Kokyan wüqti. Appears in kiva drama.
Püükoñ's sister. Appears in kiva drama.
Tacab Añya. Appears in kiva drama.
Tacab Añya mana. Appears in kiva drama.
Hahai wüqti. Appears in kiva drama.
Añya. Performs ceremonial dance in plaza.
Añya mana. Grinds corn in ceremonial dance in plaza.
Hehea. Appears in ceremonial dance in plaza.
Hopak. Appears in ceremonial dance in plaza.
Winter Marau Paholawû
The winter prayer-stick-making of the Mamzrautû society was much more complicated in 1900 than that of the Lalakoñtû. The row of upright objects from the altar erected in October was put in place and before it were laid the tiponis of the chiefs of the society. On the final day there was a public dance in which there were personations of the Palahiko manas. The Hopi artist has made a fair picture of one of these Palahiko manas, which is here reproduced in place LVI.
Spring Sumaikoli
The Yaya priests and Sumaikoli hold a spring festival in Walpi, which in some particulars resembles the Sumaikoli celebration at Hano, elsewhere described.[1]
The six masks of Sumaikoli and one of the Kawikoli are arranged on the floor of the kiva behind the tiponis. New fire is kindled with rotating fire drills, and this fire is later carried by means of cedar-bark torches to shrines of the Fire god, four shrines in the foothills, where bonfires are kindled in sequence, north, west, south, and east.
The carriers who bear these torches, and who kindle the four fires, deposit in the contiguous shrines prayer-sticks which have been made in the kiva before their exit.
One of the most interesting features in the songs which are sung before the altar are the calls down a hole in the floor called the sipapû to the goddess of the earth.[2] This being is represented by a bundle of sticks placed on the floor, and over this bundle the priest kneels when he shouts to the earth goddess.
The symbolism of the Sumaikoli masks at Walpi is similar to that of the Hano masks, which are elsewhere[3] figured and described. They differ among themselves mainly in the colors of the different symbols. The picture of the Sumaikoli by the Hopi artist (see plate XXXIV) gives a fair idea of the paraphernalia.
- ↑ Journal of American Ethnology and Archæology, vol. II, 1892.
- ↑ See The Lesser New-Fire Ceremony at Walpi, American Anthropologist, new series, vol. III, July‒September, 1901.
- ↑ Journal of American Ethnology and Archæology, vol. II, 1892. In this early description these objects were erroneously called shields. They are worn before the face in elaborate Sumaikoli celebrations.
