Chapter 35

Fig. 102—Native drawings of Ghost dance—A, Comanche; B, Sioux].

The Sioux ghost songs are all in the dialect of the Teton, who took the most active interest in the dance, which was hardly known among the bands east of the Missouri. The vocalic character of the language,and the frequent liquidlof this dialect, renders these songs peculiarly musical, while for beauty of idea and expression they are second only to those of the Arapaho.

Opening song

A′te he′ye e′yayo!A′te he′ye e′yayo!A′te he′ye lo,A′te he′ye lo.Nitu′ñkañshi′la wa′ñyegala′ke—kta′ e′yayo′!Nitu′ñkañshi′la wa′ñyegala′ke—kta′ e′yayo′!A′te he′ye lo,A′te he′ye lo.Ni′takuye wañye′găla′ke—kta e′yayo′!Ni′takuye wañye′găla′ke—kta e′yayo′!A′te he′ye lo,A′te he′ye lo.

A′te he′ye e′yayo!

A′te he′ye lo,

A′te he′ye lo.

Nitu′ñkañshi′la wa′ñyegala′ke—kta′ e′yayo′!

A′te he′ye lo,

A′te he′ye lo.

Ni′takuye wañye′găla′ke—kta e′yayo′!

A′te he′ye lo,

A′te he′ye lo.

Translation

The father says so—E′yayo!The father says so—E′yayo!The father says so,The father says so.You shall see your grandfather—E′yayo′!You shall see your grandfather—E′yayo′!The father says so,The father says so.You shall see your kindred—E′yayo′!You shall see your kindred—E′yayo′!The father says so,The father says so.

The father says so—E′yayo!

The father says so,

The father says so.

You shall see your grandfather—E′yayo′!

The father says so,

The father says so.

You shall see your kindred—E′yayo′!

The father says so,

The father says so.

This is the opening song of the dance. While singing it, all the dancers stand motionless with hands stretched out toward the west, the country of the messiah and the quarter whence the new spirit world is to come. When it is ended, all cry together, after which they join hands and begin to circle around to the left. “Grandfather,” as well as “father,” is a reverential term applied to the messiah.

Michĭ′nkshi nañpe ma′yuzaye,Michĭ′nkshi nañpe ma′yuzaye,A′te he′ye lo,A′te he′ye lo.Ini′chaghe-kte,Ini′chaghe-kte,A′te he′ye lo,A′te he′ye lo.Chăno′ñpa wa′ñ chi′cha-u′pi,

Michĭ′nkshi nañpe ma′yuzaye,

A′te he′ye lo,

A′te he′ye lo.

Ini′chaghe-kte,

A′te he′ye lo,

A′te he′ye lo.

Chăno′ñpa wa′ñ chi′cha-u′pi,

Chăno′ñpa wa′ñ chi′cha-u′pi,A′te he′ye lo′,A′te he′he lo′.Cha′-yani′pi-kta′,Cha′-yani′pi-kta′,A′te he′ye lo′,A′te he′ye lo′.

Chăno′ñpa wa′ñ chi′cha-u′pi,

A′te he′ye lo′,

A′te he′he lo′.

Cha′-yani′pi-kta′,

A′te he′ye lo′,

A′te he′ye lo′.

Translation

My son, let me grasp your hand,My son, let me grasp your hand,Says the father,Says the father.You shall live,You shall live,Says the father,Says the father.I bring you a pipe,I bring you a pipe,Says the father,Says the father.By means of it you shall live,By means of it you shall live,Says the father,Says the father.

My son, let me grasp your hand,

Says the father,

Says the father.

You shall live,

Says the father,

Says the father.

I bring you a pipe,

Says the father,

Says the father.

By means of it you shall live,

Says the father,

Says the father.

This song refers to the sacred pipe which, according to the Sioux tradition, was brought to them by a mysterious young woman from the spirit world. The story, as outlined by Captain J. M. Lee, is as follows: In the old times the Sioux were always at war, not only with other tribes, but also among themselves. On one occasion two young men were out hunting when they saw a young woman approaching them with folded arms. Seeing that she was not of their own tribe, one proposed to the other that they kill her, but he refused and urged that they wait until they learned what she wanted. The first speaker, however, was about to kill her as she drew near, when she suddenly stooped down and took from around her ankle something resembling an anklet, which she waved about her head. The motion was so rapid that it seemed as though a cloud encircled her for a few moments, when she ceased, and the snake which she had taken from off her ankle glided away through the grass. But the young warrior who had thought to kill her had disappeared, swept from the face of the earth.

Turning now to his companion, she said, “To you I come as a friend and helper. Your people have been killing each other. I bring you a pipe, which is a token of peace,” and she held out a pipe as she spoke. “When you smoke it your thoughts will be of peace, and no murderer (i. e., no one who kills a member of his own tribe) must be allowed to smoke it.” She returned with him to his village, where the women prepared for her reception a large tipi, to which the chiefs of the tribe came to listen to her instructions. She taught them to be at peace withone another, if they would be happy, and when they listened to her words and accepted her teachings, she gave them the sacred medicine pipe to smoke thenceforth in their councils as a perpetual reminder of the peace covenant of the Lakota. Her mission now ended, she said she must leave them, and although they begged her earnestly to stay with them, she could not tarry longer, but disappeared as suddenly and mysteriously as she had come.

A variant of this legend is given by Colonel Mallery in his paper in the Tenth Annual Report of the Bureau of Ethnology, where it is illustrated by a colored plate from a picture by the Indian story teller. According to this version, the pipe maiden was the mysterious white Buffalo Cow, and brought, with the pipe, a package of four grains of maize of different colors. This corn sprang from the milk which dropped from her udder, and was thus, with the flesh of the buffalo itself, appointed from the beginning to be the food of all the red tribes. The seeming snakes about her waist and ankles were really blades of grass (corn?). She taught the people to call her “grandmother,” a reverential title among Indians, and after leading them to her relatives, the buffalo, she faded from their sight as they stood gazing at her.

The pipe holds an important part in the mythology and ritual of almost all our tribes, east and west, and no great ceremony is complete and no treaty was ever ratified without it. It is generally symbolic of peace and truth. As a peace emblem, it was formerly carried by every bearer of a friendly message from one tribe to another and was smoked in solemn ratification of treaties, the act of smoking being itself in the nature of an oath. Among the prairie tribes an individual accused of crime is offered the sacred pipe, and if he accepts it and smokes he is declared innocent, as no Indian would dare to smoke it if guilty. The ordinary ceremonial pipe of the prairie tribes is made of the red stone, known as catlinite, from the famous pipestone quarry in Minnesota in the old country of the Sioux. The peace pipe of the Cherokee was made of a white stone, somewhat resembling talc, from a quarry near Knoxville, Tennessee. It is said to have had seven stem holes, emblematic of the seven clans of the Cherokee, and was smoked by seven counselors at the same time. In every case the tribe has a legend to account for the origin of the pipe. A flat pipe is the tribal “medicine” of the Arapaho, and is still preserved with the northern band in Wyoming. (See Arapaho songs 1 and 2.) Besides the stone pipe, there are also in use pipes of clay or bone, as well as cigarettes, but as a rule no ceremonial character attaches to these. In ceremonial smoking the pipe is passed around the circle of councilors, each of whom takes only a few whiffs and then hands it to his neighbor. Each one as he receives the pipe offers it first to the sun, holding the bowl up toward the sky and saying, “Grandfather, smoke;” then to the earth, the fire, and perhaps also to each of the four cardinal points and to one or another of their mythologic heroes. Among the KiowaI have seen a man hold up the pipe to the sky, saying, “Smoke, Sinti” (Sinti being their great mythologic trickster), and then in the same way, “Smoke, Jesus.”

In the Ghost dance at Rosebud and Pine Ridge, as usually performed, a young woman stood in the center of the circle holding out a pipe toward the messiah in the west, and remained thus throughout the dance. Another young woman usually stood beside her holding out abäqatiwheel (seeArapaho song 49) in the same way. This feature of the dance is said to have been introduced by Short Bull.

He tuwe′cha he u echa′ni hwo?He tuwe′cha he u echa′ni hwo?Huñku oki′le chaya he u hwo?Huñku oki′le chaya he u hwo?A′te-ye he′ye lo,A′te-ye he′ye lo.

He tuwe′cha he u echa′ni hwo?

Huñku oki′le chaya he u hwo?

A′te-ye he′ye lo,

A′te-ye he′ye lo.

Translation

Who think you comes there?Who think you comes there?Is it someone looking for his mother?Is it someone looking for his mother?Says the father,Says the father.

Who think you comes there?

Is it someone looking for his mother?

Says the father,

Says the father.

In this the singer tells how he was greeted by his former friend upon entering the spirit world, to which he had gone in search of his mother.

Wana′yañ ma′niye,Wana′yañ ma′niye.Tata′ñka wañ ma′niye,Tata′ñka wañ ma′niye,A′te he′ye lo,A′te he′ye lo.

Wana′yañ ma′niye,

Wana′yañ ma′niye.

Tata′ñka wañ ma′niye,

A′te he′ye lo,

A′te he′ye lo.

Translation

Now he is walking,Now he is walking.There is a buffalo bull walking,There is a buffalo bull walking,Says the father,Says the father.

Now he is walking,

Now he is walking.

There is a buffalo bull walking,

Says the father,

Says the father.

The maker of this song, in her vision of the spirit world, evidently saw a herd of buffalo, with a bull walking about near them. The form of the verb shows that a woman is supposed to be talking.

Lechel miyo′qañ-kte lo—Yo′yoyo′!Lechel miyo′qañ-kte lo—Yo′yoyo′!Taku maka′ a-icha′gha hena mita′wa-ye lo—Yo′yoyo′!Taku maka′ a-icha′gha hena mita′wa-ye lo—Yo′yoyo′!A′te he′ye lo—Yo′yoyo′!A′te he′ye lo—Yo′yoyo′!E′ya Yo′yoyo′!E′ya Yo′yoyo′!

Lechel miyo′qañ-kte lo—Yo′yoyo′!

Taku maka′ a-icha′gha hena mita′wa-ye lo—Yo′yoyo′!

A′te he′ye lo—Yo′yoyo′!

E′ya Yo′yoyo′!

Translation

This is to be my work—Yo′yoyo′!This is to be my work—Yo′yoyo′!All that grows upon the earth is mine—Yo′yoyo′!All that grows upon the earth is mine—Yo′yoyo′!Says the father—Yo′yoyo′!Says the father—Yo′yoyo′!E′ya Yo′yoyo′!E′ya Yo′yoyo′!

This is to be my work—Yo′yoyo′!

All that grows upon the earth is mine—Yo′yoyo′!

Says the father—Yo′yoyo′!

E′ya Yo′yoyo′!

Michinkshi′yi tewa′qila che—Ye′ye′!Michinkshi′yi tewa′qila che—Ye′ye′!Oya′te-ye i′nichagha′pi-kta che—Ye′ye′!Oya′te-ye i′nichagha′pi-kta che—Ye′ye′!A′teye he′ye lo,A′teye he′ye lo.Haye′ye′ E′yayo′yo′!Haye′ye′ E′yayo′yo′!

Michinkshi′yi tewa′qila che—Ye′ye′!

Oya′te-ye i′nichagha′pi-kta che—Ye′ye′!

A′teye he′ye lo,

A′teye he′ye lo.

Haye′ye′ E′yayo′yo′!

Translation

I love my children—Ye′ye′!I love my children—Ye′ye′!You shall grow to be a nation—Ye′ye′!You shall grow to be a nation—Ye′ye′!Says the father, says the father.Haye′ye′ E′yayo′yo′! Haye′ye′ E′yayo′yo′!

I love my children—Ye′ye′!

You shall grow to be a nation—Ye′ye′!

Says the father, says the father.

Haye′ye′ E′yayo′yo′! Haye′ye′ E′yayo′yo′!

Mila kiñ hiyu′michi′chiyana,Mila kiñ hiyu′michi′chiyana.Wa′waka′bla-kte—Ye′ye′!Wa′waka′bla-kte—Ye′ye′!Oñchi he′ye lo—Yo′yo′!Oñchi he′ye lo—Yo′yo′!Puye chiñyi wa′sna wakaghiñyiñ-kte,Puye chiñyi wa′sna wakaghiñyiñ-kte,Oñchi heye lo—Yo′yo!Oñchi heye lo—Yo′yo!

Mila kiñ hiyu′michi′chiyana,

Mila kiñ hiyu′michi′chiyana.

Wa′waka′bla-kte—Ye′ye′!

Oñchi he′ye lo—Yo′yo′!

Puye chiñyi wa′sna wakaghiñyiñ-kte,

Oñchi heye lo—Yo′yo!

Translation

Give me my knife,Give me my knife,I shall hang up the meat to dry—Ye′ye′!I shall hang up the meat to dry—Ye′ye′!Says grandmother—Yo′yo′!Says grandmother—Yo′yo′!When it is dry I shall make pemmican,When it is dry I shall make pemmican,Says grandmother—Yo′yo!Says grandmother—Yo′yo!

Give me my knife,

I shall hang up the meat to dry—Ye′ye′!

Says grandmother—Yo′yo′!

When it is dry I shall make pemmican,

Says grandmother—Yo′yo!

This song brings up a vivid picture of the old Indian life. In her trance vision the old grandmother whose experience it relates came upon her friends in the spirit world just as all the women of the camp were engaged in cutting up the meat for drying after a successful buffalo hunt. In her joy she calls for her knife to assist in the work, and says that as soon as the meat is dry she will make some pemmican.

Fig. 103—Jerking beef.

In the old days an Indian camp during the cutting up of the meat after a buffalo hunt was a scene of the most joyous activity, some faint recollection of which still lingers about ration day at the agency. Thirty years ago, when a grand hunt was contemplated, preparations were made for days and weeks ahead. Couriers were sent out to collect the neighboring bands at a common rendezvous, medicine-men began their prayers and ceremonies to attract the herd, the buffalo songs were sung, and finally when all was ready the confederated bands or sometimes the whole tribe—men, women, children, horses, dogs, and travois—moved out into the buffalo grounds. Here the immense camp of hundreds of tipis was set up, more ceremonies were performed,and the mounted warriors rode out in a body to surround and slaughter the herd. The women followed close after them to strip the hides from the fresh carcasses and cut out the choice portion of the meat and tallow and bring it into camp. Here the meat was cut into thin strips and hung upon frames of horizontal poles to dry, while the tallow was stripped off in flakes. In the dry prairie atmosphere one day is usually sufficient to cure the meat, without the aid of salt or smoke. When thus dried it is known as “jerked beef.” While the meat is fresh, for the first day or two the camp is a scene of constant feasting, the juicy steaks or the sweet ribs being kept broiling over the coals in one tipi or another until far into the night. It is the harvest home of the prairie tribes. As soon as the meat is dry, the tipis are taken down and packed into the wagons along with the meat, and one family after another starts for home until in a short time the great camp is a thing of the past.

The jerked beef or venison is commonly prepared for eating by being boiled until reasonably tender. In eating, the Indian takes a strip thus cooked, dips one end into a soup made by dissolving some salt in warm water, takes the portion thus salted between his teeth, and saws off enough for a mouthful with a knife held in his other hand. Between mouthfuls he takes bites from a strip of dried tallow placed in the dish with the meat.

For pemmican the jerked beef or other meat is toasted over a fire until crisp and is then pounded into a hash with a stone hammer. In the old times a hole was dug in the ground and a buffalo hide was staked over so as to form a skin dish, into which the meat was thrown to be pounded. The hide was that from the neck of the buffalo, the toughest part of the skin, the same used for shields, and the only part which would stand the wear and tear of the hammers. In the meantime the marrow bones are split up and boiled in water until all the grease and oil come to the top, when it is skimmed off and poured over the pounded beef. As soon as the mixture cools, it is sewed up into skin bags (not the ordinary painted parfléche cases) and laid away until needed. It was sometimes buried or otherwise cached. Pemmican thus prepared will keep indefinitely. When prepared for immediate use, it is usually sweetened with sugar, mesquite pods, or some wild fruit mixed and beaten up with it in the pounding. It is extremely nourishing, and has a very agreeable taste to one accustomed to it. On the march it was to the prairie Indian what parched corn was to the hunter of the timber tribes, and has been found so valuable as a condensed nutriment that it is extensively used by arctic travelers and explorers. A similar preparation is in use upon the pampas of South America and in the desert region of South Africa, while the canned beef of commerce is an adaptation from the Indian idea. The name comes from the Cree language, and indicates something mixed with grease or fat. (Lacombe.)

Le he′yahe′—Ye′ye!Le he′yahe′—Ye′ye!Kañghi-ye oya′te-ye cha-ya waoñ we lo,Kañghi-ye oya′te-ye cha-ya waoñ we lo.

Le he′yahe′—Ye′ye!

Kañghi-ye oya′te-ye cha-ya waoñ we lo,

Kañghi-ye oya′te-ye cha-ya waoñ we lo.

Translation

This one says—Ye′ye!This one says—Ye′ye!I belong indeed to the nation of Crows,I belong indeed to the nation of Crows.

This one says—Ye′ye!

I belong indeed to the nation of Crows,

I belong indeed to the nation of Crows.

This song may better be rendered, “I am a Crow nation,” i. e., I represent the nation of Crows, the Crow nation probably typifying the spirits of the dead in the other world, as explained inArapaho song 36. In several of the ghost songs there occur such expressions as “I am a Crow,” “the Crow woman is going home,” etc. Compare Sioux song 18.

Niya′te-ye′ he′uw′e, niya′te-ye′ he′uw′e,Wa′ñbăli gălĕ′shka wa′ñ-yañ nihi′youwe,Wa′ñbăli gălĕ′shka wa′ñ-yañ nihi′youwe.

Niya′te-ye′ he′uw′e, niya′te-ye′ he′uw′e,

Wa′ñbăli gălĕ′shka wa′ñ-yañ nihi′youwe,

Wa′ñbăli gălĕ′shka wa′ñ-yañ nihi′youwe.

Translation

It is your father coming, it is your father coming,A spotted eagle is coming for you,A spotted eagle is coming for you.

It is your father coming, it is your father coming,

A spotted eagle is coming for you,

A spotted eagle is coming for you.

This song probably refers to a transformation trance vision, such as is frequently referred to in the ghost songs, where the spirit friend suddenly assumes the form of a bird, a moose, or some other animal.

Miyo′qañ kiñ wañla′ki—Ye′yeye′!Miyo′qañ kiñ wañla′ki—Ye′yeye′!Hena wa′ñlake,Hena wa′ñlake,Ha′eye′ya he′yeye′,Ha′eye′ya he′yeye′.

Miyo′qañ kiñ wañla′ki—Ye′yeye′!

Hena wa′ñlake,

Ha′eye′ya he′yeye′,

Ha′eye′ya he′yeye′.

Translation

You see what I can do—Ye′yeye′!You see what I can do—Ye′yeye′!You see them, you see them,Ha′eye′ya he′yeye′! Ha′eye′ya he′yeye′!

You see what I can do—Ye′yeye′!

You see them, you see them,

Ha′eye′ya he′yeye′! Ha′eye′ya he′yeye′!

In this song the Father is probably represented as calling his children to witness that he has shown them visions of the spirit world and their departed friends.

E′yaye′ye′! E′yaye′ye′!Michĭ′nkshi mita′waye,Michĭ′nkshi mita′waye.

E′yaye′ye′! E′yaye′ye′!

Michĭ′nkshi mita′waye,

Michĭ′nkshi mita′waye.

Translation

E′yaye′ye′! E′yaye′ye′!It is my own child,It is my own child.

E′yaye′ye′! E′yaye′ye′!

It is my own child,

It is my own child.

The form of the verb indicates that this song was composed by a woman, who had evidently met her dead child in the spirit world.

A′te he′ u-we, A′te he′ u-we,A′te eya′ya he′ u-we′ lo,A′te eya′ya he′ u-we′ lo,Ya′nipi-kta′ e′ya u′-we lo,Ya′nipi-kta′ e′ya u′-we lo.

A′te he′ u-we, A′te he′ u-we,

A′te eya′ya he′ u-we′ lo,

Ya′nipi-kta′ e′ya u′-we lo,

Ya′nipi-kta′ e′ya u′-we lo.

Translation

There is the father coming,There is the father coming.The father says this as he comes,The father says this as he comes,“You shall live,” he says as he comes,“You shall live,” he says as he comes.

There is the father coming,

There is the father coming.

The father says this as he comes,

“You shall live,” he says as he comes,

“You shall live,” he says as he comes.

This is a reiteration of the messiah’s promise of eternal life in the new spirit world.

Wa′sna wa′tiñ-kta′—E′yeye′yeye′!Wa′sna wa′tiñ-kta′—E′yeye′yeye′!Le′chiya′-ya eya′pi-lo—E′yeye′yeye′!Le′chiya′-ya eya′pi-lo—E′yeye′yeye′!E′ya he′-ye lo, E′ya he′-ye lo,A′te-ye he′ye lo, A′te-ye he′ye lo.

Wa′sna wa′tiñ-kta′—E′yeye′yeye′!

Le′chiya′-ya eya′pi-lo—E′yeye′yeye′!

E′ya he′-ye lo, E′ya he′-ye lo,

A′te-ye he′ye lo, A′te-ye he′ye lo.

Translation

I shall eat pemmican—E′yeye′yeye′!I shall eat pemmican—E′yeye′yeye′!They say so, they say so,The father says so, the father says so.

I shall eat pemmican—E′yeye′yeye′!

They say so, they say so,

The father says so, the father says so.

For the explanation of this song reference, see song number 7.

A′te lena ma′qu-we—Ye′ye′ye′!A′te lena ma′qu-we—Ye′ye′ye′!Peta wañ—yañyañ ma′qu-we—Ye′ye′ye′!Peta wañ—yañyañ ma′qu-we—Ye′ye′ye′!A′te ma′qu-we—Ye′ye′ye′!A′te ma′qu-we—Ye′ye′ye′!

A′te lena ma′qu-we—Ye′ye′ye′!

Peta wañ—yañyañ ma′qu-we—Ye′ye′ye′!

A′te ma′qu-we—Ye′ye′ye′!

Translation

It was the father who gave us these things—Ye′ye′ye′!It was the father who gave us these things—Ye′ye′ye′!It was the father who gave us fire—Ye′ye′ye′!It was the father who gave us fire—Ye′ye′ye′!The father gave it to us—Ye′ye′ye′!The father gave it to us—Ye′ye′ye′!

It was the father who gave us these things—Ye′ye′ye′!

It was the father who gave us fire—Ye′ye′ye′!

The father gave it to us—Ye′ye′ye′!

This was frequently used as the opening song of the Sioux Ghost dance. Fire is held in reverence among all Indian tribes as one of the greatest gifts of the Author of Life, and every tribe has a myth telling how it originated and how it was obtained by the people. In most of these myths the fire is represented as being at first in the possession of some giant or malevolent monster, from whom it is finally stolen by a hero, after a series of trials and difficulties worthy of the heroes of the Golden Fleece.

Ina′ he′kuwo′; ina′ he′kuwo′.Misu′nkala che′yaya oma′ni-ye,Misu′nkala che′yaya oma′ni-ye.I′na he′kuwo′; i′na he′kuwo′.

Ina′ he′kuwo′; ina′ he′kuwo′.

Misu′nkala che′yaya oma′ni-ye,

Misu′nkala che′yaya oma′ni-ye.

I′na he′kuwo′; i′na he′kuwo′.

Translation

Mother, come home; mother, come home.My little brother goes about always crying,My little brother goes about always crying.Mother, come home; mother, come home.

Mother, come home; mother, come home.

My little brother goes about always crying,

My little brother goes about always crying.

Mother, come home; mother, come home.

This touching song was a favorite among the Sioux. It was composed by a young woman who saw her dead mother in the other world, and on waking out of her trance vision implores the mother to come back to them again, as her little brother is forever crying after her.

Wa′na wanasa′pi-kta,Wa′na wanasa′pi-kta.Ŭñchi′ ita′zipa michu′-ye,Ŭñchi′ ita′zipa michu′-ye,A′te he′ye lo, a′te he′ye lo.

Wa′na wanasa′pi-kta,

Wa′na wanasa′pi-kta.

Ŭñchi′ ita′zipa michu′-ye,

A′te he′ye lo, a′te he′ye lo.

Translation

Now they are about to chase the buffalo,Now they are about to chase the buffalo,Grandmother, give me back my bow,Grandmother, give me back my bow,The father says so, the father says so.

Now they are about to chase the buffalo,

Grandmother, give me back my bow,

The father says so, the father says so.

The author of this song, in his trance vision of the spirit world, sees his old-time friends about to start on a buffalo hunt, and calls to his grandmother to give him back his bow, so that he may join them. Theform, “give it back to me,” is intended to show how far remote is the old life of the Indians, before they used the guns and other things of the white man. The last line has no particular connection with the rest, except as a common refrain of the ghost songs.

He′! kii′ñyañka a′gali′-ye,He′! kii′ñyañka a′gali′-ye,Wañ! le′chiya wanasa′pi-kta′ keya′pi lo,Wañ! le′chiya wanasa′pi-kta′ keya′pi lo,Wañhi′nkpe ka′gha-yo!Wañhi′nkpe ka′gha-yo!A′te he′ye lo, A′te he′ye lo.

He′! kii′ñyañka a′gali′-ye,

Wañ! le′chiya wanasa′pi-kta′ keya′pi lo,

Wañhi′nkpe ka′gha-yo!

A′te he′ye lo, A′te he′ye lo.

Translation

He!They have come back racing,He!They have come back racing,Why, they say there is to be a buffalo hunt over here,Why, they say there is to be a buffalo hunt over here,Make arrows! Make arrows!Says the father, says the father.

He!They have come back racing,

Why, they say there is to be a buffalo hunt over here,

Make arrows! Make arrows!

Says the father, says the father.

This song may be considered supplementary to the last. In the old times, when going on a buffalo hunt, it was customary among the Sioux to send out a small advance party to locate the herd. On finding it, these men at once returned at full gallop to the main body of hunters, but instead of stopping on reaching them they dashed past and then turned and fell in behind. It is to this custom that the first line refers. The author of the song, on waking up in the spirit world, sees the scouting party just dashing in with the news of the presence of the buffalo. Everyone at once prepares to join the hunt and “the father” commands him to make (or get ready) his arrows and go with them.

Mi′ye wañma′yañka-yo!Mi′ye wañma′yañka-yo!Ka′ñghi oya′te wañ chañku′ waka′ghe lo,Ka′ñghi oya′te wañ chañku′ waka′ghe lo,Yani′pi-kta′-cha, yani′pi-kta′-cha.Kola he′ye lo, kola he′ye lo.

Mi′ye wañma′yañka-yo!

Ka′ñghi oya′te wañ chañku′ waka′ghe lo,

Yani′pi-kta′-cha, yani′pi-kta′-cha.

Kola he′ye lo, kola he′ye lo.

Translation

Look at me! Look at me!I make a road for one of the Crow nation (?),I make a road for one of the Crow nation (?).You shall live indeed, you shall live indeed.Our friend says so, our friend says so.

Look at me! Look at me!

I make a road for one of the Crow nation (?),

I make a road for one of the Crow nation (?).

You shall live indeed, you shall live indeed.

Our friend says so, our friend says so.

The idea of this song is somewhat similar to that of number 8. It has no reference to the Crow Indians. As has been already explained,the crow is symbolic of the spirit world, and when the “friend”—the father or messiah—declares that he makes a road for one of the Crow nation he means that he has prepared the way for the return of their friends who are gone before.

Maka′ sito′maniyañ ukiye,Oya′te uki′ye, oya′te uki′ye,Wa′ñbali oya′te wañ hoshi′hi-ye lo,Ate heye lo, ate heye lo,Maka o′wañcha′ya uki′ye.Pte kiñ ukiye, pte kiñ ukiye,Kañghi oya′te wañ hoshi′hi-ye lo,A′te he′ye lo, a′te he′ye lo.

Maka′ sito′maniyañ ukiye,

Oya′te uki′ye, oya′te uki′ye,

Wa′ñbali oya′te wañ hoshi′hi-ye lo,

Ate heye lo, ate heye lo,

Maka o′wañcha′ya uki′ye.

Pte kiñ ukiye, pte kiñ ukiye,

Kañghi oya′te wañ hoshi′hi-ye lo,

A′te he′ye lo, a′te he′ye lo.

Translation

The whole world is coming,A nation is coming, a nation is coming,The Eagle has brought the message to the tribe.The father says so, the father says so.Over the whole earth they are coming.The buffalo are coming, the buffalo are coming,The Crow has brought the message to the tribe,The father says so, the father says so.

The whole world is coming,

A nation is coming, a nation is coming,

The Eagle has brought the message to the tribe.

The father says so, the father says so.

Over the whole earth they are coming.

The buffalo are coming, the buffalo are coming,

The Crow has brought the message to the tribe,

The father says so, the father says so.

This fine song summarizes the whole hope of the Ghost dance—the return of the buffalo and the departed dead, the message being brought to the people by the sacred birds, the Eagle and the Crow. The eagle known aswañ′baliis the war eagle, from which feathers are procured for war bonnets.

Le′na wa′kañ waka′gha-che,A′te he′ye lo, a′te he′ye lo,O′găle kiñhañ wakañ waka′gha-che,A′te he′ye lo, a′te he′ye lo,Chănoñ′pa kiñ waka′gha-che,A′te he′ye lo, a′te he′ye lo.

Le′na wa′kañ waka′gha-che,

A′te he′ye lo, a′te he′ye lo,

O′găle kiñhañ wakañ waka′gha-che,

A′te he′ye lo, a′te he′ye lo,

Chănoñ′pa kiñ waka′gha-che,

A′te he′ye lo, a′te he′ye lo.

Translation

It is I who make these sacred things,Says the father, says the father.It is I who make the sacred shirt,Says the father, says the father.It is I who made the pipe,Says the father, says the father.

It is I who make these sacred things,

Says the father, says the father.

It is I who make the sacred shirt,

Says the father, says the father.

It is I who made the pipe,

Says the father, says the father.

This song refers to the sacred pipe (seeSioux song 2andArapaho song 2) and the ghost shirt.

Miyo′qañ kiñ chichu′-che,A′te he′ye lo′, a′te he′ye lo′,O′găle kiñ ni′niye′-kta,A′te he′ye lo′, a′te he′ye lo′.

Miyo′qañ kiñ chichu′-che,

A′te he′ye lo′, a′te he′ye lo′,

O′găle kiñ ni′niye′-kta,

A′te he′ye lo′, a′te he′ye lo′.

Translation

Verily, I have given you my strength,Says the father, says the father.The shirt will cause you to live,Says the father, says the father.

Verily, I have given you my strength,

Says the father, says the father.

The shirt will cause you to live,

Says the father, says the father.

This song also refers to the ghost shirt, which was supposed to make the wearer invulnerable.

Michĭ′nkshi tahe′na ku′piye,Michĭ′nkshi tahe′na ku′piye,Mako′che wañ washte aya′găli′pi-kte,A′te he′ye lo′, a′te he′ye lo′.

Michĭ′nkshi tahe′na ku′piye,

Mako′che wañ washte aya′găli′pi-kte,

A′te he′ye lo′, a′te he′ye lo′.

Translation

My child, come this way,My child, come this way.You will take home with you a good country,Says the father, says the father.

My child, come this way,

My child, come this way.

You will take home with you a good country,

Says the father, says the father.

This song may refer to the vision of the new earth, which the messiah showed to the Sioux delegates when they visited him. (Seepage 797.) The first line means literally “return in this direction,” the imperative form used being between a command and an entreaty.

Wana wichĕ′shka a′ti-ye,Wana wichĕ′shka a′ti-ye.Wihu′ta oho′măni, wihu′ta oho′măni,Oka′tañna, oka′tañna,Koyañ wowa′hiñ-kte,Koyañ wowa′hiñ-kte.

Wana wichĕ′shka a′ti-ye,

Wana wichĕ′shka a′ti-ye.

Wihu′ta oho′măni, wihu′ta oho′măni,

Oka′tañna, oka′tañna,

Koyañ wowa′hiñ-kte,

Koyañ wowa′hiñ-kte.

Translation

Now set up the tipi,Now set up the tipi.Around the bottom,Around the bottom,Drive in the pegs,Drive in the pegs.In the meantime I shall cook,In the meantime I shall cook.

Now set up the tipi,

Now set up the tipi.

Around the bottom,

Drive in the pegs,

Drive in the pegs.

In the meantime I shall cook,

In the meantime I shall cook.

The form of the verboka′tañnashows that it is a woman speaking, even if we did not learn this from the context. To those who know the Indian life it brings up a vivid picture of a prairie band on the march, halting at noon or in the evening. As soon as the halt is called by some convenient stream, the women jump down and release the horses from the wagons (or the travois in the old times, and hobble them toprevent them wandering away. Then, while some of the women set up the tipi poles, draw the canvas over them, and drive in the pegs around the bottom and the wooden pins up the side, other women take axes and buckets and go down to the creek for wood and water. When they return, they find the tipis set up and the blankets spread out upon the grass, and in a few minutes fires are built and the meal is in preparation. The woman who composed the song evidently in her vision accompanied her former friends on such a march.

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