Our exact knowledge of the character of the Hopi Katcinas dates back to Schoolcraft’s valuable compilation. While the existence of these dances was known previously to that time, and several references to similar dances among the other Pueblos might be quoted from the writings of Spanish visitors, our information of the Katcina celebrations in Tusayan previously to 1852 is so fragmentary that it is hardly of value in comparative studies. In the year named Dr P. S. G. Ten Broeck visited Tusayan and published a description of what was probably a Katcina dance at Sitcomovi. Although his account is so imperfect that we can not definitely say what Katcina was personated, his description was the first important contribution to our knowledge of the character of these dances among the Hopi Indians. It will be noticed in a general way that the personation differed but slightly from those of the present day. Ten Broeck noted that the male dancers, Katcinas, wore on their heads “large pasteboard towers” (náktci?), and “visors[30] made of small willows, with the bark peeled off and dyed a deep brown.” He recognized that the female dancers (Katcinamanas) were men dressed as women and that they wore yellow “visors” and dressed their hair in whorls as at the present time. He described the musical (?) accompaniment of the dance with the scapula of an animal rubbed over a “ground piece of wood.” He likewise noticed the priests who sprinkled the dancers with sacred meal, and speaks of two small boys painted black with white rings who accompanied the dance. The latter may have been personifications of the Little Fire Gods.
The Hopi clowns, Tcukúwympkiyas, were likewise seen by Ten Broeck, who described their comical actions. From his description of the byplay of their “assistants,” I find very little change has taken place since his time. In the Katcina which he observed food was distributed during the dance, as I have elsewhere described is the case today. Although much might be added to Ten Broeck’s description, his observations were the most important which had been made known up to his time, and continued for forty years the most valuable record of this group[31] of dances among the Tusayan Indians.
CLASSIFICATION OF KATCINAS
Before considering the various ceremonials in which the Katcinas appear, it may be well to say something of the nature of these supernatural beings which figure in them as made known by the testimony of some of the best-informed men of the tribe. The various legends which are told about them are numerous and can not be repeated here, but a few notions gathered from them may render it possible for the reader to better understand the character of the ceremonials in which they appear.
These deities are generally regarded as animistic and subordinate to the greater gods.[32] They have been called intercessors between man and the highest supernatural beings. There are misty legends that long ago the Katcinas, like men, came from the under world and brought with them various charms or náhü with which the Hopi are familiar. By some it is said that a Honáni (Badger) chief came up from the Átkyaa, or under world, in the center of a square whose four sides were formed of lines of Katcinas, and that he bore in his left hand a buzzard wing feather and a bundle of medicine hats on his back. The Katcinas recognized him as their chief, and became Katcina Honáni, Badger Katcinas.
The legend runs that in ancient times Hahaíwüqti[33] emerged from the under world followed by four sons, who were Katcinas, each bearing in his arms a pet called pálülükoñûh, plumed serpent. Following these four came other Katcinas with pets (pókomatü), of whom the following are mentioned:
One bearing pákwa, frog (water-eagle).
One bearing pátsro, water-bird.
One bearing pawíkya, duck.
One bearing pavákiyuta, water on the backs bearers, aquatic animals.