Notes on the Kiowa Sun Dance


Book Description




Notes on the Kiowa Sun Dance


Book Description

Notes on the Kiowa Sun Dance, has been regarded as significant work throughout human history, and in order to ensure that this work is never lost, we have taken steps to ensure its preservation by republishing this book in a contemporary format for both current and future generations. This entire book has been retyped, redesigned, and reformatted. Since these books are not made from scanned copies, the text is readable and clear.




The Kiowa Sun Dance


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New, Large Print, 15 point fontThe following notes were obtained from Andres Martinez (Andele, a Mexican captive of the Kiowa whose history is well known) in August, 1919. Attention was directed in the first instance to the organization of the dance, but a brief description of the whole ceremony was also obtained, chiefly by way of comments on Scott's account. The last Kiowa sun dance was held in 1887.The Kiowa sun dance is the prerogative of the individual who owns the sacred image, the tai'me. He deputes the ancillary offices where he sees fit, although there is a well-defined tendency for them to be hereditary. The predominant idea of this image is that of a war medicine.













Kiowa Belief and Ritual


Book Description

Benjamin Kracht's Kiowa Belief and Ritual, a collection of materials gleaned from Santa Fe Laboratory of Anthropology field notes and augmented by Alice Marriott's field notes, significantly enhances the existing literature concerning Plains religions.




Notes on the Kiowa Sun Dance


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Religious Revitalization Among the Kiowas


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Framed by theories of syncretism and revitalization, Religious Revitalization among the Kiowas examines changes in Kiowa belief and ritual in the final decades of the nineteenth century. During the height of the horse-and-bison culture, Kiowa beliefs were founded in the notion of daudau, a force permeating the universe that was accessible through vision quests. Following the end of the Southern Plains wars in 1875, the Kiowas were confined within the boundaries of the Kiowa-Comanche-Apache (Plains Apache) Reservation. As wards of the government, they witnessed the extinction of the bison herds, which led to the collapse of the Sun Dance by 1890. Though prophet movements in the 1880s had failed to restore the bison, other religions emerged to fill the void left by the loss of the Sun Dance. Kiowas now sought daudau through the Ghost Dance, Christianity, and the Peyote religion. Religious Revitalization among the Kiowas examines the historical and sociocultural conditions that spawned the new religions that arrived in Kiowa country at the end of the nineteenth century, as well as Native and non-Native reactions to them. A thorough examination of these sources reveals how resilient and adaptable the Kiowas were in the face of cultural genocide between 1883 and 1933. Although the prophet movements and the Ghost Dance were short-lived, Christianity and the Native American Church have persevered into the twenty-first century. Benjamin R. Kracht shows how Kiowa traditions and spirituality were amalgamated into the new religions, creating a distinctive Kiowa identity.




The Way to Rainy Mountain


Book Description

First published in paperback by UNM Press in 1976, The Way to Rainy Mountain has sold over 200,000 copies. "The paperback edition of The Way to Rainy Mountain was first published twenty-five years ago. One should not be surprised, I suppose, that it has remained vital, and immediate, for that is the nature of story. And this is particularly true of the oral tradition, which exists in a dimension of timelessness. I was first told these stories by my father when I was a child. I do not know how long they had existed before I heard them. They seem to proceed from a place of origin as old as the earth. "The stories in The Way to Rainy Mountain are told in three voices. The first voice is the voice of my father, the ancestral voice, and the voice of the Kiowa oral tradition. The second is the voice of historical commentary. And the third is that of personal reminiscence, my own voice. There is a turning and returning of myth, history, and memoir throughout, a narrative wheel that is as sacred as language itself."--from the new Preface