The Tablita or Corn Dance

The question of physical condition is one less dependent upon diet than the mode of life which renders general development a result, No better test of a high grade of physique could be found than the prolonged and fatiguing dances, lasting for the greater part of as day, indulged in at all of the pueblos. I have witnessed three of these great dances and several minor ones. At San Domingo, August 12, 1890, 200 dancers, male and female, participated, led by 2 choruses, each of 40 male voices. This display being regarded the finest to be seen among pueblos, with the exception of that at Zuñi, I confine my description to the dance as I saw it there, with occasional allusions to those of Santa Clara and Laguna.

The Tablita or corn dance has for its purpose supplication for rain. Most of the choruses chanted by the attendant musicians are invocations to the clouds. The tablet worn by the women upon their heads is figured with the scalloped lines of cumulus clouds, and on either side, and between them a bolt of lightning. In common with many of the old Indian rites among the Pueblos, this also has been utilized by the Catholic Church and made to serve for the support of a church ritual. Early in the day mass is said in the church and a sermon preached. The body of the congregation at these services is usually composed, of visiting Mexicans, the Indians maintaining an indifferent and fluctuating attendance. Throughout the village meanwhile active preparations are in progress for the dance. Feasting and bartering are at their height. Every door is open and food spread, and a welcome ready for any comer. The religions services being ended, unrestrained freedom is proclaimed by the irregular discharge of a dozen muzzle-loading army rifles, and immediately after the statue of the patron saint, a relic of early Spanish art, is hurried at quickstep, to the notes of a violin, from the temporary booth, which in San Domingo, serves in place of the church, to a shrine formed of green boughs and lined with blankets set up in a plaza, Here o it is deposited amid another volley from the muzzle loaders, and the assembly disperses.

In the 2 great estufas of the village most active preparations have been in progress, A descent into one of the se greenrooms was permitted me at Santa Clara. Ascending as ladder to the fiat roof of the estufa, we approached the open skylight in the center, whence issued from below a chorus of voices accompanied by a drum. With uncovered head I followed my guide down the almost perpendicular rungs of a lingo ladder, and stood upon the hard, clay floor of the Indian council chamber. The apartment is 40 feet square, unfurnished save by the adobe fireplace placed beneath the skylight and a few poles suspended from the rafters, upon which hang the garments of the dancers. In the cool tenement, thinly lighted, the athletes move to and fro, perfecting their ensemble with grave deliberation. Neither haste nor confusion is noted; conversation is indulged in sparingly and in low tones. Young lads are given assistance now and then, though this is never asked.

The naked body is first covered with a thin glaze of clay mud, rubbed smoothly over the body many, times more than is necessary to effect an evenly laid ground. This massage lubrication being indulged to the full sensuous delight of the subject he finally stands forth red, yellow, or blue, These under colors are important as designating the line which one is to occupy in the dance; the sriperdecoration is largely a matter of fancy. From the knee to the instep may be repainted another color, but the body and arms are never touched save by bands of ocher, which are here admissible. The face from the outer corner of the eyes and over the cheekbones is clashed with vermilion.

Upon the body thus decorated the details of the scanty costume are applied. Small bunches of red, blue, and yellow feathers are tied to the forelock and fanlike a bang over the eyes. The hair, glossy from its recent washing with soapweed, is freed from its queue bindings and falls at fall length. Around each biceps is bound a bracelet of woven green worsted, 3 inches wide, The waist is covered with a light, white cloth, often a flour sack, the brand rendered available as decoration. Over this, falling from the hips, hangs a narrow woven pouch supporting long strings, each ending in a small ball and reaching to the ankle. From the buttock to the ground trails the skin and tail of a silver gray fox. Below the knee a band of goathide is tied with goat and pig hoofs or tiny sleigh bells attached. The feet are moccasined, the heels fringed with wide tufts of deerhide. Necklaces of coral, turquoise, mother-of-pearl, and silver beads, and sprigs or cedar introduced in the belt and armlets complete the costume.

While the principal actors are thus being made up, the leader of the chorus, squatted upon the ground and surrounded by his 40 singers, is leading a final rehearsal. Again and again is the intonation criticized and the gestures practiced. The magic influence of deep-toned harmony makes rapid impress upon susceptible natures. In rapt gaze the coal black eyes flash with lustrous fire, nostrils dilate, the gleam of handsome rows of teeth breaks out now and then with an expression of ecstasy which captures the entire figure, heads are swaying from side to side, and lips drool in the happy frenzy which has overtaken the group. But the master, like the typical leader of music the world round, is unmoved, displeased, despotic. To the singers, led by the rapid and changeless bass drum beat, the chants they are practicing seem to possess almost electrifying power.

Now come rain! Now come rain!
Fall upon the mountain; sink into the ground.
By and by the springs are made
Deep beneath the hills.
There they hide and thence they come,
Out into the light; down into the stream.

The arms are extended above the head, the fingers are given a fluttering motion, and the hands slowly lowered. This is frequently repeated. A violent storm and slanting rain, the rush of a tornado and lightning dashes are occasionally indicated, but the gentle rain with its sweeping motion seems to be the favorite.

Another chorus is thus translated:

Look to the hills! Look to the hills!
The clouds are hanging there,
They will not come away;
But look, look again. In time they will come to us
And spread over all-the pueblo.

Another chorus, which is the main one daring the entire day, is as follows:

Look at us! Look at us!
Notice our endurance!
Watch our steps and time and grace,
Look at us! Look at us!