Dances of the Blackfoot

This is the ninth in my series on Blackfoot Culture, recording in
manuscript the material and pictures taken during my life with the tribe.
In former lectures I told about their country of the Great Plains and Rocky
Mountains, the camps of Chief Mad Wolf my foster-father by adoption, his
family and friends, their customs, industries, and religious ceremonies.
Today it is necessary to omit information already given, so I hope you may
pardon me for not repeating.

In this lecture I record the dances ⌜—new⌝, also the Dancing Pipe said
to be the oldest of the Medicine Pipes, together with an interesting
ceremony of the transfer of a Medicine Pipe, seldom witnessed by white men;
and I know of no other series of pictures that were ever taken of thes
ceremony.

Dances of the Blackfoot

In the early morning, June 30, 1898, on the Blackfoot Reservation in northwestern Montana, I rode to the summit of a prairie ridge. On all sides were rolling grass-covered hills and ridges. Twenty miles west the main range of the Rockies, their summits white with snow and green forests on the slopes. Near the hill where I waited, was a broad flat where the Blackfoot tribe would assemble. I had word they would come together that day for their great tribal ceremony of the Sun Dance.

Then in the distance, I saw a band of Indians coming from the north, with travois and camp equipment. And knew it was Chief Mad Wolf (Siyeh), my Indian father by adoption. He and his followers arrived first to form the circle-camp. With him were well known chiefs from the northern part of the reservation - from the Outbank country. The medicine-men, White Grass and Ear Rings, Heavy Breast, Double Runner, Three Bears, Maka, Cream Antelope, and Medicine Weasel, with their families - men, women, and children, the aged and infirm. All eager for the big camp, where they would meet friends they had not seen for a long time, and for the dances that would take place, religious ceremonies, and social gatherings, pleasures.

Gives-To-The-Sun, the wife of Mad Wolf, and Natokema one of her helpers was waiting with their travois-horses while the head-men selected the site for the big camp; where the sun-lodge would be constructed, and the tipi of the fasting woman, the lodges of the Brave Dogs (Indian police), and the places for the different bands.

2001 B Chief Mad Wolf (Siyeh) with his bands from the north, pitched their tipis on the north side of the big flat. Later came Running Crane (Secomб-muckon) with the bands from the south and Two Medicine country. With him were the war-chiefs, Little Plume and Little Dog, Bear Chief, Big Moon, Spotted Eagle, Black Bear, Flat Tail, and Strangling Wolf, with their families and blood relatives or bands.

2002 A They took their places on the south side of the plain as part of the great circle, pitching their tipis together according to bands as was their custom - and so the camp was organized in an orderly way.

2002A Throughout the day visitors arrived from many Indian tribes of the northwest, some coming long distances to attend - Mandans and Sioux from the Dakotas, Flatheads, Kutenais, Pend'Oreilles, and Nez Percé from across the Rockies; Crees and Sarcee from the far north, also North Blackfoot, Bloods, and Northern Piegans; Crows, Cheyennes, and Bannocks from the south. Thus the big camp-circle continued to grow, until it was more than a mile in circumference.

This view of the circle-camp of 1898 faced towards the great plains, which extended eastward hundreds of miles without break - the rolling grass-covered plains and table lands of Montana and the Dakotas.

West was Willow Creek, a small trout stream which rose in the nearby foothills of the Rockies, clear and icy cold, where native trout abounded, and bordered with marshy meadows of luxuriant grass and wild flowers, and thickets of alder and willows. But that was forty years ago, before the white man came. When the old generation of primitive Blackfoot were still alive and their country in its natural beauty, before devestation by the white men and their civilization. Now the great grass ranges have been destroyed, the forests on the slopes of the Rockies laid waste by axe and saw mill and burned by many fires. When I visited the Blackfoot country last summer (1936), it looked like a desert country. Now there are automobile highways, barbed wire fences, gas stations, and hot-dog stands.

Outskirts of that circle-camp of 1898, nearly 40 years ago, showing the well worn race track in the foreground, where the young men of the tribe ran their fast race horses. A level stretch along a low range of grass-covered hills. The head of the course faced the Rockies and extended eastward. On one side prairies covered with dense tussocks of native bunch-grass and wild flowers; on the other side the great circle-camp with hundreds of smoke-colored tipis.

This was an exciting race, and won by a famous Blackfoot race horse
named "Bull Shoe". The young riders were only loin-clothes and moccasins,
and rode fearlessly wild bronchos without saddles, using only rawhide
ropes through the horses' mouths for bridles - the Blackfoot were natural
horsemen and racing their popular sport - they loved excitement. A crowd
at the finish wagered horses, robes, and blankets. I took this view near
the start and head of the track, facing the Rocky Mountains.

I shall never forget those Blackfoot circle-camps in the early
summer, when nature was at her best. The great ranges of native bunch-
grass on the hills and plateaus - the rich flower meadows in the lowlands.

The herds of sleek well-fed horses grazing over the hills, the gay
colors of painted tipis with blue smoke rising from their tops, the primitive
sports and industries of the Indians, their ceremonies and social dances
with singing and beating of drums. Here was the real life of the
American wilderness. But now it has vanished forever before our white
civilization.

This was my traveling-tipi which I used in some of the camps, also for expeditions on the plains and in the mountains, because it was light and easy to handle. It was well known in Blackfoot camps because of its pictographs of war and hunting. I explained them in a former lecture. My place in the tribal camp was with the band of Chief Mad Wolf - among his family and relatives. I had my own horses and equipment, and with my meras and note books, and my own cooking, I had plenty of work to do.

One evening when the tipis were lighted by their inside-fires, Elk Horn, herald of the Brave Dog Society, the police of the camp, rode forth with a standard of eagle feathers and announced the "Káisipaiks" (Grass Dancers or Hair Parters) would hold their ceremony next day; they invited everyone to come. The circle-camp which took place but once a year, was the best place to see the dances of the Blackfoot and their religious ceremonies too. It was the only time when the tribe came together. Some of the people came to fast and pray, but most of them for social enjoyment, to see their friends and have a good time - to attend the many dances, ceremonies, and social gatherings.

The Grass Dancers was an association of young men. They held their meetings through the winter months, and a public ceremony in ### summer at the time of the circle-camp. Anyone who had a suitable dance outfit could take part. Both young and old, men, with no restrictions as to numbers, took part. There were no restrictions as to numbers. They had four unmarried women as members, who rode around the camp circle with them at night, two on a horse, when they sang together riding songs and night songs.

The drummers opened the ceremony of the Grass Dance, by taking their places near the unfinished structure of the sun-lodge (left). They beat steadily and in perfect rhythm on drums that gave out a deep and mellow tone - the signal it was time for the members to assemble. Scattered about is the material for building the sun-lodge - poles and heavy timbers and cottonwood branches, brought from Cutbank Valley by the Brave Dogs.

Then the dancers began to come and many spectators from all parts of eamp - men, women, and children. One of the features of the Grass Dance, was the fine costumes of its members. They were especially proud of their beautiful costumes. Medicine Wolf and Night Rider had suits of soft-tanned deerskin, heavily beaded over shoulders and arms, with leggings to match and trimmed with black-tipped strips of ermine. War signs were painted on the leggings and shirt of Medicine Wolf, while Night Rider wore a blue beaded necklace of many strands and carried a tomahawk. The tomahawk, sword, and belt, belonged to the regalia of the Grass Dancers. These two young men were known as "partners." They always did things together, and followed each other in the dance. If one were killed in battle, the other would die also. This close relationship (called otákayi "partner", or "his comrade of the same age").

Two more Grass Dancers arriving. The first in a stand-up war bonnet of eagle feathers, the other in a headdress of colored horsehair and poruupine skin, a necklace of blue beads and shield of eagle feathers.

Kattana in deerskin costume heavily beaded, a necklace of many
strands and hair stiffened with paint and dressed to stand in a topknot.
The marks on his costume were war signs and painted decorations on
forehead for stars.

Night Gun, with a ~~magnificent~~ war bonnet of selected eagle feathers
tipped with red horsehair, and costume of deerskin heavily beaded and
trimmed with ermine.

Night Gun (rear view), to show his deerskin costume, beautifully tanned and whitened; it looked like the finest chamois. And decorated with broad strips of colored beads in geometric design - black tipped ermine over shoulders and arms, and leggings and moccasins to match with red lines for war signs. Night Gun had a regal appearance in this beautiful costume, which was made by his young wife who was famed throughout the tribe for her industry and skill in all the arts of the women.

Little Plume, the last of the great war-chiefs. His headdress was a large foxskin, the tail hanging down behind and eagle feathers standing erect. He arrived with his blanket wrapped closely around him and carried a rifle. The next picture shows him in costume with blanket removed, after entering the dance.

Little Plume seated in the dance circle. His deerskin war shirt was decorated with bands of colored beads and painted war signs of brave deeds, and trimmed with long strips of black-tipped ermine. Wound about his head was a foxskin decorated with downy plumes and eagle feathers, the fox tail hanging down his back. [Little Plume was a handsome man of fine features and held himself like a chief.] I knew him as a man of fine character, liked and respected by all the people, brave in war, yet kindly, and moderate in his habits.

Duck Head, In headdress of curving horns, with blue-beaded
head band and decorated on top and sides with ermine.

Elk Horn, herald of the Brave Dogs, making an announcement.
The eagle feathers for his hair were attached with a sort of harness.
His deerskin shirt decorated with war signs and had weasel tails and
white shells attached.

Wolf Plume, a tribal judge. In a necklace of many strands and
white shells attached, and vest of elaborate needlework.

Big Beaver, a fine-type, with broad shoulders and deep chest -
strong and well built, like the Blackfoot of former days before contact
with white men.

Bird Rattler. In a fine costume heavily beaded and covered over
shoulders and arms with ermine tails. He had a buffalo-hide shield
decorated with eagle feathers. Among the Blackfoot, buffalo-hide
Shields were treated as medicine bundles. Their decorations were
symbolic and they had rituals that went with them.

Dancer in weasel-tail suit. The red marks on his shirt were war signs,
marking the number of horses he had from enemy camps. Formerly these
weasel-tail suits were worn to war. They were regarded as a medicine
bundle, cared for and transferred according to a definite ritual. He
wore what was known as a "straight-up" war bonnet. It also was looked
upon as "medicine" and was transferred with a ritual.

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Powder Bull in a deerskin costume of colored quill work. Quills were used by the Blackfoot before glass beads and was the early form of decoration. They were laid in rows or bands, and the designs worked out by changing the color of the quills.

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Wife of Red Fox coming to the Grass Dance with her daughter Sistsi (Small Bird). The little girl and the colt were playmates, it followed her about the camp like a dog. The Buffalo and Otter tipis in background and ROCKIES IN DISTANCE.

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Many children were at the dance. The two sisters Blue Snake and Green Snake Woman came hand in hand. They were dressed in conventional children costumes.

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A small boy with his sisters. He wore a bonnet of curving horns, in imitation of his father, and a miniature weasel tail suit. The girl in blue had her dress decorated with elk teeth, which formerly represented wealth among the Blackfoot.

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This small boy with two front teeth missing, had an amulet in his front hair which contained the navel-cord. It was placed by his mother in a small buckskin bag painted red and decorated with beads. She believed it would ward off evil from her child.

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An aged man and his favorite grandson.

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A little girl with her dog friend, Soyisksi (@wly)

When the Grass Dancers were assembled, they sat in a large circle
by the unfinished sun-lodge on right. The drummers in the center, with
drums of different colors, made from skins over a broad frame and well
stretched so as to give a deep and mellow tone. They used single drum-
sticks and beat time with spirit. Young men were chosen as drummers,
not only for their skill but also for their good voices as singers.
They sang in unison, rhythmically and in time with the beat of their drums.
The dancers in fine costumes sat with their regalia before them on the
ground. Some had feathered crooks, bows, arrows, mirrors, swords, belts,
tomahawks, and other weapons. Some were naked except for loin-cloths
and moccasins; others wore fringed and beaded leggings, buckskin shirts
and ornaments.

There were many different dance figures, and all had meanings.
In this dance only warriors took part. They wore beautiful dance-moccasins
covered solidly with colored beads or porcupine quills. Strings of bells
were strapped about their legs, which jingled rhythmically in time with
the singing and beating of drums.

This figure with five dancers in line, was for brave warriors who were known, never to have run from an enemy or turned back in a fight.

A dance for warriors who escaped from their enemies after being surrounded in battle, when they thought their time to die had surely come.

This dance was for generous men only - those who had a reputation for being open handed and were known to give freely of their possessions - property such as horses or robes, and shared meat from their successful hunts.

A band of Blood Indians from Canada, giving their Grass Dance. They were visitors in the camp and distinguished for their fine costumes. They had heavy blanket suits with broad stripes in yellow, blue and red, decorated with moccasins, war bonnets of selected eagle feathers. They carried feathered wands and beaded gun cases of deerskin. They were young - a fine looking band, with lithic musular figures, dancing gracefully with an easy careless air, and had the haughty military bearing of warriors.

There was a special dance for warriors who had been wounded in battle. Here, Wolf Eagle who is in the lead, had lost his right arm in a fight. He danced with spirit, carrying the decorated bone of his missing arm. He wore a war bonnet with horns, a weasel-tail suit with keggings to match and dance moccasins of solid beadwork.

Another dance with Wolf Plume in the lead, was for warriors who cut ropes in stealing horses from enemy camps in the dead of night. In all these grass dances enthusiasm for war was evident, and honor for men who had done brave deeds.

In this figure the dancer at left was called "A'pistoke" (Behind-The-Ear). He danced holding his gun ready to shoot, making known one of his brave deeds in battle, when he made a good shot and hit an enemy behind the ear. For that deed he was named A'pistoke (Behind-the-ear). In this grass dance he went through the motions. Throughout the dance, the drumming was a continued booming that did not break, growing faster and faster, sometimes loud and then soft, until it suddenly ended with a crash and a chorus of warwhoops. These grass-dance songs were popular in the camp and were used by the night-singers, as they rode through the circle-camp on moonlight nights.

A nearer view of the leaders of the dance and banner of eagle
feathers, which marked the leader's seat.

The leader always opened the dance. He were a fine costume.
Across shoulders and along the arms of his weasel-tail suit, were
broad strips of colored beadwork - war signs painted on his war shirt.
He moved about the circle as leader, striking the warriors with a
feathered wand like a whip and drove them to join in, going through
motions in his dance of whipping any who lagged behind. It was his
duty to lookout for strangers. And I saw him on the alert to see
that women and children had seats.

Another near view showing the fine costumes of the Grass Dancers.
Before them on the grass, lay the regalia, they carried in the dance -
decorated pipe and tobacco bags, bows, and arrows, tomahawks, and gun
cases covered with colored bead work and porcupine quills.

a
Another section of dance-circle, showing the different ways they
had of dressing the hair, also their head ornaments.

Bad Married, a grass dancer, in a horned headdress and weasel-tail
suit. Note the broad band of beads along arm in geometric design and
the combination of colors.

On the same day, Horse Dances and Sham Battles of former fights
with hostile tribes, were taking place - dances by warriors both on foot
and on horses. Their function was to excite the people both old and
young for war - to stir up enthusiasm for war and make young men eager
to fight.

This sham battle on foot, represented a well known fight between
Crow Indians and Blackfoot. This band which represented the Crows
was led by Flat Tail, a chief of the old generation. Many famous
warriors of the old generation took part.

Little Dog was the war chief of this band. In foreground, in deerskin suit decorated with porcupine quills. Morning Eagle, an aged warrior with white hair next, and then Little Dog, the war chief. In the sham battle this band represented the Blackfoot. These two war parties, representing Crows and Blackfoot, advanced slowly towards each other, singing war songs and beating drums.

Another sham battle on foot by the unfinished sun-lodge. Here
famous men of the old generation took part - White Calf, the head-chief
(left), with gun; Mad Wolf (Siyeh) behind him, then Double Runner
stooping; Middle Calf, and Brockey.

Another band of famous chiefs of the old generation +1 Horn (right),
Brockey, White Calf the head-chief, Middle Calf, and Double Runner (Left).

Horseback Dancers assembling for sham battle, dressed in fine
costumes and their horses painted for war. These dances were given
to stimulate courage before starting for war.

They had the tails of their horses tied up and painted with war
signs. Some had horse-bonnets, others beaded bridles with cross-bar
sticks decorated with feathers. The riders dressed in fine costumes, put
on war paint and carried war bundles - shields, lances, and horned
headdresses.

First, the horseback dancers gathered on a hill outside the camp.
Then rode with war cries into the circle. Little Plume, the war chief,
in the lead. Their horses painted and tails tied up for war.

They circled round a group of men and women who represented a
hostile camp. They gave their war cries and fired their guns as they
rode. Little Plume, the war-chief (left), on his white war horse.

Another view of the attack on group in center, the riders circling
shooting their rifles - Little Plume their chief on white war-horse
in foreground.

A near view of Little Plume, the famous war-chief, showing his
stand-up war bonnet of eagle feathers; and fine costume of deerskin
covered with ermine and beadwork. A striking figure on horseback,
that war-chief of the old days - a handsome man with fine features,
a brave warrior, yet temperate and kindly. I knew him through many
years.

Horseback dancers in another sham battle - reacting out a fight of former years with a hostile tribe.

Horseback dancers riding at a galop in sham battle. Little Plume, the war-chief on white horse in center foreground.

Horseback dancers as a victorious war party (returned to camp), riding around the circle, singing a war song in unison. Little Plume in the lead with horse painted red, and wearing a large foxskin wound about his head with eagle feathers. In center of group is a sacred Lance with eagle feathers attached and painted red, which was carried to war as a medicine bundle, because of its protective power.

A crowd gathered to see the Kissing Dance which took place inside a tipi. It had more of a social than ceremonial nature and was popular in the camp. In the dance women chose their partners. People were always interested to see the men who were the favorites with the women. The men stood on one side of the tipi, the women on the other. The lines danced backwards and forwards, until they came close together and a woman chose her man. A blanket was thrown over their heads and they kissed. Then danced together between the rows. For this the man gave the woman a present. Sometimes the Kissing Dance caused trouble, because married women took part and chose their favorites among the men, in spite of their husbands.

The Scalp Dance was given after a victory. And was held only
when men on the enemy side had been killed. Anyone could take part.
In the Scalp dance
Women danced as men in men's war shirts and braided their hair like
men. Brave warriors who had killed an enemy in battle, were led around
the camp on horses by old men who sang songs of cheer and praise.

On a clear moonlight night in the circle-camp, a party of young
men gave a Begging Dance. In their rounds, they stopped at my tipi.
They sang and drummed, expecting me as the owner to give them
presents. It added to the prestige of every lodge owner in the camp,
to have a reputation for generosity and open-handedness. After I gave
them food and tobacco, they went off to dance at another tipi.
It was customary, in this way, for a party to visit four places
during an evening, and then disband for the night.

The Black-Tail Deer dance was a cult. Its chief function was to charm the
game and make the capture of deer easy. Before a hunt, the black-tail
deer dance was held, so the members might dream where the game would
be found. The ceremony was introduced recently from the Kutenai
dancers. Its regalia included deer hoofs and tails, and a pair of
rabbit ears which were worn on the head to give speed and endurance.
An interesting feature of the ritual was use of hypnotic power.

The Night Singers were in the nature of dancers. They had special
songs for the occasion, although sometimes grass dance songs were
used. There were different groups who rode around the camp-circle on
moonlight nights, two on a horse, singing to an accompaniment of
jingling bells, in time with the slow trot of their horses and gave
shouts at the end of each song. They usually went around the outer
edge of the circle-camp, making many rounds and continued until
daylight.

# The Dancing Pipe

Elk Horn, herald of the Brave Dogs, rode around the camp-circle and announced that White Grass, the medicine man, would take out his Dancing Pipe; he invited everyone to come; it was one of the oldest and most powerful of the Medicine Pipes. Next day many people gathered about the lodge of White Grass, to witness his ceremony of opening the Pipe.

Many took part in the ceremony, both men and women. They came dressed in their best, each carrying some sacred object to which they prayed. They saw White Grass in the ceremony, remove the wrappings from the Pipe, one by one, each with songs and prayers, until at last the long stem was exposed to view, wrapped with fur and decorated with eagle feathers and bright colored plumes.

The drums then sounded and White Grass reverently lifted the Pipe. He held it first towards the Sun and prayed for all the people; then towards the earth; north and south; east and west. White Grass held the Pipe with its long decorated stem before him, and began to move with slow dance step in time with the beating of drums by the musicians. You see him here dressed in a foxskin cap and clothes of deerskin. Holding the Pipe before him, he waited for the people to fall into line behind him. They came from all parts of the big camp, with faces freshly painted and in their best clothes.

The old medicine man began a song to the beating of drums, in which everyone joined. Then led the foldowers of the Pipe in a long, snake-like procession in single-file, dancing slowly and deliberately, weaving in and out among the lodges.

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Many came to watch the long line of men and women following the Dancing Pipe. The dancers wore their best costumes and each held some sacred object to which he prayed. In the foreground are two riders on the same horse - Red Fox and his sweetheart who were following the line of dancing singing people.

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which
This shows the long line of dancers, ## stretched from one side of
the big camp to the other. White Grass, the medicine-man, with the
drummers in the lead; everyone in the line held up some sacred object -
the skin of a bird or wild animal to which they prayed as followers of
the Dancing Pipe.

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They all enjoyed this ceremony; and during intervals for rest,
they stood laughing, talking, and joking in a light-hearted way.

1071

Here the dancers had completed the circuit of the camp and the
ceremony was finished. White Grass at the head of the line had now
disappeared into his tipi and the drummers stood to one side. Then
the people separated to their lodges, to resume their occupations and
change to every-day clothes, all feeling better for having taken part in
the ceremony of the Dancing Pipe.

23

The Medicine Pipe

One night while wandering among the tipis, I happened upon a strange and interesting ceremony. I saw two medicine-pipe scouts moving stealthily from lodge to lodge trying to find a victim. Lone Chief the owner of a Medicine Pipe had called in his friends secretly and announced his intention of selling his bundle. He decided upon one or more, choosing prominent men who had much property and would be able to pay him well.

The owner of a Medicine Pipe could force a man to purchase, provided, as they expressed it, "they could catch him with the Pipe." That is, if they could find him asleep or unawares, and touch his shoulders and head with the Pipe, he dared not resist; because ill luck and death were the penalties for refusing a Medicine Pipe.

Lone Chief first chose Big Spring as a victim, because he was well off and also had a swift hace horse, which he hoped might be included among the gifts. But Big Spring had warning that Lone Chief was after him. He did not want the burden and care of a Medicine Pipe. So he stayed away that night from his tipi. He slept out on the prairie, and the scouts could not find him.

At early dawn I heard the sound of drums, with shouting and singing coming from the Fat Melter band, and knew that at last Lone Chief had caught some one with his Medicine Pipe. The band of Fat Melters was so named (Ich'puchsimaiks), because they all liked to eat fat and were always melting fat. Then a drum was heard, as Elk Horn the herald rode forth to waken the people. He shouted as he galloped among the tipis: "You Fat Melters! Hurry! Get up and cook breakfast. Wolf Plume has been caught by Lone Chief with his Pipe. Do not delay for the sun will soon rise. Let everyone come to the ceremony at the lodge of Wolf Plume."

I dressed quickly and made ready my cameras. When I went forth
from my tipi, a bright morning star was rising in the east over the
prairie. In the dim light of early morning, I saw a crowd gathered
at the Lodge of Lone Chief. Then the drums began - the signal that
Lone Chief and his followers were coming forth with his Medicine Pipe.
Though the sun had not yet risen and the light weak, I followed them as
they marched through the camp with Wolf Plume, and secured photographic
records (of this unusual and interesting ceremony.)

This is the first exposure I made in that dim light of the
Medicine Pipe Men, an early morning in July, 1965 - the sun had not
risen. Wolf Plume, the prominent chief, who was caught by the scouts
of Lone Chief, is on the right with a feather in his hair and carries
the Pipe before him. Lone Chief who had forced the purchase and was
giving up the Pipe on the right of Wolf Plume. Behind them came the
drummers and singers, and the women who bore the bundles and ceremonial
clothes that went with the Pipe. I know of no other white men who has
ever witnessed or made picture records of this "forced purchase" of a
Medicine Pipe. I had a fact lens for those days, and was able to get
that dim light of early morning - I took the precaution to attach a
fast lens to my camera for the occasion.

A near view of the same group of Medicine Pipe Men. It shows the
front line with Wolf Plume (right), the victim, carrying the Pipe, and
Lone Chief who gave up the Pipe, and then the scouts who caught Wolf
Plume asleep in his tipi. All were wrapped in their blankets, for the
air of early morning at that high altitude was cold. Wolf Plume wore
a decorated band with an eagle feather round his head - used only by
the Pipe owner. On his left, his wife First Strike carrying articles
that went with the Pipe. Lone Chief on Wolf Plume's right, and then
another member carrying eagle-wings and owl-wings, which had a prominent
place in the ceremony.

By the lodge of Wolf Plume stood his old mother, bent with age
and leaning on a staff. When she saw her son carrying the Medicine
Pipe and heard the singing and drumming, she was so overcome with
excitement and joy, she waved her stick in the air; she joined the
singing and shouted: "Good boy! Wolf Plume! Good boy, Wolf Plume,
my son! You are now a great chief!"

Another picture of the Medicine Pipe Men, showing the front line
entering the lodge where the ceremony of transfer would take place.
In foreground is the man with the eagle and owl wings. Next to him
Lone Chief, then Wolf Plume with the Pipe. Behind them the wife of
Wolf Plume with the Pipe Bundle. By this time throngs of people from
all parts of the big camp were on hand to see them enter Wolf Plume's
tipi with the Medicine Pipe and its bundles.

A near view of the women entering the tipi with chanting and
beating of drums. Eto-mowaki, wife of Wolf Plume, came first with
a medicine bundle painted red. Then the wife of Lone Chief with the
red-painted tripod sticks which went with the bundle. Wolf Plume was
well off and paid Lone Chief a large price for his Medicine Pipe.
He was generous and gave a band of forty horses, and besides a large
pile of blankets, provisions, and clothing. Tearing Lodge, the
father-in-law of Wolf Plume received the presents from friends and
relatives which were also turned over to Lone Chief. I heard my
present - a blanket of bright colors - announced by Tearing Lodge with
the rest.

An interior of tipi, taken before sunrise, showing the principals
in the transfer ceremony and the arrangement of Medicine Pipe Bundles.
Wolf Plume wears the ceremonial headband of decorated goatskin with
an eagle feather, and a warm blanket about him, for the early
morning air was still cold. During this transfer Wolf Plume as the
purchaser was stripped of his clothes and provided with others by
Lone Chief, the giver-up - a fine suit of deerskin with beaded bands
and trimmed with ermine tails, and leggings and moccasins to match.

The ceremony of transfer began with the sun still low over the
prairie. Its first golden rays streamed into the open door of the lodge
and fell upon the men-singers with their painted medicine drums. They
sang the chants and drummed - seated on the left of Wolf Plume, with
the women across from them. Throughout the long ceremony many dances
were given, in some they imitated the actions of birds and wild animals,
grizzly bear, elk, buffalo, antelope, also crane, eagle, swan, and many
others.

For the grizzly bear dance, the drummers sang the words, "In the
spring I grow restless." In this dance Lone Chief imitated the actions
of a bear coming from its winter den, and sang while he danced around
the tipi, "I wander in summer.". After that they sang bear songs, while
Lone Chief danced like a bear, holding his hands as a bear does its paws,
moving backwards and forwards with short jumps and breathing hard like
a bear in action. He also imitated the akward motions of a bear
running, digging in the ground and turning over stones for insects.

During the Swan Song, Bear Child danced alone, representing the chief swan, the leader of the flock. He made the swan sign with his hands and imitated a swan flying. Thus the ceremony of transfer continued throughout the day and came to an end with singing the Good Luck song for Wolf Plume, the new pipe owner, which thereafter he must always sing if he wanted anything badly.

After sunset, Lone Chief and his wife led the new pipe owners (Wolf Plume and his wife) outside the lodge. They faced the four directions in turn and sang:

**(Towards the West)**

"Over there, towards the sunset, are the mountains.
May you see them as long as you live.
From them you will get your sweet pine as incense."

**(North)**

"Over there, is the star-that-never-moves (Pole Star)
May you live to see the star for many years."

**(East)**

"Over there, you will get old age -
From the east comes the light of the Sun."

**(South)**

"Over there, are warriors coming with scalps.
May the warm winds of the south bring you plenty of food."