SPIRITUALITY AND STRUCTURE OF THE IROQUOIS MIDWINTER CEREMONIES

Samantha Bray

REL-2801: Introduction to Indigenous Spirituality

Tuesday, March 31th, 2015.

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The Midwinter Ceremony, or New Year’s Ceremony is performed by the Iroquois people

as a curing for the well being of the people and as a thank you to the creator. It is held in

January, 5 days after the new moon comes out in combination with the dipper constellations

being visible in the night sky.1 Different long houses may choose different days to start the

midwinter ceremony, at the New York Onondaga Longhouse they count 5 days after the new

moon, then count 9 days before that day to determine the starting day of the ceremony.2 The

ceremony lasts for six days and is one of the longest running ceremonies performed by the

Iroquois according to Tooker.3 The length of the ceremony varies and can be shorter or longer in

length depending on what tribe performs it. As an example, the Mohawks Midwinter Ceremony

can last between five to eight days, and has a different daily schedule.4 According to Tooker, the

first half of Midwinter is devoted to the rite of dream fulfillment and is performed to benefit the

individuals participating in the ceremony, the second half is performed to fulfill the four sacred

rites.5

On the first day of the Midwinter ceremony is the Bighead and stirring of the ashes

ceremony on the second day the Great Feather Dance and the False Faces society goes around.6

On day three, a white dog is sacrificed, on the fourth day the Atonwa song is sung, the fifth day

1 “The Midwinter Ceremony,” accessed March 16, 2015, http://iroquoismidwinterceremony.weebly.com/midwinter-ceremony.html 2 Elisabeth Tooker, “The Iroquois ceremonial of midwinter,” Syracuse University Press, (1970): 40. 3 Ibid., 53. 4 Bruce Elliot Johansen, and Barbara Alice Mann, “Encyclopedia of the Haudenosaunee (Iroquois Confederacy),” Greenwood Publishing Group (2000): 203. 5 Elisabeth Tooker, “The Iroquois ceremonial of midwinter,” Syracuse University Press, (1970): 39. 6 Bruce Elliot Johansen, and Barbara Alice Mann, “Encyclopedia of the Haudenosaunee (Iroquois Confederacy),” Greenwood Publishing Group (2000): 51-53

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the Drum Dance is performed, and on the 6th day, the Peach Bowl Game is played.7 The

sequence of events on each day differs between tribes. For example, the Newtown Longhouse

has a nine day long Midwinter ceremony, and performs the Great Feather Dance three times,

once on the third day of midwinter, once on the seventh day, and once on the ninth day.8 The

Midwinter ceremonies, along with the Iroquios Green Corn ceremony are the two most sacred

ceremonies that thank the creator for the Three Sisters: beans, corn, and squash by performing all

of the four sacred rites.9 The four sacred rites given to the Iroquois people by the Creator are the

Atonwa (personal chant), the Peach Bowl game, the Great Feather dance and the Drum Dance.10

The thanksgiving address, Ohenton Karihwatehkwen, translated to “words before all

else” is one of the most important gifts of many gifts given to the people by the creator.11 It is

recited only by men, not women, before and after every major event held by the Iroquios and is

typically recited every day of the midwinter ceremony. The thanksgiving address was given to

the people by the creator unite the Earth, and all living things as one. The speaker learns the

thanksgiving speech not by being taught, but by having attending the ceremonies themselves

during their life.12 The thanksgiving address thanks the Creator for the people, the earth, plants,

water, trees, animals, birds, the Three Sisters, the wind, the thunderers, the sun, moon and stars,

the four beings and the creator himself.13

7 Ibid. 8 Ibid., 68-69. 9 Michael Johnson, “Tribes of the Iroquios Confederacy,” Osprey Publishing. (2003): 23. 10 Ibid. 11 Bruce Elliot Johansen, and Barbara Alice Mann, “Encyclopedia of the haudenosaunee (Iroquois Confederacy),” Greenwood Publishing Group (2000): 52. 12 Elisabeth Tooker, “The Iroquois ceremonial of midwinter,” Syracuse University Press, (1970): 8. 13 Ibid.

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In the preparation for the stirring of the ashes ceremony the two Bigheads are dressed and

prepared in the longhouse by two women that dress the Bigheads in blankets, buffalo robes,

cornhusk masks, paint their faces with charcoal and supply them with a large wooden paddle.14

A tobacco invocation is also given as a gift at this time to thank the Bighead performers.15 The

two Bigheads, also referred to as Uncles, then leave the longhouse and visit all the houses

neighboring the longhouse.16 The visits usually occur within the first two days of the midwinter

ceremony, depending on the tribe.17 On the visits, the Bigheads usually announce the beginning

of the midwinter ceremony, invites everyone to the celebration and then they stir the ashes in the

houses fire pit with their wooden paddle.18 Stirring of the ashes ceremony occurs on the first day

of the midwinter ceremony and represents the bringing together of the community.19 According

to Foley, the stirring of the ashes marks the beginning of a new ceremonial year.20 In other

teachings, the stirring of the ashes signifies the renewal of fire and earth signifying a good

harvest year.21

The False Faces Society originated as a myth where an evil being came to Earth and

infected everything. The evil being challenged the creator’s power questioning its ability to move

a mountain. The creator moved the mountain directly behind the evil being so close that when

14 Ibid. 15 Ibid., 43. 16 Ibid., 8. 17 Denis Foley, “Ethnohistoric and ethnographic analysis of the Iroquois from fhe aboriginal era to the present suburban era,” University Microfilms International (1994): 244. 18 Elisabeth Tooker, “The Iroquois ceremonial of midwinter,” Syracuse University Press (1970): 51-53. 19 Ibid. 20 Denis Foley, “Ethnohistoric and ethnographic analysis of the Iroquois from fhe aboriginal era to the present suburban era,” University Microfilms International, (1994): 244. 21 Elisabeth Tooker, “The Iroquois ceremonial of midwinter,” Syracuse University Press, (1970): 44.

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the evil being turned around to look it smashed its face into the mountain, giving it a twisted

face. The creator then made the evil one promise to cure sickness. The evil one agreed as long as

the people honored him with tobacco and wear masks that represent his twisted face while curing

people of disease.22

Originally, the False Faces were called the grandfathers, but got the name of False Faces

from non-Iroquois people. To become a False Face society member, one must dream of the mask

they are to make. Dreamers then make their masks and are to participate in the curing of

people.23 Members usually carve their masks out of wood, use tin around the eyes, and some

horsehair.24 The masks when used correctly can cure physical and mental illnesses and restores

harmony between human and nature.25

The Great Feather Dance, Ohstenwa’kowa, is the first sacred ritual of four that give

thanks to the creator.26 According to Johansen and Mann, the Great Feather Dance is the most

sacred of all dances and is performed at all of the Iroquois ceremonies.27 The Great Feather

Dance thanks the creator for all of creation, thanks the good mind of the people, but strongly

focuses on thanking for crops and a good harvest season.28 The name of the dance comes from

22 Harold Blau, “Function and the false faces: A classification of Onondaga masked rituals and themes,” Journal of American Folklore (1966): 566. 23 Bruce Elliot Johansen, and Barbara Alice Mann, “Encyclopedia of the haudenosaunee (Iroquois Confederacy),” Greenwood Publishing Group (2000): 133. 24 Elisabeth Hooker, “The “speck Iroquois collection” in the university museum,” University of Pennysylvania Museum of Archaeology and Anthropology. 25 Bruce Elliot Johansen, and Barbara Alice Mann, “Encyclopedia of the haudenosaunee (Iroquois Confederacy),” Greenwood Publishing Group (2000): 132. 26 Gertrude P Kurath, “Iroquios music and dance: ceremonial arts of two Seneca longhouses.” Courier Corporation, (2013): 4. 27 Bruce Elliot Johansen, and Barbara Alice Mann, “Encyclopedia of the haudenosaunee (Iroquois Confederacy),” Greenwood Publishing Group (2000): 135. 28 Gertrude P Kurath, “Iroquios music and dance: ceremonial arts of two Seneca longhouses.” Courier Corporation, (2013): 4.

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the feather headdresses, and full tribal regalia that male dancers must wear while dancing.29

Turtle shell rattles are the instruments used and are a big part of the Great Feather Dance because

they awaken all of creation when heard and additionally represent the Earth, Turtle Island.30

Traditionally, on the third day of the Midwinter ceremony a pure white dog was

sacrificed. Early records suggest that the dog was decorated with wampum, ribbons, then hung

on a pole and then burned in a fire while people are dancing, and throwing tobacco on the dog all

to serve as a sacrifice to the creator. 31 The Iroquois were called the tobacco people, as they

believed the smoke rising brought their prayers and thanks to the creator and spirits. Now,

because people love their pets and because the breed of dog normally used no longer exists, a

white basket is used instead.32

In the second part of Midwinter, the four sacred rituals of Feather Dance, Thanksgiving

Dance, Rite of Personal Chant and the Bowl Game are performed. At Coldspring longhouse, the

feather dance occurs on the third day of the midwinter ceremony, and twice on the sixth day.33

However, like many other ceremonies, different nations can have slightly different schedules.

29 “Karihkwi:Io – Origin of the Four Sacred Ceremonies,” Indian Time, accessed March 14, 2015, http://www.indiantime.net/story/2010/01/21/cultural-corner/karihkwi-io-origin-of-the-four-sacred-ceremonies/5495.html. 30 Bruce Elliot Johansen, and Barbara Alice Mann, “Encyclopedia of the haudenosaunee (Iroquois Confederacy),” Greenwood Publishing Group (2000): 134. 31 Elisabeth Tooker, “The iroquois white dog sacrifice in the latter part of the eighteenth

century," Ethnohistory (1965): 129. 32 Bruce Elliot Johansen, and Barbara Alice Mann, “Encyclopedia of the haudenosaunee (Iroquois Confederacy),” Greenwood Publishing Group (2000): 53. 33 Gertrude P Kurath, “Iroquios music and dance: ceremonial arts of two Seneca longhouses.” Courier Corporation, (2013): 4.

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According to Tooker the Great Feather Dance occurs on the second day of the midwinter

ceremony, not the third and sixth day as scheduled in Coldspring.34

On the fourth day, the Atonwa songs are sung and it is the second of four sacred rituals

given to the Iroquois by the creator. Atonwa is personal, emotional, respectful thanksgiving

songs that are addressed to the creator that are usually passed down from family.35 Besides

giving thanks, the Atonwa song can also be used in naming children, as it connects the child with

the natural world and allows them to be recognized throughout life.36

On the fifth day is the drum dance or thanksgiving dance, the third of the four sacred

rituals. It is performed to show the creator appreciation for the world and everything in it.37

During the drum dance the leader plays a water drum and their assistant uses a horn rattle.38 The

drum dance is generally just for giving thanks, which is why the thanksgiving speech usually

accompanies the drum dance.39 The people, to express their thankfulness and gratitude towards

the creator, the chief, and the people that contribute towards the ongoing ceremonies perform the

Drum Dance. 40

34 Elisabeth Tooker, “The Iroquois ceremonial of midwinter,” Syracuse University Press, (1970): 51-53. 35 Elisabeth Tooker, “The Iroquois ceremonial of midwinter,” Syracuse University Press, (1970): 26. 36 Bruce Elliot Johansen, and Barbara Alice Mann, “Encyclopedia of the haudenosaunee (Iroquois Confederacy),” Greenwood Publishing Group (2000): 52. 37 Ibid., 53. 38 Gertrude P Kurath, “Iroquios music and dance: ceremonial arts of two seneca longhouses,” Courier Corporation (2013): 5. 39 “Karihkwi:Io – Origin of the Four Sacred Ceremonies,” Indian Time, accessed March 14, 2015, http://www.indiantime.net/story/2010/01/21/cultural-corner/karihkwi-io-origin-of-the-four-sacred-ceremonies/5495.html. 40 Carol Cornelius, “Iroquois corn in a culture based curriculum: a framework for respectfully teaching others about culture,” State University of New York Press (1999): 269.

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On the final day of the Midwinter ceremony, the peach bowl game is played. The peach

bowl game is mainly played for fun and as entertainment for the creator, and can be played

between clan moieties (bear clan vs. buffalo clan), or against family members, or between sexes

(men vs. women).41 The game is played with six peach pits; all are burnt on one side. One clan

tosses the peach pits while the other clan attempts to guess the number of pits that will turn up

with their burnt sides showing. Whoever is closest wins a wagered amount of beans; the game is

played till one clan runs out of beans.42 Traditionally, the winner does not actually win a prize;

instead the loser takes the prize to represent how life works.43 One of the other reasons the Peach

Bowl game is played is to remind the people that what they have around them is not theirs, and

never will be as everything comes from the great circle of life.44

At the end of each day of the midwinter ceremony, there is a short closing thanksgiving

address, as well as a feast. The 6 days of ceremonies all contribute to the main purpose of the

midwinter ceremony. All the ceremonies work together, to give thanks to the creator, and to the

Earth, and all living things. They thank the creator for the previous year as well as a blessing for

a successful harvest year to come. At the end of the midwinter ceremony new council members

are introduced if necessary, and a new year begins.45 The other tribe members are then released

41 “Karihkwi:Io – origin of the four sacred ceremonies,” Indian Time, accessed March 14, 2015, http://www.indiantime.net/story/2010/01/21/cultural-corner/karihkwi-io-origin-of-the-four-sacred-ceremonies/5495.html. 42 Ibid. 43 Ibid. 44 Bruce Elliot Johansen, and Barbara Alice Mann, “Encyclopedia of the haudenosaunee (Iroquois Confederacy),” Greenwood Publishing Group (2000): 53. 45 “The history of the iroquois midwinter ceremony,” Brownielocks, accessed March 30,

2015, http://www.brownielocks.com/iroquoisceremony.html.

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from the burden that their dreams gave them and then are released to welcome the beginning

of a new year.46

46 “The history of the iroquois midwinter ceremony,” Brownielocks, accessed March 30,

2015, http://www.brownielocks.com/iroquoisceremony.html.

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Bibliography

Blau, Harold. "Function and the False Faces: A Classification of Onondaga Masked Rituals and

Themes." Journal of American Folklore (1966): 564-580.

Cornelius, Carol. “The Iroquois Corn in a Culture Based Curriculum: A Framework for

Respectfully Teaching Others About Culture.” State University of New York Press

(1999): 269.

Foley, Denis. “Ethnohistoric and Ethnographic Analysis of the Iroquios From the Aboriginal

Era to the Present Suburban Era.” University Microfilms International (1994): 244.

Johansen, Bruce Elliott, and Barbara Alice Mann, eds. Encyclopedia of the Haudenosaunee

(Iroquois Confederacy). Greenwood Publishing Group. 2000.

Johnson, Michael. “Tribes of the Iroquios Confederacy.” Osprey Publishing. 2003.

"Karihkwi: Io - Origin of the Four Sacred Ceremonies." Indian Time. Accessed March 14, 2015.

http://www.indiantime.net/story/2010/01/21/cultural-corner/karihkwi-io-origin-of-the-four-sacred-ceremonies/5495.html.

Kurath, Gertrude Prokosch. "Iroquois Music and Dance: Ceremonial Arts of Two Seneca

Longhouses.” Courier Corporation (2013): 4.

“The History of the Iroquois Midwinter Ceremony” Brownielocks. Accessed March 30, 2015. http://www.brownielocks.com/iroquoisceremony.html

Tooker, Elisabeth. “The ‘Speck Iroquois Collection’ in the University Museum.” University of Pennysylvania Museum of Archaeology and Anthropology. 49-53.

Tooker, Elisabeth. “The Iroquois Ceremonial of Midwinter.” Syracuse University Press. 1970.

Tooker, Elisabeth. "The Iroquois White Dog Sacrifice in the Latter Part of the Eighteenth

Century." Ethnohistory (1965): 129-140.