Hopi Kachinas: Their Significance in Ceremony
and Art
An article by Lee Anderson
Introduction
People tend to think of kachinas as wooden carvings of masked,
human figures they see for sale at trading posts, galleries, and
fairs. Or they know that kachinas are often offered as gifts to
people in the tribe. But what do these carvings mean? Why are they
created?
First, kachinas (note that this word has various spellings) are
a part of all the Arizona and New Mexico Pueblo peoples. The Hopi
and, to a lesser extent, the Zuni, have a remarkably detailed, codified
kachina cult that is practiced to this day. Today’s ceremonies,
as well as those of years ago, are deemed essential to a properly
balanced life. Certain aspects of their ceremonies are secret and
are closed even to some tribal members; others are open —
in some cases, even to non-tribal visitors.
This article will concentrate on Hopi kachinas — the most
involved and complex of all. The carving of Hopi kachinas is now
a world-recognized art form of the highest order.
The Original Kachinas — Ancestral Beings
The first Hopi to enter the surface world encountered Massau’u
(the Earth God, skeleton, or “death kachina”). As keeper
of the earth, his permission was needed to allow the emerging Hopi
to live there. The Hopi, and the several kachinas they encountered,
entered into a mutual living partnership. The original kachinas
were supernatural spirits and beings. These mostly benevolent entities
taught the Hopi the skills they needed to live and prosper in this
severe environment — how to hunt, make tools, and most importantly,
live in harmony with the earth. By living properly, the Hopi would
be blessed with moisture and agricultural fertility. The kachinas
also taught the Hopi how to heal sickness, properly discipline those
“out of harmony,” offer gratitude to the spiritual forces,
and ask these forces for help.
Although the kachinas eventually left their villages, they left
the people with skills they needed to live and the techniques to
maintain harmony within the community and with the kachinas. These
original kachinas are often described as “ancestral beings.”
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The Kachina in Ceremony
The ceremonies that the Hopi conduct to honor these spirits are
quite varied. All occur during the time of needed agricultural fertility
— from the end of December’s ceremonies, through the
Powamu (Bean Dance) in February, to the Niman (Going Home Dance)
in July. These ceremonies retain the balance and close harmony between
the Hopi people and the spiritual kachinas. This harmony is necessary
to insure snow in the winter and rain in the spring, which in turn
insures a good harvest and other desired blessings.
The Hopi who participate in these ceremonies dress in regalia that
is designed to identify a particular spiritual kachina. The “case
mask,” worn by the participant, is believed to contain the
spiritual essence of the actual kachina; it is quite sacred and
cared for accordingly. The remainder of the costume is designed
to retain historical reverence. Hence, there are individual and
village variations, all quite acceptable. When dressed as a specific
kachina in the ceremonial dance, the Hopi is no longer just a person,
nor is he considered to be a kachina. He is, instead, a spiritual
intermediary because he wears the case mask. His actions during
the ceremony transmit the supplications and prayers of the people
to the kachina spirits in the sky.
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The Emergence of an Art Form
Carvings were originally designed as gifts or competitive awards.
They were not toys; they were valued possessions designed to keep
the recipient aware of the spiritual forces that make up his world.
Because these carvings were not spiritual in themselves, they were
occasionally traded or sold. Soon the outside world started collecting
them, creating a new source of income for the Hopi. The earlier
carvings, prior to 1930, were simple, devoid of action and rather
plain. (These are now rare and command a substantial premium.)
Carvings following the Great Depression and through WWII reflected
more detail, with adornments such as kilts, bows and arrows, yucca
whips, etc. Between WWII and the 1960s, the kachinas slowly evolved
into the full-action, anatomically accurate carvings that were the
true beginning of today’s collector interest. Since 1970,
we have seen a revolution in quality, detail, and price. Carvings
today are often lifelike, with fingernail and tooth detail. Some
are impressionistic sculpture style; others retain the historic
presence. All are collectible. One of Wilmer Kaye’s kachina
carvings sold for over $30,000.
Remember that the Hopi kachina cult has existed for several hundred
years. What once was a rather simple duality (the spiritual kachina
had influence over the depicted being or event) is now a rather
complex intermeshing of spirit and reality. For example, the Deer
kachina is no longer just the spiritual essence of the deer; rather,
he is, in association with other animal kachinas, a rain-bringing
kachina. This is not only in the Hopi’s best interest, but
it also insures a propagation of the various animals. The Hopi kachina
cult (some refer to it as a religion) is ever-evolving. So, too,
are the kachina carvings.
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Further Readings
This is only a brief overview of a highly detailed and lengthy
subject. We recommend Barton Wright’s fine book, Hopi
Kachinas. There are many other books on kachinas; some
approach the subject in great detail, while others primarily show
pictures. It is a fascinating subject.
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