Showing posts with label Sioux. Show all posts
Showing posts with label Sioux. Show all posts

Saturday, May 14, 2016

Osage Hopewell Earthwork in Pike County, Ohio Decoded

Osage Hopewell Earthwork in Pike County, Ohio Decoded


Their religious beliefs were based on Wah-kon-tah, the great mystery spirit or power. In one creation legend, the Osages believed that the People of the Sky (Tzi-sho) met with the People of the Land (Hun-Kah) to form one tribe, the Children of the Middle Waters (Ni-u-ko’n-ska).

Friday, April 8, 2016

About the Native American Sioux Sun Dance

About the Native American Sioux Sun Dance


The Sioux or Dakota Indians are one of the largest tribes left. They live at present chiefly in the states of North and South Dakota. There are a number of divisions or sub-tribes of them—the Santee, Sisseton, Wahpeton, Yankton, Yanktonnais, and Teton Sioux. The Tetons in turn are divided into several bands each with its own name. These are all Sioux proper, but there are many other tribes that speak languages that are related to the Sioux. Among these Siouan—but not Sioux—tribes are the Winnebagoes, Mandans, Ponkas, Assinaboines, Omahas, and Otoes.

The Sioux are tall, finely built Indians, with large features and heavy, massive faces. They are a good type of the Plains Indians who until lately lived by hunting buffalo. There are now nearly thirty thousand true Sioux and about ten thousand Siouans of related tribes.



Among all peoples of the Siouan family it is probable that the terrible sun dance was practiced. It differed somewhat from tribe to tribe. It was seen and described by a number of whites, but to-day it has been forbidden by the United States government, and it is some years since it last took place.
The sun dance was made to please Wakantanka, the sun. If there were a famine or disease, or if one wished success in war, or to have a good crop, a young man would say, “I will pray to Wakantanka early in the summer.” The man at once began to prepare for the event. He took sweat baths, drank herb teas, and gave feasts to his friends, where herb teas were used. He had to be careful of what things he touched; used a new knife, which no one else might use; must not touch any unclean thing. He could not go in swimming. He and his friends gathered together all the property they could, that he might give many gifts at the time of the dance.
At his house every one had to treat him kindly and not vex him. An umane was made near the back of the tent. This was a space dug down to the lower soil. Red paint was strewn over it, and no one might set foot upon it. Any of those who were to take part in the dance, after he had smoked would carefully empty the ashes from his pipe upon this spot. The spot represented life as belonging to the earth.
Invitations to neighboring tribes were sent early, and long before the dance parties began to arrive. Some of these would spend several weeks about the village. At first they pitched their camps wherever it best suited them. A little before the dance orders were given, and all the visitors camped in one large camp circle, each tribe occupying a special place. The space within this circle was carefully leveled and prepared. A special building was erected in the center of this circle in which the young men made their preparations. In it were buffalo skulls,—one for each dancer,—a new knife and ax, and couches of sage for the dancers to lie upon.
A sacred tree was next secured and set up. This was an important matter. Men of consequence were first sent out to select it. When they had found one they announced it in the village, and a great crowd rode out on horseback to the spot. Many strange things were done in getting it, but at last it was cut down. A bundle of wood, a blanket, a buffalo robe, and two pieces of buffalo skin—one cut to the shape of a man, the other to that of a buffalo—were fastened in the tree. It was then carried in triumph back to the camp and set up.
A dance house was built around this tree. It was like a great ring in shape, and the space between it and the tree was not roofed. The dance house was built of poles and leaves. In it all the more important parts of the ceremony were performed. After the tree was set up and the dance house built, all the town was in excitement; men, dressed in all their finery, went dashing on horseback around the camp circle, shooting their pistols and making a great noise. The old men shot at the objects hung in the sacred tree. At evening the young men and women rode around, singing.



During all this time the young men had been preparing for the dance. They were especially dressed, they had sung, drummed, and smoked. When the evening came that has been described, the dance really began. The young men danced from the lodge, where they had been making preparation, to the dance lodge.
The leader carried a buffalo skull painted red. All cried as they went. On entering the dancing house they saluted the four cardinal points and seated themselves at the back of the lodge, singing. A spot, shaped like a crescent, was then cut in the ground, and the dancers placed in it the buffalo skulls they carried. Shortly afterward began the tortures, which have made this dance so famous. They were intended to test the bravery of the young men and to please the sun. Sometimes a man stood between four posts arranged in the form of a square. His flesh was cut in two places in the back, and thongs were passed through and tied to the post in front. Another had a buffalo skull hung to the thong passed through his back, and danced until the weight of the skull tore out the thong. From a pole hung eight thongs; one man took two of these and passed them through his cuts and fastened them; he then hung back and looked upward at the sun. Other men, who did not take part in the dance itself, sat near the sun pole, and with new knives cut bits of flesh from their shoulders and held them up to the sun pole. Sometimes a man took his horse with him into the dancing lodge. His chest was pierced in two places and thongs from the pole were inserted; he was then tied to his horse, and the animal was whipped up. The thongs were thus suddenly jerked and the flesh torn.
Tortures of the Mandan Sun Dance. (After Catlin.)

These are only a few of the dreadful things that have been told of sun-dance tortures. They are taken from a description given by an Indian named George Bushotter. He not only described the dance, but drew a curious lot of rude pictures showing it.
Years before, George Catlin saw the sun dance of the Mandans, and left four terrible pictures of
it. The celebration at that time among the Mandans exceeded in the horror of its tortures that which we have described.
While these tortures were going on in the dancing lodge, all sorts of things were being done outside. The old women danced. Songs were sung in honor of the young men. Children were gathered together and their ears were pierced. Presents were given away. A double fence of poles connected the house of preparation and the dance house, and upon it objects of all kinds were hung. These were free gifts to any one who chose to take them.
From the time the sacred tree was set up until the dance was over, the young men taking part fasted and took no drink. While they suffered, and as they gazed at the sun or lifted up their hands toward it, they continually prayed, saying, “Please pity me; bring to pass the things I desire.” When all was over, the young men were taken home, and each was given four sips of water and a bit of food. A little later they might eat all they liked. Then they went into the sweat lodge. They were now through, and ever after might boast of having danced to Wakantanka.

Thursday, April 7, 2016

About George Catlin And His Work Painting the Plains Indians

About George Catlin And His Work Painting the Plains Indians


George Catlin painting a Mandan Indian chief

A famous man in America fifty years ago was George Catlin. He was born at Wyoming, Pennsylvania, in 1796, and lived to a good old age, dying in 1872. His father wished him to be a lawyer, and he studied for that profession and began its practice in Philadelphia. He was, however, fond of excitement and adventure, and found it hard to stick to his business. He was fond of painting, though he considered it only an amusement. While he was living in Philadelphia a party of Indians from the “Far West” spent some days in that city on their way to Washington. Catlin saw them, and was delighted with their fine forms and noble bearing. He determined to give up law practice and to devote his life to painting Indians, resolving to form a collection of portraits which should show, after they were gone, how they looked and how they lived.
He made his first journey to the Indian country for this purpose in 1832. For the next eight years he devoted himself to the work. He traveled many thousands of miles by canoe and horse, among tribes some of which were still quite wild. His life was full of excitement, difficulty, and danger. He made paintings everywhere: paintings of the scenery, of herds of buffalo, of hunting life, Indian games, celebrations of ceremonies, portraits—everything that would illustrate the life and the country of the Indian.
Portrait of George Catlin.
Among the tribes he visited were the Mandans, who lived along the Missouri River. Some of his best pictures were painted among them. He there witnessed the whole of their sun-dance ceremony, and painted four remarkable pictures of it. These represent the young men fasting in the dance lodge, the buffalo dance outside, the torture in the lodge, the almost equally horrible treatment of the dancers outside after the torture. Although a terrible picture, we have copied the painting showing the torture in the lodge (see next chapter) as an example of his work. Other pictures by him are the ball-player (see and the chief in war dress 

Mandan Indian O-Kee-Pa self torture ceremony. "Immediately under the little frame or scaffold … on the floor of the lodge was placed a knife, and by the side of it a bundle of splints or skewers, which were kept in readiness for the infliction of the cruelties directly to be explained. There were seen also, in this stage of the affair, a number of cords of rawhide hanging down from the top of the lodge, and passing through its roof, with which the young men were to be suspended by the splints passed through their flesh, and drawn up by men placed on the top of the lodge for the purpose" (Letters and Notes, vol. 1, pp. 158–64, pl. 66).
Sometimes the Indians did not wish to be painted. They thought it would bring bad luck or shorten life. At one Sioux village the head chief was painted before any one knew it. When the picture was done, some of the headmen were invited to look at it. Then all the village wanted to see it, and it was hung outside the tent. This caused much excitement. Catlin says the medicine men “took a decided and noisy stand against the operations of my brush; haranguing the populace and predicting bad luck and premature death to all who submitted to so strange and unaccountable an operation! My business for some days was entirely at a stand for want of sitters; for the doctors were opposing me with all their force; and the women and children were crying with their hands over their mouths, making most pitiful and doleful laments.”
At another town up the Missouri River, near the Yellowstone, there was a still greater excitement over one of Catlin's pictures. About six hundred Sioux families were gathered at a trading post from the several different sub-tribes of that great people. There had been some trouble over his painting, and the medicine men threatened that those who were painted would die or have great misfortune. An Uncpapa Sioux chief named Little Bear offered to be painted. He was a noble, fine-looking fellow, with a strong face which Catlin painted in profile. The picture was almost finished when a chief of a different band, a surly, bad-tempered man whom no one liked, came in. His name was Shonko, “The Dog.” After looking at the picture some time, he at last said in an insolent way, “Little Bear is but half a man.” The two men had some words, when finally The Dog said, “Ask the painter, he can tell you; he knows you are but half a man—he has painted but one half your face, and knows the other half is good for nothing.” Again they bandied words back and forth, Little Bear plainly coming out ahead in the quarrel. The Dog hurried from the room in a great rage. Little Bear knew he was in danger; he hurried home, and loaded his gun to be prepared. He then threw himself on his face, praying to Wakanda for help and protection. His wife, fearing that he was bent on mischief, secretly removed the ball from his gun. At that moment the insolent voice of The Dog was heard. “If Little Bear is a whole man, let him come out and prove it; it is The Dog that speaks.” Little Bear seized his gun and started to the door. His wife screamed as she realized what she had done. It was too late; the two men had fired, and Little Bear fell mortally wounded in that side of his face which had not been painted in the portrait. The Dog fled.
The death of Little Bear called for vengeance. Such an excitement arose that Catlin soon left, going further up the river. The warriors of the two bands organized war-parties, the one to protect, the other to destroy, The Dog. The Dog's brother was killed. He was an excellent man, and his death was greatly mourned. The Dog kept out of reach. Councils were held. When the matter was discussed, some things were said which show the Indian ideas regarding portraits. One man said:
“He [Catlin] was the death of Little Bear! He made only one side of his face; he would not make the other; the side he made was alive, the other was dead, and Shonko shot it off.”Another said: “Father, this medicine man [Catlin] has done us much harm. You told our chiefs and warriors they must be painted—you said he was a good man and we believed you! you thought so, my father, but you see what he has done! he looks at our chiefs and our women and then makes them alive! In this way he has taken our chief away, and he can trouble their spirits when they are dead! they will be unhappy.” On his return voyage Catlin had to be cautious, and avoided the Uncpapa encampment. Some months later The Dog was overtaken and killed.
Catlin's pictures varied much in quality. Some were fine; others were poor. Often he made the outlines and striking features wonderfully well.
Catlin was among the Mandans in 1832. Thirty-three years later Washington Matthews was in the Upper Missouri country. He had with him a copy of Catlin's book with line pictures of more than three hundred of his paintings. The Indians had completely forgotten Catlin and his visit, but were much interested in his pictures.
The news soon spread that the white man had a book containing the “faces of their fathers.” Many went up to Fort Stevenson to see them. They recognized many of the portraits and expressed great emotion. That is, the women did, weeping readily on seeing them. The men seemed little moved. One day there came from the Mandan town, sixteen miles away, the chief, Rushing Eagle, son of Four Bears, who had been a favorite of Catlin's. Catlin painted him several times (see opposite page 1). When the son saw his father's picture, though he gazed at it long and steadily, he showed no emotion. Dr. Matthews was called away on some errand, and told the chief that he would be away some time and left him alone with the book. He was obliged, however, to return for something, and was surprised to find Rushing Eagle weeping and earnestly addressing his father's portrait.
Catlin not only painted hundreds of pictures among many tribes; he also secured many fine Indian objects—dress, weapons, scalps, objects used in games, painted blankets, etc. With his pictures and curiosities, which had cost him so much time, labor, and danger, he traveled through the United States.
He exhibited in Boston, New York, Philadelphia, Washington, and many less important cities, and everywhere attracted crowds. He went to Europe and exhibited in France, Belgium, and England. Every one spoke of him. He was the guest of kings and prominent men everywhere. Louis Philippe, King of France, was so much interested in his work that he proposed to buy the pictures and curiosities for the French nation. But just then came the Revolution which dethroned him, and the sale fell through. Many of Catlin's pictures and some of his curiosities are still in existence, and the greater part of these are in the United States National Museum at Washington.

Monday, April 4, 2016

Osage Native American Indian Clothing for Men

Osage Native American Indian Clothing for Men

Osage Indian man, Young Black Dog. His clothing includes, a shirt decorated with porcupine quills, a necklace, and a feather head dress.


Osage chief, White Hair, wearing a cloth shirt and headband, shell earrings.

Osage, Native American dancer taken in 1910.  Clothing included rattles around the knees, beeded belt and an eagle feathered head dress.



George Michelle dressed as an In-Lon-Schka dancer - Osage – 1910
Two Osage Indians named, Frank Corndropper and Paul Buffalo taken in 1905. Wearing traditional dance attire with Eagle feather head dress.

Osage Indian clothing from a man called Comes Upon The Village,1908. 

Osage Indian Called Bacon Rind in traditional dance clothing.

Tuesday, March 22, 2016

About American Indiana Symbols and Picture Writing.

About American Indiana Symbols and Picture Writing.
    The Indians did not know how to write words by means of letters. There were, however, many things which they wished to remember, and they had found out several ways in which to record these.
Thus among the Sacs and Foxes there is a long legend with songs telling about their great teacher, the good, wise, and kind Wisuka. It is difficult to remember exactly such long narratives, but with objects to remind the reciter of each part, it is not so hard. So the persons who are to repeat the legend have a micäm. This is a wooden box, usually kept carefully wrapped up in a piece of buckskin and tied with a leathern thong; in it are a variety of curious objects, each one of which reminds the singer or reciter of one part of the narrative. Thus he is sure not to leave out any part. In the same way mystery men among other Algonkin tribes have pieces of birch bark upon which they scratch rude pictures, each of which reminds them of the first words of the different verses in their songs. Such reminders are great helps to the memory. Among the Iroquois and some eastern Algonkins, they used, as we shall see, wampum belts to help remember the details of treaties or of important events.

Among many tribes pictures were used for recording matters of importance. Many Sioux chiefs have written the story of their life in pictures. They took several large sheets of paper and gummed the edges together so as to make one long strip. Upon this they made pictures representing the important incidents in their lives. Thus in one picture was shown where, as a boy, the artist shot his first deer; in another was represented his first hunting party; in another, how he went on the war-path to gain the name of brave; in another, where he danced the sun dance; again, how he went to Washington to see the white men's officers, on business.
The most important record made by the Sioux is the Dakota Calendar. More than a century ago a Sioux Indian determined to keep a count of the years and of their happenings. So he began a record which was called a “winter count,” where the events of the different years were shown by pictures. His idea became popular, and a number of these winter counts were begun by other Indians. The most important of these is one which has been called the Dakota Calendar. It belonged for a long time to an Indian named Lone Dog. The one he had was a copy on cloth from a still older one, which had been made upon a buffalo skin. This count appears to have begun about the year 1800.
The Dakota Calendar. (After Mallery.)
Each year its maker selected some important event, by which the year was to be remembered, and made a picture for it. The first five or six pictures run in a nearly straight line to the left; the line of pictures then coils around and around this, the last picture always being added to the end of the coiled line. The pictures are in black and red, and while rudely drawn, most of them can be easily recognized. In 1801 the Sioux had a terrible attack of smallpox, and many of them died; the picture for the year is a man covered with red spots. Whooping-cough is a disease of which white people have little fear, but it is sometimes very destructive to Indians; in 1813 it was among the Sioux, and the picture for that year was a man coughing, as shown by lines diverging from in front of his mouth. In 1840 the Sioux made a treaty of peace with the Cheyennes; the picture shows two hands extended for a friendly grasp. In 1869 there was a total eclipse of the sun, which is represented by a blackened sun and two stars in red: “The stars were seen in the daytime.” In 1833 was the famous display of meteors or falling stars, which was witnessed in all parts of the United States, causing great excitement; many white people believed that it portended the destruction of the world. This star shower was noticed by the Sioux keeper of the winter count, and is represented by a black moon and a lot of red stars represented as falling. You can pick out these different figures in the picture, which represents Lone Dog's winter count, or the Dakota Calendar as it would look on a buffalo hide.
Indian Letter on Birch Bark. (From Schoolcraft.)
Probably you have all seen pictures of a birch-bark letter written many years ago by an Ojibwa Indian. It was written by one of Schoolcraft's guides. Mr. Schoolcraft, with a party of assistants and soldiers, was on a journey of exploration in the Northwest. One morning as they were leaving camp, Schoolcraft saw an Indian putting a bit of birch bark, upon which he had drawn some pictures in black, into a cleft at the end of a pole. This pole was then stuck slantingly into the ground and three notches were cut in it. When Mr. Schoolcraft asked his guide for an explanation, he said this letter would inform any Ojibwa Indians who might pass, about their party. The eagle in the upper corner showed that they were from Washington—government people. The other pictures showed that there were eight common soldiers each with a gun; that there were six officers, the duty of each being indicated by something carried in the hand,—the captain by his sword, the secretary by his book, the geologist by his hammer, etc.; that soldiers and officers were white men, as shown by their wearing hats; that there were two guides, Indians, as shown by their having no hats and carrying spears; that the night before there were three fires in the camp, soldiers, officers, and guides, camping separately; that during the day there had been secured a prairie hen and a turtle, both of which had been taken by the officers for supper. But other facts were shown besides those told in the pictures. The pole stuck into the ground pointed the direction in which the party would journey; the three notches on the pole told that they would journey in that direction three days.
Of all American Indians those who went farthest in the direction of developing writing were some of those living in Mexico and Central America. The Aztecs had an extensive system of picture writing. By means of pictures they recorded their traditional history and gave full directions regarding the worship of the gods. They had real books written with these pictures. These books were written sometimes on skin, sometimes on paper. The Aztecs made two kinds of paper, one of the soft inner bark of a tree, the other from the maguey plant. The latter sort was beaten out of the mass of leaf fibres after they had been soaked in water. The maguey plant is much like the century plant which you have seen in parks and greenhouses. The paper or dressed skin was made into long narrow strips many feet in length. These strips were folded back and forth like a screen, and the ends were fastened to two thin boards which served as covers for the book. Sometimes bits of polished green stone were inlaid into these covers to make them pretty. Some of these old books are still in existence, though most of them have long been destroyed. We cannot read any of them very well because pictures are uncertain means of conveying information. Still we can tell something about their meaning.
Page of Aztec Book. (From Photograph.)
Charles V, to know about them, and ordered three skilled painters of the Aztecs to prepare a book to be sent to the Emperor. Each artist took a different subject, so the book ]consists of three parts. The first gives a picture-written story of the Aztecs from the time when they began their wanderings; the second gives a list of the towns that paid tribute to the city of Mexico and a statement of the kind and amount of tribute each paid; the third shows how children were trained, how they were punished when they were naughty, and what kind of work they were taught. Of course the Emperor would not understand the meaning of all these queer pictures, far different from anything he had ever seen; so Mendoza had an explanation or translation written with all the pictures. This is as fortunate for us as it was for the Emperor: in this way we can learn something about the use and meaning of these characters.

Tuesday, March 15, 2016

About Native American War

About Native American War




All Indians were more or less warlike; a few tribes, however, were eminent for their passion for war. Such, among eastern tribes, were the Iroquois; among southwestern tribes, the Apaches; and in Mexico, the Aztecs.
The purpose in Indian warfare was, everywhere, to inflict as much harm upon the enemy, and to receive as little as possible.
The causes of war were numerous—trespassing on tribal territory, stealing ponies, quarrels between individuals.
In their warfare stealthiness and craft were most important. Sometimes a single warrior crept silently to an unsuspecting camp that he might kill defenseless women, or little children, or sleeping warriors, and then as quietly he withdrew with his trophies.
Indian Spears, Shield, and Quiver of Arrows.
In such approaches, it was necessary to use every help in concealing oneself. Of the Apaches it is said: “He can conceal his swart body amidst the green grass, behind brown shrubs or gray rocks, with so much address and judgment that any one but the experienced would pass him by without detection at the distance of three or four yards. Sometimes they will envelop themselves in a gray blanket, and by an artistic sprinkling of earth will so resemble a granite bowlder as to be passed within near range without suspicion. At others, they will cover their person with freshly gathered grass, and lying prostrate, appear as a natural portion of the field. Again, they will plant themselves among the yuccas, and so closely imitate their appearance as to pass for one of them.”
At another time the Indian warrior would depend upon a sudden dash into the midst of the enemy, whereby he might work destruction and be away before his presence was fairly realized.
Clark tells of an unexpected assault made upon a camp by some white soldiers and Indian scouts. One of these scouts, named Three Bears, rode a horse that became unmanageable, and dashed with his rider into the very midst of the now angry and aroused enemy. Shots flew around him, and his life was in great peril. At that moment his friend, Feather-on-the-head, saw his danger. He dashed in after Three Bears. As he rode, he dodged back and forth, from side to side, in his saddle, to avoid shots. At the very center of the village, Three Bears' horse fell dead. Instantly, Feather-on-the-head, sweeping past, caught up his friend behind him on his own horse, and they were gone like a flash.
A favorite device in war was to draw the enemy into ambush. An attack would be made with a small part of the force. This would seem to make a brave assault, but would then fall back as if beaten. The enemy would press on in pursuit until some bit of woods, some little hollow, or some narrow place beneath a height was reached. Then suddenly the main body of attack, which had been carefully concealed, would rise to view on every side, and a massacre would ensue.
After the white man brought horses, the war expeditions were usually trips for stealing ponies. These, of course, were never common among eastern tribes; they were frequent among Plains Indians. Some man dreamed that he knew a village of hostile Indians where he could steal horses. If he were a brave and popular man, companions would promptly join him, on his announcing that he was going on an expedition. When the party was formed, the women prepared food, moccasins, and clothing. When ready, the party gathered in the medicine lodge, where they gashed themselves, took a sweat, and had prayers and charms repeated by the medicine man. Then they started. If they were to go far, at first they might travel night and day. As they neared their point of attack, they became more cautious, traveling only at night, and remaining concealed during the daylight. When they found a village or camp with horses, their care was redoubled. Waiting for night, they then approached rapidly but silently.
Each man worked by himself. Horses were quickly loosed and quietly driven away. When at a little distance from the village they gathered together, mounted the stolen animals, and fled. Once started, they pressed on as rapidly as possible.
It was the ambition of every Plains Indian to count coupCoup is a French word, meaning a stroke or blow. It was considered an act of great bravery to go so near to a live enemy as to touch him with the hand, or to strike him with a short stick, or a little whip. As soon as an enemy had been shot and had fallen, three or four often would rush upon him, anxious to be the first one to touch him, and thus count coup.
There was really great danger in this, for a fallen enemy need not be badly injured, and may kill one who closely approaches him. More than this, when seriously injured and dying, a man in his last struggles is particularly dangerous. It was the ambition of every Indian youth to make coup for the first time, for thereafter he was considered brave, and greatly respected. Old men never tired of telling of the times they had made coup, and one who had thus touched dreaded enemies many times was looked upon as a mighty warrior.
Among certain tribes it was the custom to show the number of enemies killed by the wearing of war feathers. These were usually feathers of the eagle, and were cut or marked to show how many enemies had been slain. Among the Dakotas a war feather with a round spot of red upon it indicated one enemy slain; a notch in the edge showed that the throat of an enemy was cut; other peculiarities in the cut, trim, or coloration told other stories. Of course, such feathers were highly prized.
Every one has seen pictures of war bonnets made of eagle feathers. These consisted of a [crown or band, fitting the head, from which rose a circle of upright feathers; down the back hung a long streamer, a band of cloth sometimes reaching the ground, to which other feathers were attached so as to make a great crest. As many as sixty or seventy feathers might be used in such a bonnet, and, as one eagle only supplies a dozen, the bonnet represented the killing of five or six birds. These bonnets were often really worn in war, and were believed to protect the wearer from the missiles of the enemy.
The trophy prized above all others by American Indians was the scalp. Those made in later days by the Sioux consist of a small disk of skin from the head, with the attached hair. It was cut and torn from the head of wounded or dead enemies. It was carefully cleaned and stretched on a hoop; this was mounted on a stick for carrying. The skin was painted red on the inside, and the hair arranged naturally. If the dead man was a brave wearing war feathers, these were mounted on the hoop with the scalp.
It is said that the Sioux anciently took a much larger piece from the head, as the Pueblos always did. Among the latter, the whole haired skin, including the ears, was torn from the head. At Cochiti might be seen, until lately, ancient scalps with the ears, and in these there still remained the green turquoise ornaments.
Apache and Sioux Scalps.

While enemies were generally slain outright, such was not always the case. When prisoners, one of three other fates might await them: they might be adopted by some member of the tribe, in place of a dead brother or son; they might be made to run the gauntlet as a last and desperate chance of life. This was a severe test of agility, strength, and endurance. A man, given this chance, was obliged to run between two lines of Indians, all more or less armed, who struck at him as he passed. Usually the poor wretch fell, covered with wounds, long before he reached the end of the lines; if he passed through, however, his life was spared. Lastly, prisoners might be tortured to death, and dreadful accounts exist of such tortures among Iroquois, Algonkin and others. One of the least terrible was as follows: the unfortunate prisoner was bound to the stake, and the men and women picked open the flesh all over the body with knives; splinters of pine were then driven into the wounds and set on fire. The prisoner died in dreadful agony.

Saturday, October 24, 2015

The Face of the Oto Sioux Ohio Hopewell Mound Builders

The Face of the Ogala Sioux Ohio Hopewell Mound Builders

Ohio Hopewell copper facial mask

Photo of Oto Sioux,  George Moses Harragarra, taken in 1959.

Thursday, May 21, 2015

The Sioux Indian's Elkhorn Pyramid on the Upper Missouri

The Sioux Indian's Elkhorn Pyramid on the Upper Missouri


Wednesday, May 6, 2015

Mandan Sioux Indian Tribe Chief Artwork

Mandan Sioux Indian Tribe Chief Artwork


Art by Charles Bodmer




Friday, March 27, 2015

Two Oto Sioux Medicine Men

Two Oto Sioux medicine men photographed in front of a tipi. Photo believed to have been taken in the 1930s.

Monday, March 23, 2015

Colorized Photo of a Lakota Sioux Indian Girls Dress

Colorized Photo of a Lakota Sioux Indian Girls Dress 

There's not alot of information about this photo that is believed to a be a Lakota Indian girl.

Thursday, January 29, 2015

Sioux Indian Praying to Wanka Tanka

Sioux Indian Praying to Wanka Tanka

                     The Great Spirit - Wanka Tanka Wi

Saturday, January 3, 2015

Color Photo of Osage Sioux Children

Color Photo of Osage Sioux Children

Little is known of this photo except that it was taken in 1919 and was titled,"Little Osages."

Wednesday, November 12, 2014

Sioux Indians Belief in Fairies

Sioux Indians Belief in Fairies





THE MOUNTAIN OF LITTLE SPIRITS.

At the distance of a woman's walk of a day from the mouth of the river called by the pale-faces the Whitestone, in the country of the Sioux, in the middle of a large plain, stands a lofty hill or mound. Its wonderful roundness, together with the circumstance of its standing apart from all other hills, like a fir-tree in the midst of a wide prairie, or a man whose friends and kindred have all descended to the dust, has made it known to all the tribes of the West. Whether it was created by the Great Spirit, or piled up by the sons of men, whether it was done in the morning of the world, or when it had grown fat and stately, ask not me, for I cannot tell you. Those things are known to one, and to one only. I know it is called by all the tribes of the land the Hill of Little People, or the Mountain of Little Spirits. And the tradition is yet freshly traced out on the green leaf of my memory, which has made it the terror of all the surrounding nations, and which fills the Sioux, the Mahas, the Ottoes, and all the neighbouring tribes, with great fear and trembling, whenever their incautious feet have approached the sacred spot, or their avocation compels them to look at the work of spirits. No gift can induce an Indian to visit it, for why should he incur the anger of the Little People who dwell within it, and, sacrificed upon the fire of their wrath, behold his wife and children no more? In all the marches and countermarches of the Indians; in all their goings and returnings; in all their wanderings, by day and by night, to and from lands which lie beyond it; their paths are so ordered that none approach near enough to disturb the tiny inhabitants of the hill. The memory of the red man of the forest has preserved but one instance where their privacy was violated, since it was known through the tribes that they wished for no intercourse with mortals. Before that time many Indians were missing every year. No one knew what became of them, but they were gone, and left no trace nor story behind. Valiant warriors filled their baskets with dried corn, and their quivers with tough arrow shafts and sharp points; put new strings to their bows; new shod their mocassins, and sallied out to acquire glory in combat: but there was no wailing in the camp of our foes; their arrows were not felt, their shouts were not heard. Yet they fell not by the hands of their foes; but perished, we know not where or how. At length, the sun shone on the mystery, and the parted clouds displayed a clear spot. Listen!

Monday, August 18, 2014

Cherokee and Sioux Indian Thunder-Gods and Thunder Birds

Cherokee and Sioux Indian Culture and Religion:  Thunder-Gods and Thunder Birds



North America is rich in thunder-gods. Of these a typical example is Haokah, the god of the Sioux. The countenance of this divinity was divided into halves, one of which expressed grief and the other cheerfulness—that is, on occasion he could either weep with the rain or smile with the sun. Heat affected him as cold, and cold was to him as heat. He beat the tattoo of the thunder on his great drum, using the wind as a drum-stick. In some phases he is reminiscent of Jupiter, for he hurls the lightning to earth in the shape of thunderbolts. He wears a pair of horns, perhaps to typify his connection with the lightning, or else with the chase, for many American thunder-gods are mighty hunters. This double conception arises from their possession of the lightning-spear, or arrow, which also gives them in some cases the character of a war-god. Strangely enough, such gods of the chase often resembled in appearance the animals they hunted. For example, Tsui 'Kalu (Slanting Eyes), a hunter-god} of the Cherokee Indians, seems to resemble a deer. 





He is of giant proportions, and dwells in a great mountain of the Blue Ridge Range, in North-western Virginia. He appears to have possessed all the game in the district as his private property. A Cherokee thunder-god is Asgaya Gigagei (Red Man). The facts that he is described as being of a red colour, thus typifying the lightning, and that the Cherokees were originally a mountain people, leave little room for doubt that he is a thunder-god, for it is around the mountain peaks that the heavy thunder-clouds gather, and the red lightning flashing from their depths looks like the moving limbs of the half-hidden deity. We also find occasionally invoked in the Cherokee religious formulæ a pair of twin deities known as the 'Little Men,' or 'Thunder-boys.' This reminds us that in Peru twins were always regarded as sacred to the lightning, since they were emblematic of the thunder-and-lightning twins, Apocatequil and Piguerao. All these thunder-gods are analogous to the Aztec Tlaloc, the Kiche Hurakan, and the Otomi Mixcoatl A well-known instance of the thunder- or hunter-god who possesses animal characteristics will occur to those who are familiar with the old English legend of Herne the Hunter, with his deer's head and antlers.



The Dakota Indians worshipped a deity whom they addressed as Waukheon (Thunderbird). This being was engaged in constant strife with the water-god, Unktahe, who was a cunning sorcerer, and a controller of dreams and witchcraft. Their conflict probably symbolizes the atmospheric changes which accompany the different seasons.