"Then preparations were made for the dance. One end of the room was set aside for the dressing-room. The chief actors were five men, who were muscular and agile. They were profusely decorated with paint and feathers, while white and dark stripes covered their bodies. They were girt about the middle with cloth of bright colors, sometimes with variegated shawls. A feather mantle hung from the shoulder, reaching below the knee; strings of shells ornamented the neck, while their heads were covered with a crown of eagle feathers. They had whistles in their mouths as they danced, swaying their heads, bending and whirling their bodies; every muscle seemed to be exercised, and the feather ornaments quivered with light. They were agile and graceful as they bounded about in the sinuous course of the dance.
"The five men were assisted by a semicircle of twenty women, who only marked time by stepping up and down with short step; they always took their places first and disappeared first, the men making their exit gracefully one by one. The dresses of the women were suitable for the occasion. They were white dresses trimmed heavily with black velvet. The stripes were about three inches wide, some plain and others edged like saw-teeth. This was an indication of their mourning for the dead chief in whose honor they had prepared that style of dancing. Strings of haliotis and pachydesma shell beads encircled their necks, and around their waists were belts heavily loaded with the same material. Their head-dresses were more showy than those of the men. The head was encircled with a bandeau of otters' or beavers' fur, to which were attached short wires standing out in all directions, with glass or shell beads strung on them, and at the tips little feather flags and quail plumes. Surmounting all was a pyramidal plume of feathers, black, gray, and scarlet, the top generally being a bright scarlet bunch, waving and tossing very beautifully. All these combined gave their heads a very brilliant and spangled appearance.
"The first day the dance was slow and funereal, in honor of the Yo- kai-a chief who died a short time before. The music was mournful and simple being a monotonous chant in which only two tones were used, accompanied with a rattling of split sticks and stamping on a hollow slab. The second day the dance was more lively on the part of the men, the music was better, employing airs which had a greater range of tune and the women generally joined in the chorus. The dress of the women was not so beautiful as they appeared in ordinary calico. The third day if observed in accordance with Indian custom the dancing was still more lively and the proceedings more gay just as the coming home from a Christian funeral is apt to be much more jolly than the going out."
A Yo-kai-a widow's style of mourning is peculiar. In addition to the usual evidences of grief she mingles the ashes of her dead husband with pitch making a white tar or unguent, with which she smears a band about two inches wide all around the edge of the hair (which is previously cut off close to the head) so that at a little distance she appears to be wearing a white chaplet.
It is their custom to feed the spirits of the dead for the space of one year by going daily to places which they were accustomed to frequent while living, where they sprinkle pinole upon the ground. A Yo-kai-a mother who has lost her babe goes every day for a year to some place where her little one played when alive or to the spot where the body was burned and milks her breasts into the air. This is accompanied by plaintive mourning and weeping and piteous calling upon her little one to return and sometimes she sings a hoarse and melancholy chant and dances with a wild ecstatic swaying of her body.
SONGS.
It has nearly always been customary to sing songs at not only funerals but for varying periods of time afterwards although these chants may no doubt occasionally have been simply wailing or mournful ejaculation. A writer [Footnote: Am. Antiq., April-May-June 1879, p. 251.] mentions it as follows:
"At almost all funerals there is an irregular crying kind of singing with no accompaniments, but generally all do not sing the same melody at the same time in unison. Several may sing the same song and at the same time, but each begins and finishes when he or she may wish. Often for weeks, or even months, after the decease of a dear friend, a living one, usually a woman, will sit by her house and sing or cry by the hour; and they also sing for a short time when they visit the grave or meet an esteemed friend whom they have not seen since the decease. At the funeral both men and women sing. No. 11 I have heard more frequently some time after the funeral, and No. 12 at the time of the funeral, by the Twanas (For song see p. 251.) The words are simply an exclamation of grief, as our word 'alas'; but they also have other words which they use, and sometimes they use merely the syllable la. Often the notes are sung in this order, and sometimes not, but in some order the notes do and la, and occasionally mi, are sung."
GAMES.
It is not proposed to describe under this heading examples of those athletic and gymnastic performances following the death of a person which have been described by Lafitau, but simply to call attention to a practice as a secondary or adjunct part of the funeral rites, which consists in gambling for the possession of the property of the defunct. Dr. Charles E. McChesney, U. S. A., who for some time was stationed among the Wahpeton and Sisseton Sioux, furnishes a detailed and interesting account of what is called the "ghost gamble." This is played with marked wild-plum stones. So far as ascertained it is peculiar to the Sioux.