whole circle, the women singing only in the second part of the tune.
In this song the name of the warrior who has killed the enemy is
introduced, with a few words alluding to the circumstances, though
without any violation of the tune or time. The part of the tune at
which the women commence is when the names or words are sung. The
rest consists in a loud chant by all the ring. After swinging to and
fro a moment they all move round in a circle by short side steps,
lifting their feet together and keeping the exact time with the drums,
and after describing one or two circles by these movements the song
concludes with a general shout from the men, the scalp is forcibly
shaken, and some warrior stepping forth from the ring recounts in a
loud voice either his share in the present glory or some of his former
brave deeds. This is received with a loud shout of approbation, the
drums beat up, the song commences and another round or two is performed.
Then some other makes a speech of a like nature, either in praise
of himself or of those who brought the scalps, and in this way it
continues for several hours. Occasionally some old woman will take
the scalp in her teeth and shake it like a dog, or throw it on the
ground and trample on and abuse it as though it were a living enemy,
concluding with a short speech in praise of the warriors, and the dance
proceeds as before, the music going round with the dancers.
During the night, or rather all night, nothing but the same dancing and
song is heard. They make small fires outside the lodges and a dozen or
so of young men and women, with a drum or two, sing and dance around
each fire, with or without the scalp, and without public speaking.
Sometimes 20 or 30 of such dances are going on in different parts of
the camp at the same time, all night and nearly all day, for weeks
in succession, until they grow tired of it, or some new excitement
supersedes. Their faces are blackened all this time and the color left
to wear off but never washed off.
The opportunity is not lost by the young men during these night dances
to make love, in all the various ways that passion is susceptible,
and many runaway matches are concluded at these times, when the young
warriors having the advantage of the battle glory are most likely to
be successful. Portions of the scalp are also sent by runners to the
different camps, with the news of the battle. The tenor of the song
includes the names of the warriors who struck the enemy, and if any of
their names have been changed on this occasion it is also mentioned, so
that the new name by the time the dancing is concluded in the different
camps is thoroughly known by all the nation. This dance is not attended
with any violent gesticulation or eccentric motions, as has been
represented, but is an orderly affair, and seriously performed. Unless
a scalp has been brought no singing or dancing can take place. Even if
many enemies were seen to fall, yet the enemy must be struck, which is
the coup, and the hair produced, which is the proof.
BRAVE’S DANCE (NAPPAISHENE).—This is performed by the group or club of
Indians bearing this title, who are tolerably numerous and composed
of men from 20 to 30 years of age, whose organization has already been
alluded to in these pages. No one is admitted in the ring but those who
belong. The women, say 8 or 10, stand behind as many drummers and join
in the chant but take no part in the dance. All sing, both dancers and
musicians. The men form in a ring completely naked.[28] Their bodies
are painted in various ways. Yellow and red stripes from head to foot
is a favorite manner of painting, red face and yellow body, or red face
and body striped with white. Sometimes the face is dotted with white,
yellow, or red spots, and to their moccasins are attached skunks’ or
foxes’ tails. Guns, spears, bows, and other implements of war are held
in their hands and some have rattles with which they keep time to the
taps on the drums.
[28] The prepuce of the penis is drawn forward and tied with a
sinew, to the end of which floats a war eagle feather. Others not
sufficiently advanced as to merit that mark of distinction, tie the
same with some grass.
[Illustration: BUREAU OF AMERICAN ETHNOLOGY FORTY-SIXTH ANNUAL REPORT
PLATE 71
_Scalp Dance._
_Drawn by an Assiniboine warrior Fort Union._
_Nov. 10. 1853._]
[Illustration: BUREAU OF AMERICAN ETHNOLOGY FORTY-SIXTH ANNUAL REPORT
PLATE 72
One large crow’s claw, red on one side and black on the other, being
the only one that will occasionally stand on end, in which case 25 for
it is counted besides its value of 5 when on its side.
Four small crow’s claws, painted the same as the large one, which count
5 each if the red side turns up; if the black side, it counts nothing.
Five plum stones burned black on one side and scraped white on the
other; the black sides turned up are valued at 4 each; the white,
nothing.
Five small round pieces of blue china, one-half inch in diameter, which
count 3 each for the blue side; the white side, nothing.
Five vest buttons, the eyes filed off; the eye side turned up counts 2
each; the smooth side, nothing.
Five heads of brass tacks, the concave side turning up counts 1 each;
the convex side, nothing.
FIRST THROW
The big claw on end, 30, and 3 red claws, 15 45
Two burnt sides up, nothing 0
Three blue sides up, 3 each 9
One eye side up, nothing 0
Four concaves up, 1 each 4
---
58
SECOND THROW
Two red, none on end, nothing by claw 0
Three burnt sides up, 4 each 12
Five blue sides up, 3 each 15
Three eye sides up, 2 each 6
Two concaves, nothing by tacks 0
---
33
THIRD THROW
The big claw on end, 30, all the rest red, 20 50
Five burnt sides, 4 each 20
Five blue sides, 3 each 15
Five eye sides up, 2 each 10
Five concave tacks, 1 each 5
---
100
NOTA BENE.—This is the best throw that can be made and takes all the
stakes when the game does not exceed 100.
COS-SOO´, OR GAME OF THE BOWL]
The step is done by jumping off both feet and striking them forcibly
on the ground, one a moment sooner than the other, always keeping the
exact time. No words are used in the song, and when the round is about
half finished it suddenly ceases, though the drumming and dancing is
continued, accompanied by a low simultaneous grunt by all at each step.
They commence the dance in the form of a ring but do not go round.
Dancing for the space of a minute in the same position, they bend their
bodies forward and press all to the center of the circle, turning and
looking in every direction without any order, and when all are huddled
very close, and that part of the song arrives where the chorus is
discontinued, all except the tune on the drums, they keep it up for the
space of about a minute afterwards, when a sudden and general yell by
all finishes that round, and the form of the ring is resumed.
This is the principal occasion taken by those concerned to recount
their former deeds of valor or coups. The whole camp being spectators,
and the bravest of them present, also many in whose company the acts
now about to be published had been performed, makes it indispensable
that the boasts of the warriors should be confined to the limits of
truth. After one round has been danced a warrior (one of the dancers)
steps forth in the middle of the ring and speaks in a loud voice to
this effect, using his gun or lance in gesticulation: “One or two years
since, he, in company with 15 others, went upon the Blackfeet and
succeeded in bringing away 40 of their enemies’ horses” [here the drum
is tapped once]. “On another occasion in a battle with the Crow Indians
six years since he struck an enemy the first” [here follows two taps on
the drum]. “At another time he struck two enemies the second, took a
gun and a tomahawk from the dead enemies” [four taps on the drum].
“Also that in battle he took an enemy’s horse” [one tap]. “That he
fired fifteen shots” [one tap]. “Four years since, being near the
Blackfeet camp with six others in quest of horses, they were discovered
and pursued but succeeded in making their escape” [one tap on the
drum]. “Alone and on foot he, three years since [naming the place]
killed and brought to camp a full-grown grizzly bear” [one tap on the
drum]. “Behold where one of the balls of the Blackfeet broke my arm”
[one tap]. “Here an arrow pierced my thigh” [another sound of the
drum], etc., until he has run through the catalogue of his meritorious
acts, when he is honored with a general shout of approbation, the
music strikes up, the song commences, and another round or two being
performed, another warrior recounts his coups in the same manner. In
this way they continue until all who wish have had an opportunity of
renewing the remembrance of their past deeds, and reestablishing their
importance as braves in the eyes of their countrymen. It takes some
hours to prepare for and perform this dance and it is only done twice
or thrice a year. Although the performers are naked, yet there is no
idea of indecency[29] attached to this fact. They are in a manner
obliged to appear in this state so that they may publicly expose and
point out any wound they may have received in battle.
[29] This viewing of the nude human figure without a feeling of a sense
of indecency is confirmed by the Swiss artist, Frederick Kurz, in his
Journal, already cited in the preface.
Wounds behind are fully as honorable as those before. Running away
where success is impossible is more commended than death or defeat by
remaining. The number of shots a man has fired during the fight, if
over 10, counts a coup, inasmuch as it shows he has stood his ground
long enough to fire that many.
Killing an enemy counts nothing unless his person is touched or struck.
The first who strikes the dead foe counts the best coup, although each
succeeding one counts as far as the fourth.
Scalping does not count more than striking. Taking an enemy’s gun or
horse or bow by any means counts a coup, likewise killing a grizzly
bear alone and on foot. Scalps are very little valued by him who takes
them. They are mostly cut up in small pieces and sent to the different
camps. The hair seen on the warrior’s leggings is sometimes really the
hair of the enemies slain by him, and at others his own, or horsehair.
In either case it is the symbol of having killed.
If he has struck even one enemy he is entitled to wear hair on his
shirt and leggings, but it is not absolutely necessary that it should
be the same hair as that which he took from his enemy’s head. Any human
hair or black horsehair will answer the purpose fully as well if he has
a right to wear it.
FOX DANCE (TO-KAH-NAH WAH-CHE).—This is done by those who belong to
the band called Foxes, who are pretty numerous among several nations.
It is got up with the view of publishing their feats as in the
preceding one, and also to display themselves as a body. Their costume
consists of a deer or antelope skin, shirt, and leggings painted a
bright yellow, and their faces painted with yellow stripes, besides
other forms. A dressed fox skin being slit in the middle, the head of
the man is thrust through, the skin spread out on his shoulders, the
head of which lies on his breast, and the tail hangs down his back, the
whole skin being fringed round with colored garnishing of porcupine
quills, bells, and polished buttons placed in the eyeholes of the
animal in the skin.
A headdress of foxes’ teeth, bored and strung, is stretched across the
middle of the head from ear to ear, a lock of their hair is tied in
front, which projects out several inches, and the rest, combed straight
down behind, to which at about the middle is attached four war eagle
feathers. Their lances are wrapped with fox skins cut in strips, and
the tails of that animal sewed on the handle every 12 inches or so.
Some also carry their bows and quivers of arrows at their side during
the performance.
After having been warned of the meeting, and preparing in the above
manner, they assemble at the sound of several drums and whistles at
the spot appointed, being generally near the center of the camp. Here
they form in line during the drumming and singing, which is kept up by
five or six men and women who are invited for the purpose (this music)
taking their stand to one side, the women as usual behind the drums,
who sing, but take no part in the dance.
When ready they all start off at a swift pace and describe the movement
of the coiling of a snake, and when wound up in this form, all commence
jumping up and down, striking one foot immediately after the other on
the ground, keeping exact time, and all singing with the music for the
space of about a minute, when a general flourish on the drums and a
shout or yell from the dancers concludes that round, and their places
in line are resumed.
Some one of them now steps forward and counts his coups in the same
manner as pointed out in the Brave Dance, which is succeeded by another
movement in dancing, which is again followed by another speaking, and
so on until all who wished have spoken, the drum denoting by taps the
value and number of coups thus counted by each.
The whole concludes by a feast given by one or more of the most
distinguished members of this club, during which their professions of
amity and assistance are renewed, and presents often exchanged; the
musicians also partake of the repast.
This club is composed of men from 20 to 25 or 28 years of age.
DUCK DANCE (PAKHAN´TAH WAH-CHE).—This is done by the band who bear
that name and are not so numerous as the others. The same principles
govern their proceedings, being to seek this occasion to publish and
perpetuate the memory of their past deeds on the battle fields. The
dancers are all naked except the breechcloth, which hangs down before
and behind one or two yards. Their bodies are painted in various ways,
principally striped, according to the fancy of the individuals. No arms
are carried in the dance, but they hold in their hand a flat striped
painted stick about 2 feet long, with which they keep the time. Women
are excluded from the ring but form a portion of the music. All sing,
both dancers and drummers. The evolutions are: Commencing in a ring,
they mingle together for a few minutes and conclude with a general
shout, after which coups are counted by those who wish, or who are
able, as in the preceding. The time, step, and figure of every dance
differ, but we can not describe them so as to be understood.
BULLS’ DANCE (TAH-TUN-GAH WAH-CHE).—The kin called Bulls is perhaps
the most numerous among them, and a good many middle-aged men and
chiefs are found in this dance who do not figure in the others.
Their headdress is the skin of a buffalo bull taken off as low as
the shoulders of that animal, and dressed with the head, horns, hair
and snout complete. Around the holes where the eyes were and in the
nostrils and mouth are sewed pieces of scarlet cloth. The skin is then
sewed up along the back of the neck. The head of the man is thrust in
this, and the rest of his body being naked except the breechcloth and
moccasins, is painted with black and red stripes. They carry guns and
powder horns in the dance, moving without any order, jumping about,
snorting, and shaking their horns at each other, and firing among their
feet with powder. The song is the Bull Song. They usually are attended
by six or eight drummers and singers, all males, who are not dressed in
any remarkable manner.
No speeches are made by the Bulls during the dance, but they seek the
occasion of other dances, such as the Braves or Soldiers to which most
of them belong, to perpetuate the remembrance of their chivalrous
deeds. This kin give a good many feasts to each other and are said to
be remarkably faithful in the observance of their promises of mutual
aid and protection.
SOLDIERS’ DANCE (AHKITCHETAH WAH-CHE).—This body of men having already
been fully described in these pages it will, of course, be understood
that their dance must include the most important personages in camp.
They seldom perform, and only with a view of exhibiting their force
as a body; and in the presence of strangers or visitors to count their
coups or when a war party is in contemplation, with the intent of
stimulating the ardor of the young to follow them to battle. They must
have some object to dance for, as they are not men to expend much time
merely for the sake of amusement and display; besides their characters
and acts are so well known as to need no repetition.
Their costume is as nearly as possible that of warriors equipped for
battle. From the nose up their faces are painted a bright red, and from
thence down to the neck a jet black. The dancers form the ring on foot
but are attended by a guard of mounted soldiers, dressed in very gay
battle array, who ride round outside the ring all the time, striking,
and keeping at a respectful distance either man or beast that is found
in the way. A select band of drummers and female singers is chosen and
placed apart, who having struck up the song, the dance is led off by a
soldier alone, who moves out by short steps toward the center of the
circle, is soon joined by all the rest, jumping and keeping the time,
which round concludes with a loud yell and discharge of firearms, and
the one who led off the dance counts his coups on his enemies in the
manner before related. This is also accompanied by taps on the drum
denoting the number and value of the coups and the speech, honored with
a general shout of approbation.
The warrior resumes his place, another leads off, and the same behavior
is repeated until all get through, the whole ending with a feast of
dog meat given by the chief of the soldiers in the Soldiers’ Lodge, to
which the strangers, if any in the camp, are invited. This is the most
imposing and warlike dance they have, and is well calculated to inspire
the young with a desire for glory. Their dresses and appointments are
very gay and complete according to their rank, their gesticulation and
oratory fierce and bold.
WHITE CRANE DANCE (PAI-HUN-GHE-NAH WAH-CHE).—There is no band of this
name, but the dance is got up by some divining man, most probably for
some begging purposes. He is the principal figure, being painted yellow
and wearing a dressed elk-skin robe on which a large two-headed crane
is painted. The costume of the others is whatever their fancy dictates,
and, of course, they put on the gayest attire they can afford. The
dancers are young men of any and all kins who choose to take part,
except women, who join the chorus. The evolutions are different from
any of the rest, as also the song, but can not be described so as to
be understood. The only one who speaks during the performance is the
divining man, and the tenor of his speeches differs according to his
object in introducing the dance.
CROW DANCE (CONG-GHAI WAH-CHE).—This dance is performed by the kin
called Crows. Neck and head dresses of crow skins taken off the bird
entire with wings and head on are worn by all, and crow feathers adorn
their lances, shields, and other war implements. For the rest, it
proceeds much in the same way as the others. These are mostly young
warriors.
DANCE OF THE MICE COMRADES OR PROVISION STEALERS (WOK-E-PO MAUN
NOOMP-PE).—This is done by a band of young men bearing the above name.
The dance is kept up all night and during it some of them take by
stealth the provision bales from the rest of the camp who are asleep,
on which they feast all night.
The dance is performed in a large lodge, or rather several lodges
thrown into one for the purpose. The bales or other property thus
obtained are kept until daylight, when the haranguer of the camp
publishes that those who have lost anything will go and redeem it, and
the several owners of the provision sacks present a piece of tobacco to
the dancers, who deliver them their property. By visiting many lodges
in the night a good deal of provisions, robes, etc., are secured, which
often take the best part of the next day to distribute. The dress of
this club, though gay, is not remarkable in any way except they hold
in their hands the skins of stuffed mice or have the same attached to
different parts of their attire. To describe the whole of their dances
in detail with the different costumes would occupy too much space and
perhaps not be required. We think enough has been written to present a
general idea of these performances and their use with the Indians.
WHIP DANCE (ETCHAP-SIN-TAI WAH-CHE).—This dance is performed by as
many warriors as choose to assemble with whips ornamented with eagle
feathers and horse-skin wristbands tied to the whips. In this the
number of horses they have stolen from their enemies at various times
is boasted of.
DIVINING DANCE (TEE-CHAGH-HAH).—The divining dance is a complicated
religious ceremony occupying a whole day and that part of it
appropriated to dancing is done by men and women promiscuously, headed
by some of the divining men without any distinction of kin or speeches
regarding their coups. Their bodies are also scarified and pieces cut
out of their shoulders.
WOMEN’S DANCE (ISH-KUN WAH-CHE).—This is a dance in which women alone
perform. They are painted in many ways and very gaily dressed. The
men drum and sing for them and the dancers are ranged in two parallel
lines opposite, dancing forward until they meet, and then resuming
their places. Besides the foregoing, there are several other dances,
all of which have for their object swaying popular feeling in some way.
Very little is done by Indians in any form merely for amusement, and
their dances in this respect partake of the nature of the rest of their
employments.
GAMES
Most of these tribes, particularly the Sioux, are fond of ball playing
in parties. The principal game at ball is called _Tah-cap-see-chah_,
being the same denominated shinny or bandy by the whites. It is
generally got up when two different bands are camped together and a
principal person in each having made a bet of a blanket or gun, they
choose from their bands an equal number of young men, who are always
the most active they can select, the number varying from 15 to 40 on
each side. Sometimes the play is headed by the chief of each band
betting, though they take no part in the game, which is usually played
by men 20 to 30 years of age. Each of the players stakes something
against an equivalent on the part of one on the opposite side and every
bet is tied together separately, which consists of shirts, arrows,
shells, feathers, blankets and almost every article of trade or their
own manufacture, and as fast as the bets are taken and tied together
they are laid on a pile about the center of the playground, being given
in charge of three or four elderly men who are chosen as judges of
the sport. After this has been concluded two posts are set up about
three-quarters of a mile apart and the game consists in knocking the
ball with sticks toward these posts, they being the limit for either
party in different directions.
They strip naked except the breechcloth and moccasins and paint their
bodies in every possible variety of manner. Each is furnished with a
stick about 3½ feet long, turned up at the lower end, and they range
themselves in two lines, commencing at the middle of the ground and
extending some distance on either side. The ball is cast in the air in
the center of the course, struck by some one as soon as it falls, and
the game begins, each party endeavoring to knock the ball to the post
designated as their limit. The game is played three times and whichever
party succeeds in winning two courses out of the three is judged
conqueror. When the players are well chosen it is often an interesting
game, and some splendid specimens of foot racing can be seen, but when
one of them either intentionally or by accident hurts another by a
stroke with the play stick a general shindy takes place, and the sticks
are employed over each other’s heads, which is followed by a rush for
the stakes, and a scramble. We have seen them when this was the case
arm themselves and exchange some shots, when, a few being wounded, the
camps would separate and move away in different directions. Supposing,
however, the game proceeds in its proper spirit and humor, each bet
being tied separately, the parcels are handed out to the successful
party by the judges. This game is not often played by large parties of
men, or if so it is very warmly contested and very apt to break up in a
disturbance.
We have seen it also played by both men and women joined, a few men
aiding two parties of women. This was among the Sioux, but with the
other tribes it is generally played by men only.