BCNZEL] MISCELLANEOUS PRIEST KATCINAS 1011 



the people they said, "That is a good call that j'ou made there. We 

 will always use that for our call whenever we come." That is why 

 the Kana-kwe always use that as their call. The other katcinas 

 learned it from them, and so they always call "Huita!" when they 

 have a give-awaj^ dance. 



References. — Myths (Stevenson, Zuni Indians, 36, ff ; Gushing, Outline of Zufii 

 Creation Myths, p. 124). Ceremony described fully by Stevenson, Zufii Indians, 

 pages 217-226, and Notes on Zufii. Masks illustrated (Stevenson, PI. XLII, 

 XLIII, XLV, XLVI, XLVII). 



Parallels. — The Kiinakwe, like Tcakwena, belong to the war-fertility complex 

 that is ritualized in both masked and unmasked ceremonies. See also the dis- 

 cussion of Tcakwena, p. 931.) Their dance is the most important "give away"' 

 and for general hilarity is considered by Zunis to be surpassed only by the scalp 

 dance. They are undoubtedly among the most important of Zufii katcinas. 



The most striking conceptual parallel is found at Acoma in the ceremony of 

 the battle with the katcinas, fully described by White. There the association 

 of war and fertility is strikingly brought out. The two ceremonies have noth- 

 ing in common. The killing of the hostile gods to fructify the earth, which is 

 represented dramatically at Acoma, appears fully in the Zuni myth. The 

 Zufii ritual, however, has become so fully assimilated to the pattern of masked 

 dancing that its symbolism is unintelligible without the myth. 



In this connection it is interesting to note that Stevenson reports that the 

 !Kana'kwe songs are in the Sia tongue. 



KOLAHMANA 



(Plate 33, c) 



Mask like Kokokci (blue, not white like Kokwe'le; blue is the male 

 color). Black beard. Fringe of goatskin over forehead. Character- 

 istic headdress, as in picture, half is done up, half not yet complete. 



Woman's dress, calico underdress, dance kilt, fastened on left 

 shoidder, deerskin quiver containing arrows, white moccasins. In 

 right hand a rattle of deer scapula, in left bow and arrows. Many 

 necklaces. 



This is probably not an old mask. 



Ceremonies. — She always comes with Kana'kwe. Occasionally 

 with Kokokci or mixed dance. She is the katcina berdache. 



Gushing (Outline of Zuni Creation Myths) describes her as the first- 

 born child of Siwulu'siwa and Siwulusietsa, thus again linking sexual 

 abnormality with incest. She is later captured by the Kana-kwe. 

 Stevenson (Zuni Indians, p. 37) gives the origin of Kolahmana as 

 dating from the time of the battle. "She (Kuyapahtsa or Chakwena) 

 succeeded in capturing four of the gods of KoKiwalawa — including Ko- 

 Eokci, first born of Siwulu'siwa and Siwuluhsitsa. Kokokci, the first 

 born, was so angry and unmanageable that Kuyapahtsa had him 

 dressed in female attire previous to the dance (of the Kana-kwe), 

 saying to him, "You will now, perhaps, be less angry." 



