ThePueblo clowns (sometimes calledsacred clowns) arejesters ortricksters in thePueblo religion. It is a generic term, as there are a number of these figures in the ritual practice of the Pueblo people. Each has a unique role; belonging to separatekivas (secret societies or confraternities) and each has a name that differs from one mesa or pueblo to another.
The clowns perform monthly rituals, summer (for rain), November - for the gods, for curing society, black magic.[1] Among theHopi/Tewa there are four distinct clowns: theKoyi'msĭ (also calledHo'tomeli'pung, TewaTa'chûktĭ);Chüʳkü'wĭmkya;Pai'yakyamü orKoyala; andPi'ptuyakyamü (or "arrivals").[2]
In order for a clown to perform meaningful social commentary via humor, the clown's identity must usually be concealed. The sacred clowns of the Pueblo people, however, do not employ masks but rely on body paint and head dresses. Among the best known orders of the sacred Pueblo clown is theChiffoneti (calledPayakyamu inHopi,Kossa in theTewa language,Koshare among theKeres people,Tabösh atJemez, New Mexico, andNewekwe by theZuñi). These individuals present themselves with black and white horizontal stripes painted on their bodies and faces, paint black circles around the mouth and eyes, and part their hair in the center and bind it in two bunches which stand upright on each side of the head and are trimmed with corn husks.[3] A form of the Pueblo clown called the Kosha is described as a sacred being which appears in religious dances and performs many roles within the ceremonial structure, often teaching through their actions.[4]
The mudheads (calledKoyemshi in Zuni, andTatsuki in Hopi) are usually portrayed by pinkish clay coated bodies and matching cotton bag worn over the head.[5]
Anthropologists, most notablyAdolf Bandelier in his 1890 book,The Delight Makers, andElsie Clews Parsons in herPueblo Indian Religion, have extensively studied the meaning of the Pueblo clowns andclown society in general. Bandelier notes that the Tsuku were somewhat feared by the Hopi as the source of public criticism and censure of non-Hopi like behavior. Their function can help defuse community tensions by providing their own humorous interpretation of the tribe's popular culture, by reinforcing taboos, and by communicating traditions. A 1656 case of a young Hopi man impersonating the resident Franciscan priest atAwat'ovi is thought to be a historic instance of Pueblo clowning.[6]
a Pueblo clown, or Kosha — is a sacred being that appears in religious dances and performs numerous roles within the ceremonial structure. Often Kosha teach through their actions
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