602 THE ZUNI INDIANS Ieth. ann. 23 



l^efore the meal paintino- to sprinkle meal and pray. The ha'shiya 

 dance on, apparently oblivious to all that is going on around them, 

 and there is no attempt at harmony between the drums and the songs 

 of the pu'panakwe and those accompanying the other dancers. 



During the latter part of the afternoon the plaza is free for a time 

 from dancers, except the ha'shiya. At this time the priest of the 

 ^su"hlan'na stoops immediately before the meal painting and four 

 buckskins are thrown over him, and thus secluded from view he blows 

 the great shell for rains and good hearts of the people. At the same 

 time the elder brother Bow priest stands east of the painting and the 

 younger brother Bow priest west of it, each whirling a rhombus for 

 the clouds to gather. After the ceremony with the shell the drummers 

 of the pu'mokiakianawe and dancers reappear in the plaza; those 

 coming from the northeastern entrance are accompanied by the elder 

 brother to the victor, and those from the southwestern by the victor. 

 The victor and elder In-other each carry on their heads a basket tray 

 of red he'we (wafer bread), such as is offered to the deceased enemy. 

 As they run in and out of the line of dancers, each followed by two 

 women, they cry: "" We are anxious to meet the Navaho who comes." 

 When the baskets of bread fall to the ground it is indicative of the 

 killing of the foe, and they exclaim: " We have destroyed the Navaho." 

 The pa'mosona and vice hasten to gather up the bread into the bas- 

 kets, every .scrap being picked from the ground, and as the dancers 

 pass the}" catch at the bread with their mouths. The baskets of bread 

 are afterward placed by the scalp pole, which is now near the north- 

 west corner of the plaza and not over S feet high. After dropping 

 the trays of bread, the victor and his elder brother return to their 

 positions l\y the cloud symbol. Though the noise of the four drums, 

 with the singing and the war whoop, is distracting to one not accus- 

 tomed to it, the members of the Bow do not grow weary of the noise 

 or of beating time to the drums with their war clubs and arrows. 



The nightly dancing around the scalp pole arouses these people, but 

 the dances on the closing day of the ceremonial tire them to the 

 extreme. Infants observe these ceremonies without the slightest fear, 

 while the mothers' interest is intense. The ha'shiya continue to dance. 

 At intervals a warrior steps before the cloud sj^mbol, and waving one 

 or more arrows four times from right to left over the painting, throws 

 them toward the pu'panakwe grouped on the west side, when a mem- 

 ber of the choir from one side or the other comes forward, and lifting 

 the arrows waves them four times from left to right over the cloud 

 symbol and carries them to his seat. Gifts of calico and other things 

 are now thrown by the warriors, their relatives, and friends. Some 

 of these gifts are rather costly, one being an imported shawl worth 

 several dollars. The love of display and the desire to exceed one's 

 neighbors are not confined to enlightened people. As each gift is 



