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.

Basket woven in coil method by Jemez weaver Filipe Yepa. Although often attributed in style to Navajo or Apache Yepa was one of five or six men making baskets in this style. The red dye was obtained from the Armenian trader in the town. In some houses baskets not in use were suspended from the rafters, bottom side up, in neat rows. Today men in the Jemez Gachupin family still make coiled baskets, Alcario Gachupin purportedly learning from Yepa. Women used such baskets in a ceremonial dance where they held the basket, "life basket", holding all they will consume. The design is the steps of the cycle of life representing both worlds, black and red,-the here on earth and the spirit world.

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.

The arms of this Kachina doll are articulated. Its boots are painted on. It wears a ringlet of plant fiber as a headdress with feathers in the back and a painted skirt and sash. Wool yarn is tied around his wrists and calves.

Gift of Frederic B. Pratt

This woven carrying band would be worn around the forhead and attached to a woven basket that would rest on the back of the person carrying a load.

This collar is richly decorated with claws (bear's?) and fur appendages wrapped with quillwork and yarns. It might have been used for the singer to attract the Hoply People.

This bentwood corner bowl was made by the distinctly Northwest Coast process called kerfing. A single plank of wood is first trimmed, notched , steamed and bent. The bottom and sides were then pegged or sewn together with tree root. Finally the bowl is decorated with carving, painting and adding operculum shell trims. The large bowl would have been used for dried food. The abstracted design on the sides represents a killer whale.

Worn by both men and women, tubes of bone or wood pushed through the ear were a common form of personal adornment in central California.These have been elaborately decorated with feathers and clamshell.

This headdress would have been worn by a man on the back of the head. The long wooden pin would secure it to a hairnet. It is part of a dance outfit see 06.331.8027,a,b,c,e.