42 HOPI KAICINAS [ETH. ANN.21 



effigies for food, after wliicli he held his breasts to them as if to- 

 suckle them." 



Shortly sifter this the song diminished in volume, the effigies were 

 slowly drawn back through the openings, the flaps on which the sun 

 symbols were painted fell back into place, and after one rinal roar, 

 made by the man behind the screen, the room was again silent. The 

 overturned pedestals, with their corn leaves, were distributed among 

 the spectators, and the two men by the fireplace again held up their 

 blankets before the tire, while the screen was silently rolled up. and 

 the actors with their pai'aphernalia departed. 



The accompanying plate'' represents the cloth screen tied in position 

 to the roof of the kiva and the miniature cornfield on the floor before 

 it. The six openings in the screen, four of which are larger than 

 the other two, are arranged in a row, and out of five of these open- 

 ings protrude serpent effigies. The flaps which ordinarilv cover 

 these orifices are raised, with the exception of that at the extreme 

 right, which hangs in place to show the sun symbol on its face and 

 the tip of a serpent's head near one margin. The central effigy 

 (3'uamu, their mother) is knocking over the rows of clay pedestals 

 which form the miniature cornfield. The masked human figure 

 standing at the left before the screen represents the mother of the 

 clan gods, or Hahai wiiqti, who is holding foi'ward a basket tray of 

 meal, which she offers as food to the serpents. One of the performers 

 may be obscurely seen behind the screen, blowing the gourd trumpet 

 by which the "roars" of the great serpents are imitated. 



Prominent among the designs painted on this screen are three 

 human figures. That of a man has two horns on the head like an 

 Alosaka'' and, as so often occurs in pictures or images on altars, the 

 maidens have their hair arranged in disks, one above each ear, as in 

 the Hopi maid's coifl'ure of the present day. These maidens were 

 called Tubelioli manas. The other design represents birds, lightning, 

 rain clouds, and falling rain. The first act was performed by men of 

 the kiva which is situated in the middle of the Hano plaza,'' and the 

 screen and snake effigies are owned by men of that pueblo. The 

 screen was repainted on the day of the dramatization bj' the men who 

 took part in the act. No actor tasted food on that day before the 

 decoration of the screen was finished, and at the close of their work 

 all vomited over the cliffs. This Hano screen and the drama acted 

 before it resemble those which are occasionally used in the chief kiva 

 of Walpi. 



<iThis actor represented Hahai wiiqti, mother of katciiias or claix-ancients. 

 It Plate XXXII, Proo. Wash, Acad. Sci., vol. n, 1900. 

 •'One of the prominent gods in Hopi worship. 

 ((Called the Kisombi kiva, plaza kiva. 



