Classic Hopi and Zuni Kachina Figures. Barton Wright. Sante Fe: Museum of New Mexico Press, 2006. 186 pp.
Reviewed by Dorothy Washburn and Emory Sekaquaptewa
This
is a classic coffee table picture book with rich, colorful, full-page
images of kachina figures, each artfully arranged before antiqued
backgrounds, interleaved with duotone vistas of mesas and ruins. A
catalog and essay follow. A closer look, however, reveals fundamental
flaws. The book claims to illustrate Hopi and Zuni kachinas (62 are
Hopi figures; 10 are Zuni), yet the essay is about the cosmology of the
eastern pueblos. Furthermore, the essay was written in 1986 for another
book. There is almost no relation between the essay and the
illustrations. In the following discussion we address several
persistent misconceptions about Hopi kachinas, katsinas, and tihus, as well as other associated issues that also are often misunderstood in this and other essays.
The errors in the book begin with the title, Classic Hopi and Zuni Kachina Figures.
This book purports to show “traditional” dolls, that is, those made
before 1940 when the carving style supposedly changed, but in Hopi
practice, carved dolls are called tihu, a Hopi word that translates as
‘child.’ These dolls are intended to be played with so that the girls
learn their future roles as wives and mothers. They are given to young
girls at performances by the katsinas, who come as rain between
February and July. The word kachina is an Anglo spelling whose use is
probably best limited to figures carved to resemble the katsinas that
are made for sale to non-Hopi. Furthermore, many of the figures
illustrated, such as the Snake dancers, Butterfly dancers, Buffalo
dancers, as well as, of course, the figure of the woman grinding, are
not even katsinas.
Importantly, very few of the figures that
represent katsinas, even the ones collected by H. R. Voth and others at
the turn of the century, are accurate renderings of katsinas, much less
tihu. In the first place, actual tihu are never
dressed with clothes or equipped with accessories such as bows and
arrows, Douglas fir ruffs, elaborate feather headdresses, and other
paraphernalia. A child would have quickly destroyed or lost such
accessories. Tihu are simply carved and carefully painted
representations of katsinas that are meant to be actively played with.
What Voth collected were figures made as copies of katsinas by Hopi who
were satisfying his desire to acquire these dolls. These carvers
dressed the dolls in clothes and accessories in an effort to represent
the katsinas observed performing in the plaza. Importantly, even if
these figures were meant to depict the katsinas, many of the colors and
features painted are incorrect, again an indication that these figures
were meant to be sold outside the context of their traditional cultural
use. Finally, because many of the feathers and clothing appear to be in
good condition, one wonders how often these dolls were “refreshed” as
they circulated as precious art objects in the world of collectors and
museums.
In the essay by Barton Wright there are many
cosmological concepts and practices attributed to the Hopi that are
incorrect. We can address only a few in this short review. The Hopi are
not organized by a dual system (p. 149) regulated by summer agriculture
and winter hunting. Hunting goes on all year at Hopi. In fact, there is
only one ceremonial related to hunting at the Winter Solstice. Although
many of the dances in January are Buffalo dances, they are social
events. It is very misleading and inaccurate to attribute conceptual
universals to all pueblo peoples (p. 153), especially the notion of the
existence of different cosmic levels. Although Hopi children are told
how the Hopi emerged from the Underworld in a reed, this story is a
simplified version for children of the complex narrative that traces
how the Hopi migrated from down below, atkya,
that is, from the southwest direction, ultimately from Mesoamerica. The
katsinas do not come to the villages at the Summer Solstice and leave
at the Winter Solstice (p. x). Rather they come in the winter with the Qööqlo’s appearance at the Winter Solstice and they all appear at Powamuya,
the Bean Dance, in February. They return to their cloud dwelling places
in all of the four cardinal directions, not simply to the southwest to
the San Francisco peaks, in July.
Importantly, katsinas do not bring rain (p. 159); they are
rain. This misconception is pervasive in the literature and is
perpetuated in this book. When a Hopi individual passes on, he becomes
a katsina, a cloud that returns as rain to the villages in answer to
the Hopis’ prayers. The katsinas do not pray for rain; the Hopi people
do. Katsina song performances in the plazas are full of advice and
admonitions since they have observed that the Hopi have deviated from
the practices, natwani, that
will lead them to a fulfilled life. There are no “Cloud People” at Hopi
that are separate from katsinas (p. 162). The Hopi katsina season is
not divided between the Badger and the Katsina clan (p. 158). The
Badger clan sponsors the Powamuya because, as an in-migrating clan they
demonstrated their pre-ordained right to live at Hopi by magically
growing corn overnight—a feat that is reenacted every February with the
growing of the bean sprouts in the kivas at the Bean Dance. During the
other 6 months of the year the Katsina clan does not dominate the
villages affairs. The Soyoko,
the so-called ogres, are not “cannibals” (p. 159) and it is not only
wrong but also degrading to label them as such. The ogres are not
involved in helping the children to “lose their youth,” rather their
role is to punish children who have misbehaved. The Hopi do not think
in terms of categories of katsinas (p. 159 ff)—these are the fictions
of anthropologists.
These are just a few of the errors,
inaccuracies, and distortions attributed to the Hopi in the essay.
Finally, it is a pity that Wright did not use the orthography now
accepted as standard by the Hopi Tribe in the Hopi Dictionary published
in 1998. It is a major contribution to the language and culture of the
Hopi and to ignore this resource is no longer acceptable for any
museum, serious researcher, or collector.
The take-home
message of this review is that museums need to recognize that their
collections—especially those acquired during the early collecting
expeditions—are probably infiltrated if not dominated by kachina
figures made to satisfy the acquisitive directives of museums and
collectors rather than by traditional tihus. The blind assumption that
something old must be “traditional” has turned tihus into precious art
forms and fostered the proliferation of showcase tributes in exhibits
and catalogs that place these ancient tourist objects in a traditional
role that is not accurate.
Dorothy
Washburn is an anthropologist well known for her cross-cultural work on
pattern in art and material culture, as well as for her studies of
native life in Southwestern North America. Among her many works, she is
the author (with Donald W. Crowe) of Symmetries of Culture: Theory and Practice of Plane Pattern Analysis (Seattle: University of Washington Press, 1991) and of
Living in Balance: The Universe of the Hopi, Zuni, Navajo and Apache
(University of Pennsylvania Museum of Archaeology and Anthropology,
1995) and is the editor of Embedded Symmetries, Natural and Cultural (University
of New Mexico Press, 2005). She is currently working with Emory
Sekaquaptewa and linguist Kenneth Hill on an National Endowment for the
Humanities funded project to transcribe, translate and annotate the
major recorded collections of Hopi katsina song.
Emory
Sekaquaptewa is a Research Anthropologist in the Bureau of Applied
Research in Anthropology and a faculty member in the Department of
American Indian Studies at the University of Arizona. Born on Third
Mesa of the Hopi Reservation in Arizona, Sekaquaptewa is currently
teaching Hopi to the Hopi teachers in Hopi schools in order to advance
Hopi literacy. He played the central role in the compilation of the Hopi Dictionary / Hopìikwa Lavàytutuveni: A Hopi-English Dictionary of the Third Mesa Dialect (University of Arizona Press, 1998).