8 Virginia Shropshire Heath 



example, presents a far more markedly dramatic show. The 

 vaudeville-like performances, coming as a climax to this celebra- 

 tion, fulfill all the conditions attendant upon place, audience, and 

 representative roles. 



The Paliiliikonti or Plumed Snake ceremonial, occurring in 

 March, has for its basic purpose the production of rain, the 

 Plumed Snake being associated with lightning. Sympathetic 

 magic is operative in the propitiatory treatment accorded the great 

 serpent efifigies, employed in the final dramatic performances. 

 The suggestion of crop-producing rains is further emphasized 

 upon this occasion in stage paraphernalia of various kinds ; for 

 instance, young shoots of corn. Each show constitutes in itself 

 an independent unit, each being the product of a separate kiva. 

 All, however, voice the central theme of the entire Paliiliikonti 

 observance, a desire for rain and subsequent crops, especially 

 corn. An account of the first, the fourth, and the fifth acts, as 

 presented in the various kivas on the East Mesa in 1890, will give 

 an idea of the general nature of these dramatizations." 



One end of the kiva was arranged for seating the audience, the 

 other side being reserved as stage space for the various transient 

 companies of actors and their stage paraphernalia. The fire- 

 place in the center of the room served as a dividing line as well 

 as the source of illumination. , The fire-tenders, too, performed 

 a double function. Their primary duty was to replenish the fire, 

 thereby providing general light for the room or foot-lights as the 

 occasion demanded. Their secondary duty was that of official 

 curtain. When scene-shifting was under way, the two fire-tenders 

 created temporary darkness by shutting off all light with their 

 robes. When all was in readiness for the exhibition, at a given 

 signal the robes were dropped and the stage setting and actors 

 were revealed. With this introduction to the theater, the man- 

 agement of the theater, and the audience, the shows themselves 

 may be brought on. 



6 See 2ist A. R. B. E., Washington, 1912. Proc. Acad. Set., December; 

 1900; "The Palulakonti: A Tusayan Ceremony," Journ. Am. Folk Lore, 

 1893. 



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