The origins of art; a psychological & sociological inquiryHirn, Y. (Yrjö)
Philosophy
The origins of art; a psychological & sociological inquiry
Hirn, Y. (Yrjö)
Aesthetics; Art -- Philosophy; Art, Primitive
We shall therefore meet with highly developed choral dances in those
nations in whose life war is a customary occurrence. The North
American Indians,[418] as well as the Dahomeyans,[419] are noted for
the soldier-like regularity of their dances. But nowhere among the
lower tribes of mankind is the time-sense so refined as among the
pre-eminently warlike Maori. Notwithstanding the furious movements in
their war dances, the gesticulation of all the participants is always
uniform and regular.[420] According to Cruise the very slightest
motions of their fingers are simultaneous;[421] and, if we are to
believe Mr. Bidwill, even their eyes all move together.[422] Highly
accomplished dancers as are certain other Polynesian tribes[423] less
warlike than the Maori, it will be admitted that such a pitch of more
than Prussian precision would never have been attained if it were not
for its military advantages. To the same cause one is also tempted
to ascribe the regularity of the Kaffir dances,[424] which by their
choral character stand in so marked a contrast to the amusements of the
neighbour tribe, the peaceful Hottentots, among whom every dancer acts
“separately for himself.”[425]
It is evident that a regular co-operation in fighting is effectually
promoted by rhythmical music. And we do in fact find that music,
especially instrumental music, at the lower stages of development is
closely connected with war.[426] It is, however, more natural to assume
that military music, and similarly military poetry and dance, have had
their chief importance not as regulating but as stimulating influences.
There are many tribes which seem quite unable to observe any kind of
military discipline. But even in the undeveloped and unmethodical
warfare of the lowest savages, music, songs, and dances have been used
as means of infusing courage and strength. The psychology of these
military stimuli is of course the same as that of industrial art. But
the general principles appear with far greater clearness when applied
to this peculiar kind of activity.
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