THE DAY I MET KOKOPELLI:

Insect-like humpbacked flute player. Mesa 

Prieta, NM. Photo Peter Faris, Sept. 2011.

The Humped-Back Flute Player of the pueblo people is generally considered to be a therianthropic figure with characteristics of a human and an insect. Sometimes the insect qualities displayed are those of the cicada, but often kokopelli is considered to be the manifestation of the Robber or Assassin Fly.

Kokopelli, Mesa Prieta, NM. 

Photo Peter Faris, Sept. 2011.

The robber or assassin fly, family Asilidae, is a blood-sucking insect with a humped back and long protuberant mouthparts. It is a predator that preys on other insects and animals. In his first edition of Hopi Kachina Dolls with a Key to Their Identification, Colton identified Kokopelli as a personification of the robber or assassin fly.

Assassin fly kachina.

Kokopelli is actually an anthropomorphic insect. Many of the earliest depictions of Kokopelli make him very insect-like in appearance. His case mask is dark on each side, separated by a line that runs up the front and over the top of the mask. These divided dark sides of the mask may represent the large compound eyes on each side of the insect’s head.

The name "Kokopelli" may be a combination of "Koko", another Hopi and Zuni deity, and "pelli", the Hopi and Zuni word for the desert robber fly, an insect with a prominent proboscis and a rounded back, which is also noted for its zealous sexual proclivities. The short, strong proboscis is used to stab and inject victims with saliva containing neurotoxic and proteolytic enzymes which paralyze and digest the insides; the fly then sucks the liquefied meal through the proboscis.

                                       Robber or Assassin fly.  

I have actually experienced the bite of an assassin fly. While on a rock art field trip in northern New Mexico many years ago I felt a large insect land on my back but since I was wearing my shirt I felt no apprehension. I should have for all of a sudden I felt something like a drill bit penetrate about ¼” into my back, and this drill bit was red-hot. I was instantly dancing around and yelling for my colleagues to brush it off. This Kokopelli was not the happy, cute, comfortable iconic figure that modern faddists and interior decorators collect. This Kokopelli was a painful and fearsome confrontation, and it has made me more sensitive to the mixture of respect or devotion, and apprehension, with which an Ancestral Puebloan farmer might contemplate this kachina. My original meeting with Kokopelli was not a happy one and I would rather not repeat it.

REFERENCE:

Colton, Harold S.

1949       Hopi Kachina Dolls With A Key To Their Identification, University of New Mexico Press, Albuquerque.

KOKOPELLI:

Humpbacked flute player, Albuquerque,

NM. Photo: Peter Faris, 1988.

One of the most easily recognized kachinas because of the hump on his back. His black mask has white-rimmed eyes and a white stripe subdividing the face vertically over the top. A conical beak points up which is made of corn husks in real life. He also has feathers or antenna-like protrusions on his head. His name, the Humpback Flute Player, comes from a flute that he carries which may have its end carved in the shape of a flower. He also carries a shepherd’s staff with which to catch girls that he attracts with his flute music or a bag of candy that he carries.

Humpbacked flute player, Mesa Prieta, Rio Arriba county,

NM, Photo Peter Faris, 1997.

Bolder versions of Kokopelli portray him with a large phallus. He is then the personification of nymphomania.  Among the Hopi, Kokopelli carries unborn children on his back and distributes them to women (for this reason, young girls often fear him). He often takes part in rituals relating to marriage, and Kokopelli himself is sometimes depicted with a consort, a woman called Kokopellimana by the Hopi.

Some people believe that Kokopelli’s humped back is a pack full of seeds of beneficial and useful plants with which he populates the world. In this incarnation he also presides over the multiplication of game animals. With dominion over agriculture Kokopelli brings the season of Spring by playing his flute to chase away the Winter. The Zuni also associate Kokopelli with the rains.

Assassin fly kachina (Kokopelli).

He is sometimes also called the Robber Fly or Assassin Fly kachina because that insect is humpbacked and has long flute-like mouthparts. Kokopelli frequently appears with a Flute Kachina and sometimes carries no flute until he borrows the flute from the Flute Kachina. When that occurs the Assassin Fly Kachina becomes Kokopelli, the hump-backed flute player.

Assassin Fly Kachina (Kokopelli).

The Assassin Fly or Assassin Bug is an insect with a hump on its back. It is a blood-sucking creature with elongated mouthparts which can easily be seen as the flute. I have had the enlightening experience of being bitten on the back by an assassin bug and it was an experience I would not wish to repeat. The feeling was akin to having a red hot needle shoved into my back. Imagining living the life of a puebloan farmer, spending most of my time in the open, I would be quite aware of the assassin bug, and it could well become a focus of superstition.

Our culture has enthusiastically adopted Kokopelli with the predictable results. We have multiplied sillier and sillier kokopellis, riding bicycles, skiing, playing trombones, etc. I own a few myself given to me as gifts by friends. This may be an inevitable part of our society’s attempt to accommodate, understand, and appreciate another culture, but we should not allow this aspect of the modern kokopelli to make us forget the powerful attributes of fertility and blood which he presented to the people who first conceived of him, and that he represents a sacred image to many of our fellow citizens. 

KWAHU, THE EAGLE KACHINA:

Eagle head, Three Rivers, New Mexico. Photo

November 1988, John and Esther Faris.

One category of images commonly seen in rock art in almost all areas of North America represents sky themes. This is especially true in the American Southwest where climatic conditions are generally dry and desert-like, and people relied upon regular rain for their food supplies. In the southwest numerous petroglyphs and pictographs of birds (especially eagles who are the beast deities of above) can be found, and one is a kachina figure seen in Puebloan Kachina dance rituals representing Kwahu, the eagle kachina. The eagle ruled the sky, and was thus in charge of the source of the rain needed for crops. Eagle petroglyphs are particularly common in areas near the region of the upper Rio Grande where dense populations of Pueblo peoples relied heavily on agriculture for subsistence.

The first illustration (above) is a grand naturalistic eagle head from the large petroglyph site at Three Rivers, New Mexico.

Eagle, star, and lightning. Galisteo dike,

New Mexico. Photo: Peter Faris.

The petroglyph of the eagle with a star and lightning is from Galisteo dike. This combination of sky themes in one composition covers all the bases toward the source of rain. The mixture of eagle and star themes is very common in Galisteo, and also at Petroglyph Park west of Albuquerque. Adding the lightning in this example reinforces the water connection as lightning usually occurs in conjunction with rain.

As a kachina, Kwahu wears a case mask painted blue-green although older examples were sometimes brown. It possesses an eagle-shaped beak with a black inverted “V” or chevron above it. Occasionally, in one of the night ceremonies in March or during the Powamu, one may have the satisfaction of seeing a performance of the Eagle Kachina. Usually the performer imitates the step or motion and cry of the eagle to absolute perfection. Eagle Kachinas will sometimes appear with Mudheads at night ceremonies in March.

Eagle (Kwahu) kachina mask, Three Rivers,

New Mexico. Photo: Peter Faris.

This petroglyph from Three Rivers, New Mexico, appears to represent an eagle mask seen from the side. It shows the hooked beak of the eagle pointing to the left, with a large eye, and a double diagonal line beneath the eye like the common tear motif which can be related to the inverted “V” or chevron seen above the beak of the eagle kachina illustrated. Given the location of Three Rivers there are basically three birds that have this natural marking and that this petroglyph might represent. The three are Prairie Falcon, Peregrine Falcon, and the American Kestral, all of which can be seen in the area and which have the natural “tear marking” below their eye as seen in the petroglyph. This feature is, however, also an attribute of the mask representing Kwahu, and has probably become a generic symbol for the raptors in general, thus its use on the Eagle kachina.

KACHINAS IN ROCK ART - THE SHALAKO:

Although they are not technically kachinas, the shalakos dance in pueblo ceremonials like the kachinas. Resembling giant birds, the Zuni shalakos are up to ten feet tall. While dancing rhythmically, they clack their beaks. They dance until near sunrise. The tall, conical, and long-necked for of the shalako with their long beaks was probably derived from the sandhill crane.

Zuni Shalako, p. 102, Hopi Indian Kachina Dolls

by Oscan T. Branson, 1992,

Treasure Chest Publications, Tucson.

Rock art depictions of the shalako kachina can be dated back to the 14th century but its recent history is more complex. In her book Kachinas In The Pueblo World Polly Schaafsma described the loss of much of the Kachina cult at Hopi. First through the efforts of the Spanish after their conquest of the southwest to eradicate native religions and supplant them with Christianity. This was conducted by the destruction of religious items and shrines, even religious leaders on occasion. Among Pueblo peoples this was manifested by burning kachina masks, costumes, and dolls, and outlawing the dances and ceremonies. Then in the nineteenth century Hopi was swept by smallpox epidemics which killed many of the elders who possessed the ceremonial knowledge necessary for the rites.

Zuni Shalako, by Fred Kobotie, plate 36,
Kachinas in the Pueblo World, Polly

Schaafsma, 1994, University of New

Mexico Press, Albuquerque.

This was apparently the case with the Hopi shalako. Its first recorded appearance at Hopi was in 1870 and its second was in 1893. At the 1893 reappearance a Hopi informant stated that their Shalako ceremony had not occurred for over 30 years. This Hopi shalako was based on the Zuni Sia Shalako, but the ceremony was Hopi based upon reconstructions from memories. Shaafsma relates this story on pages 142-3 of her book. She also related how the lost Hopi Shalako returned to Second Mesa through the efforts of the great Hopi painter Fred Kobotie who painted a reproduction based upon two tablitas he found in the basement of the New Mexico Museum of Fine Arts, and he recognized them as belonging to the Hopi Shalako based on his memories of descriptions by his grandfather.

Shalako petroglyph, West

Mesa, Albuquerque, NM.

Photo: 1988, Peter Faris.

Shalako petroglyph, Galisteo Dike,

NM. Photo: 1988, Peter Faris.

Shalako petroglyph, Galisteo Dike,

NM. Photo: 1988, Peter Faris.

Shalako mask pictograph, Village

of the Great Kivas, Zuni, NM.

Photo: Teresa Weedin.

Shalako depictions are found in rock art in the area of the Western pueblos near both Hopi and Zuni, and are also found in the Rio Grande area. The examples shown here are petroglyphs of shalakos from west of Albuquerque and from Galisteo Dike east of the Rio Grande and south of Santa Fe, and a beautifully painted contemporary pictograph of shalako from the panel of kachina masks at the Village of the Great Kivas near Zuni.