Skip to main content

Croaking Frogs and Scratching Bears

 During one Spring Break Patti and I spent a week on the Hopi mesas. We ate traditional Hopi food, visited private homes where the women displayed their pots and weaving and learned some of the traditional stories from some of the men. My favorite (and unexpected) part however, was when we stopped at a gas station below the mesa on our way home. As I was paying for our gas the man taking the payment had a recording of a recent dance ceremony that took place on top of one of the mesas. He couldn't stand still but was moving along with the rhythms of the recording. I was captivated, I started asking questions about the music and found out that he had led that particular ceremony. He spent the next 30 minutes talking about the importance of water for his people and the need to implore for spring rains for the coming crops.

The important instrument for this ceremony is a wooden rasp placed on top of a gourd. Painted with a frog on one side and the symbol for rain on the other, the sound of the rasp would be amplified by the gourd producing the sound of a 'croaking' frog. Yes, he had one for sale and yes, I bought it.

Hopi gourd and rasp
The frog has been a symbol for water for many people from the Olmecs in the Yucatan and into the American Southwest, because after a rain frogs will set up a chorus of sound all night. I can attest to this because during a backpacking trip in Grand Gulch in Utah we were caught in a flash flood. Our camp was high enough up on an embankment safe from the rising water, but we spent a sleepless night in our tent because of frogs hopping around and tripping over the guylines, and their croaking was either an apology for their clumsiness or a sign of dissatisfaction for our invasion of their territory.

Grand Gulch after a flash flood

A similar instrument is used for the Bear Dance ceremony by the Utes (and others). The wooden rasp in this case is much longer and the gourd is replaced by a wooden boxlike structure. These boxes can be as small as a coffee table for 3 or 4 drummers or longer ones that would have 6 or more performers. The sound is not to imitate a 'growling bear' but goes back to a story of a female bear just coming out of hibernation and finding a tree, scratches her back. I don't own one of these............yet.

   

Comments

  1. What an adventure! I once had a wooden frog with bumps on his back and with the stick you could make him croak...it was a fun thing to share with the Grands:)

    ReplyDelete

Post a Comment

Popular posts from this blog

La Caverna del oro

 One of our first backpacking trips in Colorado was in the Sangre de Christo Mountains. One mountain in particular drew our attention. Marble Mountain was the location of a famous story of a Spanish cave of gold. There are many places on the web that tell this story better than I could, suffice it to say that we wanted to locate it and see the iconic 'Maltese Cross' located at it's entrance.  In 1974 after I got out of the Army we invited some friends to join us on this trip. We parked our car at the trailhead in the Wet Mountain Valley and backpacked up Marble Mountain to 12,000 feet. In one of the culverts we found the entrance to the cave. Maltese Cross at the Caverna del oro It turned out to be a real thing. The large red cross was still visible after 400 yrs. According to legend the Spanish put it there in the 1600's. I did have the courage to crawl into it but only a few feet. After about 10 feet there is a vertical shaft that drops about 750 feet!  The Cross is v...

The Amadinda

  The Amadinda is an African xylophone originally made from slabs of wood or even large sticks, with or without gourds for resonators. There was no reason for this project other than to see if I could make a simple mallet instrument. The box was made from plywood (which also acted as the resonators) and the bars were made from maple.  Since this was to be a true xylophone, the bars were all of equal width. Tuning was done by cutting the bars to different lengths and removing material from the bottom. Using a router I created a sort of 'stepped pyramid' instead of the traditional arc cut found on marimba or xylophone bars.  Cutting the underside is not only for tuning but it focuses the pitch and creates the characteristic overtones of the instrument. Since I wanted to play this with other 'Western' instruments, I chose to use a pentatonic scale of 2 2/5 octaves (C#,D#,F#,G#,A#,C#,D#,F#,G#,A#,C#,D#). Two people sit on either side of the instrument and strike the ends of ...

Camino del Diablo: The graves

This is not meant to be morbid but rather a reminder of the extremes of danger for those who traveled this desert trail.  What I saw were the historic graves, nothing from the pre-Spanish era. The Sonoran Desert has been inhabited for over 10,000 years and archaeologists have limited knowledge of the first people. What little is known consists of trails, trail shrines, petroglyphs/pictographs, mano and metate sites, sleeping circles and geoglyphs (the Blythe geoglyphs being some of the most famous). Some of these markers were names of people who may have died on their desert crossing or maybe just the fact that they were here. There is little information even for the historic markers. They are marked with rock piles in the form of a cross. Many were just rocks piled over the grave. One documented grave is that of Dave O'Neill, a prospector whose body was found along the trail in 1915.  The irony of the circumstances of his death is that his body was found face down in a puddle...