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diff --git a/13031-0.txt b/13031-0.txt new file mode 100644 index 0000000..fe67526 --- /dev/null +++ b/13031-0.txt @@ -0,0 +1,3691 @@ +*** 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 *** |