L002 TUSAYAN FLUTE AND SNAKE CEREMONIES [ETH. ANN, 19 
by members of the society stood before Winuta’s lodge, and the 
medicine bowl was on the floor near Hofyi’s tiponi. 
Two bullroarers or whizzers lay on the floor by the medicine bowl 
and paho basket, and when returned to their position after being used, 
were always so placed that the strings were at the end toward the 
altar. All the priests accompanied their songs on small gourd rattles, 
but Tu’noa had a ** moisture rattle,” or paaya, which has already been 
figured and described." 
This altar is almost identical with that which is erected in the winter 
flute ceremony, and the same persons took part in almost identical 
rites about it. 
THE Second FiurE ALTAR 
The second or elaborate flute altar was erected on the fourth day. 
This the author was unable to see, being obliged to go to the Middle 
mesa on the morning of that day to witness parts of the Mishongnovi 
Flute ceremony.’ All the parts of the altar were, however, examined 
as they lay on the floor, and drawings were made of several of them 
early in the morning of the day named. 
The symbolism on the reredos of the Walpi flute altar was excep- 
tional. The designs on the uprights were typical of flute altars, repre- 
senting rain clouds and falling rain. An exceptional figure was a 
representation of the sun in the middle of the transverse part of the 
reredos. This figure does not occur in any of the other flute altars 
which have thus far been studied. 
Elsewhere there have been figured the four slabs which stand about 
the upright stick on the roof of the Flute house at Shipaulovi on the 
final days of the ceremony.* As similar slabs, used for the same pur- 
pose at Walpi, have never been figured, for purposes of comparative 
study they are represented in the accompanying illustration (plate 
uxv). They are placed on the roof at the north, west, south, and east 
sides of the upright rod, or awati-natci, as is indicated by their 
respective colors—yellow, green, red, and white. During the morning 
of the fourth day they were all repainted. 
FLUTE SONGS 
The exercises about the first flute altar began by a ceremonial smoke, 
during which Sikyabotima acted as pipe lighter, passing the pipe first 
to Tunoa with the greeting ‘t Inaa” (** My father”),* to which the Flute 
1The Walpi Flute Observance, op. cit 
2It is next to impossible for one person to study thoroughly any great Tusayan ceremony during a 
single performance. Important rites are often being performed simultaneously in several rooms, 
while at the same time significant observances may take place in the plaza of the pueblo. 
} Journal of American Ethnology and Archeology, vol. Ir. 
‘These two men are of about the same age, or, if there is any difference, the Flute chief is younger 
than Sikyabotima. The designation ‘“ My father’’ refers to society precedence, not to the family rela- 
tionship. I have heard a young man of twenty ceremonially called ‘‘grandfather"’ by an old man of 
sixty or more. The terms “father,” ‘‘son elder brother,” ‘‘younger brother,” ete., used in pass- 
ng the pipe, are ceremonial, not family relationship terms, 
