BUNZELl RELIGIOUS LIFE 519 



all the ritual requirements attendant thereon. They consecrate new 

 masks and bless all the dancers before they leave for the plaza. 



The dances themselves are large group dances, performed by one or 

 two rows of dancers in formation, frequently with solo perfoniiers. 

 The costumes, including masks, are brilliant, picturesque, often of 

 exquisite workmanship; the songs are varied and striking. The 

 performances proceed with the spirit and precision of a well-trained 

 orchestra. The dance groups in summer frecjuently number over 60 

 dancers. As many as 90 have been observed. 



Each kiva group is required to dance at least three times during the 

 year — once in the winter, once in the sunmier, and once in the fall, 

 during the five days following the departure of the Ca'lako gods.^ In 

 addition to tlus they may dance at any other time they choose, except 

 the 4 days following the close of the Ca'lako festival and the 10 daj's 

 of the winter solstice. The dances of the winter series are performed 

 indoors at night but may be repeated outdoors on the following day. 

 The summer dances are perfonned outdoors and in the daytime. ^^ 



Eight days after the close of the winter solstice the kiva which is 

 to inaugurate the winter series sends in two katcinas to announce the 

 dance on the fourth night following. ^^ On the appointed night 

 society altars are set up in the six houses which fiU the role of kivas, 

 and society choirs are summoned to provide music for the dancers. 

 The various groups of dancers make the roimds of these sLx houses. 

 The kiva presentmg the dance will perform one of about sLx traditional 

 dances. This group brings seeds to be distributed among the populace. 

 On the same night any other kiva that wishes to participate will 

 prepare dances which may be in the traditional style or some new 

 variant, fanciful, grotesque, or amusing. The hilarity of the occasion 

 is increased by the presence of isolated groups of dancers, especially 

 the "little dancers," the mischievous children of katcina village, and 

 the attendance of masked or unmasked clowns. At the indoor 

 dances not all participants need be masked, and where no mask is 

 used the same magical power resides in the face and body paint. If 

 the dance is repeated outdoors where it can be viewed by the 

 uninitiated masks are obligatory. 



In contrast to the light-hearted gaiety of the winter dances, those 

 of sunmaer are marked by great solemnity and intense religious 

 devotion. At this tune rain is urgently needed, and the whole religious 

 mechanism strains to the task of compelling it. 



Eight days after the summer solstice and on the "middle (i. e., 

 fourth) day" of the retreat of the first priesthood, the gods, accom- 



" See pp. 702, 941. 



8' Except the first dance of the summer series, when all-night ceremonies are held in the kiva on the night 

 preceding the outside dancing. 

 " At least, so it used to be. .\t present the dance is held *'when they get ready." 



