On the following day the dance was continued from sunrise to sunset. In the afternoon there appeared the Tcúkuwympkiya, Muñ′we (Owl Katcina), two Tcósbüci, Pü′ükoñhoya (the Little War God), and a Navaho Katcina.
ÁÑAKATCINA
The celebration of the Áñakatcina at Hano, in the Nimán of 1892, gave me the following additional data to that already mentioned in the description[114] of the Áña of 1891. These are due in part to the variations in ceremonial customs, and are not regarded as essentials.
The Hopi Áñakatcina was invited to Hano by Kálakwai, and its public presentation was identical with that of 1891 and that of the Zuñi Kókokci. The antics of the gluttons were very much more complicated. This I ascribe to two causes—the rarity with which Katcinas are celebrated in Hano, and the great need of rain at the time.
One interesting but highly disgusting part of the show of these priests was the slaughter of a huge dog and the use of his entrails and blood in distinguishing one of their number as Másauwûh,[115] the Death god. The details of this may be had by consultation with the author.
About 4 oclock on the morning of the public dance of the Áña the participants danced in the Hano plaza, destitute of all clothing or helmets and accompanied by the clowns, also without masks. This feature I had not previously observed. After this early dance páhos were deposited at the shrine situated in the middle of the dance plaza.
As no account of the ceremonial deposit of offerings to the winds has ever been published, the following observations are given to fill this gap in our knowledge. Probably the object of the wind offerings is propitiatory, for high wind, it is believed, blows away the rain, to produce which is the main object of the observance. Kwálakwa took for this purpose in a blanket the following objects: Nakwákwocis, native tobacco, paper bread, píkami (pudding mush), sugar, and peaches. He deposited a packet containing a pinch of each of these in six shrines situated at cardinal points, beginning at the east.[116] The Hopi begin their ceremonial circuit ordinarily at the north, but the Tewa, it would seem, place their offerings in the following order: East, northwest, southwest by south, southwest, southeast by east, southeast.
In the interval between two of the dances, while the Katcinas were unmasked, and had halted under an overhanging rock on the trail a few feet below Hano, I observed a test of endurance which I had never before seen. Kópeli, the Snake chief, took a bundle of yucca branches, and different volunteers from the Katcinas, stepping up to him, first held out one arm, then the other; Kópeli struck the outstretched limb with more or less force, and at the conclusion presented his own arm and naked body for this trying ordeal. The Áñakatcina is illustrated in figure [40].
COMPARATIVE STUDY OF KATCINA DANCES IN CIBOLA AND TUSAYAN
The published material which can be used as a basis of comparison in the study of Katcinas in other villages is meager and insufficient. Even of the nearest pueblo, Zuñi, which has been more studied than many of the others, and in which Katcina observances closely akin to those of Tusayan are performed, the published accounts are very limited. In a general way it seems to me that the Tusayan ceremonials are more showy and elaborate than those at Zuñi. There is, however, one marked exception;[117] the powerful war society, called the Priesthood of the Bow, has more elaborate ceremonials in Zuñi than in Walpi, where this organization is weak. It is not possible from my limited knowledge of Zuñi ceremonials to declare that it is less complicated than that of Tusayan, but I believe that the powerful organization mentioned has had much to do with many of the differences between the two.