History of Human Society

by Frank W. Blackmar

"The great Koonak mountain, over there—
I see it;
The great Koonak mountain, over there—
I am looking at it;
The bright shining in the South, over there—
I admire it;
The other side of Koonak—
It stretches out—
That which Koonak—
Seaward encloses.
See how they in the South
Move and change—
See how in the South
They beautify one another;
While it toward the sea
Is veiled—by changing clouds
Veiled toward the sea
Beautifying one another."

The emotional nature of savages varies greatly in different tribes. The lives of some seem to be moved wholly through the emotions, while others are stolid or dull. The variations in musical ability and practice of savage and barbarous races are good evidence of this. Many of the tribes in Africa have their rude musical instruments, and chant their simple, monotonous music. The South Sea Islanders beat hollow logs with clubs, marking time and creating melody by these notes. The Dahomans use a reed fife, on which they play music of several notes. In all primitive music, time is the chief element, and this is not always kept with any degree of accuracy. The chanting of war songs, the moaning of the funeral dirge, or the sprightly singing with the dance, shows the varied expression of the emotional nature.

No better illustration of the arts of pleasure may be observed than the practices of the Zuñi Indians and other Pueblo Indians of New Mexico. The Zuñi melodies are sung on various festival occasions. Some are sacred melodies, used in worship; others are on the occasion of the celebration of the rabbit hunt, the rain dances, and the corn dances. Among the Pueblo Indians the cachina dance is for the purpose of invoking bountiful rains and good harvests. In all of their feasts, games, plays, and dances there are connected ceremonies of a religious nature. Religion occupies a very strong position in the minds of the people. Possessed of a superstitious nature, it was inevitable that all the arts of pleasure should partake somewhat of the religious ceremony. The song and the dance and the beating of the drums always accompanied every festival.

The Dance as a Means of Dramatic Expression.—Among primitive peoples the dance, poetry, and music were generally introduced together, and were parts of one drama. As such it was a social institution, with the religious, war, or play element fully represented. Most primitive dances were conducted by men only. In the celebrated Corroboree of the Australians, men danced and the women formed the orchestra.[[1]] This gymnastic dance was common to many tribes. The dances of the Moros and Igorrotes at the St. Louis Exposition partook, in a similar way, of the nature of the gymnastic dance. The war dances of the plains Indians of America are celebrated for their grotesqueness. The green-corn dance and the cachina of the Pueblos and the snake dance of the Moqui all have an economic foundation. In all, however, the play element in man and the desire for dramatic expression and the art of mimicry are evident. The chief feature of the dance of the primitive people is the regular time beat. This is more prominent than the grace of movement. Yet this agrees with the nature of their music, for in this the time element is more prominent than the tune. Rhythm is the strong element in the primitive art of poetry, music, or the dance, but all have an immense socializing influence. The modern dance has added to rhythm the grace of expression and developed the social tendencies. In it love is a more prominent feature than war or religion.

Catlin, in his North American Indians, describes the buffalo dance of the Mandan Indians, which appears to be more of a service toward an economic end than an art of pleasure. After an unsuccessful hunt the returned warriors bring out their buffalo masks, made of the head and horns and tail of the buffalo. These they don, and continue to dance until worn out. Ten or fifteen dancers form a ring and, accompanied by drumming, yelling, and rattling, dance until the first exhausted one goes through the pantomime of being shot with the bow and arrow, skinned, and cut up; but the dance does not lag, for another masked dancer takes the place of the fallen one. The dance continues day and night, without cessation, sometimes for two or three weeks, or until a herd of buffaloes appears in sight; then the warriors change the dance for the hunt.

The dancing of people of lower culture was carried on in many instances to express feelings and wishes. Many of the dances of Egypt, Greece, and other early civilizations were of this nature. Sacred hymns to the gods were chanted in connection with the dancing; but the sacred dance has become obsolete, in Western civilization its place being taken by modern church music.

The Fine Arts Follow the Development of Language.—While art varied in different tribes, we may assume in general that there was a continuity of culture development from the rude clay idol of primitive folk to the Venus de Milo or the Winged Victory; from the pictures on rocks and in caves to the Sistine Madonna; from the uncouth cooking bowl of clay to the highest form of earthenware vase; and from the monotonous strain of African music to the lofty conception of Mozart. But this is a continuity of ideas covering the whole human race as a unit, rather than the progressive development of a single branch of the race.

Consider for a moment the mental and physical environment of the ancient cave or forest dweller. The skies to him were marked only as they affected his bodily comfort in sunshine or storm; the trees invited his attention as they furnished him food or shelter; the roaring torrent was nothing to him except as it obstructed his journey; the sun and the moon and the stars in the heavens filled him with portentous awe, and the spirits in the invisible world worked for his good or for his evil. Beyond his utilitarian senses no art emotion stirred in these signs of creation. Perhaps the first art emotion was aroused in contemplation of the human body. Through vanity, fear, or love he began to decorate it. He scarifies or tattoos his naked body with figures upon his back, arms, legs, and face to represent an idea of beauty. While the tribal or totemic design may have originated the custom, he wishes to be attractive to others, and his first emotions of beauty are thus expressed. The second step is to paint his face and body to express love, fear, hate, war, or religious emotions. This leads on to the art of decorating the body with ornaments, and subsequently to the ornamentation of clothing.

The art of representation at first possessed little artistic beauty, though the decorations on walls of caves show skill in lines and color. The first representations sought only intelligence in communicating thought. The bas-reliefs of the ancients showed skill in representation. The ideal was finally developed until the aesthetic taste was improved, and the Greek sculpture shows a high development of artistic taste. In it beauty and truth were harmoniously combined. The arts of sculpture and painting are based upon the imagination. Through its perfect development, and the improvement in the art of execution, have been secured the aesthetic products of man. Yet there is always a mingling of the emotional nature in the development of fine arts. The growth of the fine arts consists in intensifying the pleasurable sensations of eye and ear. This is done by enlarging the capacity for pleasure and increasing the opportunity for its satisfaction. The beginnings of the fine arts were small, and the capacity to enjoy must have been slowly developed. Of the arts that appeal to the eye there may be enumerated sculpture, painting, drawing, landscape-gardening, and architecture. The pleasure from all except the last comes from an attempt to represent nature. Architecture is founded upon the useful, and combines the industrial and the fine arts in one. The attempt to imitate nature is to satisfy the emotions aroused in its contemplation.

The Love of the Beautiful Slowly Develops.—There must have developed in man the desire to make a more perfect arrow-head, axe, or celt for the efficiency of service, and later for beauty of expression. There must early have developed an idea of good form and bright colors in clothing. So, too, in the mixing of colors for the purpose of expressing the emotions there gradually came about a refinement in blending. Nor could man's attention be called constantly to the beautiful plants and flowers, to the bright-colored stones, metals, and gems found in the earth without developing something more than mere curiosity concerning them. He must early have discovered the difference between objects which aroused desire for possession and those that did not. Ultimately he preferred a more beautifully finished stone implement than one crudely constructed—a more beautiful and showy flower than one that was imperfect, and likewise more beautiful human beings than those that were crude and ugly.