Von Monogyna´s Great Horned Owl Katsina Doll (Mongwa) is the master carver´s representation of the Katsina spirit Mongwa. Monogyna crafted the Katsina in 1980 out of cottonwood root. Cottonwood root is the traditional material for Katsina dolls because it was once abundant in the Hopi´s homeland, modern day Arizona. Katsina dolls are religious icons that were traditionally created to teach children, especially young girls about the Katsina Spirits (Hopi Cultural Preservation Office). The Mongwa Katsina was not created for this purpose as evidenced his inclusion of a base in his carving. The inclusion of a base is characteristic of Katsina dolls meant to be displayed standing rather than as wall hangings like traditional iderations of Katsina. Although Monogyna Katsina is not meant for religious use the symbolism imparted to the icon remains. Mongwa is a Katsina spirit, during ceremonies a Hopi man dresses as Mongwa and partakes in religious dances. The spirit holds a yucca blade in Monogyna´s carving, a perfect weapon for the discipline of Katsina Clowns, Mongwa´s main role in ceremony (Silvertribe). …show more content…
The Katsina´s carved beak and fur and feather covered face make him immediately identifiable as a Great Horned Owl, the spirit Mongwa. Mongwa´s body is that of a man, with a bare torso and strong legs partially raised in dance. His upper arms, thighs and chest are painted with white circles, which represent the kaolin clay body paint that the Hopi Katsina cult outfitted themselves in during ceremonies. His teal upper arm bands are held by a leather tie, this is how the Hopi secured yarn or cotton armbands on to themselves during ceremony. Mongwa´s wristbands similarly are meant to mimic the silver and turquoise wristbands that modern Hopi wear during Katsina
One of the things I found was The clothes worn by the men included loincloths or short kilts which were made from a long rectangular piece of animal skin or cloth which was worn between the legs and tucked over a belt. The men started to wear cotton shirts and shorts, and a headband They wore moccasins made of soft leather. The type of clothes worn by the women of the Hopi tribe were cotton dresses called mantas which were fastened at a woman's right shoulder, leaving her left shoulder bare. Early women’s clothes included a dark blue woollen blanket that was fastened above the right shoulder and tied with a belt at the waist. When Hopi girls reach womanhood, their hair was dressed in two large whorls at the side of the head in a squash blossom.
Nampeyo, the best potter of her time, helped revitalize the original form of Hopi pottery, Sikyatki. She developed her style from the traditional bowls, pots, jars, and water carriers of the Tewa and Walpi people, which were the tribes of her parents. Although, Hopi pottery had survived through many generations, it was beginning to disappear during Nampeyo's youth. Nampeyo was credited for bringing the dying form of Sikyatki pottery back to life. She helped rekindle the interest of Hopi pottery into the lives of the consumer and her contemporaries.
In both poem “ Barbie Doll” by Merge Piercy and “ homage to my hips” by Lucille Clifton, they both expressed the different way on how our society wants us, women to look and act in order to be except into the society. Our society condemned any women who are to act differently from our norms. In this society and in every culture aspect they are always stereotype, women always been taking advantage of no matter what century we are on. In “Barbie Doll” the author tend to provide more effective critique of society expectation about our body image than “homage to my hips”.
Scientists have recently discovered links to the Kiowa and Aztec religions. For example both tribes worshiped a stone image, Taimay, and both tribes followed a pictographic calendar. The language that the Kiowa spoke can be traced back to the Uto-Aztecan language like Latin and English. The Kiowa languages also have connections to the Bannocks, Comanche’s, Paragons, Paiutes, Pima, Shoshones, and Utes. The Kiowa and Aztec preformed many dances of praise including the Sun Dance. However, the Kiowa also had many unique dances including the Scalp, Corning, Feather, and Ghost praising nature and life. Each dance was preformed to celebrate different achievements. For example, the scalp dance was preformed when men returned ...
This provides powerful insight into the role Bigfoot like creatures played in Native American cultures. Some tribes were not afraid of the creatures, considering them kind and helpful, while peacefully coexisting with them. Other tribes found them to be more violent and dangerous creatures. The fact that these tribes called the animals Stick Indians or Brush Indians seems to suggest that the creatures were simply other tribes they did not get along with opposed to a village of mythical creatures. Some examples of Bigfoot like creatures in Native American tribes include the Chiye – Tanka, the Lofa, the Maxemista, and the popular Sasquatch. The Chiye – Tanka was the Bigfoot like creature of the Sioux Indians (“Native American,” n.d.). This animal
The treatment of females from the 18th century through the 21st century have only gotten worse due to society’s ignorant judgment of the gender. Of which, is the change from the previous housewife like actions to the modern day body figure. This repulsive transaction is perceived throughout literature. From the 19th century’s short story, “The Story of an Hour” written by Kate Chopin in 1894 and the 20th century’s poem, “Barbie Doll” composed by Marge Piercy in 1971.
The original design was done by Barbara on a piece of cardboard and later ones were hand painted on pieces of stiff canvas. The design is representative of several aspects of the Quapaw culture. Including; the four eagle feathers that represent the cardinal points of the land and the eagle is very sacred to the Quapaw people as it flies highest in the sky and closest to the creator. The red and blue colors of the background are representative of blankets used in Native American Church worship, and the word O-Gah-Pah is how people say the word Quapaw in our
The Hopi have a highly developed belief system which contains many gods and spirits. Ceremonies, rituals, dances, songs, and prayers are celebrated in year-round. The Hopi believed they were led to the arid southwestern region of America by their creator, because he knew they had the power to evoke rain with power and prayer. Consequently, the Hopi are connected to their land, its agricultural cycles and the constant quest for rainfall, in a religious way. The religious center of the community is the kiva, which is an underground room with a ladder protruding above the roof. The kiva is very important for several reasons. From the kiva, a connection is made with the center of the earth. Also, the kiva is symbolic for the emergence to this world. The room would represent the underworld and the ladder would represent the way to the upper world. In fact, a room is kept in the house to store ceremonial objects. A sacred ear of corn protects the room and symbolizes the ancestry of the family members. Kachinas are also a focal point of the religion. For a Hopi, they signify spirits of ancestors, dieties of the natural world, or intermediaries between man and gods. The Hopi believe that they are the earth's caretakers, and with the successful performance of their ceremonial cycle, the world will remain in balance, the gods will be happy and rain will come. Because they think of their crops as gifts, the Hopi Indians live in harmony with the environment.
The Zuni (known as A:shiwi) are a nationally recognised Native American tribe. They belong to the group of Pueblo peoples. Zuni is thirty four miles south of town, New Mexico. additionally to the reservation, the tribe owns trust lands in Catron County, Land of Enchantment and Apache County, Arizona. The Zuni people have lived within the southwest for thousands of years. Their cultural and spiritual traditions are unmoving, in massive half, within the people's deep and shut ties to the mountains, forests, and deserts of this ancient Zuni state. Primarily being farmers, the Zuni raise maize and wheat and have interaction in jewelery creating. it's become a very important extra supply of financial gain for the folks. ancient Zuni life is familiarized around a lineal social group system and a fancy ceremonial system supported a belief within the ancestors (ancient ones). There are six specialized groups, every with restricted membership and its own profession, dedicated to the worship of a specific group of supernaturals. throughout the well-known Shalako pageant, control in early winter, dancers representing the couriers of the rain deities come back to bless new homes. a technique the Zuni people specific these cultural traditions is thru their art: in painting, pottery, jewelry, and fetish carving, as an example. This is vital to the Zuni in order to unite the past with the present.
Religious ceremonies, sorcery, and myths are all prevalent in traditional Hopi culture. These ceremonies are believed to produce rainfall, promote fertility, bring luck in hunting and warfare, or assist the sun in moving from winter to the summer (Brandt, 1954: 18). The Hopi also believe in the supernatural and in afterlife. They have sorcerers who are said to have two hearts, one derived from an animal, which gives them powers, and the other a human heart. Myths are reality to the Hopi; they are both spiritual and practical. (Brandt, 1954: 32)
Their Sundance ceremony surrounds the story of the tai-me, “The Kiowas were hungry and there was no food. There was a man who heard his children cry from hunger, and he went out to look for food. He walked four days and became weak. On the fourth day he came to a great canyon. Suddenly there was thunder and lightning. A voice spoke to him and said, ‘Why are you following me? What do you want?’ The man was afraid. The thing standing before him had the feet of a deer, and its body was covered in feathers. The man answered that the Kiowas were hungry. ‘Take me with you,’ the voice said, ‘and I will give you whatever you want.’ From that day Tai-me has belonged to the Kiowas”(36). This story is used to tell how the tai-me came to be a part of the Kiowa tribe and why they worship it as a part of the sun dance ceremony. Momaday describes that the “great central figure of the kado, or sun dance, ceremony is the taime”(37). It was a small image representation of the tai-me on a dark-green stone. As a symbolic part of this ceremony, it is kept preserved in a rawhide box of which it is never exposed to be viewed other than during this
Henrik Ibsen’s “A Doll’s House” is a controversial play focusing on the marriage of Nora and Torvald Helmer. The play is filled with symbols that represent abstract ideas and concepts. These symbols effectively illustrate the inner conflicts that are going on between the characters. Henrik Ibsen’s use of symbolism such as the Christmas tree, the locked mailbox, the Tarantella, Dr. Rank’s calling cards, and the letters allows him to give a powerful portrayal to symbolize aspects of characters and their relationship to each other.
In the play “A Doll's House” by Henrik Ibsen, the character of Nora uses the phrase “the most wondrous thing” to refer to something she has done outside of her husband’s knowledge and what she imagines his reaction will be when he finds out. Throughout the play Nora wants to be and to remain only a doll to her husband and acts with utter childish selfishness when she cannot maintain her romantic illusions by keeping secrets, performing kid like distractions, and running away from her problems.
The enforcement of specific gender roles by societal standards in 19th century married life proved to be suffocating. Women were objects to perform those duties for which their gender was thought to have been created: to remain complacent, readily accept any chore and complete it “gracefully” (Ibsen 213). Contrarily, men were the absolute monarchs over their respective homes and all that dwelled within. In Henrik Ibsen’s play, A Doll’s House, Nora is subjected to moral degradation through her familial role, the consistent patronization of her husband and her own assumed subordinance. Ibsen belittles the role of the housewife through means of stage direction, diminutive pet names and through Nora’s interaction with her morally ultimate husband, Torvald. Nora parades the façade of being naïve and frivolous, deteriorating her character from being a seemingly ignorant child-wife to a desperate woman in order to preserve her illusion of the security of home and ironically her own sanity. A Doll’s House ‘s depiction of the entrapment of the average 19th century housewife and the societal pressures placed upon her displays a woman’s gradual descent into madness. Ibsen illustrates this descent through Torvald’s progressive infantilization of Nora and the pressure on Nora to adhere to societal norms. Nora is a woman pressured by 19th century societal standards and their oppressive nature result in the gradual degradation of her character that destroys all semblances of family and identity.Nora’s role in her family is initially portrayed as being background, often “laughing quietly and happily to herself” (Ibsen 148) because of her isolation in not only space, but also person. Ibsen’s character rarely ventures from the main set of the drawi...
Boys should definitely be allowed to play with dolls. During childhood, male children witness both of their parents caring for babies, cooking and cleaning. Playing and caring for a doll prepares the boy for his evident fatherhood duties. For a boy to only play with masculine toys such as trucks and guns, the boy is not developing his sense of caring, nurturing, or empathy. Denying any child the right to play with the toy of their choice in fear of who they may become is taking away the right for the child to find his or her identity. Playing is essential to the development of children, and limiting their toy choices is detrimental to that development. Not allowing a certain type of toy would affect the child more negatively than allowing him to play with dolls. Also, society tells a boy that playing with feminine toys is wrong, causing an early condescendence towards females. It will not affect the child negatively, therefore in order to become nurturing, respectful adults with a sense of empathy and self, boys should be allowed to play with dolls.