NATIVE ARTS AND INDUSTRIES
In his sense of the aesthetic, which is closely akin to religious
feeling, the American Indian stands alone. In accord with his nature and
beliefs, he does not pretend to imitate the inimitable, or to reproduce
exactly the work of the Great Artist. That which is beautiful must not
be trafficked with, but must only be reverenced and adored. It must
appear in speech and action. The symmetrical and graceful body must
express something of it. Beauty, in our eyes, is always fresh and
living, even as God Himself dresses the world anew at each season of the
year.
It may be artistic to imitate nature and even try to improve upon her,
but we Indians think it very tiresome, especially as one considers the
material side of the work--the pigment, the brush, the canvas! There is
no mystery there; you know all about them! Worst of all is the
commercialization of art. The rudely carved totem pole may appear
grotesque to the white man, but it is the sincere expression of the
faith and personality of the Indian craftsman, and has never been sold
or bartered until it reached civilization.
THE INDIAN'S VIEWPOINT
Now we see at once the root of the red man's failure to approach even
distantly the artistic standard of the civilized world. It lies not in
the lack of creative imagination--for in this quality he is a born
artist--it lies rather in his point of view. I once showed a party of
Sioux chiefs the sights of Washington, and endeavored to impress them
with the wonderful achievements of civilization. After visiting the
Capitol and other famous buildings, we passed through the Corcoran Art
Gallery, where I tried to explain how the white man valued this or that
painting as a work of genius and a masterpiece of art.
"Ah!" exclaimed an old man, "such is the strange philosophy of the white
man! He hews down the forest that has stood for centuries in its pride
and grandeur, tears up the bosom of mother earth, and causes the silvery
watercourses to waste and vanish away. He ruthlessly disfigures God's
own pictures and monuments, and then daubs a flat surface with many
colors, and praises his work as a masterpiece!"
This is the spirit of the original American. He holds nature to be the
measure of consummate beauty, and its destruction as sacrilege. I have
seen in our midsummer celebrations cool arbors built of fresh-cut
branches for council and dance halls, while those who attended decked
themselves with leafy boughs, carrying shields and fans of the same, and
even making wreaths for their horses' necks. But, strange to say, they
seldom made a free use of flowers. I once asked the reason of this.
"Why," said one, "the flowers are for our souls to enjoy; not for our
bodies to wear. Leave them alone and they will live out their lives and
reproduce themselves as the Great Gardener intended. He planted them: we
must not pluck them, for it would be selfish to do so."
Indian beadwork in leaf and flower designs is generally modern. The
old-time patterns are for the most part simple geometrical figures,
which are decorative and emblematic rather than imitative. Shafts of
light and shadow alternating or dovetailed represent life, its joys and
sorrows. The world is conceived of as rectangular and flat, and is
represented by a square. The sky is concave--a hollow sphere. A drawing
of the horizon line colored pale yellow stands for dawn; colored red,
for sunset. Day is blue, and night black spangled with stars. Lightning,
rain, wind, water, mountains, and many other natural features or
elements are symbolized rather than copied literally upon many sorts of
Indian handiwork. Animal figures are drawn in such a manner as to give
expression to the type or spirit of the animal rather than its body,
emphasizing the head with the horns, or any distinguishing feature.
These designs have a religious significance and furnish the individual
with his personal and clan emblem, or coat of arms.
Symbolic decorations are used on blankets, baskets, pottery, and
garments of ceremony to be worn at rituals and public functions.
Sometimes a man's teepee is decorated in accordance with the standing of
the owner. Weapons of war are adorned with emblems, and also pipes, or
calumets, but not the every-day weapons used in hunting. The war steed
is decorated equally with his rider, and sometimes wears the feathers
that signify degrees of honor.
THE WOMAN AND HER CRAFTSMANSHIP
In his weaving, painting, and embroidery of beads and quills the red man
has shown a marked color sense, and his blending of brilliant hues is
subtle and Oriental in effect. The women did most of this work and
displayed vast ingenuity in the selection of native materials and dyes.
A variety of beautiful grasses, roots, and barks are used for baskets by
the different tribes, and some even used gorgeous feathers for extra
ornamentation. Each was perfectly adapted in style, size, and form to
its intended use.
Pottery was made by the women of the Southwest for household furniture
and utensils, and their vessels, burned in crude furnaces, were often
gracefully shaped and exquisitely decorated. The designs were both
imprinted on the soft clay and modeled in relief. The nomadic tribes of
the plains could not well carry these fragile wares with them on their
wanderings, and accordingly their dishes were mainly of bark and wood,
the latter sometimes carved. Spoons were prettily made of translucent
horn. They were fond of painting their rawhide cases in brilliant
colors. The most famous blankets are made by the Navajoes upon rude hand
looms and are wonderfully fine in weave, color, and design.
This native skill combined with love of the work and perfect
sincerity--the qualities which still make the Indian woman's blanket or
basket or bowl or moccasins of the old type so highly prized--are among
the precious things lost or sacrificed to the advance of an alien
civilization. Cheap machine-made garments and utensils, without beauty
or durability, have crowded out the old; and where the women still ply
their ancient trade, they do it now for money, not for love, and in most
cases use modern materials and patterns, even imported yarns and
"Diamond dyes!" Genuine curios or antiques are already becoming very
rare, except in museums, and sometimes command fabulous prices. As the
older generation passes, there is danger of losing altogether the secret
of Indian art and craftsmanship.
MODERN INDIAN ART
Struck by this danger, and realizing the innate charm of the work and
its adaptability to modern demands, a few enthusiasts have made of late
years an effort to preserve and extend it, both in order that a
distinctive and vitally American art-form may not disappear, and as a
means of self-support for Indian women. Depots or stores have been
established at various points for the purpose of encouraging such
manufactures and of finding a market for them, not so much from
commercial as from artistic and philanthropic motives. The best known,
perhaps, is the Mohonk Lodge, Colony, Oklahoma, founded under the
auspices of the Mohonk Indian Conference, where all work is guaranteed
of genuine Indian make, and, as far as possible, of native material and
design. Such articles as bags, belts, and moccasins are, however, made
in modern form so as to be appropriate for wear by the modern woman.
Miss Josephine Foard assisted the women of the Laguna pueblo to glaze
their wares, thereby rendering them more salable; and the Indian
Industries League, with headquarters in Boston, works along similar
lines.
The Indian Bureau reports that over $600,000 worth of Navajo blankets
were made during the last year, and that prizes will be awarded this
fall for the best blankets made of native wool. At Pima $15,000 worth of
baskets and $5,000 worth of pottery was made and sold, and a less amount
was produced at several other agencies.
Another modern development, significant of the growing appreciation of
what is real and valuable in primitive culture, is the instruction of
the younger generation in the Government schools in the traditional arts
and crafts of their people. As schooling is compulsory between the ages
of six and sixteen years, and from the more distant boarding-schools the
pupils are not even allowed to go home for the summer vacation, most of
them would otherwise grow up in ignorance of their natural heritage, in
legend, music, and art forms as well as practical handicrafts. The
greatest difficulty in the way is the finding of competent and
sympathetic teachers.
At Carlisle there are and have been for some years two striking
exemplars of the native talent and modern culture of their race, in
joint charge of the department of Indian art. Angel DeCora was a
Winnebago girl, who was graduated from the Hampton school and from the
art department of Smith College. She was afterward a pupil of the famous
American illustrator, Howard Pyle, and herself made a distinctive
success in this field, having illustrated several books and articles on
Indian subjects. Some of her work has appeared in _Harper's Magazine_
and other high-class periodicals. She had a studio in New York City for
several years, until invited to teach art at the Carlisle school, where
she has been ever since.
A few years ago she married William Dietz (Lone Star), who is half
Sioux. He is a fine, manly fellow, who was for years a great football
player, as well as an accomplished artist. The couple have not only the
artistic and poetic temperament in full measure, but they have the
pioneer spirit and aspire to do much for their race. The effective cover
designs and other art work of the Carlisle school magazine, _The Red
Man_, are the work of Mr. and Mrs. Dietz, who are successfully
developing native talent in the production of attractive and salable
rugs, blankets, and silver jewelry. Besides this, they are seeking to
discover latent artistic gifts among the students in order that they may
be fully trained and utilized in the direction of pure or applied art.
It is admitted that the average Indian child far surpasses the average
white child in this direction. The Indian did not paint nature, not
because he did not feel it, but because it was sacred to him. He so
loved the reality that he could not venture upon the imitation. It is
now time to unfold the resources of his genius, locked up for untold
ages by the usages and philosophy of his people. They held it sacrilege
to reproduce the exact likeness of the human form or face. This is the
reason that early attempts to paint the natives were attended with
difficulty, and there are still Indians who refuse to be photographed.
MUSIC, DANCING, DRAMATIC ART
A form of self-expression which has always been characteristic of my
race is found in their music. In music is the very soul of the Indian;
yet the civilized nations have but recently discovered that such a thing
exists! His chants are simple, expressive, and haunting in quality, and
voice his inmost feelings, grave or gay, in every emotion and situation
in life. They vary much with tribes and even with individuals. A man
often composes his own song, which belongs to him and is deeply imbued
with his personality. These songs are frequently without words, the
meaning being too profound for words; they are direct emanations of the
human spirit. If words are used, they are few and symbolic in character.
There is no definite harmony in the songs--only rhythm and melody, and
there are striking variations of time and intonation which render them
difficult to the "civilized" ear.
Nevertheless, within the last few years there has been a serious effort
to collect these wild folksongs of the woods and plains by means of
notation and the phonograph, and in some cases this has been connected
with the attempt to harmonize and popularize them. Miss Alice C.
Fletcher, the distinguished ethnologist and student of early American
culture, was a pioneer in this field, in which she was assisted by Prof.
J. C. Filmore, who is no longer living. Frederick Burton died several
years ago, immediately after the publication of his interesting work on
the music of the Ojibways, which is fully illustrated with songs
collected and in some instances harmonized by himself. Miss Natalie
Curtis devoted much patient study to the songs of the tribes, especially
of the Pueblos, and later comers in this field are Farwell, Troyer,
Lieurance, and Cadman, the last of whom uses the native airs as a motive
for more elaborated songs. His "Land of the Sky Blue Water" is charming,
and already very popular. Harold A. Loring of North Dakota has recently
harmonized some of the songs of the Sioux.
Several singers of Indian blood are giving public recitals of this
appealing and mysterious music of their race. There has even been an
attempt to teach it to our schoolchildren, and Geoffrey O'Hara, a young
composer of New York City, made a beginning in this direction under the
auspices of the Indian Bureau. Native melodies have also been adapted
and popularized for band and orchestra by native musicians, of whom the
best known are Dennison Wheelock and his brother James Wheelock, Oneidas
and graduates of Carlisle. When we recall that as recent as twenty years
ago all native art was severely discountenanced and discouraged, if not
actually forbidden, in Government schools, and often by missionaries as
well, the present awakening is matter for mutual congratulations.
Many Americans have derived their only personal knowledge of Indians
from the circus tent and the sawdust arena. The red man is a born actor,
a dancer and rider of surpassing agility, but he needs the great out of
doors for his stage. In pageantry, and especially equestrian pageantry,
he is most effective. His extraordinarily picturesque costume, and the
realistic manner in which he illustrates and reproduces the life of the
early frontier, has made of him a great, romantic, and popular
attraction not only here but in Europe. Several white men have taken
advantage of this fact to make their fortunes, of whom the most
enterprising and successful was Col. William Cody, better known as
"Buffalo Bill."
The Indians engaged to appear in his and other shows have been paid
moderate salaries and usually well treated, though cases have arisen in
which they have been stranded at long distances from home. As they
cannot be taken from the reservation without the consent of the
authorities, repeated efforts have been made by missionaries and others
to have such permission refused on the ground of moral harm to the
participants in these sham battles and dances. Undoubtedly they see a
good deal of the seamy side of civilization; but, on the other hand,
their travels have proved of educational value, and in some instances
opened their eyes to good effect to the superior power of the white man.
Sitting Bull and other noted chiefs have, at one time or another, been
connected with Indian shows.
A pageant-play based on Longfellow's poem of "Hiawatha" has been given
successfully for several years by native Ojibway actors; and individuals
of Indian blood have appeared on the stage in minor parts, and more
prominently in motion pictures, where they are often engaged to
represent tribal customs and historical events.
USEFUL ARTS AND INVENTIONS
Among native inventions which have been of conspicuous use and value to
the dispossessors of the Indian we recollect at once the bark canoe, the
snowshoe, the moccasin (called the most perfect footwear ever invented),
the game of lacrosse and probably other games, also the conical teepee
which served as a model for the Sibley army tent. Pemmican, a condensed
food made of pounded dried meat combined with melted fat and dried
fruits, has been largely utilized by recent polar explorers.
The art of sugar making from the sap of the hard or sugar maple was
first taught by the aborigines to the white settlers. In my day the
Sioux used also the box elder for sugar making, and from the birch and
ash is made a dark-colored sugar that was used by them as a carrier in
medicine. However, none of these yield as freely as the maple. The
Ojibways of Minnesota still make and sell delicious maple sugar, put up
in "mococks," or birch-bark packages. Their wild rice, a native grain of
remarkably fine flavor and nutritious qualities, is also in a small way
an article of commerce. It really ought to be grown on a large scale and
popularized as a package cereal. A large fortune doubtless awaits the
lucky exploiter of this distinctive "breakfast food."
In agriculture the achievements of the Indian have probably been
underestimated, although it is well known that the Indian corn was the
mother of all the choice varieties which to-day form an important source
of food supply for the civilized world. The women cultivated the maize
with primitive implements, and prepared it for food in many attractive
forms, including hominy and succotash, of which the names, as well as
the dishes themselves, are borrowed from the red man. He has not always
been rewarded in kind for his goodly gifts. In 1830 the American Fur
Company established a distillery at the mouth of the Yellowstone River,
and made alcohol from the corn raised by the Gros Ventre women, with
which they demoralized the men of the Dakotas, Montana, and British
Columbia. Besides maize and tobacco, some tribes, especially in the
South, grew native cotton and a variety of fruits and vegetables.
The buckskin clothing of my race was exceedingly practical as well as
handsome, and has been adapted to the use of hunters, explorers, and
frontiersmen, down to the present day. His feathers and other
decorations are imitated by women of fashion, and his moccasin was never
so much in vogue as now. The old wooden Indian in front of the tobacco
store looks less lonely as he gazes upon a procession of bright-eyed
young people, with now and then one older, Indian-clad, joyous, and full
of health, returning, if only for a few short weeks, to the life he knew
of old.