#Sioux legends of nature

[blueheartbookclub]

"Exploring the Rich Tapestry of Sioux Culture: A Review of Myths and Legends of the Sioux by Mrs. Marie L. McLaughlin"

Myths and Legends of the Sioux, as compiled by Mrs. Marie L. McLaughlin, presents readers with a captivating journey into the rich cultural heritage of the Sioux people. Through a collection of traditional stories passed down through generations, McLaughlin provides invaluable insights into the spiritual beliefs, customs, and values of this indigenous community.

At the heart of the book lies a deep reverence for storytelling as a means of preserving and transmitting cultural knowledge. McLaughlin's meticulous retelling of these myths and legends not only preserves the oral tradition of the Sioux but also offers readers a window into their worldview, spirituality, and collective identity. From creation myths and tales of heroism to legends of nature spirits and animal guides, each story is imbued with symbolism, wisdom, and a profound connection to the natural world.

One of the most striking aspects of Myths and Legends of the Sioux is its portrayal of the interconnectedness between humanity and the natural environment. Through stories of animal spirits and sacred landscapes, McLaughlin highlights the Sioux people's deep respect for the earth and its inhabitants. These narratives serve as reminders of the importance of living in harmony with nature and honoring the sacredness of all life—a message that resonates now more than ever in an era of environmental crisis.

Moreover, the book offers readers a glimpse into the spiritual beliefs and rituals of the Sioux people, shedding light on their understanding of the divine and the supernatural. From the veneration of ancestral spirits to the significance of vision quests and sacred ceremonies, McLaughlin paints a vivid picture of a culture steeped in reverence for the spiritual realm. Through these stories, readers gain insight into the Sioux people's deep sense of connection to the cosmos and their belief in the power of the unseen forces that shape their lives.

In addition to its cultural and spiritual significance, Myths and Legends of the Sioux serves as a testament to the resilience and strength of indigenous storytelling traditions. Despite centuries of colonization, displacement, and cultural assimilation, the oral traditions of the Sioux people have endured, serving as a source of resilience, empowerment, and cultural pride. Through McLaughlin's careful retelling, these stories continue to inspire and educate readers of all backgrounds, fostering a deeper appreciation for the richness and diversity of indigenous cultures.

In conclusion, Myths and Legends of the Sioux is a captivating exploration of Sioux culture, spirituality, and storytelling traditions. Through its collection of traditional myths and legends, Mrs. Marie L. McLaughlin invites readers on a journey of discovery and reflection, offering invaluable insights into the timeless wisdom and enduring resilience of the Sioux people. With its rich tapestry of stories and profound insights, this book is a must-read for anyone interested in indigenous cultures, folklore, and the power of storytelling to preserve and celebrate cultural heritage.

Myths and Legends of the Sioux, by Mrs. Marie L. McLaughlin, is available in Amazon in paperback 12.99$ and hardcover 20.99$ editions.

Number of pages: 242

Language: English

Rating: 10/10                                           

Link of the book!

Review By: King's Cat

[blueheartbooks]

"Exploring the Rich Tapestry of Sioux Culture: A Review of Myths and Legends of the Sioux by Mrs. Marie L. McLaughlin"

Myths and Legends of the Sioux, as compiled by Mrs. Marie L. McLaughlin, presents readers with a captivating journey into the rich cultural heritage of the Sioux people. Through a collection of traditional stories passed down through generations, McLaughlin provides invaluable insights into the spiritual beliefs, customs, and values of this indigenous community.

At the heart of the book lies a deep reverence for storytelling as a means of preserving and transmitting cultural knowledge. McLaughlin's meticulous retelling of these myths and legends not only preserves the oral tradition of the Sioux but also offers readers a window into their worldview, spirituality, and collective identity. From creation myths and tales of heroism to legends of nature spirits and animal guides, each story is imbued with symbolism, wisdom, and a profound connection to the natural world.

One of the most striking aspects of Myths and Legends of the Sioux is its portrayal of the interconnectedness between humanity and the natural environment. Through stories of animal spirits and sacred landscapes, McLaughlin highlights the Sioux people's deep respect for the earth and its inhabitants. These narratives serve as reminders of the importance of living in harmony with nature and honoring the sacredness of all life—a message that resonates now more than ever in an era of environmental crisis.

Moreover, the book offers readers a glimpse into the spiritual beliefs and rituals of the Sioux people, shedding light on their understanding of the divine and the supernatural. From the veneration of ancestral spirits to the significance of vision quests and sacred ceremonies, McLaughlin paints a vivid picture of a culture steeped in reverence for the spiritual realm. Through these stories, readers gain insight into the Sioux people's deep sense of connection to the cosmos and their belief in the power of the unseen forces that shape their lives.

In addition to its cultural and spiritual significance, Myths and Legends of the Sioux serves as a testament to the resilience and strength of indigenous storytelling traditions. Despite centuries of colonization, displacement, and cultural assimilation, the oral traditions of the Sioux people have endured, serving as a source of resilience, empowerment, and cultural pride. Through McLaughlin's careful retelling, these stories continue to inspire and educate readers of all backgrounds, fostering a deeper appreciation for the richness and diversity of indigenous cultures.

In conclusion, Myths and Legends of the Sioux is a captivating exploration of Sioux culture, spirituality, and storytelling traditions. Through its collection of traditional myths and legends, Mrs. Marie L. McLaughlin invites readers on a journey of discovery and reflection, offering invaluable insights into the timeless wisdom and enduring resilience of the Sioux people. With its rich tapestry of stories and profound insights, this book is a must-read for anyone interested in indigenous cultures, folklore, and the power of storytelling to preserve and celebrate cultural heritage.

Myths and Legends of the Sioux, by Mrs. Marie L. McLaughlin, is available in Amazon in paperback 12.99$ and hardcover 20.99$ editions.

Number of pages: 242

Language: English

Rating: 10/10                                           

Link of the book!

Review By: King's Cat

[randomtimes-com]

Hanwi, Sioux Moon Goddess

Hanwi is the Moon Goddess of the Sioux Tribe of Native American Indigenous people, an ancient and deeply spiritual people. There are three main groups in the upper Midwest of the United States today: the Dakota to the west, the Lakota to the east, and Nakota between them. Just like the moon pierces the darkness of the night it is believed that Hanwi pierces the darkness of your soul and protects…

[whencyclopedia]

The Dun Horse

The Dun Horse is a Pawnee tale about a poor boy and his grandmother, who find an old horse and take it in. The horse turns out to be magical, however, and improves their fortunes considerably. Like many Pawnee legends – and Native American tales generally – the story highlights the importance of kindness and of following instructions.

In Pawnee spiritual belief, the Great Spirit was the Creator God Ti-ra'wa ("Father Above"), who, despite any evidence to the contrary, was always in control of the created world. Aspects of the world that one judged to be "good" or "bad" were only so in one's opinion as no "bad" thing could come from Ti-ra'wa. The wisdom of the elders, and of the natural world, was understood to come from this same source, and so there are many stories of talking animals, or of elder characters, providing instruction which one ignored at one's peril.

In many stories, including the Wihio tales of the Cheyenne and the Iktomi tales of the Sioux, failing to follow instructions leads to failure – or even death – while, in The Dun Horse, the central character is given a second chance by Ti-ra'wa after his failure, learns from his mistake, and is rewarded for his kindness, faithfulness, and courage.

Text

The following is taken from Pawnee Hero Stories and Folk-Tales (1889) by George Bird Grinnell. As in many Native American tales, the number four is repeated as it is understood as sacred, representing the cardinal points of the compass and the spirits who preside over the directions.

I.

Many years ago, there lived in the Pawnee tribe an old woman and her grandson, a boy about sixteen years old. These people had no relations and were very poor. They were so poor that they were despised by the rest of the tribe. They had nothing of their own; and always, after the village started to move the camp from one place to another, these two would stay behind the rest, to look over the old camp, and pick up anything that the other Indians had thrown away, as worn out or useless. In this way they would sometimes get pieces of robes, worn out moccasins with holes in them, and bits of meat.

Now, it happened one day, after the tribe had moved away from the camp, that this old woman and her boy were following along the trail behind the rest, when they came to a miserable old worn-out dun horse, which they supposed had been abandoned by some Indians. He was thin and exhausted, was blind of one eye, had a bad sore back, and one of his forelegs was very much swollen. In fact, he was so worthless that none of the Pawnees had been willing to take the trouble to try to drive him along with them. But when the old woman and her boy came along, the boy said, "Come now, we will take this old horse, for we can make him carry our pack." So, the old woman put her pack on the horse, and drove him along, but he limped and could only go very slowly.

II.

The tribe moved up on the North Platte, until they came to Court House Rock. The two poor Indians followed them and camped with the others. One day while they were here, the young men who had been sent out to look for buffalo, came hurrying into camp and told the chiefs that a large herd of buffalo were near, and that among them was a spotted calf.

The Head Chief of the Pawnees had a very beautiful daughter, and when he heard about the spotted calf, he ordered his old crier to go about through the village and call out that the man who killed the spotted calf should have his daughter for his wife. For a spotted robe is ti-war´-uks-ti—big medicine .

The buffalo were feeding about four miles from the village, and the chiefs decided that the charge should be made from there. In this way, the man who had the fastest horse would be the most likely to kill the calf. Then all the warriors and the young men picked out their best and fastest horses and made ready to start. Among those who prepared for the charge was the poor boy on the old dun horse. But when they saw him, all the rich young braves on their fast horses pointed at him, and said, "Oh, see; there is the horse that is going to catch the spotted calf;" and they laughed at him, so that the poor boy was ashamed, and rode off to one side of the crowd, where he could not hear their jokes and laughter.

When he had ridden off some little way, the horse stopped, and turned his head round, and spoke to the boy. He said, "Take me down to the creek, and plaster me all over with mud. Cover my head and neck and body and legs." When the boy heard the horse speak, he was afraid; but he did as he was told. Then the horse said, "Now mount, but do not ride back to the warriors, who laugh at you because you have such a poor horse. Stay right here, until the word is given to charge." So, the boy stayed there.

And presently all the fine horses were drawn up in line and pranced about and were so eager to go that their riders could hardly hold them in; and at last, the old crier gave the word, "Loo-ah"—Go! Then the Pawnees all leaned forward on their horses and yelled, and away they went. Suddenly, away off to the right, was seen the old dun horse. He did not seem to run. He seemed to sail along like a bird. He passed all the fastest horses, and in a moment, he was among the buffalo. First, he picked out the spotted calf, and charging up alongside of it, U-ra-rish! straight flew the arrow. The calf fell. The boy drew another arrow and killed a fat cow that was running by. Then he dismounted and began to skin the calf before any of the other warriors had come up. But when the rider got off the old dun horse, how changed he was! He pranced about and would hardly stand still near the dead buffalo. His back was all right again; his legs were well and fine; and both his eyes were clear and bright.

The boy skinned the calf and the cow that he had killed, and then he packed all the meat on the horse and put the spotted robe on top of the load, and started back to the camp on foot, leading the dun horse. But even with this heavy load the horse pranced all the time and was no longer scared at everything he saw. On the way to camp, one of the rich young chiefs of the tribe rode up by the boy and offered him twelve good horses for the spotted robe, so that he could marry the Head Chief's beautiful daughter; but the boy laughed at him and would not sell the robe.

Now, while the boy walked to the camp leading the dun horse, most of the warriors rode back, and one of those that came first to the village, went to the old woman, and said to her, "Your grandson has killed the spotted calf." And the old woman said, "Why do you come to tell me this? You ought to be ashamed to make fun of my boy because he is poor." The warrior said, "What I have told you is true," and then he rode away. After a little while another brave rode up to the old woman, and said to her, "Your grandson has killed the spotted calf." Then the old woman began to cry, she felt so badly because everyone made fun of her boy, because he was poor.

Pretty soon the boy came along, leading the horse up to the lodge where he and his grandmother lived. It was a little lodge, just big enough for two, and was made of old pieces of skin that the old woman had picked up and was tied together with strings of rawhide and sinew. It was the meanest and worst lodge in the village. When the old woman saw her boy leading the dun horse with the load of meat and the robes on it, she was very much surprised. The boy said to her, "Here, I have brought you plenty of meat to eat, and here is a robe, that you may have for yourself. Take the meat off the horse." Then the old woman laughed, for her heart was glad. But when she went to take the meat from the horse's back, he snorted and jumped about, and acted like a wild horse. The old woman looked at him in wonder and could hardly believe that it was the same horse. So, the boy had to take off the meat, for the horse would not let the old woman come near him.

III.

That night the horse spoke again to the boy and said, "Wa-ti-hes Chah´-ra-rat wa-ta. To-morrow the Sioux are coming—a large war party. They will attack the village, and you will have a great battle. Now, when the Sioux are drawn up in line of battle, and are all ready to fight, you jump on to me, and ride as hard as you can, right into the middle of the Sioux, and up to their Head Chief, their greatest warrior, and count coup on him, and kill him, and then ride back. Do this four times, and count coup on four of the bravest Sioux, and kill them, but don't go again. If you go the fifth time, maybe you will be killed, or else you will lose me. La-ku´-ta-chix—remember." So, the boy promised.

The next day it happened as the horse had said, and the Sioux came down and formed a line of battle. Then the boy took his bow and arrows, and jumped on the dun horse, and charged into the midst of them. And when the Sioux saw that he was going to strike their Head Chief, they all shot their arrows at him, and the arrows flew so thickly across each other that the sky became dark, but none of them hit the boy. And he counted coup on the Chief, and killed him, and then rode back. After that he charged again among the Sioux, where they were gathered thickest, and counted coup on their bravest warrior, and killed him. And then twice more, until he had gone four times as the horse had told him.

But the Sioux and the Pawnees kept on fighting, and the boy stood around and watched the battle. And at last, he said to himself, "I have been four times and have killed four Sioux, and I am all right, I am not hurt anywhere; why may I not go again?" So, he jumped on the dun horse, and charged again. But when he got among the Sioux, one Sioux warrior drew an arrow and shot. The arrow struck the dun horse behind the forelegs and pierced him through. And the horse fell down dead. But the boy jumped off, and fought his way through the Sioux, and ran away as fast as he could to the Pawnees. Now, as soon as the horse was killed, the Sioux said to each other, "This horse was like a man. He was brave. He was not like a horse." And they took their knives and hatchets, and hacked the dun horse and gashed his flesh, and cut him into small pieces.

The Pawnees and Sioux fought all day long, but toward night the Sioux broke and fled.

IV.

The boy felt very badly that he had lost his horse; and, after the fight was over, he went out from the village to where it had taken place, to mourn for his horse. He went to the spot where the horse lay, and gathered up all the pieces of flesh, which the Sioux had cut off, and the legs and the hoofs, and put them all together in a pile. Then he went off to the top of a hill nearby and sat down and drew his robe over his head and began to mourn for his horse.

As he sat there, he heard a great windstorm coming up, and it passed over him with a loud rushing sound, and after the wind came a rain. The boy looked down from where he sat to the pile of flesh and bones, which was all that was left of his horse, and he could just see it through the rain. And the rain passed by, and his heart was very heavy, and he kept on mourning.

And pretty soon, came another rushing wind, and after it a rain; and as he looked through the driving rain toward the spot where the pieces lay, he thought that they seemed to come together and take shape, and that the pile looked like a horse lying down, but he could not see well for the thick rain.

After this, came a third storm like the others; and now when he looked toward the horse, he thought he saw its tail move from side to side two or three times, and that it lifted its head from the ground. The boy was afraid, and wanted to run away, but he stayed.

And as he waited, there came another storm. And while the rain fell, looking through the rain, the boy saw the horse raise himself up on his forelegs and look about. Then the dun horse stood up.

V.

The boy left the place where he had been sitting on the hilltop and went down to him. When the boy had come near to him, the horse spoke and said, "You have seen how it has been this day; and from this you may know how it will be after this. But Ti-ra´-wa has been good and has let me come back to you. After this, do what I tell you; not any more, not any less." Then the horse said, "Now lead me off, far away from the camp, behind that big hill, and leave me there to-night, and in the morning come for me;" and the boy did as he was told.

And when he went for the horse in the morning, he found with him a beautiful white gelding, much more handsome than any horse in the tribe. That night the dun horse told the boy to take him again to the place behind the big hill, and to come for him the next morning; and when the boy went for him again, he found with him a beautiful black gelding. And so for ten nights, he left the horse among the hills, and each morning he found a different colored horse, a bay, a roan, a gray, a blue, a spotted horse, and all of them finer than any horses that the Pawnees had ever had in their tribe before.

Now the boy was rich, and he married the beautiful daughter of the Head Chief, and when he became older, he was made Head Chief himself. He had many children by his beautiful wife, and one day when his oldest boy died, he wrapped him in the spotted calf robe and buried him in it. He always took good care of his old grandmother and kept her in his own lodge until she died. The dun horse was never ridden except at feasts, and when they were going to have a doctors' dance, but he was always led about with the Chief, wherever he went. The horse lived in the village for many years, until he became very old. And at last, he died.

Continue reading...

[valseorcstra]

Siouxsie Sioux, Kaleidoscope Style ☽

— As a kid I always played around with make-up and the visual look of things. It was just a natural part of me having fun. But of course coming from the suburbs, you got this amazing reaction where jaws are being dropped. I think the suburbs are so restrictive and narrow-minded and it's very much about not standing out. There were all these gardens neatly in a row and then there was us at the end of the road with a huge hedge and trees hanging out.

— A style is something that I call unique to one person, somebody that nobody else, no matter how much money they’ve got, could ever carry off (...) It’s about being able to create an aura around yourself. You see legends on the streets, really.

— Not the goth thing. What I really resent about people sticking labels on you, is that it cuts off the other elements of what you are, because it can only deal with black and white: the cartoon

[terranautica]

welcome!

this blog loves planet earth and the people in it.

some notes:

I generally try to identify places + groups

I try to make conscious decisions about tags that respect cultural identities, consider historical context and reject imperialism. I realize this is impossible and messy and doomed to be inconsistent. choices I've made include one Korea, one Ireland, and multiple tags for separatist states, i.e. Scotland, Catalan Countries.

I am currently unsure when or if it makes sense to tag the "bigger" nation in a post about an autonomous region, ex. China and Tibet, Faroe Islands and Denmark. I want to respect widespread independence movements, but also not become bloated with regional tags. Tibet deserves to be free of China but I have to laugh at modern Texas separatism.

Israel does not get a tag. Jewish diaspora, Free Palestine, genocide, USA, or anti imperialism are used.

I am not always sure when to use the indigenous peoples tag. if I am unsure I will probably leave it out.

except the history and prehistory tag, I currently am not tagging things that no longer exist, ex. Soviet Union, Roman Empire. I may instead tag with related tags, ex. Russia, Greece

Tags like EU, UK, Africa, Asia, Latin American, Polynesian, etc. are used in posts that refer to many places/groups collectively ex. Lunar New Year in Asia

I try to tag the country/group that an artist/writer/creator belongs to, ex. a post featuring Baldwin tagged with USA, literature, black diaspora

tags are ever-evolving!

country/place tags:

Africa, Albania, Angolia, Argentina, Armenia, Asia, Australia, Austria, Azerbaijan, Belarus, Belgium, Bhutan, Bosnia and Herzegovina, Botswana, Brazil, Bulgaria, Cameroon, Canada, Catalan Countries, Central African Republic, Chad, Chile, China, Colombia, Congo, Cuba, Czechia, Denmark, Dominican Republic, Emirates, Estonia, Ethiopia, EU, Faroe Islands, Finland, France, Germany, Greece, Greenland, Guatemala, Haiti, Hawai'i, Hungary, Iberia, Iceland, India, Iran, Ireland, Italy, Japan, Kazakhstan, Kenya, Korea, Kosovo, Kyrgyzstan, Latvia, Lithuania, Malaysia, Maldives, Mexico, Moldova, Mongolia, Montenegro, Mozambique, Namibia, New Zealand, Niger, Nigeria, North Macedonia, Norway, Pakistan, free Palestine, Panama, Paraguay, Peru, Philippines, Portugal, Puerto Rico, Qatar, Romania, Russia, Scotland, Serbia, Slovakia, Slovenia, Somalia, South Africa, South Sudan, Spain, Sri Lanka, Sudan, Sweden, Switzerland, Syria, Taiwan, Tajikistan, Tanzania, Thailand, free Tibet, Turkey, Uganda, Ukraine, USA, Uzbekistan, Vietnam, Wales, West Papau, Yemen, Zambia, Zimbabwe

diaspora + ethnic group + cultural group tags:

Ainu, Apache, Bahá'í, Basque, Black diaspora, Chechen, Choctaw, Chulym, Dakota, Dharumbal, Dolgan, Galician, Gavião, Guarani-Kaiowá, Hui, Igbo, immigrants, Ingorot, Inuit, Ixil, Jewish diaspora, Karakalpak, Kashmir, Kazakh, Ket, Khakas, Lakota, Latin American, Lezgin, Mah Meri, Maka, Makonda, Mari, Mohegan, Ojibwe, Pataxo, Polynesian, Pueblo peoples, Purepecha, Q'eqchi', Rapa Nui, Rohingya, Romani, Rukai, Ryukyuan, Sakapultek, Samburu, Sámi, Selkup, Sioux, Tamil, Tatar, Tigray, Tlingit, Tokalau, Uyghur, Yazidi

culture + other tags:

agriculture, airports, animals and wildlife, architecture, art, children, clothing and textiles, dance, ecology and environmentalism, festivals and holidays, film and tv, food, geopolitics, history, infrastructure, language, literature, maps, music, myth and legend, my posts, nature, prehistory, postcards and stamps, public transportation, religions and belief systems, solidarity, sports and games, traditions and customs, true spirit of the blog, urban landscape, water and boats, women

ugly tags:

acab, anti capitalism, anti imperialism, anti misogyny, anti xenophobia, genocide

[shamandrummer]

Pass the Pipe

You've probably heard the expression "pass the peace pipe." It might have been when two parties struck a compromise after previously being at an impasse. The phrase comes from early American settlers and soldiers who noticed Indigenous peoples smoking ceremonial pipes during treaty signings. They misunderstood this to mean pipe smoking symbolized peacemaking in Native American culture and hence the word "peace pipe" and phrases like "pass the peace pipe" came about.

But, like many conventional American ideas about the history and culture of Indigenous peoples, the term peace pipe is a misnomer, says Gabrielle Drapeau, an interpretive park ranger at Minnesota's Pipestone National Monument and an enrolled member of the Yankton Sioux Tribe of South Dakota. Tribal enrollment requirements preserve the unique character and traditions of each tribe. The tribes establish membership criteria based on shared customs, traditions, language and tribal blood.

Many Native Americans smoke pipes -- and not just in recognition of peace, but in ceremony and prayer as well as a way to connect with God. "So, don't use the term peace pipe," Drapeau says. "It's just pipe."

But these were -- and are still -- not just pipes. These artifacts, the tradition of pipe smoking and the ceremonies during which they are smoked hold far more significance for American Indian peoples across North America than the misnomer conveys.

A Short History of the Ceremonial Pipe

There is no singular word for these ceremonial pipes that spans all Native American cultures. The broad term often given to them is calumet, from the French word chalumet, which means reed or flute. Various tribes have their own unique names in their own languages. For example, the Lakota sacred pipe is called a chanunpa.

Ceremonial pipes have been a part of several Native American cultures for at least 5,000 years and are still used for ceremony and prayer. "I grew up this way. It's the only way I know how to pray," Drapeau says. "To me, it is like a physical representation of your connection to God."

The legends of how tribe elders first received pipes differ, too. According to Lakota legend, the first pipe was brought to Earth 19 generations ago by a divine messenger known as White Buffalo Calf Woman (known in the Lakota language as Pte-san Win-yan). The pipe was given to the people who would not forget -- the Oceti Sakowin, or Seven Council Fires of the Lakota, Dakota and Nakota nations. The Buffalo Calf Woman came to the tribes when there was a great famine and instructed them about living in balance with nature. She gifted the people with a sacred bundle containing the White Buffalo Calf Pipe, which still exists to this day and is kept by Chief Arvol Looking Horse of the Cheyenne River Sioux Tribe. Other members of the tribes are also pipe carriers: stewards entrusted with the care of particular ceremonial and personal pipes.

[azuremallone]

Park's closed, the moose out front shoulda told ya.

Quick lookup on this indicates that "Human Zoos" were not "Zoos" in the context of the term we view today. They were "Zoos" in name only. Many of the people presented in these were exploited, which is true, but many more were housed, adequately paid for the time, and fed. They were not captives.

The term "Human Zoos" is misrepresentative of the actual things they were. These were sideshows depicting a specific culture's way of life to people who knew nothing about them. On one hand, it exposed Europeans to vastly different cultures' ways of life and customs. In the United States, this was similarly done, but short-lived because there was no interest. Many of the photos regarding this term are incorrectly cited.

One incorrectly cited photo depicts Filipino men in a village dancing, purported to be at the Louisiana Purchase. The Louisiana Purchase took place in 1803. The photos back then were done on silver nitrate. The subject of such a photo could absolutely not be in motion, standing still for up to 30 seconds while the photo was etching or it would be blurry.

While yes, the photo is of the very subjects indicated, they were photographed as part of an exhibit depicting their traditional way of life. This was the case with many of these "Human Zoos."

The picture above of this little girl is one of these falsely attributed photographs. She is not participating in a Human Zoo. All sources citing this photo otherwise are "Democrat" or "Liberalized" websites, but a bulk majority are craptastic sites regurgitating this fallacy.

"In 1896, to increase the number of visitors, the Cincinnati Zoo invited one hundred Sioux Native Americans to establish a village at the site. The Sioux lived at the zoo for three months.[29]"

This is true as cited here: https://en.wikipedia.org/wiki/Human_zoo

However, this article makes very charged statements with no discernable facts. The true facts are properly cited, however. Yet in reading that sentence, "invited" is the key word. The Sioux did not have to accept. They chose to accept in order to educate and expose people about their way of life, and they spoke at great lengths with people about how they have been treated, the wrongs and good that they have experienced, and their beliefs in treating Nature with reverence.

Much later, Knott's Berry Farm had a similar exhibit with the same Sioux Tribe. I was there when they had this as an exhibit in the section called "Indian Village" where all the performers were Native Americans that children could talk to and learn about their culture then and now. Furthermore, Knott's has revived this effort to improve cultural respect among people.

So what exactly are Human Zoos?

Human Zoos exist on Aruogan Prime. Those aliens have a tendency to hire certain Grays who steal Humans for various purposes ranging from sexual to experimental. Be fortunate if you land in a Zoo on this world, as you'll live a life of luxury at the expense of being you.

The first Human Zoos on Earth were all in Europe and not all were good natured. Those that were had sponsors to help promote and educate people about other cultures. Bad exhibits indicated these cultures as primitive and did little to educate. Good exhibits allowed people to see how other cultures lived and helped expose Europeans to these people's lives.

Hitler banned these exhibits because they were not in alignment with his goals toward racial purity and power, and not done out of the goodness of his kind soul.

The majority of the exhibits in the United States and Europe in the early 20th Century were not in any way shape or form of slavery. These were people from cultures that were invited, paid, housed, and fed for a period of time before returning home -- in most cases. In some cases, they opted to remain in the United States or Europe as citizens. In other cases, they already were citizens.

I'm only responding to this to raise a point that if it sounds salacious or inflammatory: Look it up, investigate, and if it smells funny or looks misleading, it may be bullshit. A closer inspection of the Wikipedia page shows that there's something not right with it. It conflates Nudist colonies as "Human Zoos" and talks about these in the terms of 1935-36 and 1939. However, these places existed at least until the 80s. They are nudist colonies. The citation and inclusion has nothing to do with the article.

[zakabagans]

THE CRESCENT HOTEL

There are countless layers of history and tragedy at Crescent Hotel. History, ghost sightings and reports of unexplained phenomena.

This land was known by the Native Americans as a place with healing waters. There's a Sioux legend that tells of a princess who lost her sight, but after washing her eyes in Basin Spring, her eyesight was fully restored.

For centuries, people have been coming here because of the healing properties of the mineral water in the natural springs. The influx of wealthy visitors helped her earn the nickname: "Grand Lady of the Ozarks".

The grand lobby is a thing of beauty. By the time it opened on May 20, 1886, it was considered the most luxurious resort hotel of the time. The 78 guest rooms were large and the dining room could hold over 500 people. Outside, there were swimming pools, tennis courts, boardwalks and gazebos.

In 1937, Norman Baker bought the property and transformed it into a hospital, advertising a "miracle cure" for cancer that required no surgeries or painful tests. He claimed patients would leave cancer-free, but many of them never got the chance to find out.

People came to stay at the Baker hospital and receive these miracle experimental treatments. That's when the cold storage in the basement was turned into a morgue for those patients who were beyond help.

In 1939, Baker came under federal investigation. The US Postal Inspector believes Baker made as much as $500,000 per year selling his elixirs through the mail, and defrauded cancer patients out of $4 million.

Dr. John Freemont Ellis, the hotel's physician during the Victorian Era, is a "long-time" guest of the hotel. He is often seen on the staircase from the second floor to the lobby, and wears a top hat and fine clothing.

Guests have reported seeing disappearing pools of blood, a morgue ghost, two nurses and a young girl who visits the bathrooms in the hallways.

The most well-known ghost at the Crescent is Michael, a stonecutter who fell to his death near room 218. It is speculated that he was flirting with the ladies when he died.

[deanorosphoto]

Above: Original Artwork THE SLEEPING GIANT. Now available.

AN ICONIC LANDMARK.

Photographed in high resolution, this original artwork of Thunder Bay’s Sleeping Giant was captured early dawn on a summer’s day. 

Each custom piece of artwork of this photograph is created at time of order. Available in a variety of sizes as a gallery-wrapped giclee canvas and custom fine-art print. 

Delivery options: Local pickup in Thunder Bay, courier and international courier.

Buy artwork of THE SLEEPING GIANT.

WHAT IS THE SLEEPING GIANT?

Nestled on the shores of northwestern Ontario’s Lake Superior, the Sleeping Giant is a series of mesas formed by the erosion of thick, basaltic sills on Sibley Peninsula, which resembles a giant lying on its back when viewed from the west to north-northwest section of Thunder Bay, Ontario, Canada.

It is home to over 100km of incredible hiking trails with ample opportunity for camping, swimming, mountain biking, cross-country skiing and views worth the climb.

THE OJIBWE´ LEGEND. 

Ojibwe´, also spelled Ojibwa or Ojibway, self-name Anishinaabe, are the Omàmìwininìmowin speaking (the Algonquin language) First Nations who live in the northwestern area of the Ontario Province (Canada) - from where the Sleeping Giant legend originates. Their population extends throughout the rest of Ontario and Manitoba into the American states of Minnesota and North Dakota.

The Ojibwe´ legend of this natural wonder tells the story of the Giant Nanabijou, the Spirit of the Deep Sea Water, who was turned to stone when the secret location of a rich silver mine, now known as Silver Islet, was disclosed to white fur traders... Europeans who had arrived on this part of the world.

There are variations of this legend. This is one of them.

Nanabijou rewarded the Ojibwe´ people for their peaceful way of living and loyalty with a silver-rich mine, now known as Silver Islet at the foot of the Giant. Nanabijou had the Ojibwe´ promise to keep the mine and its location secret, warning that if the mine was revealed to the white man the Ojibwe´ people would perish and Nanabijou himself would be turned to stone. 

Using silver from the mine to make jewelry and ornaments, the Ojibwe´ garnered an envious reputation for their beauty. Their popularity eventually led to the discovery of the mine by a warrior of the neighbouring Sioux nation.

The Sioux warrior, during the journey back to his tribe, came into contact with white fur traders. Legend has it that these white men “cajoled him with food and drink” when they saw the silver. The Sioux warrior divulged the source and location of the silver, and the promise made to Nanabijou the Spirit of the Deep Sea Water, was forever broken. The white fur traders, enroute to the Silver Islet to take silver from the mine, drowned in a vicious storm that came out of nowhere. And where there once was a wide entrance to the mine now lies the stone figure of Nanabijou—the Sleeping Giant nestled in the waters of Lake Superior.

ACKNOWLEDGEMENT.

I wish to acknowledge the land where I live and work are the traditional lands of the Anishinabek Nation, the traditional territory of Fort William First Nation and the lands of the Robinson Superior Treaty of 1850.

See you again. Thanks for visiting.

Main website: deanorosphoto.com

[the-ethereal-serpent]

Lunar Goddesses

☽⦁──────── ⦁⧊⦁ ────────⦁☾

☽⦁──────── ⦁⧊⦁ ────────⦁☾

Aega

(Greek)

A beautiful moon deity. Her mother Gaia, the ancient earth Goddess, hid her in a cave during a Titan attack on the Olympic deities to prevent her from being taken away.

Aine

(Celtic)

Goddess of love, growth, cattle and light. The name of this Celtic Goddess means "bright" as she lights up the dark. Celebrations to this Goddess were held on Midsummer night

Anahita

(Persian)

A river Goddess who was also Goddess of Venus and the moon. Her name means "pure" Or immaculate one" as she represented the cleansing and fertilizing flow of the cosmos.

Andromeda

(Greek)

Although today she is linked with the stars many scholars believe that Andromeda was a pre-Hellenic moon deity.

Anunit

(Babylonian)

Goddess of the moon and battle. She was also associated with the evening star and later became known as Ishtar.

Arianrhod

(Celtic)

Goddess of the moon and stars, her name means "silver- wheel" the wheel of the year and the web of fate.

Artemis

(Greek)

The Greek Goddess of the hunt, nature and birth. This maiden Goddess is symbolized by the crescent moon.

Arawa

(African)

Lunar Goddess of the Suk and Pokot tribes of Kenya and Uganda. Her parents were the creator God Tororut and his consort Seta.

Athenesic

(Native North American)

A moon Goddess of several north central Native American tribes,

Auchimalgen

(South American)

This moon Goddess was a Deity of divination and a protectress from evil spirits.

Bendis

(Greek)

Bendis was the consort of the sun God Sabazius. Her cult flourished in Athens during the fifth century BCE.

Britomartis

(Crete)

In addition to her lunar attributes she was also the patron Goddess of Cretan sailors.

Candi

(Indian)

The female counterpart to Chandra, ancient Hindu lord of the Moon. The two were said to take turns: one month the Candi would become the moon and the next Chandra fulfill the role.

Cerridwen

(Celtic)

This crone, Goddess is most famous for her cauldron of wisdom. She was the mother of the great bard Taliesin, and is deeply linked to the image of the waning moon.

Chang- O

(Chinese)

The Chinese Goddess who lived on the moon She is celebrated to this day on full moon night of the 8th lunar month.

Coyolxauhqui

(Aztec)

Aztec moon Goddess, her name means "Golden Bells." She was the daughter of the Earth goddess, Coatlicue and the sister of the Sun god, Huitzilopochtli.

Dae-Soon

(Korean)

Lunar Goddess.

Diana

(Roman)

Diana was the Goddess of the hunt and wild animals. She later took over from Luna as the Roman Goddess of the moon, responsible for fertility and childbirth.

Gnatoo

(Japanese)

One of twelve Buddhist deities called the Jiu No O, adopted from Hindu mythology.

Gwaten

(Hindu)

She is derived from the Hindu God Soma, and is portrayed as a woman holding in her right hand, a disk symbolizing the Moon.

Epona

(Roman/Celtic)

This horse Goddess was associated with the night and dreams. In western Ireland,legends still abound of hearing the hoof-beats of her horse as she rides west to escape the rays of the rising sun. She was also a Goddess of magic, fertility and feminine power.

Hanwi

(Native North American)

Goddess of the Oglala Sioux, she once lived with the sun God Wi. Due to a transgression, she was forced by him to become a creature of the night.

Hekate

(Greek)

A crone Moon Goddess, deeply associated with the waning and dark moons. She is depicted as haunting crossroads with her two large hounds, and carrying a torch, symbolic of her great wisdom.

Hina Hine

(Polynesian)

This Hawaiian Goddesses name means 'woman who works the moon'. In her myths it is said that she grew tired of working for her brother and fled to the moon to live in peace.

Hina-Ika

("lady of the fish")

Once again we see the link between the lunar Goddess to the tides.

Huitaco

(South American)

This Colombian Goddess was a protectress of women as well as a deity of pleasure and happiness who was always battling with her male counterpart Bochica, a God of hard work and sorrow.

Ishtar

(Babylonian)

Some myths say she is the daughter of the moon, others the mother.

Isis

(Egyptian)

This powerful and widely worshipped Goddess was not only a moon deity, but a Goddess of the sun as well.

Ix Chel

(Mayan)

A Central American moon Goddess and the lover of the sun. Poisonous snakes were her totem animal. She was also Goddess of childbirth.

Izanami

(Japanese)

This Goddess controlled the tides, fishing and all destructive sea phenomena.

Jezanna

(Central African)

Goddess of the moon and healing.

Juna

(Roman)

A Goddess of the new moon. She was worshipped mainly by women as she was the Goddess of marriage, pregnancy and childbirth. Her Greek equivalent was Hera.

Jyotsna

(Indian)

A Hindu Goddess of twilight and the autumn moons.

Komorkis

(Native North American)

The Blackfoot tribe celebrated her as the Goddess of the moon.

Kuan Yin

(Chinese)

A Buddhist Goddess. Modern feminist Pagans believe she far pre-dates Buddhist origins. She was a Goddess of the moon, compassion, and healing,

Lasya

(Tibetan)

Goddess of the moon and beauty who carried a mirror.

Lucina

(Roman)

Goddess of light with both solar and lunar attributes. She was Christianised as St. Lucia, a saint still honoured at Yule in many parts of Europe.

Luna

(Roman)

An ancient moon Goddess, the namesake for the Latin word luna meaning 'moon'. Her name also forms the root of the English words 'lunar' and 'lunatic'.

Mama Quilla

(Inkan)

As the Goddess of the moon she was the protectress of married women. A large temple to her was erected at the Inkan capitol of Cuzco. She was associated with the metal silver. Eclipses were said to occur when she was eaten and the regurgitated by the Jaguar Woman.

Mawu

(African)

She ruled the sky with her twin bother, the sun God Lisa. To her people she symbolized both wisdom and knowledge.

Metzli

(Aztec)

In Aztec mythology mother moon leapt into a blazing fire and gave birth to the sun and the sky.

Rhiannon

(Celtic)

A Goddess of fertility, the moon, night, and death. Her name means 'night queen'. She is also known as Rigantona.

Sadarnuna

(Sumerian)

Goddess of the new moon.

Sarpandit

(Sumerian)

Goddess of moonrise. This pregnant Goddess's name means "silver shining" referring to the reflective quality of the moon.

Sefkhet

(Egyptian)

According to some myths this lunar Goddess was the wife of Thoth. She was also the deity of time, the stars, and architecture.

Selene

(Greek)

A mother Goddess linked to the full moon. She is widely worshipped by Pagans today.

Sina

(Polynesian)

This moon Goddess was the sister of the sun God Maui. She was sometimes called Ina.

Teczistecatl

(Aztec)

A Goddess of sex, symbolised by the four phases of the moon: dark, waxing, full, and waning.

Trivia

(Roman)

She is the equivalent Goddess to Selene in Roman mythology.

Xochhiquetzal

(Aztec)

This magical moon Goddess was the deity of flowers, spring, sex, love, and marriage. She was the wife of storm God Tlaloc. She is also the patroness of artisans, prostitutes, pregnant women and birth.

Yemanja

(Native South American)

She was the Brazilian Goddess of the oceans symbolized by a waxing crescent moon. Yemanja was also considered to represent the essence of motherhood and a protector of children.

Yolkai Estsan

(Native North American)

A Navajo moon deity fashioned from an abalone shell by her sister Yolkai, the Goddess of the sky. She was the Navaho Goddess of the earth and the seasons, and is also known as White Shell Woman.

Zirna

(Etruscan)

A Goddess of the waxing moon. She is always depicted with a half-moon hanging from her neck, indicating that she was probably honored at the beginning of the second quarter phase of the moon.

☽⦁──────── ⦁⧊⦁ ────────⦁☾

Sources : http://aminoapps.com/p/3ncaq4

[blueheartbookclub]

"A Timeless Tale of Love, Sacrifice, and Redemption: A Review of A Tale of Two Cities by Charles Dickens"

Charles Dickens' A Tale of Two Cities stands as a masterpiece of literature, weaving together a captivating narrative set against the tumultuous backdrop of the French Revolution. Through its vivid characters, intricate plot, and rich historical detail, Dickens crafts a compelling story that explores themes of love, sacrifice, and the pursuit of justice.

At the heart of the novel lies the interwoven destinies of two cities—London and Paris—during a time of political upheaval and social unrest. Through the experiences of characters such as Charles Darnay, a French aristocrat seeking redemption, and Sydney Carton, a disillusioned English lawyer longing for purpose, Dickens portrays the contrasting worlds of privilege and poverty, tyranny and revolution. Against this backdrop, the novel unfolds as a poignant exploration of the human condition and the transformative power of selflessness and compassion.

One of the most striking aspects of A Tale of Two Cities is Dickens' masterful character development. From the noble Dr. Manette, imprisoned unjustly for eighteen years, to the selfless Lucie Manette, whose unwavering love and devotion inspire those around her, each character is rendered with depth, complexity, and humanity. Through their struggles and triumphs, Dickens offers profound insights into the resilience of the human spirit and the capacity for redemption even in the darkest of times.

Moreover, Dickens' evocative prose and keen observations of society breathe life into the streets of both London and Paris, immersing readers in the sights, sounds, and smells of the cities. Whether depicting the squalor of the Parisian slums or the opulence of the English aristocracy, Dickens' vivid descriptions transport readers to another time and place, capturing the essence of an era marked by both despair and hope.

In addition to its literary merits, A Tale of Two Cities serves as a powerful commentary on the cyclical nature of history and the enduring struggle for freedom and justice. Through its portrayal of the French Revolution, Dickens highlights the dangers of unchecked power and the consequences of social inequality, while also celebrating the resilience of ordinary people in the face of oppression. As relevant today as it was upon its publication, the novel reminds us of the importance of empathy, solidarity, and the pursuit of a more just and equitable society.

In conclusion, A Tale of Two Cities remains a timeless classic that continues to resonate with readers around the world. Through its stirring narrative, unforgettable characters, and profound themes, Charles Dickens' masterpiece invites readers to reflect on the enduring power of love, sacrifice, and the indomitable human spirit. With its enduring relevance and universal appeal, A Tale of Two Cities stands as a testament to the enduring legacy of one of literature's greatest storytellers.

Myths and Legends of the Sioux, by Mrs. Marie L. McLaughlin, is available in Amazon in paperback 22.99$ and hardcover28.99$ editions.

Number of pages: 470

Language: English

Rating: 10/10                                           

Link of the book!

Review By: King's Cat

[blueheartbooks]

"A Timeless Tale of Love, Sacrifice, and Redemption: A Review of A Tale of Two Cities by Charles Dickens"

Charles Dickens' A Tale of Two Cities stands as a masterpiece of literature, weaving together a captivating narrative set against the tumultuous backdrop of the French Revolution. Through its vivid characters, intricate plot, and rich historical detail, Dickens crafts a compelling story that explores themes of love, sacrifice, and the pursuit of justice.

At the heart of the novel lies the interwoven destinies of two cities—London and Paris—during a time of political upheaval and social unrest. Through the experiences of characters such as Charles Darnay, a French aristocrat seeking redemption, and Sydney Carton, a disillusioned English lawyer longing for purpose, Dickens portrays the contrasting worlds of privilege and poverty, tyranny and revolution. Against this backdrop, the novel unfolds as a poignant exploration of the human condition and the transformative power of selflessness and compassion.

One of the most striking aspects of A Tale of Two Cities is Dickens' masterful character development. From the noble Dr. Manette, imprisoned unjustly for eighteen years, to the selfless Lucie Manette, whose unwavering love and devotion inspire those around her, each character is rendered with depth, complexity, and humanity. Through their struggles and triumphs, Dickens offers profound insights into the resilience of the human spirit and the capacity for redemption even in the darkest of times.

Moreover, Dickens' evocative prose and keen observations of society breathe life into the streets of both London and Paris, immersing readers in the sights, sounds, and smells of the cities. Whether depicting the squalor of the Parisian slums or the opulence of the English aristocracy, Dickens' vivid descriptions transport readers to another time and place, capturing the essence of an era marked by both despair and hope.

In addition to its literary merits, A Tale of Two Cities serves as a powerful commentary on the cyclical nature of history and the enduring struggle for freedom and justice. Through its portrayal of the French Revolution, Dickens highlights the dangers of unchecked power and the consequences of social inequality, while also celebrating the resilience of ordinary people in the face of oppression. As relevant today as it was upon its publication, the novel reminds us of the importance of empathy, solidarity, and the pursuit of a more just and equitable society.

In conclusion, A Tale of Two Cities remains a timeless classic that continues to resonate with readers around the world. Through its stirring narrative, unforgettable characters, and profound themes, Charles Dickens' masterpiece invites readers to reflect on the enduring power of love, sacrifice, and the indomitable human spirit. With its enduring relevance and universal appeal, A Tale of Two Cities stands as a testament to the enduring legacy of one of literature's greatest storytellers.

Myths and Legends of the Sioux, by Mrs. Marie L. McLaughlin, is available in Amazon in paperback 22.99$ and hardcover28.99$ editions.

Number of pages: 470

Language: English

Rating: 10/10                                           

Link of the book!

Review By: King's Cat

[statecryptids]

WAKINYAN and UNKTEHI- SOUTH DAKOTA

In every culture, in every era, humans have always been fascinated by monsters. We love to sit around the fire- or listen to the radio, or read a book, or play a video game- immersing ourselves in tales of dragons, gorgons, yokai, trolls, asuras, tokoloshe, and even stranger beings that lurk in the unseen corners of our world. The phenomena of cryptids is just the newest iteration of this fascination, though our modern age has added a scientific veneer onto these hidden monsters.

With that being said, I wanted to expand this list of state cryptids out beyond the European American legends to include mysterious beasts form other cultures of the North American continent.

Thunder beings and their rivals, the horned water serpents, are prominent in the legends of many Native American peoples, and are known under many names. Among the Lakota Sioux and other Native peoples of the American prairies, the Thunder Beings are known as Wakinyan, and the horned serpents called Unktehi. The Wakinyan often manifest as great birds to do battle with the serpents, smiting them with lightning and driving them into the Earth. Some legends say that the bones of both combatants can be found all over the American West, particularly in the prairies of Midwest and in the Badlands of South Dakota.

These bones are said to have great wakan, spiritual power similar to the Algonquian concept of manitou. People sometimes gather bones from Unktehi for medicine bundles. And there are stories of evil sorcerers using shards of horned serpent bones to “sting��� or curse others.

In the late 1800s, European-American paleontologists such as Othniel Charles Marsh and Edward Drinker Cope came to the West in search of fossils. Guided by Native stories, they collected many of the monstrous bones and identified those of the Wakinyan as pterosaurs. Unktehi bones found on the grasslands were discovered to be from aquatic reptilian mosasaurs, while the bones from in badlands belonged to extinct mammals.

Why, one must wonder though, are the bones of marine animals found in the middle of the prairies? The answer lies in the late Cretaceous period when a long, shallow Interior Sea ran through North America, dividing the continent into the landmasses of Laurentia in the West, and Appalachia in the East. Mosasaurs, ichthyosaurs, and giant carnivorous fish such as Xiphactinus hunted these waters, while pterosaurs soured above the waves, and dinosaurs such as Tyrannosaurus and duck-billed hadrosaurs roamed the shores. Over millions of years, plate tectonics pushed up the floor of the Interior sea, leaving the bones of its prehistoric inhabitants entombed on dry land.

It's important to note that the cryptid commonly called a "Thunderbird" by many European Americans is distinct from the Wakinyan. While the former was definitely inspired by the legends of Native peoples, it tends to be thought of as a natural- if unusual- animal such as a giant bird or even a pterosaur. The Wakinyan, however, is a spiritual being that can take many forms. I've talked about the other type of Thunderbird- and an imfamous phantom photograph of one that everyone remembers, but no one can find- in a previous post.

SOURCES

Fossil Legends of the First Americans by Adrienne Mayor

Lakota Belief and Ritual by James R. Walker, edited by Raymond J. DeMallie and Elain A. Jahner

A legend of the Unktehi from the National Park Service website

Information on the "horned serpent" from Native-Language.org

[whencyclopedia]

Ûñtsaiyĭ', the Gambler

Ûñtsaiyĭ', the Gambler is a legend of the Cherokee nation, known as a Wonder Story, which features supernatural characters, sometimes interacting with mortals, sometimes with each other. In Ûñtsaiyĭ', the Gambler, all the characters are supernatural entities representing natural phenomena such as thunder and lightning.

Ball Play Dance

George Catlin (Public Domain)

The story features the common Native American motif of the young boy's journey from youth to maturity and the challenges he must overcome. Unlike other wonder stories – including The Man Who Married the Thunder's Sister – there are no mortals in Ûñtsaiyĭ', the Gambler and the action of the piece follows one of the sons of Thunder on his quest for healing and, ultimately, wholeness.

At the center of the tale is Ûñtsaiyĭ', the gambler, a trickster figure similar to those in the legends of other Native peoples of North America, including the Wihio tales of the Cheyenne, Iktomi tales of the Sioux, and the Nih'a'ca tales of the Arapaho, among many others. In this story, the trickster Ûñtsaiyĭ' serves to convey the cultural value of honoring one's promise in agreements and paying what one owes, no matter how great the price.

Ûñtsaiyĭ' (also known as E'tsaiyi or Tsaihi) exemplifies the character of the gambler who lives by his wits but finds his luck run out when he bets against the son of the Thunder. The game they play may be stickball (known as Anetso to the Eastern Cherokee nation) or could be chunkey, the game which, according to Cherokee lore, Ûñtsaiyĭ' invented.

As with all the works of Native American literature, there are multiple levels of meaning to Ûñtsaiyĭ', the Gambler and many possible interpretations. The story was popular among the Cherokee in the past and continues to be shared in their communities in the present day.

Text

The following is taken from Myths of the Cherokee (1900) by James Mooney, republished by Dover Publications, 2014.

Thunder lives in the west, or a little to the south of west, near the place where the sun goes down behind the water. In the old times he sometimes made a journey to the east, and once after he had come back from one of these journeys a child was born in the east who, the people said, was his son. As the boy grew up it was found that he had scrofula sores all over his body, so one day his mother said to him, "Your father, Thunder, is a great doctor. He lives far in the west, but if you can find him, he can cure you."

So the boy set out to find his father and be cured. He traveled long toward the west, asking of everyone he met where Thunder lived, until at last they began to tell him that it was only a little way ahead. He went on and came to Ûñtiguhĭ', on Tennessee, where lived Ûñtsaiyĭ' "Brass." Now Ûñtsaiyĭ' was a great gambler and made his living that way. It was he who invented the gatayûstĭ game that we play with a stone wheel and a stick. He lived on the south side of the river, and everybody who came that way he challenged to play against him. The large flat rock, with the lines and grooves where they used to roll the wheel, is still there, with the wheels themselves and the stick turned to stone. He won almost every time, because he was so tricky, so that he had his house filled with all kinds of fine things. Sometimes he would lose, and then he would bet all that he had, even to his own life, but the winner got nothing for his trouble, for Ûñtsaiyĭ' knew how to take on different shapes, so that he always got away.

As soon as Ûñtsaiyĭ' saw him he asked him to stop and play a while, but the boy said he was looking for his father, Thunder, and had no time to wait. "Well," said Ûñtsaiyĭ', "he lives in the next house; you can hear him grumbling over there all the time"—he meant the Thunder— "so we may as well have a game or two before you go on." The boy said he had nothing to bet. "That's all right," said the gambler, "we'll play for your pretty spots." He said this to make the boy angry so that he would play, but still the boy said he must go first and find his father and would come back afterwards.

He went on, and soon the news came to Thunder that a boy was looking for him who claimed to be his son. Said Thunder, "I have traveled in many lands and have many children. Bring him here and we shall soon know." So, they brought in the boy, and Thunder showed him a seat and told him to sit down. Under the blanket on the seat were long, sharp thorns of the honey locust, with the points all sticking up, but when the boy sat down, they did not hurt him, and then Thunder knew that it was his son. He asked the boy why he had come. "I have sores all over my body, and my mother told me you were my father and a great doctor, and if I came here, you would cure me." "Yes," said his father, "I am a great doctor, and I'll soon fix you."

There was a large pot in the corner, and he told his wife to fill it with water and put it over the fire. When it was boiling, he put in some roots, then took the boy and put him in with them. He let it boil a long time until one would have thought that the flesh was boiled from the poor boy's bones, and then told his wife to take the pot and throw it into the river, boy and all. She did as she was told, and threw it into the water, and ever since there is an eddy there that we call Ûñ'tiguhĭ', "Pot-in-the-water." A service tree and a calico bush grew on the bank above. A great cloud of steam came up and made streaks and blotches on their bark, and it has been so to this day. When the steam cleared away, she looked over and saw the boy clinging to the roots of the service tree where they hung down into the water, but now his skin was all clean. She helped him up the bank, and they went back to the house. On the way she told him, "When we go in, your father will put a new dress on you, but when he opens his box and tells you to pick out your ornaments be sure to take them from the bottom. Then he will send for his other sons to play ball against you. There is a honey-locust tree in front of the house, and as soon as you begin to get tired strike at that and your father will stop the play, because he does not want to lose the tree."

When they went into the house, the old man was pleased to see the boy looking so clean, and said, "I knew I could soon cure those spots. Now we must dress you." He brought out a fine suit of buckskin, with belt and headdress, and had the boy put them on. Then he opened a box and said, "Now pick out your necklace and bracelets." The boy looked, and the box was full of all kinds of snakes gliding over each other with their heads up. He was not afraid, but remembered what the woman had told him, and plunged his hand to the bottom and drew out a great rattlesnake and put it around his neck for a necklace. He put down his hand again four times and drew up four copperheads and twisted them around his wrists and ankles. Then his father gave him a war club and said, "Now you must play a ball game with your two elder brothers. They live beyond here in the Darkening land, and I have sent for them." He said a ball game, but he meant that the boy must fight for his life. The young men came, and they were both older and stronger than the boy, but he was not afraid and fought against them. The thunder rolled and the lightning flashed at every stroke, for they were the young Thunders, and the boy himself was Lightning. At last, he was tired from defending himself alone against two, and pretended to aim a blow at the honey-locust tree. Then his father stopped the fight, because he was afraid the lightning would split the tree, and he saw that the boy was brave and strong.

The boy told his father how Ûñtsaiyĭ' had dared him to play and had even offered to play for the spots on his skin. "Yes," said Thunder, "he is a great gambler and makes his living that way, but I will see that you win." He brought a small cymling gourd with a hole bored through the neck and tied it on the boy's wrist. Inside the gourd there was a string of beads, and one end hung out from a hole in the top, but there was no end to the string inside. "Now," said his father, "go back the way you came, and as soon as he sees you, he will want to play for the beads. He is very hard to beat, but this time he will lose every game. When he cries out for a drink, you will know he is getting discouraged, and then strike the rock with your war club and water will come, so that you can play on without stopping. At last, he will bet his life, and lose. Then send at once for your brothers to kill him, or he will get away, he is so tricky."

The boy took the gourd and his war club and started east along the road by which he had come. As soon as Ûñtsaiyĭ' saw him he called to him, and when he saw the gourd with the bead string hanging out, he wanted to play for it. The boy drew out the string, but there seemed to be no end to it, and he kept on pulling until enough had come out to make a circle all around the playground. "I will play one game for this much against your stake," said the boy, "and when that is over, we can have another game."

They began the game with the wheel and stick and the boy won. Ûñtsaiyĭ' did not know what to think of it, but he put up another stake and called for a second game. The boy won again, and so they played on until noon, when Ûñtsaiyĭ' had lost nearly everything he had and was about discouraged. It was very hot, and he said, "I am thirsty," and wanted to stop long enough to get a drink. "No," said the boy, and struck the rock with his club so that water came out, and they had a drink. They played on until Ûñtsaiyĭ' had lost all his buckskins and beaded work, his eagle feathers, and ornaments, and at last offered to bet his wife. They played and the boy won her. Then Ûñtsaiyĭ' was desperate and offered to stake his life. "If I win, I kill you, but if you win you may kill me." They played and the boy won.

"Let me go and tell my wife," said Ûñtsaiyĭ', "so that she will receive her new husband, and then you may kill me." He went into the house, but it had two doors, and although the boy waited long Ûñtsaiyĭ' did not come back. When at last he went to look for him he found that the gambler had gone out the back way and was nearly out of sight going east.

The boy ran to his father's house and got his brothers to help him. They brought their dog—the Horned Green Beetle—and hurried after the gambler. He ran fast and was soon out of sight, and they followed as fast as they could. After a while they met an old woman making pottery and asked her if she had seen Ûñtsaiyĭ' and she said she had not. "He came this way," said the brothers. "Then he must have passed in the night," said the old woman, "for I have been here all day." They were about to take another road when the Beetle, which had been circling about in the air above the old woman, made a dart at her and struck her on the forehead, and it rang like brass—ûñtsaiyĭ'! Then they knew it was Brass and sprang at him, but he jumped up in his right shape and was off, running so fast that he was soon out of sight again. The Beetle had struck so hard that some of the brass rubbed off, and we can see it on the beetle's forehead yet.

They followed and came to an old man sitting by the trail, carving a stone pipe. They asked him if he had seen Brass pass that way and he said no, but again the Beetle—which could know Brass under any shape—struck him on the forehead so that it rang like metal, and the gambler jumped up in his right form and was off again before they could hold him. He ran east until he came to the great water; then he ran north until he came to the edge of the world and had to turn again to the west. He took every shape to throw them off the track, but the Green Beetle always knew him, and the brothers pressed him so hard that at last he could go no more, and they caught him just as he reached the edge of the great water where the sun goes down.

They tied his hands and feet with a grapevine and drove a long stake through his breast and planted it far out in the deep water. They set two crows on the end of the pole to guard it and called the place Kâgûñ'yĭ, "Crow place." But Brass never died, and cannot die, until the end of the world, but lies there always with his face up. Sometimes he struggles under the water to get free, and sometimes the beavers, who are his friends, come and gnaw at the grapevine to release him. Then the pole shakes and the crows at the top cry Ka! Ka! Ka! and scare the beavers away.

Continue reading...

[ahsokasshoto]

Hello! I just found your blog so I hope you don't mind me intruding, but the tarot reading you shared really pickled my interest!!! It's such a creative idea!

So if you could do a Bad Batch / Echo with the Tarot of the Divine deck, I'd be so grateful!

Thank you so much!! (◕ᴗ◕✿)

Of course, you're so welcome! (No worries about the extra Echo emphasis, I get it--i love him too 😉)

1. Hunter: your overall emotional state (what in your environment is affecting you)

Ace of Cups - Matsuo's Sake

This Japanese mythology tells of the kami (god/spirit) Matsuo, who, in order to impress and delight the other kamis, took rice and brewed the first sake. The other kamis loved it so much it became the drink of the kami, and sake symbolizes thanks, celebration, and blessings but it is powerful.

You must be in your feelings right now, your emotional center is overflowing! Like the sake, these wellsprings are a blessing, but take care that they don't overpower you.

2. Tech: your overall mental state (what in your life could use a little logic)

Three of Swords - Crane Wife

This Japanese fairy tale tells of a woodcutter who rescued a crane from a hunter's trap. Days later, a beautiful woman appeared at his home and they fell in love. The woodcutter struggled to provide for both of them, so the woman began to work privately and told him never to come in while she worked. When she emerged, she looked more frail but producing the most beautiful silks, which he was able to sell. The woman continued this, continuing to look more and more frail, until the man couldn't take it and came in while she worked to discover she was actually a crane using her feathers to weave the fabric.

This card and story speak of betrayal: of trust, of your circumstance, of your body. Your mental center struggles about something. You do not have to take on all the burden yourself; you have support!

3. Wrecker: your overall physical state (what will nourish you right now)

King of Wands - The Phoenix

The book actually details several different Phoenix stories across the world. In Greece, it travels between heaven and earth. Slavic stories note the ability of the phoenix's burning feathers to bring fortune as well as destruction. All of these stories speak of the cyclical nature of the Phoenix and its rebirth.

We humans follow cyclical rhythms as much as the next mammal; periods of rest follow periods of activity and so on and so forth. Take care to find your own rhythm; make sure you are striking a balance between work/play, exertion/rest.

4. Echo: your overall spiritual state (what is defining you right now)

Seven of Swords - Coyote

The Salish legend of Coyote tells of this cunning animal who spat on the skull of Buffalo Bull. The huge and fearsome creature came back to life and threatened to kill Coyote, so Coyote made him a pair of fearsome horns. Buffalo Bull spared Coyote's life and gave him a cow, telling him to only eat the fat and not kill the cow and the cow would give him meat forever. But Coyote soon longed for bone and marrow and killed the cow, and it disappeared and Coyote has been forced to roam and scrounge for food ever since.

Your spirit is hungry and desires more than it has. That is okay; predators are natural in this world. But take care that your paths to your desires propel you forward without pushing others (or, even yourself) back.

5. Crosshair: a challenge to face/overcome

The Hierophant - White Buffalo Woman

This Lakota deity appeared to the Lakota Sioux tribe as a white buffalo calf. After transforming into a woman, she stayed with the tribe and taught them dances, songs, and ceremonies and gifted them the chanunpa, or peace pipe, to promote peace and understanding.

The White Buffalo Woman teaches that uniting the earthly with the divine would provide all that was needed. She is also all about community. Perhaps you are feeling hesitant about a new group or community, or finding struggle in an old one. Let the spirit of the White Buffalo Woman--peace and communication--guide you.

6. Omega: heart, passion, motivation (what is your purpose?)

Queen of Wands - Pele

This Hawaiian deity is goddess of volcanoes. She used her pa'oa, a long stick used to till land, to till the earth and draw up lava which brought fertility but also destruction. Her sister, a sea goddess, feared the lava and drove Pele to an island, where she resides to this day in the volcano Kilauea.

Your heart is a force to be reckoned with, and your purpose is powerful! As much as fire and lava are destructive, so too are they nourishing and giving. Take care that all your power is used for good! 😉

Hope you enjoyed, my dear!!

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