During his time among the Mandan tribe, George Catlin became entranced by the songs and music of his hosts.
Songs are an integral part of any civilization. Closely intertwined with dance, they serve as a robust form of personal and social expression. Even the word “sing” has come to symbolize the passionate expression of words and concepts. Virgil’s epic tale of the survivors of Troy declares, “I sing of arms and the man who came of old.” Citizens proclaim their allegiance to their homeland with a rousing chorus of their national anthem. In Native American societies, songs are used to retell tribal histories, to celebrate social occasions, and even to prevail upon the spirit world for assistance in times of great need. From the cultural observations of George Catlin to the first hand accounts of the modern day shaman, the use of song in indigenous life has not changed. While the instruments that accompany the songs have indeed changed from crude string and wind instruments to electronic accompaniment in some cases, the practice remains very mush the same.
Catlin observed much in his time with the Mandan. Many of his journal entries contain detailed observations of Indian life, and in some cases reflections on the biases of white society towards the world of the Native American. When writing of the songs of the Mandan tribe, Catlin confessed that white society had seriously misconstrued Indian songs. While living among the Mandan, Catlin described a variety of musical expression—from ceremonial chants to melodic expressions of joy by his hosts. Catlin admitted that some songs are indeed mere guttural “yelps and barks,” particularly those used in the midst of public ceremonies. However, he also told of the intrinsic beauty of the post-meal song, which is wonderfully accompanied by drums and carries expressive and dulcet tones long into the evening. Catlin described two different types of singing among the Mandan—ceremonial and personal. Those songs sung in the midst of public ceremonies were often accompanied by “violent gesticulation” and “rich,” full chorus. In private, however, Catlin was impressed by the melodious nature of the songs he heard from the patriarch of his host family. One experience in particular captivated him so that he was motivated to write a detailed defense of indigenous song.
Catlin observed that ceremonial songs were very often accompanied by ritual dances. Those songs that were performed with intricate steps and jumps were less melodic and more violently expressive. During a particular healing ceremony, he described how the medicine man seemed entranced by his own song; which was loud and guttural and complimented with a frenzied dance. Conversely, while listening to his host sing at the conclusion of a meal, Catlin was moved by the gentleness and almost poetic beauty of the words and melody. His experience further encouraged him to learn more of the social customs of his host nations as he traveled up the Missouri River.
Carl Waldman, Encyclopedia of Native American Tribes. (New York: Checkmark Books, 2006).
David M Jones and Brian L Molyneaux, Mythology of the American Nations. (London: Hermes House, 2006).
Gilbert Legay, Atlas of Indians. (Hauppage: Barron’s Educational Services, Inc., 1995)
Peter Matthiessen, ed., George Catlin: North American Indians. (New York: Penguin Group, 1989).
Mark St. Pierre and Tilda Long Soldier, Walking in the Sacred Manner: Healers, Dreamers, and Pipe Carriers—Medicine Women of the Plains. (New York: Simon and Schuster,1995).
