Also when hunting deer he imitates their grunt, and two hunters on the same track carry guns on their shoulders to resemble the animal's antlers. Zuni hunters after deer wear cotton shirts with the sleeves rolled up to the elbow, the back and front of the shirt being coloured so as to represent the animal's body, the arms stained to represent the deer's forelegs. Head and antlers are carried on the shoulders, and the stalkers approach the game, browsing as they go.
Out of the simple imitation of animal motions and cries for the purpose of decoy, the dance grew more complicated, with wild whirling figures and elaborate dresses and masks. From a useful and necessary disguise for purposes of obtaining food, the wolf-robe and mask became, in unscrupulous hands, an instrument for personal aggrandisement and gain through intimidation. The hideous animal-mask was first used as a shield or protection for the face in defence against the onslaught upon an opposing force. Then it became an instrument with which to inspire terror and fear in those who beheld it from the point of view of its ugliness or frightfulness, and finally it was worn as a device or symbol of superhuman agencies. At this stage it formed an integral part of the paraphernalia used in religious performances, and when worn during ceremonial the wearer became imbued in some mysterious manner with the spirit of the being represented by the mask.
To gain the characteristics of an animal a wizard attached crow and owl plumes to his head, that he might have the eyes of a crow and quickly become aware of the approach of man, or of the owl that he might travel by night.
A Zuni man, hearing the hoot of an owl, yet recognising it as human, discovered one of his own race hidden in the thicket. "Ah," he cried, "why do you wear those plumes upon your head? Aha! you must be a wizard!"
The Omaha coyote dance is performed by warriors to keep up their spirits. Each dancer wears an animal skin, and imitates the action of a coyote, trotting and glancing round. In dance and song the performers imagine themselves to be transformed into the animal. In the Omaha buffalo dance, four men are attired in great shaggy skins, the horns above their heads and the hair hanging down below the chest. Other dances are in imitation of wolves, grizzly bears, horses or tigers.
Pawnees dance the bison dance in war habit and with bison skins and horns over their heads. The Creeks dance similarly, uttering sounds in imitation of the bison, their bodies bent almost double and two staffs being held to represent the animal's forelegs.
The initiation day has at its root the idea of transforming the man into a member of the kin by giving him a share of the nature of the animal. Dances may give magical power over the animal to be chased, and are performed before a hunting expedition. In the dance the animal goes down before the onslaught of the hunter, and so the real animal, it is hoped, will fall a victim to his weapons. Dances after hunting are of a protective nature, so that the soul of the slaughtered animal may have no evil effect upon the slayer. Another form of animal dance is performed with a view to increase the number of animals. Among the Mandan Indians, for instance, an animal festival is held, at which a man, painted black to represent the evil one, enters a village from the prairie, chases and terrifies the women and acts the part of a buffalo in a dance which is intended to ensure a good supply of this valuable animal during the year to come. Other American tribes have a similar masquerade, in which males, dressed in buffalo skins, take the part of male buffaloes and the females personify the female animals, with a view to bringing about an increase of the species.
Legendary animals, or spirits, are also represented in the elaborate masked pantomimes of the Indian tribes in North West America. The explanation given by the natives is that the ceremonial was instituted in ancient days when man had still the form of an animal; and before the great transformer had given him a distinctive shape. This ceremonial, performed by man-animals, is a dramatised form of myth, in which the actors attempt to reproduce certain trance-states by sympathetic mimicry.
The Eskimos of Bering Strait perform remarkable dances in which curious mythological beasts, said to inhabit sea and land, become visible and occasionally play a part. Strange forms, probably of known animals modified and adapted, are conjured to appear. The dance is based on the old belief that in the early days all animate beings had a dual existence, choosing to be men or animals as the will prompted them. If an animal wished to be transformed into a man, the body was drawn erect and the foreleg or wing was raised so that it pushed up the jowl or beak, and thus changed the form and features into something more manlike. It is still believed by these races that animals have this power, and the form taken is called inua and represents the psychical part of the creature, at death appearing as its shade. The wizards are said to have the power of piercing the animal mask and recognising the human features it conceals.
Masks may also represent totemic animals, and the dancers are then transformed into these special creatures, or at least are moved by their spiritual essence.