SMITHSONIAN INSTITUTION1;\,*S ^ BUREAU OF AMERICAN ETHNOLOGYlU "^'^ *'* ' BULLETIN 187IROQUOIS MUSIC AND DANCE:CEREMONIAL ARTS OF TWOSENECA LONGHOUSESBy GERTRUDE P. KURATH
U.S. GOVERNMENT PRINTING OFFICEWASHINGTON : 1964
For sale by the Superintendent of Documents, U.S. Government Printing OflSceWashington D.C.. 20402 - Price $1.50 (Paper)
LETTER OF TRANSMITTAL
Smithsonian Institution,Bureau of American Ethnology,Washington, B.C., March 30, 1962.Sir: I have the honor to submit the accompanying manuscript,entitled "Iroquois Music and Dance: Ceremonial Arts of Two SenecaLonghouses," by Gertrude P. Kurath, and to recommend that it bepublished as a bulletin of the Bureau of American Ethnology.Very respectfully yours, Frank H. H. Roberts, Jr.,Director.Dr. Leonard Carmichael,Secretary, Smithsonian Institution.
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CONTENTS PAGEForeword xiThe investigations xiThe longhouses xiiiNiawe _. xvLinguistic note xviPakt 1. Description and analysis 1Introduction \The longhouse and the people \The study of the songs and dances 2The dance cycles 4Rituals addressed to the Creator 4Great Feather Dance 4Thanksgiving or drum dance 5Individual chants of men 5Rituals addressed to the midpantheon gAshes stirring gEagle Dance gStriking-the-stick (Pole) Dance 7War Dance or Thunder Rite gScalping Dance gShamanistic cures addressed in part to animal spirits 9False Face Company gHusk Faces or Bushy Heads 10Medicine Company or Society of Shamans HBuffalo Society Dance songs 12Bear Society Dance songs I3Women's medicine societies 13Dark Dance I3Quavering 14Changing-a-rib I5Feast for the Dead I5Rituals and dances addressed to the Food Spirits IgSociety of women planters IgWomen's ShufHe Dance IgCorn Dance IgStomp or Trotting Dance I9Hand-in-hand or Linking-arms Dance 20Social Dances?stomp type 21Shake-the-pumpkin or Shaking-the-jug 21Garters Dance 21Passenger Pigeon or Dove Dance 22Duck Dance or Song 22Shaking-the-bush or Naked Dance 22Robin Dance . 23inMITSSOiiai |,r^T^ ^m\\\%mi APR 3 igg^:
IV CONTENTSPart 1. Description and analysis?ContinuedThe dance cycles?Continued pageSocial Dances?fish type 23Fish Dance . 23Raccoon Dance 24Chicken Dance 25Sharpen-a-stick 25Choose-a-partner 25Miscellany of songs not adequately recorded at Coldspring, butin Tonawanda series 25Fishing 25Cherokee Dance 25Grinding-an-arrow 25Knee-rattle and Devil Dance 25Alligator 26Marriage Dance 26Musical analysis 27The material 27Performance 27Instruments 27Singing 27Method of study 28Transcription 28Comparative procedure 29Nucleus and development 29TonaUty 29Weighted scales 29Focus 32Composite scales 33Progressions?intervals 33Range or compass 34Summary 35Tempo 36Rhythmic figures 36Instruments 36Melodies 37Meter 40Structure 40Nuclear construction 40Consecutive construction 42Distribution 42Manipulation 43One or two themes 43Pattern analysis 44Contours 44Types of antiphony 45Interlonghouse variation and personal creativity 46Summary 49Choreographic analysis 50Performance 50The setting 50Participation 50
CONTENTS VPart 1. Description and analysis?ContinuedChoreographic analysis?Continued pageMethods of study 51Transcription 51Comparative procedure 51Ground plans 51Rounds 52Straight lines 54Distribution 54Steps 56Walk 56Side stomp 56Forward stomp 56Pat-step or step-pat 56False Face round 56Fish Dance step 56Feather Dance step 57Drum Dance step 57Women's Feather Dance step 57Women's Shuffle 57Jump-kick 57Crouching hop 57Body action 57Relationship of action to music 58Function and form 60Choreographic and musical grouping 60Time dimension 61The relation of musical patterns to present ritual functions 62Physiology and psychology of performance 63Ecologj^ and mime 65Mammals 65Buffalo 65Bear 66Birds 67Eagle 67Duck 68Passenger pigeon 69Robin 69Fish 69Functional change 70Artistry 71Focus 71Interaction 71Structuralism 71Tradition and flexibility 72Solemnity and gaiety 72Realism and stylization 72Appendix 73Singers and their longhouses and dates of recording 73Names of dances and rites 73Bibliography 75
VI CONTENTS PAGEPart 2. Songs and texts of coldspring longhouse 101Texts 101Dance script 101Rituals addressed to the Creator 101Rituals addressed to the Midpantheon 103Shamanistic cures 103Women's Medicine Societies 110Rituals addressed to the Food Spirits 111Social dances?Stomp type 112Social dances?Fish type 112Part 3. Songs and texts of tonawanda longhouse 193Rituals addressed to the Creator 193Rituals addressed to the Midpantheon 193Shamanistic cures 193Women's Medicine Societies 195Rituals addressed to the Food Spirits 195Social dances?Stomp type 196Social dances?Fish type 196Miscellany of songs 196Tables
1. Dance function and musical characteristics 412. Dance function and choreography 55
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 PAGE1
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Scales 792. Scales 803. Scales 814. Rhythmic figures 825. Rhythmic figures 836. Rhythmic figures 847. Rhythmic figures 858. Rhythmic figures 869. Rhji;hmic figures 871 0. Contours 8811. Rounds: One sex 8912. Rounds: Sexes segregated 9013. Rounds: Sexes alternate 9114. Rounds: Paired, double file 9215. Rounds: Side twist, double stomp type 9316. Feather dance 9417. Fish dance type 9518. Straight lines _ 9619. Stick figures of False Faces and Wasase War dancers 9720. Steps : Stomp and fish types 9821. Steps: Women's, men's 9922. Jumps and kicks, and musical symbols 100PART 2. SONGS AND TEXTS OF COLDSPRING LONGHOUSE(*=With dance script excerpts)RITUALS ADDRESSED TO THE CREATORNUMBEROF SONGS PAGE23-27. Great Feather Dance* 34 113-11728-30. Drum Dance 15+ 6 118-12031. Adonwe 6 121RITUALS ADDRESSED TO THE MIDPANTHEON32-35. Eagle Dance 18 122-12536. Sun Rite (Striking-the-stick) 4 12637-38. War Dance (Wasase) 7 127-12838. Scalp Dance 2 128
VIII ILLUSTRATIONSPART 2. SONGS AND TEXTS OF COLDSPRING LONGHOUSE>?Con.SHAMANISTIC CURES NUMBEROF SONGS PAGE39-40. False Face Dance* 20 129-13141. Husk Face Dance 3 13142-48. Hadi'idos* 64 132-13849-50. Buffalo Dance 9+ 6 139-14051-52. Bear Dance* 11 141-142women's medicine societies53-59. Dark Dance 16+ 34+ 24-__ 143-14960-62. Quavering* 34 150-15263-68. Changing-a-rib 42 163-158RITUALS ADDRESSED TO THE FOOD SPIRITS69-70. Towisas 9+ 2 159-16070-71. Old Enskanye 5+ 9 160-16172-75. Enskanyegowa 27 162-16576-77. New Women's Shuffle* 7 166-16778-79. Corn Dance* 6 168-16979-82. Hand-in-Hand Dance 3+ 13 169-172SOCIAL DANCES STOMP TYPE83-85. Trotting Dance* 12+ 3 173-175rShake-the-pumpkin 2+ 2 176iGtirters Dance 2 17687. Pigeon Dance* 3 17788. Duck Dance* 1 17889-90. Shaking-a-bush* 7 179-18091-92. Robin Dance* 6+1 181-182SOCIAL DANCES FISH TYPE93. Fish Dance* 7 18394-96. Raccoon Dance* 18 184-18697. Chicken Dance* 8 18798. Sharpen-a-stick 8 18899. Choose-a-partner 7 189100. Fish, Raccoon, Sharpen-a-stick, 1933 9 190101. Marriage Dance 8 191PART 3. SONGS AND TEXTS OF TONAWANDA LONGHOUSERITUALS ADDRESSED TO THE CREATOR102. Feather Dance 7 197103-104. Drum Dance 13+ 2 198-199105. Adonw? 5 200RITUALS ADDRESSED TO THE MIDPANTHEON106. Dawn Song 4 201107-108. Eagle Dance 10 202-203109. Sun Rite 3 204110-111. War Dance 8 206
ILLUSTRATIONS IXPART 3. SONGS AND TEXTS OF TONAWANDA LONGHOUSE?Con.SHAMANISTIC CURES NUMBEROP SONGS PAGE112-115. FalseFaces 13+ 6+ 6 207-210114-115. Husk Faces 2+ 2 210116. Yeidos 5 211117-118. Buffalo Dance 3+ 5 212-213119-121. Bear Dance 5+ 6 214-216women's medicine societies122-123. DarkDance 6 217-218124-125. Quavering 9+ 4 219-220126-130. Changing-a-rib 18 221-225131-133. Ohgiwe and Carry-out-the-kettle 13 226-228RITUALS ADDRESSED TO THE FOOD SPIRITS134-135. OldEnskanye 10+1 229-230136. Women's Food Dance (enskanyegowa) 5 231137-138. New Enskanye 8 232-233139-140. Corn Dance 9+ 2 234-235141-144. Hand-in-hand Dance 9+ 11 236-2S9SOCIAL DANCES STOMP TYPE145. Trotting Dance 6 240146-147. Garters Dance 8 241-242148-149. Pigeon Dance 6 243-244149. Duck Dance 1 244150-151. Shaking-a-bush 6 245-246152. Robin Dance 3 247SOCIAL DANCES FISH TYPE153. Fish Dance?Old 6 248154. Raccoon Dance 4 249155. Chicken Dance 5 250156. Sharpen-a-stick 3+ 2 251157. Choose-a-partner 5 252MISCELLANY158. Alligator Dance 1 253158. Fishing 2 253159. Knee-rattle Dance 4 254fGrind-an-arrow 2 255
"IDelaware Skin Beating Dance 3 255161. Devil Dance 6 256162. Story Songs 2 257162-163. Moccasin Game 8 257-258164. Show Songs 5 259
160.

FOREWORDThe music in this volume includes only a segment of recordedIroquois songs. It presents the repertoire of a few leading singersfrom 2 of the 20 reservations in New York State and Canada: Alle-gany, with Coldspring longhouse, and Tonawanda. The scores aretranscriptions from recordings by two collectors, William N. Fentonand Martha Champion Huot (now Mrs. E. P. Randle), between 1933and 1951:1933, by Fenton at Coldspring, cylinders transferred to 10 disks, deposited atYale University, then Columbia University, then Indiana University Ar-chives of Folk and Primitive Music; duplicates authorized by GeorgeHerzog 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 ofCongress Archives, copies provided by Fenton in 1948, selections publishedin Fenton, 1942.1945, by Fenton at Coldspring, 5 disks (Nos. 33-38), Library of Congress, copiesby Fenton in 1949, selections published in Fenton, 1948.1948, by Fenton at both longhouses, 2 tape reels, transcriptions from originals inhis private collection.1950 and 1951, by Fenton at Coldspring, 4 tape reels, transcriptions from originalsin his private collection.Copies of all 12-inch disks are in the Library of the American PhilosophicalSociety. THE INVESTIGATIONSBetween 1933 and 1937 Fenton lived on both the Coldspring andTonawanda Reservations and collected materials for his dissertationat Yale University. The Institute of Human Relations sponsoredthese trips to Coldspring in 1933 and 1934. Frank Speck encouragedthe work and suggested a method of outlining ceremonies (Fenton,1936, 1941). The stay at Tonawanda extended for 2}^ years, fromFebruary 1935 to September 1937, in the employ of the U.S. IndianService. In 1936, Fenton enlisted the collaboration of Randle, thena graduate student at Columbia University. He rounded up thesingers and took the texts; she made the records, which sampledvirtually all song types. By this time Fenton could cope with theSeneca language and was able to sing many of the songs.Later, as a staff member of the Bureau of American Ethnologyand, with funds from the Wenner-Gren Foundation, using recording
XII FOREWORD
equipment supplied by the Library of Congress, he made two largecollections in 1941 and 1945, at Six Nations Reserve and at Cold-spring. During subsequent recording sessions, in 1948, 1950, and1951, he made use of tape recorders from the Library of Congressand 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 ordinarilyto describe dances as part of ceremonialism. The need for an ade-quate choreographic technique is quite as apparent as the need formusical annotation" (Fenton, ed., 1951 a, p. 8). It is a source ofpride to me that he considered my professional training adequate tothis double task and gave me his encouragement and collaboration.I did not enter the picture until 1946. In the midst of my careeras a modern creative dancer, I became acquainted with the AmericanIndian dance, largely though not entirely, through publications. Iwas struck by the inadequacies of choreographic descriptions. By1946 I was so determined to explore these expressions of native culturethat I undertook a Mexican field trip in the spring of that year.My subsequent concentration on Iroquois arts resulted from acoincidence.In July 1946, I met Chauncey Johnny John (pi. 1), not in hisnative haunts, but at the University of Michigan Linguistic Institute.As "professor" for Carl Voegelin's students, he basked in the scholarlyenvironment. On several free evenings he changed to his artisticrole and his ceremonial costume, and, in our living room, showedsamples of the War, Eagle, and other dances and of the songs he hadsung into "Bill Fenton's machine."When Fenton and I met in Washington in the fall of 1947, hepersuaded 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 SixNations Reserve, thanks to the advice of John Witthoft, then agraduate student at the University of Michigan; to Volney Jones,who introduced me; to Cayuga chief Deskaheh, who extended me aninvitation; and to Mohawk Sadie Jamieson, who opened to me herhome in Ohsweken. An equally friendly reception awaited me atColdspring longhouse in the summer of 1948. The Fenton familywas spending the entire summer near the reservation, and my familyrented a cottage for a month in adjacent Allegany State Park. Duringmy month's stay I held many sessions with the entire Johnny Johnfamily-?not only Chauncey, but his singer son, Amos; the expertdancers, his grandsons, Richard and Arthur, and Arthur's wife, Pearl.Fanny Stevens (pi. 1), Geneva Jones, and Albert Jones (pi. 2) were
FOREWORD XIIIcommunicative then and also on subsequent visits. I notated dancesduring the gatherings and after the culminating Green Corn Festivalover Labor Day weekend. Also, I attended two important recordingsessions by Fenton: one of the Coldspring Towisas ceremonies, withFannie Stevens and Sadie Butler as leaders; and another, with JesseCornplanter 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 ofdisk copies. In 1951, Fenton procured for me a commission from theAmerican Philosophical Society for a manuscript, which I forwardedto the library by the fall of thg,t year. The following year he arrangedanother commission for me from the Society?the transcription andanalysis of the Tonawanda collections. In 1960, Richard H. Shryockand Gertrude Hess released my two manuscripts, which constitutethis volume.Subsequently, I revisited Allegany Reservation, sometimes in con-nection with Iroquois Conferences in the Allegany State Park at RedHouse, N.Y. But most of my Iroquois fieldwork and all of my owntape recordings, took place at Six Nations Reserve and at Onondagalonghouse near Nedrow, N.Y. I also made several trips to QuallaCherokee Reservation, N.C., and spent 4 years studying the Algon-quians of Alichigan, Wisconsin, and Iowa, usually in the company ofmy daughter, Ellen, or my son, Edward. My wider experience I oweto the American Philosophical Society and, repeatedly, to the Michi-gan Academy of Science, Arts and Letters.In publications, my approaches complemented Fenton's ethnologicalpresentations. The first collaboration appeared as paper No. 7 ofBureau of American Ethnology Bulletin 149 (Fenton and Kurath,1951); the second and larger one, as Bureau of American EthnologyBulletin 156 (Fenton and Kurath, 1953). Also, I shared in thesymposia (Kurath, 1951, 1961). The collaborations largely took theform of correspondence, but in the summer of 1951, when Fentontaught at the University of Michigan, consultations were possible.THE LONGHOUSESFor completeness, the present volume should contain an expertdescription of the history and social structure of the longhouses inrelation to the ceremonialism. However, Fenton's copious notesmust await monographic treatment separately. Meanwhile, theForeword gives a brief survey, with references to recent ethnologicalliterature.The prehistory and history of the Iroquois are complex. Theformer is still under debate (Fenton and Gulick, eds., 1961, Nos. 4-6);
XIV FOREWORDthe latter is being clarified. A chronology appears in Bureau ofAmerican Ethnology Bulletin 180 (ibid., p. 259). Fenton has de-termined the geographical position of the Iroquois League in relationto surrounding Algonquians and other Iroquoian tribes. He hasstudied the politics and movements of the League members?^Seneca,Cajruga, Onondaga, Oneida, Mohawk, and Tuscarora?^and the effectsof the religious reforms by the Seneca prophet. Handsome Lake(Fenton, 1940; Fenton and Gulick, eds., 1961). Other writers havemade more special studies of these reforms, as Deardorff (1951,pp. 77-107) and Wallace (1961, pp. 139-151), with comments byChafe (1961 a, pp. 153-157).Coldspring longhouse is close to the home of Handsome Lake onCornplanter Reservation, and it immediately felt the impact of hisrevelation. Also, it harbored Quaker missionaries, who influencedthe Seneca reforms. Allegany Reservation stretches along thepicturesque oxbow of the Allegheny River, on both sides of modernSalamanca and to the Pennsylvania State line southwest of that city.Most of the homes and the longhouse are situated on the highwaynorth of Quaker Bridge. Tourists passing in automobiles and visitorsto the Allegany State Park are little aware of the unique proceedingsin the longhouse, which has the appearance of a grange hall. Tona-wanda Reservation, in a more secluded location near Akron, N.Y., hasbeen a stronghold of conservative adherents. When delegates from alllonghouses hold their fall Six Nations meetings, they always start atTonawanda and proceed from there.The reforms of Handsome Lake made some major adjustments tothe encroaching White culture and religion. WhUe the ancient animalmedicine rites were temporarily displaced, the four rituals to theCreator formed the ceremonial core. Certain rites had to shift fromobsolescent functions, as hunt and war, to cure. Others, notablythe agricultural rites, remained. So did mutual aid and singingsocieties. The longhouse religion has combined such flexibility withpreservation of the essence of the ritual. The persistence is at leastin part due to the Iroquois organizational genius; . . . "their tendencyto systematize the elements of their culture into great institutionalshowpieces 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 ritualcapacity. It presents two interlocking dichotomies, an interactionof moiety and sex. Fenton (1936) has discussed the religious organiza-tion of the officials who are keepers of Handsome Lake's Code andtheir assistants who control the present longhouse centers. He hasalso analyzed the moiety structure and tabulated the clans that remainactive in the moieties (1951 a, p. 50). At Coldspring, Moiety I
FOREWORD XVincludes Bear, Wolf, Beaver, and Turtle clans; Moiety II includesDeer, Snipe, Heron, and Hawk. At Tonawanda, Moiety I comprisesWolf, Turtle, Bear, and Beaver; Moiety II has Snipe, Hawk, Deer,Heron, and Eel. The moieties have specific seating arrangements inthe 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 andwomen, as in other longhouses (Speck, 1949, fig. 1). Likewise, theinteraction of male and female officials crosscuts moiety in ritualpreparation and dance. Each sex has special functions and assignedplaces in the dance line. Men are in charge of the Midwinter andThanksgiving festivals, and women manage the summer food cere-monies. However, men and women may officiate at each other'smedicine ceremonies.Woman's role has remained more functional in daily life thanman's. Men have transferred to white men's jobs; women stillprepare meals and are mothers of their famOies and clans. Thoughmen took over the active farming after 1800, an activity now indecline, women remained identified with crop fertility.Despite the perseverance of ritual and an amazing repertoire ofsongs and dances, there are increasing signs of change. Young peoplerarely trouble to memorize long rituals with a hundred songs, andtherefore the aged ceremonialists, realizing that they are not beingadequately replaced, are becoming concerned. Ritual holders havedecided that the songs must be preserved and are therefore less re-luctant (some are even enthusiastic) to record for trusted ethnologistsand friends. Indeed, after the death of Fannie Stevens, the Cold-spring women requested a copy of Fenton's recording of Towisas.NIAWEIn conclusion I wish to say thanks
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niawe?to the Indians whohave given friendly help with songs and dances, and to the peopleand organizations who have helped with funds or working disks.Two officials of the American Philosophical Society deserve my specialgratitude: William E. Lingelbach and Gertrude Hess. Throughtheir help the two manuscripts came into being, and by the kindpermission of the American Philosophical Society they are nowtransferred to the printed page. I wish to thank Curt Sachs andGeorge Herzog for musicological advice. Above all, I am gratefulto Wallace L. Chafe; without his patient unraveling of editorialproblems, publication would have languished.Gertrude Prokosch Kurath,Ann Arbor, Michigan,September 1961.
LINGUISTIC NOTESeneca words are cited in this work in spellings which are based onthe 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 e, e, o, d, g, dj, s, apostrophe,reverse apostrophe, and raised dot can be related respectively toChafe's 26, ?, 0, t, k, j (or ty), sy, ?, h, and colon. Phonemic spellingsof the names of songs and dances are given in brackets in the list onpages 73-74.
IROQUOIS MUSIC AND DANCE: CEREMONIALARTS OF TWO SENECA LONGHOUSESBy Gertrude P. KurathPART 1. DESCRIPTION AND ANALYSISINTRODUCTIONTHE LONGHOUSE AND THE PEOPLECenturies of impact have completely metamorphosed the externallife of the once powerful Iroquois tribes. Wliite encroachment hasshrunk the New York holdings of the Seneca to three small tracts inthe western part of the State, namely, Allegany, Cattaraugus, andTonawanda Reservations. The last two are within 25 miles ofBuffalo, and Allegany Reservation follows a well-traveled highway, ina narrow strip of land along the Allegheny River from Salamancasouth beyond Quaker Bridge. The modest framehouses could belongto any White community; the wooden longhouse could be a ruralgrange hall; the pedestrians and the occupants of the latest models ofautomobiles could be ordinary farmers or laborers but for their swarthycomplexions. Only the initiated would know that these people aregathering for a celebration stemming from this soil.In the longhouse, they are seated on wooden benches along thewall, but they are grouped according to their ancestral custom, withsexes and moieties separated. Singers occupy a plain wooden bench,but they beat ancient rhythms with instruments that for the mostpart are of traditional construction, and they sing melodies of un-known antiquity. Feet tramp on wooden floors around two ironstoves, but they trace the patterns of rounds that were not broughtoverseas by the White invader.At this point I shall say no more about the structure of theirceremonialism and its social implications, but shall refer to pastdescriptions (Morgan, 1901 ; Fenton, 1936, 1941). I shall introduce thechief artists and then proceed to the special problem?the songs andthe dances, at their own value.During contact with Coldspring ceremonials, one gifted familywas indispensable in longhouse festivals and in private sessions for1634-599 O
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1 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
study. They were the late Chaiincey Johnny John, originally fromCattaraugus, 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'sformer partner, Albert Jones. The latter's wife, Geneva, imparts herexcellent mformation willingly. Her mother was the late FannieStevens, who was the leader of the Women's Society of Planters(towisas), with Sadie Butler as her partner, and who stood out inthe ceremonies by her inimitable dance style. Other fine singers wereJonas Snow, Henry and Sherman Redeye, Edward Curry, LynDowdy, and Avery Jimerson. Most of these men have been employedas track workers for the Erie Railroad. They and their women alsocultivate small patches of corn and other vegetables, sometimes withthe aid of tractors. Whatever their outside contacts, they neverforget their songs; they render them with all their heart and soul at thegreat Midwinter Festival, at the Food Spirit Festivals, and at theoccasional social gatherings.The young people, less fervent, cause the longhouse leaders someconcern, because they do not trouble to learn the long ceremonialcycles 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, originallyfrom Cattaraugus, and Robert Shanks and Edward Black. Some oftheir songs are juxtaposed with versions from other longhouses,particularly from Coldspring but also from Onondaga Valley andSix Nations Reserve.THE STUDY OF THE SONGS AND DANCESThe songs and dances are here classified according to the presentconcepts. Fenton has already published the classification and thevariant compositions of the seasonal ceremonies at Coldspring andTonawanda (Fenton, 1941 b, pp. 163-164; field notes). The Mid-winter rites feature the rituals for the Creator, the medicine rites, andsocial dances, but in a different sequence. Summer food dances repeatcombinations of Feather Dance and Women's Dance, for planting,for berries, and for corn. The great Green Corn Festival recapitulatesthe nuclear days of the Midwinter Festival. At other longhouses thesequence 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 ofdiagrams, steps, some stick figures, and verbal descriptions. The
KuRATH] IROQUOIS MUSIC AND DANCE
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 theexamples refer to the Coldspring song collection. The analyses, whennot identified as Coldspring or Tonawanda, also apply to both collec-tions or generally to longhouse style.
THE DANCE CYCLESRITUALS ADDRESSED TO THE CREATORGreat Feather Dance ('ostd-we'go-wa')"-Function.?The first of the four rituals of thanks to the Creatorfor 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 andcouncils of Six Nations. Tonawanda: Midwinter circuit third day;twice on fifth day, also seventh; Green Com first and third days;other occasions like Coldspring.Songs.?^Accompaniment by two singers, face to face astride a benchin the center of the dance space, both beating turtle rattles against thebench. ^(a) Antiphonal call: leader, "hyo"'; crowd, "yo hee'"; twice re-peated.(6) 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, thena fast iambic beat; on repetition a slow even beat and again the fastbeat, always opening and concluding with the antiphonal call?twoterminal beats.Melodic character distinguished by pulsation, long sustained note;6,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 tothe iambic beat: a powerful stamping two-step with raising of the freeknee 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 behindthe leaders single file and circling counterclockwise ; increasing anima-tion with pivots, foot twists, interpolated yells.(c) About the foiu"th dance, a few leading matrons, back of the men,facing center and gliding to the right, shoulder to shoulder with thewomen's feather dance step: a smooth swivel twist of parallel feet.
' 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.
KuRATH] IROQUOIS MUSIC AND DANCE 5(d) To the end of the dance a continuous accumulation of dancers,men, women, and chOdren, lined up with their respective sex, some-times up to 200 dancers on very festive occasions, winding into a triplespiral.Remarks.?One of the few consistently costumed dances: men withthe Iroquois gastowe or feather headdress, or else with Sioux warbonnets, bright shirts, leggings, breechclouts with beadwork, some-times moccasins and knee jingles of small hoofs (pi. 3); women withsmocks, beaded skirts, and leggings of 19th century Iroquoian style.Thanksgiving or Drum Dance (gane o'o):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 waterdrum, the assistant with a horn rattle.(a) One introductory chant recorded, out of possible three, eachintroduced by a yell of a special whooper. Free triple percussionbeat, changing to even duple beat and synchronization with the voicesjust before the first dance song.(b) Dance songs, 15 recorded out of a repertoire of over 120. Foreach song, a steady percussion beat in moderate tempo, starting onquarter notes during the first section. A, and continuing throughout Band the song repetition with sixteenth notes, to three terminal beatsduring the whoop or sliding call. Consistent statement of each firsttheme by the leader (S), echo by the assistant (Ch), and continuationby both voices. Occasional harmonies a third apart. Frequentsequential repetition on lower levels.(c) A series of up to 13 monotone antiphonal chants, alternatingwith short prayers, wa'do' gwaiy?', addressed by the preacher in thanksto all spirits from the ground to the celestial scale and finally theCreator.{d) Recapitulation of the dance songs, with reversal of percussionroles.Dance.?Same cumulative form as Feather Dance, same walkaroundbetween songs ; but somewhat different steps to a slower tempo ; doubleheel bumps by the men along with knee raising and gesticulating, thefuskanye or women's shuffle dance step by the women. No changein dance forms during monotone chants.Remarks.?Costumes as for Feather Dance. At Coldspring a smallbow and arrow, carried by the dance leader, handed to the speakerduring prayer chants and returned for last section (recapitulation)to dance leader.
6 BUREAU OF AMERICAN ETHNOLOGY [Boll. 187Individual Chants of Men (ado we'):Function.?The third of the four great rituals, personal thanksgiving*Occasions.?Always preceding Drum Dance, at Tonawanda also onthe sixth day of Midwinter; interpolated in the towisas ceremony ofwomen planters.Songs.?Unaccompanied by percussion, but introduced by a longwail of men's voices and continuing with a background of male
'heh, heh' and female clapping. Completely individual and variedfrom simple to complex melodies.Dance.?A simple circuit with a halting walk, by the singer andsometimes a companion, covering one side of a square for each songrepetition. RITUALS ADDRESSED TO THE MIDPANTHEONAshes Stirring (gan6iowi'):Function.?Dream fulfillment.Occasions.?Opening mornings of Midwinter Festivals, Coldspringon 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.Eagle Dance (gane'gwd'e'):Function.?Dream fulfillment and cure for "eagle sickness" byplacating the spirit of the Dew Eagle (shada'g^a'), association withwar and peace.Occasions.?Private rituals in the patient's home and renewal atthe Midwinter Festival; at Coldspring on the third and fifth days, atTonawanda on the second day.Songs.?Two singers seated on a bench set against the wall, theleader 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, topercussion tremolo. Tonawanda: two introductory chants, in evenmore rhapsodic style, steeper descent and more intervals of a fourth,than at Coldspring.(b) Coldspring: 14 dance songs, all with a recurrent formula ofalternate percussion tremolo and regular beat to a melodic pattern ofA A B A B. Tremolo during A, a variable pattern of quarter andeighth notes during B, with three rapid terminal beats. Four- andfive-tone scales built variously on a nucleus of a second and a third(see Analysis), and centered on the main tone. Moderate descentfrom the initial fifth to the terminal main tone. Tonawanda: seven
KuRATH] IROQUOIS MUSIC AND DANCE 7dance songs, similar in character to those of Coldspring, except for acontinuous duple beat with alternate accents during part B.(c) Final song for depositing wands and rattles. Coldspring:Extended form of A A B A B A to correspond to ritual action, withdrum and rattle pattern as for other dance songs. Melodic dipsbolder than in previous dance songs, fading to monotone in sustainedfinal phrases. Tonawanda: Form of A A B A B, otherwise similar incharacter to Coldspring.Dance.?Eagle mime by two pairs of youths face to face, forming asquare.(a) During distribution of paraphernalia, dancers seated on twobenches, each one handed a feather wand and small gourd rattle,respectively for right and left hand.(6) Corresponding to musical form:AA?Dancers shiver and shake their rattles, still seated onbenches.B?All four hop to center of room till partners meet, using adeep crouch, and shaking rattles in time with the drum.A?All four lunge and shiver shoulders and rattles, with armsextended, 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 ofparaphernalia.Remarks.?Interruption of each song by one of society membersstriking a cane on the floor, giving a speech of jokes or well-wishingand distributing gifts (Fenton and Kurath, 1953, pp. 283-284passim.) (See page 67.)Striking-the-stick (Pole) Dance (wai'^no'e'), also termed SunRite (^ni'dji'):Function.?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 tonahty: 1933recording by Sherman Redeye, in modified sequences and descent to
8 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187basic groundtone; by phrases covering interval of a fourth; five songs,to drum and rattle. 1951 recording by Ed Curry, in level melodicline, descending a fifth (1 and 2), or centered on a main tone (3), withintervals of a third and second; four songs. Fourth song more like1933 version. Many melodic syncopations.Dance.?Two lines of dancers, formerly entirely of men, now ofmen and women; face to face and parallel.A A?Step-pat in place. Slow instrumental beat, in quarternotes.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 wardance, preceding war, or after victory for narration of exploits.According to Ed Curry, two lines centered on Little Water Medicinein 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 avoiddrought 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 echoedby assistant; similar preference for syncopations. Drum and hornrattle, 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 thewall. Step improvisations on jump-hops: jump on both feet, hop onone, or hop on alternate feet with heavy thumping and belligerentgestures.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, andthunder. Vestige of exploit narration in speeches which interruptsongs, just as in Eagle Dance, also in some texts, as in song 7 fromthe St. Regis area.Scalping Dance (ganeh(^):Function.?Formerly victory dance with enemy scalps, now showdance.Occasions.-?Shows for White audiences, frequently at Lacrossegames.
KuRATH] IROQUOIS MUSIC AND DANCE 9Songs.?In general, similar to other war dance songs, with drum-ming; but with greater variety of forms, scajes, and rhythmic units,that is, without set formula. White influence in diatonic scales andsharp seventh.Dance.?Miscellaneous war-dance steps with battle mime and en-actment of paddling in canoe and scalping victims, to bring backano? or scalp.SHAMANISTIC CUKES, ADDRESSED IN PART TO ANIMAL SPIRITSFalse Face Company (sagodyowehgo wa-hadja' dot 'a' and hodigo-soska'a):Function.?Exorcism of disease and cure of face and eye ailments.Occasions.-?In spring and fall, public rituals of exorcism fromhouse to house, on the third and fifth nights of Midwinter publiccures and renewals; occasional private ceremonies in homes.Songs.? (a) Marching song, similar to Ashes Stirring (not recorded).(6) The common face (hodigososka'a), six songs. Accompanimentby two special singers with turtle rattles, as for Feather Dance, andby spasmodic shaking of dancers' large turtle rattles and their moansand roars. Archaic, rugged melodies with repetitious themes andnarrow compass and intervals of a second and third, preceded andfollowed by three chromatic calls of "hoi" and continuing directlyinto the next song.(c) Thumbs-up Dance?picking out partners (da'adinyot'a'), twosongs. Sunilar to songs of Common Faces, entirely with intervals ofa third.(d) Round Dance?moving one foot after another (deyesi'dadi'as),seven songs. Tonality and compass similar to previous songs, but withreiteration of a skipping rhythm and with discrepancy between songand rattle tempi. Husk Faces in this round dance?two songs withirregular phrasing but even rattle beat. Final dances?two songswith repetitive motifs and syncopated rattle beat.Dance.? (a) Entrance of company into the longhouse, with theconductor in the lead. Crawl toward fire. Tobacco invocation.(b) Step?jump on both feet, hop on left; then reverse, raising freeleg out in angular fashion, bending torso from side to side, andraising arms with bent elbows. Sometimes grotesque improvisation,foot twists, hip shaking. Ritual action?ashes from stove rubbed onarms, 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 rightwhile raising left knee and then kicking foot forward; reverse.Thumbs-up?left arm extended forward, right arm flexed close toshoulder, fingers closed into palm, both thumbs pointed vertically
10 BUREAU OF AMERICAN ETHNOLOGY [Boll. 187
upward. Participants?two False Faces and two matrons of thesociety paired face to face, the men backing up toward the door; thenin turn other coupled society members; one husk face watching thedoor.(d) Step?male heel-bumping, that is, right foot flat forward, rightheel raised and forcibly thumped on the floor; reverse; femaleenskanye step as in ganeo'o; counterclockwise circling. Participants?bycompulsion, all members, men line up first, women in the rear; byoption, all present. During sponsor's song (16) special entrance ofsponsor into the round, under guidance of a husk face. During twospecial songs (17 and 18) entrance of two husk faces into the round.Final dances?^ash blowing on the sponsor and patient by two falsefaces and a husk face.Remarks.?Costume?wooden carved masks of various forms,particularly the doctor masks of the great world rim dwellers whooflBciate as doorkeepers in the round dance (shagodyow6hgo-wa-)and impersonators of wind and disease spirits (hodigos6ska'a).^Breechclout, dungarees, a woman's shawl or skirt, or any old thing toheighten comedy, as football helmet and hula skirt.Mime?some differentiation of two main classes of gagohsa' orfaces, erect or crawling, and of masked expression, awful or indolent.Husk Faces or Bushy Heads (gadji'sa?):Function.?Messengers for False Faces in house purging, messengersof the three Food Spirit Sisters at Midwinter, also curative agents.Occasions.?False Face spring and autumn circuits, Midwintermedicine ceremony nights, occasional private rituals.Songs.?Two types: during False Face ritual, songs similar intype to False Face melodies, also to turtle rattle accompaniment; forspecial dances monotone repetitious short phrases, to characteristicrhythms of turtle rattle or of wooden paddle knocked on the bench,and to the rapid knocking of their own staves on the floor. Nogrunting 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 similarto those of False Faces, or foot twists similar to Fish Dance (seebelow), or stiff-legged straddle, or galloping around staves.(6) Round dancing by male and female members, the latter with^skanye.Remarks.?Costume?fringed masks made of braided or twinedcorn 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.
KuRATH] IROQUOIS MUSIC AND DANCE 11
wooden staves, otherwise ordinary male and female clothes. Agrar-ian associations?legendaiy origin in a place of many stumps andtransference of agriculture from this place; headman's title "longears of corn." Fertility associations?transvestitism, that is, exchangeof clothes between male and female participants, references to cryingbabies at home, and prophecies of multiplication.^Medicine Company or Society of Shamans (hadii'^dos or yei^dos):Function.?Cure, particularly to release medicine administered toa 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; atspecial meetings three times a year?June, September, and at Mid-winter.Songs.? (a) Marching songs of hadi'hadiya's or gahadiya'go
"going through the forest," 5 songs, by entire company of 12 to 15men all shaking gourd rattles (I). Slow, free delivery of ingeniouslycombined "Scotch snap" and triplet figures, in a scale of five to eightnotes 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, innarrow range scales of five tones, with rattle in triple time againstduple time of melodies.(c) Throwing songs or individual songs, any number, eight recorded(III). Solos by individual singers, in a great variety of tonahtiesand patterns, containing from 3 to 6 notes of the scale, with a range of4 notes to 12, with repetition of the same short phrase triplets in adescending scale (1) or free phrasing (3).(d) Middle songs (gainowe'taho) or Curing songs, 10 songs bythe Messenger and helper (IV). Groups of two or three songs, allconstructed on a similar theme, stated in the first song, similar intonahty and rhythm to the Marching songs, but with a preferencefor an octave's range. Each song rendered twice, with alternationof rattle tremolo and even duple beat.(e) Round Dance, gandnyahgwe', 64 songs by the entire company(V), many of them in pairs. Triplets and syncopation in play onconfined melodies, mostly of three tones encompassing four to fivenotes, in thirds and seconds, the last song with fourths. Usuallyfive repeats, with tremolo during first and fourth repeat.Dance and ritual action.? (a) (part I) Marching from an adjoininghouse to ritual site.(b) (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(d) Curing ritual by the following participants (part IV):Messenger M PatientSponsorHelper ^Crossover during first rendering of each song ; return to originalplaces during second rendering.(e) (part V) Round dance in three phases:i. In place, seated, 11 songs, with rising during twelfth,ii. Standing, 5 songs.iii. Dancing by the assembly, songs 18-47; by the sponsorand a masked figure, songs 48-55, ashes strewn; by theassembly, songs 56-62; in place, standing, final songs 63-64.Step?facing center of circle, a sideward stamping shuft'le andraising 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 Hke 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 magicalactions. Ordinary clothes except for black and white mask. Rela-tion to even more esoteric Little Water Medicine Society.*Buffalo Society Dance Songs (degiya' go?6enQ'):Function.?Cure of cramps in the shoulders, or fulfillment of dreamsabout the buffalo.Occasions.?Midwinter medicine rite celebrations, and privateceremonies.Songs.?One male singer with water drum, seated on central bench,with patient next to him.(a) Introductory tobacco invocation chant, one song.(6) A short series of dance songs, similar in two versions, allA A B A B. 1933 recording by Sherman Redeye, five songs, eachwith a single theme repeated in various levels, and each with a prefer-ence for direct or hidden fourths. 1941 recording by ChaunceyJohnny John, eight songs mostly the same as Redeye's, but excludingthe 1933 final song with the "magic word" (see texts) and includinga final song with syncopations and terminal antiphony.Dance.? (a) Tobacco invocation and treatment of the patient.
? See Fenton, 1941 a, p. 421; field notes.
Kdrath] 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, aright 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 asskins or horns, and according to Johnny John not in the past either.Treatment of patient?traditionally by administering a piece ofsalt clay. (See pages 65-66 for mimetic aspects.)Bear Society Dance Songs (nyagwai'i' oeno?):Function.?Cure of neurotic spasms, or fulfillment of dreams ofthe 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.(6) Nine dance songs, similar in tonality to Buffalo songs, but withless 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 triadskeleton,iii. Two songs with terminal antiphony between the singer anddance leaders, one (song 10) constructed on a skeleton ota 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 blackberryjuice in a pail.Remarks.?Mimetic illusion not heightened by costume.Treatment of patient?spraying with berry juice, communalpuffing of smoke from a pipe. (See pages 66-67.)women's medicine societiesDark Dance (deyodasodaigo)
:
Function.?Cure of general debility with aid of medicine in a charmbundle.
14 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187Occasions.?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 hornrattles, a fourth man to help. Female singers an octave higher thanmale voices. Three groups of songs during three periods of darkness(sometimes four), alternating with two periods of rest, lights, andsmoking:i. Four chants by leader in two groups of twos.13 dance songs, each one stated by male voices (A) andrepeated and continued by the entire chorus,ii. Four paired chants by leader, each one sung twice.30 dance songs stated and reiterated as during the firstperiod, mostly in groups of twos, songs 13-18 in oneidentical group,iii. Four chants, each one sung once.20 dance songs stated and reiterated as before.In all songs a prevalence of sequential treatment, of thematicrepetition on lower levels, a preponderance of seconds and thirdspreferably grouped within a compass of a fourth (such as phrase 1of song 8 in first period).Dance.?Female performers, facing center of circle, side stomp toright, varied with jumps on both heels, pivots, and stamping.Remarks.?Association with mystic animals and with legendarypygmies in pursuit of a great beast, djonyosquat.^ (See Buffaloconnotations, p. 66.)Quavering (iyonda-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, manipulating drum and horn rattle. Female chorus as for Dark Dance. Foursong groups
:
i. Introductory songs, 3 by men, drum tremolo, 3 by men andwomen (last two not on record),ii. 19 dance songs with bantering texts for men and women,as in Dark Dance. Percussion accompaniment in eveneighth notes,iii. 4 songs for cloth distribution, last 3 alike. Percussionaccompaniment in even quarter notes, thus in slowertempo,iv. 7 final dance songs, with eighth note beat, in faster tempo.
' See Parker, 1909, pp. 167-170, for list of animals.
KuRATH] IROQUOIS MUSIC AND DANCE 15Five-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 fromdancers to sponsor; the former waved back and forth tothe 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-Rib (deswand^nyo*^)
:
Function.-?Cure, as sequel to Quavering.Occasions.?In private homes, usually after Quavering, sometimesseparately.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.Eighth note instrumental beat; hence no slower thandance,iv. 21 dance songs in faster tempo, some with form A A B A B,some A A B A. Similarity to Dark Dances even inrhythmic figures; for instance. Dark Dance 5 and 8compared with Changing-a-rib 38 and 34. Considerablevariety in phrasing and range, from limited range offinal songs, to octave or more in range of cloth distribu-tion songs.Dance.?Like Quavering.Remarks.?Burden syllables instead of meaningful texts.Feast for the Dead ('ohgiwe):An important curative ritual, similar to the previous two feasts,but not recorded for Coldspring longhouse. Songs similar to thosestudied at SLx Nations Reserve,^ with a melodic line and scale notedin other womens' rites, but with characteristic terminal vocal pulsa-tion, and steady drum syncopation. Dancers' relation to center ofcircle slightly oblique. Final dance like women's shuffle dance orenskanye.In Tonawanda collection, 9 songs^?2 chants, 7 dance songs; 4 songsfor Carry-out-the-kettle sequel.
6 The legend tells of a bachelor who married a frog woman. See Fenton, 1942, pp. 11-12.
' For discussion, song transcription, and choreography, see Fenton and Kurath, 1951, pp. 139-165; Kurath,1951, pp. 98-99; 1952, pp. 12&-127.
16 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187RITUALS AND DANCES ADDRESSED TO THE FOOD SPIRITSSociety 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 introductorysongs (two recorded) ; antiphonal response by other women.(6) Individual songs by society members, one by one, preceded byprayer.(c) Individual songs (adonw^') by attendant men.(d) Antiphonal marching songs by the women, continuous.All melodies repetitious, with simple rhythms and limited recurrentintervals of a third and second. Steady beat of rattle by strikingagainst 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 wallsaccording to sex. One song leader for each moiety of society members.(6) Women standing still, face to face. Starting with headwomanand members of her moiety, order of singing counterclockwise.Accompaniment by tortoise-shell rattle which makes rounds, or bythe 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, includingaudience, around stove or in center of longhouse.Remarks.-?Southern affinities: tortoise rattle of Carolina type;origin legend which attributes ceremony to Cherokee. (See Kurath1961, with comments by Sturtevant.)Women's Shuffle Dance (eskanye'):Three types of songs with, however, the same step.Women's old time shuffle dance (eskanye' gaino-gaiyoka'):Function.?Supplication and thanks to the food spirits, in particularthe corn which is identified with the women.Occasions.'?Between two Feather Dances at Midwinter and atagricultural 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 andhorn rattle. Each song stated by leader vibrating drum, then takenup 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 17
repetitious themes in rapid eighth notes and occasional syncopatedmelodic figures, in four-tone scales with limited range.Dance.?Women only, in single file counterclockwise round, facingcenter of circle or occasionally pivoting on own axis.Step?a saw-foot progression to right, with slight knee flection onevery beat. Pull right foot right, turning toe in (actually pullingwith heel), twist left heel to right; swish right foot to right by shufflingtoe out in small arc, twist left toes to right.Gesture?elbows close to waist, forearms swing right and left, oralternately up and down ; elbows at shoulder level, wrists rotate.Remarks.?Same step used by women in False-Face Round, DrumDance, Striking-the-stick, and if desired, in Fish Dance in place ofFish step. Gestures, though apparently nonmimetic, said to repre-sent agricultural activities.Women's great shuffle dance (fskanyego-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.(6) 9 songs with meaningful texts, by men and women an octavehigher, as in Dark Dance. After initial drum tremolo, an even duplebeat, songs 6-10 with eighth notes, songs 11-14 with quarter notes.(c) 12 or more dance songs by men alone, women dancing. Sameform in essentials as old time dance, namely A A A' A A' orA A B A B. Alternately accented duple beat throughout, acceleratingduring each song.Most songs in extended scales with frequent use of fourths and atypical syncopated rhythm in the melody. Dance songs more con-servative than first 14 songs, either by limited tonal material (18 and19) 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 upcornstalks (in this context symbolizing men) and which go on to thenext stalk. Association with ancient custom of planting beans andsquash 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 aftermutual aid in work.634-599 O?64 3
18 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187Songs.?Compositions by individual male singers but sung by groupof 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 traditionallines, by extension of range, expansion of phrases made up of simplerhythmic units, by interpolation of additional themes, and by longterminal extension on the ground tone. Melodic themes sometimesadapted from White men's tunes, such as "Little Red Wing" (com-posed by Willy Stevens in 1913). Rapid percussion beat in somewhatfree relationship to melody and in steady acceleration and crescendo.Thematic and percussion relationship as follows:Aab^?soloist, even drum and heel-blimping
a^?chorus, drum and rattle tremolo, even heel-bumpingbBcb^?chorus, even instrumental beatAa^?chorus, drum and rattle tremolo, even heel-bumpingbBcb?chorus, uniform instrumental beat or else:Aa?soloist, drum tremolob?soloist, even beatAa?chorus, tremolob?chorus, even beatB?chorus, even beatA, B?chorus, even beatAa^?instrumental tremolo, heel-bumpingb, B?even beatRemarks.?Some humorous textual references inserted among burden syllables, such as "Barney Google," "automobile" (Lyn Dowdy,Ed Curry, 1933), for pleasure at "sings," not for dancing.Corn Dance (oneot?6eno' or corn song):Function.?Worship of corn spirit, at present mostly a social dance.Occasions.?Sequel to Midwinter and Green Corn Festivals, atceremony called "gaingso'i'oh" or songs of all kinds, at Coldspringon evening before bowl game and agam afterward if game not com-pleted; at Tonawanda on evening of day following bowl game, alsoa week after Midwinter.Songs.?Two dance and song leaders at head of line, striking hornrattles 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, partlythe same as Coldspring; Coldspring songs 4 and 2 combined intoCornplanter's 4 (Tonawanda). All songs pleasing and flowing, infive-tone melodies and smooth rhythms livened by occasional synco-pation. Each song developed from single theme in various skillfulways (see Analysis). Occasional antiphony.
KuRATH] IROQUOIS MUSIC AND DANCE 19Dance.?^During chant, dance leaders stationed by men's stove.Dance progression in counterclockwise single file, with simple stompstep, men commencing and women entering at any time. Alternatearrangement of sexes. On repetition of song, momentary side stompoptional.Remarks.?At discretion of leaders, sometimes serpentine windingdm^ing last song.^ Likely, Cattaraugus origin of songs.Stomp or Trotting Dance, also called Standing Quiver (ga'd^so't):Function.?Social dance, associated with food spirit ceremonies.Occasions.?^Same as Corn Dance, at Tonawanda also at MaplePlanting, Green Bean, and Harvest Festival. Always at social dancesfollowing long rituals and during Six Nations meetings. At Cold-spring, invariably as first dance; at Tonawanda, usually as second orthird 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 maledancers who line up. First song always monotone, remaining songsin any order and difTerent in every repertoire, but all of the samepattern and tonality, namely:A (repeated three or four times)?statement and melodic antiph-ony usually on ground tone and third above, sometimes alsofourth below, as bugle call.B (once)?melody raised to a higher level, statement usuallyextending from an upper fifth to second of scale, responseusually on second of scale; then a transitional statement andresponse 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 EdCurry and Avery Jimerson. First two songs alike in essentialsbut with variations. Remaining third song of 1933 unlike any of12 songs of 1951.Dance.?Counterclockwise round, with stomp step, started by maleleaders chugging around stove during first song, then venturing outto center of floor, and with accumulation of dancers circling completelength of longhouse around both stoves. Women's entrance ad lib,between men, thus sexes in alternation. Each song form echoed bycharacteristic 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. 187B?sideward stomp to right, facing center, arms swinging infront from side to side. Improvisation and horseplaypermissible, staggering toward center and out again,hops, kicks, series of 3 stamps which resound antiphonallyaround the circle.A?return to forward stomp.Remarks.?Original meaning of name associated with warriors whobear quivers on their backs. Now, as Stomp Dance par excellence,other dances with this step classified as "ga'daso-t ka", in manner ofga'da so-t.Texts sometimes have mildly pornographic allusions interspersedwith burden syllables, but without extending this attitude to libertieswith women's persons (not during dance, at least). Dignity notdestroyed by gaiety.Hand-in-hand or Linking-arms Dance (deyodanasQnta'i'), alsoBean Dance.Function.?Social dance, probably formerly food spirit dance.
^
Occasions.?Same as ga'daso-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 twodance songs, terminal calls. 1948 by Jesse Cornplanter of Tona-wanda, two chants and nine dance songs. Second chant and firstdance same as Jones, others different, notably several with a largerange (5, 7, 9). Last two with monotone terminal antiphony. 1951 byEd Curry and Avery Jimerson, one chant omitting one phrase of theJones version, first dance same as Jones, others distinct. Last twoantiphony.All songs distinguished by sedate tempo and rattle beat, by radiantmelodies in flowing descent, by wide intervals, with complete scalesincluding semitones and surprising shifts of tonality. Many se-quences, usually downward, in Cornplanter 9 ascending. All songsstarted by soloist, echoed by chorus, and continued ensemble. Cyclefollowed by regular ga'daso-t stomp.Dance.?Circular processional with slow shuffling walk, half ofregular stomp tempo, men and women in alternate array. Ensuingstomp 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 Com Dance and with Green Bean symbolism.At Soursprings longhouse, it is always included in the food spirit rites, and is sometimes performed withlinked hands.10 Conflicting with the bean idea, a legend tells of a victory celebration after surviving a siege by theShawnee (see Speck, 1949, p. 1.53). Fenton states (personal communication): "Other informants say theKah'kwa, or Erie."
KuRATH] IROQUOIS MUSIC AND DANCE 21SOCIAL DANCES?STOMP TYPE, GA'dASO-TKA'Function.?Sociability with, however, a ceremonial undertone.Occasions.?"Songs of all kinds" in longhouse and private homes, atthe conclusion of festivals, the evening before "shoving off theircanoes" for Six Nations meetings, afternoons and evenings of SixNations meetings, formerly at Coldspring regularly on Sundayevenings.Shake-the-pumpkin or Shaking-the-jug (gashedondddo')
:
Songs.?Accompaniment by two male singers with drum and hornrattle, not, as implied by name, with gourd rattles. Only two songsavailable from 1933 version of Cattaraugus songs recorded by AlleganySeneca 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 drumbeat. Antiphony repeated. Wailing call. After exhaustion of thesong leader's repertoire, a regular ga'daso't stomp.Dance.?Shuffling stomp in continuous round, as in ga'daso't, butwith all men lined up in front, and women bringing up the rear as inBear Dance. On dance leader's signal "ha a ha a," women moveahead and alternate with men, or wait at south end of longhouse formen to pass and make room for insertion. Then stomp in typicalalternate array, without instruments.Remarks.?Former food spirit associations, with the squash plant.''Conservative tendencies evident in archaic type of melody and ofantiphony, and in segregation of sexes.Garters Dance (dewatSihasio'i*)
:
Songs.?Two dance-song leaders with horn rattles. Tonality andtype of antiphony similar to ga'daso't stomp, but in extended formto fit dance, namely, A repeated, B, A repeated, B, A repeated.Dance.?Extended, eclectic pattern, on fundamental stomp stepA?forward stomp, in first songs men alone, in later songs sexescoupled.B?sideward stomp, as in ga'daso'tA?forward stompB?partners change places with walking stepA?forward stepSometimes in addition:B?partners cross back to original placesA?forward stomp
'1 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.
22 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187Passenger Pigeon or Dove Dance (djagowa'i* deno?, dove "BigBread" song):Songs.?Two dance-song leaders side by side with horn rattles.A chant and two dance songs available from 1933 version by DeforestAbrams. In all, theme stated by leader and taken up by helper, thenrestated at end, resulting in form A A B A plus call, third song byrepetition A A B A B A x. Main theme repeated sequentially onlower levels, thus small intervals of theme adding up to a large scale.Dance.?Double file round with stomp step, pairs of men alternatingwith pairs of women. No choreographic change at Six Nations, butat Seneca longhouses partners face, leader back-stepping, then reverseon song repeat. (See p. 69 for mimetic implications.)Duck Dance or Song (tw^n? oeno'):Songs.?Two special singers with drum and horn rattle. Melodiesconnected in alternation into one continuous song, as no other cycleexcept Alligator. Flowing rhythms in "major" triad tonality, sec-tions A and C on a 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 holdinghands:A?women backward, men forward in continuous circling.B?same continued.C?men raise inner hands into a bridge, women pass under, allstomping 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 calUng "twf twe"(quack-quack), till women suddenly caught by loweredarms of men. (See pp. 68-69.)Dance continued in this fashion as long as desired, with great gusto.Shaking-the-bush or Naked Dance (gasgoiodado')
:
Songs.?Two special singers with drum and rattle. Songs asfollows:(a) Two introductory melodies for men and for a group of womenlined up in front of singers.(6) Song 3 fF.?songs by men only, with moderately extendedscales 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 faceabout and are joined by pairs of men in alternate array. Thus always
KuRATH] IROQUOIS MUSIC AND DANCE 23two women and two men face to face. Remaining songs the followingform: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.Robin Dance (djowiyaik? 6enq'):Songs.?Two song- dance leaders with horn rattles. No specifiedorder or number of six songs recorded). Same songs in different orderrepresented in two versions by same singers, 1933 and 1941. Well-defined archaic triad scales and repetitious themes with buoyantrhythms. 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, andB of ga'ddso't.X?with three hops, all face about.Song?facing outside of circle, all stomp to left, as in BuffaloDance.X?all face about to center of circle.Step variations permissible, two-steps, hops, pivots. All songschoreographed with combinations used by Fannie Stevens, some set,some improvised.General remarks.?Bird dances possible hunting dances for matingand propagation (hence coupling), for capture as in Duck Dance.(See p. 69.) SOCIAL DANCES^?^FiSH TYPE, gfdzg'enQ' ka-'Function.?Sociability.^^Occasions.?Same as other social dances.Fish Dance (gfdzc^'eng)
:
Songs.?Two kinds, old and new, the latter faster and bolder.^^Available versions all of old type, each repertoire different. 1933songs by Ed Curry and Lyn Dowdy: first one only resembles one of1945 series by Chauncey J. John and Albert Jones. No set number;six recorded in 1945. All characterized by flexible rhythms both ininstruments and melody. Usually six singers, one with drum, the
'2 At Soursprings, Fish Dance is frequently included in Midwinter medicine rite renewals." See Kurath, 1951, p. 134, for comparison of old and new types of the Women's and Fish Dances.
24 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
rest with rattles, manipulating as follows:A?Halftime percussion beat, sometimes quarter notes or syn-copated quarters, or eighth notes with strong alternateaccents. 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 sameas A in variants by transposition or inversion. Characteristicrhythmic 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 inpairs inserted between pairs of men, so that opposite sexes coupled.**Formula:A?All saunter, facing ahead in counterclockwise circling.A?All pat-step: right foot placed lightly ahead and raised, thenset down. Same with left foot.B?Couples face to face in fish step: right foot forward, twistboth feet out and in; right foot behind left, same twist.Or forward, back, closed.'^ Reverse. Women sometimeseskanye step.A?Partners cross-over, men usually on outside but not nec-essarily. An elastic walking step to drum quarter beats.B-?Fish stepBetween songs, sauntering during initial tremolo by singer. Nextdance the same, partners crossing back to original positions. (Seep. 95.)Remarks
.
?This pattern interpreted as imitative of fish crossing inwater. Same musical and dance pattern prevalent in other Fish-typeseries.Raccoon Dance (djoega'^deno'):Songs and Dance.?Specific sequence:(a) Introductory chant to tremolo.(6) Slow dance by men, stomp type: forward step, knee flection orforward step right, forward kick left during knee flection on right.Circling.(c) Pairing of men during song 3, then of men and inserted pairs ofwomen during song 4. Stomp step during B and crossover as inFish Dance.
'* 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 iscertainly 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 dottedmelodic rhythms rather than triplets. End of dance signaled bysingers' yelping like a raccoon and striking twice on drum.Chicken Dance (daga'^'^deno'):Songs and dance?Sequence
:
(a) 2 songs by men and by women stationed before singers.(6) 3 songs with eskanye step by women.(c) 3 or more songs Fish type but in alternate array like CornDance. Songs with more syncopation than Fish, shorter antiphonalphrases. End signaled by leading hen crowing like rooster, "dakdagSharpen-a-Stick (wai'motiyo')
:
Songs and dance.?Similar to Fish Dance, except for reputedlygreater speed. Actually faster start for each dance, but accelerationnot 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 anddifferent ensuing songs when compared with 1933 version by JonasSnow, Lyn Dowdy, and Ed Curry. Beat of instruments as in Fishsongs, but melodies more concise, with short-clipped phrases and duplerhythms, and with four or five repeats notably in part B.Dance like Fish type, except for greater speed and more raising ofheels after foot twist. Specialty of young blades, "sharp sticks."Choose-a-Partner (deyondenyotgcs) , cousins' dance:Songs and dance.?Instrumental, structural, and choreographic formsame as for Fish dance. However, melodies extended to widerdescending scales, with fourths and octave range, ornamented withsome complex, crisp rhythms (2, 3, 7), sometimes enlarged into twoor three themes (1, 4). Special name-giving feature: women's choiceof partner from brother's or father's brother's children.
miscellany of songs not adequately recorded atcoldspring, but in tonawanda seriesFishing ('oshe-w^')?stomp; women in group, chosen by men aspartners.Cherokee Dance^?stomp, ending in serpentine and spiral. ^^Grinding-an-arrow (ganogfyo')^?stomp.Knee-RATTLE (gahso'e') and Devil Dance (djihaya)^?Fish type (?).
19 Six Nations Cayuga, Willie John, learned Cherokee dance songs in Oklahoma; he led the dance at hislonghouse, and has recorded the tunes.
26 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187Alligator (deganodgntgeha')^?couple dance. ^^ One continuous song.Marriage Dance (hadiwaniyas)?1933 songs reproduced, notanalyzed. Pair of bride and groom step-pat across room in straightline (no diagram).
1' Alligator Dance still forms part of the social dance repertoire at Upper Cayuga Longhouse, Six NationsReserve. I have participated in it during a Six Nations meeting.
MUSICAL ANALYSISTHE MATERIALPERFORMANCEInstruments:Percussion instruments serve as background to singing. A whistletootles intermittently during the Little Water Medicine ritual, anda six-hole flageolet courts for a lonesome lover. Dance instrumentsare plied during dances by special singers seated on benches or bydance leaders. Dancers, singers, and instrumentalists are identicalin the Medicine Men's round and in the Society of Women Planters.Song leaders, one or two, of opposite moieties, strike a horn rattleagainst 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 singersstrike a turtle rattle mercilessly against the bench. In all othercycles, except for the unaccompanied adgnwe and ga'daSo't stomp,drum and horn rattle are combined in increasing numbers, from onein Bear and Buffalo Dance to six or more in ^skanye and Fish Dancetype. The drum rests obliquely against the left knee; a woodenbeater follows the impulse of a relaxed right wrist. The horn rattlecan be struck against the thigh or the palm of the left hand. Toobtain a tremolo effect, it is shaken vertically or horizontally withextended arm. Foot tramping and heel bumping intensif}^ thepulsation. Extraneous noises increase the maskers' din?the hugeturtle-shell rattles of the False Faces and the staves of the HuskFaces.The singers' bench occupies the floor center in most specialaccompaniments. It rests against the men's west wall in rites to theMidpantheon and in women's medicine rites. It serves as a dancefocus and seat for the patient, as well as an enhancement of tonalvolume.Singing:Musical abUity decides the selection of singers. This abilityappears particularly to belong to the male sex but does not entirelyneglect the matrons. Women monopolize the chanting in theirSociety of Planters and they join the men an octave higher in theirown Medicine Societies and in two social dances, Shaking-the-bushand Chicken Dance. The men have the resonant voices, and the27
28 BUREAU OF AMERICAN ETHNTOLOGY [Bull. 187women intone meekly and rarely do they offend the ear with shrilllabored soprano. Fannie Stevens, in fact, used to chant towisas ina middle register, lower than the male rendering of new ^skanyesongs. In both sexes leading singers show their individuality in theirrendering, the men to a much greater extent. The soaring EagleDance songs differ from the husky, propulsive Bear Dance songs;the pulsating Feather Dance songs are in no danger of being confusedwith the panting Husk Face chants, or the crisp Chicken Dance songswith the sustained melodies of Hand-in-hand. Similarly, ChaunceyJohnny John's free eccentric huskincss differs from Albert Jones'sonorous sturdiness. Ed Curry has adopted some of Chauncey'sways 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 tosummarize pervading unifying qualities. In no case is the patternarbitrary. The flow of the melody and its relationship to theinstruments is safeguarded by tradition.METHOD OF STUDYTranscription:The most satisfactory agent for transmission of melodies fromsingers to musical staff remains the phonographic disk, and this hasprovided the material for most of the enclosed reproductions. A fewScalp songs were written down by ear, and some recent tape recordingshave been transcribed directly from a reel. All of these recordingsare the work of William N. Fenton in the course of 18 years: 1933,1941, 1945, 1948, and 1951. Tonawanda recordings materialized asa project of Martha Champion Randle with the aid of Dr. Fenton.Most of the songs have lent themselves fairly well to conventionalnotation, with the addition of a few symbols for "blue" notes slightlybelow or above pitch and for a few other characteristics that did notdefy translation into symbols. In the first drafts time signatureswere used, but they have now been abandoned as unsuited to theIndians' musical perception. Any metrical divisions are arbitraryand perforce tentative. Certain divisions occur only at the end ofphrases and larger sections. Similarly, key signatures and accidentalshave been avoided when possible. For better writing and for com-parative purposes, most songs have been transposed downward froma third to a fifth. This seemed feasible because of the Indians'relative rather than absolute sense of pitch.The percussion accompaniment appears directly beneath thecorresponding melody, in only a few instances in full. As a rule, thecharacteristic beat appears at its first occurrence. A change of beatduring the song or in an ensuing song is similarly indicated. Char-
Kdrath] IROQUOIS MUSIC AND DANCE 29
acteristic terminal beats accompany the last notes of a numberof songs.Structural labels (A, B, a, b, etc.) identify typical songs, but notevery single one. The number of repetitions is mentioned only inunusual cases. The tempo heads each series with a new tjrpe of tim-ing. Unless otherwise indicated, it stands for both voice and instru-ment. Separate tempi are rare?False Face round, Feather Danceintroduction. Metronome readings of tremolos have seemed unnec-essary, for the instrumental vibration is free and independent of theequally free vocal rendering of chants.In order to preserve the outlines, two peculiarities are reproducedin simplification. In the first place, the voice lags behind the instru-ment in stomp-type dances. Each component has a regular beat, butthe two are in syncopation, thus mt gt ^^ ^-he second place, therebounds of the kernels in any form of rattle create a faint subsidiarysound J3J3 == J3- Nonetheless, the main beat is in eighth notes andis written as such.Comparative Procedure:Musical quality stems from a great number of properties, some ofthem completely elusive, others more palpable. The most concreteproperties are tonality, that is, scale type and range, rhythmic units,and phrases, form or structure, and melodic contour. These havebeen carefully studied in the individual cycles, most precisely in EagleDance. ^^ Owing to the scope of the materials, typical examples musthere suffice for comparisons and tabulations. It must be understoodthat these paradigms represent the majority of, say, Feather Danceor Changing-a-rib, but that they can be contradicted by numerousexceptions even within their own series.NUCLEUS AND DEVELOPMENTTONALITYWeighted scales (see figs. 1-3, p. 79-81):Weighted scales reveal the tonal skeleton. Each note is checkedfor its frequency and prominence. The most functional note is labeledas a whole note, the next in importance as a half note and so on tothe completely incidental notes marked as sixteenth notes. This hasno connection with their rhythmic value but merely serves as a graphicmeans of discovering the tonal nucleus. The bTeginning note is marked
vi; and the final note ^. A semicadence is marked 3.The comparative tabulations show a tremendous variety, from asingle note in Husk Face, two notes in several songs of Changing-a-rib
1* See the comparative study of four versions in Fenton and Kurath, 1953, pp. 250-263.
30 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187and eskanyegowa, 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 birddances, to the large scales of various introductory chants, individualsongs. Drum Dance, women's dances, and several social dances. Thisdistribution has no apparent connection with function. However,esoteric rites lie at the meager end of the scale, and some social danceslie at the full-scaled extreme along with new compositions, with foodrites in between. The following examples are from Coldspring.These scales are here classified into four main types according totheir tonal nucleus. The first is monotone, confined to chantlike pas-sages, antiphony, and calls or whoops. The next classification istermed secundal because of the predominance of two adjacent notes,that is, the ground tone and the second of its scale. Other notes maylie above and at times below, but they are less important. The thirdgroup is termed tertial because the two nuclear notes lie a third apart,namely the ground tone and the third above. Tertial scales tend tobuild up their entire scale on a skeleton of thirds, sometimes bothabove and below the ground tone, as in Yeidos and some FeatherDance songs. Most commonly, they build in series above. Two con-secutive thirds add up to a fifth. When the melody dips down to afourth below the ground tone (the fifth of the lower octave), as inga'daso't. Duck Dance and others, an octave results in intervalsknown to buglers. Three consecutive thirds add up to a seventh, asin 'ohgiwe and Pigeon Dance, which add an extra note to completethe octave. In rare instances, four thirds build up to a ninth, as inShaking-the-bush 3. This superimposes a chain of four thirds onanother chain of three thirds. These chained thirds are an exceptionin Iroquois music. Their rare occurrences may be significant. Thefourth group is termed quartal because of the nuclear position of notesa fourth apart, sometimes a single interval of a fourth, often two oreven 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, inparticular, may include many incidental notes, up to a completediatonic scale in Shaking-a-bush. The terminology refers to thefunctional notes and tonal progressions. Quartal scales may connecttheir nuclear tones directly in jumps of a fourth, or indirectly, thatis, 4 2 2 1, as in Changing-a-rib. The fourth of the scale varies greatlyin importance, from true secundal songs, through Buffalo songs withfairly emphasized fourth to Hand-in-hand Dance with its great gapsof 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
Kdrath] IROQUOIS MUSIC AND DANCE 31
scales on 5 321 or 543 1, adding the sixth or seventh. Sometimesthere are chained thirds
?
-I 5 3 1.True secundal scales are in the minority?^Drum, Eagle, Husk Face,Quavering, Changing-a-rib, a few songs of Trotting, Garters, andChicken Dance, and are thus largely in rituals. However, a secundalnucleus is still evident in the quartal Bear and Buffalo Dances, and inthe terminal play on two adjacent notes in a number of complexscales?^Eagle 2 (Tonawanda), Yeidos 1, Changing-a-rib 5, DevilDance 5, and others. Tertial scales occur in all cycles except DrumDance and Sun Rite, and characterize Stomp type and Fish typesocial dances, including the obsolete variety. Quartal scales remainconservative in adonwe, animal dances, both ritual and social, ohgiwe,Old fskanye, and food spirit stomps. They swell to formidable sizein many introductory chants, notably Drum and Eagle Dances, insome Yeidos, War, and New eskanye songs. They combine with atertial 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 thesame combination with other tones, but on the contrary exhibit greatvariety. Almost all Feather Dance songs are tertial, that is, they areconstructed 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 intervalsof seconds and produce as many scales, song 4 building downwardbelow the main tone E.Drum Dance, entirely secundal and quartal, builds downwardduring 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 clustersdangling downward (songs 3 and 4). The main tone remains at thebase of the topmost cluster. The next set of songs, 5-9, shrinksagain to a secundal core, only to expand into quartal 10 and 11. Thisterminates the dance cycle proper. The middle of the rite consists ofa series of monotone chants (12, 13). The last part recapitulates thevaried dance songs. Thus, within the rite as a whole and withineach series of dance songs, the nuclear, small-range songs are in themiddle, just as in each song the main tone is in the center.Ado'we and War Dance also show various ways of building upscales. Tonawanda War Dances 6, 1, and 5, in particular, illustratethe growth of additional quartal clusters. Song 5, however, termi-nates on the uppermost note of the bottom cluster?G. Other scalescan be likewise examined. It is the variable insertion and additionof subsidiary notes that produces the various types of five-tone scalesand the six-tone and diatonic songs.
32 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187The clusters are not always in consecutive blocks but may overlap.Changing-a-rib 3 overlaps groups of fourths and thirds, 5 overlapsgroups of fourths. Corn Dance shifts tonality in song 5, as indicatedby the labels. The same phenomena of tonal shifts can be observedin the weighted scales of Hand-in-hand, Shaking-a-bush, and othersocial dances, notably Hand-in-hand 4 and Knee-rattle 3. A semi-close on Vn 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 semicloseon 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, andShaking-a-bush. This common device does not imply a compositetonal structure but results from melodic sequence, to be discussedbelow.Modulation is generally not typical of Iroquois songs, but it formsthe basis of the ternary (A B A) structure of the antiphonal Trottingand Garters Dances. These sections are labeled in the weightedscales, 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 andby consistent return to this center from upper and lower notes.Some songs, furthermore, begin and end on the same note. FeatherDance makes much of its main tone, but it consistently begins on thefifth 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 habituallybegin and end on the same note, which also lies in the melodic center.Other cycles show fragmentary examples?False Face 9, BuffaloDance 3, eskanyegowa archaic song 18, a few Eagle and Chicken songs,and other scattered instances. The prevalent type is the FeatherDance method of starting on the fifth and oscillating within this noteand its tonic, keeping other notes outside this range completelyincidental. Virtually all secundal and tertial melodies but very fewquartal 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 havedefinite melodic value, thus in Drum Dance and Shaking-a-bush.The main tone lies at the bottom of a complete octave or more, forinstance in Pigeon songs. Occasionally, a very low note dives belowthis octave, as in Yeidos individual song 7 and in some of Cornplanter'sHand-in-hand songs. Some adventurous compositions shift focus.As shown by a label on the scale-tabulation, Hand-in-hand andShaking-a-bush invariably conclude the first section a fifth above the
Kdrath] IROQUOIS MUSIC AND DANCE 33main tone and shift to the lower level during the second section, thuspresenting two quartal blocks one above the other.Composite Scales:This shift of focus may, however, be less obvious. Chauncey'sadonwe repeats its theme on three overlapping levels and furthermoremodulates from minor to major. Towisas and ga'daso-t songs carrythrough a recurrent formula of tonal shift by raising or lowering themain tone by one interval in part B. The former usually lowerspart B, the latter always raises it. They invariably return to theoriginal main tone during a recapitulation of part A. As we have seen,ga'daso-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, EagleDance 3, War Dance 1, Quavering 3, Fish Dance 5. Bear Dance10 hops between the fifth and second of the scale and finally stretchesfrom the fifth down to the tonic. Shaking-a-bush descends from Cdown 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 andend on a lower note; in focused melodies commonly on a fifth belowthe initial tone, in diffuse melodies commonly an octave below. Con-sequently, the majority of intervals tend downward. But this isfar from a uniform rule. In the first place, some songs begin on themain tone. In the second place, many cycles prefer an initial state-ment on a lower level than the development, particularly the Yeidosround and ga'daso-t. Less regular rising trends occur in ColdspringEagle 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'sMedicine, towisas, ga'daso-t, Garters, less evidently in Buffalo,Bear, Robin, and Fish type. Consistent descents characterize mostintroductory chants, wasase War Dance, New cskanye. Hand-in-hand Dance. A combination of long descents and subsequent riseand fall brings variety into women's rites and shuffle dances.These progressions are effected by means of intervals preferablybetween a second and a fourth, by a fifth or sixth as part of the melodyonly in the bolder stomp-type songs, in most instances between theconclusion of a low phrase and the recapitulation on a high level.In general, the songs with limited scales prefer small intervals, andmelodies with extended scales add large intervals. In summary the634-599 0?64 4
34 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
various intervals can be related to their function as follows:Monotone?in monotone chants and antiphony, commonly prolonged interminal phrases, often pulsated; recurrent in melodic texture in combinationwith 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 fluctuatingbetween a semitone and a second.Second?in all songs except tertial songs, commonly in stepwise fourths andfifths.Third?in practically all except monotone songs^ in tertial scales as nucleus,in quartal scales as substratum; frequently constituting quartal progressions incombination with a second, as a third and second equal a fourth.Fourth?direct in descent in quartal songs, particularly those showing greatgaps 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 tertialmelodies as 4 3 1, sometimes stepwise as 4221 or 4331.Fifth?rare as direct interval ascent at phrase beginnings; indirect similarto indiiiect fourths, as 5 4 2 1 and 5 4 3 1, in tertial scales as 5 3 1, in quartalscales as 5 4 1 or 5 2 1.Sixth?as direct interval only in ascent in Hand-in-hand and Pigeon, and inintroductions such as Eagle 1. Stepwise in all conceivable combinations of smallerintervals descending or ascending.Seventh and octave?never direct, indirectly only by long progressions of anentire phrase. Exception: octave rise in New fskanye 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 variesfrom a third to 12 notes, but functional tones most commonlyencompass a fifth in tertial and secundal scales, or an octave inquartal and extended tertial scales. The range, as distinct from thescale, 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?ad<j-wf 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, Quavering1, 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?adgw^ 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-w? 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 ?skanye all except 10, many Newfskanye. 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.
Kdrath] IROQUOIS MUSIC AND DANCE 35Ninth?Drum 2, Eagle 2, War 3, Sun Rite 1, Dark Dance 2, 5, 6, Carry-out-the-Kettle 1, 2, Old eskanye 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, sometimesby descending to a basic main tone. The fifth and ninth run second.Very small and very large ranges are uncommon, as are very small andvery full scales. Functionally, the octave and other average rangesare 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, eskanye and TrottingDance.To an extent the compass guides the magnitude of the scale and theintervals; a compass of an octave or more gives more space than one ofa second or even a fourth. However, Choose-a-partner 1 and 4,with a compass of an octave, contain a four-tone scale; whereas thediatonic Hand-in-hand song 4 extends to a compass of a ninth.Consequently, the sparsely strewn Choose-a-partner songs demandmany intervals of a fourth and fifth, and the Hand-in-hand songmoves stepwise in small intervals.Summary:While Iroquois songs show a bewildering variety of tonal materialsand handling, moderation is preferred in all aspects: in the majorityof five-tone scales, of tertial nuclei, of moderate or small intervals,and of an octave's range. Though tonal types are distributed throughall functional categories, and though some cycles, as Drum Dance andFalse Face, include extremes, in general the following tendencies con-form to ritual types:(1) Secundal and small-tone songs with small compass are foundmostly in sacred rites for the Creator or shamanistic rites.(2) Average properties characterize animal rites. Trotting and Fishtype, Old eskanye and Corn cycles. These are largely tertial, focuscentrally.(3) Large and diffuse scales are common in Drum, War, andwomen's medicine rites, also in Hand-in-hand and double-columnstomp social dances as well as most new compositions. These tend tobe quartal or composite, often with the main tone at or near thebottom of the scale.
36 BUREAU OF AMERICAN ETHNOLOGY [Boll. 187Similar 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 Creatorexhibit the most conservative tendencies. The greatest conservatismand homogeneity characterizes the animal dances.TEMPO(See table I, p. 41)The tempi of all songs, as measured by the metronome, accompanyall transcriptions, all excerpts of rhythmic units in figures 4-9,and the comparative tabulation on page 55. Wherever voice andpercussion differ, the instrumental tempo is also given. Usuallyvoice and percussion synchronize, except for a slight instrumentallag in stomp-type dances, and except for regular syncopation in FalseFace 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 beatwherever 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, Newfskanye, Fish type. 112^?Eagle Dance, Knee-rattle, Grinding-an-arrow, Robin (accelerating).Moderate?100 or 104?Sun Rite, War Dance, Buffalo, Bear, DarkDance, Old ^skanye (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 ishalf the tempo of stomp type dances, for one step synchronizeswith each quarter note beat, in stomp type with each eighth notebeat.)Tempo crosscuts functional categories. However, very frenziedand very slow speeds pertain to sacred and medicine rites, and averagespeed to the vigorous war and stomp dances. Generally the intro-ductory chants are slow, the first dance song accelerates to the tempoof the remaining dance songs. In certain types, as Feather Dance,New ^skanye 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 37
accented. A rapid tremolo accompanies all chants and commonlyannounces the coming song. False Faces and women dancers areintroduced by the regular beats. A common device is alternatetremolo and beat in an A A B A B pattern with tremolo on A. Thishas been described for yeidos, Eagle, Fish type, and others. Fish typeusually 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 instrumentalvariation. Very few cycles use complex rhythms. Feather Dancealone has a background of rapid dotted notes?an iambic beat. EagleDance, part B, varies in a combination of slow and fast beats. HuskFace 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 eighthnotes. Drum Dance, ado'we', animal rites, women's rites, social birddances. Hand-in-hand.(6) Uneven, dotted quarter with eighth or dotted eighth withsixteenth. Some Feather, Drum, False Face, eskanye, Corn, birdrites 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 medicinerites, and eskanye. 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 orvice 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 dottedeighth with sixteenth intensifies the movement impulse by its patternof prolonged and short beats. This, we may note, is the rhythm of theFeather Dance rattle. The slow form of syncopation of eighth andquarter notes in ohgiwe and Hand-in-hand, the faster types in FeatherDance, and Sun Rite vary in their effect from a gentle lift to incisiveimpact.This fast form of syncopation and categories {d and e) representsas many arrangements of three notes within a duple count, and asvariable effects, from the flowing triplet to the impatient PJT i .Similarly, the triplet form of the iambic rhythm f p flows moresmoothly than the dotted form C^. Combination of triple and duple
38 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187rhythms 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 anornamental function as to be distinguished from grace notes and trillsonly by the manner of writing. The writing has been determined bythe accent, by its placement on the first, second, or third note of theornament. For instance, with Tonawanda examples? ?^' FeatherDance 5 as against ?'p Feather 6, Drum 1 and 2. ?^fP- Feather 7 asagainst ij ? Drum 3, Eagle 5 and C-T T Eagle 4, War 4. C/ Corn 2 asagainst ?j*' Corn 4.r appears in three forms, as vibrato on one note, in Drum 3; astrill in Drum 7, False Face 2 (Black); as downward glide in Eagle 5,False Face 2 (Cornplanter) . Similarly, ?? (? can pulsate on one note inEagle 6, glide downward in Eagle 4 or upward in 6 B. The gracenotes are sometimes replaced by a slur; upward in War 1, or downwardin War 2. Because of their varying contour and tempo, trills have
all been written in full, to distinguish the slow ET^T from rapid ?^rTof Eagle 5 ; and trills on a second, as False Face 2 (Black) from trillson a third, as Drum 7 and Eagle 5. Often portions of the melodyproper produce an effect of trill, as the first triplet in Changing-a-rib3 and the second triplet in 4. The unit^ in its various combinations,as Sun Rite 2 and 3, Bear 5, is ornamental. Vocal pulsation, markedP also serves as ornament, by breaking up a sustained note intosmall vibrating particles. Ornamentation is an important enrichingfactor in Iroquois music and, one may add, a factor susceptible toindividual variation. It can add spice to any and all of the song cycles,and appears inevitably in War dance type and eskanye, as pulsationin Feather, ohgiwe, and Corn Dance.Grouping of units into phrases.?Each song uses its own special devicefor grouping small rhythmic units into a pattern. Yet out of thevariety we can select typical devices for the various cycles, and we canattempt a classification of patterns. The salient combinations are:(1) Repetition^?False Face 6, Drum 10, False Face 4, Husk Face,Buffalo, Quavering 3, Old eskanye 3, Corn 2 and 4, Trotting andGarters, Robin, Duck, Grinding-an-arrow, Knee-rattle, Moccasingaming (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.
KuBATH] IROQUOIS MUSIC AND DANCE 39(b) Intensification from slow to fast units?Changing-a-rib 17.(c) Symmetrical timing, by progression from slow to fast to slowunits?Drum 3, Eagle 5, False Face 1, Bear 2, Carry-out-the-kettle 4, Old ^skanye 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 ^skanye Pigeon 2, Fishing,Moccasin 1.(3) Erratic Grouping?Commonly Feather, as 5, commonly FalseFace Round, Ashes Stirring, New eskanye.All phrases terminate with a momentary breathing space, varyingfrom sustained or pulsating half notes of Feather and ohgiwe toshort-cHpped eighth notes endings of Sun Rite, Old ^skanye andBear Dance.In these combinations the basic units are placed in characteristicpositions. Syncopations take an initial position wherever they occur,except in Quavering, Carry-out-the-kettle, and Hand-in-hand. Theyare followed by a restful quarter note in all cases except Sun Rite andWar Dance, where they are followed by an even faster unit. Thedotted figure also usually appears in an initial position, as in Drumand False Face pairing, but in Shaking-a-bush it appears as penulti-mate, and in Corn and Robin in a continuous string. The very fastversion dotted figure almost always occurs centrally.In Fish type and Delaware Dance the basic unit of even duplebeats shows ingenious means of variation. In Fish Dance the dottedunit changes its position in the phrase. In Chicken the even twoquarters are replaced by triplets, quadruplets, and the "Scotch snap."In Delaware Dance double timing converts a quarter note into fasterfigures. Similar ingenuity is displayed in Old fskanye, Robin Dance,and other songs.For the tabulations, the phrase length is measured by the numberof 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 ofthe songs, for the orderly aspect of repetitious Drum, Eagle, War,Sun Rite, Dark Dance, Quavering, Old eskanye; for the disjointedeffect of Feather and False Face and New eskanye. Sedate, relativelyeven note values in repetitious or symmetrical grouping producesthe simple designs of adonwe, ohgiwe, Buffalo, Robin, Hand-in-hand.Crisp rhythms animate the equally orderly War, eskanye, and Trottingtypes. Unit combinations complicate the couple social dances
?
Pigeon, Shaking-a-bush, Devil Dance.
40 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187Not all cycles are equally homogeneous. Most cycles tend towardorderliness, especially rites to the Midpantheon, Dark Dance, Oldfskanye, and Stomp type. Drum, Quavering, Changing-a-rib, andRaccoon Dance contain irregular songs. Ashes Stirring, sometimes,and New eskanye, always, are erratic. Feather Dance and False Faceinclude extremes of hypnotic repetitiveness and rhapsodic irregularity.METERMeter, not to be confused with rhythm, groups the rhythmicphrases into mathematical time divisions according to the numberof even beats underlying the phrase. Thus a group or "measure" ofsix 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 varietyof uneven units. Iroquois songs rarely resolve into mechanicallyrecurrent, even divisions of 2/4, 3/4, or 4/4 time. In fact, theirnonconformity to conventional metrical concepts has made timesignatures impracticable. In a few particularly interesting examplesthe meter has been appended? rarely a simple meter. Song cyclesvary 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 combinationnor the development into a complete art product. The structuraldevices are manifold but lucid, maybe most lucid when a rhythmicunit is repeated in slightly mutated form. They are never obscure,even after ingenious manipulation. The first problem is to find themain theme. Here the weighted scale furnishes a clue, for thethematic nucleus would play on the tonal nucleus. Sometimes weare due for a surprise. It has become customary in the analysis ofmodern music to make the initial statement at the beginning and todevelop 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, twosalient types of structure can be distinguished, with, however, transi-tional and composite instances. The two main type^ can be termednuclear and consecutive or progressive.Nuclear Construction:Previous scrutiny of Eagle Dance songs showed that these werebuilt from the center out. In S 5, each section, A and B, containsthree phrases. In both sections phrase (1) soars to a high note, the
KuRATH] IROQUOIS MUSIC AND DANCETable 1.
?
Dance function and musical characteristics 41
Function Dance TempoSongs Voice Instr. Range Phrase StructureCreator.
Mid-pantheon
Cures.
Women.
FoodSPIRITS
Social.
Feather.Drum..ado.Wf.Eagle..
Striking-the-stickWarFalse FaceHusk FaceYeidos
Buflalo.BearDark DanceQuaveringChanging-a-rib . .
.
PlantersWomen's Shuffle:OldNewCornHand-in-hand.
Trotting.GartersPigeonShaklng-a-bush . .
.
DuckRobinFish;OldNewRaccoonChickenSharpen-a-stickChoose-a-partner .AlligatorGrinding-an-arrow.Knee-rattleFishingDevil
ChantDanceChantDanceChantDanceFinalDanceDanceMasksPairsRoundMasksMidw.MarchHeraldThrowCureRoundChantDanceChantDanceChantDanceChantDanceChantDanceChantsMarch
DelawareMoccasin Game.Show SongsStory Songs
ChantDanceChantDanceTrans.Introd.DanceDanceDanceDanceDanceDanceDanceDanceChantDanceDanceDanceDanceDanceDanceDanceDanceDanceDanceSongs
112138-1529212010062(S)69(T)104(S)96(T)11610810013010813810411269
80104116116104969210496-108100-1209284-100
13210010010410010069108-12011?-126112-12610092-126108-120112-126112-12096112104-116112801121001268492
120100
10496116108100130108104104112169
112
"164'
11611292104
104100100
96112
96100126
51-5-8101-121-88-108-95-85-885-85-103-554-85-715-85-64-127-94-688-995-6
5-104-118-10
4-565-8985-10105-10925-85-910-115-987-85-78-955-86-8&-87-955-8
8-115-95-108-106-8
5-125-123-113-11 R3-143-153-154-104-103-55-113-83-73-63-123-733-63-83-73-84-7104-116-103-5 R6-105-113-103-83-183-163-4 R5-7 R4-134-1284-14 (R)7-134-142-6 R2-32-12 R2-11 R5-144-143-63-124-106-104-94-84-73-85-74-73-8 R4-8 R2-5 R6-105-94-63-86-14
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X
A A B B' A'A A B A B (A) XA AB AA A B AA AB A Bx
I : A A B A' B : I XAAA' A" A'" A" XA AB A BxA A'4 A"4 A"'4 B xAABzABzxA AB R AB XX a a' a" ... XA A' B A X8A B 4A B 4A XA A B A' AAABCCABCAxAABB'CB'DBC.xAxABxABxA AB ABxA A B ABxA A A' B y B XA A B A B XI: A A B rB) :! XA A B A B XAABBABBxABByCyByCAABBRABBRxAABRABRxAABBARABBRxA A B A B XA A B A ABxA A' A A' A A'A B B A B Bab abb abb
42 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187fourth or the fifth of the scale; phrase (2) wavers between the focalmain tone and the second; phrase (3) glides on the monotone of the fo-cal note. All three phrases have the same rhythmic pattern. We mayregard phrase (2) as the nuclear theme, theme (1) as an imaginativesally, and phrase (3) as a coda, a relaxation. If we want to select theessential half of the song, our choice must fall on part B, for its sallyis less extreme and its drum pattern is pronounced (Fenton andKurath, 1953, pp. 258-259).This nucleus is not necessarily in the center. In yeidos RoundDance, 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 startseach 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 compactform of the theme, B adds an upper third, and A and A' offer moreremote variants.Consecutive Construction:In Eagle Dance 1 and in Drum Dance 1, on the other hand, thetheme is clearly stated at the beginning, is repeated on successivelower levels, and restated at the end. Yeidos throwing songs 1and 7 and Hand-in-hand 5 (1951) similarly descend sequentially. Thethematic repetition does not always imply descent. False Face 1and Feather Dance 3 repeat with diminution or extension of the theme,Buffalo song 2 also turns the theme upside down. Chicken Dance 7repeats the theme on the same level.Distribution:These devices are unevenly distributed. Certain cycles prefernuclear construction, particularly Eagle Dance, yeidos, and Cornsongs, also Striking-the-Stick, Bear, old ^skanye, Fish Dance type
?
all secundal and tertial types. Introductory chants usually progressby descending sequence (as Bear 1), monotone chants and antiphoniesby exact repetition on a level. Robin dances reiterate on the samelevel, towisas and ga'daso'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 withrepetition, in 21, sequential in preliminary songs, as 7. On the whole,level repetition is found in secundal and tertial songs, sequentialdescent in quartal songs. But no hard and fast distinctions arepermissible, because of the gradations from secundal to quartal scales,
Kdrath] IROQUOIS MUSIC AND D.\NCE 43
and from nuclear to sequential types, and because of combinationsand 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. Bearand other monotone antiphony, Chicken Dance 7, Sharpen-a-stick 1.(6) Transposition to a lower level: Eagle Dance 1, 8, 9, 18, DrumDance 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'da?o.t songs. Duck Dance part D, Shaking-a-Bush 4.(d) Inversion: Eagle 9 (rhythm), 16, Buffalo 2, 3, Robin 1 (contour).(e) Prolongation, notably on a monotone: Eagle 17 B, Changing-a-rib 26, Shake-the-pumpkin 2, all New fskanye and Hand-in-hand.Always terminal.(/) 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-stick6 (1933).(h) Dwindhng of intervals: Eagle 5, Striking-the-stick 4, War 6,^skanyegowa 14, New eskanye 1.(i) 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 arecommon to all kinds of compositions. The examples are so highlyselective that no conclusions are feasible as to functional connectionsor relation to scale types. It is true, yeidos round dance songsspecialize in rhythmic mutations, Robin Dance songs frequentlyinvert their themes. But most of the devices are so scattered throughthe repertory that they would appear to be artistic rather than magicalphenomena.One or Two Themes:The tabulation of musical form shows the prevalence of one themevaried by one or several of the devices just outlined. Two themes orat times three constitute separate sections A and B in most towisassongs, some Fish Dance t3^pe songs, and recent compositions, par-ticularly individual and New fskanye songs. These last may havethree themes. Two themes are related and less sharply separated inthe extended melodies of Hand-in-hand and Pigeon, and in FishDance, where part B may begin with a phrase of part A and then
44 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
continue with new material (3). This example typifies the subtleconnections 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 ofmusical characteristics shows that the single theme is reiterated insequential chants and men's esoteric rites, also on Old fskanye, Shake-the-pumpkin and Robin Dance. The form A A A' A A' is transitionalto the binary form A A B A B in War Dance and Buffalo songs, and,with a characteristic alternation of instrumental impulse, in newerwomen's dances and Fish Dance type. The final recapitulation ofpart A produces a ternary form of A B A or A A B A in Bear, manyChanging-a-rib, towisas, ga'ddSo-t, and Pigeon songs.Elaborate calls precede and follow each Feather Dance song andeach ado-we chant, connect all False Face songs and even slice RobinDance tunes in half. Short double terminal calls signal the close ofyeidos, Buffalo, Bear, many Quavering and Changing-a-rib, newwomen's songs, and all stomp and Fish dances. They are absent onlyin introductory chants, Eagle, Dark Dance, Old eskanye, 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 graphingevery note for details or by tracing out the general rise and fallfor the large patterns. The former method was used in the 1953analysis of Eagle Dance. The latter proves more eloquent for thepresent purpose. Contour patterns are of course infuiite in theirvariety, from absolutely level monotone to erratic melodies. A fewof the more regular forms have been selected as generally typical.They can be equated with the tonal range and means of thematicmanipulation. The first six sketches of figure 10 display the tonalgeometry as a whole, the last four show the sections separately. Eachsample represents a good many songs with, of course, variations indetail. Explanation of figure 10 showing typical contours follows;Monothematic and Nonthematic:1. Irregular swell and ebb repetition. False Face.2. Continuous swell and ebb repetition. Yeidos.3. Wavering between a high fifth and a final lower main tone. Feather.4. Large swells, rise and fall, dwindling toward end. Bear, Dark Dance, Shaking-a-bush.5. Terrace descent, dwindling at each level. Drum, War, ^skjinye.6. Inversion, rise and fall, then fall and rise. Buffalo, Robin.
KuRATH] IROQUOIS MUSIC AND DANCE 45Binary: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 A or A'. Changing-a-rib (final songs), Shake-the-pumpkin, Pigeon.10. Rise during B, return to original level on repeat of A. Tpwisas, Trotting,Garters.The contours seem to transcend a purely artistic effect. There isa 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, Algonquianconnections in 4, Plains influence in 5, and Southeastern origin in 10(Kurath, 1961). TYPES OF ANTIPHONYThere have been repeated references to interaction between a leaderand helper or helpers, or the singers and male dancers. The simplesttype is the initial and terminal echo during Feather Dance. Morecomplex is the series of monotone chants during the nucleus of DrumDance. These extensive phrases are stated by the leader and echoedby the helper. The two singers engage in another kind of response inthe dance songs proper. The leader states the first phrase, the helperrepeats it, and both sing the remaining phrases together. Sometimesthe interaction produces brief harmonies, as in Coldspring DrumDances 8 and 9.^^ In ado'we' the chorus provides a continuousharmonic background in the form of a drone. After the initialejaculations, 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 animalsongs?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 danceleader and male followers. All of these song cycles emphasize quartalscales.Melodic antiphony is limited to agricultural and social dances of thestomp type. Corn Dance lias only one antiphonal song. This is aseparate song in the Coldspring collection (Jones 2) , but it is attachedterminally at Tonawanda (Cornplanter 4). Corn and Bean Danceslead into Trotting Dance by two transitional songs with monotone orbitonal terminal responses, one song without accompaniment, one with
" This is a characteristic of modern Oklahoma Round Victory Dance songs, and probably originatedamong the Cheyenne and their neighbors.
46 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
rattle. These responses merge with the characteristic introductoryresponses of Trotting Dance. Trotting and Garter Dance songsdevelop into elaborate melodic antiphony, usually in tertial scales,always with a rise in the middle. Such antiphony unites the Iroquoiswith other Woodland tribes, especially with the Southeast. ^?In scores and tabulations R. stands for Responses.INTERLONGHOUSE VARIATION AND PERSONAL CREATIVITYEach song type adheres to special characteristics, no matter inwhich longhouse. Yet, in subtle ways, the Coldspring and Tonawandacycles exhibit differences. GeneraUy, the Tonawanda songs withineach type are somewhat slower. One might attribute this differenceto mechanical variations in recorders, except that there are exceptions.Cornplanter's singing is consistently faster than other versions, inFalse Face, Corn, Robin, Fish-type Dances. Shanks' Eagle Dancechant and Black's yeidos chant are faster than the Johnny Johnchants. Among the rare deviations in compass, Cornplanter'sBuffalo songs have a smaller range, and Shanks' Bear songs a some-what larger range than in other longhouses. 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 thedifferences in ceremonial composition are traditional with each long-house. Possibly Cornplanter's Cattaraugus origin sets him apartfrom other singers of Tonawanda. However, the differences appear tobe the result of personal creativity, an important aspect of Iroquoisarts, as explained in detail with regard to Eagle Dance (Fenton andKurath, 1953, pp. 238-266).The amount of permissible deviation evidently varies from cycle tocycle. Some Corn and Hand-in-hand songs recur identically or nearlyso. Certain melodies are clearly recognizable in animal and women'smedicine rites. Old eskanye, Robin, Duck. In War and TrottingDance, as well as in Fish Dance, the repertoires are more distinct. Invery old and sacred and very new compositions, the variations areconsiderable.In order to discover the devices for variation, a number of songs havebeen placed side by side with corresponding songs by other singers andthe most prominent variations have been labeled .??., ?|-, etc.In Buffalo Dance the contours have also been marked. These devicescan be summarized as follows:
21" For the diffusion of this trait to the Midwest, see Kurath, 1956 b and 1961.
KuRATH] IROQUOIS MUSIC AND DANCE 47Drum 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 patternvariable, rhythmic units the same and handled similarly in A, butwith variations in B, Johnny John being simplest. Shanks ornamentingby pulsation, Smoke and Logan by trills; structure of Johnny Johnmore extensive than of other versions (A A B A' B A" as againstAAB AB).False Face:Tonality and range the same; Cornplanter False Faces much fasterthan other versions, Husk Faces slower; rhythmic and metric proper-ties the same; large contours analogous but details variable.Bu^ffalo Dance:Tonality the same except for Cornplanter 's transitional lower sixth insongs 1 and 2 ; as shown by scales, somewhat lower weighting by Corn-planter (frequency of lower notes) and greater focusing on main toneby Coldspring singers on page 212; percussion the same, also rhythmicmaterial except for ornamental variants shown by brackets, with moretendency 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, withreversal, respectively falling and rising in Cornplanter and JohnnyJohn 3, Deskaheh resembling Cornplanter and Redeye resemblingJohnny John in section 1(a) and Cornplanter in section 3(a'0-Bear Dance:Tonality and range identical, except for omission of lower seventh inShanks 1 ; Shanks somewhat higher weighting ; Shanks and Johnny Johnfaster than Logan; intricate rhythmic and ornamental variations, viz:song 1?Shanks grace notes and pulsation, Logan central sustainednotes; song 3?Shanks alternate duple and triple units, Logan Scotchsnap and rapid figures. Smoke all duple units; song 4?Logan andSmoke complex short phrases (two to Shanks' one) ; song 5?versionson page 216 so variable as to be recognizable only by melody. Struc-ture and contour generally the same, except for addition of terminalantiphony in Shanks 3 and 4.Quavering:Tonality and range identical; tempi analogous; rhythmic and melodicvariants in 7 insignificant; basic rhythmic units analogous in 11, but
48 BUREAU OF AMERICAN ETHNOLOGY [Bull. 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 slightlyfaster; in song 1 rhythm and melody start out similarly but concludedifferently; in other analogous songs as 6 and 7, ornamental rhythmicadditions by Shanks; structure and contour generally the same, butin song 6 differences as marked in B and considerable discrepancies inC (Shanks more prolonged). Final songs not recorded for Tonawanda.Old ^skdnye:Tonality not identical. Black (543 1 V), Curry (54 21); variationsconsisting mostly in incidental rises and dips. Tempi similar; rhythmand meter the same except for minor differences by W. John; struc-ture the same except for expansion by W. John; contour minorvariants, as shown.Corn Dance:Scale always the same; Cornplanter faster than others; slight rhythmicmutation in songs 1 and 2; variations in contour notably of "y," alsoin 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 notesimilarity between his song 8 (1948) and Curry's Hand-in-handsong 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 incontour song 1, A and last line of song 3.Individual Songs:Adg-we:Considerable variation in all artistic aspects, from most tradi-tional to inventive. Style of rendering the constant factor.Yeidos:Considerable variation possible, but in this group (all by Black)less than usual; however, differences in scales apparent, alsodifferent rhythmic scheme in each song.New ^skdnye and New Fish Dance:Formula for large range, accelerating speed, rhythmic and metricirregularity; pattern of repetition with terminal formula; descendingtrend. Considerable variation within formula. Fish Dance muchmore conservative tlian ^skanye by limited scale, regular rhythmicunits, and shorter form.
Kdrath] IROQUOIS MUSIC AND DANCE 49SummaryThese selections sufl&ce for a demonstration of the variations possi-ble even in traditional cj'-cles. The tonality and range are usuallyidentical in different versions of the same song, tliough they varygreatly between individual songs. Tempi may vary. Rhythm andmeter may mutate a song almost beyond recognition, though as arule these changes consist in ornamental features or shifts of accent.Structures remain identical except for the insertion of repetition ofcertain phrases and except for the flexibility permissible in adg'Wf andYeidos Throwing songs. Melodic contours usually confine modifica-tions to small phrases, though occasionally whole sections can beinverted.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 onthe main tone and secondary note. Compare the initial mutationsand 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 severalways. First of all, it shows the singers' respect for tradition, even intheir own compositions and in the secularized Show songs. Yet itshows the creative spirit continually at work in ways which enrichthe melodies while preserving the tonal and formal skeleton. Theenrichment seems to conform to personal tendencies and to go handin hand with the vocal quality (Records, Fenton, 1942, 1948;Kurath, 1956).
634-599 O?64-
CHOREOGRAPHIC ANALYSISPERFORMANCEThe Setting:A democratic attitude pervades Iroquois ceremonialism and dancing.A few esoteric rites are held in private in a small living room, perhapseven in secret. But the great majority of festivals take place in thecommunal sanctuary, the longhouse. Thus the great MidwinterFestival of dream renewal and the summer series of agriculturalfestivals are organized by spokesmen and women of the communityand 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 theCreator, and the Stomp and Fish Dances are open to all. In fact.Feather Dance involves participation by every believer as a statementof faith.The ceremonies and the separate dances testify to centuries oftradition in their careful organization. Every duty falls to the shareof especially appointed officers. Moieties and sexes interact in well-established patterns. Thus leading singers and dancers should be ofopposite moieties. The role of women is distinct from that of themale officers. The women manage food festivals and the otherwisemale False Face rites. In the separate dances the placement of thesexes forms part of the traditional pattern.Participation
:
As performance is usually open to all, the quality of executionvaries, as does the number of participants. The best dancers starteach dance and exhibit the most elaborate steps. Particularly inFeather Dance the dancing may vary from spirited gyrations by thevirtuosos to a simple two-step by the old men, and the women's stepmay deteriorate to an unrhythmical walk-around. As naturalchoreographic ability is not equally distributed, the most complicatedformations fall to the lot of experts. These may be youngsters,particularly when it comes to the Fish Dance. But some of thegrannies, such as Fannie Stevens, excel in ritual and social dancesalike. Needless to say, it would be futile to look for professionalprecision when one and all are enacting a prayer or else just having agood time.50
KuRATH] IROQUOIS MUSIC AND DANCE 51METHODS OF STUDYTranscription:The best method of research is participation. And this is feasiblein Iroquois dances as in few other ritual forms. The communalnature has both advantages and drawbacks. The advantages are,first of all, the opportunity to learn the formations under naturalconditions and, in the second place, the possibility of observing manypersonalities absorbed in their performance. The sole disadvantageis the occasional obscuring of fundamental patterns by spiritedimprovisations. This is, however, only a temporary drawback; foreventually the patterns emerge and the improvisations take theirplace as eloquent enrichment.These patterns were further clarified during sessions with thebest dancers, all of the Johnny John family and Fannie Stevens.With the aid of Chauncey Johnny John's singing, the dancersexplained the steps and formations and their ritual connotations.Notes are taboo in the course of the ceremonies, but are quitepermissible face to face with informants. These notes are largely inthe form of a dance script. It will not be explained here in full, forits 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 footand the direction of its progression. It is foolproof because of theseparation of the right and left feet by a central line. It has beenpossible to read back all of the notes completely.Comparative Procedure:Subsequent organization of materials has entailed separatechoreography of each dance. As the music was available, this couldbe combined with the steps. Thereupon it was possible to separatethe dances into various types according to ground plan and steps, tooutline the main types both graphically and verbally, and to indicatefunctional and musical relationships with the choreographic patterns.GROUND PLANSCounterclockwise 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 numbersgradually swell. Between songs the dancers saunter during a tremoloor complete silence. Men and women can be variously grouped. Inrituals men lead, except in female dances, and the ladies and childrentrail in the wake. As a rule, food spirit dances alternate the sexesand most social dances couple them. The Fish Dance type lets
52 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187partners change places in the middle of each song?a pattern whichextends to several other social dances and a few rituals. All sacreddances proceed single file. A few social dances pair into double file.Straight lines are peculiar to Eagle, Striking-the-stick, and the nowobsolete Devil Dance. False Faces, Husk Faces, and Wardancers generally perform solo, even when in an organized aggregate;but the Doorkeeper's Round involves the community.The choreographic figures are arranged according to participationof the sexes, and also in order of complexity. The various groundplans include the following dances. (See figs. 1 1-18, pp. 89-96.)Rounds:One sex (fig. 11):(o) Men, sideward, yeidos round.(6) The beginning of all stomp dances, and the first dance ofRaccoon Dance (song 2), forward.(c) Women, sideward. Dark Dance, Quavering, Changing-a-rib.{d) Women, obliquely forward; ohgiwe Death Feast, towisas.Sexes segregated (fig. 12):(a, 6) Sideward, facing center, Buffalo, Robin.ic) Forward, Bear and Shake-the-pumpkin.((/) 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'daso-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.(b) Women backward, men forward, all progressing against thesun. Duck part B and Shaking-a-bush B. Two pairscoupled.(c) and (d), Coupled pairs exchange places, Duck A, C, D, Shake-Bush recapitulation of A. Duck: men always forwardagainst the sun, women forward with the sun, underbridges of men's arms, passing one, two or three pairs ofmen. Shaking-a-bush: first song women forward with thesun, men against the sun, second song when men in thelead, 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.
KuRATH] IROQUOIS MUSIC AND DANCE 53(6) Men forward, women sideward, facing center. False FaceRound.(c, d) Men forward or gyrating, women sideward, facing center,Feather and Drum Dance.Feather Dance as paradigm for cimiulative pattern of communalrounds (fig. 16):Dance 1: Male leaders forging ahead, around bench, inside twostoves.Dance 3: Male followers lined up behind leaders, progressingahead.Dance 7: Boys, the women in the wake, stretching to a long line,around both stoves and winding within itself. Entrance ofgroups 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 ofFish, Sharpen-a-stick, second dance of Raccoon (song 3).(6) Beginning of all Fish type dances, men and women coupledas shown, all straight ahead, during second statement ofA, to duple drum beat.(c) Couples face to face, in place, fish-type step.{d) Couples change places, recapitulation, part A, to half-beatof drum.All of these dances are open rounds, follow-the-leader style. Theleader never contacts the tail end of the line to close the circle. Thusanyone can join, either by entering in the middle of the line to join hisor her own sex or to produce the desired pattern of alternation orpairing, or else by stretching out the end of the line. When thecapacity of the longhouse has reached its limits, the circle has tospiral within itself to accommodate additional dancers, sometimesin Feather Dance to three concentric spirals. This is, however, nota true spiral. The separate dancers contmue to trace circles on theground, or rather elipses.Deviations from the eliptical progression may occur in improvisatorysection B of ga'daSo't and Garters, when animated members maystagger into the center and out in a weaving pattern, or may clown inthe center in clusters of two, three, or four. In Corn Dance, AlbertJones 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 intoa 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 ofga'daSo't and other dances that require no central bench, and isincluded in the elipse when crowds swell to capacity. The sense offocus is further intensified by a habitual slight advancing of theright shoulder, in forward progressions, and is complete in sidewardsteps 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 andagain separate, B.(c) Striking-the-stick, a line of men (any number) face to facewith 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 menonly.Individual dancing in no particular formation or ground plan (fig. 19):(a) False Faces.(b) Wasase War dance. No diagrams shown.Focus.-?In crossovers the partner serves as focal point. This istrue 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 maycenter on the patient or on the stove as a receptacle for ashes, andWar dancers occasionally face the singers.Distribution:In review, the abundance of rounds increases in complexity fromesoteric rites to purely social dances. The most sacred medicine ritesfocus entirely on the center of the circle, whether there is a bench ornot. Food spirit dances alternate sexes, and Fish type couples them.This crescendo can be traced in the figures, for they are arranged inorder of complexity. The comparative tabulation of function andchoreography (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 thecenter, V and VI.
Kdrath] IROQUOIS MUSIC AND DANCE 55
56 BUREAU OF AMERICAN ETHNOLOGY [Bull. 18TSTEPS(See figs. 20-22, pp. 98-100)Twelve fundamental steps follow the simple principle of placingone 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 libtempo.An elastic walk during all crossovers except Eagle Dance, rightfoot 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, intime with instrumental beat or in ga'da?o*t in a strict tempo synco-pating with the melody. An inching along with small steps, the rightfoot covering no more than 7 to 8 inches at a beat. Rhythmic jigglingup and down, with step and knee flection, in all stomp type danceswith central focus.Forward stomp:Same principle as sideward stomp, except for forward direction ofeach step. Right shoulder always ahead of left. All stomp typedances with dancers facing straight ahead, in 'ohgiwe' with a morepronounced 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 dancetype and Feather and Drum dances, and daring slow beats in re-capitulation of Feather Dance songs, also as one of War Dance variantswith 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 theheel at each step.Fish Dance step (fig. 20):On the basis of a pat-step, right foot ahead of left in turned-outposition, both feet twisted inward, that is, pigeon-toed; right footnext to left into turn-out, then both feet twisted in. Sometimes rightfoot in three successive twists?forward, back, forward. Then samewith left. Men and women in Fish Dance type, though some womeneskanye instead.
KuRATH] IROQUOIS MUSIC AND DANCE 57Feather Dance step (fig. 21):A two-step with the right foot (step-together-step) followed by aforward heel-brush with the left; then two-step left, brush right. Orin expansion?right foot step-together-step-together-step, brush left.By men only, older men with shuffling gait, younger men with heelpounding and raising of the free knee. Knee flection with counts 1and 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-bumpleft. 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 theright, with knee flection on each placement of heels or toes.Women's Shuffle or ^skdnye step:A sideward saw-foot twist. Pull right heel to right in an arc,shuffling left heel to right; pull right toes forward and right in anarc, 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 withinstrument as step (raise knee), hop (kick). By men and women inFalse Face pairing and some improvisations during stomp rounds. Amale variant?jump on both feet, hop and kick; reverse. In FalseFace 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\l).(B) Stomp, side and forward (2 and 3).(C) Double thump, including step-pat. False Face round. Featherand Drum dance steps (4-6).(D) Twisting steps, Women's Feather and Shuffle steps. Fishtype (8-10).(E) Hop-kicks, False Face, War, Eagle dance (11 and 12).BODY ACTIONThe torso generally held erect, tilted very slightly forward, spinecentered above flexible knees. In stomp type right shoulder tiltedforward down with each step. In women's steps torso and shoulders
58 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187leYel. In False Face and somewhat less so in War Dance, torso stoopedor swayed from side to side. Knees raised high only in Feather,Drum, and solos of men. Few gestures?^women's arm swings andwrist twists, improvised war-type gestures in Feather and War dances,shown on stick figures. Angular gesticulation of False Faces. Specialmotions?^False Face roll and crawl, Eagle dance deep lunge withextended arms. Turn out in False Face jumps and at tunes in Eaglehep only exceptions to consistent forward position of knees. (Fig. 19, p. 97.)Focus.?The steps are adapted to the bodily direction, to preservethe counterclockwise direction. Or perhaps the adjustment is reversed. Consequently the sideward steps are most highly focusedon the center of the ellipse, that is, side stomp and women's steps, butall stomp types relate to the center by virtue of their shoulder action.The gyrations and pivots of expert fskanye and male Feather dancerstemporarily break this focus but reestablish it on return to the funda-mental step.Distribution.?The ground plans have been arranged in such away that all rounds on pages 90-92 represent stomp-type choreography.This constitutes a large and homogeneous group from the simplemedicine rites to the more elaborate social dances. The Fish type iseven more homogeneous, belonging exclusively to the social category.Some steps reach over into other types, thus cskanye threads throughmuch of Iroquois ceremonialism, recurring in Drum, False FaceRound, Striking-the-stick and, if desired, in Fish Dance. Again, Fishstep is introduced whenever a fancy variant is desired. Again,several longer rituals combine a number of choreographic types, asthe False Face succession of Maskers, Pairing, Round, and HuskFaces. It is noteworthy that the most elaborate and individualisticgestures belong to the war dance type, never to women. This ineludes Eagle Dance but not Striking-the-stick. The connectionbetween the ground plans and the steps is clearly indicated on thefigures by the samples of dance script written into each diagram,along with the instrumental beat.RELATIONSHIP OF ACTION TO MUSICAs the steps follow the instrumental beat, it is sufficient to limit themusical representation to this item in the diagrams. In addition, thefundamental steps are included with the musical transcriptions whennecessary. For instance, in Raccoon Dance there is no dancing duringsong 1. During song 2 the men stomp slowly, so their step is writtenalong the corresponding musical phrase. During song 3 they continuestomping with crossover. During songs 4 and 5, women enter incouples, but stomping continues. In song 6, the regular Fish typestep starts. The choreographic notes are held down to a minimum.
Kdrath] IROQUOIS MUSIC AND DANCE 59
since the figures and verbal descriptions provide a complete picture.In ga'da?o-t the two kinds of stomp step are inserted at the properplaces, 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 stepsand formations to certain parts of each cycle, and furthermore, thesynchronization of musical and dance sections when a change is cus-tomary. Most stomp dances, eskanye and others, continue right tothe end of each song, but men's Feather, and crossover dances requirea different step with each musical section. The dancers are fullyaware of these connections and never err in rhythm or pattern.On the other hand, they never "interpret" musical quality orphrasing in the manner of modern creative dancers. The combina-tion of movement and musical texture is always appropriate, forinstance, 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 musicalforms, 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 prescribedpattern. In stomp dances that involve a change, like ga'das-ot orRobin, the first notes of each section likewise call forth the properchange of step. But in continuous stomps, as in Bear and in thebeginning of all stomp dances and particularly in Feather and Drumdances, 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 secondand then the third, and so on to the end of the line, like dominoes in astring that collapse in quick succession after the first one is knockedover. During a short song, it may happen that the children at theend of a long line may have time for only a few steps. In figure 16this process is indicated in simplified form by indication of threegroups?leaders, older men, and women?entering at a, h, and c asmarked in soilg 7. The vertical step pulsation is, however, perfectlysynchronized.Step combinations may follow musical rhythms, as in Robin 2,where stomps correspond to musical accents. More commonly, thereis no intentional conformity to musical rliythm 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 withmusical rests.By these time-honored customary patterns and by permissibleindividual deviations, both music and dance achieve variety withinunity.
FUNCTION AND FORMThe analyses have concentrated on the purely formal or artisticaspects of the songs and dances. These eloquent forms were notinvented for esthetic gratification, but arose out of a practical need.Their expressiveness is a means to an end, though this end may havebeen modified in recent centuries. Bear rituals imitate the bear toinduce his good will?the more perfect the imitation, the more com-plete the good will. Without a doubt every element contributes tothis functional efficacy, though at the present time the writer has notbeen able to fathom the precise magical connotations of tonaHty,rhythm, and geometry.In more general terms, we may be able to establish a relationshipbetween ritual function and formal development. The comparativetabulation of dance function and choreography corroborates theimpression of the musical tabulations, namely, that contemporaryreligious concepts confuse rather than clarify attempts at synthesis,or some order of development. The rites paramount in themodern Iroquois mind, those to the Creator, obviously belong to amore developed stage than do the Medicine rites. On the otherhand, the arrangement of the choreographic figures shows a consecu-tive sequence from the simple to the complex. With complexity asour criterion, we have rearranged the rituals. The resultant order isnot exactly the same for the music as for ground plans, nor for groundplans as for steps. Quavering, with its complex melodies, uses simplechoreography. Shaking-a-bush, with its complex ground plan, em-ploys a simple step. Nonetheless, the various artistic manifestationsshow similar trends, corresponding, on the whole, to the order of thediagrams of ground plans. They can be tentatively grouped asfollows, 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 fskanye, choreo-graphically Quavering and Changing-a-rib. Secundal.(3) Animal cures?Bear, Buffalo, Robin, also Shake-the-pumpkin.Feature: monotone antiphony. Round, stomp.60
Kdbath] IROQUOIS MUSIC AND DANCE 61(4) Agricultural dances, secundal and tertial (towisas), tertial(Corn, ga'da?0't). Feature: melodic antiphony. ChoreographicallyHand-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. Varyingand composite scales. Simple choreography, elaborate gestures.(8) Women's dances, Quavering, Changing-a-rib, fskanyegowa.Hand-in-hand, 'ohgiwe*^. Tertial and quartal. Feature: reciprocaltexts between sexes.(9) Modern songs. Traditional (individual, adonwe, new fskanye).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 witharchaic songs, the last with songs fitting into category 7.(11) The double rounds. Pigeon and Shaking-a-bush. Compositescales.The first four categories, all ritualistic, belong to the stomp type,eskanye excepted. The War Dance cycles are in the middle of thealinement. Complex social dances are at the end. The homogeneouscategories are predominantly tertial. Women's dances consistentlybelong to secundal or quartal types (new songs excepted), and suggesta separate, parallel line of growth.TIME DIMENSIONThe criterion of relative complexity, which produced the tentativealinement of functions and forms, may provide a clue for relativechronology. Shamanism is generally regarded as the most ancientform of ritualism. In the case of the Iroquois, Fenton corroboratesmy suggestion that False Face and yeidos rites testify to untoldantiquity in their dance and songs. Then we have on our list asuccession of animal and agricultural dances, some of them secundaland some tertial. The majority are tertial, Bear and Buffalo are onlyin part. Women's dances, as previously stated, seem to follow aparallel line of development, but from a secundal nucleus. Some ofthe couple dances, namely Fish type, testify to moderate antiquityby 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, andthey retain some of these possible ritual connotations.
62 BUREAU OF AMERICAN ETHNOLOGY [Boll. 187A new style enters with agricultural forms, though they adhere totertial and to stomp type. Antiphony and modulation enrich themelodies. These and the previous dances we venture to equate withthe prehistoric era, dating to the acceptance of agriculture, and thuslong before the formation of the League. This type has Southeasternaffinities (Kurath, 1961).The War Dance cycle, which introduces new elements, preeminentlyin choreography, can, in part at least and perhaps in full, be relegatedto the period of expansion and conquest following the formation ofthe League. These forms would reach over into historical times, asinstances of Great Plains influence.Individual, new, and Scalp Dance songs belong to a very recentera, some of them short lived, others lasting for decades and spreadingto other longhouses.THE RELATION OF MUSICAL PATTERNS TO PRESENT RITUAL FUNCTIONSThe musical analysis has emphasized a varied distribution of formalelements through the ritual categories of the modern longhouse.Previous to this report, connections between the forms and functionsconsequently appeared obscure. However, at the present moment ahypothesis can be ventured, on the basis of several approaches, notablyon the basis of repeated association or contrasts of certain cycles inpattern tabulations.Feather Dance and False Face have shown affinities in manyrespects?tonality, tempo, rhythmic, metric, and structural irregu-larity. Add to this the common use of the turtle-shell rattle, thoughwith a different beat, and the common choreographic feature of in-dividualistic male gyration and gesticulation, though with a differentstep. (Women are unimportant in Feather Dance.) On the otherhand. Feather and Drum Dance contrast in every musical aspect,including the instrument. To confuse the issue, the dance steps aresimilar.Drum Dance shows musical relationship with the two women'srites, Quavering and Changing-a-rib, especially in the large rangesongs mth descending sequence. Structural and tonal relationshipwith the War Dance type is evident, though the latter uses a fastertempo and crisper rhythms. Functionally distant War Dance andOld eskanye, somewhat less women's Dark Dance, agree in all respectsexcept the bolder intervals of War Dance and the faster tempo ofeskanye. The same instruments and the same women's step recur inall 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 theFalse Face Round.
KuRATH] IROQUOIS MUSIC AND DANCE 63Musical homogeneity groups together a number of cycles of theso-called stomp type, namely, Buffalo, Bear, Robin, and Corn Dance,despite their functional discrepancy. It also groups together all of theFish Dance type, with a melodic contour resembling these stompdances, but with a different tonality and faster tempo. Despitesimilar tempo and step, a different musical tradition must be assignedto the stomp type with monotone terminal antiphony, to the twodances with melodic antiphony, and to the stomps with elaboratelarge-scale melodies. All stomp dances may be related, but theirmelodies 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 othertypes. The eclectic nature of the Drum Dance and False Face ritesuggests growth through many periods of time.PHYSIOLOGY AND PSYCHOLOGY OF PERFORMANCEIn each rite and dance the participants intend to and do achieve anobjective, be it supernatural supplication or gratitude, tangible bene-fits of cure or good corn, or simple, pleasurable group activity. Whatdoes the m.usic contribute to the efficacy of the performances, beyondan agreeable rhythmic background? Does it intensify the invocationand the sense of well-being? Do the observable motions andperceivable emotions of the dancers and singers aid in the consumma-tion of the ritual?The musical accompaniment motivates the tempo, dynamics, andpatterns of the dance movements, including the activity of the singers,seated or stomping. A frenzied rattle-pounding incites the dancersto frenzied stamping and gyration. A monotonously repetitious chantfocuses body and mind into a trancelike pulsation. Disjointed vocali-zation induces centrifugal activity. Increased speed and volumeproportionately increase the efforts of the dancers. Feather Dance,False Face, Fish Dance, and New eskanye share this element of frenzy.The distorted maskers and enthusiastic male Feather dancers exhibitthe nearest approach to trance in the generally placid Iroquoian dancestyle. The pert jumps and hand circlings of the shuffling womencarry the restrained feminine style to the limit of its capacity. In allthree dances, the singers also exert themselves, shouting at the topof their lungs to drown out the rattles and foot-pounding.The stately tempo of Drum Dance and its measured and orderlypattern of notes subdue the explosiveness while preserving the energyof 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 representthe moments of most intense ritualistic concentration observed by the
64 BUREAU OF AMERICAN ETHNOLOGY [Bdll. 187
writer (who has not seen yeidos). In War Dance the moderate drumbeat and the driving melodic rhythms conflict: the effect on poorerdancers is a heavy thumping, but on good dancers who can carry adouble speed, the effect is a virile rebound. The women's rites withsimilar song style were not observed. Possibly, the prolonged andsedative 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 songsaspire to the Creator and other supernaturals, or in what way War,Eagle, and Sun Dances produce cures. The observable effect is anexcitement that may border on religious fervor, and in any eventbenefits the performers because of the rhythmic self-forgetfulness.The rhythmic activity is likely to have a therapeutic effect andcan contribute to the undeniable improvement and frequent healing ofpatients during the medicine rites. In particular, the moderatetempo of Buffalo and Bear Dances, the relaxed pulsation of theirstomp step, their unhurried yet often incisive melodies with nuclearcontours, all produce an easy animation. The structure of the ritehelps to release the spasms of the sufferer, by opening ^vith a slowsubdued chant or chants, by speeding up into a steady even beat and(at Six Nations Onondaga) to a fast pulsating beat. The unison ofgroup rhythm, intensified by passages of monotone antiphony, nodoubt contributes. The mimetic activities provide amusement andthereby perhaps hasten the healing, but in themselves hardly implytherapy.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 otherstomp dances. As a matter of fact, it does. Other, nonmedicinalstomps, as Corn and Robin Dances, sometimes do function as cures.Furthermore, even when a direct healing objective is lacking, thedancers emerge from an evening of social dances minus nervous ten-sions and plus exhilaration. Not all cycles have the same therapeuticeffect. Some act hypnotically by their slow and wavering beat andmelodies, as yeidos and ohgiwe; some achieve balance, that is, thestomp type; others produce frenzy. Depending on the kind of neuro-sis, the music subdues or exhilarates. It goes without saying thatthe music is reinforced by faith in the efficacy of the rites, and theplacated spirits are entirely creatures of beliefs.When it comes to the "social" dances, one need hardly argue aboutthe inevitable enjoyment of rhythmic circling with friends. All threefactors contribute to the pleasure?the metrically perfect beat relievedby a variety of melodic designs, the circle with its fluctuating patterns,and the communal spirit, most evident in the antiphonal responsesuniting singers and dancers. Not all dances involve equal participa-
KuRATH] IROQUOIS MUSIC AND DANCE 65
tion nor produce identical results. The moderate, relaxing TrottingDance and its relatives, open and usually close an evening of socialdances and are inserted between strenuous dances. They draw alarge group into participation. Monotony is relieved not only bymelodic sjnicopations but also by counterpoint of dance steps. Themore 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 medicinerites, as Dark Dance, release tension by outbursts of hilarity. Inthis, the songs play their share. The spectators laugh in response toFalse Face moans, to animal calls after Bear, Raccoon, ChickenDances, and to whimsical Trotting Dance antiphony. However, inmasked dances, Buffalo Dance and the like, how much of the humor isdue to the melodic character, how much to the song rendering, andhow much to mimetic clowning?ECOLOGY AND MIMEThe Iroquois give thanks to all living things. In the dances theydo not portray the qualities of plants, but they often reflect the habitsof animals. MAMMALSAs already indicated in the dance descriptions, dancers suggestbeasts by posture and gait, though not by gesture. They enact moresymbolically other aspects of the animal's ways.Bu;ffalo:The American bison (Bison bison) "once roamed central NorthAmerica almost from the Atlantic Coast to the Pacific Coast innumbers estimated at 60,000,000" (Hall and Kelson, 1959, p. 1024).At one time, the Iroquois may have encountered these mammals inwestern New York. In 1671, Claude Allouez reported occasional
"pisikiou" on the Fox and Wolf Rivers in Wisconsin, that is, inMeskwaki territory (Roe, 1951, pp. 8, 224-225). During the 18thcentur}^ fair numbers congregated at the Kentucky Blue Licks and inthe highlands of North and South Carolina (ibid., pp. 233, 253).They reached the Seneca at Licking Creek near the Allegheny Riverand possibly Buffalo Creek near Buffalo, N.Y., probably by a routesouth of Lake Erie, for they made rare appearances in Michigan oradjacent Ontario (ibid., pp. 228, 254). They were extinct in theEast by 1810; survivors retreated west of the Mississippi River by1832 (ibid., p. 226). Here a few Plains and Woodland buffalo survive.634-599 0?64 6
66 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187This stolid, cloven-hoofed rmninant was impressive not onlybecause of massed nmnbers, but also because of bulk. A bull mightweigh 1,700 to 1,800 pounds and have a length of 10 feet; cows usuallyweighed only 800 pounds. Its bulk was visually increased by humpedshoulders, shaggy beard and chest, in contrast with the short-hairedrear half, spindly legs, and flimsy tail (Burgess, 1928 a, pp. 323-326).When aroused, the bull could be fierce and dangerous; he could chargewith his strong curved horns or trample an adversary. A herd inpanic or anger thundered and roared over the ground. When leftalone, the buffalo would molest no one, but would wander in peacefulmultitudes from pasture to pasture, munching at grass or lickingsalt 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 insingle fUe, facing center and clomping sideward slowly and heavily.This arrangement conforms to the Woodland round pattern, but itmay also refer to the fact that western buffalo appeared in herdswithout orderly array, but eastern herds tramped to and from theirwatering places?river or creek?in single fUe on a well-beaten path.The Seneca mime of today is not fearsome; employs no mask orface blackening.^' The hunching, butting, and bellowing of "rival"bulls is intended for laughter. Hunting mime is absent. Venerationhas become symbolic. The rite cures pathological shoulder hunching.Conductors give the patient salt clay or just salt, in token of the beast'sfondness. 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, theAmerican and in particular the Woodland Black Bear, which is foundthroughout Eastern North America (for specific range, see Hall andKelson, 1959, pp. 866-867). This creature stands 3 feet high whenon all fours, and is 6 feet long. His physical appearance and habitscould 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 functionalmanipulation of forepaws (Burgess, 1928 a, pp. 280-289). Hiswaddling gait can accelerate to a run.The Iroquois have recognized the humorous as well as the formidabletraits of the bear. They imitate his uncouth, relaxed waddle, his
2> Disguise by face blackening is still practiced by the Meskwaki of Iowa and the New Mexico PuebloIndians. The latter also wear a homed headgear similar to the costume of 19th-century Mandans and otherPlains tribes. (See Maximilian, 1906, p. 79, pi. 51; Catlin, 1841, vol. 1, pp. 186-187.)
Kdrath] IROQUOIS MUSIC AND DANCE 67grumpy growl, and his playfulness especially when young. TheIroquois pair up and kick like dancing bears. But, also, they makea communion offering when they "strip the bushes" and partake ofnuts and berry juice. They often see live bears, and can thus betterimitate them; on Allegany Seneca Reservation and in the nearbyState Park, bruins visit camps and dumps as nightly scavengers, andoccasionally raid Indian pigpens. Though protected by law, theyare man-shy. However, the rite addresses the Great Spirit Bear,who brings on and can cure Ulness.BIRDSDances for creatures of the air are even more stylized. Only theeagle mime prescribes imitative postm-e 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. Whentheir sharp eyes see a reptile, fish, chicken, rabbit, or fawn below onthe ground, these screaming robbers descend like thunderbolts. At thelast moment they check their speed by spreading the broad wings andwhite, fan-shaped tail (Burgess, 1928 b, pp. 147-150). They com-monly snatch their prey in a crouching position, grasping it withhooked claws. When feeding on the ground, they hop on both feetand peck with their hooked, yellow beak.Seneca eagle dancers hover in two pairs, face-to-face, patternedby moiety (Fenton and Kurath, 1953, pp. 139-144). They utter ashriU cry before each song, lunge with extended arms, and hop withdeeply flexed knees. They vie with each other in picking up coinsor feathers with their teeth, or in nibbling at a cooked chicken placedon the floor as a symbolic offering. The performance of these fouryouths is distinctive, quite different from the collective rounds.When the Seneca used to trap eagles for their feathers, they caughtthe Bald Eagle. It is doubtful that they ever saw the great Condorof California with its 10-foot wing span, though the Onondaga speakof their Condor Dance. The dance and its mythological allusions,however, are addressed to the supernatural eagles, the Iroquois DewEagle, corresponding to the Plains and West Coast Thunderbird.The eagle's dizzy hovering and lightning descent, indeed, suggeststorm 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 alsoconnected with the dances of Sun and War. As a descendant of thePlains Calumet Dance, it is also symbolic of peace.
68 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187Duck:Seneca dancers do not specify which of the many duck species theyimitate. The Black Duck, Wood Duck, and the Mallard breed aroundthe Great Lakes, and in October they fly south. The AmericanGolden-eye even winters around the Great Lakes. However, thedance patterns seem to fit best the habits of the two river and pondspecies (Anatidae family): the beautifully feathered Mallard and theirridescent 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 feetwhen on land; in the nervous jerks and bows of the courting, preeningmale; in the raucous ''quack" of the female and the low, reedy ''kwek-kwek" of the male. They are extremely agile and can rise verticallyfrom the water with fully extended wings, pointing the wings down-ward when alighting on a pond. They are expert divers. The femaleWood Ducks are adept at getting out of a tight spot. These femaleslike to take the lead. In courtship they lead the male a merry cliase;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 marshyhabitat.The dance mimes the humorous walk and call. It emphasizes themale-female relationship. Some of the patterns suggest a doublemeaning. The women, as they back away ahead of their male vis-a-vis,recall both the courtship chase and the typical flight pattern. Whenthey squeeze under a series of arches formed by the men's upraisedarms, they seem to dive under water and again emerge, or they suc-cessfully negotiate a trap. When at the end of the dance they arecaught by the men's lowered arms, they may have arrived at thehidden 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 andadult swans are not palatable, all ducks provide succulent meals. Inview of their usefulness and their abundance, they must have inspired adance in many areas. Today the Great Lakes Algonquians performdances 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 andYuchi dances of 1911. In melodic character the Seneca song bearsmost 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 melodyof 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 transferthe actions into choreography. In this double-file round, Fenton(1955, p. 5) suggests that "the slow, wheeling, rotating sequence of thedance possibly resembles the passenger pigeon in flight, and thedouble column, which the dance sometimes assumes, represents themass 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 Columbidaewas one of the most abundant birds on earth. Dense flocks of millionsnested in the deciduous forests of the Eastern States and Canadaduring spring migrations (Audubon and Grimson, 1950, p. 199).The longhouses simultaneously celebrated the early harvest of maplesugar and of squabs. However, by 1880 the birds had succumbed oneand all to the White man's guns. At Tonawanda longhouse PigeonDance still opens the Maple Festival. At other longhouses it rerriainsas a social dance.Rohin: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 adestroyer of insect pests (Audubon and Grimson, 1950, p. 260). Hisquick motions and hop on two small feet are mimed in the dance.He does not fly in formation hke the duck or passenger pigeon, andthe dance is not in double file, but in a single file, sideward progression.FISHThe Iroquois do not specify the species of Pisces in their FishDance, the way that Menomini and Winnebago refer to the sunfishand the Yuchi to the garfish. However, they claim that the groundplan refers to the passing and repassing of a fish couple during- themating season, and the step represents the flipping of the tail, thewavy progress of the fish.^^ The ordinary fish of the Great Lakesfresh waters is torpedo-shaped, with a fan-shaped tail as propellerand several sets of fins as rudders, one or two dorsal fins, two ventralfins, and a set by the jaws. These move hke rudders as the fish gUdes
22 Nonetheless, the same step reappears in the Raccoon Dance and other dances unrelated to flsh.
70 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187through the water. The swimming action may be straight ahead orserpentine in playful progress or flirtation. A fish can also leap outof the water. At any event, he is slithery, and is appropriately por-trayed by slithery motions. It is obvious, however, that the Senecadancers 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?moreso than hunting?there is no record of an esoteric dance for the fish.It remains a Seneca diversion, though the Allegheny River residentscatch many fish, raise little corn, and do less hunting.FUNCTIONAL CHANGEThe seasonal distribution of food ceremonies and the numerousdances with animal and plant names would suggest an intimate con-nection with the environment and the food supply. It is true thatthe Iroquois knew the creatures in their choreographic roster, exceptfor the alligator, whose dance is of very minor importance. Thebuffalo, bear, duck, pigeon, and fish provided food; furs and skinsprovided covering; feathers, ornaments; bear claws and teeth servedas amulets. On the other hand, eagle and robin did not appear inthe menu. And deer, which were extensively hunted as food, have aclan in their name but no dance, although Algonquians have retained adeer dance to this day. The transference of function from hunt tocure or sociability was natural after the extinction of the creature.The bear, however, was associated with shamanism and medicinerites 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 intobeneficial channels with the obsolescence of the ancient war patternsand with the peaceful influence of Quakerism.Plants have retained their economic functions to a greater degreethan the animals. The summer food festivals actually coincide withthe ripening of the berries and crops and are timed in accordance withtheir maturity. In contrast with the animal dances, the bean andcorn dances show no mimetic tendencies. The Women Planters donot enact the words of the songs. Male and female participants inCorn Dance use no gestures comparable to those of the Cherokee(Speck and Broom, 1951, p. 77). When they wind in and out amongthe benches, they stylize geometrically the creeping of bean vines upcornstalks.The Iroquois demonstrate a capacity for stylization, even abstrac-tion, in their mime; they are preoccupied with geometric patternsrather than symbolic gestures. Though their ancestors evidentlyobserved and choreographed animal ways at a time when they were
KuRATH] IROQUOIS MUSIC AND DANCE 71dependent on the creatures, they have adjusted to functional changeswith increasing codification. In fact, they are capable of expressinghomage in the spirit of Quaker Christianity, without visualization, inthe words of the Drum Dance prayers. Here they give thanks to allcreatures, culminating in thanks to the Creator (Fenton, 1948, Rec,pp. 7-10; Chafe, 1961). Thus they are fitting into the modern worldand yet are remembering the bygone days of life in the forest.ARTISTRYOut of the bewildering variety of artistic forms, particularly ofmusical 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.FOCUSIroquois song and dance are preeminently focal. Most of the scalescenter on a focal note and its subsidiary helper, close at hand; themelodies waver up and down around the focal note, usually end on itand develop out of this center. This nuclear tendency extends tothe thematic devices which produce expansion and rhythmic inter-action. The average tempo proceeds at a comfortable gait. Therhythms are most commonly simple, calm, and symmetrical. Thereis certainly significance in the exceptional cases of diffuse, sequential,and erratic forms.Similarly, the dances circulate steadily around a focal point, thebody 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 choreographicvariations. As for the music, there are special reasons for uncentered,individualistic, and vertical dance forms, namely, exotic origins.INTERACTIONClosely allied with this nuclear quality is the constant interactionbetween performers, between moieties, between officials, betweenopposite sexes; the collaboration between singing teams and dancepartners, between dancers, conductors, and spectators, in antiphonyor synchronization. The interaction grows out of segregation. Atthe beginning of each festival the men and women gather at theirrespective ends of the longhouse, and the moieties divide at rightangles to the sexes. The singers and dancers pair up and intermingleaccording to specific precepts.STRUCTURALISMLikewise in conformity with tradition, each ceremony and eachdance cycle has a clear structure and builds to a climax. Each song
72 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
is also skillfully constructed. The patterns vary from simple repeti-tion to complex thematic juggling. The dances are well regulated intheir development and in their relationship to the musical structure.They emphasize geometric floor plans, rather than steps or gestures.TRADITION AND FLEXIBILITYWithin the traditional frame the musicians and dancers are allowedcreative freedom. Traditional repertoires vary somewhat from long-house to longhouse, from singer to singer. New types encourageoriginal composition. Within the larger structure, the order andselection of songs also may vary. The dance performances providea new experience on each ritual or social occasion, because of theimprovisation and spontaneity.Another aspect of flexibility has aided the adjustment to changingexternal conditions, the acceptance of other tribal dances, of modernparaphernalia, Christian concepts, and the change of functions tofit new ways of earning a living.SOLEMNITY AND GAIETYThe ceremonies are essentially dignified occasions. They havesolemn moments, as the central thanksgiving chants of the DrumDance. Yet gaiety and joking are permissible, even traditional inthe animal dances, and fun is one of the objectives of the socialoccasions. Clownery reaches its height in the awesome maskeddances. It is most delicate in the women's dance. But informalityand humorous excursions are kept within bounds. As one of hisreforms. Handsome Lake prohibited excesses: drunkenness, ribaldry,and intimacy between the sexes (Deardorff, 1951). Hence, physicalcontact has been abolished in the Hand-in-hand Dance, and themomentary embrace and "swing" have been eliminated from theAlligator Dance at Coldspring longhouse. Entertainment is sub-servient to ritual purposes.REALISM AND STYLIZATIONThe animal dances show a flare for observation and realistic mimeon the part of the Seneca, or rather of their ancestors. Today, therealism has become patterned, especially in bird dances. Dancesfor plants are entirely stylized; they consist of geometric designsinstead of mime. The capacity for stylization goes along with thestructuralism, and in performance it balances the talent for improvisa-tion. Firm footing in reality, definite patterns, and creative leewayhave contributed to the durability of Seneca ceremonialism.
APPENDIXSINGERS AND THEIR LONGHOUSES AND DATES OF RECORDINGTonawanda Seneca, N.Y 1936, 1948Jesse CornplanterRobert ShanksEdward BlackAllegany (Coldspring) Seneca, N.Y 1933, 1941, 1948, 1951Chauncey Johnny John Fannie StevensRichard Johnny John Sadie ButlerAlbert Jones Lyn DowdyEdward Curry Henry RedeyeJonas Snow Sherman RedeyeSix Nations Reserve, Ontario 1941, 1945, 1950OnondagaJoseph LoganSimeon GibsonCayugaGeorge and William BuckDeskaheh (Alexander General)Willie JohnOnondaga Valley, N.Y 1952Thomas LewisPercy Smoke NAMES OF DANCES AND RITESRituals Addressed to the Creator:Great Feather Dance_-_ 'ostdwe'gowa' [?ost6wae?ko :wa :h] ^^Thanksgiving or Drum gane o'q [koneoo?]DanceIndividual Chants of adg-Wf' ["^atoiwe?]MenRituals addressed to the Midpantheon
:
Ashes Stirring or Dawn gan6iowi'i* [kan5eo:wi:'i']SongEagle Dance gane' gwa'e' [kane'i*kwae:?e:'^]Striking-the-stick or wai'f'noe' [wa'i*^no"i*e:'i']Sun RiteWar Dance or Thunder wasa'- se' [wasa:se?]Rite
" See Linguistic Note, p. XVI. 73
74 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187Shamanistic Cures:False Face Company __ _ ?agodyow6hgowa hadjd ?dot 'a? [sha-kotyowehko :wa : hatyd^totha?]and gag(^'sa [kakohsa?]Husk Faces or Bushy gadjfsa? [kajihsa'*']HeadsMedicine Company or yeiMos [y6i?to:s] or hadii ?dos[hati:-Society of Shamans ?to :s]Buffalo Society Dance__ degiyd' gq'^denq' [tekiyd'^ko ?oeno?]Bear Society Dance nyagwai^oeng? [nyakwai? ?oeno?]Women's Medicine Rites:Dark Dance dey6dasQdaigQ [teydtahsotaikoh]Quavering lygndatha? [yi:ota:?tha?]Changing-a-rib deswadenyg? [^oteswateinyo?]Feast for the Dead 'ohgiwe? [?ohki:we:h]Rituals addressed to the Food Spirits:Women Planters tQwisasWomen's Shuffle Dance_ ^skanye' [?e:sk8e:nye:'i']Corn Dance oneqnt? 6enq' [?oneo? ?oeno?]Hand-in-hand or Bean deygdanasQuta? [teyoteutshotha*?]DanceTrotting or Standing ga'ddgot [ka^ta :syo :t]Quiver DanceSocial Dances:Shake-the-pumpkin gashedondddo' [kashe?tota:?toh]Garters Dance dewat6ihd?iQ? [tewatsihdsyo?o :?]Pigeon or Dove Dance__ dja'gowa? 6enQ' [J??:hko:wa:? ^oeno?]Duck Dance twcn? 6enQ' [thwe:t ?oeno?]Shaking-a-bush or gasgoigdadQ-* [kaskoeota^toh]Naked DanceRobin Dance dJQwiyaik? 6enq' [tyo:yaik ^oeno?]Fish Dance g^dz6enq{k&) [kejo ?oeno?(kha:?)]Raccoon or Coon Dance_ djoega'i*-6enQ' [jo''8e:ka'i* 'i'oeno'^]Chicken Dance daga?*? deng' [taksl:?c:'i* ^oeno?]Sharpen-a-stick wai'tnotiyo' [wa^^nothi :yo ?]Choose-a-partner deyondeny6tgfS [tyotatenydtkae :s]Miscellany
:
Fishing Dance 'oshewf? ['i*oshe:we?]Alligator Dance deganoddntgeha' [tekd?no :to :t]Grinding-an-arrow ganog^yo' [ka'i*noke:yo:?]Kjiee-rattle Dance gahsd'f'i'Devil Dance djihaya [jihaya?]Moccasin Game d^ng' dahgwa y^ndahgwa-* [te:-notahkway^tahkwa ?]Show Songs (Scalp Dance), ganehc^
BIBLIOGRAPHYAudubon, John James, and Grimson, Ludlow, Editors.1950. Audubon's birds of America. New York.Blair, Emma, Editor.1911-12. The Indian tribes of the Upper Mississippi Valley and region of theGreat Lakes. 2 vols. Cleveland, Ohio.Burgess, 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) .Chafe, 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 theHandsome Lake religion." In "Symposium on Cherokee andIroquois 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.Conklin, Harold 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. byWilHam N. Fenton. Bur. Amer. Ethnol. Bull. 149, pp. 77-107.Densmorb, 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, William 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. SmithsonianInst, for 1940, pp. 397-430.1941 b. Tonawanda longhouse ceremonies: ninety years after Lewis HenryMorgan. 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, William N., Editor.1951 a. Symposium on local diversity in Iroquois culture. Bur. Amer.Ethnol. Bull. 149. 75
76 BUREAU OF AMERICAN ETHNOLOGY [Bull. 1871951 b. Locality as a basic factor in the development of Iroquois socialstructure. In "Symposium on Local Diversity in IroquoisCulture," ed. by William N. Fenton. Bur. Amer. Ethnol. Bull.149, pp. 35-54.Fenton, William N., and Gulick, John, Editors.1961. Symposium on Cherokee and Iroquois culture. Bur. Amer. Ethnol.Bull. 180.Fenton, William N., and Kurath, 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. byWilliam 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.Hall, E. Raymond, and Kelson, Keith R.1959. The mammals of North America. 2 vols. New York.Hallowell, 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.Kortright, Francis H.1942. The ducks, geese and swans of North America. Amer. Wildlife Inst.,Washington.Kurath, Gertrude P.1951. Local diversity in Iroquois music and dance. In "Symposium onLocal Diversity in Iroquois Culture," ed. by WilHam 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. ChicagoPress.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. In "Symposium on Cherokee and Iroquois Culture,"ed. by Fenton and Guhck, 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, Maximihan Alexander Philip, Prinz von.Morgan, Lewis H.1901. The League of the Ho-de-no-sau-nee, or Iroquois. 2 vols. Ed. byM. Lloyd. (1st ed., Rochester, 1851.)Parker, Arthur C.1909. Secret medicine societies of the Seneca. Amer. Anthrop. (n. s.). No. 4,pp. 608-620.Roe, 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 77Speck, 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 onCherokee-Iroquois Ceremonialism, Music, and Dance." In "Sym-posium on Cherokee and Iroquois Culture," ed. by Fenton andGulick, Bur. Amer. Ethnol. Bull. 180, pp. 197-204.Wallace, Anthony F. C.1961. Cultural composition of the Handsome Lake reUgion. In "Symposiumon Cherokee and Iroquois Culture," ed. by Fenton and Gulick.Bur. Amer. Ethnol. Bull. 180, pp. 139-151.Wied-Neuwied, Maximilian Alexander Philip, Prinz von.1906. Travels in the interior of North America. In "Early Western Travels,1748-1846," vol. 23, ed. by Reuben Gold Thwaites. Cleveland.(1843, London.) RECORDSFenton, William N.1942. Songs from the Iroquois Longhouse: Program notes for an album ofAmerican Indian music from the Eastern Woodlands, Archive ofAmerican Folk Song, Library of Congress, Smithsonian Publ. 3691,Album VI.1948. Seneca songs from Coldspring Longhouse, by Chauncey Johnny Johnand Albert Jones. Recorded and edited by William N. Fenton . . .with comment on the music by Martha Champion Huot. (TheLibrary of Congress, Music Division-Recording Laboratory, FolkMusic of the U.S., Album XVII, pp. 1-16.)KuRATH, Gertrude P.1956. Songs and dances of Great Lakes Indians. Ethnic Folkways Record-ings, Monograph Series, L P 4003.

KURATH] IROQUOIS MUSIC AND DANCE 79
Prima IFeather Se c u n d aDance Te r + i Q Q uarta I^^ :^si$ -?*
?
0?n ^i^ ^Drui Dance
1 f ''^ fo=^
^^^? ^ ^ 1r-a-Adonwe C^ f^EagUS ^^ ^ ^^^Sun Ri+e P a ^ ^ -^ ^^War Dance i^iz^ "jlLt^'>Husk face False face
i <* ^ g j 9 o ^^
>^ 'iL P * ?. =St "S p- sYe id OS in^ i^=f=^^ ^ 1^ ' I :o ^IZfe^ 1 f o^Little Water^ 5^ -V>-1 I 'r gScalesFigure 1.?Scales.
80 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
PrimalB u ffa I o S e c u n d d IDance Ter+ia I Q ua r-i" a
-AH
KORATH] IROQUOIS MUSIC AND DANCE 81
Prima IHand- Sec u n d a In ? hand T e r + i a I Q u a r + a If^C-^ -i*-\-T^o"S ^Shake p.ant. />y; OPiqeon
^
' p rShake -bush. u. *^^ ij: ift:Duck^ =i3=Robini3E ' r ' f . I ff"Fish
^. o ^^^?f?^?^ ?=#==t=| *^?^Chicken 32:^ I I p OSharpen Stick
C^hoose- Partner^ T^^^Figure 3.?Scales.634-599 O - 64 - 7
82 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
R hy + h ms Mens DancesFea+her Dance
KURATH] IROQUOIS MUSIC AND DANCE 83
False Face J =60 R Animal Medicine RitesJ =116 III J= 160? * > # ? f>- H Li u Li 1 r UJ "m u\ W LU ^
-U- "1 ' ?E J = r32 Husk Face#?* O jQTl ui r ^ J = 112u 1 y tHH J ^ 168 \ I
yeidos ; =88LU I 1 ' I 1/ U I I ^ 1 VUb V J = 88
Ashes Stirrint J - 80
Buffalou ' u \ ^ J =1047
6earmm ? m m J =104^a=^ J U ^ U U ;
-U-
FiGURE 5.?Rhythmic figures.
84 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
Dark Dance J =76 Women's Medicine Ri+esJ = IOO? t O * t * ? # o* * * ?U I U L yj u
-U-Quavering J = 88****** * *^-g-
' u \ u ^=^
-U-Chanqe-rib J = 88* * * * * p~ * * # * * * -fylU UJ 1 1 Li u ^^11 I. U
? *4-L
ohgiwe J = 100# ? t ? p #=g <.T o1 1 \ < 1 ?
_J L 4 UCarry- ou+ -the - Ket+le J =84* * * # * fT-l^ u u 1 u UJ ' ;S
FiGURE 6.?Rhythmic figures.
KURATH] IROQUOIS MUSIC AND DANCE 85
eskdnye - Old Food Dancesj = 96-108
Grea+ J = II2
? > * *W 1 11 : yj \ u=
-UJ-New ?nd J = 112 - 120m ? * * * * * m ? ? ? ? rUJ \ 1 W I \J=1 1 u
t *
Corn J = 100^
-U-Hand - in - hand J = 88
\ Li I " I \ 1 U I L U I LI U 1 I
;nd ^^Figure 7.?Rhythmic figures.
86 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
K0RATH] IROQUOIS MUSIC AND DANCE 87
Fish Dance Fish TypeJ = 112 = 120
i ? ? ? ? ? ? ~5ru 1 ' u y 1 1 u u 1 ^^
-U-
Raccoon J = 92 - 126* - * s ? ? m ?_u u u ' 1 ky u u
-U-
u u 1 I LLi u I I ui' u 1 I y.^
t rrSharpen -a-S+ick i =112-126
Choose-a- partner j =112-120
Figure 9.?Rhythmic fi^ires.
BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
Contours
KURATH] IROQUOIS MUSIC AND DANCE 89Round DancesOne SexSideward Forward
a.
yeidos
b.Men
L.
Stomp I.Coon 2.
d.Women9 9
I
iyondathaDark Dance ohgiwe
Figure 11.?Rounds : One sex.
90 BUREAU OF AMERICAN ETHNOLOGY [Bull. 1S7
SegregatedSideward Forward
a.
KURATH] IROQUOIS MUSIC AND DANCE 91
Alternate
a.
92 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
Paired?Double FileAhead Crossover
a.
-o - -P X
Pigeon
c.
^'
I I '
?i
?
'66'
?4' ^
D
Duck A, C
u ?J
b. d.
^
v^'-
D '
71
I /OX D u *-
,^.^9
Shake-BushDuck B B A'
Figure 14.?Rounds : Paired, double lile.
KURATH] IROQUOIS MUSIC AND DANCE 93
Side Twist?Double Stomp
a.
94 BUREAU OF AMERICAN ETHNOLOGY I Bull. 187
KURATH] IROQUOIS MUSIC AND DANCE 95
Fish Dance
Twist step Coupled
a.
96 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
Sfraighf Lines
In place
a. b.A Eagle B Meet|.*.-------..*^
K-: -? *----^
c. d.
B Strike-Stick A
KURATH] IROQUOIS MUSIC AND DANCE 97
a.
False faces
^N I ^}
b.
Wasase
Figure ID.?Stick figures of False Faces and Wasase War dancers.634-599 O - 64 - 8
98 BUREAU OF AMERICAN ETHNOLOGYSteps [Bull. 1S7Stomp Type Fish Dance Type
J.
>
JI
^ LINE OF DIRECTION
Lb Stamp right foot/ Flex knee
Left foot step to right
Flex knee
Ixto . Right foot drag to right
Flex knee
Left foot shuffle back
Flex knee
Right foot shuffle back
J
IL
Torso erect, shoulders level
Flex knee
Left foot shuffle forward, toright heel
Torso slightly forward bent,right shoulder forwardand down
Flex knee forward
Right foot shuffle forwardX
LEFT
Man face center of circleWoman face center ofcircleMale leader face aheadMan face aheadFemale leader face aheadWoman face aheadRIGHT Figure 20.?Steps:
LINE OF DIRECTION
Walk forward left footWalk forward right foot
Torso erect, shoulder level
Flex knees slightly \
Both feet turn in, heel \accent ^
Flex knees slightly \
Both feet turned out, Iright foot in back /
Flex knees slightly \
Both feet turn in, heel (accent '
Flex knees slightly \
Both feet turn out, Iright in front /
Weight on left foot
Left foot forward patWeight on right foot
Right foot forward pat
Couple crossover ManWoman
LEFT
Ji:
Kdrath] IROQUOIS MUSIC AND DANCEWomen's Steps Men's Steps 99
Feather Dance
100 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187Jumps and Kicks Musical Symbols
t.
<>t_.
rL
False Face Pairing
Extend left leg forward
Flex left knee forwardHop on right footStep on right foot
Maskers
Tilt torso to left
Kick right foot rightJump on left foot
Junnp on both feet,straddle, knees out
Wasase
Torso stooped
Kick left foot forwardHop on right footJump on both feet,broad base,knees forward
Eagle Dance
^ Hop to right, both feet,deep crouch
Percussion D = drumR= rattle
Tone flat
Tone slightly sharp
Pulsation
Tremolo
Vocal quavering
Down glide
Up glide
Repeat
Three repetitions
Fine, i.e., end
Intake of breath
Tentative phrase division
Antiphonal division
cu
f
/K/\/
y3|:XV/
Figure 22.?Jumps and kicks, and musical symbols.
PART 2. SONGS AND TEXTS OF COLDSPRING LONGHOUSE(Figs. 23-101 follow Part 2)TEXTSBurden syllables have been inserted between the lines, as a ruleonly on the first occurrence. These syllables, it will be noted, followmusical phrasing and recur with the recurrence of the particularmusical phrase. Thus, a melody consisting of one theme also repeatsits syllables, a song with two themes usually employs two types oftexts, repeated in the same pattern, whether it be A A B A B orA A B A. Certain cycles repeat a formula after every song in aseries, thus "yahowiyahe" in Feather Dance, "yowahane" in Changing-a-rib, and "hoyane" in Hand-in-hand dance. Indications of therhythmic pattern compete with the texts for space. Hence, meaning-ful texts and their translations have been typed out separately.DANCE SCRIPTA minimum of choreographic symbols accompany key songs, toshow coordination of melody, rhythm, and step, and to indicate thefundamental step type and changes or variations during a song orcycle. The key to the symbols can be found on figure 22 (p. 99).RITUALS ADDRESSED TO THE CREATOR(See figs. 23-31)GREAT FEATHER DANCETEXT AND TRANSLATION1-4. Syllables.5. o-n?h(n)di ne'ho daodiyondje' honondiQ(n)do'^yahowiyahenow then here they are entering the officials6. oneh di ne'ho otadida-t honondiondo yahowiyahenow right here they stand up the officials7. yo wenonya wenonya: yo ho ho ho ho ho we'nonya yo'wenonya.8. yo-' yo- ya-det'6he-ta oganohsayenda-dje' yahowiyahe he'e he' eshouting the length of the house9. djoganowiyo wiyo o'o; he'f hf' ne; djoganowiyo yahowiyahe10. ganohsago todiyo he- [ :heganohsay^nda he:] 101
102 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187inside the house they have gone in; the whole length of the house1 1 . Same12. gagwego ne'ho no' ji'y^ orif ne'ho yaowiyaheeveryone here must do it (dance) now13. gagwego one jogwayo- he nigyajo- ne'ho; yahowiyaheeveryone now has come back from recess here14?17. Burden syllables18. dihawehoye' ne'to'ne'no'i'; goyahoninfhe'e hee hiblossoms on both sides (of the path) where (they came from)19. wiyo wene'he he' e'e dzagodogoh'do he' hf'^beautiful (it is) she passed that way20. jot'ayone gadak enondje's deyacinosendadye; howiya howiya he hewolf runs along the rim of the gully21. yohf'dzage wadoni djoheh'go howiya he he heon earth it grows our life supporters (food)22. gwiye' gwiye' yedakeah; yo ho' hohawk flying23. wiye wiye- haneha'e; hodedadye's des'egane geshe (sun) goes past; then look on it24. yo- gehoyade'i ne'ho neto neno ne'^ho; gaye'e he'e'esky world there whence they came here (the four persons who appeared toHandsome Lake)25. o'netoha' esgah'dandi wiyo'o honow soon I am going home fine26. 'oskenondo' onya'a' ganeohgo'; yahe* howiyahe* he'e hfdeer's neck is in the corn soup27. o'nedine'ho- deyaweoye' heowe yoedza'geh honene*now therefore bloom fiowers wherever on earth now(over the earth's surface)28. one di ne'ho- awehoniyondo' heowi ode'hadoni o nene; h^' henow therefore blossoms hanging everywhere in forests now29. yewe'nonda- dye's gayoheyade'voices reverberating in the sky (the Thunders)30. yedakhe' daye yo 'oho'o ho*gano-hshe' odyeda-tshe is running in; in the middle of the house she stands31. yo goya howene he; honihe; weyo ho ho ho; he'e he howene32. on e di ne'ho hedwanogai'dat; ga'yehe- ho howiya howiya hewiye he now therefore we the songs shall end33. yohf' f yohehf'he ganohshe'sho'o hada-k'ein the middle of the house he is running
KuRATH] IROQUOIS MUSIC AND DANCE 103RITUALS ADDRESSED TO THE MIDPANTHEONFigures 32 to 38 are the songs used for the Midpantheon rituals.SHAMANISTIC CURES(See figs. 39 52)FALSE FACE DANCETEXT AND TRANSLATION
I. Marching Songs?not recorded.II. Common Faces
?
1. he' ha'iye he'e haiy^ etc.2. he shagodyoweh shagodyoweh he haja'dota'the great doctor he cures3. he'e dehaskayondye'a he'e he dehaskayondye'athey (the False Faces) are coming in (they go where the ashes are).(They here crawl in)4. he'e honosoni'ga'a he . . .He is of the League people (belongs to the Iroquois)5. haja' tgahaato' agegosa'turn over my face (the masker turns a flip)6. o-ne ne'ho haja Mota'right now then cureshagodyoweh 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. haiyo .... (two False Face pick out men and women to dance)IV. Round Dance
?
9. on^ negi o'sogwaya? donyaanohe shagodyowehgoowa hane hoi . .now we must stir our bodies (dance) for the greatest doctor10. hodayedosondyondye's shagodyowehgoowa hane hoi . . .he peers around the greatest doctor (to see who should be dancing)11-13. Burden syllables14. gaiyohiyade'ha' (repeat) hoi . . .on the sky15. agidawenone'dago gayohiyade hai . . . wiyoheneemy voice echoes up on the sky it is good16. Sponsor's dance song. Husk Face enters and starts her off in dance,esagoya'donya'ngo shagodyoweh' gowahane'eyagowenonentaak hoi . . .you her body stir (start) , for O greatest doctor, she has sponsored the ceremony
104 BUREAU OF AMERICAlSr ETHNOLOGY [Bull. 187
17. Husk Faces in Round Dancewiyoho haniyondo'Q'opretty hanging "knobs" (balls) (pods) (fruit)?male masks18. gayehe honiyondo' hai . . .his hanging knobs of husk19. hoya heoda'geeoda'gwe oon^hashes flying now(Two wooden False Faces and Husk Face go to firepit, dip their hands inashes and blow on patient. At semiannual ceremony treat several patientsand each other. Two society matrons receive ashes before paying tobacco.)20. hoi . . . nyawfne nyawene ooneh hoi . . .thanks thanks nowHUSK FACESTEXT AND TRANSLATION
1. hai . . . yo' hyo' (hau')gaaji (repeat)come here2. ho . . . (hau)gaaye' (repeat)they are willing3. hyo' . . . hano' (gay^'a hoop of wood (staves?)SOCIETY OF SHAMANSTEXT AND TRANSLATION
I. Marching Songs (paired)
?
1. gahgahneehe' dehahayo' dye gahganee (repeat) hai yehraven approaches flying slowly the raven2. gahgahne he'ee dahoweenoot gahganee hai yehraven cries afar (his voice sounds) (he is coming)3. gahghahne wahogaini haghanee hai yehenters raven4. wedzogahga wahadiyo'ne' hai he hai'yehthe ravens they have arrived5. wedzogahga wahenodj^ne ganohshe'geh wahenodjenee hai hethese ravens are going to sit down; in the middle of the house they sit6. (At midsong all sit on the empty bench opposite the sponsor'smoiety. The leader says, "ne'ho nowath' gweni," "there that'sthe best we can do.)II. Messenger's Songs? (hajas'was hoe'ng')7. owa'saw^nee he'i he'inow they are starting (hoot owl is starting)
KuRATH] IROQUOIS MUSIC AND DANCE 105
8. da'akdone' he he'ee da'akdo'one' dadakhe' he'ii . . .he is coming to see he comes running to seewa'aheya hyeht9. dakdone he'i wa'ahayo neii: wa'aheya hyehhe comes to see he has arrived10. dayosawadjee he'e . . . dayo'osawadjee wa'ohoyait 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 hiyait is going it has gone on to the next12. yeei how^ hf'e (3 times) (repeat all) wa'ahiya hi3^afemale duck13. hahowe' hf'e . . .male duck14. ye hayoho'oo yeihayoho yehayo ho'oo wa'ahiya hiyafemale duck on the water15. ha hoyo ho'oo ....male duck on the water16. gahgane he'ei gahga'ane dadakhe he'ei wa'ahiya hiyaraven that picks raven is running this way17. gahgane he'ei gahgane wa'ahayone he'eiraven that picks raven has arrived18. yeda'akhe'i a deyeyo'o'o yowi'i'i . . . haiyehshe arrives running she enters running19. aga'ade'eno geiedo'o'o yeidakheia dayeyo'o'oI am trying with my song she comes in running20. wadehf' noodedjo'ogoo gahi'doho gaya'sho haiyehlet the songs commence yeidos it is called(Free the songs)III. Throwing or Individual Songs
?
1. haiyio haiyo'o .... hai'yehene'tooenough (that's all)2. yo'o heya ya (repeat) wahogwainnoy^' e' hik (repeat)we made an error in the song3. oonf'dago ganoogee no'owaa' haiiyoo'o yahooIn the hemlocks are plenty of owlsCrowd: hai'yeh Singer: ne'too Crowd: nyoh4. hawei niyoh weniyo owadenohdandi he'i gahidohoh gowa ha'aIt is going on the great yeidos ceremony
106 BUREAU OF AMERICAN ETHNOLOGY [Bdll. 187
5. fgidfstee' ne'tsodaagee' hai he o'gya'jeeiif' ne'tsodaagee hai heWoe is me, as I was coming I fell down as I was coming(An explanation of tardiness)6. heyo heyo yo'ojinahee haihe heyo heyo7. gagwego gfnde'hi'i heniyo wadi'nyo'o gagwego gende'hiiEveryone I know of all the wild animals, everyone I knowhaii yo'ho wiye hehe'f'e haiyeh nee'too8. dahadidak heno'oje'e'e honoo^ingohe' hai'ihee dahadihaag'^'tThey come running the medicine company they emerge from the woodshai'ihee haiyeh ne'too hai heIn counterclockwise rotation, each man speaks and renders his song. If heknows a series, he may render several. The songs may concern animals, as theduck (tQwe), great raven (gahgagoowa) , wolf (thayoni), hoot owl (o'owa'a),muskrat (jinodaga). At his behest, all may arise and dance, turning from sideto side. Opposite moieties sit across the fire.IV. Curing Songs (ow nui'ah)
?
1. ga'ahga ne'ei (repeat) yohin^nee (repeat all)Raven, raven2. da'adgkne'ee- dakdone'e hiHe is coming to find out; he is coming to seeda'adgkne'ee yohin^he hai'yeh3. ga'ahfhf'geh nija'weno'nee' (repeat) hai hee hai'3^ehAtop the tall timbers whence it came4. ganohsago heyawenoin the house it has gone5. ganohshe'egeh heyawenoin center of house it has gone6. ganohshe'geh hadehiit ya'a he'eee . . . haiAt the center of the lodge they stand7. (Female song)?rendered first if the sponsor is a woman,godegiya godegiya ya'a he'e'e'i godegiya ya'a he'e he'e'e'i . . .8. (Male song)?rendered first if the sponsor is a man.hodegiya9. hoga'ano'ye' osay^' endadje'eee hain^'^ nee he yohine'neHe travels house to house, the whole length of the longhousehaiyeh dane'hohthat's allNote.?Two prehminary songs, to release Little Water Medicine, not included.V. Round Dance?(ganon'yah gWf"gowa)(Seated)
Kdrath] IROQUOIS MUSIC AND DANCE 107
1. yowinehe hegaheno (repeat) gwa'a gwahee'the song2. gahidoho o'wadeno' hgeaat'hi howadendhdandi hi hiyeidos ceremony is going on it is going on3. haine ha'ine hige hig? he'ehf gwa'a gwahee'I am going4. gahidoho ageegcne' huiwe'hee ne' gaeno'yeidos I see it walking the song5. gahidoho ageeg^ne' huiwe'hee hewageeno'yeidos I see it walking I went there6. yowine ga'a5'-aha :](3 times and repeat)7. yowine ga'ayo'o'o yoho'o'oh he'e hee hoji'ha hawine hayoo . . .8. yowine .... jodaha hawine . . .9. yoho johe noga dadiyo yoho (repeat)Yonder song they come in10. yoho JQgwayo yoho . . .we came11. ogesen og?S sehe'n hoganohsayendadye' yowineThey're stomping, stomping the whole length of the longhouse(Arise)12. doodi dodi dwadfnogehehatWe will try(Standing)13. oh'd^jo ha'a'a oh'dejo ne'ho nage'eno haide gwa' gwa hee'It is going here, my song14. o'jogwano sohiide' hai he . . .We the house fill with noise of stomping15. ohdejo :] ne'ho o'jogwaya'dedeso' :] ^* gwa . . .It's going: here we turning our bodies side to side. We are stirring.(Pretend to dance.)16. ohdtjQ :] o'jogwagohsfdoso' :]It is going: we turn our faces side to side. We peer about.17. ohdejo :] ohdenjoho' :]It is going, moving, it has started. (Start to dance.)(Dancing)18. gwa' gwahee' we'eniyo hehe :] gwa' gwahe'19. gwa' gwahee' ha'eniyo hehe :] hainiyo hehe :] gwa . . .20. gwa' gwahee' gwe' niyo h^he :] gweniyo hfhe :] gwa . . .21. w^eniyo . . .22. ha'awiyo hehe haiwiyo . . .
w A dotted bracket indicates repetition of the preceding phrase.
108 BUREAU OF AMERICAN ETHNOLOGY [Bull. 18723. ha'ehiyo . . . haehiyo . . .24. hogayaa hogayaa ha'a deyogwaht hfnegohdo'o :] hogayaa . . .We have fulfilled the songs25. hogaya hogaya ha'a dejogwahe' nogesgwe hogaya . . .We have repeated the songs26. dejogwadohf' jogohdo'o hogaya . . .We passed through narrow valleys27. hogaya' . . . gwa' gwa he wahaa'a :] nehi otadiya'a dodadiye'i'so'o(Dancers stagger) All their bodies are swaying28. sa'yode'e sayo'odoo haihe haihe :] hai he gwa . . .Woman you are lucky, you will recover29. watcodo watcodo haihe :]30. i'g^nde'e i'gcnde'e hi hi wa'agononhonkdf'I know why she did get sick31. wa'kheje'h wa'khejfh^'f i'gende'e ho'dajesho'oI make her well, I cure her I know32. hayo'wa :] yohigeeg^ yowigeege : h^^'33. ha'yowQO :] hai'ge'gf haiheh haihe :]34. hojig^ge hojig^g^h' jigc' ge'^he :]35. ho' gainondiyodo' nogwaino ha'yowe hige'ne hayowe ha'yowaurSong is mixed, our songs are confused36. hogahtnodiyond^f' nogwa'heno'ge' ohooThe songs are clashing, our songs37. yowihi :] gahidaniyondo'hoo :]The yeidos is hung up overhead38. yo'owihi :] neyo'owine he'ff gahidaniyondo'ho39. yo' ohoo ganesago ne' ho we'ey'ho :]beneath the hillside they are walking40. jihod'ode :] gadogf :]They stand up a twig at a certain place (by magic)41. jiho . . . .gano'shf ganghshehe' :]They erect a twig in the middle of the lodge (stand rattles on end.)42. jiho . . . ehda'geha hahodfhowihi :]They erect the twig low down he is carrying it (place rattle on floor)43. wa'khenyodf' :] gadooge :]I stood her up in a certain place44. wa'k henyode' ganghshf :]I stood her up in the center of the lodge45. wa'ha'a :] nehe keyadenohgeahdo' :]I will try to have her dance ?>
Kdbath] IROQUOIS MUSIC AND DANCE 10946. do'odi do'odihi' keyahdfdjedoho :]I make her go (She, the sponsor, starts dancing)47. ho'tgainogo'daje' hot ....The last song (for the company). (Masker goes out to get mask)(Masker)48. hojigegeh hojigfgehe' dehadigohsahe'ah :]The two masks look in ?
>
49. hojigfgeh . . . dehanoyayendoneheThey are coming dancing50. ojistagweniyodoho wa'ahee :] nehe :] waheEmbers are ready she says51. ojistagweni deyoditha':] 'a h^nodonyoho' ho'o'oEmbers are ready they two say to each other, they all are saying52. hai hee he'i . . . deyadigosa'negf :](Mask and man) Their two faces are against each other53. hai he . . . deyagigohsa'ne ge :]Our two faces are vis-a-vis54. hai . . . dehigohsanege :]Their two faces are together (Mask blows on man)55. on^'yai :] hai hefire (red hot rocks)56. hai . . . (solo); hai he he'i (chorus) o'dagwe ho'dagw^ :]ashes flying about57. hai . . . (helper) hai (solo) waCisdayano'dano (S) hai hei (Ch)Sparks are streaking58. ha'tgohsayangdano (S) hai he (Ch)He is peering around turning his face from side to side59. hai he hei (S and Ch) ho'o'o' (Mask) odiwah^nowehent gahido'ogowaha'aLet us put the songs overhead of the great i'dos (sharp point)60. hai ho'o'o odidwahmowehent gayoweo'o'gowaha'aLet us put away the songs overhead of the great sharp point61. hai he hei . . . one sawahdendi'a'a hai . . . nogwaeno(geo')Now he has departed Our songs that are past (dead)hai . . . gahidohogowaha'a gwa he . . .of the Great yeidos62. hai . . . one sawahdendi'a hai .... gahidohdoowa'aNow it has gone home the great yeidos ceremony63. hai . . . gayoweo'ogoowa'a hai . . . dewanovayehdo'nee'sthe great sharp point (mask) it is peering around
110 BUREAU OF AMERICAN ETHNOLOGY [Bdll. 18764. yohaha hei :] deganggeoda' dyesQ [: gwa gwahe :] neetoThe 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)QUAVERINGTEXT AND TRANSLATIONS1?5. Burden syllables6. bono do'ye'he we'han do'ye'heNow the ladies are coming to sing They have come to sing7. yo-'osodagwego goya'dodata'All night long she was fretful, she trembled8-12. Burden syllables13. djohe' djade i heswodyf'^ :] ewogode y^dahgw?'? :]At the far rim of the earth Contrary as it isit (male) will sit (at home)14?17. Burden syllables18. onondowa' geh :] yonineOn the great hill (he went)19. 'agawiyo'he a'agawiyo'ohe :] ha'nonya?I have a good one20. Qgyawiyohe ggyawiyo'ohe :]You and I have a good one together21. wiyoyo 'wane wiyoyowane :]deyagiya'dowet'a'agwasdigfSgoyondeHow nice it is :] We two are thinking how indeed she is smiling22. wi'ne'ho- :]right here23. i'ne'ho skoyeno :]I've got you back24. ne'hosa heyqne's ske :] yawe'he gayoho :] de'agyeno'he heno'o :]Over there let them stop I say I didn't keep her25. do'da'wed'Qdawe heno'o (wa'i nai) hedodawe :] hoi yohIt is coming back here I guess it is returning26. hosaw^ho-saw^wai'ng' ne'hgsawe :]It is going back home, I guess27. ye'enohes :] wai'ng' gwasne' giwado- g^'^ :] wadohogfShe likes it, I guess. It seems I am not faithful(Syllables difficult to identify on tape).
KuRATH] IROQUOIS MUSIC AND DANCE HIRITUALS ADDRESSED TO THE FOOD SPIRITS(See figs. 69-82)SOCIETY OF WOMEN PLANTERSTEXT AND TRANSLATION1. oya'a hi oya'ahi oyahi yaw^'ho' oya'ahiberries are ripeoya'ahi :] agades'e's' Qyo"o oya'ahiberries ... I have begotten grandchildrenoya'ahi :] dayonese nondye'ah oya'ahiberries they are coming creeping2. gagwegQ oge'ge' ne' ongwe :] gagwego ke'gf' s'o' ne' ongwe :]All have seen me, the people All of my younger siblings, the peopleAll have seen me, the people gagwego keyade* ne' ongweAll of my grandchildren, the people3. gendi' hiyo hige'ah :] 4 timesIn fair fields I am walkinggendak-dadje hige'ah :]Along the meadow's edge I am walkinggf'ne' wiyo- gayeto :]It's a nice garden that is plantedgfne' wi'yo- ohe"hoo-t :]It shows nice ears of corn4. sk^ hg ya'de' nidwageno'ho :] 4 timesFrom beyond the sky we've comegfte si" dewakda' o ho :]In nice fields I am standingg^te s'o hewagenoho :]From the fields, I have come back, returned heredane'ho's'oThat's the end too.5. wenitciyo wa'6'hf't: ] 4 timesWhat a nice day at dawn6. ga'sehe satkwa'sa' :] 2 times ha'tagayei gahastei ga'sehe . . .? That's enough, as strong as I can7. Marching Songso'nf fdwadendi :] twice one ne'ho nai edwahdendi o'nf dwad^ndiNow let us go Now here once more we are going8. o'nf hi'ige' :] one gainto on^ hi'ge?Now I am going Now let it stopOHf ne'ho nai oentwenh :] one oentwfh onf nai . .Now here again the wind has stopped Now the air is quiet
112 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187ho'ganohsa'yenda'dye' :] ganont'es'o' hige'ah ho'ga . . .Yonder lies the Council House In the middle of the house I am walking9. gendahe" hosa'ge' :] gendahf hewagoThrough the fields I return From the fields I have got backgaindago hosag'eah :] gaindago hewagoTo the garden I am returning In the garden I've got backoneho't hewagyo :] oneho't ne'k'hawiAt the cornstalk I have arrived An ear of corn I am carryingo.ne sa'ya.gwayo'' o :] o'ne sa'ya'gwaj^'oNow we are back Now we are sitting downSOCIAL DANCES?STOMP TYPEFor Social Dances of the Stomp type, see figures 83 to 92.SOCIAL DANCES?FISH TYPEFigures 93 to 101 show Social Dances of the Fish type.
KURATH] IROQUOIS MUSIC AND DANCE 113
Voice J = 112Rattle J = 122 Fea+her Dance C.J. John1941Chan+s^K U U l_ wenya wen o ya wenf ya ye he he ne-e he he-e ehyo yo yo o
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<? ^ I * ^ *O U gayo wi ne hayo wi ne hoyowi ne hee he-m'y i- \j f I r > '^ ru.c I r I r u I ' r r ' '-a yowi ne he- fiiye he he^onfe hfe - f * yo^^ ^m^-^?5?iR j = 120- f38 - 152 Dance
r- V r ^ I J r ' : r f rj r ri g ^ * rf=^^j'_J yoda ho wino ya yo da ha wino ya he f, T L C ? C k "^=?=^^
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^ ** * ? ? ? '?" I > ^ * " cuL * * f ?0- =?315,6,8, 10 he - he he he huhy r tf^f ? J J j'jit'r ^ r^j i JU-* o ng dl di he ho da ^ dl
' I: r I p J f^rj~r ') t T t f r I' rya ho w iyahe f- ho no- d i J J J >'o do -IM' ;J J el '\^^^^ Figure 28.634-599 O - 64 - 9
114 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
j = 152
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KtJRATH] IROQUOIS MUSIC AND DANCE 115
14^ t^=Ff I r r r ,' ,' r ,'? ' f r ^'^^ \ 1. I '?ho wi ya he howi ya he- he ho wi^o nq ya he ho wi ya he
r- : t ^TTT? t Y'i t'- ''?ye ha ho ~ howi ya he- yo ho15 ^ . , ..a *^^ -0?f-* * * ~y_i?e ?_jU LJ ^yo wenoya weno-ya U YC U Lri 10 ho ho h# * * * * ??i^ ?** i:h\'*'*^0* *^a I | ? |\LT u r '::U U f i^16 A 'CU'L/B ?- t L=i r^jT'u,u-M ;,^>i- :^ .r r'^^n^1^ go WI no ya hawi ya he " "^ f ^ *?_*
ye howi ya hei-I ya ho ha ho " howi ya he ya he-y- r ' ' J I* ' 1 f r r ' r r ' ^ t 'I ' ^ r 118 howi yo nowi va h ya he - ya ho ho ho ho ho ya O l ^* # ?*~CT~3^^ .* r o- < *_ # *. I -y-
? f C CJ
r r Ci' r^^rt frr'f r^rr 'Cr ;rri^r{f t Cj- Figure 25.
116 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
20
* $. o r=z\ : n' ^^^ i U r ' f4tt?*i ? d * -rA' I \ 1 u-? i X f ia=I M 1 ^ INu w i: i: 1^=^21 A
KURATH] IROQUOIS MUSIC AND DANCE 117
26 31:S u ^ r ^M r^' utTf.jj^-r^i 'r ' l +?tH-27 28^ s * T' - ^ I ?* * '" ^ < * * \ * 1?
<
U 1 1 \ g I* ' ,*^ <>>i?I?I-2|:29 f I u
'^ " M> f . ^\' I I IJj p ' U I \' j r ^1 ^ ' I J .y ^j30
""^ ^ f r r cj2 1: A X^ - I* ? ' 1 a ? _* m m f m31P^^RJ Hi f i-ccjr'rrr r.r.rj':rrfA'Vm' f r ^ ' i^\ '\ ' \32^ ^ ^^^^^^^ I T r ,^1 ^ i^=^ ^=f:^ ^s # 1 ? #- f f f 'Bm ??
I
^ B33 A^^ 1 y ' ' r r I 1 ' c i u u II ' 1 I 1 I34 x^
^''
'
' ' fj- u rj r '" c ^n -ji'- L rv r- rjr^i^^wi ye h(^ h^ honi nf go ya - haya heya ho ho honi n ^ ""
-^"- i\ IS Ts \ur\ r ^ iv 7 r ^^ M' r r^ ^ "vT r ''ilz -i?y ^ # Ra+tle
Figure 27.
118 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
J = 92
I Aj*^, Solo J?-, HelperDrum Dance C.J. John, A. Jones1945 Chattt^^ xn^ I I ID'-",'" C C C III
KURATH] IROQUOIS MUSIC AND DANCE 119
J = IZO
?J' |: 1 1 u ; r r r 'I u r uJ-L oil giwe yanQ do wa^^ J I I I I I l-l L-fc9. ,? anQ do wa:^a=j A ', * ' ? ?V' i> Li I 1 -I- u 1 Li r Ljq=^
I I hano dya ya ha a
-?V ^?
'
* ^ * , ^ * ' * *-rf ?? -gr.
I I L10 J, A ? ? ?U \ Ay'\'^^ r rj rj I'-h^ r 4 ?=*.^Li U L
') fH ^2) tC tt tec v^. ,?ha yo hane diya weJ
12 r r r ?' t c he'e n ^ ha wi yt ~ yuh
hano ya'a yono wiya yono wi ya yaa Viano ya hano ya a yuhg ib 7 CJ 1 ' Li- fj f 'I I rj u^ r u r ^ i^haye hoyan e ~"f b r" "f" 1 1 c "f ? .bf u' ^' I r^we he'e goya ne'e we hoyane wi hah%' 'u' haya wiya haya we ha one
-^ #-
yit 11 I Lizj ?' ^t r c r :i r h' ^-
1
r r r r
Figure 29.
120 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
J = 126
* * * I ^'
yowe he'e yo we heh O-UAn + i phonyr .o.A^ C ? C C ? t
f fgone ho qoone gwe He
6 ^ J =120^ M *- Concluding Song4 ? ? ? I I 1 1 ? 1 ? ? jg i? i? ^ z:U u ^ '-ggLLT ' u u U ^U l_i L-?3? J Lf ' I U I.^ U U u -I u U U C ' ' Li u ^.^Recapitulate Dance Songs 1 I
Figure 80.
KURATH] IROQUOIS MUSIC AND DANCE 121
A don weCh J = 100
I '
C.J. John
T- 1\ rs * %vyah wa h wah he he he
' u Q i a^ ^ttho niya gwenode yegC no -u-^^
Ri I noh o n iya gwenodt n'l ya gwenod e he g e n d ey ^jj. c LJ U ^higendi ho ni y a gwanode 'TJjiqt ^ e y uh5^i V M V* ^ ?~i>~ ? f * * *U U LJ U -tJ-le I q e ige ha - ne hoga ha n?t3^^ ^^ S^ * * \ * fi'?1 I -tiiA g''"'' 9'+ 9'+ 9?"? '^''*' .y^' B yeh ^uh* 4 ^ * * ZZI ? I r T f - f r r ,- -?' ' 'f^ W^tt u- U CI yag ode se we we ya go we'e e oheyagono SEwe ne yo - wi Inei-mn rj f I LI Lf f M r L' -
TJ^L P ; I r i^j L' f ' r i L' I' 'I j *--sdjagono stwe we yagogwee o wuh
1. A voioa rises upward2. I am walking
Figure 31.
122 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
Eaqle DanceJ= 62
-V, C. and R .J. John1941 Chon+sf * *TK ilu rTLiTr^^^ ? i^ r r r ^^^=^yo "o we h a n e J=IOOT .'] J J ;. ^ r# ^ f * >^ ?w?Q 1 :
?
w ^ ^2 UJ'^ -? Oj-^ f wO.72^Li u ' y f # .;y u ^B we haya awa hawe ya a hey on q QO' ? \ * * * 1heya no he yo ho we hey a "a s ? ?y?T !?- M^iLj u 1 rj -; * * ?o ho o n<? yo ho no o oB yo heno1%^ A-0'- \ Tj r-i^r ^^ '^^ r\ >/j; nj li r =M:? ^ r^r-r^ 1??X*
?
'^> , ^?yo hona a han'^o nanodiyawe- hanoo o Dance J - 104^ I ' wT * ? The e ya a we heyoB we ya we^ ?* * \ #ya - he yo no U.I r LJ ^heyo howl ya ? heyo nqsn a J J a i_*> S d m- ? * ?~?=& 1 In-. >rf LT D Lr '^r f ^U U ^e=5^B
KURATH] IROQUOIS MUSIC AND DANCE 123
? i^^M 7r I fg ^3s ^wi yoo no ha wi yo o no
WI ya ha wiyoo no he yo no no "n n n n r: j
-#???#????-*?#-LJ Ul U =
yo qa n o wee ya hane he ^n^^
-#?#?#???#-u u s= u u I I =s=^^ ^S ^^1 LI =^wi ya ha he yo no ya ha Teyo# n n i
' U' LJ?t-9 IIT ^ '' u ij I , r ir ' rr L ^ ''Q=5=lya he YO no - heyoU \ VU I^ ^ ^=5=n -^-^? f ? ? ?ui U 1= g > >' Jl J -' } 'Figure 33.
124 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
10
iTiyo waji ne wi ye ha- wiye ha - wiye ha -g I ' ^12
. . /* ,.#V* t * ? ,= ? -"^ li ^ , ^ ? ' t> * m *iWI hono di yo ya a he'e ) wiya a ho n o ai yo ya'a he ?01 '
^ ? m M ? S ? m * mU I I
T' i' gj Lg ^-#
?
\?#-??#-#?*-we ya ne no we ya KeTa'a "e ?^ -IM- -? #?
#
* 0?? *-U ^ U U 'ya ? he ? weya neno weya no we ya - heya- he ?U U Li' ^' ^
-M. (t. g _* m ?_15 ? my v-^u ^' ' II- u ' u :^wi ya ~ nene goya ha- ne ? 7* m
^ Li u L Ir ^ '* ^ ^ -??*?*??
?
I??-u u * fcJ=^mm ? * ^^^ ? ?_I I il^\^ ^
Figure 34.
Kttrath] IROQUOIS MUSIC AND DANCE 125
16 J = IM
yi- Cj Lf i^u- M '^u r '-L;P^ wa ha ya - heyo - no we he ya hey o no-Hrf- ? *< ^U ' I ' u ^wa he ya he yo no? * ? ? 4l^ 1 U U =c I I l-j I17^?rij r I (: r l^-r r r ^ it^U LJ U Uwi ya ha n e ? go ya ha wi ya no ?
^-?-goya hane ? goya ha we ya goya ha wi yo no
_* m e ?_ m * MZU LJ J <?
I
18 A
^ T , !'000 ? , ^ m ,^ T777. ^'
.. U I ' I is' 1 "* UWI yo waji ne gonooo diyawe ya ha he he - yo o n o
* ? 3^ ?=^ \ n 1^J J J' -1heyo - no yo waji ne yo no diya wi he - yoo n<T 4I \
^ -*? ?--? 0- f ? \ f f I f ' fQ=^yo waj i ne go no ? diyawe ya ha - he yoo heCodar- I u' L b U ^ya howi ha ha ne he yoo nq
=U=t:Figure 35.
126 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
Sun Ri + e
I ^J = 'oaA Curry, 1951f * m3^^^1 bi-J ' Lf cjj- r 1 \j D' UI rf f f r f howi hae hewiye
2 y^ wi yo we yowe heya a 'r h u-Lf ? rj f 'I' i;^y t u u if f r f r a:$ 1 ^u 1 " r r ' 1 ^u r I
J
I =we hi y 6 he we hi ye ?r P I' Li^ LJ ' LT ?^ f yv# ?' #>,1-^ L" u b^'' C V u *' * -^ " Onega doge nege ne'e wa
^"- CI/ LJ Lf ai; ^ ' Oil' Lr ti'as
? \ * * s * i?? ?? ? ? -? 1 ^^
wehe youJKf f r Cj* ' 'wi yo wi ho- hiye youJig e
wi go wi ho - we heyooitye weye hahawe hohiweh ohiye h e
ho hi wa he y oui y e
3. Onegadoge ncge ne'waWe're going to find out
Figure 36.
KURATH] IROQUOIS MUSIC AND DANCE 127
War Dance
I j = 100 Wasose Carry, 1951Chan+r \: /U i Lf ' 1- Ly' c " J r' life j^- r '-r = iB. J^ )awi vo wi ya WI vowe vay "^ Lr lj U ' i- u 1 u I 12 A^^
-^ ^ ^ r u- Cj' r rlOO. f ,. ? f ^=? ^ ^^M rr ^iQ vvi yawiye weehi^e we hawiya wee hi ye Dance
^^==ff ho ha we ha wi ha heTb u \j U r^ ^r Vt r^"1 Li 'J uhawi ye- haw i yeT ?jl J i ^-^ '^r I "-L/ r 't"^* ? ? ? ?4 A ? ?
yowiqano wi ye wi heM-^r ^r v ^r; ^ iy^ ^- c^ ^ui^^^r^^i
''? y^J ^-t^l^
-*?*-f?*?
^
T-iM u i u r 1 i Li r f^'"tn ^L!i' !? u l;r r ?;? ha wi ya he - ?T rj .g ri J jj =1 J. J 3 uho wi ya h e e ? ? ? ? ?U U IFigure 37.
128 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
6
KURATH] IROQUOIS MUSIC AND DANCE 129
False ?-Faces12 j = 130 C.J. John2|: 1941^M' Li Lr r : r c r r f r -^^f C haiye he ha i ye hoc ye he e hoi hoi^^^^ * 2 ?-t T * ~r~9 i
' ' he'e'e' de has go yo *^y^ '^ ^^ % h ^ dehas goyo dye'a a he
5m he'e'e hono soni qa'a he e. he ?41:. V "^' :1If' u' u \ 'uv r -'< U' rjhajat ga he ha a to a ge go do a hi hi I I. L
6 J = 112 t. U V u u^~F f* P- 7-
-??
#
f # ; -?^O ne ne ho hoo ye ho .sha go djo weh ha ga do -^a'aa il TZllli_^^ z=^:-?^ 1^. -SrlJ L lj ' ,,,,,, ..o ne ne ho one ne ho'o CTu/r r rhoi
7 j = 108 Pairinc??? ^ ^ ? n!V-~M' yf 1 i-LTp^^^tlTur c hoi - ^'y'ehoi yo ^^ '''' ^? ^^-^^-^^ ^^ ' >
: 3 7 i# # 1 ^=F\. \VbiM-) u V -o-p-
hai^'yo haya ^?y? *ia yo ^'a yo *o ^? yo wi yo hoyoU u a f Figure 39.634-599 O - 64 - 10
130 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
V j = 1389 R J = 104 Door Keeper- Round
' t ^ '. ' H^ .H U U ^ u iJ- - - - "n n e no ni T f * ? f f ^^ ""^'o e g >x I' ^ u u CV J =104 X w U U U qadyo wehqo wa ha neo so gwe don ya no he -^ 'u r ij r I cj Qj- 1' a f -1^^tt hai he he hdi ^ hai he he hsf hoi
10 ,11 12 -""O^ y-TTT L' b
"''?'? "u^ Li U -^^ ' r:
^ ^ L* ^L ? ^L L ^ hai he he ewi ya WE ya we ne he hgj ho h * a sh.^ e^ u Q J. I ^ r -'W ^13 wi ga we ne wi ya ne hai he lie her I u r c+-L^'t^^ -Ail \ *r~: *. * *^^ ^14 wi ya ho ne wi ? U h E h e h E - ij IS
^a d e ha \S hai yo ho hai ye hai yi e ?
^
15 ^g^y^ y l>M (j ' Lid u r ? ^^' r ' Lryo a gi da we n p he da go gayo ^^i ya d e hai ho he^^ f-??^ #-=kLf r ' "C 'I UJ U Lwi yo he ne 5 wiyo he ne ^'
16^^ iO . f / Sponsors Song'^ J ' ^ I LLp&^
^^ Uj C ^ l/ f ' LJ f ^^ J '' C:/ f ^Figure 40.
KURATH] IROQUOIS MUSIC AND DANCE 131
False, Husk faces17 J = 104 Round wi+h Sponsora p.^ v=P^\lU U U T-18 ^ C C* ^a\ he he hai he\Jj *^: J |-' 'J LI Ll" r'^^^ -tj?^ja ye he honi yon do hat hg he'^ hai he he hoi ne he
19 Final DancesT' r \< { r ' ^P ? ?*? r I 'r r r r-*^^ho y a he'e he eda gee dagwe o' o nehM ^ f * * 73-1 *^ ^?=1?20 tiol ? nyawene oonshH usk Fnce Midwin-Fgr-J = 104 J ! 1 ? L 91-
~f ~ir
, J = 112 -r -c H* '? y"^ y"'^J *?* * :
?
^?f *- # ? ' y f # I f ; X mU ' ? u Q= ^^LJ ?' u :^7' T f T '- f f r~~H- u^ r ' u r^u \ uwu wu wu u h q ^ ye^ 9|: I? '? ILEj' \ ?B^t I' C u ? ? 1 *Figure 41.
132 BUREAU OF AMERICAN ETHNOLOGY [Bdll. 187
Shamans12 3 J = 69 Had i i dos^m C.J. John, 1941I Marching SongsI' LU r LLT r ' TTV f VR I bJA'
^' ^ y'r bJ'U ^ ll; r Lij r 'r r r'^4 5y f LL- t' . U^' u' r
'^^ r lJJ I ij ' kJ-?j-'L/-v
1 Ly ' U ^ u bJ 1^ ^ .^ V> Vw !6 9 10 /.->. ^->o H Messenger)- i r tj" r I T^^ .0 1 ?,* p^^S=EF? S m p m
78 _ .>
v ; =84
/r> H'TFiT r T f I 1 LlJ r i L^> f I t^
II - 16 same
"'"?
-I " f r Ln-" r ' Ci::f r '^ ^17 18 J = 69 "5
-j^i^^Lj LT'i' ' Ll; f ' y'^kJ^Li^ r ' LLT r
^ ?>^ 1 r r LLJ ' uli"' ^"ItTl'.. i f f * f : ^19 20
r- Cj- u ' LT/ r I r,' > f I r '- r 1 1 r* f V .^ 1 ,' r I l-^i-u I ' uu r ' Lb' r ' 'Xi' StFigure 42.
KURATH ] IROQUOIS MUSIC AND DANCE 133
C.J.J. m Throwing Sonqs
r rn ^.^^^j .\^ m )' ni y-5 ?_J l_J^ ?j> P'"i <j J J I J nn- 1 j^^s^ y 3y J71 J ' JTl Jill2 R JJ" * ^. ,'^^ ^<\ \;T * * ? f?^ L-kj Lk.1 r -*?# ^ '?#-^s=^ u y3 C JJ
4 R JJ i* gy I- U u" u lJ " '^' Lb' u U 1^5 6
"^?"ij I ' iu Oj f 'L?jr'iuin-^b''r"!^7 A
-Mlr- 1< ^j" r I L" r 'IT- fj.- 1 v:,>->,. 1 A .^^y"
?? < ?-> L
/'a'
^ n- ^. 1 c^?=g^^ 1
Figure 43.
134 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
I 2 3A J = 84-^ B H Curing Songe?? * y^ i* '. ^ I .* *. f ^, ^ g =^^ u u r ' y*-???-45 A i^T kj" I u t-r Lir r ^r ^ cj' .j i ^j- r)^_\ \67 8?I:l; LTi J( ;fu I- u u? 1 f ^
-*?v^
-U3-9 A' a B b + i^1' uS ' U^ \\' IS cj'Hej'cj- c> r ' -^^-'^B' b+^/Ni r .* ? ^ \ ? * * z ?^ ?' ^ i???* 1
?
Figure 44.
KURATH] IROQUOIS MUSIC AND DANCE 135
I J = 84A :* y a I RoundSeatedT c r r r 1^ Lijj r ll; r " ' ijji; r ' LLy =?=2 4 5 r rr :T If ' if r 'Llj re LL^r r ' Luj ff^I r ? r ^
^iV? * * f ,^ ?] ^^f * f u Li^ 3]^ X^7 8
1 1 u ' 19 10 A B , AABAB? . r m ? * ? rW-VA-* ?J
?
Z. ??p ? ? * * * m m\ r^^^ \ ?' 1
'^' !?? ;;' y ? 4:^bii r i pr 3|:^4"=^=^12 3|: Arise
13 S+and
''li- CJ f ' r L"l 'JU. ^.J' rj- ' wu" ??'''14 '- 4Cr- 1'- LUj f I ^^ s ^^ ^15 16 4|:$17 4|:g;^^^Figure 45.
136 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
18.- 20. ) = 100 5|: DotT I-- r f-j * * I * *U 1 I =s21.- 23. a C_r,? <?
u
T I' Lf I I r ' : ; \ '.IS 1 I ^ m. ?_\ 1. L '? L.IJ 1 I i. l324. - 26. 4|:^i Li y U ' u27.
^ ^^' I ^* g^ iJ u r ' '"U.U ' 1 iJ28. 29
?i ^ "^ ^ y-^?=?^ ? * ml\ ^ \' : \ -\?\?"-1?t-30. 31. 5 :
32. 51:T I' \Lj r ' LL-r r ' f Lij- f ^ c^- cj -S33. 5li.
34.
r iiLr r r35. * * ?
r
^ * * * ~r ^ [J 'u r ' LkT f 'r f ' c ^^36.
r- ij [J L^ r ^ +^ ^^ ? * s-FlGURE 46.
KURATH ] IROQUOIS MUSIC AND DANCE 137
37. U U 1- l_r r
-L^ i-.
z' 1 f r r ' I 1 r. M lj I r ' \-^ r ^ -i ^^re i t u u {J " - - tc t C-- 1 # ?' :? 1 I ?^g^ft^^ u r ' r.t I38. ad lib
^ r r I 1 t r \ i. r- 1 r i r r -r ^ u i r i r i ' i f r r -V-!?-
-d d \ T d * a !*._*? ^ 'f5^ r r j I ^ ^^L.r r ' L ' t \^39. ?iS^4|:^ I p^; i V;40.-44.
.A_B. ad lib 4-;|:*\i {* d * t d d ip ? '' \ *t f * I \ * * 'f '<* i Vw45.3 ^ I. > # ^ >, ; [ J', t r ^ ^S=Q=46. 4 |:^ f !" > -* f ? -*?? **=S47. Sponsor Stands
<S ? * * * * . < M M M. ^ M j>?
^
Figure 47.
138 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
48. 49. J = 100
. ? Masker
50.
51. ,y- Li" u r 1 ^"r ej 1- ljj I* *? * m * 1^ \J^^~^^
.J ^ ^3 ^ -521 -54l X
55. t C C C C
^ # >
KURATH ] IROQUOIS MUSIC AND DANCE 139
Buffalo Dance
I. J = (a 84 C.J. John, 1941Chant??^ S U UJ U ) rp J^doo do he hay a ne he do do'o haiya nahe do do hoiya tie heJ' I J J-3 J ^^2. 5. do do hayone TT". L/ f . l. Uwihi , , ^ _ ' _ ^Bo rr- Dance J = ||2yowano niya wehe ^"Hir-rj r u i^UT u pjjj,n.i'.n^-^Mi>3- 8. A=M '^ I r t.- fLid U r^^^-^?^^ yo q i wanondo ha nendo haya ne <_jA' A"l.^^ I iJsl U
-i A4. 6. 7. .. A ^ 3 ^ .3 ->?>-wi hi
V^r? oo neh hiwe ne he'e one hiwe ne he'eA" ... A"' ? ?^ X^ jVTT f-t???????
^
u 1 Lf9. A wi hir jj,LLj I ' 'kF=^^^^ ga nowi yo yohe ? yo he
r- Ly yj I ^ t c c t ' u Uj- ' D' ' f^ga no vvi yo oho yo he he he yo ho go yo we he he ya
ho ho wa ne yo'o ho beee^ ^^^Li. lLi QdU U-J ^ ' 1^ ?wi ho yo ho ho ho ho ho ho wa ne yeee wi hi ^ rFiGUSE 49.
140 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
l.= I . 19412. Buffalo Dance 32.S. Redeye, 1933\' ", r 1 r t r r . . s-r* r* > ^ l
KUUATH] IROQUOIS MUSIC AND DANCE 141
J = (?) 84 Bear DanceA' C.J.John , I94tChantsT ... ?' I 32= U ' I t u ^^no hi yo we go yo we h?m ^-^ ^-^j# # g=?S J J O* o ne hwe ya ne hi yo ? ni yo yo'o ne hi yor J J .n ,j , F] J ; -^
142 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
6. A
f rj ( ' ' t u r ' c 1 1 1 ^^yo .he we no ye ? ya he we ye^^S: * * rI'll u ?I ewi hi h7-8- A * A-
9. ya heya wi ye ? -Uirgo ya wi ye wi hih* r ? ? ^g^JJ T ' ? * ?? . *? Lf I '' o # I #? * *ha onejiig-we o-nejiigwe ? 1?\?o- hai y^
we'e h a wee ha go ya ni ne go ya ni no goya ni n^ go yo ni no7* *? * ^?* /#? * * *? * * v^'* J f ? ? * ?Vt.^?^?h-^U^?^?tj?
V
^^
KURATH ] IROQUOIS MUSIC AND DANCE 143
Dark Dance2. J = 8 A.Jones, F. 5tevens, 1948Iv\>u yr r i cf r r_> fVf p ^^yo hoo Chants
')? Q ra r <i '..i.j..^ a'r u r ' cj r'T'3.4. W^^wo gi waj i ne ho hayon de hi neeT- li r u ? 'f ' (7^ r I r u- -J r i'^ I Cj- r b'
r
5. J = 104 Dane* *' i^sr-^V??
I
? ? r 'lUQ g jj" 'ijcj^i.-i-'B=u
? ? ? f
'^
-i^ g Lf rj n .n J6.7. AT-1-- U -1 U- r^;;! L- 'u- ij-^
, we dandawi yedande ^T- U-. Li f r r p ^' ij r ^1 -.^ SFigure 53.
144 BUREAU OF AMERICAN ETHNOLOGY [Bull. 1S7
9-11. L- -L^' -rrvjr I ^'i 'i:
-f '- .fr c r 'I ^r^U UJ uiy j_Lc ^-f'cj ? ' f^ c f'-'r -n J12.r- 1-. u [j u u- r I Q fg= L^T r ?'wa qi ne waqi ne
"'? u' [j- a Cj- r ' ^J F rr
?'? lj 'u CJ-4J Lr '^<j ^^^^^^^^^S u L I fb- ^^&ha ya gwa wagi ne wa gi neai? .n J J .f ^
14.
yo sawa yoha ne
16. A ar- 1- ' L. Li cr cj -h : -j u- -, p ' ij lj f -'^we yone Weqah'qane (crows)b' -A^
'/ u tj' r ' -^ >' >ri j ' ji .T J I ^ L LT u' iij-Figure 54.
KURATH] IROQUOIS MUSIC AND DANCE 145
I. 2 J = 68 Chqn+8m * .? >' f f mLi' LT r I cr r ^i^=i rv,A>^ ya he da ha - we hi yo ho - we ho ne ya he ne - we hi yo ho ?
'''? l; r ^ J J i^ *'' j; 1 U Li 1 =r3.4.yi--."r. f If ny/j ri-:|?ijr c l- r'^-'^ j^^wiye ha wiye no heyo ? hone35 ?^,? # y -!*-' # *s * a to.C " u5. A7- \: Lj' r r r i^g^ 5C r ^ cj I r g^we hi yo he ne wa d i yo - he ne
^"" f f r ^^ ! ^J J ' J-] J j./rj'j /.n JJ = 96 J = 108T ff u rn^Q6. A \ r ^ ^U I A tJ I Dancesli ii M/^i^Ji^: r,' nH5^53? k .'P tfE^ ->?t=a7-j2. wee he ho hi
ho wo hi - you u u
13. 14.tI'-^lLj- r lu- r c i; '^-' ^^u' r -^'
.1 goya ha n I ya he ni he wiha yahant i^
r- n r rI Li f ' u' r- c u* -' i J ^Figure 55.634-399 O - 64 - 11
146 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
15 J - 10835^ r ' Li- LT r ^ L' r U 'go ya we ho ga yo wa hi yo
?^"" ^ !-? Li" ? ' l\ U \j 'f- 'I 1/ nu \J '~^aa yo wa hey i J 1 1 ^ ^ L ,?,Xj >n j;. i; j-i .^ I u u , -F^r-^19-25. A ^r p- yr i
-g , ;^.. ^ I'
y
-Ur r-c^'^'^-J j^. jwe wiya we he ya fj"
*i m n26. 27. ^-2^ ? ?B U
'? ^' tj- '" "^ u- r '^ ' '" ^' Lt ' Cr r Cr ^
-^' ^ ^ U irr+u' ^ ^" u' r ^"-28. - 31. 4>?r^^goyo n\ yo go ho n I yo~ we -T ;^ f ^^ r ' ^^"^ ^JJ.r I i^ ^ ^ ^^-^^^[UlTT"32. - 34.
Figure 56.
KURATH] IROQUOIS MUSIC AND DANCE 147
I. 2. J = 68 HEChan+s
ya we ya ho wehiyo- i i i i/> /!Mr u' r JJ J ' ^"J J J ' fc LT r ryo ho we hi yo
^"'^^ gayo we ha he
''' u ri ^'^g f J j .pIj:^^ gayo wa wa - he
o y g ye w a he he _ qc ? y ? he- waye he howi y a a
?) 1 p J .771 J J' Ji J 1 J' ; w J } -y^j. ^- -^
I I iway ee- LT L-T r l/ rwi ytJBwi ye,^ hu ^
5 *^A^'?^^- A a B a Dancesri-- uT c cr t'LT r^ 'I
'
' r c^^Cj- b b ^' ui u uir ^ r\ n : a r (fiJ j -^ S; ^ya hane hawi ya
yo ho r\a - he dya yoo ne ? iFigure 57.
148 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
ir
=i=p= S ? ? * V' O I whe no wa - he iiJ th ^^
-A* -? P-*/ ij u m ? !^ Lr r r=^ H^-^t -u8.9. * ? m ^ *VS-* ? ?-? f ?^-= ^ K-J =s^yo howa no ho wait no3^^=H -^ =^Si?I?U-+10.
'?)?? I' u Li r u' rr ^ Lf r f ^ Jl ' .n^3^^'u b' r [r^^i|. 12.
r- y. ; u r u- 1^ u r i : ,v .^ r L- P u'howa ne henande U I u '
T- 1 Jl ^ .n J in Qr f^ ; 'J r 1^^ j Jl J Jl J13. 14.
?)?? r r r r o *ha vo hendiwe
T- rr L," r.. J jiTi ^i J J I r^ JJ JU ^' u'15.
Figure 58.
KURATH] IROQUOIS MUSIC AND DANCE 149
16. 17. MV I-- ^ ? U I is J-l. \> ' Qg^^^=i tr ^ ? ? ? m mU L k I. k I. B
'^'- ^- 1 ^^ ' L- r c r '' ^ u u u ?18. 19. A a B a-r !?? ^ i u "It- ;,r r '?* "^ ^ u' 'u '^^ r l^'^ " - - -_^ K ?e?I?^??
?
')?? ^
., Q' 'Cj- ^i ^ ' ^ ' l;20. 21. ^ ^ > Jr- 1- I Lf -Lj n ^- f rj r ??!
u
- r^ - ,- ^i ^ \-
^
ihawi ne ?
''' ? Lf -Xl r ' -n j /] J l^u^^^ d ? ? -?Ut-22.- 24. B b^Zf-: \ lLj ^' 1 LL- r' LiA\\o\\ i ve wer ^^-^ r'-'^^^-^^ ' ^' 1^^^^^^^^ ^1 u ^ ^| T C |- ' J j^'. I ^ ^ . i^^g^F=t=FFigure 59.
150 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
Quavering1.2. J = 116 C.J.John, A.Jones1945 Chan + s
.- s * -r ^hayo ni ne
-0- r> he'e np * s- t ?ra
. ya we hoqane We'eno ?3 A ? ? '^ '^ '^iy. 1 T , u 1 :U 1 : u 1 r t
KURATH] IROQUOIS MUSIC AND DANCE 151
10-13 J =>= 116 O r riT--iii I u u' ,:: :\ f ( L-g ^-':^^# ? - hayo nine yoni ne'e ha we noya we'no ya'a he hi o'o^^
14. 15. 5_^ ^ 1 ^1?
?
a ^s^ yoni I ne vveno o ya
16.- 18L_LJ I " ^ ifJ I 1_LJ II I J 1 I I I =i^
r rTTTr^
-^ ' U I I I I. I I u I I? ? ? ?
?
I I t LJ heyonin g he'e yoniner V c c19. 20.
152 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
24. J = 100 Clo+hSlow Songs^^K ^3 ?' O ~^?~isi?
f
is;^ 1 r? ? - -
.?' P ' b' a I l^-L^^??I???^^?
f
^ fur25-27. A ^. ^
='YS-^r-4 Med 1?
KUEATH] IROQUOIS MUSIC AND DANCE 153
V ad libD J.- 104 Changing ? a ? ri b C.J. John , A. Jones1945 Chan+s
* ? O * a *^ u r : u r I [J p ? tj f ! u' ' " -. u r \ q- p-- v q\ 1 U UJ Li_* ? yowi ner- r u ?_? Ur^"^ -J 'i.'r " r r p1 UV J s 1042. D J = I 12 yo ha win^ do hai he yo ha wine
_B39e ^-1^^ 'I r r^ 'I LTj' i' ' rrr. ' ^ j ^ucsa fi^a nawi yo'o o no ha weV- i j- ; J ^ ' M J I f f r cU r--' ^ ?bwi ga no wi yo no ha we jganp wi yo, o'o yo ha we
r- i A- J J r- ^ J J M^' ^ ^^^3. A f r
-#?#?*
?
*- iT \-. M i. 1 I 1 V r ^ ;\ i ij i_r ^ r^r S =t=F
'i yo'o ho'o we hi yo wi yo - we hi yo hai he we hi yo3 hai ~ he'e we hi yo ho'o ? we hi yoiT-r* ^ I i n n Jf * f oJ = 84
-^?\?1
?
r=\?n?1?1
154 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
J = 96 Dance
r f r:? ' ?? ? ,^' ? J ^ ' J J J ^' ^'OU U Qj'5. J. = 63 1_| i_i tillr 1- > ? 1 ^ 1 =^ ifcf1 L I ^' ^ya ne no ya ha ya ne no yaT' I'-r ' rrj' T rr-if r rr r t'.^.PjIjj^=f=F hewa - hi yo yan e noyaS ^ ^ ?^' * * # ^ /V ^^S=^i: * I ?yogi wane do ha neyo goya he'e
^?^c; [^ r' r lT- ^.^:^' -^^ ^J ;j:yogi wane -do hawi ne wi go a he'e'e yogi wane do'o'o
7-
K0RATH] IROQUOIS MUSIC AND DANCE 155
J - 96II.- 12. Cloth
? * F-*^?**?
*
T' I' '^ ? u L' i y' fj I '\ \j r ^f f ? t
?
U U) UJ yogi wehe'eyo he wa^ ' ? ." ! rr rr >n^Cj" 'J Uhoya nega yo wa ha 'a nef J J f] n I J J J13.- 14. 17-18#? ? w mf \' y LI 5 r ''?I u 1 S^heji wano ge'he'e hawi nee-^ ,' '^ J ''I /J 3 >rj' ^ /: ^^lE^Z^q=^ "O"Z ad lib go ya a ne e
15.
156 BUREAU OF AMERICAN ETHNOLOGY [Bull. 1S7
20 J = 96A Transi+ion
yo giwe qiwe ho ya ne yo giwe giwe ho ya'a ne yo
giwe giwe ho ya'a ne "
J- I f I r 1 1 1 ^21. Same , but J = 104-112
22. y ? 112A . Dance< -1 lJ Li L^ Ci [J ^^H^^noda we ho hewe Kaneh m a^m ? ? * I #-ti- ^ .nic; cJ-Ud' ^^ J^^
23.-2 5. yo hewa he uo ,^
. A ^^t f f 4 .f f f ? . \^~^m^U r u' rg eha ni ho ho ho ya he ne ,A A +
^ J ? ? *26. A 4 * ^ *
i T-i'-n 11 1 ? f r Jga d e do hewa yoo hoha he he-e
Figure 66.
KURATH] IROQUOIS MUSIC AND DANCE 157
27.
he wagi da ne ho de wagi da he wode wagida ?
r- ir -^ r^^ ^ 1 i-'j i -^hr L " ' rv* * * ~i 1 y I I28.r I-. u- I r r r :^ -f ii/ '^ /j^yogi wagi de ha wenona)'? j'J J, I j^ J J-\ \ \ J J hi' L i' I' S29. ?' A'f f -Ol LL- r r '^ . 1 ' -'^ -7j ^^30. ho da ha ? we he
-OKL <%^ha wi yo ha ne he wiho ho- niene hoya hohani
nowi ya he no wija he
'X- jT J Jfj J./JJ. J :32-33 AOM- LJ r rj Ll r rr'i"^ rr r rr -"^"J n ^goya no ha noya no ha
Figure 67.
158 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
34.^^ Sees t r cj n P=^ r'^J' J .n jyo ho no
-f Ji j":i '1 u r Lf^35.
^'1-
' L' I ' r r^ . ^ r ^ J ' 1 ,r .n /;yo wi hi n eT rjij ;j .rj^lj .^j j j:i^36.3?* ? ' ? ' f? ?0-ii^-^-f ;^=t= fJ /] J ' 4^ -gj-j-?^v^yo wahi ne - hawi n e
"'? Li a r "u Li r ' ^^ ^'j 'J ^?:i4.jj437. A hanen o - yaT 1^ r Lj f v. <^ ^^U U Lu .u38. A yo neha nehodiyo na he a he ya her. u uJ)' \'. <' Lr ' r r f^^ haiya he
~
39.T1--U LT ^g^ l- rr r f'"-r40. A ho nedo howi ya U U i!f=-H L U I 1=
^^' V lLl u Li r '^'^ ^ u l; c^
., howi ye wine hawi ne41. ?'
KCBATH] IROQUOIS MUSIC AND DANCE 159
Women Plan+ers Towisas
I. J = 92 y\ o ya a hi B F. S+evens , S.
Bu+ler1948
y\ oh ya 'a hi
A o ya'a hi I ' ^ o'o ya hi ya we ho
' r C/ r ' ^ ^ ^'' ll tJ 1/ r ^ ^ ''^2., go qwego o gegg ne on gwef 'u' f 'T^"^ ' ^^ ^ '0'7''Jj_J Jgagwego ogeg E neon gweJ r r r r uO r ' ' ' ' ^J^
5. J = 104 Individual
4. A ** OJTJ^ /J /J, j^^^i /J J- J.3
""'y. 1 J- j-j J. ^ ? ^ J jn J. /^^
Marching
^, r r. ..''^''^ ^ ^JJ:it^^'' r r r ' r^?8. o r\t ~ dwa de ndi one ffTho nor gdwa dendi
9. one ? hiige A one p goi n+o
q ? nda he - hosage gendahe - hewagoFigure 69.
160 BUREAU OF AMERICAN ETHNOLOGY [Bull. 1S7
Adon we In to wisQ s ceremony
Albert Jones 1948^^^^ i> "J ' u r ' u L' G*yo - yo ~ hayonge ha a n eT. Jl J. J ' J J -1 ^^2. yo - wi I ge e wuh Ricbard J. John
Hayowa wani hayo wane hayowa ne'hoh hoyowa wa --
I- A Old EnskanyeB 1933)'' ^ \. \J r \ \r'r -r-^^ ^-f^ ' * ' 4^u' ' r I I ^=^2. A^t W f s ? o *> ^' ^' ^ l\ * y '\ ' r > f r rLyn Dowdy, Wesley Dowdy, Jonas Snow* m m *
3. A
^'I'-L' ^1 lJ r r r '^'r^ u r r -^ r f J)' cj ^ Lr '^^ ^ r r^V r 7 r^ ^ '-
'^^ u 111 M^ r LT r r ^^Figure 70.
KURATH] IROQUOIS MUSIC AND DANCE 161
Women's Dance
I. ) = 100 - 108A Old EnsKanyeB Curry, Jones:f. 1933, I 1948
^ ' ^ 1 U LJ LJ 1 IU U u?u
?
^?1?2. A cf. 3t\ * * ^ * ?
3.^ U U' %\ \ f?t ? ? * \J L' fu u
?^^ t/ ' C:/ ' ' ^ ' '' Qj? ^ mm*U I ? u^ * r ) .* *tt*- ?^7.
162 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
Womens Dance Ens Kanye qowa
I. 2. J^ 96 - 104 C.J.John A.Jones1941Men's SongsT \ '[' -LT r.tj^r r. -jr ';j f: r- ' JJ f^^?we we yo yo no we-yo yo no yoo no weyoheyono- weheyaT ?
'' I'' U U'U u^ ' r'c [^";j -'> {;' ;j ;.1=^=43.4.5r-' r.r g '' i\'- ^j-^^- ;' "7^ ^"J jN j^jj^/j i
;
S3yowe haya ne-e yo we haya nee ? ne wi hi ya ha a ho ha
6. J = 108 Men and Women
i T-i-^L-ru- r ^ifTj-f iuT L-T ha wa yo no he hawa yo n9 he ?^
hawayonp ha- nl ha da yano hi^r f r r I ^m
-7 ha hi ha hi ya ha yano ne wo h i he
hawegyono hiyo da- hewe qi vono9'yr i' r. J p- J ?L-#?*-yo he hawe gi yo no he ~" 5
Figure 72.
KURATH] IROQUOIS MUSIC AND DANCE 163
8.9. 10. A 10 Corn SoncV {?' L-i r C 1 ^-Q ;j ^.^ ] .Fij r^ Pj TnA' U UJ
II.^^ n m 3 :'^ j /^. ' ,rj j/'i j."i jl 1^^= 168 Corn Sonqsy. '-' f '''
. r I ' CTJ^'^^'^ ? -' '' ^' ^ '^r f r ha yo yo wa'a ne ha yo yo wane^ ' 'u U u n J ?! ,1 ij12. Id. A haf r f r r r^^ Si
164 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
15. . V\.<^ r r J = 112 f^ Dance Sonqs* -y -^^& J I s^Lf Lrt? Lf3^ n I 1 j=i J _p j- J I^???^?*?^-ha no yo we ha nq yo ya wa hi i ne w'a 'hine3^ # *' ri J J J:i=izU I U' u g:16. 3|J_^ # ' '
wahyo wabino VO ho17 ' i I 5~l -'
_^! ^5 ?^ ^^ I .11 n ^m ^ *' ^ *t-r-twi ne yo ha he he hone vo wine beva
18. heya he ga weya heya iLff^^ Hani ne had i wayo ha he n? ha d i wa ho he19.
?\ <* ^~y? * #> # *' ???^J?feJ-P heyo hono ya
-T H CJ../ r . I .^ wiye ganayo hoyo wado he ha we ha nohiyo we n o yo ge we ^,Qf,o*he yaV- n J ' '.'3 rj J .M ' '^Figure 74.
KURATH] IROQUOIS MUSIC AND DANCE 165
21. 23. I = 96 - 11232^ ?!?. n ri , , &E^^-H^-J-twee yo nc
I T #. 5 f ? 1 I 1u '~J y u22 'uf f
. * f " *\* * , *^ t=F^ ^=^=t lLT L,rhoni wayo wado nigo honi wayo
?' !? "CJ # \ ^ * * g:^::i^24. A yo hoA'
'^' I . f r * |y j> * I r r ? A'. ^ r \ V * * * ^A"yowaha ne ha
-n^/F^ A'-I \ m ^ 'ff ^ h- ? ^ m m * \ \* L I i 1 ' U I -I 1 J ==^b-Ld L25. A A'T !?- r u^ r ^
_? yo ha no yowe ha ya no ?
27. go ya hi ne-he yahine?M i e e f I =*=U Uye ne qone howl ya yo go" ? howi y<
-^^C LT r rt-i- U U* ? m^t^FiGURK 7.").
166 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
New Women's Shuffle Ens Kanye
..^ V t) R dho he ho qaen hawi ya hey aX ?r- u i Lr -^fj^
^- A B.. b !?>my ^n VI / i;^g
'
--J u ?
^
haiya haiya haa nawe ya we ho^ b r.r
r * '" ho ho hoL+ ya we ho ho'anewiyo haina ho
"' J .T } i J ' J J J J J J J .'^r b^r 'V q f r r I u lr ^"^^ J bet
' J n j"j J^
_ qaen hawi ya ? hey a^- A
haiya ho yo ho ~ ^ ho T^ _ yo ho ? wehi heya
Figure 76.
KURATH] IROQUOIS MUSIC AND DANCE 167
4.
^ * i i
. ?? . _ howe va hru? lT- ._ ^ '? ' -
hiyo ho haiya ho -* we gaen ho wiya 00^u ' C.J. John
r -'J .n^ ,n>^i L' ' f-L' i Q- "^ -'J .j^n/ -. ?
r
^^^i u _ ' l;C f hoi go na hi yo ho gona wi ? yo ho ho hawiyo heya weya he y
uf 7 A a Willy S+evens
?)? J ;-j //U'^'TrJ r ' ^ ^ -'J.r^ * .* I ,* ri -fJ J,ihaiya ha hi ya we howeyo haina howi yo he hya fTcB by !?? j'3 j"^ J ' rj j'j n . j ' .o -^ ^^^ njn jJ
I haina howi yo haina howi yo hi hoyo haina howe ?
7. Nelson Redeye
* j* haiya yo ho yowano he - h'ane he -" ~ her r
168 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
Corn Dane eJ = 116 A.Jones, C.J.John1945 Chant
v[--\'^ L-rj'^'i'f u r^ ' P '^ I r" u/
r
. haiyo waji ne
=?=ij^M '^ * rt r??r-3^^^ V rj ^_L
2. J = 84-A ha H- r- Donce
' > ^ ' ^ f 1 . T I .... J . 7. . 1 T
"P ho yowi ne U t-E^EES s^ ~yS=B a ^^ a A J - 92 ='w=T^J = 100r h u M, r r I ^ L r r 7' -f^O- h O- h -^ yo ho'^
, we hi yo ho we de hi yo hof fA ^ ^ _ A"TK^i ? I '-^ [J7f^c'-L"rr^^:p rr4.
?f'?
W
1 1- 1 1
KURATH] IROQUOIS MUSIC AND DANCE 169
Corn Dance
^? . . t?tr-? yo da we ha yo da wa hi yo hai ka hefe=1 \ U 1
-f I 1 1^ V V1 ^-tr
- - sr IS i\L^j r U ' U Lf^ * * ?i 1?tr6- A J 3in' 1 r r ???- 'I I T\ f f'^# fe=^ 1?n # ? J_wi da ho ga ho wa j i A s _? 2. 1/ U Lrc r^ ^-^ u 1 \^ rjLi retel l? E^g--fVi-*-Hand ~ in~ hand Dance
^ ^
Jones19333_y- h . :, ;' i [.j: -^ , , . \ j i r l^=F' .^ a\i i
''' J d ' /j-v-j^ -' ^' JT^ ' j J ' ' c 1*^ t u- ,- :
Figure 79.
170 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
Hand - in~ hand Dance
I. J =104 Curry^ Jimerson1951Chant
'. n"* .0^ [J C ' ft=3=t4
_wi ya yo o howe ya a no ha we
''^' '' 'ujr^is ^Ti jj '.fp /Ji J ' ^ ^ .^ nj,wi ya yo ? ho howe yaano ha we
' ..... *^ "^2- A S we ne d i ha hi ya - yo wi ne ya ha DanceChat s ? ^PB we ya a yo - o wi ya yo ) I* u- r_f Q Jj 'J J?j j'j J /j J J'; J J
^^LriJJ'^^V^J'J-' ^JJJM-i<^ ^ffi3- A we ya ya hawi ne hoyane we ya ha
-f\-U \j- U^ tjuu f.i^r t^-r ? "B O h r- ya a ne ha yowa ne ?^ U r_j>^J JJ 'TjT^J J ' C-i' L' ur rhayo wi ga ya neT-;.' jj j iTTj ir-^rv
, havo wa ??4. A ^ ne hoya ne -
I? \-- r r I r f r? r rj ^> p ^o wi yo we ya ya yo hawi neT-I'LT Lf r r ^J ^' ^ ^' Lf rr ^ 3E3E3Ewe ya ya yo hawi neT J ^'J n 1 I*- iW3^3; PFigure 80.
KURATH] IROQUOIS MUSIC AND DANCE 171
we aa nawi ^oi n n rn , p I n I ? I 1 I ^^yo ~ yo ? we ga nawi yo hai yo6. r A' >Tl-- u r LT C r cj r ' Lf r rj ^p
T' rj J J O j~j n J. '' I J J J=#=?
T- u If r7^ -^^ rj J J I i jjj i".n'[j LT r.rri l; c; cr ' 1/ ir cr ''ya we gana hi yo ? '-^
^"- l--;j J' jj.'NJ jj ^^ I' /J / nA '"^ i8. A gano ? heyaT-\-c^ M ^ ' U c LT r ' Lr cp^?Q wa ge nu so ye^ ^a^ ^^"?r r-.,.^n?J I '^ i^f-i'f f/-'C/u .JJ^i-'J9. Ar- 1- u r rj r J I n /] J I J .'^'-J U l_f
T- ^; ^ ^J^iJ lJ frr'^ ^^^'J J
Figure 81.
172 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
10. Fas+ DancesT- 1- (_r i[ \ r^ > \j Tj Ti I A.-^M
1' ^ ; j J J. 1 ' r LT L r r ' -^ o ' -1 ^ Jj ; J ''
r
? I- ^f "'r' r I- . " \i J.^r- I; ^iu ? >j ^ r?>/V # ?? <?12 wigahanawe wehi_yo~ ?, -f.?'-U ' u^ d ' bJ ^ -t^wa o gr yo
?)' i:u ^^-r 'L; n rr^^'U^!^''' ^ r- ^13.? * * *-rfv-* ?T' 1 u .=^ wi yo.- to ^^
-. X^ Li Lir r ' u' Figure 82.
KURATH] IROQUOIS MUSIC AND DANCE 173
Tro+ti nc
I. J = 104 U i:r- r- heee Curry, Jim erson1951
^ ^^ ^ wa huiheya ,,r- hahahen .1. /^m m i \ A c^ J V \ * L * '\' * f \ * * ' A * * * *- -V?1-2. A Wih?? wo yo he yee ? hui* ^ * ^ ' t ? 1 I? ^^a^T ?*ds,m'm?-\ U\ i \we ha h i y oo o yr^r' rr.iJ^ J J ^* a ^ * * * V ' V 1B3. A ^ * # - . IV 1 /i : J J ^wi ya ho wi ho ne5 Jt A" ^?^4^-^frr '' .n i ^^^^l^r rf frl^^ ^^1
T LU' I f r f A^ t; .ujB
\?\- *^ ^ 7 ? ? ^^U I \
\ 7 m ? ' m ?. m m ^il * ? i m mi m_^ A_ Ht-/ Vr-FlGURE 83.
174 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
A 4|: yo he ho we B? ^ ^, ; ;.jjj^ J I \ i_i rr^^ howe ho we g^g 2 A B Ar_f LJ-,r rj- r iej; " ' x.ya he ha=?^ S ^ 41:^ "-i #=g s ', ' * 1 nn aano'i yo XJ--h< J^l j I-"V^?*?*-I' 1 L ^ ? ^ * ~riiii-^-:^^ tJ-H-8. A 3|:^ jn .ri B-p f- n isi J?*>!:?: <> f 1S=^Xhowi wawenoye,^. .? 3 A B 2 A^V' -u rrr9 A wi h e e e wi h e e e
? ? * * ???????1?*^u^ I \\=LJ ^ .'iva he hi -w r-,^ wiya ha hoo1- ^LT r \' ^^=i^ ^p n 3 A B 2 A Xg=r: '.?'?' ?? *10. A
KURATH] IROQUOIS MUSIC AND DANCE 175
henonde^ ^^ 4|:\ ' - **v uLj Lu \ju??-had ige we hond 2 A B A X
ya'a wi hir \sj . . Mw^ ^^u r I
I. J = 100 hi wi he Jones, Dowdy1933.hee e hui
2 ? wi he ~ hi wi he wi he ha ha he huiei *"ei^ j: J J J j r- r r F ! -Lr iV 1 ^^ _ ^^ ^S^ t^ > O I^ J~' J J'J 1 f-\pfc
' u.r I3. ATV ... ><U l^ pT 1 r ,%> . i .'Ti J?J I r ^ ^ f > ! ^'^~i ^ ^ '^n u u3? ?J .i!^^ L J'Fi JiJ ^ * T * \ r~yu u ^Ti J UFigure 85.
176 BUREAU OF AMERICAN ETHNOLOGY [Bdll. 187
Shake - the ~ Pumpkinr- Redeye, 1933* *? ? *.jt^ ^ r E e , 0-a m ^ ^ o(J wi yo ne hoya ha neT-H^ ^"] ^JJ / 7 J .:^^^hi : h^e he iItl'.LI ' TPM2. hiyo ho hi yo hiyo yip^ -tf-y u r t^\jj ^fj ffffj j j] j"J.)SEaE
KURATH] IROQUOIS MUSIC AND DANCE 177
J = 104 Pigeon Dance Abrams, 1933Chants
--0-'~? #-?
^
~^~i i ? ? ^ ^ * ^^' Z
vvoji ne yo wo ji ne heh7' ii \d I ^ u' f c I J' J'j I f> r' u^- ^wi gai yo gal yo ~ wa wi ne ya ho wi ne yoha ^^-^-0?*-?*-r- J pL I n ^' I u ' L I c r^?*?^
-m 9
?
w "?' *?de yowl ya weni yo
2. A ?? r-?? ??f?
^
Da IT'M' U 1 u^^ r LT A--^u ? ar L" P. ^^ J j'-^-cJyo ha ge ni wa ge niwa ah
r- rj i rj^^^3. A rr*^^ ? "^ I ? = r r I ^ya ha he yo yo - ha hey-' * 1 u I'j ' I I u ' '^' r -r,'^ r ' ^J J ^^^^yo wi ya yowa giwa yoha he he hi yo yo ha ^,A X')''- ^J J j 1'^ J.n j J jj - T=r^0- f u0- Y r- ^ * o' h^o -
Figure 87.634-599 O - 64 - 13
178 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
Duck DanceJ = 168 or d = 84 C.J. John1941 '&a o ? * >r- \ \ i=^I iM -*???
?
0-
\ \ \ 't * ? ? /ha I go ho i o hai yo ho yo ho g i no da ho a i ne
^ 3=0=^ s u u r/a he e ha 'a ne =t=tya he ' e ha'a ne
r-|--f' '? [[j 'i' L i ifc Clf '!?' ^'"^
.? -a
-. r u r ^wi yo gano ya wi yo we go"" ^^JTJ".^"* he ya he'<
* ?^ # ^r r- i ' ^ 'I I ^he e ya we gano de ya
-* ?0' [? i I Q ' ^' ^" I' r ^ n' ' f l-J'n" iij' r?ya he 'e ha'a ne ya he ~v_?.V I f r ' n ' M u - I I j- c ^ ^e^eEga yo wa ne nQ h gone gayo wa ne Mq he yo ho'haneB C B --V- u r M '^T ; I f Igo yo wa ne no he ya neFigure 88.
KUBATH] IROQUOIS MUSIC AND DANCE 179
Shakinq ? a ~ Bush
I. A J = 66 ^:^H^r !' u i c f ~'f I t -/ ^ C.J. John1941Land <!> singersf_^ goya ho ne ya ne
r- 1 r u' =1=F=&qoya hane no wi yo ho ya ne h'yonef -r^ . ?> f ^ .n ,1 I ; J J , H^2- A ..^?*-^ *^?f-^ u . ' uwe ya hi yo ya auT- i n * T> J # ^ *-*-r-
3. A V r ? *?*?#?*-r-it -it. u" \ ? u \ u -iU 'gi wQsase yogi wa fj' '" gi wosase e'e yogi wa sase
^' ''-^ Vis 1 '' u^ ^'"^ ' ^"^ '' ^' ''-' -' ^^ ^ -'^o oo- o- >
4. A J = ^^ u/ tf) ? ?* ? < ^ "r I^t -O -U?' Lircj- u y u u'i"in(j #?*?*-^>yogi wane hoyo we gano ho gone <.y <> <?> y wiygT' Li U r r u u' f 1- L ,.r Q f 'W^yo ha ho hane ? ; ? *
3. yogiwasase?go on back the other way(women reverse direction)Figure 89.
180 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
5. A A'c-i' r u f-^' f I i_\ \ u ^^
. ye'e ho qawe da ye yo qawe da neqo da a ha ni^ : ^ A . A' A' X y? h.- ne
-' L I I I L r IL ' LJ =^ LJ <
I /wa he e ya C_J
6. A 3*?^?^ f f \ r^ . 3^ -^^ 5"> m I Li3 * - o ?*-^ ^B ^yowe ho ya'a ho 'a ne ^ * * ?U ^
ya we ho "^ "^^ yawe ho yo we qoya ho ne yo he ya
. ~i yo we goya "?"" ?'
^ U LJ t =s=^^^^^I%t?:'o. r- 4* * ^ * ? I* o^~r^ -r or- 111 1 \Sl 'j f \ \ r ^ ^^^B=A' 1_J xj? ]y?^r- ^ u [J f ^ QS =& -^?
^
7. A U I? * ? T=^
I [ ' lj I r r ' 1 I r ^ r=^ =s e=f=yo hiyoT' r r -ir r r r t ? a f O \ 7 *' *^=^ ^tit=t: feP LI ' 'I Ur rFigure 90.
KURATH] IROQUOIS MUSIC AND DANCE 181
Robin Dance
I. J = 104-X
!?? L"r ' ^ J '^- ' "^ i J ' JIMf * o yo ha we^ yo ho^ I J I J \^S.[^z=S -^ 0-2. >^.
IT I I \ M u U ' ' ' L J7?2-yg he r\a wi yo he i\q wi yo no hya yo ho
u Lj Li i-J ^ L,r
f r w c u :,S yo*o hi yo yo'o he&etc.
-i?^=V- etc
-c:^-LJ U =U=t
3. X ^ A A'Tm liM n' trr^ J n^^ Jiir ; r Tj^j H ^^^=&""7"" " ha r>e do haya ne wehane'e ? u^^ TTT,n^'. J tt n J ni AT^ r " I V^^:^=1^ ^h*-^?f- #^^^ rhythm U ., Ul
r- r r r =s=z==?r=X|* ^ etc.-y^u
-^i=V ^? V ? nrFigure 91. ^ ^ ^^
182 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
4.7.X E m * *i ^^ 7 "7yo ho yo ,_
=^=F& s St-&ya no-o ha wa ya no he we ya yo ho
5. X A A ^^JH^ yo ho(we)gino d'V2ja_jT^^ ^S^ *t f 1yo ho yo^^ A' ib-T- r^3 J M J -n J * * o^ T f J=^turn !?< -K V^ '-> v? H>rv c< h ^> >r -V"
?
t^ ^ ^o- 9
^. '? A Ar-h' ' ; I \\Jf^r\A^ r\ j i j^, p -.i r (T^^ -r^ -r^ yo honhythm - r U T?
^
\-I \
m a m^^y=& Figure 92.
KURATH] IROQUOIS MUSIC AND DANCE 183
I. ^ = 96 - 126A a Fish Dane C.J.John, I.Jones1945*^ b yr>:iM' ; M \ J^ r) i.if ^ J J J J&\_J "yo ho ho we ne no ye'e wi i yo he ne n^ no wl yo ho6 b' , ^ , r^^ ^ '^35;^a
. > '^1 LJ ' ^ ? ? d a.24. ^A a =^=^^ a ^^* f ? ZJl " C> '. e.;.LJ LJ. I .1 I t H^^t:^LJ U) gQ yo warn ho oo ^yo warn no LJ
' ' ~ b " A B X om ^f?? ^^7^ Ui. 1he VQ ho-Q yo warn no ?3. A -^ r'^~g *' . *' R."?^ yo ho*=t: ?? u' 1 C(_f yo we ha yoo ho yo weya hayo ho l T/:5::^ r"T^r- 1 / ' J. ^ I. J^. A B X4 1-*?
*
3=t
5. A
. r .^ Tr ^ f 335; * t r , * ? ..-? ! ? * "^-r # i^^ we ga ya he ho wo yo f_f ^f he'e n ho^mr t rir^ u l\ 'U6. A o^A* m * B r. i .r 1* 'A *> r *^*e i.^L-rij
' U l? go yo wi he go yo wine wyo C-f gayo we ho yo ga* ~r ^ X^ ^ ^ \ \ m *1^7. A ^? ^? *^? ^? 3*^ y? ^^^? ^'''?A~ '' ''LJ^ Lj 1 [^tTMcj'LT ^ g^ ^ qo we hayo yo wi 09 he ya ^' A' B X ^
Figure 93.
184 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
Raccoon Dance
I. y = 84 C. and R. J. John1941Chant
we he yo - ho ya wi he wi yd" ' \_j LJ* L-T ' ^ CJ*
2. A J = 100 -108^ ? n }>\ ; f n ^ Slow Dance1fj wi ya we ya hee ya ya he howi ~ yo ha hee ya1" ; i n J J J ^ r 1 A B
I rr Ui>> he hotXJL
3. A J =|IZ- 12.0 U L ' - Stomp- Cros5^K'Lij-U''Li r ir-V4'iV LJ^u U U i- no ha wc
?? ?? L_ ..? L ... I &J-*, I goya'a no ha we heya weya no hawe
* ** ^ *-* *
?
^ *
t- AT1-- q r c 'J-^ .M' tj' TT^h -O Q^Ay o ha we ya ? upg^3^? , " #. f \ 1^^^ & # ? '?>
?
. ? '^ ^ * # =&
^- A
Figure 94.
KURATH] IROQUOIS MUSIC AND DANCE 185
6. A t--o o-i -j=-p|
?
r-T Fish step
"^"'^ yo ' o yogi wane ,yogl wane ho ho yogi'fT LJ*
_B_b . ^^^p^ b;
?
=^ ^y^=M8.16. J = 112 A B^ I M S- ^^) r I \9.4'^^ b- ye he ho
1
?
** * U I L
"d^ we ya we i we ya wi yo hawi ya \_jB b 3x b3^^ ^y# .> UJ/r ' ^^ '^^^t^10. A wup hoiV\- a^ *"~iyv^.? ? ^-! ? =1^ ^ ?
?
? , 1 ^?^ ?-=
?
M?r^ - , : JE K
wi yo we'e weya we ho weyawe /?c + c_ c +r rr* f =i=vc A B .^ r 1yo ho wi ya weya we V-f^iW^^^^^^=0 J,^ u wuh hoiFigure 95.
186 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
II. 13. j = 1(2 - 116A JL-T L/A-[V f [\\ U u ' u Li' t ? ? - ^Q^= =e^yoI'n^-jffho yone howi ya hone hawi yo heya ho ? ^^n i,,,.\[:.-iBwe ya hone howi ya-t^ t^ e^
r^ n -' J r r ' ^ AB 1 [v I ^^ ^ ^ * ^y^^^ -t^12. 17. ^Sl3A' hay u wa neg \^3 A3 A' A JL"tr^ .?r\>'-lvti-rf ; ' ?
"
?14. * * *I' I- ^ \_i huyuwaneT u r c ' u' s:^ * ^ ^ -Lid u
-^ha no yo go ha no yo wa ne yo hawi ya'a uT^ J-\ \^4=zi ?=ci=t15. J = 112 - 120A -7 Fine* * Wyo ha yowine yano heyano heya
?' u us ^ n I. / ^^A B X-u-\Q yo wine heyano heyano heeA , _ ,__ ^~? *-< ^ ^ ??m^ ?33* 1 ^yo gono yo'o wigono \_J
-B TLi ' u u ' u L Jy^o^ohi u he hi yohi ho o he hiFigure 96.
KURATH] IROQUOIS MUSIC AND DANCE 187
Chicken Dance2. j = 96A C. and R. J.John1941Chant<^? I . # ?t - #
^ ' u L" ^-^ u LJ ^ yUwe gano wi yo ha he ya yawi ho
~T\ XT i~i n ?^ ^ r ' ^ * ? * V ^ * U r * " * " "M fWI QQ r\a wi yo r*?' . s???
'
-^^ -^
?'
-^ heya wi ha weno ya yane he wehaye ho hoA A B ,/J. k_JL^ r f^ ^'^ ensKanye^ a e^he ya yone he yo we he I?
?
4.5. A he yo ne he yawi he p-T- \' U I : ' Uj Lj ' LLf Fish Step*" yo we gone yooho yone yonoo he ya he yono'o heya he3E m n J X 1iAj-^a 3=2=3=210-H I- -0 ?fr^ ^-^ ?-? ?tv \- ^ LU U yo ho
4|: I I Xm \\ r -f ^ \?*?7 ^ yowi ha no yone he'e yo he yawi heya ho ho
"^ f'l f * \'' \ 't r ," ^1 "I *-j y 1
1
IC?=& u u' " a I r '- u u ^' ajj yo wi ho noD ya we ho'or I-- nJ ?:'.' ^ g' f '^ ^ J J X Ig ^ yano he'e y^^g ^^^ ^^ ?o hee Lf T ^ 3\: ttitt^
Figure 97.
188 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
I. J = 112 - 116A Sharpen - a - s+i'ckB Curry, 1951
=l=t^
I I I I L' 'u he huhhowR di hi ya ? & rhE"htWR riR ~y
.^^ B 3|:TM'T-r r i \j C" :!'. f v,.->ii,j--.rj^.^ f'^. ^yo ha no he we he ' yo ho3|: X7M^ J u ^ r^ LT u r r '^ T'li l; r^4. 7. ha he nuya he^ -1. ho- he ~ nuya he5l- X I 'S? I * ?f :t=tfe5 noya wenu ye ho weyo weno ye ho ho har-i:V i f I f Mir u-r'^ J-Jil J^ -'i^n- i'iho qunya howane qunya howa ne *"
'
6- A ^ ... ^ 21: B 3|:r' |; U ^ TM U ^' 'i^^ ^:li Q n J JT^ -'..n t8. cP 5. yo ? ya ha he ^
? ? ? . ^" - "ho yaj 1 gunya howa ne ~ \ y ff ' -^
* r * ' wenya howa ne ^"^ , howa ne"?^ -^ wenya howe wenya1' J.J /I u ' u 4-^ .o J u r rFigure 98.
KCRATH] IROQUOIS MUSIC AND DANCE 189
CHoose - a- partner
I. J = 104 - 116 Curry, 1951
_a a_ u -J :t=t:
^ g" he nuya he noyoc a" b X1! 7~1
=B= =Q=t2- A A'
lOJt L f f ?'^f * .*--m_? L B , y ? I ^U bU'iga nuya - he ~L? fl Cg i^ u' ^-T r ' ^J i* -^ ' -n ;.r ;,- ^ ^ ^4. I >?^' 1. r f?r?r?
a
190 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
l.= 5. 19452. A Fish Dance Curr^, Dowdy1933
^"M rv I'ir^-nf ^fjirfM'^f^^^T-tfi I' 1 1 '_J_r u '' I I" I' i-u f r f ^.. l ig^zqzx
I . 2- i^ 1.2, I Q4I Raccoon Dance Jones, DowdyT' !' f -^ C n r r * 1
1
^ '^ ^m ^ \ r'l 11 (>J J l.^p I??^?-f-*?*-5^s -& rr-ty n J--A-r^' ^j '^"N^
Sharpen ? a ? stick Curry, SnowU ry. 1 J I J"i I P J.ii J J J-^2. 5^^m ^^H * ? ? '-? LLr r t f'
* ? r *"r Lf ly r lt -? ^ 1 ^ , . ? I I J J=^=?^=^ j*s ?? 1 '* * i' U '-
?,4.0M--rLr t\jij J p ,ii . ,' . I
J
.
Fi^^^^f^
i- J 3 ; ; r^? J n J I r;- r
^^' uf ijifiT ;r'j^^''^ urcFigure 100.
KURATH] IROQUOIS MUSIC AND DANCE 191
Marriage DanceI.- 5. Snow. 1933
he - hai ho wi i ha ho hai hoi e ho hyo wi na ho
6. C.J.John, 1933
-MJ^AJi. U' ?? B-^5^ y^ano he ye no he yaS^ ^^ =^=^7. L^- f i Li-i ^^ ^^ ^-^^ ^=^ya no he ye howe ye no he i^S^ ^f=^ S^iXi I I i_^- r ,- I ' r r I
I'- i ? u" I M -f r ' u- r ' g^yo hi ? ha yo niho yaneha yaneho
\ 't T ' T '\' T T \ ^' f ? \ ? 'd Lj ' U F=^=^ Q=^Figure 101.

PART 3. SONGS AND TEXTS OF TONAWANDA LONGHOUSE(Figs. 102-164 follow Part 3)RITUALS ADDRESSED TO THE CREATOR(See figs. 102-105)ADONWE (individual CHANTs)TEXT AND TRANSLATION Shanks2. o"ne sas'ogado'de ye'e gene he'e'enow the time for rae to chant "adgnwe"Qgehaso? nadg.Wf' ye'e gene he'e'ethey hired me to chant adgnwf'they hired me to chant adgnw^' ye'igene?he
?
(I am walking?)agy^nde'o nadg we' ye
?
I am expert at adQnw^
'odjisgwa?ne'^ ho'i'gyasta ye'igf ne?he
?
mush is what they named megagehode tcigohehe' ye'ige ne?helast summer at the beginning of my life5. wa'ado wa' do'o: ne'i'ehe yowige ne?hehit is saying (a bird)
5. (38d) Handsome Lake's own song, Black says last in ritual
'ige 'ige ho'neya hg'ne'ehI am walking (now?)RITUALS ADDRESSED TO THE MIDPANTHEONFigures 106 to 111 are the songs used for the Midpantheon rituals.SHAMANISTIC CURES(See figs. 112-121)
Black
FALSE FACE COMPANYTEXT AND TRANSLATION
I. Marching Songs1. (6a) gawenode yeege'ene [:yowige:] (repeat)a voice floating
Cornplanterfrom Cattaraugus
193
634-599 O - 64 - 14
194 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
2. (6b) niyawfne niyawenehe haiige he'e ^agodjowe hgo'wa'^ha? haigehe'e it might happen our great protector from whomQgwade'ee seVa'do' haige he'ewe derive our luck (od^'swa?luck)II. Dance Songs of Common Faces and Beggars
?
3. (6c)he'eh s'agodjowehgo'wa-'^ he hf'fh^he-e? sa'godjowego'wa''^hail* ha'ihour great protector our great protector4. (6d) hes'ago'sa'yodine-*^ eh yohe'f ni'i sa gosa'^yondine-'i'hai'^hai'^thy face smiles but not my face (the singer)5. (6e) ?'adja'tgahato- nagego''sa'you turn your body over my face (dancer jumps half way round or flips)6. (7a) s'agodjowehgowa' ha'^ah hagohsiyo'gowa'ahour great protector he face good great (he has an extra fine face)7. (7b) Universal Seneca song:yo' ha' he' yo' ha' (pause) he' (meaningless)(antics here)III. Pairing?deyeny6ta' (they two face each other)
?
8. (8b) hayo hayo etc. he'^e nowiyo he ya'a9. (8c) hayoho etc.IV. Door Keeper Ritual?diyf?si'?da?diy'as (they put one foot ahead of theother)
?
10. (7c) onfh ne'gih 'o'djogwaya'^de'ihfne' s'agodjowehgo'wa'aha'hai etc.now do our bodies move in rhythm our great protector11. (7d) 'fs'a'goya'donyanoho'^ s'agodjowehgowaha'a haiyoho etc.he will move her body about in the dance our great protector(on repeat add) fyagowe ngnenta'kif she has not fulfilled (her ceremonial obligation)12. (7e) gayohiyade' he^ gayohiyade'in sky (spoken g^gya'de')13. (7f) gagaye he'e (he)'e ganiyodo'oHusk Face hanging about (the tassels on female husk mask)(an old word for Husk Face, or roughly made moccasin)14. (8a) (ashes blowing song)S'adigiya'dg'df' ne'^gi s'agodjowehgowaha'they two look alike it is they (false-faces) our great protector(two doorkeepers)All songs preceded and followed by cry?hai, hai.
KuRATH] IROQUOIS MUSIC AND DANCE 195Formerly, all had a word referring to a place in origin legend.BlackI. Marching Song
?
Tonawanda version1. (43a) yowig^niyo higehoniyo higfiii s'agodjowi ha'tahini wahogayiniour protector is walking, is coming in(Remainder burden syllables)HUSK FACESTEXT AND TRANSLATION Cornplanter1. (53a) yo yo yo gadjicome here (?)2. yo'o' ho ho gogfiye (dance around peeled hickory staff)hurry here (?)3. gasheda hayake hai'i* haishake my body (?)YEIDOS MEDICINE COMPANYTEXT AND TRANSLATION BlackThrowing Songs
?
1. (36a) gahidoho eyeyadake nfdjes'o'oni yoh^dza'gehmedicine rite she must (use) (to go about) to be able the earth placeyodonih ho'o ya'gogwe ho'o . . ,that what she says that woman(gahidohp she must sponsor so she can go about the earth, so she says, that woman.)2. (36b) nidewihe' o'tgo haigwa gahido'o do'o'ghQ wiyo hai'^yfhI never thought it is potent almost this ceremony3. (36c) dzot'ayoni hayenos deyodino'giodo'oQ hai'y^hthe wolf catches the sheep?the rams have whorling horns4. (36d) deyokgigane' 'ne'ho wfnggwe deyokni he ... .they are looking this way the women (refers to above)5. (36e) hewageno djo(o)heho gayas'o'oni wi'iyo?o gaye . . .that's where I've gone (to) our life as it is named, it is beautiful(magic cornstalk)WOMEN'S MEDICINE SOCIETIESSongs for the Women's Medicine Societies are shown in figures 122to 133. RITUALS ADDRESSED TO THE FOOD SPIRITSFigures 134 to 144 show the songs used in addressing the FoodSpirits.
196 BUREAU OF AMERICAN ETHNOLOGY [Bdi.l. 187SOCIAL DANCES?STOMP TYPEFigures 145 to 152 give the songs used in the Stomp type.SOCIAL DANCES?FISH TYPEThe Fish type songs and text are shown in figures 153 to 157.MISCELLANY OF SONGS(See figs. 158-164)DEVIL DANCE ShanksTEXT AND TRANSLATION3. (26b) weya yahoho . . . yeya'dadog^ s'eno'he's yahe' ha'certain person ?you like4. (26c) yanedo weyahe . . deyeya 'dowane's deyagosa 'wane'syahe'ha'she has big thighs she has big knees5. (26d) one ni'gih djagoyo nagatcigowa' dogwa'ni'geh nihe . . .now suddenly she came back my best friend (lover) I don't knowwhat to do STORY SONGS BlackTEXT AND TRANSLATION1. (41c) Poor family, Httle boy only hunter, mother says "When you get incanoe to go across river, sing this song until you get to the other side, then cleanyour arrowheads and you will surely kill a deer"?sings, gets two deer, distributesmeat to neighbors, success always, gets married, etc.hunoga'^de heseg^'on gi'on wg'ihe has lots of arrows your brother that's what he says2. (41d) Stuck up boy sings this song, family warns and teases him, "Somethingbehind you is ready to grab you." Sure enough, girl grabs him, they argue,meet again and she finally overcomes him.yanohe?ya detagwast? hag^nodo wadiks sa'agowas'o'hoI don't care young, good-looking girlsMOCCASIN GAME SONGSTEXT AND TRANSLATIONCornplanterNewtown songs (Cattaraugus)2. (17c) newagyede'o d^yo'Ma'hgwaye' weya . .I know how best to gamble with the shoes
KURATH] IROQUOIS MUSIC AND DANCE 197
Feather Dance S han ks,.a^; 108
yo yo yo go ye ^,g ? ^ ?g
.^ A" A V X j?i ^ i^ Lf r f3 he he ^^^ ^^ y? y?y U> lU Lf r lU Lj l- r-f-B^^ yo wa ne nt heT cf b""tr^-y- t^'u ;?<! L^^ he he hs he he he go ya wa hee he yo ~'^' r ' ^-i r r ^ '' c u g 0* ^ ' r y' 'ff he yo ha ha we ho ya we no ya u^ ^^^ ^^ y? ^^ ^ ?JB 5,^ ^^ A _X i.0^-m AJ i_aj???
1
,
-? _ _ ?.
c we hee ya he ya ho- wino ya J = 132 - 152 DanceTWMli T'M [f : r r M r trlLrrfir*U LJ^'?^- M' r f r I Nif- j Li'" A he he yo - ^6 y
hao ho howl ya howi ya ? we no ya
r- V' i\ ^r ^r M '^rr- r r r !l j^ r u r rj rr ^r r 7 =^=^hi i - ha a he howi ya > > 5? >-^^^we go yo Atyo wine he we aa ya ho wi ne ha he ha go ha yc-2 > :5l- ^? ^ ^ f ? -^- feho ho ha yo ho wi ne ho yaFigure 102.
198 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
,. A J'?'' B Drum Dance BlackChants a> * PI
^""^ ""j^ohi no he g ^^ P ' > I t ^U 1 \ ' u2 - he ya ha W=Fwi hi
/>. I ? ^^ * a * r???-?;?^-^??
?
m
3_ 4, /\ wee ya wii ye he e go yo - hawi ya heya
> T' \ r r r ' ?" r , r r r=s7" ' -^ hane ha he y a^
J = I08
-^ Dance [1 I LJ I^ hayowe \?' ^^ I UJ fej y ^ U i /p. '' * "* C '^ Black J= 112 Lewistea:^S t . :? : I T- I- rrm? * { T T I r r ' '' "!*' ? u (J ', -i ' : Lf^g^^u : u u
^^U '.i ^ "JU'P^ 7- r; :? c, Lr f ' ^^
LJ u r " '^ =ff -#? ? #-Xi
Figure 103.
KCRATH] IROQUOIS MUSIC AND DANCE 199
7. J = 8 8 Blackr lu ' i.rr Q rwe yawi ye hawi ye tiawi ye wi i yo ha hii no
1/ Li r ^ ^ * ? .?? *^s8. J = 108 he ha 5. I L-1ft* I?? #? r????-!?i^ n > ' ;-, , <* I ? ??
4
'J ' "u ^ C. J. Johna^ 3^^ .1 * o^ez\J V \ \ \ 1 I Iu
) \ I T \ \ \ r 'M-* f ^ ^ J ^^ * * ?'M C Uu ^ U ^\J^ X IT , .n ; J ; r J J J
,
^ p+r.
we hi we ha we hi weA-? ? *?* w * *?_ ? 1 r-v
10. ^ *^yo qi wa na in hayo ne he'i no qiwonaTii ?
II.
. / o *Tr-U;.M^ u r'u ru- ^J? ? yo we n i vo^ y u "' V' '\j ' \J 1 LT' r 'k P^12. 41: 13.0*1 U # ? ? O I ? ? ? >?
r
^? I?? ? ? ? ? .?# ?!U U ' u Ul u \eyowl hii^e yowl hi ye yowihiiyeFigure 104. wi ye yo wi ha
200 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
I. J = 88/\ solo Adonw^chorus S hankssolo* ? ? # g:^ u u L* -^?^. \J u u- fgu we no haj i he wuh wuh ga "o werru hajf ne1 m ? J J J. ' I .1^U U- ' ^=^ gu ne he
')?? J J -* ?-^ O- =s;^U ^ ^ u g2. J= 80 wu hwuh - ^iQi?^=^ u' u r -^?
^
^^on 5^ saso gado da ye e ge ne he 'e
o ge haso nado we ye ? ^^* f ' ?&-cj u U I3- . J 100 B Black
ha ni ya ye ge ne ye'i ge'e ne ha
I ya go o ? ho ya haya^ o yo wi ge ne heI '? ??
?
* : * > * * ? jTu u ^ y u U u ' u g
ge I ge Ige hone - honeya ige hone yam U ^ U > ^'-yuge ne yugenewuh Figure 105.
Kdbath] IROQUOIS MUSIC AND DANCE 201
Cornplan+er[! ' j^A 1 J J J i jj A m==Slyoni ge gwenode Hq ni hi ge hi ge hi ge no no^ : ? ' ? ^ ?J J I J J J J 'J J AS ^ =&2. A^ g tjamvr^ lS= =t=P3. J = 80 Blackn- 1 I' j- ' ll; r t r M r^ ;>i ^ i^iiasquwe no de y^ge ha - ni ?
g^e
?? *I; ^ -^. Lr+-^ ' ' I r r I ^ ^higehone heyige hont
1. yoniga gwenode ? hg'p ne"ni hi'ge hige hi'ge hg'ono'o(a voice rises upward) (I am walking)2. 'ggi' danoihowi"' o'on^ hi-ge hi-ge hige hi-ge hp'ono'oI sing down song now3. guw^node yege ha*ni: hig^ni(a voice rise upward) Figure 106.
202 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
'a J ^' Eagle DanceA' TondwandaShanksu y r r r ' g b y fr^^-'iA" yo ? we hane a=^A""^S ^^ ^ * r 7"T ? ?=u= I w c 'C) ' -^f r r !' u fr 1 r r -H ^ i j ? J"j / ?wa ? heya wo ? heyo no ~ heyo np
\ ' Li LTr i Jl ?i I ',' r -'J J n I il ^kJ I J = 96
4 7 A goya heya heyono wo he yar- it 1 DanceUj^ ' U U==& ^wl ye ha wiye ha wi no he'e ay H] j
'
^r u' ' '^ LJ- ' '" Cj- ' 'T c; ' u" '?
-*?*-*?#-1'. y I u I ^r fr ,<y '^-'?"^ yo r\o wiyo ho no wiyo ho7^M LT r'r rr r^Crr ^-' LJ '
-v-u?
t
r * t
7 y -^Figure 107.
Kdrath ] IROQUOIS MUSIC AND DANCE 203
^ 1 r r 1 ^u IS e==fgoya he yar ^ .rj -J j"7 J J , /J i n ^ ^qoya he ya he yaB^E -*?
?
*-u uy^^ U ' LL kid I ^=#we ya ha VJeya ha ~ wiyani no hane he
, ^ . han e heweyahe wiya ni no
?1' M' r ? a -* ?r#-swe ha yo no o ~ haiyo no
'I" LI LJ rr' u r I u LJ ?- 1 ' J c ^10. A >r|---ni tr im; ^ -f^- ,vi [j-^^ff=F+ =&'yowai i ne go no o d i ya wa ? yo wa J ' ie g o no o d iya weB -4- a ? 1^^m^ ^=^
? ? ?S,. ! L_
FiGUEE 108.
204 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
J=76A Sun R i + e"^^ * * ^ T- Cornplan+erChant^?rt?
h
B?
?
*-* f?
*
1?=?^-* - '?si-qa neno wi hi heA < o ? ? ^
?' Q- j I J JJ I . J' |- j 1 12.. J = 96 - I04 A'i ^ DanceS^^ ^=^^ ^^
." wiyowi yahiye wehiyaweye
qaniiio vvi qaneno wi"UA" . . hahi yE
^"" il u g ''3 >' 1^^^ Ji J'-^ii ^ i ra wi yowf ha hi'ye wi hahi ye
on? ga dogs neg? ne'ewa yane wo doge hone nawi ya- ~Ui U u 0-? ^ 'Iyj m u^ u u*^ ^* m \ m * *-ttJ-na wi yo ha wig e1 X:?=x=^T^nawi yo3. o-nf gado- g^ n^gf newa' on^gadogf hone na wihiya hawiy^now look for a certain one right nowFigure 109.
KCRATH] IROQUOIS MUSIC AND DANCE 205
War Dance
I. 1=12A _ Shanksr -M i^v nj f ' T 'J r I r ' Lij i^^v^ we hi ye ya we ^o wi ye w I ye ye ya we howi
J i.Ui J^ J J.n J. J ji =ye ya we wi ye ye i ya we wi ye e hi ye
2- A J = ?* i 1r- \. \i[ i '-T[j ? ' ^ 'jj ? I ij^-
-f. 1
1 wi vawi vo we he v eA 1 / ?_ ^ BT- vj~R J > ^Ji J 'I njj' /J n n iwe yawi ya *** ? ? wi ye he he ye
WI he ho ^? S Q^ 1 Ji J J1 J.^^wi >?1 I .? ???? ?3 .. ^? "' y? wiyawe no weni yo ha he he ya ^_i i_\ |
we yo we ya we ya we ya we hi . yej= 104-
yo WI ye ye e
206 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
4. J = 80-120
?>
-J- ? ? m ? m ??e hrr Uj \Ij ' M iTf ? f f ? f?
^
^^yuwi yo dj in o yo ge^ LI J \fTi* \ \ f ^ii J I J1J fff ?? f=^ -^?
S
= 112.* ^ "Lf *. *? ? _ -m\\ u 1 ' I J ?"' ID' ^^gaho nodas we ne ge wenidie
* *' 5^ * * : ^-^^ Syo ha he hi y e .5^1 ^ y?I?ir-t-
1 J. _r J 1 J?=^^ya ho we hiye ? ho hi y e yo ha he ?
=r?a^ 1^ ^ tri-^ ^.^ ^ * V J= 8 +B/\'" U-i Ui LJ U A' on e hosa weiBi
"'9' weni dje ^'eye cf. Cadence of Bear 6 (Locjan)
5. gahongda-'swe- nfgf weni*'i*'dje'? hey?come this way, you all this war dance is taking place right here(Calling dancers into the building)Figure 111.
KURATH] IROQUOIS MUSIC AND DANCE 207
False Faces
I. J =60 Cornplan+erChan+r-r- \jj f.. If t iiLj ..J' ' jNJ.j. 'vw<k qaw e no de ye e ge e ne yo wi ge wi geqawE node ne ?
^ni ya we ne ni ya we ne ha ? i ge hey- f I f c ^^ I r
3. j= 116 Dancer^^M'r ^ C'U-L! u ^ C Li ^F^f ^ hoi hoi he e eh sago djowe gowa he hee he e eh
^' ij ij uf UUf" r'C Li * I f f 1 f f f ^^u u u u4. J = 132 - 144r- -^-^rr ^ c Lj Ll ' ^ ' ? igff hoi ? he ? sa gosa yodi ne e yo h e ne i
J L I t I? *? O I * *lr NM'.r.r rr P i ff i^t^4:'^--u-vu^vihoi hoi sadja-l- go ha +o no ge go so sago djowe gowa ha
I Ir r fv It u I -^ > u ^ t I - ^=^^IS Figure 112.
208 BUREAU OF AMERICAN ETHNOLOGY [Bull. 1S7
Pa i ri nq8. ^ = I60 -^bayo ha yo hayo he ya he e nawi yo he yr??? r fi\r '?? v^r ^r j ji=f J p gff^=e r-r r r r r ^ r r r r r r "^r
v-^.^^^ ha vo ho 1 f f r k^ w? L? L_ ..? hoy 1 f f ^ ho yo ho ha yoQ- - -J- - \ \ \ na n n ^
hai hE he ^^ ? \ ^*^;
10. J='^? Roundr " 1- n u " '^^^ Sf r rhayo ho hoi he he
V J = 132 R J = 168$
= 168 ^ 1 r r r 1V 11(1 (r ^ I r- r- ^ r r- m r ^ f^12. J=I60'
^"ijf rr-u rrrf^p- r if u f^^r^1 ? ?I t11(1 hai he heL i JLr r- r r- r- r- r- r- 1; t' r^ i i^ ^ I13. i f -^r
'^l:-''-Cf L/rM'-nQ- Q'cjf'j irr -Mrr'l
Figure 113.
KURATH] IROQUOIS MUSIC AND DANCE 209
False Faces
I. J= 72 BlackC hant\r \ -^ [J f^^^ ^^A' ^ ^r J>i I. M J I f c ^ r ^^^AT'li J' r rj f ' rr r r
J = 112-138
i rV L' r P'l uT f ,- r^- T'ilJ r r,- -tj4. , *> = 138 Dance
'-f \t u'-^c^'/f 'f 'J ''tUr^f^NI5 U U UT" lu' Lf^f^'uT' i'; rtrr ire fcrK I X X=i I 1^ I=F=^6.n'H'^ 'LJ ?('"'; r C; r P-'^ r-'u- rpHFigure 114.634-599 O - 64 - 15
210 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
BlackJ = 111 - 138 Fa Ise Facesi = l30 C. J. John^^ *. f r * 'i=^=i^' LT r g \ r * r a:Ml Lt ^ *? * i * ?
J =116 etc.3^ ^#^ u u u u
^ u -J r5. J= 132 -144- C. J. Johni ** * ** * Oi ?** f,*:3 ^ ^ ^ ^^ K7 T ^??"^ ^ Z? 1~ ** ? *? ' O -f-f * !*J ? 1 ?^8. V 160 U U 19-r^PnT<*^ V -^u" P 1 ^^y10, le. J = 138
,t /> , g . ^ FTT
=^=e= 1 ? ..^t=F I ?^fe ' LLi r ' "Jj13. 18,
^ LsT U I i? U Li Q I ' ^ Li r I U t ' =^=^Husk FaceCo rn p la nter ? C. J. Jo finJ = 112
I ' f?M?- 2. J = 132 BuckIII I I^ * * m 49 f * ? # i l * ? * * ' ^"II I t ' ' UI4 t u =niJ r ?if n ' (r^^rr 'Lm-^^rTjFigure 115.
KURATH] IROQUOIS MUSIC AND DANCE 211
I. J = 66-76 Yei d o s Black5 -??N- 7r'r'" ' r.tr J' ;"i L/ J -Tj ^
? gahi do ho e ye ya dek nedJEOOo ni yohedjagehT J J j'lj I j~ N^iinj ;\MiT] P', i Vt ^2 J =80 ho-ya ^ogive hoo ha " hi yo - ' ?? hai ye^ * ?
i he o+ go ha I gwa ga hi do ' o wi vo ho ?WYTTi? ? ni dewU > 7r r n r u lUr' rv p >> ^-1
?
^-'?I?* c
3. J = 88
-# #?#-^m rr^ J I ^j ] j^g^* ? 1J ' ^ly [ * ^ dotayoni ha ye no s deyodi nU dj o giodo'ow^ K w. ??^ m?
?' deyok giga ne ne ho we no gwem-^^ ^ ??-*= ^-* 3?I 1 2 ?g -, m m. J.
'^' a Li r f; V = 104n * ' t ' I I m: Lf r 11 T iJiJri u- f kJ'R= fi^ 1 1 * t * w ? ? ? * t ? ?UUUW UWU wi i yo?^ W JLi ir ' ^- p^^ =t^ga ye he ha ye heFigure 116. hoi ye
212 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
Cornplan + er
I. J = 84 -116
. A
Buffalo Dance
I. J = 84 C.J. John^ ^^ s ^tr-do do do "^^^^/? -*?y__wi yo we?^?^ :4 5^^* m mu u ? *-#?*--I?? ???
?
r- .' /I . .rn^f^ s i #-??#-#?#?#-^j f U uf ^ * ? * ml-tt^ U ^^ > ? y^=^=U^y ? ? -T
"^ w LT Cj Lj r
= 104 2. 5. J = 112
IT-^i'ff r [J r ci 'ip'tit >. * ^ f *U' I M 'I
djonyo swot niya we'e hoT- ^"i J Jl j^ ^ u r ^ ? * #
^' r LT uFg ^^-^B-J t A.=e?^??-
?
^ LT ' u1
?
V> y* f *U 1 /' 'J f jj J LH .' 'J elFigure 117.
KURATH] IROQUOIS MUSIC AND DANCE 213
Cornplan+er3. Buffalo Dance3.8. C. J. John
* ? _ >^ ^ T^V'if ft C??U i. U u =^ u?t-
T ' u c r ujj*^y~ji~? * # * rtt^? * uy D J - c r^^ r I J^# * ? 1:u u w :t^# t^5yogiwe na ndo ga nando gaya nia # * 14?^^# ? ?ui >
5. Des ka he h S. RedeyeU L-=P4 L ' \?
i
hu u u J. C tf 1 1 T. 1t-Tnirif C lJ ^ i^ ^^U -Lf u u? ! ?. n rl-i^ If w LT l; : # * # iV U U^?#?#-
2. (20c) djonyoswa-t niyawehf (repeat) dyonyoswa'the has one rib thankshodtgQnya' ni (the person is possessed by the spirit of the buffaloFigure 118.
214 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
S han ks
I. J = 84A ^? Bear Dance C. J. Johni I. I = 80A ^1" ** r~t~ , -*>>^J^ ' f' :j tf t-j^ ij I gm r?
A
^ fF=R= ^ u > '? c t/^'
;
f'l r >f # ?' * IEI u "? ?.-* ?A"^ A" "7^^* * # ? * * -?E^ ? ^ ' f f *=^1 u u u ^*^
_? e ?_w i. l* Uno hi yo we gayo wehe nahiyo 1 = 80 LoganSmoke ,1952 2 like Loganexcept end^ T" u^ I " ; r L r f ^ Jy ?? * ^ ? * ?u u I I- U V Hr-ij pf r c^-u^^2. J = 104
Cf u ttl-ri'-f i LL' UJ^yoga yo wehe na hii yo
'r t LLJ LLf f-^ '
Figure 119.
KURATH] IROQUOIS MUSIC AND DANCE 215
S hanks3 j = I04-
-,?* * * i 5. r-*+^
Logansj = 80nw^4^ijU r U * * * * #U LUa
yo he yo hei yo > 5 y fr /.,p r>^U* CJj r'^^U^^^ LT '-yLT r
-? ? ? <r U Lu. i ''Cj'l^ I, U U I^^7,: ^ Smoke'. I t ? ? ? I ? n-.y y ;rf ,..teEggtda=3t:^ ^6. U "U ^7H\\\" ^^s~x^:\y^-U'u^'^u mU G. Logan?' L?J " Q m^^n[,-Q>pLi " " I.' Cj'
qayo we nai^*
-* yo ha yo wa wa i non^i-^ G' a'"Q,' j-'3j J ?"? CJ g g f ' -' "^^^r, ya he - e ~ ya yohaia ^ U U l> i> U U 11 ^
Figure 120.
216 BUREAU OF AMERICAN ETHNOLOGY [Boll. 187
Cornplan+er5. i ='0^ Bear DanceII. J = 104 C.J. John(A* ft ?* *_? . ^*_ .J. lA'll ** - ^-a^ dt-szn m ^< * t # * ?rX^ t^^3 IJ ^ "J ^ "^ rr r r T' ' f r f f 14 \ #*t? *<iP'?? #-y ugayo wane e+c.^'^^^^ '^'y' UR 4:| hi yo hi yo Responsesm ^ut I f ^ * m mi 4_UJ ' '''^yowee h iyo heeyaa0' h Hj '. ^ n 3:1?\- f f f ' -*-*->.UJ ' '\yowonoX K XT- 1 K yowee ^^Figure 121.
KURATH] IROQUOIS MUSIC AND DANCE 217
J =76 Dark Dance
-^ A' S honksChan+s^^ u I u" Lf ^yo ha wi i ne - e wahi new^- vo'o h
_ ' A^ a WI I ne^ a .1 ' rJ J ; 1^r^J r I I ? * r ? p : r M o_^2. yoo ha wi'i ne yo ha wa hi ne* !>i^ wa'g haU- ' ' ' U "^^yo ge wahi ne go hayo ges i n e nife^U U "U
r. ? ?i I r hayo o ge si n e3^ n j3 j ^^*?? ??
*
m ? S-* ? =?=^t=U= O" u- -^Ss-
gayo wa - gaf ^H \ 1 ]} f> l ip* f *T^f f>tf D" c r ''u^^
Figure 122.
218 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
4-. J = 100A Dances^ t:rrj hoyo nine wine go wi ni hawi ne ? wine hawi neTa'u- 'f y-'f ' Tj,' ^ t'
5.
^ ? Ti i ? ? ? I[* \ * ?*. O 1*1* *i# ^TJT * * * ?JT
-^lA tJ-
* m- * T * *- A'* *?? ?I Lj y t ^ T ? ?^? n ^^J we gayo gagwe he goyp ?A " A ' U u
A""7- J .^ 11 J, .^^ ' I .C3 -l^J,^^6. 1- -^ u LI u 1 L r r "^ ?1-'' U- Ll U'ge sanok danine - sayo
2. yogewahirifgo hayggesin^ni' (repeat) sineni : hayogesine wa'ahiit keeps you3. gayowah gangayowa gane'e he . . .moccasins4. burdens5. wegayogagwehe goyg yanghewa wa' ahewasome one (a woman) she came6. gfsangkdanine' s'ayg heywi' i s 'aygyou are very sick you came to the meetingFigure 123.
Kdrath] IROQUOIS MUSIC AND DANCE 219
Qua veri ng@ 86 CornplanternHl r f ' u '^r ' Lrhayo ni ne^^m hee no Chan+s^^^ ? ? '' ?=^U \ ' u=^=g3.4. A he ho
? 1'' r I ' Li \ Li r LT r r ' P^^A- yo hoo ha yo . 1 ^ ^hee wa hi yoo hoo0* To T * * T * ~~*~ =?=p=A6 ho o hayo ne wahi yo o hoo^ -i?
>
r? ^ J ' J J-\ U 1 u \ u
. _ho oo ha vo ni ne hee wa hi yo ho .As 'Am J i ^ n J >' J J J ' J^ -^ ^
I = 76 - 885- '^ Dance
^M-- ;^L/. f ??! ki' u^' .4' >n^? yo hee no hone hi wa ne qa yo hee npA ^(?s-
^ J ' /] J J ^ *; f f > J^^^^ =U=t:6. J= 88 . wi hiT'l". /^ If r^ Tl^- :.> /J J'^p\_j ne wo h i yo yon e wa hi yo ne wahi yo
^'- u u '^^ J' J^J l^t. ^ P ' fcFiGUKE 124.
220 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
Corn planter7. 8. J = I O 4 Quaver ina10. J = 100 C. J. Johnm ? # #' ^T \- lJ V\' U ^ ^ * U L.' ua5 >niji !> * m ? 0Wi' ?-*
?
*-?-m# r rU LLi U u y u ? I '?0-~
^'i^rr rrr rr ^^I^J.^nnr3 -r^ rr ->1 ^7,1''U U-T U ^=^ LewisA ,~?r l ikH J. S^iW^
TM'. > # w # . r * Ji 'rnU LU U?
"
g J = 100 -y J =100 C.J. John^=o=5 ^g=rr Ll^ U'lUu Li I r =^
'^ U *?A 1?1 ? '?J U-l '?J U I'Vl u t-r r^' :_j T_r u
^ ? r \. ^ f^e ^'iS Lb ij ^U U * ^ ?
^ . "-J
5. Le\wi s
^=ey- ^ * *?# ^ T T T' r ' Pu U u U =S=^Figure 125.
KURATH ] IROQUOIS MUSIC AND DANCE 221
I. j=(? 76 Changing" a ~ rib Corn planterB^ y^owi ne ^_^ogi ne
"-^^ yo howi ne e ? ^/v,^v r f r 1 I a ^ -????#-Q=2. J = 118}-K u- i r fTr p-^'ir t^'J ^r-t?.^-^qa na- wi yo ? yo ha we , we qa n'e wi yo vo , ^-^^ -' -' A ^ -'-'ha we7' J^J ; J j ' J J j ') r u- P
J = 88
we yo'o'o we hi yo ha hi - we hi yo ho ho we hi yo1*1. ^^^^. ^^^IM^ I I **i? Ui *//hai hi we hi yo ho we hi yo we hi yo? , > Y^y> j:^ .X] j,i| j:3 j I jl ji-j J^^^ A ^?? * J fc=^ A ?'lU^ iL' r'llj' nV^'^lA'" ^ ^ f A -5V m .f. J. ji m m J 1 1 ^ Jt^
r- ^i^^j r nfj i^^-^h ?%;-J J.^
'
.^j:! j J"J ^MQ=l=f u I- ^ ^. f.Figure 126.
222 BUREAU OF AMERICAN ETHNOLOGY [Boll. 187
5.
* < hayonene he yoni nen n- h^J^nn] ^ \f\ F' * ??s
?
6. A^^
, yo qawine ho ho- qine ,<->'-' > heya ne
? ? *
? qine ho \/a ,A - 9 ' "6 nuya - ne ?>
ginee ^^ y^^ ha'a gine huya- ne
ti =5"*??~*'^ ; * ? * * ? S?^''^ #?? ^ne qcrvhawi ne hoya'a hawi gdyo ya ha ne
.. P.a Q no I n u n uyci nuu f # ? ^i J 1 jn ^n~r^, ,~rnU Ul^
Figure 127.
KURATH] IROQUOIS MUSIC AND DANCE 223
10.
T' I- > u ^ U 1 L 1 I F?-\\ U I 1* *-hai yo hi yo ho'o haiyohi yo - hai yo^ \ \ u \ r.n ji j^ ^ j Ti j.^' j rUJ jr Tj g ?' y ? ' > ^ ?hoo nehc . LT T f f - ho ho nehahaj yc ^i J J.M rj J iji j-j p j -^hg^hi yo he ho ne he hi ^? ,* ^ he hi yo - he hi'yor n J 'TTTT^? ?
? I ITM- i.1 C r LT^ J I I f^' c r ' L * > 'yone L.> UJr- il ,n J J J , I ii p J, ^^ u IA'P A'"A A ^^=f A"
B Xye we aee no he hi yo - he^)^^TT?^12. = C J J 6.
* - nnno l-? r\ Hn ^^ '^ s^^=e? ^ . qa e h o da ^ .\ _r -^ yane no da^ ^J Jl JU-J ^ J-3 J 'u i u U he we he'e
.n J " ri j^^g
Figure 128.
224 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
13. j = 100^^ &JL ? C 7 9 O ?LV i ? S
\ " yogi we'e e yo hew a
he wa he wa heyo'o ganedewa
r- 1 r Vyo - ho
'^- A j = 92 = C J J 20^ ^ ^^^^^I * f ^ \ f ,?f o g i we giwe ho no ha ne^ :3=^ uLi ij'^ ^^^^-xr^ I"'! he )f.a a
15. yo ho ho yo ho 3E^ ? * r r * * ^-\J U U'.u\ I I LJ I wega nee do
\?/p OA nn nc Ar\ " ' ^^ ^" "^? ^ L ^ I, T- 1^^ yo ha ne ~ he nq16. ^ J = 96A^ J 1 Liti?1?<?t-.
' .igayo we ho j i ne
II rFigure 129.
KURATH ; IROQUOIS MUSIC AND DANCE 225
17. ; = 116A^ 3E*..... f^ji 1 ha * ho I yo\ ho 1 he?=p=f;\ r)o t^e hehoo yo ho riawa+e=: > ^ha yo ha no wa teha havo hoA+ B _Z^ -? ?-|Q ha ho yo ho nawa + e he ' , T , \ , \'"
-y hf!i hd he noT-M I S; ^he wa hi yo3^ * r * -ra??- ^^r r
I) gn yg de d i yo wa ha g h~e~2.) o h e jo s+a s+a wa ha geeFigure 130.
634-599 O - 64 - 16
226 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
h.
I. J = 84 ShanksBlack0-' ^H' I U'\' \m# # # wi ya ha ge weV.* J_'7T \ \ Li M I'f- sya ha ge ? ^ =CC > J' .p \tiro; '\l o ? oE^^ O 'O I T I "l =CE2. A ?^0 ' * rr^"^ U-i LL< IO- ? O' O . .;., ?=It^\*?I *T^ ?
?
^\ \ \ ^ ^^?? fwiyo ha ne hi yo ho he^ ^ tf * le 1 yo WI ya nehi yoB*?*
?
*^ r?T"^^3. A ho Do nee
wido hoge wida hoge yo he- heU U7 7
'y i' t '^'\' ' \\M> \ ^ l\ t\ \ r'"' i J= 100T r.T ' t' f4. Ar-\: V\ i " r^i ii f, r i i: -f- ^ ^ 1 - -'' \wi ya no ge he3^ ? ? r 4^:^=* 3^;:^=^ T^^
? 1 I
i' \ \ U 1 v
* <? -yr-
Figure 131.
KURATH] IROQUOIS MUSIC AND DANCE 227
Shanks Oh( Jamieson
Cf ?' 3XJUn-C ^^ ^t=?&riya ne hi yo ho ya ne h i yo ho -
?) r ' L, i-0- ID= ^ i=Q^hei he i yo ge yonehiyo ho
-
> 7 we he he honp qe yani . . ^ ,^ J -^ wi hi yo noT L n. Lf f i'^F^^ r^r.i ' If f ii I J i' r
r- ' U r r ^ <y ??3=3^?6. A
howi h i i yo he ho n e h e he nowi hi yo he ho n e hec0^ ti ^ f ' n f I f I r uf 'it^1. A ?7 ' '; \ ^ ..
B ynowi hi i yo hedo weno he
-
^r? I y 7? r r? r p ^ r I r 1 r ,^>=a^r r r p ? -O^ >-he nowi hi yo he do-8.9. A hedo weno he
wi da go ne go ya ne he heB' _ d
Figure 132.
228 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
Carry- out- the" Ket+Ie
I. J = 84- Cornpla n^erChant
r\- * * O ? ? * ^ \ * * o * *?ra^ ?
?
^ 1^ ; =?
?
"J :?
f
?.( ??
;
> U 1 ' u I ^ I u ^^ =^ * ? * E -?>-U u uwiya yo fiyayo ho ho yogee ni wa yc
r- r. 1 r r ' P ^^^ J- J' nno ~ yo gee niwa yo yo wi ha yc2. DaneT-i-M LT u- f ^ Li L- ^^' J^ I''/ J^ r-^J J
\ 1 u yo hon9 yo ho n 9r- f-\T i]? r^L' ^^ J ^ S
r- 1: ^ > ^ f :? # \ r > J j 1 ^ A" ^>^??
?
^-35* #' ? * ^ * ^^LL' ' Uj- ?'-' i ? ^^ # #-=Q=S^gayo wa ni ga yo wani r\o
^'- u LT 'Hi- ^^ ci'> '^ 1- = Logon 6Figure 133.
KURATH] IROQUOIS MUSIC AND DANCE 229
Old Ens konye; = 84- ShanksSr wL ' f 1 I
'
s
vxN^^ yo we dam ya yo we da ya yoy ' f ' p r r r > r- * v j iSS^ f=^^^^^^^^^^^^
I u r u ' ^^^^^t^?i-^ *< # * ^ f ^"3 d- ^ I >'=s=tfc=Q yo ho3i:V'l'^^ 'lJ r Lr r r"'!' ^J u a r r '-I ' ''3 tf^' ^? "^ yowi hone yowi ^,(,?g yowi ha ne yo ho
^ V ^
.
^ U ^ U [j ^ ' Li I LJ^=t^?J yam no heya gano ya ne ?he ya ha ne ya ha n?t^4. i = '0%3 7 * ? J ^ yq ha_Lfr^?
^
^E^* f yon i no wehayo nene3'. 1. * ? '_ * v?-^ J ? =^ S^ii^ ^ =t=pt:jj r
I \u^ ' U t Ij- > I I. ^ or r ^ff we ha no yo ha no yo yowe ha no yo ha no yo
t!? |t>i,i J r,' fr y 11 rr JLT V yS=Q Figure 134.
230 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
Black6. J = 92 Old Ens KanyeI. Curry194833; .... t , . n^ I. f *U L=L * I r * f I I * * *QE
^ . -T yoo ni howi ga ? h?ai ^ i * * * ? *u Ud r r =^^u t^C^. Shanks 2y * * ^ r r ^ r Tr ^ ,^u u ^ ' u=r u r ' u Lj r ' UT ^ u P^ yowi ganoya
-^1^^
KURATH] IROQUOIS MUSIC AND DANCE 231
Women's Food Dance
I J = lOO -112 Black
r>'. 7 10 * * ^ f ,' T * * P m ? ""?=; r"
?
1 I ^ ^^i:t= ^ne ~ ni - ne hohgwe ga gwe go waino ^gj s^o
-*??
?
y?'!'?.?e^^ i I r { \^1. J^ m } Itv+o g> ge
r i'J J i 1.1.^ t^ u '^ ^ 1 jn J n2. 3. A. J=I04-II2
^^ ^' ^t i/ r> rirr-rj J'ilwi yo7 3 o ne o + la'a no WI VQ hqyami =?=i:^^^^sg
,hayo wane ho wa ne wi vo l5 y(\ -^ WI y howane
-' dedzada wa hanyeho n e ko da ganohso+
^^Hi^-T ' lTTUL- 'i ' u I '' .'' ^ f ? mtJ
^?'
--- lU 1 ' Lh-^g^^ ^u r1. (37a) ne'ni nehnQgwe gagwegp waingnaisQ ggwaiwa' negeour people all of them we thought we worship up?dji dwa'tgat'o' djphe hgQ yaho'o oneh newa' awfuo'tgfde ?
'
we are to receive our vegetables now right now we are enjoyings'odwa'tgat'o' djghehg?that we have received a new vegetable our vegetables3. (37c) wiyo'o onept ga'anowiya heyapretty corn (two women leaders, of opposite moieties, carry ear of corn),4. (37d) tedf'^ dJQgwayg wenotge-de' djggwayg ha'aho ho-?yesterday we got back we are enjoying ourselves, we have returned5. (37e) dedzada wahanyehg'i* ne'koda? gdnghso tthey walk around right here the house (the women circle)Figure 136.
232 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
I. J = 96 - 116A ^ New Enskanye BlackBTKr/ ^ ' t.i lj ^rr r r-'r I ff *'he ya hawi howi ne-u*#-lieya he ya he yo howine he ho
'-^ A' 3z^ ij D?^' howi ne qanowiya he va he he he " hawi howi ne
I \m2.
heye yo - ho hayo he ho haina howine heho~ haina
^?^^=^ ^ 4= H *'* ^ a"=^ ir^ * u^i?rt^?^?1?U \jheya wi howine heya hawiya he ho hawi he hawi ya cjanawiya heya
3. ^ ? S -U ' i^ l/ '=& u >yowa ne yo howe ho yowa ne yo howe ho^ =^=^ u u?
^
-u- ho4. Aheya yo 'o ho go ni ya yo hawi ho howeya yo hawiya ? , ,m ?^?
#
?--T >- "" , , yo hawi \jane he gaen hawiya heya ?' -^T ''1-' "" \ \ \Xm^ iho
Figure 137.
KURATH] IROQUOIS MUSIC AND DANCE 233
J - 100- 112 - 120
^1-- n ' I u^ Cornplan+er1936I. u 1 rb ?^ _h.eyajroo hoyo wine ho howi ne ho ?Q we ya he ~ he ha howi ya howine he gaenhawiya hey X^r r # #J \ \howi ne hohe ~ he he ?
heya yo ganohowiya hawiyayo hohi hine heya
yo ho o wi ne nawiyo no hawiya ^^
_^ .^ _^ ^ gaenhQwiyg heya ^^^ r ^rf ^ ^i h -1^7. A a jfiir-i- .H/i u s- ' > I Li r C' o J = 108 - 126* * mS~heya ho qana wiyo he he ? he hai na ^ . ,Jj gana wiya he
1 b u u =^ i:;:^- u-A- ^J^ U r,Pu ^1 ' rr rr J ^gano w 1 yo gana wi yo qona wiya heD j = 112 - 120 A A?-^jr^?-^=^^^=H^^i^ heya hoShan ks1936heya yo wa ne hano ho yo ho ha. ne ? hayo hano
R yowc ne go-no hoyo ho ho ha ^ . '-?"p . ' /?'-'
-^ > i 5- > , no nor yo gain nawi ya heya ho
Figure 138.
234 BUREAU OF AMERICAN ETHNOLOGY [Boll. 187
Cornplan+er 1936
I. y = 92 ^ Corn Dance
1948 same2. J = 84 - 100 Buck I - Lewis same6. X. 2. ^ J = lOOT 1' U u Of ^ T I'. I i r
:
^*^=fyon a hi ha yana iTl-yo
r- u f^'. .i-i 35u- ^-^ c r ?3 * * r * *~'?~^ ^^ ^Q=^s -"?'?' w?-^?t?t
?
gayo yone hyena hi yori; .?. r^ ^:i P y ^ ^l^a^ ^>. r"^ j j> , i^u '-^ t^3.5. ^ = 104A Cornplan+er1948r ! ?? Lj" ' w" r g ! r u r r f ' r Cj- , r
'-f y-i i-rFigure 139.
KURATH] IROQUOIS MUSIC AND DANCE 235
4. A A c( Jones 4
hayo yane he - B cj. Jones 2
6. A _yoyct-\'\i lie I r L-Lf ^rcj rpiweni yowe ni yo ho? \ rf r 'I s ^r~^' u I '^' kLf Cj'-^. LT U goy a hi ne - yo ha n i heyo ~ we n i yo
"^^ ULf f ^tJ- r^LLi- LT ' i: [:?7. A ho hoBTi-1' f Li r.r J r I ( r r_r rj r^^u' C r u ' c riwa nu ye hano-ya wa nuya hane'e wa'a nuya honeT-LJ rrrvujprf fjgr 'L-r^^^
r- u' ^ ^r # 1 g: Jy : ; y=^^?^-*-^ ^r I ?' r L^V rr f 1 f r 1-. ir< Jf^m SEB^:fc?=:s
r c r lure -^^^^t;i- u' I I ^Swadeee we ? ne wa 'o ya no he - we nir j-n J /) ^ I -^>? 1 >?? 1 -?yoweniyoweni yo hai ~ ha ? haSj^fe^g.p' ii ^( Q rW^'lj r- ^yo yowl ne yo yo w I neFigure 140. ho ho
236 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
Hand ~ in? hand Dance Shanks Chan+p *L^^ lj"c r > I ^ '" C f ' Q ''vJ.^ ^Ti-R *^? we ya yo howi ?jcx no ha we .,?T- l\ tLJ^-'iir -OJ J J' tJ Jj J. 'u 5 ^'
J
^ 1 J jl jJ-'N ifti I- u' r2 we ya yo wi ne ho we ya yowi n we _ha
? ^ ij ' ' Li b" f ' 'I 3S^S iiS:a he ya yo - w i ne
^" r! j"JJjj L^- r-'J^J J' j" J JiJin-3. Dance
' 'I U" ? u" u ^^^'l' U' iir ^^^we ya yo hawi nero -^^ .n .r] J.-J I i~J ;i j j /^i j j j.-frwe yo yo hawi ne ha yo hawi ne hi yo ho ????? -^ffeS c r c '^-^'?' 'I u" Lf u' ^ ' i^^^we yq, yo p we ^ya yo^ ^ ,
^"' J J Jj J1 J. ^ I J J .' ^ '' ' u' J'J J' ^ya ya'o hawi'n'e ho ya ne ha yo'o hawi ne
-, .,?' ? ...? I :., L_ .._ ???? w/p I5/ we ya a ya o Y/e ya yo hawi**ne ho ya "?*J ^^ "''^.n j'^ ji^ jj^r r- Iyo we go n o hi y o yano o heyaLi Cr C r i; ^ ^ J'J ^^ J 1' /J./ nM^^Figure 141.
KURATH] IROQUOIS MUSIC AND DANCE 237
6. J -81Ar-j- \ r rM, Lf r r M'' \ i\ l rr^t Ll u Ll? ? so de so de diesaohowi so de cnde i i- l\ I -^ bou 3Q jg djesaohowi2 ritas^ J ,n ,11 jj ji rr j J ^ ?r-uw
"7 djoy a so djoya so yegahga: ' de hoya "ne
howe ya howe ya heTV ;^J '^J_^ ;j ; j."^ 'ui1 I .*i^8. A J = '32 ? ? ?I 1 1} 1-. y U \J V ^^J~u ri''^ ^'^^^goya heno wi yo ,,goya yoya no hef L LA_T y cf Tr^i*-^ u- r ^ ' >;; D' r r"'
^nr^^i fi^ ^^\.j\^^\^m A A' A" X ^v^9. , A "' y? J ='08
D rj wa ho ^a ho ya no he
AA B R Xr\>vu^\(i^^^^ i^.Y^j^ci^ \m \
I I I
6. (3b) spde' sode djesao howi*^ djoya 'Sq'q yegahgaide' hoyanelast night she told you about it, because of that she looks cross-eyedFigure 142.
238 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
J = n6 Hand" in ~ hand Cornplan+ery- [ u i u \j fig p ^} J 'wo hi ya yoo we h i ne
'I' /] J. j/j j^''' :r t -n jj i '/^j j-j Jwe q a yo wehiya we qa yowehiya - yo o o wehine vo2. = Jones I ^ ^ i i 1_3. = Jone s 2 ^^
!?? u r u u t ^'{j r ij *u- r ^ ' L- p- ^- . /i-i*<^^ weqayo hawi ne ~ ^ * *?' l_iu
''"" f u' fr .T J ' ^ ^^ J J Ji JJ j 'i I'-^'ilu5 we ga yo hawi ne yo haw! ne hi yo hoya ne we i hoV H'- J u u r* u " 1 U-' rr ^ ^^ ?\ r r
'^' Lj J ^ ^ .J/^ ^ J j^ >T J ' r 1 u u^/^6. yo wo no he yo - wo no he - hoye~ hoyanvi:u u- r 'i i-'cP ^g IfuvfJ'^^ya ho we he ne no ha ya ne
*?^^ *?*? S:=z ^ J J J ' JJ J .-J. ge
?'? ^J J] j.^i ; j ; j.^i
^fc? i, u i I ' ISr- r r ,- r !?? r r ^ J n jVve e hay a ne ~ goya hoya ho ha w i
"'^j. j'j-: J' j'.j.n jj/.i''i'u-^^ Z XFigure 143.
KURATH] IROQUOIS MUSIC AND DANCE 239
B z X
'!' u -J U ^rru j Ij r r^ '. etc.^^
'n I rr cj ^ -j; ' ' r c Lj -"^^? m\ \ \ yo o we he yo- wahi ne
r- J rj J :tT
10. Fast Dances31
R L' LT "ganusehe yone hawi^ne^^qyo nawi he^^^ 1 * * fittr:I ? * *~i~ =^^=t
II. Ay ^low^' y^T ' ^[j cj ' '' ^ ^' '' ' u' u'^^3E>^^ ? #3?V't-f wiganowiyo wega nowi yo , p wi hee^1 n n -.1 A Ant.J J J ^i ^^ : f^^sf?i=FA^ B WI yo~ =et^^^
? huhFigure 144. Then Trotting Dance
240 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
Trottinq Dance
,; j = 100 Black^ we ha hee eJ'^ :|; ^yl/J- ^; -y^ : Jo J 'f'^l.^1=ff^y i hoo we ha hee e
-?yowi ha H^e e e buiS -> r^**-3 *
?
?? * '?> ? r ?? ?'^=* u ' y w2. J = I04- wiha yowi ha F^yohoa he hui^ B
hegayo waa ham' ^^=4=1m ^=? ? * * * N IUJ !'A^ ^-1 hono wi yor n ., ? ^ ^-F^^^ ? ^ * >^ > ? ?
#
^g WI yona^wi yo p p ^
-f^?
^
r 1^ I < . ,v.>N ? ^ ^ ^ ^^TirTTyo hay a ha'afa h i LT
?????- .^\^'^}: J J .(T-^Trj :3^S^ * * * I !i^i^vo ha ye he'e'e hi
r- ril^r ^^.^ ^^S ^> l^^J J J^5. .^A yo we hi y? 6 ^^B=^ I ' ^^ST^ I . AA'?^ 1: V q e^gayo we h? ya
j"ii J T .-^ J^r \t rrr 1 ;: '' i^ --.^ - ^ u uj ^ \' ^ * <tyoq i ya haaa ne J"^^ J J SE *^ ? ? ' ^!rj"^ J ;jFigure 145.
KURATH] IROQUOIS MUSIC AND DANCE 241
Garters DanceA' BlackC hant
=cnr tT >.-.n ^r ? ' \ 1? KT"^ ^ ' Walk
-^)M^t=)^wi va yowl ne wj ya yowi n
4. A ya'a haya he JI .^J^ Ji. rj JQ gayo wai Tt-t^/]? JJ J ' ,^. jtj=^ LI U
u u Li L) ^ u?^*^ '?^ * ^'^ yo we heyeaHM^U u- [! >y^^iiu nr ^U V U I \/ p^ qoya heya wi h
i
TV- u : : r^ * ^ - Z '. ^ FV^=^Figure 146.634-599 O - 64 - 17
242 BUREAU OF AMERICAN ETHNOLOGY [Boll. 187
6. Gar + eK-s Danceya ya wi 4- h B^ a^ ya ya wi i^^j? . ?^^ ^ \.U I^ goya hi gi J_A A' a o y a h i y i^=S^7. .J -92? ya r\a he q ya no he^m P M ? * m ^ ya n a heSiy y, L' ' ; I y y [j-^^^^=0=lan a hi yo ho hiqe nee wa ne higayo'o wane^ :^;fc* , f * ? ' ^1^ u ' ^ - ' wu J -^ ' ' ^'8. wi ve h^ "i yg A']' 'rr ^ :j^^=^ 3^ wi ye hi ya A "^^^^^^wi ye ha ^=.III wi ye hi yar=^rif :;^ J iVfr '^ ^Kr f^A ^ wi ye h i ya p^ wi ye hi ya-is.i'i 1 i' r I ^ I* * *f * > " u bi r ^^
. ^ : n 1 J Sai yo gui sino na deo ho yuns+aha-(^ -~K =A=^
8^. saiyoguisi nonadeoho yunstahait takes them off he is their friend she is crying(West Indians leggings) (the one who took off leggings)Figure 147.
Kdrath] IROQUOIS MUSIC AND DANCE 243
J = 88 Pigeon Dance ShanksI- A
I T 1= 1 c u I- 1^ i Li' -r r y ??!yo waj I ne ct. de F Abrams IBuck I
T' 1 ''J r ; ? u ^^ ^ J P J ^ J .j
? we hi yo ho ho we hi yo we hi yo we hi yo hai heA _ A "r- ^ Jo J p j J J I ., jvu ^^^- ,''?'_?? ^^A A' 5r-i'iM I \ I ' f \ \ ' ' P t-^=^=^ *hOcu I c rCr A"'y?*'? ^lanodi yo yonq hey' '' .LJ L^ i i ' ^i ^ 'I X.^ -^fr-r^yo no he yono heiM'U i-jj' 'y" I rr f J /7. "!.[ rrr Cf- '"J Jgono hi yo heya heni yo he ya54^ we hi yo o go no hi ya wiya wehi"ya **' *?*?rvil Li 'p y\j r r ih r fj fj- fj- iL/ ,e;#3l
? yo ha he M r p da we ya yoda weya yohay Jj J. ' .I .QT"^^ jH^ J .n J ^ ? n^ ^yo h a he Figure 148.
244 BUREAU OF AMERICAN ETHNOLOGY LBuLL. 187
5. A J = 96 Black
we hi vo ho
yo ho geniwa geni wa ? rj
'? Ui u ^J "v ' IjJ Oj^ .'; ' J; ^.: 'J. = 69A Ouck Dance Shanks5 ?- u ? #- ^ ^?^ u r ' ^^ u ^ ' ^gwiyo ho ho hayogine nez J^^^-^l-. h- J^-S iiE^I " ,j:] J 1 J^"^u? ? ? ya he e ye ha neii^ t>r r 1- r ^^ r I ^y 1 ^^ >-?'-???- cj. J.John Ddi^r-f ,f!rV-=7- ^a^^hayuwanena ya ho
\ F^ t A A , Br ? # u 1 * *D ex. J. John Cytrc-M ':> .:. I : ^>r I r: > ^\4 T u u r i> 1 =^^^=^we ho wehaneya we yaB , C , B ^-^-^ ^-B
?
B' . B C B . A A . D , B
Figure 149.
KURATH] IROQUOIS MUSIC AND DANCE 245
I. J = 100A Shake - the - BushB ShanksWomen Singy \-[lA U r^%^J /jji^i-j^^?j hanawl yo nawiyo- nowi yo
')' JTJ ri ^^-""J i' . 'f^i'^-^i -n J I j i^ Jhe 'e ha ne y^'j* wasase nawi yo
2. A *?*?#?i????-r v- ^ \^' u r 1 Li 1 u :i - i. \_i \ ij ^ fr r j-?? qi wasase yoqi wa sase^B' l1 A'
A ^ -^ ^ rutir- ^ t u 15^3- A ^ ^- A\,ri' ^ ^' ^.1 u^' I u r Li \ i^i'U u u X30*f yu we ha wiyo hiyo ha'a ha ne ha haneB' ? _ A"^\\j \ u ^"i i '
-
-i i J. 1 ' ^^ -'J Jj j\i ' npha'a ha ne ~" he hi yo ya he f f ,?y C ^ ' ^^=v=f=FF # * ?_? \ 1 1 T 1 1 ; ? I 'wi yo haaa neA"T n A \' ^' ^': ji J ,ji nhaaa ne
? oT I' 'J U-^^' I U J
1 and 2. (24a, b) yogiwasase(go on back the other way)(women reverse their direction)Figure 150.
246 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
Shake -the~ Bush4. Dancem rr- .u u h i-???
#
U Uu ur
-f~~yy Tj u u' u u U ?^3yu wi gane hog a ne yuwigane hohane
iJ" T U Ll li hi yo
'r \' U U \j r --i U -J u- ^^5. A B
I \ ? > \ \
?)? ^
:
^ S * * o rznu i?b-h-ryodawi ga-heya ho he^* f^)U^^Z ' I I. -r r'f Lfj L_t* lJ lT lI yo ne ne no n e ne he yo he ha
'^': i^yff^'^U'' '^b-r- i^=gT^\ \ \ ^ * * s~r fFigure 151.
KlTRATHl IROQUOIS MUSIC AND DANCE 247
Robin Dance
I. j = 92
-X-
Cornplan+erT \y\'A i 1 .:,' f-r .- 1 ^?> * *>??1?
r
r?j
?
z. ?
I
p ? m i__? >f r <
^ L) LJX _! ' uJ uT^^=F
g eiar ^^
-r^i?
V
I 1 j = 108 - 120\y^' '{\ ' ' r 'u' r ''?! I r '^^
r t u r ^;=t3.n- r lu- r 'Cir; r t Hi r- r,-'^-3 Ju- X ' 'V J J ri\ f-r ,- rr iTj ,. ... I j:i J 1 r rW^ ' \ ]j 'Figure 152.
248 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
J = 120A Fish Dance - Old
o heya gayo wa heya
^^Hfl'u'C u'u-^^ he no ya heya heya hor~y- s^heya howe ya qavo wohi yon-- ;j J ^J Q- r^ 1'^ r u- 'a r 1 Lf3. J = 112 - 126
?)' ^ 1' u 1 1 r I L; L; I lt Lj r ' Lj r
,
. I he ya yo ha weno ye we np ye ho yo ha we no, ye weno yeeA oi Li f ' U r^3Ssj ? ? ** >v^y v^? I' l l r* * r y ** f *v #v? f* ?y^rf> -g-p-heya yo hawe no- ye wenoya he h e he gayo we heya
5. J = 112 - 126m A r r. -^ New2_:&^ I 1 1 y -f- 1 u iij'. i i-a-rfheya go yowe he haya he gayo hogayowe hayo hi ya gayowem etc.LT r [J6. yo howe hoya - heyar , rttui I > r.' r r5? ^T^ Uhya we gaha yo gayo wa ne we gaha yo 7~r-\[sra'^''^ f ' I r i7 rO t #Tgzzg1?trt-lT-we gahayo
^ ' ^ I y I ' ' Li r 1 1 C u ' '?Figure 153.
KURATH] IROQUOIS MUSIC AND DANCE 249
Raccoon Da nee Cornplon+erJ =100f> A C han+Tl'-y' f- V U-|-r T r-lij li^ 'J ^ .^
7' '?( f ' LI Lf ' \IU 'f^'[.[u t
2. 3 J ="6A .,? ^ Oai^=^ * # # *3J c I * m. , m-^ 1 u t ' 1^I L r ri-^v-Va" LJ* L/ hayoweweni yo ? "'
: f ^ i J 1 N f gJ 1. ? ? s-A-* ?^
?
mr a 1 * V * ? *-u r u =u^A" yo we went yoi^^A" ^^S * * \ T" * ? * m i yyu \ u =u
uT V V w C (? ^ w C? CJ* Us J L^ J-^ u ij ? ' J.'^~LrL; r s4. A Tl T"
)(==ie? # * # I **Lf Lf U ' ' U u ' U U3
I >Figure 154.
250 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
Chicken Da nee
I. J = 100 = C.J.John I
^1' ^ d n '[; ^ ; ' yi;r J^^ BlackChan+f fT1-- ^,1 1^ i I !j!r .H ^ '\no X2 J =100-10 8 C.J. John?
^'" ^- Lf ''' Ul' U -n .M'f'i,, Dance
A i^ T T u >i yowe qano he- we he ni he4. = C. J. John 4 -^ -'
c^. C.J.John 6yj ' m r ' w y r [XJ r \^u^a deswonyo donyoyano hoyowano he yowanp he
/ \m m' * \mfmm\MH . I i P1?V- ho
5. deswa' nyo donyano haygwanoheyou women arise and choose a manFigure 155.
KURATH] IROQUOIS MUSIC AND DANCE 251
Cornplan+er , 1936 Sharpen -q- S+Ick
I. i= 104-112 ,. J = 112-1(6 Curry1951
'>'' ?' !?' L' u r ' cf^T" ^' I' lJ Gf f ' If Q' fB r f yowa Me he ya?'?' Lf ^f ' ^^ -?-^?
^
U r ' LT f
s3 1-- ? XT v,i'.rj , ] 1 rj r^i ?i i; \s 1?V-tJ-^2. J = 112 - 126 ? ?T^^l rrr-rt
r f f f
')' \j \} n i ^^? ? ? 9Tin J JT^ J. ^i g>t I ^ 11 3he nawiyo hai^ ^s? yaha ha 6. J = "2" "6 Snow1933T 1' r u' r L- ^yo ho ho ho hoV Jl ra f >! .ns^^ ?d 5yohe hawiyo ho
??' r rr P 1 Jt jTj J.I r- r LJ V''. J ^^n n J.I I I V P/^ J J3.J.l?7a3 * r * - Figure 156.
252 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
C hoose ~ a~ Partner
I. J = 104 - 116 Corn plante r
'M'^'-c g rr i^>f j^ v > i.u r -g r I
'' ^ c g r ' ij ^ J ' ^ i' P' J ' J"i J J
J = 112 -120 ^j, jn liJJ 1,^V. I. ??* ? * * i^ *'T r g~<? U L;:.t==^ LT'^'U4. J = I 12 - 120
T .^ ]?: >n in J-; J 1 1 ? .J ^ J t^d r^^
'^- ^ c u L '^ J ' ^j n ^ r: j
^' g ' r ' rr ^1 fid' rr^'i"J i J
T" rj J ; J. 1 L' r ^j ^ -i. ' ?'"j j ^ j-Figure 157.
KUBATH] IROQUOIS MUSIC AND DANCE 253
Alliqator Dance
^ * -* ^?-a ^ Corn plan+erx^
?
' ^ ^ r *' * ? ? ? ?
r
I ? ? ? we nova wenovafS^ \, \, \, ?' ^ * * *=^ =t^ ^
* " yodine yodine^ ;jj y I. ' V u u r41: yo heT \' u u v'n u i'U uA' A"ya ho wi ha yo he:/, *?? *- rV-^\'U U j
J= 112
I. A Fishing DanceA' Cornplan+er
?A. % ^ *-=?= u r ^ r: ^^J^=^ ^
? '^ I we goya we goya ha ^ ^ ^^ *????r-* ^y 1 u b=i ' u =P!t3X R .1, P V ;< ik ^* X. J- : -yl
T- h^ ]? lis - I ( i' -^^ *^?^ ^Lii' ' u' '^R 3 6I: V ^ ^^ ". .i' (j'l ?'. ^? ^-^ ,??* * I -yK K1_K ^. '.T K I K I I 9 Figure 158.
254 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
Knee Rat+le Dance
I. J = 100 - 132Aa Black@^^^ b' Li- -Jd^^^ yo we wi ga no wi ya^^ u u uc "^ ; R J='4^ J' 9 1'^^ B I: c b c-d-^ ^ 51; 5. k2 j= 104-116 yur- \-- [_[i u=i?^ ' m^howiya he ? -^t^^ ^^ ^SB^V^:^^!^ ^=8Q A A RA^ a^?^?n ij -- f r^TT^-HU u ?>!^. ^, yo wano yowana 9ayo ?? ?? y?*" "??3!? ' i: u ^;r r ' ^i J J v-i Jj H lj'^ifi4. *^?'a ?> ^ 108-112 ho ? hi ?rblT li iT' tj-f t ^ J.--1 u ft u r^A'^ ~m~w * *w< ^ ^ .1 ^1 ir 1^^ ;ig^^ y^FiGUKE 159.
KURATH] IROQUOIS MUSIC AND DANCE 255
J = 112 Grind- an- ArrowB Corn plan+ern > '' U rj- .J.""Kxr T' 'J,- r I ^^^^=^^UJ no - no qa yo wa niRr- j-j^ J 1 :.. J.
-
I j: :: r ' ^^ 4-.I ABB R ^L ^^ Q=2, A ?l-T yo hor- 1; I Z -j 'jjE^?f yo ho ho ho gayowan! hai hai hai^'g ^e ye ^., V Xf\ . J ^ I i. * i? I Twegayo warn y^V^ Y^Delaware Skin Beating DanceBJ = 69A Corn plan+erChan+^^ ^1 > '^^t^ u u ^^^w I ya we ni wiyaawein wiyaawein *'"A-. R X he-- hi^ a^ r ' a ; ''T^ ^^2. J = lOO y" y" yuh Dance^^r- 1. ^ n ? _ VF=^=^ ^[, ^ wi no wi he winowi he -no howi ne- hi ya ho -ho^^ =a: 4 tiwes^S^3. A w"?^' he yu yuh
^- \y\\w LiC'-L^L^-^MQ ya hegoyo wewino yowi wino he ?
-^ # *^ *
?
0-0 ? # - dyo he hi no yo he hi no yahowe he goya heyohehinoyo he hi noT- JT^ j J '* aV \ ^
Figure 160.
256 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
Devi I Dance
I. J = 80 Shanks
- ^ ha ne no we hane no'o we heyohane yaheyahamm . m *^ J' ' \ii 'J "r I \n~'^^~^hane n a weyo heya
? . >n * 1 1!^^^ ? * ?~OJ Lf u ' US3. J = 84 ]';?_ o ' ^. J ^f\ i^^E-^^ M T. 'f I J^ ^?rr/J lwe ya ya ho ~ ho yeya dadoge seno3JI ''/ .>4. he he ya ho ho
? ? * ~?~
I-- \2 \?\ LLi' ' ^' lL' j i jjj Jyane doweya he ? rH V w V, w"'"'
?' J^' J. I LL' lL' ' '^ ^ ^^^ ' ^"^ -'''^ ^ ' ^-^5. J =80-96 deye ya dowanes ~-
?^^ one nigihdjagoyo f f * waii?^55] J 1^^ ; r/. J~ J h /?? n n /: J? ,F7 jfv=9e D= 96 ^ ^ :^y^P^'^^P^^ - ^ h 1 f. u^ u" lT ^ Lij- U6.
")'? \'' LU' ? '.* ' u' Lr u ' U '^ j .11 Jy wehej^aha ^T ;ji JI .' if- ., c^-i'jN "''ya ha vane he yawi he ^^^^^1Figure 161.
KUBATH ] IROQUOIS MUSIC AND DANCE 257
Black
no D I Hu no aa dee hase ge Qn
-0-^ ^^=^^^ v : r \ -e^^1 f i ^^ya ho ? he ya de ta gwi s+e hage 09 d^^^ Swadiks sa'a go waso hoMoccasfn Game
I. j = 120 Cornplan-fer
I I ' IS =^TT t' t-j- t_;
? r-^ ms s ? 1
?
m ?-?-? *ya he ha we heya he 41:
* * n m # ? * g=J = 126=ls= ^??>^US ? 1newa ged* c 5LJ^ iJ UI r i-Q 1 U ^_ode yo dohqwa ye deyodahgwaye
^ way a we hi ye wiya we hi ye^=^-\J Li !J I '^^11 1 ' ^
-^
we hi yee wehiye ho we hi ye we hi y eFigure 162.634-599 O - 64 - 18
258 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187
4, J = 104?-??
?
-? ?-*
Moccasin Game
A' Blackyuwaho ne-yuwaaho ne ^^A'"^ -??? ? #A"ILi U/ Uj 1 ' lii I ' u,^ Lk ^:3=t^ ? ? *-? ? ? ?LLi lij* kLP=F^5- Ar-l; 1 LLi'r ' '_Lu' ^' ' ^^^yo wi i hi ye wa hi ya we hi ye
-^- *-u?^?*-A.. I * * * ' * -r A'.
'1 '?U -yyQ=^ weyawi ye hawi ye hawi ye ^_0 i^ ^^ ^ ^ ^mimam ^ u U 1uj 1 u sr~inr- iP ^ rj . ji J j n i
^* f . m.? * I -* ?[^?r-j i ' u rj ' u I I -i.^iwahune "^^ ''[, ho wi hi ye
?we y awe weya we he ye weya we heye
Figure 163.
KURATH] IROQUOIS MUSIC AND DANCE 259
S how SongsJ=84 Funeral SongsCornplan+er
^XSim ^^O 1^^ PQ=ha'a a yo wa ni ha aT {>". f ^'--f r^^ MO ^
^ EtI I I ' ' If * O 1- ^wa hi ya he I yo we aa we qa a yo
1 i i ne we hi ya ne' i ?wa hi yo ne
?) f ? ,' J? I ??,' r f 13.i'l'^^d '" ^' U lT M L^ ur g 3X1gone ho ~ goyo wgni ho lJ
^' f n ^^H^' I u Lr r4. Ur\- : t ?" ' tif r > ^?; ?' ' ,^ ^ =^yo gi wo yo o he ha ni yo gi wa ^
c A qu we no de ye ha ? n i yo gi """ ^ "^^II wa 3b
i ')"? ^?- U rj. '' ? ' -J '? I I c^'^ bgayo waj i ne~ ya'a he? hoB
he ~ _ya hey a heFigure 164.

BUREAU OF AMERICAN ETHNOLOGY BULLETIN 187 PLATE 1
BUREAU OF AMERICAN ETHNOLOGY BULLETIN 187 PLATE 2
BUREAU OF AMERICAN ETHNOLOGY BULLETIN 187 PLATE 3

INDEXAbrams, Deforest, 22Adonwe, individual chants, 91 (text andtranslation)See also Chants.Akron, N.Y., xivAlabama Indians, 68Algonquian Indians, xiii, xiv, 45, 68Allegany Reservation, xiii, xiv, 1, 21, 67,73Allegany State Park, xii, xiii, xiv, 67Allegheny River, xiv, 1, 65, 70Alligator cycle, 22AUigator Dance, see Dance.Allouez, Claude, 65American Philosophical Society Library,XI, XIII, XVAnimal cures, dances of, 60-61Animal mating, dances of, 60-61Animal medicine rites, xiv, 9-13Animals, mystic, 14Animal spirits, shamanistic cures ad-dressed to, 9-13Antiphony, 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, 68Artistry, 60, 71-72Ashes, 10, 103, 104, 109Ashes Stirring Ritual, see Rituals.Audubon, John James, 75Automobiles, owned by Indians, 1Bean Dance, see Dance.Beans, 16, 17, 20, 70See also Festivals.Bear, claws of, 70dreams of, 13teeth, 70Woodland black, 66Bear clan, xvBear Dance, see Dance.Bear Society Dance Songs, 13Beaver clan, xvBench, singer's, 27, 53, 54, 70Benches, wooden, 1, 4, 5, 6, 7, 12, 16, 27Berries, 2, 70, 111juice of, sacramental, 13, 67Bird rites, 37Birds, 67-69Black, Edward, 2, 38, 46, 47, 48, 73, 91,93, 94Blair, Emma, editor, 67, 75Bow and arrow, 5
Bowl game, 18Box turtle, used in dance, 16Breechclouts, 10beaded, 5Broom, Leonard, 77Broom, used in dances, 16Buck, George, 73Buck, WiUiam, 73Buffalo, N.Y., 1, 65Buffalo (Bison bison), 65-66, 70dreams of, 12Plains, 65Woodland, 66Buffalo Creek, near Buflfalo, N.Y., 65Buffalo Dance, see Dance.Buffalo Society Dance Songs, 12-13,30, 74Bureau of American Ethnology, x-xiiBurgess, Thornton W., 75Bushy Heads, 10Butler, Sadie, xiii, 2, 73Cane, used in dance, 7, 10Carmichael, Leonard, iiCaroHna, North and South, 65Carry-out-the-kettle Dance, see Dance.Catlin, George, 66, 75Cattaraugus origin of songs, 19, 21, 46,91, 94Cattaraugus Reservation, 1, 2, 19, 21Cayuga Indians, xiv, 21, 26, 73Cayuga longhouse, 73Ceremonies, Coldspring, xiii, xv, 1,3-6, 45cycles of, 2medicine, xv, 2, 10, 64summer food, xv, 2war, XI, 8women planter's towisas, xiii, xvChafe, Wallace L., xiv, xv, xvi, 73-75Champlain, Samuel de, 70Changing-a-rib Dance (deswand^nyg ),see Dance.Chants, fifth, 34fourth, 34individual, 30, 73, 61-62men's, 6, 11, 38, 54, 105-106, 121,133, 200monotone, 34prayer, 5second, 34semitone, 34seventh and octave, 34sixth, 34third, 34 261
262 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187]three-quarter tone, 34tobacco invocation, 12women's, 16, 159Charm bundle, 13Cherokee ceremony, 16Cherokee dances, see Dances.Cheyenne Indians, 45Chicken Dance (dagae*^ oenp'), seeDance.Chippewa Indians, 70Choctaw Indians, 68Choose-a-partner Dance, see Dance.Clowning, 9-10, 20, 53, 65, 71-72Coldspring drum dances, 45, 47Coldspring longhouse, xi, xiii, xiv, 2,15, 33, 72, 73, 79Coldspring Reservation, xi, xii, xiv, 2,4, 5, 6, 7, 18, 19, 21, 25, 33Columbia University, xiCommon Faces Dance (hodigpsoska'a),see Dance.Condor, California, 67Condor Dance, see Dance.Conductor, dance official, 13, 24, 71Conklin, Harold C, and Sturtevant,WilHam C, 4Corn, cultivated, 2, 16, 17, 111-112soup, 102Corn Dance (on^gnt'^ oeng'), see Dance.Corn-husk masks, 10Cornplanter, Jesse, xiii, 2, 20, 45, 46,47, 48, 73, 91, 93, 94Cornplanter Reservation, xiv, 18, 32Costumes, dance, 5, 10-11, 12-13Cramps in shoulders, cure for, 12Creator, Indian God, xiv, 2, 4, 5, 70rituals addressed to, 4-6, 35-36,41, 50, 55, 64, 73, 79-80, 91Creek Indians, 68Cures, rituals for, 9, 12, 41. 55, 64Curing songs, 11, 12, 13, 41, 60, 64, 70,74See also Medicine rites.Curry, Edward, 2, 8, 18, 19, 20, 23, 25,28 48 73Cycles, 2, 4-26, 27, 29, 31, 35, 40, 42,46, 49, 59, 62Dance:Alligator, 26, 36, 39, 41, 63, 70, 72.74analyses, 50-58assistants, 16Bean, 20, 45, 70, 74Bear, 13, 21, 27, 28, 31-34, 36-39,41, 44-45, 47, 49, 52, 55, 59-61,63-67Buffalo, 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, 34-37,39Changing-a-rib (deswandenvg'), 15,29-32, 34, 36-44, 46, 52,' 55, 60-62, 74Cherokee, 25, 53, 70
Chicken (daga'f"? 6enQ'), 25, 27-28,31-32, 37, 41-43, 55, 57, 65, 74Choose-a-partner (deyqndenyot-g^s), cousins' dance, 25, 35, 41,55, 74choreographic analysis of, xii, 50-59common face (hodiggsoska'a), 9,81Condor, 67Corn (on^Qf? deng' or corn song) , 18-20, 25, 27, 31-32, 34-39, 41-42,45-46, 48, 52-53, 55, 61, 64, 70,74, 90costumes, 5, 10-11, 12, 13cycles, 3, 4-27Dark (deyodasgdaigg), 13-15, 17,35-36, 39, 41, 44, 52, 55, 60, 62,65, 74, 88, 143-149, 217-218Deer, 70Delaware, 34, 36, 39, 41Delaware Skinbeating, 255Devil (djihava), 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, 71-73Duck (twfn^oeng'), 22-23, 30, 32,34, 36, 38, 41, 43, 46, 52, 55, 61,63, 68, 74Eagle (gan^'gwa'e'), 6-8, 28, 30-38, 40-47, 49, 50, 52, 55, 57-58,61, 63-64, 67, 73False faces, 9-10, 17, 27, 32, 34-44, 46-47, 50, 52-55, 57-58, 61-63, 65, 81 (text and translation)Feather ('osto'i' 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, 229-239functional relations, 41, 55, 70-71function of, 4-11, 13, 15-21, 23Garters (dewatcihasip'), 21, 27, 31-32, 34-38, 41, 46, 52-55, 74gifts during, 15Grinding-an-arrow (ganogfvg'), 25,41, 74, 255Hand-in-hand or Linking-arms(deygdanasgta?), 20, 27-28, 30,32-37, 39, 41-43, 46, 48, 52, 53,55, 61, 72, 74Knee Rattle, 25leader of, 5, 16, 27, 45Little Water, 30Marriage (hadiwaniyas), 26New Fish, 35, 41, 48New women's Shuffle, 17-18Oklahoma Round Victory, 45Old Fish, 34, 41-42, 48partners, 25, 71Passenger Pigeon or Dove (djah-gowa oengV), 22, 27, 30, 32, 34-36,39, 41-44, 52, 55, 61, 69, 70, 74Plains Calumet, 67
INDEX 263Quavering (ivQndatha?), 14-15, 31,33-36, 38-42, 44, 46-49, 52, 55,60-62, 74, 88 (text and transla-tion)Raccoon (djo6ga? 6enQ'), 24-25, 34,40, 41, 45, 52-53, 55, 58, 65, 69,74Robin (dJQwiv^ik 6enQ'), 23, 27,32-34, 36, 38, 39, 41-44, 46, 52,55, 59-60, 63-64, 69, 74, 89Round (gan6nyahgwf'), 9, 11, 13,32, 36, 42, 45, 52, 81, 82Scalping (ganehg), 8-9, 28, 55, 61,62, 74script, 51, 58, 79, 101Shake-the-pumpkin (gash^dgdadp'),21, 34, 41, 43, 52, 55, 60, 74Shaking-a-bush or Naked (gasgoi-pdadg'), 22-24, 27, 30, 32-37, 39,41, 43-44, 52, 55, 61, 74, 91Shaking-the-jug, 21, 43See also Shake-the-pumpkin.Sharpen-a-stick (wa'^n gt'yg), 25,41, 43, 48, 53, 55, 74Snake, 25sponsor of, 10, 15Squash, 21Standing Quiver, 74steps, 9-11, 17, 19, 21-24Stomp, 50, 52, 55, 64Striking-the-stick (pole) (wai'^no'e'), 7-8, 30, 41-43, 51-52, 54, 55,57-58, 61, 73structure, 52-54, 64, 69Sun, 64Thanksgiving or Drum (gan6 6 g),5-6, 41, 73Thumbs-up, 9, 81Trotting, 31-32, 34-39, 41, 45-46,65, 74See also Stomp Dance.Victory, 8, 15War (wasa"se'), or Thunder Rite,8-9, 31-39, 41, 43-44, 46, 52, 54,56, 57-58, 61, 64, 73Women's Shuffle, 2, 13-18, 41, 55,57Dancers, 15, 50, 71False Faces, 10, 27, 37, 82female, 37male, 45, 50, 58, 63See also: names of specific dances.Dances, xv, 2, 4-10, 13-17, 19-24agricultural, 61, 62and rites, Indian names for, 73-74animal cures, 61animal mating, 61Calumet, 67Cherokee, 53, 70contours of, 44-45Creek, 68fish type, 23-25, 31, 90, 94interlonghouse variations of, 19miscellaneous, 74occasions for, 4-11, 13, 14, 16-21, 23Seneca variations of, 19
setting of, 50Siouan origin of, 8social, 2, 19, 21-25, 30, 35, 37, 41,45, 50-52, 54, 58, 61, 64, 65, 74songs for, 4, 5, 6, 8, 9, 11, 13, 14, 16,17, 18, 19, 22, 23, 24stomp type, 21-25, 31, 55, 90, 94time dimensions of, 61-62women's, 61Yuchi, 68Dance steps:crouching hop, 57Drum Dance, 57False Face round, 56Feather Dance, 57Fish Dance, 56forward stomp, 56hop-kick, 9jump-kick, 57pat-step or step-pat, 56"Scotch snap," 11side stomp, 56Dark Dance (dev^dasgdaigg), see Dance.Deardorff, Merle H., xiv, 72Death Feast, 15, 55, 63, 74See also Ohgiwe.Debility, general, treatment for, 13Deer, 70, 102Deer clan, xv, 70Deer Dance, see Dance.Delaware Dance, see Dance.Densmore, Frances, 68, 75Deskaheh, Cayuga chief, xii, 47, 73Devil Dance, see Dance.Dew Eagle (shada'g^a'), eagle god, 6Doorkeepers, dance officials, 10, 52Dowdy, Lyn, 2, 18, 19, 23, 73Dreams, fulfillment of, 6, 12, 13, 14, 50Drum, water, 5, 6, 7, 8, 12, 14, 15, 16, 17,21, 22, 23, 24, 25, 36, 53, 64Drum Dance, see Dance.Drum Dance rite, 30Drum dance step, 8Drunkenness, 72Duck, 68-70American Golden-eye, 68Black, 68Mallard, 68traps, 68Wood, 68Duck Dance (twen? 6eng'), see Dance.Dungarees, 10Eagle {Aquila), 67, 68, 70bald, 67Eagle Dance (gan4' gwa'e'), see Dance.Eagle Rite, Seneca, 67Eagle sickness, ceremony for, 6Ecology and mime, 65-71birds, 67fish, 69-70functional change, 70-71mammals, 65-67Eel clan, xvEnskanye (fskanye), 5, 8, 10, 15, 16, 17,18, 23-27, 56, 59, 92, 93, 98
264 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187]See also Women's Dance.Erie Railroad, 2Face blackening of men, 16False Face Company, curative functionof, 9-10, 74,' 91-93 (text andtranslation)False Face Dance, see Dance.False Faces, men's society, 60Fans, feather, 7Farming, xvFeast for the Dead (ohgiwe), 15, 52, 55,63, 74Feather Dance:step, 5women's step, 4See also Dance.Feather headdress, men's, 5Feathers, 70Fenton, William N., xi, xvi, 1, 2, 4,10, 11, 12, 15, 20, 28, 49, 61, 69,70, 75, 76, 77Fenton, William N., and Gulick, John,eds., XIII, XIVFenton, WiUiam N., and Kurath,Gertrude P., xiii, xv, 7, 15,29, 42, 46, 67Festivals, Food Spirit, 2, 20, 21, 50, 51,54, 70Green Bean, 16, 19Green Corn, xiii, 2, 4, 5, 16, 18Maple, 69Maple Planting, 19Midwinter, xii, xv, 2, 4, 5, 6, 9,10, 11, 12, 13, 16, 17, 18,23,43,50Planting, 4Strawberry, 4Thanksgiving, xv, 5, 6, 11Fieldwork, xi-xiii, 1-2, 51Fish (Pisces), 69, 70Fish (g^dzp'enp'), 10, 17, 23-25,27, 31, 33, 36-37, 39, 41-46, 48,50-52, 54-58, 61, 63, 65, 69-70, 74Fish Dance, see Dance.Flageolet, six-hole, 27Floors, wooden, 1Food Spirits, rituals and dances ad-dressed to, 16-21, 41, 55, 74,88-90, 93Food Spirit Sisters, 10Fox River, Wisconsin, 65Furs, 70Garfish, 69Garters Dance (dewatcihdsig'), seeDance.Geese, 68Gibson, Simeon, 73Gifts, 7, 15Great Feather Dance, see FeatherDance.Great Lakes, 68, 69, 77Great Plains influence, 62Great Spirit Bear, relation to illness, 67Grimson, Ludlow, 75Grinding-an-arrow Dance, see Dance.
Guns, 68Hall, E. Ravmond, and Kelson, KeithR., 65, 66, 76Hallowell, A. Irving, 66, 76Hand clapping, dance routine, 6Hand-in-hand or Linking-arms Dance,see Dance.Handsome Lake, Seneca prophet, xiv,XV, 71, 72, 102code of, XIV, 72Harvest Festival, 16, 17, 19Hawk clan, xvHeaddress, 5Headwoman, 16Helper, dance character, 12, 14, 45Heron clan, xvHerzog, George, xi, xiii, xvHess, Gertrude, xiii, xvHuckleberry juice, communion with, 13Hunt ceremonials, xiv, 66, 67, 70Huot, Martha Champion, xi, 28Husk Faces or Bushy Heads, 9, 10-11,27, 29, 31, 34, 36, 37, 38, 41, 43,47, 52, 55, 58, 61, 74, 81, 82, 83text and translation, 93Improvisation, 8, 15, 20, 53, 57, 58, 72Indiana University Archives of Folkand Primitive Music, xiInstitute of Human Relations, xiInstruments, musical, 1, 10-23, 27, 28,36-37, 62See also: Drum; Rattles.Iroquois Dew Eagle, supernatural eagle,67Iroquois Indians, xii-xv, 1, 46, 61,63, 65-67, 69-70, 71, 103ceremonialism of, 35, 40, 50-51, 58choreography of, 54, 65dance dress of, 5music of, 30, 40, 44Iroquois League, xiv, 62, 103lyondatha, see Quavering.Jamieson, Esther, Mohawk woman, xiiJimerson, Avery, 2, 19, 20John, Willie, 73Johnny John, Amos, xii, 2Johnny John, Arthur, xii, 2Johnnv John, Chauncey, xii, 2, 12, 13,'23, 25, 28, 33, 46, 47, 48, 51, 73Johnnv John, Pearl, wife of Arthur,
'xii, 2Johnny John, Richard, xii, 2, 73Jones, Albert, xii, 2, 19, 20, 23, 25, 28,42, 45, 47, 48, 51, 53, 73Jones, Geneva, xvi, 2Jones, Volney, xviKelson, Keith R., 76Kentucky Blue Licks, 65Kinietz, W. Vernon, 70, 76Knee jingles, 5Kurath, Edward, xiiiKurath, Ellen, xiii
INDEX 265Kurath, Gertrude P., xiii. 10, 15, 16, 19,23, 46, 49, 62Lacrosse, game, 8Lake Erie, 65Lassitude, cure for, 14Leggings, 5Lewis, Thomas, 73Library of Congress, xi, xii, 77Licking Creek, near Allegheny River, 65Lingelbach, William E., xvLittle Red Wing, adapted song, 18Little Water Medicine Ritual, 8, 11, 12,27dance, 30Logan, Joseph, 47, 73Longhouses, xi-xv, 1, 2, 3, 9, 16-21,22, 50, 53, 62, 69, 71, 72, 77,101, 104, 106, 112and the people, 1-2Mammals, imitations of, 65-66Mandan Indians, 61, 66Maple Festival, 69Maple Planting Festival, 19Maple sugar, 69Marching song, 9, 11, 16, 81, 89, 91Marriage Dance, see Dance.Maskers, 9-12, 58, 63, 109See also False Faces, Husk Faces.Masks, corn husk, 10costume, 10Mason, Bernard, 4Maximilian, 76Medicine, salt clay administered as, 13,66Medicine Company or Society of Sha-mans, 11-13, 74Medicine Men's Rite, 23, 27, 33, 70Medicine rites, xiv, xv, 2, 9-16, 23,27, 46, 54, 58, 60, 64, 70, 103-110, 194-195Menomini Indians, 69Men's shamanistic medicine societies,60Meskwaki Indians, 66territory of, 65Messenger, dance character, 13Messenger's songs, 11, 12Michigan Academy of Science, Arts andLetters, xiiiMidpantheon, rituals addressed to, 6-9,27, 36, 38, 40, 41, 55, 63, 73, 81-90, 91-94Midwest, 46Mime, 9, 10, 12, 13, 59, 64, 65-72Mississippi River, 65Moccasin game, 37, 38, 39, 41, 74, 94Moccasins, 5Mohawk Indians, xivMoieties, xiv, xv, 1, 16, 27, 50, 67, 71I, clans composing, xvII, clans composing, xvMorgan, Lewis H., 1, 24, 76
Music, analysis of, 27-49, 62melodic contours of, 44-45melodies in, 37-40meter of, 40one or two themes in, 43-44ornamentation of, 38recordings, list of, xirelation of action to, 58-59relation of patterns of, to presentritual functions, 62-63structure of, 40-44See also: Song; songs.Muskrat, 84, 106Mutual aid societies, xivNaked Dance, see Shaking-a-bushDance.Nedrow, N.Y., xiiiNeuritis, cure for, 14Neurotic spasms, cure for, 13New Fish Dance, see Dance.New Mexico Pueblo Indians, 66New Women's Shuffle Dance, see Dance.New York, xiii, xiv, 1, 65Officials, ritual, xiv, xv, 4, 10, 13, 50,71, 101, 104Ohgiwe Ceremony, 15, 41, 48, 88Ohsweken, xiiOklahoma, 45Oklahoma Round Victory Dance, seeDance.Old Fish Dance, see Dance.Oneida Indians, xiv, xvOnondaga Indians, xiv, 64, 67Onondaga longhouse, xiii, 2, 73Onondaga Valley, 2, 73Ontario, 65, 73Osage Indians, 8Owl, 84Paddles, wooden, 10Parker, Arthur C, 14, 76Passenger Pigeon Dance (dj^hgowa6enQ'i'), see Dance.Patient, part in dance, 12Pennsylvania, xivPeters, Gordon, 73Phonetic transcriptions, note on, xviPhratries, see Moieties.Pigeon, Passenger, 69Pigeon (Cobimbidae) , 69, 70Pipe smoking, medicinal, 13Plains Calumet Dance, see Dance.Plains Indians, 45, 62, 66, 67Planters, Women's Society, 2, 6, 16, 17,19, 70Planting Festival, 4Plants, 65, 70, 72, 102Potatoes, 16Prayers, 5, 16, 50, 51, 71Pulsation, dance and song, 4, 15, 34, 38,47, 59, 63, 64Quaker Bridge, N.Y., xiv, 1Quaker missionaries, xiv, 70, 71Qualla Cherokee Reservation, N.C., xiii
266 BUREAU OF AMERICAN ETHNOLOGY [Bull. 1871Quavering (iygnda-tha'i') Dance, seeDance.Raccoon Dance, see Dance.Randle, E. P., xi, 28Handle, Mrs. E. P., see Martha ChampionHuot.Rattle pattern, part of dance, 7Rattles, 5, 7, 8, 12, 29, 46Feather Dance, 37gourd, 7, 11, 17, 21horn, 5, 6, 8, 14, 16, 18, 20-23, 27turtle or tortoise, 4, 9, 10, 16, 27, 62Raven, 84Redeye, Henry, 2, 8, 47, 73Redeye, Sherman, 2, 7, 12, 21, 47, 73Red House, N.Y., xiiiRenewals, 6, 9, 11, 23Reservations, White encroachment on, 1Ribaldry, 72Rituals
:
addressed to food spirits, 16-20, 41,55, 74, 88-90, 93addressed to the Creator, 4-6, 35,36, 41, 50, 55, 64, 73, 79-80, 91addressed to the Midpantheon, 6-9agricultural, xiv, 16, 17, 30, 45, 50,61, 63Ashes Stirring, 6, 9, 34, 37, 39, 40Curing, 12, 64Little Water Medicine, 8, 11, 12, 27Medicine Men's, 23, 27, 33, 70Sun, 7, 31, 34, 35, 36, 37, 38, 39, 41,55, 73, 95, 102Thunder, 9Yeidos Medicine, 30, 31, 32, 33, 36,37, 39, 41, 43, 44, 46, 63, 64Roberts, Frank H. H., Jr., iiRobin, American, 69, 70Turdidae family, 69, 70Robin Dance, see Dance.Roe, Frank Gilbert, 65Round Dance, see Dance.Rounds, dance formations, 52-54Sachs, Curt, xvSagard, Theodat Gabriel, 76St. Regis area, 8Salamanca, N.Y., xiv, 1Salt clay, administered as medicine, 13,66Scales, monotone, 30quart al, 30, 45secundal, 30tertial, 30, 46Scalp, 28former dance property, 8-9Scalping Dance (ganehp), see Dance."Scotch snap" steps, 11Seneca Indians, xiv, 1, 24, 65, 66, 67, 68,69, 70, 72dances of, 54, 68, 72longhouses of, 22Sexes, XIV, xv, 71alternation, 21, 25, 52, 53, 54
choreographic arrangement, 1, 10,87-90dance relations, 20, 50, 52, 53, 71ritual interaction, xiv, 25roles, XV, 16, 50separated, 1, 16, 21, 50, 51, 52, 71together, 52Shake-the-pumpkin Dance (gash^dg-dadg')) see Dance.Shaking-a-bush Dance (gasgoipdadg'), seeDance.Shamanism, 61, 70Shamanistic cures, addressed to animalspirits, 9-13, 55, 74, 81-88, 91Shamans, see Society of Shamans.Shanks, Robert, 2, 46, 47, 48, 73, 91, 94Sharpen-a-stick Dance, see Dance.Shawls, 10Shawnee Indians, 20Sheep, 93Shirts, 5Shoulder hunching, pathological, treatsment for, 66Shryock, Richard H.. xiiiSingers, xi, 1, 2, 4, 5, 6-14, 16, 17,18-26, 45, 49, 50, 53, 54, 63, 71,73-74Singing, 16, 27, 28, 46-48, 51, 63See also Voice.Singing societies, xiv, 71Siouan origin, 8Sioux war bonnets, 5Six Nations Reserve, xii, xiii, 2, 15, 20,21, 22, 26, 64, 73meetings of, xiv, 4, 17, 19, 21, 22,25, 26Skins, animal, 70Skirts, 10beaded, 5Smithsonian Institution, iiSmocks, women's, 5Smoke, Percy, 47, 73Snipe clan, xvSnow, Jonas, 2, 25, 73Societies:men's, 9-13mutual aid, xiv, 17women's, 13-16See also Planters; Society of Sha-mans.Society of Shamans, 11-12, 55, 70, 74,82-88 (text and translation)See also Medicine Company.Song:Alhgator, 26, 36, 39, 41, 63, 70, 72Ashes Stirring, 73Big Bread, 22, 41Cherokee, 25Choctaw, 68Dawn, 73, 111Drum, 71Eagle, 28, 29, 30, 31, 122-125, 202-203Enskanye, 30, 31, 160-167, 229-233False Face, 29, 129-130, 207-208fishing, 25, 74
INDEX 267Grinding-an-arrow, 25, 36, 37, 38,41, 74Husk Face, 28, 36, 38, 41, 43Knee-rattle and Devil Dance, 25,31, 32, 34-38. 41, 74Little Red Wing, 18marching, 9, 11, 16, 81, 89, 91Planters, 41sponsor's dance, 81Stirring Ashes, 9See also Songs.Songs, XV, 2, 4adapted, 18and dances, study of, 2-6Bear, 21, 28, 31, 141-142, 214-216 (figs.)Bear Society Dance, 13, 74Buffalo Societv Dance, 12-13, 30,74curing, 11, 64garter, 31, 176, 241-242Hand-in-hand, 28, 30, 31, 169-172,236-239individual, 48leader of, 14, 16, 27messenger's, 11middle, 11modern, 61nuclear construction of, 40-42quartal and composite, 35secundal and small-tone, 35show, 41, 49, 74story, 41, 94 (text and translation)structure of, 42-43tempo of, 36, 71tertial, 35throwing, 11, 93tonality of, 11, 13, 20, 29-36, 46,47-49, 62Tonawanda, 46-48Yeidos throwing, 42, 49See also Song.Soursprings Cayuga longhouse, xii, 20,23Southeast, 45, 62Speaker, at dance ceremonies, 5Speck, Frank, xi, xv, 8, 20, 68, 70, 77Speeches, 6, 7, 8Spirit Buffalo (dyonyosquat), 66Sponsor, dance figure, 10, 12, 13, 15Squash, 16, 17, 21Squash Dance, see Dance.Standing Quiver Dance, see Dance.Staves, carried by dancers, 10, 27Stevens, Fannie, xiii, xv, 2, 23, 28,50, 51Stevens, Willy, 18, 25Stove, men's, 54iron, 1, 16Strawberry Festival, 4Sturtevant, William C, 4, 16, 75, 76Sun, patron of war, 8, 67, 102Sun Dance, see Dance.Sunfish, 69Swans, 68
Thanksgiving festival, xv, 5, 6, 16,63, 65, 71See also Drum Dance.Therapeutic effects of dances, 64Three Sisters (corn, beans, and squash),16Throwing songs, see Songs.Thumbs-up Dance, see Dance.Thunderbird, supernatural eagle, 67Thunder Rite, see Rites.Tobacco invocation, 6, 9, 12, 13, 103-104Tonality, composite scales, 33focus in, 32-33progressive intervals of, 33-34range or compass in, 34-35weighted scales in, 29-32Tonawanda longhouse, xi, xiv, 1, 69,73, 91-94songs and texts of, 91-94Tonawanda Reservation, xi, xiii, xiv,XV, 1-7, 15, 16, 18, 19, 20, 25,31, 34, 38, 45Tonawanda singers, 2song cycles of, xiii, 3, 4, 5, 6, 15, 16,18, 19, 20, 28, 31, 34, 38, 45, 46,47, 48, 49, 69, 73Tonawanda songs, 46, 47, 48Towisas ceremony, Coldspring, xiii, xvwomen planters', 6, 16, 27, 28, 43,44, 52, 55See also Planters.Tractors, 2Transvestitism, 11Treatment of sick, 13Turtle clan, xvTuscarora Indians, xivU.S. Indian Service, xiUniversity of Michigan, xii, xiiiLinguistic Institute, xiiUrsus americanus americanus , 66-67, 70Vegetables (dJQh'ehkp), 16Voegelin, Carl, xiiVoice, 5, 9, 13, 14, 22, 25, 27, 36, 49, 63,65, 101, 102Wallace, Anthony F. C, xiv, 77Wands, feather, 7War bonnets, Sioux, 5War ceremonials, xv, 8War Dance, see Dance.Wasase Indians, Omaha band of theOsage, 8war dance of, 54Wenner-Gren Foundation for Anthro-pological Research, xi, xiiiWied-Neuweid, Maximilian AlexanderPhilip, Prinz von, 77Whistle, musical instrument, 27Winnebago Indians, 69Witthoft, John, xiiWolf, 84, 93
268 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187]Wolf clan, XVWolf River, Wisconsin, 65Women, Medicine Society, dances, 13-16, 60, 61old style dances of, 60rituals of, 41role of, in daily life, xvWomen's medicine societies, 13-15, 27,35, 37, 46, 55, 74, 88 (text andtranslations), 93Women's Old Time Shuffle Dance, seeDance.Women's Shuffle Dance, see Dance.
Women's Society of Planters (tgwisas),2, 6, 16, 27-28, 43-44, 52, 55,70, 89-90 (text and translations)Woodland tribes, 46, 66Yale University, xiYeidos, Men's society, 60, 93 (text andtranslation)Yeidos medicine rite, 30, 31, 32, 33, 36,37, 39, 41, 43, 44, 46, 63, 64text and translation, 93Yeidos throwing songs, 42, 49Yuchi Indians, 68, 69dances of, 68
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