Tusayan katcinas

by Jesse Walter Fewkes

CLASSIFICATION OF CEREMONIALS

In attempting to make out the annual cycle of ceremonial observances, as determined by observations made during the last three years, I recognize two groups, the differences between which may be more or less arbitrary. These groups are called—

1. The Katcinas.
2. The Nine days’ ceremonials.

The former of these groups, which is the subject of this article, begins with the Katcinas’ return,[15] and ends with their departure (Nimán). It is not my purpose here to do more than refer to the latter group, as a short reference to them may be of value for a proper understanding of the Katcinas.

There are significant likenesses between different members of the series of nine days’ ceremonials, and they may be grouped in several pairs, of which the following may be mentioned:

1. Snake or Flute.[16]
2. Lálakoñti and Mamzraúti.
3. Powámû and Pálülükoñti.
4. Wüwütcímti and Naácnaiya.

The likenesses are built on the similarity of the rites practiced in both members of each pair. The Hopi priests recognize another kinship which does not appear in the nature of the ceremonies as much as in the subordinate parts. Thus, Lálakoñti and Pálülükoñti, Wüwütcímti and Mamzraúti are brother and sister ceremonials, according to their conceptions. This kinship is said to account for certain events in the ceremonials, and friendly feeling manifested between certain societies, but much obscurity envelops this whole subject of relationships.

The term “Nine days’ ceremonies” refers to the active[17] ceremonial days, including those in which the chiefs perform the secret observance and the open dance of the last days. Strictly speaking, the ceremonial smoke to determine the time is a part of the observance, and from this date to the final public exhibition there are sixteen days, a multiple of the omnipresent number four.

Some of the Katcinas have nine days of ceremonials, counting the assembly and the final purification.

The inception of the ceremony is called tcótcoñ yüñya, smoking assembly, in which the chiefs (moñ′⁠mowitû) meet together in the evening at a prescribed house. The meeting places are as follows:

Tcütcüb (Snake-Antelope fraternity)	Snake chief’s mother’s house.
Mamzraú	Sálako’s.
Lálakoñ	Kótcnümsi’s.
Soyáluña	Vénsi’s.
Wüwütcím	Tcíwüqti’s.
Lénya (Flute)	Talásvensi’s.
Nimán	Kwümaletci’s.

On the day following this smoke the speaker chief (tcaákmoñwi) at early sunrise announces to the public that the ceremony is to begin, and to the six direction deities (nananivo moñ′⁠mowitû) that the priests are about to assemble to pray for rain. Eight days after the announcement the chiefs gather in the kiva, and that day is called yüñya, assemblage, but is not counted in the sequence of ceremonial days. The first ceremonial day is Cüctála, after which follow the remaining days as already explained in my account of the Snake ceremonials. Counting the days from the commencement, the Snake, Flute, Nimán, Lálakoñti, and Mamzraúti are always celebrated in extenso sixteen days, or nine days of active ceremonies, as shown in articles elsewhere. When Naácnaiya is not celebrated, Wüwütcímti, Powámû, Soyáluña, and Pálülükoñti are abbreviated to four days of active ceremonials.

The following diagnosis may be made of these great nine days’ ceremonials: Duration of the ceremony, nine consecutive days and nights; no masked dancers in secret or public exhibitions; no Katcinas; no Tcukúwympkiyas.[18] Altars and sand mosaics generally present. Individual ceremonials either annual or biennial, but in either case at approximately the same time of the year; sequence constant. Típoni[19] generally brought out in the public dance. Many páhos,[20] ordinarily of different length (Snake, Flute, Lálakoñti, Mamzraúti), to deposit in shrines at varying distances from the town. Ceremonial racing, generally in the morning of the eighth and ninth days.

The following are the important nine days’ ceremonies:

1. The Antelope-Snake celebration, alternating biennially with the Lélenti or Flute observance.

2. The Lálakoñti. This ceremony lasts nine days and as many nights, and is celebrated by women. The details of the celebration at Walpi in 1891, together with the altars, fetiches, and the like have already been published.[21] It has some likenesses with the Mamzraúti, which follows it in sequence. There are four priestesses, the chief of whom is Kótcnümsi. Three típonis were laid on the altar in the celebration of 1891, although it is customary for each society to have but one típoni, which, with the other paraphernalia, is in the keeping of the chief priest.

Fig. 39—Tablet of the Palahíkomana mask.

3. The Mamzraúti. This ceremonial has likewise been described.[22] In some celebrations of this festival girls appear with tablets on their heads personifying maids called Palahíkomanas. In 1891 these personages were represented by pictures[23] of the same on slabs carried in the hands of girls. In this way the variations of their celebrations in different years may be explained; sometimes women are dressed to impersonate the Palahíkomanas, at others only pictures of the same are carried.

BUREAU OF ETHNOLOGY.

FIFTEENTH ANNUAL REPORT. PL. CIV.

DRAWN BY MARY M. MITCHELL.

A. HOEN & CO., LITH.

4. The Wüwütcímti. The Naácnaiya, of which this is an abbreviated observance, has been described.[24] One of the most prominent events is the ceremonial making of the new fire; and as this is in a measure distinctive of these two, it is proper to designate them the New Fire ceremonies.

In essentials the Naácnaiya and the Wüwütcímti are the same, but the former appears to be of less constant appearance and more complicated. In it, as elsewhere described, the statuette of Talátumsi is brought into the pueblo, but in the abbreviated form offerings are made at her shrine down the trail. During the making of the new fire Ánawita,[25] personifying Masauwûh, is hidden behind a blanket held by two assistants.

The second group, called the Katcinas, which may be divided into two smaller divisions, known as the elaborate and the abbreviated, fills out the sequence of religious ceremonials between the Soyáluña and the Nimánkatcina. These celebrations are distinguished from those of the former group by the presence of masked personages to whom is given the name of Katcinas. By the use of these masks or helmets the participant is supposed to be transformed into the deity represented, and women and children avoid looking at Katcinas when unmasked. The main symbolism of the deity is depicted on the helmet or head, and varies in different presentations, but the remaining paraphernalia is constant, whatever personage is represented.[26]

The mask (kü′ĭtü, head) is often addressed as íkwatci, “my friend or double.” Prescriptively it must be put on and taken off with the left hand.[27] It is of helmet shape, fitting closely to the head and resting on the shoulders. These masks or helmets are repainted at each presentation with the symbolism of the personage intended to be represented. They are ordinarily made of leather, portions of boot legs or saddles, and in one or two instances I have found on their inside the embossed or incised markings characteristic of Spanish saddles. Old felt hats are sometimes used in the manufacture of the simpler masks and those of the mud-heads are of coarse cloth. Few of the helmets now used give evidence of very great antiquity, although some are made of the skin of the bison. One can seldom purchase these helmets, as their manufacture is difficult, and instead of being discarded after use in one ceremony they are repainted for other presentations.

There is a similar uniformity year by year in the time of the celebration of the extended or elaborate Katcinas called Nimán, Powámû, Pálülükoñti, Soyáluña, and the Pa or Katcina’s return. Their sequence is always the same, but in the abbreviated Katcinas or masked dances this uniformity is not adhered to. A certain number of these are celebrated each spring and summer, but the particular abbreviated Katcina[28] which is presented varies from year to year, and may or may not be reproduced.

While Katcinas or masked dances do not generally occur during the interval of the nine days’ ceremonials (autumn and early winter), I have notes on one of these which indicate that they sometimes take place in this epoch.

On September 20, 1893, a Katcina called Áñakatcina[29] was performed in Hano after the Nimán had been celebrated in Walpi. Theoretically it would not be expected, as the farewell Katcina is universally said to be a celebration of the departure of these personages to their distant home, an event which does not occur at Hano. It would be strange if later observations should show that Katcinas are celebrated in other villages between the departure and return of these personages.