PORTFOLIO iconography and symbolic paraphernalia of the kachinas. He provided the artists with materials, but the execution of the work was left entirely to them. Fewkes noted the names of the beings represented in each completed drawing and later showed them to other Hopi, who readily identified them. This method of independent verification 148 was repeated numerous times and additional information was thus elicited. For this project, Fewkes first selected Kutcahonauû, or White Bear, who was around thirty years old at the time. His uncle, Homovi, was thought to draw some of the best pictures, and a man named Winuta also contributed drawings (Fewkes 1899: 13–14). Fewkes does not name other artists, nor does he identify individual images by artist. An examination of the work suggests that more artists than the three named might have been involved, perhaps as many as six; however, the identity of other possible contributors was not recorded and cannot be determined. Most of the artists gave particular attention to the heads of images. Head size is disproportionate to the body but allows clear depictions of the characteristic symbols there. The same symbols are applied to dance masks or helmets signifying the respective spirits. The few instances of repeated iconography in the resulting corpus clearly show the differences in style between the various contributing artists. Fewkes published the drawings as lithographic plates along with descriptive text in the Twenty-first Annual Report of the Bureau of American Ethnology in 1903. With their nearly three hundred drawings, the Hopi artists assisting Fewkes contributed to the understanding and preservation of a significant group of kachinas. Together they illuminate a fascinating and deeply important aspect of Hopi religion and culture: that the sacred can reveal itself only through material phenomena, while the spiritual as such remains unmanifest. REFERENCES Colton, Harold S. 1959: Hopi Kachina Dolls, with a Key to Their Identification. University of New Mexico Press, Albuquerque. Dorsey, George A. and H. R. Voth 1901: “The Oraibi Soyal Ceremony.” Field Columbian Publication 55, Anthropological Series Vol. III, no. 1. ——— 1902: The Mishongnovi Ceremonies of the Snake and Antelope Fraternities. Field Columbian Publication 66, Anthropological Series Vol. III, no. 5. Fewkes, Jesse Walter 1899–1900: “Hopi Katcinas, Drawn by Native Artists.” Twenty-first Annual Report of the Bureau of American Ethnology, Washington, DC, 1903. Hough, Walter 1932: “Biographical Memoir of Jesse Walter Fewkes, 1850–1930.” National Academy of Sciences Biographical Memoirs, Vol. XV, Ninth Memoir. Washington, DC. Tyler, Hamilton A. 1991: Pueblo Birds & Myths. Northland Press, Flagstaff, AZ. Waters, Frank 1950: Masked Gods: Navaho and Pueblo Ceremonialism. The Swallow Press, Chicago. ———1963: Book of the Hopi. Viking Press, New York. FIGS. 13 & 14: Powamû (Bean Dance Kachina). On the last day of the Powamû, or Bean Dance, unmasked men called Powamû Kachinas appear wearing artificial flowers in their hair (Fewkes 1899: 84–85, XXII; cf. Dorsey & Voth 1901: 46–7). But in plaza ceremonies, these dancers wear red face masks with diagonal hachures on their cheeks (lower right). They appear in groups and are the most important actors in the Powamû (Fewkes 1899: 67, IV; Colton 1959: 30). The red body paint with green and yellow shoulders is an ancient style, somewhat similar to the Sun Kachina. Powamû is one of the few kachinas to be rendered by more than one artist in Fewkes. Copy photo by Scott McCue.
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