116 BUREAU OF AMERICAN ETHNOLOGY [bill, ci 



Around the pole-bearers circled the young men and women of the 

 tribe on their ponies. It was the custom of the young people to 

 decorate their ponies with trailing vines and to wreathe the vines 

 around their own bodies. They made hoops of slender branches, 

 with crossbars like the framework of a shield, and on this they draped 

 vines and leaves, thus forming a striking contrast to the dignified 

 procession of pole-bearers. 



Four times on the way to the camp the pole-bearers were allowed 

 to rest. (See p. 74.) The signal for each halt — a -throbbing caU 

 begiiming on a high tone and descending like a v/ail — was given 

 by the Intercessor. At this signal, the pole was lowered for a few 

 moments upon crotched sticks provided for the purpose. 



The sacred pole was brought into the Sun-dance circle as it had 

 been carried, with the top in advance. As the pole-bearers walked 

 across the circle the medicine-men cried, "Now is the time to make 

 a wish or bring an offering." The people crowded forward, shouting 

 and offering gifts of various kinds. So great excitement prevailed 

 that no one knew who brought a gift, and a man could scarcely hear 

 his own voice. 



The Intercessor then prepared the sacred pole, first removing the 

 rough outer bark, fragments of which were eagerly seized and carried 

 away by the people. After the pole had been made sufficiently 

 smooth, it was painted by the Intercessor; native red paint or ver- 

 milion ^ was used. The pole was painted in perpendicular stripes, 

 beginning at the branch where the cross bar would be fastened and 

 extending to the base. 



As the Intercessor painted the sacred pole, he sang the following 

 song, which, like the other songs pertaining to his ceremonial office, 

 was sung alone and without the drum, the people listening attentively: 



> On the Standing Rock Reserval ion is found a yellow ocherous substance which, after being reduced to a 

 fine powder, is used by the Indians in making yellow paint. This substance, when treated by means of 

 heat, yields the vermilion used on all ceremonial articles as well as in painting the bodies of the Indians. 

 The baking of this ocherous substance — a process which requires skill— is done by the women. First, the 

 substance mixed with water is formed into a ball. A hole is dug in the ground in which a fire of oak bark 

 is made. When the ground is baked, the coals are removed, the ball is placed in the hole, and a fire is built 

 above it. This fire is maintained at a gentle, even heat for aliout an hour, which is sufficient for theamount 

 of the substance usually prepared at a time. The action of the heat changes the color of the substance to 

 red. When the ball is cold , it is pound ed to powder. In the old days this red powder was mixed with buffalo 

 fat in making the paint, but at the present time it is mixed with water. "White, black, and blue paints were 

 obtained by mixing colored earthy substances with buffalo fat. The blue was found in southern Min- 

 nesota (this required no treatment by heat), and the white and black in Dakota. (Seep. 173,) It is said 

 that white paint was preferred for the painting of horses (see p. 353) because it was a " genuine color," 

 and also because other colors could be applied to advantage above it. Brown earth is mentioned in song 

 No. 62. The symbolisms of various colors.used in paint are noted on pp. 77 and 124. 



