Bi′taa′wu hu′hu′,Bi′taa′wu hu′hu′—Nû′nagûna′-ua′ti hu′hu′,Nû′nagûna′-ua′ti hu′hu′—A′hene′heni′ă′ă′! A′he′yene′hene′!
Bi′taa′wu hu′hu′,Bi′taa′wu hu′hu′—Nû′nagûna′-ua′ti hu′hu′,Nû′nagûna′-ua′ti hu′hu′—A′hene′heni′ă′ă′! A′he′yene′hene′!
Bi′taa′wu hu′hu′,Bi′taa′wu hu′hu′—Nû′nagûna′-ua′ti hu′hu′,Nû′nagûna′-ua′ti hu′hu′—A′hene′heni′ă′ă′! A′he′yene′hene′!
Bi′taa′wu hu′hu′,
Bi′taa′wu hu′hu′—
Nû′nagûna′-ua′ti hu′hu′,
Nû′nagûna′-ua′ti hu′hu′—
A′hene′heni′ă′ă′! A′he′yene′hene′!
Translation
The earth—the crow,The earth—the crow—The crow brought it with him,The crow brought it with him—A′hene′heni′ă′ă′! A′he′yene′hene′!
The earth—the crow,The earth—the crow—The crow brought it with him,The crow brought it with him—A′hene′heni′ă′ă′! A′he′yene′hene′!
The earth—the crow,The earth—the crow—The crow brought it with him,The crow brought it with him—A′hene′heni′ă′ă′! A′he′yene′hene′!
The earth—the crow,
The earth—the crow—
The crow brought it with him,
The crow brought it with him—
A′hene′heni′ă′ă′! A′he′yene′hene′!
The reference in this song is explained under the song immediately preceding.
Ni′nini′tubi′na hu′hu′,Ni′nini′tubi′na hu′hu′.Nana′thina′ni hu′hu′,Nana′thina′ni hu′hu′.Ni′nita′naû,Ni′nita′naû.
Ni′nini′tubi′na hu′hu′,Ni′nini′tubi′na hu′hu′.Nana′thina′ni hu′hu′,Nana′thina′ni hu′hu′.Ni′nita′naû,Ni′nita′naû.
Ni′nini′tubi′na hu′hu′,Ni′nini′tubi′na hu′hu′.Nana′thina′ni hu′hu′,Nana′thina′ni hu′hu′.Ni′nita′naû,Ni′nita′naû.
Ni′nini′tubi′na hu′hu′,
Ni′nini′tubi′na hu′hu′.
Nana′thina′ni hu′hu′,
Nana′thina′ni hu′hu′.
Ni′nita′naû,
Ni′nita′naû.
Translation
The crow has called me,The crow has called me.When the crow came for me,When the crow came for me,I heard him,I heard him.
The crow has called me,The crow has called me.When the crow came for me,When the crow came for me,I heard him,I heard him.
The crow has called me,The crow has called me.When the crow came for me,When the crow came for me,I heard him,I heard him.
The crow has called me,
The crow has called me.
When the crow came for me,
When the crow came for me,
I heard him,
I heard him.
The reference in this song is explained under number 36. The song is somewhat like the former closing song, number 52.
Nû′nanû′naa′tăni′na hu′hu′,Nû′nanû′naa′tăni′na hu′hu′.Da‛chi′nathi′na hu′hu′,Da‛chi′nathi′na hu′hu′.
Nû′nanû′naa′tăni′na hu′hu′,Nû′nanû′naa′tăni′na hu′hu′.Da‛chi′nathi′na hu′hu′,Da‛chi′nathi′na hu′hu′.
Nû′nanû′naa′tăni′na hu′hu′,Nû′nanû′naa′tăni′na hu′hu′.Da‛chi′nathi′na hu′hu′,Da‛chi′nathi′na hu′hu′.
Nû′nanû′naa′tăni′na hu′hu′,
Nû′nanû′naa′tăni′na hu′hu′.
Da‛chi′nathi′na hu′hu′,
Da‛chi′nathi′na hu′hu′.
Translation
The crow is circling above me,The crow is circling above me,The crow having come for me,The crow having come for me.
The crow is circling above me,The crow is circling above me,The crow having come for me,The crow having come for me.
The crow is circling above me,The crow is circling above me,The crow having come for me,The crow having come for me.
The crow is circling above me,
The crow is circling above me,
The crow having come for me,
The crow having come for me.
The author of this song, in his trance vision, saw circling above his head a crow, the messenger from the spirit world, to conduct him to his friends who had gone before. The song is a favorite one, and is sung with a quick forcible tune when the excitement begins to grow more intense, in order to hasten the trances, the idea conveyed to the dancers being that their spirit friends are close at hand.
Ä′näni′sa′na—E′e′ye′!Ä′näni′sa′na—E′e′ye′!I′yu hä′thäbĕ′nawa′.Bi′taa′wu—E′e′ye′!Bi′taa′wu—E′e′ye′!
Ä′näni′sa′na—E′e′ye′!Ä′näni′sa′na—E′e′ye′!I′yu hä′thäbĕ′nawa′.Bi′taa′wu—E′e′ye′!Bi′taa′wu—E′e′ye′!
Ä′näni′sa′na—E′e′ye′!Ä′näni′sa′na—E′e′ye′!I′yu hä′thäbĕ′nawa′.Bi′taa′wu—E′e′ye′!Bi′taa′wu—E′e′ye′!
Ä′näni′sa′na—E′e′ye′!
Ä′näni′sa′na—E′e′ye′!
I′yu hä′thäbĕ′nawa′.
Bi′taa′wu—E′e′ye′!
Bi′taa′wu—E′e′ye′!
Translation
My children—E′e′ye′!My children—E′e′ye′!Here it is, I hand it to you.The earth—E′e′ye′!The earth—E′e′ye′!
My children—E′e′ye′!My children—E′e′ye′!Here it is, I hand it to you.The earth—E′e′ye′!The earth—E′e′ye′!
My children—E′e′ye′!My children—E′e′ye′!Here it is, I hand it to you.The earth—E′e′ye′!The earth—E′e′ye′!
My children—E′e′ye′!
My children—E′e′ye′!
Here it is, I hand it to you.
The earth—E′e′ye′!
The earth—E′e′ye′!
In this song the father speaks to his children and gives them the new earth.
Ha′naĕ′hi ya′ga′ahi′na—Ha′naĕ′hi ya′ga′ahi′na—Să′niya′gu′nawa′—Ahe′e′ye′!Să′niya′gu′nawa′—Ahe′e′ye′!Nä′yu hä′nina′ta i′tha′q,Nä′yu hä′nina′ta i′tha′q.
Ha′naĕ′hi ya′ga′ahi′na—Ha′naĕ′hi ya′ga′ahi′na—Să′niya′gu′nawa′—Ahe′e′ye′!Să′niya′gu′nawa′—Ahe′e′ye′!Nä′yu hä′nina′ta i′tha′q,Nä′yu hä′nina′ta i′tha′q.
Ha′naĕ′hi ya′ga′ahi′na—Ha′naĕ′hi ya′ga′ahi′na—Să′niya′gu′nawa′—Ahe′e′ye′!Să′niya′gu′nawa′—Ahe′e′ye′!Nä′yu hä′nina′ta i′tha′q,Nä′yu hä′nina′ta i′tha′q.
Ha′naĕ′hi ya′ga′ahi′na—
Ha′naĕ′hi ya′ga′ahi′na—
Să′niya′gu′nawa′—Ahe′e′ye′!
Să′niya′gu′nawa′—Ahe′e′ye′!
Nä′yu hä′nina′ta i′tha′q,
Nä′yu hä′nina′ta i′tha′q.
Translation
Little boy, the coyote gun—Little boy, the coyote gun—I have uncovered it—Ahe′e′ye′!I have uncovered it—Ahe′e′ye′!There is the sheath lying there,There is the sheath lying there.
Little boy, the coyote gun—Little boy, the coyote gun—I have uncovered it—Ahe′e′ye′!I have uncovered it—Ahe′e′ye′!There is the sheath lying there,There is the sheath lying there.
Little boy, the coyote gun—Little boy, the coyote gun—I have uncovered it—Ahe′e′ye′!I have uncovered it—Ahe′e′ye′!There is the sheath lying there,There is the sheath lying there.
Little boy, the coyote gun—
Little boy, the coyote gun—
I have uncovered it—Ahe′e′ye′!
I have uncovered it—Ahe′e′ye′!
There is the sheath lying there,
There is the sheath lying there.
This song was composed by Nakash, or “Sage,” one of the northern Arapaho delegates to the messiah. It evidently refers to one of his trance experiences in the other world, and has to do with an interesting feature in the sociology of the Arapaho and other prairie tribes. Thega′ahinĕ′naorgaahi′na, “coyote men,” were an order of men of middle age who acted as pickets or lookouts for the camp. When the band encamped in some convenient situation for hunting or other business, it was the duty of these men, usually four or six in a band, to take their stations on the nearest hills to keep watch and give timely warning in case of the approach of an enemy. It was an office of danger and responsibility, but was held in corresponding respect. When on duty, thegaahi′nĕnwore a white buffalo robe and had his face painted with white clay and carried in his hand theya′haga′ahi′naor “coyote gun,” a club decorated with feathers and other ornaments and usually covered with a sheath of bear gut (i′tha′q). He must be unmarried and remain so while in office, finally choosing his own successor and delivering to him the “coyote gun” as a staff of authority. They were never all off duty at the same time, but at least half were always on guard, one or more coming down at a time to the village to eat or sleep. They built no shelter on the hills, but slept there in their buffalo robes, or sometimes came down in turn and slept in their own tipis. They usually, however, preferred to sleep alone upon the hills in order to receive inspiration in dreams. If attacked or surprised by the enemy, they were expected to fight. The watcher was sometimes calledhiga′ahi′na-ĭt, “the man with the coyote gun.” The corresponding officer among the Cheyenne carried a bow and arrows instead of a club.
He′sûna′ na′nahatha′hi,He′sûna′ na′nahatha′hi.Ni′itu′qawigû′niĕ′,Ni′itu′qawigû′niĕ′.
He′sûna′ na′nahatha′hi,He′sûna′ na′nahatha′hi.Ni′itu′qawigû′niĕ′,Ni′itu′qawigû′niĕ′.
He′sûna′ na′nahatha′hi,He′sûna′ na′nahatha′hi.Ni′itu′qawigû′niĕ′,Ni′itu′qawigû′niĕ′.
He′sûna′ na′nahatha′hi,
He′sûna′ na′nahatha′hi.
Ni′itu′qawigû′niĕ′,
Ni′itu′qawigû′niĕ′.
Translation
The father showed me,The father showed me.Where they were coming down,Where they were coming down.
The father showed me,The father showed me.Where they were coming down,Where they were coming down.
The father showed me,The father showed me.Where they were coming down,Where they were coming down.
The father showed me,
The father showed me.
Where they were coming down,
Where they were coming down.
In his trance vision the author of this song saw the spirit hosts descending from the upper shadow land to the earth, along the mountainraised up by the crow, as already described in song number 36. The song comes from the northern Arapaho.
Nänisa′tăqu′thi Chĭnachi′chibä′iha′,Nänisa′tăqu′thi Chĭnachi′chibä′iha′—Ni′nahawa′na,Ni′nahawa′na.Nibäi′naku′nithi—Nibäi′naku′nithi—Ä-bäna′änahu′u′,Ä-bäna′änahu′u′.Nä′hibi′wahuna′na,Nä′hibi′wahuna′na.
Nänisa′tăqu′thi Chĭnachi′chibä′iha′,Nänisa′tăqu′thi Chĭnachi′chibä′iha′—Ni′nahawa′na,Ni′nahawa′na.Nibäi′naku′nithi—Nibäi′naku′nithi—Ä-bäna′änahu′u′,Ä-bäna′änahu′u′.Nä′hibi′wahuna′na,Nä′hibi′wahuna′na.
Nänisa′tăqu′thi Chĭnachi′chibä′iha′,Nänisa′tăqu′thi Chĭnachi′chibä′iha′—Ni′nahawa′na,Ni′nahawa′na.Nibäi′naku′nithi—Nibäi′naku′nithi—Ä-bäna′änahu′u′,Ä-bäna′änahu′u′.Nä′hibi′wahuna′na,Nä′hibi′wahuna′na.
Nänisa′tăqu′thi Chĭnachi′chibä′iha′,
Nänisa′tăqu′thi Chĭnachi′chibä′iha′—
Ni′nahawa′na,
Ni′nahawa′na.
Nibäi′naku′nithi—
Nibäi′naku′nithi—
Ä-bäna′änahu′u′,
Ä-bäna′änahu′u′.
Nä′hibi′wahuna′na,
Nä′hibi′wahuna′na.
Translation
The seven venerableChĭ′nachichi′bätpriests,The seven venerableChĭ′nachichi′bätpriests—We see them,We see them.They all wear it on their heads—They all wear it on their heads—The Thunderbird,The Thunderbird.Then I wept,Then I wept.
The seven venerableChĭ′nachichi′bätpriests,The seven venerableChĭ′nachichi′bätpriests—We see them,We see them.They all wear it on their heads—They all wear it on their heads—The Thunderbird,The Thunderbird.Then I wept,Then I wept.
The seven venerableChĭ′nachichi′bätpriests,The seven venerableChĭ′nachichi′bätpriests—We see them,We see them.They all wear it on their heads—They all wear it on their heads—The Thunderbird,The Thunderbird.Then I wept,Then I wept.
The seven venerableChĭ′nachichi′bätpriests,
The seven venerableChĭ′nachichi′bätpriests—
We see them,
We see them.
They all wear it on their heads—
They all wear it on their heads—
The Thunderbird,
The Thunderbird.
Then I wept,
Then I wept.
In his trance vision the author of this song saw a large camp of Arapaho, and in the midst of the camp circle, as in the old days, were sitting the seven priests of theChĭ′nachichi′bät, each wearing on his head the Thunderbird headdress, already described and figured under song number 14. This vision of the old life of the tribe brought up sorrowful memories and caused him to weep. In the similar song next given the singer laments for theChĭ′nachichi′bätand thebä′qatigaming wheel. The priests here referred to were seven in number, and constituted the highest order of the military and social organization which existed among the Blackfeet, Sioux, Cheyenne, Kiowa, and probably all the prairie tribes excepting the Comanche in the south, among whom it seems to have been unknown. The society, so far as it has come under the notice of white men, has commonly been designated by them as the “Dog Soldier” society—a misapprehension of a name belonging probably to only one of the six or eight orders of the organization. The corresponding Blackfoot organization, theIkunuhkatsior “All Comrades,” is described by Grinnell in his “Blackfoot Lodge Tales.” The Kiowa organization will be noted later.
Among the Arapaho the organization was calledBĕni′nĕna, “Warriors,” and consisted of eight degrees or orders, including nearly all the men of the tribe above the age of about seventeen. Those who were not enrolled in some one of the eight orders were held in but little respect, and were not allowed to take part in public ceremoniesor to accompany war expeditions. Each of the first six orders had its own peculiar dance, and the members of the principal warrior orders had also their peculiar staff or badge of rank.
First and lowest in rank were theNuhinĕ′naor Fox men, consisting of young men up to the age of about 25 years. They had no special duties or privileges, but had a dance called theNuha′wŭor fox dance.
Next came theHă′thahu′haor Star men, consisting of young warriors about 30 years of age. Their dance was called theHa′thahŭ.
Fig. 94—Dog-soldier insignia—rattle and quirt.
Fig. 94—Dog-soldier insignia—rattle and quirt.
The third order was that of theHichăä′quthior Club men. Their dance was calledHichăä′qawŭ. They were an important part of the warrior organization, and were all men in the prime of life. The four leaders carried wooden clubs, bearing a general resemblance in shape to a gun, notched along the edges and variously ornamented. In an attack on the enemy it was the duty of these leaders to dash on ahead and strike the enemy with these clubs, then to ride back again and take their places in the front of the charge. It hardly need besaid that the position of leader of theHichăä′quthiwas a dangerous honor, but the honor was in proportion to the very danger, and there were always candidates for a vacancy. It was one of those offices where the holder sometimes died but never resigned. The other members of the order carried sticks carved at one end in the rude semblance of a horse head and pointed at the other. In desperate encounters they were expected to plant these sticks in the ground in line in front of the body of warriors and to fight beside them to the death unless a retreat should be ordered by the chief in command.
The fourth order was calledBitahi′nĕnaor Spear men, and their dance was calledBitaha′wŭ. This order came originally from the Cheyenne. Their duties and peculiar insignia of office were about the same among all the tribes. They performed police duty in camp, when traveling, and on the hunt, and were expected to see that the orders of the chief were obeyed by the tribe. For instance, if any person violated the tribal code or failed to attend a general dance or council, a party ofBitahi′nĕnawas sent to kill his dogs, destroy his tipi, or in extreme cases to shoot his ponies. On hunting expeditions it was their business to keep the party together and see that no one killed a buffalo until the proper ceremonies had been performed and the order was given by the chief. They were regarded as the representatives of the law and were never resisted in performing their duty or inflicting punishments. In war they were desperate warriors, equaling or surpassing even theHichăä′quthi. Of the leaders of the order, two carried a sort of shepherd’s crook callednu′sa-icha′tha, having a lance point at its lower end; two others carried lances wrapped around with otter skin; four carried lances painted black; one carried a club shaped like a baseball bat, and one carried a rattle made of the scrotum of a buffalo and ornamented with its hair. In battle, if the enemy took shelter behind defenses, it was this man’s duty to lead the charge, throw his rattle among the enemy, and then follow it himself.
The fifth order was calledAha′känĕ′naor Crazy men. They were men more than 50 years of age, and were not expected to go to war, but must have graduated from all the lower orders. Their duties were religious and ceremonial, and their insignia consisted of a bow and a bundle of blunt arrows. Their dance was theAhaka′wŭor crazy dance, which well deserved the name. It will be described in another place.
The sixth was the order of theHĕthĕ′hinĕ′naor Dog men. Their dance was calledHĕthĕwa′wû′. They had four principal leaders and two lesser leaders. The four principal leaders were the generals and directors of the battle. Each carried a rattle and wore about his neck a buckskin strap (two being yellow, the other two black) which hung down to his feet. On approaching the enemy, they were obliged to go forward, shaking their rattles and chanting the war song, until some other warriors of the party took the rattles out of their hands. When forming for the attack, they dismounted, and, driving their lances intothe ground, tied themselves to them by means of the straps, thus anchoring themselves in front of the battle. Here they remained until, if the battle seemed lost, they themselves gave the order to retreat. Even then they waited until some of their own society released them by pulling the lances out of the ground and whipping them away from the place with a peculiar quirt carried only by the private members of this division. No one was allowed to retreat without their permission, on penalty of disgrace, nor were they themselves allowed to retire until thus released. Should their followers forget to release them in the confusion of retreat, they were expected to die at their posts. They could not be released excepting by one of their own division, and anyone else attempting to pull up the lances from the ground was resisted as an enemy. When pursued on the retreat, they must give up their horses to the women, if necessary, and either find other horses or turn and face the enemy alone on foot. They seldom accompanied any but large war parties, and, although they did but little actual fighting, their very presence inspired the warriors with desperate courage, and the driving of their lances into the ground was always understood as the signal for an encounter to the death.
PL. CXXIIDOG-SOLDIER INSIGNIA—LANCE AND SASH
PL. CXXII
DOG-SOLDIER INSIGNIA—LANCE AND SASH
The seventh order was that of theNûnaha′wŭ, a word of which the meaning is now unknown. This was a secret order. They had no dance and their ceremonies were witnessed only by themselves. They did not fight, but accompanied the war parties, and every night in secret performed ceremonies and prayers for their success.
The eighth and highest order was that of theChĭ′nachinĕ′naor Water-pouring men, the “seven venerable priests” to whom the song refers. They were the high priests and instructors of all the other orders, and were seven in number, from among the oldest warriors of the tribe. Their name refers to their pouring the water over the heated stones in the sweat-house to produce steam. They had no dance, and were not expected to go to war, although one of the seven was allowed to accompany the war party, should he so elect. Their ceremonies were performed in a large sweat-lodge, calledchĭnachichi′bät, which, when the whole tribe was camped together, occupied the center of the circle, between the entrance and the lodge in which was kept the sacred medicine pipe. Unlike the ordinary sweat-lodge, this one had no mound and buffalo skull in front of the entrance.
The warrior organization of the Kiowa is calledYä′pähe, “Soldiers,” and consisted of six orders, each with its own dance, songs, and ceremonial dress. 1.PoläñyuporTsäñ′yui, “Rabbits.” These were boys and young men from 8 to 15 years of age. Their dance, in which they were drilled by certain old men, has a peculiar step, in imitation of the jumping movement of a rabbit; 2.Ädalto′yui, orTe′ñbiyu′i, “Young Mountain Sheep,” literally “Herders or Corralers;” 3.Tseñtä′nmo, “Horse Head-dress (?) people;” 4.Toñkoñ′ko, (?) “Black-leg people;” 5.T‘äñpe′ko, “Skunkberry (?) people;” 6.Kâ′itseñ′ko, “Principal Dogs or Real Dogs.” These last were the highest warriororder, and also the camp police, combining the functions of theBitahi′nĕnaand theHĕthĕ′binĕ′naof the Arapaho organization. Their two leaders carried an arrow-shape lance, with which they anchored themselves in the front of the battle by means of buckskin straps brought over the shoulders. TheToñkoñ′kocaptains carried in a similar way a crook-shape lance, calledpabo′n, similar to that of theBitahi′nĕnaof the Arapaho.
song[[audio/mpeg]MusicXML]
[[audio/mpeg]MusicXML]
Nä′nisa′tăqi Chĭ′năchi′chibä′iha′—Nä′nisa′tăqi Chĭ′năchi′chibä′iha′—Bä′hibi′wă′hĭnă′,Bä′hibi′wă′hĭnă′.Bä′qăti hä′nibi′wă′hĭnă′,Bä′qăti hä′nibi′wă′hĭnă′.
Nä′nisa′tăqi Chĭ′năchi′chibä′iha′—Nä′nisa′tăqi Chĭ′năchi′chibä′iha′—Bä′hibi′wă′hĭnă′,Bä′hibi′wă′hĭnă′.Bä′qăti hä′nibi′wă′hĭnă′,Bä′qăti hä′nibi′wă′hĭnă′.
Nä′nisa′tăqi Chĭ′năchi′chibä′iha′—Nä′nisa′tăqi Chĭ′năchi′chibä′iha′—Bä′hibi′wă′hĭnă′,Bä′hibi′wă′hĭnă′.Bä′qăti hä′nibi′wă′hĭnă′,Bä′qăti hä′nibi′wă′hĭnă′.
Nä′nisa′tăqi Chĭ′năchi′chibä′iha′—
Nä′nisa′tăqi Chĭ′năchi′chibä′iha′—
Bä′hibi′wă′hĭnă′,
Bä′hibi′wă′hĭnă′.
Bä′qăti hä′nibi′wă′hĭnă′,
Bä′qăti hä′nibi′wă′hĭnă′.
Translation
The seven venerableChĭnachichi′bätpriests—The seven venerableChĭnachichi′bätpriests—For them I am weeping,For them I am weeping.For the gaming wheel I am weeping,For the gaming wheel I am weeping.
The seven venerableChĭnachichi′bätpriests—The seven venerableChĭnachichi′bätpriests—For them I am weeping,For them I am weeping.For the gaming wheel I am weeping,For the gaming wheel I am weeping.
The seven venerableChĭnachichi′bätpriests—The seven venerableChĭnachichi′bätpriests—For them I am weeping,For them I am weeping.For the gaming wheel I am weeping,For the gaming wheel I am weeping.
The seven venerableChĭnachichi′bätpriests—
The seven venerableChĭnachichi′bätpriests—
For them I am weeping,
For them I am weeping.
For the gaming wheel I am weeping,
For the gaming wheel I am weeping.
The first reference in this song is explained under number 43. Thebä′qatior gaming wheel will be described later.
song[[audio/mpeg]MusicXML]
[[audio/mpeg]MusicXML]
Nû′nanû′naatani′na hu′hu′,Nû′nanû′naatani′na hu′hu′.Da`chi′bini′na häthi′na,Da`chi′bini′na häthi′na.
Nû′nanû′naatani′na hu′hu′,Nû′nanû′naatani′na hu′hu′.Da`chi′bini′na häthi′na,Da`chi′bini′na häthi′na.
Nû′nanû′naatani′na hu′hu′,Nû′nanû′naatani′na hu′hu′.Da`chi′bini′na häthi′na,Da`chi′bini′na häthi′na.
Nû′nanû′naatani′na hu′hu′,
Nû′nanû′naatani′na hu′hu′.
Da`chi′bini′na häthi′na,
Da`chi′bini′na häthi′na.
Translation
The crow is circling above me,The crow is circling above me.He says he will give me a hawk feather,He says he will give me a hawk feather.
The crow is circling above me,The crow is circling above me.He says he will give me a hawk feather,He says he will give me a hawk feather.
The crow is circling above me,The crow is circling above me.He says he will give me a hawk feather,He says he will give me a hawk feather.
The crow is circling above me,
The crow is circling above me.
He says he will give me a hawk feather,
He says he will give me a hawk feather.
This song is very similar to number 39, and requires no further explanation. It is sung to the same quick time.
Na′tănu′ya chĕ′bi′nh—Na′tănu′ya chĕ′bi′nh,Na′chicha′ba′n,Na′chicha′ba′n.
Na′tănu′ya chĕ′bi′nh—Na′tănu′ya chĕ′bi′nh,Na′chicha′ba′n,Na′chicha′ba′n.
Na′tănu′ya chĕ′bi′nh—Na′tănu′ya chĕ′bi′nh,Na′chicha′ba′n,Na′chicha′ba′n.
Na′tănu′ya chĕ′bi′nh—
Na′tănu′ya chĕ′bi′nh,
Na′chicha′ba′n,
Na′chicha′ba′n.
Translation
The pemmican that I am using—The pemmican that I am using,They are still making it,They are still making it.
The pemmican that I am using—The pemmican that I am using,They are still making it,They are still making it.
The pemmican that I am using—The pemmican that I am using,They are still making it,They are still making it.
The pemmican that I am using—
The pemmican that I am using,
They are still making it,
They are still making it.
This song refers to the pemmican or preparation of dried and pounded meat, which formerly formed a favorite food of the prairie tribes, and which the author of the song evidently tasted as it was being prepared by the women in the spirit world. (SeeSioux song 7.) One must be an Indian to know the thrill of joy that would come to the heart of the dancers when told that some dreamer had seen their former friends in the spirit world still making and feasting on pemmican. During the first year or two of the excitement, it several times occurred at Ghost dances in the north and south, among Sioux as well as among Arapaho and others, that meat was exhibited and tasted as genuine buffalo beef or pemmican brought back from the spirit world by one of the dancers. It is not necessary to explain how this deception was accomplished or made successful. It is sufficient to know that it was done, and that the dancers were then in a condition to believe anything.
Häĭ′nawa′ hä′ni′ta′quna′ni—Häĭ′nawa′ hä′ni′ta′quna′ni—Ninĕ′n nănä′ hänita′quna′ni,Ninĕ′n nănä′ hänita′quna′ni.
Häĭ′nawa′ hä′ni′ta′quna′ni—Häĭ′nawa′ hä′ni′ta′quna′ni—Ninĕ′n nănä′ hänita′quna′ni,Ninĕ′n nănä′ hänita′quna′ni.
Häĭ′nawa′ hä′ni′ta′quna′ni—Häĭ′nawa′ hä′ni′ta′quna′ni—Ninĕ′n nănä′ hänita′quna′ni,Ninĕ′n nănä′ hänita′quna′ni.
Häĭ′nawa′ hä′ni′ta′quna′ni—
Häĭ′nawa′ hä′ni′ta′quna′ni—
Ninĕ′n nănä′ hänita′quna′ni,
Ninĕ′n nănä′ hänita′quna′ni.
Translation
I know, in the pitfall—I know, in the pitfall—It is tallow they use in the pitfall,It is tallow they use in the pitfall.
I know, in the pitfall—I know, in the pitfall—It is tallow they use in the pitfall,It is tallow they use in the pitfall.
I know, in the pitfall—I know, in the pitfall—It is tallow they use in the pitfall,It is tallow they use in the pitfall.
I know, in the pitfall—
I know, in the pitfall—
It is tallow they use in the pitfall,
It is tallow they use in the pitfall.
This song refers to the vision of a northern Arapaho, who found one of his friends in the spirit world preparing a pitfall trap to catch eagles.Wherever found, the eagle was regarded as sacred among the Indian tribes both east and west, and its feathers were highly prized for ornamental and “medicine” purposes, and an elaborately detailed ritual of prayer and ceremony was the necessary accompaniment to its capture. Among all the tribes the chief purpose of this ritual was to obtain the help of the gods in inducing the eagle to approach the hunter, and to turn aside the anger of the eagle spirits at the necessary sacrilege. The feathers most valued were those of the tail and wings. These were used to ornament lances and shields, to wear upon the head, and to decorate the magnificent war bonnets, the finest of which have a pendant or trail of eagle-tail feathers reaching from the warrior’s head to the ground when he stands erect. The whistle used in the sun dance and other great ceremonies is made of a bone from the leg or wing of the eagle, and the fans carried by the warriors on parade and used also to sprinkle the holy water in the mescal ceremony of the southern prairie tribes is commonly made of the entire tail or wing of that bird. Hawk feathers are sometimes used for these various purposes, but are always considered far inferior to those of the eagle. The smaller feathers are used upon arrows. Eagle feathers and ponies were formerly the standard of value and the medium of exchange among the prairie tribes, as wampum was with those of the Atlantic coast. The standard varied according to place and season, but in a general way from two to four eagles were rated as equal to a horse. In these days the eagle-feather war bonnets and eagle-tail fans are the most valuable parts of an Indian’s outfit and the most difficult to purchase from him. Among the pueblo tribes eagles are sometimes taken from the nest when young and kept in cages and regularly stripped of their best feathers. Among the Caddo, Cherokee, and other tribes of the timbered country in the east they were shot with bow and arrow or with the gun, but always according to certain ritual ceremonies. Among the prairie tribes along the whole extent of the plains they were never shot, but must be captured alive in pitfalls and then strangled or crushed to death, if possible without the shedding of blood. A description of the Arapaho method will answer with slight modifications for all the prairie tribes.
The hunter withdrew with his family away from the main camp to some rough hilly country where the eagles were abundant. After some preliminary prayers he went alone to the top of the highest hill and there dug a pit large enough to sit or lie down in, being careful to carry the earth taken out of the hole so far away from the place that it would not attract the notice of the eagle. The pit was roofed over with a covering of light willow twigs, above which were placed earth and grass to give it a natural appearance. The bait was a piece of fresh meat, or, as appears from this song, a piece of tallow stripped from the ribs of the buffalo. This was tied to a rawhide string and laid upon the top of the pit, while the rope was passed down through the roof into the cavity below. A coyote skin, stuffed and set up erect as in life, wassometimes placed near the bait to add to the realistic effect. Having sat up all night, singing the eagle songs and purifying himself for the ceremony, the hunter started before daylight, without eating any breakfast or drinking water, and went up the hill to the pit, which he entered, and, having again closed the opening, he seated himself inside holding the end of the string in his hands, to prevent a coyote or other animal from taking the bait, and waiting for the eagles to come.
Should other birds come, he drove them away or paid no attention to them. When at last the eagle came the other birds at once flew away. The eagle swooped down, alighting always at one side and then walking over upon the roof of the trap to get at the bait, when the hunter, putting up his hand through the framework, seized the eagle by the legs, pulled it down and quickly strangled it or broke its neck. He then rearranged the bait and the roof and sat down to wait for another eagle. He might be so lucky as to capture several during the day, or so unfortunate as to take none at all. At night, but not before, he repaired to his own tipi to eat, drink, and sleep, and was at the pit again before daylight. While in the pit he did not eat, drink, or sleep. The eagle hunt, if it may be so called, lasted four days, and must end then, whatever might have been the good or bad fortune of the hunter.
At the expiration of four days he returned to his home with the dead bodies of the eagles thus caught. A small lodge was set up outside his tipi and in this the eagles were hung up by the neck upon a pole laid across two forked sticks driven into the ground. After some further prayers and purifications the feathers were stripped from the bodies as they hung.
The Blackfoot method, as described by Grinnell, in his Blackfoot Lodge Tales, was the same in all essentials as that of the Arapaho. He adds several details, which were probably common to both tribes and to others, but which my Arapaho informants failed to mention. While the hunter was away in the pit his wife or daughters at home must not use an awl for sewing or for other purposes, as, should they do so, the eagle might scratch the hunter. He took a human skull with him into the pit, in order that he might be as invisible to the eagle as the spirit of the former owner of the skull. He must not eat the berries of the wild rose during this period, or the eagle would not attack the bait, and he must put a morsel of pemmican into the mouth of the dead eagle in order to gain the good will of its fellows and induce them to come in and be caught.
The eagle-catching ceremony of the Caddo, Cherokee, and other eastern tribes will be noticed in treating of the Caddo songs.
Bä′hinä′nina′tä ni′tabä′na,Bä′hinä′nina′tä ni′tabä′na.Nänä′nina hu′hu,Nänä′nina hu′hu.
Bä′hinä′nina′tä ni′tabä′na,Bä′hinä′nina′tä ni′tabä′na.Nänä′nina hu′hu,Nänä′nina hu′hu.
Bä′hinä′nina′tä ni′tabä′na,Bä′hinä′nina′tä ni′tabä′na.Nänä′nina hu′hu,Nänä′nina hu′hu.
Bä′hinä′nina′tä ni′tabä′na,
Bä′hinä′nina′tä ni′tabä′na.
Nänä′nina hu′hu,
Nänä′nina hu′hu.
Translation
I hear everything,I hear everything.I am the crow,I am the crow.
I hear everything,I hear everything.I am the crow,I am the crow.
I hear everything,I hear everything.I am the crow,I am the crow.
I hear everything,
I hear everything.
I am the crow,
I am the crow.
This is another song expressive of the omniscience of the crow, which, as their messenger from the spirit world, hears and knows everything, both on this earth and in the shadow land. The tune is one of the prettiest of all the ghost songs.
A-bä′qati′ hä′nichä′bi′hinä′na,A-bä′qati′ hä′nichä′bi′hinä′na.A-wa′täna′ni ani′ä′tähĭ′näna,A-wa′täna′ni ani′ä′tähĭ′näna.
A-bä′qati′ hä′nichä′bi′hinä′na,A-bä′qati′ hä′nichä′bi′hinä′na.A-wa′täna′ni ani′ä′tähĭ′näna,A-wa′täna′ni ani′ä′tähĭ′näna.
A-bä′qati′ hä′nichä′bi′hinä′na,A-bä′qati′ hä′nichä′bi′hinä′na.A-wa′täna′ni ani′ä′tähĭ′näna,A-wa′täna′ni ani′ä′tähĭ′näna.
A-bä′qati′ hä′nichä′bi′hinä′na,
A-bä′qati′ hä′nichä′bi′hinä′na.
A-wa′täna′ni ani′ä′tähĭ′näna,
A-wa′täna′ni ani′ä′tähĭ′näna.
Translation
With thebä′qatiwheel I am gambling,With thebä′qatiwheel I am gambling.With the black mark I win the game,With the black mark I win the game.
With thebä′qatiwheel I am gambling,With thebä′qatiwheel I am gambling.With the black mark I win the game,With the black mark I win the game.
With thebä′qatiwheel I am gambling,With thebä′qatiwheel I am gambling.With the black mark I win the game,With the black mark I win the game.
With thebä′qatiwheel I am gambling,
With thebä′qatiwheel I am gambling.
With the black mark I win the game,
With the black mark I win the game.
This song is from the northern Arapaho. The author of it, in his visit to the spirit world, found his former friends playing the old game of thebä′qatiwheel, which was practically obsolete among the prairie tribes, but which is being revived since the advent of the Ghost dance. As it was a favorite game with the men in the olden times, a great many of the songs founded on these trance visions refer to it, and the wheel and sticks are made by the dreamer and carried in the dance as they sing.
The game is played with a wheel (bä′qati, “large wheel”) and two pairs of throwing sticks (qa′qa-u′nûtha). The Cheyenne call the wheelä′ko′yooräkwi′u, and the stickshoo′isi′yonots. It is a man’s game, and there are three players, one rolling the wheel, while the other two, each armed with a pair of throwing sticks, run after it and throw the sticks so as to cross the wheel in a certain position. The two throwers are the contestants, the one who rolls the wheel being merely an assistant. Like most Indian games, it is a means of gambling, and high stakes are sometimes wagered on the result. It is common to the Arapaho, Cheyenne, Sioux, and probably to all the northern prairie tribes, but is not found among the Kiowa or Comanche in the south.
The wheel is about 18 inches in diameter, and consists of a flexible young tree branch, stripped of its bark and painted, with the two ends fastened together with sinew or buckskin string. At equal distances around the circumference of the wheel are cut four figures, the two opposite each other constituting a pair, but being distinguished by different colors, usually blue or black and red, and by lines or notches on the face. These figures are designated simply by their colors. Figures of birds, crescents, etc., are sometimes also cut or painted upon the wheel, but have nothing to do with the game. (Seeplatecxi.)
The sticks are light rods, about 30 inches long, tied in pairs by a peculiar arrangement of buckskin strings, and distinguished from one another by pieces of cloth of different colors fastened to the strings. There is also a pile of tally sticks, usually a hundred in number, about the size of lead pencils and painted green, for keeping count of the game. The sticks are held near the center in a peculiar manner between the fingers of the closed hand. When the wheel is rolled, each player runs from the same side, and endeavors to throw the sticks so as to strike the wheel in such a way that when it falls both sticks of his pair shall be either over or under a certain figure. It requires dexterity to do this, as the string has a tendency to strike the wheel in such a way as to make one stick fall under and the other over, in which case the throw counts for nothing. The players assign their own value to each figure, the usual value being five points for one and ten for the other figure, with double that number for a throw which crosses the two corresponding figures, and one hundred tallies to the game.
The wheel-and-stick game, in some form or another, was almost universal among our Indian tribes. Another game among the prairie tribes is played with a netted wheel and a single stick or arrow, the effort being to send the arrow through the netting as nearly as possible to the center or bull’s-eye. This game is calledana′wati′n-hati, “playing wheel,” by the Arapaho.
Ani′äsa′kua′na dă′chäbi′hati′tani bä′qati′bä,Ani′äsa′kua′na dă′chäbi′hati′tani bä′qati′bä.Ni′ati′biku′thahu′ bä′qatihi,Ni′ati′biku′thahu′ bä′qatihi.Di′chäbi′häti′ta′ni′,Di′chäbi′häti′ta′ni′.
Ani′äsa′kua′na dă′chäbi′hati′tani bä′qati′bä,Ani′äsa′kua′na dă′chäbi′hati′tani bä′qati′bä.Ni′ati′biku′thahu′ bä′qatihi,Ni′ati′biku′thahu′ bä′qatihi.Di′chäbi′häti′ta′ni′,Di′chäbi′häti′ta′ni′.
Ani′äsa′kua′na dă′chäbi′hati′tani bä′qati′bä,Ani′äsa′kua′na dă′chäbi′hati′tani bä′qati′bä.Ni′ati′biku′thahu′ bä′qatihi,Ni′ati′biku′thahu′ bä′qatihi.Di′chäbi′häti′ta′ni′,Di′chäbi′häti′ta′ni′.
Ani′äsa′kua′na dă′chäbi′hati′tani bä′qati′bä,
Ani′äsa′kua′na dă′chäbi′hati′tani bä′qati′bä.
Ni′ati′biku′thahu′ bä′qatihi,
Ni′ati′biku′thahu′ bä′qatihi.
Di′chäbi′häti′ta′ni′,
Di′chäbi′häti′ta′ni′.
Translation
I am watching where they are gambling with thebä′qatiwheel,I am watching where they are gambling with thebä′qatiwheel.They are rolling thebä′qati,They are rolling thebä′qati.While they gamble with it,While they gamble with it.
I am watching where they are gambling with thebä′qatiwheel,I am watching where they are gambling with thebä′qatiwheel.They are rolling thebä′qati,They are rolling thebä′qati.While they gamble with it,While they gamble with it.
I am watching where they are gambling with thebä′qatiwheel,I am watching where they are gambling with thebä′qatiwheel.They are rolling thebä′qati,They are rolling thebä′qati.While they gamble with it,While they gamble with it.
I am watching where they are gambling with thebä′qatiwheel,
I am watching where they are gambling with thebä′qatiwheel.
They are rolling thebä′qati,
They are rolling thebä′qati.
While they gamble with it,
While they gamble with it.
In this song the dancer tells how he watched a group of his friends in the spirit world playing the game of thebä′qati, as has been explained in the song last treated.
Ni′chi′ă i′theti′hi,Ni′chi′ă i′theti′hi,Chana′ha′ti i′nĭt—Chana′ha′ti i′nĭt—Gu′n baa′-ni′bină thi′aku′-u,Gu′n baa′-ni′bină thi′aku′-u.
Ni′chi′ă i′theti′hi,Ni′chi′ă i′theti′hi,Chana′ha′ti i′nĭt—Chana′ha′ti i′nĭt—Gu′n baa′-ni′bină thi′aku′-u,Gu′n baa′-ni′bină thi′aku′-u.
Ni′chi′ă i′theti′hi,Ni′chi′ă i′theti′hi,Chana′ha′ti i′nĭt—Chana′ha′ti i′nĭt—Gu′n baa′-ni′bină thi′aku′-u,Gu′n baa′-ni′bină thi′aku′-u.
Ni′chi′ă i′theti′hi,
Ni′chi′ă i′theti′hi,
Chana′ha′ti i′nĭt—
Chana′ha′ti i′nĭt—
Gu′n baa′-ni′bină thi′aku′-u,
Gu′n baa′-ni′bină thi′aku′-u.
Translation
(There) is a good river,(There) is a good river,Where there is no timber—Where there is no timber—But thunder-berries are there,But thunder-berries are there.
(There) is a good river,(There) is a good river,Where there is no timber—Where there is no timber—But thunder-berries are there,But thunder-berries are there.
(There) is a good river,(There) is a good river,Where there is no timber—Where there is no timber—But thunder-berries are there,But thunder-berries are there.
(There) is a good river,
(There) is a good river,
Where there is no timber—
Where there is no timber—
But thunder-berries are there,
But thunder-berries are there.
This song refers to a trance vision in which the dreamer found his people camped by a good, i. e., perennial, river, fringed with abundant bushes or small trees of thebaa-ni′binor “thunder-berry,” which appears to be the black haw, being described as a sort of wild cherry, in size between the chokecherry and the wild plum. It was eaten raw, or dried and boiled, the seeds having first been taken out. It is very scarce, if found at all, in the southern plains.
song[[audio/mpeg]MusicXML]
[[audio/mpeg]MusicXML]
Ni′nini′tubi′na hu′hu′,Ni′nini′tubi′na hu′hu′.Bäta′hina′ni hu′hu′,Bäta′hina′ni hu′hu′,Nă′hinä′ni häthi′na,Nă′hinä′ni häthi′na.
Ni′nini′tubi′na hu′hu′,Ni′nini′tubi′na hu′hu′.Bäta′hina′ni hu′hu′,Bäta′hina′ni hu′hu′,Nă′hinä′ni häthi′na,Nă′hinä′ni häthi′na.
Ni′nini′tubi′na hu′hu′,Ni′nini′tubi′na hu′hu′.Bäta′hina′ni hu′hu′,Bäta′hina′ni hu′hu′,Nă′hinä′ni häthi′na,Nă′hinä′ni häthi′na.
Ni′nini′tubi′na hu′hu′,
Ni′nini′tubi′na hu′hu′.
Bäta′hina′ni hu′hu′,
Bäta′hina′ni hu′hu′,
Nă′hinä′ni häthi′na,
Nă′hinä′ni häthi′na.
Translation
The crow has given me the signal,The crow has given me the signal.When the crow makes me dance,When the crow makes me dance,He tells me (when) to stop,He tells me (when) to stop.
The crow has given me the signal,The crow has given me the signal.When the crow makes me dance,When the crow makes me dance,He tells me (when) to stop,He tells me (when) to stop.
The crow has given me the signal,The crow has given me the signal.When the crow makes me dance,When the crow makes me dance,He tells me (when) to stop,He tells me (when) to stop.
The crow has given me the signal,
The crow has given me the signal.
When the crow makes me dance,
When the crow makes me dance,
He tells me (when) to stop,
He tells me (when) to stop.
This was formerly the closing song of the dance, but is now superseded as such by number 73, beginningAhu′yu häthi′na. It was also the last song sung when a small party gathered in the tipi at night for a private rehearsal, and was therefore always held in reserve until the singers were about ready to separate. The tune is one of the best.The special office of the crow as the messenger from the spirit world and representative of the messiah has been already explained. He is supposed to direct the dance and to give the signal for its close.
Anihä′ya atani′tă′nu′nawa′,Anihä′ya atani′tă′nu′nawa′,Häthi′na hesûna′nĭn,Häthi′na hesûna′nĭn,Da‛chä′-ihi′na he′sûna′nĭn,Da‛chä′-ihi′na he′sûna′nĭn—Ih! Ih!
Anihä′ya atani′tă′nu′nawa′,Anihä′ya atani′tă′nu′nawa′,Häthi′na hesûna′nĭn,Häthi′na hesûna′nĭn,Da‛chä′-ihi′na he′sûna′nĭn,Da‛chä′-ihi′na he′sûna′nĭn—Ih! Ih!
Anihä′ya atani′tă′nu′nawa′,Anihä′ya atani′tă′nu′nawa′,Häthi′na hesûna′nĭn,Häthi′na hesûna′nĭn,Da‛chä′-ihi′na he′sûna′nĭn,Da‛chä′-ihi′na he′sûna′nĭn—Ih! Ih!
Anihä′ya atani′tă′nu′nawa′,
Anihä′ya atani′tă′nu′nawa′,
Häthi′na hesûna′nĭn,
Häthi′na hesûna′nĭn,
Da‛chä′-ihi′na he′sûna′nĭn,
Da‛chä′-ihi′na he′sûna′nĭn—Ih! Ih!
Translation
I use the yellow (paint),I use the yellow (paint),Says the father,Says the father,In order to please me, the father,In order to please me, the father—Ih! Ih!
I use the yellow (paint),I use the yellow (paint),Says the father,Says the father,In order to please me, the father,In order to please me, the father—Ih! Ih!
I use the yellow (paint),I use the yellow (paint),Says the father,Says the father,In order to please me, the father,In order to please me, the father—Ih! Ih!
I use the yellow (paint),
I use the yellow (paint),
Says the father,
Says the father,
In order to please me, the father,
In order to please me, the father—Ih! Ih!
The meaning of this song is somewhat obscure. It seems to be a message from the messiah to the effect that he paints himself with yellow paint, because it pleases him, the inference being that it would please him to have his children do the same. Those who take part in the sun dance are usually painted yellow, that being the color of the sun. This song is peculiar in having at the end two sharp yelps, in the style of the ordinary songs of the warrior dances.