current collection - Prescott Public Library
Transcription
current collection - Prescott Public Library
Angwusnasomtaqa/Tumas Crow Mother Some Hopis consider this katsina to be the mother of all katsinam. Her Hopi name means “Man with Crow Wings Tied To.” On Second Mesa she carries a tray of corn. In some ceremonies she bears a basket of corn kernels and bean sprouts to symbolically start the new growing season properly. A very important Katsina. Avachhoya Spotted Corn Katsina The corn katsina is spotted over its body with all colors to represent the different varieties of corn. It is also distinguishable by the turkey feathers on its head which point outward in the four directions. There are several variations of this doll. Some have a bill-like beak. All have spotted bodies. Aya Rattle Runner These katsinam run races with Hopi men in the spring. If a runner katsina catches the man, he whips him with yucca, throws mud at him or punishes him in some way. If the man wins, Aya gives him a present of piki bread. Chaveyo Giant Katsina Chaveyo has a black face mask with white moon symbols on its cheeks. It is also marked by a snout with teeth, a wildcat skin ruff and by the knife which it carries. Chaveyo may come if children misbehave—it is the Hopi “bogeyman.” Corn Dancer With Articulated Arms There are many varieties of corn dancer katsina. This one is distinguished by its unusual articulated arms. Books on katsinam will show this doll depicted in many ways, some very different from others. 3 Hakto Wood-Carrying Katsina Yamuhakto came from the Zuni sometime in the last hundred or so years. In being borrowed, he lost the first part of his name and became simply Hakto Katsina. Hemis/Jemez Hemis carries a rattle and a sprig of Douglas fir. It is most often used for the Niman or Home-Going Ceremony when the katsinam leave for six months. These stately figures leave an indelible impression on visitors, who often view the Niman as their first Hopi dance. Ho-Ote Ho-ote is seen in mixed katsina dances and sometimes appears at the Niman ceremony in July. The designs on his forehead are said to be flowers, and his dance is a prayer for the blossoms of springtime. Donated by Francine Garner. Honan Badger Katsina Badger known as Honan appears on 2nd Mesa and is a Chief Katsina. The Badger Katsina is recognized by badger tracks on its cheeks, eagle feathers and white body paint. Badger is known for his wisdom and his ability to cure the sick using herbal curing potions, in addition to prayers. Katsina on right donated by Francine Garner. Kachin Mana/KatsinaBlueMaiden Corn Maiden The most ubiquitous of all the women who appear with other katsinam. If she is carrying blue corn, she is known as the Blue Corn Maiden. Her presence is a prayer for corn. As carved, this depiction of Kachin Mana is a sculpture not a doll, based on the carver’s free-style interpretation. Donated by Francine Garner. 4 Kaysh Parrot Katsina One of several katsinam credited with bringing abundant summer growth to the corn crops on the Mesas. Feathers and even live parrots were prized and traded from Central America as far north as the Four-Corners area. Donated by Francine Garner. Kokopölö/Kokopelli Hump-backed Flute Player One of the most popular and best known katsina. A symbol of fertility, Kokopelli carries candy, a flute and staff with which to tempt the girls. Korosto Korosto is marked by a three-pointed white beak and wears a ceremonial robe. He is supposed to have influence over the planting of seeds; thus the audience is always anxious to receive seeds from this katsina as he dances. Korosto is the bringer of flowers and rain. Koyemsi The Mudhead The Koyemsi, or Mudhead katsina, plays a fool who may be seen in most Hopi ceremonies. Mudhead katsinam drum, dance and play games with the audience to the accompaniment of rollicking tunes. Even though he can be amusing and clown-like, the Koyemsi is far more than a clown. He can be a curer, a magician, a dance director, a warrior, a messenger and even a sage. 5 Masao Earth God Katsina Masao does not live in the mountains like the other katsinam, and can visit the Hopis any time of the year. It often comes in August when the other katsinam have departed. Masao is very important in the Katsina culture as a representation of the control over both the surface of the Earth and the underworld. Mongwa Great Horned Owl Katsina Mongwa, the enforcer of rules, wages an incessant war on the Koshari, silently coming into the plaza as the clowns perform their ribald antics. Materials used in making this popular katsina range from various furs and rabbit skins to feathers and wood. Paiyakyamu/ Tewa Chukuwai-Upkia The Koshare are a class of clown katsinam who serve a complex ceremonial function. They are figures that are both sacred and profane. Often there is an object lesson on improper behavior or social commentary present in the skits. Their actions, while highly amusing, are not what anyone would like to be caught doing in public. Patun/Patung Squash Katsina Plants are of great importance to the Hopi tradition. Patun is represented as a man with his body painted green with black stripes. The mask is made in the same colors and is made of a large gourd bearing an imitation of a squash flower on the larger end. This katsina is a chief Katsina for the Pumpkin Clan. Salako Salako is very efficient at bringing the rain to the parched southwest. Salako is distinguishable as a male only by his green moccasins. The female (Salako Mana) wears white boots. These dolls are represented in both the Hopi and Zuni tradition. 6 Sikya-Chantaka Flowers or Guts In The Snow Sikya-Chantaka usually has a case mask painted green or blue, pop eyes, & a rectangular mouth, usually built out. Bands of alternating black & white squares are across the eyes. It wears a kilt with sash and red torso paint with yellow shoulders. Legend says that this katsina originated during a time of famine among the Hopi. They were saved by a man who hunted down a cow and slaughtered it for his village. Thus the name “Guts in the Snow.” Sio Salako or Zuni Salako Sio Salako usually wears a ceremonial robe and eagle feathers. Its case mask is marked by a snout, a black band runs across the eyes and horns on the side of its head. The Zuni Salako Maiden is similar, except the female wears white boots. Susopa Cricket Katsina Susopa is a runner of the katsina, who whips his opponents with yucca shoots. However, some Pueblos see Suposa as a Kiva dancer only, instead of as a deity. Tasaf Yebitchai/ Tacab Yebitcai Navajo Talking God Tasaf Yebitchai is marked by a stalk of corn on a white face. Its eyes and mouth are surrounded by two half rectangles. Ears of corn are painted on the mask in place of ears. Tasaf Yebitchai wears eagle feathers and a belt with white disks representing the well-known silver buttons. Talking God is taken directly from the Navajo Yebitchai ceremony. Tawa Katsina Sun Katsina Tawa’s disk shaped face is divided by a horizontal black band into two regions, the upper being subdivided into two smaller portions by a vertical line down the middle. The face is completely surrounded by eagle feathers. 7 Tsitoto/Citoto Flower Katsina Tsitoto’s mask is marked by alternating parallel bands of color. The mouth is a curved beak, at the base of which is attached a fringe of red horsehair. A cluster of feathers is attached to the back of the mask. One of this katsina’s functions is purification. Wupa’ala Long-Horned Katsina One of the chief katsinam, Wupa’Ala is characterized by a green sack mask, a red ear on the left side and an upturned horn on the right side. The eyes are represented by a horizontal line with two smaller vertical lines. Clowns of the Hopi, by Barton Wright Katchinas in the Pueblo, by Polly Schaafsma Following the Sun and Moon, by Alph H. Secakuku Kachinas, Spirit Beings of the Hopi, by Neil David Sr., Ricks and Anthony A Guide to the Hopi Katsina Dolls, by Kent McManis Katchinas: The Barry Goldwater Collection at the Heard Museum, by the Heard Museum Hopi Kachina Dolls, by Harold S. Colton Hopi Katcinas Drawn by Native Artists, by Jesse Walter Fewkes The Origin and Development of the Pueblo Katsina Cult, by E. Charles Adams The Hopi Approach to the Art of Kachina Doll Carving, by Erik Bromberg The Pueblo Indians of North America, by Edward P. Dozier Hopi Kachinas, by Barton Wright Traditional Hopi Katchinas, by Jonathan Day The Kachina and the White Man, by Frederick J. Dockstader Katchina Dolls, by Helga Teiwes Katchinas, A Hopi Artist’s Documentary, by Barton Wright and Cliff Bahnimptewa Zuni Katcinas: An analytical study, by Ruth L. Bunzel