I don't know if you are familiar with the flute playing hunched back figure known as Kokopelli. But around here he's ubiquitous.
The world's largest Kokopelli has stood for twenty-odd years just off I-17 in Camp Verde.
Kokopelli is a hugely popular figure in the American Southwest. His image and name are absolutely everywhere. Adorning everything from ritzy golf resorts, restaurants, and shopping malls to cheesy tourist trap souvenir shops. Printed on T shirts and shot glasses, embroidered on ball caps, manufactured in China as lawn decorations, kitschy decor, and fake Indian jewelry. He's had his repertoire expanded from flute playing to include swinging tennis racquets, golf clubs, baseball bats and fishing rods. He's snapped up by tourists (and quite a few locals) eager to hand over their cash or credit cards for the opportunity to own a bit of goofy looking mass produced junk. Made, sold, and purchased by people who quite possibly have no clue that Kokopelli is in fact more than a cute, cartoonish symbol of the Southwest. No clue that he isn't a mascot invented for the tourism industry. He's practically an industry in his own right, and a money maker for a lot of people.
But he's really much more. And has been for a very long time.
Blue Kokopelli, by Hopi artist Ted Pavatea.
Images of Kokopelli show up in petroglyphs throughout Arizona and New Mexico. The ancestral Anasazi, from whom the Hopi are descended, clearly revered him as an important supernatural being. A Katsina.
This group of phallic Kokopellis is at La Cieneguilla Petroglyph Site in New Mexico.
Kokopelli is generally described as, among other things, a fertility god. Many of the old petroglyphs depict him as unmistakably well-endowed. Other attributes can include a flute being played, long feathers adorning the head, and what appears to be a distinct hump on the back.
A silver overlay pin/pendant by Hopi artist Wilmer Saufkie.
Some versions of Kokopelli's story suggest that rather than a hump, that outward bulge on his back is a backpack. It's known that traveling merchants traded throughout the southwest, coming on foot from as far away as Central America. Archaeologists have found many articles from distant cultures in ancient Anasazi sites. Items which had to have been cherished possessions from exotic, faraway lands. Wandering traders also brought news from afar, and the novelty of a new face in town.
Another old petroglyph of the traveling musician and bringer of prosperity, abundant crops, and babies.
An exotic stranger showing up in a quiet farming community would be reason enough for excitement. What's more, a fellow bearing fascinating, beautiful goods from far away, and he's a musician to boot! It's understandable that people might be intrigued. I know I would be.
A graceful ceramic pot by Hopi artist Stetson Setalla.
One version of his legend holds that Kokopelli, a Katsina visiting the people in the guise of a traveling musician/trader, carried babies in his backpack. Which he gifted to the local women. He's often described as something of a trickster. And a friend to farmers and all who depend upon the Earth for life and livelihood.
A katsina doll of Kokopelli, from Hopi artist Joseph Duwyenie. Many modern katsina dolls have a lively, sculptural appearance. Most of the few I own are like that.
A 19th century Kokopelli katsina doll at the Brooklyn Museum.
The men of a village create katsina dolls which are then gifted to the children during the village's Katsina dances, which are held from January through July. The dolls are teaching tools meant to be studied by youngsters learning about the religious beliefs and traditions of Hopi. In the last century or so they've also been made for sale to non-Hopi collectors.
This elegant Kokopelli katsina doll was carved from a single piece of cottonwood root by Hopi artist Michael Talahytewa.
In the Katsina known as Kokopelli are combined aspects of playful sexuality, joyful music, and deep reverence for the Earth and the cycles of Life itself. The music of his flute is said to usher in the springtime; it melts the snow, brings gentle spring rain, and inspires in people what we might call "spring fever"- a desire to celebrate, to dance, to make love. Farming in this semi-arid region is hard now; centuries ago it could only have been even more challenging. Kokopelli gives his people an important reminder to cherish the joy and beauty in their lives, and to make the the most of it. To remember and honor what is sacred in their lives. For themselves, and for future generations.
This spectacular silver overlay buckle is the work of Hopi artist Berra Tawahongva, and features a one horn priest Katsina accompanied by three Kokopellis.
As a sacred and holy part of what is still a vibrant living culture, not to mention one whose rightful owners guard with care, not sharing every detail about it with outsiders, it's safe to say that there is much more about Kokopelli than the little I could tell of here. But I think I can say with confidence that he is very much more than a tourist industry mascot. And always will be.
An especially interesting carving by Hopi artist Milton Howard. I own a mountain lion katsina made in similar style.
Thank you for reading. This is an open thread, all topics are welcome.