b\)b ZUNI KATCINAS [eth. ann. 47 



Kiimance, however, employs this step, and the men also must do 

 their own singing. This is the dance step that is used by all the imper- 

 sonators of the katcina priests when they dance in their Ca'lako 

 houses, to the music of society choirs. It is also used by society 

 members during the dances of their winter retreat, when they have a 

 choir of the society to sing for them. It is used by Lewe'kwe when 

 they dance in their house (mth a separate choir) but not when they 

 appear in the plaza, and the whole society sings and dances. For 

 this they use a slow, easy step, the dance movement being a circular 

 movement of the whole group of danceis. 



Kokokci dance shoulder to shoulder, with their backs to the audi- 

 ence, making quarter turns to the right between songs. The female 

 line stands behind the male line, facing them, and turns with them. 

 Upikaiapona face either right or left, turning frequently, the move- 

 ment flowing continuously from one end of the line to the other. The 

 turn is always away from the audience. The Driun Tcakwena use the 

 same step, using with it a characteristic bent posture. Towa Tcakwena 

 uses the same step, emphasizing the turn with characteristic arm move- 

 ments. Muluktaka dance facing back, making a full turn between 

 songs. Wo'temla face sidewise but do not turn. Hemuci-kwe and 

 Hilili were the only groups which I saw face the audience while they 

 danced (except Upikaiapona in the two grinding songs for Ololowicka). 

 Solo dancers usually use the same step as the dancers in the line. 

 ►Sometimes, however, they use a more vigorous step and move back 

 and forth in front of the line. Certain solo dancers have characteristic 

 movements. Hehe'a and Hemokatsik always dance out of step. 



The rhythm of the dance is always a simple two-part rhythm. 

 Where a drum is used the drum rhythm and the dance rhythm coin- 

 cide. The rhythms of the songs are more complex, but have not yet 

 been analyzed. Mr. Herzog has recorded a number of dance songs, 

 but his analysis of the correspondence between drum, dance, and voice 

 rhythms is not yet complete. As the song nears its close there is 

 usually a ritard which ends in a skipped beat. The song stops, the 

 dancers stand for an instant with foot poised, and the song finally 

 closes in very rapid time.^' 



The song is divided into a number of named sections, each with its 

 characteristic melodic features, with a system of repeats so compli- 

 cated that I have not yet been able to fathom it, although it seems 

 clear enough to the singers. Once they are started on the proper 

 song of sequence by their leader, the balance follows without any 

 confusion. 



It might be well to point out the limitations of Zuni dancing. The 

 formation of the dance is restricted to straight lines. There are no 



^' The same device, without the final acceleration, is characteristic of grinding songs, but I did not notice 

 it in the dance songs of the medicine societies. It is a very marked characteristic of Hopi katcina songs. 



