Indians of the Enchanted Desert

by Leo Crane

While the Hopi Desert contains large bull snakes and king snakes and long slender side-winders, the rattlesnake is a short specimen, seldom more than two feet in length. It is active enough for all purposes, however, and can produce extraordinary activity of movement on the part of those not initiated in the Snake clan. Once on a desert [[262]]road I alighted from my car to arrange something. I heard a sibilant noise, a whirring dryish whistle or hiss that, peculiarly enough, is neither. There is no English word to describe accurately the rattlesnake’s warning, but it is imperative, and procures immediate attention. In a thousandth part of a second I discovered the gentleman scuttling rapidly between my feet. He wished to avoid me, and I shared his emotions. It is of course impossible to assert exactly how many feet directly upward and sideward I impelled myself. There was a space of time in which I was oblivious to everything save the breaking of leaping records. I came to at a point entirely clear of the road, as my acquaintance disappeared into the sparse grass at the opposite side. Then, knowing where he was, and that he was safe and unharmed, I did not follow to put on any Snake Dance experiments. The swift grasp of the neck immediately behind the head, the triumphant wave in the air, the pressure along the spine, and the composure of the snake-gatherer, all may combine to render said snake harmless or indifferent; but—you try it!

The public part of the Snake ceremony consumes about twenty minutes of time. The kisi, a bower of cottonwood boughs, something like a miniature tepee, is erected midway of the plaza and to one side. The kisi screens a hole in the rock-floor, and just before the dance begins a mysterious bag is carried out and placed therein. It contains the snakes. The hole is covered or roofed by a thick piece of board.

Early in the day the crowd of sightseers has gathered on the mesa-top, and in late afternoon it begins massing at the Walpi plaza. There is the usual wrangle over prominent places, and the inevitable bickering as to who [[263]]engaged them first. Soon the roofs and terraces and balconies are hidden by the people. The odd stairways and other points of vantage cause the crowd to group as if arranged by a stage director. A dozen or more crown the Snake Rock itself. They wait patiently, expectantly, as small boys await the head of the circus parade. Old Judge Hooker arrives, garbed for the occasion, and harangues them with Hopi cries, announcing to all and several that this great ceremony will positively be held on this date, once, and once only this season, and imploring them to grant it the respect it deserves. The Indians present pay attention to his speech, for on this occasion at least the Judge has the Agency police within call; but the whites do not know what he has said, and so care very little about it. This waiting in a too-crowded place is a monotonous and tiring procedure. There is much stirring about, leaving a good place and then wishing one had not.

And suddenly comes a distant sounding of rattle-gourds, a faint but insistent noise, like dried peas blown against glass.

“Here they come!” calls the ever-present small boy, who perches perilously on a projecting house-pole.

Quietly, ceremoniously, the Antelope priests in single file enter the plaza. Their gourds sound steadily, and with slow measured steps they march about the stage four times. When passing the kisi, each man stamps with his right foot on the board that shelters the snakes. They sprinkle meal. And they are followed by the guardian of the bull-roarer, a tall man who carries a huge Indian bow ornamented with feathers, and who stops in mid-stage to sound his awesome instrument. With all the force of his arm he whirls that wooden plumb-bob on a sinew string. It moans with the wind voice of the Desert. Then the [[264]]Antelope men form a straight line with the kisi, their backs to the houses and their faces to the plaza.

Now sounds a hurried noise, much clatter and scuffling, as the Snake priests approach. They burst into the plaza as if determinedly answering a call to battle. They are headed by the most robust of the clan, large powerful men. With rigid faces, fixedly staring, their elbows set as runners, they stride down the plaza. The crowd massed at the far end is always in the way. The Snake priests must go to the farthest end of this shelf on their first round, after which they shorten each lap until four have been completed. The crowd must fall back. It has no license to be there at all, and there is nothing in Snake-clan etiquette signifying change because curiosity has come out of the East. Their rushing single-file of men is projected straight at the narrow end of the shelf. Finding that it was impossible to fix such a throng in place, I would station two guards at that point to warn and part the spectators. Just what would happen if the whites did not yield is problematical. I recall that once the head-man of the dancers took me in the side with his elbow. He did not stop to apologize. It was two hundred rapidly moving pounds meeting much less than that. I did not completely recover from the blow until the dance was over. A head-on crack like that might propel one over the cliff.

These Snake priests are nude to the waist, their upper bodies daubed in black, with the lightning sign traced in white. Their hair is disheveled and streaming, and crowned with red feathers. About their eyes are reddish smears, and a circle of white is thickly painted about each mouth. They wear ornamented kilts of knee-length, and moccasins; and with some show of uniformity each man packs all the trumpery the clan has adopted as part [[265]]of its regalia. They have armlets and bracelets of silver, and necklaces of many strands—beads and bone and turquoise. From the rear of each belt dangle one or more handsome fox-skins. Fastened just below the right-leg knee are curious clappers made of tortoise shells. Thus, as they stride tumultuously about, there sounds above the dry rattling of the Antelope gourds all the hurried clatter of this moving harness.

Each time they pass the kisi they stamp fiercely on the board. It gives back a hollow sound. And perhaps the snakes of former spectacles know that they will soon be wanted on deck. “All hands aloft!”

Then the Snake priests quiet down a bit and align themselves in a long row, facing the Antelope men. A chant is begun. It is low in tone and quite ceremonial in spirit. Their bodies sway. A curious waving motion is made with the hands, one dancer’s wrists engaging his partner’s. The gourds whir their singing sounds. And an old Indian, a feeble, aged man, passes down the line with a bowl of water. This he sprinkles at the kisi. The age of this participant and his evident fervor always attract notice. He appears and disappears. And it is just at this point, when the action is most impressive, when all touring eyes are bulging to a degree, that the inevitable dog wanders into the sanctuary and begins to investigate. I have never known a Snake Dance that did not produce its uninvited mongrel at this time. He is never shooed or kicked away. He is always the most disreputable animal of a people noted for their impoverished canines. Lank and lean, with a cringing expression of dog humility on his face, he contrives to spoil the scene.