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IV. HISTORY OF CHIEF ILLINIWEK

A. Origin

The story of the origin of the Chief is common knowledge to those familiar with the debate surrounding the Chief's existence. To those new to the discussion, however, it is informative to analyze the origins of the entire performance.

In 1926, Ray Dvorak, assistant director of bands, conceived the idea of having a Native American war dance performed at halftime at the Illinois-Pennsylvania game. Lester Leutwiler, a student with a keen interest in native lore, was picked to dance. Relying on knowledge gained as an Eagle Scout, he prepared a homemade costume complete with a war bonnet made of turkey feathers. The halftime performance was a big hit. For the rest of the 1926 season and again for the 1927 season, Leutwiler continued his Chief performances

From the home page of the UIUC web site, we are informed as to how the Chief was named:

The expression "Illiniwek" was first used in conjunction with the University of Illinois by football coach Bob Zuppke in the mid 1920's. Zup was a philosopher and historian by training and inclination, and he was intrigued by the concept the Illini peoples held about their identity and aspirations. They spoke a dialect of the Algonquin language and used the term "Illiniwek" to refer to the complete human being - the strong, agile human body; the unfettered human intellect; the indomitable human spirit.

It is not surprising that an Indian was selected as representative of the University. Much of the European-American culture adopted the American Indian as symbolic of a new found tradition. Hence, the prevalence of Indian names for states, rivers and other geographic landmarks. Additionally, there was a fascination with Americans carrying on Indian customs as reflected by the formation of the Boy Scouts, Eagle Scouts, Girl Scouts, and other groups which placed heavy emphasis on the cultivation of Indian crafts and practices.

Prior to the creation of Chief Illiniwek in 1926, the University of Illinois exhibited a considerable interest in an American Indian identity. An examination of the Illio beginning in 1901 reveals countless pictorials of the American Indian. These depictions ranged from Indian faces similar to the present school logo, sketches of muscular, nude or minimally clothed Indian men in headdresses, medicine men, natives dancing with tomahawks, etc. An Indian was a likely selection for the performance.

B. The Costume

From the Chief Illiniwek Homepage, the following appears:

The Chief's dance might have faded into oblivion except for history major A. Webber Borchers, who picked up the torch.

"I realized the idea of an Indian chief could be turned into a tremendous historical and symbolic advantage for the U. of I. ," Borchers wrote in 1984. "I realized that it would be necessary to have certain objects to continue this tradition. If you have a kingdom, there must be, so to speak, a crown, scepter and the regalia to pass down from king to king, chief to chief. "

So Borchers, who died in 1989, asked for and received permission from Dvorak to use a temporary costume for the 1929 season. Then he would see about getting permanent, authentic garb for the Chief.

Unfortunately, about the time Borchers wanted to raise money for the project, the Depression gripped the nation and money disappeared. Borchers collected $35 or $40 in contributions, mostly in nickels and dimes, but that didn't come close to covering the cost of suitable attire.

Local businessman Isaac Kuhn offered $500 if Borchers would personally see to it that a proper war suit was made. Soon Borchers with letters of explanation from Kuhn, Dvorak, and University representative Albert Harding in his pocket, was hitchhiking to the Pine Ridge Reservation in Kadota, South Dakota.

He wanted the colorful regalia of the Sioux for several reasons, not the least of which was that the Indians of Illinois shaved the sides of their heads and he couldn't quite picture himself or any future Chief Illiniwek walking around campus for two or three years with only a scalplock on his head. Also, the Illinois Indians were woodland Indians and did not wear the dramatic war bonnets of the plains Indians.

"I also took other letters of introduction to the Superintendent of Indian Affairs, which at that time was Mr. W. W. Jermark, and explained to him my project," Borchers wrote. "He called in a trader that lived on the reservation and they discussed the matter. They, in turn, called in an old Indian woman and explained to her what I wanted. I wanted the war suit to be made in the old original way. She agreed to undertake the project. "

 

On November 8, 1930, the outfit that Borchers ordered first appeared at the Illinois-Army game in New York. That costume has been changed four or five times. In September of 1982, the present regalia was presented to the University. The current rawhide outfit had been sewn by the wife of Frank Fools Crow, the elderly chief of the Ogala Sioux tribe of South Dakota. At halftime of a football game, after having been flown in from South Dakota on the private plane of a local businessman, Fool's Crow made the presentation. There are conflicting reports within the University's website as to whether the outfit was donated by Fools Crow or purchased by the University. The original eagle feathers in the headdress have been returned to the Ogala tribe and replaced with turkey feathers dyed to appear as eagle feathers.

C. Music

The music set played during the Chief's performance consists of portions of three separate works. Combined, the works are referred to as the 3 in 1.

The performance begins at mid-field with the band members in a block "I" formation while marching toward the north goal line playing what is called the trio portion of Pride of the Illini, composed in 1928 by Karl L. King, a popular composer of traditional marching music. The beat of that music is a traditional marching beat.

As the formation reaches the north end zone, the Chief slips into the center of the band members and while he emerges toward midfield he performs his dance as the band now in an ILLINI formation plays the trio of the March of the Illini. Composer Harry Alford was commissioned by original band director A. A. Harding to write this march. The trio portion of the march has a continuous ostinato rhythm, which crowds identify with an Indian tom-tom beat. Interestingly, this march was composed in 1922, four years before Chief Illiniwek was created. This march reflects the Indian tradition existing on the campus prior to the Chief's arrival.

At the conclusion of the dance, the Chief stands erect with arms folded high on his chest while the band plays Hail to the Orange, the university alma mater written in 1908 by Howard R. Green. The Illini fans stand during this portion and sing with the band.

At the conclusion of Hail to the Orange, the band and the Chief leave the field to the beat of the March of the Illini. The entire performance is about four minutes.

D. The Dance

John Madigan, the present Chief Illiniwek, submitted the following description of the origin and nature of the dance. The submission contains Mr. Madigan's opinions as well. Most of his opinions are redacted in this section but his entire submission can be found at Trustees' Appendix @ No. 3.

Fancy dancing

The halftime performance of the University of Illinois' Chief Illiniwek takes its movements from the Native American style of dancing called "fancy dancing" or "fancy feather dancing," which is considered the brightest and fastest of Native American dance styles.

Fancy dancing did not originate from any old dance or style. Fancy dancing originated as a method of entertaining visitors at reservations in the early 1920's and to display aspects of Native culture that were not restricted for ceremonial use. The outfit combined the popular bustles of traditional dancers and made them larger, brighter, and more exciting and added feathers, fluffs, and colors wherever they would fit. Today, fancy dancers' regalia contains very intricate feather patterns and colors, including neon colors and other eye-catching patterns. Fancy dancing belongs to no one tribe - it started in Oklahoma and is now all over the country, with some differences in dress and style in the North.

Fancy Dancers dance much faster than all other styles, and it is sometimes freestyle, with dancers doing such wild things as the splits and back flips. Many fancy dancers feel that these movements are necessary to win the top prizes and cash awards at fancy dancing competitions. These movements may be less common due to the level of skill required to perform them.

The dance style is of two types: a basic simple step while dancing around the drum and a "contest" step with fast and intricate footwork combined with a spinning up and down movement of the body.

. . . . . many powwows or grounds where fancy dancing competitions are held are athletic fields or similar venues. Fancy dancing troupes travel in the Southwest to perform shows for tourists and visitors.

The Chief dances a fancy dance

The performance of Chief Illiniwek is very similar to fancy dancing seen at powwows today. The basic step in the dance is the double step, which has been part of the performance since its inception. The later part of the dance involves intricate footwork and fast spinning movements. The split jumps and high kicks display the dancer's skill and ability. Just as fancy dancing has changed and evolved since the 1920's, so has the performance of Chief Illiniwek. There is no fault in either one, since this form of dancing was designed as an artistic expression. Artistic expression will vary from individual to individual, and different people will perform different steps or movements completely different. Certain movements in the performance of Chief Illiniwek have stayed the same for the sake of consistency from individual to individual. Because the role of Chief Illiniwek is considered to be bigger than the individual performing, there was a need to be somewhat consistent from year to year and from Chief to Chief. The performance of Chief Illiniwek can neither be classified as "non-authentic" or "authentic," because it has changed and evolved just as fancy dancing has over the past century. Would those who argue that Chief Illiniwek's performance and dress are not authentic also argue that today's fancy dancers who use neon colored feathers and beadwork are not authentic as well?

Native American influence on the Chief's dance

The first three individuals who portrayed Chief Illiniwek (Lester Leutwiler, Webber Borchers, and William Newton) studied Native American dancing (especially fancy dancing) for years before they held the role of Chief Illiniwek. They became interested in Native American culture through their involvement with Eagle Scouts and they all spent time at Ralph Hubbard's summer camp designed to teach and appreciate fancy dancing. Leutwiler used the steps and skills that he learned through studying Native American dancing to help create the performance of Chief Illiniwek. Leutwiler stated, "This performance took place at a time when Native Americans in the West were installed on reservations and struggling for survival. Many in the area of Champaign-Urbana had only heard stories about the. . . . Indians. I simply wanted to prove there was another side to the culture that most people were unaware of . . . the inspirational side, the beautiful side, the meaningful side. "When Webber Borchers traveled to the Pine Ridge Reservation during his tenure as Chief Illiniwek, he spent many hours with several of the Sioux men on the reservation learning and perfecting his dance steps. Upon his departure, they inducted him as an honorary tribal member.

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John Madigan, Chief Illiniwek XXXIII

 

E. Evolution of Chief Illiniwek

The performance that began with Leutwiler in 1926 and shaped by Webber Borchers became a tradition at U of I athletic contests. In 1957, a moment of great distinction, the Chief along with the Illini marching band performed at the second inauguration of President Dwight D. Eisenhower. There has been an unbroken string of students portraying Chief Illiniwek. All were men with the exception of one woman, Idelle Stith-Brooks, who in 1943, was Princess Illiniwek for that one season, reflecting that there were fewer able-bodied men to portray the Chief during World War II. None of the student Chiefs have been Native Americans.

Until a serious controversy regarding the continuation of the Chief began in 1989, the Chief and Indian references played a prominent role on campus and within the local community. The University lettermen were named "Tribe of Illini. "The junior honorary society, "Sachem," inducted its members while old members wore Indian blankets and smoked peace pipes. According to the amount of their donations, contributors are designated by the Fighting Illini Scholarship Fund as members of various clubs: Tomahawk Club, Brave Club, Warrior Club, Chief Club, or the Tribal Council. In the past, the Chief made personal appearances at parades, fund raising events and local community events, sometimes on horseback.

Merchandising of Chief paraphernalia with the Chief logo (copyrighted in 1981) appeared on all sorts of sundry items, the same as the logos of other schools are marketed. Unfortunately, some of the products included such things as: toilet seats, toilet paper, boxer shorts, and silk panties. Locally, many merchants used Indian caricatures and Indian or Chief take-offs to advertise their businesses. The University disapproves of these offensive products. Local citizens have pressured merchants to eliminate sales of merchandise and the use of advertising linked to Indian caricatures or any product deemed to be inappropriate.

Since 1989 appearances of the Chief have been curtailed gradually. Currently, he performs only at halftime of football games, men's basketball games and women's volleyball games. Additionally, the Department of Agronomy of the University has discontinued as its logo the use of "Squanto," an Indian cartoon caricature. The Chief Illiniwek logo no longer appears on University stationery.

F. Funding for the Chief

For many years, all costs associated with maintaining the Chief were carried on the budget for the University band. At the present time, the costs are included in the budget of the athletic department.

There are no scholarships or tuition waivers awarded to the student Chiefs. The costs of maintaining the regalia and providing time for student Chiefs to visit Indian reservations are minimal.

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