Crow and owl.

—The crow and the owl are two birds of adverse symbolism. Bad fortune accompanies the "kaa, kaa" of the crow. He is the persistent thief who follows the sower and then himself makes his thieving known. He is often associated with witchcraft,^[66] and always with bad luck.^[*] Certain Zuñi kachinas wear collars of crow or raven feathers (pl. 5). These frighten the children as well as drive away bad luck.^[67] The owl is often symbolic of witches and witchcraft, probably because of its nocturnal habits.^[68] We sometimes find bunches of owl feathers used as decoration on kachina masks.

The "summer birds" .—All those which are brightly colored, as, for example, the jay, red hawk, road runner, bluebird, oriole, and hummingbird,^[69] often have some special significance. The oriole, or chat, is the bird of the north since yellow is the north color, and the blue jay supplies the priest with feathers which he is entitled to wear in his hair on ceremonial occasions.^[70] These small birds are caught in traps of horsehair

* At Laguna and Zuñi.

and sticks,^[71] or on a plant called "crowfoot." They are kept in small cages on the housetops.

Many feathers are connected with special persons or incidents. The downy eagle feather dyed red (pl. 7) is a sign of the priesthood at Zuñi.^[72] The sparrow hawk is associated with the Black Eye, a priest-clown group at Isleta, while the Koshare, another group, use the turkey.^[73]

To an Indian the downy white feather is very close to life itself. "The feather is the pictorial representation of the breath," and "breath is the symbol of life."^[74] There is hardly an act of ritual or drama without the use of feathers, and all feathers for ceremonial use must come from the living bird.^[75]

Feathers on the prayer-plume offerings planted at almost all the villages were supposed to "provide clothing for the supernaturals."^[76] Just as food, accompanied with a prayer, is sent to the other world when it is cast into the fire or into the river, so these feathers are sent to clothe the Great Ones.^[77] At Jemez the erect turkey feathers bound at the back of the prayer stick represent the red-and-blue-bordered white Hopi blanket^[78] —a recognition in form and pattern of an actual garment. More often the stipulated arrangement of feathers on the prayer stick is a matter of ritual form and the resulting kachina costumes do not bear a relationship to their supposed origin. At all events, it is true that the kachinas are conspicuous for their beautiful feather ornaments.

Each particular rite or entertainment has its specified method by which feather ornamentation is employed. Sometimes the feathers are painted, in a stylized manner, on the articles or emblems used in the rite; this obviously was taken over from its origin in basket and pottery decoration. We find them also on a tablita form over a mask, and on the cheek of an unmasked dancer.^[79]

Aside from the robe so often indicated on the Shalako Kachina doll, feathers are used on ceremonial costumes purely as ornamentation. Single feathers are hung alone or in groups from belts and arm bands (pl. 35)

by buckskin thongs or homespun cotton cord. They are often tied to the corners or centers of kilts and blankets (pl. 7). Headdress and mask ornaments are made of feathers fashioned together in various patterns. Accessories (pl. 30), either worn or carried, are peripherally trimmed with feathers or made of feathers entirely.

The methods of application vary. The quill may be tied on with buckskin, yucca, or cotton cord. Cornhusks may be folded and wrapped tightly around the quill end, making a holder. Buckskin may be used in the same manner. Holes may be bored in gourds, corncobs, or wood, and feathers stuck into them. Down is even applied to horsehair and wool with a syrup made by boiling the juice of the yucca fruit.

When colored feathers are not available, the white ones are stained the desired colors. Downy eagle feathers are dyed red to indicate membership in societies. Furthermore, since feathers naturally lend themselves to varied and graceful forms of ornamentation, it is only the rigid rules prescribed by ritual which prevent artist creators from making endless objects in this medium. As a consequence, new forms are created only when a new character is introduced, and ordinarily the same ornaments differ only as the ability of one craftsman exceeds that of another.

When not in use, sacred feathers are kept carefully packed in special boxes, made of cottonwood, which have ingenious sliding lids held in place by fitted pegs. At Jemez the sacred feathers are laid away wrapped simply in buckskin.^[80] Each ornament and feather is renewed and redecorated for every dance series; for many days before a performance the priest works secretly with others within the kivas to get them ready. With this constant renewal of parts and the variability of human craftsmanship, it is small wonder that the forms change despite the fact that the artist has carefully followed a specified plan. In the work of renovation only hand-spun cotton cord can be used, as that has a sacred significance. Cornhusk is used as a firm base upon which feathers can be fastened, or it may be wrapped around the quill to hold the feathers in a rigid position.

There is an interesting headdress in the Buffalo Dance (fig. 25, p. 189). It consists of a white deerskin band about two and one-half inches wide, on the right side of which is fastened a black buffalo horn and on the left a fan of six eagle tail feathers firmly bound with cornhusk and tied in place with a buckskin thong at right angles to the quill ends.^[81]

Feathers are used on other parts of costumes. Buckskin shields worn on the back may be edged with feathers or have some special feather treatment at top or bottom. Again, eagle feathers are sewn to deerskin or cornhusk bands which follow the arm contour from neck to wrist to provide the wings of the eagle dancers. Fan-shaped tail ornaments of eagle feathers are also made.

In the ceremonial dances, various articles carried by the dancers are distinguished by the feathers attached to them. The presiding priest carries a special feather wand to indicate his position and the particular office which he is performing.