DEN$MORE] TETON SIOUX MUSIC 387 



contains all the tones of tho octave except the second and has a 

 compass of an octave. Tho second count of the rhythmic unit is 

 divided in three different ways, giving variety to the rhythm of the 

 sons as a whole. Three renditions were recorded, which are identical. 



Songs Accompanied by Native Drawings 



Four men contributed their drawings to this section of the work. 

 Their names are Jaw, Eagle Shield, Swift Dog (Sur)'ka-lu'zahar)), and 

 Old Buffalo. Tlio work of each man has certain characteristics apart 

 from the pecuhar outhnos of his sketches of men or horses. Thus in 

 the drawings of Jaw, most of the incidents concern the capture of 

 horses and the numbers of the enemy are not shown, while in those of 

 Eagle Sliiold the latter feature is clearly indicated, the work including 

 more detail than the drawings of any other native artist except per- 

 haps Old Buffalo. Several rescues are shown in Eagle Shield's work 

 and none in that of any others. The coup stick appears frequently 

 in Swift Dog's drawings, but in none of the others. 



There is a difference in the part of the sheet on which the drawing 

 "begins." This is determined by the narrative, as an observer 

 would not know which sketch the artist regarded as the opening of 

 the scries. 



The mamier of dehneating the Crows and the Assiniboin is similar 

 in all the drawings, they being distinguished by the upright hair on 

 top of the head. 



The man who gave the material in the next succeeding pages 

 is commonly known as Jaw (Cehu'pa), plate 59, a name which he 

 received from a white brother-in-law. His childhood name was 

 Ma'za-ho'wa^te (Loud-sounding Metal), and at the age of 17 he 

 was given the name of Oki'cize-ta'wa (His Battle), which is his true 

 name at the present time. He was given this name after taking part 

 in a fight for the first time. He had been out with a war party 

 once before and had stolen horses, but this was his first experience in 

 actual warfare. On being asked his connection in the tribe, he 

 replied: "I am of two bands. My mother was a Gi'gilas'ka, a divi- 

 sion of the Hunkpa'pa band, and my father was a Sans Arc, of the 

 To 'tor) war)." He said that he was 63 years of age at that time 

 (1913), and when asked the year of his birth, he said that he was 

 born in the year known as Ke woyu's'patawani'yetu, 'winter that 

 Turtle Catcher died.' On consulting the picture calendar (see p. 69) 

 this year was found to be 1850. 



As a further test of his memory Jaw was asked to name several 

 succeeding years of the picture calendar of the Standing Rock 

 Sioux. He did this with accuracy except for a different naming 

 of one year. On reaching the name of his seventh year he added. 



