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
Now, we must gather at Pass creek where the tree is sprouting.
There we will go among our dead relations. You must not take any
earthly things with you. Then the men must take off all their
clothing and the women must do the same. No one shall be ashamed of
exposing their persons. My father above has told us to do this, and
we must do as he says. You must not be afraid of anything. The guns
are the only things we are afraid of, but they belong to our father
in heaven. He will see that they do no harm. Whatever white men may
tell you, do not listen to them, my relations. This is all. I will
now raise my hand up to my father and close what he has said to you
through me. (_Short Bull; War, 4._)
The pipe here referred to is the most sacred thing in Sioux mythology
and will be more fully described in treating of the Sioux songs. The
sacred object of the Cheyenne is the “medicine arrow,” now in the
keeping of the band living near Cantonment, Oklahoma. The Crow and
Arapaho references are not so clear. The Arapaho are called by the
Sioux the “Blue Cloud” people, a name which may possibly have some
connection with hail. The sprouting tree at which all the believers
must gather refers to the tree or pole which the Sioux planted in the
center of the dance circle. The cardinal directions here assigned to
the other tribes may refer to their former locations with regard to the
Sioux. The Cheyenne and Arapaho, who now live far west and south of the
Sioux, originally lived north and east of them, about Red river and the
Saskatchewan.
The most noted thing connected with the Ghost dance among the Sioux is
the “ghost shirt” which was worn by all adherents of the doctrine—men,
women, and children alike. It is described by Captain Sword in his
account of the Ghost dance, given in the appendix to this chapter, and
will be noticed at length hereafter in treating of the ceremony of the
dance. During the dance it was worn as an outside garment, but was
said to be worn at other times under the ordinary dress. Although the
shape, fringing, and feather adornment were practically the same in
every case, considerable variation existed in regard to the painting,
the designs on some being very simple, while the others were fairly
covered with representations of sun, moon, stars, the sacred things of
their mythology, and the visions of the trance. The feathers attached
to the garment were always those of the eagle, and the thread used in
the sewing was always the old-time sinew. In some cases the fringe or
other portions were painted with the sacred red paint of the messiah.
The shirt was firmly believed to be impenetrable to bullets or weapons
of any sort. When one of the women shot in the Wounded Knee massacre
was approached as she lay in the church and told that she must let them
remove her ghost shirt in order the better to get at her wound, she
replied: “Yes; take it off. They told me a bullet would not go through.
Now I don’t want it any more.”
Public-domain text, read in full here on John Shaqi.
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