The Hopi Indian Series: Kachina Dolls

Hopi Kachina dolls (aka Katsina figures)

Bowers Museum (Santa Ana, California) 

For more info click here. 

 

 

I.

 

As torpedophiles will know, I'm a big fan of all types of doll: from wooden dolls to rag dolls; sex dolls to voodoo dolls. But I think my favourite dolls at the moment are Hopi kachina dolls - once described by Paul Éluard as the most beautiful things in the world [1] ...

 

 

II. 

 

Typically carved from the root of the cottonwood tree and traditionally given to young girls (and new brides) of the Hopi tribe, kachina dolls represent the immortal beings - the katsinam - that control various aspects of the natural world, such as rainfall, and act as messengers between humans and the spirit world.  

 

Whilst, invariably, these fabulous-looking dolls are now sold as examples of Native American folk art to the public, they still, I think, retain something of their powerful magic - although they obviously do not speak to us as they do to the Hopi, for whom they are sacred objects with more than merey a decorative function or an aesthetic charm.

 

Having said that, it should be pointed out that the figures only began to take on a more naturalistic look and have a professional finish once white Americans began to take an interest in buying and collecting them during the twentieth-century. I'm not quite sure what it tells us about the Hopi, or the transformative effects of the free market, but an attention to detail was only shown once there was money to be made.

Elders of the Tribe may not have been very happy at first, but even they were impressed that as the carvings became more extravagant and consumer demand went up, prices also rose significantly. From once selling for a few cents by the roadside, some kachina dolls carved by those recognised as genuine artists can now fetch up to $10,000.

 

So, having said earlier they still retain something of their powerful magic, let me now qualify that by adding that this could simply be the allure of commercial value; i.e., more capitalist authenticity than religious authenticity.   

 

Notes

 

[1] Paul Éluard writing in a letter to his wife in late May 1927. See Lettres à Gala (Gallimard, 1984), p. 22. A bilingual (English/French) edition ed. Pierre Dreyfus, trans. Jesse Browner, was published by Paragon House in 1989.  

      The Surrealists, of course, were well-known for their love of work produced by indigenous peoples (or what was known at the time as primitive art).

 

 

To read other posts in the Hopi Indian series, click here and/or here.