tag:blogger.com,1999:blog-10213583739122761112024-03-09T06:27:42.944-06:00The First Scout: Ocheti Shakowin History & CultureA blog about the history and culture of the Great Plains.Dakota Windhttp://www.blogger.com/profile/10758878480652658779noreply@blogger.comBlogger244125tag:blogger.com,1999:blog-1021358373912276111.post-49801222820933430922024-02-27T16:00:00.000-06:002024-02-27T16:00:11.580-06:00Flowers Speak Again in Inspired Dakota Floral Alphabet<div class="separator" style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3s9Gs7rvN59hgZnqbgo-Gw7vc-MBMcs2-wvrgyUU5X-odNYz0ERmXS-Od_yTvh-PQ3t6j9Av-PhBsZ7Bu4Rm5ryEMLTVsZOdDEEdDHR5l2sLoa5AaNCqWwr5U6dZRzBiFlr7mszC2Nu12HD8uCUp00t3W9l4slyQgfMM_RbXSMDEw51YhzDio51pYocBP/s3301/First%20Flute%20Song.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3s9Gs7rvN59hgZnqbgo-Gw7vc-MBMcs2-wvrgyUU5X-odNYz0ERmXS-Od_yTvh-PQ3t6j9Av-PhBsZ7Bu4Rm5ryEMLTVsZOdDEEdDHR5l2sLoa5AaNCqWwr5U6dZRzBiFlr7mszC2Nu12HD8uCUp00t3W9l4slyQgfMM_RbXSMDEw51YhzDio51pYocBP/w400-h400/First%20Flute%20Song.jpg" /></a></div><span style="font-family: arial;"><i>The First Flute Song (above) is written in the Dakhóta Floral alphabet. The song was sung by the late Kevin Locke.</i></span><div><span style="font-family: arial;"><i><br /></i></span><div><span style="font-family: arial; font-size: x-large;">Dakhóta Floral Iyá<br /><i>Flowers Speak Again</i></span></div><div><span style="font-family: arial;">By Dakota Wind<br /><br /><span style="font-size: medium;">Long ago, the Ochéti Shakówiŋ said that the flowers used to speak to people. When they walked by the Prairie Rose she used to call out "Haŋ!" A bashful flower, she stopped greeting the people when they didn't hear her or ignored her. </span><br /><br />The Ochéti Shakówiŋ revered the flowers of their traditional homelands from the lakes and woodlands to the vast open plain. Many of their traditional medicines are taken from plants and bushes that blossom. Flowers were never picked just because they were beautiful. They also say that the rainbows are the spirits of last season's flowers. They beautify places and make the air sweet. <br /><br /><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5cwK-qLgUIcnRWOCVfmj0IhfOOSeivRe-Hz8vCDfmSwia56Dy2pQMAZQNxefjpqbrQmVqEbobyq4QLxvJg6OPJjAWy-vH9xeM0rLKWE0m2CJtdkGuDkQX4b2Bv-Mpop0a8y4337mJuwwcEjgKpnn-rqkxRMsC6ZmXghDWpWv19DD5S8atL2SF0QnaugRj/s1652/IMG_2273.PNG"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5cwK-qLgUIcnRWOCVfmj0IhfOOSeivRe-Hz8vCDfmSwia56Dy2pQMAZQNxefjpqbrQmVqEbobyq4QLxvJg6OPJjAWy-vH9xeM0rLKWE0m2CJtdkGuDkQX4b2Bv-Mpop0a8y4337mJuwwcEjgKpnn-rqkxRMsC6ZmXghDWpWv19DD5S8atL2SF0QnaugRj/w309-h400/IMG_2273.PNG" /></a></div><div style="text-align: left;"><i>A guide (above) explains the flowers used to construct the Dakhóta Floral alphabet. </i></div><br />In August 2021, I was inspired by the revival of the Dakhóta Floral tradition in beadwork, quillwork, ribbon dresses, and graphic media. One night I dreamt of flowers too. I sketched out flowers and vines in a linear fashion left to right but the execution never seemed natural. Then a reader contacted me about the direction of thought and communication. Dakhóta Floral patterns are stacked. It became obvious that I needed to change the direction to capture the design elements of this tradition. It needed to be vertical.<br /><br />It may seem impractical to have complicated characters representing sounds in this alphabet. The designs and patterns in Dakhóta Floral are thought out and reflected upon, however, and are carefully applied in practice onto the medium of leather, paper, cloth, etc. It is a mindful practice to beautify an everyday apparel or tool. <br /><br /><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIpFVKjyj_jbp2fclHViSi93esGQpY4FMWYRmGnJNBZ_sMGT9OfgglWkGSiCnpgapa6KwjfWYh8uehUH_Ym6hAYln13jdWd5ztUFNia_sT_2sXYgbPtANHTODgYgmFBkcg1TaAMlZGz-KAtcy5dC-I2OYU4UZ_zrc_sv2BZC_EbfjkxCGTJS2E9_wud3uE/s3077/Dakhota%20Floral%20Key.jpg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIpFVKjyj_jbp2fclHViSi93esGQpY4FMWYRmGnJNBZ_sMGT9OfgglWkGSiCnpgapa6KwjfWYh8uehUH_Ym6hAYln13jdWd5ztUFNia_sT_2sXYgbPtANHTODgYgmFBkcg1TaAMlZGz-KAtcy5dC-I2OYU4UZ_zrc_sv2BZC_EbfjkxCGTJS2E9_wud3uE/w279-h400/Dakhota%20Floral%20Key.jpg" /></a></div></span></div><div><span style="font-family: arial;"><i>A key (above) to the Dakhóta Floral Iya. Image by author.</i><br /><br />After drafting the characters on paper, I constructed them in a desktop publisher program, created an account at Calligraphr, imported the alphabet in their format, and the online app created the font and file. The font will not automatically type vertically in your Word doc. Here are the steps I take to use this font.<br /><br />Download the <a href="https://drive.google.com/file/d/1MNMtPoapFx1bOAjZ7aVkGeMqWsVBrd9C/view?usp=sharing">True Type Dakhota Floral here</a>. Download the <a href="https://drive.google.com/file/d/1JhPyn2CyK09i13ND_pBoALBBjx12vB7I/view?usp=sharing">Open Type Dakhota Floral here</a>. <br /><br />After installing the Dakhóta Floral font for Windows users: <br />1. Create text boxes. You can adjust them as you go along. <br />2. Write your Lakhota text in the Txakini orthography. <br />3. Select your text and change the font to Dakhóta Floral. <br />4. Adjust your text box/es so that one letter is on one line, one letter atop the other.<br />5. Adjust your paragraph spacing "after" to "0 point." Adjust your line spacing to whatever you are comfortable with. I set mine to "multiple" at "0.85."<br /><br /><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMwM_3sGftlxwknsERKhjvle0omWWlmt6t3g26rHljUKChHeJpuu0Axmuc7o5qp3kUqifHU1F222bZXhFNmqBeHDfDngXZcwhftbFIAhDMFuOV5IZuXGzAETwiqpDkVK1Xilc7UywkKz4hzPcQAZM_1J9DyZlZdf62eHpEYKdluMlUvWBtRrEHSSs0SMNt/s3002/IMG_2271.JPG"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMwM_3sGftlxwknsERKhjvle0omWWlmt6t3g26rHljUKChHeJpuu0Axmuc7o5qp3kUqifHU1F222bZXhFNmqBeHDfDngXZcwhftbFIAhDMFuOV5IZuXGzAETwiqpDkVK1Xilc7UywkKz4hzPcQAZM_1J9DyZlZdf62eHpEYKdluMlUvWBtRrEHSSs0SMNt/w400-h400/IMG_2271.JPG" /></a></div></span></div><div><span style="font-family: arial;"><i>Here's a reading from Genesis 1:11 (above) transcribed from the Bible History in the Language of the Teton Sioux Indians (1924). By author. </i><br /><br /></span></div></div>Dakota Windhttp://www.blogger.com/profile/10758878480652658779noreply@blogger.com0tag:blogger.com,1999:blog-1021358373912276111.post-74253764188289110182023-12-06T13:30:00.003-06:002023-12-06T13:30:25.301-06:00Cannonball-Missouri Confluence Meets National Criteria<div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy8vwoX8QQMMlO7ZtZsKT8mmgR48Fe2eJxIbnePIf6FnGwTTdYfQqG_UhwIE7mO6vatuvmRYRKFI3SH9Xm9XYEiC-U5UyUWQdWFZ7vqXQhvAtTwz7rLXzWWPAj19JK_TzoXyktxYRyqlT6n4t4HWjdFiTwG0txb0Pun3o5kubUklnJma2QdEm_QvyoCjdu/s1600/Cannonball%20River%20looking%20west%20of%20Albert%20Grass%20Bridge.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1065" data-original-width="1600" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy8vwoX8QQMMlO7ZtZsKT8mmgR48Fe2eJxIbnePIf6FnGwTTdYfQqG_UhwIE7mO6vatuvmRYRKFI3SH9Xm9XYEiC-U5UyUWQdWFZ7vqXQhvAtTwz7rLXzWWPAj19JK_TzoXyktxYRyqlT6n4t4HWjdFiTwG0txb0Pun3o5kubUklnJma2QdEm_QvyoCjdu/w400-h266/Cannonball%20River%20looking%20west%20of%20Albert%20Grass%20Bridge.jpg" width="400" /></a></div><i><span style="font-family: arial;">The Cannonball River looking west of the Albert Grass Memorial Bridge on the Morton-Sioux county line. Photo by author.</span></i></div><span style="font-family: arial; font-size: x-large;"> The Cannonball-Missouri Confluence</span><div><i><span style="font-family: arial; font-size: x-large;">Site Meets National Historical Criteria</span></i><div><div><i><span style="font-family: arial;">by Dakota Wind</span></i></div></div><span style="font-family: arial; font-size: medium;">The Cannonball-Missouri River confluence is host to over a dozen archaeological and historical occupations and events over the course of the past one thousand years. The many documented and verified stories of place meet the qualifications for National Historic Site or National Memorial status. For your consideration, here is a bullet point list to pique your interest followed by a series of figures and narrative expanding on the occupations and events. You can access the complete document <a href="https://drive.google.com/file/d/1-oLkPLrz3I8ot3-0d7RM7OVGm2FP-bTv/view?usp=sharing">here</a>.</span></div><div><span style="font-family: arial;"><br /></span></div><div><span id="docs-internal-guid-28861120-7fff-23f8-6db5-d63db31e6ddd"><span style="font-family: arial;">* The Ochéti Shakówiŋ (the Great Sioux Nation) and the Late Woodlands Period (circa 500-1000 CE)<br /><br />* The Mandan Indians and Cannonball River Phase circa 1200-1450 CE<br /><br />* The Cheyenne Occupation circa 1700-1803 CE<br /><br />* The Cheyenne-Lakhóta Conflict circa 1762-1763 CE<br /><br />* Fort Jupiter, an English Trade Post established circa 1798 CE<br /><br />* The Upper Missouri River intertribal conflicts of the 1790s<br /><br />* The Corps of Discovery stop in October 1804<br /><br />* The Historic Spring Flood of 1825<br /><br />* The Arikara-Lakhóta Conflict of 1835-1836<br /><br />* The Historic Smallpox Epidemic of 1837<br /><br />* The Assiniboine-Lakhóta Conflict of 1862-1863<br /><br />* The Historic Cannonball Ranch circa 1864 through 1913<br /><br />* The 1864 Punitive Campaign led by General Alfred Sully<br /><br />* The 1866-1867 winter camp of the Húŋkpapa Lakhóta <div><span style="white-space-collapse: preserve;"><br /></span></div><b><span style="font-size: medium;">Why Is Water So Sacred To The Ochéti Shakówiŋ People?</span></b></span></span></div><div><span style="font-family: arial;"><span style="font-size: medium;"><br /></span><span><div class="separator" style="clear: both; text-align: center;"><img height="400" src="https://lh7-us.googleusercontent.com/kSkkBKbZxLPbAWik1A_LldALshYyVSXw_y9falXv30aUzgjyZYz99ZxnyFmusaNcfJqPt0UdZFsBXApq4-qri49ZNE3S1R8WiNylTvsV0MLFxgmGwrfXlXH6rKeVAnYRH7GJ3W4QjUM0=w359-h400" style="font-size: 12pt; margin-left: 0px; margin-top: 0px; white-space-collapse: preserve;" width="359" /></div>Figure 1. Íŋyaŋ possessed all powers then and the powers were in his blood, and his blood was blue, by Thomas Simms, from <i>Otokahekaġapi (First Beginnings): Sioux Creation Story (1987)</i>. According to the creation narrative recalled by Deacon Ben Black Bear, Jr., “Íŋyaŋ kaŋ ki iyúha glugxáŋ chá txá wé ki hinápxe na txá wówash’ake ki hinápe wé ki ogxéya na makxá iháŋke ki kagxé. Txawé ki mní ki é eyásh tawówash’ake ki mní etáŋ ihxéyab okáx iyáyiŋ na Makxá ki itxá’okashaŋ ich’íchagxe Niyáŋ iyéchel. (Íŋyaŋ [Stone] opened all of his veins and his blood left him and Íŋyaŋ saw that all his powers went from him in his blood and formed the edge of Makxá [the World]. His blood became the waters but the powers flowed outward from the waters and formed around Makxá as the spirit).” The Ochéti Shakówiŋ spoken term for Water is Life is Mní Wichóni. Water has a long association with the creation narrative as the source of life according to the Ochéti Shakówiŋ. <div><span id="docs-internal-guid-8ea5e118-7fff-8f23-f9b6-d26d5db16721"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"></span></span></div></span></span></div><div><span><span style="font-family: arial;"><br /></span></span></div><div><b style="font-size: large;"><span style="font-family: arial;">How Far Back Does The Historic Record Reach?</span></b></div><div><b style="font-size: large;"><span style="font-family: arial;"><br /></span></b></div><div style="text-align: center;"><span style="font-family: arial;"><span><span style="font-size: medium;"><b> </b></span></span><img height="400" src="https://lh7-us.googleusercontent.com/3M4lF5VvFc0yyxxTjm0QswMM1KaqN0oaK2Rhi1kG8lmdHfV4Qf2c45Zh9wP7QES45E1tUlND1dLjWq5NZx9a_SvWAWdU9WsL8c4rDdsj8mCBPjzJlCKGdv500Q9fC4mxXT1TqjuMdh4X=w251-h400" style="margin-left: 0px; margin-top: 0px; text-align: center;" width="251" /></span></div><div><span id="docs-internal-guid-ca9f43b3-7fff-9377-ea1a-a17d09978cfc"><span style="font-family: arial;"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-variant-position: normal; vertical-align: baseline; white-space-collapse: preserve;"></span></span></span></div><span style="font-family: arial;"><div><span style="font-family: arial;"><br /></span></div>Figure 2. The image above is taken from Garrick Mallory’s Tenth Annual Report of the Bureau of Ethnology (1894), plate no. XXI. Pictograph labeled “A” in this image recalls the cycle of time from circa 901 CE to circa 930 CE recorded by the traditional <span style="font-size: 16px; white-space-collapse: preserve;">Lakhóta</span> historian Battiste Good, also known as High Hawk. This pictograph recalls the earliest record of time when White Buffalo Calf Woman brought the Gift of the Sacred Pipe to the Ochéti Shakówiŋ people. </span><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">This pictographic record reaches back to the the Late Woodlands Period (circa 500 CE to 1000 CE) and overlaps with the Cannonball River Phase of Mandan Indian Occupation (circa 1200 CE to 1400 CE). </span></div><span style="font-family: arial;"><span style="font-size: medium;"><b><br />The Ancestral Ochéti Shakówiŋ Presence</b></span><br /><br /></span><div style="text-align: center;"><span style="font-family: arial;"><img height="247" src="https://lh7-us.googleusercontent.com/_4-8itxFlr2kwYxsN-tlPctvK-vt_24lf1WlV5mzAfp5vvh-N0bUcQZF1hK55z4U4JIyXvDUkvPTYHlPxLeUy7qG38LKhgpFcMF2rpwyrxN2J-1EfDuMZ5zsINUg09gf0fnONch-dNJK=w400-h247" style="font-size: 12pt; margin-left: 0px; margin-top: 0px; white-space-collapse: preserve;" width="400" /></span></div><span style="font-family: arial;"><div><span style="font-family: arial;"><br /></span></div>Figure 3. On the bluff located near the center of section 17 of this map is the stone feature Íŋyaŋ Chaŋgléshka Wakxáŋ Shakówiŋ, or the “Seven Medicine Stone Circles.” According to Tim Mentz, Sr., former THPO for the Standing Rock Sioux Tribe, the ancestral Ochéti Shakówiŋ came together in communal prayer within these stone circles. The Seven Medicine Stone Circles are a physical record of the kind of prayer, the Haŋblécheyapi, or “Vision Quest,” that was held from four to seven days before the sundance held on the floodplain in sections 16 and 15. </span><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">According to Black Elk, when the White Buffalo Calf Woman brought the Gift of the Sacred Pipe, she also gave a sphere of pipestone upon which were carved seven circles representative of the seven rites of prayer. </span><span style="font-family: arial;">The Seven Medicine Stone Circles at this location also represent these same seven sacred rites.</span><span style="font-family: arial;"><br /></span><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">The Mandan Indians held their annual sundance in this same vicinity when they lived in their Big River Village in the Late Woodland period, or Cannonball River Phase circa 1200 CE. The Cheyenne who came to live on the north bank of the Cannonball River at the turn of 1700 held their annual sundance here until they moved west at the turn of 1800. See figure 16. <br /></span></div></div><span style="font-family: arial;"><div><span style="font-family: arial;"><br /></span></div><span style="font-size: medium;"><b>The Nu'Eta (Mandan) Occupation</b></span></span><div><span style="font-family: arial;"><span style="font-size: medium;"><b><br /></b></span><div style="text-align: center;"><img height="249" src="https://lh7-us.googleusercontent.com/K-5-0wEO5EUA9A33O-ca2_28KLr7QWgDDqlQ2o-jj8l44TxFNQMEGc6sKyqSD6AMR19pZZ0mYp11VymqJWMIwnDv-6mqoWtY3rAcVpM5mft104X8MlI-JYnzU7GnZYDidf92Mtfcu40=w400-h249" width="400" /></div><div><span style="font-family: arial;"><br /></span></div>Figure 4. Sitting Rabbit’s Map (1905). The Nu’Eta (Mandan) term for the Cannonball River is Aashihdia, or “Big River.” The Mandan occupation on the south bank of the Cannonball River is labeled as Aashihdiatis, or “Big River Village.” This unfortified south bank village had as many as forty-five rectangular earthlodges in an area of about seventeen acres and was occupied from between circa 1200-1450. The Cannonball River Village on the north bank is part of the Huff Phase in which the Mandan constructed palisades and fortification ditches around their villages. According to Dr. Elizabeth Fenn, the Cannonball River villages mark the earliest times when the Mandan practiced the Okipa ceremony as it was practiced in late historic times. State Historical Society of North Dakota. OCLC number 958911859. <br /><br /><span style="font-size: medium;"><b>The English Came To Trade</b></span></span></div><div><span style="font-family: arial;"><span style="font-size: medium;"><b><br /></b></span><div style="text-align: center;"><img height="326" src="https://lh7-us.googleusercontent.com/-i8HZUm2HuxgYZqOiJQXdiR8VZhkqprJ88pguxwxQkU_qQh4LZmuDOJhXlbu4-YPxBePlklDxT0CSW4nEx0c3AQyGQTI2B68Znwwnirkm5g4q26CfooAsvYbimIWyXbCpp_aAkYIn_0=w400-h326" width="400" /></div><br />Figure 5. Title [Map of Missouri River and vicinity from Saint Charles, Missouri, to Mandan villages of North Dakota: used by Meriwether Lewis and William Clark in their 1804 expedition up Missouri River] (1798). John Evans recorded the Cannonball River as the “Bomb River” on his map of the Missouri River. Evans operated a trading post on the north bank of the Cannonball River in the 1790s. Library of Congress Geography and Map Division Washington, D.C. 20540-4650 USA dcu. Call number G4127.M5 1798 .F5. <br /><br /><span style="font-size: medium;"><b>The Corps of Discovery Record Their Visit</b></span><br /><br /><div style="text-align: center;"><img height="262" src="https://lh7-us.googleusercontent.com/0zsbxaOBzw8-XbL3Kyquq5teYiNv4lecTW1nvq1UVxba4yqXgv-gVxyUxKcqzo_4-YV0FGLkjRYPNUUb_-IDa9k-lBjQko9eaT2FKo-PiwD45H3kkoq8TBIz2crL0r8qX4fhESwVQ1A=w400-h262" width="400" /></div><br />Figure 6. Title [A map of Lewis and Clark's track, across the western portion of North America from the Mississippi to the Pacific Ocean : by order of the executive of the United States in 1804, 5 & 6] (1814). The Corps of Discovery recorded the Cannonball River on their map. On Oct. 18, 1804, Meriwether Lewis ordered his men to take a cannonball concretion to use as an anchor for their keelboat. Note the historical occupation of the Teton (</span><span style="font-family: arial;">Lakhóta</span><span style="font-family: arial;"> speaking “Sioux” Indians) in the vicinity of the Cannonball River; the “Saone,” or Saúŋ, was the historic and cultural term for the northern divisions of Teton known today as Húŋkpapa, Mnikówozhu, Itázipcho, and Oóhenuŋpa; the </span><span style="font-family: arial;">Saúŋ </span><span style="font-family: arial;">occupied both sides on this stretch of the Missouri River. Library of Congress Geography and Map Division Washington, D.C. 20540-4650 USA dcu. Call number G4126.S12 1814 .L4. <br /><span style="font-size: medium;"><b><br />Intertribal Conflict On The Upper Missouri River</b></span><br /><br /><div style="text-align: center;"><img height="372" src="https://lh7-us.googleusercontent.com/km80pl6Ku50Lj0d4mmj26mtGvtQRr_FdrV-_q50pWEJ7LZo7TdSsAL69omZgsP2oKlmirnx9VhvzDSRHkffX9b008sGJqx1uxfq6pZL65SHkdPgLQuDFcJGVYLCWC8AicYGXitS2CYg=w400-h372" width="400" /></div><br />Figure 7. The Pictographic Bison Robe, at the Peabody Museum of Archaeology and Ethnology at Harvard University, MA, details the intertribal conflicts amongst the Arikara, Mandan, Hidstsa, Hunkpapa Lakota, and Iháŋkthuŋwaŋna (Yanktonai) Dakhóta in the Heart River and Cannonball River area along the Missouri River during the 1790s. This same robe details one of many conflicts between the tribes of the Upper Missouri River which concluded in the 1803 Battle of Heart River, which saw the expansion of the Hunkpapa territory. This conflict is remembered in the Drifting Goose Winter Count (aka John K. Bear Winter Count) as <i>Tha Chaŋté Wakpa ed okhíchize</i>, or “There was a battle at Heart River.” The expansion of </span><span style="font-family: arial;">Húŋkpapa</span><span style="font-family: arial;"> territory north of the Cannonball River is significant. This territorial boundary is recognized in the 1868 Fort Laramie Treaty. Peabody Museum of Archaeology and Ethnology, Harvard, MA. Call number PM 99-12-10/53121. <br /><br /><span style="font-size: medium;"><b>The Cheyenne Start A Fire</b></span><br /><br /><div style="text-align: center;"><img src="https://lh7-us.googleusercontent.com/hCgKoKPPz_Oie5lF2EGASPSE5fmBRZq587GIxVRJ0LBHThl-5hGWlKSy0YtVkFUtLztV2FoB67WLc5GmyY2LI0RFd9GgWY2-VhQibhNywWJgy2fhpoKTKvftVF3v4ZbU8XP1FNQ_JB0" /></div><br />Figure 8. This image represents the intertribal conflict between the Teton </span><span style="font-family: arial;">Lakhóta</span><span style="font-family: arial;"> and the Cheyenne in the winter of 1762-1763. That year a band of </span><span style="font-family: arial;">Lakhóta</span><span style="font-family: arial;"> fought the Cheyenne at the mouth of the Cannonball River. The Cheyenne were living on the north bank of the Cannonball River, occupying the same bank and site that the Mandan had previously lived on. The Cheyenne retaliated and set fire to the prairie grass. The </span><span style="font-family: arial;">Lakhóta</span><span style="font-family: arial;"> sought to outrun the prairie fire and fled up the Long Lake Creek, present-day Badger Creek, located in Emmons County, ND. The fire caught up to the </span><span style="font-family: arial;">Lakhóta</span><span style="font-family: arial;"> and burned them about their legs, the survivors jumped into Long Lake. When they emerged they became known as Sicháŋgu, or “Burnt Thighs.” The late Albert White Hat Sr. (Rosebud; </span><span style="font-family: arial;">Sicháŋgu</span><span style="font-family: arial;">), recalled the oral tradition of the </span><span style="font-family: arial;">Sicháŋgu</span><span style="font-family: arial;"> as taking place in the Bismarck region. The conflict which resulted in the formation of the </span><span style="font-family: arial;">Sicháŋgu</span><span style="font-family: arial;"> began at the mouth of the Cannonball River. The identity of one of the tribes of the </span><span style="font-family: arial;">Ochéti Shakówiŋ</span><span style="font-family: arial;"> tied to this location is significant. Annual report of the Bureau of Ethnology to the Secretary of the Smithsonian Institution (1880), page 692. <br /><br /><div style="text-align: left;"><b style="font-size: large;">The Historic Spring Flood Of 1825</b></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><img src="https://lh7-us.googleusercontent.com/TT87k72KI2UgfJlAbNhbWKJkkoZ75z_otc9tal2B3uqM8Ec1f4d5dTD-AX1959eFM5M_GbuwRG4B67o9MmH3oPfiuznLdWLJe_ZnzWFxdLctAY2IPYrTeMRi9QWX32j7Ybstyg8W1cc" /></div><div style="text-align: center;"><br /></div><div style="text-align: left;">Figure 9. The third entry of the Medicine Bear Winter Count (top row, third from left; #3) recalls 1825 as <i>Mniwíchat'e</i>, or “They drowned.” The Húŋkpapa were camped on the bottomland known as “Gayton’s Crossing,” opposite the mouth of Cannonball River. During the night the ice jam broke and the bottomlands suddenly flooded. They lost about thirty lodges, or about 150 people, and many of their horses to this flood. This event is recorded in other Húŋkpapa and Iháŋkthuŋwaŋna winter counts such as Blue Thunder, Long Soldier, High Dog, No Two Horns, and the Chandler-Porht at the same location. Hood Museum of Art, Dartmouth College, Concord, NH. Call number 2009.65. </div><br /><span style="font-size: medium;"><b>Arikara-</b></span></span><span style="font-family: arial;"><span style="font-size: medium;"><b>Lakhóta Trade Ends In Fight</b></span></span><span style="font-family: arial;"><br /><br /><div style="text-align: center;"><img src="https://lh7-us.googleusercontent.com/h59GQVi21yxPoX-3Z3VQ00iQ1lTtIn7ub9h7BMJ6OiR7_wzz8tnEcL3hnl2imdU3qXmI6WwIxRH-fGoyuuOT0Pqaid5eq2FrtwwmJxuBn9XvWELEp9rAoEIPQdOYtklTJGHgAfPfJG8" /></div><br />Figure 10. The thirty-fifth entry on the Long Soldier Winter Count recalls the winter of 1835-1836 when the Arikara made camp on the Cannonball River. The </span><span style="font-family: arial;">Lakhóta</span><span style="font-family: arial;"> went to trade with them for corn, and the Arikara killed six of the Lakota. The lodge in this image represents the immovable camp of the Arikara at the approach of the </span><span style="font-family: arial;">Lakhóta</span><span style="font-family: arial;">. National Museum of the American Indian, Smithsonian Institution. Call number 11/6720. <br /><br /><b><span style="font-size: medium;">The Historic Smallpox Epidemic Of 1837</span></b><br /><br /><div style="text-align: center;"><img height="400" src="https://lh7-us.googleusercontent.com/Lsxc80wElYdw4yA_W2qLqiYXTgDqMcUe8TttVM7u0jDeGPA8JvF3XVdXR3ke4F2q3nBDFIxKj8Q1uZcnEA9RLOGw3T_f9Do3pVAHzO1cI6RA_8wyOxOqqIG_rV55vb2tQKA8S3SRpcpo=w295-h400" width="295" /></div><br />Figure 11. An entry from the Medicine Bear Winter Count which recalls the 1837 smallpox epidemic that swept the Northern Great Plains. Several winter counts recall this year, all with similar depictions of a figure covered in marks like this image above. <br /><br />The High Dog Winter Count, Blue Thunder Winter Count, and the Long Soldier Winter Count, an interview by Mamie Wade (daughter of pioneer rancher William Wade) of Lakhota elder Annie Sky, and the first-hand story remembered by Annie Sky’s granddaughter Dr. Harriet Sky, the Húnkpapa were camped on the bottomland at the Cannonball-Missouri Confluence when smallpox struck. <br /><br />The High Dog Winter Count and Blue Thunder Winter Count are in the collections at the State Historical Society of North Dakota. The Medicine Bear Winter Count is in the collections at Dartmouth College in New Hampshire. A copy of the Long Soldier Winter Count is available for viewing at the Sitting Bull College Library. Mamie Wade’s interview is available to read in the book <i>Paha Sapa Tawoyake: Wade’s Stories</i> by William Wade.<br /><br />North Dakota Studies identifies the steamboat St. Peters, a trading vessel, that brought the historic 1837 smallpox epidemic to the Northern Great Plains. Access <i><a href="https://www.ndstudies.gov/gr8/content/unit-ii-time-transformation-1201-1860/lesson-4-alliances-and-conflicts/topic-1-smallpox-epidemics-1781-1837-1851/section-3-smallpox-epidemic-1837" target="_blank">The 1837 Smallpox Epidemic</a></i> article.</span></div><div><span style="font-family: arial;"><br /></span></div><div><b><span style="font-size: medium;"><span style="font-family: arial;">Assiniboine-</span><span style="font-family: arial;">Lakhóta Fight Among Sacred Stones</span></span></b><span style="font-family: arial;"><br /><br /><div style="text-align: center;"><img height="400" src="https://lh7-us.googleusercontent.com/1NskdqcrqhyVAyIfKRH3B2uKV8CeYjpAgCfWTNEAhin0IdWfj8ttNhBut1KwAbRJFegmJltBFOHXySFpKsZyR_DfXIZjJhR0n6a5aJlmWiX2f6UsHXZM8uE5RPI2DLHzXtSIBCMywzw=w371-h400" width="371" /></div><br />Figure 12. An entry from the Long Soldier Winter Count which recalls the winter of 1862-1863 as the year when twenty Assiniboine came on the warpath, there was a battle at the Cannonball River, and the Assiniboine hid behind the cannonball concretions. The circle tells us that the Assiniboine were surrounded and fired upon. The fox image which overlays the Assiniboine tells us they fought with guile. National Museum of the American Indian, Smithsonian Institution. Call number 11/6720.<br /><br /><b><span style="font-size: medium;">Enter: General Alfred Sully, And The 1864 Campaign</span></b><br /><br /><div style="text-align: center;"><img height="283" src="https://lh7-us.googleusercontent.com/4vRMh7ZhA_fHABDKsytfuvWKN_tQTBbHynXO9IMDUkF2rGmIuU-9n32d1dmMS3T46FTnNvJSEWLZkzqqiDItx8hFU0SblJ8bn_o0-RsnJmS72auJVPJRSZpZ5AL7EjPwQEZfShfwPP0=w400-h283" width="400" /></div><br />Figure 13. On July 29, 1864, after spending two weeks hastily constructing Fort Rice, General Sully took his command of 2200 soldiers, which included a detachment of Winnebago Indian scouts, and ascended the Cannonball River on the south bank, his punitive campaign on the Isáŋyathi Dakhóta anew. Sully also marched against the </span><span style="font-family: arial;">Lakhóta</span><span style="font-family: arial;"> (</span><span style="font-family: arial;">Húŋkpapa, Mnikówozhu, Itázipcho, and Oóhenuŋpa</span><span style="font-family: arial;">), and </span><span style="font-family: arial;">Iháŋkthuŋwaŋna</span><span style="font-family: arial;"> Dakota, two Siouan groups who had nothing to do with the 1862 Minnesota Dakh</span><span style="font-family: arial;">ó</span><span style="font-family: arial;">ta Conflict. Sully received a dispatch from Fort Rice at midnight on July 22 that the Dakȟ</span><span style="font-family: arial;">ó</span><span style="font-family: arial;">ta were on the Knife River. The next day Sully’s command crossed the Cannonball River near present-day communities of Porcupine and Shields, ND. Capt. Seth Eastman, Fort Rice (1864). </span><a href="https://history.army.mil/html/artphoto/pripos/eastman.html" style="font-family: arial;">https://history.army.mil/html/artphoto/pripos/eastman.html</a></div><div><span style="font-family: arial;"><b><span style="font-size: medium;"><br />1864 Campaign Began At Cannonball River</span></b><br /><br /><div style="text-align: center;"><img height="400" src="https://lh7-us.googleusercontent.com/mOQxWaWON31wrOvWlk41OyvSkbtKvUSC3fVzLxVlKi4w1chqw20GUSnvGXHGJt-32d4Y2xJqIhfAT2C6UZGRDD20ADbMyNhYQhBMSz7kro9Bg-PTF-uRblb5vSlsXuC2We-98D9pdrM=w318-h400" width="318" /></div><br />Figure 14. Map of General Alfred Sully’s 1864 punitive campaign in Dakota Territory. Rev. Louis Pfaller, O.S.B., from Capt. H. von Mindon of Sully’s Northwest Expedition. Sully’s Expedition of 1864 featuring the Battles of Killdeer Mountain and the Badlands Battles. <a href="https://www.history.nd.gov/pdf/Sully%201864%20by%20Pfaller1.pdf">https://www.history.nd.gov/pdf/Sully%201864%20by%20Pfaller1.pdf</a>. Pages 24 & 25. <br /><br /><span style="font-size: medium;"><b>Wounded Leader Walks To Winter Camp At Cannonball</b></span><br /><br /><div style="text-align: center;"><img src="https://lh7-us.googleusercontent.com/4nqrFPimVazpwjAmsfIgbIsuAOWN9Ew9ROJtDCP0jGdQ1925vMtG42txyPxVIf1vCUsl4RwMRNDzu6q4hcAt7qBho7ZaKR2TgVDO5biAlw1U4qQh15HNbP1DhC8vvGdoZEjY0YWnqMk" /></div><br />Figure 15. An entry from the Long Soldier Winter Count indicates that the </span><span style="font-family: arial;">Húŋkpapa</span><span style="font-family: arial;"> were camped at the Cannonball River in 1866-67. Gall was taken by soldiers that winter to Fort Berthold where they stabbed him. Gall was left for dead and the camp moved on. What makes this tale remarkable is that Gall walked to the </span><span style="font-family: arial;">Húŋkpapa</span><span style="font-family: arial;"> camp at the Cannonball River and recovered. He later fought at the Battle of the Little Bighorn. National Museum of the American Indian, Smithsonian Institution. Call number 11/6720. <br /><br /><span style="font-size: medium;"><b>The Historic Cannonball Ranch</b></span><br /><br /><br /><div style="text-align: center;"><img height="292" src="https://lh7-us.googleusercontent.com/HA71c5wD0f1XAQWQ1FqM5-hRHmkPQ71I7AiXa8RaG4-daOFfdCToOZpnD5VgczljVM3n5AD_n7YSgchBnPwElOgtrgpYq6uD_roaJsmigzAR07MnNhHt_JXK-ox4TRMwwzEkJuEx-Ww=w400-h292" width="400" /></div><br />Figure 16. In 1999, the Cannonball Ranch was inducted into the North Dakota Cowboy Hall of Fame. It’s one of the oldest ranches in North Dakota. According to the ND Cowboy of Fame, the ranch served as a gathering point as early as 1865. The ranch included a hotel, a general store, a ferry crossing, a steamboat landing and fueling station, a military telegraph station for Fort Rice, and a stage line to the Black Hills in the 1870’s and 1880s. The ranch also included two houses, a barn, a blacksmith shop, a bunk-house, an ice house, a laundry, and tennis court.<br /><br />The North Dakota Cowboy Hall of Fame’s strict criteria for eligibility to be recognized is that a ranch must have been “instrumental in creating or developing the ranching business, traditions, and lifestyles of North Dakota’s western heritage and livestock industry.”<br /><br />State Historical Society of North Dakota (1952-00057). Frank B. Fiske Photograph Collection 1952. Call number 958906935.<br /></span><span style="font-family: arial;"><br /><b><span style="font-size: medium;">An Archaeologist Makes An Observation</span></b><br /><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLvfY9KueD8AZImi5OZt10zrIl-LtazczUv08X9zwxbGp1sHsEDcGgy9FQO9O4HggOiSCwpgNqRgjGMMOmp-JB-ecNgm35AkpCdVjQbP-iLeljHj7iHEoFToehdGlmNihM_eC6N2kORLIP0iq4ejNOqLYY74N55W8UXcZ8sLqXt7bEZ6cwVUzxRFkuhylk/s971/Ray%20Wood%20Cannonball%201955.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="627" data-original-width="971" height="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLvfY9KueD8AZImi5OZt10zrIl-LtazczUv08X9zwxbGp1sHsEDcGgy9FQO9O4HggOiSCwpgNqRgjGMMOmp-JB-ecNgm35AkpCdVjQbP-iLeljHj7iHEoFToehdGlmNihM_eC6N2kORLIP0iq4ejNOqLYY74N55W8UXcZ8sLqXt7bEZ6cwVUzxRFkuhylk/w400-h259/Ray%20Wood%20Cannonball%201955.jpg" width="400" /></a></div><span style="font-family: arial;"><br />Figure 17. An aerial perspective of the north bank of the Cannonball River looking southwest. The Mandan Indian village (circa 1250 to 1400) is visible. The DAPL drill pad and earthen fort was erected on this site in 2016. According to the late Dr. Ray Wood, a world-renowned Missouri River archaeologist, John Evans trade post also occupied this locale. Evan referred to this site as “Jupiter’s Fort.” <i>Prologue to Lewis and Clark: The MacKay and Evans Expeditions</i>, University of Oklahoma Press; Norman, OK. 2003. Page 111. Photo by Ray Wood (1955), State Historical Society of North Dakota. <br /><br /><b><span style="font-size: medium;">Village, Camp, Sundance, And Internment </span></b><br /><br /><div style="text-align: center;"><img height="318" src="https://lh7-us.googleusercontent.com/hQXzrL-PB3nsREFbg1MYWC1S9YqgkFFmS-n-SUmPM40WTShZd-RpaLbqn6me194RHEjLh2Rr_tNF6cVL8G_5fdYbO1kLsnnXY92y7gdPGD_C77uTkvMqdKlVp3cD4rThiDd5SKVPJEc=w400-h318" width="400" /></div><br />Figure 18. The bluff in section 10 of this map is the location of the Mandan Indian village. Section 9 is the location of the historic Cannonball Ranch. Section 15 & 16 is the location of the winter camp of the </span><span style="font-family: arial;">Húŋkpapa</span><span style="font-family: arial;"> people; it was the location some summers where they had sundance. This floodplain is where the </span><span style="font-family: arial;">Húŋkpapa,</span><span style="font-family: arial;"> buried an estimated 150 people who drowned in the spring flood of 1825. <br /><br /><b><span style="font-size: medium;">Historic Spring Flood Of 1825 Remembered</span></b><br /><br /><div style="text-align: center;"><img height="322" src="https://lh7-us.googleusercontent.com/SiSq8B3Lh_dOvcpZ85OXY_VA7Jt9m3VVEIt1tgycXeZoK3xOrgXztFQnw-jJTYCY1UlvVMEIIcXzODK7wBHPd6JgA4RtKc3aTQW59xhCh0kjh1vy0JKt3ZCIMO-OrF6mH_7uAQRkfuI=w400-h322" width="400" /></div><br />Figure 19. The highlighted area on the eastern floodplain of the historic Missouri River is where the </span><span style="font-family: arial;">Iháŋkthuŋwaŋna</span><span style="font-family: arial;"> camped in the winter of 1824-1825. In 1878, the </span><span style="font-family: arial;">Húŋkpapa</span><span style="font-family: arial;"> chief, Ishtá Sápa (“Black Eye/s”), met with William Wade, a cattle rancher on the Cannonball River, and shared this about the terrible 1825 flood: “...we camped on this bottom land just below here...it was the Wolf Month [February] and it had been warm for a long time. One night the water started coming in over the ground from the river and before we could get to higher ground we were surrounded by water and ice chunks. Our only chance was to get to high ground before we would all be covered up with water. We tried to carry our tepees and supplies but finally had to leave them and many of the women were drowned trying to save their children. Most all our old people drowned and many others. Most all our horses went under and you can still see their heads (skulls) laying [sic] along at the foot of the hills after so many, many years. Two Bears (Mathó Núŋpa) a Yankton chief [sic], saved the lives of several women and children by carrying them from camp to the higher ground.” <br /><br />The people were buried where they drowned. The line of horses were buried in a line where they were picketed. The area that Two Bears refers to is known to locals now as <i>Etú Phá Shúŋg T’á</i>, or “Dead Horse Head Point.” The northeast quarter of section 22 is called “The Point,” where locals once gathered on the bank overlooking the place where their relatives and horses were laid to rest. <br /><br /><b><span style="font-size: medium;">Archaeologist Identifies Another Source</span></b><br /><br /><div style="text-align: center;"><img height="190" src="https://lh7-us.googleusercontent.com/6ox00HS8NZOfaFj8g0a5FAomQxY8MypMH4aFOQt3pr1_JKuEf9qgk5WId8HJwPb4eO5Mp4r6Amh9XvmIc7eRXyRLsvIYT4QqfQz5YreMJRZSYP8X9dX3yobgUv9aEjJ0Zhp30QFzqlM=w400-h190" width="400" /></div><br />Figure 20. A screen capture of an email sent to then ND State Archaeologist Mr. Paul Picha regarding missing information in the DAPL Class III survey. Mr. Picha not only confirmed the missing information but included another source regarding the 1825 spring flood. The narrative that Mr. Picha pushed that there is nothing there is false. Picha is aware of people and horses buried at this location following this flood. <br /><br /><b><span style="font-size: medium;">President Extends Reservation</span></b><br /><br /><div style="text-align: center;"><img height="204" src="https://lh7-us.googleusercontent.com/LshFUo0D0n3Y0pL1gWiyhnJOoNTDGcEvJo8uNm4Q71Skm8kOOWE5jzqQf4KhSUq2Fr5_63T8UW_hoNPoPJgYb6qZ1Cv-u7DzmSoWcw3MRfOh8olJwDpt_PscX_SMi0zjtrxmMFjwHXE=w400-h204" width="400" /></div><br />Figure 21. On March 16, 1875, President Grant extended the boundary of the Standing Rock Sioux Indian Reservation east of the Missouri River along Beaver Creek to the fork of South Beaver Creek then a straight line south to the </span><span style="font-family: arial;">Iháŋkthuŋwaŋna</span><span style="font-family: arial;"> reservation. The </span><span style="font-family: arial;">Iháŋkthuŋwaŋna </span><span style="font-family: arial;">reservation was established by President Grant’s executive order the same day Standing Rock was extended. U.S. General Land Office, Dakota Territory, 1876. <br /><br /><b><span style="font-size: medium;">The Three Star Reservation</span></b><br /><br /><div style="text-align: center;"><img height="290" src="https://lh7-us.googleusercontent.com/FTKlJiz7ICseRZU3Nhmo0rQxgBm7EFhTYw_ytxgLqGjq9qOA-axZVHI7leo0aChWfjQs6-Z1fc4VUPMWqBZOOrpHqOhWLuzY6-hgRRAt0O-5WHlveL3PcNX4S-vsZRXyTpEbQTJwtZQ=w400-h290" width="400" /></div><br />Figure 22. The Standing Rock Sioux Indian Reservation in Sioux County and Emmons County, North Dakota. This map is based on the 1876 General Land Office Map with President Grant’s executive order. About 628 square miles were added to the Standing Rock Agency. According to Mr. Robert Taken Alive, the Standing Rock extension on the east side of the Missouri River was known as the “Three Star Reservation,” recollection of a personal interview with “Old Man Stretches,” Aug. 1991. The term “Three Star” may be a reference to Major General George Crook. Map by author.<br /><br />The land east of the Missouri was <b>never ceded nor a treaty signed</b>. President Cleveland signed the 1889 Indian Appropriations Act into law and opened "unassigned" lands for sale to settlers under tenants of the 1863 Homestead Act.<br /><br /><b><span style="font-size: medium;">Territory Determined By Tribes Changed By Congress</span></b><br /><br /><div style="text-align: center;"><img height="265" src="https://lh7-us.googleusercontent.com/h3tvpvQ6xqlEZntbAAz29haHuhpuUbk42hk6PjnysYpvi3ISqMsMHzn3p0rNqjwTjAZH-SMTD__RuuEwmb91ThZue6HH4_y2Br_X9QugUybMXrnFOvOjzB4d2GlIvgTXp0vf9C-JZJo=w400-h265" width="400" /></div><div style="text-align: left;"><br /></div><div style="text-align: left;">Figure 23. Jesuit missionary Fr. Pierre-Jean De Smet, who served as a translator at the 1851 Fort Laramie Treaty, drew a map by hand demarcating the boundaries of the Thíthuŋwaŋ Lakhóta which extended to the Heart River. Map of the upper Great Plains and Rocky Mountains region, 1851. <a href="http://hdl.loc.gov/loc.gmd/g4050.ct000883">http://hdl.loc.gov/loc.gmd/g4050.ct000883</a>. Call number 2005630226.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /></div></span></div>Dakota Windhttp://www.blogger.com/profile/10758878480652658779noreply@blogger.com0C9GW+9Q Cannon Ball, ND, USA46.425926100000012 -100.603030146.414093262679728 -100.62019623769531 46.4377589373203 -100.58586396230469tag:blogger.com,1999:blog-1021358373912276111.post-51800521077228566352023-10-10T09:51:00.004-05:002023-10-12T11:30:39.257-05:00The Solar Eclipse is A Moment of Redemption<div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6ccldyujLQp9bdXHDUs89AQsZ7RW1WavWG11i-PeUzGRbFSwgZTnyd8lVyoc6QfiSfLzRnvmSLk3afXRv_84Hny4cqAXTcAj_GMC1PEm58vKeERjQtLPdx2WNwLcGO5M8wTCkWWhgJ1K7OZevv0NHiC2qkbRcc2vXlaLjvuOjxNw7v9lFiDtl3VgUkQBj/s3019/IMG_0743%20(1).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3019" data-original-width="3019" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6ccldyujLQp9bdXHDUs89AQsZ7RW1WavWG11i-PeUzGRbFSwgZTnyd8lVyoc6QfiSfLzRnvmSLk3afXRv_84Hny4cqAXTcAj_GMC1PEm58vKeERjQtLPdx2WNwLcGO5M8wTCkWWhgJ1K7OZevv0NHiC2qkbRcc2vXlaLjvuOjxNw7v9lFiDtl3VgUkQBj/w400-h400/IMG_0743%20(1).jpg" width="400" /></a></div><span style="font-family: arial;"><i>Above, "Mahpíya Yaphéta," or "Cloud On Fire," it says in the Leroy Curley Lakhota Alphabet. Curley's alphabet is inspired by the phases of the sun and moon. This image depicts the solar eclipse in the first character of the first word. For more examples check click on <a href="https://www.instagram.com/thefirstscout/?hl=en" target="_blank">The First Scout on Instagram</a>.</i></span></div><span style="font-family: arial; font-size: x-large;">The Sun Dies, or Cloud On Fire<br /><i> Solar Eclipse Moment of Redemption</i></span><span style="font-family: arial;"><br />By Dakota Wind<br /><span style="font-size: medium;"><br />In order to understand the Lakhóta perspective of the solar eclipse, we need to give some attention to the Lakhóta understanding of the universe. In 1987, Ben Black Bear, Jr., translated Thomas Simms’ Otókahekagapi (First Beginnings): Sioux Creation Story. Simms transcribed and illustrated this narrative.</span></span><div><span style="font-family: arial;"><span style="font-size: medium;"><br /></span></span></div><div><div style="text-align: center;"><span style="font-family: arial; font-size: large;">The Mysteries of the Universe</span></div><span style="font-family: arial;"><br />The Lakhota creation story recalls Háŋ, a great lasting darkness, but Háŋ was not a being, at least not yet. Waiting there in the deep quiet was Íŋyaŋ, an ancient stone whose spirit was Wakháŋ Tháŋka, the Great Spirit.<br /><br />Íŋyaŋ grew lonely and longed for another, but he knew for that to happen that he would have to take from himself. Íŋyaŋ said aloud the first sound, “Nuŋwé,” meaning “So be it!” He opened his being and drew forward his own blood which flowed about him becoming the waters, and this great sphere he called Makhá, the Earth. The power that emanated from Íŋyaŋ became Shkáŋ, a principle of Movement.<br /><br />After some great time Makhá became saddened that she was not a separate being apart from Íŋyaŋ; she was disheartened in the eternal void too, but Íŋyaŋ could not placate her because his power left him. They petitioned Shkáŋ to intervene in their dispute and he agreed to serve them as judge.<br /><br />Shkáŋ could not divide Makhá from Íŋyaŋ, but he could offer her a respite from the dark and so he created light. Makhá determined that she didn’t want just light but warmth as well, so Shkáŋ reached into himself, reached into Íŋyaŋ, reached into Makhá, and took a portion from all including the waters and created Wí, the Sun. Háŋ retreated to the edge of light.<br /><br />Shkáŋ instructed Wí to shine, give heat, and make shadow. Wí did as he was bid and the world became hot where there was no shade. Makhá had no relief from the heat of Wí and became miserable so she petitioned Shkáŋ to bring Háŋ back. Shkáŋ determined that Háŋ would would alternate their company with Makhá, and Makhá would have relief from the heat of Wí. Shkáŋ determined that Aŋp, the early light, would run ahead of Wí when he returned, thus day followed night.<br /><br />Shkáŋ gave names to these first two times calling day Aŋpétu, and night Haŋyétu.</span><div><span style="font-family: arial;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaagHiOyaa20_wN8-Z7VwjRMzStr3I8OV-dLcE2DEm9TcHODqdIps4tqEyKEVYAse_4FXGNMJXdmjUUx6LXfXs6TPt5-fvFfYtBjFccMKjqcJ812K5GyW-JDyW9wH15IHTg1uMjPOsKw81J-HAbdEQFAC9TH71hpVGmXHNX-u3Iq-8c56c0cM5ENu7CPlV/s864/The%20Four%20Principles%20Mysteries%20of%20Creation.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="646" data-original-width="864" height="299" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaagHiOyaa20_wN8-Z7VwjRMzStr3I8OV-dLcE2DEm9TcHODqdIps4tqEyKEVYAse_4FXGNMJXdmjUUx6LXfXs6TPt5-fvFfYtBjFccMKjqcJ812K5GyW-JDyW9wH15IHTg1uMjPOsKw81J-HAbdEQFAC9TH71hpVGmXHNX-u3Iq-8c56c0cM5ENu7CPlV/w400-h299/The%20Four%20Principles%20Mysteries%20of%20Creation.jpg" width="400" /></a></div><span style="font-family: arial;"><i>Above, the four superior mysteries of creation "Wi, Skan, Maka, Inyan" by Thomas E. Simms.</i><br /><br />Thus, the four principle mysteries had come into existence. These four are the world and of the world: Íŋyaŋ, Makhá, Shkáŋ, and Wí. All acknowledge the one superior spirit above all, Wakháŋ Tháŋka, the Great Spirit.</span></div><div><span style="font-family: arial;"><br /></span></div><div><div style="text-align: center;"><span style="font-family: arial;"><span style="font-size: large;">An Interpretation of the Mysteries</span></span></div><span style="font-family: arial;"><br />Royal Hassrick, author of The Sioux: Life and Customs of a Warrior Society, offers an interpretation of the principle mysteries and their associates. Íŋyaŋ, is the ancestor of all, and serves as advocate of authority and patron of the arts; Makhá, the protector of the home and mother of all that lives; Shkáŋ, the source of power and movement, and authority of the principle mysteries and all spirits; Wí, the patron of four core virtues including bravery, fortitude, generosity, and fidelity.<br /><br />Hassrick does not offer a narrative explaining how the four associates were created. It is understood that these four associates were created in balance at the moment each was needed. The associate/s of Íŋyaŋ is Wakíŋyaŋ, the Thunderbeing/s with glances of lightning and patron/s of cleanliness. The associate of Makhá is Wóopxe, meaning “Law,” the daughter of Wí and Haŋwí, known as The Beautiful One, she is the matron of harmony and pleasure. The associate of Shkáŋ is Txaté, the Wind who guides the seasons and admits the spirits onto Wanágxi Txacháŋku, the Spirit Road which is the Milky Way. The associate of Wí is Haŋwí, the Moon, who set time.<br /><br />Others came into existence too. An old man called Wazíya (Pine),his wife Wakáŋaka (Elderly), and their daughter Ité (Face) who was so beautiful that she was called by her face. Captivated by the beauty of Ité, Txaté made her his wife and together they had five sons: Wozíya, the North Wind and first-born, known for his cruelty and temper; Yatá, the West Wind and second born, exuberant and high-spirited; Yaŋpá, the East Wind and third born, and weakest of the Four Winds; Okágxa, the South Wind, who is in perpetual conflict with Wozíya; Yumní, the Whirlwind, playful, yet destructive. <br /><br />Another of those who came to be was Iŋktómi, the Trickster, who is always ready to promote discontent, anxiety, ridicule, and disharmony among people and creation. Iŋktómi interjected himself into the lives of Wazíya, Wakáŋaka, and Ité, and cultivated the idea that they could have better lives if Ité became the wife of Wí, never mind that Ité was already married with children.<br /><br />At a feast where all were invited to the lodge of Haŋwí. It is important to note that the principle mysteries and their associates all had predetermined places around the fire, but Ité arrived to the gathering early and saw the place beside Wí open, the very place of Haŋwí, and Ité chose that moment to sit beside Wí.<br /><br />Wí was taken by the beauty and charm of Ité and was gratified at her close presence. When Haŋwí arrived she saw that Ité had appropriated her place beside her husband Haŋwí drew her shawl over her face to hide her shame from everyone who laughed at her predicament; Iŋktómi laughed the loudest of all.</span></div><div><span style="font-family: arial;"><br /></span></div><div><div style="text-align: center;"><span style="font-family: arial; font-size: large;">A Different, Yet Traditional Interpretation</span></div><span style="font-family: arial;"><br />The late Kevin Locke (Standing Rock), a traditional storyteller and fluteplayer, offered a unique variation that differs from the narrative that Hassrick shares after the feast of creation.<br /><br />After the feast, Shkáŋ called a council and asked for the perspectives from Wí, Haŋwí, Wazíya, Wakáŋaka, and Ité. Wí and Haŋwí argued long and great. When Wí argued his light and heat caused the waters of the world to dry and earth to crack, stars fell and struck the world. When Haŋwí argued darkness and cold enveloped the world, water flooded the earth. Back and forth they argued until creation was nearly undone. Shkáŋ intervened and drew their attention to the destruction they caused, then he passed judgment on all involved. <br /><br />Wí, determined Shkáŋ, would forever be sundered from Haŋwí, never to know her comfort again. Wí would rule the day and Haŋwí the night. There might be occasion when Wí and Haŋwí appear in the sky together, but on those occasions when Wí approached Haŋwí she should draw her shawl over her face in shame. Then Shkáŋ turned his attention to Ité and ruled that because of her vanity, dereliction of her responsibility as a mother and wife, her sons would be removed from her. Shkáŋ allowed Ité to keep her beauty but only one half of her face would remain attractive, the other half would be so terribly scarred that anyone who looked at her would be terrified or driven insane. From that day forward she became known as Anúŋg Ité, the Double Faced Woman. Iŋktómi would never know friendship.<br /><br />Wí was thoroughly repentant of his behavior and sought forgiveness from Haŋwí. Both Wí and Haŋwí expressed their love for one another before Shkáŋ; both were aware and aggrieved at the destruction they brought to the world.</span><div><span style="font-family: arial;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwTbPHFOHsRnd4HhVmtqIAb_wVGabIxvbgJcEzHiIGlCyUya86Os1E-ktoKFZXHPdFTLTcpi5b9BmxCNaLqUDCux_UkMNfHjACIES8wVvqHE5wB0ZDxqo1H-x7Y0OFSUZRkZOaLXZDAVeAqoaQisGg-IFkaNwxn78MouycXlUzoUwT7wHXow1tk5ipvope/s761/IMG_1069%20(1).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="761" data-original-width="761" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwTbPHFOHsRnd4HhVmtqIAb_wVGabIxvbgJcEzHiIGlCyUya86Os1E-ktoKFZXHPdFTLTcpi5b9BmxCNaLqUDCux_UkMNfHjACIES8wVvqHE5wB0ZDxqo1H-x7Y0OFSUZRkZOaLXZDAVeAqoaQisGg-IFkaNwxn78MouycXlUzoUwT7wHXow1tk5ipvope/w400-h400/IMG_1069%20(1).jpg" width="400" /></a></div><span style="font-family: arial;"><i>Above, "Aŋbháŋkeya Wí," or "The Moon of Half-Day Half-Night." By author. </i><br /><br />Shkáŋ was moved by their sincere remorse and amended his judgment. On one day in a moon cycle would Haŋwí show her face to Wí. On the day of the full moon, as the moon rises and as the sun goes down, Wí reaches across the heavens to his eternal love Haŋwí with song, and if one listens carefully, one would hear:<br /><br />Iyéhaŋtu wíŋ taŋyáŋ hinápha nuŋwé<br />Haŋhépi Wí taŋyáŋ hinápha nuŋwé<br />Makhá iyúzhaŋzhaŋyaŋ taŋyáŋ inápaya nuŋwé<br /><br /><i>Now you are coming out in a beautiful way<br />It is night and you are coming out<br />As you appear your beautiful light shines upon the world</i><br /><br />Shkáŋ determined that Wí should never forget his indiscretion with Ité and so now and then the sun dies and the darkness envelopes his light. The Lakhóta have a few terms to express this understanding: Wi’té (The Sun Died) and Wi’kté (The Sun was killed [by Darkness]). When an eclipse happens, some Lakhóta shout and fire their guns into the sky. When the sun returns they say he is renewed. <br /><br />The Húŋkpapha and Iháŋkthuŋwaŋna light their pipes and pray for the sun’s renewal, but also for a renewal in their fellow human beings. They call the eclipse Mahpíya Yaphéta, or “Cloud On Fire,” in reference to the sun’s corona visible around the moon.<br /><br />Some Dakhóta know it is the moon that eclipses the sun and call this occlusion Wakhápaye, which means “Of a singular appearance.” If the sun and moon could come together for one spectacular moment of redemption it seems that we could all forgive one another.</span></div><div><span style="font-family: arial;"><br /></span></div><div><div style="text-align: center;"><span style="font-family: arial;"><span style="font-size: large;">Many Terms for Solar Eclipse</span></span></div><span style="font-family: arial;"></span><div><span style="font-family: arial;"><br /></span></div></div></div></div><div><span style="font-family: arial;">Just as there are many divisions of the Ochéthi Shakówiŋ, there are many traditional terms for a solar eclipse. Here are a few. </span></div><div><span style="font-family: arial;"><br /></span></div><span style="font-family: arial;">On August 7, 1869, a full solar eclipse darkened the Great Plains. Ten Lakhóta winter counts from all seven Thítuŋwaŋ (Teton) tribes remember this outstanding event. Nearly all remember the event as Wí’kte (The Sun was Killed) or Wi'te (The Sun Died). <br /><br />An earlier eclipse, this one in the 1830s, is remembered by the Huŋkpapa Lakhóta as Mahphíya Yaphéta, or “Cloud On Fire.” The Huŋkpapa leader is named for this event, as was his son in turn. Fire Cloud later fought at the Little Bighorn. <br /><br />A friend of mine shared a conversation with me between her and her father, Mr. Warren Horse Looking. Mr. Horse Looking explained the eclipse as the sun disappearing. In Lakhóta: Aŋpétuwí Tókxax'aŋ (Disappearing Sun).<br /><br />A friend's uncle back on Standing Rock refers to the eclipse as Wí’</span><span style="font-family: arial;">á</span><span style="font-family: arial;">ta, which translates as "Sun Entire." Áta serves as an intensifier in many sentences, as to say here, "completely," or "greatly." Perhaps even here, it could mean a full solar eclipse. <br /><br />My haŋkáshi (female cousin) Leslie (Sisseton-Wahpeton Oyate; Dakota), shared with me that she learned eclipse as "Khaphéye," a contraction of Wakhápheye, which means "Of A Singular Appearance," which I think beautifully explains the sun and moon during a solar eclipse.</span><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">The people who put out the New Lakota Dictionary have had different terms for the solar eclipse throughout the years. In their first and second editions, their entry was </span><span style="font-family: arial;">Aóhanziya, meaning "To Cast Shadow Upon." In the third edition the entry is now A</span><span style="font-family: arial;">ŋp</span><span style="font-family: arial;">áwi A</span><span style="font-family: arial;">íyokpaze, which means "The Day Becomes Dark Like Evening." </span><span style="font-family: arial;"><br /><br />Aháŋzi: Shadow<br /><br /></span><span style="font-family: arial;">A</span><span style="font-family: arial;">ŋp</span><span style="font-family: arial;">áwi A</span><span style="font-family: arial;">íyokpaze: The Day Becomes Dark Like Evening</span><span style="font-family: arial;"><br /><br />Aŋpétuwí Tókxax'aŋi: Disappearing Sun<br /><br />Aóhanziya: To Cast Shadow Upon<br /><br />Mahphíya Yaphéta: Cloud on Fire<br /><br />Wakhápheya: Of A Singular Appearance<br /><br />Wí’</span><span style="font-family: arial;">á</span><span style="font-family: arial;">ta: The Sun Entire<br /><br />Wí’kte: The Sun was Killed<br /><br />Wí’te: The Sun Died (also for New Moon)</span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">Some Dakhota say that when an eclipse happens it portended a great calamity like disease or war. In older times, some Lakhota said that a great U</span><span style="font-family: arial;">ŋktegxi swallows the sun, killing him. Most say the sun dies and awakens to life. Other Lakhota say the eclipse is a profound moment of renewal, prayer, and reflection; they take their pipes out, load them, light them, and pray for others. </span></div>Dakota Windhttp://www.blogger.com/profile/10758878480652658779noreply@blogger.com01 Standing Rock Ave, Fort Yates, ND 58538, USA46.0941219 -100.627853446.092633866476859 -100.62999916721192 46.095609933523136 -100.62570763278809tag:blogger.com,1999:blog-1021358373912276111.post-16820293574781838832023-10-02T08:50:00.003-05:002023-10-04T08:38:16.204-05:00Remembering Phil Baird<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5D8aRld8Ft7ia407jOANzycwOaQWrR77G9w3Boj6Phd4M_5eLQE1e0B6GtOsNEsxhFr5VFScZsIRhPNkY8k_4YHFZPWiFAe_cpsCeJpCsjKY7Y0d3ZvTuTZ8mYjzC2Jovf9t2QYLydCRTOA65NdO62-CH51d5V7PmHmtsSwK3F7DlwGqqyO5srFIFvXR8/s1290/382414639_1344514123123736_3090309102034352236_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1034" data-original-width="1290" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5D8aRld8Ft7ia407jOANzycwOaQWrR77G9w3Boj6Phd4M_5eLQE1e0B6GtOsNEsxhFr5VFScZsIRhPNkY8k_4YHFZPWiFAe_cpsCeJpCsjKY7Y0d3ZvTuTZ8mYjzC2Jovf9t2QYLydCRTOA65NdO62-CH51d5V7PmHmtsSwK3F7DlwGqqyO5srFIFvXR8/w400-h320/382414639_1344514123123736_3090309102034352236_n.jpg" width="400" /></a></div><div><span style="font-family: arial;"><i>Phil Baird coming out of the gate astride Boots, a Pete Long Brake horse. </i><br /><br /><span style="font-size: large;">Wanblí Wichásha Wókiksuye<br /><i>Remembering Phil Baird (Eagle Man)</i></span><br />By Dakota Wind<br /><br /><span style="font-size: medium;"> Wanblí Wicháshala tókhi éyaye hé? Thíyata oníchilapelo. Uŋmá echíyataŋhaŋ iyáye. Waŋná Chaŋkú Wanágxi maní. Chaŋkú Txó oówaŋyaŋg washté ománi. Tóksha akhé waŋchíyaŋkiŋ kte ló.</span></span><span style="font-family: arial;"><br /><br />Where have you gone Eagle Man? They have called you home. You have gone on to the other side. Now you walk the Spirit Road. You walk on the beautiful Blue Road. I will see you again for certain.<br /><br />Anyone who has met the late Dr. Phil Baird left their conversation with him with a deeper appreciation for horses, bison, education, and the Lakota Way of Life. A wonderful listener, the flow of conversation was never about him. Lekshí Phil cultivated mutual interests in art, music, the pursuit of higher education, and history most of all.<br /><br />Lekshí loved family. He spoke of his daughters with soaring pride and held his grandchildren with such a great abiding affection his warmth was like a fire. Lekshí loved making relatives. If anyone knew him a winter or longer, he was happy to call one friend or family. His self-assuredness was not boastful. The respect he held for others was like the very Breath of Life he shared with horses, somehow wild, electric, sudden, and forever.<br /><br />Lekshí loved horses. Everyday lekshí carried the same energy, excitement, and mystery as the day the first horse entered the circle and became part of the Lakota Way of Life. There are many variations about the first horse encounter, but all have one thing in common: a genuine respect for the mystery of creation. Lekshí carried that deep respect and understood that the bounty and prosperity of the Lakota Way of Life worked hand in glove with our relationship to the traditional homeland. He was a lifelong cowboy Indian. In service of his love for horses and history, Lekshí was a founding member and longtime president of the North Dakota Cowboy Hall of Fame.<br /><br />Lekshí loved bison. He was an undaunted advocate of land management and restoration. Lekshí believed that the health of the people was directly tied to the health and stewardship of the land. He recalled the promise of the bison to provide for all the needs of the people and believed in the inherent value of bison as a keystone species; the eternal bison cycle nurtured a healthy landscape and people. Lekshí had a dream of an educational bison management plan, a holistic and ambitious call to a modern yet natural way of life.<br /><br />Lekshí was a strong voice for education. “School is always in session,” he frequently said. Lekshí was called to a lifetime as an educator. He held administration positions at both United Tribes Technical College and Sinte Gleska University. Lekshí had a shared history and leadership with the American Indian Higher Education Consortium (AIHEC), the National Indian Education Association (NIEA), the National Congress of American Indians, and more.<br /><br />On Monday, Sept. 25, 2023, the relatives built a fire on the other side and called Lekshí to return and take his place among them. He goes home to a vast open sky filled with unbounded light and joy. He waves his hat in the Enlightening Breath, a wind upon which all life returns, that has carried across creation since the first days. His voice joins a great song sending encouragement from the fires of heaven to the people below.<br /><br />We may not see you in the here and now, but you are as close as our next breath, as close as our dreams, as close as shadow in the prairie grass, as close as reflection in the water.<br /><br />Akhé waníyetu ú. Akhé kičhíč’iŋpi kte. Ohómni wótheȟike ečhéča takómni uŋmáčhetkiya yakpáptapi kta héčha. Mitȟákuye Owás’iŋ.<br /><br />Again, the winter approaches. Again, they will carry each other. Although surrounded by adversity, nonetheless, may you safely emerge on the other side. All my relatives. </span><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div></div>Dakota Windhttp://www.blogger.com/profile/10758878480652658779noreply@blogger.com1101 Antelope Lk Cir, Mission, SD 57555, USA43.3048876 -100.641702543.254925577412685 -100.71036705078124 43.354849622587317 -100.57303794921874tag:blogger.com,1999:blog-1021358373912276111.post-90925431478229799242023-09-05T08:35:00.004-05:002023-09-05T10:46:29.081-05:00Ancient Stories of Emergence<div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggDoDOLCeKHN2joANF2V9d9c04tmMi6O4ne0wde0RriAVVGG8KocLBFfODR0nD0adX0zILLEq0WcqPLkNC0vkZxO8jb_6PJOSizBGwuZuhcabuuNQ5WRJMvHTr4caRC6D6aF-orAQRQebwrmzm_87i8Mem2H30s-rsdEFhlRCFg_pUL8pUL6Fgkr_YyH0P/s2696/IMG_1617.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2696" data-original-width="2022" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggDoDOLCeKHN2joANF2V9d9c04tmMi6O4ne0wde0RriAVVGG8KocLBFfODR0nD0adX0zILLEq0WcqPLkNC0vkZxO8jb_6PJOSizBGwuZuhcabuuNQ5WRJMvHTr4caRC6D6aF-orAQRQebwrmzm_87i8Mem2H30s-rsdEFhlRCFg_pUL8pUL6Fgkr_YyH0P/w480-h640/IMG_1617.jpeg" width="480" /></a></div></div><div><i>"The Seven Sisters Above,"a watercolor by Dakota Wind.</i></div><div><span style="font-size: x-large;">Ancient Stories of Emergence<br /><i>Research, Tribal College Journal</i></span><br />by Dakota Wind<br /><i>Note: This article originally appeared in Vol. 35, No. 1 of the Tribal College Journal. Access the original article as it was seen <a href="https://drive.google.com/file/d/19BZOlY1jOjZC7vOl980nNIYduRJdFgid/view?usp=drive_link">in print here</a>, or visit the article as it appears <a href="https://tribalcollegejournal.org/hinapxin-ohunkankan-ancient-stories-of-emergence/">online on the TCJ</a>.</i></div><div><i><br /></i>Historians studying Lakxóta history in recent years have begun to treat the pictographic record, winter counts, as primary source documents. Two recent publications by non-Native historians do this, but aside from establishing the oral narrative of the White Buffalo Calf Woman as the starting point of Lakxólkichiyapi, the story itself is not presented as history. In this article we will look at stories of the great Plains which argue the case for a long cultural occupation that challenges the established date of 1682 as marking the Lakxóta arrival to the region.<br /><br />In regard to length of occupation, traditional Lakxóta people would inform their interviewer that they were here since the beginning, or for a very long time. Archaeological evidence informs us that the flute or whistle has been present on the northern plains since circa 1100 AD. Oral tradition about this musical instrument tells us that the flute has been with the Mandans since about the same time (Goodhouse, 2002a). Beginning in the 1980s, ethnomusicologists have been investigating the role of music in defining a sense of place. This does not inform us how long people take to develop a sense of place but it does indicate that this art signals a people’s place “in terms of social boundaries” (Lipsitz, 1986, p. 5).<br /><br />The late Kevin Locke made his research into the North American Indian flute a lifetime study. For nearly 50 years, Locke studied flute music and found that there is a standard formulaic composition structure that transcends the many languages and cultures of the northern plains. In fact, said Locke, “Over the plains or woodlands, you see the same rules of structure . . . it has a meaning that goes beyond the individual tribe or their geographic area” (Locke & good Feather, 2015). Regarding the biological history of bison, the animal originated on the Siberian steppe about 2.6 million years ago. Eventually, the animal migrated across the Beringia land bridge to North America (Sorbelli et al., 2021). Once there, it evolved into the many bison species in our natural historic record, eventually becoming Bison americanus that we recognize today (Wilson et al., 2008). The Lakxóta call the bison simply pté, which also refers to the female of the species. The term txatxáŋka existed long before the film Dances with Wolves (1990) or before WWE wrestler Chris Chavis (Lumbee) put the term into popular vernacular. Txatxáŋka literally means “the great ones,” and refers to the male of the species. Bison calves are called ptehíŋcha, meaning “small bison,” or ptehíŋchala, which translates as “beloved” or “familiar small bison” (Goodhouse, 2012b). The creation of bison is closely associated with the emergence story from Wind Cave located in the Black Hills of South Dakota.<br /><br />The Lakxóta refer to Wind Cave by many names, including Washúŋ Niyá, which means “breathing cave”; Txatóye Oyúxlokapi, which means “where the wind has made a hole” and refers to the opening of the four winds; Txaté Washúŋ, which is literally “wind cave”; Oníya Oshóka, or “where the Earth breathes inside” (Weddell, 2022); Makxá Oxlóke, or “earth cave.” The Lakota Language Consortium’s New Lakota Dictionary Online lists an entry for Wind Cave as Wašúŋ-Tȟáŋka, which means “the great cave” (Ullrich, 2021). Wilmer Mesteth, a tribal historian and spiritual leader on the Pine Ridge Indian Reservation, employed other terms in reference to Wind Cave, including Txukáŋ Típi, meaning “the [stone] spirit lodge,” and Makxá Oníye, meaning “the breathing Earth” (Wind Cave National Park, 2022).<br /><br />A long time ago, Iŋktómi the trickster and Anúŋg Ité (Double Face Woman) tricked the people into emerging into the world without the consent of Txuŋkáshila. Anúŋg Ité sent her wolf with a pack of dyed quills, various berries, meat, and fine clothes to entice the people into following her wolf into the world above. A few people were lured after eating the food and wearing her fine leather clothes and followed the wolf into the world through Wind Cave there in the Black Hills. Some refused to be tricked by the wolf, and so they stayed behind in the world below.<br /><br />When the people emerged later, they were amazed at the vast blue sky above, the scent and sight of all the flowers in bloom. The wolf led them to the lodge of Anúŋg Ité where she taught them how to hunt and gather, prepare food, and make clothing for themselves. Summer became fall, and fall soon became winter, but the people had very little prepared to survive the seasons. They returned to the lodge of Anúŋg Ité for help, but then she unwrapped her shawl, revealing the other side of her face—the scarred disfigured half of her face—and she laughed at the people. The people ran in fright from her, and she set her wolf on them. They sought to return to the world below at Wind Cave, but the way was covered, leaving them trapped on the surface of the world. They didn’t know what to do or where to go and fell to the ground in anguish. Creator heard their cries and came to them. They explained how they emerged before they were ready to do so. This angered Creator and he told them they must be punished. He took them and gave them a new form and purpose, transforming them into bison. They became the first great herd.<br /><br />Eventually, the world was prepared for people to live on. Creator instructed Txokáhe, meaning “the first,” to lead the people into the world through Wind Cave. On their journey towards emergence, they stopped four times and prayed, their last stop being at the entrance of Wind Cave. On the vast open plain they saw bison tracks. Creator instructed them to follow these tracks, as they would acquire food, tools, and clothing from bison. Eventually they crafted their homes, too, from bison hides. Creator informed them that the bison would lead them to water (Wind Cave National Park, 2022). The seven ancestral leaders of the seven divisions of the Títxuŋwaŋ, the first seven to emerge at Creator’s instruction, became the Wicháxpi Shakówiŋ, the Seven Stars (or the Big Dipper). There they carry new souls into the world to begin their journey, or they carry the souls from this world back to the heavens to begin their journey to the ancestors (Goodhouse, 2020). But not all the people were ready to emerge into the world. Some chose to stay. That was their choice. Creator turned his attention to Wind Cave and the entrance contracted until it was too small for the people to re-enter. Wind Cave thereafter served as a memorial so that the people would never forget where they came from.<br /><br />According to master ledger artist Donald Montileaux, a holy man called Txatxáŋka warned the people not to ascend to the surface. He saw the people in a vision. They lost their language and had to invent a new one, becoming known as Ikché Wichásha (the ordinary or common people). It was Txatxáŋka the holy man who came into the world and transformed into a great bison bull. He was willing to give up his life so that the Ochéthi Shakówiŋ (the Seven Council Fires, or great Sioux Nation) would have food, shelter, and clothing (Montileaux, 2009).<br /><br />The Ochéthi Shakówiŋ do not limit the narrative of the bison and people’s emergence to one single moment in linear time. Indeed, emergence and revival are a continuous cycle. Each spring, for example, bison, as well as wamákxashkaŋ owásiŋ (all the animals of each kind), emerged from the world below. The cycle of renewal begins with Niyá Awíchableze (the enlightening breath upon which all life returns) (Goodhouse, 2022). The bison left evidence of their long presence across the great Plains in the vast and uncountable buffalo wallows. The Lakxóta call these depressions Oshkókpa Txatxáŋka and like to say about them, “This is where the bison dance.” Further, emergence is not limited to one single location. Different stories tell of different locations (see full article with sidebar).<br /><div style="text-align: center;"><br /></div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh0oxa-MHy9einkI57EqmCQRPfdaLwthdVYu2O7Zsw81HOWilNnZIVAP3bRP52QhlRWwRF7DrMleJbaHKLbduQyiWUENfu0CubJkUi5wgVcOtPilHQK02FtvhatmuwPLH77PSTwAqgIafJDxS67GRSRgxgl93JgMdZcKYgD_qpf-upUaUr2GT3HghIDUX1I"><img src="https://blogger.googleusercontent.com/img/a/AVvXsEh0oxa-MHy9einkI57EqmCQRPfdaLwthdVYu2O7Zsw81HOWilNnZIVAP3bRP52QhlRWwRF7DrMleJbaHKLbduQyiWUENfu0CubJkUi5wgVcOtPilHQK02FtvhatmuwPLH77PSTwAqgIafJDxS67GRSRgxgl93JgMdZcKYgD_qpf-upUaUr2GT3HghIDUX1I=w400-h236" /></a></div><div style="text-align: left;"><i>Washú Niyá. “On their journey towards emergence, they stopped four times and prayed, their last stop being at the entrance of Wind Cave.” Photo by Lennie Ramacher/NPS.</i></div><br /></div><div>The Baptiste Good Winter Count, a pictographic mnemonic device in which images recall outstanding events for a year, places the arrival of the Ptehíŋchala Sáŋ Wíŋ, the White Buffalo Calf Woman, at 901 AD (Mallory, 1893). Prior to her arrival as Ptehíŋchala Sáŋ Wíŋ, the Thítxuŋwaŋ fought amongst themselves as much as they fought against their enemies. The gift of the sacred pipe established a relationship amongst the Ochéti Shakówiŋ and with bison. After her gift, the people took to calling themselves Dakhólkichiyapi, or “They who speak to each other with affection” (Goodhouse, 2022a). According to Arvol Looking Horse, the 19th keeper of the sacred pipe, Ptehíŋchala Sáŋ Wíŋ brought the pipe to the people at Matxó Típila, Bear Lodge (Devils Tower) (Hancock, 2015).<br /><br />The Lakxóta refer to the pipe as chaŋnúŋpa. The sacred pipe represents unions of air and stone, sky, and earth; the masculine and feminine; and the here and now. Before the pipe, the people prayed at sacred sites with stone elements like summits, caves, and stone arches. They called themselves Ikcheya, or “common.” They also called themselves Pté Oyáte, or “People of the Bison” (Goodhouse, 2022b).<br /><br />The story of Ptehíŋchala Sáŋ Wíŋ bringing the gift of the sacred pipe is set at Matxó Típila. The story features the song of Ptehíŋchala Sáŋ Wíŋ and her arrival. The song contains elements of place in social boundary, similar in scope and meaning to the biblical story of Moses descending from Mount Sinai, as the messenger arrives at a sacred place with a covenant for the people to live a way of life according to the divine.<br /><br />The Mnikxówozhu, or “Planters by the Stream,” (a division of the Títxuŋwaŋ) were experiencing hard times. Hunters returned with little or no game and fighting among their fellow people. They selected two scouts to search for any sign of bison. The scouts arrived at a hill and saw a figure advancing in their direction. When it came close enough to distinguish features, they discerned it was a beautiful woman wearing a white buckskin dress, white leggings, and white moccasins. In her hair on the left side of her part she wore a tuft of bison fur, her hair hung loose otherwise. She carried a fan made of sage in her right hand. Her face was painted with red vertical stripes. It seemed to the two scouts that she was floating rather than walking. They realized she was wakxáŋ, which means literally “with-energy.” Some say that braids of sweet grass hung from her belt.<br /><br />One of the scouts looked at her and was overcome with impure thoughts and, seeking to have her for himself, went to her. A cloud suddenly enveloped them. Lightning flashed and thunder rumbled. The cloud dissipated and at her feet were the bones of the lustful scout. Some say that snakes writhed among his remains.<br /><br />She spoke to the remaining scout: “Return to your people. Tell them to prepare a special lodge in the middle of camp for my arrival at daybreak.” He left her to prepare his people. She came to them at dawn and as she approached sang:<br /><br />Niyá txaŋíŋyaŋ (With visible breath)<br />mawáni yé (I am walking)<br />oyáte waŋ (this nation [this bison nation])<br />imáwani (I walk toward)<br />na (and)<br />hó txaŋíŋyaŋ (my voice is heard)<br />mawáni yé (I am walking)<br />niyá txaŋíŋyaŋ (with visible breath)<br />mawáni yé (I am walking)<br />walúta waŋ (this scarlet offering [this pipe])<br />imáwani yé ([for it] I am walking) (Goodhouse, 2002b)<br /><br />The chief of the community dipped a braid of sweetgrass into a bison horn cup full of rainwater and offered it to her. She gave them the pipe then, with instructions as to its care. She said to them, “Behold! With this you shall multiply and be a good nation. Nothing but good shall come of it. Only the hands of the good shall take care of it and the bad shall not even see it.” Ptehíŋchala Sáŋ Wíŋ then added, “I give you this pipe. Keep it always!”<br /><br />Baptiste Good’s account of Ptehíŋchala Sáŋ Wíŋ includes another gift: four colored grains of corn. She informed them that this gift would feed the world. She offered words of encouragement to the women, reminding them that they sustain the people with their gift of life. She offered words to the children, telling them it would be their turn someday to make careful decisions for those not yet born and to learn the way of the pipe. To the men she offered minding words to use the pipe for good purposes, that the tribe depends on them, and that they should revere the world and sky. She promised them all that someday she would return (Mallery, 1893). She took her leave of them then and as she stepped away, she transformed into a bison calf. Some say that she rolled or turned, and with each roll or turn, her bison coat became a different color before at last turning white. The calf then ran, crested a hill, and disappeared. The people ran after her and discovered a herd of bison on the other side. According to Lame Deer, as they prayed with her, bison surrounded their community (Erdoes, 2006). In either instance, she brought the bison with her.<br /><br />In another story of Ptehíŋchala Sáŋ Wíŋ, the people were close to starvation when she came and brought them bison-calling songs. The Blue Thunder Winter Count and all its variants begin: “Waníyetu eháŋna saúŋ wiŋ kiŋ ú,” or “Long ago, a woman in white came to them.” Interpretation of the images offers only a basic understanding that is remembered in these primary source documents. Blue Thunder never had children of his own. He married Íŋyaŋ Pahá Wiŋ, or Rocky Butte Woman, in the early post-reservation era and passed the tradition down to her and her daughter and sonin- law. The story of the Woman in White is remembered as one of the times that Ptehíŋchala Sáŋ Wíŋ came with songs.<br /><br />In yet another story, the Títxuŋwaŋ were camped on a flat by a little stream that flows into the Mnishóshe, or “the water-astir” (the Missouri River). There, neither fish nor fowl sustained them. In their desperation they cried out for aid and Ptehíŋchala Sáŋ Wíŋ heard them. She came to them at their camp, bringing the gift of bison-calling songs. She instructed them to use this medicine at once. She guided them to an overlook on the Mnishoshe where they set up camp below the high plain. At her instruction, they selected two scouts who sought out the lead bison cow and startled her. She ran and her herd followed her. At the instruction of Ptehíŋchala Sáŋ Wíŋ, the people waved bison robes at the herd, continuing the bison’s startlement and in effect guiding them to the overlook where they leapt over the edge. Below the high plain waited the women with their knives.<br /><br />This buffalo jump where they brought the bison to them with song and ran them over the high plain is called Akáŋlya Washté, or “the beautiful high plain” (Goodhouse, 2010). According to Txuŋwiŋ Evelyn Buckley, a good Dakhóta woman could butcher a bison by herself in four to six hours (Goodhouse, 2011). And according to Txuŋwiŋ D’Joyce Kitson, a good Lakxóta could tan a bison hide by herself in the same amount of time (Goodhouse, 2018). There are many sites associated with the Ptehíŋchala Sáŋ Wíŋ, including Matxó Típila (Devil’s Tower); Chaŋnúm Ok’é, or “pipestone quarry” / Chaŋdúhupa Shá K’ápi, meaning “where they dig red pipestone” (Pipestone National Monument); Íŋyaŋsaŋ Pahá (Whitestone Hill North Dakota State Historic Site); Akáŋlya Washté, which translates as “beautiful high plain” and is the high plain overlooking the west bank of the Missouri River between Huff and Fort Rice, North Dakota.<br /><br />The Lakxóta have many names for their homeland, and North America by extension. One of these names is Makxóche Owánase Txáŋka, meaning “the land of the great hunt.” The hunt was communal and involved several days of preparation. The Ochéti Shakówiŋ call the period before the introduction of the horse “dog days.” During this time, the people and their dogs pulled the travois. Kevin Locke shared three terms relating to travel in those times: hupáwaheyuŋpi, meaning “they pack things up to travel”; waŋzhíkshila, which is a travois that was pulled by a person; and shúŋg’ok’iŋ, a dog travois.<br /><br />There are many stories of first contact with the horse. All of these stories carry a deep regard for the mystery of creation and serve as reminders to the Ochéti Shakówiŋ that even as the horse was reintroduced to the great Plains after a long absence, it is a sacred gift. The Drifting goose Winter Count, a pictographic record in which a single year is remembered by one outstanding event, recalls the earliest record of the Ochéti Shakówiŋ encounter with the horse in 1692. Waniyetu ehaŋna shuŋg nuŋi ota kiŋ, meaning “a long time ago they saw many wild horses,” recalls the Drifting goose Winter Count (Howard, 1976). More recently, Mary Louise Defender Wilson tells a story of two scouts who crested a hill and saw horses emerging from a swirl in the Mnishóshe (Missouri River) as a thunderstorm was approaching. The horse was invited back to camp and became inseparable from daily life (Defender-Wilson, 2001).<br /><br />Pete Looking Horse recalled the first horse encounter with a song called “Thunder Horse,” which commemorates how the Dakhóta people saw the horse as it emerged from the water:<br /><br />Waŋkátaya txokéya ichágxe ló (Above, the first time we saw it, it changed, it is so) Waŋkátaya txokéya ichágxe ló (Above, the first time we saw it, it changed, it is so) Shúŋka Wakxáŋ waŋ txokáhe kech’úŋ (A horse, it was the first, even so) Maxpíya ichágxeya, ichágxe ló (The clouds grew, it changed, it is so) (Locke, 1996)<br /><br />The pictographic record, oral tradition, and song inform us this was in 1692 at Chaŋshásha Wakpá Ozháte, which is the confluence of the White Birch River or James River and the Missouri River, near presentday Yankton, South Dakota.<br /><br />S.D. Nelson illustrated the mystical pre-contact story of the first horse. The Lakxóta were camped in midsummer at Spirit Hill near the confluence of the grand and Missouri Rivers where long ago, before ever seeing a real-life horse, they saw a thunderer on a creature that didn’t yet have a name. The thunderer, a figure of a giant of a man, came down from the sky during a thunderstorm riding what might be described as a giant horse. It had four legs. It made a three-point landing, that is to say it landed on its hind legs and one front leg. It then leapt into the sky and disappeared. The hoof prints left by this giant thunder horse are imprinted into the landscape and viewable from the top of Spirit Hill. Historians might be inclined to categorize this story as apocryphal, occurring after the reservations were established, but this story predates the reservation (Nelson, 2018).</div><div><br /></div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjJoBgCMP3fA4oJjrdN24_2ilTRtt4Yt2ko3WtbFEf31rMWuQSJNnxKwM6Cy7K82fe2t5GIwDCzhiabGdujuurPMT4zDnB2ykBtQFliqTFFtxfh8GSUUgSH0-AlGlP6LiPL4ARCUu2PWv9pRam72WQov5bLd0nEc4skZlYDnTKEHELkS3V2rCj7632TzenG"><img src="https://blogger.googleusercontent.com/img/a/AVvXsEjJoBgCMP3fA4oJjrdN24_2ilTRtt4Yt2ko3WtbFEf31rMWuQSJNnxKwM6Cy7K82fe2t5GIwDCzhiabGdujuurPMT4zDnB2ykBtQFliqTFFtxfh8GSUUgSH0-AlGlP6LiPL4ARCUu2PWv9pRam72WQov5bLd0nEc4skZlYDnTKEHELkS3V2rCj7632TzenG=w368-h400" /></a></div><div><i>Hokshíchekpa. “When the pasqueflower blossoms today, her stem, petals, and leaves are like the fur of a bison robe. Her petals are the purple color of an early spring sunrise. . . Her heart is the gold of the sun.” Photo by Dakota Wind.</i><br /><br />Besides the horse, there are cultural narratives that seek to explain the appearance of spring’s first flower. There is a lovely little narrative about the bison and the hokshíchekpa, which literally means “a child’s navel,” but is known more commonly as the pasqueflower or prairie crocus. Long ago, according to the Lakxóta people, the pasqueflower bloomed white. One day, a young man went to the hill to pray. As often is the case, men go the hill in a vision quest to pray alone, usually for three to four days. This young man took a bison robe with him on his quest. As night fell, he drew his robe around him. Unbeknownst to him, as he wrapped himself, he included a pasqueflower in his embrace. The flower was grateful for the warmth.<br /><br />As the days passed and the young man received no vision, the flower spoke to him, offering words of encouragement and informing the man that his vision would come and that he should be patient. Eventually, he received an answer to his prayer and left the flower behind. After he left, Creator, pleased with the flower, visited her and asked her to name a gift. She declined but said instead that she enjoyed the warmth of the bison robe, that she loved the colors of twilight, that she loved the color and warmth of the sun.<br /><br />Pleased with her undemanding answer, Creator gifted her with a robe of her own, took his paints and colored her dress like the petals of the flower and colored her heart. When the pasqueflower blossoms today, her stem, petals, and leaves are like the fur of a bison robe. Her petals are the purple color of an early spring sunrise or sunset. Her heart is the gold of the sun. When the pasqueflower blossoms white, the Lakxota say that is where the bison drew its last breath.<br /><br />Depending on who’s work one reads, the bison population dropped to less than a thousand. Andrew Isenberg’s estimate places the bison at about 500 in Yellowstone National Park at the turn of 1900 (Isenberg, 2000). The disappearance of bison was part of the American agenda. The “Wasicu seemed to expect the bison and Lakotas to promptly vanish from the plains,” writes historian Pekka Hamalainen (Hamalainen, 2020, p. 224). Indeed, the U.S. Census estimate of the Native U.S. population at the turn of 1900 was fewer than 250,000 (Calloway, 2012, p. 435). Today, bison are no longer endangered, as their population has recovered. According to the National Park Service, 14 federally recognized tribes and some federal agencies came together for a “bison treaty,” an agreement to best serve and manage the bison population (NPS, 2018). These stories of bison and place have survived too. As archaeological methods and technology have improved, and as long as oral tradition is maintained, cultural resource properties must continue to be reexamined.<br /><br />Dakota Wind Goodhouse (Lakota/Dakota) teaches Native American studies and U.S. history at United Tribes Technical College.<br /><br />REFERENCES<br /><br />Blish, H.H., & Bad Heart Bull, A. (1967). A Pictographic History of the Oglala Sioux. Lincoln: University of Nebraska Press.<br /><br />Calloway, C.G. (2012). First Peoples: A Documentary Survey of American Indian History (4th ed.). Boston: Bedford/St. Martin’s.<br /><br />Curtis, W.E. (1874, July 6). Curtis Dispatch: In Camp at Cannonball River, July 6, 1874. The Inter-Ocean.<br /><br />Defender-Wilson, M.L. (2001). The Dakotah Have Had Horses for A Long Time. My Relatives Say [CD]. Bismarck, ND: Makoche Music.<br /><br />Erdoes, R., & Ortiz, A. (2006). The White Buffalo Woman. In American Indian Myths and Legends (pp. 47–52). New York: Pantheon Books.<br /><br />Garcia, L. (2017). Dakota Place Names. Unpublished manuscript, North Dakota State Archives, Bismarck, ND.<br /><br />Goodhouse, D.W. (1995, August). Personal communication with Joe Flying Bye.<br /><br />Goodhouse, D.W. (2002a, August). Personal communication with Keith Bear.<br /><br />Goodhouse, D.W. (2002b, August). Personal communication with Kevin Locke.<br /><br />Goodhouse, D.W. (2010, October). Personal communication with Thelma Winters.<br /><br />Goodhouse, D.W. (2011, April). Communication with Evelyn Buckley.<br /><br />Goodhouse, D.W. (2012a, June). Personal communication with Charles Walker.<br /><br />Goodhouse, D.W. (2012b, December). Personal communication with Joseph Marshall III.<br /><br />Goodhouse, D.W. (2014, November). Personal communication with McDonald family.<br /><br />Goodhouse, D.W. (2018, June). Personal communication with D’Joyce Kitson.<br /><br />Goodhouse, D.W. (2019, July). Communication with Victor Douville.<br /><br />Goodhouse, D.W. (2020, June). Personal communication with Kevin Locke.<br /><br />Goodhouse, D.W. (2022a, June). Personal communication with Kevin Locke.<br /><br />Goodhouse, D.W. (2022b, October). Personal communicaiton with Virgil Taken Alive.<br /><br />Hämäläinen Pekka. (2020). Lakota America: A New History of Indigenous Power. New Haven, CT: Yale University Press.<br /><br />Hancock, L. (2015, July 12). Tribes Seek to Change Name of Devils Tower. Argus Leader. Retrieved from https://www.argusleader.com/story/news/2015/ 07/12/tribes-seek-change-name-devils-tower/30063421/<br /><br />Howard, J. H. (1976). Yanktonai Ethnohistory and the John K. Bear Winter Count. Plains Anthropologist, 21(73), 1–64. https://doi.org/10.1080/2052546. 1976.11908760. For a reinterpretation<br /><br />Isenberg, A. (2000). The Wild and the Tamed. In The Destruction of the Bison: An Environmental History, 1750–1920. Cambridge: Cambridge University Press.<br /><br />Locke, K., & good Feather, D. (2015). Lightning and Wind: The Voice and Flute of a Nation [Album]. Bloomington, IN: Lakota Language Consortium.<br /><br />Lipsitz, g. (1986). Cruising Around the Historical Bloc: Postmodernism and Popular Music in East Los Angeles. Cultural Critique, 5, 157–177. <a href="https://doi.org/10.2307/1354360">https://doi.org/10.2307/1354360</a><br /><br />Locke, K. (1996). Thunder Horse. The Open Circle [CD]. Bismarck, ND: Makoche Music.<br /><br />Lower Brule Elder Adviser Committee and the Rosebud Mni Wiconi Elder Committee. (2017). Map of Lakota Place Names. Lower Brule, SD: Lower Brule Sioux Tribe.<br /><br />Mallery, G. (1893). Picture-Writing of the American Indians. Washington, DC: government Printing Office.<br /><br />McLaird, J.D., & Turchen, L.T. (1974). Exploring the Black Hills, 1855-1875: Reports of the government Expeditions. South Dakota History, 4(3), 280–319.<br /><br />Montileaux, D.F. (2009). Tatanka and the Lakota People: A Creation Story. Pierre: South Dakota State Historical Society Press.<br /><br />Nelson, S.D. (2018). Lecture. United Tribes Technical College, Bismarck, ND.<br /><br />Sorbelli, L., Alba, D.M., Charin, M., Moulle, P.E., Brugal, J.P., & Madurell- Malapeira, J. (2021, June 1). A Review on Bison Schoetensacki and Its Closest Relatives Through the Early-Middle Pleistocene Transition: Insights from the Vallparadís Section (NE Iberian Peninsula) and Other European Localities. Quaternary Science Reviews, 261. Retrieved from https://doi.org/10.1016/ j.quascirev.2021.106933<br /><br />Ullrich, J. (2021) Wind Cave. New Lakota Dictionary Online. Bloomington, IN: Lakota Language Consortium. Retrieved from https://nldo.lakotadictionary. Org<br /><br />U.S. Department of the Interior. (2018, November 1). People and Bison. Washington, DC: National Parks Service. Retrieved from <a href="https://www.nps.gov/subjects/bison/people.htm">https://www.nps.gov/subjects/bison/people.htm</a><br /><br />U.S. Department of the Interior. (2022, August 11). The Lakota Emergence Story. Hot Springs, SD: Wind Cave National Park. Retrieved from https://www.nps.gov/wica/learn/historyculture/the-lakota-emergencestory. Htm<br /><br />Weddell, W. (2022, May 6). A History Lover’s guide to the Breathtaking Black Hills of South Dakota. Wide Open Roads. Retrieved from <a href="https://www.wideopenroads.com/black-hills-south-dakota/">https://www.wideopenroads.com/black-hills-south-dakota/</a><br /><br />Wilson, M.C., Hills, L.V., & Shapiro, B. (2008). Late Pleistocene Northward- Dispersing Bison Antiquus from the Bighill Creek Formation, gallelli gravel Pit, Alberta, Canada, and the Fate of Bison Occidentalis. Canadian Journal of Earth Sciences, 45(7). Retrieved from https://cdnsciencepub.com/ doi/10.1139/E08-027</div>Dakota Windhttp://www.blogger.com/profile/10758878480652658779noreply@blogger.com0H7RM+PJ Devils Tower, WY, USA44.5917858 -104.715918244.585673516059778 -104.72450126884766 44.597898083940215 -104.70733513115235tag:blogger.com,1999:blog-1021358373912276111.post-50138557368100942302022-12-20T18:37:00.003-06:002023-09-05T10:38:54.858-05:002023 Lakota Calendar<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixkD_bAHdeocQwVN642LitEwpYFfnQJpFZHhthDmUJW5U842o26c8JtwuHhtzQEmASzZIt_zAIkkjj4EiLDqiVydS9OrGaKBsAFitaRX1FUYsNCDmSYvwy9_HLBYJsQ6jBBNIH8xYeSNKaDAYOYS9yJVGBkK1GERnPIggfhef-YtcVi6V1hnmEP4hlMA/s760/IMG_0011.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="760" data-original-width="760" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixkD_bAHdeocQwVN642LitEwpYFfnQJpFZHhthDmUJW5U842o26c8JtwuHhtzQEmASzZIt_zAIkkjj4EiLDqiVydS9OrGaKBsAFitaRX1FUYsNCDmSYvwy9_HLBYJsQ6jBBNIH8xYeSNKaDAYOYS9yJVGBkK1GERnPIggfhef-YtcVi6V1hnmEP4hlMA/w400-h400/IMG_0011.jpg" width="400" /></a></div><i><span style="font-family: arial;">The Lakxóta say that there is a woman in the moon. They call her Hokéwiŋ. When she stirs her spoon vigorously light spills out about her lodge. Image by Dakota Wind. </span></i><div><span style="font-family: arial; font-size: large;">New 2023 Lakota Calendar</span></div><div><span style="font-family: arial; font-size: large;"><i>December 2022 to January 2024</i></span></div><div><span style="font-family: arial;"><i>By Dakota Wind</i></span></div><div><span style="font-family: arial; font-size: medium;">Hau mitakuyapi. Greetings relatives and friends. I've been producing more arts and post with far more regularity on instagram or FaceBook. You can follow me <a href="https://www.instagram.com/thefirstscout/?hl=en" target="_blank">@thefirstscout</a>. I'll share a bit of news or a book reviews here, or anything that I feel fits what I've shared here over the years. </span></div><div><i><span style="font-family: arial;"><br /></span></i></div><div><span style="font-family: arial;">Here's what I've come up with for the coming year. You can access this calendar for FREE. Here's <a href="https://drive.google.com/file/d/1syzNmBDV70zBOwE-Sk7P380PFoR5uEA-/view?usp=sharing" target="_blank">the link</a>. It will print out at 11"x17". </span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">If you are inclined, and want to, you can help this graduate student out. Help me get my books or grab a tea (I don't drink coffee). Venmo me: @Dakota-Goodhouse. </span></div><div><span style="font-family: arial;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0J-omEv4_HaKCxTfB-IGZzczRdudGye_XVxYWjtWyZI10and_JZTwcWwhlJkHs9fvev67AiuZlwyU_TQOLTSclhI-kh7sLiDKO32vn3in_xYJrEas94VCzlsOzsvgs7PKdZN-ll-vUEmfgn71hqj5c5zS6zOOmiEF0038mdVPka0zd20l7VhpNUQ7jQ/s1088/1B.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1088" data-original-width="703" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0J-omEv4_HaKCxTfB-IGZzczRdudGye_XVxYWjtWyZI10and_JZTwcWwhlJkHs9fvev67AiuZlwyU_TQOLTSclhI-kh7sLiDKO32vn3in_xYJrEas94VCzlsOzsvgs7PKdZN-ll-vUEmfgn71hqj5c5zS6zOOmiEF0038mdVPka0zd20l7VhpNUQ7jQ/w414-h640/1B.png" width="414" /></a></div></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6W__cNoeHCDUG9Gf1oXJHnYKZQJAHgLLioClb6lFh3DLlebu7KUWi6PE9oVgxcOScvQ4lnFomgM2lF8cfcQ55dNk5B9T0P7yMpXAEi7TgNw8H4w1EJ-1w6Gjyl87hmQyb-RFGN-0paM0mq2H7XyfgNT70o8Y2DY_WYxzQC0eZAi76bCnGWTVhlw0ySg/s1088/2B.png" style="margin-left: 1em; 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margin-right: 1em;"><img border="0" data-original-height="1088" data-original-width="703" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFuH4-hjuBUuTHYVkNJEs0IzqymDug7QjMyjXFMb3XUCJ9GggQpJXiEXliWY39rS5pTZRK7xVHDeELdEK8PYFL12FDInlLjuiuWrF5k9mrg6QWR2MChpHe6LAnZQtUaEklW7KW3Ny5s0skF2UdmvZXbKk1dP7vxG6Wgz24pE9Rh5izIyULWGB4Ox9uoQ/w414-h640/14B.png" width="414" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div>Dakota Windhttp://www.blogger.com/profile/10758878480652658779noreply@blogger.com0Fort Yates, ND 58538, USA46.0869408 -100.630127117.776706963821155 -135.78637709999998 74.397174636178846 -65.4738771tag:blogger.com,1999:blog-1021358373912276111.post-83851704665448695292022-11-16T08:50:00.001-06:002022-11-16T08:50:53.047-06:00Lakhota: An Indigenous History, A Review<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinNFv3eQ_95MUnrVkrX9fshFCmB9DgLmfwd6QVzQoltykoY03_6sifMX1vicV8onuVfbdAHOkAVxh9QxLtUhuj3gT8nctAKGncAHHD5gZTMbxTcv-szmDCOAPDq0Qb6Vgi6adkx4QAsDb0OCKg3zT4FGCTqkBcnu3WkwBmNVkNfnDX_FTxBNSwJSuijw/s1500/Lakota%20An%20Indigenous%20History%20Cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="993" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinNFv3eQ_95MUnrVkrX9fshFCmB9DgLmfwd6QVzQoltykoY03_6sifMX1vicV8onuVfbdAHOkAVxh9QxLtUhuj3gT8nctAKGncAHHD5gZTMbxTcv-szmDCOAPDq0Qb6Vgi6adkx4QAsDb0OCKg3zT4FGCTqkBcnu3WkwBmNVkNfnDX_FTxBNSwJSuijw/w424-h640/Lakota%20An%20Indigenous%20History%20Cover.jpg" width="424" /></a></div><br /><h1 style="text-align: left;"><span style="font-size: large;"><span style="font-family: Arial; font-style: italic; white-space: pre-wrap;">Lakȟóta: An Indigenous History, A Review<br /></span><span style="font-family: Arial;"><span style="white-space: pre-wrap;"><i>A Native History Up To Current Time</i></span></span></span></h1><div><span style="font-family: Arial;"><span style="white-space: pre-wrap;"><i>By Dakota Wind</i></span></span></div><p></p><span id="docs-internal-guid-406032bd-7fff-095e-be88-52dbc1b815e3"><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Rani-Hendrik Andersson and David C. Posthumus</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Norman, OK: University of Oklahoma Press, 2022. xx + 415 pp. $34.95 (hardcover). Contents, illustrations, preface, pronunciation guide, afterward, glossary, abbreviations, notes, bibliography, and index.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">“For writing the Lakȟóta language, we use the most current orthography, which was developed first by Indiana University’s American Indian Studies Research Institute (AISRI) and expanded upon by the Lakȟóta Language Consortium (LLC).” So begins a narrative that employs a western institutional writing system. Like Pekka Hämäläinen and his “Lakota America,” Andersson and Posthumus craft a story that relies on foreign alphabet with international accents and glottal indicators. On the surface, LLC standardization works (ex. Wiyáka means “sand,” while wíyaka means “feather”), but so do the orthographies that have been developed by Lakxota people. </span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Do these standard orthographies work for speakers? Certainly not for </span><span style="font-family: Arial; font-size: 12pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Lakota America</span><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">. The audiobook version of that fine work is absolutely marred by the efforts of that narrator, who pronounces French terms with ease and familiarity. One only hopes for correct pronunciation of Lakxóta terms in </span><span style="font-family: Arial; font-size: 12pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Lakȟóta: An Indigenous History</span><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> since so much effort has gone in to employ a standard orthography to ensure it. </span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Andersson and Posthumus begin their work with the emergence narrative of the Títxunwaŋ Lakxóta people, which is followed by the story of the White Buffalo Calf Woman and her gift of the sacred pipe. The emergence narratives of the Eastern Dakhóta and Middle Dakhóta are excluded, though their place and part of the collective Ochéti Shakówiŋ, the Seven Council Fires or Great Sioux Nation, is not. </span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The authors understand how and why the pipe is important to the Lakxóta. They get it. This reader appreciates how respectful and mindful they are in their treatment of the covenant narrative. The Lakxóta place the appearance of the White Buffalo Calf Woman in many places on the Great Plains but the where and how of these stories is excluded. </span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Equally important to understanding the story of place is the savior narrative of the Fallen Star cycle of stories. This reader laments that these stories are excluded. Where the White Buffalo Calf Woman story is one about peace and interrelationship it is also about how to greet others - with water; the Fallen Star story is about practice of virtue and about how to say goodbye - with proper affection and gesture. </span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The strength of </span><span style="font-family: Arial; font-size: 12pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Lakȟóta</span><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> is it’s inclusion of Lakxóta history drawn from the pictographic records known as winter counts. It is immensely gratifying that historians treat these primary resource documents as more than art pieces. </span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 12pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Lakȟóta</span><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> is neatly divided into three parts. Each explores themes of culture (part one), conflict (part two), and survival (part three). The authors’ work is heavily drawn from Oglála voices, though much indeed of spiritual or philosophical belief or practice is shared in common. For a work that is representative and inclusive of the Lakxóta, why draw so heavily from one of seven divisions? The answer might be that there is so much more material recorded of Oglála voices. Part one carefully constructs a window into the daily cultural life of nineteenth century Lakxóta. </span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">After expertly establishing the philosophies, spiritual beliefs, and organization of society, the authors pick up with the history of the Lakxóta at the turn of 1800. The Lakxóta encounter with the Corps of Discovery is only touched on; the Arikara War of 1823, the first punitive campaign against a plains Indian tribe, is passed over; the exclusion of these events minimizes the growing political, social, and military strength of the Lakxóta. </span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The authors pick up the history of the nineteenth century Lakxóta in earnest in the 1840s with immigration on the Oregon Trail, but they describe it best as tension as the bison population begins to drop. Competition with cattle over water and grass? Bovine disease? The authors offer an excellent summary that it was all the above. In order to get the resources that the Lakxóta and their horses need to pursue the vanishing bison ganges and expand their ranges into other tribally occupied lands. </span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">There is little attention paid to the 1863-1864 punitive campaigns led by generals Sibley and Sully. The authors also split the Lakxóta into “northern” and “southern” divisions, but the Lakxóta people do this too in a manner of their own with the division coming from those who live north of the Cheyenne River and those who live south of the river. The authors construct the plains filled with rising tensions and escalating conflict that builds to a breaking point when they write of inevitable conflict. </span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The authors stated that when they write of the Battle of the Little Bighorn they would write from the Lakxóta perspective, and they do just that. They also do not aggrandize this fight, rather it is merely an endcap to chapter seven. There are so many books about this fight already, this treatment of the fight describes real people in tension and worry. The outcome of the fight, a victory co-celebrated with the Cheyenne. </span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The Ghost Dance, its origins, development, and practice by the Lakxóta is wonderfully broken down. The authors touch on the issue of syncretism in sharing not a Christian worldview that natives and nonnatives share a belief in one common god, but Sitting Bull’s own letter informing Agent McLaughin this very perspective. This doesn’t equate the Christian redemption narrative with sundance, rather, the Lakxóta have their own worship and tradition with the same god. </span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The last third of </span><span style="font-family: Arial; font-size: 12pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Lakȟóta</span><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> reaches past the tragedy of Sitting Bull’s death and Wounded Knee. Readers explore the Lakxóta world in the post-reservation era, deaths of the last great pre-reservation leaders, crushing poverty, ranching & farming, the legacies of the Dawes Allotment Act and the Indian Reorganization Act, and more. The struggle of Self-Determination brings the Lakxóta story up to the Dakota Access Pipeline. The authors take one step more as they wrap up their work and offer a look into life on the reservations during the Covid-19 pandemic. </span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 12pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Lakȟóta</span><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> does not have the same scope as </span><span style="font-family: Arial; font-size: 12pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Lakota America</span><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> and it should not. The authors shine a bright light on the story of leadership in the twentieth century and most importantly, that the Lakxóta are present and active in the modern world. </span></p><div><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></div></span>Dakota Windhttp://www.blogger.com/profile/10758878480652658779noreply@blogger.com0Rapid City, SD, USA44.0805434 -103.231014915.770309563821158 -138.3872649 72.390777236178849 -68.0747649tag:blogger.com,1999:blog-1021358373912276111.post-90573335090047909412022-10-04T16:25:00.010-05:002022-10-06T14:24:40.523-05:00May You Emerge Safely On The Other Side<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwUXWlCgr_Z0898spPWcwgsiDEpgmRflQLXuTdhuDHTIJf9ZL3bTqPIdpXMC72ymWA56htGBxkKDIQAysPninHmfhPJYEv5U_Wpg7kiTH9g4MpSCt8s7Ngf0GmejUJuOcYBhOlvgxTnTV51qNGcmLXUoPK4_kPn0yeV7S1jjDd-05CVxkBdCSHr7etjQ/s960/The%20First%20To%20Arise%20by%20Shane%20Balkowitsch.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="674" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwUXWlCgr_Z0898spPWcwgsiDEpgmRflQLXuTdhuDHTIJf9ZL3bTqPIdpXMC72ymWA56htGBxkKDIQAysPninHmfhPJYEv5U_Wpg7kiTH9g4MpSCt8s7Ngf0GmejUJuOcYBhOlvgxTnTV51qNGcmLXUoPK4_kPn0yeV7S1jjDd-05CVxkBdCSHr7etjQ/w450-h640/The%20First%20To%20Arise%20by%20Shane%20Balkowitsch.jpg" width="450" /></a></div><span style="font-family: arial;"><i>The First To Arise</i>, a wetplate photograph by Shane Balkowitsch, 2016. <br /><span style="font-size: x-large;">Uŋmáčhetkiya Yakpáptapi Kta Héčha<br />May You Safely Emerge On The Other Side</span></span><span id="docs-internal-guid-cdbe0be8-7fff-96d9-357e-86a76b65d9d2"><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">By Dakota Wind</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 14pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Tȟokéya Inážiŋla tókhi éyaye hé? Thíyata oníčilapelo. Uŋmá ečhíyataŋhaŋ iyáye. Waŋná Čhaŋkú Wanáǧi maní. Čhaŋkú Tȟó maní. Tókša akhé waŋčhíyaŋkiŋ kte. </span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Where have you gone First To Arise? They have called you home. You have gone on to the other side. Now you walk the Spirit Road. You walk on the Blue Road. I will see you again for certain. </span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Lekší Kevin Locke loved the land. When he was home he regularly ran on the prairie steppe above the floodplain of the Missouri River, overlooking Lake Oahe. His home, in the community of Wakpala, S.D. overlooks the water. Day or night, light from the sun or moon stretches across the water and illuminates his home. During the darkest nights and coldest days of winter, his home is filled with earnest love for family and land.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">One of his favorite places to run was at an old Sahnish (Arikara) village site close to his home. He wondered if it would be a good place to camp in the old days and looked at the site as though for the first time. Lo! There, he saw the evidence of a village from days gone by. Depressions in the ground where once stood great earthlodges. Time, erosion, and development took much of the old village. Thereafter, when he ran there he imagined running through a living village filled with laughter and singing in the air. The wind that swirled about him at the same time when he ran there, was the same wind that swirled then and there in a different distant time long ago; this same wind carried the smell of joy and prayer across the water and into the sky. </span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Lekší loved to dance. He refused to contest dance. The only one in competition for excellence he danced against was himself. He was renowned for hoop dancing, storytelling, and playing the traditional northern plains Indian flute. Kevin cultivated excellence in others too. When he saw the best in others he would say so, and further, he would tell others. </span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Lekší would say he was not a singer, yet he frequently sang. He loved and shared the songs he heard and learned from the elders of his youth. He listened to the mystery of creation. Swallows would swoop by and let him know he needed to brush his hair. Western Meadowlarks perched outside his home and sang in the New Year each spring, and each fall fond wishes for a safe emergence on the other side of winter. We just have to stop and listen for revelation in the quiet moments of creation. </span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Lekší believed that it was important to sing. Song renewed one’s identity and connection to the landscape. Song renews cultural identity. There is an exchange of energy, like electricity, between people who sing together. Long before Scientific American studied choirs and discovered that people who sing together their heartbeats synchronize, the Očhéti Šakówiŋ made this natural observation. Kevin explained it simply as: Lowáŋpi čhaŋná čhaŋtiyapȟa akhÍptaŋ hečhé, or “When they sing together, their hearts beat as one.” </span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Lekší would say he was not a singer, yet he frequently sang. The singing voice is the most precious instrument of the Očhéti Šakówiŋ. As an instrument of the Great Plains, the singing voice is known to carry several miles and still be understood. In an arid landscape with the near constant presence of the wind, the Lakȟóta language was a language of the wind. The rattle is the essence of hail; the drum the essence of thunder; the flute the essence of the wind; the voice the essence of lightning. The Lakȟóta singer’s voice carries where English falls apart. </span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Day and night. Equinox and solstice. Month and year. He saw the heavens and landscape in a constant state of renewal. In late summer of 2017, a solar eclipse washed over the Beautiful Country. The Očhéti Šakówiŋ last saw one in 1868. They believed that what was in the world here below was reflected in the heavens above. The Húŋkpapȟa lit sage and smudged. They brought out their pipes and prayed. The children of the sun and moon shone from their places in the heavens and life was wondrous and mysterious. The most beautiful thing about this moment was sharing this experience with family. For Kevin it was a profound moment of renewal. Even as the sun “died” it emerged moments later victorious. </span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">It was important for Lekší to experience the Beautiful Country. Looking out upon the landscape to distant summits gives one a sense of atmospheric perspective, that is to say, that from a distance sites and summits become like a dream and take on a blue color. That distance, that blue color reminds the Očhéti Šakówiŋ observer of a long abiding presence of </span><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Niyá Awičhableze</span><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">, or the Enlightening Breath Upon Which All Life Returns. </span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The Enlightening Breath is said to arrive on the Northern Plains in the spring, but all that lives and breathes draw upon it throughout the year. The Očhéti Šakówiŋ natural observation of atmospheric perspective is perceived thusly: Tȟéhaŋtaŋhaŋ táku tȟotȟó kiŋ tȟó atȟáŋiŋ, or “That which is green, from a distance becomes blue.” It is this sacred blue perspective that reminds the observer to treat the very land and air with the same respect as one treats home. </span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Lekší Kevin’s favorite conversational topics were language, culture, land, and how these each serve as metaphor for renewal and must be cultivated each and every day. The Missouri River is central to life in the Beautiful Country. The Mnišóše, or Missouri River, begins at the confluence of three rivers. This great confluence is known to the Očhéti Šakówiŋ as Mnitȟáŋka, or “The Great Water.” This Great Water flows and becomes the Mnišóše, or “The Water Astir.” It grows and turns about the landscape south, until it concludes its long journey. There it once again becomes Mnitȟáŋka. The journey of the river and its flow south is reflected in the Spirit Road of the night sky. </span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">A favorite topic of traditional story was that of Wičháȟpi Hiŋȟpáye, or “Fallen Star.” In the last narrative of the cycle of Fallen Star stories, this traditional hero heard his father’s voice in the heavens call out for him to take his place in the sky. The people were camped at Pahá Makȟásaŋsaŋ, what is today White Butte, and gathered in a great circle to send off their beloved hero. With his Kȟolá, Fallen Star ascended the White Butte and embraced his brother, lay down on the summit, and there he died. But his story doesn’t end there. He transformed into light and rose into the sky. From there he sends rays of light and hope to his people below. </span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">It is now fall. A Western Meadowlark flew by me and cried out, “Tókša akhé.” At that moment, the sun seemed to shine a little brighter, the air was filled with the intoxicating smell of spring or heaven, a breeze swirled and a little whirlwind danced and dissipated into the sky. In one breath I smelled and tasted sage. It was a holy breath. An Enlightening Breath, one filled with the promise of renewal. The Western Meadowlark said so. </span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">We may not see you in the here and now, but you are as close as our next breath, as close as our dreams, as close as shadow in the prairie grass, as close as reflection in the water. </span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Akhé waníyetu ú. Akhé kičhíč’iŋpi kte. Ohómni wótheȟike ečhéča takómni uŋmáčhetkiya yakpáptapi kta héčha. Mitȟákuye Owás’iŋ.</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Again, the winter approaches. Again, they will carry each other. Although surrounded by adversity, nonetheless, may you safely emerge on the other side. All my relatives. </span></p><div><span style="font-family: Arial; font-size: 12pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></div></span>Dakota Windhttp://www.blogger.com/profile/10758878480652658779noreply@blogger.com1012451 SD-1806, Mobridge, SD 57601, USA45.5935661 -100.497223545.587560089191534 -100.50580656884766 45.59957211080846 -100.48864043115235tag:blogger.com,1999:blog-1021358373912276111.post-26220493106733369172021-02-13T14:37:00.001-06:002021-02-13T14:49:45.372-06:00The Red Road and Other Narratives of the Dakota Sioux, A Review<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1gj98X4WmCDgqCEYPY23hxmeNEn_V0A9nbggVyLiASx4UsRUVBWyXx0Zw1U50aT8DcJfQDRafevGM6jsVaWP_o6hlhHxdT1GrttXv49X_IgxBE_9MTEQuc27tf8WU9UqFNLd09FQi0aNj/s1024/redroad-book-web__07545.1582999388.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="672" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1gj98X4WmCDgqCEYPY23hxmeNEn_V0A9nbggVyLiASx4UsRUVBWyXx0Zw1U50aT8DcJfQDRafevGM6jsVaWP_o6hlhHxdT1GrttXv49X_IgxBE_9MTEQuc27tf8WU9UqFNLd09FQi0aNj/w421-h640/redroad-book-web__07545.1582999388.jpg" width="421" /></a></div><p></p><p><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Mniyo, Samuel, and Robert Goodvoice. </span><span style="font-family: Arial; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The Red Road and Other Narratives of the Dakota Sioux</span><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">. Edited by Daniel Beveridge. Lincoln, NE: University of Nebraska Press, 2020. Hardcover. $75. 304 pages + xxvi. Contents, photographs, figures, maps, appendices, glossary, notes, bibliography. </span></p><span id="docs-internal-guid-1a445778-7fff-dd73-66db-38b5839f7268"><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">I grew up on the Standing Rock Sioux Indian Reservation hearing about the </span><span style="font-family: Arial; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Red Road</span><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">. My lekší Kenny struggled with alcohol and chemical dependence issues for years, and when he was clean we had some of the greatest philosophical discussions about the purpose of life, existentialism, and even the </span><span style="font-family: Arial; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Red Road</span><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">. He frequently questioned “why” about life, church, and traditional ceremony. I learned about the Socratic method of argument and the introspective meditative philosophy from him long before ever hearing about Socrates or Descartes. </span></p><br /><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">When I heard about the </span><span style="font-family: Arial; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Red Road</span><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">, it seemed to be a spiritual philosophy for people recovering from chemical and alcohol dependency. It was inseparable from recovery. I’ve had more than few, but I never let it become a lifestyle. Talking about the </span><span style="font-family: Arial; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Red Road</span><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> always seemed removed and distant. Conversations in school with friends about the </span><span style="font-family: Arial; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Red Road </span><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">immediately became quiet or turned to a discussion about becoming holy. </span></p><br /><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The Red Road and Other Narratives of the Dakota Sioux</span><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> was published in February 2020. I knew I wanted to read it after reading the title. It’s costly, and I waited for my local library to get a copy in so I could read it, but that never happened. I turned to the North Dakota State Library and did an interlibrary loan request, and a copy came in a week later from Nebraska. I hope that the University of Nebraska Press publishes a softcover edition soon. </span></p><br /><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The Red Road</span><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> is a duology of Dakhóta narratives which serve as a spiritual history of the Dakhóta people and by extension, the Očhéthi Šakówiŋ. Samuel Mniyo and Robert Goodvoice articulate an oral tradition of the Očhéthi Šakówiŋ that reaches back to a time when the Council Fires were not seven, but twelve. </span></p><br /><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The Red Road</span><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> is not a history book in the sense that it’s filled with footnotes, endnotes, and bibliography. It employs oral tradition that reaches into time beyond living memory, further back than winter counts can recall. It’s a pre-Columbian oral tradition without ever referencing that it is pre-Columbian. Historians who rely on the written record may struggle with these narratives. This reader suggests that this should be treated with the same respect and seriousness as one would treat the Holy Bible as history. </span></p><br /><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The narratives in </span><span style="font-family: Arial; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The Red Road</span><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> takes readers to a time and place when and where the Twelve Fires traveled and occupied land that stretched from the eastern seaboard in the east, and the Gulf Coast in the south, to the Rocky Mountains in the west. The narratives don’t fully articulate why five of the Council Fires removed themselves, but it was during a time of great struggle when the people fought themselves over resources. </span></p><br /><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The Seven Council Fires that remained united faced a great existential crisis in their search for ultimate truth. They searched for generations for the elusive Hill of Truth. Their travels took them across the great prairie steppe. Some stayed in areas to live their lives. Others remained nomadic in their generations-long pilgrimage. Mniyo goes so far as to suggest that this great quest was to prepare the Dakhóta to receive the biblical word of God when the missionaries arrived. “The promise of </span><span style="font-family: Arial; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Oúŋ</span><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> [Life] wasn’t really a lie. It was really the voice of God that spoke to our ancestors, but it was misunderstood. </span><span style="font-family: Arial; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Oúŋ </span><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">was not land [the Hill of Truth] but salvation in Jesus Christ, who went to Calvary Hill and paid for our sins.” (Mniyo and Goodvoice, 2020; 124). </span></p><br /><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">This retro understanding of Dakhól Wičhóȟ’aŋ (the Dakhóta Way of Life) removes the agency or sense of self-determination from the Dakhóta people and embraces pre-determinism, the very kind of thinking that colonizers and settlers embraced to justify missionizing the indigenous and taking their land. Mniyo’s philosophical approach to the arrival of missionaries is echoed in Pope Benedict XVI’s paternalistic statement in May of 2007 that the church had not imposed it’s will on the native peoples, rather, they were silently longing for Christianity [1]. </span></p><br /><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The narratives include what one might call mysticism. Both Mniyo and Goodvoice recall stories of a person or people walking on water. Goodvoice includes a prophetic warning to the Council Fire people's encounter with people who speak a different language in the future. </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">One outstanding narrative retelling by Goodvoice recalls an encounter with Iŋktómi, a traditional folk character who causes mischief and oftentimes outsmarts his own self, in which he puts aside mischief and warns the Dakhóta that an epidemic will strike them in a forthcoming winter. He told them what medicines to consume and to sequester that winter and when spring came, they survived. (Mniyo and Goodvoice, 2020; 157-158). </span></p><br /><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">I have never read such a thought-provoking book. I picked this book up and set it down so many times over the course of a month. I don’t think that Goodvoice intended at all for readers to be provoked into relating a way of papel thinking - these narratives were recorded over forty years ago - but rather, Goodvoice perhaps wanted Očhéthi Šakówiŋ to consider that we are living in the best of all possible worlds. Perhaps in modern times, we will return to self-determination through the rediscovery of language and way of life. </span></p><br /><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Goodvoice also provides an amazing narrative of the Dakhóta war effort in the War of 1812. The English gave the Dakhóta seven medals and a cannon. Goodvoice takes readers on a winding narrative of promises and betrayal worthy of an Indiana Jones film. Think, “It belongs in a museum,” as if that makes the appropriation of historic artifacts right. It doesn’t. </span></p><br /><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The </span><span style="font-family: Arial; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Red Road</span><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> is a path of recovery and self-determination. The Mniyo and Goodvoice narratives inform us that one doesn’t need to be a holy person but an everyday common person. The existential journey that the Očhéthi Šakówiŋ took an age ago has come back around. Who are we? Where are we going? What does it mean to be Dakhóta-Lakȟóta? Like the relatives long ago, I as an individual, don’t know those answers. The book </span><span style="font-family: Arial; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The Red Road</span><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> has certainly provoked me to ask myself, “What can I do to cultivate Lakȟól Wičhóȟ'aŋ, the traditional way of life?” </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial;"><span style="white-space: pre-wrap;">This deserves to be read by anyone who has an interest in indigenous philosophy. This book is history if one considers oral tradition to be history. It is philosophy. It might be religious studies. The publisher labeled this book anthropology. It's all these things. Buy it, read it, and maybe share it with a relative who can't afford it. </span></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><span style="font-family: arial;">[1] </span></span><span id="docs-internal-guid-b58bd8a2-7fff-11e8-d725-8bf3b0ee7897"><span style="font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: arial;"> Raymond Colitt, “Brazil's Indians Offended by Pope Comments,” Reuters (Thomson Reuters, May 14, 2007), https://www.reuters.com/article/us-pope-brazil-indians/brazils-indians-offended-by-pope-comments-idUSN1428799220070514.</span></span></span>Dakota Windhttp://www.blogger.com/profile/10758878480652658779noreply@blogger.com0tag:blogger.com,1999:blog-1021358373912276111.post-11388165968264965512020-12-17T12:23:00.002-06:002020-12-18T13:45:50.751-06:00A 2021 Traditional Lakota Calendar<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtOpVJpS2BzGPnZJmcopJzIsAFsW2GG6G-koaCRRPC4pUZDn4hxS_js7btA7V0fE7lk7xpmK3MnWQncFuLhFoU7d-kZ6xgit0bVZ8fdn5vznqdO_TA6DQkIA5mQaq2m7nAzjjOVAWAmiHJ/s2048/Fallen+Star%252C+A+Lakota+Hero.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtOpVJpS2BzGPnZJmcopJzIsAFsW2GG6G-koaCRRPC4pUZDn4hxS_js7btA7V0fE7lk7xpmK3MnWQncFuLhFoU7d-kZ6xgit0bVZ8fdn5vznqdO_TA6DQkIA5mQaq2m7nAzjjOVAWAmiHJ/w400-h400/Fallen+Star%252C+A+Lakota+Hero.jpeg" width="400" /></a></div><i>Wičháȟpi Hiŋȟpaye (Fallen Star or Star Boy), the traditional hero of the Očhéthi Šakówiŋ, takes his place in the heavens with his father Wičháȟpi Owáŋžila (North Star). </i><br /><span style="font-size: x-large;">Exploring the Traditional Calendar<br /><i>Thirteen Moons In A Year</i></span><br />By Dakota Wind<div><span style="font-size: large;">The traditional calendar of the Očhéthi Šakówiŋ (the Seven Council Fires; Great Sioux Nation) consists of thirteen moons. A month begins with Wit'é (New Moon). The Winter Count Keepers kept track of the year with counting sticks. This was Haŋwí Yawápi, the Moon Counting Tradition.</span><span style="font-size: medium;"> </span></div><div><br /></div><div>For many Očhéthi Šakówiŋ people the year begins in spring. Natural occurring events inform them when the New Year begins. When the ice breaks on the rivers and streams. When the geese return north. When the spring rain falls. When the bison bear their calves. When the trees bud. When Tȟašíyagmuŋka (the Western Meadowlark) sings. When certain stars appear too. </div><div><br /></div><div>In the winter count tradition, the year was referred to as Waníyetu (a Winter). The winter, or year as it were, was named after the year had passed. A year lasted from spring to spring. There were two spring moons, four summer moons, two autumn moons, and five winter moons. Since winter was the longest season on Northern Plains, it was natural to refer to the year as <i>winter</i>. </div><div><br /></div><div>In the moon counting tradition, the month was generally named for the natural events that occurred during that span of time. A month begins with the new moon. It is poetic to say that a month lasts twenty-eight days, but the winter count keeper with counting sticks knows the month is usually twenty-nine days or thirty days. </div><div><br /></div><div>The thirteen-month calendar overlaps the twelve-month astronomical by about twenty days. To reconcile the difference when the last month overlaps with the first month, the winter count keeper referenced the names of the last month and first month interchangeably. </div><div><br /></div><div>Last summer, a Lakȟóta educator contacted me about the possibility of creating a traditional calendar that was as faithful to the original calendar system as could be. I removed the names of the week because the traditional calendar did not have that, but I kept the seven-day week format. I removed western and American holidays and added several Wókiksuye (Memorial) Days. Blackened circles on each page demarcate where that month is in relation to the year (i.e. five black circles = fifth month, ten black circles = tenth month). Colors on the sides of the pictograph for each month correlate with the season (Blue = Spring; Red = Summer; Yellow = Autumn; White = Winter). </div><div><br /></div><div>This calendar includes the winter moons from the traditional year of 2020-2021. The new year for the Očhéthi Šakówiŋ begins on March 13, 2021, and runs through April 31, 2022. </div><div><br /></div><div>You can download this sixteen-month calendar <a href="https://drive.google.com/file/d/1gMM4UPbUK03v6slmGNUnWjkn4mHhIZAK/view?usp=sharing" target="_blank">RIGHT HERE</a>. Its dimensions are 11" x 17". </div><div><br /></div><div>Here's a "white guy friendly" version too that is just 2021. Humanities North Dakota has beautifully redesigned each month and inserted my captions to explain the pictography for each traditional month. You can download that version if you want, <a href="https://drive.google.com/file/d/1XGFGpBE1EkdI03ZVFM51SPyAydsRBHrn/view?usp=sharing" target="_blank">RIGHT HERE</a>. Humanities North Dakota will be printing a limited number of FREE calendars. Visit their <a href="https://www.humanitiesnd.org/" target="_blank">website</a> and sign yourself up for notifications and updates, or make a donation to them. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8Mtqws6q8dXJMNFNpSYElZ-xuR-WfhLbAe7Lllp5jzmSwNZuOuxo2f4mNq8HTgfttghr8pGcb77n7DeTPLQCspfSx7fZwam_rRZeg8BRXckJHq72VkYEFbGfmqkQc4EE3Dd0MOzi_kRzW/s2048/1+Dec+2020+to+Jan+2021.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1325" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8Mtqws6q8dXJMNFNpSYElZ-xuR-WfhLbAe7Lllp5jzmSwNZuOuxo2f4mNq8HTgfttghr8pGcb77n7DeTPLQCspfSx7fZwam_rRZeg8BRXckJHq72VkYEFbGfmqkQc4EE3Dd0MOzi_kRzW/w414-h640/1+Dec+2020+to+Jan+2021.jpg" width="414" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhkdyq2XGp2blmP803yKnkoM04GRQOAfWUpP1kXhxzv6lKpSzA7CSmPNU-9Cb6Ko1pBy4UOuBL97jWzo9oOoKdZjBOnnoc7Y10wE8-aKc2ohxENDBr8FJIAWy6ddBw7ed8mG7LH5T9CF3J/s2048/2+Jan+2021+to+Feb+2021.jpg" style="margin-left: 1em; 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text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAHAj2pHDQyAVc6EZ9s8v0PXPhEPT7REQR_nWqlP0DQc59yRr-dIO3UKUZVevCyhFBFmRmHxpa6wrZUhhDP4GRVHoVw0JSo6MFqxVi8c8RzpWRL3wftnH6AYwyEAW-mvHyf3O-pot9X9sr/s2048/16+March+2022+to+April+2022.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1325" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAHAj2pHDQyAVc6EZ9s8v0PXPhEPT7REQR_nWqlP0DQc59yRr-dIO3UKUZVevCyhFBFmRmHxpa6wrZUhhDP4GRVHoVw0JSo6MFqxVi8c8RzpWRL3wftnH6AYwyEAW-mvHyf3O-pot9X9sr/w414-h640/16+March+2022+to+April+2022.jpg" width="414" /></a></div><br /><div><br /></div>Dakota Windhttp://www.blogger.com/profile/10758878480652658779noreply@blogger.com1tag:blogger.com,1999:blog-1021358373912276111.post-37378336033774157432020-12-09T13:01:00.013-06:002020-12-16T08:22:59.591-06:00The Challenge of the Winter Moons, Winter Solstice Time of Hope & Light<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQSiob9i-Lf9mtSw1yVyxFnbyixZoA_ius_bJUT2APNhR0AZ53BazaRtpQ4Yxbw5qD5fAtDcDKF5hyphenhyphenf0rJLTyqFTMvDYFUJdPN4xxZMfP_CgdY3WRDD7Kt4tlTQBFIuUZo_g_D9V0Xy9Km/s800/Snowshoe+Dance+at+the+First+Snowfall%252C+1835-1837%252C+George+Catlin.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="525" data-original-width="800" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQSiob9i-Lf9mtSw1yVyxFnbyixZoA_ius_bJUT2APNhR0AZ53BazaRtpQ4Yxbw5qD5fAtDcDKF5hyphenhyphenf0rJLTyqFTMvDYFUJdPN4xxZMfP_CgdY3WRDD7Kt4tlTQBFIuUZo_g_D9V0Xy9Km/w400-h263/Snowshoe+Dance+at+the+First+Snowfall%252C+1835-1837%252C+George+Catlin.jpg" width="400" /></a></div><span style="font-family: arial;"><i>Above, "Snowshoe Dance at the First Snowfall, 1835-1837," by George Catlin.</i></span><span style="font-family: arial;"><br /><span style="font-size: x-large;">The Challenge of The Winter Moons<br /><i>Winter Solstice Time of Hope & Light</i></span></span><span id="docs-internal-guid-dd2ad161-7fff-402d-eda5-85932dfc7085"><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">By Dakota Wind</span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: medium; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Winter lasts five moons in the traditional Očhéthi Šakówiŋ calendar. </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 12pt; margin-top: 12pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The snow made hunting easier. When the first snow fell, Očhéthi Šakówiŋ men put on snowshoes and danced. They sang a song of Wópila (Thanksgiving) to Creator for sending snow. Snow may fall as early as Čhaŋwápe Ǧí Wí (the Moon when the Leaves turn Brown), or September, on the northern plains, but that doesn’t make it a snow moon. Generally, Waníyetu Wí (the Winter Moon), the first moon of winter is about the month of November.</span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 12pt; margin-top: 12pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Waníčhoka Wí (the Midwinter Moon) is about the month of December. According to Haŋwíyawapi Wičhóȟ’aŋ (the Moon Counting Tradition), each moon may be known by more than one name. The Midwinter Moon might also be called Tȟahékapšuŋ Wí (the Moon when Deer shed their Antlers). The Midwinter Moon may also be called Haŋyétu Háŋska Wí (the Long Night/Nights Moon).</span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 12pt; margin-top: 12pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The natural observation of the winter solstice was over the span of four days/nights. On contemporary calendars, this might be the nights of December 19-20, 20-21, 21-22, and 22-23. Astronomy informs us that the 2020 winter solstice will be on Monday, December 21, at about 4:02 AM CST. </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 12pt; margin-top: 12pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">During these long nights, the Očhéthi Šakówiŋ gathered together in their lodges in wóčhekiye (prayer). There was no universal special prayer. The Očhéthi Šakówiŋ didn’t have formal prayer together as Christians do. Rather, an individual fostered his or her own relationship with Creator. While there might not be collective formal observance there were some things they did together. </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0ucTA32TG8A4pbdsFMOdKkqzmFZNOtaBGwKT-RdHAG9P50EX6a2ofvAIyCzb383DnYtNvu22uAtwwCOLbj1_WgTG-LKAKONQgC2jbhVFzxMtVJaNIqnYM-5xQOAGJR6bCTkJ-XX_iF5J_/s2048/63B1B8C4-2D8C-4376-95AF-144F73B2811C.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0ucTA32TG8A4pbdsFMOdKkqzmFZNOtaBGwKT-RdHAG9P50EX6a2ofvAIyCzb383DnYtNvu22uAtwwCOLbj1_WgTG-LKAKONQgC2jbhVFzxMtVJaNIqnYM-5xQOAGJR6bCTkJ-XX_iF5J_/w400-h400/63B1B8C4-2D8C-4376-95AF-144F73B2811C.jpeg" width="400" /></a></div><span style="font-family: arial;"><i>Haŋyétu Háŋska Wí él Pahá Makȟásaŋ, or The Long Night Moon at White Earth Butte. A watercolor pictographic representation of the midwinter moon. Appearing upside-down at the top of the image is a profile view of that summit from the south looking north. </i></span><p dir="ltr" style="line-height: 1.2; margin-bottom: 12pt; margin-top: 12pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The Winter Solstice was a special time. The Očhéthi Šakówiŋ shared many stories, among which was the story cycle of the cultural hero Wičháȟpi Hiŋȟpáye (Fallen Star, or “Star Boy”). Sometime during the longest night of the year his star, in the constellation commonly known as Auriga, rises above Pahá Makȟásaŋ (White Earth Butte, or “White Butte,” the highest point in North Dakota). In his last day among the Očhéthi Šakówiŋ he hiked to the summit with his kȟolá (his lifelong best friend; him who he did everything with as a brother) where Fallen Star lay down, died, and transformed into light. He rose into the sky to take his place in the heavens with his father Wičháȟpi Owáŋžila (the Star that does not move), or North Star, and from there sends rays of light and hope to his people. Fallen Star broke the trail so that the </span><span style="font-family: Arial; font-size: 14.6667px; white-space: pre-wrap;">Očhéthi Šakówiŋ may return to the sky after death.</span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 12pt; margin-top: 12pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">I asked Lekší Virgil Taken Alive about winter solstice observations, and he shared this incite: they prayed. “When I was a younger man I heard that this was the start of preparation for the upcoming times of ceremony,” he said. They smudged their čhaŋnúŋpa (sacred pipe), čhaŋčhéǧa (drum), and such that they held sacred. “After Čhaŋnápȟopa Wí (the Moon of Popping Trees) they went out to gather Čhaŋšáŋšaŋ (the inner bark of the Eastern Dogwood, or ‘Red Willow’),” he concluded. </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 12pt; margin-top: 12pt;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghFH5yRgOlARTET5Hm1gz1SjmKbV4pFuoNQnO3aLRbgSCj0bANA5QqQJ8RcYqBVLK6zC4fYTHgEiqIDpoD5XoAOfnKdV9T-EFo2qwCmWmURQGS2QS6sNNC63TgvTSzcxa6EhnWBdUQx3iD/s1080/120515681_343206933425340_2663400079251552288_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1080" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghFH5yRgOlARTET5Hm1gz1SjmKbV4pFuoNQnO3aLRbgSCj0bANA5QqQJ8RcYqBVLK6zC4fYTHgEiqIDpoD5XoAOfnKdV9T-EFo2qwCmWmURQGS2QS6sNNC63TgvTSzcxa6EhnWBdUQx3iD/w400-h400/120515681_343206933425340_2663400079251552288_n.jpg" width="400" /></a></div><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-size: 14.6667px;"><i>Wiótheȟika Wí, or the Moon of Difficult Times. The rib lines demarcate the concept for hunger.</i></span></span><p></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 12pt; margin-top: 12pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The month following Waníčhoka Wí was a challenging one. They called it Wiótheȟika Wí (the Moon of Hard Times). </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 12pt; margin-top: 12pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Lekší Kevin Locke offered this retrospective of the Midwinter Moon, “In most accounts of pre-reservation days it seems to be a time when folks could enjoy the success of their winter preparation.” Locke reflected on the following month, Othehike Wi (the Moon of Difficulties), had good reason for being thusly named. </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 12pt; margin-top: 12pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Indeed, the Moon of Hard Times is represented in Plains Indian pictography as a figure with rib lines (to denote hunger) above an inverted crescent moon (the month). It can even be represented with an empty meat rack (another sign of hunger) above the sign for the moon or month.</span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 12pt; margin-top: 12pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Further, winter counts recall the most challenging winters. The High Dog Winter Count recalls the summer of 1800 as one of the most challenging years to survive. The summer heat was unbearably hot. The great gangs of bison went away, and hunting was poor. Flowers disappeared from the landscape, and the wind drank up the water. The birds refused to sing too.</span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">A punishing winter followed, as remembered in the White Bull Winter Count.</span></p><br /><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Winter came, snow and ice were everywhere. A group of Lakȟóta decided to move winter camp from the bottomlands of one river to that of another. As they moved over the high plains, a blizzard caught them. Gradually some of them began to succumb to the cold and fell. As one person fell, another lifted and carried him or her for the rest of their journey. Kičhíč’iŋpi keúŋkiyapi, “They say that they carried each other.” </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9KfqNmeZRBjfGMmjB7ls_d9214ers_mR14rB3wsORFAuldEZj_M43Da8HHFqiAoP-FYGZ2kASj-yLTE6TJosA5hu1m3HPOeYZFPaofFj8B_2eV23NOe-p0Hwomr5Y8js71F0KG7c25n6B/s2048/4ECC211F-BE8A-4A30-8CAB-3CE87005F241.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9KfqNmeZRBjfGMmjB7ls_d9214ers_mR14rB3wsORFAuldEZj_M43Da8HHFqiAoP-FYGZ2kASj-yLTE6TJosA5hu1m3HPOeYZFPaofFj8B_2eV23NOe-p0Hwomr5Y8js71F0KG7c25n6B/w400-h400/4ECC211F-BE8A-4A30-8CAB-3CE87005F241.jpeg" width="400" /></a></div><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-size: 14.6667px;"><i>Thiyóȟeyuŋka Wí, or the Frost in the Lodge Moon. A view of the interior of the lodge looking up through the smoke hole as a few snowflakes enter.</i></span></span><p></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 12pt; margin-top: 12pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">In a communique with Dallas Nelson, an educator and second language learner of Lakȟóta, Nelson shared what he learned from his lekší and other relatives in his community, “Aŋpétu Wí kiŋ haŋbléčheyapi iyéčheča hečhé, it appears as if the Sun were on a vision quest. For those four days the sun prepares himself. Readies himself for the coming seasons. A medicine man may offer prayer or hold ceremony during the winter solstice. He prays for that season [winter].” Nelson noted that they “cleanse each other,” he said, and they smudge their hóčhoka (the ground upon which they have ceremony) and their čhaŋnúŋpa. </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 12pt; margin-top: 12pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">“They tell traditional stories after sundown in the winter months,” said Nelson. He shared a traditional warning too, “they say if you tell stories at the wrong time you’ll get hairy!” As for the winter solstice, he concluded to me that observations during the winter solstice was a sacred time and that prayer was highly individual, concluding, “Many people pray at home.” </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 12pt; margin-top: 12pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Throughout the winter moons they sheltered in place, from about the time we call today November to about March or April. The men prepared themselves for the coming seasons. They worked on their bows, made arrows, and other needed tools. Hunting parties went out from time to time when their meat supply ran low. Severe winters brought starvation. The women kept busy too, they made and repaired winter apparel, gathered wood and water, and kept a kettle of soup ready. </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 12pt; margin-top: 12pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The late Harriet Skye informed me during the difficult times of winter the mothers and grandmothers reached into a pouch containing Haȟúŋtahu kiŋ Sú (Blue Flax Seed) and drew forth a handful. “They added that to their soup to make it go further. When unexpected company came they did this too. Where the grandmas were prepared to feed all within their lodge, a moment later they could feed many more. They were prepared to share.” The harsh winter taxed their supply of precious seed. </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 12pt; margin-top: 12pt;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGqBCKZM2i9vFz9MCk9Tf73zgVDnNS18NFJtGqGE31TBhb_QOsyIG0_EJMCCJU5nxfxsM6PcxcO0qJ9tt_yqPO391vvBCbAm6z_6zE_H-d93IoJgQx3ibm4IDRPfC9lpeSYo0wwgWRpbso/s2048/55BDACB2-379F-4A38-A6B0-130F5837E6AD.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGqBCKZM2i9vFz9MCk9Tf73zgVDnNS18NFJtGqGE31TBhb_QOsyIG0_EJMCCJU5nxfxsM6PcxcO0qJ9tt_yqPO391vvBCbAm6z_6zE_H-d93IoJgQx3ibm4IDRPfC9lpeSYo0wwgWRpbso/s320/55BDACB2-379F-4A38-A6B0-130F5837E6AD.jpeg" /></a></div><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><i>Ištáwičhayazaŋ Wí, or the Sore Eyes Moon. The last winter moon on the traditional calendar. The name for this moon and the pictograph represent the concept of snowblindness. </i></span><p></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 12pt; margin-top: 12pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The Flame Winter Count recalls the winter of 1845-1846, as a winter feast. That winter took a toll on the people and there wasn’t enough food to go around. A young man they called Curley Hair (he would later be known as Crazy Horse) rode through camp calling the people to his family’s lodge where they had food. </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 12pt; margin-top: 12pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The Battiste Good Winter Count recalls the winter of 1720-1721 as a starvation winter. Three lodges of people died. The pictograph for this year denotes a man standing next to a lodge, his ribs are showing. Going out in the winter, whether to make war on an enemy or to hunt, could prove disastrous; a later entry in this same winter count for 1738-1739 informs us of a war party that went out and perished in the cold. </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 12pt; margin-top: 12pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Starvation in the winter moons made the people consider eating things that they wouldn’t normally consume. Drifting Goose recalled the winter of 1689 as the winter that they ate their own with great difficulty. White Cow Killer recalled the winter of 1839-1840 as the year they ate horses they captured from the Pawnee. In a later entry of his winter count, Drifting Goose recalled the brutal near-starvation conditions of winter internment at the Fort Snelling prison camp in 1865. </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 12pt; margin-top: 12pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The Blue Thunder Winter Count recalls the winter of 1788-1789 as a deadly cold winter. It was so cold the birds fell dead from the sky. A dead crow bird represents the concept for this year’s entry. </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 12pt; margin-top: 12pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Winter took its toll on the horses too. The Cloud Shield Winter Count recalls the winter of 1865-1866 as the year they lost many horses to starvation. </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 12pt; margin-top: 12pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The fourth moon of winter, Thiyóȟeyuŋka Wí (the Moon When Frost Enters their Lodges), informs us of the lingering cold. The long winters took a toll on the people. Long cold nights, short gray days. Today that emotional toll is known as Seasonal Affected Disorder (SAD), but long before the medical diagnosis the Očhéthi Šakówiŋ this winter stress as Čhantípiskiče (Something pushing against his/her/their heart/s). </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 12pt; margin-top: 12pt;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht_A_8PEGlzKHnnsWpbO4dDuW0Ai1pM0-ggf7E9jc7VJoMSud6mcuL0dtYTBCEwS9uigpoKVPa-5E-sbdlFYmzEzWswT47iWIOUCWFVk8Z1GMvpQPWuEp6EGZLJkuDfgui8OftfEXt03VZ/s1080/88181047_2709350972446126_4795651598516480114_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="810" data-original-width="1080" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht_A_8PEGlzKHnnsWpbO4dDuW0Ai1pM0-ggf7E9jc7VJoMSud6mcuL0dtYTBCEwS9uigpoKVPa-5E-sbdlFYmzEzWswT47iWIOUCWFVk8Z1GMvpQPWuEp6EGZLJkuDfgui8OftfEXt03VZ/w400-h300/88181047_2709350972446126_4795651598516480114_n.jpg" width="400" /></a></div><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><span style="font-size: 14.6667px;"><i>Wíačhéič’ithi, the Sun makes a fire for himself. This winter feature in the sky is commonly known as a "Sundog." In this image, it appears above the Little Apple Creek Fork in the Missouri River valley.</i></span></span><p></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 12pt; margin-top: 12pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Regarding the cold gray that settles into one’s heart during the winter, Lekší Cedric Good House shared the story of Wíačhéič’ithi (the Sun makes a fire for himself). Long ago during a bleak seemingly endless winter. Many days had passed since they last saw the sun. The people called for council in the middle of winter camp. After prayer and deliberation, they built two fires east of camp. As they prayed for a break in the weather, the sky began to lighten and the clouds dissipated, the winds calmed, and the sun broke through. As the sun ascended into the sky, the two fires east of camp rose up into the sky on each side of the sun. I vaguely recollect lalá Innocent sharing this with me as a young boy. Lekší Cedric remembered lalá Ed Good House (Innocent’s older brother) sharing this story. Iná Carmine Good House (my mother’s sister) recalled that the winter gloom caused the people to have bad dreams, which was the impetus for calling a council in the middle of the camp.</span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 12pt; margin-top: 12pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The end of winter was marked by natural signs. When the ice broke. When the first flower Hokšíčhekpa, what settlers call the Pasque Flower, blossomed - often when snow was still on the ground. When the geese returned. When the meadowlarks sang out, “Oíyokhipi! Omákȟa tȟéča,” or “Take pleasure! The world is anew!” </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 12pt; margin-top: 12pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Lekší Kevin thoughtfully shared a benediction, the kind of prayerful and hopeful philosophy that is embraced by the Očhéthi Šakówiŋ during difficult times. He said, “Although surrounded by adversity, nonetheless, may you safely emerge on the other side.” I inquired with both Lekší Kevin and Lekší Virgil how I might best articulate this Lakȟól’iya. </span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 12pt; margin-top: 12pt;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Akhé Haŋyétu Háŋska Wí ú. Akhé kičhíč’iŋpi kte. Ohómni wótheȟike ečhéča takómni uŋmáčhetkiya yakpáptapi kta héčha. Mitȟákuye Owás’iŋ. </span><span style="font-family: Arial; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> Again, the Long Night Moon approaches. Again, let’s carry each other. Although surrounded by adversity, nonetheless, may you safely emerge on the other side. All my relatives. </span></p><div><span style="font-family: Arial; font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></div></span>Dakota Windhttp://www.blogger.com/profile/10758878480652658779noreply@blogger.com0tag:blogger.com,1999:blog-1021358373912276111.post-48168175362676792942020-01-23T16:14:00.000-06:002020-01-23T16:14:41.496-06:00Stringing Rosaries, A Review<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>A little girl kneels in prayer on the cover of Lakimodiere's "Stringing Rosaries." The title takes its name from one of the sixteen narratives within this book that recalls a story doing just this. </i></span><br />
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<span id="docs-internal-guid-908125ae-7fff-b54c-162b-7b3cc83cad11"><span style="font-family: "arial"; vertical-align: baseline; white-space: pre-wrap;"><span style="font-size: x-large;">Stringing Rosaries, A Review</span></span></span></div>
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<span id="docs-internal-guid-908125ae-7fff-b54c-162b-7b3cc83cad11"><span style="font-family: "arial"; vertical-align: baseline; white-space: pre-wrap;"><span style="font-size: x-large;"><i>A Must Read For Church Leaders</i></span></span></span></div>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">By Dakota Wind</span></div>
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<span style="font-size: large;"><span style="font-family: "arial"; vertical-align: baseline; white-space: pre-wrap;">Lajimodiere, Denise K. </span><span style="font-family: "arial"; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Stringing Rosaries: the History, the Unforgivable, and the Healing of Northern Plains American Indian Boarding School Survivors</span><span style="font-family: "arial"; vertical-align: baseline; white-space: pre-wrap;">. Fargo, ND: North Dakota University Press. 2019. $42.95 (hardcover). 277 pages + xiii. Preface, acknowledgments, photographs, fold-out map, appendix, bibliography, index. </span></span></div>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Lajimodiere shares the post-reservation Native American parochial boarding school experience of the Great Plains in an absolutely powerful and heartbreaking narrative that is certain to provoke a sense of loss, anger, sadness, and hope. This is not an easy read. </span></div>
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<span style="font-family: "arial"; font-size: 11pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Stringing Rosaries </span><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">begins with an introduction to the methodology of militarized education that was developed by Capt. Richard Pratt following the Civil War. Pratt was the superintendent of the United States Indian Industrial School in Carlisle, PA where he subjected “new recruits” to an exhausting regime of corporal punishment to any who exhibited indigenous identity, namely that of speaking their language. </span></div>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Lajimodier’s research informs us that many children were stolen from their homes if their parents didn’t obey the mandate to send their children to school. Her work focuses on the boarding school experience of survivors from a variety of reservations, mainly in North Dakota, but all genuine and moving, and for this reader, close to home. </span></div>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Pratt’s model became the standard for native education. Lajimodiere takes readers through sixteen firsthand accounts of assimilation. Each account recalls a dehumanizing experience. Children were coldly stripped, washed, and deloused with powder regardless if they were clean on arrival. Hair was cut or shaved entirely. Children were excessively and cruelly punished mainly for disobeying authority and speaking their language. </span></div>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">It would be easy to read only one or two of the survival narratives. In a sense, reading one is very much like reading them all. There is a general sameness of story, each school could be the same one but for location and name, but reading each one is part of the reader’s witness to understand the survivor’s journey. </span></div>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Boys were taught manual labor skills like carpentry and farming, girls were taught domestic skills like cooking, cleaning, and sewing. Boys and girls were strictly kept apart from each other, even in play or prayer. They were all awakened in the early hours for morning prayers. They were served coffee at every meal to keep them awake. Most disturbing of all, at any hour of the day or night, some children were sexually assaulted by both men and women of the cloth. </span></div>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Some of the first-person accounts are recalled under a pseudonym. Others employ their everyday names, and I am profoundly grateful that Dr. Ramona Klein (Turtle Mountain Band of Chippewa) and Dr. Erich Longie (Spirit Lake). I know both through their work and have met both on occasion; Dr. Klein when she was employed at the University of Mary in Bismarck, ND; Dr. Longie in his work with the tribal historic preservation office at Spirit Lake. </span></div>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Lajimodiere brings her work to a powerful close. She gives voice to her understanding of her father’s experience, of the native experience in assimilation: “...I came across terms I had not heard of before, terms such as historical trauma…[which] is conceptualized as a collective complex trauma.”</span></div>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">A year before her father took his last journey, Lajimodiere watched the documentary </span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">In the White Man’s Image</span><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> with him. “The video documented the use of whistles, bells, bugles, military-style punishment and daily regimen, the building of guardhouses on school campuses, kids dying of homesickness, disease, and poor nutrition...that boarding schools left a legacy of confused and lonely children.” </span></div>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Part of Lajimodiere’s testimony is forgiveness. This is not the same as reconciliation. For reconciliation to happen there has to be an acknowledgment of wrong-doing on behalf of the Church. Lajimodiere tells us in her closing pages of well-being and story of the White Bison Wellbriety Journey of Forgiveness. </span></div>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Forgiveness, in this sense, is a deep sense of being wronged, something buried deep inside one’s soul, and a profound relief of releasing that tightly wound bundle of anger and loss. This isn’t something light or easy, nor is every person ready to forgive when neither the Church nor clergy has acknowledged these dark sins. </span></div>
<br /><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Lajimodiere’s </span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Stringing Rosaries</span><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> isn’t a read for everyone, but it needs to be read by Church leaders and clergy. It should be read by people who call themselves Christian. Get your copy, or tell your minister to get one through the North Dakota State University Press. </span></span></div>
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Dakota Windhttp://www.blogger.com/profile/10758878480652658779noreply@blogger.com21340 Administration Ave, Fargo, ND 58105, USA46.8977528 -96.80243669999998721.3757183 -138.1110307 72.4197873 -55.493842699999988tag:blogger.com,1999:blog-1021358373912276111.post-71538409123093586042020-01-06T21:46:00.001-06:002020-01-14T13:55:36.739-06:00A 2020 Lakota Calendar<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>The New Year begins in spring when the geese return. Pictured above is a goose above a hung moon to represent the Moon When Geese Return. Above the goose is a red star, Itkob U, or Arcturus, which signals a change in season from winter to spring.</i></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-large;">Haŋwí Wówapi 2020<br /><i>A 2020 Lakota Calendar</i></span><br />By Dakota Wind<br /><span style="font-size: large;">Bismarck, ND - The New Year begins in spring for the Lakȟóta. A year is called Waníyetu or winter because winter is the longest season on the Northern Plains. The new month begins with the new moon. A month is called Wí. The sun is also called Wí. To differentiate between the luminaries, the moon is sometimes referred to as Haŋwí (Night-Luminary), and the sun as Aŋpétuwi (Day-Luminary).</span><br /><br />The eight phases of the moon are recognized as:<br /><br />Wit’é (Moon-Died) The New Moon.<br /><br />Wílečhala (Moon To-Be-Recent). The Waxing Crescent between the New Moon and the First Quarter.<br /><br />Wíokhiseya (Moon Half-Of). The First Quarter of the moon.<br /><br />Wímimá Kȟaŋyela (Moon-To-Be-Round Near-By). The Waxing Gibbous between the First Quarter and the Full Moon.<br /><br />Wímimá (Moon-To-Be-Round). The Full Moon.<br /><br />Wí Makȟáŋtaŋhaŋ Ú (Moon From-The-Earth To-Be-Coming Here). The Waning Gibbous between the Full Moon and the Third Quarter.<br /><br />Wiyášpapi (Moon-To-Bite-A-Piece-Off-Of). The Third Quarter of the moon.<br /><br />Wit’íŋkta Kȟaŋyéla (Moon-Wears-About-The-Shoulders Near-By). The Waning Crescent between the Third Quarter and the New Moon.<br /><br />The Thítȟuŋwaŋ (the Teton, or Lakota) regard the moon in a feminine sense. There is no “man on the moon,” but an old woman in the moon whom they call Hokhéwiŋ. When a ring around the moon appears it is called Wíačhéič’ithi (The Moon Makes A Campfire); when a ring appears around the moon they say that Hokhéwiŋ has vigorously stirred her pot and the light has spilled out and around her lodge.<br /><br />Wíačhéič’ithi is also a reference to sundogs. Long ago, a man went out to pray when the cold gray winter seemed to linger too long. The constant bleak gray days began to affect the people’s dreams. He came back and instructed the camp to select two groups of youth to go out east of camp and build to fires, then to return. Everyone came together in the center of camp and prayed. The sun broke through the clouds and as it rose into the sky, the two fires rose into the sky with it. For the Húŋkpapȟa, the sundog is a promise of hope and light.<br /><br />The Thítȟuŋwaŋ have two differing explanations for the cycles of the moon. The Húŋkpapȟa say that a large Itȟúŋkala (mouse) with a pointed nose gradually eats away the lodge of Haŋwí until there is nothing left (the waning of the moon). Haŋwí then has to reconstruct her lodge (the waxing of the moon). The Oglála say that Haŋwí draws her shawl over either side of her face as Wí approaches her or withdraws from her.<br /><br />The Očhéthi Šakówiŋ recognize four seasons. These are: Wétu (Spring) which is two months; Blokétu (Summer) which is four months; Ptaŋyétu (Fall) which is two months; Waníyetu (Winter) which is five months. The changes of seasons are caused by the eternal conflict of two brothers: Wazíya (the North) and Ókaǧa (the South). If Wazíya plays his flute during summer rains, he causes it to freeze, making hail. When Wazíya wins, we have winter; when Ókaǧa wins, we have summer.<br /><br />The Očhéthi Šakówiŋ used to keep track of the days, months, and year with Čhaŋwíyawa (Counting Stick/s). Some might use thirteen sticks, one for each month in the lunar year; others might just use one willow switch and notch it (one for a day, or one for each month). The Čhaŋwíyawa are recognized more for their use in hand games (a traditional guessing game) than for tracking time.<br /><br />This calendar includes memorial days of some massacres and major conflicts. This 2020 moon calendar overlaps with part of December 2019 through part of January 2021. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Download your FREE 2020 traditional Lakȟóta calendar <span style="font-size: large;"><i><a href="https://drive.google.com/open?id=154zmuOSpOiCTJwFCxbQdkEqhF9PFLPGd">RIGHT HERE</a></i></span>. Its </span><span style="font-family: "arial" , "helvetica" , sans-serif;">dimensions are 11"x17". </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Need a twelve-month civil calendar version? That's available <a href="https://drive.google.com/open?id=1eQGRWjVbzi3u8TFA_FzdmXM1y5iwBnwD"><span style="font-size: large;">RIGHT HERE TOO</span></a>. </span><br />
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Dakota Windhttp://www.blogger.com/profile/10758878480652658779noreply@blogger.com21 Standing Rock Ave, Fort Yates, ND 58538, USA46.094186149226481 -100.6278991699218846.083176149226482 -100.64806916992187 46.105196149226479 -100.60772916992188tag:blogger.com,1999:blog-1021358373912276111.post-84944183331044468632019-12-26T15:19:00.000-06:002020-01-06T11:42:22.457-06:00Lakota America, A Book Review<div dir="ltr" style="text-align: left;" trbidi="on">
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<i style="font-family: arial, helvetica, sans-serif;">The cover of </i><span style="font-family: "arial" , "helvetica" , sans-serif;">Lakota America</span><i style="font-family: arial, helvetica, sans-serif;"> features the art of Lakȟóta artist Jim Yellowhawk (Cheyenne River Sioux Tribe; Itázipčho). A simple photo of my copy of this book. </i><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-large;">Lakota America, A Book Review</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-large;"><i>This Book Fuckin' Moved Me</i></span><br />By Dakota Wind <br /><span style="font-size: large;">Hämäläinen, Pekka. Lakota America: A New History of Indigenous Power. New Haven, CT: Yale University Press. 2019. $35.00 (hardcover). 544 pages + ix. Acknowledgments, a note on terminology, introduction, epilogue, a list of abbreviations, notes, glossary, index, maps, photos, illustrations. </span><br /><br />“Yet this book is decidedly a history of the Lakotas, written from sources that seek to convey their perspective, often in their own words. An extraordinary archive makes this possible to an unusual degree. Lakota communities traced the passage of time by drawing on a buffalo hide a pictograph of one memorable event for each year. Lakotas call these calendars waníyetu iyáwapi. They draw attention to the mundane and reveal the sublime. Perhaps most important, as a body of historical record, winter counts capture what fascinated Lakotas and what mattered to them most. Lakota America makes the fullest use yet of this Indigenous archive in writing Lakota history.” (Hämäläinen, 2019; 8) <br /><br />Thus begins Hämäläinen’s Lakota America, a post-colonial contact history of a people referencing their own historical records, and in this process, treating these pictographic records with a serious care and careful regard that these primary resource documents deserve. Most histories regarding the Očhéthi Šakówiŋ, Seven Council Fires (or “The Great Sioux Nation), are constructed primarily from colonial records (i.e. explorer journals, trader records, and missionary accounts). Hämäläinen embraces the indigenous record as a concurrent history, complemented by the colonial record. <br /><br />I felt a deep sense of gratification reading this beautiful work. <br /><br />Hämäläinen paints a picture of a people occupying a known and busy landscape inhabited and shaped by other indigenous peoples from trade, war, disease, and expanding colonial empires, to displacement, removal, imprisonment, and survival in a post-reservation world. <br /><br />The story begins not with conflict, but with the arrival of Thiyóškate (Plays In The Lodge) on a diplomatic mission to Montreal to secure peace in the interior of North America. Conflict spread west threatening to invade Očhéthi Šakówiŋ homelands for beaver pelts in a trading system that left indigenous peoples dependent on iron wrought trade items. <br /><br />There are many books about the Očhéthi Šakówiŋ, among them other notables including Royal Hassrick’s “The Sioux: Life and Customs of a Warrior Society,” Thomas Mails’ “Mystic Warriors of the Plains.” Nearly all western history books agree that the horse arrived in the mid-1700s. Hämäläinen breaks from academic consensus by informing readers that the horse arrived on the northern plains following the Pueblo Revolt of 1682. (Hämäläinen, 2019; 55) <br /><br />The chapter, <i>The Lakota Meridian</i>, explores the Očhéthi Šakówiŋ in the context of world history. Hämäläinen reconstructs the setting of the interior of North America following the arrival of the horse, the gun, and smallpox epidemics which obliterated or weakened so many other first nations. The Lakȟóta secured and manipulated trade to their benefit. The Arikara War of 1823, the first American military campaign against Plains Indians sees the Očhéthi Šakówiŋ side with the United States, years after refusing “to be discovered” and acknowledging the United States as sovereign. (Hämäläinen, 2019; 140) <br /><br /><i>Lakota America</i> is not a conflict history of the American West. It is closer to a biography in tone, but not on any one individual or few of Očhéthi Šakówiŋ leadership. It is not so much a cultural examination either; there are other resources for that. This work is like a study of the character of a people throughout several generations. Hämäläinen briefly articulates the cultural story of the White Buffalo Calf Woman and the Gift of the Sacred Pipe but reimagines this ancient narrative as a story of new urgency as the Lakȟóta ventured west from the Mnišóše, the Water-Astir (or Missouri River). (Hämäläinen, 2019; 164-165). He does reiterate throughout his work that Očhéthi Šakówiŋ identity is evidenced by virtue of practice and language. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>The image above was drawn by Sitting Bull's own hand. In his later years, Sitting Bull and his own people, the Húŋkpapȟa, identified him as a medicine man or spiritual leader. </i><br /><br />Očhéthi Šakówiŋ homeland is determined by occupation of waterways, in particular, the Mnišóše and all his tributaries. Boundaries are determined by the waters, and those boundaries were recognized in both the Fort Laramie Treaties. Hämäläinen carefully determines and explains how those boundaries were set through conflict and diplomacy. Their villages moved from valley to valley across the plains. The traditional Očhéthi Šakówiŋ recalls that the people moved from stream source to stream source across the plains.<br /><br />Hämäläinen explores Lakȟóta political philosophy in their own terms as well as they dealt with the decline of the great bison ganges and the arrival of more fixed signs of American occupation. Iwáštegla, meaning “moderate,” “gentle,” and “easy,” but for also for the greatest maximum benefit, that which is “wašté,” or “good,” for the people. “Lakotas still expected wašíčus [sic] to compromise more than they did: after all, most of their interactions took place in Lakota territory. In this charged moment one can glimpse something essential about Lakotas’ ability to accept new realities, adjust to changing governing conditions, and yet remain indigenous.” (Hämäläinen, 2019; 300) <br /><br /><i>Lakota America</i> has many strengths. Meticulous research is one, but what makes Hämäläinen’s work stand out is that he acknowledges, employs, and attributes the history (oral and pictographic) of the people he writes about, putting it on the same page as colonial records equating its importance. <br /><br /><i>Lakota America</i> touches on the greatest conflict to shape the American West, Pȟežíšla Wakpá Okíčhize, or the Battle of the Little Bighorn. Every year there’s a book written about Lt. Col. Custer and the fate of the 7th Cavalry. Every book published about the Očhéthi Šakówiŋ includes this fight. It is refreshing that Hämäläinen does not dedicate an entire chapter retreading the last great Indian fight. <br /><br />Hämäläinen does not stop his narrative of Lakȟóta history with Čhaŋkpé Ópi Owíčhakte, the Wounded Knee Massacre. No, he brings the story of adaptation, survival, and self-determination up to recent events at Íŋyaŋ Iyá Wakpá, the Talking Stone River (or the Cannonball River). A people and their history did not end at the turn of 1900. It lives and is a constant story of change. Hämäläinen gets it. <br /><br /><i>Lakota America</i> is an engaging read. I found myself stopping several times throughout, lost in thought, and provoked to remember that indigenous occupation includes several other first nations who contested the landscape and gratified to discover how much Hämäläinen relied on Lakȟóta history to create this immensely reflective work. <br /><br />My only concern, and it is a very minor thing, is that not all Dakhóta-Lakȟóta use the same term for the “winter count:” Northern Lakȟóta (i.e. Húŋkpapȟa) and Iháŋkthuŋwaŋna (i.e. Wičhíyena, or “Upper Yanktonai”) refer to the pictographic records as Waníyetu Wówapi, which means, “Keeping an Account of the Winter.” The Dakhóta and Lakȟóta who were placed at Fort Peck refer to winter counts as Hékta Yawápi, or “Counting Back.” <br /><br /><i>Lakota America</i> has earned its place on my bookshelf. Get your copy as soon as you can to add it to yours. </span></div>
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Dakota Windhttp://www.blogger.com/profile/10758878480652658779noreply@blogger.com11 Standing Rock Ave, Fort Yates, ND 58538, USA46.094126627762833 -100.6278562545776446.091373627762835 -100.63289875457764 46.096879627762831 -100.62281375457763tag:blogger.com,1999:blog-1021358373912276111.post-73900493761214311362019-12-21T15:32:00.001-06:002019-12-24T11:40:02.380-06:00Winter Solstice Is Sacred Time<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>The Long Night Moon at White Earth Butte. The crescent represents the moon or month. Above the moon, appearing upside down at the top is the landscape profile of White Earth Butte as seen from the south looking north. </i><br /><span style="font-size: x-large;">Winter Solstice Is Sacred Time<br /><i>A Time To Carry One Another</i></span><br />By Dakota Wind <br /><span style="font-size: large;">The longest season of the year was winter on the Great Plains. On the traditional Očhéthi Šakówiŋ lunar calendar, the year consisted of two spring, four summer, two autumn, and five moons or months. The word for "year," in fact, is “Waníyetu,” meaning “Winter.” </span><br /><br />The first snow was celebrated. Men put on their snowshoes and danced in the fresh powder. The snow made for ease of hunting. The Lakȟóta explained the changing of the seasons as an epic battle between two brothers: Wazíya (The North) and Okáǧa (The South). As one retreated, the other gained ground. When Wazíya won, his breath blew across the landscape, and for as deadly and sharp his cold breath might be, he brought a blanket of snow under which Uŋčí Makȟá (Grandmother Earth) slept. <br /><br />The cultural genesis of the seasons aside, they remembered and shared real events from winters past. The High Dog Winter Count recalls the year 1800 as one of the most challenging years to survive. The summer heat was unbearably hot. The great gangs of bison went away, and hunting was poor. Flowers disappeared from the landscape, and the wind drank up the water. The birds refused to sing too. <br /><br />A punishing winter followed, as remembered in the White Bull Winter Count. <br /><br />Winter came, snow and ice were everywhere. A group of Lakȟóta decided to move winter camp from the bottomlands of one river to that of another. As they moved over the high plains, a blizzard caught them. Gradually some of them began to succumb to the cold and fell. As one person fell, another lifted and carried him or her for the rest of their journey. Kičhíč’iŋpi keúŋkiyapi, “They say that they carried each other.” <br /><br />The Lakȟóta used the long winter night to share stories like that of Wičháȟpi Hiŋȟphaya (The Fallen Star; also called “Star Boy”). The story of his mother, Tȟapȟúŋ Šá Wíŋ (Red Cheek Woman), and father, Wičháȟpi Owáŋžila (The Star that Does Not Move; “The North Star”) is fairly well known and told in books and various online media. <br /><br />The Lakȟóta share Ohúŋkakaŋ (stories from the distant past) and Wičhówoyake (stories, legends, myth) during the five lunar months of Waníyetu (the winter season), and during this moon especially, they share stories like the Fallen Star narrative. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Sometime during the Long Night, the Fallen Star rises from the highest point of White Earth Butte. As the heavens turn, or as the earth rotates, the constellation gradually moves counter-clockwise until most of it gradually disappears past the northern horizon. Fallen Star, or Capella, dips down past the horizon, then majestically rises, bringing hope to the people. </i><br /><br />According to Ronald Goodman’s work in his Lakota Star Knowledge, Fallen Star was renowned among the Lakȟóta as “the Protector, the bringer of light and higher consciousness.” After becoming a father, Fallen Star ascended “a hill at night with a friend,” and told him that he was going to return home. Fallen Star laid down upon the hilltop and died. His spirit was seen as a light that rose into the star world. “At some time in the past, all Lakȟóta acquired the gift of light he brought them.” (Goodman, 2017; 32) <br /><br />Goodman discusses an ancient central symbol strongly associated with the heavens and the world. This symbol is referred to as Kapémni (“the action is swinging around and around,” as with a warclub or bull roar), and resembles an hourglass. One half represents all that is heavenly, the other half represents all that is worldly. What is in the heavens is also present in the world. In the pages of Lakota Star Knowledge, this “mirroring” is demonstrated in a map of the Lakȟóta constellation Čhaŋgléška Wakȟáŋ (The Sacred Hoop) which demarcates the locations of landmarks in and around the Black Hills. <br /><br />In 1967, Helen Blish published her thesis A Pictographic History of the Oglala Sioux, featuring the works of Amos Bad Heart Bull (~1868-1913), a noted Lakȟóta artist, amongst of what was a map of the Black Hills and other features including Pahá Ská (White Butte). White Butte is noted as being north of the Black Hills. <br /><br />It is a general map; not everything matches up perfectly, in fact, maps of the landscape were concerned with lineal cohesion rather than over-exactness. Matȟó Thípila (Bear Lodge), or Devils Tower, is not actually within Khiíŋyaŋka Očháŋku (The Race Track), the edge of the Black Hills. The Race Track is the “mirror” of the Sacred Hoop, just as Makȟáska (White Earth Butte), or White Butte, is not a part of the Black Hills, it is north of the ‘Hills. It is a real butte. It is also the hill upon which Fallen Star made his journey back to the sky. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br />Like Devils Tower, White Butte appears to be in the narrative of the Sacred Hoop in Bad Heart Bull’s map narrative, though it is not so in actuality. Yet according to the map of the Sacred Hoop constellation in Lakota Star Knowledge, a star commonly known as Capella, the brightest star in the constellation Auriga appears as part of the Sacred Hoop. <br /><br />Referencing Bad Heart Bull’s map and tracking the sky from the Sacred Hoop to the North Star one “sees” the stars associated with the constellation Auriga “pointing” or “reaching” towards the North Star. The constellation Auriga appears to be Kapémni, or "mirror" of White Butte and the immediate landscape surrounding that beautiful plateau. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Fallen Star returns to the sky to be with his father. He sends rays of light and hope to the Očhéthi Šakówiŋ people. </i><br /><br />As Capella is the Fallen Star I’d like to suggest that Auriga is his constellation. At about 6:00 PM on the longest night of the year, this constellation appears upside down. Twelve hours later, at about 6:00 AM, which is at the tail end of the longest night, the heavens have rotated 180° counterclockwise, and have become right side up. The Fallen Star “rises” from the horizon, it rises from the top of White Earth Butte. <br /><br />Long ago, before the reservation era anyway, the month which some might call December today, was known by some Lakȟóta as Waníčhokaŋ Wí (The Midwinter Moon). They might not have known the exact time (it’s 10:19 PM CST) but could reckon the subtle shift in daylight when there was a little more of it and could track the general date with counting sticks; they knew it happened in the Midwinter Moon. <br /><br />According to Vi Waln, “I believe the real day of prayer was observed on the winter solstice by the people with ceremony, food, and family.” Further, “Nature and the stars were monitored carefully to help with preparation for whatever time of year was upon the people.” And lastly, “Many Lakota people will offer prayer in much the same our ancestors did so on the Winter Solstice.” (Valn, Winter Solstice Is Sacred, 2011) <br /><br />There are five winter moons in the traditional Lakȟóta calendar. After the Winter Solstice, it was time to gather red willow (eastern dogwood) to make čhaŋšáŋšaŋ, traditional tobacco made from the inner bark of the red willow, and used for ceremony. <br /><br />In the heart of winter, in daylight, there sometimes appears the sundog. The Lakȟóta call it Wíačhéič'thi, which means "The Sun Makes A Campfire [For Himself]," and the story associated with this event holds the promise of light, that it returns. Sometimes, during the winter nights, they see a ring around the moon, also called Wíačhéič'thi, only this is interpreted as "The Moon Makes a Campfire [For Herself]." The Moon has vigorously stirred her pot and light has spilled about her lodge.<br /><br />The New Lakota Dictionary lists the Winter Solstice as Waní-Wí-Ipȟá (Crest of the Winter Sun). The Húŋkpapȟa might call the same Haŋyétu Háŋska (The Long Night) as they called this traditional month Haŋyétu Háŋska Wí (The Long Night Moon). <br /><br />However it is called this day, or this month, these things are certain: gather close together with family in observation or prayer, eat together, share stories, and carry each other.</span><br />
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Dakota Windhttp://www.blogger.com/profile/10758878480652658779noreply@blogger.com6White Butte, Chalky Butte, ND 58623, USA46.386676 -103.3024014999999720.8646415 -144.61099549999997 71.9087105 -61.993807499999974tag:blogger.com,1999:blog-1021358373912276111.post-40506521951706335392019-11-21T11:44:00.000-06:002019-12-03T16:37:15.063-06:00Dakota Moon Counting Tradition, A Poster<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Above, a screen capture of the Dakhóta moons throughout the year.</i></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Haŋwíyawapi Wičhóh'aŋ Kiŋ<br />Dakh</span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">óta </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Moon Counting Tradition</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Bismarck, N.D. (The First Scout) (Updated) - The Isáŋyathi, Dakhóta-speaking people east of the Red River of the north, east of the Big Sioux River, follow a twelve-month calendar. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Their calendar system is much like that the moon counting tradition of the Thítȟuŋwaŋ, the Lakȟóta-speaking people west of the Missouri River. There are sometimes more than one name for the month, but each month reflected a deep relationship with that the people have with the environment. This informs us, that there was a long occupation and a record of observation for the people to survive and adapt to the landscape. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Feedback from Spirit Lake informs us that the Dakhóta did, in fact, employ a thirteen-month traditional calendar. The twelve-month calendar indicates assimilation. Philámayaye Lekší. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The historic Očhéthi Šakówiŋ held a world-view perspective that was south-oriented. Taking this into account, then the rotation of the moon and the rotation of the earth around the sun would give us a moon calendar layout that looks like the poster above with the cycle of the moons and the phases of the moons "read" in a counter-clockwise manner. <br /><br />Of course, the </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Očhéthi Šakówiŋ</span><span style="font-family: "arial" , "helvetica" , sans-serif;">a would never have laid out images like this, rather, they kept track of the moons with counting sticks. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Get your copy of this 36"x48" poster of the <a href="https://drive.google.com/open?id=17JLkdovRBWnlMdT6sXMymHz10W0lZyMo">Dakhóta Moon Counting Tradition for FREE</a>. Share this with others and your classroom today. </span></div>
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Dakota Windhttp://www.blogger.com/profile/10758878480652658779noreply@blogger.com0Flandreau, SD 57028, USA44.0494154 -96.59532444.0037619 -96.676005 44.0950689 -96.514643tag:blogger.com,1999:blog-1021358373912276111.post-80628179859888366432019-11-13T08:25:00.000-06:002019-11-13T08:25:57.688-06:00Historical Record On Beaver Creek<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: arial, helvetica, sans-serif;"><i>WA NA TA, THE CHARGER, Grand Chief of the Sioux</i>, by Charles King Bird.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-large;">Missing Narrative In North Dakota<br /><i>Historical Record On Beaver Creek </i></span><br />By Dakota Wind <br /><span style="font-size: large;">Linton, N.D. (The First Scout) – There is a great long gradual rise on the vast open prairie between the Mnišóše (The Water-Astir, or “Missouri River”) and Čhaŋsáŋsaŋ Wakpá (White Birch River, or “James River”). The Iháŋkthuŋwaŋna (Little End Village, or “Yanktonai”) who occupied this region for hundreds of years call this rise Ȟé Mníšoše, the Water-Astir Ridge. The French called it the Coteau du Missouri. </span><br /><br />The Očhéthi Šakówiŋ often know places by two or more names. An everyday name for everyday things like hunting or gathering. A site may have a special or spiritual significance. The Middle Dakhóta called the Water-Astir Ridge, just that, when they hunted and gathered. When they prayed there, when they put their relatives to rest on the coteau, they called it Wanáǧi Tȟamákhočhe, or Country of the Spirits. <br /><br />For the Dakhóta, the Water-Astir Ridge begins in the north by Šuŋk’óthi Pahá, or Wolf Den Butte, which is today called Dogden Butte. The coteau reaches southwest to a point near the North Dakota-South Dakota border by Forbes, ND. A creek across the border meanders across the plain and serves as a natural boundary of the coteau. This creek has two names in Dakhóta, and if that weren’t enough, it has two designations in English. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1wJyoulp3F_2Eep07vVPWJV2Scl7aK3j-v0R6OfpvBIXwi3C00wC1MNLDC67Kx6y6y-4XIDGH5kDzi9T65jgUIExYIqpbWHlMRtv1JRuMzMg-WuX5hW4gjwXuYP5Xr_nlzZoAsMUV-o4y/s1600/Battle+of+Whitestone+Hill%252C+Engraving%252C+Harpers+Weekly.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1349" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1wJyoulp3F_2Eep07vVPWJV2Scl7aK3j-v0R6OfpvBIXwi3C00wC1MNLDC67Kx6y6y-4XIDGH5kDzi9T65jgUIExYIqpbWHlMRtv1JRuMzMg-WuX5hW4gjwXuYP5Xr_nlzZoAsMUV-o4y/s320/Battle+of+Whitestone+Hill%252C+Engraving%252C+Harpers+Weekly.jpg" width="320" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>The Battle of Whitestone Hill</i>, as it appeared in Harpers Weekly, October 31, 2863.<br /><br />A gulch six miles west-southwest of Forbes, ND is known to the Iháŋkthuŋwaŋna as Šúŋka Wakȟáŋ Wičháktepi, or Where Their Horses Were Killed, in reference to the horses that were wounded in the 1863 Whitestone Hill Conflict carried survivors to this point and laid down to rest. <br /><br />This creek is known by the Middle Dakhóta as Wíŋkta Wakpána (Hermaphrodite Creek) or Dakhóta Núm Wakpá (Two Dakota Creek). The Corps of Discovery called it Stone Idol Creek. The modern population in the vicinity of Pollock call it Spring Creek. This stream originates about nine miles south-southeast of Ashley, ND. <br /><br />Another stream that bears re-examination is Čhápa Wakpána, or Beaver Creek. It rises at Bdé Čhápa, or Beaver Lake, and flows out of the coteau about 108 miles west to join the Mnišóše by the Beaver Creek Recreation Area by HWY 1804. <br /><br />In the fall of 1839, Waná’ata, the Charger, led his band of Dakhóta to make their winter camp. It was his last winter. The camp spread out for miles along the creek. The Charger was a veteran of the War of 1812. He was commissioned a captain by British Indian Agent Col. Robert Dickson. The Charger led several hundred Dakhóta people at the battles of Fort Miegs and Fort Stephen in Ohio. He was so influential on the field, his bravery so renowned, that President Martin Van Buren met with the Charger and commissioned his likeness in a portrait. The Charger also met with King George III. Was the Charger an important and influential figure in the history of the American West? A president and a king seemed to think so. <br /><br />In 1818, at Fort Snelling, the Charger became a devoted proponent of the United States. <br /><br />The Charger led a command of hundreds of Dakhóta and Lakȟóta warriors in the first ever punitive campaign against a Plains Indian people, the Arikara, in the Arikara War of 1823. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR-YViUD0i33nPKkweWjXTywdYW2bvFP898PD22Auk2idRc2KUwRznDKKVtpX7HUiqQ0YGXulWIwvNkzz5V6mFgmFeHg6-Xra0YuLZBALLAEPMOFVMyhF9VfMJ-iIocsgPliTrE6avn12s/s1600/1071014.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1058" data-original-width="1600" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR-YViUD0i33nPKkweWjXTywdYW2bvFP898PD22Auk2idRc2KUwRznDKKVtpX7HUiqQ0YGXulWIwvNkzz5V6mFgmFeHg6-Xra0YuLZBALLAEPMOFVMyhF9VfMJ-iIocsgPliTrE6avn12s/s400/1071014.jpg" width="400" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>U.S. General Land Office Map, No. 12, 1878</i>, details Grant's executive order extending the boundaries of Standing Rock Agency into present-day Emmons County.<br /><br />President Grant extended the boundary of the Standing Rock Agency in his Executive Order, dated March 16, 1875, from west of the Missouri River, east of the agency along Beaver Creek to about where 19th Ave SE, Linton, ND is located, and south into North Campbell, SD. This boundary set aside land for the Iháŋkthuŋwaŋna Dakhóta people. The people who fought on the side of the United States were recognized for their service and dedication by the federal government and the president set aside land for them in perpetuity. <br /><br />There’s plenty of cultural and occupational history in Emmons County. If only there were some kind of in-depth historical Class III survey that could document these significant events.</span></div>
Dakota Windhttp://www.blogger.com/profile/10758878480652658779noreply@blogger.com2tag:blogger.com,1999:blog-1021358373912276111.post-54056267026073602292019-09-24T10:24:00.000-05:002019-09-24T10:24:10.651-05:00Lakota Territory Poster<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKj7HRvvjoBNoO-jHJPwMdbo5GWkBGNPfpEW1G4Y9wCdQw5-D4iENK0WM6UiD3scGGFCkHLOhrBBxgyFFLHlGiDX85eZnzxyBRcd7y8cAOXzYWboLc3D80zrd6O2zquJxfzzXScoKG5WdN/s1600/Lakota+Territory+Map.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="774" data-original-width="1028" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKj7HRvvjoBNoO-jHJPwMdbo5GWkBGNPfpEW1G4Y9wCdQw5-D4iENK0WM6UiD3scGGFCkHLOhrBBxgyFFLHlGiDX85eZnzxyBRcd7y8cAOXzYWboLc3D80zrd6O2zquJxfzzXScoKG5WdN/s400/Lakota+Territory+Map.jpg" width="400" /></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><i>Očhéthi Šakówiŋ </i>(Seven Council Fires)<i> Territory Poster, above, shows several maps, all of which show an occupation in the heart of North America.</i></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-large;">Očhéthi Šakówiŋ</span> </span><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-large;">Territory Poster</span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-large;">Traditional Homeland Of Great Sioux Nation</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">By Dakota Wind</span><br />
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Bismarck, N.D. (The First Scout) - Over 1800 places across the Great Plains have been pinned on a Google Map, </span><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: large;">drawn from oral tradition, books, journals, historic maps, to create a resource that reflects a historical and cultural occupational history of the </span></span><span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: large;">Očhéthi Šakówiŋ (Seven Council Fires, or "Great Sioux Nation") over the past three hundred years. </span></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">The Google Map, called <a href="https://www.google.com/maps/d/viewer?mid=1pbLuALDtMHbxpigEh28R_6KZXdyPj1X-">Makȟóčhe Wašté</a> (The Good Country, or The Beautiful Country), has over 1800 places in the language of the O</span><span style="font-family: Arial, Helvetica, sans-serif;">čhéthi Šakówiŋ people. Over 24,000 geo-referenced pins on over two hundred historical maps using Google Earth and the David Rumsey Map Collection at the Stanford University Library were employed to create a map history detailing the historic and cultural occupation of the </span><span style="font-family: Arial, Helvetica, sans-serif;">O</span><span style="font-family: Arial, Helvetica, sans-serif;">čhéthi Šakówiŋ in the heart of North America. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">The Makȟóčhe Wašté Map demands a lot of computer memory and bandwidth that it is best accessed online via desktop computer. This poster was created to provide viewers and educators a general view of the Great Plains as the </span><span style="font-family: Arial, Helvetica, sans-serif;">O</span><span style="font-family: Arial, Helvetica, sans-serif;">čhéthi Šakówiŋ saw it, with a south-orientation. A screen capture image of various points shows not just occupation but far reaches of inter-tribal trade. The map is updated as placenames are shared or revealed. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Three historic maps drawn by Iháŋkthuŋwaŋna Dakhóta (the Whitestone Hill Massacre Map by Richard Cottonwood guided by Takes His Shield) and Húŋkpapȟa Lakȟóta (the two maps of the 1876 Little Bighorn Fight) are included. All three are south-oriented. A Google Map overlaps the various historic occupations (blue is Dakhóta; purple is the Middle Dakhóta; red is Lakȟóta). </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Also included are two historic trader maps, one by John Pope when he was a trader before the 1862 Minnesota Dakota Conflict, and the other by Joseph Nicollet. Both of these maps demarcate the landscape with hundreds of placenames in Dakhóta. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">An explanation of the south-orientation worldview perspective can be found <a href="http://thefirstscout.blogspot.com/p/a.html">here</a>.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Lastly, several Lakȟóta names appear in large, bold, red text which recalls how they referred to the Great Plains, and by extension North America. This poster measures 36"x48". <a href="https://drive.google.com/open?id=11Kz-mDz4dUZf8rPoV65NzTEP9iQ9NAQ_">Download your free Lakota Territory Poster</a> and share it. </span></div>
Dakota Windhttp://www.blogger.com/profile/10758878480652658779noreply@blogger.com0tag:blogger.com,1999:blog-1021358373912276111.post-25008563788956153382019-08-30T16:33:00.000-05:002019-11-21T09:53:55.862-06:00Moon Counting Tradition, A Poster<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR44iHdDZcYbHV0NCtSKsXYwSgcte-gjHmJ1TKPcxyKIninE-xPMNputsDmJ8ZsC5K76yQbOmMWdlRnNSmdrOpmSqOloruVKLoES5sJIeqNzmViFNNGri3R_x7PM1yRUcIc8MIq1JaSzl7/s1600/Moon+Counting+Poster%252C+a+screen+capture.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="925" data-original-width="1223" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR44iHdDZcYbHV0NCtSKsXYwSgcte-gjHmJ1TKPcxyKIninE-xPMNputsDmJ8ZsC5K76yQbOmMWdlRnNSmdrOpmSqOloruVKLoES5sJIeqNzmViFNNGri3R_x7PM1yRUcIc8MIq1JaSzl7/s400/Moon+Counting+Poster%252C+a+screen+capture.jpg" width="400" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Pictured above is a screen capture of a poster with information about the Moon Counting Tradition. </i></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Haŋwíyawapi Wičhóȟ'aŋ Kiŋ</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">The Moon Counting Tradition</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Dakota Wind, Editor</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Bismarck, N.D. (The First Scout) - Winter Count Keepers kept track of time by following natural changes in the environment and naming the moon in which that moon became associated. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Months were moons, and thirteen moons represented a winter. The Očhéthi Šakówiŋ (the Seven Council Fires; the "Great Sioux Nation") called a cycle of thirteen moons a winter because winter was the longest season on the Northern Plains. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">A moon could have many names. The Wolf Moon one year may be called the Moon of Popping Trees the next. The Yellow Leaf Moon among the Lakȟóta might also be called the Brown Leaf Moon; this same moon among the Dakhóta would be called the Moon When Rise is Laid Up to Dry. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The historic Lakȟóta held a world-view perspective that was south-oriented. Taking this into account, then the rotation of the moon and the rotation of the earth around the sun would give us a moon calendar layout that looks like the poster above with the cycle of the moons and the phases of the moons "read" in a counter-clockwise manner. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Of course, the traditional </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Lakȟóta would never have laid out images like this, rather, the winter count keeper kept track of the moons with counting sticks. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">This poster measures at 3' x 4' and is available for FREE, <a href="https://drive.google.com/file/d/14fdDhAJAg-VyUGqhsKKBTKiMnRcXiIiD/view?usp=sharing">click here</a>. Share this poster with others and your classroom today. </span></div>
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Dakota Windhttp://www.blogger.com/profile/10758878480652658779noreply@blogger.com0tag:blogger.com,1999:blog-1021358373912276111.post-81943167049803491322019-03-24T13:52:00.001-05:002019-03-24T13:52:10.360-05:00Months of the Lakota Year as told to Rev Peter Rosen<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcrJyl_PT3HAPnWKT2mfJp66PvMeSTv_ZvR309WH2UbVFnzMuxO3znOFKwUFAAppZ1kjwyIM0ezXhDS3Wrfho2FU3dP9t6foZTZczL_2GPjwp7vHfMp2A8sQeP-PZznM5XzfigW7Jt7286/s1600/PAHA+SAPA+Book+by+Peter+Rosen.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1360" data-original-width="946" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcrJyl_PT3HAPnWKT2mfJp66PvMeSTv_ZvR309WH2UbVFnzMuxO3znOFKwUFAAppZ1kjwyIM0ezXhDS3Wrfho2FU3dP9t6foZTZczL_2GPjwp7vHfMp2A8sQeP-PZznM5XzfigW7Jt7286/s400/PAHA+SAPA+Book+by+Peter+Rosen.jpg" width="277" /></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /><span style="font-size: x-large;">Months of The Lakota Year<br /><i>As Told to Rev. Peter Rosen</i></span><br />Edited by Dakota Wind<br /><span style="font-size: large;">Rev. Peter Rosen was a Catholic missionary for seven years in the Black Hills beginning with his first placement at St. Andrew’s Parrish in Deadwood, Dakota Territory, 1882. Rosen collected any writing he could to acquaint himself with the Black Hills. He collected newspapers, books, copies of government records, church records including the manuscripts of Fr. Pierre DeSmet, and oral stories on his many various trips in and around the ‘Hills. </span><br /><br />In 1895, Rosen published Pa-ha-sa-pah, or, The Black Hills of South Dakota: A Complete History. It was a series of six books published as one volume, with the first three focusing on the indigenous occupation of the Black Hills, their mythologies, and long associations with the ‘Hills. <br /><br />Amongst Rosen’s work is a collection of Lakȟóta names for the twelve months of the year. The Lakȟóta employ a thirteen-month lunar calendar, not a twelve-month astrological one. Rosen recording offers readers a glimpse of both Lakȟóta and Dakhóta names for the times of year, with a few variant names. These month names have been re-written using the Standard Lakota Orthography which was developed by the Lakota Language Consortium; some of these month names appear in the LLC’s New Lakota Dictionary. <br /><br />January</span><div>
<span style="font-family: Arial, Helvetica, sans-serif;">Theȟí Wí (Difficult Moon)<br /><br />February</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Wičhítegleǧa Wí (Racoon Moon)<br /><br />March</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Ištáwičhayazaŋ Wí (Sore Eye Moon)<br /><br />April</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Maǧáokada Wí (Moon When Geese Lay Their Eggs)<br />Watópȟapi Wí (Moon When They Paddle Their Canoes)<br /><br />May</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Wóžupi Wí (The Planting Moon)<br /><br />June</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Wažúštečaša Wí (Ripe Strawberry Moon)<br /><br />July</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Čhaŋpȟásapa Wí (Ripe Chokecherry Moon)<br />Wašúŋpȟa Wí (When The Geese Shed Their Feathers Moon)<br /><br />August</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Wasútȟuŋ Wí (Moon When Things Ripen)<br /><br />September</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Psiŋ’hnáketu Wí (Moon When They Lay Up Rice [To Dry])<br /><br />October</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Wážupi Wí (Drying Rice Moon)<br /><br />November</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Thakíyuȟa Wí (Deer Rutting Moon)<br /><br />December</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Tȟahékapšuŋ Wí (Moon When Deer Shed Their Horns)</span></div>
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Dakota Windhttp://www.blogger.com/profile/10758878480652658779noreply@blogger.com0Black Hills, United States43.9939484 -103.7717685999999742.5339239 -106.35355559999998 45.453972900000004 -101.18998159999997tag:blogger.com,1999:blog-1021358373912276111.post-52467553926504064462019-03-15T17:13:00.000-05:002019-03-15T17:13:18.329-05:00A Resolution To Study A Dichotomy Of Archaeology & Indigenous History<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Arial, Helvetica, sans-serif;"><i>Aerial view of North Dakota State Capitol, Bismarck, N.D.</i> Digital Horizons. 2004-P-19-0014.</span></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-large;">A Resolution To Study A Dichotomy</span><div>
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-large;"><i>Archaeology & Indigenous History</i></span><br />By Dakota Wind</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">I attended a committee hearing this morning for Senate Concurrent Resolution 4017 at the North Dakota State Legislature. The summary of the bill is: <br /><br />“A concurrent resolution directing the Legislative Management to consider studying the dichotomy between the archaeological discipline on cultural resources and the knowledge and expertise of tribal elders and tribal historic preservation officers to educate local, state, and federal agencies and the public; and the facilitation of effective consultation and cooperation for historic and prehistoric site identification and registration and the betterment of North Dakota and its citizens.”<br /><br />I understand the language of this bill to mean that this is a study only, to begin a dialog between State Historic Preservation Office of North Dakota, the Tribal Historic Preservation Offices and tribal expertise to articulate the importance of known, recorded, sacred, and unrecorded historic sites to the people of North Dakota. <br /><br />The sponsors of this bill are Sen. Joan Heckaman, Sen. Jordan Kannianen, Sen. Richard Marcellais, Sen. Dave Oehike, Rep. Ruth Buffalo, and Rep. Gretchen Dobervitch. <br /><br />Sen. Marcellais and Rep. Buffalo introduced the resolution and public testimony followed almost unanimously in favor of this bill. <br /><br />North Dakota Indian Affairs Commissioner Scott Davis spoke about his boots on the ground approach to meeting with energy interests about the importance of indigenous heritage sites in North Dakota. “It is what it is,” said Commissioner Davis regarding the development of energy resources, even as he spoke of the necessity of dialog between tribes, the state, and energy interests. <br /><br />Dr. Erich Longie, Tribal Historic Preservation Officer of Spirit Lake began by greeting everyone, “Hiháŋna wašté!” he said. Dr. Longie spoke of the challenges and milestones all of the North Dakota’s citizens have made together in the name of progress while sharing the challenges he faced growing up in North Dakota. He urged the committee to support the concurrent resolution. <br /><br />Mr. Calvin Grinnell spoke eloquently in support of this resolution. Former Sen. Tracy Potter took the mic and encouraged a change in wording from “dichotomy” in this study to something else, that the most important tool he learned in his political career was to listen, then he promptly left. Two more spoke in support of the resolution, then Fern Swenson took the stand. <br /><br />I offered testimony in support of the resolution. I shared that there is more to the discussion than the physical record – archaeology – and we need to include the historical record. I then cited a dozen primary <a href="http://thefirstscout.blogspot.com/2016/10/remembering-river.html">historic examples for the failure of the Dakota Access Pipeline’s Class III Survey</a>, information that is completely missing from the report; and cited primary historical documents relating to the <a href="http://thefirstscout.blogspot.com/2016/12/forgotten-history-at-state-park.html">prison camp history of the Nez Perce at Fort Abraham Lincoln</a>. <br /><br />Swenson, the Deputy State Historic Preservation Officer at the State Historic Preservation Office, gave a most tepid oration that, as it turns out, was neither in support or against the resolution. She just wanted the committee to know how many thousands of sites the SHPO manages, how they work with the tribes of North Dakota, and how they assist the tribes “if they ask for it.” <br /><br />When the committee asked if there were any who opposed the resolution, no one came forward.</span></div>
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Dakota Windhttp://www.blogger.com/profile/10758878480652658779noreply@blogger.com0600 E Boulevard Ave dept 110, Bismarck, ND 58505, USA46.8208644 -100.7827763000000221.298829899999998 -142.09137030000002 72.3428989 -59.474182300000024tag:blogger.com,1999:blog-1021358373912276111.post-40604823236938478432019-02-04T10:33:00.000-06:002019-02-04T10:33:19.226-06:00A 2019 Lakota Calendar<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Arial, Helvetica, sans-serif;"><i>For a great explanation of the traditional moon calendar get yourself a copy of "Moonstick: The Seasons of the Sioux," which was reviewed and checked by Mr. Raymond Winters (Fighting Bear), an enrolled member of the Standing Rock Sioux Tribe.</i></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-large;">Haŋwí Wówapi 2019<br /><i>A 2019 Lakota Calendar</i></span><br />By Dakota Wind<br /><span style="font-size: large;">Bismarck, ND - For the Lakȟóta, the New Year begins in spring, and lasts until the next spring. A year is called Waníyetu or winter because winter is the longest season on the Northern Plains. The new month begins with the new moon. A month is called Wí. The sun is also called Wí. To differentiate between the luminaries, the moon is sometimes referred to as Haŋwí (Night-Luminary), and the sun as Aŋpétuwi (Day-Luminary). </span><br /><br />The eight phases of the moon are: <br /><br />Wit’é (Moon-Died) The New Moon. <br /><br />Wílečhala (Moon To-Be-Recent). The Waxing Crescent between the New Moon and the First Quarter. <br /><br />Wíokhiseya (Moon Half-Of). The First Quarter of the moon. <br /><br />Wímimá Kȟaŋyela (Moon-To-Be-Round Near-By). The Waxing Gibbous between the First Quarter and the Full Moon. <br /><br />Wímimá (Moon-To-Be-Round). The Full Moon. <br /><br />Wí Makȟáŋtaŋhaŋ Ú (Moon From-The-Earth To-Be-Coming Here). The Waning Gibbous between the Full Moon and the Third Quarter. <br /><br />Wiyášpapi (Moon-To-Bite-A-Piece-Off-Of). The Third Quarter of the moon. <br /><br />Wit’íŋkta Kȟaŋyéla (Moon-Wears-About-The-Shoulders Near-By). The Waning Crescent between the Third Quarter and the New Moon. <br /><br />The Thítȟuŋwaŋ (the Teton, or Lakota) regard the moon in a feminine sense. There is no “man on the moon,” but an old woman in the moon whom they call Hokhéwiŋ. When a ring around the moon appears it is called Wíačhéič’ithi (The Sun Makes A Campfire For Itself); when a ring appears around the moon they say that Hokhéwiŋ has vigorously stirred her pot and the light has spilled out and around her lodge. <br /><br />Wíačhéič’ithi is also a reference to sundogs. Long ago, a man went out to pray when the cold gray winter seemed to linger too long. The constant bleak gray days began to effect the people’s dreams. He came back and instructed the camp to select two groups of youth to go out east of camp and build to fires, then to return. Everyone came together in the center of camp and prayed. The sun broke through the clouds and as it rose into the sky, the two fires rose into the sky with it. For the Húŋkpapȟa, the sundog is a promise of hope and light. <br /><br />The Thítȟuŋwaŋ have two differing explanations for the cycles of the moon. The Húŋkpapȟa say that a large Itȟúŋkala (mouse) with a pointed nose gradually eats away the lodge of Haŋwí until there is nothing left (the waning of the moon). Haŋwí then has to reconstruct her lodge (the waxing of the moon). The Oglála say that Haŋwí draws her shawl over either side of her face as Wí approaches her or withdraws from her. <br /><br />Like other cultures, the Očhéthi Šakówiŋ recognize four seasons. These are: Wétu (Spring) which is two months; Blokétu (Summer) which is four months; Ptaŋyétu (Fall) which is two months; Waníyetu (Winter) which is five months. The changes of seasons are caused by the eternal conflict of two brothers: Wazíya (the North) and Ókaǧa (the South). If Wazíya plays his flute during summer rains, he causes it to freeze, making hail. When Wazíya wins, we have winter; when Ókaǧa wins, we have summer. <br /><br />The Očhéthi Šakówiŋ used to keep track of the days, months, and year with Čhaŋwíyawa (Counting Stick/s). Some might use thirteen sticks, one for each month in the lunar year; others might just use one willow switch and notch it (one for a day, or one for each month). Čhaŋwíyawa are recognized more for their use in hand games (a traditional guessing game) than for tracking time. <br /><br />This calendar includes memorial days of some massacres and major conflicts. This 2019 moon calendar overlaps with part of December 2018 through part of January 2020. </span><div>
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<span style="font-family: Arial, Helvetica, sans-serif;">This year's calendar is made with the gracious assistance of Mr. Dustin White and Mr. Doug Wurtz. Both have allowed me to use their photographs to complete this year's calendar. Their names appear next to their photographs. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><a href="https://drive.google.com/open?id=1ZWzUlWBummx8Z0smoasbA-ZHDEPgiCh3">Download this FREE 2019 traditional moon calendar here.</a></span></div>
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Dakota Windhttp://www.blogger.com/profile/10758878480652658779noreply@blogger.com0Fort Yates, ND 58538, USA46.0869408 -100.6301270999999845.998837800000004 -100.79148859999998 46.1750438 -100.46876559999998tag:blogger.com,1999:blog-1021358373912276111.post-50060423192865464822018-12-19T12:13:00.000-06:002018-12-20T13:25:22.955-06:00The Long Soldier Winter Count<div dir="ltr" style="text-align: left;" trbidi="on">
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<span id="docs-internal-guid-b37b6742-7fff-92b4-2763-ac5022be14ba"><span style="font-family: "arial"; vertical-align: baseline; white-space: pre-wrap;"><span style="font-size: x-large;">Waníyetu Wówapi Kíŋ Akíčhita Háŋska</span></span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"><i>Long Soldier Winter Count Revisited</i></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">By Dakota Wind</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">In 2007, editors Candace Green and Russell Thornton brought together in one publication "The Year the Stars Fell: Lakota Winter Counts at the Museum." This book features not just the winter counts, but interpretations of the pictographs, including commentary about the further meanings of various entries. It is obvious that the editors care deeply for these pictographic records. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><br /></span> <span style="font-family: "arial" , "helvetica" , sans-serif;">The Long Soldier Winter Count deserves to be revisited and compared to other Hunkpapa Lakota winter counts. Long Soldier's winter count seems to match up closely with the High Dog Winter Count, but there are some distinctions. This second look is also an attempt to put the narrative of each entry back into the Lakota language. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span> <span style="font-family: "arial" , "helvetica" , sans-serif;">There exists a variant of the Long Soldier Winter Count that has been studied and interpreted by <a href="https://americanstudies.unc.edu/jenny-tone-pah-hote/">Dr. Jenny Tone-Pah-Hote</a> in the summer of 2004. Her interpretation of the MIA Long Soldier Winter Count may still be on the internet somewhere. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span> <span style="font-family: "arial" , "helvetica" , sans-serif;">I've employed the Lakota Language Consortium's (LLC's) Standard Lakota Orthography (SLO). Entries follow the format of year, the year's "name" written using the SLO, a free translation, followed by narrative or additional commentary. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span> <span style="font-family: "arial" , "helvetica" , sans-serif;">Get yourself a copy of "<a href="https://www.nebraskapress.unl.edu/university-of-nebraska-press/9780803222113/">The Year the Stars Fell</a>."</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span> <span style="font-family: "arial" , "helvetica" , sans-serif;">View a full-size copy of the Long Soldier Winter Count at the <a href="https://sittingbull.edu/sitting-bull-college/students/library/">Sitting Bull College Library</a>. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span> <span style="font-family: "arial" , "helvetica" , sans-serif;">Download the <span id="goog_1014818361"></span><a href="https://drive.google.com/file/d/1s6ewG0xccwx4M4oVVr2j4H4tQ3vP_HNm/view?usp=sharing">Long Soldier Winter Count Revisited</a><span id="goog_1014818362"></span>.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span> <span style="font-family: "arial" , "helvetica" , sans-serif;">Questions? Comments? Email me at tunweyathokaheya (at) gmail (dot) com.</span><br />
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Dakota Windhttp://www.blogger.com/profile/10758878480652658779noreply@blogger.com09299 ND-24, Fort Yates, ND 58538, USA46.085665622103868 -100.6747154523925546.082912622103869 -100.67975795239255 46.088418622103866 -100.66967295239255tag:blogger.com,1999:blog-1021358373912276111.post-68301356991481769802018-12-08T19:49:00.001-06:002018-12-21T21:15:14.709-06:00Winter Solstice and the Midwinter Moon<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: medium;"><i>"The Long Night Moon," or Winter Solstice, pictured above, a pictographic representation for the lunar month of the Lakota people. This month will last from Dec. 7, 2018, through Jan. 4, 2019. The crescent represents the moon, or month, the star represents the night, and the arc represents the length of the night. </i></span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-large;">Winter Solstice and the Midwinter Moon</span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="font-size: x-large;">They Were Carried When They Fell</span></i><br />By Dakota Wind<br /><span style="font-size: large;">The long star-filled nights were a time to remember the myth-history of the people. I imagine a family similar to mine, gathered around a glowing fire, watching the flame, feeling the heat, and listening to the voice of ancient authority in a line of grandmothers and grandfathers going back to their elders and those before them.</span> <br /><br />The first snow was celebrated. Men put on their snowshoes and danced in the fresh powder. The snow made for ease of hunting. The Lakȟóta explained the changing of the seasons as an epic battle between two brothers: Wazíya (The North) and Okáǧa (The South). As one retreated, the other gained ground. When Wazíya won, his breath blew across the landscape, and for as deadly and sharp his cold breath might be, he brought a blanket of snow under which Uŋčí Makȟá (Grandmother Earth) slept. <br /><br />The High Dog Winter Count recalls the year 1800 as one of the most challenging years to survive. The summer heat was unbearably hot. The great gangs of bison went away, and hunting was poor. Flowers disappeared from the landscape, and the wind drank up the water. The birds refused to sing too. <br /><br />The punishing summer was followed by a harsh winter. <br /><br />Winter came, snow and ice were everywhere. According to the White Bull Winter Count, a group of Lakȟóta decided to move winter camp from the bottomlands of one river to that of another. As they moved over the high plains, a blizzard caught them. Gradually some of them began to succumb to the cold and fell. As one person fell, another lifted and carried him or her the rest of their journey. Kičhíč’iŋpi keúŋkiyapi, “They say that they carried each other.” </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>This constellation is commonly known as "Auriga" is as it would be seen in the middle of the night during the Winter Solstice. The biggest star closest to the middle of the crescent is commonly known as Capella. </i><br /><br />By firelight and starlight, the Lakȟóta used the time of the long winter night to share stories like that of Wičháȟpi Hiŋȟphaya (The Fallen Star; also called “Star Boy”). The story of his mother, Tȟapȟúŋ Šá Wíŋ (Red Cheek Woman), and father, Wičháȟpi Owáŋžila (The Star that Does Not Move; “The North Star”) is fairly well known. <br /><br />According to Ronald Goodman’s work in his Lakota Star Knowledge, Fallen Star was renowned among the Lakȟóta as “the Protector, the bringer of light and higher consciousness.” After becoming a father, Fallen Star ascended “a hill at night with a friend,” and told him that he was going to return home. Fallen Star laid down upon the hilltop and died. His spirit was seen a light that rose into the star world. “At some time in the past, all Lakȟóta acquired the gift of light he brought them.” (Goodman, 2017; 32) Goodman’s work says that human beings are composed of matter and light. <br /><br />In 1967, Helen Blish published her thesis A Pictographic History of the Oglala Sioux, featuring the works of Amos Bad Heart Bull (~1868-1913), a noted Lakȟóta artist, amongst of what was a map of the Black Hills and other features including Pahá Ská (White Butte). White Butte is noted as being north of the Black Hills. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Kapemni, an hourglass shape symbolizing what is in the heavens is also on earth. </i><br /><br />Goodman discusses an ancient central symbol strongly associated with the heavens and the world. This symbol is referred to as Kapémni (“the action is swinging around and around,” as with a warclub or bullroar), and resembles an hourglass. One half represents all that is heavenly, the other half represents all that is worldly. What is in the heavens is also present in the world. In the pages of Lakota Star Knowledge, this “mirroring” is demonstrated in a map of the Lakȟóta constellation Čhaŋgléška Wakȟáŋ (The Sacred Hoop) which demarcates the locations of landmarks in and around the Black Hills. <br /><br />It is a general map; not everything matches up perfectly. Matȟó Thípila (Bear Lodge), or Devils Tower, is not actually within Khiíŋyaŋka Očháŋku (The Race Track), the edge of the Black Hills. The Race Track is the “mirror” of the Sacred Hoop. White Butte is not a part of the Black Hills, but it is north. It is a real butte. It is also the hill upon which Fallen Star made his journey back to the sky. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>White Butte, located in southwest North Dakota near the town of Amidon. </i><br /><br />Like Devils Tower, White Butte appears to be in the narrative of the Sacred Hoop, though it is not so on earth. Yet according to the map of the Sacred Hoop constellation in Lakota Star Knowledge, a star commonly known as Capella, the brightest star in the constellation Auriga appears as part of the Sacred Hoop. <br /><br />Referencing Bad Heart Bull’s map, and tracking the sky from the Sacred Hoop to the North Star one “sees” the stars associated with the constellation Auriga “pointing” or “reaching” towards the North Star. The constellation Auriga appears to be Kapémni, or "mirror" of White Butte and the immediate landscape surrounding that beautiful plateau. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>The constellation is commonly known as Auriga. The brightest star in this constellation is Capella. If this were the Lakota constellation for Fallen Star it would seem that his arm is raised, perhaps reaching for his father, North Star. </i><br /><br />I suggest that Capella is the Fallen Star, and Auriga is his constellation. <br /><br />The Lakȟóta share Ohúŋkakaŋ (stories from the distant past) and Wičhówoyake (stories, legends, myth) during the five lunar months of Waníyetu (the winter season), and during this moon especially, they share stories like the Fallen Star narrative. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Fallen Star, wears a robe symbolizing the day and night, a bow under the edge of his robe. </i><br /><br />Long ago, before the reservation era anyway, the month which some might call December today, was known by some Lakȟóta as Waníčhokaŋ Wí (The Midwinter Moon). They might not have known the exact day, but could reckon the subtle shift in daylight when there was a little more of it and could track the general date with counting sticks; they knew it happened in the Midwinter Moon. <br /><br />According to Vi Waln, “I believe the real day of prayer was observed on the winter solstice by the people with ceremony, food, and family.” Further, “Nature and the stars were monitored carefully to help with preparation for whatever time of year was upon the people.” And lastly, “Many Lakota people will offer prayer in much the same our ancestors did so on the Winter Solstice.” (Valn, <i><a href="https://www.southdakotamagazine.com/winter-solstice-is-sacred">Winter Solstice Is Sacred</a></i>, 2011)</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">There are five winter moons in the traditional Lak</span><span style="font-family: "arial" , "helvetica" , sans-serif;">ȟó</span><span style="font-family: "arial" , "helvetica" , sans-serif;">ta calendar. After the Winter Solstice, it was time to gather red willow (eastern dogwood) to make čhaŋšáŋšaŋ, a traditional tobacco made from the inner bark of the red willow, and used for ceremony. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">In the heart of winter, in daylight, there sometimes appears the sundog. The Lakȟóta call it Wíačhéič'thi, which means "<a href="http://thefirstscout.blogspot.com/2013/01/wiaceiciti-sun-makes-for-itself-campfire.html">The Sun Makes A Campfire</a> [For Himself]." Sometimes, during the winter nights, they see a ring around the moon, also called </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Wíačhéič'thi, only this is interpreted as "The Moon Makes a Campfire [For Herself]."</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br />The New Lakota Dictionary lists the Winter Solstice as Waní-Wí-Ipȟá (Crest of the Winter Sun). The Húŋkpapȟa might call the same Haŋyétu Háŋska (The Long Night) as they called this traditional month Haŋyétu Háŋska Wí (The Long Night Moon).<br /><br />However it is called this day, or this month, these things are certain: gather close together with family in observation or prayer, eat together, share stories, and carry each other.</span><br />
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Dakota Windhttp://www.blogger.com/profile/10758878480652658779noreply@blogger.com0White Butte, Chalky Butte, ND 58623, USA46.386676 -103.3024014999999720.8646415 -144.61099549999997 71.9087105 -61.993807499999974tag:blogger.com,1999:blog-1021358373912276111.post-53430017322289404282018-07-29T15:18:00.000-05:002018-07-31T14:18:13.676-05:00Woman Walks Ahead, A Film Review<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>"This does not look like Standing Rock," he said. "...Standing Rock is supposed to look like New Mexico...," she replied.</i></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;">Woman Walks Ahead, A Film Review<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-large;">Can One Scene Redeem A Movie?</span><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">By Dakota Wind<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Woman Walks Ahead</i>. Directed by Susanna White. Produced by Edward Zwick, Marshall Herskovitz, Erika Olde, Rick Solomon, and Andrea Calderwood. Written by Steven Knight. Music by George Fenton. Starring Jessica Chastain, Michael Greyeyes, Chaske Spencer, Sam Rockwell, and others. U.S.A. & U.K.: Black Bicycle Entertainment, Bedford Falls Productions, and Potboiler Productions. June 29, 2018. Film. 101 Minutes. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Some films are beautifully crafted narratives based on real-life people or circumstances. Others struggle in their telling to make a story bigger than it was. Still more only have one redeeming quality to them. <i>Woman Walks Ahead</i> has one powerful message in a beautifully constructed scene that contains a minimal presence of the film’s female protagonist. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Before the film began, I was milling around in the atrium of the Grand Theater, a locally owned theater in Bismarck, ND, with an old friend talking about life and church. We got there about half an hour early to get good seats. About fifteen minutes into our wait, a young native man comes up to me and shakes my hand. I introduce myself in Lakȟóta and ask him his name. Lo, he offers a confident reply and we exchange pleasantries. A quiet opened around us as we engaged in our language. I told him that I’m not a fluent speaker and that he spoke very well. He nodded his head before rejoining his mother. They went on to see “Deadpool 2.” <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Sam Rockwell, pictured above, as Col. Groves on a mission to justify killing Indians and redeem himself, but can't escape white male paternalism, plays a perfect guilty asshole who hasn't slept since the Killdeer fight of 1863. His Lakhota is alright too. </i></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I knew I wasn’t going to see a historically accurate film. There are plenty of articles drifting in the internet atmosphere challenging the artistry of Susanna White and a rambling self-serving narrative by Steven Knight that pretty much cover my concerns, but I have one overwhelming question. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Why film the movie in New Mexico? There are a few shots where the landscape might pass for Standing Rock, but anyone who has made the pilgrimage to Sitting Bull’s camp knows the rolling hills and sinuous banks of the Grand River are shaded overwhelmingly by cottonwood. The story is as removed from historical fact as it is in location. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">New Mexico and its mountains are beautiful, but a beautiful mountain sunset in the southwest is not the same on the vast open prairie steppe. The prairie features unique flat-topped plateaus, an open sky with bright sunlight unhindered only by passing clouds, and a constant wind that has been here since creation. Thítȟuŋwaŋ, or Teton, means “They Who Dwell On The Plains.” White removed the people from the land that made them.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Susanna White (above) goes for emotional truth, not historical truth. The emotional truth that existed between Sitting Bull and Weldon simply did not exist.</i></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Agent McLaughlin (pronounced mick-LOFF-lin by the community and by the Major’s descendants) would have been better served by perpetual cowboy Sam Elliot, at least he’s got the mustache for it. Knight didn’t know whether to write the Major as an apologist or paternalist, and it shows. McLaughlin learned Dakhota from his wife; Hinds’s Major is as confused about hearing Lakhota as Knight’s apparent research about the time and setting of the actual story, and neither should be.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Sam Rockwell’s Colonel Silas Groves is the perfect asshole whose arc represents something of a mix between white guilt and white redemption. Groves tells Chastain’s Weldon of the Indian depredation as justification for the country’s punitive campaign against the red man, and just barely touches on the exchange of escalating violence on the frontier (the 1863 Killdeer Mountain conflict is mentioned in which Sitting Bull mentions seeing Groves there, who was on campaign against the Lakhota who had nothing to do with the events in Minnesota, but for Groves, an Indian is an Indian). <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Where's the snow that Knight's script mentioned in Sitting Bull's recollecton? It was not snowing, as it was the middle of summer. </i></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The 1863 Killdeer Mountain conflict took place in late July, the Moon of Ripe Chokecherries, making it nigh improbable that there was snowfall, and though it could snow in July, there is none mentioned at all in the oral tradition. Maybe in England it snows in July, but not on the Great Plains, but snowfall, even in retrospect in a rambling narrative makes for good telling. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">There is a lot to deconstruct and inquire about this film, but it has one powerful redeeming scene. Agent McLaughlin sat with his wife/translator and General George Crook to hear testimony about whether the tribe should sign the Dawes Treaty, which in fact was not a treaty but a congressional act, to break up the Great Sioux Nation into small reservations. These smaller reservations were originally part of official US Indian policy called “concentration,” and were prison camps, the legacy of which enrolled members of federally recognized tribes are assigned enrollment numbers (prison numbers in the concentration policy days). <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Sitting Bull, played by Michael Greyeyes (Plains Cree), delivers a powerful oratory about Makȟóčhe (Grandmother Earth) and how the Lakȟóta cannot sell it, “not even this much,” he said as he reached down for a handful of earth and held it before the agent. Some films redeem themselves with the perfect music, others with cinematography. This moment is this film's redemption. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Stone Man's pictographic testimony of the conflict at Sitting Bull's camp the morning he was killed on the Grand River. Soldiers' guns and cannon fired onto Spotted Elk's (Big Foot's) band of Mnikowozu as they fled. </i></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The film concludes with the arrest and death of Sitting Bull. Artistic licensing aside, there was just too much missing for me to appreciate this scene as the director intended (a dramatic close up of Welden in the snow in distress over the loss of Sitting Bull). There was a conflict there between the police and the people camped there at Sitting Bull’s home. Soldiers stood atop the bluff of the south bank of the Grand River and fired gun and shell at the camp. Sitting Bull’s death was not by a sniper, but by BIA police officer Bull Head after he was shot; Bull Head shot Sitting Bull twice, once in the side, then in the head. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Sitting Bull was shot and killed by the BIA Indian Police up close, not by sniper. </i></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Welden’s painting is on display at the ND State Heritage Center and Museum, torn by one of the BIA police officers, but it is not the same as the painting as depicted in <i>Woman Walks Ahead</i>. Sitting Bull was painted “old” because he was old. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i>Weldon's painting of Sitting Bull on display at the ND Heritage Center and State Museum. The tear in the painting came from one of the BIA police officers. </i></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">There was no romantic love between Sitting Bull and Weldon, but she did things for him that were expected of wives while she lived there: cooked and fed him, chopped wood, and tended his fire. I remember hearing that Sitting Bull asked her just to be his wife since she was doing the things wives do, but there was no romantic attachment. The on-screen chemistry between Weldon and Sitting Bull is chaste and distant, but the introduction of that chemistry is introduced by White and Knight. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">See the movie, then visit the North Dakota Heritage Center and Museum to see the real Weldon painting. Adjacent to Weldon’s painting is Stone Man’s pictographic testimony of the conflict that ensued as Sitting Bull was arrested. Both images are worth taking in. </span><o:p></o:p></div>
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Dakota Windhttp://www.blogger.com/profile/10758878480652658779noreply@blogger.com1