#9

Painted-Tipis

This seventh lecture on Blackfoot Culture, is about Painted Tipis which had such a prominent place in their tribal life. Painted Tipis were assembled in the circle-camp only once a year, when the tribe came together in the summer to celebrate the sun-dance. In former years, when the old generation was still alive, I stayed in many of their circle-camps. And in those days I had my own horses, tipis, and equipment, (and was independent.)

I remember especially the big camp of 1908. That year they had 350 lodges - thirty of them Painted Tipis, which had a collective value of the first magnitude because of their great number. They were pitched in prominent places on the inside-circle, and their owners were proud of them. They belonged mostly to the head-men of the different bands. Their rituals and the supernatural power that went with them, gave a sort of social prestige and good standing in the tribe.

A Painted Tipi was in itself an announcement, that within rested a sacred bundle and that its owner possessed the ritual associated therewith. Both men and women made vows to them in time of danger and in behalf of the sick. The pictures on the tipi-cover and the power that went with them could not be separated, but the aesthetic value of the decoration was secondary. They came originally through dreams and belonged exclusively to the founder. He might transfer to another, but no one could copy them. If a tipi-cover with its decorations wore out, a new one with the same pictures took its place. But the old one was sacrificed to the Sun.

Nowhere among other tribes, is there evidence of a definite association by which the decoration of the tipi becomes an integral part of the ritual, except with the Blackfoot. For the important rituals of the Beaver Bundle and Medicine Pipe, and all others, any tipi might be used.

In the decorations of these Painted-Tipis, we have a fine series of examples of Blackfoot religious art, in fact, almost the whole range of such art. The specific symbols are usually of three classes - the mythical originator, their home, and their trails. They are depicted in pairs, male and female. For large animals a single pair, and for small ones four or more. In most cases the animal figures are highly realistic and usually in black.

Most had a darkened area at the top for a night sky, with white discs for constellations (the Great Bear and Pleiades), a similar border at the bottom, with one or two rows of star signs (fallen stars), and a row of triangular projections for hills or mountains. In the rear and at the top, a cross, said by some to represent the moth or sleep-bringer, by others the morning star.

Sacred objects were commonly represented by certain conventional symbols. Red, white, and blue bands for the blue sky. Black for night. Male animals were on the south side, female on the north; except on buffalo lodges where the male was on the east or front, and the female on the west or back. The Thunder Bird stood for lightning, the rainbow symbolical of a clearing storm. Of all the animals, the buffalo was believed to have the greatest power, but that of the deer and elk was also great. The eagle and raven were especially strong helpers. Underwater animals also were powerful. But of all the animals, the beaver was the most sacred, to which the otter was supposed to be related. The mink was another powerful underwater animal, and the weasel, as related to it.

The Blackfoot tribal camp. On the prairies east of the main range of the Rockies, outside the foothills and not far from the foot of the mountains. It was formed every summer for the celebration of the sun-dance. It was the only religious ceremony in which the entire tribe took part.

Another Blackfoot tribal camp, showing its location on a wide flat surrounded by rolling grass-covered hills - the Rocky Mountains and foothills in the distance. It was about twenty miles from the foot of the mountains.

A tribal-camp on a broad stretch of prairie and on the shore of a lake. The surrounding meadows bright with the wild flowers of early summer. Many horses feeding on the luxuriant bunch-grass. This was the Blackfoot camp of 1908.

Another view of the camp of 1908. I took this picture from a distant ridge, to show the camp in the form of a great circle. The structure of the sun-lodge in the open space, where the sun-dance ceremony took place, the lake and grassy hills where many horses were feeding.

The #1908 camp, showing the Painted-Tipis on the inside-circle, the small and inferior lodges of the poorer families on the outskirts; and the wide open space in the center, where sham battles, dances, and ceremonies took place.

This is an old picture, It shows the Blackfoot tribal camp in 1896, the one I entered for the first time with Siksikaikoan, the Indian scout. It was located on a broad flat near Willow Creek. This was the view looking eastward towards the open plains. South and north were ranges of grass-covered hills. West was Willow Creek, a small trout stream which rose in the foothills, clear and icy cold and bordered by marshy meadows and thickets of willows - and the Rocky Mountains in the distance. That was forty years ago, when the old generation of Blackfoot was still alive, but the scenes are still fresh in my mind.

Another view of the tribal camp of 1896, to show its great size and the wide flat it spread over.

I shall never forget the strange and fascinating interest of those circle-camps. The Равлии in the distance, and inside fires, the smoky smell and flavor of everything, the packs of dogs and horse herds, the crowds of Indians old and young, their strange dances and ceremonies and chants with beating of drums. Thus it was that the old generation of Blackfoot held themselves aloof from white men and his much feared civilization, and it was here they made their last stand. White Calf, the venerable head-chief said in one of his speeches to the tribe, "And now the Rocky Mountains face us like a great wall, so that we can go no farther." (to get away from the advance of white civilization).

This shows a section of the circle-camp, with the structure of the sun-lodge in the central open space and surrounded by a throng of Indians watching the ceremonies. The three tipis of the Brave Dog Society in the foreground, standing apart from the others. They were the police and kept order. They saw that the big camp was symmetrically formed - every tipi in its proper place in the circle. It was organized according to bands of blood relatives.

809 The south section of the inner-circle, showing some of the Painted-Tipis of the head-men of different bands. The small tipis of people without social prestige or standing, were on the outskirts, of the big camp. In forming the camp, there was no confusion. Each family knew where they belonged in the circle and took their accustomed place. Left, is the Thunder Tipi (with four red bands near the top, symbolic of trails of the thunder or lightning). Then the Otter Tipi with a pair of otters over the door; the Crow Tipi, Yellow Buffalo, and the Eagle Tipi. This was the circle-camp of 1908.

810 The west section, with the Otter-Tipi left, then the Eagle, the Single-Circle Tipi, Serpent, and Snow Tipi.

811 Northwest section, with the Horse Tipi on left, then the Snake Tipi, Snow Antelope, and Winter Tipis. This Snow Tipi was occupied by the family of Chief Mad Wolf, my foster-father.

812 Northeast section. Buffalo Head Tipi on left, with buffalo tracks round the center and a black mass at the back for a buffalo rock, against which the buffalo were accustomed to rub themselves on the prairie. Right, is a Snake Tipi, with sections of serpents in blue and yellow, and red circles above for serpent tracks or trails. Back center, is the Star Tipi, one side painted black and the other half yellow, and stars all over.

813 East section, with the Black Buffalo and Otter Tipis; left, the Red Tipi.

Southeast section, the Buffalo Tipi in foreground, then the Crow
and the Thunder Tipis.

Section with the Eagle Tipi in foreground and Star Tipi on left.
A woman chopping firewood, and the skull of a large buffalo bull lying
on the ground.

Pine Tree Tipi of the author. The picture was taken at sunrise.
I had also a small traveling-tipi which was small and easy to handle, but
used this large Pine Tree Tipi when staying in the big camps. It had a
black top for the night sky. The conventional red band at the ground with
triangular discs for fallen stars and concentric figures for mountains, a yellow pine
cone at the back; at the top were clusters of discs for star constellations,
and a blue cross for morning star.

Center is the Bald Headed Eagle Tipi of Big Moon, with a black top
for the night sky, then a Buffalo Tipi, and left the Red Tipi which was
said to have come from the Atsina tribe (Grosventre of the plains).
I took this picture on a clear day, when the main range of the Rocky
Mountains in the distance seemed unusually near.

Outskirts of the circle-camp, showing the race track where many
exciting horse races took place. It extended along a low range of grass-
coverd hills.

The Star Tipi with a woman standing in the doorway. (One half of this tipi was painted black for a night sky and the other yellow. Also a Snake Tipi with a large otter-skin for a flag.)

A section of the camp, to show an old Crow Tipi on the left, which was made of skins. In former days all the Blackfoot tipi-covers were made of buffalo skins sewed together. But in later years skin tipis entirely disappeared from the camps, being secured as valuable relics and museum specimens. The tipi at the extreme right with a travois against the back, belonged to the fasting woman who was giving the sun-dance that summer. Within the sacred ceremonies were taking place.

The Red Stripe Tipi and the Thunder Tipi which was blue all over for the sky.

Buffalo Tipi of Wolf Plume, a tribal judge.

A section of the circle-camp at sunset. The Buffalo-Head-Tipi stands at right, with a buffalo head over the entrance and buffalo tracks round the center. The history of this lodge was, that the designs were dreamed by Chief Crow its founder who afterwards gave it to Yellow Grass his son-in-law. Left, is the Person Tipi, known also as a War Tipi. The figures around the bottom represented the number of enemies killed in battle by its founder.

This Otter-Tipi had a black top for a night sky and clusters of discs on the wings for constellations. It may be noted, that the designs and pictographic features of many of these painted tipis conform closely to one conventional style. They had a blackened area at the top with discs for the constellations (of the Great Bear and Pleiades); a border at the bottom with one or two rows of discs for star signs (fallen stars), and a row of projections - rounded for hills and pointed for mountain peaks. In the rear at the top, a Maltese Cross, said by some to represent the morning star, by others the moth or sleepbringer. But it is of special interest, that with each decorated tipi is associated a distinct ritual and a sacred bundle with accessories.

Rear view of the same Otter Tipi, showing the Maltese Cross for the morning star to which was fastened a buffalo tail. At bottom a band with fallen stars, surmounted by the rounded hills of the prairies. And around the center a procession of male and female otters. Great pride was taken in the ownership of these Painted Tipis, with their sacred bundles and ritual. They were conspicuous in the camps and distinguished the owners as a person of importance. Although it had less subjective value than a Beaver Bundle or a Medicine Pipe, it was nevertheless essential to a man of good standing.

This Otter Tipi had a green star at the back with an otter underneath and colored bands for a rainbow. At the bottom, triangular figures for mountains. There were a number of Otter Tipis in the circle-camp, all of them different, having come to their different founders in dreams.

An Otter Tipi with a large otter-skin fastened to a pole at the top. Triangular figures were around the bottom for mountains with cattails between. Four male and four female otters around the sides. The bands of red represented the circles made by the otter while swimming. A sacred bundle was made up of the skins of an otter and mink wrapped and placed inside a rawhide case. This case had the conventional triangular designs, but was painted over the entire surface and fringe with yellow. Also a drum painted yellow with an otter on the inside.

An Otter Tipi with a procession of otters round the center, the males upon the south side and females on the north. Red circles at the top for the ripples which an otter makes while swimming.

Rattler the doctor and medicine-man, we called him. He was making an announcement, inviting friends to a trade. He called them all by the name.

I stayed for a week in this Otter Tipi with Marrow Bones its owner. I saw him in his care of it and gathered information. It had the conventional black top for a night sky, with a yellow cross for morning star. Four male and four female otters round the center. And above red circles for the ripples made by an otter swimming. At the bottom a band with triangular figures for mountains. The supernatural power that went with the tipi, came to the founder in a dream when he visited the home of an otter. Marrow Bones had a large otterskin which he sometimes took from his sacred bundle and hung from a pole at the top of the tipi. There were also a number of bird and animal skins and a drum, which were kept in a rawhide case. In good weather Marrow Bones hung his medicine case from a tripod outside the tipi, but always brought it inside at night or during a storm.

Marrow Bones, who was the owner of the Otter Tipi where I stayed.
When he gave its ritual, he opened his sacred bundle and took out the
contents. He sang songs over them and prayed. He painted his body with
red and yellow, to represent the shore of a lake where the otter lived,
and its trails and tracks in the soft earth. On his forehead he painted
a circle for the home of the otter, another on his breast for a hole in
the river bank through which the otter passed. Some of the taboos were:

Never pound on bones - never drum in the night.

Never break a buffalo head inside the tipi, nor throw any part
of the head into the fire.

Never blow on the fire without using a pipe-stem, nor lean an
old pole against the tipi.

If the owner allows his robe to catch fire, he must make a
sweat-lodge to avoid ill luck.

Next to the Otter Tipi where I stayed with Marrow Bones, was the
Black Buffalo Tipi. This is a front view to show the bull painted across
the east side; the figure of the cow across the back. In each animal
the tongue was protruding as if licking the other. In both the bull and
cow the life-line was alternately red and green. The animals themselves
in black. A black border at the base with fallen stars, and a green
cross at the top for the moth or sleepbringer. The points of both wings
had buffalo tails and hoofs attached, and discs for stars.

The Yellow Buffalo Tipi was similar to the Black Buffalo. They were two of the most important lodges in the circle-camp. Both came from the Under-Water-People and were handed down to their founders at the same time. They had the same rituals. Their owners were the men who sang and brought the buffalo near, and they were associated in part with the rituals to call the buffalo. According to the myths of their origin, their founders were two young men who sat together on a river bank, looking down into the water. One of them saw the tops of tipi-poles. He dove down into the water to investigate and found the Black Buffalo Tipi. He entered and found it dry on the inside, though holes in the wall of the tipi he could see the water flowing by. There was a man and a woman there. The man said: "My son, I have asked you to come here that I might give you my tipi. When you return again to the shore, ask your companion to come down into the water. Another person invites him and will give him the Yellow Buffalo Tipi. When the young men returned to camp, they founded the two Buffalo Tipis. Both had taboos against allowing dogs to come inside; also the fire must not die out, the door must not stand open, nor should anyone strike the outside of the tipi."

The Crow Tipi had two buffalo heads, one in front over the door, the other at the back. Around the center a broad red band, upon which a procession of crows carried food in their bills. It was founded by a man who was catching eagles in the mountains. Flocks of crows were roosting in the trees near where he slept. One night a crow appeared to him in a dream and gave him the Crow Tipi with its decorations and its ritual.

This happened in the Rockies of Alberta, at the source of a river which the Blackfoot called from that time "Etawats" (Crow Lodge River), but is now given on the maps as Old Man's River.

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833 This is an old picture of the Crow Tipi taken in 1896, when its cover was made of skins. Ten years before the former picture when its cover was of canvas. It shows the decorations at the back, with the cross at the top for the moth or sleepbringer, a row of buffalo tails, a buffalo head, and the line of crows around the center. The sacred bundle that went with the ritual hangs from the tripod.

834 A side view I took of the ancient Crow Tipi in 1896 when the cover was of skins, showing the procession of crows on the broad red band, going towards the door, and buffalo tails attached to the wings.

834a The Crow Tipi at sunset, a woman with a baby in her arms standing in the open door. On mild summer evenings, I often saw women standing thus in the open door of their tipis, as if enjoying the cool fragrant air from the surrounding meadows, and the sunset colors over prairie and mountains.

835 The Raven Tipi of Lone Chief. Around its center a fringe of buckskin upon which stood a line of ravens, five on each side, walking towards the front. Each held in its bill a piece of red flannel to represent flesh. The top was black for a night sky with constellations on the wings - the Great Bear on the north and Pleiades on the south side. At the back a blue cross for the moth and five horse tails below it. Under the black top were bands in red and yellow for the color of clouds at sunrise. At the base a red band with a single row of fallen stars and projections for mountain peaks.