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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 G.o.d; 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 (G.o.d).
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 s.p.a.ce.
The dancing steps, the rhythmic movements of the body and the swaying wands should give an undulating line suggestive of waving branches. The available s.p.a.ce 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 s.e.x. 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 inst.i.tutions 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 cla.s.s are generally played in silence, while those of the second or subjective cla.s.s, called guessing games, are accompanied by singing. (Ibid., p. 44.)
In a game where the two sides contest, as in a ball game, the sides were frequently played by two different tribes or by two villages in the same tribe. In such cases the players often went through a course of training in order to prepare them for the contest. Bathing, exercise and diet had to be followed according to prescribed custom. Among the Cherokee the partaking of rabbit was forbidden, because the animal is "timid, easily alarmed and liable to lose its wits"; so if the player ate of this dish, he might become infected with like characteristics. Mystic rites were sometimes performed to prepare the player so that he would be successful. (Ibid., p. 575.)
According to the Indian belief, the pleasure of games was not restricted to mankind but was enjoyed by birds and animals. The following story from the Cherokee is told by Mr. James Mooney and quoted by Dr. Culin (Ibid., pp.
578, 579):
"The animals once challenged the birds to a great ball play. The wager was accepted, the preliminaries were arranged, and at last the contestants a.s.sembled at the appointed spot--the animals on the ground, while the birds took position in the tree-tops to await the throwing up of the ball. On the side of the animals were the bear, whose ponderous weight bore down all opposition; the deer, who excelled all others in running; and the terrapin, who was invulnerable to the stoutest blows. On the side of the birds were the eagle, the hawk and the great Tlaniwa--all noted for their swiftness and power of flight. While the latter were preening their feathers and watching every motion of their adversaries below, they noticed two small creatures, hardly larger than mice, climbing up the tree on which was perched the leader of the birds. Finally they reached the top and humbly asked the captain to be allowed to join in the game. The captain looked at them a moment, and, seeing that they were four-footed, asked them why they did not go to the animals where they properly belonged. The little things explained that they had done so, but had been laughed at and rejected on account of their diminutive size. On hearing their story the bird captain was disposed to take pity on them, but there was one serious difficulty in the way--how could they join the birds when they had no wings? The eagle, the hawk and the rest now crowded around, and after some discussion it was decided to try and make wings for the little fellows. But how to do it! All at once, by a happy inspiration, one bethought himself of the drum which was to be used in the dance. The head was made of ground-hog leather, and perhaps a corner could be cut off and utilized for wings. No sooner suggested than done. Two pieces of leather taken from the drumhead were cut into shape and attached to the legs of one of the small animals, and thus originated the bat. The ball was now tossed up and the bat was told to catch it, and his expertness in dodging and circling about, keeping the ball constantly in motion and never allowing it to fall to the ground, soon convinced the birds that they had gained a most valuable ally. They next turned their attention to the other little creature; and now behold a worse difficulty! All their leather had been used in making wings for the bat and there was no time to send for more. In this dilemma it was suggested that perhaps wings might be made by stretching out the skin of the animal itself. So two large birds seized him from opposite sides with their strong bills, and by tugging and pulling at his fur for several minutes succeeded in stretching the skin between the fore and hind feet until at last the thing was done, and there was the flying squirrel. Then the bird captain, to try him, threw up the ball, when the flying squirrel, with a graceful bound, sprang off the limb and, catching it in his teeth, carried it through the air to another tree-top a hundred feet away.
"When all was ready the game began, but at the very outset the flying squirrel caught the ball and carried it up a tree, then threw it to the birds, who kept it in the air for some time, when it dropped; but just before it reached the ground the bat seized it, and by his dodging and doubling kept it out of the way of even the swiftest of the animals until he finally threw it in at the goal, and thus won the victory for the birds."