256 BUREAU OF AMERICAN ETHNOLOGY [Bull. 184 
cautions were observed as recently as 1957. White school teachers, 
resident on the edge of the pueblo, are obliged to remain on the school 
premises or leave the pueblo during a dance. ‘‘What if someone in a 
small airplane flew over the plaza during a shiwanna dance?” I 
asked an informant. He replied that the dancers would retire to 
their house and that someone would (might) wave a blanket at the 
intruder to warn him to go away. 
Pueblos may assist one another in their katsina dances, an infor- 
mant said, just as societies occasionally help each other with their 
initiations or even curing ceremonies. But in actual practice this 
rarely happens. An individual in one pueblo may, as a consequence 
of a vow, take part in a katsina dance in another village; he would, 
of course, have to obtain the permission of the War chief (at least) 
to do so. I learned of specific instances: one man from Jemez, and 
another from Cochiti, took part in Sia dances. 
The pueblo of San Ildefonso (Tewa) once asked the Sia to go to 
their village to assist in “restoring”’ their Acuwa masks, which, my 
informant said, had been borrowed from Sia originally. But the Sia 
War chief vetoed the request. What was meant by “restoring the 
masks” was not ascertained. 
BUFFALO DANCE 
This ceremony is called moce-ite (‘buffalo’), but other animals are 
impersonated, also. It is almost always performed in wintertime 
but sometimes it is given in early spring. It is performed in two 
different contexts: sacred and nonsacred. In the latter, any one of 
the officers may ‘‘ask for it,’’ and the performers are not obliged to 
vomit in preparation for it. The sacred performance is requested by 
Masewi only, and the performers must vomit and abstain from sexual 
relations for 4 days before the dance. A description of this ceremony 
follows: 
There will be two groups of dancers. Each will consist of 2 buffalo, 
3 or 4 deer, 1 or 2 elk, 4 or 5 antelope, and one woman who is called 
Tsi‘na (‘turkey’; why she is called this was not ascertainable); at San 
Felipe she was called “buffalo woman” and was said to be the ‘‘mother 
of game animals”’ (White, 1932 b, p. 56); at Santa Ana and at Cochiti 
she may be called ‘“‘malinche”’ (White, 1942 a, p. 298; Lange, 1959, 
p. 325), the name of the little girl in the Mexican matachinas dance- 
drama. My notes do not tell how the performers are selected. 
Masewi will request one of the medicine societies, or Koshairi, Kwi- 
raina or Caiyeik, to paint and dress the dancers; he usually asks 
either the Fire society or Kwiraina to do this because the former has 
elk (cci'ca) masks and the latter, deer. The head of Caiyeik society 
