Dramatic Elements in American Indian Ceremonials 23 



it to say that it is within the power of a prominent chief to insti- 

 tute the Hako. He becomes the Father, the leader of the Band of 

 Fathers whom he selects. From another tribe he chooses a chief 

 to represent the Son, who in turn gathers together a Band of 

 Children of whom he is the leader. All are directed by the Kura- 

 hiis or priest to whom has been intrusted the texts or methods of 

 procedure during the entire ceremonial. He is assisted by acolytes 

 to whom he is teaching the rituals, and attended by two medicine 

 men. To translate these roles in the terms of the classic Greek 

 theater, the Kurahus, the director and ruling power of the whole 

 production, would be recognized as the poet and chief actor; the 

 two bands would be considered choric divisions, their separate 

 leaders, by virtue of their prominence, being practically independ- 

 ent actors ; the medicine men and acolytes, playing minor parts, 

 would become servants and messengers. The old man and the 

 child, introduced for the first time in the secret ceremony, like the 

 Kurahus, play principal roles. Not even the child, however, the 

 central figure of the entire enactment, displaces the presiding 

 priest in importance. Throughout, the Kurahus remains the 

 protagonist. 



In the first stage of the Hako, the complete cast is not to be 

 found. Only the Father and his band, ever directed by the great 

 high priest, take part, intently invoking the Son. Not until after 

 the symbol-enriched journey of the Fathers to the home of the 

 Sons is the complete dramatis personae realized. Now are met 

 the necessary conditions for the central mystery, the dramatic en- 

 actment of the basic theme of the Hako. 



At this point the two bands or choric divisions undergo the 

 Greek complication of roles, becoming at once both audience and 

 actors. Indeed, they constitute the sole understanding audience, 

 favored as they are by previous instruction and brought within 

 a thoroughly sympathetic and appreciative mood through profound 

 prayer. Now all is in readiness for the heart of the mystery; the 

 sacred audience has been invoked and the human audience has 

 been prepared. 



399 



