As soon as she arrived at Standing Rock Reservation with her son, Weldon became a figure of amazement and mockery. She told Sitting Bull she wanted to be his secretary and representative and began to try to organize his supporters in the area to oppose the Sioux Bill. She also painted his portrait four times, using oil paints to capture the solemn face of the beleaguered chief.
Meanwhile, local newspapers picked up on the seemingly amazing story of a white woman traveling to live with a Native American tribe. They vilified Weldon as a harpy who was in love with Sitting Bull and called her his “white squaw.” That a white woman wanted to be associated with Native Americans, much less try to help them, was unthinkable to a country convinced that assimilation was in Native Americans’ best interests.
While Weldon was with Sitting Bull, a religious movement called the Ghost Dance swept through the area. The movement held that if Native people performed certain songs and dances, white people would disappear and their dead ancestors would rejoin them.
The movement was understandably popular among the Lakota Sioux, whose tribal holdings and unity were directly threatened by the Sioux Bill. Meanwhile, it was viewed as a threat by white settlers. Weldon warned Sitting Bull that it would turn him into a target, but he disregarded her. She began to advocate against the dance, causing a rift with Sitting Bull. Finally, she left the reservation. “They really meant a lot to each other,” says Pollack. “They each grieved terribly when they parted.”
Tragedy followed. Weldon’s instinct was right: A year later, U.S. officials arrested and killed Sitting Bull after he refused to stop Ghost Dance ceremonies on the reservation. Meanwhile, her son died and she returned to Brooklyn a social pariah for her association with people most white Americans loathed. She lived in poverty and died in obscurity two decades later when she was burned by a fire sparked by a candle in her apartment.