University of Virginia Library

Ethnological Note 1
////The Mountain Spirits are a race of supernaturals who dwell within the interiors of many mountains, according to Chiricahua Apache belief. There they are said to live and conduct their affairs much as the Apache used to do in aboriginal times. The Mountain Spirits conduct a dance and ceremony in which some of their men are masked and appear with their bodies painted in various patterns. Occasionally an Apache is fortunate enough to have a supernatural experience with the Mountain Spirits of a particular mountain, to witness the performances of these masked supernaturals, and to be instructed in the songs, designs, and prayers which belong to the rite. After this Apache returns to the world outside, and to his own people, he masks and paints Apache men in imitation of the supernaturals he has seen, and sends them out to dance at times of widespread sickness or impending disaster. This procedure or rite is expected to establish rapport between the shaman and the original supernaturals from whom he gained his power, and to enlist the aid of the Mountain Spirits in the emergency which confronts the encampment.

////Formerly, as this text and others which follow indicate, the real Mountain Spirits sometimes came out upon this world in person to punish those who have profaned their rite or to succor Apache in need of their assistance. Now it is said that only those appear who are "made" or dressed in imitation of the true Mountain Spirits. These Apache masked dancers, however, are called gáͅhé, just as are the masked supernaturals of the mountains. [See also Ethnological note to Chircahua text 40, note 1 and following.]

Ethnological Note 2
Formerly, the masked dancers were not "made" within the encampment, but had to be painted in an enclosure constructed in the mountains. From there they would march down the slope in single file, sometimes carrying firebrands.

Ethnological Note 3
This rule has been greatly relaxed, but is still somewhat in force. Informants claim that it used to be strictly maintained.

Ethnological Note 4
The people are advised, at the entrance of the masked dancers, to lower their eyes and pray.

Ethnological Note 5
To "bless the fire" [The original phrasing "they worshipped the fire" has been changed to "they blessed the fire". Neither is a close match for the full meaning of the Apache phrase in context; but the change is made to answer the objections of many Apache people to the primitivistic, and inaccurate, connotations of the former--MEC] the masked dancers approach it in single file from the east, swaying their arms and bodies, and emitting, when near the flames, a cry peculiar to them. Then they shuffle backwards without turning, circle the fire clockwise, stop at the south and repeat the worship from the south side. This is done from each dir- ection, continuing in the sunwise ceremonial circuit. The "worship" described is the standard method by which the masked dancers purify any place, object, or person, and drive away disease and evil. A sick person who is being ceremonially treated by the masked dancers is approached from the four directions in the same manner.

Ethnological Note 6
The prohibition against calling out the name of a masked dancer whom one recognizes is still observed.

Ethnological Note 7
A shaman, since he is in direct communication with the source of his supernatural power, is often said to be aware of whatever anyone is saying or thinking about his power or his rite.

Ethnological Note 8
The shaman probably sang the songs of the rite in order to learn the fate of the child. His attempts at intercession on her behalf, to judge by analogous tales that have been gathered, were probably extempore prayers.

Ethnological Note 9
A periphrastic reference to the shaman's power or spirit guide.

Ethnological Note Ethnological Note
This motif of protection by being hidden beneath a fire occurs in other connections. It will be remembered that Child of the Water was preserved from the Menace by this means. [See Chiricahua text 1]

Ethnological Note Ethnological Note
That is, they tried in vain to feel at ease and enjoy the ceremony.

Ethnological Note Ethnological Note
These are the true supernaturals of the mountain.

Ethnological Note Ethnological Note
The Gray One, when the masked dance is held as a spectacular part of a feast or celebration [as occurs in connection with the Girl's Puberty Rite] acts the part of a clown. Then he awkwardly imitates his fellow-dancers and performs for the amusement of the on-lookers. In the myths, and when serious work such as curing is at hand, however, his role is entirely changed. He becomes a most important source of supernatural power, and by many, as by the narrator of this story, is considered the most potent masked dancer of the rite.

Ethnological Note Ethnological Note
The masked dancers are associated with directional-color symbolism. Ordinarily four masked dancers and the clown are "made" by one man. The leader, the one who heads the single file of dancers, is called the Black Mountain Spirit of the east. Next comes the Blue Mountain Spirit of the south, the Yellow Mountain Spirit of the west, and last the White Mountain Spirit of the north. Occasionally, as in this story, the clown or Gray One is substituted for the White Mountain Spirit and then takes his place as representative of the north. The association of colors and directions noted above is the one most commonly encountered in Chiricahua ritual. Due to the extremely individual character of religious experiences, however, variations are possible and do occur. [See text Chiricahua text 42 and Ethnological note 2 to the English translation of that text.]