The son of Earthmaker
According to legend, Red Horn is one of the five greatThen Earthmaker (''Mą'ųna'') sent down another son, He who Wears Human Heads as Earrings. He went around talking to people, but they would always fix on his earrings which were actual, living, miniature human heads. When these little heads saw someone looking at them, they would wink and make funny faces. In the end, He who Wears Human Heads as Earrings could not accomplish the mission either.Unlike all the other soteriological spirits, Red Horn is not assigned a paradise over which to rule; and the Medicine Rite omits any mention of Red Horn from its account of the sons of Earthmaker. These facts indicate that Red Horn may have been a recent addition to the role. Meeker even suggested that a certain notable Piegan contemporary of the same name may have simply been elevated to divine status. More recently, Lankford held a similar view: "... Red Horn was a recent addition to the Winnebago pantheon diffused possibly from the Blackfoot tribe."
Red Horn's adventures
The adventures of Red Horn are set out in a set of stories known as the "Red Horn Cycle". The Red Horn Cycle depicts his adventures with Turtle, theRed Horn as a star
There is a little-known myth of great importance that identifies Red Horn as a star. Ten brothers lived together in a longhouse. The eldest, Kunu, had four arms. The youngest brother was called "Wears Faces on His Ears" (''įcohorúšika''), because he had living human faces on each of his ears. By dancing all night and performing the hunting rite by which game is seduced, they were able to gain wives for themselves. However, the second brother, Hena, was jealous because his youngest brother had gotten the fattest woman (''hinųk šį''), so he persuaded his other brothers, all except Kunu and the next youngest, to join him in a plot to rid themselves of Wears Faces on His Ears. They brought him to the lodge of a beautiful woman who in reality was a water spirit (''wakcexi''). She persuaded him to go to the back of her lodge, where he fell through a trap door into the underworld. There he was made captive by the bad water spirits (''wakcexi šišik''). Loon and Otter were the nephews of the water spirits. Each made an impassioned plea to free the young man, but the bad water spirits were determined to eat him, so Loon and Otter left the underworld for the earth where they have lived ever after. Wears Faces on His Ears broke his chains as though they were made of string, then grabbed a fire brand and began to club the water spirits to death and to set their realm aflame. He tracked down the woman who had tricked him and chased her through the underworld, where she tried to hide as a tubercle on a weed. Just the same, he found her out and killed her. When he returned to earth, he discovered that in his absence the rebel brothers had abused his two loyal brothers. The disloyal brothers had in reality been foxes and coyotes. When Wears Faces on His Ears struck Hena with his club, he was transformed into a fox. Thus, the wicked brothers lived as animals thereafter. Wears Faces on His Ears and his two loyal brothers were stars. Without any reference to this story, much has been said about the stellar identity of Red Horn. In 1945, many years after his field work, Paul Radin suggested that Red Horn might be identical to the Morning Star (of Venus), known to the Hocągara as ''Wiragošge Xetera'', "the Great Star". Most archaeologists have accepted this suggestion. However, just three years later, he was less certain, saying only that Red Horn was "either evening- or morning-star", and in 1954 he changed his position yet again, asserting that Red Horn, "probably is identical with the Evening Star". After an extensive discussion of the problem, Lankford summed up by saying, "It appears that the safest conclusion for this study of Morning Star traditions is to accept the Winnebago divinities ed Horn, Blue Horn, the Twinsas possibly stellar figures but to allow them to remain without a celestial name, insofar as ethnoastronomy is concerned." Nevertheless, the very end of our story identifies Red Horn, in his form as Wears Faces on His Ears, as a ''fixed'' star, probably"The one star that is shining most greatly of the trio, it is he. The greatly shining white one, and the blue one, and the red one; and ''Icohorúšika'' was the yellowish one. And the other ones, his older brothers, are also stars. They are the trio that are bunched together he Belt Stars of Orion ?"Morning Star, of course, is not a fixed star. Their lack of identity is confirmed in another story in which Man Faces on His Ears ''coexists'' with Morning Star. The connection between fixed stars and living beings on the ears finds a parallel in another Hocąk story in which
Red Man, Chief of the Herok'a
In the Red Horn Cycle, when a human chief offers his daughter as a prize in a race, all the fastest spirits in creation show up to compete. Nevertheless, a completely unknown person wins the race by turning himself into the fleetest of all things, an arrow, and shooting himself ahead of all the other competitors. The victor declares that he goes by the name "Red Horn", but that the spirits know him as "Wears Man-Faces on His Ears". The episode shows that Red Horn has a mystical identity with the arrow. There are two unpublished stories that reveal Red Horn's sagittary nature. The first is "Chief of the Horok'a", and the other is its variant, "The Red Man". In "Chief of the Herok'a", a great hunter lived with his wife and two small children. He told his wife to avoid his deer traps, but she ignored him, and whenever she went out, she was caught in one of the traps. No trap in which she was caught ever worked again. Finally, he had to shoot his own wife to save his family from starvation. He sent his two children to where his other sons lived, and on the way, the children saw the signs in the sky that their father had been overcome by their mother's brothers. On the way, the little boy was kidnapped by a group of berdaches who had the power to change their size. He made good his escape and joined his sister and brothers. In time the little boy grew up and married a beautiful woman. His mother-in-law would send him on impossibly dangerous missions in order to kill him, but every time he emerged victorious. Among the spirits participating in the feasts that were held afterwards were Turtle and the Forked Man, who had two bodies joined at the waist. The young man allowed his sister to choose her husband from among the assembled spirits, and she picked the Forked Man. The old woman had a nightmare, and when she awoke, she said that the young man must play the game ''wegodiwa'' with them. He agreed. The young man with his spirit friends sat on the edge of a cliff while the old woman walked out into the thin air. She and her daughters gave a loud shout, and a gale force wind issued from above, yet the young man and the good spirits held fast. After four such attacks, the good spirits triumphed. The sons of the old woman were the ones who were making the wind. The young man, now in the form of Without Horns (''Herok'aga''), stood on the water and told his brothers to make the "''herok'a'' breathings." They uttered, ''ahahe, ahahe'', and as they pulled their empty bow strings back and forth, their opponents fell over dead. The young man, ''Herok'aga'', became chief over the village that was once ruled by the slain brothers. In time ''Herok'aga'' had a daughter, and when it was time for her to be married, he set up an ordeal designed to test the worth of her suitors. Finally, a Forked Man succeeded, and the couple set out for his home up above where he lived with his grandfather. One day as she was looking into the fire, she saw a head that was made red by the heat, yet it had tears rolling down its cheeks. The head explained that she was his granddaughter and that the old man there had beheaded him and placed him in the fire. She lifted the head out of the fire and put it in a white deerskin. When the Forked Man returned home, the head explained to him all that had happened. The husband demanded that his grandfather tell him where the headless body was, and they went out and found the body wandering around Red Hill. They brought it back and made a sweat bath in which the head was reattached to the body. Once he emerged whole again, he cursed the old man to become an owl. The grandfather whose head was reattached, is the chief of the ''herok'a''. His son is the chief of the little children spirits who have the same power as the ''herok'a''. From this story we learn that the elder man is chief of the ''herok'a'', but his son, even though his name is Without Horns (''Heroka'ga''), is chief over the little children spirits. Both sets of spirits are able to kill with empty bows, just as though they themselves were the arrows. In "The Red Man", the older man kills his wife because he has caught her making love with a bear. The man who killed him, rather than being turned into an owl, is killed by Trickster and Hare. With a stroke of his club, Hare shattered him into a thousand pieces of flint. The man known to us as "chief of the ''herok'a''", in this story is brought back to life and called "Red Man" (''Wąkšucka''), since his body is entirely red in color. Who is Red Man, chief of the ''herok'a''? It would be left to speculation were it not for a story parallel to the Red Horn Cycle, where it is said of Red Horn, "'Without Horns' (''herok'a'') they call certain beings, he (Red Horn) was their chief; his sons were the chiefs of beings called 'childish people', they say." Therefore, it is Red Horn who is Red Man, chief of the ''herok'a'', and his sons are chiefs of the little children spirits. Both of these are tribes of lilliputian hunting spirits, whose spiritual essence is the arrow, and whose symbol is the bow. From another unpublished storyThen the war leader said, "Now then, attendants! I will help you," and at the war leader's forehead stood a single horn, and it was very red. This he took off and struck the water with it, and the water burned like fuel, and there all the bad things were burned up. Then the leader said, "Now then! from henceforth you will no more call me "One Horn". Here the humans are being abused and here I have used my horn, therefore, the humans shall ever call me, "Without Horns", because I have caused myself to be without any," he said. That is why they call them ''herok'a'', meaning "ones without horns".In this variant, Red Horn is first named "One Horn" (''Hejąkiga''), then "Without Horns" (''Herok'aga''), a name which elsewhere is given to his son. This is merely a reflection of the cross-generational identity of Red Horn and his sons. In one story the son of Red Horn is called by one of Red Horn's old lovers by the name "Red Horn"; and in another story, the father of Red Horn is Wears Man-Faces on His Ears, another form of Red Horn himself. The ''he'', "horn", in the names ''He-jąki-ga'' ("One Horn"), ''He-rok'a-ga'' ("Without Horns"), and ''He-šuc-ka'' ("Red Horn"), can be understood in these sagittary terms. In the myth known a
Red Horn's sons
The two wives of Red Horn were pregnant at the time of his death. Red Horn's first wife, the girl in the white beaverskin wrap, gave birth to a son who had the same red hair and human heads hanging from his ears as his father. Red Horn's second wife, the giantess, also gave birth to a red haired boy, but with living faces where his nipples should have been. The sons were spared by the giants and grew up to be very large. One day the eldest son went out to fast in order to get a blessing from the thunderbirds. He went to seek his visions at a place not far from a broad prairie where the giants had a village. He knew that the head of his father, whose hair had by now turned white, hung from a lodge pole there. When he called out to the spirits with a death song, the kind sung by prisoners about to be executed, the giants who heard it would immediately jump into the fire. When the old men of the village saw that so many of their people were jumping in the flames, they guessed at the cause, and ordered four warriors to guard the scalp pole. Two of the guards painted themselves red and the others painted themselves black. Red Horn's two sons decided then to retrieve the heads of their father and his friends. They used their powers to make special red and black arrows to kill the guards, then grabbed the heads and ran with them. As the boys ran they shot the giants with their arrows, each arrow killing many giants. When they ran out of arrows, they used their bows as clubs, almost wiping out the giants completely. A little girl with a boy that she packed on her back were spared so that the race of giants would not become extinct, but they were thrown to the other side of the sea so that they would no longer be a threat. The two sons then burned the bodies of the giants and ground up their bones and spread the powder around their own village. The two sons took the head of Red Horn and asked their mothers to sleep with it, but each replied, "How can I sleep with that, it is only a skull?" The boys took all three heads and laid them in a bed in the middle of the lodge. The next day Red Horn, Turtle, and Storms as He Walks were all found alive and sleeping in the bed. Where the sons had scattered the powdered bones of the giants, all the people that the giants had killed were also found alive and sleeping. When Red Horn's wives saw this, they shouted, "Oh, our sons have brought our husbands back to life again!" The boys picked up their fathers and carried them around like children. In honor of this feat, Turtle and Storms as He Walks promised the boys special weapons. In another episode, the sons of Red Horn decided to go on the warpath. The older brother asked Storms as He Walks for the Thunderbird Warbundle. After some effort, it was produced, but the thunderbirds demanded that it have a case. A friend of the sons of Red Horn offered his own body as its case. The boys take the Thunderbird Warbundle and with their followers went on a raid to the other side of the sky. Hall has shown that the mythic cycle of Red Horn and his sons has some interesting analogies with theRed Horn in archaeology
Some images found in or near the SECC area may be of Red Horn, his companions, and his sons. Scattered throughout most of this area are relics of prosopic earpieces, which must have given the wearer an appearance strikingly like that of mythical Red Horn. Other artifacts, such as the bilobed arrow, may shed light on an obscure name held by Red Horn in his youth, "He Who is Hit with Deer Lungs". Intricately carved effigy pipes have been recovered as well, one of which, nicknamed "Big Boy", has been widely identified with Red Horn. There also exist numerous depictions of a raptorial bird whose head has many human features. James A. Brown has argued that this "Birdman", who is often shown wearing prosopic earpieces, is also a form of Red Horn. Pictographs found in caves have also been related to Red Horn. Salzer contends that the scene of Panel 5 at the Gottschall Rockshelter represents Red Horn and his friends confronting the giants. At Picture Cave, discovered by Carol Diaz-Granados, there exists a pictograph the central figure of which wears prosopic earpieces, leading to the suggestion that he represents an early form of Red Horn.Prosopic earpieces as SECC artifacts
In the Ioway version of the Red Horn story, ''Wears Man-Heads in His Ears'' puts on a pair of prosopic earpieces which come to life. Prosopic ear ornaments have been found throughout much of the S.E.C.C. culture area in archaeological excavations and are called "Struck with Deer Lungs and the pipe ceremony
Not surprisingly, given his status as Chief of the Herok'a, Red Horn has a special connection to deer. The Red Horn Cycle tells us of the time when Red Horn, the youngest brother, was following his other brothers to a race to which he alone was not invited.The people were saying, "''Kunu'' (eldest born) has come and the one at whom ''Kunu'' used to throw deer lungs, his youngest brother, he has also come along." So ''Kunu'' looked behind him and, sure enough, there was his little brother following, wearing an untanned deerskin blanket turned inside out. The fur was on the outside.His cervid identity is expressed in his going about in the outward form of a deer. Right up to the end of the story, Red Horn is known only by the name "He who Gets Hit with Deer Lungs," ''Kunu'' explains to his wife, "Once I told him to fast and he refused so I threw a deer lung at him and that is the reason why they called him by that name but no one ever hit him with a deer lung." So ''Kunu'' had been giving him the lungs to eat, since he had refused to go without food. Far from being a poor cut of meat, it is something special. In one story, the dogs decide that if their master gives them the deer lung hanging in his lodge, they will make him prosper in game. The reason for the gourmet value of deer lungs (''ca raxúra'') is explained in connection with an episode in a story entitled "The Fleetfooted Man":
There a Hotcâk village was. To a great warrior was born a baby boy. It was very good. He grew larger, and when he was old enough to eat, whenever his father could, he would feed him only deer lungs. He wanted him to be able to run fast, that is why he did it.It should come as no great surprise that a diet of deer lungs might be thought to empower a person to have lungs like those of a deer, and the capacity for speed that this endowment would bequeath. So when the youngest brother is struck with deer lungs, it expresses the notion that Red Horn is someone who will have lungs like a deer and therefore a fleetness of foot that will rival a cervid. Indeed, his victory in the foot race, the major event of this episode, is a mere confirmation of this achievement. So the name that is presented as a misnomer, turns out on an esoteric level to be an understated description for the spirit who travels as fast as an arrow. Archaeologists have attempted to connect the name with a widespread
In the Iowa version the two boys put the heads of Human-head-earrings and his two friends on the earth and shoot three arrows into the air, after which the owners of the three heads come to life. This recalls the use of the symbolic gesture with arrows -- the calumets -- to mediate the reconception of the adoptee in the (Pawnee) Hako ceremony. More important, it recalls the third name by which Red Horn or He-who-wears-human-heads-as-earrings was known -- He-who-is-hit-with-deer-lungs -- because the owl feathers attached to the calumets represented deer lungs. The calumet stems represented windpipes as well as arrow shafts, and the combination of windpipe and lungs was believed to introduce a quickening breath into the nose of the adoptee that then descended into his chest and gave him life. Logically, the name He-who-is-hit-with-deer-lungs could derive from a ritual in which an impersonator of He-who-wears-human-heads-as-earrings was symbolically requickened with the calumets.The Osage actually have a Deer Lung Clan which is active in the ceremony.
Big Boy
"Big Boy", which was uncovered from the Great Mortuary of Craig Mound at Spiro, is a large effigy pipe weighing 11 lbs., 8 oz., probably made of bauxite. It is likely that it was originally a sculpture that was only later converted into a pipe bowl. This remarkable artifact was first illustrated in 1952. The figure is nude, with his hair arranged in an occipital bun and a long braid hanging over his left shoulder. His only body clothing is a cape draped over his back. The cape has a "spade" or feather design, leading most archaeologists to conclude that it was a feather cape, a mantle well known from many Native American cultures in historical times. However, it seems unlikely that it actually is a feather cape.The blanket ... is decorated with a "spade" design, which, considering the accuracy of detail and faithfulness of depiction in the rest of the pipe, is a detail that should be interpreted literally rather than figuratively. In this light, the "spade" design elements should be regarded as part of the blanket itself.It once bore a heavy coat of red ochre, some of which is still visible. He also wears a flat cap with a raised border around its top which has an "ogee" design in negative relief. Brown believes that this cap "appears to be a case for displaying a copper plate." The subject of the sculpture also wears a rich, triple-strand necklace of wampum beads. His most interesting feature, however, is a pair of prosopic ear ornaments, clearly of the Short-Nosed God type. Reilly, on the assumption that the SECC clay effigy pipes are of divine subjects, concludes, because of Big Boy's long red braid and prosopic earpieces, that he must represent "Morning Star" (by which he means Red Horn). James A. Brown leans strongly towards this view, but voices a note of caution:
All told, we have in this figure a remarkable combination of the very elements by which the Red Horn hero-deity of the Winnebago is identified in myth. Although this might suggest that the Red Horn identification can be extrapolated into deep antiquity, caution is dictated because of the inherent ambiguities attendant upon the sources of our information, to say nothing of the time spread involved.In a departure from the received opinion, Duncan and Diaz-Granados contend that the prosopic earpieces represent the Twins and were used by captives being adopted into the tribe. Consequently, they view Big Boy as a representation of such an adoptee, and not as Red Horn himself.
Bird Man
Another figure found in SECC artworks is a raptor with a largely human face, who is often depicted wearing prosopic earpieces. This werebird, known as "Birdman", is also thought by some to be a form of Red Horn.The Gottschall pictographs
Gottschall Rockshelter (a horizontally shallow cave), located in Muscoda, Wisconsin, contains about forty pictographs. Robert J. Salzer began to excavate the site in 1982, eight years after it had been rediscovered. He identified Panel 5 to be of special interest, since it is a composition containing several figures that seem to be engaged in a single action. Panel 5 is dated with a good measure of confidence to the tenth century A.D. At the outset,The character in your Fig. 4 has a pattern around each nipple which resembles the long-nose god maskettes. The face of the maskettes are of the same outline as that found around each nipple on the pictograph. I first interpreted the two parallel lines above the "face" outline as the red horn. I now feel that they represent the long nose of the long-nosed god in a face-on perspective which the artists could not quite handle. That leaves the nipples for the mouth and tongue, and remember that the little faces stuck out their tongues when manipulated. The stone Big Boy pipe from Spiro had long-nose god maskettes on each ear, and I would guess that is what Red Horn also wore on his ears and was the reason he was called He-who-wears-human-heads-as-earrings.Salzer identified the other figures as being two giants, one of whom was the woman that eventually married Red Horn, and other pictographs seemed to be of Turtle and Storms-as-He-Walks, all of whom had gathered together on the occasion of the great lacrosse game between the good spirits and the giants. Salzer believes, contrary to Hall, that the figure to the far right is not a son of Red Horn, but Red Horn himself. The reason why we do not see prosopic earpieces is that part of the tail of the bird in the center of the panel has been painted over Red Horn's ears. Most archaeologists have accepted the idea that the panel is devoted to Red Horn mythology, although a few others have been highly skeptical.
Picture Cave
In Warren County, Missouri, there is a site appropriately styled "Picture Cave". As its name suggests, it contains a wealth of pictographs, including one that has been identified with the Hotcąk spirit Red Horn (Wears Faces on His Ears). Other pictographs in Picture Cave have been dated from about 915 AD to 1066 AD, although the age of the "Red Horn" pictograph has so far not been determined. It differs stylistically from the other pictographs in the cave and has a patina of silica which may suggest that it is older than the others. Almost solely on the basis of the prosopic earpiece, Duncan connects the main character of this scene with Red Horn. He describes the chief figure in the panel as "Morning Star (known by the Winnebago as Red Horn)", an identification which has now become universal among archaeologists (see the section above, "Red Horn as a Star"). He also believes that the Red Horn of Picture Cave is carrying the head of Morning Star, which he describes as an act of self-resurrection. Nevertheless, at one point Duncan says, with respect to the "Red Horn" pictograph, "This 'early' Braden style rendering conforms to the description of He-who-wears-human-heads-as-earrings, or Red Horn, after he wrestled with the 'giants'. Red Horn's head is described as being carried by one of his sons ... this is an unmistakable scene at Picture Cave that is finely and delicately rendered and includes a substantial use of white pigment."Diaz-Granados & Duncan (2000) 212; much the same is said at Duncan & Diaz-Granados (2000) 4.See also
*Notes
References
*Brown, James A. ''The Spiro Ceremonial Center : the Archaeology of Arkansas Valley Caddoan Culture in Eastern Oklahoma'', 2 vols. Memoirs of the Museum of Anthropology, University of Michigan, no. 29 (Ann Arbor : Museum of Anthropology, University of Michigan, 1996). *Brown, James A. "The Cahokian Expression: Creating Court and Cult," in Townsend & Sharp (2004) 105-124. *Brown, James A. "On the Identity of the Birdman within Mississippian Period Art and Iconography", in Reilly & Garber (2004) 56-106. *Danker, Kathleen, and White, Felix, Sr. ''The Hollow of Echoes'' (Lincoln: University of Nebraska Press, 1978). *Diaz-Granados, Carol. ''The Petroglyphs and Pictographs of Missouri: A Distributional, stylistic, Contextual, Functional, and Temporal Analysis of the State's Rock Graphics.'' 2 vols. Ph.D. dissertation, Department of Anthropology, Washington University in St. Louis. *Diaz-Granados, Carol. "Marking Stone, Land, Body, and Spirit," in Townsend & Sharp (2004) 139-150. *Diaz-Granados, Carol, and Duncan, James R. ''The Petroglyphs and Pictographs of Missouri'' (Tuscaloosa: University of Alabama Press, 2000). *Diaz-Granados, Carol, and Duncan, James R., edd., ''The Rock-Art of Eastern North America: Capturing Images and Insight'' (Tuscaloosa & London: University of Alabama Press, 2004). *Dorsey, James Owen. ''Winnebago-English Vocabulary and Winnebago Verbal Notes'', 4800 Dorsey Papers: Winnebago (3.3.2) 321 ld no. 1226(Washington: Smithsonian Institution, National Anthropological Archives, 1888) 82 pp. *Duncan, James R., and Diaz-Granados, CarolExternal links