Part 6

I remember very well in a great tribal dance that there were many of these old men who enacted their deeds with great spirit, and one had painted the upper half of his face black, with zig-zag lines representing lightning, the whole symbolic of a terrific battle. The lower part of his face, even with the mouth and including it was painted red, with streaks running down upon the chin. Every Indian would know that he had been wounded in the mouth. Another had painted in the middle of his broad chest a red hole, and from it there ran some red streaks, with a fine Crow arrow depicted in realistic fashion.

These customs have their barbarous side, but a really touching feature is that a warrior always shares his honors with his war-horse. Such a horse may wear an eagle plume in his forelock as proudly as his master, his tail or mane may be trimmed and dyed according to his rider's war record, or he may be made to mourn for him by having it cut quite short.

Sometimes an acknowledged warrior decorates his long pipe-stem or the handle of his war-club. But no person can wear the honorable insignia of another; in fact, he can wear none that have not been awarded to him in due course by the council of his tribe.

The Boy Scouts may, if they choose, adapt this system to the honors counted in their organization, grading the various exploits in accordance with the real manhood needed to accomplish them.

XIX--INDIAN CEREMONIES FOR BOY SCOUTS

Indian ceremonies are always in demand, and I shall give you several which have been specially adapted to your use from the ancient rites of the Sioux nation.

THE AY´-CHAY-TEE, OR SCOUT'S BONFIRE

This is supposed to bring success in war and hunting, and may be kindled by a band of Scouts on the eve of a long hike, or any important undertaking, or as a ceremony of initiation of new members.

The one appointed to act as Leader or Medicine-man lays in a convenient place a pile of dry wood for the ceremonial fire, to which the Scouts are summoned by a herald. He goes the rounds with a camp horn, bidding all come to the Ay´-chay-tee when the sun is at a certain height in the heavens, preferably near sunset. The Medicine-man should be attired in full Indian costume, and prepared to act the part of a man full of years and wisdom. As fire is the symbol of enthusiasm, energy, and devotion, and is with the Indians a strictly masculine emblem, it is fit that the young men gather about it before going upon a journey or "war-path."

When all have assembled in the usual circle, dressed either in Indian costume or Scout's uniform, the Leader, standing in the center of the ring beside the prepared wood, kindles a "new fire" by means of the bow and drill, flint and steel, or "rubbing sticks."

He then takes up the long-handled calumet or peace-pipe, which has previously been filled with dried sumach leaves, red willow bark, or other aromatic herb, kindles it with a coal from the "sacred fire," and reverently holding it before him in both hands, with the stem pointing upward and forward, exclaims:

"To the Great Spirit (or Great Mystery) who is over all!"

The Scouts answer in unison: "Ho!"

Then, turning the stem of the pipe downward, the Leader says:

"To our Grandmother, the Earth!"

The Scouts answer: "Ho!"

He thus holds the pipe successively toward the four points of the compass, exclaiming as he does so: "To the East Wind! the West Wind! the North Wind! the South Wind!" and each time all answer: "Ho!"

The Leader next holds the stem of the pipe toward the first Scout, who, stepping forward and touching it solemnly, repeats in an audible voice the "Scout's Oath:"

"I promise to obey my Leader, to seek honor above all things, and that neither pain nor danger shall keep me from doing my duty!"

After the pipe has thus gone round the circle, it is laid beside the fire, and all the Scouts chant, or recite in unison, the Strong Heart Song:

"We are the Scouts of ---- (name of band or brigade); We are the strong-hearted; We go forward, fearing nothing, to fulfill our vow!"

All now dance around the fire, going through the actions of a Scout on the enemy's trail. A drum beaten in quick time is the proper accompaniment to this dance, or it may be performed to the chant and hand-clapping of the Leader. (For other songs and musical airs, see Alice Fletcher's "Indian Story and Song.") Finally the Scouts leave the ring one by one, each, as he disappears in the shadows, giving the yelp of the wolf--the Indian Scout's call.

When a Scout returns to camp with news, he is met by the councilors seated in a circle about the fire, and before giving his report, takes the oath of the pipe in the past tense, thus:

"I have obeyed my Leader, have sought honor above all things, and neither pain nor danger has kept me from doing my duty!"

If, however, the matter is urgent, and there is little time for ceremony, he may, on entering the circle, kick down and scatter a small pile of wood which has been placed in readiness, this act constituting his oath that he has faithfully performed his task.

THE BEAR DANCE

This is one of a class of ceremonies common among Indians, in which the actors masquerade as animals. Bears, wolves, buffalo, elk, and others are represented with elaborate costuming and imagery. The Bear is the emblem of courage.

In this dance one of the players is chosen to represent the Bear, and should be made up if possible with the skin and head of that animal as a disguise, otherwise with a painted mask. A small arbor of green boughs forms the den, from which he issues from time to time in short rushes, growling as savagely as possible, and is teased with switches in the hands of the other players. If any one can touch the Bear without being himself touched, he scores one point, but if touched, he loses five points. If he trips and falls while running, he is out of the game. Whenever the pace becomes too swift for him, the Bear may retreat to his den, where he is safe. This game should last a given number of minutes, say twenty, at the end of which the scores are reckoned by two tellers previously detailed, and the winner announced. The drum and Indian songs may accompany this entertainment, which should be followed by a feast of Indian dishes, such as corn, venison, maple sugar, etc., served in Indian style, all the guests being seated cross-legged in a circle.

THE PEACE CEREMONY

This is a very old rite of the Sioux, intended to typify the conquest of the Thunder-Bird, which is supposed to bring the lightning, and is the emblem of destruction.

It is appropriately given in early summer, the period of frequent thunderstorms.

Cut the figure of the Thunder-Bird from a piece of birch-bark or thin wood, and suspend from the top of a pole fifteen feet high, which is raised in the center of a ring sixty feet in diameter, formed of small bent saplings or willow wands. The ring must have two entrances. At the foot of the pole, place a bowl of clear water to represent the rain which accompanies the lightning. On either side stand two small boys, dressed in red or wearing red about their clothing, and carrying war-clubs in their hands. These boys represent War.

Now all the Scouts enter the ring in single file, dressed in Scouts' uniform or Indian costume and armed with bow and arrows. The drum beats a slow tattoo as they march about the pole, looking upward toward the figure of the Thunder-Bird and chanting these lines:

"Hear us, O Thunder! Hear us, and tremble! We are the soldiers, Soldiers of peace!"

At the close of the song, each in turn shoots an arrow at the image, and when it falls, the Scout who brought it down must drink all the water in the bowl. The war-clubs are then taken away from the two little boys representing War, who go out by the western entrance to the ring. At the same time there enter by the eastern entrance two more boys (or preferably girls, if it is a mixed assemblage), clad in blue and carrying calumets, to typify Peace. These lead the second march around the pole, while all chant the second stanza of the song:

"The Thunder is fallen; Lost are his arrows; Peace is the victor-- Our mother is Peace!"

A heavy stick with a large knot or knob on the end will do for a war-club, and if no genuine peace-pipe is obtainable, one may be improvised from a piece of wood.

To any or all of these ceremonies spectators may be invited (and among the Indians the whole village is generally present), but it is essential that they maintain perfect order and absolute silence during the solemnities.

XX--THE MAIDENS' FEAST: A CEREMONY FOR GIRLS

A beautiful festival, celebrated yearly in the olden time among the Sioux and other Plains Indians, was called the "Maidens' Feast," and was designed to stimulate a proper pride and dedication to duty among the young girls of the tribe. I shall describe for you an adaptation of this ancient ceremony, that may be appropriately used by Camp Fire Girls and others on their summer outings.

This feast is always given at midsummer, in the fullness of bloom and splendor, as befits a gathering of the flower of the village or community. Invitations may be issued by the Guardian of the Camp Fire, or Leader of the band of girls, in the form of thin leaves of birch-bark or small bunches of sweet-grass. Another way of giving the invitation, if all the girls are in camp, is to engage the services of some man with a bugle or camp-horn to act as herald. He should dress in Indian costume and make the rounds early in the morning, blowing the horn and declaiming in a loud voice somewhat as follows:

"Hear ye, hear ye, all the people! The maidens of the ... Camp Fire are summoned to repair at noon to-day to the Sacred Stone in the middle of the encampment, there to hold the annual feast! Hear ye, hear ye!"

The maidens all come in ceremonial attire, and full Indian costume is indispensable to the proper effect. The hair is arranged in forward-turning plaits, and surmounted by a modest wreath or fillet of wild flowers. They advance silently, in single file, and form a ring about the "Sacred Stone," a rudely heart-shaped or pyramidal boulder, which has been touched lightly with red paint. Beside the Stone, two new arrows are thrust into the earth. The rock symbolizes permanence, or the unchangeable forces of nature; the arrows, nature's punishment for disobedience.

Now the leader of the maidens steps out of the ring, and laying her right hand upon the summit of the Stone, pronounces in clear tones the "Maidens' Vow:"

"Upon this Stone I take the maiden's twofold vow; the vow of purity--my duty to myself; the pledge of service--my duty to others!"

She then steps back and seats herself sidewise on the ground in the ring. Each in turn takes the vow in the same manner until the "maidens' circle" is complete. Then all rise and chant, or recite in unison, the "Maidens' Song:"

"We are the maidens of ---- (name of band); Our faces are turned toward the morning; In our hearts is the summer of promise; In our hands" (make cup of both hands) "we hold the new generation! United we go to meet the future, Armed with truth to ourselves, and with love for all!"

At the close of the song, all take hands and dance four times about the Stone, each time reversing the movement.

Lastly, they seat themselves again in the same order, and the "feast" is served by handing it about the circle, each maiden taking her portion in her own basin, or bowl, and eating it with her own spoon, having brought these with her according to the Indian custom. Appropriate dishes for the feast would be rice with maple sugar (wild rice if obtainable), green corn or succotash, berries and nuts, maize cakes or pop-corn dainties, or any strictly native product. After the food is served, it is permitted for the first time to talk and laugh, all gravity and decorum having been preserved by participants and spectators during the entire ceremony.

The parents and friends of the young women should be invited, if convenient, to witness the "Maidens' Feast," and a characteristic Indian feature would be added if some of them should desire to signalize the occasion by gifts to some needy person or cause. Such gifts should be announced at the close of the festival.

XXI--THE GESTURE--LANGUAGE OF THE INDIAN

The American Indian is extremely pictorial in his habits of thought and in his modes of expression. Even his every-day speech is full of symbols drawn from the natural world. Yet more poetic and descriptive in character is that form of communication properly called "gesture speech," but commonly known as "Indian sign-language."

This language is most fully developed among the tribes of the Great Plains, many of whom speak entirely different tongues, for use in their frequent meetings, either accidental or for the purpose of concluding a treaty of peace. It is also used by deaf mutes among Indians. It has been learned and elaborately written out by several authorities, chief of whom is Captain W. R. Clark of the United States Army. Being understood by few, it will serve excellently as a secret code, so much desired by young people, and is especially appropriate to the ceremonials of Boy Scouts and Camp Fire Girls.

We Indian boys were taught from babyhood to be silent, to listen to the things that nature is saying all about us. But since it is hard for a healthy boy to keep his discoveries and observations entirely to himself, he must devise some outlet. Our silent communication, our "wireless," was the gesture-language.

It should be remembered that among Indians the whole body speaks, and that all oratory, and even conversation, is accompanied by graceful and significant gestures. The accomplished user will make the signs herein described rapidly and smoothly, investing the whole with genuine charm, as a novel kind of pantomime. For it will be seen that these are no arbitrary signs, but actual air-pictures, and not manual only, since they include a variety of movements and considerable facial expression.

The construction or grammar of the sign-language is simple. Adjectives follow nouns, conjunctions and prepositions are omitted, and verbs are used in the present tense only. The following signs, well-learned, will enable one to carry on a short conversation, and many more may be devised along these lines by an ingenious boy or girl.

_Attention, or Question_. Hold right hand, palm outward, fingers and thumb separated, well out in front of body at height of shoulder. This is used to begin a conversation.

_I understand_. Throw right forearm out in front of body with fingers closed, except index finger, which is curved and drawn back. This indicates that you grasp and draw something toward you, and is used occasionally while another is talking. If you do not understand, use the Question sign.

_I_. Touch breast with index finger of right hand.

_Glad_. (Sunshine in the heart.) Place compressed right hand, fingers slightly curved, over region of heart; bring left hand, palm downward, in sweeping curve to left of body, at the same time turning it palm upward, as if turning up or unfolding something. The expression of the face should correspond.

_Sad_. Place the closed fist against the heart. Appropriate facial expression.

_Surprised_. Cover mouth with palm of right hand, open eyes widely, and move head slightly backward.

_Angry_. (Mind twisted.) Place closed right fist against forehead and twist from right to left.

_Ashamed_. (Blanket over face.) Bring both hands, palms inward, fingers touching, in front of and near the face.

_Good_. (Level with heart.) Hold extended right hand, back up, close to region of heart; move briskly forward and to right.

_Bad_. (Throw away.) Hold one or both hands, closed, in front of body, backs upward; open with a snap, at the same time moving them outward and downward.

_Brave, Strong_. Hold firmly closed left hand in front of body, left arm pointing to right and front; bring closed right hand above and a little in front of left, and strike downwards, imitating the blow of a hammer. (This gesture, vigorously made, intensifies any previous statement or description.)

_Alone_. Hold up index finger.

_On Horseback_. Place first and second finger of right hand astride left index finger. Motion of galloping may be made, or a Fall from the horse represented.

_Tent, or Wigwam_. Bring both hands together at the finger tips, forming a cone.

_House_. Interlock fingers of both hands, holding them at right angles.

_Camp_. Sign for _Tent_, then form circle with arms and hands in front of body.

_City, or Village_. Sign for _House_, then _Camp_ sign.

_Sleep_. Incline head to right and rest cheek on right palm. For going into camp, or to indicate the length of a journey, make sign for _Sleep_ and hold up as many fingers as nights were spent on the way.

_Time_ is told by indicating the position of the sun; the _Seasons_ as follows:

_Spring_. (Little grass.) Hold hands, palms upward, well down in front, fingers and thumbs well separated and slightly curved; separate hands slightly. Then hold right hand in front of body, back to right, closing fingers so that only tip of index finger projects. (This last sign for _Little_.)

_Summer_. Sign for _Grass_, holding hands at height of waist.

_Autumn_. (Falling leaves.) Hold right hand above head, fingers closed, except index finger and thumb, which form nearly a circle; bring hand slowly downward with wavering motion.

_Winter_. Hold closed hands in front of body and several inches apart; give shivering motion to hands.

To indicate _Age_, give sign for _Winter_ and hold up fingers; all counting is done in the same way, in multiples of ten; as, for one hundred, open and close fingers of both hands ten times.

_Color_ is usually indicated by pointing to some object of the color spoken of.

_Brother_. Touch first and second finger to lips.

_Sister_. Sign for _Brother_, and that for _Woman_.

_Woman_. (Long hair.) Bring both palms down sides of head, shoulders, and bosom, with sweeping gesture.

_Love_. Cross both arms over bosom.

_Give Me_. Hold right hand well out in front of body, palm upward, close, and bring in toward body.

_Beautiful_. Hold palms up like mirror in front of face; make sign for _Good_.

_Ugly_. Same as above, with sign for _Bad_.

_Peace_. Clasp both hands in front of body.

_Quarrel_. Hold index fingers, pointing upward, opposite and a few inches apart; move sharply toward each other, alternating motion.

_Liar_. (Forked tongue.) Bring separated first and second fingers of right hand close to lips.

_Scout_. (This is also the sign for Wolf.) Hold first and second fingers of right hand, extended and pointing upward, near right shoulder, to indicate pointed ears.

_Trail_. Hold extended hands, palms up, side by side in front of body; move right to rear and left to front a few inches; alternate motion.

_It is finished_. Bring closed hands in front of body, thumbs up, second joints touching; then separate. This sign ends a speech or conversation.

XXII--INDIAN PICTURE-WRITING

The Indian is something of an impressionist in the matter of technique. Though possessed of great manual dexterity, he does not care, as a rule, to reproduce an object exactly, but rather to suggest his fundamental conception of it. Each drawing stands for an idea, and its symbolic character gives it a certain mystery and dignity in our eyes.

It is usual to represent an animal in action, in order to indicate more clearly its real or imaginary attributes. Thus a horse is shown running, a buffalo or bear fighting, or in a humorous attitude.

Pictorial hieroglyphics are merely crude pictures drawn and painted upon leather or birch-bark, or cut into the trunk of a convenient tree, or perhaps upon a hard clay bank, and sometimes even scratched with a hard stone upon the face of a cliff. In the first place, they represent history and biography, and serve to supplement and authenticate our oral traditions. Others are communications intended for some one who is likely to pass that way, and give important information. The person or persons whom it is desired to reach need not be addressed, but the sender of the message signs his name first, as in a letter of ceremony.

Suppose Charging Eagle is on the war-path and wishes to communicate with his friends. He cuts upon the bark of a conspicuous tree beside the trail the figure of an eagle swooping downward, bearing in its beak a war-club. The news he gives is that his young men brought home a herd of horses taken from the enemy. He draws first a teepee; facing it are several free horses, and immediately behind them two or three riders with war-bonnets on their heads, leading another horse. Last of all are some horses' footprints. The free horses represent force, and the led horse expresses captivity. The fact that the men wear their war-bonnets, indicates a state of war.

The event is dated by drawing the symbol of the month in which it occurred, followed by the outline of the moon in its first, second, third, or fourth quarter, dark or full, as the case may be. The waxing moon opens toward the right, the waning moon toward the left. To be still more exact, the chief may draw the sun with its rays, followed by an open hand with as many fingers extended as days have passed since the event.

The thirteen moons of the year are named differently by different Indian tribes. I will give the names and symbols commonly used by the Sioux, beginning with nature's new year, the early spring.

1. Ish-tah´-wee-chah´-ya-zan-wee. Moon of Sore Eyes. 2. Mah-gah´-o-kah´-dah-wee. Moon of Ducks' Eggs. 3. Wah-to´-pah-wee. Canoeing Moon. 4. Wee´-pah-zoo-kah-wee. June-Berry Moon. 5. Wah-shoon´-pah-wee. Moon of Moulting Feathers. 6. Chan-pah-sap´-ah-wee. Moon of Black Cherries. 7. Psin-ah´-tee-wee. Wild-Rice Gathering Moon. 8. Wah-soo´-ton-wee'. Moon of Green Corn. 9. Wok´-sah-pee-wee'. Moon of Corn Harvest. 10. Tah-kee´-yoo-hah´-wee'. Moon of Mating Deer. 11. Tah-hay´-chap-shoon´-wee. Moon of Dropping Deer horns. 12. Wee-tay´-ghee. Moon of Severe Cold. 13. We-chah´-tah-wee. Raccoon's Moon.

In the old days, there were many different bands of the Sioux, who wandered, during the year, over a wide extent of country. Thus news was spread both by signal communication and by pictographs, when it was impossible to communicate by word of mouth. This particular message of Charging Eagle's was not only news, but also a warning to travelers to be on their guard, for the enemy might seek to retaliate, and some innocent persons be surprised and made to pay dearly for another's exploit.

In picture-writing, the head of man or animal is emphasized, with its distinguishing peculiarity of head-gear, or ears, or horns, while the body is barely outlined. The warrior is represented by a rude figure of a man wearing a war-bonnet, or carrying a coup-staff. Warriors returning successful are shown approaching a group of teepees, carrying scalps on poles. If, on the contrary, the writer's camp has been raided, the figures are seen departing from the teepees. A trail, or journey, is indicated by double wavy lines. If the travelers parted, the trail is branched.