Ceremony of the Tongues.

While it is obvious from the preceding, that the medicine woman takes her vow at no fixed period in the year, the order of procedure is such that as a rule, she must have taken her vow not later than the spring of the year in which the sun dance occurs. There is no absolute prohibition to qualifying at a later time, as is often the case at present when the consent of the Indian Agent must be obtained before the ceremony is permitted, but the normal order seems to be as just stated. Any way, in the spring, the medicine woman calls upon her relatives for buffalo tongues (in recent years, those of cattle). These are then saved as requested. In passing, it may be noted that in all ceremonies, the persons upon whom the burden of responsibility falls have not only an inherent right to call upon their blood relatives, but these in turn are under obligations to respond. The number of tongues required is uncertain, some informants claiming that there should be an even hundred, others, that four to five full parfleches was the standard. Naturally, in recent years, the number has been much less. These tongues are to be sliced, parboiled, and dried like meat. The slices, however, must be perfect, without holes, and come from the interior of the tongue.

The slicing of these tongues appears to have been the first ceremony of the cycle. It is conducted by a man, usually the father, who formally announced the woman's vow and who conducts all the ceremonies in which the medicine woman takes part. There is no stipulation that the same man must direct all parts of the ceremony, but, by custom, this office is performed annually by the same man so long as he is physically capable. To this ceremony are called the medicine woman, the women who have promised to "go forward to take the tongues", and sometimes those having previously performed these functions.

The manner of formally registering the vow and of collecting the tongues is stated as follows:—

Now the woman who made the vow calls on a man and woman who have been through the medicine lodge ceremony to announce it. The man and woman come to her tipi and paint her clothes and face and those of the relative for whom the vow was made with red paint. Prayers are offered for them and a few songs sung. After this, the four stand in front of the tipi and the man announces the vow. He says, "Sun, she is going to make a sun lodge for you. I think you and those who are above can hear what is said." Then they move in turn to the south, west, and north side of the tipi, repeating the same words at each stop and finally enter the tipi.

In the spring of the year, when the people run buffalo, the woman has her tipi a little towards the front or center. It may be that she is only with one of the bands, while the rest are camped elsewhere. Her tipi stands alone a little to the west of the others. The people are then notified that the tongues are to be given to the woman. Her husband mounts his horse and sets out, taking a pipe and tobacco, but no weapons with him. When he finds a man butchering, he sits down on a robe, fills his pipe, prays for those present, and smokes with them. The butcher cuts out the tongue, wipes it off with sagegrass, and places it near the man, who has spread some buffalo dung with sagegrass on top of it in a row before him. The tongues are placed on the sage and dung. The man then takes the tongues and rides to where the next man is butchering and goes through the same procedure. After he has gathered up all the tongues he takes them home. Each time buffalo are killed the man rides out to gather in tongues until he has accumulated a hundred.

The tongues having been collected, an important ceremony follows with their boiling and slicing. An experienced man and woman are invited to direct; these are spoken of as the father and the mother. Also, all the women having made a vow "to go forward to the tongues" are invited. In addition, a number of women and men familiar with the ceremonies are called. The woman making the vow (the daughter) and her husband (the son) sit at the back of the fire; next to the former, sits the mother and then the other women; next to the latter, sits the father and then the men in order. The men sit on the north side and the women on the south. At the proper moment, the mother brings in the tongues, passing around to the south side, and lays them in rows on a half rawhide back of the fire. All the women having made vows are now called upon to slice the tongues. Their husbands must be present.

The tongues are slit open and the women are invited to slice and boil them. When all the guests are present, one of the tongues is taken and painted black on one edge and red on the other, and given to the woman who made the vow. The rest of the tongues are handed to the women for skinning and slicing; if there were more tongues than women, each was given more than one to slice. After all the women have the tongues, the woman with the painted tongue makes a confession, saying, "Sun, I have been true to my husband ever since I have been with him and all my life. Help me, for what I say is true. I will skin this tongue without cutting a hole in it or cutting my fingers."

The next woman also makes a confession, and so on. After all have confessed, they commence to skin the tongues. As the first woman takes up the knife, the song runs: "A sharp thing I have taken; it is powerful." The knife is painted, one half red, the other black. Should any of the women cut a hole in the tongue skin or cut their fingers, it is a sign that they must have lied and they are ordered from the tipi. At the outset, each woman carefully examines her tongue to see if the skin is perfect. Should a hole be found, the tongue is passed to the director who marks it with black paint. After the tongues are all skinned and sliced, they are passed back to the woman who distributed them and placed in a wooden bowl. The skins of the tongues are tied in bunches with sinew so that they can tell to which woman the skins belong.

The skins are to be boiled by two women. Two sticks are given to one woman and one to the other. All this time singing is going on. The woman who has the two sticks paints them black, while the woman who has the other, paints it red. The three sticks are tied together at one end and are used as a tripod for hanging the kettle in which the skins of the tongues are to be boiled. The legs of the tripod, the wooden kettle hook, and all other sticks are painted half in red and half in black. Also, the kettle is marked with four vertical bands of black and four of red. The four blunt sticks for stirring the pot are painted in pairs, red and black. A red and black painted stick is slipped through the bail, passed around to the north of the tipi, and handed to the two women. During all these movements there is praying and singing. The women each take hold of one end of the stick and go for water.

They make four pauses on this journey, each time praying to the sun and asserting their marital rectitude and recounting such occasions as they have been improperly approached by a man. All this time, the father and his assistants sing in the tipi. One of the women takes a cup, makes four movements with it and dips the water. At this moment the song runs:—

On the return, the women make four pauses as before. When the pail is finally within the tipi, incense is burned between the fireplace and the door and the pail held in the smudge. The father takes up the board upon which some of the tongues lie and while holding it up in one hand, shakes the cup about in the water, meanwhile making a noise like the buffalo, finally striking the pail a blow with the cup. Here the song runs:—

This may be taken as marking one stage of the ceremony. The boiling of the tongue is now in order. When all is ready, the father starts the songs in the next series. The two women hook the kettle on the tripods and while the kettle is heated, there are other songs and incense burned and the song runs:—

While the water boils, the director takes up a tongue, holds it above the kettle, lowers it slowly, making a noise as if something were drinking. After this, the women place the tongues in the kettle and proceed with the boiling. Here or elsewhere, songs accompany the ceremonial acts. The pot must not boil over.

When the tongues have cooked, the two women rise and stand by the fire as the songs begin. At the proper moment, they remove the kettle and place it on the spot where the smudge was made. First, they take out the painted tongues and then the others. The father takes up a small piece, singing:—

Then the painted tongue is passed to the daughter. Now, each of the women tears off a bit of the tongue skin and all hold up the pieces and pray. After the prayers, the pieces are placed in the earth and the tongues are hung up to dry. First, the rope is taken up and a song sung. The woman who made the vow, rises and ties one end of the rope to the tipi pole on the north side and the other end to the tipi pole on the south side, a little to the west of the fireplace. All the tongues, both painted and unpainted, are hung on this rope.

During all these ceremonies there is no regular smudge. The smudges are made with sweetgrass on the grass near the rear of the tipi. The tongues are left to hang for two days before they are taken down to be cooked. When the tongues have been hung, all return to their homes, the women taking the tongue skins with them for their relatives to eat, as they are considered to be blessed and supposed to bring good luck.

After two days, all meet again in the same tipi. The two women who went for the water place the tripods over the fire and while songs are sung, the pot is passed to them with the red painted sticks. The two women, each holding one end of the stick, go for water, praying on the way. When they return to the tipi a smudge, over which they hold the bucket of water, is made between the door and the fireplace. Then the bucket is placed beside the smudge. While the others sing, the woman who made the vow rises and first takes the painted tongue and then the others from where they were hung. They are then placed on a buffalo hide and the woman returns to her place. Four women sit down near the tongues; each one takes a tongue, one of which is the painted one. Kneeling and swaying their bodies in time with the songs, they sing the buffalo songs. The painted tongue is placed in the kettle first and a song is sung: "When buffalo go to drink; it is powerful. Where buffalo sit is powerful (natojiwa)." Then the rest of the tongues are placed in the pot which is hooked on the tripod over the fire. Songs are sung and four sticks, about the length of the forearm, for stirring the tongues, are placed where the tongues were first placed. One of the cooks takes a pair of the sticks and stirs the tongues with them. When removing the tongues from the kettle they are held between two of these sticks.

Another song, called the song of rest is sung, and all rest for a time and smoke. When the tongues are cooled, another song is sung, the two cooks rise, and taking the pot, place it over the smudge place near the door. To the singing of songs, the painted tongue first, and then the others, are taken out and placed on half a rawhide. The soup is poured into wooden bowls and distributed among those present. No tin cups must be used in drinking this soup. While all sing, the woman who made the vow rises and first takes the painted tongue and then all the others and hangs them up as before. This ends the ceremony.

Two days later, the same participants are called together to the same tipi and the woman rises and takes first the painted tongue and then the others from where they were hung. A parfleche is brought and a buffalo song sung: "Buffalo I take. Where I sit is powerful." The painted tongue and then the others are placed on the parfleche. Wild peppermint is put in with the tongues, the parfleches are tied up and placed at the rear of the tipi. Sometimes tongues are dried in front of the tipi on a stage made by setting up two travois with a lodge pole tied between them.

The man and woman who lead the ceremony must not have any metal about them. Brass rings, earrings, and all such trinkets must be taken off. Nor must there be any knives in the vicinity. Even the knives with which the tongues are cut are taken out. No one must spit in front of him, but always close to the wall under the beds. If they do, it will rain. No water is brought into the medicine lodge and when water is brought, it is covered. The only time when it is permitted to eat or drink is before sunrise and after sunset. They must be given food by the instructors. The prayers in this ceremony are prayers for good luck for everyone in the camp.

This closes the preliminaries to the ceremonies leading to the sun dance and may be designated as the cutting of the tongues. As in most other cases, there seems to have been considerable variation in this procedure, both as to time and order. Certainly, for a number of years, it has been much abbreviated. As implied in the program, this ceremony may be performed on the first day. The gathering of tongues was dependent upon circumstances and after the days of the great buffalo drives was a matter of gradual accumulation. Thus, it was explained that by necessity, the "cutting" was often repeated, though naturally with less ceremony.

The parfleches containing tongues are kept in the medicine woman's tipi where they are "prayed and sung over" during the first and second days of the program. The underlying thought seems to be that they are consecrated to the sun.

In the procession of the fourth day, the parfleches are carried behind the medicine woman by her attendants. In former years, these were the women who had promised "to go forward to the tongues." They are present at the ceremony in the medicine woman's tipi and may be said to be in attendance during the entire fasting period. At the time indicated in the program, the parfleches are opened and the women in turn step out with some of the dried tongue, face the west, and each holding up a piece, address the sun then nearing the horizon. They declare their innocence of adultery, as at the time of making the vow and cutting the tongues. They also pray for themselves and their relatives after which they distribute dried tongue among them. Finally, there is a general distribution of tongues among the people.

However, there is another aspect of their appearance at this point. The Blackfoot assume that many women have at one or more periods of their lives been invited by a man to commit the offence and that often the occasion is one of great temptation or calls for great presence of mind and will power. Now, when addressing the sun, if so approached, the woman narrates the circumstances, naming the men committing the offence, and recounts the manner of her refusal. In naming the offender, they usually say, "I suppose he hears what I say." These women are also subject to challenge of their having committed adultery. It will be seen from this that the part they take in the ceremony is an ordeal for which most women have little liking and one which they will not undertake lightly. The Blackfoot, themselves, regard it as one of the most solemn occasions in the ceremony. So far as we could learn, no one now living was ever present when one of these women was challenged, but the naming of men who were guilty of improper advances was not unusual.

A retrospect of the concept of the tongues indicates that the entire ceremony, or their association with the medicine woman and those who are sexually pure, gives them a potency that may be acquired by eating. They seem most closely associated with sexual purity since they are less primary in the function of the medicine woman than in case of those who "go forward," the former being required to possess many virtues, the latter but one. While the medicine woman fasts and keeps to her tipi, the others do not.