cusBiNQ) CHARACTER OF ZUNI CEREMONIALS. 375 



Fiually, I have eutitlecl the originative division of this paper " Out- 

 lines of Zuiii Creation Myths," becanse, in the first place, this is but a 

 preliminary rendering of these, and, properly speaking, they are a series 

 of explanation-myths. Now, while such myths are generally discon- 

 nected, often, indeed, somewhat contradictory episode-legends with 

 primitive peoples, they are, with the Zuiais, already become serial, and it 

 is in their serial or epic form (but merely in outline) that I here give 

 them. Although each is called a talk, and is held specifically by a par- 

 ticular organization or social division, yet all are called " the speech." 

 This comes about in Zuni by the presence in the tribal organization, as 

 already explained, of a class of men and priests there called the " Mid- 

 most," or the "All," because hereditary in a single clan (the Macaw), yet 

 representative sacerdotally of all the clans and all the priesthoods, which 

 they out-rank as "Masters of the House of Houses." 



With them all these various myths are held in brief and repeated in 

 set form and one sequence as are placed the beads of a rosary or on a 

 string, each entire, yet all making a connected strand. Here, then, we 

 see the rudiment or embryo of a sacred epic such as that of the Kya'klu 

 or " Speaker of all times whensoever." 



As finally published, this paper will contain the most ample explana- 

 tion of all these points and many others, and will not ask, as it does 

 today, catholic judgment and charitable interpretation. 



The so-called dances of the Zunis, and presumably those of all similar 

 primitive peoples, are essentially religio-sociologic in character and 

 always at least dramatic, or, more properly speaking, dramaturgic. It 

 follows that to endeavor to describe and treat at all adequately of any 

 one such ceremonial becomes a matter of exceeding difiiculty, for it 

 should involve a far more perfect scheme of the sociologic organization 

 as well as at least a general survey of the mythology and religious 

 institutions of the tribe to which it relates, such as I here present, as 

 well as an absolutely searching description of all details in both the 

 preparation for and the performance of such ceremonial. 



For example, the celebrated Ka'ka or mythic drama-dance organiza- 

 tion of the Zuiiis, and for that matter all other of their ceremonials, 

 are, any one of them, made up in personnel from specific clans. Thus 

 formed, they are organized, and the actors and their parts divided in 

 accordance with the groupings of these clans in relation to the symbolic 

 regions of the world, or in this case literally septs. Finally, the para- 

 phernalia and costumings, no less than the actions, songs, and rituals, 

 are as distinctly founded on and related to the legend or legends 

 dramatized. 



At this point it seems desirable that the sense in which the terms 

 "drama," "dramatic," and "dramaturgic" are employed in relation to 

 these ceremonials be explained. This may best be done, perhaps, by 

 contrasting the drama of primitive peoples, as I conceive it, with that 

 of civilized peoples. While the latter is essentially spectacular, the 



