{"collection":"myth-cosmogony","full_text_available":true,"graph_url":"https://unchartedknowledge.5gfusion.net/v2/api/page/gutenberg_13031/graph","html_url":"https://unchartedknowledge.5gfusion.net/v2/page/gutenberg_13031","id":"gutenberg_13031","license":"Public Domain (US)","rights_basis":"gutenberg_metadata_copyright_false","source":"gutenberg","source_url":"https://www.gutenberg.org/ebooks/13031","summary":null,"tags":["Category: Archaeology & Anthropology","Category: Children & Young Adult Reading","Category: Mythology, Legends & Folklore","Indian dance -- North America","Indians of North America -- Games","Indians of North America -- Music","Native America"],"text":"Indian Games and Dances\nwith Native Songs\n\nArranged from American Indian\nCeremonials and Sports\n\nBY\nALICE C. FLETCHER\n\nHolder of the Thaw Fellowship, Peabody Museum, Harvard University\n\n_Author of The Hako, The Omaha Tribe, Indian Stories and Song, etc._\n\n1915\n\n\n\n\n\nDedicated to\n\nTHE YOUTH OF AMERICA\n\n\n\n\nPREFACE\n\n\nThis little book took its rise in the following experience that came to me\nmany years ago when living with the Indians in their homes and pursuing my\nethnological studies:\n\nOne day I suddenly realized with a rude shock that, unlike my Indian\nfriends, I was an alien, a stranger in my native land; its fauna and flora\nhad no fond, familiar place amid my mental imagery, nor did any thoughts of\nhuman aspiration or love give to its hills and valleys the charm of\npersonal companionship. I was alone, even in my loneliness.\n\nTime went on. The outward aspect of nature remained the same, but\nimperceptibly a change had been wrought in me until I no longer felt alone\nin a strange, silent country. I had learned to hear the echoes of a time\nwhen every living thing upon this land and even the varied overshadowing\nskies had its voice, a voice that was attentively heard and devoutly heeded\nby the ancient people of America. Henceforth, to me the plants, the trees,\nthe clouds and all things had become vocal with human hopes, fears and\nsupplications.\n\nWhen I realized how much closer because of this change I had been drawn to\nour land, how much greater had become my enjoyment of nature, the desire\narose to find some way by which I could help to make audible to others the\nvoice I had heard, and thereby restore to our hills and valleys their lost\nhuman element. Impelled by this purpose I have arranged these dances and\ngames with native songs in order that our young people may recognize, enjoy\nand share in the spirit of the olden life upon this continent.\n\nMy obligations are due to Mr. Francis La Flesche of the U. S. Bureau of\nAmerican Ethnology and to Mr. Edwin S. Tracy, Musical Director of the\nMorris High School of New York City, for assistance in the preparation of\nthis book.\n\nALICE C. FLETCHER\n\n\n\n\nCONTENTS\n\n\nPreface\nIntroduction\nSong and Dance Among the Indians\n\n\nPART I\nDANCES AND SONGS\n\nThe Life of the Corn (a Drama in Five Dances)\n    Introduction\n    Dance I. The Corn Speaks\n    Dance II. Planting the Corn\n    Dance III. The Corn Springs Up\n    Dance IV. The Fields are Ready\n    Dance V. Honor to Mother Corn\nCalling the Flowers\nAppeal for Clear Sky\nThe H\u00e9-de Wa-chi (An Omaha Festival of Joy)\n\n\nPART II\nGAMES\n\nIntroduction\n\nHAZARD GAMES\nIntroductory Note\nPa-tol Stick\nPlum Stone\n\nGUESSING GAMES\nIntroductory Note\nPu-in\nAt\u00e1-a-kut\nHand Game\nHiding the Disks\nI-ou'-tin\n\nBALL GAMES\nIntroduction\nBall and Racket\nTa-b\u00e9\nDouble-ball\nHoop and Javelin\nFollow My Leader\n\n\nPART III\nINDIAN NAMES\n\nIntroduction\nPresenting the Child to the Cosmos\nGiving the Child a Name\nBestowing a New Name\nTaking and Indian Name in Camp\nIndian Names for Boys\nIndian Names for Girls\nIndian Names for Camps\n\n\n\n\nPART I\n\nDANCES\n\n\n\n\nINDIAN GAMES AND DANCES WITH NATIVE SONGS\n\n\nINTRODUCTION\n\n\nThe adaptations from Indian ceremonies and sports here offered will enable\nthose who take part in them to follow in happy mood some of the paths of\nexpression that were opened long ago by thoughtful men and women as they\nlived, worked and played on this land in undisturbed intimacy with nature.\nSome of the thoughts bred of this intimacy find their expression in these\ndances and games, and it may help toward a better understanding of them and\ntheir spirit to tell briefly how the Indian looked upon and regarded his\nrelation to nature.\n\nThe natives of America thought of the cosmos as a unit that was throbbing\nwith the same life-force of which they were conscious within themselves; a\nforce that gave to the rocks and hills their stable, unchanging character;\nto every living thing on land or water the power of growth and of movement;\nto man the ability to think, to will and to bring to pass. This universal\nand permeating life-force was always thought of as sacred, powerful, like a\ngod. To it a name was given that varied in the different languages; in the\nOmaha tongue it was called Wakon'da. Through Wakon'da all things in nature\nwere related and more or less interdependent, the sky, the earth, the\nanimals and men. Nature was, in a sense, the manifestation of Wakon'da,\nconsequently it was regarded as something more than the means by which\nphysical life was sustained and became the religious and ethical instructor\nof man.\n\nAll food came from the earth; the wild fruits, the roots, the cultivated\nmaize, these and the animals all derived their living power from Wakon'da\nand yielded their life to man that he might live and be strong. Therefore,\nthe hunt was conducted with ceremonies in which the bounty of Wakon'da was\nformally recognized, and when food was eaten thanks were offered to this\nunseen power. The Indian lived in the open and watched with reverent\nattention the changing aspects of his environment. To him nothing was\nwithout significance, for all things were imbued with powers from Wakon'da\nand could convey lessons or admonitions to be heeded by the individual and\nby the people in their social life.\n\nFor example: the Indian noted the unfailing recurrence of day and night and\nthat upon the regularity with which one followed the other all creatures\nrelied, while man depended upon this constancy to carry out any given\npurpose. From thoughts upon this natural phenomenon and its effects on the\nactions of men, ideas arose that led the Indian to the conception of truth,\nthat something, as between man and man, that can be depended on both in\nword and in deed. \"Thus,\" the old men said, \"Wakon'da taught us the\nnecessity of truthfulness, if we would live peacefully together.\" Other\nnatural aspects, as the storm, with its terrifying thunder and destructive\nlightning, and the passing of the clouds revealing the blue sky, when the\nbirds renewed their song, seemed to picture to the Indian the devastation\nof war and the happiness of peace. Again, the tree, compacted of many\nparts, suggested how the tribe could be made to stand and become strong.\n\nSo it came to pass that as the ancient people looked about and thought on\nwhat they saw, they gradually formulated ceremonies and adopted symbols in\norder to express what they came to believe. All their rites, their\nvocations, their pleasures were born, practiced and enjoyed under the\narching skies, and were permeated, as by a vital spirit, with an\nunquestioning consciousness of oneness with nature.\n\nWe shall not be false to any great truths that have been revealed to us\nconcerning the world in which we live, if we listen to the olden voice, an\nunseen heritage of our bounteous land, as it sings of man's unity with\nnature. May they who join in these dances and games catch their vital\nspirit and learn to feel at home with the winds, the clouds, the fields and\nthe woods.\n\n\n\nSONG AND DANCE AMONG THE INDIANS\n\n\nTHE SONG\n\nWhile studying Indian life and thought through the sharing, as far as\npossible, of native conditions, I discovered Indian music. In the\nloneliness that naturally belonged to my circumstances this discovery was\nlike finding a flower hidden in a tangle hard to penetrate. I had heard\nIndians \"singing,\" but the noise of the drum, the singers' stress of voice,\nso overlaid the little song that its very existence was not even suspected.\nCircumstances at length arose, incident to my convalescence after a long\nillness, when, to give me pleasure, my Indian friends came and sang softly\nto me, without the drum. Great was my surprise to hear music; to be told\nthat I was listening to the same songs that the earnest men and women had\npreviously sung but which for me had been buried under a tumultuous din.\nThenceforth my ears were opened and never again, no matter how confusing\nthe conditions, did I fail to catch the hidden melody. As my appreciation\nof the value of Indian music grew, I determined to gather and to preserve\nthese wild flowers of song. I wanted them not merely as a contribution to\nthe study of music but that they might help to vibrate the chords that\nbelong to a common humanity.\n\nOf the songs I heard in solitude, some were published over thirty years\nago. Since then many of my gleaning have been used by different composers\nand the musical message sent far and wide.\n\nWith the Indian, words hold a secondary or an unimportant place in a song.\nThe music and accompanying action, ceremonial or otherwise, convey the\nmeaning or purpose. When words are used they are few, fragmentary and\ngenerally eked out with vocables. Frequently only vocables are attached to\na melody. To the Indian, song holds a place similar to that filled for us\nby wordless instrumental music. In ceremonies, rituals occur that are\nalways rhythmically intoned; each line generally terminates in a refrain.\nSongs have a place in these rituals, breaking in on the recital\nparticularly when an emotion is evoked, for music is the medium of\nemotional expression. An old Indian priest explained this peculiarity by\nsaying: \"Harmonious sounds unite the people.\"\n\nUnaccustomed as we are to the use of songs that have no words, we would not\nonly find it difficult to understand their meaning but we would lose much\npleasure when singing them. To obviate the perplexities arising from the\nIndian's peculiar treatment of words and to make clear the meaning of a\nsong, words have been supplied. These words are in no instance a literal\ntranslation, for the few broken words that belong to some of the melodies\nused in these Dances and Games, because of their fragmentary character,\nwould have no value as an interpretation either of the music or of the\naction. In a number of instances the original vocables are retained, where\nthe music is merely a rhythmical accompaniment to a simple, easily\nunderstood movement. Where words are given to a song, they follow closely\nboth the accents and the rhythm of the music. The written stanzas are not\nmeant to be read but to be sung. They express the thought or the feeling\nthat gave rise to the music, they aim to make its meaning understood so\nthat the song can be intelligently sung. In arranging these words, care has\nbeen taken never to forget or to change the natural and the psychical\nenvironment that belongs to the melody.\n\nIndian songs are very short. They have no preliminary measures, but at once\nvoice the actuating emotion; that done, they come to a close. Although they\nare so short, they have form and in their structure follow in simple lines\nthe rules of phrasing and motivization taught in our schools. These songs,\nspeaking in general terms, partake more of the character of motifs than of\nmusical compositions. They do not stand alone or apart from the ceremonials\nor pleasures of which they form an essential feature.\n\n\nTHE DANCE\n\nThe different Indian tribes vary in their modes of dancing; moreover, the\nsame theme is not interpreted by all the tribes in the same manner. In some\nsections of our country the dancers wear costumes and masks that are\nsymbolic, both in color and form; in other regions, feathers are the\nprincipal and emblematic decoration; elsewhere, the men may dance very\nnearly nude. However diverse the dancing regalia may be or how marked its\nabsence, the Indian dance always presents two characteristics, namely:\nDramatic Action and Rhythmic Precision.\n\nEvery Indian dance has a meaning. The dance is generally either the acting\nout of some mythic story or a presentation of a personal experience. Every\nmovement of the body, arms, hands, feet and head is always in strict time\nwith the songs that invariably accompany the dance. Indian dances are\ncomplex rather than simple. Their \"spontaneous activity\" is not the result\nof \"a dominating emotion\" but of a desire to present dramatically certain\nmental pictures. This is particularly true of dances which form a part of\nreligious ceremonials. As a consequence, none of these dances are\nimprovised. All follow forms that have been handed down through generations\nand have become more or less conventionalized.\n\nWhen the dance portrays a personal experience the dancer is allowed a\nfreedom of invention not elsewhere permitted. Even in this case the dancer\nis obliged to follow certain conventional forms, as in the sign language;\notherwise his story would not be understood.\n\nOn the eastern continent the peoples from whom we are descended had songs\nand dances peculiar to their different vocations, so on this western\ncontinent the song and dance were the accompaniment of the Native\nindustries.\n\nA study of the Indian dramatic dances shows that by means of them the\nvocations of men and women were lifted out of drudgery, made types of\nactivity and allied to the forces recognized in the religious beliefs of\nthe people. The dances here given, those relative to the Corn and also the\nH\u00e9de-wache, not only illustrate what has been said above but they reflect\nback a light upon the religious dances that obtained among the eastern\nnations of antiquity.\n\nWhen the Indian dances, he dances with freedom; his whole body becomes\nexpressive of the actuating emotion of the scene he intends to portray.\nBecause of his freedom, his remarkable sense of rhythm and the strong\nmental picture he aims to present, whether it be the flight of the eagle,\nthe sportive pleasure of birds, the movements of animals, the alertness of\nthe warrior in attack, or in eluding a blow, his motions are always sharply\nvivid and natural.\n\nIt is a pleasure to be able to offer in the following pages a number of\nIndian songs with their original accompaniment of action, as the two\ncomplement each other for the expression of certain native thoughts and\naspirations.\n\nWhoever takes part in the dances here presented should never attempt to\nimitate what is supposed to be the Indian's manner of singing or his\ndancing steps and postures; in either case the result would probably be an\nunmeaning burlesque. Each dancer should have a clear mental picture of the\nscene to be enacted and then give free play to bodily movements for its\nexpression, always keeping in rhythm with the song, so as to make sound and\nmotion a rhythmic unit.\n\n\n\nTHE LIFE OF THE CORN\n\nA DRAMA IN FIVE DANCES\n\n\nINTRODUCTION.--These Dances in their purport and music are taken from the\nsacred rituals of the Omaha, the Osage and the Pawnee tribes. The richness\nand beauty of symbolism in the original language suffer a loss of native\nna\u00efvet\u00e9 in their English interpretation.\n\nThe American food plant known by the general term \"Corn\" was developed ages\nago from certain native grasses. The _Euchlaena luxurians_ found in\nGuatemala is probably an ancestor of the maize. The word \"maize\" belongs to\nthe language of a people living by the Caribbean Sea and never was a\nuniversal term for corn among the Indians of our country. The tribes to\nwhich maize was known gave it a name derived from their own languages. So\nvery many centuries have passed since corn was a grass that there is no way\nnow of finding out when in the remote past the natives of this continent\nbegan the task of developing from a grass a staple article of food like the\ncorn. The process required years of careful observation, manipulation and\nculture. Not only did the Indians accomplish this task but they took the\nplant from its tropical surroundings and acclimated it throughout the\nregion east of the Rocky Mountains up to the country of short summers in\nthe North; Cartier, in 1534, found it growing where the city of Montreal\nnow stands.\n\nFrom this hasty glance at the long history of the maize we can discern the\nnatural sequence of its close relation to the thought and to the life of\nthe Indian, and to a degree understand the love and the reverence with\nwhich the corn was held and regarded as a gift from God. Every stage of its\ngrowth was ceremonially observed and mentioned in rituals and songs.\n\nAmong the Omaha tribe when the time came for planting, four kernels from a\nred ear of corn were given to each family by the keeper of this sacred\nrite. These four red kernels were mixed with the ordinary seed corn, that\nit might be vivified by them and made to yield an ample harvest. Red is the\nsymbolic color of life. In this ceremony is preserved a trace of the\nfar-away time when all the precious seed corn was in the care of priestly\nkeepers. The ceremony of giving out the four red kernels served to turn the\nthoughts of the people from a dependence solely on their own labor in\ncultivating corn to the life-giving power of Wakon'da dwelling within the\nmaize.\n\nIn the Omaha Ritual Song of twenty-six stanzas which preceded the\ndistribution of the four red kernels, the Corn speaks. It tells of its\nroots reaching in the four directions (where dwell the messengers that\nbring life), of the growth of its jointed stalk, of the unfolding of its\nleaves, of the changing color of the silk and of the tassel, of the\nripening of the fruit, of the bidding of the people to come, to pluck and\nto eat.\n\nThe music of this Ritual Song is simple. It is here given with a very brief\nparaphrase of the words of the Ritual Song.\n\n\n\nDANCE I\n\nINTRODUCTORY NOTE.--This ceremonial dance touches upon the mystery of the\ngiving of life that life may be maintained; an exchange that links together\nthe different forms of life and enhances the joy of living.\n\n_Properties_.--Thin green mantles; yellow plumes like the corn tassel; bone\nclips; as many of these articles as there are dancers.\n\n_Directions_.--This dance belongs to both sexes and a number of each should\ntake part, if that is possible. Should there be trees near the open space\nwhere the dance takes place, one-half of the dancers, closely wrapped in\ntheir green mantles, should be grouped at one side among the trees and the\nother half similarly placed at the other side. In the center of the space a\nsingle dancer stands facing the rear, wrapped about the head and body with\nthe green mantle, leaving only the face exposed.\n\nAll being in readiness, the central figure turns slowly, lifts a draped arm\nand says slowly and impressively:\n\n\"Harken! The Corn speaks!\"\n\nThe group of dancers on the right then sing softly the _first_ line only of\nthe Ritual Song in which the Corn speaks. The group of dancers on the left\nrepeat the _same_ line like an echo of the first group. Both groups of\ndancers now begin to move slowly and in rhythm with the following song\ntoward the figure standing in the center of the space, singing, as they\nmove, the Ritual Song _from the beginning_:\n\nRitual Song No. 1\n\n  Fourfold deep lie my roots within the land;\n  Clad in green, bearing fruit, Lo! here I stand!\n  Pluck and eat, life for life, behold, I give!\n  Shout with joy, dance and sing with all that live.\n\n[Music]\n\nAt the words \"Lo! here I stand!\" the company of dancers should all be\nstanding in a semi-circle. As the words in the third line, \"Behold, I\ngive!\" are sung, the draped arms should be slightly extended forward as in\na presentation. The fourth line requires some dramatic action, but it\nshould be restrained rather than free. The arms, still draped with the\ngreen mantles, should be raised a little as the words \"Shout with joy\" are\nsung, and during the singing of the remainder of the line swayed from side\nto side in rhythm with the song, always with a reserve in the movements,\nbecause of the mystery mentioned in the words of the song, that life is\nmaintained by the giving of life. A pause of about two beats should follow\nthis Ritual Song.\n\nAs \"Ho-o! Ho-o!\" the opening of the next song, is given, every dancer\nshould suddenly turn half-way round, give a movement of the head such as\nwould cause the mantle to fall back and leave the head with the corn tassel\nexposed; the ends of the mantle should be gathered in the hands so that the\nmantle can wave with the dance as the following song is sung:\n\nSong No. 2\n\n      Ho-o! Ho-o!\n    Dance we singing,\n    Promise bringing\n  Of the wealth of summer fair;\n    Hearts beat lightly,\n    Skies shine brightly,\n  Youth and Hope are ev'rywhere.\n\n_Refrain_:   Ho-o! Ho-o! Ho! Ho! Ho!\n\n[Music]\n\nAs each \"Ho-o!\" of the refrain is sung, the dancers should whirl like merry\nsprites, twine and untwine their green mantles about their forms until the\nsong begins again. Then they should all skip off with springing, rhythmic\nsteps in open Indian file, letting their mantles float and wave about them\nas they wind in and out over the camp ground carrying \"Youth and Hope\nev'rywhere.\" Every time the refrain is reached, the dancers should stop and\nwhirl, then as the song begins again move off in line, dancing as before.\nWhen they are ready to stop (that can only be done during the singing and\nwhirling of the refrain), each dancer should whirl from the line and keep\nup that movement, singing \"Ho!\" until his or her tent is reached.\n\n\nDANCE II\n\nINTRODUCTORY NOTE.--The rituals and ceremonies from which this dramatic\ndance with its accompanying songs are taken have been handed down through\nnumberless generations. They deal with the perpetuation of the vocations of\nthe people and also with the duties of the warrior, who must so protect the\npeople that these vocations can be pursued in peace and safety. The portion\nof the ritual that relates to the planting of the maize is here given. It\nis practical in character. The ground is to be cleared of the d\u00e9bris of\nwinter's storms and the dead leaves and twigs gathered into heaps and\nconsumed by fire. When the brown earth is uncovered on the sunny slope it\nis to be mellowed and made into little hills with flattened tops to receive\nthe kernels of the corn. The first seven of these hills must be\nceremonially planted. Into the first hill one kernel of corn is dropped,\ntwo kernels are put into the second hill, three in the third, and so on to\nthe seventh, in which are placed seven kernels. The product of these seven\nlittle hills must be kept separate, for it is to constitute the \"first\nfruit offering\" made to Wakon'da, through the priest, in recognition of the\ngift of corn as food. After the seven hills are completed, then the rest of\nthe field is similarly prepared and planted. When the kernels are put in\nthe loosened ground they are covered and stamped with the foot, so that\neach little hill beards the mark, the footprint, of the planter. The Ritual\nSong depicts the task of planting to its completion and compares the rows\nof little brown hills to lines of buffalo following one another down the\nslope. With this vision, suggesting the promise of abundant food, the\nworkers joyfully turn toward the home fireside.\n\nThe words given for the first song are a brief paraphrase of the many\nstanzas of the original Ritual Song, which so touches the necessary acts of\nthe planter as to lift them above a merely prosaic level.\n\n_Properties_.--As this dance represents work, no scarfs or mantles are\nused. The garments should be plain and the arms free for the necessary\ndramatic motions in portraying the various acts connected with clearing,\npreparing and planting the ground. In ancient times the hoe used for this\nwork was made from the shoulder blade of the elk, or a stick three or four\nfeet long shaped at one end like a wedge. Similarly shaped sticks of wood\nshould be used in this dance, one for each dancer. Pouches are required\nmade of brown cloth, with broad bands or straps long enough to pass over\nthe shoulder and chest and to let the pouches hang at the back. Both\npouches and straps should be ornamented with geometric designs painted in\nred, yellow, blue or green; two or three of these colors should be combined\nin each design. The corn carried within the pouches can be represented by\nrounded chips, little stones or, when possible, by the corn kernels\nthemselves.\n\nThe boys must wear head-bands, carry bows and have quivers hung at their\nbacks. They must scatter around the border of the \"field,\" move watchfully\nabout, peer into the distance and act as if on the alert to detect or to\nmeet any prowling enemy.\n\n_Directions_.--A space should be set apart to represent the \"field\" where\nthe dramatic action takes place. This dance requires considerable dramatic\npantomime. The words in the two lines of each stanza of the song serve as a\nprelude to the action which follows. Sometimes the action may be confined\nto the refrain, but generally there must be acting throughout the singing\nboth of the words and the refrain. Much in this dance must be left to the\nimagination and skill of the group of dancers, who should rehearse together\nand decide how best to make a clear, strong picture. The native music here\ngiven belongs to the act of preparing the ground and planting the kernels\nof corn. Attention is called to the second, fourth, sixth and eighth\nmeasures of the song. The three-quarter notes and the eighth and rest\nshould be accented by movements of the hoe, the foot or both. The rhythm of\nthe first measure is a little different from that of the third, fifth and\nseventh, caused by the third note being a quarter note, denoting a definite\nact or pause; the remaining four notes of the first measure are flowing, as\nwell as all the notes of the third, fifth and seventh measures. By\nobserving these little points in the music the drama will be given variety\nand made more picturesque and effective.\n\nAt the beginning of the song the dancers should be at a little distance\nfrom the space set apart to represent the \"field,\" so that they will be\nable at the proper time to go toward it. As the first line of the first\nstanza is sung the dancers should stand in a loose group, adjust their hoes\nand pouches to be ready to go to the \"field\"; during the singing of the\nsecond line they should break into a file and move off. All these movements\nof body, hands and feet must be in strict time and rhythm with the music.\n\n\nSong No. 1\n\n1\n\n  Here we stand ready now to go on our way\n  To the field, buried under leaves dead and gray.\n\n_Refrain_:  Ah hey they,\n            Ah hey hey they,\n            Ah hey they ha!\n              Ah hey they,\n            Ah hey hey they,\n            Ah hey they ha!\n\n[Music]\n\nBy the end of the first line of the refrain the dancers will have reached\nthe \"field\" and have begun to dispose themselves over the space. Seven must\nstand in the first row, where they are to make the seven ceremonial hills.\nThese seven dancers should lead the motions of all the others, so that the\nmovements may present even lines, as in the bowing of violins in an\norchestra. The refrain should be repeated as many times as is necessary\nwhile the dancers are taking position, clearing the field, etc. The number\nof repeats must be determined upon at the rehearsals of the dancers.\nSufficient time should be taken to bring out the picture and to give it in\nperfect rhythm with the music. When the refrain closes, the dead leaves and\ntwigs are supposed to be gathered into heaps ready to be burned.\n\n2\n\nSee the fire send its \"word of flame\" mounting high,\nNow the smoke rolls about the earth, shuts out sky.\n\n_Refrain_:  Ah hey they,\n            Ah hey hey they,\n            Ah hey they ha!\n              Ah hey they,\n            Ah hey hey they,\n            Ah hey they ha!\n\nThe action for this stanza should indicate the heat of the fire; shielding\nthe face, pushing back stray leaves or twigs to the burning heap; the\nrolling smoke follows the dancers, who here and there try to escape it.\nThis scene will require study to bring out the picture rhythmically. It\nshould form a contrast to the preceding and the following scene, in both of\nwhich the movements are more or less uniform. In this scene groups should\nemphasize certain conditions: the fire, the smoke, the work of keeping the\nheaps together, so that the picture will be one of action diverse to a\ndegree and yet every movement dominated by the rhythm of the song; the\npicture will thus be made a unit.\n\n3\n\n  Mellow earth, make the little, hills smooth on top,\n  On the earth softly the kernels we drop.\n\n_Refrain_:  Ah hey they,\n            Ah hey hey they,\n            Ah hey they ha!\n              Ah hey they,\n            Ah hey hey they,\n            Ah hey they ha!\n\nIn the action of this stanza the seven dancers in the front row make seven\nceremonial hills, mellowing the earth with the wooden hoes and gathering it\ninto little hills made smooth on top. The pouches are swung to the front,\nthe corn taken out with one hand while the other holds the hoe at rest, and\nthe kernels are dropped on the softened earth. The dancers should be\ncareful to remember that in the ceremonial row of seven hills but one\nkernel is to be dropped in the first hill, two in the second, and so on up\nto seven in the seventh hill. All the dancers scattered over the \"field\"\nmust follow the movements of the seven in charge of the seven ceremonial\nhills.\n\n4\n\n  Cover all gently, leave the print of our feet\n  On the earth mellowed fine, so brown, so sweet.\n\n_Refrain_:  Ah hey they,\n            Ah hey hey they,\n            Ah hey they ha!\n              Ah hey they,\n            Ah hey hey they,\n            Ah hey they ha!\n\nIn the action for this stanza the hoe and the feet of the dancers have a\nspecial part. The movements of the dancers should represent the covering of\nthe dropped seed with the mellowed earth and the making of the footprint on\nthe top of the little hill within which the seed is now hidden. In the\nnative Ritual Song the term \"footprint\" is used symbolically; it represents\na person--in this instance the one who had done the work--also the work\nitself that has been accomplished. The dancers should be careful to\nremember the rhythm of the second, fourth, sixth and eighth measures, as\nthese can be used to emphasize \"footprints\" and also the completion of the\ntask. During a repeat of the refrain the dancers should drop their hoes and\ngather in groups as if to look at the field; this action will bring them\ninto the position required for the fifth stanza.\n\n5\n\n  How like lines of buffalo upon the slope,\n  Lie our little brown hills, so full now of hope.\n\n_Refrain_:  Ah hey they,\n            Ah hey hey they,\n            Ah hey they ha!\n              Ah hey they,\n            Ah hey hey they,\n            Ah hey they ha!\n\nThe motions of the hands and the movements of the body should indicate that\nin looking over the field one is struck by the striped appearance made by\nthe rows of little hills, recalling the resemblance to the buffalo\ndescending the slope. The final \"ha!\" of the refrain should indicate\npleasure. A brief silence should follow, during which the dancers pick up\ntheir hoes, adjust their pouches, fall into line and sing the following\nsong:\n\n\nSong No. 2\n\n  Light our hearts and gay\n  As we homeward take our way,\n  While the winds about us play,\n      Singing as we go.\n    Hy-ya hy-ya hy-ya ho!\n    Hy-ya hy-ya hy-ya ho!\n        Hy-ya ho!\n          Ho!\n        Hy-ya ho!\n\n[Music]\n\nThis song should be repeated many times as all the dancers, with rhythmic,\nspringing steps, wind about the camp ground before they finally disperse.\n\n\nDANCE III\n\nINTRODUCTORY NOTE.--This dance is from the Corn Ritual Song and is a\ndramatization of a visit to the planted field after the lapse of a few\nweeks. Life has been stirring in the kernels of corn that had been hidden\nwithin the little hills, and the kernels now call to those who had planted\nthem to come and see what was taking place.\n\n_Properties_.--The same as those used in the preceding dance. Both the boys\nand the girls should wear the same costume as in Dance II.\n\n_Directions_.--The scene should be the same as in Dance II. The \"field\" to\nbe visited should be in the same place as the space set apart for the\n\"field\" where the little hills were made and planted.\n\nA part of the boys should act as guards of the \"field\" as before. A few\nshould scatter among the girls and join in looking at the sprouting corn as\nit breaks through the soil, and these should join in singing the song.\n\nAt the opening of the dance the dancers should be discovered standing in\ngroups as though they had accidentally met as neighbors of the same\nvillage. They should stand at the same place whence they had started to go\nto the \"field\" in the preceding dance. The groups should be talking in dumb\nshow. Suddenly each group should act as if its attention had been arrested\nby a sound, and while in this attitude of arrested attention all should\nbegin to sing the following song:\n\nSong\n\n1\n\n      A call I hear!\n    Hark! soft the tones and weak.\n      Again the call!\n    Come! our feet that call must seek.\n\n_Refrain_:  Hey hey they,\n            Ah hey hey they,\n            Ah hey hey they,\n              Again the call!\n            Ah hey hey they,\n            Ah hey hey they,\n            Ah hey hey they,\n              Ah hey they.\n\n[Music]\n\nThis dramatic dance will require to be rehearsed and the details planned by\nthe dancers, so that a clear picture may be brought out and also the native\npoetic thought embodied in the Ritual Song from which it is taken. A few\nhints can be given, but much of the action must depend upon the imagination\nand dramatic feeling of the dancers.\n\nAs the first line, \"A call I hear!\" is sung some one should raise the hand\ntoward the ear, another raise it as a warning to keep quiet. The line\n\"Hark! soft the tones and weak\" is an address to one another in the groups.\nThen comes another sudden arrest, \"Again the call!\" These three lines\nshould be sung without any change of position either by the groups or by\nthe individuals. Action should be confined to the hands and the head. When\nsinging the fourth line all should begin to stir, to adjust their pouches,\ntighten their hold on the wooden hoes and, as if moved by a common impulse,\nshould prepare to go and seek the source of the call. In their going the\ngroups should not fall into one line but each group move by itself. During\nthe refrain the dancers should act as if in doubt which way to go. At the\nline \"Again the call!\" all should stop as if arrested, and then move off\nagain when the refrain is taken up. All the groups should keep the rhythm\nof the music. There should be a good deal of by-play and the action should\nindicate bewilderment, both as to the meaning of the call and the locality\nwhence it comes. It should appear as though some of the groups are baffled\nin their attempt to locate the call.\n\n\n2\n\n      A call I hear!\n    Hark! it is near at hand,\n      The call! The call!\n    Floats to us where we now stand.\n\n_Refrain_:  Hey hey they,\n            Ah hey hey they,\n            Ah hey hey they,\n              Again the call!\n            Ah hey hey they,\n            Ah hey hey they,\n            Ah hey hey they,\n              Ah hey they.\n\nThe action of this stanza shows the dancers being led by the call to the\n\"field,\" where the call seems to become clearer and at last is there\nlocated. The dancers should scatter in groups, while different individuals\nshould look about searchingly but without breaking the groups. These should\nmove here and there seeking for the \"footprints\" that had been left on the\nsmooth tops of the little hills, and so lead to the action required for the\nnext stanza. Whenever in the song the line \"The call! The call!\" occurs,\nthere should be an apparent arrest of movement among the dancers as if to\nlisten.\n\n\n3\n\n        Again the call!\n      Forth to the light of day\n        They come! They come!\n      Come pushing upward their way.\n\n_Refrain_:  Hey hey they,\n            Ah hey hey they,\n            Ah hey hey they,\n              They call! They come!\n            Ah hey hey they,\n            Ah hey hey they,\n            Ah hey hey they,\n              Ah hey they.\n\n\"Day\" is the symbol of life; the kernels are coming \"into the light of day\"\nin the original Ritual Song, meaning they are entering into life. They call\nas they come, struggling and pushing their way through the breaking earth.\nThis life movement should be indicated by the motions of the dancers as\nthey pass in groups with rhythmic steps from one little hill to another.\nDirections as to how these motions should be made would hardly be helpful;\nthe dancers can best plan this pantomime.\n\n\n4\n\n        Again the call!\n      Two feeble leaves are seen,\n        They call! They call!\n      Soon shall we stand clad with green!\n\n_Refrain_:  Hey hey they,\n            Ah hey hey they,\n            Ah hey hey they,\n              They call! They call!\n            Ah hey hey they,\n            Ah hey hey they,\n            Ah hey hey they,\n              Ah hey they.\n\nThe original Ritual Song tells that the feeble leaves, the first shoots,\ncannot stand or support themselves; they are helpless as infants. But they\nhave come to the \"light of day,\" \"have entered into life,\" and they will\ngrow, become strong and stand, stretching ever higher into the light. The\nnative stanzas portray the progressive movements of the corn from feeble\nhelplessness into the power of life. The action of the dancers should\nconvey this meaning by appropriate pantomime.\n\n5\n\n      They call! They call!\n  Up springs our jointed stem,\n      They call! They call!\n  Golden fruit shall grow on them.\n\n_Refrain_:  Hey hey they,\n            Ah hey hey they,\n            Ah hey hey they,\n              They call! They call!\n            Ah hey hey they,\n            Ah hey hey they,\n            Ah hey hey they,\n              Ah hey they.\n\nIn this stanza the promise of fruit is given. The dancers should show\nexcitement not only at the wonderful spectacle they observe but because of\nthe promise given.\n\nThey should still keep in groups as they move about and exult in the\nresults that have come from the little hills where they left their\n\"footprints.\"\n\nIn the original Ritual Song there are more than a score of stanzas in which\nthe various occurrences of the growth of the corn are mentioned, mingled\nwith symbolic imagery. \"Footprints\" represent both labor and ownership.\nThose who planted the kernels look for these marks and rejoice over what\nthey find. They had begun their planting \"like a game,\" a venture; whether\nit would be successful or not no one could tell. But success had come. The\naction for the last stanza should indicate an abandonment to delight; hoes\nshould be dropped as the groups mingle and act out pleasure not only at\nwhat is seen but what is promised.\n\nA pause should follow, then the hoes should be picked up and the dancers\ngather by twos and threes in a line to return home; as they start they\nbreak into the same song which they sang on the return from making and\nplanting the little hills:\n\n[Music]\n\nThe dancers should keep up the song and rhythmic dance until their\nindividual tents are reached.\n\n\nDANCE IV\n\nINTRODUCTORY NOTE.--This dance, taken from the Corn Ritual, represents a\nvisit to the field later in the season when the harvest time is near at\nhand. The keynote of this visit is in a line of one of the many stanzas of\nthe original Ritual Song, \"I go in readiness of mind.\" The mind is assured,\nprepared to find in the place where the \"footprints\" had been made, where\nthe little kernels had broken the covering of earth to reach \"the light of\nday,\" that these have now grown tall and strong under the summer sun and\nare \"standing in the fulness of day.\" This assurance is justified, for the\ncorn is found ready to pluck, and some of its ears are joyously carried to\nthe people at home.\n\n_Properties_.--The same costumes as those worn by the boys and girls in\nDance II and III. The green scarfs used in Dance I will be needed in the\nlatter part of this dance; these can be folded and carried in the pouches\nand pockets.\n\n_Directions_.--The scene should be laid in the same place as the two\npreceding dances and the dancers should gather at the same spot whence they\nstarted to the \"field\" in Dance II and III.\n\nThe dancers, both boys and girls, should be discovered standing in an open\ngroup talking together in dumb show, evidently discussing the probabilities\nas to the ripening of the corn. They may have been saying: \"Already the\nboys are shouting, The cattail is in bloom!\" This was a sign that the time\nhad come for the corn to be ripe. Some one whose mind was \"in readiness\"\nmakes the suggestion (in pantomime) to go to the \"field\"; to this all\nagree, and the group breaks into lines as the boy and girl dancers sing the\nfollowing song:\n\nSong\n\n1\n\n  In readiness of mind to the field we go,\n  Where we footprints made, there stately jointed stalks grow.\n  Loud rustle the long leaves, bright the tassels wave o'er each row.\n\n_Refrain_:  Ah hey hey hey they,\n              Ah hey hey they,\n            Ah hey hey hey they,\n              Ah hey hey they,\n                Ah hey they.\n\n[Music]\n\nThe steps of the dancers must be in rhythm with the song and all movements\nshould indicate a feeling of assurance. When the \"field\" is reached certain\nmotions of the feet should suggest a memory of the \"footprints.\" The\n\"field\" is now covered by rows of tall cornstalks; therefore, when the\n\"field\" is reached the dancers should move in parallel lines, as if they\nwere passing between these rows. Some lines should cross at right angles,\ngiving the effect of walking between high barriers, along pathways that\nintersect each other at right angles. When the dancers pass along these\nalleys, so to speak, movements should be made to indicate brushing against\nor pushing out of the way the \"long rustling leaves\" of the corn, and to\npoint to the \"waving tassels\" far above their heads. This pantomime, with\nits rhythmic movements suggesting long lines of cornstalks, the brushing\naside with the hands of the long leaves of the stalks, should make an\neffective picture.\n\n2\n\n  Strongly the ears shoot out, fill'd with golden grain,\n  Up into the full light, life flowing in each vein,\n  Sacred the corn now stands ready to give its strength full fain.\n\n_Refrain_:  Ah hey hey hey they,\n              Ah hey hey they,\n            Ah hey hey hey they,\n              Ah hey hey they,\n                Ah hey they.\n\nThe length of the original Ritual Song, together with the picturesque\nquality of the native language, permits the bringing out in full detail of\nthis scene of the cornfield: the ears standing at angles from the stalk,\nand the husks full of kernels replete with life-giving power. Because of\nthis power the corn has now \"become sacred,\" filled with life from\nWakon'da, thereby related to that great power and through it linked to the\nlife of mankind. The idea of this unity throughout all nature, including\nman, is fundamental to Indian thought and belief. It is expressed in all\nhis religious ceremonies and also in his vocations, both serious and\nplayful. In the present instance it appeals to him through the planting,\nthe growth, the maturing and the use of the corn, giving its life to man.\n\nTo convey the picture of the cornfield, and to suggest the thoughts that\nimbue the scene as expressed in the native rituals, will require some\nstudy, but the effort will be well worth while. These thoughts were vital\nupon this continent centuries before the land became our home. The maize in\nall its richness and beauty has become ours to enjoy, and while we accept\nthis gift let us not fail to catch and to hold the lingering vibrations of\nits native teaching that aimed to lift the thoughts of the worker in the\ncornfield to the Great Giver of Life and Beauty.\n\nIn planning the pantomime for this stanza the dancers should not forget the\nrhythm of the song and to keep the lines as though they were walking\nbetween rows of tall cornstalks.\n\n3\n\n  Where'er we look wide fields wait harvest to meet;\n  Ripe are the ears we pluck, juicy the corn we eat;\n  Filling our arms, we go homeward, happy hearts there we meet.\n\n_Refrain_:  Ah hey hey hey they,\n              Ah hey hey they,\n            Ah hey hey hey they,\n              Ah hey hey they,\n                Ah hey they.\n\n\nThe action requisite for the interpretation of this stanza by pantomime is\ncomparatively easy, as looking over the field ready for harvest, and\nplucking a few ears of the corn. Care should be taken not to appear to\ntouch the row where the seven hills were made, for the product of these are\nto be used as the \"first-fruit offering.\" During the singing of the first\nline of the third stanza a few of the dancers should slip behind some of\nthe others and there take out their scarfs from the pouches or pockets,\nmake each scarf into a loose bundle and carry it upon the folded arms as\nthough it was filled with ears of corn. In this way, a few at a time, the\ndancers can secure their scarfs, and arrange them to look like bundles of\ncorn to be taken homeward.\n\nAll the lines that have been moving as between rows of corn should now come\ntogether and form a long line and with dancing, rhythmic steps, and arms\nfilled with corn, return to the starting place, and from there wind about\nthe camp ground singing the refrain, which can be repeated _ad lib_. until\nthey finally disperse and go to their tents.\n\n\nDANCE V\n\nIntroductory Note.--This dance represents the bringing of the \"first-fruit\noffering\" of the corn from the seven little hills that were ceremonially\nplanted after the dead leaves of winter had been cleared away. The dancers\nwho follow the seven leaders carrying the cornstalks represent the people\nin triumphal procession in honor of Corn as \"Mother breathing forth life.\"\nBoth words and music of the song for this procession are taken from a great\nreligious ceremony of the Pawnee wherein Corn is spoken of as A-ti-ra,\nMother, with the prefix H' signifying breath, the sign of life. \"H'A-ti-ra\"\n(\"Mother breathing forth life\") is repeated over and over and is the only\nword used in this song. The repetition is not an idle procedure but an\nawakening of echoes in the native mind, of all that Corn has meant to his\nancestors and race during the centuries. The repeated words imply\ncontemplation on the subject. This song when heard sung by a hundred or\nmore could not fail to impress one with its majestic fervor. The beautiful,\nbountiful maize giving its life that others might enjoy life, on another\nplane, is here reverently and joyously proclaimed \"Mother.\"\n\n_Properties_.--Green and other bright colored scarfs or mantles, as many as\nthere are dancers, boys and girls, also wreaths made of long leaves like\nthose of the cornstalk; these can be manufactured from green paper. Tall\nyellow plumes, similar to the tassel of the corn, and fastened to the\nwreath in such manner that when the wreath is worn the plume will stand\nabove the forehead. Seven cornstalks, or wands so wound with green as to\nappear like the stalk of the corn with its tassel.\n\n_Directions_.--All the dancers should be wrapped in their mantles and have\non their wreaths, the erect tassel plume standing directly over the middle\nof the forehead. Boys and girls must mingle in this dance. All dress as\nbefore, with the addition of the mantles. Implements, pouches and bows and\narrows are not used. Of the seven who are to lead, four should be boys and\nthree girls. When leading the procession and carrying the cornstalks, the\nfirst line of four should be a boy, two girls, a boy; the second line of\nthree should be a boy, a girl, a boy. These seven must wear green robes or\nmantles and hold the cornstalks, with their hands draped by the mantle. The\nother dancers can wear green or other colored mantles or scarfs. The boys\nmust sing the songs, for the volume of sound must be full in order to\nproduce the true effect of this impressive ceremony. The seven dancers who\nhave been selected to act as leaders should stand in a group by themselves\nin front of the other dancers, who are in loose groups at the rear. On the\nspace which heretofore in these dances has represented the \"field,\" the\nseven cornstalks or wands should be laid in a windrow on the ground. When\nready to begin the dance the dancers should be discovered in the two groups\nas already described, talking quietly in dumb show.\n\nThe seven leaders, who are in the front group by themselves, appear to\nconsult together; then, led by one of their number, sing the following\nsong:\n\nSong No. 1\n\n1\n\n  Golden on ev'ry hand,\n  Waving, the cornfields stand,\n    Calling us thither;\n    Calling us thither,\n  First-fruits to cull and bring\n  Our sacred offering\n    To great Wakon'da,\n      Giver of Corn.\n\n\n[Music]\n\nDuring the singing the seven leaders stand together wrapped in their green\nmantles. All the other dancers are grouped at a little distance back, still\ntalking as at first in dumb show. At the third line they stop talking, at\nthe fourth line they give attention to the seven leaders, at the fifth line\nthey join in the song. During the singing of this stanza there should be no\nchange in the relative positions of the two groups, but during the singing\nall who sing should keep up a gentle rhythmic swaying of the body.\n\n2\n\n  Now to the field we hie,\n  Where stands the corn so high,\n    Calling us thither;\n    Calling us thither,\n  First-fruits to cull and bring\n  Our sacred offering\n    To great Wakon'da,\n      Giver of Corn.\n\nThe seven leaders, at the beginning of the first line of the second stanza,\nslowly fall into line and with deliberate rhythmic steps move toward the\n\"field,\" reaching it by the fifth line, and while singing that line they\nshould pick up the cornstalks and hold them, with their hands draped with\ntheir green mantles, high to the front.\n\nAt the close of the first stanza the other group of dancers should resume a\ndumb show of speaking to one another until the third line of the second\nstanza, when they change their attitude and give attention; at the fourth\nline they join in the song, and at the fifth move toward the \"field\" where\nare the seven leaders. By the close of the second stanza all the dancers\nshould be in one group at the \"field.\"\n\nAll the dancers stand there at the \"field\" a moment in silence. Then the\nseven leaders sing the introduction to the following Processional Song:\n\nSong No. 2\n\n_Introduction_:  Follow Mother Corn,\n                   Who breathes forth life!\n\n_Chorus_: H'A-ti-ra, H'A-ti-ra, H'A-ti-ra, A-ti-ra,\n            H'A-ti-ra, A-ti-ra, H'A-ti-ra, A-ti-ra,\n                 A-ti-ra, H'A-ti-ra, A-ti-ra.\n\n[Music]\n\nThis song is retained as sung in the original Pawnee ceremony; the meaning\nhas already been explained.\n\nThe introduction is sung by the seven leaders, who advance in two rows,\nfour in the first, three in the second, and in this manner they lead the\nProcessional Dance. At the chorus all the other dancers fall in behind the\nleaders, either in couples or singly, every one singing. All steps must be\nrhythmic and in time with the music. The seven leaders move steadily, also\nin time with the music, as they hold the cornstalks high, while the\nfollowers wave their scarfs or mantles and dance happily and lightly, but\nwith dignity. The picture should be one of contrast as the procession takes\nits way among trees and through the sunny fields, the seven moving evenly,\nwith the corn held high, and the joyous, fluttering group of dancers\nfollowing.\n\nThe Life of the Corn culminates in a delight of color, movement and song.\n\n\nCALLING THE FLOWERS\n\nINTRODUCTORY NOTE.--This dance is derived from a ceremony, observed among\nthe Indians of the North Pacific Coast, in which the spirits dwelling\nbeneath the ground are called to come and join those who are dancing. The\ndancer who calls the spirits moves with gliding steps, the arms\noutstretched, the hands beckoning upward in a gentle, enticing manner. The\ngrace, dignity and earnestness of this dance linger with the writer as a\nbeautiful memory after the lapse of many years.\n\n_Properties_.--A green scarf for the Caller. Blue, white and rosy scarfs\nfor as many dancers as will personate the three Flowers that respond to the\ncall: Violets, Wild-roses and Daisies. A twisted rope of green to link the\ndancing Flowers together in the final dance.\n\n_Directions_.--A clear space will be required large enough for all the\ndancers to move about in the final dance. Those who personate the Flowers\nshould be hidden from view until the time when they are to respond to the\ncall. In the properties enumerated above, mention is made only of scarfs.\nThe picturesqueness of the dance would be enhanced if the dancers wore\nheaddresses shaped somewhat like the flowers and made of appropriate\ncolored paper; blue or lilac for the Violets, with a touch of yellow; deep\npink or pale red for the Wild-roses, with a little yellow for the stamens;\nwhite with yellow for the Daisies. The twisted rope of green paper should\nbe made over heavy twine, so as to be strong enough for the dancers to\ngrasp in the final dance. All these decorative articles should be made in\nthe camp.\n\nThe dancer who acts as the Caller should wear the green scarf loosely\nthrown about the head and body. If the voice of this dancer is not strong\nenough to be clearly heard by those who look on at a little distance, then\ntwo other persons should stand one at each side of the open space and sing\nwith the dancer who is the Caller. These two extra singers should be\nwrapped in green scarfs and stand quietly as interested spectators while\nthe dancer calls. Care should be taken to give the words of the songs with\nclearness and distinctness, so that every person within hearing distance\ncan catch them easily.\n\nTHE DANCE\n\nThe scene opens with the one who is to call the Flowers standing in the\ncenter, looking about in different directions. Suddenly, as if the thought\noccurred to call for companions, the following song is begun:\n\nSong No. 1\n\nCALL TO THE FLOWERS\n\n  Hither come, come to me, flowers!\n      Wake from your sleep.\n  Oh, hither come, hither come, flowers!\n      Hear me calling,\n    Wake from your sleep, O flowers!\n      Hark! some one comes.\n\n[Music]\n\nWith the song, movement begins. The steps taken should be gentle and\ngliding, the arms outstretched as in entreaty, the hands moved as in\nbeckoning, not with one finger but all the fingers slowly bending toward\nthe open palm. The dancer should think what the action means as she glides\nabout the open space, and strive to carry out the picture of awakening the\nsleeping flowers, of bidding them to \"come hither.\" It is possible that\nmore time may be required by some dancers to produce the picture than\nmerely singing the song once through would give; in that case, that portion\nof the song having the words \"Hear me calling, Wake from your sleep, O\nflowers!\" can be repeated once or twice, to meet the requirements of the\ndancer. The last line, \"Hark! some one comes!\" should be given with\ndramatic action.\n\nThese words are the cue for those who are to represent the Violets to\nprepare to enter from different points on the right, and to make a soft,\nstirring sound before they come into view, singing the following song:\n\nSong No. 2\n\nSONG OF THE VIOLETS\n\n  Violets have come in heav'nly hue;\n  With fragrance sweet they bring to you\n  Love from the dell where they grew\n  Close to the earth so true.\n\n[Music]\n\nThe Violets dance with quiet steps in rhythm with the song. They slowly\nadvance and gather in a loose circle about the Caller, whom, as they come\nnear, each one lightly touches, to give \"Love from the dell where they\ngrew.\" Then they retire to the edge of the open space at the right and sit\non the ground in little groups. When they are quiet and in their places,\nthe Caller moves toward them, then turns, stops, looks at the empty side at\nthe left and sings:\n\nSong No. 1\n\nCALL TO THE FLOWERS\n\n[See page 42]\n\nThe last line gives the cue to those who represent the Wild-roses to make a\nrustling sound where they are hidden on the left. They enter with light\nspringing steps, singing:\n\nSong No. 3\n\nSONG OF THE WILD-ROSES\n\n  Wild-roses come all bright and gay,\n  Blushing red like dawn of day;\n  Dancing come they, full of play,\n  Hiding all their thorns away.\n  Wild-roses come all bright and gay,\n  Blushing red like dawn of day,\n  Dancing come they, full of play.\n\n[Music]\n\nThe Wild-roses dance about gaily; they circle the quiet little clumps of\nViolets that remain seated. The Wild-roses frolic around the Caller,\ncapering about in wild freedom but keeping their steps in exact time with\ntheir song. Finally they pause in groups at the left.\n\nAfter a moment, the Caller moves toward the rear of the open space and\nwhile there once again sings:\n\nSong No. 1\n\nCALL TO THE FLOWERS\n\n[See page 42]\n\nAt the close of the song the dancers who are to represent the Daisies give\na trilling shout and appear from the rear of the open space, skipping;\ntheir leader holds the end of a long green rope, which is caught hold of by\neach dancer who follows, all singing:\n\nSong No. 4\n\nSONG OF THE DAISIES\n\n    Up from meadows free,\n    Coming full of glee,\n    Troop the Daisies white,\n    Dancing in the light,\n  All skipping blithe and gay.\n    Now we make a chain,\n    Singing as we twine\n    Then back into line--\n      Merry at play!\n\n[Music]\n\nAs the Daisies skip in the open space, the dancers are widely separated as\nthey hold on to the rope; at the words \"Now we make a chain\" the Violets,\nwho had risen as the Daisies entered, move toward the string of dancers;\nthe Wild-roses also come toward the chain and grasp the green rope. The\ncolors of the flowers should alternate and all the Flowers should have hold\nof the rope and cling to it as to a great green stem. Then all circle\naround the Caller, who is the last to grasp the stem. As all the Flowers\ndance they repeat Song No. 4, beginning at the words \"Troop the Daisies\nwhite,\" etc.\n\nThis chain of flowers should make, as they dance, interweaving figures.\nThese can be left to the fancy of the dancers, but just what they are to be\nmust be decided upon beforehand and rehearsed; otherwise the dance will not\nbe successful and pleasing.\n\nThe dances for each kind of flower will require practice, for the character\nof each flower should be well brought out; the gentleness of the Violets\ncan make a charming contrast to the waywardness of the Wild-roses and the\npliant Daisies who are at home everywhere.\n\n\nAPPEAL FOR CLEAR SKY\n\nINTRODUCTORY NOTE.--Among those Indian tribes that lived outside the\nsemi-arid sections of our country, the storm with its destructive force was\nthe representative of war, and thunder was a war god.\n\nWarfare was widespread among the tribes dwelling in the Mississippi valley;\nyet among these people the desirability and value of peace were recognized.\nHonors won in a defensive fight gave the warrior higher rank than those\ngained in wars of aggression. Rituals belonging to religious ceremonies,\nand also to war rites, taught that the first duty of the warrior was to\nprotect the women and children, the fields and the food supply, for his\nstrong arm and ready courage made the tribe's only wall of defence against\nenemies.\n\nThese tribes had ceremonies relating to the maintenance of peace not only\nwithin the tribe but for the purpose of forming peaceful relations with\nother tribes. The clear sky was the symbol of peace, of happiness and of\nprosperity, conditions the very opposite of those that attended war.\n\nWhen a peace ceremony was in progress, if a storm arose it was looked upon\nas an omen of disaster. At such a time, when clouds gathered, the people\njoined in ceremonial songs and appeals for clear sky, the symbol of peace.\n\nThe following dramatic dance and the accompanying songs are employed on\nsuch an occasion. The songs are taken from ceremonies used to promote\npeace.\n\n_Properties_.--Staffs, about three feet long, with small blue flags, as\nmany as there are dancers, the same number of blue head-bands and blue\nsashes. The latter are to be worn from the right shoulder across the breast\nand tied at the waist under the left arm. A drum.\n\n_Directions_.--This dance belongs to both sexes and boys and girls should,\nif possible, join in it.\n\nTHE DANCE\n\nAll the dancers stand facing the East, in one or more rows deep, according\nto the number, their staffs held in the right hand so that the flags will\nhang in front of each dancer, covering the chest, as they begin the\nfollowing song:\n\nSong No. 1\n\n  Away, away, dark clouds, away!\n      Leave the sky!\n  Go far away, dark clouds, to-day!\n      Leave the sky!\n  Stormy clouds, go far away, far away,\n    Stormy clouds, no longer stay!\n      Leave the sky!\n  Go far away, dark clouds, to-day!\n      Leave the sky!\n  Stormy clouds, go far way, far away!\n      Stormy clouds, begone!\n\n[Music]\n\nFIRST APPEAL\n\nIn the first line at each \"away\" the dancers should look up toward the East\nand move a step forward in that direction. At the line \"Leave the sky!\"\nthey should point their flags toward the East, keeping the staff out on a\nlevel with the body, and accent it by thrusting it forward as if pointing\nto the East, being careful not to change the level of the staff. At the\nsecond \"Leave the sky!\" the level of the staffs must be raised to about the\nchin of the dancer and the same pointing motion repeated at this level. At\nthe third \"Leave the sky!\" the staffs are raised to the level of the\ndancers' eyes and the same pointing movement repeated. At the fourth \"Leave\nthe sky!\" the level of the staffs is raised to a line with the top of the\nhead and the pointing motions again given. At the last line, \"Stormy\nclouds, begone!\" the staffs and flags should be raised aloft and waved with\nprecision to the rhythm of the song. The steps and movements of the body\nshould be that of backward and forward, to give a pulsating effect, all in\nexact time with the music. The drum should be beaten in 4/8 time, the first\nand third stroke heavier than the second and fourth. This series of\nmovements constitutes the Appeal to the East.\n\nThe dancers next turn to the North, repeat the song and all the movements\nof staff and body in exactly the same manner.\n\nThe dancers now turn toward the West and go through the song and movements\nwithout any variation.\n\nThey then turn toward the South and repeat song and movements as before.\nThis brings the First Appeal to a close.\n\nSECOND APPEAL\n\nAll the dancers gather in a loose group in the center of the open space,\nwhere they divide into two lines that must cross each other at right\nangles. When this cross-figure is formed, all, as they stand, should face\nthe East. The staffs should be held at an angle similar to that of a baton\nand then swayed to the rhythm of the following song of pleading and of hope:\n\nSong No. 2\n\n  Come, soft skies of blue,\n  O'er the earth of verdant hue\n    Bend in peace!\n  Clouds by thy sunny breath all are gone,\n      Blue Sky!\n  Joy now fills our hearts anew,\n  Sorrows cease;\n  Songs of birds sing of thy peace,\n      Blue Sky!\n\n[Music]\n\nAs the dancers sing they should take a step sidewise to the right, then\nreturn to the first position; then a step to the left and return, so that\nthe whole cross-figure has a swaying motion accentuating the rhythm of the\nsong, which should be sung smoothly and flowingly. When the words \"Blue\nSky!\" are sung the flags should be raised aloft and waved in rhythm and\nthen returned to the previous level. The song should be repeated several\ntimes and the figure maintained as the singers face the North, West, South\nand back to the East. Then the dancers should break into groups and, still\nsinging the song and dancing rhythmically, disperse to their tents.\n\n\n\nThe H\u00e9-de Wa-chi\n\nAN OMAHA FESTIVAL OF JOY\n\n\nINTRODUCTORY NOTE.--For centuries the home of the Omaha tribe has been in\nthe region now known as the State of Nebraska, north of the city which\nbears their name. There they dwelt in permanent villages, surrounded by\ntheir garden plots of corn, beans, squashes, etc. From these villages every\nyear in June all the tribes except the sick and infirm went forth to follow\nthe buffalo herds in order to obtain their supply of meat and pelts. As\nthis tribal hunt was essential to the needs of the life of the people, it\nwas a very serious affair, initiated with religious ceremonies and\nconducted under strict rules enforced by duly appointed officers. It was at\nthe close of this great tribal hunt, when food and clothing had been\nsecured, while Summer lingered and the leaves had not yet begun to fall, so\nthat brightness was still over the land, that this Festival of Joy took\nplace. Like all Indian ceremonies, the H\u00e9-de Wa-chi embodied a teaching\nthat was for the welfare of the tribe, a teaching drawn from nature and\ndramatically enacted by the people. The Omaha tribe was made up of ten\ndistinct groups, each one having its own name, a set of names for those\nborn within the group, and certain religious symbols and ceremonies\ncommitted to its care. By tribal rites and regulations these ten distinct\ngroups were welded together to form the tribe, whose strength and\nprosperity depended upon internal harmony and unity.\n\nThe H\u00e9-de Wa-chi taught the people what this unity really stood for. The\ncentral object of the ceremony was a tree, which was the symbol of the\ntribe; its branches were as the different groups composing the tribe, the\ntwigs that made up the branches were as the individuals that formed the\ngroups.\n\nThe Omaha had special ceremonies for the preparation of the central object.\nThey cut a tree, left a tuft of branches at the top and painted the trunk\nin alternate bands of red and black. The red bands represented day, the\nblack, night; the decoration as a whole stood for the continuity of life.\nThis pole was planted in a broad open space. As the melodious Call to the\nCeremony echoed over the land, the people gathered from their tents. Each\none of the ten groups took its respective place and all the groups formed a\nwide circle about the tree. Every one, down to the little children, carried\na twig with leaves. These they held aloft as they made their rhythmic,\nceremonial approaches to the tree, and afterward danced about the sacred\nsymbol.\n\nIt was a wonderful and a beautiful scene that took place on the prairies\nyears ago, when hundreds of Omahas moved to the rhythm of the sacred songs,\nwaving the green sprays as they danced up to the symbolic tree and circled\nabout it with thanksgiving and joy. It was thus they exemplified tribal\nunity, wherein every one was a part of the living whole.\n\nThis ancient American ceremony should live anew with us wherever we gather\nto enjoy the delights of nature in goodly company.\n\n_Directions_.--It may be difficult to prepare a young tree for the central\npole after the manner of the Omaha; if so, a space around a single tree can\nbe made to serve. Bands of red and black muslin or paper should be put\nabout the tree trunk; these are to symbolize the days and nights enjoyed\nduring the camp life. The members of the camp should be divided into groups\nand each group have a name and a color. Small branches should be gathered,\nequal in number to those who will take part in the dance. If actual\nbranches are not available, wands can be used; to these fluttering\ndecorations of green paper should be attached, also a streamer the color of\nthe group. Each group should be assigned a place in the wide circle that is\nto be made about the tree.\n\nWhen all are ready the following Call should be sung. The Indian words are\nretained, as they are easy to pronounce and fit the meaning, and are\nadapted to the long echoing cadences of the Call.\n\nSong No. 1\n\nTHE CALL\n\n  Zha-wa i-ba i-ba e-he,\n  Zha-wa i-ba i-ba ha e-he.\n\n[Music]\n\n[Words: Zha-wa = to rejoice; i-ba = come; ha = vowel prolongation of the\nsyllable ba; e-he = I bid you. \"I bid you come to rejoice.\"]\n\nThis English translation of the native words does not convey the stirring\nappeal of the Omaha: \"To rejoice! Come! I bid you.\" The stress of the music\nof the Call is on \"Zha-wa,\" to rejoice; the notes which carry the words\n\"e-he,\" \"I bid you,\" seem to float afar as if to reach the most distant\nmember of the tribe with the summons. The cadence of the Call echoes\nitself, as the second line is like the first, only lower in tones.\n\nWhen all of the camp have gathered in response to the Call, each group must\nstand in its appointed place and every member hold a decorated wand. Four\nbeats of the drum are now to be given; the beats must not be loud or rapid.\nWhen the reverberations of the drum cease, absolute quiet must be\nmaintained, each one's wand must hang downward from his right hand, while\nthe following chant is given, sung by the leaders of the groups. The words\nare by John B. Tabb, the music is arranged from the Omaha invocation.\n\nSong No. 2\n\nINVOCATION\n\n  All that springeth from the sod,\n  Tendeth upward unto God;\n  All that cometh from the skies,\n  Urging it anon to rise.\n\n[Music]\n\nThis chant takes the place of the prayer sung at this point of the ceremony\nby the Omaha Keepers of the Tribal Sacred Pipes. The prayer in the original\nhas no words, vocables only are used, for the music is what carries the\nappeal to Wakon'da (God).\n\nAt the close of the chant two strokes of the drum should be given. Then the\nleaders should sing the first line of the following song; all the camp\nrespond at the beginning of the second measure, and the song follows. This\nmusic is the dance song of the ceremony when all the Omaha tribe made four\nrhythmic advances toward the sacred tree, stopping at the close of each\nadvance. The song was sung four times, once for each forward movement.\n\nSong No. 3\n\nAPPROACH TO THE TREE\n\n_Leaders_: Ev'ry one lift up the branch!\n\n_Response by all:_ Up it goes!\n\n_Song by all:_ Dancing, singing, we like leaves sway to and fro.\n                          Happy leaves!  Dancing leaves!\n                        Swinging as the breezes blow,\n                          So will we ever be\n                        Blithe and joyous as we go.\n                                     Hi-o!\n\n[Music]\n\n\"Hi-o!\" is the call given by the leaders for the dancers to pause. When\nthis call is heard, all the branches must be at once lowered and every\nperson stand still. After a brief pause the leaders will again sing the\ncommand, \"Ev'ry one lift up the branch!\" then comes the response, \"Up it\ngoes!\" The song immediately follows, all the wands held high and waving in\nrhythm to the melody while the second advance is made. Each one of these\nadvances should be but a few steps, on account of the limitations of space.\nThe dancing steps, the rhythmic movements of the body and the swaying wands\nshould give an undulating line suggestive of waving branches. The available\nspace on the grounds should be calculated so as to permit the four\napproaches accompanied by the dance-song to reach a point near the tree,\nyet far enough to permit the forming of two circles of dancers around its\nbase. At this point the company should divide into two parts, one part to\nform an inner circle and the other to form an outer circle. These two\ncircles are now to dance around the tree, one to go from right to left, the\nother from left to right. At this time the leaders tie their wands to the\ntrunk of the tree, but all the others retain their wands while they dance\nin these concentric circles. All should sing the dance-song, keeping time\nwith the feet and waving the wands to the rhythm of the music. As the dance\ngoes on, the time can be accelerated and the circles become wider and\nnarrower, but in all these movements the rhythm of song and dance must\nnever be broken--for the rhythm stands for the binding force of a common,\nsocial and loving life.\n\nSong No. 4\n\nDANCE AROUND THE TREE\n\n1\n\n  Dance the leaves in sunlight,\n  Dance the leaves in dark night,\n  Leaves ever, ever dance on the tree,\n      The Tree!\n\n[Music]\n\n2\n\n  High we lift the green branch,\n  Dance and wave our green branch,\n  Each one is a green branch of the tree,\n      The Tree!\n\n3\n\n  Now we all return them,\n  Bind them to the tree stem,\n  While we sing the glad word, Unity!\n      O Tree!\n\n4\n\n  Strong our hearts in daylight,\n  Strong our hearts in still night,\n  Thus the H\u00e9-de Wa-chi bids us be,\n      O Tree!\n\nThis dance-song can be repeated as often as desired. When at last the\nleaders wish it to stop they must give the call, \"Hi-o!\" as they did for\nthe pause in the Dance of Approach to the Tree.\n\nWhen this signal is given, the members should toss their wands at the foot\nof the tree from the place where they had stopped dancing.\n\nIn the ancient Omaha ceremony the people had the vast expanse of the\nprairie at their disposal, yet each tribal group kept its appointed place,\nnot only during the dance, wherein they made four approaches toward the\nsacred tree, but when all the groups formed into two great circles the\ntribal order of their relative positions was still preserved. The two\ncircles were made up according to sex. The women and girls danced in one\ndirection next to the pole; the men and boys formed the outer circle and\ndanced in the opposite direction. This dance was the occasion of much\nhilarity and fun. Old and young danced with vigor, and great was the\ndelight of the tribe as it spun around the emblematic tree, carrying\nbranches. At the close of the dance all tossed the branches at the foot of\nthe pole, leaving a mound of green on the widespreading plain.\n\nIf boys and girls take part, as they should, in this ceremony, let the\ngirls form the inner circle and the boys the outer circle as they dance\nabout the tree in true Omaha fashion.\n\nIn real Indian life every vocation has its accompaniment of song, no matter\nhow homely may be the employment. So, keeping faith with that ancient\nAmerican custom, let the camp be put in order after the ceremony while all\nsing the following song, which may be called the Clearing Up:\n\nSong No. 5\n\nTHE CLEARING UP\n\n[Music:\n  Now is our dancing ended,\n  Light are our hearts as our footsteps\n  Turn at our leaders' bidding.\n  Safely we gather together\n  Branches that served our playtime,\n  Setting our camp all in order\n  Ere to our tents we betake us.]\n\nThis scene, in which all should take part, can be made merry as well as\nuseful.\n\n\n\n\nPART II\n\nGAMES\n\n\nINDIAN GAMES\n\nINTRODUCTION.--All the games here presented have been played in our land\nfor untold generations, while traces of the articles used for them have\nbeen found in the oldest remains on this continent. According to Dr.\nStewart Culin, the well-known authority on Indian and other games, \"There\nis no evidence that these games were imported into America at any time\neither before or after the conquest. On the other hand they appear to be\nthe direct and natural outgrowth of aboriginal institutions in America.\"\nDr. Culin calls attention to the reference to games in the myths of the\nvarious tribes. Among those of the Pueblo people mention is made of the\ndivine Twins who live in the east and the west, rule the day and the night,\nthe Summer and the Winter, \"Always contending they are the original patrons\nof play and their games are the games now played by men.\" (Bureau of\nAmerican Ethnology, Vol. 24, p. 32.) It would lead too far afield to follow\nthe interesting relation between ceremonials and games, a relation that is\nnot peculiar to the culture found on the American Continent but which\nobtains the world around. The environment of man in general outline is much\nthe same everywhere; the sun ever rises in the east and sets in the west;\nday and night always follow each other; the winds play gently or rend with\nforce; the rains descend in showers or fall in floods; flowers and trees\nspring up, come to maturity and then die. Therefore, when man has\nquestioned Nature as to the why and the wherefore of life, similar answers\nhave come from all parts of the earth; so it happens that man's games,\nwhich often sportively reflect his serious thoughts, show a strange\nsimilarity.\n\nIndian games that depend upon chance, according to Dr. Culin, may be\ndivided \"into those in which the hazard depends upon the random fall of\ncertain implements employed, like dice, and those in which it depends upon\nthe guess or choice of the player; one is objective, the other subjective.\"\nGames of the first or objective class are generally played in silence,\nwhile those of the second or subjective class, called guessing games, are\naccompanied by singing. (Ibid., p. 44.)\n\nIn a game where the two sides contest, as in a ball game, the sides were\nfrequently played by two different tribes or by two villages in the same\ntribe. In such cases the players often went through a course of training in\norder to prepare them for the contest. Bathing, exercise and diet had to be\nfollowed according to prescribed custom. Among the Cherokee the partaking\nof rabbit was forbidden, because the animal is \"timid, easily alarmed and\nliable to lose its wits\"; so if the player ate of this dish, he might\nbecome infected with like characteristics. Mystic rites were sometimes\nperformed to prepare the player so that he would be successful. (Ibid.,\np. 575.)\n\nAccording to the Indian belief, the pleasure of games was not restricted to\nmankind but was enjoyed by birds and animals. The following story from the\nCherokee is told by Mr. James Mooney and quoted by Dr. Culin (Ibid., pp.\n578, 579):\n\n\"The animals once challenged the birds to a great ball play. The wager was\naccepted, the preliminaries were arranged, and at last the contestants\nassembled at the appointed spot--the animals on the ground, while the birds\ntook position in the tree-tops to await the throwing up of the ball. On the\nside of the animals were the bear, whose ponderous weight bore down all\nopposition; the deer, who excelled all others in running; and the terrapin,\nwho was invulnerable to the stoutest blows. On the side of the birds were\nthe eagle, the hawk and the great Tl\u00e1niwa--all noted for their\nswiftness and power of flight. While the latter were preening their\nfeathers and watching every motion of their adversaries below, they noticed\ntwo small creatures, hardly larger than mice, climbing up the tree on which\nwas perched the leader of the birds. Finally they reached the top and\nhumbly asked the captain to be allowed to join in the game. The captain\nlooked at them a moment, and, seeing that they were four-footed, asked them\nwhy they did not go to the animals where they properly belonged. The little\nthings explained that they had done so, but had been laughed at and\nrejected on account of their diminutive size. On hearing their story the\nbird captain was disposed to take pity on them, but there was one serious\ndifficulty in the way--how could they join the birds when they had no\nwings? The eagle, the hawk and the rest now crowded around, and after some\ndiscussion it was decided to try and make wings for the little fellows. But\nhow to do it! All at once, by a happy inspiration, one bethought himself of\nthe drum which was to be used in the dance. The head was made of ground-hog\nleather, and perhaps a corner could be cut off and utilized for wings. No\nsooner suggested than done. Two pieces of leather taken from the drumhead\nwere cut into shape and attached to the legs of one of the small animals,\nand thus originated the bat. The ball was now tossed up and the bat was\ntold to catch it, and his expertness in dodging and circling about, keeping\nthe ball constantly in motion and never allowing it to fall to the ground,\nsoon convinced the birds that they had gained a most valuable ally. They\nnext turned their attention to the other little creature; and now behold a\nworse difficulty! All their leather had been used in making wings for the\nbat and there was no time to send for more. In this dilemma it was\nsuggested that perhaps wings might be made by stretching out the skin of\nthe animal itself. So two large birds seized him from opposite sides with\ntheir strong bills, and by tugging and pulling at his fur for several\nminutes succeeded in stretching the skin between the fore and hind feet\nuntil at last the thing was done, and there was the flying squirrel. Then\nthe bird captain, to try him, threw up the ball, when the flying squirrel,\nwith a graceful bound, sprang off the limb and, catching it in his teeth,\ncarried it through the air to another tree-top a hundred feet away.\n\n\"When all was ready the game began, but at the very outset the flying\nsquirrel caught the ball and carried it up a tree, then threw it to the\nbirds, who kept it in the air for some time, when it dropped; but just\nbefore it reached the ground the bat seized it, and by his dodging and\ndoubling kept it out of the way of even the swiftest of the animals until\nhe finally threw it in at the goal, and thus won the victory for the\nbirds.\"\n\n\nHazard Games\n\nINTRODUCTORY NOTE.--The objects which are thrown or tossed in games of\nhazard Dr. Culin for convenience has designated as \"dice\" and he calls the\ngames \"dice games.\" (Ibid., pp. 44, 45.) He found these games among one\nhundred and thirty tribes belonging to thirty different linguistic stocks.\nThroughout this wide distribution the \"dice\" are not only of different\nforms but are made from a variety of materials: split-cane; wooden or bone\nstaves or blocks; pottery; beaver or muskrat teeth; walnut shells;\npersimmon, peach or plum stones. All the \"dice\" of whatever kind have the\ntwo sides different in color, in marking, or in both. Those of the smaller\ntype are tossed in a basket or bowl. Those that are like long sticks,\nsimilar to arrow shafts, from which they are primarily derived, were thrown\nby hand. Myths of the Pueblo tribes speak of the game, in which \"dice\"\nshaped like a shaft were used, as being played by the War Gods. The\nsplit-cane \"dice\" were \"sacrificed\" on the altar sacred to the Gods of War.\nIn this connection it is interesting to find evidence that the \"dice game\"\nof hazard was associated with the thought of war among tribes very\ndifferent, both in language and customs, from the Pueblo Indians. Among the\ntribes living on the prairies the word used to indicate a \"point\" made in a\n\"dice game\" is derived from the same root as the word used to indicate an\nhonor won on the field of battle.\n\nTwo examples of the class of games called \"dice games\" are here given: the\nfirst a Pueblo game played almost exclusively by men; the second a game\nfound among the Omaha and kindred tribes and almost exclusively played by\nwomen.\n\n1\n\nPA-TOL STICK GAME\n\n_Properties_.--Three wooden billets; a flat stone about six inches in\ndiameter or square; forty stones about as \"big as a fist\" or like pieces of\nwood; as many sticks for markers as there are players; counters to score\nthe game.\n\n_Directions_.--The three billets, called pa-tol sticks, are made four and a\nhalf inches long, one inch wide and half an inch in thickness; it is\nimportant that the wood from which they are made be firm and hard. Two of\nthe billets are plain on one side, on the other side a diagonal line is\nincised from the left-hand upper corner to a point about two inches below\nthe right-hand upper corner; another diagonal line is incised from the\nright-hand lower corner to about two inches above the left-hand lower\ncorner. The third pa-tol stick has the same design on one side, and on the\nother side the design is repeated and an additional diagonal line incised\nfrom the right-hand upper corner to the left-hand lower corner. It would be\nwell to blacken all these incised lines in order that the designs can be\nreadily seen during the playing of the game.\n\n[Illustration]\n\nA circle, called the Pa-tol House, about three or four feet in diameter, is\nmade by setting forty stones \"about the size of a fist\" so as to form the\ncircumference. Between every tenth and eleventh stone there must be an\nopening of four or five inches. These openings must face the north, east,\nsouth and west; they are spoken of as \"rivers.\" The flat stone is placed in\nthe middle of the circle.\n\nEach player has a marker, a small stick or twig, which is called his\n\"horse.\" As many can take part in the game as conveniently can seat\nthemselves around the pa-tol house.\n\nThe following description of the game is given by Dr. Charles F. Lummis and\nquoted by Dr. Culin (Ibid., pp. 191, 192): \"When the players have seated\nthemselves, the first takes the pa-tol sticks tightly in his right hand,\nlifts them about as high as his chin and, bringing them down with a smart\nvertical thrust as if to harpoon the center stone, lets go of them when\nthey are within some six inches of it. The three sticks strike the stone as\none, hitting on their ends squarely, and, rebounding several inches, fall\nback into the circle. The manner in which they fall decides the\ndenomination of the throw, and the different values are shown in the\ndiagram. Although at first flush this might seem to make it a game of\nchance, nothing could be farther from the truth.... An expert pa-tol player\nwill throw the number he desires with almost unfailing certainty by his\narrangement of the sticks in his hand and the manner and force with which\nhe strikes them down. It is a dexterity which any one may acquire by\nsufficient practice, and only thus. The five throw is deemed very much the\nhardest of all, and I have certainly found it so. [See diagram.]\n\n\"According to the number of his throw the player moves his marker an equal\nnumber of stones ahead on the circle, using one of the rivers as a starting\npoint. If the throw is five, for instance, he lays his horse between the\nfourth and fifth stones and hands the pa-tol sticks to the next man. If his\nthrow be ten, however, as the first man's throw is very certain to be, it\nlands his horse in the second river, and he has another throw. The second\nman may make his starting point the same or another river, and may elect to\nrun his horse around the circle in the same direction that the first is\ngoing or in the opposite. If in the same direction, he will do his best to\nmake a throw which will bring his horse into the same notch as that of the\nfirst man, in which case the first man is killed and has to take his horse\nback to the starting point, to try over again when he gets another turn. In\ncase the second man starts in the opposite direction--which he will not do\nunless an expert player--he has to calculate with a good deal of skill for\nthe meeting, to kill and to avoid being killed by the first player. When he\nstarts in the same direction he is behind and runs no chance of being\nkilled, while he has just as good a chance to kill. But if, even then, a\nhigh throw carries him ahead of the first man--for jumping does not count\neither way, the only killing being when two horses come in the same\nnotch--his rear is in danger, and he will try to run on out of the way of\nhis pursuer as fast as possible. The more players the more complicated the\ngame, for each horse is threatened alike by foes that chase from behind and\ncharge from before, and the most skilful player is liable to be sent back\nto the starting point several times before the game is finished, which is\nas soon as one horse has made the complete circuit. Sometimes the players,\nwhen very young or unskilled, agree there shall be no killing; but unless\nthere is an explicit arrangement to that effect, killing is understood, and\nit adds greatly to the interest of the game.\"\n\n\n\nII\n\nPLUM STONE GAME\n\n\nThis game belongs to the second and non-ceremonial class of the games of\nhazard and is generally played by women. The Omaha type is here given, but\nit is similar to the game as played by kindred tribes.\n\n_Properties_.--Five plum stones; a basket or wooden bowl; one hundred\ncounters. The Omaha used stalks of the blue joint grass as counters, but\nsmall twigs or sticks will serve.\n\nThe plum stones should be carefully cleaned and dried. Two of the stones\nare burned black on both sides with a hot iron; on one side of each of\nthese stones a crescent is marked, and between the lines of the figure the\nblack is carefully scraped so as to leave a clear design of a new moon on a\nbackground of black. On the other side of these two stones a star, four or\nfive pointed, is drawn and all the black within the lines is scraped off,\nleaving a brown star on a background of black. The other three stones are\neach burned black all over on one side; the other side is left the natural\ncolor of the stones. These stones can be prepared in camp, but the basket\nor wooden bowl will probably have to be furnished from outside.\n\n_Directions_.--Two players to one basket or bowl. The game is generally one\nhundred points.\n\nThe two players sit opposite and have the basket or bowl between them, with\nthe five plum stones lying in the bottom. The one hundred counters are\nwithin reach at one side. As points are made, the winner takes a\ncorresponding number of counters from the general pile and lays them beside\nher on the side opposite to the general pile; when this is exhausted, then\nthe winner takes her counters from the winnings of her opponent. Whoever\nwins all of the one hundred points has the game.\n\nLots should be drawn to decide who shall have the first play. The one who\nwins the first play takes the bowl or basket by the rim with both hands and\ngives it a toss sufficient to throw up all the stones, but not violent\nenough to make them fall outside the bowl or basket; such a throw would not\ncount. If the throw is not such as to move all the stones, make them turn\nand all move about within the bowl, that throw will not count.\n\nThe following are the combinations that count, that is, make points:\n\nTwo moons and three whites (natural color) = 10 points.\n\nTwo stars and three blacks = 10 points.\n\nOne moon, one star and three whites (natural color) = 1 point.\n\nOne moon, one star and three blacks = 1 point.\n\nNo other combinations count anything in the game. As will be seen, there\nare a number which cannot be counted. If one tosses the bowl and the stones\nfall in such manner as to make a combination that does not count, there is\nno forfeit; the player merely fails to score any points. The player who\nwins a point, or points, keeps on tossing the bowl until she fails to make\na point. She must then let her opponent toss the bowl, who will keep\ntossing the bowl as long as she can win a point. There are players among\nthe Indian women who are very skilful and are able to make the stones fall\nfrequently in the combinations that win ten points.\n\n\n\nGuessing Games\n\nIntroductory Note.--Games of the \"subjective\" class, designated as guessing\ngames by Dr. Culin, were generally accompanied by singing. There is a great\nvariety in the games of this class, and five examples drawn from different\nsections of the country are here presented.\n\nIndian games of this character do not always depend so much on chance as on\nthe quickness of vision and skilful manipulation by the players. In games\nof this class the Indians never make random motions, all their movements,\nwhether of the body, the feet, the hands or arms, being always in strict\naccord with the accompanying song, while the drama implied in the game is\nacted out, at the same time, more or less clearly. In these games the\nIndian players seem to be impelled by a common rhythmic and dramatic\nimpulse, making a unity that enhances the interest and pleasure excited by\nthe game.\n\n\nI\n\nPu-in\n\n\nIntroductory Note.--This was a favorite game among the natives of the\nNortheastern States; its \"strange whimsies\" were first mentioned by William\nWood in his book, \"New England Prospect,\" published in London, 1634. It is\nprobable that some form of this game still persists among the scattered\ndescendants of those nearly extinct tribes, but it is not likely that at\nthe present day the victor would proclaim his prowess, as was formerly\ndone, by wearing in the holes of his ears the counters that marked the\nnumber of his successful guesses.\n\n_Properties_.--A number of wheat or other straws cut about a foot long; a\nmat or blanket; a pointed staff for the Leader.\n\n_Directions_.--Ten straws must be laid aside as counters for each player.\nThe rest of the straws are separated into tens and each ten tied with a\nwisp, making a bundle; one bundle must have eleven straws. There should be\nas many bundles as players. The bundles must all be tied alike. The game\nconsists in guessing which bundle has the eleven straws. The number of\nguesses allowed in a game must be fixed upon before starting to play.\n\nAll the bundles are thrown in a heap upon the center of the mat. The\nLeader, who is generally chosen by lot, leads the players to the mat\ncontaining the bundles. Each player holds in his left hand his ten counters\nand follows the Leader with his staff as he moves around the mat from left\nto right, while all sing the following song, taking steps to the rhythm of\nthe music:\n\n\nGAME SONG\n\n[Music]\n\nWhen the Leader strikes his staff on the ground every player must stop just\nwhere he happens to be, stoop and pick up a bundle with his right hand and\nbegin to wave it above his head and sway his body to the time of the song.\nWhen the Leader points with his staff to a player, that person must make a\nguess. As he scans the waving bundles he points with his left hand that\nholds his counters to the bundle which he thinks contains the eleven\nstraws. If the guess proves to be correct, the guesser puts one of his\ncounters in his hair or behind his ear. At once all bundles must be thrown\nin a heap on the mat. The Leader then moves forward by the left, followed\nby the players, every one singing and keeping time with the song. When the\nLeader strikes the ground with his staff, all halt. Each player immediately\nseizes a bundle, holds it aloft and begins to wave it. The Leader\ndesignates with his staff a person who must guess. If the guess is wrong,\nthe guesser drops one of his counters on the mat and the Leader points to\nanother player who must guess. If he loses, he drops one of his counters on\nthe mat; the guessing goes on as described, until some one is successful\nand puts a counter in his hair, when the bundles are all thrown on the mat\nand the play begins again as before. Should the person designated by the\nLeader to guess think that he holds the bundle with eleven straws, he must\npoint it at the Leader. If this surmise is correct, the person guessing\nputs a counter in his hair and all bundles are again thrown on the mat.\n\nIn this way the game proceeds until some player has won the requisite\nnumber of counters and has them all standing in his hair. Throughout the\ngame the singing must be kept up, accompanied by rhythmic movements of the\nfeet and the body, the players acting as though searching among the tall\ngrass for a desired clump. When a point is won, the Leader should shout out\nthe counter won, without interrupting the song or the play. Among the\nIndians the game, once started, is kept going without halt or break in the\nsong or the movements. The calling out of the winnings in no way disturbs\nthe singing or the playing.\n\nThe victor should wear his successful counters in his hair the rest of the\nday, if possible.\n\n\n\nII\n\nAt\u00e1-a-kut\n\n\nIntroductory Note.--This game is played among one of the basket making\ntribes of California. As not infrequently occurs in Indian games, there is\nin this pastime a reflection both of the environment and of the vocations\nof the people who used it. The drama or theme of the play is the search for\na particular reed, which for the purpose of the game is marked in a special\nway.\n\n_Properties_.--A mat or blanket and about fifty reeds; the reeds should be\nsimilar in thickness and about a foot long.\n\n_Directions_.--The number of points which shall constitute winning the game\nshould first be agreed upon; if ten be the number, then twenty reeds should\nbe set aside as counters and the rest used as game-reeds. All of these\nlatter must be alike save one, and that reed must have a black band about\nan inch or so wide painted around the middle, that is, midway between the\ntwo ends of the reed. It is this particular reed that must be detected or\nits location guessed.\n\nThe mat or blanket should be laid east and west. The two players sit\nopposite each other, one near the northern edge of the mat, the other near\nthe southern edge. The counters are divided in half, one-half put at the\neastern end of the mat, the other half at the western. The counters at the\neast belong to the player sitting at the north, those at the west to the\nplayer at the south. Two singers stand back of each player. The spectators\nare grouped about the mat, but must not be too near the players. Lots are\ndrawn to decide which player shall \"hold the reeds.\" The player who loses\nthe chance to \"hold the reeds\" becomes the one who is to be the guesser.\n\nAll the game-reeds, including the reed with the black band painted on it,\nare thrown in a pile in the center of the mat or blanket. The player who is\nto \"hold the reeds\" gathers all the game-reeds in his hands, brings them\nbehind his back, where he shuffles and divides the reeds into two bunches,\none for each hand. When he is ready to bring his hands forward, each one\nwith a bunch of reeds grasped by the middle, the two singers standing\nbehind him start the following song:\n\nGAME SONG\n\n[Music]\n\nWhen the music begins, the player holding the reeds sways his body from\nside to side, moves his arms and hands with the reeds and simulates being\nblown by the winds. The opposite player, by the movements of body and arms,\nindicates that he is pushing his way through tall reeds tossed by the wind,\nsearching for something he desires to find. Both players in all their\nmovements must keep in rhythm of the song, observe strict time and strive\nto make their actions tell the story plainly. The guesser through all his\nmotions must keep his eyes on the bunches held by his opponent, seeking for\nan indication to show which one contains the marked reed. When he is ready\nto guess he extends both arms toward the bunch he has fixed upon, as if to\ngrasp it. At this action the holder of the reeds must open his hand and let\nthe reeds of that bundle fall on the mat. The guesser then searches among\nthe spilled reeds for the one that is marked; if he finds it, he holds it\nup so that all can see that his guess has been correct and the reed\ndiscovered. The two singers who stand behind him give the victory shout, go\nto his pile of counters, take one and place it at his right hand, then the\nreeds of the other bunch are thrown by the holder on the mat, so that all\nthe game-reeds are lying in the center, as at the beginning of the game.\n\nThe player who made the successful guess now picks up the game-reeds and\nbehind his back shuffles and divides them. When he is ready to bring\nforward his two hands holding the reeds, the two singers standing behind\nhim begin the Game Song, while he waves the bunches, acting what is now his\nr\u00f4le, that of the reeds being blown about by the winds. The other player\nnow becomes the guesser and must act as though he were searching among the\nblown reeds for the one he desires.\n\nThe player who \"holds the reeds\" is thought to have the advantage; that is\nwhy lots are drawn at the beginning to decide who shall have that part in\nthe game. The player holding the reeds aims to make the guessing as\ndifficult as possible by deftness in hiding the banded reed, so as to keep\nhis advantage.\n\nEvery time a guess is made the reeds of the bunch guessed must at once be\ndropped on the mat, that all may see the reeds while the guesser searches\namong them for the marked reed. If he cannot find it, the singers who stand\nbehind him call out that a point has been lost, take a counter from his\npile and place it at the right hand of the player holding the reeds, who at\nonce drops all the game-reeds on the middle of the mat, to be again taken\nup by him, shuffled and divided behind his back, when he resumes the waving\nof the bunches of reeds blown by the wind and the guesser who lost starts\nto make another guess. Should he be successful, the counter he had lost\nwould be taken back and placed at his right hand. In this manner counters\nlost can be reclaimed, until one or the other of the players has won and\nbeen able to hold the number of counters required for the game.\n\nThe presentation of the little drama of this game rhythmically affords an\nopportunity for considerable dramatic action and yields pleasure both to\nthe performers and to the spectators. This game was much played among the\ntribes where it was known.\n\n\n\nIII\n\nHAND GAME\n\n\nINTRODUCTORY NOTE.--This game, Dr. Culin states, is played among eighty-one\nIndian tribes of the United States. The game bears different names in the\nvarious languages of these tribes. Hand Game is a descriptive term and not\na translation of any native name; it refers to the fact that the object is\nheld in the hand during the play. The following form of this game is the\nway it was formerly played among the Nez Perce Indians of the State of\nIdaho. Lewis and Clark, who were the first white men to record their\nmeeting with these Indians, mention this game, and Capt. Bonneville gives\nan account of it when he visited the tribe during the third decade of the\nlast century.\n\n_Properties_.--A bone or wooden bead about two inches in length and half an\ninch in thickness; thirty counting sticks (these are sometimes spoken of as\narrows, and there are indications that they were once arrows--the arrows of\nthe twin gods); a mat oblong in shape; two logs or pieces of board about\nthe length of the mat, and as many sticks (to be used as drum-sticks) as\nplayers can sit on one side of the mat.\n\n_Directions_.--The mat should be laid east and west, the logs or boards put\non the north and south edges and the counting sticks placed in two piles of\nfifteen each on the ends of the mat. The players sit on the ground, a row\non each side of the mat to the north and south. Lots are drawn to decide\nwhich side shall have the bead \"in hand.\" The Leader and the singers must\nalways stand behind the row of players who have the bead \"in hand.\" The\nopposite side must have the drum-sticks and beat on the log or board in\ntime with the singers.\n\nWhen the players are seated in two rows, one on each side of the mat, the\nLeader hands the bead to a player on the side that has drawn the right to\nhave the bead \"in hand,\" and then takes his place beside the singers, who\nstand behind that row, and starts the following song. All in that row join\nin the singing.\n\nHAND GAME SONG\n\n[Music]\n\nThe players on the opposite side, who are to guess who is hiding the bead,\nat once begin to beat the time of the song on the log or board that is in\nfront of them, on the edge of the mat, and at the same time they must watch\nthe other side where the players are trying to pass the bead from one hand\nto the other and from one person to another without exposing the bead to\nview. In all these actions the movements of hands, arms and body must be\nrhythmical and in time with the song. All the players in the row that has\nthe bead \"in hand\" must act as if each one either had the bead or was\ntrying to pass it on, whether he actually has the bead or does not have it.\n\nWhen one on the opposite side thinks he detects the whereabouts of the bead\nand is willing to risk a guess, he points his drum-stick to the hand he\nthinks has the bead and cries, \"Hi-i!\" and the hand indicated must be\nimmediately opened so that all may see whether the guess is correct or not.\nIf the bead is seen to be in the opened hand, the Leader calls out,\n\"Success!\" and goes to the pile of counting sticks belonging to the side of\nthe guesser, takes one and stands it in the ground in front of the\nsuccessful guesser. The Leader then hands the bead to the player who has\nwon and proceeds to gather the drum-sticks and distribute them to the\nplayers on the opposite side. The singers pass around and take their places\nbehind the row of players who now have the bead \"in hand.\" When all are in\nreadiness, the Leader starts the song again and the players begin their\nmovements of secretly passing the bead, while the other side beat time with\ntheir drum-sticks on the log or board in front of them. The side that has\nthe bead \"in hand\" always does the singing, led by the Leader and singers,\nwho must stand at the rear of the row having the bead.\n\nIf a guess is incorrect the Leader goes to the pile of counting sticks that\nbelongs to the side which has the drum-sticks, takes a counting stick and\nthrusts it in the ground in front of the row opposite to the guesser; that\nmeans one lost to his side. The bead in that instance remains on the same\nside until it is won by the opposite side through a successful guess.\n\nIn this manner the game goes on until one side or the other has won all the\nthirty counting sticks and become the victor in the game.\n\n\n\nIV\n\nHIDING THE DISKS\n\n\nINTRODUCTORY NOTE.--This game, known under a variety of names, is a\nfavorite among the Indian tribes living on the North Pacific Coast. The\ndisks, always of an uneven number, are made of wood and ornamented with\ndesigns composed of segments of circles with groupings of dots. Some of the\nmarkings are regarded as cabalistic, and there are men who claim to have a\nknowledge of spells that will bring luck to the disks they ornament and\ntreat; such disks are considered valuable and often command a high price.\nAll of the disks in a set that is used in this game are ornamented alike\nexcept one; this must be different from the others. It may be decorated\nwith red, for the sun, or with a dark color almost black, for the night.\nThis disk is frequently called the \"chief,\" and the aim of the game is to\nguess in which pile of disks the \"chief\" is hidden.\n\n_Properties_.--A mat on which the game is played; a small mat on which the\ncounting or tally-sticks are put; a board that is to serve as a drum; four\ndrum-sticks; nine wooden disks about two and a half inches in diameter. The\ndesigns on the nine disks, the twenty tally-sticks and the four drum-sticks\nshould be in color or burned into the wood. Eight of the disks should be\ndecorated alike; the ninth must be different and have either red or brown\nas the predominating color; this disk is the \"chief.\" A bundle of excelsior\nis to be the substitute for the fiber of cedar bark which is used by the\nIndians of the Northwest Coast when playing this game; if excelsior is not\navailable, dry leaves or some other dry material might be substituted,\nwithin which, or under which, the disks could be hidden. All the articles\nused in this game except the mats should be made in camp.\n\n_Directions_.--An uneven number of players is required for this game. The\nmat is laid east and west; at a little distance back to the northwest the\nsmall mat is placed and on it are put the twenty tally-sticks. In a line\nwith the small mats to the northeast is laid the board around which the\nfour singers and drummers sit. The bundle of excelsior, or whatever\nmaterial is used in its place, together with the nine disks, is put at the\nwestern end of the mat; before these is the place for the player who is to\nhide the disks. On the northern and southern side of the mat sit the\nplayers who are to guess where the \"chief\" is hidden, three or four on a\nside. The messenger stands at the eastern end of the mat facing the player\nwho is to hide the disks. Lots should be drawn to determine who of the six\nor eight players are to sit on the northern side and who on the southern\nside. The player who is to do the hiding of the disks can be either\nselected or drawn by lot. Whoever takes this part in the game should be\ncapable of considerable dramatic action. Among the Indians the person who\ndoes the hiding of the disks personifies one who practices magic; he makes\npasses over the disks and the cedar fiber under which the disks are hidden,\nmakes signs and movements, and does what he can to throw a spell of\nconfusion over those who are to guess where the \"chief\" is hidden.\n\nWhen the players about the mat, the singers about the board drum and the\nmessenger standing at the eastern end of the mat are all in readiness, the\nsingers begin the following song, keeping time by beating with their\ndrum-sticks on the board drum; the players about the mat join in the\nsinging.\n\nHIDING THE DISKS\n\n[Music]\n\nThe player at the western end of the mat opens the bundle of excelsior or\nother material and spreads it on the mat and then puts all the nine disks\nunder the material, making many movements as he does so, all of which must\nbe in rhythm with the song, rolling the disks about under the material and\nfinally dividing them into two parts, well covered up by the material. He\ncontinues to make passes with his hands as though invoking mysterious\nforces and to shuffle around the two piles of material in which the disks\nare hidden. Suddenly a player points to one of the piles; the player at the\nend ceases to shuffle and sends the disks concealed in the pile rolling\ndown the mat to the messenger standing at the other end, who looks to see\nif the \"chief\" is among the disks rolled toward him. If he finds it, all of\nthe players on the side of the guesser give the victory shout and the\nmessenger goes to the small mat, brings one of the tally-sticks and stands\nit before the successful guesser. Then the messenger rolls the disks back\nto the other end of the mat where the person sits who hides the disks. That\nplayer begins again his passes and movements as he mixes together the nine\ndisks and hides them under the material; then he divides the disks and the\nmaterial under which they are hidden into two piles, shuffles them about\nuntil a player points to a pile, when he at once stops shuffling and sends\nthe disks under the pile pointed at rolling down the mat to the messenger.\nIf the \"chief\" is not found among the disks, the side to which the\nunsuccessful guesser belongs loses a point, and the messenger takes from\nthe small mat a tally-stick and stands it at the end of the row of players\non the opposite side. The disks are then sent spinning over the mat to the\nplayer who hides them. He mixes up the disks, hides them, shuffles the\npiles until another guess is made. If that guess should be by a player on\nthe side that had just lost a point, and the guess prove to be\nsuccessful--that is, the pile pointed at contain the \"chief\"--then the\nmessenger takes the tally-stick that had been put at the end of the row of\nthe opposite side and stands it in front of the successful guesser. He\ncould not take back a tally-stick that had been won by a guess unless all\nthe tally-sticks had been taken from the small mat. One side or the other\nmust win twenty points to be victor in the game. In the process of winning\nthe game the tally-sticks may therefore be taken back and forth before one\nside wins the entire twenty.\n\nThe victory shout is given only when a successful guess is made. The\nsinging stops at a victory shout and is resumed as soon as the disks are\nrolled back to the player who hides the disks. He must be careful to keep\nall his dramatic actions and movements of hands, arms, body and head in\nrhythmic accord with the song. The steps and movements of the messenger\nmust also be in time with the song.\n\n\n\nV\n\nI-OU'-TIN\n\n\nINTRODUCTORY NOTE.--This game belongs to the class of guessing games. The\nform here presented is adapted from the game as played by the Omaha, Otoe,\nPonca and Pawnee tribes, among whom it is a favorite.\n\n_Properties_.--A standard, or the camp flagstaff can be used; a blanket or\nrug; three official scarfs, one blue, one green, one white; two wands, one\ndecorated with blue and the other with green; eight tally-rods, ornamented\nat one end with red tassels; two small balls of a light, soft material,\nhair or wool; a drum; six decorated drum-sticks; rosettes of blue and of\ngreen; strips of blue and green paper.\n\n[Illustration]\n\n_Directions_.--A fairly level open space large enough for a circle of from\ntwenty to thirty feet in diameter is marked upon the ground, in the center\nof which the standard is planted. Directly west and on a line with the\nstandard the blanket or rug is spread. In front of the rug and on a line\nwith the standard the drum is set. At a little distance on each side of the\ndrum the two wands are thrust in the ground, the one decorated with blue to\nthe north, the one with green to the south. On the rug back of the drum the\neight tally-rods are laid in a bunch, with the butts of the rods toward the\neast. At the butts of the rods are placed the two little balls.\n\nThe players draw lots as to which side they are to belong. This is done by\nputting the green and blue strips of paper in a receptacle and each one\ndrawing a strip. Those who draw blue belong to the north side; those who\ndraw green, to the south side. Each player must then fasten a rosette, of\nthe color of the side to which he or she belongs, on the shoulder; those\nwho belong to the north side must put the blue rosette on the right\nshoulder, and those who belong to the south side must put the green rosette\non the left shoulder.\n\n_Officers_.--Two Judges; a Custodian; two Guessers; six Singers.\n\nThe players on the north side choose from among their number one who is to\nbe their Judge; the players on the south side choose one for their Judge.\nIt is the duty of the Judges to select the Custodian, the six Singers, the\ntwo Guessers; to preserve order, decide when there are disputes, and to\nlead in the opening ceremony.\n\nThe Custodian has charge of all the properties, must place them as\ndirected, move the drum from side to side, and at the close of the game\ngather all the articles required for the game and put them in a place of\nsafe keeping for use at another time. The Custodian wears the official\nwhite scarf tied about the waist. This officer does not wear any rosette,\nas the Custodian does not belong to either side but to all who take part in\nthe game.\n\nThe Judge on the north side must wear the blue official scarf. This is\ncrossed over the breast from the right shoulder, on which is the blue\nrosette, to the waist on the left side, where it is tied. The Judge on the\nsouth side wears the green official scarf. This is crossed over the breast\nfrom the left shoulder, where is the green rosette, to the waist at the\nright side, where it is tied.\n\nThe six Singers, three for each side, sit in an open group on the ground\nnear the ends of the rug, those wearing blue rosettes on the north and\nthose wearing green rosettes on the south side. The players take their\nseats on the ground on the line of the circle, those wearing blue rosettes\non the north half, those wearing green rosettes on the south half of the\ncircle.\n\nWhen all are in their places the Custodian leads the two Judges to the rug,\non which they are to sit a little back of the wands--blue to the North,\ngreen to the South. The Custodian then takes up the tally-rods, gives four\nto each of the Judges and retires to stand back of the rug, behind the\nJudges, ready for duty.\n\nUp to this moment laughing and talking goes on among the players, but as\nthe Custodian divides the tally-rods and hands them to the Judges instant\nsilence falls on all present.\n\nTHE OPENING CEREMONY\n\nThe two Judges rise in their places. The north side Judge holds the four\ntally-rods in his right hand, the south side Judge holds the four\ntally-rods in his left hand; the two then walk abreast to the standard.\nThere they face the North, move forward a few steps, pause, and each Judge\nholds up his tally-rods to the North, while all the players on both sides\nof the circle sing the following song:\n\nSong\n\n1\n\n  Hail! O North! Thy wind send\n    To blow care away,\n    To bring joy to-day;\n      Makes Eyes keen,\n  Make Hands swift for play.\n\n[Music]\n\nAt the close of the stanza the two Judges lower their tally-rods, turn,\nwalk toward the East, pause, then elevate their tally-rods, and all the\nplayers sing the second stanza.\n\n2\n\n  Hail! O East! Thy wind send\n    To blow care away,\n    To bring joy to-day;\n      Makes Eyes keen,\n  Make Hands swift for play.\n\nAt the close of the stanza the two Judges lower their tally-rods, turn,\nwalk toward the South, pause, again elevate their tally-rods, while all the\nplayers sing the third stanza.\n\n3\n\n  Hail! O South! Thy wind send\n    To blow care away,\n    To bring joy to-day;\n      Make Eyes keen,\n  Make Hands swift for play.\n\nAt the close of this stanza the two Judges lower their tally-rods, turn,\nwalk toward the West, pause, once more elevate their tally-rods, and all\nthe players join in singing the fourth stanza.\n\n4\n\n  Hail! O West! Thy wind send\n    To blow care away,\n    To bring joy to-day;\n      Make Eyes keen,\n  Make Hands swift for play.\n\nAt the close of the song the Judges lower their tally-rods and walk to the\nrug, where they take their appointed seats behind the respective wands.\nThey then lay all the tally-rods on the space between them.\n\n\nTHE CONTEST\n\nA contest now takes place between the two persons chosen by the Judges to\nbe the two Guessers, one for each side, to decide which shall begin the\ngame. The Judge for the north side calls the name of the person chosen to\nbe the Guesser for that side and the Custodian escorts him to his place\nwithin the circle. The Judge for the south side calls the name of the\nperson chosen to be Guesser for that side, and the Custodian escorts him to\nhis place within the circle. The Custodian then gives to each the wand\nbelonging to his side and also one of the small balls.\n\nThe Guesser from the north side hides his ball in one of his hands,\nshifting it behind his back, then he holds out both hands in front of him\nwith all the fingers closed except the index finger, which is extended as\nif pointing to the other Guesser. Both hands and forearms must be\nrhythmically moved up and down. The south side Guesser watches for a moment\nand then points with his wand to the hand he thinks has the ball. As soon\nas he points to a hand, it must be immediately opened, palm upward. Should\nthe ball be in the other hand, it must be shown to be lying there. If the\nguess was correct, the ball being in the hand pointed at, it counts one.\nThree correct guesses must be made by one of the Guessers in order to\nsecure for his side the right to open the game. In this contest the\nGuessers must alternate, first the north side Guesser, then the south side\nGuesser, and so on until one of the Guessers has won three correct guesses.\nThat decides it. His side is to hide the ball and the other side's Guesser\nis to do the guessing.\n\nTHE GAME\n\nThe Custodian takes the drum from its position in front of the rug, carries\nit to the side of the successful Guesser and sets it before the three\nSingers who are to lead in the singing of the song belonging to that side\nof the circle of players. Every one on that side must sing the song as they\nhide the balls. Only those on the side that is hiding the balls sing. They\ncan only sing the song that belongs to their side.\n\nSONG FOR THE NORTH SIDE\n\n[Music]\n\nSONG FOR THE SOUTH SIDE\n\n[Music]\n\nThere are no words for either of these songs. The vocables given are those\nused with these songs when the Indians sing them as they hide the balls.\n\nThe Custodian takes the two balls from the Guessers and hands them to two\npersons designated by the Guesser who has won the right for that side to\nbegin. The two persons designated must be two who are sitting together.\nThey each take a ball, and they must hide the balls in the same manner as\ndid the Guessers during the contest. The fingers of the hands are closed,\nall but the index finger, which is extended as if pointing. The hands and\narms move up and down and also from one side to the other; all of these\nmovements must be in exact time to the song and the drum-beats. These\nswaying, rhythmic movements are pleasing to the eye and add to the\nenjoyment of the game. While the two persons having the balls are hiding\nthem, swaying their hands and arms, the Guesser, who is of the opposite\nside, is watching intently the hands of the players. When he is ready to\nmake a guess he points his wand to where he thinks the balls are--directly\nin front, if he suspects the balls to be in the two inside hands. If he\nthinks the balls are in the two outside hands, he points his wand to one of\nthe hands and extends his empty hand toward the other; in that case the\nGuesser stands with both of his arms extended. As soon as the Guesser\npoints with his wand, the hands indicated must be at once opened, palms\nupward, so that all can see whether the guess is right or wrong.\n\nEvery correct guess counts one for the side of the Guesser. As soon as a\ncorrect guess is made, the Judge for that side takes up one of the\ntally-rods and lays it toward his side; this shows that a point has been\nwon for that side. If the guess is wrong, the Judge for the other side\ntakes up one of the tally-rods and lays it over on his side. The other side\nhas lost one, while his side has gained by the other's loss.\n\nTo win a sweep, all the eight tally-rods must be gained by one side. Three\nsweeps by a side gives that side the game.\n\nWhenever a sweep is made the balls are handed over to the Custodian. The\ntwo Judges rise, go to the standard, stand there, one facing North (his\nside), the other the South (his side). The two Guessers go to the standard,\nstand there, one facing East, the other West. All the winning side rise, go\ntoward the standard and form a circle around it. There they sing the\nVictory Song.\n\nVICTORY SONG\n\n[Music]\n\nAs they sing they sway their arms as though hiding the balls, and dance to\nthe rhythm of the song. Four times they dance around the standard and sing\nthe Victory Song. All movements must be in time with the song. At the close\nof the fourth circuit of the standard, all return to their appointed places\nand the game is resumed.\n\nThe Custodian takes up the drum, carries it to the side that has just\ndanced and sets it before the three Singers of that side. The Guesser, who\nis of the opposite side, designates the two who are to hide the balls and\nthe game proceeds as described above.\n\nWhenever a side that has been hiding the balls fails three times to elude\nthe Guesser, then the Custodian takes the drum from that side and carries\nit to the other side of the circle, puts it before the Singers and gives\nthe balls as directed. Sometimes there are disputes as to these transfers\nand as to the points lost; three must be lost to secure a transfer. It then\nbecomes the duty of the Judges to decide.\n\nWith every transfer of the drum the song changes. The balls and the right\nto sing go together, but the song belonging to one side must not be sung by\nthe other side. The songs are not interchangeable.\n\nThis game is provocative of fun and merriment as well as dexterity of hand\nand quickness of vision. It also presents a very pretty spectacle. It is\ngreatly enjoyed by Indian men, women and children. It has also found favor\nwith merrymakers of our own race.\n\n\n\nBall Games\n\nINTRODUCTION\n\nIndian ball games have one feature not found in the ball games as played by\nus; that is, with the Indian the ball is never pitched and tossed by hand\nduring the play. At the opening of an Indian game the ball must be tossed\nby hand, but after that the ball is struck by a racket, stick or club and\nin that way sent from player to player and on to the goal. An exception to\nthis general rule is found in an Omaha ball game given in the following\npages.\n\nThe opening ceremony requires the ball to be handled and moved in a\npeculiar and ceremonial manner by the hand of the Umpire before he tosses\nit up for the beginning of the actual play.\n\nThe balls used by the Indians are of different materials--buckskin stuffed\nwith hair; formed from roots, such as the wild-grape vine; wood; bladder\nnetted with sinew; and in a few instances, of bone or stone.\n\nThree ball games are here given.\n\n\nI\n\nBALL AND RACKET\n\n\nINTRODUCTORY NOTE.--The game in which the ball is struck with a racket is\nalmost exclusively played by men, but there are tribes where it is played\nby women, and one tribe, cited by Dr. Culin, where it is played by men and\nwomen together. The form of ball game where the racket is used was less\nwidely distributed over the country than some others. It was most\nfrequently found among tribes living near the Atlantic Coast and in the\nregion of the Great Lakes. It had a limited range on the Pacific. There are\ntwo forms of the Racket Ball Game, one where a single racket is used and\nthe other where two rackets are employed to catch the ball. The latter form\nis peculiar to the tribes formerly living in the Southern States. The game\nhere given is presented as it is played among the Chippewa tribes dwelling\nin Minnesota.\n\n_Properties_.--A ball, not too hard and the size usually employed for\ncricket. As many rackets as there are players. Red and yellow head-bands\nequally divided as to number and enough for all the players.\n\n_Directions_.--The field should be as large as the camp ground will permit.\nAt the extreme East of the field a tall pole should be set as a goal and a\nlike pole at the West for the other goal. To the pole at the East a red\nstreamer should be tied and a yellow streamer to the pole at the West.\nThese poles should be practically in line and as distant from each other as\nit is conveniently possible to set them. The rackets should be made in\ncamp. A racket can be made from a sapling cut at such length that when the\nracket is completed it will be 26 inches long. One end of the sapling is\nwhittled fiat on one side for a sufficient length to be bent round to the\nshaft or handle so as to form the rim of the circular receptacle which is\nto receive the ball. Sometimes both sides of this bent portion of the\nsapling are made flat. The end of this flat end where it curls round upon\nthe shaft or handle must be bound firmly to the shaft with thongs or heavy\ntwine. Holes are sometimes bored through the rim and the thongs or twine\nare passed through them and woven into a loose netting to form a bottom to\nthe coiled end, making a shallow cup-shaped receptacle in which to catch or\nhold the ball. The rackets are not difficult to make. Each lad should make\nhis own racket and mark the stem with some device by which he can identify\nit should he drop it during the play. Care should be taken when making the\nracket to have the cup-shaped receptacle at the end of the shaft of such\nsize as to hold the ball without its rolling about, in which case it would\nbe easily dropped when being carried on a run; yet it must be large enough\nto catch and hold the ball as it is flying about. The players should be\ndivided into two parties by casting lots. Those who belong to the east goal\nshould wear red head-bands; those who have the west goal should wear yellow\nhead-bands. An Umpire must be selected. The ball must strike one of the\ngoal posts to make a point; the number of points that shall constitute the\ngame should be agreed upon. Two players, one from each side, stand near\neach goal. One helps the ball for his side; the other hinders the ball when\nnear the goal by tossing it back into the field again so that his side may\ncatch it.\n\nTHE GAME\n\nThe four players stand at their posts beside the two goals; all the others\ngather in the field. The Umpire takes the ball and goes to a place as near\nthe center of the field as possible. All being in readiness, he throws the\nball with force straight up in the air. Every player watches the ball and\nmakes ready to try and catch it in his racket when it descends. If one\nsucceeds in catching the ball, he runs at full speed toward his goal,\nholding his racket so that the ball will not fall out. The other players\nrush after him, trying to strike his racket and dislodge the ball. If he is\nhard pressed he may try to toss the ball to a player on his side who has a\nclearer space; if the ball is caught by the player to whom it was sent,\nthen all the players turn upon the new holder of the ball and try to block\nhis progress. In this game care must be taken never to strike the arm or\nbody of a player; only the racket should be struck. There is danger of\nreceiving injuries if this rule is not strictly observed.\n\nPerhaps one of the most difficult feats in this game is when a player has\nbrought his ball near to the goal to so turn his racket while it holds the\nball as to send the ball with such force that it will strike the post\nsquarely and not miss the goal. The difficulty is owing to the horizontal\nposition of the racket when holding the ball. Of course, the keenest\nplaying is about the goal, where the guard of the side opposite to the\nplayer does his best to catch the ball on its way to the post and send it\nback into the field.\n\nThe ball should not be allowed to touch the ground from the time the Umpire\nthrows it into the air until it falls at the pole after a point has been\nmade by the ball striking the post. It is the duty of the Umpire to go to\nthe pole, mark the score, return with the ball to the center of the field,\nwhere he again sends it up into the air, and the game starts afresh for a\nsecond point to be made.\n\nThis game is good sport; it develops and requires skill, agility and\nstrength.\n\n\n\nII\n\nTA-B\u00c9\n\n\nINTRODUCTORY NOTE.--This ball game was known to a number of tribes that\nformerly lived on the prairies, and called by different names. The game as\nhere given is as it was played among the Omaha. The opening of the game was\nceremonial. The person who performed the opening ceremony had to belong to\nthe tribal group that had charge of the rites pertaining to the Wind, for\nthe figure outlined on the ground by the movements of the ball in the\nopening ceremony was one of the symbols of the Wind. The Wind when spoken\nof ceremonially was called the Four Winds, one for each of the four points\nof the compass. These Four Winds were regarded as the messengers of the\nGiver of Life, known as Wakon'da by the Omaha and kindred tribes. The\nrecognition of man's connection with the forces of Nature did not disturb\nthe pleasure of the Indian when entering upon a game; on the contrary, it\ntended to enhance his happiness by bringing to his mind his dependence upon\nWakon'da, together with the feeling of being in accord with the power\nrepresented by the Wind.\n\n_Properties_.--A ball about three or four inches in diameter; the Omaha and\nkindred tribes made the ball out of the root of the wild-grape vine. As\nmany sticks as there are players, the sticks to be about three feet long\nand crooked over at one end. Each stick should be marked by some design\ninvented by its owner, so that each player can identify his stick.\n\n[Illustration: DIAGRAM OF THE TA-BE\n\n1    Circle showing lines made by the ball\n\n2    Goals\n\n3    Guardians\n\n4    Players at the opening of the game]\n\n_Directions_.--A wide open field is best for this game. Two goals, one at\nthe East, the other at the West. The goals are each made by two posts with\na cross piece on top. The path of the ball is East and West.\n\nThe officers of the game are: an Umpire, four Guardians of the Path. Two of\nthe Guardians of the Path stand at the eastern goal and two at the western\ngoal. The two Guardians at a goal represent the two sides; one wears a\nyellow streamer or badge, the color of the West; the other wears a red\nstreamer or badge, the color of the East. A red streamer is tied to the\ngoal at the East and a yellow streamer to the goal at the West. It is the\nduty of the one who wears the color of the goal by which he stands to try\nand help the ball through the goal when it comes in that direction, and it\nis the duty of the one who wears the color of the opposite goal to prevent\nthe ball from going through and to send it back into the field or toward\nthe other goal.\n\nThe players on the two sides are chosen in the following manner: The person\nwho is to act as Umpire and to perform the opening ceremony must sit in a\ncircle drawn on the ground, about six feet in diameter, and face either the\nNorth or the South. All the sticks are placed before him in a bunch. He is\nthen blindfolded. After that he picks up a stick with each hand and lays\ndown the stick that he has in his right hand on his left side, the stick\nthat he has in his left hand he lays down on his right side. When he has\nfinished dividing the sticks in this manner they are in two bunches, one\ntoward the East and the other toward the West. The blindfold is then\nremoved. When that is done, all the players run to the two heaps and each\ntakes his own stick, recognizing it by the design marked or cut upon the\nstick. All those whose sticks were in the pile to the East must tie on a\nbadge or streamer the color of the East, red. All those whose sticks were\nin the bunch toward the West must tie on the color of the West, yellow.\n\nAll the players must now stand in two lines. One line starts from the\ncircle and extends directly toward the goal at the East; all in this line\nmust be only those whose sticks were in the east pile and who have on the\ncolor of the East, red. The other line starts from the circle and stretches\nout toward the west goal, and is composed of those whose sticks were in the\nwest pile and who have on the color of the West, yellow. The four Guardians\nof the Path take their places. The Umpire wears no color. All being in\nreadiness, the Umpire advances to the middle of the circle.\n\nTHE OPENING CEREMONY\n\nThe Umpire places the ball in the exact center of the circle, then he\ngently urges it with his stick in a line toward the North until it reaches\nthe edge of the circle. There he picks it up and puts it back in the center\nof the circle. Again he gently pushes it with his stick along a line toward\nthe South until the edge of the circle is reached, when he returns the ball\nto the center of the circle with his hand. In the same manner as before he\nsends the ball slowly along a line to the West. When the edge of the circle\nis reached he picks up the ball and returns it to the center. Once more the\nball is moved in a line, this time to the East; when it touches the line of\nthe circle it is picked up as before and placed in the center of the\ncircle. The symbolic figure that has thus been made is that of a circle\nwithin which two straight lines cross each other at right angles; the\ncircle is divided into four quarters, one for each of the Four Winds.\n\nTHE GAME\n\nEvery player now stands at attention, with his stick ready for action. The\nUmpire pauses a moment at the center of the circle, then he picks up the\nball lying there and throws it into the air as high as he can. All the\nplayers, who have watched the throw, run in the direction where the ball\nseems likely to descend, in order to have a chance to strike it toward one\nof the goals.\n\nTo win the game the ball must be sent through a goal; to strike it so that\nit goes over or around the goal does not count. The ball must be made to\ntake a straight line, to \"make a straight path\" through a goal, then the\ngame is won. When a good shot is made, all on the side of the one who made\nthe stroke should send up a shout. When the goal is won the winning side\nshould give the victory cry of the game, \"Ta-b\u00e9!\"\n\n\n\nIII\n\nDOUBLE-BALL GAME\n\n\nINTRODUCTORY NOTE.--Some stories credit the Moon as the giver of this game\nto the women, by whom it is exclusively played throughout the United States\nexcept among the tribes in Northern California, where the men use the game.\nThere are indications that the Double-ball Game was known upon this\ncontinent in the remote past.\n\nThe peculiar ball employed for this game is composed of two small stuffed\npouches connected by a band, or two billets of wood about five inches long,\nmade like thick pegs with heads and ornamented on all sides with carvings;\na leather thong five to eight inches long is attached at each end to the\nneck of each of the two billets. Dr. Culin reports an ingenious specimen\nmade by the Maricopa Indians of Arizona; that double-ball is made from\nnarrow strips of leather braided to form a band, each end of which is\nenlarged by braiding so as to make a ball, the finished article being about\neight inches in length. (Ibid., p.665, Fig. 882.)\n\n_Properties_.--One double-ball; as many sticks as players; red and yellow\nhead-bands, equal in number, for the two sides of players.\n\n_Directions_.--The double-ball should be made in camp in the following\nmanner: A strip of leather or of strong, closely woven brown cloth from\nfifteen to twenty inches long. For six inches from both ends the strip\nshould be about seven inches wide; the portion of the strip between these\nwide ends should be about three inches wide. The wide ends are to form the\npouches, and the narrower middle section the band to connect the two\npouches. The two edges of the strip should be lapped and strongly sewed the\nentire length of the strip, except a small opening about an inch long left\non the side of each of the pouches. Through this opening the pouches are\nfilled with dry sand, then the edges are securely sewed together so that no\nsand can escape. These pouches are the \"balls.\" The sides of the pouches\nshould be decorated with designs painted in bright colors and a little tuft\nor tassel of red yarn fastened at the middle of the bottom of the pouch.\nThe sticks should be about thirty-two inches long, not too heavy and\nsomewhat pointed at one end that is slightly curved. Each stick should be\nmarked by an individual device so that it can be claimed by its owner.\n\nTwo wickets, made by crotched poles about five and a half to six feet high,\nhaving a bar fastened across the top, are placed in line with each other,\none at the East, the other at the West, and as far apart as the limits of\nthe camp grounds will permit. A red streamer to be tied to the eastern\nwicket and a yellow streamer to the western wicket.\n\nThe players are divided into two parties of equal numbers and lots should\nbe drawn to decide which side shall have the eastern goal, and all of that\nside must wear red head-bands; the other side must wear yellow head-bands\nto show that theirs is the western goal.\n\nAn Umpire must be chosen, to whom belongs the duty of tossing the ball when\nnecessary; to keep the score, and to settle any disputes.\n\nTo make a point the ball must be tossed so as to hang on the crossbar of\nthe wicket. An agreement must be made as to how many points shall\nconstitute the game.\n\nTHE GAME\n\nThe players stand in two rows about fifteen to twenty feet apart, one color\non one side, the other color opposite. The Umpire takes a place between the\ntwo lines and as near as possible to the middle of the rows. When all are\nin readiness the double-ball is tossed by the Umpire straight up into the\nair, and all those whose places are near the middle of the rows watch the\ndescent of the \"ball\" and try to catch on their sticks the connecting cord\nof the double-ball. If one succeeds, she tries to send it down the line\ntoward the goal of her side; those of the opposite side try to prevent\nsuccess to this movement and to send the \"ball\" in the other direction. The\n\"ball\" should not be allowed to touch the ground from the time it is tossed\nuntil it is lodged on the wicket. The side that lets the \"ball\" fall to the\nground loses a count, and the side that keeps the \"ball\" up until it\nreaches the goal scores two points, equal to four counts.\n\n\nHOOP AND JAVELIN\n\nINTRODUCTORY NOTE.--This game was widely known and played among the various\ntribes dwelling within the territory now occupied by the United States. In\nits passage from one tribe to another the game became modified into several\ntypes, but the fundamental character was not changed, so that all these\ntypes are, in a sense, a unit. The game is very old upon this land; the\narticles used in playing it have been found in ancient graves, in the cliff\ndwellings of the Southwest and in various ruins scattered over the country.\n\nAmong the Pueblo tribes the articles used in types of this game appear\namong the paraphernalia on altars prepared for certain ceremonies. From a\nstudy of these ceremonies in connection with the myths of the people it\nseems probable that the hoop used in this game represents the shield of the\nWar God. When the hoop has a netting that fills the center and covers the\nedges, the netting simulates the magic web of the Spider Woman, a person\nthat frequently figures in the myths and stories of different tribes. Her\nweb generally serves as a protection furnished by her in a conflict.\n\nThe netted hoop appears as a decoration upon the interior of pottery bowls\nformerly made by the Indians of the Southwest. In some of these bowls the\nnetting is dotted with spots. Dr. Culin regards this particular design \"as\nrepresenting the spider web with the dew upon it,\" and adds: \"The 'water\nshield' [of one of the Zu\u00f1i War Gods], from which he shook the torrents,\nwas suggested, no doubt, by dew on the web.\" (Ibid., p.425.) To one\nunfamiliar with the Indian's habit of mind it may seem strained to connect\nthe beads of dew on a spider's web with the torrential rain, but to one\nfamiliar with native thought as expressed in myths where the Indian has\ndramatized his conceptions of nature and of natural forces and phenomena,\nthe connection ceases to be strange.\n\nOn the Pueblo altars the netted shield is always associated with arrows,\nbows or darts. In the various types of this game the arrows, darts, bows,\njavelins and lances that are associated with the hoop are interchangeable,\nsome tribes using one and other tribes another. Under all the varied types\nwith their different forms as found among scattered and unrelated tribes\nthe game holds to its original significance, primarily religious in\ncharacter, being an appeal for the protection and the perpetuity of life.\n\nOnly two articles are required for this game, the hoop and the javelin. In\none type the hoop is covered with a netting more or less closely and\nelaborately woven. In all the netted designs it is usually possible to\ntrace a figure as of a path crossing at right angles in the center of the\nspace within the hoop and ending at four equidistant points on the edge of\nthe hoop. This path indicates the path of the Four Winds, which stand with\ntheir life-giving power at the four directions, the North, East, South and\nWest. In some localities the netting of the hoop is made from the yucca, in\nother places corn husks are used. With the closely netted hoop arrows are\napt to be found. Some of these have as the shaft a corn cob with a stick\nabout eighteen inches long thrust through the cob, sharpened at the lower\nend and a tuft of feathers tied to the upper end; this feathered stick is a\nprayer-stick such as is offered at a shrine.\n\nIn another type of the game the hoop is of stone; the lance is associated\nwith this kind of hoop.\n\nThere are a variety of nettings for the hoop and much diversity in the\nstyle of arrows, darts and javelins used in the game.\n\nThe simplest is chosen to be here presented, for the reason that both the\narticles used in the game should be made in the camp where it is to be\nplayed. The hoop and javelins were always made by the youths who joined in\nthe sport, and the making of hoop and javelin was part of the fun.\n\n[Illustration: HOOP AND JAVELIN]\n\n_Properties_.--A hoop and two javelins.\n\nThe hoop is made in the following manner: A piece of rope, not of a heavy\nkind, about sixteen inches long will give the foundation for a hoop about\nfour inches in diameter. The two ends should be spliced together so as to\nleave the edge of the hoop even. The ring of rope is wound with a strip of\nleather or cloth in order to give the hoop such a surface that it can roll\nand yet be flexible and light.\n\nThe javelin is made of three parts, the shaft and the two barbs. The shaft\nis of wood, four feet long, round and smooth. An inch from one end a\nsection three inches long is cut into both sides of the shaft a quarter of\nan inch deep, and the bottom and sides made smooth. The barbs are formed\nfrom two small branches cut from a tree or shrub so as to preserve three\ninches of the stem from which the branch forks; the branch is cut so as to\nbe five inches long and is made flat on the inner side. The stem is made\nflat on both sides; a flange is made on the outer side. Several pieces of\nleather are cut, a quarter of an inch wide and an inch long; these are\nbound for half their length to the inner and flat side of the branch so as\nto leave the ends free, which are bent up and stand like teeth along the\nbarb. The stems of the barbs are now fitted into the sections cut on both\nsides of the shaft so that the barbs point backward on each side of the\nshaft, and are firmly bound in place on the shaft. About three inches from\nthe other end of the shaft a band is cut around the shaft but not very\ndeeply. The two javelins are made as nearly alike as possible in justice to\nthe players.\n\n_Directions_.--A level course from North to South and from fifty to one\nhundred feet long. Four players; two stand at the north end of the course\nand two at the south end. The one whose place is toward the East on the\nnorth and the one who stands toward the East on the south end are partners.\nBoth of these players should wear a red band about the head, as red is the\ncolor of the East. The two players who stand toward the West at the two\nends are partners, and these should wear yellow bands about their heads,\nyellow being the color of the West. The opponents in the game, therefore,\nstand side by side. Partners cannot help each other in the playing, but\nboth players count for their side all the points they make.\n\nThe javelin is grasped by the middle, the barbed end toward the back, and\nthe plain rounded end is shot toward the hoop.\n\nThe number of points that will constitute the game should be decided upon\nbefore beginning the game. Ten is the usual number among the Indians. Lots\nshould be drawn as to which of the four players should be the first to\nthrow the hoop. The one who draws the hoop then takes one of the javelins,\nand the player whose place is beside him takes the other javelin.\n\nTHE GAME\n\nAt a signal, the players with the javelins and the hoop start on a run\nalong the course; the one with the hoop throws it a little upward with all\nhis force and both players watch the course of the hoop, having their\njavelins ready to hurl at the hoop the instant they think they can reach\nit. If the javelin passes through the hoop and stops it so that it falls on\nthe shaft below the band that was cut thereon, that throw counts two. If\nthe hoop is caught on one of the barbs, that counts one. If the shaft goes\nentirely through the hoop so that it does not fall on the javelin, that\ncounts nothing. If both javelins catch on the hoop, that is a draw and\nneither player can count the point made. If on this run and throwing of the\nhoop and javelins neither of the players scores a count, the player at the\nother end who is the partner of the one who threw the hoop now takes the\nhoop to throw it. He and his opponent who stands beside him now start on a\nrun; the hoop is thrown and the javelins hurled as before. In this way the\nplayers at the ends of the course alternate in throwing the hoop North or\nSouth, but the right to throw the hoop belongs to the player who makes the\nbest point. The hoop thus passes from the east or west players according to\nthe points made.\n\nThe game is an athletic sport, and much skill can be developed in the\nthrowing of the javelins and also in the tossing of the hoop so as to\nprevent scoring by the opponent.\n\nIf the grounds are large enough, there is nothing to prevent having two\ncourses and two games going on at the same time.\n\nFOLLOW MY LEADER\n\nThis game is widely played among the Indian tribes, particularly by the\nboys, and also by the girls. The Leader improvises the steps and the\nmovements, which all who follow must repeat and keep time to the song. The\nsong here given is traditional in the Omaha tribe. It has been handed down\nfrom one generation of young folk to another--for how many, \"nobody knows.\"\n\nTHE GAME\n\nA Leader is chosen, and all who join in the game must go where he goes,\ndance as he dances, move the arms, hands and feet as he does. The skipping\nand dancing must be in exact time with the song that all must sing. The\ngame gives opportunity for fancy steps, winding, intricate figures,\n\"cutting capers\" and merry pranks.\n\nSong\n\n  Follow my Leader where'er he goes;\n  What he'll do next, nobody knows.\n\n[Music]\n\n\n\nPART III\n\nINDIAN NAMES\n\n\n\nINDIAN NAMES\n\n\nINTRODUCTION.--Among the Indian tribes of the United States all personal\nnames have a definite significance. Although there are diversities in the\ncustoms relating to names among the various tribes, yet, looking at these\nas a whole, personal names are observed to fall generally into two classes:\nFirst, those which refer to sacred rites; second, those which commemorate a\npersonal achievement.\n\nAn Indian tribe is composed of a number of kinship groups or clans. To each\none of these, speaking generally, belongs the hereditary duty of performing\na certain rite and also the care of the sacred objects connected with that\nrite. Each kinship group or clan has a set of personal names, all of which\nrefer to the rite peculiar to the clan, or to the sacred objects or to the\nsymbols connected with the rite, and one of these names is given to each\nperson born within the clan. Names of this class are generally retained by\nmen and women throughout life and, to a degree, are regarded as sacred in\ncharacter. These names have also a social significance, as they always\nindicate the birth status of the person, for the name at once shows to\nwhich clan or kinship group the bearer belongs. No one can exchange his\nclan or birth name, any more than he can change his sex.\n\nThe names that belong to the second class are those which are taken by an\nadult to mark an achievement. This must be an act in which he has shown\nspecial ability or courage in successfully defending his people from\ndanger. Such a name, therefore, marks an epoch in a man's life and is\nstrictly personal to the man, and, to a degree, indicative of his character\nor attainments. It sometimes happens, although but rarely, that a man on\nsuch an occasion may decide to take the name of a noted ancestor rather\nthan acquire an entirely new name, but the character of the act of taking a\nnew name is not thereby changed.\n\nThese facts concerning the significance of Indian personal names throw\nlight on the widespread custom observed among Indians of never addressing\nmen or women by their personal names or of using those names in their\npresence. To do so is a breach of good manners. The personal name, as has\nbeen shown, refers either to the religious rites sacred to the bearer's\nclan or else to a notable act performed by the man; in both cases the name\nstands for something that is too closely connected with the life of the\nindividual to make it fit for common use. The difficulty of designating a\nperson one wishes to address is met by the use of terms of relationship. Of\ncourse, in some companies these terms would be literally true and proper,\nbut there are terms which are used in a wider sense and which do not imply\nactual kinship. (The subject of Indian relationships and their terms is too\ncomplex to be entered upon here.) There are terms which are employed merely\nto indicate respect. For instance, \"Grandfather\" is used when addressing or\nspeaking of the President of the United States; \"Little Father\" and\n\"Father\" when addressing or speaking of the Secretary of the Interior and\nthe Commissioner of Indian Affairs, both of whom rank below the President,\nas is well known to the Indian. The use of terms of relationship may appear\nstrange to us, but there is, as we have seen, a reason for it. This reason\nalso explains why a child or an adult generally stands mute when we address\nhim by his personal name or ask him what his name is; his silence is not to\nbe attributed to \"Indian stolidity,\" which we ignorantly regard as a marked\ncharacteristic of the race.\n\nThe bestowal of a name, whether the name is of the first or of the second\nclass already described, was always attended with ceremonies. These\ndiffered among the many tribes of the United States, particularly in their\ndetails, but fundamentally they had much in common.\n\n\n\nPRESENTING THE CHILD TO THE COSMOS\n\nAmong the Omaha a ceremony was observed shortly after the birth of a child\nthat on broad lines reflects a general belief among the Indians.\n\nIn the introductory chapter of this book the Indian's feeling of\nunquestioning unity with nature is mentioned. The following Omaha ceremony\nand ritual furnish direct testimony to the profundity of this feeling. Its\nexpression greets him at his birth and is iterated at every important\nexperience throughout his life.\n\nWhen an Omaha child is born the parents send to the clan that has charge of\nthe rite of introducing the child to the Cosmos. The priest thus summoned\ncomes to the tent wherein the infant lies and takes his stand just outside\nthe door, facing the East. He raises his right hand, palm outward, to the\nsky, and in a clear ringing voice intones the following ritual:\n\n  Ho! Ye Sun, Moon, Stars, all ye that move in the heavens,\n                  I bid you hear me!\n        Into your midst has come a new life;\n                  Consent ye, I implore!\n  Make its path smooth, that it may reach the brow of the first hill!\n\n  Ho! Ye Winds, Clouds, Rain, Mist, all ye that move in the air,\n                  I bid you hear me!\n        Into your midst has come a new life;\n                  Consent ye, I implore!\n  Make its path smooth, that it may reach the brow of the second hill!\n\n  Ho! Ye Hills, Valleys, Rivers, Lakes, Trees, Grasses, all ye of the earth,\n                  I bid you hear me!\n        Into your midst has come a new life;\n                  Consent ye, I implore!\n  Make its path smooth, that it may reach the brow of the third hill!\n\n  Ho! Ye Birds, great and small, that fly in the air;\n  Ho! Ye Animals, great and small, that dwell in the forests;\n  Ho! Ye Insects that creep among the grasses and burrow in the ground,\n                  I bid you hear me!\n        Into your midst has come a new life;\n                  Consent ye, I implore!\n  Make its path smooth, that it may reach the brow of the fourth hill!\n\n  Ho! All ye of the heavens, all ye of the air, all ye of the earth,\n                  I bid you hear me!\n        Into your midst has come a new life;\n        Consent ye, consent ye all, I implore!\n  Make its path smooth--then shall it travel beyond the four hills!\n\n\nIn this manner the child, the \"new life,\" was introduced to the Cosmos of\nwhich it was now a part. All the powers of the heavens and of the earth\nwere invoked to render aid to the \"new life\" in its onward struggle over\nthe rugged path that traverses the four hills of life, typifying Infancy,\nYouth, Maturity and Old Age.\n\nAn infant was merely a \"new life,\" it was wholly dependent upon others; no\nname was given it (only endearing terms were used), for the reason that a\nname implies either a sacred responsibility or a personal achievement,\nneither of which was possible to an infant. When, however, the child could\ngo about alone, generally at three or four years of age, the time had\narrived when it must be given a tribal name, one belonging to the rites in\ncharge of its birth group. By means of this ceremonial act the child was\ninducted by sacred rites into the tribe and became a recognized member.\n\n\n\nGIVING THE CHILD A NAME\n\nThis ceremony, formerly practiced among the Omaha and cognate tribes, took\nplace in the spring, \"when the grass was up and the birds were singing.\" A\ntent was set apart and made sacred by the priest who had the hereditary\nright to perform the ceremony. As the occasion was one of tribal interest,\nmany people flocked to the scene of the rite.\n\nA large stone was brought and placed on the east side of the fire that was\nburning in the center of the space inside the tent. When everything was\nready the old priest stood at the door awaiting the arrival of the child.\nThen all the mothers who had children of the proper age wended their way to\nthis tent, each one leading her little child, who carried in its hands a\nnew pair of moccasins. As the two reached the tent the mother addressed the\npriest, saying: \"Venerable man, I desire my child to wear moccasins.\" (This\nwas a symbolic form of expression.) \"I desire my child to walk long upon\nthe earth, to be content with the light of many days. We seek your\nprotection!\" The priest made a formal reply and the little one, carrying\nits moccasins, entered the tent alone. After a few ritualistic phrases the\npriest accompanied the child to the fire place, where he and the child\nstood facing the East while the priest sang an invocation to the Four\nWinds. He bade them to come hither and stand in this place in four groups.\n\nAt the close of this Ritual Song the priest lifted the child by the arms so\nthat its little bare feet rested upon the stone, as it faced the South;\nthen he lifted the child again by the arms and its feet rested on the\nstone, as it faced the West; again the child was lifted and its feet were\nupon the stone, as it faced the North; once more the priest lifted the\nchild and its feet touched the stone, as it faced the East. Then the priest\nsang the following Ritual Song:\n\n  Turned by the Winds goes the one I send yonder,\n  Yonder he goes who is whirled by the Winds,\n  Goes where the four hills of life and the Four Winds are standing,\n  There into the midst of the Winds do I send him,\n  Into the midst of the Winds standing there!\n\nThis song and the entire ceremony, which is spoken of as \"Turning the\nchild,\" are highly symbolic and cannot be fully explained at this time. The\nWinds are the messengers of the great invisible Wakon'da and bring the\nbreath of life and strength to man. At the close of this song the priest\nput the new moccasins on the feet of the child and sang another Ritual Song\nwhich says:\n\n  Here unto you has been spoken the truth;\n  Because of this truth you shall stand.\n  Here declared is the truth;\n  Here in this place has been shown you the truth.\n  Therefore, arise! Go forth in its strength!\n\nAs the priest sang the last line he set the child on its feet and made it\ntake four steps toward the East; these steps are typical of its now\nentering into life. Then the priest led the child to the entrance of the\ntent, where he called aloud the tribal name of the child, then for the\nfirst time proclaimed, adding:\n\n\"Ho! Ye Hills, ye Grass, ye Trees, ye creeping things, both great and\nsmall, I bid you hear! This child has thrown away its baby name! Ho!\"\n\nAll the children of the tribe passed through this ceremony and in this way\nreceived their sacred personal names, which were never dropped throughout\ntheir after-life, not even when a man took a new name.\n\n\nBESTOWING A NEW NAME\n\nThe bestowal of a new name upon an adult generally took place at some\ntribal ceremony when all the people were gathered together. In this way as\nmuch publicity as possible was given to the act. Among the Pawnee tribe\nthere were three requirements that had to be met in order to take a new\nname:\n\nFirst, a man could only take a new name after the performance of an act\nindicative of ability or strength of character;\n\nSecond, the name had to be assumed openly in the presence of the people to\nwhom the act it commemorated was known;\n\nThird, it was necessary that it should be announced in connection with such\na ritual as that here given.\n\nThese three requirements indicate (1) that a man's name stood for what he\nhad shown himself to be by the light of his actions; (2) that this was\nrecognized by his tribesmen, and (3) that it was proclaimed by one having\ncharge of mediatory rites through which man can be approached by the\nsupernatural.\n\nThe old priest who gave the following ritual and explained it said: \"A\nman's life is an onward movement. If one has within him a determined\npurpose and seeks the help of the powers, his life will climb up.\" Here he\nmade a gesture indicating a line slanting upward; then he arrested the\nmovement and, still holding his hand where he had stopped, went on to say:\n\"As a man is climbing up, he does something that marks a place in his life\nwhere the powers have given him an opportunity to express in acts his\npeculiar endowments; so this place, this act, forms a stage in his career\nand he takes a new name to indicate that he is on a level different from\nthat he occupied previously.\" He added: \"Some men can rise only a little\nway, others live on a dead level.\" He illustrated his words by moving his\nhands horizontally. \"Men having power to advance climb step by step.\" Again\nhe made his meaning clear by outlining a flight of steps.\n\nThe following ritual is recited on the occasion of taking a new name and is\na dramatic poem in three parts. The first gives briefly the institution of\nthe rite of changing one's name in consequence of a new achievement; the\nsecond shows how the man was enabled to accomplish this act. It begins with\nhis lonely vigil and fast when he cried to the powers for help; the scene\nthen shifts to the circle of the lesser powers, who, in council, deliberate\non his petition which makes its way to them and finally wins their consent;\nthen the winds summon the messengers and these, gathering at the command of\nthe lesser powers, are sent to earth to the man crying in lonely places, to\ngrant him his desire. This part closes with a few vivid words which set\nforth that only by the favor of the powers had the man been able to do the\ndeed. The third part deals with the man's names--the one to be discarded\nand the one now to be assumed. The ritual is in rhythmic form, impossible\nto reproduce in English. The following rendition contains nothing which is\nnot in the original text as explained and amplified by the priest.\n\nThe ritual was intoned in a loud voice; the man who was to receive a new\nname stood before the priest where he could be seen by the entire assembly.\n\n\nRITUAL\n\n  Harken!   'Twas thus it came to pass:\n      In ancient days, a Leader and his men\n      Walked this wide earth, man's vast abode\n      Roofed by the heavens, where dwell the gods.\n      They reached a place the spot no man can tell,\n      Faced dangers dread and vanquished them;\n      Then, standing as if born anew to life,\n      Each warrior threw away the name\n      That had been his ere yet these deeds were done.\n\n  Harken!   The Leader and his men\n      Made there the Vict'ry song, and set the mark\n      Ye must o'ertake, if ye would be like them!\n\n  Harken!   The Leader and his men\n      Turned then toward home. Their Vict'ry song\n      Proclaimed them near; the village rose,\n      Looked toward the hill, where on the top\n      Stood the brave men, singing their song,\n      Heralding thus the favor of the gods\n      By which they had surpassed all former deeds--\n      Made new their claim to be accounted men.\n\n  Harken!   And whence, think ye, was borne\n      Unto these men courage to dare,\n      Strength to endure hardship and war?\n      Mark well my words, as I reveal\n      How the gods help man's feebleness.\n      The Leader of these warriors was a man\n      Given to prayer. Oft he went forth\n      Seeking a place no one could find.\n      There would he stand and lift his voice,\n      Fraught with desire that he might be\n      Invincible, a bulwark 'gainst all foes\n      Threat'ning his tribe, causing them fear.\n      Night-time and day this cry sped on,\n      Traveling far, seeking to reach--\n  Harken!   Those places far above,\n  Harken!   Within the circle vast\n      Where sit the gods watching o'er men.\n\n  Harken!   This poor man's prayer went on,\n      Speeding afar into the blue\n      Heavens above, reached there the place--\n  Harken!   Where dwell the lesser gods,\n  Harken!   And great Ti-ra'-wa, mightier than all!\n\n  Harken!   It was because a god\n      Received this prayer, considered it,\n      Favored its plea, and passed it on\n      To him whose place was next, in that grand ring,\n      Who in his turn received the prayer,\n          Considered it, and sent it on--\n  Harken!   Around that circle vast,\n  Harken!   Where sit the gods above.\n\n  Harken!   And thus it was the prayer\n      Sent by this man won the consent\n      Of all the gods. For each god in his place\n      Speaks out his thought, grants or rejects\n      Man's suppliant cry, asking for help;\n      But none can act until the Council grand\n      Comes to accord, thinks as one mind,\n      Has but one will all must obey.\n\n  Harken!   The Council gave consent;\n  Harken!   And great Ti-ra'-wa, mightier than all!\n\n  Harken!   To make their purpose known,\n      Succor and aid freely to give,\n      Heralds were called, called by the Winds.\n      Then in the West uprose the Clouds\n      Heavy and black, ladened with storm.\n      Slowly they climbed, dark'ning the skies,\n      While close on every side the Thunders marched\n      On their dread way, till all were come\n      To where the gods in stately council sat\n      Waiting for them. Then bade them go\n      Back to the earth, carrying aid\n      To him whose prayer had reached their circle vast.\n      This mandate given, the Thunders turned toward earth,\n      Taking their course slantwise the sky.\n\n  Harken!   Another followed hard--\n      Lightning broke forth out of the cloud,\n      Zigzag and dart, cleaving their way\n      Slantwise to earth, their goal to reach.\n\n  Harken!   For these two were not all\n      That hastened to proclaim the god's behest--\n      Swift on their wings Swallows in flocks\n      Swept in advance, ranging the path,\n      Black breasts and Red, Yellow and White,\n      Flying about, clearing the way\n      For those who bore the message of the gods\n      Granting the man courage to dare,\n      Strength to endure, power to stand\n      Invincible, a bulwark 'gainst all foes.\n\n  Harken!  'Twas thus it came to pass:\n      The Leader grasped the help sent by the gods;\n      Henceforth he walked steadfast and strong,\n      Leading his men through dangers drear,\n      Knowing that naught could strike at him\n      To whom the gods had promised victory.\n\n  Attend!   Once more I change his name.\n\n  Harken!   _Ri-ruts'-ka-tit_ it was\n      We used to call him by, a name he won\n      Long days ago, marking an act\n      Well done by him, but now passed by.\n\n  Harken!   To-day all men shall say--\n\n  Harken!   His act has lifted him\n      Where all his tribe behold a man\n      Clothed with new fame, strong in new strength\n      Gained by his deeds, blessed of the gods.\n  Harken!   _Sha-ku'-ru Wa'-ruk-ste_ shall he be called.\n\n\nTAKING AN INDIAN NAME IN CAMP\n\nIn view of the significance of Indian personal names, and the dignity and\nreverence which in every instance surrounded the giving or the taking of a\nname, it hardly seems appropriate that Indian names should be assumed even\nfor a short period without some regard being shown to the customs and\nthought of the people from whom the names are borrowed. While there should\nbe no travesty of rites such as those that have been here described, rites\nthat have been held sacred upon this continent for untold generations,\nstill it would not be unseemly to hold to the spirit of those rites when we\nborrow these names during the camp days in which we seek to live close to\nthe nature that the Indian loved so reverently and well.\n\nWhen it is decided among the members of the camp to take an Indian name, on\nthe day of the ceremony all the camp should assemble early in the morning.\nWhen all have gathered, they should move toward a place where the sun can\nbe seen when it rises over the lake, the hilltops or the woods. There all\nshould pause.\n\nThe candidate for the name should not wear any head-band. The boy or girl\nshould stand well to the front of the group, all of whom should face the\nEast. The entire company should then join in the following song:\n\nSong No. 1\n\n  Skies proclaim a new day! We joyfully meet,\n      We thankfully greet,\n  His[A] new name this day shall repeat.\n\n[Music]\n\nThe Leader of the camp must then intone the following:\n\n  Hear! O Trees that gird our camp!\n  Listen, ye Birds that fly through the branches!\n  Harken, ye rippling waves on Stream and Lake!\n          Hear me!\n  Into your midst has come a friend,\n      He[A] bears a new Name!\n  Ye shall know him as ---- (name)\n\n[Footnote A: The pronoun should be changed according to the sex of the\ncandidate.]\n\nThe announcement of the name should be distinctly made so as to be clearly\nheard by the entire company. The head-band or other camp insignia should\nnow be officially put on the candidate.\n\nAll present should then join in singing the following song, clapping their\nhands as beats to the music as they skip back to breakfast and to the\npleasures of the day:\n\n\nSong No. 2\n\n  Homeward we go, calling his[B] name;\n  New is the name now we proclaim;\n  No other change in our friend, he[B] is the same!\n\n[Footnote B: Change the pronoun to the proper sex.]\n\n[Music]\n\n2\n\n  Singing we go, way ha way ho!\n  Dancing also, way ha way ho!\n  No one more merry than we, way ha way ho!\n\nThe second stanza should be repeated and the steps kept in rhythm until the\ndancers finally disperse.\n\n\n\nINDIAN NAMES FOR BOYS\n\nAll vowels have the Continental sound\n\nThe names here presented, for Boys, for Girls and for Camps, have been\nchosen out of many because the words are easily pronounced; none of them\nhave any of the peculiar labial, nasal or guttural sounds common in the\nvarious Indian languages, which are difficult to represent by the letters\nof our alphabet and equally difficult for most Americans to pronounce.\n\n\n 1. A-di'-ta           Priest                                  Omaha.\n 2. An'-ge-da          From every direction                    Omaha.\n 3. De'-mon-thin       Talks as he walks                       Ponca.\n 4. E-di'-ton          Standing as a sacred object             Omaha.\n 5. Ga-he'-ge          Chief                                   Omaha.\n 6. Gu'-da-hi          \"There he goes!\" A coyote               Omaha.\n 7. Ha'-nu-ga-hi       Nettle weed                             Ponca.\n 8. He'-ba-zhu         Little horns                            Ponca.\n 9. He'-ga             Buzzard                                 Omaha.\n10. He'-sha-be         Dark antlers                            Omaha.\n11. He'-thon-ton       Towering antlers (elk)                  Omaha.\n12. Ho-ho'             Fish                                    Omaha.\n13. Hon'-ga            Imperial eagle                          Osage.\n14. Hu'-ton-ton        Roar of thunder                         Omaha.\n15. I'-ku-ha-be        He who causes fear                      Ponca.\n16. I-shta'-pe-de      Fire eyes (lightning)                   Ponca.\n17. Ka-ge'-zhin-ga     Little brother                          Omaha.\n18. Ka-wa'-ha          Very old name, meaning lost             Omaha.\n19. Ka'-wa-sab-be      Black horse                             Osage.\n20. Ka'-wa-ska         White horse                             Osage.\n21. Ka'-wa-zi          Yellow horse                            Osage.\n22. Ke'-ton-ga         Great turtle                            Ponca.\n23. Ke'-zhin-ga        Little turtle                           Ponca.\n24. Ki'-ko-ton-ga      Curlew                                  Omaha.\n25. Ki'-mon-hon        Facing the wind                         Omaha.\n26. Ki'-wa-go          Male buffalo                            Pawnee.\n27. Ku'-ge             Sound of the drum                       Omaha.\n28. Ku'-rux            Bear                                    Pawnee.\n29. Ku'-sox            Left hand                               Pawnee.\n30. Le-sha'-ro         Chief                                   Pawnee.\n31. Mi'-da-in-ga       Playful sun                             Osage.\n32. Mi'-ka             Raccoon                                 Ponca.\n33. Mi'-ka-si          Coyote                                  Omaha.\n34. Min'-dse           Bow                                     Osage.\n35. Mon-chu'           Bear                                    Omaha.\n36. Mon-chu'-pa        Bear's head                             Omaha.\n37. Mon-e'-ga-he       Arrow chief                             Ponca.\n38. Mon-ge'-zi         Yellow breast                           Omaha.\n39. Mon-ka'-ta         He of the earth                         Ponca.\n40. Mon'-sa            Arrow shaft                             Osage.\n41. Mon'-te-ga         New arrows                              Osage.\n42. Ni-ni'-ba          Pipe                                    Omaha.\n43. Ni'-sho-sho        Swallow                                 Omaha.\n44. Non-ke'-ne         Graceful walker (deer)                  Omaha.\n45. Non'-nun-ge        Runner                                  Osage.\n46. Non'-pe-wa-the     He who is feared                        Omaha.\n47. Nu'-da-hun-ga      Captain                                 Omaha.\n48. O'-pa              Elk                                     Omaha.\n49. Pa-he'-ta-pe       Seeking the hills                       Omaha.\n50. Pa'-na-hoo         Owl                                     Omaha.\n51. Pa'-sun            American eagle                          Omaha.\n52. Pa-thon'           White-headed eagle                      Omaha.\n53. Pe'-de-ga-he       Fire chief                              Omaha.\n54. Pe'-num-ba         Seven                                   Ponca.\n55. Sha-ku'-ru         Sun                                     Pawnee.\n56. Sha-thu'           Sound of the water                      Ponca.\n57. Shon'-ge           Wolf                                    Omaha.\n58. Shon'-ge-sab-be    Black wolf                              Omaha.\n59. Shon'-ge-ska       White wolf                              Ponca.\n60. Shon'-ge-zi        Yellow wolf                             Ponca.\n61. Shon'-ton-ga       Grey wolf                               Ponca.\n62. Sho-sho'-ka        Osprey                                  Omaha.\n63. Shu'-ka-bi         Bunch of clouds                         Ponca.\n64. Ski'-rik           Grey wolf                               Pawnee.\n65. Ta-de'-ta          To the wind                             Omaha.\n66. Ta-de'-u-mon-thin  Walking in the wind                     Omaha.\n67. Te-thon'           White buffalo                           Omaha.\n68. The'-ha            Soles                                   Omaha.\n69. U'-ba-ni           Digging in the earth (little creatures) Omaha.\n70. U-ga'-e            Spread out (herd of buffalo)            Omaha.\n71. Wa-he'-he          Easy to break, fragile                  Omaha.\n72. Wa-ke'-de          One who shoots                          Omaha.\n73. Wa-po'-ga          Grey owl                                Omaha.\n74. Wa-shis'-ka        Shell                                   Omaha.\n75. Wash-kon'-hi       Power of the thunder                    Omaha.\n76. Wa-sho'-she        Brave                                   Omaha.\n77. Wa-thu'-he         Startles the game                       Omaha.\n78. Wa-zhin'-ska       Wisdom                                  Omaha.\n79. We'-kush-ton       One who gives feast frequently          Omaha.\n80. Wi'-a-go           Feather                                 Dakota.\n81. Zha'-be            Beaver                                  Omaha.\n\nINDIAN NAMES FOR GIRLS\n\n 1. A'-bey             Leaf                                Omaha.\n 2. A'-bey-tu          Green leaf                          Omaha.\n 3. A'-bet-zi          Yellow leaf                         Omaha.\n 4. A'-ka-wi           South wind                          Omaha.\n 5. A-sin'-ka          Youngest daughter                   Osage.\n 6. Chon'-ku-sha       Robin                               Dakota.\n 7. Chon'-wa-pe        Leaf                                Dakota.\n 8. Chon'-wa-pe-ska    Red leaf                            Dakota.\n 9. Chon'-wa-pe-tu     Green leaf                          Dakota.\n10. Cho-xon'-zhe-da    Willow                              Dakota.\n11. Da'-a-bi           The visible sun                     Omaha.\n12. Don'-a-ma          The sun visible to all              Omaha.\n13. Ha'-ba-zhu-dse     Red corn                            Osage.\n14. Ha'-ba-zi          Yellow corn                         Osage.\n15. Ha'-ba-tu          Blue corn                           Osage.\n16. Ha'-ba-ska         White corn                          Osage.\n17. Hon'-ba-he         Dawn                                Dakota.\n18. I-shta'-sa-pa      Dark eyes                           Dakota.\n19. I'-ni-a-bi         Home builder                        Omaha.\n20. Ka-shi'-a-ka       Meadow lark                         Omaha.\n21. Mi'-a-kon-da       Sacred moon                         Omaha.\n22. Mi'-gi-na          Returning moon                      Omaha.\n23. Mi'-mi-te          Standing new moon                   Omaha.\n24. Mi'-na             Oldest daughter                     Osage.\n25. Mi'-pe             Good moon                           Omaha.\n26. Mi'-ta-in          Crescent moon                       Ponca.\n27. Mi'-the-be         Shadowy moon                        Ponca.\n28. Mi'-ton-e          New moon                            Omaha.\n29. Mi'-wa-thon        White moon                          Omaha.\n30. Ni'-da-wi          Fairy girl                          Omaha.\n31. Pa'-zi             Yellow head (bird)                  Ponca.\n32. Pa'-ha-zi          Yellow hair (young animal)          Ponca.\n33. Raw-ska'           Anemone                             Omaha.\n34. Raw-tu'            Violet                              Omaha.\n35. Raw-zi'            Sunflower                           Omaha.\n36. Ta'-de-win         Wind maiden                         Omaha.\n37. Ta'-in             New moon                            Ponca.\n38. Ta'-in-ge          Coming moon                         Ponca.\n39. Wa-ha'-ba          Corn                                Omaha.\n40. Wa-ha'-ba-ska      White corn                          Omaha.\n41. Wa-ha'-ba-tu       Blue corn                           Omaha.\n42. Wa-ha'-ba-zi       Yellow corn                         Omaha.\n43. Wak'-cha           Flower                              Dakota.\n44. Wak'-cha-zi        Sunflower                           Dakota.\n45. Wa-shu'-dse        Wild-rose                           Omaha.\n46. Wa-te'-win         Victory woman                       Omaha.\n47. Wa-zhin'-ga        Bird                                Omaha.\n48. Wa-zhin'-ga-tu     Blue bird                           Omaha.\n49. We'-thon-ki-tha    To come together (as in a society)  Omaha.\n50. We'-ton-a          Old name, meaning lost              Omaha.\n51. We'-ton-be-the     One who gives hope                  Omaha.\n52. Wi'-he             Younger sister                      Omaha.\n53. Wi'-te-ga          New moon                            Dakota.\n54. Zit-ka'-la         Bird                                Dakota.\n55. Zit-ka'-la-sha     Red bird                            Dakota.\n56. Zit-ka'-la-tu      Blue bird                           Dakota.\n57. Zit-ka'-la-zi      Yellow bird                         Dakota.\n\nINDIAN NAMES FOR CAMPS\n\nE'-zhon U-ti             A Camp among the Elms.\nHin'-de-hi U-ti          A Camp among the Lindens.\nNey'-a-ti                A Camp by the Lake.\nTosh'-ka-hi U-ti         A Camp among the Oaks.\nWa-shis'-ka A-ti         A Camp by the Brook.","title":"Indian Games and Dances with Native Songs","tradition":"myth-cosmogony","translated_text":null,"word_count":31282}