Buffalo Dance, San Ildefonso.
—The Animal Dances are usually given in winter. That is the time of year for hunting because cultivated food is scarce and the animals are then forced down from their mountain homes. At San Ildefonso I saw a Buffalo Dance performed, contrary to custom, in August, 1936. The dancers, two men and two women, came from the round, outside kiva of the Turquoise people,[12] appearing through
Plate 31.
Natacka Mother, Hopi. Female deity impersonation.
the hatchway about mid-morning. The bodies (pl. 21) of the men were painted a dark earth brown with white crosses on each side of the chest and abdomen and on each arm. They wore soft, cream-colored deerskin kilts, with a writhing black serpent painted through the center, and a border of blue and yellow the bottom of which was edged with metal tinklers, small cones of tin which hung from deerskin thongs and knocked together with every rhythmic movement of the dancers, making a pleasing, silvery sound. A red woven belt held the kilt in place, and a string of bells around the waist added a deeper, more musical tone, punctuating the less melodic vibrations of rattles and drums. Below the knee the legs were encircled by bands of brown buffalo hair which sustained, in front, a floating eagle feather. White moccasins with buffalo-hair heelpieces encased the feet. Arm bands were of buffalo hair. Several strands of white shell beads were worn around the wrists, and many necklaces of turquoise and white shell were around the neck. Just under the chin was a large abalone shell. A gourd rattle with a fringe of bright orange-dyed goat's hair was carried in the right hand, and evergreen and a bow and arrow with four eagle feathers swinging from the string appeared in the other. A large piece of the heavy neck fur of the buffalo over the head and shoulders made a shaggy frame for the little that could be seen of the face. The horns on each side had eagle's down fluttering from their tips. On the back of the buffalo headdress, moving gracefully up and down, was an ornament composed of a fan of eagle wing and macaw tail feathers with the quill ends covered with orange-dyed goat's hair and a large bunch of green and yellow parrot feathers. A small downy white feather was tied directly on top.
The Buffalo Maidens (pl. 22), impersonating the mothers of the game animals, appeared in dresses made from large, hand-woven, white cotton blankets embroidered at top and bottom. Over this, like a short tunic, was a man's embroidered white dance kilt. Both dress and tunic were fastened on the right shoulder. The panel of stylized cloud, rain, and
earth symbols made a line of decoration from shoulder to waist. The great wrapped moccasins of soft white deerskin gave a modest air to the costume, and the heelpieces of black and white skunk fur rounded it off. White shell beads were wound around the wrists, and strings of turquoise and white shells hung in heavy festoons on the breast. A necklace of turquoise with an entire abalone shell encircled the base of the neck. Arm bands of brilliant orange-dyed goat's hair made blobs of color midway in the figure. The black hair hung loose in a solid gleaming mass, while in direct contrast a downy white eagle feather floated from the top. At the back an ornament rose from the neckline majestically above the head. It was composed of a great bunch of green and red parrot feathers, edged in orange-dyed goat skin, supporting three macaw tail feathers—scarlet shafts of color. In each hand formal bouquets were carried. These were composed of shining eagle and parrot feathers surrounded by the dull green of spruce needles and edged with creamy white olive shells[13] which added beauty and supplied a clicking accompaniment to the rhythmic accent of the rattles.
Each dancer was in character from the moment he appeared above the rim of the kiva. With lowered eyes, the men danced with a heavy, steady, downward beat. They were young men, their bodies full of vigorous strength. Their movements, however, were not excessive, but poised and controlled in easy, graceful posture. The maidens were young and handsome. Their clear brown skins were ruddy with health and this contrasted strongly with the positive whiteness of their garments and the jet blackness of their hair. They danced demurely with downcast eyes. Their steps echoed rather than followed those of the men. Never by glance or movement did they betray a consciousness of the spectators, who might crowd in closely. Between the dance patterns the performers were in constant movement, their tinklers rattling and their bodies intent on the regular motion of a stately trot. Their leader, a priest in the somber pueblo dress of the conquistadors, was almost concealed by his great blanket. He car-
ried a feather insigne and sprinkled meal for the dancers' 'road'. The chorus was made up of a knot of men, grouped on one side, who danced gently to the rhythm of their own chants. In their midst a large drum was beaten with hypnotic cadence.