Native American dancers in the 1890s rebelling against the U.S. government’s failure to uphold treaties protecting land rights and rations were accused of fomenting a dancing ‘craze’. Their dancing—which hoped for a renewal of Native life—was subject to intense government scrutiny and panic. The government anthropologist James Mooney, in participant observation and fieldwork, described it as a religious ecstasy like St. Vitus’s dance. The Ghost Dance movement escalated with the proliferation of reports, telegraphs, and letters circulating via Washington, DC. Although romantically described as ‘geognosic’—nearly mineral—ancestors of the whites, Native rebels in the Plains were told to stop dancing so they could work and thus modernize; their dancing was deemed excessive, wasteful, and unproductive. The government’s belligerently declared state of exception—effectively cultural war—was countered by one that they performed ecstatically. ‘Wasted’ energy, dancers maintained, trumped dollarization—the hollow ‘use value’ of capitalist biopower.
