The Unwritten Literature of the Hopi Part 4

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

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

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

IX. HOPI MYTHS AND TRADITIONS AND SOME CEREMONIES BASED UPON THEM

=The Emergence Myth and the Wu-wu-che-ma Ceremony=

Each of the Hopi clans preserves a separate origin or emergence myth, agreeing in all essential parts, but carrying in its details special reference to its own clan. All of them claim, however, a common origin in the interior of the earth, and although the place of emergence to the surface is set in widely separated localities, they agree in maintaining this to be the fourth plane on which mankind has existed.

The following is an abbreviation of the version gathered by A.M.

Stephen, who lived many years among the Hopi and collected these sacred tales from the priests and old men of all the different villages some fifty years ago, as reported by Mindeleff.[20]

[Footnote 20: Mindeleff, Cosmos, Traditional History of Tusayan (After A.M. Stephen): Bureau American Ethnology, vol. 8, pp. 16-41, 1887.]

In the beginning all men lived together in the lowest depths, in a region of darkness and moisture; their bodies were mis-shapen and horrible and they suffered great misery.

By appealing to Myuingwa (a vague conception of the G.o.d of the interior) and Baholinkonga (plumed serpent of enormous size, genius of water) their old men obtained a seed from which sprang a magic growth of cane.

The cane grew to miraculous height and penetrated through a crevice in the roof overhead and mankind climbed to a higher plane. Here was dim light and some vegetation. Another magic cane brought them to a higher plane, with more light and vegetation, and here was the creation of the animal kingdom. Singing was always the chief magic for creating anything. In like manner, they rose to the fourth stage or earth; some say by a pine tree, others say through the hollow cylinder of a great reed or rush.

This emergence was accompanied by singing, some say by the Magic Twins, the two little war G.o.ds, others say by the mocking bird. At any rate, it is important to observe that when the song ran out, no more people could get through and many had to remain behind.

However, the outlet through which man came has never been closed, and Myuingwa sends through it the germs of all living things. It is still symbolized, Stephen says, by the peculiar construction of the hatchway of the kiva, in designs on the kiva sand altars, and by the unconnected circle on pottery, basketry, and textiles. Doubtless the most direct representation of this opening to the underworld is the sipapu or ceremonial small round opening in the floor of the kiva, which all Hopi, without exception, agree symbolizes the opening or spirit pa.s.sage to the underworld. "Out of the sipapu we all came," they say, "and back to the underworld, through the sipapu, we shall go when we die."

Once every year the Hopi hold an eight-day ceremony commemorating this emergence from the underworld. It is called the Wu-wu-che-ma, occurs in November and thus begins the series of Winter festivals. Four societies take part, and the Da-dow-Kiam or Mocking Bird Society opens the ceremony by singing into the kiva of the One-Horned Society this emergence song, the very song sung by the mocking bird at the original emergence, according to Voth.[21] This ceremony is a prayer to the powers of the underworld for prosperity and for germination of new life, human, animal, and vegetable. Fewkes called this the New Fire Ceremony, and in the course of the eight-day ceremonial the kindling of new fire with the primitive firestick does take place. But it is not hard to feel a close relation between the idea of fire and that of germination which stands out as the chief idea in the whole ritual, particularly in the subtle dramatization of the underworld life and emergence as carried on in the kivas, preceding the public "dance" on the last day.

[Footnote 21: Voth, H.R., Op. cit, p. 11.]

Thus we have at least three distinct points in this one myth that account for three definite things we find the Hopi doing today: (1) Note that it was "our old men" who got from the G.o.ds the magic seed of the tall cane which brought relief to the people. To this day it is the old men who are looked up to and depended upon to direct the people in all important matters. "It was always that way." (2) While the magic song lasted the people came through the sipapu, but when the song ended no more could come through, and there was weeping and wailing. Singing is today the absolutely indispensable element in all magic rites. There may be variation in the details of some performances, but "unless you have the right song, it won't work." The Hopi solemnly affirm they have preserved their original emergence song, and you hear it today on the first morning of the Wu-wu-che-ma. (3) The sipapu seen today in the floor of the kiva or ceremonial chamber symbolizes the pa.s.sage from which all mankind emerged from the underworld, so all the Hopi agree.

The belief of the present-day Hopi that the dead return through the sipapu to the underworld is based firmly upon an extension of this myth, as told to Voth,[22] for it furnishes a clear account of how the Hopi first became aware of this immortality.

[Footnote 22: Voth, H.R., Op. cit, p. 11.]

It seems that soon after they emerged from the underworld the son of their chief died, and the distressed father, believing that an evil one had come out of the sipapu with them and caused this death, tossed up a ball of meal and declared that the unlucky person upon whose head it descended should be thus discovered to be the guilty party and thrown back down into the underworld. The person thus discovered begged the father not to do this but to take a look down through the sipapu into the old realm and see there his son, quite alive and well. This he did, and so it was.

Do the Hopi believe this now? Yes, so they tell you. And Mr. Emery Koptu, sculptor, who lived among them only a few years ago and enjoyed a rare measure of their affection and good will, recently told the writer of a case in point:

On July 4, 1928, occurred the death of Supela, last of the Sun priests.

Mr. Koptu, who had done some studies of this fine Hopi head, was in Supela's home town, Walpi, at the time of the old priest's pa.s.sing.

The people were suffering from a prolonged drouth, and since old Supela was soon to go through the sipapu to the underworld, where live the spirits who control rain and germination, he promised that he would without delay explain the situation to the G.o.ds and intercede for his people and that they might expect results immediately after his arrival there. Since his life had been duly religious and acceptable to the G.o.ds, it was the belief of both Supela and his friends that he would make the journey in four days, which is record time for the trip, when one has no obstacles in the way of atonements or punishments to work off en-route. Supela promised this, and the people looked for its fulfillment. Four days after Supela's death the long drouth was broken by a terrific rain storm accompanied by heavy thunder and lightning. Did the Hopi show astonishment? On the contrary they were aglow with satisfaction and exchanged felicitations on the dramatic a.s.surance of Supela's having "gotten through" in four days. The most wonderful eulogy possible!

It is indicated, in the story of Supela, that the Hopi believe that only the "pure in heart," so to speak, go straight to the abode of the spirits, whereas some may have to take much longer because of atonements or punishments for misdeeds. Their basis for this lies in a tradition regarding the visit of a Hopi youth to the underworld and his return to the earth with an account of having pa.s.sed on the way many suffering individuals engaged in painful pursuits and unable to go on until the G.o.ds decreed they had suffered enough. He had also seen a great smoke arising from a pit where the hopelessly wicked were totally burned up.

He was told to go back to his people and explain all these things and tell them to make many pahos (prayer-sticks) and live straight and the good spirits could be depended upon to help them with rain and germination. Voth records[23] two variants of this legend.

[Footnote 23: Voth, H.R., Op. cit, pp. 109-119 (A journey to the skeleton house).]

=Some Migration Myths=

The migration myths of the various clans are entirely too numerous and too lengthy to be in their entirety included here. Every clan has its own, and even today keeps the story green in the minds of its children and celebrates its chief events, including arrival in Hopiland, with suitable ceremony.

We are told that when all mankind came through the sipapu from the underworld, the various kinds of people were gathered together and given each a separate speech or language by the mocking bird, "who can talk every way." Then each group was given a path and started on its way by the Twin War G.o.ds and their mother, the Spider Woman.

The Hopi were taught how to build stone houses, and then the various clans dispersed, going separate ways. And after many many generations they arrived at their present destination from all directions and at different times. They brought corn with them from the underworld.

It is generally agreed that the Snake people were the first to occupy the Tusayan region.

There are many variations in the migration myths of the Snake people, but the most colorful version the writer has encountered is the one given to A.M. Stephen, fifty years ago, by the then oldest member of the Snake fraternity. A picturesque extract only is given here.

It begins: "At the general dispersal, my people lived in snake skins, each family occupying a separate snake-skin bag, and all were hung on the end of a rainbow, which swung around until the end touched Navajo Mountain, where the bags dropped from it; and wherever their bags dropped, there was their house. After they arranged their bags they came out from them as men and women, and they then built a stone house which had five sides.

"A brilliant star arose in the southwest, which would shine for a while and then disappear. The old men said, 'Beneath that star there must be people,' so they determined to travel toward it. They cut a staff and set it in the ground and watched till the star reached its top, then they started and traveled as long as the star shone; when it disappeared they halted. But the star did not shine every night, for sometimes many years elapsed before it appeared again. When this occurred, our people built houses during their halt; they built both round and square houses, and all the ruins between here and Navajo Mountain mark the places where our people lived. They waited till the star came to the top of the staff again, then they moved on, but many people were left in those houses and they followed afterward at various times. When our people reached Wipho (a spring a few miles north from Walpi) the star disappeared and has never been seen since."

There is more of the legend, but quoted here are only a few closing lines relative to the coming of the Lenbaki (the Flute Clan):

"The old men would not allow them to come in until Masauwu (G.o.d of the face of the earth) appeared and declared them to be good Hopitah. So they built houses adjoining ours and that made a fine large village.

Then other Hopitah came in from time to time, and our people would say, 'Build here, or build there,' and portioned the land among the new-comers."[24]

[Footnote 24: Mindeleff, Victor, Pueblo architecture (Myths after Stephen): Bureau American Ethnology, vol. 8, pp. 17-18, 1887.]

The foregoing tradition furnishes the answer to two things one asks in Hopiland. First, why have these people, who by their traditions wandered from place to place since the beginning of time, only building and planting for a period sometimes short, sometimes a few generations, but not longer, they believe--why have they remained in their present approximate location for eight hundred years and perhaps much longer?

The answer is their story of the star that led them for "many moves and many stops" but which never again appeared, to move them on, after they reached Walpi.

The second point is: The Flute Dance, which is still held on the years alternating with the Snake Dance, is of what significance? It is the commemoration of the arrival of this Lenbaki group, a branch of the Horn people, and the performance of their special magic for rain-bringing, just as they demonstrated it to the original inhabitants of Walpi, by way of trial, before they were permitted to settle there.

=Flute Ceremony and Tradition=

This Flute ceremony is one of the loveliest and most impressive in the whole Hopi calendar. And because it is one which most clearly ill.u.s.trates this thesis, some detail of the ceremony will be given.

From the accounts of many observers that of Hough[25] has been chosen: "On the first day the sand altar is made and at night songs are begun.

Within the kiva the interminable rites go on, and daily the cycle of songs accompanied with flutes is rehea.r.s.ed. A messenger clad in an embroidered kilt and anointed with honey, runs, with flowing hair, to deposit prayer-sticks at the shrines, encircling the fields in his runs and coming nearer the pueblo on each circuit. During the seventh and eighth days a visit is made to three important springs where ceremonies are held, and on the return of the priests they are received by an a.s.semblage of the Bear and Snake Societies, the chiefs of which challenge them and tell them that if they are good people, as they claim, they can bring rain.

[Footnote 25: Hough, Walter, Op. cit., pp. 156-158.]

"After an interesting interchange of ceremonies, the Flute priests return to their kiva to prepare for the public dance on the morrow. When at 3:00 a.m. the belt of Orion is at a certain place in the heavens, the priests file into the plaza, where a cottonwood bower has been erected over the shrine called the entrance to the underworld. Here the priests sing, accompanied with flutes, the shrine is ceremonially opened and prayer-sticks placed within, and they return to the kiva. At some of the pueblos there is a race up the mesa at dawn on the ninth day, as in other ceremonies.

"On the evening of the ninth day the Flute procession forms and winds down the trail to the spring in order: A leader, the Snake maiden, two Snake youths, the priests, and in the rear a costumed warrior with bow and whizzer. At the spring they sit on the south side of the pool, and as one of the priests plays a flute the others sing, while one of their number wades into the spring, dives under water, and plants a prayer-stick in the muddy bottom. Then taking a flute he again wades into the spring and sounds it in the water to the four cardinal points.

Meanwhile sunflowers and cornstalks have been brought to the spring by messengers. Each priest places the sunflowers on his head and each takes two cornstalks in his hands and the procession, two abreast, forms to ascend the mesa. A priest draws a line on the trail with white corn meal and across it three cloud symbols. The Flute children throw the offerings they hold in their hands upon the symbols, followed by the priests who sing to the sound of the flutes.