Chapter IIIb

It was customary to paint the man red and the animal black, and each was suspended from one end of the crossbar which was securely tied some two feet from the top of the pole. I have never been able to determine that this cross had any significance; it was probably nothing more than a dramatic coincidence that surmounted the Sun-Dance pole with the symbol of Christianity. The paint indicated that the man who was about to give thanks publicly had been potentially dead, but was allowed to live by the mysterious favor and interference of the Giver of Life. The buffalo hung opposite the image of his own body in death, because it was the support of his physical self, and a leading figure in legendary lore. Following the same line of thought, when he emerged from the solitary lodge of preparation, and approached the pole to dance, nude save for his breechclout and moccasins, his hair loosened and daubed with clay, he must drag after him a buffalo skull, representing the grave from which he had escaped. The dancer was cut or scarified on the chest, sufficient to draw blood and cause pain, the natural accompaniments of his figurative death. He took his position opposite the singers, facing the pole, and dragging the skull by leather thongs which were merely fastened about his shoulders. During a later period, incisions were made in the breast or back, sometimes both, through which wooden skewers were drawn, and secured by lariats to the pole or to the skulls. Thus he danced without intermission for a day and a night, or even longer, ever gazing at the sun in the daytime, and blowing from time to time a sacred whistle made from the bone of a goose’s wing. In recent times, this rite was exaggerated and distorted into a mere ghastly display of physical strength and endurance under torture, almost on a level with the Caucasian institution of the bull-fight, or the yet more modern prize-ring. Moreover, instead of an atonement or thank-offering, it became the accompaniment of a prayer for success in war, or in a raid upon the horses of the enemy. The number of dancers was increased, and they were made to hang suspended from the pole by their own flesh, which they must break loose before being released. I well remember the comments in our own home upon the passing of this simple but impressive ceremony, and its loss of all meaning and propriety under the demoralizing additions which were some of the fruits of early contact with the white man. Perhaps the most remarkable organization ever known among American Indians, that of the “Grand Medicine Lodge,” was apparently an indirect result of the labors of the early Jesuit missionaries. In it Caucasian ideas are easily recognizable, and it seems reasonable to suppose that its founders desired to establish an order that would successfully resist the encroachments of the “Black Robes.” However that may be, it is an unquestionable fact that the only religious leaders of any note who have arisen among the native tribes since the advent of the white man, the “Shawnee Prophet” in 1762, and the half-breed prophet of the “Ghost Dance” in 1890, both founded their claims or prophecies upon the Gospel story. Thus in each case an Indian religious revival or craze, though more or less threatening to the invader, was of distinctively alien origin. The Medicine Lodge originated among the Algonquin tribe, and extended gradually throughout its branches, finally affecting the Sioux of the Mississippi Valley, and forming a strong bulwark against the work of the pioneer missionaries, who secured, indeed, scarcely any converts until after the outbreak of 1862, when subjection, starvation, and imprisonment turned our broken-hearted people to accept Christianity, which seemed to offer them the only gleam of kindness or hope.