Indian Tribes of the Upper Missouri / Edited with Notes and Biographical Sketch

by Edwin Thompson Denig

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.