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THE AMERICAN MUSEUM JOURNAL 



the same clan as my father's Ijiothor, ami 

 accordingly he is distinguished by a separate 

 word. But the Hopi carry this princijjle to 

 what might be considered ridiculous lengths. 

 Not content with extending the meaning of 

 terms within a certain generation, they some- 

 times class together relatives who diffei' 

 very Avidely in point of age. Thus, the son 

 of the father's sister is not a cousin as in 

 English, but a "father," — obviously for no 

 other reason than that he is a fellow-clans- 



ritualistic performances. But in some of the 

 more important of the religious fraternities 

 ceremonial offices were found to be definitely 

 associated with certain clans, and to descend 

 not from father to son but from maternal 

 uncle to sister's son, or from elder to younger 

 brother. In other words, they do not nor- 

 mally pass out of the clan. 



During my first stay I witnessed only a 

 single ceremony, the Niman Kateina (Kach- 

 inai. The Ilopi divide their ceremonial 



Village of Sliil)iiulovi risini; I'ruiii tlir .MuliUi- uir.sa 



man of the father. But the climax is reached 

 in the designation of the paternal aunt's 

 female descendants, all of whom (through 

 females) are called "paternal aunt" to the 

 nth generation. This, however, is really not 

 the happiest way of expressing the facts. 

 We should rather say that a single term is 

 used to denote an.y female member of the 

 father's clan from his own generation down- 

 ward. The clan theory is thus well borne out 

 by the Hopi data. 



As kinship proved to be inextricably 

 bound up with the clans, so the clans proved 

 to be intimately connected with ceremonial- 

 ism. This does not indeed apply to all the 



year into two parts — masked dancers or 

 Katcinas participating during the one sea- 

 son and unmasked dancers in the other. The 

 former impersonate ancestral spirits, and 

 Cottonwood effigies of them, which they dis- 

 tribute at the close of their performance, are 

 treasured by the children as dolls. The 

 Niman or "Home-going" ceremony termi- 

 nates the mummers' season. In the summer 

 of 1916 I was almost "surfeited with honey" 

 in a ceremonial way. I attended two per- 

 formances of the Snake Dance, saw the Flute 

 Dance, the Mamajau'to, and an entirely 

 anomalous Kateina performance. All of 

 these have been described before, with the 



