This Kachina has not been fully identified. He wears a helmet-style mask painted with zigzag designs and topped with feathers. He wears the cotton dance skirt, yarn ties on top of painted booties and yarn wrappings around his wrists. His snout protrudes, has painted teeth along the sides and a woven ring of plant material dangling from the end.

Henry L. Batterman Fund

This shirt is very early, pre 1830s Blackfoot. The fringe along the sleeves and shirttail is the remnants of ermine and bits can still be seen. The painted figures of people are probably indicative of dead people or people the warrior killed. Should be called a War Shirt not a dress shirt. The quillwork is bird quill. Quillwork is similar to Mandan Hidatsa. Sometimes dots that are rounded indicate hailstones but then they are organized in a scattered fashion more like splashes. There are many anomalies in the quill/bead design.

This cap was part of Brooklyn Museum curator Stewart Culin's personal collection but was originally owned by Frank Hamilton Cushing as part of his own Zuni clothing that he wore. Cushing's acceptance into the Zuni Bow Society was the culmination of his career. Cushing believed the Bow Priesthood to be the most powerful, elaborately organized of all associations. This cap of perforated buckskin is one of the badges of office in the priesthood. It is exceptionally finely crafted.

Kachina doll carrying two dance sticks wearing a painted dance skirt.

Museum Expedition 1907, Museum Collection Fund

Robert B. Woodward Memorial Fund

Helele or Hilili are participants in a dance often chosen by a kiva to perform after the winter solstice ceremonies. This is possibly the Hilili Kachina known as the Corn Hilili. He wears a helmet style mask with long beard and feathered top. On his shoulders he wears a fur cape, body is painted red and he wears a painted dance skirt and sash. His chest and arms are painted red. He wears blue hide boots with red trim and has yarn tied around his calves.

This Kachina doll is slightly unusual as it has carved facial features. Its arms are articulated at the shoulders and it wears a cotton warp dance skirt with painted sash and trim. Wool yarn is wrapped around the wrists and ankles and the boots are painted on. A cap is nailed to the head with remnants of fur remaining.

The whistle is in the form of a human face with an open mouth and the instrument is likely to have been used during the Hamatsa initiation ceremony. Cotton cord is wrapped around the "neck."