The Lakota Sun Dance: a Composite View and Analysis
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The Symbolic Role of Animals in the Plains Indian Sun Dance Elizabeth
17 The Symbolic Role of Animals in the Plains Indian Sun Dance 1 Elizabeth Atwood Lawrence TUFTS UNIVERSITY For many tribes of Plains Indians whose bison-hunting culture flourished during the 18th and 19th centuries, the sun dance was the major communal religious ceremony. Generally held in late spring or early summer, the rite celebrates renewal-the spiritual rebirth of participants and their relatives as well as the regeneration of the living earth with all its components. The sun dance reflects relationships with nature that are characteristic of the Plains ethos, and includes symbolic representations of various animal species, particularly the eagle and the buffalo, that once played vital roles in the lives of the people and are still endowed with sacredness and special powers. The ritual, involving sacrifice and supplication to insure harmony between all living beings, continues to be practiced by many contemporary native Americans. For many tribes of Plains Indians whose buffalo-hunting culture flowered during the 18th and 19th centuries, the sun dance was the major communal religious ceremony. Although details of the event differed in various groups, certain elements were common to most tribal traditions. Generally, the annual ceremony was held in late spring or early summer when people from different bands gathered together again following the dispersal that customarily took place in winter. The sun dance, a ritual of sacrifice performed by virtually all of the High Plains peoples, has been described among the Arapaho, Arikara, Assiniboin, Bannock, Blackfeet, Blood, Cheyenne, Plains Cree, Crow, Gros Ventre, Hidatsa, Kiowa, Mandans, Ojibway, Omaha, Ponca, Sarsi, Shoshone, Sioux (Dakota), and Ute (Spier, 1921, p. -
Crow and Cheyenne Women| Some Differences in Their Roles As Related to Tribal History
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1969 Crow and Cheyenne women| Some differences in their roles as related to tribal history Carole Ann Clark The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Clark, Carole Ann, "Crow and Cheyenne women| Some differences in their roles as related to tribal history" (1969). Graduate Student Theses, Dissertations, & Professional Papers. 1946. https://scholarworks.umt.edu/etd/1946 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. COPYRIGHT ACT OF 1976 THIS IS AN UNPUBLISHED MANUSCRIPT IN WHICH COPYRIGHT SUB SISTS. ANY FURTHER REPRINTING OF ITS CONTENTS MUST BE APPROVED BY THE AUTHOR. IVIANSFIELD LIBRARY UNIVERSITY OF MONTANA DATE : U-- - ~ CROW AND CHEYENNE WOMEN r SOME DIFFERENCES IN THEIR ROLES AS RELATED TO TRIBAL HISTORY by Carole Ann Clark B.A., University of Montana, 1?66 Presented in partial fulfillment of the requirements for the degree of Master of Arts UNIVERSITY OF MONTANA 1969 Approved by Chairman, Board of iicaminers L, 'Graduate 'School UMI Number: EP35023 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. -
North American Indians: an Annotated Resource Guide for the Elementary Teacher
DOCUMENT RESUME ED 085 156 RC 007 505 AUTHOR Anderson, Sue Ellen, Comp.; And Others TITLE North American Indians: An Annotated Resource Guide for the Elementary Teacher. INSTITUTION Arizona State Univ., Tempe. Indian Education Center. PUB DATE 72 NOTE 119p. AVAILABLE FROMCenter for Indian Education, Farmer College of Education, Arizona State University, Tempe, Arizona 85281 ($2.00) EDRS PRICE MF-$0.65 HC-$6.58 DESCRIPTORS *American Indians; *Annotated Bibliographies; Art Activities; Childrens Books; *Culture; *Elementary School Teachers; History; Languages; Music; Poetry; Reservations (Indian) ; *Resource Materials; Tribes ABSTRACT The annotated bibliography for elementary teachers contains approximately 600 listings of resources about American .Indians. The resources, which range from 1926-1972 (some are not dated), include materials prepared by Indians and non-Indians for Indian and/or non-Indian children. Sections in the bibliography are: Books for Children -- Indians of North America; Books for Children -- Indians of Arizona; Teacher Resource Books (art activities, poetry, and songs); Films; Filmstrips; Slides; Periodicals; and Records. Slides are listed by subject area. Other sources for materials are also given. (KM) U 1 OE PAIIMAtle OF HEWN 11"% EDUCATION& WELPAlte NAtiONAL INStitUtt OF tDUCAtION tin( ..Aklet F.,At Pitt'. eler 0, A, At(I ()r4 V '..t pr10,0N nu Omni...JA' WOu A. PP FA nitnp404, f 00 NONI (r , lir Pkir 4, Orr A, 4A. .04A. .r re A..04 Pro, no no, r NORTH AMERICAN INDIANS An Annotated Resource Guide for the ELEMENTARY TEACHER I I fin " fit FILMED FROM BEST AVAILABLE COPY CENTER FOR INDIAN EDUCATION College of EdOcotion Arizorio State University.: Tempe,,.monoJ COMPILED AND EDITED BY Sue Ellen Anderson Teacher, Phiteriver Elementary School Whiteriver, Arizona Vicki C. -
What Sort of Indian Will Show the Way? Colonization, Mediation, and Interpretation in the Sun Dance Contact Zone
WHAT SORT OF INDIAN WILL SHOW THE WAY? COLONIZATION, MEDIATION, AND INTERPRETATION IN THE SUN DANCE CONTACT ZONE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Sandra Garner, B.A., M.A. Graduate Program in Comparative Studies The Ohio State University 2010 Dissertation Committee: Lindsay Jones, Advisor Maurice Stevens Richard Shiels Copyright by Sandra Garner 2010 ABSTRACT This research project focuses on the Sun Dance, an Indigenous ritual particularly associated with Siouan people, as a site of cultural expression where multiple, often conflicting concerns, compete for hegemonic dominance. Since European contact the Sun Dance has been variously practiced, suppressed, reclaimed, revitalized, and transformed. It has also evoked strong sentiments both from those that sought to eradicate its practices as well as those who have sought its continuance. In spite of a period of intense colonial repression, during the last three decades the Siouan form of the Sun Dance has become one of the most widely practiced religious rituals from Indigenous North America and the number of Sun Dances held and the numbers of people participating has grown significantly. How has the Sun Dance ritual endured in spite of a lengthy history of repression? What is it about the Sun Dance that evokes such powerful sentiments? And, how do we account for the growth of the Sun Dance. I argue that the current growth and practice of the Sun Dance must be considered within the context of colonialism; a central focus of this dissertation. I identify the complex and messy ways that individuals mediate the inequitable power relations that shape colonialist interactions, as well as the way they interpret these social spaces. -
The Traditional Symbolism of the Sun Dance Lodge Among the Wind River Shoshoni by ÅKE HULTKRANTZ
The Traditional Symbolism of the Sun Dance Lodge among the Wind River Shoshoni By ÅKE HULTKRANTZ 1. Introductory remarks Of all the North American Indian religious ceremonies no one is as spec- tacular and as well-known as the Sun Dance of the Plains Indians'. The in- formation collected on the subject since the turn of the century is quite extensive2. However, while there is a mass of materials on the outer features of the Dance, on behavioural and ritual aspects, there is very little information on its religious aspects, in particular the meaning of the ritual. As F. Eggan has stated, "despite all the studies of the Sun Dance we still do not have an adequate account giving us the meaning and signifi- cance of the rituals for the participants and for the tribe. One such account would enable us to revalue the whole literature of the Sun Dance"3. Neither is there any thorough study of the religious symbolism of any Sun Dance, although for instance G. Dorsey's monograph on the Arapaho Sun Dance observes meticulously all pertinent details (Dorsey 1903)4. The comparative studies of the Sun Dance dismiss the religious meaning of the Dance as unessential. The following pronouncement by such an authority as Robert Lowie is representative: the Sun Dance "does not re- volve about the worship of a particular deity, the popular English name for it being a misnomer, but is a composite of largely unintegrated elements prominent in the area at large. The remarkable thing about it is the wide distribution of many objective features, while the interpretations and os- tensible motives for holding it vary widely. -
Vol. Xvi, Part Vii
ANTHROPOLOGICAL PAPERS OF THE AMERICAN. MUSEUM OF NATURAL HISTORY VOL. XVI, PART VII THE SUN DANCE OF THE PLAINS INDIANS: ITS DEVELOP- MENT AND DIFFUSION BY LESLIE SPIER NENV YORK PUBLISHED BY ORDER OF THE TRUSTEES 1921 THE SUN DANCE OF THE PLAINS INDIANS: ITS DEVELOP- MENT AND DIFFUSION. BY LESLIE SPIER. 451 PREFACE. Most Plains tribes had the sun dance: in fact, it was performed by all the typical tribes except the Comanche. Since the dance has not been held for years by some tribes, viz., Dakota, Gros Ventre, Sutaio, Arikara, Hidatsa, Crow, and Kiowa, the data available for a comparative study vary widely in value. The chief sources of information outside of this volume are the accounts by G. A. Dorsey for the Arapaho, Cheyenne, and Ponca; Kroeber for the Arapaho and Gros Ventre; Curtis for the Arikara; and Lowie and Curtis for the Assiniboin. There is no published informa- tion for the Fort Hall Shoshoni, Bannock, Kutenai, or Sutaio. So far as I am aware there has been no general discussion of the sun dance. Hutton Webster in his "Secret Societies" considers it, without giving proof, an initiation ceremony. It is the aim of the present study to reconstruct the history of the sun dance and to investigate the char- acter of the factors that determined its development. By a discussion of the distribution of traits-regalia, behavior, ideas of organization, and explanatory myths-it will be shown that the ceremony among all the tribes has grown chiefly by intertribal borrowing. It will be demon- strated further that the center of development has been in the central Plains among the Arapaho, Cheyenne, and Oglala, and that the original nucleus of sun dance rites probably received its first specific character at the hands of the Arapaho and Cheyenne, or of this couple and the Village tribes. -
The Mandan and Hidatsa Establish Missouri Valley Villages
The North Dakota Studies Newspaper Issue One Native Peoples, First Encounter, Fur Trade 1780-1850 THE MANDAN AND HIDATSA ESTABLISH MISSOURI VALLEY VILLAGES The Mandan and Hidatsa Villages through oral tradition, began with The Year of 1730 Charred Body who lived in the Sky. He heard the bellowing of buffalo, and looking through a Over hundreds of years the Mandan people made hole in the heavens, discovered their way from the eastern woodlands of the the earth below. Liking what he Ohio River Valley to the valley of the Missouri saw, he descended to earth in the River. Divided into five bands, the Nuptadi, form of an arrow. He erected 13 the Mananar, the Nuitadi, the Istope, and the earthlodges and brought down 13 Awikaxa, the Mandan have established nine large young couples who founded the well-fortified villages along the banks of the original families. Sacred arrows Knife, Heart, and Missouri rivers. Some reports have the power to protect the tell us that the Mandan reached their present sites people from evil. as early as the year 900. Not long after the Awatixa arrived Numbering in the neighborhood of 9,000, the on the Missouri, the Awaxawi, Mandan are a Siouan-speaking people who Siouan-speaking eastern neighbors, owe their origins to First Creator and Lone left for the Missouri Valley. The Man. These two powerful spirits, the Mandan Awaxawi origin account begins believe, created the Missouri River Valley and the with the creation of the earth Hidatsa village. animals, plants, and people who live there. First by Lone Man and First Creator Creator made the hills, woods, springs, buffalo, who competed with each other deer, and antelope on the south side of the to see who could make the best Valley. -
Western Americana
C ATA L O G U E THREE HUNDRED SIXTY-ONE WESTERN AMERICANA WILLIAM REESE COMPANY 409 Temple Street New Haven, CT 06511 (203) 789-8081 A Note This catalogue demonstrates the wide range of our interests in the exploration, settlement, and development of the American West in the 19th century and beyond. Included herein is important visual material, from striking prints by Karl Bodmer to co Henry Warre’s iconic views of the Pacific Northwest and Kendall & Nebel’s images of the Mexican-American War. The catalogue also features works by George Catlin, including a copy of the very rare New York edition of his North American Indian Portfolio and his striking image of St. Louis in 1832. There are original works by the artists George Gibbs and Robert Riggs, as well as a watercolor of a buffalo hunt by Lord Alfred Dunmore. Several books document hunting trips in the American West, including accounts by William Tucker, Gen. William Strong, James Tuttle, C.S. Boutcher, and Albert Cordier. The explorations of Alexander Mackenzie, Zebulon Pike, and Lewis & Clark are featured along with a complete set of the Harriman Expedition to Alaska and panoramic photographs of the Southwest, demonstrating the wide range of activities throughout the West in the long 19th century. Available on request or via our website are our bulletins as well as recent catalogues 357 The Struggle for North America; 358 The Civil War; 359 The 17th Century. Recent e-lists, only available on our website, include New York Views; Pirates & Privateers; William Reese’s SIX SCORE: THE 120 BEST BOOKS ON THE CATTLE RANGE INDUSTRY; Freedom’s Symphony: The Music of America; The Hub of the Universe: Boston in the 19th Century; Boston Book Fair 2018; The War to End All Wars: The History, Literature & Images of World War One; and The Second World War. -
MUSIC of the AMERICAN INDIANS SIOUX from the Archive Offolk Culture
The Library of Congress Motion Picture, 8rOCldcaSting Clnd Recorded Sound Division Recording Laboratory AFS L40 MUSIC OF THE AMERICAN INDIANS SIOUX From the Archive ofFolk Culture Recorded and E.dited by Willard Rhodes First issued on long-playing record in 1954. Accompanying booklet published 1987. Library of Congress Catalog Card Number 82-743370. Available from the Recording Laboratory, Library of Congress, Washington, D.C. 20540. Cover illustration: SIOUX SUN DANCE, by Oscar Howe. Courtesy Philbrook Art Center. • II • Dedicated to the memory of Willard W. Beatty, Director of Indian Education for the Bureau of Indian Affairs, Department of the Interior, from 1937 to 1951. • II • • • FOREWORD TO THE 1954 EDITION • • For a number of years the Bureau of Indian Affairs has sponsored the recording of typical Indian music throughout the United States. During this time approximately a thousand Indian songs have been recorded by Mr. W illard Rhodes, professor of music at Columbia Univer sity. The study originated in an effort to deter mine the extent to which new musical themes were continuing to develop. Studies have shown that in areas of Indian concentration, especially in the Southwest, the old ceremonial songs are still used in the traditional fashion. In the Indian areas where assimilation has been greater, Indian type music is still exceedingly popular. There is considerable creative activity in the development of new secular songs which are used for social gatherings. These songs pass from reservation to reservation with slight change. While the preservation of Indian music through recordings contributes only a small part to the total understanding of American Indians, it is nevertheless an important key to this understand ing. -
It Is Well Documented That Many Dakota People Migrated Northward
It is well documented that many Dakota people migrated northward into Canada immediately following the Minnesota Massacres of 1862.14 Many of these people settled in Manitoba and possibly further west. As a plains people they were tied to the buffalo harvest and implicated in the geopolitical struggles of not only the Minnesota Massacre, but also the Cypress Hills Massacre; the War of the Little Big Horn and the aftermath; as well as the Métis Rebellions. These events either included White Bear members or had direct effects upon the White Bear First Nations. The traditional land use, livelihood, and culture of the White Bear First Nations were dramatically changed by the pressures introduced by the European colonization of both Canada and the USA. As a Plains people, the importance of the land to the survival of the White Bear First Nations, and ultimately, to their language and culture cannot be underestimated. The next part of this book briefly outlines the traditional culture and language of these people and how their entire livelihood was intertwined with their use of the land and their harvesting practices. 14 The Minnesota Massacre of 1862 is also known as the Dakota War of 1862; the Sioux Uprising; the Dakota Uprising; the Sioux Outbreak; and Little Crow's War (Dollman, Darla S., 2012). 55 Chapter 4 – PLAINS CULTURE Although the White Bear First Nations camped in the Moose Mountains, the Assiniboine, Cree and Dakota peoples had originally come from or adopted what would be considered a plains cultural livelihood. A plains culture was based primarily on harvesting buffalo or bison and other animals which roamed throughout the prairies until the early 1880s. -
Ponca Societies and Dances by Alanson Skinner
PONCA SOCIETIES AND DANCES BY ALANSON SKINNER PREFACE The Ponca (or, as they call themselves, P'uinka') are one of the five tribes of the Dhegiha group of the Siouan stock, and are closely related to the Omaha, Osage, Kansa, and Quapaw. The history of the Ponca traces their migration from the time of their traditional separation with the Omaha from the Osage and Kansa on the Missouri; whence they ascended a northern tributary to Minnesota, where they resided near the pipestone quarry until attacked by the Sioux and driven back southwest to Lake Andes, South Dakota. There the Omaha and Ponca traditions say they obtained their sacred pipes and their gentes originated. Eventually they settled on the Niobrara River and remained there until removed by the United States Government. In 1906 there were 225 Ponca in Nebraska and 600 in Oklahoma, near White Eagle and Ponca City, where the writer visited them in June and July, 1914. The following data are the result of two days' work with Charles Collins and Big-goose as informants. No claim for the completeness of these notes is suggested, and they are published at this time principally because there is so little known of Ponca culture and the material is needed for comparison. In material culture the Ponca are of the Plains type with leanings toward the Central Algonkin whom they probably once resembled. Old photographs and daguerreotypes, supplemented by descriptions received from my informants, go to show that at one time the two-piece open skirt woman's garment of Central Algonkin type was used, together with soft-soled moccasins. -
As Practiced by the Plains Cree and Saulteaux of the Pasqua Reserve, Saskatchewan, in Their Contemporary W Dance Ceremones
A Description and Analysis of Sacrificial Stall Dancing: As Practiced by the Plains Cree and Saulteaux of the Pasqua Reserve, Saskatchewan, in their Contemporary Rain Dance Ceremonies A Thesis Subrnitred to the Faculty of Graduate Studies in Partial Fulfilment of the Requirements for the Degree of Interdisciplinary Master of Arts in Native Studies at the University of Manitoba by Randall J. Brown Winnipeg, Manitoba Copyright, 1996. R. J. Brown National Library Bibliothèque nationale I*B of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services seMces bibliographiques 395 Wellington Street 395. rue Wellington OttawaON KlAON4 OnawaON KtAON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou cûpies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/- de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copy~$$t in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fi-om it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. FACULTY OF GROUATE STUDXES ta*++ COPYRIGHT PERMISSION PAGE A DESCRIPTION AND ANALYSlS OF SACRfFICLAL STALL DANCING AS PRACTICED BY THE PLAINS CREE AND SAULTEAUX OF THE PASQUA RESERVE, SASKATCHEWAN, IN THEIR CONTEMPORARY W DANCE CEREMONES RANDALL J.