The Pueblo clowns (sometimes called sacred clowns) are jesters or tricksters in the Kachina religion (practiced by the Pueblo natives of the southwestern United States). It is a generic term, as there are a number of these figures in the ritual practice of the Pueblo people. Each has a unique role; belonging to separate Kivas (secret societies or confraternities) and each has a name that differs from one mesa or pueblo to another.
The clowns perform monthly rituals, summer (for rain), November - for the gods, for curing society, black magic. [1] Among the Hopi/Tewa there are four distinct clowns: the Koyi'msĭ (also called Ho'tomeli'pung, Tewa Ta'chûktĭ); Chüʳkü'wĭmkya; Pai'yakyamü or Koyala; and Pi'ptuyakyamü (or "arrivals"). [2]
In order for a clown to perform meaningful social commentary via humor, the clown's identity must usually be concealed. The sacred clowns of the Pueblo people, however, do not employ masks but rely on body paint and head dresses. Among the best known orders of the sacred Pueblo clown is the Chiffoneti (called Payakyamu in Hopi, Kossa in the Tewa language, Koshare among the Keres people, Tabösh at Jemez, New Mexico, and Newekwe by the Zuñi). These individuals present themselves with black and white horizontal stripes painted on their bodies and faces, paint black circles around the mouth and eyes, and part their hair in the center and bind it in two bunches which stand upright on each side of the head and are trimmed with corn husks. [3]
The mudheads (called Koyemshi in Zuni, and Tatsuki in Hopi) are usually portrayed by pinkish clay coated bodies and matching cotton bag worn over the head. [4]
Anthropologists, most notably Adolf Bandelier in his 1890 book, The Delight Makers, and Elsie Clews Parsons in her Pueblo Indian Religion, have extensively studied the meaning of the Pueblo clowns and clown society in general. Bandelier notes that the Tsuku were somewhat feared by the Hopi as the source of public criticism and censure of non-Hopi like behavior. Their function can help defuse community tensions by providing their own humorous interpretation of the tribe's popular culture, by reinforcing taboos, and by communicating traditions. A 1656 case of a young Hopi man impersonating the resident Franciscan priest at Awat'ovi is thought to be a historic instance of Pueblo clowning. [5]
The Puebloans, or Pueblo peoples, are Native Americans in the Southwestern United States who share common agricultural, material, and religious practices. Among the currently inhabited Pueblos, Taos, San Ildefonso, Acoma, Zuni, and Hopi are some of the most commonly known. Pueblo people speak languages from four different language families, and each Pueblo is further divided culturally by kinship systems and agricultural practices, although all cultivate varieties of corn (maize).
The Hopi are Native Americans who primarily live in northeastern Arizona. The majority are enrolled in the Hopi Tribe of Arizona and live on the Hopi Reservation in northeastern Arizona; however, some Hopi people are enrolled in the Colorado River Indian Tribes of the Colorado River Indian Reservation at the border of Arizona and California.
The Hopi maintain a complex religious and mythological tradition stretching back over centuries. However, it is difficult to definitively state what all Hopis as a group believe. Like the oral traditions of many other societies, Hopi mythology is not always told consistently and each Hopi mesa, or even each village, may have its own version of a particular story, but "in essence the variants of the Hopi myth bear marked similarity to one another." It is also not clear that the stories told to non-Hopis, such as anthropologists and ethnographers, represent genuine Hopi beliefs or are merely stories told to the curious while keeping safe the more sacred Hopi teachings. As folklorist Harold Courlander states, "there is a Hopi reticence about discussing matters that could be considered ritual secrets or religion-oriented traditions."
A kachina is a spirit being in the religious beliefs of the Pueblo people, Native American cultures located in the south-western part of the United States. In the Pueblo cultures, kachina rites are practiced by the Hopi, Hopi-Tewa and Zuni peoples and certain Keresan tribes, as well as in most Pueblo tribes in New Mexico.
The Zuni are Native American Pueblo peoples native to the Zuni River valley. The Zuni people today are federally recognized as the Zuni Tribe of the Zuni Reservation, New Mexico, and most live in the Pueblo of Zuni on the Zuni River, a tributary of the Little Colorado River, in western New Mexico, United States. The Pueblo of Zuni is 55 km (34 mi) south of Gallup, New Mexico. The Zuni tribe lived in multi level adobe houses. In addition to the reservation, the tribe owns trust lands in Catron County, New Mexico, and Apache County, Arizona. The Zuni call their homeland Halona Idiwan’a or Middle Place. The word Zuni is believed to derive from the Western Keres language (Acoma) word sɨ̂‧ni, or a cognate thereof.
A kiva is a space used by Puebloans for rites and political meetings, many of them associated with the kachina belief system. Among the modern Hopi and most other Pueblo peoples, "kiva" means a large room that is circular and underground, and used for spiritual ceremonies.
The Tewa are a linguistic group of Pueblo Native Americans who speak the Tewa language and share the Pueblo culture. Their homelands are on or near the Rio Grande in New Mexico north of Santa Fe. They comprise the following communities:
Chakwaina is a kachina which appears in Hopi, Zuni, and Keresan ceremonies, but does not appear in Tewa ceremonies. Although imagery of the kachina is varied, it is usually depicted as an ogre, with ferocious teeth and a black goatee and black mask with yellow eyes. Its spread throughout Pueblo culture is often associated with the Asa clan.
Jesse Walter Fewkes was an American anthropologist, archaeologist, writer, and naturalist.
Pueblo of Isleta is an unincorporated community and Tanoan pueblo in Bernalillo County, New Mexico, United States, originally established in the c. 14th century. The Southern Tiwa name of the pueblo is Shiewhibak (Shee-eh-whíb-bak) meaning "a knife laid on the ground to play whib", a traditional footrace. Its people are a federally recognized tribe.
Clown society is a term used in anthropology and sociology for an organization of comedic entertainers who have a formalized role in a culture or society.
Oasisamerica is a cultural region of Indigenous peoples in North America. Their precontact cultures were predominantly agrarian, in contrast with neighboring tribes to the south in Aridoamerica. The region spans parts of Northwestern Mexico and Southwestern United States and can include most of Arizona and New Mexico; southern parts of Utah and Colorado; and northern parts of Sonora and Chihuahua. During some historical periods, it might have included parts of California and Texas as well.
Hopi katsina figures, also known as kachina dolls, are figures carved, typically from cottonwood root, by Hopi people to instruct young girls and new brides about katsinas or katsinam, the immortal beings that bring rain, control other aspects of the natural world and society, and act as messengers between humans and the spirit world.
Elsie Worthington Clews Parsons was an American anthropologist, sociologist, folklorist, and feminist who studied Native American tribes—such as the Tewa and Hopi—in Arizona, New Mexico, and Mexico. She helped found The New School. She was associate editor for The Journal of American Folklore (1918–1941), president of the American Folklore Society (1919–1920), president of the American Ethnological Society (1923–1925), and was elected the first female president of the American Anthropological Association (1941) right before her death.
The Koshare Indian Museum is an art and scouting museum in La Junta, Colorado. The building, located on the Otero Junior College campus, is a tri-level museum with an attached kiva that is built with the largest self-supporting log roof in the world. The building was built in 1949.
The Pueblo IV Period was the fourth period of ancient pueblo life in the American Southwest. At the end of prior Pueblo III Period, Ancestral Puebloans living in the Colorado and Utah regions abandoned their settlements and migrated south to the Pecos River and Rio Grande valleys. As a result, pueblos in those areas saw a significant increase in total population.
Art of the American Southwest is the visual arts of the Southwestern United States. This region encompasses Arizona, New Mexico, and parts of California, Colorado, Nevada, Texas, and Utah. These arts include architecture, ceramics, drawing, filmmaking, painting, photography, sculpture, printmaking, and other media, ranging from the ancient past to the contemporary arts of the present day.
Ruth Leah Bunzel was an American anthropologist, known for studying creativity and art among the Zuni people (A:Shiwi), researching the Mayas in Guatemala, and conducting a comparative study of alcoholism in Guatemala and Mexico. Bunzel was the first American anthropologist to conduct substantial research in Guatemala. Her doctoral dissertation, The Pueblo Potter (1929) was a study of the creative process of art in anthropology and Bunzel was one of the first anthropologists to study the creative process.
Neil Randall David Sr. is an American artist and katsina carver. He learned the basics of carving from his grandfather Victor (Kawayo) Charlie.
Pueblo pottery are ceramic objects made by the Indigenous Pueblo people and their antecedents, the Ancestral Puebloans and Mogollon cultures in the Southwestern United States and Northern Mexico. For centuries, pottery has been central to pueblo life as a feature of ceremonial and utilitarian usage. The clay is locally sourced, most frequently handmade, and fired traditionally in an earthen pit. These items take the form of storage jars, canteens, serving bowls, seed jars, and ladles. Some utility wares were undecorated except from simple corrugations or marks made with a stick or fingernail, however many examples for centuries were painted with abstract or representational motifs. Some pueblos made effigy vessels, fetishes or figurines. During modern times, pueblo pottery was produced specifically as an art form to serve an economic function. This role is not dissimilar to prehistoric times when pottery was traded throughout the Southwest, and in historic times after contact with the Spanish colonialists.
| Types |  | |
|---|---|---|
| Organizations | ||
| Related | ||
