Kdbath] IROQUOIS MUSIC AND DANCE 61 



(4) Agricultural dances, secundal and tertial (towisas), tertial 

 (Corn, ga'da§0't). Feature: melodic antiphony. Choreographically 

 Hand-in-hand. 



(5) Animal mating and other coupling dances — Fish type. Tertial. 

 Feature: crossover with set musical pattern. Also double round. 

 Duck dance. 



(6) War cycle, Eagle and Striking-the-stick. Secundal and tertial. 

 Feature: crossovers. 



(7) War cycle. Feather and Drum dances. Eclectic. Varying 

 and composite scales. Simple choreography, elaborate gestures. 



(8) Women's dances, Quavering, Changing-a-rib, fskanyegowa. 

 Hand-in-hand, 'ohgiwe*^. Tertial and quartal. Feature: reciprocal 

 texts between sexes. 



(9) Modern songs. Traditional (individual, adonwe, new fskanye). 

 Not traditional (Scalp). Quartal or diatonic. 



(10) False Face, Husk Face, and War Dance in a class by them- 

 selves by virtue of individualistic choreography, the first two with 

 archaic songs, the last with songs fitting into category 7. 



(11) The double rounds. Pigeon and Shaking-a-bush. Composite 

 scales. 



The first four categories, all ritualistic, belong to the stomp type, 

 eskanye excepted. The War Dance cycles are in the middle of the 

 alinement. Complex social dances are at the end. The homogeneous 

 categories are predominantly tertial. Women's dances consistently 

 belong to secundal or quartal types (new songs excepted), and suggest 

 a separate, parallel line of growth. 



TIME DIMENSION 



The criterion of relative complexity, which produced the tentative 

 alinement of functions and forms, may provide a clue for relative 

 chronology. Shamanism is generally regarded as the most ancient 

 form of ritualism. In the case of the Iroquois, Fen ton corroborates 

 my suggestion that False Face and yeidos rites testify to untold 

 antiquity in their dance and songs. Then we have on our list a 

 succession of animal and agricultural dances, some of them secundal 

 and some tertial. The majority are tertial, Bear and Buffalo are only 

 in part. Women's dances, as previously stated, seem to follow a 

 parallel line of development, but from a secundal nucleus. Some of 

 the couple dances, namely Fish type, testify to moderate antiquity 

 by their musical style. They would, by their homogeneous nature, 

 appear thoroughly Iroquoian. The fact of their present social func- 

 tion does not preclude a former purpose as animal mating dances, and 

 they retain some of these possible ritual connotations. 



