AMERICAN INDIAN ACTIVITIES HANDBOOK

Transcription

AMERICAN INDIAN ACTIVITIES
HANDBOOK
SIWINIS LODGE 252
COMPILED BY THOMAS GOEDECKE
SIWINIS 252
POWWOW ADVISOR 2011-2013
1|American Indian Activities: Siwinis 252
A Note from the Compiler:
Aho Brothers,
Welcome to the powwow circle! This handbook is designed to help young arrowmen be introduced
to the powwow: its history, dances, songs and regalia. It should be noted that this handbook
liberally plagerizes from a variety of sources without the permission of the source itself. This sort
of activity should not be emulated.
This handbook should not be seen as my legacy being passed down to future generations of
arrowmen, but rather a compilation of resources from people and organizations that know far more
about certain aspects of powwow than I will ever know.
This is for arrowmen to enjoy and understand the powwow so that they can become part of
something really special.
Another note, I will not be covering Ceremonies or Historical Group Dance in this handbook. I do
not have any experience in either of those fields, but it is of my opinion that significant research is
necessary to do a proper OA ceremony or historical dance that isn’t simply letting teenagers “play
indian.”
I hope you find this compilation helpful.
WWW,
Thomas Goedecke
Siwinis 252
Colonneh 137
TABLE OF CONTENTS
An Introduction to Powwow ............................................................................................................................................... 6
History of the Powwow .................................................................................................................................................... 6
Powwow Ettiquette ........................................................................................................................................................... 8
Building a Dance Team .......................................................................................................................................... 10
Giveaways ............................................................................................................................................................................ 15
The Drum ............................................................................................................................................................................. 18
Men’s Dance Styles ................................................................................................................................................................ 20
Chicken Dance .................................................................................................................................................................... 20
Fancy Feather Dance ....................................................................................................................................................... 23
Hoop Dance ......................................................................................................................................................................... 25
Modern Grass Dance........................................................................................................................................................ 27
Northern Traditional ....................................................................................................................................................... 29
Old Style Sioux ................................................................................................................................................................... 31
Straight Dance (Southern Traditional) .................................................................................................................... 33
Women’s Dance Styles ......................................................................................................................................................... 35
Buckskin ............................................................................................................................................................................... 35
Cloth ....................................................................................................................................................................................... 37
Fancy Shawl ........................................................................................................................................................................ 38
Jingle Dress .......................................................................................................................................................................... 39
Drumming and Singing........................................................................................................................................................ 40
Southern Drumming ........................................................................................................................................................ 40
Northern Drumming........................................................................................................................................................ 43
Hand Drumming ................................................................................................................................................................ 45
Regalia Building ..................................................................................................................................................................... 47
Tribal Color Preferences ................................................................................................................................................ 47
Beading techniques .......................................................................................................................................................... 50
Beadloom ........................................................................................................................................................................ 50
Rosette Beading ............................................................................................................................................................ 57
Lazy Stitch ....................................................................................................................................................................... 60
Peyote Stitch .................................................................................................................................................................. 65
Applique Stitch .............................................................................................................................................................. 67
Headdresses ........................................................................................................................................................................ 74
Porcupine Roach .......................................................................................................................................................... 74
Mandan Feather Headdress..................................................................................................................................... 81
Otter-Fur Turbans ....................................................................................................................................................... 83
Dance Style Regalia Checklist ........................................................................................................................................... 85
Chicken Dance Regalia .................................................................................................................................................... 85
Fancy Feather Dance Regalia ....................................................................................................................................... 86
Modern Grass Dance Regalia ....................................................................................................................................... 88
Northern Traditional Regalia....................................................................................................................................... 90
Old Style Sioux Dance Regalia...................................................................................................................................... 93
Straight Dance (Southern Traditional) Regalia .................................................................................................... 96
Regalia Pricing (How Much Am I Spending?) ............................................................................................................ 98
Chicken Dance .................................................................................................................................................................... 98
Fancy Feather ..................................................................................................................................................................... 99
Hoop Dancer .................................................................................................................................................................... 100
Modern Grass Dance..................................................................................................................................................... 100
Northern Traditional/Old Style ............................................................................................................................... 101
Straight Dance (Southern Traditional) ................................................................................................................. 102
How to Build a Drum ......................................................................................................................................................... 104
Powwow Drums ............................................................................................................................................................. 104
Hand Drums ..................................................................................................................................................................... 106
Additional Resources (CDs and cassettes) ............................................................................................................... 109
Southern Drum ............................................................................................................................................................... 109
Northern Drum ............................................................................................................................................................... 111
Hand Drum ....................................................................................................................................................................... 116
Mixed .................................................................................................................................................................................. 116
Additional Resources (Books and Articles) ............................................................................................................. 117
Song Research ...................................................................................................................................................................... 119
Ponca Language Songs ................................................................................................................................................. 119
Flag Songs .................................................................................................................................................................... 119
War Songs .................................................................................................................................................................... 120
Special Songs............................................................................................................................................................... 143
Trot Songs .................................................................................................................................................................... 145
Veteran and Closing Songs .................................................................................................................................... 148
Otoe-Missouria Language Songs ............................................................................................................................. 150
Kiowa Language Songs ................................................................................................................................................ 150
Hidadtsa Language Songs ........................................................................................................................................... 151
Lakota-Sioux Language Songs .................................................................................................................................. 152
Index ........................................................................................................................................................................................ 153
Reference – NocBay Learning Circle ........................................................................................................................... 154
AN INTRODUCTION TO POWWOW
HISTORY OF THE POWWOW
This is a time to renew thought of the old ways and to preserve a rich heritage. There are several
different stories of how the powwow was started. Some believe that the War dance Societies of the
Ponca and other Southern Plains Tribes were the origin of the powwow.
Another belief is that when the Native American tribes were forced onto reservations the
government also forced them to have dances for the public to come and see. Before each dance they
were lead through the town in a parade, which is the beginning of the Grand Entry.
Powwow singers are very important figures in the Native American culture. Without them there
would be no dancing. The songs are of many varieties, from religious to war to social.
As various tribes gathered together, they would share their songs, often changing the songs so
singers of different tribes could join. With these changes came the use of“vocables”to replace the
words of the old songs. Thus, some songs today are sung in “vocables” with no words.
Yet they still hold special meaning to those who know the song. Many songs are still sung in Native
American Languages either newly composed or revivals of old songs. These songs are reminders to
the Indian people of their old ways and rich heritage.
Dances have always been a very important part of the life of the American Indian. Most dances seen
at powwows today are social dances which might have had different meanings in earlier days.
Although dance styles and content have changed, their meaning and importance has not. The outfits
worn by the dancers, like the styles of clothing today evolve over time, it is not a stagnant culture,
but a vibrant and changing way of life.
Powwows are organized by committees that work for weeks before the event. At the powwow, the
MC runs the events. The MC works with the Arena Director to keep the powwow organized and
running smoothly. These two individuals along with the committee work hard to bring the people
together to dance and fellowship together in the circle.
The powwow begins with the Grand Entry. This is the entry of all the people entering the arena.
This originally was a parade through the town the powwow was in. Even today in some powwows,
these parades are still held. During the Grand Entry, everyone is asked to stand as the flags are
brought into the arena. The flags carried generally include the U.S. Flag, Tribal Flags, the POW Flag,
and Eagle Staffs of various Native Nations present. These are usually carried by veterans. Native
Americans hold the United States Flag in an honored position despite the horrible treatment
received from this country. The flag has a dual meaning. First it is a way to remember all of the
ancestors that fought against this country. It is also the symbol of the United States which Native
Americans are now a part. The flag here also reminds people of those people who have fought for
this country.
Following the veterans are
other important guests of the
powwow including Tribal
Chiefs, Princesses, Elders, and
powwow organizers. Next in
line are the men dancers. The
men are followed by the women
dancers. Once everyone is in the
arena, the song ends and a song
is sung to honor the flags and
the veterans. After a prayer, the
dancing resumes, usually with a
few round dances. After the
round dances, intertribal
dancing songs are sung and
everyone dances to the beat of
the drum.
Source
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http://www.powwows.com/?page_id=1184
POWWOW ETTIQUETTE
1. Be on time. The committee is doing everything possible to ensure that activities begin and run
smoothly. Please cooperate in this regard.
2. Appropriate dress and behavior is required in the arena. Anyone unwilling to abide by this rule
will be asked to leave by the Arena Director. (If you are going to dance, try to wear dance clothes.)
3. Arena benches are reserved for dancers. Dancers wishing to reserve a space on the bench
should place a blanket in that space before the dance begins. Please do not sit on someone else’s
blanket unless invited. Uncovered benches are considered unreserved.
4. Listen to the Master of Ceremonies. He will announce who is to dance, and when.
5. Respect the position of the Head Man and Head Woman Dancers. Their role entitles them to
start each song or set of songs. Please wait until they have started to dance before you join in.
6. Dance as long and as hard as you can. When not dancing, be quiet and respect the arena
7. Be aware that someone standing behind you may not be able to see over you. Make room, step
aside, sit, or kneel if someone is behind you.
8. Show respect to the flags and Honor Songs by standing during “special” songs.” Stand in place
until the sponsors of the song have danced a complete circle and have come around you, and then
join in. If you are not dancing, continue to stand quietly until the song is completed.
9. While dancing at any paw wow, honor the protocol of the sponsoring group.
10. Some songs require that you dance only if you are familiar with the routine or are eligible to
participate. Trot dances, Snake, Buffalo, etc. require particular steps or routines. If you are not
familiar with these dances, observe and learn. Watch the head dancers to learn the
procedures. Only veterans are permitted to dance some veteran’s songs, unless otherwise stated;
listen to the MC for instructions.
11. The Flag Song, or Indian National Anthem, is sung when the American Flag is raised or lowered.
Please stand and remove hats during the singing of this song. It is not a song for dancing.
12. Powwows are usually non-profit. It depends upon donations, raffles, blanket dances, etc. for
support. Donations are encouraged as a way to honor someone. Any participant can drop money
onto the blanket to aid in the powwow expenses. Support the committee and buy raffle tickets.
13. Certain items of religious significance should be worn only by those qualified to do so. Respect
the traditions.
14. Giveaways, attributes of Indian generosity, are held at many dances. They are
acknowledgments of appreciation to recipients for honor given. When receiving a gift, the recipient
thanks everyone involved in the giving. Note: all specials and giveaways must be coordinated with
the Master of Ceremonies. Please remember that it is traditional to make a monetary contribution
to the drum for this request – clear this through the MC.
15. The Drums are sometimes closed, check with the head singer for permission to sing.
16. If at any time you are uncertain of procedure or etiquette, please check with the MC, Arena
Director, or head singer. They will be glad to help you with your questions.
17. Take a chair. Most powwows will not have seating for the public or enough seating for
everyone. Also remember that the benches in the arena are for dancers only.
18. No alcohol or drugs are allowed at powwows.
19. If taking pictures, asked the dancer first. Remember common courtesy and ask
permission. Group photographs are usually alright to take, but you might want to ask the
committee first.
Remember that in each area you travel to and visit, things can and will be slightly different than
your area. Different groups and have different customs and methods of doing things. Different is
not wrong, just different. Be respectful of the uniqueness of each area.
Source:

http://www.powwows.com/2011/07/pow-wow-etiquette/
BUILDING A DANCE TEAM
Role of a Dance Team in the Lodge:
A lodge dance team can be a powerful demonstration of the themes of the Order of the Arrow and
American Indian culture. This group is often one of the most visible and impressive displays of what the
OA can offer the council the community. This is a rich subject and we can‘t possibly cover all of the details
or high points of a dance team and its functions within the time we have. Chapter and Lodge leaders are
urged to seek out experts in the subjects they are interested in exploring.
Let‘s set the context by going over the Mission and Purpose of the Order of the Arrow.
Mission of the Order of the Arrow
The mission of the Order of the Arrow is to fulfill its purpose as an integral part of the Boy Scouts of
America through positive youth leadership under the guidance of selected capable adults.
The Purpose of the Order of the Arrow
As Scouting’s National Honor Society, our purpose is to:
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Recognize those who best exemplify the Scout Oath and Law in their daily lives and through that
recognition cause others to conduct themselves in a way that warrants similar recognition.
Promote camping, responsible outdoor adventure, and environmental stewardship as essential
components of every Scout’s experience, in the unit, year-round, and in summer camp.
Develop leaders with the willingness, character, spirit and ability to advance the activities of their
units, our Brotherhood, Scouting, and ultimately our nation.
Crystallize the Scout habit of helpfulness into a life purpose of leadership in cheerful service to
others
The role of the dance team clearly falls within our purpose. The Order of the Arrow has made American
Indian culture a vibrant aspect of our heritage. Within this purpose, what does a dance team do within a
lodge?
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Preserves and maintains camping traditions and spirit
Initiates local American Indian relationships if not already established
Preserves and maintains local American Indian relationships
Leads Arrowmen and Scouters to a better understanding of American Indian culture
The role of the Lodge dance team is to provide an opportunity for those Arrowmen interested in American
Indian culture to share their talents with other members of the Lodge, council, and community. This is
normally done through craft and dance presentations
The Dance Team within the Lodge:
The lodge dance team functions like many other committees with the Lodge. The best part about the
dance team is that anyone can get involved. Let‘s go over some key functions of the dance team.
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The Dance Team should be a regular part of Lodge functions, with the chairman sitting as a
member of the Lodge Executive Committee. During meetings, the chairman reports with the
other committees.
10 | A m e r i c a n I n d i a n A c t i v i t i e s : S i w i n i s 2 5 2
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Dance Team members participate as regular members in the lodge and chapter program. They
do not ―dance and leave.‖
Offering basic instructional sessions at fellowships and other lodge training events.
Encouraging everyone from the lodge to dance at section events such as Pow-Wow or
competitions.
Act as ambassadors and encouragers for all Arrowmen to understand the basics and enjoy the
fun of dance.
Membership Retention:
The dance team can be a powerful motivator for the involvement of our Arrowmen. Think about it – the
knowledge and craft, the movement, the physical expression, and in some cases, the competition. All of
these aspects of dance can inspire and motivate an Arrowman to support the lodge and community at
large. Let‘s discuss a few of the ways the dance team can help membership retention.
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Leadership: The Dance Team provides leadership opportunities for youth serving as chairman.
An additional adult adviser(s) will be needed to provide the proper coaching and support. The
lodge dance team should also be a part of the Lodge Executive Committee.
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Commitment: Time commitment to the lodge and the dance team committee is important. Most
dance teams meet at least once a month. There may also be performances during the month.
Be cautious not to over burden the team with too many performances as the Arrowmen balance
this with the needs of their unit.
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Passion: Passion develops as understanding of American Indian culture grows. Teams should
not modify American Indian crafts, but to emulate. Be a courteous scout and respect this culture.
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Lifetime interest: Many Arrowmen find the American Indian crafts and culture a lifelong ―hobby,‖
and may find lifelong friendships on the Pow-Wow trail. It can also promote study and research
skills which can improve skills used in school. By constant study and research, one can make
this a most educational experience, which has led some Arrowmen into a vocation in Native
American anthropology and study.
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Adults and the Dance Team: As in other aspects of the Order, the adult role is supportive. The
advisers can help with craft and dance instruction, provide transportation to a performance, and
provide guidance with respect to the American Indian culture. They need to be a learned
resource to the team.
Promoting the Order of the Arrow:
Outside of lodge functions and membership retention, the dance team can promote the OA and Scouting.
What are some ways the team can do this? (Solicit responses; debrief and ensure all primary methods
are discussed.)
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Performances at Lodge Functions: Since your dance team is a committee of the lodge, you will
be asked to perform at many of the lodge functions. Attend the entire event and show your
support. Be a part of the lodge.
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Performances for the District: Your district may call on your dance team to perform for district
camporees, cub day camps, etc. Be supportive of the district programs.
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Performances for the Council: One of the best public relations for the lodge is to have the
dance team perform for council events. This exposes your team to a larger public arena, will
generate good council/lodge relations, and promote your committee.
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Performances for the unit: Many dance teams are asked to perform for special occasions such
as Eagle Courts of honor, Cub Scout Blue and Gold banquets, day camps, and WEBELOS
Crossovers. What better way to promote the OA than to perform at the unit level? Cub Scouts
will be excited and want to know more about Boy Scouting and the Order of the Arrow. They are
your future members.
What are some other ways the dance team could be used to promote the Order of the Arrow and
Scouting?
Community Building:
One of the most rewarding aspects of the dance team is the opportunity to go beyond Scouting and
impact the community. Let‘s discuss some ways that a dance team builds up the community.
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Research: Research can not only come for books, articles and videos, but there are many up-todate resources on the internet. Use the internet to view videos of current Pow-Wows, visit other
lodge dance teams and exchange knowledge at section conclaves. Relationships with local
tribes, where possible, can not only provide invaluable information, but create ties for education
resources.
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Relations with local tribes: This can be a challenging and rewarding experience. It is best to
―know before you go‖ to a local tribe if they are acceptable to sharing their culture with scouts.
Where the local tribe is receptive to a relationship, the opportunities for developing ties to the
Lodge can provide reciprocating benefits. Lodges have performed service and manpower for
Tribal projects, and have been blessed with educational opportunities. Ask advisers if they know
of Tribal figures involved in Scouting for an introduction, and if possible get the advice of a Tribal
Elder on how to learn more about the Tribe as a team.
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Building bonds: Friendships and camaraderie of members of the dance team can last a lifetime.
Friendships with the American Indian community can build a better understanding of their culture
and traditions and help eliminate the common misconceptions of American Indians as portrayed
in Hollywood and media.
Starting the Team:
We have discussed the impacts, functions and benefits of a dance team to the Lodge. Now it is time to
look at the mechanics of actually getting a dance team started.
Starting a dance team from scratch is very similar to starting a Scout unit. The first step is to develop a
set of ―trained‖ adults and resources that can help teach and mentor the Scouts that join the dance team.
The initial group of leaders will need to be able to teach fundamental crafts and must be able to sing the
songs to teach the Scouts how to sing. These craft and singing resources can come from the initial group
of adults or other groups who agree to work with the Arrowmen.
Members
A dance team is clearly composed of dancers, but these are not the only members. Critical members of
the dance team are the singers. Arrowmen interested in learning the songs used during the dance must
also be recruited. It is recommended to find at least three (3) Scouts interested in learning the songs to
start the ―drum‖ (dance term that refers to the singers).
As the dance team grows, Scouts interested in supporting the dance team may be added to help manage
the equipment used to put on dances.
Attracting Members
Attracting Scouts interested in joining the dance team occurs at Lodge events – service weekends,
fellowship weekends, annual banquets, chapter meetings; Scout shows, etc. The best way to attract
Scouts is to put on some type of audio-visual show:
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Video of Pow-Wows or dances
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Demonstration dances from dancers in the area
Choosing style of dance and clothing
Dance styles are the choice of the dancer, and all dance styles are encouraged to be represented within
the team. More variety in dance styles is a big advantage when putting on shows, but not a requirement.
Dance styles are not limited to any specific geographic region. There is a history to each dance, certain
parts of the country are known for being historical ―leaders‖ in different styles of dance.
As the Arrowmen begin thinking of what style they want to dance and the dance clothes they will need to
make, provide samples of each style of dance and clothes – videos, photos, actual articles of clothing.
If at all possible, expert advice on a particular dance and clothing style should be sought before craft work
begins. Scouts should NOT simply convert ceremonial clothes to dance clothes.
Getting Started on Clothing
A key point to remember in building clothes is to let the Scouts know that building their dance clothes will
be like gathering camping gear. Few of us start out with everything needed to go camping. Equipment is
acquired and upgraded over time; the same is true for dance clothes – start simple, enhance and
improve.
Each dance team should have a list of the basic set of clothing articles that are needed for each dance
style. This list should also include ―substitute‖ materials to show the Scouts what they need to build and
where the materials will come from. For instance, a shortcut to the first set of moccasins is a pair of deck
shoes with beadwork designs painted on the shoe. Determine what can be purchased locally and what to
order. Cloth for shirts can be purchased from any cloth store and dowels for dance sticks can be
purchased from local craft or hardware stores.
Feathers and beads may need to be ordered from a trading post. Be aware that local and national law
may prohibit the possession of certain materials (e.g. certain types of feathers) by someone not
registered with a Tribe. It is against the Order of the Arrow national policy to wear federally protected
feathers by Scouts. There are also state game and wildlife laws that differ across state lines; some
feathers and animal parts like deer hooves may be legal in one state but illegal in another state.
Design the clothes and then help each Scout plan the order in which they will make their clothes. It takes
time to make the clothes—help the Arrowmen plan out what to purchase to minimize financial burdens.
Balance getting enough to stay busy and working on clothes without buying too much up front.
Building clothes can be approached in the same manner as teaching outdoor skills to a new Scout.
Schedule a series of craft sessions and even craft weekends to help the Arrowmen learn the skills and
focus on building their clothes while building camaraderie. Treat each session as a chapter or lodge
event, especially if conducted over a weekend.
Resources
There are a number of resources available to the dance teams:
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Trading posts (Google ―Indian Trading Post‖)
Videos
CDs
National Order of the Arrow Conference (American Indian Activities committee)
Indian Summer
Section Conclaves
Regional Pow-Wows and seminars
Learning the Dances
Learning the dance starts at dance team meetings using videos and/or other dancers that may be able to
attend the meetings.
It is very important to learn how the Indians do the dance and all of the ―actions‖ in each dance – when to
start, when to stop, what to do on ‗honor beats‘, etc.
The only way to become a good dancer is to go to Indian Pow-Wows (there is whole set of Pow-Wow
etiquette not covered here). Pow-Wows are held throughout the country. Find a local event and try to get
the Arrowmen to the Pow-Wow to watch first and dance when clothing is ready.
Advisers
It‘s relatively simple, but this is a key point that couldn‘t be stressed enough. Adult advisers should seek
training and prepare to teach just as they would teach the skills used in a Scout unit.
Source:
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http://lld.oa-bsa.org/2011/
GIVEAWAYS
From time to time, something will happen in your life that you want to commemorate at a Native
American dance: a birthday; an award received; an anniversary; etc. How should you acknowledge
this event? A special with a giveaway? Some other manner?
Honoring and specials can be broken into three tiers: making a donation, buying a song, and having
a giveaway. The first consideration is what kind or how big of an event you are wanting to
recognize.
Making a donation to the Native American committee is probably appropriate for something like a
birthday, an anniversary, an award, etc. Just give the donation to the MC and ask him to announce
something like: “A donations has been made in honor of Joe’s 50th birthday” or “Donation has been
made by Bill in honor of Slim receiving an award from the organization. “
Buying a song is probably appropriate for items of a little more significant like a daughter winning
the princess contest, a family member/friend winning a major dance contest, to honor the winners
of the craft contest, etc. For this type of honoring you would normally make arrangements with the
head singer (and pay him for the song) and make a donation to the NATIVE AMERICAN committee.
You need to coordinate this with the MC to be sure the schedule will accommodate the song. You
should ask the MC to announce something like: “The 1st song of the next set has been purchased by
Bill in honor of his daughter Jill winning the princess contest. We ask that everyone join in with
her.” It could be “The 1st song of the next set has been purchased by Bill in honor of all winners of
the dance contests. We ask that all contest winners make one round and then everyone join in.”
Having a giveaway is appropriate for the major events in your life–being head dancer, entering
the NATIVE AMERICAN arena in you dance clothes for the first time, bringing a child into the arena
for the first time, coming out of mourning, etc. For this type of honoring, you will need to make
arrangements with the head singer (and pay him for the song) and coordinate the timing with
the MC. You should coordinate with your speaker as to what he will say about you and the event.
Ask the MC to announce your honoring with something like: “At this time Bill has requested a
special in honor of being the head man dancer. Joe will be speaking for Bill after the song. We ask
that all friends and relations join Bill during his special.” This type of special will have a receiving
line following the completion of the song and then the giveaway.
Remember, the main principle is that you are honoring an event in your life–things should be done
in a dignified manner. Another basic principle is to simply do the best you can–do not worry about
whether or not your giveaway is as big or nice as someone elses.
How you conduct yourself and the meaning you put into your giveaway is what really matters. Here
is a recommended order in most giveaways:
1. The person speaking for you
2. The man who led the song
3. Principals:
1. Head singer
2. Head man dancer
3. Head lady dancer
4. Head gourd dancer
5. Head veteran dancer
6. Master of ceremonies
7. Princesses
4. Organizations (host of the event)
5. Veterans
6. Members of the Drums
7. Individuals
8. Groups of people
1. Elders
2. Children
3. People who traveled distance
4. Any other desired group–mother, fathers, etc.
9. Put money collected in receiving line on the Drum
Since it is the role of the family to support you in your giveaway, family members are not usually
called. An alternative to calling individual is to give to them during the dance or in camp before or
after the dance. Just have your speaker mention that in the interest of time, you are/will be/have
been giving gifts to individuals “outside of the arena”. Also, if the dance is on a special weekend or in
conjunction with a NATIVE AMERICANevent, you might want to call that “special” group. It
recognizes those people and places with a little more emphasis on the date.
As far as what to give, the two primary “categories” are food and shelter–thus the normality of gifts
like blankets, shawls, and basket /boxes of food. However, just about anything of value/utility is
acceptable–craft items, craft supplies, household supplies, etc.
One note for speakers at a giveaway: never apologize for the time used. A giveaway is a very
appropriate use of time, an apology is not in order. Thank everyone for the time used, but do not
apologize. And do your best to minimize the time consumed–try to time your calling of names so
that there is only a few seconds of “dead time” between the people reaching the person having the
giveaway at the NATIVE AMERICAN event.
Sources:

http://www.powwows.com/2011/07/?p=934
THE DRUM
One of the most important things in the life of a Native American is the Drum. Our whole culture
centers around the Drum. Without the Drum and the singers around it, the Native Americans could
not have pow wows. The Drum brings the heart beat of our Earth Mother to the pow wow for all to
feel and hear. Drumming brings everyone back into balance. Whether dancing , singing, or just
listening, people around the Drum can connect with spirit. It is no wonder the Drum should be
treated with great respect.
Being head singer is a great honor. The man who receives this honor is choosen for his
experience. He has the right to lead all songs unless he chooses other men to lead and help carry
the load. The head singer may open the Drum at his discretion. This means anyone may lead songs
at any time. Once a singer takes his place at the Drum, he should stay until there is a break. If he has
to leave, he should inform the head singer. While at the Drum, the singers should keep their
thoughts on the songs and should keep the beat of the Drum. Generally singers should not leave the
Drum to dance. However at many contest pow wows, many singers are beginning to compete. When
a head singer is chosen to sing for a dance, he will naturally do his best. Therefore the singers he
has chosen should do their best for the head singer.
Songs are started with a lead line sung by the head singer. This lets the Drum and the dancers know
what song is coming. After the lead line, the second (another person at the Drum) will take up tha
lead line, and everyone will join in with him. At this point the dancers begin to dance. The loud
beats during the songs, sometimes called “honor beats” are a time for dancers to honor the Drum. In
Northern Singing, these beats are generally during the verses. For Southern Singing, the honor
beats are generally between verses.
The head singer has the first and last word
and has complete control of what goes on at
the Drum. He must know many songs.
A closed Drum means the head singer has
chosen the singers he wants to sing with
him. The dance arena could be filled with
good singers but they should not sit at the
drum unless they are asked by the head
singer.
Some additional things to remember:
Liquor is never permitted at the Drum.
Women, usually do not sit at the Drum and
beat the Drum, if women sing, they may sit
in the second row behind the men singers–
there are some Women Drums emerging
now.
If a special song is called, those asking for
the song should donate to the Drum.
If money is given to the Drum for a special
song, the head singer may divide the money
with the singers immediately or wait until
after the dance, he divides the money
among the singers according to their ability,
he knows who carried the load and made
his job easier.
Sources:

http://www.powwows.com/2011/07/?p=937
MEN’S DANCE STYLES
CHICKEN DANCE
Prairie Chicken Dancing started as a society dance and has history in the Blackfoot and Cree tribes.
At powwows today, it is steadily gaining popularity.
The modern powwow is a showcase of multi-tribal cultures, traditions, and attitudes. Each
powwow is different in the feel and flow of the drummers, dancers, and other people who wish to
converge onto a dance site. Each participant at a powwow has a reason for being there, whether it is
dancing, singing, drumming or playing a different musical instrument, hanging out with friends, or
watching the show. Not all powwows will have each dance category, but when they have certain
ones, the spectators are dazzled and fellow dancers are entertained. One category that has
symbolism and historical connections to certain tribes is the style termed Prairie Chicken Dance.
Although it is becoming a widespread dance category on the powwow circuits, it is still a style that
has certain obligations to the dancers.
The origin of this dance is hard to exactly pinpoint. Both the Blackfoot and Cree tribes lay claim to
be the originators of this dance. The dance did start as a society dance, meaning that organizations
were started, ceremonies were made, and dances to unite societies were produced. Dances were
held at either dusk or dawn, and were religiously important to the societies. Both the Blackfoot and
Cree have strong societies and ceremonial histories that tie them to the Prairie Chicken dance style.
Within Blackfoot Prairie Chicken dance societies, strictly men were the participants. Within Cree
Prairie Chicken dance societies, it was a dance that both men and women participated in; men being
the dancers and calling out to the women, and women watching from an area circling the dance
arena and responding to the dancers. Both the Blackfoot and Cree have contributed to the way the
dance is performed today all over Indian Country. Some Prairie Chicken dance societies still exist
within those tribes, and members are invited and trained just as their forefathers were. Due to its
growing popularity, a lot of current Prairie Chicken dancers are not a part of a society, and they
were either taught by a more seasoned dancer, or they watched and learned on their own.
Dancers of the Prairie Chicken style today will all have similar
articles of clothing. The design and decoration of the clothing is up
to the dancer, family, or Prairie Chicken society, if a dancer belongs
to one. The objects in which they carry in their hands will change. If
the dancer is part of a society, they will hold objects that are sacred
and pertain to that society. If the dancer is not part of a society but
just dancing the category, what they carry will just be decoration.
These items can be anything from a decorated hoop, mirror board,
feather fan, trail stick, or dance stick, the hide of an otter or other
animal, just to name a few. All beadwork that the dancer wears and
carries will match in design and color.
All dancers of Prairie Chicken will wear moccasins. Most of the time,
these moccasins will be beaded. Moving up the legs, Prairie Chicken
dancers will either wear angora hair, dyed yarn or dyed marabou
feathers strapped to their ankles, and secured in place by sleigh
bells around the ankles. Some dancers will have a strap of sleigh bells that run from a belt around
the waist and attached to the ankles on both sides. At the knees, beaded or sequined bands with or
without fringe will be tied on. For some dancers the knees will have a cactus blossom wheels as
well. Another set of bands or cactus blossom wheels will be found on the arms. If cactus blossom
wheels are used, feathers of dyed marabou and pheasant are great choices. These same feather
choices will also be found in the feather mess bustle or the round bustle tied to the back of the
dancer. Some dancers will use eagle, hawk or buzzard instead of pheasant, or use the feathers to
flesh out the pheasant bustle. The bustle is attached onto a belt that keeps a dancers’ beaded or
sequined apron flaps and matching side drops (if used) on around the waist covering their shorts.
Over top of that is a beaded or a Concho style wide belt. Some dancers choose to attach the apron to
the wide belts instead.
The dancer’s torso is also highly decorated. Beaded or sequined fingerless gauntlets are worn with
or without fringe, and beaded arm bands or cactus wheels are just above the elbows. Prairie
Chicken dancers will wear either a ribbon shirt with a beaded or sequined vest overtop, or they will
wear a fringed beaded or sequined cape. Some dancers wear a loop necklace with a choker or scarf
and slide, or just a scarf and slide. Variations to what goes underneath the regalia is also seen. Some
Prairie Chicken dancers will wear shorts, and no shirt when wearing a cape. Others will wear a full
set of long underwear. Dancers who take the ribbon shirt and vest combo wear shorts under their
aprons. Lastly, the Prairie Chicken dancer will wear a porcupine roach with or without the beaded
or sequined headband or harness. Located in the roach spreader will be pheasant feathers, eagle
feathers, or metal wires toped with fluffs and moving independently of each other.
The dance itself is self-explanatory. Each dancer will mimic the steps of a male prairie chicken or
grouse during the courting season. The whole body quivers to the drumming, from head to
shoulders, arms to hips to feet. The dance demands strained muscles to make abrupt turns, head
bobs, precise foot placements, as well as upper body locking movements, all the while appearing
relaxed and smooth. The Grass dance and the Prairie Chicken dance was started around the same
time, and so similar dance elements are visible in both. Particular Songs are sung for Prairie
Chicken dancers with a certain drum tempo, but they are able to strut their stuff in a Grass dance
song.
As new generations of dancers grow up in the powwow culture, mingling with multiple tribes is
unavoidable. Due to this cross-cultural connecting, ideas, beliefs and dances are traded back and
forth. Each trade takes the new information further and further from the point of origin.
Adaptations emerge, and what was once sacred can become informal and done by anyone.
Therefore, there are changes in the Prairie Chicken dance style. There are those dancers that have
ancestral rights and responsibilities concerning the societies in which the dance is connected. There
are other dancers that are not tribally affiliated with the dance, but were either taught by someone
who was, or they decided to branch out on their own and try it. Because it is a controversial dance
style, it is still evolving into a pan-Indian idea, and the Prairie Chicken societies will have a harder
time stemming the tide.
Sources:




Ceepeekous, George. (1999). “George Ceepeehous: Dancer.” Saskatchewan Indian Powwow
Issue 1999 Vol. 29 No. 2. http://www.sicc.sk.ca/saskindian/a99pow03.htm.
Deiter, Pat. (1999). “Pihewisimowin (The Prairie Chicken Dance Ceremony).” Saskatchewan
Indian Powwow Issue 1999 Vol. 29 No. 2. http://www.sicc.sk.ca/saskindian/a99pow14.htm.
Koch, Ronald Peter. (1977). Dress Clothing of the Plains Indians. Oklahoma: University of
Oklahoma Press.
http://suite101.com/article/prairie-chicken-dancing-at-powwows-a207215
FANCY FEATHER DANCE
The Oklahoma Feather Dance or “Fancy Dance” is one of the most popular styles of Native
American dance and outfits seen at modern pow wows. The Fancy Dance outfit, as such, has no
single Native American tribes.
The “Fancy Dance” originated as Fancy War Dance by the Hethuska Society in Oklahoma. The
individual who invented the dance was Gus McDonald. He was also the first World Champion Fancy
War Dancer. The McDonald family, specifically Julep Farmer McDonald, the Ponca Tribal Matriarch
still presents the trophy to the Fancy War Dance Champion each year because of this family honor.
Gus McDonald also invented the “feather pull” which is another contest of the Fancy Dancer’s agility
and ability to keep time with the drum. This dance is done only by permission of the McDonald
family.
The McDonald Family Song is also sung in honor of Gus McDonald’s honor to the Ponca tribe and to
the pow-wow world. This war dance song is only started by permission of the McDonald family and
in their presence. Gus McDonald, Ponca and the first World Champion Fancy Dancer, should be
recognized for his contribution to the Native American heritage and history.
The most obvious items in the Fancy Dance outfit are great amounts of loom beaded sets of
suspenders, belt cuffs, headband, and armbands. The designs are usually matching in all items and
of a rainbow feather or geometric design. Beaded medallions are on the forehead and bustles are
also quite common. Occasionally a breastplate will be used in place of the beaded suspenders or in
conjunction with them.
The other trademark for Fancy Dancers is the use
of large feather bustles. Currently most bustles
are color-coordinated with the bead work by
using large amounts of feather hackles dyed the
appropriate colors.
Small matching hackle bustles are sometimes
worn as armbands. Hanging beneath the bottom
bustle is a pair of trailers, usually with some
ribbon work, made from navy blue, black or red
wool.
Moccasins are Cheyenne style rawhide sole and
may be partially or fully beaded. Sheep bells
mounted on leather are worn just below the knee
and below the bells about one or two inches are
worn angora anklets. The apron pieces (two) are
usually navy blue, black or red wool or trade cloth.
Decoration may be floral beadwork, ribbon work,
or medallions. The apron is usually trimmed with
ribbon or fringe. The side drops may be loom
beaded strips or finger woven yarn. Chokers may
consist of silk scarves, beaded strips or bone hair
pipes. Necklaces with medallion drops are also
seen. A standard porky/deer-tail roach with two
feathers attached to a rocker assembly tops the
head, often with decoratively trimmed side feathers. Each dancer carries either a loose or flat fan
and often a tubular whistle. Ribbon shirts are becoming more common, as are matching cape and
aprons.
The dance style is of two types: a basic simple step while dancing around the Drum and a “contest”
step with fast and intricate footwork combined with a spinning up and down movement of the
body. This style of dance highlights the beauty of Native American culture.
Sources


http://www.powwows.com/2011/07/fancy-feather-dancing/
The Modern Fancy Dancer by C Scott Evans
HOOP DANCE
During the dance, shapes are formed in storytelling ritual such as the butterfly, the eagle, the snake,
and the coyote, with the hoop symbolizing the never-ending circle of life. Native American Hoop
dance focuses on very rapid moves, and the construction of hoop formations around and about the
body. The hoops used are typically of very small diameter (1-2.5 feet). In elaborate sequences of
moves, the hoops are made to interlock, and in such a way they can be extended from the body of
the dancer to form appendages such as wings and tails. The hoops are often handmade by the
dancers out of simple plastic piping (though some are made of wood) and wrapped in colorful
tapes, similar to the construction techniques used in Hooping, i.e. non-Native American hoop-based
dances.
According to writer Basil H. Johnston in Anishinaabe culture, a Manitou named Pukawiss, brother
of Nanabozho, and born to live amongst the people, created the hoop dance. Unlike the other boys,
Pukawiss did not show an interest in running, swimming or hunting. He only wanted to watch the
animals. His fascination with impractical things drove his father's interest away from him towards
his brother Maudjee-kawiss therefore leading to everyone calling him Pukawiss: the disowned or
unwanted. Pukawiss learned so much about life in the movements of eagles, bears, snakes that
taking their life would have been wrong. The animals had much to teach the humans about values
and relationship like loyalty, kindness and friendship. Pukawiss taught his village about the animals
by spinning like an eagle in flight or hopping through grass like rabbits or bouncing like a baby
deer. He became a dancer. So many villages wanted him to teach them about the ways of the
animals that he had to give up his home and became a permanent visitor. Many women wanted him
to settle with them in their village but he preferred to keep moving.
Pukawiss and his brother Cheeby-aub-oozoo added drums and flute to the dance. Later, Pukawiss
added the stories of humankind to his performances. He invented the hoop dance to help him with
this goal. The dancer became a counsellor with the hoops representing a circle that returns each
problem back to the responsibility of its creator. According to Basil Johnston,"the hoop is also
emblematic of the way things are, in that mischief breeds mischief that eventually returns to haunt
and plague the inventor". Eventually many became jealous of Pukawiss - his fancy dress, and his
skill with the hoops so they copied him. Like his father, his brother Maudjee-kawiss did not
understand his artistic ways and sought to scold him. Pukawiss often provoked his audience by
teasing them. As an older brother, he teased his other brothers perhaps once too often. Insulted by
a Pukawiss prank involving the theft of his prize pigeons, Nanabozho angrily razed the mountain
under which Pukawiss had been hiding camouflaged as a snake. Pukawiss wasn't dead but now he
had a new job: to taunt those who are too proud. The Anishinaabe believe that we see him each
time the wind teases the leaves and soil to dance.
Native American Hoop Dance has been formally recognized as a cultural heritage, embodied in both
documentary films and as a living tradition in formal competition. The most popular competition
occurs annually at the Heard Museum in Phoenix, Arizona. Up to 80 dancers have participated on
any given year, and the competitions have drawn as many as 10,000 spectators.
The first World Hoop Dance Competition was held at the New Mexico State Fair in 1991. The first
World Champion Hoop Dancer was Eddie Swimmer, a Cherokee from Cherokee, North Carolina. The
venue was moved to the Heard Museum in Arizona for the second event and the first adult winner
of what was to become the permanent venue was Quentin Pipestem of the Tsuu T'ina Nation in
Alberta, Canada. The hoop dance is part of the pan-Indian movement and as such has evolved over
the years by becoming faster and incorporating many influences from outside traditional culture
such as the use of moves from hip hop dance as well as the widespread use of industrial piping to
construct hoops that were originally made from reeds or willow branches. Hoop dance has gained a
strong following internationally as an increasing number of dancers tour the world. Currently, 21year old Nakota La Rance, already a six-time World Championship winner, performs for the 201011 season of Totem by Cirque du Soleil.
Although originally a male-only dance form, in recent years women have become active
participants in the hoop dance and in hoop dance competitions. In 1994, Jackie Bird (Mandan,
Hidatsa and Santee Sioux, from South Dakota) became the first woman to compete in the Hoop
Dance World Championships. In 1997, Ginger Sykes (Navajo, from Arizona) became the first woman
to win the Hoop Dance World Championships by winning the Teen Division. For performing
at Mount Rushmore, Jasmine Pickner (Lakota) has been featured in the PBS documentary The
National Parks: America's Best Idea (2009). In 2000, Lisa Odjig (Odawa and Anishnaabe,
from Ontario, Canada) became the first female adult Hoop Dance world champion.
Sources:

http://en.wikipedia.org/wiki/Native_American_Hoop_Dance
MODERN GRASS DANCE
Originally done as a Warrior Society Dance, it has evolved over the years. It has further evolved into
a highly-competitive form of northern dancing.
Grass Dancers always stands out by virtue of two things: his dancing style and his outfit. His
dancing has been described often by these words:” gutsy, swinging, slick, old-time,” etc. His outfit
stands out by virtue of the almost complete absence of feathers, for aside from the roach feather,
there are no bustles of any kind to be seen. The outfit consists of shirt and pants, with beaded or
otherwise decorated belt and side tabs, armbands, cuffs, and front and back apron, with matched
headband and moccasins, if available. Ribbons and fringe are the only mobile parts of his outfit,
other than the roach feather. In other words, the outfit is made to conform to the style of dancing.
Some believe that grass dancing came from young boys tying grass on their outfits. Before a dance
could be held on the prairie the grass had to be stomped down. This is where many of the
movements are believed to com e from. Afterwards the dancers would tie the grass to their outfit.
Many believe that the Omaha tribe originated the dance in their warrior societies.
The name “Grass Dance” comes from the custom of some tribes wearing braided grass in their belts.
The unique parts of the northern outfit
are the shirt, trousers, and aprons, to
which yarn fringe, sequins, and beaded
rosettes other designs are attached.
The outfit makers are fond of using
playing card designs-hearts, clubs,
spades, and diamonds. Hearts and
rosettes are the most common. White
fringe is preferred; however, gold,
silver, and other light color fringe is
also used.
Bells are worn around the ankle.
Mostly plains hard-sole or woodland
soft-sole moccasins. The apron is
probably the, most striking part.
The front apron (or breech cloth) is
decorated with beadwork, ribbon
work, or a combination. The back
apron has several colors of ribbons
sewn in V-shapes. The ends hang loose
for two to three feet. Ribbons also hand
from the center. Belts are usually fully
beaded. A “holster” or drop is worn on
each side of the belt and reaches to
shin level.
They are fully or partially beaded.
Ideally, all of the beadwork matches. It
may be floral, geometric, a combination
of both. Characteristic of the outfit are
the large, fully beaded cuffs or gauntlets, arm bands, chokers, occasional loop necklaces or
breastplates, beaded collars and ties, and colorful scarves. The real prize is the beaded harness
which reaches from the shoulders to below the knees. The two strips are usually connected by a
large piece of beadwork which forms and hence the name “H-harness.” Tassels or ribbons hang
from the end of the harness.
The perfect headdress is the porcupine hair roach which is attached to a head harness. It is
decorated with rosettes, hearts, etc., and long drop stripped with fluffs, or drops made from chains
or cafe curtain rings.
Dancers carry fans, Eagle-bone or carved ‘screen” whistles (some are made from metal tubes),
mirror boards, and dance hoops of various sizes.
Sources

http://www.powwows.com/2011/07/grass-dancing/
NORTHERN TRADITIONAL
The Northern Traditional Dancer is a modern evolution of tribal outfits from the tribes of the
Northern Plains such as Sioux, Blackfoot, Crow, Omaha and others.
Below is some information about the outfit’s parts. It must be stressed that this is only a brief
description as variations do exist from area to area and from tribe to tribe. Careful observation and
research be undertaken before starting to construct this type outfit. On his head the Traditional
Dancer wears a roach made of porcupine hair and deer tail hair. The longer porcupine hair is
preferred because of it’s movement. The roach spreader can be made of bone, metal, rawhide or
leather. It can be carved, beaded, painted, etc. or just left plain. The roach feathers are inserted in
sockets on the spreader, with two roach feathers being the usual number. The rocker spreader,
popular with fancy dancers, is rarely seen. Occasionally one will see dancers wearing beaded
headbands, often decorated with medallions or drops. Quilled wheels can also be worn in the hair.
Most dancers wear a shirt, either with or without ribbon decoration. Over the shirt is worn a
breastplate that usually extends below the waist. Around the neck is a choker either of hair pipes
and beads or a beaded strip. Many dancers also wear two bandoliers of hair pipes and beads or a 3
to 5 inch strip of otter or other fur decorated with mirrors or a combination of both. A vest can be
worn either of cloth or leather and some vests are beaded.
Arm bands and cuffs can be either beaded or metal or a combination of the two such as beaded cuffs
with metal arm bands. The breech cloth or aprons can be made of either cloth or leather and range
from plain to heavily decorated. Around the waist many dancers wear a belt, which can be beaded
or decorated with metal tacks or conchos.
On their legs most dancers wear beaded knee bands with 6 to 10 inch
leather fringe hanging from the bottom edge. Around the ankles are
worn angora “furs”. One may see the high fancy dance style furs worn
with the bells tied on at the knees but this is less common. Although
not as common, leggings can be worn in place of the furs and knee
bands. Both the skin tube style and cloth flap leggings can be seen.
When leggings are worn, the bells are tied round the knees. The bells
can be almost any size and type. Fully or partially beaded, hard-soled
moccasins are worn.
The feather bustle is usually the u-shaped type with a single row of
wing or tail feathers and two spikes
pointing upward. Sometimes
additional rows of dyed and
stripped feathers, fluffs or hackles
are on the inside rwo of the bustle. Though not as common the
circular bustle and the old style mess bustle are sometimes used,
the latter being somewhat rare.
In his hands, the dancer can carry a range of objects, commonly
being a wing fan, pipe bag, dance stick, etc.
The movement in this style is one that is sometimes
characterized as similar to a prairie chicken. The dancer is also
said to be re-enacting the movement of a warrior searching for
the enemy.
Sources:


http://www.powwows.com/2011/07/northern-traditional-dancing/
The Northern Traditional Dancer by C Scott Evans
OLD STYLE SIOUX
The most important thing about a set of Old Time Sioux dance clothes is the overall look. Dance
clothes are meant to be danced in, not to be judged in a still position. The components of your dance
clothes should move well when you dance and work to enhance your dancing style. Old Time Sioux
being an historic style, proper colors, designs, and proportions must be in place for the articles to
get maximum points and for your dance clothes to have maximum visual impact.
This outline is designed to summarize what a male Sioux dancer would have worn from ca. 19001930. It represents the research done by the use of vintage photos and authentic examples of outfit
components.
There are many modern reference materials currently available. Numerous books with vintage
photos have been published. There are also books, magazines, and catalogs with photos of the many
items used by Old Time Sioux dancers.
Of course, there were Sioux dancers earlier than 1900 and later than 1930. The dance outfits from
these earlier and later periods can vary from what is described here. These dates are not “hardedged” and there can be exceptions. However, the concepts in this form represent a reasonable
norm. If a Scout-dancer chooses to use items that fall outside the range described above, he should
be prepared to provide appropriate documentation. Vintage photos can provide such
documentation, but one needs to exercise careful judgment when using photos. This is especially
true of what are termed, “studio photos” since many of these feature items that belonged to the
photographer and were loaned to the Native American being photographed. Tribal affiliation and
appropriate dating are important.
The use of vintage photos and color photos of authentic outfit components will serve the Scoutdancer well.
Sources:
 “Old Time Sioux Costume” by Norm Feder, The American Indian Hobbyist, Nov/Dec. 1958.
 “Old Time Sioux Dancers” by Mike Tucker, 1969.
STRAIGHT DANCE (SOUTHERN TRADITIONAL)
The Straight Dance from Oklahoma Native American Tribes is a formal, tailored, prestigious form of
southern dance clothes. The overall effect is of reassuring solidity, with everything closely
matched and coordinated. It looks as if it is planned all at one time.
This dance has evolved from the Hethuska Dances. It is believed that the Ponca tribe of American
Indians created this style. The Hethuska are dances held by different societies.
There are several articles in the standard set. The items that should match are arranged as sets,
and everything should be closely coordinated.
The garters are finger woven. The side tabs match, and hang from hip to mid-calf. The better sets
have beads woven into the fabric. Osage, Sac and Fox, or Ponca ribbonwork runs down each side of
the aprons, the leggings, and three bars of it cross the dragger. The aprons, leggings, trailer, and
otter dragger or drop are all made of heavy wool, usually dark blue. Red wool is usually reserved
for the eldest son. One, two, or three ribbons bind the raw edges not covered by the main
ribbonwork, and the edges are ornamented with white edge beading. Rainbow selvage edges mark
the better sets made from trade cloth. Ribbonwork vests are becoming popular also.
Kiowa and Comanche usually were tab leggings. These are usually made of white or natural leather,
but are also made of canvas. At both knees, two tabs hang from the leggings. These are usually
backed with red or blue wool. From the bottom of the tabs hang horsehair or twisted fringe. The
tabs are also decorated with lanes of lazy stitch beadwork and edge beading. The Kiowa tabs are
generally triangular, with the end coming to a point. The Comanche tabs are generally squared off
at the end. Below the tabs going down the leggings are many strands of twisted leather fringe.
The belt is a strip of loom beadwork, 4 to 4 1/2 inches wide, and is mounted on heavy leather, or is
sometimes made of silver conchos. Silver spots stud the edges of the leather. The dancer’s otter
strip, it has about 2 inches wide, and is attached with one or two beaded rosettes or silver conchos
and hangs down the back. Some dancers also have all concho draggers. The spreader, arm bands,
and slide are made of German sliver, in stamped, overlay, or cutout patterns. One feather is usually
put in the spreader.
The beadwork set is done in Peyote or Comanche beadwork. The fan is usually a flat or loose
fan. The otter feathers are also attached with rosettes or conchos, and may be worn with or
without an otter strip. The bandoliers match as to materials and colors, but may have from one to
three strands or sometimes even four or more. They are worn crisscross on the body.
The ribbon shirt is made of satin, brocade, or floral print material, with contrasting ribbon. The
neckerchief, scarves, and arm band ribbons match the ribbon in the shirt. Scarves are attached to
the bandoliers at the shoulder blades. The roach is made of porcupine hair, and either white or red
deer hair. A more prized roach is made of turkey beard hair. The headband is usually a white scarf.
Dancers sometimes carry a pouch of white deerskin, with beaded decoration or other types of bags.
Bells may be either chrome or brass, and are mounted on a long leather strip. The moccasins are
usually Southern Cheyenne, and should be at least partially beaded. A Straight Dancer will carry
either a mirror board or a tail stick in their right hand. The tail stick originated as the badge of
office of a Tail Dancer in a Hethuska Society. Today the tail stick is carried by many dancers in and
out of the Hethuska Dance. A tail stick is usually given to a Straight Dancer by another experienced
dancer. A mirror board is a substitute for the tail stick, and may be carried by any dancer.
There are a lot of clothes to wear in the outfit, and accordingly the dance is slow and proud. The art
of straight Dancing is in the little, sometimes unnoticed things, both in the movement and the outfit.
Smoothness, precision with the song, knowledge of dance etiquette, and a powerful sense of pride
mark the outstanding Straight Dancer.
Sources:

http://www.powwows.com/2011/07/straight-dancing/
WOMEN’S DANCE STYLES
BUCKSKIN
One of the oldest form of Native American Women’s Dance is Buckskin. This is a dance of elegance
and grace. The movement is smooth and flowing.
The ladies wear fine, hand-crafted buckskin dresses, decorated with intricate bead designs.
Northern dresses are fully beaded on the shoulders, or cape. Southern ones, the beadwork is mainly
used to accent. They are equally beautiful. The women carry fringed shawls over one arm.
Much like the Men’s Traditional dance, there are many differences in the ouftitting of this women’s
style among the various Native American tribes. The jewelry is breath taking. Breastplates made
from hair bone pipe, and glass beads can hang to the waist, or all the way to the ankles.
The latter is Northern, the former, Southern. Hair barrettes are hand beaded, and beaded pieces for
the fur that hangs from the lady’s hair can be quite intricate indeed. Some ladies, who have either
been princesses, or the younger ones who are princesses still, wear beaded crowns, given to them
by their societies. The moccasins are either fully beaded (Northern), or accent beaded (Southern).
Ladies’ Buckskin Dancing is slow, and poised. Circling the drum, they bob to the beat of the drum,
letting the long fringe on their sleeves sway in time. They carry a beaded purse, swinging it as well,
and a shawl, folded on the arm, swaying likewise.
These highly respected American Indian women dance in rhythm with the Drum by swaying and
slightly bending at their knees. These movements are very slight. This slight movement, however,
creates a beautiful effect in moving their leather fringe in a breezy swaying motion. Northern
dresses usually have fully beaded yokes, while Southern dresses have applique beadwork.
Sources:

http://www.powwows.com/2011/07/buckskin-dancing/
CLOTH
Ladies Cloth is a form of Native American women’s dress and dance and has both a Northern and
Southern style. The Southern style is danced by the Kiowas, Osage, Ponca, and others. The Northern
style is danced by the Sioux, Crow, and others. The dance is a slow and graceful one much like the
Women’s Buckskin style.
There are many variations among Native American Tribes with the outfit, including wearing a cloth
dress or a wool dress and others. The basic outfit consists of several parts. The boots are a high top
moccasin that is usually partially beaded. The dress is a long dress with open sleeves. The bottom of
the dress is covered in a wrap that is usually a contrasting color or pattern. The wrap is sometimes
fringed like a shawl. This style has a breast plate similar to the buckskin dress. This breastplate
however has a front and back to it as opposed to the one sided style worn by buckskin dancers. The
belt is either silver conchos or beaded with a drag. The women also wear three other items on the
belt. They are the awl case, strike a lite bag and tobacco pouch. The dancer sometimes wears a scarf
and choker. They also will carry a fan, purse and shawl. This type of dance is a truly beautiful
aspect of Native American culture.
Sources:

http://www.powwows.com/2011/07/cloth-dancing/
FANCY SHAWL
Ladies Fancy Shawl is the newest form of Native American Women’s Dance, and is quite athletic!
Fancy Shawl is often called Northern Shawl, as it does come from the Northern Tribes along the U.S.
and Canadian Border.
This is very similar in dancing and the bright colors to the Men’s Fancy Dance. The ladies wear their
shawls over their shoulders, and dance by jumping and spinning around, keeping time with the
music. They mimic butterflies in flight, and the dance style is quite graceful and light.
Emphasis is paid particularly to the shawls, with elaborate designs, applique, ribbon work, and
painting. Long fringe hangs from the edges of the shawl, and flies round.
Sources:
 http://www.powwows.com/2011/07/fancy-shawl-dancing/
JINGLE DRESS
Jingle Dress is also called a Prayer Dress. There are differences in the
origins of the dress among the tribes. The dress was seen in a dream,
as an object to bring healing to afflicted people. It comes from the
Northern Tribe Ojibewea or Chippewa, along the Canadian border.
A Medicine Man’s Granddaughter became very ill one day. In a dream,
his spirit guides told him to make a Jingle dress for her and have her
dance in it. This, he was told would heal her. When the outfit was
finished, the tribe assembled for a dance. On her first time around, the
illness would not permit her to dance and she was carried. As time
went on she was soon dancing in the circle.
Jingle Dresses are decorated with rolled up snuff can lids that are
hung with ribbon. The ribbon is then sewed to the dress, The jingles
are placed close enough so they can hit together, causing a beautiful
sound. If one were to close their eyes as the Jingle dancer passes, it
would sound as though it were raining!
Sources:

http://www.powwows.com/2011/07/jingle-dancing/
DRUMMING AND SINGING
SOUTHERN DRUMMING
Drum
The Southern Drum is normally between 20” and 36” and carries a low, singing tone. It is almost
always round in shape, and between 8” and 16” in depth. An easy way to build one is to purchase a
plywood drum shell from an appropriate source, and then stretch a tanned (unsalted, unbleached)
cow or buffalo hide carefully and evenly over the shell, using the extra hide to tie the skins together
using a crossing pattern.
It is important, however not necessary, to keep the drum suspended when playing. The most
successful solution to this is a stand designed to suspend the drum using a thick rope. To secure the
rope to the drum, it is important you use a large ring handle (door knockers work well) that secures
to the inside of the drum, and so any installation of handles must be done before skinning.
Skin painting is acceptable, but not the norm.
When not in use, the drum should be covered completely with a blanket, and when hanging from
the stand, it is commonly put on a mat to keep the stand from sliding.
Southern style drum sticks are longer than Northern style, and are made from fiberglass rods with
stuffed leather on each end. Thicker handles make for easier playing and prevent wrist cramps. All
drummers have ornate shafts on the beater, and are most often decorated with colorful tape and
less often with paint.
The drum is the life and soul of any drum group, and should always be treated with the upmost
respect.
Drum Responsibilities
The Head Singer of a drum group serves mostly as the manager. He is responsible for working with
the group and keeping group dynamics in check. The Lead Singer, however, is responsible for the
song selection, leading songs, and choosing who leads certain songs. The Drum Keeper is
responsible for the care of the drum. The Dog Soldier is the enforcer of the group, and is
responsible for the logistics necessary in preparation of singing.
Song Type
There are two main types of songs: ceremonial and social. Ceremonial songs can include naming
songs, healing songs, and death songs. These are all songs that are normally used outside of the
powwow setting and should be avoided in the context of the Order of the Arrow.
Social songs include intertribals, round dances, dance style specials, veteran songs, prayer songs,
victory songs, and memorial songs. These are all appropriate to sing at powwows, but do take note
when a song belongs to a certain family or tradition, and follow the protocols for specific songs;
when are they supposed to be played? Does this song belong to anyone?
Song Structure
Most songs, with few exceptions, follow the following structure:
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Lead – The Lead Singer sings a short phrase identifying the song
Second – All other singers sing the same short phrase
Chorus – The “meat” of the song, usually 2 or 3 phrases long
Honor Beats – Three loud beats that show honor to a variety of things depending on the
song
Repeat/Pick-up – A repeat of the Chorus, usually with a “pick-up” beat that indicates the
next verse or “push” to be played louder or higher.
5 beat stop – 5 beats that indicate the end of the song.
Tail – a Repeat of the Chorus after the 5 beat stop, usually begins acapella and and with
another 5 beat stop.
The lead through pick-up is repeated, and each repeat is called a “push.” The number of pushes
depends on the song, but normally for competitions there are four pushes in a song.
Styles
There are two main trends in Southern Style singing. The first is an older or more conservative
style. In this style, in competition, the beats are all the same tempo. From push to push the tempo
remains the same, and there is no fluctuation into and out of honor beats. The volume increases
from push to push but the pitch will only change once or twice, and not significantly. This style can
be found with many Helushka societies. This style is often performed using older Ponca and
Pawnee War Dance songs.
The other style is much more contemporary and can be found in groups like Thunderhill, Scissor
Tail and Yellow Tail. These groups use a fluctuation in tempo in and out of the honor beats to bring
more emphasis to them, either speeding up or slowing down to the honor beat. There is also a
small, but noticeable, difference in tempo from push to push, and a much more drastic change in
volume and pitch between pushes. You will also find that the tails in the songs don’t receive a beat
almost until the second 5 beat stop. This style is used much more with recent compositions, and
these songs tend to have much longer leads than their predecessors.
Technique
Most all of Southern songs use loud hits outside of the honor beat and three beat stop to keep the
dancers going. All singing is done in chest voice, is powerful and moving. Some songs may employ
unusual techniques like hitting the shaft of the stick against the rim of the drum, and is quite rare.
The drum beater should remain loose in the hand and use gravity as much as possible to get the
appropriate characteristic out of the drum.
Group Dynamics
Although it is not required for drum members to practice together, it is exceptionally helpful.
Growing as a family is very important to building a powerful competition drum.
Sources

Thomas Goedecke, 2012
NORTHERN DRUMMING
Drum
Northern Drums are smaller in comparison to their Southern Drum counterparts, and have a much
more ringing sound than Southern Drums do. They are higher in pitch and can be stretched over a
round or octagonal wood frame, and should be suspended for optimal sound.
Northern drums can be made from any number of materials, including elk, deer, horse and cow
hide. It should be noted that buffalo should be avoided in the making of a northern drum, because
the hide is so thick it loses its ring that is so characteristic of the Northern Style.
The drum beaters used are shorter as well, and are not normally ornate. Most drum groups will
have only one ornate beater, denoting either the Head Singer or Lead Singer of the group.
The same rules apply when considering drum etiquette and respect as the southern drum.
Drum Responsibilities
See Southern Drum
Song Type
See Southern Drum
Song Structure
A northern song will almost always start with a lead, followed by a second, which is the lead singer
starting the song followed by a repeat of that phrase by the rest of the singers. This is followed by
the main part or “Chorus” of the song, with a short break before the Tail, which is often a repeat of
the chorus. Some variations on this structure such as no second, solo in chorus or tail and no
drumming have come up in the last few decades, but those are few and far between.
Styles
Before 1965, the northern drum style was exceptionally choppy and high. This is a vocal style that
is having it’s revival in the early twenty-first century, but not nearly as choppy and aggressive.
A completely different approach propped up in the late 1960s which was much more melodic and
flowing. The Crook Brothers are a great example of this. The falsetto wasn’t aggressive, and it was
much more like a higher southern singing style.
The 1980s brought many Sioux word songs with groups like the Porkupine Singers. The Sioux
began to have a huge presence in the powwow world and still dominate much of the powwow
circuit in the north.
With the advent of the 90’s, Cree groups were becoming more popular. Groups like Northern Cree
brought with them original compositions of Cree word songs.
However at the turn of the century, groups like Black Lodge Singers brought back the northern
vocalable along with an aggressive, yet melodic, approach to the style of singing. An extreme
example is Midnight Express, whose vocals are so high it boarders on melodic screaming. Do not
discount other’s singing styles, because they may set the trend for future drumming. You are to
follow these trends whenever they occur. The Order of the Arrow is not a trend setter of the Native
American Powwow.
Technique
Singing technique varies from group to group, however there are certain guidelines new groups
should follow. Sing in falsetto if you have to on the leads and seconds. These are generally the
highest portions of the song and no one expects the lead to sing louder than the rest of the group. It
is also important to remember that singing is not shouting. Again, Midnight Express errs on the
side of shouting, but it is a much high quality of singing than simply yelling. Keep it melodic.
For new groups, learn songs that play to your strengths. If you can’t sing very high, don’t choose
songs that are in the stratosphere. If you have trouble keeping an uneven beat, don’t learn round
dance songs that depend on that beat.
Conform to guidelines but develop your own style, this will take time and a lot of listening to other
drums.
Group Dynamics
Set goals & objectives – Be realistic in your plans
Adapt to change – As the music changes you need to adjust if you intend to have longevity
Establish each person’s level of commitment – This is key to knowing how realistic your goals are
Sources:

Dana LaQuay, 2012; Thomas Goedecke, 2012
HAND DRUMMING
Drum
The hand drum is much much smaller than a powwow drum, and is sneaking its way into the
powwow circle. Hand drum groups vary widely in size from one person to 20 members. Only one
side of the drum is skinned, and a short beater is held with the dominant hand.
Song Types
Hand drums are used almost exclusively for round dance songs and 49 songs. Round dances come
in almost every native language but some of the most famous are Cree and Blackfeet. 49 songs are
not appropriate to be sung at a formal powwow. 49 songs are for the “afterparty” of sorts or a “49
powwow.” The “fun” story is that 50 native soldiers fought in WWI and 49 came back, so these
songs celebrate the man who didn’t come back. The actual story is that 49 songs, a 20th century
genre based on traditional war dance songs, originated in Oklahoma among the Kiowa tribe in
southwestern Oklahoma and quickly spread to other tribes through the American Indian Exposition
at Anadarko. The name comes from a burlesque show that toured the area in the 1920s called the
"Girls of '49" for its California gold rush theme. A 49 (or forty-nine) is a gathering following a powwow and the songs are usually love songs, mostly in English, with repeated refrains of vocables.
Song Structure
The song structure of hand drum songs follow that of the southern style.
Styles
There is no standard on hand drum singing. Pitch and melodic integrity normally are thrown out of
the window in place of intent and wit. This is NOT the case when it comes to traditional uses of the
handdrum found in Southwestern and Canadian tribes.
Technique
The beating pattern is much different in hand drumming than any other powwow drumming. Hand
drumming requires the use of both hands. A fast double beat followed by a finger nail dampening
of the back of the skin create a skipping beat that is unique to this style of playing and to this
instrument.
Group Dynamics
Hand drumming is about having fun. First and foremost. Once it becomes about practice and
“getting better” it is no longer 49 or round dance.
Sources

Thomas Goedecke, 2012
REGALIA BUILDING
A dancer’s regalia is a reflection of his dedication to the circle. In most cases, regalia are made not
by the dancer himself, but are rather a gift by a family member. In the OA, however, most boys will
make their own regalia. You can find most instructions for building regalia in the kits themselves
such as bustles and bells, but there are some things that no one really takes the time to tell you, and
that is what this section is for.
-Thomas Goedecke, Siwinis 252
TRIBAL COLOR PREFERENCES
The use of colors by Indian beadworkers varies widely among the many different tribes throughout
the U.S. & Canada. These are general guidelines for some of the better known beadworking tribes.
Many exceptions to this can be found, but this provides a basis for staying within the traditions for
these tribes. One should also be aware that many variations of hues existed within given shades of
colors, and these varied from factory to factory as well as in different lots from the same factory.
SIOUX
Background Colors: Chalk White or Light Blue; occasionally Greasy Yellow, Cheyenne Pink and
Light/Medium Green.
Design Colors: All shades of Light, Medium and Dark opaque Blues, Transparent Navy Blue,
Medium Green, Dark Green, White-lined Red, White-lined Rose, Greasy Yellow. The Northern Sioux
typically used more colors than the Southern Sioux, including Black, which was occasionally used as
a highlight color, and Pumpkin Yellow (Butterscotch).
CHEYENNE-ARAPAHO
Background Colors: Chalk White (4), almost exclusively.
Design Colors: Light Turquoise Blue (13-1/2), Opaque Navy Blue (27-1/2), Transparent Navy Blue,
Opaque Royal Blue, Medium Mint Green (464), Dark Transparent Green (696), Cheyenne Pink (7),
White-lined Rose (10R) - replaced by Red in later times, Corn Yellow (29), and limited use of Black
and Pumpkin Yellow (Butterscotch). ** The color numbers specified above are the old Italian color
numbers which are no longer being manufactured.
CROW & PLATEAU TRIBES
Background Colors: Light Blue, Cheyenne Pink, sometimes Lavender, Chalk White, & occasionally
Yellow.
Design Colors: Red, White, Cheyenne Pink (Lavender), Light Blue, Medium Blue, Dark Blue, Yellow,
Green, Pumpkin Yellow (Butterscotch) and occasionally Purple - especially for the Plateau Tribes
who used more colors, shades and hues than the Crow, as well as more Cut Beads.
COMANCHE
Background Colors: Chalk White, Pony Trader/Powder Blue, Transparent Red, and occasionally
Medium Green & Cheyenne Pink.
Design Colors: Dark Red, Dark Transparent Red, Navy Blue, Royal Blue, Pony Trader/Powder Blue,
Turquoise Blue, and occasionally Greasy Yellow, White-lined Red, & Light or Medium Green.
BLACKFOOT
Background Colors: Chalk White or Light Blue; occasionally Medium Blue
Design Colors: Black, Transparent & Opaque Red, Yellow, Green, Cheyenne Pink, Transparent &
Opaque Royal & Navy Blue, and occasionally Medium Blue, Greasy Yellow, Orange, & Pumpkin
Yellow (Butterscotch).
UPPER & WESTERN GREAT LAKES TRIBES: WINNEBAGO, CHIPPEWAY (OJIBWA), FOREST
POTAWATOMI, MENOMINI, OTTAWA
Background Colors: Chalk White, Yellow, Light Blue, Cheyenne Pink, Crystal, and occasionally
Black, Navy Blue, and even Dark Transparent Red and Medium Transparent Green.
Design Colors: A wide range of virtually all shades of all colors were used, with stylized floral
motifs worked on a background of buckskin or Navy, Red or Black cloth without a fully beaded
background.
PRAIRIE TRIBES: SAUK, FOX (MESQUAKIE), KANSAS POTAWATOMI, OTOE, MISSOURIA, IOWA,
PONCA, OSAGE, KAW, PAWNEE
Background Colors: Chalk White; occasionally Yellow, Light Blue, Cheyenne Pink, Crystal.
Oftentimes it is somewhat difficult to distinguish between what is background and what are motifs
or designs, as these tribes were very good at creating optical illusions and using negative space in
their beadwork. Stylized floral motifs were usually worked on a background of buckskin or Navy,
Red or Black cloth, without a fully beaded background.
Design Colors: Virtually all shades of colors were used, with Red, Yellow, Corn Yellow, Light Blue,
Pony Trader/Powder Blue, Navy Blue, Cheyenne Pink, Dark Green, Medium Green being most
common.
CHEROKEE & OTHER SOUTHEASTERN TRIBES
Background Colors: Stylized floral motifs were usually worked on a background of buckskin or
Red, Navy or Black cloth, without a fully beaded background.
Design Colors: Chalk White, Dark Transparent Red, Light Blue, Greasy Yellow, Dark Green, Light
Green, Cheyenne Pink, and many others in a wide range of old colors and shades, with numbers of
cut beads being used as well. Generally, smaller sizes of beads were typical.
SHAWNEE / DELAWARE
Background Colors: Pony Trader/Powder Blue, Cheyenne Pink, Royal Blue, Dark Transparent Red.
Design Colors: Chalk White, Pony Trader/Powder Blue, Cheyenne Pink, Dark Transparent Red,
White-Lined Red, Medium Green. Very rarely, Yellow & Pumpkin Yellow were used as highlight
colors.
Sources:

http://www.crazycrow.com/crafts/native-american-tribal-bead-color-preference.php
BEADING TECHNIQUES
BEADLOOM
For making loom beaded strips, the ideal loom should have certain features: Able to accommodate a
variety of lengths and widths, can be used with a wide range of bead sizes, easy to store, adjustable
with minimal effort, economically priced, easy to use, and suitable for the needs of Beginners
through Advanced Beadworkers. Following are details regarding the features and use of Crazy
Crow's loom which incorporates all of these features.
BEAD LOOM PARTS:
The Deluxe Loom consists of 3 main pieces: (A) Slotted Base section; (B) Sliding Base section; and
(C) Traveling End Piece. In addition, there are 3 bead spacers, a bolt, wing nut, and large and small
washers.
BEADING LOOM DEFINITIONS:
For those new to loom beading, we offer the following definitions:
Warp Threads: lengthwise threads that are used to string up the loom before starting to bead.
Weft Threads: thread upon which the beads are strung when fitting the beads between the warp
threads.
Bead Spacers: the synthetic comb-like pieces at the end of each base and the Traveling End Piece.
SPECIFICATIONS:
Beadwork Sizes:
This loom will permit you to make loomed strips up to 3" wide and in lengths from a maximum of
39" on down to the shortest piece possible.
Bead Sizes: You can use seed beads down to size 20/0, pony beads, or wampum beads, depending
on how far apart you space the warp threads.
HOW THE ADJUSTABLE WOODED BEAD LOOM WORKS:
Following is a simple description of how the loom works: For medium to long strips, the Sliding
Base sits on top of the Slotted Base. The wooden runner on the bottom of the Sliding Base is
positioned in the slot of the Slotted Base. The two units are held firmly together by tightening the
wing nut which goes through both bases. To change the length of the loom, loosen the wing nut and
slide the two bases apart to the appropriate total length, then retighten the wing nut.
For short strips, replace the Sliding Base with the Traveling End piece and use the same bolt and
wing nut assembly to tighten the Traveling End piece at the appropriate distance.
To store, move the Sliding Base as far up as it will go on the Slotted Base, set the Traveling end piece
on top of the Slotted Base, run the bolt through all three pieces, then tighten the wing nut. The total
length for storage will be 23".
DETAILS OF OPERATION
The above description gives a brief summary of
how the adjustable wooden bead loom works,
but here are the real details:
To make bead strips 27" and longer:
Place the Sliding Base on top of the Slotted
Base. (Set the Traveling End Piece aside.)
Adjust the Sliding Base (B) to the desired length
on the Slotted Base (A).
On the Sliding Base, find the hole that is nearest
to the center of the distance between the end
pieces of the 2 bases. Slide the large washer
onto the bolt, then insert the bolt from
underneath the Slotted Base and through that
center hole so that the threaded end is above
the surface of the Sliding Base. (Figure 1)
Place the small washer on the bolt, then screw
the wing nut down, being sure to keep the
Slotted and Sliding Base pieces in straight
alignment. Tighten the wing nut as much as
possible, by hand.
Slide the bead spacers in the ends from the
side.(Figure 2)
String up the loom with Warp Thread and
proceed with beading.
To make Shorter Strips:
Set the Traveling End Piece on the Slotted Base so that the hole of the Traveling End Piece is
centered over the slot. (Set the Sliding End Piece aside.)
Slide the large washer onto the bolt, then insert the bolt from underneath the Slotted Base and up
through the hole in the Traveling End Piece.
Place the small washer on the bolt, then screw the wing nut down, being sure to keep the Slotted
Base and Traveling Piece in straight alignment. Tighten the wing nut as much as possible, by
hand. (Figure 3)
Stringing the loom:
Apply beeswax to a long section of heavy cotton
thread which you intend to use for the warp
threads, then wrap most of it back onto your
spool. To string the warp thread on the loom,
tie the thread end to the center brass nail at one
end of the bead loom. (Figure 4) Bring the
thread up and through the exact center of the
comb-like spacer, across to the opposite end
and through the center of the spacer on that
end. Wrap it around the center brass nail and
bring the thread up and through the slot next to
the first thread. Continue to string the loom in
this fashion until you have the correct number
of threads. The number of warp threads should
equal the number of beads plus one. For
example, 27 beads wide will require 28 threads.
If desired, the final outside warp threads may be doubled to add strength to the outside edge.
Remember to keep an even tension on the thread while stringing. As you string the threads wider,
you will wrap threads around the other brass nails. This will help keep the string tension from
being centered on one pin.
As you let out thread from the spool, apply beeswax to the unwaxed warped thread just before
stringing it up.
Fine Adjustments:
Sometimes when stringing up a loom, the warp threads that are first strung become somewhat
loose as you continue to string toward the other end of the Bead Spacers. This loom is designed so
that you have some ability to adjust the tension on those loose warp threads.
Notice that the Sliding Base has some side-to side movement when positioned in the Slotted Base
and before tightening the wing nut. Also note that the Traveling End piece can be rotated clockwise
or counterclockwise when the bolt is loose. The ability to turn these pieces from side to side is the
key to tightening those first warp strings.
After the loom is strung, do the following:
Slightly loosen the wing nut on the Sliding base (or Traveling End Piece)
Now simultaneously push the Sliding Base/End Piece away from the Slotted Base as you slightly
rotate the former piece so that the loose warp threads become tight.
With tension now being held on the strings, tighten the wing nut.
The result will be that the Bead Spacer on the Sliding Base/Traveling End piece is not quite square
with the Slotted Base end piece, but all the warp threads should now be tight.
Beginning the Beadwork:
Starting with a thread that is about twice as
long as your arm, thread the beading needle,
leaving one thread end slightly longer then the
other. Then wax this thread well, as the wax is
very helpful in preventing tangling as you bead.
Tie the long end of your weft thread to the
outside warp thread, just in front of the upright.
Next, weave back and forth through the warp
threads a few times, going over and then under
each consecutive thread, as shown in Figure 5.
This helps anchor the thread and provides a
beginning for the work.
Some bead workers prefer to start in the middle
of the design and work to the right, then, come
back to the middle and work left. That way, the
piece will not be too long or short with the
design off center. In this case, simply tie the
weft thread to an outside warp thread in the
middle of the loom.
Next, begin stringing beads on the weft thread
as indicated by the first row of your design. Pull
this first row under the warp threads and push the beads up through them, holding them in place, if
necessary. Then, run the needle back through the beads, this time making sure it goes above the
warp threads. Pull the thread all the way through, gently snugging it up against the outside warp
thread. You can work from right to left or left to right, but if you are right handed, it usually works
best to tie the thread to the left warp thread to begin.
Once this first row is complete, it's a simple matter of repeating the same steps to continue beading.
Just follow the pattern color by color. With each consecutive row, be sure to keep even tension on
the weft thread. This will help keep the bead strip as even as possible throughout its entire length.
As beads vary somewhat in width, this is extremely important in producing a good-looking strip.
Adding New Thread:
When you are about to run out of weft thread,
complete a final row then tie off the warp
thread with a simple clove-hitch around the
outside warp threads. Take the needle and run
the thread through the last 3-5 beads on the
previous row, then pull the needle out and cut
off the remaining weft thread as close as
possible to the beads.
Attach a new weft piece by tying its end
securely to a warp thread in the middle of the
work. This knot should be as close as possible
to the center of the last row you beaded. Trim
the end short. Now pass the needle and new
thread through the last half of the last row of
beads and continue beading. In this way, you
can avoid exposed knots on the finished work
by turning the strips over when mounting.
Completing the Work:
When you reach the end of the piece, weave
some of the remaining weft thread in and out of
the warp threads as you did in the beginning. Several rows, or approximately 1/8", is plenty to
complete the work, and a small strip of adhesive tape can be used over the weaving for extra
security if desired. Now, tie the warp threads together in groups of 6 or 8 as shown in Figure 6.
This will all be securely folded under the strip when it is mounted.
MATERIALS & SUPPLIES
Needles & Thread
Beading Needles - For use primarily in loomwork, these long thin needles also work quite well
when doing gourd stitch and beaded earrings. The needle size indicates the smallest bead size for
which it is designed. However, a smaller size needle must be used when it will pass through the
bead twice, as in gourd stitch or earring work.
Bead Craft & Beading Thread: Bobbins, Spools, Cones -Generally, Nymo nylon thread is best for
gourd stitch, earrings, lazy stitch, applique and weft threads on loomwork. Size "A" or "00" Nymo is
best for 13/0, 14/0 and smaller beads; "B" is good for 12/0 and 11/0; "D" works well with 11/0
and 10/0 beads; and "F" is quite heavy, good for 5/0 and 8/0 pony beads. "F" is also good as a craft
thread for heavy duty sewing ...such as moccasins, clothing, drumstick heads, etc.
For loomwork warp threads, Crazy Crow recommends cotton as it does not stretch like the nylon
thread. Use Quilting thread for 12/0 and smaller sized beads and Button and Carpet thread for the
larger size 10/0 and 11/0 beads. Nymo thread can also be used for warp threads, but it should be
pre-stretched before use. Both types of thread should be coated with beeswax before use, as this
prolongs the life of thread and helps prevent tangling.
Bees Wax - A very fine quality 1 oz. cake for waxing thread, which increases thread life and
prevents tangling.
Seed Beads
Czech Seed Beads - Sizes 10, 11, 12, 13, 14, 16 in regular and special colors. Crazy Crow Trading
Post is a direct importer of many of the most popular styles and sizes of Czechoslavakian seed
beads. We have a huge selection of all the seed beads needed to create contemporary, traditional
and historic Native American Indian and Mountain Man style beaded crafts, outfits and accessories.
ROSETTE BEADING
Beaded rosettes are decorative discs of beadwork, traditionally used in Native American
ceremonial and dance costumes. The rosettes are made by couching beads – that is, by stringing
beads and then sewing them to a backing – usually leather or hide. Some people prefer a twoneedle style, where the beads are strung with one needle and stitched down with the other, but
today I’ll be showing you a one-needle style, where one round of beads is strung, and then sewn
down with the same thread.
You can bead pretty much any design you choose – the tradition is, as with much Native American
art, to choose colours and designs which have a personal or spiritual significance to the wearer.
With that in mind, I chose the Yorkshire Rose, emblem of my home county in England. As many
factors influence how the beads will fit together, I can’t give a charted pattern – if you do find
charted rosette patterns, they will almost definitely be for square-stitch rosettes, which are made
using a different method.
To make a rosette you’ll need:

Backing – usually leather or deer-hide, but today we’ll use thick felt, which is a lot easier to
stitch through. Once you’ve got the hang of the technique, you can easily substitute hide for
the felt.

Paper – this is both for the pattern, and to give an extra stiffening layer. I used washi paper
as it is soft and flexible and so easy to sew on, but any kind of paper will do.

Seed beads – a medium-sized rosette may well take a couple of hundred beads.

Thread – waxed thread if you are working on leather or if you plan to use sharp-edged
beads such as swarovski crystals

beading needle
Start by drawing, tracing or printing out your design onto paper, at the size you want. If your design
has many colours, you may want to colour your pattern.
Cut out your pattern and lay it on top of a piece of thick felt, cut to about the same size.
Thread your needle with a long thread – about 2 ‘armfuls’ or more if you can manage it. Knot the
end, and bring your threaded needle up through the centre of your design.
String one bead, and take the needle back down through the centre.
Bring the needle up again to one side of the centre bead, and string as many beads as will fit in a
circle round the centre bead. Most instructions I’ve seen online say 7, but I found I needed 8. You
may need more or fewer depending on your beads.Thread the needle back through the first bead of
the round, to complete the circle, and then take it back down through the backing.
Now you can tack this row in place by making a
small stitch every three or four beads – bring the
needle up inside the loop of beads, over the
beaded thread, and back down again just outside
the bead loop.
The rest of the rosette is made the same way –
string a circle of beads that fits neatly around the
previous circle, complete the circle by taking the
thread back through the first bead in the ring, and
then stitch the ring into place. To work a design,
thread a few beads at a time, matching them up to
the lines of your paper pattern as you go.
When you’ve finished your pattern, secure the
thread and then carefully trim the backing to match the outer circle of beads. On Wednesday, we’ll
look at some decorative edgings you can use to complete your rosette.
Sources:

http://www.crazycrow.com/crafts/deluxe-adjustable-beadloom.php
LAZY STITCH
Lazy stitch beadwork is one of the simplest beadwork techniques. It is good for covering large
areas in a relatively short period of time. That is not to say that it is easy to do correctly or fast. It
is neither. Like all craft techniques, experience and skill determine the beauty of the finished
result. While this stitch has traditionally been called "lazy," the beadworkers who use it are
definitely not! Georg Barth, author of the excellent book Native American Beadwork, is
attempting to change the name to "lane stitch" and we wholeheartedly agree.
There are many books that discuss the technique, but one of the clearest articles we know of
is Sioux Style Lazy Stitch Beadwork by Steve Nimerfro. Anyone who knew Steve will tell you he
was a master beadworker. Steve passed on a number of years ago, but his work remains with
many friends as pleasant reminders of his remarkable skill. We are pleased to reprint his article
that appeared in Moccasin Tracks, March 1982. Please feel free to reprint the article for your
personal use and for your organization. The only restriction is that you may not reproduce them
for sale (reimbursement for reproduction expenses is OK. Making a profit is not).
Sioux Style Lazy Stitch Beadwork
by Steve Nimerfro
Originally published in Moccasin Tracks, March 1982
In his article on Western Sioux beadwork, Dick Conn states that by the late 1890’s and 1900’s
Sioux beadwork had emerged as a definite style: "It has definite design types, colors are
standardized and limited." Sioux beadwork is usually done in lazystitch. The details for this lazy
stitch beading technique are the subject of this article, but a few preliminary comments are
necessary.
Time is of prime importance in doing beadwork. Lazy stitch is not difficult, it just takes time and
patience to do it right. Take care in spacing rows, and be patient enough to take out mistakes. But,
the actual time spent beading is only half the time needed. An equal amount of time should be
spent on research. If you are really serious about producing several items for a Sioux dance
costume or even one, at least read the references cited in this article, examine photos and actual
collections. As mentioned above, there is a "Sioux style" of definite colors and geometric design
elements -— get familiar with it. Examine items to determine design placement, size, direction of
lanes, etc. Learn what items were beaded in the lazy stitch style.
TECHNIQUE HINTS
Another of Conn's statements is appropriate here, "Real Sioux lazy stitch can usually be
recognized by the hard, tight quality of beading. Much, but not all, Sioux lazy stitch has
pronounced ridges." The adjacent photos illustrate this description. Use the hints below to
achieve this hard, tight quality with ridges. They take practice and time to perfect.
BEADS: Most Sioux work is done in 4/o Italian beads, not all the old colors are
available substitutes must suffice at times. 11/0 are used if beaded in Czech beads.
(Matoska Trading Company Note: Italian 4/0 seed beads are virtually impossible to find today and
are no longer being manufactured. There are many fine old-time colors available in modern Czech
beads today. Also, there are some very good old-time colors made in France.)
1. Thread In producing an "artifake" use exactly the materials the Indian beadworkers used. In
this instance, use sinew. If available, sinew is the best. "Harness lace" is a good substitute and is
available from traders. If thread is used, pick one that does not stretch, wax it heavily with bee’s
wax, but most importantly pick a heavy enough thread. It should be of sufficient weight so that
when doubled it fills the entire hole of the bead, see Fig.l. In this way the bead can not shift from
left to right on the thread. Strip sinew and harness lace to proper thickness to fill hole also. Hard
and tight is not achieved by pulling thread super tight, but by thread thickness.
(Matoska Trading Company Note: This last sentence is the most valuable bit of knowledge in the
whole article. Read it AGAIN: "Hard and tight is not achieved by pulling thread super tight, but by
thread thickness.")
2.Hide: Hard and tight beadwork is a result of a stiff backing. The stiffer parts of an Indian-tanned
buckskin hide is ideal. Try to match this when choosing substitutes. Always bead on the side that
was next to the meat. Make sure stitches penetrate the center of the hide.
3. Arc: As shown in the photo, an item beaded in lazy stitch fashion is covered with a series of
parallel lanes each of which tends to arc a little bit. This arc or hump or ridge is achieved by
sewing down 8 beads in a space meant for 7 1/2 beads. Lanes are from 6 - 12 beads in width;
with 8 - 9 most common. Lane width will vary in width and number of beads with each
beadworker. An even number of beads is quite common.
BEGINNING AND ENDING
The series of illustrations follow the basic beading technique. Draw a base line lightly with a
pencil (not pen). The knot at the end of the thread will eventually be hidden under beadwork. Do
not leave knots on the back side of the leather.
Fig. 2 shows proper way to punch leather with awl. Stitches must catch 1/2 the hide or they will
pull out. If not using Indian tanned buckskin, proper penetration cannot be achieved without an
awl. Awl must be ground down to size of large needle or use a heavy needle glued in a piece of
dowel as in Fig. 3.
To start: knot thread, punch through leather, pull thread on needle through holes and string on 8
beads, Fig. 4. As 8 beads lie next to each other on a line perpendicular to base line, punch next
pair of holes ½ bead short of distance spanned by 8 beads, Fig. 4.
Next, pull needle and thread through; pull taught and string on 8. Beads should just barely touch
first row. Spacing here is critical, you must avoid bunching and gapping, Figs. 6—8. You will learn
spacing with practice. Rip out your mistakes as you go; remember, patience. When you come to
the end of a thread, tie it off and sew back under the lane. No knots should show on front or back!!
Figure 5 shows placement of second lane. Beads of first lane may touch those of second, but they
dont have too. Stitches of second lane should be right next to those of first but not interlocking. In
design area rows should line up but need not in background area.
Sources:
1. Conn, Dick, ‘Western Sioux Beadwork,’ American Indian Hobbyist, Vol. VI No. 9 and 10.
2. Lyford, Carrie a., Quill and Beadwork of the Western Sioux, U.S. Department of the Interior,
1940
3. Hail, Barbara A., Hau, Kola! , Haffenreffer Museum of Anthropology, Brown University,
1980
PEYOTE STITCH
Peyote stitch is a pattern used to weave beads together using a needle and thread. This is still used
in many traditional cultures in Africa to make symbolic headdresses and jewelry. However, even
those who are from other cultures can benefit from knowing how to do peyote stitch. Depending on
the stitch technique that is used, the resulting woven pieces could be flat strips, tubes, or flat round
shapes, and can be used to create bags, jewelry, images, and other decorative elements. Read on to
learn how to do peyote stitch. There are different types of peyote stitch and this tutorial features
the even count peyote stitch.
1. Lay the pattern you want to make before
you. Learn and understand how to read it. It will
always have an even number of horizontal rows.
2. Read the first vertical row zig-zag. Refer to
the picture for a visual reference. The first row is
the one numbered in light blue.
3. Pick up the first beads of the correct
colours and thread them on your thread (the light
blue ones numbered as 1 to 10 in the picture).
4. Read the second vertical row as numbered
in the picture (the black beads numbered as 11 to
15 in the picture).
5. Pick up the first bead of the second
row and add it to your string of beads hanging on
the thread.
6. Push your needle back through the third
bead from the top.
7. Pull it tight so that the last bead of the first row and the first bead of the second row are
centered horizontally on top of the other bead.
8. Add the second bead from the second row to your thread.
9. Push the needle through bead
number four from the top.Continue this
pattern until you have finished the
second row (next you will push your
needle back through the sixth bead,
then the eighth, and then the tenth).
10. Start the third vertical row in
exactly the same way, but now reading
from the bottom of your pattern to the
top (you will now read the purple
beads numbered from 21 to 25 in the
picture).
11. Continue in this fashion until
you have finished your entire pattern.
12. Work the thread back through
your beaded mat in a zig-zag way to
finish off. Cut the thread off after you
have reversed it.
This project requires thin but strong
thread. Embroidery thread is usually
highly suitable for beadweaving. Use a
thin needle with an eye just big enough for the thread to pass through.
Use beads of the same size to get an even-looking mat. Research the
symbolism of colours if you want to make a pattern that means
something. There are also readily available patterns on the Internet
that you can search for and download. It's better to cut too much
thread than too little. You don't
want to run out of thread in the middle of your masterpiece.
Source:

NOAC 2006 Handout
APPLIQUE STITCH
Preface
When I started to bead, about the only thing that I had to guide me was a website that had a few
different types of beading described. Three types were described, and none of them were the type
that I have come to do regularly. The closest one was the double needle appliqué stitch which they
used to make a rosette. One of the other two was loom beadwork. Both of these two techniques
looked hard, so I started off with the worst possible stitch I could have. This stitch was the gourd
stitch.
I became quite good at doing beadwork with the gourd stitch, and was receiving all types of praise
for my work until my good friend Andy Mueller decided to educate himself on matters of regalia,
and found out that I really shouldn’t be using the gourd stitch in the Northwest. To my dismay,
Andy had just told me that I had done all of the beautiful work for naught. It took me awhile to
really believe him, but eventually I came around to his way of thinking; after all, he is the master.
It’s been a few years now since I started to do appliqué beadwork, and I have been told that I stitch
a mean row. Now that I look back at the beginning of my bead career, I see that it would have been
really nice to have had a guide to tell me how to do things right the first time around.
I am going to make an attempt now to help new beaders avoid my mistakes in their beading
adventures. The information that I am about to dole out has been passed on to me by such greats as
Scott Thompson and Andy Mueller with bits that I have puzzled out on my own. It isn’t perfect, but
it should provide you with some juicy tidbits that will spur on your interest in beading, and
hopefully it can help you get past some of those more onerous parts of your pieces.
Good luck in your beading endeavors.
Nicholas Marchant
Es-Kaielgu Lodge 311
Introduction
The first two pieces of appliqué beadwork I made were rosettes. One had a wolf head on it, and the
other had a buffalo head. My third piece that included some appliqué beading was a leather bag that
had a wolf head and the setting sun. At least that is what I think they have on them. Even I can’t be
quite sure anymore. I included pictures of these three things so that you could laugh at them; I
know I do when I am not groaning because of how horrible they are. I have also included these
pictures to give a comparison and hope. I did a couple of “practice” pieces in between the pouch and
my next piece, and it was in this time that I made a realization that has made beading much easier
for me, and will help you. It may sound corny, but I learned to submit to the will of the beads. After
this realization I made a piece that is so much better that it isn’t even funny. This should give you
hope because in a relatively short period of time I went from horrible to fairly good.
If your first piece wasn’t as good as that museum piece that you saw, please don’t despair. It takes
time to become that good. It’s not fair to new beaders that we don’t get to see other people’s first
pieces. If you don’t keep trying then you can never become better.
To become better at beading, it is going to a lot of practice and a lot of know how. The practice is the
more important of the two. This is because you have to practice the things I am going to tell you for
them to do you any good. The know-how is also very important. There isn’t much I can do to help
you with the practice except to tell you that it will get better with time. I can help you with the “ins
and outs” of beading. In this guide I will tell you just about everything I know about beading, from
how to do the basic stitch to how to get the beads to lay flat.
The Basic Appliqué Stitch
Appliqué beadwork is a very versatile form of beadwork. It is also often the most useful type of
beadwork. Appliqué beadwork is used to make the most detailed patterns. It is stronger than other
types of beadwork, and it is easier to repair if the strings get damaged. It sticks less to a predefined
pattern which gives the beader an increased range of freedom. Slightly irregular beads can be
incorporated into the beadwork without causing problems, unlike loom work and gourd stitch. The
fact that appliqué is so versatile is the reason I will be explaining it to you.
There are two types of basic appliqué stitch. The first one, which I will explain in detail, I like to call
the running appliqué stitch because of its resemblance to a running stitch in sewing. The second is
called the double needle appliqué stitch. I will explain the first in more detail for several reasons,
but the main reason is that is an overall better stitch.
Both stitches take about the same amount of time to do. In fact the double needle stitch may be a
little faster, but the running stitch will produce a much stronger and better looking product for
beginners. Before I go into a discussion of the pros and cons of these stitches I will explain how to
do them.
Running Appliqué Stitch
The running appliqué stitch is a way to tack down every two beads on your piece. This is done by
first sewing down four beads, and then going back through the last two. I have included diagrams of
this stitch at the end of this section. To start the stitch a piece of thread is knotted at the end with a
couple of overhand knots. The actual type of knot really doesn’t matter; the main thing is that it
can’t pull through the fabric. The thread is then passed through the fabric and four beads are put
onto it as in figure 1-A and 1-B. The four beads are then sewn down to the fabric as in figure 1-C.
This is done by first laying the beads in the position that you want them in when the stitch is done,
and then placing the needle at the end of the row of beads. This will get you a nice tight stitch. I
don’t suggest pulling the stitch tight at this point because if you do you will just have to loosen it
later. At this point it is easiest to turn the piece over and position the needle halfway in between the
knot and the where you came through the fabric. You will then go back up through the fabric as in
figure 1-D. If the string is not directly between the 2nd and 3rd bead don’t sweat it; just as long you
and 2from the 3and 4are not in front of the 3rd bead at all you will be fine. If the string is in front of
the 3rd bead it will separate the 1st nd rd th, which does not look good because you will have a gap. Now
that the string is back on the top side of the piece, you pass the string through the 3rd and 4th beads
as in figure 1-E, and pull the stitch tight. To do another stitch, simply put another four beads on the
string and repeats the steps in figure 1-C through 1-E. At the end of your second stitch your beads
should look like figure 1-F. When you start to run out of thread, wait until you are on the underside
of the piece, and then run your needle under one of the previous stitches before you tie off the
thread.
Double Needle Appliqué Stitch
This stitch serves the same purpose, but it takes more experience and is weaker. This stitch is done
by stringing all the beads that you will need for a line and then sewing it down in a single stitch. A
second needle and thread is then taken to sew over the main thread between every other two
beads. If you are good at bringing the needle up through the fabric in the correct place without a
whole lot of guesswork then this could be the stitch for you. Make sure that before you sew the line
of beads down that you lay the beads out in their final position to make sure that you have enough.
Pros and Cons
Which of these two stitches is the best for you? Most likely it will be the running stitch. Of the two
stitches the running stitch is easier to make alterations in direction and length in a pattern. With the
double needle stitch you are limited to the original design after you have sewn down the row of
beads. If you change the way the beads lay too much from what was originally intended you will
have either two many or two few beads on the thread at the end. Strength and ease of repair is
another big factor when choosing a stitch. Both stitches have about the same strength, and if you try
to fill the bead up with as much thread as you can the strength will be the same for both; I will talk
about this technique later on in this guide. The ease of repair is the big thing here. Due to the nature
of the stitch if a string is broken in the running stitch you will only lose about eight beads while if a
string is broken in the double needle stitch then many more beads will be lost before it can be fixed.
Not everything about the double needle stitch is bad. If you are experienced with a needle the
double needle stitch can save you a lot of time.
Materials
Before I go over a discussion of how to put your piece together I will talk about the different
materials you will be using. Having the proper materials will help you greatly towards having a
quality piece. Having the proper materials will also prevent a lot of frustration as you are putting
your piece together. Having the proper thread will make threading the needle much easier. The
right bead size can also make you job much easier. Knowing your materials inside and out will save
you a lot of hassle in the long run.
Beads
Beads are a great way to spice up a project that you are working on. They add a unique texture and
intricate patterns which can make your piece much more interesting. There are many different
ways to decorate with beads, and with many different types of beads for that matter, but we are
focused on appliqué beading, which means that we will be talking about the seed bead.
Seed beads look like little seeds, and are sold in several different ways. One of the more common
ways that you will see if you buy your beads through a bead store or catalogue is beads by the hank.
A hank is a bundle of 12 strands each about 12” long. Another common way to buy beads is by the
ounce. I strongly suggest that you buy your beads from either a bead store or a catalogue. You will
find better quality beads at a better price than if you were to buy them at a normal craft store.
When you're looking at a bunch of beads there are some pitfalls that you should look out for. First
of all you should look to see if all of the beads have approximately the same width. How regular you
need them to be will depend on what you are doing with them. For the appliqué stitch your beads
do not have to be perfect, but if you were doing loom work they would need to be very close to the
same. The second thing you should look for is irregularity in the beads. If there are a lot of beads
that have slanted sides or are abnormally long you should get a different bunch. These abnormal
beads can make your work look really bad, and will just have to be thrown away. A third
consideration is whether the color is consistent throughout the bunch. I wouldn’t worry about this
too much though. Colors being slightly off can be a good thing. If you were out in the woods, and
you ran out of a certain color, you sometimes just had to make due with what you had at hand. A
slightly off color could add a little bit of character and a splash of a story to your piece.
Sizes on beads can seem rather complex when you first start out, but they aren’t very hard. The
different sizes of beads are number depending on the size of the hole. As the size of the hole
decreases the number of the bead increases. Common sizes of seed beads range from 8-15, with 8
being large and 15 being tiny. Sizes 10 and 11 are probably the most common sizes, and are what
you will want to start out with. A word to the wise is the larger the bead, the easier it is to use, but
you must remember that when you use larger beads, you will have more problems with making
them lie where you want, and you will have more gaps in your work. This is acceptable though
when you don’t want, or need, to spend as much time on a piece of beadwork.
Thread
The proper choice of thread can make your beading experience much more enjoyable. Many
beaders become frustrated with beading because they cannot thread the needle. The culprit may be
that they have chosen the wrong type of thread. Don’t feel discouraged though because this is a very
easy thing to do. There are so many different types and sizes that it is hard to pick the right kind.
With a little knowledge about thread can make all the difference.
Let us first look at different types of thread. The most common type of thread is the polyester
sewing thread. This is the type that you would use in a sewing machine. I would caution you to stay
away from this type of thread. The appeal to the thread is that it is inexpensive and strong, but the
downfall is that is difficult to thread on a beading needle. This type of thread is made from two
separate strands that are twisted together to make a single thread. This makes it hard when you go
to thread the needle because the two like to separate. If you only get one strand through the eye you
will have to pull the thread out and probably cut off that end before you go in for another try. As an
alternative you can find single strand threads which are much easier to thread onto a needle. The
downfall of these is that they are more expensive. It is worth the extra price. This type of thread is
commonly known as nymo, and you can find it at beading stores. A third type of thread that you
would use if you want your pieces to be truly authentic is cotton thread. Beware though because
this type of thread is not as strong, and will start to rot away long before the synthetic fibers.
If you decide to go with the nymo thread you will find that it comes in different sizes, and different
sizes of spools. The sizes work very similarly to bead sizes with letters replacing the numbers. The
largest size is OO with O being the next smallest, and A being after that. A good size to get is around
D. Two considerations should be made when you are picking the size of the thread. The first is
whether you will be able to thread it on the needle. Size D thread is pretty easy to thread on a
standard beading needle while A is pretty hard. The second is the amount of space the thread will
fill. You want to try to fill the entire hole of the bead to really keep it in place. Remember that your
thread will be double over so you will have four strands going through one bead. With size 11 beads
you can only get around six strands of size D thread through a hole. If you try size A with a size 11
bead you might end up breaking your needle or the bead trying to pull the needle through the
second time. When you are looking at how much of the nymo thread you will need one of the small
spools should be enough to do about 50 square inches of beadwork.
A material that is very closely related to thread is bees wax. They will have this at the bead store
and in the catalogues. This is a requirement if you want your piece to last for any amount of time
without repair. Run the thread through the wax either before of after you thread the needle. The
wax will hold together the fibers of the thread to make it stronger, and it will make the thread more
resistant to moisture. When the wax starts to rub away as you bead just run the thread back
through the wax. This will also help keep the thread from tangling up as you bead. Don’t worry
about not getting enough because a little wax will go a long way.
Needles
Whoever thought of using a needle for beading should first be thanked and then be shot. This thin
piece of metal is a necessary evil for the beader. Don’t worry about those pricked and bleeding
fingers; they will heal in time. Like the other categories of materials there are many to choose from.
The right choice of a needle can make or break a beader. Here are some tips to help you in your
quest for the correct one.
Different lengths and sizes of needles occur just like with beads, and thread. The numbering system
for needles is the same as with beads. The number of the needle corresponds with the eye that will
fit through the bead. For example you can use a number 11 needle with number 11 beads. As a
general rule of thumb you should use a needle that is one size smaller than the beads you are using
because of irregularities in whole size (#12 needles for #11 beads). Needles come in two general
lengths, long and short. Which one you use depends on what you are doing. In general the short is a
better needle because they do not break as much. The down fall of the short is that they can be
harder to grasp. On the up side they are easier to maneuver than the long. The main pro for the long
needle is that you can get a better grip on it. The problem with it is that they break more easily than
the shorts. When you go to the beading store, you are going to want to get at least 10 needles. If you
have beaded for any length of time you should know that you will break needles, and you will break
a lot of them. They are not very expensive though so it is okay.
Backing Material
A good choice of backing materials is the first step towards having an excellent piece. The backing
material is what holds the piece together. It is also one of the main factors in whether your piece
will be flat or bowed. The main types of backing materials that you will be working with are canvas,
leather, wool, and clothes such as calico, cotton, felt, trade cloth, etc. I will also add denim to this list
because of its availability and qualities even though it is not a period material.
When looking for a backing material you want something that is stiff and easy to sew through. Very
often these two things exclude each other. One material that has these characteristics is canvas.
This thick cloth is very good for beading. The weaving of canvas will keep your needle in the place
you want it, unlike wool which we will look at later. A similar attribute of canvas is that it resists
bunching when you pull your thread tight. It also works well in layers with other types of materials.
The main thing that would turn you away from canvas is the fact that you can really only bead
through two layers with ease. After two it becomes very hard to bead. Here is a word of warning
when you go to the fabric store. You are looking for the off white almost yellow type of canvas.
There is a canvas that is completely white, but you do not need this. This is a painter’s canvas, and it
will cost you more and will be finer then anything that you will ever work on.
Beadwork on leather looks really good, but can be very hard to do. Leather is a fairly good material
to bead on because you most likely will only need one layer depending on the thickness of your
leather. The appeal of leather is that when you pull down on the thread the beads will push down
into the leather, and the leather will help to hold them in place. It is also very strong. You will have
to be careful to avoid bunching, but that is not too much of a problem. The main problem with
leather is that it is hard to sew through. Expect to break a lot of needles and thread if you are doing
a project on leather.
Here is a word of warning before I start the section on wool. Do not use only wool in any of your
beadwork. You can bead onto wool, but make sure that there is a layer of canvas or some stiffer
material behind the wool. Wool by itself bunches horribly. It is also hard to get the needle to go to
exact place you want it because of how the fibers are woven together. There are ways to fix this that
I will talk about later.
The other fabrics I mention (calico, cotton, felt, trade cloth, etc.) excluding denim should not be
used to bead on. They will not add any strength to your beadwork, and if you were to be directly on
to one of these fabrics you will have wasted your time because it will not last very long. They can be
used to add decorative splashes to your beadwork though. You can substitute a small area of color
in your beadwork with a piece of cloth. This will add an interesting texture to your piece. These
fabrics are also going for edging around your beadwork if that fits into your design for the overall
piece.
I added denim to this list of backing material because of its availability and its qualities. If you are
making regalia you should be careful with your denim use because it is a fairly new material. Denim
will work very well if you hide it. You can use layers of denim behind layers of canvas or wool, and
it will add to the strength of your piece. Denim has roughly the properties of canvas with the added
fact that it is more flexible. A couple layers of denim will have about the same effect as a layer of
canvas.
Summary of Materials
When you first start out, knowing which materials are the best to use is a bit flustering. Here is a list
of what you should probably get.
Size 10 or 11 seed beads (you shouldn’t need more than one hank per color).
A roll of size D nymo thread.
A lump of bees wax.
A package of short size 12 needles.
Sufficient backing material for your project.
With these materials you should be on your way to doing your first piece of beadwork.
So what if your first piece of bead work wasn’t perfect. There are very few things that you will be
able to do well the first time you do them. The biggest piece of advice I can give you on how to
become a better beader is to practice. You’ll get frustrated, and you’ll prick your finger, and those
darned beads won’t stay flat, but with each piece you finish I promise that you will see
improvement. Hopefully I have given you some building blocks that will help you on your road to
beading mastery, but only you can get yourself there. So when you are feeling glum because you just
can’t get it right remember that I was there with you once, and if I could do it with these shaky
hands then you can do it too.
Source:

Nicholas Marchant, Es-Kaielgu Lodge 311
HEADDRESSES
PORCUPINE ROACH
No other headgear, with the exception of the Plains warbonnet, personifies the North American
Indian as much as the hair roach. Historically, its distribution and use covered virtually all tribes of
the Plains, Plateau, Great Lakes, and Eastern Woodlands cultural areas. Paintings by artists in the
1830â€™s reflected the use of the hair roach at that early date, and contemporary use of the porky
roach may be seen in the outfits of the Grass Dancer, Oklahoma Straight Dancer, Oklahoma Feather
Dancer, Northern Traditional Dancer, and the Old Time dancer.
Deluxe Porky Kit Includes:
Standard Porky Kit Includes:

1.5 oz. Porky Hair

1.25 oz. Porky Hair

3 Natural White Deer
Tails

Tails

18â€• Rope Base


1/8 oz. Beeswax


1 Spool Button &
Carpet Thread, for tying

27 ft. Base Cord
Economy Porky Kit Includes:

1.25 oz. Porky Hair (1"
shorter than standard
kit)

Tails
1/8 oz. Beeswax


1 Spool Button &

1/8 oz. Beeswax

27 ft. Base Cord

1 Spool Button &

27 ft. Base Cord
ALSO NEEDED: Needlenose pliers, sewing
needle, 50-60 straight pins, small pair of
scissors (manicure type are best), piece of
heavy cardboard approximately 1â€• x
3â€•, ruler.
IMPORTANT: Read all instructions carefully
before beginning, then reread each section
prior to proceeding with that step. The porky
roach should take 13 to 18 hours to complete.
Do not rush because the time and effort you
spend here will make a big difference in the
quality of your finished roach.
PREPARATIONS
Wash & Prepare Deertails
The deertails must be washed to remove
excess dirt and salt (used to dry & preserve
them). Dish washing liquid and a bucket of warm water are recommended. Wash twice, rinse
thoroughly, and lay them white side up on clean paper to dry.
Tying Board Construction & Preparation
Construct a tying board as shown in Fig. 1A. Wood screws and carpenterâ€™s glue are best for
securing the boards together. Do not use nails, they will not secure the ends properly.
After assembling this board, or frame, drive a nail into each end at a downward angle. This will be
used to secure the base cord. Small, rounded grooves shown in Fig. 1B will help hold the cord in
place while tying.
Prepare Tying Bobbin
Prepare a tying bobbin using the spool of “button & carpet threadâ€• furnished with the kit as
shown in Fig. 1C. Wind approximately 10 to 15 yds. of the tying string onto this. A rubber band can
be used to prevent too much string from unwinding. Let the string out as needed. This “bobbinâ€•
of thread is much easier to handle while tying than the whole spool of thread. Note: This thread is
also used for tying the deer hair and for sewing the tied rows of hair to the roach base.
SORTING THE PORKY HAIR
You must first sort the porky hair into groups of similar
length before tying it. Take a small bunch of hair, about as
thick as a pencil, and with the bottom (root) ends of hair
down, tap it against a tabletop several times. Hold the hair
loosely in your hand as shown in Fig. 2A. This will line up
the ends of the hair for sorting. Be sure that all hair has its
roots at the bottom of the bunch. See Fig. 2B.
Place the entire bunch of hair between the first two fingers
and thumb of your left hand and, holding it over a ruler laid
on the table, pull out the hairs, starting with the longest
first. See Fig. 2C.
Separate all the hair into half-inch groups, such as 5â€•5.5â€•, 5.5â€•-6â€•, etc. Any hair over 7.5â€• long
should be in one group and all hair under 5â€• is placed in
another. After pulling out all the hair in one size group, tap the bunch down to realign the roots,
then sort out all the hair in the next size group. Repeat this until all the hair is sorted. The size
categories needed are: under 5â€•, 5â€•-5.5â€•, 5.5â€•-6â€•, 6â€•-6.5â€•, 6.5â€•-7â€•,
7â€•-7.5â€•, and over 7.5â€•. You can now place the sorted hair into separate envelopes to
prevent it from getting mixed up.
TYING THE PORKY HAIR
The porky hair is somewhat easier to tie than deerhair, so we recommend tying it first in order to
build confidence & skill in making the knots & handling the small bundles of hair. Deer hair is finer
& more difficult to tie tightly, & since this is the row of tying that is seen on the outside of the roach,
you must tie it in neat, even bunches. The porky hair allows a little more room for error.
String the base cord which is the heavy “chalk lineâ€• or “cotton cable cordâ€• on the tying board,
securing it to the nail. Tie it tightly because it is easier to tie hair to this base cord if it does not give.
Mark a 32â€• length of the base cord in sections as shown in Fig. 3A. For the Deluxe 18â€• Roach,
this will be 38â€• as shown in Fig. 3B. These marks are where you will change the size of porky
Hair that you are tying. These are suggested section widths only! Because the thickness of porky
hair naturally varies, it is difficult to say how many hairs should be used in each bundle of tied hair.
This number can vary from as few as 12 strands of thick hair to as many as 20 strands of thinner
hair. Therefore, you may need to modify these section sizes based on the amount of hair you have in
each category. If you find that you have enough hair that is over 7.5â€• in length, then make room
for a section for this at the center. A good method of determining whether you are tying correctly
sized bundles of porky hair is by trying to tie from 7 to 10 bundles per running inch. Just measure
an inch of your tied hair & count the bundles.
ATTACH Your First Bundle
C-clamp the tying board to your worktable to prevent it from
sliding, and wax the base cord. Let out 10â€•- 12â€• of thread
from the bobbin, wax it, and tie it to the base cord at the right end of
the 32â€• section as shown in Fig.4A, use a square knot followed
by 2 secondary knots.
Grasp a bundle of approx. 12-15 strands of porky hair from the
under 5â€• length and fold 1/4â€• of it over the base cord, about
an inch to the left of your first knot. Pinch the hair firmly on the base
cord using the thumb and forefinger of the left hand, and tie a
primary knot with the tying string. (Fig. 4B) Pull the knot snug with
a smooth action (do not jerk it), pulling up and to the right. Release
the hair and tie a secondary knot as shown in Fig. 4C to secure it
firmly. It is important to use bundles of a approximately the same
size in order to produce a nice, even looking roach, but it is not
necessary to count the strands of hair. Proceed in this fashion,
changing hair sizes when indicated by your marks.
After you tie the first section, you will know approximately how
much hair it takes to tie an inch of length, and these sections can be
adjusted if necessary, as discussed above. When you complete the
row, mark the center and cut it off of the tying board.
OPTIONAL SECOND ROW OF PORKY HAIR
Often, a short (approximately 5â€•-6â€•) row of porcupine hair is added to the front of the roach
to give it a fuller look. If you have enough of the longer hair, we suggest doing this. This should be
done using the same length hair you used in the front 3 sections of the main row of porky hair.
TYING THE DEER HAIR
This is essentially the same procedure as used with the porky hair. Mark off a 34â€• section
(40â€• for Deluxe) on the base cord this time, and then mark the center. Using only the white hair
from the deer tails, clip off a small bunch using the following method.
Between the thumb and forefinger, grasp a small bunch of deer hair, slightly larger in diameter than
a round toothpick or approximately the same size as a 16 penny nail. Tied deer hair should also
average around 8 bundles per inch. However, it will require a larger number of strands of deer hair
than porky roach hair to accomplish this because the deer hair is much thinner. As you progress, it
will become easier to judge exactly the right amount of hair to use in each bunch. Be particularly
careful to keep these bunches as close to the same size as possible so as to insure a nice, even
looking roach.
Fold approximately 1/4â€• of the cut end of this bunch of hair over the base cord. Tie the two
knots while keeping the hair pinched firmly between the thumb and forefinger on the base cord.
When clipping the hair from the tail, try to cut equal lengths (about 3-1/2â€• long). You cannot
trim deer hair after it has been tied. Never cut the top of deer hair. When tying deer hair, it should
be remembered that it also varies in length and if some of the hair you are using is longer, it should
be placed in the center of the cord, much like the porky hair. This will produce a roach that has a
much nicer and more tailored finished appearance. Note: It is natural to try to tie deer hair bunches
too large; however, these will come apart and ruin your roach so donâ€™t overdo the bunch sizes!
Wax the tying string as you proceed.
OPTIONAL INSIDE ROW OF DEER HAIR
If you wish to have a row of deer hair lining the inside of your roach, you will need to purchase 2 or
3 more deer tails. The inside row of hair is tied about 2â€• shorter than the outside row, 32â€• for
the Standard Roach, and 38â€• for the Deluxe 18â€• Roach.
DYEING OPTION
If you would like a deer hair color other than white, or if the white has a yellow cast to it, dyeing will
take care of this. RITÂ© dye is recommended, and it is best to boil the row of tied deer hair for 7-10
minutes (or to the desired shade), then remove it and hang it up to dry. Next, wash it with a solution
of dish washing liquid to remove excess dye and hang it up to dry again. The roach base can be dyed
using this same procedure.
PINNING & SEWING
Pin the row of hair onto the roach base,
being certain it is centered. The folded
ends of the tied hair should face away
from the base. If you are making an
inside row of deer hair, this should be
pinned on first, and then the row of
porky hair. Pin the deer hair on next,
with the short, folded ends of the hair
facing inward so they wonâ€™t show.
Keep all rows tight and flat against the
base while pinning and sewing. The
rows should also be even with the
bottom of the base. Space the pins no
more than 1â€• apart, and re-pin any
areas that are not exactly right. This is
a very important step and really affects the appearance of the finished roach so do not rush it. If the
tail pulls to one side, loosen that side or pin the other side a little tighter. Sew the hair as shown
in Figures, 5A, 5B, & 5C, starting from the front and proceeding 1/2â€• per stitch, all the way to
the back. First sew one side and then sew the other. Do not use a whipstitch! Sew into the knots to
hold the hair firmly. Any overlapping hair at the end of the tail should be overlapped and sewn as
usual, and about 1/2â€• of the excess string should be tucked in behind the row so it does not
show. If you wish, you may trim it to a perfect fit, but if trimmed, be sure to sew the ends securely in
place to prevent the tied hair from coming loose. Also, a small drop of glue here would be a good
safety precaution.
FINISHING TOUCHES
To shape the roach, you will need a cardboard tube approximately 1-3/4â€•
in diameter by 20â€• long (22â€• for the Deluxe Roach), or you can roll up
newspaper into a tube of like dimensions. For a permanent storage, we highly
recommend one of Crazy Crowâ€™s wooden roach sticks, which also works
very well for this shaping process. Wet the entire roach and comb out the hair
as shown in Fig. 6A. Place the top of the roach on the tube and fold the tail
down, parting the hair to each side of the tube. Comb the hair downward and
wrap it all with a 1-1/2â€• wide strip of white cloth (an old bed sheet works
well) or elastic bandage that has been dampened. Be sure to keep the hair &
base straight up & down along the tube while wrapping, as this will give the
roach its permanent shape, similar to a womanâ€™s permanent. Allow the
roach to dry overnight, or it
can be placed in the sun to
speed the process.
If some of the hair did not turn out straight,
repeat the process, but this time wet only the
portion you wish to reshape. The roach should be
stored permanently on this tube or on a wooden
stick to maintain its form. See Crazy Crowâ€™s
Roach Care Instructions for further details on this.
MAKING A SPREADER
A roach spreader can be made from leather, bone,
elk antler, brass, or German silver. Leather is the
easiest material to work with and we offer the
following instructions for a simple style. Cut a
piece of heavy leather (strap leather works quite
well) so that it fits on the base and just touches
the inside row of hair. Punch a hole over the hole
in the base. Punch another hole 1/2â€• from the
first hole. See Fig. 7. Take an 8â€• piece of coat
hanger and, using pliers, bend it as in Fig. 8A. Run the long end up through the back hole and tape
or stitch the other part of the wire to the bottom of the spreader. If you prefer a 2-socket style
spreader, run both ends of the wire up through the base as shown in Fig. 8B. Tie a knot in the
middle of a shoe or boot lace and slip both ends through the first hole in the spreader and then
through the hole in the roach base. See Fig. 9. Run a second lacing through the roach base itself,
about 5â€•-6â€• up from the tail end.
Sources:

http://www.crazycrow.com/crafts/porky_roach.php
MANDAN FEATHER HEADDRESS
Many Native American tribes have historically worn traditional feathered headdresses that are still
part of their culture today. One such group is the Mandan tribe, who lived near the Upper Missouri
River during the time of Lewis and Clark's explorations in the early 1800s. Although making a
Mandan-style headdress can be time-consuming, it is relatively simple to do. Native American
culture traditionally attaches great significance to making and wearing such headdresses; if you
make one, you should proceed with an attitude of respect for the craft.
Things You'll Need

32 imitation eagle feathers

Package of short feathers, such as marabou

White or red all-purpose thread

Leather skull cap

Scissors

Sewing needle

2-inch-wide fabric strip with geometric designs

Hot glue gun with glue

Six medium-sized beads
Lay 30 imitation eagle feathers down with the front side facing up. Take four or five small, fluffy
feathers, such as marabou feathers, and lay them on the base of the first eagle feather. Loop thread
at the base of the feathers so that an open loop extends beyond the feather's tip; this will allow the
loop to be sewn to the cap later. Wrap thread around the rachis, or the hard stem-like part, of the
large and small feathers several times to tightly bind all feathers and the looped thread together.
Tie off the thread in the back of the large feather to hide the knot. Repeat this process with all 29
remaining imitation eagle feathers.
Cut 30 small slits into the leather cap near the edge. The slits should begin at the front and center of
the cap and continue two-thirds of the way around the cap. Feathers are not sewn on the the back
portion of the cap.
Cut a piece of thread that is 2 1/2 times as long as the distance from the first to last slit in the
leather cap; thread your needle with this thread. Place the first prepared feather between two slits
at the back of the cap. The loop should line up with the slits. Weave the needle in and out of the first
slit. Then, guide the needle through the loop and the second slit. Lay down the second feather next
to the first. Continue weaving the thread in and out of slits and loops until all the feathers are
attached to the leather cap. Tie off the thread after the last feather.
Cut another piece of thread that is also 2 1/2 times the distance from the first to last slit in the
leather cap. Thread your needle with this thread, then push the needle through the first feather's
rachis near the base of the feather. Loop back and push the needle through again, just below the
first hole. Push the needle through the second feather's rachis and loop as you did with the first.
Repeat this sewing with the remaining 28 feathers so that they remain close together after the
headdress is finished.
Cut two circles about 3 inches in diameter from the geometric patterned fabric. Set the circles aside.
Cut the remaining strip of fabric to cover the 2-inch brim below the attached feathers. The fabric
should extend about the length of the wearer's forehead and should not cover the entire
circumference of the leather cap. Hot glue the strip of fabric to the leather cap, making sure it is
centered.
Thread the six beads onto the remaining two imitation eagle feathers, three beads to each feather.
The beads should be at the base of the feather. Sew the base of one feather to one circle on the
wrong side of the fabric. The feather's base should be hidden behind the circle, but the beads should
be visible below the circle. Repeat the sewing with the last feather and second circle. Glue one
circle, with the feather facing down, to the right side of the headdress where the geometric fabric
ends. This should be right near the wearer's ear. Repeat this with the second circle to the left side of
the headdress where the geometric fabric ends. After the glue dries the headdress is ready to wear.
Tips & Warnings

Eagles are protected by federal law. Although registered tribe members may, under certain
circumstances, legally obtain real eagle feathers for ceremonial purposes, it is a federal
crime for anyone else to own eagle feathers or eagle parts. You can get imitation eagle
feathers, often made from dyed turkey quills, from craft suppliers.
Source: NOAC 2006 Handout
OTTER-FUR TURBANS
Otter-fur turbans (also known as otter-skin caps) are ceremonial headdresses worn by men in
certain Prairie and Southern Plains tribes, such as the Potawatomi, Pawnee and Osage. These are
round hats made of otter fur with the otter's tail either hanging behind or jutting out to one side in a
beaded sheath. The turbans and tail sheaths were often elaborately decorated with beaded and
painted designs symbolizing the owner's war honors, and a chief and his descendants usually attach
eagle feathers to the back of their turbans.
Instructions
Things You'll Need










Measuring tape
Leather
Scissors
Needle and waxed thread
Beads (optional)
Geometric patterned cloth (optional)
Large feathers
Stiff material
Sewing machine
Fur or faux fur
Fur Turban-Style Cap
Cut a 5-inch-wide strip of stiff material, like calico, to an inch longer than the circumference of your
head. Cut a second 5-inch-wide strip into a tapered triangle around 15 inches long for the tail of the
turban.
Fold a double 1/4 inch seam on the edges of both pieces of material and sew down on a sewing
machine. Fold the circumference piece into a circle and sew the ends together to form a loop. Leave
the tail piece off for now.
Cut a length of fur or faux fur around 4 inches shorter than the circumference of your head, and a
strip around 4 inches wide. Place the fur on top of the material loop and hand-stitch it down,
making the gap created by the fur shorter at the back where the seam of the circumference piece is.
Cut a piece of fur that is around an inch smaller on all sides than the tail piece of material and sew it
on top of the tailpiece. Place the fat end of the tailpiece over the back of the headpiece, covering up
the gap. Sew it down.
Decorate the turban-style fur cap with beads or pieces of geometrically patterned cloth, or leave it
plain. If desired, you can place an upright feather in the cap when wearing it.
DANCE STYLE REGALIA CHECKLIST
CHICKEN DANCE REGALIA
Item 1: HEAD Roach; Roach Feathers; Spreader; etc.
Superior: Roach – well made, worn correctly, appropriate flare, length should be a minimum of 14”,
coordinated with dance clothes, with spreader and roach feathers, or pheasant tails tipped with
fluffs (can be decorated. Porcupine hair roaches are necessary). Headband, beaded or other
decoration method, colors should coordinate with the dance clothes. A “Wapegnaka” or a Neck
Bustle is a possible addition.
Acceptable: Fiber roach; discordant color porky roach; inadequate length, poorly constructed or
worn out roach.
Inappropriate: Bandannas; no roach; war bonnets; animal skin headgear; missing spreader; feather
visors; missing items.
Item 2: BODY/CHEST AREA Yoke; Body Covering; Tie; Breast Plate; etc.
Superior: Yoke with coordinated colored designs in beaded or fabric appliqué, sequins, with
chainette fringe or ribbon of adequate length. Body covering to include full tights, colors
coordinated with dance clothes. Beaded necktie and collar. Decorated otter breastplate, Loop
necklace, or bone breastplate, worn appropriately.
Acceptable: Items that do not coordinate well with the dance clothes; inappropriate body covering
length of yoke or fringe; simple or undecorated items.
Inappropriate: Lack of proper fringe; t-shirt; no body covering; yarn fringe; bandoliers; OA sash;
missing items.
Item 3: BUSTLE
Superior: Well-constructed round or shingle back bustle in coordinated colors, adequate size and
contain uprights and a trailer. Trailer should be decorated with feathers and be a single or double
trailer. Feather decoration, clean design and execution, colors complementing and coordinating
with dance clothes, and properly worn. Back bustle should be affixed to waist.
Acceptable: Round bustle with little color or un-coordinated colors.
Inappropriate: No bustle, poorly made bustle, traditional style bustle, missing items or poor
materials.
Item 4: ARMS Cuffs; Armbands
Superior: Beaded as part of a set decorated with fluffs or ribbon hanging from armbands. Cuffs
worn at the wrist with appropriate design elements as to coordinate with the overall theme of the
dance clothes. Beadwork and/or quillwork on armbands and cuffs. Silver or well-made brass
armbands are acceptable.
Acceptable: Armbands plain, cuffs are plain or mismatched in overall theme of dance clothes.
Inappropriate: No armbands or cuffs; missing items
Item 5: HANDS Fan; Mirror Board; Dance Hoop; Dance Stick; Other
Superior: Fan- wing, flat or loose; mirror board; beaded or decorated dance stick or dance hoop can be leather, fur or sweetgrass wrapped; items decorated in an appropriate way. All must fit with
the overall look of the dance clothes.
Acceptable: Undecorated items, only one hand item.
Inappropriate: No hand articles; objects considered to be from other styles; missing items
Item 6: MID-BODY Aprons; Belt; Optional Side Tabs
Superior: Aprons, of adequate length and width to cover mid body, with coordinated colored
designs in fabric appliqué, sequins, or beaded, edged in chainette fringe or ribbon. Belt, beaded or
other decoration (Concho, tack), coordinated colors. Side tabs (optional) adequately covering space
between front and back aprons,
Acceptable: Un-decorated aprons and plain belt.
Inappropriate: No aprons; no belt; no fringe on aprons edges; missing items.
Item 7: LEGS & FEET Goats; Bells; Knee Bands; Plains Hard-sole Moccasins
Superior: Angora “goats” or other appropriate animal, appropriate length, worn correctly. (Goats
maybe dyed to match overall theme of dance clothes. Colors must be appropriate to overall look.)
Other ankle coverings could include dyed strung feathers, although not necessary. Leg and ankle
bells, sleigh or any variation of bells, fastened neatly, worn at both sides and at ankle. Ankle bells do
not interfere with goats, properly attached. Knee bands, beaded, quilled, or other material. Fully or
partly beaded or quilled Plains hard-sole moccasins, colors coordinated with dance clothes.
Acceptable: Goats of questionable length or size, gaps in the back, dirty. Undecorated leather
moccasins or colored water shoes, canvas deck shoes painted or partially beaded. Bells loosely
attached, wrong size or the wrong quantity for dancing.
Inappropriate: No goats, bells, or moccasins; leggings; tennis shoes; leather soft-sole moccasins;
missing items.
FANCY FEATHER DANCE REGALIA
Item 1: HEAD Roach; Roach Feathers; Rocker Spreader or Spinners; Scalp Feathers; Roach Crown;
Headband
Superior: Roach—well made, worn correctly, appropriate flare, length should not conflict with neck
bustle, colors coordinated with dance clothes, with rocker or spinner spreader and 2 roach feathers
(can be decorated), optional scalp feather or roach crown can be worn. Porcupine hair roaches are
preferred. Headband, beaded or other decoration method, colors should coordinate with the dance
clothes. Forehead rosette and side drops preferred.
Acceptable: Fiber roach; roach colors discordant with rest of clothes; inadequate length, poorly
constructed or worn out roach. Contemporary feather crests if coordinated with the style of the
dance clothes.
Inappropriate: Un-coordinated feather crests, bandannas, no roach, war bonnets, animal skin
headgear, missing or single feather spreaders, feather visors, missing items.
Item 2: CHEST AREA Cape; Shirt; Vest; Scarf; Necklace; Harness
Superior: Cape with coordinated colored designs in fabric appliqué, sequins, or beaded, ribbon
fringe, 8-14” in length, adequate length and width to cover upper body; colored neck scarf or
necklace; Beaded harness, coordinated colors with dance clothes, adequate length. Contemporary
vest and/or ribbon shirt if coordinated with the dance clothes.
Acceptable: Items that do not coordinate well with the dance clothes; inappropriate length of cape,
fringe, or harness; ribbon shirt with no cape or vest; simple or undecorated items.
Inappropriate: No fringe; yarn fringe; breastplate, bandoliers; OA sash; missing items.
Item 3: BUSTLES Neck Bustle; Back Bustle
Superior: Matching neck and back bustle, hackle or swing type. 2-3 tip color hackles, full hackle
coverage, streamers of lightweight material, coordinated colors, adequate size and cup (not flat),
quill shaft decoration, center rosette, properly worn—neck bustle should be high coming well
above shoulders, back bustle should be tied to waist and not conflict with neck bustle.
Acceptable: Smaller bustles, thinner hackle coverage, un-coordinated colors, no streamers on back
bustles.
Inappropriate: No bustles (back and/or neck,), poorly made bustles as to not hold up during
dancing, traditional style bustle, missing items.
Item 4: ARMS Cuffs; Arm Bustles; Armbands
Superior: Fully beaded cuffs of colors, designs, and technique which match the rest of the dance
clothes. Cuffs fringed with leather or ribbon fringe which matches all other fringe. Arm Bustles hackles, coordinated colors with back and neck bustle, center rosette, attached to Armbands.
Armbands - fully beaded; tooled leather decorated with ribbon, beadwork, or mirrors.
Acceptable: Fabric cuffs and armbands; smaller arm bustles, thin hackle coverage, un-coordinated
colors; no arm bands on arm bustles just tied with scarves underneath.
Inappropriate: No cuffs, armbands or arm bustles
Item 5: HANDS Whip Sticks; Fan; Mirror Board; Scarves
Superior: Whip sticks, beaded or other decoration with coordinated colors possessing streamers,
feathers, or scarves at tips with adequate mobility. Optional fan or mirror board can be used with,
or in place of, whip sticks, must fit with the overall look of the dance clothes.
Acceptable: Undecorated whip sticks, poor movement of attachments, un-coordinated colors.
Inappropriate: No hand articles. Northern Traditional style dance sticks, hoops.
Item 6: MID-BODY Aprons; Belt; Side Tabs
Superior: Aprons with coordinated colored designs in fabric appliqué, sequins, or beaded, ribbon
fringe, 8-14” in length, adequate length and width to cover mid body. Belt, beaded or other
decoration, coordinated colors. Side tabs, beaded or imitation, cloth, fringed, coordinated colors,
adequately covers space between front and back aprons.
Acceptable: Un-decorated aprons, scarves for side tabs, plain belt.
Inappropriate: No aprons; no belt or side tabs; breechcloths, no fringe on aprons; missing items.
Item 7: LEGS & FEET Goats; Bells; Knee Bands; Plains Hard-sole Moccasins
Superior: “Goats” angora or other long-haired animal, appropriate length, worn correctly. Bells,
sheep bells, below knee or at ankle, do not interfere with goats, properly attached. Knee Bands;
beaded, cloth, other material or colored scarves. Fully or partly beaded Plains hard-sole Moccasins,
colors coordinated with dance clothes.
Acceptable: Goats of questionable length or size; undecorated moccasins or colored water shoes.
Inappropriate: No goats, bells, or moccasins; Leggings; jingle bells; tennis shoes; leather soft-sole
moccasins; missing items.
MODERN GRASS DANCE REGALIA
Item 1: HEAD Roach; Roach ‘Uprights’; Spreader; Headband with Medallions
Superior: Northern-style porcupine/deer tail hair roach, well made and correctly worn; usually
more than 14 inches in length. Beaded or German silver spreader with two imitation golden eagle
tail feathers properly attached or two wires with fluffs attached at the outer ends. A “Bull’s tail” of
matching colors and designs, worn off the back of the spreader/roach. A roach pin may be worn.
Typically large beaded medallion(s) is/are worn on the headband in the center of the forehead, and
at the sides.
Acceptable: Northern-style hair roach of poor construction or fiber imitation; improper spreader;
poor quality or missing roach feathers or uprights.
Inappropriate: Bandanas; sunglasses; baseball caps; missing items.
Item 2: NECK Choker; Beaded Bib or Necktie; Scarf & Slide
Superior: Properly constructed choker; beaded bib or necktie matching the clothing attire; scarf &
slide (German silver or beaded)
Acceptable: Lower quality, but properly made examples of all the things listed above.
Inappropriate: Scout neckerchiefs; missing items.
Item 3: UPPER TORSO Shirt; Cape
Superior: Shirt decorated with fabric appliqué work, worn under the cape. Cape, made of an
appropriate material, decorated with fabric appliqué or beadwork. Cape has ribbon or yarn hanging
down 10-14 inches in length. The front and back of the cape are decorated.
Inappropriate: Ribbon shirts, improper materials or prints, bare chest, missing items.
Superior: Fully beaded cuffs and armbands of appropriate colors, designs, and technique.
Acceptable: Lower quality beadwork or fabric appliqué that is still correct for designs, colors, and
technique. Cross stitch canvas (plastic) with woven yarn to form beaded designs.
Inappropriate: Improper colors, designs or construction techniques; etc.; missing items; fake
beadwork.
Item 5: HANDS Fan; Hoop; Mirror Board; etc.
Superior: Fan- wing, flat or loose; mirror board; beaded or decorated dance stick or dance hoop can be leather, fur or sweetgrass wrapped; items decorated in an appropriate way.
Acceptable: Lower quality wing fan, scarves
Inappropriate: Items not typically seen in use on the Plains.
Item 6: LOWER TORSO Aprons; Side Tabs; and Pants
Superior: Aprons made out flashy fabrics with bead work or fabric appliqué work. Apron has ribbon
or yarn hanging down 10-14 inches in length. Front and back of aprons are decorated. Matching
side tabs are fully beaded (lazy stitch) or fabric appliqué work, with ribbon or yarn hanging down
10-14 inches in length. Pants are made of satin/silk material with ribbon or yarn hanging down
from the knees 10-14 inches.
Acceptable: Apron and pants without decoration. Lower quality beadwork or fabric appliqué that is
still correct for designs, colors, and technique.
Inappropriate: Inappropriate designs, materials, or construction; aprons or pants without ribbon or
yarn; sweatpants; jeans; missing items.
Item 7: FRONT ASSESORY “H”-Harness; Loop Necklace
Superior: Fully beaded or fabric appliqué “H”-Harness with proper colors, designs, and technique
meet the standard. The harnesses of various lengths are seen.
technique. Cross stitch canvas (plastic) with woven yarn to form beaded designs.
Inappropriate: Improper colors, designs or construction techniques, fake beadwork.
Item 8: FRONT ASSESORY Belt; etc.
Superior: Belt- fully beaded with proper colors, designs, and technique.
technique. Cross-stitch canvas with woven yarn to form beaded designs.
Inappropriate: Improper colors, designs or construction techniques; missing items; fake plastic
beadwork
Item 9: FEET Plains Hard-sole Moccasins; Anklets; Bells
Superior: Properly designed and constructed two-piece, hard sole northern-style moccasins. Fully
or partially beaded with proper colors, designs, and techniques meet the standard. Fur anklets are
worn just above the ankle. Bells are either large sleigh or sheep bells that are properly attached and
worn above the ankle. Bells are worn over the angora anklets.
Acceptable: Properly designed and constructed two-piece undecorated hard sole moccasins.
Properly designed and constructed two-piece hard sole moccasins with lower quality beadwork.
Inappropriate: Bare feet and improper footwear such as slipper-type moccasins, missing items.
NORTHERN TRADITIONAL REGALIA
Item 1: HEAD Roach; Visor; Roach Feathers; Spreader
“Wapegnaka” (Bull’s Tail); Mandan-style Feather Headdress
Superior: Northern style porcupine/deer tail hair roach, well made and correctly worn. No set
length, but fits the dancer’s body. Spreader of German silver, bone or rawhide, fully/partially
beaded, with two sockets and two imitation eagle tail feathers properly attached. Lane-stitch
beaded or quilled “Wapegnaka” (Bull’s Tail) to match the rest of the beadwork. May include scalp
feathers, quilled wheels, etc. A roach pin is usually worn with a large cluster of feather/plumes
attached to the outer end. Other possibilities: beaded headband with 1 or 3 beaded or quilled
rosettes to coordinate with other beadwork; feather visors made of imitation eagle feathers; small
round/mess bustle worn either in the tail of the roach or around the neck; beaded roach crown that
matches the rest of the beadwork in design and style; Mandan style headdress.
Acceptable: Northern-style hair roach of poor construction or fiber imitation; a roach excessive in
length. Undecorated leather spreader; ribbon, or other decoration in lieu of “Bull’s Tail”. Poor
quality or missing roach feather; poorly constructed feather visors; poorly constructed Mandanstyle headdress (“Dog Soldier Headdress”); etc
Inappropriate: a “feather” roach; animal skin headdress; missing items.
Item 2: NECK Choker (Bone or Beaded), Scarf & Slide; Beaded Necktie; Necklaces
Superior: Properly constructed hair pipe, bone tube, dentalium choker with harness leather or bone
spacers, or beaded choker that matches the rest of the beadwork in design and style. Appropriately
sized metal backed mirror or disc conch shell in the center may be used. No penalties for plastic vs.
bone. Beads may be any sort of glass or plastic bead that matches rest of dance clothes’ colors and
design. Fabric scarf and a scarf slide may be of German silver or beaded to match rest of beadwork.
Beaded neckties matching the rest of the beadwork. If fringe is added it needs to match all other
fringe.
Acceptable: Poor construction or poorly matching/coordinating with the rest of dance clothes
Inappropriate: Scout neckerchiefs; missing items.
Item 3: CHEST AREA Shirt; Vest; Otter; Breastplate; Bandoliers; Cape
Superior: Shirts are satin or cotton and can be a solid color with an elaborate fabric appliqué design
down the sleeves and over the shoulder or a colored print with simple ribbon decoration; longjohns dyed in a bright color to match over all outfit. Fully or partially (front panels) beaded vests
must be done with colors, designs, and beading technique which matches the rest of the dance
clothes’ beadwork. Bone Breastplate with two or three sections of 4-inch pipes, or two sections of
4-inch pipes separated by a section of 1-2 inch pipes or appropriate beads. Harness leather spacers
with appropriate bead embellishments decorated with beaded or quilled rosettes or pendants,
ribbons, hawk bells, etc.
Bandoliers made of bones and beads (see Item 2 for bead standards), or of “junk” or deer toe/dew
claw dangles. Loop style or bone and bead necklaces that match the rest of the dance clothes. Otter
“breastplate” with metal-backed mirrors, quilled wheels, ribbons, and/or quilled or beaded rosettes
or pendants that match the rest of the beadwork. Quilled Breastplate made with real quills – extra
sweet! Fully or partially beaded cape that matches rest of beadwork set. Cape is fringed with
leather or ribbon that matches the rest of dance clothes.
Acceptable: Lower quality, but properly made examples of all the things listed above; beadwork
which doesn’t match the rest of the dance clothes.
Superior: Fully beaded or quilled cuffs of colors, designs, and technique which match the rest of the
dance clothes. Cuffs fringed with leather or ribbon fringe which matches all other fringe. Armbands
- fully beaded, German silver/brass, or caribou or deer lower leg (with toes) arm bands decorated
with beadwork, quillwork, brass tacks or mirrors. Quilled armbands made with real quills that
match or coordinate with rest of the dance clothes are a sweet touch.
Acceptable: Armbands are not mandatory, especially with elaborately decorated shirt sleeves;
lower quality beadwork which is still correct for designs, colors, and technique, but incongruent
with the rest of the clothes; low quality materials.
Inappropriate: Items completely out of the ‘norm’; missing items.
Item 5: HANDS - Wing or Northern Style Flat Fan; Dance Stick; Shield; etc.
Superior: Appropriately sized wing or Northern style flat fan (Canada goose or turkey for instance).
Dance hoop wrapped in otter fur with feather dangles, ribbon, or ermine. Dance stick, cane, mirror
board, gunstock war club. Dance sticks are decorated with beadwork of proper colors, designs, and
technique (gourd/peyote stitched or bead wrap) that matches rest of beadwork. Appropriately
decorated rawhide shields. Properly constructed pipe bags which work well with the rest of the
dance clothes.
Acceptable: Poor quality fan or poor quality construction on dance sticks, etc.
Inappropriate: Improper fans (small Straight Dance style fans); improperly constructed pipe bags;
missing items; pipes; calumets; sabers; rifles
Item 6: MID-BODY Aprons; Side Tabs; Belt; Sash; etc.
Superior: Aprons are fully/partially beaded or partially quilled and match the rest of the beadwork.
Beautiful fabrics decorated with fabric appliqué designs, ribbons, metal sequins, ribbon or leather
fringe which works well with the rest of dance clothes. Fully beaded side tabs that match in design
and color with leather or ribbon fringe that matches. Length of aprons and side tabs is personal
preference, but should match each other. Belt can be fully/partially beaded, concho or tack belt.
Assumption sashes of appropriate color (not as common among contemporary dancers). Beadwork
matches rest of beadwork.
Acceptable: Fabric without decorations; beadwork that doesn’t match the rest of the dance clothes.
Inappropriate: Undecorated aprons; finger woven Straight Dance sashes; missing items.
Item 7: LEGS Leggings; Knee Bands; Tights; Fur Anklets; Bells
Superior: Leather or fabric leggings decorated with beadwork designs or painted or fabric applique
designs which complement the set of clothes. Beaded knee bands that match the rest of the dance
clothes - fringed with leather or ribbon which matches the rest of the dance clothes. Quilled knee
bands are rare, but appropriate. Leather or ribbon fringe is attached and matches all other fringe.
Solid color athletic socks are worn with or without stripes. Dyed long-johns to match top and
overall outfit. Appropriate colored compression pants (tights – usually black) can be worn. Large
brass or nickel plated bells (ca. 1” Dia-1 1/2” dia.) or sheep bells, or deer toes mounted on harness
leather and worn in straps at ankles, leg bells extending from the waist to the ankle can be worn, as
appropriate. Ankle fur can be dyed a color that matches the rest of dance clothes. Anklets are not
mandatory if wearing leggings.
Acceptable: Undecorated leggings. Knee bands with no beadwork or doesn’t match rest of
beadwork. Good quality fake fur representing correct species.
Inappropriate: Knee high angora hides like that of a Fancy Dancer; missing items.
Item 8: BUSTLE
Superior: Properly sized and constructed U-shaped bustle. Can be one or two rows. Decorated with
fluffs, hackle tips, angora, spots and/or horsehair. It is made of imitation eagle feathers (hand
painted, dyed, goose, hybrid turkey). Two upright spikes can be decorated with hawk bells, quilled
strips, and/or fluffs. The bustle will include properly sized trailers of fabric that matches the rest of
the dance clothes. Decorations of feathers, beadwork, fabric appliqué, ribbon, metal sequins etc.
Centerpieces made of beaded/quilled rosettes, mirrors, feather clusters. Old-style mess bustles
with modern colors can be worn (not as common among contemporary dancers).
Acceptable: Poor quality construction or materials.
Inappropriate: Hackle bustles, butterfly bustles.
Item 9: FEET Plains Hard-sole Moccasins, fully or partially beaded/quilled.
Superior: Properly designed and constructed two-piece, hard-sole Northern Plains moccasins. Fully
or partially beaded/quilled, with proper colors, designs, and techniques. Matches rest of the dance
clothes.
Acceptable: Properly designed and constructed two-piece, hard-sole Northern Plains moccasins,
undecorated. Or lower quality quill and beadwork.
Inappropriate: Barefoot; tennis shoes; sandals; water socks; etc.
OLD STYLE SIOUX DANCE REGALIA
Item 1: HEAD Roach; Roach Feathers; Spreader; “Wapegnaka” (Bull-tail); or other periodappropriate headdress
Superior: The standard is a northern style porcupine/deer tail hair roach, well made and correctly
worn (usually less than 14 inches in length). The roach will include a bone or rawhide spreader
with bone/wooden sockets and one or two imitation golden eagle tail feathers properly attached.
Scalp feathers, quilled wheels, etc., may be worn. A roach pin may be worn; it should of the shorter,
older style; 5” and longer modern style roach pins do not meet the standard. A lazy stitched or
quilled “wapegnaka” with proper colors and designs may we worn with the roach or it may be worn
with imitation eagle feathers as an alternative to the roach. A war bonnet may be worn if the rest of
the outfit matches; i.e., war bonnets were usually worn by older men with more elaborate outfits.
Acceptable: A fiber roach may be worn.
Inappropriate: Top hats, bowlers, porkpie hats, Civil War hats, bandanas, fur turbans, non-vintage
roaches, granny glasses, sunglasses, northern traditional visors, German silver roach spreaders, etc.
do not meet the standard.
Item 2: NECK Choker; Peace Medal; Necklace; Neck Bustle; Cotton or Silk Neckerchief
Superior: The standard for a choker is one that is properly constructed of hair pipe, bone tube,
brass beads, or dentalium with harness leather-type spacers. Ca. 2 ½” backed mirror or conch shell
disk may be used in the center of the choker. Plastic bone tube and plastic hairpipe may be used. An
otter fur choker also meets the standard. (Quality fake fur may be used.) Authentic or reproduction
Peace Medals of proper date/era may be worn either around the neck or on the breastplate. Neck
bustles must be properly constructed and sized with an appropriate variety of feathers and feather
treatments.
Inappropriate: Scout neckerchiefs, non-Peace Medal medallions do not meet the standard. Colored
pipes or tubes in choker do not meet the standard.
Item 3: CHEST AREA Shirt; Vest; Otter; Breastplate; Bandoliers
Superior: A buttoned, store bought shirt meets the standard. Shirts may be plain cotton, vintage
calico-style prints, or striped: such shirts should be typical of commercial shirts available in the
early 1900’s; a modern plain or striped dress shirt is a good substitute. A hide war shirt may be
worn if it is consistent with the rest of the dancer’s outfit. Otter “breastplate” with metal-backed
mirrors, quilled wheels, ribbons, quilled or beaded panels meets the standard. Long bone
breastplates usually have two or three sections of 4-inch pipes, or two sections of 4-inch pipes with
a center section of 1-2 inch pipes or appropriate beads. Harness-type leather spacers are used to
separate sections and along each edge. In addition commercial cloth or fully beaded vests meet
standard. Cloth vests can be trimmed with beadwork, metal sequins, or quillwork. Fully beaded
vests must be done with proper colors, designs, and beading technique to meet standard. A quilled
breastplate of correct design meets the standard. Bandoliers may be made of beads, of deer
toe/dew claw dangles, or of “junk” dangles meet the standard. If a “junk” type is chosen, the
materials should be era-appropriate.
Inappropriate: Modern ribbon shirts; improper materials or prints; bare chest; incorrect beads, etc.
Superior: Fully beaded or quilled cuffs and armbands with proper colors, designs, and technique
meet the standard. Brass armbands meet the standard. Beadwork or quillwork on cuffs will not
normally match that on the armbands.
Acceptable: Loom beadwork that has correct designs and colors. Raffia-simulated quillwork is
acceptable.
Inappropriate: Improper colors or colors do not meet the standard. Gauntlets, German silver or
plain leather cuffs or cuffs decorated with sequins, tacks, etc. do not meet the standard. Fake
beadwork does not meet the standard.
Item 5: HANDS Wing Fan; Rope; Quirt; Pipe Bag; Other Appropriate Objects (see list of appropriate
items below)
Superior: An appropriately-sized wing fan (Canada goose, for instance) meets the standard. Coiled
ropes, sweet grass hoops, tomahawk pipes, quirt, and pipe bags meet the standard.
Acceptable: Lower quality wing fan, etc.
Inappropriate: Improper fans (macaw, loose fans, modern fans, etc.), mirror boards, peace pipes,
calumets, shields, spears, lances, sabers, rifles, Contemporary Traditional dance sticks
and improperly constructed pipe bags do not meet the standard. Gourd-stitch beadwork is not
appropriate.
Item 6: MID-BODY Breechclout or Aprons; Tack Belt; Sash; Small Pouch; etc.
Superior: Breechclout/aprons of high quality wool or trade cloth meet the standard. Decorations
and materials should be appropriate to the period: ribbons, metal sequins, buttons, era appropriate
coins, metallic fringe, etc.
Acceptable: Wool without decoration, wool felt with or without decoration.
Inappropriate: Non-wool, incorrect designs, materials, or construction (i.e., Contemporary
Traditional beaded clouts, modern ribbonwork, BSA items, etc. ) do not meet the standard.
Item 7: BUSTLE Vintage Sioux-Style Bustle
Superior: Properly sized and constructed Sioux-style bustle appropriate to the period meets the
standard. The bustle will typically include a variety of feathers and a variety of treatments i.e.:
trimmed, stripped, shaved quills, different sizes in concentric circles, fluff tips, dyed (red, green,
purple, orange, etc.) Spikes should be prominent and decorated with fluffs, sweet grass braids,
hawk bells, quilled wheels, etc. Properly designed and constructed pheasant bustles meet the
standard.
The bustle will include properly sized trailers of wool or buckskin. Decorations of ribbon, metal
sequins, etc. should be period-appropriate.
The belt can be leather or it can be a sash. The sash may be woven or a strip of wool; it can be
decorated with circular mirrors.
Acceptable: lower quality construction or materials.
Inappropriate: Contemporary bustles, butterfly bustles, other era/tribe-inappropriate bustles do
not meet the standard.
Item 8: LEGS Leggings; Long Johns/Union Suits; Knee Bands; Ankle Bands; Bells; Quilled Knee
Bands; Bells; Fur
Superior: Wool or hide leggings with or without beaded strips meet the standard; beaded strips are
lazy-stitched with correct Sioux colors and designs. Hide leggings may be painted with appropriate
stripes, etc. Wool or cotton long johns/union suits, plain or dyed, meet the standard. Knickers may
be worn.
Large nickel-plated or brass bells (ca. 1 ¼” Dia-1 ¾” dia.) mounted on harness-type leather, may be
worn at the knees and/or ankles, and/or legs, as appropriate. Fur knee bands and/or ankle bands
should be worn with long johns. They can be angora, otter, buffalo, or skunk (Quality fake fur may
be used.)
Acceptable: Felt leggings, bells that are too small or improperly worn, loom beadwork on leggings.
Inappropriate: Non-northern plains leggings, improper colors, designs on beadwork do not meet
the standard. Jeans, shorts or pants do not meet the standard. Cow or sheep bells, fur or fake fur
from improper species do not meet the standard.
Item 9: FEET Plains Hard-sole Moccasins
Superior: Properly designed and constructed two-piece, hard-sole Sioux-style moccasin meet the
standard. They may be fully beaded, partially beaded, partially beaded/partially quilled, or fully
quilled, with proper designs and colors. Lazy stitch beadwork meets the standard.
Acceptable: Properly designed and constructed two-piece undecorated hard-sole moccasins.
Properly designed and constructed two-piece hard sole moccasins of lower quality.
Inappropriate: Bare feet and improper footwear such as slipper-type moccasins do not meet the
standard.
STRAIGHT DANCE (SOUTHERN TRADITIONAL) REGALIA
Item 1: HEAD Roach; Roach Feather(s); Roach spreader; Scalp Feather; Headband. Optional: Otter
Fur Turban
Superior: Roach—well made, worn correctly, appropriate flare, should stand up in the front, colors
coordinated with dance clothes, with German Silver or bone spreader and 1 or 2 roach feathers;
scalp feathers correctly decorated; Porcupine hair roaches are preferred. Headband (optional) white handkerchief, correctly folded. Or - Otter fur turban correctly decorated with ribbon work
and beaded rosettes. .
Acceptable: Fiber roach; un-coordinated color roaches; inadequate length, poorly constructed or
worn out roach; Otter fur turban made from other fur or fake fur.
Inappropriate: Un-coordinated feather crest; bandannas covering head; no roach; war bonnets;
animal skin headgear; missing spreader or spreader with no roach feather socket, missing items.
Item 2: UPPER BODY Ribbon Shirt; Scarf & Slide; Bandoliers; Otter Dragger; Belt; Armbands with
Ribbon Decoration. Optional: Vest; Breastplate; Hair Plates
Superior: Ribbon shirt with contrasting ribbon decoration, length should be to the crotch; scarf - in
color matching the shirt ribbons; German silver neckerchief slide and armbands - all with stamped
designs; bone or imitation hair pipe bandoliers with glass or plastic beads; beaded belt or Concho
belt; vest with matching decorations to the rest of the straight dance suit, breastplate of proper size
to the style of dance clothes, properly decorated otter fur dragger, or German silver hair plates,
preferably stamped with designs.
Acceptable: Items that do not coordinate well with the dance clothes; belt with little or no
decoration; ill-fitting ribbon shirt; bandoliers poorly constructed and sized wrong in relationship to
body size.
Inappropriate: No scarf or slide, no bandoliers; no belt; parts of dance clothes from other dance
styles; OA sash; other missing items.
Item 3: MID & LOWER BODY Straight Dance Suit Consisting of Aprons, Leggings & Trailer; Finger
Woven Yarn Set; Bells.
Superior: Straight dance suit (aprons, leggings, trailer) made from broadcloth decorated with
proper ribbon work; (optional) leather leggings; (optional) floral beaded aprons – only if used with
proper tribal style of dress; finger woven side drops and garters; proper bells.
Acceptable: Dance suit made from substitute materials and decorated with other than ribbon work;
something used to substitute the finger woven yarn set (painted canvas belt webbing, drops
decorated with chrome metal spots or small mirrors, braided yarn,) small bells; dew claw bells
(only if used with a proper tribal style dance clothes).
Inappropriate: no dance suit; or leggings, shirt, apron, trailer, all made from ceremony team dance
clothes parts, (usually with cloth cut fringe); no yarn set; no bells, missing items.
Item 4: HANDS Fan; Mirror Board; Dance Stick
Superior: Imitation eagle tail feather flat fan w/beaded handle; Imitation eagle wing fan w/beaded
handle; Macaw loose fan w/beaded handle; decorated mirror board; beaded dance stick.
Acceptable: Feather fan not beaded; simple mirror board; dance stick with minimum decoration.
Inappropriate: No hand articles; whip sticks; hand articles from other dance styles; missing items.
Item 5: FEET Plains Hard-sole Moccasins
Superior: Fully or partly beaded plains hard-sole moccasins, preferably Southern Cheyenne style, or
Kiowa/Comanche style “duster” type moccasins.
Acceptable: Undecorated hard-sole moccasins or painted canvas deck shoes with proper designs.
Inappropriate: No moccasins; leather soft-sole moccasins; sneakers
REGALIA PRICING (HOW MUCH AM I SPENDING?)
This is probably the most important and most restricting aspect of building regalia: how much is
this going to cost you. The simple answer? More than you think but less than you’d expect. Regalia
will only look better if you put effort, time and good materials into it. The following is a “shopping
list” of sorts to give your group an idea of what you are getting into. It will include ranges of readymade vs. self-assembled, low quality vs. high quality, etc. Most of these are from Crazy Crow
Trading Co. and will not include the cost of beads, because that is a variable that changes too much.
This is by no means an exhaustive list of materials and regalia pieces, but is most certainly a list of
the pricier items. NOTICE: All prices will vary from year to year/season to season.
Vender Information:
Crazy Crow Trading Co.
Matoska Trading Co.
Porcupine Roaches by Dancer’s Choice
Little Crow Trading Post
Powwow Fabrics and Designs
CHICKEN DANCE
Roach – between 14” and 24”
 Ready-Made
o 24” Porky Roach
o 22” Porky Roach
o 20” Porky Roach
o 18” Porky Roach
o 16” Porky Roach
o 14” Porky Roach
o 12” Porky Roach
o 10” Porky Roach
 Kits
o 18” Porky Roach
o 15” Porky Roach
o 14” Horsehair Roach
o 14” Fiber Roach
$500
$375
$320
$300
$250
$200
$175
$100
$115-120
$99-105
$25
$20
Roach Spreader
 German Silver
o Unstamped
o Stamped
 Beaded Leather
$12-60
Roach Feathers/Plumes
Bull tail Self Assembled (NO KIT)
Roach Pin/Headband
Choker
$10
$20-40
$5-20
$40-50
$50-60
$12-20
o Ready-made
o Kit
OR Beaded Necktie
OR Scarf and Slide
Breast plate kits
Bustle
o Ready made
o Self Assembled (NO KITS)
Shirt/legging material
Bells
Mocs
$20-30
$5-15
$15
$15-30
$40-90
$100-200
$20-80
$20-40
$20-40
$30-120
FANCY FEATHER
Note: Depending on the size of the dancer and where the neck bustle sits on the shoulders, you may
want to limit the length of your roach. Just enough so that the roach touches the rosette is
preferred maximum length.
 Ready-Made
o 24” Porky Roach
o 22” Porky Roach
o 20” Porky Roach
o 18” Porky Roach
o 16” Porky Roach
o 14” Porky Roach
o 12” Porky Roach
o 10” Porky Roach
 Kits
o 18” Porky Roach
o 15” Porky Roach
o 14” Fiber Roach
$500
$375
$320
$300
$250
$200
$175
$100
$115-120
$99-105
$25
$20
Roach Spreader
 German Silver
o Unstamped
o Stamped
 Beaded Leather
$12-60
Roach Feathers
Scalp Feathers
Roach Pin/Headband
$10
$8-10
$20-40
$5-20
Choker
o Ready-made
o Kit
$20-30
$5-15
$40-50
$50-60
$12-20
Bustles
o Ready Made
o Kits
o Arm Bustles
Cape/Apron/arm band/cuff Material
Bells
Mocs
$250-700
$152-200
$40
$20-80
$20-50
$30-120
HOOP DANCER
 Ready-Made
o 24” Porky Roach
o 22” Porky Roach
o 20” Porky Roach
o 18” Porky Roach
o 16” Porky Roach
o 14” Porky Roach
o 12” Porky Roach
o 10” Porky Roach
 Kits
o 18” Porky Roach
o 15” Porky Roach
o 14” Fiber Roach
Vest (Materials)
Legging Kits
OR Apron/yoke
Bells
Moccasins
o Ready-made and beaded
Hoops
$500
$375
$320
$300
$250
$200
$175
$100
$115-120
$99-105
$25
$20
$10-30
$45-150
$20
$20-40
$30-50
$90-160
$8-20
MODERN GRASS DANCE
 Ready-Made
o 24” Porky Roach
o 22” Porky Roach
o 20” Porky Roach
o 18” Porky Roach
o 16” Porky Roach
o 14” Porky Roach
o 12” Porky Roach
o 10” Porky Roach
 Kits
$500
$375
$320
$300
$250
$200
$175
$100
o
o
o
o
18” Porky Roach
15” Porky Roach
14” Horsehair Roach
14” Fiber Roach
$115-120
$99-105
$25
$20
Roach Spreader
 German Silver
o Unstamped
o Stamped
 Beaded Leather
$12-60
Roach Feathers
Roach Pin/Headband
Choker
o Ready-made
o Kit
Beaded (crow style) Necklace
Cape/Apron/arm band/cuff Material
Bells
Mocs
$10
$20-40
$5-20
$40-50
$50-60
$12-20
$20-30
$5-15
$30-40
$20-40
$20-35
$30-120
NORTHERN TRADITIONAL/OLD STYLE
Note: These are COMPLETELY different styles, but as far as pricing for similar items, they can be
comparatively pricey, WITH THE EXCEPTION OF THE BUSTLE. A mess bustle (old style) is much
less expensive and will run between $45-95
 Ready-Made
o 24” Porky Roach
o 22” Porky Roach
o 20” Porky Roach
o 18” Porky Roach
o 16” Porky Roach
o 14” Porky Roach
o 12” Porky Roach
o 10” Porky Roach
 Kits
o 18” Porky Roach
o 15” Porky Roach
o 14” Fiber Roach
Roach Spreader
 German Silver
o Unstamped
o Stamped
$500
$375
$320
$300
$250
$200
$175
$100
$115-120
$99-105
$25
$20
$12-60
$40-50
$50-60

Beaded Leather
$12-20
Roach Feathers
Visor Kit – 11 Feathers (NOT OLD STYLE)
OR Mandan Style Self Assembled (no kit/NOT OLD STYLE)
Feather Epaulettes - 22 Feathers (NOT OLD STYLE)
Roach Pin/Headband
Choker
o Ready-made
o Kit
OR Beaded Necktie
OR Scarf and Slide
Bandoliers
Breast plate kits
Bustle
o Ready made
o Kits
Shirt/legging material
Bells
Mocs
$10
$59
$20-40
$180-200
$120
$5-20
$20-30
$5-15
$15
$15-30
$30
$40-90
$140-350
$40-190
$20-40
$20-40
$30-120
STRAIGHT DANCE (SOUTHERN TRADITIONAL)
o Ready-Made
o 24” Porky Roach
o 22” Porky Roach
o 20” Porky Roach
o 18” Porky Roach
o 16” Porky Roach
o 14” Porky Roach
o 12” Porky Roach
o 10” Porky Roach
o Kits
o 18” Porky Roach
o 15” Porky Roach
o 14” Fiber Roach
Roach Spreader
o German Silver
o Unstamped
o Stamped
o Beaded Leather
Roach Feather
OR Otter Tail Turban
o Ready Made
$500
$375
$320
$300
$250
$200
$175
$100
$115-120
$99-105
$25
$20
$12-60
$30-40
$50-60
$12-20
$5
$175
o Self-Assembled Real Otter tail
o Self-Assembled Immitation Otter tail
Ribbon Shirt
o Ready Made
o Self-assembled
Scarves
Bandoliers
Tack Belt Kit
Concho Belt Kit
o Stamped
Otter Tail
o Real
o Immitation
OR Concho Tail
o WITH Matching Belt
OR Hairplate Tail
German Silver (armbands/cuffs/scarf slide)
o Stamped
o Unstamped
Dance Stick
Fan Kit
Legging Kits
Moccasins
o Ready-made and beaded
$150
$40
$50
<$20
$16
$20
$35
$55
$135
$200
$40
$125
$250
$250
$45-90
$90
$45
$15
$20-40
$45-150
$30-50
$90-160
HOW TO BUILD A DRUM
Claiming there is only one way of “how to build a drum” is much like saying there’s a right and
wrong way of raising children. Yes there are certainly very wrong ways of raising a child, certain
ground rules like “do not throw over cliff” or “do not underfeed” come to mind. But there are many
different ways of raising them correctly. The same goes for drum building. There are many ways
you can screw up a drum, certain faux-pas you should avoid, however there isn’t just one way of
doing it right. Feel free to experiment until your group gets the drum size and sound they want.
-Thomas Goedecke, Siwinis Lodge 252
POWWOW DRUMS
Instructions
The first thing you want to do is decide what your drum should be. Should it be round and 24”
across? Should it be octagonal? These are all things you should come up with before buying any
materials. Take a look at pictures of powwow drums and reference other groups’ drums. Also take
a look at stands. There are many ways of building a stand, and all are relatively easy. Usually this
can be done with 2x4s screwed in an “L” shape together and fastened together with a bolt and nut.
Beauty is the eye of the beholder, but if you bring an ugly drum to a powwow it is no one’s fault but
yours for not having a vision before building.
The first thing you want to do is build the shell. There are two approaches to this. You can take
plywood and bend it using a fire. This makes for a lot of work and a thinner shell, which is ideal for
some drummers, but not for others. Make sure if you do this to fasten and glue the curved plywood
correctly, otherwise it will begin to warp.
If you want to be exceptionally resourceful, and funds allow, go to a professional curved plywood
specialist and have them make you a custom shell.
The other, and my preferred way, is by building staves from a single piece of wood and gluing them
together in the shape of a ring. This is a very easy process for those of you who love trigonometry,
but if you are having trouble determining what angle to cut the stave so when they flush they create
a ring, use a pie chart and mark the wood at the correct angle. It is up to you to decide how many
staves you will use, but realize the less staves you use, the easier the glue settles, but the more stave
you use, the less sanding you have to do to create a smooth ring. I usually stick with 16.
After the shell is the shape you want, you should stain and gloss it to your preference.
After you have created your ring you must stretch skins over the drum. Do not bleach your skins.
Do not use chemicals on the skins. Simply cut the skins in a circle 4” in diameter larger than your
shell and let them soak overnight in a bucket. For the first stretch make sure they are centered.
There are two parts to stretching a skin. One is wetting it to take the shape of the ring and LET IT
DRY. After it has taken the shape, you stretch the skin to the desired tightness. This is done, on
second soak, only soaking the top of the skin. This is done by wetting a towel and letting the skins
soak overnight hitting side down on the towel and wet towels in the “bowl” you’ve made by shaping
the hides.
Now that the skins have a shape and are ready for a second stretch, punch out holes along the
perimeter of the skins on both sides about 2” apart. Spread a water based lubricant over the rim of
either side of the drum. Lace and tighten as you go around the drum. It won’t be perfect your first
time around, but if you have a lot of people securing the skin and making sure it stays centered,
then the hides will turn a nice white color. Lace and stretch as tightly as humanly possible, it won’t
rip I promise, especially if you use the lubricant.
Let it dry overnight and give it a whirl!
HAND DRUMS
Instructions
Things You'll Need
 Rawhide
 Hollow log
 Tree branches
 Headless nails
 Wood glue
 Nail punch
 Scissors
 Leather punch or needle
Obtain a rawhide. To make a 20-inch diameter drum, you will need a two square foot piece of
rawhide without any holes. If you live near hunting country, it's possible to find a hunter who will
give you a deer or elk hide for free. Goat and sheep hide work well, but will produce a higher pitch.
Cow hide is not recommended, as it is too thick and difficult to work with. Elk is the optimum hide
for the rich, mellow sound it produces.
Make a drum frame. Use a hollowed out log that is about two-thirds the length of the diameter of
the drum. For a 20-inch diameter drum, your frame will be about 13 1/2 inches tall. Hollow out
your log so the shell is 1 1/2 to 2 inches thick. The thicker the shell, the deeper the pitch of your
drum. Clean your hollowed log so that no rot or loose wood remains.
Gather wood to make hoop frames. Cut two branches from an ash, willow or hazel tree that are
about 36 inches long and the thickness of your thumb. With enough patience, it's possible to bend
any wood, but these woods are the easiest to work with.
Make a hoop frame. Boil a kettle of water on the stove. Pass the first branch through the steam and
slowly begin to bend it to form a circle the size you want your drum. If you make the hoop while the
cutting is still fresh, you won't have to steam the branch as much. Listen to the sound of the wood as
you bend it. If it creaks, it means you're close to breaking it. Keep steaming the wood as you bend it,
giving the wood five minutes of steam for every one minute of bending. Once the branch is bent into
as perfect a circle as you can get it, tie the two ends together, overlapping the ends, and place the
hoop around the top of the drum frame.
Make a second drum hoop. Repeat Step 4 with the second branch. Measure your hoop against the
first one so you end up with two hoops of the same size. Place this hoop at the bottom of the drum
frame, opposite the first hoop.
Place spacers onto the drum frame. Cut another branch into about a dozen pieces 2 to 2 1/2 inches
long. Use small headless nails and wood glue to attach the pieces between the two hoops about 2
inches apart from each other. Go back around your drum head with a small nail punch and sink the
heads of the nails below the surface of the wood to keep them from snagging or wearing down the
drum head.
Let the drum frame dry. Place a weight on the top of the frame to prevent it from warping and let
the entire frame dry thoroughly in a dry, warm place with plenty of air circulation.
Prepare the rawhide to make a drum head. If starting with a dried rawhide, soaking it in a bathtub
or a large bucket of water for 24 hours will soften it enough for it be stretchable and easy to work
with. Cut the rawhide into a circle 2 inches larger in diameter than the frame of your drum. Cut the
remaining scrap of rawhide into one long strip 1/2 inch wide, starting on the inner edge where you
cut the circle. Keep cutting around until you run out of rawhide. Cut off three sections a foot long
and braid them together to form a circle 2 to 3 inches in diameter. Weave the tails of the braid into
the beginning of the braid to form this circle. Take the remaining long strip of rawhide and cut it
into four even pieces.
Attach the rawhide to the drum to make a drum head. Use a leather punch or leather needle to
make the holes, fold the drum head (the circular piece of rawhide you cut earlier) into quarters and
insert one of the strips of rawhide through the head at each fold of the head. Doing one loop at a
time from each strip, bring the ends over the bottom hoop of your drum frame and through the ring
of braided rawhide 1/2 inch apart and back up to the head and through it 2 inches over on each
side of the first stitch. Repeat this process around the hoop, alternating strips and pulling the head
tight until the entire head is secured to the frame. Weave the leftover ends back through the
braided ring.
Allow the rawhide to dry for 24 hours.
Tips & Warnings
 Prepared rawhide is available at craft stores, but it comes in large sheets and can be
expensive.
 When making hoop frames, don't force the bending too quickly, or the branch will crack or
break.

When putting your drum head onto the frame, you want the head to be taut, but not too
tight because it will shrink as it dries. If you pull it too tightly, your lacing might rip the sides
of the rawhide head.
ADDITIONAL RESOURCES (CDS AND CASSETTES)
SOUTHERN DRUM
War Dance Songs of the Ponca – Volume 1
19 war dance songs of the Ponca Hethoshka. Album begins with the crier’s call for the dancers,
followed by the Hethoshka Flag Song (Starting Song).
War Dance Songs of the Ponca – Volume 2
22 war dance songs of the Ponca Hethoshka including trot songs and charging (contest) songs.
Fort Oakland Ramblers – Oklahoma Intertribal and Contest Songs
Ponca flag song, 6 intertribal songs, 2 patriotic give-away songs, 4 contest songs, Ponca veterans’
song
Yellowhammer – Live at Hollywood, Florida
Otoe Flag Song and Victory Song, Ponca Flag Song and contest songs, 7 intertribal songs
Yellowhammer – Red Rock, Oklahoma
10 Intertribal Songs
Yellowhammer – World Champions
Four time winners of the Southern Plains singing competition at the Schemitzun World
Championship in Connecticut, Yellow Hammer presents 10 new intertribal songs and one original
Ponca war dance song.
Southern Thunder – Reachin Out
14 intertribal songs, individual song, appreciation song
Southern Thunder – From the Heart – Vol. 1
7 intertribal songs, Pawnee song, Angela Thurman’s song
Southern Thunder – From the Heart – Vol. 2
Kenneth Goodeagle’s song, 6 Pawnee songs, 2 intertribal songs, appreciation song
Southern Thunder – Live
14 Pawnee traditional and new intertribal songs
Southern Thunder – Listen to the Thunder
8 intertribal and individual songs, and 7 Pawnee traditional songs
Southern Thunder – Live at ASU
Pawnee Flag Song, traditional Pawnee war dance songs, old time round dance song, Conner
Anthony Lieb’s song, Arlen Goodfox’s song, Darrell Wildcat’s song, Amanda Mae Adson’s song
Rose Hill – Live at Hinckley
Sac-n-Fox Flag Song, 9 intertribal songs
War Dance Songs of the Kiowa – Vol. 1 O-ho-mah Lodge Singers
17 traditional Kiowa war dance and individual songs including O-ho-mah starting song, O-ho-mah
Lodge song, James Silverhorn's song, 6 war dance songs, Jasper Doyah's song, Woodcoy Santo's
song, 1 war dance song, Arlis Geikaumah's song, 4 war dance songs.
War Dance Songs of the Kiowa – Vol. 2 O-ho-mah Lodge Singers
21 traditional Kiowa individual and war dance songs. Includes individual songs belonging to:
Whitehorse and Bert Geikaumah, Frank Bosin Jr., Sammy Pewo, Gregory Haumpy, Barney Oheltoint,
Bobby Pewo, Dixon Palmer, Wilbur Pewo Jr., Dusty Wahkinney, Jeffrey Tohay, Ethelene Archita
Family, and Florene Whitehorse. Also includes 6 traditional war dance songs, 2 squat dance
(contest) songs, and the O-ho-mah quitting song.
Songs of the O-ho-mah Lodge – Vol. 1 Kiowa War Dance Society
15 individual songs including songs belonging to: Leroy Kadayso, Bill Archilta, Harold Archilta,
Ernest White, Theron Kauley, Shane Nimsey, Billy Pewo Jr., Stix Beartrack, Chief Hainta, Mark
Keahbone, Frank Bosin Sr., Tom Tointigh, Jackie Tointigh, Muggie Monetatchi, and George Aspermy.
11 traditional O-ho-mah individual and 4 war dance songs including individual songs for: White
Buffalo, Amos Pewenofkit, Parker Emhoolah, Shaun Whitehorse and Jeff Ware, Sam James, Hank
and Alice Weller Family, Gary Clark, William Kodaseet, Elliot Kauley, Frankie Tiny Boy Redbone,
and Calvin Pewo.
Includes songs belonging to: Joe Shunkamolah Family, Philmon Berry, Botone Family, Ed Tsotaddle,
Wilson Ware, Trenton Mitchell, Skeet Russell, Richard Tartsah, Walter Kokome, Gus Palmer, Marlon
Aitson, Bill Ware, and Seth Morgan.
Includes songs belonging to: Jeremy Keahbone, Paul Tahlo, Bruce Kaulaity, Stanley Geimausaddle,
Matthew Kaulaity, Jim and Joyce Vinyard, Kenneth Anquoe, Perry Horse, Richard Archilta, Bobby
Dunlap, George Saloe, Fagon Tahbone, and John Henry Laurentz.
13 traditional O-ho-mah war dance songs; includes the individual songs of Cade Morgan, Alex
Lazano, Sean Wells, Collier Oyebie, George Tahbone, Edgar Monetetchchi Sr., Clifford Paukei, Joey
Bread, Sean Whitehorse & Jeff Ware, Matthew Whitehorse, Matthew Stony Ware.
Round Dance from the O-ho-mah Lodge
19 old-time round dance songs
Zotigh Singers – Powwow Songs from The Southwest
14 all new songs presented by this group from Albuquerque, New Mexico representing Kiowa, Zia
Pueblo and Navajo tribes. Intertribals, Horse Stealing, Fancy Dance Contest Songs, Jingle Dress
Songs, and Gourd Dance Song
Zotigh Singers – Millennium
14 new songs including Millennium, Abraxas, New Generation, Jingle Dress Side Step, Double Song,
Trick Song, Gourd Dance Song, Memorial Song, and 5 Intertribals
Bay Pbah Taay – Have Courage
12 new songs including Bay Pbay Taay, Na ko woist, Angel's Song, and 9 Intertribals
Round Dance Songs of Taos Pueblo – Volume One
16 Taos round dance songs
Round Dance Songs of Taos Pueblo – Volume Two
Taos Round Dance – Part 1
Taos Round Dance – Part 2
Taos Pueblo Round Dance
Taos Pueblo Round Dance Songs – Volume 1
Taos Pueblo Round Dance Songs – Volume 2
Taos Pueblo Round Dance Songs – Vol. 3
The Contest is On – Volumes 1 & 2
Ponca, Osage and Pawnee Songs
Kiowa Round Dance Songs
16 Songs, Kiowa Flag Song, Round Dance and 49
Black Eagle Singers – Vol. 2
Recorded at Jemez Pueblo, NM. Contains Grass Dance, Straight Dance, Woman's Fancy, more.
Best Round Dance Songs
14 Round dance songs with English lyrics
Thunder Hill – For The Love
5 intertribal Songs, 2 Contest songs, 2 grand entry songs, a Honor Song, an Exhibition song, a round
dance song and Charles “Neka” Logan’s song
Thunder Hill – Clash of the Titans
A grand entry, 6 contest songs, 6 intertribals, and an old-time round dance
Memories – YoungBird Singers
11 contemporary intertribals
NORTHERN DRUM
Blackfoot A-1 Club Singers – Vol. 1
A-I Club Theme Songs, 4 war dance songs, and 2 chicken dance songs
Blackfoot A-1 Club Singers – Vol. 2
2 war dance songs, 1 competition song, 3 chicken dance songs, 6 owl dance songs
Blackfoot crossing
11 grass dance songs, 2 shake dance songs, 2 stomp songs
Eagle Society – Blackfoot Grass Dance Songs Siksika Nation
5 grass dance songs, 4 war dance songs, 2 fancy dance songs, Robert Sun Walk Family song
Little Axe – Chicken Dance Songs
The first album by this fine group from the Siksika Nation in Alberta includes 10 Chicken Dance
Songs, both old and new, which have never been recorded before
Old Agency Singers of the Blood Reserve – Vol. 1
5 grass dance songs, 3 chicken dance songs
Old Agency Singers of the Blood Reserve – Vol. 2
2 grass dance songs, 2 chicken dance songs, 4 owl dance songs
The Badland Singers – Assiniboine-Sioux Grass Dance
10 grass dance songs
Sounds of the Badland Singers
Badland Singers – Live at Bismarck
4 traditional honoring songs, 4 grass dance songs, 1 kahomini song, 1 round dance song
The Badland Singers at Home
Badland Singers – Live at United Tribes – Vol. 1
5 grass dance songs, 5 traditional war songs
Badland Singers – Live at United Tribes – Vol. 2
6 grass dance songs, 4 traditional war songs
The Badland Singers – Live at Santa Fe
Honor song, 6 grass dance songs, 3 jingle dress songs, kahomini song, Nathan Crazy Bull Flag Song,
Air Force Veterans Song
Prayer and Sun dance Songs – Vol. 1 Tatanka Oyate Singers
2 prayer songs and 10 sun dance songs.
Complete Dakota lyrics provided in liner notes
Prayer and Sun Dance Songs – Vol. 2 Tatanka Oyate Singers
2 prayer songs and 9 sun dance songs. Includes the Four Directions Prayer Song.
Complete Dakota lyrics provided in liner notes
Prayer and Sun Dance Songs – Vol. 3 Tatanka Oyate Singers
2 prayer songs, 8 sun dance songs and Thank you song.
Complete Dakota lyrics provided in liner notes.
Ashland Singers – Northern Cheyenne War Dance
10 war dance songs
Ho hwo sju Lakota Signers – Traditional Songs of the Sioux
Sioux National Anthem, Veterans Honor Song, 3 grass dance songs, 2 flag dance songs, 2 rabbit
dance songs
Ironwood Singers – Traditional Songs of the Sioux Live at Rosebud Fair
11 traditional Sioux songs
Ironwood Singers – Live at the 106th Rosebud Sioux Fair
14 traditional war dance, grass dance, and contest songs
Red Leaf – Lakota Victory & Veterans Songs A Tribute to the Elders
9 Lakota Victory Songs, Korean Veterans’ Song, 2 WW I Veterans’ Songs, 2 Penny Songs, and the
One-Star Family Song. Notes include complete Lakota lyrics with English translations
Rocky Boy Chippewa-Cree Grass Dance Songs
10 Chippewa-Cree grass dance songs
Rocky Boy Singers – Grass Dance and Jingle Dress Songs – Volume 1
5 grass dance songs, 5 jingle dress songs
Rocky Boy Singers – Grass Dance & Jingle Dress Songs – Volume 2
4 grass dance songs, 6 jingle dress songs
Haystack – Live at Piapot
12 songs including Grass Dance Songs, Crow Hop, Sneak-up, Fort Berthold Flag Song, and WW II
Victory Song sung by this group from Rocky Boy, Montana.
High Noon – Live at Taos
10 grass dance songs, Arikara Brave Heart song, Jingle dress round dance, and round dance song
High Noon – Live at Taos 2000
13 new grass dance and intertribal songs
Smallboy Singers
This is the first album ever recorded by this well known Cree group. 12 songs including new and
old grass dance songs and chicken dance songs
Mountain Soul – Valley of the Sun – Vol. 1
From Mountain Cree Camp in northern Alberta, Mountain Soul, the host Northern drum at ASU,
provided some outstanding singing and songs at the 15th Annual ASU Spring Competition Powwow
at Tempe. Vol. 1 has 8 grass dance songs and one owl dance song.
Mountain Soul – Valley of the Sun – Vol. 2
Vol. 2 has 10 grass dance songs and one round dance song.
Big Bear – Live at Fort Hall
9 grass dance songs, women’s side-step song, honor song, Crow double-beat song, men’s fancy
dance contest song, and round dance song by this outstanding group from Thunderchild,
Saskatchewan
Big Bear – Live at Tempe
14 grass dance and contest songs sung by the Big Bear Singers from Thunderchild, Saskatchewan,
Canada
Red Earth Singers – Live at Bismarck
Grand entry song, 8 intertribal songs, trick contest song
Red Earth Singers
Grand entry song, flag song, 6 war dance songs
Red Earth Singers of Tama, Iowa – Live
2 grand entry songs, 6 intertribal songs, shake song
Eagle Whistles – Live at Crow Fair
21 songs recorded live – includes Hidatsa Flag Song, Ft. Berthold Victory Song, Japan Veterans’
Song, Vietnam Veterans’ Song, Old Sioux Trick Songs, Santee Sioux Slide Song, Crow-style Doublebeat Songs, War Dance Songs, Grass Dance Song, Chicken Dance Songs, and Cree Round Dance Song
Eagle Whistles in Dinetah
20 songs recorded live – includes 4 Grand Entry songs, Nathan Crazy Bull Flag Song, Honor Song for
Kaylyn LeClaire, Lakota Horse Song, Arikara Song, Grass Dance and Contest songs, Nakota Doublebeat song, Dakota Double-beat song, Santee Sioux Necklace Breaker, Kainai Flag Song, Dakota
Victory Song
Mandaree – Live at Crow Fair 2000
The legendary Mandaree Singers perform 14 of their classic grass dance and contest songs
Dry Lake – Live at Indio
Grand Entry Songs, Flag Song, WW II Veteran’s Song, Intertribal Songs, Contest Songs, Chicken
Dance Song, and Men’s Fancy Dance Trick Song by the 2004 Northern host drum from Fort Belknap,
Montana
Double Beat Songs of the Crow – Maddog Singers
14 historic double beat songs of the Crow recorded for the first time on one album. These double
beat songs are sung for the Crow style dance often called the “Crow Hop.”
Indian Nation
14 Intertribal, Grass Dance, and Contest songs sung by this well-known group from Grainger,
Washington.
Indian Nation – Live at San Felipe Pueblo
18 songs including Intertribals, Duck and Dive Song, Trick Song, Round Bustle contest songs, Grass
Dance Songs, Round Dance, Honor Song, and Jingle Dress Side Step
Black Lodge Singers – Weasel Tail’s Dream
Dedicated to their late grandfather Jim Weasel Tail, 13 contemporary Intertribal Songs
Porcupine Singers – Traditional Lakota Songs
Lakota Flag Song and Veterans Song, Little Big Horn Battle Song, 4 Intertribal Songs, Memorial Song,
Sneak up, WWI Veterans Song, and a Birthday Song.
Black Lodge – Spo’Mo’Kin’Nan
Northern Cree – Red Rock
Black Lodge – Watch this Dancer!
5 intertribals, 3 chicken dances, 1 fancy dance, 1 grass dance, 1 women’s traditional and 1 round
dance
Northern Cree – Stay Red
12 contemporary intertribal songs
Blackstone – Bring Your Feathers In!
5 intertribals, 3 contest songs, a fancy shawl song, a side step, a footslide, a women’s song,
Blackstone Honor Song, and a Veteran’s Sneak up
Black Lodge Singers – Tribute to the Elders
7 traditional Blackfeet intertribals, 3 contemporary intertribals, a blood song, a travel song and a
blessing song sung by Kenny Scabby Robe
Slide and Sway Round Dance Songs – Northern Cree and Friends
11 war dance songs and 1 crow hop
Shake a Feather! – Southern Cree
3 intertribals, a traveling song, 2 Traditional songs, round dance, crow hop, straight grass, and a
fancy dance song
Black Lodge – Intertribal Powwow Volume No. 12
6 intertribals, a crow hop, a contest song, 2 straight songs and a prayer song
Black Lodge – Kids’ Powwow Songs Volume No. 14
13 tiny tots songs
Black Lodge - Enter the Circle Live at Coeur d'Alene, Vol. 15
6 intertribal songs, a crow hop, Nathan Jim Jr. Memorial Song, ’96 Love Song, and a round dance
Gather the People – Red Bull
Grand entry, 2 fancy dances (southern style), crow hop, grass dance, 7 intertribals, straight, contest
and slide step
Black Lodge Singers – Round Dance Tonight
8 round dance songs
Black Lodge – The People Dance
6 intertribals/individual songs, a fancy dance, a chicken dance, Bryson’s prayer song, a round dance
and a women’s song
Black Lodge – MORE Kids’ Powwow Songs
9 tiny tot songs, a straight song and a beautiful prayer song
Northern Cree and Friends Vol 1-6
A whole bunch of groups all singing different intertribals.
Black Lodge - Enter The Circle
Black Lodge - It's Been A Long Time Comin'
Black Lodge - Live at Fort Duchesne
Black Lodge - Pow wow songs
Black Lodge - Weasel Tails Dream
High Noon - Have Drum Will Travel (Pow-Wow songs (in siksika))
Lakota Thunder - Veteran Songs
Lakota Thunder - Way of Life
Northern Cree - Dance Hard
Northern Cree - Round Dance Jam
Siksika Ramblers - Straight From The Rez
Southern Cree - Thunder & Lighthing Pow-Wow Songs
Tha Tribe - Mad Hops And Crazy Stops (Pow-Wow Songs Recorded Live In Chi-Town)
White Thunder Singers - Shake Your Feathers
Young Bird & Northern Cree - Double Platinum
HAND DRUM
Pipestone – Good Ol’ Fashioned NDN Lovin’
15 hand drum round dances/49s
MIXED
Young Bird & Midnight Express - Southern & Northern Style Pow-Wow Songs
4 contemporary southern intertribals, 1 southern fancy dance, and 5 contemporary northern war
dances
ADDITIONAL RESOURCES (BOOKS AND ARTICLES)
Callahan, Alice A.
1990. The Osage Ceremonial Dance, I’n-Lon-Schka. University of Oklahoma Press, Norman, OK.
Charles, Jim.
1987-1990. Songs of the Ponca Helushka. NEH Summer Seminar, American Indian Verbal Art &
Literature (Larry Evers, Dir.), University of South Carolina.
Dorsey, Rev. James Owen
1883. The Religion of the Omahas and Ponkas. American Antiquarian and Oriental Journal, Vol. 5,
January-October, James & Morse Publishers, Chicago, IL.
1888-a. Songs of the Hecucka Society. Journal of American Folk-Lore, Vol. 1, No. 1.
1888-b. Omaha Songs. Journal of American Folk-Lore, Vol. 1, No. 1.
1889. Ponka and Omaha Songs. Journal of American Folk-Lore, Vol. 2, No. 7.
1890. The Cegiha Language. Contributions to North American Ethnology, Vol. 6, Washington, D.C.
1891. Omaha and Ponka Letters. Bureau of American Ethnology, Bulletin 11, Smithsonian
Institution, Washington, D.C.
Duncan, Jim.
1997. Hethushka Zani: An Ethnohistory of the War Dance Complex. MA thesis. Department of
Anthropology, Northeastern State University, Tahlequah, OK.
Ellis, Clyde
2003. A Dancing People: Powwow Culture on the Southern Plains. University of Kansas Press,
Lawrence, KS.
Fletcher, Alice C.
1892. Hae-thu-ska Society of the Omaha Tribe. Journal of American Folk-lore, Vol. 5, No. 17.
1893. A Study of Omaha Indian Music. Archaeological and Ethnological Papers, Vol. 1, No. 5,
Peabody Museum of American Archeology and Ethnology, Cambridge, MA.
Fletcher, Alice C. and Francis LaFlesche.
1911. The Omaha Tribe. Bureau of American Ethnology, 27th Annual Report 1905-06, Smithsonian
Institution, U.S. Government Printing Office, Washington, D.C.
Glazner, Christopher G.
2002. Honoring Our Warriors: Southern Plains American Indian Music for War Veterans.
Undergraduate Thesis, Pauline Strong, Ph.D. Supervising Professor, Massachusetts Institute of
Technology, Boston, MA.
Gondeck, G.J.
1970. Trot Dance Songs. St. Charles Pow-Wow Brochure, St. Charles, MO.
Heriard, Jack and Jay Railey.
1973. Trot Dance Songs of the Ponca: Songs and Translations by Lamont Brown, Ponca. Whispering
Wind: American Indian Past & Present Magazine, March Issue, Folsom, LA.
Heth, Charlotte, ed.
1992. Native American Dance: Ceremonies and Social Traditions. Smithsonian Institution Press,
Washington, D.C.
Howard, Dr. James H.
1965. The Ponca Tribe. Bureau of American Ethnology, Bulletin 195, Smithsonian Institution, U.S.
Government Printing Office, Washington, D.C.
1983. Pan-Indianism in Native American Music and Dance. Ethnomusicology, Vol. 28, No. 1.
No Date. Translations of "War Dance Songs of the Ponca, Vols. 1-2." Unpublished, (Author was given
a copy from Abe Conklin, Ponca/Osage, of Guthrie, Oklahoma in April 1985.)
Howard, Dr. James H. and Gertrude P. Kurath.
1959. Ponca Dances, Ceremonies and Music. Ethnomusicology, Vol. 7.
Kavanagh, Thomas W.
1992. Southern Plains Dance Tradition and Dynamics. National Museum of the American Indian,
Smithsonian Institution with Starwood, Washington D.C.
Skinner, Alanson B.
1915. Ponca Societies and Dances. Anthropological Papers, American Museum of Natural History,
Vol. 11, New York, NY.
Stewart, Tyronne H.
1975. The Ponca Hethuska and Ponca Songs. Program Booklet, National Pow-Wow III, Danville, IL.
Hatton, O. Thomas (1974). "Performance Practices of Northern Plains Pow-Wow Singing
Groups", Anuario Interamericano de Investigacion Musical, Vol. 10, pp. 123–137.
Kyi-Yo (2007). Kyi-Yo Celebration. Kyi-Yo student organization, Native American studies,
University of Montana.
Nettl, Bruno (1989). Blackfoot Musical Thought: Comparative Perspectives. Ohio: The Kent State
University Press. ISBN 0-87338-370-2.
Roberts, Chris (1992). Powwow Country. ISBN 1-56037-025-4.
Ellis, Clyde. A Dancing People: Powwow Culture on the Southern Plains. Lawrence: University of
Kansas Press, 2003. ISBN 0-7006-1274-2.
Native American Beadwork by George Barth
Beadwork Techniques of the Native Americans by Scott Sutton
SONG RESEARCH
PONCA LANGUAGE SONGS
FLAG SONGS
PONCA FLAG SONG (NONZHINGA HASKATHA, INON TEXIE THE MONZHON)
Ponca:
(vocables in first part of song)
NoN-zhiN-ga ha-ska-tha, i-noN te-xie the moN-zhoN, the tho de
(Warrior & Brown, 1967, p. 1)
English Translation:
Pure flag stands, we glorify in this land.
Commentary:
“This song was dedicated to the American Flag—A song which is equivalent to the National Anthem.
The words in it say: ‘The flag, we glorify in this land’.”
(Warrior and Brown, 1967, p. 1)
STARTING SONG (HETHUSKA, HASKA THA, DOMBAGA)
Ponca:
He-thu-ska, ha-ska tha, doM-ba-ga
Hethuska, the pure flag, behold it.
Commentary:
“This song is the opening song of the Hethuska Society, which is known as War Dance. It has the
words which say for the men members of the organization, ‘Behold the flag’.”
Commentary:
“In those days, they didn’t have no automobile, no telephones to get around. People would go about
on reservations and they see a flag up. That flag meant something. They say that organization is
going to have a dance. That’s the way. It’s just like the white man says, it’s a smoke signal. Now
that’s just the way our flag was.”
(Brown, 1968, p. 3)
Commentary:
“This song, with other words, was formerly the personal song of *Birdhead, the Northern Ponca
Chief. Present text was substituted following WWI (World War I). At Ponca dances, no one dances
to this song.”
(Howard, no date, p. 1)
Commentary:
“War Dance Songs of the Ponca, Volume 1, Side 1, Song 1”
Author’s note:
The name Birdhead or Wa-zhiN’-ga-pa makes reference to the Pileated Woodpecker head used to
decorate the two Pipes used in the Wa’-waN ceremony. (see Fletcher & LaFlesche, 1911, p. 376)
WAR SONGS
WAR SONG (HETHUSKA, TA ZANI NONZHIN)
Ponca:
He-thu-ska, ta za-ni noN-zhiN tho be yo ha
He-thu-ska, ta za-ni noN-zhiN tho be yo ha
He-thu-ska, ta za-ni noN-zhiN tho be
Za-ni noN-zhiN. Tho be He-thu-ska, ma za-ni noN-zhiN tho be
He-thu-ska, ta za-ni noN-zhiN tho be yo ha ya oi
He-thu-ska, ta za-ni noN-zhiN tho be
Za-ni noN-zhiN. Tho be He-thu-ska, ma za-ni noN-zhiN tho be
He-thu-ska, ta za-ni noN-zhiN tho be yo ha ya ya
Hethuska, all stand.
All stand. Hethuska, all stand.
All stand. Hethuska, all stand.
Commentary:
“This song says here, Hethuska, that means the ‘War Dance’. Zani nonzhin, zani means ‘all,’ nonzhin
means ‘arise’. He is telling them all to arise and dance.”
WAR SONG (UHA SHUBTHE MONSHE, NONZHINGA)
Ponca:
U-ha shu-bthe moN-she, noN-zhiN-ga
MoN gtha-u the ha a-doM-ba-ga moN-she, noN-zhiN-ga
U-ha shu-bthe moN-she, noN-zhiN-ga, yo ha ya oi
She the, moN gtha-u the ha a-doM-ba-ga moN-she, noN-zhiN-ga
Walking a path I am coming, stand aside.
Even chiefs behold me walking a path, stand aside.
Elder brother, even chiefs behold me walking a path, stand aside.
Commentary:
“This song is said to be in reference to the bringing of the tribal pipes to the camp circle.”
Commentary:
“This song pertains to the processional of the leaders of the old time War Dance society.”
Commentary:
Title of this song is listed as, “Bearer of the War Pipe.” The words are shown translated as, “The
path I travel, stand aside. Even Chiefs behold. Stand aside from it, the path I travel. Elder brother,
even Chiefs behold.”
Commentary:
WAR SONG (SHETHU I BA UNWON NEAMA)
Ponca:
She-thu i ba uN-woN ne-a-ma
She-thu i ba uN-woN ne-a-ma, tho he
Ha-i-ba she-thu i ba uN-woN ne-a-ma, tho he tho-e
U’-moN-hoN, thiN a-wa-thiN iN-thiN-ge
She-a i ba doN the-thu a-noN-zi-a tha
Du-da i ge, tho he tho
(Fletcher & LaFlesche, 1911, p. 473)
Over there, men coming, searching for me.
Over there, men coming, searching for me.
They are coming, over there, men coming, searching for me.
The Omaha, where is he, they are saying of me.
Over there they come, here I stand.
Come this way.
Commentary:
“In this song the Hethu’shka personifies the tribe. The enemy is pictured as advancing from all
sides, angrily calling: ‘Where are the Omaha?’ The Hethu’shka, the men in whom ‘the fear of death
has been dispelled,’ shout back as one voice: ‘Here I stand; come hither!’ While the song is defiant,
there is also in it the note of tribal unity as against enemies.”
Commentary:
“He’s saying here in this song, that ‘those’, meaning the Sioux, ‘are looking for me, here I stand, come
over this way’. Meaning that they would find him wherever he was standing.”
Commentary:
Title of this song is listed as, “I am the One the Enemy Seeks.” The words are shown translated as,
“That man is searching for me. Enemy tribes are searching for me. Come here, here I am.”.... “Song
refers to Little Bear, a Ponca.”
Commentary:
WAR SONG (MONBTHEDON THE A THE TE, DOMBAGA)
Ponca:
MoN-bthe-doN the a the te, doM-ba-ga
DoM-ba-ga moN-bthe-doN the a the te, doM-ba-be, yo ha ya oi
“I’-ba-hoN-bi,”we-bthe te pathiN zhiN-ga ki-de, tha the te
MoN-bthe-doN the a the te, doM-ba-be, yo ha ya ya
I have pulled my bow, behold.
Behold, I have pulled my bow, behold.
“He Is Known,” to shot a young Pawnee.
Commentary:
“Now in this song, monbthedon the a te means that ‘I have pulled my bow and I shot a young
Pawnee’. The name of the man is ‘The One That Is Known’. That was his name, ‘The One That Is
Known’. ‘I’m the one that pulled my bow to shoot the young Pawnee’.”
Commentary:
“This song is telling of a man in battle wherein he says, ‘I pulled my bow and killed the enemy’.”
Commentary:
“I’bahoNbi.....I’bahoN, ‘to know’; bi, ‘he is’.....He Is Known. Refers to a chief’s son."
WAR SONG (ZHINTHE, THAHIDE THO HE)
Ponca:
ZhiN-the, tha-hi-de tho he, tha-hi-de
ZhiN-the, tha-hi-de, zhiN-the, tha-hi-de
ZhiN-the, tha-hi-de, tho he the
Nu-doN-hoN-ga, tha-hi-de, tho he tho-e
Nu-doN-hoN-ga, i-sha-ga-ma i-a-ba
Wi-uN-wa-ka be tho
ZhiN-the, tha-hi-de, tho he the
Nu-doN-hoN-ga, tha-hi-de tho he tho-e
Elder brothers, I longingly wait, I longingly wait.
Elder brothers, I longingly wait, elder brothers, I longingly wait.
Elder brothers, I longingly wait.
War Leader, I longingly wait.
War Leader, old men, they spoke.
They refer to me.
Elder brothers, I longingly wait.
War Leader, I longingly wait.
Commentary
“Elder brothers! I longingly wait [to share in the duties of the society]. Captains! The old men have
spoken [of these duties]; their words now refer to me. Elder brothers! Captains! I longingly wait to
take part in them [the duties].”
“This song enforced the bond of brotherhood which bound together the members of the
Hethu’shka. There were two ways in which the relation of brother could be expressed in the Omaha
language: ‘elder brother’ and ‘younger brother.’ In the song the newly admitted member speaks,
addressing the members of the society as ‘elder brothers.’ As war honors were requisite for
membership, those whom he addressed were all men or more or less distinction. In his form of
address he not only recognizes this but also his own inclusion in the brotherhood and proclaims his
eagerness to do his part in maintaining the honor of the society and to share in it’s duties. By calling
his ‘elder brothers’ nudoNhoNga, ‘captains,’ he not only acknowledges their attainments but
expresses his willingness to follow their leadership. In the second stanza he lays claim to share in
the traditions of the society, that he may in his own career carry out the exhortations of the aged
men whose words have been an inspiration to his ‘elder brothers’ and ‘captains’.”
WAR SONG (INDADI THAD, MONTHINGE)
Ponca:
Inda-di tha-de, moN-thiN-ge, tho he o the tho
Inda-di tha-de, moN-thiN-ga
Inda-di tha-de, moN-thiN-ge, tho he o the
Tha-de moN-thiN-ga
Inda-di, i-sha-ga-ma, thi-gi si-tha-me, tho he tho-e
Tha-de moN-thiN-ge, tho he the tho
“Wa-zhi-da-thiN” i-zhiN-ge, i-thiN-ga be tho
Inda-di tha-de, moN-thiN-ge, tho he the
Tha-de, moN-thiN-ga
Inda-di, i-sha-ga ma, thi-gi si-tha-me, tho he the tho
My father proclaim, walking by command.
Proclaim, walking by command.
My father, the aged men, they will remember you.
“Owns Something Red” his son, say of me.
My father, the aged men, they will remember you.
Commentary:
“The words of the song are few and impossible to render literally. They are mnemonics merely but
they serve to carry the memory of the act which the song commemorates. The song is said to be
very old and has been handed down through many generations, an indication of the estimation
placed on the teaching it sets forth-the unselfish regard for the fame of his father shown by the hero
of the story and song. The account runs as follows: A young man, whose name, according to his
expressed wish, is unknown, said to his comrades as he lay dying on the field of battle, where he
had fought valiantly: ‘When you proclaim my death,’ referring to the custom of calling out the
names of the slain when the war party returned to the village, ‘speak not my name, but that of my
father. Say, “The son of Wazhi’dathiN is slain”.’ Having made this request, the young man spoke
again but as if he were addressing his father. He said: ‘Father, in my death the aged men remember
you!’ The aged men were historians, so to speak; they were the ones who treasured the memory of
tribal incidents and passed them on to younger generations. By this act of the son he caused his
father’s name to be held in remembrance, but at the same time his own act was such that he was
held up to future generations as an example of filial regard.”
WAR SONG (NONGE SHAIE, WADOMBAGA)
Ponca:
NoN-ge sha-i-e, wa-doM-ba-ga
He-thu-ska wa-shu-she, yo he ye oi
“MoN-chu ToN-ga,” ha noN-ge sha-i-e wa-doM-ba-ga
NoN-ge sha-i-e wa-doM-ba-ga
He-thu-ska wa-shu-she, yo he ye ya
Comes running, behold them.
Hethuska are brave men.
“Big Grizzly Bear”, comes running, behold them.
Hethuska are brave men.
Commentary:
“Now this song says, noNge shaie wadombaga. NoNge means ‘run’. Shaie means ‘coming’. The
horses are charging towards them. They call his name in the middle of the song, *moNchu toNga —
Big Bear.”
Commentary:
Title of this song is listed as, “Enemy horses are running.” The words are shown translated as,
“Four-leggeds are running, behold. The Hethuska are brave men. Big Bear is the one.”
Commentary:
Author's note:
The Ponca make a distinction in their language between the Black Bear and the Grizzly Bear. “Bear,
black, Wasa’be” “Bear, grizzly, MoNchu’.”
WAR SONG (KOTHA NUDA, HE THA, E THOMBE)
Ponca:
Ko-tha nu-da, he tha, e thoM-be
Ko-tha nu-da, he tha, e thoM-be, yo ha ya oi
Pa-thaN-i-ki, ko-tha nuda, he tha, e thoM-be
Ko-tha nu-da, he tha, e thoM-be, yo ha ya ya
Friend in war, he has been, there he is.
PathaNike, friend in war, he has been, there he is.
Commentary:
“This song, he’s calling his friend, he had gone on the war path. At the beginning of the second part,
PathaNike, that we don’t know. It’s an ancient word which we have never learned as to what it
means. But the first two words is kotha nuda he tha, it means ‘friend had been on the war path’.”
Commentary:
“Uncle Parrish Williams, the 91-year-old elder and fluent Ponca speaker who is my consultant,
remembers accompanying his parents as a child to one of the dance societies that were in existence
at that time (early 1900s) among the Southern Poncas. The three (dance societies) that he
mentioned were NudoN, meaning 'warrior,' Pa-tha-taN, meaning 'drinkers of strong or bitter drink,
and Pa-thiN-ge”... “Although Uncle Parrish didn't offer an explanation for any of the dance societies'
names except NudoN, I was told by another Ponca speaker that pa, with the meaning of 'strong’ or
‘bitter' (unrelated to the meaning 'nose, head, profile' of its homonym), refers to the strong coffee
that the members of Pa-tha-taN drank, as opposed to the members of Pa-thiN-ge, who didn't have
any, or ran out of coffee. The term thiN-ge meaning ‘to lack,’ or ‘to be without'.”
(Shea, 2004)
Author’s note:
It has been suggested that the word transcribed from tape recordings as Pathanike, may actually
have been more accurately transcribed as Pathinge.
WAR SONG (EBE XAGE TA DON)
Ponca:
E-be xa-ge ta doN, e-be xa-ga ta doN, yo ha
E-be xa-ge ta doN, e-be xa-ga ta doN ha
E-theN-ga doN, xa-ga ta doN, e-be xa-ga ta doN
E-be xa-ga ta da, yo ha ya ya
E-be xa-ga ta doN, yo ha ya yo
E-theN-ga doN, xa-ga ta doN, e-be xa-ga ta doN
E-be xa-ga ta da, yo ha ya ya
Who will weep for me, who will weep for me.
Who will weep for me, who will weep for me.
When I cease to exist, weep for me, who will weep for me.
Who will weep for me.
When I cease to exist, weep for me, who will weep for me.
Commentary:
“Now those words say that, ‘when I am no more,’ meaning that he wasn’t expecting to come back
from the war, ‘who was going to weep for me’.”
WAR SONG (KAGA, TEXIE, ANONZHI THE)
Ponca:
Ka-ga, te-xi-e, a-noN-zhi the
Ka-ga, te-xi-e, a-noN-zhi the, ga-hi-ge-ha
Te-xi-e a-noN-zhi, the yo ha ye ya yoi
Ka-ge, o-ke-te, sha-i-e tha be, e tho the e tha, ga-hi-ge-ha
Te-xi-e, a-noN-zhi, the yo ha ye ya
Friend, difficult to move, I stand here.
Friend, difficult to move, I stand here, as chief.
Difficult to move, I stand here.
Friend, enemies, they are coming, ------ , as chief.
Difficult to move, I stand here.
Commentary:
“I’m happy to tell, in this song that is, it’s one, one of the songs that was dedicated to my grandfather
(Standing Buffalo), who was one of the war chiefs. When they fought the enemy, he stood his
ground. He said, ‘friend I stand here’. Texie anoNzhi means ‘immovable,’ meaning that he withstood
the charge of the enemy.”
Commentary:
“Texie anoNzhi, ‘immovable’ or ‘difficult to be moved,’ ‘here I stand’. The last word there and the
beginning of the second part we couldn’t translate. We do say the words, but we don’t know what
they mean."
WAR SONG (HETHUSKA, UWINE BE)
Ponca:
He-thu-ska u-wi-ne be, yo ha a oi
Inda ko-tha,He-thu-ska za-ne theN-ga be, yo ha yo
Inda ko-tha,He-thu-ska u-wi-ne be, yo ha ya oi
Nu-da HoN-ga He-thu-ska u-wi-ne be, yo ha
Inda ko-tha, He-thu-ska za-ne, theN-ga be, yo ha
Inda ko-tha, He-thu-ska u-wi-ne be, yo he ya
Hethuska searching.
Hethuska searching.
Hethuska searching.
Brother friend, Hethuska all, cease to exist.
Brother friend, Hethuska searching.
War Leader, Hethuska searching.
Brother friend, Hethuska all, cease to exist.
Brother friend, Hethuska searching.
Commentary:
“Hethuska uwine be, the ‘Hethuska is seeking this man,’ or ‘they are preparing to induct him into
the Hethuska Society’. Hethuska thenga, the ‘Hethuska has ceased to exist’. It was the beginning of
the end, especially when the Poncas were moved to the territory of Oklahoma. Evidently they
wanted to induct him.”
Commentary:
“Nuda Honga uwine, Nuda Honga is ‘the leader’ and ‘he is seeking this man’.”
Commentary:
“This War Dance, the Poncas, you might put it this was, that they were the foremost exponents of
this War Dance which we call the ‘Haoska Society.’ When they came to this country (Oklahoma),
they brought it with them and they had the four different organizations or lodges on the Ponca
Reservation, and as time went on, the older ones died out. All the younger ones had went to school
and came back. They never sought to perpetuate the dance at all. They just, it was neglected. It was
forgotten from the time off, well, about 1919 or 1918”.... “The last War Lodge ceased to exist and
from that time on, we did not have any ‘Haoska Society’ in the Ponca tribe.”
(Warrior, 1968, p. 8)
WAR SONG (WISONTHON, SHE TA BE)
Ponca:
Wi-soN-thoN, she ta be
Wi-soN-thoN, she ta be, tho he tho
He-thu’-shka, wa-shu-she, she-noN
Wi-e ta thiN-he
Wi-soN-thoN, she ta be, tho he tho
My dear younger brother, you shall cry.
Hethuska, a brave warrior of.
So shall I be.
Commentary:
“This song sets forth the obligation that rested on the Hethu’shka as the protectors of the women of
the tribe, who were spoken of collectively under the term, ‘sisters;’ this term is implied in the song.
It is the women, the ‘sisters,’ who ‘cry’ to the ‘younger brothers.’ In the song the women are bidden
to call on the younger brothers when danger threatens, the young and active men, ‘the younger
brothers,’ those who were free from domestic responsibilities and at any moment could spring to
the cry of sisters in trouble. The song tells who the younger brothers were to whom the sisters
could always appeal when a foe came near—they were of the brave Hethu’shka, who were in duty
bound to be ready at all times to guard the women and children of the tribe."
WAR SONG (OKETE, THE SHONGE WETA NONPA BE)
Ponca:
O-ke-te, the shoN-ge we-ta noN-pa be
O-ke-te, the shoN-ge we-ta noN-pa be
O-ke-te, the shoN-ge we-ta noN-pa be, he ya i hi ya
ShoN-ge we-ta noN-pa be, yo ha ye oi
O-ke-te, the shoN-ge we-ta noN-pa be, he ya i hi ya
ShoN-ge we-ta noN-pa be, yo ha ye ya
The enemy, my horse they fear.
My horse they fear.
My horse they fear.
Commentary:
“Okete means ‘other than a Ponca,’ a different tribe. ShoNge is a ‘horse’. Sometimes we don’t say our
words like they do in the English. For instance, you say a fast horse, we say horse fast. So that’s the
way we translate it. ‘The enemy, they are afraid of my horse’.”
WAR SONG (SHUPIDE THE, THO UNHAY)
Ponca:
Shu-pi-de the, tho uN-hay
Shu-pi-de the, tho uN-hay, yo hay ye oi
“MoN-chu Shke-ma,” shu-pi-de the, tho uN-hay
Shu-pi-de the, tho uN-hay, yo hay ye oi
When I came, you went away.
“-------- Grizzly Bear,” when I came, you went away.
Commentary:
“MoNchu Shkema, that’s a Siouan name. We don’t know what it means. The only part we know is
MoNchu, that means (Grizzly) Bear. Our language is similar. Don’t know if it’s Spotted Bear or Black
Bear, it’s a Siouan name. When this man arrived on the scene of the battle, this Sioux ran away.”
WAR SONG (SHAY THE, WAKONDA I BAHONDE THE)
Ponca:
Shay the, Wa-koN’-da i ba-hoN-de the
Shay the, Wa-koN’-da i ba-hoN-de the, yo he ye oi
“He-xa’-ga-ska,” Wa-koN’-da i ba-hoN-de the
Shay the, Wa-koN’-da i ba-hoN-de the, yo he ye ya
That person, with God he is known.
“Rough White Horn,” with God he is known.
Commentary:
“Shay the, Wa-koN-da i ba-hoN-de the, meaning ‘that man is known by God,’ in that he was
successful in whatever he did. Meaning God had helped him in whatever he did. Hexa’gaska, ‘Rough
White Horn,’ that was his name.
Commentary:
Title of this song is listed as, “Praise of Rough-White-Horn.” The words are shown translated as,
“God is aquainted with him. Rough White Horn, God knows.”
Commentary:
WAR SONG (MONZHON, SHONGETE THO)
Ponca:
MoN-zhoN, shoN-ge-te tho
MoN-zhoN, shoN-ge-te tho he tho
HoN-thiN-ge de, shoN-ge-te tho
MoN-zhoN, shoN-ge-te tho
MoN-zhoN, shoN-ge-te tho he tho
ShoN-ge-te tho he
The land, shall long endure.
When I am gone, shall long endure.
Shall long endure.
Commentary:
“This admonitory song was explained as follows: The natural fear of death that is in every
individual sometimes so overpowers a man that in a time of danger he may loose self-control and
abandon to their fate those whom he is in duty bound to protect. To drive away the fear of death
and to vitalize the courage so necessary to a man who by nature and by tribal law is obligated to
protect his family and the families of the tribe, the example of men who had hazarded their lives in
the performance of duty was held up by the society; the members were persistently taught that
man’s life is transitory, and being so it is useless to harbor the fear of death, for death must come
sooner of later to everybody; man and all living creatures come into existence, pass on, and are
gone, while the mountains and rivers remain ever the same—these alone of all visible things abide
unchanged. The song represents the Hethu’shka as saying: ‘I shall vanish and be no more but the
land over which I now roam shall remain and change not’.”
WAR SONG (KAGA, WIGISITHA, THINHE NO)
Ponca:
Ka-ga, wi-gi-si-tha, thiN-he no
Wi-gi-si-tha, thiN-he no
“Wa-zhiN-ga”shti, thi-thiN-ge doN, wi-gi-si-tha, thiN-he no
Wa-koN-da da i, doN he-goN ta, thiN-he no
Ka-ga, the-thu, hoN-ba-ski-tha, thiN-he no
“Wa-zhiN’-ga”shti, thi-thiN-ge doN, wi-gi-si-tha, thiN-he no
Wa-koN-da da i, doN he-goN ta, thiN-he no
Ka-ga, the-thu, hoN-ba-ski-tha, thiN-he no
Friend, I remember you who are mine, as life passes.
I remember you who are mine, as life passes.
“Bird” you also, when you are no more, I remember you who are mine, as life passes.
They the thunder gods, when my acts conform, as life passes.
Friend, here, I am angry, as life passes.
“Bird” you also, when you are no more, I remember you who are mine, as life passes.
They the thunder gods, when my acts conform, as life passes.
Friend, here, I am angry, as life passes.
Commentary:
“The burden of this song is the remembrance by the Hethu’shka of comrades slain in battle and the
strong desire for revenge stirred by such memories; but the men are reminded of the teaching that
to the Thunder gods belongs the power to decree death and that man must conform his acts to the
will of the gods even though his spirit chafes under the restraint. It is thought that the song is a very
old one and that several names were used, one superseding another as the memory of the fallen
hero faded. WazhiN’ga, who is mentioned in the song, was killed before the middle of the last
century (before 1850).”
WAR SONG (NONGE SHAIE, WADOMBAGA)
Ponca:
“MoN-chu ToN-ga,” ha noN-ge sha-i-e, wa-doM-ba-ga
Comes running, see them.
Hethuska are brave.
“Big Grizzly Bear,” comes running, see them.
Hethuska are brave.
Commentary:
“Now this song says, noNge shaie wadoMbaga. NoNge means ‘run,’ shaie means ‘coming’. The
horses are charging towards them. They call his name in the middle of the song, MoNchu ToNga,
‘Big (Grizzly) Bear’.”
WAR SONG (HA NIKABTHE, I SHAY THO)
Ponca:
Ha ni-ka-bthe, i shay tho
Ha ni-ka-bthe, i shay the
A-cha-tho, i shay tho
Ha ni-ka-bthe, i shay the, yo he ye oi
“MoN-chu Ske-ma,” i ka-ga-ma the, i shay tho
A-cha-tho, i shay tho
Ha ni-ka-bthe, i shay the, yo he ye ya
Going to be a chief, you said.
-------- , you said.
“------ Grizzly Bear,” he was my friend, you said.
-------- , you said.
Commentary:
“Ha ni-ka-bthe, i shay tho, ‘I’m going to be a chief’. Let me give you the story behind this song. There
was a young Sioux who was taken captive among the Poncas and finally became a young man. Every
now and then he’d be missing. Evidently someone had told him that he was a captive among the
Poncas and that he was a Sioux. So he’d go back to the Sioux. One time when the Siouxs raided the
Poncas, someone spotted him. So the next time the Siouxs raided again, they singled him out and
they recaptured him, and when they recaptured him, he begged for mercy. He said, ‘When I get back
to the Siouxs, if you’ll pity me, spare my life.’ He said, ‘When I get back to the Siouxs, they are going
to put me in the place of my father in the council of chiefs.’ But the Ponca didn’t spare his life, they
killed him. They song goes on to say, MoNchu Skema, that’s his name, but we don’t know what it
means. I ka-ga-ma the, i shay tho, ‘you said he was my friend’. A-cha-tho, that’s a Siouan word which
we can’t translate. I shay, ‘that’s what you said,’ ‘that you were my friend,’ meaning that after he
professed friendship with the Poncas, he had been in war parties against the Poncas and they
captured him. That’s how the song was made, for that man.”
WAR SONG (IXA BUWA THE)
Ponca:
I-xa bu-wa the
I-xa bu-wa the
I-xa bu-wa the
I-xa bu-wa the
I-xa bu-wa the
I-xa bu-wa the
“Wa-iN Xu-de,” i-xa bu-wa the, hoN-ba-ski the, yo he oi
I-xa bu-wa the
I-xa bu-wa the
“Wa-iN Xu-de,” i-xa bu-wa the, hoN-ba-ski the, yo he oi
To laugh at me, those people, you caused.
“Gray Blanket,” to laugh at me, those people, you caused.
“Gray Blanket,” to laugh at me, those people, you caused.
Commentary:
“Ixa buwa the, ‘you caused people to laugh at me’. It may have been that they weren’t successful in
their fight. Perhaps the man that is mentioned here, Gray Blanket or Gray Robe was of a certain
class of people there, or a certain part of the tribe. Evidently they had worn gray blankets, or it must
have been robes. It’s way back there, that they wore whatever it was. He says to these people, he
says, ‘that you caused those people to laugh at me’. I don’t know what it was, whether it was in a
battle, or it might have been a personal incident or something like that, but that’s what the words
are.”
Commentary:
“Before the 1877 Removal split the tribe into Northern and Southern Ponca, there were two
important bands or village groups among the Ponca in Nebraska. The first of these was the
Wai’xude or ‘Gray Blanket’ band”.... “The name ‘Gray Blanket’ derived from the fact that this group
was once issued white blankets by the Government. Worn in the dust of the prairies these blankets
soon, apparently, took on a grayish cast.”
(Howard, 1965, p. 6)
WAR SONG (SHAY THO XAGA NONZHINGA)
Ponca:
Shay tho xa-ga noN-zhiN-ga
Shay tho xa-ga noN-zhiN-ga, xa-ga noN-zhiN-ga
Shay tho xa-ga noN-zhiN-ga, yo he ye oi
Xa-ga noN-zhiN-ga, “Shay-doN Wa-ga-ge-zhey,” he wa-tha ke-tha
Xa-ga noN-zhiN-ga
Shay tho xa-ga noN-zhiN-ga, yo he ye ya
There weep standing.
There weep standing, weep standing.
Weep standing, “Shay-don Wa-ga-ge-zhey,” you made it so.
Weep standing.
Commentary:
“Shay tho, ‘there’. Xaga noNzhiNga, ‘stand there and weep’. ShaydoN Wagagezhey, this is the last
Siouan Chief and his war party that the Poncas annihilated a few years before moving the Poncas to
Oklahoma Territory. ShaydoN Wagagezhey, you brought that upon yourself, shay tho xaga
noNzhiNga, ‘stand there and weep’ you brought that upon yourself. In that way the Ponca sent
scouts out to track him down and annihilate his war party.”
WAR SONG (PATHIN TON THE THA XAGA)
Ponca:
Pa-thiN toN the tha xa-ga
Pa-thiN toN the tha xa-ga, yo ha ye ya
Wa pa-thiN toN the tha xa-ga
Pa-thiN toN the tha xa-ga, yo ha ye ya
Pawnee flees crying.
Pawnee man flees crying.
Commentary:
“This is a song composed when they (Ponca) had a fight with the Pawnee. There was a straggler.
Evidently they knocked him off his horse. He got up and started running, he was running for his life.
He lost his horse and was trying to get away running.”
Commentary:
Title of this song is listed as, “The Pawnees Flee, Weeping.” The words are shown translated as,
“The Pawnees flee weeping.”
Commentary:
“The translation for this one goes, ‘That little Pawnee boy was crying, running, trying to save his
life’.”
(Brown, 1971)
Commentary:
WAR SONG (HETHUSKA, TE WAKONDA KAGAXA BE)
Ponca:
He-thu-ska, te Wa-koN-da ka-ga-xa be
A-ho shoN ha the, yo he ye
Hethuska, it was God who made this.
Now it is completed.
Commentary:
“‘Hethuska, God made this for us,’ that’s what it says. ‘God made this way for us.’”
Commentary:
Title of this song is listed as, “Divine Origin of the Hethuska Society.” The words are shown
translated as, “It was God who fashioned the Hethuska, now it is completed.”
Commentary:
“WakoN’da is not a modern term and does not lend itself to verbal analysis. The word wanoN’xe
means ‘spirit’. The ideas expressed in the words wakoN’da and wanoN’xe are distinct and have
nothing in common. There is therefore no propriety in speaking of WakoN’da as ‘the great spirit.’
Equally improper would it be to regard the term as a synonym of nature, or of an objective god, a
being apart from nature.”....“WakoN’da stands for the mysterious life power permeating all natural
forms and forces and all phases of man’s conscious life.”...“The Wakon’da addressed in the tribal
prayer and in the tribal religious ceremonies which pertain to the welfare of all the people is the
WakoN’da that is the permeating life of visible nature—an invisible life and power that reaches
everywhere and everything, and can be appealed to by man to send him help.”...“Personal prayers
were addressed directly to WakoN’da. A man would take a pipe and go alone to the hills; there he
would silently offer smoke”...“This form of prayer (made only by men) was called Niniba-ha (niniba,
‘pipe’), ‘addressing with the pipe’.”
(Fletcher & LaFlesche, 1911, pp. 597-599)
Commentary:
WAR SONG (WAKONDA AMONTHIN BE)
Ponca:
Wa-koN-da a-moN-thiN be, yo ha ya
Wa-koN-da a-moN-thiN be, yo ha ya oi
Da-di-ha tha, Wa-koN-da tha-o e be, yo ha
Wa-koN-da a-moN-thiN be, yo ha ya ya
God’s way of life he lived.
Like a father, God is.
Commentary:
“There were several of these dances, but it happened that this one (the Hethuska Society dance)
was one of the most outstanding, due to the fact that most of the members were outstanding
members of the tribe, and a lot of the songs pertaining to this dance were sung in honor of these
men who were members of this organization."
(Warrior, 1968, p. 2)
Commentary:
“WakoNda, ‘God,’ amoNthiN, refers to ‘the way of life he lived’. Dadiha, ‘father,’ ‘father God’.”
WAR SONG (ELEGAXA BE WAKONDA, GAXA BE)
Ponca:
E le ga-xa be Wa-koN-da, ga-xa be
E le ga-xa be Wa-koN-da, ga-xa be, yo he ye
E le ga-xa be Wa-koN-da, ga-xa be
MoN-zhiN moN-li lo me, yo he ye oi
“Sha-ge shu-ga,” Wa-koN-da, ga-xa be
Wa-koN-da, ga-xa be
MoN-zhiN moN-li lo me, yo he ye yo
(Charles, 1987, p. 33)
His way was made by God, his way made.
Walking by the one up above.
“Thick Claws,” God, his way made.
God, his way made.
Walking by the one up above.
Commentary:
“The Ponca Tribe - Personal Names - Thi’xida Gens - Traveling Buffalo’s Band - Male: Sha’geshuga –
‘Thick Claws’.”
WAR SONG (AWAKI NONSHKONA LA)
Ponca:
A-wa-ki noN-shko-na la
“SiN-te Gle-shka,” ha noN-cu-le-ga zhu-wa-gla igla
Da-ha-wa-ge ga-ma zha-ma no-i, ha ya hi ya
MaN-zi u-wa-la ge shko-na "ShoN-zhiN-ga" la la
"ShoN-zhiN-ga" da-ha-wa-ge gli-za-ga
(Charles, 1987, p. 34)
Do you want to fight me?
“Spotted Tail,” hurry and come with your group.
Get your shield, I’m not afraid of you.
Over these yellow cliffs, to fight me, "Little Horse."
"Little Horse" get your shield and prepare.
Commentary:
“Awaki nonshokona, ‘do you want to fight me’? Sinte Gleshka, we happen to know that word. It’s the
name of a Siouan war leader. It means, ‘Spotted Tail,’ Sinte Gleshka. Nonculega zhuwagla igla, ‘hurry
and come with your group’ to fight. ‘I’m not afraid of you’. Manzi uwala ge shkona shonzhinga
dahawage glizaga, ‘do you want to fight over these yellow cliffs’? Shonzhinga, ‘young Sioux,’
dahawagle glizaga, ‘get your shield, prepare’ to fight. Of course it doesn’t actually say all that, but
that’s what it means.”
Commentary:
“My favorite translation is one that concerns a Ponca war party and a group of Lakota led by
Spotted Tail. The meaning of this particular song says this: The two groups encounter each other
and begin preparations to fight. The Poncas call out to Spotted Tail, who had obviously been calling
insults, ‘Hurry! And come with your group Spotted Tail, we’re not afraid of you.’ Then it seems one
of the Ponca men spots a young Sioux warrior and wants to test his courage. The Ponca taunts the
boy by calling out, ‘Young Sioux! Get your shield and prepare to fight.’ The song mentions the
‘yellow cliffs’ which are located in the northeastern part of Nebraska near the South Dakota border.
It seems that whoever controlled these cliffs used them as a sentinel post and could maintain
control of a vast area by executing surprise attacks on any intruders.”
(Stewart, 1975, p. 15)
WAR SONG (GAHITHAMA DEUNTHONGE, ITHAMA)
Ponca:
Ga-hi-tha-ma de-uN-thoN-ge, i-tha-ma
Ga-hi-tha-ma de-uN-thoN-ge, i-tha-ma, tho he tho-i
De-uN-thoN-ge, i-tha-ma
A-zhoN mi-ki-de pa-nu-hu wiN-a me, tho he the
U-mba i-da, u-gtha i-tha-me, tho he tho
Far away they are saying something to me, they send.
Far away they are saying something to me, they send.
They are saying something to me, they send.
I lay where owl one speaks.
Morning comes, shout directed toward one.
Commentary:
“The song may refer to the time when the Omaha (including the Ponca) were a forest people; it
preserves the memory of a timely discovery by which disaster was averted and a victory won. The
story runs as follows: The Omaha were camped in a forest. One dark night a warrior was awakened
by the hooting of an owl. He was an observant man, familiar with the cries of birds and the sounds
made by animals. As he listened he heard answering hoots in the distance. He thought the sounds
not genuine, but imitations probably made by men. He arose silently, slung his quiver over his
shoulder, took his bow and crept among the trees. At a distance from the camp he detected signs of
men—enemies. He stealthily made his way back and awakened the sleeping warriors of the tribe,
who at once made themselves ready for defense. At daybreak the enemy rushed from all sides on
the Omaha camp but the men were prepared and met the onslaught so successfully that few of their
foes escaped. The song commemorates the alertness of the man whose ear was trained to know the
calls and cries of birds and holds him up as an example.”
WAR SONG (SHETHIN THE THIN, DONBAGE)
Ponca:
She-thiN the thiN, doN-ba ge, tho he
She-thiN the thiN, doN-ba ga
Ha doN-ba ga, ha doN-ba ge, tho he the
“A-ga-ha-moN-thiN,”doN-ba ge, tho he tho-e
Yonder that one going, behold him.
Yonder that one going, behold him.
Really behold him, really behold him.
“Walks Outside,” behold him.
Commentary:
“The words are few, an exclamation bidding the people to behold, to look on A’gahamoNthiN, and
would be quite unintelligible but for the story which gave rise to the song. A’gahamoNthiN died in
the early part of the last century (early 1800s). He was a man of great valor. He had won and
received all the public war honors but he was not satisfied. At each meeting of the Hethu’shka
Society all through one Fall and Winter he would rise and declare: ‘During the next battle in which I
take part I will drag an enemy from his horse or die in the attempt!’ The following Summer, when
the Omaha were on the buffalo hunt, the tribe was attacked by the Yankton (Dakota) and a fierce
encounter took place. True to his word, A’gahamoNthiN charged the line, dragged a Yankton from
his horse, and slew him. Almost immediately A’gahamoNthiN was killed. In emulation of his courage
the Omaha made a desperate charge on the Yankton and defeated them. This song was composed to
commemorate the warrior who made good his promise and in so doing saved his people. Of
A’gahamoNthiN it was said, ‘He spoke a word and chased it to his death’.”
Commentary:
“Gentes of the Omaha Tribe - Personal Names in the Tha’tada Gens – Xu’ka subgens – Ni’kie names:
A’gahamoNthiN.....A’gaha, ‘apart from,’ ‘outside a crowd’; moNthiN, ‘moving,’ ‘traveling,’ ‘walking’.”
Commentary:
“The Ponca Tribe – Personal Names – Washa’be Gens – Woodpecker’s Band – Male:
A’gahamoNthiN...‘Walks Outside’.”
WAR SONG (HAGCI TE UCUAME)
Ponca:
Ha-gci te u-cu-a-me
Ha-gci te u-cu-a-me
Ha-gci te u-cu-a-me
Ha-gci te u-cu-a-me, hi e-ce-e o e
“U-haN-taN-ga,” hiN-ca-ge a-ma
Ci-gi-si-ca-i za-e a-i-a-ti-a-ca-i
E a-gci te u-cu-a-me, hi e ce e o
(Dorsey, 1888-c, p. 480)
I regret that I have come back.
“Big Cook,” the aged men.
When they think of you, make a sudden uproar.
Commentary:
“Song in honor of UhaNtanga. He was slain in a fight with the Dakotas after he had joined the
Hecucka. A survivor composed this song, of which the words in the spoken language are as follows:
‘I regret that I have come back (alive). O UhaNtanga, the aged men, when they think of you, make a
sudden uproar (calling your name). (Therefore) I regret that I have come back (instead of dying as
you did)’.”
(Dorsey, 1888-c, p. 67)
WAR SONG (UBISKA, CTE HE, PAHANGAQTCI KE)
Ponca:
“U-bi-ska,” cte he, pa-haN-ga-qtci ke
Cu-gce-ca-ji a-he, gaN-ki naN-wa-pe
Ce-na-wa-ce a-he
(Dorsey, 1889, p. 271)
“He Is Pure Inside,” was he, he was the first one.
He did not send him back to you, and they fear us.
They are exterminated.
Commentary:
“Song in honor of U-bi-ska’s victory over the Pawnee in 1855”...“ ‘He did not send him back to you,’
addressed to the Pawnees at home, refers to a Pawnee slain by U-bi-ska.”
(Dorsey, 1889, p. 271)
Author's note:
For a detailed account on the unusual large scale battle between the Ponca and the Pawnee in 1855,
see Dorsey, 1890, pp. 377-383.
WAR SONG (THETA KOLA, SE WATHIBE)
Ponca:
The-ta ko-la, se wa-thi-be
“U-he Wa-ki-a-ze,” se wa-thi-be
The-ta ko-la, se wa-thi-be, o he e e e yo
“U-he Wa-ki-a-ze,” se wa-thi-be
The-ta ko-la, se wa-thi-be, o he e e e yo
Your friend, he had them surrounded.
“U-he Wa-ki-a-ze,” he had them surrounded.
“U-he Wa-ki-a-ze,” he had them surrounded.
Commentary:
“War Dance Songs of the Ponca, Vol. 1, Side 1, Song 9”
SPECIAL SONGS
CROW BELT HONORING SONG (THE ITHAN WAIBIDAN KENAN ZINGE)
Ponca:
The i-thaN wa-i-bi-daN ke-naN ziN-ge, o he e o
The i-thaN wa-i-bi-de, o he e e e o
He-thu-ska, ka-ge mi-ge wa-i-bi-daN ke-naN ziN-ge
The i-thaN wa-i-bi-de, o he e e e o
It was given to us in a special way.
It was given to us.
Hethuska, the Crow Belt was given in a special way.
It was given to us.
Commentary:
CHARGING SONG (DOBATHEI THA BE)
Ponca:
Do-ba-the-i tha be
Do-ba-the-i tha be
Do-ba-the-i tha be
Do-ba-the-i tha be
Do-ba-the-i tha be
Do-ba-the-i tha be
“ZiN-ga Ga-hi-ge,” wa-zo-wa ki-tha be
Do-ba-the-i tha be
Do-ba-the-i tha be
Four were sent out.
Four were sent out.
Four were sent out.
Four were sent out.
Four were sent out.
“Little Chief,” sent home abundant they say.
Four were sent out.
Four were sent out.
Commentary:
Translation given as, “‘Four (scouts) were sent out’. ‘Little Chief sent home abundant trophies they
say’.”
Commentary:
COOK’S HONORING SONG (IATA, ETHOMBE, THETE THA HO)
Ponca:
I-a-ta, e-thoM-be, the-te tha ho
U-ha, niM-be-do, u-ha, the-te, niM-be-do
I-a-ta, e-thoM-be, yo he ye o-i
U-ha, niM-be-do, u-ha, the-te, niM-be-do
I-a-ta, e-thoM-be, yo he ye ya
Earthlodge, bring it in, this collection.
What is boiled, is done indeed, what is boiled, this collection, is done indeed.
Earthlodge, bring it in.
What is boiled, is done indeed, what is boiled, this collection, is done indeed.
Earthlodge, bring it in.
Commentary:
“This is the Cook Song in the Hethuska Society. Iata means ‘the house’ or ‘the lodge’. Ethombe
means ‘to send,’ or ‘to bring in’. Uha means ‘the food,’ uha thete, ‘the food is ready to be served’."
LADY SINGER’S HONORING SONG (HETHUSKA, TEXIE, WEDONDE NONZHINGA WADOMBAGA)
Ponca:
He-thu-ska, te-xi-e
We-doN-de noN-zhiN-ga, wa-doM-ba-ga, yo he
Hethuska, it is difficult.
Sisters have risen, behold them.
Commentary:
“This song pertains to the woman singers in the Helushka Society. The words in it says, Helushka
wedonde nonzhinga wadombaga. Wedonde means ‘sister,’ noNzhiNga, ‘they have arisen’.
Wadombaga means ‘to see them’. The words only come in the second part.”
TROT SONGS
TROT SONG (A LIN GA DO, HE HAY NO)
Ponca:
A liN ga do, he hay no
A liN ga do, he hay no, hay a lay a yoi
Hay nokke tay wa sho shay
A liN ga do, he hay no, hay a lay a yoi
(Heriard & Railey, 1973, p. 5)
I’m coming, I won’t be back.
Today, enemies, bravely.
Commentary:
“The man made that song for himself. He says, ‘Today I am going on a journey, a war journey,’ hay
nokke tay wa sho shay. He did not expect to return after the battle. A lin ga do, he hay no; ‘my
enemy, I’m coming, I don’t expect to come back’.”
(Heriard & Railey, 1973, p. 5)
TROT SONG (ANBATHTE, WINA THI HE NA)
Ponca:
“AN-ba-the-te,” wi-na thi he na
O-ki-te ma-se, wi-na thi he na
“Anbathete,” today I am alone.
Enemies coming for me, today I am alone.
Commentary:
Translation given as, “This day I am the one. You other tribes, I (victorious) am the one.”
Commentary:
“Anbathete is his name. Anbathete says, okite mase wina, ‘today I am alone,’ ‘on the warpath I am
alone’. ‘My enemies might as well come after me, I am alone’.”
(Brown, 1971) and (Heriard & Railey, 1973, p. 5)
Commentary:
TROT SONG (OKITE WASHUSHE, HI THINGA)
Ponca:
O-ki-te wa-shu-she, hi thiNga ba i be do
O-we-he gaN-te, i-thiN-ga be do
O-wa-ga shaN-te, i-thiN-ga be do
O-ki-te wa-shu-she, hi thiNga ba
ON-ba-ka thi he na, Wa-koN-da e-ska-na, ma-shi na-ziN-te
O-wa-ga shaN-te, i-thiN-ga be do
Enemy brave, challenged me to enter the battle.
To enter the battle, I am told.
To go scouting, I am told.
To enter the battle I am told.
Enemy brave, challenged me to battle.
I made me angry, God will not leave, I will come back.
To enter the battle, I am told.
To go scouting, I am told.
Commentary:
“Hok ke tay wa sho shay, ‘the brave from the enemy side’, ‘he told me to come on and join in the
battle’. The Ponca brave says, ‘he did not feel good over it,’ Awaka sho day he ling ga bay do. He
didn’t feel good at heart for the enemy telling him to come join in the battle. The finale says, ‘well
I’m going to join, but I’m going to do my best to conquer the enemy. I hope God will have mercy on
me that I might come back victorious’.”
(Heriard & Railey, 1973, p. 5) and (Brown, 1971)
Commentary:
TROT SONG (THI THINGE DAN, SANTHA THISE SABE DO)
Ponca:
Thi thiN-ge daN, saN-tha thi-se sa-be do
SaN-tha thi-se sa-be do, “An-pa ZhiN-ga,” thi thiN-ge daN
AN-sa aN saN-thi-se sa-be do
A-ni-ta-thi he on-doN-sa-bo thi he na
You are gone away, memory of you stays.
Memory of you stays, “Little Elk,” you are gone away.
Returned alive with memory of you.
Suffering through life as you are gone.
Commentary:
“Thi thinge dan, in this particular case means that ‘the man had died, passed away’. Santha thise
sabe do, ‘his memory is still,’ ‘he is held in his memory’. Even though he is dead and gone, his name
lives on prominently. In the second part, Anpa Zhinga, that means ‘Little Elk,’ that was the name of
the man.”
Commentary:
“ ‘You are gone but that is all right,’ thi thinge dan. Santha thise, ‘but now I myself, I am back’. His
name was Anpa Zhinga, ‘Little Elk’. ‘I am suffering, I’m back but I am suffering’. He will suffer the
rest of his life because Anpa Zhinga was gone. This man, the composer, may have been wounded, or
he is going to suffer for the rest of his life because Little Elk was gone.”
(Brown, 1971)
Commentary:
Translation given as, “Since you are gone, you are highly regarded. Highly regarded, Little Elk. Now,
as I am alive and going through this hard life (I will follow your example.) Since you are gone, you
are highly regarded.”
Commentary:
VETERAN AND CLOSING SONGS
PONCA WWII VETERAN HONORING SONG (WIAHIDE AHI BE, WADOMBAGA)
Ponca:
Wi-a-hi-de a-hi be, wa-doM-ba-ga
She nu-ziN-ga la, wi-a-hi-de a-hi be, wa-doM-ba-ga, yo he
Wi-a-hi-de a-hi be, wa-doM-ba-ga, yo he
Wi-a-hi-de a-hi be, wa-doM-ba-ga, yo he oi
She nu-ziN-ga la, wi-a-hi-de a-hi be, wa-doM-ba-ga, yo he
Wi-a-hi-de a-hi be, wa-doM-ba-ga, yo he
Wi-a-hi-de a-hi be, wa-doM-ba-ga, yo he ya ya
(Charles, 1987, p. 37)
A great distance to fight, behold them.
There young men, a great distance to fight, behold them.
There young men, a great distance to fight, behold them.
Commentary:
“Wiahide ahi wadombaga, wiahide means ‘a great distance’. They went a great distance to fight
during the second World War. These songs are composed by the young men who went overseas,
meaning they had gone overseas. Wiahide ahi wadombaga, wadombaga means ‘to see them’. In the
second part, she nuzinga, ‘young men’ had pulled the bow, meaning they went to fight, overseas to
fight.”
PONCA VIETNAM VETERAN’S HONORING SONG (HASKA THE THO, TEXIE YABE)
Ponca:
Ha-ska the tho, te-xi-e ya-be
She nu-ziN-ga, nu-doN gya-hi ha-ska the tho
A-hi a-gthi the tho doN-ba-ga
(Glazner, 2002, p. 58)
One pure flag, a difficult time.
There young men, during war one pure flag brought back.
It is back, behold it.
Commentary:
“Ponca Vietnam Veteran’s Song composed by Sylvester Warrior, Harry Buffalohead and Lamont
Brown. Translation by Lamont Brown as, ‘Behold the flag, our boys fought or had a hard time over
it. Our young boys brought the flag back. Look at it’.”
(Glazner, 2002, p. 58)
QUITTING SONG (KOTHA NONZHIN THE)
Ponca:
Ko-tha noN-zhiN the
Ko-tha noN-zhiN the
Ko-tha noN-zhiN the
E-ha noN-zhiN hi tha-me, tho he tho-e
Ko-tha moN-thiN the
Ko-tha moN-thiN the
Ko-tha moN-thiN the
E-ha moN-thiN hi tha-me, tho he tho-e
Friend we stand.
Friend we stand.
Friend we stand.
Now stand they say.
Friend we walk.
Friend we walk.
Friend we walk.
Now walk they say.
Commentary:
“The words indicate that the members address one another: ‘Friend, we stand; friend we will
walk’.”
OTOE-MISSOURIA LANGUAGE SONGS
OTOE-MISSOURIA FLAG SONG
Pathka
-
Cloth-white
Gibrabra
-
waving in the wind
Egranye
-
they start coming back home
Agrinye
-
they come back
Goshida
-
over there
Hare
-
it is
Arasdawi
-
you all see it
KIOWA LANGUAGE SONGS
KIOWA FLAG SONG
The Kiowa adapted their flag song from the Cheyenne.
Taiko un Taigo
-
Raise our flag
Betai da o ha
-
A good thing has happened
onde onde ba om ya
-
The war is over
JACK COZAD PRAYER SONG
Jack Cozad, relative of Leonard Cozad, Sr. the founder of the Cozad Singers, is a fantastic singer, and
someone who is recognized for being a very good composer. This song still remains a favorite and
can guarantee bringing down the house.
Dawkee
-
God
Day-own
-
it is good
Dai-o
-
???
Day-own
-
it is good
Kohn
-
Grandpa
(d)hehn
-
dead
Day-own
-
it is good
Upo
-
???
Day-(kya)-own
-
it is ??? good
day-kxoe
-
to sleep/sleeping
HIDADTSA LANGUAGE SONGS
Fort Berthold Flag Song
The following Flag Song, translated to Hidatsa from Arikara by Ralph Wells circa 1942 and widely
used at Fort Berthold gatherings since then, brings us to a useful exploration of the centrality of the
way land is imagined – the imagination of territory – in creating a working definition of citizenship.
Awa hito mata nagebixxeh
-
From this land of ours, our flag (it belongs to us)
Itsa gitda itsiawa
-
The only one that is strong
Ma-i-ha (enemy) ita awago (their land) na-ka-bi-huh wa-kuts (it‘s flying/waving)
-
It‘s waving in the land of the enemy.
LAKOTA-SIOUX LANGUAGE SONGS
SIOUX FLAG SONG AND VICTORY SONG
Sioux:
Tunkašilayapi tawapaha kin oihankešni najin kte lo
Iyoĥlate oyate kin wicicagin kta ca hecamon welo.
He yuha natan pe
He yuha natan pe
Tunkašilayapi tawapaha ca he yuha natan pelo
Lakota hokšila he ohitika ca he yuha natan pe
Tunkašilayapi tawapaha ca he yuha natan pelo.
The flag of the United States will fly forever
Beneath it, the people will grow, that is why I do this
They are carrying it charging
They are carrying it charging
They are carrying the flag of the United States, charging
The brave Lakota boys are carrying it, charging
They are carrying the flag of the United States, charging.
SIOUX FLAG SONG
Sioux:
"Tunkašilayapi tawapaha kin iyuškinyan icu wo."
Eya ca iwacu we.
Ho ekta wacipi.
Le micu we.
Rejoicedly take the United States flag."
He said this and I took it.
Ho, they're dancing toward it.
Give it back to me.
INDEX
Applique, 3, 52
Bead, 37, 39, 41
Beadloom, 3, 36
Black Lodge Singers, 30, 117, 118
Blackfeet, 31, 118
Buckskin, 3, 21, 22, 23, 79, 81
Bustle, 88, 90, 96, 98, 102, 105, 117
Chicken Dance, 3, 4, 6, 8, 73, 88, 101, 115, 117
Cloth, 3, 23, 97, 153
Cree, 6, 30, 31, 116, 117, 118, 119
Crow, 15, 23, 34, 36, 41, 42, 101, 116, 117,
146
Drum, 4, 10, 22, 26, 27, 29, 31, 107, 112, 114,
119
Fan, 4, 75, 89, 90, 92, 95, 97, 100, 106
Fancy Feather, 3, 4, 9, 70, 89, 102
Fancy Shawl, 3, 24
Flag Song, 112, 114, 115, 116, 117, 118, 154
Gourd Stitch, 83
Grass Dance, 3, 4, 13, 91, 103, 114, 115, 116,
117
Harry Buffalohead, 152
Hoop Dance, 3, 11, 12
Jingle Dress, 3, 25, 113, 116, 117
Kiowa, 4, 20, 31, 100, 112, 113, 114, 153, 154
Lakota, 5, 12, 116, 117, 118, 119, 143, 155
Lazy Stitch, 3, 45, 46
Mandan, 3, 12, 66, 93, 105
Northern, 3, 4, 15, 21, 22, 23, 24, 25, 26, 29,
30, 33, 59, 71, 75, 91, 93, 95, 96, 104, 114,
116, 117, 118, 119, 121, 123, 138
Northern Cree, 30, 118, 119
Osage, 19, 23, 68, 114, 120
Otoe, 4, 112, 153
Otter Fur, 99
Pawnee, 27, 68, 112, 114, 125, 139
Peyote Stitch, 3, 50
Ponca, 4, 9, 19, 23, 27, 112, 114, 120, 122,
123, 127, 133, 146, 148, 151
Powwow, 1, 4, 8, 30, 101, 107, 113, 116, 118,
119, 120, 121
Roach, 3, 59, 62, 63, 64, 88, 89, 91, 93, 96, 99,
101, 102, 103, 104, 105
Rosette, 3, 43
Sioux, 3, 4, 5, 12, 15, 17, 18, 23, 30, 33, 45, 46,
48, 72, 96, 98, 115, 116, 117, 125, 133, 155
Southern, 3, 4, 19, 20, 21, 22, 23, 26, 27, 28,
29, 33, 68, 99, 100, 105, 112, 118, 119, 120,
121, 129, 138
Straight Dance, 3, 4, 19, 95, 99, 100, 105, 114
Trot, 4, 120, 148
Veteran, 4, 117, 118, 119, 151, 152
REFERENCE – NOCBAY LEARNING CIRCLE
This section will not feature page numbers and will be taken straight from
http://www.nocbay.com/learningcircle/index.asp
The articles are all from NocBay’s Learning Circle, a collection of short tutorials on various craft projects. The
content of the articles are (in reverse order because the formatting is odd):
1. Cutting and Stringing Buckskin Thong
2. Jingle Dress Cones
3. Women’s Breastplate, Large
3b. Women's Breastplate, Bone
4. Women’s Breastplate, Medium
5. Women’s Breastplate, Child
6. Girl's Hair tie
8. Partridge Tail Fan
9. Flat Fan
10. Women’s Shawl
11. Two Piece Leather Dress
12. Hints to Buying Buckskin Hides
13. Porky Quill Earrings
14. Children’s Pendant Necklace
15. Double Strand Necklace
16. Four Strand Choker Necklaces
16b. Bone Chocker Necklaces
17. Men’s Breastplate
17b. Men's Bone Breastplate
18. Trimming and Shaping Turkey Pointers
19. Award Feather
20. Men’s Aprons
21. Sleigh Bell Sets
22. Sheep Bell Sets
23. Rocker Roach Spreader
24. Bead and Hairpipe Bandoliers
25. Traditional Otter Bandolier
26. Fur Turban, Otter Style
26b. Fur Fabric Turban
29. Leather Roach Spreader
30. Northern and Southern Style Drumsticks
31. Key Ring Project
33. Making Twisted Fringe
34. Girl’s Shawl Dancer Dress
35. Wrap Designs
36. Fancy Dancer Arm Bustles
37. Dream Catcher earrings
38. Dream Catchers
39. Leather Pouches
40. Wrapped Medicine Wheels
41. Mandala
42. Prayer Wheel
43. Goose Feather Wing Fan
44. Acrylic and Bead Bracelet
44b. Bone and Bead Bracelet
45. Earrings Design Paper
46. Woman’s Hair Plume
47. Grass Dancer Spreader
48. Personal Pipe
49. Claw Pendant Necklace
50. Quill Medicine Wheels
51. Girls Braid Wraps
52. Necklace Pouch
53. Wrapped Wheel Earrings
54. Turtle Rattle
55. Hand Drum 14"
55b. Hand Drum 12"
56. Powwow Drum Kit
57. Hand Drum Stick
58. Powwow Drum Frames
59. Concho Belt
60. Small Pouch
61. Laced Bell Set
62. Round Roach
63. Crown Roach
64. Traditional Men’s Anklets
64b. Traditional Men's Fabric Shag Anklets
65. Extending Feather Quills
66. Attaching Wood Dowels to Traditional Bustles
67. Three Strand Necklace
69. Medallion Necklace
71. Fancy Dance Whip Sticks
72. Goose Wing Fan - Childs
73. Straitening Feathers
74. Liquid Silver Pendant Necklace
75. Chicken Dance Arm Bustle
76. Chicken Dance Bustle
77. Wrapped Hand Drum Stick
78. Attaching Cones
79. Wrapping Wing Fan Handles
80. Mounting Deer Toes
81. Fluff Hair Clip
82. Sewing Fringe
83. Bone Pendant Necklace
85. Roach Stick
86. Flute Kit
87. Feather Visor
88. Using Real Sinew
89. Selecting the Right Needle
90. Tips for Using Imitation Porky Guard Hair

AMERICAN INDIAN ACTIVITIES HANDBOOK

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