Indian Tribes of the Upper Missouri 52

Indian Tribes of the Upper Missouri 52

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.

 

[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