sonations (pl. 3). Consequently the Hopi pantheon is well stocked with clan ancients resembling each other in general particulars but differing considerably in their totemic or symbolic characters. The union of several clans makes it very difficult to properly reconstruct the original typical form in many cases.

Every great Hopi ceremony has an elaborate and an abbreviated, a greater and a lesser performance, commonly six months apart. The elaborate exhibition as a rule extends over nine days. Several of these days are occupied with secret observances in a kiva or ceremonial room, but the public are welcomed to all pageants or open dramatizations that customarily close the series of daily rites that make up the celebration.

The scheme of the dramatic dances in which Katcinas appear is simple. These personations are believed to live in a far distant land during the winter months but to visit the villages during the summer. Their arrival and departure are two very important ceremonial events and are appropriately celebrated; their advent occurs annually in February and their departure in July, six months apart. The dramatic representations of their coming and going are the great festivals, Powamu and Niman, celebrated in secret rites as well as open masques. At their advent they are led into the pueblo by a personation of the sun, the father of all life, as described in the account of sun worship among the Hopi. They enter the town from the east and depart toward the west, and between their advent and their departure they wander about in the field or in the pueblo, from time to time performing open dances in the courts of the villages. The celebration when they arrive or depart extends over several days and nights but in the abbreviated or intermediary personations their dances are limited to a single day.

As the most showy part of these dances are the masked personators (pl. 4, fig. 1) an explanation of the character of the symbolism, mainly expressed on the mask, is important. In a typical Katcina dance there are three or four impersonators that appear. The largest number are called Katcina takamu or Katcina men. They wear on their heads the helmet masks, the symbolism of which differs according to the Katcina personated (pl. 5). Facing them are the Katcina manas or Katcina maids, often called "sisters," generally six in number. These are men dressed as maidens wearing the white wedding blankets made of cotton similar to those that every Hopi bride receives from the clan of her husband as part of her wedding trousseau. These "sisters" face the men as they dance; they carry in their hands sheep scapulas which they draw over a notched stick, making a rasping noise accentuated by a hollow gourd placed on the ground, upon which the stick rests. This is called the "Hopi fiddle" (pl. 4, fig. 2). The rhythm of the dance is also aided by the rattles

the men carry in their hands and by empty turtle shells with attached deer hoofs tied under the knees.

These dances are accompanied by a group of masked men, generally five in number, known as the Clowns, Mud Heads, or Delight Makers. There are three kinds of clowns: the first, those who wear a close fitting cap with long leather horns tipped with bunches of corn husks. These horns, like their bodies, are girt with black and white bands like convicts' garments; the second have their heads encased in close fitting hoods to which are tied little bags like wens, some of which resemble small sausages; the third group is unmasked and have their faces painted with yellow and red pigments. They wear necklaces and ear ornaments made of the tails of rabbits stained red. The third group might easily be called gluttons for they practice inordinate eating, sometimes consuming disgusting food. None of these personators wear clothing of any kind save a gee-string. Their function is to amuse the spectators while the public dances are progressing, introducing impersonations and ludicrous episodes, many of which would better not be described. These clowns, especially the last mentioned, represent the very ancient ancestral people (fig. 3).

The wants of the people are made known to the Katcina personators by prayers of old priests who from time to time pass about the line of dancers sprinkling prayer meal in pinches on their shoulders, accompanied with prayers. These Katcina personations are supposed by the worshippers to have supernatural powers to bring the rain, and make the crops grow, and the purpose of the prayers is in that direction. The old priests vicariously represent the worshippers, and as they pass from one dancer to another they give them prayer sticks that have been consecrated by songs, prayers, and in other ways sanctified in the sacred rooms before an elaborate altar.

The one-day public Katcina dances among the Hopi take place in the courts and are performed at intervals from sunrise to sunset, culminating in number of performers and size of the audiences late in the afternoon. The line of dancers is generally led to the dance places by a priest who indicates the trail by throwing a line of sacred meal in front of the leader. These men are priests who pray to the Katcinas either by asperging medicine water on them or sprinkling them with prayer meal.

The songs of the Katcinas are melodious and rhythmical, the words often incomprehensible, sometimes taken from some other pueblo language. They are often bartered among different Hopi pueblos and it is no unusual thing for a man from one pueblo to teach a foreign Katcina song to men of another pueblo, for a remuneration. To emphasize the value they place on some of these songs attention may be called to the fact that a new Katcina song is sometimes sold for a

very high price. Before a dance the performers often rehearse in the kivas where novices are taught the standard Katcina songs.

Children are sometimes allowed to perform a Katcina dance of their own, similar to that of their elders, and it is an interesting experience to witness these performances, the mothers taking consider

a, Hano

מי

d.

b.

FIG. 3.-Indian drawing of the dramatic representation of the Corn Maidens grinding corn. Clown; b, Heheya Katcina; c, Bearded Katcina; d, Corn Maids.

able pride in dressing the little boys for this dance. One or more of the performers at this time carries a bag of piñon nuts which he throws at intervals among the assembled spectators.

Many Katcinas have been lately introduced into Hopiland, and have no relation whatever to ancestors of Hopi clans (pl. 6). They are not personations of ancients, elders or other members of Hopi