No.^TSr' ^^^* ^^^^ ^^ CHANGING WOMAN — BASSO 139 



The Apache word for one of these affairs is bi goh ji tal. It is so called 

 because, unlike ceremonies designed to cure the sick, it does not last 

 all night, ending at midnight or shortly afterward. 



The kind of dancing at hi goh ji tal is exactly like that which ac- 

 companies most curing ceremonies. But, in the strict sense of the 

 word, hi goh ji tal is not a religious ceremony. It has no connection 

 with a specific body of songs (songs from different ceremonies are sung 

 interchangeably) and, more indicatively, a medicine man does not 

 sing. Social dances are given for enjoyment, and are a primary way 

 in which the father of the pubescent girl rewards all those persons 

 who have helped in the preparation of the dance ground. 



After darkness, a large bonfire is started in the middle of the dance 

 area, and the 15-30 men who take turns leading the songs and drum- 

 ming sit down on logs placed nearby.^* Most of these are older men 

 who have witnessed many ceremonies, and have memorized some of 

 the songs, which they like to sing. It is by no means unusual, how- 

 ever, for younger men, eager to display their vocal talents before a 

 large number of people, to join in the singing and occasionally even 

 initiate a song. 



At hi goh ji tal, as at aU ceremonies where there is social dancing, 

 women select partners. Unmarried girls may shyly ask a boy to dance, 

 or tap him gently on the shoulder instead. Married women, on the 

 other hand, are seldom so reticent. Usually, they simply grasp the 

 wrist of the man with whom they wish to dance and, laughing 

 as they do so, drag him toward the fire. A married woman dancing 

 with a man other than her husband is considered humorous in its 

 irregularity. Very often, spectators will "joke" with a man or woman 

 whose spouse is dancing with someone else by saying: "You better 

 watch out. Your wife [husband] is dancing with another man [woman]. 

 I don't think she likes you any more. Pretty soon she will run away 

 from home." 



In social dancing, an individual simply locks elbows with a partner 

 (male or female) at his side who may or may not have locked elbows 

 with someone else. In this way, lines of dancers are formed, consisting 

 of from two to eight or nine persons. Then, in time with the beat of 

 the drums, four or five steps are taken forward, the dancers bouncing 

 lightly on the balls of their feet. Immediately following the last step 

 forward, four or five steps are taken backward and diagonally to the 

 left (fig. 5). Because of the diagonal direction of the backward steps, 

 the line does not move back and forth in the same place. Instead, it 

 slowly circles the fire. At a hi gohji tal attended by many people, there 



" The drums used at bi gohji tal are metal cooking kettles across wblch are stretched pieces of bueicsliin or 

 canvas, secured In place with strips of rubber from discarded Inner tubes. Very resonant, they are struck 

 with a small branch, one end of which is looped over and tied with a piece of deer sinew or string. 



