Moki (Hopi) Snake Dance and the Arizona Whites who Stage Dances to "Preserve Indian Ceremonials"

More about the Hopi (Moki) Nation and their snake dance, and how the government tried to ban it while white businessowners in Prescott, Arizona, were appropriating their sacred rituals for profit. To read more articles about both the Hopi and the Prescott Smoki "Indians," click here: The "Smoki Tribe" of white men who stole the Hopi Snake Dance - part 1

Including the article,  1923: "What Easter signifies to the Christian world, what the Feast of Passover is to the Jews, so is the snake dance to the Red Man." 

MOKI INDIANS

DANCE FOR MONEY

Red Men Charge Admittance

And Camera Privileges

-------------------------

Visitors Must Pay the Price Levied by the Indians, 

Should They Attend the Dance -- Necessary to 

Purchase Tickets Before Reaching the Reservation

1903, Sep 5  Arizona Daily Star 

Edgar M. Keller, a widely known artist of New York, who is a guest at the Alvarado, has just returned from the Moki snake dance, which took place at Wolpi, Arizona, on August 18. Mr. Keller used his pencil to good advantage while attending the dance and as a result has some fine sketches of this picturesque ceremony. The camera was also brought into use with most satisfactory results.

1903, Sep 5  Arizona Daily Star 

     To the Journal-Democrat Mr. Keller said: 

     "It looks very much as though this unparalleled dance of the Moki tribe, so well described by Dr. Walter Hough, who witnessed the dance in 1897, is nearing its end. Commercialism has entered the lives of the Indians and as a consequence the sacredness of the ceremony is deteriorating.

     "Several years ago it was almost impossible for a white man to witness one of these dances and then it was only by hanging on the outskirts. Now any one may see the performance who pays and admittance fee.

     "This year the price of admittance was one dollar and from one to two dollars was charged for camera priveleges. Several weeks before the dance the Indians called upon United Stats Indian inspector James. E Jenkins and asked permission to charge an admission fee to their dance, which had become noted throughout the country. After a consultation with other government officials a proclamation was issued by Charles E. Burton, superintendent and disbursing agent of the Moqui Indians, that every one attending the dance should pay the price of admission levied by the Indians. To obtain admittance it was necessary to purchase the tickets before reaching the reservation.

     "The Indians took in $125 for admissions and camera privileges. While the Moqui have never been superstitious about the camera as other tribes, yet on all former occasions the camera has been forbidden.

     "That the Moqui were performing for money rather than offering a prayer to their gods is proven by a little incident which took place on the first day of the dance.

     "It has always been the custom to hold the dance in the evening or at a time of day when there was no sun visible. The first day it was quite late and very dark for the camera man in fact it was entirely too dark to obtain a good picture. A great many of the visitors had paid their camera license and they objected to being given a deal so unsatisfactory. To make matters right the Indians agreed to hold the dance early, while the sun was shining brightly, on the following day. This they did, forgetting the laws of their forefathers in their greed for the almighty dollar.

     "The Orabis, a neighboring tribe became very indignant when they learned the Moki at Wolpi were dancing for money, and they set up a great cry in which they charged the Moqui of being guilty of buying rain instead of praying for it. 

     "It was the most wonderful Indian ceremony I have ever attended. It is almost beyond description. The most authentic account ever given was written by Walter Hough, appearing in a little book entitled, 'The Moki Snake Dance,' in which he gives by far the best description of the pagan ceremonies of the Pueblo Indians at Tusayan.

     "He says, 'The grand entry of the snake priests is dramatic to the last degree. With majestic strides they hasten into the plaza,e very attitude full of energy and fierce determined purpose. The costume of the priests of the sister society of Antelopes is gay in comparison with that of the snake priests. Their bodies rubbed with red paint., their chins blackened and outlined with a white stripe, their dark red kilts and moccasins, their barbaric ornaments,give the snake priests a most somber and diabolical appearance. Around the plaza by a wider circuit than the Antelopes, they go striking the supapu plank with the foot and fiercely leaping upon it with wild gestures. Four times the circuit is made; then a line is formed facing the line of the Antelopes, who cease shaking their rattles which simulate the warning note of a rattle snake. A moment's pause and the rattlers begin again and a deep humming chant accompanies them. The priests sway from side to side, sweeping their eagle feather snake ships toward the ground and song grows louder and the line sway backward and forward toward each other like two long undulating serpents. The bearer of the medicine walks back and forth between the lines and sprinkles the charm liquid to the compass points.

     "All at once the snake line breaks up into groups of three, composed of the 'carrier' and two attendants. The song becomes more animated and the groups dance, or rather hop, around in a circle in front of the kisi, one attendant (the 'Hugger') placing his arm over the shoulder of the 'Carrier' and the other (the 'Gathered') walking behind. In all this stir and excitement it has been rather difficult to see why the carrier dropped on his knees in front of the kisi; a moment later he is seen to rise with a squirming snake, which he places midway in his mouth and the trio dance around in a circle, followed by other trios bearing hideous snakes. The 'Hugger' waves his feather wand before the snake to attract its attention, but the reptile inquiringly thrusts its head against the 'carriers' breast and cheeks and twists its body into knots and coils. On come the demoniacal groups, to music now deep and resonant and now rising to a frenzied pitch, accompanied by the unceasing sibilant rattles of the Antelope chorus. Four times around and the 'carrier' opens his mouth and drops the snake to the ground and the 'gatherer' dexterously picks it up adding in the same manner from time to time other snakes, till he may have quite a bundle composed of rattle snakes, bull snakes and arrow snakes. The bull snakes are large and showy and impressive out of proportion to their harmfulness. When all the snakes have been duly danced around the ring, and the nerve tension is at its highest pitch, there is a pause; the old priest advances to an open space and sprinkles sacred meal on the ground, outlining a ring with the six compass points, while the snake priests gather around. At a special signal the snakes are thrown on the meal drawing and a wild scramble for them ensues, amid the rain of spittle from the walls above. Only an instant and the priests start up, each with one or more snakes; away they dart from the trail to carry the rain bringing messengers to their native hiding places. 

     "After the dance the snake priests drink an emetic, a dark liquid brewed in secrecy and mystery by the medicine women. This medicine is supposed to be the antidote or the venom of the rattlesnake.

     "There were about one hundred people present to witness the dance...."

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Snake Dance of Hopi Indians

1914, May 10 The Washington Herald 

Up to the present time the Indian Office has not taken serious steps to abolish the snake dance of the Hopi Indians of the Southwest, but it is believed that this custom is doomed also, for the Indian Office's policy opposes the permission of any of the old tribal customs which have a detrimental moral effect on its wards.

     Moving pictures of scenes on Indian reservations can no longer be taken without the permission of the Indian Office, given in writing. This order is comparatively new and was brought about by the practice of moving picture men having the Indians go through an impromptu Wild West performance for a certain sum, and thereby preserve in their minds, the manners and customs from which the Indian Office is earnestly trying to wean them. 

     So it seems that the police, as the censors of dancing in our cities, have a national counterpart in the Indian Office of the Department of the Interior, which would smile upon an Indian tango, but would frown upon the sun dance. 

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INDIAN DANCES STOPPED

BY GOVERNMENT ORDER

1923, March 9  The Scranton Republican 

Santa Fe, March 8 - Ceremonial dances by the New Mexico Pueblo Indians, which annually bring thousands of visitors from the entire country have been forbidden except in the winter time, by Charles H. Burke. Commissioner of Indian affairs, according to an announcement made here today. Mr. Burke, in his official ban, holds that the dances are demoralizing Indian life and industry.
     Especially does the commissioner object to the exhibitions of the tribal held by white people.

1923, March 9  The Scranton Republican 

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BANS INDIAN DANCES

EXCEPT IN WINTER TIME

1923, March 9  Asbury Park Press 

Sante Fe, NM, March 9 - Ceremonial dances by the New Mexico Pueblo Indians, which annually brings thousands of visitors from the entire country, have been forbidden except in the winter time, by Charles H. Burke, commissioner of Indian affairs, according to an announcement made here today.
     Mr. Burke, in his official ban, holds that the dances are demoralizing the Indian's life and industry.
     Especially does the commissioner object to the exhibitions of the tribal dances given at public gatherings held by white people.
     "I do not want to deprive you of decent amusements or occasional feasts, but you should not do evil or foolish things or take so much time for these occasions," Mr. Burke's order says. "No good can come from your 'give-away' customs at dances and it should be stopped. It is not right to torture your bodies or to handle poisonous snakes in your ceremonies."
     Large numbers of rattlesnakes are handled with apparent immunity by the Hopi in their famous snake dance.

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Arizona Whites Stage Dances,
Preserve Indian Ceremonials
1941, July 18  Great Falls Tribune
Prescott, Ariz. July 17 - If you come to Prescott at Smoki time, don't be surprised when the grocer dangles snakes from his mouth, the banker dances with feathers in his hair and the druggist paints his body like a wild Indian.
     There aren't many people who would care about making boon companions of writhing snakes but it is almost commonplace in Prescott.
     For 20 years the Smoki clan has staged annual ceremonial dances.
     To see the Smoki stomping through intricate dances and carrying snakes while tomtoms beat, the uninitiated would swear they were witnessing an aboriginal rite.
     But these half naked, gaudily painted dancers include that grocer, banker and druggist, along with scores of other white men who wouldn't take off their neckties in public during the rest of the year.
     The Smoki ceremonials had their beginning in 1921. Some lively entertainment was needed to round out a trader's day celebration.
     Someone suggested that the Indian dances of nearby Indian tribes be burlesqued. This was done but some farsighted individuals in the amused audience recalled how the culture and customs of the ancient Aztecs had been lost and suggested the need of preventing a like disaster to the culture of the American Indian.
     Then was created the Smoki clan, an organization of white men and women pledged to preservation of the dances, ceremonials and legends of the southwestern Indians.
     The original group of six or eight has grown to 300. A museum housing relics, arts and crafts of the Indians has been built.

1941, July 18  Great Falls Tribune 

1923, March 9  Asbury Park Press 

1914, May 10 The Washington Herald 

1903, Sep 5  Arizona Daily Star