Hopi Kachinas & More in Keams Canyon, AZ

“Around the turn of the century this was one of the most popular kachinas. He was danced as a Niman Kachina along with Hemis, Angak’china and Kuwan Heheya on First Mesa and he appeared in regular kachina dances on the other two mesas.

“In time his popularity seems to have faded, and he does not dance as often nowadays. He usually appears with Takursh Mana as his sister, dancing in a separate line alongside him. He is sometimes referred to as Stick Kachina because of the staff he carries in his left hand.”

– Barton Wright, Kachinas: a Hopi Artist’s Documentary (176)

The White Bear depicted here is a Hon Kachin, but is more properly described as Köcha Honau.

“The Bear Kachina is of such great strength that it is felt he can cure the sick. He appears in the kachina return or Soyal of First Mesa as the watchman or side dancer for the Chakwaina.

He may come singly or in a group during the Palölökong Dance, and may appear in a number of colors such as Sakwa Honau (Blue Bear) or as illustrated – Köcha Honau (White Bear). Probably he is most familiar in the Mixed Kachina Dance, dancing outside the lines.

His most distinctive feature is the presence of a bear footprint on either cheek.”

-Barton Wright, Kachinas: a Hopi Artist’s Documentary (114)

The Ho’e figure is a figure that appears during the Powamu ceremony (or Bean Dance) and is part of the procession, which proceeds around the village. They are known for being noisy and boisterous teases. They are constantly disrupting the procession and the other kachinas with their games and antics.

Constantly, the guardian kachinas are returning to the plaza to be sure that the Ho’e are keeping up with the pack. Finally, they are the last to give up their games and go into the kiva.

“The Mt. Lion Kachina appears at Pachavu times as does the Tokoch (Wildcat) Kachina. When he carries yucca whips in his hand, he would be one of the Angry or Watching Kachinas

“He may appear in the Mixed Kachina Dance with either Deer or Antelope Kachinas whom he leads for he is always in the front and is never caught. In this role he is a side dancer for the Deer or Antelope and carries a talavaiyi, a cane with eagle feathers and red horsehair fringe, in his hands.”

– Barton Wright, Kachinas: a Hopi Artist’s Documentary (113)

Here he appears with his bow in his left hand and an arrow in the right. He is wearing a Hopi sash and turquoise belt. His moccasins are rawhide and reach above his ankles. A fox pelt drapes from his backside and sways as he dances.

He wears no shawl, while eagle feathers adorn the top of his head, and eagle plumes dangle from the rear.

“The fearsome Nataska always come as a pair. They accompany the Soyoko on their collection trip and usually stand directly behind the member of the crew who is bargaining with the relatives of the children.

“They make horrible noises, dragging their saws [and knives, or whatever it may be] along the side of the house or on the ground. All the while, they keep up a steady stamping that makes the turtle-shell rattles on their legs sound ominously.

“They are supposed to be able to eat a child whole; from the very earliest age, the child has heard stories of these monsters – how they would descend on children playing near the village and haul them away to cook and eat. So it is no wonder that the children are petrified at their actual appearance!

“Usually only dark colored clothes are put on this kachina pair, who should have horns. The feather fan is made of turkey feathers which are placed close together to form a large mass behind the head that makes the figures appear much taller and broader.”

– Barton Wright, Kachinas: a Hopi Artists Documentary (78)

“This kachina may derive his name from the fact that the headdress he wears is the same as the one appearing on the Mamzrau, the participants in an important women’s ceremony. Despite the name, the kachina is dressed in a style much closer to that of the Navajo Kachinas than anyone else.

He appears in Plaza Dances in late spring. There are several varieties of this kachina present on the mesas, but there does not seem to be any variation in naming. This illustration shows the tripod headdress that is found on both this kachina and the performer in the Mamzrau.”

– Barton Wright, Kachinas: a Hopi Artist’s Documentary (190)

The Angwusnasomtaka, or Crow Mother, as she is called, “is a figure of great dignity. She appears on all three mesas, usually in connection with the initiation of the children, although she also appears on other occasions.

At the initiation rites she descends into the kiva bearing a large number of yucca blades bound together at the base. She takes a position at one corner of the large sand painting on the floor of the kiva, with one of her “sons” on either side of her.

As the candidate is brought to the sand painting she hands a whip to one of the Hu’ Kachinas who gives the child four healthy strokes with the yucca blade. When the yucca becomes worn it is handed back to the Crow Mother who then supplies a new one.

When the initiatory whipping is over, she raises her skirts and receives the same treatment accorded the children. They are given prayer feathers and meal and leave the kiva.”

– Barton Wright, Kachinas: a Hopi Artist’s Documentary (66)

The Palhik Mana, or Butterfly Maiden, is one of the most popular kachinas in the Hopi carvers’ repertoire. This beautifully dressed figure is not really a kachina, but rather a woman’s dance personage.

Women who appear in the Mamzrau Initiation Dance are called the Palhik’ Manas. They are never masked except on Third Mesa, although they all appear to be when carved as dolls. The carvings typically include an elaborate tablet including butterfly and corn symbols.

This old-style rendition by award-winning artist Aaron J. Fredericks is a beautiful and unique combination of traditional and contemporary expressions.

This dance is not as common as it might have been at one time, and according to Barton Wright’s Kachinas: a Hopi Artist’s Documentary, you might have the satisfaction of occasionally seeing a performance “in one of the night ceremonies in March or during the Powamu.”

“Usually the personator imitates the step or motion and cry of the eagle to absolute perfection. There is evidence that this kachina was imported into Zuni from the Hopi and is danced there in much the same manner that it is at Hopi.

This may be why the Eagle may appear during Pamuya on First Mesa with Zuni Kachinas.” (87)

“The Screech Owl is another of the many birds that may appear during the Kiva Dances of the Powamu or before. He is not supposed to appear on Third Mesa nor Second, but this may be a case of ‘very seldom’ rather than ‘never.'”

– Barton Wright, Kachinas: a Hopi Artist’s Documentary (92)

The Chasing Star (Na-ngasohu), or Planet Kachina, is a handsome figure with the enormous fan of eagle plumes behind the head and the simple but effective design of the face.

Usually he appears in pairs in the Bean Dance procession, the Palolokongti, or a Mixed Dance, carrying a bell in his right hand. His particular function is unknown.

Kokosori is known as the Zuni Fire Kachina. The Fire God kachina descends from the hills to begin the Zuni ceremony of Shalako during the first week of December.

He is also considered a hunter, and can be seen accompanying the Left-handed kachinas or Mudheads at different times. The Kokosori has also been spotted alongside the Eototo kachina distributing seeds for the new planting season.

“When Yung’a [Cactus Kachina] appears in the Soyohim, he is accompanied by the Yung’a Mana. [She] usually carries a basket with pads of prickley pear in it. In her left hand she carries a set of wooden tongs that she uses to handle the cactus pads. She is dressed in the manner of the Hano Kachin Mana.”

– Barton Wrigth, Kachinas: a Hopi Artist’s Documentary (147)

This particular figure represents the Butterfly Maiden as she appears during the social dances. She is danced only by the unmarried girls of the village, and typically is danced during the fall months, before the Kachina cycle begins again.

She is similar to her Palhik Mana kachina counter-part in that she wears an elaborate tableta or headdress. However, she is NOT a kachina, and can be differentiated by the fact that she does not wear a mask.

You can see here that she is portrayed naturally with her female face.

“There are two types of Badger Kachinas: the old Hopi Badger Kachina and a more recent import from the Rio Grande. The old Hopi Badger was a curing kachina that the Honani clan brought from the ancient village of Kisiwu. Prayers for the growth of healing herbs are given to him.

“In recent years another type of Badger Kachina has made his appearance, but it is not yet known whether this one serves the same function or not.”

– Wright, Barton. Kachinas: a Hopi Artist’s Documentary (115)

“There are two types of Badger Kachinas: the old Hopi Badger Kachina and a more recent import from the Rio Grande. The old Hopi Badger was a curing kachina that the Honani clan brought from the ancient village of Kisiwu. Prayers for the growth of healing herbs are given to him.

“In recent years another type of Badger Kachina has made his appearance, but it is not yet known whether this one serves the same function or not.”

– Wright, Barton. Kachinas: a Hopi Artist’s Documentary (115)

“Koyemsi or Mud-head Kachinas are probably the most well known of all the Hopi kachinas. They appear in almost every Hopi ceremony as clowns, interocutors, announcers of dances, drummers, and many other roles.
“The nearly always accompany other kachinas; probably the only time when they do not appear with other personages is during the Night Dances.”Koyemsi are usually the ones that play games with the audiences to the accompaniment of rollicking tunes. These games are generally guessing games, or simple attempts to balance objects or performances of some common act. They most closely resemble our parlor games and the rewards are prizes of food or clothing.”

– Wright, Barton. Kachinas: a Hopi Artist’s Documentary (238)

Of all the women who appear with other Kachinas, the Kachina Maiden, or Kachin’ Mana, is the most prevalent. If she is carrying blue corn, she is known as the Blue Corn Maiden, similarly yellow corn, etc.

She often appears in regular Kachina dances with household ware, accompanied by Long Haired Kachina. Based on this Corn Maiden’s yellow color, she’s a Yellow Corn Maiden. Her presence is a prayer for corn. She also honors Mother Earth and her continuing ability to feed her children. Placing this Kachina in your home, particularly on an altar, shows respect for the many gifts we receive each day from Mother Earth. This gentle maiden reminds us always to be thankful. By the way, a Kachina Maiden often will change her name to that of the Kachina with whom she is dancing, although her appearance does not change.

“[Blue] Corn Maiden appears with a variety of kachinas, Angak’china, Ma’alo, Pawik and others. She may sometimes be seen with the Kocha Mana.

They dance in a line separate from the other kachinas but following the same pattern of dance, turning as the others do, gesturing as they do. Their only deviation is when they kneel and place large gourds on the ground to rasp.”

– Barton Wright, Kachinas: a Hopi Artist’s Documentary (175)

Like the Eagle dance, this dance is also not as common as it might have been at one time, and according to Barton Wright’s Kachinas: a Hopi Artist’s Documentary, you might have the satisfaction of occasionally seeing a performance “in one of the night ceremonies in March or during the Powamu.”

“Usually the personator imitates the step or motion and cry of the eagle to absolute perfection. There is evidence that this kachina was imported into Zuni from the Hopi and is danced there in much the same manner that it is at Hopi.

This may be why the Eagle may appear during Pamuya on First Mesa with Zuni Kachinas.” (87)

As a “runner,” the Situlili, or Snake Racer belongs to a class of kachinas who are not dancers but rather run races with the men and boys of the village. “They come in the late spring, either as a group or as individuals, during a pause in a Mixed Dance or Plaza Dance.

Usually they will select one end of the Plaza and, assembling there, will endeavor to have an individual race them. If there are many runners, or Wawarus, there will be a great churning about with one or another racing down the length of the Plaza and other prancing up and down to ready them for the coming contest.

Quite often they will lure some unwary clown into racing and will immediately catch the hapless individual and perpetrate their peculiar form of punishment on him. They quickly tire of this and will gesture or hold up a reward to some young man in the crowd of bystanders.

If he accepts, they will allow him about ten feet of space in which he can move about as he pleases. But the minute he leaves the area he runs as if instant disaster were behind him, and it usually is, for some of the punishments are quite unpleasant.

Win or lose, he will receive payment with some kind of food from these racers. No one is safe from the oldest man to the youngest boy; all, including white members of the audience can receive the attention of these kachinas. The kachinas are expected to pay for whipping the young men, and this they do by sending water when it is needed for germinating the crops.”

– Barton Wright, Kachinas: a Hopi Artist’s Documentary (218)

The Horse kachina, or Kawai-i, derives its name from the Spanish word for horse – “caballo.” Oddly enough this is not an old kachina and was probably introduced less than ninety years ago. But it still carries a Spanish name.

He may usually be seen during the Soyohim or Mixed Kachina Dances but may also appear in the Bean Dance Parade, or in groups on Third Mesa and sometimes in the kiva dances.

– Barton Wright, Kachinas: a Hopi Artist’s Documentary (139)

The Heheya kachina has no English name or translation. Heheya Kachinas are most often seen on Third Mesa and act as messengers to the rain gods. The Heheyas dance on the side of the procession and guard the other dancers. He talks in opposites…for instance, if the dance is good, he says it is bad.

Heheyas are easily recognized by the vertical red, yellow and blue zigzag lines on the sides of the mask. The pothook eyes are black, outlined in red and the mouth is a similar pothook style. The case mask is painted yellow and there is a grouping of red chili peppers on top of the mask. He has red tab ears and he wears a black and white cloth ruff.

He wears a sheepskin tunic draped over his right shoulder and he also wears a folded black breechclout underneath. He has knitted leggings with straps and red moccasins.

This Big Horn, or Ram kachina (Pang), is a great example of Kevin’s ability as a detailer. The horns, feathers, and evergreens have all been carefully carved, as well as the hands, and fingers. His posture and anatomy add an increased level of realism to the piece.

The Ram Kachina is said to be used to secure an increase of flocks – however little is known about the details of the origin or meaning of this particular figure.

It is known that it belongs to the “animal” family of kachina figures, and as a “two horn” figure, it is of this world – and not otherworldly as are some of its “single horn” counterparts, so it is said.

This Big Horn, or Ram kachina (Pang), is a great example of Kevin’s ability as a detailer. The horns, feathers, and evergreens have all been carefully carved, as well as the hands, and fingers. His posture and anatomy add an increased level of realism to the piece.

The Ram Kachina is said to be used to secure an increase of flocks – however little is known about the details of the origin or meaning of this particular figure.

It is known that it belongs to the “animal” family of kachina figures, and as a “two horn” figure, it is of this world – and not otherworldly as are some of its “single horn” counterparts, so it is said.

“The Turkey Kachina appears with other birds in the kivas at night or during the Mixed Dances of late spring. He is not a common kachina and seems to be only from First Mesa.”

– Barton Wright, Kachinas: a Hopi Artist’s Documentary (104)

The Left Handed Kachina is said by some to be derived from the Hualapai Nation, but other Hopi attribute them to the Chemehuevi. He is called left handed because his gear is reversed.

To draw an arrow from the quiver he must use his right hand rather than his left as is normal. The Kachina moves with strange bobbing and little choppy steps. Despite his odd behavior, he is an excellent hunter.

“He is a favorite subject for the carving of kachina dolls or the painting of pictures,” records Barton Wright. Incidentally, Lowell happens to be left-handed and has adopted the Left-handed kachina as his mascot.

The Left-handed kachina, Suy-ang-e-vif, may act as a prompter in a dance or be found making odd little bows and taking small mincing steps at the edge of a procession.

A great deal of the time he has trouble with the Ho’-e when they appear in the same dance. [When together], one of the usual pair keeps up a steady step while the other points to evidence of [game] they are obviously hunting.

– Barton Wright, Kachinas: a Hopi Artist’s Documentary (32)

“While the Sio Hemis Kachina is another introduction from the Zuni in the 1890’s, he does not appear with the Zuni group of Pautiwa, Hakto, and others. The Sio Hemis may be performed in place of the more usual Hemis during Niman Ceremony of mid-July.

In fact, there is little difference between the two except for the tableta decoration. The tableta of the Hopi Hemis has towering clouds and rain depicted on it, while that of the Sio Hemis has dragonflies and sunflowers with smaller clouds above.

Although he appears in the Niman Ceremony, he may also be seen at other times in the company of his uncle and the little Spotted Corn Kachinas.”

– Barton Wright, Kachinas: a Hopi Artist’s Documentary (216)

“Hé-é-e or Hé’wuhti may be seen in Powamu celebrations most years, but it is at the Pachavu ceremonies that Hé-é-e is seen in her most impressive appearance. This kachina is the Warrior Maid, based on the story of a young girl.

Many years ago, tradition says that some Hopis were living outside the main village, and the mother of this household was putting up her daughter’s hair. The mother had finished only one side of the hair whorls, the hair on the other side still hanging loosely, when they saw enemies sneaking toward the village.

The daughter snatched up a bow, quiver, and arrows from the wall and raced toward the village to warn the people. She then led the defense until the men in the fields could return and rout the enemy.

She has been personated ever since as a kachina and always appears with her hair partially up on one side and hanging down on the other. On the back of her head she wears an artificial scalp lock, and she carries the weapons she snatched up so long ago. She still guards the village.”

– Barton Wright, Kachinas: a Hopi Artist’s Documentary (57)

“Heoto Mana dances on all three mesas. Her function is very similar to that of the He-e-e, the Warrior Maiden. In this role, she acts as a guard during the Pachavu procession. She also appears in all of the performances that Heoto does.”

– Barton Wright, Kachinas: a Hopi Artist’s Documentary (160)

“The Great Horned Owl [Mongwa] is best noted for his incessant war on the clowns. As the clowns follow their usual pattern of un-Hopi-like behaviour, a single silent figure will drift into one corner of the plaza and watch these uncouth fellows.”

“When the clowns next appear, growing ever more boisterous in their actions, the Owl again appears and hoots solemnly. With each appearance he gets closer until he ends up talking with the clown chief who promptly blames all misbehavior on the other clowns.”

“But at the last performance, the Owl is joined by other Warrior Kachinas. They leap upon the clowns, douse them with water, beat them vigorously with willow switches or yucca blades, and leave them howling with remorse in a pile in the middle of the plaza.”

– Barton Wright, Kachinas: a Hopi Artist’s Documentary (111)

The Chasing Star (Na-ngasohu), or Planet Kachina, is a handsome figure with the enormous fan of eagle plumes behind the head and the simple but effective design of the face.

Usually he appears in pairs in the Bean Dance procession, the Palolokongti, or a Mixed Dance, carrying a bell in his right hand. His particular function is unknown.

“This kachina was brought from Zuni by the Asa Clan when they came to Sichomovi. Since that time he has spread to the other mesas. However, Chakwaina originally came from much farther east for he has homologues in Keresan and Tanoan pueblos along the Rio Grande.

It has been stated that this kachina represents Estevan the Moor, who led Fray Marcos de Niza in search of Cibola and was killed at Zuni. This does not seem too reasonable considering the direction of his diffusion and the complex relationship of the Chakwaina group to the various pueblos where it is found.

Chakwaina appears most often in January during the Kiva Dances – dancing in a line with rather lively gestures, stooping and turning and singing a spirited tune. All Chakwaina are warriors.”

– Barton Wright, Kachinas: a Hopi Artist’s Documentary (99)

Huhuwa is known as the Cross-Legged Kachina or on First Mesa, the Snare Kachina.

Folklore has it that this kachina is the spirit of a man from Second Mesa, probably Mishongnovi, who has some crippling disease that left him barely able to walk. Despite this handicapped he was so cheerful and eager to help others that he still continues among the Hopi as a kachina. He often appears as a pair of kachinas hobbling about some village dirung a ceremony chattering between them. He is noted for his remarks, which are always humorous. He imitates the dialects of the various villages and the funny things villagers have done. His clothes are always ragged and give the appearance of having been rescued from the moths in some Hopi storeroom. Yet he is always greeted with delight by all who see him.

-Barton Wright, Kachinas: a Hopi Artist’s Documentary (40)

Probably one of the most beautiful and best known of all the Hopi Kachinas.

At sunrise, when the kachinas come to the plaza to dance for the first time, they bring with them entire corn plants, the first corn harvest of the year, to distribute to the audience.

In the Home Dance no other kachinas appear, neither clowns nor side dancers, only the Hemis Kachinas and their Manas in a double line rotating slowly in opposite directions and turning yet again. This final dance of the kachinas is both stately and reverent.

-Barton Wright, Kachinas: a Hopi Artist’s Documentary (214)

A’hote may appear in any of the directional colors but the two most common colors are the yellow A’hote (Sikyahote) or the blue (Sakwahote).

In a Plaza Dance it is not unusual to see a line of Sakwahote with several Sikyoahote, and a white or red form as well.
In his left hand he very frequently carries roast or boiled corn that is given out to the audience during his performance.

-Barton Wright, Kachinas: a Hopi Artist’s Documentary (170)

“Ho-ote is an extremely popular kachina because of his well-liked songs. He appears as a group in the ordinary kachina dances and sometimes in the Niman [Home Dance]. The symbols between his eyes and on his forehead are said to be those of flowers, and therefore his dance forecasts the flowers of spring.

“This kachina may appear with a buckskin kilt and silver belt coupled with the presence of the yellow triangle on the face. When the kachina wears the embroidered robe he should have a blue triangle between his eyes.”

– Barton Wright, Kachinas: a Hopi Artist’s Documentary (169)

He appears at Zuni, and he appears on First Mesa more than the other Hopi mesas.

He carries a planting stick and seeds, and he dances in the kiva just as does Kwasaitaka, who is the Third Mesa He is supposed to have influence over the growth of corn and most often carries corn kernels in his sack. The audience is anxious to receive any of this seed corn that he cares to pass out.

-Barton Wright, Kachinas: a Hopi Artist’s Documentary (101)

The White Buffalo is not a kachina but rather a social dancer who usually my be seen in the month of January on Second Mesa. The doll is a recent addition to the repertoire of carvers. It has given its popularity through the carving of Alvin James Makya who seems to have made the first examples. It is now a favorite of many carvers and collectors.

– Barton Wright, Hopi Kachinas, The Complete Guide to Collecting Kachina Dolls (82)

Mahu is the Cicada Kachina that appears in the Night or Kiva Dances early in the year or during the Soyohim of late spring. Presumably he appears as a prayer for the arrival of summer when the real cicada appears.

Barton Wright, Hopi Kachinas, The Complete Guide to Collecting Kachina Dolls (155)

This runner is known as the Mud Kachina or the Clay Ball Kachina. If he catches his victim, he will rub mud all over his face and hair and mouth. The Kachina’s costume is really simple as it consists of only mud smeared all over the body, a breechclout, and a mask. The face has only a round black dot for eyes and mouth and a small red ear on either side of the very simple mask.

Barton Wright, Hopi Kachinas, The Complete Guide to Collecting Kachina Dolls (224)

One of the very popular Plaza Kachina Dances is that of the Deer Kachina. He has power over the rain, and of course, when he dances, he is a prayer for increase of deer. Usually when a group of these dancers appear they are accompanied by a Wolf or Mountain Lion Kachina as a side dancer. Presumably the first Deer Kachinas were brought from Awatovi, which may be correct as they retain a strong Rio Grande appearance. The position that this kachina usually assumes when he dances is that of bending forward at the waist and resting the front part of the body upon the short stick that is carried in his hands.

Barton Wright, Hopi Kachinas, The Complete Guide to Collecting Kachina Dolls (166)

The Navan or Velvet Shirt Kachina a comparatively recent kachina as it seems to have originated in Moenkopi sometime after 1900. He is one of the more colorful kachinas in a regular kachina dance with his bright ribbons and flowers. He may also appear in Kiva Dances.

Barton Wright, Hopi Kachinas, The Complete Guide to Collecting Kachina Dolls (191)

Chowilawu is a kachina that few Hopi men will make as a doll. Very few can be found and they are in the older collections. Reverend Voth (a Mennonite missionary among the Hopis in the 1890’s) managed to persuade someone to make a doll of this kachina, for which they were both roundly castigated by the priests of Oraibi.

The kachina appears during the initiation into the Powamu fraternity, an event that usually takes places the day before the initiation into the Kachina cult. He is never seen in public, even though he appears on all three mesas.

Some Hopis equate this kachina with Qochaf and others with the whirlwind, but it seems doubtful that he is either of these. If this kachina did not have a ruff and if its lower legs and forearms were blackened, it would be a closer representation of this particular personation.

The black spot on its chest is matched by one on its back, but the spots should not be encircled; rather they are a small smudge just over the sternum and in the same position on the back.

Wright, Barton. Kachinas: a Hopi Artist’s Documentary (70).

This is an amazing conceptual masterpiece and the type of work Jon has increasingly become known for. We’ve been fortunate to acquire most if not all of these special pieces depicting various aspects of Hopi culture.

Here Jon presents a hunter making a sacrifice for the sacred water rights his people depend upon to grow their crops and sustain their lives. You can see the balance of nature with the fish, the turtle, the bear, and mankind.

Jon’s ability to relief carve these elaborate and intricately detailed one-piece sculptures is paralleled by none. There are no second chances, and the medium is not forgiving like clay.

Take a close look and you can almost feel the energy of this piece as the two competitors grapple with one another at the edge of the waterfall. Jon has an amazing knack for posture and proportion. Every muscle, ever fold of skin or cloth, is accounted for – and the story he tells is always vibrant and exciting!

“The Apache Kachina is a figure or caricature that may appear during the Kiva Dances both early and late, or with the Soyohim later in the year. A group of them frequently will appear in the Buffalo Dances during the Kachina season.

“Their actions are usually those that one would expect of Apaches on the warpath. They are often used in conjunction with the clowns.”

– Barton Wright, Kachinas: a Hopi Artist Documentary (145)

“The Hano Mana is given to the girls of Tewa in much the same manner that Hahai-i Wuhti is given the Hopi girls by the men of their villages. Even among the Hopis it is very often a favorite for the first or second gift to the children

“She appears in the Bean Dance on Second Mesa and in the Water Serpent Ceremony on First Mesa. Usually if this kachina wears the embroidered wedding robe, it is turned inside out. More often she appears in the maiden shawl. The hair is normally put up in Tewa-style knots on either side of the head rather than as it is shown here. Spruce is held in each hand with the corn.”

– Barton Wright, Hopi Kachinas: a Hopi Artist Documentary (51)

Like most of the other game animals, this Antelope / Pronghorn, or Chof, kachina dances for the increase of his kind. “When he appears, whether in the kiva or as a group in the plaza, it is in the hope that more of his kind will be around for harvesting by the Hopis.

The Hopis may offer him cornmeal and prayer feathers and explicitly state the wish that he will remain and allow them to take some members of the Antelope family. The stick that he holds in his hands represent the front legs of the animal when he walks or dances.”

-Barton Wright, Kachinas: a Hopi Artist’s Documentary (165)

Like most of the other game animals, this Antelope / Pronghorn, or Chof, kachina dances for the increase of his kind. “When he appears, whether in the kiva or as a group in the plaza, it is in the hope that more of his kind will be around for harvesting by the Hopis.

The Hopis may offer him cornmeal and prayer feathers and explicitly state the wish that he will remain and allow them to take some members of the Antelope family. The stick that he holds in his hands represent the front legs of the animal when he walks or dances.”

-Barton Wright, Kachinas: a Hopi Artist’s Documentary (165)

“In every ceremony there are guards to prevent any transgression on the path of the kachinas. In addition, guards or Angry Kachinas were formerly used to enforce community work such as the cleaning of springs.
“It is to this category that the Wuyak-kuita belongs. There is evidence that this kachina has many forms that have changed through time. Wuyak-kuita is most often seen bringing up the rear of the Bean Dance Procession or circling wide at the sides.”He is the one who moves toward the clowns and absolutely terrifies them. On Third Mesa these are the kachinas who guard the kivas to keep He’e’e from approaching too close during the Palolokong Ceremony, or from going to the Flute Spring during the same ceremony. This form of the kachina is the one most commonly seen at ceremonies like the Powamu.”

– Barton Wright, Kachinas: a Hopi Artist’s Documentary (26)

Kaisale is one of the beautiful clowns; so-called because of the many colors that stripe his body.

His actions, however, are those of the Tsuku – the Hopi clown. He engages in any outrageous act that will tickle the fancy of the audience.

– Barton Wright, Kachinas: a Hopi Artist’s Documentary (243)

“The Long-haired Kachina is one of the most pervasive of all kachinas. It is danced from the Rio Grande to the Hopi Mesas in almost the same form. Among the Hopis there are many varieties but the regular Angak’china is the one portrayed here.

“They appear in a group and sing a very melodious song which may be one of the reasons that they are such favorites. They are often used for the Niman Kachina on First Mesa coming with the Kocha Mana. In fact they have danced in late August on First Mesa in direct contradiction to the feeling that only Masau’u can be danced out of season. Probably this was due to the presence of the Tewa people who do not have a closed kachina season.

“Their purpose is to bring rain, and it is said that they seldom dance without the appearance of a soft gentle rain to help the crops grow.”

– Barton Wright, Kachinas: a Hopi Artists Documentary (172)

The Cumulous Cloud Maiden is the female counterpart of the Cumulous Cloud kachina and is also very rarely carved. They are both sacred beings who represent the cloud people – who the Hopi regard as their ancestors – hearing their prayers and bringing them rain.

The Cold Bringing Woman, or Horo Mana, as she is called by Colton, is usually known by the name of Yohozro Wuhti.

Her most common appearance is on First Mesa during the Powamu. She carries a Hopi comb in her hand to muss up people’s hair when she appears with Nuvak’china, her grandson.

As her name implies, she brings the whiteness of winter.

– Barton Wright, Kachinas: a Hopi Artist’s Documentary (34)

This Kachina Mana is rather common on First Mesa but progressively less so on Second and Third Mesas. She usually accompanies the Nataskas on their collecting trip around First Mesa and occasionally on Second Mesa.

When food is offered that is inferior, or is not offered at all, she whistles and attempts to rope the delinquents to drag them away in lieu of the food.

She does not appear in the Powamu but rather with the Soyoko. The mana is shown here in the act of roping some poor individual who has not produced the proper food.

– Barton Wright, Kachinas: a Hopi Artist’s Documentary (82)

“Angwus Kachina is the Crow Kachina. This kachina is one of the warriors who make war on the clowns during the Plaza Dances or who appear in the Soyohim of late spring.

“He comes to threaten the clowns for their immoderate behavior, appearing again and again until finally he and others who have the same function descend upon the clowns and thoroughly chastise them.”

– Barton Wright, Kachinas: a Hopi Artist’s Documentary (158)

“Hototo appears on all three mesas and on Third Mesa he is represented by two kachinas. It is quite probable that this was true of the other two mesas at a point earlier in time. These kachinas appear most often at the Bean Dance or Pachavu Ceremony, but may also be seen in the Mixed Dance.

“They are very important War Kachinas on Third Mesa, and it is said that the hair that hangs in place of an ear represents a scalp.”

– Barton Wright, Kachinas: a Hopi Artists Documentary (44).

The Kokopelli is a world-renowned figure whose origin and purpose have been argued by every group who has ever claimed him. Still the most consistent record lies in the unadulterated legends of the Hopi culture. (no pun intended!)

He has been referred to as a flute player, a rain god, a trickster, a traveler, a musician, the humpback, a fertility god, and so on. His appearance suggests many of these things at different times.

Among the Hopi, he is only a flute player when he borrows a flute to dance. The hump on his back is thought to be a satchel full of seeds – for he is a planter, and with him usually comes life and abundance. The springtime is often associated with the Kokopelli because of the new growth and appearance of flowers.

Legends have recorded the Kokopelli as a sexual figure who not only brings blessings to the crops but also leaves the villages full of new mothers. All in all, he represents fertility. And he has certainly left his mark, as he can be found in the cultures of South and Central America, as well as all of the other tribes of the Southwest.

Some have said that the flute that seems to appear in his hands is actually a planting stick which he uses to burry the seeds from inside his pack.

The Kokopelli is a world-renowned figure whose origin and purpose have been argued by every group who has ever claimed him. Still the most consistent record lies in the unadulterated legends of the Hopi culture. (no pun intended!)

He has been referred to as a flute player, a rain god, a trickster, a traveler, a musician, the humpback, a fertility god, and so on. His appearance suggests many of these things at different times.

Among the Hopi, he is only a flute player when he borrows a flute to dance. The hump on his back is thought to be a satchel full of seeds – for he is a planter, and with him usually comes life and abundance. The springtime is often associated with the Kokopelli because of the new growth and appearance of flowers.

Legends have recorded the Kokopelli as a sexual figure who not only brings blessings to the crops but also leaves the villages full of new mothers. All in all, he represents fertility. And he has certainly left his mark, as he can be found in the cultures of South and Central America, as well as all of the other tribes of the Southwest.

Some have said that the flute that seems to appear in his hands is actually a planting stick which he uses to burry the seeds from inside his pack.

“Koshari or Koyala is the name of a Rio Grande clown that is often seen on the Hopi Mesas. The Hopis very frequently call this clown the Hano or Tewa clown as the Tewa of that village seem to have introduced this personage to the Hopi mesas.

These clowns are considered to be the fathers of the kachinas. They behave in the usual manner of pueblo clowns, engaging in loud and boisterous conversation, immoderate actions, and gluttony.
They are often drummers for other dances.”

– Barton Wright, Kachinas: a Hopi Artist’s Documentary (239)

“A’hote may appear in any of the directional colors but the two most common colors are the yellow A’hote (Sikyahote) or the blue (Sakwahote).

“In a Plaza Dance it is not unusual to see a line of Sakwahote with several Sikyahote, and a white or red form as well. All indications in his costume point to inspiration from a Plains-type warrior, particularly the feather headdress.

“A’hote may appear in the Mixed Kachina Dances, or the Palolokong Dances and the Plaza Dance. In his left hand he very frequently carries roast or boiled corn that is given out to the audience during his performance.”

– Barton Wright, Kachinas: a Hopi Artist’s Documentary (170)

Ahola is an important chief kachina for both First and Second Mesa as opens the Powamu ceremony with a kiva performance on the first night. This performance seems to involve mimetic magic to slow the passage of the sun. At a shrine in the “Gap” of First Mesa the next day an additional rite is performed as the sun rises. With the daybreak Ahul (or Ahola) and the Powamu Chief deposit pahos (prayer feathers) at Kachina Spring, for he is the ancient one of the Kachina Clan. As the ancient one he led the people from the San Francisco Peaks eastward as far as the great river and then westward to where they were stopped by the turbulent waters and where their houses still stand. After going to the Kachina Spring, Ahola and the Powamu Chief then visit all the kivas and the houses with ceremonial associations, distributing the Powamu Chief’s bean and corn plants and marking the entrances with four stripes of meal, thereby appealing to the Cloud chiefs to sit over these places. At the end of this ceremony Ahola descends to a shrine where he bows four times to the Sun and asks for long life, health, happiness and good crops for his children.

– Barton Wright, Kachinas: a Hopi Artist’s Documentary (9)

In every ceremony there are guards to prevent any transgression on the path of the kachinas. In addition, guards or Angry Kachinas were formerly used to enforce community work such as the cleaning of springs. It is to this category the Wuyak-kuita belongs. There is evidence that this kachina has many forms that have changed through time. Wuyak-kuita is most often seen bringing up the rear if the Bean Dance Procession or circling wide at the sides. He is the one who moves toward the clowns and absolutely terrifies them. On Third Mesa these are the kachinas that guard the kivas to keep He-e-e from approaching too close during the Palolokong Ceremony, or from going to the Flute Spring during the same ceremony. This form of the kachina is the one most commonly seen at ceremonies like the Powamu.

– Barton Wright, Kachinas: A Hopi Artist’s Documentary (26)

The Talavi Kachina formerly appeared in pairs on the rooftops and sang songs, waking the people in the village. During the day they would dance with the other kachinas that they led and prompted in the singing. This role is no longer used in any of the villages. They still appear with the other kachinas in the Powamu Ceremony and are most often seen standing in a set to one side of the main movement of the procession. Occasionally they sing as they stand holding their spruce trees and ringing their bells. It is unfortunate that the specific name of this kachina is also the generic name of a group of kachinas that appear at dawn on the last day of the Bean Dance and give presents and bean sprouts to the children of the village. This latter group, referred to Talavi Kachinas may include Huhuwa, Ma’alo, Talavi, Hemis, and many others. This is the appearance of the Talavi Kachina as he stands at the side of the procession and sings, except there would be two of them.

– Barton Wright, Kachinas: A Hopi Artist’s Documentary (38)

It would be logical for the Red-tailed Hawk to be simply another Bird Kachina, but logic plays little part in understanding kachinas. Palakwayo is one of the Chief Kachinas of Second Mesa during Pachavu of initiation years. He appears as one of the more important kachinas on Third Mesa during the Powamu, but his function is unknown. He has almost disappeared in some villages, but countless shrines still exist that were his. During the Pachavu at Oraibi he is one of the group that He-e-e gathers for her procession into the village.

– Barton Wright, Kachinas: A Hopi Artist’s Documentary (61)

The Bee makes rather casual appearances during the Mixed Kachina Dances or during the night rituals of the Water Serpent Ceremony. He presumably dances among the audience, although how anyone could dance through the tightly packed humanity is hard to imagine. With a tiny bow and miniature arrows he either threatens to shoot the spectators actually does hit some of them with tiny blunt arrows. In Zuni, when this personation appears, he brings honey to the children in the audience in the odd-shaped cups that appear on the top of his head.

– Barton Wright, Kachinas: A Hopi Artist’s Documentary (85)

Whenever the Deer or Antelope Kachinas dance in the plaza, another kachina is very frequently seen with them- the Wolf Kachina (Kweo). He is their side dancer, and the stick he holds in his hands is said to represent trees and bushes that he hides behind as he watches them. When he appears, the Deer and the Antelope are wary because in real life he is the hunter of antelope. After the dance it is customary for the Hopis to offer the Wolf Kachina cornmeal or prayer feathers is that he will use his knowledge find and capture these game animals.

– Barton Wright, Kachinas: A Hopi Artist’s Documentary (164)

The Konin or Supai kachina appears in a regular kachina dance and is a representation of the Hopis’ neighbors to the west, the Havasupai Indians. There are several varieties of this kachina.

– Barton Wright, Kachinas: A Hopi Artist’s Documentary (184)

The Wiharu functions in exactly the same way as the Nataska, only it appears in white.
“The fearsome Nataska always come as a pair. They accompany the Soyoko on their collection trip and usually stand directly behind the member of the crew who is bargaining with the relatives of the children.”They make horrible noises, dragging their saws [and knives, or whatever it may be] along the side of the house or on the ground. All the while, they keep up a steady stamping that makes the turtle-shell rattles on their legs sound ominously.
“They are supposed to be able to eat a child whole; from the very earliest age, the child has heard stories of these monsters – how they would descend on children playing near the village and haul them away to cook and eat. So it is no wonder that the children are petrified at their actual appearance!

“Usually only dark colored clothes are put on this kachina pair, who should have horns. The feather fan is made of turkey feathers which are placed close together to form a large mass behind the head that makes the figures appear much taller and broader.”

– Barton Wright, Kachinas: a Hopi Artists Documentary (78)