CONCLUSION OF RITES
In the morning after the ceremonies in the Big House were finished, the people filed out through the west door, circled about the building, and lined up, facing eastward, to the east of it. Then they raised their hands and cried “Ho-o-o!” twelve times, and the twelfth time, it is said, their cry reached Heaven.
In comparing this form of the Annual Ceremony with that of the Oklahoma Lenape the most noticeable difference is that here no masked impersonator of Mĭsinghâliʹkŭn was seen in or about the Big House, the Masks among the Minsi, as with the Iroquois, constituting a society with its own separate rites.
GRAND RIVER VERSION
Such was the version of the great ceremonies given the writer by the Minsi of Munceytown, Ontario, which is similar to, but more detailed in parts than, the account previously obtained from the Delawares of Grand River reserve, published by the writer in the American Anthropologist[50] which we will reproduce here. It will be noticed that this description gives fuller information in some places where the first is deficient; so that between this and the preceding account, a good general idea of the Minsi form of the ceremony can be reconstructed. It reads:
“In the old religious ceremonies of the Delawares at Grand River a very peculiar drum was used, a dry skin folded in rectangular form and beaten with four sticks, each bearing a tiny human head carved in relief ([fig. 15, a]). I secured the set of four original sticks from Michael Anthony (Na‛nkŭmaʹoxa), and employed him to make me a reproduction of the drum ([fig. 14]) as the original had been destroyed. This he did, and in addition made six painted sticks ([fig. 15, b]) also used in the ceremony. The description of how these articles were used, pieced together from several Indian accounts, may prove of interest here.
“It appears that the Delawares of Six Nations Reserve formerly held what was known as a ‘General Thanksgiving’ ceremony called in Lenape Gitctlaʹkan, twice a year, once in the spring and again in the fall. At these times it was customary to meet in the Cayuga long-house, borrowed for the occasion. At a certain point in the proceedings (I shall not attempt a consecutive description from hearsay testimony) a man stood up and recited, in a rythmical sing-song tone, his dream—the vision of power seen by him in his youth. Na‛nkŭmaʹoxa remembered how one old man was accustomed to tell about a duck, half black and half white, which had appeared to him. Between the verses of the dream four musicians kneeling at the drum (pw‛awaheʹgŭn) began a plaintive song, beating time with the carved sticks (pw‛awaheʹgŭnŭk). As they sang, the reciter swayed his body to and fro, while a group of dancers gathered on the floor behind him danced with a sidewise step. Before the ceremony, poles were laid lengthwise along both sides of the council house, and against these, at intervals, three on a side, the painted sticks, called mkäähiʹgŭn, were laid. If anyone in the crowd felt ‘especially happy’ he was privileged to strike with one of these sticks upon one of the poles in time to the music. The carved heads on the drumsticks meant that human beings were giving thanks; the lengthwise painting of the sticks, half black and half red, implied that men and women were together in thanksgiving, the black representing the warriors, the red the women. The fork at the striking end of the sticks was to give a sharper sound. The dyes for producing the colors were made by boiling bark, the black being soft maple (sexiʹkiminsi), and the red, red alder bark (witoʹ‛pi).
“In another part of the same ceremony wampum was used in the form of strings and bunches, both of which were represented in my collection from the Delawares. At least thirteen of the strings were used, each one made different by different combinations of the white and purple beads. These thirteen, it is said, represented respectively (1) Earth; (2) Plants; (3) Streams and Waters; (4) Corn, Beans, and Vegetables; (5) Wild Birds and Beasts; (6) Winds; (7) Sun; (8) Moon; (9) Sky; (10) Stars; (11) Thunder and Rain; (12) Spirits; and (13) Great Spirit. At the ceremony these strings were laid upon a bench before a speaker, who picked them up one by one as he made his address, each string reminding him of one part of his speech. He began, my informant told me, by explaining that the Great Spirit had made all things—the earth, plants, streams, and waters—everything. Having thus enumerated all the things represented by the wampum, he proceeded to speak to each of the remaining twelve directly, holding the appropriate string in his hand. Thus he gave thanks to the Earth for the benefits it gives to man, and prayed that its blessings might continue; then thanked in the same way the Plants, the Streams and Waters, the Winds; the Corn, Beans, and Vegetables—each one in turn. As he finished each string he handed it to an attendant, who laid it aside. When his long speech or prayer was finished, he announced, ‘We will now enjoy ourselves,’ and selected a man to distribute little bunches of wampum, three beads in each, which served as invitations to join in the dancing that followed. These bunches were delivered only to a certain number of those known to be ‘sober and honest’ among the crowd in the long-house. If any person wishing to dance failed to get invitation wampum, it was his privilege to ask for one of the bunches, which was given him if he was considered qualified. The first man receiving wampum arose first; then the others, until the dancers were all on the floor. It is said that this dance, which sometimes lasted all night, did not circle around like most of the Iroquois dances, but each performer remained in about the same spot.
“I was told that in this dance a small rattle without a handle and made of turtleshell was used, probably like the box-turtle rattle still used in the annual Planting Dance by the Seneca and Cayuga.”