Part 6

Red-plume, a Piegan, has a smudge stick on which are notches said to represent the number of different songs used in the ceremonies of the medicine woman. There are 413 which is said to be the full number of songs. These, as has been stated in Volume 7, are in reality a part of the beaver bundle ritual.

The singing at the dancing ceremonies after the sun lodge has been erected is usually confined to the songs of various societies concerned. There are, however, a few with characteristic airs that are regarded as peculiarly appropriate to the occasion, regardless of who may be dancing.

FOOTNOTES:

[18] For musical notation see McClintock, Walter, _The Old North Trail, or Life, Legends and Religion of the Blackfoot Indians_ (London, 1910), 311.

THE SUN DANCE CAMP.

In a previous paper, we called attention to the belief that the camp circle was formed expressly for the sun dance. Our informants say that formerly the circle was formed by the assemblage of the bands some time before the medicine woman began her fast. In winter, the tribes scattered out, usually two to five bands in a camp, often many miles apart. At the approach of summer, the husband of a woman having made a vow to give the sun dance sends a man to look up the camps and invite them to join his band. He carries tobacco and presents some to each head man with the invitation. As the head men receive the invitation, they order their bands to move, forming the circle at the medicine woman's camp. Once formed, the circle is not broken until after the sun dance, a period estimated at from two to four months. The whole body may move about and even make long journeys aside from the four ceremonial moves required while the medicine woman is fasting. After the sun dance, they split up into parties for the fall hunt and finally went into winter quarters. The import of our former statement is thus apparent. The suggestion is that the camp circle is intimately associated with the sun dance. At least, one point is clear, the camp circle is initiated by the woman who starts the sun dance and even so is one of the preparatory steps.

As previously stated in Volume 7 of this series, there is much uncertainty as to the order of bands in the circle. We doubt if it ever was absolutely fixed beyond change at the will of those in charge of the sun dance proceedings.

MYTHOLOGICAL NOTES.

The way that several distinct myths are used to account for different features of the sun dance might be taken as a suggestion that the ceremony grew up among the Blackfoot. We suspect, however, that we have here an example of pattern phenomena. Those familiar with the detailed study of rituals in Volume 7 will recall that tradition recognized the obvious fact that rituals were not produced all at once, but grew by accretions. This is so marked in the mythical accounts of ritual origin that we may suspect its appearance in the mythology of the sun dance. On page 241 we have enumerated the myths accounting for important features of the ceremony. Among these are not included the parts taken by societies or the cutting sacrifices, they, as we have stated, not being regarded as integral parts of the sun dance.

For the sake of completeness we offer some extracts from an unpublished version of the Scar-face myth:--

We will take up this narrative at the point where Scar Face has killed the cranes and reported with their scalps. We are told that had not Scar Face killed these birds, they would always have killed people, but that since he overpowered them they now fear people and have done so ever since.

Now, the Sun, the Moon, Scar Face, and Morningstar had a scalp dance while the Sun and Moon sang the praise songs in honor of Scar Face. The Sun addressed Scar Face: "When your people kill enemies they should scalp them and then give a scalp dance. Whenever anyone counts coup or recounts his war experiences, the praise songs should be sung." We have followed this custom ever since. Whenever anyone related his war deeds, some old men or old woman sang the praise songs, repeating the narrator's name during the singing.

The Sun was pleased with Scar Face. He directed Morningstar and Scar Face to build four sweathouses, standing side by side, with their entrances facing east. When they were completed, the Sun, Morningstar, and Scar Face entered one of them, the Moon remaining outside to close the door. After the Sun had worked over Scar Face, he ordered the moon to open the door and they went into the next sweathouse, again choosing the moon to be the door attendant. Now, the Sun asked the Moon to point out her son. The Moon designated Morningstar. They moved into the third sweathouse where the Sun had Morningstar and Scar Face exchange seats. Again, the Moon was asked to pick out her son. Though she noticed that the scar on the young man's face had disappeared, she pointed to her own son. They proceeded to the fourth sweathouse. Again, the Sun had the two men exchange places. The Moon looked in and pointing to Scar Face said, "This is Morningstar." The Sun replied, "You have mistaken him for Morningstar, the other is our son." Ever since that time, Scar Face has always been called Mistaken Morningstar.

Then the Sun gave Scar Face a buckskin suit decorated with porcupine quills. On the breast and back of the shirt were quill-worked rosettes representing the sun; the side seams of the leggings and sleeves were covered with strips of quillwork three or four inches wide. In addition, the sleeves and leggings bore hair fringes representing the scalps of cranes killed by Scar Face. The Sun also gave Scar Face a bow with a lock of hair fastened to one end, a whistle made of a hollow reed, a bladder, and the robe worn by Scar Face. To represent the scalping, the Sun painted the upper part black. The whistle and the bladder were to be used on the woman who had refused Scar Face. The bow too, is a reminder of the killing of the cranes and is still used in the sun dance lodge. The Sun gave Scar Face a circle of creeping juniper which the women that build the lodge (the sun dance or medicine lodge) are to wear on their heads.

The Sun told Scar Face of the sun dance, the lodge, and the sweathouse, and added, "When you return to your people and wish to make an offering to me, you must first build a sweathouse and there make your offerings. Then I will hear your prayers and accept them. You may also make offerings to me in the sun dance lodge." He covered Scar Face's face with the "seventh" or red paint, drew a black circle around his face and a black dot on the bridge of his nose, and a streak of black around each wrist. He said to Scar Face, "This is the way the people must paint when they make offerings to me in the sun dance lodge. For the victory or scalp dance they must paint their faces black." The Sun also gave him a necklace, in the center of which were strung two small shells and a pendent lock of hair, flanked on either side by four beads. This is the necklace worn by the husband of the woman owning the natoas. The Sun's lodge was made of white buffalo robes and some the color of beaver skins. The door of the Sun's lodge faced the east. For this reason, tipis were always turned so the doors faced east. Now Scar Face decided to return to the place where Spider waited.

The narrative then proceeds in the usual way, except that the hero calls all the men of the camp to take revenge on the young woman after which he by magic turns her into a cripple.

THE BLOOD AND NORTH BLACKFOOT.

The writer has upon two occasions seen the ground where a Blood sun dance had been held. The dancing lodge, the sweathouse, etc., were still standing and all these were just as noted among the Piegan. The Blood lodge was a little larger, but the Piegan said that it was formerly so with them, they now having very poor timber to work with. We have in addition two brief published accounts of eyewitnesses.[19] The chief difference we could detect was in the secondary dances of the society where the Horns and the Matoki[20] took a very prominent part. As there are now no such organizations among the Piegan, this gives merely an outward appearance of difference.

The Northern Piegan, as may be expected, also had the same form. As to the North Blackfoot, we have only the statement of other Indians that the sun dance was the same. The Sarsi[21] also had the very same form and we may suspect the Kutenai as well. At least, my Piegan informants asserted that the Kutenai had the sun dance from them. The problem here, however, must rest until we have more data, though Hale is of the opinion that the Blackfoot gradually displaced the Kutenai and took over many Plains traits from them.[22]

FOOTNOTES:

[19] McLean, _ibid._, 231-237; McQuesten, _ibid._, 1169-1177.

[20] This series, volume 11, 410-418, 430-435.

[21] Goddard, Pliny Earle, "Sarsi Texts" (_University of California Publications in American Archaeology and Ethnology_, vol. 11, no. 3, Berkeley, 1915), 192-195.

[22] Hale, H., "On the North-Western Tribes of Canada" (_Report, Fifty-seventh Meeting, British Association for the Advancement of Sciences_, 173-200, London, 1888), 198.