Immature golden eagle feather headdress with a beaded headband. Base of feathers wrapped in red felt and made over a felt hat base. Streamers of weasel fur and cloth dangle from headband sides. These types of war bonnets were historically worn for special occasions and may occasionally be worn on the battle field (although men often wore one or two special feathers instead). A man earned the right to make one through his brave deeds. Initially he would be awarded a single feather for each deed; a coup, killing, or horse stealing success. Once he accumulated ten feathers he was generally given permission to obtain the eagle feathers for a full bonnet. Ideally they would have 28 eagle feathers and each may have additional notching to designate an event. The tips of the feathers could be tied with the horsehair if a man had counted many coups. Thus the bonnets became oral histories and each piece signified events in the warrior's life. Feathers were very valuable, i.e., 12 feathers equaled 1 horse. These were worn by warriors, not necessarily "chiefs". Only a few very high ranked warriors would have the bonnets with the long trailers down the back. Today bonnets are still made as recognition for achievements in life, dedication to their community as well as war participation. Golden eagles are a protected bird and Non-natives may not use them, buy them or transport them without special permits.

Cheyenne or Sioux tipi or possible bag because of the stripe quill pattern and Arapaho, Gros Ventre for the edges of the beadwork. It is a very nice example even if the flap isn't decorated. There is some yellow ochre rubbed into the hide. Venetian beads and sinew sewn.Tipi or possible bag beaded on one side with metal jingles, dyed horsehair decorations, dyed feathers, and porcupine quill decorations. Really nice example with intact quillwork.

This Kachina represents Chaveyo and according to Barton Wright in "Classic Hopi and Zuni Kachina Figures" he is one of the most fearsome beings. If a youngster or an adult misbehaves badly this Kachina may come looking for him unless he mends his ways. The characteristic identifiers include nakedness, dots on legs and/or feet, crosses on his cheeks, and a cape thrown over the shoulders.This Kachina is in the grouping normally referred to as an ogre Kachina. It has bulging eyes and a protruding snout exhibiting a fierce aspect. In dances Chaveyo uses this ferocity to scare the children and even men into behaving. He appears during the Spring anytime but especially during the Powamuya (Bean Dance) and the Palolo Kongi (Water Serpent Dance) being badgered by clowns until he whacks them away.

This horsehair whip is possibly Blackfoot from the Montana area made by braiding dyed horsehair over a rawhide base and handle.

This pair of leggings was acquired as a set with shirt 50.67.1a. Like most men's leggings they extend from the top of the foot to the top of the hip and were meant to be fastened at the waist with a belt. The leggings are long enough that a large portion of skin hung over the wearer's belt and fit the leg tightly. The bottom tabs are actually the forelegs of the animal and they might be left to drag behind or rolled up and tied around the ankle. The proper left legging is colored red, while on the right it is a dark brown and this creates a mirror image of the colors on the matching shirt. Both leggings are painted with brown vertical stripes. The pinkish cast over both leggings and shirt has been reported to be earth paint; the brown identified as possibly limonite found in shallow pond bottoms or at the edges of bogs. The stripes seem to be applied with a stiff instrument, perhaps a bone brush. A large black and white (eagle?) feather is attached to one legging. Scalp locks are fastened in a series, as a fringe on the outside of the legs. See Jarvis report in Arts of Americas files.

The kachina who is known to carry a stuffed or real snake around his neck during the Hilili dances is the Hilili Kohanna kachina. It is possible that this doll is a variation of this kachina because of the stuffed snake and the wildcat dots on his arms that may reflect the wildcat skin worn by this kachina. Alternatively it might not really be a kachina dancer but a representation of a snake dancer, one who dances with live rattlesnakes of bull snakes. This dance is still done at Hopi although it is now closed to the public due to audiences that were too rowdy.The previous name of kachina is by Culin and is not correct. This kachina doll is wearing a cotton kilt with a painted snake design. A stuffed fabric image of a snake hangs from the kachina's protruding mouth. This doll is holding a bow in proper left hand and a spade shaped fan in the proper right. There are leather boots with turned back cuffs on his feet. His chest is painted with squiggly, vertical stripes. His arms, legs and face are dotted. His goggle eyes are painted textiles fastened to the mask. The arms are held on with nails. He wears a feather headdress and has long, unruly hair.

Male kachina doll , Kokopelli, with horsehair and large feather attached to top of head. Face is black with white horizontal stripes for eyes. A similar vertical stripe bisects face. Nose is cone-shaped and painted with pattern of horizontal stripes. Body decorated in red and light green. Belt is wide and made of white cotton twine. Right hand holds rattle. Back carved as a hunchback. Surface wear.

Wooden kachina doll was identified as Chilchi by Stewart Culin however this kachina's mask and dress does not correspond to the kachina with the closest name, Chilili-and Chilili never carries or plays a flute. It is probably Paiyatemu, a kachina representing one of four youths who has two roles. One is during the corn grinding and fertility rituals in the Summer Dance series. When four maidens take their places to dance they play this type of flute as the maidens' song begins. Ribbons represent flowers. When he arrives with a different kachina, Hekshiva Shelowa, his body is black which may be why this kachina has black arms. He represents prayers and the return of good crops. He is also thought to be a powerful figure, an original medicine man. This elaborately dressed doll has a feather headdress and a fringed buckskin collar with a Maltese cross painted on the front. He has a bustle with ribbons on his back and carries a song flute and rattle.

The blue color of these high top shoes indicates they may have been worn by Kachina Dancers. The red fringe was colored by dye made from alder bark or rubbed iron oxide. Calcium carbonate might have created the blue color. A band of porcupine quills covers the heels.

The front of the headdress has a beaded headband in blue and white. From under the headband, trailing down the back is dyed red horse hair. Two long horns (beef horns) are on either side. A roach of bird skin and feathers is fastened to center of horsehair trailer. Four bands of dyed feathers are attached to a red wool trailer faced with cotton fabric that hangs down the back of the headdress. According to Sean Standing Bear 10/24/2000) the small concentric beaded circles on either side of the headdress are 'eyeballs.'