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Titre : Annual report of the Bureau of American ethnology to the Secretary of the Smithsonian institution
Auteur : Bureau of American ethnology (Washington, D.C.). Auteur du texte
Éditeur : Government printing office (Washington)
Date d'édition : 1929
Contributeur : Powell, John Wesley (1834-1902). Directeur de publication
Notice du catalogue : http://catalogue.bnf.fr/ark:/12148/cb37575968z
Notice du catalogue : https://gallica.bnf.fr/ark:/12148/cb37575968z/date
Type : texte
Type : publication en série imprimée
Langue : anglais
Format : Nombre total de vues : 40082
Description : 1929
Description : 1929 (N47)-1930.
Description : Note : Index.
Droits : Consultable en ligne
Droits : Public domain
Identifiant : ark:/12148/bpt6k27660k
Source : Bibliothèque nationale de France
Conservation numérique : Bibliothèque nationale de France
Date de mise en ligne : 15/10/2007
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times to whipthem to cure them of "bad dreams" (see p. 481). The whipping of thé initiates is probably also purificatory. CEREMONIAL PATTERN
A full ceremony at Zuni utilizes ail of the foregoing techniques. The usual ceremonial pattern is a retreat followed by a dance. Frequently the dance is public, the retreat, of course, always being secret. Sometimes, also, the dance is not performed by the same group that hold the core of the rite, but by some cooperating group or by an organized group of laymen (e. g., the dances by girls and youths during the scalp dance). The relative importance attached to the esoteric and the spectacular approaches varies among the different cults. The ceremonies of the katcina society are weighted on the side of the spectacular. In the summer katcina dances only the leaders offer prayer sticks and observe continence, and even for them there is no formai retreat. Thé priesthoods, on the other hand, concentrate on secret rites and dispense entirely with public dancing, unless some katcina group chooses to honor one of the priesthoods by dancing on its "middle day."
A retreat usually opens and closes with offerings of prayer sticks. Sometimes there is a public announcement of the opening of the ceremony such as the announcements by pekwin of the solstices, of the opening of thé scalp dance, and the beginning of the Ca'lako festival. There is some kind of set-up of sacred objects-a formai altar, fetishes, masks, medicine water, etc.-and much of the ritual of the retreat is concerned with the manipulation of these objects. Those participating in the retreat practice various forms of abstinence. Sexual continence is always required. Sometimes there are taboos on certain foods or, rarely, on all food. There is a variable amount of seclusion. At intervals throughout the retreat there are recitals of prayers and songs. The rest of the time is spent preparing paraphernalia for the final dance, if there is to be one, rehearsing, and telling tales, especially thé origin myths in the ritualistic forms appropriate to the particular ceremony. A great deal of instruction in ritualistic affairs is given during these retreats.
The form wbich the concluding ceremonies takes is subject to unhnuted variation. Each ceremony has its characteristic features, of wbich the most conspicuous is always group dancing. Dancing always continues with brief intervals for many hours; the emotional effect is cumulative, although there is no definite climax. The dancing itself is always reduced to its barest essentials-the rhythmic repetitions of a single body movement. Although impersonation is common there is no dramatic representation. Whenever myth is suggested it is in a highly stylized and symbolic form. Great importance is attached to correctness and uniformity in costume and re-