For the Juaneño Band of Mission Indians, also known as the Acjachemen, feasts were not merely social gatherings; they were deeply interwoven with their spiritual beliefs and cultural identity. At the heart of these celebrations lay dance, a vibrant expression of faith, community, and connection to the supernatural. These dances, steeped in tradition and prescribed by their religious figure Chinigchinich, served as a conduit to the divine and a means of ensuring prosperity and well-being for the tribe. The Juaneño Band of Mission Indians Principal Feasts and Dances were, therefore, central to their way of life.
The significance of these feasts and dances cannot be overstated. They were not occasional events, but rather a constant presence in the lives of the Juaneño people. It was common for the dancing to continue for days, sometimes even weeks, with the entire community participating. This unwavering devotion stemmed from the belief that Chinigchinich himself had instituted these practices, and that active participation was essential for maintaining his favor. Those who neglected these rituals risked divine displeasure and social ostracism. The fervor surrounding these events reflected the deep-seated belief in the power of Chinigchinich and the importance of adhering to his teachings.
Ritual Attire: The Tobet and Beyond
A crucial element of these ceremonies was the elaborate attire worn by the dancers. The most important article of clothing was the tobet, particularly worn by male leaders or puplem. The tobet was a garment crafted from feathers, a symbol of prestige and spiritual significance. While a previous section might have described the tobet, a closer examination of the attire worn during these feasts, including the garments of the women, is warranted.
The male dancers adorned themselves with elaborate headgear known as the emetch, a type of wig secured with a braided band of hair. This wig was then embellished with various feathers, forming a crown or eneat, further enhancing their visual presence.
Female dancers also wore elaborate attire. Their primary garment was the paelt, a petticoat-like covering reaching to the knees, meticulously crafted from the feathers of various birds sewn together. Exposed areas of the body were often painted in vibrant colors, primarily red and black, but occasionally white. The women would also paint their faces, breasts, and arms with a brown varnish, providing a glossy appearance. Completing their ensemble were various ornaments, such as beads and pieces of shells, suspended from their necks.
The Dance: Form and Function
The dances themselves were structured with specific formations and movements. Men and women did not dance together but maintained separate formations. The men typically formed a single file, with the women positioned a few yards behind them in a similar line. The musicians, integral to the ceremony, were seated on the ground in front of the dancers, providing the rhythm and melody that guided their movements.
While some dances incorporated modest and graceful movements, others featured more exaggerated and stylized gestures. The dances could be mesmerizing, but often monotonous, lacking in varied figures or songs. However, the Juaneño people selected individuals from both sexes to act as musical conductors, using an instrument called the paail to create the rhythmic foundation for the dances.
The Panes: A Bird Feast of Profound Significance
Among the various feasts celebrated by the Juaneño, the Panes, or bird feast, held particular significance. This annual event involved the veneration of a large bird, resembling a buzzard or vulture, and was a central act of their religious practice. This is a key component of the Juaneño Band of Mission Indians Principal Feasts and Dances.
The day of the Panes feast was announced the evening before, prompting immediate preparations for the vanquech, the temple or sacred enclosure. Once constructed, the Panes bird was carried into the vanquech in a solemn procession and placed upon an altar specifically erected for the occasion.
Following this placement, a frenzied ritual ensued, with young married and unmarried women running in all directions, seemingly in a state of disarray. Meanwhile, the elder members of the community observed the scene in silence. The puplem, adorned in their painted attire, danced around the revered Panes bird, their appearance described as almost demonic.
After these initial ceremonies, the bird was seized and carried in a grand procession to the main vanquech or temple. The puplem led the procession, dancing and singing as they moved. Upon arrival at the temple, the bird was sacrificed, ensuring that no blood was spilled. The skin, with its feathers intact, was carefully removed and preserved as a relic, intended for use in creating the paelt garment for future festivals.
The carcass of the bird was then interred within the temple, in a hole prepared in advance. Around this burial site, the older women of the tribe gathered, weeping and moaning. As they mourned, they threw seeds and small portions of food onto the burial site, uttering phrases like, "Why did you run away? Wouldn’t you have been better with us? You would have made pinole as we do, and if you had not run away, you would not have become a Panes!"
Following this ritualistic burial, the dancing resumed, continuing for three days and nights, accompanied by the customs and practices associated with their celebrations.
Myths and Beliefs Surrounding the Panes
The Juaneño believed that the Panes bird was once a woman who had fled to the mountains. There, she encountered Chinigchinich, who transformed her into a bird. Despite the annual sacrifice, they believed she would be reanimated and return to her mountain home.
Further complicating the myth, the Juaneño believed that the bird sacrificed each year was the same individual, even though different capitanes in different villages all celebrated the Panes feast simultaneously. This belief, despite the lack of empirical evidence, was deeply ingrained in their culture and reinforced by the teachings of Chinigchinich.
Other Dances and Rituals
Beyond the Panes feast, the Juaneño practiced other distinct dances and rituals. One involved a large bonfire, around and into which the men would jump until the flames were extinguished. During this act, the women would stand at a distance, wailing and moaning until the fire was completely put out. Only then would the dancing commence.
If the fire was not completely extinguished, or if any sparks remained, it was considered a bad omen, signifying impending calamity. Dancing would be postponed, and the community would remain in a state of apprehension.
Another ritual involved the procurement of water from a distant and designated location, brought to the vanquech and emptied into a prepared hole. Members of the tribe would then take turns blowing on the water, uttering expressions that were interpreted as blessings, although they sounded like curses. Following this, they would sprinkle their faces with the water. Women were strictly forbidden from touching the water.
Another dance involved men dancing alone before forming a line. A woman would then step forward, her arms folded across her chest, and dance up and down the line, performing graceful turns and movements. This sequence would repeat with the men and women alternating.
Another variation involved a female dancer performing in a state of near-nudity. While she sang and displayed herself, the community, including men, women, and children, would form a circle around her. This particular dance, also attributed to the teachings of Chinigchinich, was performed only twice a year, outside of the main settlement.
The Introduction of the Puplem’s Son
A special dance was held to mark the public debut of the puplem‘s son, adorned in the tobet. This event was a significant occasion, attracting guests from neighboring villages. The youth would be dressed in the paelt, the feathered robe, and the eneat, the crown. His exposed skin would be painted black and red.
Thus adorned, the young man would begin to dance, holding the paail and keeping time with the music of the singers. The performance would continue until he was exhausted. If he was unable to dance, a puplem would dress in the same attire, place the youth on his shoulders, and dance before the assembly. Following this, a young female relative of the youth, such as a sister or aunt, would disrobe and dance before the gathered crowd.
These various feasts and dances, with their elaborate rituals, costumes, and beliefs, offer a glimpse into the rich cultural heritage of the Juaneño Band of Mission Indians. The Juaneño Band of Mission Indians Principal Feasts and Dances represent not only a form of entertainment, but a profound expression of their spiritual connection to the world around them and the teachings of Chinigchinich. Understanding these practices is essential to appreciating the depth and complexity of Juaneño culture.