. Bulletin. Ethnology. 128 SYIMPOSIUM ON IROQUOIS CULTURE [B. A. E. BuU. 149 the repetition of each song the Onondaga turn toward the center for a few measures. The Seneca men and women, in alternate array, follow a serpentine course when the leader is Albert Jones, the Chero- kee dance enthusiast. Albert is the singer of the antiphonal chant in figure 6. To his "hoyowine" Chancey responds with a brief "; A shorter ver- sion of this same tune has been recorded by Cayuga George Buck in his Com Dance cycle and by Cayuga Willie Jolm as an Oklahoma Stomp song (fig. Id). Wi
. Bulletin. Ethnology. 128 SYIMPOSIUM ON IROQUOIS CULTURE [B. A. E. BuU. 149 the repetition of each song the Onondaga turn toward the center for a few measures. The Seneca men and women, in alternate array, follow a serpentine course when the leader is Albert Jones, the Chero- kee dance enthusiast. Albert is the singer of the antiphonal chant in figure 6. To his "hoyowine" Chancey responds with a brief "; A shorter ver- sion of this same tune has been recorded by Cayuga George Buck in his Com Dance cycle and by Cayuga Willie Jolm as an Oklahoma Stomp song (fig. Id). Willie John, of course, brought it from Okla- homa. George Buck learned the Corn Dance from Jesse Cornplanter of Tonawanda, originally from Cattaraugus. Chancey migrated from Cattaraugus to Allegany and taught the songs to his musical progeny. Despite the possible common origin, the Seneca and Cayuga-Onondaga repertoires are not exact replicas, beyond the introductory chant and a few key songs. Stomp Dance {Figure 1) The various features of the Corn Dance pertain to the large problem of the so-called Stomp Dance. This ambiguous term refers in the first place to a large class of dances which plod along a countersunwise course with a rapid, springy, stamping shuffle, like the Bear and Corn Dances. Specifically it applies to an antiphonal follow-the-leader circuit called ga'da'sot (S.) or ga'da'trot (C.) or ga'da'tseta (Oa.) This former Warriors' Standing Quiver Dance (Fenton, 1942, pp. 30- 32) is now a ceremonial ice breaker and draws large numbers of men, women, and children into its ranks. At Sour Springs it usually segre- gates the sexes; at Onondaga and Allegany it alternates them, as in the Corn Dance. Its simple and insistent tramping calls forth even the most unskilled. Without any instrumental accompaniment, four Cherokee Corn. FiQUEE 7.—Stomp Please note that these images are extracted from scanned page images that may have been digitally enhanced for readabilit
Size: 2301px × 1086px
Photo credit: © Library Book Collection / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1900, booksubjectethnolo, bookyear1901
