72 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187 



is also skillfully constructed. The patterns vary from simple repeti- 

 tion to complex thematic juggling. The dances are well regulated in 

 their development and in their relationship to the musical structure. 

 They emphasize geometric floor plans, rather than steps or gestures. 



TRADITION AND FLEXIBILITY 



Within the traditional frame the musicians and dancers are allowed 

 creative freedom. Traditional repertoires vary somewhat from long- 

 house to longhouse, from singer to singer. New types encourage 

 original composition. Within the larger structure, the order and 

 selection of songs also may vary. The dance performances provide 

 a new experience on each ritual or social occasion, because of the 

 improvisation and spontaneity. 



Another aspect of flexibility has aided the adjustment to changing 

 external conditions, the acceptance of other tribal dances, of modern 

 paraphernalia, Christian concepts, and the change of functions to 

 fit new ways of earning a living. 



SOLEMNITY AND GAIETY 



The ceremonies are essentially dignified occasions. They have 

 solemn moments, as the central thanksgiving chants of the Drum 

 Dance. Yet gaiety and joking are permissible, even traditional in 

 the animal dances, and fun is one of the objectives of the social 

 occasions. Clownery reaches its height in the awesome masked 

 dances. It is most delicate in the women's dance. But informality 

 and humorous excursions are kept within bounds. As one of his 

 reforms. Handsome Lake prohibited excesses: drunkenness, ribaldry, 

 and intimacy between the sexes (Deardorff, 1951). Hence, physical 

 contact has been abolished in the Hand-in-hand Dance, and the 

 momentary embrace and "swing" have been eliminated from the 

 Alligator Dance at Coldspring longhouse. Entertainment is sub- 

 servient to ritual purposes. 



REALISM AND STYLIZATION 



The animal dances show a flare for observation and realistic mime 

 on the part of the Seneca, or rather of their ancestors. Today, the 

 realism has become patterned, especially in bird dances. Dances 

 for plants are entirely stylized; they consist of geometric designs 

 instead of mime. The capacity for stylization goes along with the 

 structuralism, and in performance it balances the talent for improvisa- 

 tion. Firm footing in reality, definite patterns, and creative leeway 

 have contributed to the durability of Seneca ceremonialism. 



