TOP OF BUTTERFLY VASE

BUREAU OF AMERICAN ETHNOLOGY THIRTY-THIRD ANNUAL REPORT PLATE 90

\

FEWKEs]

TANOAN EPOCH 277

illustrate the relation of old

Awatobi and

^existing

Hopi

symbolism;

a

modem

figure (108) of ^this

Corn

maid, painted on a

wooden

slab, is sometimescarried by the

Waipi women

in their dance. Figuresof the

Awatobi germ

god, Alosaka, otherwise called Muyinwii,^ are depicted on theslabsused

by most

of the

women

^atthat time.

The

different designs on the slab under consideration (pi. 89) are indicated

by

letters

and

explained as follows: a represents a circular fragment of the haliotis or abalone ^shell

hanging midway from

a figure of an ear of corn, c.

The

cheeks are tattooed or painted with characteristic figures, cb, the e3'es rectangular of different colors.

The

^{letter c? is} a representation of a

wooden

^ear pendant, a square,

flat

body

covered on one side with a mosaic of turquoise sometimes arranged in figures.

The

letter e is the end of a string

by which

the ceremonial blanket is tied over the left shoulder, the right

arm

being free, as

shown

ⁱⁿ the illustration.

Over

^the right shoulder, however, is

thrown

aceremonialembroidered kilt, fh.

The

objects in the

hands

represent feathers

and

recall one type of the conventional feathers figured in thepreceding pages.

The

letters jr represent falling rain embroidered on the rim of the ceremonial blanket

and

re the terraced rain clouds

which

in arc

become rounded

above_;

g

represents a turquoise atthe end of a string of tur- quoise suspended

from

shell necklaces sn\

m

^represents the butterfly

and

ispracticallyidenticalwiththe decorationson dados of old

Hopi

houses; s rei^resents a star; sh represents shell bracelets,

many

ex- amples of

which

occur in ruins along the Little Colorado^; ss ^is sup- posed tohave replaced thekey patterns

which some

authorities iden- tifyassproutingbeans.

There

arc

commonly

nine rectangular

mark-

ings, nc,onthe upjaerborder of theembroidered region of ceremonial blankets

and

kilts,each of

which

represents either a

month

or aday,

by some

said to refer to ceremonial or

germ

periods.^

The

Shalako

mana

figureshavenot yet been found in the

unmodi-

fied Little Colorado ware, but

homologous

figures

have

been

found

in theRio

Grande

^area.

The

^{design (pi. 88,} d) with a

horn

on the left side of the

head and

a rectangle on the right, the face being occupied

by

a terrace figure

from which hang

parallel lines, reminds one of the^"coronets^"

worn

on the headb}' the

Lakoae maids

(manas) in the

Walpi

Basket danceof the Lalakonti.

The

horn in the coronet is without terminal appendages, although a feather is tied to it,

and

the rectangle of plate 88, of, is replaced

by

radiating slats spotted

and

pointed at

1Anaccount ofthisdance with details of the nine days' ceremony aspresented in the majoror Octobervariant will liefound in theAmerican Anthropnlnpist, July, 1892. The minororWinter ceremony, in which the Corn maids are personated by girls, is published inthesamejournalfor inOO. TheCorn maidhas several aliases in thisceremony,among whichareShalako mana. Talahikomana. and Maraumana.

'This Corn maid isoneof the most common figuresrepresented by dolls.

278

^DESIGNS

ON HOPI POTTERY

^[eth.ANN.33

their ends, said to represent the sunflower.

The whole

design in plate 88,d, represents a bird/ recallingthat of the figure

Marautiyo on

oneof the

appended

slabs of the altarof the

Walpi Marau

cere-

mony.

In ^this altar figure

we

find not only a

horn

on the left side of the head, but also a rectangular design on the right.

On

^the corresponding right-hand side of this altar

we

have a pic- ture of

Marau mana

(Shalako

mana).

It will thusappear that

when compared

with the

Lakone

coronet the figure

on

the

Shongopovi bowl

represents a female being, whereas

when compared

with the figureon the

Marau

altar itresembles a male being.

There

is, there- fore, something

wrong

in

my

comparison.

But

the fact remains that there survive in the

two woman's

festivals

— ^Lakone

^maid's

coronet

and Marau

altar

—

resemblances to prehistoric

Hopi

designs

from

Shongopovi. Moreover, it is

known

that the ]\Iarau fetishes arestated

by

the chief Salikoto have been introduced

from Awatobi

into

Walpi by

her ancestor

who was

saved at the massacre of that

town

^{in 1700.}

The

life figures of the

Tanoan

epoch, or that following the overthrow of Sikyatki, can be

made

out

by

a study of

modern Hano

pottery.

Perhaps

the

most complex

of these is that of the

Corn

^maid,

Shalako mana.

Shalako

mana

plays a great role in the Mamzrauti, a

ceremony

derived

from

Awatobi,

and

figures repre- senting her are

common

designs

made

on

Hano

pottery. Designs representing this being are

common

on the peculiar basket plaques

made

^at the

Middle Mesa and

dolls of her are abundant.

The

con- stant presence ofher pictures

on

basket plaques at the

Middle Mesa would

also

seem

to

show

an ^ancient presence in the

Hopi

coimtry,

and

indicate an identity of pottery designs

from

ancient

Shumopavi

with those

from

theEast

Mesa and

Awatobi."

One

^ofher

modem Walpi

ceremonieshassuch

pronounced Awatobi symbolism

that it

may

be instanced as

showing

derivation; viz, the New-fire festival.'

The women

of the

Marau and

the

men

of the

Tataukyamu

regard themselves kindred,

and

taunt each other, as only friends

may

without oifence, in this festival,

and

the Tatau-

kyamu

^often introduce a burlesque Shalako

mana

into their per- formances.

'Thetwo parallel linesonthe two outsidetail feathers recallthemarkings onthe face of the War sod Puiikoficrho.ya.

^A personation of Shalako mana at Oraibl. according to Mr. II. R. Voth, came from Mishongnovi. This conforms exactly with the legends that state the Mamzrauti may have l>een introduced into Mishongnovi from Awatobi. for at the division of the captive

women ^at Maski many of thewomen went to that pueblo.

'See Fcwkes, The New-flre Ceremony at Walpi, pp. S0-13S. The New-fire ^rites at Walpiare celebrated inNovember, when foursocieties, AaltO, Wiiwiitclmtfl,Tataukyamfl, andKwakwantQ. take part. As in all new-fire ceremonies, phallic orgenerative ritesare prominent, the WiiwiitcimtO and Tataukyamfl who kindle the fire being conspicuous in these rites. Their bodies have phallic emblems painted on them and the latter bear Zufii symbols.

FEWKBS]

TANOAN EPOCH 279