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+*** START OF THE PROJECT GUTENBERG EBOOK 13031 ***
+
+Indian Games and Dances
+with Native Songs
+
+Arranged from American Indian
+Ceremonials and Sports
+
+BY
+ALICE C. FLETCHER
+
+Holder of the Thaw Fellowship, Peabody Museum, Harvard University
+
+_Author of The Hako, The Omaha Tribe, Indian Stories and Song, etc._
+
+1915
+
+
+
+
+
+Dedicated to
+
+THE YOUTH OF AMERICA
+
+
+
+
+PREFACE
+
+
+This little book took its rise in the following experience that came to me
+many years ago when living with the Indians in their homes and pursuing my
+ethnological studies:
+
+One day I suddenly realized with a rude shock that, unlike my Indian
+friends, I was an alien, a stranger in my native land; its fauna and flora
+had no fond, familiar place amid my mental imagery, nor did any thoughts of
+human aspiration or love give to its hills and valleys the charm of
+personal companionship. I was alone, even in my loneliness.
+
+Time went on. The outward aspect of nature remained the same, but
+imperceptibly a change had been wrought in me until I no longer felt alone
+in a strange, silent country. I had learned to hear the echoes of a time
+when every living thing upon this land and even the varied overshadowing
+skies had its voice, a voice that was attentively heard and devoutly heeded
+by the ancient people of America. Henceforth, to me the plants, the trees,
+the clouds and all things had become vocal with human hopes, fears and
+supplications.
+
+When I realized how much closer because of this change I had been drawn to
+our land, how much greater had become my enjoyment of nature, the desire
+arose to find some way by which I could help to make audible to others the
+voice I had heard, and thereby restore to our hills and valleys their lost
+human element. Impelled by this purpose I have arranged these dances and
+games with native songs in order that our young people may recognize, enjoy
+and share in the spirit of the olden life upon this continent.
+
+My obligations are due to Mr. Francis La Flesche of the U. S. Bureau of
+American Ethnology and to Mr. Edwin S. Tracy, Musical Director of the
+Morris High School of New York City, for assistance in the preparation of
+this book.
+
+ALICE C. FLETCHER
+
+
+
+
+CONTENTS
+
+
+Preface
+Introduction
+Song and Dance Among the Indians
+
+
+PART I
+DANCES AND SONGS
+
+The Life of the Corn (a Drama in Five Dances)
+    Introduction
+    Dance I. The Corn Speaks
+    Dance II. Planting the Corn
+    Dance III. The Corn Springs Up
+    Dance IV. The Fields are Ready
+    Dance V. Honor to Mother Corn
+Calling the Flowers
+Appeal for Clear Sky
+The Hé-de Wa-chi (An Omaha Festival of Joy)
+
+
+PART II
+GAMES
+
+Introduction
+
+HAZARD GAMES
+Introductory Note
+Pa-tol Stick
+Plum Stone
+
+GUESSING GAMES
+Introductory Note
+Pu-in
+Atá-a-kut
+Hand Game
+Hiding the Disks
+I-ou'-tin
+
+BALL GAMES
+Introduction
+Ball and Racket
+Ta-bé
+Double-ball
+Hoop and Javelin
+Follow My Leader
+
+
+PART III
+INDIAN NAMES
+
+Introduction
+Presenting the Child to the Cosmos
+Giving the Child a Name
+Bestowing a New Name
+Taking and Indian Name in Camp
+Indian Names for Boys
+Indian Names for Girls
+Indian Names for Camps
+
+
+
+
+PART I
+
+DANCES
+
+
+
+
+INDIAN GAMES AND DANCES WITH NATIVE SONGS
+
+
+INTRODUCTION
+
+
+The adaptations from Indian ceremonies and sports here offered will enable
+those who take part in them to follow in happy mood some of the paths of
+expression that were opened long ago by thoughtful men and women as they
+lived, worked and played on this land in undisturbed intimacy with nature.
+Some of the thoughts bred of this intimacy find their expression in these
+dances and games, and it may help toward a better understanding of them and
+their spirit to tell briefly how the Indian looked upon and regarded his
+relation to nature.
+
+The natives of America thought of the cosmos as a unit that was throbbing
+with the same life-force of which they were conscious within themselves; a
+force that gave to the rocks and hills their stable, unchanging character;
+to every living thing on land or water the power of growth and of movement;
+to man the ability to think, to will and to bring to pass. This universal
+and permeating life-force was always thought of as sacred, powerful, like a
+god. To it a name was given that varied in the different languages; in the
+Omaha tongue it was called Wakon'da. Through Wakon'da all things in nature
+were related and more or less interdependent, the sky, the earth, the
+animals and men. Nature was, in a sense, the manifestation of Wakon'da,
+consequently it was regarded as something more than the means by which
+physical life was sustained and became the religious and ethical instructor
+of man.
+
+All food came from the earth; the wild fruits, the roots, the cultivated
+maize, these and the animals all derived their living power from Wakon'da
+and yielded their life to man that he might live and be strong. Therefore,
+the hunt was conducted with ceremonies in which the bounty of Wakon'da was
+formally recognized, and when food was eaten thanks were offered to this
+unseen power. The Indian lived in the open and watched with reverent
+attention the changing aspects of his environment. To him nothing was
+without significance, for all things were imbued with powers from Wakon'da
+and could convey lessons or admonitions to be heeded by the individual and
+by the people in their social life.
+
+For example: the Indian noted the unfailing recurrence of day and night and
+that upon the regularity with which one followed the other all creatures
+relied, while man depended upon this constancy to carry out any given
+purpose. From thoughts upon this natural phenomenon and its effects on the
+actions of men, ideas arose that led the Indian to the conception of truth,
+that something, as between man and man, that can be depended on both in
+word and in deed. "Thus," the old men said, "Wakon'da taught us the
+necessity of truthfulness, if we would live peacefully together." Other
+natural aspects, as the storm, with its terrifying thunder and destructive
+lightning, and the passing of the clouds revealing the blue sky, when the
+birds renewed their song, seemed to picture to the Indian the devastation
+of war and the happiness of peace. Again, the tree, compacted of many
+parts, suggested how the tribe could be made to stand and become strong.
+
+So it came to pass that as the ancient people looked about and thought on
+what they saw, they gradually formulated ceremonies and adopted symbols in
+order to express what they came to believe. All their rites, their
+vocations, their pleasures were born, practiced and enjoyed under the
+arching skies, and were permeated, as by a vital spirit, with an
+unquestioning consciousness of oneness with nature.
+
+We shall not be false to any great truths that have been revealed to us
+concerning the world in which we live, if we listen to the olden voice, an
+unseen heritage of our bounteous land, as it sings of man's unity with
+nature. May they who join in these dances and games catch their vital
+spirit and learn to feel at home with the winds, the clouds, the fields and
+the woods.
+
+
+
+SONG AND DANCE AMONG THE INDIANS
+
+
+THE SONG
+
+While studying Indian life and thought through the sharing, as far as
+possible, of native conditions, I discovered Indian music. In the
+loneliness that naturally belonged to my circumstances this discovery was
+like finding a flower hidden in a tangle hard to penetrate. I had heard
+Indians "singing," but the noise of the drum, the singers' stress of voice,
+so overlaid the little song that its very existence was not even suspected.
+Circumstances at length arose, incident to my convalescence after a long
+illness, when, to give me pleasure, my Indian friends came and sang softly
+to me, without the drum. Great was my surprise to hear music; to be told
+that I was listening to the same songs that the earnest men and women had
+previously sung but which for me had been buried under a tumultuous din.
+Thenceforth my ears were opened and never again, no matter how confusing
+the conditions, did I fail to catch the hidden melody. As my appreciation
+of the value of Indian music grew, I determined to gather and to preserve
+these wild flowers of song. I wanted them not merely as a contribution to
+the study of music but that they might help to vibrate the chords that
+belong to a common humanity.
+
+Of the songs I heard in solitude, some were published over thirty years
+ago. Since then many of my gleaning have been used by different composers
+and the musical message sent far and wide.
+
+With the Indian, words hold a secondary or an unimportant place in a song.
+The music and accompanying action, ceremonial or otherwise, convey the
+meaning or purpose. When words are used they are few, fragmentary and
+generally eked out with vocables. Frequently only vocables are attached to
+a melody. To the Indian, song holds a place similar to that filled for us
+by wordless instrumental music. In ceremonies, rituals occur that are
+always rhythmically intoned; each line generally terminates in a refrain.
+Songs have a place in these rituals, breaking in on the recital
+particularly when an emotion is evoked, for music is the medium of
+emotional expression. An old Indian priest explained this peculiarity by
+saying: "Harmonious sounds unite the people."
+
+Unaccustomed as we are to the use of songs that have no words, we would not
+only find it difficult to understand their meaning but we would lose much
+pleasure when singing them. To obviate the perplexities arising from the
+Indian's peculiar treatment of words and to make clear the meaning of a
+song, words have been supplied. These words are in no instance a literal
+translation, for the few broken words that belong to some of the melodies
+used in these Dances and Games, because of their fragmentary character,
+would have no value as an interpretation either of the music or of the
+action. In a number of instances the original vocables are retained, where
+the music is merely a rhythmical accompaniment to a simple, easily
+understood movement. Where words are given to a song, they follow closely
+both the accents and the rhythm of the music. The written stanzas are not
+meant to be read but to be sung. They express the thought or the feeling
+that gave rise to the music, they aim to make its meaning understood so
+that the song can be intelligently sung. In arranging these words, care has
+been taken never to forget or to change the natural and the psychical
+environment that belongs to the melody.
+
+Indian songs are very short. They have no preliminary measures, but at once
+voice the actuating emotion; that done, they come to a close. Although they
+are so short, they have form and in their structure follow in simple lines
+the rules of phrasing and motivization taught in our schools. These songs,
+speaking in general terms, partake more of the character of motifs than of
+musical compositions. They do not stand alone or apart from the ceremonials
+or pleasures of which they form an essential feature.
+
+
+THE DANCE
+
+The different Indian tribes vary in their modes of dancing; moreover, the
+same theme is not interpreted by all the tribes in the same manner. In some
+sections of our country the dancers wear costumes and masks that are
+symbolic, both in color and form; in other regions, feathers are the
+principal and emblematic decoration; elsewhere, the men may dance very
+nearly nude. However diverse the dancing regalia may be or how marked its
+absence, the Indian dance always presents two characteristics, namely:
+Dramatic Action and Rhythmic Precision.
+
+Every Indian dance has a meaning. The dance is generally either the acting
+out of some mythic story or a presentation of a personal experience. Every
+movement of the body, arms, hands, feet and head is always in strict time
+with the songs that invariably accompany the dance. Indian dances are
+complex rather than simple. Their "spontaneous activity" is not the result
+of "a dominating emotion" but of a desire to present dramatically certain
+mental pictures. This is particularly true of dances which form a part of
+religious ceremonials. As a consequence, none of these dances are
+improvised. All follow forms that have been handed down through generations
+and have become more or less conventionalized.
+
+When the dance portrays a personal experience the dancer is allowed a
+freedom of invention not elsewhere permitted. Even in this case the dancer
+is obliged to follow certain conventional forms, as in the sign language;
+otherwise his story would not be understood.
+
+On the eastern continent the peoples from whom we are descended had songs
+and dances peculiar to their different vocations, so on this western
+continent the song and dance were the accompaniment of the Native
+industries.
+
+A study of the Indian dramatic dances shows that by means of them the
+vocations of men and women were lifted out of drudgery, made types of
+activity and allied to the forces recognized in the religious beliefs of
+the people. The dances here given, those relative to the Corn and also the
+Héde-wache, not only illustrate what has been said above but they reflect
+back a light upon the religious dances that obtained among the eastern
+nations of antiquity.
+
+When the Indian dances, he dances with freedom; his whole body becomes
+expressive of the actuating emotion of the scene he intends to portray.
+Because of his freedom, his remarkable sense of rhythm and the strong
+mental picture he aims to present, whether it be the flight of the eagle,
+the sportive pleasure of birds, the movements of animals, the alertness of
+the warrior in attack, or in eluding a blow, his motions are always sharply
+vivid and natural.
+
+It is a pleasure to be able to offer in the following pages a number of
+Indian songs with their original accompaniment of action, as the two
+complement each other for the expression of certain native thoughts and
+aspirations.
+
+Whoever takes part in the dances here presented should never attempt to
+imitate what is supposed to be the Indian's manner of singing or his
+dancing steps and postures; in either case the result would probably be an
+unmeaning burlesque. Each dancer should have a clear mental picture of the
+scene to be enacted and then give free play to bodily movements for its
+expression, always keeping in rhythm with the song, so as to make sound and
+motion a rhythmic unit.
+
+
+
+THE LIFE OF THE CORN
+
+A DRAMA IN FIVE DANCES
+
+
+INTRODUCTION.--These Dances in their purport and music are taken from the
+sacred rituals of the Omaha, the Osage and the Pawnee tribes. The richness
+and beauty of symbolism in the original language suffer a loss of native
+naïveté in their English interpretation.
+
+The American food plant known by the general term "Corn" was developed ages
+ago from certain native grasses. The _Euchlaena luxurians_ found in
+Guatemala is probably an ancestor of the maize. The word "maize" belongs to
+the language of a people living by the Caribbean Sea and never was a
+universal term for corn among the Indians of our country. The tribes to
+which maize was known gave it a name derived from their own languages. So
+very many centuries have passed since corn was a grass that there is no way
+now of finding out when in the remote past the natives of this continent
+began the task of developing from a grass a staple article of food like the
+corn. The process required years of careful observation, manipulation and
+culture. Not only did the Indians accomplish this task but they took the
+plant from its tropical surroundings and acclimated it throughout the
+region east of the Rocky Mountains up to the country of short summers in
+the North; Cartier, in 1534, found it growing where the city of Montreal
+now stands.
+
+From this hasty glance at the long history of the maize we can discern the
+natural sequence of its close relation to the thought and to the life of
+the Indian, and to a degree understand the love and the reverence with
+which the corn was held and regarded as a gift from God. Every stage of its
+growth was ceremonially observed and mentioned in rituals and songs.
+
+Among the Omaha tribe when the time came for planting, four kernels from a
+red ear of corn were given to each family by the keeper of this sacred
+rite. These four red kernels were mixed with the ordinary seed corn, that
+it might be vivified by them and made to yield an ample harvest. Red is the
+symbolic color of life. In this ceremony is preserved a trace of the
+far-away time when all the precious seed corn was in the care of priestly
+keepers. The ceremony of giving out the four red kernels served to turn the
+thoughts of the people from a dependence solely on their own labor in
+cultivating corn to the life-giving power of Wakon'da dwelling within the
+maize.
+
+In the Omaha Ritual Song of twenty-six stanzas which preceded the
+distribution of the four red kernels, the Corn speaks. It tells of its
+roots reaching in the four directions (where dwell the messengers that
+bring life), of the growth of its jointed stalk, of the unfolding of its
+leaves, of the changing color of the silk and of the tassel, of the
+ripening of the fruit, of the bidding of the people to come, to pluck and
+to eat.
+
+The music of this Ritual Song is simple. It is here given with a very brief
+paraphrase of the words of the Ritual Song.
+
+
+
+DANCE I
+
+INTRODUCTORY NOTE.--This ceremonial dance touches upon the mystery of the
+giving of life that life may be maintained; an exchange that links together
+the different forms of life and enhances the joy of living.
+
+_Properties_.--Thin green mantles; yellow plumes like the corn tassel; bone
+clips; as many of these articles as there are dancers.
+
+_Directions_.--This dance belongs to both sexes and a number of each should
+take part, if that is possible. Should there be trees near the open space
+where the dance takes place, one-half of the dancers, closely wrapped in
+their green mantles, should be grouped at one side among the trees and the
+other half similarly placed at the other side. In the center of the space a
+single dancer stands facing the rear, wrapped about the head and body with
+the green mantle, leaving only the face exposed.
+
+All being in readiness, the central figure turns slowly, lifts a draped arm
+and says slowly and impressively:
+
+"Harken! The Corn speaks!"
+
+The group of dancers on the right then sing softly the _first_ line only of
+the Ritual Song in which the Corn speaks. The group of dancers on the left
+repeat the _same_ line like an echo of the first group. Both groups of
+dancers now begin to move slowly and in rhythm with the following song
+toward the figure standing in the center of the space, singing, as they
+move, the Ritual Song _from the beginning_:
+
+Ritual Song No. 1
+
+  Fourfold deep lie my roots within the land;
+  Clad in green, bearing fruit, Lo! here I stand!
+  Pluck and eat, life for life, behold, I give!
+  Shout with joy, dance and sing with all that live.
+
+[Music]
+
+At the words "Lo! here I stand!" the company of dancers should all be
+standing in a semi-circle. As the words in the third line, "Behold, I
+give!" are sung, the draped arms should be slightly extended forward as in
+a presentation. The fourth line requires some dramatic action, but it
+should be restrained rather than free. The arms, still draped with the
+green mantles, should be raised a little as the words "Shout with joy" are
+sung, and during the singing of the remainder of the line swayed from side
+to side in rhythm with the song, always with a reserve in the movements,
+because of the mystery mentioned in the words of the song, that life is
+maintained by the giving of life. A pause of about two beats should follow
+this Ritual Song.
+
+As "Ho-o! Ho-o!" the opening of the next song, is given, every dancer
+should suddenly turn half-way round, give a movement of the head such as
+would cause the mantle to fall back and leave the head with the corn tassel
+exposed; the ends of the mantle should be gathered in the hands so that the
+mantle can wave with the dance as the following song is sung:
+
+Song No. 2
+
+      Ho-o! Ho-o!
+    Dance we singing,
+    Promise bringing
+  Of the wealth of summer fair;
+    Hearts beat lightly,
+    Skies shine brightly,
+  Youth and Hope are ev'rywhere.
+
+_Refrain_:   Ho-o! Ho-o! Ho! Ho! Ho!
+
+[Music]
+
+As each "Ho-o!" of the refrain is sung, the dancers should whirl like merry
+sprites, twine and untwine their green mantles about their forms until the
+song begins again. Then they should all skip off with springing, rhythmic
+steps in open Indian file, letting their mantles float and wave about them
+as they wind in and out over the camp ground carrying "Youth and Hope
+ev'rywhere." Every time the refrain is reached, the dancers should stop and
+whirl, then as the song begins again move off in line, dancing as before.
+When they are ready to stop (that can only be done during the singing and
+whirling of the refrain), each dancer should whirl from the line and keep
+up that movement, singing "Ho!" until his or her tent is reached.
+
+
+DANCE II
+
+INTRODUCTORY NOTE.--The rituals and ceremonies from which this dramatic
+dance with its accompanying songs are taken have been handed down through
+numberless generations. They deal with the perpetuation of the vocations of
+the people and also with the duties of the warrior, who must so protect the
+people that these vocations can be pursued in peace and safety. The portion
+of the ritual that relates to the planting of the maize is here given. It
+is practical in character. The ground is to be cleared of the débris of
+winter's storms and the dead leaves and twigs gathered into heaps and
+consumed by fire. When the brown earth is uncovered on the sunny slope it
+is to be mellowed and made into little hills with flattened tops to receive
+the kernels of the corn. The first seven of these hills must be
+ceremonially planted. Into the first hill one kernel of corn is dropped,
+two kernels are put into the second hill, three in the third, and so on to
+the seventh, in which are placed seven kernels. The product of these seven
+little hills must be kept separate, for it is to constitute the "first
+fruit offering" made to Wakon'da, through the priest, in recognition of the
+gift of corn as food. After the seven hills are completed, then the rest of
+the field is similarly prepared and planted. When the kernels are put in
+the loosened ground they are covered and stamped with the foot, so that
+each little hill beards the mark, the footprint, of the planter. The Ritual
+Song depicts the task of planting to its completion and compares the rows
+of little brown hills to lines of buffalo following one another down the
+slope. With this vision, suggesting the promise of abundant food, the
+workers joyfully turn toward the home fireside.
+
+The words given for the first song are a brief paraphrase of the many
+stanzas of the original Ritual Song, which so touches the necessary acts of
+the planter as to lift them above a merely prosaic level.
+
+_Properties_.--As this dance represents work, no scarfs or mantles are
+used. The garments should be plain and the arms free for the necessary
+dramatic motions in portraying the various acts connected with clearing,
+preparing and planting the ground. In ancient times the hoe used for this
+work was made from the shoulder blade of the elk, or a stick three or four
+feet long shaped at one end like a wedge. Similarly shaped sticks of wood
+should be used in this dance, one for each dancer. Pouches are required
+made of brown cloth, with broad bands or straps long enough to pass over
+the shoulder and chest and to let the pouches hang at the back. Both
+pouches and straps should be ornamented with geometric designs painted in
+red, yellow, blue or green; two or three of these colors should be combined
+in each design. The corn carried within the pouches can be represented by
+rounded chips, little stones or, when possible, by the corn kernels
+themselves.
+
+The boys must wear head-bands, carry bows and have quivers hung at their
+backs. They must scatter around the border of the "field," move watchfully
+about, peer into the distance and act as if on the alert to detect or to
+meet any prowling enemy.
+
+_Directions_.--A space should be set apart to represent the "field" where
+the dramatic action takes place. This dance requires considerable dramatic
+pantomime. The words in the two lines of each stanza of the song serve as a
+prelude to the action which follows. Sometimes the action may be confined
+to the refrain, but generally there must be acting throughout the singing
+both of the words and the refrain. Much in this dance must be left to the
+imagination and skill of the group of dancers, who should rehearse together
+and decide how best to make a clear, strong picture. The native music here
+given belongs to the act of preparing the ground and planting the kernels
+of corn. Attention is called to the second, fourth, sixth and eighth
+measures of the song. The three-quarter notes and the eighth and rest
+should be accented by movements of the hoe, the foot or both. The rhythm of
+the first measure is a little different from that of the third, fifth and
+seventh, caused by the third note being a quarter note, denoting a definite
+act or pause; the remaining four notes of the first measure are flowing, as
+well as all the notes of the third, fifth and seventh measures. By
+observing these little points in the music the drama will be given variety
+and made more picturesque and effective.
+
+At the beginning of the song the dancers should be at a little distance
+from the space set apart to represent the "field," so that they will be
+able at the proper time to go toward it. As the first line of the first
+stanza is sung the dancers should stand in a loose group, adjust their hoes
+and pouches to be ready to go to the "field"; during the singing of the
+second line they should break into a file and move off. All these movements
+of body, hands and feet must be in strict time and rhythm with the music.
+
+
+Song No. 1
+
+1
+
+  Here we stand ready now to go on our way
+  To the field, buried under leaves dead and gray.
+
+_Refrain_:  Ah hey they,
+            Ah hey hey they,
+            Ah hey they ha!
+              Ah hey they,
+            Ah hey hey they,
+            Ah hey they ha!
+
+[Music]
+
+By the end of the first line of the refrain the dancers will have reached
+the "field" and have begun to dispose themselves over the space. Seven must
+stand in the first row, where they are to make the seven ceremonial hills.
+These seven dancers should lead the motions of all the others, so that the
+movements may present even lines, as in the bowing of violins in an
+orchestra. The refrain should be repeated as many times as is necessary
+while the dancers are taking position, clearing the field, etc. The number
+of repeats must be determined upon at the rehearsals of the dancers.
+Sufficient time should be taken to bring out the picture and to give it in
+perfect rhythm with the music. When the refrain closes, the dead leaves and
+twigs are supposed to be gathered into heaps ready to be burned.
+
+2
+
+See the fire send its "word of flame" mounting high,
+Now the smoke rolls about the earth, shuts out sky.
+
+_Refrain_:  Ah hey they,
+            Ah hey hey they,
+            Ah hey they ha!
+              Ah hey they,
+            Ah hey hey they,
+            Ah hey they ha!
+
+The action for this stanza should indicate the heat of the fire; shielding
+the face, pushing back stray leaves or twigs to the burning heap; the
+rolling smoke follows the dancers, who here and there try to escape it.
+This scene will require study to bring out the picture rhythmically. It
+should form a contrast to the preceding and the following scene, in both of
+which the movements are more or less uniform. In this scene groups should
+emphasize certain conditions: the fire, the smoke, the work of keeping the
+heaps together, so that the picture will be one of action diverse to a
+degree and yet every movement dominated by the rhythm of the song; the
+picture will thus be made a unit.
+
+3
+
+  Mellow earth, make the little, hills smooth on top,
+  On the earth softly the kernels we drop.
+
+_Refrain_:  Ah hey they,
+            Ah hey hey they,
+            Ah hey they ha!
+              Ah hey they,
+            Ah hey hey they,
+            Ah hey they ha!
+
+In the action of this stanza the seven dancers in the front row make seven
+ceremonial hills, mellowing the earth with the wooden hoes and gathering it
+into little hills made smooth on top. The pouches are swung to the front,
+the corn taken out with one hand while the other holds the hoe at rest, and
+the kernels are dropped on the softened earth. The dancers should be
+careful to remember that in the ceremonial row of seven hills but one
+kernel is to be dropped in the first hill, two in the second, and so on up
+to seven in the seventh hill. All the dancers scattered over the "field"
+must follow the movements of the seven in charge of the seven ceremonial
+hills.
+
+4
+
+  Cover all gently, leave the print of our feet
+  On the earth mellowed fine, so brown, so sweet.
+
+_Refrain_:  Ah hey they,
+            Ah hey hey they,
+            Ah hey they ha!
+              Ah hey they,
+            Ah hey hey they,
+            Ah hey they ha!
+
+In the action for this stanza the hoe and the feet of the dancers have a
+special part. The movements of the dancers should represent the covering of
+the dropped seed with the mellowed earth and the making of the footprint on
+the top of the little hill within which the seed is now hidden. In the
+native Ritual Song the term "footprint" is used symbolically; it represents
+a person--in this instance the one who had done the work--also the work
+itself that has been accomplished. The dancers should be careful to
+remember the rhythm of the second, fourth, sixth and eighth measures, as
+these can be used to emphasize "footprints" and also the completion of the
+task. During a repeat of the refrain the dancers should drop their hoes and
+gather in groups as if to look at the field; this action will bring them
+into the position required for the fifth stanza.
+
+5
+
+  How like lines of buffalo upon the slope,
+  Lie our little brown hills, so full now of hope.
+
+_Refrain_:  Ah hey they,
+            Ah hey hey they,
+            Ah hey they ha!
+              Ah hey they,
+            Ah hey hey they,
+            Ah hey they ha!
+
+The motions of the hands and the movements of the body should indicate that
+in looking over the field one is struck by the striped appearance made by
+the rows of little hills, recalling the resemblance to the buffalo
+descending the slope. The final "ha!" of the refrain should indicate
+pleasure. A brief silence should follow, during which the dancers pick up
+their hoes, adjust their pouches, fall into line and sing the following
+song:
+
+
+Song No. 2
+
+  Light our hearts and gay
+  As we homeward take our way,
+  While the winds about us play,
+      Singing as we go.
+    Hy-ya hy-ya hy-ya ho!
+    Hy-ya hy-ya hy-ya ho!
+        Hy-ya ho!
+          Ho!
+        Hy-ya ho!
+
+[Music]
+
+This song should be repeated many times as all the dancers, with rhythmic,
+springing steps, wind about the camp ground before they finally disperse.
+
+
+DANCE III
+
+INTRODUCTORY NOTE.--This dance is from the Corn Ritual Song and is a
+dramatization of a visit to the planted field after the lapse of a few
+weeks. Life has been stirring in the kernels of corn that had been hidden
+within the little hills, and the kernels now call to those who had planted
+them to come and see what was taking place.
+
+_Properties_.--The same as those used in the preceding dance. Both the boys
+and the girls should wear the same costume as in Dance II.
+
+_Directions_.--The scene should be the same as in Dance II. The "field" to
+be visited should be in the same place as the space set apart for the
+"field" where the little hills were made and planted.
+
+A part of the boys should act as guards of the "field" as before. A few
+should scatter among the girls and join in looking at the sprouting corn as
+it breaks through the soil, and these should join in singing the song.
+
+At the opening of the dance the dancers should be discovered standing in
+groups as though they had accidentally met as neighbors of the same
+village. They should stand at the same place whence they had started to go
+to the "field" in the preceding dance. The groups should be talking in dumb
+show. Suddenly each group should act as if its attention had been arrested
+by a sound, and while in this attitude of arrested attention all should
+begin to sing the following song:
+
+Song
+
+1
+
+      A call I hear!
+    Hark! soft the tones and weak.
+      Again the call!
+    Come! our feet that call must seek.
+
+_Refrain_:  Hey hey they,
+            Ah hey hey they,
+            Ah hey hey they,
+              Again the call!
+            Ah hey hey they,
+            Ah hey hey they,
+            Ah hey hey they,
+              Ah hey they.
+
+[Music]
+
+This dramatic dance will require to be rehearsed and the details planned by
+the dancers, so that a clear picture may be brought out and also the native
+poetic thought embodied in the Ritual Song from which it is taken. A few
+hints can be given, but much of the action must depend upon the imagination
+and dramatic feeling of the dancers.
+
+As the first line, "A call I hear!" is sung some one should raise the hand
+toward the ear, another raise it as a warning to keep quiet. The line
+"Hark! soft the tones and weak" is an address to one another in the groups.
+Then comes another sudden arrest, "Again the call!" These three lines
+should be sung without any change of position either by the groups or by
+the individuals. Action should be confined to the hands and the head. When
+singing the fourth line all should begin to stir, to adjust their pouches,
+tighten their hold on the wooden hoes and, as if moved by a common impulse,
+should prepare to go and seek the source of the call. In their going the
+groups should not fall into one line but each group move by itself. During
+the refrain the dancers should act as if in doubt which way to go. At the
+line "Again the call!" all should stop as if arrested, and then move off
+again when the refrain is taken up. All the groups should keep the rhythm
+of the music. There should be a good deal of by-play and the action should
+indicate bewilderment, both as to the meaning of the call and the locality
+whence it comes. It should appear as though some of the groups are baffled
+in their attempt to locate the call.
+
+
+2
+
+      A call I hear!
+    Hark! it is near at hand,
+      The call! The call!
+    Floats to us where we now stand.
+
+_Refrain_:  Hey hey they,
+            Ah hey hey they,
+            Ah hey hey they,
+              Again the call!
+            Ah hey hey they,
+            Ah hey hey they,
+            Ah hey hey they,
+              Ah hey they.
+
+The action of this stanza shows the dancers being led by the call to the
+"field," where the call seems to become clearer and at last is there
+located. The dancers should scatter in groups, while different individuals
+should look about searchingly but without breaking the groups. These should
+move here and there seeking for the "footprints" that had been left on the
+smooth tops of the little hills, and so lead to the action required for the
+next stanza. Whenever in the song the line "The call! The call!" occurs,
+there should be an apparent arrest of movement among the dancers as if to
+listen.
+
+
+3
+
+        Again the call!
+      Forth to the light of day
+        They come! They come!
+      Come pushing upward their way.
+
+_Refrain_:  Hey hey they,
+            Ah hey hey they,
+            Ah hey hey they,
+              They call! They come!
+            Ah hey hey they,
+            Ah hey hey they,
+            Ah hey hey they,
+              Ah hey they.
+
+"Day" is the symbol of life; the kernels are coming "into the light of day"
+in the original Ritual Song, meaning they are entering into life. They call
+as they come, struggling and pushing their way through the breaking earth.
+This life movement should be indicated by the motions of the dancers as
+they pass in groups with rhythmic steps from one little hill to another.
+Directions as to how these motions should be made would hardly be helpful;
+the dancers can best plan this pantomime.
+
+
+4
+
+        Again the call!
+      Two feeble leaves are seen,
+        They call! They call!
+      Soon shall we stand clad with green!
+
+_Refrain_:  Hey hey they,
+            Ah hey hey they,
+            Ah hey hey they,
+              They call! They call!
+            Ah hey hey they,
+            Ah hey hey they,
+            Ah hey hey they,
+              Ah hey they.
+
+The original Ritual Song tells that the feeble leaves, the first shoots,
+cannot stand or support themselves; they are helpless as infants. But they
+have come to the "light of day," "have entered into life," and they will
+grow, become strong and stand, stretching ever higher into the light. The
+native stanzas portray the progressive movements of the corn from feeble
+helplessness into the power of life. The action of the dancers should
+convey this meaning by appropriate pantomime.
+
+5
+
+      They call! They call!
+  Up springs our jointed stem,
+      They call! They call!
+  Golden fruit shall grow on them.
+
+_Refrain_:  Hey hey they,
+            Ah hey hey they,
+            Ah hey hey they,
+              They call! They call!
+            Ah hey hey they,
+            Ah hey hey they,
+            Ah hey hey they,
+              Ah hey they.
+
+In this stanza the promise of fruit is given. The dancers should show
+excitement not only at the wonderful spectacle they observe but because of
+the promise given.
+
+They should still keep in groups as they move about and exult in the
+results that have come from the little hills where they left their
+"footprints."
+
+In the original Ritual Song there are more than a score of stanzas in which
+the various occurrences of the growth of the corn are mentioned, mingled
+with symbolic imagery. "Footprints" represent both labor and ownership.
+Those who planted the kernels look for these marks and rejoice over what
+they find. They had begun their planting "like a game," a venture; whether
+it would be successful or not no one could tell. But success had come. The
+action for the last stanza should indicate an abandonment to delight; hoes
+should be dropped as the groups mingle and act out pleasure not only at
+what is seen but what is promised.
+
+A pause should follow, then the hoes should be picked up and the dancers
+gather by twos and threes in a line to return home; as they start they
+break into the same song which they sang on the return from making and
+planting the little hills:
+
+[Music]
+
+The dancers should keep up the song and rhythmic dance until their
+individual tents are reached.
+
+
+DANCE IV
+
+INTRODUCTORY NOTE.--This dance, taken from the Corn Ritual, represents a
+visit to the field later in the season when the harvest time is near at
+hand. The keynote of this visit is in a line of one of the many stanzas of
+the original Ritual Song, "I go in readiness of mind." The mind is assured,
+prepared to find in the place where the "footprints" had been made, where
+the little kernels had broken the covering of earth to reach "the light of
+day," that these have now grown tall and strong under the summer sun and
+are "standing in the fulness of day." This assurance is justified, for the
+corn is found ready to pluck, and some of its ears are joyously carried to
+the people at home.
+
+_Properties_.--The same costumes as those worn by the boys and girls in
+Dance II and III. The green scarfs used in Dance I will be needed in the
+latter part of this dance; these can be folded and carried in the pouches
+and pockets.
+
+_Directions_.--The scene should be laid in the same place as the two
+preceding dances and the dancers should gather at the same spot whence they
+started to the "field" in Dance II and III.
+
+The dancers, both boys and girls, should be discovered standing in an open
+group talking together in dumb show, evidently discussing the probabilities
+as to the ripening of the corn. They may have been saying: "Already the
+boys are shouting, The cattail is in bloom!" This was a sign that the time
+had come for the corn to be ripe. Some one whose mind was "in readiness"
+makes the suggestion (in pantomime) to go to the "field"; to this all
+agree, and the group breaks into lines as the boy and girl dancers sing the
+following song:
+
+Song
+
+1
+
+  In readiness of mind to the field we go,
+  Where we footprints made, there stately jointed stalks grow.
+  Loud rustle the long leaves, bright the tassels wave o'er each row.
+
+_Refrain_:  Ah hey hey hey they,
+              Ah hey hey they,
+            Ah hey hey hey they,
+              Ah hey hey they,
+                Ah hey they.
+
+[Music]
+
+The steps of the dancers must be in rhythm with the song and all movements
+should indicate a feeling of assurance. When the "field" is reached certain
+motions of the feet should suggest a memory of the "footprints." The
+"field" is now covered by rows of tall cornstalks; therefore, when the
+"field" is reached the dancers should move in parallel lines, as if they
+were passing between these rows. Some lines should cross at right angles,
+giving the effect of walking between high barriers, along pathways that
+intersect each other at right angles. When the dancers pass along these
+alleys, so to speak, movements should be made to indicate brushing against
+or pushing out of the way the "long rustling leaves" of the corn, and to
+point to the "waving tassels" far above their heads. This pantomime, with
+its rhythmic movements suggesting long lines of cornstalks, the brushing
+aside with the hands of the long leaves of the stalks, should make an
+effective picture.
+
+2
+
+  Strongly the ears shoot out, fill'd with golden grain,
+  Up into the full light, life flowing in each vein,
+  Sacred the corn now stands ready to give its strength full fain.
+
+_Refrain_:  Ah hey hey hey they,
+              Ah hey hey they,
+            Ah hey hey hey they,
+              Ah hey hey they,
+                Ah hey they.
+
+The length of the original Ritual Song, together with the picturesque
+quality of the native language, permits the bringing out in full detail of
+this scene of the cornfield: the ears standing at angles from the stalk,
+and the husks full of kernels replete with life-giving power. Because of
+this power the corn has now "become sacred," filled with life from
+Wakon'da, thereby related to that great power and through it linked to the
+life of mankind. The idea of this unity throughout all nature, including
+man, is fundamental to Indian thought and belief. It is expressed in all
+his religious ceremonies and also in his vocations, both serious and
+playful. In the present instance it appeals to him through the planting,
+the growth, the maturing and the use of the corn, giving its life to man.
+
+To convey the picture of the cornfield, and to suggest the thoughts that
+imbue the scene as expressed in the native rituals, will require some
+study, but the effort will be well worth while. These thoughts were vital
+upon this continent centuries before the land became our home. The maize in
+all its richness and beauty has become ours to enjoy, and while we accept
+this gift let us not fail to catch and to hold the lingering vibrations of
+its native teaching that aimed to lift the thoughts of the worker in the
+cornfield to the Great Giver of Life and Beauty.
+
+In planning the pantomime for this stanza the dancers should not forget the
+rhythm of the song and to keep the lines as though they were walking
+between rows of tall cornstalks.
+
+3
+
+  Where'er we look wide fields wait harvest to meet;
+  Ripe are the ears we pluck, juicy the corn we eat;
+  Filling our arms, we go homeward, happy hearts there we meet.
+
+_Refrain_:  Ah hey hey hey they,
+              Ah hey hey they,
+            Ah hey hey hey they,
+              Ah hey hey they,
+                Ah hey they.
+
+
+The action requisite for the interpretation of this stanza by pantomime is
+comparatively easy, as looking over the field ready for harvest, and
+plucking a few ears of the corn. Care should be taken not to appear to
+touch the row where the seven hills were made, for the product of these are
+to be used as the "first-fruit offering." During the singing of the first
+line of the third stanza a few of the dancers should slip behind some of
+the others and there take out their scarfs from the pouches or pockets,
+make each scarf into a loose bundle and carry it upon the folded arms as
+though it was filled with ears of corn. In this way, a few at a time, the
+dancers can secure their scarfs, and arrange them to look like bundles of
+corn to be taken homeward.
+
+All the lines that have been moving as between rows of corn should now come
+together and form a long line and with dancing, rhythmic steps, and arms
+filled with corn, return to the starting place, and from there wind about
+the camp ground singing the refrain, which can be repeated _ad lib_. until
+they finally disperse and go to their tents.
+
+
+DANCE V
+
+Introductory Note.--This dance represents the bringing of the "first-fruit
+offering" of the corn from the seven little hills that were ceremonially
+planted after the dead leaves of winter had been cleared away. The dancers
+who follow the seven leaders carrying the cornstalks represent the people
+in triumphal procession in honor of Corn as "Mother breathing forth life."
+Both words and music of the song for this procession are taken from a great
+religious ceremony of the Pawnee wherein Corn is spoken of as A-ti-ra,
+Mother, with the prefix H' signifying breath, the sign of life. "H'A-ti-ra"
+("Mother breathing forth life") is repeated over and over and is the only
+word used in this song. The repetition is not an idle procedure but an
+awakening of echoes in the native mind, of all that Corn has meant to his
+ancestors and race during the centuries. The repeated words imply
+contemplation on the subject. This song when heard sung by a hundred or
+more could not fail to impress one with its majestic fervor. The beautiful,
+bountiful maize giving its life that others might enjoy life, on another
+plane, is here reverently and joyously proclaimed "Mother."
+
+_Properties_.--Green and other bright colored scarfs or mantles, as many as
+there are dancers, boys and girls, also wreaths made of long leaves like
+those of the cornstalk; these can be manufactured from green paper. Tall
+yellow plumes, similar to the tassel of the corn, and fastened to the
+wreath in such manner that when the wreath is worn the plume will stand
+above the forehead. Seven cornstalks, or wands so wound with green as to
+appear like the stalk of the corn with its tassel.
+
+_Directions_.--All the dancers should be wrapped in their mantles and have
+on their wreaths, the erect tassel plume standing directly over the middle
+of the forehead. Boys and girls must mingle in this dance. All dress as
+before, with the addition of the mantles. Implements, pouches and bows and
+arrows are not used. Of the seven who are to lead, four should be boys and
+three girls. When leading the procession and carrying the cornstalks, the
+first line of four should be a boy, two girls, a boy; the second line of
+three should be a boy, a girl, a boy. These seven must wear green robes or
+mantles and hold the cornstalks, with their hands draped by the mantle. The
+other dancers can wear green or other colored mantles or scarfs. The boys
+must sing the songs, for the volume of sound must be full in order to
+produce the true effect of this impressive ceremony. The seven dancers who
+have been selected to act as leaders should stand in a group by themselves
+in front of the other dancers, who are in loose groups at the rear. On the
+space which heretofore in these dances has represented the "field," the
+seven cornstalks or wands should be laid in a windrow on the ground. When
+ready to begin the dance the dancers should be discovered in the two groups
+as already described, talking quietly in dumb show.
+
+The seven leaders, who are in the front group by themselves, appear to
+consult together; then, led by one of their number, sing the following
+song:
+
+Song No. 1
+
+1
+
+  Golden on ev'ry hand,
+  Waving, the cornfields stand,
+    Calling us thither;
+    Calling us thither,
+  First-fruits to cull and bring
+  Our sacred offering
+    To great Wakon'da,
+      Giver of Corn.
+
+
+[Music]
+
+During the singing the seven leaders stand together wrapped in their green
+mantles. All the other dancers are grouped at a little distance back, still
+talking as at first in dumb show. At the third line they stop talking, at
+the fourth line they give attention to the seven leaders, at the fifth line
+they join in the song. During the singing of this stanza there should be no
+change in the relative positions of the two groups, but during the singing
+all who sing should keep up a gentle rhythmic swaying of the body.
+
+2
+
+  Now to the field we hie,
+  Where stands the corn so high,
+    Calling us thither;
+    Calling us thither,
+  First-fruits to cull and bring
+  Our sacred offering
+    To great Wakon'da,
+      Giver of Corn.
+
+The seven leaders, at the beginning of the first line of the second stanza,
+slowly fall into line and with deliberate rhythmic steps move toward the
+"field," reaching it by the fifth line, and while singing that line they
+should pick up the cornstalks and hold them, with their hands draped with
+their green mantles, high to the front.
+
+At the close of the first stanza the other group of dancers should resume a
+dumb show of speaking to one another until the third line of the second
+stanza, when they change their attitude and give attention; at the fourth
+line they join in the song, and at the fifth move toward the "field" where
+are the seven leaders. By the close of the second stanza all the dancers
+should be in one group at the "field."
+
+All the dancers stand there at the "field" a moment in silence. Then the
+seven leaders sing the introduction to the following Processional Song:
+
+Song No. 2
+
+_Introduction_:  Follow Mother Corn,
+                   Who breathes forth life!
+
+_Chorus_: H'A-ti-ra, H'A-ti-ra, H'A-ti-ra, A-ti-ra,
+            H'A-ti-ra, A-ti-ra, H'A-ti-ra, A-ti-ra,
+                 A-ti-ra, H'A-ti-ra, A-ti-ra.
+
+[Music]
+
+This song is retained as sung in the original Pawnee ceremony; the meaning
+has already been explained.
+
+The introduction is sung by the seven leaders, who advance in two rows,
+four in the first, three in the second, and in this manner they lead the
+Processional Dance. At the chorus all the other dancers fall in behind the
+leaders, either in couples or singly, every one singing. All steps must be
+rhythmic and in time with the music. The seven leaders move steadily, also
+in time with the music, as they hold the cornstalks high, while the
+followers wave their scarfs or mantles and dance happily and lightly, but
+with dignity. The picture should be one of contrast as the procession takes
+its way among trees and through the sunny fields, the seven moving evenly,
+with the corn held high, and the joyous, fluttering group of dancers
+following.
+
+The Life of the Corn culminates in a delight of color, movement and song.
+
+
+CALLING THE FLOWERS
+
+INTRODUCTORY NOTE.--This dance is derived from a ceremony, observed among
+the Indians of the North Pacific Coast, in which the spirits dwelling
+beneath the ground are called to come and join those who are dancing. The
+dancer who calls the spirits moves with gliding steps, the arms
+outstretched, the hands beckoning upward in a gentle, enticing manner. The
+grace, dignity and earnestness of this dance linger with the writer as a
+beautiful memory after the lapse of many years.
+
+_Properties_.--A green scarf for the Caller. Blue, white and rosy scarfs
+for as many dancers as will personate the three Flowers that respond to the
+call: Violets, Wild-roses and Daisies. A twisted rope of green to link the
+dancing Flowers together in the final dance.
+
+_Directions_.--A clear space will be required large enough for all the
+dancers to move about in the final dance. Those who personate the Flowers
+should be hidden from view until the time when they are to respond to the
+call. In the properties enumerated above, mention is made only of scarfs.
+The picturesqueness of the dance would be enhanced if the dancers wore
+headdresses shaped somewhat like the flowers and made of appropriate
+colored paper; blue or lilac for the Violets, with a touch of yellow; deep
+pink or pale red for the Wild-roses, with a little yellow for the stamens;
+white with yellow for the Daisies. The twisted rope of green paper should
+be made over heavy twine, so as to be strong enough for the dancers to
+grasp in the final dance. All these decorative articles should be made in
+the camp.
+
+The dancer who acts as the Caller should wear the green scarf loosely
+thrown about the head and body. If the voice of this dancer is not strong
+enough to be clearly heard by those who look on at a little distance, then
+two other persons should stand one at each side of the open space and sing
+with the dancer who is the Caller. These two extra singers should be
+wrapped in green scarfs and stand quietly as interested spectators while
+the dancer calls. Care should be taken to give the words of the songs with
+clearness and distinctness, so that every person within hearing distance
+can catch them easily.
+
+THE DANCE
+
+The scene opens with the one who is to call the Flowers standing in the
+center, looking about in different directions. Suddenly, as if the thought
+occurred to call for companions, the following song is begun:
+
+Song No. 1
+
+CALL TO THE FLOWERS
+
+  Hither come, come to me, flowers!
+      Wake from your sleep.
+  Oh, hither come, hither come, flowers!
+      Hear me calling,
+    Wake from your sleep, O flowers!
+      Hark! some one comes.
+
+[Music]
+
+With the song, movement begins. The steps taken should be gentle and
+gliding, the arms outstretched as in entreaty, the hands moved as in
+beckoning, not with one finger but all the fingers slowly bending toward
+the open palm. The dancer should think what the action means as she glides
+about the open space, and strive to carry out the picture of awakening the
+sleeping flowers, of bidding them to "come hither." It is possible that
+more time may be required by some dancers to produce the picture than
+merely singing the song once through would give; in that case, that portion
+of the song having the words "Hear me calling, Wake from your sleep, O
+flowers!" can be repeated once or twice, to meet the requirements of the
+dancer. The last line, "Hark! some one comes!" should be given with
+dramatic action.
+
+These words are the cue for those who are to represent the Violets to
+prepare to enter from different points on the right, and to make a soft,
+stirring sound before they come into view, singing the following song:
+
+Song No. 2
+
+SONG OF THE VIOLETS
+
+  Violets have come in heav'nly hue;
+  With fragrance sweet they bring to you
+  Love from the dell where they grew
+  Close to the earth so true.
+
+[Music]
+
+The Violets dance with quiet steps in rhythm with the song. They slowly
+advance and gather in a loose circle about the Caller, whom, as they come
+near, each one lightly touches, to give "Love from the dell where they
+grew." Then they retire to the edge of the open space at the right and sit
+on the ground in little groups. When they are quiet and in their places,
+the Caller moves toward them, then turns, stops, looks at the empty side at
+the left and sings:
+
+Song No. 1
+
+CALL TO THE FLOWERS
+
+[See page 42]
+
+The last line gives the cue to those who represent the Wild-roses to make a
+rustling sound where they are hidden on the left. They enter with light
+springing steps, singing:
+
+Song No. 3
+
+SONG OF THE WILD-ROSES
+
+  Wild-roses come all bright and gay,
+  Blushing red like dawn of day;
+  Dancing come they, full of play,
+  Hiding all their thorns away.
+  Wild-roses come all bright and gay,
+  Blushing red like dawn of day,
+  Dancing come they, full of play.
+
+[Music]
+
+The Wild-roses dance about gaily; they circle the quiet little clumps of
+Violets that remain seated. The Wild-roses frolic around the Caller,
+capering about in wild freedom but keeping their steps in exact time with
+their song. Finally they pause in groups at the left.
+
+After a moment, the Caller moves toward the rear of the open space and
+while there once again sings:
+
+Song No. 1
+
+CALL TO THE FLOWERS
+
+[See page 42]
+
+At the close of the song the dancers who are to represent the Daisies give
+a trilling shout and appear from the rear of the open space, skipping;
+their leader holds the end of a long green rope, which is caught hold of by
+each dancer who follows, all singing:
+
+Song No. 4
+
+SONG OF THE DAISIES
+
+    Up from meadows free,
+    Coming full of glee,
+    Troop the Daisies white,
+    Dancing in the light,
+  All skipping blithe and gay.
+    Now we make a chain,
+    Singing as we twine
+    Then back into line--
+      Merry at play!
+
+[Music]
+
+As the Daisies skip in the open space, the dancers are widely separated as
+they hold on to the rope; at the words "Now we make a chain" the Violets,
+who had risen as the Daisies entered, move toward the string of dancers;
+the Wild-roses also come toward the chain and grasp the green rope. The
+colors of the flowers should alternate and all the Flowers should have hold
+of the rope and cling to it as to a great green stem. Then all circle
+around the Caller, who is the last to grasp the stem. As all the Flowers
+dance they repeat Song No. 4, beginning at the words "Troop the Daisies
+white," etc.
+
+This chain of flowers should make, as they dance, interweaving figures.
+These can be left to the fancy of the dancers, but just what they are to be
+must be decided upon beforehand and rehearsed; otherwise the dance will not
+be successful and pleasing.
+
+The dances for each kind of flower will require practice, for the character
+of each flower should be well brought out; the gentleness of the Violets
+can make a charming contrast to the waywardness of the Wild-roses and the
+pliant Daisies who are at home everywhere.
+
+
+APPEAL FOR CLEAR SKY
+
+INTRODUCTORY NOTE.--Among those Indian tribes that lived outside the
+semi-arid sections of our country, the storm with its destructive force was
+the representative of war, and thunder was a war god.
+
+Warfare was widespread among the tribes dwelling in the Mississippi valley;
+yet among these people the desirability and value of peace were recognized.
+Honors won in a defensive fight gave the warrior higher rank than those
+gained in wars of aggression. Rituals belonging to religious ceremonies,
+and also to war rites, taught that the first duty of the warrior was to
+protect the women and children, the fields and the food supply, for his
+strong arm and ready courage made the tribe's only wall of defence against
+enemies.
+
+These tribes had ceremonies relating to the maintenance of peace not only
+within the tribe but for the purpose of forming peaceful relations with
+other tribes. The clear sky was the symbol of peace, of happiness and of
+prosperity, conditions the very opposite of those that attended war.
+
+When a peace ceremony was in progress, if a storm arose it was looked upon
+as an omen of disaster. At such a time, when clouds gathered, the people
+joined in ceremonial songs and appeals for clear sky, the symbol of peace.
+
+The following dramatic dance and the accompanying songs are employed on
+such an occasion. The songs are taken from ceremonies used to promote
+peace.
+
+_Properties_.--Staffs, about three feet long, with small blue flags, as
+many as there are dancers, the same number of blue head-bands and blue
+sashes. The latter are to be worn from the right shoulder across the breast
+and tied at the waist under the left arm. A drum.
+
+_Directions_.--This dance belongs to both sexes and boys and girls should,
+if possible, join in it.
+
+THE DANCE
+
+All the dancers stand facing the East, in one or more rows deep, according
+to the number, their staffs held in the right hand so that the flags will
+hang in front of each dancer, covering the chest, as they begin the
+following song:
+
+Song No. 1
+
+  Away, away, dark clouds, away!
+      Leave the sky!
+  Go far away, dark clouds, to-day!
+      Leave the sky!
+  Stormy clouds, go far away, far away,
+    Stormy clouds, no longer stay!
+      Leave the sky!
+  Go far away, dark clouds, to-day!
+      Leave the sky!
+  Stormy clouds, go far way, far away!
+      Stormy clouds, begone!
+
+[Music]
+
+FIRST APPEAL
+
+In the first line at each "away" the dancers should look up toward the East
+and move a step forward in that direction. At the line "Leave the sky!"
+they should point their flags toward the East, keeping the staff out on a
+level with the body, and accent it by thrusting it forward as if pointing
+to the East, being careful not to change the level of the staff. At the
+second "Leave the sky!" the level of the staffs must be raised to about the
+chin of the dancer and the same pointing motion repeated at this level. At
+the third "Leave the sky!" the staffs are raised to the level of the
+dancers' eyes and the same pointing movement repeated. At the fourth "Leave
+the sky!" the level of the staffs is raised to a line with the top of the
+head and the pointing motions again given. At the last line, "Stormy
+clouds, begone!" the staffs and flags should be raised aloft and waved with
+precision to the rhythm of the song. The steps and movements of the body
+should be that of backward and forward, to give a pulsating effect, all in
+exact time with the music. The drum should be beaten in 4/8 time, the first
+and third stroke heavier than the second and fourth. This series of
+movements constitutes the Appeal to the East.
+
+The dancers next turn to the North, repeat the song and all the movements
+of staff and body in exactly the same manner.
+
+The dancers now turn toward the West and go through the song and movements
+without any variation.
+
+They then turn toward the South and repeat song and movements as before.
+This brings the First Appeal to a close.
+
+SECOND APPEAL
+
+All the dancers gather in a loose group in the center of the open space,
+where they divide into two lines that must cross each other at right
+angles. When this cross-figure is formed, all, as they stand, should face
+the East. The staffs should be held at an angle similar to that of a baton
+and then swayed to the rhythm of the following song of pleading and of hope:
+
+Song No. 2
+
+  Come, soft skies of blue,
+  O'er the earth of verdant hue
+    Bend in peace!
+  Clouds by thy sunny breath all are gone,
+      Blue Sky!
+  Joy now fills our hearts anew,
+  Sorrows cease;
+  Songs of birds sing of thy peace,
+      Blue Sky!
+
+[Music]
+
+As the dancers sing they should take a step sidewise to the right, then
+return to the first position; then a step to the left and return, so that
+the whole cross-figure has a swaying motion accentuating the rhythm of the
+song, which should be sung smoothly and flowingly. When the words "Blue
+Sky!" are sung the flags should be raised aloft and waved in rhythm and
+then returned to the previous level. The song should be repeated several
+times and the figure maintained as the singers face the North, West, South
+and back to the East. Then the dancers should break into groups and, still
+singing the song and dancing rhythmically, disperse to their tents.
+
+
+
+The Hé-de Wa-chi
+
+AN OMAHA FESTIVAL OF JOY
+
+
+INTRODUCTORY NOTE.--For centuries the home of the Omaha tribe has been in
+the region now known as the State of Nebraska, north of the city which
+bears their name. There they dwelt in permanent villages, surrounded by
+their garden plots of corn, beans, squashes, etc. From these villages every
+year in June all the tribes except the sick and infirm went forth to follow
+the buffalo herds in order to obtain their supply of meat and pelts. As
+this tribal hunt was essential to the needs of the life of the people, it
+was a very serious affair, initiated with religious ceremonies and
+conducted under strict rules enforced by duly appointed officers. It was at
+the close of this great tribal hunt, when food and clothing had been
+secured, while Summer lingered and the leaves had not yet begun to fall, so
+that brightness was still over the land, that this Festival of Joy took
+place. Like all Indian ceremonies, the Hé-de Wa-chi embodied a teaching
+that was for the welfare of the tribe, a teaching drawn from nature and
+dramatically enacted by the people. The Omaha tribe was made up of ten
+distinct groups, each one having its own name, a set of names for those
+born within the group, and certain religious symbols and ceremonies
+committed to its care. By tribal rites and regulations these ten distinct
+groups were welded together to form the tribe, whose strength and
+prosperity depended upon internal harmony and unity.
+
+The Hé-de Wa-chi taught the people what this unity really stood for. The
+central object of the ceremony was a tree, which was the symbol of the
+tribe; its branches were as the different groups composing the tribe, the
+twigs that made up the branches were as the individuals that formed the
+groups.
+
+The Omaha had special ceremonies for the preparation of the central object.
+They cut a tree, left a tuft of branches at the top and painted the trunk
+in alternate bands of red and black. The red bands represented day, the
+black, night; the decoration as a whole stood for the continuity of life.
+This pole was planted in a broad open space. As the melodious Call to the
+Ceremony echoed over the land, the people gathered from their tents. Each
+one of the ten groups took its respective place and all the groups formed a
+wide circle about the tree. Every one, down to the little children, carried
+a twig with leaves. These they held aloft as they made their rhythmic,
+ceremonial approaches to the tree, and afterward danced about the sacred
+symbol.
+
+It was a wonderful and a beautiful scene that took place on the prairies
+years ago, when hundreds of Omahas moved to the rhythm of the sacred songs,
+waving the green sprays as they danced up to the symbolic tree and circled
+about it with thanksgiving and joy. It was thus they exemplified tribal
+unity, wherein every one was a part of the living whole.
+
+This ancient American ceremony should live anew with us wherever we gather
+to enjoy the delights of nature in goodly company.
+
+_Directions_.--It may be difficult to prepare a young tree for the central
+pole after the manner of the Omaha; if so, a space around a single tree can
+be made to serve. Bands of red and black muslin or paper should be put
+about the tree trunk; these are to symbolize the days and nights enjoyed
+during the camp life. The members of the camp should be divided into groups
+and each group have a name and a color. Small branches should be gathered,
+equal in number to those who will take part in the dance. If actual
+branches are not available, wands can be used; to these fluttering
+decorations of green paper should be attached, also a streamer the color of
+the group. Each group should be assigned a place in the wide circle that is
+to be made about the tree.
+
+When all are ready the following Call should be sung. The Indian words are
+retained, as they are easy to pronounce and fit the meaning, and are
+adapted to the long echoing cadences of the Call.
+
+Song No. 1
+
+THE CALL
+
+  Zha-wa i-ba i-ba e-he,
+  Zha-wa i-ba i-ba ha e-he.
+
+[Music]
+
+[Words: Zha-wa = to rejoice; i-ba = come; ha = vowel prolongation of the
+syllable ba; e-he = I bid you. "I bid you come to rejoice."]
+
+This English translation of the native words does not convey the stirring
+appeal of the Omaha: "To rejoice! Come! I bid you." The stress of the music
+of the Call is on "Zha-wa," to rejoice; the notes which carry the words
+"e-he," "I bid you," seem to float afar as if to reach the most distant
+member of the tribe with the summons. The cadence of the Call echoes
+itself, as the second line is like the first, only lower in tones.
+
+When all of the camp have gathered in response to the Call, each group must
+stand in its appointed place and every member hold a decorated wand. Four
+beats of the drum are now to be given; the beats must not be loud or rapid.
+When the reverberations of the drum cease, absolute quiet must be
+maintained, each one's wand must hang downward from his right hand, while
+the following chant is given, sung by the leaders of the groups. The words
+are by John B. Tabb, the music is arranged from the Omaha invocation.
+
+Song No. 2
+
+INVOCATION
+
+  All that springeth from the sod,
+  Tendeth upward unto God;
+  All that cometh from the skies,
+  Urging it anon to rise.
+
+[Music]
+
+This chant takes the place of the prayer sung at this point of the ceremony
+by the Omaha Keepers of the Tribal Sacred Pipes. The prayer in the original
+has no words, vocables only are used, for the music is what carries the
+appeal to Wakon'da (God).
+
+At the close of the chant two strokes of the drum should be given. Then the
+leaders should sing the first line of the following song; all the camp
+respond at the beginning of the second measure, and the song follows. This
+music is the dance song of the ceremony when all the Omaha tribe made four
+rhythmic advances toward the sacred tree, stopping at the close of each
+advance. The song was sung four times, once for each forward movement.
+
+Song No. 3
+
+APPROACH TO THE TREE
+
+_Leaders_: Ev'ry one lift up the branch!
+
+_Response by all:_ Up it goes!
+
+_Song by all:_ Dancing, singing, we like leaves sway to and fro.
+                          Happy leaves!  Dancing leaves!
+                        Swinging as the breezes blow,
+                          So will we ever be
+                        Blithe and joyous as we go.
+                                     Hi-o!
+
+[Music]
+
+"Hi-o!" is the call given by the leaders for the dancers to pause. When
+this call is heard, all the branches must be at once lowered and every
+person stand still. After a brief pause the leaders will again sing the
+command, "Ev'ry one lift up the branch!" then comes the response, "Up it
+goes!" The song immediately follows, all the wands held high and waving in
+rhythm to the melody while the second advance is made. Each one of these
+advances should be but a few steps, on account of the limitations of space.
+The dancing steps, the rhythmic movements of the body and the swaying wands
+should give an undulating line suggestive of waving branches. The available
+space on the grounds should be calculated so as to permit the four
+approaches accompanied by the dance-song to reach a point near the tree,
+yet far enough to permit the forming of two circles of dancers around its
+base. At this point the company should divide into two parts, one part to
+form an inner circle and the other to form an outer circle. These two
+circles are now to dance around the tree, one to go from right to left, the
+other from left to right. At this time the leaders tie their wands to the
+trunk of the tree, but all the others retain their wands while they dance
+in these concentric circles. All should sing the dance-song, keeping time
+with the feet and waving the wands to the rhythm of the music. As the dance
+goes on, the time can be accelerated and the circles become wider and
+narrower, but in all these movements the rhythm of song and dance must
+never be broken--for the rhythm stands for the binding force of a common,
+social and loving life.
+
+Song No. 4
+
+DANCE AROUND THE TREE
+
+1
+
+  Dance the leaves in sunlight,
+  Dance the leaves in dark night,
+  Leaves ever, ever dance on the tree,
+      The Tree!
+
+[Music]
+
+2
+
+  High we lift the green branch,
+  Dance and wave our green branch,
+  Each one is a green branch of the tree,
+      The Tree!
+
+3
+
+  Now we all return them,
+  Bind them to the tree stem,
+  While we sing the glad word, Unity!
+      O Tree!
+
+4
+
+  Strong our hearts in daylight,
+  Strong our hearts in still night,
+  Thus the Hé-de Wa-chi bids us be,
+      O Tree!
+
+This dance-song can be repeated as often as desired. When at last the
+leaders wish it to stop they must give the call, "Hi-o!" as they did for
+the pause in the Dance of Approach to the Tree.
+
+When this signal is given, the members should toss their wands at the foot
+of the tree from the place where they had stopped dancing.
+
+In the ancient Omaha ceremony the people had the vast expanse of the
+prairie at their disposal, yet each tribal group kept its appointed place,
+not only during the dance, wherein they made four approaches toward the
+sacred tree, but when all the groups formed into two great circles the
+tribal order of their relative positions was still preserved. The two
+circles were made up according to sex. The women and girls danced in one
+direction next to the pole; the men and boys formed the outer circle and
+danced in the opposite direction. This dance was the occasion of much
+hilarity and fun. Old and young danced with vigor, and great was the
+delight of the tribe as it spun around the emblematic tree, carrying
+branches. At the close of the dance all tossed the branches at the foot of
+the pole, leaving a mound of green on the widespreading plain.
+
+If boys and girls take part, as they should, in this ceremony, let the
+girls form the inner circle and the boys the outer circle as they dance
+about the tree in true Omaha fashion.
+
+In real Indian life every vocation has its accompaniment of song, no matter
+how homely may be the employment. So, keeping faith with that ancient
+American custom, let the camp be put in order after the ceremony while all
+sing the following song, which may be called the Clearing Up:
+
+Song No. 5
+
+THE CLEARING UP
+
+[Music:
+  Now is our dancing ended,
+  Light are our hearts as our footsteps
+  Turn at our leaders' bidding.
+  Safely we gather together
+  Branches that served our playtime,
+  Setting our camp all in order
+  Ere to our tents we betake us.]
+
+This scene, in which all should take part, can be made merry as well as
+useful.
+
+
+
+
+PART II
+
+GAMES
+
+
+INDIAN GAMES
+
+INTRODUCTION.--All the games here presented have been played in our land
+for untold generations, while traces of the articles used for them have
+been found in the oldest remains on this continent. According to Dr.
+Stewart Culin, the well-known authority on Indian and other games, "There
+is no evidence that these games were imported into America at any time
+either before or after the conquest. On the other hand they appear to be
+the direct and natural outgrowth of aboriginal institutions in America."
+Dr. Culin calls attention to the reference to games in the myths of the
+various tribes. Among those of the Pueblo people mention is made of the
+divine Twins who live in the east and the west, rule the day and the night,
+the Summer and the Winter, "Always contending they are the original patrons
+of play and their games are the games now played by men." (Bureau of
+American Ethnology, Vol. 24, p. 32.) It would lead too far afield to follow
+the interesting relation between ceremonials and games, a relation that is
+not peculiar to the culture found on the American Continent but which
+obtains the world around. The environment of man in general outline is much
+the same everywhere; the sun ever rises in the east and sets in the west;
+day and night always follow each other; the winds play gently or rend with
+force; the rains descend in showers or fall in floods; flowers and trees
+spring up, come to maturity and then die. Therefore, when man has
+questioned Nature as to the why and the wherefore of life, similar answers
+have come from all parts of the earth; so it happens that man's games,
+which often sportively reflect his serious thoughts, show a strange
+similarity.
+
+Indian games that depend upon chance, according to Dr. Culin, may be
+divided "into those in which the hazard depends upon the random fall of
+certain implements employed, like dice, and those in which it depends upon
+the guess or choice of the player; one is objective, the other subjective."
+Games of the first or objective class are generally played in silence,
+while those of the second or subjective class, called guessing games, are
+accompanied by singing. (Ibid., p. 44.)
+
+In a game where the two sides contest, as in a ball game, the sides were
+frequently played by two different tribes or by two villages in the same
+tribe. In such cases the players often went through a course of training in
+order to prepare them for the contest. Bathing, exercise and diet had to be
+followed according to prescribed custom. Among the Cherokee the partaking
+of rabbit was forbidden, because the animal is "timid, easily alarmed and
+liable to lose its wits"; so if the player ate of this dish, he might
+become infected with like characteristics. Mystic rites were sometimes
+performed to prepare the player so that he would be successful. (Ibid.,
+p. 575.)
+
+According to the Indian belief, the pleasure of games was not restricted to
+mankind but was enjoyed by birds and animals. The following story from the
+Cherokee is told by Mr. James Mooney and quoted by Dr. Culin (Ibid., pp.
+578, 579):
+
+"The animals once challenged the birds to a great ball play. The wager was
+accepted, the preliminaries were arranged, and at last the contestants
+assembled at the appointed spot--the animals on the ground, while the birds
+took position in the tree-tops to await the throwing up of the ball. On the
+side of the animals were the bear, whose ponderous weight bore down all
+opposition; the deer, who excelled all others in running; and the terrapin,
+who was invulnerable to the stoutest blows. On the side of the birds were
+the eagle, the hawk and the great Tlániwa--all noted for their
+swiftness and power of flight. While the latter were preening their
+feathers and watching every motion of their adversaries below, they noticed
+two small creatures, hardly larger than mice, climbing up the tree on which
+was perched the leader of the birds. Finally they reached the top and
+humbly asked the captain to be allowed to join in the game. The captain
+looked at them a moment, and, seeing that they were four-footed, asked them
+why they did not go to the animals where they properly belonged. The little
+things explained that they had done so, but had been laughed at and
+rejected on account of their diminutive size. On hearing their story the
+bird captain was disposed to take pity on them, but there was one serious
+difficulty in the way--how could they join the birds when they had no
+wings? The eagle, the hawk and the rest now crowded around, and after some
+discussion it was decided to try and make wings for the little fellows. But
+how to do it! All at once, by a happy inspiration, one bethought himself of
+the drum which was to be used in the dance. The head was made of ground-hog
+leather, and perhaps a corner could be cut off and utilized for wings. No
+sooner suggested than done. Two pieces of leather taken from the drumhead
+were cut into shape and attached to the legs of one of the small animals,
+and thus originated the bat. The ball was now tossed up and the bat was
+told to catch it, and his expertness in dodging and circling about, keeping
+the ball constantly in motion and never allowing it to fall to the ground,
+soon convinced the birds that they had gained a most valuable ally. They
+next turned their attention to the other little creature; and now behold a
+worse difficulty! All their leather had been used in making wings for the
+bat and there was no time to send for more. In this dilemma it was
+suggested that perhaps wings might be made by stretching out the skin of
+the animal itself. So two large birds seized him from opposite sides with
+their strong bills, and by tugging and pulling at his fur for several
+minutes succeeded in stretching the skin between the fore and hind feet
+until at last the thing was done, and there was the flying squirrel. Then
+the bird captain, to try him, threw up the ball, when the flying squirrel,
+with a graceful bound, sprang off the limb and, catching it in his teeth,
+carried it through the air to another tree-top a hundred feet away.
+
+"When all was ready the game began, but at the very outset the flying
+squirrel caught the ball and carried it up a tree, then threw it to the
+birds, who kept it in the air for some time, when it dropped; but just
+before it reached the ground the bat seized it, and by his dodging and
+doubling kept it out of the way of even the swiftest of the animals until
+he finally threw it in at the goal, and thus won the victory for the
+birds."
+
+
+Hazard Games
+
+INTRODUCTORY NOTE.--The objects which are thrown or tossed in games of
+hazard Dr. Culin for convenience has designated as "dice" and he calls the
+games "dice games." (Ibid., pp. 44, 45.) He found these games among one
+hundred and thirty tribes belonging to thirty different linguistic stocks.
+Throughout this wide distribution the "dice" are not only of different
+forms but are made from a variety of materials: split-cane; wooden or bone
+staves or blocks; pottery; beaver or muskrat teeth; walnut shells;
+persimmon, peach or plum stones. All the "dice" of whatever kind have the
+two sides different in color, in marking, or in both. Those of the smaller
+type are tossed in a basket or bowl. Those that are like long sticks,
+similar to arrow shafts, from which they are primarily derived, were thrown
+by hand. Myths of the Pueblo tribes speak of the game, in which "dice"
+shaped like a shaft were used, as being played by the War Gods. The
+split-cane "dice" were "sacrificed" on the altar sacred to the Gods of War.
+In this connection it is interesting to find evidence that the "dice game"
+of hazard was associated with the thought of war among tribes very
+different, both in language and customs, from the Pueblo Indians. Among the
+tribes living on the prairies the word used to indicate a "point" made in a
+"dice game" is derived from the same root as the word used to indicate an
+honor won on the field of battle.
+
+Two examples of the class of games called "dice games" are here given: the
+first a Pueblo game played almost exclusively by men; the second a game
+found among the Omaha and kindred tribes and almost exclusively played by
+women.
+
+1
+
+PA-TOL STICK GAME
+
+_Properties_.--Three wooden billets; a flat stone about six inches in
+diameter or square; forty stones about as "big as a fist" or like pieces of
+wood; as many sticks for markers as there are players; counters to score
+the game.
+
+_Directions_.--The three billets, called pa-tol sticks, are made four and a
+half inches long, one inch wide and half an inch in thickness; it is
+important that the wood from which they are made be firm and hard. Two of
+the billets are plain on one side, on the other side a diagonal line is
+incised from the left-hand upper corner to a point about two inches below
+the right-hand upper corner; another diagonal line is incised from the
+right-hand lower corner to about two inches above the left-hand lower
+corner. The third pa-tol stick has the same design on one side, and on the
+other side the design is repeated and an additional diagonal line incised
+from the right-hand upper corner to the left-hand lower corner. It would be
+well to blacken all these incised lines in order that the designs can be
+readily seen during the playing of the game.
+
+[Illustration]
+
+A circle, called the Pa-tol House, about three or four feet in diameter, is
+made by setting forty stones "about the size of a fist" so as to form the
+circumference. Between every tenth and eleventh stone there must be an
+opening of four or five inches. These openings must face the north, east,
+south and west; they are spoken of as "rivers." The flat stone is placed in
+the middle of the circle.
+
+Each player has a marker, a small stick or twig, which is called his
+"horse." As many can take part in the game as conveniently can seat
+themselves around the pa-tol house.
+
+The following description of the game is given by Dr. Charles F. Lummis and
+quoted by Dr. Culin (Ibid., pp. 191, 192): "When the players have seated
+themselves, the first takes the pa-tol sticks tightly in his right hand,
+lifts them about as high as his chin and, bringing them down with a smart
+vertical thrust as if to harpoon the center stone, lets go of them when
+they are within some six inches of it. The three sticks strike the stone as
+one, hitting on their ends squarely, and, rebounding several inches, fall
+back into the circle. The manner in which they fall decides the
+denomination of the throw, and the different values are shown in the
+diagram. Although at first flush this might seem to make it a game of
+chance, nothing could be farther from the truth.... An expert pa-tol player
+will throw the number he desires with almost unfailing certainty by his
+arrangement of the sticks in his hand and the manner and force with which
+he strikes them down. It is a dexterity which any one may acquire by
+sufficient practice, and only thus. The five throw is deemed very much the
+hardest of all, and I have certainly found it so. [See diagram.]
+
+"According to the number of his throw the player moves his marker an equal
+number of stones ahead on the circle, using one of the rivers as a starting
+point. If the throw is five, for instance, he lays his horse between the
+fourth and fifth stones and hands the pa-tol sticks to the next man. If his
+throw be ten, however, as the first man's throw is very certain to be, it
+lands his horse in the second river, and he has another throw. The second
+man may make his starting point the same or another river, and may elect to
+run his horse around the circle in the same direction that the first is
+going or in the opposite. If in the same direction, he will do his best to
+make a throw which will bring his horse into the same notch as that of the
+first man, in which case the first man is killed and has to take his horse
+back to the starting point, to try over again when he gets another turn. In
+case the second man starts in the opposite direction--which he will not do
+unless an expert player--he has to calculate with a good deal of skill for
+the meeting, to kill and to avoid being killed by the first player. When he
+starts in the same direction he is behind and runs no chance of being
+killed, while he has just as good a chance to kill. But if, even then, a
+high throw carries him ahead of the first man--for jumping does not count
+either way, the only killing being when two horses come in the same
+notch--his rear is in danger, and he will try to run on out of the way of
+his pursuer as fast as possible. The more players the more complicated the
+game, for each horse is threatened alike by foes that chase from behind and
+charge from before, and the most skilful player is liable to be sent back
+to the starting point several times before the game is finished, which is
+as soon as one horse has made the complete circuit. Sometimes the players,
+when very young or unskilled, agree there shall be no killing; but unless
+there is an explicit arrangement to that effect, killing is understood, and
+it adds greatly to the interest of the game."
+
+
+
+II
+
+PLUM STONE GAME
+
+
+This game belongs to the second and non-ceremonial class of the games of
+hazard and is generally played by women. The Omaha type is here given, but
+it is similar to the game as played by kindred tribes.
+
+_Properties_.--Five plum stones; a basket or wooden bowl; one hundred
+counters. The Omaha used stalks of the blue joint grass as counters, but
+small twigs or sticks will serve.
+
+The plum stones should be carefully cleaned and dried. Two of the stones
+are burned black on both sides with a hot iron; on one side of each of
+these stones a crescent is marked, and between the lines of the figure the
+black is carefully scraped so as to leave a clear design of a new moon on a
+background of black. On the other side of these two stones a star, four or
+five pointed, is drawn and all the black within the lines is scraped off,
+leaving a brown star on a background of black. The other three stones are
+each burned black all over on one side; the other side is left the natural
+color of the stones. These stones can be prepared in camp, but the basket
+or wooden bowl will probably have to be furnished from outside.
+
+_Directions_.--Two players to one basket or bowl. The game is generally one
+hundred points.
+
+The two players sit opposite and have the basket or bowl between them, with
+the five plum stones lying in the bottom. The one hundred counters are
+within reach at one side. As points are made, the winner takes a
+corresponding number of counters from the general pile and lays them beside
+her on the side opposite to the general pile; when this is exhausted, then
+the winner takes her counters from the winnings of her opponent. Whoever
+wins all of the one hundred points has the game.
+
+Lots should be drawn to decide who shall have the first play. The one who
+wins the first play takes the bowl or basket by the rim with both hands and
+gives it a toss sufficient to throw up all the stones, but not violent
+enough to make them fall outside the bowl or basket; such a throw would not
+count. If the throw is not such as to move all the stones, make them turn
+and all move about within the bowl, that throw will not count.
+
+The following are the combinations that count, that is, make points:
+
+Two moons and three whites (natural color) = 10 points.
+
+Two stars and three blacks = 10 points.
+
+One moon, one star and three whites (natural color) = 1 point.
+
+One moon, one star and three blacks = 1 point.
+
+No other combinations count anything in the game. As will be seen, there
+are a number which cannot be counted. If one tosses the bowl and the stones
+fall in such manner as to make a combination that does not count, there is
+no forfeit; the player merely fails to score any points. The player who
+wins a point, or points, keeps on tossing the bowl until she fails to make
+a point. She must then let her opponent toss the bowl, who will keep
+tossing the bowl as long as she can win a point. There are players among
+the Indian women who are very skilful and are able to make the stones fall
+frequently in the combinations that win ten points.
+
+
+
+Guessing Games
+
+Introductory Note.--Games of the "subjective" class, designated as guessing
+games by Dr. Culin, were generally accompanied by singing. There is a great
+variety in the games of this class, and five examples drawn from different
+sections of the country are here presented.
+
+Indian games of this character do not always depend so much on chance as on
+the quickness of vision and skilful manipulation by the players. In games
+of this class the Indians never make random motions, all their movements,
+whether of the body, the feet, the hands or arms, being always in strict
+accord with the accompanying song, while the drama implied in the game is
+acted out, at the same time, more or less clearly. In these games the
+Indian players seem to be impelled by a common rhythmic and dramatic
+impulse, making a unity that enhances the interest and pleasure excited by
+the game.
+
+
+I
+
+Pu-in
+
+
+Introductory Note.--This was a favorite game among the natives of the
+Northeastern States; its "strange whimsies" were first mentioned by William
+Wood in his book, "New England Prospect," published in London, 1634. It is
+probable that some form of this game still persists among the scattered
+descendants of those nearly extinct tribes, but it is not likely that at
+the present day the victor would proclaim his prowess, as was formerly
+done, by wearing in the holes of his ears the counters that marked the
+number of his successful guesses.
+
+_Properties_.--A number of wheat or other straws cut about a foot long; a
+mat or blanket; a pointed staff for the Leader.
+
+_Directions_.--Ten straws must be laid aside as counters for each player.
+The rest of the straws are separated into tens and each ten tied with a
+wisp, making a bundle; one bundle must have eleven straws. There should be
+as many bundles as players. The bundles must all be tied alike. The game
+consists in guessing which bundle has the eleven straws. The number of
+guesses allowed in a game must be fixed upon before starting to play.
+
+All the bundles are thrown in a heap upon the center of the mat. The
+Leader, who is generally chosen by lot, leads the players to the mat
+containing the bundles. Each player holds in his left hand his ten counters
+and follows the Leader with his staff as he moves around the mat from left
+to right, while all sing the following song, taking steps to the rhythm of
+the music:
+
+
+GAME SONG
+
+[Music]
+
+When the Leader strikes his staff on the ground every player must stop just
+where he happens to be, stoop and pick up a bundle with his right hand and
+begin to wave it above his head and sway his body to the time of the song.
+When the Leader points with his staff to a player, that person must make a
+guess. As he scans the waving bundles he points with his left hand that
+holds his counters to the bundle which he thinks contains the eleven
+straws. If the guess proves to be correct, the guesser puts one of his
+counters in his hair or behind his ear. At once all bundles must be thrown
+in a heap on the mat. The Leader then moves forward by the left, followed
+by the players, every one singing and keeping time with the song. When the
+Leader strikes the ground with his staff, all halt. Each player immediately
+seizes a bundle, holds it aloft and begins to wave it. The Leader
+designates with his staff a person who must guess. If the guess is wrong,
+the guesser drops one of his counters on the mat and the Leader points to
+another player who must guess. If he loses, he drops one of his counters on
+the mat; the guessing goes on as described, until some one is successful
+and puts a counter in his hair, when the bundles are all thrown on the mat
+and the play begins again as before. Should the person designated by the
+Leader to guess think that he holds the bundle with eleven straws, he must
+point it at the Leader. If this surmise is correct, the person guessing
+puts a counter in his hair and all bundles are again thrown on the mat.
+
+In this way the game proceeds until some player has won the requisite
+number of counters and has them all standing in his hair. Throughout the
+game the singing must be kept up, accompanied by rhythmic movements of the
+feet and the body, the players acting as though searching among the tall
+grass for a desired clump. When a point is won, the Leader should shout out
+the counter won, without interrupting the song or the play. Among the
+Indians the game, once started, is kept going without halt or break in the
+song or the movements. The calling out of the winnings in no way disturbs
+the singing or the playing.
+
+The victor should wear his successful counters in his hair the rest of the
+day, if possible.
+
+
+
+II
+
+Atá-a-kut
+
+
+Introductory Note.--This game is played among one of the basket making
+tribes of California. As not infrequently occurs in Indian games, there is
+in this pastime a reflection both of the environment and of the vocations
+of the people who used it. The drama or theme of the play is the search for
+a particular reed, which for the purpose of the game is marked in a special
+way.
+
+_Properties_.--A mat or blanket and about fifty reeds; the reeds should be
+similar in thickness and about a foot long.
+
+_Directions_.--The number of points which shall constitute winning the game
+should first be agreed upon; if ten be the number, then twenty reeds should
+be set aside as counters and the rest used as game-reeds. All of these
+latter must be alike save one, and that reed must have a black band about
+an inch or so wide painted around the middle, that is, midway between the
+two ends of the reed. It is this particular reed that must be detected or
+its location guessed.
+
+The mat or blanket should be laid east and west. The two players sit
+opposite each other, one near the northern edge of the mat, the other near
+the southern edge. The counters are divided in half, one-half put at the
+eastern end of the mat, the other half at the western. The counters at the
+east belong to the player sitting at the north, those at the west to the
+player at the south. Two singers stand back of each player. The spectators
+are grouped about the mat, but must not be too near the players. Lots are
+drawn to decide which player shall "hold the reeds." The player who loses
+the chance to "hold the reeds" becomes the one who is to be the guesser.
+
+All the game-reeds, including the reed with the black band painted on it,
+are thrown in a pile in the center of the mat or blanket. The player who is
+to "hold the reeds" gathers all the game-reeds in his hands, brings them
+behind his back, where he shuffles and divides the reeds into two bunches,
+one for each hand. When he is ready to bring his hands forward, each one
+with a bunch of reeds grasped by the middle, the two singers standing
+behind him start the following song:
+
+GAME SONG
+
+[Music]
+
+When the music begins, the player holding the reeds sways his body from
+side to side, moves his arms and hands with the reeds and simulates being
+blown by the winds. The opposite player, by the movements of body and arms,
+indicates that he is pushing his way through tall reeds tossed by the wind,
+searching for something he desires to find. Both players in all their
+movements must keep in rhythm of the song, observe strict time and strive
+to make their actions tell the story plainly. The guesser through all his
+motions must keep his eyes on the bunches held by his opponent, seeking for
+an indication to show which one contains the marked reed. When he is ready
+to guess he extends both arms toward the bunch he has fixed upon, as if to
+grasp it. At this action the holder of the reeds must open his hand and let
+the reeds of that bundle fall on the mat. The guesser then searches among
+the spilled reeds for the one that is marked; if he finds it, he holds it
+up so that all can see that his guess has been correct and the reed
+discovered. The two singers who stand behind him give the victory shout, go
+to his pile of counters, take one and place it at his right hand, then the
+reeds of the other bunch are thrown by the holder on the mat, so that all
+the game-reeds are lying in the center, as at the beginning of the game.
+
+The player who made the successful guess now picks up the game-reeds and
+behind his back shuffles and divides them. When he is ready to bring
+forward his two hands holding the reeds, the two singers standing behind
+him begin the Game Song, while he waves the bunches, acting what is now his
+rôle, that of the reeds being blown about by the winds. The other player
+now becomes the guesser and must act as though he were searching among the
+blown reeds for the one he desires.
+
+The player who "holds the reeds" is thought to have the advantage; that is
+why lots are drawn at the beginning to decide who shall have that part in
+the game. The player holding the reeds aims to make the guessing as
+difficult as possible by deftness in hiding the banded reed, so as to keep
+his advantage.
+
+Every time a guess is made the reeds of the bunch guessed must at once be
+dropped on the mat, that all may see the reeds while the guesser searches
+among them for the marked reed. If he cannot find it, the singers who stand
+behind him call out that a point has been lost, take a counter from his
+pile and place it at the right hand of the player holding the reeds, who at
+once drops all the game-reeds on the middle of the mat, to be again taken
+up by him, shuffled and divided behind his back, when he resumes the waving
+of the bunches of reeds blown by the wind and the guesser who lost starts
+to make another guess. Should he be successful, the counter he had lost
+would be taken back and placed at his right hand. In this manner counters
+lost can be reclaimed, until one or the other of the players has won and
+been able to hold the number of counters required for the game.
+
+The presentation of the little drama of this game rhythmically affords an
+opportunity for considerable dramatic action and yields pleasure both to
+the performers and to the spectators. This game was much played among the
+tribes where it was known.
+
+
+
+III
+
+HAND GAME
+
+
+INTRODUCTORY NOTE.--This game, Dr. Culin states, is played among eighty-one
+Indian tribes of the United States. The game bears different names in the
+various languages of these tribes. Hand Game is a descriptive term and not
+a translation of any native name; it refers to the fact that the object is
+held in the hand during the play. The following form of this game is the
+way it was formerly played among the Nez Perce Indians of the State of
+Idaho. Lewis and Clark, who were the first white men to record their
+meeting with these Indians, mention this game, and Capt. Bonneville gives
+an account of it when he visited the tribe during the third decade of the
+last century.
+
+_Properties_.--A bone or wooden bead about two inches in length and half an
+inch in thickness; thirty counting sticks (these are sometimes spoken of as
+arrows, and there are indications that they were once arrows--the arrows of
+the twin gods); a mat oblong in shape; two logs or pieces of board about
+the length of the mat, and as many sticks (to be used as drum-sticks) as
+players can sit on one side of the mat.
+
+_Directions_.--The mat should be laid east and west, the logs or boards put
+on the north and south edges and the counting sticks placed in two piles of
+fifteen each on the ends of the mat. The players sit on the ground, a row
+on each side of the mat to the north and south. Lots are drawn to decide
+which side shall have the bead "in hand." The Leader and the singers must
+always stand behind the row of players who have the bead "in hand." The
+opposite side must have the drum-sticks and beat on the log or board in
+time with the singers.
+
+When the players are seated in two rows, one on each side of the mat, the
+Leader hands the bead to a player on the side that has drawn the right to
+have the bead "in hand," and then takes his place beside the singers, who
+stand behind that row, and starts the following song. All in that row join
+in the singing.
+
+HAND GAME SONG
+
+[Music]
+
+The players on the opposite side, who are to guess who is hiding the bead,
+at once begin to beat the time of the song on the log or board that is in
+front of them, on the edge of the mat, and at the same time they must watch
+the other side where the players are trying to pass the bead from one hand
+to the other and from one person to another without exposing the bead to
+view. In all these actions the movements of hands, arms and body must be
+rhythmical and in time with the song. All the players in the row that has
+the bead "in hand" must act as if each one either had the bead or was
+trying to pass it on, whether he actually has the bead or does not have it.
+
+When one on the opposite side thinks he detects the whereabouts of the bead
+and is willing to risk a guess, he points his drum-stick to the hand he
+thinks has the bead and cries, "Hi-i!" and the hand indicated must be
+immediately opened so that all may see whether the guess is correct or not.
+If the bead is seen to be in the opened hand, the Leader calls out,
+"Success!" and goes to the pile of counting sticks belonging to the side of
+the guesser, takes one and stands it in the ground in front of the
+successful guesser. The Leader then hands the bead to the player who has
+won and proceeds to gather the drum-sticks and distribute them to the
+players on the opposite side. The singers pass around and take their places
+behind the row of players who now have the bead "in hand." When all are in
+readiness, the Leader starts the song again and the players begin their
+movements of secretly passing the bead, while the other side beat time with
+their drum-sticks on the log or board in front of them. The side that has
+the bead "in hand" always does the singing, led by the Leader and singers,
+who must stand at the rear of the row having the bead.
+
+If a guess is incorrect the Leader goes to the pile of counting sticks that
+belongs to the side which has the drum-sticks, takes a counting stick and
+thrusts it in the ground in front of the row opposite to the guesser; that
+means one lost to his side. The bead in that instance remains on the same
+side until it is won by the opposite side through a successful guess.
+
+In this manner the game goes on until one side or the other has won all the
+thirty counting sticks and become the victor in the game.
+
+
+
+IV
+
+HIDING THE DISKS
+
+
+INTRODUCTORY NOTE.--This game, known under a variety of names, is a
+favorite among the Indian tribes living on the North Pacific Coast. The
+disks, always of an uneven number, are made of wood and ornamented with
+designs composed of segments of circles with groupings of dots. Some of the
+markings are regarded as cabalistic, and there are men who claim to have a
+knowledge of spells that will bring luck to the disks they ornament and
+treat; such disks are considered valuable and often command a high price.
+All of the disks in a set that is used in this game are ornamented alike
+except one; this must be different from the others. It may be decorated
+with red, for the sun, or with a dark color almost black, for the night.
+This disk is frequently called the "chief," and the aim of the game is to
+guess in which pile of disks the "chief" is hidden.
+
+_Properties_.--A mat on which the game is played; a small mat on which the
+counting or tally-sticks are put; a board that is to serve as a drum; four
+drum-sticks; nine wooden disks about two and a half inches in diameter. The
+designs on the nine disks, the twenty tally-sticks and the four drum-sticks
+should be in color or burned into the wood. Eight of the disks should be
+decorated alike; the ninth must be different and have either red or brown
+as the predominating color; this disk is the "chief." A bundle of excelsior
+is to be the substitute for the fiber of cedar bark which is used by the
+Indians of the Northwest Coast when playing this game; if excelsior is not
+available, dry leaves or some other dry material might be substituted,
+within which, or under which, the disks could be hidden. All the articles
+used in this game except the mats should be made in camp.
+
+_Directions_.--An uneven number of players is required for this game. The
+mat is laid east and west; at a little distance back to the northwest the
+small mat is placed and on it are put the twenty tally-sticks. In a line
+with the small mats to the northeast is laid the board around which the
+four singers and drummers sit. The bundle of excelsior, or whatever
+material is used in its place, together with the nine disks, is put at the
+western end of the mat; before these is the place for the player who is to
+hide the disks. On the northern and southern side of the mat sit the
+players who are to guess where the "chief" is hidden, three or four on a
+side. The messenger stands at the eastern end of the mat facing the player
+who is to hide the disks. Lots should be drawn to determine who of the six
+or eight players are to sit on the northern side and who on the southern
+side. The player who is to do the hiding of the disks can be either
+selected or drawn by lot. Whoever takes this part in the game should be
+capable of considerable dramatic action. Among the Indians the person who
+does the hiding of the disks personifies one who practices magic; he makes
+passes over the disks and the cedar fiber under which the disks are hidden,
+makes signs and movements, and does what he can to throw a spell of
+confusion over those who are to guess where the "chief" is hidden.
+
+When the players about the mat, the singers about the board drum and the
+messenger standing at the eastern end of the mat are all in readiness, the
+singers begin the following song, keeping time by beating with their
+drum-sticks on the board drum; the players about the mat join in the
+singing.
+
+HIDING THE DISKS
+
+[Music]
+
+The player at the western end of the mat opens the bundle of excelsior or
+other material and spreads it on the mat and then puts all the nine disks
+under the material, making many movements as he does so, all of which must
+be in rhythm with the song, rolling the disks about under the material and
+finally dividing them into two parts, well covered up by the material. He
+continues to make passes with his hands as though invoking mysterious
+forces and to shuffle around the two piles of material in which the disks
+are hidden. Suddenly a player points to one of the piles; the player at the
+end ceases to shuffle and sends the disks concealed in the pile rolling
+down the mat to the messenger standing at the other end, who looks to see
+if the "chief" is among the disks rolled toward him. If he finds it, all of
+the players on the side of the guesser give the victory shout and the
+messenger goes to the small mat, brings one of the tally-sticks and stands
+it before the successful guesser. Then the messenger rolls the disks back
+to the other end of the mat where the person sits who hides the disks. That
+player begins again his passes and movements as he mixes together the nine
+disks and hides them under the material; then he divides the disks and the
+material under which they are hidden into two piles, shuffles them about
+until a player points to a pile, when he at once stops shuffling and sends
+the disks under the pile pointed at rolling down the mat to the messenger.
+If the "chief" is not found among the disks, the side to which the
+unsuccessful guesser belongs loses a point, and the messenger takes from
+the small mat a tally-stick and stands it at the end of the row of players
+on the opposite side. The disks are then sent spinning over the mat to the
+player who hides them. He mixes up the disks, hides them, shuffles the
+piles until another guess is made. If that guess should be by a player on
+the side that had just lost a point, and the guess prove to be
+successful--that is, the pile pointed at contain the "chief"--then the
+messenger takes the tally-stick that had been put at the end of the row of
+the opposite side and stands it in front of the successful guesser. He
+could not take back a tally-stick that had been won by a guess unless all
+the tally-sticks had been taken from the small mat. One side or the other
+must win twenty points to be victor in the game. In the process of winning
+the game the tally-sticks may therefore be taken back and forth before one
+side wins the entire twenty.
+
+The victory shout is given only when a successful guess is made. The
+singing stops at a victory shout and is resumed as soon as the disks are
+rolled back to the player who hides the disks. He must be careful to keep
+all his dramatic actions and movements of hands, arms, body and head in
+rhythmic accord with the song. The steps and movements of the messenger
+must also be in time with the song.
+
+
+
+V
+
+I-OU'-TIN
+
+
+INTRODUCTORY NOTE.--This game belongs to the class of guessing games. The
+form here presented is adapted from the game as played by the Omaha, Otoe,
+Ponca and Pawnee tribes, among whom it is a favorite.
+
+_Properties_.--A standard, or the camp flagstaff can be used; a blanket or
+rug; three official scarfs, one blue, one green, one white; two wands, one
+decorated with blue and the other with green; eight tally-rods, ornamented
+at one end with red tassels; two small balls of a light, soft material,
+hair or wool; a drum; six decorated drum-sticks; rosettes of blue and of
+green; strips of blue and green paper.
+
+[Illustration]
+
+_Directions_.--A fairly level open space large enough for a circle of from
+twenty to thirty feet in diameter is marked upon the ground, in the center
+of which the standard is planted. Directly west and on a line with the
+standard the blanket or rug is spread. In front of the rug and on a line
+with the standard the drum is set. At a little distance on each side of the
+drum the two wands are thrust in the ground, the one decorated with blue to
+the north, the one with green to the south. On the rug back of the drum the
+eight tally-rods are laid in a bunch, with the butts of the rods toward the
+east. At the butts of the rods are placed the two little balls.
+
+The players draw lots as to which side they are to belong. This is done by
+putting the green and blue strips of paper in a receptacle and each one
+drawing a strip. Those who draw blue belong to the north side; those who
+draw green, to the south side. Each player must then fasten a rosette, of
+the color of the side to which he or she belongs, on the shoulder; those
+who belong to the north side must put the blue rosette on the right
+shoulder, and those who belong to the south side must put the green rosette
+on the left shoulder.
+
+_Officers_.--Two Judges; a Custodian; two Guessers; six Singers.
+
+The players on the north side choose from among their number one who is to
+be their Judge; the players on the south side choose one for their Judge.
+It is the duty of the Judges to select the Custodian, the six Singers, the
+two Guessers; to preserve order, decide when there are disputes, and to
+lead in the opening ceremony.
+
+The Custodian has charge of all the properties, must place them as
+directed, move the drum from side to side, and at the close of the game
+gather all the articles required for the game and put them in a place of
+safe keeping for use at another time. The Custodian wears the official
+white scarf tied about the waist. This officer does not wear any rosette,
+as the Custodian does not belong to either side but to all who take part in
+the game.
+
+The Judge on the north side must wear the blue official scarf. This is
+crossed over the breast from the right shoulder, on which is the blue
+rosette, to the waist on the left side, where it is tied. The Judge on the
+south side wears the green official scarf. This is crossed over the breast
+from the left shoulder, where is the green rosette, to the waist at the
+right side, where it is tied.
+
+The six Singers, three for each side, sit in an open group on the ground
+near the ends of the rug, those wearing blue rosettes on the north and
+those wearing green rosettes on the south side. The players take their
+seats on the ground on the line of the circle, those wearing blue rosettes
+on the north half, those wearing green rosettes on the south half of the
+circle.
+
+When all are in their places the Custodian leads the two Judges to the rug,
+on which they are to sit a little back of the wands--blue to the North,
+green to the South. The Custodian then takes up the tally-rods, gives four
+to each of the Judges and retires to stand back of the rug, behind the
+Judges, ready for duty.
+
+Up to this moment laughing and talking goes on among the players, but as
+the Custodian divides the tally-rods and hands them to the Judges instant
+silence falls on all present.
+
+THE OPENING CEREMONY
+
+The two Judges rise in their places. The north side Judge holds the four
+tally-rods in his right hand, the south side Judge holds the four
+tally-rods in his left hand; the two then walk abreast to the standard.
+There they face the North, move forward a few steps, pause, and each Judge
+holds up his tally-rods to the North, while all the players on both sides
+of the circle sing the following song:
+
+Song
+
+1
+
+  Hail! O North! Thy wind send
+    To blow care away,
+    To bring joy to-day;
+      Makes Eyes keen,
+  Make Hands swift for play.
+
+[Music]
+
+At the close of the stanza the two Judges lower their tally-rods, turn,
+walk toward the East, pause, then elevate their tally-rods, and all the
+players sing the second stanza.
+
+2
+
+  Hail! O East! Thy wind send
+    To blow care away,
+    To bring joy to-day;
+      Makes Eyes keen,
+  Make Hands swift for play.
+
+At the close of the stanza the two Judges lower their tally-rods, turn,
+walk toward the South, pause, again elevate their tally-rods, while all the
+players sing the third stanza.
+
+3
+
+  Hail! O South! Thy wind send
+    To blow care away,
+    To bring joy to-day;
+      Make Eyes keen,
+  Make Hands swift for play.
+
+At the close of this stanza the two Judges lower their tally-rods, turn,
+walk toward the West, pause, once more elevate their tally-rods, and all
+the players join in singing the fourth stanza.
+
+4
+
+  Hail! O West! Thy wind send
+    To blow care away,
+    To bring joy to-day;
+      Make Eyes keen,
+  Make Hands swift for play.
+
+At the close of the song the Judges lower their tally-rods and walk to the
+rug, where they take their appointed seats behind the respective wands.
+They then lay all the tally-rods on the space between them.
+
+
+THE CONTEST
+
+A contest now takes place between the two persons chosen by the Judges to
+be the two Guessers, one for each side, to decide which shall begin the
+game. The Judge for the north side calls the name of the person chosen to
+be the Guesser for that side and the Custodian escorts him to his place
+within the circle. The Judge for the south side calls the name of the
+person chosen to be Guesser for that side, and the Custodian escorts him to
+his place within the circle. The Custodian then gives to each the wand
+belonging to his side and also one of the small balls.
+
+The Guesser from the north side hides his ball in one of his hands,
+shifting it behind his back, then he holds out both hands in front of him
+with all the fingers closed except the index finger, which is extended as
+if pointing to the other Guesser. Both hands and forearms must be
+rhythmically moved up and down. The south side Guesser watches for a moment
+and then points with his wand to the hand he thinks has the ball. As soon
+as he points to a hand, it must be immediately opened, palm upward. Should
+the ball be in the other hand, it must be shown to be lying there. If the
+guess was correct, the ball being in the hand pointed at, it counts one.
+Three correct guesses must be made by one of the Guessers in order to
+secure for his side the right to open the game. In this contest the
+Guessers must alternate, first the north side Guesser, then the south side
+Guesser, and so on until one of the Guessers has won three correct guesses.
+That decides it. His side is to hide the ball and the other side's Guesser
+is to do the guessing.
+
+THE GAME
+
+The Custodian takes the drum from its position in front of the rug, carries
+it to the side of the successful Guesser and sets it before the three
+Singers who are to lead in the singing of the song belonging to that side
+of the circle of players. Every one on that side must sing the song as they
+hide the balls. Only those on the side that is hiding the balls sing. They
+can only sing the song that belongs to their side.
+
+SONG FOR THE NORTH SIDE
+
+[Music]
+
+SONG FOR THE SOUTH SIDE
+
+[Music]
+
+There are no words for either of these songs. The vocables given are those
+used with these songs when the Indians sing them as they hide the balls.
+
+The Custodian takes the two balls from the Guessers and hands them to two
+persons designated by the Guesser who has won the right for that side to
+begin. The two persons designated must be two who are sitting together.
+They each take a ball, and they must hide the balls in the same manner as
+did the Guessers during the contest. The fingers of the hands are closed,
+all but the index finger, which is extended as if pointing. The hands and
+arms move up and down and also from one side to the other; all of these
+movements must be in exact time to the song and the drum-beats. These
+swaying, rhythmic movements are pleasing to the eye and add to the
+enjoyment of the game. While the two persons having the balls are hiding
+them, swaying their hands and arms, the Guesser, who is of the opposite
+side, is watching intently the hands of the players. When he is ready to
+make a guess he points his wand to where he thinks the balls are--directly
+in front, if he suspects the balls to be in the two inside hands. If he
+thinks the balls are in the two outside hands, he points his wand to one of
+the hands and extends his empty hand toward the other; in that case the
+Guesser stands with both of his arms extended. As soon as the Guesser
+points with his wand, the hands indicated must be at once opened, palms
+upward, so that all can see whether the guess is right or wrong.
+
+Every correct guess counts one for the side of the Guesser. As soon as a
+correct guess is made, the Judge for that side takes up one of the
+tally-rods and lays it toward his side; this shows that a point has been
+won for that side. If the guess is wrong, the Judge for the other side
+takes up one of the tally-rods and lays it over on his side. The other side
+has lost one, while his side has gained by the other's loss.
+
+To win a sweep, all the eight tally-rods must be gained by one side. Three
+sweeps by a side gives that side the game.
+
+Whenever a sweep is made the balls are handed over to the Custodian. The
+two Judges rise, go to the standard, stand there, one facing North (his
+side), the other the South (his side). The two Guessers go to the standard,
+stand there, one facing East, the other West. All the winning side rise, go
+toward the standard and form a circle around it. There they sing the
+Victory Song.
+
+VICTORY SONG
+
+[Music]
+
+As they sing they sway their arms as though hiding the balls, and dance to
+the rhythm of the song. Four times they dance around the standard and sing
+the Victory Song. All movements must be in time with the song. At the close
+of the fourth circuit of the standard, all return to their appointed places
+and the game is resumed.
+
+The Custodian takes up the drum, carries it to the side that has just
+danced and sets it before the three Singers of that side. The Guesser, who
+is of the opposite side, designates the two who are to hide the balls and
+the game proceeds as described above.
+
+Whenever a side that has been hiding the balls fails three times to elude
+the Guesser, then the Custodian takes the drum from that side and carries
+it to the other side of the circle, puts it before the Singers and gives
+the balls as directed. Sometimes there are disputes as to these transfers
+and as to the points lost; three must be lost to secure a transfer. It then
+becomes the duty of the Judges to decide.
+
+With every transfer of the drum the song changes. The balls and the right
+to sing go together, but the song belonging to one side must not be sung by
+the other side. The songs are not interchangeable.
+
+This game is provocative of fun and merriment as well as dexterity of hand
+and quickness of vision. It also presents a very pretty spectacle. It is
+greatly enjoyed by Indian men, women and children. It has also found favor
+with merrymakers of our own race.
+
+
+
+Ball Games
+
+INTRODUCTION
+
+Indian ball games have one feature not found in the ball games as played by
+us; that is, with the Indian the ball is never pitched and tossed by hand
+during the play. At the opening of an Indian game the ball must be tossed
+by hand, but after that the ball is struck by a racket, stick or club and
+in that way sent from player to player and on to the goal. An exception to
+this general rule is found in an Omaha ball game given in the following
+pages.
+
+The opening ceremony requires the ball to be handled and moved in a
+peculiar and ceremonial manner by the hand of the Umpire before he tosses
+it up for the beginning of the actual play.
+
+The balls used by the Indians are of different materials--buckskin stuffed
+with hair; formed from roots, such as the wild-grape vine; wood; bladder
+netted with sinew; and in a few instances, of bone or stone.
+
+Three ball games are here given.
+
+
+I
+
+BALL AND RACKET
+
+
+INTRODUCTORY NOTE.--The game in which the ball is struck with a racket is
+almost exclusively played by men, but there are tribes where it is played
+by women, and one tribe, cited by Dr. Culin, where it is played by men and
+women together. The form of ball game where the racket is used was less
+widely distributed over the country than some others. It was most
+frequently found among tribes living near the Atlantic Coast and in the
+region of the Great Lakes. It had a limited range on the Pacific. There are
+two forms of the Racket Ball Game, one where a single racket is used and
+the other where two rackets are employed to catch the ball. The latter form
+is peculiar to the tribes formerly living in the Southern States. The game
+here given is presented as it is played among the Chippewa tribes dwelling
+in Minnesota.
+
+_Properties_.--A ball, not too hard and the size usually employed for
+cricket. As many rackets as there are players. Red and yellow head-bands
+equally divided as to number and enough for all the players.
+
+_Directions_.--The field should be as large as the camp ground will permit.
+At the extreme East of the field a tall pole should be set as a goal and a
+like pole at the West for the other goal. To the pole at the East a red
+streamer should be tied and a yellow streamer to the pole at the West.
+These poles should be practically in line and as distant from each other as
+it is conveniently possible to set them. The rackets should be made in
+camp. A racket can be made from a sapling cut at such length that when the
+racket is completed it will be 26 inches long. One end of the sapling is
+whittled fiat on one side for a sufficient length to be bent round to the
+shaft or handle so as to form the rim of the circular receptacle which is
+to receive the ball. Sometimes both sides of this bent portion of the
+sapling are made flat. The end of this flat end where it curls round upon
+the shaft or handle must be bound firmly to the shaft with thongs or heavy
+twine. Holes are sometimes bored through the rim and the thongs or twine
+are passed through them and woven into a loose netting to form a bottom to
+the coiled end, making a shallow cup-shaped receptacle in which to catch or
+hold the ball. The rackets are not difficult to make. Each lad should make
+his own racket and mark the stem with some device by which he can identify
+it should he drop it during the play. Care should be taken when making the
+racket to have the cup-shaped receptacle at the end of the shaft of such
+size as to hold the ball without its rolling about, in which case it would
+be easily dropped when being carried on a run; yet it must be large enough
+to catch and hold the ball as it is flying about. The players should be
+divided into two parties by casting lots. Those who belong to the east goal
+should wear red head-bands; those who have the west goal should wear yellow
+head-bands. An Umpire must be selected. The ball must strike one of the
+goal posts to make a point; the number of points that shall constitute the
+game should be agreed upon. Two players, one from each side, stand near
+each goal. One helps the ball for his side; the other hinders the ball when
+near the goal by tossing it back into the field again so that his side may
+catch it.
+
+THE GAME
+
+The four players stand at their posts beside the two goals; all the others
+gather in the field. The Umpire takes the ball and goes to a place as near
+the center of the field as possible. All being in readiness, he throws the
+ball with force straight up in the air. Every player watches the ball and
+makes ready to try and catch it in his racket when it descends. If one
+succeeds in catching the ball, he runs at full speed toward his goal,
+holding his racket so that the ball will not fall out. The other players
+rush after him, trying to strike his racket and dislodge the ball. If he is
+hard pressed he may try to toss the ball to a player on his side who has a
+clearer space; if the ball is caught by the player to whom it was sent,
+then all the players turn upon the new holder of the ball and try to block
+his progress. In this game care must be taken never to strike the arm or
+body of a player; only the racket should be struck. There is danger of
+receiving injuries if this rule is not strictly observed.
+
+Perhaps one of the most difficult feats in this game is when a player has
+brought his ball near to the goal to so turn his racket while it holds the
+ball as to send the ball with such force that it will strike the post
+squarely and not miss the goal. The difficulty is owing to the horizontal
+position of the racket when holding the ball. Of course, the keenest
+playing is about the goal, where the guard of the side opposite to the
+player does his best to catch the ball on its way to the post and send it
+back into the field.
+
+The ball should not be allowed to touch the ground from the time the Umpire
+throws it into the air until it falls at the pole after a point has been
+made by the ball striking the post. It is the duty of the Umpire to go to
+the pole, mark the score, return with the ball to the center of the field,
+where he again sends it up into the air, and the game starts afresh for a
+second point to be made.
+
+This game is good sport; it develops and requires skill, agility and
+strength.
+
+
+
+II
+
+TA-BÉ
+
+
+INTRODUCTORY NOTE.--This ball game was known to a number of tribes that
+formerly lived on the prairies, and called by different names. The game as
+here given is as it was played among the Omaha. The opening of the game was
+ceremonial. The person who performed the opening ceremony had to belong to
+the tribal group that had charge of the rites pertaining to the Wind, for
+the figure outlined on the ground by the movements of the ball in the
+opening ceremony was one of the symbols of the Wind. The Wind when spoken
+of ceremonially was called the Four Winds, one for each of the four points
+of the compass. These Four Winds were regarded as the messengers of the
+Giver of Life, known as Wakon'da by the Omaha and kindred tribes. The
+recognition of man's connection with the forces of Nature did not disturb
+the pleasure of the Indian when entering upon a game; on the contrary, it
+tended to enhance his happiness by bringing to his mind his dependence upon
+Wakon'da, together with the feeling of being in accord with the power
+represented by the Wind.
+
+_Properties_.--A ball about three or four inches in diameter; the Omaha and
+kindred tribes made the ball out of the root of the wild-grape vine. As
+many sticks as there are players, the sticks to be about three feet long
+and crooked over at one end. Each stick should be marked by some design
+invented by its owner, so that each player can identify his stick.
+
+[Illustration: DIAGRAM OF THE TA-BE
+
+1    Circle showing lines made by the ball
+
+2    Goals
+
+3    Guardians
+
+4    Players at the opening of the game]
+
+_Directions_.--A wide open field is best for this game. Two goals, one at
+the East, the other at the West. The goals are each made by two posts with
+a cross piece on top. The path of the ball is East and West.
+
+The officers of the game are: an Umpire, four Guardians of the Path. Two of
+the Guardians of the Path stand at the eastern goal and two at the western
+goal. The two Guardians at a goal represent the two sides; one wears a
+yellow streamer or badge, the color of the West; the other wears a red
+streamer or badge, the color of the East. A red streamer is tied to the
+goal at the East and a yellow streamer to the goal at the West. It is the
+duty of the one who wears the color of the goal by which he stands to try
+and help the ball through the goal when it comes in that direction, and it
+is the duty of the one who wears the color of the opposite goal to prevent
+the ball from going through and to send it back into the field or toward
+the other goal.
+
+The players on the two sides are chosen in the following manner: The person
+who is to act as Umpire and to perform the opening ceremony must sit in a
+circle drawn on the ground, about six feet in diameter, and face either the
+North or the South. All the sticks are placed before him in a bunch. He is
+then blindfolded. After that he picks up a stick with each hand and lays
+down the stick that he has in his right hand on his left side, the stick
+that he has in his left hand he lays down on his right side. When he has
+finished dividing the sticks in this manner they are in two bunches, one
+toward the East and the other toward the West. The blindfold is then
+removed. When that is done, all the players run to the two heaps and each
+takes his own stick, recognizing it by the design marked or cut upon the
+stick. All those whose sticks were in the pile to the East must tie on a
+badge or streamer the color of the East, red. All those whose sticks were
+in the bunch toward the West must tie on the color of the West, yellow.
+
+All the players must now stand in two lines. One line starts from the
+circle and extends directly toward the goal at the East; all in this line
+must be only those whose sticks were in the east pile and who have on the
+color of the East, red. The other line starts from the circle and stretches
+out toward the west goal, and is composed of those whose sticks were in the
+west pile and who have on the color of the West, yellow. The four Guardians
+of the Path take their places. The Umpire wears no color. All being in
+readiness, the Umpire advances to the middle of the circle.
+
+THE OPENING CEREMONY
+
+The Umpire places the ball in the exact center of the circle, then he
+gently urges it with his stick in a line toward the North until it reaches
+the edge of the circle. There he picks it up and puts it back in the center
+of the circle. Again he gently pushes it with his stick along a line toward
+the South until the edge of the circle is reached, when he returns the ball
+to the center of the circle with his hand. In the same manner as before he
+sends the ball slowly along a line to the West. When the edge of the circle
+is reached he picks up the ball and returns it to the center. Once more the
+ball is moved in a line, this time to the East; when it touches the line of
+the circle it is picked up as before and placed in the center of the
+circle. The symbolic figure that has thus been made is that of a circle
+within which two straight lines cross each other at right angles; the
+circle is divided into four quarters, one for each of the Four Winds.
+
+THE GAME
+
+Every player now stands at attention, with his stick ready for action. The
+Umpire pauses a moment at the center of the circle, then he picks up the
+ball lying there and throws it into the air as high as he can. All the
+players, who have watched the throw, run in the direction where the ball
+seems likely to descend, in order to have a chance to strike it toward one
+of the goals.
+
+To win the game the ball must be sent through a goal; to strike it so that
+it goes over or around the goal does not count. The ball must be made to
+take a straight line, to "make a straight path" through a goal, then the
+game is won. When a good shot is made, all on the side of the one who made
+the stroke should send up a shout. When the goal is won the winning side
+should give the victory cry of the game, "Ta-bé!"
+
+
+
+III
+
+DOUBLE-BALL GAME
+
+
+INTRODUCTORY NOTE.--Some stories credit the Moon as the giver of this game
+to the women, by whom it is exclusively played throughout the United States
+except among the tribes in Northern California, where the men use the game.
+There are indications that the Double-ball Game was known upon this
+continent in the remote past.
+
+The peculiar ball employed for this game is composed of two small stuffed
+pouches connected by a band, or two billets of wood about five inches long,
+made like thick pegs with heads and ornamented on all sides with carvings;
+a leather thong five to eight inches long is attached at each end to the
+neck of each of the two billets. Dr. Culin reports an ingenious specimen
+made by the Maricopa Indians of Arizona; that double-ball is made from
+narrow strips of leather braided to form a band, each end of which is
+enlarged by braiding so as to make a ball, the finished article being about
+eight inches in length. (Ibid., p.665, Fig. 882.)
+
+_Properties_.--One double-ball; as many sticks as players; red and yellow
+head-bands, equal in number, for the two sides of players.
+
+_Directions_.--The double-ball should be made in camp in the following
+manner: A strip of leather or of strong, closely woven brown cloth from
+fifteen to twenty inches long. For six inches from both ends the strip
+should be about seven inches wide; the portion of the strip between these
+wide ends should be about three inches wide. The wide ends are to form the
+pouches, and the narrower middle section the band to connect the two
+pouches. The two edges of the strip should be lapped and strongly sewed the
+entire length of the strip, except a small opening about an inch long left
+on the side of each of the pouches. Through this opening the pouches are
+filled with dry sand, then the edges are securely sewed together so that no
+sand can escape. These pouches are the "balls." The sides of the pouches
+should be decorated with designs painted in bright colors and a little tuft
+or tassel of red yarn fastened at the middle of the bottom of the pouch.
+The sticks should be about thirty-two inches long, not too heavy and
+somewhat pointed at one end that is slightly curved. Each stick should be
+marked by an individual device so that it can be claimed by its owner.
+
+Two wickets, made by crotched poles about five and a half to six feet high,
+having a bar fastened across the top, are placed in line with each other,
+one at the East, the other at the West, and as far apart as the limits of
+the camp grounds will permit. A red streamer to be tied to the eastern
+wicket and a yellow streamer to the western wicket.
+
+The players are divided into two parties of equal numbers and lots should
+be drawn to decide which side shall have the eastern goal, and all of that
+side must wear red head-bands; the other side must wear yellow head-bands
+to show that theirs is the western goal.
+
+An Umpire must be chosen, to whom belongs the duty of tossing the ball when
+necessary; to keep the score, and to settle any disputes.
+
+To make a point the ball must be tossed so as to hang on the crossbar of
+the wicket. An agreement must be made as to how many points shall
+constitute the game.
+
+THE GAME
+
+The players stand in two rows about fifteen to twenty feet apart, one color
+on one side, the other color opposite. The Umpire takes a place between the
+two lines and as near as possible to the middle of the rows. When all are
+in readiness the double-ball is tossed by the Umpire straight up into the
+air, and all those whose places are near the middle of the rows watch the
+descent of the "ball" and try to catch on their sticks the connecting cord
+of the double-ball. If one succeeds, she tries to send it down the line
+toward the goal of her side; those of the opposite side try to prevent
+success to this movement and to send the "ball" in the other direction. The
+"ball" should not be allowed to touch the ground from the time it is tossed
+until it is lodged on the wicket. The side that lets the "ball" fall to the
+ground loses a count, and the side that keeps the "ball" up until it
+reaches the goal scores two points, equal to four counts.
+
+
+HOOP AND JAVELIN
+
+INTRODUCTORY NOTE.--This game was widely known and played among the various
+tribes dwelling within the territory now occupied by the United States. In
+its passage from one tribe to another the game became modified into several
+types, but the fundamental character was not changed, so that all these
+types are, in a sense, a unit. The game is very old upon this land; the
+articles used in playing it have been found in ancient graves, in the cliff
+dwellings of the Southwest and in various ruins scattered over the country.
+
+Among the Pueblo tribes the articles used in types of this game appear
+among the paraphernalia on altars prepared for certain ceremonies. From a
+study of these ceremonies in connection with the myths of the people it
+seems probable that the hoop used in this game represents the shield of the
+War God. When the hoop has a netting that fills the center and covers the
+edges, the netting simulates the magic web of the Spider Woman, a person
+that frequently figures in the myths and stories of different tribes. Her
+web generally serves as a protection furnished by her in a conflict.
+
+The netted hoop appears as a decoration upon the interior of pottery bowls
+formerly made by the Indians of the Southwest. In some of these bowls the
+netting is dotted with spots. Dr. Culin regards this particular design "as
+representing the spider web with the dew upon it," and adds: "The 'water
+shield' [of one of the Zuñi War Gods], from which he shook the torrents,
+was suggested, no doubt, by dew on the web." (Ibid., p.425.) To one
+unfamiliar with the Indian's habit of mind it may seem strained to connect
+the beads of dew on a spider's web with the torrential rain, but to one
+familiar with native thought as expressed in myths where the Indian has
+dramatized his conceptions of nature and of natural forces and phenomena,
+the connection ceases to be strange.
+
+On the Pueblo altars the netted shield is always associated with arrows,
+bows or darts. In the various types of this game the arrows, darts, bows,
+javelins and lances that are associated with the hoop are interchangeable,
+some tribes using one and other tribes another. Under all the varied types
+with their different forms as found among scattered and unrelated tribes
+the game holds to its original significance, primarily religious in
+character, being an appeal for the protection and the perpetuity of life.
+
+Only two articles are required for this game, the hoop and the javelin. In
+one type the hoop is covered with a netting more or less closely and
+elaborately woven. In all the netted designs it is usually possible to
+trace a figure as of a path crossing at right angles in the center of the
+space within the hoop and ending at four equidistant points on the edge of
+the hoop. This path indicates the path of the Four Winds, which stand with
+their life-giving power at the four directions, the North, East, South and
+West. In some localities the netting of the hoop is made from the yucca, in
+other places corn husks are used. With the closely netted hoop arrows are
+apt to be found. Some of these have as the shaft a corn cob with a stick
+about eighteen inches long thrust through the cob, sharpened at the lower
+end and a tuft of feathers tied to the upper end; this feathered stick is a
+prayer-stick such as is offered at a shrine.
+
+In another type of the game the hoop is of stone; the lance is associated
+with this kind of hoop.
+
+There are a variety of nettings for the hoop and much diversity in the
+style of arrows, darts and javelins used in the game.
+
+The simplest is chosen to be here presented, for the reason that both the
+articles used in the game should be made in the camp where it is to be
+played. The hoop and javelins were always made by the youths who joined in
+the sport, and the making of hoop and javelin was part of the fun.
+
+[Illustration: HOOP AND JAVELIN]
+
+_Properties_.--A hoop and two javelins.
+
+The hoop is made in the following manner: A piece of rope, not of a heavy
+kind, about sixteen inches long will give the foundation for a hoop about
+four inches in diameter. The two ends should be spliced together so as to
+leave the edge of the hoop even. The ring of rope is wound with a strip of
+leather or cloth in order to give the hoop such a surface that it can roll
+and yet be flexible and light.
+
+The javelin is made of three parts, the shaft and the two barbs. The shaft
+is of wood, four feet long, round and smooth. An inch from one end a
+section three inches long is cut into both sides of the shaft a quarter of
+an inch deep, and the bottom and sides made smooth. The barbs are formed
+from two small branches cut from a tree or shrub so as to preserve three
+inches of the stem from which the branch forks; the branch is cut so as to
+be five inches long and is made flat on the inner side. The stem is made
+flat on both sides; a flange is made on the outer side. Several pieces of
+leather are cut, a quarter of an inch wide and an inch long; these are
+bound for half their length to the inner and flat side of the branch so as
+to leave the ends free, which are bent up and stand like teeth along the
+barb. The stems of the barbs are now fitted into the sections cut on both
+sides of the shaft so that the barbs point backward on each side of the
+shaft, and are firmly bound in place on the shaft. About three inches from
+the other end of the shaft a band is cut around the shaft but not very
+deeply. The two javelins are made as nearly alike as possible in justice to
+the players.
+
+_Directions_.--A level course from North to South and from fifty to one
+hundred feet long. Four players; two stand at the north end of the course
+and two at the south end. The one whose place is toward the East on the
+north and the one who stands toward the East on the south end are partners.
+Both of these players should wear a red band about the head, as red is the
+color of the East. The two players who stand toward the West at the two
+ends are partners, and these should wear yellow bands about their heads,
+yellow being the color of the West. The opponents in the game, therefore,
+stand side by side. Partners cannot help each other in the playing, but
+both players count for their side all the points they make.
+
+The javelin is grasped by the middle, the barbed end toward the back, and
+the plain rounded end is shot toward the hoop.
+
+The number of points that will constitute the game should be decided upon
+before beginning the game. Ten is the usual number among the Indians. Lots
+should be drawn as to which of the four players should be the first to
+throw the hoop. The one who draws the hoop then takes one of the javelins,
+and the player whose place is beside him takes the other javelin.
+
+THE GAME
+
+At a signal, the players with the javelins and the hoop start on a run
+along the course; the one with the hoop throws it a little upward with all
+his force and both players watch the course of the hoop, having their
+javelins ready to hurl at the hoop the instant they think they can reach
+it. If the javelin passes through the hoop and stops it so that it falls on
+the shaft below the band that was cut thereon, that throw counts two. If
+the hoop is caught on one of the barbs, that counts one. If the shaft goes
+entirely through the hoop so that it does not fall on the javelin, that
+counts nothing. If both javelins catch on the hoop, that is a draw and
+neither player can count the point made. If on this run and throwing of the
+hoop and javelins neither of the players scores a count, the player at the
+other end who is the partner of the one who threw the hoop now takes the
+hoop to throw it. He and his opponent who stands beside him now start on a
+run; the hoop is thrown and the javelins hurled as before. In this way the
+players at the ends of the course alternate in throwing the hoop North or
+South, but the right to throw the hoop belongs to the player who makes the
+best point. The hoop thus passes from the east or west players according to
+the points made.
+
+The game is an athletic sport, and much skill can be developed in the
+throwing of the javelins and also in the tossing of the hoop so as to
+prevent scoring by the opponent.
+
+If the grounds are large enough, there is nothing to prevent having two
+courses and two games going on at the same time.
+
+FOLLOW MY LEADER
+
+This game is widely played among the Indian tribes, particularly by the
+boys, and also by the girls. The Leader improvises the steps and the
+movements, which all who follow must repeat and keep time to the song. The
+song here given is traditional in the Omaha tribe. It has been handed down
+from one generation of young folk to another--for how many, "nobody knows."
+
+THE GAME
+
+A Leader is chosen, and all who join in the game must go where he goes,
+dance as he dances, move the arms, hands and feet as he does. The skipping
+and dancing must be in exact time with the song that all must sing. The
+game gives opportunity for fancy steps, winding, intricate figures,
+"cutting capers" and merry pranks.
+
+Song
+
+  Follow my Leader where'er he goes;
+  What he'll do next, nobody knows.
+
+[Music]
+
+
+
+PART III
+
+INDIAN NAMES
+
+
+
+INDIAN NAMES
+
+
+INTRODUCTION.--Among the Indian tribes of the United States all personal
+names have a definite significance. Although there are diversities in the
+customs relating to names among the various tribes, yet, looking at these
+as a whole, personal names are observed to fall generally into two classes:
+First, those which refer to sacred rites; second, those which commemorate a
+personal achievement.
+
+An Indian tribe is composed of a number of kinship groups or clans. To each
+one of these, speaking generally, belongs the hereditary duty of performing
+a certain rite and also the care of the sacred objects connected with that
+rite. Each kinship group or clan has a set of personal names, all of which
+refer to the rite peculiar to the clan, or to the sacred objects or to the
+symbols connected with the rite, and one of these names is given to each
+person born within the clan. Names of this class are generally retained by
+men and women throughout life and, to a degree, are regarded as sacred in
+character. These names have also a social significance, as they always
+indicate the birth status of the person, for the name at once shows to
+which clan or kinship group the bearer belongs. No one can exchange his
+clan or birth name, any more than he can change his sex.
+
+The names that belong to the second class are those which are taken by an
+adult to mark an achievement. This must be an act in which he has shown
+special ability or courage in successfully defending his people from
+danger. Such a name, therefore, marks an epoch in a man's life and is
+strictly personal to the man, and, to a degree, indicative of his character
+or attainments. It sometimes happens, although but rarely, that a man on
+such an occasion may decide to take the name of a noted ancestor rather
+than acquire an entirely new name, but the character of the act of taking a
+new name is not thereby changed.
+
+These facts concerning the significance of Indian personal names throw
+light on the widespread custom observed among Indians of never addressing
+men or women by their personal names or of using those names in their
+presence. To do so is a breach of good manners. The personal name, as has
+been shown, refers either to the religious rites sacred to the bearer's
+clan or else to a notable act performed by the man; in both cases the name
+stands for something that is too closely connected with the life of the
+individual to make it fit for common use. The difficulty of designating a
+person one wishes to address is met by the use of terms of relationship. Of
+course, in some companies these terms would be literally true and proper,
+but there are terms which are used in a wider sense and which do not imply
+actual kinship. (The subject of Indian relationships and their terms is too
+complex to be entered upon here.) There are terms which are employed merely
+to indicate respect. For instance, "Grandfather" is used when addressing or
+speaking of the President of the United States; "Little Father" and
+"Father" when addressing or speaking of the Secretary of the Interior and
+the Commissioner of Indian Affairs, both of whom rank below the President,
+as is well known to the Indian. The use of terms of relationship may appear
+strange to us, but there is, as we have seen, a reason for it. This reason
+also explains why a child or an adult generally stands mute when we address
+him by his personal name or ask him what his name is; his silence is not to
+be attributed to "Indian stolidity," which we ignorantly regard as a marked
+characteristic of the race.
+
+The bestowal of a name, whether the name is of the first or of the second
+class already described, was always attended with ceremonies. These
+differed among the many tribes of the United States, particularly in their
+details, but fundamentally they had much in common.
+
+
+
+PRESENTING THE CHILD TO THE COSMOS
+
+Among the Omaha a ceremony was observed shortly after the birth of a child
+that on broad lines reflects a general belief among the Indians.
+
+In the introductory chapter of this book the Indian's feeling of
+unquestioning unity with nature is mentioned. The following Omaha ceremony
+and ritual furnish direct testimony to the profundity of this feeling. Its
+expression greets him at his birth and is iterated at every important
+experience throughout his life.
+
+When an Omaha child is born the parents send to the clan that has charge of
+the rite of introducing the child to the Cosmos. The priest thus summoned
+comes to the tent wherein the infant lies and takes his stand just outside
+the door, facing the East. He raises his right hand, palm outward, to the
+sky, and in a clear ringing voice intones the following ritual:
+
+  Ho! Ye Sun, Moon, Stars, all ye that move in the heavens,
+                  I bid you hear me!
+        Into your midst has come a new life;
+                  Consent ye, I implore!
+  Make its path smooth, that it may reach the brow of the first hill!
+
+  Ho! Ye Winds, Clouds, Rain, Mist, all ye that move in the air,
+                  I bid you hear me!
+        Into your midst has come a new life;
+                  Consent ye, I implore!
+  Make its path smooth, that it may reach the brow of the second hill!
+
+  Ho! Ye Hills, Valleys, Rivers, Lakes, Trees, Grasses, all ye of the earth,
+                  I bid you hear me!
+        Into your midst has come a new life;
+                  Consent ye, I implore!
+  Make its path smooth, that it may reach the brow of the third hill!
+
+  Ho! Ye Birds, great and small, that fly in the air;
+  Ho! Ye Animals, great and small, that dwell in the forests;
+  Ho! Ye Insects that creep among the grasses and burrow in the ground,
+                  I bid you hear me!
+        Into your midst has come a new life;
+                  Consent ye, I implore!
+  Make its path smooth, that it may reach the brow of the fourth hill!
+
+  Ho! All ye of the heavens, all ye of the air, all ye of the earth,
+                  I bid you hear me!
+        Into your midst has come a new life;
+        Consent ye, consent ye all, I implore!
+  Make its path smooth--then shall it travel beyond the four hills!
+
+
+In this manner the child, the "new life," was introduced to the Cosmos of
+which it was now a part. All the powers of the heavens and of the earth
+were invoked to render aid to the "new life" in its onward struggle over
+the rugged path that traverses the four hills of life, typifying Infancy,
+Youth, Maturity and Old Age.
+
+An infant was merely a "new life," it was wholly dependent upon others; no
+name was given it (only endearing terms were used), for the reason that a
+name implies either a sacred responsibility or a personal achievement,
+neither of which was possible to an infant. When, however, the child could
+go about alone, generally at three or four years of age, the time had
+arrived when it must be given a tribal name, one belonging to the rites in
+charge of its birth group. By means of this ceremonial act the child was
+inducted by sacred rites into the tribe and became a recognized member.
+
+
+
+GIVING THE CHILD A NAME
+
+This ceremony, formerly practiced among the Omaha and cognate tribes, took
+place in the spring, "when the grass was up and the birds were singing." A
+tent was set apart and made sacred by the priest who had the hereditary
+right to perform the ceremony. As the occasion was one of tribal interest,
+many people flocked to the scene of the rite.
+
+A large stone was brought and placed on the east side of the fire that was
+burning in the center of the space inside the tent. When everything was
+ready the old priest stood at the door awaiting the arrival of the child.
+Then all the mothers who had children of the proper age wended their way to
+this tent, each one leading her little child, who carried in its hands a
+new pair of moccasins. As the two reached the tent the mother addressed the
+priest, saying: "Venerable man, I desire my child to wear moccasins." (This
+was a symbolic form of expression.) "I desire my child to walk long upon
+the earth, to be content with the light of many days. We seek your
+protection!" The priest made a formal reply and the little one, carrying
+its moccasins, entered the tent alone. After a few ritualistic phrases the
+priest accompanied the child to the fire place, where he and the child
+stood facing the East while the priest sang an invocation to the Four
+Winds. He bade them to come hither and stand in this place in four groups.
+
+At the close of this Ritual Song the priest lifted the child by the arms so
+that its little bare feet rested upon the stone, as it faced the South;
+then he lifted the child again by the arms and its feet rested on the
+stone, as it faced the West; again the child was lifted and its feet were
+upon the stone, as it faced the North; once more the priest lifted the
+child and its feet touched the stone, as it faced the East. Then the priest
+sang the following Ritual Song:
+
+  Turned by the Winds goes the one I send yonder,
+  Yonder he goes who is whirled by the Winds,
+  Goes where the four hills of life and the Four Winds are standing,
+  There into the midst of the Winds do I send him,
+  Into the midst of the Winds standing there!
+
+This song and the entire ceremony, which is spoken of as "Turning the
+child," are highly symbolic and cannot be fully explained at this time. The
+Winds are the messengers of the great invisible Wakon'da and bring the
+breath of life and strength to man. At the close of this song the priest
+put the new moccasins on the feet of the child and sang another Ritual Song
+which says:
+
+  Here unto you has been spoken the truth;
+  Because of this truth you shall stand.
+  Here declared is the truth;
+  Here in this place has been shown you the truth.
+  Therefore, arise! Go forth in its strength!
+
+As the priest sang the last line he set the child on its feet and made it
+take four steps toward the East; these steps are typical of its now
+entering into life. Then the priest led the child to the entrance of the
+tent, where he called aloud the tribal name of the child, then for the
+first time proclaimed, adding:
+
+"Ho! Ye Hills, ye Grass, ye Trees, ye creeping things, both great and
+small, I bid you hear! This child has thrown away its baby name! Ho!"
+
+All the children of the tribe passed through this ceremony and in this way
+received their sacred personal names, which were never dropped throughout
+their after-life, not even when a man took a new name.
+
+
+BESTOWING A NEW NAME
+
+The bestowal of a new name upon an adult generally took place at some
+tribal ceremony when all the people were gathered together. In this way as
+much publicity as possible was given to the act. Among the Pawnee tribe
+there were three requirements that had to be met in order to take a new
+name:
+
+First, a man could only take a new name after the performance of an act
+indicative of ability or strength of character;
+
+Second, the name had to be assumed openly in the presence of the people to
+whom the act it commemorated was known;
+
+Third, it was necessary that it should be announced in connection with such
+a ritual as that here given.
+
+These three requirements indicate (1) that a man's name stood for what he
+had shown himself to be by the light of his actions; (2) that this was
+recognized by his tribesmen, and (3) that it was proclaimed by one having
+charge of mediatory rites through which man can be approached by the
+supernatural.
+
+The old priest who gave the following ritual and explained it said: "A
+man's life is an onward movement. If one has within him a determined
+purpose and seeks the help of the powers, his life will climb up." Here he
+made a gesture indicating a line slanting upward; then he arrested the
+movement and, still holding his hand where he had stopped, went on to say:
+"As a man is climbing up, he does something that marks a place in his life
+where the powers have given him an opportunity to express in acts his
+peculiar endowments; so this place, this act, forms a stage in his career
+and he takes a new name to indicate that he is on a level different from
+that he occupied previously." He added: "Some men can rise only a little
+way, others live on a dead level." He illustrated his words by moving his
+hands horizontally. "Men having power to advance climb step by step." Again
+he made his meaning clear by outlining a flight of steps.
+
+The following ritual is recited on the occasion of taking a new name and is
+a dramatic poem in three parts. The first gives briefly the institution of
+the rite of changing one's name in consequence of a new achievement; the
+second shows how the man was enabled to accomplish this act. It begins with
+his lonely vigil and fast when he cried to the powers for help; the scene
+then shifts to the circle of the lesser powers, who, in council, deliberate
+on his petition which makes its way to them and finally wins their consent;
+then the winds summon the messengers and these, gathering at the command of
+the lesser powers, are sent to earth to the man crying in lonely places, to
+grant him his desire. This part closes with a few vivid words which set
+forth that only by the favor of the powers had the man been able to do the
+deed. The third part deals with the man's names--the one to be discarded
+and the one now to be assumed. The ritual is in rhythmic form, impossible
+to reproduce in English. The following rendition contains nothing which is
+not in the original text as explained and amplified by the priest.
+
+The ritual was intoned in a loud voice; the man who was to receive a new
+name stood before the priest where he could be seen by the entire assembly.
+
+
+RITUAL
+
+  Harken!   'Twas thus it came to pass:
+      In ancient days, a Leader and his men
+      Walked this wide earth, man's vast abode
+      Roofed by the heavens, where dwell the gods.
+      They reached a place the spot no man can tell,
+      Faced dangers dread and vanquished them;
+      Then, standing as if born anew to life,
+      Each warrior threw away the name
+      That had been his ere yet these deeds were done.
+
+  Harken!   The Leader and his men
+      Made there the Vict'ry song, and set the mark
+      Ye must o'ertake, if ye would be like them!
+
+  Harken!   The Leader and his men
+      Turned then toward home. Their Vict'ry song
+      Proclaimed them near; the village rose,
+      Looked toward the hill, where on the top
+      Stood the brave men, singing their song,
+      Heralding thus the favor of the gods
+      By which they had surpassed all former deeds--
+      Made new their claim to be accounted men.
+
+  Harken!   And whence, think ye, was borne
+      Unto these men courage to dare,
+      Strength to endure hardship and war?
+      Mark well my words, as I reveal
+      How the gods help man's feebleness.
+      The Leader of these warriors was a man
+      Given to prayer. Oft he went forth
+      Seeking a place no one could find.
+      There would he stand and lift his voice,
+      Fraught with desire that he might be
+      Invincible, a bulwark 'gainst all foes
+      Threat'ning his tribe, causing them fear.
+      Night-time and day this cry sped on,
+      Traveling far, seeking to reach--
+  Harken!   Those places far above,
+  Harken!   Within the circle vast
+      Where sit the gods watching o'er men.
+
+  Harken!   This poor man's prayer went on,
+      Speeding afar into the blue
+      Heavens above, reached there the place--
+  Harken!   Where dwell the lesser gods,
+  Harken!   And great Ti-ra'-wa, mightier than all!
+
+  Harken!   It was because a god
+      Received this prayer, considered it,
+      Favored its plea, and passed it on
+      To him whose place was next, in that grand ring,
+      Who in his turn received the prayer,
+          Considered it, and sent it on--
+  Harken!   Around that circle vast,
+  Harken!   Where sit the gods above.
+
+  Harken!   And thus it was the prayer
+      Sent by this man won the consent
+      Of all the gods. For each god in his place
+      Speaks out his thought, grants or rejects
+      Man's suppliant cry, asking for help;
+      But none can act until the Council grand
+      Comes to accord, thinks as one mind,
+      Has but one will all must obey.
+
+  Harken!   The Council gave consent;
+  Harken!   And great Ti-ra'-wa, mightier than all!
+
+  Harken!   To make their purpose known,
+      Succor and aid freely to give,
+      Heralds were called, called by the Winds.
+      Then in the West uprose the Clouds
+      Heavy and black, ladened with storm.
+      Slowly they climbed, dark'ning the skies,
+      While close on every side the Thunders marched
+      On their dread way, till all were come
+      To where the gods in stately council sat
+      Waiting for them. Then bade them go
+      Back to the earth, carrying aid
+      To him whose prayer had reached their circle vast.
+      This mandate given, the Thunders turned toward earth,
+      Taking their course slantwise the sky.
+
+  Harken!   Another followed hard--
+      Lightning broke forth out of the cloud,
+      Zigzag and dart, cleaving their way
+      Slantwise to earth, their goal to reach.
+
+  Harken!   For these two were not all
+      That hastened to proclaim the god's behest--
+      Swift on their wings Swallows in flocks
+      Swept in advance, ranging the path,
+      Black breasts and Red, Yellow and White,
+      Flying about, clearing the way
+      For those who bore the message of the gods
+      Granting the man courage to dare,
+      Strength to endure, power to stand
+      Invincible, a bulwark 'gainst all foes.
+
+  Harken!  'Twas thus it came to pass:
+      The Leader grasped the help sent by the gods;
+      Henceforth he walked steadfast and strong,
+      Leading his men through dangers drear,
+      Knowing that naught could strike at him
+      To whom the gods had promised victory.
+
+  Attend!   Once more I change his name.
+
+  Harken!   _Ri-ruts'-ka-tit_ it was
+      We used to call him by, a name he won
+      Long days ago, marking an act
+      Well done by him, but now passed by.
+
+  Harken!   To-day all men shall say--
+
+  Harken!   His act has lifted him
+      Where all his tribe behold a man
+      Clothed with new fame, strong in new strength
+      Gained by his deeds, blessed of the gods.
+  Harken!   _Sha-ku'-ru Wa'-ruk-ste_ shall he be called.
+
+
+TAKING AN INDIAN NAME IN CAMP
+
+In view of the significance of Indian personal names, and the dignity and
+reverence which in every instance surrounded the giving or the taking of a
+name, it hardly seems appropriate that Indian names should be assumed even
+for a short period without some regard being shown to the customs and
+thought of the people from whom the names are borrowed. While there should
+be no travesty of rites such as those that have been here described, rites
+that have been held sacred upon this continent for untold generations,
+still it would not be unseemly to hold to the spirit of those rites when we
+borrow these names during the camp days in which we seek to live close to
+the nature that the Indian loved so reverently and well.
+
+When it is decided among the members of the camp to take an Indian name, on
+the day of the ceremony all the camp should assemble early in the morning.
+When all have gathered, they should move toward a place where the sun can
+be seen when it rises over the lake, the hilltops or the woods. There all
+should pause.
+
+The candidate for the name should not wear any head-band. The boy or girl
+should stand well to the front of the group, all of whom should face the
+East. The entire company should then join in the following song:
+
+Song No. 1
+
+  Skies proclaim a new day! We joyfully meet,
+      We thankfully greet,
+  His[A] new name this day shall repeat.
+
+[Music]
+
+The Leader of the camp must then intone the following:
+
+  Hear! O Trees that gird our camp!
+  Listen, ye Birds that fly through the branches!
+  Harken, ye rippling waves on Stream and Lake!
+          Hear me!
+  Into your midst has come a friend,
+      He[A] bears a new Name!
+  Ye shall know him as ---- (name)
+
+[Footnote A: The pronoun should be changed according to the sex of the
+candidate.]
+
+The announcement of the name should be distinctly made so as to be clearly
+heard by the entire company. The head-band or other camp insignia should
+now be officially put on the candidate.
+
+All present should then join in singing the following song, clapping their
+hands as beats to the music as they skip back to breakfast and to the
+pleasures of the day:
+
+
+Song No. 2
+
+  Homeward we go, calling his[B] name;
+  New is the name now we proclaim;
+  No other change in our friend, he[B] is the same!
+
+[Footnote B: Change the pronoun to the proper sex.]
+
+[Music]
+
+2
+
+  Singing we go, way ha way ho!
+  Dancing also, way ha way ho!
+  No one more merry than we, way ha way ho!
+
+The second stanza should be repeated and the steps kept in rhythm until the
+dancers finally disperse.
+
+
+
+INDIAN NAMES FOR BOYS
+
+All vowels have the Continental sound
+
+The names here presented, for Boys, for Girls and for Camps, have been
+chosen out of many because the words are easily pronounced; none of them
+have any of the peculiar labial, nasal or guttural sounds common in the
+various Indian languages, which are difficult to represent by the letters
+of our alphabet and equally difficult for most Americans to pronounce.
+
+
+ 1. A-di'-ta           Priest                                  Omaha.
+ 2. An'-ge-da          From every direction                    Omaha.
+ 3. De'-mon-thin       Talks as he walks                       Ponca.
+ 4. E-di'-ton          Standing as a sacred object             Omaha.
+ 5. Ga-he'-ge          Chief                                   Omaha.
+ 6. Gu'-da-hi          "There he goes!" A coyote               Omaha.
+ 7. Ha'-nu-ga-hi       Nettle weed                             Ponca.
+ 8. He'-ba-zhu         Little horns                            Ponca.
+ 9. He'-ga             Buzzard                                 Omaha.
+10. He'-sha-be         Dark antlers                            Omaha.
+11. He'-thon-ton       Towering antlers (elk)                  Omaha.
+12. Ho-ho'             Fish                                    Omaha.
+13. Hon'-ga            Imperial eagle                          Osage.
+14. Hu'-ton-ton        Roar of thunder                         Omaha.
+15. I'-ku-ha-be        He who causes fear                      Ponca.
+16. I-shta'-pe-de      Fire eyes (lightning)                   Ponca.
+17. Ka-ge'-zhin-ga     Little brother                          Omaha.
+18. Ka-wa'-ha          Very old name, meaning lost             Omaha.
+19. Ka'-wa-sab-be      Black horse                             Osage.
+20. Ka'-wa-ska         White horse                             Osage.
+21. Ka'-wa-zi          Yellow horse                            Osage.
+22. Ke'-ton-ga         Great turtle                            Ponca.
+23. Ke'-zhin-ga        Little turtle                           Ponca.
+24. Ki'-ko-ton-ga      Curlew                                  Omaha.
+25. Ki'-mon-hon        Facing the wind                         Omaha.
+26. Ki'-wa-go          Male buffalo                            Pawnee.
+27. Ku'-ge             Sound of the drum                       Omaha.
+28. Ku'-rux            Bear                                    Pawnee.
+29. Ku'-sox            Left hand                               Pawnee.
+30. Le-sha'-ro         Chief                                   Pawnee.
+31. Mi'-da-in-ga       Playful sun                             Osage.
+32. Mi'-ka             Raccoon                                 Ponca.
+33. Mi'-ka-si          Coyote                                  Omaha.
+34. Min'-dse           Bow                                     Osage.
+35. Mon-chu'           Bear                                    Omaha.
+36. Mon-chu'-pa        Bear's head                             Omaha.
+37. Mon-e'-ga-he       Arrow chief                             Ponca.
+38. Mon-ge'-zi         Yellow breast                           Omaha.
+39. Mon-ka'-ta         He of the earth                         Ponca.
+40. Mon'-sa            Arrow shaft                             Osage.
+41. Mon'-te-ga         New arrows                              Osage.
+42. Ni-ni'-ba          Pipe                                    Omaha.
+43. Ni'-sho-sho        Swallow                                 Omaha.
+44. Non-ke'-ne         Graceful walker (deer)                  Omaha.
+45. Non'-nun-ge        Runner                                  Osage.
+46. Non'-pe-wa-the     He who is feared                        Omaha.
+47. Nu'-da-hun-ga      Captain                                 Omaha.
+48. O'-pa              Elk                                     Omaha.
+49. Pa-he'-ta-pe       Seeking the hills                       Omaha.
+50. Pa'-na-hoo         Owl                                     Omaha.
+51. Pa'-sun            American eagle                          Omaha.
+52. Pa-thon'           White-headed eagle                      Omaha.
+53. Pe'-de-ga-he       Fire chief                              Omaha.
+54. Pe'-num-ba         Seven                                   Ponca.
+55. Sha-ku'-ru         Sun                                     Pawnee.
+56. Sha-thu'           Sound of the water                      Ponca.
+57. Shon'-ge           Wolf                                    Omaha.
+58. Shon'-ge-sab-be    Black wolf                              Omaha.
+59. Shon'-ge-ska       White wolf                              Ponca.
+60. Shon'-ge-zi        Yellow wolf                             Ponca.
+61. Shon'-ton-ga       Grey wolf                               Ponca.
+62. Sho-sho'-ka        Osprey                                  Omaha.
+63. Shu'-ka-bi         Bunch of clouds                         Ponca.
+64. Ski'-rik           Grey wolf                               Pawnee.
+65. Ta-de'-ta          To the wind                             Omaha.
+66. Ta-de'-u-mon-thin  Walking in the wind                     Omaha.
+67. Te-thon'           White buffalo                           Omaha.
+68. The'-ha            Soles                                   Omaha.
+69. U'-ba-ni           Digging in the earth (little creatures) Omaha.
+70. U-ga'-e            Spread out (herd of buffalo)            Omaha.
+71. Wa-he'-he          Easy to break, fragile                  Omaha.
+72. Wa-ke'-de          One who shoots                          Omaha.
+73. Wa-po'-ga          Grey owl                                Omaha.
+74. Wa-shis'-ka        Shell                                   Omaha.
+75. Wash-kon'-hi       Power of the thunder                    Omaha.
+76. Wa-sho'-she        Brave                                   Omaha.
+77. Wa-thu'-he         Startles the game                       Omaha.
+78. Wa-zhin'-ska       Wisdom                                  Omaha.
+79. We'-kush-ton       One who gives feast frequently          Omaha.
+80. Wi'-a-go           Feather                                 Dakota.
+81. Zha'-be            Beaver                                  Omaha.
+
+INDIAN NAMES FOR GIRLS
+
+ 1. A'-bey             Leaf                                Omaha.
+ 2. A'-bey-tu          Green leaf                          Omaha.
+ 3. A'-bet-zi          Yellow leaf                         Omaha.
+ 4. A'-ka-wi           South wind                          Omaha.
+ 5. A-sin'-ka          Youngest daughter                   Osage.
+ 6. Chon'-ku-sha       Robin                               Dakota.
+ 7. Chon'-wa-pe        Leaf                                Dakota.
+ 8. Chon'-wa-pe-ska    Red leaf                            Dakota.
+ 9. Chon'-wa-pe-tu     Green leaf                          Dakota.
+10. Cho-xon'-zhe-da    Willow                              Dakota.
+11. Da'-a-bi           The visible sun                     Omaha.
+12. Don'-a-ma          The sun visible to all              Omaha.
+13. Ha'-ba-zhu-dse     Red corn                            Osage.
+14. Ha'-ba-zi          Yellow corn                         Osage.
+15. Ha'-ba-tu          Blue corn                           Osage.
+16. Ha'-ba-ska         White corn                          Osage.
+17. Hon'-ba-he         Dawn                                Dakota.
+18. I-shta'-sa-pa      Dark eyes                           Dakota.
+19. I'-ni-a-bi         Home builder                        Omaha.
+20. Ka-shi'-a-ka       Meadow lark                         Omaha.
+21. Mi'-a-kon-da       Sacred moon                         Omaha.
+22. Mi'-gi-na          Returning moon                      Omaha.
+23. Mi'-mi-te          Standing new moon                   Omaha.
+24. Mi'-na             Oldest daughter                     Osage.
+25. Mi'-pe             Good moon                           Omaha.
+26. Mi'-ta-in          Crescent moon                       Ponca.
+27. Mi'-the-be         Shadowy moon                        Ponca.
+28. Mi'-ton-e          New moon                            Omaha.
+29. Mi'-wa-thon        White moon                          Omaha.
+30. Ni'-da-wi          Fairy girl                          Omaha.
+31. Pa'-zi             Yellow head (bird)                  Ponca.
+32. Pa'-ha-zi          Yellow hair (young animal)          Ponca.
+33. Raw-ska'           Anemone                             Omaha.
+34. Raw-tu'            Violet                              Omaha.
+35. Raw-zi'            Sunflower                           Omaha.
+36. Ta'-de-win         Wind maiden                         Omaha.
+37. Ta'-in             New moon                            Ponca.
+38. Ta'-in-ge          Coming moon                         Ponca.
+39. Wa-ha'-ba          Corn                                Omaha.
+40. Wa-ha'-ba-ska      White corn                          Omaha.
+41. Wa-ha'-ba-tu       Blue corn                           Omaha.
+42. Wa-ha'-ba-zi       Yellow corn                         Omaha.
+43. Wak'-cha           Flower                              Dakota.
+44. Wak'-cha-zi        Sunflower                           Dakota.
+45. Wa-shu'-dse        Wild-rose                           Omaha.
+46. Wa-te'-win         Victory woman                       Omaha.
+47. Wa-zhin'-ga        Bird                                Omaha.
+48. Wa-zhin'-ga-tu     Blue bird                           Omaha.
+49. We'-thon-ki-tha    To come together (as in a society)  Omaha.
+50. We'-ton-a          Old name, meaning lost              Omaha.
+51. We'-ton-be-the     One who gives hope                  Omaha.
+52. Wi'-he             Younger sister                      Omaha.
+53. Wi'-te-ga          New moon                            Dakota.
+54. Zit-ka'-la         Bird                                Dakota.
+55. Zit-ka'-la-sha     Red bird                            Dakota.
+56. Zit-ka'-la-tu      Blue bird                           Dakota.
+57. Zit-ka'-la-zi      Yellow bird                         Dakota.
+
+INDIAN NAMES FOR CAMPS
+
+E'-zhon U-ti             A Camp among the Elms.
+Hin'-de-hi U-ti          A Camp among the Lindens.
+Ney'-a-ti                A Camp by the Lake.
+Tosh'-ka-hi U-ti         A Camp among the Oaks.
+Wa-shis'-ka A-ti         A Camp by the Brook.
+
+
+
+
+
+End of the Project Gutenberg EBook of Indian Games and Dances with Native
+Songs, by Alice C. Fletcher
+
+*** END OF THE PROJECT GUTENBERG EBOOK 13031 ***