Friday, July 17, 2015

Kokopelli Update as Kokopetiyot (koko-petiyot): Boötes the Herdsman with Flute or Horn as a Name Originating in the Concept of Breath and Blowing an Instrument

Kokopelli Update as Kokopetiyot 

We noticed that an alternative name to Kokopelli is Kokopetiyot, where the word element Koko at All About Kokopelli is thought to be cognate with the Zuni term koko meaning "god". In such a case the word element petiyot then looks like Boötes in terms of word similarity, thus, as the heavenly "god" Petiyot.

Indeed, Boötes was known in the ancient world as the "herdsman", an occupation even today portrayed in sculpture online as the herdsman (viz. shepherd) with his flute (or horn) to call the flock, later portrayed as his staff.

This correspondence of terms appears significant in view of comparable ancient Indo-European terms,  e.g. in Latvian, which would seem to point to the origin of the term Boötes as "the blower" of the flute or horn to summon the herd or flock, and thus "the ancient herdsman" in this sense. The Latvian terms are:
  • pūtējs "the blower" (pronounced Pootehs, arguably cognate with Boötes)
  • pūst "to blow"
  • pūte "breath"
  • pūta "breath"
where the latter two actually always apply to the "outward" exhaled breath
as opposed to ancient Indo-European e.g. Latvian
  • elpa "(the inward, inhaled) breath", i.e. taking in oxygen
which, so we allege, came down to us in the alpha of the first alphabet.

The current etymological analysis of the origin of Boötes in the Greek form Βοώτης is that it meant "herdsman" or "plowman" and originated in his heavenly role as the "ox-driver" of Ursa Major, the oxcart, thus a word conveniently alleged to derive from Greek βοῦς bous meaning “cow”, which is not really an "ox word", and which is also hardly supported in the oldest known Greek source, which is the Odyssey of Homer (we quote from the Wikipedia, omitting the footnotes):
"The name Boötes was first used by Homer in his Odyssey as a celestial reference point for navigation, described as "late-setting" or "slow to set", translated as the "Plowman". Exactly whom Boötes is supposed to represent in Greek mythology is not clear. According to one version, he was a son of Demeter, Philomenus, twin brother of Plutus, a ploughman who drove the oxen in the constellation Ursa Major. This is corroborated by the constellation's name, which itself means "ox-driver" or "herdsman." The [later] Greeks saw the asterism now called the "Big Dipper" or "Plough" as a cart with oxen. This influenced the name's etymology, derived from the Greek for "noisy" or "ox-driver". Another myth associated with Boötes tells that he invented the plow and was memorialized for his ingenuity as a constellation." [emphasis added]
What is the possible connection of the ancient New World to the Old World?

Perhaps the tale of Jason and the Argonauts contains the essence of an actual ancient voyage involving land survey by the stars, a voyage made by voyagers who might so have passed their astronomical system on to the indigenous inhabitants of the lands they visited.

THIS POSTING IS Posting Number 112 of
The Great Mound, Petroglyph and Painted Rock Art Journey of Native America

Kokopelli Update as Kokopetiyot (koko-petiyot): Boötes the Herdsman with Flute or Horn as a Name Originating in the Concept of Breath and Blowing an Instrument

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Sky Earth Native America

Sky Earth Native America 1:
American Indian Rock Art Petroglyphs Pictographs
Cave Paintings Earthworks & Mounds as Land Survey & Astronomy
Volume 1, Edition 2, 266 pages, by Andis Kaulins.

  • Sky Earth Native America 2:
    American Indian Rock Art Petroglyphs Pictographs
    Cave Paintings Earthworks & Mounds as Land Survey & Astronomy
    Volume 2, Edition 2, 262 pages, by Andis Kaulins.

  • Both volumes have the same cover except for the labels "Volume 1" viz. "Volume 2".
    The image on the cover was created using public domain space photos of Earth from NASA.


    Both book volumes contain the following basic book description:
    "Alice Cunningham Fletcher observed in her 1902 publication in the American Anthropologist
    that there is ample evidence that some ancient cultures in Native America, e.g. the Pawnee in Nebraska,
    geographically located their villages according to patterns seen in stars of the heavens.
    See Alice C. Fletcher, Star Cult Among the Pawnee--A Preliminary Report,
    American Anthropologist, 4, 730-736, 1902.
    Ralph N. Buckstaff wrote:
    "These Indians recognized the constellations as we do, also the important stars,
    drawing them according to their magnitude.
    The groups were placed with a great deal of thought and care and show long study.
    ... They were keen observers....
    The Pawnee Indians must have had a knowledge of astronomy comparable to that of the early white men."
    See Ralph N. Buckstaff, Stars and Constellations of a Pawnee Sky Map,
    American Anthropologist, Vol. 29, Nr. 2, April-June 1927, pp. 279-285, 1927.
    In our book, we take these observations one level further
    and show that megalithic sites and petroglyphic rock carving and pictographic rock art in Native America,
    together with mounds and earthworks, were made to represent territorial geographic landmarks
    placed according to the stars of the sky using the ready map of the starry sky
    in the hermetic tradition, "as above, so below".
    That mirror image of the heavens on terrestrial land is the "Sky Earth" of Native America,
    whose "rock stars" are the real stars of the heavens, "immortalized" by rock art petroglyphs, pictographs,
    cave paintings, earthworks and mounds of various kinds (stone, earth, shells) on our Earth.
    These landmarks were placed systematically in North America, Central America (Meso-America) and South America
    and can to a large degree be reconstructed as the Sky Earth of Native America."