Part 3

Four such parts completed the first division of the dance. After this the masters of ceremonies advanced toward the ghost-dancers, motioning them back toward the center pole with the palms of their hands turned outward and held in front of them, while they said "hahyū´, hahyū´" (repeated indefinitely).

The singers, masters of ceremonies, and the drummer then seated themselves or stood a short distance away from the drum, and the ghost-dancers proceeded with their ceremonial disrobing.

The chief ghost-dancer proceeded from the foot of the center pole by a path, as is indicated in figure 4, leading around the center pole and fire and back to the east side of the drum, which the ghost-dancers term cūna´ bilat (E), literally "canoe worn out." Upon his arrival at the drum the chief ghost-dancer made a speech in which he said that he and his fellows "had come from the hollow stems of the grass, crawling like snakes," to visit the people.

katsa´ mū_t_ō´lai | waha badū_t_´kiū (E) grass hollow | travel like a snake

He told them that he had come for their good and with no evil motives, that he had come to bring them good health and happiness, not sickness and misfortune. With a cry of "mē ..." he then jumped across the drum to its west side. The spectators cried "mī´bax bō´wōwa" (E), literally "go on your west side," indicating the west side of the drum, according to the ghost-dancers' inverted method of speech. In compliance with this instruction, the chief ghost-dancer jumped across the drum, after which he sometimes felt around with his foot as if in search of something. Thus he jumped back and forth four times across the drum. He had really been in search of the drum all the time and had feigned his inability to find it. He finally, however, jumped upon it and stamped rapidly for a minute or so to indicate his satisfaction. Throughout this whole performance the singers and others near the drum continually cried "hō ... hō ..." etc. While standing on the drum, the chief ghost-dancer faced toward the wall, thus bringing his back toward the fire. Frequently he made some comic observation to those near by,[18] and from time to time turned his head toward the right so as almost to face the fire, the while he made the peculiar noise, "bū ..." characteristic of this dance. Meanwhile he turned his head slowly, first to the right and then to the left, until he had done this four times in each direction.

He next took the brush or grass, which he had throughout the ceremony been carrying in his hands, first in his left hand and passed it downward over the right side of his body until he had passed it down and up four times. He then took it in his right hand and passed it in the same manner over his left side. He next took part of it again in each hand and passed both hands back and forth sidewise over his legs while standing in a bent posture, until he had done this also four times. The brush or grass was then placed upon the ground.

He next took off the girdle of twigs about his waist and dropped it to the ground, usually without ceremony, though if he chose he might pass this through the same series of motions as the twigs carried in his hand. He next took off his entire head-gear at once. This he held in his left hand and passed from his right shoulder up over his head four times, repeating the same motions with the right hand on the left side. He then placed this with the other paraphernalia on the ground.

He next left the drum and went directly back to the foot of the center pole, where he rejoined the rest of the ghost-dancers. The remaining dancers went, one by one, or in small groups, and performed exactly the same ceremony as that just described. When all had disrobed, each took his costume and retired to the woods or brush, redressed himself, endeavoring to change his painting to one as different as possible from that which he wore before. Later the same performance was repeated: the calling by the crier, entry of the dancers, series of dances, and ceremonial disrobing.

On the first day this entire series of dances was repeated four times in all--at about 5 a.m., 10 a.m., 2 p.m., and 5 p.m., respectively. After the ceremonial disrobing at the end of the fourth series, the ghost-dancers left their suits in the dance-house and repaired to the river or lake to swim, after which they returned to the dance-house. During the other three days of the ceremony they might appear any desired number of times during the day.

The dancers were forbidden to eat or drink on any particular day as long as the dance continued, but as soon as they had gone down to swim this restriction was removed.

As a rule, fire-eating and fire-handling were only incidental to the ghost dance proper. However, if occasion arose, the ghost-dancers themselves might handle fire, though they could not eat it. This privilege was especially reserved to the ash-devils, nō' xahlūīgak (E). In case something was done to offend the ghost-dancers, such as an inadequate provision of wood or some inattention on the part of the officials, they might attempt to show their displeasure by throwing fire about the dance-house. It then became the duty of the two fire-tenders to hold sticks of wood across the fire. This operated as a taboo to the ghost-dancers, who were prevented from touching the fire. If there were any of the ash-devils present, even though not regularly participating in this particular ceremony, they at once brought their special bird-shaped staffs, which served as their badges of authority,[19] and gave them absolute control over the entire assemblage, including even the head captain. This caused the fire-tenders to remove their restriction, and the ghost-dancers were then privileged to do as they wished as long as they were under the patronage of the ash-devils.

While serving, during the regular ghost dance, as messengers, sergeants-at-arms, and collectors of fines, the ash-devils were called katsa´tala (E), and were the special clowns who performed all manner of antics in their endeavors to provoke an outward expression of mirth from some unfortunate spectator. Should he so forget himself as to laugh or even smile at the antics, one of these katsa´tala ran at him with his wand and levied tribute in the form of a payment of beads or some other commodity, or imposed a penalty requiring the offender to bring wood or water for the dancers. Furthermore, if some one of the dancers should see a spectator in possession of something desirable, he sent one of these katsa´tala with his wand to this spectator to demand the desired article. The spectator must then bring it to the foot of the center pole and deposit it for the dancers.

In order to provoke the spectators to mirth, these katsa´tala did many odd things and made themselves as grotesque as possible. For instance, one of them would prop his eyelids open with small wooden pegs (an action called ū´ībatak (E)), or he would hold his mouth open and stretch it out of shape (an action called katsī´da batak (E)), or he would fill his cheeks very full and puff them out with grass (called kawe´ts kale (E)).

These ash-devils never actually danced in the ghost dance proper, but accompanied the regular ghost-dancers when they appeared. The intervals between dances were filled and greatly enlivened by their antics, and it was during these intervals that they made good their name by rolling in the ashes of the fire, and by sometimes throwing live coals about, and "eating" them.

From time to time during the "rests," or ceremonial pauses, one of these katsa´tala would seize a cocoon rattle, run four times about the fire and center pole, and throw the rattle at the chief singer, calling upon him for a song. This must be at once forthcoming, and the ghost dance itself was then resumed. If some one in the audience wished to have the singing and dancing resumed, he threw a cocoon rattle at one of the fire-tenders, who passed it to one of the katsa´tala, who then ran about the fire and presented it to the chief singer as just described.

Songs were sometimes sung independently and unaccompanied by dancing. This was especially the case in what may be termed singing contests. Upon receiving the rattle, a singer was obliged at once to sing some song. He then passed the rattle to another singer, who did likewise. Thus each of the renowned singers was given an opportunity to prove his merit. Each man's song was accompanied by a parade of the performers, which carried the party, including the singer, four times around the dancing area.

FIRE EATING

Fire-eating was restricted, as above stated, to the ash-devils, and, while sometimes practiced during intermissions in the regular ghost dance, it was usually held as a separate ceremony in the evening and was preceded by a short dance.

The dress of the ash-devils consisted of a coat of paint and a very simple headdress.[20] In addition, however, they carried special ceremonial staffs called tōa bīla´t (E), kasa´ūsaūa (E), and kasa´Isala (E). To one end of this ceremonial staff was fixed the head of a crane. Grass was used to stuff the neck part, bits of abalone (_Haliotis_) shell made the eyes, and bluejay feathers were made into a topknot. It was permissible to use wands of slightly different forms, but all were crooked in some way, and the crane-headed staff was the recognized variety.

When this special ceremony commenced, the ash-devils became supreme and took precedence over everybody. A guard was posted at the foot of the side post to the east of the door, and no one was permitted to leave the dance-house after the ceremony had begun except upon payment of a certain sum of what was termed upon this occasion "bead money" (cata´ne (E)). As a matter of fact, two or three stems of rush, from four to six feet in length, were bound together and were given to the guard as payment. He took this "money" and hung it on the wall near the drum, after having danced a few quick steps upon the drum with it in his hands. These rushes were legal tender during this ceremony; and if the dancers asked a favor of any one else in the dance-house they paid him for the service in this same legal tender. Their authority was especially shown by their use of the crane-head wands, which no one else was permitted to touch. They could be handled only after a long fast involving complete abstinence from water and from meat or grease in any form.

As soon as the ash-devils entered the dance-house absolute silence fell upon all. Except the ash-devils, no one, not excepting the head captain, was permitted to speak during the ceremony. The rule was that the ash-devils themselves must consult one another in low tones.

Immediately upon entering the dance-house the main group of ash-devils took up a position at the foot of the center pole and, in case some one of the spectators did not almost immediately start a song for their dance, they might jump into the fire and begin to throw brands and live coals about among the spectators. This drastic action quickly called forth a protest, and some one volunteered to sing.

The actual dancing lasted for perhaps half an hour, after which the ash-devils sat down and began to "eat fire," jump into it, and perform other miraculous feats with it. They, to all appearances, actually picked up live coals, which they called bū (E), and devoured them, preferring the coals of manzanita wood, as these were the strongest and hottest. This term bū is translated by the Pomo as "potatoes," a term applied to the many species of bulbs and corms formerly an important part of their food supply. The word for coals is masi´k (E).

During the progress of the dancing a fire-tender had been preparing the fire for the special benefit of the ash-devils, and had selected a considerable quantity of live coals, which he had piled at one side of the main fire. Suddenly one of the fire-dancers put his hand into these coals and scattered them out over the dancing floor. Then he pretended to be burned and danced about as if in pain. Finally, however, he struck the center pole with his hand and evinced great satisfaction, for to him the center pole was as cold water. During this fire-eating ceremony many other feats were performed, such as catching with the mouth a live coal which had been thrown into the air, then running back to the drum and dancing upon it. The dancer usually turned toward the audience, opened his mouth, and exhaled his breath in such a way as to cause the coal to glow between his teeth or farther back in his mouth. Such comical antics would in ordinary life provoke an outburst of merriment, but the rules of the ceremony absolutely forbade a sound of any kind, mirthful or otherwise, from the audience, and if the rule were violated a fine was exacted.

During this ceremony, and apparently as an initiation of novices, little boys were thrown by the ash-devils back and forth a number of times through the blaze of a large fire.

Finally, after about half an hour of this eating and handling of fire, the ash-devils formed at the drum and danced over a course such as that shown in figure 5. This was repeated four times, and as each dancer stepped upon the drum he danced a few short, quick steps, as did the regular drummer in producing music for an ordinary dance. Upon completing this cycle of four, the dancers reversed their direction and traveled over the same course four times. They next passed over the course represented in figure 6, stopping at the four points marked I, where each dancer waved his wand, which he held with both hands, above and in front of his head in such a manner as to describe with it a semicircle, while the spectators cried "hee´...."

The dancers then returned to the drum, removed their head-dresses and nets, and danced back and forth four times along the line indicated in figure 7. At the end of each journey along this line, the dancers blew their breath forcibly through their lips and waved their hands from their mouths. At the end of this cycle they sat down and became ordinary persons[21] once more. The spectators were then permitted to do as they wished. They could resume their normal ways, including smoking, which had been prohibited because the fire and everything pertaining to it belonged exclusively to the fire-dancers during this ceremony.

THE PURIFICATION RITE

During the first three days and nights of the ghost ceremony, either the ghost dance itself or some other dance associated with it might be held. On the fourth night it was necessary that the entire night be spent in dancing, and near dawn there occurred a purification rite accompanied by special songs. Every ceremonial object about the dance-house, whether it had been used during the preceding days or not, had to undergo this purification, and in case the owner of such a ceremonial object was not present, some near relative performed the ceremony with it.

Just before sunrise each dancer, holding up his personal ceremonial paraphernalia in his right hand, danced back and forth in time to the songs. He danced four times looking toward each of the six cardinal directions in the following order: east, north, west, south, up, down. All the ceremonial objects were then hung up in the dance-house and later stored away secretly by the chief Gū´ksū doctor.

The ceremony ended during the following forenoon with a grand feast, which differed materially from other feasts held at times during the ceremony, in that each separate class of individuals dined by itself in the order of rank--captains, fire-tenders, singers, drummers, masters of ceremonies, ash-devils, ghost-dancers, and spectators. The food served to each class was, however, of the same kind and quality.

Certain restrictions were imposed upon the dancers after the ceremony was over. The regular ghost-dancers were not allowed to eat meat for eight days. Those who wore the chaplet of twigs upon the head were obliged to abstain from meat for four days. The Gū´ksū doctor who assisted a dancer in dressing might ask him for some article, such as a powerful poison. This had to be given the Gū´ksū and, in that case, the dancer was forced to abstain from meat for eight days. A dancer who wore certain kinds of feather ornaments abstained from meat for a month. The chief Gū´ksū doctor, who knew all about the ghost dance and who was called yō´mta bate (E), was compelled to abstain from meat for several months. It was his duty to care for the ceremonial paraphernalia between dances. This had to be carefully hidden away in some lonely spot where no one could find it except this chief Gū´ksū doctor and his two or three assistants.

Whenever any one of these individuals ate meat or fish for the first time after this period of restriction had expired he was enjoined to say a short prayer over it.

SUMMARY OF THE PRINCIPAL FEATURES OF THE GHOST CEREMONY

The following are the most characteristic features of the ghost or devil ceremony:

1. The ceremony is supposed to have had its origin in mythical times and to have been instituted as an atonement for an offense against the dead.

2. It lasted four days, ending with an all-night dance, and, on the morning of the fifth day, a purification rite followed by a feast in which each class of individuals dined by itself.

3. The participants were several ghost-or devil-dancers personating the spirits of the departed and accompanied frequently, though not always, by one or more ash-devils or ash-ghosts, who filled the double office of clown and sergeant-at-arms, and who usually performed their special fire dance and fire-eating ceremony.

4. The officials particularly concerned with the ceremony were two head singers, an indefinite number of burden-singers, a drummer, two fire-tenders, and two masters of ceremonies. The village captains retained their full authority in this ceremony except when the ash-devils were performing.

5. The audience consisted of initiated men only, and silence was the rule. Any exhibition of mirth was absolutely prohibited under penalty.

6. The attire of the ghost-dancer consisted of several pieces of headgear, supplemented in some cases by a chaplet of leaves, a girdle, and sometimes a neck-ring of leaves. The body was otherwise nude except for very elaborate painting in black, white, and red. The dancers dressed secretly in the woods and came to the village carrying bunches of grass or twigs in their hands, behind which they at times pretended to hide.

7. The ash-devils wore only a simple head-dress and a coat of paint.

8. The special crane-head shaped wand of the ash-devil gave him absolute authority.

9. The dancers entered the village at the call of a crier stationed on top of the dance-house, performed an elaborate ceremony in front of the dance-house, and finally entered it backwards, groping their way, using an inverted style of speech, and in every other manner showing that the spirits of the departed were unaccustomed to the ways of mortals.

10. The dancing was elaborate and was characterized by the occurrence of movements in cycles of four, followed by an elaborate ceremonial disrobing at the drum, and then by swimming.

11. During the fire dance the ash-devils initiated novices.

12. The dancers were subject to certain restrictions for varying periods of time following the ceremony.

FOOTNOTES:

[7] Contr. N.A. Ethn., III, 158-160, 1877.

[8] _Loc. cit._

[9] _Op. cit._, pp. 193-194.

[10] See below, p. 414.

[11] The exact identity of this supernatural being could not be determined from informants.

[12] According to one informant, two feathers instead of one were worn by these dancers. These were placed so that they projected laterally from the forehead.

[13] One informant stated that each dancer was ablaze on his back, head, and arms, and that smoke issued from his mouth. This accords with Power's statements, quoted above.

[14] According to one informant, some of these dancers carried stones, long sticks, or even snakes with which to frighten the spectators. Note also Power's reference to the use of the rattlesnake in the ghost dance, quoted above.

[15] Two or three dancers sometimes came together.

[16] Mibax bōl malīdai (E).

[17] This expression was said by informants to be untranslatable, simply an expression used to start the song. This jumping upon the drum and calling by the drummer were called tehe´sba (E).

[18] Compare below, p. 419.

[19] See below, p. 418.

[20] See below, p. 420.

[21] According to the above information, which was obtained from an Eastern Pomo informant, the fire-dancers evidently did not make an attempt to hide their identity. However, a Central Pomo informant was very specific in his statements that the dancers of his locality were more particular in this respect, and instead of remaining in the dance-house after the ceremony they ran out and returned to their respective places of seclusion, there to dress in daily attire and return to the village.

THE GUKSU CEREMONY

Gū´ksū or kū´ksū, as he is called in the different Pomo dialects, was a supernatural being living at the end of the world toward the south, one of six supernatural beings living at the ends of the world in the six cardinal directions. The term is also applied to a large mosquito-like insect, called locally "gallinipper."

Toward the east lived Ca´lnis, the only one of these deities who was associated especially with Gū´ksū in the ceremonies of the Pomo.

Toward the north lived Sū´ūpadax (whirlwind).

Toward the west lived Xa´-matū´tsī (water-occupation). The connection is here very readily seen when we know that the territory of the Pomo reached to the Pacific Ocean, and that this great body of water formed an important element in certain phases of their mythology. It was only toward the west that the world was supposed by the Pomo to be bounded by water.

Above lived Kalī´-matūtsī (sky-occupation).

Below lived Ka´i-matū´tsī (earth-occupation).

Some of these terms really referred to groups of several deities each. The deities of all six quarters were particularly concerned with medicine practices. Healing was, however, especially the province of the Gū´ksūs, and the Pomo medicine-men, or "doctors," made their prayers particularly to them, although all the remaining deities of the cardinal points were invoked.

Nothing very definite seems to be known concerning the places of abode or manners of living of most of these deities. Each was supposed to dwell, at his own "end of the world," in a sweat-house or dance-house of one kind or another. Each was also supposed to be distinctly malevolent at times and to be a man-killer unless properly placated. Under the proper circumstances they were regarded as benevolent, as was indicated by the prayers of the medicine-men invoking the aid of these deities in curing the sick.

Concerning the personal appearance of Gū´ksū and Ca´lnis, more was known than of the others. Gū´ksū himself was said to be of about normal human size and his most characteristic feature was a very long, large, sharp, red nose. He was usually very good natured. Ca´lnis, on the other hand, while resembling Gū´ksū in most respects except that of the abnormal nose, was at all times a testy individual, and in the Gū´ksū ceremony his impersonator pursued people and tripped them up.