Eyehe′! A′nie′sa′na′,Eyehe′! A′nie′sa′na′,He′ee′ä′ehe′yuhe′yu!He′ee′ä′ehe′yuhe′yu!A′-baha′ ni′esa′na′,A′-baha′ ni′esa′na′.
Eyehe′! A′nie′sa′na′,Eyehe′! A′nie′sa′na′,He′ee′ä′ehe′yuhe′yu!He′ee′ä′ehe′yuhe′yu!A′-baha′ ni′esa′na′,A′-baha′ ni′esa′na′.
Eyehe′! A′nie′sa′na′,Eyehe′! A′nie′sa′na′,He′ee′ä′ehe′yuhe′yu!He′ee′ä′ehe′yuhe′yu!A′-baha′ ni′esa′na′,A′-baha′ ni′esa′na′.
Eyehe′! A′nie′sa′na′,
Eyehe′! A′nie′sa′na′,
He′ee′ä′ehe′yuhe′yu!
He′ee′ä′ehe′yuhe′yu!
A′-baha′ ni′esa′na′,
A′-baha′ ni′esa′na′.
Translation
Eyehe′!The young birds,Eyehe′!The young birds,He′ee′ä′ehe′yuhe′yu!He′ee′ä′ehe′yuhe′yu!The young Thunderbirds,The young Thunderbirds.
Eyehe′!The young birds,Eyehe′!The young birds,He′ee′ä′ehe′yuhe′yu!He′ee′ä′ehe′yuhe′yu!The young Thunderbirds,The young Thunderbirds.
Eyehe′!The young birds,Eyehe′!The young birds,He′ee′ä′ehe′yuhe′yu!He′ee′ä′ehe′yuhe′yu!The young Thunderbirds,The young Thunderbirds.
Eyehe′!The young birds,
Eyehe′!The young birds,
He′ee′ä′ehe′yuhe′yu!
He′ee′ä′ehe′yuhe′yu!
The young Thunderbirds,
The young Thunderbirds.
Among the Algonquian tribes of the east, the Sioux, Cheyenne, Arapaho, Kiowa, Comanche, and prairie tribes generally, as well as among those of the northwest coast and some parts of Mexico, thunder and lightning are produced by a great bird, whose shadow is the thunder cloud, whose flapping wings make the sound of thunder, and whose flashing eyes rapidly opening or closing send forth the lightning. Among some tribes of the northwest this being is not a bird, but a giant who puts on a dress of bird skin with head, wings, and all complete, by means of which he flies through the air when in search of his prey. The myth is not found among the Iroquois or the Cherokee, or, perhaps, among the Muskhogean tribes.
The Thunderbird usually has his dwelling on some high mountain or rocky elevation of difficult access. Within the territory of the myth several places are thus designated as the Thunder’s Nest. Thunder bay of Lake Huron, in lower Michigan, derives its name in this way. Such a place, known to the Sioux asWaqkiñ′a-oye′, “The Thunder’s Nest,” is within the old territory of the Sisseton Sioux in eastern South Dakota in the neighborhood of Big Stone lake. At another place, near the summit of the Coteau des Prairies, in eastern South Dakota, a number of large round bowlders are pointed out as the eggs of the Thunderbird. According to the Comanche there is a place on upper Red river where the Thunderbird once alighted on the ground, the spot being still identified by the fact that the grass remains burned off over a space having the outline of a large bird with outstretched wings. The samepeople tell how a hunter once shot and wounded a large bird which fell to the ground. Being afraid to attack it alone on account of its size, he returned to camp for help, but on again approaching the spot the hunters heard the thunder rolling and saw flashes of lightning shooting out from the ravine where the bird lay wounded. On coming nearer, the lightning blinded them so that they could not see the bird, and one flash struck and killed a hunter. His frightened companions then fled back to camp, for they knew it was the Thunderbird.
Fig. 92—The Thunderbird.
Fig. 92—The Thunderbird.
With both Cheyenne and Arapaho the thunder (ba′a′) is a large bird, with a brood of smaller ones, and carries in its talons a number of arrows with which it strikes the victim of lightning. For this reason they call the eagle on our coinsbaa. When it thunders, they sayba′a′ nänitŭ′hut, “the thunder calls.” In Indian pictography the Thunderbird is figured with zigzag lines running out from its heart to represent the lightning. A small figure of it (represented infigure 92), cut from rawhide and ornamented with beads, is frequently worn on the heads of the dancers.
A′he′sûna′nini năya′qûti′hi,A′he′sûna′nini năya′qûti′hi,Hä′ni′nihiga′hŭna′,Hä′ni′nihiga′hŭna′,He′sûna′nin hä′ni na′ha′waŭ′.He′sûna′nin hä′ni na′ha′waŭ′.
A′he′sûna′nini năya′qûti′hi,A′he′sûna′nini năya′qûti′hi,Hä′ni′nihiga′hŭna′,Hä′ni′nihiga′hŭna′,He′sûna′nin hä′ni na′ha′waŭ′.He′sûna′nin hä′ni na′ha′waŭ′.
A′he′sûna′nini năya′qûti′hi,A′he′sûna′nini năya′qûti′hi,Hä′ni′nihiga′hŭna′,Hä′ni′nihiga′hŭna′,He′sûna′nin hä′ni na′ha′waŭ′.He′sûna′nin hä′ni na′ha′waŭ′.
A′he′sûna′nini năya′qûti′hi,
A′he′sûna′nini năya′qûti′hi,
Hä′ni′nihiga′hŭna′,
Hä′ni′nihiga′hŭna′,
He′sûna′nin hä′ni na′ha′waŭ′.
He′sûna′nin hä′ni na′ha′waŭ′.
Translation
Our father, the Whirlwind,Our father, the Whirlwind—By its aid I am running swiftly,By its aid I am running swiftly,By which means I saw our father,By which means I saw our father.
Our father, the Whirlwind,Our father, the Whirlwind—By its aid I am running swiftly,By its aid I am running swiftly,By which means I saw our father,By which means I saw our father.
Our father, the Whirlwind,Our father, the Whirlwind—By its aid I am running swiftly,By its aid I am running swiftly,By which means I saw our father,By which means I saw our father.
Our father, the Whirlwind,
Our father, the Whirlwind—
By its aid I am running swiftly,
By its aid I am running swiftly,
By which means I saw our father,
By which means I saw our father.
The idea expressed in this song is that the dreamer “rides the whirlwind” in order sooner to meet the messiah and the spirit hosts. Father or grandfather are terms of reverence and affection, applied to anything held sacred or awful.
A′he′sûna′nini năya′qûti′,A′he′sûna′nini năya′qûti′,Wa′wă chä′niĭ′nagu′nĭti hu′na,Wa′wă chä′niĭ′nagu′nĭti hu′na.
A′he′sûna′nini năya′qûti′,A′he′sûna′nini năya′qûti′,Wa′wă chä′niĭ′nagu′nĭti hu′na,Wa′wă chä′niĭ′nagu′nĭti hu′na.
A′he′sûna′nini năya′qûti′,A′he′sûna′nini năya′qûti′,Wa′wă chä′niĭ′nagu′nĭti hu′na,Wa′wă chä′niĭ′nagu′nĭti hu′na.
A′he′sûna′nini năya′qûti′,
A′he′sûna′nini năya′qûti′,
Wa′wă chä′niĭ′nagu′nĭti hu′na,
Wa′wă chä′niĭ′nagu′nĭti hu′na.
Translation
Our father, the Whirlwind,Our father, the Whirlwind,Now wears the headdress of crow feathers,Now wears the headdress of crow feathers.
Our father, the Whirlwind,Our father, the Whirlwind,Now wears the headdress of crow feathers,Now wears the headdress of crow feathers.
Our father, the Whirlwind,Our father, the Whirlwind,Now wears the headdress of crow feathers,Now wears the headdress of crow feathers.
Our father, the Whirlwind,
Our father, the Whirlwind,
Now wears the headdress of crow feathers,
Now wears the headdress of crow feathers.
In this song the Whirlwind, personified, wears on his head the two crow feathers, by which the dancers are to be borne upward to the new spirit world.
Ninaä′niahu′na,Ninaä′niahu′naBi′taa′wu hä′näi′säĭ,Bi′taa′wu hä′näi′säĭ,Hi′năä′thi nä′niwu′hună,Hi′năä′thi nä′niwu′hună.
Ninaä′niahu′na,Ninaä′niahu′naBi′taa′wu hä′näi′säĭ,Bi′taa′wu hä′näi′säĭ,Hi′năä′thi nä′niwu′hună,Hi′năä′thi nä′niwu′hună.
Ninaä′niahu′na,Ninaä′niahu′naBi′taa′wu hä′näi′säĭ,Bi′taa′wu hä′näi′säĭ,Hi′năä′thi nä′niwu′hună,Hi′năä′thi nä′niwu′hună.
Ninaä′niahu′na,
Ninaä′niahu′na
Bi′taa′wu hä′näi′säĭ,
Bi′taa′wu hä′näi′säĭ,
Hi′năä′thi nä′niwu′hună,
Hi′năä′thi nä′niwu′hună.
Translation
I circle around—I circle aroundThe boundaries of the earth,The boundaries of the earth—Wearing the long wing feathers as I fly,Wearing the long wing feathers as I fly.
I circle around—I circle aroundThe boundaries of the earth,The boundaries of the earth—Wearing the long wing feathers as I fly,Wearing the long wing feathers as I fly.
I circle around—I circle aroundThe boundaries of the earth,The boundaries of the earth—Wearing the long wing feathers as I fly,Wearing the long wing feathers as I fly.
I circle around—
I circle around
The boundaries of the earth,
The boundaries of the earth—
Wearing the long wing feathers as I fly,
Wearing the long wing feathers as I fly.
This song probably refers to the Thunderbird. There is an energetic swing to the tune that makes it a favorite. In Indian belief the earth is a circular disk, usually surrounded on all sides by water, and the sky is a solid concave hemisphere coming down at the horizon to the level of the earth. In Cherokee and other Indian myth the sky is continually lifting up and coming down again to the earth, like the upper blade of the scissors. The sun, which lives upon the outside of this hemisphere, comes through from the east in the morning while there is a momentary opening between the earth and the edge of the sky, climbs along upon the underside of the sky from east to west, and goes out at the western horizon in the evening, to return during the night to its starting point in the east.
Ha′nahawu′nĕn bĕni′ni′na,Ha′nahawu′nĕn bĕni′ni′na,Hina′wûn ga′na′ni′na,Hina′wûn ga′na′ni′na.
Ha′nahawu′nĕn bĕni′ni′na,Ha′nahawu′nĕn bĕni′ni′na,Hina′wûn ga′na′ni′na,Hina′wûn ga′na′ni′na.
Ha′nahawu′nĕn bĕni′ni′na,Ha′nahawu′nĕn bĕni′ni′na,Hina′wûn ga′na′ni′na,Hina′wûn ga′na′ni′na.
Ha′nahawu′nĕn bĕni′ni′na,
Ha′nahawu′nĕn bĕni′ni′na,
Hina′wûn ga′na′ni′na,
Hina′wûn ga′na′ni′na.
Translation
TheHanahawunĕngave to me,TheHanahawunĕngave to me,His paint—He made me clean,His paint—He made me clean.
TheHanahawunĕngave to me,TheHanahawunĕngave to me,His paint—He made me clean,His paint—He made me clean.
TheHanahawunĕngave to me,TheHanahawunĕngave to me,His paint—He made me clean,His paint—He made me clean.
TheHanahawunĕngave to me,
TheHanahawunĕngave to me,
His paint—He made me clean,
His paint—He made me clean.
The author of this song met in the spirit world a man of the now extinct Arapaho band of theHanahawunĕna, who washed the face of the visitor and then painted him afresh with some of the old-time mineral paint of the Indians. In accord with the Indian belief, all the extinct and forgotten tribes have now their home in the world of shades.
Ate′be′tana′-ise′ti he′sûna′nini′—Ahe′eye′!Ate′be′tana′-ise′ti he′sûna′nini′—Ahe′eye′!Na′waa′tănû′, Na′waa′tănû,Danatinĕnawaŭ,Nita-isa, nita-isa,He′yahe′eỹe′!
Ate′be′tana′-ise′ti he′sûna′nini′—Ahe′eye′!Ate′be′tana′-ise′ti he′sûna′nini′—Ahe′eye′!Na′waa′tănû′, Na′waa′tănû,Danatinĕnawaŭ,Nita-isa, nita-isa,He′yahe′eỹe′!
Ate′be′tana′-ise′ti he′sûna′nini′—Ahe′eye′!Ate′be′tana′-ise′ti he′sûna′nini′—Ahe′eye′!Na′waa′tănû′, Na′waa′tănû,Danatinĕnawaŭ,Nita-isa, nita-isa,He′yahe′eỹe′!
Ate′be′tana′-ise′ti he′sûna′nini′—Ahe′eye′!
Ate′be′tana′-ise′ti he′sûna′nini′—Ahe′eye′!
Na′waa′tănû′, Na′waa′tănû,
Danatinĕnawaŭ,
Nita-isa, nita-isa,
He′yahe′eỹe′!
Translation
When first our father came—Ahe′eye′!When first our father came—Ahe′eye′!I prayed to him, I prayed to him—My relative, my relative—He′yahe′eỹe′!
When first our father came—Ahe′eye′!When first our father came—Ahe′eye′!I prayed to him, I prayed to him—My relative, my relative—He′yahe′eỹe′!
When first our father came—Ahe′eye′!When first our father came—Ahe′eye′!I prayed to him, I prayed to him—My relative, my relative—He′yahe′eỹe′!
When first our father came—Ahe′eye′!
When first our father came—Ahe′eye′!
I prayed to him, I prayed to him—
My relative, my relative—
He′yahe′eỹe′!
This song was composed by Paul Boynton (Bääku′ni, “Red Feather”), a Carlisle student, after having been in a trance. His brother had died some time before, and being told by the Indians that he mightbe able to see and talk with him by joining the dance, Paul went to Sitting Bull, the leader of the dance, at the next gathering, and asked him to help him to see his dead brother. The result was that he was hypnotized by Sitting Bull, fell to the ground in a trance, and saw his brother. While talking with him, however, he suddenly awoke, much to his regret, probably from some one of the dancers having touched against him as he lay upon the ground. According to his statement, the words were spoken by him in his sleep after coming from the dance and were overheard by some companions who questioned him about it in the morning, when he told his experience and put the words into a song. The “father” here referred to is Sitting Bull, the great apostle of the Arapaho Ghost dance. It was from Paul’s statement, intelligently told in good English before I had yet seen the dance, that I was first led to suspect that hypnotism was the secret of the trances.
A-ni′änĕ′thăhi′nani′na nisa′na,A-ni′änĕ′thăhi′nani′na nisa′na.He′chä′ na′hăbi′na,He′chä′ na′hăbi′na,Hewa-u′sa häthi′na,Hewa-u′sa häthi′na.
A-ni′änĕ′thăhi′nani′na nisa′na,A-ni′änĕ′thăhi′nani′na nisa′na.He′chä′ na′hăbi′na,He′chä′ na′hăbi′na,Hewa-u′sa häthi′na,Hewa-u′sa häthi′na.
A-ni′änĕ′thăhi′nani′na nisa′na,A-ni′änĕ′thăhi′nani′na nisa′na.He′chä′ na′hăbi′na,He′chä′ na′hăbi′na,Hewa-u′sa häthi′na,Hewa-u′sa häthi′na.
A-ni′änĕ′thăhi′nani′na nisa′na,
A-ni′änĕ′thăhi′nani′na nisa′na.
He′chä′ na′hăbi′na,
He′chä′ na′hăbi′na,
Hewa-u′sa häthi′na,
Hewa-u′sa häthi′na.
Translation
My father did not recognize me (at first),My father did not recognize me (at first).When again he saw me,When again he saw me,He said, “You are the offspring of a crow,”He said, “You are the offspring of a crow.”
My father did not recognize me (at first),My father did not recognize me (at first).When again he saw me,When again he saw me,He said, “You are the offspring of a crow,”He said, “You are the offspring of a crow.”
My father did not recognize me (at first),My father did not recognize me (at first).When again he saw me,When again he saw me,He said, “You are the offspring of a crow,”He said, “You are the offspring of a crow.”
My father did not recognize me (at first),
My father did not recognize me (at first).
When again he saw me,
When again he saw me,
He said, “You are the offspring of a crow,”
He said, “You are the offspring of a crow.”
This song was composed by Sitting Bull, the Arapaho apostle of the dance, and relates his own experience in the trance, in which he met his father, who had died years before. The expression, “You are the child of a crow,” may refer to his own sacred character as an apostle, the crow being regarded as the messenger from the spirit world.
I′yehe′! anä′nisa′nă′—Uhi′yeye′heye′!I′yehe′! anä′nisa′nă′—Uhi′yeye′heye′!I′yehe′! ha′dawn′hana′—Eye′ăe′yuhe′yu!I′yehe′! ha′dawn′hana′—Eye′ăe′yuhe′yu!Ni′athu′-a-u′ a′hakä′nith′iĭ—Ahe′yuhe′yu!
I′yehe′! anä′nisa′nă′—Uhi′yeye′heye′!I′yehe′! anä′nisa′nă′—Uhi′yeye′heye′!I′yehe′! ha′dawn′hana′—Eye′ăe′yuhe′yu!I′yehe′! ha′dawn′hana′—Eye′ăe′yuhe′yu!Ni′athu′-a-u′ a′hakä′nith′iĭ—Ahe′yuhe′yu!
I′yehe′! anä′nisa′nă′—Uhi′yeye′heye′!I′yehe′! anä′nisa′nă′—Uhi′yeye′heye′!I′yehe′! ha′dawn′hana′—Eye′ăe′yuhe′yu!I′yehe′! ha′dawn′hana′—Eye′ăe′yuhe′yu!Ni′athu′-a-u′ a′hakä′nith′iĭ—Ahe′yuhe′yu!
I′yehe′! anä′nisa′nă′—Uhi′yeye′heye′!
I′yehe′! anä′nisa′nă′—Uhi′yeye′heye′!
I′yehe′! ha′dawn′hana′—Eye′ăe′yuhe′yu!
I′yehe′! ha′dawn′hana′—Eye′ăe′yuhe′yu!
Ni′athu′-a-u′ a′hakä′nith′iĭ—Ahe′yuhe′yu!
Translation
I′yehe′!my children—Uhi′yeye′heye′!I′yehe′!my children—Uhi′yeye′heye′!I′yehe′!we have rendered them desolate—Eye′ăe′yuhe′yu!I′yehe′!we have rendered them desolate—Eye′ăe′yuhe′yu!The whites are crazy—Ahe′yuhe′yu!
I′yehe′!my children—Uhi′yeye′heye′!I′yehe′!my children—Uhi′yeye′heye′!I′yehe′!we have rendered them desolate—Eye′ăe′yuhe′yu!I′yehe′!we have rendered them desolate—Eye′ăe′yuhe′yu!The whites are crazy—Ahe′yuhe′yu!
I′yehe′!my children—Uhi′yeye′heye′!I′yehe′!my children—Uhi′yeye′heye′!I′yehe′!we have rendered them desolate—Eye′ăe′yuhe′yu!I′yehe′!we have rendered them desolate—Eye′ăe′yuhe′yu!The whites are crazy—Ahe′yuhe′yu!
I′yehe′!my children—Uhi′yeye′heye′!
I′yehe′!my children—Uhi′yeye′heye′!
I′yehe′!we have rendered them desolate—Eye′ăe′yuhe′yu!
I′yehe′!we have rendered them desolate—Eye′ăe′yuhe′yu!
The whites are crazy—Ahe′yuhe′yu!
In this song the father tells his children of the desolation, in consequence of their folly and injustice, that would come upon the whites when they will be left alone upon the old world, while the Indians will be taken up to the new earth to live in happiness forever.
Nä′nisa′nă, nä′nisa′nă,Na′ha′ta bi′taa′wu hätnaa′waa′-u′hu′,Na′ha′ta bi′taa′wu hätnaa′waa′-u′hu′.Häthi′na hi′nisû′na-hu′,Häthi′na hi′nisû′na-hu′.
Nä′nisa′nă, nä′nisa′nă,Na′ha′ta bi′taa′wu hätnaa′waa′-u′hu′,Na′ha′ta bi′taa′wu hätnaa′waa′-u′hu′.Häthi′na hi′nisû′na-hu′,Häthi′na hi′nisû′na-hu′.
Nä′nisa′nă, nä′nisa′nă,Na′ha′ta bi′taa′wu hätnaa′waa′-u′hu′,Na′ha′ta bi′taa′wu hätnaa′waa′-u′hu′.Häthi′na hi′nisû′na-hu′,Häthi′na hi′nisû′na-hu′.
Nä′nisa′nă, nä′nisa′nă,
Na′ha′ta bi′taa′wu hätnaa′waa′-u′hu′,
Na′ha′ta bi′taa′wu hätnaa′waa′-u′hu′.
Häthi′na hi′nisû′na-hu′,
Häthi′na hi′nisû′na-hu′.
Translation
My children, my children,Look! the earth is about to move,Look! the earth is about to move.My father tells me so,My father tells me so.
My children, my children,Look! the earth is about to move,Look! the earth is about to move.My father tells me so,My father tells me so.
My children, my children,Look! the earth is about to move,Look! the earth is about to move.My father tells me so,My father tells me so.
My children, my children,
Look! the earth is about to move,
Look! the earth is about to move.
My father tells me so,
My father tells me so.
In this song the dreamer tells his friends, on the authority of the messiah, that the predicted spiritual new earth is about to start to come over and cover up this old world. It was also taught, as appears from the messiah’s letter, that at the moment of contact this world would tremble as in an earthquake.
Ahe′sûna′nini, ahe′sûna′nini,Ächiqa′hă′wa-ŭ′, Ächiqa′hă′wa-ŭ′,E′hihä′sĭni′ĕhi′nĭt,E′hihä′sĭni′ĕhi′nĭt.
Ahe′sûna′nini, ahe′sûna′nini,Ächiqa′hă′wa-ŭ′, Ächiqa′hă′wa-ŭ′,E′hihä′sĭni′ĕhi′nĭt,E′hihä′sĭni′ĕhi′nĭt.
Ahe′sûna′nini, ahe′sûna′nini,Ächiqa′hă′wa-ŭ′, Ächiqa′hă′wa-ŭ′,E′hihä′sĭni′ĕhi′nĭt,E′hihä′sĭni′ĕhi′nĭt.
Ahe′sûna′nini, ahe′sûna′nini,
Ächiqa′hă′wa-ŭ′, Ächiqa′hă′wa-ŭ′,
E′hihä′sĭni′ĕhi′nĭt,
E′hihä′sĭni′ĕhi′nĭt.
Translation
My father, my father—I am looking at him,I am looking at him.He is beginning to turn into a bird,He is beginning to turn into a bird.
My father, my father—I am looking at him,I am looking at him.He is beginning to turn into a bird,He is beginning to turn into a bird.
My father, my father—I am looking at him,I am looking at him.He is beginning to turn into a bird,He is beginning to turn into a bird.
My father, my father—
I am looking at him,
I am looking at him.
He is beginning to turn into a bird,
He is beginning to turn into a bird.
In this, as in the fifth Arapaho song, we have a transformation. According to the story of the author, his father is transformed into a bird even while he looks at him. The song is sung in quick time to hasten the trance.
Ha′ănake′i, ha′ănake′i,Dä′nasa′ku′tăwa′,Dä′nasa′ku′tăwa′,He′sûna′nin hä′ni na′ha′waŭ′,He′sûna′nin hä′ni na′ha′waŭ′.
Ha′ănake′i, ha′ănake′i,Dä′nasa′ku′tăwa′,Dä′nasa′ku′tăwa′,He′sûna′nin hä′ni na′ha′waŭ′,He′sûna′nin hä′ni na′ha′waŭ′.
Ha′ănake′i, ha′ănake′i,Dä′nasa′ku′tăwa′,Dä′nasa′ku′tăwa′,He′sûna′nin hä′ni na′ha′waŭ′,He′sûna′nin hä′ni na′ha′waŭ′.
Ha′ănake′i, ha′ănake′i,
Dä′nasa′ku′tăwa′,
Dä′nasa′ku′tăwa′,
He′sûna′nin hä′ni na′ha′waŭ′,
He′sûna′nin hä′ni na′ha′waŭ′.
Translation
The rock, the rock,I am standing upon it,I am standing upon it.By its means I saw our father,By its means I saw our father.
The rock, the rock,I am standing upon it,I am standing upon it.By its means I saw our father,By its means I saw our father.
The rock, the rock,I am standing upon it,I am standing upon it.By its means I saw our father,By its means I saw our father.
The rock, the rock,
I am standing upon it,
I am standing upon it.
By its means I saw our father,
By its means I saw our father.
This is one of the old songs now obsolete, and its meaning is not clear. It may mean simply that the author of it climbed a rock in order to be able to see farther, but it is more likely that it contains some mythic reference.
Nä′nisa′naăŭ′, nä′nisa′naăŭ′,Wa′wa′na′danä′diă′.Wa′wa′na′danä′diă′,Nänisa′na, nänisa′na.
Nä′nisa′naăŭ′, nä′nisa′naăŭ′,Wa′wa′na′danä′diă′.Wa′wa′na′danä′diă′,Nänisa′na, nänisa′na.
Nä′nisa′naăŭ′, nä′nisa′naăŭ′,Wa′wa′na′danä′diă′.Wa′wa′na′danä′diă′,Nänisa′na, nänisa′na.
Nä′nisa′naăŭ′, nä′nisa′naăŭ′,
Wa′wa′na′danä′diă′.
Wa′wa′na′danä′diă′,
Nänisa′na, nänisa′na.
Translation
My children, my children,I am about to hum,I am about to hum.My children, my children.
My children, my children,I am about to hum,I am about to hum.My children, my children.
My children, my children,I am about to hum,I am about to hum.My children, my children.
My children, my children,
I am about to hum,
I am about to hum.
My children, my children.
Fig. 93—Hummer and bull-roarer.
Fig. 93—Hummer and bull-roarer.
The author of this song saw her children in the other world playing with thehätiku′tha, or hummer. On going home after awaking fromher trance, she made the toy and carried it with her to the next dance and twirled it in the air while singing the song. Thehätiku′tha, or hummer, is used by the boys of the prairie tribes as our boys use the “cut-water,” a circular tin disk, suspended on two strings passed through holes in the middle, and set in rapid revolution, so as to produce a humming sound, by alternately twisting the strings upon each other and allowing them to untwist again. One of these which I examined consists of a bone from a buffalo hoof, painted in different colors, with four buckskin strings tied around the middle and running out on each side and fastened at each end to a small peg, so as to be more firmly grasped by the fingers. It was carried in the dance in 1890 by an old Arapaho named Tall Bear, who had had it in his possession for twenty years. Another specimen, shown infigure 93,a, now in possession of the National Museum, is similar in construction, but with only one string on each side.
A kindred toy—it can hardly be considered a musical instrument—is that known among the whites as the “bull-roarer.” It is found among most of the western tribes, as well as among our own children and primitive peoples all over the world. It is usually a simple flat piece of wood, about 6 inches long, sometimes notched on the edges and fancifully painted, attached to a sinew or buckskin string of convenient length. It is held in one hand, and when twirled rapidly in the air produces a sound not unlike the roaring of a bull or of distant thunder. With most tribes it is simply a child’s toy, but among the Hopi, according to Fewkes, and the Apache, according to Bourke, it has a sacred use to assist the prayers of the medicine-man in bringing on the storm clouds and the rain.
A-te′bĕ′ dii′nĕtita′niĕg—I′yehe′eye′!A-te′bĕ′ dii′nĕtita′niĕg—I′yehe′eye′!Nii′te′gu be′na nĕ′chäi′hit—I′yehe′eye′!Bi′taa′wuu—I′yahe′eye′!Nii′te′gu be′na nĕ′chäi′hit—I′yehe′eye′!Bi′taa′wuu—I′yahe′eye′!De′tawu′ni′na ni′sa′na′—Ahe′eye′-he′eye′!De′tawu′ni′na ni′sa′na′—Ahe′eye′-he′eye′!
A-te′bĕ′ dii′nĕtita′niĕg—I′yehe′eye′!A-te′bĕ′ dii′nĕtita′niĕg—I′yehe′eye′!Nii′te′gu be′na nĕ′chäi′hit—I′yehe′eye′!Bi′taa′wuu—I′yahe′eye′!Nii′te′gu be′na nĕ′chäi′hit—I′yehe′eye′!Bi′taa′wuu—I′yahe′eye′!De′tawu′ni′na ni′sa′na′—Ahe′eye′-he′eye′!De′tawu′ni′na ni′sa′na′—Ahe′eye′-he′eye′!
A-te′bĕ′ dii′nĕtita′niĕg—I′yehe′eye′!A-te′bĕ′ dii′nĕtita′niĕg—I′yehe′eye′!Nii′te′gu be′na nĕ′chäi′hit—I′yehe′eye′!Bi′taa′wuu—I′yahe′eye′!Nii′te′gu be′na nĕ′chäi′hit—I′yehe′eye′!Bi′taa′wuu—I′yahe′eye′!De′tawu′ni′na ni′sa′na′—Ahe′eye′-he′eye′!De′tawu′ni′na ni′sa′na′—Ahe′eye′-he′eye′!
A-te′bĕ′ dii′nĕtita′niĕg—I′yehe′eye′!
A-te′bĕ′ dii′nĕtita′niĕg—I′yehe′eye′!
Nii′te′gu be′na nĕ′chäi′hit—I′yehe′eye′!
Bi′taa′wuu—I′yahe′eye′!
Nii′te′gu be′na nĕ′chäi′hit—I′yehe′eye′!
Bi′taa′wuu—I′yahe′eye′!
De′tawu′ni′na ni′sa′na′—Ahe′eye′-he′eye′!
De′tawu′ni′na ni′sa′na′—Ahe′eye′-he′eye′!
Translation
At the beginning of human existence—I′yehe′eye′!At the beginning of human existence—I′yehe′eye′!It was the turtle who gave this grateful gift to me—The earth—I′yehe′eye′!It was the turtle who gave this grateful gift to me—The earth—I′yehe′eye′!(Thus) my father told me—Ahe′eye′-he′eye′!(Thus) my father told me—Ahe′eye′-he′eye′!
At the beginning of human existence—I′yehe′eye′!At the beginning of human existence—I′yehe′eye′!It was the turtle who gave this grateful gift to me—The earth—I′yehe′eye′!It was the turtle who gave this grateful gift to me—The earth—I′yehe′eye′!(Thus) my father told me—Ahe′eye′-he′eye′!(Thus) my father told me—Ahe′eye′-he′eye′!
At the beginning of human existence—I′yehe′eye′!At the beginning of human existence—I′yehe′eye′!It was the turtle who gave this grateful gift to me—The earth—I′yehe′eye′!It was the turtle who gave this grateful gift to me—The earth—I′yehe′eye′!(Thus) my father told me—Ahe′eye′-he′eye′!(Thus) my father told me—Ahe′eye′-he′eye′!
At the beginning of human existence—I′yehe′eye′!
At the beginning of human existence—I′yehe′eye′!
It was the turtle who gave this grateful gift to me—
The earth—I′yehe′eye′!
It was the turtle who gave this grateful gift to me—
The earth—I′yehe′eye′!
(Thus) my father told me—Ahe′eye′-he′eye′!
(Thus) my father told me—Ahe′eye′-he′eye′!
In the mythology of many primitive nations, from the ancient Hindu to our own Indian tribes, the turtle or tortoise is the supporter of the earth, the Atlas on whose back rests the burden of the whole living universe. A reason for this is found in the amphibious character of the turtle, which renders it equally at home on land and in the water, and in its peculiar shape, which was held to be typical of the world, the world itself being conceived as a huge turtle swimming in a limitless ocean, the dome of the sky being its upper shell, and the flat surface of the earth being the bony breastplate of the animal, while inclosed between them was the living body, the human, animal, and vegetal creation. In Hindu mythology, when the gods are ready to destroy mankind, the turtle will grow weary and sink under his load and then the waters will rise and a deluge will overwhelm the earth. (Fiske.)
The belief in the turtle as the upholder of the earth was common to all the Algonquian tribes, to which belong the Arapaho and Cheyenne, and to the northern Iroquoian tribes. Earthquakes were caused by his shifting his position from time to time. In their pictographs the turtle was frequently the symbol of the earth, and in their prayers it was sometimes addressed as mother. The most honored clan was the Turtle clan; the most sacred spot in the Algonquian territory was Mackinaw, the “Island of the Great Turtle;” the favorite medicine bowl of their doctors is the shell of a turtle; the turtle is pictured on the ghost shirts of the Arapaho, and farther south in Oklahoma it is the recognized stock brand by which it is known that a horse or cow belongs to one of the historic Delaware tribe.
Nä′nisa′na, nä′nisa′na,Nä′näni′na ta′hu′na′änä′nia′hună′,Tahu′na′änä′nia′huna,Nä′nisa′na, nä′nisa′na,Nä′näni′na ta′hĕti′nia′hună′,Ta′hĕti′nia′hună′.
Nä′nisa′na, nä′nisa′na,Nä′näni′na ta′hu′na′änä′nia′hună′,Tahu′na′änä′nia′huna,Nä′nisa′na, nä′nisa′na,Nä′näni′na ta′hĕti′nia′hună′,Ta′hĕti′nia′hună′.
Nä′nisa′na, nä′nisa′na,Nä′näni′na ta′hu′na′änä′nia′hună′,Tahu′na′änä′nia′huna,Nä′nisa′na, nä′nisa′na,Nä′näni′na ta′hĕti′nia′hună′,Ta′hĕti′nia′hună′.
Nä′nisa′na, nä′nisa′na,
Nä′näni′na ta′hu′na′änä′nia′hună′,
Tahu′na′änä′nia′huna,
Nä′nisa′na, nä′nisa′na,
Nä′näni′na ta′hĕti′nia′hună′,
Ta′hĕti′nia′hună′.
Translation
My children, my children,It is I who make the thunder as I circle about—The thunder as I circle about.My children, my children,It is I who make the loud thunder as I circle about—The loud thunder as I circle about.
My children, my children,It is I who make the thunder as I circle about—The thunder as I circle about.My children, my children,It is I who make the loud thunder as I circle about—The loud thunder as I circle about.
My children, my children,It is I who make the thunder as I circle about—The thunder as I circle about.My children, my children,It is I who make the loud thunder as I circle about—The loud thunder as I circle about.
My children, my children,
It is I who make the thunder as I circle about—
The thunder as I circle about.
My children, my children,
It is I who make the loud thunder as I circle about—
The loud thunder as I circle about.
This song evidently refers to the Thunderbird. It is one of the old favorites from the north, and is sung to a sprightly tune in quick time. It differs from the others in having only a part instead of all of the line repeated.
song[[audio/mpeg]MusicXML]
[[audio/mpeg]MusicXML]
Ani′qu ne′chawu′nani′,Ani′qu ne′chawu′nani′;Awa′wa biqăna′kaye′na,Awa′wa biqăna′kaye′na;Iyahu′h ni′bithi′ti,Iyahu′h ni′bithi′ti.
Ani′qu ne′chawu′nani′,Ani′qu ne′chawu′nani′;Awa′wa biqăna′kaye′na,Awa′wa biqăna′kaye′na;Iyahu′h ni′bithi′ti,Iyahu′h ni′bithi′ti.
Ani′qu ne′chawu′nani′,Ani′qu ne′chawu′nani′;Awa′wa biqăna′kaye′na,Awa′wa biqăna′kaye′na;Iyahu′h ni′bithi′ti,Iyahu′h ni′bithi′ti.
Ani′qu ne′chawu′nani′,
Ani′qu ne′chawu′nani′;
Awa′wa biqăna′kaye′na,
Awa′wa biqăna′kaye′na;
Iyahu′h ni′bithi′ti,
Iyahu′h ni′bithi′ti.
Translation
Father, have pity on me,Father, have pity on me;I am crying for thirst,I am crying for thirst;All is gone—I have nothing to eat,All is gone—I have nothing to eat.
Father, have pity on me,Father, have pity on me;I am crying for thirst,I am crying for thirst;All is gone—I have nothing to eat,All is gone—I have nothing to eat.
Father, have pity on me,Father, have pity on me;I am crying for thirst,I am crying for thirst;All is gone—I have nothing to eat,All is gone—I have nothing to eat.
Father, have pity on me,
Father, have pity on me;
I am crying for thirst,
I am crying for thirst;
All is gone—I have nothing to eat,
All is gone—I have nothing to eat.
This is the most pathetic of the Ghost-dance songs. It is sung to a plaintive tune, sometimes with tears rolling down the cheeks of the dancers as the words would bring up thoughts of their present miserable and dependent condition. It may be considered the Indian paraphrase of the Lord’s prayer.
A-ni′niha′niahu′na,A-ni′niha′niahu′na,Yeni′s-iti′na ku′niahu′na,Yeni′s-iti′na ku′niahu′na,Hi′chäbä′i—He′e′e′!Hi′chäbä′i—He′e′e′!
A-ni′niha′niahu′na,A-ni′niha′niahu′na,Yeni′s-iti′na ku′niahu′na,Yeni′s-iti′na ku′niahu′na,Hi′chäbä′i—He′e′e′!Hi′chäbä′i—He′e′e′!
A-ni′niha′niahu′na,A-ni′niha′niahu′na,Yeni′s-iti′na ku′niahu′na,Yeni′s-iti′na ku′niahu′na,Hi′chäbä′i—He′e′e′!Hi′chäbä′i—He′e′e′!
A-ni′niha′niahu′na,
A-ni′niha′niahu′na,
Yeni′s-iti′na ku′niahu′na,
Yeni′s-iti′na ku′niahu′na,
Hi′chäbä′i—He′e′e′!
Hi′chäbä′i—He′e′e′!
Translation
I fly around yellow,I fly around yellow,I fly with the wild rose on my head,I fly with the wild rose on my head,On high—He′e′e′!On high—He′e′e′!
I fly around yellow,I fly around yellow,I fly with the wild rose on my head,I fly with the wild rose on my head,On high—He′e′e′!On high—He′e′e′!
I fly around yellow,I fly around yellow,I fly with the wild rose on my head,I fly with the wild rose on my head,On high—He′e′e′!On high—He′e′e′!
I fly around yellow,
I fly around yellow,
I fly with the wild rose on my head,
I fly with the wild rose on my head,
On high—He′e′e′!
On high—He′e′e′!
The meaning of this song is not clear. It may refer to the Thunderbird or to the Crow, the sacred bird of the Ghost dance. Theye′nisor wild rose is much esteemed among the prairie tribes for its red seed berries, which are pounded into a paste and dried for food. It is frequently mentioned in the ghost songs, and is sometimes pictured on the ghost shirts. Although rather insipid, the berries possess nutritive qualities. They are gathered in winter, and are sometimes eaten raw, but more generally are first boiled and strained to get rid of the seeds. This dough-like substance is sometimes mixed with marrow from broken bones and pasted around sticks and thus roasted before the fire. It is never packed away for future use. The Cherokee call the same plant by a name which means “rabbit food,” on account of this animal’s fondness for the berries.
He′yoho′ho′! He′yoho′ho′!Niha′nata′yeche′ti, na′naga′qanĕ′tihi,Wa′waga′thänŭhu,Wa′waga′thänŭhu,Wa′wa ne′hawa′wŭna′nahu′,Wa′wa ne′hawa′wŭna′nahu′.He′yoho′ho′! He′yoho′ho′!
He′yoho′ho′! He′yoho′ho′!Niha′nata′yeche′ti, na′naga′qanĕ′tihi,Wa′waga′thänŭhu,Wa′waga′thänŭhu,Wa′wa ne′hawa′wŭna′nahu′,Wa′wa ne′hawa′wŭna′nahu′.He′yoho′ho′! He′yoho′ho′!
He′yoho′ho′! He′yoho′ho′!Niha′nata′yeche′ti, na′naga′qanĕ′tihi,Wa′waga′thänŭhu,Wa′waga′thänŭhu,Wa′wa ne′hawa′wŭna′nahu′,Wa′wa ne′hawa′wŭna′nahu′.He′yoho′ho′! He′yoho′ho′!
He′yoho′ho′! He′yoho′ho′!
Niha′nata′yeche′ti, na′naga′qanĕ′tihi,
Wa′waga′thänŭhu,
Wa′waga′thänŭhu,
Wa′wa ne′hawa′wŭna′nahu′,
Wa′wa ne′hawa′wŭna′nahu′.
He′yoho′ho′! He′yoho′ho′!
Translation
He′yoho′ho′! He′yoho′ho′!The yellow-hide, the white-skin (man).I have now put him aside—I have now put him aside—I have no more sympathy with him,I have no more sympathy with him.He′yoho′ho′! He′yoho′ho′!
He′yoho′ho′! He′yoho′ho′!The yellow-hide, the white-skin (man).I have now put him aside—I have now put him aside—I have no more sympathy with him,I have no more sympathy with him.He′yoho′ho′! He′yoho′ho′!
He′yoho′ho′! He′yoho′ho′!The yellow-hide, the white-skin (man).I have now put him aside—I have now put him aside—I have no more sympathy with him,I have no more sympathy with him.He′yoho′ho′! He′yoho′ho′!
He′yoho′ho′! He′yoho′ho′!
The yellow-hide, the white-skin (man).
I have now put him aside—
I have now put him aside—
I have no more sympathy with him,
I have no more sympathy with him.
He′yoho′ho′! He′yoho′ho′!
This is another song about the whites, who are spoken of as “yellow hides” or “white skins.” The proper Arapaho name for a white man isNia′tha, “skillful.” A great many names are applied to the whites by the different Indian tribes. By the Comanche, Shoshoni, and Paiute they are calledTai′vo, “easterners;” by the Hopi, of the same stock as the three tribes mentioned, they are known asPaha′na, “eastern water people;” by the Kiowa they are calledBe′dălpago, “hairy mouths,” orTa‛ka′-i, “standing ears.” It is very doubtful if the “pale face” of romance ever existed in the Indian mind.
A-bää′thina′hu, a-bää′thina′hu,Ha′tnithi′aku′ta′na,Ha′tnithi′aku′ta′na,Ha′-bätä′nani′hi,Ha′-bätä′nani′hi.Ha′tnithi′aku′ta′na,Ha′tnithi′aku′ta′na.
A-bää′thina′hu, a-bää′thina′hu,Ha′tnithi′aku′ta′na,Ha′tnithi′aku′ta′na,Ha′-bätä′nani′hi,Ha′-bätä′nani′hi.Ha′tnithi′aku′ta′na,Ha′tnithi′aku′ta′na.
A-bää′thina′hu, a-bää′thina′hu,Ha′tnithi′aku′ta′na,Ha′tnithi′aku′ta′na,Ha′-bätä′nani′hi,Ha′-bätä′nani′hi.Ha′tnithi′aku′ta′na,Ha′tnithi′aku′ta′na.
A-bää′thina′hu, a-bää′thina′hu,
Ha′tnithi′aku′ta′na,
Ha′tnithi′aku′ta′na,
Ha′-bätä′nani′hi,
Ha′-bätä′nani′hi.
Ha′tnithi′aku′ta′na,
Ha′tnithi′aku′ta′na.
Translation
The cedar tree, the cedar tree,We have it in the center,We have it in the centerWhen we dance,When we dance.We have it in the center,We have it in the center.
The cedar tree, the cedar tree,We have it in the center,We have it in the centerWhen we dance,When we dance.We have it in the center,We have it in the center.
The cedar tree, the cedar tree,We have it in the center,We have it in the centerWhen we dance,When we dance.We have it in the center,We have it in the center.
The cedar tree, the cedar tree,
We have it in the center,
We have it in the center
When we dance,
When we dance.
We have it in the center,
We have it in the center.
The Kiowa, the Sioux, and perhaps some other tribes performed the Ghost dance around a tree set up in the center of the circle. With the Kiowa this tree was a cedar, and such was probably the case with the other tribes, whenever a cedar could be obtained, as it is always a sacred tree in Indian belief and ceremonial. The southern Arapaho and Cheyenne never had a tree in connection with the Ghost dance, so that this song could not have originated among them. The cedar is held sacred for its evergreen foliage, its fragrant smell, its red heart wood, and the durable character of its timber. On account of its fine grain, and enduring qualities the prairie tribes make their tipi poles of its wood, which will not warp through heat or moisture. Their flageolets or flutes are also made of cedar, and in the mescal and other ceremonies its dried and crumbled foliage is thrown upon the fire as incense. In Cherokee and Yuchi myth the red color of the wood comes from the blood of a wizard who was killed and decapitated by a hero, and whose head was hung in the top of several trees in succession, but continued to live until, by the advice of a medicine-man, the people hung it in the topmost branches of a cedar tree, where it finally died. The blood of the severed head trickled down the trunk of the tree and thus the wood was stained.
Nä′nisa′na, nä′nisa′na,Wa′wa nû′nanû′naku′ti waku′hu,Wa′wa nû′nanû′naku′ti waku′hu.Hi′yu nä′nii′bä′-i,Hi′yu nä′nii′bä′-i.Hä′tä-i′naku′ni häthi′na nisû′nahu,Hä′tä-i′naku′ni häthi′na nisû′nahu.
Nä′nisa′na, nä′nisa′na,Wa′wa nû′nanû′naku′ti waku′hu,Wa′wa nû′nanû′naku′ti waku′hu.Hi′yu nä′nii′bä′-i,Hi′yu nä′nii′bä′-i.Hä′tä-i′naku′ni häthi′na nisû′nahu,Hä′tä-i′naku′ni häthi′na nisû′nahu.
Nä′nisa′na, nä′nisa′na,Wa′wa nû′nanû′naku′ti waku′hu,Wa′wa nû′nanû′naku′ti waku′hu.Hi′yu nä′nii′bä′-i,Hi′yu nä′nii′bä′-i.Hä′tä-i′naku′ni häthi′na nisû′nahu,Hä′tä-i′naku′ni häthi′na nisû′nahu.
Nä′nisa′na, nä′nisa′na,
Wa′wa nû′nanû′naku′ti waku′hu,
Wa′wa nû′nanû′naku′ti waku′hu.
Hi′yu nä′nii′bä′-i,
Hi′yu nä′nii′bä′-i.
Hä′tä-i′naku′ni häthi′na nisû′nahu,
Hä′tä-i′naku′ni häthi′na nisû′nahu.
Translation
My children, my children,Now I am waving an eagle feather,Now I am waving an eagle feather.Here is a spotted feather for you,Here is a spotted feather for you.You may have it, said my father,You may have it, said my father.
My children, my children,Now I am waving an eagle feather,Now I am waving an eagle feather.Here is a spotted feather for you,Here is a spotted feather for you.You may have it, said my father,You may have it, said my father.
My children, my children,Now I am waving an eagle feather,Now I am waving an eagle feather.Here is a spotted feather for you,Here is a spotted feather for you.You may have it, said my father,You may have it, said my father.
My children, my children,
Now I am waving an eagle feather,
Now I am waving an eagle feather.
Here is a spotted feather for you,
Here is a spotted feather for you.
You may have it, said my father,
You may have it, said my father.
While singing this song the author of it waved in his right hand an eagle feather prepared for wearing in the hair, while he carried aspotted hawk feather in the other hand. In his trance vision he had received such a spotted feather from the messiah.
A-ni′qana′ga,A-ni′qana′ga,Ha′tăni′i′na′danĕ′na,Ha′tăni′i′na′danĕ′na.
A-ni′qana′ga,A-ni′qana′ga,Ha′tăni′i′na′danĕ′na,Ha′tăni′i′na′danĕ′na.
A-ni′qana′ga,A-ni′qana′ga,Ha′tăni′i′na′danĕ′na,Ha′tăni′i′na′danĕ′na.
A-ni′qana′ga,
A-ni′qana′ga,
Ha′tăni′i′na′danĕ′na,
Ha′tăni′i′na′danĕ′na.
Translation
There is a solitary bull,There is a solitary bull—I am going to use him to “make medicine,”I am going to use him to “make medicine.”
There is a solitary bull,There is a solitary bull—I am going to use him to “make medicine,”I am going to use him to “make medicine.”
There is a solitary bull,There is a solitary bull—I am going to use him to “make medicine,”I am going to use him to “make medicine.”
There is a solitary bull,
There is a solitary bull—
I am going to use him to “make medicine,”
I am going to use him to “make medicine.”
From the buffalo they had food, fuel, dress, shelter, and domestic furniture, shields for defense, points for their arrows, and strings for their bows. As the old Spanish chronicles of Coronado put it: “To be short, they make so many things of them as they have need of, or as many as suffice them in the use of this life.”
Among Indians the professions of medicine and religion are inseparable. The doctor is always a priest, and the priest is always a doctor. Hence, to the whites in the Indian country the Indian priest-doctor has come to be known as the “medicine-man,” and anything sacred, mysterious, or of wonderful power or efficacy in Indian life or belief is designated as “medicine,” this term being the nearest equivalent of the aboriginal expression in the various languages. To “make medicine” is to perform some sacred ceremony, from the curing of a sick child to the consecration of the sun-dance lodge. Among the prairie tribes the great annual tribal ceremony was commonly known as the “medicine dance,” and the special guardian deity of every warrior was spoken of as his “medicine.”
The buffalo was to the nomad hunters of the plains what corn was to the more sedentary tribes of the east and south—the living, visible symbol of their support and existence; the greatest gift of a higher being to his children. Something of the buffalo entered into every important ceremony. In the medicine dance—or sun dance, as it is frequently called—the head and skin of a buffalo hung from the center pole of the lodge, and in the fearful torture that accompanied this dance among some tribes, the dancers dragged around the circle buffalo skulls tied to ropes which were fastened to skewers driven through holes cut in their bodies and limbs. A buffalo skull is placed in front of the sacred sweat-lodge, and on the battlefield of Wounded Knee I have seen buffalo skulls and plates of dried meat placed at the head of the graves. The buffalo was the sign of the Creator on earth as the sun was his glorious manifestation in the heavens. The hair of the buffalo was an important element in the preparation of “medicine,” whether for war, hunting, love, or medicine proper, and for suchpurpose the Indian generally selected a tuft taken from the breast close under the shoulder of the animal. When the Kiowa, Comanche, and Apache delegates visited Washington in the spring of 1894, they made an earnest and successful request for some buffalo hair from the animals in the Zoological Park, together with some branches from the cedars in the grounds of the Agricultural Department, to take home with them for use in their sacred ceremonies.
PL. CXXIMary Irvin WrightTHE SWEAT-LODGE—KIOWA CAMP ON THE WASHITA
PL. CXXI
Mary Irvin Wright
THE SWEAT-LODGE—KIOWA CAMP ON THE WASHITA
A′-nĕä′thibiwă′hană,A′-nĕä′thibiwă′hană—Thi′äya′nĕ,Thi′äya′nĕ.
A′-nĕä′thibiwă′hană,A′-nĕä′thibiwă′hană—Thi′äya′nĕ,Thi′äya′nĕ.
A′-nĕä′thibiwă′hană,A′-nĕä′thibiwă′hană—Thi′äya′nĕ,Thi′äya′nĕ.
A′-nĕä′thibiwă′hană,
A′-nĕä′thibiwă′hană—
Thi′äya′nĕ,
Thi′äya′nĕ.
Translation
The place where crying begins,The place where crying begins—Thethi′äya,Thethi′äya.
The place where crying begins,The place where crying begins—Thethi′äya,Thethi′äya.
The place where crying begins,The place where crying begins—Thethi′äya,Thethi′äya.
The place where crying begins,
The place where crying begins—
Thethi′äya,
Thethi′äya.
This song refers to the sweat-lodge already described in treating of the Ghost dance among the Sioux. In preparing the sweat-lodge a small hole, perhaps a foot deep, is dug out in the center of the floor space, to serve as a receptacle for the heated stones over which the water is poured to produce the steam. The earth thus dug out is piled in a small hillock a few feet in front of the entrance to the sweat-lodge, which always faces the east. This small mound is calledthi′äyain the Arapaho language, the same name being also applied to a memorial stone heap or to a stone monument. It is always surmounted by a buffalo skull, or in these days by the skull of a steer, placed so as to face the doorway of the lodge. Thethi′äyais mentioned in several of the Ghost-dance songs, and usually, as here, in connection with crying or lamentation, as though the sight of these things in the trance vision brings up sad recollections.
Thi′äya′ he′năă′awă′—Thi′äya′ he′năă′awă′,Nä′hibiwa′huna′,Nä′hibiwa′huna′.
Thi′äya′ he′năă′awă′—Thi′äya′ he′năă′awă′,Nä′hibiwa′huna′,Nä′hibiwa′huna′.
Thi′äya′ he′năă′awă′—Thi′äya′ he′năă′awă′,Nä′hibiwa′huna′,Nä′hibiwa′huna′.
Thi′äya′ he′năă′awă′—
Thi′äya′ he′năă′awă′,
Nä′hibiwa′huna′,
Nä′hibiwa′huna′.
Translation
When I see thethi′äya—When I see thethi′äya,Then I begin to lament,Then I begin to lament.
When I see thethi′äya—When I see thethi′äya,Then I begin to lament,Then I begin to lament.
When I see thethi′äya—When I see thethi′äya,Then I begin to lament,Then I begin to lament.
When I see thethi′äya—
When I see thethi′äya,
Then I begin to lament,
Then I begin to lament.
This song refers to a trance vision in which the dreamer saw a sweat-lodge, with thethi′äya, or mound, as described in the preceding song.
A-hu′hu ha′geni′sti′ti ba′hu,Ha′geni′sti′ti ba′hu.Hä′nisti′ti,Hä′nisti′ti.Hi′nisa′nă,Hi′nisa′nă—Ne′a-i′qaha′ti,Ne′a-i′qaha′ti.
A-hu′hu ha′geni′sti′ti ba′hu,Ha′geni′sti′ti ba′hu.Hä′nisti′ti,Hä′nisti′ti.Hi′nisa′nă,Hi′nisa′nă—Ne′a-i′qaha′ti,Ne′a-i′qaha′ti.
A-hu′hu ha′geni′sti′ti ba′hu,Ha′geni′sti′ti ba′hu.Hä′nisti′ti,Hä′nisti′ti.Hi′nisa′nă,Hi′nisa′nă—Ne′a-i′qaha′ti,Ne′a-i′qaha′ti.
A-hu′hu ha′geni′sti′ti ba′hu,
Ha′geni′sti′ti ba′hu.
Hä′nisti′ti,
Hä′nisti′ti.
Hi′nisa′nă,
Hi′nisa′nă—
Ne′a-i′qaha′ti,
Ne′a-i′qaha′ti.
Translation
The crow is making a road,He is making a road.He has finished it,He has finished it.His children,His children—Then he collected them,Then he collected them (i. e., on the farther side).
The crow is making a road,He is making a road.He has finished it,He has finished it.His children,His children—Then he collected them,Then he collected them (i. e., on the farther side).
The crow is making a road,He is making a road.He has finished it,He has finished it.His children,His children—Then he collected them,Then he collected them (i. e., on the farther side).
The crow is making a road,
He is making a road.
He has finished it,
He has finished it.
His children,
His children—
Then he collected them,
Then he collected them (i. e., on the farther side).
The crow (ho) is the sacred bird of the Ghost dance, being revered as the messenger from the spirit world because its color is symbolic of death and the shadow land. The raven, which is practically a larger crow, and which lives in the mountains, but occasionally comes down into the plains, is also held sacred and regarded as a bringer of omens by the prairie tribes, as well as by the Tlinkit and others of the northwest coast and by the Cherokee in the east. The crow is depicted on the shirts, leggings, and moccasins of the Ghost dancers, and its feathers are worn on their heads, and whenever it is possible to kill one, the skin is stuffed as in life and carried in the dance, as shown in the picture of Black Coyote (platecv). At one time the dancers in Left Hand’s camp had a crow which it was claimed had the power of speech and prophetic utterance, and its hoarse inarticulate cries were interpreted as inspired messages from the spirit world. Unfortunately the bird did not thrive in confinement, and soon took its departure for the land of spirits, leaving the Arapaho once more dependent on the guidance of the trance revelations. The eagle, the magpie, and the sage-hen are also sacred in the Ghost dance, the first being held in veneration by Indians, as well as by other peoples throughout the world, while the magpie and the sage-hen are revered for their connection with the country of the messiah and the mythology of his tribe.
The crow was probably held sacred by all the tribes of the Algonquian race. Roger Williams, speaking of the New England tribes, says that although the crows sometimes did damage to the corn, yet hardly one Indian in a hundred would kill one, because it was their tradition that this bird had brought them their first grain and vegetables, carrying a grain of corn in one ear and a bean in the other, from the field of their great god Cautantouwit in Sowwani′u, the southwest, the happy spirit world where dwelt the gods and the soulsof the great and good. The souls of the wicked were not permitted to enter this elysium after death, but were doomed to wander without rest or home. (Williams, Key into the Language of America, 1643.)
In Arapaho belief, the spirit world is in the west, not on the same level with this earth of ours, but higher up, and separated also from it by a body of water. In their statement of the Ghost-dance mythology referred to in this song, the crow, as the messenger and leader of the spirits who had gone before, collected their armies on the other side and advanced at their head to the hither limit of the shadow land. Then, looking over, they saw far below them a sea, and far out beyond it toward the east was the boundary of the earth, where lived the friends they were marching to rejoin. Taking up a pebble in his beak, the crow then dropped it into the water and it became a mountain towering up to the land of the dead. Down its rocky slope he brought his army until they halted at the edge of the water. Then, taking some dust in his bill, the crow flew out and dropped it into the water as he flew, and it became a solid arm of land stretching from the spirit world to the earth. He returned and flew out again, this time with some blades of grass, which he dropped upon the land thus made, and at once it was covered with a green sod. Again he returned, and again flew out, this time with some twigs in his bill, and dropping these also upon the new land, at once it was covered with a forest of trees. Again he flew back to the base of the mountain, and is now, for the fourth time, coming on at the head of all the countless spirit host which has already passed over the sea and is marshaling on the western boundary of the earth.