Tarahumari hikuli-feasts are held at other times also. The women grind the plants with water on a metate into a thickish brown liquid. The dancing-patio is carefully swept with a straw broom and several crosses are planted, and near one of these the peyote is piled with jars of “tea” and tesvino, baskets of unsalted tamales and bowls of meat and “medicine.” A large fire is built with logs in an east-west position and hikuli and yumari are danced all night.[46] Near the shaman and his assistants who sit west of the fire is a leaf-covered hole into which they carefully spit; the olla-cuspidor of the men to one side and the women to the other is passed around and emptied here also. With a drinking-gourd rim the shaman makes a circle on the ground and in it the right-angled cross of the world-symbol. Then he inverts a gourd over a hikuli placed on the cross, as a resonator for his rasp; hikuli enjoys this music and manifests his strength by the noise produced.[47] The shaman’s headdress is of bird-plumes, which prevent the wind from entering and causing illness; through them the birds impart to him all their wisdom. The assistants, of both sexes, carry incense bowls of copal, kneeling and crossing themselves at the cross, and then pass out the peyote.[48] At times the shaman dances, at times his assistants, and women may dance either separately or simultaneously with the other men participants. The bare-footed men are wrapped to the chin in white blankets; the women wear clean skirts and tunics. The clockwise dancing (with a turn of the body at the shaman’s place) consists in a “peculiar quick, jumping march, with short steps, the dancers moving forward one after another, on their toes, and making sharp, jerky movements, without, however, turning around.” The men have deer-hoof sonajas, and the rasping and singing are continuous save when the shaman politely excuses himself to the fetish hikuli; others must also ask permission to leave the patio. In the intermittent dancing they beat their mouths with the palm imitating hikuli’s talk, or cry “Hikuli vava! (Hikuli over yonder!)” in shrill falsetto.[49]