BUNZEL] PATTERNS OF DANCING AND SINGING 897 



Some dances (KoRokci) require the presence of a couple, male and 

 female, at the head of the line, who go through certain peculiar mo- 

 tions and have certain esoteric prayers. Only three men know these 

 prayers, and they must be invited to perform for all kivas. 



Usually the line forms in definite order before the dancers leave 

 the Idva, and proceeds without change on its round of the plazas. 

 This seems to be the rule for all the traditional dances. Where there 

 is a double line the two lines enter simultaneously. The line is 

 always led by an unmasked leader who "makes their road," scattering 

 prayer meal before the line of dancers. He takes up his place nearest 

 the point of exit. In the dance plaza this is on the eastern side of 

 the plaza, near the southeast exit. In houses, the leader walks the 

 full length of the room, from door to altar, and turns and takes his 

 place opposite the door. The spectators always occupy the side of 

 the room near the door. This is not the "valuable" place. The 

 door of a Zufii house is always placed at a corner, generally on the 

 long side of the room. The end of the room farthest from the door 

 is occupied by the altar, the side of the room opposite the door is 

 left free for dancing. The space between the dancers and the door 

 is always packed solid with spectators, who courteously part to let 

 the dancers through. As soon as the first dancer reaches his place 

 he starts to dance, each man picking up the step as the line closes 

 up and straightens out. By the time the last dancers reach their 

 place the rhythm of the dance is well established. After the songs 

 are finished the dancers leave the dance place in the same order in 

 which they entered. 



Certain dance groups, especially the newer dances, vary this pattern 

 and break their ranks in going from one plaza to another or even 

 between songs. Hilili, for instance, break rank as soon as the song 

 ends, the dancers running around the plaza until they are summoned 

 by their leader for another song. Kumance have special entrance 

 and exit songs, in different rhythm from the dance songs, which they 

 sing on going from one dance place to another. The dance is a prog- 

 ress from the kiva through the streets and back again into the kiva. 

 The procession pauses at certain points on its route to dance. In 

 counting up the daj^'s program of dances the number of times the 

 group comes out of its kiva is counted. The number of pauses on 

 each circuit is irrelevant. 



The usual dance step is a vigorous stamping with the right foot (to 

 which is usually attached a turtle-shell rattle or a string of sleigh- 

 bells to mark the rhythm. On alternate beats the heel of the left 

 foot is slightly raised. In some of the more vigorous of the young 

 men's dances (kumance, hilili, etc.) both feet are raised alternatelj', 

 with a kind of prancing step. This is much more exhausting, and is 

 used for the most part by dancers who have choruses to sing for them. 



