The Ghost-dance religion and the Sioux outbreak of 1890 : $b Fourteenth annual report of the Bureau of Ethnology, part 2.Mooney, James
Religion
The Ghost-dance religion and the Sioux outbreak of 1890 : $b Fourteenth annual report of the Bureau of Ethnology, part 2.
Mooney, James
Dakota Indians -- Wars, 1890-1891; Ghost dance
We reached the plain and were met by a procession, headed by
Smohalla in person, all attired in gorgeous array and mounted on
their best chargers. We wended our way through sagebrush and sand
dunes to the village street, not a soul being visible, but from the
mat-roofed salmon houses there came forth the most indescribable
chorus of bell ringing, drum beating, and screeching. I noticed
that the street was neatly swept and well sprinkled—an unusual
thing in any Indian village. This, Smohalla said, was in my honor
and to show that his people had cleanly tastes. Our procession
passed on beyond the village to a new canvas tent, which had a
brush shade to keep off the sun and was lined and carpeted with
new and very pretty matting. Smohalla said this had been prepared
especially for me, and was to be my house as long as I should stay
with him. To cap the climax, he had constructed a bench for me,
having sent more than 90 miles for the nails. Fresh salmon, caught
in a peculiar trap among the rocks and broiled on a plank, were
regularly furnished my party, and with hard tack and coffee of our
own supplying we got enough to eat and drink. Our own blankets
furnished sleeping conveniences. The river was within two yards of
our tent door and was an ample lavatory.
When I awoke the next morning, the sound of drums was again heard,
and for days it continued. I do not remember that there was any
intermission except for a few minutes at a time. Seven bass drums
were used for the purpose. I was invited to be present, and took
great interest in the ceremonies, which I shall endeavor to
describe.
There was a small open space to the north of the larger house,
which was Smohalla’s residence and the village assembly room as
well. This space was inclosed by a whitewashed fence made of
boards which had drifted down the river. In the middle was a
flagstaff with a rectangular flag, suggesting a target. In the
center of the flag was a round red patch. The field was yellow,
representing grass, which is there of a yellow hue in summer. A
green border indicated the boundary of the world, the hills being
moist and green near their tops. At the top of the flag was a small
extension of blue color, with a white star in the center. Smohalla
explained: “This is my flag, and it represents the world. God
told me to look after my people—all are my people. There are four
ways in the world—north and south and east and west. I have been
all those ways. This is the center. I live here. The red spot is
my heart—everybody can see it. The yellow grass grows everywhere
around this place. The green mountains are far away all around the
world. There is only water beyond, salt water. The blue [referring
to the blue cloth strip] is the sky, and the star is the north
star. That star never changes; it is always in the same place. I
keep my heart on that star. I never change.”
Public-domain text, read in full here on John Shaqi.
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