It would seem from all these stories that the _Alósaka_ cult was vigorous in Awatobi, the ill-fated pueblo where the zealous Padre Porras lost his life in 1633, and that it was of southern origin, having been introduced into Awatobi by one of the phratries from the south which lived in the now ruined pueblos on the Little Colorado. The most complicated survival of the _Alósaka_ cultus is to be expected in the Middle Mesa pueblos, because the phratry which introduced it founded some of these pueblos[30] and still survives there. The result of an examination of many _Alósaka_ myths would seem to be a conclusion that he is a cultus hero of clans which came from the south. Totemic Aspect of Alósaka The _Alósaka_ cult may be regarded as another form of that totemic ancestor worship which appears in all Hopi mythology and ritual. The male and female _Alósakas_ are supposed to be ancestors of a cult society called the _Aaltû_, and are represented symbolically in the ritual by graven images, pictures, or personations by men. The name _Alósaka_ is simply a sacerdotal name used in this society, but it is applied to a similar conception found in the worship of other societies under other names. In the Snake-Antelope societies of the Hopi the male and female parents are called _Tcüa-tiyo_ (Snake-youth) and _Tcüa-mana_ (Snake-maid), which beings are personated in the secret exercises of the Snake dance by a boy and a girl appropriately clothed. In the Flute ceremony the cult society ancestors are called the _Leñya-tiyo_ (Flute-youth) and _Leñya-mana_ (Flute-maid), who are represented symbolically by images on the altars and by a boy and two girls in the public exhibition. In the _Lalakonti_ ceremony these two ancestral personages are represented in a symbolic way by images on the altar and by sand pictures on the floor, and by a man and two girls in the public dance. These personages are called by the _Lalakonti_ society the _Lakone-taka_ and the _Lakone-manas_ respectively. In the _Mamzrautû_ society they are called the _Marau-taka_ and the _Marau-manas_, and are symbolically represented on the altar by figurines and in the public dance by a boy and a maid called the _Palahiko-mana_ whose headdress with symbolic clouds and squash blossoms so closely resembles that of _Calako-mana_, or the Corn-maid,[31] that it is difficult to distinguish the two. In the great _katcina_ cult these two personages are called _Anwucnoshotaka_ and _Hahaiwuqti_, or “Man of all the Crow clans,” and “Mother of _katcinas_,” respectively; but as this cult is very complex in the East Mesa towns, and is celebrated by many amalgamated cult societies, there are various other names for these two ancestors. It is instructive to consider somewhat more in detail this aspect of the Hopi _katcina_ cult in the two great characteristic festivals called _Powamû_ and _Nimán_.