The Smoki People Dance Again

Dedicated to perpetuate the social and religious customs, the legends and dances of the North American Indians, the Smoki People of Prescott have gained world wide fame through their brilliant Ceremonials. The white residents of the Yavapai county seat per form their rites with beauty and authenticity.

The Smoki People DANCE AGAIN 21ST ANNUAL SMOKI CEREMONIALS AT PRESCOTT SUNDAY, AUGUST 3

EUROPE has its Passion Play of Oberammergau, preserving for the world the deepest significance of Christianity. Asia has its Story of Fatima, the Miracle Play of Islam embodying the most cherished beliefs of the Mohammedans. America has its Smoki Ceremonials, staged by the white men and women of Prescott, Arizona, to perpetuate the social and religious customs, legends and dances of another great people the North American Indian.

Sunday at sundown, August 3rd, 300 pairs of moccasined, dancing feet will rhythmically beat the smooth, hard-packed, earthen floor of the Smoki Ceremonial Grounds in Prescott, beginning the 21st annual pre sentation of another beautifully significant group of Indian sagas and dances. To stir ring native tom-tom rhythms, white men, painted and garbed as Indians, with complete abandon grasp live, writhing snakes in their bare hands and mouths-whirling, chanting, straining every fiber of their bodies as the Ceremonials reach their climax in the last of the rites the world-famous Smoki Snake Dance. The thousands who yearly witness the Smoki Snake Dance are thrilled by this breath-taking spectacle.

Yet, strangely enough, these unique and impressive Ceremonials which today focus the attention of the world upon an almost sacred memorial staged in the heart of the virgin pine forest wherein lies Prescott, Arizona, had their beginnings in 1921 when a lively bit of entertainment was needed to round out a Traders' Day celebration.

At that time, an enterprising citizen of the Mile-High city suggested burlesquing the colorful dances of the local redskins. In the audience laughing at the gaucherie of that burlesque, were a few Prescott citizens who detected the potentialities for beauty and reverence in this travesty.

Then and there to preserve, to re-vitalize, and immortalize the religious beliefs, customs, music, dances and literature of a noble people, they created the Smoki Clan pledged to incessant research in the written and unwritten histories of the Southwestern Indian.

Toward this end they have worked for 21 years. Now, once a year, early in August, they give the world this strange and beautiful digest of the best their studies have uncovered. That group of six or eight originators has grown to an active participating membership of more than 300 men and women. Today, scattered over the world, there are hundreds of others who have participated in the dances of the Smoki People since the Clan originated. All of these bear the identifying "honor mark" a tiny tattoo mark, like the fang of a snake, on the side of the hand. This is an everlasting indication that the wearer has danced with the Smoki People.

Nowhere else has a group of people from one race devoted months and years of time, energy and thought to the preservation of the culture of another.

Preceding the Ceremonials they devote months of diligent research in libraries and museums of the Southwest, spend endless hours in discussion with the chieftains of the tribes whose dances will be produced.

Early in the year, the Smoki people start assembling and making the expensive cos-tumes and paraphernalia they will need. Sea shells must be brought from the Gulf of California, because Indian legend says they have a significance in the dances; that they must be worn tied below the knees as a rattle because they have the power to bring rain and good things.

Strings of rabbit skins must be secured, because Indian symbolism says these typify death, and so are an important part in the dances of the hunt.

Bunches of pine must be gathered, because the redman's lore says they signify ever-lasting life. Grotesque and costly masks, such as those which will be used in this year's Buffalo Dance, are painstakingly perfected. The Smoki make most of their costumes and do all the work of production possible for them to do. Much of the cost is borne by the members themselves be-cause the meager profits from the Ceremonials are turned back into the organization to be utilized to make certain that the culture of the Indian Race will live forever. A substantial part of each year's meager receipts must go into the purchase of the bronze-colored paint which covers the half-naked bodies of the dancers. The problem of "makeup" is one with which the Smoki People contended for years before it was finally solved after consultation and study with the famous Max Factor of Hollywood who developed a special preparation, duplicating the exact dusky color of the real redman's skin, and which would withstand the sweat and wear of two hours of vivacious movement.

cause the meager profits from the Ceremonials are turned back into the organization to be utilized to make certain that the culture of the Indian Race will live forever. A substantial part of each year's meager receipts must go into the purchase of the bronze-colored paint which covers the half-naked bodies of the dancers. The problem of "makeup" is one with which the Smoki People contended for years before it was finally solved after consultation and study with the famous Max Factor of Hollywood who developed a special preparation, duplicating the exact dusky color of the real redman's skin, and which would withstand the sweat and wear of two hours of vivacious movement.

Another major item of expense each year is the creation of specially designed wigs. As an illustration, a single wig for a Snake Dance Priest costs $80.00. Steadily week after week, month after month, funds are raised, problems are solved and preparations proceed. As the Ceremonial evening nears, more and more time is demanded for rehearsals of the intricate and varied steps. In the several weeks preceding the big night the Smoki People meet four or five evenings a week to spend strenuous hours perfecting the rhythms and movements of the many dances that are given. They are self-taught. They have no dance master at their beck and call to expla'n the movements and direct their hesitating feet. Their path to mastery of the split rhythm of the Indian and his muscletrying multitude of steps is one of vast study, repeated attendance at dances given by real Indians throughout the Southwest, weary months of practice and above all, a resolute determination to re-enact the dances of a dying race with complete authenticity and respect.

The 1941 rites, dedicated to the Pueblo and Plains Indians, are centered around the importance of the horse in the lives of the first Americans. The Ceremonials will show how the horse, introduced through Mexico by the Spaniards of Cortez' time, has affected the Indian's mode of warfare, travel, food, hunting and the very nature of his race. They will portray how the horse, in helping to bring

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