PKNSMonH] TETON PIOUX MUSIC 125 



light; and black was used for evorything associated with night, even 

 the moon being painted black because it belonged to the hours of 

 darkness. (See p. 77, footnote.) 



Siya'ka (Teal Duck) stated that when he took part in the Sun dance 

 his face and body were painted yellow, with dark-blue lines extending 

 down the arms and branching at the wrist to lines which terminated 

 at the base of the thumb and the little finger. Similar lines extended 

 down the legs, branching at the ankles. There was also a dark-blue 

 line across his forehead and down each cheek. A black deer's head 

 was painted over his mouth, the man who painted him saying that 

 this decoration he used because the deer could endure thirst for a 

 long time without losing its strength. On his chest was painted a 

 red disk representing the sun, and outlining this disk he wore a hoop 

 of wood wound with otter fur and decorated with four white eagle 

 feathers tipped with black. (See p. 139.) On his back was painted 

 a dark crescent representing the moon. Bands of rabbit fur were 

 worn around the wrists and ankles. 



Those who took part in the Sun dance wore their hair loose on the 

 shoulders after the manner of men who had recently killed an enemy, 

 A lock of hair was tied at the back of the head and to this was fastened 

 upright a white downy eagle feather. Small sticks about 8 inches 

 long were also fastened in the hair, four being the usual number. 

 These sticks were decorated with porcupine quills, beads, and tassels. 

 (Fig, 22.) A dancer was not allowed to touch his body during the 

 ceremony, the decorated sticks being taken from his hair and used 

 for that purpose. 



No moccasins were worn by the dancers. Each man wore a white 

 deerskin apron {nite'iyapeJie) , which was fastened at the waist 

 and extended below the knees both front and back; he had also a 

 robe of buffalo skin in which he was wrapped while going to the 

 Sun-dance circle and returning to his lodge. A whistle was hung 

 around his neck by a cord. This whistle was made of the wingbone 

 of an eagle, wound with braiding of porcupine quills and tipped 

 with a downy white eagle feather fastened above the opening so 

 that the breath of the dancer moved the snowy filaments. The 

 mouthpiece was surrounded with fresh sage. The man blew this 

 whistle as he danced. The instrument (illustrated in pi. 18) was 

 decorated by the woman who decorated the Sun-dance pipe.^ 



After being painted and arrayed, the men who were to take part 

 in the ceremony assembled in the dancers' lodges of their respective 

 bands and awaited the summons of the Crier, 



1 The bone of this whistle was identified at the U. S. National Museum as the ulna of the golden eagle 

 (Aqiiila chrysaetus). The specimen is thus described by Mr. E. H. Hawley, curator of musical instru- 

 ments: " Length, 8 inches; average diameter, /j inch. It has a triangular sound hole, its apex toward the 

 lower or open end, wliich is 4/, inches distant. To the lower end of the whistle is sewed with sinew a 

 fluffy eagle feather 13 J inchas long. This feather grows under the tail-feathers of an eagle. " (Cf. p. 98.) 



