"The Great Horned Owl
[Mongwa] is best noted for his incessant war on the clowns. As
the clowns follow their usual pattern of un-Hopi-like behaviour,
a single silent figure will drift into one corner of the plaza
and watch these uncouth fellows."
"When the clowns next
appear, growing ever more boisterous in their actions, the Owl
again appears and hoots solemnly. With each appearance he gets
closer until he ends up talking with the clown chief who promptly
blames all misbehaviour on the other clowns."
"But at the last performance,
the Owl is joined by other Warrior Kachinas. They leap upon the
clowns, douse them with water, beat them vigorously with willow
switches or yucca blades, and leave them howling with remorse
in a pile in the middle of the plaza."
- Barton Wright, Kachinas: a Hopi
Artist's Documentary
Another characteristic of
the Owl is that of a messenger. He comes to warn the village
and to call them to repentance. Perhaps this is why he carries
on that way with the clowns - as a symbol. He comes to warn them
of the bad things that can happen if they are not living right.
He is often seen with a bow
and other hunting instruments, or depicted in carvings with a
rabbit in his hand or accompanying a Left-handed kachina on a
hunting party.
Paul hails from Third Mesa
- the village of Hotevilla. He is a young carver at only 34 years
old, but has been carving since he was only 7 years old. Born
in Ganado, Arizona - he is of the Roadrunner and Greasewood clans
of Hopi.
He credits his uncles with
teaching him the kachina carving art. His favorite designs include
animals, morning kachinas, and maiden kachinas.
"This is a talent that
I have been fortunate to be taught by my uncles when I was very
young. Doll carving was a way to support myself with things that
I wanted when I was a child all the way to my adult life. This
has always been a means of supporting my family and myself.
"I enjoy carving because
every piece I create has a little piece of myself in it. Each
piece of cottonwood has a specific art form in it. When I start
carving the kachina, working within the wood, it will come right
out and show itself, but if I try to go against what is within
the wood, it takes longer and things don't usually work out the
way you want.
"I enjoy teaching my
carving talent to people who are serious about learning and who
are willing to make something out of being able to learn. My
carvings mean a lot to me. I don't make them just to make them.
I always think about how my carvings are and where they live
and how they are being taken care of.
"I am very grateful to
my uncles Bill & Willard Sewemaenewa for always pushing and
encouraging me to learn this art."
- taken from Paul's own autobiographical
statement
