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Scalawag on the Web Sectory 18
Page 07
The Gaun Bagudzitash, or Dance of the Gods, is the one ceremony of the Apache that bears any material resemblance to the many Yebichai dances or "chants" of the Navaho, and even then the only feature common to the two is that the men, typifying gods, wear elaborate masks. The Apache are not unfamiliar with the making and employment of dry-paintings for the treatment of the sick, as has been seen. Originally the dry-paintings and the _gaun_, or gods, always appeared together, but in recent years the Gaun dance has been conducted preliminary to and as a part of medicine, puberty, and war ceremonies. Captain Bourke, in his "Medicine-men of the Apache" (Ninth Report of the Bureau of Ethnology, 1892), speaks of this as the Spirit or Ghost dance. Though performed infrequently now, as compared with other dances, on account of the expense and of disapproval by the agents, the Gaun Bagudzitash is unquestionably the most popular ceremony conducted by the Apache.
When Caesar understood this state of things, he called an assembly of the troops, and made an address to them. He told them that he was astonished to learn to what an extent an unworthy despondency and fear had taken possession of their minds, and how little confidence they reposed in him, their general. And then, after some further remarks about the duty of a soldier to be ready to go wherever his commander leads him, and presenting also some considerations in respect to the German troops with which they were going to contend, in order to show them that they had no cause to fear, he ended by saying that he had not been fully decided as to the time of marching, but that now he had concluded to give orders for setting out the next morning at three o'clock, that he might learn, as soon as possible, who were too cowardly to follow him. He would go himself, he said, if he was attended by the tenth legion alone He was sure that they would not shrink from any undertaking in which he led the way.
We have thus far been considering those arts which pertain more directly to living. We have presented some sketches found engraved on pieces of bone. We first noticed this among the relics found in one of the Creswell caves in England. It was also noticed in Belgium. It was among the Cave-men of Southern France that this artistic trait became highly developed. Among the reindeer hunters of the Dordogne were artists of no mean ability. We must pause a minute and mark the bearing of this taste for art. We have seen many reasons for supposing the men of the caves much farther advanced in the scale of culture than those of the Drift, but we have also seen that we can not rank them higher than the highest grade of savages.
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