The maker of this song, in her vision of the spirit world, e_The Ghost-dance religion and the Sioux outbreak of 1890

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.

5. +Lechel miyo′qañ-kte+

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′!_

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′!_

6. +Michinkshi′yi tewa′qila che+

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′!_

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′!_

7. +Mila kiñ hiyu′michi′chiyana+

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,

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.

[Illustration: +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._)

8. +Le he′yahe′+

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!_

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 in Arapaho 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.

9. +Niya′te-ye′ he′uw′e+

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.

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.

10. +Miyo′qañ kiñ wañla′ki+

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 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.

11. +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.

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.

12. +A′te he′ u-we+

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,

“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.

13. +Wa′sna wa′tiñ-kta′+

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′!_

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.

14. +A′te lena ma′qu-we+

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 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.

15. +Ina′ 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.

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.

16. +Wa′na wanasa′pi-kta+

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,

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. The

form, “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.

17. +He′! kii′ñyañka a′gali′-ye+

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,

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.

18. +Mi′ye wañma′yañka-yo+

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.

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.

19. +Maka′ sito′maniyañ+

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.

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 as

_wañ′bali_ is the war eagle, from which feathers are procured for war

bonnets.

20. +Le′na wa′kañ+

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.

This song refers to the sacred pipe (see Sioux song 2 and Arapaho song

2) and the ghost shirt.

21. +Miyo′qañ kiñ chichu′-che+

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.

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

the wearer invulnerable.

22. +Michĭ′nkshi tahe′na+

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.

This song may refer to the vision of the new earth, which the messiah

showed to the Sioux delegates when they visited him. (See page 797.)

The first line means literally “return in this direction,” the

imperative form used being between a command and an entreaty.

23. +Wana wichĕ′shka+

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,

Drive in the pegs,

Drive in the pegs.

In the meantime I shall cook,

In the meantime I shall cook.

The form of the verb _oka′tañna_ shows 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 to

prevent 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.

24. +A′te mi′chuye+

A′te mi′chuye,

Wañhi′nkpe mi′chuye,

A′hiye, a′hiye.

Wa′sna wa′tiñkte,

Wa′sna wa′tiñkte.

_Translation_

Father, give them to me,

Give me my arrows,

Give me my arrows.

They have come, they have come.

I shall eat pemmican,

I shall eat pemmican.

The maker of this song, while in the spirit world, asks and receives

from the Father some of the old-time arrows with which to kill buffalo,

so that he may once more feast upon pemmican.

25. +Hañpa wecha′ghe+

Hañpa wecha′ghe,

Tewa′qila-la he,

Tewa′qila-la he.

Wa′ñbleni′chala he kaye lo,

Toke′cha wa′ñwegalaki′ñ-kte,

Nihu′ñ koñ he he′ye lo,

Nihu′ñ koñ he he′ye lo.

_Translation_

I made moccasins for him,

For I love him,

For I love him.

To take to the orphan,

To take to the orphan.

Soon I shall see my child,

Says your mother,

Says your mother.

This song evidently relates the trance vision of a mother who saw her

child in the spirit world, and expresses the hope that she may soon be

reunited with him. In accordance with the custom of the Ghost dance,

it is probable that she made a pair of moccasins to give him when next

they met, and that she carried them in the dance as she sang.

26. +Waka′ñyañ iñya′ñkiñ-kte+

Waka′ñyañ iñya′nkiñ-kte,

Chañgăle′shka wañ luza′hañ iñya′ñkiñ-kte,

Wañwa′yag upo, wañwa′yag upo,

A′te he′ye lo, a′te he′ye lo.

_Translation_

The holy (hoop) shall run,

The swift hoop shall run,

The swift hoop shall run.

Come and see it,

Says the father,

Says the father.

This song refers to the game wheel and sticks (_bä′qati_, Arapaho)

already described in the Arapaho songs. It is said that the

medicine-man of Big Foot’s band carried such a hoop with him in their

flight from the north, and displayed it in every dance held by the band

until the fatal day of Wounded Knee. A similar hoop was carried and

hung upon the center tree at the dance at No Water’s camp near Pine

Ridge. To the Indian it symbolizes the revival of the old-time games.

SIOUX GLOSSARY

_A′găli_ (_-ye_)—they have returned; _waku_, I am returning or

coming home; _wagali′_, I have returned.

_Ahi′_ (_-ye_)—they have come; _wa-u′_, I come; _hi_, he has come.

_A-icha′gha_—growing upon; from _kagha_, to grow or spring up.

_A′te_ or _Ate-ye_—father; _ate kiñ_, the father; _ate-mita_, my

father; _ni′-ate_, your father; _at-kuku_, his or her father.

_Ye_ is a syllable sometimes added to fill in the meter.

_Ati′-ye_—set up the tipi; here _ye_ is the imperative suffix.

_Aya′găli′pi-kte_—you (plural) will take home with you, you will

bring back with you; from _awa′găle_, I take it home.

_Chañgăle′shka_—a hoop; the _bä′qati_ hoop. See Sioux song 26, and

Arapaho songs.

_Chañku′_—road, trail.

_Chăno′ñpa_—pipe; _o′ñpa_, to smoke; _cha′ñ-li_, tobacco.

_Cha-yani′pi-kta_—you (plural) will live; from _ni′wa-uñ_, I live,

I go about alive; the regular form is _Yanipi-kta_ q. v.

_Cheya′ya_—he is constantly crying. _Wa-che′yă_, I cry; the final

_ya_ implies repetition or habit.

_Chi′cha-u′pi_—I bring it to you (plural). _Chicha_ implies I to

thee, or I mean thee; _u_ implies _come_, from _wa-u_, I come;

_pi_ is the plural participle, and with _chicha_ implies I

bring it to you, or I come with it to you.

_Chichu′-chĕ_—I give it to you, indeed; _waku′_, I give it to him;

_chĕ_ conveys the idea of verily or indeed. Compare _Maqu′-we_.

_Chiñyi_—for _Kiñhiñ_, when, when it is so.

_Echani_—you think so about it; _echa′mi_, I think; _echa′ni hwo_,

who do you think?

_Eya!_—an unmeaning exclamation used in the songs.

_Eya_—he says; _epa_, I say. _Eya′ya_, he reiterates, he says

again; _e′yahe_, _eya′pi_, they say.

_E′yahe_—another form of _eya_, he says, q. v.

_Eya′pi_—they say. Compare _Eya_.

_Eya′ya_—he reiterates, he says again. The final _ya_ implies

repetition. Compare _Eya_.

_E′yaye′ye!_—an unmeaning exclamation used in the songs.

_E′yayo′!_—an unmeaning exclamation used in the songs to fill in

the measure.

_E′yeye′yeye!_—an unmeaning exclamation used in the songs.

_Găle′shka_—spotted.

_Ha′eye′ya!_—an unmeaning exclamation used in the songs.

_Hañpa_—moccasin.

_Ha′yeye′!_—an unmeaning exclamation used in the songs.

_He_—(1) an exclamation, look! look here! (2) an interrogative

particle, after the sentence; (3) the demonstrative “that.”

_Hĕku′wo_—come home now, return home at once; _wa-u_, I come; _he_,

a prefix implying now, or directly.

_He′na_—those, plural of _he_, that.

_He′uwĕ_—that is he coming; from _he_, that; _u_, coming; and _wĕ_,

the feminine particle.

_Heyahe (-ye)_—he says that, he says this; _ye_ is usually the

female suffix. Compare _He′ye_.

_He′ye_—he says.

_He′yeye′!_—an unmeaning exclamation used in the songs.

_Hiyumichi′chiya′na_—hand me my own; _na_, the female imperative

particle.

_Hoshi′hi (-ye)_—he has arrived with a message; he has brought a

message; from _hoshi′_, to tell news, to carry a message.

_Hûñku_—his mother; _inû′ñ_, mother.

_Hwo_—an interrogative sign, used by a man; a woman says _wi_.

_Ina′_—mother; my mother.

_Ini′chaghapi-kte_—you (plural) will grow or live. Compare

_Inichaghe-kte_.

_Inichaghe-kte_—you (singular) will grow, i. e., you will live;

_icha′ghehe_, it is growing.

_Iñyañkiñ-kte_—it shall run; from _iñyañka_, to run.

_Ita′zipa_—a bow (to shoot with).

_Ka′gha-yo_—make them; _waka′ghe_, I make it; _yo_, an imperative

particle.

_Kañghi′_—a crow.

_Kaye_—another form of _kaya_, to take to one.

_Keya′pi_—they say that, they say it; _epa_, to say.

_Kii′ñyañka_—racing; from _iñyañka_, to run; the prefix _ki_

implies a contest or emulation.

_Kiñ_—the.

_Kiñhañ_—explained as another form of _kiñ_; the ordinary meaning

is _when_ or _if_.

_Ko′la_—friend.

_Koñ_—that (demonstrative); it sometimes conveys the idea of

“aforesaid.”

_Ko′yañ_—in the meantime.

_Ku′pi-ye_—you will return.

_Lechel_—thus, in this way; from _le_, this.

_Lechi′ya_—over here in this place; from _le_, this.

_Lena_—these things; from _le_, this.

_Lo_—an emphatic or euphonic particle used at the end of a phrase

or sentence; it may be described as an emphatic or euphonic

period. _Lo_ is used by men, _ye_ by women.

_Lu′zahañ_—swift.

_Maka′_—earth, the earth.

_Mako′che_—a country.

_Mani′ye_—he walks (habitual); _mawani_, I walk; the suffix _ye_

usually denotes a female speaker.

_Maq′pe-Luta_—Red Cloud, the noted chief of the Ogalala Teton Sioux

at Pine Ridge; from _maqpi′ya_, a cloud, and _luta_, red.

_Maqu′-we_—he gave to me, indeed; from _waku′_, I give it; _we_ is

an emphatic particle. Compare _Chichu′-chĕ_.

_Ma′yuza (-ye)_—grasp it with me, let me grasp it.

_Michĭ′nkshi (-yi)_—my son, my offspring; _chĭnksh_, son.

_Mi′chu (-ye)_—give it back to me.

_Mila_—knife.

_Misu′ñkala_—my little brother. _Mi_, my; _la_, the diminutive.

_Mita′wă_ or _Mita′waye_—it is mine, from _mi_, I, my, and _tawă_,

it belongs.

_Mi′ye_—I, myself, me.

_Miyo′qañ_—my power, my work. Compare _Miyo′qañ-kte_.

The maker of this song, in her vision of the spirit world, evidently