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PREFACE
PREFACE
This little book took its rise in the following experience that came to me many years ago when living with the Indians in their homes and pursuing my ethnological studies: One day I suddenly realized with a rude shock that, unlike my Indian friends, I was an alien, a stranger in my native land; its fauna and flora had no fond, familiar place amid my mental imagery, nor did any thoughts of human aspiration or love give to its hills and valleys the charm of personal companionship. I was alone, eve
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INTRODUCTION
INTRODUCTION
The adaptations from Indian ceremonies and sports here offered will enable those who take part in them to follow in happy mood some of the paths of expression that were opened long ago by thoughtful men and women as they lived, worked and played on this land in undisturbed intimacy with nature. Some of the thoughts bred of this intimacy find their expression in these dances and games, and it may help toward a better understanding of them and their spirit to tell briefly how the Indian looked upo
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THE SONG
THE SONG
While studying Indian life and thought through the sharing, as far as possible, of native conditions, I discovered Indian music. In the loneliness that naturally belonged to my circumstances this discovery was like finding a flower hidden in a tangle hard to penetrate. I had heard Indians "singing," but the noise of the drum, the singers' stress of voice, so overlaid the little song that its very existence was not even suspected. Circumstances at length arose, incident to my convalescence after
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THE DANCE
THE DANCE
The different Indian tribes vary in their modes of dancing; moreover, the same theme is not interpreted by all the tribes in the same manner. In some Every Indian dance has a meaning. The dance is generally either the acting out of some mythic story or a presentation of a personal experience. Every movement of the body, arms, hands, feet and head is always in strict time with the songs that invariably accompany the dance. Indian dances are complex rather than simple. Their "spontaneous activity"
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A DRAMA IN FIVE DANCES
A DRAMA IN FIVE DANCES
INTRODUCTION.—These Dances in their purport and music are taken from the sacred rituals of the Omaha, the Osage and the Pawnee tribes. The richness and beauty of symbolism in the original language suffer a loss of native naïveté in their English interpretation. The American food plant known by the general term "Corn" was developed ages ago from certain native grasses. The Euchlaena luxurians found in Guatemala is probably an ancestor of the maize. The word "maize" belongs to the language of a pe
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DANCE I
DANCE I
INTRODUCTORY NOTE.—This ceremonial dance touches upon the mystery of the giving of life that life may be maintained; an exchange that links together the different forms of life and enhances the joy of living. Properties .—Thin green mantles; yellow plumes like the corn tassel; bone clips; as many of these articles as there are dancers. Directions .—This dance belongs to both sexes and a number of each should take part, if that is possible. Should there be trees near the open space where the danc
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Ritual Song No. 1
Ritual Song No. 1
At the words "Lo! here I stand!" the company of dancers should all be standing in a semi-circle. As the words in the third line, "Behold, I give!" are sung, the draped arms should be slightly extended forward as in a presentation. The fourth line requires some dramatic action, but it should be restrained rather than free. The arms, still draped with the green mantles, should be raised a little as the words "Shout with joy" are sung, and during the singing of the remainder of the line swayed from
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Song No. 2
Song No. 2
Refrain : Ho-o! Ho-o! Ho! Ho! Ho! As each "Ho-o!" of the refrain is sung, the dancers should whirl like merry sprites, twine and untwine their green mantles about their forms until the song begins again. Then they should all skip off with springing, rhythmic steps in open Indian file, letting their mantles float and wave about them as they wind in and out over the camp ground carrying "Youth and Hope ev'rywhere." Every time the refrain is reached, the dancers should stop and whirl, then as the s
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DANCE II
DANCE II
INTRODUCTORY NOTE.—The rituals and ceremonies from which this dramatic dance with its accompanying songs are taken have been handed down through numberless generations. They deal with the perpetuation of the vocations of the people and also with the duties of the warrior, who must so protect the people that these vocations can be pursued in peace and safety. The portion of the ritual that relates to the planting of the maize is here given. It is practical in character. The ground is to be cleare
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Song No. 1
Song No. 1
By the end of the first line of the refrain the dancers will have reached the "field" and have begun to dispose themselves over the space. Seven must stand in the first row, where they are to make the seven ceremonial hills. These seven dancers should lead the motions of all the others, so that the movements may present even lines, as in the bowing of violins in an orchestra. The refrain should be repeated as many times as is necessary while the dancers are taking position, clearing the field, e
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Song No. 2
Song No. 2
This song should be repeated many times as all the dancers, with rhythmic, springing steps, wind about the camp ground before they finally disperse....
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DANCE III
DANCE III
INTRODUCTORY NOTE.—This dance is from the Corn Ritual Song and is a dramatization of a visit to the planted field after the lapse of a few weeks. Life has been stirring in the kernels of corn that had been hidden within the little hills, and the kernels now call to those who had planted them to come and see what was taking place. Properties .—The same as those used in the preceding dance. Both the boys and the girls should wear the same costume as in Dance II. Directions .—The scene should be th
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Song
Song
This dramatic dance will require to be rehearsed and the details planned by the dancers, so that a clear picture may be brought out and also the native poetic thought embodied in the Ritual Song from which it is taken. A few hints can be given, but much of the action must depend upon the imagination and dramatic feeling of the dancers. As the first line, "A call I hear!" is sung some one should raise the hand toward the ear, another raise it as a warning to keep quiet. The line "Hark! soft the t
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DANCE IV
DANCE IV
INTRODUCTORY NOTE.—This dance, taken from the Corn Ritual, represents a visit to the field later in the season when the harvest time is near at hand. The keynote of this visit is in a line of one of the many stanzas of the original Ritual Song, "I go in readiness of mind." The mind is assured, prepared to find in the place where the "footprints" had been made, where the little kernels had broken the covering of earth to reach "the light of day," that these have now grown tall and strong under th
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Song
Song
The steps of the dancers must be in rhythm with the song and all movements should indicate a feeling of assurance. When the "field" is reached certain motions of the feet should suggest a memory of the "footprints." The "field" is now covered by rows of tall cornstalks; therefore, when the "field" is reached the dancers should move in parallel lines, as if they were passing between these rows. Some lines should cross at right angles, giving the effect of walking between high barriers, along path
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DANCE V
DANCE V
Introductory Note.—This dance represents the bringing of the "first-fruit offering" of the corn from the seven little hills that were ceremonially planted after the dead leaves of winter had been cleared away. The dancers who follow the seven leaders carrying the cornstalks represent the people in triumphal procession in honor of Corn as "Mother breathing forth life." Both words and music of the song for this procession are taken from a great religious ceremony of the Pawnee wherein Corn is spok
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Song No. 1
Song No. 1
During the singing the seven leaders stand together wrapped in their green mantles. All the other dancers are grouped at a little distance back, still talking as at first in dumb show. At the third line they stop talking, at the fourth line they give attention to the seven leaders, at the fifth line they join in the song. During the singing of this stanza there should be no change in the relative positions of the two groups, but during the singing all who sing should keep up a gentle rhythmic sw
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Song No. 2
Song No. 2
This song is retained as sung in the original Pawnee ceremony; the meaning has already been explained. The introduction is sung by the seven leaders, who advance in two rows, four in the first, three in the second, and in this manner they lead the Processional Dance. At the chorus all the other dancers fall in behind the leaders, either in couples or singly, every one singing. All steps must be rhythmic and in time with the music. The seven leaders move steadily, also in time with the music, as
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THE DANCE
THE DANCE
The scene opens with the one who is to call the Flowers standing in the center, looking about in different directions. Suddenly, as if the thought occurred to call for companions, the following song is begun:...
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CALL TO THE FLOWERS
CALL TO THE FLOWERS
With the song, movement begins. The steps taken should be gentle and gliding, the arms outstretched as in entreaty, the hands moved as in beckoning, not with one finger but all the fingers slowly bending toward the open palm. The dancer should think what the action means as she glides about the open space, and strive to carry out the picture of awakening the sleeping flowers, of bidding them to "come hither." It is possible that more time may be required by some dancers to produce the picture th
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Song No. 2 SONG OF THE VIOLETS
Song No. 2 SONG OF THE VIOLETS
The Violets dance with quiet steps in rhythm with the song. They slowly advance and gather in a loose circle about the Caller, whom, as they come near, each one lightly touches, to give "Love from the dell where they grew." Then they retire to the edge of the open space at the right and sit on the ground in little groups. When they are quiet and in their places, the Caller moves toward them, then turns, stops, looks at the empty side at the left and sings:...
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Song No. 1 CALL TO THE FLOWERS
Song No. 1 CALL TO THE FLOWERS
The last line gives the cue to those who represent the Wild-roses to make a rustling sound where they are hidden on the left. They enter with light springing steps, singing:...
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Song No. 3 SONG OF THE WILD-ROSES
Song No. 3 SONG OF THE WILD-ROSES
The Wild-roses dance about gaily; they circle the quiet little clumps of Violets that remain seated. The Wild-roses frolic around the Caller, capering about in wild freedom but keeping their steps in exact time with their song. Finally they pause in groups at the left. After a moment, the Caller moves toward the rear of the open space and while there once again sings:...
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Song No. 1 CALL TO THE FLOWERS
Song No. 1 CALL TO THE FLOWERS
At the close of the song the dancers who are to represent the Daisies give a trilling shout and appear from the rear of the open space, skipping; their leader holds the end of a long green rope, which is caught hold of by each dancer who follows, all singing:...
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Song No. 4 SONG OF THE DAISIES
Song No. 4 SONG OF THE DAISIES
As the Daisies skip in the open space, the dancers are widely separated as they hold on to the rope; at the words "Now we make a chain" the Violets, who had risen as the Daisies entered, move toward the string of dancers; the Wild-roses also come toward the chain and grasp the green rope. The colors of the flowers should alternate and all the Flowers should have hold of the rope and cling to it as to a great green stem. Then all circle around the Caller, who is the last to grasp the stem. As all
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THE DANCE
THE DANCE
All the dancers stand facing the East, in one or more rows deep, according to the number, their staffs held in the right hand so that the flags will hang in front of each dancer, covering the chest, as they begin the following song:...
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FIRST APPEAL
FIRST APPEAL
In the first line at each "away" the dancers should look up toward the East and move a step forward in that direction. At the line "Leave the sky!" they should point their flags toward the East, keeping the staff out on a level with the body, and accent it by thrusting it forward as if pointing to the East, being careful not to change the level of the staff. At the second "Leave the sky!" the level of the staffs must be raised to about the chin of the dancer and the same pointing motion repeated
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SECOND APPEAL
SECOND APPEAL
All the dancers gather in a loose group in the center of the open space, where they divide into two lines that must cross each other at right angles. When this cross-figure is formed, all, as they stand, should face the East. The staffs should be held at an angle similar to that of a baton and then swayed to the rhythm of the following song of pleading and of hope:...
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Song No. 2
Song No. 2
As the dancers sing they should take a step sidewise to the right, then return to the first position; then a step to the left and return, so that the whole cross-figure has a swaying motion accentuating the rhythm of the song, which should be sung smoothly and flowingly. When the words "Blue Sky!" are sung the flags should be raised aloft and waved in rhythm and then returned to the previous level. The song should be repeated several times and the figure maintained as the singers face the North,
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AN OMAHA FESTIVAL OF JOY
AN OMAHA FESTIVAL OF JOY
INTRODUCTORY NOTE.—For centuries the home of the Omaha tribe has been in the region now known as the State of Nebraska, north of the city which bears their name. There they dwelt in permanent villages, surrounded by their garden plots of corn, beans, squashes, etc. From these villages every year in June all the tribes except the sick and infirm went forth to follow the buffalo herds in order to obtain their supply of meat and pelts. As this tribal hunt was essential to the needs of the life of t
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Song No. 1 THE CALL
Song No. 1 THE CALL
[Words: Zha-wa = to rejoice; i-ba = come; ha = vowel prolongation of the syllable ba; e-he = I bid you. "I bid you come to rejoice."] This English translation of the native words does not convey the stirring appeal of the Omaha: "To rejoice! Come! I bid you." The stress of the music of the Call is on "Zha-wa," to rejoice; the notes which carry the words "e-he," "I bid you," seem to float afar as if to reach the most distant member of the tribe with the summons. The cadence of the Call echoes its
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Song No. 2 INVOCATION
Song No. 2 INVOCATION
This chant takes the place of the prayer sung at this point of the ceremony by the Omaha Keepers of the Tribal Sacred Pipes. The prayer in the original has no words, vocables only are used, for the music is what carries the appeal to Wakon'da (God). At the close of the chant two strokes of the drum should be given. Then the leaders should sing the first line of the following song; all the camp respond at the beginning of the second measure, and the song follows. This music is the dance song of t
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Song No. 3 APPROACH TO THE TREE
Song No. 3 APPROACH TO THE TREE
"Hi-o!" is the call given by the leaders for the dancers to pause. When this call is heard, all the branches must be at once lowered and every person stand still. After a brief pause the leaders will again sing the command, "Ev'ry one lift up the branch!" then comes the response, "Up it goes!" The song immediately follows, all the wands held high and waving in rhythm to the melody while the second advance is made. Each one of these advances should be but a few steps, on account of the limitation
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Song No. 4 DANCE AROUND THE TREE
Song No. 4 DANCE AROUND THE TREE
This dance-song can be repeated as often as desired. When at last the leaders wish it to stop they must give the call, "Hi-o!" as they did for the pause in the Dance of Approach to the Tree. When this signal is given, the members should toss their wands at the foot of the tree from the place where they had stopped dancing. In the ancient Omaha ceremony the people had the vast expanse of the prairie at their disposal, yet each tribal group kept its appointed place, not only during the dance, wher
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Song No. 5 THE CLEARING UP
Song No. 5 THE CLEARING UP
This scene, in which all should take part, can be made merry as well as useful. ...
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INDIAN GAMES
INDIAN GAMES
INTRODUCTION.—All the games here presented have been played in our land for untold generations, while traces of the articles used for them have been found in the oldest remains on this continent. According to Dr. Stewart Culin, the well-known authority on Indian and other games, "There is no evidence that these games were imported into America at any time either before or after the conquest. On the other hand they appear to be the direct and natural outgrowth of aboriginal institutions in Americ
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Hazard Games
Hazard Games
INTRODUCTORY NOTE.—The objects which are thrown or tossed in games of hazard Dr. Culin for convenience has designated as "dice" and he calls the games "dice games." (Ibid., pp. 44, 45.) He found these games among one hundred and thirty tribes belonging to thirty different linguistic stocks. Throughout this wide distribution the "dice" are not only of different forms but are made from a variety of materials: split-cane; wooden or bone staves or blocks; pottery; beaver or muskrat teeth; walnut she
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PA-TOL STICK GAME
PA-TOL STICK GAME
Properties .—Three wooden billets; a flat stone about six inches in diameter or square; forty stones about as "big as a fist" or like pieces of wood; as many sticks for markers as there are players; counters to score the game. Directions .—The three billets, called pa-tol sticks, are made four and a half inches long, one inch wide and half an inch in thickness; it is important that the wood from which they are made be firm and hard. Two of the billets are plain on one side, on the other side a d
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PLUM STONE GAME
PLUM STONE GAME
This game belongs to the second and non-ceremonial class of the games of hazard and is generally played by women. The Omaha type is here given, but it is similar to the game as played by kindred tribes. Properties .—Five plum stones; a basket or wooden bowl; one hundred counters. The Omaha used stalks of the blue joint grass as counters, but small twigs or sticks will serve. The plum stones should be carefully cleaned and dried. Two of the stones are burned black on both sides with a hot iron; o
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GUESSING GAMES
GUESSING GAMES
Introductory Note.—Games of the "subjective" class, designated as guessing games by Dr. Culin, were generally accompanied by singing. There is a great variety in the games of this class, and five examples drawn from different Indian games of this character do not always depend so much on chance as on the quickness of vision and skilful manipulation by the players. In games of this class the Indians never make random motions, all their movements, whether of the body, the feet, the hands or arms,
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Pu-in
Pu-in
Introductory Note.—This was a favorite game among the natives of the Northeastern States; its "strange whimsies" were first mentioned by William Wood in his book, "New England Prospect," published in London, 1634. It is probable that some form of this game still persists among the scattered descendants of those nearly extinct tribes, but it is not likely that at the present day the victor would proclaim his prowess, as was formerly done, by wearing in the holes of his ears the counters that mark
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GAME SONG
GAME SONG
When the Leader strikes his staff on the ground every player must stop just where he happens to be, stoop and pick up a bundle with his right hand and begin to wave it above his head and sway his body to the time of the song. When the Leader points with his staff to a player, that person must make a guess. As he scans the waving bundles he points with his left hand that holds his counters to the bundle which he thinks contains the eleven straws. If the guess proves to be correct, the guesser put
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Atá-a-kut
Atá-a-kut
Introductory Note.—This game is played among one of the basket making tribes of California. As not infrequently occurs in Indian games, there is in this pastime a reflection both of the environment and of the vocations of the people who used it. The drama or theme of the play is the search for a particular reed, which for the purpose of the game is marked in a special way. Properties .—A mat or blanket and about fifty reeds; the reeds should be similar in thickness and about a foot long. Directi
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GAME SONG
GAME SONG
When the music begins, the player holding the reeds sways his body from side to side, moves his arms and hands with the reeds and simulates being blown by the winds. The opposite player, by the movements of body and arms, indicates that he is pushing his way through tall reeds tossed by the wind, searching for something he desires to find. Both players in all their movements must keep in rhythm of the song, observe strict time and strive to make their actions tell the story plainly. The guesser
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HAND GAME
HAND GAME
INTRODUCTORY NOTE.—This game, Dr. Culin states, is played among eighty-one Indian tribes of the United States. The game bears different names in the various languages of these tribes. Hand Game is a descriptive term and not a translation of any native name; it refers to the fact that the object is held in the hand during the play. The following form of this game is the way it was formerly played among the Nez Perce Indians of the State of Idaho. Lewis and Clark, who were the first white men to r
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HAND GAME SONG
HAND GAME SONG
The players on the opposite side, who are to guess who is hiding the bead, at once begin to beat the time of the song on the log or board that is in front of them, on the edge of the mat, and at the same time they must watch the other side where the players are trying to pass the bead from one hand to the other and from one person to another without exposing the bead to view. In all these actions the movements of hands, arms and body must be rhythmical and in time with the song. All the players
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HIDING THE DISKS
HIDING THE DISKS
INTRODUCTORY NOTE.—This game, known under a variety of names, is a favorite among the Indian tribes living on the North Pacific Coast. The disks, always of an uneven number, are made of wood and ornamented with designs composed of segments of circles with groupings of dots. Some of the markings are regarded as cabalistic, and there are men who claim to have a knowledge of spells that will bring luck to the disks they ornament and treat; such disks are considered valuable and often command a high
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HIDING THE DISKS
HIDING THE DISKS
The player at the western end of the mat opens the bundle of excelsior or other material and spreads it on the mat and then puts all the nine disks under the material, making many movements as he does so, all of which must be in rhythm with the song, rolling the disks about under the material and finally dividing them into two parts, well covered up by the material. He continues to make passes with his hands as though invoking mysterious forces and to shuffle around the two piles of material in
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I-OU'-TIN
I-OU'-TIN
INTRODUCTORY NOTE.—This game belongs to the class of guessing games. The form here presented is adapted from the game as played by the Omaha, Otoe, Ponca and Pawnee tribes, among whom it is a favorite. Properties .—A standard, or the camp flagstaff can be used; a blanket or rug; three official scarfs, one blue, one green, one white; two wands, one decorated with blue and the other with green; eight tally-rods, ornamented at one end with red tassels; two small balls of a light, soft material, hai
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THE OPENING CEREMONY
THE OPENING CEREMONY
The two Judges rise in their places. The north side Judge holds the four tally-rods in his right hand, the south side Judge holds the four tally-rods in his left hand; the two then walk abreast to the standard. There they face the North, move forward a few steps, pause, and each Judge holds up his tally-rods to the North, while all the players on both sides of the circle sing the following song:...
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Song
Song
At the close of the stanza the two Judges lower their tally-rods, turn, walk toward the East, pause, then elevate their tally-rods, and all the players sing the second stanza. At the close of the stanza the two Judges lower their tally-rods, turn, walk toward the South, pause, again elevate their tally-rods, while all the players sing the third stanza. At the close of this stanza the two Judges lower their tally-rods, turn, walk toward the West, pause, once more elevate their tally-rods, and all
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THE CONTEST
THE CONTEST
A contest now takes place between the two persons chosen by the Judges to be the two Guessers, one for each side, to decide which shall begin the game. The Judge for the north side calls the name of the person chosen to be the Guesser for that side and the Custodian escorts him to his place within the circle. The Judge for the south side calls the name of the person chosen to be Guesser for that side, and the Custodian escorts him to his place within the circle. The Custodian then gives to each
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THE GAME
THE GAME
The Custodian takes the drum from its position in front of the rug, carries it to the side of the successful Guesser and sets it before the three Singers who are to lead in the singing of the song belonging to that side of the circle of players. Every one on that side must sing the song as they hide the balls. Only those on the side that is hiding the balls sing. They can only sing the song that belongs to their side....
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SONG FOR THE SOUTH SIDE
SONG FOR THE SOUTH SIDE
There are no words for either of these songs. The vocables given are those used with these songs when the Indians sing them as they hide the balls. The Custodian takes the two balls from the Guessers and hands them to two persons designated by the Guesser who has won the right for that side to begin. The two persons designated must be two who are sitting together. They each take a ball, and they must hide the balls in the same manner as did the Guessers during the contest. The fingers of the han
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VICTORY SONG
VICTORY SONG
As they sing they sway their arms as though hiding the balls, and dance to the rhythm of the song. Four times they dance around the standard and sing the Victory Song. All movements must be in time with the song. At the close of the fourth circuit of the standard, all return to their appointed places and the game is resumed. The Custodian takes up the drum, carries it to the side that has just danced and sets it before the three Singers of that side. The Guesser, who is of the opposite side, des
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Ball Games
Ball Games
Indian ball games have one feature not found in the ball games as played by us; that is, with the Indian the ball is never pitched and tossed by hand during the play. At the opening of an Indian game the ball must be tossed by hand, but after that the ball is struck by a racket, stick or club and in that way sent from player to player and on to the goal. An exception to this general rule is found in an Omaha ball game given in the following pages. The opening ceremony requires the ball to be han
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BALL AND RACKET
BALL AND RACKET
INTRODUCTORY NOTE.—The game in which the ball is struck with a racket is almost exclusively played by men, but there are tribes where it is played by women, and one tribe, cited by Dr. Culin, where it is played by men and women together. The form of ball game where the racket is used was less widely distributed over the country than some others. It was most frequently found among tribes living near the Atlantic Coast and in the region of the Great Lakes. It had a limited range on the Pacific. Th
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THE GAME
THE GAME
The four players stand at their posts beside the two goals; all the others gather in the field. The Umpire takes the ball and goes to a place as near the center of the field as possible. All being in readiness, he throws the ball with force straight up in the air. Every player watches the ball and makes ready to try and catch it in his racket when it descends. If one succeeds in catching the ball, he runs at full speed toward his goal, holding his racket so that the ball will not fall out. The o
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Ta-bé
Ta-bé
INTRODUCTORY NOTE.—This ball game was known to a number of tribes that formerly lived on the prairies, and called by different names. The game as here given is as it was played among the Omaha. The opening of the game was ceremonial. The person who performed the opening ceremony had to belong to the tribal group that had charge of the rites pertaining to the Wind, for the figure outlined on the ground by the movements of the ball in the opening ceremony was one of the symbols of the Wind. The Wi
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THE OPENING CEREMONY
THE OPENING CEREMONY
The Umpire places the ball in the exact center of the circle, then he gently urges it with his stick in a line toward the North until it reaches the edge of the circle. There he picks it up and puts it back in the center of the circle. Again he gently pushes it with his stick along a line toward the South until the edge of the circle is reached, when he returns the ball to the center of the circle with his hand. In the same manner as before he sends the ball slowly along a line to the West. When
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THE GAME
THE GAME
Every player now stands at attention, with his stick ready for action. The Umpire pauses a moment at the center of the circle, then he picks up the ball lying there and throws it into the air as high as he can. All the players, who have watched the throw, run in the direction where the ball seems likely to descend, in order to have a chance to strike it toward one of the goals. To win the game the ball must be sent through a goal; to strike it so that it goes over or around the goal does not cou
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DOUBLE-BALL GAME
DOUBLE-BALL GAME
INTRODUCTORY NOTE.—Some stories credit the Moon as the giver of this game to the women, by whom it is exclusively played throughout the United States except among the tribes in Northern California, where the men use the game. There are indications that the Double-ball Game was known upon this continent in the remote past. The peculiar ball employed for this game is composed of two small stuffed pouches connected by a band, or two billets of wood about five inches long, made like thick pegs with
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THE GAME
THE GAME
The players stand in two rows about fifteen to twenty feet apart, one color on one side, the other color opposite. The Umpire takes a place between the two lines and as near as possible to the middle of the rows. When all are in readiness the double-ball is tossed by the Umpire straight up into the air, and all those whose places are near the middle of the rows watch the descent of the "ball" and try to catch on their sticks the connecting cord of the double-ball. If one succeeds, she tries to s
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HOOP AND JAVELIN
HOOP AND JAVELIN
INTRODUCTORY NOTE.—This game was widely known and played among the various tribes dwelling within the territory now occupied by the United States. In its passage from one tribe to another the game became modified into several types, but the fundamental character was not changed, so that all these types are, in a sense, a unit. The game is very old upon this land; the articles used in playing it have been found in ancient graves, in the cliff dwellings of the Southwest and in various ruins scatte
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THE GAME
THE GAME
At a signal, the players with the javelins and the hoop start on a run along the course; the one with the hoop throws it a little upward with all his force and both players watch the course of the hoop, having their javelins ready to hurl at the hoop the instant they think they can reach it. If the javelin passes through the hoop and stops it so that it falls on the shaft below the band that was cut thereon, that throw counts two. If the hoop is caught on one of the barbs, that counts one. If th
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FOLLOW MY LEADER
FOLLOW MY LEADER
This game is widely played among the Indian tribes, particularly by the boys, and also by the girls. The Leader improvises the steps and the movements, which all who follow must repeat and keep time to the song. The song here given is traditional in the Omaha tribe. It has been handed down from one generation of young folk to another—for how many, "nobody knows."...
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THE GAME
THE GAME
A Leader is chosen, and all who join in the game must go where he goes, dance as he dances, move the arms, hands and feet as he does. The skipping and dancing must be in exact time with the song that all must sing. The game gives opportunity for fancy steps, winding, intricate figures, "cutting capers" and merry pranks....
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INDIAN NAMES
INDIAN NAMES
INTRODUCTION.—Among the Indian tribes of the United States all personal names have a definite significance. Although there are diversities in the customs relating to names among the various tribes, yet, looking at these as a whole, personal names are observed to fall generally into two classes: First, those which refer to sacred rites; second, those which commemorate a personal achievement. An Indian tribe is composed of a number of kinship groups or clans. To each one of these, speaking general
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PRESENTING THE CHILD TO THE COSMOS
PRESENTING THE CHILD TO THE COSMOS
Among the Omaha a ceremony was observed shortly after the birth of a child that on broad lines reflects a general belief among the Indians. In the introductory chapter of this book the Indian's feeling of unquestioning unity with nature is mentioned. The following Omaha ceremony and ritual furnish direct testimony to the profundity of this feeling. Its expression greets him at his birth and is iterated at every important experience throughout his life. When an Omaha child is born the parents sen
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GIVING THE CHILD A NAME
GIVING THE CHILD A NAME
This ceremony, formerly practiced among the Omaha and cognate tribes, took place in the spring, "when the grass was up and the birds were singing." A tent was set apart and made sacred by the priest who had the hereditary right to perform the ceremony. As the occasion was one of tribal interest, many people flocked to the scene of the rite. A large stone was brought and placed on the east side of the fire that was burning in the center of the space inside the tent. When everything was ready the
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BESTOWING A NEW NAME
BESTOWING A NEW NAME
The bestowal of a new name upon an adult generally took place at some tribal ceremony when all the people were gathered together. In this way as much publicity as possible was given to the act. Among the Pawnee tribe there were three requirements that had to be met in order to take a new name: First, a man could only take a new name after the performance of an act indicative of ability or strength of character; Second, the name had to be assumed openly in the presence of the people to whom the a
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TAKING AN INDIAN NAME IN CAMP
TAKING AN INDIAN NAME IN CAMP
In view of the significance of Indian personal names, and the dignity and reverence which in every instance surrounded the giving or the taking of a name, it hardly seems appropriate that Indian names should be assumed even for a short period without some regard being shown to the customs and thought of the people from whom the names are borrowed. While there should be no travesty of rites such as those that have been here described, rites that have been held sacred upon this continent for untol
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Song No. 1
Song No. 1
The Leader of the camp must then intone the following: [Footnote A: The pronoun should be changed according to the sex of the candidate.] The announcement of the name should be distinctly made so as to be clearly heard by the entire company. The head-band or other camp insignia should now be officially put on the candidate. All present should then join in singing the following song, clapping their hands as beats to the music as they skip back to breakfast and to the pleasures of the day:...
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Song No. 2
Song No. 2
[Footnote B: Change the pronoun to the proper sex.] The second stanza should be repeated and the steps kept in rhythm until the dancers finally disperse....
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INDIAN NAMES FOR BOYS
INDIAN NAMES FOR BOYS
All vowels have the Continental sound The names here presented, for Boys, for Girls and for Camps, have been chosen out of many because the words are easily pronounced; none of them have any of the peculiar labial, nasal or guttural sounds common in the various Indian languages, which are difficult to represent by the letters of our alphabet and equally difficult for most Americans to pronounce....
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