Trembling till he could hardly stand, Kwasa, at a sign from the priest,
extended his arms until the bowl was directly above the opening in
the slab and under the swinging head of the hollow effigy above. Then
through the tube came the seeds, first the yellow and white corn,
then the beans, the squash and melons, greenish cotton seeds and
rich-smelling brown grains of wheat. At last, when the bowl was nearly
full, there was poured down the colored corn for the sacred meal,
rounding and covering the rest.
Then Mosu motioned Kwasa to stand to one side, while Wiki was called
forward and given a similar bowl. Delighted at his friend’s good
fortune, Kwasa hardly heard the muttered congratulations that greeted
him as he stepped back into the circle. But stealthily fingering his
belt he patted the three red and white canes, telling himself that his
own luck and Wiki’s had been unchangeably entwined since the day they
had tossed the dice in the court.
But he had not time for more than a fleeting thought even for such
momentous things, for something else was happening above the sipapuh.
This time the attendant at the hatchway of the kiva poured through the
snake effigy into the sacred bowl a small stream of water, signifying
that thus would the snake deities of the clouds bless the planted seeds.
At another sign from Mosu, Wiki stepped back into the circle, and Kwasa
came forward to distribute to each person a handful of the Kawa-blessed
seeds. Then, taking a short stick tipped with stiff turkey feathers,
Mosu sprinkled the water from Wiki’s bowl to the six cardinal points,
north, east, south, west, the zenith and the nadir.
And the ceremony of the Blessing of Seeds was over.
Kwasa was glad to get out of the stifling air of the kiva and follow
the rest up the ladder into the court above, where the final great
rain-prayer rite was to be performed. In this he had no part, though he
still retained his mask and personated the pawik (duck) katcina in the
great circle that made the background for the principal actors.
Public-domain text, read in full here on John Shaqi.
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