156 Anthropological Papers American Museum of Natural History. [Vol. XXI, 



resumed his seat and soon afterwards made his exit from the lodge. The 

 girl novice was taken to dance in a similar way by practically all the 

 women not decorated with the blue cheek design; one woman stood at 

 her right, all the rest at her left. 



Gray-bull said that the proper way was for each song-contributor to 

 sing and dance with the novice, seating himself as soon as he has com- 

 pleted his song. The additional statement that three must always re- 

 main standing is not clear to me. Next the adopter is supposed to ask 

 various adoptive relatives to dance with the initiate. For married 

 novices the procedure evidently varies in the manner to be expected: 

 when Gray-bull was adopted he danced with the two men, one at a time, 

 who had taught him his songs, and his wife similarly danced with the 

 two women who had instructed her. Probably there was considerable 

 variation at this stage for Arm-round-the-neck speaks of "about five" 

 Weasel men dancing with him for each of his two songs, while "more than 

 five" women danced with his wife. After their four songs had been 

 sung, he adds, he and his wife did not dance but merely remained as 

 spectators. 



To me the procession from the preparatory tent to the adoption 

 lodge seemed the most solemn feature of the entire ceremony. During 

 the subsequent dancing the performers and onlookers indulged, from 

 time to time, in considerable jocularity. Occasionally a catlinite pipe 

 was seen making the round among the musicians. The ceremony in 

 the other adoption lodge terminated earlier than the Weasel initiation 

 here described, possibly because of the smaller membership of the 

 other chapter. The members of the latter entered the Weasel lodge 

 and some even participated in the dancing. 



At about four o'clock an old woman called out a song to the 

 musicians. Then she and a middle-aged man knelt at the foot of the 

 altar, each holding a rattle in one hand and a fan in the other. First 

 they beat the ground with the rattles, at the same time shaking their 

 fans. Later they lifted up the rattles and shook them in the air while 

 maintaining the kneeling posture. Ralph Saco explained this series of 

 movements as follows. The kneeling is in imitation of the people work- 

 ing in this posture in the Tobacco garden, striking the ground with the 

 rattles refers to the Tobacco that has not yet sprouted, while raising 

 the rattles symbolizes the growing of the Tobacco. 



At about five o'clock an old woman, wearing a headband and holding 

 a fan in one hand, stood up alone to dance to the drummers' final song. 

 Towards the close the members present took little willow sprigs and 



