Interpretation of Rock Art Figure 'Kokopelli': A connection with the ancient EMSL Sun God
Dr. John J. White III.
Kokopelli is a famous and somewhat notorious rock-art figure found in the desert regions of the southwestern United States where there is a plentiful supply of snadstone rocks that are easy to inscribe. The Kokopelli character is found over a 1,000.000 km2 region called the Four Corners, referring to the joint boundaries of the states of Utah, Colorado, New Mexico, and Arizona. Archaeologically speaking, this territory was primarily occupied by the so-called ancient Anasazi people. The Kokopelli figure is often a flute playing stickman with a hump on his back, probably a sack he is carrying containing seeds for planting or other trade goods. This character exists today among Native American tribes, such as the Hopi, Navajo, and Zuñi, as a living Kachina character at festivals, often with an exaggerated phallus and associated pornographic interests. The antics of this character are portrayed consistently in modern times, but they do not necessarily reveal the original role or indicate its cultural significance. American arxhaeology prefers simplistic interpretations of the Native American cultures in order to avoid meaningful comparisons with Old World cultures whose influence probably arrived in most cases after 500 BC. We decided in 1995 that pursuit of the challenge of New World history interpretation required a lifetime study of the communicative aspects of Bronze Age and earlier cultures worldwide, particularly the interpretation of art symbols and the structure of so-called sacred names. The results were the identification of Earth Mother Culture (EMC) art symbols and the naming system called Earth Mother Sacred Language (EMSL). When Sun God Culture emerged in the Late Bronze, many of its followers selected the L-sound for the Sun God name (Lugh, Sol, El, Ba'al, Beli, Apollo), giving us a clue for the following much of the cultural diffusion of Sun God worship. The original Kokopelli figure is likely a portrayal of a Sun Priest playing the flute (phallus of the Sun God) to conjure the Sun God for participation in significant ceremonies. The "coming out" ceremony for younf women, where the sexual role of females is explained explicitly, may be the most important example. If one studies the "coming out" ceremony of the Cuna Indians of Panamá, one can select some rock-art examples from the Four-Corners area that are consistent with the conjurer interpretation of Kokopelli. We can conclude from this study that the Hopi Indian origins legend is basically valid and that the play-boy version of modern Kokopelli character is likely a misleading and corrupt development since 1000 CE.