About 'grand mesa university'|Tournament Time…NCAA makes a trip to Mesa

Ｔｈｅ               ｆｉｇｕｒｅ               ｏｆ               Ｋｏｋｏｐｅｌｌｉ               ａｄｏｒｎｓ               ｅａｒｒｉｎｇｓ,               ｎｅｃｋｌａｃｅｓ,               ｂｒａｃｅｌｅｔｓ,               ａｎｄ               ｏｔｈｅｒ               ｍｏｄｅｓ               ｏｆ               ｆａｓｈｉｏｎ               ｔｈｅｓｅ               ｄａｙｓ.

Ｈｏｗｅｖｅｒ,               ｂｅｆｏｒｅ               ｔｈｅ               16ｔｈ               ｃｅｎｔｕｒｙ,               ｈｅ               ｇｒａｃｅｄ               ｃａｖｅ               ｗａｌｌｓ,               ｃｌｉｆｆｓ,               ａｎｄ               ｃｅｒａｍｉｃｓ.

Ｆｅｗ               ｐｅｏｐｌｅ               ｏｕｔｓｉｄｅ               ｔｈｅ               Ｐｕｅｂｌｏ               ｃｕｌｔｕｒｅｓ               ｋｎｏｗ               ｍｕｃｈ               ａｂｏｕｔ               ｔｈｅ               ｍｙｔｈｉｃａｌ               ｆｉｇｕｒｅ               ｏｔｈｅｒ               ｔｈａｎ               ｈｉｓ               ｖａｌｕｅ               ａｓ               ａ               ｄｅｃｏｒａｔｉｏｎ.

Ｅｖｅｎ               ｆｅｗｅｒ               ｋｎｏｗ               ｈｉｓ               ｏｒｉｇｉｎｓ.

Ａｍｏｎｇ               ｔｈｅ               Ｓｏｕｔｈｗｅｓｔｅｒｎ               Ｐｕｅｂｌｏｓ,               Ｋｏｋｏｐｅｌｌｉ               (ｗｈｉｃｈ               ｉｓ               ａ               ｎａｍｅ               ｄｅｒｉｖｅｄ               ｆｒｏｍ               Ｈｏｐｉ-Ｚｕｎｉ               ｏｒｉｇｉｎｓ)               ｈａｓ               ｂｅｅｎ               ｒｅｖｅｒｅｄ               ａｓ               ａ               ｐｏｗｅｒｆｕｌ               ｋａｃｈｉｎａ,               ｏｒ               ｇｏｄ,               ｆｏｒ               ｇｅｎｅｒａｔｉｏｎｓ.

Ｈｅ               ｈａｓ               ｈａｄ               ｔｈｅ               ｔｉｔｌｅ               ｏｆ               Ｒａｉｎ               Ｇｏｄ,               Ｆｅｒｔｉｌｉｔｙ               Ｇｏｄ,               ａｎｄ               Ｈｕｎｔｉｎｇ               Ｇｏｄ               ｂｅｓｔｏｗｅｄ               ｕｐｏｎ               ｈｉｍ               ｔｈｒｏｕｇｈｏｕｔ               ｔｈｅ               ａｇｅｓ.

Ｈｅ               ｈａｓ               ｂｅｅｎ               ｄｅｐｉｃｔｅｄ               ｗｉｔｈ               ｖａｒｉｏｕｓ               ｑｕａｌｉｔｉｅｓ               ｗｈｉｃｈ               ｗｉｌｌ               ｂｅ               ｄｅｓｃｒｉｂｅｄ               ｉｎ               ｄｅｔａｉｌ               ｆｕｒｔｈｅｒ;               ａｍｏｎｇ               ｔｈｅｍ               ｂｅｉｎｇ               ａ               ｄｉｓｔｉｎｃｔ               ｈｕｍｐ               ｏｎ               ｈｉｓ               ｂａｃｋ.

Ｈｅ               ｉｓ               ａｓ               ｌｅｇｅｎｄａｒｙ               ａ               ｆｉｇｕｒｅ               ａｍｏｎｇ               ｔｈｅ               Ｐｕｅｂｌｏｓ               ａｓ               Ｃｈｒｉｓｔ               ｉｓ               ａｍｏｎｇ               ｔｈｅ               Ｃｈｒｉｓｔｉａｎｓ,               ａｎｄ               ｊｕｓｔ               ａｓ               ｒｅｖｅｒｅｄ.

Ｙｅｔ,               ｆｅｗ               ｏｕｔｓｉｄｅ               ｔｈｅ               Ｆｏｕｒ-Ｃｏｒｎｅｒｓ               ｒｅｇｉｏｎ               ｋｎｏｗ               ａｎｙｔｈｉｎｇ               ａｂｏｕｔ               ｔｈｉｓ               ｖｅｒｓａｔｉｌｅ               ｄｅｉｔｙ.

Ｔｈｅ               ｑｕｅｓｔｉｏｎ               ｒｅｍａｉｎｓ,               ｗｈｅｒｅ               ｄｉｄ               Ｋｏｋｏｐｅｌｌｉ               ｏｒｉｇｉｎａｔｅ?

Ｗｈｙ               ｉｓ               ｈｅ               ｓｏ               ｉｍｐｏｒｔａｎｔ               ｔｏ               ｔｈｅ               Ｐｕｅｂｌｏｓ?

Ｉｎ               ｔｈｉｓ               ｐａｐｅｒ,               Ｉ               ｗｉｌｌ               ｅｘａｍｉｎｅ               ｔｈｅ               ｖａｒｉｏｕｓ               ｏｐｉｎｉｏｎｓ               ａｎｄ               ｔｈｅｏｒｉｅｓ               ｉｎ               ａｎ               ａｔｔｅｍｐｔ               ｔｏ               ａｎｓｗｅｒ               ｔｈｅｓｅ               ｑｕｅｓｔｉｏｎｓ.

Ｋｏｋｏｐｅｌｌｉ               ｉｓ               ｏｎｅ               ｏｆ               ｔｈｅ               ｆｅｗ               Ｎａｔｉｖｅ               Ａｍｅｒｉｃａｎ               ｄｅｉｔｉｅｓ               ｔｏ               ｈａｖｅ               ｓｕｒｖｉｖｅｄ               ｓｉｎｃｅ               ａｎｃｉｅｎｔ               ｔｉｍｅｓ.

Ｈｉｓ               ｉｍａｇｅ               ｉｎ               ｒｏｃｋ               ａｒｔ               ｈａｓ               ｓｐａｎｎｅｄ               ｏｖｅｒ               ａ               ｔｈｏｕｓａｎｄ               ｙｅａｒｓ,               ｆｒｏｍ               ｔｈｅ               ｅａｒｌｉｅｓｔ               ｆｌｕｔｅ               ｐｌａｙｅｒｓ               ｄａｔｅｄ               ａｔ               500               Ｂ.Ｃ.

ｕｐ               ｔｏ               ｔｈｅ               ｔｉｍｅ               ｏｆ               ｔｈｅ               Ｓｐａｎｉｓｈ.

Ｒｏｃｋ               ａｒｔ               ｄｅｐｉｃｔｉｏｎｓ               ａｒｅ               ｍｏｓｔ               ｎｕｍｅｒｏｕｓ               ｉｎ               ｔｈｅ               Ｃｈａｃｏ               Ｃａｎｙｏｎ-Ｃａｎｙｏｎ               ｄｅ               Ｃｈｅｌｌｙ               ａｒｅａ,               ｉｎ               ｄｒａｉｎａｇｅｓ               ｏｆ               ｔｈｅ               Ｒｉｏ               Ｇｒａｎｄｅ,               Ｓａｎ               Ｊｕａｎ,               ａｎｄ               Ｃｏｌｏｒａｄｏ               ｒｉｖｅｒｓ.1               Ｔｈｅ               ａｐｐｅａｒａｎｃｅｓ               ｏｆ               Ｋｏｋｏｐｅｌｌｉ               ｏｃｃｕｒ               ｍｏｓｔｌｙ               ｗｉｔｈｉｎ               ｔｈｅ               Ａｎａｓａｚｉ,               Ｍｏｇｏｌｌｏｎ,               Ｆｒｅｍｏｎｔ,               ａｎｄ               Ｈｏｈｏｋａｍ               ｔｒａｄｉｔｉｏｎｓ.

Ｈｅ               ａｌｓｏ               ａｐｐｅａｒｓ               ｗｉｔｈ               ｌｅｓｓ               ｆｒｅｑｕｅｎｃｙ               ｉｎ               ｔｈｅ               Ｍｉｓｓｉｓｓｉｐｐｉａｎ               ｃｕｌｔｕｒｅｓ               ａｎｄ               ａｓ               ａ               ｈｕｍｐｂａｃｋｅｄ               ｗｏｍａｎ               ｒａｔｈｅｒ               ｔｈａｎ               ａｓ               ａ               ｍａｌｅ.

Ｔｈｅ               ｅａｒｌｉｅｓｔ               ｅｖｉｄｅｎｃｅ               ｏｆ               ａ               Ｋｏｋｏｐｅｌｌｉ-ｔｙｐｅ               ｆｉｇｕｒｅ               ｏｃｃｕｒｓ               ｉｎ               ｔｈｅ               Ｂａｓｋｅｔ               Ｍａｋｅｒ               ＩＩＩ               ｔｒａｄｉｔｉｏｎ               ｏｆ               ｔｈｅ               Ａｎａｓａｚｉ.

Ｐｒｉｏｒ               ｔｏ               500               Ａ.Ｄ.,               ｔｈｅｙ               ｏｃｃｕｒ               ａｓ               ｆｌｕｔｅ               ｐｌａｙｅｒｓ               ｗｉｔｈｏｕｔ               ａ               ｈｕｍｐ               ｏｒ               ｐｈａｌｌｕｓ.2               Ｈｏｗｅｖｅｒ,               ａｆｔｅｒ               Ａ.Ｄ.

1000,               ｔｈｅｙ               ａｒｅ               ｐｒｅｓｅｎｔ               ｗｉｔｈ               ｈｕｍｐ               ａｎｄ               ｐｈａｌｌｕｓ               ｉｎ               Ａｎａｓａｚｉ               ｒｏｃｋ               ａｒｔ,               ｐｏｔｔｅｒｙ,               ａｎｄ               ｗａｌｌ               ｐａｉｎｔｉｎｇｓ.

Ｔｈｅｙ               ａｌｓｏ               ａｐｐｅａｒ               ｏｎ               ｃｅｒａｍｉｃｓ               ｏｆ               ｔｈｅ               Ｍｉｍｂｒｅｓ               ｉｎ               ｓｏｕｔｈｅｒｎ               Ｎｅｗ               Ｍｅｘｉｃｏ               ａｒｏｕｎｄ               Ａ.Ｄ.

1000               ｔｏ               Ａ.Ｄ.

1150               ａｎｄ               ｏｎ               Ｈｏｈｏｋａｍ               ｐｏｔｔｅｒｙ               ｂｙ               Ａ.Ｄ.

750               ｔｏ               Ａ.Ｄ.

850.3               Ｍｏｓｔ               ｒｏｃｋ               ａｒｔ               ｓｉｔｅｓ               ａｒｅ               ｓａｃｒｅｄ               ｔｏ               Ｎａｔｉｖｅ               Ａｍｅｒｉｃａｎｓ               ｔｏｄａｙ,               ｊｕｓｔ               ａｓ               ｔｈｅｙ               ｗｅｒｅ               ｉｎ               ａｎｃｉｅｎｔ               ｔｉｍｅｓ.

Ｔｈｅ               ａｒｔ               ｃａｎ               ｂｅ               ｆｏｕｎｄ               ｉｎ               ｐｌａｃｅｓ               ｔｈａｔ               ｗｅｒｅ               ｕｓｅｄ               ｆｏｒ               ａ               ｖａｒｉｅｔｙ               ｏｆ               ｐｕｒｐｏｓｅｓ.

Ｔｈｅ               Ｍｏｇｏｌｌｏｎ               ｃｕｌｔｕｒｅ               ｃｏｎｓｉｓｔｓ               ｏｆ               ｔｗｏ               ｂｒａｎｃｈｅｓ,               ｔｈｅ               Ｊｏｒｎａｄａ               ａｎｄ               ｔｈｅ               Ｍｉｍｂｒｅｓ.

Ｗｉｔｈｉｎ               ｔｈｅｓｅ               ｔｗｏ               ｂｒａｎｃｈｅｓ,               "ｄｅｐｉｃｔｉｏｎｓ               ｏｆ               ｈｕｍｐｂａｃｋｅｄ,               ａｎｄ               ｓｏｍｅｔｉｍｅｓ               ｐｈａｌｌｉｃ               ｆｉｇｕｒｅｓ               ａｒｅ               ｆｏｕｎｄ               ｉｎ               ｒｏｃｋ               ａｒｔ               ａｎｄ               ｃｅｒａｍｉｃｓ,               ｂｕｔ               ｎｏｎｅ               ｉｓ               ｐｌａｙｉｎｇ               ｔｈｅ               ｆｌｕｔｅ."               4               Ｓｕｃｈ               ｔｙｐｅｓ               ｏｆ               ｆｉｇｕｒｅｓ               ｒｅｓｅｍｂｌｅ               ｔｈｅ               Ｋｏｋｏｐｅｌｌｉ               ｆｉｇｕｒｅ,               ａｎｄ               ｔｈｕｓ,               ａｒｅ               ｌｉｋｅｌｙ               ｒｅｌａｔｅｄ               ｉｍａｇｅｓ.

Ａｎｏｔｈｅｒ               ｆｅａｔｕｒｅ               ｏｆ               Ｋｏｋｏｐｅｌｌｉ               ｉｓ               ｔｈｅ               ｉｎｃｌｕｓｉｏｎ,               ｏｒ               ｒｅｐｌａｃｅｍｅｎｔ               ｏｆ               ｔｈｅ               ｆｌｕｔｅ               ｂｙ               ａ               ｓｔａｆｆ.

Ｓｏｍｅｔｉｍｅｓ               ｔｈｅ               ｓｔａｆｆ               ｈａｓ               ａ               ｃｒｏｏｋ,               ｗｈｉｃｈ               ｃｏｕｌｄ               ｒｅｐｒｅｓｅｎｔ               ａ               ｃｅｒｅｍｏｎｉａｌ               ｏｂｊｅｃｔ.5               Ｉｎ               ｓｏｕｔｈｅａｓｔｅｒｎ               Ｕｔａｈ;               ｒｏｃｋ               ａｒｔ               ｏｆ               ｔｈｅ               Ａｎａｓａｚｉ               ｐｏｒｔｒａｙｓ               ｃｒｏｏｋｓ               ｉｎ               ａｓｓｏｃｉａｔｉｏｎ               ｗｉｔｈ               ｃｏｐｕｌａｔｉｎｇ               ｃｏｕｐｌｅｓ.

Ｉｔ               ｉｓ               ｐｏｓｓｉｂｌｅ               ｔｈｅ               ｃｒｏｏｋｅｄ               ｓｔａｆｆ               ｍａｙ               ｂｅ               ａ               ｐｌａｎｔｉｎｇ               ｓｔｉｃｋ,               ｗｈｉｃｈ               ｃｏｎｎｏｔｅｓ               ａ               ｆｅｒｔｉｌｉｔｙ               ａｓｐｅｃｔ               ｗｉｔｈ               ｗｉｌｌ               ｂｅ               ｄｉｓｃｕｓｓｅｄ               ｌａｔｅｒ.6
               Ｋｏｋｏｐｅｌｌｉ               ｍａｙ               ｈａｖｅ               ｈａｄ               ｈｉｓ               ｏｒｉｇｉｎｓ               ｉｎ               Ｍｅｓｏ-Ａｍｅｒｉｃａ.

Ｍａｎｙ               ｅｘｐｅｒｔｓ               ｂｅｌｉｅｖｅ               ｔｈｅ               ｄｅｉｔｙ               ｏｒｉｇｉｎａｔｅｄ               ａｍｏｎｇ               ｔｈｅ               Ａｚｔｅｃｓ               ｏｒ               Ｍａｙａｎｓ.

Ａｃｃｏｒｄｉｎｇ               ｔｏ               Ｍｉｌｌｅｒ,               Ｅｄ               Ｃｈｕａｈ,               ａ               ｐｒｅｈｉｓｔｏｒｉｃ               Ｍａｙａｎ               ｄｅｉｔｙ,               ｍａｙ               ａｃｔｕａｌｌｙ               ｂｅ               ａｎｃｅｓｔｒａｌ               Ｋｏｋｏｐｅｌｌｉ.

Ｈｅ               "ｗｅａｒｓ               ａ               ｂａｃｋｐａｃｋ,               ｃａｒｒｉｅｓ               ａ               ｓｔａｆｆ,               ａｎｄ               ｉｓ               ｐａｔｒｏｎ               ｏｆ               ｈｕｎｔｅｒｓ,               ｔｒａｖｅｌｉｎｇ               ｍｅｒｃｈａｎｔｓ,               ａｎｄ               ｂｅｅｋｅｅｐｅｒｓ."7               Ｇｒａｎｔ               ａｎｄ               Ｐａｒｓｏｎｓ               ａｓｓｅｒｔ               ｔｈｅ               ａｐｐｅａｒａｎｃｅ               ｏｆ               ｔｒａｄｅｒｓ               ｆｒｏｍ               Ｍｅｓｏ-Ａｍｅｒｉｃａ               ａｓ               ｐｏｓｓｉｂｌｅ               ｏｒｉｇｉｎｓ               ｆｏｒ               Ｋｏｋｏｐｅｌｌｉ.

Ａｓ               ｎｏｔｅｄ               ｉｎ               Ｌｉｓｔｅｒ               &               Ｌｉｓｔｅｒ,               ａｎｃｉｅｎｔ               ｐａｔｈｗａｙｓ               ｅｘｔｅｎｄｉｎｇ               ｆｒｏｍ               Ｃｈａｃｏ               Ｃａｎｙｏｎ               ｗｅａｖｅ               ａｎ               ｉｎｔｒｉｃａｔｅ               ｗｅｂ               ｏｆ               ｃｏｍｍｅｒｃｅ               ｂｅｔｗｅｅｎ               ｔｈｅ               ｎｕｍｅｒｏｕｓ               ｃｉｔｉｅｓ               ｏｆ               ｔｈｅ               Ｓｏｕｔｈｗｅｓｔ.

Ｔｈｏｓｅ               ａｎｃｉｅｎｔ               ｐａｔｈｗａｙｓ               ａｒｅ               ｓｔｉｌｌ               ｖｉｓｉｂｌｅ               ｆｒｏｍ               ｔｈｅ               ａｉｒ               ｔｏｄａｙ.

Ｍｏｓｔ               ｓｉｔｅｓ               ｏｆ               ｔｈｉｓ               ｓｏｒｔ               ａｒｅ               ｌｏｃａｔｅｄ               ａｔ               Ｌａ               Ｃｉｅｎｅｇｕｉｌｌａ,               ｗｈｅｒｅ               Ｋｏｋｏｐｅｌｌｉ               ｉｓ               ｓｈｏｗｎ               ｗｉｔｈ               ａ               ｌａｒｇｅ               ｍａｃａｗ               ｐｅｒｃｈｅｄ               ｏｎ               ａ               ｈｏｏｐ.8               Ｍａｃａｗｓ               ｃａｎ               ｂｅ               ｉｄｅｎｔｉｆｉｅｄ               ｉｎ               ｐｅｔｒｏｇｌｙｐｈｓ               ｉｎ               Ｗｅｓｔ               Ｍｅｓａ,               Ａｌｂｕｑｕｅｒｑｕｅ,               ａｎｄ               Ｇａｌｉｓｔｅｏ               Ｂａｓｉｎ               ｓｉｔｅｓ,               Ｃａｈｃｏ               Ｃａｎｙｏｎ,               ａｎｄ               ｎｏｒｔｈ               ｏｆ               Ｅｓｐａｎｏｌａ,               Ｎｅｗ               Ｍｅｘｉｃｏ.

Ｔｏｄａｙ               ｉｎ               ｔｈｅ               Ａｎｄｅｓ               ｏｆ               Ｓｏｕｔｈ               Ａｍｅｒｉｃａ,               ｍｅｄｉｃｉｎｅ               ｍｅｎ               ｔｒａｖｅｌ               ｆｒｏｍ               ｖｉｌｌａｇｅ               ｔｏ               ｖｉｌｌａｇｅ               ｗｉｔｈ               ａ               ｆｌｕｔｅ               ａｎｄ               ｓａｃｋ               ｏｆ               ｃｏｒｎ.9               Ｔｒａｄｅｒｓ               ｆｒｏｍ               Ｓｏｕｔｈ               Ａｍｅｒｉｃａ               ｗｅｒｅ               ｏｂｓｅｒｖｅｄ               ｂｙ               ｔｈｅ               ｎｅｗｌｙ               ａｒｒｉｖｅｄ               Ｓｐａｎｉａｒｄｓ,               ａｎｄ               ｃａｌｌｅｄ               ｐｏｃｈｔｅｃａｓ.

Ｔｈｅｓｅ               ｔｒａｄｅｒｓ               ｗｅｒｅ               ｆｒｏｍ               ａｎ               Ａｚｔｅｃ               ｍｅｒｃｈａｎｔ               ｇｕｉｌｄ               ａｎｄ               ｐｏｗｅｒ               ｂａｓｅ               ｔｈａｔ               ｏｐｅｒａｔｅｄ               ａｔ               Ｃａｓａｓ               Ｇｒａｎｄｅｓ               ａｎｄ               ｏｆｔｅｎ               ｃａｒｒｉｅｄ               ｌａｒｇｅ,               ｏｖｅｒ-ｌｏａｄｅｄ               ｂａｃｋｐａｃｋｓ               ｗｈｉｃｈ               ｗｏｕｌｄ               ｒｅｓｅｍｂｌｅ               ａ               ｈｕｍｐ               ｏｒ               ｈｕｎｃｈｂａｃｋ               ｗｈｅｎ               ｓｅｅｎ               ｉｎ               ｒｏｃｋ               ａｒｔ.10               (Ｓｅｅ               ｆｉｇｕｒｅ               3)               Ａｌｓｏ,               ｔｈｅ               Ｍｅｓｏ-Ａｍｅｒｉｃａｎ               ｇｏｄ-Ｑｕｅｔｚａｃｏａｔｌ,               Ｍｏｃｔｅｚｕｍａ,               ａｎｄ               Ｘｏｃｈｉｑｕｅｔｚａｌ               ｉｎｃｌｕｄｅｄ               ｍｅｎ               ｗｉｔｈ               ｄｅｆｏｒｍｅｄ               ｂａｃｋｓ               (ｈｕｍｐｂａｃｋｓ)               ｉｎ               ｔｈｅｉｒ               ｃｏｕｒｔｓ               ａｎｄ               ｅｎｔｏｕｒａｇｅｓ               ｉｎ               ｏｒｄｅｒ               ｔｏ               ｐｒｏｖｉｄｅ               ｒｅｌｉｇｉｏｕｓ               ｃｏｎｓｕｌｔａｔｉｏｎ               ａｎｄ               ｅｎｔｅｒｔａｉｎｍｅｎｔ.

Ｔｈｅｙ               ｗｅｒｅ               ａｌｓｏ               ｆａｖｏｒｅｄ               ａｓ               ｓａｃｒｉｆｉｃｉａｌ               ｓｕｂｊｅｃｔｓ.11               Ｔｈｅｙ               ａｐｐｅａｒ               ｉｎ               ｔｈｅ               ａｒｃｈｉｔｅｃｔｕｒｅ,               ｓｃｕｌｐｔｕｒｅ               ａｎｄ               ｃｅｒａｍｉｃ               ａｒｔ               ｏｆ               ａｎｃｉｅｎｔ               Ｍｅｓｏａｍｅｒｉｃａ               ａｓ               ｐｅｒｓｏｎｓ               ｏｆ               ａｐｐａｒｅｎｔ               ｓｏｃｉａｌ               ｓｔａｔｕｓ.

Ｌｉｎｄａ               Ｌａｙ               Ｓｈｕｌｅｒ,               ａｕｔｈｏｒ               ｏｆ               Ｓｈｅ               Ｗｈｏ               Ｒｅｍｅｍｂｅｒｓ               ｄｅｐｉｃｔｓ               Ｋｏｋｏｐｅｌｌｉ               ａｍｏｎｇ               ｔｈｅ               Ａｎａｓａｚｉ               ａｓ               ａ               ｔｒａｄｅｒ               ｏｆ               Ｔｏｌｔｅｃ               ｏｒｉｇｉｎｓ,               ａｎ               ｅｘｐｅｒｔ               ｆｌｕｔｅ               ｐｌａｙｅｒ,               ａｎｄ               ｃｏｎｓｕｍｍａｔｅ               ｌｏｖｅｒ.

Ｈｅ               ｉｓ               ｗｒｉｔｔｅｎ               ａｓ               ａ               ｈｕｍａｎ               ｗｉｔｈ               ｓｐｅｃｉａｌ               ｐｏｗｅｒｓ.

Ｓｈｅ               ｗｒｉｔｅｓ,               "Ｋｏｋｏｐｅｌｌｉ               ｃｏｍｅｓ!

Ｈｅ               ｏｆ               ｔｈｅ               ｓｉｎｇｉｎｇ               ｒｅｅｄ,               ｈｅ               ｏｆ               ｔｈｅ               ｓａｃｒｅｄ               ｓｅｅｄ,               ｃｏｍｅｓ               ｔｏ               ａｓｓｕｒｅ               ｔｈｅ               ｆｅｒｔｉｌｉｔｙ               ａｎｄ               ｇｏｏｄ               ｆｏｒｔｕｎｅ               ｏｆ               ｏｕｒ               ｐｅｏｐｌｅ"               12               Ｉｎ               ｔｈｉｓ               ｗａｙ,               ｈｅ               ｉｓ               ｐｏｒｔｒａｙｅｄ               ａｓ               ａ               ｔｒａｄｅｒ/ｆｅｒｔｉｌｉｔｙ               ｍａｎ-ｇｏｄ.

Ｃｅｒｔａｉｎ               ｓｉｍｉｌａｒｉｔｉｅｓ               ｅｘｉｓｔ               ｂｅｔｗｅｅｎ               Ｐｕｅｂｌｏ               ａｎｄ               Ｓｏｕｔｈ               Ａｍｅｒｉｃａｎ               ｃｅｒｅｍｏｎｉｅｓ               ｔｈａｔ               ｂｅａｒ               ａｔｔｅｎｔｉｏｎ               ａｓ               ａｎｏｔｈｅｒ               ｒｅａｓｏｎ               ｆｏｒ               Ｋｏｋｏｐｅｌｌｉ'ｓ               Ｓｏｕｔｈ               Ａｍｅｒｉｃａｎ/Ｍｅｓｏａｍｅｒｉｃａｎ               ｏｒｉｇｉｎｓ.

Ａｚｔｅｃ               ａｎｄ               Ｐｕｅｂｌｏ               ｃｕｌｔｕｒｅｓ               ｂｏｔｈ               ａｒｅ               ｋｎｏｗｎ               ｔｏ               ｈａｖｅ               ｉｍｐｅｒｓｏｎａｔｅｄ               ｇｏｄｓ.

Ｓｏｍｅｔｉｍｅｓ,               ｔｈｅ               ｓｈａｍａｎ               ｏｒ               ｍｅｄｉｃｉｎｅ               ｍｅｎ               ｉｍｐｅｒｓｏｎａｔｅｄ               ａ               ｇｏｄ               ｆｏｒ               ｏｎｅ               ｙｅａｒ.

Ｐｕｅｂｌｏｓ               ａｌｍｏｓｔ               ａｌｗａｙｓ               ｕｓｅｄ               ｍａｓｋｓ,               ｙｅｔ               Ａｚｔｅｃｓ               ａｌｍｏｓｔ               ｎｅｖｅｒ               ｕｓｅｄ               ｍａｓｋｓ.

Ｈｏｗｅｖｅｒ,               ｓｐｅｃｕｌａｔｉｏｎ               ａｒｉｓｅｓ               ｔｈａｔ               ｔｈｅ               Ｐｕｅｂｌｏｓ               ｍａｙ               ｈａｖｅ               ａｃｑｕｉｒｅｄ               ｍａｓｋ               ｕｓａｇｅ               ｆｒｏｍ               ｔｈｅ               Ｓｐａｎｉｓｈ.

Ｂｏｔｈ               ｃｕｌｔｕｒｅｓ               ｉｍｐｅｒｓｏｎａｔｅｄ               ｗａｒ               ｇｏｄｓ,               ｃｌｏｗｎｓ,               ｏｒ               ｋａｃｈｉｎａ               ｒａｉｎ               ｓｐｉｒｉｔｓ.

Ｔｈｅ               ｍａｓｋ               ｏｆ               ｔｈｅ               ｋａｃｈｉｎａ               ｒａｉｎ               ｇｏｄ               ｉｓ               ｍｏｓｔ               ｐｒｏｍｉｎｅｎｔ               ｉｎ               ｂｏｔｈ               ｃｕｌｔｕｒｅｓ.

Ｉｎ               ｃｅｒｔａｉｎ               ｃｅｒｅｍｏｎｉｅｓ,               Ｐｕｅｂｌｏ               Ｉｎｄｉａｎｓ               ｃｏｎｔｉｎｕｅ               ｔｈｉｓ               ｔｒａｄｉｔｉｏｎ.

Ｉｔ               ｗａｓ               ａｌｓｏ               ｂｅｌｉｅｖｅｄ               ｂｙ               ｖａｒｉｏｕｓ               Ｐｕｅｂｌｏ               ｓｏｃｉｅｔｉｅｓ               ｔｈａｔ               ａ               ｈｅａｖｙ               ｔｈｕｎｄｅｒｓｔｏｒｍ               ａｆｔｅｒ               ａ               ｐｅｒｓｏｎ'ｓ               ｄｅａｔｈ               ｉｎｄｉｃａｔｅｄ               ｔｈａｔ               ｐｅｒｓｏｎ               ｈａｄ               ｂｅｃｏｍｅ               ａ               ｋａｃｈｉｎａ,               ｏｒ               ｇｏｄ.13
               Ｔｈｅ               ｆａｃｔ               ｔｈａｔ               Ｋｏｋｏｐｅｌｌｉ               ｉｓ               ｄｅｐｉｃｔｅｄ               ｓｏ               ｏｆｔｅｎ               ａｓ               ｈａｖｉｎｇ               ａ               ｈｕｍｐ               ａｎｄ               ｅｒｅｃｔ               ｐｈａｌｌｕｓ               ｈａｓ               ｌｅｄ               ｓｏｍｅ               ｓｃｉｅｎｔｉｓｔｓ               ｔｏ               ｂｅｌｉｅｖｅ               ｔｈａｔ               ｈｅ               ｓｕｆｆｅｒｅｄ               ｓｏｍｅ               ｋｉｎｄ               ｏｆ               ｐｈｙｓｉｃａｌ               ｄｅｆｏｒｍｉｔｙ.

Ｇ.Ｂ.

Ｗｅｂｂ,               ａｆｔｅｒ               ａｎａｌｙｚｉｎｇ               ｓｅｖｅｒａｌ               ｐｅｔｒｏｇｌｙｐｈｓ               ａｎｄ               ｐｉｃｔｏｇｒａｐｈｓ               ａｓｓｅｒｔｓ               ｂｅｙｏｎｄ               ａ               ｄｏｕｂｔ               ｔｈａｔ               Ｋｏｋｏｐｅｌｌｉ               ｓｕｆｆｅｒｅｄ               ｆｒｏｍ               Ｐｏｔｔ'ｓ               ｄｉｓｅａｓｅ.14               Ｐｏｔｔ'ｓ               ｄｉｓｅａｓｅ               ｉｓ               ａ               ｆｏｒｍ               ｏｆ               ｔｕｂｅｒｃｕｌｏｓｉｓ,               ｗｈｉｃｈ               ｃａｕｓｅｓ               ａ               ｄｉｓｆｉｇｕｒｅｍｅｎｔ               ｏｆ               ｔｈｅ               ｓｐｉｎｅ               (ｋｙｐｈｏｓｉｓ),               ａ               ｐｅｒｍａｎｅｎｔｌｙ               ｅｒｅｃｔ               ｐｈａｌｌｕｓ,               ａｎｄ               ｓｏｍｅｔｉｍｅｓ               ｃｌｕｂ-ｆｏｏｔ.

(Ｓｅｅ               ｆｉｇｕｒｅ               __,               Ｓｌｉｆｅｒ               ａｎｄ               Ｄｕｆｆｉｅｌｄ)               ｔｈｉｓ               ｋｉｎｄ               ｏｆ               ｅｖｉｄｅｎｃｅ               ｉｓ               ｈａｒｄ               ｔｏ               ｉｇｎｏｒｅ,               ａｎｄ               ｃｏｕｌｄ               ａｃｃｏｕｎｔ               ｆｏｒ               ｔｈｅ               ｈｕｍｐ               ａｎｄ               ｐｈａｌｌｕｓ               ｔｈａｔ               ｏｃｃｕｒ               ｏｎ               Ｋｏｋｏｐｅｌｌｉ               ｆｉｇｕｒｅｓ               ａｆｔｅｒ               Ａ.Ｄ.

1000.

Ｔｈｉｓ               ｃｏｕｌｄ               ｍｅａｎ               ｔｈａｔ               Ｋｏｋｏｐｅｌｌｉ               ｔｈｅｎ               ｅｖｏｌｖｅｄ               ｆｒｏｍ               ａ               ｆｌｕｔｅ-ｐｌａｙｉｎｇ               ｔｒａｄｅｒ               ｆｒｏｍ               Ｍｅｓｏａｍｅｒｉｃａ               ｔｏ               ａ               ｄｉｓｆｉｇｕｒｅｄ,               ｙｅｔ               ｖｉｒｉｌｅ               ｍａｎ               ｗｈｏ               ｔｒａｖｅｌｅｄ               ａｍｏｎｇ               ｔｈｅ               Ｐｕｅｂｌｏｓ.

Ｂｅｃａｕｓｅ               ｔｈｅ               ａｎｃｉｅｎｔ               ｐｅｏｐｌｅ               ｏｆ               ｔｈｅ               Ｐｕｅｂｌｏｓ               ｄｉｄ               ｎｏｔ               ｕｎｄｅｒｓｔａｎｄ               ｗｈａｔ               Ｐｏｔｔ'ｓ               ｄｉｓｅａｓｅ               ｉｓ,               ｔｈｅｙ               ｃｏｕｌｄ               ｈａｖｅ               ｐｏｓｓｉｂｌｙ               ｓｅｅｎ               ｔｈｅ               ｄｉｓｆｉｇｕｒｅｍｅｎｔ               ａｓ               ａ               ｓｏｒｔ               ｏｆ               ｃｏｎｓｅｑｕｅｎｃｅ               ｏｒ               ｐｒｉｃｅ               ｔｈｉｓ               ｐｅｒｓｏｎ               ｈａｄ               ｔｏ               ｐａｙ               ｉｎ               ｏｒｄｅｒ               ｔｏ               ｂｅ               ｇｉｆｔｅｄ               ｗｉｔｈ               ａ               ｐｅｒｍａｎｅｎｔ               ｅｒｅｃｔｉｏｎ.

Ａｌｓｏ,               Ａｃｃｏｒｄｉｎｇ               ｔｏ               Ａｓｓｏｃｉａｔｅ               Ｐｒｏｆｅｓｓｏｒ               Ｔｏｄｄ               Ｓｍｉｔｈ               ｏｆ               ｔｈｅ               Ｈｉｓｔｏｒｙ               Ｄｅｐａｒｔｍｅｎｔ               ｏｆ               Ｕｎｉｖｅｒｓｉｔｙ               ｏｆ               Ｎｏｒｔｈ               Ｔｅｘａｓ,               ｔｈｅ               ｈｉｓｔｏｒｉｃ               Ｃｏｍａｎｃｈｅ               ｃｈｉｅｆ               ｋｎｏｗｎ               ｔｏ               ｔｈｅ               ｗｈｉｔｅ               ｐｅｏｐｌｅ               ａｓ               Ｂｕｆｆａｌｏ               Ｈｕｍｐ,               ｗａｓ               ａｃｔｕａｌｌｙ               ｋｎｏｗｎ               ａｍｏｎｇ               ｈｉｓ               ｐｅｏｐｌｅ               ａｓ               Ｐｏｃｈａｑｕａｒｓｈｉｐ.

Ｔｈｉｓ               Ｃｏｍａｎｃｈｅ               ｎａｍｅ               ｍｅａｎｓ,               Ｅｒｅｃｔｉｏｎ-Ｔｈａｔ-Ｗｏｎ'ｔ-Ｇｏ-Ｄｏｗｎ.

Ｈｅ               ｉｓ               ｓａｉｄ               ｔｏ               ｈａｖｅ               ｈａｄ               ａ               ｌａｒｇｅ               ｈｕｍｐ               ｂｅｔｗｅｅｎ               ｈｉｓ               ｓｈｏｕｌｄｅｒｓ,               ｗｈｉｃｈ               ｒｅｓｅｍｂｌｅｄ               ａ               ｂｕｆｆａｌｏ'ｓ               ｈｕｍｐ,               ｈｅｎｃｅ               ｈｉｓ               Ａｎｇｌｏ-ｇｉｖｅｎ               ｎａｍｅ.

Ｉｔ               ｉｓ               ｉｎｔｅｒｅｓｔｉｎｇ               ｔｏ               ｓｐｅｃｕｌａｔｅ               ｔｈｅ               ｐｏｓｓｉｂｉｌｉｔｙ               ｔｈａｔ               Ｐｏｔｔ'ｓ               ｄｉｓｅａｓｅ               ｍａｙ               ｈａｖｅ               ａｆｆｌｉｃｔｅｄ               ｂｏｔｈ               Ｂｕｆｆａｌｏ               Ｈｕｍｐ               ａｎｄ               Ｋｏｋｏｐｅｌｌｉ.

Ａｆｔｅｒ               ｈａｖｉｎｇ               ａｐｐｌｉｅｄ               ｓｔｒｉｎｇｅｎｔ               ｃｒｉｔｅｒｉａ               ｉｎ               ｉｄｅｎｔｉｆｙｉｎｇ               Ｐｏｔｔ'ｓ               ｄｉｓｅａｓｅ,               ｈｅ               ｄｉｓｃａｒｄｅｄ               11               ｏｒ               ｔｈｅ               15               Ａｍｅｒｉｃａｎ               ｃａｓｅｓ               ｏｆ               ａｌｌｅｇｅｄ               ｐｒｅｈｉｓｔｏｒｉｃ               ｔｕｂｅｒｃｕｌｏｓｉｓ               ｋｎｏｗｎ               ｂｙ               1960.

Ｔｈｅ               ｅｖｉｄｅｎｃｅ               ｏｆ               Ｐｏｔｔ'ｓ               ｄｉｓｅａｓｅ               ｉｓ               ｒａｔｈｅｒ               ｓｕｐｅｒｆｉｃｉａｌ,               ａｎｄ               ｉｔ               ｉｓ               ｄｏｕｂｔｆｕｌ               ｔｈａｔ               ａ               ｐｅｒｓｏｎ               ｓｕｆｆｅｒｉｎｇ               ｆｒｏｍ               ａｎ               ｕｎｔｒｅａｔｅｄ               ｆｏｒｍ               ｏｆ               ｔｕｂｅｒｃｕｌｏｓｉｓ               ｃｏｕｌｄ               ｔｒａｖｅｌ               ｔｏ               ｓｕｃｈ               ａｎ               ｅｘｔｅｎｔ               ａｓ               ｈｅ               ｉｓ               ｂｅｌｉｅｖｅｄ               ｔｏ               ｈａｖｅ               ｄｏｎｅ.

Ｔｈｅ               ａｃｔ               ｏｆ               ｐｕｒｓｕｉｎｇ               ｙｏｕｎｇ               ｍａｉｄｅｎｓ               ｗｏｕｌｄ               ｈａｖｅ               ｂｅｅｎ               ａｎ               ｅｎｏｒｍｏｕｓ               ｆｅａｔ               ｏｆ               ｐｒｏｗｅｓｓ               ｆｏｒ               ｔｈｅ               ｖｉｃｔｉｍ               ｏｆ               ｓｕｃｈ               ａ               ｄｉｓｅａｓｅ.15
               Ｉｆ               ｎｏｔ               Ｐｏｔｔ'ｓ               ｄｉｓｅａｓｅ,               ｗｈａｔ               ｔｈｅｎ               ｐｒｏｄｕｃｅｄ               ｔｈｅ               ｈｕｍｐ               ｏｎ               Ｋｏｋｏｐｅｌｌｉ'ｓ               ｂａｃｋ?

Ａｎ               ｅｘｃｅｒｐｔ               ｆｒｏｍ               ａ               ｍｏｄｅｒｎ               Ｈｏｐｉ               ｓｔｏｒｙ,               ｅｎｔｉｔｌｅｄ,               "Ｔｈｅ               Ｍａｎ-Ｃｒａｚｅｄ               Ｗｏｍａｎ,"               ｓｈｅｄｓ               ｓｏｍｅ               ｌｉｇｈｔ               ｏｎ               ｔｈｉｓ:
               Ｏｎｅ               ｄａｙ               ｔｈｅ               ｍａｎ,               ｗｈｏ               ｈａｄ               ｂｅｅｎ               ａｂｕｓｅｄ               ｂｙ               ｈｉｓ               ｗｉｆｅ,               ｗａｓ               ａｇａｉｎ               ｓｉｔｔｉｎｇ               ｂｙ               ｔｈｅ               ｍｅｓａ               ｆｒａｕｇｈｔ               ｗｉｔｈ               ｗｏｒｒｉｅｓ.

Ａｓ               ｈｅ               ｓａｔ               ｔｈｅｒｅ               ｈｅ               ｋｅｐｔ               ｔｈｉｎｋｉｎｇ,               "Ｉｆ               Ｉ               ｊｕｍｐ               ｏｆｆ               ｈｅｒｅ,               Ｉ               ｗｏｎ'ｔ               ｈａｖｅ               ｔｏ               ｇｏ               ｈｏｍｅ               ａｎｄ               ｓｕｆｆｅｒ               ｈｅｒ               ｍｉｓｔｒｅａｔｍｅｎｔ               ａｎｙ               ｍｏｒｅ."               Ｈｅ               ｆｌｕｎｇ               ｈｉｍｓｅｌｆ               ｄｏｗｎ.

Ｔｈｅ               ｃｌｉｆｆ               ａｔ               ｔｈｉｓ               ｐｌａｃｅ               ｗａｓ               ｒａｔｈｅｒ               ｈｉｇｈ,               ａｎｄ               ｉｔ               ｔｏｏｋ               ａ               ｗｈｉｌｅ               ｕｎｔｉｌ               ｈｅ               ｓｔｒｕｃｋ               ｔｈｅ               ｇｒｏｕｎｄ.

Ｑｕｉｔｅ               ａ               ｂｉｔ               ｏｆ               ｔｉｍｅ               ｐａｓｓｅｄ               ｕｎｔｉｌ               ｔｈｅ               ｍａｎ               ｇｏｔ               ｗｅｌｌ               ａｇａｉｎ.

Ｈｅ               ｈａｄ               ｒｅｃｏｖｅｒｅｄ               ｔｏ               ｔｈｅ               ｐｏｉｎｔ               ｗｈｅｒｅ               ｈｅ               ｆｅｌｔ               ｎｏ               ｐａｉｎ               ａｎｙ               ｌｏｎｇｅｒ.
               Ｈｏｗｅｖｅｒ,               ｓｉｎｃｅ               ｈｅ               ｈａｄ               ｂａｄｌｙ               ｉｎｊｕｒｅｄ               ｈｉｓ               ｂａｃｋ,               ｈｅ               ｈａｄ               ａ               ｈｕｍｐ               ｎｏｗ.16               Ａｎｏｔｈｅｒ               ｔａｌｅ               ｏｆ               ｔｈｅ               Ｈｏｐｉ,               ｃａｌｌｅｄ               "Ｔｈｅ               Ｌｏｎｇ               Ｋｗａｓｉ               ｏｆ               Ｋｏｏｋｏｐｏｌｏ,"               ｔｅｌｌｓ               ｏｆ               ａ               ｂｏｙ               ｉｎｆａｔｕａｔｅｄ               ｗｉｔｈ               ａ               ｂｅａｕｔｉｆｕｌ               ｇｉｒｌ.

Ｈｅ               ｉｓ               ｑｕｉｔｅ               ｕｇｌｙ               ａｎｄ               ｓｌｏｗ,               ｗｉｔｈ               ｌｉｔｔｌｅ               ｐｈｙｓｉｃａｌ               ａｂｉｌｉｔｙ,               ｙｅｔ               ｈｅ               ｈａｓ               ａ               ｌｏｎｇ               ｐｈａｌｌｕｓ               (ｋｗａｓｉ).

Ｈｅ               ｄｅｖｉｓｅｓ               ａｎ               ｉｎｇｅｎｉｏｕｓ               ｗａｙ               ｔｏ               ｃｏｐｕｌａｔｅ               ｗｉｔｈ               ｔｈｅ               ｇｉｒｌ               ｗｉｔｈｏｕｔ               ｈｅｒ               ｂｅｉｎｇ               ａｗａｒｅ               ｏｆ               ｉｔ.
               Ｈｅ               ｄｕｇ               ａ               ｄｉｔｃｈ               ｆｒｏｍ               ｈｉｓ               ｈｏｕｓｅ               ａｌｌ               ｔｈｅ               ｗａｙ               ｔｏ               ｔｈｅ               ｄｕｍｐ.

Ｈａｖｅ               ｃｏｍｐｌｅｔｅｄ               ｔｈｅ               ｅｘｃａｖａｔｉｏｎ               ｉｎ               ｔｈｅ               ｃｏｕｒｓｅ               ｏｆ               ｊｕｓｔ               ｏｎｅ               ｎｉｇｈｔ,               ｈｅ               ｉｎｓｔａｌｌｅｄ               ａ               ｒｅｅｄ               ｗｈｉｃｈ               ｒｅａｃｈｅｄ               ｅｘａｃｔｌｙ               ｔｏ               ｔｈｅ               ｓｐｏｔ               ｗｈｅｒｅ               ｔｈｅ               ｇｉｒｌ               ｃａｍｅ               ｔｏ               ｄｅｆｅｃａｔｅ.

Ｔｈｅ               ｈｅ               ｃｏｖｅｒｅｄ               ｕｐ               ｔｈｅ               ｒｅｅｄ               ｗｉｔｈ               ｅａｒｔｈ               ａｎｄ               ｃａｒｅｆｕｌｌｙ               ｒｅｍｏｖｅｄ               ａｌｌ               ｔｒａｃｅｓ               ｏｆ               ｈｉｓ               ａｃｔｉｖｉｔｙ...Ｔｈｅｎ               ｉｔ               ｂｅｃａｍｅ               ｄａｙｌｉｇｈｔ...ｗｈｅｎ               ｔｈｅ               ｇｉｒｌ               ｈａｄ               ｄｉｓａｐｐｅａｒｅｄ               ａｎｄ               ｇｏｎｅ               ｄｏｗｎ               ｔｈｅ               ｍｅｓａ               ｓｉｄｅ,               ｈｅ               ｐｕｌｌｅｄ               ｏｕｔ               ｈｉｓ               ｅｒｅｃｔ               ｋｗａｓｉ,               ａｎｄ               ｂｅｇａｎ               ｉｎｓｅｒｔｉｎｇ               ｉｔ               ｉｎｔｏ               ｔｈｅ               ｒｅｅｄ.

Ｉｔ               ｗａｓ               ｓｏ               ｌｏｎｇ               ｔｈａｔ               ｉｔ               ｒｅａｃｈ               ａｌｌ               ｔｈｅ               ｗａｙ               ｔｏ               ｔｈｅ               ｅｎｄ               ｏｆ               ｔｈｅ               ｒｅｅｄ.17
               Ｂｏｔｈ               ｓｔｏｒｉｅｓ               ｄｅｐｉｃｔ               Ｋｏｋｏｐｅｌｌｉ               ａｓ               ｂｅｉｎｇ               ｅｘｔｒｅｍｅｌｙ               ｖｉｒｉｌｅ,               ｉｎ               ｓｐｉｔｅ               ｏｆ               ｓｏｍｅ               ｐｈｙｓｉｃａｌ               ｗｅａｋｎｅｓｓ.
               Ｋｏｋｏｐｅｌｌｉ               ｈａｓ               ｌｏｎｇ               ｂｅｅｎ               ｃｏｎｓｉｄｅｒｅｄ               ａ               ｇｒｅａｔ               ｇｏｄ               ｏｆ               ｆｅｒｔｉｌｉｔｙ,               ｗｈｉｃｈ               ｉｓ               ｏｂｖｉｏｕｓ               ｉｎ               ｔｈｅ               ｓｔｏｒｉｅｓ               ａｎｄ               ａｒｔｉｓｔｉｃ               ｒｅｎｄｅｒｉｎｇｓ               ｏｆ               ｔｈｅ               Ｐｕｅｂｌｏ               Ｉｎｄｉａｎｓ.

Ａｔ               ｔｈｅ               Ｔｅｎａｂｏ               (Ｔｏｍｐｉｒｏ/Ｐｕｅｂｌｏ               ＩＶ)               ｒｕｉｎ               ｎｅａｒ               ｔｈｅ               Ｒｉｏ               Ｇｒａｎｄ               ｒｉｖｅｒ,               Ｓｌｉｆｅｒ               ａｎｄ               Ｄｕｆｆｉｅｌｄ               ｏｂｓｅｒｖｅｄ               ａ               ｐｅｔｒｏｇｌｙｐｈ               ｐａｎｅｌ               ｏｆ               ａ               ｆｌｕｔｅ               ｐｌａｙｅｒ               "ｗａｌｋｉｎｇ               ｉｎ               ａ               ｐｒｏｃｅｓｓｉｏｎ               ｗｉｔｈ               ａ               ｄｒｕｍ-ｍａｊｏｒ               ｔｙｐｅ               ｐｅｒｓｏｎａｇｅ,               ａ               ｓｅｃｏｎｄ               ｈｕｍｐｂａｃｋｅｄ               ｆｉｇｕｒｅ,               ａｎｄ               ａｎｏｔｈｅｒ               ｗｈｏ               ａｐｐｅａｒｓ               ｔｏ               ｂｅ               ｂｅａｒｉｎｇ               ａ               ｌａｒｇｅ,               ｓｅｅｄ-ｌｉｋｅ               ｏｂｊｅｃｔ."18               Ａｍｏｎｇ               ｍｏｄｅｒｎ-ｄａｙ               Ｚｕｎｉｓ               ａｎｄ               Ｈｏｐｉｓ,               Ｋｏｋｏｐｅｌｌｉ               ｉｓ               ｓａｉｄ               ｔｏ               ｃａｒｒｙ               ｓｅｅｄｓ,               ｂａｂｉｅｓ,               ａｎｄ               ｂｌａｎｋｅｔｓ               ｉｎ               ｈｉｓ               ｈｕｍｐ               ｔｏ               ｇｉｖｅ               ｔｏ               ｔｈｅ               ｙｏｕｎｇ               ｍａｉｄｅｎｓ               ｈｅ               ｓｅｄｕｃｅｓ.19               Ｔｈｉｓ               ｗｏｕｌｄ               ｅｘｐｌａｉｎ               ｔｈｅ               ｐｒｅｓｅｎｃｅ               ｏｆ               ｈｉｓ               ｈｕｍｐ,               ｗｈｉｃｈ               ｗｏｕｌｄ               ｈａｖｅ               ｃｌｅａｒ               ｆｅｒｔｉｌｉｔｙ               ｃｏｎｎｏｔａｔｉｏｎｓ               ａｌｏｎｇ               ｗｉｔｈ               ｔｈｅ               ｅｒｅｃｔ               ｐｈａｌｌｕｓ.

Ｔｈｅ               ｆｌｕｔｅ               ｉｓ               ａｌｓｏ               ｃｏｎｓｉｄｅｒｅｄ               ｔｏ               ｂｅ               ａ               ｆｅｒｔｉｌｉｔｙ               ｅｌｅｍｅｎｔ,               ａｓ               ｉｔ               ｉｓ               ｕｓｅｄ               ｉｎ               ｃｏｕｒｔｓｈｉｐ               ｃｅｒｅｍｏｎｉｅｓ,               ｒａｉｎ               ｃｅｒｅｍｏｎｉｅｓ,               ａｎｄ               ｐｌａｎｔｉｎｇ               ｃｅｒｅｍｏｎｉｅｓ.

Ｅｖｉｄｅｎｔｌｙ,               ｔｈｅ               ｆｌｕｔｅ               ｈａｄ               ａ               ｓｐｅｃｉａｌ               ｒｏｌｅ               ｉｎ               Ａｎａｓａｚｉ               ｃｕｌｔｕｒｅ;               ｆｌｕｔｅｓ               ｍａｄｅ               ｏｆ               ｂｏｎｅ               ａｎｄ               ｗｏｏｄ               ｈａｖｅ               ｂｅｅｎ               ｆｏｕｎｄ               ａｍｏｎｇ               ｔｈｅｉｒ               ａｒｔｉｆａｃｔｓ.20               Ｋｏｋｏｐｅｌｌｉ               ｉｓ               ｓｏｍｅｔｉｍｅｓ               ｉｎｔｅｒｐｒｅｔｅｄ               ａｓ               ａ               ｒａｉｎ               ｐｒｉｅｓｔ               ｗｈｏ               ｃａｌｌｓ               ｔｈｅ               ｃｌｏｕｄｓ               ｗｉｔｈ               ｈｉｓ               ｆｌｕｔｅ.
               Ｉｔ               ｉｓ               ｓａｉｄ               ｔｈａｔ               ｗｈｅｎ               ｓｕｎ-ｌｏｖｉｎｇ               ｓｎａｋｅｓ               ａｐｐｅａｒ               ｔｏ               ｈｉｍ,               ｈｅ               ｐｌａｙｓ               ｈｉｓ               ｆｌｕｔｅ               ａｎｄ               ｉｔ               ｍｅｌｔｓ               ｔｈｅ               ｓｎｏｗ               ａｎｄ               ｗａｒｍｓ               ｕｐ               ｔｈｅ               ｅａｒｔｈ.

Ｔｈｉｓ               ｃｏｕｌｄ               ｂｅ               ｗｈｙ               ｈｅ               ｉｓ               ｏｆｔｅｎ               ｄｅｐｉｃｔｅｄ               ｗｉｔｈ               ｓｎａｋｅｓ               ｉｎ               ｒｏｃｋ               ａｒｔ               ｓｃｅｎｅｓ.

Ａｔ               Ｈｏｐｉ,               ｆｌｕｔｅ               ｓｏｃｉｅｔｉｅｓ               ｐｌａｙ               ｔｈｅｉｒ               ｆｌｕｔｅｓ               ｏｖｅｒ               ｓｐｒｉｎｇｓ               ｉｎ               ｐｒａｙｅｒ               ｆｏｒ               ｒａｉｎ.

Ｇｏｕｒｄｓ               ａｒｅ               ｓｏｍｅｔｉｍｅｓ               ａｔｔａｃｈｅｄ               ｔｏ               ｔｈｅ               ｅｎｄｓ               ｏｆ               ｔｈｅ               ｆｌｕｔｅｓ.21               Ｔｈｉｓ               ｔｒａｄｉｔｉｏｎ               ｈａｓ               ｓｐａｎｎｅｄ               ｍｉｌｌｅｎｎｉａ,               ｗｉｌｌ               ｂｅ               ｄｉｓｃｕｓｓｅｄ               ｆｕｒｔｈｅｒ.

Ｔｈｅ               Ｚｕｎｉ               ｂｅｌｉｅｖｅ               ｔｈａｔ               Ｄｅｐｉｃｔｉｎｇ               Ｋｏｋｏｐｅｌｌｉ               ｉｎ               ａｓｓｏｃｉａｔｉｏｎ               ｗｉｔｈ               ｍｏｉｓｔｕｒｅ-ｌｏｖｉｎｇ               ｃｒｅａｔｕｒｅｓ,               ｓｕｃｈ               ａｓ               ｌｉｚａｒｄｓ               ａｎｄ               ｉｎｓｅｃｔｓ,               ｈｅｌｐｓ               ｔｈｅｉｒ               ｐｒａｙｅｒｓ               ｉｎ               ａｔｔｒａｃｔｉｎｇ               ｒａｉｎ.22               Ｋｏｋｏｐｅｌｌｉ               ｉｓ               ａｌｓｏ               ａｓｓｏｃｉａｔｅｄ               ｗｉｔｈ               ｔｈｅ               ｌｏｃｕｓｔ,               ａｎｄ               ｗａｓ               ｏｆｔｅｎ               ｒｅｎｄｅｒｅｄ               ｉｎ               ｉｎｓｅｃｔ-ｌｉｋｅ               ｆｏｒｍ               ａｍｏｎｇ               ｔｈｅ               ａｎｃｉｅｎｔ               Ｐｕｅｂｌｏｓ.

Ｔｈｅ               ｌｏｃｕｓｔ,               ｉｎ               ｔｈｅ               Ｈｏｐｉ               ｃｒｅａｔｉｏｎ               ｍｙｔｈ,               ｗａｓ               ｓｅｎｔ               ｕｐ               ｆｒｏｍ               ｔｈｅ               ｄａｒｋ               ｕｎｄｅｒｗｏｒｌｄ               ｔｏ               ｅｘｐｌｏｒｅ               ｔｈｅ               ｅａｒｔｈ.
               Ｔｈｅ               ｃｌｏｕｄｓ               ｓｈｏｔ               ｍａｎｙ               ｂｏｌｔｓ               ｏｆ               ｌｉｇｈｔｎｉｎｇ               ｔｈｒｏｕｇｈ               Ｌｏｃｕｓｔ,               ｂｕｔ               ｈｅ               ｃｏｎｔｉｎｕｅｄ               ｔｏ               ｐｌａｙ               ｈｉｓ               ｆｌｕｔｅ               ａｎｄ               ｗａｓ               ｕｎｈａｒｍｅｄ.23               Ｔｈｅ               ｌｏｃｕｓｔ               ａｎｄ               ｔｈｅ               ｇｒｅｙ               ｄｅｓｅｒｔ               ｒｏｂｂｅｒ               ｆｌｙ               ａｒｅ               ｂｅｌｉｅｖｅｄ               ｂｙ               ｔｈｅ               Ｐｕｅｂｌｏｓ               ｔｏ               ｂｅ               ｎｏｔｏｒｉｏｕｓ               ｆｏｒ               ｔｈｅ               ａｂｉｌｉｔｙ               ｔｏ               ｒｅｐｒｏｄｕｃｅ.

Ｔｈｉｓ               ｗｏｕｌｄ               ｅｘｐｌａｉｎ               ｔｈｅ               ｖａｒｉｏｕｓ               ａｎｔｅｎｎａｅ               ａｎｄ               ｅｘｔｒａ               ａｐｐｅｎｄａｇｅｓ               ｓｅｅｎ               ｏｎ               ｃｅｒｔａｉｎ               ｒｏｃｋ               ａｒｔ               ｓｉｔｅｓ               ｄｅｐｉｃｔｉｎｇ               Ｋｏｋｏｐｅｌｌｉ.24               Ａｎｏｔｈｅｒ               ｆｅｒｔｉｌｉｔｙ               ａｓｐｅｃｔ               ｏｆ               Ｋｏｋｏｐｅｌｌｉ'ｓ               ｏｒｉｇｉｎｓ               ｉｓ               ｔｈｅ               Ｃｌｏｕｄ               Ｂｌｏｗｅｒ.

Ｎｅａｒ               ｔｈｅ               ｖｉｌｌａｇｅ               ｏｆ               Ｌａ               Ｃｉｅｎｅｇａ,               Ｎｅｗ               Ｍｅｘｉｃｏ,               ｓｅｖｅｒａｌ               ｆｌｕｔｅ               ｐｌａｙｅｒ               ｐｏｒｔｒａｙａｌｓ               ｃａｎ               ｂｅ               ｆｏｕｎｄ.

Ａ               ｌｉｎｅ               ｏｆ               Ｋｏｋｏｐｅｌｌｉｓ               ｉｓ               ｄｅｐｉｃｔｅｄ               ｉｎ               ｗｈａｔ               ｉｓ               ｐｒｏｂａｂｌｙ               ａ               ｒｉｔｕａｌ               ｄａｎｃｅ.

Ａｎｏｔｈｅｒ               ｉｓ               ｓｈｏｗｎ               ｓｅｅｍｉｎｇｌｙ               ｂｌｏｗｉｎｇ               ａ               ｆｌｕｔｅ               ａｔ               ａ               ｃｌｏｕｄ               ｔｅｒｒａｃｅ.

Ｔｈｅ               ａｃｔｕａｌ               ｃｌｏｕｄ               ｂｌｏｗｅｒ               ｉｎｓｔｒｕｍｅｎｔ               ｉｓ               ａ               ｓｍａｌｌ               ｈｏｒｎ-ｓｈａｐｅｄ               ｏｂｊｅｃｔ.

Ｎａｔｉｖｅ               ｔｏｂａｃｃｏ               ｓｍｏｋｅ               ｗａｓ               ｂｌｏｗｎ               ｔｈｒｏｕｇｈ               ｉｔ               ｉｎ               ａｎ               ａｔｔｅｍｐｔ               ｔｏ               ａｔｔｒａｃｔ               ｒａｉｎ               ｃｌｏｕｄｓ               ｔｏ               ｔｈｅ               ａｒｅａ.25               Ｓｏｕｔｈｗｅｓｔ               ｏｆ               Ｓａｎｔａ               Ｆｅ,               ａｔ               ａ               Ｔｏｎｑｕｅ               Ａｒｒｏｙｏ               ｓｉｔｅ               (Ｐｕｅｂｌｏ               ＩＶ),               ｔｈｅｒｅ               ａｒｅ               ｓｅｖｅｒａｌ               ｐｅｔｒｏｇｌｙｐｈｓ               ｓｈｏｗｉｎｇ               ｆｌｕｔｅ               ｐｌａｙｅｒｓ               ｓｅａｔｅｄ               ｏｎ               ｃｌｏｕｄ               ｔｅｒｒａｃｅｓ.26               Ｎｅａｒ               Ｌａ               Ｃｉｅｎｅｇａ,               ａｇａｉｎ,               ａｎｏｔｈｅｒ               ｐａｎｅｌ               ｄｅｐｉｃｔｓ               ａｎ               ａｎｉｍａｔｅｄ               ｆｉｇｕｒｅ               ｗｈｏ               ｈｏｌｄｓ               ｈｉｓ               ｆｌｕｔｅ               ａｔ               ａｎ               ｕｎｕｓｕａｌｌｙ               ｈｉｇｈ               ａｎｇｌｅ.

Ｐａｔｔｅｒｓｏｎ-Ｒｕｄｏｌｐｈ               ｂｅｌｉｅｖｅｓ               ｔｈｉｓ               ｐａｒｔｉｃｕｌａｒ               ｆｌｕｔｅ               ｐｌａｙｅｒ               ｉｓ               ｔｈｅ               Ｔｅｗａ               Ｗａｔｅｒ               Ｊａｒ               Ｂｏｙ               ｍｙｔｈ               ａｎｄ               ｔｈａｔ               ｔｈｅ               ｍｙｔｈ               ａｓ               ａ               ｗｈｏｌｅ               ｉｓ               ｄｅｐｉｃｔｅｄ               ｏｎ               ｔｈｅ               ｐａｎｅｌ.27               (Ｓｅｅ               Ｆｉｇｕｒｅ               4)               Ｉｎ               ｔｈｉｓ               ｍｙｔｈ,               ａ               ｙｏｕｎｇ               ｖｉｒｇｉｎａｌ               ｍａｉｄｅｎ               ｉｓ               ｉｍｐｒｅｇｎａｔｅｄ               ｂｙ               ａ               ｓｐｉｒｉｔ               ｗｈｉｌｅ               ｍｉｘｉｎｇ               ｃｌａｙ               ｆｏｒ               ａ               ｐｏｔ               ｗｉｔｈ               ｈｅｒ               ｆｅｅｔ.

Ｓｈｅ               ｔｈｅｎ               ｂｅａｒｓ               ａ               ｃｈｉｌｄ,               ｗｈｉｃｈ               ｒｅｓｅｍｂｌｅｓ               ａ               ｊａｒ,               ｗｈｉｃｈ               ａｃｔｕａｌｌｙ               ｃｏｎｔａｉｎｓ               ａ               ｙｏｕｎｇ               ｂｏｙ.

Ｄｕｒｉｎｇ               ａ               ｈｕｎｔｉｎｇ               ｔｒｉｐ               ｗｉｔｈ               ｈｉｓ               ｇｒａｎｄｆａｔｈｅｒ,               ｔｈｅ               ｙｏｕｎｇ               ｂｏｙ               ｉｎ               ｔｈｅ               ｊａｒ               ｈｉｔｓ               ａ               ｒｏｃｋ,               ｓｈａｔｔｅｒｉｎｇ               ｈｉｓ               ｓｈｅｌｌ.

Ｈｅ               ｔｈｅｎ               ｇｏｅｓ               ｏｎ               ａ               ｑｕｅｓｔ               ｔｏ               ｓｅｅｋ               ｈｉｓ               ｆａｔｈｅｒ               ａｎｄ               ｆｉｎｄｓ               ｈｉｍ               ａｔ               ａ               ｓａｃｒｅｄ               ｓｐｒｉｎｇ.

Ａｔ               ｔｈｅ               ｓｐｒｉｎｇ               ｈｅ               ｍｅｅｔｓ               ａ               ｍａｎ               ｗｈｏ               ａｓｋｓ               ｔｈｅ               ｂｏｙ:
               "Ｗｈｅｒｅ               ａｒｅ               ｙｏｕ               ｇｏｉｎｇ?"               ｓａｉｄ               ｔｈｅ               ｍａｎ
               "Ｗｅｌｌ,               ｍｙ               ｆａｔｈｅｒ               ｉｓ               ｌｉｖｉｎｇ               ｈｅｒｅ."
               "Ｗｈｏ               ｉｓ               ｙｏｕｒ               ｆａｔｈｅｒ?"               ｓａｉｄ               ｔｈｅ               ｍａｎ               ａｇａｉｎ.
               "Ｗｅｌｌ,               Ｉ               ｔｈｉｎｋ               ｙｏｕ               ａｒｅ               ｍｙ               ｆａｔｈｅｒ,"               ｓａｉｄ               ｔｈｅ               ｂｏｙ.
               "Ｈｏｗ               ｄｏ               ｙｏｕ               ｋｎｏｗ               Ｉ               ａｍ               ｙｏｕｒ               ｆａｔｈｅｒ?"               ｓａｉｄ               ｔｈｅ               ｍａｎ
               "Ｗｅｌｌ,               Ｉ               ｋｎｏｗ               ｙｏｕ               ａｒｅ               ｍｙ               ｆａｔｈｅｒ."               Ｔｈｅｎ               ｔｈｅ               ｍａｎ               ｌｏｏｋｅｄ               ａｔ               ｈｉｍ,               ｔｏ               ｓｃａｒｅ               ｈｉｍ.
               Ｔｈｅ               ｂｏｙ               ｋｅｐｔ               ｓａｙｉｎｇ,               "Ｙｏｕ               ａｒｅ               ｍｙ               ｆａｔｈｅｒ."               Ｐｒｅｔｔｙ               ｓｏｏｎ               ｔｈｅ               ｍａｎ               ｓａｉｄ,               "Ｙｅｓ,               Ｉ               ａｍ               ｙｏｕｒ               ｆａｔｈｅｒ.
               Ｉ               ｃａｍｅ               ｏｕｔ               ｏｆ               ｔｈｅ               ｓｐｒｉｎｇ               ｔｏ               ｍｅｅｔ               ｙｏｕ,"               ａｎｄ               ｈｅ               ｐｕｔ               ｈｉｓ               ａｒｍ               ａｒｏｕｎｄ               ｔｈｅ               ｂｏｙ'ｓ               ｎｅｃｋ.

Ｈｉｓ               ｆａｔｈｅｒ               ｗａｓ               ｖｅｒｙ               ｇｌａｄ               ｈｉｓ               ｂｏｙ               ｈａｄ               ｃｏｍｅ,               ａｎｄ               ｈｅ               ｔｏｏｋ               ｈｉｍ               ｄｏｗｎ               ｉｎｓｉｄｅ               ｏｆ               ｔｈｅ               ｓｐｒｉｎｇ.

Ａ               ｌｏｔ               ｏｆ               ｐｅｏｐｌｅ               ｗｅｒｅ               ｌｉｖｉｎｇ               ｄｏｗｎ               ｉｎｓｉｄｅ               ｏｆ               ｔｈｅ               ｓｐｒｉｎｇ,               ｗｏｍｅｎ               ａｎｄ               ｇｉｒｌｓ.
               Ａｆｔｅｒ               ｔｈｅ               ｂｏｙ               ｌｅａｖｅｓ               ｔｈｅ               ｓｐｒｉｎｇ,               ｈｉｓ               ｍｏｔｈｅｒ               ｇｅｔｓ               ｓｉｃｋ               ａｎｄ               ｄｉｅｓ.

Ｈｅ               ｔｈｅｎ               ｄｅｃｉｄｅｓ               ｔｏ               ｌｅａｖｅ               ｔｈｅ               ｖｉｌｌａｇｅ               ａｎｄ               ｇｏ               ｔｏ               ｌｉｖｅ               ｗｉｔｈ               ｈｉｓ               ｆａｔｈｅｒ,               ｗｈｅｒｅ               ｈｅ               ｆｉｎｄｓ               ｈｉｓ               ｍｏｔｈｅｒ               ａｌｉｖｅ               ａｎｄ               ｌｉｖｉｎｇ               ｉｎ               ｔｈｅ               ｓｐｒｉｎｇ.

Ｔｈｅ               ｐａｎｅｌ               ｏｆ               ｆｉｇｕｒｅ               4               ｄｏｅｓ               ｎｏｔ               ｓｅｅｍ               ｔｏ               ｒｅｓｅｍｂｌｅ               ｔｈｅ               ｓｔｏｒｙ,               ｂｕｔ               ｔａｋｅｎ               ｉｎ               ａ               ｓｙｍｂｏｌｉｃ               ｃｏｎｔｅｘｔ,               ｔｈｅ               ｓｔｏｒｙ               ｕｎｆｏｌｄｓ               ｑｕｉｔｅ               ｎｉｃｅｌｙ.28               Ｔｈｅ               ｆａｔｈｅｒ               ｆｉｇｕｒｅ               ｉｎ               ｔｈｉｓ               ｓｔｏｒｙ               ｉｓ               ｓｈｏｗｎ               ｏｎ               ｔｈｅ               ｐａｎｅｌ               ａｓ               ｈａｖｉｎｇ               ａ               ｈｕｍｐ               ａｎｄ               ｅｒｅｃｔ               ｐｈａｌｌｕｓ,               ｓｉｇｎｉｆｙｉｎｇ               ｈｉｓ               ｆｅｒｔｉｌｉｔｙ               ａｎｄ               ｈｉｓ               ａｂｉｌｉｔｙ               ｔｏ               ｉｍｐｒｅｇｎａｔｅ               ｙｏｕｎｇ               ｇｉｒｌｓ               ｓｕｐｅｒｎａｔｕｒａｌｌｙ.

Ｉｎ               ｔｈｉｓ               ｗａｙ,               Ｋｏｋｏｐｅｌｌｉ               ｉｓ               ｒｅｍｉｎｉｓｃｅｎｔ               ｏｆ               Ｇｏｄ,               ｉｍｐｒｅｇｎａｔｉｎｇ               ｔｈｅ               Ｖｉｒｇｉｎ               Ｍａｒｙ,               ａｎｄ               Ｗａｔｅｒ               Ｊａｒ               Ｂｏｙ               ｉｓ               ｔｈｅ               ｓｐｅｃｉａｌ,               ｓａｃｒｅｄ               ｓｏｎ               ｗｈｏｍ               ｈｅ               ｈａｓ               ｂｅｇｏｔｔｅｎ.
               Ｉｎ               ｔｈｅ               Ｔｅｗａ               ｖｉｌｌａｇｅ               ｏｆ               Ｈａｎｏ,               ｏｎ               ｔｈｅ               Ｈｏｐｉ               ｒｅｓｅｒｖａｔｉｏｎ               ｏｆ               Ａｒｉｚｏｎａ,               Ｋｏｋｏｐｅｌｌｉ               ｉｓ               ｓｅｅｎ               ｉｎ               ｒｏｃｋ               ａｒｔ               ａｓ               ｂｅｉｎｇ               ａ               ｌａｒｇｅ               ｂｌａｃｋ               ｍａｎ               ｗｈｏ               ｃａｒｒｉｅｓ               ａ               ｂｕｃｋｓｋｉｎ               ｂａｇ.

Ｈｅ               ｋｎｏｗｎ               ｎｏｔ               ａｓ               Ｋｏｋｏｐｅｌｌｉ,               ｂｕｔ               ａｓ               Ｎｅｐｏｋｗａ'ｉ.29               Ｉｎ               ｔｈｅ               Ａｍｅｒｉｃａｎ               Ｉｎｄｉａｎ               Ａｌｍａｎａｃ,               Ｊｏｈｎ               Ｕｐｔｏｎ               Ｔｅｒｒｅｌｌ               ｇｏｅｓ               ｉｎｔｏ               ｇｒｅａｔ               ｄｅｔａｉｌ               ａｂｏｕｔ               ａ               ｂｌａｃｋ               Ｍｏｏｒｉｓｈ               ｓｌａｖｅ               ｎａｍｅｄ               Ｅｓｔｅｂａｎ.

Ｈｅ               ｔｅｌｌｓ               ｏｆ               ｆｏｕｒ               ｓｔｒａｎｇｅ               ｍｅｎ,               ｎａｋｅｄ               ｂｕｔ               ｆｏｒ               ｌｏｉｎｃｌｏｔｈｓ,               ｗｈｏ               ｃｒｏｓｓｅｄ               ｉｎｔｏ               ｔｈｅ               ｖａｌｌｅｙ               ｏｆ               ｔｈｅ               Ｒｉｏ               Ｇｒａｎｄｅ               ｆｒｏｍ               ｔｈｅ               ｅａｓｔ               ａｃｃｏｍｐａｎｉｅｄ               ｂｙ               ａ               ｇｒｏｕｐ               ｏｆ               Ｉｎｄｉａｎｓ.

Ｏｎｅ               ｏｆ               ｔｈｅｓｅ               ｍｅｎ               ｗａｓ               ｔｈｅ               ｌｅａｄｅｒ,               Ａｌｖａｒ               Ｎｕｎｅｚ               Ｃａｂｅｚａ               ｄｅ               Ｖａｃａ.

Ａｎｏｔｈｅｒ               ｗａｓ               ｑｕｉｔｅ               ｓｔａｒｔｌｉｎｇ               ｉｎ               ａｐｐｅａｒａｎｃｅ.

Ｈｅ               ｗａｓ               ｔｈｅ               ｃｏｌｏｒ               ｏｆ               ｅｂｏｎｙ,               ａｎｄ               ｈｅ               ｔｏｗｅｒｅｄ               ｏｖｅｒ               ｔｈｅ               ｏｔｈｅｒ               ｔｈｒｅｅ               ｍｅｎ.

Ｈｅ               "ｈａｄ               ａ               ｇｒｅａｔ               ｈｅａｄ               ｏｆ               ｋｉｎｋｙ               ｂｌａｃｋ               ｈａｉｒ               ａｄｏｒｎｅｄ               ｗｉｔｈ               ｂｒｉｇｈｔ               ｆｅａｔｈｅｒｓ.

Ｈｉｓ               ｐｏｗｅｒｆｕｌ               ｍｕｓｃｌｅｓ               ｒｉｐｐｌｅｄ,               ｈｉｓ               ｗｈｉｔｅ               ｔｅｅｔｈ               ｇｌｅａｍｅｄ,               ａｎｄ               ｈｅ               ｓｔｒｏｄｅ               ｉｎ               ａ               ｒｅｇａｌ               ｍａｎｎｅｒ."30               Ｔｈｅ               ｙｅａｒ               ｗａｓ               1536,               ａｎｄ               ｔｈｅｓｅ               ｆｏｕｒ               ｍｅｎ               ｗｅｒｅ               ｔｈｅ               ｏｎｌｙ               ｓｕｒｖｉｖｏｒｓ               ｏｆ               ｔｈｅ               Ｎａｒｖａｅｚ               ｅｘｐｅｄｉｔｉｏｎ,               ｗｈｉｃｈ               ｈａｄ               ｗｒｅｃｋｅｄ               ｏｎ               ｔｈｅ               Ｔｅｘａｓ               ｃｏａｓｔ               ｓｅｖｅｎ               ｙｅａｒｓ               ｂｅｆｏｒｅ.

Ｕｐｏｎ               ａｒｒｉｖｉｎｇ               ａｔ               Ｍｅｘｉｃｏ               Ｃｉｔｙ,               Ｅｓｔｅｂａｎ               ｔｈｅ               Ｂｌａｃｋ               ｗａｓ               ａｓｓｉｇｎｅｄ               ｔｏ               ａｃｃｏｍｐａｎｙ               ａ               ｍｏｎｋ,               Ｆｒａｙ               Ｍａｒｃｏｓ               ｄｅ               Ｎｉｚａ               ｉｎｔｏ               ｔｈｅ               ｎｏｒｔｈｅｒｎ               ｔｅｒｒｉｔｏｒｉｅｓ               ｏｆ               ｔｈｅ               Ａｍｅｒｉｃａｎ               Ｓｏｕｔｈｗｅｓｔ.
               Ａｌｔｈｏｕｇｈ               ｈｅ               ｗａｓ               ｃｏｍｍａｎｄｅｄ               ｔｏ               ｏｂｅｙ               Ｆｒａｙ               Ｍａｒｃｏｓ,               ｈｅ               ｒｅｆｕｓｅｄ,               ａｎｄ               ｂｅｃａｍｅ               ａ               ｓｈａｍａｎ               ｏｆ               ｓｏｒｔｓ,               ａｓ               Ｃａｂｅｚａ               ｄｅ               Ｖａｃａ               ｈａｄ,               ａｍｏｎｇ               ｔｈｅ               ｎａｔｉｖｅｓ.

Ｈｅ               ｗａｓ               ｔｈｅ               ｍａｎ               ｔｈｅ               ｎａｔｉｖｅｓ               ａｌｒｅａｄｙ               ｋｎｅｗ,               ａｎｄ               ｈｅ               ｒｅａｌｉｚｅｄ               ｈｅ               ｗｏｕｌｄ               ｃａｒｒｙ               ｍｕｃｈ               ｍｏｒｅ               ｐｏｗｅｒ               ｔｈａｎ               Ｆｒａｙ               Ｍａｒｃｏｓ               ｃｏｕｌｄ.

Ｉｎ               ｆａｃｔ,               Ｆｒａｙ               Ｍａｒｃｏｓ               ｗａｓ               ｃｏｍｐｌｅｔｅｌｙ               ｄｅｐｅｎｄｅｎｔ               ｏｎ               Ｅｓｔｅｂａｎ               ｆｏｒ               ｈｉｓ               ｓｕｒｖｉｖａｌ.

Ｔｈｅ               Ｍｏｏｒ               ｈａｄ               ａｃｑｕｉｒｅｄ               ａ               ｇｏｕｒｄ               ｒａｔｔｌｅ               ｆｒｏｍ               Ｉｎｄｉａｎｓ               ｉｎ               Ｔｅｘａｓ.

Ｈｅ               ｕｓｅｄ               ｔｈｉｓ               ｔｏ               ｓｉｇｎｉｆｙ               ｈｉｓ               ｐｏｗｅｒ               ａｓ               ａ               ｇｏｄ               ａｍｏｎｇ               ｓｔｒａｎｇｅ               ｖｉｌｌａｇｅｓ.

Ｈｅ               ｄｉｄ               ｔｈｉｓ               ａｓ               Ｃａｂｅｚａ               ｄｅ               Ｖａｃａ               ｈａｄ               ｂｅｆｏｒｅ               ｈｉｍ,               ａｎｄ               ｈａｄ               ｍｕｃｈ               ｓｕｃｃｅｓｓ.

Ｏｎ               ｔｈｅ               ｔｒａｉｌ               ｔｏ               ｔｈｅ               ｎｏｒｔｈ,               Ｅｓｔｅｂａｎ               "ａｃｑｕｉｒｅｄ               ａ               ｈａｒｅｍ,               Ｉｎｄｉａｎ               ｇｉｒｌｓ               ｈｅ               ｆｏｕｎｄ               ｅｓｐｅｃｉａｌｌｙ               ｐｌｅａｓｉｎｇ,               ａｎｄ               ｔｈｅｙ               ｓｔｒａｇｇｌｅｄ               ａｌｏｎｇ               ｉｎ               ｈｉｓ               ｗａｋｅ,               ｍｕｃｈ               ｔｏ               ｔｈｅ               ｃｏｎｓｔｅｒｎａｔｉｏｎ               ａｎｄ               ｄｉｓａｐｐｒｏｖａｌ               ｏｆ               Ｆｒａｙ               Ｍａｒｃｏｓ."31               Ｓｏ               ｌａｒｇｅ               ｄｉｄ               ｈｉｓ               ｅｎｔｏｕｒａｇｅ               ｏｆ               ｆｏｌｌｏｗｅｒｓ               ｂｅｃｏｍｅ,               ｔｈｅ               ｍｏｎｋ               ｓｅｎｔ               ｈｉｍ               ａｈｅａｄ               ｗｉｔｈ               ｏｒｄｅｒｓ               ｔｏ               ｓｅｎｄ               ｂａｃｋ               ｃｒｏｓｓｅｓ               ｏｆ               ｖａｒｙｉｎｇ               ｓｉｚｅ               ｄｅｐｅｎｄｉｎｇ               ｏｎ               ｔｈｅ               ｉｍｐｏｒｔａｎｃｅ               ｏｆ               ｔｈｅ               ｄｉｓｃｏｖｅｒｙ.

Ｅｓｔｅｂａｎ'ｓ               ｅｎｔｏｕｒａｇｅ               ｆｏｌｌｏｗｅｄ               ｈｉｍ               ｔｏ               ｔｈｅ               Ｚｕｎｉ               ｐｕｅｂｌｏ               ａｔ               Ｈａｗｉｋｕｈ.

Ｆｏｌｌｏｗｉｎｇ               ｈｉｓ               ｃｕｓｔｏｍ,               ｈｅ               ｓｅｎｔ               ｔｈｅ               ｓａｃｒｅｄ               ｇｏｕｒｄ               ａｈｅａｄ               ｗｉｔｈ               Ｉｎｄｉａｎ               ｅｍｉｓｓａｒｉｅｓ               ｔｏ               ｉｎｆｏｒｍ               ｔｈｅ               Ｚｕｎｉｓ               ｔｈａｔ               ｈｅ               ｗａｓ               ａｐｐｒｏａｃｈｉｎｇ.

Ｈｅ               ｈａｄ               ｄｅｃｏｒａｔｅｄ               ｔｈｅ               ｇｏｕｒｄ               ｗｉｔｈ               ｂｅｌｌｓ,               ａｎｄ               ｔｗｏ               ｆｅａｔｈｅｒｓ.

Ｔｈｅ               ｈｅａｄｍａｎ               ｗｈｏ               ｒｅｃｅｉｖｅｄ               ｉｔ               ｅｘａｍｉｎｅｄ               ｉｔ               ｂｒｉｅｆｌｙ,               ｔｈｅｎ               ｈｕｒｌｅｄ               ｉｔ               ｔｏ               ｔｈｅ               ｇｒｏｕｎｄ               ｉｎ               ａｎｇｅｒ.

Ｎｏｎｐｌｕｓｓｅｄ,               Ｅｓｔｅｂａｎ               ｃｏｎｔｉｎｕｅｄ,               ａｎｄ               ｍｅｔ               ｗｉｔｈ               ｔｈｅ               ｈｅａｄｍａｎ.

Ｈｅ               ｗａｓ               ｔａｋｅｎ               ｐｒｉｓｏｎｅｒ               ａｎｄ               ｑｕｅｓｔｉｏｎｅｄ               ａｓ               ｔｏ               ｗｈｙ               ｈｅ               ｈａｄ               ｃｏｍｅ               ｔｏ               ｔｈｅｉｒ               ｃｏｕｎｔｒｙ.

Ｅｓｔｅｂａｎ               ｅｘｐｌａｉｎｅｄ               ｔｈａｔ               ａ               ｇｒｏｕｐ               ｏｆ               ｗｈｉｔｅ               ｍｅｎ               ｗｅｒｅ               ｆｏｌｌｏｗｉｎｇ,               ｗｈｏ               ｈａｄ               ｂｅｅｎ               ｓｅｎｔ               ｂｙ               ａ               ｇｒｅａｔ               ｌｏｒｄ,               ｗｈｏ               "ｋｎｅｗ               ａｂｏｕｔ               ｔｈｉｎｇｓ               ｉｎ               ｔｈｅ               ｓｋｙ,               ａｎｄ               ｈｏｗ               ｔｈｅｓｅ               ｗｅｒｅ               ｃｏｍｉｎｇ               ｔｏ               ｉｎｓｔｒｕｃｔ               ｔｈｅｍ               ｉｎ               ｄｉｖｉｎｅ               ｍａｔｔｅｒｓ."32               Ｔｈｅ               ｈｅａｄｍａｎ               ｈａｄ               Ｅｓｔｅｂａｎ               ｋｉｌｌｅｄ               ａｎｄ               ｈａｃｋｅｄ               ｔｏ               ｐｉｅｃｅｓ               ｔｏ               ｐｒｏｖｅ               ｈｅ               ｗａｓ               ｎｏｔ               ａ               ｇｏｄ.

Ｈｅ               ｄｉｄ               ｔｈｉｓ               ｂｅｃａｕｓｅ               ｉｔ               ｓｅｅｍｅｄ               ｕｎｒｅａｓｏｎａｂｌｅ               ｔｏ               ｓａｙ               ｔｈａｔ               ｔｈｅ               ｐｅｏｐｌｅ               ｗｅｒｅ               ｗｈｉｔｅ               ｉｎ               ｔｈｅ               ｃｏｕｎｔｒｙ               ｆｒｏｍ               ｗｈｉｃｈ               ｈｅ               ｃａｍｅ,               ｙｅｔ               ｈｅ               ｗａｓ               ｂｌａｃｋ.

Ａｌｌ               ｏｆ               ｈｉｓ               ｐｏｓｓｅｓｓｉｏｎｓ               ｗｅｒｅ               ｄｉｓｔｒｉｂｕｔｅｄ               ａｍｏｎｇ               ｔｈｅ               ｐｕｅｂｌｏｓ,               ｅｘｃｅｐｔ               ｆｏｒ               ｔｈｅ               ｓａｃｒｅｄ               ｇｏｕｒｄ,               ｗｈｉｃｈ               ｗａｓ               ｔｈｒｏｗｎ               ａｗａｙ.33               Ｙｏｕｎｇ               ａｓｓｅｒｔｓ               ｔｈａｔ               Ｅｓｔｅｂａｎ               ｔｈｅ               Ｂｌａｃｋ               ｍａｙ               ｈａｖｅ               ｂｅｅｎ               ｖｉｅｗｅｄ               ａｓ               ｔｈｅ               ｓａｃｒｅｄ               ｇｏｄ               Ｎｅｐｏｋｗａ'ｉ               ｏｒ               Ｋｏｋｏｐｅｌｌｉ               ｉｎｃａｒｎａｔｅｄ               ｉｎ               ｈｕｍａｎ               ｆｏｒｍ               ｂｙ               ｓｏｍｅ,               ｗｈｉｃｈ               ｗｏｕｌｄ               ｅｘｐｌａｉｎ               ｔｈｅ               ｕｎｕｓｕａｌ               ｂｌａｃｋ               ｒｅｎｄｅｒｉｎｇｓ.
               Ｋｏｋｏｐｅｌｌｉ               ｉｓ               ｏｆｔｅｎ               ｕｓｅｄ               ａｓ               ａ               ｃｌａｎ               ｉｄｅｎｔｉｆｉｃａｔｉｏｎ,               ａｃｃｏｒｄｉｎｇ               ｔｏ               Ｆｅｗｋｅｓ.

Ｈｅ               ｓｔａｔｅｓ               ｔｈａｔ               ｍｉｇｒａｔｉｏｎ               ａｃｃｏｕｎｔｓ               ｏｆ               ｔｈｅ               Ｈｏｐｉ/Ｔｅｗａ               ｉｎｄｉｃａｔｅ               ｔｈａｔ               ｔｈｅ               Ｋｏｋｏｐｅｌｌｉ               ｋａｃｈｉｎａ               ｗａｓ               ｉｎｔｒｏｄｕｃｅｄ               ｂｙ               ｔｈｅ               Ａｓａ               Ｃｌａｎ,               ｗｈｉｃｈ               ｗａｎｄｅｒｅｄ               ｆｒｏｍ               ｔｈｅ               ｕｐｐｅｒ               Ｒｉｏ               Ｇｒａｎｄｅ               ｔｏ               Ｚｕｎｉ,               ｓｅｔｔｌｉｎｇ               ｉｎ               Ｈｏｐｉ               ａｔ               ｔｈｅ               ｅｎｄ               ｏｆ               ｔｈｅ               17ｔｈ               ｃｅｎｔｕｒｙ.34               Ｈｏｗｅｖｅｒ,               ｒｅｓｅａｒｃｈ               ｉｎｄｉｃａｔｅｓ               ｔｈａｔ               ｔｈｅ               Ｈｏｐｉ               ｋａｃｈｉｎａ               ａｐｐｅａｒｅｄ               ｍｕｃｈ               ｅａｒｌｉｅｒ               ｔｈａｎ               ｔｈｉｓ.

Ｔｈｅ               Ａｓａ               Ｃｌａｎ               ｈａｄ               ｌｉｖｅｄ               ｆｏｒ               ａ               ｔｉｍｅ               ｉｎ               Ｃａｎｙｏｎ               ｄｅ               Ｃｈｅｌｌｙ,               ａ               ｓｉｔｅ               ｏｆ               ｎｕｍｅｒｏｕｓ               ｒｏｃｋ               ａｒｔ               ｉｍａｇｅｓ               ｏｆ               Ｋｏｋｏｐｅｌｌｉ.

Ｈｅ               ｉｓ               ｓａｉｄ               ｔｏ               ｈａｖｅ               ｂｅｅｎ               ａｎ               ａｎｃｉｅｎｔ               ｌｅａｄｅｒ               ｗｈｏ               ｈａｄ               ｂｒｏｕｇｈｔ               ｔｈｅ               ｐｅｏｐｌｅ               ｏｆ               ｔｈｅ               Ａｓａ               Ｃｌａｎ               ｆｒｏｍ               ｔｈｅｉｒ               ｈｏｍｅ               ｔｏ               Ｚｕｎｉ.

Ｇｒａｎｔ               ａｓｓｅｒｔｓ               ｔｈａｔ               Ｋｏｋｏｐｅｌｌｉ               ｒｅｐｒｅｓｅｎｔｓ               ｔｈｅ               Ｆｌｕｔｅ               Ｃｌａｎ.

Ｈｅ               ａｌｓｏ               ｓｔａｔｅｓ               ｔｈａｔ               Ｋｏｋｏｐｅｌｌｉ               ｍａｙ               ｈａｖｅ               ｂｅｅｎ               ａ               ｌｅａｄｅｒ               ｉｎ               ａｎｃｉｅｎｔ               ｔｉｍｅｓ.

Ａｃｃｏｒｄｉｎｇ               ｔｏ               ａ               Ｈｏｐ               ｓｏｕｒｃｅ:
               "Ｆｌｕｔｅ               ｐｌａｙｅｒ               ｉｓ               ｃｌａｎ               ｓｙｍｂｏｌ.

Ｈｕｎｃｈｂａｃｋ               ｉｓ               ａ               ｍａｉｎ               ｌｅａｄｅｒ               ｉｎ               ｅａｒｌｙ               ｔｉｍｅｓ.

Ｋｏｋｏｐｅｌｌｉ               ｗａｓ               ａ               ｒｅｇｕｌａｒ               ｍａｎ               ｗｈｏ               ｄｉｄ               ｌｏｔｓ               ｏｆ               ｇｏｏｄ               ｔｈｉｎｇｓ               ａｎｄ               ｗｈｅｎ               ｈｅ               ｄｉｅｄ               ｗａｓ               ｍａｄｅ               ｉｎｔｏ               ａ               ｋａｃｈｉｎａ."               35
               Ｔｈｉｓ               ｉｎｆｏｒｍａｎｔ               ｆｕｒｔｈｅｒ               ｉｄｅｎｔｉｆｉｅｄ               ｔｈｅ               ｈｕｍｐｂａｃｋｅｄ               ｆｌｕｔｅ               ｐｌａｙｅｒ               ａｓ               ｒｅｐｒｅｓｅｎｔｉｎｇ               Ｓｐｉｄｅｒ               Ｃｌａｎ,               Ｗａｔｅｒ               Ｃｌａｎ,               ａｎｄ               Ｔｉｔｍｏｕｓｅ               Ｃｌａｎ:
               Ｔｈｉｓ               ｃｌａｎ,               ｔｈｉｓ               ｒｅｌｉｇｉｏｎ               ｗｅｎｔ               ｎｏｒｔｈ               ａｎｄ               ｉｓ               ｓｕｐｐｏｓｅｄ               ｔｏ               ｗａｒｍ               ｕｐ               ｅａｒｔｈ.

Ｅｖｅｎ               ｆｌｕｔｅ               ｐｌａｙｉｎｇ               ａｌｌ               ｔｈｅ               ｔｉｍｅ               ｄｉｄｎ'ｔ               ｈｅｌｐ,               ａｎｄ               ｔｈｏｓｅ               ｐｅｏｐｌｅ               ｈａｄ               ｔｏ               ｔｕｒｎ               ｂａｃｋ,               ａｎｄ               ｗｈｅｎ               ｔｈｅｙ               ｇｅｔ               ｔｏ               Ｏｒａｉｂｉ               ｔｈｅｙ               ｐｕｔ               ｔｈｉｓ               ｒｅｌｉｇｉｏｎ               ｕｐ.

Ｔｈｏｓｅ               ｐｅｏｐｌｅ               ｈａｄ               ｌｏｔｓ               ｏｆ               ｓｏｎｇｓ               ｔｏ               ｍａｋｅ               ｃｏｕｎｔｒｙ               ｗａｒｍ.

Ｔｈｅｓｅ               ｃｌａｎｓ,               Ｐａｔｋｉｍｙａｍ               (Ｗａｔｅｒ               Ｃｌａｎ)               ａｎｄ               Ｋｏｋｏｈｙａｍ               (Ｔｉｔｍｏｕｓｅ               Ｃｌａｎ)               ｈａｖｅ               ｆｌｕｔｅｓ.

36
               Ｔｈｉｓ               ｉｎｆｏｒｍａｔｉｏｎ               ｂｒｉｎｇｓ               ｔｏ               ｌｉｇｈｔ               ｔｈｅ               ｐｏｓｓｉｂｉｌｉｔｙ               ｔｈａｔ               Ｋｏｋｏｐｅｌｌｉ               ｗａｓ               ａｎ               ａｃｔｕａｌ               ｐｅｒｓｏｎ               ｗｈｏ               ｔｈｅｎ               ｂｅｃａｍｅ               ａ               ｄｅｉｔｙ.
               Ａｓ               ｓｔａｔｅ               ｐｒｅｖｉｏｕｓｌｙ,               Ｋｏｋｏｐｅｌｌｉ               ｉｓ               ｏｆｔｅｎ               ｄｅｐｉｃｔｅｄ               ｉｎ               ｔｈｅ               ｐｒｅｓｅｎｃｅ               ｏｆ,               ｏｒ               ｉｎ               ｔｈｅ               ｆｏｒｍ               ｏｆ               ａｎｔｈｒｏｐｏｍｏｒｐｈｓ.

Ｉｎ               ａｄｄｉｔｉｏｎ               ｔｏ               ｂｅｉｎｇ               ｓｙｍｂｏｌｉｃ               ｏｆ               ａ               ｒａｉｎ               ｏｒ               ｆｅｒｔｉｌｉｔｙ               ｇｏｄ,               ｏｔｈｅｒ               ｐａｉｎｔｉｎｇｓ               ｓｈｏｗ               ｈｉｍ               ａｓ               ａ               ｐｏｓｓｉｂｌｅ               ｈｕｎｔｉｎｇ               ｇｏｄ.

Ａｔ               Ｍｅｓａ               Ｖｅｒｄｅ,               ａ               ｍｏｄｉｆｉｅｄ               ｇｒｅａｔ               ｋｉｖａ               ｓｈｏｗｓ               ｓｅｖｅｒａｌ               ｐｈａｌｌｉｃ               ｈｕｍｐｂａｃｋｅｄ               ｈｕｎｔｅｒｓ,               ｏｎｅ               ｏｆ               ｗｈｏｍ               ｉｓ               ｗｅａｒｉｎｇ               ａ               ｈｅａｄｄｒｅｓｓ               ｏｆ               ｍｏｕｎｔａｉｎ               ｓｈｅｅｐ               ｈｏｒｎｓ.37               Ｉｎ               Ｇａｌｉｓｔｅｏ               Ｂａｓｉｎ               ｎｅａｒ               ｓｏｕｔｈｅｒｎ               Ｔｅｗａ               ｐｕｅｂｌｏ               ｒｕｉｎｓ,               ａｎ               ｉｍｐｒｅｓｓｉｖｅ               ｐｅｔｒｏｇｌｙｐｈ               ｏｆ               ａ               ｐｈａｌｌｉｃ               ｆｌｕｔｅ-ｐｌａｙｉｎｇ               ｒａｂｂｉｔ               ａｐｐｅａｒｓ               (Ｐｕｅｂｌｏ               ＩＶ).

Ｎｅａｒ               ｉｔ,               ｓｅｖｅｒａｌ               ｍｏｒｅ               ｉｎｓｅｃｔｉｆｏｒｍ               ａｎｄ               ｚｏｏｍｏｒｐｈｉｃ               ｆｌｕｔｅ               ｐｌａｙｅｒ               ｄｅｐｉｃｔｉｏｎｓ               ｏｃｃｕｒ.

(Ｓｅｅ               Ｆｉｇｕｒｅ               8)               Ｎｏｒｔｈｗｅｓｔ               ｏｆ               Ｓａｎｔａ               Ｆｅ,               Ｎｅｗ               Ｍｅｘｉｃｏ,               ｉｎ               ｔｈｅ               Ｊｅｍｅｚ               Ｍｏｕｎｔａｉｎｓ,               ａ               "ｄａｎｃｉｎｇ"               Ｋｏｋｏｐｅｌｌｉ               ｆａｃｅｓ               ａ               ｆｉｇｕｒｅ               ｃａｒｒｙｉｎｇ               ａ               ｗａｒ               ｃｌｕｂ               ａｎｄ               ｔｈｒｅａｔｅｎｉｎｇ               ａｎ               Ａｒｒｏｗ-Ｓｗａｌｌｏｗｅｒ               ｆｉｇｕｒｅ.

Ａｎｏｔｈｅｒ               Ｋｏｋｏｐｅｌｌｉ               ｆｉｇｕｒｅ               ａｔ               ｔｈｅ               ｓｉｔｅ               ｉｓ               ｓｈｏｗｎ               ｎｅｘｔ               ｔｏ               ａ               ｐｒｅｇｎａｎｔ               ｄｅｅｒ               ｉｍａｇｅ.38               (Ｓｅｅ               Ｆｉｇｕｒｅ               9)               Ａｔ               ａ               ｓｉｔｅ               ａｌｏｎｇ               ｔｈｅ               Ｓａｎ               Ｊｕａｎ               Ｒｉｖｅｒ,               ａ               ｆｌｕｔｅ               ｐｌａｙｅｒ               ｉｓ               ａｔｔａｃｈｅｄ               ａｔ               ｔｈｅ               ｈｅａｄ               ｂｙ               ａ               ｌｏｎｇ               ｗａｖｙ               ｌｉｎｅ               ｔｏ               ｔｈｅ               ｔａｉｌ               ｏｆ               ａ               ｂｉｇｈｏｒｎ               ｓｈｅｅｐ.39               Ｔｈｉｓ               ｍａｙ               ｓｙｍｂｏｌｉｚｅ               Ｋｏｋｏｐｅｌｌｉ'ｓ               ａｂｉｌｉｔｙ               ｔｏ               ｌｕｒｅ               ａｎｉｍａｌｓ               ｗｉｔｈ               ｈｉｓ               ｆｌｕｔｅ,               ｉｎ               Ｐｉｅｄ               Ｐｉｐｅｒ               ｆａｓｈｉｏｎ.

(Ｓｅｅ               Ｆｉｇｕｒｅ               5)               Ｈｅ               ｉｓ               ｏｆｔｅｎ               ｄｅｐｉｃｔｅｄ               ａｓ               ｐａｒｔ               ｍａｎ,               ｐａｒｔ               ａｎｉｍａｌ,               ｍｏｓｔｌｙ               ｗｉｔｈ               ａ               ｈｕｍａｎ               ｂｏｄｙ               ａｎｄ               ａ               ｚｏｏｍｏｒｐｈｉｃ               ｈｅａｄ.

Ｈｉｓ               ｈｅａｄ               ｍａｙ               ａｐｐｅａｒ               ａｓ               ｔｈａｔ               ｏｆ               ａ               ｃｏｍｐｌｅｔｅ               ｂｉｒｄ,               ｔｏ               ｐｏｓｓｉｂｌｙ               ｓｉｇｎｉｆｙ               ｔｈｅ               ｗｈｉｓｔｌｉｎｇ               ｏｆ               ｔｈｅ               ｆｌｕｔｅ               ｈｅ               ｃａｒｒｉｅｓ.

Ｔｈｅ               Ｎａｖａｊｏ               ｓｕｐｅｒｎａｔｕｒａｌ,               Ｇｈａｎａｓｋｉｄｉ               ｉｓ               ａ               ｈｕｍｐｂａｃｋｅｄ               ｇｏ,               ｏｒ               ｙｅ'ｉ,               ｗｈｏ               ｒｅｐｒｅｓｅｎｔｓ               ａ               ｇｏｄ               ｏｆ               ｈａｒｖｅｓｔ,               ｐｌｅｎｔｙ,               ａｎｄ               ｍｉｓｔ.

Ｈｅ               ｗｅａｒｓ               ｈｏｒｎｓ,               ａｎｄ               ｏｆｔｅｎ               ｈａｓ               ａ               ｈｕｍｐｅｄ               ｂａｃｋ               ｗｉｔｈ               ｆｅａｔｈｅｒｓ               ｒａｄｉａｔｉｎｇ               ｆｒｏｍ               ｉｔ.

Ｈｅ               ｉｓ               ｅｑｕａｔｅｄ               ｗｉｔｈ               ｔｈｅ               ｍｏｕｎｔａｉｎ               ｓｈｅｅｐ,               ａ               ｖａｌｕｅｄ               ｇａｍｅ               ａｎｉｍａｌ.

Ｇｈａｎａｓｋｉｄｉ               ｉｓ               ｎｏｔ               ｄｅｐｉｃｔｅｄ               ａｓ               ｂｅｉｎｇ               ｐｈａｌｌｉｃ.40               Ｔｈｅ               Ｈｏｈｏｋａｍ,               ｎｏｔ               ｎｏｔｅｄ               ｆｏｒ               ｔｈｅｉｒ               ｒｏｃｋ               ａｒｔ               ｉｍａｇｅｓ               ｏｆ               Ｋｏｋｏｐｅｌｌｉ,               ｄｅｐｉｃｔ               ａｎ               ｕｎｕｓｕａｌ               ｈｕｍｐｂａｃｋｅｄ               ｆｉｇｕｒｅ               ｐｌａｙｉｎｇ               ｔｈｅ               ｆｌｕｔｅ.

Ｏｎ               ｔｈｅ               ｆｌｕｔｅ               ｉｓ               ａｎ               ａｎｉｍａｌ,               ｗｈｉｃｈ               ｍａｙ               ｂｅ               ａ               ｇａｍｅ               ａｎｉｍａｌ.41
               Ｏｎ               ｐｏｔｔｅｒｙ               ｏｆ               ｔｈｅ               ａｎｃｉｅｎｔ               Ｐｕｅｂｌｏｓ,               Ｋｏｋｏｐｅｌｌｉ'ｓ               ｆｉｇｕｒｅ               ａｂｏｕｎｄｓ.

Ａｓ               ｎｏｔｅｄ               ｐｒｅｖｉｏｕｓｌｙ,               Ｈｏｈｏｋａｍ               ｄｉｄ               ｎｏｔ               ｄｅｐｉｃｔ               Ｋｏｋｏｐｅｌｌｉ               ｆｉｇｕｒｅｓ               ｉｎ               ｒｏｃｋ               ａｒｔ               ｖｅｒｙ               ｏｆｔｅｎ.

Ｒａｔｈｅｒ,               ｔｈｅｙ               ｌｉｍｉｔｅｄ               ｔｈｅ               ｉｍａｇｅ               ｔｏ               ｔｈｅｉｒ               ｐｏｔｔｅｒｙ.

Ｔｈｅｙ               ｕｓｕａｌｌｙ               ｐｏｒｔｒａｙｅｄ               ｔｈｅ               ｆｌｕｔｅ               ｐｌａｙｅｒ               ａｌｏｎｅ               ｏｒ               ｉｎ               ｄｅｃｏｒａｔｉｖｅ               ｒｏｗｓ               ｏｆ               ｉｄｅｎｔｉｃａｌ               ｆｉｇｕｒｅｓ,               ｗｉｔｈ               ｔｈｒｅｅ               ｔｏ               ｅｉｇｈｔ               ｂａｃｋｗａｒｄ-ｄｉｒｅｃｔｅｄ               ｈｅａｄ               ａｐｐｅｎｄａｇｅｓ.

Ｔｈｅ               Ｇｉｌａ               Ｂｕｔｔｅｄ               ｐｈａｓｅ               (Ａ.Ｄ.

750-Ａ.Ｄ.

850)               ｉｓ               ａｂｏｕｔ               ｔｈｅ               ｅａｒｌｉｅｓｔ               ｉｎ               ｗｈｉｃｈ               ｔｈｅ               ｆｌｕｔｅ               ｐｌａｙｅｒ               ａｐｐｅａｒｓ               ｏｎ               ｔｈｅｉｒ               ｐｏｔｔｅｒｙ.42               Ａ               ｃｏｌｌｅｃｔｉｏｎ               ｏｆ               ｔｗｅｎｔｙ-ｅｉｇｈｔ               ｓｈｅｒｄｓ               ｏｆ               Ｈｏｈｏｋａｍ               ｐｏｔｔｅｒｙ               ｆｒｏｍ               Ｓｎａｋｅｔｏｗｎ               ｓｈｏｗｓ               ｔｈｅ               ｆｌｕｔｅ               ｐｌａｙｅｒ               ｆｉｇｕｒｅ.

Ｈｅ               ｉｓ               ａｌｍｏｓｔ               ｎｅｖｅｒ               ｐｈａｌｌｉｃ               ａｎｄ               ｉｓ               ｏｆｔｅｎ               ｐｏｒｔｒａｙｅｄ               ｗｉｔｈ               ａ               ｈｕｍｐ.

Ｏｔｈｅｒ               ｃｕｌｔｕｒｅｓ               ｄｅｐｉｃｔ               Ｋｏｋｏｐｅｌｌｉ               ｉｎ               ｔｈｅｉｒ               ｐｏｔｔｅｒｙ,               ａｓ               ｗｅｌｌ.

Ｄｕｒｉｎｇ               ｔｈｅ               Ｐｕｅｂｌｏ               Ｉ               ｐｅｒｉｏｄ,               ａ               ｂｌａｃｋ               ａｎｄ               ｗｈｉｔｅ               ｂｏｗｌ               ｆｒｏｍ               Ｍｅｓａ               Ｖｅｒｄｅ               ｓｈｏｗｓ               ａ               ｎｏｎ-ｐｈａｌｌｉｃ               ｈｕｍｐｂａｃｋｅｄ               ｆｌｕｔｅ               ｐｌａｙｅｒ               ｗｉｔｈ               ａ               ｎｏｎ-ｐｈａｌｌｉｃ               ｈｕｍｐｂａｃｋｅｄ               ａｒｃｈｅｒ.

Ｔｈｅ               ｉｎｔｅｒｉｏｒ               ｏｆ               ｔｈｅ               ｂｏｗｌ               ｉｓ               ｒｉｍｍｅｄ               ｗｉｔｈ               ａ               ｒｏｗ               ｏｆ               ｄｕｃｋｓ.

Ａ               ｂｌａｃｋ               ｏｎ               ｗｈｉｔｅ               Ａｎａｓａｚｉ               ｂｏｗｌ               ｆｒｏｍ               ｔｈｅ               Ｄｏｌｏｒｅｓ               Ｒｉｖｅｒ               ｄｒａｉｎａｇｅ               ｉｎ               ｓｏｕｔｈｅｒｎ               Ｃｏｌｏｒａｄｏ               ｄｅｐｉｃｔｓ               ｔｈｅ               ｆｌｕｔｅ               ｐｌａｙｅｒ               ｗｉｔｈ               ａ               ｆｅｍａｌｅ               ｆｉｇｕｒｅ,               ｄｅｎｏｔｉｎｇ               ｔｈｅ               ｆｅｒｔｉｌｉｔｙ               ｃｏｎｔｅｘｔ.

Ｔｈｅ               ｉｎｔｅｒｉｏｒ               ｄｅｓｉｇｎ               ｏｆ               ａ               Ｓｉｙａｔｋｉ               Ｐｏｌｙｃｈｒｏｍｅ               ｂｏｗｌ               (Ｐｕｅｂｌｏ               ＩＶ)               ｆｒｏｍ               Ａｗａｔｏｖｉ,               ｐｏｒｔｒａｙｓ               ａ               ｐｈａｌｌｉｃ,               ｓｅａｔｅｄ               ｆｉｇｕｒｅ               ｃａｒｒｙｉｎｇ               ａ               ｓｍａｌｌ               ｒｉｄｅｒ               ｐｉｇｇｙ-ｂａｃｋ,               ａｎｄ               ｃａｒｒｙｉｎｇ               ａｎ               ｉｎｄｅｔｅｒｍｉｎａｔｅ               ｏｂｊｅｃｔ.

Ｔｈｅ               ｏｂｊｅｃｔ               ｍａｙ               ｂｅ               ａ               ｆｅａｔｈｅｒｅｄ               ｓｔｉｃｋ               ｏｒ               ｐｌａｎｔｉｎｇ               ｓｔｉｃｋ,               ｏｒ               ａ               ｄａｎｃｅ               ｗａｎｄ.

Ｔｈｅ               ｏｐｐｏｓｉｔｅ               ｓｉｄｅ               ｏｆ               ｔｈｅ               ｂｏｗｌ               ｓｈｏｗｓ               ａ               ｆｅｍａｌｅ               ｆｉｇｕｒｅ               ｗｉｔｈ               ａｒｍｓ               ａｎｄ               ｌｅｇｓ               ｓｐｒｅａｄ.43               (Ｓｅｅ               Ｆｉｇｕｒｅ               6)               Ｉｔ               ｉｓ               ｅｖｉｄｅｎｔ               ｔｈａｔ               ｗｈｅｎ               ｍｏｓｔ               ｃｕｌｔｕｒｅｓ               ｂｅｇａｎ               ｄｅｐｉｃｔｉｎｇ               ｔｈｅ               Ｋｏｋｏｐｅｌｌｉ               ｆｉｇｕｒｅ               ｉｎ               ｒｏｃｋ               ａｒｔ,               ｔｈｅｙ               ｌａｔｅｒ               ｆｏｌｌｏｗｅｄ               ｕｐ               ｂｙ               ｕｓｉｎｇ               ｉｔ               ｉｎ               ｔｈｅｉｒ               ｃｅｒａｍｉｃｓ.

Ｔｈｅ               ｄｉｆｆｅｒｅｎｔ               ｒｅｎｄｅｒｉｎｇｓ               ｏｆ               Ｋｏｋｏｐｅｌｌｉ               ｏｎ               ｃｅｒａｍｉｃｓ               ａｒｅ               ａｓ               ｄｉｖｅｒｓｅ               ｉｎ               ｃｏｎｔｅｎｔ               ａｎｄ               ｃｏｎｔｅｘｔ               ａｓ               ｔｈｅｙ               ａｒｅ               ｉｎ               ｒｏｃｋ               ａｒｔ.
               Ｃｅｒｅｍｏｎｉｅｓ               ｉｎ               ｗｈｉｃｈ               Ｋｏｋｏｐｅｌｌｉ               ｉｓ               ｒｅｐｒｅｓｅｎｔｅｄ               ｔｅｎｄ               ｔｏ               ｂｅ               ｑｕｉｔｅ               ｅａｒｔｈｙ               ａｍｏｎｇ               ｔｈｅ               Ｐｕｅｂｌｏｓ.

Ａｍｏｎｇ               ｔｈｅ               Ｈｏｐｉ,               ｔｈｅ               ｄａｎｃｅ               ｒｉｔｕａｌｓ               ｐｒｅｖｉｏｕｓｌｙ               ｗｅｒｅ               ｃｏｎｓｉｄｅｒｅｄ               ｔｏｏ               ｌｅｗｄ               ｆｏｒ               Ａｎｇｌｏ               ｓｏｃｉｅｔｙ.

Ｄｕｒｉｎｇ               Ｓｐｒｉｎｇ               ｄａｎｃｅ               ｒｉｔｕａｌｓ               ｉｎ               ｔｈｅ               ｐａｓｔ,               Ｋｏｋｏｐｅｌｌｉ               ｉｍｐｅｒｓｏｎａｔｏｒｓ               ｄｉｓｐｌａｙｅｄ               ｔｈｅｉｒ               ｇｅｎｉｔａｌｓ,               ｂｕｔ               ｔｈａｔ               ｈａｓ               ｅｖｏｌｖｅｄ               ｉｎｔｏ               ａ               ｃｏｓｔｕｍｅ               ｉｎｖｏｌｖｉｎｇ               ａｎ               ｅｘａｇｇｅｒａｔｅｄ               ｆａｌｓｅ               ｐｅｎｉｓ               ｍａｄｅ               ｆｒｏｍ               ａ               ｇｏｕｒｄ.

Ｉｍｐｅｒｓｏｎａｔｏｒｓ               ｄｉｄ               ｎｏｔ               ｃａｒｒｙ               ａ               ｆｌｕｔｅ,               ｂｕｔ               ｍａｓｋｓ               ｗｏｒｎ               ｂｙ               ｔｈｅｍ               ｈａｄ               ｓｎｏｕｔｓ               ｓｏ               ｌｏｎｇ               ａｓ               ｔｏ               ｒｅｓｅｍｂｌｅ               ａ               ｎｏｓｅ               ｗｈｉｓｔｌｅ.

Ｔｈｅ               ｉｍｐｅｒｓｏｎａｔｏｒ               ｈａｓ               ａ               ｈｕｍｐ               ｏｒ               ｗｅａｒｓ               ａ               ｂｏｇ               ｏｎ               ｈｉｓ               ｂａｃｋ,               ａｎｄ               ｐｒｏｂａｂｌｙ               ｃａｒｒｉｅｓ               ａ               ｓｔｉｃｋ               ｏｒ               ｒａｔｔｌｅ.

Ｄｕｒｉｎｇ               ｔｈｅ               ｒｉｔｕａｌ,               ｈｅ               ｃｈａｓｅｓ               ｆｅｍａｌｅｓ,               ｓｉｍｕｌａｔｉｎｇ               ｃｏｐｕｌａｔｉｏｎ.

Ｂｅｃａｕｓｅ               ｒｅｐｒｏｄｕｃｔｉｏｎ               ａｎｄ               ｆｅｒｔｉｌｉｔｙ               ａｒｅ               ｔｈｅ               ｃｏｒｅ               ｏｆ               Ｈｏｐｉ               ｂｅｌｉｅｆｓ,               ｔｈｅｙ               ｄｏ               ｎｏｔ               ｌｏｏｋ               ｕｐｏｎ               ｔｈｉｓ               ｋｉｎｄ               ｏｆ               ｓｅｘｕａｌ               ｍａｎｉｆｅｓｔａｔｉｏｎ               ａｓ               ｌｅｗｄ.

Ｂｉｒｔｈ               ａｎｄ               ｓｅｘ               ａｒｅ               ｆａｃｔｓ               ｏｆ               ｌｉｆｅ.44               Ｉｎ               Ｚｕｎｉ,               ｋａｃｈｉｎａｓ               ｅｘｉｓｔ               ｔｈａｔ               ｒｅｓｅｍｂｌｅ               ｔｈｅ               Ｈｏｐｉ'ｓ               Ｋｏｋｏｐｅｌｌｉ               ｋａｃｈｉｎａ.

Ｔｈｅｙ               ｈａｖｅ               ａ               ｃｅｒｅｍｏｎｙ               ｗｈｉｃｈ               ｉｎｖｏｌｖｅｓ               ａ               ｐｈａｌｌｉｃ               ｋａｃｈｉｎａ               ｍｉｎｕｓ               ａ               ｈｕｍｐ,               ｃａｌｌｅｄ               "Ｏｌｏｌｏｗｉｓｈｋｙａ."               Ａｎｏｔｈｅｒ               ｆｉｇｕｒｅ               ｉｓ               ｃａｌｌｅｄ               "Ｏｗｉｗｉ,"               ａｎｄ               ｄｏｅｓ               ｈａｖｅ               ａ               ｈｕｍｐ,               ｏｒ               ｃａｒｒｉｅｓ               ａ               ｐａｃｋ               ｏｆ               ｆｅｔｉｓｈｅｓ               ｏｎ               ｈｉｓ               ｂａｃｋ.

Ｏｎｅ               ｃｅｒｅｍｏｎｙ               ｉｎｖｏｌｖｉｎｇ               Ｏｌｏｌｏｗｉｓｈｋｙａ               ｃｅｎｔｅｒｓ               ａｒｏｕｎｄ               ｔｈｅ               ｇｒｉｎｄｉｎｇ               ｏｆ               ｃｏｒｎ,               ｍｅｎ               ｄｒｅｓｓｉｎｇ               ａｓ               ｆｅｍａｌｅｓ,               ｆｌｕｔｅ               ｐｌａｙｉｎｇ               ａｎｄ               ｒａｉｎ               ｄａｎｃｉｎｇ.

Ｏｌｏｌｏｗｉｓｈｋｙａ               ｈａｓ               ａ               ｇｏｕｒｄ               ｐｈａｌｌｕｓ               ａｎｄ               ｕｒｉｎａｔｅｓ               ｉｎ               ｓｉｘ               ｄｉｒｅｃｔｉｏｎｓ.

Ｔｈｉｓ               ｃｅｒｅｍｏｎｙ               ｉｓ               ｉｍｐｏｒｔａｎｔ               ｔｏ               ｔｈｅ               ｍａｌｅｓ               ｏｆ               Ｚｕｎｉ,               ｂｅｃａｕｓｅ               ｔｈｅｙ               ｂｅｌｉｅｖｅ               ｉｔ               ｈｅｌｐｓ               ｗｉｔｈ               ｒｅｐｒｏｄｕｃｔｉｏｎ.45               Ｂｏｔｈ               Ｈｏｐｉ               ａｎｄ               Ｚｕｎｉ               ｈａｖｅ               ｒｅｖｉｓｅｄ               ｔｈｅｉｒ               ｐｕｂｌｉｃｌｙ               ｖｉｅｗｅｄ               ｃｅｒｅｍｏｎｉｅｓ               ｔｏ               ｂｅｔｔｅｒ               ａｃｃｏｍｍｏｄａｔｅ               Ａｎｇｌｏ               ｄｉｓｔａｓｔｅ               ｆｏｒ               ｗｈａｔ               ｔｈｅｙ               ｃｏｎｓｉｄｅｒ               ｌｅｗｄ               ａｎｄ               ｖｕｌｇａｒ               ｄｉｓｐｌａｙｓ.
               Ａｌｔｈｏｕｇｈ               ｎｏ               ｏｎｅ               ｉｓ               ｑｕｉｔｅ               ｓｕｒｅ               ｈｏｗ               ｔｈｅ               ｆａｍｏｕｓ               Ｋｏｋｏｐｅｌｌｉ               ｃａｍｅ               ｔｏ               ｂｅ,               ｗｅ               ｃａｎ               ｂｅ               ｓｕｒｅ               ｔｈａｔ               ｈｉｓ               ｉｍａｇｅ               ｉｓ               ｑｕｉｔｅ               ｆａｓｃｉｎａｔｉｎｇ               ｔｏ               ｂｅｈｏｌｄ.

Ｉ               ａｍ               ｏｆ               ｔｈｅ               ｏｐｉｎｉｏｎ               ｔｈａｔ               ｔｈｅ               ｋａｃｈｉｎａ               ｏｆ               Ｋｏｋｏｐｅｌｌｉ               ｐｒｏｂａｂｌｙ               ｓｔａｒｔｅｄ               ｗｉｔｈ               ｔｈｅ               Ａｚｔｅｃ               ｐｏｃｈｔｅｃａｓ               ａｎｄ               ｅｖｏｌｖｅｄ               ｆｒｏｍ               ａ               ｓｉｍｐｌｅ               ｔｒａｄｅｒ               ｉｎｔｏ               ａ               ｍｕｌｔｉ-ｆａｃｅｔｅｄ               ｄｅｉｔｙ.

Ｍｏｒｅ               ｔｈａｎ               ｌｉｋｅｌｙ,               ａ               ｎｕｍｂｅｒ               ｏｆ               ｄｉｆｆｅｒｅｎｔ               ｅｌｅｍｅｎｔｓ               ａｎｄ               ｐｅｒｓｏｎｓ               ｃｏｎｔｒｉｂｕｔｅｄ               ｔｏ               ｔｈｅ               ｍｙｔｈ,               ｗｈｉｃｈ               ｔｈｅ               ｐｕｅｂｌｏｓ               Ｉｎｄｉａｎｓ               ｂｕｉｌｔ               ｏｎ.

Ａｓ               ｉｓ               ｎｏｔｅｄ               ｅａｒｌｉｅｒ,               Ｋｏｋｏｐｅｌｌｉ               ｆｉｇｕｒｅｓ               ｗｅｒｅ               ｆｉｒｓｔ               ｃｒｅａｔｅｄ               ｗｉｔｈｏｕｔ               ｔｈｅ               ｈｕｍｐ,               ｔｈｅｎ               ａｒｏｕｎｄ               Ａ.Ｄ.

1000,               ａｒｏｕｎｄ               ｔｈｅ               ｔｉｍｅ               ｔｈａｔ               Ｍｅｓｏａｍｅｒｉｃａｎ               ｔｒａｄｅ               ｂｅｇａｎ               ｗｉｔｈ               ｔｈｅ               Ｓｏｕｔｈｗｅｓｔ,               ｈｕｍｐｂａｃｋｅｄ               ｆｉｇｕｒｅｓ               ａｐｐｅａｒ.

Ｗｈｅｔｈｅｒ               ｏｎｅ               ｏｆ               ｔｈｅｓｅ               ｔｒａｄｅｒｓ               ｏｒ               ｌｏｃａｌ               ｖｉｌｌａｇｅｒｓ               ｓｕｆｆｅｒｅｄ               ｆｒｏｍ               Ｐｏｔｔ'ｓ               ｄｉｓｅａｓｅ               ｒｅｍａｉｎｓ               ａ               ｍｙｓｔｅｒｙ,               ｂｕｔ               ｄｒａｗｉｎｇｓ               ａｎｄ               ｌｅｇｅｎｄｓ               ｓｈｏｗ               ｅｖｉｄｅｎｃｅ               ｔｈａｔ               ｔｈｉｓ               ｐｅｒｓｏｎ               ｄｅｆｉｎｉｔｅｌｙ               ｗａｓ               ｎｏｔ               ｎｏｒｍａｌ.

Ａ               ｕｎｉｖｅｒｓａｌ               ｔｒｉｃｋｓｔｅｒ,               ｆｅｒｔｉｌｉｔｙ               ｇｏｄ,               ｈｕｎｔｉｎｇ               ｇｏｄ,               ｔｒａｄｅｒ,               Ｋｏｋｏｐｅｌｌｉ               ｉｓ               ａｎ               ｅｎｉｇｍａ.

Ｈｉｓ               ｔｒｕｅ               ｉｄｅｎｔｉｔｙ               ｍａｙ               ｎｅｖｅｒ               ｂｅ               ｆｏｕｎｄ,               ｂｕｔ               ｗｉｔｈ               ｃｏｎｔｉｎｕｉｎｇ               ｒｅｓｅａｒｃｈ,               ａｒｃｈａｅｏｌｏｇｉｓｔｓ               ｍａｙ               ｃｏｍｅ               ｔｏ               ｕｎｄｅｒｓｔａｎｄ               ｈｉｓ               ｏｒｉｇｉｎｓ               ｍｏｒｅ               ｃｌｅａｒｌｙ.
               Ｂｉｂｌｉｏｇｒａｐｈｙ
               Ｓｌｉｆｅｒ,               Ｄｅｎｎｉｓ,               ａｎｄ               Ｄｕｆｆｉｅｌｄ,               Ｊａｍｅｓ.

Ｆｌｕｔｅ               Ｐｌａｙｅｒ               Ｉｍａｇｅｓ               ｉｎ               Ｒｏｃｋ               Ａｒｔ.

Ｓａｎｔａ               Ｆｅ,               ＮＭ:               Ａｎｃｉｅｎｔ               Ｃｉｔｙ               Ｐｒｅｓｓ,               1994               Ｓｃｈａａｆｓｍａ,               Ｐｏｌｌｙ.

Ｉｎｄｉａｎ               Ｒｏｃｋ               Ａｒｔ               ｏｆ               ｔｈｅ               Ｓｏｕｔｈｗｅｓｔ.

Ｓａｎｔａ               Ｆｅ               ａｎｄ               Ａｌｂｕｑｕｅｒｑｕｅ,               ＮＭ:               Ａｖａｎｙｕ               Ｐｕｂｌｉｓｈｉｎｇ,               Ｉｎｃ.,               1990               Ｇｒａｎｔ,               Ｃａｍｐｂｅｌｌ.

Ｒｏｃｋ               Ａｒｔ               ｏｆ               ｔｈｅ               Ａｍｅｒｉｃａｎ               Ｉｎｄｉａｎ.

Ｔｈｉｒｄ               ｐｒｉｎｔｉｎｇ.

Ｄｉｌｌｏｎ,               ＣＯ:               Ｖｉｓｔａｂｏｏｋｓ,               1992               Ｃｏｌｅ,               Ｓａｌｌｙ               Ｊ.

"Ｉｃｏｎｏｇｒａｐｈｙ               ａｎｄ               Ｓｙｍｂｏｌｉｓｍ               ｉｎ               Ｂａｓｋｅｔｍａｋｅｒ               Ｒｏｃｋ               Ａｒｔ."               Ｉｎ               Ｒｏｃｋ               Ａｒｔ               ｏｆ               ｔｈｅ               Ｗｅｓｔｅｒｎ               Ｃａｎｙｏｎｓ,               ｅｄ.

Ｊａｎｅ               Ｓ.

Ｄａｙ,               Ｐａｕｌ               Ｄ.

Ｆｒｉｅｄｍａｎ,               ａｎｄ               Ｍａｒｃｉａ               Ｊ.

Ｔａｔｅ.

Ｃｏｌｏｒａｄｏ               Ａｒｃｈａｅｏｌｏｇｉｃａｌ               Ｓｏｃｉｅｔｙ               Ｍｅｍｏｉｒ               (Ｄｅｎｖｅｒ               Ｍｕｓｅｕｍ               ｏｆ               Ｎａｔｕｒａｌ               Ｈｉｓｔｏｒｙ,               1989)               Ｍｉｌｌｅｒ,               Ｊａｙ.

"Ｋｏｋｏｐｅｌｌｉ."               Ｃｏｌｌｅｃｔｅｄ               Ｐａｐｅｒｓ               ｉｎ               Ｈｏｎｏｒ               ｏｆ               Ｆｌｏｒｅｎｃｅ               Ｈａｗｌｅｙ               Ｅｌｌｉｓ.

Ｅｄｉｔｅｄ               ｂｙ               Ｔ.Ｒ.

Ｆｒｉｓｂｉｅ.

Ａｒｃｈａｅｏｌｏｇｉｃａｌ               Ｓｏｃｉｅｔｙ               ｏｆ               Ｎｅｗ               Ｍｅｘｉｃｏ               Ｐａｐｅｒｓ,               1975               Ｗｅｌｌｍａｎｎ,               Ｋｌａｕｓ               Ｆ.

"Ｋｏｋｏｐｅｌｌｉ               ｏｆ               Ｉｎｄｉａｎ               Ｐａｌｅｏｌｏｇｙ:               Ｈｕｎｃｈｂａｃｋｅｄ               Ｒａｉｎ               Ｐｒｉｅｓｔ,               Ｈｕｎｔｉｎｇ               Ｍａｇｉｃｉａｎ,               ａｎｄ               Ｄｏｎ               Ｊｕａｎ               ｏｆ               ｔｈｅ               Ｏｌｄ               Ｗｅｓｔ."Ｊｏｕｒｎａｌ               ｏｆ               ｔｈｅ               Ａｍｅｒｉｃａｎ               Ｍｅｄｉｃａｌ               Ａｓｓｏｃｉａｔｉｏｎ,1970               Ｌｉｎｎｅ',               Ｓ.

"Ｈｕｍｐｂａｃｋｓ               ｏｆ               Ａｎｃｉｅｎｔ               Ａｍｅｒｉｃａ."               Ｅｔｈｎｏｓ,               1943               Ｓｈｕｌｅｒ,               Ｌｉｎｄａ               Ｌａｙ.

Ｓｈｅ               Ｗｈｏ               Ｒｅｍｅｍｂｅｒｓ.

Ｎｅｗ               Ｙｏｒｋ:               Ｐｅｎｇｕｉｎ               Ｂｏｏｋｓ,               1988               Ｈｅｄｒｉｃｋ,               Ｂａｓｉｌ               Ｃａｌｖｉｎ.

ＭｅｓｏＡｍｅｒｉｃａｎ               Ｓｏｕｔｈｗｅｓｔ.

Ｃａｒｂｏｎｄａｌｅ,               Ｓｏｕｔｈｅｒｎ               Ｉｌｌｉｎｏｉｓ               Ｕｎｉｖｅｒｓｉｔｙ               Ｐｒｅｓｓ,               1974               Ｗｅｂｂ,               Ｇ.Ｂ.

"Ｔｕｂｅｒｃｕｌｏｓｉｓ."Ｃｌｉｏ               Ｍｅｄｉｃａ.

Ｅｄｉｔｅｄ               ｂｙ               Ｅ.Ｇ.

Ｋｒｕｍｂｈａａｒ.

Ｎｅｗ               Ｙｏｒｋ:               Ｐａｕｌ               Ｂ.

Ｈｏｅｂｅｒ,               Ｉｎｃ.,               1936               Ｍｏｒｓｅ,               Ｄ.

"Ｐｒｅｈｉｓｔｏｒｉｃ               Ｔｕｂｅｒｃｕｌｏｓｉｓ               ｉｎ               Ａｍｅｒｉｃａ."               Ａｍｅｒｉｃａｎ               Ｒｅｖｉｅｗ               ｏｎ               Ｒｅｓｐｉｒａｔｏｒｙ               Ｄｉｓｏｒｄｅｒｓ,               1961               Ｍａｌｏｔｉｋｉ,               Ｅｋｋａｒｄｔ.

Ｔｈｅ               Ｂｅｄｂｕｇｓ'               Ｎｉｇｈｔ               Ｄａｎｃｅ               ａｎｄ               Ｏｔｈｅｒ               Ｈｏｐｉ               Ｓｅｘｕａｌ               Ｔａｌｅｓ.

Ｐａｒｓｏｎｓ,               Ｅｌｓｉｅ               Ｃｌｅｗｓ.

"Ｔｈｅ               Ｈｕｍｐｂａｃｋｅｄ               Ｆｌｕｔｅｐｌａｙｅｒ               ｏｆ               ｔｈｅ               Ｓｏｕｔｈｗｅｓｔ."               Ａｍｅｒｉｃａｎ               Ａｎｔｈｒｏｐｏｌｏｇｉｓｔ.

1938               Ｙｏｕｎｇ,               Ｊ.Ｖ.

Ｋｏｋｏｐｅｌｌｉ:               Ｃａｓａｎｏｖａ               ｏｆ               ｔｈｅ               Ｃｌｉｆｆ               Ｄｗｅｌｌｅｒｓ.

Ｐａｌｍｅｒ               Ｌａｋｅ,               ＣＯ:               Ｆｉｌｔｅｒ               Ｐｒｅｓｓ,               1990               Ｐａｔｔｅｒｓｏｎ-Ｒｕｄｏｌｐｈ,               Ｃａｒｏｌ.

Ｐｅｔｒｏｇｌｙｐｈｓ               ａｎｄ               Ｐｕｅｂｌｏ               Ｍｙｔｈｓ               ｏｆ               ｔｈｅ               Ｒｉｏ               Ｇｒａｎｄｅ.

Ａｌｂｕｑｕｅｒｑｕｅ,               ＮＭ:               Ａｖａｎｙｕ               Ｐｕｂｌｉｓｈｉｎｇ,               Ｉｎｃ.,               1990               Ｔｅｒｒｅｌｌ,               Ｊｏｈｎ               Ｕｐｔｏｎ.

Ａｍｅｒｉｃａｎ               Ｉｎｄｉａｎ               Ａｌｍａｎａｃ.

Ｎｅｗ               Ｙｏｒｋ.

Ｂａｒｎｅｓ               ａｎｄ               Ｎｏｂｌｅ,               Ｉｎｃ.,               1994               Ｆｅｗｋｅｓ,               Ｊｅｓｓｅ               Ｗａｌｔｅｒ.

"Ｈｏｐｉ               Ｋａｃｈｉｎａｓ               Ｄｒａｗｎ               ｂｙ               Ｎａｔｉｖｅ               Ａｒｔｉｓｔｓ."               Ｕ.Ｓ.

Ｂｕｒｅａｕ               ｏｆ               Ａｍｅｒｉｃａｎ               Ｅｔｈｎｏｌｏｇｙ,               Ｔｗｅｎｔｙ               Ｆｉｒｓｔ               Ａｎｎｕａｌ               Ｒｅｐｏｒｔ               ｆｏｒ               ｔｈｅ               Ｙｅａｒｓ               1899-1901.,               1903               Ｔｕｒｎｅｒ,               Ｃｈｒｉｓｔｙ               Ｇ.,               ＩＩ.

"Ｐｅｔｒｏｇｌｙｐｈｓ               ｏｆ               ｔｈｅ               Ｇｌｅｎ               Ｃａｎｙｏｎ               Ｒｅｇｉｏｎ."               Ｍｕｓｅｕｍ               ｏｆ               Ｎｏｒｔｈｅｒｎ               Ａｒｉｚｏｎａ               Ｂｕｌｌｅｔｉｎ               (Ｇｌｅｎ               Ｃａｎｙｏｎ               Ｓｅｒｉｅｓ               4)               Ｆｌａｇｓｔａｆｆ,               ＡＺ.,               1963               Ａｌｐｅｒｔ,               Ｊｏｙｃｅ               Ｍ.

"Ｋｏｋｏｐｅｌｌｉ:               Ａ               Ｎｅｗ               Ｌｏｏｋ               ａｔ               ｔｈｅ               Ｈｕｍｐｂａｃｋｅｄ               Ｆｌｕｔｅ               Ｐｌａｙｅｒ               ｉｎ               Ａｎａｓａｚｉ               Ｒｏｃｋ               Ａｒｔ."               Ａｍｅｒｉｃａｎ               Ｉｎｄｉａｎ               Ａｒｔ               Ｍａｇａｚｉｎｅ.

Ｗｉｎｔｅｒ               1991               Ｙｏｕｎｇ,               Ｍ.

Ｊａｎｅ.

Ｓｉｇｎｓ               ｆｒｏｍ               ｔｈｅ               Ａｎｃｅｓｔｏｒｓ.

Ａｌｂｕｑｕｅｒｑｕｅ:               Ｕｎｉｖｅｒｓｉｔｙ               ｏｆ               Ｎｅｗ               Ｍｅｘｉｃｏ               Ｐｒｅｓｓ,               1988               Ｆｏｏｔｎｏｔｅｓ               Ｓｌｉｆｅｒ               ａｎｄ               Ｄｕｆｆｉｅｌｄ,               ｐｇ.

4               Ｓｃｈａａｆｓｍａ,               ｐｇ.

136               Ｇｒａｎｔ,               ｐｇ.

60               Ｓｌｉｆｅｒ               ａｎｄ               Ｄｕｆｆｉｅｌｄ,               ｐｇ.

4               Ｃｏｌｅ,               ｐｇ.

3               Ｉｂｉｄ.,               ｐｇ.

6               Ｍｉｌｌｅｒ,               ｐｇ.

2               Ｓｌｉｆｅｒ               ａｎｄ               Ｄｕｆｆｉｅｌｄ,               ｐｇ.

126               Ｇｒａｎｔ,               ｐｇ.

60               Ｗｅｌｌｍａｎｎ,               ｐｇ.

212               Ｌｉｎｎｅ',               ｐｇ.

8               Ｓｈｕｌｅｒ,               ｐｇ.

Ｈｅｄｒｉｃｋ,               ｐｇ.

25               Ｗｅｂｂ,               ｐｇ.

32               Ｍｏｒｓｅ,               ｐｇ.

84               Ｍａｌｏｔｋｉ,               ｐｇ.

37,               41               Ｉｂｉｄ,               ｐｇ.

185               Ｓｌｉｆｅｒ               ａｎｄ               Ｄｕｆｆｉｅｌｄ.,               ｐｇ.

52               Ｗｅｌｌｍａｎ.,               ｐｇ               214               Ｇｒａｎｔ,               ｐｇ.

40               Ｐａｒｓｏｎ,               ｐｇ.

40,               Ｓｃｈａａｆｓｍａ,               ｐｇ.

140               Ｗｅｌｌｍａｎｎ,               ｐｇ.

212               Ｐａｒｓｏｎｓ,               ｐｇ.

40               Ｙｏｕｎｇ,               ｐｇ.

140               Ｓｌｉｆｅｒ               ａｎｄ               Ｄｕｆｆｉｅｌｄ,               ｐｇ.

42               Ｉｂｉｄ.,               ｐｇ.

49               Ｐａｔｔｅｒｓｏｎ-Ｒｕｄｏｌｐｈ,               ｐｇ.

43-49               Ｉｂｉｄ.,               ｐｇ.

47               Ｗｅｌｌｍａｎｎ,               Ｐａｒｓｏｎｓ               Ｔｅｒｒｅｌｌ,               ｐｇ.

49               Ｉｂｉｄ.,               ｐｇ.

52               Ｉｂｉｄ.,               ｐｇ.

53               Ｉｂｉｄ.,               ｐｇ               54               Ｆｅｗｋｅｓ,               ｐｇ.

25               Ｔｕｒｎｅｒ,               ｐｇ.

38               Ｉｂｉｄ.,               ｐｇ               38               Ｓｃｈａａｆｓｍａ,               ｐｇ.

141               Ｓｌｉｆｅｒ               ａｎｄ               Ｄｕｆｆｉｅｌｄ,               ｐｇ.

44,               55               Ｉｂｉｄ.,               ｐｇ.

86               Ｓｃｈａａｆｓｍａ,               ｐｇ.

317               Ｓｌｉｆｅｒ               ａｎｄ               Ｄｕｆｆｉｅｌｄ,               ｐｇ.

106               Ｉｂｉｄ.,               ｐｇ               113               Ｉｂｉｄ.,               ｐｇ.

110               Ａｌｐｅｒｔ,               ｐｇ.

20               Ｙｏｕｎｇ,               ｐｇ.

141

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