BUSHNELL] THE CHOCTAW OF BAYOU LACOMB^ LOUISIANA 



21 



take the forward step they stamp with the right foot, as if crushing ticks on the 

 ground, at the same time looking down, supposedly at the doomed insects. During 

 the dance all sing with many repetitions the song here given, the words of which 

 have no special meaning. 



hai ya wa to ho ya le hai ya wa to ho ya 

 3. Kivishco hithla (Drunken-man dance) 



y^ 



Two lines facing each other are formed by the dancers, who lock arms. The lines 

 slowly approach, then move backward, and then again approach. All endeavor to 

 keep step, and during the dance all sing. The song, which is repeated many times, 

 is evidently a favorite with the Choctaw at Bayou Lacomb. 



-1= 



m 



lie 



yu wa 



he 



-ft- 



-V- 



yu wa le 



he 



i=--^ 



=i 



I 



le 



he 



yu 



le 



he 



yu 



4. Tinsanale hitkla 



In this dance two persons, facing, clasp each other's hands. Many cou25le8 in this 

 position form a ring. One man remains in the center to keep time for the singing and 

 the circle of dancers revolves around him. The Indians say many persons are required 

 in order to perform this dance properly . 



5. Fuchuse hitkla (Duck dance) 



Partners are required in this dance also; they form two lines, facing. The peculiar 

 feature is that two partners pass under the arms of another couple, as shown in plate 

 21. The dancers endeavor to imitate the motion of a duck in walking, hence the 

 name of the dance. 



6. Hitkla Falama (Dance Go-and-come) 



All lock arms and the line moves sideways, first in one direction, then in the oppo- 

 site, but never backward or forward. If there are too many dancers for a single 

 line, additional lines are formed. All taking part sing the particular song for this 

 dance. 



7. Siente hitkla (Snake dance) 



Of the seven dances this appears to have been the great favorite as it was also the last. 

 The dancers form in a single line, either grasping hands or each holding on to the 

 shoulder of the dancer immediately in front. First come the men, then the women, 

 and lastly the boys and girls, if any are to dance. The first man in the line is naturally 

 the leader; he moves along in a serpentine course, all following. Gradually he leads 

 the dancers around and around until finally the line becomes coiled, in form resembling 



