In the midst of the ordinary dances there comes rushing upon the scene an ugly apparition in the shape of a man, wearing a feather mantle on his back reaching from the armpits down to the mid-thighs, zebra-painted on his breast and legs with black stripes, bearskin shako on his head, and his arms stretched out at full length along a staff passing behind his neck. Accoutered in this harlequin rig, he dashes at the squaws, capering, dancing, whooping; and they and the children flee for life, keeping several hundred yards between him and themselves. If they are so unfortunate as to touch even his stick, all their children will perish out of hand. THE GHOST CEREMONY PROPER The dancers were of two classes, the ordinary ghost-dancers, or "devils," called xahluigak (E), and the "ash-devils," or fire-eaters, called nō xahlūigak (E). The former danced almost exclusively during the day, and the latter at night, though these regulations were not quite absolute. The ash-devils were always present at the ghost ceremony and during the ghost dance proper they served, in a way, as sergeants-at-arms and as clowns. According to some informants, a new dance-house was especially built for each ghost ceremony. Other informants did not particularly mention this fact and it seems probable that in more recent times, after the ceremonial procedure of the Pomo had become somewhat lax, this rule was not observed, and the same dance-house may have been used for more than one ghost ceremony, and for other ceremonies as well. In this ceremony the dancers impersonated the spirits of the dead, as is indicated by the speech of the chief devil-dancer made just before disrobing.[10] The dance is said to have had its origin in mythical times when the birds and mammals had human attributes. The Pomo account is as follows: