KuRATH] IROQUOIS MUSIC AND DANCE 63 



Musical homogeneity groups together a number of cycles of the 

 so-called stomp type, namely, Buffalo, Bear, Robin, and Corn Dance, 

 despite their functional discrepancy. It also groups together all of the 

 Fish Dance type, with a melodic contour resembling these stomp 

 dances, but with a different tonality and faster tempo. Despite 

 similar tempo and step, a different musical tradition must be assigned 

 to the stomp type with monotone terminal antiphony, to the two 

 dances with melodic antiphony, and to the stomps with elaborate 

 large-scale melodies. All stomp dances may be related, but their 

 melodies and functions display great variety. 



Duck and Alligator Dances present another problem. Yeidos Medi- 

 cine Rite and ohgiwe Death Feast also do not conform to any other 

 types. The eclectic nature of the Drum Dance and False Face rite 

 suggests growth through many periods of time. 



PHYSIOLOGY AND PSYCHOLOGY OF PERFORMANCE 



In each rite and dance the participants intend to and do achieve an 

 objective, be it supernatural supplication or gratitude, tangible bene- 

 fits of cure or good corn, or simple, pleasurable group activity. What 

 does the m.usic contribute to the efficacy of the performances, beyond 

 an agreeable rhythmic background? Does it intensify the invocation 

 and the sense of well-being? Do the observable motions and 

 perceivable emotions of the dancers and singers aid in the consumma- 

 tion of the ritual? 



The musical accompaniment motivates the tempo, dynamics, and 

 patterns of the dance movements, including the activity of the singers, 

 seated or stomping. A frenzied rattle-pounding incites the dancers 

 to frenzied stamping and gyration. A monotonously repetitious chant 

 focuses body and mind into a trancelike pulsation. Disjointed vocali- 

 zation induces centrifugal activity. Increased speed and volume 

 proportionately increase the efforts of the dancers. Feather Dance, 

 False Face, Fish Dance, and New eskanye share this element of frenzy. 

 The distorted maskers and enthusiastic male Feather dancers exhibit 

 the nearest approach to trance in the generally placid Iroquoian dance 

 style. The pert jumps and hand circlings of the shuffling women 

 carry the restrained feminine style to the limit of its capacity. In all 

 three dances, the singers also exert themselves, shouting at the top 

 of their lungs to drown out the rattles and foot-pounding. 



The stately tempo of Drum Dance and its measured and orderly 

 pattern of notes subdue the explosiveness while preserving the energy 

 of the steps. This stateliness carries over into the rites for the Mid- 

 pantheon, especially the formularized and impressive Eagle Dance. 

 The monotone thanksgiving chant and the swaying Eagles represent 

 the moments of most intense ritualistic concentration observed by the 



