Part 13

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

To understand the significance of these songs, it should be known that two distinct groups or parties were indispensable to the performance of the ceremony; namely, they who brought the "calumets" and they who received them. As it was imperative that there should be no blood relationship between these two parties, they always belonged to different tribes or to two distinct kinship groups within the tribe. The party bringing the "calumets" was called "the father," while those receiving them were "the children." These terms refer to the tie about to be formed between the two unrelated parties by means of this sacred ceremony. This tie was esteemed more honourable and binding than the natural bond of father and son.

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

The following choral was sung immediately after the "calumets" had been ceremonially taken from their resting-place, with movements that simulated the eagle rising from its nest. The bearers then faced the people, seated on the ground against the wall of the lodge, and with slow rhythmic steps moved around the circle, waving the "calumets" over the heads of the multitude. As the "calumets" passed slowly by, the people took up the choral, until at last the great lodge resounded with its majestic cadences. The leaping flames from the central fire lit up the faces of the hundreds of men and women; while the swaying feathers of the "calumets" cast great wing-like shadows on the glistening roof, and seemed to make real the symbolic presence of the mighty eagle himself, circling over the people as he sped on his mission, bearing the benediction of good will among men.

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

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

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

Omaha.

Harmonized by PROF. J.C. FILLMORE.

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

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

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

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

Otoe.

Harmonized by PROF. J.C. FILLMORE.

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

COMFORTING THE CHILD.

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

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

Pawnee.

Transcribed from Graphophone record and Harmonized by E.S. TRACY.

Ho o Kawas ta wha-ka ra-tsa we Kawas ta wha-ka ra-tsa we Ah he-wi! wha-ka ra-tsa we, Kawas ta wha-ka-ra tsa we.]

The words are in the nature of a prayer, the music has the swing of a lullaby.

Kawas, thy baby is crying! Grieving sore, wailing, and weeping. Aye, forsooth! wailing and weeping, Kawas, thy baby is crying!

Then the bearers took up the "calumets" and moved with slow rhythmic steps toward the crying child, singing as they went and swaying the sacred symbols to the measure of this song. Its meaning was explained to me as follows:--

"Hah-ars (a contraction of the word meaning father) signifies Ti-ra´-wa, the power that animates all things, all animals, all men, the heavens, and the earth. Ti-ra´-wa is represented by the Hako (the 'calumets'), and it is this power which now approaches to console the child."

In the music one hears the coming of Ti-ra´-wa in the footsteps of his creatures, both great and small.

Thy father is coming, E'en now he is near thee; Cry no more: the mighty one, Thy father, is coming!