Part 10

Rather a delicately right idea, isn't it, this inviting of the Elder Brothers, however lowly, to this great religious ceremonial which commemorates the gift of rain-making, as bestowed by their common ancestress, and perpetuates the old ritual so long ago taught by the Snake Chief of the underworld to Tiyo, the Hopi youth who bravely set out to see where all the blessed rain water went, and came back with the still more blessed secrets of whence and how to make it come.

Nine days before the public Snake Ceremony, the priests of the Antelope and Snake fraternities enter their respective kivas and hang over their hatchways the Natsi, a bunch of feathers, which, on the fifth day is replaced by a bow decorated with eagle feathers. This first day is occupied with the making of prayer-sticks and in the preparation of ceremonial paraphernalia. On the next four days, ceremonial snake hunts are conducted by the Snake men. Each day in a different quarter of the world, first north, next day west, then south, then east.

It is an impressive sight, this line of Snake priests, bodies painted, pouches, snake whips, and digging sticks in hand, marching single file from their kiva, through the village and down the steep trail that leads from the mesa to the lowlands.

When a snake is found under a bush or in his hole, the digging stick soon brings him within reach of the fearless hand; then sprinkling a pinch of corn meal on his snakeship and uttering a charm and prayer, the priest siezes the snake easily a few inches back of the head and deposits him in the pouch. Should the snake coil to strike, the snake whip (two eagle feathers secured to a short stick) is gently used to induce him to straighten out.

At sunset they return in the same grim formation, bearing the snake pouches to the kiva, where four jars (not at all different from their water jars) stand ready to receive the snakes and hold them till the final or ninth day of the ceremony.

On the next three mornings, just before dawn, in the Antelope Kiva, is held the symbolic marriage of Tiyo and the Snake Maiden, followed by the singing of sixteen traditional songs.

Just before sunset of the eighth day, the Antelope and Snake priests give a public pageant in the plaza, known as the Antelope or Corn Dance. It is a replica of the Snake Dance, but shorter and simpler, and here corn is carried instead of snakes.

On the morning of the ninth and last day occurs the Sunrise Corn Race, when the young men of the village race from a distant spring to the mesa top. The whole village turns out to watch from the rim of the mesa, and great merriment attends the arrival of the racers, the winner receiving some ceremonial object, which, placed in his corn field, should work as a charm and insure a bumper crop.

In 1912, Dr. Byron Cummings witnessed a more interesting sunrise race than the writer has ever seen or heard described by any other observer.

An aged priest stood on the edge of the mesa, before the assembled crowd of natives and visitors, and gave a long reverberating call, apparently the signal for which the racers were waiting, for away across the plain below and to the right was heard an answering call, and from the left and far away, another answer. Eagerly the crowd watched to catch the first glimpse of the approaching racers, for there was no one in sight for some time, from the direction of either of the answering calls.

Finally mere specks in the distance to the right resolved themselves into a line of six men running toward the mesa. As they came within hailing distance they were greeted by the acclamations of the watchers.

These runners were Snake priests, all elderly men, and as each in turn reached the position of the aged priest at the mesa edge, he received from that dignitary a sprinkling of sacred meal and a formal benediction, then passed on to the Snake Kiva.

Before the last of these had appeared, began the arrival of the young athletes from across the plain to the left. Swiftly them came, and gracefully, their lithe brown bodies glistening in the early sunlight, across the level lowland, then up the steep trail, to be met at the mesa edge by a picturesque individual carrying a cow bell and wearing a beautiful garland of fresh yellow squash blossoms over his smooth flowing, black hair, and a girdle of the same lovely flowers round his waist, with a perfect blossom over each ear completing his unique decoration.

As the athletes, one at a time, joined him they fell into a procession and, led by the flower bedecked individual, they moved gracefully in a circle to the rhythmic time of a festive chant and the accompaniment of the cow bell. When the last racer had arrived, they were led in a sort of serpentine parade toward the plaza. But before they reached that point they encountered a waiting group of laughing women and girls in bright-colored shawls, whose rollicking role seemed to be that of snatching away from the young men the stalks of green corn, squash, and gourds they had brought up from the fields below. The scene ended in a merry skirmish as the crowd dispersed.

Later, Dr. Cummings unobtrusively followed the tracks of the priests back along their sunrise trail and out across the desert for more than two miles, to find there a simple altar and nine fresh prayer-sticks.

About noon occurs the snake washing in the kiva. This is not for the public gaze. If one knows no better than to try to pry into kiva ceremonies, he is courteously but firmly told to move along.

A few white men have been permitted to see this ceremony, among them, Dr. Fewkes; an extract from his description of a snake washing at Walpi follows:

"The Snake priests, who stood by the snake jars which were in the east corner of the room, began to take out the reptiles and stood holding several of them in their hands behind Supela (the Snake Priest), so that my attention was distracted by them. Supela then prayed, and after a short interval, two rattlesnakes were handed him, after which venomous snakes were passed to the others, and each of the six priests who sat around the bowl held two rattlesnakes by the necks with their heads elevated above the bowl. A low noise from the rattles of the priests, which shortly after was accompanied by a melodious hum by all present, then began. The priests who held the snakes beat time up and down above the liquid with the reptiles, which, although not vicious, wound their bodies around the arms of the holders.

"The song went on and frequently changed, growing louder, and wilder, until it burst forth into a fierce, blood-curdling yell, or war cry. At this moment the heads of the snakes were thrust several times into the liquid, so that even parts of their bodies were submerged, and were then drawn out, not having left the hands of the priests, and forcibly thrown across the room upon the sand mosaic, knocking down the crooks and other objects placed about it. As they fell on the sand picture, three Snake priests stood in readiness, and while the reptiles squirmed about or coiled for defense, these men with their snake whips brushed them back and forth in the sand of the altar. The excitement which accompanied this ceremony cannot be adequately described. The low song, breaking into piercing shrieks, the red-stained singers, the snakes thrown by the chiefs and the fierce attitudes of the reptiles as they lashed on, the sand mosaic, made it next to impossible to sit calmly down and quietly note the events which followed one another in quick succession. The sight haunted me for weeks afterward, and I can never forget this wildest of all the aboriginal rites of this strange people, which showed no element of our present civilization. It was a performance which might have been expected in the heart of Africa rather than in the American Union, and certainly one could not realize that he was in the United States at the end of the nineteenth century. The low, weird song continued while other rattlesnakes were taken in the hands of the priests, and as the song rose again to the wild war cry, these snakes were also plunged into the liquid and thrown upon the writhing mass which now occupied the place of the altar. Again and again this was repeated until all the snakes had been treated in the same way, and reptiles, fetishes, crooks, and sand were mixed together in one confused mass. As the excitement subsided and the snakes crawled to the corners of the kiva, seeking vainly for protection, they were pushed back in the mass, and brushed together in the sand in order that their bodies might be thoroughly dried. Every snake in the collection was thus washed, the harmless varieties being bathed after the venomous. In the destruction of the altar by the reptiles, the snake ti-po-ni (insignia) stood upright until all had been washed, and then one of the priests turned it on its side, as a sign that the observance had ended. The low, weird song of the snake men continued, and gradually died away until there was no sound but the warning rattle of the snakes, mingled with that of the rattles in the hands of the chiefs, and finally the motion of the snake whips ceased, and all was silent."

Several hours later these snakes are used in the public Snake Dance, and until that time they are herded on the floor of the kiva by a delegated pair of snake priests assisted by several boys of the Snake Clan, novices, whose fearless handling of the snakes is remarkable.

Already (on the eighth day) in the plaza has been erected the Kisa, a tall conical tepee arrangement of green cottonwood boughs, just large enough to conceal the man who during the dance will hand out the snakes to the dancers. Close in front of the Kisa is a small hole made in the ground, covered by a board. This hole symbolizes the sipapu or entrance to the underworld.

--Courtesy Arizona State Museum.]

At last comes the event for which the thronged village has been waiting for hours, and for which some of the white visitors have crossed the continent. Just before sundown the Antelope priests file out of their kiva in ceremonial array--colorfully embroidered white kilts and sashes, bodies painted a bluish color with white markings in zigzag lines suggestive of both snakes and lightning, chins painted black with white lines through the mouth from ear to ear, white breath feathers tied in the top of their hair, and arm and ankle ornaments of beads, shells, silver, and turquoise. (See Figure 9.) Led by their chief, bearing the insignia of the Antelope fraternity and the whizzer, followed by the asperger, with his medicine bowl and aspergill and wearing a chaplet of green cottonwood leaves on his long, glossy, black hair, they circle the plaza four times, each time stamping heavily on the sipapu board with the right foot, as a signal to the spirits of the underworld that they are about to begin the ceremony. Now they line up in front of the Kisa, their backs toward it, and await the coming of the Snake priests, for these Antelope priests, with song and rattle, are to furnish the music for the Snake Dance.

There is an expectant hush and then come the Snake priests, up from their kiva in grim procession, marching rapidly and with warlike determination. You would know them to be the Snake priests rather than the Antelope fraternity by the vibration of their mighty tread alone, even if you did not see them. Their bodies are fully painted, a reddish brown decorated with zigzag lightning symbols and other markings in white. The short kilt is the same red-brown color, as are their mocassins, the former strikingly designed with the snake zigzag and bordered above and below this with conventionalized rainbow bands.

Soft breath feathers, stained red, are worn in a tuft on the top of the head, and handsome tail feathers of the hawk or eagle extend down and back over the flowing hair. A beautiful fox skin hangs from the waist in the back. Their faces are painted black across the whole mid section and the chins are covered with white kaolin--a really startling effect. Necks, arms, and ankles are loaded with native jewelry and charms, sometimes including strings of animal teeth, claws, hoofs, and even small turtle shells for leg ornaments, from all of which comes a great rattling as the priests enter the plaza with their energetic strides.

Always a hushed gasp of admiration greets their entrance,--an admiration mixed with a shudder of awe. Again the standard bearer, with his whizzer or thunder-maker, leads, followed by the asperger, and we hear the sound of thunder, as the whizzer (sometimes called the bull-roarer) is whirled rapidly over the priest's head. The chapleted asperger sprinkles his charm liquid in the four directions, first north, then west, south, and east.

They circle the plaza four times, each stamping mightily upon the cover of the sipapu as they pass the Kisa. Surely, the spirits of the underworld are thus made aware of the presence of the Snake Brotherhood engaged in the traditional ritual. Incidentally, this Snake Dance is carried on in the underworld on a known date in December, and at that time the Hopi Snake men set up their altar and let the spirits know that they are aware of their ceremony and in sympathy with them.

--Courtesy Arizona State Museum.]