CACHINA

Spirit Beings of the Hopi

 Spirit Beings of the Hopi

Art by
Neil David Sr., Hopi/Tewa
Foreword by
Frederick Dockstader
Descriptions by
J. Brent Ricks and Alexander E. Anthony, J

cAvanyu Publishing Inc.

COVER: The background of the cover is a satellite photograph of the three Hopi
Mesas which are at the southern edge of Black Mesa in northeastern Arizona. The
Kachina is a Hopi Buffalo Maiden.

Library of Congress Cataloging-in-Publication Data

David, Neil
Kachinas, Spirit Beings of the Hopi / art by Neil David Sr.; foreword by Frederick Dockstader ;
descriptions by J. Brent Ricks,
p. cm.
Includes bibliographic references and index.
ISBN 0-936755-21-0 ; $50.00
1. Kachinas. 2. Hopi Indians— religion and mythology.
I. Ricks, J. Brent, 1949- II. Title
E99,H7D36 1991
973'.04974— dc20

©1993 J. Brent Ricks

Second Printing 1997

Printed in Korea.

All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or
mechanical, including photocopying, recording, or any information storage or retrieval system without permission in writing from the
publisher.

cyivanyu Publishing Inc.

TABLE OF CONTENT
Foreword by Frederick Dockstader 4
Introduction 6
List of Kachinas 12
Kachinas
Plates and Descriptions 17
Bibliography 189
Index of Kachinas 191
 REWORD
For over a century, travelers, artists, museum curators and collectors have been fascinated by the
religious life of the Pueblo people of the American Southwest, and nowhere is this more evident than
with the world of the Kachinas. The term, popularly interpreted as the small carved and painted
wooden figurines or “Kachina dolls,” goes far beyond these charming effigies of the costumed human
participants. It embodies the religious beliefs, social structure and moral values of the Pueblo people,
and the ceremonial rituals which have evolved over thousands of years to help these people survive the
harsh environment in which they have made their homes. While Kachinas are only a part of their
complex religious life, which is made up of many interwoven societies and highly structured groups,
they are perhaps the most evident to the outsider, and the only part of the Pueblo Indian world with
which the non-Indian can enjoy a degree of familiarity.
This knowledge can be gained only by the opportunity to view the Kachina ceremonies in person,
and to acquire the small figurines which serve as visual records. Because the Hopi people believe that
the Kachinas serve all mankind, they have been willing to continue to allow non-Indians to attend the
public performances. The Rio Grande Pueblo people, more exposed to interference from Spanish,
Mexican and Anglo harassment, have closed all of their religious ceremonies to non-Indians. As a
result, although almost all of the Pueblo people include Kachinas as part of their religious complex,
it is the Hopi Kachina world which is best known, and has become symbolic of the genre.
The original Kachinas were a group of supernatural people whose lives were a duplicate of the
human cosmos, with the same needs and customs; much as the Greek practice, they visited this human
world, helped the people, controlled the weather, and brought the indispensable rain. They also
guided, instructed and punished humans. As with the Greeks, in time the Hopis became selfish, paid
little attention to the religious rituals which served to acknowledge their appreciation and gratitude,
and the Kachinas abandoned their visits to the villages. But before they did so, they taught a few of
the faithful young men how to preserve these rituals by making masks and costumes representing the
supernatural forms, and to follow specific ceremonial practices; this has continued to the present time.
In publicly celebrating these ancient beings, the Hopi believe that they are preserving tranquility and
the natural order. These are the Kachina dances which are held regularly in the plazas of the several
villages of H opi land.
The beauty of their pageantry, and the remarkable lore which has grown up around the Kachinas
has created a non-Indian world of appreciation in which the enjoyment of seeing the richly costumed
performances, the haunting, rhythmic music and dancing, as well as the charm of the small wooden
figurines has given rise to a large number of collectors, and a desire to learn more about the background
whence they came. M any books have been written about the ceremonies, and collections of
Kachintihu, as the small figurines are called, are well-known in museums and private homes.
Inevitably, the human desire for a “complete” collection rises; this will never be possible, simply
because this has a human vitality, changing as do the natural interests and needs of the people
themselves. Anyone can “invent” a new Kachina (usually as the result of a dream), and once it has
become publicly accepted, it is regarded as a legitimate Kachina, to be enjoyed until such time as it may
become outmoded for whatever reason, or others are introduced.
To approach this impossible goal, Hopi artists are often requested to paint or carve certain figures,
or, as with the Codex Hopiensis, “all the Kachinas you know.” This was the goal of Jesse Walter
F ewkes in the early part of this century, and his publication remains the bible of the Kachina aficionado
as well as the H opi tihu carvers, supplemented in later years by the work of Harold Colton and Barton
W right and a historical overview by Frederick Dockstader. Not all of the then-known Kachinas were
included in the original Fewkes volume, and there are many of the older beings which are no longer
known today.

4
 This continued reference to unknown Kachinas caused Erik Bromberg to commission Neil
David Sr., the artist of this volume and one of the better-known and more proficient^» carvers,
to paint a series of little-known Kachinas. This resulted in a portfolio of 79 paintings and related
data, which forms the core of this volume. In time, the collection was acquired by Avanyu, and
Brent Ricks and Alexander Anthony took the paintings to various Hopi Kachina carvers to elicit
their comments and to add whatever further observations they cared to make. O ut of the
illustrations and these observations has come the present work, which, made by knowledgeable
Hopis, offers further insight into the feelings of the people, the knowledge retained about some of
these lesser-known figures, and their importance in Hopi thought. One interesting point concerns
the objection to the use of the term “mask,” which fails to take into consideration the instructions
of the real Kachinas: that their human friends wear masks to function in the substitute role-one
should never rely upon logic in interpreting the religion of another.
No one knows how many Kachinas there were, or are; most estimates place the total at
approximately 400, but the largest number published to date has settled at around 300...others are
continually challenged as duplicates, or not actual Kachinas, but purely religious figurines not
belonging to the Kachina g ro u p e r se. The contents of this book enlarge the published total by a
considerable number, and in so doing, greatly enlarge our knowledge and enjoyment of one of
America’s most colorful and enjoyable religious practices.
It comes as a never-ended surprise to note that in Twentieth Century America, contrary to the
abrasive civilization which has been built around them, and the hostile efforts of missionaries, the
Pueblo people have been able to maintain a religious way of life over the long years of survival- and
flourish in an explosive continuum of ritual, beauty and pageantry. It is a further testimonial to the
integrity of the culture and stamina of the people of the Southwest.

Dr. Frederick J. Dockstader

Arizona State University

5
THE HOPI

The Hopi of northern Arizona are a Native American pueblo people who have resided on the high desert
mesas of the American Southwest for more than a thousand years. A tribe of only about 9,500 members, the
Hopi are a people of peace and religion. Due to their extreme geographical isolation they continue to have
a greater degree of cultural independence than other American Indian peoples. Though the influence of
American culture is felt in the Hopi villages, it has not become as all-pervasive as it has among some other
tribes. The traditional Hopi way of life still survives in their thirteen villages in northeastern Arizona.
The Hopi villages are spread over three mesas. On First Mesa are Walpi, Sichomovi, Hano (or Tewa),
and the community of Polacca. Second Mesa is home for the villages of Mishongnovi, Shipaulovi, and

Monsters-ogres, Bean Ceremony, Walpi Pueblo, Hopi Arizona. Courtesy Museum of New Mexico, Neg. No. 82763.

Shungopavi. The Third Mesa villages are Oraibi, Kykotsmovi, Hotevilla, and Bacavi. The pueblo of
Moencopi is located about 35 miles to the west of Hotevilla, and is adjacent to Tuba City. Moencopi is
considered a Third Mesa satellite village.
The strongest bond among the Hopi villages is their religion. It has always been their bulwark against the
demands of a ruthless environment and the encroachment of outside influences. It has given the Hopi the
unity and strength to overcome great obstacles. Lifelong Hopi scholar and distinguished author Barton
Wright has described this religious influence best in his work Hopi Kuchinas, The Complete Guide to Collecting
Kuchina Dolls.1
“The driving force of Hopi religion is the urgent need for water in any form, as rain for
farming, for drinking water in the springs, or snow to replenish the land. Water is forever the
primary motivation. To survive in this waterless land the Hopi developed a complex religion
to secure supernatural assistance in fulfilling their needs. Through the ages rain ritual was

6
 elaborated and joined to planting ritual, the growth of corn and Hopi melded, the successful
rites of neighbors were added to further compound the ceremonies until the present complexity
of Hopi belief was achieved.
One element of the multi-faceted religion is the Kachina Cult, with every Hopi [male] past
the age of ten being an initiated member. The basic concept of the cult is that all things in the
world have two forms, the visible object and a spiritual counterpart, a dualism that balances
mass and energy. Kachinas are the spirit essence ofeverything in the real world. Their existence
is inferred from the steam which rises from food and whose loss does not change the form of
the food, to the mist rising from a spring on a cold morning or the cloud which forms above
a mountain top.
As the breath of a dying Hopi departs it must alsojoin the other mist-beings in a spirit world,
the exact counterpart of the real Hopi world but with different powers. Thus, when the clouds
form over the mountain tops and drift over the Hopi villages it is the rain bringing Kachinas
who are there. The clouds hide not only the faces of the Hopi’s departed ancestors who, taking
pity on their grandchildren, are bringing them rain, but an almost infinite variety of Kachinas
who have other functions beside rain bringing.”
Kachinas are a benevolent force to the Hopi. They are the Spirit Beings who reside in the clouds, they
are a group of the Cloud People. They are also the ancestors of the current Hopi people. They return to then-
descendants in the form of snow and rain, that is, as moisture for the land and the crops.
This peaceful attitude and recognition that the tribal community is more important than the individual
are essential to The Hopi Way.
A large amount of literature exists about the Hopi people, their religion, their ceremonies, their arts, their
lives, their silver, et cetera. Descriptions of the Kachinas illustrated herein refer the reader to some of
those books. The Bibliography is at the end of the book.
The Hopi with whom we talked have had a great amount of input into this book. But many others,
both Hopi and non-Hopi, may have material to add. The paintings were all created by Neil David
Sr., a Hopi-Tewa from the First Mesa village of Polacca. Neil David Sr. gave his views on the
Kachinas he painted and these views are incorporated in the descriptions accompanying each Kachina.
Members of various villages helped by reviewing the descriptions of the newly painted Kachina

Kachina Dancers, Hopi Arizona, Courtesy Museum of New Mexico, Neg. No. 101444.
(The caption on the photo is "Moqui harvest gods - Cachinas.")

7
figures; their comments are all included. An effort has been made to authenticate designs according
to contemporary Hopis. Some of these figures have never been described before. The spirit of the
Hopi people, we hope, is found throughout this work.
All the literature ever written about the Kachinas of the Hopi refers to the masks worn by the
Kachinas. The only use of the word mask(s) in this book will appear in this Preface. The word will
not be used to describe the Kachinas or their costumes and attire because that is what the Hopi
requested. In fact, the use of such a descriptive term is completely contrary to the way in which the
Hopi conceptualize the Kachinas. The Hopi refer to what the literature calls “the mask” as the face
or the facial markings of the Kachinas. The “horns” are really the ears of the Kachinas; their “snout”
is usually their mouth. These words are used throughout this book and hopefully this will help
transform the way non-Indians think about the Kachinas of the Hopi and of other Pueblo Indian
tribes.
As there is for all things Hopi, a difference of opinion exists concerning the use of the word mask(s).
There are some Hopi who confront the issue directly and refer to the mask as the Kachina itself. There
are also the old stories about the origin of the Kachinas, which state “.. .the Kachina people themselves
explicitly instructed the faithful Hopi to make masks in the spirit of the Kachinas, and carry out the
ancient ceremonies.” 2
The Hopi storytellers do use the word tuviki in discussing the development of these Beings. Tuviki
means both face and mask.
After each description of the Kachinas are two sets of notations. The first set of several letter and
number notations, (such as, B 231) refers to books which contain remarks, references, or pictures
about that Kachina. The master list to these book references and the abbreviations used are found at
the beginning of the descriptions of the Kachinas and in the Bibliography.
The second set of notations refers to Hopi villages. These notes derive from personal interviews
with Hopi residents and members of that village. These Hopi prefer to remain anonymous. W e thank

Masau Kachina Dance, New Oraibi Peublo, Hopi, Arizona. Courtesy Museum of New Mexico, Neg. No. 82764.
them for their insight and their assistance. Their opinions do not always coincide with those of
someone from another village or with what may be considered to be the “accepted” view of a Kachina
but they were given in candor and there is no reason to doubt their veracity.
One must remember that there are differences concerning Kachinas among all thirteen Hopi
villages, Zuni Pueblo, and the 19 Rio Grande (Eastern) Pueblos.
Accompanying some of the Kachinas are black and white sketches. While we were talking to a
certain Hopi, he drew these sketches in order to describe the variations in a Kachina’s design. So he
drew these sketches in pencil on our notes. They are reproduced to assist in understanding the
differences between villages and versions of Kachinas.
Even though we have known Hopi people for years, when we began to ask questions about these
paintings, new insights were revealed to us. The following quotes from Hopi tribal members reflect
some of this "wisdom:"
The main purpose of the clowns is to portray real life without censorship. By acting it out,
it lets the Hopi reflect on that behavior and see if I “am one of those type person:” It is a
teaching aid.
All Kachinas are of equal importance, i.e. a M udhead is equal to a Hemis.
The lyrics of most Kachina songs relate to corn and rain. The lyrics can be made up new
as long as the same beginning and/or ending is used. The Kachinas always sing and speak
only in the Hopi language. Certain Kachinas like the Tasap speak Navajo or quasi-Navajo
to fit with their character. Some older Kachinas may sing in Keres, Tewa, or archaic Zuni.
Some Kachinas are being lost, that is, they are no longer being performed, since it is often
difficult to obtain the proper feathers for the costume; feathers are not just for “show,” the
Hopi believe that feathers carry the prayers of the Hopi to the spirits; the Hopi ask
rhetorically, “can fake feathers do the same thing?”

Long Hair Kachina Dance (Angatsinam), Oraibi Pueblo, Hopi Arizona. Courtesy Museum of New Mexico, Neg. No 82752i

9
 The government’s restrictions [the Federal Endangered Species Act] are affecting the
survival of the Kachinas; a “Tawa” (Sun) Kachina requires the feathers from 6 eagles to make
the face; the government makes it very hard to get that many; when you do get them, the Hopi
do not know how the eagles died and if they are pure. An eagle which has been shot and then
recovered by a ranger does not have the same “power” to carry prayer as an eagle which has
been captured and ceremonially killed by the Hopi.
A lot of dances require fasting for 4 or more days; there is no sleeping with a wifeAvoman;
no greasy foods; no eating of domestic animals but you can eat wild animals.
Powamu does not really mean or translate to “Bean Dance;” it should be referred as the
“Pure M oon Dance.”
In June, 19 8 8 the graffiti “Soyoko go home” was spray painted on a building opposite a kiva
at the Second M esa village of Shungopavi.
In July, 1988 while watching a Kachina dance at the First Mesa village of Hano, a young
(9-10 years old) H opi girl asked if I knew where the Kachinas came from and how they got
to the village? W hen I told her I did not know, she told me that the Kachinas come by helicopter
from those mountains over there [the San Francisco Mountains] to the “notch” at First Mesa
before they come into the village!
Since a child’s mind is clean and pure with no inherent evil, the children can carry prayers to the
spirits. Because of this the children frequently get presents from the Kachinas of bows and arrows
with feathers, with which to send prayers to the spirits.
Some traditions are disappearing. The Kachinas used tojust give away traditional Hopi foods, like
piki bread or those grown by the Hopi like corn, apples, watermelon. Nowadays the Kachinas give
presents like a cellophane bag of Cheeslts; Milky Way candy bars; oranges; and white sliced
Wonder Bread!
A good analogy to Kachina ceremonies is a “clock;” the face is the plaza dance of the Kachinas
and the works are the ceremonies held within the kiva before the dance.

Albino Chakwaina Kachina, seventh from left, appearing in mixed Kachina line dance. Circa 1906. From The Year of the Hopi,
Paintings and Photographs by Joseph Mora, 1904-06.

10
 Innovative Kachinas are those which are created within the kiva if a dancer needs a costume and
a face which is not complete or correct for presentation as it exists at that time. So a Hopi will paint
new designs and markings on or over an old “face” and thus there is an “innovative” Kachina. The
rapid modification of an existing “face” creates a “new” Kachina.
At the fast parades [these are the ceremonies prior to which the impersonators fast, as described
above. E d.], messenger Mudheads come to all the kivas 4 days before the dance to tell the men which
of the Kachinas are going to come.
An anonymous Hopi has best described the process of “becoming” a Kachina:
“When I go to the kiva, I smoke and I pray. Then, one of the spirits will come and use my body; the spirit
will release my body after the dance so I may return to my home.”
The Kachinas depicted in this book are generally unusual. These paintings came about through the efforts
ofErik Bromberg, who had been trading for carved Kachina dolls with the Hopi for years when he discovered
in the early 1970s that the inspiration for a majority of the carvings came from the Barton Wright/Cliff
Bahnimptewa Kachina book.3Few Kachina dolls were appearing either with a new interpretation or with an
entirely new Kachina figure. The available literature identified hundreds of different Kachinas but these were
rarely if ever carved. And as the older men died off so did these older Kachinas! In fact a part of the Hopi
heritage was being lost. So Bromberg spoke with Neil David, Sr., a founding member of the Artist Hopid
group as well as a premier Hopi painter and award winning Kachina doll carver. Neil was steeped in a keen
sense ofhistory and tradition. He reviewed the drawings in Jesse Walter Fewkes’early work, HopiKatcinas
As Drawn By Native Artists, for figures which had not appeared in the Wright/Bah nimptewa book. I his was
especially satisfying for Neil David Sr. since his grandfather, White Bear, had done many of the drawings
for Fewkes’ work.
But the Fewkes study was not enough. Other older Hopis were consulted. For two of the figures, the Coal
(#72) and the Woodpecker (#23) extra effort was required. For the Coal Kachina a Hopi went to
Mishongnovi and paid money to its caretaker in order to visit with the face in its storage place. For the
Woodpecker one Hopi discussed the figure with his now deceased father who told him about that Kachina
resting near the village of Walpi. Such “research” will lead to some inaccuracies among those who believe
they know. But there is no single, correct or right way to depict a Kachina.
When Avanyu Publishing Inc. first saw these paintings, we were more than surprised. In general the
Kachinas were not familiar to us. We had never seen most of them in a dance or as a Kachina doll carving.
Although most of these Kachinas had been mentioned in the literature, few were shown or had their faces
depicted.
Avanyu undertook to prepare descriptions of the Kachinas, to review the pictures with the Hopi, and to
bring these unusual and atypical Kachinas to the public. In doing this there have been many people who have
helped and to whom Avanyu is in debt. Our thanks go out to Erik Bromberg and Frederick Dockstader,
and especially to the Hopis of First, Second and Third Mesas, Arizona.
The original panitings on which this book is based are now in the collection of Dr. \ asutada Kashiwagi,
Founder of the Kashiwagi Museum in Tateshina, Nagano, Japan.
All the paintings were photographed by A1 Costanzo of Focus Advertising in Albuquerque, New Mexico.
O f course, our greatest thanks go to Neil David, Sr., the exceptional artist and man without whom none
of this would have come about.
J. Brent Ricks Alexander E. Anthony Jr.
1. Hopi Kachinas by Barton Wright, Northland Press, 1977.
2. Personal correspondence with Frederick Dockstader.
3. Kachinas, a Hopi Artist’s Documentary by Barton Wright, Illustrated by Cliff Bahnimptewa, Northland Press, 1973.

11
 T OF KACHINA.
1. Hopi name: Owangozozo
English name: Stone Eater, or One Who Chews Stones, Kachina
2. Hopi name: Mucias Taka or Mosairu
English name: Hopi Buffalo Kachina
3. Hopi name: Paluna Hoya
English name: Warrior God
4. Hopi name: Sotung Nangu
English name: Heart of the Sky God
5. Hopi name: Kerne
English name: Corn Dancer Kachina
6. Hopi name: Kwikwilyaka or Laputki
English name: Mocking Kachina
7. Hopi name: Wutaka or Pipta-ka
English name: Old Man Kachina
8. Hopi name: Nalwc-ala
Tewa name: Pohaha
English name: Four Horn Kachina
9. Hopi name: Hopak
English name: Eastern Kachina
10. Hopi name: Sohu Hu
English name: Star Whipper Kachina
11. Hopi name: Poli Mana
English name: Butterfly Girl
12. Hopi name: Paiyakyamu
English name: Tewa Clown
13. Hopi name: Muy-ingwa
English name: Germ God or Germination Kachina
14. Hopi name: Tangak
English name: The Rainbow Kachina
15. Hopi name: Tu wa tcu ah
Tewa name: Nambeyo
English name: The Sand Snake Kachina
16. Hopi name: Sio Poli Mana
English name: The Zuni Butterfly Maiden Dancer (The Hopi version)

12
17. Hopi name: Sio Poli Taka
English name: The Zuni Butterfly Man Dancer (The Hopi version)
18. Hopi name: Kwasus Alek Taka
English name: Eagle Tail Feather Horn Kachina
19. Hopi name: Salako Kachina
English name:
20. Hopi name: Tatacmu
English name: Ball Players Kachinas
21. Hopi name: Kaisale Mana
English name: Tewa Clown Maiden Dancer
22. Hopi name: N aho-Ue-C hiwa-Kopa-Choki
English name: Cross Crown Kachina
23. Hopi name: Kopelop Sona
Tewa name: Hoponye
English name: Woodpecker Kachina
24. Hopi name: Chakwaina Yu-adta or Chakwaina Wuhti
English name: Chakwaina Mother Kachina
25. Hopi name: Kapicha
English name: Billy Goat Kachina
26. Hopi name: Poko
English name: Dog Kachina
27. Hopi name: Nah Took Vookeh
English name: 1/2 Clown and 1/2 Corn Kachina
28. Hopi name: Kanalo Taka
English name: White Buck Kachina
29. Hopi name: Kanalo Mana
English name: White Ewe Kachina
30. Hopi name: Kokyang Wuqti
English name: Spider Lady (Woman) Kachina
31. Hopi name: Alosaka
English name: Two Horn Priest Kachina
32. Hopi name: Pavatava
Tewa name: Paknabi or Pakwabi
English name: Tadpole Kachina

13
33. Hopi name: Piki Sona or Pik-kachantaka
English name: Piki Eater Kachina
34. Hopi name: Teuk or Tasap
English name: Navajo Kachina
35. Hopi name: Wah-uh-uh Piki Sona
English name: Piki Craver Kachina
36. Hopi name: Honawa
English name: Social Bear Dancer
37. Hopi name: Sowi-ingwa
English name: Social Deer Dancer
38. Hopi name: Yaponcha
English name: Wind God
39. Hopi name: Urcicimu
English name: Cactus Stick Kachina
40. Hopi name: Mosa
English name: Cat Kachina
41. Hopi name: Pijote
English name: Pig Kachina
42. Hopi name:
English name: One-Horn Kachina
43. Hopi name: Sikya Tuwa-tcua
English name: Yellow Sand Snake Kachina
44. Hopi name: Kocha Mosairu
English name: White Buffalo Dancer
45. Hopi name: Tsuah or Chusona
English name: Rattlesnake Dancer
46. Hopi name: Kipok Koyemsi
English name: Warrior Mud Head Kachina
47. Hopi name: Kuwaan Kokopelli
English name: Colorful Kokopelli Kachina
48. Hopi name: Nakocha Chakwaina
English name: Albino Chakwaina Kachina

14
49. Hopi name: Morzhivozi
English name: Uncle to the Long-Haired Kachinas Kachina
50. Hopi name: Tsi-po-maoeh or Cipomeli
English name: Tewa Hunter Kachina
51. Hopi name: Sikya Heheya
English name: Yellow Heheya Kachina
52. Hopi name: Me-yak-so-la
English name: Supai Uncle Kachina
53. Hopi name: Hototo
English name:
54. Hopi name:
English name: Kachina Clan Guardian Kachina
55. Hopi name:
English name: Bear Clan Guardian Kachina
56. Hopi name: Macmahola
English name: Sandbag Runner Kachina
57. Hopi name: Mucias Mana
English name: Hopi Buffalo Maiden Kachina
58. Hopi name: Kutca Mana
English name: White Girl Kachina
59. Hopi name: Hopinyu (Isauu)
English name: Coyote Clan Kachina
60. Hopi name: La lai Aya
English name: Sheep Herder Kachina
61. Hopi name: Tala-wipiki
English name: Lightning Kachina
62. Hopi name: Patusngwa
Tewa name: Oeise
English name: Ice Man Kachina
63. Hopi name: Pakiokwik
English name: Fish Kachina
64. Hopi name: Poli Taka
English name: Male Butterfly Kachina

15
 65. Hopi name: Chospos-Yaka-Hentaka
English name: Turquoise Nose Plug Kachina
66. Hopi name: Tasavau Clown
English name: Navajo Clown Kachina
67. Hopi name: Pang wu or Kuwan Pang
English name: Mountain Sheep Kachina
68. Hopi name: Silakafgoingtaka
Tewa name: Ga wong-ping
English name: Tewa Whipper Kachina
69. Hopi name: Paqua
English name: Frog Kachina
70. Hopi name:
Tewa name: Tsukapelyu or Tsu Katl Pe Lele
English name: Mud Thrower Kachina
71. Hopi name: Putckohu
English name: Rabbit Stick Kachina
72. Hopi name: Owaq
English name: Coal Kachina
73. Hopi name: Kutca
English name: White Kachina
74. Hopi name: Hon a wu'ya
Tewa name: Ke towa Bi Sena
English name: Bear Clan’s Uncle Kachina
75. Hopi name:
Tewa name: Yehoho or Tsekok yenu
English name: Roast Corn Throwing Boy Kachina
76. Hopi name: Soyaitaka
English name: Laguna Gambler Kachina
77. Hopi name: Danik’china
English name: Cloud Guard Kachina
78. Hopi name: Sio Ho-ote
English name: Zuni Hote Kachina
79. Hopi name: Kawaspi
English name: Quail Kachina

16
 Paintings by Neil David Sr.
Descriptions by J. Brent Ricks and Alexander E. Anthony, Jr.

The list which follows is the explanation for the notations which appear after the descriptions of most
of the Kachinas. These abbreviations identify the book(s) where a Kachina may be mentioned,
pictured, or shown as a kachina doll carving. Some Kachinas appear on plates in various books.
For example, for Kachina number 1, Hopi name: Owangozozo, the reader will find the following
notations: G14;F115,pl28;Cl98;B45;DW 70,73,93;A172;W 46,pl5;FW 282,290.
These notations mean that this Kachina appears in the Goldwater book at page 14; in the Fewkes book
at page 115 and plate 128; that it is Kachina #198 in the Colton book; et cetera. All of the books in
the abbreviated notation listing below are found fully referred to in the Bibliography at the end of the
book.

F= Fewkes W = Wright B= Bahnimptewa

G = Goldwater A= Antes EK= Earle & Kennard
C= Colton (Kachina # ) H = Hartmann DW — Dorothy Washburn
E = Erickson EB = Erik Bromberg FW = Tusayan Katrinas
TB= Bassman H T = Teiwes AS= Stephen
RM = Manley

17
H opi n am e: O w angozozo
English n am e: Stone Eater, or One W ho Chews Stones, Kachina
This is an ogre/whipper type Kachina. It is usually seen during the fast parade, although he has been
known to come during night dances. H e is one of the Kachinas who appears at the beginning of the
Kachina season in February and/or M arch usually during the Powamu or Bean Dance ceremony.
Among his functions is to gather men and bring them to the kiva to participate in ceremonies. H e
is frequently seen fussily attacking the mudheads who harass him. This Kachina is so ill-tempered that
he eats rocks as a result of his angry temperament and basic frustration. H e appears with three different
faces on each of the different mesas. H e is a contemporary Kachina who has been seen by the artist.
G14;F115,pl28;Cl98;B45;DW 70,73,93;A172;W 46,pl5;FW 282,290.
Kykotsmovi, Third Mesa: Change the spelling from Owagozrozro to as it is spelled above; the Kachina
apparently appears more at the Second Mesa villages of Shipaulovi and Mishongnovi; he does not
appear at Old Oraibi; he is not an “everyday” Kachina, meaning one who appears frequently; he can
wear any type of clothing or any style kilt.

18
H opi n am e: M ucias Taka or M osairu
English nam e: H o p i Buffalo Kachina
One of the functions of this Kachina is to bring the cold. H e also serves the overall function of prayers
for good health, good crops, and a good harvest. This Kachina appears most frequently in the winter
months, at the beginning of the Kachina season.
H e has been known to dance in the night Kachina dances in the kivas primarily, yet he has also been
known to appear in plaza dances with the mixed Kachinas. H e usually carries a lightning stick and a
rattle with stars painted on it. H e is a contemporary Kachina and has been seen by the artist.
F124;G 27;W 100,pl21;C93;Al06;DW l40;B95;FW 273,274.
Kykotsmovi, Third Mesa: This Kachina is also known as the Cold Weather M an; he comes to help
with/for a good hunt; at Oraibi, he wears white leggings; at Shungopavi, he wears yellow leggings and
requires a shirt. H is name may be spelled “Mocyzu.”
Old Oraibi, Third Mesa: Hopis are afraid of lightning and will go out of their way to avoid it.
Shungopavi, Second Mesa: At Second Mesa, he wears orange or buckskin leggings and a shirt; the
informant feels he is a social dancer and not really a Kachina.

20
Hopi name: P a lu n a H o y a
English name: W a rrio r G o d
The name of this Kachina deity is spelled differently by W right, “Palonga Hoya,” and by Colton,
“Palo-ngao-hoya.” This Kachina is one of the twin warrior gods [Kachinas] of the Hopi. H e is not
a contemporary Kach ina in that he has not been seen by the artist. The painting was done from Fewkes,
page 120.
According to Fewkes, this Kachina wears a bunch of warrior feathers on his head but does not wear
a war bonnet. H e carries a bull-roarer or whizzer in his right hand and a bow and arrows in his left
hand. H e is not associated with a particular ceremony and appears irregularly. H e is different from
his twin in his face; however, the body paint of the twins is similar. T ogether with his twin brother and
their Spider Grandmother, they constitute the triad who support the H opi people. The Hopi name
of his twin is Puukonhoya or Po-okang-hoya.
C D11;W 128;F120;G45
Kykotsmovi, Third Mesa: The spelling of the name by Colton is the closest to the way the Hopi people
say the name. In this form this is not a Kachina but rather a clan deity. Today’s Hopi only talk of this
deity as a merciless being to be called when nothing else can be done with a situation or when a
bothersome being will not leave the village people alone, i.e. war, invasion. No one has seen this being
in this form. H is red shoes are an indication of warrior dress. H e is an echo, that is he is a twin who
carries a bull roarer which is an echo instrument.

22
4
4

Hopi name: S o tu n g N a n g u
English name: H e a r t o f th e S k y G o d
The Kachina’s name is spelled differently by Antes,” Sotuk Nangu;” Fewkes, “Coto-kin-unwu;”
and, Colton, “Sotuqnangu.” This is a deity rather than just a Kachina. H e controls the thunderheads,
lightning and the torrential rains which are not uncommon on the Hopi mesas. His symbol is the
morning star and he is an indomitable warrior. H is face is distinguished by rain clouds on its cheeks
and the top of his face resembles a thunderhead rain cloud.
H is bearing at a dance is regal. H e carries with him an ancient expandable lightning stick with eagle
feathers attached which he throws out as he dances in a village to imitate the appearance of summer
lightning. Colton suggests that he may be the Hopi figure for the Christian god. Hopi informants
suggest that the form illustrated here may have evolved as a method to meet the requests for white
collectors for a forbidden figure. This Kachina is a contemporary Kachina and appeared at Hotevilla
in 1985.
W 65;A144;F178,pl58;Hl25;C78;G46;FW 291.
Shungopavi, Second Mesa\ The proper name of this Kachina is Alo Saka (Two H orn Kachina), who
is a deity and brother to Muyingwa (#13). The informant states that it was last seen in early 1920s.
The informant states that he only appears at Shungopavi.
Old Oraibi, Third Mesa\ His Hopi name is Quan Kachina; he was originally from Oraibi but was
taken to Hotevilla when the villages separated at the beginning of the 1900s. The informant says he
is a one horn (ear) Kachina who appears at Bean Dance with and for assistance in the initiation of the
one horn society; he should have yellow and blue markings on his chest. The informant calls this
kachina the Star Priest.
Kykotsmovi, Third Mesa: This is not So Tuk Nangu. This Kachina deity is something entirely
different. This is another version of “Alosaka” as referred to in #31; Third Mesa or the Oraibi name
is Alietaka. This being in its present form did not appear at Hotevilla in 1985 as believed by some
observers. It was last seen at the Pachavu in Hotevilla in the early 1920s. This is the one horn version
of #31 but his horn is split here.

24
Hopi name: K em e
English name: C o rn D a n c e r K a c h in a
This Kachina is one of the many corn Kachinas who appear regularly. H e is a prayer for the fruition
of corn and can appear in almost every dance. The colors on the face may vary greatly. The costume
is similar to that from the Eastern Pueblos.
The artist states that this name means “to the house,” so he might be interpreted to be a going-to-the-
house or going-home Kachina. Fewkes states that the dress and paraphernalia of the Keme Kachina
are in no respect distinctive. This Kachina is most probably derived from Laguna Pueblo.
F 138, P138;W108;G30;C242
Shungopavi, Second Mesa-. The informant states that he does not know this Kachina.
Kykotsmovi, Third Mesa: The name “keme” is not a Hopi word. This is probably of the eastern people
and is not known on Third Mesa. It could be one of the innovative Kachinas. It appears to be of the
rasping group of Kachinas (Rugan). H e may be a home dancer for the Tewa people.
Old Oraibi, Third Mesa: The informant states that this Kachina usually wears a white wedding sash
and red shoes.

26
-» *
Hopi name: K w ik w ily a k a o r L a p u tk i
English name: M o c k in g K a c h in a
The name Kwikwilyaka means “striped nose” in the dialect from Second Mesa. H is English
secondary name is Cedar Bark Head. The differences in names between the mesas are just variations
in their identification.
It was the artist’s opinion that the First Mesa name was the more appropriate name, since
Kwikwilyaka means “striped nose” and this Kachina has two eyes and a nose but no mouth. This
Kachina appears in the mixed dances, as well as the summer dances. H is function is to make fun of
everyone —participants, other Kachinas, spectators. H e appears in the Pachavu ceremony also. He is
a clown who echoes all spoken words regardless of the language in which they are spoken. H e also
mimics any and all actions or gestures of the entity he is focused on with mirror-like speed usually to
the roaring laughter of the crowd. The clowns will try to rid themselves of his antics by lighting his
cedar bark hair on fire!
This Kachina appeared at the Second Mesa village of Shungopavi in 1985.
EK pl27;A l56;Cl07;D W 44;W 80,pll5; B37; F l 10, pl25; TB151.
Kykotsmovi, Third M esa: Kwikwilyaka is the Walpi and Third M esa name and Laputki is the name
at Moenkopi and the other villages. The “nose” is the stripes on the tube and the mouth and eyes are
the tubes themselves. H is appearance is very common.

28
7

Hopi name: W u ta k a o r P ip ta - k a
English name: O ld M a n K a c h in a
This is one of the Kachinas who appears during the fast parade, and he parades with other Kachinas
through the village. H e appears usually in conjunction with the puppet dances which occur with
infrequent regularity at the mesas. H e is not peculiar to any mesa and has and does appear at all mesas,
but more frequently on First Mesa, where he performs as a side dancer.
H e has been known to appear in the mixed Kachina dances and may come and ask the clowns to plant
corn, the seeds for which he carries in his bag. H e has also been known to appear at the summer plaza
dances, as well as infrequently at the first day of Bean Dance, where he will appear early in the morning
and give presents to the spectators and kids, and then not appear later in the day. H e is one of the chief,
wuya, Kachinas, especially on Second Mesa. H e has appeared recently. First Mesa informants state
that the dress may vary and could be white.
A82; G10,13;EB61.
Kykotsmovi, Third Mesa: W utaka is the First Mesa name. H e can wear clothes to represent today’s
life or as in the picture to represent earlier lifestyles. This Kachina is normally a Piptaka, “one who goes
to the clowns.” H e is the portrayal of an elder who comes to the clowns and all who will listen to right
their wrongs . H e respects the Hopi way of life. “Wuya” is a name used on First Mesa. His body and
paint will differ from village to village depending on how he is being presented. “W u-ya” is referred
to as clan ancestors on all mesas and is necessary as a Kachina name.
Shungopavi, Second M esa: There has never been one at Shungopavi. H e comes in and goes out of the
“dance” but does not actually dance.

30
H opi n am e: Nalwc-ala
Tew a n am e: Pohaha
English n am e: Four H o rn Kachina
Pohaha is the Hano or Tewa name for this Kachina. Colton spells his Hopi name, Nalwc-ala, and
Fewkes spells the Hopi name, Nalucala, which means “four horns” in the Tewa language. The
function of this Kachina may be as either a guard or a chief.
H e is not a contemporary Kachina in that he has not appeared in the memory of those Hopi
interviewed. The face apparently is owned by a member of the Te clan. The Te clan came from the
east. “T e” means “having babies.” This in Fewkes’ opinion appears to be one of the Kachinas which
the Tewa colonists brought to the east mesas in very early days. That is based partially on the fact that
the leggings on this Kachina appear to be the kind of leggings worn by Eastern or Plains Indians.
Colton describes this Kachina as a Hano Kachina.
A 121,277; G49;C218;F160,pl48;W37,44,58;EB65.
Kykotsmovi, Third Mesa: Pohaha is the sound this Kachina makes and it is the best name for him. H e
is not a Hopi Kachina but a Tewa or Hano Kachina only. The Te clan is not Hopi but something from
the east. It is said that there was a clan group (not defined) whose female members were always having
babies and as a pun were called Te meaning “having babies.” In Hopi there is no such clan. Just
because he has 4 horns does not make that name correct. The sound Pohaha is a warrior sound.

32
9

H opi n am e: H o p ak
English n am e: E astern Kachina
This apparently is an eastern Pueblo Kachina which has not been seen recently. Fewkes discusses
Hopak and concludes that the name derives from the Hopi word hopak, which means eastern. Hopak
is usually accompanied by a girl who is evidently his sister. The Hopak M ana (female) Kachina is
dressed and her hair is done in the same way as that of the Zuni and Pueblo women of the Rio Grande
Pueblos, and as such, this Kachina is believed to have arrived from the eastern pueblos.
This Kachina frequently will appear during the M arch Festival, Ankwanti, which features puppet
shows in the kivas at night, see Fewkes p. 42. One opinion has it that this maybe a Hopi Kachina meant
to depict the Tewa residents of First Mesa.
F I 19, pl.29;EB59.
Kykotsmovi, Third Mesa: Hopak is the Hopi word for East and is used to refer to and describe the
pueblo peoples of New Mexico.

34
Hopi, Paintings and Photographs by Joseph Mora, 1904-06.
♦

“T O T H E
H O P I,
T H E T R IB A L
C O M M U N IT Y
IS M O R E
■ :

IM P O R T A N T
THAN TH E
IN D IV ID U A L .”

■À
10

H opi n am e: Sohu H u
English n am e: Star W hipper Kachina
This is one of the whipper Kachinas in that his dress is similar to other whipper Kachinas. H e is
distinguished by stars on his face but is differentiated from the Sohu (Star) Kachina, which is identified
in Colton as Kachina No. 147.
This Kachina is not a contemporary Kachina. As a H u Kachina he functions as a guard, assisting in
the initiation of young men and further protecting the other Kachinas with the use of his yucca whips.
H e originated at the Second Mesa village of Shungopavi. H e usually appears with the clowns in the
mixed Kachina dance.
EB62;W44,128.
Kykotsmovi, Third Mesa: This is one of the innovative Kachinas. H e is actually a Ho-ote Kachina with
his facial markings changed. After the make over he became a whipper Kachina. This Kachina went
“home” as a Ho-ote and came out as a whipper! H is name comes from the stars on his cheeks.
Shungopavi, Second Mesa: This is a Ho-ote with a beard added. H e has appeared at Shungopavi and
was danced by a boy. H e is either from First Mesa or was just made up without concern for the proper
painting of the face.

38
11
H opi n am e: Poli M ana
English n am e: Butterfly G irl
This is not a Kachina but one of the social dancers who comes in the dances generally in the late
summer in August. She does not wear a face but her eyes are ordinarily covered by bangs of her hair.
She is danced only by unmarried girls who have no children. She is similar in all the mesas and villages.
Social dances constitute prayers to the Kachinas for the benefits of good health and good harvest, and
in some sense they are like a harvest dance, similar to a Thanksgiving dance. That is partially why they
are performed primarily in August. The girls who are dancing are considered to appear as Butterflies.
The Thanksgiving analogy is one that derives from the artist. Poli M ana is a contemporary figure,
since the dances do continue to take place and she continues to appear. She is quite frequently carved
as a doll because of her elaborate headdress.
G44;Hl26,127,185;W 54,116,pl27,118;Fl77,pl57;EB9; H T 4 1 ; TB84,85; RM5,17.
Shungopavi, Second Mesa-. She appears at all three Hopi mesas. The dance was moved to August since
that is when butterflies are present.

40
H opi n am e: Paiyakyamu
English n am e: Tewa Clown
This is one of the many clowns who appears on the Hopi mesas. H e is a variation of the Koshare
Clown, and his H opi name is really a Tewa word for both this clown as well as for the more frequently
seen Koshare.
This clown is the paramount example of a glutton or the one who overdoes everything he does. While
he is very amusing to the spectators, his actions are not what a Tewa himself would ever be caught
doing. The artist’s recollection is that he was painted from a Kachina doll carving by Tom Colatetta.
The painting was also inspired by illustration # 10 in H orst Hartm ann’s book.
A148;Fpl58;C60;W 78,82;Hl41,227,fig.l0;EB37;FW 267,268,293,303.
Kykotsmovi, Third Mesa: In this form he is not a Kachina. When he is seen as a Kachina, then his
function would be as a singer for other dancers, such as a corn dancer, deer dancer, etc.

42
H opi n am e: M uy-ingw a
English n am e: G erm G od or G erm ination Kachina
This is the brother of the Two H orn Society’s deity, Alosaka. H e is gentle, kind, and aloof and he
resides in the underworld rather than in the San Francisco Mountains near Flagstaff, Arizona.
This Kachina has never been seen by the artist. H is most probable appearance was in a long line of
Kachinas; however, he may also have appeared in a mixed Kachina dance, dancing individually. The
sack that he carries contains seeds, which would relate to his function as the germination Kachina. H e
was probably seen at only Second and Third mesas.
G45;C D4.
Old Oraibi, Third Mesa: There are three versions of this Kachina. H e needs to have a small white
cane or stick in his hand. At Third Mesa he does not carry a sack but carries bean sprouts for maidens.
At Third M esa his face is depicted with a mouth like an inverted triangle rather than as illustrated here.
H e brings the bean sprouts only during the initiation at Pachavu. [Editor: see drawing]
Kykotsmovi, Third Mesa: H e brings the raw seeds for planting the main staple foods of the Hopi. H e
danced as a group in Hotevilla in a night kiva dance in 1982. H e may dance in a mixed dance or come
as a group. H e represents the TaTcawKa (singer group)in the religious sector of Hopi life. It is not
uncommon to see the Kachina during the Powamu (Pure M oon) ceremony at Hotevilla.

44
H opi n am e: Tangak
English n am e: T he Rainbow Kachina
H e is self-explanatory. H e appears currently on all mesas. H e was painted from a doll, and he has
never been seen by the artist. There are both First and Third Mesa versions which may vary.
EB56,70.
Kykotsmovi, Third Mesa-. H e may be derived from a petroglyph at Hopi. This is not exactly an
everyday Kachina. Some of these Kachinas only appear at the grand finale of the initiation of young
men into the religious sectors.
Shungopavi, Second Mesa: The informant has never heard of this Kachina. It does not appear at
Shungopavi and no longer appears at any village at any mesa.
Old Oraibi, Third Mesa: The informant says he has seen this Kachina but does not remember when.

46
H opi n am e: Tu wa tcu ah
Tewa n am e: N am beyo
E nglish n am e: T he Sand Snake Kachina
The Tewa word meaning Sand Snake is Nambeyo, and the Hopi word is Tu-wa-tcu-ah. This is
one of the whipper Kachinas and he originated at the Third M esa village of Old Oraibi. H e usually
appears as a companion to the clowns.
H e is a clan Kachina which is identified with the Snake Clan at Old Oraibi. H e comes to visit the
kivas of the villages during the winter fast times. H e does rarely dance as such. Please note that this
Kachina is not to be confused with the famous Nampeyo pottery family.
EB67.
Kykotsmovi, Third Mesa: H e is a whipper who comes during the Powamu ceremony. H e should
have two bandoliers or if he has just one then it should go in the other direction over the other
shoulder.
Old Oraibi, Third Mesa-. This is the Snake Clan Kachina from Bacavi village at Third Mesa.

48
H opi n am e: Sio Poli M ana
English n am e: T h e Z uni B utterfly M aiden D ancer
(T h e H o p i version)
She is the Hopi version of the Zuni Butterfly Maiden. She is a social dancer and is not a Kachina.
As with other social dancers she appears at times other than the Kachina season, that is February to
July. She has appeared in the 1980s.
Shungopavi, Second Mesa-. This dancer puts whatever she can find on her costume.

50
«*V .
17

H opi n am e: Sio Poli Taka

English n am e: T he Z uni B utterfly D ancer M an
(T h e H o p i version)
H e is the male social dancer who accompanies the Zuni Butterfly Maiden. H e is a contemporary
dancer who usually appears only when the Zuni Butterfly M aiden appears.
Kykotsmovi, Third Mesa,-. This dancer is probably from Santo Domingo Pueblo rather than Zuni. This
dancer first appeared about 1970. Now because it is easy to prepare, it has become much more
common.

52
H opi n am e: Kwasus Alek Taka
English n am e: Eagle Tail Feather H o rn Kachina
H e is also referred to by the name Kahaila which is a Tewa word. His name at First Mesa may be
Mahk-china, which just means that he is a hunter Kachina. His Hopi name literally means “eagle
feathers erect man.” H e is sometimes referred to, incorrectly, as the M ad Kachina.
This Kachina's face is very close to the Turde Kachina and he appears in regular Kachina dances
almost always accompanied by Alo M ana Kachina, who is the sister to Alek Taka. The upright eagle
feathers resemble horns and take the place of ears on this Kachina’s face. H e is a very common dancer
who appears quite frequently.
C 145,214; F154,pl48;W 110,pl25;G20;B185;Al 10;H figl 10.
Old Oraibi, Third Mesa: The informant states that the body paint should be black/white rather than
red/yellow. H e should have a butterfly flower at the top of his feathers and one on his forehead.
[Editor: see drawing]
Shungopavi, Second Mesa: The informant states that he is dressed okay; sometimes he wears a red shirt.
At First and Second Mesas he is a hunter and wears a red shirt.
Kykotsmovi, Third Mesa-. The informant states that he is not a hunter Kachina as he is depicted. If he
wore a red shirt then he would be a mahk or hunter Kachina. H e usually wears a bandolier of black
yarn going from right to left. The green on the back of his head differentiates him from the other
Kahaila Kachina.

54
19

H opi n am e: Salako Kachina

English n am e:
This is one of the First Mesa Hopi Shalako Kachinas. H e is still danced contemporarily at First
Mesa, and in one sense he replaces the tall Hopi Shalako, who are no longer being danced at First Mesa
because no successors had been appointed for them.
The Salako appears only at First Mesa, and he usually is a line dancer appearing at the end of a line,
who at one time accompanied the Shalako Kachinas. This Kachina is copied from the Zunis, and he
does appear. It is believed by one author that this is the costume worn under the tall shalako costume.
The description contained in H orst Antes’ book refers to this figure as an Impersonator of the Shalako.
A139,158,74, fig.340,402,403,108;EB69.
Kykotsmovi, Third Mesa-. The informant states that it appears at Second and Third Mesas without a
shirt. H e appeared at Hotevilla in March, 1990. The informant thinks he came from Zuni where he
“appears” with a human face and no buckskin. H e accompanies the Shalako by being inside of
Shalako.
Shungopavi, Second Mesa-. H e does appear at Shungopavi.
Old Oraibi, Third Mesa: At Third Mesa he is called Pookoongyava. Raymond Naha has painted this
Kachina with a shirt at First and Second Mesas and without a velvet shirt at Third Mesa.

56
H opi n am e: Tatacm u
English n am e: Ball Players Kachinas
These are ball players who probably appear in the fast parade and infrequently in summer dances with
the clowns. These two figures are playing a game which is sometimes introduced in Kachina dances.
This game consists mainly in striking a buckskin ball with a stick. Each person holds the end of a
string attached to this ball which flies back and forth as struck by the players. Fewkes lists these
Kachinas in his table of contents as “personages appearing in the races called Wawac.” The Wawac
races are foot races which frequently occur during Kachina dances. The clowns and other faced
Kachinas race with spectators across the plaza to and for the amusement of the spectators.
F168, pl53;EB60.
Shungopavi, Second Mesa/Kykotsmovi, Third Mesa: These are not Kachinas but are derived from the
Piptuka or clowns. The ball is usually not tied like this. Rather goals are set up in the plaza and the
Tatacmu challenge the boys to play with them. This challenging is similar to what the Runner Kachinas
do. These characters may have originated with the Tewa people.

58
 “K A C H IN A S A R E
B E N E V O L E N T SPIR IT S A N D
T R A N S M IT A P E A C E F U L A T T IT U D E .
K A CH IN A S W IL L N O T T O L E R A T E
A G G R ESSIV E B E H A V IO R A M O N G
T H E H O P I P E O P L E .”
H opi n am e: Kaisale M ana
English n am e: Tewa Clown M aiden D ancer
These are contemporary social dancers who probably appear in the summer time, and they may be
a result of a “sponsored” dance. She will hold an ear of corn aloft in her hand as she would appear in
the Klahewe dance which is performed at Zuni Pueblo.
Fl78,pl58;EB71.
Kykotsmovi, Third Mesa/Shungopavi, Second Mesa: This person comes and dances with the Long
Haired Kachinas.

62
H opi n am e: N aho-Ile-C hiw a-K opa-C hoki
English n am e: Cross C row n Kachina
This is a very old Kachina, about whom there is very little known or written. The painting was done
from a photograph in the Goldwater book. H e may have danced in the night dances in a group in early
January and February.
H e may have originally appeared as a line dancer, as well as a group dancer in those days. H e is
probably one of the Sosoyohim Kachinas, who are miscellaneous personages who possess some trait
or characteristic which aids the Hopi. This Kachina is said to have last appeared on First Mesa in the
1940s.
G21;C200;W 128;EB59.
Kykotsmovi, Third Mesa: The proper name for this Kachina is Nalek o mao. H e is a very old Kachina
from the village of Old Oraibi. H e does not appear anymore and has not appeared for a long time. His
English name is Four Cloud Kachina.
Old Oraibi, Third Mesa: The informant thinks this is a Tewa Kachina.

64
H opi n am e: Kopelop Sona
Tew a n am e: H oponye
English n am e: W oodpecker Kachina
This is one of the bird Kachinas, which are, in general, runners. H e is also a line dancer Kachina who
dances contemporarily, similar to the parrot, chicken or duck Kachinas.
This Kachina apparently appeared on First Mesa early in the 20th century; he carries a “clacker” to
simulate the pecking noise. The painting was done from a doll carved by Ernest (Pouch) Chapella
which was done from an image in Kachinas An Evolving Hopi Art Form? on page 42.
E40,42; EB66.
Kykotsmovi, Third M esa: The word “sona” in the name means “he likes” in Hopi. This Kachina has
not been seen since the early 1920s.
Old Oraibi, Third Mesa: The informant thinks this is a First Mesa or Tewa Kachina.

66
4

H opi n am e: Chakw aina Yu-adta or Chakw aina W uhti

English n am e: Chakw aina M o th er Kachina
This Kachina is one who accompanies the Chakwaina Kachinas when they appear. She is the mother
of Chakwaina, which is a Kachina who came from the Zuni Pueblo where he allegedly represented
Esteban the M oor, who was the guide for Marcos de Niza’s search and quest for the Seven Cities of
Cibola. She carries, as a warrior symbol, an eagle feather tied to the crown of her head, as well as a rattle
in her right hand. “Yu-adta” is a Hopi word which means “his mother.”
A76,figl21; 0 6 1 ; F67,pl4; EB63.
Kykotsmovi, Third Mesa-. The informant prefers to use the Hopi word “wuhti.” She is one of the
volcanic era Kachinas who throws soot onto the people. She is also a member of the warrior group and
lore has it that she may actually have been the first person to confront Esteban the M oor and make
inquiry of him concerning why he was at Zuni. H er function is similar to that of the Soyok W uhti. She
does not appear at Third Mesa.
Shungopavi, Second Mesa-. She does not appear at Second Mesa.
Old Oraihi, Third Mesa: She does not appear at Third Mesa.

68
H opi n am e: Kapicha
English n am e: Billy G oat Kachina
This is another of the animal Kachinas who appears during the fast parades and in the summer may
accompany the clowns. H e is rarely carved as a Kachina doll and rarely appears in plaza dances.
H e is a comic and a clown Kachina. Reference should be made to the large testicles that appear
beneath his loin cloth. H e is one of the copulation Kachinas and is interested in copulating with
everything in sight. His testicles are full of fruit and other goodies, and towards the end of the dance
the aunt of the man impersonating the Billy Goat Kachina will cut off his testicles and give the fruit
and other goodies to the spectators. H e is on occasion referred to as a Piptuka Kachina, which means
“coming to the clowns” kachina.
EB72.
Kykotsmovi, Third M esa: This is another of the innovative Kachinas. The tale is that there was an old
man who had a bad goat in his herd. The old man was throwing a stick at the bad goat. This Kachina
then came to turn the tables on the old man and to pay him back. The goat then started throwing the
stick at the old man.
Shungopavi, Second Mesa: This Kachina is associated with the clowns.

70
H opi n am e: Poko
English n am e: D og Kachina
The dog Kachina represents the spirits of all domestic animals. The artist thought that someone just
made up this kachina because there were so many dogs at Hopi.
M any varieties and/or breeds of dog exist at Hopi and the costume may vary accordingly both in the
Kachina and in carved Kachina dolls. H is dress in this particular painting gives him the look of a line
dancer. Poko may act as a clown on First and Second Mesas.
C257; Al21,fig279; G47; EB67; AS115.
Shungopavi, Second Mesa: This Kachina does not appear at Shungopavi.
Kykotsmovi, Third Mesa/Old Oraibi, Third Mesa-. This is a very old Kachina and a very important one
also. H e represents the first domesticated animals. The dog serves the Hopi by being his friend, a
guard in the home and the village, and helps herd the sheep and cattle. The Kachina is now considered
to be a warrior and his red hair and skirt may represent “dripping blood.” W hen this Kachina comes
in a group, the song of the group contains very old Hopi words which are not used regularly.

72
7

H opi n am e: N ah Took Vookeh

E nglish n am e: 1/2 Clown and 1/2 C orn Kachina
This is a half-clown, half-corn Kachina. H e is a contemporary Kachina in that he had been seen by
the artist once during a night dance.
Bruce McGee, whose family has operated the Kearns Canyon Trading Post for decades, relates the
story that this was a Kachina formed when two separate Kachinas who had been fooling with each other
were struck by lightning and thereby joined together into one. On First Mesa he is a drummer who
dolefully drums the sins of the Hopi. H e appeared with the Laguna Corn Kachinas in a dance at
Kykotsmovi village at Third Mesa in June, 1988.
EB71.
Kykotsmovi, Third Mesa: H is name should be Cuku Kaihaili. The paint on his face is reversed; the
blue should be on the right side rather than on the left side. Blue is usually on the right side on any
Kachina. H e is the clown Kaihaili Kachina.
Old Oraibi, Third Mesa-. The tale behind this Kachina is as follows:
The twin war gods were watching over and protecting some Kachinas
from bad spirits while the Kachinas were collecting feathers. Lightning
came and struck the Kachinas. All the Kachinas were broken up into pieces.
The Kachinas were all put back together with medicine from the war gods’
grandmother. All except these two Kachinas who were inadvertently put
together and became one Kachina.
H e appeared as a drummer at Hotevilla in January, 1990.

74
H opi n am e: Kanalo Taka
E nglish n am e: W hite B uck Kachina
This is another of the domestic animal Kachinas who appears in the summer dances as well as the night
dances. H e also, like the Dog Kachina, represents the spirit of animals. The animal Kachinas epitomize
the true friendship of the Hopi people with the Kachina spirits.
Animal Kachinas, who are considered to function as advisors and assistants of the Hopi, will assist
the people when asked to do so with the proper degree of respect and propriety.
EB67.
Kykotsmovi, Third Mesa: This Kachina represents domesticated sheep. H e is one of the Oraibi
Kachinas which honors one of the village’s first domesticated sheep.
Old Oraibi, Third Mesa: H e represents domestic sheep.
Shungopavi, Second Mesa: The informant disagrees with this statement in the description “Animal
Kachinas, who are considered to function as advisors and assistants of the Hopi, will assist the people
when asked to do so with the proper degree of respect and propriety.” H e states that the Animal
Kachinas help the H opi think about wildlife for hunting in the next season and therefore develop the
proper mind set for hunting.

76
9

H opi n am e: Kanalo M an a
English n am e: W hite Ew e Kachina
This is the sheep girl, the ewe Kachina, who accompanies as a line dancer the White Buck Kachina
described in No. 28, supra.
Shungopavi, Second Mesa: At Shungopavi this Kachina has little horns.
Old Oraibi, Third Mesa/Kykotsmovi, Third M esa: About 90% of the time this Kachina does not have
horns.

78
H opi n am e: Kokyang W uqti
English n am e: Spider L ady (W om an) Kachina
This Kachina is the mother to the twin warrior gods and dances with them in the Ankwanti or March
Festival. She is described as gentle and kind and will assist those Hopi who are in some sort of trouble.
It is said that she will even take revenge on the evil gods who are harassing the Hopi. She is considered
more a god than a Kachina and as such is one person and many persons at the same time and thus is
in all places. She is very rarely (if ever) impersonated as a Kachina yet all the villages contain a shrine
to her.
F I 18,pl29; C81, D9; EB70; FW 313.
Kykotsmovi, Third Mesa: This is not a Kachina but rather she is a deity. She does not appear at Third
Mesa.
Shungopavi, Second Mesa: This is a First M esa personage.

80
1904-06.
 “T H E H O P I A R E
O U T S T A N D IN G
D R Y FA R M E R S.
T H E S E A B IL IT IE S
ARE D U E TO
T H E IR F A IT H IN
T H E IR PRA Y ERS A N D
T H E IR K A C H IN A S
W H O B R IN G T H E
W IN T E R SN O W S A N D
T H E S U M M E R R A IN S
SO T H A T T H E Y
M A Y L IV E, IN P E A C E ,
IN T H E H O P I W A Y ”
Hopi name: Alosaka
English name: Two H o rn Priest Kachina

This Kachina may be a different variation of the Muy-ingwa Kachina which appears as # 13, supra.
F182,pl59; Al43,fig346; G45; C79,D4; H 135,figl; EB65.
Shungopavi, Second Mesa: This is the “same” Kachina as # 13. H e should not have on a rain or wedding
sash as he does in the painting. H e should wear an embroidered sash like Kachina #4.

84
H opi n am e: Pavatava
Tew a n am e: Paknabi or Pakwabi
English n am e: Tadpole Kachina

This Kachina may be a warrior since he wears a war bonnet of sorts. H is name may be derived from
a particular place or pueblo (possibly Zuni) where he first appeared. This is because the name may
come from two words: pakwa —frog, and, obi —place.
H e does appear only at the First Mesa, and then only rarely.
C213; F154,pl46; EBJ6,61,67.
Kykotsmovi, Third Mesa: This is the Old Oraibi form of this Kachina.

86
Hopi name: P iki Sona or Pik-kachantaka
English name: P ik i E ater Kachina
This is a Kachina probably from Third Mesa. This Kachina jumps rope with the yucca rope that he
is carrying around his neck. The artist has never seen this Kachina.
The Kachina does appear currently and has recently begun to be carved as a doll again.
EB52.
Kykotsmovi, Third M esa: H is English name is the piki-in-mouth Kachina. H e is very docile and walks
very slowly while looking from side to side. H e makes a loud shrill sound when he does appear. H e
appeared at Powamu at Hotevilla in 1988.
Old Oraibi, Third Mesa: H is eyes should be shaped like those of the Left H anded Kachina (diamond
shaped) or they should be rectangular shaped eyes.
Shungopavi, Second Mesa: This is not a Second M esa Kachina.

88
4

H opi n am e: Teuk or Tasap

English n am e: Navajo Kachina

This Kachina may be from Zuni. The literature does not identify it as any more than that and there
was no reference made to it in Zuni Katrinas, by Ruth Bunzel. According to some Hopi informants,
this represents either a Zuni man or a Hopi version of a Zuni Navajo Kachina.
C212; F154,pl46.
Kykotsmovi, Third Mesa: This is a Kachina who is in between a Tasap and a Sio (Zuni) Kachina.
Shungopavi, Second Mesa: The tale of this Kachina is as follows:
M any many years ago, there had been no rain for more than 4 years. Some
Navajos came to H opi looking for food. They came to the house of the Bear
Clan. The chief of the Bear Clan agreed to give the Navajos some food if the
Navajo Yei (Holy People) would come to Hopi and dance 4 times to earn the
food. The Navajo Yeis did come and perform the dance 4 times. After the
dances a great rain came to Hopi. Thus the Kachina and his dance continue.
Old Oraibi, Third Mesa: I he painting is not that of a Tasap Kachina since his body paint is different.
H e ought to be wearing fringed moccasins.

90
5

H opi n am e: W ah-uh-uh Piki Sona

English n am e: P ik i C raver Kachina

This is a Kachina who comes with the Ogre Kachinas and acts similar to Heheya Kachina. H e
originates from the village of Shungopavi, and all he wants to do is eat Piki bread.
The staff he carries is something that he leans up against so that he can eat Piki more comfortably.
EB61.
Shungopavi, Second Mesa: H e comes only at Shungopavi village . While the Soyokos (ogres) are
negotiating for food, Pik Sona grabs piki bread and eats it very fast. This causes the Soyoko to have
to take food rather than the kids, for whom the Soyokos had come.
Kykotsmovi, Third Mesa: H e accompanies Soyoko W uhti after Bean Dance . H is function is to take
and taste the piki bread which is offered to Soyoko W uhti. H e eats it right away and thus forces Soyoko
to take food rather than kids. This cheats Soyoko W uhti out of her negotiation with the parents of the
kids. H e makes a sound like W ah-uh-uh.

92
âf ©
6

H opi n am e: H onaw a
English n am e: Social Bear D ancer
This is a male social dancer who appears during the social dances at the end of December and early
January. H e probably only appears at First and Second Mesas.
EB63.
Shungopavi, Second Mesa/Kykotsmovi, ThirdMesa-. This dance and dancer came about in 1984or 1985.
A woman from Colorado came to the Bear Clan and made a gift to the clan of 4 bear skins. The dance
was done as a welcome to the skins from the Bear Clan. It also honors all wild animals.

94
7

H opi n am e: Sowi-ingwa
English n am e: Social D eer D ancer
This is a deer dancer who is a social dancer, appearing in late December and early January. H e does
not wear a Kachina face, although his human face is covered with evergreen. H e is borrowed from the
Laguna Pueblo.
EB62.

Kykotsmovi, Third Mesa: At First Mesa he wears a shirt and at Third Mesa he does not wear a shirt.
Shungopavi, Second Mesa: This dancer does not come to Shungopavi.

96
U o p i n am e: Yaponcha
English n am e: W ind G od
This personage is also referred to as the Dust Devil M an. H e is not a Kachina but a Being or a myth
meant to scare the kids. H e is very rarely, if ever, impersonated and does not take part in any Kachina
ceremonies.
Like the natural phenomenon he represents, he is both troublesome and not well liked by the Hopi
people. This is the male form who threatens the girls into good behavior; the female form does the same
for the boys.
C p.84, D24; EB46.
Kykotsmovi, Third M esa: This is one of those beings who is constantly on the negative side. H e is
neither a deity nor a Kachina. No one likes this personage. In 1988 he came to Shungopavi and the
people threw stones at him trying to get him to leave so that the wind would stop.
Shungopavi, Second Mesa-. H e is a deity who is really respected and feared. H e and his name are
forbidden to be even mentioned in the kivas. Nobody really knows him; nobody has really seen him,
but the informant thinks his head looks like this.
Old Oraibi, Third Mesa-. H e is neither a deity nor a Kachina and is feared by the Hopi people. H e is
a being who is constantly in opposition to the Hopi people. This being should not even be included
in the book.

98
9

H opi n am e: U rcicim u
English n am e: Cactus Stick Kachina

This is a Kachina who appears infrequently in the mixed Kachina dances. As a Kachina, he apparently
tries to get spectators to take gifts from the stick that he’s carrying without getting pricked by the cactus.
Usually he carries ears of roasted corn on the end of his stick as gifts. H e has appeared in recent years
on First Mesa.
C88; F150, pl44; W102; EB71.
Kykotsmovi, Third Mesa: I do not know this Kachina.
Shungopavi, Second Mesa: I do not know this Kachina.
Old Oraibi, Third Mesa: I do not know this Kachina. Urcicimu is not a Hopi word.

100
40

H opi n am e: M osa
English n am e: C at Kachina
The name Mosa comes from the village of Oraibi, and this is what the artist refers to as a Proud or
Kwivi Kachina. H e has been described as a form ofTasap or Navajo Kachina, who may be occasionally
referred to as the Black Cat Kachina.
It is believed by the Hopi that this Kachina was inspired by a Navajo who ran from place to place
announcing an approaching ceremony and inviting the neighbors. The Hopi, who customarily
received visits from this individual, produced a Kachina called The Old Navajo Kachina. The figure
was borrowed from the Hopi by the Zuni, and later, when it was borrowed back by the Hopi, it was
renamed the Cat Kachina.
G29; W126,pl30; A107,fig220,221;EB9.
Kykotsmovi, Third Mesa,-. This is not the Mosa or Cat Kachina. It is the Howit or Hohowit Kachina
whose English name is the Proud Kachina.
Old Oraibi, Third Mesa-. This is not a Mosa Kachina and all references to Mosa should be deleted.
It is the Proud Kachina. It is similar to the Mosa Kachina but the Cat Kachina is black with white dots.
The Cat Kachina in Erik Bromberg’s book is the correct version. [Editor: see drawing]
Shungopavi, Second Mesa: This is the Proud Kachina and not Mosa Kachina. The name Cat Kachina
comes from the dancer’s motion and sound.

102
Photo from The Year of the Hopi, Paintings and Photographs by Joseph Mora, 1904-06.
 ■ is 1 1 1 :

“T H E
K A C H IN A R E L IG IO N
H A S P R O V ID E D T H E U N IT Y
T H A T H A S G IV EN
TH E H O PI PEOPLE TH E
STRENGTH TO OVERCOM E
G R E A T O B STA C LES.”
41

H opi n am e: Pijote
English n am e: P ig Kachina
H e is a runner who participates in the races and also harasses the clowns during festivities.
EB40.
OldOraibi, Third Mesa/Shungopavi, Second Mesa/Kykotsmovi, Third Mesa: This is not a clan Kachina.
At Hotevilla he has come as a Piptuka. He was not being fed and came to harass the people. In fact
this is something just dreamed up by a Kachina carver and is not a real Kachina.

106
H opi n am e:
English n am e: O n e-H o rn Kachina
This figure was created from a Kachina doll carved by Elmer Adams of First Mesa. H e represents
a heavenly object but there was no further identification. H e may be unique to First Mesa.
Shungopavi, Second Mesa-. This is a made up Kachina. The lightning stick in his hand does not go with
his facial decoration which is more like that of a Cow Kachina.
Old Oraibi, Third Mesa-. This is another Kachina which was dreamed up by a Kachina carver and
which does not really exist.

108
H opi n am e: Sikya Tiiwa-tcua
English n am e: Yellow Sand Snake Kachina
This is one of the whipper Kachinas, and it may also be a clan Kachina. One of his functions is to drive
people back into their houses during the initiation ceremony.
Shungopavi, Second Mesa: This Kachina does not appear at Shungopavi.
V y i « * ; Third Mesa/Old Oradn, Third Mesa: The ¡„formants did not know this Kachina.

110
44

H opi n am e: Kocha M osairu

English n am e: W hite Buffalo D ancer
This is a social dancer who most probably began at the Tewa village on First Mesa. H e is more sacred
than other buffalos because of his character as a white buffalo. As a matter of fact, he may have
originated in this particular costume with a doll carved by Alvin James, of Old Oraibi village at Third
Mesa.
H e appears at the social dances in the winter time and does appear at all mesas. The white buffalo is
a Rio Grande or Plains Indian inspired figure which has been borrowed by the Hopi.
W82; EB29; TB93; RM 5.

112
45

H opi n am e: Tsuah or C husona

English n am e: Rattlesnake D ancer
This is the snake dancer who is one of the social dancers who used to appear in mid-August at several
of the villages. During the dance performance the Snake priests, accompanied by the Antelope priests,
dance with live rattlesnakes and/or bull snakes in their mouths.
The live snakes are referred to by the priests as their “elder brothers.” These are obviously not dancers
with “faces” and therefore are not “Kachinas.” Information in much greater detail can be found in the
books Hopi Snake Ceremonies by Jesse W alter Fewkes, and M oki Snake Dance by W alter Hough, both
from Avanyu Publishing. In recent years the Snake Dance has only been performed at the Second
Mesa villages of Mishongnovi and Shungopavi. There is no difference in the costumes between the
First Mesa variety and any of the other mesas. This dance has been closed to non-Indians since 1986.
G42; W 82,pll6; EB47; TB 8,9,128; RM 14.
Kykotsmovi, Third Mesa-. The Snake dancer has been designated in the literature frequendy by the
Hopi name “Chusona.” Chusona is not accurate since its literal translation means “snake eater.” The
informant states that the name Tsuah is used at Third Mesa, where the dance is no longer performed
and that the name Chusona is used at First Mesa, where the dance is no longer performed.

114