Then came games on horseback. But the most interesting performance of the whole day, and one in which they all manifested an absorbing interest, was the dinner.
At 3 a. m. several oxen had been butchered, and from that time till the dinner was served all the old squaws had their hands full. Fires were made in long lines, poles placed over them, and high black pots, kettles, and zinc pails filled with a combination of things, including beef and water, were suspended there and carefully tended by ancient Indian ladies in picturesque, witch-like costumes, who gently stirred the boiling bouillion with pieces of wood, while other seemingly more ancient and worn-out-looking squaws brought great bundles of wood from the ravines, tied up in blankets and swung over their shoulders. Think of a dinner for sixteen hundred noble chiefs and braves, stalwart head-men, young bucks, old squaws, girls, and children! And such queer-looking children some dressed in full war costume, some in the most approved dancing dresses.
One little boy, whose name was Sha-ke-to-pa (Four Nails), had five feathers big ones, too in his hair. His face was painted; he wore great round ear-rings, and rows of beads and claws around his neck; bands of beads on his little bare brown arms; embroidered leggings and beautiful moccasins, and a long piece of red cloth hanging from his waist. In fact, he was as gaily dressed as a grown-up Indian man, and he had a cunning little war-club, all ornamented and painted. When the dinner was nearly ready, the men began to seat themselves in a long curved line. Behind them, the women and children were gathered. When everything was ready, a chief wearing a long arrangement of feathers hanging from his back hair and several bead pouches across his shoulders, with a long staff in his left hand, walked into the center of the circle. Taking a spoonful of the soup, he held it high in the air, and then, turning slowly around, chanting a song, he poured the contents of the spoon upon the ground. This, an interpreter explained to us, was done to appease the spirits of the air. After this, the old squaws limped nimbly around with the pails of soup and other food, serving the men. After they were all bountifully and repeatedly helped, the women and children, who had been patiently waiting, were allowed to gather about the fragments and half-empty pots and finish the repast, which they did with neatness and despatch.
Then the warriors lay around and smoked their long-stem pipes, while the young men prepared for the pony races.
The first of the races was "open to all," and more than a hundred ponies and their riders were arranged in a row. Some of the ponies were very spirited, and seemed fully to realize what was going to take place, and they would persist in pushing ahead of the line. Then the other riders would start their ponies; then the whole line would have to be reformed. But finally they were all started, and such shouting, and such waving of whips in the air! and how the little ponies did jump! When the race was over, how we all crowded around the winner, and how proud the pony as well as the rider seemed to feel! Now we had a better chance to examine the ponies than ever before, and some were very handsome. And such prices! Think of buying a beautiful three-year-old cream-colored pony for twenty dollars!
But as the hour of sunset approached, the interest in the races vanished, and so did most of the braves. They sought the seclusion of their bowers, to adorn themselves for the grand "grass dance," which was to begin at sunset.
What a contrast between their every-day dress and their dancing costumes! The former consists of a blanket more or less tattered and torn, while the gorgeousness of the latter discourages a description in words; so I refer you to the pictures. Of course, we were eager to purchase some of the Indian finery, but it was a bad time to trade successfully with the Indians. They were too much taken up with the pleasures of the day to care to turn an honest penny by parting with any of their ornaments. However, we succeeded in buying a big war-club set with knives, some pipes with carved stems a yard long, a few knife-sheaths and pouches, glittering with beads, and several pairs of beautiful moccasins, most of which now adorn a New York studio.
Soon the highly decorated red men silently assembled inside a large space inclosed by bushes stuck into the ground. This was their dance-hall. The squaws were again shut out, as, according to Santee Sioux custom, they are not allowed to join in the dances with the men. The Indians, as they came in, sat quietly down around the sides of the inclosure. The musicians were gathered around a big drum, on which they pounded with short sticks, while they sang a sort of wild, weird chant. The effect, to an uneducated white man's ear, was rather depressing, but it seemed very pleasing to the Indians.
The ball was opened by an old chief, who, rising slowly, beckoned the others to follow him. In his right hand the leader carried a wooden gun, ornamented with eagles' feathers; in the left he held a short stick, with bells attached to it. He wore a cap of otter skin, from which hung a long train. His face was carefully painted in stripes of blue and yellow.
At first, they all moved slowly, jumping twice on each foot; then, as the musicians struck up a more lively pounding and a more inspiring song, the dancers moved with more rapidity, giving an occasional shout and waving their arms in the air. As they grew warmer and more excited, the musicians redoubled their exertions on the drum and changed their singing into prolonged howls; then one of them, dropping his drumsticks, sprang to his feet, and, waving his hands over his head, he yelled till he was breathless, urging on the dancers. This seemed to be the finishing touch. The orchestra and dancers seemed to vie with each other as to who should make the greater noise. Their yells were deafening, and, brandishing their knives and tomahawks, they sprang around with wonderful agility. Of course, this intense excitement could last but a short time; the voices of the musicians began to fail, and, finally, with one last grand effort, they all gave a terrible shout, and then all was silence. The dancers crawled back to their places around the inclosure, and sank exhausted on the grass. But soon some supple brave regained enough strength to rise. The musicians slowly recommenced, other dancers came forward, and the "mad dance" was again in full blast. And thus the revels went on, hour after hour, all night, and continued even through the following day. But there was a curious fascination about it, and, tired as we were after the long day, we stood there looking on hour after hour. Finally, after midnight had passed, we gathered our Indian purchases about us, including two beautiful ponies, and began our return trip toward the railroad and civilization. But the monotonous sound of the Indian drum followed us mile after mile over the prairie; in fact, it followed us much better than my new spotted pony.
My arm aches now, as I remember how that pony hung back.
A BOY'S VISIT TO CHIEF JOSEPH
BY ERSKINE WOOD[Note: The author of the sketch "A Boy's Visit to Chief Joseph" was Erskine Wood, a boy thirteen years old. He was then an expert shot with the rifle, and had brought down not only small game, but bear, wolves, and deer. A true woodsman, he was also a skilled archer and angler, having camped alone in the woods, and lived upon the game secured by shooting and fishing.
When Chief Joseph, of the Nez Percé Indians, went to the national capital, he met Erskine, and invited the young hunter to visit his camp some summer. So in July, 1892, the boy started alone from Portland, Oregon, carrying his guns, bows, rods, and blanket, and made his own way to Chief Joseph's camp on the Nespilem River.