64 BUREAU OF AMERICAN ETHNOLOGY [Bdll. 187 



writer (who has not seen yeidos). In War Dance the moderate drum 

 beat and the driving melodic rhythms conflict: the effect on poorer 

 dancers is a heavy thumping, but on good dancers who can carry a 

 double speed, the effect is a virile rebound. The women's rites with 

 similar song style were not observed. Possibly, the prolonged and 

 sedative beat creates a similar hypnosis as in ohgiwe, where, however, 

 instrumental and melodic syncopation release the imminent drag. 



So far it is not clear in what way the effects of these dance songs 

 aspire to the Creator and other supernaturals, or in what way War, 

 Eagle, and Sun Dances produce cures. The observable effect is an 

 excitement that may border on religious fervor, and in any event 

 benefits the performers because of the rhythmic self-forgetfulness. 



The rhythmic activity is likely to have a therapeutic effect and 

 can contribute to the undeniable improvement and frequent healing of 

 patients during the medicine rites. In particular, the moderate 

 tempo of Buffalo and Bear Dances, the relaxed pulsation of their 

 stomp step, their unhurried yet often incisive melodies with nuclear 

 contours, all produce an easy animation. The structure of the rite 

 helps to release the spasms of the sufferer, by opening ^vith a slow 

 subdued chant or chants, by speeding up into a steady even beat and 

 (at Six Nations Onondaga) to a fast pulsating beat. The unison of 

 group rhythm, intensified by passages of monotone antiphony, no 

 doubt contributes. The mimetic activities provide amusement and 

 thereby perhaps hasten the healing, but in themselves hardly imply 

 therapy. 



If the nature of the tempo and of the stomp step benefits the per- 

 formers in these two rites, it should then have the same effect in other 

 stomp dances. As a matter of fact, it does. Other, nonmedicinal 

 stomps, as Corn and Robin Dances, sometimes do function as cures. 

 Furthermore, even when a direct healing objective is lacking, the 

 dancers emerge from an evening of social dances minus nervous ten- 

 sions and plus exhilaration. Not all cycles have the same therapeutic 

 effect. Some act hypnotically by their slow and wavering beat and 

 melodies, as yeidos and ohgiwe; some achieve balance, that is, the 

 stomp type; others produce frenzy. Depending on the kind of neuro- 

 sis, the music subdues or exhilarates. It goes without saying that 

 the music is reinforced by faith in the efficacy of the rites, and the 

 placated spirits are entirely creatures of beliefs. 



When it comes to the "social" dances, one need hardly argue about 

 the inevitable enjoyment of rhythmic circling with friends. All three 

 factors contribute to the pleasure — the metrically perfect beat relieved 

 by a variety of melodic designs, the circle with its fluctuating patterns, 

 and the communal spirit, most evident in the antiphonal responses 

 uniting singers and dancers. Not all dances involve equal participa- 



