SACRED OBJECTS FROM THE SIOUX GHOST DANCE

When they arose again, they enlarged the circle by facing toward the center, taking hold of hands, and moving around in the manner of school children in their play of “needle’s eye.” And now the most intense excitement began. They would go as fast as they could, their hands moving from side to side, their bodies swaying, their arms, with hands gripped tightly in their neighbors’, swinging back and forth with all their might. If one, more weak and frail, came near falling, he would be jerked up and into position until tired nature gave way. The ground had been worked and worn by many feet, until the fine, flour-like dust lay light and loose to the depth of two or three inches. The wind, which had increased, would sometimes take it up, enveloping the dancers and hiding them from view. In the ring were men, women, and children; the strong and the robust, the weak consumptive, and those near to death’s door. They believed those who were sick would be cured by joining in the dance and losing consciousness. From the beginning they chanted, to a monotonous tune, the words—

Father, I come;

Mother, I come;

Brother, I come;

Father, give us back our arrows.

All of which they would repeat over and over again until first one and then another would break from the ring and stagger away and fall down. One woman fell a few feet from me. She came toward us, her hair flying over her face, which was purple, looking as if the blood would burst through; her hands and arms moving wildly; every breath a pant and a groan; and she fell on her back, and went down like a log. I stepped up to her as she lay there motionless, but with every muscle twitching and quivering. She seemed to be perfectly unconscious. Some of the men and a few of the women would run, stepping high and pawing the air in a frightful manner. Some told me afterwards that they had a sensation as if the ground were rising toward them and would strike them in the face. Others would drop where they stood. One woman fell directly into the ring, and her husband stepped out and stood over her to prevent them from trampling upon her. No one ever disturbed those who fell or took any notice of them except to keep the crowd away.

They kept up dancing until fully 100 persons were lying unconscious. Then they stopped and seated themselves in a circle, and as each one recovered from his trance he was brought to the center of the ring to relate his experience. Each told his story to the medicine-man and he shouted it to the crowd. Not one in ten claimed that he saw anything. I asked one Indian—a tall, strong fellow, straight as an arrow—what his experience was. He said he saw an eagle coming toward him. It flew round and round, drawing nearer and nearer until he put out his hand to take it, when it was gone. I asked him what he thought of it. “Big lie,” he replied. I found by talking to them that not one in twenty believed it. After resting for a time they would go through the same performance, perhaps three times a day. They practiced fasting, and every morning those who joined in the dance were obliged to immerse themselves in the creek. ([Comr.], 44.)

SONG REHEARSALS

As with church choirs, the leaders, both men and women, frequently assembled privately in a tipi to rehearse the new or old songs for the next dance. During the first winter spent among the Arapaho I had frequent opportunity of being present at these rehearsals, as for a long time the snow was too deep to permit dancing outside. After having obtained their confidence the Arapaho police invited me to come up to their camp at night to hear them practice the songs in anticipation of better weather for dancing. Thenceforth rehearsals were held in Black Coyote’s tipi almost every night until the snow melted, each session usually lasting about three hours.

On these occasions from eight to twelve persons were present, sitting in a circle on the low beds around the fire in the center. Black Coyote acted as master of ceremonies and opened proceedings by filling and lighting the redstone pipe, offering the first whiff to the sun, then reversing the stem in offering to the earth, next presenting the pipe to the fire, and then to each of the four cardinal points. He then took a few puffs himself, after which he passed the pipe to his next neighbor, who went through the same preliminaries before smoking, and thus the pipe went round the circle, each one taking only a few puffs before passing it on. The pipe was then put back into its pouch, and Black Coyote, standing with his face toward the northwest, the messiah’s country, with eyes closed and arms outstretched, made a fervent prayer for help and prosperity to his tribe, closing with an earnest petition to the messiah to hasten his coming. The others listened in silence with bowed heads. The prayer ended, they consulted as to the song to be sung first, which Black Coyote then started in a clear musical bass, the others joining. From time to time explanations were made where the meaning of the song was not clear. They invited me to call for whatever songs I wished to hear, and these songs were repeated over and over again to give me an opportunity to write them down, but they waived extended discussion until another time. Usually the men alone were the singers, but sometimes Black Coyote’s wives or other women who were present joined in the songs. It was noticeable that even in these rehearsals the women easily fell under the excitement of the dance. Finally, about 10 oclock, all rose together and sang the closing song, Ni′ninitubi′na Huhu, “The Crow has given the signal,” and the rehearsal was at an end. On one occasion, before I had obtained this song, I called for it in order that I might write it down, but they explained that we must wait awhile, as it was the closing song, and if they sung it then they must quit for the night.

PREPARATIONS FOR THE DANCE

On several occasions the dance ground was consecrated before the performance, one of the leaders going all about the place, sprinkling some kind of sacred powder over the ground and praying the while.

PL. CXI

SACRED OBJECTS FROM THE SIOUX GHOST DANCE
a, Staff; b, c, Bow and bone-head arrows; d, Gaming wheel and sticks