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+The Project Gutenberg EBook of Notes on the Kiowa Sun Dance, by Leslie Spier
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Notes on the Kiowa Sun Dance
+
+Author: Leslie Spier
+
+Release Date: May 28, 2011 [EBook #36224]
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK NOTES ON THE KIOWA SUN DANCE ***
+
+
+
+
+Produced by Tor Martin Kristiansen, Joseph Cooper and the
+Online Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+  ANTHROPOLOGICAL PAPERS
+  OF
+  THE AMERICAN MUSEUM
+  OF NATURAL HISTORY
+
+  VOL. XVI, PART VI
+
+
+  NOTES ON THE KIOWA SUN DANCE
+  BY
+  LESLIE SPIER
+
+
+  NEW YORK
+  PUBLISHED BY ORDER OF THE TRUSTEES
+  1921
+
+
+
+
+  NOTES ON THE KIOWA SUN DANCE.
+
+  BY LESLIE SPIER.
+
+
+
+
+  ILLUSTRATIONS.
+  TEXT FIGURES.
+
+                                                       PAGE.
+  1. Groundplan of Dance Lodge                           441
+
+
+
+
+NOTES ON THE KIOWA SUN DANCE.
+
+
+The following notes were obtained from Andres Martinez (Andele, a
+Mexican captive of the Kiowa whose history[1] is well known) in August,
+1919. Attention was directed in the first instance to the organization
+of the dance, but a brief description of the whole ceremony was also
+obtained, chiefly by way of comments on Scott's account.[2] The last
+Kiowa sun dance was held in 1887.[3]
+
+The Kiowa sun dance is the prerogative of the individual who owns the
+sacred image, the _tai´me_. He deputes the ancillary offices where he
+sees fit, although there is a well-defined tendency for them to be
+hereditary. The predominant idea of this image is that of a war
+medicine. Thus the dance is fundamentally like that of the Crow, but it
+differs from it in two important respects. First, the Kiowa rites
+cluster about only one particular medicine, whereas among the Crow, any
+one of a number of medicine dolls may be used in the ceremony. The
+question arises whether the dozen minor Kiowa images, which are
+sometimes brought into the dance, were more recently acquired or
+constructed in order to reproduce the functions of the _tai´me_, or
+whether one medicine doll has completely overshadowed all the others, as
+seemed about to happen among the Crow. The evidence favors the first
+view, since no rites, other than those attendant on any personal
+medicine, are described, or even intimated, for the minor images. The
+second difference is, that while the Crow shaman invokes his medicine
+for any one who appeals to him for aid, acting only in a directive
+capacity, the Kiowa _tai´me_ owner is himself the principal suppliant.
+Were it not for the hereditary bias in the distribution of ceremonial
+functions, the Kiowa sun dance would be the prerogative of one man as
+completely as that of the Crow is, when the latter is once under way.
+The hereditary principle does not appear in the military societies
+except in the ownership of the medicine lance or arrow (_zë´bo_).[4]
+
+The Kiowa sun dance (_k'oθdun_ specifically the name for the lodge) was
+an annual tribal affair, in which the associated Kiowa Apache freely
+joined.[5] It was danced in an effort to obtain material benefits from,
+or through, the medicine doll in the possession of the medicineman, who
+is at the same time director and principal performer.
+
+    This is a small image, less than 2 feet in length, representing a
+    human figure dressed in a robe of white feathers, with a headdress
+    consisting of a single upright feather and pendants of ermine skin,
+    with numerous strands of blue beads around its neck, and painted
+    upon the face, breast, and back with designs symbolic of the sun and
+    moon. [Martinez says the face is entirely obscured by hanging
+    beads.] The image itself is of dark-green stone, in form rudely
+    resembling a human head and bust, probably shaped by art like the
+    stone fetishes of the Pueblo tribes. It is preserved in a rawhide
+    box in charge of the hereditary keeper, and is never under any
+    circumstances exposed to view except at the annual sun dance, when
+    it is fastened to a short upright stick planted within the medicine
+    lodge, near the western side.... The ancient _tai´me_ image was of
+    buckskin, with a stalk of Indian tobacco for a headdress. This
+    buckskin image was left in the medicine lodge, with all the other
+    adornments and sacrificial offerings, at the close of each ceremony.
+    The present _tai´me_ is one of three, two of which came originally
+    from the Crows, through an Arapaho who married into the Kiowa tribe,
+    while the third came by capture from the Blackfeet.[6]
+
+The bundle containing the image is usually hung outside of its keeper's
+tipi. It is not customary to expose the image except at the sun dance,
+but tobacco is placed with it from time to time. Its function outside of
+the dance is identical with its use there: those who need its aid make
+vows to it, which they fulfil by sacrificing horses, etc., and making
+sweatlodges. The image is the property of one man, or more properly of
+his family, since it may be inherited by his blood relatives. If the
+transfer is made before the father's death, payment and a sweatlodge
+must be given by the son.[7] After Long Foot died about 1870, as he had
+no son, it passed into the possession of three of his nephews in
+succession, and reverted in 1894 to his daughter who still has it.[8]
+While she may handle the image, she would not be permitted to enter the
+dance with it.[9] There the functions which would normally devolve on
+her would be performed in their entirety by a captive. This captive has
+been trained to the position in order to take the place of the image
+keeper should he be sick. A captive is chosen for the substitute so that
+a calamity incurred by a mischance in the proceedings may fall on him
+alone and not on the Kiowa. The erstwhile substitute, a Mexican, is
+still living. The image keeper, like his four associates, must not look
+in a mirror, nor touch a skunk or jackrabbit. One who touches these
+animals cannot enter the tipi where the doll is housed until four days
+have elapsed. No dog is allowed in this tipi, nor is one permitted to
+jump over the keeper or his four associates, the _g.uołg.uȧt`_.
+
+There are ten or twelve minor images (_tailyúkȧ_) which strongly
+resemble the _tai´me_ in function, as they are essentially war
+medicines. Most of them were in the keeping of men other than the sacred
+doll owner, but two were kept by him for a time.[10] They have little or
+no part in the sun dance.
+
+    The _Gadômbítsoñhi_, "Old-woman-under-the-ground," belonged to the
+    Kiñep band of the Kiowa. It was a small image, less than a foot
+    high, representing a woman with flowing hair. It was exposed in
+    front of the _tai´me_ at the great sun-dance ceremony, and by some
+    unexplained jugglery the priest in charge of it caused it to rise
+    out of the ground, dance in the sight of the people, and then again
+    sink into the earth.[11]
+
+The sun dance was normally an annual ceremony, but sometimes a year
+passed without one. The dance was theoretically dependent on someone
+going to the keeper and saying, "I dreamed of it (_i.e._, the sun
+dance)," or on the keeper himself dreaming of it. On two occasions a
+second dance was held in the dance lodge after the keeper had removed
+the sacred doll at the close of the first dance, because a second man
+had also dreamed of it.[12] After the dream is announced the keeper
+hangs the image on his back and rides out to all the camps, announcing,
+as he circles them, that he will conduct the ceremony the following
+spring (May or June). This announcement was sometimes made immediately
+after the close of the preceding dance, but usually it came just before
+they intended to hold the dance.[13] The keeper fasts while he is making
+the announcement, even if it takes three days, as may happen when the
+camps were scattered. When they know the dance is to be held, others vow
+to dance for a specified number of days, and all gather near the dance
+ground. No one may absent himself: they are all afraid of his medicine.
+When the tribe is assembled, the keeper circles the camp, again bearing
+the sacred doll on his back.
+
+Two young men are selected by the keeper from one of the military
+societies[14] to scout for a tree to serve as center pole for the dance
+lodge. While searching, they must refrain from drinking. About this time
+all those intending to dance are building sweatlodges to purify
+themselves: the keeper must enter each of these to direct the
+proceedings; this entails considerable work on him. Should he be sick at
+this time, the doll is carried into the sweatlodge by the captive in his
+stead. It is incumbent on the _tai´me_ shield owners to accompany this
+captive and help him perform the necessary ceremonies. When the tree for
+the center pole has been selected, the whole camp moves after the keeper
+and his family to the dance ground. A dozen or more old men follow
+immediately after him. The main body is guarded front, rear, and both
+flanks by the military societies, as is customary when a camp moves.[15]
+The procession halts four times on its journey while the keeper smokes
+and prays. Next, the soldier societies charge on the dance ground,
+or rather on a pole erected there before the camp circle is
+established,[16] according to Methvin (p. 64), but on the newly
+established camp itself according to Scott's informants (p. 357).
+
+The next morning the man who has that privilege sets out with his wife
+to get the hide of a young buffalo bull. When such a person dies, the
+keeper appoints one of his kin to take his place.[17] The couple must
+fast while on this hunt. If the buffalo is killed with a single arrow,
+it is a favorable omen, if many are needed, the opposite is indicated.
+The buffalo must be killed so that he falls on his belly with his head
+toward the east. A broad strip of back skin, with the tail and head skin
+attached is carried to the keeper's tipi, where feathers are tied to its
+head.[18]
+
+The next morning they set out to fetch the center pole. Scott describes
+a parade around the camp circle by the military societies which then
+proceed to charge the tree selected for the center pole, which is
+defended in sham combat by one of the men's societies[19] (_akiaik`to_,
+war with the trees). After the chiefs have recited their coups, and
+prayers have been said by the sacred doll keeper and his wife, who have
+brought the doll there, the tree is chopped down by a captive Mexican
+woman. A captive is always selected for this difficult task, so that any
+harm due to an error on her part may not fall on a tribesman. This
+function is always performed by a Mexican woman: when she dies, the
+keeper appoints her successor. As the tree falls, they shout and shoot
+in the air. The pole is carried to the dance ground by a society
+designated by the keeper,[20] where a hole to receive it has been dug by
+a men's military society.[21] The pole is set upright by a single
+medicineman who owns this privilege. The buffalo hide is then fastened
+across the forks with its head to the east and offerings of cloth, etc.,
+brought by various individuals are tied to it. In 1873 Battey
+observed:--
+
+    The central post is ornamented near the ground with the robes of
+    buffalo calves, their heads up, as if in the act of climbing it;
+    each of the branches above the fork is ornamented in a similar
+    manner, with the addition of shawls, calico, scarfs, &c., and
+    covered at the top with black muslin. Attached to the fork is a
+    bundle of cottonwood and willow limbs, firmly bound together, and
+    covered with a buffalo robe, with head and horns, so as to form a
+    rude image of a buffalo, to which were hung strips of new calico,
+    muslin, strouding, both blue and scarlet, feathers, shawls, &c., of
+    various lengths and qualities. The longer and more showy articles
+    were placed near the ends. This image was so placed as to face the
+    east.[22]
+
+The center pole is not painted.
+
+After the center pole is in place, everyone, but especially the military
+societies, assists in building the enclosing structure. The lodge is
+like those of the Arapaho and Cheyenne: it is circular, the rafters rest
+on the center pole, and the covering of boughs extends a third of the
+way to the center of the roof. An entrance is left on the east side. A
+flat stone is placed here so that every dancer passing through must set
+his foot on it. Wet sand is spread over the ground in the dance
+lodge[23] and heaped around the base of the center pole. Two little
+round holes, walled in with mud, are dug near the rear of the lodge to
+hold incense smudges. A screen of cottonwood and cedar branches is
+constructed just north of these.
+
+    This business continued through the day, except for an hour or two
+    in the middle of the afternoon, when the old women[24]--the
+    grandmothers of the tribe--had a dance. The music consisted of
+    singing and drumming, done by several old women, who were squatted
+    on the ground in a circle. The dancers--old, gray-headed women, from
+    sixty to eighty years of age--performed in a circle around them for
+    some time, finally striking off upon a waddling run, one behind
+    another; they formed a circle, came back and, doubling so as to
+    bring two together, threw their arms around each other's necks, and
+    trudged around for some time longer; then sat down, while a youngish
+    man circulated the pipe, from which each in turn took two or three
+    whiffs, and this ceremony ended.[25]
+
+    [When the dance lodge was completed] the soldiers of the tribe then
+    had a frolic in and about it, running and jumping, striking and
+    kicking, throwing one another down, stripping and tearing the
+    clothes off each other.[26]... Before this frolic was over, a party
+    of ten or twelve warriors appeared, moving a kind of shield to and
+    fro before their bodies, making, in some manner (as I was not near
+    enough to see how it was done), a grating sound, not unlike the
+    filing of a mill-saw.[27]
+
+    In the afternoon, a party of a dozen or more warriors and braves
+    proceeded to the medicine house, followed by a large proportion of
+    the people of the encampment. They were highly painted, and wore
+    shirts only, with head-dresses of feathers which extended down the
+    backs to the ground, and were kept in their proper places by means
+    of an ornamented strap clasping the waist. Some of them had long
+    horns attached to their head-dresses. They were armed with lances
+    and revolvers, and carrying a couple of long poles mounted from end
+    to end with feathers, the one white and the other black. They also
+    bore shields highly ornamented with paint, feathers, and hair.
+
+    They took their station upon the side opposite the entrance, the
+    musicians standing behind them.
+
+    Many old women occupied a position to the right and near the
+    entrance, who set up a tremulous shrieking; the drums began to beat,
+    and the dance began, the party above described only participating in
+    it.
+
+    They at first slowly advanced towards the central post, followed by
+    the musicians several of whom carried a side of raw hide (dried),
+    which was beaten upon with sticks, making about as much music as to
+    beat upon the sole of an old shoe, while the drums, the voices of
+    the women, and the rattling of pebbles in instruments of raw hide
+    filled out the choir.
+
+    After slowly advancing nearly to the central post, they retired
+    backward, again advanced, a little farther than before; this was
+    repeated several times, each time advancing a little farther, until
+    they crowded upon the spectators, drew their revolvers, and
+    discharged them into the air.
+
+    Soon after, the women rushed forward with a shrieking yell, threw
+    their blankets violently upon the ground, at the feet of the
+    retiring dancers, snatched them up with the same tremulous shriek
+    that had been before produced, and retired; which closed this part
+    of the entertainment. The ornamented shields used on this occasion
+    were afterwards hung up with the medicine.[28]
+
+These may be the shields which are associated with the _tai´me_. Later,
+after the sacred doll has been brought into the lodge, they are either
+hung with it on the cedar screen as Battey observed,[29] or on stakes
+set up outside the dance lodge to the west, i.e., behind the image,
+where Martinez saw them. No offerings are made to them there. It is
+incumbent on a _tai´me_ shield owner to dance with the associates
+(_g.uołg.uȧt`_) in every sun dance so long as he continues to own the
+shield. He is not considered one of the associates however. Shield
+owners always help the image keeper when he asks their aid. They must
+also assist his captive substitute when officiating in a sweatlodge. A
+shield owner cannot sell his shield, but he may give it to his son in
+anticipation of his death, receiving presents in return. Otherwise, on
+the death of its owner the shield is placed on his grave. Should a son
+or nephew dream of it, he has the right to make a duplicate with the
+help of the doll owner in order to keep it in the family. However, if
+any other man dreams of it and wants to make the duplicate, he must pay
+the owner.[30] The shield is usually hung outside of its owner's tipi.
+The shield owners "must not eat buffalo hearts, or touch a bearskin, or
+have anything to do with a bear." Like the associates, "they must not
+smoke with their moccasins on,[31] or kill, or eat any kind of rabbit,
+or kill or touch a skunk."[32] These shields are used only in war as
+their owner's personal medicine: no offerings are ever made to them.
+
+Late in the day, a number of men who have vowed to take part in the
+subsequent dance, together with one woman who has the privilege,[33] are
+garbed in buffalo robes to represent the living animals. They gather to
+the east of the lodge where they simulate the actions of a herd of
+buffalo. A man, called a scout, starts from the entrance of the lodge
+with a firebrand and circles about the herd until he meets a second man,
+mounted and carrying a shield and a straight pipe, who thereupon drives
+the buffalo toward the dance lodge, which they circle several times
+before negotiating the entrance. Once inside they lie down; the man with
+the pipe dismounts and enters. Picking up the hairs on the back of first
+one animal and another, he says, "This is the fattest animal. He is our
+protector in war." Then he recites a coup. This designated (or makes ?)
+a brave man of that buffalo.[34] Both the man with the firebrand and he
+with the pipe ought to be medicinemen. The present incumbent of the
+first office also has the privilege of erecting the center pole. When
+these men die, the sacred doll keeper selects successors from their
+families.[35]
+
+That evening after sunset the dance proper begins, to last four nights
+and days, ending in the evening. The doll keeper proceeds to his own
+tipi, where, with the assistance of seven other medicinemen (_tai´me_
+shield keepers and some others not otherwise connected with the
+ceremony), he unwraps the _tai´me_. Carrying it on his back, he walks to
+the dance lodge, and, completely circles it four times, feigning to
+enter each time he passes the entrance. After entering, he goes around
+by the south side to the northwest quadrant, where he plants the image
+hanging on a staff. Formerly two or more of the minor images,
+_tailyúkȧ_, were placed with the _tai´me_. After the image is in place
+the dancers enter to perform for the night.
+
+The keeper dances throughout the whole four-day period. He is painted
+yellow, with a design representing the sun, and sometimes another for
+the moon, drawn on his chest and back. "His face was painted, like that
+of the Taimay itself, with red and black zigzag lines downward from the
+eyes." He wears a yellow buckskin kilt, a jackrabbit skin cap with down
+attached, and sage wristlets. He is barefoot. He carries a bunch of
+cedar in his hand, and an eagle bone whistle from which an eagle feather
+is pendent. Battey observed that he was painted white at the
+"buffalo-herding" rite, and not painted at all in the dance proper.[36]
+
+Beside the _tai´me_ keeper there are three classes of persons who dance;
+the associates (_g.uołg.uȧt`_), the _tai´me_ shield keepers, and the
+common dancers. The four associates (Scott's "keeper's assistants") must
+dance throughout the whole four day period. They appear in four
+successive dances (normally four years), after which they choose
+successors from among those young men, eighteen to thirty years old, who
+have made the best records in war. These young men, with the assistance
+of their relatives,[37] pay horses and buffalo robes for the privilege,
+receiving the regalia in return.[38] One who is chosen cannot refuse: if
+he does, he may expect a calamity. The associate may belong to any of
+the military societies. His office does not impose obligations of
+foolhardiness in war (such as the no-flight idea), but he is obliged to
+act the part of an intrepid warrior, because he enjoys security in
+battle.[39] The associate must not look in a mirror lest he become
+blind,[40] nor can he touch a skunk or jackrabbit, nor remain near a
+fire where someone is cooking. Dogs must not be permitted to jump over
+an associate. He must remove his moccasins before he smokes, but others
+may keep theirs on when smoking in his presence. The associate dances in
+order to live long and to be a great warrior. His body is painted white
+or yellow: a round spot representing the sun is painted on the middle of
+his chest, with a crescent moon (the concavity upward) on both sides of
+the sun, and the same decoration is repeated on his back. The skin is
+cut away as a sacrifice and to make these designs permanent after his
+first dance. A scalp from a _tai´me_ shield hangs on his breast with two
+eagle feathers; another on his back. His face is "ornamented with a
+green stripe across the forehead, and around down the sides of the
+cheeks, to the corners of the mouth, and meeting on the chin."[41] He
+wears a yellow buckskin kilt, with his breechclout hung outside, like
+the Arapaho and Cheyenne sun dancers. Bunches of sage are stuck into his
+belt, others tied around his wrists and ankles, and carried in each
+hand. On his head is either a cap of jackrabbitskin in which is stuck an
+eagle feather or a sage wreath with down attached. He carries a bone
+whistle. Like the sacred doll keeper and all other dancers, he is
+barefoot.[42] Battey saw three associates purify themselves in the
+incense from the censors, and then dance on piles of sage.[43]
+
+The _tai´me_ shield owners, who dance with the associates are sometimes
+painted yellow or green with pictures of the sun and moon on their
+bodies, but otherwise they wear the regalia of the common dancers.
+
+The rank and file of the dancers are men, never women. Anyone may vow to
+dance a certain number of days, with the object of becoming a better
+warrior and living long.
+
+    They believe that it warded off sickness, caused happiness,
+    prosperity, many children, success in war, and plenty of buffalo for
+    all the people. It was frequently vowed by persons in danger from
+    sickness or the enemy.[44]
+
+Sometimes a medicineman danced to intercede for a sick man. A sick man
+who had vowed to attend the dance in order to be cured would be carried
+into the dance lodge, but he would not dance. These dancers make
+offerings to the _tai´me_. They do not pay the doll keeper in order to
+enter the dance, and they have no rights in any subsequent performance
+by reason of having once participated. Like all other dancers they must
+fast and go without water during the period that they dance; they can
+however, smoke, provided the proper rites are observed.
+
+    ... The pipe was filled, brought forward, and laid upon the ground;
+    the person, carefully turning the stem towards the fire, and bedding
+    it in the sand, so that the bowl should remain in an upright
+    position, arose and stood with his back towards it, or facing the
+    medicine. It was then approached by one of the musicians, who, in a
+    squatting position, raised his hand reverently towards the sun, the
+    medicine, the top of the central post, or buffalo; then, passing his
+    hands slowly over the pipe, took it up with his left hand, and
+    taking a pinch from the bowl with the thumb and fore finger of the
+    right, held it to the sun, the medicine, the top of the central
+    post, then the bottom, and finally covered it up in the ground. He
+    then proceeded to light the pipe, blowing a whiff of smoke towards
+    the several objects of adoration, and placed it carefully where he
+    found it, in reversed order, that is, with the stem from the fire.
+    The person who brought it had stood waiting all this time for it. He
+    now took it up and retired to the dancers, who, wrapped in buffalo
+    robes, were waiting, in a squatting position, to receive it. The
+    sand where the pipe had lain was carefully smoothed by the hand, and
+    all marks of it wholly obliterated.[45]
+
+These dancers are painted white; they wear white buckskin kilts, with
+the breechclout outside, carry bone whistles, and are barefoot. They
+have no headdress, wrist or ankle ornaments. They paint themselves.[46]
+There is only one style of paint used by either the principal or the
+common dancers throughout the sun dance.
+
+The dancers form a line on the east side of the lodge facing the image.
+Their step is that characteristic of the sun dance of other tribes: they
+stand in place, alternately bending their knees and rising on their
+toes. They dance intermittently throughout four days and nights; the
+common dancers leave as the periods for which they have vowed to dance
+have elapsed or when they can no longer stand the combined strain of
+fasting, thirsting, and dancing. Martinez left after three days and
+nights. The "four days and nights" which are specified are in reality
+only three nights and days; evidently the first day of preliminary
+dancing is included to fill out the quota to the magic "four." In
+Scott's account, the dancers perform on the first day from evening to
+the middle of the night, and on the succeeding days from sunrise to the
+chorus's breakfast, nine o'clock to dinner, four in the afternoon to
+sundown, and from evening to midnight, ending in the evening of the
+fourth day. The dance Battey describes evidently began in the evening of
+the 18th and continued intermittently to late afternoon of the 21st.
+Apparently the dancers do not leave the lodge during this entire period.
+
+    _19th_ [June, 1873.]--Music and dancing continued in the medicine
+    house through the night. At an early hour this morning I went
+    thither with Couguet, and witnessed one dance throughout. The ground
+    inside the enclosure had been carefully cleared of grass, sticks,
+    and roots, and covered, several inches deep, with a clean, white
+    sand. A screen had been constructed on the side opposite the
+    entrance, by sticking small cottonwoods and cedars deep into the
+    ground, so as to preserve them fresh as long as possible. A space
+    was left, two or three feet wide, between it and the enclosing wall,
+    in which the dancers prepared themselves for the dance, and in front
+    of which was the medicine. This consisted of an image, lying on the
+    ground, but so concealed from view, in the screen, as to render its
+    form indistinguishable; above it was a large fan, made of eagle
+    quills, [an error, these are crow feathers], with the quill part
+    lengthened out nearly a foot, by inserting a stick into it, and
+    securing it there. These were held in a spread form by means of a
+    willow rod, or wire, bent in a circular form; above this was a mass
+    of feathers, concealing an image, on each side of which were several
+    shields, highly decorated with feathers and paint. Various other
+    paraphernalia of heathen worship were suspended in the screen, among
+    these shields or over them, impossible for me to describe so as to
+    be comprehended. A mound had also been thrown up around the central
+    post of the building, two feet high, and perhaps five feet in
+    diameter.
+
+    The musicians, who, if I mistake not, are the war chiefs, were
+    squatted on the ground, in true heathen style, to the left, and near
+    the entrance, having Indian drums and rattles. The music was
+    sounding when we entered.
+
+    Presently the dancers came from behind the screen; their faces,
+    arms, and the upper part of their bodies were painted white; a soft,
+    white buckskin skirt, secured about the loins, descended nearly to
+    the ankles, while the breech-cloth,--blue on this occasion,--hanging
+    to the ground, outside the skirt, both in front and behind,
+    completed the dress. They faced the medicine--shall I say idols? for
+    it was conducted with all the solemnity of worship,--jumping up and
+    down in true time with the beating of the drums, while a bone
+    whistle in their mouths, through which the breath escaped as they
+    jumped about, and the singing of the women, completed the music. The
+    dancers continued to face the medicine, with arms stretched upwards
+    and towards it,--their eyes as it were riveted to it. They were
+    apparently oblivious to all surroundings, except the music and what
+    was before them.
+
+    After some time, a middle-aged man, painted as the others, but
+    wearing a buffalo robe, issued from behind the screen, facing
+    the entrance, but having his eyes fixed upon the sun, upon
+    which he stood gazing, without winking or moving a muscle,
+    for some time, then began slowly to incline his head from side
+    to side, as if to avoid some obstruction in his view of it,
+    swaying his body slightly, then, stepping slowly from side to
+    side--forward--backward--increasing his motions, both in rapidity
+    and extent, until in appearance nearly frantic, his robes fell off,
+    leaving him--except his blue breechclout--entirely naked. In this
+    condition he jumped and ran about the enclosure,--head, arms,
+    and legs all equally participating in the violence of his
+    gestures,--every joint of his body apparently loosened, his eyes
+    only fixed. I wondered how, with every joint apparently dislocated,
+    and every muscular fibre relaxed, he could maintain the upright
+    position.
+
+    Thus he continued to exercise without ceasing, or once removing his
+    eyes from the sun, until the sweat ran down in great rolling drops,
+    washing the white paint into streaks no more ornamental than the
+    original painting, and he was at length compelled to retire, from
+    mere exhaustion, the other dancers still continuing their exercises.
+
+    Presently another man [the _tai´me_ keeper] entered from behind the
+    screen, wearing an Indian fur cap and a blue breechcloth reaching to
+    the ground. He was unpainted, and had a human scalp fastened to his
+    scalplock, the soft, flowing hair of which, spreading out upon his
+    naked back, bore mute testimony to the tragical death of some
+    unfortunate white woman. This man, with a kind of half running jump,
+    still in step with the music, went around all the dancers, who did
+    not notice him, with one arm stretched out over his heads, first in
+    one direction, then the other, turning his course at every time,
+    after stopping in front of the medicine, and making some
+    indescribable motions before it. He sometimes parted the feathers
+    concealing the small image, appearing to examine it minutely, as if
+    searching for something, and sometimes putting his lips to it, as if
+    in the act of kissing it. [He takes some medicine root into his
+    mouth, chews it and blows it on the dancers.][47] At length, after
+    repeated examinations, he, apparently for the first time, discovered
+    the fan, and took hold of it hesitatingly, and as if afraid.
+
+    This was loosed from its fastenings by a hand behind the screen, and
+    he slowly raised it up, looking intently at it, while the expression
+    of his countenance indicated a fearfulness of the result of handling
+    an object whose hidden and mysterious powers were so far beyond his
+    comprehension. He held it up before the medicine, waved it up and
+    down, and from side to side, then, turning round so as to face the
+    dancers and spectators, waved it from side to side near the ground,
+    once around the dancers; then, raising it above his head, he waved
+    it in the same manner, performing another circle around the dancers.
+
+    Then, with gestures of striking, and a countenance scowling as with
+    fierce rage, he began to chase them around and around the ring,
+    [i.e., around the center pole] from left to right. Finally, getting
+    one of them separated from the rest, he pursued him with the most
+    fiend-like attitude, fiercely striking at him with his fan. The
+    pursued one fled from him with a countenance expressive of almost
+    death-like terror, until, after several rounds, he stumbled and fell
+    heavily to the ground. Another and another were thus separated from
+    the dancers, pursued, and fell before the mystical power of the fan,
+    and the act closed.[48]
+
+The "feather-killing" (_staiĕnkiăł_, he runs after them with feathers)
+occurs every day in the late forenoon.[49] The associates as well as the
+other dancers, are fanned into unconsciousness.[50] In such a condition
+they would try to get visions: they would rise, call for a pipe, and
+announce what they had seen.[51]
+
+    Being called to a council of the war chiefs, I went no more to the
+    medicine house to-day, though the music and dancing continued the
+    whole time, by day and by night, with short intervals between the
+    different acts, to give opportunity for rest, arranging dress,
+    painting, and such other changes as the programme of the ceremony
+    demanded.
+
+    _20th._--Saw but one dance to-day. Quite a quantity of goods, such
+    as blankets, strouding (blue and scarlet list-cloth), calico,
+    shawls, scarfs, and other Indian wares, had been carried into the
+    medicine house previous to my entrance. The dancers had been painted
+    white, three of them [the _g.uolg.uȧt`_] ornamented with a green
+    stripe across the forehead, and around down the sides of the cheeks,
+    to the corner of the mouth, and meeting on the chin. A round green
+    spot was painted on the back and breast, about three inches in
+    diameter, while on either side of it, and somewhat elevated above
+    it, was a crescent of the same size and color. Two small, hollow
+    mounds of sand and clay had been made before the medicine, in which
+    fire was placed, and kept just sufficiently burning, with the
+    partially dried cottonwood leaves, cedar twigs, and probably
+    tobacco, to produce a smoke. A small fire was burning near the
+    musicians, for lighting pipes, tightening drums, &c.
+
+    When all was ready, the three young men, who were painted as
+    described, were led, each by a man clad in a buffalo robe [possibly
+    the former _g.uolg.uȧt`_ who were transferring their privileges],
+    near to the smoking mounds in front of the medicine. An ornamented
+    fur cap was, with some ceremony, placed upon the head of one of
+    them; wisps of green wild wormwood were fastened to the wrists and
+    ankles, which being done, he reverently raised his hands above his
+    head, leaning forward over one of the mounds, brought them down
+    nearly to it; then, straightening up, passed his hands over his face
+    and stroked his breast. This was repeated several times; then, after
+    holding one foot, and the other, over the mound, as if to warm them,
+    two or three times, he went around the central post, and back to the
+    other mound, where the same ceremony was repeated. During this whole
+    ceremony I could perceive that his lips moved, though he uttered
+    nothing. I afterwards learned that it was in prayer to this effect:
+    "May this medicine render me brave in war, proof against the weapons
+    of my enemies, strong in the chase, wise in council; and, finally,
+    may it preserve me to a good age, and may I at last die in peace
+    among my own people." The others, one at a time, were similarly
+    brought forward, and went through with the same ceremony. Three
+    bunches of wild wormwood were then placed on the ground in a row,
+    crossing the line of entrance, and between it and the central post,
+    upon which the three young men were placed by their attendants, who
+    stood behind them, with their hands upon their shoulders, the music
+    playing all the time. Two or three men then approached the pile of
+    goods, selected therefrom some plaid shawls, strouding, blankets,
+    scarfs, and an umbrella, and hung them over the medicine; this being
+    done, the six men began to dance,--the three foremost ones upon the
+    wormwood, with their arms stretched towards the medicine, the three
+    others with their hands still resting upon the shoulders of the
+    former. After some time the latter retired; the other dancers came
+    from behind the screen, and joined in the dance, which continued
+    until they were driven off by the medicine chief, as described in
+    yesterday's dance. All these ceremonies had a sacred significance,
+    which I did not understand, but have been informed that they believe
+    any article of wearing apparel, or of harness for their horses, hung
+    up by the medicine during these ceremonies, receives a charmed power
+    to protect their wearers from disease, or the assaults of their
+    enemies, during the year.
+
+    _21st._--At one of the dances to-day, all but one retired behind the
+    screen, who continued to dance by himself for a long time. Various
+    articles were brought forward, and laid upon the ground, which he
+    took up and hung in proximity to the medicine. After along time, the
+    other dancers reappeared, and he retired; these continued their
+    exercises, until driven off as before. The last dance differed from
+    the preceding in this: the last man selected and separated from the
+    others by the medicine chief to be driven off, though he ran from
+    him, did not appear terrified, and would not fall down, but retired,
+    with the medicine chief, behind the screen.
+
+    At one of the dances to-day, five human scalps were exhibited,--one
+    attached to each of the right wrists of two men, and one to each
+    wrist of another, besides the one worn attached to the scalp lock of
+    the medicine chief. Two of these scalps were from the heads of
+    Indians. They had all been tanned, and evidently belonged with the
+    medicine fixtures.
+
+    The whole ceremony closed about four o'clock in the afternoon. The
+    medicine was packed away by the medicine chief, and the several
+    articles which had been hung about it--medicated, I suppose, or, in
+    other words, sanctified by proximity to the sacred things during
+    the ceremonies, and consequently having power to protect their
+    possessors from evil--were restored to the proper owners. They then
+    packed them, took them upon their backs, formed into a procession,
+    and marched, to the music of the drums, around and out of the
+    medicine house, whence every one took the direction of his or her
+    own lodge, and the ceremonies of the great medicine were ended.[52]
+
+At the end of the ceremony, the image keeper chews up some medicine root
+and prepares a drink, of which the dancers are permitted to imbibe a
+little.[53]
+
+After the image has been removed, old clothing is hung on the center
+pole as a sacrifice. Once Martinez saw a horse tied to the center pole
+as a sacrifice to the sun. It remained there until it starved to death.
+Horses were also painted and placed, together with blankets and similar
+valuables, on high hills as sacrifices. Others beside the associates
+sacrificed their flesh to the sun at this time, or in fact, whenever
+they wanted to, as Martinez has done. The Kiowa never suspended their
+dancers, as in the self-torture dance of other tribes, neither in the
+sun dance, nor when an individual sought a vision while fasting alone in
+the mountains.
+
+The night the dance closes everyone joins in a hilarious time in the
+dance lodge. Next morning the camp circle breaks up, and the warriors
+soon go off to war.[54] They do not molest the dance lodge, though other
+tribes passing that way may do so: the Kiowa do not care.
+
+
+
+
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+text figure. 1921. Price, $.25.
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+FOOTNOTES:
+
+
+[1] Methvin, J. J., _Andele, or The Mexican-Kiowa Captive_. _A Story of
+Real Life among the Indians_ (Louisville, Kentucky, 1899).
+
+[2] Scott, Hugh Lenox, "Notes on the Kado, or Sun Dance of the Kiowa"
+(_American Anthropologist_, N. S., vol. 13, pp. 345-379, 1911). The
+phonetic system used in the present paper is that of the "Phonetic
+Transcription of Indian Languages" (_Smithsonian Miscellaneous
+Collections_, vol. 66, no. 6, 1916), 2-7.
+
+[3] Mooney, James, "Calendar History of the Kiowa Indians" (_Seventeenth
+Annual Report_, _Bureau of American Ethnology_, part 1, pp. 129-445,
+Washington, 1911), 385.
+
+[4] Lowie, R. H., "Societies of the Kiowa" (this series, vol. 11), 847;
+Mooney, 325, 338.
+
+[5] Mooney, 253, states the contrary.
+
+[6] Mooney, 240; Plate LXIX shows a model (see Scott, 349).
+
+[7] This coupling of purchase with inheritance is strictly comparable to
+the Hidatsa bundle (this volume, 416-417).
+
+[8] Scott, 369, 373.
+
+[9] If this is more than a general taboo against women handling sacred
+objects, it has its parallel in a similar Crow bias (this volume, 13).
+
+[10] Mooney, 241, 323, 324.
+
+[11] Mooney, 239.
+
+[12] Mooney, 279, 343.
+
+[13] Lowie, 842.
+
+[14] Lowie, 843.
+
+[15] Compare, Battey, Thomas C., _The Life and Adventures of a Quaker
+among the Indians_ (Boston, 1876) 185.
+
+[16] The Southern Cheyenne also charge and count coup on some sticks
+marking the site of the dance lodge (G. A. Dorsey, _Cheyenne Sun
+Dance_).
+
+[17] Cf. 83, 109. Mooney, 349.
+
+[18] Scott, 358-360, 365. In this account the hide is taken into a
+sweatlodge at this juncture.
+
+[19] "Foot-soldiers," Scott, 360-361.
+
+[20] Lowie, 843.
+
+[21] Not by a woman's society as Scott's informant states (361).
+
+[22] Battey, 170.
+
+[23] By the "old women soldiers" according to Scott (361), but Martinez
+informs me that, with the exception of the dance described by Battey,
+the two women's societies have no significant part in the sun dance.
+
+[24] The Old Woman society (Lowie, 850).
+
+[25] Battey, 168.
+
+[26] Cf. Lowie, 843.
+
+[27] Battey, 169.
+
+[28] Battey, 170-172. War singing _gwudańke_, was customary before an
+expedition set out for war (Lowie, 850).
+
+[29] Scott, Pl. XXV.
+
+[30] Evidently a shield of this type was made by Koñate, who was
+instructed to do so by the _tai´me_ which appeared to him as he lay
+wounded (Mooney, 304).
+
+[31] Lewis notes this custom for the Shoshoni, and Lowie for their
+medicinemen when treating the sick (Lowie, Northern Shoshone, 213-214).
+The Crow do not smoke where their moccasins are hung up, according to
+Maximilian, (Reise in das innere Nord-America in den Jahren 1832 bis
+1834 [Coblenz, 1841], I, 400).
+
+[32] Scott, 373.
+
+[33] Scott, 362.
+
+[34] Martinez puts this performance after the image has been brought
+into the dance lodge: this does not seem correct.
+
+[35] Battey has the keeper signal to the herd with a firebrand. Neither
+Battey nor Scott mention a mounted herder; the former puts the pipe in
+the hands of the keeper, and the latter in those of a third man who
+remains in the dance lodge, but in Scott's account also the function of
+the pipe is to force the buffalo to enter the lodge. In Battey's account
+two men assist the keeper in designating warriors, and in Scott's three
+men with straight pipes do it. (Battey, 172-173; Scott, 362-364).
+
+[36] Battey, 173, 176; Scott, 351-352, 367, Pl. XXII; Methvin, 66, notes
+that his feet are painted black with sage wreaths about his ankles.
+
+[37] Lowie, 843.
+
+[38] Martinez, in Methvin's account, (71), states that the payment is
+made in four successive years.
+
+[39] Methvin, 71; Scott, 352, states that these men directed the sun
+dance as substitutes for the keeper and did the ceremonial painting, but
+this is contrary to my information.
+
+[40] Compare Mooney, 296.
+
+[41] Battey, 178.
+
+[42] Compare Scott, 352, 368, Pls. XVIII, XXII; Methvin, 70-71.
+
+[43] Battey, 178-179.
+
+[44] Scott, 347.
+
+[45] Battey, 181-182.
+
+[46] Mooney, 302, notes that one of these individuals carried his
+personal medicine in the dance.
+
+[47] Methvin, 66; Scott, 366.
+
+[48] Battey, 173-177.
+
+[49] Once, not three times a day as Scott states (366).
+
+[50] Scott, 366, places raven fans in hands of the associates.
+
+[51] In the ghost dance a shaman hypnotizes the dancers by waving a
+feather or scarf before their faces. The subject staggers into the ring
+and falls (Mooney, _Ghost dance_, 925-926). This performance may not be
+related to that of the Kiowa, since it appeared among the Sioux before
+the southern Plains tribes took up the ghost dance. On the other hand,
+the Paiute, from whom the ghost dance was derived, did not hypnotize.
+
+[52] Battey, 177-181.
+
+[53] Scott, 365, 367.
+
+[54] Mooney, _Kiowa Calendar History_, 282, 297, 304, 321, 322. Another
+suggestive similarity to the Crow is the assumption of "no-flight"
+obligations in both tribes at the sun dance (_Ibid._, 284, 287, 320).
+
+
+
+
+Transcriber's note: On page 443, 'the the' changed to 'the' (Once inside
+they lie down; the man with the pipe ...)
+
+
+
+
+
+End of Project Gutenberg's Notes on the Kiowa Sun Dance, by Leslie Spier
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+The Project Gutenberg EBook of Notes on the Kiowa Sun Dance, by Leslie Spier
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Notes on the Kiowa Sun Dance
+
+Author: Leslie Spier
+
+Release Date: May 28, 2011 [EBook #36224]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK NOTES ON THE KIOWA SUN DANCE ***
+
+
+
+
+Produced by Tor Martin Kristiansen, Joseph Cooper and the
+Online Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+  ANTHROPOLOGICAL PAPERS
+  OF
+  THE AMERICAN MUSEUM
+  OF NATURAL HISTORY
+
+  VOL. XVI, PART VI
+
+
+  NOTES ON THE KIOWA SUN DANCE
+  BY
+  LESLIE SPIER
+
+
+  NEW YORK
+  PUBLISHED BY ORDER OF THE TRUSTEES
+  1921
+
+
+
+
+  NOTES ON THE KIOWA SUN DANCE.
+
+  BY LESLIE SPIER.
+
+
+
+
+  ILLUSTRATIONS.
+  TEXT FIGURES.
+
+                                                       PAGE.
+  1. Groundplan of Dance Lodge                           441
+
+
+
+
+NOTES ON THE KIOWA SUN DANCE.
+
+
+The following notes were obtained from Andres Martinez (Andele, a
+Mexican captive of the Kiowa whose history[1] is well known) in August,
+1919. Attention was directed in the first instance to the organization
+of the dance, but a brief description of the whole ceremony was also
+obtained, chiefly by way of comments on Scott's account.[2] The last
+Kiowa sun dance was held in 1887.[3]
+
+The Kiowa sun dance is the prerogative of the individual who owns the
+sacred image, the _tai´me_. He deputes the ancillary offices where he
+sees fit, although there is a well-defined tendency for them to be
+hereditary. The predominant idea of this image is that of a war
+medicine. Thus the dance is fundamentally like that of the Crow, but it
+differs from it in two important respects. First, the Kiowa rites
+cluster about only one particular medicine, whereas among the Crow, any
+one of a number of medicine dolls may be used in the ceremony. The
+question arises whether the dozen minor Kiowa images, which are
+sometimes brought into the dance, were more recently acquired or
+constructed in order to reproduce the functions of the _tai´me_, or
+whether one medicine doll has completely overshadowed all the others, as
+seemed about to happen among the Crow. The evidence favors the first
+view, since no rites, other than those attendant on any personal
+medicine, are described, or even intimated, for the minor images. The
+second difference is, that while the Crow shaman invokes his medicine
+for any one who appeals to him for aid, acting only in a directive
+capacity, the Kiowa _tai´me_ owner is himself the principal suppliant.
+Were it not for the hereditary bias in the distribution of ceremonial
+functions, the Kiowa sun dance would be the prerogative of one man as
+completely as that of the Crow is, when the latter is once under way.
+The hereditary principle does not appear in the military societies
+except in the ownership of the medicine lance or arrow (_zë´bo_).[4]
+
+The Kiowa sun dance (_k'o{~GREEK SMALL LETTER THETA~}dun_ specifically the name for the lodge) was
+an annual tribal affair, in which the associated Kiowa Apache freely
+joined.[5] It was danced in an effort to obtain material benefits from,
+or through, the medicine doll in the possession of the medicineman, who
+is at the same time director and principal performer.
+
+    This is a small image, less than 2 feet in length, representing a
+    human figure dressed in a robe of white feathers, with a headdress
+    consisting of a single upright feather and pendants of ermine skin,
+    with numerous strands of blue beads around its neck, and painted
+    upon the face, breast, and back with designs symbolic of the sun and
+    moon. [Martinez says the face is entirely obscured by hanging
+    beads.] The image itself is of dark-green stone, in form rudely
+    resembling a human head and bust, probably shaped by art like the
+    stone fetishes of the Pueblo tribes. It is preserved in a rawhide
+    box in charge of the hereditary keeper, and is never under any
+    circumstances exposed to view except at the annual sun dance, when
+    it is fastened to a short upright stick planted within the medicine
+    lodge, near the western side.... The ancient _tai´me_ image was of
+    buckskin, with a stalk of Indian tobacco for a headdress. This
+    buckskin image was left in the medicine lodge, with all the other
+    adornments and sacrificial offerings, at the close of each ceremony.
+    The present _tai´me_ is one of three, two of which came originally
+    from the Crows, through an Arapaho who married into the Kiowa tribe,
+    while the third came by capture from the Blackfeet.[6]
+
+The bundle containing the image is usually hung outside of its keeper's
+tipi. It is not customary to expose the image except at the sun dance,
+but tobacco is placed with it from time to time. Its function outside of
+the dance is identical with its use there: those who need its aid make
+vows to it, which they fulfil by sacrificing horses, etc., and making
+sweatlodges. The image is the property of one man, or more properly of
+his family, since it may be inherited by his blood relatives. If the
+transfer is made before the father's death, payment and a sweatlodge
+must be given by the son.[7] After Long Foot died about 1870, as he had
+no son, it passed into the possession of three of his nephews in
+succession, and reverted in 1894 to his daughter who still has it.[8]
+While she may handle the image, she would not be permitted to enter the
+dance with it.[9] There the functions which would normally devolve on
+her would be performed in their entirety by a captive. This captive has
+been trained to the position in order to take the place of the image
+keeper should he be sick. A captive is chosen for the substitute so that
+a calamity incurred by a mischance in the proceedings may fall on him
+alone and not on the Kiowa. The erstwhile substitute, a Mexican, is
+still living. The image keeper, like his four associates, must not look
+in a mirror, nor touch a skunk or jackrabbit. One who touches these
+animals cannot enter the tipi where the doll is housed until four days
+have elapsed. No dog is allowed in this tipi, nor is one permitted to
+jump over the keeper or his four associates, the _g.uolg.uat`_.
+
+There are ten or twelve minor images (_tailyúka_) which strongly
+resemble the _tai´me_ in function, as they are essentially war
+medicines. Most of them were in the keeping of men other than the sacred
+doll owner, but two were kept by him for a time.[10] They have little or
+no part in the sun dance.
+
+    The _Gadômbítsoñhi_, "Old-woman-under-the-ground," belonged to the
+    Kiñep band of the Kiowa. It was a small image, less than a foot
+    high, representing a woman with flowing hair. It was exposed in
+    front of the _tai´me_ at the great sun-dance ceremony, and by some
+    unexplained jugglery the priest in charge of it caused it to rise
+    out of the ground, dance in the sight of the people, and then again
+    sink into the earth.[11]
+
+The sun dance was normally an annual ceremony, but sometimes a year
+passed without one. The dance was theoretically dependent on someone
+going to the keeper and saying, "I dreamed of it (_i.e._, the sun
+dance)," or on the keeper himself dreaming of it. On two occasions a
+second dance was held in the dance lodge after the keeper had removed
+the sacred doll at the close of the first dance, because a second man
+had also dreamed of it.[12] After the dream is announced the keeper
+hangs the image on his back and rides out to all the camps, announcing,
+as he circles them, that he will conduct the ceremony the following
+spring (May or June). This announcement was sometimes made immediately
+after the close of the preceding dance, but usually it came just before
+they intended to hold the dance.[13] The keeper fasts while he is making
+the announcement, even if it takes three days, as may happen when the
+camps were scattered. When they know the dance is to be held, others vow
+to dance for a specified number of days, and all gather near the dance
+ground. No one may absent himself: they are all afraid of his medicine.
+When the tribe is assembled, the keeper circles the camp, again bearing
+the sacred doll on his back.
+
+Two young men are selected by the keeper from one of the military
+societies[14] to scout for a tree to serve as center pole for the dance
+lodge. While searching, they must refrain from drinking. About this time
+all those intending to dance are building sweatlodges to purify
+themselves: the keeper must enter each of these to direct the
+proceedings; this entails considerable work on him. Should he be sick at
+this time, the doll is carried into the sweatlodge by the captive in his
+stead. It is incumbent on the _tai´me_ shield owners to accompany this
+captive and help him perform the necessary ceremonies. When the tree for
+the center pole has been selected, the whole camp moves after the keeper
+and his family to the dance ground. A dozen or more old men follow
+immediately after him. The main body is guarded front, rear, and both
+flanks by the military societies, as is customary when a camp moves.[15]
+The procession halts four times on its journey while the keeper smokes
+and prays. Next, the soldier societies charge on the dance ground,
+or rather on a pole erected there before the camp circle is
+established,[16] according to Methvin (p. 64), but on the newly
+established camp itself according to Scott's informants (p. 357).
+
+The next morning the man who has that privilege sets out with his wife
+to get the hide of a young buffalo bull. When such a person dies, the
+keeper appoints one of his kin to take his place.[17] The couple must
+fast while on this hunt. If the buffalo is killed with a single arrow,
+it is a favorable omen, if many are needed, the opposite is indicated.
+The buffalo must be killed so that he falls on his belly with his head
+toward the east. A broad strip of back skin, with the tail and head skin
+attached is carried to the keeper's tipi, where feathers are tied to its
+head.[18]
+
+The next morning they set out to fetch the center pole. Scott describes
+a parade around the camp circle by the military societies which then
+proceed to charge the tree selected for the center pole, which is
+defended in sham combat by one of the men's societies[19] (_akiaik`to_,
+war with the trees). After the chiefs have recited their coups, and
+prayers have been said by the sacred doll keeper and his wife, who have
+brought the doll there, the tree is chopped down by a captive Mexican
+woman. A captive is always selected for this difficult task, so that any
+harm due to an error on her part may not fall on a tribesman. This
+function is always performed by a Mexican woman: when she dies, the
+keeper appoints her successor. As the tree falls, they shout and shoot
+in the air. The pole is carried to the dance ground by a society
+designated by the keeper,[20] where a hole to receive it has been dug by
+a men's military society.[21] The pole is set upright by a single
+medicineman who owns this privilege. The buffalo hide is then fastened
+across the forks with its head to the east and offerings of cloth, etc.,
+brought by various individuals are tied to it. In 1873 Battey
+observed:--
+
+    The central post is ornamented near the ground with the robes of
+    buffalo calves, their heads up, as if in the act of climbing it;
+    each of the branches above the fork is ornamented in a similar
+    manner, with the addition of shawls, calico, scarfs, &c., and
+    covered at the top with black muslin. Attached to the fork is a
+    bundle of cottonwood and willow limbs, firmly bound together, and
+    covered with a buffalo robe, with head and horns, so as to form a
+    rude image of a buffalo, to which were hung strips of new calico,
+    muslin, strouding, both blue and scarlet, feathers, shawls, &c., of
+    various lengths and qualities. The longer and more showy articles
+    were placed near the ends. This image was so placed as to face the
+    east.[22]
+
+The center pole is not painted.
+
+After the center pole is in place, everyone, but especially the military
+societies, assists in building the enclosing structure. The lodge is
+like those of the Arapaho and Cheyenne: it is circular, the rafters rest
+on the center pole, and the covering of boughs extends a third of the
+way to the center of the roof. An entrance is left on the east side. A
+flat stone is placed here so that every dancer passing through must set
+his foot on it. Wet sand is spread over the ground in the dance
+lodge[23] and heaped around the base of the center pole. Two little
+round holes, walled in with mud, are dug near the rear of the lodge to
+hold incense smudges. A screen of cottonwood and cedar branches is
+constructed just north of these.
+
+    This business continued through the day, except for an hour or two
+    in the middle of the afternoon, when the old women[24]--the
+    grandmothers of the tribe--had a dance. The music consisted of
+    singing and drumming, done by several old women, who were squatted
+    on the ground in a circle. The dancers--old, gray-headed women, from
+    sixty to eighty years of age--performed in a circle around them for
+    some time, finally striking off upon a waddling run, one behind
+    another; they formed a circle, came back and, doubling so as to
+    bring two together, threw their arms around each other's necks, and
+    trudged around for some time longer; then sat down, while a youngish
+    man circulated the pipe, from which each in turn took two or three
+    whiffs, and this ceremony ended.[25]
+
+    [When the dance lodge was completed] the soldiers of the tribe then
+    had a frolic in and about it, running and jumping, striking and
+    kicking, throwing one another down, stripping and tearing the
+    clothes off each other.[26]... Before this frolic was over, a party
+    of ten or twelve warriors appeared, moving a kind of shield to and
+    fro before their bodies, making, in some manner (as I was not near
+    enough to see how it was done), a grating sound, not unlike the
+    filing of a mill-saw.[27]
+
+    In the afternoon, a party of a dozen or more warriors and braves
+    proceeded to the medicine house, followed by a large proportion of
+    the people of the encampment. They were highly painted, and wore
+    shirts only, with head-dresses of feathers which extended down the
+    backs to the ground, and were kept in their proper places by means
+    of an ornamented strap clasping the waist. Some of them had long
+    horns attached to their head-dresses. They were armed with lances
+    and revolvers, and carrying a couple of long poles mounted from end
+    to end with feathers, the one white and the other black. They also
+    bore shields highly ornamented with paint, feathers, and hair.
+
+    They took their station upon the side opposite the entrance, the
+    musicians standing behind them.
+
+    Many old women occupied a position to the right and near the
+    entrance, who set up a tremulous shrieking; the drums began to beat,
+    and the dance began, the party above described only participating in
+    it.
+
+    They at first slowly advanced towards the central post, followed by
+    the musicians several of whom carried a side of raw hide (dried),
+    which was beaten upon with sticks, making about as much music as to
+    beat upon the sole of an old shoe, while the drums, the voices of
+    the women, and the rattling of pebbles in instruments of raw hide
+    filled out the choir.
+
+    After slowly advancing nearly to the central post, they retired
+    backward, again advanced, a little farther than before; this was
+    repeated several times, each time advancing a little farther, until
+    they crowded upon the spectators, drew their revolvers, and
+    discharged them into the air.
+
+    Soon after, the women rushed forward with a shrieking yell, threw
+    their blankets violently upon the ground, at the feet of the
+    retiring dancers, snatched them up with the same tremulous shriek
+    that had been before produced, and retired; which closed this part
+    of the entertainment. The ornamented shields used on this occasion
+    were afterwards hung up with the medicine.[28]
+
+These may be the shields which are associated with the _tai´me_. Later,
+after the sacred doll has been brought into the lodge, they are either
+hung with it on the cedar screen as Battey observed,[29] or on stakes
+set up outside the dance lodge to the west, i.e., behind the image,
+where Martinez saw them. No offerings are made to them there. It is
+incumbent on a _tai´me_ shield owner to dance with the associates
+(_g.uolg.uat`_) in every sun dance so long as he continues to own the
+shield. He is not considered one of the associates however. Shield
+owners always help the image keeper when he asks their aid. They must
+also assist his captive substitute when officiating in a sweatlodge. A
+shield owner cannot sell his shield, but he may give it to his son in
+anticipation of his death, receiving presents in return. Otherwise, on
+the death of its owner the shield is placed on his grave. Should a son
+or nephew dream of it, he has the right to make a duplicate with the
+help of the doll owner in order to keep it in the family. However, if
+any other man dreams of it and wants to make the duplicate, he must pay
+the owner.[30] The shield is usually hung outside of its owner's tipi.
+The shield owners "must not eat buffalo hearts, or touch a bearskin, or
+have anything to do with a bear." Like the associates, "they must not
+smoke with their moccasins on,[31] or kill, or eat any kind of rabbit,
+or kill or touch a skunk."[32] These shields are used only in war as
+their owner's personal medicine: no offerings are ever made to them.
+
+Late in the day, a number of men who have vowed to take part in the
+subsequent dance, together with one woman who has the privilege,[33] are
+garbed in buffalo robes to represent the living animals. They gather to
+the east of the lodge where they simulate the actions of a herd of
+buffalo. A man, called a scout, starts from the entrance of the lodge
+with a firebrand and circles about the herd until he meets a second man,
+mounted and carrying a shield and a straight pipe, who thereupon drives
+the buffalo toward the dance lodge, which they circle several times
+before negotiating the entrance. Once inside they lie down; the man with
+the pipe dismounts and enters. Picking up the hairs on the back of first
+one animal and another, he says, "This is the fattest animal. He is our
+protector in war." Then he recites a coup. This designated (or makes ?)
+a brave man of that buffalo.[34] Both the man with the firebrand and he
+with the pipe ought to be medicinemen. The present incumbent of the
+first office also has the privilege of erecting the center pole. When
+these men die, the sacred doll keeper selects successors from their
+families.[35]
+
+That evening after sunset the dance proper begins, to last four nights
+and days, ending in the evening. The doll keeper proceeds to his own
+tipi, where, with the assistance of seven other medicinemen (_tai´me_
+shield keepers and some others not otherwise connected with the
+ceremony), he unwraps the _tai´me_. Carrying it on his back, he walks to
+the dance lodge, and, completely circles it four times, feigning to
+enter each time he passes the entrance. After entering, he goes around
+by the south side to the northwest quadrant, where he plants the image
+hanging on a staff. Formerly two or more of the minor images,
+_tailyúka_, were placed with the _tai´me_. After the image is in place
+the dancers enter to perform for the night.
+
+The keeper dances throughout the whole four-day period. He is painted
+yellow, with a design representing the sun, and sometimes another for
+the moon, drawn on his chest and back. "His face was painted, like that
+of the Taimay itself, with red and black zigzag lines downward from the
+eyes." He wears a yellow buckskin kilt, a jackrabbit skin cap with down
+attached, and sage wristlets. He is barefoot. He carries a bunch of
+cedar in his hand, and an eagle bone whistle from which an eagle feather
+is pendent. Battey observed that he was painted white at the
+"buffalo-herding" rite, and not painted at all in the dance proper.[36]
+
+Beside the _tai´me_ keeper there are three classes of persons who dance;
+the associates (_g.uolg.uat`_), the _tai´me_ shield keepers, and the
+common dancers. The four associates (Scott's "keeper's assistants") must
+dance throughout the whole four day period. They appear in four
+successive dances (normally four years), after which they choose
+successors from among those young men, eighteen to thirty years old, who
+have made the best records in war. These young men, with the assistance
+of their relatives,[37] pay horses and buffalo robes for the privilege,
+receiving the regalia in return.[38] One who is chosen cannot refuse: if
+he does, he may expect a calamity. The associate may belong to any of
+the military societies. His office does not impose obligations of
+foolhardiness in war (such as the no-flight idea), but he is obliged to
+act the part of an intrepid warrior, because he enjoys security in
+battle.[39] The associate must not look in a mirror lest he become
+blind,[40] nor can he touch a skunk or jackrabbit, nor remain near a
+fire where someone is cooking. Dogs must not be permitted to jump over
+an associate. He must remove his moccasins before he smokes, but others
+may keep theirs on when smoking in his presence. The associate dances in
+order to live long and to be a great warrior. His body is painted white
+or yellow: a round spot representing the sun is painted on the middle of
+his chest, with a crescent moon (the concavity upward) on both sides of
+the sun, and the same decoration is repeated on his back. The skin is
+cut away as a sacrifice and to make these designs permanent after his
+first dance. A scalp from a _tai´me_ shield hangs on his breast with two
+eagle feathers; another on his back. His face is "ornamented with a
+green stripe across the forehead, and around down the sides of the
+cheeks, to the corners of the mouth, and meeting on the chin."[41] He
+wears a yellow buckskin kilt, with his breechclout hung outside, like
+the Arapaho and Cheyenne sun dancers. Bunches of sage are stuck into his
+belt, others tied around his wrists and ankles, and carried in each
+hand. On his head is either a cap of jackrabbitskin in which is stuck an
+eagle feather or a sage wreath with down attached. He carries a bone
+whistle. Like the sacred doll keeper and all other dancers, he is
+barefoot.[42] Battey saw three associates purify themselves in the
+incense from the censors, and then dance on piles of sage.[43]
+
+The _tai´me_ shield owners, who dance with the associates are sometimes
+painted yellow or green with pictures of the sun and moon on their
+bodies, but otherwise they wear the regalia of the common dancers.
+
+The rank and file of the dancers are men, never women. Anyone may vow to
+dance a certain number of days, with the object of becoming a better
+warrior and living long.
+
+    They believe that it warded off sickness, caused happiness,
+    prosperity, many children, success in war, and plenty of buffalo for
+    all the people. It was frequently vowed by persons in danger from
+    sickness or the enemy.[44]
+
+Sometimes a medicineman danced to intercede for a sick man. A sick man
+who had vowed to attend the dance in order to be cured would be carried
+into the dance lodge, but he would not dance. These dancers make
+offerings to the _tai´me_. They do not pay the doll keeper in order to
+enter the dance, and they have no rights in any subsequent performance
+by reason of having once participated. Like all other dancers they must
+fast and go without water during the period that they dance; they can
+however, smoke, provided the proper rites are observed.
+
+    ... The pipe was filled, brought forward, and laid upon the ground;
+    the person, carefully turning the stem towards the fire, and bedding
+    it in the sand, so that the bowl should remain in an upright
+    position, arose and stood with his back towards it, or facing the
+    medicine. It was then approached by one of the musicians, who, in a
+    squatting position, raised his hand reverently towards the sun, the
+    medicine, the top of the central post, or buffalo; then, passing his
+    hands slowly over the pipe, took it up with his left hand, and
+    taking a pinch from the bowl with the thumb and fore finger of the
+    right, held it to the sun, the medicine, the top of the central
+    post, then the bottom, and finally covered it up in the ground. He
+    then proceeded to light the pipe, blowing a whiff of smoke towards
+    the several objects of adoration, and placed it carefully where he
+    found it, in reversed order, that is, with the stem from the fire.
+    The person who brought it had stood waiting all this time for it. He
+    now took it up and retired to the dancers, who, wrapped in buffalo
+    robes, were waiting, in a squatting position, to receive it. The
+    sand where the pipe had lain was carefully smoothed by the hand, and
+    all marks of it wholly obliterated.[45]
+
+These dancers are painted white; they wear white buckskin kilts, with
+the breechclout outside, carry bone whistles, and are barefoot. They
+have no headdress, wrist or ankle ornaments. They paint themselves.[46]
+There is only one style of paint used by either the principal or the
+common dancers throughout the sun dance.
+
+The dancers form a line on the east side of the lodge facing the image.
+Their step is that characteristic of the sun dance of other tribes: they
+stand in place, alternately bending their knees and rising on their
+toes. They dance intermittently throughout four days and nights; the
+common dancers leave as the periods for which they have vowed to dance
+have elapsed or when they can no longer stand the combined strain of
+fasting, thirsting, and dancing. Martinez left after three days and
+nights. The "four days and nights" which are specified are in reality
+only three nights and days; evidently the first day of preliminary
+dancing is included to fill out the quota to the magic "four." In
+Scott's account, the dancers perform on the first day from evening to
+the middle of the night, and on the succeeding days from sunrise to the
+chorus's breakfast, nine o'clock to dinner, four in the afternoon to
+sundown, and from evening to midnight, ending in the evening of the
+fourth day. The dance Battey describes evidently began in the evening of
+the 18th and continued intermittently to late afternoon of the 21st.
+Apparently the dancers do not leave the lodge during this entire period.
+
+    _19th_ [June, 1873.]--Music and dancing continued in the medicine
+    house through the night. At an early hour this morning I went
+    thither with Couguet, and witnessed one dance throughout. The ground
+    inside the enclosure had been carefully cleared of grass, sticks,
+    and roots, and covered, several inches deep, with a clean, white
+    sand. A screen had been constructed on the side opposite the
+    entrance, by sticking small cottonwoods and cedars deep into the
+    ground, so as to preserve them fresh as long as possible. A space
+    was left, two or three feet wide, between it and the enclosing wall,
+    in which the dancers prepared themselves for the dance, and in front
+    of which was the medicine. This consisted of an image, lying on the
+    ground, but so concealed from view, in the screen, as to render its
+    form indistinguishable; above it was a large fan, made of eagle
+    quills, [an error, these are crow feathers], with the quill part
+    lengthened out nearly a foot, by inserting a stick into it, and
+    securing it there. These were held in a spread form by means of a
+    willow rod, or wire, bent in a circular form; above this was a mass
+    of feathers, concealing an image, on each side of which were several
+    shields, highly decorated with feathers and paint. Various other
+    paraphernalia of heathen worship were suspended in the screen, among
+    these shields or over them, impossible for me to describe so as to
+    be comprehended. A mound had also been thrown up around the central
+    post of the building, two feet high, and perhaps five feet in
+    diameter.
+
+    The musicians, who, if I mistake not, are the war chiefs, were
+    squatted on the ground, in true heathen style, to the left, and near
+    the entrance, having Indian drums and rattles. The music was
+    sounding when we entered.
+
+    Presently the dancers came from behind the screen; their faces,
+    arms, and the upper part of their bodies were painted white; a soft,
+    white buckskin skirt, secured about the loins, descended nearly to
+    the ankles, while the breech-cloth,--blue on this occasion,--hanging
+    to the ground, outside the skirt, both in front and behind,
+    completed the dress. They faced the medicine--shall I say idols? for
+    it was conducted with all the solemnity of worship,--jumping up and
+    down in true time with the beating of the drums, while a bone
+    whistle in their mouths, through which the breath escaped as they
+    jumped about, and the singing of the women, completed the music. The
+    dancers continued to face the medicine, with arms stretched upwards
+    and towards it,--their eyes as it were riveted to it. They were
+    apparently oblivious to all surroundings, except the music and what
+    was before them.
+
+    After some time, a middle-aged man, painted as the others, but
+    wearing a buffalo robe, issued from behind the screen, facing
+    the entrance, but having his eyes fixed upon the sun, upon
+    which he stood gazing, without winking or moving a muscle,
+    for some time, then began slowly to incline his head from side
+    to side, as if to avoid some obstruction in his view of it,
+    swaying his body slightly, then, stepping slowly from side to
+    side--forward--backward--increasing his motions, both in rapidity
+    and extent, until in appearance nearly frantic, his robes fell off,
+    leaving him--except his blue breechclout--entirely naked. In this
+    condition he jumped and ran about the enclosure,--head, arms,
+    and legs all equally participating in the violence of his
+    gestures,--every joint of his body apparently loosened, his eyes
+    only fixed. I wondered how, with every joint apparently dislocated,
+    and every muscular fibre relaxed, he could maintain the upright
+    position.
+
+    Thus he continued to exercise without ceasing, or once removing his
+    eyes from the sun, until the sweat ran down in great rolling drops,
+    washing the white paint into streaks no more ornamental than the
+    original painting, and he was at length compelled to retire, from
+    mere exhaustion, the other dancers still continuing their exercises.
+
+    Presently another man [the _tai´me_ keeper] entered from behind the
+    screen, wearing an Indian fur cap and a blue breechcloth reaching to
+    the ground. He was unpainted, and had a human scalp fastened to his
+    scalplock, the soft, flowing hair of which, spreading out upon his
+    naked back, bore mute testimony to the tragical death of some
+    unfortunate white woman. This man, with a kind of half running jump,
+    still in step with the music, went around all the dancers, who did
+    not notice him, with one arm stretched out over his heads, first in
+    one direction, then the other, turning his course at every time,
+    after stopping in front of the medicine, and making some
+    indescribable motions before it. He sometimes parted the feathers
+    concealing the small image, appearing to examine it minutely, as if
+    searching for something, and sometimes putting his lips to it, as if
+    in the act of kissing it. [He takes some medicine root into his
+    mouth, chews it and blows it on the dancers.][47] At length, after
+    repeated examinations, he, apparently for the first time, discovered
+    the fan, and took hold of it hesitatingly, and as if afraid.
+
+    This was loosed from its fastenings by a hand behind the screen, and
+    he slowly raised it up, looking intently at it, while the expression
+    of his countenance indicated a fearfulness of the result of handling
+    an object whose hidden and mysterious powers were so far beyond his
+    comprehension. He held it up before the medicine, waved it up and
+    down, and from side to side, then, turning round so as to face the
+    dancers and spectators, waved it from side to side near the ground,
+    once around the dancers; then, raising it above his head, he waved
+    it in the same manner, performing another circle around the dancers.
+
+    Then, with gestures of striking, and a countenance scowling as with
+    fierce rage, he began to chase them around and around the ring,
+    [i.e., around the center pole] from left to right. Finally, getting
+    one of them separated from the rest, he pursued him with the most
+    fiend-like attitude, fiercely striking at him with his fan. The
+    pursued one fled from him with a countenance expressive of almost
+    death-like terror, until, after several rounds, he stumbled and fell
+    heavily to the ground. Another and another were thus separated from
+    the dancers, pursued, and fell before the mystical power of the fan,
+    and the act closed.[48]
+
+The "feather-killing" (_staienkial_, he runs after them with feathers)
+occurs every day in the late forenoon.[49] The associates as well as the
+other dancers, are fanned into unconsciousness.[50] In such a condition
+they would try to get visions: they would rise, call for a pipe, and
+announce what they had seen.[51]
+
+    Being called to a council of the war chiefs, I went no more to the
+    medicine house to-day, though the music and dancing continued the
+    whole time, by day and by night, with short intervals between the
+    different acts, to give opportunity for rest, arranging dress,
+    painting, and such other changes as the programme of the ceremony
+    demanded.
+
+    _20th._--Saw but one dance to-day. Quite a quantity of goods, such
+    as blankets, strouding (blue and scarlet list-cloth), calico,
+    shawls, scarfs, and other Indian wares, had been carried into the
+    medicine house previous to my entrance. The dancers had been painted
+    white, three of them [the _g.uolg.uat`_] ornamented with a green
+    stripe across the forehead, and around down the sides of the cheeks,
+    to the corner of the mouth, and meeting on the chin. A round green
+    spot was painted on the back and breast, about three inches in
+    diameter, while on either side of it, and somewhat elevated above
+    it, was a crescent of the same size and color. Two small, hollow
+    mounds of sand and clay had been made before the medicine, in which
+    fire was placed, and kept just sufficiently burning, with the
+    partially dried cottonwood leaves, cedar twigs, and probably
+    tobacco, to produce a smoke. A small fire was burning near the
+    musicians, for lighting pipes, tightening drums, &c.
+
+    When all was ready, the three young men, who were painted as
+    described, were led, each by a man clad in a buffalo robe [possibly
+    the former _g.uolg.uat`_ who were transferring their privileges],
+    near to the smoking mounds in front of the medicine. An ornamented
+    fur cap was, with some ceremony, placed upon the head of one of
+    them; wisps of green wild wormwood were fastened to the wrists and
+    ankles, which being done, he reverently raised his hands above his
+    head, leaning forward over one of the mounds, brought them down
+    nearly to it; then, straightening up, passed his hands over his face
+    and stroked his breast. This was repeated several times; then, after
+    holding one foot, and the other, over the mound, as if to warm them,
+    two or three times, he went around the central post, and back to the
+    other mound, where the same ceremony was repeated. During this whole
+    ceremony I could perceive that his lips moved, though he uttered
+    nothing. I afterwards learned that it was in prayer to this effect:
+    "May this medicine render me brave in war, proof against the weapons
+    of my enemies, strong in the chase, wise in council; and, finally,
+    may it preserve me to a good age, and may I at last die in peace
+    among my own people." The others, one at a time, were similarly
+    brought forward, and went through with the same ceremony. Three
+    bunches of wild wormwood were then placed on the ground in a row,
+    crossing the line of entrance, and between it and the central post,
+    upon which the three young men were placed by their attendants, who
+    stood behind them, with their hands upon their shoulders, the music
+    playing all the time. Two or three men then approached the pile of
+    goods, selected therefrom some plaid shawls, strouding, blankets,
+    scarfs, and an umbrella, and hung them over the medicine; this being
+    done, the six men began to dance,--the three foremost ones upon the
+    wormwood, with their arms stretched towards the medicine, the three
+    others with their hands still resting upon the shoulders of the
+    former. After some time the latter retired; the other dancers came
+    from behind the screen, and joined in the dance, which continued
+    until they were driven off by the medicine chief, as described in
+    yesterday's dance. All these ceremonies had a sacred significance,
+    which I did not understand, but have been informed that they believe
+    any article of wearing apparel, or of harness for their horses, hung
+    up by the medicine during these ceremonies, receives a charmed power
+    to protect their wearers from disease, or the assaults of their
+    enemies, during the year.
+
+    _21st._--At one of the dances to-day, all but one retired behind the
+    screen, who continued to dance by himself for a long time. Various
+    articles were brought forward, and laid upon the ground, which he
+    took up and hung in proximity to the medicine. After along time, the
+    other dancers reappeared, and he retired; these continued their
+    exercises, until driven off as before. The last dance differed from
+    the preceding in this: the last man selected and separated from the
+    others by the medicine chief to be driven off, though he ran from
+    him, did not appear terrified, and would not fall down, but retired,
+    with the medicine chief, behind the screen.
+
+    At one of the dances to-day, five human scalps were exhibited,--one
+    attached to each of the right wrists of two men, and one to each
+    wrist of another, besides the one worn attached to the scalp lock of
+    the medicine chief. Two of these scalps were from the heads of
+    Indians. They had all been tanned, and evidently belonged with the
+    medicine fixtures.
+
+    The whole ceremony closed about four o'clock in the afternoon. The
+    medicine was packed away by the medicine chief, and the several
+    articles which had been hung about it--medicated, I suppose, or, in
+    other words, sanctified by proximity to the sacred things during
+    the ceremonies, and consequently having power to protect their
+    possessors from evil--were restored to the proper owners. They then
+    packed them, took them upon their backs, formed into a procession,
+    and marched, to the music of the drums, around and out of the
+    medicine house, whence every one took the direction of his or her
+    own lodge, and the ceremonies of the great medicine were ended.[52]
+
+At the end of the ceremony, the image keeper chews up some medicine root
+and prepares a drink, of which the dancers are permitted to imbibe a
+little.[53]
+
+After the image has been removed, old clothing is hung on the center
+pole as a sacrifice. Once Martinez saw a horse tied to the center pole
+as a sacrifice to the sun. It remained there until it starved to death.
+Horses were also painted and placed, together with blankets and similar
+valuables, on high hills as sacrifices. Others beside the associates
+sacrificed their flesh to the sun at this time, or in fact, whenever
+they wanted to, as Martinez has done. The Kiowa never suspended their
+dancers, as in the self-torture dance of other tribes, neither in the
+sun dance, nor when an individual sought a vision while fasting alone in
+the mountains.
+
+The night the dance closes everyone joins in a hilarious time in the
+dance lodge. Next morning the camp circle breaks up, and the warriors
+soon go off to war.[54] They do not molest the dance lodge, though other
+tribes passing that way may do so: the Kiowa do not care.
+
+
+
+
+AMERICAN MUSEUM OF NATURAL HISTORY
+
+Publications in Anthropology
+
+
+In 1906 the present series of Anthropological Papers was authorized by
+the Trustees of the Museum to record the results of research conducted
+by the Department of Anthropology. The series comprises octavo volumes
+of about 350 pages each, issued in parts at irregular intervals.
+Previous to 1906 articles devoted to anthropological subjects appeared
+as occasional papers in the Bulletin and also in the Memoir series of
+the Museum. A complete list of these publications with prices will be
+furnished when requested. All communications should be addressed to the
+Librarian of the Museum.
+
+The recent issues are as follows:--
+
+
+Volume XV.
+
+I. Pueblo Ruins of the Galisteo Basin, New Mexico. By N.C. Nelson. Pp.
+1-124, Plates 1-4, 13 text figures, 1 map, and 7 plans. 1914. Price,
+$.75.
+
+II. (In preparation.)
+
+
+Volume XVI.
+
+I. The Sun Dance of the Crow Indians. By Robert H. Lowie. Pp. 1-50, and
+11 text figures. 1915. Price, $.50.
+
+II. The Sun Dance and Other Ceremonies of the Oglala Division of the
+Teton-Dakota. By J. R. Walker. Pp. 51-221. 1917. Price, $1.50.
+
+III. The Sun Dance of the Blackfoot Indians. By Clark Wissler. Pp.
+223-270, and 1 text figure. 1918. Price, $.50.
+
+IV. Notes on the Sun Dance of the Sarsi. By Pliny Earle Goddard. Pp.
+271-282. The Sun Dance of the Plains-Cree. By Alanson Skinner. Pp.
+283-293. Notes on the Sun Dance of the Cree in Alberta. By Pliny Earle
+Goddard. Pp. 295-310, and 3 text figures. The Sun Dance of the
+Plains-Ojibway. By Alanson Skinner. Pp. 311-315. The Sun Dance of the
+Canadian Dakota. By W. D. Wallis. Pp. 317-380. Notes on the Sun Dance of
+the Sisseton Dakota. By Alanson Skinner. Pp. 381-385. 1919. Price,
+$1.50.
+
+V. The Sun Dance of the Wind River Shoshoni and Ute. By Robert H. Lowie.
+Pp. 387-410, and 4 text figures. The Hidatsa Sun Dance. By Robert H.
+Lowie. Pp. 411-431. 1919. Price, $.50.
+
+VI. Notes on the Kiowa Sun Dance. By Leslie Spier. Pp. 433-450, and 1
+text figure. 1921. Price, $.25.
+
+VII. The Sun Dance of the Plains Indians: Its Development and Diffusion.
+By Leslie Spier. Pp. 451-527, and 1 text figure. 1921. Price, $1.00.
+
+
+Volume XIX.
+
+I. The Whale House of the Chilkat. By George T. Emmons. Pp. 1-33. Plates
+I-IV, and 6 text figures. 1916. Price, $1.00.
+
+II. The History of Philippine Civilization as Reflected in Religious
+Nomenclature. By A. L. Kroeber. Pp. 35-67. 1918. Price, $.25.
+
+III. Kinship in the Philippines. By A. L. Kroeber. Pp. 69-84. Price,
+$.25.
+
+IV. Notes on Ceremonialism at Laguna. By Elsie Clews Parsons. Pp.
+85-131, and 21 text figures. 1920. Price $.50.
+
+V. (In press.)
+
+
+Volume XX.
+
+I. Tales of Yukaghir, Lamut, and Russianized Natives of Eastern Siberia.
+By Waldemar Bogoras. Pp. 1-148. 1918. Price, $1.50.
+
+II. (In preparation.)
+
+
+Volume XXI.
+
+I. Notes on the Social Organization and Customs of the Mandan, Hidatsa,
+and Crow Indians. By Robert H. Lowie. Pp. 1-99. 1917. Price, $1.00.
+
+II. The Tobacco Society of the Crow Indians. By Robert H. Lowie. Pp.
+101-200, and 13 text figures. 1920. Price, $1.25.
+
+III. (In preparation.)
+
+
+Volume XXII.
+
+I. Contributions to the Archaeology of Mammoth Cave and Vicinity,
+Kentucky. By N. C. Nelson. Pp. 1-73, and 18 text figures. 1917. Price,
+$.75.
+
+II. Chronology in Florida. By N. C. Nelson. Pp. 75-103, and 7 text
+figures. 1918. Price, $.25.
+
+III. Archaeology of the Polar Eskimo. By Clark Wissler. Pp. 105-166, 33
+text figures, and 1 map. 1918. Price, $.50.
+
+IV. The Trenton Argillite Culture. By Leslie Spier. Pp. 167-226, and 11
+text figures. 1918. Price, $.50.
+
+V. (In preparation.)
+
+
+Volume XXIII.
+
+I. Racial Types in the Philippine Islands. By Louis R. Sullivan, Pp.
+1-61, 6 text figures, and 2 maps. 1918. Price, $.75.
+
+II. The Evidence Afforded by the Boskop Skull of a New Species of
+Primitive Man (_Homo capensis_). By R, Broom. Pp. 33-79, and 5 text
+figures. 1918. Price, $.25.
+
+III. Anthropometry of the Siouan Tribes. By Louis R. Sullivan. Pp.
+81-174, 7 text figures, and 74 tables. 1920. Price, $1.25.
+
+IV. (In press.)
+
+
+Volume XXIV.
+
+I. Myths and Tales from the San Carlos Apache. By Pliny Earle Goddard.
+Pp. 1-86. 1918. Price, $.75.
+
+II. Myths and Tales from the White Mountain Apache. By Pliny Earle
+Goddard. Pp. 87-139. 1919. Price, $.50.
+
+III. San Carlos Apache Texts. By Pliny Earle Goddard. Pp. 141-367. 1919.
+Price, $2.50.
+
+IV. White Mountain Apache Texts. By Pliny Earle Goddard. Pp. 369-527.
+1920. Price $2.00.
+
+
+Volume XXV.
+
+I. Myths and Traditions of the Crow Indians. By Robert H. Lowie. Pp.
+1-308. 1918. Price, $3.00.
+
+II. (In preparation.)
+
+
+Volume XXVI.
+
+I. The Aztec Ruin. By Earl H. Morris. Pp. 1-108, and 73 text figures.
+1919. Price, $1.00.
+
+II. (In press.)
+
+
+Volume XXVII.
+
+I. Pueblo Bonito. By George H. Pepper. Pp. 1-490. Plates I-XII, and 155
+text figures. 1920. Price $3.50.
+
+
+
+
+FOOTNOTES:
+
+
+[1] Methvin, J. J., _Andele, or The Mexican-Kiowa Captive_. _A Story of
+Real Life among the Indians_ (Louisville, Kentucky, 1899).
+
+[2] Scott, Hugh Lenox, "Notes on the Kado, or Sun Dance of the Kiowa"
+(_American Anthropologist_, N. S., vol. 13, pp. 345-379, 1911). The
+phonetic system used in the present paper is that of the "Phonetic
+Transcription of Indian Languages" (_Smithsonian Miscellaneous
+Collections_, vol. 66, no. 6, 1916), 2-7.
+
+[3] Mooney, James, "Calendar History of the Kiowa Indians" (_Seventeenth
+Annual Report_, _Bureau of American Ethnology_, part 1, pp. 129-445,
+Washington, 1911), 385.
+
+[4] Lowie, R. H., "Societies of the Kiowa" (this series, vol. 11), 847;
+Mooney, 325, 338.
+
+[5] Mooney, 253, states the contrary.
+
+[6] Mooney, 240; Plate LXIX shows a model (see Scott, 349).
+
+[7] This coupling of purchase with inheritance is strictly comparable to
+the Hidatsa bundle (this volume, 416-417).
+
+[8] Scott, 369, 373.
+
+[9] If this is more than a general taboo against women handling sacred
+objects, it has its parallel in a similar Crow bias (this volume, 13).
+
+[10] Mooney, 241, 323, 324.
+
+[11] Mooney, 239.
+
+[12] Mooney, 279, 343.
+
+[13] Lowie, 842.
+
+[14] Lowie, 843.
+
+[15] Compare, Battey, Thomas C., _The Life and Adventures of a Quaker
+among the Indians_ (Boston, 1876) 185.
+
+[16] The Southern Cheyenne also charge and count coup on some sticks
+marking the site of the dance lodge (G. A. Dorsey, _Cheyenne Sun
+Dance_).
+
+[17] Cf. 83, 109. Mooney, 349.
+
+[18] Scott, 358-360, 365. In this account the hide is taken into a
+sweatlodge at this juncture.
+
+[19] "Foot-soldiers," Scott, 360-361.
+
+[20] Lowie, 843.
+
+[21] Not by a woman's society as Scott's informant states (361).
+
+[22] Battey, 170.
+
+[23] By the "old women soldiers" according to Scott (361), but Martinez
+informs me that, with the exception of the dance described by Battey,
+the two women's societies have no significant part in the sun dance.
+
+[24] The Old Woman society (Lowie, 850).
+
+[25] Battey, 168.
+
+[26] Cf. Lowie, 843.
+
+[27] Battey, 169.
+
+[28] Battey, 170-172. War singing _gwudanke_, was customary before an
+expedition set out for war (Lowie, 850).
+
+[29] Scott, Pl. XXV.
+
+[30] Evidently a shield of this type was made by Koñate, who was
+instructed to do so by the _tai´me_ which appeared to him as he lay
+wounded (Mooney, 304).
+
+[31] Lewis notes this custom for the Shoshoni, and Lowie for their
+medicinemen when treating the sick (Lowie, Northern Shoshone, 213-214).
+The Crow do not smoke where their moccasins are hung up, according to
+Maximilian, (Reise in das innere Nord-America in den Jahren 1832 bis
+1834 [Coblenz, 1841], I, 400).
+
+[32] Scott, 373.
+
+[33] Scott, 362.
+
+[34] Martinez puts this performance after the image has been brought
+into the dance lodge: this does not seem correct.
+
+[35] Battey has the keeper signal to the herd with a firebrand. Neither
+Battey nor Scott mention a mounted herder; the former puts the pipe in
+the hands of the keeper, and the latter in those of a third man who
+remains in the dance lodge, but in Scott's account also the function of
+the pipe is to force the buffalo to enter the lodge. In Battey's account
+two men assist the keeper in designating warriors, and in Scott's three
+men with straight pipes do it. (Battey, 172-173; Scott, 362-364).
+
+[36] Battey, 173, 176; Scott, 351-352, 367, Pl. XXII; Methvin, 66, notes
+that his feet are painted black with sage wreaths about his ankles.
+
+[37] Lowie, 843.
+
+[38] Martinez, in Methvin's account, (71), states that the payment is
+made in four successive years.
+
+[39] Methvin, 71; Scott, 352, states that these men directed the sun
+dance as substitutes for the keeper and did the ceremonial painting, but
+this is contrary to my information.
+
+[40] Compare Mooney, 296.
+
+[41] Battey, 178.
+
+[42] Compare Scott, 352, 368, Pls. XVIII, XXII; Methvin, 70-71.
+
+[43] Battey, 178-179.
+
+[44] Scott, 347.
+
+[45] Battey, 181-182.
+
+[46] Mooney, 302, notes that one of these individuals carried his
+personal medicine in the dance.
+
+[47] Methvin, 66; Scott, 366.
+
+[48] Battey, 173-177.
+
+[49] Once, not three times a day as Scott states (366).
+
+[50] Scott, 366, places raven fans in hands of the associates.
+
+[51] In the ghost dance a shaman hypnotizes the dancers by waving a
+feather or scarf before their faces. The subject staggers into the ring
+and falls (Mooney, _Ghost dance_, 925-926). This performance may not be
+related to that of the Kiowa, since it appeared among the Sioux before
+the southern Plains tribes took up the ghost dance. On the other hand,
+the Paiute, from whom the ghost dance was derived, did not hypnotize.
+
+[52] Battey, 177-181.
+
+[53] Scott, 365, 367.
+
+[54] Mooney, _Kiowa Calendar History_, 282, 297, 304, 321, 322. Another
+suggestive similarity to the Crow is the assumption of "no-flight"
+obligations in both tribes at the sun dance (_Ibid._, 284, 287, 320).
+
+
+
+
+Transcriber's note: On page 443, 'the the' changed to 'the' (Once inside
+they lie down; the man with the pipe ...)
+
+
+
+
+
+End of Project Gutenberg's Notes on the Kiowa Sun Dance, by Leslie Spier
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+
+The Project Gutenberg EBook of Notes on the Kiowa Sun Dance, by Leslie Spier
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Notes on the Kiowa Sun Dance
+
+Author: Leslie Spier
+
+Release Date: May 28, 2011 [EBook #36224]
+
+Language: English
+
+Character set encoding: UTF-8 
+
+*** START OF THIS PROJECT GUTENBERG EBOOK NOTES ON THE KIOWA SUN DANCE ***
+
+
+
+
+Produced by Tor Martin Kristiansen, Joseph Cooper and the
+Online Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+
+
+
+
+<h1>ANTHROPOLOGICAL PAPERS</h1>
+<h4>OF</h4>
+
+<h1>THE AMERICAN MUSEUM<br />
+OF NATURAL HISTORY</h1>
+
+<p>&nbsp;</p>
+<h1><span class="smcap">Vol. XVI, Part VI</span></h1>
+<p>&nbsp;</p>
+
+<h2>NOTES ON THE KIOWA SUN DANCE</h2>
+
+<h4>BY</h4>
+
+<h2>LESLIE SPIER</h2>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/logo.png" height="205" width="200" alt="" title="" />
+</div>
+
+<p>&nbsp;</p>
+
+<h3>NEW YORK<br />
+PUBLISHED BY ORDER OF THE TRUSTEES<br />
+1921</h3>
+
+
+
+
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_433" id="Page_433">[Pg 433]</a></span></p>
+
+
+<p>&nbsp;</p>
+
+<h2>
+NOTES ON THE KIOWA SUN DANCE.<br />
+<br />
+<span class="smcap">By Leslie Spier.</span></h2>
+
+
+<p>&nbsp;</p>
+<p><span class="pagenum"><a name="Page_434" id="Page_434">[Pg 434]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_435" id="Page_435">[Pg 435]</a></span></p>
+<h2>ILLUSTRATIONS.</h2>
+
+<h3><span class="smcap">Text Figures.</span></h3>
+
+
+<div class="center">
+<table style="border-collapse: collapse;" border="0" width="80%">
+	<tbody><tr>
+		<td>&nbsp;</td>
+		<td align="right"><span class="smcap">Page.</span></td>
+	</tr>
+	<tr>
+		<td>1. Groundplan of Dance Lodge </td>
+		<td align="right"><a href="#Page_441">441</a></td>
+	</tr>
+</tbody></table>
+
+
+</div>
+
+
+<p>&nbsp;</p>
+<p><span class="pagenum"><a name="Page_436" id="Page_436">[Pg 436]</a></span></p>
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_437" id="Page_437">[Pg 437]</a></span></p>
+
+<h2>NOTES ON THE KIOWA SUN DANCE.</h2>
+
+<p>The following notes were obtained from Andres Martinez (Andele, a Mexican
+captive of the Kiowa whose history<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a>
+is well known) in August, 1919. Attention was directed in the first instance to
+the organization of the dance, but a brief description of the whole ceremony was
+also obtained, chiefly by way of comments on Scott's account.<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a>
+The last Kiowa sun dance was held in 1887.<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a></p>
+
+<p>The Kiowa sun dance is the prerogative of the individual who owns the sacred
+image, the <i>tai'me</i>. He deputes the ancillary offices where he sees fit,
+although there is a well-defined tendency for them to be hereditary. The
+predominant idea of this image is that of a war medicine. Thus the dance is
+fundamentally like that of the Crow, but it differs from it in two important
+respects. First, the Kiowa rites cluster about only one particular medicine,
+whereas among the Crow, any one of a number of medicine dolls may be used in the
+ceremony. The question arises whether the dozen minor Kiowa images, which are
+sometimes brought into the dance, were more recently acquired or constructed in
+order to reproduce the functions of the <i>tai'me</i>, or whether one medicine
+doll has completely overshadowed all the others, as seemed about to happen among
+the Crow. The evidence favors the first view, since no rites, other than those
+attendant on any personal medicine, are described, or even intimated, for the
+minor images. The second difference is, that while the Crow shaman invokes his
+medicine for any one who appeals to him for aid, acting only in a directive
+capacity, the Kiowa <i>tai'me</i>
+owner is himself the principal suppliant. Were it not for the hereditary bias in
+the distribution of ceremonial functions, the Kiowa sun dance would be the
+prerogative of one man as completely as that of the Crow is, when the latter is
+once under way. The hereditary principle does not appear in the military
+societies except in the ownership of the medicine lance or arrow (<i>zë'bo</i>).<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a></p>
+
+<p>The Kiowa sun dance (<i>k&rsquo;o<sup>θ</sup>du<sup>n</sup></i> specifically the
+name for the lodge) was an annual tribal affair, in which the associated Kiowa
+Apache freely joined.<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a>
+It was danced in an effort to obtain material benefits from, or through, the
+medicine doll in the possession of the medicineman, who is at the same time
+director and principal performer.<span class="pagenum"><a name="Page_438" id="Page_438">[Pg
+438]</a></span></p>
+
+<div class="blockquot"><p>This is a small image, less than 2 feet in length,
+	representing a human figure dressed in a robe of white feathers, with a
+	headdress consisting of a single upright feather and pendants of ermine
+	skin, with numerous strands of blue beads around its neck, and painted upon
+	the face, breast, and back with designs symbolic of the sun and moon.
+	[Martinez says the face is entirely obscured by hanging beads.] The image
+	itself is of dark-green stone, in form rudely resembling a human head and
+	bust, probably shaped by art like the stone fetishes of the Pueblo tribes.
+	It is preserved in a rawhide box in charge of the hereditary keeper, and is
+	never under any circumstances exposed to view except at the annual sun
+	dance, when it is fastened to a short upright stick planted within the
+	medicine lodge, near the western side.... The ancient <i>tai'me</i>
+	image was of buckskin, with a stalk of Indian tobacco for a headdress. This
+	buckskin image was left in the medicine lodge, with all the other adornments
+	and sacrificial offerings, at the close of each ceremony. The present <i>
+	tai'me</i> is one of three, two of which came originally from the Crows,
+	through an Arapaho who married into the Kiowa tribe, while the third came by
+	capture from the Blackfeet.<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a></p></div>
+
+<p>The bundle containing the image is usually hung outside of its keeper's tipi.
+It is not customary to expose the image except at the sun dance, but tobacco is
+placed with it from time to time. Its function outside of the dance is identical
+with its use there: those who need its aid make vows to it, which they fulfil by
+sacrificing horses, etc., and making sweatlodges. The image is the property of
+one man, or more properly of his family, since it may be inherited by his blood
+relatives. If the transfer is made before the father's death, payment and a
+sweatlodge must be given by the son.<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a>
+After Long Foot died about 1870, as he had no son, it passed into the possession
+of three of his nephews in succession, and reverted in 1894 to his daughter who
+still has it.<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a>
+While she may handle the image, she would not be permitted to enter the dance
+with it.<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a>
+There the functions which would normally devolve on her would be performed in
+their entirety by a captive. This captive has been trained to the position in
+order to take the place of the image keeper should he be sick. A captive is
+chosen for the substitute so that a calamity incurred by a mischance in the
+proceedings may fall on him alone and not on the Kiowa. The erstwhile
+substitute, a Mexican, is still living. The image keeper, like his four
+associates, must not look in a mirror, nor touch a skunk or jackrabbit. One who
+touches these animals cannot enter the tipi where the doll is housed until four
+days have elapsed. No dog is allowed in this tipi, nor is one permitted to jump
+over the keeper or his four associates, the <i>g.uo&#322;g.u&#551;t`</i>.<span class="pagenum"><a name="Page_439" id="Page_439">[Pg
+439]</a></span></p>
+
+<p>There are ten or twelve minor images (<i>ta<sup>i</sup>lyúk&#551;</i>) which
+strongly resemble the <i>tai'me</i> in function, as they are essentially war
+medicines. Most of them were in the keeping of men other than the sacred doll
+owner, but two were kept by him for a time.<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a>
+They have little or no part in the sun dance.</p>
+
+<div class="blockquot"><p>The <i>Gadômbítsoñhi</i>,
+	"Old-woman-under-the-ground," belonged to the Kiñep band of the Kiowa. It
+	was a small image, less than a foot high, representing a woman with flowing
+	hair. It was exposed in front of the <i>tai'me</i> at the great sun-dance
+	ceremony, and by some unexplained jugglery the priest in charge of it caused
+	it to rise out of the ground, dance in the sight of the people, and then
+	again sink into the earth.<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a></p></div>
+
+<p>The sun dance was normally an annual ceremony, but sometimes a year passed
+without one. The dance was theoretically dependent on someone going to the
+keeper and saying, "I dreamed of it (<i>i.e.</i>, the sun dance)," or on the
+keeper himself dreaming of it. On two occasions a second dance was held in the
+dance lodge after the keeper had removed the sacred doll at the close of the
+first dance, because a second man had also dreamed of it.<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a>
+After the dream is announced the keeper hangs the image on his back and rides
+out to all the camps, announcing, as he circles them, that he will conduct the
+ceremony the following spring (May or June). This announcement was sometimes
+made immediately after the close of the preceding dance, but usually it came
+just before they intended to hold the dance.<a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a>
+The keeper fasts while he is making the announcement, even if it takes three
+days, as may happen when the camps were scattered. When they know the dance is
+to be held, others vow to dance for a specified number of days, and all gather
+near the dance ground. No one may absent himself: they are all afraid of his
+medicine. When the tribe is assembled, the keeper circles the camp, again
+bearing the sacred doll on his back.</p>
+
+<p>Two young men are selected by the keeper from one of the military societies<a name="FNanchor_14_14" id="FNanchor_14_14"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a>
+to scout for a tree to serve as center pole for the dance lodge. While
+searching, they must refrain from drinking. About this time all those intending
+to dance are building sweatlodges to purify themselves: the keeper must enter
+each of these to direct the proceedings; this entails considerable work on him.
+Should he be sick at this time, the doll is carried into the sweatlodge by the
+captive in his stead. It is incumbent on the <i>tai'me</i> shield owners to
+accompany this captive and help him<span class="pagenum"><a name="Page_440" id="Page_440">[Pg
+440]</a></span>
+perform the necessary ceremonies. When the tree for the center pole has been
+selected, the whole camp moves after the keeper and his family to the dance
+ground. A dozen or more old men follow immediately after him. The main body is
+guarded front, rear, and both flanks by the military societies, as is customary
+when a camp moves.<a name="FNanchor_15_15" id="FNanchor_15_15"></a><a href="#Footnote_15_15" class="fnanchor">[15]</a>
+The procession halts four times on its journey while the keeper smokes and
+prays. Next, the soldier societies charge on the dance ground, or rather on a
+pole erected there before the camp circle is established,<a name="FNanchor_16_16" id="FNanchor_16_16"></a><a href="#Footnote_16_16" class="fnanchor">[16]</a>
+according to Methvin (p. 64), but on the newly established camp itself according
+to Scott's informants (p. 357).</p>
+
+<p>The next morning the man who has that privilege sets out with his wife to get
+the hide of a young buffalo bull. When such a person dies, the keeper appoints
+one of his kin to take his place.<a name="FNanchor_17_17" id="FNanchor_17_17"></a><a href="#Footnote_17_17" class="fnanchor">[17]</a>
+The couple must fast while on this hunt. If the buffalo is killed with a single
+arrow, it is a favorable omen, if many are needed, the opposite is indicated.
+The buffalo must be killed so that he falls on his belly with his head toward
+the east. A broad strip of back skin, with the tail and head skin attached is
+carried to the keeper's tipi, where feathers are tied to its head.<a name="FNanchor_18_18" id="FNanchor_18_18"></a><a href="#Footnote_18_18" class="fnanchor">[18]</a></p>
+
+<p>The next morning they set out to fetch the center pole. Scott describes a
+parade around the camp circle by the military societies which then proceed to
+charge the tree selected for the center pole, which is defended in sham combat
+by one of the men's societies<a name="FNanchor_19_19" id="FNanchor_19_19"></a><a href="#Footnote_19_19" class="fnanchor">[19]</a>
+(<i>akiaik`to</i>, war with the trees). After the chiefs have recited their
+coups, and prayers have been said by the sacred doll keeper and his wife, who
+have brought the doll there, the tree is chopped down by a captive Mexican
+woman. A captive is always selected for this difficult task, so that any harm
+due to an error on her part may not fall on a tribesman. This function is always
+performed by a Mexican woman: when she dies, the keeper appoints her successor.
+As the tree falls, they shout and shoot in the air. The pole is carried to the
+dance ground by a society designated by the keeper,<a name="FNanchor_20_20" id="FNanchor_20_20"></a><a href="#Footnote_20_20" class="fnanchor">[20]</a>
+where a hole to receive it has been dug by a men's military society.<a name="FNanchor_21_21" id="FNanchor_21_21"></a><a href="#Footnote_21_21" class="fnanchor">[21]</a>
+The pole is set upright by a single medicineman who owns this privilege. The
+buffalo hide is then fastened across the forks with its head to the<span class="pagenum"><a name="Page_441" id="Page_441">[Pg
+441]</a></span>
+east and offerings of cloth, etc., brought by various individuals are tied to
+it. In 1873 Battey observed:&mdash;</p>
+
+<div class="blockquot"><p>The central post is ornamented near the ground with
+	the robes of buffalo calves, their heads up, as if in the act of climbing
+	it; each of the branches above the fork is ornamented in a similar manner,
+	with the addition of shawls, calico, scarfs, &amp;c., and covered at the top
+	with black muslin. Attached to the fork is a bundle of cottonwood and willow
+	limbs, firmly bound together, and covered with a buffalo robe, with head and
+	horns, so as to form a rude image of a buffalo, to which were hung strips of
+	new calico, muslin, strouding, both blue and scarlet, feathers, shawls, &amp;c.,
+	of various lengths and qualities. The longer and more showy articles were
+	placed near the ends. This image was so placed as to face the east.<a name="FNanchor_22_22" id="FNanchor_22_22"></a><a href="#Footnote_22_22" class="fnanchor">[22]</a></p></div>
+
+<div class="figcenter" style="width: 369px;">
+<span class="caption">Fig. 1. Groundplan of Dance Lodge.</span>
+<img src="images/grey441.png" alt="Fig. 1. Groundplan of Dance Lodge." height="335" width="369" />
+</div>
+
+<p>The center pole is not painted.</p>
+
+<p>After the center pole is in place, everyone, but especially the military
+societies, assists in building the enclosing structure. The lodge is like those
+of the Arapaho and Cheyenne: it is circular, the rafters rest on the center
+pole, and the covering of boughs extends a third of the way to the center of the
+roof. An entrance is left on the east side. A flat stone is placed here so that
+every dancer passing through must set his foot on it. Wet sand is spread over
+the ground in the dance lodge<a name="FNanchor_23_23" id="FNanchor_23_23"></a><a href="#Footnote_23_23" class="fnanchor">[23]</a>
+and heaped around the base of the center pole. Two little round holes, walled in
+with mud, are dug near the rear of the lodge to hold incense smudges. A screen
+of cottonwood and cedar branches is constructed just north of these.<span class="pagenum"><a name="Page_442" id="Page_442">[Pg
+442]</a></span></p>
+
+<div class="blockquot"><p>This business continued through the day, except for an
+	hour or two in the middle of the afternoon, when the old women<a name="FNanchor_24_24" id="FNanchor_24_24"></a><a href="#Footnote_24_24" class="fnanchor">[24]</a>&mdash;the
+	grandmothers of the tribe&mdash;had a dance. The music consisted of singing and
+	drumming, done by several old women, who were squatted on the ground in a
+	circle. The dancers&mdash;old, gray-headed women, from sixty to eighty years of
+	age&mdash;performed in a circle around them for some time, finally striking off
+	upon a waddling run, one behind another; they formed a circle, came back
+	and, doubling so as to bring two together, threw their arms around each
+	other's necks, and trudged around for some time longer; then sat down, while
+	a youngish man circulated the pipe, from which each in turn took two or
+	three whiffs, and this ceremony ended.<a name="FNanchor_25_25" id="FNanchor_25_25"></a><a href="#Footnote_25_25" class="fnanchor">[25]</a></p>
+
+<p>[When the dance lodge was completed] the soldiers of the tribe then had a
+frolic in and about it, running and jumping, striking and kicking, throwing one
+another down, stripping and tearing the clothes off each other.<a name="FNanchor_26_26" id="FNanchor_26_26"></a><a href="#Footnote_26_26" class="fnanchor">[26]</a>...
+Before this frolic was over, a party of ten or twelve warriors appeared, moving
+a kind of shield to and fro before their bodies, making, in some manner (as I
+was not near enough to see how it was done), a grating sound, not unlike the
+filing of a mill-saw.<a name="FNanchor_27_27" id="FNanchor_27_27"></a><a href="#Footnote_27_27" class="fnanchor">[27]</a></p>
+
+<p>In the afternoon, a party of a dozen or more warriors and braves proceeded to
+the medicine house, followed by a large proportion of the people of the
+encampment. They were highly painted, and wore shirts only, with head-dresses of
+feathers which extended down the backs to the ground, and were kept in their
+proper places by means of an ornamented strap clasping the waist. Some of them
+had long horns attached to their head-dresses. They were armed with lances and
+revolvers, and carrying a couple of long poles mounted from end to end with
+feathers, the one white and the other black. They also bore shields highly
+ornamented with paint, feathers, and hair.</p>
+
+<p>They took their station upon the side opposite the entrance, the musicians
+standing behind them.</p>
+
+<p>Many old women occupied a position to the right and near the entrance, who
+set up a tremulous shrieking; the drums began to beat, and the dance began, the
+party above described only participating in it.</p>
+
+<p>They at first slowly advanced towards the central post, followed by the
+musicians several of whom carried a side of raw hide (dried), which was beaten
+upon with sticks, making about as much music as to beat upon the sole of an old
+shoe, while the drums, the voices of the women, and the rattling of pebbles in
+instruments of raw hide filled out the choir.</p>
+
+<p>After slowly advancing nearly to the central post, they retired backward,
+again advanced, a little farther than before; this was repeated several times,
+each time advancing a little farther, until they crowded upon the spectators,
+drew their revolvers, and discharged them into the air.</p>
+
+<p>Soon after, the women rushed forward with a shrieking yell, threw their
+blankets violently upon the ground, at the feet of the retiring dancers,
+snatched them up with the same tremulous shriek that had been before produced,
+and retired; which closed this part of the entertainment. The ornamented shields
+used on this occasion were afterwards hung up with the medicine.<a name="FNanchor_28_28" id="FNanchor_28_28"></a><a href="#Footnote_28_28" class="fnanchor">[28]</a></p></div>
+
+<p><span class="pagenum"><a name="Page_443" id="Page_443">[Pg 443]</a></span></p>
+
+<p>These may be the shields which are associated with the <i>tai'me</i>. Later,
+after the sacred doll has been brought into the lodge, they are either hung with
+it on the cedar screen as Battey observed,<a name="FNanchor_29_29" id="FNanchor_29_29"></a><a href="#Footnote_29_29" class="fnanchor">[29]</a>
+or on stakes set up outside the dance lodge to the west, i.e., behind the image,
+where Martinez saw them. No offerings are made to them there. It is incumbent on
+a <i>tai'me</i> shield owner to dance with the associates (<i>g.uo&#322;g.u&#551;t`</i>)
+in every sun dance so long as he continues to own the shield. He is not
+considered one of the associates however. Shield owners always help the image
+keeper when he asks their aid. They must also assist his captive substitute when
+officiating in a sweatlodge. A shield owner cannot sell his shield, but he may
+give it to his son in anticipation of his death, receiving presents in return.
+Otherwise, on the death of its owner the shield is placed on his grave. Should a
+son or nephew dream of it, he has the right to make a duplicate with the help of
+the doll owner in order to keep it in the family. However, if any other man
+dreams of it and wants to make the duplicate, he must pay the owner.<a name="FNanchor_30_30" id="FNanchor_30_30"></a><a href="#Footnote_30_30" class="fnanchor">[30]</a>
+The shield is usually hung outside of its owner's tipi. The shield owners "must
+not eat buffalo hearts, or touch a bearskin, or have anything to do with a
+bear." Like the associates, "they must not smoke with their moccasins on,<a name="FNanchor_31_31" id="FNanchor_31_31"></a><a href="#Footnote_31_31" class="fnanchor">[31]</a>
+or kill, or eat any kind of rabbit, or kill or touch a skunk."<a name="FNanchor_32_32" id="FNanchor_32_32"></a><a href="#Footnote_32_32" class="fnanchor">[32]</a>
+These shields are used only in war as their owner's personal medicine: no
+offerings are ever made to them.</p>
+
+<p>Late in the day, a number of men who have vowed to take part in the
+subsequent dance, together with one woman who has the privilege,<a name="FNanchor_33_33" id="FNanchor_33_33"></a><a href="#Footnote_33_33" class="fnanchor">[33]</a>
+are garbed in buffalo robes to represent the living animals. They gather to the
+east of the lodge where they simulate the actions of a herd of buffalo. A man,
+called a scout, starts from the entrance of the lodge with a firebrand and
+circles about the herd until he meets a second man, mounted and carrying a
+shield and a straight pipe, who thereupon drives the buffalo toward the dance
+lodge, which they circle several times before negotiating the entrance. Once
+inside they lie down; the man with the pipe dismounts and
+enters. Picking up the hairs on the back of first one animal and another, he
+says, "This is the fattest animal. He is our protector in war." Then he recites
+a coup. This<span class="pagenum"><a name="Page_444" id="Page_444">[Pg 444]</a></span>
+designated (or makes ?) a brave man of that buffalo.<a name="FNanchor_34_34" id="FNanchor_34_34"></a><a href="#Footnote_34_34" class="fnanchor">[34]</a>
+Both the man with the firebrand and he with the pipe ought to be medicinemen.
+The present incumbent of the first office also has the privilege of erecting the
+center pole. When these men die, the sacred doll keeper selects successors from
+their families.<a name="FNanchor_35_35" id="FNanchor_35_35"></a><a href="#Footnote_35_35" class="fnanchor">[35]</a></p>
+
+<p>That evening after sunset the dance proper begins, to last four nights and
+days, ending in the evening. The doll keeper proceeds to his own tipi, where,
+with the assistance of seven other medicinemen (<i>tai'me</i> shield keepers and
+some others not otherwise connected with the ceremony), he unwraps the <i>tai'me</i>.
+Carrying it on his back, he walks to the dance lodge, and, completely circles it
+four times, feigning to enter each time he passes the entrance. After entering,
+he goes around by the south side to the northwest quadrant, where he plants the
+image hanging on a staff. Formerly two or more of the minor images, <i>ta<sup>i</sup>lyúk&#551;</i>,
+were placed with the <i>tai'me</i>. After the image is in place the dancers
+enter to perform for the night.</p>
+
+<p>The keeper dances throughout the whole four-day period. He is painted yellow,
+with a design representing the sun, and sometimes another for the moon, drawn on
+his chest and back. "His face was painted, like that of the Taimay itself, with
+red and black zigzag lines downward from the eyes." He wears a yellow buckskin
+kilt, a jackrabbit skin cap with down attached, and sage wristlets. He is
+barefoot. He carries a bunch of cedar in his hand, and an eagle bone whistle
+from which an eagle feather is pendent. Battey observed that he was painted
+white at the "buffalo-herding" rite, and not painted at all in the dance proper.<a name="FNanchor_36_36" id="FNanchor_36_36"></a><a href="#Footnote_36_36" class="fnanchor">[36]</a></p>
+
+<p>Beside the <i>tai'me</i> keeper there are three classes of persons who dance;
+the associates (<i>g.uo&#322;g.u&#551;t`</i>), the <i>tai'me</i> shield keepers, and the
+common dancers. The four associates (Scott's "keeper's assistants") must dance
+throughout the whole four day period. They appear in four successive dances
+(normally four years), after which they choose successors from among those young
+men, eighteen to thirty years old, who have made the best records in war. These
+young men, with the assistance of their relatives,<a name="FNanchor_37_37" id="FNanchor_37_37"></a><a href="#Footnote_37_37" class="fnanchor">[37]</a>
+pay horses and buffalo robes for the privilege, receiving the<span class="pagenum"><a name="Page_445" id="Page_445">[Pg
+445]</a></span>
+regalia in return.<a name="FNanchor_38_38" id="FNanchor_38_38"></a><a href="#Footnote_38_38" class="fnanchor">[38]</a>
+One who is chosen cannot refuse: if he does, he may expect a calamity. The
+associate may belong to any of the military societies. His office does not
+impose obligations of foolhardiness in war (such as the no-flight idea), but he
+is obliged to act the part of an intrepid warrior, because he enjoys security in
+battle.<a name="FNanchor_39_39" id="FNanchor_39_39"></a><a href="#Footnote_39_39" class="fnanchor">[39]</a>
+The associate must not look in a mirror lest he become blind,<a name="FNanchor_40_40" id="FNanchor_40_40"></a><a href="#Footnote_40_40" class="fnanchor">[40]</a>
+nor can he touch a skunk or jackrabbit, nor remain near a fire where someone is
+cooking. Dogs must not be permitted to jump over an associate. He must remove
+his moccasins before he smokes, but others may keep theirs on when smoking in
+his presence. The associate dances in order to live long and to be a great
+warrior. His body is painted white or yellow: a round spot representing the sun
+is painted on the middle of his chest, with a crescent moon (the concavity
+upward) on both sides of the sun, and the same decoration is repeated on his
+back. The skin is cut away as a sacrifice and to make these designs permanent
+after his first dance. A scalp from a <i>tai'me</i>
+shield hangs on his breast with two eagle feathers; another on his back. His
+face is "ornamented with a green stripe across the forehead, and around down the
+sides of the cheeks, to the corners of the mouth, and meeting on the chin."<a name="FNanchor_41_41" id="FNanchor_41_41"></a><a href="#Footnote_41_41" class="fnanchor">[41]</a>
+He wears a yellow buckskin kilt, with his breechclout hung outside, like the
+Arapaho and Cheyenne sun dancers. Bunches of sage are stuck into his belt,
+others tied around his wrists and ankles, and carried in each hand. On his head
+is either a cap of jackrabbitskin in which is stuck an eagle feather or a sage
+wreath with down attached. He carries a bone whistle. Like the sacred doll
+keeper and all other dancers, he is barefoot.<a name="FNanchor_42_42" id="FNanchor_42_42"></a><a href="#Footnote_42_42" class="fnanchor">[42]</a>
+Battey saw three associates purify themselves in the incense from the censors,
+and then dance on piles of sage.<a name="FNanchor_43_43" id="FNanchor_43_43"></a><a href="#Footnote_43_43" class="fnanchor">[43]</a></p>
+
+<p>The <i>tai'me</i> shield owners, who dance with the associates are sometimes
+painted yellow or green with pictures of the sun and moon on their bodies, but
+otherwise they wear the regalia of the common dancers.</p>
+
+<p>The rank and file of the dancers are men, never women. Anyone may vow to
+dance a certain number of days, with the object of becoming a better warrior and
+living long.</p>
+
+<div class="blockquot"><p>They believe that it warded off sickness, caused
+	happiness, prosperity, many children, success in war, and plenty of buffalo
+	for all the people. It was frequently vowed by persons in danger from
+	sickness or the enemy.<a name="FNanchor_44_44" id="FNanchor_44_44"></a><a href="#Footnote_44_44" class="fnanchor">[44]</a></p></div><p><span class="pagenum"><a name="Page_446" id="Page_446">
+[Pg 446]</a></span></p>
+
+<p>Sometimes a medicineman danced to intercede for a sick man. A sick man who
+had vowed to attend the dance in order to be cured would be carried into the
+dance lodge, but he would not dance. These dancers make offerings to the <i>
+tai'me</i>. They do not pay the doll keeper in order to enter the dance, and
+they have no rights in any subsequent performance by reason of having once
+participated. Like all other dancers they must fast and go without water during
+the period that they dance; they can however, smoke, provided the proper rites
+are observed.</p>
+
+<div class="blockquot"><p>... The pipe was filled, brought forward, and laid
+	upon the ground; the person, carefully turning the stem towards the fire,
+	and bedding it in the sand, so that the bowl should remain in an upright
+	position, arose and stood with his back towards it, or facing the medicine.
+	It was then approached by one of the musicians, who, in a squatting
+	position, raised his hand reverently towards the sun, the medicine, the top
+	of the central post, or buffalo; then, passing his hands slowly over the
+	pipe, took it up with his left hand, and taking a pinch from the bowl with
+	the thumb and fore finger of the right, held it to the sun, the medicine,
+	the top of the central post, then the bottom, and finally covered it up in
+	the ground. He then proceeded to light the pipe, blowing a whiff of smoke
+	towards the several objects of adoration, and placed it carefully where he
+	found it, in reversed order, that is, with the stem from the fire. The
+	person who brought it had stood waiting all this time for it. He now took it
+	up and retired to the dancers, who, wrapped in buffalo robes, were waiting,
+	in a squatting position, to receive it. The sand where the pipe had lain was
+	carefully smoothed by the hand, and all marks of it wholly obliterated.<a name="FNanchor_45_45" id="FNanchor_45_45"></a><a href="#Footnote_45_45" class="fnanchor">[45]</a></p></div>
+
+<p>These dancers are painted white; they wear white buckskin kilts, with the
+breechclout outside, carry bone whistles, and are barefoot. They have no
+headdress, wrist or ankle ornaments. They paint themselves.<a name="FNanchor_46_46" id="FNanchor_46_46"></a><a href="#Footnote_46_46" class="fnanchor">[46]</a>
+There is only one style of paint used by either the principal or the common
+dancers throughout the sun dance.</p>
+
+<p>The dancers form a line on the east side of the lodge facing the image. Their
+step is that characteristic of the sun dance of other tribes: they stand in
+place, alternately bending their knees and rising on their toes. They dance
+intermittently throughout four days and nights; the common dancers leave as the
+periods for which they have vowed to dance have elapsed or when they can no
+longer stand the combined strain of fasting, thirsting, and dancing. Martinez
+left after three days and nights. The "four days and nights" which are specified
+are in reality only three nights and days; evidently the first day of
+preliminary dancing is included to fill out the quota to the magic "four." In
+Scott's account, the dancers perform on the first day from evening to the middle
+of the night, and on the succeeding days from sunrise to the chorus's<span class="pagenum"><a name="Page_447" id="Page_447">[Pg
+447]</a></span>
+breakfast, nine o'clock to dinner, four in the afternoon to sundown, and from
+evening to midnight, ending in the evening of the fourth day. The dance Battey
+describes evidently began in the evening of the 18th and continued
+intermittently to late afternoon of the 21st. Apparently the dancers do not
+leave the lodge during this entire period.</p>
+
+<div class="blockquot"><p><i>19th</i> [June, 1873.]&mdash;Music and dancing continued
+	in the medicine house through the night. At an early hour this morning I
+	went thither with Couguet, and witnessed one dance throughout. The ground
+	inside the enclosure had been carefully cleared of grass, sticks, and roots,
+	and covered, several inches deep, with a clean, white sand. A screen had
+	been constructed on the side opposite the entrance, by sticking small
+	cottonwoods and cedars deep into the ground, so as to preserve them fresh as
+	long as possible. A space was left, two or three feet wide, between it and
+	the enclosing wall, in which the dancers prepared themselves for the dance,
+	and in front of which was the medicine. This consisted of an image, lying on
+	the ground, but so concealed from view, in the screen, as to render its form
+	indistinguishable; above it was a large fan, made of eagle quills, [an
+	error, these are crow feathers], with the quill part lengthened out nearly a
+	foot, by inserting a stick into it, and securing it there. These were held
+	in a spread form by means of a willow rod, or wire, bent in a circular form;
+	above this was a mass of feathers, concealing an image, on each side of
+	which were several shields, highly decorated with feathers and paint.
+	Various other paraphernalia of heathen worship were suspended in the screen,
+	among these shields or over them, impossible for me to describe so as to be
+	comprehended. A mound had also been thrown up around the central post of the
+	building, two feet high, and perhaps five feet in diameter.</p>
+
+<p>The musicians, who, if I mistake not, are the war chiefs, were squatted on
+the ground, in true heathen style, to the left, and near the entrance, having
+Indian drums and rattles. The music was sounding when we entered.</p>
+
+<p>Presently the dancers came from behind the screen; their faces, arms, and the
+upper part of their bodies were painted white; a soft, white buckskin skirt,
+secured about the loins, descended nearly to the ankles, while the
+breech-cloth,&mdash;blue on this occasion,&mdash;hanging to the ground, outside the skirt,
+both in front and behind, completed the dress. They faced the medicine&mdash;shall I
+say idols? for it was conducted with all the solemnity of worship,&mdash;jumping up
+and down in true time with the beating of the drums, while a bone whistle in
+their mouths, through which the breath escaped as they jumped about, and the
+singing of the women, completed the music. The dancers continued to face the
+medicine, with arms stretched upwards and towards it,&mdash;their eyes as it were
+riveted to it. They were apparently oblivious to all surroundings, except the
+music and what was before them.</p>
+
+<p>After some time, a middle-aged man, painted as the others, but wearing a
+buffalo robe, issued from behind the screen, facing the entrance, but having his
+eyes fixed upon the sun, upon which he stood gazing, without winking or moving a
+muscle, for some time, then began slowly to incline his head from side to side,
+as if to avoid some obstruction in his view of it, swaying his body slightly,
+then, stepping slowly from side to side&mdash;forward&mdash;backward&mdash;increasing his motions,
+both in rapidity and extent, until in appearance nearly frantic, his robes fell
+off, leaving him&mdash;except his blue breechclout&mdash;entirely naked. In this condition
+he jumped and ran about the enclosure,&mdash;head, arms, and legs all equally
+participating in the violence of his gestures,<span class="pagenum"><a name="Page_448" id="Page_448">[Pg
+448]</a></span>&mdash;every joint of his body apparently loosened, his eyes only
+fixed. I wondered how, with every joint apparently dislocated, and every
+muscular fibre relaxed, he could maintain the upright position.</p>
+
+<p>Thus he continued to exercise without ceasing, or once removing his eyes from
+the sun, until the sweat ran down in great rolling drops, washing the white
+paint into streaks no more ornamental than the original painting, and he was at
+length compelled to retire, from mere exhaustion, the other dancers still
+continuing their exercises.</p>
+
+<p>Presently another man [the <i>tai'me</i> keeper] entered from behind the
+screen, wearing an Indian fur cap and a blue breechcloth reaching to the ground.
+He was unpainted, and had a human scalp fastened to his scalplock, the soft,
+flowing hair of which, spreading out upon his naked back, bore mute testimony to
+the tragical death of some unfortunate white woman. This man, with a kind of
+half running jump, still in step with the music, went around all the dancers,
+who did not notice him, with one arm stretched out over his heads, first in one
+direction, then the other, turning his course at every time, after stopping in
+front of the medicine, and making some indescribable motions before it. He
+sometimes parted the feathers concealing the small image, appearing to examine
+it minutely, as if searching for something, and sometimes putting his lips to
+it, as if in the act of kissing it. [He takes some medicine root into his mouth,
+chews it and blows it on the dancers.]<a name="FNanchor_47_47" id="FNanchor_47_47"></a><a href="#Footnote_47_47" class="fnanchor">[47]</a>
+At length, after repeated examinations, he, apparently for the first time,
+discovered the fan, and took hold of it hesitatingly, and as if afraid.</p>
+
+<p>This was loosed from its fastenings by a hand behind the screen, and he
+slowly raised it up, looking intently at it, while the expression of his
+countenance indicated a fearfulness of the result of handling an object whose
+hidden and mysterious powers were so far beyond his comprehension. He held it up
+before the medicine, waved it up and down, and from side to side, then, turning
+round so as to face the dancers and spectators, waved it from side to side near
+the ground, once around the dancers; then, raising it above his head, he waved
+it in the same manner, performing another circle around the dancers.</p>
+
+<p>Then, with gestures of striking, and a countenance scowling as with fierce
+rage, he began to chase them around and around the ring, [i.e., around the
+center pole] from left to right. Finally, getting one of them separated from the
+rest, he pursued him with the most fiend-like attitude, fiercely striking at him
+with his fan. The pursued one fled from him with a countenance expressive of
+almost death-like terror, until, after several rounds, he stumbled and fell
+heavily to the ground. Another and another were thus separated from the dancers,
+pursued, and fell before the mystical power of the fan, and the act closed.<a name="FNanchor_48_48" id="FNanchor_48_48"></a><a href="#Footnote_48_48" class="fnanchor">[48]</a></p></div>
+
+<p>The "feather-killing" (<i>stai&#277;nki&#259;&#322;</i>, he runs after them with feathers)
+occurs every day in the late forenoon.<a name="FNanchor_49_49" id="FNanchor_49_49"></a><a href="#Footnote_49_49" class="fnanchor">[49]</a>
+The associates as well as the other dancers, are fanned into unconsciousness.<a name="FNanchor_50_50" id="FNanchor_50_50"></a><a href="#Footnote_50_50" class="fnanchor">[50]</a>
+In such a condition they would try to get visions: they would rise, call for a
+pipe, and announce what they had seen.<a name="FNanchor_51_51" id="FNanchor_51_51"></a><a href="#Footnote_51_51" class="fnanchor">[51]</a></p>
+
+<p><span class="pagenum"><a name="Page_449" id="Page_449">[Pg 449]</a></span></p>
+
+<div class="blockquot"><p>Being called to a council of the war chiefs, I went no
+	more to the medicine house to-day, though the music and dancing continued
+	the whole time, by day and by night, with short intervals between the
+	different acts, to give opportunity for rest, arranging dress, painting, and
+	such other changes as the programme of the ceremony demanded.</p>
+
+<p><i>20th.</i>&mdash;Saw but one dance to-day. Quite a quantity of goods, such as
+blankets, strouding (blue and scarlet list-cloth), calico, shawls, scarfs, and
+other Indian wares, had been carried into the medicine house previous to my
+entrance. The dancers had been painted white, three of them [the <i>g.uolg.u&#551;t`</i>]
+ornamented with a green stripe across the forehead, and around down the sides of
+the cheeks, to the corner of the mouth, and meeting on the chin. A round green
+spot was painted on the back and breast, about three inches in diameter, while
+on either side of it, and somewhat elevated above it, was a crescent of the same
+size and color. Two small, hollow mounds of sand and clay had been made before
+the medicine, in which fire was placed, and kept just sufficiently burning, with
+the partially dried cottonwood leaves, cedar twigs, and probably tobacco, to
+produce a smoke. A small fire was burning near the musicians, for lighting
+pipes, tightening drums, &amp;c.</p>
+
+<p>When all was ready, the three young men, who were painted as described, were
+led, each by a man clad in a buffalo robe [possibly the former <i>g.uolg.u&#551;t`</i>
+who were transferring their privileges], near to the smoking mounds in front of
+the medicine. An ornamented fur cap was, with some ceremony, placed upon the
+head of one of them; wisps of green wild wormwood were fastened to the wrists
+and ankles, which being done, he reverently raised his hands above his head,
+leaning forward over one of the mounds, brought them down nearly to it; then,
+straightening up, passed his hands over his face and stroked his breast. This
+was repeated several times; then, after holding one foot, and the other, over
+the mound, as if to warm them, two or three times, he went around the central
+post, and back to the other mound, where the same ceremony was repeated. During
+this whole ceremony I could perceive that his lips moved, though he uttered
+nothing. I afterwards learned that it was in prayer to this effect: "May this
+medicine render me brave in war, proof against the weapons of my enemies, strong
+in the chase, wise in council; and, finally, may it preserve me to a good age,
+and may I at last die in peace among my own people." The others, one at a time,
+were similarly brought forward, and went through with the same ceremony. Three
+bunches of wild wormwood were then placed on the ground in a row, crossing the
+line of entrance, and between it and the central post, upon which the three
+young men were placed by their attendants, who stood behind them, with their
+hands upon their shoulders, the music playing all the time. Two or three men
+then approached the pile of goods, selected therefrom some plaid shawls,
+strouding, blankets, scarfs, and an umbrella, and hung them over the medicine;
+this being done, the six men began to dance,&mdash;the three foremost ones upon the
+wormwood, with their arms stretched towards the medicine, the three others with
+their hands still resting upon the shoulders of the former. After some time the
+latter retired; the other dancers came from behind the screen, and joined in the
+dance, which continued until they were driven off by the medicine chief, as
+described in yesterday's dance. All these ceremonies had a sacred significance,
+which I did not understand, but have been informed that they believe any article
+of wearing apparel, or of harness for their horses, hung up by the medicine
+during these ceremonies, receives a charmed power to protect their wearers from
+disease, or the assaults of their enemies, during the year.</p>
+<p><span class="pagenum"><a name="Page_450" id="Page_450">[Pg 450]</a></span>
+</p><p><i>21st.</i>&mdash;At one of the dances to-day, all but one retired behind the
+screen, who continued to dance by himself for a long time. Various articles were
+brought forward, and laid upon the ground, which he took up and hung in
+proximity to the medicine. After along time, the other dancers reappeared, and
+he retired; these continued their exercises, until driven off as before. The
+last dance differed from the preceding in this: the last man selected and
+separated from the others by the medicine chief to be driven off, though he ran
+from him, did not appear terrified, and would not fall down, but retired, with
+the medicine chief, behind the screen.</p>
+
+<p>At one of the dances to-day, five human scalps were exhibited,&mdash;one attached
+to each of the right wrists of two men, and one to each wrist of another,
+besides the one worn attached to the scalp lock of the medicine chief. Two of
+these scalps were from the heads of Indians. They had all been tanned, and
+evidently belonged with the medicine fixtures.</p>
+
+<p>The whole ceremony closed about four o'clock in the afternoon. The medicine
+was packed away by the medicine chief, and the several articles which had been
+hung about it&mdash;medicated, I suppose, or, in other words, sanctified by proximity
+to the sacred things during the ceremonies, and consequently having power to
+protect their possessors from evil&mdash;were restored to the proper owners. They then
+packed them, took them upon their backs, formed into a procession, and marched,
+to the music of the drums, around and out of the medicine house, whence every
+one took the direction of his or her own lodge, and the ceremonies of the great
+medicine were ended.<a name="FNanchor_52_52" id="FNanchor_52_52"></a><a href="#Footnote_52_52" class="fnanchor">[52]</a></p></div>
+
+<p>At the end of the ceremony, the image keeper chews up some medicine root and
+prepares a drink, of which the dancers are permitted to imbibe a little.<a name="FNanchor_53_53" id="FNanchor_53_53"></a><a href="#Footnote_53_53" class="fnanchor">[53]</a></p>
+
+<p>After the image has been removed, old clothing is hung on the center pole as
+a sacrifice. Once Martinez saw a horse tied to the center pole as a sacrifice to
+the sun. It remained there until it starved to death. Horses were also painted
+and placed, together with blankets and similar valuables, on high hills as
+sacrifices. Others beside the associates sacrificed their flesh to the sun at
+this time, or in fact, whenever they wanted to, as Martinez has done. The Kiowa
+never suspended their dancers, as in the self-torture dance of other tribes,
+neither in the sun dance, nor when an individual sought a vision while fasting
+alone in the mountains.</p>
+
+<p>The night the dance closes everyone joins in a hilarious time in the dance
+lodge. Next morning the camp circle breaks up, and the warriors soon go off to
+war.<a name="FNanchor_54_54" id="FNanchor_54_54"></a><a href="#Footnote_54_54" class="fnanchor">[54]</a>
+They do not molest the dance lodge, though other tribes passing that way may do
+so: the Kiowa do not care.
+</p>
+
+
+<div class="footnotes">
+<h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">
+	[1]</span></a> Methvin, J. J., <i>Andele, or The Mexican-Kiowa Captive</i>. <i>
+	A Story of Real Life among the Indians</i>
+	(Louisville, Kentucky, 1899).</p></div>
+
+<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">
+	[2]</span></a> Scott, Hugh Lenox, "Notes on the Kado, or Sun Dance of the
+	Kiowa" (<i>American Anthropologist</i>, N. S., vol. 13, pp. 345-379, 1911).
+	The phonetic system used in the present paper is that of the "Phonetic
+	Transcription of Indian Languages" (<i>Smithsonian Miscellaneous Collections</i>,
+	vol. 66, no. 6, 1916), 2-7.</p></div>
+
+<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">
+	[3]</span></a> Mooney, James, "Calendar History of the Kiowa Indians" (<i>Seventeenth
+	Annual Report</i>, <i>Bureau of American Ethnology</i>, part 1, pp. 129-445,
+	Washington, 1911), 385.</p></div>
+
+<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">
+	[4]</span></a> Lowie, R. H., "Societies of the Kiowa" (this series, vol.
+	11), 847; Mooney, 325, 338.</p></div>
+
+<div class="footnote"><p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">
+	[5]</span></a> Mooney, 253, states the contrary.</p></div>
+
+<div class="footnote"><p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">
+	[6]</span></a> Mooney, 240; Plate LXIX shows a model (see Scott, 349).</p></div>
+
+<div class="footnote"><p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">
+	[7]</span></a> This coupling of purchase with inheritance is strictly
+	comparable to the Hidatsa bundle (this volume, 416-417).</p></div>
+
+<div class="footnote"><p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">
+	[8]</span></a> Scott, 369, 373.</p></div>
+
+<div class="footnote"><p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">
+	[9]</span></a> If this is more than a general taboo against women handling
+	sacred objects, it has its parallel in a similar Crow bias (this volume,
+	13).</p></div>
+
+<div class="footnote"><p><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">
+	[10]</span></a> Mooney, 241, 323, 324.</p></div>
+
+<div class="footnote"><p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">
+	[11]</span></a> Mooney, 239.</p></div>
+
+<div class="footnote"><p><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">
+	[12]</span></a> Mooney, 279, 343.</p></div>
+
+<div class="footnote"><p><a name="Footnote_13_13" id="Footnote_13_13"></a><a href="#FNanchor_13_13"><span class="label">
+	[13]</span></a> Lowie, 842.</p></div>
+
+<div class="footnote"><p><a name="Footnote_14_14" id="Footnote_14_14"></a><a href="#FNanchor_14_14"><span class="label">
+	[14]</span></a> Lowie, 843.</p></div>
+
+<div class="footnote"><p><a name="Footnote_15_15" id="Footnote_15_15"></a><a href="#FNanchor_15_15"><span class="label">
+	[15]</span></a> Compare, Battey, Thomas C., <i>The Life and Adventures of a
+	Quaker among the Indians</i> (Boston, 1876) 185.</p></div>
+
+<div class="footnote"><p><a name="Footnote_16_16" id="Footnote_16_16"></a><a href="#FNanchor_16_16"><span class="label">
+	[16]</span></a> The Southern Cheyenne also charge and count coup on some
+	sticks marking the site of the dance lodge (G. A. Dorsey, <i>Cheyenne Sun
+	Dance</i>).</p></div>
+
+<div class="footnote"><p><a name="Footnote_17_17" id="Footnote_17_17"></a><a href="#FNanchor_17_17"><span class="label">
+	[17]</span></a> Cf. 83, 109. Mooney, 349.</p></div>
+
+<div class="footnote"><p><a name="Footnote_18_18" id="Footnote_18_18"></a><a href="#FNanchor_18_18"><span class="label">
+	[18]</span></a> Scott, 358-360, 365. In this account the hide is taken into
+	a sweatlodge at this juncture.</p></div>
+
+<div class="footnote"><p><a name="Footnote_19_19" id="Footnote_19_19"></a><a href="#FNanchor_19_19"><span class="label">
+	[19]</span></a> "Foot-soldiers," Scott, 360-361.</p></div>
+
+<div class="footnote"><p><a name="Footnote_20_20" id="Footnote_20_20"></a><a href="#FNanchor_20_20"><span class="label">
+	[20]</span></a> Lowie, 843.</p></div>
+
+<div class="footnote"><p><a name="Footnote_21_21" id="Footnote_21_21"></a><a href="#FNanchor_21_21"><span class="label">
+	[21]</span></a> Not by a woman's society as Scott's informant states (361).</p></div>
+
+<div class="footnote"><p><a name="Footnote_22_22" id="Footnote_22_22"></a><a href="#FNanchor_22_22"><span class="label">
+	[22]</span></a> Battey, 170.</p></div>
+
+<div class="footnote"><p><a name="Footnote_23_23" id="Footnote_23_23"></a><a href="#FNanchor_23_23"><span class="label">
+	[23]</span></a> By the "old women soldiers" according to Scott (361), but
+	Martinez informs me that, with the exception of the dance described by
+	Battey, the two women's societies have no significant part in the sun dance.</p></div>
+
+<div class="footnote"><p><a name="Footnote_24_24" id="Footnote_24_24"></a><a href="#FNanchor_24_24"><span class="label">
+	[24]</span></a> The Old Woman society (Lowie, 850).</p></div>
+
+<div class="footnote"><p><a name="Footnote_25_25" id="Footnote_25_25"></a><a href="#FNanchor_25_25"><span class="label">
+	[25]</span></a> Battey, 168.</p></div>
+
+<div class="footnote"><p><a name="Footnote_26_26" id="Footnote_26_26"></a><a href="#FNanchor_26_26"><span class="label">
+	[26]</span></a> Cf. Lowie, 843.</p></div>
+
+<div class="footnote"><p><a name="Footnote_27_27" id="Footnote_27_27"></a><a href="#FNanchor_27_27"><span class="label">
+	[27]</span></a> Battey, 169.</p></div>
+
+<div class="footnote"><p><a name="Footnote_28_28" id="Footnote_28_28"></a><a href="#FNanchor_28_28"><span class="label">
+	[28]</span></a> Battey, 170-172. War singing <i>gwuda&#324;ke</i>, was customary
+	before an expedition set out for war (Lowie, 850).</p></div>
+
+<div class="footnote"><p><a name="Footnote_29_29" id="Footnote_29_29"></a><a href="#FNanchor_29_29"><span class="label">
+	[29]</span></a> Scott, Pl. XXV.</p></div>
+
+<div class="footnote"><p><a name="Footnote_30_30" id="Footnote_30_30"></a><a href="#FNanchor_30_30"><span class="label">
+	[30]</span></a> Evidently a shield of this type was made by Koñate, who was
+	instructed to do so by the <i>tai'me</i>
+	which appeared to him as he lay wounded (Mooney, 304).</p></div>
+
+<div class="footnote"><p><a name="Footnote_31_31" id="Footnote_31_31"></a><a href="#FNanchor_31_31"><span class="label">
+	[31]</span></a> Lewis notes this custom for the Shoshoni, and Lowie for
+	their medicinemen when treating the sick (Lowie, Northern Shoshone,
+	213-214). The Crow do not smoke where their moccasins are hung up, according
+	to Maximilian, (Reise in das innere Nord-America in den Jahren 1832 bis 1834
+	[Coblenz, 1841], I, 400).</p></div>
+
+<div class="footnote"><p><a name="Footnote_32_32" id="Footnote_32_32"></a><a href="#FNanchor_32_32"><span class="label">
+	[32]</span></a> Scott, 373.</p></div>
+
+<div class="footnote"><p><a name="Footnote_33_33" id="Footnote_33_33"></a><a href="#FNanchor_33_33"><span class="label">
+	[33]</span></a> Scott, 362.</p></div>
+
+<div class="footnote"><p><a name="Footnote_34_34" id="Footnote_34_34"></a><a href="#FNanchor_34_34"><span class="label">
+	[34]</span></a> Martinez puts this performance after the image has been
+	brought into the dance lodge: this does not seem correct.</p></div>
+
+<div class="footnote"><p><a name="Footnote_35_35" id="Footnote_35_35"></a><a href="#FNanchor_35_35"><span class="label">
+	[35]</span></a> Battey has the keeper signal to the herd with a firebrand.
+	Neither Battey nor Scott mention a mounted herder; the former puts the pipe
+	in the hands of the keeper, and the latter in those of a third man who
+	remains in the dance lodge, but in Scott's account also the function of the
+	pipe is to force the buffalo to enter the lodge. In Battey's account two men
+	assist the keeper in designating warriors, and in Scott's three men with
+	straight pipes do it. (Battey, 172-173; Scott, 362-364).</p></div>
+
+<div class="footnote"><p><a name="Footnote_36_36" id="Footnote_36_36"></a><a href="#FNanchor_36_36"><span class="label">
+	[36]</span></a> Battey, 173, 176; Scott, 351-352, 367, Pl. XXII; Methvin,
+	66, notes that his feet are painted black with sage wreaths about his
+	ankles.</p></div>
+
+<div class="footnote"><p><a name="Footnote_37_37" id="Footnote_37_37"></a><a href="#FNanchor_37_37"><span class="label">
+	[37]</span></a> Lowie, 843.</p></div>
+
+<div class="footnote"><p><a name="Footnote_38_38" id="Footnote_38_38"></a><a href="#FNanchor_38_38"><span class="label">
+	[38]</span></a> Martinez, in Methvin's account, (71), states that the
+	payment is made in four successive years.</p></div>
+
+<div class="footnote"><p><a name="Footnote_39_39" id="Footnote_39_39"></a><a href="#FNanchor_39_39"><span class="label">
+	[39]</span></a> Methvin, 71; Scott, 352, states that these men directed the
+	sun dance as substitutes for the keeper and did the ceremonial painting, but
+	this is contrary to my information.</p></div>
+
+<div class="footnote"><p><a name="Footnote_40_40" id="Footnote_40_40"></a><a href="#FNanchor_40_40"><span class="label">
+	[40]</span></a> Compare Mooney, 296.</p></div>
+
+<div class="footnote"><p><a name="Footnote_41_41" id="Footnote_41_41"></a><a href="#FNanchor_41_41"><span class="label">
+	[41]</span></a> Battey, 178.</p></div>
+
+<div class="footnote"><p><a name="Footnote_42_42" id="Footnote_42_42"></a><a href="#FNanchor_42_42"><span class="label">
+	[42]</span></a> Compare Scott, 352, 368, Pls. XVIII, XXII; Methvin, 70-71.</p></div>
+
+<div class="footnote"><p><a name="Footnote_43_43" id="Footnote_43_43"></a><a href="#FNanchor_43_43"><span class="label">
+	[43]</span></a> Battey, 178-179.</p></div>
+
+<div class="footnote"><p><a name="Footnote_44_44" id="Footnote_44_44"></a><a href="#FNanchor_44_44"><span class="label">
+	[44]</span></a> Scott, 347.</p></div>
+
+<div class="footnote"><p><a name="Footnote_45_45" id="Footnote_45_45"></a><a href="#FNanchor_45_45"><span class="label">
+	[45]</span></a> Battey, 181-182.</p></div>
+
+<div class="footnote"><p><a name="Footnote_46_46" id="Footnote_46_46"></a><a href="#FNanchor_46_46"><span class="label">
+	[46]</span></a> Mooney, 302, notes that one of these individuals carried his
+	personal medicine in the dance.</p></div>
+
+<div class="footnote"><p><a name="Footnote_47_47" id="Footnote_47_47"></a><a href="#FNanchor_47_47"><span class="label">
+	[47]</span></a> Methvin, 66; Scott, 366.</p></div>
+
+<div class="footnote"><p><a name="Footnote_48_48" id="Footnote_48_48"></a><a href="#FNanchor_48_48"><span class="label">
+	[48]</span></a> Battey, 173-177.</p></div>
+
+<div class="footnote"><p><a name="Footnote_49_49" id="Footnote_49_49"></a><a href="#FNanchor_49_49"><span class="label">
+	[49]</span></a> Once, not three times a day as Scott states (366).</p></div>
+
+<div class="footnote"><p><a name="Footnote_50_50" id="Footnote_50_50"></a><a href="#FNanchor_50_50"><span class="label">
+	[50]</span></a> Scott, 366, places raven fans in hands of the associates.</p></div>
+
+<div class="footnote"><p><a name="Footnote_51_51" id="Footnote_51_51"></a><a href="#FNanchor_51_51"><span class="label">
+	[51]</span></a> In the ghost dance a shaman hypnotizes the dancers by waving
+	a feather or scarf before their faces. The subject staggers into the ring
+	and falls (Mooney, <i>Ghost dance</i>, 925-926). This performance may not be
+	related to that of the Kiowa, since it appeared among the Sioux before the
+	southern Plains tribes took up the ghost dance. On the other hand, the
+	Paiute, from whom the ghost dance was derived, did not hypnotize.</p></div>
+
+<div class="footnote"><p><a name="Footnote_52_52" id="Footnote_52_52"></a><a href="#FNanchor_52_52"><span class="label">
+	[52]</span></a> Battey, 177-181.</p></div>
+
+<div class="footnote"><p><a name="Footnote_53_53" id="Footnote_53_53"></a><a href="#FNanchor_53_53"><span class="label">
+	[53]</span></a> Scott, 365, 367.</p></div>
+
+<div class="footnote"><p><a name="Footnote_54_54" id="Footnote_54_54"></a><a href="#FNanchor_54_54"><span class="label">
+	[54]</span></a> Mooney, <i>Kiowa Calendar History</i>, 282, 297, 304, 321,
+	322. Another suggestive similarity to the Crow is the assumption of
+	"no-flight" obligations in both tribes at the sun dance (<i>Ibid.</i>, 284,
+	287, 320).</p>
+	</div>
+</div>
+
+<hr style="width: 65%;" />
+
+
+
+
+
+<h2><span class="smcap">American Museum of Natural History</span></h2>
+
+<h3>Publications in Anthropology</h3>
+
+
+<p>In 1906 the present series of Anthropological Papers was authorized by the
+Trustees of the Museum to record the results of research conducted by the
+Department of Anthropology. The series comprises octavo volumes of about 350
+pages each, issued in parts at irregular intervals. Previous to 1906 articles
+devoted to anthropological subjects appeared as occasional papers in the
+Bulletin and also in the Memoir series of the Museum. A complete list of these
+publications with prices will be furnished when requested. All communications
+should be addressed to the Librarian of the Museum.</p>
+
+<p>The recent issues are as follows:&mdash;</p>
+
+
+<h3>Volume XV.</h3>
+
+<p>I. Pueblo Ruins of the Galisteo Basin, New Mexico. By N.C. Nelson. Pp. 1-124,
+Plates 1-4, 13 text figures, 1 map, and 7 plans. 1914. Price, $.75.</p>
+
+<p>II. (In preparation.)</p>
+
+
+<h3>Volume XVI.</h3>
+
+<p>I. The Sun Dance of the Crow Indians. By Robert H. Lowie. Pp. 1-50, and 11
+text figures. 1915. Price, $.50.</p>
+
+<p>II. The Sun Dance and Other Ceremonies of the Oglala Division of the Teton-Dakota.
+By J. R. Walker. Pp. 51-221. 1917. Price, $1.50.</p>
+
+<p>III. The Sun Dance of the Blackfoot Indians. By Clark Wissler. Pp. 223-270,
+and 1 text figure. 1918. Price, $.50.</p>
+
+<p>IV. Notes on the Sun Dance of the Sarsi. By Pliny Earle Goddard. Pp. 271-282.
+The Sun Dance of the Plains-Cree. By Alanson Skinner. Pp. 283-293. Notes on the
+Sun Dance of the Cree in Alberta. By Pliny Earle Goddard. Pp. 295-310, and 3
+text figures. The Sun Dance of the Plains-Ojibway. By Alanson Skinner. Pp.
+311-315. The Sun Dance of the Canadian Dakota. By W. D. Wallis. Pp. 317-380.
+Notes on the Sun Dance of the Sisseton Dakota. By Alanson Skinner. Pp. 381-385.
+1919. Price, $1.50.</p>
+
+<p>V. The Sun Dance of the Wind River Shoshoni and Ute. By Robert H. Lowie. Pp.
+387-410, and 4 text figures. The Hidatsa Sun Dance. By Robert H. Lowie. Pp.
+411-431. 1919. Price, $.50.</p>
+
+<p>VI. Notes on the Kiowa Sun Dance. By Leslie Spier. Pp. 433-450, and 1 text
+figure. 1921. Price, $.25.</p>
+
+<p>VII. The Sun Dance of the Plains Indians: Its Development and Diffusion. By
+Leslie Spier. Pp. 451-527, and 1 text figure. 1921. Price, $1.00.</p>
+
+
+<h3>Volume XIX.</h3>
+
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+I-IV, and 6 text figures. 1916. Price, $1.00.</p>
+
+<p>II. The History of Philippine Civilization as Reflected in Religious
+Nomenclature. By A. L. Kroeber. Pp. 35-67. 1918. Price, $.25.</p>
+
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+
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+
+
+
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+Waldemar Bogoras. Pp. 1-148. 1918. Price, $1.50.</p>
+
+<p>II. (In preparation.)</p>
+
+
+<h3>Volume XXI.</h3>
+
+<p>I. Notes on the Social Organization and Customs of the Mandan, Hidatsa, and
+Crow Indians. By Robert H. Lowie. Pp. 1-99. 1917. Price, $1.00.</p>
+
+<p>II. The Tobacco Society of the Crow Indians. By Robert H. Lowie. Pp.
+101-200, and 13 text figures. 1920. Price, $1.25.</p>
+
+<p>III. (In preparation.)</p>
+
+
+<h3>Volume XXII.</h3>
+
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+By N. C. Nelson. Pp. 1-73, and 18 text figures. 1917. Price, $.75.</p>
+
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+1918. Price, $.25.</p>
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+figures, and 1 map. 1918. Price, $.50.</p>
+
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+figures. 1918. Price, $.50.</p>
+
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+
+
+<h3>Volume XXIII.</h3>
+
+<p>I. Racial Types in the Philippine Islands. By Louis R. Sullivan, Pp. 1-61, 6
+text figures, and 2 maps. 1918. Price, $.75.</p>
+
+<p>II. The Evidence Afforded by the Boskop Skull of a New Species of Primitive
+Man (<i>Homo capensis</i>). By R, Broom. Pp. 33-79, and 5 text figures. 1918.
+Price, $.25.</p>
+
+<p>III. Anthropometry of the Siouan Tribes. By Louis R. Sullivan. Pp. 81-174, 7
+text figures, and 74 tables. 1920. Price, $1.25.</p>
+
+<p>IV. (In press.)</p>
+
+
+<h3>Volume XXIV.</h3>
+
+<p>I. Myths and Tales from the San Carlos Apache. By Pliny Earle Goddard. Pp.
+1-86. 1918. Price, $.75.</p>
+
+<p>II. Myths and Tales from the White Mountain Apache. By Pliny Earle Goddard.
+Pp. 87-139. 1919. Price, $.50.</p>
+
+<p>III. San Carlos Apache Texts. By Pliny Earle Goddard. Pp. 141-367. 1919.
+Price, $2.50.</p>
+
+<p>IV. White Mountain Apache Texts. By Pliny Earle Goddard. Pp. 369-527. 1920.
+Price $2.00.</p>
+
+
+<h3>Volume XXV.</h3>
+
+<p>I. Myths and Traditions of the Crow Indians. By Robert H. Lowie. Pp. 1-308.
+1918. Price, $3.00.</p>
+
+<p>II. (In preparation.)</p>
+
+
+<h3>Volume XXVI.</h3>
+
+<p>I. The Aztec Ruin. By Earl H. Morris. Pp. 1-108, and 73 text figures. 1919.
+Price, $1.00.</p>
+
+<p>II. (In press.)</p>
+
+
+<h3>Volume XXVII.</h3>
+
+<p>I. Pueblo Bonito. By George H. Pepper. Pp. 1-490. Plates I-XII, and 155 text
+figures. 1920. Price $3.50.</p>
+
+<hr />
+
+<div class="figcenter" style="width: 210px;">
+<img src="images/ilogo.png" alt="AMERICAN MUSEUM PRESS" height="78" width="210" />
+
+</div>
+<hr />
+
+<p class="center">
+<b>Transcriber note:</b> On page 443, 'the the' changed to 'the' (Once inside they lie down; the man with the pipe ...)
+</p>
+
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
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+</body>
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+The Project Gutenberg EBook of Notes on the Kiowa Sun Dance, by Leslie Spier
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Notes on the Kiowa Sun Dance
+
+Author: Leslie Spier
+
+Release Date: May 28, 2011 [EBook #36224]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK NOTES ON THE KIOWA SUN DANCE ***
+
+
+
+
+Produced by Tor Martin Kristiansen, Joseph Cooper and the
+Online Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+  ANTHROPOLOGICAL PAPERS
+  OF
+  THE AMERICAN MUSEUM
+  OF NATURAL HISTORY
+
+  VOL. XVI, PART VI
+
+
+  NOTES ON THE KIOWA SUN DANCE
+  BY
+  LESLIE SPIER
+
+
+  NEW YORK
+  PUBLISHED BY ORDER OF THE TRUSTEES
+  1921
+
+
+
+
+  NOTES ON THE KIOWA SUN DANCE.
+
+  BY LESLIE SPIER.
+
+
+
+
+  ILLUSTRATIONS.
+  TEXT FIGURES.
+
+                                                       PAGE.
+  1. Groundplan of Dance Lodge                           441
+
+
+
+
+NOTES ON THE KIOWA SUN DANCE.
+
+
+The following notes were obtained from Andres Martinez (Andele, a
+Mexican captive of the Kiowa whose history[1] is well known) in August,
+1919. Attention was directed in the first instance to the organization
+of the dance, but a brief description of the whole ceremony was also
+obtained, chiefly by way of comments on Scott's account.[2] The last
+Kiowa sun dance was held in 1887.[3]
+
+The Kiowa sun dance is the prerogative of the individual who owns the
+sacred image, the _tai'me_. He deputes the ancillary offices where he
+sees fit, although there is a well-defined tendency for them to be
+hereditary. The predominant idea of this image is that of a war
+medicine. Thus the dance is fundamentally like that of the Crow, but it
+differs from it in two important respects. First, the Kiowa rites
+cluster about only one particular medicine, whereas among the Crow, any
+one of a number of medicine dolls may be used in the ceremony. The
+question arises whether the dozen minor Kiowa images, which are
+sometimes brought into the dance, were more recently acquired or
+constructed in order to reproduce the functions of the _tai'me_, or
+whether one medicine doll has completely overshadowed all the others, as
+seemed about to happen among the Crow. The evidence favors the first
+view, since no rites, other than those attendant on any personal
+medicine, are described, or even intimated, for the minor images. The
+second difference is, that while the Crow shaman invokes his medicine
+for any one who appeals to him for aid, acting only in a directive
+capacity, the Kiowa _tai'me_ owner is himself the principal suppliant.
+Were it not for the hereditary bias in the distribution of ceremonial
+functions, the Kiowa sun dance would be the prerogative of one man as
+completely as that of the Crow is, when the latter is once under way.
+The hereditary principle does not appear in the military societies
+except in the ownership of the medicine lance or arrow (_ze'bo_).[4]
+
+The Kiowa sun dance (_k'o{~GREEK SMALL LETTER THETA~}dun_ specifically the name for the lodge) was
+an annual tribal affair, in which the associated Kiowa Apache freely
+joined.[5] It was danced in an effort to obtain material benefits from,
+or through, the medicine doll in the possession of the medicineman, who
+is at the same time director and principal performer.
+
+    This is a small image, less than 2 feet in length, representing a
+    human figure dressed in a robe of white feathers, with a headdress
+    consisting of a single upright feather and pendants of ermine skin,
+    with numerous strands of blue beads around its neck, and painted
+    upon the face, breast, and back with designs symbolic of the sun and
+    moon. [Martinez says the face is entirely obscured by hanging
+    beads.] The image itself is of dark-green stone, in form rudely
+    resembling a human head and bust, probably shaped by art like the
+    stone fetishes of the Pueblo tribes. It is preserved in a rawhide
+    box in charge of the hereditary keeper, and is never under any
+    circumstances exposed to view except at the annual sun dance, when
+    it is fastened to a short upright stick planted within the medicine
+    lodge, near the western side.... The ancient _tai'me_ image was of
+    buckskin, with a stalk of Indian tobacco for a headdress. This
+    buckskin image was left in the medicine lodge, with all the other
+    adornments and sacrificial offerings, at the close of each ceremony.
+    The present _tai'me_ is one of three, two of which came originally
+    from the Crows, through an Arapaho who married into the Kiowa tribe,
+    while the third came by capture from the Blackfeet.[6]
+
+The bundle containing the image is usually hung outside of its keeper's
+tipi. It is not customary to expose the image except at the sun dance,
+but tobacco is placed with it from time to time. Its function outside of
+the dance is identical with its use there: those who need its aid make
+vows to it, which they fulfil by sacrificing horses, etc., and making
+sweatlodges. The image is the property of one man, or more properly of
+his family, since it may be inherited by his blood relatives. If the
+transfer is made before the father's death, payment and a sweatlodge
+must be given by the son.[7] After Long Foot died about 1870, as he had
+no son, it passed into the possession of three of his nephews in
+succession, and reverted in 1894 to his daughter who still has it.[8]
+While she may handle the image, she would not be permitted to enter the
+dance with it.[9] There the functions which would normally devolve on
+her would be performed in their entirety by a captive. This captive has
+been trained to the position in order to take the place of the image
+keeper should he be sick. A captive is chosen for the substitute so that
+a calamity incurred by a mischance in the proceedings may fall on him
+alone and not on the Kiowa. The erstwhile substitute, a Mexican, is
+still living. The image keeper, like his four associates, must not look
+in a mirror, nor touch a skunk or jackrabbit. One who touches these
+animals cannot enter the tipi where the doll is housed until four days
+have elapsed. No dog is allowed in this tipi, nor is one permitted to
+jump over the keeper or his four associates, the _g.uolg.uat`_.
+
+There are ten or twelve minor images (_tailyuka_) which strongly
+resemble the _tai'me_ in function, as they are essentially war
+medicines. Most of them were in the keeping of men other than the sacred
+doll owner, but two were kept by him for a time.[10] They have little or
+no part in the sun dance.
+
+    The _Gadombitsonhi_, "Old-woman-under-the-ground," belonged to the
+    Kinep band of the Kiowa. It was a small image, less than a foot
+    high, representing a woman with flowing hair. It was exposed in
+    front of the _tai'me_ at the great sun-dance ceremony, and by some
+    unexplained jugglery the priest in charge of it caused it to rise
+    out of the ground, dance in the sight of the people, and then again
+    sink into the earth.[11]
+
+The sun dance was normally an annual ceremony, but sometimes a year
+passed without one. The dance was theoretically dependent on someone
+going to the keeper and saying, "I dreamed of it (_i.e._, the sun
+dance)," or on the keeper himself dreaming of it. On two occasions a
+second dance was held in the dance lodge after the keeper had removed
+the sacred doll at the close of the first dance, because a second man
+had also dreamed of it.[12] After the dream is announced the keeper
+hangs the image on his back and rides out to all the camps, announcing,
+as he circles them, that he will conduct the ceremony the following
+spring (May or June). This announcement was sometimes made immediately
+after the close of the preceding dance, but usually it came just before
+they intended to hold the dance.[13] The keeper fasts while he is making
+the announcement, even if it takes three days, as may happen when the
+camps were scattered. When they know the dance is to be held, others vow
+to dance for a specified number of days, and all gather near the dance
+ground. No one may absent himself: they are all afraid of his medicine.
+When the tribe is assembled, the keeper circles the camp, again bearing
+the sacred doll on his back.
+
+Two young men are selected by the keeper from one of the military
+societies[14] to scout for a tree to serve as center pole for the dance
+lodge. While searching, they must refrain from drinking. About this time
+all those intending to dance are building sweatlodges to purify
+themselves: the keeper must enter each of these to direct the
+proceedings; this entails considerable work on him. Should he be sick at
+this time, the doll is carried into the sweatlodge by the captive in his
+stead. It is incumbent on the _tai'me_ shield owners to accompany this
+captive and help him perform the necessary ceremonies. When the tree for
+the center pole has been selected, the whole camp moves after the keeper
+and his family to the dance ground. A dozen or more old men follow
+immediately after him. The main body is guarded front, rear, and both
+flanks by the military societies, as is customary when a camp moves.[15]
+The procession halts four times on its journey while the keeper smokes
+and prays. Next, the soldier societies charge on the dance ground,
+or rather on a pole erected there before the camp circle is
+established,[16] according to Methvin (p. 64), but on the newly
+established camp itself according to Scott's informants (p. 357).
+
+The next morning the man who has that privilege sets out with his wife
+to get the hide of a young buffalo bull. When such a person dies, the
+keeper appoints one of his kin to take his place.[17] The couple must
+fast while on this hunt. If the buffalo is killed with a single arrow,
+it is a favorable omen, if many are needed, the opposite is indicated.
+The buffalo must be killed so that he falls on his belly with his head
+toward the east. A broad strip of back skin, with the tail and head skin
+attached is carried to the keeper's tipi, where feathers are tied to its
+head.[18]
+
+The next morning they set out to fetch the center pole. Scott describes
+a parade around the camp circle by the military societies which then
+proceed to charge the tree selected for the center pole, which is
+defended in sham combat by one of the men's societies[19] (_akiaik`to_,
+war with the trees). After the chiefs have recited their coups, and
+prayers have been said by the sacred doll keeper and his wife, who have
+brought the doll there, the tree is chopped down by a captive Mexican
+woman. A captive is always selected for this difficult task, so that any
+harm due to an error on her part may not fall on a tribesman. This
+function is always performed by a Mexican woman: when she dies, the
+keeper appoints her successor. As the tree falls, they shout and shoot
+in the air. The pole is carried to the dance ground by a society
+designated by the keeper,[20] where a hole to receive it has been dug by
+a men's military society.[21] The pole is set upright by a single
+medicineman who owns this privilege. The buffalo hide is then fastened
+across the forks with its head to the east and offerings of cloth, etc.,
+brought by various individuals are tied to it. In 1873 Battey
+observed:--
+
+    The central post is ornamented near the ground with the robes of
+    buffalo calves, their heads up, as if in the act of climbing it;
+    each of the branches above the fork is ornamented in a similar
+    manner, with the addition of shawls, calico, scarfs, &c., and
+    covered at the top with black muslin. Attached to the fork is a
+    bundle of cottonwood and willow limbs, firmly bound together, and
+    covered with a buffalo robe, with head and horns, so as to form a
+    rude image of a buffalo, to which were hung strips of new calico,
+    muslin, strouding, both blue and scarlet, feathers, shawls, &c., of
+    various lengths and qualities. The longer and more showy articles
+    were placed near the ends. This image was so placed as to face the
+    east.[22]
+
+The center pole is not painted.
+
+After the center pole is in place, everyone, but especially the military
+societies, assists in building the enclosing structure. The lodge is
+like those of the Arapaho and Cheyenne: it is circular, the rafters rest
+on the center pole, and the covering of boughs extends a third of the
+way to the center of the roof. An entrance is left on the east side. A
+flat stone is placed here so that every dancer passing through must set
+his foot on it. Wet sand is spread over the ground in the dance
+lodge[23] and heaped around the base of the center pole. Two little
+round holes, walled in with mud, are dug near the rear of the lodge to
+hold incense smudges. A screen of cottonwood and cedar branches is
+constructed just north of these.
+
+    This business continued through the day, except for an hour or two
+    in the middle of the afternoon, when the old women[24]--the
+    grandmothers of the tribe--had a dance. The music consisted of
+    singing and drumming, done by several old women, who were squatted
+    on the ground in a circle. The dancers--old, gray-headed women, from
+    sixty to eighty years of age--performed in a circle around them for
+    some time, finally striking off upon a waddling run, one behind
+    another; they formed a circle, came back and, doubling so as to
+    bring two together, threw their arms around each other's necks, and
+    trudged around for some time longer; then sat down, while a youngish
+    man circulated the pipe, from which each in turn took two or three
+    whiffs, and this ceremony ended.[25]
+
+    [When the dance lodge was completed] the soldiers of the tribe then
+    had a frolic in and about it, running and jumping, striking and
+    kicking, throwing one another down, stripping and tearing the
+    clothes off each other.[26]... Before this frolic was over, a party
+    of ten or twelve warriors appeared, moving a kind of shield to and
+    fro before their bodies, making, in some manner (as I was not near
+    enough to see how it was done), a grating sound, not unlike the
+    filing of a mill-saw.[27]
+
+    In the afternoon, a party of a dozen or more warriors and braves
+    proceeded to the medicine house, followed by a large proportion of
+    the people of the encampment. They were highly painted, and wore
+    shirts only, with head-dresses of feathers which extended down the
+    backs to the ground, and were kept in their proper places by means
+    of an ornamented strap clasping the waist. Some of them had long
+    horns attached to their head-dresses. They were armed with lances
+    and revolvers, and carrying a couple of long poles mounted from end
+    to end with feathers, the one white and the other black. They also
+    bore shields highly ornamented with paint, feathers, and hair.
+
+    They took their station upon the side opposite the entrance, the
+    musicians standing behind them.
+
+    Many old women occupied a position to the right and near the
+    entrance, who set up a tremulous shrieking; the drums began to beat,
+    and the dance began, the party above described only participating in
+    it.
+
+    They at first slowly advanced towards the central post, followed by
+    the musicians several of whom carried a side of raw hide (dried),
+    which was beaten upon with sticks, making about as much music as to
+    beat upon the sole of an old shoe, while the drums, the voices of
+    the women, and the rattling of pebbles in instruments of raw hide
+    filled out the choir.
+
+    After slowly advancing nearly to the central post, they retired
+    backward, again advanced, a little farther than before; this was
+    repeated several times, each time advancing a little farther, until
+    they crowded upon the spectators, drew their revolvers, and
+    discharged them into the air.
+
+    Soon after, the women rushed forward with a shrieking yell, threw
+    their blankets violently upon the ground, at the feet of the
+    retiring dancers, snatched them up with the same tremulous shriek
+    that had been before produced, and retired; which closed this part
+    of the entertainment. The ornamented shields used on this occasion
+    were afterwards hung up with the medicine.[28]
+
+These may be the shields which are associated with the _tai'me_. Later,
+after the sacred doll has been brought into the lodge, they are either
+hung with it on the cedar screen as Battey observed,[29] or on stakes
+set up outside the dance lodge to the west, i.e., behind the image,
+where Martinez saw them. No offerings are made to them there. It is
+incumbent on a _tai'me_ shield owner to dance with the associates
+(_g.uolg.uat`_) in every sun dance so long as he continues to own the
+shield. He is not considered one of the associates however. Shield
+owners always help the image keeper when he asks their aid. They must
+also assist his captive substitute when officiating in a sweatlodge. A
+shield owner cannot sell his shield, but he may give it to his son in
+anticipation of his death, receiving presents in return. Otherwise, on
+the death of its owner the shield is placed on his grave. Should a son
+or nephew dream of it, he has the right to make a duplicate with the
+help of the doll owner in order to keep it in the family. However, if
+any other man dreams of it and wants to make the duplicate, he must pay
+the owner.[30] The shield is usually hung outside of its owner's tipi.
+The shield owners "must not eat buffalo hearts, or touch a bearskin, or
+have anything to do with a bear." Like the associates, "they must not
+smoke with their moccasins on,[31] or kill, or eat any kind of rabbit,
+or kill or touch a skunk."[32] These shields are used only in war as
+their owner's personal medicine: no offerings are ever made to them.
+
+Late in the day, a number of men who have vowed to take part in the
+subsequent dance, together with one woman who has the privilege,[33] are
+garbed in buffalo robes to represent the living animals. They gather to
+the east of the lodge where they simulate the actions of a herd of
+buffalo. A man, called a scout, starts from the entrance of the lodge
+with a firebrand and circles about the herd until he meets a second man,
+mounted and carrying a shield and a straight pipe, who thereupon drives
+the buffalo toward the dance lodge, which they circle several times
+before negotiating the entrance. Once inside they lie down; the man with
+the pipe dismounts and enters. Picking up the hairs on the back of first
+one animal and another, he says, "This is the fattest animal. He is our
+protector in war." Then he recites a coup. This designated (or makes ?)
+a brave man of that buffalo.[34] Both the man with the firebrand and he
+with the pipe ought to be medicinemen. The present incumbent of the
+first office also has the privilege of erecting the center pole. When
+these men die, the sacred doll keeper selects successors from their
+families.[35]
+
+That evening after sunset the dance proper begins, to last four nights
+and days, ending in the evening. The doll keeper proceeds to his own
+tipi, where, with the assistance of seven other medicinemen (_tai'me_
+shield keepers and some others not otherwise connected with the
+ceremony), he unwraps the _tai'me_. Carrying it on his back, he walks to
+the dance lodge, and, completely circles it four times, feigning to
+enter each time he passes the entrance. After entering, he goes around
+by the south side to the northwest quadrant, where he plants the image
+hanging on a staff. Formerly two or more of the minor images,
+_tailyuka_, were placed with the _tai'me_. After the image is in place
+the dancers enter to perform for the night.
+
+The keeper dances throughout the whole four-day period. He is painted
+yellow, with a design representing the sun, and sometimes another for
+the moon, drawn on his chest and back. "His face was painted, like that
+of the Taimay itself, with red and black zigzag lines downward from the
+eyes." He wears a yellow buckskin kilt, a jackrabbit skin cap with down
+attached, and sage wristlets. He is barefoot. He carries a bunch of
+cedar in his hand, and an eagle bone whistle from which an eagle feather
+is pendent. Battey observed that he was painted white at the
+"buffalo-herding" rite, and not painted at all in the dance proper.[36]
+
+Beside the _tai'me_ keeper there are three classes of persons who dance;
+the associates (_g.uolg.uat`_), the _tai'me_ shield keepers, and the
+common dancers. The four associates (Scott's "keeper's assistants") must
+dance throughout the whole four day period. They appear in four
+successive dances (normally four years), after which they choose
+successors from among those young men, eighteen to thirty years old, who
+have made the best records in war. These young men, with the assistance
+of their relatives,[37] pay horses and buffalo robes for the privilege,
+receiving the regalia in return.[38] One who is chosen cannot refuse: if
+he does, he may expect a calamity. The associate may belong to any of
+the military societies. His office does not impose obligations of
+foolhardiness in war (such as the no-flight idea), but he is obliged to
+act the part of an intrepid warrior, because he enjoys security in
+battle.[39] The associate must not look in a mirror lest he become
+blind,[40] nor can he touch a skunk or jackrabbit, nor remain near a
+fire where someone is cooking. Dogs must not be permitted to jump over
+an associate. He must remove his moccasins before he smokes, but others
+may keep theirs on when smoking in his presence. The associate dances in
+order to live long and to be a great warrior. His body is painted white
+or yellow: a round spot representing the sun is painted on the middle of
+his chest, with a crescent moon (the concavity upward) on both sides of
+the sun, and the same decoration is repeated on his back. The skin is
+cut away as a sacrifice and to make these designs permanent after his
+first dance. A scalp from a _tai'me_ shield hangs on his breast with two
+eagle feathers; another on his back. His face is "ornamented with a
+green stripe across the forehead, and around down the sides of the
+cheeks, to the corners of the mouth, and meeting on the chin."[41] He
+wears a yellow buckskin kilt, with his breechclout hung outside, like
+the Arapaho and Cheyenne sun dancers. Bunches of sage are stuck into his
+belt, others tied around his wrists and ankles, and carried in each
+hand. On his head is either a cap of jackrabbitskin in which is stuck an
+eagle feather or a sage wreath with down attached. He carries a bone
+whistle. Like the sacred doll keeper and all other dancers, he is
+barefoot.[42] Battey saw three associates purify themselves in the
+incense from the censors, and then dance on piles of sage.[43]
+
+The _tai'me_ shield owners, who dance with the associates are sometimes
+painted yellow or green with pictures of the sun and moon on their
+bodies, but otherwise they wear the regalia of the common dancers.
+
+The rank and file of the dancers are men, never women. Anyone may vow to
+dance a certain number of days, with the object of becoming a better
+warrior and living long.
+
+    They believe that it warded off sickness, caused happiness,
+    prosperity, many children, success in war, and plenty of buffalo for
+    all the people. It was frequently vowed by persons in danger from
+    sickness or the enemy.[44]
+
+Sometimes a medicineman danced to intercede for a sick man. A sick man
+who had vowed to attend the dance in order to be cured would be carried
+into the dance lodge, but he would not dance. These dancers make
+offerings to the _tai'me_. They do not pay the doll keeper in order to
+enter the dance, and they have no rights in any subsequent performance
+by reason of having once participated. Like all other dancers they must
+fast and go without water during the period that they dance; they can
+however, smoke, provided the proper rites are observed.
+
+    ... The pipe was filled, brought forward, and laid upon the ground;
+    the person, carefully turning the stem towards the fire, and bedding
+    it in the sand, so that the bowl should remain in an upright
+    position, arose and stood with his back towards it, or facing the
+    medicine. It was then approached by one of the musicians, who, in a
+    squatting position, raised his hand reverently towards the sun, the
+    medicine, the top of the central post, or buffalo; then, passing his
+    hands slowly over the pipe, took it up with his left hand, and
+    taking a pinch from the bowl with the thumb and fore finger of the
+    right, held it to the sun, the medicine, the top of the central
+    post, then the bottom, and finally covered it up in the ground. He
+    then proceeded to light the pipe, blowing a whiff of smoke towards
+    the several objects of adoration, and placed it carefully where he
+    found it, in reversed order, that is, with the stem from the fire.
+    The person who brought it had stood waiting all this time for it. He
+    now took it up and retired to the dancers, who, wrapped in buffalo
+    robes, were waiting, in a squatting position, to receive it. The
+    sand where the pipe had lain was carefully smoothed by the hand, and
+    all marks of it wholly obliterated.[45]
+
+These dancers are painted white; they wear white buckskin kilts, with
+the breechclout outside, carry bone whistles, and are barefoot. They
+have no headdress, wrist or ankle ornaments. They paint themselves.[46]
+There is only one style of paint used by either the principal or the
+common dancers throughout the sun dance.
+
+The dancers form a line on the east side of the lodge facing the image.
+Their step is that characteristic of the sun dance of other tribes: they
+stand in place, alternately bending their knees and rising on their
+toes. They dance intermittently throughout four days and nights; the
+common dancers leave as the periods for which they have vowed to dance
+have elapsed or when they can no longer stand the combined strain of
+fasting, thirsting, and dancing. Martinez left after three days and
+nights. The "four days and nights" which are specified are in reality
+only three nights and days; evidently the first day of preliminary
+dancing is included to fill out the quota to the magic "four." In
+Scott's account, the dancers perform on the first day from evening to
+the middle of the night, and on the succeeding days from sunrise to the
+chorus's breakfast, nine o'clock to dinner, four in the afternoon to
+sundown, and from evening to midnight, ending in the evening of the
+fourth day. The dance Battey describes evidently began in the evening of
+the 18th and continued intermittently to late afternoon of the 21st.
+Apparently the dancers do not leave the lodge during this entire period.
+
+    _19th_ [June, 1873.]--Music and dancing continued in the medicine
+    house through the night. At an early hour this morning I went
+    thither with Couguet, and witnessed one dance throughout. The ground
+    inside the enclosure had been carefully cleared of grass, sticks,
+    and roots, and covered, several inches deep, with a clean, white
+    sand. A screen had been constructed on the side opposite the
+    entrance, by sticking small cottonwoods and cedars deep into the
+    ground, so as to preserve them fresh as long as possible. A space
+    was left, two or three feet wide, between it and the enclosing wall,
+    in which the dancers prepared themselves for the dance, and in front
+    of which was the medicine. This consisted of an image, lying on the
+    ground, but so concealed from view, in the screen, as to render its
+    form indistinguishable; above it was a large fan, made of eagle
+    quills, [an error, these are crow feathers], with the quill part
+    lengthened out nearly a foot, by inserting a stick into it, and
+    securing it there. These were held in a spread form by means of a
+    willow rod, or wire, bent in a circular form; above this was a mass
+    of feathers, concealing an image, on each side of which were several
+    shields, highly decorated with feathers and paint. Various other
+    paraphernalia of heathen worship were suspended in the screen, among
+    these shields or over them, impossible for me to describe so as to
+    be comprehended. A mound had also been thrown up around the central
+    post of the building, two feet high, and perhaps five feet in
+    diameter.
+
+    The musicians, who, if I mistake not, are the war chiefs, were
+    squatted on the ground, in true heathen style, to the left, and near
+    the entrance, having Indian drums and rattles. The music was
+    sounding when we entered.
+
+    Presently the dancers came from behind the screen; their faces,
+    arms, and the upper part of their bodies were painted white; a soft,
+    white buckskin skirt, secured about the loins, descended nearly to
+    the ankles, while the breech-cloth,--blue on this occasion,--hanging
+    to the ground, outside the skirt, both in front and behind,
+    completed the dress. They faced the medicine--shall I say idols? for
+    it was conducted with all the solemnity of worship,--jumping up and
+    down in true time with the beating of the drums, while a bone
+    whistle in their mouths, through which the breath escaped as they
+    jumped about, and the singing of the women, completed the music. The
+    dancers continued to face the medicine, with arms stretched upwards
+    and towards it,--their eyes as it were riveted to it. They were
+    apparently oblivious to all surroundings, except the music and what
+    was before them.
+
+    After some time, a middle-aged man, painted as the others, but
+    wearing a buffalo robe, issued from behind the screen, facing
+    the entrance, but having his eyes fixed upon the sun, upon
+    which he stood gazing, without winking or moving a muscle,
+    for some time, then began slowly to incline his head from side
+    to side, as if to avoid some obstruction in his view of it,
+    swaying his body slightly, then, stepping slowly from side to
+    side--forward--backward--increasing his motions, both in rapidity
+    and extent, until in appearance nearly frantic, his robes fell off,
+    leaving him--except his blue breechclout--entirely naked. In this
+    condition he jumped and ran about the enclosure,--head, arms,
+    and legs all equally participating in the violence of his
+    gestures,--every joint of his body apparently loosened, his eyes
+    only fixed. I wondered how, with every joint apparently dislocated,
+    and every muscular fibre relaxed, he could maintain the upright
+    position.
+
+    Thus he continued to exercise without ceasing, or once removing his
+    eyes from the sun, until the sweat ran down in great rolling drops,
+    washing the white paint into streaks no more ornamental than the
+    original painting, and he was at length compelled to retire, from
+    mere exhaustion, the other dancers still continuing their exercises.
+
+    Presently another man [the _tai'me_ keeper] entered from behind the
+    screen, wearing an Indian fur cap and a blue breechcloth reaching to
+    the ground. He was unpainted, and had a human scalp fastened to his
+    scalplock, the soft, flowing hair of which, spreading out upon his
+    naked back, bore mute testimony to the tragical death of some
+    unfortunate white woman. This man, with a kind of half running jump,
+    still in step with the music, went around all the dancers, who did
+    not notice him, with one arm stretched out over his heads, first in
+    one direction, then the other, turning his course at every time,
+    after stopping in front of the medicine, and making some
+    indescribable motions before it. He sometimes parted the feathers
+    concealing the small image, appearing to examine it minutely, as if
+    searching for something, and sometimes putting his lips to it, as if
+    in the act of kissing it. [He takes some medicine root into his
+    mouth, chews it and blows it on the dancers.][47] At length, after
+    repeated examinations, he, apparently for the first time, discovered
+    the fan, and took hold of it hesitatingly, and as if afraid.
+
+    This was loosed from its fastenings by a hand behind the screen, and
+    he slowly raised it up, looking intently at it, while the expression
+    of his countenance indicated a fearfulness of the result of handling
+    an object whose hidden and mysterious powers were so far beyond his
+    comprehension. He held it up before the medicine, waved it up and
+    down, and from side to side, then, turning round so as to face the
+    dancers and spectators, waved it from side to side near the ground,
+    once around the dancers; then, raising it above his head, he waved
+    it in the same manner, performing another circle around the dancers.
+
+    Then, with gestures of striking, and a countenance scowling as with
+    fierce rage, he began to chase them around and around the ring,
+    [i.e., around the center pole] from left to right. Finally, getting
+    one of them separated from the rest, he pursued him with the most
+    fiend-like attitude, fiercely striking at him with his fan. The
+    pursued one fled from him with a countenance expressive of almost
+    death-like terror, until, after several rounds, he stumbled and fell
+    heavily to the ground. Another and another were thus separated from
+    the dancers, pursued, and fell before the mystical power of the fan,
+    and the act closed.[48]
+
+The "feather-killing" (_staienkial_, he runs after them with feathers)
+occurs every day in the late forenoon.[49] The associates as well as the
+other dancers, are fanned into unconsciousness.[50] In such a condition
+they would try to get visions: they would rise, call for a pipe, and
+announce what they had seen.[51]
+
+    Being called to a council of the war chiefs, I went no more to the
+    medicine house to-day, though the music and dancing continued the
+    whole time, by day and by night, with short intervals between the
+    different acts, to give opportunity for rest, arranging dress,
+    painting, and such other changes as the programme of the ceremony
+    demanded.
+
+    _20th._--Saw but one dance to-day. Quite a quantity of goods, such
+    as blankets, strouding (blue and scarlet list-cloth), calico,
+    shawls, scarfs, and other Indian wares, had been carried into the
+    medicine house previous to my entrance. The dancers had been painted
+    white, three of them [the _g.uolg.uat`_] ornamented with a green
+    stripe across the forehead, and around down the sides of the cheeks,
+    to the corner of the mouth, and meeting on the chin. A round green
+    spot was painted on the back and breast, about three inches in
+    diameter, while on either side of it, and somewhat elevated above
+    it, was a crescent of the same size and color. Two small, hollow
+    mounds of sand and clay had been made before the medicine, in which
+    fire was placed, and kept just sufficiently burning, with the
+    partially dried cottonwood leaves, cedar twigs, and probably
+    tobacco, to produce a smoke. A small fire was burning near the
+    musicians, for lighting pipes, tightening drums, &c.
+
+    When all was ready, the three young men, who were painted as
+    described, were led, each by a man clad in a buffalo robe [possibly
+    the former _g.uolg.uat`_ who were transferring their privileges],
+    near to the smoking mounds in front of the medicine. An ornamented
+    fur cap was, with some ceremony, placed upon the head of one of
+    them; wisps of green wild wormwood were fastened to the wrists and
+    ankles, which being done, he reverently raised his hands above his
+    head, leaning forward over one of the mounds, brought them down
+    nearly to it; then, straightening up, passed his hands over his face
+    and stroked his breast. This was repeated several times; then, after
+    holding one foot, and the other, over the mound, as if to warm them,
+    two or three times, he went around the central post, and back to the
+    other mound, where the same ceremony was repeated. During this whole
+    ceremony I could perceive that his lips moved, though he uttered
+    nothing. I afterwards learned that it was in prayer to this effect:
+    "May this medicine render me brave in war, proof against the weapons
+    of my enemies, strong in the chase, wise in council; and, finally,
+    may it preserve me to a good age, and may I at last die in peace
+    among my own people." The others, one at a time, were similarly
+    brought forward, and went through with the same ceremony. Three
+    bunches of wild wormwood were then placed on the ground in a row,
+    crossing the line of entrance, and between it and the central post,
+    upon which the three young men were placed by their attendants, who
+    stood behind them, with their hands upon their shoulders, the music
+    playing all the time. Two or three men then approached the pile of
+    goods, selected therefrom some plaid shawls, strouding, blankets,
+    scarfs, and an umbrella, and hung them over the medicine; this being
+    done, the six men began to dance,--the three foremost ones upon the
+    wormwood, with their arms stretched towards the medicine, the three
+    others with their hands still resting upon the shoulders of the
+    former. After some time the latter retired; the other dancers came
+    from behind the screen, and joined in the dance, which continued
+    until they were driven off by the medicine chief, as described in
+    yesterday's dance. All these ceremonies had a sacred significance,
+    which I did not understand, but have been informed that they believe
+    any article of wearing apparel, or of harness for their horses, hung
+    up by the medicine during these ceremonies, receives a charmed power
+    to protect their wearers from disease, or the assaults of their
+    enemies, during the year.
+
+    _21st._--At one of the dances to-day, all but one retired behind the
+    screen, who continued to dance by himself for a long time. Various
+    articles were brought forward, and laid upon the ground, which he
+    took up and hung in proximity to the medicine. After along time, the
+    other dancers reappeared, and he retired; these continued their
+    exercises, until driven off as before. The last dance differed from
+    the preceding in this: the last man selected and separated from the
+    others by the medicine chief to be driven off, though he ran from
+    him, did not appear terrified, and would not fall down, but retired,
+    with the medicine chief, behind the screen.
+
+    At one of the dances to-day, five human scalps were exhibited,--one
+    attached to each of the right wrists of two men, and one to each
+    wrist of another, besides the one worn attached to the scalp lock of
+    the medicine chief. Two of these scalps were from the heads of
+    Indians. They had all been tanned, and evidently belonged with the
+    medicine fixtures.
+
+    The whole ceremony closed about four o'clock in the afternoon. The
+    medicine was packed away by the medicine chief, and the several
+    articles which had been hung about it--medicated, I suppose, or, in
+    other words, sanctified by proximity to the sacred things during
+    the ceremonies, and consequently having power to protect their
+    possessors from evil--were restored to the proper owners. They then
+    packed them, took them upon their backs, formed into a procession,
+    and marched, to the music of the drums, around and out of the
+    medicine house, whence every one took the direction of his or her
+    own lodge, and the ceremonies of the great medicine were ended.[52]
+
+At the end of the ceremony, the image keeper chews up some medicine root
+and prepares a drink, of which the dancers are permitted to imbibe a
+little.[53]
+
+After the image has been removed, old clothing is hung on the center
+pole as a sacrifice. Once Martinez saw a horse tied to the center pole
+as a sacrifice to the sun. It remained there until it starved to death.
+Horses were also painted and placed, together with blankets and similar
+valuables, on high hills as sacrifices. Others beside the associates
+sacrificed their flesh to the sun at this time, or in fact, whenever
+they wanted to, as Martinez has done. The Kiowa never suspended their
+dancers, as in the self-torture dance of other tribes, neither in the
+sun dance, nor when an individual sought a vision while fasting alone in
+the mountains.
+
+The night the dance closes everyone joins in a hilarious time in the
+dance lodge. Next morning the camp circle breaks up, and the warriors
+soon go off to war.[54] They do not molest the dance lodge, though other
+tribes passing that way may do so: the Kiowa do not care.
+
+
+
+
+AMERICAN MUSEUM OF NATURAL HISTORY
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+$.75.
+
+II. (In preparation.)
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+Volume XVI.
+
+I. The Sun Dance of the Crow Indians. By Robert H. Lowie. Pp. 1-50, and
+11 text figures. 1915. Price, $.50.
+
+II. The Sun Dance and Other Ceremonies of the Oglala Division of the
+Teton-Dakota. By J. R. Walker. Pp. 51-221. 1917. Price, $1.50.
+
+III. The Sun Dance of the Blackfoot Indians. By Clark Wissler. Pp.
+223-270, and 1 text figure. 1918. Price, $.50.
+
+IV. Notes on the Sun Dance of the Sarsi. By Pliny Earle Goddard. Pp.
+271-282. The Sun Dance of the Plains-Cree. By Alanson Skinner. Pp.
+283-293. Notes on the Sun Dance of the Cree in Alberta. By Pliny Earle
+Goddard. Pp. 295-310, and 3 text figures. The Sun Dance of the
+Plains-Ojibway. By Alanson Skinner. Pp. 311-315. The Sun Dance of the
+Canadian Dakota. By W. D. Wallis. Pp. 317-380. Notes on the Sun Dance of
+the Sisseton Dakota. By Alanson Skinner. Pp. 381-385. 1919. Price,
+$1.50.
+
+V. The Sun Dance of the Wind River Shoshoni and Ute. By Robert H. Lowie.
+Pp. 387-410, and 4 text figures. The Hidatsa Sun Dance. By Robert H.
+Lowie. Pp. 411-431. 1919. Price, $.50.
+
+VI. Notes on the Kiowa Sun Dance. By Leslie Spier. Pp. 433-450, and 1
+text figure. 1921. Price, $.25.
+
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+By Leslie Spier. Pp. 451-527, and 1 text figure. 1921. Price, $1.00.
+
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+
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+text figures, and 1 map. 1918. Price, $.50.
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+1920. Price $2.00.
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+1-308. 1918. Price, $3.00.
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+
+FOOTNOTES:
+
+
+[1] Methvin, J. J., _Andele, or The Mexican-Kiowa Captive_. _A Story of
+Real Life among the Indians_ (Louisville, Kentucky, 1899).
+
+[2] Scott, Hugh Lenox, "Notes on the Kado, or Sun Dance of the Kiowa"
+(_American Anthropologist_, N. S., vol. 13, pp. 345-379, 1911). The
+phonetic system used in the present paper is that of the "Phonetic
+Transcription of Indian Languages" (_Smithsonian Miscellaneous
+Collections_, vol. 66, no. 6, 1916), 2-7.
+
+[3] Mooney, James, "Calendar History of the Kiowa Indians" (_Seventeenth
+Annual Report_, _Bureau of American Ethnology_, part 1, pp. 129-445,
+Washington, 1911), 385.
+
+[4] Lowie, R. H., "Societies of the Kiowa" (this series, vol. 11), 847;
+Mooney, 325, 338.
+
+[5] Mooney, 253, states the contrary.
+
+[6] Mooney, 240; Plate LXIX shows a model (see Scott, 349).
+
+[7] This coupling of purchase with inheritance is strictly comparable to
+the Hidatsa bundle (this volume, 416-417).
+
+[8] Scott, 369, 373.
+
+[9] If this is more than a general taboo against women handling sacred
+objects, it has its parallel in a similar Crow bias (this volume, 13).
+
+[10] Mooney, 241, 323, 324.
+
+[11] Mooney, 239.
+
+[12] Mooney, 279, 343.
+
+[13] Lowie, 842.
+
+[14] Lowie, 843.
+
+[15] Compare, Battey, Thomas C., _The Life and Adventures of a Quaker
+among the Indians_ (Boston, 1876) 185.
+
+[16] The Southern Cheyenne also charge and count coup on some sticks
+marking the site of the dance lodge (G. A. Dorsey, _Cheyenne Sun
+Dance_).
+
+[17] Cf. 83, 109. Mooney, 349.
+
+[18] Scott, 358-360, 365. In this account the hide is taken into a
+sweatlodge at this juncture.
+
+[19] "Foot-soldiers," Scott, 360-361.
+
+[20] Lowie, 843.
+
+[21] Not by a woman's society as Scott's informant states (361).
+
+[22] Battey, 170.
+
+[23] By the "old women soldiers" according to Scott (361), but Martinez
+informs me that, with the exception of the dance described by Battey,
+the two women's societies have no significant part in the sun dance.
+
+[24] The Old Woman society (Lowie, 850).
+
+[25] Battey, 168.
+
+[26] Cf. Lowie, 843.
+
+[27] Battey, 169.
+
+[28] Battey, 170-172. War singing _gwudanke_, was customary before an
+expedition set out for war (Lowie, 850).
+
+[29] Scott, Pl. XXV.
+
+[30] Evidently a shield of this type was made by Konate, who was
+instructed to do so by the _tai'me_ which appeared to him as he lay
+wounded (Mooney, 304).
+
+[31] Lewis notes this custom for the Shoshoni, and Lowie for their
+medicinemen when treating the sick (Lowie, Northern Shoshone, 213-214).
+The Crow do not smoke where their moccasins are hung up, according to
+Maximilian, (Reise in das innere Nord-America in den Jahren 1832 bis
+1834 [Coblenz, 1841], I, 400).
+
+[32] Scott, 373.
+
+[33] Scott, 362.
+
+[34] Martinez puts this performance after the image has been brought
+into the dance lodge: this does not seem correct.
+
+[35] Battey has the keeper signal to the herd with a firebrand. Neither
+Battey nor Scott mention a mounted herder; the former puts the pipe in
+the hands of the keeper, and the latter in those of a third man who
+remains in the dance lodge, but in Scott's account also the function of
+the pipe is to force the buffalo to enter the lodge. In Battey's account
+two men assist the keeper in designating warriors, and in Scott's three
+men with straight pipes do it. (Battey, 172-173; Scott, 362-364).
+
+[36] Battey, 173, 176; Scott, 351-352, 367, Pl. XXII; Methvin, 66, notes
+that his feet are painted black with sage wreaths about his ankles.
+
+[37] Lowie, 843.
+
+[38] Martinez, in Methvin's account, (71), states that the payment is
+made in four successive years.
+
+[39] Methvin, 71; Scott, 352, states that these men directed the sun
+dance as substitutes for the keeper and did the ceremonial painting, but
+this is contrary to my information.
+
+[40] Compare Mooney, 296.
+
+[41] Battey, 178.
+
+[42] Compare Scott, 352, 368, Pls. XVIII, XXII; Methvin, 70-71.
+
+[43] Battey, 178-179.
+
+[44] Scott, 347.
+
+[45] Battey, 181-182.
+
+[46] Mooney, 302, notes that one of these individuals carried his
+personal medicine in the dance.
+
+[47] Methvin, 66; Scott, 366.
+
+[48] Battey, 173-177.
+
+[49] Once, not three times a day as Scott states (366).
+
+[50] Scott, 366, places raven fans in hands of the associates.
+
+[51] In the ghost dance a shaman hypnotizes the dancers by waving a
+feather or scarf before their faces. The subject staggers into the ring
+and falls (Mooney, _Ghost dance_, 925-926). This performance may not be
+related to that of the Kiowa, since it appeared among the Sioux before
+the southern Plains tribes took up the ghost dance. On the other hand,
+the Paiute, from whom the ghost dance was derived, did not hypnotize.
+
+[52] Battey, 177-181.
+
+[53] Scott, 365, 367.
+
+[54] Mooney, _Kiowa Calendar History_, 282, 297, 304, 321, 322. Another
+suggestive similarity to the Crow is the assumption of "no-flight"
+obligations in both tribes at the sun dance (_Ibid._, 284, 287, 320).
+
+
+
+
+Transcriber's note: On page 443, 'the the' changed to 'the' (Once inside
+they lie down; the man with the pipe ...)
+
+
+
+
+
+End of Project Gutenberg's Notes on the Kiowa Sun Dance, by Leslie Spier
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