Preserving the Lore of the Utes

PRESERVING THE LORE OF THE UTES By Prof. H. R. Merrill, Brigham Young University No people on earth should take more genuine interest in the Indians than the Latter-day Saints. To most people the red men are merely a savage race, while to the Latter-day Saints they represent the remnants of a once mighty and noble people. In fact, to the Latter-day Saints they represent a people who were once the beloved of the Lord, and who still have unfilled promises ahead of them. Furthermore, the Ute Indians especially deserve consideration at the hands of our people, for it was from them that these fertile valleys were obtained. They are the original land owners of the West. In the face of these facts I have never been sure that we as a people have fulfilled to the letter our obligations. I do know that in the days of Jacob Hamblin, N. Tenny, and others of our missionaries, a good work was done among our dusky brethren, but in recent years, if any great work has been accomplished, I have never heard of it. Individuals, however, may be doing a good work among the Utes and the Piutes. One especially has come under my observation. Professor William F. Hanson, for years a resident of Vernal, but now connected with the Music Department of the Brigham Young University, has spent the last fifteen or twenty years in the vicinity of the Indians, and has been doing his best to save their traditions, their music, and their dances, as well as their superstitions, even if he has spent but little time in an attempt to save their souls. I am not sure that William F. Hanson has not done a greater work than if he had really spent his time in preaching to his neighbors of the Tepee. After all, the literature of a people, whether it be written or oral, is the history of the soul of that people; the music of a race is the expression of its inmost heart; the traditional dances of a system of civilization are the physical reactions to mental states of being. Professor Hanson has been doing a great work in an attempt to preserve all three emotional expressions, as well as many of the traditions that have been associated with the story hour at the fireside. The songs of the Indians, according to Professor Hanson, are practically inarticulate. They sing songs without words, expressing in their tonal quality, in the lilt of the melody, all that other races express in words and music. These songs have definite tunes, de- finite rhythm, and are sung for special occasions. Indians have no foolish songs such as "It ain't a goin' to rain no mo'." Their songs are mostly ceremonial and have a meaning that prevents them from being sung at various times. I sat and listened while Quinance, one of the most important

PRESERVING THE LORE OF THE UTES 743 Left: Ar-chu, a skillful old dramatic dancer of the tribe. Right: Wallace Jack, a splendid type of young Indian. singers of his tribe, was inscribing tribal songs upon wax records for Professor Hanson. To me all of his melodies had much the same tune, but to Professor Hanson, who has listened to the music all his life, each number had a definite character. I also had the privilege of seeing Professor Hanson's Wigwam Company dance and sing the songs of the Utes. The dances, to me, were exceedingly interesting, and as untrained as I am, I could see that the dances for a special occasion were different from the dances used for other special occasions, although all dances had as their foundation much the same kind of steps. A number of years ago, Professor Hanson composed the "Sun Dance" opera. He was asisted in this work by a full-blood, educated Indian lady. This opera had in it the actual music of the Sun dance. When it was produced under the direction of Professor Anthon C. Lund, by the Music Department of the Brigham Young University, several Indian men of prominence took parts in the great spectacle. It was played eleven times in Provo to packed houses. Many people, so great was its interest, went to see the production five and six times and found something new in the strange melodies of the Utes as they were harmonized in the opera each succeeding night. The Sun dance, however, is a Sioux dance, although it has been borrowed by the Utes and is used annually in their own ceremonies. Professor Hanson determined to get something really Ute in character. He then hit upon the ideal of writing the "Bear Dance Opera," since the bear dance represents a genuine Ute tradition. Among the Utes there is a beautiful old folk tradition about the

744 IMPROVEMENT ERA return of spring. Nearly every people has some such tradition. The Ute tradition is built around the idea that the bear, on account of his hybernating habits, knows when spring is coming by some mysterious power that calls him forth from his sleep. It is quite natural that these primitive people should find in the thunder the voice of the Great Spirit; consequently, they have a tradition that in the first thunder storm of spring, the bears are awakened and called to enjoy the warmth and beauties of spring. The bear dance, therefore, is held annually in March, or early Ar-chu, showing an elaborate Ute head-dress. It is beautifully colored. The vest he wears is a high-wrought work of beaded art. April. The tribesmen get together and build a big corral of brush and poles in which to hold their annual spring festival. This corral (for some reason,) is built new every year. When the appointed time arrives, Indians from far and near drive in to attend the Bear Dance. The orchestra strikes up a tune; the young braves and Indian girls stand around until, finally, a girl selects a partner and the dance begins. Back and forth the couples dance over the dusty ground hour after hour. At night they feast, and then go home to return next day for another session. In this way the dance proceeds for seven days. During this time various prayers and incantations are offered to the Great Spirit. He is asked to mature their corn, to free the people from pestilence, and to make the hunting good.

PRESERVING THE LORE OF THE UTES . 745 The orchestra is a quaint organization made up of twenty or thirty men who sit around a hollow log, a piece of thin iron, or some other material that will echo well the noise they make by scraping a notched stick over a bone or another stick, to represent the growl of the bear who is just waking from sleep, and is preparing to come out into the sunshine. Some of these sticks are quaintly carved, indicating that the Ute has a sense of art himself. These growls are accompanied by songs — Bear Dance Songs — that are supposed to give the dancers the rhythm of the occasion. This quaint folk tale, Professor Hanson has selected and has built into a genuinely good opera. The very music, the very tradi- tions of the Utes are incorporated in the piece. It is true that Professor Hanson has set words to some of the melodies in order that the white man who has a less keen imagination than the primitive children of the valleys, may understand more perfectly what it is all about. The Indian needs no words; his active imagination leads him through the entire performance without difficulty. This opera is completed now and is only waiting for a producer. Just when it will be staged for the first time is not known. "I did not write it to produce," Professor Hanson said, "I wrote it mainly because I couldn't resist the urge to place our Ute music in a permanent form where it can be passed along to other generations. Already these traditions and performances are dying down under the approach of civilization. The young Indians already hesitate about taking part with their elders. In fact, many of the educated youngsters will not have anything to do with these tribal performances. Within a very few years most of this lore will be lost if someone doesn't preserve it. "There may be some who believe that it isn't worth preserving. I am not one of those. I see in these dances and in this music some- thing interesting and beautiful; something worth while in attempting to interpret the life of our Indian brothers." Professor Hanson, I am sure, is right. It seems to me that all of us should be willing to support him a little bit by our interest and encouragement if not by our money. Early this year Professor Hanson entered a song based on Ute melodies and Ute traditions in an international contest. He won the second prize with his effort and received a very kind letter from New York encouraging him in his efforts to preserve the Ute music. People are sometimes slow to recognize talent in their own sons. Annually, almost, the two great Indian interpreters, Cadman and Lieurance, are invited into the state to give performances featuring the music of eastern tribes of Indians, while we have here a native son who has done as much for his own state Indians as they have done for the east. When we should be more interested than any one else in Indian

746 IMPROVEMENT ERA traditions, we seem, however, to like to have these traditions preserved by other people. A call for the production of the Bear Dance opera would be welcomed by many people who would like to see and hear it, but it costs money to produce an opera, and it takes support. Up to the present Professor Hanson has had neither. The Utes are a fine tribe of people. They have now dwindled to a mere handful of about twelve hundred and fifty souls. It is hoped that the opera may be produced while yet there are genuine old- fashioned dancers and singers in the tribe who can give first hand information regarding the ceremonial and who can take part in the performance. At any rate, I am of the opinion that already Professor Hanson has done enough towards preserving the lore of the Utes to merit our thanks and the thanks of our Indian neighbors. Provo, Utah President Grant's Visit in the South President Heber J. Grant spoke in the Duval theatre in Jacksonville, Sunday morning and Sunday evening, March 1, 1925, to large and repre- President Heber J. Grant, Sister Agusta W. Grant, Sister Dessie Boyle, Elder chas. A. Callis and the missionaries of the Florida conference, Jacksonville, Fla. sentative audiences. The President and his party visited St. Augustine dur- ing his visit in Florida. From Jacksonville President Grant went to Atlanta, March 8, where he addressed two great audiences in the Lyric theatre. While in the South he was the recipient of many courtesies from leading business men. The newspapers published very fair interviews with him, and the President's visit to the South was a genuine spiritual uplift to the missionaries and members. The non-"Mormons" who attended the meetings listened with respectful attention. — Chas. A. Callis, president of the Southern States mission*