594 THE ZUNI INDIANS [eth. ann. 23 



wooden hatchet in his left hand, with a lock of horsehair hanging from 

 the end of the handle s^aubolic of a scalp. 



The pu'mokiakianawe start simultaneously from the diagonal cor- 

 ners of the plaza in couples, the women alternating with the pu'mo- 

 kiakianawe and the warriors. The women extend their left hands 

 to the backs of the men, indicating that the Navahos have fled. In 

 this way the two parties reach the center of the plaza w^est of the 

 scalp pole. On meeting, the couples from the southwest corner sep- 

 arate, allowing the others to pass between the lines. The moment 

 they separate the men transfer their war clubs and hatchets to the 

 right hand, and the women use their right hands instead of their 

 left, indicating, "Go, Navahos; the Zunis have no fear." The two 

 parties cross to the opposite sides, and after going just outside the 

 plaza, the leaders separate; turning outward, and pass around toward 

 the plaza, and return to it. When midway, those belonging to the 

 northeastern entrance separate into two files, allowing the other 

 couples to pass between them. This figure is repeated four times. 

 The last time an innovation occurs which causes general merriment 

 among the mass of spectators. Two men appear just behind the 

 dancers from the southwest covered way, as United States troops . 

 after the Zunis, one wearing high boots, light-blue army overcoat, and 

 black felt hat; the other, blue army trousers, fatigue army coat, and 

 gray felt hat. The first carries a gun, and the second a pick and a 

 stick of wood. The two remain with the dancers until the close or the 

 dance. 



The warriors lead in the next figure. The}' start out in couples 

 from opposite sides of the plaza as described, but soon separate, those 

 from the southwest corner passing up the west and east sides of the 

 plaza, and those from the other side separating and passing imme- 

 diately inside the lines of the other party. On reaching the middle of 

 the plaza the left hand is changed, as before, for the right; on reach- 

 ing the corners the separated couples come together, each couple pass- 

 ing down between the lines exactly" as the figure is danced in the 

 Virginia reel, and they cross to the other side of the plaza. This 

 figure is repeated four times. The step in each is a sort of quick pace. 

 As soon as the song ceases the choirs join in prayer, which grows 

 louder and louder, but the voices are never raised above moderate 

 tones. 



The pu'mokiakianawe are scarcely out of the plaza when one of the 

 governor's aids cries out to the people to dance around the scalp pole, 

 calling for some one to bring a drum. The pottery drum is never 

 used for this dance. Twelve young men are soon gathered around 

 the pole, the drummer standing outside the small circle, which rapidly 

 increases to large proportions. The step is slow and regular as they 

 pass from left to right. By 9 o'clock at night concentric circles fill 



