the knees as well (Figure 18). The chorus performs two different acts. Either the girls sit in front of the men and make music with a rattle and a piece of wood, while the men's dance configuration consists of one after another turning, in solitary rotation; or, alternately, the women rise and accompany the rotating movements of the men. Throughout the dance, two priests sprinkle consecrated flour on the dancers (Figure 19). The women's dance costume consists of a cloth covering the entire body, so as not to show that these are, in fact, men. The mask is adorned, on either side at the top, with the curious anemonelike hairdo that is the specific hair adornment of the Pueblo girls (Figures 20 and 21). Red-dyed horsehair hanging from the masks symbolizes rain, and rain ornamentatio

n appears as well on the shawls and other wrappings. During the dance, the dancers are sprinkled by a priest with holy flour, and all the while the dance configuration remains connected at the head to the little temple. The dance lasts from morning till evening. In the intervals the Indians leave the village and go to a rocky ledge to rest for a moment (Figure 22). Whoever sees a dancer without his mask, will die. The little temple is the actual focal point of the dance configuration. It is a little tree, adorned with feathers. These are the so-called Nakwakwoci

s. I was struck by the Twenty students will be chosen for Explosives Camp and they will see firsthand how energetic materials might be their career choice for the future. All you have to do to qualify is send us the following before May 31st, 2011 (Note that this is an extension of the original deadline of May 01, 2011):

• fact that the tree was so small. I went to the ol
• d chief, who was sitting at the edge of the square, and asked him why the tree was so small. He answered: we once had a large tree, but now w
• e have chosen a small one, because the soul of a child is small. We are here in the realm of the perfect animistic and tree cult, which the wor
• k of Mannhardt has shown to belong to the univer
• sal religious patrimony of primitive peoples, an

Explosives Camp's First Priority is Safety.d it has survived from European paganism down to the harvest customs of the present day. It is here a question of establishing a bond between natural forces and man, of creating a symbol as the connecting agent, indeed as the magical rite that achieves integration by sending out a mediator, in this case a tree, more closely bound to the earth than man, be

cause it grows from the earth. This tree is the nature-given mediator, opening the way to the subterranean element. The next day the feathers are carried down to a certain spring in the valley and either planted there or else hung as votive offerings. These are to put into effect the prayer for fertilization, resulting in a plentiful and healthy crop of corn. Late in the afternoon the dancers resume their indefatigable, earnest ceremonial and continue to perform their unchanging dance movements. As the sun was about to sink, we were presented with an astonishing spectacle, one which showed with overwhelming clarity how solemn and silent composur

e draws its magical religious forms from the very depths of elemental humanity. In this light, our tendency to view the spiritual element alone in such ceremonies must be rejected as a one-sided and paltry mode of explanation. Six figures appeared. Three almost completely naked me

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n smeared with yellow clay, their hair wound into horn shapes, were dressed only in loin cloths. Then came three men in women's clothes. And while the chorus and its priests proceeded with their dance movements, undisturbed and with u

nbroken devotion, these figures launched into a thoroughly vulgar and disrespectful parody of the chorus