Introduction
Native American tribes’ cultures and ways of life faced numerous challenges when American colonization by Europeans began. Through their effort and devotion, various cultural features, beliefs, and religious practices have passed the test of time and are still present. Katsina figures made by these tribes, one of which served as the topic for the current paper, serve as manifestations of the mentioned beliefs and, thus, sources for exploration, research, and wisdom.
Personal Resonance
In my childhood, I was warned against behaving poorly due to the existence of the bogeyman, a scary being that carries undisciplined children away to punish them for their mischief. In this context, when I saw a katsina figurine of the Hopi tribe depicting Nata’aska, a being that performs similar functions in Hopi culture, I was, to say the least, intrigued. Its inhumane features and intrinsic design resonated with me, reminded me of the good old bedtime tales, and prompted my curiosity to study the matter further.
Katsina’s Figure of the White Ogre Tihu
The figure resembles a white ogre named Nata’aska, the uncle of the Katsinas family. According to the Met, the figure was made in Arizona at the beginning of the previous century using “cottonwood, pigment, cotton cloth, tanned leather, and metal.” The figure resembles human and animalistic features; although its body is in an apparent humanoid form, its head has a long snout. This particular version of the Nata’aska doll has a bone saw on its hand; sometimes, the being can also carry a bow in the other hand (Teiwes 12).
Nataskas, along with the other Hopi spirits, appear in three different ways: as beings of a spiritual realm, as participants in the annual ceremonies, and as carved wooden figurines (Teiwes 27). Often seen as symbolic manifestations of spiritual beings, these figures provide a cultural function by describing the Hopi’s existence. Nata’aska also plays a vital role in educating young people about their society’s history, behavioral norms, morals, and ceremonial customs (Teiwes 27). Namely, it participates in the ritual that welcomes kids into society.
Religious Practices of Hopi People
The Hopi people see the world divided into three parts. Firstly, there is the earth, which the Hopi call “mother” (Teiwes 6). Then, there is the upper world and the underworld, with the latter being where the Hopi people originated and where their spirits travel after death. The vision of the world is further supported by the existence of beings able to traverse the universe in its entirety.
Although the source of initial creation is unknown, there are several tales of how this world sprang from three other worlds, with the location of the Sipapu, or point of emergence, situated within the Grand Canyon (Carson et al., 932). Due to some witchcraft-related evil, each of the previous universes ended, which eventually awaits the current world (Teiwes 102).
In this context, ceremonies and rituals are carried out by ceremonial groups and spiritual tribe members to prevent the world’s end and maintain global peace. The earth represents a feminine nature, whereas the sun, rain, and thunder, all-powerful but potentially hazardous, represent a male principle of balance in the natural world. Witches, known as “two-hearts” because they have traded away their own for selfish gain, commit evil on purpose and must take another man’s heart to extend their own life (Smallcanyon 133). There is, thus, a hint of mystical human sacrifice in the concept that a ceremonial leader must steal the heart of a loved one for the ritual to be effective.
The three main categories of supernatural beings exist, with celestial beings representing the most distinctive groups of a particular focus. In ceremonial activities, these deities are represented by figures or imitations (Teiwes 46). The katsinas, also called kachinas, are the following group: Some are actual people, but the majority are groups of entities, each with a distinctive personality and look (Teiwes 27).
To prepare for ceremonial activities, the dancers dress in a costume that is appropriate for the sort of kasina they are portraying. Some varieties are more widely used than others, while others become obsolete when novel versions are developed. The generic spirits of nature and life forms are the last group. It is believed among the Hopi people that these spirits will take offense if one of their earthly representations is mistreated (Teiwes 16). As a result, for instance, once an animal is killed during the hunt, its spirit and the spirits of its species as a whole need to be appeased.
Study Themes
The topic surrounding Hopi people’s beliefs and the tendency to create carved dolls reminded me of Clifford Geertz’s ideas. In particular, his theory of culture being semiotic, that is, possessing distinct signs and symbols meant to communicate information, can explain Hopi’s religious practices (Siqi 3). For example, Nata’aska’s humanoid form has animalistic features resembling people’s connections to nature. It promotes the importance of not abandoning people’s natural origins and fosters respect among young people.
Conclusion
Cultural manifestations, such as the katsina dolls made by the Native American people, can yield a lot of exciting and educational facts if one delves into their origin. A doll chosen for the current paper—a white ogre named Nata’aska—provides many clues about what Hopi people believed in, even at a simple glance. The importance of nature, fear of misbehaving, and respect for elders and the surrounding world emanate from the figure, resonating with me and many other people who might encounter it.
Works Cited
Carson, Richard T. et al. “The Existence Value of a Distinctive Native American Culture: Survival of the Hopi Reservation.” Environmental and Resource Economics, vol. 75, 2020, pp. 931-951.
Siqi, Mao. “Clifford Geertz and Anthropology of Religion. “Praxis, Folks’ Beliefs, and Rituals: Explorations in the Anthropology of Religion, edited by Augustin F. C. Holl, B P International, 2022, pp. 12-20.
Smallcanyon, Corey. “Brigham Young Wanted Every Thing from the Indians.” Dialogue: A Journal of Mormon Thought, vol. 54, no. 2, 2021, pp. 129-133.
Teiwes, Helga. Kachina Dolls: The Art of Hopi Carvers. University of Arizona Press, 2022.
“White Ogre Tihu (Katsina Figure). ” The Met. Web.
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