KuRATH] IROQUOIS MUSIC AND DANCE 15 



Five-tone scales and sequential structure similar to Dark Dance, 

 but more syncopation and triplet figures in Quavering. 

 Dance. — Entirely by women. 



i. Women singers stationed in front of male song leaders, 

 ii. Round Dance, facing center of circle, side stomp to right. 

 iii. Reciprocal gifts of cloth, from sponsor to dancers and from 

 dancers to sponsor; the former waved back and forth to 

 the music, the latter wound around the sponsor, 

 iv. Another Round Dance, with lively improvisation of two- 

 steps and jumps. 

 Remarks. — Bantering texts inspired by origin legend.® 



Changing-a-Rib (deswand^nyo*^) : 



Function.- — Cure, as sequel to Quavering. 



Occasions. — In private homes, usually after Quavering, sometimes 

 separately. 



Songs. — Same character and grouping as Quavering: 

 i. 3 chants. 



ii. 7 dance songs with eighth note beats, 

 iii. 11 songs for cloth distribution, the first eight in pairs. 

 Eighth note instrumental beat; hence no slower than 

 dance, 

 iv. 21 dance songs in faster tempo, some with form A A B A B, 

 some A A B A. Similarity to Dark Dances even in 

 rhythmic figures; for instance. Dark Dance 5 and 8 

 compared with Changing-a-rib 38 and 34. Considerable 

 variety in phrasing and range, from limited range of 

 final songs, to octave or more in range of cloth distribu- 

 tion songs. 

 Dance. — Like Quavering. 

 Remarks. — Burden syllables instead of meaningful texts. 



Feast for the Dead ('ohgiwe): 



An important curative ritual, similar to the previous two feasts, 

 but not recorded for Coldspring longhouse. Songs similar to those 

 studied at SLx Nations Reserve,^ with a melodic line and scale noted 

 in other womens' rites, but with characteristic terminal vocal pulsa- 

 tion, and steady drum syncopation. Dancers' relation to center of 

 circle slightly oblique. Final dance like women's shuffle dance or 

 enskanye. 



In Tonawanda collection, 9 songs^ — 2 chants, 7 dance songs; 4 songs 

 for Carry-out-the-kettle sequel. 



6 The legend tells of a bachelor who married a frog woman. See Fenton, 1942, pp. 11-12. 

 ' For discussion, song transcription, and choreography, see Fenton and Kurath, 1951, pp. 139-165; Kurath, 

 1951, pp. 98-99; 1952, pp. 12&-127. 



