Ethnological Notes
Morris Opler
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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.]
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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.
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Ethnological Note 3
This rule has been greatly relaxed, but is still
somewhat in force. Informants claim that it used to be strictly maintained.
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Ethnological Note 4
The people are advised, at the entrance of the masked
dancers, to lower their eyes and pray.
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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.
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Ethnological Note 6
The prohibition against calling out the name of a masked
dancer whom one recognizes is still observed.
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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.
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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.
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Ethnological Note 9
A periphrastic reference to the shaman's power or spirit
guide.
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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]
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Ethnological Note Ethnological Note
That is, they tried in vain to feel at ease and enjoy
the ceremony.
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Ethnological Note Ethnological Note
These are the true supernaturals of the mountain.
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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.
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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.]
