"The Mastop Kachina is
the second kachina to appear on Third Mesa. He is not present
on Second or First Mesa. These kachinas always arrive in pairs
and come bounding out of the northwest on the next to last day
"As they rush into the
village they beat all the dogs that they encounter using the
short black and white staff which they carry for that purpose.
Leaping about with many antic gestures, they make their way to
the Chief Kiva where they talk in disguised voices with the individuals
inside and with each other.
"Then, as though suddenly
becoming aware of the females in the audience, they dash madly
into a cluster of women and grab their shoulders from behind
and they give a series of small hops indicating copulation.
"Then they return to
the kiva and converse for a while before again dashing over to
another group of women, repeating the action until nearly every
woman present from child to the very oldest has been approached.
All women, even the shy ones, do not avoid this embrace as it
is a serious fertility rite despite the antic touches, which
are never directed toward the women."
- Barton Wright, Kachinas: a Hopi
Artist Documentary (13)
Paul hails from Third Mesa
- the village of Hotevilla. He is a young carver at only 34 years
old, but has been carving since he was only 7 years old. Born
in Ganado, Arizona - he is of the Roadrunner and Greasewood clans
He credits his uncles with
teaching him the kachina carving art. His favorite designs include
animals, morning kachinas, and maiden kachinas.
"This is a talent that
I have been fortunate to be taught by my uncles when I was very
young. Doll carving was a way to support myself with things that
I wanted when I was a child all the way to my adult life. This
has always been a means of supporting my family and myself.
"I enjoy carving because
every piece I create has a little piece of myself in it. Each
piece of cottonwood has a specific art form in it. When I start
carving the kachina, working within the wood, it will come right
out and show itself, but if I try to go against what is within
the wood, it takes longer and things don't usually work out the
way you want.
"I enjoy teaching my
carving talent to people who are serious about learning and who
are willing to make something out of being able to learn. My
carvings mean a lot to me. I don't make them just to make them.
I always think about how my carvings are and where they live
and how they are being taken care of.
"I am very grateful to
my uncles Bill & Willard Sewemaenewa for always pushing and
encouraging me to learn this art."
- taken from Paul's own autobiographical