EARLY YEARS
Throughout the history of our Tribe, dancing has always held an important place in ceremony. Dancing has long been a part of Mic-O-Say Ceremonials. John Modlin, Chieftain Little Curly Hawk, recalls dancing during ceremonies in the 30s and 40s during brief “intermissions.” At times when a request was made of the Council Office, Roe Bartle or Chuck Henion would arrange for dancers to perform for various community groups and Scouting units, but there was no organized group performing dances representing the then, Kansas City Area Council.
Beginning in the 1940s, increased emphasis was placed on incorporating more elements of Native American culture into Tribal Ceremonies. In the later 1940s Bob Bensted, Medicine Man Fiery Sunset, performed the Dance of Torture as part of the “testing” of Call Braves. The Dance of Torture stopped after 1949, and by the early 60s, the Dance of Joy was added as one of the tests performed by Braves seeking to earn their second claw.
For decades the sight and sound of 100s of dancers were a highlight of the Scouting Round-ups held at the Municipal auditorium. While many of the participating dancers were also Tribesmen and members of the camp staff, performing in the Round-ups was an extracurricular undertaking. Bensted, among many others, designed and staged elaborate dances that entertained those who were fortunate enough to attend the annual spectacles. In the early 1970s the annual Scout Round-up faded into history and the dancing “tradition” began to show signs of fading.
THE 50th ANNIVERSARY OF MIC-O-SAY BRINGS RENEWED INTEREST
At the urging of Dr. George Myers, Chieftain Swift Canoe an effort was made to make dancing again a part of the summer Ceremonies in 1979. As part of the 50th Anniversary of the Tribe of Mic-O-Say festivities, a small group of former Round-up Dancers gathered together to perform the Deer Dance, one of the last featured dances performed at the Scout Round-ups.
A flame was lit in Ceremony at Camp Geiger in St. Joseph, Missouri were Mic-O-Say began as another component of the observance of the 50th Anniversary. During the Trek that followed, the torch was then carried to the site of Camp Dan Sayre in Noel, Missouri where the first Mic-O-Say Ceremonies were held for the Scouts of the Kansas City Area Council. From there the torch was carried to the Bartle Scout Reservation and arrived during the 50th Anniversary Tribal Feast. The trek lasted 3 days. Each night, the participants in that historic run presented a Native American Dance performance. This effort, led by Dick Chandler, Medicine Man Little Falling Branch, was enjoyed by all.
These performances were well received. Jim Rinehart, Sachem Younger Singing Ember and Steve Nickell, Sachem Little Swift Moving Water, whom had made the journey to camp each session in 1979 to perform the Deer Dance in Ceremony, began organizing a group of Tribesmen, which would become the Mic-O-Say Dancers.
A NEW GROUP BEGINS
Rinehart and Nickell called a gathering in the Fall of 1979 held at Dickinson Park that was the first meeting of this newly formed group. Among the earliest members were Gordy Wholf, Dan Sisco, Lester Ham, Scott Hess, Gene Krahenbuhl and Albert Sandridge. Whitey Koogler, Chieftain Mad Drums, who had encouraged dancing all throughout his Scouting life was an early member as well who made many contributions to the group.
During the first year, meetings were held once a month at the National Guard Armory on Ozark Road in Kansas City, Missouri. Only a handful of performances were presented that year. Only a few boys under age 21 were involved, and most performances were not possible without some of the adults helping with the dancing. There were limited dances performed, as there had not yet been time to build the required outfits. The Dancers used a drum borrowed from the H. Roe Bartle Scout Reservation.
That following summer, Dr. Myers was selected as the Presiding Chieftain for 1980. He continued to champion the fledgling effort and a formal proposal was made to the Council of Chieftains to allow this new group to officially use the Mic-O-Say name. The proposal was accepted and the Mic-O-Say Dancers became the only group sanctioned to use the name for a dance team in the Heart of America Council. The initial Directors for the group were Jim Rinehart, Steve Nickell, Russ Nickell, Gordy Wholf and Dan Sisco.
Arrangements were made with Blue Ridge United Methodist to use their Scout House as a more permanent meeting location. The Scout House was an old residential house adjacent to the church that was available for use by the various Boy Scout units that were sponsored there. The Scout House would the be home base for Mic-O-Say Dancers until it was torn down in 1994.
From the beginning, there was concern that activity in the group not be a replacement for a young man’s service to his unit. Therefore, the Dancers have never emphasized rank advancement or submitted youth members for paint advancement in the Tribe. It was important that the activities of the Dancers remain secondary to the young men’s obligation to give back to those following them on the Scouting trail. While it wasn’t until 1988 that the Dancers first became Explorer Post 2569 (and later Venture Crew 2569), this focus has remained. The only requirements to be a member of the Mic-O-Say Dancers are for a person to be a member of the Tribe of Mic-O-Say and a registered member of the BSA.
A PERIOD OF GROWTH
During those early years, emphasis was placed on building the group’s dance repertoire and constructing the dance outfits necessary to perform the dances. Rinehart and Nickell’s experience as former Round-up Dancers and Wholf’s research into Native American dances were vital in adding more and more dances to the performances. In 1983 the group began meeting twice a month and by 1984 meetings had become a weekly occurrence during the fall, winter and spring.
The Dancers had also become active at the Bartle Scout Reservation, as most young men who join the group also choose to serve on the camp staff. The tradition was begun of performing a new dance at each Chieftain’s Ceremony during the Tribal Feast and one dance before the start of each Warrior’s Ceremony. The tradition of dancing the sweetgrass to rid Lone Bear of evil spirits was also begun in the early 80s. Visitor’s Day performances began to feature more than just the new Warrior’s Dance of Joy as members of the Mic-O-Say Dancers began performing some of the group’s dances.
Several recurring performances began to become regular appearances during the off-season as well. For many years in the 80s, two events marked the start of the dancing season, the Raytown Round-up Parade and the Missouri Town Fall Festival. Also in 1984, the first of many performances that the Scottish Rite Temple using their stage, lights and sets was held. Regular appearances were also made during the summer months in Osceola, Missouri.
In the mid 1980s, membership had swelled. It was common for there to be more than 25 boys at each Dance practice and the group was presenting about 40 performances each year in the Kansas City Area. Ham and Hess, two of the original dancers when the group was formed in 1979, were selected to become Directors along with Rinehart, the Nickell brothers and Sisco.
The mid 80s also saw the start of the Feather Drop Program. There were three levels to the Feather Drop Program that reward young men who have worked progressively to construct their own Fancy Dance outfit, master the many dances in the group’s repertoire and attend more than 50% of the performances and meetings the group held each year.
A NEW COUP
By the late 80s, members of the Dancers were sending more boys on Camp Staff than any other unit in the Council. The Council of Chieftains recognized the success of the Mic-O-Say Dancers in 1989 by creating the Dancer’s Coup. The clear cylindrical coup has a yellow center and two maroon stripes around the outer circumference. During the 1st call more than 30 Tribesmen who were currently active with the Mic-O-Say Dancers received the coup. The Dancer’s Coup is a difficult recognition to earn. It requires more than 2 years of active participation in meetings and performances as well as construction of a near complete Fancy Dance Outfit and mastery of most of the story dances performed by the group. Since its first offering, a little more than 125 Tribesmen have earned recognition with the Dancer’s Coup.
In 1992, the Dancers were invited to visit Japan as youth representatives of the metropolitan area to Kansas City’s sister city, Kurashaki, Japan. That summer the Dancers visited many locations in Japan, including Tokyo, Osaka, Hiroshima, Kurashiki and Haruna (Grandview, Missouri’s sister city.) The trip was a memorable experience that truly spread the spirit of Mic-O-Say.
The Mic-O-Say Dancers regularly visit large pow-wows to expose our dancers to the dance styles and regalia of Native Americans. Over the years the group has made trips to pow-wows in Anadarko, Oklahoma, the Rosebud Reservation Pow-wow in South Dakota, the Red Earth Pow-wow in Oklahoma City, the Gathering of Nations Pow-wow in Albuquerque, New Mexico and the Denver March Pow-wow in Colorado. The dancers have also visited many museums specializing in Native American art, including the Woolaroc Museum in Bartlesville, Oklahoma, the Eitel Jorge Museum in Indianapolis, Indiana, and the Denver Art Museum and the Museum of Natural History in Colorado.
From the beginning, new Dancers have begun constructing their own dance attire by learning to make the items used and worn by a Fancy Dancer. Fancy Dancing is a modern style of men’s dance, that emphasizes bright colors and fast movement. Fancy Dancers are distinguishable by the set of double bustles that they wear on their back. Some dancers have continued on and constructed Men’s Traditional or Men’s Grass Dance outfits. The regular trips to pow-wows help ensure that the group stays true to modern pow-wow trends and styles.
A FOCUS ON AUTHENTICITY
The story dances performed by the group have been carefully researched to ensure that our interpretations are accurate, yet not a complete copy of dances presented by specific tribes. We choose not to copy dances completely out of respect for our Native American brothers, and we never consider dances that are steeped in a tribe’s religious beliefs.
Over the years many different dances have been included in our repertoire including: the Deer Dance (our oldest and perhaps trademark dance,) the Buffalo Dance, the Eagle Dance, the Belt Dance, the Hoop Dance, the Brat Dance, the Paddle Dance, the Crown Dance, the Horsetail Dance. In 2009, the newly created Flag Dance was presented at the Tribal Celebration.
Participation in the Dancers is often one of the highlights of a young man’s Scouting career. Dancing benefits each young man both physically and mentally. Youth members not only learn about Native American culture, they learn to respect the differences of others. They learn patience and perseverance as they construct their own dance attire. They learn how to present a positive image as they perform for young Cub Scouts, who are always attentive to our performances. Friendships that last a lifetime are formed and fond memories are always held close to the heart of those with whom one has danced with in Lone Bear. They represent the spirit of Mic-O-Say every where they go. They encourage the younger and weaker to keep their feet upon the Scouting Trail. Hundreds of Scouts and Scouters have helped form the group over the past 30 years. Their tradition and dedication is, and will forever be, deeply appreciated.
It is well my brothers, dance on!
Throughout the history of our Tribe, dancing has always held an important place in ceremony. Dancing has long been a part of Mic-O-Say Ceremonials. John Modlin, Chieftain Little Curly Hawk, recalls dancing during ceremonies in the 30s and 40s during brief “intermissions.” At times when a request was made of the Council Office, Roe Bartle or Chuck Henion would arrange for dancers to perform for various community groups and Scouting units, but there was no organized group performing dances representing the then, Kansas City Area Council.
Beginning in the 1940s, increased emphasis was placed on incorporating more elements of Native American culture into Tribal Ceremonies. In the later 1940s Bob Bensted, Medicine Man Fiery Sunset, performed the Dance of Torture as part of the “testing” of Call Braves. The Dance of Torture stopped after 1949, and by the early 60s, the Dance of Joy was added as one of the tests performed by Braves seeking to earn their second claw.
For decades the sight and sound of 100s of dancers were a highlight of the Scouting Round-ups held at the Municipal auditorium. While many of the participating dancers were also Tribesmen and members of the camp staff, performing in the Round-ups was an extracurricular undertaking. Bensted, among many others, designed and staged elaborate dances that entertained those who were fortunate enough to attend the annual spectacles. In the early 1970s the annual Scout Round-up faded into history and the dancing “tradition” began to show signs of fading.
THE 50th ANNIVERSARY OF MIC-O-SAY BRINGS RENEWED INTEREST
At the urging of Dr. George Myers, Chieftain Swift Canoe an effort was made to make dancing again a part of the summer Ceremonies in 1979. As part of the 50th Anniversary of the Tribe of Mic-O-Say festivities, a small group of former Round-up Dancers gathered together to perform the Deer Dance, one of the last featured dances performed at the Scout Round-ups.
A flame was lit in Ceremony at Camp Geiger in St. Joseph, Missouri were Mic-O-Say began as another component of the observance of the 50th Anniversary. During the Trek that followed, the torch was then carried to the site of Camp Dan Sayre in Noel, Missouri where the first Mic-O-Say Ceremonies were held for the Scouts of the Kansas City Area Council. From there the torch was carried to the Bartle Scout Reservation and arrived during the 50th Anniversary Tribal Feast. The trek lasted 3 days. Each night, the participants in that historic run presented a Native American Dance performance. This effort, led by Dick Chandler, Medicine Man Little Falling Branch, was enjoyed by all.
These performances were well received. Jim Rinehart, Sachem Younger Singing Ember and Steve Nickell, Sachem Little Swift Moving Water, whom had made the journey to camp each session in 1979 to perform the Deer Dance in Ceremony, began organizing a group of Tribesmen, which would become the Mic-O-Say Dancers.
A NEW GROUP BEGINS
Rinehart and Nickell called a gathering in the Fall of 1979 held at Dickinson Park that was the first meeting of this newly formed group. Among the earliest members were Gordy Wholf, Dan Sisco, Lester Ham, Scott Hess, Gene Krahenbuhl and Albert Sandridge. Whitey Koogler, Chieftain Mad Drums, who had encouraged dancing all throughout his Scouting life was an early member as well who made many contributions to the group.
During the first year, meetings were held once a month at the National Guard Armory on Ozark Road in Kansas City, Missouri. Only a handful of performances were presented that year. Only a few boys under age 21 were involved, and most performances were not possible without some of the adults helping with the dancing. There were limited dances performed, as there had not yet been time to build the required outfits. The Dancers used a drum borrowed from the H. Roe Bartle Scout Reservation.
That following summer, Dr. Myers was selected as the Presiding Chieftain for 1980. He continued to champion the fledgling effort and a formal proposal was made to the Council of Chieftains to allow this new group to officially use the Mic-O-Say name. The proposal was accepted and the Mic-O-Say Dancers became the only group sanctioned to use the name for a dance team in the Heart of America Council. The initial Directors for the group were Jim Rinehart, Steve Nickell, Russ Nickell, Gordy Wholf and Dan Sisco.
Arrangements were made with Blue Ridge United Methodist to use their Scout House as a more permanent meeting location. The Scout House was an old residential house adjacent to the church that was available for use by the various Boy Scout units that were sponsored there. The Scout House would the be home base for Mic-O-Say Dancers until it was torn down in 1994.
From the beginning, there was concern that activity in the group not be a replacement for a young man’s service to his unit. Therefore, the Dancers have never emphasized rank advancement or submitted youth members for paint advancement in the Tribe. It was important that the activities of the Dancers remain secondary to the young men’s obligation to give back to those following them on the Scouting trail. While it wasn’t until 1988 that the Dancers first became Explorer Post 2569 (and later Venture Crew 2569), this focus has remained. The only requirements to be a member of the Mic-O-Say Dancers are for a person to be a member of the Tribe of Mic-O-Say and a registered member of the BSA.
A PERIOD OF GROWTH
During those early years, emphasis was placed on building the group’s dance repertoire and constructing the dance outfits necessary to perform the dances. Rinehart and Nickell’s experience as former Round-up Dancers and Wholf’s research into Native American dances were vital in adding more and more dances to the performances. In 1983 the group began meeting twice a month and by 1984 meetings had become a weekly occurrence during the fall, winter and spring.
The Dancers had also become active at the Bartle Scout Reservation, as most young men who join the group also choose to serve on the camp staff. The tradition was begun of performing a new dance at each Chieftain’s Ceremony during the Tribal Feast and one dance before the start of each Warrior’s Ceremony. The tradition of dancing the sweetgrass to rid Lone Bear of evil spirits was also begun in the early 80s. Visitor’s Day performances began to feature more than just the new Warrior’s Dance of Joy as members of the Mic-O-Say Dancers began performing some of the group’s dances.
Several recurring performances began to become regular appearances during the off-season as well. For many years in the 80s, two events marked the start of the dancing season, the Raytown Round-up Parade and the Missouri Town Fall Festival. Also in 1984, the first of many performances that the Scottish Rite Temple using their stage, lights and sets was held. Regular appearances were also made during the summer months in Osceola, Missouri.
In the mid 1980s, membership had swelled. It was common for there to be more than 25 boys at each Dance practice and the group was presenting about 40 performances each year in the Kansas City Area. Ham and Hess, two of the original dancers when the group was formed in 1979, were selected to become Directors along with Rinehart, the Nickell brothers and Sisco.
The mid 80s also saw the start of the Feather Drop Program. There were three levels to the Feather Drop Program that reward young men who have worked progressively to construct their own Fancy Dance outfit, master the many dances in the group’s repertoire and attend more than 50% of the performances and meetings the group held each year.
A NEW COUP
By the late 80s, members of the Dancers were sending more boys on Camp Staff than any other unit in the Council. The Council of Chieftains recognized the success of the Mic-O-Say Dancers in 1989 by creating the Dancer’s Coup. The clear cylindrical coup has a yellow center and two maroon stripes around the outer circumference. During the 1st call more than 30 Tribesmen who were currently active with the Mic-O-Say Dancers received the coup. The Dancer’s Coup is a difficult recognition to earn. It requires more than 2 years of active participation in meetings and performances as well as construction of a near complete Fancy Dance Outfit and mastery of most of the story dances performed by the group. Since its first offering, a little more than 125 Tribesmen have earned recognition with the Dancer’s Coup.
In 1992, the Dancers were invited to visit Japan as youth representatives of the metropolitan area to Kansas City’s sister city, Kurashaki, Japan. That summer the Dancers visited many locations in Japan, including Tokyo, Osaka, Hiroshima, Kurashiki and Haruna (Grandview, Missouri’s sister city.) The trip was a memorable experience that truly spread the spirit of Mic-O-Say.
The Mic-O-Say Dancers regularly visit large pow-wows to expose our dancers to the dance styles and regalia of Native Americans. Over the years the group has made trips to pow-wows in Anadarko, Oklahoma, the Rosebud Reservation Pow-wow in South Dakota, the Red Earth Pow-wow in Oklahoma City, the Gathering of Nations Pow-wow in Albuquerque, New Mexico and the Denver March Pow-wow in Colorado. The dancers have also visited many museums specializing in Native American art, including the Woolaroc Museum in Bartlesville, Oklahoma, the Eitel Jorge Museum in Indianapolis, Indiana, and the Denver Art Museum and the Museum of Natural History in Colorado.
From the beginning, new Dancers have begun constructing their own dance attire by learning to make the items used and worn by a Fancy Dancer. Fancy Dancing is a modern style of men’s dance, that emphasizes bright colors and fast movement. Fancy Dancers are distinguishable by the set of double bustles that they wear on their back. Some dancers have continued on and constructed Men’s Traditional or Men’s Grass Dance outfits. The regular trips to pow-wows help ensure that the group stays true to modern pow-wow trends and styles.
A FOCUS ON AUTHENTICITY
The story dances performed by the group have been carefully researched to ensure that our interpretations are accurate, yet not a complete copy of dances presented by specific tribes. We choose not to copy dances completely out of respect for our Native American brothers, and we never consider dances that are steeped in a tribe’s religious beliefs.
Over the years many different dances have been included in our repertoire including: the Deer Dance (our oldest and perhaps trademark dance,) the Buffalo Dance, the Eagle Dance, the Belt Dance, the Hoop Dance, the Brat Dance, the Paddle Dance, the Crown Dance, the Horsetail Dance. In 2009, the newly created Flag Dance was presented at the Tribal Celebration.
Participation in the Dancers is often one of the highlights of a young man’s Scouting career. Dancing benefits each young man both physically and mentally. Youth members not only learn about Native American culture, they learn to respect the differences of others. They learn patience and perseverance as they construct their own dance attire. They learn how to present a positive image as they perform for young Cub Scouts, who are always attentive to our performances. Friendships that last a lifetime are formed and fond memories are always held close to the heart of those with whom one has danced with in Lone Bear. They represent the spirit of Mic-O-Say every where they go. They encourage the younger and weaker to keep their feet upon the Scouting Trail. Hundreds of Scouts and Scouters have helped form the group over the past 30 years. Their tradition and dedication is, and will forever be, deeply appreciated.
It is well my brothers, dance on!