Myths of the Cherokee · 66 of 220

Myth 42

THE PHEASANT BEATING CORN; ORIGIN OF THE PHEASANT DANCE The Pheasant once saw a woman beating corn in a wooden mortar in front of the house. “I can do that, too,” said he, but the woman would not believe it, so the Pheasant went into the woods and got upon a hollow log and “drummed” with his wings as a pheasant does, until the people in the house heard him and thought he was really beating corn. In the Pheasant dance, a part of the Green-corn dance, the instrument used is the drum, and the dancers beat the ground with their feet in imitation of the drumming sound made by the pheasant. They form two concentric circles, the men being on the inside, facing the women in the outer circle, each in turn advancing and retreating at the signal of the drummer, who sits at one side and sings the Pheasant songs. According to the story, there was once a winter famine among the birds and animals. No mast (fallen nuts) could be found in the woods, and they were near starvation when a Pheasant discovered a holly tree, loaded with red berries, of which the Pheasant is said to be particularly fond. He called his companion birds, and they formed a circle about the tree, singing, dancing, and drumming with their wings in token of their joy, and thus originated the Pheasant dance.

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Themes

◆Animismcosmology

The doctrine and worldview that natural phenomena, places, and objects possess inherent spirit, soul, or personality — and that the cosmos is populated by countless local, plural, embodied divine agents: kami in mountain and tree, sidhe in cairn and well, landwights in field and stone, nymphs in spring and grove, haltija in forest and lake, lares and penates in household and threshold, Iamblichean daemons in element and place. Distinct from monotheism (single transcendent God), pantheism (one underlying substance), and emanation_hierarchy (cascading single source); animism's signature is the plurality, locality, and embodied-in-landscape character of the divine.

The passage is a quintessential example of animism, depicting a pheasant as a sentient, speaking agent who interacts with humans and whose actions directly explain the origin of cultural rituals.

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◆Cosmogonycosmology

Narratives or doctrines of cosmic origin — how heaven, earth, and the primordial deities first came into being. The Kojiki's deities born alone on the Plain of High Heaven, Voluspo's Ginnungagap, Genesis's tohu wa-bohu, the Timaeus's Demiurge fashioning the Receptacle, the Hesiodic Theogony, the Kalevala's egg-cosmogony, Egyptian Nun-and-Atum. Distinct from emanation_hierarchy (structural-ontological cascade), letters_of_creation (mechanism of creation), and apocatastasis/frashokereti (end-state restoration); cosmogony is temporally-narrative beginning.

The text provides an etiological narrative explaining the origin of a specific cultural institution (the Pheasant dance) and its associated instruments.

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