This kiwkiwíl’ec (drum) was owned by Nimíipuu (Nez Perce) warrior and chief piyopyóot’alikt (Peo Peo Tholekt). Throughout Nimíipuu (Nez Perce) history, kiwkiwíl’ec (drums) have played an important role during the páaxam (war dance) (frequently known as a “powwow”). The páaxam (war dance) is where Nimíipuu (Nez Perce) would gather to sing songs recognizing the achievements of Nimíipuu (Nez Perce) warriors during battle and to encourage/prepare young Nimíipuu (Nez Perce) men to be warriors. kiwkiwíl’ec (Drums) in the style owned by piyopyóot’alikt (Chief Peo Peo Tholekt) were played as part of the páaxam (war dance) ceremony in the past and continue in the present-day version of the páaxam (war dance). Though it is unknown who originally constructed this specific kiwkiwíl’ec (drum), it was likely made in either the late 1800s or specifically, after the 1877 Nez Perce War battle c'aynim 'alikinwaaspa (The Battle of Bear Paw). Some evidence suggests that Nimíipuu (Nez Perce) warriors were introduced to these types of kiwkiwíl’ec (drums) after their interactions with the Sioux during c'aynim 'alikinwaaspa (The Battle of Bear Paw). In terms of size, this kiwkiwíl’ec (drum) measures 79 cm in diameter. This kiwkiwíl’ec (drum) was constructed from the entire trunk of a qápqap (cottonwood tree) and was covered by the hide of large animal (most likely a horse) on the top and bottom edge of the kiwkiwíl’ec (drum). Traditionally, horse hide was a popular choice of hide to cover kiwkiwíl’ec (drums) because it was less susceptible to hot or humid weather, which could tighten or loosen the fit of the hide, thereby affecting the kiwkiwíl’ec (drum's) ideal sound. The animal hide is attached to the kiwkiwíl’ec (drum) using brass tacks. Notably, there are some remnants of the animal's hair left on the edges of the hide. Traditionally, this was done as a way of honoring the spirit of the animal who was sacrificed for their hide. As a result, kiwkiwíl’ec (drums) are often viewed as "living beings," not just inanimate objects, as they were constructed from materials from previously living beings (animals). Finally, there are buckskin straps threaded through holes in the side of the qápqap (cottonwood trunk), possibly to help carry the kiwkiwíl’ec (drum). After this kiwkiwíl’ec (drum) was originally made, piyopyóot’alikt (Chief Peo Peo Tholekt) became the owner of the kiwkiwíl’ec (drum) and painted additional, significant illustrations on the top of the kiwkiwíl’ec (drum). These include a rainbow feature surrounding the top of the kiwkiwíl’ec (drum), a tree, and a bear. In Nimíipuu (Nez Perce) culture, trees are often representative of the Nimíipuu (Nez Perce) peoples' communication with the haniyaw’áat (creator). Evidence suggests that piyopyóot’alikt (Chief Peo Peo Tholekt) may have painted the bear as a spiritual reference or as a direct reference to when he previously fought a young x??áx?aac (grizzly bear). Additionally, it is believed L.V. McWhorter acquired this kiwkiwíl’ec (drum) from piyopyóot’alikt (Chief Peo Peo Tholekt) around 1933. Image 1: This photo displays the kiwkiwíl’ec (drum) in its entirety. Though the illustrations have faded over time, one can see the rainbow, tree, and bear illustrations on the top of the kiwkiwíl’ec (drum). Hide is attached to the top and bottom of the kiwkiwíl’ec (drum) with brass tacks, with a gap in between revealing the qápqap (cottonwood tree) trunk. Image 2: This photo showcases the side of the the kiwkiwíl’ec (drum), including the qápqap (cottonwood tree) trunk. In the photo, one can see buckskin straps that are threaded through holes in the tree trunk on the left and right. There are some tears in the hide covering the top and bottom edge of the kiwkiwíl’ec (drum), but the hide is mostly intact. Image 3: This photo provides closeup detail of the hide attached to the bottom of the kiwkiwíl’ec (drum). One can see some of the animal's hair, most likely horse hair, attached to the hide. Traditionally, this was done as a way of honoring the spirit of the animal who was sacrificed for their hide. One can also see one of the buckskin straps threaded through the holes (possibly for carrying the kiwkiwíl’ec (drum)) and two brass tacks used to attach the hide to the qápqap (cottonwood tree) trunk. Image 4: This photo displays detail of brass tacks used to attach the hide to the kiwkiwíl’ec (drum's) tree trunk base. There is also a variety of coloration in the wood. Image 5: In this photo, one can see closeup detail of the bear illustration painted by piyopyóot’alikt (Chief Peo Peo Tholekt) on the hide covering the top of the kiwkiwíl’ec (drum). Evidence suggests that piyopyóot’alikt (Chief Peo Peo Tholekt) may have painted the bear as a spiritual reference or as a direct reference to when he previously fought a young grizzly bear. Image 6: This photo provides a view of the top of the kiwkiwíl’ec (drum) from above. One can see piyopyóot’alikt' (Chief Peo Peo Tholekt's) illustrations, including the rainbow, tree, and bear, on the hide covering the kiwkiwíl’ec (drum). There is a small hole on the top right hand side of the animal hide. Image 7: In this photo, one can see the bottom of the kiwkiwíl’ec (drum). Notably, this photo shows that the bottom of the kiwkiwíl’ec (drum) is not covered with animal hide, but that the animal hide only surrounds the lower edge of the drum. There is variation in the wood color as the wood on the bottom of the kiwkiwíl’ec (drum) is orange in color.
