. Hopi Katcinas drawn by native artists. drawn bj^ the Hopi artist has twohorizontal eagle feathers attached to the head and a cluster of redfeathers and hair hanging on each side, which is a very uncommonfeature. The figure has a mountain lion skin around the neck, and is repre-sented with yucca whips in the hands. The rows of small tin cone orshell rattles (called heliliilii) along the lower rim of the kilt, shown inthe picture, have probably led to the name by which it is known. WOE (Plate VI) The symbolism of Woe katcina is a chevron across the nose, a sym-bolical design identical with tha
. Hopi Katcinas drawn by native artists. drawn bj^ the Hopi artist has twohorizontal eagle feathers attached to the head and a cluster of redfeathers and hair hanging on each side, which is a very uncommonfeature. The figure has a mountain lion skin around the neck, and is repre-sented with yucca whips in the hands. The rows of small tin cone orshell rattles (called heliliilii) along the lower rim of the kilt, shown inthe picture, have probably led to the name by which it is known. WOE (Plate VI) The symbolism of Woe katcina is a chevron across the nose, a sym-bolical design identical with that of the eagle, and figures of artificialflowers on the head. Two persons, a man and boy, represented theWoe katcina in a Buflalo dance in the winter of 1899-1900. n For description of this dance, see Fifteenth Annual Report of the Bureau of American Ethnology,1897, p. 30 et This was highly appropriate, as this is a Zuni dance and these ma,sks were derived from Zuni. BUREAU OF AMERICAN ETHNOLOGY TWENTY-FIRST ANNUAL REPORT PL. VI. HELILULU
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Keywords: ., bookauthorfewkesje, bookcentury1900, bookdecade1900, bookyear1904
