8o Field Columbian Museum — Anthropology, Vol. III. 



Ninth Song. Koyongainiwa takes the bone whistle (No. 31) and 

 the yellow reed tube (No. 5, obscured on the plate by a baho stand) 

 from the north side of the altar, ascends the ladder about half way, 

 so that his head is just emerging from the hatchway, and blows the 

 yellow feathers and corn pollen from the tube through the hatchway 

 towards the north, which he follows by a few short, sharp notes from 

 the whistle. (See PI. XLIV, b.') He then returns to the altar, 

 replaces the reed tube and repeats the same performance in exactly 

 the same manner with the yellow tubes on the west, south and east 

 sides of the altar respectively, always blowing and whistling, how- 

 ever, in the corresponding direction. When he has concluded he 

 hands the whistle to the Powamu priest, who has been moving the 

 aspergill up and down to the time of the song. 



Tenth Song. Koyongainiwa takes the black reed tube from the 

 northwest side of the altar (No. 17, obscured on the plate by the 

 medicine bowl), ascends the ladder as before, blows from it the blue- 

 bird feather and powdered specular iron through the hatchway 

 towards the northwest. Returning, he does not put the tube in its 

 former place, but deposits it at the outside end of the north baho 

 stand. He then repeats the same performance with the other black 

 tubes (Nos. 18, 19 and 20), blowing towards the southwest, south- 

 east and northeast respectively. The tube from the southwest corner 

 he deposits with the east, the southeast with the south and the north- 

 east with the east baho stand, always near the outside end. He next 

 takes the spear point from the northwest side of the altar (No. 13, 

 obscured on the plate by the medicine bowl), puts a small pinch of 

 specular iron on its point, ascends the ladder in the same manner as 

 before, blows the powder toward the northwest, then licks some 

 honey from the spear point which he had previously put on when he 

 placed the points around the mosaic and ejects* it in the same direc- 

 tion. Returning to the altar, he replaces the spear point and then 

 repeats the same performance with the remaining three points (Nos. 

 14, 15 and 16) towards the southwest, southeast and northeast, 

 always replacing them to their respective places. When he is 

 through the song ceases. One of the younger members is now sent 

 as a messenger with the four clay balls (Nos. 9-12) and the nakwak- 

 wosis lying over them. He is told to run fast and to deposit the 

 four balls at four different places, somewhere west and south of the 

 village. As near as I could learn, he deposits them near or on trails 



*This act, which occurs very frequently in Hopi ceremonies, is not an ejection of spittle. The 

 tongue is pushed between the lips, then quickly withdrawn and the material on the tongue (honey, 

 pieces of roots, herbs, etc.) is then forcibly blown out, mixed, of course, with a small quantity oi 

 saliva. 



