The same pair may remain dancing together throughout the night, or they may cease when either desires. On the first night the dancing continues until about midnight; the second, an hour or two longer; the third, until well toward dawn; the fourth, until sunrise. [Illustration: Jicarillas] Jicarillas _From Copyright Photograph 1904 by E.S. Curtis_ On the last night the top of a small spruce tree, tipped with eagle down, is planted near the door of the _kozhán_, and a new element in the dancing is introduced. About midnight, before any dancing has been engaged in, the ceremonial dancers enter from two dressing _kozhán_ some two hundred yards east of the corral. These consist of two parties. The first, eight in number, enter in single file, preceded and followed by a man in everyday costume. These dancers, called _Tsa__n__natí̆_, are nude, save for the breech-cloth, with body and face painted in white and black, and the hair hanging loose. Immediately following them are the _Cha__n__zhiní̆_, six in number, accompanied by four keepers, two in front and two behind. The six are nude, the bodies painted solid white with six black stripes encircling them. The hair is painted white and is done up into two long, stiff braids, which project from the sides of the head like a pair of horns. The faces are hideously made up to represent clowns, as indeed their name signifies. In dancing, the Chanzhiní̆ and Tsannatí̆ do not take steps, but shuffle sidewise, locomotion being effected by means of a sort of exaggerated shivering of the legs. This movement is common to Plains tribes in many of their dances. The whole line of dancers proceed with their peculiar motion into the _kozhán_ and around the fire, passing before the patient, the Chanzhiní̆ all the while uttering hoarse, animal-like cries. Their utterances are always coarse and obscene, causing much merriment, which is supposed to aid the patient in casting off his illness. After passing through the _kozhán_ the Tsannatí̆ form in line outside and with their feet keep time to the singing and drumming, while the others break ranks and in a promiscuous throng pass before the spectators, first on the men’s side, then on the women’s. Just before their departure from the corral any woman who feels an indisposition may crouch in their path near the gate, facing the west, and the Chanzhiní̆ one by one leap over her, first from the east, then from the other three directions, ever continuing their hoarse cries.