Fig. 16 (50-2964). Circular
Design upon a Shirt.
Diameter, 11 cm.
Meeker describes[[15]] a wheel-shaped hoop-ornament consisting of a ring enclosing four spokes at right angles to each other. According to his account, this is a symbol associated with the hoop-game; but similar specimens were seen by the writer upon the heads of Dakota men, who explained that these were symbols of the medicine-wheel or medicine-hoop, and did not refer to the hoop-game. They were worn because they were regarded as symbols of the power that could protect the wearer from arrows, bullets, or other dangers.
As is suggested by the above, the game-hoop is distinguished from the medicine-hoop as used in ceremonies. A medicine-hoop seems to have been used by all divisions of the Dakota, and, according to the descriptions received by the writer, to have been of several forms. In certain ceremonies where the elk played an important part, a hoop or ring was formed by twining together fresh twigs and leaves of the willow. In the centre of this hoop, a small mirror was held by four cords arranged at right angles, and representing the four directions. A drawing of an elk-dancer by a native is shown in Fig. 17. The painted centre for the circular designs on a shirt (Fig. 16) described above, as well as the small wheel-shaped head-ornament, were said to represent a hoop of this type.
Fig. 17. Sketch, by a Native,
of an Elk-mystery Dancer carrying a
Hoop with a Mirror in the Centre.
Drawing collected by R. Cronau.
The connection of this hoop with the idea of protection is well illustrated in the manufacture of one kind of red paint. It is produced by burning a kind of yellow clay, found near the Black Hills, until it takes on the red color. The paint, however, is given its protective power by certain ceremonies performed as it is made. In the particular ceremony observed by the writer, the yellow earth was pounded fine, and mixed with water until it became a stiff paste. This was then made into a flat disk about half an inch thick and from four to six inches in diameter, after which a hole or depression was made in the centre. The purpose of this, as explained, was to give it the form of a medicine-hoop, the hole in the centre corresponding to the place occupied by the mirror in the form of hoop just described. This disk was then burned in the fire until red, after which it was pounded on a stone until fine enough for use. The ceremony in preparing the paint consisted of ritualistic songs and prayers, which reached their climax as the disk of clay was formed and perforated. The burning and the subsequent preparation were not regarded as parts of the ceremony. The idea, as expressed, was to connect the paint with the power represented by the hoop, so that when a warrior rubbed some of it upon his body, he came at once under the protection of this power.
Another idea seems to be connected with the conception of the medicine-hoop, and that is the appearance of certain mythical animals with openings through their bodies where their hearts should be. The conception seems to be, that an animal without a heart is immortal and supernatural: at least, this is the way in which the mythical elk was described. According to the belief, there is a connection between this opening through the heart and the centre of the medicine-hoop, represented in the elk ceremonies by the mirror; but it is the opinion of the writer that this is an error on the part of the Indians themselves in associating two things that were formerly distinct.[[16]]
It seems rather curious that the mirror should become so closely associated with the hoop, and that the mirror should have appealed to them as a symbol of almost equal importance. The writer is of the opinion that the preceding cases, where the mirror and the hoop are considered as identical symbols, are the result of a former close association of the two in ceremonial affairs.