Thursday, May 3, 2012

Waniyetu Ehanna, Sung Noni Ota Kin: A Long Time Ago, They Saw Horses, 1692

A horse emerges from a swirl in the river according to the story, as pictographed.
Waniyetu Ehanna, Sung Noni Ota Kin
Long Ago They Saw Many Horses, 1692
By Dakota Wind
BISMARCK, N.D. - A few months ago I was asked to draw a pictograph of the arrival of the horse. I was also working on a short essay about the sense of place that the Dakota and Lakota people have for the Northern Great Plains. I want to share with you reader the picture I drew on ledger graph paper.

It is more than just a picture. The words on the top right say, "Waniyetu ehanna, Sung noni ota kin." In English this means, "A log time ago, They saw many horses." The text is lifted from the John K Bear Winter Count, a Pabaska Ihanktowana (Cuthead Yanktonai) Dakota winter count. The year that they saw horses for the first time was 1692.

The words on the left half of the picture at a nintey degree angle are a prayer, the Lord's Prayer:
Ate unyapi Mahpiya ekta nanke cin, Nicaje wakanlapi nunwe. Nitokiconze u nunwe. Mahpiay ekta nitawacin econpi kin, he iyecel maka akanl econpi nunwe. Anpetu ihohi aguyapi kin, anpetu kin le unqu piye. Na tona ecinsniyan ecaunkicinpi wicaunkicicajujupi kin, he iyecel waunhtanipi kin unkiciajujupiye. Na taku wawiyutanye cin ekta unkayapi sni piye; Tka taku sice etanhan eunklaku piye; Wokiconse kin, na wowasake kin, na wowitan kin hena ohinniyan naohinniyan nitawa heon. Amen.

Here's a link to the article and my pictograph as it appears in this magazine. The other articles are worth reading too. The majority of the content of this issue of the On Second Thought magazine focus on the current changes facing the western half of the state and the impact of the oil development there.

Tuesday, May 1, 2012

Sacagawea, Sakakawea, Sacajawea

"Sacagawea," by Michael Haynes.
Sacagawea, Sakakawea, Sacajawea
Imagery About Historical Figure

By Dakota Wind
GREAT PLAINS - Some time back I posted an explanation about the name of the young native mother who accompanied the Corps of Discovery from Knife River to the west coast. What is her name? How is it really pronounced? These are a couple of questions that people pose as though knowing her name means knowing who she was.

Of interest to some people is how she looked or dressed, even what kind of cradle board she put Pomp in, or if she just carried her baby in a sling on her back.




Artist Andrew Knudson painted this scene (above) of the Corps of Discovery entering Black Cat's Village (present-day Stanton, ND), a Mandan Indian village.



Vern Erickson created this scene (above) he called "Sacagawea, Lewis, Clark." Sacagawea is almost always portrayed with her baby boy Pomp, an American icon as inseparable as macaroni and cheese.


H. Charles McBarron painted this wonderful painting (above) titled "Lewis and Clark at Mandan Village, 1804." A beautiful picture with a wonderful attention to detail on the Mandan Indians clothes and Sacagawea's clothes. The State Historical Society of North Dakota has a commentary card accompanying this painting, drawing viewers' attention to the portrayal of Sacagawea, a view from behind and without her husband and without her baby. My commentary is this: Why is Sacagawea in a Mandan village?


"Corps of Discovery at a Knife River Village," by Vernon W. Erickson (above). There's very few Hidatsa Indians pictured in this painting, and most of those are painted as an afterthought or as ghosts. The only real detail is in the Corps of Discovery, a couple of Hidatsa, Charboneau, and Sacagawea. Sacagawea might take direct center stage in this painting, but her likeness was rendered closer to that of a twelve year old girl or else a ninety year old grandmother. York, Captain William Clark's slave since they both were children, is portrayed wearing what appears to be a dress uniform.

Mink (Hannah Levings) of the Arikara, Hidatsa, Mandan Nation posed for Orin G. Libby as one of the most famous American Indian women, Sacagawea.

During the centennial celebration of the Corps of Discovery, the State of North Dakota wanted to honor Sacagawea. A few paintings were commissioned and sold to raise money for a Sacagawea statue. A young native woman and her baby were selected to serve as the model for the statue.


The Sakakawea statue (above) as it stood on the Bismarck capital grounds in 1906.


At one point, the state of North Dakota had even considered erecting a massive statue in the likeness of Sacagawea along Interstate 94.


Personally, I think it should have been built looking east towards Washington DC. 

Monday, April 30, 2012

More Christian Iconography in The Tradition of Plains Indian Pictography

A picture of the icon as in its finished state.
Christian Iconography: The Archangel Gabriel
Plains Indian Pictography
By Dakota Wind
BISMARCK, N.D. - This past spring season I thought I'd finish a project that began maybe five or six years ago. I had applied plaster to a wood plank then pretty much forgot about it. It sat around in the basement and was occasionally moved when I went to the book shelf, when it would be briefly remembered, then forgotten about. I didn't even know what the icon was going to represent.

It started with a sketch on regular paper. It looked much the same when finished.

I stetched out a couple of concepts of the Archangel Gabriel. I had at first envisioned the angel without wings. Instead, I pictured a figure looking like the above image, only instead of wings, this angel would have clouds behind with lightning making the outline of the wings. I ended up going with wings, because without wings, no one would recognize that it was supposed to be an angel.

The drawing was applied to the plaster and a few parts were filled in.

The wings of Gabriel are often painted blue and red. I kept the edges of the wings silver, in a throwback to my original concept of lightning. Gabriel is said to have a trumpet. The Lakota people did not have trumpets, but we have flutes. I painted Gabriel holding a flute instead. The shirt is a mix of an old time war shirt, like the kind made out of elk skins, and a mix of the late nineteeth century ghost dance shirt.

The icon nears completion.The blue of the sky and wings turned out great.

I added paint to the bottom half of the image. The very top is the celestial heavens, the blue is heaven above. The angel is standing on the world, with his height reaching above the sky and into the stars. The shirt has seven stars. Ghost dance shirts were often decorated with celestial imagery to represent the heavens. In this case, the seven stars on the shirt represent the seven archangels.


I added clouds, a few other destails, and a warbonnet pattern emanating from the traditional halo. In direct sunlight, the icon sparkles and the halo warmly glows.

Here is a close up of the detail on the head, halo, and shirt.

I submitted this icon to the editorial staff of the Indigenous Theology Training Institute's First People's Theology Journal for their consideration, and in hopes the image would be chosen for publication in their forthcoming journal. It was selected. I am grateful and happy.

Visit the Indigenous Theology Training Institute's website sometime, for information about ordering a copy of their journal at: www.indigenoustheologicaltraininginstitute.org.

Tuesday, April 24, 2012

Sibley Island or Burnt Boat Island?

This image is taken from the hilltop at Fort Abraham Lincoln State Park looking south southeast. In the center line is Sibley Island.
Sibley Island or Burnt Boat Island?
One North Dakota Landmark, Two Names
By Dakota Wind
BISMARCK, N.D. - In the 1830s, Prinz Maximilian ascended the Missouri River with the artist Karl Bodmer. On coming up the Missouri River, they noted a burned out steamboat which had run aground on a sandbar. The steamboat as called "The Assiniboine," it was the second steamboat to travel upriver from St. Louis to Fort Union. It became grounded and overheated and burned. The sandbar grew to an island and is new part of the west bank of the Missouri River.

A different view of Sibley Island, looking west from the University of Mary, Bismarck, ND.

The island was renamed after General Sibley and his campaign against the Dakota in 1863. On July 29, 1863, Sibley engaged a force of perhaps as many as 2600 Dakota and Lakota warriors and fought them for three days in a battle larger and lasting longer than the Little Bighorn. Sibley was unable to take prisoners and could not estimate how many his men killed. The Sioux were encamped on the bluff overlooking the Missouri River and Apple Creek and held their ground until their women and children escaped. The "battle" was essentially a stalemate.

North of the Bismarck Landing is Burnt Boat Recreation and boat landing.

There is a Burnt Boat Drive in north Bismarck, ND. It was named for an incident on a sandbar island on the Missouri River north of the Bismarck Landing.

In the 1860s, miners descended the Missouri River from Fort Benton, Dakota Territory (Montana), to spend their loot somewhere downriver. The miners' keelboat was either hung up on a sandbar or they decided to rest for a bit on the sandbar. A Lakota woman was bathing her baby on the same sandbar. She and her baby were shot and killed by the miners. Lakota warriors retaliated by firing on the keelboat. The miners returned fire. On the keelboat was a small cannon mounted on a swivel and secured to the bottom of the boat. The cannon came loose and fired into the floor of the keelboat, firmly keeping the boat from going anyway. The boat caught fire and the miners were all killed. Several pounds of gold dust was lost.

The sandbar island became known as Burnt Boat Island, and later a nearby road became known as Burnt Boat Drive. For a virtual tour of Burnt Boat Landing Recreational Area visit: http://www.realnd.com/burntboatlanding1.htm.

Friday, April 20, 2012

Christian Iconography...But Painted in The Tradition of Plains Indian Pictography

Above is a side view of the icon I wrote.
Christian Iconography
Plains Indian Pictography
By Dakota Wind
BISMARCK, N.D. - Some years back I painted an icon of the Holy Trinity. I thought that I'd take a traditional art like American Indian pictography and attempt to "write" an icon in the tradition of eastern or Russian Christian iconography. Here's my first attempt.

I am no expert in iconography. I took a course of Christian art while I pursued my degree in Theology at the University of Mary from Sister Edith Selzer. 

Traditionally, I believe, and I hope I'm recalling this correctly, iconographers selected a cypress plank upon which to write their icon. They "wrote" the icon rather than "painted" it because many Christians couldn't read or write, but they could understand pictures and colors. 

I chose to use cedar on which to write my icon, for it is a sacred wood. Its an aromatic wood, and the tree itself grows with other cedar trees. The roots of one cedar twine around the roots of other cedar trees and in this way the trees are collectively stronger, and on the Great Plains of North America the cedar needs all the strength it can call on to withstand the winds.

I anointed the plank with linseed oil. I then applied a red cotton cloth to the side on which I was going to write. Iconographers typically use white cloth to represent the shroud of Jesus Christ. I used red cloth, for red is a sacred color and is often used in medicine ties when one prays, and to represent the blood of the Christ. 

From the angle of the above picture, one can see plaster. I had put it on rather thick. Over the past few years, the wood has warped ever so slightly which caused the plaster to crack. 

A head-on view of the icon. The good people at KAT Communications allowed me to use their studio to take these pictures.

A bald eagle flies in the bottom left hand corner, a golden eagle flies in the opposite corner. The two eagle do not fly within the circle of green, they fly above and beyond. In the Lakota tradition, eagles carry the messages or prayers of the people to the Creator above. 

The circle of green has three green rectangles in the top left corner, two rectangles and a triangle in the corner opposite. The green circle and the green shapes subtly suggest a turtle. In the Lakota tradition the turtle represents the world, grandmother earth.

The Holy Trinity stand above or beyond the visible heavens.

A closer view of the icon.

The Holy Trinity stand in front of the Creator's lodge. On the left tipi flap are seven stars arranged in the pattern of Seven Brothers, commonly known as The Big Dipper. On the right tipi flap are also seven stars, these are the Seven Sisters, more commonly known as the Pleiades. In the Lakota tradition, some say that our souls or spirits descend from the heavens from the Seven Sisters, on its descent, the spirit passes through the "spoon" of the Big Dipper, before beginning its worldly journey in a body. 

A closer view yet of the icon.

The "Black Warbonnet" pattern radiates from the heads of the Holy Trinity. The left figure wears a creation robe, the robe with the patterns of the sun, the stars, the moon, and animals which were created before people. The right figure wears a blanket of holiness and humaness, and also carries the gift of the sacred pipe and a pipe bag which features the image of a bison cow. In Lakota tradition, the White Buffalo Calf Woman brought the pipe to the people, a "covenant" if you will, that each Lakota person create a deep and personal relationship with the Creator and the world around. The figure in the center is the Christ. This center figure makes two signs. The first sign is the sign for good in the Plains Indian Sign Language - with the left hand. The second sign is the Christian sign for divinity touching humanity - two fingers are shown, the thumb and the ring and pinky fingers touch, leaving the middle and index fingers straight out.

The icon was blessed by then Roman Catholic Bishop Paul Zipfel of the Bismarck Diocese. The icon now resides in a private collection.

Tuesday, March 27, 2012

Thunderbirds and Dragons on The Northern Plains

Pictograph of a thunderbird on stone.
Thunderbirds & Dragons on Northern Plains
Spring Returns And With It Comes Legends
By Dakota Wind
GREAT PLAINS - The sun set in a dark cloudy sky. There was very little color. No pinks, reds, oranges, or purples. No fanfare for the setting sun but for a dark blue and black sky. The clouds seemed to absorb whatever colors the setting sun usually paints on the evening sky. The stars flickered fitfully through the haze of those thin gauzy clouds that like to hang in the far upper atmosphere. A cool breeze blew across fields of brown grass, what was left of last year’s growth of native prairie grasses. The breeze itself carried a hint of frost that nipped at the inside of my nose when I inhaled deeply, as if one can truly smell cold but its really no different than one can smell rain, only this was colder.


The family had long since gone to bed. The boys usually bid their mother an innocent “goodnight,” and she usually goes in to tuck them in. There’s no “goodnight” for me. Instead, I like to bid them a “Sleep well and wake,” as though there’s no other way for me to say a simple goodnight, and I like it like that.


The rain began to fall as I was preparing for bed. I say “prepare” as though I’m getting ready for a journey of some kind, but preparing myself consists of raking a comb through my silky fine hair, brushing my teeth with that new foaming toothpaste which I rather prefer to the regular paste, and splashing some water on my face, all before I slip under the covers and wrestle with my pillow. My pillow looks like a regular pillow, but it somehow gains a life of its own as I lay my head down as though it decides to get too fluffy and too hot or my head sinks too far into it. But the damn pillow looks just fine sitting there on the blankets.


I’ll slaughter a goat and offer it to the God of Thunder like the heathens of ancient Europe...

The rain fell in large heavy drops. I thought it was hailing at first, but the news person said that pea-size hail was on its way yet. Well, I’ll tell you weather man, I’ll slaughter a goat and offer it to the God of Thunder like the heathens of ancient Europe, but it won’t change the fact that hail is here and it’s falling with the rain on my car.


While the heavy rain and pea-size hail that the weather man said was going to arrive later fell on the house and my car, and maybe its why I personify my car as though its alive that gives me dreams that my car is a version of Bumblebee from Transformers, that gentle breeze carrying that taste of winter decides to change into a roaring beast that’s whipping the neighbor’s garbage cans and shit through our front yard and down the street.


As I’m listening to the wind and rain, personifying my car and wrestling my pillow, I stop for a moment and imagine what it was like for the ancestors to go through a spring thunder storm. I remember reading something on the internet about long ago giant birds called “Teratorns.” Apparently there are as many teratorn sightings as there are bigfoot sightings, these giant winged terrors.


The teratorn is said to have flown before the storms looking for thermals to carry it above the storm it flew before. It is said to have been capable of carrying off people and even bison.


...their wings were the clouds and lighting flashed from their eyes...

Did the ancestors see giant birds? I think so. We have stories of the Wankiya, the Thunderbeings, or as some call them, the Thunderbirds. Thunderbirds rode in on the clouds. No, their wings were the clouds and lighting flashed from their eyes, lighting bolts flew from their claws when they opened their taloned grips.


The Wankiya were a force of nature, that is they weren’t necessarily good but nor were they evil. They flung to the earth their lightning in an ages-old duel with other forces of nature. No, they cleansed the earth, purified the earth with pure rain and electric wrath. Sometimes these Thunderbirds would stretch out a claw and grapple with Unkcegila. Think dragon or serpent. When the Thunderbird and the serpent fought, the fury of the wind was unleashed and the serpent was carried up into the sky and destroyed. The world was cleaned and the day could begin anew, at peace.


I imagine a world, a mystical world, the world before the horse and gun. When the mysteries of creation were respected, honored, and cherished. When the Thunderbirds were real and they really would snap up the unwary traveler or a bison for a meal. I imagine the ancient world of the Great Plains and the dragon or dragons slithering up and down the Missouri River, filling the flood plains, and charming human and animal alike to enter and drown in the crushing depths of the corners of the river.

...I imagine I’m a warrior in another time and place looking at the front right hoof of my pony...


I wonder that such things are real. Did my ancestors personify the wind and rain and river as I personify my pillow and car? I don’t know. They saw things, Teratorns and Loc Ness creatures, things they couldn’t explain and shared hushed stories around the lodge fire. I’m certainly not sitting around the tv and night telling my boys how my pillow makes me snore or how my car drags its ass when I drive it – I finally got under my car and saw that it was a piece of plastic. And then I imagine I’m a warrior in another time and place looking at the front right hoof of my pony only to find a burr or rock.


As I wrestled my pillow and hit it into a comfortable mass, our youngest calls out to his mother. I experience the impulse to go in there and tell him about how the Thunderbirds would snatch children but I decide to wait until he’s older. I don’t think my wife would appreciate my interjection of culture at the moment, but just the thought of it makes me smile. I cleared my throat and said to her, “Your son is calling you.”


I fell asleep comforted by the memory of my grandparents telling me about the traditional Lakota view of the spring thunderstorms.  The wind and rain doesn’t bother me and I slept soundly, and I dreamt of my car as Bumblebee.