with the corn held high, and the joyous, fluttering group of dancers
following.

The Life of the Corn culminates in a delight of color, movement and song.


CALLING THE FLOWERS

INTRODUCTORY NOTE.--This dance is derived from a ceremony, observed among
the Indians of the North Pacific Coast, in which the spirits dwelling
beneath the ground are called to come and join those who are dancing. The
dancer who calls the spirits moves with gliding steps, the arms
outstretched, the hands beckoning upward in a gentle, enticing manner. The
grace, dignity and earnestness of this dance linger with the writer as a
beautiful memory after the lapse of many years.

_Properties_.--A green scarf for the Caller. Blue, white and rosy scarfs
for as many dancers as will personate the three Flowers that respond to the
call: Violets, Wild-roses and Daisies. A twisted rope of green to link the
dancing Flowers together in the final dance.

_Directions_.--A clear space will be required large enough for all the
dancers to move about in the final dance. Those who personate the Flowers
should be hidden from view until the time when they are to respond to the
call. In the properties enumerated above, mention is made only of scarfs.
The picturesqueness of the dance would be enhanced if the dancers wore
headdresses shaped somewhat like the flowers and made of appropriate
colored paper; blue or lilac for the Violets, with a touch of yellow; deep
pink or pale red for the Wild-roses, with a little yellow for the stamens;
white with yellow for the Daisies. The twisted rope of green paper should