Throughout the Americas, there appears a glyph form that is nearly universal in consistency and importance: a male hunchback figure, depicted with a staff or flute, and he is almost always sporting an erection. In many situations- from solitary, to interacting with other beings, to a group of these men- the figure is seen, and featured prominently. The glyphs can be found from Peterborough, Ontario, to the Caribbean Basin, to Amazonia in South America, to the desert Pueblo Southwest, up into coastal British Columbia. He is mistakenly referred to as Kokopelli in almost all appearances, because the Eurasian invaders first saw the images in the desert Southwest EEUU/USA, where Kokopelli was spoken of. Kokopelli is a Dine Pueblo Kachina, and outside of the Southwestern deserts, other names would be used. Xochipelli is the original form of the word, “flower prince”, and in that form is used in Central America as well. There is usually another deep problem with the “white” version pictured- because of Eurasian monotheist prudery, they always fail to depict his erection, which is equal to or surpassing the staff/ flute in importance.The phallic hunchback figures are quite active and quite erotic- they are engaged in copulation of many kinds, are around animals or plants having sex, or are bringing in rain clouds so that the Coaybay Earth will be moist and fertile. In Peterborough, Ontario, he is depicted in the midst of a battle against an Itiban copper-stealing monster, and is accompanied by crews of Owasco, Norse, and other Native warriors. This area of the Great Lakes was and is famous for it's near-surface copper mines, and important resource for Manahatouac to use and trade. As far as his musical prowess, his playing is almost always accentuating the concurrent scene, or charming the animal(s) or person(s) in the scene, a Pied piper or snake-charmer of great musical ability. When a group of phallic hunchback flutists are found in an orchestral situation with no magic or effect besides music evident, as in a cave in Quiskeya, the use is in the context of a cohoba-huffing psychedelic initiation ceremony for members of a local conuco who used the cave for such purposes. Even in the cave, the intense levels of enchantment present are quite evident, as is the overwhelming masculine presence.
The phallic hunchback flutist is also obviously a trickster-enchanter, as is evidenced by a Pueblo story of his having survived Itiba's enslavement and destruction of of the Anastazi-Mimbres peoples to create the anti-Hurukan, the Heart of Heaven in about 1055, by the creation of the Crab Nebula. The Anastazi-Mimbres were great magicians, who were feared intensely by their neighboring tribes. At some point, they were seduced by Itiba in her wandering phase, and were enslaved to have their talents put toward creating the Crab Nebula. As always, Itiba consumed and destroyed them, the few left became cannibal-xombies. They went out and attacked their neighboring tribes, killing many. In the Pueblo story, the phallic hunchback flautist survives his tribe being devoured and destroyed by the xombis, and when the xombis are gone, Itiba introduces the first women. These women are sent by Itiba to entrap and destroy the few remaining men. The flutist climbs a tree, and commands the butterflies that live in his flute to dust the women down below while they are eating a xi'paal. The butterflies succeed, and the women go insane, and attack the tree the hunchback sits in, trying to rip off his prominent erection so they can eat it. He plays music on his flute, and the women go to sleep. He then changes his tune, and demons from Sorraya-Xibalba (the underworld) come and ravish the women. Most are destroyed by having had sex with the demons, a few survive. The surviving women wake, and attack again. Our hunchback hero plays his flute, and produces leaf-blankets, which the women cover themselves with. He then flies while playing his flute, and enchants them to follow him. He leads them to the place where the Sun will rise, only they kept getting tired and falling down. So, he had the butterflies in his flute come carry them back to him, and he sucked them up in his flute. After much thought, he blew on the flute, and the women came out, but they had been transformed into white moths. They would only be able to bother things at sunset and night, and now they could do no real harm to the men. And, unlike the beautiful masculine warrior butterflies, they were simple, ugly dusty millers. Creator gods for his tribe, small in number, but now free, celebrate him as a hero, and reward him well. (This story is called the Story of Paiyatamu, and can be found in print in the book KOKOPELLI: The Magic, Mirth, and Mischief of an Ancient Symbol by Dennis Slifer; Gibbs Smith Press, Layton, Utah, 2007. I got my copy by sheer chance at the Brooklyn Museum this past Palm Sunday 2011.)
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| Rock painting of kokopelli |
The phallic hunchback fluteplayer appears in both R&K phoneme cultures and Nahuatl-speaking N phoneme cultures as well. We find major contact between both cultures in Mexico, and several other key important aspects are shared between them as well, including the conuco-style masculating and initiation rites. This is where our focus on our magical musical fellow will be.
Several Creation story cycles feature distinct, clear instructions on the proper training and initiation of young males. These include the Mayan Popol Vuh, the NiTaino Amatl Turey, the Navajo Dine Bahane, and the Amazonian Wari Watunna. There is also repeated instructions for these proceedings in other non-Creation sacred texts as well, including the Ritual of the Bacabs, and the Night Chants and the Mountain Chants. In the Northeast EEUU/USA, there are stories from the Mohawk, Ojibwa, and Seneca that have the same themes and processes, so it is by no means a tropical or desert phenomenon. In all of these, a trickster hero or god, always very phallic, and almost always a deformed musician (not always hunchbacked) plays a prominent role. In the Southwestern stories, it is Kokopelli or Xochipelli, as well as several insectoid deities from the creation who appear. (Dine Creation shares that we are the product of a large number of primal bugs who consumed peyote, and dreamed us into Creation. The first humans began to kill their Creators and eat them, so the First Insects had to create the current gods to control humans and keep them in line.) In the Northeast, it is Glooskap, who is a strong and strapping, but relatively homely and plain looking xi'paal. Glooskap has a cousin Nanaboozoo, who is rarely human, but is an animal shapeshifter. The two together and independently fight off monsters and protect humans, and teach them great things. The Bacabs of Mexico are humanoid bees and beetles, all having hunchbacked carapace shells on their torsos. They bring healing and medicine, and also teach deeper erotic connection and sacredness. Masculine Monkey Gods appear in the rest of Central America and the Caribbean, the most notable being Hunbatz and Hunchuen, the older brothers of the Divine Hero Twins Hunahpu and Xbalanque of Popol Vuh/ Amatl Turey fame. Hunbatz and Hunchuen at first appear to be silly, homely howler monkey fools, but are quite subtle, and fully know what they are doing. They also had once been stunningly beautiful but utterly cruel xi'paals, who were transformed into monkeys by their younger brothers. They are now gods of artists and musicians, and are master flutists and painters. They also are noted for their penchant for continually masturbating. They help out the heroes and gods in the stories many times, and are the gods who protect Conucos.
(They are also why we are called Monkey Brothers Playing.) Their names mean simply “One Monkey” in NiTaino and Quiche Maya.
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| Statue of Deminan |
So, here,out of my translation of the Amatl Turey, is the Deminan and His Brothers creation story and then Their initiation story:
Now, Yaya, His son Yayael, and His wife Itiba Cahubaba took up residence in a lush green place in the Hurukan, the Heart of Heaven. Yaya began a flower garden to feed His family, and continued to be annoyed at everyone and everything around him. Yaya had learned to conceal His anger, even from His fmaily, as He remembered the Hurukan, the Heart of Heaven's warning.
Much time passed, and Yayael grew into a xi'paal who was even stronger and more handsome than His father. His mother, always full of guacaciq and other such evil thoughts and desires, could not control herself, and this led to her having relations with Yayael. She waited until the Boy was asleep and aroused, and mounted him. When He awoke to protest, she held Him down and continued.
Yaya came back from His fields of flowers to find Itiba Cahubaba on top of His son, in uncontrolled lust. Yaya looked upon Yayael's face, and could see His distress and suffering. Yaya could not control His anger, and let His fury loose upon Itiba Cahubaba. He pulled Itiba Cahubaba off of His son, and beat her unconscious. For what he had been forced to experience, Yaya set upon Yayael with an obsidian blade, crying for His son. He decapitated the Boy quickly, and dissected His body. He stuffed the Boy's remains into a calabash, and suspended it from the ceiling as a warning to Itiba Cahubaba of her evil actions, and why His son was dead.
Yayael then left His bohio crying, never to return. He feared the wrath of the Hurukan, the Heart of Heaven. But the Hurukan, the Heart of Heaven did not punish Yaya, for in this time, He was righteous in His actions.
The next morning, Itiba Cahubaba regained consciousness, and immediately hauled her beaten body over to where the gourd was hanging, and took it down. She opened the gourd, and, always insatiable, began to drink it's contents. Yayael's bones had turned into fish, and these she ate with great delight.
She then felt faint, and began to harden and swell up. She began convulsing, she began violent seizures.
The Hurukan, the Heart of Heaven, struck out at Itiba Cahubaba, punishing her, causing her great pain, and taking her life. The Tucur owls went and removed her tonal, and took it and imprisoned it in Sorraya, the Land of Xibalba. As punishment, she would never see the beautiful evolution of Yayael's remains.
After she died in great pain, the Hurukan the Heart of heaven, sent the Coquis in to free the fish of Yayael's remains from the hardened tank vessel that Itiba Cahubaba's body had become. They must live and grow, freed from Itiba Cahubaba's filth and evil. The Hurukan, the Heart of Heaven had declared that the four inside would no longer be imprisoned, they were to be free.
The Coquis cut the shell of the dead Itiba cahubaba, and removed the four strong and handsome infant brothers, the sons of Yayael. These natiao were divine, and were to be called the Cacicarikans.
The first of these, the four natiao Cacicarikans, was called Deminan. He was handsome, wise, and brave. He was empathic, sentient, and a great healer.
The second of these, the four natiao Cacicarikans, was called Maquetaurie. He was wise, compassionate, and strong. He had a strong sense of ethics, and was highly sympathetic.
The third of these, the four natiao Cacicarikans, was called Yucahu. He was wise, quiet, and guarded. He was loyal, but very cautious. He was smaller, but very determined.
The fourth of these, the four natiao Cacicarikans, was called Boinayel. He was small, young, and quiet. He was highly sensitive, loving and loyal.
It was these that the Coquis freed from the dead Itiba Cahubaba's corpse, these four natiao who are the creators and kings of mankind.
Itiba Cahubaba's tonal was taken and imprisoned in Sorraya, the Land of Xibalba, the Land of the Dead. Hurukan, The Heart of Heaven, then informed His Brother Opiyelguobiran, the Heart of Sorraya, of what Itiba Cahubaba had done, and instructed Him to destroy the tonal of Itiba Cahubaba slowly and completely.
The four natiao, the four Cacicarikans: Deminan, Maquetaurie, Yucahu, and Boinayel, were brought by the Coquis to the Land of hurukan, the Heart of Heaven, and were left there by themselves. Soon after they were freed from the imprisonment of Itiba Cahubaba's corpse, the four natiao began to walk, to run, and to climb. It was after this that they explored the lands around them.
In pairs of two, Deminan and Boinayel, and Maquetaurie and Yucahu, they went one forward along the roads and paths. It was in this manner, begun in their curiosity, that they explored the realm of the Hurukan, the Heart of Heaven. They traveled, explored, played, and rested unencumbered by anything; in these things they were not bothered.
The four natiao had many explorations and adventures; these exploration and adventures were as numerous as the trees of the rainforest.
In time, the hunger of the four natiao became great, even though they inhaled the fragrances of the flowers and of the boughs within the gardens, there was nothing for them to eat, nothing to sustain them or give them nourishment. The hunger of the four natiao became so great as to immobilize them; they were too hungry to walk, to climb, or to play. All they could do was rest. They sat down by a trunk of a large tree, a tree so tall none of it's branches or leaves could be seen, nor could the roots be seen. It was here that the four natiao rested.
The four natiao began to slumber and dream.
Deminan was the first to awaken, and he did so because he inhaled a fragrance he had never inhaled before. The fragrance made his insides alert, and he found he was even more hungry than before.
Deminan followed the fragrance carried on the wind, until he had crossed the valley, and ascended the ridge there. On the other side of the ridge there was a meadow in a flattened area. Here in the flattened meadow was an old Bayamanaco, cooking cazabe over a fire.
“I am hungry. May I have some of Your food?” Deminan asked.
“Taiguey, Grandson,” Bayamanaco replied, “why are you so hungry, with so many fragrant flowers blooming?”
“Grandfather, I am hungry. May I have some of Your food?”
“This is not My food, as I sustain on the fragrances of the boughs. If you wish some of your food, come here to Me.”
Deminan approached Bayamanaco, and sat beside Him. Bayamanaco moved behind Deminan, and embraced him under the armpits with His left arm. He raised Deminan up, and slid underneath the boy, until his qui-quix was pressed against Deminan's back. With His right hand, He began working Deminan's toon, and held him closely until They had both climaxed. “Qu'yx nohin-tah!!” They cried, and it was done.
“Go awaken Your brothers in this way, and return here. It is then that You shall eat the cazabe.”
Deminan stood, and returned to where His brothers were sleeping. One by one, He embraced them, and woke each one, according to His grandfather's instructions. First He woke Maquetaurie, then Yucahu, then Boinayel. When They all awoke, Deminan announced He had found food to end Their hunger. The Four Guatiao Cacicarikans went to the place Bayamanaco had been, but He was no longer there. The fire still burned brightly, and many stacks of cazabe, so much that the Four Guatiao would never hunger for a long time, were there.
So the Four Guatiao feasted until They were beyond full, and in the warmth of the fire, They rested again, and fell fast asleep.
A long time passed, and the Four Guatiao Cacicarikans rested. The first to rise was Maquetaurie, the second Boinayel, and then Yucahu. They began to stir, and then to play. After a time, They realized Deminan was not yet awake. The Guatiao went over to Him, and touched Him until He woke. Deminan sat up, and let out a cry of pain. He fell over onto His stomach, under the heavy weight of a large turtle-shell that had grown on His back while He slept. He lay there, weeping, while His Guatiao backed away in fear. “What is wrong with Him?” They asked Themselves.
Deminan begged His Guatiao for help, but They were so scared and confused. Finally, it dawned on Maquetaurie to pick up a piece of flint that was on the ground, and to strike at the turtle-shell with it. After several powerful blows from the flint in Maquetaurie's powerful hands, the turtle-shell began to crack. After a time, the turtle-shell broke entirely open, and released a great deluge of water. This water covered all of the Land of Hurukan, the Heart of Heaven, to knee-depth and then began to quickly drain. After the water, a large number of carey of different kinds and sizes came out of the broken turtle-shell on Deminan's back. Boinayel took some cazabe bread, mixed it with His semen, and packed the hole in Deminan's back, and the wound healed instantly.
The sea-turtles began to swim away in the receding waters, following the currents, so the Four Guatiao each picked one, to keep as a pet. Deminan's was blue and white, Maquetaurie's was red and black, Yucahu's was orange and black, and Boinayel's was green and blue.The Four Guatiao cacicarikans had much fun with their pet carey, and the waters continued to subside, although it was not known to the Four Guatiao just where the waters were going to. It seemed the carey were less and less in number, too, as time went on.
Since the ground was covered in these shallow waters, the Four Guatiao devised a net they called a hamaca, to sleep in. This way, They would not have to lay in the water, or on wet ground. They wove two large hamacas of the leafy green vines, and Deminan and Boinayel slept together in one, and Maquetaurie and Yucahu slept together in the other. They strung Their hamacas up in the trees on the highest ground They could find, and there They kept Their fire for cooking and warmth.
One day, the Four Guatiao Cacicarikans had returned to the large tree, called the Ceiba, in the Land of Hurukan, the Heart of Heaven, that They had slumbered beneath before meeting Bayamanaco and becoming Guatiao. The tree was so tall, that it's top could not be seen, nor could it's roots be seen either. It was around this tree met the ground that a hole was discovered. The hole now surrounded the entire base of the tree, and the water was draining down this hole. Along with the waters, the carey sea-turtles were falling down the hole, too.
Deminan's pet carey struggled suddenly in His hands, and escaped. It swam away quickly, and then fell down the hole by this large tree. Deminan loved his carey very much, and He dove down after it. Deminan clung to the Ceiba tree as He slid down further and further, faster and faster, down towards the surface of the Coaybay Earth.
Deminan saw a vast ocean, and the many turtles now swimming in it. He watched as the largest of the carey transformed into solid land, forming islands in the vast, deep green sea. The tree he was sliding down on went directly into the vast dark sea, and not onto one of the islands. Deminan let go very high in the sky, and plummeted towards one of the islands. He fell out of the sky into the waters of the Arecibo, right into the water-filled crater. Deminan plunged into the darkness of the depths, and then was dry and in the dark, and was among the roots of the Ceiba. Deminan called out, there in Sorraya, the Land of Xibalba, and heard no response. The tonal of Itiba Cahubaba felt the presence of Deminan, and attacked him. Then, before Him, Deminan saw all of the horrors of death, disease, suffering and sorrow. He screamed out loudly, fearful; His scream was so loud that He was ejected back out of the Cenote Arecibo, onto a large turtle-island called Boriken.
He was soon joined by Yucahu and Boinayel, as His three Guatiao had followed Deminan down the Ceiba. Their desire to not be separated was that strong, that They followed Him into the unknown.
Where Deminan had descended, where He had fallen out of the sky, He left an imprint-picture. It can still be seen today, guarding the Hurukan, the Heart of Heaven.
We are also told later on in a passage common to both the Quiche Maya Popol Vuh and the NiTaino Amatl Turey on how, why, and when a masculine inititation can and should take place. That story
relates how after the official Creation of the Fifth Sun Men (the Maiz Peoples -that's us, by the way), the NiTaino and Quiche were instructed to initiate the Vucmag and the rest of the tribes who had rejected the gods' call to come to the city of Hacavitz (on the border of modern-day Belize and Guatemala) to learn their cultures. The Vucmag were a particularly dastardly group of cruel and mean loggerheads. The tribes that came to Hacavitz were given fire so that they could be warm and dry and cook their food. The Vucmag and their allies were cold and wet and miserable. They would raid and steal fire from the tribes who had gotten it the proper way; but one in the Vucmags' hands, the fire would go out. Finally, in desperation, they approached the NiTaino, who were still in Hacavitz at this point in the story. The NiTaino go into council and prayer, to get the instructions from the gods on how to go about this, and whether the Vucmag could be trusted, and such matters. The instructions come this way: all who wish to have the gift of fire and other knowledge must be properly initiated, as were the tribes who received and learned. There must be a sweatlodge made, and then “they must give their armpits and waists over willingly, in love and not in fear”. The Vucmag balk, and attack. They steal fire, and it goes out. A few stories later, the Vucmag attack Maquetaurie's barge, and are finally destroyed once and for all. Ruins of the Vucmag culture were found at Huaca Cao Viejo in Peru within the last 15 years.
The initiation proscribed in this story- that to be initiated, a male must be held and lean back on another male who manually brings him to orgasm- is the exact procedure Bayamanaco requires Deminan to undergo to get the cazabe, and to become divine and reach His full potential. Bayamanaco instructs Deminan to wake and initiate His Brothers the exact same way. And so it began.
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| Kokopelli in modern tattoo's and ornaments |
Now of course, the ZioFeminist Empire would never leave this to just be, which is why the college fraternity rituals are now hidden, secret, and underground. The Jesuit Diego Duran in 1550 took enough time to pull out of an underage altar-boy to fabricate an entire book of lies to try and demonize and stop the correct Deminan-esque initiation process in the Americas. In his book Relaciones de Nueva Espana (1550, but many subsequent editions, each of which had even more fabricated ideas that get progressively worse), Duran claims that these initiations did not simply end at orgasm, he claims that the “victim, after having been trapped, captured, tortured and sodomized, was brought up to the high altar of a pyramid, and had his heart cut out and offered to the sun god”.
!!!!!
Apparently Duran should have worked for the EEUU/USA CIA rendition teams. Truly, such horrors and lies before Heaven!
Reality has no place in the world of a Moloch worshiper, and Duran shows this clearly.
Duran goes on to claim that upwards of 20,000 people were sacrificed a month, and that all “Mesoamerican” cultures did this. Quick math and a short history lesson disproves this. The only cultures in all of the Americas who systemically made any form of human sacrifice were the Nahuahs and Aztecs, and there may be some evidence for the classic Incas. Even these three that did do human sacrifice, it was a rare event, and by no means the numbers or methods Duran gives. With a total population of three million in all of Central America, they would have killed everyone within 13 years! Sure, there is a lot of underworld and skull imagery in the region, but absolutely no proof that the sacrifices actually ever took place. Pyramids were painted red with ochre, and depictions of sacrifices from Native sources show simple bloodletting from earlobes, fingers, or thighs- no hearts cut out. The Vatican and other Christian organizations have by a factor of thousands done more bloodletting and certainly more tortured murders in their two thousand year existence than was done over the 100,000 year history of the Americas.
So, what is to be done with this masculine heritage which exists and continues, however delicate? Do we ignore it, or kindle it? It is up to us, but if we decide it is ours, we must become active and carry it on. As always, comments and input are welcome!
PS- I originally translated the Amatl Turey in 1998-2000, as a deeper preparation for MBP. I self published 250 copies, and now a decade later, I am re-translating it and turning it into digital files so it can be shared online. I have continued to find more stories not in the original Ximinez Manuscript, and it has been one amazing journey.
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