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The Sacred Hoop: Recovering the Feminine in American Indian Traditions

by Paula Gunn Allen

by Paula Gunn Allen

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A Keres Interpretation<br />

When a traditional Keres reads <strong>the</strong> tale of Koch<strong>in</strong>nenako, she<br />

listens with certa<strong>in</strong> <strong>in</strong>formation about her people <strong>in</strong> m<strong>in</strong>d: she<br />

knows, for example, that Hutchamun Kiuk (properly it means<br />

Remember<strong>in</strong>g Prayer Sticks, though Gunn translates it as Broken<br />

Prayer Sticks) 5 refers to <strong>the</strong> ritual (sacred) identity of <strong>the</strong><br />

cacique and that <strong>the</strong> story is a narrative version of a ceremony<br />

related to <strong>the</strong> plant<strong>in</strong>g of corn. She knows that Lagunas and<br />

Acomas don’t have rulers <strong>in</strong> <strong>the</strong> Anglo-European sense of<br />

monarchs, lords, and such (though <strong>the</strong>y do, <strong>in</strong> recent times, have<br />

elected governors, but that’s ano<strong>the</strong>r matter, and that a person’s<br />

social status is determ<strong>in</strong>ed by her mo<strong>the</strong>r’s clan and position <strong>in</strong><br />

it ra<strong>the</strong>r than by her relationship to <strong>the</strong> cacique as his daughter.<br />

(Actually, <strong>in</strong> various accounts, <strong>the</strong> cacique refers to Yellow<br />

Woman as his mo<strong>the</strong>r, so <strong>the</strong> designation of her as his daughter is<br />

troublesome unless one is aware that relationships <strong>in</strong> <strong>the</strong> context<br />

of <strong>the</strong>ir ritual significance are be<strong>in</strong>g del<strong>in</strong>eated here.)<br />

In any case, our hypo<strong>the</strong>tical Keres reader also knows that <strong>the</strong><br />

story is about a ritual that takes place every year and that <strong>the</strong><br />

battle imagery refers to events that take place dur<strong>in</strong>g <strong>the</strong> ritual;<br />

she is also aware that Koch<strong>in</strong>nenako’s will, as expressed <strong>in</strong> her<br />

attraction to Mioch<strong>in</strong>, is a central element of <strong>the</strong> ritual. She<br />

knows fur<strong>the</strong>r that <strong>the</strong> ritual is partly about <strong>the</strong> com<strong>in</strong>g of summer<br />

and partly about <strong>the</strong> ritual relationship and exchange of primacy<br />

between <strong>the</strong> two divisions of <strong>the</strong> tribe, that <strong>the</strong> ritual described<br />

<strong>in</strong> <strong>the</strong> narrative is enacted by men, dressed as Mioch<strong>in</strong> and Shah-cock,<br />

and that Yellow Woman <strong>in</strong> her Corn Mo<strong>the</strong>r aspect is<br />

<strong>the</strong> center of this and o<strong>the</strong>r sacred rites of <strong>the</strong> Kurena, though <strong>in</strong><br />

this ritual she may also be danced by a Kurena mask dancer.<br />

(Gunn <strong>in</strong>cludes a draw<strong>in</strong>g of this figure, made by a Laguna, and<br />

titled “Ko-ch<strong>in</strong>-ne-nako—In <strong>the</strong> Mask Dances.”)<br />

<strong>The</strong> various birds and animals along with <strong>the</strong> forces such as<br />

warm air, fire, heat, sleet, and ice are represented <strong>in</strong> <strong>the</strong> ritual;

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