272 BUREAU OF AMERICAN ETHNOLOGY [Bull. 184 
agement of it and its participants; one society will officiate one year, 
the other the next. 
Shortly after the saint had been deposited in her house the Ko- 
shairi (in 1957), accompanied by Masewi, marched through and around 
the pueblo, singing and shaking their bunches of hoof rattles. They 
passed from the north plaza into the south plaza where they pranced 
back and forth several times, singing. Then they went to one of the 
two sacred stones—Aiwana, which stands for the armed warrior gods 
who protect the pueblo—addressed several songs to it as they danced 
around it counterclockwise. Then they left the plaza via the south- 
west corner 
About noon the dancers came out of the Wren kiva—this is the 
kiva always used because it is the larger—and, accompanied by their 
singers, drummer, and the man carrying the actitcomi, made their 
way to the front of the church where they danced three times; all 
subsequent dances were held in the south plaza in front of the saint’s 
house. The costumes for this dance are standard and uniform through- 
out the eastern Keresan pueblos. Male dancers wear a white kilt, 
sash and moccasins; a foxskin hanging from the belt in the rear, a bunch 
of parrot feathers on top of the head, armbands at the biceps, a ban- 
doleer of small hoofs slung from one shoulder, sleigh bells below the 
knees; they carry a gourd rattle in the right hand, a sprig of evergreen 
in the left. Female dancers wear the old style sleeveless dress, leaving 
the left shoulder bare, the wooden headpiece, or tablita, and are bare- 
foot. All dancers who have long hair have it hanging freely down 
the back. If the Koshairi are in charge, each dancer has two tail 
feathers of the mourning dove—the ‘‘badge”’ of the Koshairi—tied to 
his hair on the right side of the head; if the Kwiraina are in charge, 
their badge, two sparrow hawk feathers, is worn. The singers, 
drummer, and pole carrier wear pajama-type trousers, bright-colored 
shirts (homemade or bought at stores), moccasins, and headbands of 
brightly colored silk. A good photograph of these dancers (at Santo 
Domingo) may be found in Kidder (1924, pl. 17b). A photograph of 
this dance at Santo Domingo, taken by C. F. Lummis in 1888, has 
been reproduced in Densmore (1938, pl. ix). See White (1935, pls. 5 
and 6) for five photographs of the Santo Domingo dance in 1918, and 
Lange (1959, pls. 22 and 23) for the ceremony in Cochiti. 
In other Keresan pueblos of the Rio Grande region, two groups of 
dancers and singers, one from each kiva, perform, dancing alternately. 
But at Sia, because of the small population, especially in the past, 
they have only one dance group. The dancers come out five times, 
“one for each drum.”’ Each time they come out they dance to three 
songs; ‘other pueblos dance two songs,” according to one informant. 
The Koshairi, or Kwiraina, and some of the ‘‘small officers’, i.e., the 
