BUNZEL] PARAPHERNALIA 857 



of the impersonation. The mask is the most stable and the most 

 sacred part of the equipment. Costume in the case of the older 

 katcinas, such as KoRokci, is also fixed." But in the newer dances, 

 such as WUatsukwe and Kumance, the costume is extremely varie- 

 gated. Doctor Kroeber secured in 1915 a number of drawings of 

 Zuiii katcinas. When these were shown to different informants 10 

 years later they were able to identify correctly all but two of the 

 drawings. Not all of them were important or popular impersonations. 



The masks in spite of their vaiiability in details all exliibit a 

 remarkable imiformity in artistic style. The most notable feature 

 of the Zuni, indeed, of all Pueblo and Navaho masks, is the complete 

 lack of any attempt at reaHsm. The masks are not anthropomorphic, 

 with a few exceptions, nor are they representations of animals or 

 even of mythical monsters. The bear katcina (pi. 41, a) is a striking 

 example of the lack of representative intent even in animal imper- 

 sonations." The mask which inspires the greatest terror is that of 

 Hainawi (pi. 32, b), which is anything but terrible in aspect. Yet my 

 informant said that as a child she was afraid to look on Hainawi. 

 He is terrifying because everyone is familiar with his myth. The 

 designs painted on masks are those used also on ceremonial pottery, 

 altar boards, sand paintings, etc. They have no specific association 

 with individual katcinas or with katcinas as a whole. This excessive 

 formality of expression is a reflection of a very characteristic trait of 

 Zuni behavior. It is found in their secular art, their music, prayers, 

 tales, and in their conversation and the abstract and impersonal 

 character of their religious beliefs. 



The most notable exception to the highly conventional character 

 of masks is the set of masks of the Koyemci which are characterized 

 both by realism and individuality. But the Koyemci are exceptional 

 in many respects. 



Most of the masks are of the helmet type (ulin'e, from ule, within 

 a deep receptacle), approximating in shape an inverted bucket. 

 These cover the whole head, resting on the shoulders, and the lower 

 edge is finished with a collar of feathers, fur, cloth, or spruce branches. 

 All the permanent masks, with the exception of Tcakwena oka and 

 Hainawi, are of this type. Other masks may be of the type that 

 covers only the face (coyan'e, face). These are secured by strings 

 passing over and around the head, under the hair. Some of these are 



'' Substitutions have occurred, cotton shirts for buckskin in the case of Saiyataca and other impersona- 

 tions: the cotton underdress ha.s recently been added to the costume of female katcinas. Culawitsi. who 

 used to come naked, now wears a small breechcloth. This innovation was at the request of the boy who 

 took the part in 1923. It is a case of the exception proving the rule. 



1* Note in contrast, however, Plate 44, c, also bear katcina, and Plate 49, 6, cow katcina: Plate ."iO, 6, 

 buffalo. These are all comparatively recent innovations. They come only in the winter dances, where 

 greater liberties are taken with traditional patterns of costume and dancing. They would not be included 

 in the summer dances, which are more conventional and more sacred. 



6066°— 32 55 



