6l8 FEWKES 



which comprise the population of the three pueblos, in one kiva 

 or another.^ It was midnight when this primitive theatre closed 

 and the serpent effigies were disjointed and carried to hidden 

 crypts in the houses, where they were luted in jars with clay 

 not to see the light again until March of the next year. 



ADDITIONAL ACTS SOMETIMES PERFORMED. 



Although the sixth act closed the series of theatrical exhibi- 

 tions in 1900, it by no means exhausts the dramatic resources of 

 the Hopi in the presentation of their Great Serpent exhibition. 

 This year (1900) was said by all to be one of abbreviating, in 

 all winter ceremonies and dramatic performances, but in more 

 elaborate exhibitions, in other years, instead of six we are told 

 there are as many as nine acts in this continuous show, or one 

 set of actors from each kiva on the mesa. Our account would 

 be more comprehensive if it included short references to one or 

 two of the important additional acts which occur in the more 

 elaborate performances.^ 



Sometimes the screen performance is accompanied by an ex- 

 hibition by a masked man, or men, who pretend to struggle with 

 a snake effigy which they carry in their arms. This perform- 

 ance consists mainly in twisting these effigies about the body 

 and neck of the performer, holding them aloft or even throwing 

 them to the roof of the kiva, as elsewhere^ described in an 

 account of the celebration in 1893. 



The serpent effigies in this instance were manipulated by one 

 arm of the actor, which is concealed in the body of the serpent, 

 but a false arm is tied to the shoulder in place of the hidden 

 arm, to deceive the spectators. 



In some years marionettes representing Corn Maids are sub- 

 stituted for the two masked girls in the act of grinding corn, and 



' On such occasions each clan assembles in a certain kiva, which is said to be 

 the kiva of that clan. 



2 The sun screen and serpent effigies used bj- men of the Tacab kiva have been 

 described in a former article (The Paliiliikonti, op. cit.). This performance has 

 many points of likeness to that of actors from the plaza kiva of Hano described 

 in the first act. 



' Op. cit. The masked man who thus struggles with the serpent effigy repre 

 sented Calako, a sun god, but figures of the same drawn by a Hopi artist were 

 called Macibol Katiina. 



