THE EVOLUTION OF DANCING. 751 



or that myth, which is represented in a dance or ballet d' action* 

 This brings us to the point we would be at. The medicine-dances 

 develop into mystery plays, setting forth this or that myth, 

 which in turn reached artistic development in the old Greek 

 drama. 



The most striking example of barbaric drama is that of "The 

 Mountain Chant " of the Navajo Indians. The ceremonial, last- 

 ing nine days, presents in a dance or series of dances a myth of 

 tribal history, beginning at a time when the Navajo became a 

 distinct people. \ The significance of the " chant " has been stated 

 concisely by Major J. W. Powell : " This ceremony dramatizes 

 the myth with rigorously prescribed paraphernalia and formu- 

 laries, with picturesque dances and shows, scenic effects, and 

 skillful thaumaturgic jugglery. It is noticeable also that here 

 the true popular drama is found in the actual process of evolution 

 from religious mysteries or miracle plays. ... It is to be re- 

 marked that the Shaman has become the professional and paid 

 artist and stage manager, under whom is gathered a traveling 

 corps of histrions and scenic experts/' J 



Here is the proper place to observe that dancing has a bearing 

 on the development of the social order. The medicine-men or 

 priests gain and retain political and social powers through their 

 skill in leading the dance. According to Mr. Beckwith, "the 

 high priest in the religious ceremonies of the Dakotas is invari- 

 ably a chief who, through these dances, retains his influence in 

 the tribe." # Thus, dancing gives sanction to the powers of the 

 chief, and is one of the necessary qualifications for the office. It 

 is thus associated with position and rank. In the Vedic age 

 (2000 B. a), before the rigid division of castes, the priests were 

 leaders of the dance at the festivals. || Later on they became all- 

 powerful Brahmans. The Homeric chiefs were distinguished 

 dancers. Lucian says that Troy was taken, Zeus was saved, and 

 Ariadne ruined by a dance. And David led the dance before the 

 ark. The ancients regarded dancing as a necessary accomplish- 

 ment. Socrates learned the art in his old age ; while Plato, in his 

 Commonwealth, advocated the establishment of dancing schools. 

 The Romans celebrated their victories and pastoral festivals by 

 elaborate dances. They excelled in pantomime dances, from 

 which the ballet was evolved. A The Emperor Domitian forbade 



* Custom and Myth, p. 42. 



\ A description of the ceremonies, together with sketches, has been furnished by Dr. 

 Washington Matthews (Fifth Report Ethnology, pp. 385-468). 

 % Fifth Report of the Bureau of Ethnology, p. xlvi. 



* Smithsonian Report, 1886, Part I, p. 245. 

 || Weber, p. 37. 



A Until early in the seventeenth century the performers in the ballet were meu. 



