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. BROWN A ThesWPracticam submitted to the Facalty of Graduate Studies of The University of Manitoba in partial fulfiilment of the requirements of the degree of MASTER OF ARTS Rardall J- Brown 1997 (c) Permission has been granted to the Library of The University of Manitoba to lend or seil copies of this thesidpracticum, to the National Library of Canada to microfilm this thesis and to lend or sel1 copies of the film, and to Dissertations Abstracts International to publish an abstract of this thesidpracticum. The author resemes other publication rights, and neither this thesidpracticum nor extensive extracts from it may be printed or othetwise reproduced without the author's written permission. Abstract This thesis, based on ten years of field work and ethnohistorical research, describes and analyzes the beliefs, purpose and practices of Sacrificial Stall Dancing within the parameters of the Rain Dance, with particular reference to the Plains Cree and Saulteaux of Southern Saskatchewan from 1977 to the present. Sacrificial Dancing, being a form of Sacred Dancing involving physical renunciation to gain some significant favor, is a universally practiced method for gaining spiritual assistance frorn an omnipotent and omnipresent source. Unfortunately, the role and importance of Sacrificial Dancing, especially as it related to Stall Dancing, have not been weli understood nor documented by past researchers. Its inclusion, as a form of individual worshiping within the Rain Dance. allows for community participation and contributes significantly to the cultural identity and spiritual unity of both the Plains Cree and Saulteaw. This study will be of interest and value to First Nations bands, Native agencies, and cultural centers, and would be of value to students of history, ethnology, dance. religious studies, cultural symbolism and museum curators. The Cree Rain Dance By Randall J. Brown (adapted from Brown, 1988, p. 25) 1 had a dream last night of men and women, proud and ta11 - dancing and fasting to their vision's call. I talked to a man last night who was tied and wanted rest - for he had danced with skewers in his chest. 1 saw a Thunderbird last night who had recently brought them rain - to quench their thirst and ease their pain. 1 heard drumming last night that made me want to dance and sing - and with it came a mystical ring. 1 listened to prayers last night by old men wno talked in Cree - having much eloquence and majesty. I smelled sweetgrass last night and my whole being was scented by the smoke - yet the road seemed clear when the Sponsor spoke- 1 felt spiritual last night as the bright moon sunk rapidly low - pasr where my cloth hung on the Center Pole. iii Acknowledgrnents 1 would like to thank the members of my advisory Committee. Professor Herb EMS of the Architecture Department, Dr. David Stymeist of the Anthropology Department, Dr. Katherine Pettipas of the Native Ethnology Department at the Manitoba Museum in Winnipeg, Ken Courchene. Addiction Counselor and a Rain Dance leader of the Sagkeeng First Nation at Fort Alexander, and especially Dr. Ji11 Oakes, my main advisor, whose assistance was invaluable. Over tha rnany years spent working and participating in the various religious ceremonies among the Alberta and Saskatchewan Natives 1 have gained many valuable friends and much insight. Many of these individuals. who have shared their knowledge of traditional beliefs and ceremonies, wish to remain anonymous. They know who they are - I gratefully acknowledge their assistance and cooperat ion and thank them for their tolerance and patience. Special thankç go to rny Cree grandparents, the late Thomas (Three Eagle Man) and Lola (Paçcal) Asham of Pasqua Reserve. Harvey Iron Eagle and the late Douglas Shingoose, both from the Pasqua Reçerve, provided me with much persona1 support and information. 1 am especially grateful to Mr. Iron Eagle who was kind enough to check my written description of the Pasqua Rain Dance for accuracy. Many rnuseums and archiva1 staff at various institutions both in Canada and the United States have provided their unconstrained assistance iv in tracking down photographs and pieces of information. My thanks go to Stanley A. Freed, Josephine M. DtOrsiand Barbara Mathe of the American Museum of Natural History in New York; Andrea Garnier and Lynette Walton of the Glenbow Archives in Calgary; Elizabeth Blight of the Provincial Archives of Manitoba in Winnipeg; G. C. Watson and Dr. Ian Dyck of the Royal Saskatchewan Museum in Regina; J. Alexandra of the Museum of the American Indians in New York; Pam Moncricff and Louise Dallaire of the Canadian Museum of Civilization in Ottawa; Joan E. Dryden of the Provincial Archives of Alberta; Ian E. Wilson, Janet Stoll, Jean Goldie and Marie-Louise Perron of the Saskatchewan Archives Board in Regina; and James A. Davis of the State Historical Society of North Dakota in Bismark. Several people deserve special recognition for taking many extra steps to get me information or pictures. They include Alice Kehoe of Milwaukee Institution and Koozma Tarasoff of Ottawa who provided me with copies of some ethnological photographs from his collection. The late Dr. David Mandelbaum, formerly of the University of California in Berkeley, supplied me with his unpublished field notes and copies of his photographs that were very helpful. Many people provided continuous support and moral encouragement to my Native Studies work over the years, for which 1 am very grateful. Thanks go to my two co-students in the Masters Program, Bret Nickels and v Barb Pritchard, and to my close friend Silvia Vidal of Calgary who has steadfastly believed in me and always offered words of reassurance. In addition, 1 owe a special debt of gratitude to my parents, Dr. Gordon D. and Betty K. Brown, who have long supported and encouraged my interest in Native culture. My father passed away in April of 1997. This thesis is dedicated to his memory. Contents Abst ract Acknowledgments List of Illus~rations Chapter One: Introduction Significance of the Topic Thesis Purpose, Objectives and Outline Methodologies and Methods Source Material Review Chapter Two: The Plains Cree, Saulteaux and the Rain Dance The Cree and Saulteaux An Introduction to the Rain Dance An Introduction to Stall Dancing An Introduction to Sacrificial and Sacred Dancing Chapter Three: A Description of a Contemporary Pasqua Rain Dance Introduction The Vow and Initial Preparations of the Dancers Activities on the First Day (Camping Day) Activities on the Second Day (Lodge Building Day) Activities on the Third Day (First Full Dancing Day) Activities on the Fourth Day (Final Day) vi i Chapter Four: Interpretation of Stall Dancing and Relaced Activities Introduction 145 The Function and Purpose of the Center Pole 145 The Symbolism of the Dance Lodge and Dancing Stalls 151 The Spiritual Purpose of Sacrificial Stall Dancing 154 Secular Function of Sacrificial Stall Dancing 160 Chapter Five: Historical Changes in Stall Dancing from 1880-1976 Introduction Flesh-sacrifices Martial Components Time and Date Alternations Sacrificial Offerings Dress and Adomment of the Dancers Use of Power Items Rain Making and Miraculous Water Procurement Non-Native Stall Dancers Chapter Six: Contemporary Comparison of Stall Dancing from 1977-1996 Introduction 200 Similarities and Differences Among Al1 Stall Dancers 200 Differences Between Pasqua and Sagkeeng 202 Differences Between Pasqua and Hobbema 206 Inter-tribal Dance Differences 208 vi ii Chapter Seven: Conclusion Conclusion The Future of Stall Dancing Recomrnendations for Future Research Appendixes The Pasqua People Archival Material and Ethnological Collections Consulted List of Cree and Saulteaux Rain Dances That 1 Have Attended Location of Cree and Saulteaux Rain Dance photographs