In the last letter I gave an account of many of the weapons and
other manufactures of these wild folks; and as this has been a day
of _packing_ and _casing_ a great many of these things, which I have
obtained of the Indians, to add to my _Musée Indienne_, I will name a
few more, which I have just been handling over; some description of
which may be necessary for the reader in endeavouring to appreciate
some of their strange customs and amusements, which I am soon to
unfold. In +plate+ 101½, letters _a_ and _b_, will be seen the _quiver_
made of the fawn’s skin, and the Sioux _shield_ made of the skin of
the buffalo’s neck, hardened with the glue extracted from the hoofs
and joints of the same animal. The process of “_smoking the shield_”
is a very curious, as well as an important one, in their estimation.
For this purpose a young man about to construct him a shield, digs a
hole of two feet in depth, in the ground, and as large in diameter
as he designs to make his shield. In this he builds a fire, and over
it, a few inches higher than the ground, he stretches the raw hide
horizontally over the fire, with little pegs driven through holes made
near the edges of the skin. This skin is at first, twice as large as
the size of the required shield; but having got his particular and
best friends (who are invited on the occasion,) into a ring, to dance
and sing around it, and solicit the Great Spirit to instil into it the
power to protect him harmless against his enemies, he spreads over
it the glue, which is rubbed and dried in, as the skin is heated;
and a second busily drives other and other pegs, inside of those in
the ground, as they are gradually giving way and being pulled up
by the contraction of the skin. By this curious process, which is
most dexterously done, the skin is kept tight whilst it contracts to
one-half of its size, taking up the glue and increasing in thickness
until it is rendered as thick and hard as required (and his friends
have pleaded long enough to make it arrow, and almost ball proof), when
the dance ceases, and the fire is put out. When it is cooled and cut
into the shape that he desires, it is often painted with his _medicine_
or _totem_ upon it, the figure of an eagle, an owl, a buffalo or other
animal, as the case may be, which he trusts will guard and protect him
from harm; it is then fringed with eagles’ quills, or other ornaments
he may have chosen, and _slung_ with a broad leather strap that crosses
his breast. These shields are carried by all the warriors in these
regions, for their protection in battles, which are almost invariably
fought from their horses’ backs.
Of _pipes_, and the custom of smoking, I have already spoken; and I
then said, that the Indians use several substitutes for tobacco, which
they call _K’nick K’neck_. For the carrying of this delicious weed or
bark, and preserving its flavour, the women construct very curious
pouches of otter, or beaver, or other skins (letters _c_, _c_, _c_,),
which are ingeniously ornamented with porcupine quills and beads, and
generally carried hanging across the left arm, containing a quantity of
the precious _narcotic_, with flint and steel, and spunk, for lighting
the pipe.
The _musical instruments_ used amongst these people are few, and
exceedingly rude and imperfect, consisting chiefly of rattles, drums,
whistles, and lutes, all of which are used in the different tribes.
In +plate+ 101½ (letters _d_, _d_,) will be seen the _rattles_ (or
She-she-quois) most generally used, made of rawhide, which becomes
very hard when dry, and charged with pebbles or something of the
kind, which produce a shrill noise to mark the time in their dances
and songs. Their _drums_ (letters _e_, _e_,) are made in a very rude
manner, oftentimes with a mere piece of rawhide stretched over a hoop,
very much in the shape of a tambourin; and at other times are made in
the form of a keg, with a head of rawhide at each end; on these they
beat with a drum-stick, which oftentimes itself is a rattle, the bulb
or head of it being made of rawhide and filled with pebbles. In other
instances the stick has, at its end, a little hoop wound and covered
with buckskin, to soften the sound; with which they beat on the drum
with great violence, as the chief and _heel-inspiring_ sound for all
their dances, and also as an accompaniment for their numerous and
never-ending songs of amusement, of thanksgiving, and _medicine_ or
_metai_. The _mystery whistle_, (letter _f_,) is another instrument of
their invention, and very ingeniously made, the sound being produced
on a principle entirely different from that of any wind instrument
known in civilized inventions; and the notes produced on it, by the
sleight or trick of an Indian boy, in so simple and successful a
manner, as to baffle entirely all civilized ingenuity, even when it
is seen to be played. An Indian boy would stand and blow his notes on
this repeatedly, for hundreds of white men who might be lookers-on, not
one of whom could make the least noise on it, even by practising with
it for hours. When I first saw this curious exhibition, I was charmed
with the peculiar sweetness of its harmonic sounds, and completely
perplexed, (as hundreds of white men have no doubt been before me, to
the great amusement and satisfaction of the women and children,) as to
the mode in which the sound was produced, even though it was repeatedly
played immediately before my eyes, and handed to me for my vain and
amusing endeavours. The sounds of this little simple toy are liquid and
sweet beyond description; and, though here only given in harmonics,
I am inclined to think, might, by some ingenious musician or musical
instrument-maker, be modulated and converted into something very
pleasing.
The _War-whistle_ (letter _h_,) is a well known and valued little
instrument, of six or nine inches in length, invariably made of
the bone of the deer or turkey’s leg, and generally ornamented with
porcupine quills of different colours which are wound around it. A
chief or leader carries this to battle with him, suspended generally
from his neck, and worn under his dress. This little instrument has
but two notes, which are produced by blowing in the ends of it. The
note produced in one end, being much more shrill than the other, gives
the signal for battle, whilst the other sounds a retreat; a thing that
is distinctly heard and understood by every man, even in the heat and
noise of battle, where all are barking and yelling as loud as possible,
and of course unable to hear the commands of their leader.
[Illustration: 102]
There is yet another wind instrument which I have added to my
Collection, and from its appearance would seem to have been borrowed,
in part, from the civilized world (letter _g_). This is what is often
on the frontier called a “_deer-skin flute_,” a “Winnebago courting
flute,” a “tsal-eet-quash-to,” &c.; it is perforated with holes for the
fingers, sometimes for six, at others for four, and in some instances
for three only, having only so many notes with their octaves. These
notes are very irregularly graduated, showing clearly that they have
very little taste or ear for melody. These instruments are blown in the
end, and the sound produced much on the principle of a whistle.
In the vicinity of the Upper Mississippi, I often and familiarly heard
this instrument, called the Winnebago courting flute; and was credibly
informed by traders and others in those regions, that the young men
of that tribe meet with signal success, oftentimes, in wooing their
sweethearts with its simple notes, which they blow for hours together,
and from day to day, from the bank of some stream—some favourite rock
or log on which they are seated, near to the wigwam which contains the
object of their tender passion; until her soul is touched, and she
responds by some welcome signal, that she is ready to repay the young
_Orpheus_ for his pains, with the gift of her hand and her heart. How
true these representations may have been made, I cannot say, but there
certainly must have been some ground for the present cognomen by which
it is known in that country.
From these rude and exceedingly defective instruments, it will at once
be seen, that music has made but little progress with these people; and
the same fact will be still more clearly proved, to those who have an
opportunity to hear their vocal exhibitions, which are daily and almost
hourly serenading the ears of the traveller through their country.
Dancing is one of the principal and most frequent amusements of all
the tribes of Indians in America; and, in all of these, both vocal and
instrumental music are introduced. These dances consist in about four
different steps, which constitute all the different varieties: but the
figures and forms of these scenes are very numerous, and produced by
the most violent jumps and contortions, accompanied with the song and
beats of the drum, which are given in exact time with their motions.
It has been said by some travellers, that the Indian has neither
harmony or melody in his music, but I am unwilling to subscribe to such
an assertion; although I grant, that for the most part of their vocal
exercises, there is a total absence of what the musical world would
call melody; their songs being made up chiefly of a sort of violent
chaunt of harsh and jarring gutturals, of yelps and barks, and screams,
which are given out in perfect time, not only with “method (but with
harmony) in their madness.” There are times too, as every traveller
of the Indian country will attest, if he will recall them to his
recollection, when the Indian lays down by his fire-side with his drum
in his hand, which he lightly and almost imperceptibly touches over, as
he accompanies it with his stifled voice of dulcet sounds that might
come from the most tender and delicate female.
These quiet and tender songs are very different from those which are
sung at their dances, in full chorus and violent gesticulation; and
many of them seem to be quite rich in plaintive expression and melody,
though barren of change and variety.
_Dancing_, I have before said, is one of the principal and most valued
amusements of the Indians, and much more frequently practised by them
than by any civilized society; inasmuch as it enters into their forms
of worship, and is often their mode of appealing to the Great Spirit—of
paying their usual devotions to their _medicine_—and of honouring and
entertaining strangers of distinction in their country.
Instead of the “giddy maze” of the quadrille or the country dance,
enlivened by the cheering smiles and graces of silkened beauty, the
Indian performs his rounds with jumps, and starts, and yells, much to
the satisfaction of his own exclusive self, and infinite amusement
of the gentler sex, who are always lookers on, but seldom allowed so
great a pleasure, or so signal an honour, as that of joining with
their lords in this or any other entertainment. Whilst staying with
these people on my way up the river, I was repeatedly honoured with
the dance, and I as often hired them to give them, or went to overlook
where they were performing them at their own pleasure, in pursuance
of their peculiar customs, or for their own amusement, that I might
study and correctly herald them to future ages. I saw so many of their
different varieties of dances amongst the Sioux, that I should almost
be disposed to denominate them the “_dancing Indians_.” It would
actually seem as if they had dances for every thing. And in so large a
village, there was scarcely an hour in any day or night, but what the
beat of the drum could somewhere be heard. These dances are almost as
various and different in their character as they are numerous—some of
them so exceedingly grotesque and laughable, as to keep the bystanders
in an irresistible roar of laughter—others are calculated to excite his
pity, and forcibly appeal to his sympathies, whilst others disgust,
and yet others terrify and alarm him with their frightful threats and
contortions.
All the world have heard of the “_bear-dance_,” though I doubt whether
more than a very small proportion have ever seen it; here it is (+plate+
102). The Sioux, like all the others of these western tribes, are
fond of bear’s meat, and must have good stores of the “bear’s-grease”
laid in, to oil their long and glossy locks, as well as the surface of
their bodies. And they all like the fine pleasure of a bear hunt, and
also a participation in the bear dance, which is given several days
in succession, previous to their starting out, and in which they all
join in a song to the _Bear Spirit_; which they think holds somewhere
an invisible existence, and must be consulted and conciliated before
they can enter upon their excursion with any prospect of success. For
this grotesque and amusing scene, one of the chief medicine-men, placed
over his body the entire skin of a bear, with a war-eagle’s quill on
his head, taking the lead in the dance, and looking through the skin
which formed a masque that hung over his face. Many others in the dance
wore masques on their faces, made of the skin from the bear’s head; and
all, with the motions of their hands, closely imitated the movements
of that animal; some representing its motion in running, and others
the peculiar attitude and hanging of the paws, when it is sitting up
on its hind feet, and looking out for the approach of an enemy. This
grotesque and amusing masquerade oftentimes is continued at intervals,
for several days previous to the starting of a party on the bear hunt,
who would scarcely count upon a tolerable prospect of success, without
a strict adherence to this most important and indispensible form!
[Illustration: 103]
Dancing is done here too, as it is oftentimes done in the enlightened
world, to get favours—to buy the world’s goods; and in both countries
danced with about equal merit, except that the Indian has surpassed
us in honesty by christening it in his own country, the “_beggar’s
dance_.” This spirited dance (+plate+ 103), was given, not by a set
of _beggars_ though, literally speaking, but by the first and most
independent young men in the tribe, beautifully dressed, (_i. e._ not
dressed at all, except with their breech clouts or _kelts_, made of
eagles’ and ravens’ quills,) with their lances, and pipes, and rattles
in their hands, and a medicine-man beating the drum, and joining in the
song at the highest key of his voice. In this dance every one sings as
loud as he can halloo; uniting his voice with the others, in an appeal
to the Great Spirit, to open the hearts of the bystanders to give to
the poor, and not to themselves; assuring them that the Great Spirit
will be kind to those who are kind to the helpless and poor.
Of _scalps_, and of the modes and objects of scalping, I have before
spoken; and I therein stated, “that most of the scalps were stretched
on little hoops for the purpose of being used in the scalp-dance, of
which I shall say more at a future time.”
The _Scalp-dance_ (+plate+ 104) is given as a celebration of a victory;
and amongst this tribe, as I learned whilst residing with them, danced
in the night, by the light of their torches, and just before retiring
to bed. When a war party returns from a war excursion, bringing home
with them the scalps of their enemies, they generally “dance them” for
fifteen nights in succession, vaunting forth the most extravagant
boasts of their wonderful prowess in war, whilst they brandish their
war weapons in their hands. A number of young women are selected to
aid (though they do not actually join in the dance), by stepping into
the centre of the ring, and holding up the scalps that have been
recently taken, whilst the warriors dance (or rather _jump_), around
in a circle, brandishing their weapons, and barking and yelping in
the most frightful manner, all jumping on both feet at a time, with a
simultaneous stamp, and blow, and thrust of their weapons; with which
it would seem as if they were actually cutting and carving each other
to pieces. During these frantic leaps, and yelps, and thrusts, every
man distorts his face to the utmost of his muscles, darting about his
glaring eye-balls and snapping his teeth, as if he were in the heat
(and actually breathing through his inflated nostrils the very hissing
death) of battle! No description that can be written, could ever convey
more than a feeble outline of the frightful effects of these scenes
enacted in the dead and darkness of night, under the glaring light of
their blazing flambeaux; nor could all the years allotted to mortal
man, in the least obliterate or deface the vivid impress that one scene
of this kind would leave upon his memory.
The precise object for which the scalp is taken, is one which is
definitely understood, and has already been explained; but the motive
(or motives) for which this strict ceremony is so scrupulously held
by all the American tribes, over the scalp of an enemy, is a subject,
as yet not satisfactorily settled in my mind. There is no doubt, but
one great object in these exhibitions is public exultation; yet there
are several conclusive evidences, that there are other and essential
motives for thus formally and strictly displaying the scalp. Amongst
some of the tribes, it is the custom to bury the scalps after they
have gone through this series of public exhibitions; which may in a
measure have been held for the purpose of giving them notoriety, and
of awarding public credit to the persons who obtained them, and now,
from a custom of the tribe, are obliged to part with them. The great
respect which seems to be paid to them whilst they use them, as well as
the pitying and mournful song which they howl to the _manes_ of their
unfortunate victims; as well as the precise care and solemnity with
which they afterwards bury the scalps, sufficiently convince me that
they have a superstitious dread of the spirits of their slain enemies,
and many conciliatory offices to perform, to ensure their own peace;
one of which is the ceremony above described.
[Illustration: 104]
LETTER—No. 31.