Indian Games and Dances with Native Songs Part 5

The dances for each kind of flower will require practice, for the character of each flower should be well brought out; the gentleness of the Violets can make a charming contrast to the waywardness of the Wild-roses and the pliant Daisies who are at home everywhere.

APPEAL FOR CLEAR SKY

INTRODUCTORY NOTE.--Among those Indian tribes that lived outside the semi-arid sections of our country, the storm with its destructive force was the representative of war, and thunder was a war G.o.d.

Warfare was widespread among the tribes dwelling in the Mississippi valley; yet among these people the desirability and value of peace were recognized.

Honors won in a defensive fight gave the warrior higher rank than those gained in wars of aggression. Rituals belonging to religious ceremonies, and also to war rites, taught that the first duty of the warrior was to protect the women and children, the fields and the food supply, for his strong arm and ready courage made the tribe's only wall of defence against enemies.

These tribes had ceremonies relating to the maintenance of peace not only within the tribe but for the purpose of forming peaceful relations with other tribes. The clear sky was the symbol of peace, of happiness and of prosperity, conditions the very opposite of those that attended war.

When a peace ceremony was in progress, if a storm arose it was looked upon as an omen of disaster. At such a time, when clouds gathered, the people joined in ceremonial songs and appeals for clear sky, the symbol of peace.

The following dramatic dance and the accompanying songs are employed on such an occasion. The songs are taken from ceremonies used to promote peace.

_Properties_.--Staffs, about three feet long, with small blue flags, as many as there are dancers, the same number of blue head-bands and blue sashes. The latter are to be worn from the right shoulder across the breast and tied at the waist under the left arm. A drum.

_Directions_.--This dance belongs to both s.e.xes and boys and girls should, if possible, join in it.

THE DANCE

All the dancers stand facing the East, in one or more rows deep, according to the number, their staffs held in the right hand so that the flags will hang in front of each dancer, covering the chest, as they begin the following song:

Song No. 1

Away, away, dark clouds, away!

Leave the sky!

Go far away, dark clouds, to-day!

Leave the sky!

Stormy clouds, go far away, far away, Stormy clouds, no longer stay!

Leave the sky!

Go far away, dark clouds, to-day!

Leave the sky!

Stormy clouds, go far way, far away!

Stormy clouds, begone!

[Music]

FIRST APPEAL

In the first line at each "away" the dancers should look up toward the East and move a step forward in that direction. At the line "Leave the sky!"

they should point their flags toward the East, keeping the staff out on a level with the body, and accent it by thrusting it forward as if pointing to the East, being careful not to change the level of the staff. At the second "Leave the sky!" the level of the staffs must be raised to about the chin of the dancer and the same pointing motion repeated at this level. At the third "Leave the sky!" the staffs are raised to the level of the dancers' eyes and the same pointing movement repeated. At the fourth "Leave the sky!" the level of the staffs is raised to a line with the top of the head and the pointing motions again given. At the last line, "Stormy clouds, begone!" the staffs and flags should be raised aloft and waved with precision to the rhythm of the song. The steps and movements of the body should be that of backward and forward, to give a pulsating effect, all in exact time with the music. The drum should be beaten in 4/8 time, the first and third stroke heavier than the second and fourth. This series of movements const.i.tutes the Appeal to the East.

The dancers next turn to the North, repeat the song and all the movements of staff and body in exactly the same manner.

The dancers now turn toward the West and go through the song and movements without any variation.

They then turn toward the South and repeat song and movements as before.

This brings the First Appeal to a close.

SECOND APPEAL

All the dancers gather in a loose group in the center of the open s.p.a.ce, where they divide into two lines that must cross each other at right angles. When this cross-figure is formed, all, as they stand, should face the East. The staffs should be held at an angle similar to that of a baton and then swayed to the rhythm of the following song of pleading and of hope:

Song No. 2

Come, soft skies of blue, O'er the earth of verdant hue Bend in peace!

Clouds by thy sunny breath all are gone, Blue Sky!

Joy now fills our hearts anew, Sorrows cease; Songs of birds sing of thy peace, Blue Sky!

[Music]

As the dancers sing they should take a step sidewise to the right, then return to the first position; then a step to the left and return, so that the whole cross-figure has a swaying motion accentuating the rhythm of the song, which should be sung smoothly and flowingly. When the words "Blue Sky!" are sung the flags should be raised aloft and waved in rhythm and then returned to the previous level. The song should be repeated several times and the figure maintained as the singers face the North, West, South and back to the East. Then the dancers should break into groups and, still singing the song and dancing rhythmically, disperse to their tents.

The He-de Wa-chi

AN OMAHA FESTIVAL OF JOY

INTRODUCTORY NOTE.--For centuries the home of the Omaha tribe has been in the region now known as the State of Nebraska, north of the city which bears their name. There they dwelt in permanent villages, surrounded by their garden plots of corn, beans, squashes, etc. From these villages every year in June all the tribes except the sick and infirm went forth to follow the buffalo herds in order to obtain their supply of meat and pelts. As this tribal hunt was essential to the needs of the life of the people, it was a very serious affair, initiated with religious ceremonies and conducted under strict rules enforced by duly appointed officers. It was at the close of this great tribal hunt, when food and clothing had been secured, while Summer lingered and the leaves had not yet begun to fall, so that brightness was still over the land, that this Festival of Joy took place. Like all Indian ceremonies, the He-de Wa-chi embodied a teaching that was for the welfare of the tribe, a teaching drawn from nature and dramatically enacted by the people. The Omaha tribe was made up of ten distinct groups, each one having its own name, a set of names for those born within the group, and certain religious symbols and ceremonies committed to its care. By tribal rites and regulations these ten distinct groups were welded together to form the tribe, whose strength and prosperity depended upon internal harmony and unity.

The He-de Wa-chi taught the people what this unity really stood for. The central object of the ceremony was a tree, which was the symbol of the tribe; its branches were as the different groups composing the tribe, the twigs that made up the branches were as the individuals that formed the groups.

The Omaha had special ceremonies for the preparation of the central object.

They cut a tree, left a tuft of branches at the top and painted the trunk in alternate bands of red and black. The red bands represented day, the black, night; the decoration as a whole stood for the continuity of life.

This pole was planted in a broad open s.p.a.ce. As the melodious Call to the Ceremony echoed over the land, the people gathered from their tents. Each one of the ten groups took its respective place and all the groups formed a wide circle about the tree. Every one, down to the little children, carried a twig with leaves. These they held aloft as they made their rhythmic, ceremonial approaches to the tree, and afterward danced about the sacred symbol.

It was a wonderful and a beautiful scene that took place on the prairies years ago, when hundreds of Omahas moved to the rhythm of the sacred songs, waving the green sprays as they danced up to the symbolic tree and circled about it with thanksgiving and joy. It was thus they exemplified tribal unity, wherein every one was a part of the living whole.

This ancient American ceremony should live anew with us wherever we gather to enjoy the delights of nature in goodly company.

_Directions_.--It may be difficult to prepare a young tree for the central pole after the manner of the Omaha; if so, a s.p.a.ce around a single tree can be made to serve. Bands of red and black muslin or paper should be put about the tree trunk; these are to symbolize the days and nights enjoyed during the camp life. The members of the camp should be divided into groups and each group have a name and a color. Small branches should be gathered, equal in number to those who will take part in the dance. If actual branches are not available, wands can be used; to these fluttering decorations of green paper should be attached, also a streamer the color of the group. Each group should be a.s.signed a place in the wide circle that is to be made about the tree.

When all are ready the following Call should be sung. The Indian words are retained, as they are easy to p.r.o.nounce and fit the meaning, and are adapted to the long echoing cadences of the Call.

Song No. 1

THE CALL

Zha-wa i-ba i-ba e-he, Zha-wa i-ba i-ba ha e-he.

[Music]

[Words: Zha-wa = to rejoice; i-ba = come; ha = vowel prolongation of the syllable ba; e-he = I bid you. "I bid you come to rejoice."]

This English translation of the native words does not convey the stirring appeal of the Omaha: "To rejoice! Come! I bid you." The stress of the music of the Call is on "Zha-wa," to rejoice; the notes which carry the words "e-he," "I bid you," seem to float afar as if to reach the most distant member of the tribe with the summons. The cadence of the Call echoes itself, as the second line is like the first, only lower in tones.