The Pá-lü-lü-koñ-ti / by Walter Fewkes and A.M. Stephen.

  • Jesse Walter Fewkes
Date:
[1894]
Catalogue details

Licence: Public Domain Mark

Credit: The Pá-lü-lü-koñ-ti / by Walter Fewkes and A.M. Stephen. Source: Wellcome Collection.

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    A loop at the large end of the tubular body is slipped over the manipulator’s shoulders and his right arm is inserted in the body, his hand grasping the “ back-bone.” In front of the screen, the man who performed with the a-mum- ndya-wi, or struggling one, took up this effigy, which differs from the others in terminating with a flattened tail, instead of a hoop. He attached the false arm shown in sketch to his left shoulder, thrust his real arm into the hollow interior of the effigy, and the false arm apparently grasped it around the outside. This manipulator was a capital actor, and the life-like struggle with the serpent which he imitated was really surprising. The ser¬ pent which he held was manipulated as if constantly struggling to escape, or to embrace the serpent projecting through the screen on the end next to where the manipulator stood, which was on the north side of the kiva. When the screen had been unrolled, side poles were fastened through loops to keep it in place, and there was a small hole just above each sun disc to enable the manipulators to guide the movements of the effigies. There was also a long pole or roller on top and another at bottom. The men with the tu-tyiik-pi behind the screen trumpeted, i. e. they were supposed to imitate the dreadful sounds (voice) peculiar to Pd-lu-lu-kon-iih. The sounds were to announce his presence, and those in front also emitted growling, rumbling mutterings. All were naked save the scanty covering of a breech-cloth. When all was ready, those in front began another Pd-lii-lii-kon-ta-wi (song), and at the first note all the six serpents were thrust through the six Td-wa (sun) discs, which were merely fastened on their upper periphery to the screen, about in its centre and arranged equidistant across it, and for a few measures the serpents were moved in and out in time with the song. One of the men of this kiva personated Ha-hai-i-wuh-ti, wearing her typical mask and a woman’s costume, and stood with a tray of prayer-meal on the (spectator’s) left of the screen. He passed along in front of the projected, dancing serpents, and stooping down, held his breasts to each, and each serpent in turn placed its lips against the mammae, imitating the action of a mother1 suckling a child. The movements of these serpents were not stiff and jerky, and not at all mechanical, but extremely life-like and vivid. The Ha-hai-i- wuh-ti then passed in front of the screen again, holding the tray of meal before each serpent, and each of them dipped its head in the tray as if eating the meal offered. This is the “nob-na,” food-offering, during which she blesses the serpents in her customary falsetto. The song was changed to a faster measure and became a stirring march tune. 1 She is the mother of all Ka-td-nais).
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