FEWKES] TANOAN EPOCH ‘ PHS 
of the birds they represent. In a dance called Pamurti, a ceremony 
celebrated annually at Sichomovi, and said to have been derived 
from Zuni, personations of the same birds appear, the men of Walpi 
contributing to the performance. Homovi, one of the Hopi Indians 
who took part, made colored pictures representing all these birds, 
which may be found reproduced in the author’s article on Hopi 
katcinas.1 
In the Hopi cosmogony the Sky god is thought to be father of all 
gods and human beings, and when personations of the subordinate 
supernaturals occur they are led to the pueblo by a personator of 
this great father of all life. The celebrations of the Powama, at 
the East Mesa of the Hopi, represent the return of the ancestors or 
kachinas of Walpi, while the Pamurti is the dramatization of the 
return of the kachinas of Sichomovi whose ancestors were Zuni kin. 
Life figures or animal forms, as birds, serpents, and insects, de- 
picted on Little Colorado pottery differ considerably from those on 
Sikyatki ware. Take, for instance, bird designs, the most abundant 
life forms on ancient pueblo pottery on the Little Colorado, as well 
as at Sikyatki. It needs but a glance at the figures of the former 
to show how marked the differences are. The leader of the kachinas 
in the Powami, which celebrates the return of these ancestral gods 
to the pueblo, Walpi, wears an elaborate dress and helmet with ap- 
pended feathers. He is led into the village by a masked man per- 
sonating Kototo.? 
Symepots Inrropucep rrom AWATOBI 
The women saved at Awatobi in the massacre of 1700, according to 
a legend, brought to Walpi the paraphernalia of a ceremony still 
observed, called the Mamzrauti. Naturally we should expect to find 
old Awatobi symbolism on this paraphernalia, which is still in use. 
The cultus heroine of the Mamzrauti is the Corn-mist maid, known 
by the name of Shalako mana or Palahiko mana.* We have several _ 
representations of this maid and their resemblance to the pictures 
of Shalako mana depicted by Hano potters would imply a common 
Tanoan origin. 
SmataKko Mana 
The most common figure on the third epoch of Hopi pottery, com- 
monly called modern Tewa and manufactured up to 1895 by Nampeo, 
a Hano potter, is a representation of the Corn maid, Shalako mana, 
1 Twenty-first Ann. Rept. Bur. Amer. Ethn. 
?Tbid., p. 76. Eototo, also called Masaufi, was the tutelary of Sikyatki, as Alosaka 
or Muyinwu was of Awatobi. 
2A somewhat similar personage to Shalako mana in Aztec ceremonies was called 
Xalaquia (Shalakia). 
