Zuñi Folk Tales

by Frank Hamilton Cushing

That’s what happened a great while ago. And for that reason whenever a Coyote sees a bait of meat inside of a stone deadfall he is sure to stick his nose in and get his head mashed for his pains.

Thus shortens my story.

Photo by A. C. Vroman

A DANCE OF THE KÂKÂ

HOW THE COYOTES TRIED TO STEAL THE CHILDREN OF THE SACRED DANCE

IN the times of the ancients, when our people lived in various places about the valley of Zuñi where ruins now stand, it is said that an old Coyote lived in Cedar Cañon with his family, which included a fine litter of pups. It is also said that at this time there lived on the crest of Thunder Mountain, back of the broad rock column or pinnacle which guards its western portion, one of the gods of the Sacred Drama Dance (Kâkâ)[13], named K’yámakwe, with his children, many in number and altogether like himself.

[13] The Kâkâ, or Sacred Drama Dance, is represented by a great variety of masks and costumes worn by Zuñi dancers during the performance of this remarkable dramatic ceremony. Undoubtedly many of the traditional characters of the Sacred Drama thus represented are conventionalizations of the mythic conceptions or personifications of animal attributes. Therefore many of these characters partake at once of the characteristics, in appearance as well as in other ways, of animals and men. The example in point is a good illustration of this. The K’yámakwe are supposed to have been a most wonderful and powerful tribe of demi-gods, inhabiting a great valley and range of mesas some forty miles south of Zuñi. Their powers over the atmospheric phenomena of nature and over all the herbivorous animals are supposed to have been absolute. Their attitude toward man was at times inimical, at times friendly or beneficent. Such a relationship, controlled simply by either laudatory or propitiatory worship, was supposed to hold spiritually, still, between these and other beings represented in the Sacred Drama and men. It is believed that through the power of breath communicated by these ancient gods to men, from one man to another man, and thus from generation to generation, an actual connection has been kept up between initiated members of the Kâkâ drama and these original demi-god characters which it represents; so that when a member is properly dressed in the costume of any one of these characters, a ceremony (the description of which is too long for insertion here) accompanying the putting on of the mask is supposed not only to place him en rapport spiritually with the character he represents, but even to possess him with the spirit of that character or demi-god. He is, therefore, so long as he remains disguised as one of these demi-gods, treated as if he were actually that being which he personates. One of the K’yámakwe is represented by means of a mask, round and smooth-headed, with little black eyes turned up at the corners so as to represent a segment of a diminishing spiral; the color of the face is green, and it is separated from the rest of the head by a line composed of alternate blocks of black and yellow; the crown and back of the head are snow-white; and the ears are pendent and conical in shape, being composed of husks or other paper-like material; the mouth is round, and furnished with a four-pointed beak of husks, which extends two or three inches outward and spreads at the end like the petals of a half-closed lily; round the neck is a collar of fox fur, and covering the body are flowing robes of sacred embroidered mantles, which (notwithstanding the gay ornaments and other appurtenances of the costume) have, in connection with the expression of the mask, a spectral effect; the feet are encased in brilliantly painted moccasins, of archaic form, and the wrists laden with shell bracelets and bow-guards. When the long file of these strange figures making up the K’yámakwe Drama Dance comes in from the southward to the dance plazas of the pueblo, each member of it bears on his back freshly slain deer, antelope, rabbits, and other game animals or portions of them in abundance, made up in packages, highly decorated with tufts of evergreen, and painted toys for presentation to the children. In one hand are carried bows and arrows, and in the other a peculiar rattle or clanger made of the shoulder-blades of deer. The wonder expressed by the coyote as the story goes on, and his excessive admiration of the children of the K’yámakwe may therefore be understood. [Back]