Indian Story And Song Part 7

Transcribed and harmonized by PROF. JOHN COMFORT FILLMORE.

Hla-chi dai-nin, hla-chi dai-nin, i-beh ma kun whi ni weh, da win gu ba hin ah.

Ah hlun hla hlue i hi ei-ah whi no ei-ah whi no i-ah ei-ah hi-ah hin ni ni ah.

Tur wey u tur p'hoa whe na he de a na lhen h'li he pun hi ni ni ah Li u yu sa na a a a ya he wa a hi ni ni a hi ni ni a ni a a ha i hi.]

A SONG OF THE GHOST DANCE.

There are few more pathetic sights than that of an Indian ghost dance,--pathetic in itself, not to consider the gloomy background of fear inspired by it in the minds of so many of our own race who have so widely misunderstood its meaning. The ceremony is but an appeal to the unseen world to come near and to comfort those who have been overtaken in the land of their fathers by conditions both strange and incomprehensible.

The ghost or spirit dance is a modified survival of several ancient ceremonies, blended into one and touched here and there with ideas borrowed from our own race.

In the hypnotic vision which follows the monotonous dance, the landscape of his former days, untouched by the white man, appears to the "controlled" Indian: the streams wander through unbroken prairie; no roadways, no fields of wheat, intrude upon the broad stretches of native gra.s.ses; the vanished herds of buffalo come back to their grazing-grounds; the deer and the antelope, the wolf and the bear, are again in the land; and the eagles look down on the Indian villages, where are to be seen the faces of old friends returned from the spirit realm. These are the scenes which come to the homesick Indian, who is stranded in his native land, his ears filled with foreign sounds, his old activities gone, and his hands unskilled and unable to take up new ones.

The ghost dance is the cry of a forsaken people, forsaken by the G.o.ds in which they once trusted,--a people bewildered by the complexity of the new path they must follow, misunderstood by and misunderstanding the race with whom they are forced to live. In this brief ceremony of the ghost dance the Indians seek to close their eyes to an unwelcome reality, and to live in the fanciful vision of an irrecoverable past.

This song was given me by a ghost dancer, a leader in the Arapaho tribe. Before he sang, he explained to me the ceremony, its peaceful character, and, all unconsciously, made apparent its expression of a pathetic longing for a life that can never return. Standing before the graphophone, he offered an earnest prayer, then, with his companions, sang this song.

The simple pathos of the words cannot be reproduced in English.

They carry a meaning beneath their literal sense that appeals like the cry of a child.

Father, have pity upon me!

I am weeping from hunger (of the spirit): There is nothing here to satisfy me!

The music tells the story of the cry. Its cadences are antiphonal, as between the two worlds.

[Music: GHOST DANCE SONG.

_Arapaho._]

SACRED SONGS OF PEACE.

When the white race first visited the Indians in the Mississippi valley, they found among them a ceremony common to a large number of tribes; and it was observed that, whenever the symbolic objects peculiar to this ceremony were displayed, they were treated with profound respect.

These sacred objects were two perforated sticks, like pipe stems, one painted blue to represent the sky, and the other green to typify the earth; and among their bright-coloured decorations were the plumages of particular birds and wing-like pendants of eagle feathers. They symbolised the heavens and the earth and the mysterious power that permeates all nature. In their presence the Indians were taught that they should care for their children, think of the future welfare of the people, put aside personal grievances, repress anger and warlike emotions, and be like kindred, at peace with one another. Different names were given to these peculiar objects by the different tribes; and they were cla.s.sed by our early travellers with the "calumets," or pipes of peace, although they were not pipes, for they had no bowl and could not be smoked.

It was due to the presence of one of these so-called "calumets" in Marquette's frail canoe that made possible his peaceful descent of the Mississippi River on his voyage of discovery. He writes that the "calumet is the most mysterious thing in the world. The sceptres of our kings are not so much respected; ... for one with this calumet may venture among his enemies, and in the hottest battles they lay down their arms before this sacred pipe."

The "calumet" ceremony has, therefore, an historic interest for us, apart from its revelation of the religious beliefs and social ideals of the Indian. To explain the symbolism, the teachings, and the observances which make up this complex rite would fill a volume; but, that something of the dignity and beauty of the thoughts expressed in it may be known, two of its numerous songs are here given.

To understand the significance of these songs, it should be known that two distinct groups or parties were indispensable to the performance of the ceremony; namely, they who brought the "calumets" and they who received them. As it was imperative that there should be no blood relationship between these two parties, they always belonged to different tribes or to two distinct kinship groups within the tribe.

The party bringing the "calumets" was called "the father," while those receiving them were "the children." These terms refer to the tie about to be formed between the two unrelated parties by means of this sacred ceremony. This tie was esteemed more honourable and binding than the natural bond of father and son.

The ceremony generally took place in a circular dwelling known as an "earth lodge." The occasion drew together a large concourse of people,--men, women, and children; and the gay costumes, the glinting of ornaments, the picturesque groups, and the happy, smiling faces of old and young made a scene full of colour and motion. Many times I have witnessed this ceremony and joined in its beautiful chorals, led by the bearers, who swayed the "calumets" to the rhythm of the song, wafting over the heads of the people the blessing of peace.

The following choral was sung immediately after the "calumets" had been ceremonially taken from their resting-place, with movements that simulated the eagle rising from its nest. The bearers then faced the people, seated on the ground against the wall of the lodge, and with slow rhythmic steps moved around the circle, waving the "calumets"

over the heads of the mult.i.tude. As the "calumets" pa.s.sed slowly by, the people took up the choral, until at last the great lodge resounded with its majestic cadences. The leaping flames from the central fire lit up the faces of the hundreds of men and women; while the swaying feathers of the "calumets" cast great wing-like shadows on the glistening roof, and seemed to make real the symbolic presence of the mighty eagle himself, circling over the people as he sped on his mission, bearing the benediction of good will among men.

Once, at the close of this song, an old Indian turned to me and said, "The 'calumets' are of G.o.d."

The words of this choral refer to the blessing of peace given to "the fathers" in ancient days, and now brought by the symbolic "calumets"

to "the children."

Down through the ages vast, On wings strong and true, From great Wa-ko_n_'-da comes Good will unto you,-- Peace, that shall here remain.

[Music: CHORAL.

_Omaha._

Harmonized by PROF. J.C. FILLMORE.

Dha ke-de hia u-dha ho-dha ke-de ho-dha dha ke-de ha dhe he hia dha ke-de hia dha ke-de ha dhe he.]

After the bearers, or "the fathers," had ceremonially borne the "calumets" four times around the lodge, singing as they went and waving the blessing of peace and fellowship over the heads of "the children," they paused as they reached a consecrated place at the back of the lodge, facing the entrance to the east. Here the ground had been specially prepared, and a wildcat skin spread upon it for the reception of the "calumets." Over this skin, which had its symbolic meaning, the bearers waved the "calumets," imitating the movements of the eagle, sweeping lower and lower, rising and circling again, and then dropping lightly upon its nest.

The song is one of those sung to accompany the movements of the "calumets" as they are thus lowered to rest. The words refer to the search of "the fathers" for "the children," to bring them peace, as the eagle soars abroad and returns to its nest.

Far above the earth he soars, Circling the clear sky, Flying over forests dim, Peering in shadows, Seeking far and wide his child, To give him peace.

[Music: THE GIFT OF PEACE.

_Otoe._

Harmonized by PROF. J.C. FILLMORE.

Zhin-ga dha-we dho dho we he ho-i ne Zhin-ga dha-we dho dho we he ho-i-ne Zhin-ga dha we dho dho we ha je dha we.]

COMFORTING THE CHILD.

The three following songs have a common motive, and are parts of one ceremonial action; but the motive is treated differently in each song, so as to conform to the movements of the ceremony.[11] An unconscious art is here shown, which is interesting as a bit of musical archaeology. During the "calumet" ceremony among the p.a.w.nees, if a child cried and would not be comforted, its parents were permitted to appeal to the "calumets" for help.

[Footnote 11: These songs were never before noted, and have hitherto been sealed from the knowledge of the white race. They were given and explained by a priest of the rite, through Mr. James R. Murie.]

The fan-shaped pendant of one of these "calumets" was made of the feathers of the golden eagle. This bird in the ceremony was called Kawas, and symbolised the peaceful and conserving power, the giver and preserver of life, the parent of all things. It was to the priestly bearer of this particular "calumet" that the parents appealed. On receiving the appeal, the priest and his a.s.sistants arose, and, standing beside "the holy place,"--the consecrated s.p.a.ce where the "calumets" were laid at ceremonial rest,--they sang this song, thus pa.s.sing on to Kawas the appeal of the parents.

[Music: KAWAS, THY BABY IS CRYING.