KuRATH] IROQUOIS MUSIC AND DANCE 19 



Dance. — ^During chant, dance leaders stationed by men's stove. 

 Dance progression in counterclockwise single file, with simple stomp 

 step, men commencing and women entering at any time. Alternate 

 arrangement of sexes. On repetition of song, momentary side stomp 

 optional. 



Remarks. — At discretion of leaders, sometimes serpentine winding 

 dm^ing last song.^ Likely, Cattaraugus origin of songs. 



Stomp or Trotting Dance, also called Standing Quiver (ga'd^so't): 



Function. — Social dance, associated with food spirit ceremonies. 

 Occasions. — ^Same as Corn Dance, at Tonawanda also at Maple 

 Planting, Green Bean, and Harvest Festival. Always at social dances 

 following long rituals and during Six Nations meetings. At Cold- 

 spring, invariably as first dance; at Tonawanda, usually as second or 

 third dance. 



Songs. — No percussion accompaniment except for rhythmic tramp- 

 ing of feet in time with melodies, but slightly retarded on each impulse. 

 Antiphony throughout by dance leader, helper, and chorus of male 

 dancers who line up. First song always monotone, remaining songs 

 in any order and difTerent in every repertoire, but all of the same 

 pattern and tonality, namely: 



A (repeated three or four times) — statement and melodic antiph- 

 ony usually on ground tone and third above, sometimes also 

 fourth below, as bugle call. 

 B (once) — melody raised to a higher level, statement usually 

 extending from an upper fifth to second of scale, response 

 usually on second of scale; then a transitional statement and 

 response returning to ground tone. 

 A (three or four times) — same as before or slightly varied. 

 Song sometimes repeated all over again. 

 Concluding antiphonal call, wailing downward from high fifth. 

 Two versions — 1933 by Albert Jones and Lyn Dowdy; 1951 by Ed 

 Curry and Avery Jimerson. First two songs alike in essentials 

 but with variations. Remaining third song of 1933 unlike any of 

 12 songs of 1951. 



Dance. — Counterclockwise round, with stomp step, started by male 

 leaders chugging around stove during first song, then venturing out 

 to center of floor, and with accumulation of dancers circling complete 

 length of longhouse around both stoves. Women's entrance ad lib, 

 between men, thus sexes in alternation. Each song form echoed by 

 characteristic dance pattern: 



A — forward stomp, arms dangling and head erect. 



' For interlonghouse variations and Seneca version of serpentine course, see Kurath, 1951, pp. 126-128, 

 and fig. 6. 



