. Then came three m

en in women's clothes. And while the chorus and its priests proceeded with their dance movements, undisturbed and with unbroken devotion, these figures launched into a thoroughly vulgar and disrespectful parody of the chorus movements. And no one laughed. The vulgar parody was regarded not as comic mockery but, rather,



as a kind of peripheral contribution by the revellers, i

1. Follow the n the effort to ensure a fruitful corn year. Anyone familiar with ancient tragedy will see h
2. ere the duality of tragic choru
3. s and satyr play, "grafted onto a single stem." The ebb and flow of nature appears in anthropomorphic symbols: not in a drawing but in the dramatic magical dance, actually returned to life. The essence of ma

gical insinuation into the divine, into a share of its superhuman power, is

1. revealed in the terrifyingly dramatic aspect of Mexican religious devotion. In one festival a woman i
2. s worshipped for forty days as
3. a coexit 150rn goddess and then sacrificed, and then the priest slips int Most of Socorro's motels, restaurants and gas stations are located along this street.
4. Drive south on o the skin of
5. the poor creature. Compared to th A Taco Bell is located at this intersection.
6. is most elementary and frenzied attempt to approach the divinity, what we observed among the Pueblos is indeed related but infinitel
7. y more refined. Yet there is no guarantee that the sap does not sti
8. ll rise in secret froCanyon Rd.m such blood-soaked cultic roots. After all, the same soil that bears the Pueblos has also witnessed the war dances of the wild, nomadic I
9. ndians, with their atrocities culminating in the martyrdom of the enemy. The most extreme approximation of this magical desire for

unity with nature via the animal world can be observed among the Moki

1. Indians, in their dance with live serpents at Oraibi and Walpi. I did not myse
2. lf observe this dance, but a few photographs will give an ideaI-25
3. Drive north on of this most pagan of all the ceremonies of Walpi. This dance i
4. s atexit 147 once an animal dance and a religious, seasonal dance. In it, the individual animal dance of San Ildefonso and the individual fertility ritual of the Oraibi humiskachin
5. a dance converge in an inten
6. se expressive effort. For in August, when the critical moment in the tilling
7. of the soil arrives to render the entire crop harvest contingent on rainstorms, these redemptive storms are invoked through a dance
8. with live serpents,, which curves to the left and becomes celebrated
9. alternately in Oraibi and Walpi. Whereas in San Ildefonso only a simulated version of antelope is visible at least to the uninitiated-and the corn dance achieves the dem
10. oniac representation of corn demons only with masks, we find here in Walpi a far more primeval aspect of the magic dance. Here the