Indian Games and Dances with Native Songs written by Alice C. Fletcher
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Alice C. Fletcher >> Indian Games and Dances with Native Songs
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The Life of the Corn culminates in a delight of color, movement and song.
CALLING THE FLOWERS
INTRODUCTORY NOTE.--This dance is derived from a ceremony, observed among
the Indians of the North Pacific Coast, in which the spirits dwelling
beneath the ground are called to come and join those who are dancing. The
dancer who calls the spirits moves with gliding steps, the arms
outstretched, the hands beckoning upward in a gentle, enticing manner. The
grace, dignity and earnestness of this dance linger with the writer as a
beautiful memory after the lapse of many years.
_Properties_.--A green scarf for the Caller. Blue, white and rosy scarfs
for as many dancers as will personate the three Flowers that respond to the
call: Violets, Wild-roses and Daisies. A twisted rope of green to link the
dancing Flowers together in the final dance.
_Directions_.--A clear space will be required large enough for all the
dancers to move about in the final dance. Those who personate the Flowers
should be hidden from view until the time when they are to respond to the
call. In the properties enumerated above, mention is made only of scarfs.
The picturesqueness of the dance would be enhanced if the dancers wore
headdresses shaped somewhat like the flowers and made of appropriate
colored paper; blue or lilac for the Violets, with a touch of yellow; deep
pink or pale red for the Wild-roses, with a little yellow for the stamens;
white with yellow for the Daisies. The twisted rope of green paper should
be made over heavy twine, so as to be strong enough for the dancers to
grasp in the final dance. All these decorative articles should be made in
the camp.
The dancer who acts as the Caller should wear the green scarf loosely
thrown about the head and body. If the voice of this dancer is not strong
enough to be clearly heard by those who look on at a little distance, then
two other persons should stand one at each side of the open space and sing
with the dancer who is the Caller. These two extra singers should be
wrapped in green scarfs and stand quietly as interested spectators while
the dancer calls. Care should be taken to give the words of the songs with
clearness and distinctness, so that every person within hearing distance
can catch them easily.
THE DANCE
The scene opens with the one who is to call the Flowers standing in the
center, looking about in different directions. Suddenly, as if the thought
occurred to call for companions, the following song is begun:
Song No. 1
CALL TO THE FLOWERS
Hither come, come to me, flowers!
Wake from your sleep.
Oh, hither come, hither come, flowers!
Hear me calling,
Wake from your sleep, O flowers!
Hark! some one comes.
[Music]
With the song, movement begins. The steps taken should be gentle and
gliding, the arms outstretched as in entreaty, the hands moved as in
beckoning, not with one finger but all the fingers slowly bending toward
the open palm. The dancer should think what the action means as she glides
about the open space, and strive to carry out the picture of awakening the
sleeping flowers, of bidding them to "come hither." It is possible that
more time may be required by some dancers to produce the picture than
merely singing the song once through would give; in that case, that portion
of the song having the words "Hear me calling, Wake from your sleep, O
flowers!" can be repeated once or twice, to meet the requirements of the
dancer. The last line, "Hark! some one comes!" should be given with
dramatic action.
These words are the cue for those who are to represent the Violets to
prepare to enter from different points on the right, and to make a soft,
stirring sound before they come into view, singing the following song:
Song No. 2
SONG OF THE VIOLETS
Violets have come in heav'nly hue;
With fragrance sweet they bring to you
Love from the dell where they grew
Close to the earth so true.
[Music]
The Violets dance with quiet steps in rhythm with the song. They slowly
advance and gather in a loose circle about the Caller, whom, as they come
near, each one lightly touches, to give "Love from the dell where they
grew." Then they retire to the edge of the open space at the right and sit
on the ground in little groups. When they are quiet and in their places,
the Caller moves toward them, then turns, stops, looks at the empty side at
the left and sings:
Song No. 1
CALL TO THE FLOWERS
[See page 42]
The last line gives the cue to those who represent the Wild-roses to make a
rustling sound where they are hidden on the left. They enter with light
springing steps, singing:
Song No. 3
SONG OF THE WILD-ROSES
Wild-roses come all bright and gay,
Blushing red like dawn of day;
Dancing come they, full of play,
Hiding all their thorns away.
Wild-roses come all bright and gay,
Blushing red like dawn of day,
Dancing come they, full of play.
[Music]
The Wild-roses dance about gaily; they circle the quiet little clumps of
Violets that remain seated. The Wild-roses frolic around the Caller,
capering about in wild freedom but keeping their steps in exact time with
their song. Finally they pause in groups at the left.
After a moment, the Caller moves toward the rear of the open space and
while there once again sings:
Song No. 1
CALL TO THE FLOWERS
[See page 42]
At the close of the song the dancers who are to represent the Daisies give
a trilling shout and appear from the rear of the open space, skipping;
their leader holds the end of a long green rope, which is caught hold of by
each dancer who follows, all singing:
Song No. 4
SONG OF THE DAISIES
Up from meadows free,
Coming full of glee,
Troop the Daisies white,
Dancing in the light,
All skipping blithe and gay.
Now we make a chain,
Singing as we twine
Then back into line--
Merry at play!
[Music]
As the Daisies skip in the open space, the dancers are widely separated as
they hold on to the rope; at the words "Now we make a chain" the Violets,
who had risen as the Daisies entered, move toward the string of dancers;
the Wild-roses also come toward the chain and grasp the green rope. The
colors of the flowers should alternate and all the Flowers should have hold
of the rope and cling to it as to a great green stem. Then all circle
around the Caller, who is the last to grasp the stem. As all the Flowers
dance they repeat Song No. 4, beginning at the words "Troop the Daisies
white," etc.
This chain of flowers should make, as they dance, interweaving figures.
These can be left to the fancy of the dancers, but just what they are to be
must be decided upon beforehand and rehearsed; otherwise the dance will not
be successful and pleasing.
The dances for each kind of flower will require practice, for the character
of each flower should be well brought out; the gentleness of the Violets
can make a charming contrast to the waywardness of the Wild-roses and the
pliant Daisies who are at home everywhere.
APPEAL FOR CLEAR SKY
INTRODUCTORY NOTE.--Among those Indian tribes that lived outside the
semi-arid sections of our country, the storm with its destructive force was
the representative of war, and thunder was a war god.
Warfare was widespread among the tribes dwelling in the Mississippi valley;
yet among these people the desirability and value of peace were recognized.
Honors won in a defensive fight gave the warrior higher rank than those
gained in wars of aggression. Rituals belonging to religious ceremonies,
and also to war rites, taught that the first duty of the warrior was to
protect the women and children, the fields and the food supply, for his
strong arm and ready courage made the tribe's only wall of defence against
enemies.
These tribes had ceremonies relating to the maintenance of peace not only
within the tribe but for the purpose of forming peaceful relations with
other tribes. The clear sky was the symbol of peace, of happiness and of
prosperity, conditions the very opposite of those that attended war.
When a peace ceremony was in progress, if a storm arose it was looked upon
as an omen of disaster. At such a time, when clouds gathered, the people
joined in ceremonial songs and appeals for clear sky, the symbol of peace.
The following dramatic dance and the accompanying songs are employed on
such an occasion. The songs are taken from ceremonies used to promote
peace.
_Properties_.--Staffs, about three feet long, with small blue flags, as
many as there are dancers, the same number of blue head-bands and blue
sashes. The latter are to be worn from the right shoulder across the breast
and tied at the waist under the left arm. A drum.
_Directions_.--This dance belongs to both sexes and boys and girls should,
if possible, join in it.
THE DANCE
All the dancers stand facing the East, in one or more rows deep, according
to the number, their staffs held in the right hand so that the flags will
hang in front of each dancer, covering the chest, as they begin the
following song:
Song No. 1
Away, away, dark clouds, away!
Leave the sky!
Go far away, dark clouds, to-day!
Leave the sky!
Stormy clouds, go far away, far away,
Stormy clouds, no longer stay!
Leave the sky!
Go far away, dark clouds, to-day!
Leave the sky!
Stormy clouds, go far way, far away!
Stormy clouds, begone!
[Music]
FIRST APPEAL
In the first line at each "away" the dancers should look up toward the East
and move a step forward in that direction. At the line "Leave the sky!"
they should point their flags toward the East, keeping the staff out on a
level with the body, and accent it by thrusting it forward as if pointing
to the East, being careful not to change the level of the staff. At the
second "Leave the sky!" the level of the staffs must be raised to about the
chin of the dancer and the same pointing motion repeated at this level. At
the third "Leave the sky!" the staffs are raised to the level of the
dancers' eyes and the same pointing movement repeated. At the fourth "Leave
the sky!" the level of the staffs is raised to a line with the top of the
head and the pointing motions again given. At the last line, "Stormy
clouds, begone!" the staffs and flags should be raised aloft and waved with
precision to the rhythm of the song. The steps and movements of the body
should be that of backward and forward, to give a pulsating effect, all in
exact time with the music. The drum should be beaten in 4/8 time, the first
and third stroke heavier than the second and fourth. This series of
movements constitutes the Appeal to the East.
The dancers next turn to the North, repeat the song and all the movements
of staff and body in exactly the same manner.
The dancers now turn toward the West and go through the song and movements
without any variation.
They then turn toward the South and repeat song and movements as before.
This brings the First Appeal to a close.
SECOND APPEAL
All the dancers gather in a loose group in the center of the open space,
where they divide into two lines that must cross each other at right
angles. When this cross-figure is formed, all, as they stand, should face
the East. The staffs should be held at an angle similar to that of a baton
and then swayed to the rhythm of the following song of pleading and of hope:
Song No. 2
Come, soft skies of blue,
O'er the earth of verdant hue
Bend in peace!
Clouds by thy sunny breath all are gone,
Blue Sky!
Joy now fills our hearts anew,
Sorrows cease;
Songs of birds sing of thy peace,
Blue Sky!
[Music]
As the dancers sing they should take a step sidewise to the right, then
return to the first position; then a step to the left and return, so that
the whole cross-figure has a swaying motion accentuating the rhythm of the
song, which should be sung smoothly and flowingly. When the words "Blue
Sky!" are sung the flags should be raised aloft and waved in rhythm and
then returned to the previous level. The song should be repeated several
times and the figure maintained as the singers face the North, West, South
and back to the East. Then the dancers should break into groups and, still
singing the song and dancing rhythmically, disperse to their tents.
The He-de Wa-chi
AN OMAHA FESTIVAL OF JOY
INTRODUCTORY NOTE.--For centuries the home of the Omaha tribe has been in
the region now known as the State of Nebraska, north of the city which
bears their name. There they dwelt in permanent villages, surrounded by
their garden plots of corn, beans, squashes, etc. From these villages every
year in June all the tribes except the sick and infirm went forth to follow
the buffalo herds in order to obtain their supply of meat and pelts. As
this tribal hunt was essential to the needs of the life of the people, it
was a very serious affair, initiated with religious ceremonies and
conducted under strict rules enforced by duly appointed officers. It was at
the close of this great tribal hunt, when food and clothing had been
secured, while Summer lingered and the leaves had not yet begun to fall, so
that brightness was still over the land, that this Festival of Joy took
place. Like all Indian ceremonies, the He-de Wa-chi embodied a teaching
that was for the welfare of the tribe, a teaching drawn from nature and
dramatically enacted by the people. The Omaha tribe was made up of ten
distinct groups, each one having its own name, a set of names for those
born within the group, and certain religious symbols and ceremonies
committed to its care. By tribal rites and regulations these ten distinct
groups were welded together to form the tribe, whose strength and
prosperity depended upon internal harmony and unity.
The He-de Wa-chi taught the people what this unity really stood for. The
central object of the ceremony was a tree, which was the symbol of the
tribe; its branches were as the different groups composing the tribe, the
twigs that made up the branches were as the individuals that formed the
groups.
The Omaha had special ceremonies for the preparation of the central object.
They cut a tree, left a tuft of branches at the top and painted the trunk
in alternate bands of red and black. The red bands represented day, the
black, night; the decoration as a whole stood for the continuity of life.
This pole was planted in a broad open space. As the melodious Call to the
Ceremony echoed over the land, the people gathered from their tents. Each
one of the ten groups took its respective place and all the groups formed a
wide circle about the tree. Every one, down to the little children, carried
a twig with leaves. These they held aloft as they made their rhythmic,
ceremonial approaches to the tree, and afterward danced about the sacred
symbol.
It was a wonderful and a beautiful scene that took place on the prairies
years ago, when hundreds of Omahas moved to the rhythm of the sacred songs,
waving the green sprays as they danced up to the symbolic tree and circled
about it with thanksgiving and joy. It was thus they exemplified tribal
unity, wherein every one was a part of the living whole.
This ancient American ceremony should live anew with us wherever we gather
to enjoy the delights of nature in goodly company.
_Directions_.--It may be difficult to prepare a young tree for the central
pole after the manner of the Omaha; if so, a space around a single tree can
be made to serve. Bands of red and black muslin or paper should be put
about the tree trunk; these are to symbolize the days and nights enjoyed
during the camp life. The members of the camp should be divided into groups
and each group have a name and a color. Small branches should be gathered,
equal in number to those who will take part in the dance. If actual
branches are not available, wands can be used; to these fluttering
decorations of green paper should be attached, also a streamer the color of
the group. Each group should be assigned a place in the wide circle that is
to be made about the tree.
When all are ready the following Call should be sung. The Indian words are
retained, as they are easy to pronounce and fit the meaning, and are
adapted to the long echoing cadences of the Call.
Song No. 1
THE CALL
Zha-wa i-ba i-ba e-he,
Zha-wa i-ba i-ba ha e-he.
[Music]
[Words: Zha-wa = to rejoice; i-ba = come; ha = vowel prolongation of the
syllable ba; e-he = I bid you. "I bid you come to rejoice."]
This English translation of the native words does not convey the stirring
appeal of the Omaha: "To rejoice! Come! I bid you." The stress of the music
of the Call is on "Zha-wa," to rejoice; the notes which carry the words
"e-he," "I bid you," seem to float afar as if to reach the most distant
member of the tribe with the summons. The cadence of the Call echoes
itself, as the second line is like the first, only lower in tones.
When all of the camp have gathered in response to the Call, each group must
stand in its appointed place and every member hold a decorated wand. Four
beats of the drum are now to be given; the beats must not be loud or rapid.
When the reverberations of the drum cease, absolute quiet must be
maintained, each one's wand must hang downward from his right hand, while
the following chant is given, sung by the leaders of the groups. The words
are by John B. Tabb, the music is arranged from the Omaha invocation.
Song No. 2
INVOCATION
All that springeth from the sod,
Tendeth upward unto God;
All that cometh from the skies,
Urging it anon to rise.
[Music]
This chant takes the place of the prayer sung at this point of the ceremony
by the Omaha Keepers of the Tribal Sacred Pipes. The prayer in the original
has no words, vocables only are used, for the music is what carries the
appeal to Wakon'da (God).
At the close of the chant two strokes of the drum should be given. Then the
leaders should sing the first line of the following song; all the camp
respond at the beginning of the second measure, and the song follows. This
music is the dance song of the ceremony when all the Omaha tribe made four
rhythmic advances toward the sacred tree, stopping at the close of each
advance. The song was sung four times, once for each forward movement.
Song No. 3
APPROACH TO THE TREE
_Leaders_: Ev'ry one lift up the branch!
_Response by all:_ Up it goes!
_Song by all:_ Dancing, singing, we like leaves sway to and fro.
Happy leaves! Dancing leaves!
Swinging as the breezes blow,
So will we ever be
Blithe and joyous as we go.
Hi-o!
[Music]
"Hi-o!" is the call given by the leaders for the dancers to pause. When
this call is heard, all the branches must be at once lowered and every
person stand still. After a brief pause the leaders will again sing the
command, "Ev'ry one lift up the branch!" then comes the response, "Up it
goes!" The song immediately follows, all the wands held high and waving in
rhythm to the melody while the second advance is made. Each one of these
advances should be but a few steps, on account of the limitations of space.
The dancing steps, the rhythmic movements of the body and the swaying wands
should give an undulating line suggestive of waving branches. The available
space on the grounds should be calculated so as to permit the four
approaches accompanied by the dance-song to reach a point near the tree,
yet far enough to permit the forming of two circles of dancers around its
base. At this point the company should divide into two parts, one part to
form an inner circle and the other to form an outer circle. These two
circles are now to dance around the tree, one to go from right to left, the
other from left to right. At this time the leaders tie their wands to the
trunk of the tree, but all the others retain their wands while they dance
in these concentric circles. All should sing the dance-song, keeping time
with the feet and waving the wands to the rhythm of the music. As the dance
goes on, the time can be accelerated and the circles become wider and
narrower, but in all these movements the rhythm of song and dance must
never be broken--for the rhythm stands for the binding force of a common,
social and loving life.
Song No. 4
DANCE AROUND THE TREE
1
Dance the leaves in sunlight,
Dance the leaves in dark night,
Leaves ever, ever dance on the tree,
The Tree!
[Music]
2
High we lift the green branch,
Dance and wave our green branch,
Each one is a green branch of the tree,
The Tree!
3
Now we all return them,
Bind them to the tree stem,
While we sing the glad word, Unity!
O Tree!
4
Strong our hearts in daylight,
Strong our hearts in still night,
Thus the He-de Wa-chi bids us be,
O Tree!
This dance-song can be repeated as often as desired. When at last the
leaders wish it to stop they must give the call, "Hi-o!" as they did for
the pause in the Dance of Approach to the Tree.
When this signal is given, the members should toss their wands at the foot
of the tree from the place where they had stopped dancing.
In the ancient Omaha ceremony the people had the vast expanse of the
prairie at their disposal, yet each tribal group kept its appointed place,
not only during the dance, wherein they made four approaches toward the
sacred tree, but when all the groups formed into two great circles the
tribal order of their relative positions was still preserved. The two
circles were made up according to sex. The women and girls danced in one
direction next to the pole; the men and boys formed the outer circle and
danced in the opposite direction. This dance was the occasion of much
hilarity and fun. Old and young danced with vigor, and great was the
delight of the tribe as it spun around the emblematic tree, carrying
branches. At the close of the dance all tossed the branches at the foot of
the pole, leaving a mound of green on the widespreading plain.
If boys and girls take part, as they should, in this ceremony, let the
girls form the inner circle and the boys the outer circle as they dance
about the tree in true Omaha fashion.
In real Indian life every vocation has its accompaniment of song, no matter
how homely may be the employment. So, keeping faith with that ancient
American custom, let the camp be put in order after the ceremony while all
sing the following song, which may be called the Clearing Up:
Song No. 5
THE CLEARING UP
[Music:
Now is our dancing ended,
Light are our hearts as our footsteps
Turn at our leaders' bidding.
Safely we gather together
Branches that served our playtime,
Setting our camp all in order
Ere to our tents we betake us.]
This scene, in which all should take part, can be made merry as well as
useful.
PART II
GAMES
INDIAN GAMES
INTRODUCTION.--All the games here presented have been played in our land
for untold generations, while traces of the articles used for them have
been found in the oldest remains on this continent. According to Dr.
Stewart Culin, the well-known authority on Indian and other games, "There
is no evidence that these games were imported into America at any time
either before or after the conquest. On the other hand they appear to be
the direct and natural outgrowth of aboriginal institutions in America."
Dr. Culin calls attention to the reference to games in the myths of the
various tribes. Among those of the Pueblo people mention is made of the
divine Twins who live in the east and the west, rule the day and the night,
the Summer and the Winter, "Always contending they are the original patrons
of play and their games are the games now played by men." (Bureau of
American Ethnology, Vol. 24, p. 32.) It would lead too far afield to follow
the interesting relation between ceremonials and games, a relation that is
not peculiar to the culture found on the American Continent but which
obtains the world around. The environment of man in general outline is much
the same everywhere; the sun ever rises in the east and sets in the west;
day and night always follow each other; the winds play gently or rend with
force; the rains descend in showers or fall in floods; flowers and trees
spring up, come to maturity and then die. Therefore, when man has
questioned Nature as to the why and the wherefore of life, similar answers
have come from all parts of the earth; so it happens that man's games,
which often sportively reflect his serious thoughts, show a strange
similarity.
Indian games that depend upon chance, according to Dr. Culin, may be
divided "into those in which the hazard depends upon the random fall of
certain implements employed, like dice, and those in which it depends upon
the guess or choice of the player; one is objective, the other subjective."
Games of the first or objective class are generally played in silence,
while those of the second or subjective class, called guessing games, are
accompanied by singing. (Ibid., p. 44.)
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