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The Magic And The Real American Indian Secrets Of The Kokopelli

Kokopelli

By Elly Luella Hyatt

Kokopelli Other names

* Kokopele
* Kokopelli-mana or Kokopelmana (actually, Kokopelli's wife) (Hohokam)
* Kokopeltiyo
* Kokopilau
* Neopkwai'i (Pueblo)
* Ololowishkya (Zuni)
* La Kokopel

Kokopelli is well known to many as just that image of a crude American Indian image that of a fertility deity, usually depicted as a humpbacked flute player (often with a huge phallus and feathers or antenna-like protrusions on his head), who has been venerated by some Native American cultures in the Southwestern United States. Like most fertility deities, Kokopelli presides over both childbirth and agriculture. He is also a trickster god and represents the spirit of music.

Many paranormal investigators have ignored the actual spirit practices of the Native Americans. To those that know of the powers that this magical beings possess their's is not denying that a spiritual and paranormal or supernatural interchange still exist today with this Native american spirit being.

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 Kokopelmana by the Hohokam and Hopi. It is said that Kokopelli can be seen on the full and waning moon, much like the "rabbit on the moon."

Many people around the world take these images of the Kokopellie as just decorations not realizing that the power of the spirit world is infused them. Ancient images and pictographs do hold a magical or supernatural quality to them even though the maker and owner of such do not realize it.

Kokopelli also presides over the reproduction of game animals, and for this reason, he is often depicted with animal companions such as rams and deer. Other common creatures associated with him include sun-bathing animals such as snakes, or water-loving animals like lizards and insects. Because of this, some scholars believe that Kokopelli's flute is actually a blowgun (or started out as one). Alternatively, the "flute" may actually be a pipe for smoking tobacco in a sacred ceremony, or some other device entirely. It is actually very likely that the flute is a change to make Kokopelli "easier" on the public, as well as to perhaps allow for use in business.

In his domain over agriculture, Kokopelli's flute playing chases away the Winter and brings about Spring. Many tribes, such as the Zuni, also associate Kokopelli with the rains. He frequently appears with Paiyatamu, another flautist, in depictions of maize-grinding ceremonies. Some tribes say he carries seeds and babies on his back.

In recent years, the emasculated version of Kokopelli has been adopted as a broader symbol of the Southwestern United States as a whole. His image adorns countless items such as T-shirts, ball caps, and keychains. A bicycle trail between Grand Junction, Colorado, and Moab, Utah, is now known as the Kokopelli Trail.

Kokopelli has been worshipped since at least the time of the Ancient Pueblo Peoples. The first known images of him appear on Hohokam pottery dated to sometime between AD 750 and AD 850.

Kokopelli may have originally been a representation of ancient Aztec traders, known as pochtecas, who traveled to this region from northern Mesoamerica. These traders brought their goods in sacks slung across their backs and this sack may have evolved into Kokopelli's familiar hump (in fact, many tribes make Kokopelli a trader in this way. These men also used flutes to announce themselves as friendly as they approached a settlement.[ This origin is still in doubt, however, since the first known images of Kokopelli predate the major era of Aztec-Anasazi trade by several hundred years.

Another theory is that Kokopelli is actually an anthropomorphic insect. Many of the earliest depictions of Kokopelli make him very insect-like in appearance. 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. A more recent etymology is that Kokopelli means literally "kachina hump". Because the Hopi were the tribe from whom the Spanish explorers first learned of the god, their name is the one most commonly used.

Kokopelli is one of the most easily recognized figures found in the petroglyphs and pictographs of the Southwest. The earliest known petroglyph of the figure dates to about A.D. 1000. Kokopelli was one of several kachina dolls sold to tourists. The Spanish missionaries in the area convinced the Hopi craftsmen to omit the phallus from their representations of the figure. As with most kachina dolls, the Hopi Kokopelli was often represented by a human dancer. These dancers apparently had great fun with missionaries and tourists by making obscene and sexual gestures that the foreigners did not understand.

A similar humpbacked figure is found in artifacts of the Mississippian culture of the U.S. southeast. Between approximately 1200 to 1400 AD, water vessels were crafted in the shape of a humpbacked woman. These forms may represent a cultural heroine or founding ancestor, and may also reflect concepts related to the life-giving blessings of water and fertility.

References

1. "Kokopelli - Trickster God". Chrysta Links. http://www.crystalinks.com/kokopelli.html. Retrieved 2008-05-31.
2.Young 18.
3. "Kokopelli Legends & Lore". KokOasis. http://web.archive.org/web/20030909195331/http://kokoasis.com/legends.html. Retrieved 2008-05-31.
4."Kokopelli Legends & Lore". Glenn Welker. http://www.indigenouspeople.net/kokopelli.htm. Retrieved 2008-05-31.
5. Leo W. Banks. Tucson Weekly 1999. "Cuckoo for Kokopelli".
6. "MISSISSIPPIAN CULTURES FROM ELSEWHERE". National Park Service (US Interior Dept.). http://www.nps.gov/archive/ocmu/Elsewhere.htm. Retrieved 2008-05-31.

* Slifer, Dennis, and Duffield, James (1994). Kokopelli: Flute Player Images in Rock Art. Santa Fe, New Mexico: Ancient City Press.
* Young, John V. (1990). Kokopelli: Casanova of the Cliff Dwellers: The Hunchbacked Flute Player. Palmer Lake, Colorado: Filter Press. ISBN 0-86541-026-7.

Two-Spirit

Two-Spirit (also two spirit or twospirit) people, or berdache in the anthropological literature, are Native Americans who fulfill one of many mixed gender roles found traditionally among many Native Americans and Canadian First Nations indigenous groups. These roles included wearing the clothing and performing the work of both male and female genders. There are many indigenous terms for these individuals in the various Native American languages. According to Gilly, male berdachism "was a fundamental institution among most tribal peoples."Roscoe, Will (1991). The Zuni Man-Woman, p.5. ISBN 0826312535. States that male and female berdaches have been "documented in over 130 tribes, in every region of North America, among every type of native culture."

The term "two-spirit" usually implies a masculine spirit and a feminine spirit living in the same body and was coined in 1990 by contemporary gay, lesbian, bisexual, and transgender Native Americans to describe themselves and the traditional roles they are reclaiming.

Pniese refers to certain American Indians of the 17th century New England area. They "were warriors of special abilities and stamina (it was said a pniese could not be killed in battle) who were responsible collecting tribute for his sachem.". Philbrick names Hobbamock, of the Pokanoket's, and one of sachem Massasoit's men, as a pniese.

According to Philbrick, both Hobbamock and Squanto (the shortened name for Tisquntum) were named after Indian spirits of darkness. Squanto has a somewhat prominent place in the founding history of Plymouth Plantation.

While Philbrick specifically mentions Squanto as not being a pniese, an article by Charles C. Mann in The Smithsonian Magazine implies that he was, and gives information about pniese training. The training was more rigorous than that of his friends, "for it seems that he was selected to become a pniese, a kind of counselor-bodyguard to the sachem." Pniese were expected to learn the art of ignoring pain, by, for instance, "running barelegged through brambles," and by fasting, "to learn self-discipline. After spending their winter in the woods, pniese candidates came back to an additional test: drinking bitter gentian juice until they vomited, repeating this process over and over."

Noted in historical accounts as the Ghost Dance of 1890, the Ghost Dance was a religious movement incorporated into numerous Native American belief systems. The traditional ritual used in the Ghost Dance, the circle dance, has been used by many Native Americans since prehistoric times but was first performed in accordance with Jack Wilson's teachings among the Nevada Paiute in 1889. The practice swept throughout much of the American West, quickly reaching areas of California and Oklahoma. As the Ghost Dance spread from its original source, Native American tribes synthesized selective aspects of the ritual with their own beliefs, often creating change in both the society that integrated it and the ritual itself.

At the core of the movement was the prophet of peace Jack Wilson, known as Wovoka among the Paiute, who prophesied a peaceful end to white American expansion while preaching messages of clean living, an honest life, and cross-cultural cooperation. Perhaps the best-known facet of the Ghost Dance movement is the role it reportedly played in instigating the Wounded Knee massacre in 1890, which resulted in the deaths of at least 153 Lakota Sioux. The Sioux variation on the Ghost Dance tended towards millenarianism, an innovation that distinguished the Sioux interpretation from Jack Wilson's original teachings.

 

 

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