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turns and faces the left as the hands change so that the right is u . pI n the Spin the cloud is held tight to the shoulder as in Flying Scud once around is enough for each spin except the ñnal. In the jínal, three or four spins will do with grand crescendo time, etc., then with a scream the dancer drops, jerks the cloud toward her feet, back over her head, then slightly back so it settles over her face and body. While the drum is sufñcient for the dance the effect is better if a low humming chant in correct time is kept up by the drum- mer. This should increase in volume and in the Climax all should give a high pitched prolonged shout while the drum beats a heavy tattoo. Then all is still. Sometimes when necessary to shorten it some of the ñgures i are left out but it always begins with the Walking Trailer and ends with the Spin. The exact and full scenario is as follows: (Each ñgure goes once around) rst. Walking Trailer . . . . . . brisk march time 2nd. “ " with side dip . . “ “ “ 3rd. Running Trailer . . double quick " K 4th. “ with side dip Í Í “ “ “ 5th. Eagle Swoop, six beats to the trailer pause and 3 beats to the dip. 6th. Flying Scud. 7th. Trailer and Double Eagle Swoop, 6 beats trailer and 3 beats for each swoop. 8th. Flying Scud, with a spin for each of the four Winds. 9th. Double Eagle Swoop Without trailer. Ioth. Spin in center, wind screams as the dancer drops Hat, then dies.
Dead Calm.
The Hopi Spring Corn Dances
The ñrst of these attractive dances symbolizes the planting of com and the second its gathering, husking and shelling. Each dance is complete in itself, but they are often given in sequence. The dancers should be in ceremonial costume, or all in white, and any number from four to twelve or more can take part, according to the size of the Council Ring. Eight is perhaps best. The "grain of com" and the "car of com" are imaginary.
