The two most inipoi-tant summer ceremonies in this (daborat(> I'itful are the Snake dance and the Flute. Observation), and the former, owing to the astonishing fact that poisonous reptiles are carried in the mouths of the participants, has attained world fame. The only ceremony of the kiva of the snake priests wliieli was witn(>ssed .. was the washing of the snake in the afternoon of the last dav.'.
K"'^'^] PREVIOUS ACCOUNTS 965
Next, the number of ti})onis.or commander's badges placed on the altars of the ;\.ntelo])e priests varies in the Hopi pueblos. The sand painting of the Antelope altar at .Mishongnova is similar to that of other Antelope societies.
ENTRANCE TO MISHONGNOVI SNAKE KIVA
At Walpi, for example, the Antelope chief has one of the gourds, which is not conspicuous at the public ceremony. One of the strangest of the many features of the Snake ceremony. in the Hopi pue)>los is the washing of the reptiles used by the priests.
FEWKES] THE SNAKE-WASHINO AT MISHONGNOVI 971 crowded together, completely wurrouuding the sand, save on one side,
The public ceremony was ushered in ))y the appearance of the line of Antelope priests, headed by their chief. The man who makes this invocation. is l)elief to introduce the Acoma relatives of the Serpent peo]ile.
WIKI, ANTELOPE CHIEF
FEWKES] PUBLIC SNAKE DANCE AT MISHUNGNOVI 975 barefoot, but all the remainder wore moccasins. There was some
One of the snake peeps couldn't catch a single snake as he charged at them as they lay on the ground. But finally hegaye it up. and after his companions had left, he made a circuit of the square alone, stamping each time on the platform in front of the kisi, and then marched away.
SNAKE DANCE AT WALPI IN 1897
A shower of saliva from the assembled spectators followed them, mucii to the dismay of those who were not ha]i]ientobeonthehouseto))s.. toratinj;:behind those who held important pi-ayer is also notii'eal)li! in the Nimaii-katcina, or Removal of the Katcinas, and may be regarded as ii form of ])ra\'er for the desired benefits. After the reptiles were captured by the snake people and thrown down the mesa. Reptiles are held in the mouths of the serpent priests in Mishongnovi in the same ways in Walpi, so the descriptions of the functions of carrier, embracer and gatherer in Yariant Walpi will be very good for the same persons in Mishongnoyi.. differences in ceremonial and prefix symbolism , the audience dances Antelope and Snake in the largest pueblo of the middle lucsi and in the identical A\'alpi arc.
In an account of the conclusion of the Shumopoyi snake-dance of IS'.W, a similar failure of the snake-men to take reptiles in the final skirmish is mentioned. of the snake-less dance, and in both cases, the natiye spectators gave some joy to the man who had left the square empty-handed.
THE SNAKE-WASHING AT WALPI 977
I'iie nuiiiIxTof white spectators at the Walpi Snake dance in 1897. was iiioro than double that at an}^ previous dance, and pro])aljly. The arrival of white spectators has had its effect on the native performers, for when they saw many strangers, some of the Snake men appeared to be more nervous, and did not handle the reptiles in the fearless manner which marked earlier performances. Conditions for degeneration of the religious character of the Walpi Snake dance have thus ))(>gantly developed.
The writer's attention was drawn by one or two of the spectators to the tact that one of the snake-priests was bitten during the dance, Lieut.
SUPELA AT ENTRANCE TO WALPI SNAKE KIVA
FEWKES] PARTICIPANTS IN WALPI SNAKE DANCE 979
Although the lighting conditions at the time of the dance are poor, there has been a steady improvement with each subsequent presentation, and tineviews can now be purchased from various photographers. The accompanying illustration (plate liii) shows the antelope altar at Walpi on the ninth day of the snake dance. Ofall objects on a Hopi altar jH'rliaps th(> most important and constant is the badge of office or palladium, known as thetiponi, of the religious community which celebrates the rites about it.
The two tiponis are shown in plate liii at the center of the side of the altai', on the edge of the sand picture along the kiva wall.
FEWKES] THE WALPI ANTELOPE ALTAR 981
TOAMAHIA
KAKAPTI AT ENTRANCE TO WALPI ANTELOPE KIVA
FEWKES] THE WALPI ANTELOPE ALTAR 983 during the first days of the ceremony; they are not essential to the
OTHEK OBJECTS ON THE ALTAR
FEWKES] WALPI ANTELOPE ALTAR 983during the first few days of the ceremony; they are not essential to. Eight of them stood on the same side of the c'ottonwood stone on the Serpent's Rock, while four were dressed in theoppo-. It will immediately be noticed that there is a difference in the ornamental and bodily markings of the adult priests of Antelope.
Its body was not decorated with zigzag lines, which are so striking on the chest, back, arms and legs of the antelope head.
FBWKES] THE WALPI ANTELOPE PRIESTS 985 gated feathers were attached to their scalps. Each carried a paho in
Three pueVilos on the East Mesa are, or have been most frequently visited, and. as a rule, their inhabitants are more inclined to improvements of all kinds than those of Oraibi and the Middle Mesa. How. As a result we should expect the ritual of Walpi to be more simplified than that of any other Hopi village, and we may assume that the snake dances of Oraibi and Middle ^lesa are closer to the ancestral form. It is not only that the civilization of the white man has reached more \)vo- .. foundlv in Walpi than in the more isolated Oraibi; the former pueblo .. is nearer to Zuiii and other New Mexico villages, and was naturally more influenced by outside contact before the coming of the white men.
Such an influence has not existed to the same extent in Oraibi and among the Middle Mesa villages.
CRYPT IN WHICH SNAKE JARS ARE KEPT AT MISHONGNOVI
The only account of the ceremony of the Orailn of the Flute that has been given is a description of the Lying Altars, which appeared in 18!t5, 'being an account of observations made during a limited visit to that pueblo in the United States. TIkm'' are nine activity days of the flute ceremony, which are referred to by the names given in the following list. The head of the Cakwaleiiya had a tiponi on his altar, but although the head of the Drab Flute had one of these sacred palladia in the room it was not in its usual place on the altar.
The interval between the uprights of the reredos was varoecu]>ied by a tree of zigzag sticks or rods (symbolic of lightning), cornstalks, and other objects.
THE MISHONGNOVI MACILENYA ALTAR 991 was s])rcii<l on the floor ii zone of sand upon which meal had hcoii
Four zigzag sticks, representing the lightning bolt, hung on the transversal gap between the vertical or lateral jjarts of the reredos. Of the two figures on the other side, . one represented the pipe girl, the other Miiiyinwu. The latter had an ear of corn depicted on each of the four sides of the body. her head was three rain cloud symbols and other cheeks were decorated with triangular markings.
On the floor in front of the two smaller figurines were mounds of sand, in which were placed small sticks with trumpet-like limbs in different colors.
FEWKE6] COMPARISONS WITH OTHER ALTARS 993 COMPARISON WITH THE WALPI FLUTE ALTAR
There are several objects on the altar of the Orailii flute, which were sent by him to Mishonjinovi. ammon;- that a l)aclv bowl of ti])oni may be observed. o)) wooden projects, artificial flowers such as those embedded in sand dunes and pipe-like objects. The two tall wooden dindrikals representing corn, the symii)oles of rain clouds between the altar ujjxders, and the statue of Cotokinunwu appear to be characteristic of the Oraibi altar. Noticeably diii'erent as are the Drab flute altars of Oraibi and Mishoni;novi. those of the blue flute are even more divergent.
No object similar to the })end of asparagus gills tied to a pole and set upright in a pedestal, described in my account of the Oi'aibi flute altar, was seen in either of the two flute merchants at Mishongnovi. nordo 1 recalls its homologue in Walpi or Shipaulov).
FEWKES] COMPABISONS WITH OTHER ALTARS 995
The members of this division were divided as follows: In front of the procession walked the chief, and directly behind him walked the Flute Boy with a Flute Girl on each side. The remaining memliers of the division formed the body of the platoon, flanked by the man with the fluid tablet on his back and a small boy with the whistle stand on his left (]) late LVii). The Macilenya priests formed the second platoon, which consisted of the following persons: .. A man with the solar emblem on his l)ack.
FEWKES] THE PUBLIC WHISTLE LAW 997 The arraiio-oment of this division was similar to that of the Cak-.
FEWKES] THE PUBLIC FLUTE CEREMONY 997 The arraiio-oment of this division was similar to that of the Cak-
THE FLUTE CHIEF.S
THE FLUTE BOYS
Walpi antelope priests on the morning of the ninth day of the serpent rites, except that the boy who represented the youth of the serpent carried a rattle in one hand. These flute toys represent the ancestor or cult hero of the flute society and wear the same.
STANDARD BEARERS
BEARER OF THE MOI.STURE TABLET
BEAKEK OF THK SUN EMBLEM
FEWKES] THE PUBLIC KLUTK CEREMONY 1(99 and anklets (soe plate i.x). The natural inference is that tlie man
THE WAKKIOR
MARCH FROM TOREVA TO THE PUEBLO
After the first pliitoon had sung their songs before the kisi, they handed the offer-inos horiic hy (lie lioy and the girls to the man within it) and retired to the rhamher where their altar stood. The second platoon followed and performed the same, after which they likewise retired, and the ceremony concluded with the cleaning and display of the altar. The songs on the vinegar were particularly pleasing, and as eacii division stood before the bowerand of cottonwood singing , was a beautiful display of Aboriginal worship.
FLUTE CEREMONY AT WALPI IN 1896
On the Tuesday, the Walpi Flute Society erected their altar on a hill of sand just in front of the stack of corn which cultivated one end of the Flute Chamber. A unique figure was a representation of the sun in the center of the transverse part of the reredos. Elsewhere, one has imagined the four plates which stand up against the upright stick on the roof of the Flute House in Shipaulovi on the last days of the ceremony.'.
The oi-iins of corn of the old tii)oni weiH' planted later, and many of the feathers were placed in shrines.
GENERAL REMARKS
The practice of Serpent Headship in the Serpent Clanimin-iarchalia of the descent of a number of survivals of the former restriction of the Serpent priesthood to the Serpent. No reference to Paliiliiko occurs in the legend of the Serpents, but a figure of her is painted on the robes of the priests of the Serpents. It has been shown that in the Serpent ceremony there is a worship of the Great Serpent, and the priests of the Serpent observe the idea that this great deity belonged to the worship of their clan.
The Snake Dance is simply a form of clan totemism with special modifications, due to the environment, to meet the needs of the Hopi.
