The Easter ritual of the Yaqui Indians in Arizona is nearer than most other Indian ceremonials, in concept and impact, to the ritual of the theatre. Even that celebrated paradigm of American Indian observances, the Corn Dance of Santo Domingo Pueblo in New Mexico, whose power to move the spectator has been lauded by artists and anthropologists alike, must, in several elements of theatre, allow precedence to the Yaquis.

A progression of action, from a beginning situation to a development of forces and finally to an inevitable resolution, is implemented by the Yaquis, while this dramatic progression neither prevails nor is it called for in the Pueblo. Besides, an interweaving of several themes and of group and individual characters is masterfully demonstrated in the Yaqui ceremonies. A distinctive style also emerges; and it is based in unique ways upon features of the Indian and the Spanish styles.