Round, Ashes Stirring, New eskanye. All phrases terminate with a momentary breathing space, varying from sustained or pulsating half notes of Feather and ohgiwe to short-clipped eighth notes endings of Sun Rite, Old ¢skinye and Bear Dance. In these combinations the basic units are placed in characteristic positions. Syncopations take an initial position wherever they occur, except in Quavering, Carry-out-the-kettle, and Hand-in-hand. They are followed by a restful quarter note in all cases except Sun Rite and War Dance, where they are followed by an even faster unit. The dotted figure also usually appears in an initial position, as in Drum and False Face pairing, but in Shaking-a-bush it appears as penulti- mate, and in Corn and Robin in a continuous string. The very fast version dotted figure almost always occurs centrally. In Fish type and Delaware Dance the basic unit of even duple beats shows ingenious means of variation. In Fish Dance the dotted unit changes its position in the phrase. In Chicken the even two quarters are replaced by triplets, quadruplets, and the “Scotch snap.”’ In Delaware Dance double timing converts a quarter note into faster figures. Similar ingenuity is displayed in Old ¢skanye, Robin Dance, and other songs. For the tabulations, the phrase length is measured by the number of quarter notes as written in the scores. Summary.—The manner of combination of simple or complex, slow or fast rhythmic units accounts in large part for the aspect of the songs, for the orderly aspect of repetitious Drum, Eagle, War, Sun Rite, Dark Dance, Quavering, Old ¢skanye; for the disjointed effect of Feather and False Face and New eskanye. Sedate, relatively even note values in repetitious or symmetrical grouping produces the simple designs of adonwe, ohgiwe, Buffalo, Robin, Hand-in-hand. Crisp rhythms animate the equally orderly War, ¢skinye, and Trotting types. Unit combinations complicate the couple social dances— Pigeon, Shaking-a-bush, Devil Dance. 40 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 Not all cycles are equally homogeneous. Most cycles tend toward orderliness, especially rites to the Midpantheon, Dark Dance, Old eskinye, and Stomp type. Drum, Quavering, Changing-a-rib, and Raccoon Dance contain irregular songs. Ashes Stirring, sometimes, and New eskanye, always, are erratic. Feather Dance and False Face include extremes of hypnotic repetitiveness and rhapsodic irregularity. METER Meter, not to be confused with rhythm, groups the rhythmic phrases into mathematical time divisions according to the number of even beats underlying the phrase. Thus a group or ‘‘measure”’ of six or seven eighth note beats (6/8 and 7/8 time) can contain a recur- rent pattern of one and the same rhythmic unit or a great variety of uneven units. Iroquois songs rarely resolve into mechanically recurrent, even divisions of 2/4, 3/4, or 4/4 time. In fact, their nonconformity to conventional metrical concepts has made time signatures impracticable. In a few particularly interesting examples the meter has been appended— rarely a simple meter. Song cycles vary greatly in the regularity of their metrical patterns. STRUCTURE (Examples from Coldspring, table 1) Each song consists of rhythms, in characteristic tonal progressions. Neither constituent is arbitrary, nor is the method of combination nor the development into a complete art product. The structural devices are manifold but lucid, maybe most lucid when a rhythmic unit is repeated in slightly mutated form. They are never obscure, even after ingenious manipulation. The first problem is to find the main theme. Here the weighted scale furnishes a clue, for the thematic nucleus would play on the tonal nucleus. Sometimes we are due for a surprise. It has become customary in the analysis of modern music to make the initial statement at the beginning and to develop from there on. But music that has grown out of centuries, perhaps millennia, of tradition, may be constructed quite differently. To summarize the examination of numerous Iroquois cycles, two salient types of structure can be distinguished, with, however, transi- tional and composite instances. The two main types can be termed nuclear and consecutive or progressive. Nuclear Construction: Previous scrutiny of Eagle Dance songs showed that these were built from the center out. In S 5, each section, A and B, contains three phrases. In both sections phrase (1) soars to a high note, the KurATH] TROQUOIS MUSIC AND DANCE Al TABLE 1.—Dance function and musical characteristics , Tempo Function Dance Range | Phrase Structure Songs Voice Instr. @REATOR=--| Heathers 222"--=--- Chant 112 122 5 | 5-12 xAAx Dance! |) 188-152) | |E22-5- 1-5-8 | 5-12 x A A’ A A’or ABABx pummel est see Chant 92 92 10} 3-11 JA YAU BAU. Dance 120 120 1-12} 3-11 R|)]AABAz BdonWielt oss Eee 100 100 1-8 3-14 xAAAxorA A’ A’ Mip- Haglesas es See Chant 62.¢S)) | 2a 8-10 | 3-15 TAWA AU AULA. PANTHEON 69,40) Saas 8-9 | 3-15 Dance 104(S)} 104 5-8 4-10 AABAB 96(T) 96 5-8 4-10 Final 116 116 8 3-5 (S) A A B A’B A’ coda (T) AABAB Striking-the-stick _| Dance 108 108 6-8 | 5-11 [PAC AW AUZAU ZF AUZ =I Re Rk eee Dance 100 100 5-10 3-8 AABB-AAB B- C@uRnS =e False Face_-_____-- Masks 130 130 3-5 3-7 xAA---x Pairs 108 108 5 3-6 xAAxXx Round 138 104 48] 3-12 xyAAxorAA Husk Face_______- Masks 104 104 5-7 3-7 xAA---x Midw. 112 112 1 3 picid Oss. 51S March 69 169 5-8 3-6 AAA AY ALA! AAU AEX: Herald 84 84 5-6 3-8 AAx Throw 69 69 4-12 3-7 AAX Cure 84 84 7-9 3-8 ABBABB Round 84 84 4-6 4-7 AAAAAx Butialowees css Chant CeO), eee ee 8 10 AA’A” A Dance 112 112 8-9] 411 AABABxR iBearts 222 eed Chant et le ae 9] 6-10 AA’A Dance 104 104 5-6 3-5 R| AABAxor ABBABB WOMEN__-_-- Dark Dance-_--_-_-- Chant SOiee |= eae 9] 610 AAA’ A” Dance 104 104 5-10 | 5-11 AAA’ A” A’ A’ AY” Quavering _______- Chant 1162. | S25 411] 3-10 A A’ A” Dance 116 116 8-10 3-8 AAA’A A’x Changing-a-rib____} Chant 104 112 8-9 | 3-18 A ABB’ A’ Dance 96 96 9| 3-16 AABAB(A)x iPlanterseea = =22o= Chants 92 92 4-5 3-4 R}|}AABA March 104 104 6 5-7 R}AABA Foop Women’s Shuffle: SPIRITS Ht wn) ee Ol eae epee ee ee 96-108" jJ=====- 5-8 4-13 AABABx Nie wie ens Sa) es aes 100-1202 2-222 9] 412 [RAV ASBEASB ri|Ex Con = Chant One? || See 8 INI ONE NGLY NADA I MLES Dance 84-100) j===-=- 5-10 | 414(R)} AA BA Bx Hand-in-hand_____ Chant SSare see ee 10 | 7-13 AA‘'4A"4A'4 Bx Dance 88 88 5-10 4-14 AABZABzZ«x Trans 132 132 9 26R;}AABRABx roving == sss Introd NOOR gi 7) eee = 2 2-3 miaia sale ox: Dance LOO Sy ese 5-8 | 2-12 R}AA’BAx Socrates. === Garterssses sta Dance 104 104 5-9 | 2-11 R}] 8AB4A B4Ax Pigeons es Dance 100 100 10-11 5-14 AABA/‘A Shaking-a-bush__-} Dance 100 100 5-9 | 414 AABCCABCAx Duck SS. See Dance 69 69 8 3-6 AABB/’CB’/DBC. eon Haw. Ta Dance | 108-120 =‘|_____- 7-8 | 3-12 xAxABxABx ish: Oldezeaeane Dance | 119-126 = =|_-___- 5-7 | 410 AABABx ING Wie eee Dance )| 112-126) ||2-222= 8-9 | 6-10 AVASBVACB:x IRSCCOON == Chant 100}Ree | eee 5 4-9 AA A’ByBx Dance 92-1265, |-2es— 5-8 4-8 AABABx Chickens Dance | 108-120 = |-_----_- 6-8 4-7 [ACAS BIC) Ex Sharpen-a-stick___} Dance | 112-126 |______ 6-8 3-8 AABABx Choose-a-partner__| Dance | 112-120 = _|_____- 7-9 5-7 AABBABBx Alligators Dance 96 96 5 4-7 ABByCyByC Grinding-an-arrow_| Dance 112 112 5-8 3-8 R|}AABBRABBRx Knee-rattle_______-_ Dance, | 104-116 |_2---_ 8-9 48 R}/AABRABRx Hishings ee ese enen Dance 112 112 8-9 25R|AABBARABBRx Dewileees sss see Dance 80 80 8-11 | 6-16 AABABx 112 S67 | Stee Sees ee Delaware--_____-__- Dance 100 100 5-9 5-9 AABAABx Moccasin Game___| Songs 126 126 5-10 46 A A’AA’A A’ Shows,Songs22-22 2. aes 84 84 8-10 3-8 ABBABB Stonyisongseoe= as | muememeren LPR aay ee 6-8 | 6-14 ab abb abb 42 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 fourth or the fifth of the scale; phrase (2) wavers between the focal main tone and the second; phrase (3) glides on the monotone of the fo- calnote. All three phrases have the same rhythmic pattern. We may regard phrase (2) as the nuclear theme, theme (1) as an imaginative sally, and phrase (3) as a coda, a relaxation. If we want to select the essential half of the song, our choice must fall on part B, for its sally is less extreme and its drum pattern is pronounced (Fenton and Kurath, 1953, pp. 258-259). This nucleus is not necessarily in the center. In yeidos Round Dance, part V, 1, the first phrase can be considered an introduction, the second phrase as the theme, a’ and a’’ as developments, and a’’’ as coda. In Albert Jones’ version of Corn Dance, song 6 starts each half on a high note and continues each section A differently. Part B plays on the fundamental triad, part B’ on the ground tone, its third, and its fourth below. Thus B’ represents the most compact form of the theme, B adds an upper third, and A and A’ offer more remote variants. Consecutive Construction: In Eagle Dance 1 and in Drum Dance 1, on the other hand, the theme is clearly stated at the beginning, is repeated on successive lower levels, and restated at the end. Yeidos throwing songs 1 and 7 and Hand-in-hand 5 (1951) similarly descend sequentially. The thematic repetition does not always imply descent. False Face 1 and Feather Dance 3 repeat with diminution or extension of the theme, Buffalo song 2 also turns the theme upside down. Chicken Dance 7 repeats the theme on the same level. Distribution: These devices are unevenly distributed. Certain cycles prefer nuclear construction, particularly Eagle Dance, yeidos, and Corn songs, also Striking-the-Stick, Bear, old eskinye, Fish Dance type— all secundal and tertial types. Introductory chants usually progress by descending sequence (as Bear 1), monotone chants and antiphonies by exact repetition on a level. Robin dances reiterate on the same level, towisas and ga’d4So’t with response and change of level, Hand-in-hand and Passenger Pigeon songs with sequential descent. Many cycles combine the two devices, Quavering (8 nuclear, 14 con- secutive), Changing-a-rib (30 nuclear, 35 consecutive), Shaking-a-bush (6 nuclear, 3 sequential). All types are represented in eskanyegowa; nuclear in most dance songs, as 20, sometimes in combination with repetition, in 21, sequential in preliminary songs, as 7. On the whole, level repetition is found in secundal and tertial songs, sequential descent in quartal songs. But no hard and fast distinctions are permissible, because of the gradations from secundal to quartal scales, KuratH] IROQUOIS MUSIC AND DANCE 43 and from nuclear to sequential types, and because of combinations and embellishments that recur in all types of songs. Manipulation: These devices for thematic growth and embellishment defy cate- gorization, except for a few of the most common and evident means. These are cited along with a few examples. (a) Repetition: Midwinter Husk Faces, Drum Dance chant, Bear and other monotone antiphony, Chicken Dance 7, Sharpen-a-stick 1. (b) Transposition to a lower level: Eagle Dance 1, 8, 9, 18, Drum Dance and Bear Dance 1, Hand-in-hand, Passenger Pigeon, Sharpen- a-stick 6. (c) Transposition to a higher level: Yeidos 48, Eagle 10, Bear 4, ga’daso.t songs, Duck Dance part D, Shaking-a-Bush 4. (d) Inversion: Eagle 9 (rhythm), 16, Buffalo 2, 3, Robin 1 (contour). (ec) Prolongation, notably on a monotone: Eagle 17 B, Changing- a-rib 26, Shake-the-pumpkin 2, all New eskiinye and Hand-in-hand. Always terminal. (f) Curtailment: Feather 3, Eagle 9, False Face 1, Buffalo 2, Bear 3, 5. (g) Expansion of intervals: Eagle 5, 9, 17, Fish 2, Sharpen-a-stick 6 (1933). (hk) Dwindling of intervals: Eagle 5, Striking-the-stick 4, War 6, eskinyegowa 14, New eskanye 1. (1) Rhythmic mutation: Yeidos V, 1, ff., Bear 6-9, Corn 6 (1951). (j) Shifting of rhythmic figure in a phrase: Eagle 7, War 6, Changing-a-rib 7. The first three devices prevail in consecutive types, the rest are common to all kinds of compositions. The examples are so highly selective that no conclusions are feasible as to functional connections or relation to scale types. It is true, yeidos round dance songs specialize in rhythmic mutations, Robin Dance songs frequently invert their themes. But most of the devices are so scattered through the repertory that they would appear to be artistic rather than magical phenomena. One or Two Themes: The tabulation of musical form shows the prevalence of one theme varied by one or several of the devices just outlined. Two themes or at times three constitute separate sections A and B in most towisas songs, some Fish Dance type songs, and recent compositions, par- ticularly individual and New eskinye songs. These last may have three themes. Two themes are related and less sharply separated in the extended melodies of Hand-in-hand and Pigeon, and in Fish Dance, where part B may begin with a phrase of part A and then 44 BUREAU OF AMERICAN ETHNOLOGY [BuLy. 187 continue with new material (3). This example typifies the subtle connections and thematic overlapping in Iroquois songs. Pattern Analysis: For convenience, single themes and their variations are called ‘‘A,”’ and sections with new materials “B.’’ The composite tabulation of musical characteristics shows that the single theme is reiterated in sequential chants and men’s esoteric rites, also on Old ¢skanye, Shake- the-pumpkin and Robin Dance. The form A A A’ A A’ is transitional to the binary form A A B A Bin War Dance and Buffalo songs, and, with a characteristic alternation of instrumental impulse, in newer women’s dances and Fish Dance type. The final recapitulation of part A produces a ternary form of A B A or A A B A in Bear, many Changing-a-rib, towisas, ga’déso-t, and Pigeon songs. Elaborate calls precede and follow each Feather Dance song and each ado-we chant, connect all False Face songs and even slice Robin Dance tunes in half. Short double terminal calls signal the close of yeidos, Buffalo, Bear, many Quavering and Changing-a-rib, new women’s songs, and all stomp and Fish dances. They are absent only in introductory chants, Eagle, Dark Dance, Old eskinye, and towisas. These generalizations will later be synthesized with tonal and func- tional observations. CONTOURS (See fig. 10, p. 88) Melodic contours can be determined in two ways, either by graphing every note for details or by tracing out the general rise and fall for the large patterns. The former method was used in the 1953 analysis of Eagle Dance. The latter proves more eloquent for the present purpose. Contour patterns are of course infinite in their variety, from absolutely level monotone to erratic melodies. A few of the more regular forms have been selected as generally typical. They can be equated with the tonal range and means of thematic manipulation. The first six sketches of figure 10 display the tonal geometry as a whole, the last four show the sections separately. Each sample represents a good many songs with, of course, variations in detail. Explanation of figure 10 showing typical contours follows: Monothematic and Nonthematic: . Irregular swell and ebb repetition. False Face. . Continuous swell and ebb repetition. Yeidos. . Wavering between a high fifth and a final lower main tone. Feather. . Large swells, rise and fall, dwindling toward end. Bear, Dark Dance, Shaking- a-bush. 5. Terrace descent, dwindling at each level. Drum, War, ¢eskanye. 6. Inversion, rise and fall, then fall and rise. Buffalo, Robin. mwhd re Kurata] IROQUOIS MUSIC AND DANCE 45 Binary: 7. Parallel composition, dwindling wavering. Eagle. 8. Complementary composition, B. with opposite contour of A. Fish, Raccoon. Ternary: 9. Stepwise descent during A and B, return to original level of Aor A’. Changing- a-rib (final songs), Shake-the-pumpkin, Pigeon. 10. Rise during B, return to original level on repeat of A. Towisas, Trotting, Garters. The contours seem to transcend a purely artistic effect. There is a relationship between level wavering and ancient, esoteric rituals, between steep descent and newer, bolder compositions. Also, prove- nience may play a role, as northern affiliations in 1-3, Algonquian connections in 4, Plains influence in 5, and Southeastern origin in 10 (Kurath, 1961). TYPES OF ANTIPHONY There have been repeated references to interaction between a leader and helper or helpers, or the singers and male dancers. The simplest type is the initial and terminal echo during Feather Dance. More complex is the series of monotone chants during the nucleus of Drum Dance. These extensive phrases are stated by the leader and echoed by the helper. The two singers engage in another kind of response in the dance songs proper. The leader states the first phrase, the helper repeats it, and both sing the remaining phrases together. Sometimes the interaction produces brief harmonies, as in Coldspring Drum Dances 8 and 9." In ado‘we’ the chorus provides a continuous harmonic background in the form of a drone. After the initial ejaculations, the men hold a note and then gasp it, rhythmically, usu- ally on the fifth of the song’s scale. True antiphony takes two forms, monotone and melodic. Mono- tone responses are limited to terminal positions, usually in animal songs—Buffalo, Bear—but also occasionally in social rounds, as Shake- the-pumpkin, and Fishing. In Bear Dance the responses are some- times between the singers and male dancers, sometimes between dance leader and male followers. All of these song cycles emphasize quartal scales. Melodic antiphony is limited to agricultural and social dances of the stomp type. Corn Dance has only one antiphonal song. This is a separate song in the Coldspring collection (Jones 2), but it is attached terminally at Tonawanda (Cornplanter 4). Corn and Bean Dances lead into Trotting Dance by two transitional songs with monotone or bitonal terminal responses, one song without accompaniment, one with 19 This is a characteristic of modern Oklahoma Round Victory Dance songs, and probably originated among the Cheyenne and their neighbors. 46 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 rattle. These responses merge with the characteristic introductory responses of Trotting Dance. Trotting and Garter Dance songs develop into elaborate melodic antiphony, usually in tertial scales, always with arise in the middle. Such antiphony unites the Iroquois with other Woodland tribes, especially with the Southeast.” In scores and tabulations R stands for Responses. INTERLONGHOUSE VARIATION AND PERSONAL CREATIVITY Each song type adheres to special characteristics, no matter in which longhouse. Yet, in subtle ways, the Coldspring and Tonawanda cycles exhibit differences. Generally, the Tonawanda songs within each type are somewhat slower. One might attribute this difference to mechanical variations in recorders, except that there are exceptions. Cornplanter’s singing is consistently faster than other versions, in False Face, Corn, Robin, Fish-type Dances. Shanks’ Eagle Dance chant and Black’s yeidos chant are faster than the Johnny John chants. Among the rare deviations in compass, Cornpianter’s Buffalo songs have a smaller range, and Shanks’ Bear songs a some- what larger range than in other Jonghouses. Cornplanter’s phrase- lengths are sometimes longer than average, as in Buffalo, Quavering, and Hand-in-hand; so are Shanks’ in War Dance and Black’s in yeidos. But in Changing-a-rib Cornplanter’s phrases are a bit shorter. Tonal- ity and rhythmic types adhere to tradition in essentials. It would appear that deviations in songs are individual, though the differences in ceremonial composition are traditional with each long- house. Possibly Cornplanter’s Cattaraugus origin sets him apart from other singers of Tonawanda. However, the differences appear to be the result of personal creativity, an important aspect of Iroquois arts, as explained in detail with regard to Eagle Dance (Fenton and Kurath, 1953, pp. 238-266). The amount of permissible deviation evidently varies from cycle to cycle. Some Corn and Hand-in-hand songs recur identically or nearly so. Certain melodies are clearly recognizable in animal and women’s medicine rites, Old eskinye, Robin, Duck. In War and Trotting Dance, as well as in Fish Dance, the repertoires are more distinct. In very old and sacred and very new compositions, the variations are considerable. In order to discover the devices for variation, a number of songs have been placed side by side with corresponding songs by other singers and the most prominent variations have been labeled —-—., ——-{-, ete. In Buffalo Dance the contours have also been marked. These devices can be summarized as follows: 20 For the diffusion of this trait to the Midwest, see Kurath, 1956 b and 1961. Kurata] IROQUOIS MUSIC AND DANCE 47 Drum Dance, part II: Tonality the same in all versions; Tonawanda tempo slowest, Cold- spring fastest; rhythms and meter greatly varied, Black most orna- mental, Lewis simplest; structure and contour the same. Eagle Dance: Tonality and range same; Shanks somewhat slower; drum pattern variable, rhythmic units the same and handled similarly in A, but with variations in B, Johnny John being simplest, Shanks ornamenting by pulsation, Smoke and Logan by triils; structure of Johnny John more extensive than of other versions (A A B A’ B A” as against AWAD BAB): False Face: Tonality and range the same; Cornplanter False Faces much faster than other versions, Husk Faces slower; rhythmic and metric proper- ties the same; large contours analogous but details variable. Buffalo Danee: Tonality the same except for Cornplanter’s transitional lower sixth in songs 1 and 2; as shown by scales, somewhat lower weighting by Corn- planter (frequency of lower notes) and greater focusing on main tone by Coldspring singers on page 212; percussion the same, also rhythmic material except for ornamental variants shown by brackets, with more tendency toward sustained notes and slower tempo in Cornplanter; structure the same except for expansion into fourth section in Corn- planter 3; contours very variable, though all centered, with reversal, respectively falling and rising in Cornplanter and Johnny John 3, Deskaheh resembling Cornplanter and Redeye resembling Johnny John in section 1(a) and Cornplanter in section 3(a’’). Bear Dance: Tonality and range identical, except for omission of lower seventh in Shanks 1; Shanks somewhat higher weighting ; Shanks and Johnny John faster than Logan; intricate rhythmic and ornamental variations, viz: song 1—Shanks grace notes and pulsation, Logan central sustained notes; song 3—Shanks alternate duple and triple units, Logan Scotch snap and rapid figures, Smoke all duple units; song 4—Logan and Smoke complex short phrases (two to Shanks’ one); song 5—versions on page 216 so variable as to be recognizable only by melody. Struc- ture and contour generally the same, except for addition of terminal antiphony in Shanks 3 and 4. Quavering: Tonality and range identical; tempi analogous; rhythmic and melodic variants in 7 insignificant; basic rhythmic units analogous in 11, but 48 BUREAU OF AMERICAN ETHNOLOGY [BuLy. 187 accented and timed in entirely different metrical groups (see p. 220); melody the same, except for minor differences in A’, first phrase. Ohgiwe: (Tonawanda version transposed.) Scale analogous; Shanks slightly faster; in song 1 rhythm and melody start out similarly but conclude differently; in other analogous songs as 6 and 7, ornamental rhythmic additions by Shanks; structure and contour generally the same, but in song 6 differences as marked in B and considerable discrepancies in C (Shanks more prolonged). Final songs not recorded for Tonawanda. Old eskdnye: Tonality not identical, Black (543 1 V), Curry (54 21); variations consisting mostly in incidental rises and dips. Tempi similar; rhythm and meter the same except for minor differences by W. John; struc- ture the same except for expansion by W. John; contour minor variants, as shown. Corn Dance: Scale always the same; Cornplanter faster than others; slight rhythmic mutation in songs 1 and 2; variations in contour notably of ‘‘y,” also in antiphonal “R.” Structural differences caused by omission of “‘y”’ in Cornplanter 4 and by Jones’ performance of ‘‘R”’ as a separate song. Note discrepancies between Cornplanter’s two renderings. Also note similarity between his song 8 (1948) and Curry’s Hand-in-hand song 12. Similarly minor differences between songs on page 234. Sharpen-a-stick: Scales of song 1 different, Cornplanter (43 1 VII V), Curry (43 1); Curry faster; rhythms identical; also structure; small variations in contour song 1, A and last line of song 3. Indwidual Songs: Ado we: Considerable variation in all artistic aspects, from most tradi- tional to inventive. Style of rendering the constant factor. Yerdos: Considerable variation possible, but in this group (all by Black) less than usual; however, differences in scales apparent, also different rhythmic scheme in each song. New eskénye and New Fish Dance: Formula for large range, accelerating speed, rhythmic and metric irregularity; pattern of repetition with terminal formula; descending trend. Considerable variation within formula. Fish Dance much more conservative than eskinye by limited scale, regular rhythmic units, and shorter form. KurATH] IROQUOIS MUSIC AND DANCE 49 Summary These selections suffice for a demonstration of the variations possi- ble even in traditional cycles. The tonality and range are usually identical in different versions of the same song, though they vary greatly between individual songs. Tempi may vary. Rhythm and meter may mutate a song almost beyond recognition, though as a rule these changes consist in ornamental features or shifts of accent. Structures remain identical except for the insertion of repetition of certain phrases and except for the flexibility permissible in adg’we and Yeidos Throwing songs. Melodic contours usually confine modifica- tions to small phrases, though occasionally whole sections can be inverted. It is significant that the variations are boldest in the upper registers, and rarely affect the nuclear part of the song, that is, the phrases on the main tone and secondary note. Compare the initial mutations and terminal constancy of Tonawanda Buffalo 3, Bear 3, Quavering 11. The final Eagle Dance songs furnish an exception. The study of personal variations bears on the problem in several ways. First of all, it shows the singers’ respect for tradition, even in their own compositions and in the secularized Show songs. Yet it shows the creative spirit continually at work in ways which enrich the melodies while preserving the tonal and formal skeleton. The enrichment seems to conform to personal tendencies and to go hand in hand with the vocal quality (Records, Fenton, 1942, 1948; Kurath, 1956). 634-599 O—64——_5 CHOREOGRAPHIC ANALYSIS PERFORMANCE The Setting: A democratic attitude pervades Iroquois ceremonialism and dancing. A few esoteric rites are held in private in a small living room, perhaps even in secret. But the great majority of festivals take place in the communal sanctuary, the longhouse. Thus the great Midwinter Festival of dream renewal and the summer series of agricultural festivals are organized by spokesmen and women of the community and are actively performed by the community. Again, a few dances— False Face, Eagle—are enacted by special virtuoso male dancers. Certain dances belong to one sex. But the great dances to the Creator, and the Stomp and Fish Dances are open to all. In fact, Feather Dance involves participation by every believer as a statement of faith. The ceremonies and the separate dances testify to centuries of tradition in their careful organization. Every duty falls to the share of especially appointed officers. Moieties and sexes interact in well- established patterns. Thus leading singers and dancers should be of opposite moieties. The role of women is distinct from that of the male officers. The women manage food festivals and the otherwise male False Face rites. In the separate dances the placement of the sexes forms part of the traditional pattern. Participation: As performance is usually open to all, the quality of execution varies, as does the number of participants. The best dancers start each dance and exhibit the most elaborate steps. Particularly in Feather Dance the dancing may vary from spirited gyrations by the virtuosos to a simple two-step by the old men, and the women’s step may deteriorate to an unrhythmical walk-around. As natural choreographic ability is not equally distributed, the most complicated formations fall to the lot of experts. These may be youngsters, particularly when it comes to the Fish Dance. But some of the grannies, such as Fannie Stevens, excel in ritual and social dances alike. Needless to say, it would be futile to look for professional precision when one and all are enacting a prayer or else just having a good time. a4 50 KuraTH] IROQUOIS MUSIC AND DANCE 51 METHODS OF STUDY Transcription: The best method of research is participation. And this is feasible in Jroquois dances as in few other ritual forms. The communal nature has both advantages and drawbacks. The advantages are, first of all, the opportunity to learn the formations under natural conditions and, in the second place, the possibility of observing many personalities absorbed in their performance. The sole disadvantage is the occasional obscuring of fundamental patterns by spirited improvisations. This is, however, only a temporary drawback; for eventually the patterns emerge and the improvisations take their place as eloquent enrichment. These patterns were further clarified during sessions with the best dancers, all of the Johnny John family and Fannie Stevens. With the aid of Chauncey Johnny John’s singing, the dancers explained the steps and formations and their ritual connotations. Notes are taboo in the course of the ceremonies, but are quite permissible face to face with informants. These notes are largely in the form of a dance script. It will not be explained here in full, for its use in this report will be limited to footwork. Stick figures, which supplemented the script, aid in the graphic notation of pos- tures. Briefly, the script is based on the silhouette of the human foot and the direction of its progression. It is foolproof because of the separation of the right and left feet by a central line. It has been possible to read back all of the notes completely. Comparative Procedure: Subsequent organization of materials has entailed separate choreography of each dance. As the music was available, this could be combined with the steps. Thereupon it was possible to separate the dances into various types according to ground plan and steps, to outline the main types both graphically and verbally, and to indicate functional and musical relationships with the choreographic patterns. GROUND PLANS Counterclockwise rounds predominate to such an extent as to pro- duce a superficial impression of sameness. Each dance is cumulative: a few leaders start circling the stove or central bench and numbers gradually swell. Between songs the dancers saunter during a tremolo or complete silence. Men and women can be variously grouped. In rituals men lead, except in female dances, and the ladies and children trail in the wake. As a rule, food spirit dances alternate the sexes and most social dances couple them. The Fish Dance type lets 52 BUREAU OF AMERICAN ETHNOLOGY [BuLy. 187 partners change places in the middle of each song—a pattern which extends to several other social dances and a few rituals. All sacred dances proceed single file. A few social dances pair into double file. Straight lines are peculiar to Eagle, Striking-the-stick, and the now obsolete Devil Dance. False Faces, Husk Faces, and War dancers generally perform solo, even when in an organized aggregate; but the Doorkeeper’s Round involves the community. The choreographic figures are arranged according to participation of the sexes, and also in order of complexity. The various ground plans include the following dances. (See figs. 11-18, pp. 89-96.) Rounds: One sex (fig. 11): (a) Men, sideward, yeidos round. (6) The beginning of all stomp dances, and the first dance of Raccoon Dance (song 2), forward. (c) Women, sideward, Dark Dance, Quavering, Changing-a-rib. (qd) Women, obliquely forward; ohgiwe Death Feast, towisas. Sexes segregated (fig. 12): (a, 6) Sideward, facing center, Buffalo, Robin. (c) Forward, Bear and Shake-the-pumpkin. (d) Men forward, women sideward, False Face round, Feather, Drum. Sexes alternate (fig. 13): (a, b,) Forward, all social Stomp-type dances. Corn, Hand-in- hand. Fishing; part A of ga’déSo-t and Garters. (c) Sideward, part B of ga’daso-t and Garters. (d) Crossover between couples, C of Garters. Paired, double file, pairs of men alternating with pairs of women (fig. 14): (a) Steadily forward, Pigeon. (6) Women backward, men forward, all progressing against the sun, Duck part B and Shaking-a-bush B. Two pairs coupled. (c) and (d), Coupled pairs exchange places, Duck A, C, D, Shake- Bush recapitulation of A. Duck: men always forward against the sun, women forward with the sun, under bridges of men’s arms, passing one, two or three pairs of men. Shaking-a-bush: first song women forward with the sun, men against the sun, second song when men in the lead, men with the sun, women against the sun. Side Twist, Double Stomp (fig. 15): (a) Sideward, facing center, Women’s Shuffle Dance or eskanye. Stick figure typical of posture. Kuratu] IROQUOIS MUSIC AND DANCE 53 (6) Men forward, women sideward, facing center, False Face Round. (c, 2) Men forward or gyrating, women sideward, facing center, Feather and Drum Dance. Feather Dance as paradigm for cumulative pattern of communal rounds (fig. 16): Dance 1: Male leaders forging ahead, around bench, inside two stoves. Dance 3: Male followers lined up behind leaders, progressing ahead. Dance 7: Boys, the women in the wake, stretching to a long line, around both stoves and winding within itself. Entrance of groups successive, increasing in number till end of cycle. Stick figures for male postures. Fish Dance type (fig. 17): (a) Men only coupled in typical Fish type pattern, first dance of Fish, Sharpen-a-stick, second dance of Raccoon (song 3). (6) Beginning of all Fish type dances, men and women coupled as shown, all straight ahead, during second statement of A, to duple drum beat. (c) Couples face to face, in place, fish-type step. (d) Couples change places, recapitulation, part A, to half-beat of drum. All of these dances are open rounds, follow-the-leader style. The leader never contacts the tail end of the line to close the circle. Thus anyone can join, either by entering in the middle of the line to join his or her own sex or to produce the desired pattern of alternation or pairing, or else by stretching out the end of the line. When the capacity of the longhouse has reached its limits, the circle has to spiral within itself to accommodate additional dancers, sometimes in Feather Dance to three concentric spirals. This is, however, not a true spiral. The separate dancers continue to trace circles on the ground, or rather elipses. Deviations from the eliptical progression may occur in improvisatory section B of ga’d4So’t and Garters, when animated members may stagger into the center and out in a weaving pattern, or may clown in the center in clusters of two, three, or four. In Corn Dance, Albert Jones may guide the entire line in serpentines and figure 8’s, occa- sionally reversing the direction momentarily to sunwise progression. In the Cherokee dance he concludes the song series with a spiral into a tight human knot in the center of the room. Focus.—Most of the time these rounds focus on one of the furnish- ings. When there is a singers’ bench stationed in the center, the cir- cling commences near the bench or benches and continues as long as 54 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 space permits. On the figures the benches are drawn as slender rec- tangles. The men’s stove serves as the center for the opening of ga’daso't and other dances that require no central bench, and is included in the elipse when crowds swell to capacity. The sense of focus is further intensified by a habitual slight advancing of the right shoulder, in forward progressions, and is complete in sideward steps and inward facing. Straight Lines, a rare pattern in Iroquois choreography (fig. 18): (a) Eagle Dance, four men in a square face to face as partners, A. (6) Forward and backward progression of partners, to meet and again separate, B. (c) Striking-the-stick, a line of men (any number) face to face with a line of women, in place, part B. (d) Crossover of opposite men and women, recapitulation of A. Recross back to place in succeeding song. Formerly men only. Individual dancing in no particular formation or ground plan (fig. 19): (a) False Faces. (6) Wasase War dance. No diagrams shown. Focus.—In crossovers the partner serves as focal point. This is true of crossovers inserted into round dances (Garters, Fish type, etc.) and more evident in line dances. In Seneca Eagle and Striking- the-stick, a ritual object attracts the attention of the performers. In the individual forms the partner is absent, but False Faces may center on the patient or on the stove as a receptacle for ashes, and War dancers occasionally face the singers. Distribution: In review, the abundance of rounds increases in complexity from esoteric rites to purely social dances. The most sacred medicine rites focus entirely on the center of the circle, whether there is a bench or not. Food spirit dances alternate sexes, and Fish type couples them. This crescendo can be traced in the figures, for they are arranged in order of complexity. The comparative tabulation of function and choreography (table 2) shows, however, that the two rounds para- mount in native contemporary religion, Feather and Drum Dance, do not stand at the beginning of the choreographic scale of complexity ; rather, they combine several patterns and are thus arranged in the center, V and VI. sY5) IROQUOIS MUSIC AND DANCE KURATH J x x x x x x x x x x x x x x x x x x x x x x x Xx x x x x xX xX x x es. a ees Scan qs 5 ees x x se x x x x x sities x eet x x x a Salas x x x x x memOM | Uday, xog eee ee eee ee | P ‘OITA SG) | RES ae ae a Saale eases ool es Soa a ne ERE EE as | Ra Sa BRE OU AU G-6-0S0016) motte | ener nn -[--- p ‘OTLA ae | aa ea a |e, Se Ca eee EINES = || SE ~-"""="=-"H914s-B-UedIeyg piasidal| poe Rl re 28 QUAD: Ss Seege ince ae ed a eee |e aa ge UAT Se ec s aeer or ae ee Seek ee es eae ad eS Bee ee | eb eee | ee 2D ATG | secre oon aee cee SQ 8 sUTeUG enh etal (Coc eed ce eae Se Saal See | eae DS oot aes aoe Mee ose ees pee soe MUBAT! |Get santas aT Ree RR Eee GLa Sees let Sue va | ena > [es see eee = lee 9 Lak 83 “cae ay ll ac ip ae enced et SCE CII tee cee sel | Son naeainees ae OUST Sac ee =| easy ose eee SSRs oe | ae ee | Pa SR ec a ee es ee ><; CI |ies isan al nee eens RAC ULUT- DUS Se ee eae ae | ees = aro | ee IE ee ee eee Te XE QUSIID |iittsms 1ui| sets ere AMOI Si4osepes Be RSL eel | ES el | eae Seals a SR | woe Ib RS al || ees | Ce SDI sane ae os on ad SBOMeC COG a a | ea all ee ea ne es es es SE oe oe ce Ge cee | ae bee Soe ae: XS]t cane ceene ane UMOARnt) oe TOG egret. S| onibe pelce te een | In to ee Osleat cot else sage ie |= eran maar aye eaeee OES wo nncnn [ann 2-e-|------------)--------|-------- DYN I SS Dey N TAs So See ame eal ae ee ce EOC OL ysig | odupyss | ofqnoq | yeM | paemsog apis yoy GOs SOul[{s8016)|| = sa eee = ae ee ee Sa 7 9oUuB (Ty qSIML ed 4} dur0jg [enprarpuy soouep punoy a ae eS aa a NOGHINVddljy akira ek Anna ke So aOLvaupD uoyoung Gé-1] saunbyf ur payosjsnzjr sp ‘iydviboasoys puv uoyounf auvgq—Z ATaV], 56 BUREAU OF AMERICAN ETHNOLOGY [BuLu. 187 STEPS (See figs. 20-22, pp. 98-100) Twelve fundamental steps follow the simple principle of placing one foot in front of the other or to the side and bringing up the other. Walk: A saunter between songs and during the initial statement, ad lib tempo. An elastic walk during all crossovers except Eagle Dance, right foot ahead, left foot ahead, in time with the drumbeat. Side stomp (fig. 20): Right foot right, flex knees, drag left foot to right, flex knees, in time with instrumental beat or in ga’d4So't in a strict tempo synco- pating with the melody. An inching along with small steps, the right foot covering no more than 7 to 8 inches at a beat. Rhythmic jiggling up and down, with step and knee flection, in all stomp type dances with central focus. Forward stomp: Same principle as sideward stomp, except for forward direction of each step. Right shoulder always ahead of left. All stomp type dances with dancers facing straight ahead, in ‘ohgiwe’ with a more pronounced oblique inward turn than in typical stomp. Pat-step or step-pat: Right hand column is labeled A. Right foot forward gently onto ground, then knee slightly raised, then full weight placed on right foot. Same with left foot. Or else, step right, pat left, step left, pat right. Knee flection with each ac- tion, in time with slow instrumental beats. Beginning of Fish dance type and Feather and Drum dances, and during slow beats in re- capitulation of Feather Dance songs, also as one of War Dance variants with possibly two or three successive pats. False Face round: Double heel-bumping, by men only. Based on pat-step, but char- acterized by raising of the forward heel and by a sharp accent of the heel at each step. Fish Dance step (fig. 20): On the basis of a pat-step, right foot ahead of left in turned-out position, both feet twisted inward, that is, pigeon-toed; right foot next to left into turn-out, then both feet twisted in. Sometimes right foot in three successive twists—forward, back, forward. Then same with left. Men and women in Fish Dance type, though some women eskanye instead. Kurata] IROQUOIS MUSIC AND DANCE 57 Feather Dance step (fig. 21): A two-step with the right foot (step-together-step) followed by a forward heel-brush with the left; then two-step left, brush right. Or in expansion—right foot step-together-step-together-step, brush left. By men only, older men with shuffling gait, younger men with heel pounding and raising of the free knee. Knee flection with counts 1 and 3 of two-step. Drum Dance step: Intermediate between False Face Round and Feather Dance step, namely, two-step right, heel-bump right; two-step left, heel-bump left. Men only. Women’s Feather Dance step: A sideward glide to the right, with parallel twisting of the feet: raise heels, swivel both to the right; raise toes, swivel both to the right, with knee flection on each placement of heels or toes. Women’s Shuffle or eskdnye step: A sideward saw-foot twist. Pull right heel to right in an are, shuffling left heel to right; pull right toes forward and right in an arc, shuffling left toes to right. Knee flection with every foot twist. Also in Chicken and Striking-the-stick. Jump-kick (fig. 22): Hop on right foot raising left knee, then kick forward, timed with instrument as step (raise knee), hop (kick). By men and women in False Face pairing and some improvisations during stomp rounds. A male variant—jump on both feet, hop and kick; reverse. In False Face and War Dance solos. Crouching Hop: In low squat with deeply flexed knees, hop sideward or forward, slightly straightening knees with each elevation. Men in Eagle Dance. These step types could be furthermore grouped as follows: (A) Walk (1). (B) Stomp, side and forward (2 and 3). (C) Double thump, including step-pat, False Face round, Feather and Drum dance steps (4-6). (D) Twisting steps, Women’s Feather and Shuffle steps, Fish type (8-10). (EK) Hop-kicks, False Face, War, Eagle dance (11 and 12). BODY ACTION The torso generally held erect, tilted very slightly forward, spine centered above flexible knees. In stomp type right shoulder tilted forward down with each step. In women’s steps torso and shoulders 58 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 level. In False Face and somewhat less so in War Dance, torso stooped or swayed from side to side. Knees raised high only in Feather, Drum, and solos of men. Few gestures—women’s arm swings and wrist twists, improvised war-type gestures in Feather and War dances, shown on stick figures. Angular gesticulation of False Faces. Special motions—False Face roll and crawl, Eagle dance deep lunge with extended arms. Turn out in False Face jumps and at times in Eagle hop only exceptions to consistent forward position of knees. (Fig. 19, p. 97.) Focus.—The steps are adapted to the bodily direction, to preserve the counterclockwise direction. Or perhaps the adjustment is re- versed. Consequently the sideward steps are most highly focused on the center of the ellipse, that is, side stomp and women’s steps, but all stomp types relate to the center by virtue of their shoulder action. The gyrations and pivots of expert eskanye and male Feather dancers temporarily break this focus but reestablish it on return to the funda- mental step. Distributon.—The ground plans have been arranged in such a way that all rounds on pages 90-92 represent stomp-type choreography. This constitutes a large and homogeneous group from the simple medicine rites to the more elaborate social dances. The Fish type is even more homogeneous, belonging exclusively to the social category. Some steps reach over into other types, thus eskanye threads through much of Jroquois ceremonialism, recurring in Drum, False Face Round, Striking-the-stick and, if desired,in Fish Dance. Again, Fish step is introduced whenever a fancy variant is desired. Again, several longer rituals combine a number of choreographic types, as the False Face succession of Maskers, Pairing, Round, and Husk Faces. It is noteworthy that the most elaborate and individualistic gestures belong to the war dance type, never to women. ‘This in cludes Eagle Dance but not Striking-the-stick. The connection between the ground plans and the steps is clearly indicated on the figures by the samples of dance script written into each diagram, along with the instrumental beat. RELATIONSHIP OF ACTION TO MUSIC As the steps follow the instrumental beat, it is sufficient to limit the musical representation to this item.in the diagrams. In addition, the fundamental steps are included with the musical transcriptions when necessary. For instance, in Raccoon Dance there is no dancing during song 1. During song 2 the men stomp slowly, so their step is written along the corresponding musical phrase. During song 3 they continue stomping with crossover. During songs 4 and 5, women enter in couples, but stomping continues. In song 6, the regular Fish type step starts. The choreographic notes are held down to a minimum, KuratH] IROQUOIS MUSIC AND DANCE 59 since the figures and verbal descriptions provide a complete picture. In ga’d4so-t the two kinds of stomp step are inserted at the proper places, above musical sections A and B. Robin Dance is choreo- graphed in full, but even here repetitions are not written in full. The choreographic symbols show the relationship of certain steps and formations to certain parts of each cycle, and furthermore, the synchronization of musical and dance sections when a change is cus- tomary. Most stomp dances, eskinye and others, continue right to the end of each song, but men’s Feather, and crossover dances require a different step with each musical section. The dancers are fully aware of these connections and never err in rhythm or pattern. On the other hand, they never ‘interpret’? musical quality or phrasing in the manner of modern creative dancers. The combina- tion of movement and musical texture is always appropriate, for instance, to the expression of ursine clumsiness or birdlike pertness. This is due to the fitness of traditional forms. Each dance type traditionally adheres to or departs from musical forms, sections, and rhythmic units. In crossover types, the incipi- ence of the main step and the action of crossing synchronize, that is, the first notes of each section prompt the dancers to the prescribed pattern. In stomp dances that involve a change, like ga’d4s-ot or Robin, the first notes of each section likewise call forth the proper change of step. But in continuous stomps, as in Bear and in the beginning of all stomp dances and particularly in Feather and Drum dances, participants commence the dance activity in succession. After the interim of walk-around, the first notes of a new song galva- nize the dance leader into action, the next few notes inspire the second and then the third, and so on to the end of the line, like dominoes in a string that collapse in quick succession after the first one is knocked over. During a short song, it may happen that the children at the end of a long line may have time for only a few steps. In figure 16 this process is indicated in simplified form by indication of three groups—leaders, older men, and women—entering at a, 6, and c as marked in song 7. The vertical step pulsation is, however, perfectly synchronized. Step combinations may follow musical rhythms, as in Robin 2, where stomps correspond to musical accents. More commonly, there is no intentional conformity to musical rhythm but rather counter- point, accidental or conscious. Thus in Robin 3 and 5, fast two- steps overlap figures of eighth notes and may even coincide with musical rests. By these time-honored customary patterns and by permissible individual deviations, both music and dance achieve variety within unity. FUNCTION AND FORM The analyses have concentrated on the purely formal or artistic aspects of the songs and dances. These eloquent forms were not invented for esthetic gratification, but arose out of a practical need. Their expressiveness is a means to an end, though this end may have been modified in recent centuries. Bear rituals imitate the bear to induce his good will—the more perfect the imitation, the more com- plete the good will. Without a doubt every element contributes to this functional efficacy, though at the present time the writer has not been able to fathom the precise magical connotations of tonality, rhythm, and geometry. In more general terms, we may be able to establish a relationship between ritual function and formal development. The comparative tabulation of dance function and choreography corroborates the impression of the musical tabulations, namely, that contemporary religious concepts confuse rather than clarify attempts at synthesis, or some order of development. The rites paramount in the modern Iroquois mind, those to the Creator, obviously belong to a more developed stage than do the Medicine rites. On the other hand, the arrangement of the choreographic figures shows a consecu- tive sequence from the simple to the complex. With complexity as our criterion, we have rearranged the rituals. The resultant order is not exactly the same for the music as for ground plans, nor for ground plans as for steps. Quavering, with its complex melodies, uses simple choreography. Shaking-a-bush, with its complex ground plan, em- ploys a simple step. Nonetheless, the various artistic manifestations show similar trends, corresponding, on the whole, to the order of the diagrams of ground plans. They can be tentatively grouped as follows, in order of complexity. CHOREOGRAPHIC AND MUSICAL GROUPING (1) Men’s shamanistic medicine societies—False Face, yeidos. Tertial, monotone. (2) Women’s old style dances—Dark Dance, Old ¢skinye, choreo- graphically Quavering and Changing-a-rib. Secundal. (3) Animal cures—Bear, Buffalo, Robin, also Shake-the-pumpkin. Feature: monotone antiphony. Round, stomp. 60 KuRATH] IROQUOIS MUSIC AND DANCE 61 (4) Agricultural dances, secundal and tertial (towisas), tertial (Corn, ga’déSo-t). Feature: melodic antiphony. Choreographically Hand-in-hand. (5) Animal mating and other coupling dances—Fish type. Tertial. Feature: crossover with set musical pattern. Also double round. Duck dance. (6) War cycle, Eagle and Striking-the-stick. Secundal and tertial. Feature: crossovers. (7) War cycle, Feather and Drum dances. Eclectic. Varying and composite scales. Simple choreography, elaborate gestures. (8) Women’s dances, Quavering, Changing-a-rib, ¢skanyegowa, Hand-in-hand, ‘ohgiwe?. Tertial and quartal. Feature: reciprocal texts between sexes. (9) Modern songs. ‘Traditional (individual, adonwe, new eskanye). Not traditional (Scalp). Quartal or diatonic. (10) False Face, Husk Face, and War Dance in a class by them- selves by virtue of individualistic choreography, the first two with archaic songs, the last with songs fitting into category 7. (11) The double rounds, Pigeon and Shaking-a-bush. Composite scales. The first four categories, all ritualistic, belong to the stomp type, eskiinye excepted. The War Dance cycles are in the middle of the alinement. Complex social dances are at the end. The homogeneous categories are predominantly tertial. Women’s dances consistently belong to secundal or quartal types (new songs excepted), and suggest a separate, parallel line of growth. TIME DIMENSION The criterion of relative complexity, which produced the tentative alinement of functions and forms, may provide a clue for relative chronology. Shamanism is generally regarded as the most ancient form of ritualism. In the case of the Iroquois, Fenton corroborates my suggestion that False Face and yeidos rites testify to untold antiquity in their dance and songs. Then we have on our list a succession of animal and agricultural dances, some of them secundal and some tertial. The majority are tertial, Bear and Buffalo are only in part. Women’s dances, as previously stated, seem to follow a parallel line of development, but from a secundal nucleus. Some of the couple dances, namely Fish type, testify to moderate antiquity by their musical style. They would, by their homogeneous nature, appear thoroughly Iroquoian. The fact of their present social func- tion does not preclude a former purpose as animal mating dances, and they retain some of these possible ritual connotations. 62 BUREAU OF AMERICAN ETHNOLOGY [BuLu. 187 A new style enters with agricultural forms, though they adhere to tertial and to stomp type. Antiphony and modulation enrich the melodies. ‘These and the previous dances we venture to equate with the prehistoric era, dating to the acceptance of agriculture, and thus long before the formation of the League. This type has Southeastern affinities (Kurath, 1961). The War Dance cycle, which introduces new elements, preeminently in choreography, can, in part at least and perhaps in full, be relegated to the period of expansion and conquest following the formation of the League. These forms would reach over into historical times, as instances of Great Plains influence. Individual, new, and Scalp Dance songs belong to a very recent era, some of them short lived, others lasting for decades and spreading to other longhouses. THE RELATION OF MUSICAL PATTERNS TO PRESENT RITUAL FUNCTIONS The musical analysis has emphasized a varied distribution of formal elements through the ritual categories of the modern longhouse. Previous to this report, connections between the forms and functions consequently appeared obscure. However, at the present moment a hypothesis can be ventured, on the basis of several approaches, notably on the basis of repeated association or contrasts of certain cycles in pattern tabulations. Feather Dance and False Face have shown affinities in many respects—tonality, tempo, rhythmic, metric, and structural irregu- larity. Add to this the common use of the turtle-shell rattle, though with a different beat, and the common choreographic feature of in- dividualistic male gyration and gesticulation, though with a different step. (Women are unimportant in Feather Dance.) On the other hand, Feather and Drum Dance contrast in every musical aspect, including the instrument. To confuse the issue, the dance steps are similar. Drum Dance shows musical relationship with the two women’s rites, Quavering and Changing-a-rib, especially in the large range songs with descending sequence. Structural and tonal relationship with the War Dance type is evident, though the latter uses a faster tempo and crisper rhythms. Functionally distant War Dance and Old eskanye, somewhat less women’s Dark Dance, agree in all respects except the bolder intervals of War Dance and the faster tempo of eskiinye. The same instruments and the same women’s step recur in all cycles mentioned in this paragraph. Again, to confuse the issue, the male War Dance step and female Dark Dance step are different; also, the Drum Dance step types constitute the choreography of the False Face Round. Kurati] IROQUOIS MUSIC AND DANCE 63 Musical homogeneity groups together a number of cycles of the so-called stomp type, namely, Buffalo, Bear, Robin, and Corn Dance, despite their functional discrepancy. It also groups together all of the Fish Dance type, with a melodic contour resembling these stomp dances, but with a different tonality and faster tempo. Despite similar tempo and step, a different musical tradition must be assigned to the stomp type with monotone terminal antiphony, to the two dances with melodic antiphony, and to the stomps with elaborate large-scale melodies. All stomp dances may be related, but their melodies and functions display great variety. Duck and Alligator Dances present another problem. Yeidos Medi- cine Rite and ohgiwe Death Feast also do not conform to any other types. The eclectic nature of the Drum Dance and False Face rite suggests growth through many periods of time. PHYSIOLOGY AND PSYCHOLOGY OF PERFORMANCE In each rite and dance the participants intend to and do achieve an objective, be it supernatural supplication or gratitude, tangible bene- fits of cure or good corn, or simple, pleasurable group activity. What does the music contribute to the efficacy of the performances, beyond an agreeable rhythmic background? Does it intensify the invocation and the sense of well-being? Do the observable motions and perceivable emotions of the dancers and singers aid in the consumma- tion of the ritual? The musical accompaniment motivates the tempo, dynamics, and patterns of the dance movements, including the activity of the singers, seated or stomping. A frenzied rattle-pounding incites the dancers to frenzied stamping and gyration. A monotonously repetitious chant focuses body and mind into a trancelike pulsation. Disjointed vocali- zation induces centrifugal activity. Increased speed and volume proportionately increase the efforts of the dancers. Feather Dance, False Face, Fish Dance, and New eskianye share this element of frenzy. The distorted maskers and enthusiastic male Feather dancers exhibit the nearest approach to trance in the generally placid Iroquoian dance style. The pert jumps and hand circlings of the shuffling women carry the restrained feminine style to the limit of its capacity. In all three dances, the singers also exert themselves, shouting at the top of their lungs to drown out the rattles and foot-pounding. The stately tempo of Drum Dance and its measured and orderly pattern of notes subdue the explosiveness while preserving the energy of the steps. This stateliness carries over into the rites for the Mid- pantheon, especially the formularized and impressive Eagle Dance. The monotone thanksgiving chant and the swaying Eagles represent the moments of most intense ritualistic concentration observed by the 64 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 writer (who has not seen yeidos). In War Dance the moderate drum beat and the driving melodic rhythms conflict: the effect on poorer dancers is a heavy thumping, but on good dancers who can carry a double speed, the effect is a virile rebound. The women’s rites with similar song style were not observed. Possibly, the prolonged and sedative beat creates a similar hypnosis as in ohgiwe, where, however, instrumental and melodic syncopation release the imminent drag. So far it is not clear in what way the effects of these dance songs aspire to the Creator and other supernaturals, or in what way War, Eagle, and Sun Dances produce cures. The observable effect is an excitement that may border on religious fervor, and in any event benefits the performers because of the rhythmic self-forgetfulness. The rhythmic activity is likely to have a therapeutic effect and can contribute to the undeniable improvement and frequent healing of patients during the medicine rites. In particular, the moderate tempo of Buffalo and Bear Dances, the relaxed pulsation of their stomp step, their unhurried yet often incisive melodies with nuclear contours, all produce an easy animation. The structure of the rite helps to release the spasms of the sufferer, by opening with a slow subdued chant or chants, by speeding up into a steady even beat and (at Six Nations Onondaga) to a fast pulsating beat. The unison of group rhythm, intensified by passages of monotone antiphony, no doubt contributes. The mimetic activities provide amusement and thereby perhaps hasten the healing, but in themselves hardly imply therapy. If the nature of the tempo and of the stomp step benefits the per- formers in these two rites, it should then have the same effect in other stomp dances. As a matter of fact, it does. Other, nonmedicinal stomps, as Corn and Robin Dances, sometimes do function as cures. Furthermore, even when a direct healing objective is lacking, the dancers emerge from an evening of social dances minus nervous ten- sions and plus exhilaration. Not all cycles have the same therapeutic effect. Some act hypnotically by their slow and wavering beat and melodies, as yeidos and ohgiwe; some achieve balance, that is, the stomp type; others produce frenzy. Depending on the kind of neuro- sis, the music subdues or exhilarates. It goes without saying that the music is reinforced by faith in the efficacy of the rites, and the placated spirits are entirely creatures of beliefs. When it comes to the “‘social’’ dances, one need hardly argue about the inevitable enjoyment of rhythmic circling with friends. All three factors contribute to the pleasure—the metrically perfect beat relieved by a variety of melodic designs, the circle with its fluctuating patterns, and the communal spirit, most evident in the antiphonal responses uniting singers and dancers. Not all dances involve equal participa- KuratH] IROQUOIS MUSIC AND DANCE 65 tion nor produce identical results. The moderate, relaxing Trotting Dance and its relatives, open and usually close an evening of social dances and are inserted between strenuous dances. They draw a large group into participation. Monotony is relieved not only by melodic syncopations but also by counterpoint of dance steps. The more vigorous Fish Dance type enlists a smaller group of partici- pants than the stomp type. Laughter plays an important and beneficial part in Iroquois dances. A few solemn moments, as the Drum Dance thanksgiving, are im- mune from a byplay of clowning, but the most exclusive medicine rites, as Dark Dance, release tension by outbursts of hilarity. In this, the songs play their share. The spectators laugh in response to False Face moans, to animal calls after Bear, Raccoon, Chicken Dances, and to whimsical Trotting Dance antiphony. However, in masked dances, Buffalo Dance and the like, how much of the humor is due to the melodic character, how much to the song rendering, and how much to mimetic clowning? ECOLOGY AND MIME The Iroquois give thanks to all living things. In the dances they do not portray the qualities of plants, but they often reflect the habits of animals. MAMMALS As already indicated in the dance descriptions, dancers suggest beasts by posture and gait, though not by gesture. They enact more symbolically other aspects of the animal’s ways. Buffalo: The American bison (Bison bison) “once roamed central North America almost from the Atlantic Coast to the Pacific Coast in numbers estimated at 60,000,000” (Hall and Kelson, 1959, p. 1024). At one time, the Iroquois may have encountered these mammals in western New York. In 1671, Claude Allouez reported occasional “pisikiou” on the Fox and Wolf Rivers in Wisconsin, that is, in Meskwaki territory (Roe, 1951, pp. 8, 224-225). During the 18th century fair numbers congregated at the Kentucky Blue Licks and in the highlands of North and South Carolina (ibid., pp. 233, 253). They reached the Seneca at Licking Creek near the Allegheny River and possibly Buffalo Creek near Buffalo, N.Y., probably by a route south of Lake Erie, for they made rare appearances in Michigan or adjacent Ontario (ibid., pp. 228, 254). They were extinct in the East by 1810; survivors retreated west of the Mississippi River by 1832 (ibid., p. 226). Here afew Plains and Woodland buffalo survive. 634-599 O—64—_6 66 BUREAU OF AMERICAN ETHNOLOGY [BuLu. 187 This stolid, cloven-hoofed ruminant was impressive not only because of massed numbers, but also because of bulk. A bull might weigh 1,700 to 1,800 pounds and have a length of 10 feet; cows usually weighed only 800 pounds. Its bulk was visually increased by humped shoulders, shaggy beard and chest, in contrast with the short-haired rear half, spindly legs, and flimsy tail (Burgess, 1928 a, pp. 323-326). When aroused, the bull could be fierce and dangerous; he could charge with his strong curved horns or trample an adversary. A herd in panic or anger thundered and roared over the ground. When left alone, the buffalo would molest no one, but would wander in peaceful multitudes from pasture to pasture, munching at grass or licking salt clay when it was available. In contrast with the Plains impersonation of milling herds (Catlin, 1841, vol. 1, pp. 86-87), the Woodland buffalo dancers line up in single file, facing center and clomping sideward slowly and heavily. This arrangement conforms to the Woodland round pattern, but it may also refer to the fact that western buffalo appeared in herds without orderly array, but eastern herds tramped to and from their watering places—river or creek—in single file on a well-beaten path. The Seneca mime of today is not fearsome; employs no mask or face blackening.” The hunching, butting, and bellowing of “rival’’ bulls is intended for laughter. Hunting mime is absent. Veneration has become symbolic. The rite cures pathological shoulder hunching. Conductors give the patient salt clay or just salt, in token of the beast’s fondness. The singers address him as wenisa, meaning “fierce one” in the Meskwaki tongue; sometimes they mention the spirit buffalo, underworld monster, dyonyosquat. Bear: The Iroquois Bear Dance forms part of a widespread cult (Hallowell, 1926). The enactment refers to Ursus americanus americanus, the American and in particular the Woodland Black Bear, which is found throughout Eastern North America (for specific range, see Hall and Kelson, 1959, pp. 866-867). This creature stands 3 feet high when on all fours, and is 6 feet long. His physical appearance and habits could inspire awe and at the same time suggest human attributes. Among the quasi-human qualities are his frequently upright posture, his walk on full foot with five toes, his lack of a tail, and functional manipulation of forepaws (Burgess, 1928 a, pp. 280-289). His waddling gait can accelerate to a run. The Iroquois have recognized the humorous as well as the formidable traits of the bear. They imitate his uncouth, relaxed waddle, his 21 Disguise by face blackening is still practiced by the Meskwaki of Iowa and the New Mexico Pueblo Indians. The latter also wear a horned headgear similar to the costume of 19th-century Mandans and other Plains tribes. (See Maximilian, 1906, p. 79, pl. 51; Catlin, 1841, vol. 1, pp. 186-187.) KuRATH] IROQUOIS MUSIC AND DANCE 67 grumpy growl, and his playfulness especially when young. The Iroquois pair up and kick like dancing bears. But, also, they make a communion offering when they “strip the bushes” and partake of nuts and berry juice. They often see live bears, and can thus better imitate them; on Allegany Seneca Reservation and in the nearby State Park, bruins visit camps and dumps as nightly scavengers, and occasionally raid Indian pigpens. Though protected by law, they are man-shy. However, the rite addresses the Great Spirit Bear, who brings on and can cure illness. BIRDS Dances for creatures of the air are even more stylized. Only the eagle mime prescribes imitative posture of body and arms. Eagle: Eagles (Aquila) live in seemingly permanent pairs in high places, nesting in cliffs and circling high above the clouds. They are power- ful birds, 30 to 40 inches long, with a wing span 6 to 8 feet. When their sharp eyes see a reptile, fish, chicken, rabbit, or fawn below on the ground, these screaming robbers descend like thunderbolts. At the last moment they check their speed by spreading the broad wings and white, fan-shaped tail (Burgess, 1928 b, pp. 147-150). They com- monly snatch their prey in a crouching position, grasping it with hooked claws. When feeding on the ground, they hop on both feet and peck with their hooked, yellow beak. Seneca eagle dancers hover in two pairs, face-to-face, patterned by moiety (Fenton and Kurath, 1953, pp. 139-144). They utter a shrill cry before each song, lunge with extended arms, and hop with deeply flexed knees. They vie with each other in picking up coins or feathers with their teeth, or in nibbling at a cooked chicken placed on the floor as a symbolic offering. The performance of these four youths is distinctive, quite different from the collective rounds. When the Seneca used to trap eagles for their feathers, they caught the Bald Eagle. It is doubtful that they ever saw the great Condor of California with its 10-foot wing span, though the Onondaga speak of their Condor Dance. The dance and its mythological allusions, however, are addressed to the supernatural eagles, the Iroquois Dew Eagle, corresponding to the Plains and West Coast Thunderbird. The eagle’s dizzy hovering and lightning descent, indeed, suggest storm clouds, lightning, and thunder, and associate him with the Sun, patron of war (Blair, 1911, p. 178). In contest with the evil serpent, he is victorious. The Seneca Eagle rite, while it serves cure, is also connected with the dances of Sun and War. As a descendant of the Plains Calumet Dance, it is also symbolic of peace. 68 BUREAU OF AMERICAN ETHNOLOGY [BuLu. 187 Duck: Seneca dancers do not specify which of the many duck species they imitate. The Black Duck, Wood Duck, and the Mallard breed around the Great Lakes, and in October they fly south. The American Golden-eye even winters around the Great Lakes. However, the dance patterns seem to fit best the habits of the two river and pond species (Anatidae family): the beautifully feathered Mallard and the irridescent Wood Duck (Kortright, 1942, pp. 165, 149-157, 221-229, 266-267; Audubon and Grimson, 1950, p. 80). Ducks are humorous birds, in their wobble on flat, webbed feet when on land; in the nervous jerks and bows of the courting, preening male; in the raucous “‘quack”’ of the female and the low, reedy ‘‘kwek- kwek” of the male. They are extremely agile and can rise vertically from the water with fully extended wings, pointing the wings down- ward when alighting on a pond. They are expert divers. The female Wood Ducks are adept at getting out of a tight spot. These females like to take the lead. In courtship they lead the male a merry clase; in approaching the nest in its tree cavity, they fly ahead of the males. Speed, quick wit, and hardiness in icy waters have kept up the num- bers, despite traps, arrows, guns, and now the dwindling marshy habitat. The dance mimes the humorous walk and call. It emphasizes the male-female relationship. Some of the patterns suggest a double meaning. The women, as they back away ahead of their male vis-a-vis, recall both the courtship chase and the typical flight pattern. When they squeeze under a series of arches formed by the men’s upraised arms, they seem to dive under water and again emerge, or they suc- cessfully negotiate a trap. When at the end of the dance they are caught by the men’s lowered arms, they may have arrived at the hidden nest, or they may be entangled in a trap after all. The ter- minal quacking mimics the plaintive call. To make up for its lack of imposing qualities, the duck is dis- tinguished for its culinary potentials. While all eagles are tough and adult swans are not palatable, all ducks provide succulent meals. In view of their usefulness and their abundance, they must have inspired a dance in many areas. Today the Great Lakes Algonquians perform dances for swans and geese, in double file, but they do not mime ducks. However, southern instances persevered until recently. Densmore (1947, p. 77) mentions Duck Dance in the Alabama repertoire, ex- tinct by 1898; Speck (1911, p. 164) places it among the Creek and Yuchi dances of 1911. In melodic character the Seneca song bears most resemblance to a Choctaw tune which survived until about 1940 (Densmore, 1943, pp. 150-151). In fact, the Iroquois Duck Dance KuRATH] IROQUOIS MUSIC AND DANCE 69 song differs from the usual structure, for it is one continuous melody of three parts in rondo alternation. Passenger Pigeon: Another migratory but not aquatic bird was the passenger pigeon. The Seneca ascribe human qualities to pigeons, and easily transfer the actions into choreography. In this double-file round, Fenton (1955, p. 5) suggests that “the slow, wheeling, rotating sequence of the dance possibly resembles the passenger pigeon in flight, and the double column, which the dance sometimes assumes, represents the mass of the pigeons in migration.” The passenger pigeon’s size of 15 to 17 inches in length was suf- ficient for a delicious morsel. This representative of the Columbidae was one of the most abundant birds on earth. Dense flocks of millions nested in the deciduous forests of the Eastern States and Canada during spring migrations (Audubon and Grimson, 1950, p. 199). The longhouses simultaneously celebrated the early harvest of maple sugar and of squabs. However, by 1880 the birds had succumbed one and all to the White man’s guns. At Tonawanda longhouse Pigeon Dance still opens the Maple Festival. At other longhouses it remains as a social dance. Robin: The American Robin or robin redbreast (of the Turdidae family), though supposedly migratory, is bold and hardy, and sometimes win- ters in temperate zones during mild winters. Too small for food value, with an average 9-inch length, he is welcome as a jolly songbird and a destroyer of insect pests (Audubon and Grimson, 1950, p. 260). His quick motions and hop on two small feet are mimed in the dance. He does not fly in formation like the duck or passenger pigeon, and the dance is not in double file, but in a single file, sideward progression. FISH The Iroquois do not specify the species of Pisces in their Fish Dance, the way that Menomini and Winnebago refer to the sunfish and the Yuchi to the garfish. However, they claim that the ground plan refers to the passing and repassing of a fish couple during the mating season, and the step represents the flipping of the tail, the wavy progress of the fish.” The ordinary fish of the Great Lakes fresh waters is torpedo-shaped, with a fan-shaped tail as propeller and several sets of fins as rudders, one or two dorsal fins, two ventral fins, and a set by the jaws. These move like rudders as the fish glides 22 Nonetheless, the same step reappears in the Raccoon Dance and other dances unrelated to fish. 70 BUREAU OF AMERICAN ETHNOLOGY [BuLu. 187 through the water. The swimming action may be straight ahead or serpentine in playful progress or flirtation. A fish can also leap out of the water. At any event, he is slithery, and is appropriately por- trayed by slithery motions. It is obvious, however, that the Seneca dancers do not have enough feet to represent all of the sets of fins, and do not invoke the aid of flipping hand motions, as do the Wis- consin Chippewa. Though fishing has always been a major Iroquoian activity—more so than hunting—there is no record of an esoteric dance for the fish. It remains a Seneca diversion, though the Allegheny River residents catch many fish, raise little corn, and do less hunting. FUNCTIONAL CHANGE The seasonal distribution of food ceremonies and the numerous dances with animal and plant names would suggest an intimate con- nection with the environment and the food supply. It is true that the Iroquois knew the creatures in their-choreographic roster, except for the alligator, whose dance is of very minor importance. The buffalo, bear, duck, pigeon, and fish provided food; furs and skins provided covering; feathers, ornaments; bear claws and teeth served as amulets. On the other hand, eagle and robin did not appear in the menu. And deer, which were extensively hunted as food, have a clan in their name but no dance, although Algonquians have retained a deer dance to this day. The transference of function from hunt to cure or sociability was natural after the extinction of the creature. The bear, however, was associated with shamanism and medicine rites long before shortages and game laws. For instance, in 1615, Champlain saw medicine dancers in bear skins (Kinietz, 1940, pp. 140-141). Similarly, the eagle’s war associations were converted into beneficial channels with the obsolescence of the ancient war patterns and with the peaceful influence of Quakerism. Plants have retained their economic functions to a greater degree than the animals. The summer food festivals actually coincide with the ripening of the berries and crops and are timed in accordance with their maturity. In contrast with the animal dances, the bean and corn dances show no mimetic tendencies. The Women Planters do not enact the words of the songs. Male and female participants in Corn Dance use no gestures comparable to those of the Cherokee (Speck and Broom, 1951, p. 77). When they wind in and out among the benches, they stylize geometrically the creeping of bean vines up cornstalks. The Iroquois demonstrate a capacity for stylization, even abstrac- tion, in their mime; they are preoccupied with geometric patterns rather than symbolic gestures. Though their ancestors evidently observed and choreographed animal ways at a time when they were Kuratu] IROQUOIS MUSIC AND DANCE T1 dependent on the creatures, they have adjusted to functional changes with increasing codification. In fact, they are capable of expressing homage in the spirit of Quaker Christianity, without visualization, in the words of the Drum Dance prayers. Here they give thanks to all creatures, culminating in thanks to the Creator (Fenton, 1948, Rec., pp. 7-10; Chafe, 1961). Thus they are fitting into the modern world and yet are remembering the bygone days of life in the forest. ARTISTRY Out of the bewildering variety of artistic forms, particularly of musical forms, a homogeneous character emerges. The very variety, while often perplexing, symbolizes a stylistic trait. Every gener- alization is confronted by an exception in the following summary. FOCUS Iroquois song and dance are preeminently focal. Most of the scales center on a focal note and its subsidiary helper, close at hand; the melodies waver up and down around the focal note, usually end on it and develop out of this center. This nuclear tendency extends to the thematic devices which produce expansion and rhythmic inter- action. The average tempo proceeds at a comfortable gait. The rhythms are most commonly simple, calm, and symmetrical. There is certainly significance in the exceptional cases of diffuse, sequential, and erratic forms. Similarly, the dances circulate steadily around a focal point, the body centers above the focal knees and pulsates on a fluctuating level, parallel to the ground, feet close together, heels pounding the founda- tion. A few typical steps thread through the moderate choreographic variations. As for the music, there are special reasons for uncentered, individualistic, and vertical dance forms, namely, exotic origins. INTERACTION Closely allied with this nuclear quality is the constant interaction between performers, between moieties, between officials, between opposite sexes; the collaboration between singing teams and dance partners, between dancers, conductors, and spectators, in antiphony or synchronization. The interaction grows out of segregation. At the beginning of each festival the men and women gather at their respective ends of the longhouse, and the moieties divide at right angles to the sexes. The singers and dancers pair up and intermingle according to specific precepts. STRUCTURALISM Likewise in conformity with tradition, each ceremony and each dance cycle has a clear structure and builds to a climax. Each song 72 BUREAU OF AMERICAN ETHNOLOGY [BuLu. 187 is also skillfully constructed. The patterns vary from simple repeti- tion to complex thematic juggling. The dances are well regulated in their development and in their relationship to the musical structure. They emphasize geometric floor plans, rather than steps or gestures. TRADITION AND FLEXIBILITY Within the traditional frame the musicians and dancers are allowed creative freedom. ‘Traditional repertoires vary somewhat from long- house to longhouse, from singer to singer. New types encourage original composition. Within the larger structure, the order and selection of songs also may vary. The dance performances provide a new experience on each ritual or social occasion, because of the improvisation and spontaneity. Another aspect of flexibility has aided the adjustment to changing external conditions, the acceptance of other tribal dances, of modern paraphernalia, Christian concepts, and the change of functions to fit new ways of earning a living. SOLEMNITY AND GAIETY The ceremonies are essentially dignified occasions. They have solemn moments, as the central thanksgiving chants of the Drum Dance. Yet gaiety and joking are permissible, even traditional in the animal dances, and fun is one of the objectives of the social occasions. Clownery reaches its height in the awesome masked dances. It is most delicate in the women’s dance. But informality and humorous excursions are kept within bounds. As one of his reforms, Handsome Lake prohibited excesses: drunkenness, ribaldry, and intimacy between the sexes (Deardorff, 1951). Hence, physical contact has been abolished in the Hand-in-hand Dance, and the momentary embrace and “swing”? have been eliminated from the Alligator Dance at Coldspring longhouse. Entertainment is sub- servient to ritual purposes. REALISM AND STYLIZATION The animal dances show a flare for observation and realistic mime on the part of the Seneca, or rather of their ancestors. Today, the realism has become patterned, especially in bird dances. Dances for plants are entirely stylized; they consist of geometric designs instead of mime. The capacity for stylization goes along with the structuralism, and in performance it balances the talent for improvisa- tion. Firm footing in reality, definite patterns, and creative leeway have contributed to the durability of Seneca ceremonialism. APPENDIX SINGERS AND THEIR LONGHOUSES AND DATES OF RECORDING Tonawanas seneca, NOY - 222222 se 1936, 1948 Jesse Cornplanter Robert Shanks Edward Black Allegany (Coldspring) Seneca, N.Y_-------- 1933, 1941, 1948, 1951 Chauncey Johnny John Fannie Stevens Richard Johnny John Sadie Butler Albert Jones Lyn Dowdy Edward Curry Henry Redeye Jonas Snow Sherman Redeye Six Nations Reserve, Ontario_____________- 1941, 1945, 1950 Onondaga Joseph Logan Simeon Gibson Cayuga George and William Buck Deskaheh (Alexander General) Willie John OnendheanValleyaiN Yous i ss eee 1952 Thomas Lewis Percy Smoke NAMES OF DANCES AND RITES Rituals Addressed to the Creator: Great Feather Dance___ ’ost6-we’go-wa’ [?ost6we?ko:wa:h] * Thanksgiving or Drum_ gané 0’ [koné09?| Dance Individual Chants of adg-we’ [?ato:we?] Men Rituals addressed to the Midpantheon: Ashes Stirring or Dawn’ gandéiowi? [kanéeo:wi:?] Song Hagle Dance___222_..-- gane’ gwé’e’ [kané?kwe:?e:?] Striking-the-stick or wai’e’noe’ [wa?éno’’e:?] Sun Rite War Dance or Thunder wasa’: se’ [wasa:se?] Rite 2 See Linguistic Note, p. XVI. 13 74 BUREAU OF AMERICAN ETHNOLOGY [BULL. 187 Shamanistic Cures: False Face Company___ Sagodyowéhgo-wa hadjé ?dot ‘a? [sha- kotyowéhko:wa: haty4?totha?] and gagé’sa [kakéhsa?] Husk Faces or Bushy gadjf‘sa? [kajihsa?] Heads Medicine Company or yei?dos [yéi?to:s] or hadif ?dos [hatf:- Society of Shamans ?to:s] Buffalo Society Dance__ degiyé’ go?6enq’ [tekiyé?ko ?0eno?] Bear Society Dance____- nyagwal?oeng? [nyakwai? ?o0eno?} Women’s Medicine Rites: Dark Dances. yee deyddasodaigg [teyétahsotaikoh] Quavering= 222s eats fyonda tha? [yf:ota:?tha?] Changing-a-rib_______.- deswadenyg? [?otéswate :nyo?] Feast for the Dead ___-__ ‘ohgiwe? [?ohki:we:h] Rituals addressed to the Food Spirits: Women Planters_______- towisas Women’s Shuffle Dance_ ¢skinye’ [?é:skee :nye:?] Corn Dances 2.2 22 onéont? denq’ [?onéo? ?0en9?] Hand-in-hand or Bean deygdanisonta? [teyotenéshotha?] Dance Trotting or Standing ga’désot [ka?ta:syo:t] Quiver Dance Social Dances: Shake-the-pumpkin_____ gashedonddda’ [kashé?tota:?toh] Garters Dance________- dewattihasig? [tewatsihasyo?o:?] Pigeon or Dove Dance__ dja‘gowa? 6enq’ [j@:hko:wa:? ?0en9?] Duck. Dances 2. 2h. 2. twen? denq’ [thwe:t ?oeno?] Shaking-a-bush or gasgofgdadg? [kaskoedta?toh] Naked Dance Robin Dance. #342" djowiyaik? é6enq’ [ty5:yaik ?oeno?] Kish Dances.) lL. wiaee gedzéeno(ka) [kejo ?oeno?(kha:?)] Raccoon or Coon Dance_ djoegi?.deng’ [jo?x:ka? ?oend?] Chicken Dance_________ dagie? deng’ [tak#é:?e:? ?oend?] Sharpen-a-stick________ wai’enotiyo’ [wa?enothi:yo?] Choose-a-partner_______ deyondenyétges [tyotatenyatke:s] Miscellany: Fishing Dance. 2. 2 ’oshé ‘we? [?oshé :we?] Alligator Dance__-______ deganodéntgeha’ [tek4?no:ta:t] Grinding-an-arrow-______ ganogéyo’ [ka?noke:yo:?] Knee-rattle Dance______ gahs6’¢? Deval Dancet=3= ses". = djihaya [jihaya?] Moccasin Game__-__-____ denq’ dahgwa yendahgwa? [te:- notahkwayétahkwa?] Show Songs (Scalp Dance). ganehé BIBLIOGRAPHY AUDUBON, JOHN JAMES, and Grimson, LupLow, EpiTors. 1950. Audubon’s birds of America. New York. Buatr, EmMa, EpITor. 1911-12. The Indian tribes of the Upper Mississippi Valley and region of the Great Lakes. 2 vols. Cleveland, Ohio. BurcsEss, THORNTON W. 1928 a. The Burgess animal book. New York. 1928 b. The Burgess bird book. New York. CaTLIN, GEORGE. 1841. The North American Indians. 2 vols. London. (1926 ed., Edin- burgh). CuHaFrE, WALLACE L. 1960-61. Seneca morphology. Int. Journ. Amer. Ling., vols. 26-27. 1961 a. Comment on Anthony F. C. Wallace’s ‘‘Cultural composition of the Handsome Lake religion.” Jn “Symposium on Cherokee and Iroquois Culture,’? ed. by Fenton and Gulick. Bur. Amer. Ethnol. Bull. 180, pp. 153-157. 1961 b. Seneca thanksgiving rituals. Bur. Amer. Ethnol. Bull. 183. 1962. Handbook of the Seneca language. New York State Mus. Bull. No. 388. Conxtuin, Harotp C., and Sturtevant, WILLIAM C, 1953. Seneca Indian singing tools at Coldspring longhouse. Proc. Amer. Philos. Soc., vol. 97, No. 3, pp. 262-292. DEARDORFF, MERLE H. 1951. The religion of Handsome Lake; its origin and development. In “Symposium on Local Diversity in Iroquois Culture,” ed. by William N. Fenton. Bur. Amer. Ethnol. Bull. 149, pp. 77-107. DENSMORE, FRANCES. 1943. Choctaw music. Bur. Amer. Ethnol. Bull. 136, Anthrop. Pap. No. 28, pp. 101-188. 1947. Imitative dances among the American Indians. Journ. Amer. Folklore, vol. 60, No. 235, pp. 73-78. FENTON, WituiaM N. 1936. An outline of Seneca ceremonies at Coldspring longhouse. Yale Univ. Publ. in Anthrop., No. 9, pp. 1-23. 1941 a. Masked medicine societies of the Iroquois. Ann. Rep. Smithsonian Inst. for 1940, pp. 397-430. 1941 b. Tonawanda longhouse ceremonies: ninety years after Lewis Henry Morgan. Bur. Amer. Ethnol. Bull. 128, Anthrop. Pap. No. 16, pp. 139-166. 1955. The maple and the passenger pigeon in Iroquois Indian life. Univ. State of New York, Bull. for Schools, pp. 1-7. March. Fenton, WituraM N., Eprror. 1951 a. Symposium on local diversity in Iroquois culture. Bur. Amer. Ethnol. Bull. 149. 75 76 BUREAU OF AMERICAN ETHNOLOGY (Buty. 187 1951 b. Locality as a basic factor in the development of Iroquois social structure. In “Symposium on Local Diversity in Iroquois Culture,’ ed. by William N. Fenton. Bur. Amer. Ethnol. Bull. 149, pp. 35-54. FENTON, Witu1AM N., and Guuick, Joun, Epirors. 1961. Symposium on Cherokee and Iroquois culture. Bur. Amer. Ethnol. Bull. 180. Fenton, WiuuiaM N., and Kuratu, GERTRUDE P. 1951. The feast of the dead, or ghost dance, at Six Nations Reserve, Canada. In “Symposium on local diversity in Iroquois culture,’ ed. by William N. Fenton. Bur. Amer. Ethnol. Bull. 149, pp. 139-165. 1953. The Iroquois eagle dance, an offshoot of the Calumet Dance. Bur. Amer. Ethnol. Bull. 156. Hau, E. Raymonp, and Ketson, Keira R. 1959. The mammals of North America. 2 vols. New York. HAaLLoweE ., A. IRVING. 1926. Bear ceremonialism in the northern hemisphere. Amer. Anthrop., vol. 28, No. 1, pp. 1-175. KInIETz, W. VERNON. 1940. The Indians of the western Great Lakes, 1650-1760. Univ. Michigan, Occas. Contr. Mus. Anthrop., No. 10. Ann Arbor. Korrriacut, Francis H. 1942. The ducks, geese and swans of North America. Amer. Wildlife Inst., Washington. KuratTH, GERTRUDE P. 1951. Local diversity in Iroquois music and dance. In ‘Symposium on Local Diversity in Iroquois Culture,’ ed. by William N. Fenton. Bur. Amer. Ethnol. Bull. 149, pp. 109-137. 1952. Matriarchal dances of the Iroquois. Proc. 29th Intern. Congr. Americanists (Sol Tax, ed.), vol. 3, pp. 123-130. Univ. Chicago Press. 1956 a. Masked clowns. Tomorrow, vol. 4, pp. 108-112. 1956 b. Antiphonal songs of Eastern Woodland Indians. Musical Quart., vol. 24, pp. 520-526. 1961. Effects of environment on Cherokee-Iroquois ceremonialism, music, and dance. Jn ‘Symposium on Cherokee and Iroquois Culture,” ed. by Fenton and Gulick, Bur. Amer. Ethnol., Bull. 180, pp. 173-195. See also Sturtevant, WILLIAM C., 1961. Mason, BERNARD. 1938. Drums, tom-toms and rattles. New York. MAXIMILIAN, see Wied-Neuwied, Maximilian Alexander Philip, Prinz von. Morean, Lewis H. 1901. The League of the Ho-dé-no-sau-nee, or Iroquois. 2 vols. Ed. by M. Lloyd. (lst ed., Rochester, 1851.) PARKER, ARTHUR C. 1909. Secret medicine societies of the Seneca. Amer. Anthrop. (n.s.), No. 4, pp. 608-620. Ror, Frank GILBERT. -1951. The North American buffalo. Univ. Toronto Press. SAGARD, THEODAT GABRIEL. 1634. Le grand voyage fait au pays des Hurons. Paris. (English ed., 1939, Toronto.) KuRATH] IROQUOIS MUSIC AND DANCE 767 Speck, FRANK G. 1911. Ceremonial songs of the Creek and Yuchi Indians. Mus. Univ. Pennsylvania Anthrop. Publ., pp. 157-245. Philadelphia. 1949. Midwinter rites of the Cayuga longhouse. Univ. Pennsylvania Press. Speck, FRANK G., and Broom, LEONARD. 1951. Cherokee dance and drama. Univ. California Press. STURTEVANT, WILLIAM C. 1961. Comment on Gertrude P. Kurath’s “Effects of Environment on Cherokee-Iroquois Ceremonialism, Music, and Dance.’’ In ‘‘Sym- posium on Cherokee and Iroquois Culture,” ed. by Fenton and Gulick, Bur. Amer. Ethno]. Bull. 180, pp. 197-204. Watuace, AntTHOoNY F. C. 1961. Cultural composition of the Handsome Lake religion. In “Symposium on Cherokee and Iroquois Culture,’’ ed. by Fenton and Gulick. Bur. Amer. Ethnol. Bull. 180, pp. 1389-151. Wiep-NEuWIED, MaxImMInIAN ALEXANDER PHILIP, PRINZ VON. 1906. Travels in the interior of North America. Jn “Early Western Travels, 1748-1846,”’ vol. 23, ed. by Reuben Gold Thwaites. Cleveland. (1843, London.) RECORDS Frenton, WituiAM N. 1942. Songs from the Iroquois Longhouse: Program notes for an album of American Indian music from the Eastern Woodlands, Archive of American Folk Song, Library of Congress, Smithsonian Publ. 3691, Album VI. 1948. Seneca songs from Coldspring Longhouse, by Chauncey Johnny John and Albert Jones. Recorded and edited by William N. Fenton... with comment on the music by Martha Champion Huot. (The Library of Congress, Music Division-Recording Laboratory, Folk Music of the U.S., Album XVII, pp. 1-16.) KuratTH, GERTRUDE P. 1956. Songs and dances of Great Lakes Indians. Ethnic Folkways Record- ings, Monograph Series, L P 4003. . ae teas # a ee ob i D ses ‘ : ax 2 a mosat | ay shares et: ‘ f a hse “9 nk tyes ae 5 al “aan KURATH] IROQUOIS MUSIC AND DANCE 79 Primal Secundal Tertial Quartal Feather Dance aE > § 6 Husk Face False face 1. LJ Ih Os a 2 a 4 No un! LY ee o | ; ° ® ——————e Scales | FIGURE 1.—WNSceales. ie) 0 BUREAU OF AMERICAN ETHNOLOGY [BULL. 187 Primal Secunda] Tertial Quartal Buffalo Dance Be = feo: = Bear » | b gal te é A saeres == =——. = — f ial Dark Ohgiwe —~ ‘ y fees eee i, Quaver jing ee a vs S : Hef P45 SS + Change |ribs — bas [Te > 2-6 = t oe ZN = = towisas > = Hy # Y an Lt" === es Kan lye C old mat great ees 7 =. new : A HAS = es re Corn ; w/ 5 f om" Ta.) = \ rt o —= Pps Trotting} Garters I e Seymt a" a it . 6 FIGurRE 2.—Scales. KURATH] IROQUOIS MUSIC AND DANCE 81 Primal Secundal Th einataira’ | Quartal Hand -in- hand v— — = ae ae a ein ————— a Choose-| Partner FIGURE 3.—Seales. 634-599 O- 64-7 82 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 Rhythms Men's Dances Feather Dance a =132-152 @cs¢@ Drum Dance J = 88 ee ee i a a. @ @: ry Adonwe Jj = 88 eases ee Pay Eagle Dance J =l2 = si « 2 @ PrP» 7 SS ae Sun Rite J =104 Es a er 27 or a oo or = 6 and . t War Dance 4 =104 oY oy oer Sat oe as 2-2-2 ——_ 0 5 == = See Stee See ? ? real ts FieureE 4.—Rhythmic figures. KURATH ] IROQUOIS MUSIC AND DANCE 83 Animal Medicine Rites False Face - J=60 J-6 4= 160 Ss é [x Ay oJ (2 a me) = ee 2 tt pee Ww J = 132 Husk Face gate _- eS eye = 168 eo ae , \ if yeidos % 2 = 88 J = 104 CS a Se a a ] Sas lee = =o EEE EEE = yop fp ae bv J = 88 sed Ashes Stirring x 3 = B0 ee ve am - ip =| Buffalo | =104 === Pe meat = ? ee Bear = + 2 =104 Figure 5.—Rhythmic figures. BUREAU OF AMERICAN ETHNOLOGY [BULL. 187 84 Women's’ Medicine Rites Dark Dance @=100 = = Quavering =e =e : —— = ey Change-rib 3 a 4 = 88 = = set ic ef Pfr = coaleani ohgiwe aloe —— = oo =a Jee 222 = ee noche anaes : Carry - out - the - Kettle Jd = 84 === == eS ee ~ i FIGURE 6.—Rhythmic figures. KURATH] IROQUOIS MUSIC AND DANCE 85 Food Dances d = 96-108 a) Great Vee. = Sy ey & ——— “2 2 3 = = Pro os = New a 3g =112-120 o@ Corn = 100 -@ #8: fg ae Oe OOo = SS nied o°@ (aa! Hand - in- hand J = 88 9 SG 2S eS SS a @ ry r SS SS Se Se SS SS SS SS SS t { end FigurE 7.—Rhythmic figures. 86 BUREAU OF AMERICAN ETHNOLOGY [BULL. 187 Stomp Dances Trotting J = 100 ee ee eee eee n nC — Garters J =104 ; : @@¢e it A 2 al ee ea Pigeon S08 = i 3 3 3 and ee Shake -the- Bush J= 100 ee rd @.@ s @ *@ @ 7 and ¢3 = ¢ Duck J.= 69 . ia : teat CEL Robin Variants J = 108-120 o : a —~ = s=e Ss se oe See Seer eee ae = tt Se Figure 8.—Rhythmic figures. KURATH] IROQUOIS MUSIC AND DANCE 87 Fish Type Fish Dance YP eee 20 ea one sa a ah ER 0) | gocenen 2 = 92-126 =z Se TT EE EES SY eee o @ @ @ @ 2? 2 a —— SS ee e re Chicken a “T= 108-120 Seen J St 1 eee Se See J af See ey a_i s s a= i «e Sharpen -a- Stick 3 =12-126 24 2S = ee r i Choose -a- partner 2 = 'l2-120 oe €26=26=...=— | _ 66-6579 —_6= e és 2@ @ ee ee Figure 9.—Rhythmic figures. 88 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 Contours 3 = 4 a ee 5 ‘ “ A A A Se So a 7 ; oe 8 A B pg 9 ' —S Friaurs 10.—Contours. (For explanation, see pp. 44-45) KURATH ] IROQUOIS MUSIC AND DANCE 89 Round Dances One Sex Sideward Forward g 9 2» ®B LE a p - a a ¢ ze) v a} ee 4 4 (aot oe / \ / \ / / N\ > ae : Sa bee i iyondatha u ohgiwe Dark Dance FicurE 11.—Rounds: One sex. BUREAU OF AMERICAN ETHNOLOGY [BULL. 187 Segregated Forward Sideward Buffalo ie B Robin A’ B’ d. © o re) oO. 0 ‘ = } <0 | i “ (2 ew “0 * o i) - ' t 1} a Es wf x " A Y a % ~+T fee Feather, etc. FIGURE 12.—Rounds: Sexes segregated. KURATH] IROQUOIS MUSIC AND DANCE 9] Alternate Stomp I, 2. gadaSot Corn, etc. Garter = Crossover aaa Ft a @ a Q & 1} b ' 1 B 1 3) s it . & ; i] + op 4 X . cs @ Sac Pe @ D Garlter Vv gadasot B Bic F1IGurRE 13.—Rounds: Sexes alternate. 92 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 Paired—Double File Ahead Crossover Duck A, C Shake-Bush Duck B B A! Figure 14.—Rounds: Paired, double file. KURATH] IROQUOIS MUSIC AND DANCE 93 Side Twist—Double Stomp enskGnye Feather Drum FicurE 15.—Rounds: Side twist, double stomp type. 94 BUREAU OF AMERICAN ETHNOLOGY [BULL. 187 Feather Dance Dance |. FIGURE 16.—Feather dance. KuRATH] IROQUOIS MUSIC AND DANCE 95 Fish Dance Twist step Coupled Twist Crossover a8 eae o . a oe 9 es » = |>- i : + - J SES SIRE re) al i J oe) Cc s» (2) & B and B A! Figure 17.—Fish dance type. 96 BUREAU OF AMERICAN ETHNOLOGY [BuLt. 187 Straight Lines In place a. b. A Eagle B Meet t [+= rier oped ?4 B Strike-Stick A Cross Loiace oO 1 ae Vas 6 €--- LV oO 1 “ - one od os 4 e) oo AS oe a" 10- vo O---> Figure 18.—Straight line. KURATH ] IROQUOIS MUSIC AND DANCE False faces TS ead Re Figure 19.—Stick figures of False Faces and Wasase War dancers. oO NX / 634-599 O - 64-8 98 BUREAU OF AMERICAN ETHNOLOGY [BuLu. 187 Steps Stomp Type LINE OF DIRECTION L. Stamp right foot Flex knee Left foot step to right Flex knee Right foot drag to right Flex knee Left foot shuffle back Flex knee Right foot shuffle back Torso erect, shoulders level Flex knee Left foot shuffle forward, to right heel Torso slightly forward bent, right shoulder forward and down Flex knee forward Right foot shuffle forward Man face center of circle Woman face center of circle Male leader face ahead Female leader face ahead ai. pa Man face ahead a o Woman face ahead LEFT RIGHT Fish Dance Type LINE OF DIRECTION Walk forward left foot Walk forward right foot Torso erect, shoulder level Flex knees slightly Both feet turn in, heel accent Flex knees slightly Both feet turned out, right foot in back Flex knees slightly Both feet turn in, heel accent Flex knees slightly Both feet turn out, right in front Weight on left foot Left foot forward pat Weight on right foot Right foot forward pat Man Couple crossover Woman re) LEFT RIGHT FIGURE 20.—Steps: Stomp and fish types. KuratH] IROQUOIS MUSIC AND DANCE 99 Women's Steps Men's Steps False Face Round ENSKANYE STEP HEEL BUMP Bump left heel SL i e Left foot forward ii Abbreviation Bump right heel | @ Right foot forward kc. ae Knees flex simultaneously f G Right foot pull forward 7 and right, turn out Left foot turn in Drum Dance Knees flex simultaneously Right foot pull back and — right, turn in Left foot turn out Stamp right heel = raise left knee ° Right foot forward LL Progression sideward right Left foot forward leaving left ball on ground iv Right foot forward, J eo == Feather Dance Raise heels Left foot brush forward and up f ye — __ Toes turn right, “| right foot turn out, left foot turn in : obliquely, ~ raise left knee Right foot forward a Ll Raise toes ay “ Left foot to right heel eels twist right, —e-|a— — right foot turn in, left foot turn out ; obliquely, raise left knee Right foot forward Torso erect Torso stooped forward Knees flex at every step FicurE 21.—Steps: Women’s, men’s. 100 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 Jumps and Kicks Musical Symbols False Face Pairing D=drum ig Extend left leg forward e Percussion C Flex left knee forward R=rattle t Hop on right foot eo @ LL Step on right foot Tone flat f Maskers tT Tone slightly sharp ( s | eo @ Tilt torso to left Pulsation "f e % Kick right foot right Tremolo RLS A Jump on left foot eetees Vocal quavering > ° 4 =. Jump on both feet, straddle, knees out Down glide ae Wasase Up glid p glide A Torso stooped Repeat Rod e@ e Kick left foot forward ft Three repetitions 3 |: Hop on right foot 4 ee Jump on both feet, Fine, i.e., end broad base, knees forward Intake of breath V Eagle Dance Tentative phrase division ' : CDA Hop to right, both feet, Antiphonal division deep crouch Figure 22.—Jumps and kicks, and musical symbols. PART 2. SONGS AND TEXTS OF COLDSPRING LONGHOUSE (Figs. 23-101 follow Part 2) TEXTS Burden syllables have been inserted between the lines, as a rule only on the first occurrence. These syllables, it will be noted, follow musical phrasing and recur with the recurrence of the particular musical phrase. Thus, a melody consisting of one theme also repeats its syllables, a song with two themes usually employs two types of texts, repeated in the same pattern, whether it be A A B A B or A A B A. Certain cycles repeat a formula after every song in a series, thus ‘‘yahowiyahe”’ in Feather Dance, ‘‘yowahane”’ in Changing- a-rib, and “hoyane” in Hand-in-hand dance. Indications of the rhythmic pattern compete with the texts for space. Hence, meaning- ful texts and their translations have been typed out separately. DANCE SCRIPT A minimum of choreographic symbols accompany key songs, to show coordination of melody, rhythm, and step, and to indicate the fundamental step type and changes or variations during a song or cycle. The key to the symbols can be found on figure 22 (p. 99). RITUALS ADDRESSED TO THE CREATOR (See figs. 23-31) GREAT FEATHER DANCE TEXT AND TRANSLATION 1—4. Syllables. 5. o-neh(n)di ne’ho daodiyondje’ honondig(n)de?yahowiyahe now then here they are entering the officials 6. oneh di ne’ho otadida-t honondiondo yahowiyahe now right here they stand up the officials 7. yo wenonya wenonya: yo ho ho ho ho ho we’nonya yo’wenonya. 8. yo.’ yo- ya: det‘éhe-ta oganoghsayenda-dje’ yahowiyahe he’e he’ ¢ shouting the length of the house 9. djoganowiyo wiyo 0’0; he’e he’ ne; djoganowiyo yahowiyahe 10. ganoghsago todiyo he: [:heganohsayenda he:] 101 102 BUREAU OF AMERICAN ETHNOLOGY [BuLy. 187 inside the house they have gone in; the whole length of the house 11. Same 12. gagwego ne’ho nq’ ji’ye one ne’ho yaowiyahe everyone here must do it (dance) now 13. gagwego one jogwayo he nigya jo: ne’ho; yahowiyahe everyone now has come back from recess here 14-17. Burden syllables 18. dihawehoye¢’ ne’to’ne’ng?; goyahoninehe’e hee hi blossoms on both sides (of the path) where (they came from) 19. wiyo wene’he he’ e’e dzagodogoh’do he’ he’¢ beautiful (it is) she passed that way 20. Jot‘ayone gadak enondje’s deyatéingsendadye; howiya howiya he he wolf runs along the rim of the gully 21. yohe’dzage wadoni djoheh’go howiya he he he on earth it grows our life supporters (food) 22. gwiye’ gwiye’ yedakeah; yo ho’ ho hawk flying 23. wiye wiye’ haneha’e; hodedadye’s des‘egane ges he (sun) goes past; then look on it 24. yo: gehoyade’i ne’ho neto neno ne’ho; gaye’e he’e’e sky world there whence they came here (the four persons who appeared to Handsome Lake) 25. onetoha’ esgah’dandi wiyo’o ho now soon Iam going home fine 26. ’oskenonda’ onya‘a’ ganeohgo’; yahe: howiyahe: he’e he deer’s neck is in the corn soup 27. o’nedine’ho’ deyaweoye’ heowe yoe¢dza’geh honge: now therefore bloom flowers wherever on earth now (over the earth’s surface) 28. one di ne’ho: awehoniyondo’ heowi ode’hado-ni onene; he’ he now therefore blossoms hanging everywhere in forests now 29. yewe’nonda‘dye’s gayoheyade voices reverberating in the sky (the Thunders) 30. yedakhe’ daye yo ’oho’o ho-gano-hshe’ odyeda‘t she is running in; in the middle of the house she stands 31. yo goya howene he; honihe; weyo ho ho ho; he’e he howene 32. on ¢ dine’ho hedwanogai‘dat; ga’yehe’ ho howiya howiya he wiye he now therefore we the songs shall end 33. yohe’ ¢ yohehe’he ganohshe’sho’o hada‘k‘e in the middle of the house he is running Kurata] IROQUOIS MUSIC AND DANCE 103 RITUALS ADDRESSED TO THE MIDPANTHEON Figures 32 to 38 are the songs used for the Midpantheon rituals. SHAMANISTIC CURES (See figs. 39 52) FALSE FACE DANCE TEXT AND TRANSLATION I. Marching Songs—not recorded. II. Common Faces— 1. he’ ha’iye he’e haiye ete. 2. he shagodyoweh shagodyoweh he haja’dota’ the great doctor he cures 3. he’e dehaskayondye’a he’¢ he dehaskayondye’a they (the False Faces) are coming in (they go where the ashes are). (They here crawl in) 4. he’e hongsoni’ga’a_ he. . He is of the League people ees to the Iroquois) 5. haja’ tgahaato’ ageggsa’ turn over my face (the masker turns a flip) 6. o:ne ne’ho haja ?dota’ right now then cure shagodyoweh o-ne ne’ho hae hai hoii (Receive tobacco, go out, unmask and return for mush, ojisgwa’) III. Thumbs-up— 7. Mask and lady sponsor—ye haiyo... . 8. hatiyo . . . +» (two False Face pick out men and women to dance) IV. Round Dance— 9. ong negi o’sogwaya’ donyaanohe shagodyowehgoowa hane hoi. . now we must stir our bodies (dance) for the greatest doctor 10. hodayedosondyondye’s shagodyowehgoowa hane_ hoi he peers around the greatest doctor (to see who should be dancing) 11-13. Burden syllables 14. gaiyohiyade’ha’ (repeat) hoi... on the sky 15. agidawenone’dago gayohiyade hai ... wiyohenee my voice echoes up onthe sky it is good 16. Sponsor’s dance song. Husk Face enters and starts her off in dance. esagoya’donya’ngg shagodyoweh’ gowahane’ eyagowenonentaak hoi... you her body stir (start), for O greatest doctor, she has sponsored the ceremony 104 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 17. Husk Faces in Round Dance wiyoho haniyondg’q’o pretty hanging “knobs” (balls) (pods) (fruit)—male masks 18. gayehe honiyondq’ hai. . his hanging knobs of husk 19. hoya heoda’geeoda’gwe oongh ashes flying now (Two wooden False Faces and Husk Face go to firepit, dip their hands in ashes and blow on patient. At semiannual ceremony treat several patients and each other. Two society matrons receive ashes before paying tobacco.) 20. hoi. . . nyawene nyawene déoneh hoi... thanks thanks now HUSK FACES TEXT AND TRANSLATION 1. hai. . . yo’ hyo’ (hau’)gaaji (repeat) come here 2. ho... (hau)gddye’ (repeat) they are willing 3. iyo’ Jeyhano i(eaye a hoop of wood (staves?) SOCIETY OF SHAMANS TEXT AND TRANSLATION I. Marching Songs (paired)— 1. gahgahneehe’ dehahayo’ dye gahganee (repeat) hai yeh raven approaches flying slowly the raven 2. gahgahne he’ee dahoweenoot gahganee hai yeh raven cries afar (his voice sounds) (he is coming) 3. gahghahne wahogaini haghanee hai yeh enters raven 4. wedzogahga wahadiyo’ne’ haihe hai’yeh the ravens they have arrived 5. wedzogahga waheodjene ganghshe’geh wahenodjeee hai he these ravens are going to sit down; in the middle of the house they sit 6. (At midsong all sit on the empty bench opposite the sponsor’s moiety. The leader says, ‘‘ne’ho nowath’ gweni,”’ ‘there that’s the best we can do.) II. Messenger’s Songs—(hajas’was hoe’ng’) 7. owa’sawenee_ he’i he’i now they are starting (hoot owl is starting) KuratTH] IROQUOIS MUSIC AND DANCE 8. da’akdone’ he he’ee da’akdo’one’ dadakhe’ he’ii . he is coming to see he comes running to see wa’aheya hyehe 9. dakdone he’i wa’ahayo neil: wa’aheya hyeh he comes to see_ he has arrived 10. dayosawadjee he’e ... dayo’osawadjee wa’ohoya it is beginning it is starting from the beginning (The men sitting there will sing in rotation.) 11. wa’osawadjee he’ee ... wa’osawadjee wa/’a hiya it is going it has gone on to the next 12. yeei howe he’e (3 times) (repeat all) wa’ahiya hiya female duck 13. hahow¢’ hee... male duck 14. ye hayoho’oo yeihayoho yehayo ho’oo wa’ahiya hiya female duck on the water 15; ha hoyovho70o0) Yor. . male duck on the water 16. gahgane he’ei gahga’ane dadakhe he’ei wa’ahiya raven that picks raven is running this way 17. gahgane he’ei gahgane wa’ahayone he’ei raven that picks raven has arrived 18. yeda’akhe’ia deyeyo’o’o yowi’li... hatyeh she arrives running she enters running 19. aga’ade’eno geiedg’0’Q_ =yeidakheia dayeyo’o’o I am trying with my song she comes in running 20. wadehe’ nogdedjo’egoo gahi’deho gaya’sho haiyeh let the songs commence yeidos_ it is called (Free the songs) III. Throwing or Individual Songs— 1. haiyio haiyo’o.... hai’yehene’too enough (that’s all) 2. yo’o heya ya (repeat) wahogwainnoye’ ¢’ hik (repeat) we made an error in the song 3. oone’dago ganoogee no’owaa’ haiiyoo’o yahoo In the hemlocks are plenty of owls Crowd: hai’yeh Singer: ne’too Crowd: nyoh 105 hiya 4. hawei niyoh weniyo owadeohdandi he’i gahidohoh gowa ha’a It is going on the great yeidos ceremony 106 BUREAU OF AMERICAN ETHNOLOGY [Buy. 187 5. egidestee’ ne’tsodaagee’ hai he o’gya’jeen¢’ ne’tsodaagee hai he Woe is me, as I was coming I fell down as I was coming (An explanation of tardiness) 6. heyo heyo yo’ojinahee haihe heyo heyo 7. gagwego gende’hi’i heniyo wadi’nyo’o gagwego gende’hii Everyone I know of all the wild animals, everyone I know haii yo’ho wiye hehe’¢’e haiyeh nee’too 8. dahadidak heng’oje’e’e honeotingehe’ hai’ihee dahadihaag’¢’t They come running the medicine company they emerge from the woods hai’ihee haiyeh ne’too hai he In counterclockwise rotation, each man speaks and renders his song. If he knows a series, he may render several. The songs may concern animals, as the duck (egwe), great raven (gahgagoowa), wolf (thayoni), hoot owl (0’owa’a), muskrat (jinodaga). At his behest, all may arise and dance, turning from side to side. Opposite moieties sit across the fire. IV. Curing Songs (ow nui’ah)— 1. ga’ahga ne’ei (repeat) yohingnee (repeat all) Raven, raven 2. da’adgkne’ee’ dakdone’e hi He is coming to find out; he is coming to see da’adgkne’ee yohinehe hai’yeh 3. ga’ahehe’geh nija’weno’nee’ (repeat) hai hee hai’yeh Atop the tall timbers whence it came 4. ganohsago heyaweng in the house it has gone 5. ganohshe’egeh heyaweno in center of house it has gone 6. ganohshe’geh hadehiit ya’a he’eee... hai At the center of the lodge they stand 7. (Female song)—rendered first if the sponsor is a woman. godegiya godegiya ya’a he’e’e’l godegiya ya’a he’e he’e’e’1. . . 8. (Male song)—rendered first if the sponsor is a man. hodegiya..... 9. hoga’ano’ye’ osaye’ endadje’eee haine’e nee he yohine’ne He travels house to house, the whole length of the longhouse haiyeh dane’héh that’s all Note.—Two preliminary songs, to release Little Water Medicine, not included. V. Round Dance—(ganon’yah gwe’’go-wa) (Seated) KuratH] IROQUOIS MUSIC AND DANCE oON 10. ite 12. 13. 14. 15. 16. lif @ 18. LO: 20. 21. 22. . yowinehe hegaheng (repeat) gwa’a gwahee’ the song gahidohe o’wadeng’ hgedat’hi howadendhdandi hi hi yeidos ceremony is going on it is going on . haine ha’ine hige hige he’ehe gwa’a gwahee’ I am going . gahidgho ageegene’ huiwe’hee ne’ gaenq’ yeidos I see it walking the song . gahidgho ageegene’ huiwe’hee hewageeng’ yeidos I see it walking IJ went there yowine ga’ayaha :| (3 times and repeat) 107 yowine ga’ayo’o’o yoho’o’oh _he’e hee hoji’ha hawine hayoo .. . yowine™.)* 3 jodaha hawine .. . yoho johe noga_ dadiyo yoho (repeat) Yonder song they come in yoho jogwayo yoho . we came ogesen oges sehen hoganohsayendadye’ yowine They’re stomping, stomping the whole length of the longhouse (Arise) doodi dodi dwadenogehehat We will try (Standing) oh’dejo ha’a’a oh’dejo ne’ho nage’eng haide gwa’ gwa hee’ It is going here, my song o’jogwano sohiide’ haihe.. . We the house fill with noise of stomping ohdejo :] ne’ho o’jogwaya’dedeso’ :]* gwa.. . It’s going: here we turning our bodies side to side. We are stirring. (Pretend to dance.) ohd¢jo :| o’jogwagohsedosa’ :] It is going: we turn our faces side to side. We peer about. ohdejo :] ohdenjoha’ :] It is going, moving, it has started. (Start to dance.) (Dancing) gwa’ gwahee’ we’eniyo hehe :]_ gwa’ gwahe’ gwa’ gwahee’ ha’eniyo hehe :] hainiyo hehe :| gwa . gwa’ gwahee’ gwe’ niyo hehe :] gweniyo hehe :| gwa . . . Weenlyo ... ha’awiyo hehe haiwiyo . 2% A dotted bracket indicates repetition of the preceding phrase. 108 BUREAU OF AMERICAN ETHNOLOGY [BuLy. 187 23. 24. 25. 26. 2ile 28. 7S) 30. 3l. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. ha’ehiyo ... haehiyo.. . hogayaa hogayaa ha’a deyogwahe henegohdo’a :] hogayaa .. . We have fulfilled the songs hogaya hogaya ha’a dejogwahe’ nogesgwe hogaya . . We have repeated the songs dejogwadoh¢’ jogohdo’e hogaya... We passed through narrow valleys hogaya’. . . gwa’ gwa he wahaa’a :] nehi otadiya’a dodadiye’i’so’a (Dancers stagger) All their bodies are swaying sa’yode’e sayo’odoq_ haihe haihe :] hai he gwa.. . Woman you are lucky, you will recover watcodo watcoda haihe :] igende’e 1’gende’e hi hi wa’agonenhonkd¢’ I know why she did get sick wa kheje’h wa’khejehe’¢ i’gende’e ho’dajesho’o I make her well, I cure her I know hayo’wa :] yohigeege yowigeege : hee’ ha’yowog :] hai’ge’g¢ haiheh haihe :] hojigege hojigegeh’ jige’ ge’ehe |] ho’ gainondiyeda’ nogwaing ha’yowe hig¢’ne hayowe ha’ yowant Song is mixed, our songs are confused hogahenodiyonde¢’ nogwa’heng’ge’ choo The songs are clashing, our songs yowihi :] gahidaniyondo’hog :] The yeidos is hung up overhead yo’owihi :] neyo’owine he’¢¢ gahidaniyondg’ho yo’ ohoo ganesagg ne’ ho we’ey’ho :] beneath the hillside they are walking jihed’ode :] gadoge :] They stand up a twig at a certain place (by magic) Jiho ... .gano’she ganghshehe’ :] They erect a twig in the middle of the lodge (stand rattles on end.) jiho .. . ehda’geha hahod¢howihi :] They erect the twig low down he is carrying it (place rattle on floor) wa’ khenyode’:] gadooge :] I stood her up ina certain place wa’k henyode’ ganghshe :] I stood her up in the center of the lodge wa’ha’a :] nehe keyadenohgeahda’ :] I will try to have her dance Kuratu] IROQUOIS MUSIC AND DANCE 109 46. 47. 48. 49. 50. dl. 52. 53. 54. 55. 56. 57. 58. 59. 60. 61. 62. 63. do’odi do’odihi’ keyahdedjedoho :| i make her go (She, the sponsor, starts dancing) ho’tgainogo’daje’ hot... The last song (for the company). (Masker goes out to get mask) (Masker) hojigegeh hojigegehe’ dehadigghsahe’ah :] The two masks look in — hojigegeh . . . dehanoyayendonehe They are coming dancing ojistagweniyodohg wa’ahee :] nehe :] wahe Embers are ready she says ojistagweni deyoditha’:] ’a henodonyoho’ ho’o’o Embers are ready they two say to each other, they all are saying hai hee he’i . . . deyadigosa’nege :] (Mask and man) Their two faces are against each other haihe . . . deyagigohsa’ne ge :] Our two faces are vis-a-vis hai ... dehigghsanegs :] Their two faces are together (Mask blows on man) one’yai :] hai he fire (red hot rocks) hai ... (solo); hai he he’i (chorus) o’dagwe ho’dagwe :] ashes flying about hai ... (helper) hai (solo) watisdayano’dang (S) hai hei (Ch) Sparks are streaking ha’tgghsayanedanog (S) hai he (Ch) He is peering around turning his face from side to side hai he hei (S and Ch) ho’o’o’ (Mask) odiwahenewehent gahido’ ogowaha’a Let us put the songs overhead of the great i’dos (sharp point) hai ho’e’e odidwaheowehent gayoweo’9’gowaha’a Let us put away the songs overhead of the great sharp point hai he hei ... one sawahdendi’a’a hai ... nogwaeno(geq’) Now he has departed Our songs that are past (dead) hai ... gahidohggowaha’a gwa he ... of the Great yeidos hai ... one sawahdendi’a hai .... gahidohdoowa’a Now it has gone home the great yeidos ceremony hai ... gayoweo’ogoowa’a hai ... dewanovayehdg’nee’s the great sharp point (mask) _it is peering around 110 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 64. yohaha hei :] deganggeoda’ dyese |: gwa gwahe :] neeto The horned ones are butting each other (Dancers bow and put their rattles up to their heads and butt each other.) WOMEN’S MEDICINE SOCIETIES (See figs. 53-68) QUAVERING TEXT AND TRANSLATIONS 1—5. Burden syllables 6. hong do’ye’he_ we’han do’ye’he Now the ladies are coming to sing They have come to sing 7. yo''osodagwego goya’dodata’ All night long she was fretful, she trembled 8-12. Burden syllables 13. djohe’ djade i heswodye’e :] ewogode yddahgwe’e :] At the far rim of the earth Contrary as it is it (male) will sit (at home) 14-17. Burden syllables 18. onondowa’ geh :] yonine On the great hill (he went) 19. ’agawiyo’he a’agawiyo’ohe :] ha’nonya? I have a good one 20. ogyawiyohe oggyawiyo’ohe :] You and I have a good one together 21. wiyoyo’wane wiyo yowane :] deyagiya’dowet'a’ agwas diges goyonde How nice it is :] We two are thinking how indeed she is smiling 22. wi’ne’ho: ;] right here 23. i’ne’ho_ skoyeno :| I’ve got you back 24. ne’hosa heyone’s ske¢ :] yawe’he gayoho :]_ de’agyeno’he heno’o :] Over there let them stop I say I didn’t keep her 25. do’da’wedodawe heng’o (wa’i nai) hedodawe :] hoi yoh It is coming back here I guess _ it is returning 26. hosaw¢ho-sawewai’ng’ ne’hosawe :] It is going back home, I guess 27. ye’enghes :] wai’ng’ gwasne’ giwado: ge¢’¢ :] wadohoge She likes it, I guess. It seems I am not faithful (Syllables difficult to identify on tape). Kuratu] IROQUOIS MUSIC AND DANCE TL RITUALS ADDRESSED TO THE FOOD SPIRITS (See figs. 69-82) SOCIETY OF WOMEN PLANTERS TEXT AND TRANSLATION 1. oya’a hi oya’ahi oyahi yawe¢’ho’ oya’ahi berries are ripe oya’ahi :] agades‘e’s’ oyQ’”’9 oya’ahi berries ... I have begotten grandchildren oya’ahi :| dayonese nondye’ah oya’ahi berries they are coming creeping 2. gagwego oge’ge’ ne’ ongwe :] gagwego ke’ge¢’ s‘o’ ne’ ongwe :| All have seen me, the people All of my younger siblings, the people All have seen me, the people gagwego keyade’ ne’ ongwe All of my grandchildren, the people 3. gendi’ hiyo hige’ah :] 4 times In fair fields I am walking gendak-dadje hige’ah :] Along the meadow’s edge I am walking gene’ wiyo: gay¢tq :| It’s a nice garden that is planted geme’ wiyo: ohehoo't ;:] It shows nice ears of corn 4. ske ho ya’de’ nidwa‘geno’ho :] 4 times From beyond the sky we’ve come gete si’ dewakda’ 9 ho :] In nice fields I am standing getes’o hewagenoho :] From the fields, I have come back, returned here dane’ho’s‘9 That’s the end too. 5. wenitciyo wa’éhe’t: |] 4 times What a nice day at dawn 6. ga’sehe satkwa’sa’ :] 2. times ha’tagayei gahastei ga’sehe... as That’s enough, as strong as I can 7. Marching Songs one edwadendi :] twice o’n¢ ne’ho nai edwahdendi ong dwadendi Now let us go Now here once more we are going 8. ong hiige’ :] one gaintg ong hi’ge? Now Iam going Now let it stop one ne’ho nai oentwenh :] one Oentweh one nai . Now here again the wind has stopped Now the air is quiet (12 BUREAU OF AMERICAN ETHNOLOGY [Butn. 187 ho’ganghsa'yenda‘dye’ :] gangnt’¢s‘o’ hige’ah ho’ga . Yonder lies the Council House In the middle of the house I am walking 9. gndahe hosage’ :] gendahe’ hewago..... Through the fields I return From the fields I have got back gaindago hosag’eah :] gaindago hewago.... . To the garden I am returning In the garden I’ve got back oneho't hewagyo :] oneho't ne’k’hawi..... At the cornstalk I have arrived An ear of corn I am carrying O.n¢ Sa ya.gwayo’o :] On¢sayagwaje’o..... Now we are back Now we are sitting down SOCIAL DANCES—STOMP TYPE For Social Dances of the Stomp type, see figures 83 to 92. SOCIAL DANCES—FISH TYPE Figures 93 to 101 show Social Dances of the Fish type. KuRATH ] IROQUOIS MUSIC AND DANCE 113 Veice o = 112 Feather Dance C.J. se 194] = 2 ' Rattle us 12 anes . o—-, 3 a ———s= zB z aes = —s { a = 7 ie eel = SEase So Roa hyo yo yo 0 wenya weno ya weng ya ye he he he-e he he-ee S 2— = = ———— = fm # ——- { Sa er Eee = | the ae a eae a e rae yo ERLE EPP EPP Lt Ll! gayowine hayo wine hayowine hee he - [> = ae 2 ees o- o SSE od ee ee a ee a tame ff 2 SoS = oS == S22 sea == ha yowi ne he- hiye he heyone he- ¢¢ yo y= 138— 152 Re f= 120138 = 152 Dance 5a a = s rs zx — Boe ear {_£[ yoda ha wino ya yoda ha wino ya_ he Chet Crete 1S 8 ee see eee he yo da he 4 yoda ha he (asa a eres See SS (lg i als we go ya he — : ee =< —— = so rp £2 «@ eae ete Rattle al c ( FIGURE 27. 118 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 Drum Dance C.J. John, A. Jones J= 92 1945 Chant Solo So- Helper ' ; > iw] 3 Cc 3 ce ce ce ce wedi bm i> alii | Ih : A ) | “ wiyo ya ne no he ho } i ‘ oo | : ce Za ‘7 ; J 2 Soe 8 ee ea sae ae \ ae aCe ON ee alee cae f Dance ———. gee ee f if oe > Pe emear = =5' =sS2— Z — 2 2 aS 2 ri ee ye te no wi 2% ya = no. Oo a= ee aS eaee Se 3 See 4 . So Cs ay cs eee Eee eee eae, fSE essa ss 7 2a ie coll pe humm Ae. diel Daer 9 ¢ pee e ee eae ses2eeSsse =e. ial ae ioe Re ect te oS 33 Zaria o ee 2 ae 2 e a=) « = ; = aS SS De Ra Carre, = u ane ya nega yowa ne Ms So a vi : E a oe |, *# se = _—s moe ee FIGURE 28. KuRATH] IROQUOIS MUSIC AND DANCE 119 J = 120 on B = pb _@ _@ @ _ a rd a a 7 ery 2 pee eS dD ¢ ° cea atm hea ae ee vane do wa 2 vo - N P = 9. aan do wale a f f = =| paeseeS eee Seer =] rf Crit Tam, bane dya ya ha’ a = es a Y ve sae ee = 10 A A! een A = pie oe rr" eT s Wi; —" os ¢ s Bae Sais e ee SoS : (¢ B SE Cartnti ha yo ae diya we lee) ae ol al at ce a Z | 2 = ose at (Sosa = ee e Comat ff eet eras he'e ng Se yuh not tt ces - = Sey Sse Lr hano ya‘a yono oe yono wi ya yaa rare hano yaa yuh bo eres SS222e: S2esaee = aa haye hoyan-e = we wnele soyemncie we hoyane_ wi hah eee = = haya wiya haya we ha'ane == =e foeac=—- a atte eee a ae. S25 sis2 7 FIGURE 29. 120 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 Anti phony rots *: eR meat aig i eee ee Ss ee > R = 1 4 fa ‘ (P 2 ee ee eS { hano gota f f ie ete a a ie ake ae wada dis yowe huh 2-2-7 12_{:__ ae SS == = a Ten r SS ACHE aes gwe ya n SAE be ieee i 61 : er —— Es a + gane—ho—goore SS t ces gwe he? Min gane ho goone 6 S$ sige ee Concluding Song a) ray er! : a ra 224 oo ee ae | 2 Sa eae Eee go = eae ee ee 2 ae La ees sae ==. Se Ee] (eat Recapitulate Dance Songs FIGURE 30. KURATH ] IROQUOIS MUSIC AND DANCE Al Adonwe C.J. John ; ' . 1941 = * ss = = = ‘caegee | he he a ——— S26 See lag =: 4 ho niya gwenode yegé no ee es a ho niya gwenode no ho ni ya gwenod e hege nde SSS === a= ——— | 2 higendi ho niya Tee eee yuh : == Z oe ar a ee 3 ig ig ige ha - ne hoga ha ne Rahat git git gano dat ye- Bp : yeh yuh — =~ sew a = — = ewer a ee ee A yagode se wewe yago wee e p he yago no stwe ne yo -wiine +—# 3 (ae z "Se SS See ee djagono stwe we yagogwee o 1. A voice rises upward 2. I eam walking HiGuRE, Sis 22 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 Eagle Dance d= 62 C. and R.J. John eee Sens Sea yo'o wehane ae ee J =100 aS -se- te —— cae uf =a soeoee F = eee 4 an eae > e caip 2 =A eee ee 52 is , = Ss a _ eas : B ——— we baer ice ya'a_ heyong 9 Pw 2, Meee tp Pee eg = a %? = ae na he yo ho we heyal ‘a ae yeh its iets oe es — o'o no Yo ——_ a — yo heno B we eo ee rd « ae Stee SoS ss A ee a_ hanty ae moe hana ot ° 00 Danes een *. fo as A t < =e aS ooo 4 5 —- ee =e = ee = Ly == — B we ya we he'e ya'‘a we heyo no r as e sz e+ ; t . + = = {eo - oe cE —| yaa heyo no heyo howi ya = heyo ng eee SS = ae = ———— } I 4 \ = = 5 A &: tp ul ‘ Ms ity a 78 t i —— = B re wi yaho wi he ne wiha ne f . aot eo o oe 2 es = ee aS == SS ( #--— FG FE —— fia FIGURE 32. KuRATH] IROQUOIS MUSIC AND DANCE b23 6 A —— = : we =o Wi Yoo” no- ha wiyoo no B pe Maalbeoe j—, «__» _o_ wi yaha wiyoo no e yo ho no bv . ; S98 4 FF -éd- 7a 5 SS —~“~nigo sa nigo sa hane_ he > 3 = i> a ° De , = 2: =e SSS Sa yo we gano wee ya hane he — Ss ‘ Ss —_o—__o—_o—__6_0__o_ oe —o—# ee. oF a 8 SS “wi ya ha he yo no ya ha “heyo no ( roa o-6= } o eas oo 8 94 © FIGURE 33. 124 BUREAU OF AMERICAN ETHNOLOGY [BuLu. 187 fe) : wot» ———————— res Se aS SSS Sea ee m wiye ha—- wiye- ha- wiye ha- ne — — 2 Sie aa eS ee eee —— wi yo wajine wi ye ha- wiye ha- wiye ha - ne — oo @ = = i 12 a ey % iS 3 ne ae eee we ya ne no we ya he ya'a he — Vee = SS =u 4 4° oe —_| ee “e ——— Bae al t =. = ae ct —+ yoroc hers we ya neno weya nowe ya- heya- he — td Y 4 Z a6 CI = 2 15 —a—s a 52 2252. =o = eee wiya- nene goya ha- ne — i FIGURE 34. KURATH] IROQUOIS MUSIC AND DANCE 125 wi ya hane — pega ha wi wiya no — ea SS goya hane — go ya ha we ya goyaha wi yo no x ee eee rs @ 2 , ST FE Se ee 2 == = wi yo wa ji ne ae a ae we ya ha he he- yoono se ee ee ee heyo- no yo waji ne yono diya wihe- yoo no é = = eax J25, Ge! | A yo waji iO gono— diyawe ya Se = Coda | ee = = ya howi ha ha ne he yoo ne FIGURE 35. 126 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 Sun Rite ar d= 108 B Curry, 1951 = ——— S222. === a er | (aaapet (eate ay ig f ao Bees howi hae hewiye Bein a — r === et = eae a | ee eee pS A ame a ote a ee eta oe ag “ “one gadoge nege ne'ewa Se See ase rt SSS f “"wi yo wiho- hiye wehe yowig € wi go wi ho - ave he yousty € weye hahawe hohiweh ohiyehe 3] 6-— S S ha hi wa he youi re 3. Onegadoge nege ne’wa We're going to find out FIGURE 36. KURATH] IROQUOIS MUSIC AND DANCE D7 War Dance Wasase 1 J = 100 Curry, 1951) A Chant es a ae og oO, ae sn BE SS SS SSS tee ea “~~ hawi yo wiya wi yowe ya Slave vee Bia 65 = 4 ae area eo ee = aa 2 A 5 3 Sie cfaisahes we . ea _— o ee Sige eee areas fs ak hawi yawiye weehiye we hawiya weehi ye Dance e . eo = Sloss = se aneee eS ae oe 3 ha ha weha wi ha he ‘ ie (: ha wiya he-s howi ya hee Cf te FIGURE 37. 128 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 6 2 =100 pe tpt sree cee wiyo habe — etl tuys as St honi wasa se hi ya wi ya “he — ty == 55 SS sae are «~~~ gano wii yo weehe £f weyo wii ye — Se ee = no wii yo wiho) — he hi he ege ote Ko hano wiho— SS = SS Sea SS { a erat From Kwakkwisaska near St. Regis egeoteko—The Seneca always come out on top Scalp Dance J = 96 \ Curry, 1951 A B ag a Ae SSeS SSeS = = = a ea ae tel wr~ gayo ho —- gayo wani ho Carica: = 7 a= t o aa occas ae B Se eae ees = 2 eo = h2 Sa identi ease ga yowa ne - ho — or ieee e aes SS s{ = FIGURE 38. KURATH ] IROQUOIS MUSIC AND DANCE 129 False —faces = C.J. John | acs . 2|: 1941 2 a ‘ | Bees eee = 3 g¢ thaiye he. ha , i ye, hai ye he ve hoi hoi saa. ae oe eae i¢ e 7 GS t A beetoudelias ga yo dye’a he ¢€ hg dehasgayo dye’a a he 4 . —3}$-— hee e hono soni gata” he ¢ he — 5 4|: oe $ 2 Peer gp Ea i hajat ga he haa to a ge go na enim lie Thiele i f- +s gp ee eerie one ne ho hoo yeho shagodjo weh haga do ta'a = ae SSaeaae as == : (ae cet ed meat hoi — One ne ho one ne ho'o 7 d= 108 Pairing 2a2== henawiyo hi yo fereas erie ye hai yo \ AY hate ha ya hayo hayoha yo'o ha yo wi yo hayo = @ Qa L tS es FIGURE 39. 634-599 O - 64-10 130 BUREAU OF AMERICAN ETHNOLOGY [Buty. 187 v J=138 g R J=104 Door Keeper — Round 2 ; re === = = === Se GG) ybe cole adyo wehgo waha ne Vv J =104 o'sogwe don ya no he 49 J e 5 fe > : : 0 Hoey hai hehe hai peigie hai he he hy hoi wi ya we yawe £C ¢ fee ¥ h aie h © hai he hee 4 = = ne he ai_ ho ho : at = : =| 13 wiga wene wi ya ne hai he he point @ , id = & a1 : a J pS SS Sa Sa 14 wi ya ha ne wi — — a hyehic hie. =— oe elem a =—==s= Sis oa Seer SaaS area == is) noaye yaider ha eng hai yo ho haiye haiyie yo agi da weno heda go gayo hi yade_ hai ho he oe 16 Sponsors Song 3 = eee ees a a a SS ee FIGURE 40. KuRATH] IROQUOIS MUSIC AND DANCE st False, Husk faces \7 J = 104 Round with Sponsor =e = O Brig ==ai} 5a Ve bie honi yon do hathe he'e haihe he hai he he Final Dances 3 9 |: \ . e > 2. i BSS Se eee ee Ge eet el Be er ee t FIGuRE 41. 132 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 Shamans Hadii ‘dos C.J. John, 1941 j-2k3 2 =69 I Marching Songs pete h cers —— oP ar SS a a = = rar —— ! o 2 eee eo 3 ; —s =4 6910 = esas ee ae 2 =a aes ze Saas a ealaly Vid Or : & do = ae o E — — —=4 78 oe avy Se os es ag: 26S Se eee eee I!- 16 same a 3 et trap? ae Sa es = == bare ep iS SS FIGURE 42. Ht KURATH ] IROQUOIS MUSIC AND DANCE 133 Gaaed: go> 89 Im Throwing Songs ae ao = == SSS EET era Poe oe [SSS = zi mans Ss oe i ‘a ——— é Sy =i Tore pe Ee a = 73 — = == ] 2 RJT ee 3 (Siieet = = 2=e= t= =a 3 Caw 7 foes pe —5 ~ es (One St ee eee 4 RJIJ , 4 Eg aS eer tay er ea lee ye man ue Ee pemeeeCTEeesae PRA tee ca 2 Tee FIGURE 43. 134 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 i203 J = 84 IV Curing Songs A = B é oe SSE 2 — SSS == == “peace B i ————— — = 678 Ne Fee — aa) == i= =e =e Ee == 9 aieeea ate b B aes 3 BES eee See at ee celal te tei ig S| FIGURE 44. KuRATH] IROQUOIS MUSIC AND DANCE 135 WZ Round ies oa) 2264 Seated FIGURE 45. 136 BUREAU OF AMERICAN ETHNOLOGY [BuLn. 187 2 2 soe ee = 5: 2S SSS] = SS SS Se SSS Se | 34. ee 35 ai Se FIGURE 46. KURATH] IROQUOIS MUSIC AND DANCE esve in i Lb . re i a Cc : - rad ao eg ee Se ee eee Se Ss ee ee a = a8 a eT Pe —— a 7 == Sa=2e=—==—) ——— = = 38 ad lib ete a =] = TJ @ 64 r a = ee ee ae eS eee ee PX fh 39. 3 ws = =: ae oo! a = Yo Te Seen ee eee 3 3 4|: x oe @ ’ — Se fff == == 40.-44. 2B os ; be 43 |; 22 22ree as a 36 Se ae] ==. =| 45, ~~ aes “7 > x 43 | a = ae Fs fs eo @ a FIGURE 47. 138 BUREAU OF AMERICAN ETHNOLOGY [ButL. 187 48. 49. 2 = 100 2 Masker S and Ch Final Songs eee _@ @@ @ oss Par alt 5 I: % = =——= === == SS = 64. Vv J,= 60 Q = Bee aero ——z % SSS R J=88 = “ ; ~ = A) ~~ 2 SS pen os SES Figure 48. KURATH] IROQUOIS MUSIC AND DANCE 139 Buffalo Dance | fi C.J. John, 1941 ice og. enon SESS “~ doo do he hay ane he do do’o haiya nahe do do _ haiya ne he 2 SS a FPS Se, | AS rus dats hayone aerate t Dance J=12 Aa (aba mail 2 ae re --- st yowano niya wehe A ay oo = r | Ss Peery ap rat === | yompa uence ha nendo Mol ne Be ot x ' a hi ee speetefegy os {5-00 neh hiwe ne = one hiwe ne he’e Ax 3 A’ uw 5 — Ze - = | = cau : a 9. A = hi t-- B ga nowi yo oho yo he he he yoho go yo wehe_ he_ ya E s oe a = ee Se ganowi yo yohe € yo he hoho wa ne yo'o ho R Bebe e f =a s = = 2 @ E = | wiho yoho hohoho hoho wane yeee wi hi f f FIGURE 49. 140 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 fe vent hey Uy Buffalo Dance Bye oe 5 S. Redeye, 1933 == se aea = faa ae ae tata = onal SF { —_—— ior } \ul z rt i ra 7 = z 4 —— — = a | djon ya squet hoda gonia Buffalo Dance, 1933 6. djonyaskwat hodagonia one rib is the cause of sickness (Not sung in 1941, because of malignant potency: the magic buffalo passes underground and comes up during this song.) Bear Dance All burden syllables except— 9. ha’ooneh jiigwe So now strip the bushes (of berries, the bear’s food). Members drink from pail of berry juice. FIGureE 50. KURATH ] IROQUOIS MUSIC AND DANCE 141 Bear Dance C.J. John , 1941 J=-@ 84 Chants Sg SS SS m , no hi yo we ga we he = mit ees aos = we ya ne hi yo SS SS suo) = 104 7 Dance ele cai oho i yo ho'o i oO = = - oe i uw a t = o e Sa == @ ° o ee ey eee == Sa. = SS | hi yo ho ha hi ae hi yo ho hai yo hiyo ho hahi yo hi yo ho SS | A Sue “hai We A x SSS z re a ae a Sra ae a i RUE | 5 AY. wane ee ver = f ga yo wa he ya'a Tee = tf u tte FIGURE 51. 142 BUREAU OF AMERICAN ETHNOLOGY (Buu. 187 ha one jiig-~we O-Nné jligwe = hai yé Anti oe — = ; S2=s we'e ha wee eS goyani ne can ni =e goyani ng go ya ni no- - = Be ree ee hi fai se Sea wiht hi go ya ha ha wihi hi = ha ha gers tp eet Sees SS. = yowan o f{wuh eat a [ea eee! = go no hi yo howa ne ya it yi — wa is SEE = =—— = = Boa | ha yo hi ye heya he howa ne haiyi hi FIGURE 52. KURATH ] IROQUOIS MUSIC AND DANCE 143 Dark Dance A. Jones, F. Stevens, 1948 Zod oe) iS 1 ee wo gi waji ne ho hayon de hi nee @ = a = ¢ “2 | =e Sai 104 Dances — = SS et SSS =Ss=S === woo 6.7. A fe ee ie ; Wwe dandawi yedande FIGURE 53. 144 BUREAU OF AMERICAN ETHNOLOGY (BULL. 187 wa gi ne wagi ne =e = eer ae ha Serer ne —_ = o oi aves eee ee See ee == - Se ee eae 14. So oan Big potigue seus tae we yone he gah gane (crows) b Sa SBS Jn fF tes! =. FIGURE 54. KURATH] IROQUOIS MUSIC AND DANCE 145 UE Chants mgCT IPPs SYA ites =] “ws «ya he da ha- wehi yo ho- weho ne ya he ne — wehi yo ho =a So iat —- = ha me no ane ha ne hd = =e fa fay EST = =| Ff apg Big al mele ree eo ee “m wehi yo hene wadi ya- he ne SS J = 96 = 108 SSS, =a — 6A \ \ ty rah we SA eel Dances ee 2 eras: ees : pie weeht ages é ail C es (ke Es niecastea= parE 2 oyahani yahe ni A =e ahani yNa Shed y ry, @ a= ee =a = Pea rs FIGURE 5d. 634-599 O - 64-11 146 BUREAU OF AMERICAN ETHNOLOGY [BuLu. 187 15. J = 108 eo 2, ga yawe ho gayo wahi yo ieaA 7p ee | a c a ga yo wa he u A 19-25. as ee ae 3 et e ie wiya ae ya == 26. 27. Jere ae 7 oa \ i fees = { 7 c be = = Be, - <7 —— — a S22 S| 28. - 31. @ r a 2 6 = 7 Eto aS aaa ae 2a SSS goyoni yo go honi yo- we - 32.— 34. hy. FIGURE 56. KURATH] IROQUOIS MUSIC AND DANCE 147 = aA~ ya we ya ho wehi yo- lee cle Az 3 aad OTICE e ct = 3;™_ yo ho we hi yo a =e , =a 4 4. ga yo wa wa - he iat ‘i SSS ‘ ya hane hawi ya —_——_ = SSS = i a ee = =e yoho na- he dya yoo ne — oe a : eo = FIGURE 57. 148 BUREAU OF AMERICAN ETHNOLOGY [BuLy. 187 m = . oe» 0 oe oe = = = = a ee ee ee 10. A B Pega" S=eee= sae a res A Le sa es Se oe Se howa ne henande FIGureE 58. KuRATH] IROQUOIS MUSIC AND DANCE 149 16. 17 II [See SS 2S aS Se ee B pA C ces B Se ee eee eee eee ! 18. 19-4 Ba' ‘ b ee a b —= = 20. 21. = Se zee ec ioe! i Bb 22 (ates eee = See | hohi ye we 22S SSeS a= = == 7 ee — pee | , gwen iha b c = {= 2525] ===> SSS = — FIGURE 59. a 150 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 Quavering C.J. John, A.Jones a bate 1945 Chants rs ttt De MOI 0-+ eo —m hayo ni ne he’e no od ao nm aE pont eae SS ya we ho gane he'eno = A = a a: teow £466 jn 6 ail SS ae = ee Se ee ee ee rae AS ha yo hit ne hee wa hi yo hoo _——— = = FS ee ma o 5 Ses a — =e == 4. Awe os oe Sc = 100 Eee So = ase a ae eaee a ras daria ok a yoho hawe noya hee wa hiyo A! e wi hi ie ns , yo ho ha yo Dance a + oe van a 2 = Se ee ee newa you ho hane wahi yoho he'e wahi yo'u hewa htyo han wa'— ho'olo aa = Sree a hayoniwe he'e hayoni ne he’ e'e = tt a | h \ eee aweng ya hee hawe ’no ye ct wi hi FIGURE 60. KURATH] IROQUOIS MUSIC AND DANCE 151 7 rr eo ao 5 ‘ one or - he yonin € he'e yonine o—_#-» 1 8s ae SS aes eee oo ea Ee ——— pier EE tee a ire ere tte a te i 6 Ss # 21. > => c=) - tpg 2 p- | p=8 gars D2 ees se FH == == —s ==se2 == == 2 eS = oe. LJ ' FIGURE 61. 152 BUREAU OF AMERICAN ETHNOLOGY [BuLu. 187 Cloth A Slow Songs Doe oe . te. Pa os eee ee ee —at —_—_— B Fe — z2 : Aa oon BO 25S SSS Sa ee eee eae B po 28-9 J = 104 Dance oe e o = e a ie eee a aaeraee ae aren ree -- ae ye haye yonine rayon ne yo wi a ne rl #8 # _@ 6 4 ¢@ ot #2 53 is = e > pear paapets a See hado mi Tie = 31. a 3 a a+, 000 —_# = ? ale 5 oe pease ee ease Poppates mor == Ane -3 Yogine yowine yo ha ae goyaha yo ho aes s__* 4 a (qa) yowa hojine ee ee ee. ere FIGURE 62. KURATH] IROQUOIS MUSIC AND DANCE 153 : ad lib Changing — a— rib C.J. John, A. Jones \. eds D J,= 104 1945 Chants Ls pepo tte: es ree tett Bee Feit prt Li! LL " yowi ne A O— oe a oe fF LS - Ss a = So 2 eS = - Aga ; Ta wine Aa hai he yo ha wine : ‘ Gn 9 7 B Bee eee ee eee Cree oe ages naan yo'o o no ha we SS See ae e2ace== = wi ga nawi yo no ha we ,gano wi yo,o'o yo ha we Se f pep ttt aes 2 per oeeear Sea-c wi yo'o ho'o we hi = wi yo- we yo hai he we hi yo 8 TE ea $e eel he’e we ae ho'o — we = yo a S592 SS =e === E =a ey | yo be ha'a wi yo he NeR > Baas: = Changing-a-rib All burden syllables, except first dance song— 4. yoho honé’nawi’yoho :] hawin¢yo :[hawinényo :] haiin¢éwahiyoho hawin¢eyo Now it goes nicely FIGURE 63. 154 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 n A " Dance = os a ag ee Cl . = as eo é 6 s t os hal SSS ee Steg ek veo ya ne no yahaya ne no, ya 6. charac hewa — hi yo ‘yan € noya 2 Go ia ~s - és aee ‘3 @ & eee ge est ty al a yogi wane do ha neyo géya he'e SSS erie Sa yogi wane-do hawine wi goa he'e’e yogi wane do’o'o 2 eS SS meee | a a of o—_ o_o Uist O comin BS Brees oe 2 oo? os oo os. @ Ca. oe oa Sno SS 3S SSt2 22 S-Se=sS 22 FIGURE 64. KURATH ] IROQUOIS MUSIC AND DANCE 55 7-96 Nea: Cloth = ee Sa ° «fe D s S555 SSS eS Seas Se oe ey at yogi wehe’eyo hewa é wz La Se = SS | ot =- = a 2 hoya nega yowa ha'a ne SS SS en 13-14. 17-18 it is 06,5 Sirs Ssses we ee = 2 Ste eee er Sees s See Cle Weird weay 8's he ji wano ge'’he’e hawi nee-- == Seas oe : fae Ea ss ’ aaa go ya'a nee 15. 16. 3 ee 3 3 gadis as & Ge Oo oNA = oe @ = 3 3 wine hoya hawi ne goya hayane — a ee eee ee ee si See —— 19. hawi ne go- ya ya ha ne 3 a a ee E ye- ne dogi we hawene wi yo yaane — FIGURE 65. 156 BUREAU OF AMERICAN ETHNOLOGY [BuLu. 187 Transition A oe é oe eo e —— so ES Sea eae: = a yo giwe giwe ho yane yo giwe giwe ho ya’a ne yo (SS a ee giwe giwe_ ho ya'a ne eee =F] é 21 Same... ‘but = 104-112 Tz ae cece Dance me teats ae nodawe ho hewe hane ie eee eae ae ae —! == {| 23-25 A yo hewa he uo joes 8 2 See Ss ae. Se , ha ni ho hoho ya aa ne as Ss === = Seg aot 26. east f Sao Sane eee | a ga dedo hewa yoo hoha he he-e aE Ss == See = Al FIGURE 66. KURATH] IROQUOIS MUSIC AND DANCE Laz Zi. SSeS 2S 8ee Se —— = he wa gi da ne ho de wagi da he wode wagida — ee | — SOS See eee ree yogi wagi aa nae wenona , ee | ett ify Baty ae eee SSE 50 hoda pias — we he pee ae SEES ha wi yo hane he wiho a ae oya hohane Ss == SSS pfteep tpl sierra hae no — peer aS DP eseaa Sa fad howi ya he ho wija he ae See 2S225==2 — 32-33 A A _s z 3 aa = = Se ee goya no ha no ya rd he et | FIGURE 67. 158 BUREAU OF AMERICAN ETHNOLOGY [Buty. 187 34. B S25 So SS eae = eS Se a Sa yo ho no A ? [SSeS See == 35. A se aea ee Pee tpt 5 8 yowini ne me AL 2 ee A ee: oo ee yo wahi ne- hawine 40. A ho nedo ae ya = oe ee! Pig howi ye wine hawi ne he hawinee_ hawi ar aS — = 2 ie 7 i 42. yowti ne yowi ha coal ne =e = wa Ss ee —_ a 2 ae \ae ° 4 ang FIGURE 68. KURATH ] IROQUOIS MUSIC AND DANCE 159 Women Planters Towisas F. Stevens, S. Butler 1948 | J =92 coh eA B A oh ya’'a hi oF A | r Los eaecre : o) yaia Shi! o’0 yahi ya we ho i 4 a “ 2 5: = = = 4 { { sf 2; __ga wegoO Ogegé neon gwe pS Se ee ee eee =a Nes oe ee ( ~ gagwego ogegeée neon gwe fae T b —#. } 4 = Se | j ra a ee o f a : 4 ee | et \ — sss et SoS = ass SSS ae Marching mar) B A = Ja ome) ; \ \ 8. one - dwa de ndi one The nai = aidendi —=—='F : === \ V \ Son E= Gee A one p gainto A Se Saat ele genda he - hosage gendahe - hewago FIGURE 69. 160 BUREAU OF AMERICAN ETHNOLOGY [BULL. 187 Adonwe In to wisas ceremony Albert Jones 1948 yo yo hay onge ha'ane yo> Wilitge | Je 4 wuh Richard J. John 2: oe 2 r a2 SIE = u Se hayowa wani hayo wane hayowa ne’hah hoyowa wa — ~~ ES aS ea as Se Old Enskanye CEE oma. B yy be ‘ ce os a =I oe —- a o@ Fg os = See aa = SaaS, | Paces * B a © = we ro Las 2 3 A B Lata o SSS = F = = Se eS 4. a cs GF a ee = eaaas = @ Sees oo ee 5: eo @ eenwes et = ——= — 2S Se FIGURE 70. KURATH] IROQUOIS MUSIC AND DANCE 161 Women’s Dance Old Enskanye Curry, Jones be ap — 100-108 Cha 1933001 1948 2A Cpe} os a -#- — f See ee eS a Shc pie eae Ste ee ; = =e a ak ee 3: er ee FIGURE 71. | Ss : ee 4 { | 634-599 O - 64 - 12 162 BUREAU OF AMERICAN ETHNOLOGY [BULL. 187 Women's Dance Ens Kanye gowa C.J.John A. Jones 1941 I. ie J 96 - ses Men's Songs PSS feasee se Sarco lae “~~ we we yo yo no we- te yo no = no we yo he yo not wehe ya — Bans aceaes: efeie SC mal S545 > SSL SS Se yowe haya ne-e yowe haya nee — “" ne wi hi ya ha a hoha eis 108 Men and Women a 2 Z ae So Ses ae eee = eee eee h tS tr ha wa yono he hawa yo ng he 2 Boe ‘ = ——S— — ———— biol vores free ie, : uf a : ce = z ——— 2H ie f is ie ya ha yano ne wo hi he 7h pene eeeaae = oa beet Se we Se = pewegyene ies da- he 2S Sea a = Sees ya he hawe gi - no he ay SI = = See ae = FIGURE 72. a KuRATH] IROQUOIS MUSIC AND DANCE 163 8.9.10. A 10 Corn Song sayo da- di sano wanoste ya hoha x of = SS SSeS Ser SoS 2S= ees Seon, Baer a Seae eaeaea ser | da wa niga yda he yoda wayo he he ya fe Sp ree 0 ya ji sho he ji soya go de gigwas sano gwa {4 4. 10. Corn Song (here male, sought by beans growing in the same hill). awedonya’ siksa’goowa agd’hoso goyasganes [:wenoya :] unapproachable good looking girl, I would like to have you. 13. sayodadi sanggwangste’ :] yahoha’ You spend too long on your wife 14. Bean Song (bean goes on to next stalk, as in real life) dawanigaya’ahe :] yodawayohe heya _ :] oya’jisho hejisoya’ go degi’ gwas sanghgwaee’ he’s elsewhere she get married surely not, you dont stay married FIGURE 73. 164 BUREAU OF AMERICAN ETHNOLOGY [Buny. 187 i} NO 15. pea he ween i teae P) Ce 5 Dance Songs + rm a a5. 2255555255 | ' Sg re ot cgi = A" = rasa! 2 2 a SSS oe | hano yo weha ne yo yawa hii ne wa ‘hine aes se: | 16 Eee w ou ow ® 3: co ur ry rz y | = St az pdt Fah ee vere ttt {| eo Se Seek wahyo wahino = ae _ yo ho z o amt = — ni a | wi fe yo ha he he hone yo wane heya ae ee heya he ‘ga weya heya La eS ee ; tf f i | 18. 2 =e rz PP a me a ee @e a \ eS ro | Boe ae a See ee tp 6 hani ne hadi wayo ha ne hadiwa_ ho ho Z > = pai ee ee 20. ney? = 7 ra wiye ganayo- ho US GSS oe Sees fee eee a yo wado he ha we ‘ha nohi yo weno yo ge We hano heya SSS Se | FIGURE 74. KURATH] IROQUOIS MUSIC AND DANCE 165 Zils) 23 ’ = 96- 112 mi Bao ¢ == 5 _ 2=5 = 3) a= bt t = {5 ya Seer = | wee yo no ia honit wayo wado nigo honi way ESS ee, =SS= ho 24 A Supe SessaeaS= Mery ae FS | ,yowaha neha — i fe eee eee rt = | | SSS Et ——< A' A" eee BS trepe Ot eprlerer cel 7? hana yo we ha \yaunon, +3 26. = ae JP pepe pel gd 26S e225 = yo hine- yahe ne yo hi ne ya hine: he ‘FA Fy te SR FG ATG dl go ya hi ne-he yahine 27. Se | ye ne gane howi ya yo gane howi ya =e Sey Ja Ie J ° 2 2 @ 6 —- a f+ | “5 aie oe ae ae) FIGURE 75. 166 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 New Women’s Shuffle Ens Kanye Curry 1951 I. 296-20 eee Ze b> $ ve Fae rt (OS oie edt | a C os hai ya ¢ Cee ( howi ho — haina howe yo — ee he ho gaen hawi ya ne a x eee oe 2 — —|— 2, A ey Eee B.. b Sve z : gt _ a a L ; + == { a Sc { = ““™ haiya haiya-- haa nawe ge we ho | te 560 == ==S5=0 Fas == sais oi G a whohohort. - we ho eat fie ho MBG SG =. ee seer ee aenhawi ya —- heya 3 aN or = ae Se haiya ho ae EL yoho — wehi heya SS ee ————— — Jase eS SSeS See = SS alps = ——— LS gaen hawi ya . 3 a =p es ———— = eee eLvew = oi ETS fee al FIGURE 76. KURATH] IROQUOIS MUSIC AND DANCE 167 > a 52 ee ett hI rr —— = — Sb Seta as =: hava! hot ide Y yoho —haiya % aie hi yo ho haiya hone we gaen ha wiya tf —————— 5 C.J. John 2 ja\ ~ ? = —_# = = 2 = = = Se rf f hai go na e yo ho gona wi — yoho ho hawiyo ay ele weya he yo B “etc: — $s SSS oe ee : iN Willy Stevens Sa Een Bape haiya hahi yawe howeyo haina howi yo he hya ae SS ee A haina howi yo haina howi yo Mie hoya aie howe — seems = SSS sS2 2S SI Nelson Redeye pa ae ff hatya yoho yowano he -hane he aus Se ee | 5 |: a5 (ea ae a he he haina gawi yo hi ne gaen ha wiya FIGURE 77. 168 BUREAU OF AMERICAN ETHNOLOGY [BULL. 187 Corn Dance A. Jones, C.J. John L J=ue 1945 Chant seep a 4 or a 2 Bae = as ; = n~haiyo waji ne = “—— To} a fel = rs r) eee ee eee I Rattle Op OG eo @ 2 A = 84 Aas a Dance a 2 aE z Be SS ee 2 == SS Ss SS oe ho yowit ne we = 1___»— * +3 = os é | —- Se —_ ae ——— Bp U —— eS SE x aa a el =f i + 3 =| SE Ves Sane ee cielpesaes i PRS ‘ ————— === = ==] cae i fo) we de hi o hos aie A we give! ho z € y hog ¢ Se A sees Aimee oy oe 2 25 aap ae Se eae aS ~~ gayo yane gayo yane he = t¢ ~he ga yo'o dedi ae —* agg A Se. fee oe Se gayo yane he- hat — ha-_ ha- gayo'o yane yo ho FIGURE 78. KuRATH] IROQUOIS MUSIC AND DANCE 169 Corn Dance 5 a — iin —— yer snemene ame . 7 2 a ee 7=3 | as yoda we_ha yoda wa hi yo hai ka he ae x e =a ee oe ——- =e =) Lo} fg 2 fsa f 6. A pid 3 Zs! A ps > 3 oS 2 Sa ae = ~ wida ho ga howa ji no aa eee Fett Aenea Bey r= 3 =: Aes —— => = = ot z ae 2 = a ae aa v2 tts jeaiech = ver ee ees Hand-in- hand Dance Jones I 1933 = ee Aww FIGURE 79. 170 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 Hand -in-hand Dance Curry, Jimerson i oo} = t04 1951 Chant a eee 2a pel eS SiS eS es = AAAWI Ya yo o howe yaa no hawe ~ mike fe Sg ee Somme : wi ya yo — howe yaano hawe % aE = SS: S252! 2 Ales wene di ha hiya = yowi ne ya ha Dance = =e: ae qe SS ae a we yaa = wi ya yo r peeeee see ae = See pak ar a we ya ya hawi ne hoyane_ we ya ha Petr tf eo ae _ B oO ——S yaa ne ha yowa ne — ee ee ot hoe hayo wiga ya ne = a =| | = ne ees eee eens B wi ya we ya ya yo haw! ne a aoe See eae ae we ya f i hawi ne ie eda ras = Figure 80. KURATH] IROQUOIS MUSIC AND DANCE legal See <: we ga nawi yo sees ese aee Sess Ss | yo- aoe we ga nawi yo hai yo ioe fate treet tite ya B > Zz —— ese. tr SS aa | r r = B Z 5 SSS a et Boe Sanaa at tise a =| =. “art 4 i. yawe gana hi yo — : SS TE Saran Sa gano — mete! Petey te epest wage nu sa ye eee | = = aaa 2a pais g | ee aga FIGure 81. a SENG] 2 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 10. Fast Dances pete aes ee ee (gos reeeesiees Se See =s ee eee ae ames aaa ey aA wig ahanawe me yo ee = R Nacee ve waogi yo FIGURE 82. KURATH] IROQUOIS MUSIC AND DANCE ee} Trotting Curry, Jimerson ae or = 104. iS = 195) F a heee uae SS reat i= Seale eae se BEES oe ee T 45 > =o eras corel : hui = ee ati wiha ne A > eo 6 = = 4 Cet FS Soa! maa <= 62222 faeaee re eee ae ere 4. op sab . P= Er B [Meee Sat === wi a we ha ne oO += —_— if See ae Ee niece eS FIGURE 83. 174 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 N41 yo he ho we B 3 Biers Sao oo = ee aeaesaas howe ho we = ines Tate ya_he ha 4\: a ES Se wi ganoi yo —ho o_@ @ aw = = wi he €€ sa ‘a a ae z wot B = aes hii = aos ae SABES ASE ee ; 7 ‘ ee 10. A a appeal a eae See ee | FIGURE 84. KurRATH] IROQUOIS MUSIC AND DANCE 175 II. henonde SS aa ee = hadige wehondi | a 2A A x 2 oe ee ee ae ee 12. yaawi hi ; yaa wi hi ae = =o = Jones, Dowdy = 1933. as - 100 hi wi he heee hui Baa i eS 2. ,wi he- hi wihe wi he shtha he hui =a cee 555 ee ee FIGURE 85. 176 BUREAU OF AMERICAN ETHNOLOGY [BULL. 187 Shake — the — Pumpkin I. “ A eieeNas S 2 Redeye, 1933 St =o == —— —— E == Bae wiyo ne hoya hea ne é =_— = % = Red Ti ee eS = A 5 R nh pe he x =e Sere ee =e 2 A pe ho hi yo hi yo yip 3 == aS S72 Se {= S22 S55 ie ie : howi ya we hayo ne toes) joe Garters Redeye, 1933 == B x TE ee te ba gees e22 = Sere Sse — B — —— A x Sa ee SS a FIGURE 86. KURATH] IROQUOIS MUSIC AND DANCE 17 J =104 Pigeon Dance Abrams, 1933 rs Chants t-¢ = =e Sz — BE Hy = = ea a i tee wi ne i ho wine yoha gano : eo | or =e de yowi ya weni yo = 3 ee Dance cere ee eeteaee ee — i pote + os oO = = n = 16 rz =+ on yo ha ge aan ge mia a a —— = ya ha he yo yo — ha he yo wi ya fous giwa yoha he he hi yo yohaje — ae 2 = O- |} te hor 2c Jin MI FIGURE 87. 634-599 O - 64 - 13 178 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 Duck Dance C.J. John 2=168 or gd=84 1941 See ee yo ho gi no da ha ai ne ‘hal go he af hai yo ho _ =z ee ya he e ha’a ne ya he'e ha’a ne — yo gano ya hee ya we gano de ya B > es oY ee Yo —_ —————_ * Or ss . 3H : o ya he’e ha’a ne ya he — D ve 2 ga yo wane ne hgane gayo wa ne ng he yo ho’hane eo au B Cc B -- SS SS SS Se ga yo wa ne_ no he ya ne FIGURE 88. KuRATH] IROQUOIS MUSIC AND DANCE 179 Shaking — a — Bush © yoke = 1941 2 = 68 ~ Land 6 singers ee eA B {Lf goya ha ne ya ¢ ————— Ze Paty SS eee =| goya hane nowi yo Sa ya ne h’yane == = SS SS SS EE wo t ae ee = mi 75. ofs\ 2 a —_— iC f —§-——#—#- SSS AT r a= E | f { = oi F 4 ot | eS ae we ya hi yo ya‘a ne Sa (fd —————| ‘i ae 3. Ave + so peyote Lt fot | Sh = SSS eSS a= ee gi wasase yogi WO Cal = gi wasase e’e yogi wa sase c £ J} a a ee ee ee Le = oO ge A a 3 O=" O- —— = | = Ce tc melee =96 a = = me A é a 5 ee a a , = z z s_@ = s_ a Bou ie = a pe 9! wane hoyo we gano ho gane $0@ == - = “a? = SF ne <> a 4 Ar ok x yo hi ne 4 ¢ @ ¢ ¢@ a oe ——a at ss [ee al a wa hee ya = a gia mes ° Fa = pe wea ne yo we goya ne re B hells ~ é cee ea FIGuRE 90. KURATH | TROQUOIS MUSIC AND DANCE 181 Robin Dance Roe = sto SS yo ha we I 1 yo ho re = S222 See ee ae ae | 2. oe CA A Wem sot Sa ay Seen ek > = ee, ===. Saeeae| A ya_hena wi yo hena wi yo no hya ~~ yo ho eee = 2S = Sa See ae aS A: Se — r iss re Js ——t se ss z aa Sees eae Ans — BEES SaaS a ai ha nedo hayane wehanee — x A at Baars Ee ES VB 32222 =e= = = a = L = 7 rhythm / \ PSSe === sec r Es G Figure 91. 182 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 x A A — [SS SaSs ==: oy o ho yo t= A’ = ‘ : . ‘ x = a a ee on (== oaae ya no-o hawa yano he weya_ yo ho 5. xX : Ama = yo ho (we)gino diy aa he tat qe ad — eee Rae A A ms x ese a a oe == rhythm —_ te Jones 1933 + 3S SS = FIGURE 92. KURATH ] IROQUOIS MUSIC AND DANCE 183 Fish Dance C.J. John, I. Jones . 3 = 96 - 126 1945 Aa La b 7 5 =< ae =E £. s z= CI yo ho ho wene no yee wii yo he nene no wi yo ho ” A B—b* — Sa nts =e 7 et ot aoe al 24. A_a Boba 3 = = Eee — == === — bois % ae ' { 5 ¢e V2 Lifeotes ga yo want ho oo yO wanino AB : b* > =~ a oe eo | Se a=£ Sees ae — = t =H heya ha-a yo wani no _— Youre 3. A GSN B ALES RES te, CS yo weha yoo ho yoweya hayo ho eg : Ta A Bx 7 — fa emis a6 —— “ a ee Pee a save Bi aN a ne SS SS SS SS SS p= eg ¢ w ’ = yese ye e ho wa yo ee iG e'e n ho : = i =e 2 Te a CJ —— pce eos = SE | 6. A OLn4 B ho wenogwe deyokni he... they are looking this way the women (refers to above) 5. (36e) hewageng djo(o)heho gayas‘9’oni wi’lyo—o gaye that’s where I’ve gone (to) our life as it is named, it is beautiful (magic cornstalk) WOMEN’S MEDICINE SOCIETIES Songs for the Women’s Medicine Societies are shown in figures 122 to 133. RITUALS ADDRESSED TO THE FOOD SPIRITS Figures 134 to 144 show the songs used in addressing the Food Spirits. 196 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 SOCIAL DANCES—STOMP TYPE Figures 145 to 152 give the songs used in the Stomp type. SOCIAL DANCES—FISH TYPE The Fish type songs and text are shown in figures 153 to 157. MISCELLANY OF SONGS (See figs. 158-164) DEVIL DANCE Shanks TEXT AND TRANSLATION 3. (26b) weya yahoho .. . yeya’dadoge s‘eng’he’s_ yahe’ ha’ certain person —you like 4. (26c) yanedo weyahe . . deyeya’dowane¢’s deyagosa’wane’s yahe’ha’ she has big thighs she has big knees 5. (26d) one ni’gih djagoyg nagatcigo‘wa’ dogwa’ni’geh nihe . . now suddenly she came back my best friend (lover) I don’t know what to do STORY SONGS Black TEXT AND TRANSLATION 1. (41¢) Poor family, little boy only hunter, mother says “When you get in canoe to go across river, sing this song until you get to the other side, then clean your arrowheads and you will surely kill a deer’’—sings, gets two deer, distributes meat to neighbors, success always, gets married, ete. hunoga’de hésége’on gi’on wa@’l he has lots of arrows your brother that’s what he says 2. (41d) Stuck up boy sings this song, family warns and teases him, “Something behind you is ready to grab you.’”’ Sure enough, girl grabs him, they argue, meet again and she finally overcomes him. yanohe—ya détagwaste hagenoedg wadiks sa’ago-was 9’ho I don’t care young, good-looking girls MOCCASIN GAME SONGS TEXT AND TRANSLATION Cornplanter Newtown songs (Cattaraugus) 2. (17c) newa‘gyede’o deyo’da’hgway¢’ weya... I know how best to gamble with the shoes KURATH] IROQUOIS MUSIC AND DANCE 197 Feather Dance Shanks a 26 5 = 108 PR BRT EEE ESE Let gg be ory ey 2 Jone hen € ngya ne aa ae A ¥ oe Se i { = ch yo wa _nene he & eo = £ % = = a . a eee el 4 he he he he he he A 959 one eee yo- 5 we = he ya ho- wino ya Jj =132 - 152 Dance r oo ee Bd a = a7 eee ae weno ya weno ya he he — he he weno ya a = a 9» 9 { Bie gg ‘= Rep) OTM VOur = a . eae > = : 5S SS SS ho wi ya howi ya — weno ya 143 2S SS — eo Het er —— we ga yo yo wine he we ga ya a wine ha he ha go ha yo %: ty = —e : card ho ho ha yo howine_ ho ya Figure 102. 198 BUREAU OF AMERICAN ETHNOLOGY [BuLy. 187 Drum Dance Black | A J-@% 3) Chants 2 a = 22 eee ee eee ease w~yuwe he oo oe yohi na he ee Eat =e we he ye i “ae er a wi sh ati wi i ya i ga yo wi ho ha wii ya he ya el ee A A+ C : —=<— — fan Eo ee Deer ee a Se Se = Se ee =e 35.4) A wee ya wii ye hee ga yo ~- hawi ya heya aw wey ee 2 =| —s =e : = ===5 iL ==} S55 = = == == wm Y°9 hane ha he ya =. = == ca _— © od — @ AY ais z : ' J=108 = oo = @ 5 oar) —m~ /f Dance "eat | ayy, aS a s = ott 0 ee 5 oe lere = — == = sae hayo we te! =| et 6. an CA ae x Black g= 112 Lewis Se re (ea fers 0 Se SS ia o Le toe tf | pty = a 2 aay SS Figure 103. KURATH ] IROQUOIS MUSIC AND DANCE 199 ids = 8 d c Black 2 oes —s we yawi ye hawi ye hawi ye wii yo ha hii no : a a ee Lees | c = — = = a | A i 2 = oe hi we be we hi we ===eee SS =——— = Ae — ; ee ‘Sree & ee gi wa nain hayane_ he'i : giwanani — p Sheet byrorycus grica -s= ~° yowi hii ye yowi hiye yowihii ye wi ye yowi ha Figure 104. 200 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 Adonwe I. d= 88 Shanks A solo chorus solo @ Tz @ @ , e =a x al S Bp gu Weno haji he wuh wuh ga’o wetu haji_ne s 3 ba a aa A = = o =) ae 2g= 80 SSS 2 2 @ 2 5 on€ saso gado da tte SSS = oge haso nado we aS ers SSS. SS Sopea)e0O— A See B Black eo Sere ee eee ha niya ye gene ye'l ge'e ne hola == = eee SSS eG J aa” ae ni ha ye gene Eee ee eee rere a ; = eee ( ha ya haya B yowi ge ne he Z —_— Se — a a oo — rat = = = +4 = = re = = af = s ige ige ige hone - aa = hone ya yuge ne yugene wuh Figure 105. KURATH ] IROQUOIS MUSIC AND DANCE 201 Dawn Son Bao J Cornplanter Ae ae Na OB ee ——— = =o = = 7 } Pet ge gwenode ho ni hi ge hi ge hi ge ‘ho ‘no : o oO m@ @* @ eA i « SA = : eo t =a 3 2 = 80 Black he 2 = te ae ts Z a7 > Sos Sa 7 Rees ee { f : guwe no de yege ha - ni = = = hi ge ni See i 7 OE emenge pag p et oe ons fn Se eee See hi ge hone heyi ge ho ne = 1. yoniga gwenode’ ho’o ne‘nihi‘ge hige hige ho’ono’o (a voice rises upward) (I am walking) 2. ’ogi’ danoihowi‘’ o‘on¢ hi‘ge hi‘ge hige hi:ge hg’ono’o I sing d Own song now 3. guwenode yege ha‘ni: higeni (a voice rise upward) Figure 106. 202 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 Eagle Dance (\. J = 69 Tonawanda A A' Shanks SS ~——“yo no wiyo hono wiyo ho FIGURE 107. KURATH] IROQUOIS MUSIC AND DANCE 203 peste ===. goya he ya = a = go ya he a 5 Se es ee 8. 3 2 n =—— oo = n ieee saa eae ——— we ya ha weya ha — wi yani no hane he 5 : oe hane he 3 —— 2 9. weyahe wiya nino 3 i —»-__ 8 9 —#- ,? SSS i S2e5 SS SS Se | we ha yo no an yowayi ne gono'o di ya we — yo wa ji ne gonoo diya we — i eee 3 =a 4£f -—> eee Be ee Figure 108. 204 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 \. j= 76 Cornplanter A Chant A" A' XA ee Oe ee a ee | 2, J = 96-104 A' a: Me wi yowi yahi ye wehi ya wey € B 22S SS ee =o pees " A ganino wi ganeno wii | ee TnBis8 Ag ed 3, Wi yowi ha hi ye wi hahi ye = = Re a er ss os. @ ———— a ‘gine one ga doge negé ne'ewa yanewa doge hane nawi yarn a naw es hawige = nawi yo 3. one gado’ ge nee newa’ on¢gadoge hone na wihiya hawiye¢ now look for a certain one right now FIGURE 109. KURATH ] IROQUOIS MUSIC AND DANCE 205 l. 4 =i72 Shanks A <3 B é : ae seer ie =a E == ra Oo e ed pee ee ee, ~~ we hi ye Ui a we howi ye wi ye ye yawe howi SSS A yo-yo ewe wi ye ye = ya we wi yee hi ye Se eee : “~~ , Wiyawi yo we he A — a we yaw! ya rs | > a ot ee wi he ho \ , Se ieke-ts we hi yo wi yawe ho wehi yo ha hehe yaty Ly { * ro oo eee eee eee eee = we yo we ya we ya we ya we hi. ye d= 104 i eet Sas == 3 os wi ye ye € ye yo wi ye ye CJ aes Se See SS O a yawe ho wehi yoha he goyaheyaho wehe ye wiye he sleet Se wiye he goya he ya ho wehe ye Figure 110. 206 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 “—— = wehi ye hawi yo weehi ya = ef 7 <——ae = oe = pe Seta ieee ae oes aaenoaas Aw ene fn A one hosa we — = = re =} Sse \ \ nNé ge one tine heye ef Cadence of Bear 6 (Logan) 5. gahongda’’swe’ nege weni‘?’dje’? heye come this way, you all this war dance is taking place right here (Calling dancers into the building) FicurE 111. KURATH] IROQUOIS MUSIC AND DANCE 207 False Faces Lao Cornplanter A Chant i] ee a tt Z| FE BSS Bee eee erie ee _Ge se ee Ee ! Sse SD Pn Ee ed ee eT _ Gee Ge) ee es ee ee > ee ee eS) ee ee | 2. poo no de ye gen di yowi gen di 7 ne ya We ne ni ya we ne Sea mente SS ea See = Dance pe RPE te Se tt hoi ho: he e eh saao eas gowa he hee he € eh : 0-0 ee 2 SeSease? priser py se [om a z =_—=- =S =| tf hor, £— i he — sagosa iS ne'e yo he ne’ D e o = = —— = | = = 5 wi : \ (fe \ ( J ar ee ia pete hoi hoi se gaha to pete ae sa nage djowe gowa ha (Sa eleeeee eee --4 Figure 112. 208 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 Pairing hayo ha,yo hayo he ya hee nawi yo heya aoe Se ee “EA = ce ee ae eines ie = \K @ == 2 ’ = === f — ae ha yo ho 2 0 fas (eermiha yo ho ha yo how : t zs 3 > = SS a hai he he Pent = ‘3 3 = 160 Round POS Sa ian cr ei Aree Ca == # S555 S552 5055— = Se F es ayo ho : hai he he S52 S55 555552 ‘ he V Jj =132 R j=168 a qo SESS Verioay tet TENG ' { TRIBARRAAY HERE 12 =(60!-! ry = SS Sa eel de te ai he he eee ee ee | PS ea goa Hea Figure 118. KURATH | IROQUOIS MUSIC AND DANCE 209 False Faces peer Black Memes Chant P22 StS Saas. | rw A a 2. gous pe ; # Seat SS | Jee eS SS ae os 8 Si Ts Onrgy a a ST | rom! _- = Soe ES Py Ses es ee = 4 CRs 138 Dance SS SS iSe See ee eee ia 3 b = b' 5S geee see ee eae eer aes t st ST iO { SSE oe Sasa S| Figure 114. 634-599 O - 64-15 210 BUREAU OF AMERICAN ETHNOLOGY [Bur. 187 Black False Faces Cae od Tb aeealns Rear Eo vee C.J. John Es = a Jas Se ee SS a aera aae om A 4. : Buck } =F PF 6 oF SS = e z — == = 3 =le = == spe =| 5. J = 132-144 5. C.J. John =a o*_9 oe e¢ = oe oy ae | = 160 =108 BO. Se (DISS forty, f a ES ae SS wero ee 10, 16 7 - Hh bil cf ui i (_ cre i ge nanan Sees Se age 2. (20c) djonyoswa-t niyawehe (repeat) dyonyoswa’t he has one rib thanks hodeggnya’ ni (the person is possessed by the spirit of the buffalo Figure 118. 214 BUREAU OF AMERICAN ETHNOLOGY [But. 187 Bear Dance Shanks C. J. John I 3 = 84 l. S| = 80 oes ee o "ers aes = =o | ree <, , | em er f x, A od oe o# e a Be Soe Ses aos ae A'C~ ¢ A" ——— poe —_m f° —————— aoey ee Eee a Sa a jes) =a \_4 ra Ss s ii f j= yb pe no hi yo we gayo wehe nahiyd' 7 )= 80 = Logan @¢@ eg --- sane ES ——— : Smoke ,1952 2 like Logan except end PROS et rt Hage ese. yoga yo wehe nahii_ yo a ak FIGURE 119. KURATH ] IROQUOIS MUSIC AND DANCE 215 Shanks 3 J = 104 (Oe ee Pa yowee eames ee == ay ear ayo we nai s Shed yoha yowa wai no sau a =S=S eS oa) Sicder a aae = crea FIGURE 120. 216 BUREAU OF AMERICAN ETHNOLOGY [BuLy. 187 Cornplanter DEG Dance C.J. John 5 J =104 i — jisto# Responses Soe nay? hi yo [4% |: oo oe + e —— Z SSS FIGURE 121. KURATH ] IROQUOIS MUSIC AND DANCE 217 Dark Dance j= 76 Shanks I. A pS A' Chants ae o z =——- a = = sae 7 == 4 ——— = c alae + sy ee ha wii ne-e aie news» Pha ha = =v = = is wit ne yo ha wa ee ne ry ~_ a <—e:*# e =e + = —- eels) NOLS oN Leh ANS AG he hayo gesi ne ni yt { o Sn a SS a — — Se ee ee 2 = ==) Sa ae es fey Re eT a ee ea = SSS Ss ee = =F Mite, BS Se ae ne SSO sit FIGuRE 122. 218 BUREAU OF AMERICAN ETHNOLOGY [BuLu. 187 4. d= 100 Dances A So Apo Cea ay —— (eh hayo nine wine go wint hawi ne- wine hawi ne A" “a s hse AE A aro ee oe ae eo _ < 7 oe ae gerne = | A" 2 a iz : = SS 5S: =z = 6. | e _6 ss se, =z = SS ge sanok danine - sayo 2. yogewahinego hayogesingni’ (repeat) sineni : hayogesine wa’ahi it keeps you 3. gayowah gan-gayowa gane’e he... moccasins 4, burdens 5. wegayogagwehe goyo yanghewa wa’ ahewa some one (a woman) she came 6. gesangkdanine’ s‘ayo heywi’is ‘ayo you are very sick you came to the meeting FIGuRE 123. KuRATH] IROQUOIS MUSIC AND DANCE 219 Quavering a eS ——__ Cornplanter 3.4. ~ he ho oe = i [== = SS SSeS Se ~~ yo hoo na NOL ar hee wa hi yoo ho'o —— Sa a | ho'o hayo n€ wahi yo o hoo Aé A = Semoe = ee { = rs { . = = Sea i‘ = — sates oo =6hha_syo ni ne hee wahi_ yo ho A a = Ss SSS See { l= 76— 88 D ena ance = Stee eyo hee no re hone hiwa ON ga ss ie ne aa Sie ee | = s , ay 22 = 2 eo oe ; : ee Ld ne wahi yo yone wa hi yo ne wahi yo ee eee FIGURE 124. 220) BUREAU OF AMERICAN ETHNOLOGY [BuLu. 187 Quavering acne .J.John Cornplanter 7.8. J= 104 10: Gnesi 100 =o 222 Ren az See ee n a= bt v FIGuRE 125. KURATH] IROQUOIS MUSIC AND DANCE pal Changing— (0) = Tetlls) Cornplanter SOG A — eo ee ; _—¢ Loge eS a ee ee Sp prea howi nee re —_ 5) See d gy. oe et Se poet a ok = aS 3 | “— ga na- wi yo — Hees ae galte wil) ye ahs Ree SS Sa | 3. 3 = 88 mus aint one Ss S02 ae Seta er = ee we yo'o'o wehi yo ha hi - we hi ye ho ho wehi yo 2 ee == a hai hi wehi yo ho we —- yo ESE oA | ; 4.y Pate cbge Bs 3 [oe 3 Peete tir clr Poa tit ep pipe Fee Rindteetest hunt =e Lapa FIGURE 126. 222 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 Soeicamer eee =e eee ese hayonene he yoni ne Se 6. == Se eS ee vy yo gawine ho ho- gine ‘eis n P == 2 = ~ a as =Sepss5 SSF = 7, ay nawiwe iyo haw ne A “| a a a ee oe Zz nu 2 a ee = ee ee oe n gine ho ya gine huya- ne 4 A> Spa a FIGURE 127. KURATH ] IROQUOIS MUSIC AND DANCE 223 10. A 5 e e-hai yo hi yo ho'o haiyohi yo- hai yo B y pe < = = = hai yo hoo ha : °° ° ee ' \ = SEs b- =: ae = = m4 = oa =e: no 4 ee yo a ho ne he hi —— ° hehi yo- he hi- yo Peri haae =| e 1}. \ pent op es yone ares « - ereiere as a A- eee A an , = = === = 3 = B Res gesins he hi yo- ‘he =e = pH a SS = oe os se he ez oc yane no da Pee yp I le ep ee hewe he'e FF FIGURE 128. 224 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 13. Je (00 pone ese a et =a iy if yogi — "e yo hewa 2 Ss eee 2 So ae See = Sa he wa hewa heyo'o gane de wa 14. ne s=912 = Caer pS Se A" f f f z ram “nf © giwe giwe ho nahane ree ie a ° ae man he yaa eS ee =| ise Y? ho = yo ho Ss SSS t So | f egrets i wega née do ee = Sets soar = SE eee SS He he gane do 7 a oO eee $f === lee te” SS yo we ho ji ne a <= aa 6b AES = i yo ha ne— he no FIGURE 129. KURATH] IROQUOIS MUSIC AND DANCE 225 iy =e rT A p SS VE = —— SSS ee ee ee eee af honeehal yo! hol” feline he hehoo yo ho nawate === ee ee eee = pene, hayo ho — hayo ha ip 2 a Ss ° oe ra te Fe St 18. ha Mi es ho tate he ~ he hd Beles Eee eee eae 2 he wahi yo — \ | eer Se ee f f eee eel etd 1 ge—ya dedi yo “wa hog ee 2-o Me jo Sta “sta wa ha ge € Figure 130. 634-599 O - 64-16 226 BUREAU OF AMERICAN ETHNOLOGY [BuULL. 187 Ohgiwe Shanks Black Zon ae: Li it + “ =; = eo = z ° te] eo cepwiye hane hi a ho he i hei yowi ya nehi yo a5 Sra = SaaS =I eS Dance 3. A -—~ Dae — = 2p 2s J sat wida pewese wida a yo he- he , a ee eet SS | A' ee ee = 100 SSS ce 4 A to ee eeeaD (OO Om ¥ 7 3 = SS pea Seams e =| ret comet 2 ante wi ya no ge he s ee ee ee az Cy a SS Se SS ee ee = SS SSS = =a vt oS pan \ ~ 4 B a SS ei = Figure 131. KURATH ] IROQUOIS MUSIC AND DANCE 227 Shanks Ohgiwe 5 Jamieson A (me pe A ae est 9. Sas ae wor - = SS ae 6 Eee eer eee == a= — ya ne hi yo ho — ya ne hi yo ho - Sia zat oe a = wan B z =. =4 f = = 2e=aee 2: hei hei yo ge yanehiyo ho- we She he hong ge yani wihi yo ho EES = ae: tw =e == aes ee eee iN ee eet A' A ae S08 —————— ————————————— 6. A B —— = o-— 95 po = 28) se 2 SoS Sia eS = ==! SS == aaa = = howi hii yo he hone he he nowi hi yo heho ne i C I— Pi Zara 7 =e Sia Sa Sea Le ae, a ee Elees cS Seas =: nowi hii yo hedo weno he - B >? as 2 <7 7 7 ES Stee stat asa esa ae seeeee | an nowi hi yo hedo- hedo weno he fuieeeeeee Ss = eee Saal wi da gane go ya ne se B ee = ——! FIGURE 182. BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 228 Carry - out- the- Kettle Cornplanter gs = 64 Chant \ a | eo = ae 5 wiya yo ho ho yo gee niwa yo _- yo S255 SS Dances 2. pare gee niwa eS ae wiha yo yo hong yo hong i YO: Went - ‘ha:= A As : ss eo oe e Se ee re ee Av yey i) 4 = -" ate zt Ss SSeS = | i Vv So ale } ed i ss = = ict See =a —— ga yo wani no Ee wa ni ——— == SSS FIGURE 1383. KuRATH] IROQUOIS MUSIC AND DANCE 229 Old Ens kanye Shanks t. = 84 PSS et ae , cor yo we dani ya yo we da ya yo FS > SS ee | AC rea Se oe | Ke oe Se ee ee | A’ x ial eae Peale eee Se ne l a wi vo ae yowl oe biol an yowi ha ne yo . S23 Sear SSS eee | ty yani no heya gano ya ne —he ya ha ne ya a ne \ Ems eee See rag yonino we hayo nie ane SS ee ee ee ee ee 43 ee ref 5. ban eit —— (eae x = iE 7 : =. t eee = oo | ay hano yo hano yo yowe ha Noyes hano yo Sept ae = i | FIGuRE 134. 230 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 Black Old En s Kanye Curry = o @* 6 = —o—s area eee SS tf yoo ni howi ga- he x cf. Shanks 2 We = == f t = oa aaa Baas a LY yowi ganoya 2 —= SSS a Se ese 3 8. wi ee hii ne yowi gano ya Bees aa Sasa asia: == yo ho wa in yo ho wani ye ga wiyoha wiga wiyo he =e a ee vt J = 96 - 108 o noyo he yo ho wa ni ho ho Ease re —= howl yo ho ate ne “hena —————— Vaal poe = male Peli iidedl oT 10. eee =a eS Ste ate Sere ea ae = = yuwe gi ya ha ne yuwe gi yaha ne ha —- ay —— =e oo, === ee a eee ee FIGuRE 135. KURATH] IROQUOIS MUSIC AND DANCE 931 Women’s Food Dance Black | J = 100-112 wi ye Briatak = eh ade § nowlya hay eS Z —~ Sse 7 ae fa ——_1-2— a : a a SS {= { === Fre ————— : ahaye wane ho wane Wi¥YO howane eee ee ee ae: = ' dedzada wa hanyeho ne ko da ganohsot A" ? tA == SSE al 1. (37a) ne’ni nehnogwé gagwego wainonaiso ogwaiwa’ nege our people all of them we thought we worship up edji dwa’tgat‘o’ djohe hgg yaho’o oneh newa’ aweno’tgede-’ we are to receive our vegetables now right now we are enjoying s‘odwa’tgat‘o’ djohehgo that we have received a new vegetable our vegetables 3. (37c) wiyo’o onegt ga’anowiya heya pretty corn (two women leaders, of opposite moieties, carry ear of corn). 4. (37d) tede’e djogwayo wenotge'de’ djogwayo ha’aho ho:? yesterday we got back we are enjoying ourselves, we have returned 5. (37e) dedzada wahanyeho? ne’koda? gAnohso t they walk around right here the house (the women circle) FIGURE 136. 23? BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 New Enskanye Black J= 96-116 > ry A = 2 se ° o-oo € rT] B s page t SS = _= 5 Rye he ya he yo howine hele he ya hawi howi ne ed eee === eed ie i ne ae he ya hehe he- hawi howi ne fet : ——s Wy 2 “ae yo - ho hayo he ho a Hae howine he ho~ haina E = = [ i} == ry : = < ae = = ra == heya wi a ne heya hawiya he ho Fie he =e nate a eon —— 3. - + a yowa ne yo howe ho yowa ne yo howe ho @ ves = e area 22 27s 6 2. | f ae { ais ho Ga ee A eee ae te = eo 2 se ese = ——= @=8 e B ty a F = == t { SS a te = e os heya yo ‘o ho ga ni, ya yohawi ho howeya yohawiya— ,, Jeb = ul Ye a ee ge ses ee ne he gaen hawi ya heya yey ne Ye x mae r % Creme ag te : ———— ————— | ae ho =) FIGuRE 137. KvRATH] IROQUOIS MUSIC AND DANCE 235 5 aot TO Og V2.0 Cornplanter 1936 co FPS aya = es heya yoo hoyo wine ho howi ne ho — b =e ee eet fie st eae 2 = | = es eraeoen a aa oS = an gel B we ya eter he ha nel ya howine he gaenhawi ya heya 7 _é = 2 2 oe o@ = 7 ae Sao 22 Sa ae ===: || 6 he — he he —_ 5 howi ne ho = eo -o eo Fi : eF -o oe [ete A = =s ae = * === = heya yo gano howiya hawiya yo hohi hes heya = == { 2 @ @ @ a = = yo ho o a tne hawi yo no fiwiga — 1 gaenhawi ya heya =. 7 eee ee ee ae, eee ee = =108 -—126 Ow 9 > = Z b heya ho gana wiyo = he « he Rahs Oe gana wiya he ar (a 1 | =| Xx eee, 2252: ee eevee ae SS a Wears, ae gana wiyo gana wi yo gana wiya he heya ho Bete alli2h=<120° AA Shanks aes eS ae ee — = at Bappse fe | 6. A yo yowi ne poe Sere e sea: i | wen! yowe ni yo ho (gS == 2 i we ni yo — ere goyahi ne- yo hani he - =e 1 | Sea =sce>-2. re i Peet Of eet cote trere eee =reare wa nu ye hano- ya wa nuya a a nuya Ze via ae See =e feae: aX 8, = e : = -o— a =| weniyo = = =e =F =ai= ES SS Sa ee ae eee 9 2 S See eee a asa = Se Sa wadese we = ne wa'o yano he - we ni SaaS See = yo weni yo weni yo hai — ha-— witha a | yo yow! ne yo yowi ne ho Ficure 140. 236 BUREAU OF AMERICAN ETHNOLOGY [BULL. 187 Hand-in-hand Dance Santis |. Ay Heke) Chant —— SS a ta ‘te Gra R aye ya yo how! ya no ha we Peet Cee : 2. ope pie ne owe ya yowi ne WE_ sha ges eS a = eae You wi ere Dance pei cling See a ieeza ser! se we ya yo hawi ne ° \ PID A By Ay ty gate 4. we 1 yo hamicnre ha = yo eee hi yo holes yeas See put tr th Aerie ep Ag ee HE ee ee irene ; — Se SS _ ya'o hawi'n’e ho ya ne nae 0'0 ne Ne Sy enh eo ss soe ~ | = we ya'a VES we ya yo hawi**ne ho Omyiaus tes we ha Se a ee yowe gano hi yo yano o heya 7S] SS Se St FIGurRE 141. KURATH] IROQUOIS MUSIC AND DANCE Dat Gs WHT H188 a 2 fe 2 2 S222 2e==—. zoe tp ltete id ats 4 so z exe) AB yee oreua so de ome o de dje sachowi eS Ss a] 7. djoya so Je so yegahga: ‘de hoya °ns eh an — spot or ea ee 245.7 | howe ya howe ya he ace a et Tee Peo Ut t ged Gor goya S wi yo, «wgoya =F no he a cA eye ebob erg yr 8 _wi Lee tes A ARK x See Se ee 9 aye eee ' Pip tre ete te i t 783 Ut Se | oes 6. (8b) sode’ sode djesao howi? djoya ‘So’o yegahgaide’ hoyane last night she told you about it, because of that she looks cross-eyed FIGURE 142. 238 BUREAU OF AMERICAN ETHNOLOGY [Buy. 187 Hand-in-hand Cornplanter Anwx Wahi ya yoo ant ne So eee yo wehi ya wega yo wehi ya - yooo wehine yo = ones | —3-=— Jones 2 ezeEmee Se ae Sa we ga yo ae ner { = o e s # @ we = se hawi ne yo hawi ne hi yo hoyane we i ho rege 2 Soe = ee ie aa 6. yowa = he yo- wano he - hoye = ae — = ee Ray Ee) = yaho wehe ne no ha yane erase eee Z Se I : wee hayane — goya hoya hohawi FicureE 143. KURATH ] IROQUOIS MUSIC AND DANCE 239 =e =e | yowi nee ha- Wii ne eu ne “ee = =a 22 2 Sas { ot = =f aN fo) weh o- Wellin \ \ yoo wehe y i ne = ee] Fast Dances 10. A Is z ae ee ao SS SS = : fe eof onan se he yone Be ayo paw he ee ee cee pee Se = T A yahawi ya A’ 3 3 ow > = reel wigano wiyo wega nowi ioe R ities een =a i * =a ; 5 ts — 4 = 0 A B wi yo Xx =. f — cae = wee huh Then Trotting Dance Figure 144. 240 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 Trotting Dance hegayo waahani % | A’ a See ie ere err eases — = s hono wi yo { SPA ap eae eee eer ieee = oha haaa hi 4 ya haao : | gee ee o-s2 <7 2 = wre gy = } ce : oa { Y : = 2h = = ee oad h heee hi i ee ese tae eee ee oe : ¢ ie Figure 145. KURATH] IROQUOIS MUSIC AND DANCE 241 pan Dance Black Chant papers te ery ae goya hawi nu yer f =————_= == = a = =e lal — l. J=104 AY m a ae 3 = —.— =| an att Walk A pS = == wit av yow! ne wi ya yow! ne Bt ere = == — oe a A a ie al tn re D 5 B ance = a SS SF sa Pe emo == a eee eae A Ke 4 = aT se @ OD == 4 S =| ya’a haya he Ss Sa gayo wani = : aS ——— See Sa SS : yo we ee > eae a = SS goya beya wihi ve a == Se. St ‘ | con ——— FIGuRE 146. : 634-599 O - 64 - 17 242 BUREAU OF AMERICAN ETHNOLOGY [BuLy. 187 Garters Dance oyahi gi oya hi yi yes g 5 Be A ») A wiye hi ya ' wi yehi ya uv ate ee eee == : wi ye hi ya = eae sss pele ereee eee eee se fafa eel se ae = = sai yoqui si A’ reomeiolee ho yiinstaia ee ee ee ee A“ AR s zi 8. saiyoguisi nonadeoho yunstaha it takes them off he is their friend she is crying (West Indians leggings) (the one who took off leggings) FIGURE 147. KvRatTH] IROQUOIS MUSIC AND DANCE 243 =e Pigeon Dance Shanks a mera rk rg ; yo wa ji ne cf. de F Abrams | Buck | gi Pe = See ee B =a aa == = a z nwehi yo ho ho wehi yo wehi yo wehi yo hai he A et @ ee : =o a a= 100 ' 2 za > oe i A 3 3 - a 3 SS == o— 7. so < [vert t = = Sse Se saa aa nye we hanodi yo yong he f > A SS 3. 3 yo no he yono he rp yo ha he da we ya yoda =. yoha — tesa == a ae is yo ha “he FIcurE 148. 244 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 48 eo eo _ ererase == == = Ceo ho geniwa geni wa —~, Wiye fhe ho hayogine ne whee ——— cere ya he € yehane C < B cs. S-John D Simei —— = b L hayuwanena ya ho == Saf ——e eee es D i e cf. J.John Cc SSS a BC “A_A A SEE I< ee ee a Se FIGuRE 149. KuratTH] IROQUOIS MUSIC AND DANCE 245 Shake - the - Bush Shanks Women Sing e baal rey gi wasase wa ser yogi Te a =e =i eens e ed yu we ha wiyo hi yo haaha ne ha hane see aoa eae fe ba me — he hi yo yahe ¢¢ ¢ ye george eee on ¥? ha'a'a ne Sao == Se a — hada ne oo ee | 1 and 2. (24a, b) yogiwasase(go on back the other way) (women reverse their direction) FicurRE 150. 246 BUREAU OF AMERICAN ETHNOLOGY [BULL. 187 Shake — the- Bush yu wi qane hoga ne yuwigane_ hohane =e Se eae mate eer B 2 r r = a SS SS SS o-, @ — = FIGurE 151. KURATH] IROQUOIS MUSIC AND DANCE 247 Robin Dance Cornplanter P 1) aje=}92 ' pa Se Sao ris =, = ae tal : =seae f a ro 5 as u et Soe i att J = 108-120 age = S| = FIGURE 152. 248 BUREAU OF AMERICAN ETHNOLOGY [Buny. 187 Meyers Fish Dance — Old B x papa eS — 2 vee oes wa Raya he no ya heya_ heya ho . A se e a7 ee Snecae Sogo seeeeaca eye nomeyye gayo wahi yo, af #6 rms a oOo es Ze: — = d= 112 -126 2 can 3. Lee eo ety ty aa A = yoha weno ye weno yeho yoha weno,ye weno yee = er ete Bese seS er: fr eae eras = =e =. citer Bose: rire fl heya yo hawe no- ye wenoya he he he gayo we heya —y rE 5. ye New teh Tet ae = =e = ‘e roi Fe! heya ga yowe he ney eee oer we hayo hiya gayowe — Ao “etc. “Seas == Ee a = yo hawe ae = heya pt et eee | aw~ hya we gaha yo gayo wane~ we gaha yo LL! 2 = : eat = eae oleese 2 d : c = =| we gahayo — ~ SS Sao FIGurRE 153. KURATH ] IROQUOIS MUSIC AND DANCE 249 Raccoon Dance Cornplanter eae Chant A A B Ee or at e+, @ 6 — (526 S SS = SSeS a= Ss Ss ae ae een BE ie ee ee | \ 2 ee f Dance A OEE eS = oe a B = SS z== A" ee hayo we weni yo Ae mete tee apy ee ieee er fs Depo epatece tr | ATA ES 1 aT me Ss 55 5=— See ayes ed 2 ——— a x FIGURE 154. 250 BUREAU OF AMERICAN ETHNOLOGY [BULL. 187 Chicken Dance Black AS ore) = C.J.John | pace Stes = aS = = 100-108 C.J. John7 ee Dance po Se ==> og oa yen = 108 - (6) 3. 44 12 PSS a ae yowe gano he~ weheni he — 4. = C.J.John 4 tise C.J.John 6 5 A : > et === Set ———— = B deswanyo donyoyano hayowano he ut he t {— a ——4 4 Se = S| B 5. deswa’ nyo donyano haygwanohe you women arise and choose a man FIGURE 155. KURATH ] IROQUOIS MUSIC AND DANCE 25 Cornplanter , 1936 Sharpen -a- Stick Curry i. yo 104 -Nl2 . J=ita-we 1951 a FIGURE 156. 22, BUREAU OF AMERICAN ETHNOLOGY [Buty. 187 Choose — a— Partner bo oetomveniic Cornplanter Patt titer ede tp te pd — = 2 SS > oe — ty ty Popes tty — az a oe SS Se 3. j =112-120 Su Se omer a ra eee ae eee esse ieee 4. pcm) Ihe eet 7200) Petit ate arate Bi SS ee | 5: FIGURE 157. KURATH] IROQUOIS MUSIC AND DANCE 253 Alligator Diance J=96 Cornplanter A e we noya wenoya . y y Wear est pet = 7 yodine yoding « o_ ¢ eo 2 = : ee B a yo he == = ze _2—_o-9 | — 2825 ° e | — an ho wi ha yo he Fishing Dance g=N2 Cornplanter FIGURE 158. 254 BUREAU OF AMERICAN ETHNOLOGY [BuLy. 187 Knee Rattle Dance I. J = 100-132 Black Aa 2 a “~~ yowe wi ga nowi ya Bh d FIGURE 159. KURATH ] IROQUOIS MUSIC AND DANCE 255 Grind- an- Arrow jz 2 Cornplanter I. A se a SS == aa ree ee gnyows ni XxX) 4:1 ABB R baa Pose Jab Te tt = A SS ; a2 yo ho B (2S SoS eS SSS See ° anh gayowani hat hai hai ef yo ho oho, eae ae A oe hd e s[_e aa @ : vet ————t f wegayo wani yeye ye Delaware Skin Beating Dance J= 69 Cornplanter B Chant = co wiyawe ni wiyaa wein wiyda we in ) Lf wino wi he winowi he~no howi ne- hi yaho - ho eae ss rom ya hegayo we Wino yowi wino he — = roe sere yo he hi no yo hehi no yahowe he goya heyohehinoyo he hi no eee Ss FIGuRE 160. 256 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 Devil Dance Shanks — aia a 2a a ne no we hane_ noo we heyohane yahe yaha Saerretats —— aaa = == hane na we yo heya a= fs 84 ah —— = RNAS : we ya yaho — yeya dadoge seno eee 4. hehe ya Be ho rae) ee 35% Pee Ot se we Sta “—~ yane doweya he — —— A ee ae 5. 4=80-96 ia pd eda sate mw ONE nigth d jago yo Sete = ER a Le D= 96 a os eee ee ee B | Soe Sa =s=c= Boma frou tab ist cata aiea se ur é ae 2 2 = cae pas ge mea emrepes Te em ' anaya ne awi ne ¥o NS ee ons A y y oS ge Gh anes FIGURE 161. KURATH ] IROQUOIS MUSIC AND DANCE 257 Story Songs ge g2 ie SS a = no D hu no a dee hase ge Qn = eae = —— 2. Re Sa lad e oO——~ as —_—— Ad ie he ya de ta gwi ste hage ng de = <4 a 7 225 wadiks sa'a go waso ho Moccasin Game l. J= 120 Cornplanter hewa gede ode yo dahgwa ye sy emeraesye 4 of Ee weya wehi ye wi ya jean Sere re aaa Se: = \ Salk aa = @: 9 -e— as Se + | =| t eo e wehi yee wehi ye ha wehi ye wehi ye FIGURE 162. 634-599 O - 64 - 18 258 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 187 Moccasin Game , Weyawi ye hawi ye hawi ye ae ue 2 Ss A- = ve SS Sa a Ae e mera 31 a z = ' we yawe weya we heye weyaweheye FIcurE 163. KURATH] IROQUOIS MUSIC AND DANCE 259 Show Songs c Zi j= 84 Funeral Songs (. Cornplanter we FIGURE 164. 187 PLATE 1 BULLETIN BUREAU OF AMERICAN ETHNOLOGY (u01US,T "NAA Aq poydes3010yg) er OL re ae >: “€.3 #8 ‘Iosuris ve Suyof AuuYyOof Addunvet puv ‘ladsayyiiey v ‘sudAoj}e otuur, ! | | TO [Ytte, i wl BUREAU OF AMERICAN ETHNOLOGY BULLETIN 187 PLATE 2 Fenton.) d by W.N. (Photographe [wo water drums on ground. r Albert Jones, a singer, with horn rattle. 3 BULLETIN 187 PLATE BUREAU OF AMERICAN ETHNOLOGY go ulOr) UddJL) 18 SIOSUIS pue Sfoly ») SAVE a Bae =e % ae A ike INDEX Abrams, Deforest, 22 Adonwe, individual chants, 91 (text and translation) See also Chants. Akron, INSY<, XLV, Alabama Indians, 68 Algonquian Indians, x11, xiv, 45, 68 Allegany Reservation, x1, x1v, 1, 21, 67, Allegany State Park, x11, x11, XIv, 67 Allegheny River, xiv, 1, 65, 70 Alligator cycle, 22 Alligator Dance, see Dance. Allouez, Claude, 65 American Philosophical Society Library, Xie Ki, XV Animal cures, dances of, 60-61 Animal mating, dances of, 60-61 Animal medicine rites, xiv, 9-13 Animals, mystic, 14 Animal spirits, shamanistic cures ad- dressed to, 9-13 Antiphony, 4, 5, 6, 9, 16, 18, 19, 20, 21, 23, 25, 30, 33, 34, 43, 44, 45, 46, 62, 63, 71, 118-120, 140, 142, 159, 168, 173-176, 216, 234, 237, 240-242, 253 (figs.) Arrows, 68 Artistry, 60, 71-72 Ashes, 10, 103, 104, 109 Ashes Stirring Ritual, see Rituals. Audubon, John James, 75 Automobiles, owned by Indians, 1 Bean Dance, see Dance. Beans, 16, 17, 20, 70 See also Festivals. Bear, claws of, 70 dreams of, 13 teeth, 70 Woodland black, 66 Bear clan, xv Bear Dance, see Dance. Bear Society Dance Songs, 13 Beaver clan, Xv Bench, singer’s, 27, 53, 54, 70 Benches, wooden, 1, 4, 5, 6, 7, 12, 16, 27 Berries, 2, 70, 111 juice of, sacramental, 13, 67 Bird rites, 37 Birds, 67-69 Black, Edward, 2, 38, 46, 47, 48, 73, 91, 93, 94 Blair, Emma, editor, 67, 75 Bow and arrow, 5 Bowl game, 18 Box turtle, used in dance, 16 Breechclouts, 10 beaded, 5 Broom, Leonard, 77 Broom, used in dances, 16 Buck, George, 73 Buck, William, 73 Buffalo, N.Y., 1, 65 Buffalo (Bison bison), 65-66, 70 dreams of, 12 Plains, 65 Woodland, 66 Buffalo Creek, near Buffalo, N.Y., 65 Buffalo Dance, see Dance. Buffalo Society Dance Songs, 12-138, 30, 74 Bureau of American Ethnology, x—XII Burgess, Thornton W., 75 Bushy Heads, 10 Butler, Sadie, x111, 2, 73 Cane, used in dance, 7, 10 Carmichael, Leonard, 11 Carolina, North and South, 65 Carry-out-the-kettle Dance, see Dance. Catlin, George, 66, 75 Cattaraugus origin of songs, 19, 21, 46, 91, 94 Cattaraugus Reservation, 1, 2, 19, 21 Cayuga Indians, xiv, 21, 26, 73 Cayuga longhouse, 73 Ceremonies, Coldspring, XIII, 3-6, 45 cycles of, 2 medicine, xv, 2, 10, 64 summer food, xv, 2 war, XI, 8 women planter’s towisas, XIII, XV Chafe, Wallace L., xiv, Xv, Xv1, 738-75 Champlain, Samuel de, 70 Changing-a-rib Dance (deswandényg’), see Dance. Chants, fifth, 34 fourth, 34 individual, 30, 73, 61-62 men’s, 6, 11, 38, 54, 105-106, 121, 133, 200 monotone, 34 prayer, 5 second, 34 semitone, 34 seventh and octave, 34 sixth, 34 third, 34 EXSViau ss 261 262 BUREAU OF AMERICAN ETHNOLOGY three-quarter tone, 34 tobacco invocation, 12 women’s, 16, 159 Charm bundle, 13 Cherokee ceremony, 16 Cherokee dances, see Dances. Cheyenne Indians, 45 Chicken Dance (dagiie? Geno’), see Dance. Chippewa Indians, 70 Choctaw Indians, 68 Choose-a-partner Dance, see Dance. Clowning, 9-10, 20, 53, 65, 71-72 Coldspring drum dances, 45, 47 Coldspring Jonghouse, xI, x11, XIv, 2, USBI, PA. Cow OD) Coldspring Reservation, x1, x1, XIv, 2, ATO O OLS) LOR 22s Columbia University, x1 Common Faces Dance (hodiggséska’a), see Dance. Condor, California, 67 Condor Dance, see Dance. Conductor, dance official, 13, 24, 71 Conklin, Harold C., and Sturtevant, William C., 4 Corn, cultivated, 2, 16, 17, 111-112 soup, 102 Corn Dance (onéont? deng’), see Dance. Corn-husk masks, 10 Cornplanter, Jesse, x11, 2, 20, 45, 46, 47, 48, 73, 91, 93, 94 Cornplanter Reservation, xiv, 18, 32 Costumes, dance, 5, 10-11, 12-13 Cramps in shoulders, cure for, 12 Creator, Indian God, xiv, 2, 4, 5, 70 rituals addressed to, 4-6, 35-36, 41, 50, 55, 64, 73, 79-80, 91 Creek Indians, 68 Cures, rituals for, 9, 12, 41, 55, 64 Curing songs, 11, 12, 13, 41, 60, 64, 70, 74 See also Medicine rites. Curry, Edward, 2, 8, 18, 19, 20, 23, 25, 28, 48, 73 Cycles, 2, 4-26, 27, 29, 31, 35, 40, 42, 46, 49, 59, 62 Dance: Alligator, 26, 36, 39, 41, 63, 70, 72. 74 analyses, 50-58 assistants, 16 Bean, 20, 45, 70, 74 Bear, 13, 21, 27, 28, 31-34, 36-39, 41, 44-45, 47, 49, 52, 55, 59-61, 63-67 Buffalo, 12-13, 23, 27, 31-34, 36, 38, 41, 44, 45, 47, 49, 52, 55, 60- 61, 63-66, 67, 89 (fig.) Carry-out-the-kettle, 15, 32, 34- BY dant) Changing-a-rib (deswandényo’), 15, 29-32, 34, 36-44, 46, 52, 55, 60- 62, 74 Cherokee, 25, 53, 70 [BuLu. 187] Chicken (daga’e’? 6eng’), 25, 27-28, 31-32, 37, 41-48, 55, 57, 65, 74 Choose-a-partner (deyqndenyot- ges), cousins’ dance, 25, 35, 41, 55, 74 choreographic analysis of, xm, 50— 59 common face (hodiggséska’a), 9, 81 Condor, 67 Corn (onégt? 6eng’ or corn song), 18— 20, 25, 27, 31-82, 34-39, 41-42, 45-46, 48, 52-53, 55, 61, 64, 70, 74, 90 costumes, 5, 10-11, 12, 13 cycles, 3, 4-27 Dark (deyédasodaigo), 13-15, 17, 35-36, 39, 41, 44, 52, 55, 60, 62, 65, 74, 88, 148-149, 217-218 Deer, 70 Delaware, 34, 36, 39, 41 Delaware Skinbeating, 255 Devil (djfhaya), 25, 31, 34, 36-39, 41, 52, 74,94 (text and translation) Drum, 5-6, 17, 30-45, 47, 52-56, 58-59, 61-63, 65, 71-73 Duck (twen? deng’), 22-23, 30, 32, 34, 36, 38, 41, 438, 46, 52, 55, 61, 63, 68, 74 Eagle (gané’gwi’e’), 6-8, 28, 30- 38, 40-47, 49, 50, 52, 55, 57-58, 61, 63-64, 67, 73 False faces, 9-10, 17, 27, 32, 34— 44, 46-47, 50, 52-55, 57-58, 61- 63, 65, 81 (text and translation) Feather (’ost6? we’go- wa’), 2, 4-5, 9, 16, 27-29, 32-34, 36-38, 40- 45, 50, 52-59, 61-63, 73, 79 (text and translation) Food, 2, 16—21, 51, 54, 70, 74, 111- 112, 196, 229-239 functional relations, 41, 55, 70-71 function of, 4-11, 13, 15-21, 23 Garters (dewatéihasio’), 21, 27, 31- 32, 34-38, 41, 46, 52-55, 74 gifts during, 15 Grinding-an-arrow (ganoge¢yg’), 25, 41, 74, 255 Hand-in-hand or Linking-arms (deyodandso:ta?), 20, 27-28, 30, 32-37, 39, 41-43, 46, 48, 52, 53, 55, 61, 72, 74 Knee Rattle, 25 leader of, 5, 16, 27, 45 Little Water, 30 Marriage (hadiwaniyas), 26 New Fish, 35, 41, 48 New women’s Shuffle, 17-18 Oklahoma Round Victory, 45 Old Fish, 34, 41-42, 48 partners, 25, 71 Passenger Pigeon or Dove (djah- gowa 6eng?), 22, 27, 30, 32, 34-36, 39, 41-44, 52, 55, 61, 69, 70, 74 Plains Calumet, 67 INDEX Quavering (fyonda:tha?), 14-15, 31, 33-36, 38-42, 44, 46-49, 52, 55, 60-62, 74, 88 (text and transla- tion) Raccoon (djoéga? éeno’), 24-25, 34, a: 41, 45, 52-53, 55, 58, 65, 69, 4 Robin (djowiydaik deng’), 23, 27, 32-34, 36, 38, 39, 41-44, 46, 52, 55, 59-60, 63-64, 69, 74, 89 Round (ganényahgwe’), 9, 11, 138, 32, 36, 42, 45, 52, 81, 82 Sealping (ganehg), 8-9, 28, 55, 61, 62, 74 script, 51, 58, 79, 101 Shake-the-pumpkin (gashédodadg’), 21, 34, 41, 43, 52, 55, 60, 74 Shaking-a-bush or Naked (gasgoi- -gdado’), 22-24, 27, 30, 32-37, 39, 41, 43-44, 52, 54, 61, 74, 91 Shaking-the-jug, 21, 43 See also Shake-the-pumpkin. Sharpen-a-stick (wa’en otiyo), 25, 41, 43, 48, 53, 55, 74 Snake, 25 sponsor of, 10, 15 Squash, 21 Standing Quiver, 74 steps, 9-11, 17, 19, 21-24 Stomp, 50, 52, 55, 64 Striking-the-stick (pole) (wai’eno’ e’), 7-8, 30, 41-48, 51-52, 54, 55, 57-58, 61, 73 structure, 52-54, 64, 69 Sun, 64 Thanksgiving or Drum (gané 6 9), 5-6, 41, 73 Thumbs-up, 9, 81 Trotting, 31-32, 34-39, 41, 45-46, 65, 74 See also Stomp Dance. Victory, 8, 15 War (wasa’’se’), or Thunder Rite, 8-9, 31-39, 41, 43-44, 46, 52, 54, 56, 57-58, 61, 64, 73 momen Shuffle, 2, 13-18, 41, 55, Dancers, 15, 50, 71 False Faces, 10, 27, 37, 82 female, 37 male, 45, 50, 58, 63 See also: names of specific dances. Dances, xv, 2, 4-10, 13-17, 19-24 agricultural, 61, 62 and rites, Indian names for. 73-74 animal cures, 61 animal mating, 61 Calumet, 67 Cherokee, 53, 70 contours of, 44-45 Creek, 68 fish type, 23-25, 31, 90, 94 interlonghouse variations of, 19 miscellaneous, 74 occasions for, 4-11, 13, 14, 16-21, 23 Seneca variations of, 19 263 setting of, 50 Siouan origin of, 8 social, 2, 19, 21-25, 30, 35, 37, 41, 45, 50-52, 54, 58, 61, 64, 65, 74 songs for, 4, 5, 6, 8, 9, 11, 13, 14, 16, AEDS uO 2223, el stomp type, 21-25, 31, 55, 90, 94 time dimensions of, 61—62 women’s, 61 Yuchi, 68 Dance steps: crouching hop, 57 Drum Dance, 57 False Face round, 56 Feather Dance, 57 Fish Dance, 56 forward stomp, 56 hop-kick, 9 jump-kick, 57 pat-step or step-pat, 56 “Scotch snap,” 11 side stomp, 56 Dark Dance (deyédasodaigg), see Dance. Deardorff, Merle H., x1v, 72 Death Feast, 15, 55, 63, 74 See also Ohgiwe. Debility, general, treatment for, 13 Deer, 70, 102 Deer clan, xv, 70 Deer Dance, see Dance. Delaware Dance, see Dance. Densmore, Frances, 68, 75 Deskaheh, Cayuga chief, x11, 47, 73 Devil Dance, see Dance. Dew Eagle (shada’géa’), eagle god, 6 Doorkeepers, dance officials, 10, 52 Dowdy, Lyn, 2, 18, 19, 23, 73 Dreams, fulfillment of, 6, 12, 13, 14, 50 Drum, water, 5, 6, 7, 8, 12, 14, 15, 16, 17, 21, 22, 23, 24, 25, 36, 53, 64 Drum Dance, see Dance. Drum Dance rite, 30 Drum dance step, 8 Drunkenness, 72 Duck, 68-70 American Golden-eye, 68 Black, 68 Mallard, 68 traps, 68 Wood, 68 Duck Dance (twen? deng’), see Dance. Dungarees, 10 Eagle (Aquila), 67, 68, 70 bald, 67 Eagle Dance (gané’ gwié’e’), see Dance. Eagle Rite, Seneca, 67 Eagle sickness, ceremony for, 6 Ecology and mime, 65-71 birds, 67 fish, 69-70 functional change, 70-71 mammals, 65-67 Eel clan, xv Enskanye (eskinye), 5, 8, 10, 15, 16, 17, 18, 23-27, 56, 59, 92, 93, 98 264 See also Women’s Dance. Erie Railroad, 2 Face blackening of men, 16 False Face Company, curative function of, 9-10, 74, 91-93 (text and translation) False Face Dance, see Dance. False Faces, men’s society, 60 Fans, feather, 7 Farming, xv Feast for the Dead (ohgfwe), 15, 52, 55, 63, 74 Feather Dance: step, 5 women’s step, 4 See also Dance. Feather headdress, men’s, 5 Feathers, 70 Fenton, William N., x1, xvi, 1, 2, 4, 10, 11, 12, 15, 20, 28, 49, 61, 69, 70, 75, 76, 77 Fenton, William N., and Gulick, John, eds., XIII, XIV Fenton, William N., and Kurath, Gertrude’ Poyexim,- xv, a7 15, 29, 42, 46, 67 Festivals, Food Spirit, 2, 20, 21, 50, 51, py he) Green Bean, 16, 19 Green Corn, x11, 2, 4, 5, 16, 18 Maple, 69 Maple Planting, 19 Midwinter, x11, xv, 2, 4, 5, 6, 9, LOF M2 1S Lord 823143550 Planting, 4 Strawberry, 4 Thanksgiving, xv, 5, 6, 11 Fieldwork, x1—x11, 1-2, 51 Fish (Pisces), 69, 70 Fish (gedzé’eng’), 10, 17, 23-25, 27, 31, 33, 36-37, 39, 41-46, 48, 50-52, 54-58, 61, 63, 65, 69-70, 74 Fish Dance, see Dance. Flageolet, six-hole, 27 Floors, wooden, 1 Food Spirits, rituals and dances ad- dressed to, 16-21, 41, 55, 74, 88-90, 93 Food Spirit Sisters, 10 Fox River, Wisconsin, 65 Furs, 70 Garfish, 69 Garters Dance Dance. Geese, 68 Gibson, Simeon, 73 Gifts, 7, 15 Great Feather Dance. Great Lakes, 68, 69, 77 Great Plains influence, 62 Great Spirit Bear, relation to illness, 67 Grimson, Ludlow, 75 Grinding-an-arrow Dance, see Dance. (dewatéihdsio’), see Dance, see Feather BUREAU OF AMERICAN ETHNOLOGY [BuLu. 187] Guns, 68 Hall, E. Raymond, and Kelson, Keith R., 65, 66, 76 Hallowell, A. Irving, 66, 76 Hand clapping, dance routine, 6 Hand-in-hand or Linking-arms Dance, see Dance. Handsome Lake, Seneca prophet, xiv, KiVin Clergy OD code of, xiv, 72 Harvest Festival, 16, 17, 19 Hawk clan, xv Headdress, 5 Headwoman, 16 Helper, dance character, 12, 14, 45 Heron clan, xv Herzog, George, XI, XIII, Xv Hess, Gertrude, XIII, xv Huckleberry juice, communion with, 13 Hunt ceremonials, x1v, 66, 67, 70 Huot, Martha Champion, x1, 28 Husk Faces or Bushy Heads, 9, 10-11, 27, 29, 31, 34, 36,:37,'38, 41, 43, 47, 52, 55, 58, 61, 74, 81, 82, 83 text and translation, 93 Improvisation, 8, 15, 20, 53, 57, 58, 72 Indiana University Archives of Folk and Primitive Music, x1 Institute of Human Relations, x1 Instruments, musical, 1, 10-23, 27, 28, 36-37, 62 See also: Drum; Rattles. Troquois Dew Eagle, supernatural eagle, 67 Iroquois Indians, x1-—xv, 1, 46, 61, 63, 65-67, 69-70, 71, 103 ceremonialism of, 35, 40, 50-51, 58 choreography of, 54, 65 dance dress of, 5 music of, 30, 40, 44 Troquois League, xiv, 62, 103 Iyondatha, see Quavering. Jamieson, Esther, Mohawk woman, xII Jimerson, Avery, 2, 19, 20 John, Willie, 73 Johnny John, Amos, x1, 2 Johnny John, Arthur, x11, 2 Johnny John, Chauncey, x11, 2, 12, 13, 23, 25, 28, 33, 46, 47, 48, 51, 73 Johnny John, Pearl, wife of Arthur, Dat 4 Johnny John, Richard, x11, 2, 73 Jones, Albert, x11, 2, 19, 20, 23, 25, 28, 42, 45, 47, 48, 51, 53, 73 Jones, Geneva, XVI, 2 Jones, Volney, xvI Kelson, Keith R., 76 Kentucky Blue Licks, 65 Kinietz, W. Vernon, 70, 76 Knee jingles, 5 Kurath, Edward, xiII Kurath, Ellen, xr INDEX Kurath, Gertrude P., xr, 10, 15, 16, 19, 23, 46, 49, 62 Lacrosse, game, 8 Lake Erie, 65 Lassitude, cure for, 14 Leggings, 5 Lewis, Thomas, 73 Library of Congress, xI, x11, 77 Licking Creek, near Allegheny River, 65 Lingelbach, William E., xv Little Red Wing, adapted song, 18 Little Water Medicine Ritual, 8, 11, 12, 27 dance, 30 Logan, Joseph, 47, 73 Longhouses, xI-xv, 1, 2, 3, 9, 16-21, P2850; CG; 20a, LOO it aton nels 101, 104, 106, 112 and the people, 1-2 Mammals, imitations of, 65-66 Mandan Indians, 61, 66 Maple Festival, 69 Maple Planting Festival, 19 Maple sugar, 69 Marching song, 9, 11, 16, 81, 89, 91 Marriage Dance, see Dance. Maskers, 9-12, 58, 63, 109 See also False Faces, Husk Faces. Masks, corn husk, 10 costume, 10 Mason, Bernard, 4 Maximilian, 76 Medicine, salt clay administered as, 13, Medicine Company or Society of Sha- mans, 11-13, 74 Medicine Men’s Rite, 23, 27, 33, 70 Medicine rites, xiv, xv, 2, 9-16, 23, 27, 46, 54, 58, 60, 64, 70, 103- 110, 194-195 Menomini Indians, 69 Men’s shamanistic medicine societies, Meskwaki Indians, 66 territory of, 65 Messenger, dance character, 13 Messenger’s songs, 11, 12 Michigan Academy of Science, Arts and Letters, X1I1 Midpantheon, rituals addressed to, 6-9, 27, 36, 38, 40, 41, 55, 63, 73, 81- 90, 91-94 Midwest, 46 Mime, 9, 10, 12, 13, 59, 64, 65-72 Mississippi River, 65 Moccasin game, 37, 38, 39, 41, 74, 94 Moccasins, 5 Mohawk Indians, xiv Moieties, x1v, xv, 1, 16, 27, 50, 67, 71 I, clans composing, xv II, clans composing, xv Morgan, Lewis H., 1, 24, 76 265 Music, analysis of, 27-49, 62 melodic contours of, 44—45 melodies in, 37-40 meter of, 40 one or two themes in, 43-44 ornamentation of, 38 recordings, list of, x1 relation of action to, 58-59 relation of patterns of, to present ritual functions, 62-63 structure of, 40-44 See also: Song; songs. Muskrat, 84, 106 Mutual aid societies, x1v Naked Dance, see Shaking-a-bush Dance. Nedrow, N.Y., X1II Neuritis, cure for, 14 Neurotic spasms, cure for, 13 New Fish Dance, see Dance. New Mexico Pueblo Indians, 66 New Women’s Shuffle Dance, see Dance. New York, x11, xiv, 1, 65 Officials, ritual, xiv, xv, 4, 10, 13, 50, 71, 101, 104 Ohgiwe Ceremony, 15, 41, 48, 88 Ohsweken, xtr Oklahoma, 45 Oklahoma Round Victory Dance, see Dance. Old Fish Dance, see Dance. Oneida Indians, xIv, Xv Onondaga Indians, xiv, 64, 67 Onondaga longhouse, x11, 2, 73 Onondaga Valley, 2, 73 Ontario, 65, 73 Osage Indians, 8 Owl, 84 Paddles, wooden, 10 Parker, Arthur C., 14, 76 Passenger Pigeon Dance é6engo?), see Dance. Patient, part in dance, 12 Pennsylvania, XIV Peters, Gordon, 73 Phonetic transcriptions, note on, XvI Phratries, see Moieties. Pigeon, Passenger, 69 Pigeon (Coluwmbidae), 69, 70 Pipe smoking, medicinal, 13 Plains Calumet Dance, see Dance. Plains Indians, 45, 62, 66, 67 Planters, Women’s Society, 2, 6, 16, 17, 19, 70 Planting Festival, 4 Plants, 65, 70, 72, 102 Potatoes, 16 Prayers, 5, 16, 50, 51, 71 Pulsation, dance and song, 4, 15, 34, 38, 47, 59, 63, 64 Quaker Bridge, N.Y., xiv, 1 Quaker missionaries, xIv, 70, 71 Qualla Cherokee Reservation, N.C., x11 (djahgowa 266 Quavering (fyonda-tha?) Dance, Dance. see Raccoon Dance, see Dance. Randle, E. P., x1, 28 Randle, Mrs. E. P., see Martha Champion Huot. Rattle pattern, part of dance, 7 Rattles, 5, 7, 8, 12, 29, 46 Feather Dance, 37 gourd, 7, 11, 17, 21 horn, 5, 6, 8, 14, 16, 18, 20—28, 27 turtle or tortoise, 4, 9, 10, 16, 27, 62 Raven, 84 Redeye, Henry, 2, 8, 47, 73 Redeye, Sherman, 2, 7, 12, 21, 47, 73 Red House, N.Y., x1II Renewals, 6, 9, 11, 23 Reservations, White encroachment on, 1 Ribaldry, 72 Rituals: addressed to food spirits, 16—20, 41, 55, 74, 88-90, 93 addressed to the Creator, 4-6, 35, 36, 41, 50, 55, 64, 73, 79-80, 91 addressed to the Midpantheon, 6-9 agricultural, xiv, 16, 17, 30, 45, 50, 61, 63 Ashes Stirring, 6, 9, 34, 37, 39, 40 Curing, 12, 64 Little Water Medicine, 8, 11, 12, 27 Medicine Men’s, 23, 27, 33, 70 Sun, 7, 31, 34, 35,36, 37, 38, 39, 41; HO Gono omlOz Thunder, 9 Yeidos Medicine, 30, 31, 32, 33, 36, 37, 39, 41, 48, 44, 46, 63, 64 Roberts, Frank H. H., Jr., 1 Robin, American, 69, 70 Turdidae family, 69, 70 Robin Dance, see Dance. Roe, Frank Gilbert, 65 Round Dance, see Dance. Rounds, dance formations, 52-54 Sachs, Curt, xv Sagard, Theodat Gabriel, 76 St. Regis area, 8 Salamanca, N.Y., xIv, 1 Salt clay, administered as medicine, 13, 66 Seales, monotone, 30 quartal, 30, 45 secundal, 30 tertial, 30, 46 Scalp, 28 former dance property, 8-9 Scalping Dance (ganehd), see Dance. “Seotch snap” steps, 11 Seneca Indians, xtv, 1, 24, 65, 66, 67, 68, 69, 70, 72 dances of, 54, 68, 72 longhouses of, 22 Sexes, XIv, Xv, 71 alternation, 21, 25, 52, 53, 54 BUREAU OF AMERICAN ETHNOLOGY (BULL. 187} choreographic arrangement, 1, 10, 87-90 dance relations, 20, 50, 52, 53, 71 ritual interaction, xIv, 25 roles, xv, 16, 50 separated, 1) 16,121,850; Sivo2nevil together, 52 Shake-the-pumpkin Dance (gashédo- dadg’), see Dance. Shaking-a-bush Dance (gasgoigdadg’), see Dance. Shamanism, 61, 70 Shamanistic cures, addressed to animal spirits, 9-13, 55, 74, 81-88, 91 Shamans, see Society of Shamans. Shanks, Robert, 2, 46, 47, 48, 73, 91, 94 Sharpen-a-stick Dance, see Dance. Shawls, 10 Shawnee Indians, 20 Sheep, 93 Shirts, 5 Shoulder hunching, pathological, treat- ment for, 66 Shryock, Richard H., x11 Singers, XI) 1,1°2;°4; 1.5; G14 716) ai, 18-26, 45, 49, 50, 53, 54, 63, 71, 73-74 Singing, 16, 27, 28, 46-48, 51, 63 See also Voice. Singing societies, xIv, 71 Siouan origin, 8 Sioux war bonnets, 5 Six Nations Reserve, x11, x11I, 2, 15, 20, 21, 22, 26, 64, 73 meetings of, xiv, 4, 17, 19, 21, 22, PAs PAO) Skins, animal, 70 Skirts, 10 beaded, 5 Smithsonian Institution, 11 Smocks, women’s, 5 Smoke, Perey, 47, 73 Snipe clan, xv Snow, Jonas, 2, 25, 73 Societies: men’s, 9-13 mutual aid, xiv, 17 women’s, 13-16 See also Planters; Society of Sha- mans. Society of Shamans, 11-12, 55, 70, 74, 82-88 (text and translation) See also Medicine Company. g: Alligator, 26, 36, 39, 41, 63, 70, 72 Ashes Stirring, 73 Big Bread, 22, 41 Cherokee, 25 Choctaw, 68 Dawn, 73, 111 Drum, 71 Eagle, 28, 29, 30, 31, 122-125, 202- 203 Enskanye, 30, 31, 160-167, 229-233 False Face, 29, 129-130, 207-208 fishing, 25, 74 Son INDEX Grinding-an-arrow, 25, 36, 37, 38, 41, 74 Husk Face, 28, 36, 38, 41, 43 Knee-rattle and Devil Dance, 25, 31, 32, 34-38, 41, 74 Little Red Wing, 18 marching, 9, 11, 16, 81, 89, 91 Planters, 41 sponsor’s dance, 81 Stirring Ashes, 9 See also Songs. Songs, xv, 2, 4 adapted, 18 and dances, study of, 2-6 Bear, 21, 28, 31, 141-142, 214— 216 (figs.) Bear Society Dance, 13, 74 Buffalo Society Dance, 12-13, 30, 74 curing, 11, 64 garter, 31, 176, 241-242 Hand-in-hand, 28, 30, 31, 169-172, 236-239 individual, 48 leader of, 14, 16, 27 messenger’s, 11 middle, 11 modern, 61 nuclear construction of, 40—42 quartal and composite, 35 secundal and small-tone, 35 show, 41, 49, 74 story, 41, 94 (text and translation) structure of, 42-43 tempo of, 36, 71 tertial, 35 throwing, 11, 93 tonality of, 11, 13, 20, 29-36, 46, 47-49, 62 Tonawanda, 46-48 Yeidos throwing, 42, 49 See also Song. Soursprings Cayuga longhouse, xu, 20, 23 Southeast, 45, 62 Speaker, at dance ceremonies, 5 Speck, Frank, x1, xv, 8, 20, 68, 70, 77 Speeches, 6, 7, 8 Spirit Buffalo (dyonyosquat), 66 Sponsor, dance figure, 10, 12, 13, 15 Squash, 16, 17, 21 Squash Dance, see Dance. Standing Quiver Dance, see Dance. Staves, carried by dancers, 10, 27 Stevens, Fannie, x1, xv, 2, 23, 28, 50; 51 Stevens, Willy, 18, 25 Stove, men’s, 54 iron, 1, 16 Strawberry Festival, 4 Sturtevant, William C., 4, 16, 75, 76 Sun, patron of war, 8, 67, 102 Sun Dance, see Dance. Sunfish, 69 Swans, 68 267 Thanksgiving festival, xv, 16, 635,65:u71 See also Drum Dance. Therapeutic effects of dances, 64 Three Sisters (corn, beans, and squash), 16 Throwing songs, see Songs. Thumbs-up Dance, see Dance. Thunderbird, supernatural eagle, 67 Thunder Rite, see Rites. Tobacco invocation, 6, 9, 12, 13, 103- 104 5, 6, Tonality, composite scales, 33 focus in, 32-33 progressive intervals of, 33-34 range or compass in, 34-35 weighted scales in, 29-32 Tonawanda longhouse, XI, xIv, 1, 69, 73, 91-94 songs and texts of, 91-94 Tonawanda Reservation, XI, XIII, XIV, KV l= Lo; 6; 08, 195 205 25; 31, 34, 38, 45 Tonawanda singers, 2 song cycles of, x11, 3, 4, 5, 6, 15, 16, 18, 19, 20, 28; 31, 34, 38, 45, 46, 47, 48, 49, 69, 73 Tonawanda songs, 46, 47, 48 Towisas ceremony, Coldspring, xl, xv women planters’, 6, 16, 27, 28, 43, 44, 52, 55 See also Planters. Tractors, 2 Transvestitism, 11 Treatment of sick, 13 Turtle clan, xv Tuscarora Indians, xIv U.S. Indian Service, x1 University of Michigan, xt, x1 Linguistic Institute, x11 Ursus americanus americanus, 66-67, 70 Vegetables (djoh’ehkg), 16 Voegelin, Carl, x11 Voice, 5, 9, 13, 14, 22, 25, 27, 36, 49, 63, 655 101; 102 Wallace, Anthony F. C., xiv, 77 Wands, feather, 7 War bonnets, Sioux, 5 War ceremonials, xv, 8 War Dance, see Dance. Wasase Indians, Omaha band of the Osage, 8 war dance of, 54 Wenner-Gren Foundation for Anthro- pological Research, XI, XIII Wied-Neuweid, Maximilian Alexander Philip, Prinz von, 77 Whistle, musical instrument, 27 Winnebago Indians, 69 Witthoft, John, x11 Wolf, 84, 93 268 BUREAU OF AMERICAN ETHNOLOGY [BuLu. 187] Wolf clan, xv Women’s Society of Planters (togwisas), Wolf River, Wisconsin, 65 2, 6, 16, 27-28, 48-44, 52, 55, Women, Medicine Society, dances, 13- 70, 89-90 (text and translations) 16, 60, 61 Woodland tribes, 46, 66 old style dances of, 60 rituals of, 41 J : : role of, in daily life, xv Felder en eee 60, 93 (text and ) Se re tes vranslation Women’s medicine isovicties, 413-197 27,,| V cidos! miedicine:itey30n 314. 32032 tae: 35, 37, 46, 55, 74, 88 (text and Fa ete ae i Ud os translations), 93 text and translation, 93 Women’s Old Time Shuffle Dance, see} Yeidos throwing songs, 42, 49 Dance. 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