Ceremonies of the Pomo IndiansBarrett, S. A. (Samuel Alfred)
Religion
Ceremonies of the Pomo Indians
Barrett, S. A. (Samuel Alfred)
Pomo Indians -- Social life and customs; Pomo dance
from under its branches until after these scarifications had completely
healed, else the tree would bear no fruit.
The entire assemblage next entered the dance-house, the dancers going
directly to their positions in the rear without the preliminary
ceremony of entry which was required in most other ceremonies. The
children were made to lie on the floor and were again covered with
their blankets. The dancers then performed for their benefit, making
a great deal of fun both of the children and of the scarification
ceremony. They danced thus for a short time, then went on the west
side of the fire, where they turned their heads slowly to the left
four times, after which the people cried "ya...." The dancers then ran
out and into the brush, where they took off and left their dancing
paraphernalia. This ceremonial leaving of the dance-house was supposed
to remove all illness from the village, the dancers taking it with
them as they went out. The spirits which they represented supposedly
returned at that time to their supernatural home at the south end of
the world.
Another feature of the initiation in the Gū´ksū ceremony is
described by a Central Pomo informant, who says that young men were
initiated by being ceremonially shot with the bow and arrow.
STEPHEN POWERS ON THE GUKSU CEREMONY
Powers describes what he terms a "spear dance" among the Gallinomero
(which evidently refers to this same ceremony), as follows:[22]
First they all unite, men and squaws together, in a pleasant dance,
accompanied by a chant, while a chorister keeps time by beating on his
hand with a split stick. In addition to their finest deerskin chemises
and strings of beads, the squaws wear large puffs of yellowhammers'
down over their eyes. The men have mantles of buzzards', hawks', or
eagles' tail-feathers, reaching from the armpits down to the thighs,
and circular headdresses of the same material, besides their usual
breech-clouts of rawhide, and are painted in front with terrific
splendor. They dance in two circles, the squaws in the outside one;
the men leaping up and down as usual, and the squaws simply swaying
their bodies and waving their handkerchiefs in a lackadaisical manner.
Occasionally an Indian will shoot away through the interior of the
circle and caper like a harlequin for a considerable space of time,
but he always returns to his place in front of his partner.
Public-domain text, read in full here on John Shaqi.
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