Part 22

WEAPONS.—Firearms are certainly much valued by warriors. Indeed, they are the principal arms, but bows and arrows are used fully as much by mounted men. The difficulty appears to be the loading of the gun on horseback. If possible they carry both on their war expeditions, also some are armed with lances, war clubs, and battle axes. The last three instruments are used only in mêlées at close quarters. Indians are often so situated in battle that neither gun nor bow can be used, and in these emergencies the tools last mentioned stand them in great need. Guns are therefore only additional weapons, aiding and facilitating their mutual destruction, but have by no means been substituted altogether for the bow and arrow. The metal arrow point is superior to the flint one formerly used, and more easily procured. The arrows for battle are barbed and tied on loosely, so that an attempt to withdraw the arrow invariably leaves the iron in the wound, which makes many of their wounds dangerous that would not be so if the metal could be extracted.

The stone war club is the most efficient weapon in battle of any we know of. A drawing of one is shown in Plate 65. The weight of the stone is about 5 pounds. The handle is made of elastic sinew and can not be broken. Any attempt to ward off the blow must be attended with a broken arm, and if the stroke is not fended the strongest man must fall beneath it. Tomahawk and battle axes are not thrown at their enemies, as generally represented, but are secured to the wrist by a strong cord, and only used at close quarters; as also the lance and knife. The scalping knife is of English manufacture, a logwood or Brazil wood handle, and soft steel blade about 8 inches long and 1½ inches wide, sharp on one edge, and with the point turned like a butcher knife. These are the kinds of knives mostly used by all Indians for hunting and all purposes, though Willson’s butcher, Cartouche, eye dagues, and other knives can be had. Most Indians at all times carry knives of some kind and scalps are taken off with whatever knife they happen to be in possession of at the time.

In loading the gun in battle it is first primed from the horn, then a charge of powder put in, and a few balls being held in the mouth of each man, one is dropped in wet on top of the powder, without any wad between or on top. In this way they load and fire very quickly, four or five times in a minute, but not with a very certain aim.

When scalps are taken without loss on their side the whole party on their way back paint their faces a jet black with a mixture of grease and charcoal. This is the symbol of joy, and on arrival in camp the scalp song is raised. The whole population turns out to meet them. Whichever person the warrior touches also blacks himself and commences singing. If the party has had any one killed, the relatives of the deceased smear their faces and clothes with white clay, the symbol of mourning, wear old, ragged skins on their backs, go barefooted, cut their hair, arms and legs, and cry in loud howlings.

In this event the camp presents a scene of mingled rejoicings and lamentations, which are kept up for many days and nights in succession. If the loss on the part of the warriors is greater than the gain—that is, if they have lost two or three men and taken but one scalp—no faces are blackened, no dancing is done, and the scalp song is sung throughout the camp, at the end of which all set up a howling cry.

It often happens that the party have all, except a few, been killed, and should the partisan in that case have escaped he does not return immediately to his own camp but remains in another for some time, until the grief for the dead has in a manner passed, for should he come home with the report of a general massacre of his party he would run great risk of being put to death by the relatives of the persons who fell while under his charge.

DANCING AND AMUSEMENTS

Dancing must be considered as a characteristic mode of expressing popular opinion on most, if not on all, occasions and is generally done with the view of swaying the multitude, and conforming their actions to certain measures. It is also one of their principal means of publishing and handing down to posterity the remembrance of their gallant actions, of inspiring the young with a desire for distinction, and of awarding the praise due all brave warriors. Dances are usually performed by the different kins, such as the Wolf-pups, Braves, Bulls, Foxes, Mice, Comrades, Ducks, and Crows. All these are societies, formed by different young men, some of which we have had occasion to mention in a former answer, and all have for their object combination in love or war. There is also the Soldier’s Dance in which none but these officers act, and several dances in which all promiscuously take part, or in which the distinction of the different clubs named is not recognized. Of this nature are the scalp dance, dance in the diviners’ lodge, and others got up for begging purposes.

Most Indians after having passed the degree of soldier and emerged into that of chief or councillor seldom perform in any dances, though they encourage it by their presence. There are but two dances in which the women join the men, which are that in the diviners’ lodge and on the occasion of taking a scalp. There is also another in which women alone perform, aided by a few young men, say, five or six. The principles of all these are imbibed by the youths, from their being always publicly exhibited, and from their natural talent of imitation, but they do not join in the circle until at the age of maturity, except a few girls in the scalp dance. Each one of these performances has some motive independent of amusement, as will perhaps appear from the different descriptions of them which follow, and are to them often matters of deep interest and importance.

SCALP DANCE (WAH-KITTAI WACHE).—When a scalp is taken it is during the return stretched on a small hoop, and left in this manner; the hoop is attached to the end of a rod about 5 feet long. These are handed by the warriors on arrival to those in camp who have recently had some of their relatives killed by enemies and is an intimation that revenge for the dead having been taken, their mourning must be laid aside, their faces blackened, and they to rejoice with the others in the dance, which is always done. Moreover, this mark of politeness on the part of the warrior to those in mourning is always remunerated by a suitable present—a gun, a blanket, or some other piece of property. Often a horse is bestowed in the excitement of the moment. The dance is then called by an old man going round the camp singing the song and beating a drum, calling on all who feel disposed to join in celebrating their triumph by a dance, and each one makes the necessary preparations. (Pl. 71.)

Both men and women paint their faces entirely black, except the tip end of the nose, which is not touched, dress in the gaudiest and best style they can afford, and at a signal by the yelling and drumming of the music assemble in the area or public square with which most villages are furnished, being an open space in the center of the camp, near the soldiers’ lodge. In this dance the men carry no arms of any kind. Some of them have in their hands a rattle with which they keep time, but most of the women hold in their right hand some weapon, such as a tomahawk, bow, pakamāgan, lance, or stick. The scalps also are held by the females. Being attached to the rod, they are shaken up and down to the taps of the drums. When ready they form nearly a circle. Old men with drums come first, next all the rest of the male dancers, and afterwards the women, the whole ring standing so close as to press a little against each other, and the scalp rods, and other things held in the hand, are extended out a little in front.

The scalp song is now struck up by the music, and joined in by the 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.

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.