Kachina dolls (Katsina, from the Second Mesa language dialect), are symbolic carvings of a real Katsina (spirit being). The dolls are carved by the Katsinam according to traditional Hopi culture. The Katsinam are the ancient spiritual beings who represent all living things (animal, plant and man). These spirit beings visit the Hopi during sacred ceremonies throughout their ceremonial cycle, from the Winter Solstice in December to the end of July at Niman, when the Home Dance ceremony is performed to tell the Katsinam goodbye till the next yearly cycle. During the ceremonies, the Katsinam sing, dance and pray for rain and snow to bring moisture to their land for good crops and for good things for all mankind. The Hopi, from the time of their creation, their emergence from the first three worlds and in this fourth world, have always believed they are to pray for good for the entire world, for all mankind, not just for themselves.

These beautifully carved and decorated dolls first appear during the sacred ceremonies in February in the bean dance season. They are given as valuable gifts to children whom have shown appropriate behavior; a gift to the matriarch of each Hopi home, with a bundle of bean sprouts (ritually manifested by the katsinam) to represent an abundance of crops for the coming season and is an honored ritual; they may be presented to young women as an award for virtuous behaviour; or publicly recognize special persons such as the brides who will be presented at the Niman (or Home Dance) ceremony in July.

Traditionally, Katsina doll carving was done in the Kiva, an underground ceremonial place of sacred rituals, and was part of the preparation of the annual ceremonial dances the Hopi performed. Today, the carving is done in the carvers own home. There is no formal training for this unique craft. A young aspiring carver will simply watch a more experienced carver to learn the techniques and which tools to use.

Each carver will have his own pocket knife, which is his basic tool and they are very particular about the knives they use. A good butcher knife is used to make the initial rough shape, then the pocket knife is used for most of the carving. A knife with a long blade and which is pointed and angled is used for hard to reach places of the carving. The carver's tool box will contain a few rasps, files of different sizes and fineness, an awl, a light hammer, nails and several small handsaws. Sometimes a carver may prefer an ice pick to the awl to make small holes in which feathers can be glued into.

Each carver develops his or her own unique style even though all the carvers may carve some of the same Katsinas. The dolls are in various sizes. Most miniature dolls have been carved by women.

The beliefs of the carver are deeply ingrained into the mysticism of the dolls. There is a bond, a kinship, that develops between the carver and the doll - they are like family. When a doll is being carved, it is believed that it develops a soul and no part of it - not even the shavings - should be burned or discarded carelessly. The shavings must be buried, for they, too, are part of the spirit of the doll. The Hopi believe that the cottonwood root (the only wood used by authentic Katsina carvers) contains a spirit power that it has drawn from Mother Earth.

It is usually the piece of wood itself which communes to the carver as to which doll of the several hundred Katsina figures it should be and whether it will be a doll of action or standing still in majestic posture. Some carvers may meditate over the piece of wood before beginning the carving, and sometimes the piece may just immediately give off a message as to what it should look like.

Form and function is an important part of the finished project for the modern day Katsina carver. Although the oldest known Katsina dolls are from the early eighteenth century, it is probable that this art form comes from more ancient times of the Hopi culture. The earliest dolls were flat with just a slight indication of where the head and body separated and were painted with colored clay and mineral paints such as oxides of iron and copper ores.

The evolution of the craft began with more elaboration of the head and it's embellishments (sacred feathers of birds and plant parts). Then a greater definition of the arms and legs began to appear. Today's carvers put action into their Katsina with poses that are symbolic of each particular spirit being and much greater detail is seen on the dolls.

Because of higher commercial trade, the evolution of the Katsina dolls continues even today. The commercialism promotes more sales than ever for the carvers - however, this removes the Katsina further and further from their original religious purposes and they become only sculptures for non-Indian collectors of fine art. Since some bird feathers cannot be used because of scarcity or sacredness and parts of plants that were originally used will deteriorate, plastic and wood has taken the place of the original sacred pieces.

Fortunately, there are still some carvers who adhere to the ancient religious functions of the dolls and they are still used today in sacred ceremonies.

Katsina dreams and mysterious movements of the dolls have been encountered by non-Indian persons who have somehow obtained an authentic Katsina. Some have reported that the doll moves in concentric circles and is often found where it was not left. One such person returned his Katsina and begged the carver to take it back. It is wise to not misjudge the sacredness and religious function of a true Katsina.
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