was drawn on the ground, along which line the procession passed. As the personators arrived at each of the six chrines they performed a dance near it, and the leader scattered prayer-meal on the prayer-stick. Each of the four divisions of the procession went to one or another of the following houses: Asa clan house (Homovi's), Honani clan house (Nuvasi's), Patki clan house (Tcishoniwû's), and Kükütc clan house (Sikyahonauû's).
These houses had been specially fitted up for the reception of the incoming guests, and as they arrived they danced, passing in rotation to the other houses, and so continuing throughout the night.
As each group entered a house, it tied a stick with attached feathered strings in the rafters, after which the katcinas doffed their masks, the men smoked and prayed, and a feast was served. At the close of the feast the women and children began to assemble, filling all available space in the rooms, each family seeking the clan with which it had social affiliation.
There were no elaborate altars in these rooms, but at one end, on the floor, there were masks and other sacred objects belonging to the clan. In the floor of the room at that point there was a round hole called the sipapû, corresponding with a similar opening in the floors of the kivas. The walls of the Asa room were decorated with whole new buckskins nailed in a row about them. The mural decoration of the Kükütc clan was a ceremonial kilt painted on the four walls. All floors were carefully swept and the wealth of the clan was prominently displayed, the clan fetishes being placed on the floor near the symbolic opening mentioned above.
The most important of the latter in the home of the Honani clan were four masks of Wüwüyomo and four masks of the Zuñi Calakos. These were arranged in two rows, one behind the other. Near this double row of masks the men representing Cipikne, Hakto, and Hututu set their masks. The author supposes that the four masks called Wüwüyomo (see plate V), which are apparently very old, as their name indicates, represent sun masks, and as such are symbolically and morphologically the same as that of Ahül, the sun god of the Katcina clan. They are exceptional in having the curved snout (which is homologous to an eagle's beak) turned upward, for in masks of other sun gods which have this organ it is turned downward.
The four Zuñi Calako masks, which the author believes are also symbolic sun masks, are of modern introduction into Tusayan, and do not differ in symbolism from those of the Calakos at Zuñi, from which they were modeled.[1]
No ancient masks were displayed in the house of the Asa clan, but
- ↑ This is not the place to point out the resemblance between the symbolism of the Calako masks and those of the sun, but the author is firmly convinced that the Calako giants represent giant sun birds. Not only the symbolism but also the acts of these beings support this theory. The Calako festival is practically a sun drama.
