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Hopi Literature
Navajo Literature
Papago Literature
Yaqui Literature
Native American Literature: Other Sources


One More Smile
for a
Hopi Clown

Emory Sekaquaptewa

The heart of the Hopi concept of clowning is that we are all clowns. This was established at the very beginning when people first emerged from the lower world. In spite of the belief that this was a new world in which no corruption and immorality would be present, the people nevertheless took as their own all things that they saw in the new world. Seeing that the people still carried with them many of the ways of the corrupted underworld, the Spirit Being divided them into groups and laid out a life-pattern for each of them, so that each would follow its own life-way.

Before the Hopi people left from the emergence place, one man chosen by them as their leader went up on a hill. I can just imagine the throng of his people around him who were excited and eager in getting ready to be led out to the adventures of a new world. The leader gets up on this hill and calls out, "yaahahay!" four times. Thus gaining their attention he said, "Now you heard me cry out to you in this way. You will hear me cry in this way when we have reached the end of our life-way. It will be a sign that we have reached the end of the world. We will know then whether we have fulfilled our destiny. If we have not we will see how it is to be done." The leader who was a visionary man chose this way of reminding his people that they have only their worldly ambition and aspirations by which to gain a spiritual world of eternity. He was showing them that we cannot be perfect in this world after all and if we are reminded that we are clowns, maybe we can have, from time to time, introspection as a guide to lead us right. From this beginning when we have been resembled to clowns we know that this is to be a trying life and that we will try to fulfill our destiny by mimicry, by mockery, by copying, by whatever.

This whole idea of clowning is re-enacted at the time of the katsina dances. When they are dancing in the plaza the katsinas represent the spiritual life toward which Hopi destiny is bent. The katsinas dance in the plaza at intervals throughout the day and sometimes for two days. When the clowns come they represent man today who is trying to reach this place of paradise. That is why the clowns always arrive at the plaza from the rooftops of the houses facing the plaza where the katsinas are dancing. The rooftops signify that even though we have reached the end, we are not necessarily ready to walk easily into the spiritual world. The difficulties by which clowns gain the place of the katsinas make for fun and laughter, but also show that we may not all be able to make it from the rooftop because it is too difficult. We are going to clown our way through life making believe that we know everything and when the time comes, possibly no one will be prepared after all to enter the next world. We will still find the way difficult with obstacles in front of us. Maybe some of us won't make it.

The clowns come to the edge of the housetops around noon and they announce themselves with the cry "yaahahay!" four times. This announces as foretold at emergence the arrival at the end of the life-way journey. And then they make their way into the plaza with all sorts of antics and buffoonery representing the Hopi life quest. In their actions they reveal that we haven't yet fulfilled our destiny after all. By arriving at the late hour, noon, they show that we are lagging behind because we think we have many things to do.

Once in the plaza they act just as people did when they emerged in this world. They presume that they are in a new world, clean and pure. They are where they can finally have eternal life like the katsinas; indeed, this is the day all Hopi look forward to. But as they are remarking on the beauty of this place filled with plants and good things they hear the katsina songs. They grope around the plaza looking for someone. They pretend they cannot see them because they are spirits. Finally, one of the clowns touches a katsina and upon his discovery of these beautiful beings, the clowns immediately try to take possession of them. "This is mine!" "This is mine!" They even fight each other over the possession of the katsinas and over the food and things they find.

The remainder of the afternoon is filled with all sorts of clown performances, many of which are planned in advance. Others just happen. These are satires focused on almost anything whether it be in the Hopi world or in the non-Hopi world. Clowns make fun of life and thereby cause people to look at themselves.

Imagination is important to the clown. There are good clowns and not so good clowns when it comes to being funny and witty. But all clowns perform for the smiles and laughter they hope to inspire in the people. When the clowns leave the kiva on their way to the plaza the last request by each is a prayer something to the effect, "If it be so, may I gain at least one smile."

The clown skits and satiric performances done throughout the afternoon are reminiscent of the corruption that we experienced in the underworld, where we presumably had Conscience as a guide. We chose not to follow the Conscience and it comes into play during the clown performances in the form of katsinas that visit the plaza. The Owl katsina on his first visit comes with a handful of pebbles, carrying a switch. He appears at each corner of the plaza presumably unseen by the clowns and throws little pebbles at the clowns, occasionally hitting them. These pangs of Conscience are felt but not heeded by the clowns. Owl katsina returns to the plaza later accompanied by several threatening katsinas carrying whips. And this time, instead of pebbles, he may brush up against one of the clowns. He may even knock him down. Conscience keeps getting stronger and more demanding and insistent. On Owl's third visit, the clowns begin to realize that they may suffer consequences if they don't change their ways. Still, they try to buy their safety by offering Owl a bribe. On the sly, the head clown approaches Owl, presumably unseen by anyone, but, of course, they are in the middle of the plaza and are witnessed by all the spectators. Those two kneel together in an archaic conversation modeled upon an ancient meeting.

Owl finally accepts the bribe of a string of beads and thus leads the clown to believe that he has bought his safety. The head clown asks Owl to discipline the other clowns so as to get them back on the right road, but he thinks he will be safe.

With each of Owl's visits more and more katsinas accompany him. They do not come as one big group, but in groups of two or three. Throughout the afternoon the tension builds with the threatening presence of the whip-carrying katsinas. All of the spectators begin to identify with the plight of the clowns. You feel like you are the one who is now being judged for all these things.

Owl's fourth visit may not come until the next day. On this visit he brings with him a whole lot of warrior katsinas. The atmosphere is one of impending catastrophe. They move closer and closer, finally attacking the clowns, who are stripped and whipped for all they have done. In this way they force the clowns to take responsibility for their actions. After they are whipped, water is poured on them and sprinkled about the audience to signify purification.

When it is all over the threatening katsinas come back to the plaza again, but this time they are friendly. They shake hands with the clowns signifying that they have been purified. Then they take each clown the length of the plaza and form a semi-circle around him. At this time the clowns make confessions, but even here they are clowns for their confessions are all made in jest. Having worked up satires for the occasion they jump and sing before the katsinas. Their confessions usually are focused on their clan, who, by way of being satirized, are actually honored.

I'll tell you one I heard not long ago. When it was time for this young clown man to make his confession he jumps up and down in front of the katsina and says, "Ah ii geology, geology, ah ii." Then he made a beautiful little breakdown of this word so that it has Hopi meaning. "You probably think I am talking about this geology which is a white man's study about something or other. Well, that's not it," he says. "What it really is is that I have a grandmother, and you know she being poor and ugly, nobody would have anything to do with her. She is running around all summer long out in the fields doing a man's job. It breaks her down. She would go out there every day with no shoes and so her feet were not very dainty and not very feminine. If you pick up her foot and look at her sole, it is all cracked and that's what I am talking about when I say geology." Every Hopi can put that together. Tsiya means "to crack" and leetsi means things placed "in a row," so these cracks are in a row on the bottom of the feet, geology. Things like that are what the confessions are like.

There is a story about the last wish of a Hopi man who died many years ago that shows the character of clowning.

In those days the clown society was very much formalized. It was a practice for men who had great devotion for their ritual society to be buried in the full costume of their office. Of course, this was not seen by the general public since Hopi funerals are rather private affairs.

This story is about a man who had gained great respect for his resourcefulness and performance as a clown. Clowning had become a major part of his life and he was constantly attending to his work as a clown by thinking up new skits and perfecting his performance. As he reached old age he decided that clowning had made his place in this world and he wanted to be remembered as a clown. So he made a special request for what was to be done with him at his death as he realized his time was short. He made his request to his family very firmly.

When he died his nephews and sons began to carry out his request. In preparation for burial the body was dressed in his clown costume. Then the body was carried around to the west side of the plaza and taken up on a roof. While this was being done the town crier's voice rang out through the village calling all the people to the plaza. Everybody was prompt in gathering there. I can just see the women, as with any such occasion, grabbing their best shawl on their way to the plaza. It didn't matter whether they were dressed well underneath the shawl.

When the people arrived they saw this unusual sight on the roof of the house on the west side of the plaza, men standing around a person lying down. When all of the people had gathered, the attendants - pallbearers I guess you could call them - simply, quietly, picked up the body and took it to the edge of the house near the plaza. They picked it up by the hands and legs and swung it out over the plaza as if to throw it and they hollered, "Yaahahay!" And they'd swing it back. Then they'd swing it once more. "Yaahahay!" Four times! On the fourth time they let the body go and it fell down, plop, in the plaza. As they threw the body the pallbearers hollered and laughed as they were supposed to. It took the people by surprise. But then everybody laughed.

From: Emory Sekaquaptewa. "One More Smile for a Hopi Clown" from Parabola, vol. 4, no. 1 (1979). Copyright ©1979 by Society for the Study of Myth and Tradition. Reprinted by permission of the author.

 

As printed in Larry Evers, ed. The South Corner of Time. Tucson, Ariz.: The University of Arizona Press, © 1980 p. 14.
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