214 Field Columbian Museum — Anthropology, Vol. III. 



the clay pedestals for this purpose. They were now ready to begin 

 the first of the eight traditional songs, sung on this and the following 

 • three mornings, and which, taken collectively, form certainly the 

 most beautiful incident in the entire Snake and Antelope ceremonies. 

 Throughout these four early morning presentations there was an utter 

 absence of the spectacular. There was always present a deep and 

 earnest feeling which rendered the exercises extremely impressive. 

 Such a picture as this, representing as it does the dramatization of an 

 event in a myth, with the boy and girl dressed in picturesque gar- 

 ments in the background, with the beautifully colored mosaic, with 

 its accompanying crooks and other objects of the altar surrounded by 

 nearly naked men in a sitting posture with their black, glossy hair falling 

 loosely over their sinewy backs, with old blind Qomahoniwa sitting 

 alone by the hearth, keeping time by beating an eagle feather and 

 slowly swaying his body and entering into the ceremony to the best 

 of his ability, joining in the song now and then, all uttering their 

 fervent '■'■Anchaa,'''' the deep gloom of the kiva, heightened by much 

 smoke from the tobacco, and later intensified by the first white light 

 of the east seen faintly overhead through the narrow kiva hatchway, 

 all combined to make a picture never to be forgottc^n. It was about 

 4.45 A. M. when the singing commenced. 



First Song. This is a low and somewhat monotonous chant not 

 without beauty. As the song increases in volume, owing to the con- 

 fidence of the priests, the youth and girl are seen to sway gradually 

 backwards and forwards, keeping time to the song with a motion of 

 their bodies. During the singing all had a crook or stick to beat time 

 with except the man on the extreme west side, who beat time with the 

 extra natsi. 



Second Song. The Snake youth and Antelope mana are now asked 

 by Polihungwa to keep better time with the singing, to sway their 

 bodies and move the objects in their hands in unison with the time. 

 Sikangpu then arose and going to the platform put on his shirt and 

 left the kiva; in a moment he returned, bringing with him a cotton 

 bag from which he took a large pipe or cloud blower {o»iazvia/>!) 

 which he put down behind the Antelope chief, who was sitting just to 

 the east of Polihungwa. He then removed his shirt and resumed his 

 position in the circle. ■ 



Third Song. During the singing of this song Naphoiniwa dropped 

 out of his place around the mosaic and taking a seat near the fireplace 

 lighted a pipe and smoked a few minutes and then returned to his place 

 in the circle. Shokhungwa then retired to the side of the hearth and 

 smoked a moment or so*. In the meantime Naphoiniwa lighted a fire 



