Another figure prominent in Yaqui social - cultural - religious life is the Pascola Dancer (pahko'ola -old man of ceremony). Strong evidence points to the existence of the Pascola Dancer before the coming of the Spanish and the Jesuits. He fills many different roles in the daily lives of the Yaquis - singer, dancer, historian, teacher, story teller, host at social gatherings- all of these and more are parts played by the Pascolas. He can at various times be serious or comic, bawdy, or learned, depending upon the function that he is fulfilling.

     Pascolas are called to the role usually by a dream or vision. Often boys will apprentice themselves to other Pascolas to gain experience. One of the most notable features of the Pascola's persona is his mask. Originally most of the masks were representative of goats because of the close relationship of the Pascola with the animal world. As time went on masks took on human facial characterizes or that of the animals. Quite often there will be snakes, lizards or other animals painted on the sides of the mask. Originally when a boy or man felt called to become a Pascola he carved his own mask. More recently he might turn to one who has become more skilled at carving and decorating to produce a mask for him.

     The mask can be used in two ways depending upon the situation. Sometimes it is worn to cover the face, other times it is worn on the side or the back of the head. Because explanations given by a people or sect to outsiders sometimes do not always convey the true meaning of the act or belief, i will mention several circumstances determining the location of the mask. When dancing as a human being, the mask is worn on the side or the back of the head. When dancing as an animal spirit, the mask covers the Pascola's face. Or when dancing to the music of the old traditional instruments, the flute and the drum played by one musician called a tampaleo. The mask is worn covering the face while when dancing to the harp and the violin the mask is on the side or the back of the head. On some occasions, such as wedding and baptisms he wears no mask, but does have the other symbols of his role - the coyole belt, senasum rattle and the teneboims leg rattle.

     the coyole is made of heavy leather with metal bells attached. The senasum is a wooden rattle using metal discs mounted on pegs. Often they are decorated with colored crayons or designs etched or burned into the sides. The ones most desired are those that have metal discs cut from old cymbals as they produce the richest sounds. The temeboims are made up of the cocoons of a desert silk moth into which have been inserted pebbles or several large grains of sand. These are then strung into long strands and wrapped around the legs so as to produce a rattling sound when moved. These all provide the Pascola with the means of providing a great deal of his own rhythm as he dances or moves.

     Pascolas appear throughout the Lenten ceremonies both with the Deer Dancer and at other times without. He and the Deer Dancer and some of their musicians are figures in the Lenten pageant who were part of the Yaqui beliefs before the coming of the Spanish.