Native American Indian Pictures and History: Hopi

Showing posts with label Hopi. Show all posts

Saturday, June 15, 2019

Religious Icons and Spirituality among the Native Americans

Hoffmann states that at the 'medicine' lodges of some Algonquian tribes there are preserved fetishes or amulets worn above the elbows, consisting of strands of bead-work, metal bands, or skunk skins, while bracelets of shells, buckskin, or metal are also worn. A great tribal fetish of the Cheyenne was their 'medicine' arrow, which was taken from them by the Pawnees in battle. The head of this arrow projects from the bag which contains it, and it is covered with delicate waved or spiral lines, which denote its sacred character. It was, indeed, the palladium of the tribe. A peculiar type of fetish consisted of a mantle made from the skin of a deer and covered with feathers mixed with headings. It was made and used by the medicine-men as a mantle of invisibility, or charmed covering to enable spies to traverse an enemy's country in security. In this instance the fetishistic power depended upon the devices drawn upon the article. The principal fetishes among
the Hidatsa tribe of the Sioux are the skins of foxes and wolves, the favourite worn fetish being the stripe from the back of a wolf-skin with the tail hanging down the shoulders. A slit is made in the skin, through which the warrior puts his head, so that the skin of the wolf's head hangs down upon his breast. The most common tribal fetishes of the Sioux are, or were, buffalo heads, the neck-bones of which they preserve in the belief that the buffalo herds will thereby be prevented from removing to too great a distance. At certain periods they perform a ceremony with these bones, which consists in taking a potsherd filled with embers, throwing sweet-smelling grease upon it, and fumigating the bones with the smoke. There are certain trees and stones which are regarded as fetishes. To these offerings of red cloth, red paint, and other articles are made. Each individual has his personal fetish, and it is carried in all hunting and warlike excursions. It usually consists of a head, claws, stuffed skin, or other representative feature of the fetish animal. Even the horses are provided with fetishes, in the shape of a deer's horn, to ensure their swiftness. The rodent teeth of the beaver are regarded as potent charms, and are worn by little girls round their necks to make them industrious.

At Sikyatki, in Arizona, a territorial nucleus of the Hopi Indians, Mr. Fewkes had opportunities of inspecting many interesting fetish forms. A number of these discovered in native graves were pebbles with a polished surface, or having a fancied resemblance to some animal shape. Many of the personal fetishes of the Hopi consist of fossils, some of which attain the rank of tribal fetishes and are wrapped up in sacred bundles, which are highly venerated. In one grave was found a single large fetish in the shape of a mountain }lion, made of sandstone, in which legs, ears, tail, and eyes are represented, the mouth still showing the red pigment with which it had been coloured. This is almost identical with some fetishes used by the Hopi at the present day.

Saturday, May 21, 2016

Hopi Indian Symbolic Rituals and Dance

The beliefs of a tribe, philosophical, religious, and magical, are, for the most part, expressed in objective ceremonies. The formal procedure or ritual is essentially a representation or dramatization of the main idea, usually based upon a narrative. Often the ceremony opens with or is preceded by the narration of the myth on which it is based, or the leader may merely refer to it on the assumption that everyone present knows it.

As to the purpose of the ceremony, there are those who maintain that entertainment is the main incentive, but the celebration or holiday seems to be a secondary consideration according to the explanation of the primitives themselves.

If there chances to be a so-called educated native present to answer your inquiry on the point, he will perhaps patiently explain to you that just as July Fourth is celebrated for something more than parades and firecrackers, and Thanksgiving was instituted for other considerations than the eating of turkey, so the Hopi Snake Dance, for instance, is given not so much to entertain the throng of attentive and respectful Hopi, and the much larger throng of more or less attentive and more or less respectful white visitors, as to perpetuate, according to their traditions, certain symbolic rites in whose efficacy they have profoundly believed for centuries and do still believe.

Concerning the Pueblos (which include the Hopi), Hewett says: "There can be no understanding of their lives apart from their religious beliefs and practices. The same may be said of their social structure and of their industries. Planting, cultivating, harvesting, hunting, even war, are dominated by religious rites. The social order of the people is established and maintained by way of tribal ceremonials. Through age-old ritual and dramatic celebration, practiced with unvarying regularity, participated in by all, keeping time to the days, seasons and ages, moving in rhythmic procession with life and all natural forces, the people are kept in a state of orderly composure and like-mindedness.

"The religious life of the Pueblo Indian is expressed mainly through the community dances, and in these ceremonies are the very foundations of the ancient wisdom...."

Dance is perhaps hardly the right word for these ceremonies, yet it is what the Hopi himself calls them, and he is right. But we who have used the word to designate the social dances of modern society or the aesthetic and interpretive dances for entertainment and aesthetic enjoyment will have to tune our sense to a different key to be in harmony with the Hopi dance.

Our primitive's communion with nature and with his own spirit have brought him to a reverent attitude concerning the wisdom of birds, beasts, trees, clouds, sunlight, and starlight, and most of all he clings trustingly to the wisdom of his fathers.

"All this," according to Hewett, "is voiced in his prayers and dramatized in his dances—rhythm of movement and of color summoned to express in utmost brilliancy the vibrant faith of a people in the deific order of the world and in the way the ancients devised for keeping man in harmony with his universe. All his arts, therefore, are rooted in ancestral beliefs and in archaic esthetic forms."

Surely no people on earth, not even the Chinese, show a more consistent reverence for the wisdom of the past as preserved in their myths and legends, than do the Hopi.

Tuesday, May 17, 2016

About the Building of Hopi Indian Houses

About the Building of Hopi Indian Houses

As already stated, the house (See Figure 3) belongs to the woman. She literally builds it, and she is the head of the family, but the men help with the lifting of timbers, and now-a-days often lay up the masonry if desired; the woman is still the plasterer. The ancestral home is very dear to the Hopi heart, men, women, and children alike.

After the stone for building has been gathered, the builder goes to the chief of the village who gives him four small eagle feathers to which are tied short cotton strings. These, sprinkled with sacred meal, are placed under the four corner stones of the new house. The Hopi call these feathers Nakiva Kwoci, meaning a breath prayer, and the ceremony is addressed to Masauwu. Next, the door is located by placing a bowl of food on each side of where it is to be. Likewise particles of food, mixed with salt, are sprinkled along the lines upon which the walls are to stand. The women bring water, clay, and earth, and mix a mud mortar, which is used sparingly between the layers of stone. Walls are from eight to eighteen inches thick and seven or eight feet high, above which rafters or poles are placed and smaller poles crosswise above these, then willows or reeds closely laid, and above all reeds or grass holding a spread of mud plaster. When thoroughly dry, a layer of earth is added and carefully packed down. All this is done by the women, as well as the plastering of the inside walls and the making of the plaster floors.

Now the owner prepares four more eagle feathers and ties them to a little willow stick whose end is inserted in one of the central roof beams. No home is complete without this, for it is the soul of the house and the sign of its dedication. These feathers are renewed every year at the feast of Soyaluna.

The writer remembers once seeing a tourist reach up and pull off the little tuft of breath feathers from the mid-rafter of the little house he had rented for the night. Naturally he replaced it when the enormity of his act was explained to him.

Not until the breath feathers have been put up, together with particles of food placed in the rafters as an offering to Masauwu, with due prayers for the peace and prosperity of the new habitation, may the women proceed to plaster the interior, to which, when it is dry, a coat of white gypsum is applied (all with strokes of the bare hands), giving the room a clean, fresh appearance. In one corner of the room is built a fireplace and chimney, the latter often extended above the roof by piling bottomless jars one upon the other, a quaint touch, reminding one of the picturesque chimney pots of England.

Figure 3.—Typical Hopi Home.—Courtesy Arizona State Museum.

The roofs are finished flat and lived upon as in Mediterranean countries, particularly in the case of one-story structures built against two-story buildings, the roof of the low building making the porch or roof-garden for the second-story room lying immediately adjacent. Here, on the roof many household occupations go on, including often summer sleeping and cooking.

When the new house is completely finished and dedicated, the owner gives a feast for all members of her clan who have helped in the house-raising, and the guests come bearing small gifts for the home.

Formerly, the house was practically bare of furniture save for the fireplace and an occasional stool, but the majority of the Hopi have taken kindly to small iron cook stoves, simple tables and chairs, and some of them have iron bedsteads. Even now, however, there are many homes, perhaps they are still in the majority, where the family sits in the middle of the floor and eats from a common bowl and pile of piki (their native wafer corn bread), and sleeps on a pile of comfortable sheep skins with the addition of a few pieces of store bedding, all of which is rolled up against the wall to be out of the way when not in use.

In the granary, which is usually a low back room, the ears of corn are often sorted by color and laid up in neat piles, red, yellow, white, blue, black, and mottled, a Hopi study in corn color. Strings of native peppers add to the colorful ensemble.

Monday, May 9, 2016

About the Hopi Indian Marriage Ceremony

About the Hopi Indian Marriage Ceremony

During the day the girl must labor at the mealing stones, grinding the white meal, silent and unnoticed;

The following is Hough's description of the wedding ceremony at Oraibi: "When the young people decide to be married, the girl informs her mother, who takes her daughter, bearing a tray of meal made from white corn, to the house of the bridegroom where she is received by his mother with thanks. During the day the girl must labor at the mealing stones, grinding the white meal, silent and unnoticed; the next day she must continue her task.... On the third day of this laborious trial she grinds the dark blue corn which the Hopi call black, no doubt, glad when the evening brings a group of friends, laden with trays of meal of their own grinding as presents, and according to the custom, these presents are returned in kind, the trays being sent back next day heavy with choice ears of corn.

"After this three days' probation ... comes the wedding. Upon that day the mother cuts the bride's front hair at the level of her chin and dresses the longer locks in two coils, which she must always wear in token that she is no longer a maiden. At the dawn of the fourth day, the relatives of both families assemble, each one bringing a small quantity of water in a vessel. The two mothers pound up roots of the yucca, used as soap, and prepare two bowls of foaming suds. The young man kneels before the bowl prepared by his future mother-in-law, and the bride before the bowl of the young man's mother, and their heads are thoroughly washed and the relatives take part by pouring handsful of suds over the bowed heads of the couple. While this ceremonial ... goes on ... a great deal of jollity ensues. When the head-washing is over, the visitors rinse the hair of the couple with the water they have brought, and return home. Then the bridal couple take each a pinch of corn meal and leaving the house go silently to the eastern side of the mesa on which the pueblo of Oraibi stands. Holding the meal to their lips, they cast the meal toward the dawn, breathing a prayer for a long and prosperous life, and return to the house, husband and wife.

"The ceremony over, the mother of the bride (Note: All other authorities say groom, H.G.L.) builds a fire under the baking stone, while the daughter prepares the batter and begins to bake a large quantity of paper bread.... The wedding breakfast follows closely on the heels of the wedding ceremony and the father of the young man must run through the pueblo with a bag of cotton, handsful of which he gives to the relatives and friends, who pick out the seeds and return the cotton to him. This cotton is for the wedding blankets and sash which are to be the trousseau of the bride....

"A few days later the crier announces the time for the spinning of the cotton for the bride's blanket. This takes place in the kivas, where usually all the weaving is done by the men, and with jollity and many a story the task is soon finished. The spun cotton is handed over to the bridegroom as a contribution from the village, to be paid for like everything else Hopi, by a sumptuous feast, which has been prepared by the women for the spinners. Perhaps ten sage-brush-fed sheep and goats, tough beyond reason, are being softened in a stew, consisting mainly of corn; stacks of paper bread have been baked, various other dishes have been concocted, and all is ready when the crier calls in the hungry multitude....

"With the spun cotton, serious work begins for the bridegroom and his male relatives, lasting several weeks. A large white blanket ... and a smaller one must be woven and a reed mat in which the blankets are to be rolled. A white sash with long fringe and a pair of mocassins, each having half a deerskin for leggings, like those worn by the women of the Rio Grande pueblos, complete the costume. The blankets must have elaborate tassels at the four corners. (Note: Representing rain falling from the white cloud blanket. H.G.L.)

"Shortly before sunrise, the bride, arrayed in her finery, performs the last act in the drama, called 'going home.' Up to this time the bride has remained in the house of her husband's people. Wearing the large white blanket, picturesquely disposed over her head, and carrying the small blanket wrapped in the reed mat in her hands, she walks to her mother's house ... and the long ceremony is over ... for in this land of women's rights the husband must live with his wife's relatives."

The bride may not appear at a public ceremonial dance until the following July, at the Kachina Farewell ceremony, when all the brides of the year turn out in their lovely wedding blankets and white leggings, the only time this blanket is ever worn after the wedding (during life), save one the naming ceremony of her first child.

It becomes her winding sheet when at death she wears it in her grave, then after four days, she takes it from her shoulders and uses it as a magic carpet when, having reached the edge of the Grand Canyon, she steps out upon her ceremonial blanket, and like a white cloud it descends with her to Maski, the underworld paradise of the Hopi.

Are the Hopi married in this way today? Most certainly. Figure 12 shows a Hopi girl who worked for the writer for three summers. She is a fine, intelligent girl, having gone more than halfway through high school before she returned to her home on Second Mesa to live. This is her wedding picture taken last year at the moment of her "going home," after just such a wedding ceremonial as described above.

Figure 12.—A Hopi Bride.—Photo by Colton.

A letter from friends of the writer states that her baby is just now going through his natal ceremonies in the good old Hopi way. If the Snake Dance is continued till he grows up—it makes one shudder to think of it—he is in line to be a Snake priest!

Wednesday, May 21, 2014

Dance-Festivals of the Hopi Indians

The most highly developed North American festival system is that of the Hopi or Moqui of Arizona, the observances of which are almost of a theatrical nature. All the Pueblo Indians, of whom the Hopi are a division, possess similar festivals, which recur at various seasons or under the auspices of different totem clans or secret societies. Most of these 'dances' are arranged by the Katcina clan, and take place in dance-houses known as kivas. These ceremonies have their origin in the universal reverence shown to the serpent in America—a reverence based on the idea that the symbol of the serpent, tail in mouth, represented the round, full sun of August. In the summer 'dances' snake-charming feats are performed, but in the Katcina ceremony serpents are never employed.

Devil-dances are by no means uncommon among the Indians. The purpose of these is to drive evil spirits from the vicinity of the tribe.

Friday, March 30, 2012

About Hopi Indian Burials

About Hopi Burials

Here we have the account of Goddard:"When an adult dies, the nearest relatives by blood wash the head, tie a feather offering to the hair so that it will hang over the forehead, wrap the body in a good robe and carry it to one of the graveyards which are in the valleys near the mesas. The body is buried in a sitting position so that it faces east. This is done within a few hours after death has occurred. The third night, a bowl containing some food, a prayer-stick offering, and a feather and string, are carried to the grave. The string is placed so that it points from the grave to the west. The next morning, the fourth, the soul is supposed to rise from the grave and proceed in the direction indicated by the string, where it enters the 'skeleton house.' This is believed to be situated somewhere near the Canyon of the Colorado." Lots of Hopi Indian Pictures and Images Here

Any bodies of young children who have not yet been initiated into any fraternity are not buried in the ground, but in a crevice of rock somewhere near the mother's home and covered with stones. A string is left hanging out, pointing to the home of the family. The spirit of the child is believed to return and to be re-born in the next child born in the family, or to linger about till the mother dies and then to go with her to the underworld.

If the adult spirit has led a good life, it goes to the abode where the ancestral spirits feast and hold ceremonies as on earth, but if evil it must be tried by fire and, if too bad for purification, it is destroyed.