Dance

Choctaws Views on the Dead

The ancient Choctaws had a unique method for dealing with their dead, involving several stages. Initially, the corpse was placed on a scaffold to decompose. A designated Bone Picker would later remove the flesh, after which the bones were placed in a box and the scaffold burned. The bones were then stored in a bone house until collective burial in mounds occurred. Over time, this practice evolved to include burials in a seated position, marked by poles, hoops, and communal mourning rituals.

Chickasaw Courtship and Dance

Chickasaw courtship involved a subtle approach where a prospective groom sent a bundle of clothing to his desired bride through a female relative. Acceptance of the gift indicated mutual interest, bypassing the need for direct parental approval. Marriages were marked by the exchange of food, symbolizing roles in providing for the household. Additionally, the Chickasaws celebrated various dances, including sacred ones for women and communal dances, often accompanied by prayerful rituals, especially during healing ceremonies, highlighting their rich cultural traditions.

Micmac Customs And Traditions

Waltes Bowl and Sticks

The Micmac Indians of Nova Scotia possess rich customs and traditions, primarily documented through the Glode brothers, who are esteemed for their knowledge of native lore. Their communication methods in the woods utilize symbolic sticks, and traditional games, such as altestakun, reflect their cultural values and complexities. Notably, the serpent dance, once common, symbolizes transformation and seasonal cycles, while folktales, like those of water fairies and the culloo, illustrate their deep mythological roots. However, much of this heritage is fading as fewer individuals retain knowledge of these legends and practices.

Yuchi Dancing

Fig. 41. Feather Attachment of Wand

During the second night of Yuchi ceremonies, various dances were performed around a central fire, predominantly featuring shuffling steps and movements mimicking animal actions. Male dancers held their arms to shield against heat, while women maintained a lower posture. Dancers were adorned with ornaments, including feathered decorations. The dance repertoire included the Feather Dance, Gun Dance, Duck Dance, and others, each reflecting cultural beliefs and communal involvement. The culmination of these festivities marked an essential spiritual renewal for the Yuchi community, closing with a lively Crazy Dance.

Yuchi Annual Town Ceremonies

Fig. 38. Yuchi Square-Ground During Ceremony

The 1905 Yuchi Annual Town Ceremonies began with a preliminary gathering led by Chief Jim Brown, where families received bundles of sticks to count down to the main event. This included dancing, preparations, and the repair of lodges. The three-day celebration featured various rituals, starting with fasting and traditional dances. Core events included the new fire ceremony, medicine preparation, and ceremonial games. Attendees engaged in community bonding, offering prayers, and reflecting on their heritage amidst structured rituals and taboos.

Religion of the Six Nation Tribes

The Six Nations have distinct religious practices, characterized by their council houses where both Christian and pagan ceremonies occur. The Christian population is notably concentrated along central roads in various reservations, with several churches reflecting differing denominations. Pagan traditions persist alongside new religious movements, particularly influenced by Handsome Lake’s teachings. The spiritual life of the Six Nations is marked by communal dances and rituals, emphasizing gratitude to the Great Spirit while simultaneously confronting the social and political implications of their faiths.

The Tablita or Corn Dance

Male Pueblo Dancer

The Tablita or Corn Dance, held in San Domingo, New Mexico, serves as a ceremonial supplication for rain, showcasing the Pueblo’s vibrant culture. In August 1890, 200 dancers, adorned in elaborate costumes and painted with clay and colors, participated in this enduring ritual, marked by mass followed by traditional festivities. The dance emphasizes endurance and grace, with intricate movements synchronized to chants invoking clouds and rain. This communal event also features lighthearted clown performances and concludes with a spirited chicken race, celebrating cultural unity and resilience.

The Annual Creek Busk

The púskita, or busk, is a significant annual festival for the Creek people, historically lasting four to eight days, determined by the maize harvest. Its rituals include the creation of a new fire, various dances, and fasting, symbolizing renewal and community. Celebrated in both ancient and modern contexts, it emphasizes amnesty, reconciliation, and the importance of new beginnings. The ceremonial use of medicinal plants and the preparation of traditional foods culminate in communal feasting, reflecting the festival’s spiritual and social dimensions.

Snake Dance of the Moqui Pueblo Indians

Snake Dance of the Moquis, Walpi, Arizona

The Moqui Pueblo Indians’ snake dance is a prominent religious ceremony aimed at invoking the water god Ba-ho-la-con-gua for agricultural prosperity. Conducted every two years, it comprises elaborate rituals, including fasting and racing from water sources, culminating in a vibrant dance featuring live snakes carried in the dancers’ mouths. The event, steeped in secrecy and tradition, showcases the community’s deep spiritual connections and hospitality. Despite modern pressures, the Moquis regard the dance as an essential element of their cultural identity and religious practice.

War Dance

Face painting of war dancers

The war dance, adopted by the Absentee Shawnee around 1888 from the Caddo, features men dancing in a circle around a drum while carrying tomahawks or scalps and wearing feathered war bonnets. Their faces are painted to reflect their supernatural partners, symbolizing strength and heritage. Women, dressed in buckskin, observe from the outside. A fallen feather prompts a senior dancer to recount a war story, emphasizing the connection to tradition and valor that defines this ceremonial dance.

A Letter About the Green Corn Dance

This letter was written by the late John Howard Payne to a relative in New York, in 1835. The Green-Corn Dance which it describes was, it is believed, the last ever celebrated by the Creeks east of the Arkansas. Soon after, they were removed to the West, where they now are.