Koyemsi Ogre

ABOUT THE AUTHOR

Paul Coze, artist, ethnographer and writer, of French and Russian descent. Educated in France. Became interested in Indians as a young man at the time that children were still playing cowboys and Indians, at the time of the Buffalo Bill shows in Europe. Then with the beginning of the Boy Scout movement, the outdoors, camping, etc., was a novelty. Having been a Boy Scout in Egypt in 1912 before returning to France, Paul Coze was one of the main founders of the French Boy Scouts and later the National Commissioner. This brought him in contact, after the first World War, with Indians that took part in it. He then studied the Smithsonian Reports and wrote a digest in French of the history and customs of the American Indians. This book was published in 1928 under the name MOEURS ET HISTOIRE DES PEAUX ROUGES (American Indians.) This book (Payot, Publisher) was crowned bythe Academie Francaise and is still a best seller in the French language. At that time he was invited to visit Canadian reservations by the Canadian Bureau of Indian Affairs and traveled from coast to coast on the Canadian National Railways which led to the publication of a second book, WAKANDA. Dr. Paul Rivet, Director of the Museum of Ethnography of the Trocadero (Now Paris Museum of Man) undertook to train him for field research work which then led to an official expedition from the Museum, financed by the French Government and co-sponsored by the Boy Scouts of France. Coze completed two missions of six months each among the Cree Indians in the extreme northern part of Saskatchewan where he lived with them, learning their customs and religion.

At that time they still were camping under tepees and made birch bark canoes and utensils. The second year he was initiated into the ceremonial traditions of these Plains Indians which helped him to get acquainted with Southwestern tribes. In 1934 John Collier, Commissioner of Indian Affairs in Washington, invited Paul to make headquarters in Santa Fe, New Mexico and introduced him to Pueblo, Navaho and Hopi leaders. Since that time Paul Coze has spent months visiting tribes in the Southwest. He has been quite active with different Indian activities, arts and crafts or ceremonials and has been well accepted by many tribes or pueblos, Hopis included.

As an artist he has contributed greatly with murals in many Arizona public buildings such as the Phoenix Municipal Airport, Arizona Veterans Memorial Coliseum, Prescott City Hall, St. Thomas the Apostle Parish, Phoenix, recently the U. S. Indian Medical Center, Blue Cross-Blue Shield Building, Town and Country, Phoenix Bird sculpture, banks and other buildings with murals or three dimensional art works of varied techniques. Paul Coze has also directed movies. He has been for eighteen years the Consul of France for the State of Arizona. He is Chevalier de la Legion d' Honneur. He conducts art classes and has written a best seller in art books - Quick Sketching with Paul Coze (Foster Publications.)

Hopi Glossary

The greatest problem is not that the pronunciation phonetically is impossible to transcribe, but there are some ng, eu (like e in French), with a tonality that English does not possess. The rhythm is often different, like in haranges given by Kachinam Fathers.

What is essential to remember is that no two Mesas pronounce words the same way and sometimes even words are different. For example: ohwee (yes) ohweu, heu. The short list that follows has been assembled with the help of Hopis from Hano (though no Tewa words were used), Walpi (First Mesa), Shungopavi, Mishongovi (Second Mesa), Oraibi and Hotevilla (Third Mesa).

There is NO official spelling. Every author uses a different phonetic system. The kachinam, KOKOLE is spelled KOKLE by Fewkes, QOQOQLO by F. J. Dockstader, QOQLO by H. S. Colton, QOAQUAKLEUM by Frank Waters (plural), QOQOLO, KOKOLE by Barton Wright and Evelyn Roat (incidently, KOKO is the Zui word for Kachina.) The names of the MOONS, (see page 43) varies in spelling, sound and interpretation.

Sincerely Yours

CEREMONIAL The old man speaks, The silent dancers wait. The ancient man calls Until a painted arm sweeps its rattles In a wide arc. Feet stamp, rhythm grows insistent As the beats synchronize into one. Hollow beat, jangling, clacking, Bells and turtle shells and rattles, Heart-beat of the hushed kiva. Unearthly voices, like the breathing of the clay walls, Rise and blend And feet and voices play with rhythm Quicken it Slow it Returning it to the pulsating, incessant beat. And the song of the dancers floats; Faintly it reaches the calm stars And permeates the sharp night Until stars and night and kiva and dancers Are one never ending rhythm. Phyllis Koenig PRAYER FOR THE NEW DAY (concept of the Hopi Indian of the Southwest) I dedicate myself to the Power Above as the glory of the sunrise The purple of the new day reveals the mystery of man's being The golden light reveals the tenderness of Almighty Power. The piercing red glow of sun shattering clouds of darkness reveals eternal strength Now may I clothe myself in Thy radiant countenance May I renew my life with Thy breath and be washed in eternal glory May I walk on Thy foot-trail of good in life Let my thought rise to the height as the wings of the eagle And led by Thy strength and wisdom from all directions of space May I bless Thee with my songs of praise Únceasing as the returning winds. Thy word has been spoken in thunder and lightning-flash and Thy glory is now established. May I be strong so that I may lead others To stay upon the path of light And humbly I will come and bow to Thee At the end of the trail As Your child. Interpretation by Patricia Benton As New Yorkers we have enjoyed ARIZONA HIGHWAYS for many years because it links us to the beautiful state of Arizona when we cannot be there. This February, 1970, along with our children, we were fortunate enough to make a brief visit to the Hopi Reservation where we witnessed the Bean Dance Ceremony and accompanying Kachina Dances. The excitement and beauty of that experience was so deep that I had hoped to write a description of the events that would convey some of their qualities to others. This task has been greatly simplified for me by my sixteen-year-old daughter Phyllis who wrote the enclosed poem. I could have never described that well. Sincerely, Harriet Koenig New York, N. Y.

ENJOYED THE BAR X GOLF COURSE Your excerpts from Ross Santee's Bar X Golf Course were so magnificently hilarious that I bought some extra copies of the April issue to give to friends. I didn't want to loan my subscription copy for fear I wouldn't get it back. Thanks for the fun. Mrs. John Moore Las Vegas, Nevada

A REMINDER OF HOME I am attending Bob Jones University in Greenville, South Carolina. One of the things I most enjoy is my ARIZONA HIGHWAYS every month. Shivers go up and down my spine when I see the familiar places and read about familiar things. They say you take things you love for granted until you must do without them. For years I had taken our sunrises, sunsets, stormy skies and clear days almost for granted. Then I left to come to the South. There is beauty here too, but to an Arizonan it could not possibly compare with the beauty and splendor of our deserts and mountains. Your ARIZONA HIGHWAYS helps me not to forget that beauty and causes me to treasure it even more. Those who have never seen the desert as we have seen it say to me, "You mean, you think the desert is beautiful?" I'll say I do, and the ARIZONA HIGHWAYS helps me prove it. Jay Merritt Bob Jones University Greenville, South Carolina QUINLAN NOT QUILAN We have just received our April issue of ARIZONA HIGHWAYS and although we always enjoy your publication, we were particularly pleased to see the photograph entitled "Sky Drama Over the Baboquivaris" taken in the Quinlan Mountains. We are sure your "Quilan" Mountains was a misprint!

My husband's great-grandfather, after whom the mountains are named, was a well-known Tucson figure in his day. Laura L. Quinlan Seattle, Wash. 98762

THANK YOU AND WELCOME My husband has a friend in Phoenix and NOW she's my friend too! Her name is Avvon Hughel, author of The Chew Bunch. Do you know she sent us a subscription to ARIZONA HIGHWAYS, starting with the January 1971 issue and we received January, February, March and April yesterday. I've never received a more enjoyable gift! My husband (also an author) has promised to buy me a small piece of Arizona so I can come there. I'm a poet and sometime' artist and I want to stop right beside that giant saguaro on Page 42 of your April issue! Oh, your magazine is a joy to see and read! Thank you, Avvon Hughel. And you too, Editor. Mrs. John Rolfe Burroughs Denver, Colorado

THANK YOU ALL! The author wishes to thank every one who helped make this special issue, with credit and acknowledgments for Apache Stone Company of Phoenix, Arizona, Sally Carlson, Dick Crail, Martha Lamb, Howard Seimatewa, Michelle Simmons and Bonnie Wilkins. Also Chris Black, Phil and Pat Broyles, Liza Coze, Caroline Duwyenie, Genevieve Gallagher, Becky Kimmel, Lillian Klinger, Leo Lacapa, Jon Maguire, Dan McCall, Natasha Raskin, and Bruce Timeche. To the many anonymous Hopis of all Mesas, a special Kwakwai! and Asquali!

OPPOSITE PAGE A Hano clown is often portrayed as a glutton. He carries a piki wafer in one hand and watermelon, which is a favorite of the clowns. Artist: Neil David, Walpi; Paul Coze collection.

BACK COVER Chaveyo, a white ogre . . . a kind of a bogey man type of a beneficent disciplinarian. Artist: Marshall Lomakema, Shungopovi. Henry and Thelma Galbraith collection.