As I was walking one day in the camp of the
Winnebagoes, I observed a group of Indians
collected around one of the lodges, deeply absorbed
in the performance of some strange and
mysterious rites, apparently of a symbolical and
religious nature. The women were engaged in
them, as well as the men—and all in public. At
one moment they would seem to be occupied
in a sort of hocus-pocus incantation, with the
greatest imaginable solemnity. In spite of my
philosophy, I could but sympathise with them.
I verily stood waiting, from the degree of faith
and expectation which they manifested, to see
some strange and miraculous phenomena; spirits
perhaps, coming up from the caldron they appeared
to be stirring. True, there was no caldron visible
to the vulgar—to us—no kettle of any fashion—no
material vessel of capacity;—but they were
evidently and earnestly stirring up something
over a fire. They formed a circle, men and
women, with a sort of pudding-stick—alias a
witch’s or wizard’s rod;—and round and round
they walked, with a gravity, at sight of which
few would not have felt solemn, each one stirring
the caldron in turn, as he or she came where it
was—or should be;—reciting at the same time
some mysterious words. There was manifestly
an expectation of some wondrous result. They
grew excited—they danced—they raved—and
seemed to be the subjects of involuntary and
violent muscular spasms. They would stop suddenly,
and lift up the head, like the dog that bays
the moon; and mutter with a most inconceivable
volubility a long prayer—or some other piece of
religious exercise, I know not what, apparently
of a devotional character. This baying of the
heavens, however, appeared to be the exclusive
office of certain distinguished individuals—priests
most likely. There was no miracle, after all.
The ceremonies were diversified, and pompous,
and solemn.
“What is this?” said I to a companion, who
knew something of Indian customs. “Why,”
said he, “it is Free-masonry;—and if you
could stay long enough to see the whole, you
would be greatly amused.” “But do the women
take a part?” “O yes—the Indians are farther
advanced in Free-masonry, than civilized nations:—they
have taken higher degrees. The
white masons, you know, are just beginning to
confer degrees upon women. But Indians have
done it from time immemorial.” “But the society
here is open.” “Certainly. Secresy is all nonsense.
There is no mystery in masonry, except
in the higher degrees, in relation to the lower;
and in all the degrees, in relation to the world.
The white Free-masons have found it convenient
for other purposes, to hold their meetings in
conclave;—not for secresy. There is no secresy,
except what results from physical necessity:—that
a man cannot know what he has never
learned. Pretended secresy lends importance to
that, which is supposed to be kept out of sight—awakens
curiosity, and gives amazing advantage
to nothing.” “Indeed? This is information.”
“I am glad, if you are wiser for it.”
One cannot have been long among the Indians,
and not have had his attention challenged by a
DRUMMING in some quarter, from morning to
night, and from night to morning;—and sometimes
for several successive days, without intermission,
except by very short intervals of repose.
The Indian drum is made exactly according to
the philosophy of the martial instrument of
music, which bears this name in Europe. But
if the beauty be brought into comparison—that
is another thing. An old hollow trunk of a tree,
cut into a section of two or three feet, without
any other work, except what was first done by the
hand of nature, and next by time, will answer all
the purpose. One end may be planted in the
ground, if it is not convenient to put a head in
it; the other must be covered by a buck-skin,
stretched over it, when wet, with great pains and
force, and fastened by strings and withes to pegs,
driven into the longitudinal parts of the trunk.
By this description every one will see, that
the instrument combines all the philosophical
principles of a drum. Whether the American
Aborigines borrowed the suggestion from Europeans,
or the latter from the former; or whether
each came by the discovery independent of the
other—is of no importance to our present purpose
to settle. The American Indians have the
drum—that is certain; and if they wish to make
it portable, they contrive to fasten a hollow
sounding cover of some sort on the other end;—perhaps
nail on a thin board, when their arts, or
trade will furnish them with iron for nails. An
empty keg, when the strong water has all been
drawn, (which does not take long) is often
appropriated to this purpose. In which case one
of the heads is permitted to remain, as a matter
of economy, while the other is overdrawn, as
aforesaid, by a buck-skin, in the highest degree
of tension. But the use, that is more commonly
made of the drum among the Indians, is by no
means so pleasant, as this account of its construction.
It is even sad and melancholy in the
highest degree.
And is not the white man’s use of the same
instrument sad? He employs it to challenge
the fiercest passions, to rouse and provoke the
spirit of man to deeds of blood, to drown the
cries of the wounded and dying, to sustain
and urge on the heaviest encounter of brute
force.
Not so the Indian. He employs it to soothe
and relieve the suffering, and to rescue the dying
from the grave. He makes it a medicine of the
soul, and of the body. When all the other
powers of the healing art have failed, and the
patient still declines, the Indian last resort is to
the magic influence of the drum and dance. All
the family and near relatives gather in a crowd
around the suffering victim; the nearest relative,
a mother, or father, a husband or wife, or the
eldest child—more commonly a female, when it
is convenient—as the tender sex are more susceptible
of grief—begins to weep, and sob, and
moan aloud, often howling, with expressions of
heart-appealing anguish;—the drum sets up its
melancholy beat to a dancing gig;—the entire
circle parade and move round in solemn order,
time-keeping to the summons;—the chief
mourner sobs and howls;—and round they
dance, muttering prayers hour after hour, and
day after day, till they have drummed and danced
and howled the wretched victim into the arms of
death. In this extremity all other means, all
other medicine, and the common sustenance of
nature are perhaps scrupulously withholden.
Every thing now depends on the miraculous influence
of the charm. The relatives must have
faith;—the patient must have faith;—all depends
on faith. If the patient be an infant, the anxious
and agonized mother will every now and then
catch it up in her arms, and dance around the
circle, weeping and sadly moaning. If the patient
be an adult, and have sufficient strength, it
is deemed of great importance, that he or she
should rise, as often as they are able, and join
the dance; and when strength fails, the patient
is supported by the arms of relatives. When he
is entirely exhausted, he is borne along the
dance perfectly passive; and gradually as he
languishes, the enthusiasm and anxiety rise to a
higher pitch; the drum sounds with more earnest
beat; the contagion of sobbing and moaning
spreads and becomes universal; the circle is
enlarged by an accession of friends and neighbours,
who soon catch the sad spirit of the
occasion; the noise and tumult aggravate to a
storm; and as might be expected, the patient
sinks and expires, under the overwhelming
weight of this furious tempest of lugubrious
passion. And this is called the Medicine-dance.
Rarely, the strength of the patient’s constitution
braves the assault, and he rises and lives notwithstanding.
And these instances of recovery
prove to a demonstration, in the philosophy
of the Indians, the miraculous efficacy of the
means.
But there is yet a use of the drum among the
Indians, of a truly martial character—and that
is in the War-dance. Whenever a tribe has
reasons for waging war, either in self-defence,
or to avenge injuries, having deliberated and resolved
upon the enterprise, in a grave and solemn
public council, the occasion and ceremonies of
enlisting and mustering their warriors, are of a
character most fearfully interesting and barbarous.
For the entertainment of the Commissioners
and strangers, and other spectators of the Council,
which had been engaged in its deliberations
at Green Bay, and while the sittings of the
Council were open, we had two specimens of
the Indian war-dance, at the intervals of recess
from public business:—one by the Winnebagoes,
and the second by the rival efforts of the
two tribes. As the night is the most appropriate
and most awful, by the imposing character of its
own natural solemnity; and as according best
with the dark designs of savage vengeance; the
exhibitions were made to begin at the approach
of the evening shades, and obtained their
height of interest, when all that is most grand
and awful in midnight scenery overspread the
heavens.
The Menomenies and Winnebagoes are two
powerful and rival nations, among the tribes
of the North-West, and extremely jealous of
each other. The Convention necessarily brought
their chiefs and warriors and common people into
near and intimate contact. They very prudently
and naturally, however, made the river a
division line between them, in setting up their
encampments:—the Menomenies occupying the
north bank, and the Winnebagoes the south.
But every day, by the constant passing and repassing
of such a public and promiscuous assemblage,
the people of the two tribes were brought
side by side, and without interruption crossed
each other’s tracks. The mutual animosities and
jealousies, which a few years ago were manifested
between the English and French; which barred
the common courtesies of life in their relations
to each other, and disposed them to construe the
slightest inadvertence into an insult—were not
unlike the state of feeling, which characterised
the intercourse of the Winnebagoes and Menomenies.
This uncomfortable temper was very
much awakened into active energy by the precedence,
which the Winnebagoes obtained in
attracting the attention of the Commissioners
and other visitors, in the way of affording them
amusement;—partly, because the encampment of
the Winnebagoes happened to be on the same
side of the river with the public lodgings for
strangers; and partly because the Winnebagoes
themselves were strangers at the Bay, and were
in many respects of their history and manners
more remarkable. The Winnebagoes by themselves
got up a war-dance for the amusement of
the whites;—and the sport went off so well, that
the Menomenies resolved they would not be outdone
in a feat of this kind. Accordingly on the
next day after the first exhibition, great preparations
were observed to be making on both
sides for a rival war-dance. And the motives of
emulation were so powerful, the excitement of
national pride so great, there could be no doubt,
that an acting off of this terrific scene was about
to be displayed, in the highest style, and under
the most striking and impressive representations.
The Winnebagoes are a proud, high-bearing
race, exhibiting more of the native wildness
and savage independence of the Indian character,
than any nation around them;—looking
down with perfect contempt on all other tribes,
especially upon their neighbours, the Menomenies.
While the Menomenies on the present
occasion were by far the most numerous, and
exhibiting themselves under the special excitement
of the fresh return of a war-party from the
Mississippi, who, in alliance with the Sioux, had
that summer been waging war with the Saukes
and Foxes, and brought into the camp of their
tribe at Green Bay some scalps of their enemies,
as the trophies of their recent victories.
One of the accompaniments of the war-dance
is music—or what the Indians call music—instrumental
and vocal. And although Indians,
when civilized and cultivated, are found to have
the most melodious voices, of all human kind,
and to be the most passionate lovers of harmony;
yet in their savage condition, the character of
their music is in perfect keeping with their hearts:
wild, discordant, and harsh. I, however, noticed
one instrument among them, the structure and
tones of which are not unlike the flagelet, adapted
to the softer passions, and designed no doubt for
quiet, domestic scenes;—the music of which is
equally plaintive and touching, as any thing I
remember to have heard. As I saw it only
in the hands of young men, I am disposed
to believe, that it is appropriated by the lover
to move and subdue the heart of the maid, the
return of whose tender regard he desires and
solicits. A nice observation, however, soon
detects the total want of regular intervals in this
instrument. It is better fitted for the melody of
distinct notes, than for scientific performances.
And this, doubtless, is quite sufficient for his
purpose. A wild melody, in such a state of
society, may be supposed more effectual, than
scientific harmonies.
But the war-dance would seem to demand a
kind of music, making the strongest appeals to
the ruder passions of so rude a race. The most
prominent instrument is the drum, the construction
of which, out of an old cast-by-keg, or
hollow trunk of a tree, I have already noticed.
For the present occasion the Winnebagoes, as I
had occasion to observe, took the keg, knocked
out one of the heads, stopped the bung-hole, put
a little water in the bottom, (the philosophical
use of the water I am ignorant of) and stretched
a wet-deer skin over the other end, attached to
pegs rudely drove into the sides, and as rudely
twisted by the rudest sticks;—the sticks making
so many levers, the fulcrum of which was the
attachment to the skin, and the power of tension
resting in the forementioned pegs; under which
one extremity of each was forcibly brought. I
stood for a long time to witness the progress of
the simple art, by which this instrument was
constructed. And verily, to see half a dozen
men, gravely and passionately employed in such
a piece of work, and stretching their wits to
make it perfect, showing all the simplicity of so
many children of two and three years old, and
equally absorbed, as such children in their simplest
inventions—was humiliating and affecting.
But to see those very men in a war-dance in the
evening, was a far different spectacle. When
the instrument, after so much pains, was supposed
to be perfect, one drew his knife from its
scabbard by his side, and from a knotty-green
stick, which happened to lie under his hand, in
two or three minutes, whittled out the only
drum-stick, about eight inches long, which was
necessary for the service; and then applying it
to the drum, struck up the customary beat. Instantly
every countenance of the anxious and
expectant group lighted up with joy, and a
sudden and clamorous shout of applause, mingled
with the sounds of the drum, told most emphatically,
that their whole heart was satisfied, and
that the instrument was perfect. The sound of
it is very like the common bass drum, and is
constructed upon the same principles. It is the
beating of this, which regulates in time all the
movements of the dance. The quickness of
the movement is perhaps somewhat more brisk,
than that commonly displayed in the dancing
assemblies of the whites. As for the gracefulness
of the actors in the scene, I will say nothing.
Their motions are so peculiar, that I must despair
of describing them. It is rather a jump, than a
trip. It is not like the light, and sprightly, and
joyous dance of buoyant spirits, half the time
’twixt heaven and earth;—the feet are scarcely
seen to rise above the ground—yet the body, by
rising a little from a stooping posture, seems to
perform a sort of leap; while both feet move
almost simultaneously, pressing the earth again
with such power of the superincumbent weight
and muscular exertion of the whole frame, as to
make the ground tremble at every step. A
single Indian will make the ground vibrate—;a
troop of them will produce an effect like
the earthquake. It is the determination and
tremendous character of their movements, which
develope the passion of their souls.
The leader of the band of a war-dance is
a stentorian vociferator, who seems to take his
key-note, by rubbing a long notched wood pole,
with another piece of wood;—that is, by this
most unharmonious grating, not of sounding
metals, but of un-sounding wood, he strikes up a
most unharmonious effort of his lungs. Then
by great muscular exertion of his whole system,
inflating his lungs by a kind of convulsive gasp,
he gives a token; and the band and dancers all
begin—drumming, singing, shouting, yelling,
dingling of metallic rods, and what not;—at one
time all running together a sort of chant, in a low
bass monotony; then suddenly passing a wide
discreet interval, into a sharp falsette, or scream,
which makes the Indian yell; or what is more
commonly called the war-whoop. No one
could believe, did not his eye and ear together
certify him, that the two kinds of voice proceed
from the same beings. The Indian war-whoop
is a sharp, piercing falsette, as elevated as the
sharpest scream of a woman in a fright, broken
and trilled, or made tremulous, by the mechanical
play of the finger on the lips. This whoop is
repeated by all the dancers every two, or three
minutes, and seems to be a kind of letting off, or
explosion of the highest possible degree of excitement.
It is startling and frightful beyond
description, breaking, as it does, unexpectedly
from a multitude of voices. Even when one has
heard it a thousand times in succession, and
in the same dance, it always comes unexpected.
The transition of voice is so sudden and violent,
so characteristically diverse from the low and
monotonous movement, which precedes and
follows; so unearthly; so like the ideal conception
of the sudden breaking loose of hell itself
in triumph—that one involuntarily trembles with
fear and shudders with horror.
And the other accompaniments of this scene:
the naked savage, painted in the most horrible
forms, with a crown of feathers bristling from his
head; his eye and every feature mad with rage,
and dark as hell; wielding and brandishing in
his hand the weapons of death; his body in
perpetual and simultaneous movement, with the
music of the band and of his own voice, together
“grating harsh thunder;”—himself at the same
time inclined, half-bent, like a man oppressed by
a heavy burden, darting with his naked and
uplifted weapons in closest contact with a multitude
of others, all accoutred like himself, and
like himself performing the same wild and indescribable
evolutions; sometimes like lightning,
and then more circumspectly. A spectator of
such a scene fears every moment, that in their
apparent and wild intoxication, they will wound,
or kill each other, by running against the naked
weapons, to which they are exposed in their
sudden turnings and violent leaps; and while
absorbed in this anxiety, or some other feeling
they have excited, they suddenly break into their
horrid yell, resembling what one would imagine
to be the laughing triumph of fiends, mingled
with the screams of the agonized sufferers they
have got in their power. Then again immediately
resuming their low and monotonous chant, and
the wild fierce dance, they work up their own
passions, and the interest of spectators to the
highest possible pitch, till, with a surprise as
great as ever, their horrid yell bursts again upon
the ear, and all for a moment is still as death.
And so with the introduction of a thousand
successive novelties of a like startling character,
and often inspiring the beholder with absolute
horror, they continue for hours, and for a whole
night. And if such are the exhibitions of mere
sport, what must they be, when the scene is
enacted in earnest, and in preparation for actual
war!
One part of the war-dance, which may properly
be called beating for recruits, (and such
indeed is its whole character and grand intention)
is peculiarly significant and impressive. A small
group, or band of challengers, as they might be
termed, who are also the principal musicians for
the occasion, take their seats, squatted in close
contact on the margin of an open space, left
vacant for the dance;—or for those who may
successively obey the call of their tribe to arms.
A rifle, tomahawk, or some other weapon of war,
is laid upon the ground, in this open space, as
a gauntlet, itself challenging the surrounding
warriors to come and take it up; and the act of
grasping and lifting this weapon, is the act of
enlistment. All things being prepared, and the
warriors in attendance, the group upon the
ground, having received the token from the
leader, standing by, strike up the war-song with
their voice and instruments, the language and
appeal of which is: ‘Do you see that weapon?
Do you understand it, warriors?—Who will take
it up?’—And the challengers grow more and
more impassioned and violent, if there is any
hesitation, until some warrior from the crowd,
steps out into the vacant space, and begins to
dance, time-keeping with the drum, with his eye
fixed upon the gauntlet, but reluctant, refusing to
take it up. The band aggravate their din and clamour,
to urge him to the decisive action. Still he
looks upon the weapon, dances round it, points to
it with his finger, and performs innumerable and
most extravagant feats of jumping and significant
gesticulations; and still the challengers urge him
on. He seems to be revolving the possible
results of the war to himself, to his family and
friends, and counts the cost in every shape;—and
then imagines he hears the call of his nation to
arms. He comes yet nearer to the weapon,
and then springs back, as if frightened at
the consequences of taking it up. The challengers
rebuke him for his indecision. Again
he approaches the weapon, and dances round
it, and round it, extends his hand as if to
take it up, and then starts back at some sudden
and forbidding thought. Louder still, and still
more earnest, the beating rolls; and the voices of
the band and all their instruments grow more
clamorous and deafening; every few moments
raising the war-whoop. Like as the bird, spell-bound
and charmed by a serpent, flutters and
circles in the air, struggling in vain to escape,
and drawing nearer and nearer to the object of
her dread—at last makes a sudden and desperate
plunge;—so he springs upon the weapon of death,
grasps it firmly in his hand, and lifts himself
erect. Then in an instant shouts of exultation
rend the air, from all the assembled multitude—and
his name and hand are now pledged. Next,
with the weapon in hand, and still dancing to the
music, he performs successively, and with all his
characteristic cunning, the various feats of discovering,
shooting, and scalping an enemy. This
done, he replaces the weapon where he took it
up, takes his seat with the challenging group, till
the same round has added another to their number,
and another;—and so they fill the ranks
for war.
In the midst of these sports of the Winnebagoes,
and while at the highest pitch of their
interest; the scene of which was laid on the
south bank of the river, and directly before the
door of the inn, where the Commissioners and
strangers lodged;—sports, which to us had
already grown sufficiently grave, not to say
frightful;—while the shades of the evening
began to impart to them a character still more
impressive, and no small crowd of white men
and the natives were hanging over the exhibition,
wrapped in the intensest interest;—in an instant,
and with a suddenness as startling, as the explosion
of heaven’s artillery, a tremendous war-whoop
rent the air from behind us;—and as soon
as the thunder follows the flash which wakens it,
a horde of savage warriors, in their most hideous
forms, and all accoutred in their weapons of
death, pounced into the midst of the throng,
driving the Winnebagoes from their dancing
arena, and occupied it themselves. Did ye ever
see a flock of sheep scatter and fly before the
sudden rush of a merciless crew of dogs upon
them? That is the picture of the scampering of
this gazing and motley throng. Even the Commissioners
lost their dignity and self-possession,
and were no less anxious to save their lives, than
the meanest fellow in the crowd. All run—as well
they might—for nothing could have been more
astounding. As nobody, however, found himself
tomahawked, in the first onset, a greater portion
of the flying herd turned to look again, and see
what this might be. Among the rest I turned;—and
a strange and ominous spectacle presented.
The Winnebagoes looked in sullen silence on
these intruders, far outnumbering themselves,
and presenting altogether a more hideous aspect;
the intruders looked on them; and never did
two armies of wild beasts, of diverse, but ferocious
character, meet and look each other in the face,
with more dubious intent.
Four-legs, the chief of the Winnebagoes, who
had made a rare figure a day or two before, as an
orator, in the Council; and who seemed on that
occasion to be for peace, was destined to act a
different part in the present juncture. With all
the pride and dignity of the head man of his
nation, he had stood wrapped in his blanket,
looking with infinite satisfaction on the feats of
his warriors, as they enlisted one after another,
obeying the challenge, and taking up the gauntlet,
to show the white man, how the Indians do
such things. His squaw (wife) stood by his side,
enjoying the scene. A long spear, or javelin,
rested on the ground at his feet, running up
under his folded arms, and lifting its burnished
blade above his head; while one hand grasped
the hilt of a broad-sword;—both of which weapons
had been sent him by his great father from
Washington;—and which he always carried, and
was proud to show. It was not deemed consistent
with his importance to join his warriors
in the exercises of this occasion. He only presided,
and smiled his approbation at their excellent
doings. But when this outrageous insult
was offered to himself and his tribe, his brow
gathered darkness, he threw his blanket from
his shoulders, and stepping before this ferocious
band of intruders, with an aspect and determination,
not to be mistaken, he delivered a short,
but far different oration from that which he
uttered before the Commissioners. I understood
it to be, in substance, as follows:—
“Miscreants! I am chief of the Winnebagoes.
If my warriors had done this deed, I
would have pierced their hearts with this javelin,
and cut them in pieces with this sword, and given
their flesh to the dogs! Your tribe know the
strength of this arm, and the courage of my
warriors. Be gone!—and await the vengeance
I shall give you!”
And as he pointed the way with his spear, the
Menomenies sullenly retired, just without the
circle, which had been occupied by the Winnebagoes,
and commenced their war-dance, in defiance
of the threats of the Winnebago chief. The
Menomenie warriors had been engaged in the same
ceremonies on the opposite side of the river;—but
not having being able to attract a satisfactory
amount of attention, and perceiving that the
Winnebagoes were getting all the praise, they
had resolved upon the stratagem of crossing the
stream below, under cover of the evening, and
making this surprise; and a most effectual surprise
indeed it was. Nor did it end here.
The war-dance of the Menomenies proceeded
simultaneously with that of the Winnebagoes, so
near, that one group almost interfered with the
movements of the other. It was verily a rival
exhibition of a grave and portentous character.
As the Menomenies were more numerous, and
had taken special pains in their preparations, they
really made the greatest and most attractive
show. The wrath of Four-legs was kindled within
him. He threw his javelin upon the ground, and
stepped forth upon the arena, as was well understood,
for this particular juncture. He fixed his
eye upon his weapon; then looked round upon
his warriors; then pointed to the Menomenies,
who had dared to insult them; then displayed the
symbols of his chieftainship about his person,
and shook the fox-tails, which hung from his
knees, by putting his right hand to one and his
left to the other. And this done, to prove his
importance, he commenced a wild and frantic
dance with a muscular energy, which made the
ground tremble beneath his feet; approached his
javelin and retreated in the usual forms, and with
many others peculiar to himself; keeping time
with the beat of the drum, and animated by the
clamorous appeals of his warriors, as they shouted
and whooped. By and by, as his passions were
wrought to the highest pitch, he plunged and
seized the javelin with a mad and convulsive
grasp, darted like lightning into the midst of the
Menomenies, and instantly returned, leading two
of their warrior chiefs captive, and presented them
in triumph before his own. It was an unexpected
and resistless feat, and big with portentous
meaning. The Menomenies were compelled to
one of two alternatives:—either to suffer it as
an atonement for their insult, or quarrel on the
instant. And for a few moments there was an
awful pause;—and by the significant and angry
murmurs, which passed between the parties, it
seemed doubtful which way it would turn. The
prisoners however, at last affected to take it in
sport, submitted to a brief detention, and were
then dismissed. I was told, that more trifling
incidents than this have bred Indian wars.
Truly I and many others were glad, when
this affair was over. It gave to the sports of the
evening a most grave and serious aspect; and
all expected a quarrel during the night. Till
morning came again, the whole region rung with
the most frightful savage yells;—yells, which,
begun for amusement, threatened to end in blood.
So untamed, fierce, and ungovernable are the
passions of these wild children of the forest.
But especially was it a perilous night, in consequence
of the previous and generous distribution
of strong drink, dealt out by those, who had
instigated the exhibition. An Indian, mad with
liquor and passion combined, is of all beings the
most uncertain and dangerous. I do not for
myself desire to witness the renewal of such a
scene.
The amazing power of pantomime was most
wonderfully displayed in all these exhibitions of
the war-dance. For all the interpretations here
given, I am indebted alone to the intelligible and
indubitable language of this art. To satisfy
myself of their correctness, I made particular
inquiry of those who understood the meaning of
these customs.
The following poetic description of a war-dance
may be pertinent here:—
“A hundred warriors now advance,
All dress’d and painted for the dance,
And sounding club and hollow skin
A slow and measur’d time begin;
With rigid limb and sliding foot,
And murmurs low the time to suit;
For ever varying with the sound,
The circling band moves round and round.
Now slowly rise the swelling notes,
When every crest more lively floats;
Now toss’d on high with gesture proud,
Then lowly ’mid the circle bow’d;
While clanging arms grow louder still,
And ev’ry voice becomes more shrill,
Till fierce and strong the clamour grows,
And the wild war-whoop bids it close.
Then starts Skunktonga forth, whose band
Came far from Huron’s storm-beat strand,
And thus recounts his battle feats,
While his dark club the measure beats.”
Poem of Ontwa.
While writing these pages I have received the
following account of a war dance among the
Osages in the Arkansas Territory, west of the
Mississippi, and some 1500 or 2000 miles distant
from the scene already presented; communicated
by a gentleman, who witnessed what he describes,
and long known to me by reputation, though not
personally. It is especially interesting, as it was
an earnest preparation for actual war, and not an
exhibition for amusement. The likeness will be
sufficiently apparent, as having the common
characteristics of the American war-dance; although
the Osages and the North-West tribes
are too distant, to be in habits of communication
with each other. The letter is dated the 25th of
July, 1832.

“In our late tour through the Osage villages,
we fell on the Little Osage town, when it was
all alive with a war-dance. The warriors, or
braves, fitted out in their wild, fantastic style,
were all assembled. As we approached, a runner
met us, and asked of our interpreter our business,
but did not offer us his hand. This was not
owing to ill-will, but to custom. Their war-dances
are their most sacred seasons. During
the ceremony, they separate themselves from the
touch of the vulgar and the profane. Being told
our business, he run back and reported; and our
approach seemed to cause neither derangement,
nor suspension. We eagerly rode up to the
scene of action; getting our horses as near as
we could, although they were frightened by the
music, the feathers, shields, and the star-spangled
banner of the United States, fluttering in the
wind.15
“The position in which we found these
warriors, was that of a large ring, one circle
standing, and another squatting, and all facing
towards the centre of the circle. Well, what
does this mean? What next? Sooner than
thought could fancy an answer, one of the circle
partly rises with his shield in one hand and
tomahawk in the other, and dances towards the
centre—first facing this, and then that way,
holding his shield first on this, then on that side,
and then occasionally making a brandish with his
tomahawk—as though he were saying: ‘See,
my comrades in arms—see how I will defend
myself with this hand and this shield, while with
this I will level my foe.’ Having proceeded to
the centre, he returned and squatted in his place.
Another then performed a similar feat, and then
another, till all had given a specimen, by way of
anticipation and sample of their approaching conflict
and expected victory. Meantime the hoarse
hollow sounding criers, who appeared to be already
exhausted by constantly overstraining their voices,
in their zeal to make those hear, who stood only
a very short distance—stood yelling, with their
hands bracing their empty stomachs, and exciting
the warriors to bloody deeds. One, perhaps,
had lost a wife, another a child, or they represented
those who had lost them, and now they
were inspiring these pledged warriors to be
courageous, and bring home a scalp, and so
avenge their loss.
“There was much variety in the costume of
these Indians. Some wore the skins of white
wolves, a large species found at the west in their
hunting excursions—which hang down behind,
with the face, eyes, and nose of the animal
shooting above the head of the wearer. Others
wore ravens’ beaks, or eagles’ claws—and all exhibited
from their persons some terrific emblem.
One wore a snake’s skin, suspended from his
neck, and reaching to the ground. I said to
him: ‘What a serpent!’ He answered by snapping
at me so sharply, as to startle me. This
proved quite amusing to his comrades. All were
entirely naked, except the usual flap, and their
bodies were painted black—black as the sooty
African. Of all the human beings I ever saw,
none approached so near my idea of devils.
“Much of the ceremony consisted in a sort of
dancing march round the streets of the village,
between their lodges. Their dancing has nothing
to do with the light trip of the foot. It is properly
a pounding of the earth with both feet at
once. As they passed us, it seemed as if a little
earthquake was passing by. The Osages, and
I think all other Indians whom I have seen, in
their dances, strike the earth with both feet
simultaneously, jumping along with their bodies
bent, their faces first turned this way and then
that, first looking askance under one arm, and
then turning a wild vacant look over the other
shoulder: and all the while brandishing shields,
tomahawks, &c.
“In their marching round the settlement, the
warriors were followed by a band of musicians,
some rattling the gourd shell, some drumming
on a piece of deer skin, stretched over the head
of a keg, and others singing their wild songs.
Among the retinue I observed a great many
youths, who appeared to be young disciples,
catching the spirit of their seniors and fathers.
Another group followed, who appeared to be
mourners, crying for vengeance on their enemies,
to reward them for the death of some relative.
“So busily employed were these warriors, that
the ceremony ceased only for a small part of
the night. Early the next morning, before it
was yet day, we heard their music and singing,
and their stamping up and down the streets.
Our stay among them was about twenty-four
hours. When we arrived we found them engaged
in the ceremony, and when we left they
had not finished. It is attended with extreme
fasting—for their custom forbids them to eat
before the sun sets. And I believe they often
fast, eating only once a day, till the war is concluded,
and they return home with their scalps
victorious. They are not allowed moreover to
eat with their families; they must sleep separately,
must go naked, the flap excepted; offer
many prayers, and as the climax of all, sacrifice
a dog. In this last ceremony they were engaged,
as we left the village,—for we saw two or three
warriors most ceremoniously washing the parts of
the victim at a stream, which we had to pass.”