Unknown Mexico Part 17

However, there is nothing new under the sun. In the Talmud we find recommended as a cure for hydrophobia to eat the liver of the dog that bites one; and in the Apocrypha we read that Tobias was cured of blindness by the gall of a fish.

Most surprising of all is the fact that this tribe, which to-day shows but very slight knowledge of surgery, should in former times have practised trepanning. That the Tarahumares understood this art is evident from two skulls which I brought back from their country. The skulls were found under the following circ.u.mstances:

In 1894 I stayed for a fortnight in a remote part of the Sierra Madre, called Pino Gordo on account of its magnificent pine-trees. The district is separated on the north from the central part of the Tarahumare country by the deep Barranca de San Carlos, and there are no Mexicans living within its confines. The place in which I found one of the skulls is twenty miles north of the mining town of Guadalupe y Calvo. A lonely trail leads through it on which, only occasionally, perhaps once in the course of a month, a Mexican from the ranches at Guachochic may journey to Guadalupe y Calvo.

One day the princ.i.p.al man of the locality, who had been very friendly to me, showed me a burial-cave. I had persuaded him that it was better for me to take away the bones contained in it, in order to keep them in a good house, than to let them remain where they were, "killing sheep and making people sick." "But why do you want them?" he asked. Having been satisfied on this point, he one day led the way to a wild, steep arroyo, pointed at its head, and having thus indicated where the cave was, at once left me. I made my way as best I could up the steep little gorge, accompanied by one of my men. On arriving at the top I found the entrance to the cave completely covered with stones plastered together with mud. A heap of stones was also piled outside against the wall.

The cave I found very small, and, contrary to the exaggerated reports of the Indians, it contained only three skeletons. According to the custom prevailing throughout part of the country of the Tarahumares, these remains had not been buried. The skeletons were simply lying on their backs, from east to west, as if looking toward the setting sun. A few crudely made clay vessels of the ordinary Tarahumare type were found alongside of them. On gathering the three skulls I was at once struck by a circular hole in the right parietal bone of one of them. As they undoubtedly belonged to the Tarahumares, the question at once occurred to me: Can it be possible that this barbaric tribe, not particularly advanced in the arts, was capable of trepanning? The remoteness of the place entirely negatives the suggestion that a civilised surgeon could have had anything to do with it.

The skull, the lower jaw of which is missing, is that of a Tarahumare woman over fifty years of age. The age of the specimen itself is impossible to arrive at, on account of the peculiar circ.u.mstances in which it was preserved. However, the cranial walls still contained some animal matter, were still somewhat fatty to the touch, and retained some odour. A spindle provided with a whorl made from a piece of pine-bark, which was lying among the bones in the cave, indicates that the body of this female had not been put there in recent times. This variety of whorl, so far as I can ascertain, has not been observed among the Tarahumares of the present day. It is, indeed, possible that the skeleton may be pre-Columbian.

The skull does not present any deformities or fractures, and the singular aperture is almost exactly round, measuring two centimetres in diameter. A careful examination shows that the cut was made a long time, several years in fact, before death. The regularity of the hole indicates beyond doubt that it is artificial.

Another skull taken from a burial-cave near Nararachic is also that of a female, and the opening here, too, is in the parietal bone, and in almost the same place as the opening in the first skull described. In this second specimen the cavity is almost filled in with new bone, and as in this instance the edges are very regular and uniform, and distinctly beveled, they show that the operation was performed by sc.r.a.ping. This cannot be said of the first specimen found; the almost circular form of the opening, and its perpendicular walls, prove conclusively that in this instance the surgeon did not employ the simple method of sc.r.a.ping the bone. I have never found among the Tarahumares any implement with which such an operation could have been performed. Possibly it was done with a kind of flint wimble with three teeth, much like the instrument used to-day in trepanning by the Berbers in L'Aures, who cure even headaches by this method. It is, of course, impossible to say now whether the ancients performed the operation simply to relieve the patient of bone splinters, pus, blood, etc., pressing on the brain, or whether it was done to let out an evil spirit. It is the first time that cases of trepanning have been found in Mexico.

Chapter XVIII

Relation of Man to Nature--Dancing as a Form of Wors.h.i.+p Learned from the Animals--Tarahumare Sacrifices--The Rutuburi Dance Taught by the Turkey--The Yumari Learned from the Deer--Tarahumare Rain Songs--Greeting the Sun--Tarahumare Oratory--The Flowing Bowl--The National Importance of Tesvino--Homeward Bound.

Since the people obtain their subsistence from the products of the soil, they naturally are deeply concerned in the weather upon which their crops depend. Rain, therefore, is the focal point from which all their thoughts radiate. Even the plough is dipped into water before it is put to use, in order that it may draw rain. The people may try to force the moon and the sun to give them rain. In times of drought they reproach especially the moon for making the people live on the leaves of the ash-tree and what other poor stuff they can find; on her account they are getting so thin that they can no longer recognise themselves. They scold her, and threaten to denounce her to the sun. The sun himself may be rebuked for lack of rain. At other times they may throw up water to heaven with many ceremonies, that Tata Dios may replenish his supply. Generally, however, their relations with the G.o.ds, as with men, are based on the business principle of give and take.

Sacrifices of food, the meat of domestic animals or of game, and of tesvino, are needed to induce Father Sun and Mother Moon to let it rain. The favour of the G.o.ds may be won by what for want of a better term may be called dancing, but what in reality is a series of monotonous movements, a kind of rhythmical exercise, kept up sometimes for two nights. By dint of such hard work they think to prevail upon the G.o.ds to grant their prayers. The dancing is accompanied by the song of the shaman, in which he communicates his wishes to the unseen world, describing the beautiful effect of the rain, the fog, and the mist on the vegetable world. He invokes the aid of all the animals, mentioning each by name and also calls on them, especially the deer and the rabbit, to multiply that the people may have plenty to eat.

As a matter of fact, the Tarahumares a.s.sert that the dances have been taught them by the animals. Like all primitive people, they are close observers of nature. To them the animals are by no means inferior creatures; they understand magic and are possessed of much knowledge, and may a.s.sist the Tarahumares in making rain. In spring, the singing of the birds, the cooing of the dove, the croaking of the frog, the chirping of the cricket, all the sounds uttered by the denizens of the greensward, are to the Indian appeals to the deities for rain. For what other reason should they sing or call? For the strange behaviour of many animals in the early spring the Tarahumares can find no other explanation but that these creatures, too, are interested in rain. And as the G.o.ds grant the prayers of the deer expressed in its antics and dances, and of the turkey in its curious playing, by sending the rain, they easily infer that to please the G.o.ds they, too, must dance as the deer and play as the turkey.

From this it will be understood that dance with these people is a very serious and ceremonious matter, a kind of wors.h.i.+p and incantation rather than amus.e.m.e.nt. Never do man and woman dance together, as in the waltz and polka of civilised people. The very word for dancing, "nolavoa," means literally "to work." The wise old man may reproach laggard, inexperienced younger ones, saying, "Why do you not go to work?" meaning that they should go to the dance and not stand idly about while the feast is going on. If the Tarahumares did not comply with the commands of Father Sun and dance, the latter would come down and burn up the whole world.

The Indian never asks his G.o.d to forgive whatever sin he may have committed; all he asks for is rain, which to him means something to eat, and to be free of evil. The only wrong toward the G.o.ds of which he may consider himself guilty is that he does not dance enough. For this offence he asks pardon. Whatever bad thoughts or actions toward man he may have on his conscience are settled between himself and the person offended. I once asked a prominent heathen shaman why the people were not baptised, and he said: "Because Tata Dios made us as we are. We have always been as you see us. People do not need to be baptised, because there is no devil here. Tara Dios is not angry with us; why should he be? Only when people do bad things does he get angry. We make much beer and dance much, in order that he may remain content; but when people talk much, and go around fighting, then he gets angry and does not give us rain."

Dancing not only expresses prayers for rain and life, but also pet.i.tions the G.o.ds to ward off evil in any shape, as diseases of man, beast, or crops. The people may dance also in case too much rain is falling, or for luck in field work, hunting, despatching the dead, etc.; and in this way they also give thanks for the harvest. By dancing and with tesvino they express all their wants to the G.o.ds, or, as a Tarahumare told me, "We pray by dancing and the gourd."

With the dances is always connected the sacrifice of an animal; the greater portion of the meat is eaten by the people themselves, who, beside, bring forth all kinds of nice food, the best they have. Such dancing festivals, as a matter of course, are given either by individuals or by the community. It is thought that Tara Dios himself comes down each time to make his demands on the Tarahumares for dancing and sacrificing. He communicates his wishes in a dream to someone, not necessarily a shaman; and in the dry season, when the Indians begin to prepare their fields, most of these notices come and are generally made known to all at a race, where many people always come together. During all these months hardly a day pa.s.ses without a messenger being sent out from some place in the country to advise one or the other of the princ.i.p.al shamans that G.o.d has come down and demanded a feast. Sometimes Tata Dios asks for an ox to be killed; at other times he wants only a sheep. Frequently he indicates that the animal must be white; on other occasions he is not particular about the colour. The threat is added that if the sacrifice is not forthcoming, and the people do not dance soon, all the corn will be burned up, and they will have to die of hunger. Or, if there has been too much rain, the notice may say that, unless they sacrifice and dance at once, all will be drowned, because it is going to rain tremendously. Occasionally it is directed that they dance only a little while, then rest, then dance again; or else they have to keep on dancing for a night and a day, or two nights in succession. When a great many sacrifices have been made and animals begin to be scarce, Tara Dios may have to content himself with iskiate and tortillas. The people may continue to make feasts and to dance, and yet get no other results but fresh messages, ordering still more sacrifices. Then the Indians begin to argue with Tata Dios that he must not be so greedy; he has filled himself up with oxen and sheep and tesvino, and they cannot give him any more. When such revolt seems imminent the shaman may throw out an ominous hint that the sacrifices have to be made; for what would the Tarahumares say if Tata Dios wanted one of them to be killed?

Among the reasons given by the Christian Tarahumares for continued dry weather are the following. The Devil has made Tara Dios sick and has tied him up; or the Moon (Virgin Mary) is sick; or the people have not given Tara Dios enough food and he is very hungry; or the railroad engines of the Americans are making so much smoke that Tara Dios is angry; or, finally, someone at a feast has infringed upon the law of decorum, and thereby annulled its value.

At present domestic animals are considered more valuable at sacrifices than the beasts of the field and the forest; yet squirrels (chipawiki), turkeys, deer, rabbits, and fish are still used to some extent, especially by those who do not possess domestic animals. Twenty men may go out to hunt a deer, or from six to ten men try to bring in four or five squirrels for a communal feast, to which all contribute the corn necessary for the tesvino, say, half an almud, more or less, according to the means of each householder. Never does any one man give all the corn required for a tribal feast, though he may donate all the meat, in the shape of an ox, a cow, or a sheep. Goats are sacrificed only at burial functions. If the people do not give the best they have for the sacrifice, they will obtain only poor results.

The dances are always held in the open air, that Father Sun and Mother Moon may look upon the efforts of their children to please them. They dance on the level s.p.a.ce in front of the dwelling, preferably each danced on its own patio. Some people have as many as three such dancing-places, but most of them have to content themselves with one. If a Tarahumare could afford it, he would have ten patios to accommodate more people and dances near his house.

To my knowledge there are six different dances, but of these I will describe only two, the rutuburi and the yumari, as these are the most important and the two almost exclusively used in the central part of the country. The other four I saw only among the southern Tarahumares.

The rutuburi was taught to the people by the turkey. Generally three crosses are put up, and there are three shamans, the princ.i.p.al one being in the middle; his a.s.sistants need not be shamans, but the master of the house and his son, or some trusted friend, may officiate. When the dancing is about to begin, these men take a position in a line before the crosses, facing east, and shake their rattles continuously for two or three minutes from side to side, holding the instruments high up in the air, as the rattling is meant to attract the attention of the G.o.ds. Then, with the singing and shaking of the rattles--now down and up--they move forward in a manner similar to that of a schoolgirl skipping over a rope, pa.s.sing the crosses to a point as far east as the starting-point was to the west, altogether about eighteen yards. They then turn around and move back to the starting-point. In this way they keep on dancing forward and back three times, always in an easterly and westerly direction, swinging their rattles down and up, while pa.s.sing from one point to the other, and from side to side whenever they reach it. The down-and-up movement of the rattle is not a simple down and up, but the down stroke is always followed by a short after-clap before the arm rises for the new swing, producing thus a three-part rhythm. They sing the following stanza, repeating it over and over again:

Ru-tu-bu-ri vae-ye-na Ru-tu-bu-ri vae-ye-na Rutuburi, from one side to the other moving! Rutuburi, from one side to, etc.

o-ma wae-ka xa-ru-si. o-ma wae-ka xa-ru-si.

All! many! Arms crossed! All! many! Arms crossed!

This is the introduction and prelude to the whole dance. After this formal opening the men take their places in line to the right of the shamans, and the women to the left. They stand for a few minutes while the shamans sing and swing their rattles, the men silently holding their arms folded over their b.r.e.a.s.t.s, as described in the song. This crossing of the arms I take to mean a salutation to the G.o.ds. While the Tarahumares of to-day never salute each other by shaking hands, neither is there any trace at present of their ever having saluted each other by crossing arms over the breast, which form was probably never used except with the G.o.ds, at ceremonies.

All the people are closely wrapped in their blankets, which they wear throughout the dance. In its general traits, the dance is performed in the same way as the opening ceremony. The shamans, or sometimes only the leader, jumps along as described, but the men just walk to and fro, and have to take long steps in order to keep abreast with the leaders. The women follow the men after the latter have gone several yards ahead, skipping in the same way as the shamans, though less p.r.o.nounced. They stamp the, hard ground with the right foot and run without regard to time, so that the pattering of their naked feet reminds one of a drove of mules stampeding. They overtake the men, so as to turn around simultaneously with them and wait again for a few seconds for the men to get ahead of them. Thus the dance is continued without interruption for hours and hours. This may sound as if the spectacle was monotonous; but such is not the case. On the contrary, there is a certain fascination in the regular, rhythmical movement from side to side--like the double pendulum of some gigantic, unseen clock. The shaman specially captivates the attention of the observer, being the very incarnation of enthusiasm. He swings his rattle with energy and conviction, as if bent on rousing the G.o.ds out of their indifference, while he stamps his right foot on the ground to add weight to the words, which he pours forth in a loud, resonant voice from his wide-open mouth. Although the Tarahumare, as a rule, has a harsh and not very powerful singing voice, still there are some noteworthy exceptions, and the airs of the rutuburi songs are quite pleasing to the ear. These, as all their dancing-songs, are of great antiquity and strangely enchanting.

Rutuburi Dance.

Va-sa-ma du-hu(-hu-ru)-si Sae-va-ga wi-li In flowers (is) jaltomate, [7] in flow-ers stands up,

Sae-va-ga wi-li wu-ka wu-ka.

In flowers stands up getting ripe, getting ripe.

Rutuburi Dance.

Ra-ya-bo va-mi va-mi-(ru) ra-ya-bo (On the) ridge yon-der, yon-der (On the) ridge

be-mo-ko ra-ya-bo be-mo-ko.

fog (on the) ridge fog.

The water is near; Fog is resting on the mountain and on the mesa.

The Bluebird sings and whirs in the trees, and The Male Woodp.e.c.k.e.r is calling on the llano, Where the fog is rising.

The large Swift is making his dashes through the evening air; The rains are close at hand.

When the Swift is darting through the air he makes his whizzing, humming noise.

The Blue Squirrel ascends the tree and whistles, The plants will be growing and the fruit will be ripening, And when it is ripe it falls to the ground.

It falls because it is so ripe.

The flowers are standing up, waving in the wind.

The Turkey is playing, and the Eagle is calling; Therefore, the time of rains will soon set in.

In the wet season, when the rabbits are about, the shamans sing of the rabbit. In winter time they sing of the giant woodp.e.c.k.e.r, and in harvest time, when the people begin to make merry, they sing of the blackbird.

The yumari was learned from the deer. According to tradition it is the oldest dance. At the hour appointed, the shaman, facing the cross and the east, here, too, opens the proceedings by shaking his rattle to both sides to notify the G.o.ds. Then he begins to walk around the cross, humming a song and marching in time to the rattle, which he now swings down and up. He makes the ceremonial circuit, stopping at each cardinal point for a few seconds. After this he begins his dance, and the rest of the a.s.semblage gradually join in. The dance consists in short walks, forward and backward, with lock-step, the men being arrayed in line on both sides of the shaman, their eyes fixed on the ground, their elbows touching. In this way they swing to and fro, generally describing a curve around the cross, or, sometimes, forming a circle against the apparent movement of the sun. The women dance in a similar way, in a course of their own behind the men; but they frequently break ranks, jumping forward and backward with movements wholly devoid of grace. When the dance goes in a circle, the women move with the sun.

The tones marked with the accent > in each of the following yumari songs are grunts.

The yumari songs tell that the Cricket wants to dance; the Frog wants to dance and jump; and the Blue Heron wants to fish; the Goatsucker is dancing, so is the Turtle, and the Grey Fox is whistling. But it is characteristic of the yumari songs that they generally consist only of an unintelligible jargon, or, rather, of a mere succession of vocables, which the dancers murmur.

Unlike the rutuburi, the yumari soon becomes tiresome, in spite of its greater animation. Yet the spectacle has something weird in it, especially when seen by the fitful flicker of the fire, which throws a fantastic light upon the grotesque figures, like goblins moving about on the same s.p.a.ce. Many mothers carry their sleeping infants on their backs. Sometimes, the blanket which supports the baby loosens, and the little thing hangs half out of it, following every movement of the parent.

At most feasts both these dances are performed, and the Indians themselves consider them to have the same general purpose. It is, therefore, not easy to see the relation of the two dances to each other. Rutuburi is the more serious dance, and is more efficacious than yumari, though the latter, of course, has its own special value; for instance, it expresses a prayer that the shaman may have strength to cure. In yumari, all sing and dance, and very frequently all the performers are drunk, while during the former dance absolute decorum is observed. Both dances are for the sun and the moon--rutuburi, in order to call them down; yumari, to despatch them. Therefore, the usual dancing-feasts commence with rutuburi. When the function is about to be concluded, an hour or two before sunrise, yumari is commenced, and leads over to the second part of the festival, the eating and drinking. After this, yumari may be continued throughout the day, while the Indians get drunk. Rutuburi is also danced at thanksgiving for the harvest, while on such occasions yumari asks for a good year to come. Then, again, rutuburi may be danced throughout the day, and yumari at night; but generally the former dance commences soon after sunset. On one occasion, while I was waiting for the performance to begin, the son of the house, in answer to my query, pointed to the sky, and told me that the dance would not commence until the Pleiades reached a certain spot in the heavens, which I calculated to mean about eleven o'clock. This indicated that the stars have some connection with the dancing.