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Indian To-day, The

<h2 class="chapter">CHAPTER X</h2> <h2 class="chapter">NATIVE ARTS AND INDUSTRIES</h2> In his sense of the æsthetic, which is closely akin to religious feeling, the American Indian stands alone. In accord with his nature and beliefs, he does not pretend to imitate the inimitable, or to reproduce exactly the work of the Great Artist. That which is beautiful must not be trafficked with, but must only be reverenced and adored. It must appear in speech and action. The symmetrical and graceful body must express something of it. Beauty, in our eyes, is always fresh and living, even as God Himself dresses the world anew at each season of the year. It may be artistic to imitate nature and even try to improve upon her, but we Indians think it very tiresome, especially as one considers the material side of the work—the pigment, the brush, the canvas! There is no mystery there; you know all about them! Worst of all is the commercialization of art. The rudely carved totem pole may appear grotesque to the white man, but it is the sincere expression of the faith and personality of the Indian craftsman, and has never been sold or bartered until it reached civilization. <h3 class="chapter2">THE INDIAN'S VIEWPOINT</h3> Now we see at once the root of the red man's failure to approach even distantly the artistic standard of the civilized world. It lies not in the lack of creative imagination—for in this quality he is a born artist—it lies rather in his point of view. I once showed a party of Sioux chiefs the sights of Washington, and endeavored to impress them with the wonderful achievements of civilization. After visiting the Capitol and other famous buildings, we passed through the Corcoran Art Gallery, where I tried to explain how the white man valued this or that painting as a work of genius and a masterpiece of art. "Ah!" exclaimed an old man, "such is the strange philosophy of the white man! He hews down the forest that has stood for centuries in its pride and grandeur, tears up the bosom of mother earth, and causes the silvery watercourses to waste and vanish away. He ruthlessly disfigures God's own pictures and monuments, and then daubs a flat surface with many colors, and praises his work as a masterpiece!" This is the spirit of the original American. He holds nature to be the measure of consummate beauty, and its destruction as sacrilege. I have seen in our midsummer celebrations cool arbors built of fresh-cut branches for council and dance halls, while those who attended decked themselves with leafy boughs, carrying shields and fans of the same, and even making wreaths for their horses' necks. But, strange to say, they seldom made a free use of flowers. I once asked the reason of this. "Why," said one, "the flowers are for our souls to enjoy; not for our bodies to wear. Leave them alone and they will live out their lives and reproduce themselves as the Great Gardener intended. He planted them: we must not pluck them, for it would be selfish to do so." Indian beadwork in leaf and flower designs is generally modern. The old-time patterns are for the most part simple geometrical figures, which are decorative and emblematic rather than imitative. Shafts of light and shadow alternating or dovetailed represent life, its joys and sorrows. The world is conceived of as rectangular and flat, and is represented by a square. The sky is concave—a hollow sphere. A drawing of the horizon line colored pale yellow stands for dawn; colored red, for sunset. Day is blue, and night black spangled with stars. Lightning, rain, wind, water, mountains, and many other natural features or elements are symbolized rather than copied literally upon many sorts of Indian handiwork. Animal figures are drawn in such a manner as to give expression to the type or spirit of the animal rather than its body, emphasizing the head with the horns, or any distinguishing feature. These designs have a religious significance and furnish the individual with his personal and clan emblem, or coat of arms. Symbolic decorations are used on blankets, baskets, pottery, and garments of ceremony to be worn at rituals and public functions. Sometimes a man's teepee is decorated in accordance with the standing of the owner. Weapons of war are adorned with emblems, and also pipes, or calumets, but not the every-day weapons used in hunting. The war steed is decorated equally with his rider, and sometimes wears the feathers that signify degrees of honor. <h3 class="chapter2">THE WOMAN AND HER CRAFTSMANSHIP</h3> In his weaving, painting, and embroidery of beads and quills the red man has shown a marked color sense, and his blending of brilliant hues is subtle and Oriental in effect. The women did most of this work and displayed vast ingenuity in the selection of native materials and dyes. A variety of beautiful grasses, roots, and barks are used for baskets by the different tribes, and some even used gorgeous feathers for extra ornamentation. Each was perfectly adapted in style, size, and form to its intended use. Pottery was made by the women of the Southwest for household furniture and utensils, and their vessels, burned in crude furnaces, were often gracefully shaped and exquisitely decorated. The designs were both imprinted on the soft clay and modeled in relief. The nomadic tribes of the plains could not well carry these fragile wares with them on their wanderings, and accordingly their dishes were mainly of bark and wood, the latter sometimes carved. Spoons were prettily made of translucent horn. They were fond of painting their rawhide cases in brilliant colors. The most famous blankets are made by the Navajoes upon rude hand looms and are wonderfully fine in weave, color, and design. This native skill combined with love of the work and perfect sincerity—the qualities which still make the Indian woman's blanket or basket or bowl or moccasins of the old type so highly prized—are among the precious things lost or sacrificed to the advance of an alien civilization. Cheap machine-made garments and utensils, without beauty or durability, have crowded out the old; and where the women still ply their ancient trade, they do it now for money, not for love, and in most cases use modern materials and patterns, even imported yarns and "Diamond dyes!" Genuine curios or antiques are already becoming very rare, except in museums, and sometimes command fabulous prices. As the older generation passes, there is danger of losing altogether the secret of Indian art and craftsmanship. <h3 class="chapter2">MODERN INDIAN ART</h3> Struck by this danger, and realizing the innate charm of the work and its adaptability to modern demands, a few enthusiasts have made of late years an effort to preserve and extend it, both in order that a distinctive and vitally American art-form may not disappear, and as a means of self-support for Indian women. Depots or stores have been established at various points for the purpose of encouraging such manufactures and of finding a market for them, not so much from commercial as from artistic and philanthropic motives. The best known, perhaps, is the Mohonk Lodge, Colony, Oklahoma, founded under the auspices of the Mohonk Indian Conference, where all work is guaranteed of genuine Indian make, and, as far as possible, of native material and design. Such articles as bags, belts, and moccasins are, however, made in modern form so as to be appropriate for wear by the modern woman. Miss Josephine Foard assisted the women of the Laguna pueblo to glaze their wares, thereby rendering them more salable; and the Indian Industries League, with headquarters in Boston, works along similar lines. The Indian Bureau reports that over $600,000 worth of Navajo blankets were made during the last year, and that prizes will be awarded this fall for the best blankets made of native wool. At Pima $15,000 worth of baskets and $5,000 worth of pottery was made and sold, and a less amount was produced at several other agencies. Another modern development, significant of the growing appreciation of what is real and valuable in primitive culture, is the instruction of the younger generation in the Government schools in the traditional arts and crafts of their people. As schooling is compulsory between the ages of six and sixteen years, and from the more distant boarding-schools the pupils are not even allowed to go home for the summer vacation, most of them would otherwise grow up in ignorance of their natural heritage, in legend, music, and art forms as well as practical handicrafts. The greatest difficulty in the way is the finding of competent and sympathetic teachers. At Carlisle there are and have been for some years two striking exemplars of the native talent and modern culture of their race, in joint charge of the department of Indian art. Angel DeCora was a Winnebago girl, who was graduated from the Hampton school and from the art department of Smith College. She was afterward a pupil of the famous American illustrator, Howard Pyle, and herself made a distinctive success in this field, having illustrated several books and articles on Indian subjects. Some of her work has appeared in Harper's Magazine and other high-class periodicals. She had a studio in New York City for several years, until invited to teach art at the Carlisle school, where she has been ever since. A few years ago she married William Dietz (Lone Star), who is half Sioux. He is a fine, manly fellow, who was for years a great football player, as well as an accomplished artist. The couple have not only the artistic and poetic temperament in full measure, but they have the pioneer spirit and aspire to do much for their race. The effective cover designs and other art work of the Carlisle school magazine, The Red Man, are the work of Mr. and Mrs. Dietz, who are successfully developing native talent in the production of attractive and salable rugs, blankets, and silver jewelry. Besides this, they are seeking to discover latent artistic gifts among the students in order that they may be fully trained and utilized in the direction of pure or applied art. It is admitted that the average Indian child far surpasses the average white child in this direction. The Indian did not paint nature, not because he did not feel it, but because it was sacred to him. He so loved the reality that he could not venture upon the imitation. It is now time to unfold the resources of his genius, locked up for untold ages by the usages and philosophy of his people. They held it sacrilege to reproduce the exact likeness of the human form or face. This is the reason that early attempts to paint the natives were attended with difficulty, and there are still Indians who refuse to be photographed. <h3 class="chapter2">MUSIC, DANCING, DRAMATIC ART</h3> A form of self-expression which has always been characteristic of my race is found in their music. In music is the very soul of the Indian; yet the civilized nations have but recently discovered that such a thing exists! His chants are simple, expressive, and haunting in quality, and voice his inmost feelings, grave or gay, in every emotion and situation in life. They vary much with tribes and even with individuals. A man often composes his own song, which belongs to him and is deeply imbued with his personality. These songs are frequently without words, the meaning being too profound for words; they are direct emanations of the human spirit. If words are used, they are few and symbolic in character. There is no definite harmony in the songs—only rhythm and melody, and there are striking variations of time and intonation which render them difficult to the "civilized" ear. Nevertheless, within the last few years there has been a serious effort to collect these wild folksongs of the woods and plains by means of notation and the phonograph, and in some cases this has been connected with the attempt to harmonize and popularize them. Miss Alice C. Fletcher, the distinguished ethnologist and student of early American culture, was a pioneer in this field, in which she was assisted by Prof. J. C. Filmore, who is no longer living. Frederick Burton died several years ago, immediately after the publication of his interesting work on the music of the Ojibways, which is fully illustrated with songs collected and in some instances harmonized by himself. Miss Natalie Curtis devoted much patient study to the songs of the tribes, especially of the Pueblos, and later comers in this field are Farwell, Troyer, Lieurance, and Cadman, the last of whom uses the native airs as a motive for more elaborated songs. His "Land of the Sky Blue Water" is charming, and already very popular. Harold A. Loring of North Dakota has recently harmonized some of the songs of the Sioux. Several singers of Indian blood are giving public recitals of this appealing and mysterious music of their race. There has even been an attempt to teach it to our schoolchildren, and Geoffrey O'Hara, a young composer of New York City, made a beginning in this direction under the auspices of the Indian Bureau. Native melodies have also been adapted and popularized for band and orchestra by native musicians, of whom the best known are Dennison Wheelock and his brother James Wheelock, Oneidas and graduates of Carlisle. When we recall that as recent as twenty years ago all native art was severely discountenanced and discouraged, if not actually forbidden, in Government schools, and often by missionaries as well, the present awakening is matter for mutual congratulations. Many Americans have derived their only personal knowledge of Indians from the circus tent and the sawdust arena. The red man is a born actor, a dancer and rider of surpassing agility, but he needs the great out of doors for his stage. In pageantry, and especially equestrian pageantry, he is most effective. His extraordinarily picturesque costume, and the realistic manner in which he illustrates and reproduces the life of the early frontier, has made of him a great, romantic, and popular attraction not only here but in Europe. Several white men have taken advantage of this fact to make their fortunes, of whom the most enterprising and successful was Col. William Cody, better known as "Buffalo Bill." The Indians engaged to appear in his and other shows have been paid moderate salaries and usually well treated, though cases have arisen in which they have been stranded at long distances from home. As they cannot be taken from the reservation without the consent of the authorities, repeated efforts have been made by missionaries and others to have such permission refused on the ground of moral harm to the participants in these sham battles and dances. Undoubtedly they see a good deal of the seamy side of civilization; but, on the other hand, their travels have proved of educational value, and in some instances opened their eyes to good effect to the superior power of the white man. Sitting Bull and other noted chiefs have, at one time or another, been connected with Indian shows. A pageant-play based on Longfellow's poem of "Hiawatha" has been given successfully for several years by native Ojibway actors; and individuals of Indian blood have appeared on the stage in minor parts, and more prominently in motion pictures, where they are often engaged to represent tribal customs and historical events. <h3 class="chapter2">USEFUL ARTS AND INVENTIONS</h3> Among native inventions which have been of conspicuous use and value to the dispossessors of the Indian we recollect at once the bark canoe, the snowshoe, the moccasin (called the most perfect footwear ever invented), the game of lacrosse and probably other games, also the conical teepee which served as a model for the Sibley army tent. Pemmican, a condensed food made of pounded dried meat combined with melted fat and dried fruits, has been largely utilized by recent polar explorers. The art of sugar making from the sap of the hard or sugar maple was first taught by the aborigines to the white settlers. In my day the Sioux used also the box elder for sugar making, and from the birch and ash is made a dark-colored sugar that was used by them as a carrier in medicine. However, none of these yield as freely as the maple. The Ojibways of Minnesota still make and sell delicious maple sugar, put up in "mococks," or birch-bark packages. Their wild rice, a native grain of remarkably fine flavor and nutritious qualities, is also in a small way an article of commerce. It really ought to be grown on a large scale and popularized as a package cereal. A large fortune doubtless awaits the lucky exploiter of this distinctive "breakfast food." In agriculture the achievements of the Indian have probably been underestimated, although it is well known that the Indian corn was the mother of all the choice varieties which to-day form an important source of food supply for the civilized world. The women cultivated the maize with primitive implements, and prepared it for food in many attractive forms, including hominy and succotash, of which the names, as well as the dishes themselves, are borrowed from the red man. He has not always been rewarded in kind for his goodly gifts. In 1830 the American Fur Company established a distillery at the mouth of the Yellowstone River, and made alcohol from the corn raised by the Gros Ventre women, with which they demoralized the men of the Dakotas, Montana, and British Columbia. Besides maize and tobacco, some tribes, especially in the South, grew native cotton and a variety of fruits and vegetables. The buckskin clothing of my race was exceedingly practical as well as handsome, and has been adapted to the use of hunters, explorers, and frontiersmen, down to the present day. His feathers and other decorations are imitated by women of fashion, and his moccasin was never so much in vogue as now. The old wooden Indian in front of the tobacco store looks less lonely as he gazes upon a procession of bright-eyed young people, with now and then one older, Indian-clad, joyous, and full of health, returning, if only for a few short weeks, to the life he knew of old. <hr /> <div style="break-after:column;"></div>

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