Miscellaneous Papers. 143 



hand, and, when dancing, he leans forward on the sticks and moves 

 about on all fours like a prancing elk, though he sometimes dances 

 in an upright position. 



In the daytime the medicine men go into trances to aid the "to- 

 maneous" sick person. At night they chant and shake sphere- 

 shaped rattles, fashioned from wood and partly filled with pebbles 

 from the beach. 



The dance lasts five days and five nights. As the fifth night 

 draws toward a close all the actors dance around the sick one 

 twice in a great circle. Then the master of the ceremonies makes 

 her get up, and her "spell" is over. No one else can do this with 

 her. The evil spirits obey this one. Mrs'. Sheshecoop and Mrs. 

 David Hudson used to be '"tomaneous" sick every winter; but now 

 since the government is stopping the old things they don't get 

 sick that way any more. 



The dance is always followed by a feast, (Carl Black.) 



The Tsi-yuk (Striped Cheek, Bed-painted Face) Dance. 



This dance is given both for pleasure and to cure the sick. The 

 masters of the ceremony are the medicine men. These perform 

 over the presented sick with their "tomaneous" medicine sticks. 

 They also go into trances to cure the sick. When the dance is 

 given to benefit the sick it lasts five days. 



This dance, like the Ka-kla-kwal dance above, is a secret organi- 

 zation, and, like in that organization, one must give a potlatch to 

 the members of the order before he can be admitted into it. Should 

 one try to enter the Tsi-yuk hall when the ceremony is in session 

 his clothes are torn from him and he is roughly expelled. 



The actors in the dance wear cedar-bark head bands, with tas- 

 sels of the same material extending upward on each side of the 

 head both before and behind. Some also have shredded cedar- 

 bark rolls suspended over the shoulders at the back, shaped some- 

 what like the floating ends of a comforter or scarf; others have a 

 cape of the same material suspended from the shoulders at the 

 back, somewhat like the panya worn at the back by the Pueblo 

 women. Thus attired, they dance in an upright position to a mo- 

 notonous chant and tom-tom music, keeping time by shrugging 

 their bodies and by shifting their palm-up, extended hands first to 

 one side and then to the other. 



The dance is followed by a feast. At this there is only one 

 waiter, called "father" of the occasion. He, and no other man, is 

 allowed to wait on the table. Joel PuUen was the last "father." 



