FEWKES] ! HOPI METHOD OF HAIR DRESSING 661 
tions in which human figures appear, and these afford an interesting 
although meager contribution to our knowledge of ancient Tusayan art 
and custom. 
As is well known, the Hopi maidens wear their hair in two whorls, 
one over each ear, and that on their marriage it is tied in two coils 
falling on the breast. The whorl is arranged ona U-shape stick called 
a gnela; it is commonly done up by a sister, the mother, or some 
friend of the maiden, and is stiffened with an oil pressed from squash 
seeds. The curved stick is then withdrawn and the two puffs held in 
place by a string tightly wound between them and the head. The 
habit of dressing the hair in whorls is adopted after certain puberty 
ceremonials, which have elsewhere been deseribed. When on betrothal 
a Hopi maid takes her gifts of finely ground cornmeal to the house of 
her future mother-in-law, her hair is dressed in this fashion for the last 
time, because on her return she is attacked by the women of the pueblo, 
drawn hither and thither, her hair torn down, and her body smeared 
with dirt. If her gifts are accepted she immediately becomes the wife 
of her lover, and her hair is thenceforth dressed in the fashion common 
to matrons. 
The symbolic meaning of the whorls of hair worn by the maidens is 
said to be the squash-flower, or, perhaps more accurately speaking, the 
potential power of fructification. There is legendary and other evidence 
that this custom is very ancient among the Tusayan Indians, and the 
data obtainable from their ritual point the same way. In the personi- 
fication of ancestral “breath-bodies,” or spirits by men. called katcinas, 
the female performers are termed katcina-manas (katcina-virgins), and 
it is their custom to wear the hair in the characteristic coitfure of 
maidens. In the personification of the Corn-maid by symbolic figures, 
such as graven images,' pictures, and the like, in secret rites, the style 
of coifture worn by the maidens is common, as I have elsewhere shown 
in the descriptions of the ceremonials known as the Flute, Lalakonti, 
Mamzrauti, Paliiliikonti, and others. The same symbol is found in 
images used as dolls of Calako-mana, the equivalent, as the others, of 
the same Corn-maid. From the nature of these images there can 
hardly be a doubt of the great antiquity of this practice, and that it 
has been brought down, through their ritual, to the present day. This 
style of hair dressing was mentioned by the early Spanish explorers, 
and is represented in pictographs of ancient date; but if all these evi- 
dences of its antiquity are insufficient the testimony afforded by the 
pictures on certain food-basins from Sikyatki leaves no doubt on this 
point.” 
‘In some of the figurines used in connection with modern Hopi altars these whorls are represented 
by small wheels made of sticks radiating from a common juncture and connected by woolen yarn. 
?The natives of Cibola, according to Castaneda, ‘‘ gather their hair over the two ears, making a frame 
which looks like an old-fashioned headdress.” The Tusayan Pueblo maidens are the only Indians 
who now dress their hair in this way, although the custom is still kept up by men in certain sacred 
dances at Zuni. The country women in Salamanca, Spain, do their hair up in two flat coils, one on 
each side of the forehead, a custom which Castafieda may have had in mind when he compared the 
Pueblo coiffure to an “‘ old-fashioned headdress.” 
