This Kachina possibly represents Hetsululu. This Kachina was so poor he did not have any jewelry, clothes, or moccasins so Hemokatsiki-the grandmother of all Kachinas - rolled some clay into a nice shape and put it on top of his mask. He was then painted in stripes of all the colors used by the Kachinas so he would represent the world. Sometimes he appears barefooted but this doll has been dressed in an additional manner with the high boots. Hetsululu was sent to the village to play a game with the villagers with clay balls. He is considered friendly and now may appear with the mixed dances carrying a bucket of clay balls. Everyone believes that his clay increases rapidly so when he throws clay balls from his bucket they catch them and put them with their corn or bread so that they may also increase.

These are two very finely made square-toed snowshoes. Red Stroud cloth was used under the edge of the webbing along the sides of the snowshoes. Red and black tufts of yarn decorate the edges. The webbing is painted red in the two end sections and black in the center.

This garter is loom woven probably without the use of a heddle. The warps and wefts are thread and made with small seed beads. It has a repeated motif of eight-pointed yellow stars with white centers, outlined in blue, red, and clear beads on a blue and cloudy white background. See other garters 50.67.37 a,b,d.shown in additional potograph.

This garter is loom woven probably without the use of a heddle. It is made with garnet and white pony beads on a warp of black and green with thread wefts. The beads are composed in a geometric pattern of rectangles and diagonal lines, opposed as chevrons. See other garters, 50.67 a,c,d.shown in additional photogrpahs.

This garter is loom woven (probably made without the use of a heddle). It is made with white and garnet pony beads on a warp of green yarn and has thread welfts. The beads are composed in a geometric pattern of rectangles and diagonal lines, opposed as chevrons. See other garters 50.67.b,c,d.shown in additional photogrpahs.

This type of headdress is restricted to women wearing it. The quill decorations are commonly used on many dance regalia articles in southern California.The decorations mounted on slender wires will move as the wearer moves.

By exchange

This pottery doll wears hanging earrings and a necklace (both of dark blue and white beads), bracelets on either wrist (of sea-blue beads), and purplish-black yarn around waist which holds a red skirt. The black, thick hair falls straight with a bang effect at the forehead. Openings in ear lobes, nostrils, and mouth--eyes are black and white. Slight suggestion of breasts: toes and fingers defined. Brown line designs cross the eyes, jaws and chin and begin at the collar bone on the torso and continue, vertically, down the chest, arms and legs. Her skirt is wrapped around the waist and fastened with a yarn waistband.

This is a finger woven sash in bright colors of green, red, blue, white and gold making a zig zag esign. The ends are long fringes; the edges are trimmed with beads.

This side fold dress consists of six pieces: the main body of the dress, the flounce, the shoulder flap, the top bodice, and two hide thongs as a second shoulder strap. The horizontal seam is low and the folded over portion is shorter and would barely cover the breast. The folded over flap is even shorter in the back. The hide is worked so that the flesh side of the skin lies against the wearer, with the fur side out. The flounce is laced with hide thong. The seam of the dress, the blue and white pony beads on the shoulder strap, and the hem tabs are all sewn. It is likely that the two bottom tabs at the left side of the dress are formed from a remnant of the foreleg of the animal or are a decorative form to resemble this pattern technique imitating the animal's legs. Ten quilled stripes are worked around the skirt of the dress, horizontally, in measured registers of blue (once blue-green but faded since original BMA acquisition) and brown quill, separated by shorter sections of white porcupine quill where red tufts, once the tassels, of yarn emerge. Small black lines separate each quilled section. Some vertical marks of what is probably ochre appear at the ends of the quilled bands. Tin cones and a few copper cones are sewn to the bottom of the flounce, more or less at knee length, and on the two bottom tabs, which are further elaborated with an edging of blue and white beads. Five pairs of copper cones are sewn up the side seam. If the shoulder strap is examined from above, blue and white beads can be seen ornamenting the seams. A single row or blue beads edges the sides while the front and back seams display eight bands of two rows of white beads alternating with two rows of blue pony beads. See Jarvis supplemental file in Arts of Americas office or Brooklyn Museum Library.