each group dancing, singing, chanting to the timing of its

own drum the songs of the tribe, or quietly walking to a

grave chanting. Rich and full was the Martin Vigil's fine

voice (as is Conrad Laserlly's today), accompanying

the deep resonant notes of the great Tesuque drum;

followed by an exquisite old Pueblo ceremonial dance;

then the lilt of a Pueblo corn song, a song of green

growing things; joy was in the gay hop of the black

painted bodies of the Sia Crow Dance, strength and

life in the lilting spring and high commanding call of the

Zuni Harvest Dance, against the slow and erect stride

of their women whose heads bear the pots which they

hope to fill with the corn that their religious devotion will

bring. In strong contrast were the Apache dancers,

stepping with quick, sharp turns of the body, like the

movements of a bird, to the staccato timing of their

drum, their huge headdresses whirling with every quick

movement of the head: following came the graceful

Hoop Dancers of Taos followed by the free swinging

rhythms of the bold Hopi clowns.

Through this chorus of drums and singing Indians there

suddenly rang the high clear call of a new drum beat,-

challenging, demanding, insistent! Unbelievably fast, it

carried a warning and an alarm, an excitement to which

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