The Katchinas Are Supposed To Come To The Earth From The
Underworld In February And Remain Until July, When They Say Farewell.
Hence
there are two specific times which dramatically celebrate the arrival and
departure of the katchinas.
The former of these times is called by the Hopi
Powamu, and the latter Niman. At these festivals, or merry dances, certain
members of the participating clans wear masks representing the katchinas,
hence katchina masks are often to be found in Hopi houses when one is
privileged to see the treasures stored away. In order to instruct the
children in the many katchinas of the Hopi pantheon, tihus, or dolls, are
made in imitation of the ancestral supernal beings, and these quaint and
curious toys are eagerly sought after by those interested in Indian life
and thought. Dr. Fewkes has in his private collection over two hundred and
fifty different katchina tihus, and in the Field Colombian Museum there is
an even larger collection.
Katchina Baskets. For use in the katchina dances, katchina baskets are
made, and if one were to start a collection of all the katchina baskets of
the Hopi, he could look forward to possessing, in time, as large a number
as Dr. Fewkes has of katchipa dolls.
Indian Pottery. Hopi, Acoma, Santa Clara, Zuni and, other pottery abounds
side by side with Navaho blankets, war clubs, bridles, quirts, moccasins,
Sioux beadwork, pouches, and baby-carrying baskets. Not only can the Navaho
women be found weaving blankets, but, what comparatively few white persons
have ever seen, in one of the rooms is a Hopi man weaving a blanket, which
I question could be told from a Navaho, even by an expert, unless he saw it
woven. In another room, the Hopi's wife is making pottery.
During the day, time, when required, the attendants will gladly show
visitors the collection of rarer curios on the second floor. An anachronism
introduced here, to meet modern requirements, is the indoor stairway, but
one excuses it for the sake of the interesting, symbolic, katchina figures
that have been painted on the staircase walls.
Mexican Antiques. Here one room is devoted to Mexican
antiques, - candlesticks, crucifixes, paintings, tapestry, bells,
incense-burners, wooden plow, a model of the ancient caretta, chairs,
daggers, etc.
Alaska Room. The Alaska Room contains models of totem poles, carvings on
ivory and wood, boats, snowshoes, shields, baskets of several varieties,
Haida hats, etc.
Ancient Blankets. The Old Blanket Room contains an assortment of the rarer
and older Navaho, Mexican and Chimillo blankets, some of which are in the
exquisite old colors used before modern aniline dyes were known. Scattered
about also are some rare pieces of ancient pottery in black and white, dug
out from ruins in Arizona and New Mexico.
Hopi Altar Room. By far the most interesting room in the house to the
thoughtful inquirer is the Hopi Altar Room. Here are two reproductions of
altars made by the ethnologist, Rev. H. R. Voth, who was led to his study
of the Hopi while a Mennonite missionary to the Oraibi pueblo. These altars
are thus described by him:
Tao Altar. One of the fraternities among the Hopi Indians of Arizona is the
Tao or Singer Society. Such altars are erected in connection with the
sacred and secret ceremonies in underground rooms or kivas in the different
Hopi villages. Around these altars the priests arrange themselves,
squatting on the floor, during their ceremonies, and engage in singing,
sprinkling of sacred meal, smoking, asperging of sacred water, etc. Here
they prepare their prayer offerings, utter their prayers, and practise
numerous other religious rites. Of the slabs and sticks in the ridge of the
altar those of a zigzag form represent lightning, which is supposed to
emanate from clouds, which are represented by the terraced parts on top of
the slabs. The flat slabs symbolize stalks of corn, with ears of corn
carved on them. The thin sticks are supposed to represent the departed
members of the society. In front of the slabs are seen four bahos or prayer
sticks, composed of two short sticks, a turkey feather, two kinds of herbs,
and corn-husk pocket containing sacred meal and honey. The object to the
right, and in front of the ridge, is the tipone or sacred badge of the
society. It usually consists of an ear of corn, wound with cotton twine,
and having on its top feathers of different birds; to its sides are tied
sundry pieces of shell, turquoise, and other objects.
In front of the altar stands a medicine bowl, which is surrounded by six
ears of corn, - a yellow one on the north side, a dark bluish one on the
west side, a red one south, a white one east, a black one on the northeast
(representing above), and sweet corn ear on the southwest (representing
below). From this bowl, sacred water is asperged, and from a meal tray
sacred meal is sprinkled on the altar during ceremonies.
Powamu Altar. In the centre of the Powamu Altar is the framework. The four
scenic circles on and over the head-piece represent clouds, and the symbol
on the uprights blossoms, clouds, falling rain, etc. The larger of the
idols within the framework represents Chowilawn, the God of Germination and
Growth, the smaller one, Sotukonangwun, the God of Thunder, and the small,
black figurine to the left of the framework is the representation of
Pookong, the God of War. Between these idols stand numerous slabs, the
zigzag formed representing lightning, the straight ones stalks of corn,
etc. On each side of the altar proper stands a large wooden tablet, on
which is drawn a picture of the Hiv Katchina, a personage that figures
conspicuously in the ceremony on the sixth day, in which children are
initiated into the Katchina order. On this occasion masked and gorgeously
dressed men, who are supposed to be represented by these pictures, flog
these small candidates for initiation.
In front of the altar may be seen a square, sand picture, containing cloud
symbols, prayer offerings, blossoms, etc.
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