DBNIO] THE ASSINIBOIN 563 



of exhibiting their force as a body; and in the presence of strangers 

 or visitors to count their coups or when a war party is in contem- 

 plation, with the intent of stimulating the ardor of the young to 

 follow them to battle. They must have some object to dance for, as 

 they are not men to expend much time merely for the sake of amuse- 

 ment and display; besides their characters and acts are so well 

 known as to need no repetition. 



Their costume is as nearly as possible that of warriors equipped 

 for battle. From the nose up their faces are painted a bright red. 

 and from thence down to the neck a jet black. The dancers form 

 the ring on foot but are attended by a guard of mounted soldiers, 

 dressed in very gay battle array, who ride round outside the ring 

 all the time, striking, and keeping at a respectful distance either 

 man or beast that is found in the way. A select band of drummers 

 and female singers is chosen and placed apart, who having struck up 

 the song, the. dance is led off by a soldier alone, who moves out by 

 short steps toward the center of the circle, is soon joined by all the 

 rest, jumping and keeping the time, which round concludes with a 

 loud yell and discharge of firearms, and the one who led off the dance 

 counts his coups on his enemies in the manner before related. This 

 is also accompanied by taps on the drum denoting the number and 

 value of the coups and the speech, honored with a general shout of 

 approbation. 



The warrior resumes his place, another leads off, and the same 

 behavior is repeated until all get through, the whole ending with a 

 feast of dog meat given by the chief of the soldiers in the Soldiers' 

 Lodge, to which the strangers, if any in the camp, are invited. This 

 is the most imposing and warlike dance they have, and is well cal- 

 culated to inspire the young with a desire for glory. Their dresses 

 and appointments are very gay and complete according to their rank, 

 their gesticulation and oratory fierce and bold. 



White Crane Dance (Pai-iiux-ghe-naii Waii-che). — There is no 

 band of this name, but the dance is got up by some divining man, most 

 probably for some begging purposes. He is the principal figure, be- 

 ing painted yellow and wearing a dressed elk-skin robe on which a 

 large two-headed crane is painted. The costume of the others is 

 whatever their fancy dictates, and, of course, they put on the gayest 

 attire they can afford. The dancers are young men of any and all 

 kins who choose to take part, except women, who join the chorus. 

 The evolutions are different from any of the rest, as also the song, but 

 can not be described so as to be understood. The only one who 

 speaks during the performance is the divining man, and the tenor 

 of his speeches differs according to his object in introducing the 

 dance. 



