On the day before the last Snake Dance performance in the plaza, just before sunrise, when Orion and Sirius rise, two warriors of the Snake Society make several laps around the constellation of the Snake and Antelope, with a bull roarer (tovokìnpi) and a lightning stand on each lap, representing, respectively, the thunder and lightning of the monsoon storms, which last from the beginning of July through August and early September.
These weather phenomena are also associated with the Hopi sky god's small ornaments, read Part 1, Hopi Kachinas (1904) painted by native artists.
The heart of the god of the sky (commons), with a curved horn on his head and rain cloud symbols on the face and base of the horn, was easily recognized by me.
In his left hand he holds a stick frame symbolizing lightning.
This frame has an eagle pattern at each angle, which the artist has marked with a black line.
In his right hand he holds the whistler or bull roarer, a slat with a thin rope tied to it, and the lightning represented by a red jagged band.
Representing the two bands.
According to Dr. Bethe Hagens of Walden University, who studied the planetary grid system with William Becker: "...... Most of the Bull Riders are somehow tied to the constellation Orion, which is located between the constellations of Taurus (the Bull) and Sirius, widely known in ancient times as the Bull Whistler .
", Mirzam was called "The Growler" by Major Karnes, a few minutes after announcing the rise of Sirius in the east.
The shape of Bull Ringer resembles the flint knives used by the Aztecs to remove the heart.
The Wooden Lightning frame looks like a modern, collapsible hat rack without hooks, painted by Hopi Kachinas, a native artist (1904).
(House of Commons) Tsvikou wears a red horsehair kilt and a Bandolier kilt.
In his right hand he holds a whistling or roaring bull.
A fox-skin was tied around his neck.
A race was also held from a place in the desert to the top of the plateau.
The winner gets a symbolic water hyacinth for his cornfield.
John G.
Bourke served as an aide-de-camp to General George Crook during the Apache campaign and studied the snake dance of the "Howi" in August 1881.
He drew a parallel line on this track with four Aztecs running on top of the 120-step pyramid in Mexico.
The Aztecs claimed origins in the north.
Is it not possible that their form of "Teocaris" or temples (i.e., truncated pyramids) could have commemorated the period when their ancestors lived on cliffs on stone steps? "That is, the three Hopi terraces, the ancient Hopi village of Volpi.
(Public *** field), on the last day, the ceremony of *** was held in public in the village square.
A small, circular gazebo of live cottonwood branches has been erected to "round up" the reptiles, about a hundred of them, half of which are usually rattlesnakes.
This "cooler" was wrapped in buffalo hide or canvas, and looked like a small tippy, and in front of the "cooler" a board was placed in what was called a "sipapu" or "sipa". In front of the sipapu, a board is placed over a shallow hole called "sipapu" or "sépéapuni", which is the symbolic hole to the underworld.
This board is like a foot-drum on which the dancers step again, imitating the sound of thunder.
Unlike the cazinas that take place in the squares in the spring and early summer, this late summer ritual lacks the brightly colored and shaped masks.
The dancers' long hair is worn loose and there is a tuft of red feathers on top of their heads.
The upper surface is painted charcoal black, the jaw and neck are kaolin white, the chest, arms and lower legs are painted red with iron oxide, and the tortoise-shell gaga is strapped to the back of the right knee against the lower leg.
A black snake is painted on a brownish-red cotton kilt, its outline outlined in white lines that zigzag horizontally across it.
The lower edge is sometimes decorated with small tin cones or antelope hooves.
A red sash hangs from the right hip, and a band sewn with shells extends from the right shoulder to the left hip.
The dancers also wear shell necklaces, turquoise pendants, and Navajo silver jewelry.
The dancers wear buckskin moccasins in The Hopi Snake Dance (1907) by Wharton James.
(No copyright restrictions), the antelope dancers do not actively participate in the snake dance itself, but simply observe, standing in line in the plaza, shaking a rattle emanating from the antelope's scrotum, and shaking a tortoise-shell rattle on their right calf.
They painted their forearms and calves off-white, with white jagged lightning lines running vertically from their chests to their arms and legs.
A line painted white also runs from the corner of the mouth to each ear, and the chin is painted black.
On the previous day, they danced with cornstalks, carrying beans and pumpkin vines in their mouths instead of snakes, thus emphasizing their agricultural role.
A participant in the Antelope Dance wears a headband made of aspen leaves on his head and carries in his hand a medicine bowl and an aspergillus, or feather sprayer, with which he waters the four world zones and the snake priest himself.
In the front row, near the foot drum, is the Snake Dancer, Oraby, 1898, and in the next row the Antelope Dancer, one with an aspen wreath, medicine bowl and sprinkler. Key West in the background . (Courtesy of the author.) The snake dancers are divided into "carriers," "huggers," and "gatherers," with the carriers, of course, handling the snakes, and the huggers following, with their left hand on the carrier's left shoulder. The Carrier, of course, controls the snake, and the Hugger follows, with his left hand on the Carrier's left shoulder.
The hugger's job is to keep distracting the carrier snake with eagle feathers.
Once the carrier has circled the square, the gatherer picks up the snake.
After each carrier had circled, a circle of cornmeal about 20 feet (6.
09 meters) in diameter was drawn in six radial lines indicating the four main directions plus the zenith and nadir.
The snake was piled in the center while the woman piled the cornmeal on top of the woven patches.
The snakes are eventually collected and taken to the four directions where they are found, carrying with them prayers for rain and agronomic rewards.
At the end of the ceremony, the snake dancers swallow a vomit that causes them to vomit at the edge of the terrace.
This is followed by a great feast celebrating the promising rainmaking and harvest rituals, the dancers and the "tamer", followed by the "embracer", Oraibi, 1896.
(Courtesy of the author), the Serpent Society considers these reptiles to be relatives, in fact, they are their older brothers.
In the late 19th century, the ethnographer and archaeologist Jesse Walter Fox believed that the Serpent Society (or Brotherhood) was related to the historical origins of the snake family.
These historic photographs show the Hopi Snake Antelope Ceremony held every other August.
Hopi lore describes the story of Tiyo, a culture hero who traveled to Snake Island in the Pacific Ocean in ancient times to perform snakewalking ceremonies for his people and for the Snake Woman as his bride.
Thus, the source of Hopi snake wisdom is essentially trans-oceanic, Above: left: Hopi snake dancers (adobegallery) right: Hopi male snakes in the annual snake dance and rain ceremony, 1946 (public **** domain) by Gary A.
David, Hopi English Dictionary of the Third Mesa Dialect, edited by Kenh C.< /p>
Hill, Emory Sekaquaptewa, MaryE.
Black and Ekkehart Malotki (Tucson: University of Arizona Press, 1998), pp. 650, 598, Edward S.
Curtis, Frederick Webb Hodge, editor, North American Indians: the Hopi Book, vol. 12 (Norwood, Massachusetts: Plimpton Press, 1922), p. 135, Malotki, Hopi Dictionary, op. cit. p. 654, p. 645, Curtis and Hodge, North American Indians, op. cit. pp. 144-145, Weston Labarre, They Will Pick Up the Snake: the Southern Snake's Psychological Handling of Cu lt (New York: Skokken Books, 1969, 1962), p. 100, Mallocki, Hopi Dictionary, op. cit. p. 460, p. 368, Curtis and Hodge, North American Indians, op. cit. p. 145, Parsons quoted in Richard Maitland Bradfield, Explaining Hopi Culture (Derby, England. Private published, 1995), p. 323, op. cit. pp. 287-288, Frank Wat Ells and Frederick Oswald White Bear, The Hopi Book (New York: Penguin Books, 1977, 1963), p. 291, pp. 222-223.
This "foreign language" is thought to be Aa or Zia (Sia) pueblo Keresan.
Waters incorrectly wrote "Western horizon" instead of Eastern horizon, Malotki, Hopi Dictionary, O.S.D. (New York: Penguin Books, 1977), pp. 222-223.
Mischa Titiev, Old Oraibi: A Study of the Third Tableland of the Hopi Indians (Albuquerque, New Mexico: University of New Mexico Press, 1992, reprinted 1944), p. 151, Bethe Hagen, "Sphere Tone ", "istou-ignition, .
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Bourke, The Serpent Dance of the MuqIS: Being a Narrative of a Journey from Santa Fe, New Mexico, to the Villages of the Muqi Indians of Arizona (Tucson: University of Arizona Press, 1984, 1884), p. 114.
In my previous books, I have claimed that the original Aztecs, known as the Chichimecs ("people of the dog"), who first inhabited the southwestern United States, especially Chaco Canyon, later migrated to the Valley of Mexico, where they became one of the most powerful tribes, located in the State of Mexico City at TunoChuttLaln, Malotki, Hopi Dictionary of the Hopi Language, op. cit. p. 142, p. 504, see Chapter 7, Gary A. David, The Orion Belt: Ancient Star Cities of the American Southwest (Kempton, IL: Adventure Unlimited Publishing, 2006), pp. 151-167, Jesse Walter Fikes, Hopi Snake Rituals ( Albuquerque: Avonue Publishing Company, 2000, 1986, Tusayan Snake Rituals Reprint, Sixteenth Annual Report to the Bureau of American Ethnology, 1897), p. 304, see my article "The Hopi Hero's Journey: How the Serpent People Came to Arizona" at the Ancient Origins web site, oligent Origins.
/myths legends americas/Hopi-Hero-s-Journey-How-Snake-Clan-e-Arizona-009125, link to event: Summer Solstice in Chaco Canyon, Gary A. Davey, a writer and independent researcher on Southwestern archaeological sites and rock art for nearly three decades, has written about the Hopi Heroes and how they came to Arizona. and an independent researcher whose books on Hopi and other Arizona and Pueblo ancestral cultures include .