BUNZEL] FINAL INITIATION 1001 



masks in their houses instead of in the Idva. However, nothing came 

 of it. 



A single SaiyaH'a always comes with the Kana-kwe dance. He was 

 one of the three gods whom the Kana'kwe captured during their war 

 with the katcinas. 



A single Saiyah'a was observed iu the big plaza about noon of the 

 day that Ololowicka came in September, 1927. He did not go in any 

 place and did not dance. He made the round of the plazas, standing 

 for a few minutes in each. No explanation was given of his presence 

 except that Ololowicka was coming in the afternoon. It seemed quite 

 out of his usual character as an exorcising and punitive katcina. 



References. — SaiyaH'a's part in the initiation ceremony and the rabbit hunt is 

 described by Stevenson (pp. 89, 99). Also in the Benedict unpublished manuscript. 

 Par.sons, Notes on Zuiii (pp. 155-157, 177-180). Stevenson, Religious Life of a 

 Zufii Child. 



Parallels. — Hopi: Tunwup l^atcina (Fewkes, Hopi katcinas, PI. VII, p. 69). 

 Many details of mask and costume resemble Saiyah'a, the blue horns, large mouth, 

 with long beard, goggle eyes, crest of eagle feathers, fox skin collar, kilt of d\-ed 

 hair, and body paint. Tunwup flogs the children at their initiation into the 

 katcina cult in connection with the Powamu ceremony (at the long form, held 

 quadrennially). Fewkes describes the rite as follows: "In the Hano celebration 

 an altar is made in the kiva at that time by the chiefs, Anote and Satele, both of 

 whom place their official badges upon a rectangle of meal drawn on the kiva floor. 

 Into this rectangle the children are led by their foster parents and flogged in the 

 presence of the inhabitants of the pueblo. The two floggers, Tunwup, stand one 

 on each side of the figure of meal, holding their whips of yucca. As they dance 

 they strike the boys or girls before them as hard as they can, after wliich they 

 pass the whips to a priest standing by. After each flogging the yucca whips are 

 waved in the air, which is called tlie purification. After the children have been 

 flogged many adults, botli men and women, present their bared bodies, legs, and 

 arms to the blows of the yucca whips." '^ (See also Voth, Oraibi Powamu, and 

 Bunzel, unpublished Hopi manuscript.) 



Sia: Saiahlia (Stevenson, The Sia, p. 117). The honaaite (chief of the 

 Querranna) prepares a meal painting for the occasion, covering it for the time being 

 with a blanket. Upon the arrival of the katsuna the father and child and, if 

 the child be a member of a cult society, the theurgist of the society proceed to the 

 ceremonial house of the Querranna. . . . The saiahlia (two of the katsuna) 

 stamp about in the middle of the room for a time, then the honaaite leads the 

 child before the meal painting, which is, however, stiU covered with a blanket, 

 and says to the katsuna, ".4. youth (or maiden) has come to know you." The 

 katsuna each carry a bunch of Spanish ba3'onet (giant yucca) in either hand, and 

 the child receives two strokes across the back from each of the katsuna, unless 

 he be an official member of a cult society; in this case he is exempt from tlie chas- 

 tisement. A boy is nude excepting the breechcloth, a girl wears her ordinary 

 clothing. The honaaite, addressing the katsuna, says, " Now it is well for you 

 to raise j'our masks that the child may see." One of the saiahlia places his mask 

 over the child's head and the other lays his by the meal painting, the honaaite 

 having removed the V^lanket. The personators of the katsuna then say to the 

 cluld, "Now you know the katsune you will henceforth have only good thoughts 



"The chUdren are first acquainted with the mysteries of the cult later, when they see the Powamu kat- 

 cinas dancing unmasked in the kiva. 



6066°— 32 64 



