pas a i .; ‘ee iy)
io ah. \e rat ’ iv i fea oe
‘t i ce
an: a,
tae ne om a
Mie ‘ 1 : 7 ! : ay yi le
a
“i
it i TFA aia Go ae ra i v 4 Sor 7 isd a nt con 7 igs dh Ki
7 i 4 a 7 , ; Sie Re disse ia sie nar | a
a
it
ioe an Yeas 7
Teepe Se Oe eee aes ey) ee ae Te Par ay, rig Paiva ul) o en av aol a0 ae sai mM i" eal a a kia ie a ia ua nea a , ae ie een we a
7 rin Ware Vy » ¥ Ny i I
ahh I ion ay. ne
my Spent oy iy Ay ae re ne, won x nL ih eK Jad) [ Ve ry Ni y a) = es mM ca Pi cm "i om a) " may! Bhi We iu ‘ ie as ’ F Mh . ae’ Dah a =”? he ee oe f a i nt yi - ay i Py hte ' j a aia x a eit ’ i 7 ie a sh) 7 , hy " i My rs bi i a Me 7 ay ys) a oar \ or Wi Oe Ses ng” dar ee nt ' i i a rh) a oy, cI of ily eh) rae, Aer tha te 4
i fe Ne i D : i a , i : o y i ay oe Py,
7]
i mh i yr : j | eo fel ie ” ra . ' «eo fl a CP AE ie Gi ie oe a i. 7 Pi A i “a ar ve f ay ra a rane We ‘s at 1 fg \ Mii ai on a io ; ce ay 7 oy, cA - yi = o) Rceane Gf oan, ae ie vi ae ceo ne nme py) hv ig i ea ms cle (tan, har), nn a) a ‘iy j a ai 7 vi Net ae a cay ae v1 i y a 2 va “ BORN a: tn Bald a: fe bie a a a % ee Yi ne 7 4) ok * ey ent hn, ” ‘ iy "4 f 7 OY a Ug on ;
" oe yy _ tS al AT ee e ey o a> Bu : es shy Me ca > ts ad ig, <a natn i “i in ae 4 ee He! oi 9 gD a a ¥, iis Ap nah Bra, ee my “re a
° oan my wy" iv 4) "i ie, i ey, eon hy : be) ae 4% AY ea pe, ‘ , oS ue e : \ POs WH AG er ee ae hae B, P< Mag a am oe, ) ay ies an : ih aye rh, ey ei A : ny Oe :
7 i is : .) « -) 4 iy ve ane on a a a ene 7 7 ; eu PI ed i 1 @ ou ewe Vt : a oF enn ny A an “ely ie ihe: ; a it ij ) - ' ey. att F ae A be a oi Pay i om we oh Hy \ _ hy " ; eh 7 } : z 7 a, | io Se , ‘pe eo i, 7 mo ni TO | 7 ee os 7 ik an ru ane ars aa - ‘ aa ary uy i i
ne is Hy a Pa ae ; ant f\¥ re vie i ii ‘ie rok i mn 7 sah an oe . a Py a Mi ay mk i ( on a my Wiaihv _ Wee arn ae Ea ii et p ie { ; : iy
ae Moh Soka baal ot ne a J hy re eo ee a inet Re Hae ee, m ae we h Vil heh - es a. eh = oe : Ay Pp’ ” , - : 7 a Ti 7 ; ; " :
a on y A; mn <>< Hf , : 7 x oe " « a a a ay, 4s ie he i im oi Fined 7h Ay it . e if il ! : —_ any) Mis i o i) 7 ae a re AY. Cte, ” Pie ro : An wi aD ou " z ; 7 a) ‘y ‘
my - - = rane i} a : , A, aie ye, { 7 Me NG dhe Law Bi A UL ve. a an 7 : ‘ye
Pe a
+ pie Ny a }) ve van i ai ai in - \_ ‘- Aa _ 7 , 7 pa 7 om] ; : hh ge Nig ws, Z ge ima Ae f ome \ rT ¥ — 7 a ue ‘on is Tk ®) i 6 rae = er LAAN nibs ol ; ; a! a ie 7 alii ‘oe | 1a ; Mo . awe " Pr a) 5 I ae i. = ae iy si OD) HM ‘oe 6 1 it at Z a ; al ay) 7 rian ; ay a i OP cs i : ‘ : 7h : ay 7 ie oy e i ? - oH ve ; 7 : : vi ; ae ue ; oa ee Ae te Mar a a ' ¥ i i a. ” abn hy aay \ rae A v 7 A 7 i 7 ‘ 7 a! aie TAS wa) bat: 2h, ‘ 4 ue, iw P 7) Ui 7 rs ei On : : 7 ¥ . Ft - 7 ; 7 ia - L ya : pe a ww _ 7 i ¢ ; a 1) . a " un Haye ict 74, 7 ni ra it hy ) oy i . 7 a ; ‘ay | : b ee i? 7 y ni rr i. 7 Nar) 7
7 -— ; 17s % : ae ? ar \ Fade ~ i ee a ‘tl alg re: Oe i nae i, 7 an _ Pe . ee ; mY 1 7 “ 7 S, ' yy’ y : ir a. rihg Wh - ied sl uh ye iy . at : z ai a > + a 7 7 ) 4 7 j - - a i vk ; . wil ; Le en : i ei BY i ; [
' iia ce _ - yD AY yen? 1h) pn . u ; :
o M Be rr 7 7 7 ay a ye we - oF eek ma 2 ; " "se Sal . a) : aed a! iy Ay 7 7 | rae wi : A Se > "a ‘ id , > a , on 7 7) me ie rane i mie iy Tie r 7 mn! - mr Ky 7
- A : 7 : o &: 1 eae ee ai : iy ow iD) a ul ae aN : ri wie 7 io 7 a. A, rs 2 aa — 7 : ? rs : a v, tr i 1 { Aa A) ihe vn : Ay i - (ds ua 7 ay | ; a io TT aw) ij - at ‘ He ine, if nal i 7 © ; 7 on - p>, re . * 1‘ _ ‘ns vi ay AN ia - a) i ny ; Y i; A ht "T : | a mts « Bee be ee a ee, a . an Ms 7 : a @ a ny ‘ 7 a uy oe hee 7) Bf a ol Ae a : ees eri ae way ie
s) ei, t oe a - ws 7 nF , : a nn i i area ar we io, r . 1h 7 E 7 ]
jl i - P , ,) a a i in cae 2 cA ap i a a, ih i 7 an
‘Sa ? ae ne | j 7 - i] 7
7 |, pe if i ur j ;
—e mse any , “a A yeg } Mi ep } i ay ) 7 - vi i » Wy by a 7 7 ha i, m Bi - a a 7 : ‘pe! fw 7 eit 4 wr wy, an ie s : a as / yt an ; ; : y ;
7 7 » may! ; ia mae mi a a ’ ‘ “18 i : as i Y 7 ae j a nt ee nit ) i Ay ‘ 7 G 7 re . oa Rama a) aa w ), Sa ee vat ai ‘ae cy ee oe " r ‘ , 7 ~ ne) ii "| vik 7 yy Pi of r thy lt, mI iw a a : la%, in i WA ,
\) ai i) : 7 7 ol oy , old ve J nat Mi tp Hl 7 as he a : i . f ie 7 Sih beneath r., al hy : fay a a oy mera’ b" 7 me Geo Te are a Mi |
| 1. MI agri We eM 7 7 1 . ;
: ‘ a * my! , ” ae ] : ry, +l
wn ia oy ied 3 ice i : ; oe
eh x 2 iar
uy “Ui iii te vias ifn in I se i y WW i 7 c ine My) ; ft a rl VD ' ; A Oe re ie : rn v4 es io aes >. i ie ib aL ay i) l oe uMA Pe ia ee be hs hy ; ed ey Py ie ah rif i " - my ve i ta | a eet ae poe bei ane eo i ry: i) a ie re i ae ay i -_ a I ey ee ee on ira i ‘a ot 4 ya hs tint ( ne Re, bs nant, ee 1 ei Go, Vilma SAAR sa
a ey yet tj
1 iN vil ‘ Nie
TWENTY-SECOND ANNUAL REPORT
OF THE
BUREAU OF AMERICAN ETHNOLOGY
TO THE
SECRETARY OF THE SMITHSONTAN INSTITUTION
LIOOSI Oi
Sei OW ee,
DIRECTOR
NN Mavi @y Arve S li Arua 2
WASHINGTON GOVERNMENT PRINTING OFFICE 1904
ACCOMPANYING PAPERS
(CONTINUED)
THE HAKO: A PAWNEE CEREMONY
BY
ZALES IIY OL IME MIKO soa R
HoupeER oF THAW FELLOWSHIP, PEABODY MusktumM, HARVARD UNIVERSITY
ASSISTED BY JAMES R. MURIE
MUSIC TRANSCRIBED BY EDWIN S. TRACY
ONTENTS
(IPreTaAcOey eee ene nee ae : miroduction= = === 45 spe Name of the ceremony - Personnel of the ceremony Requisites of the ceremony and their sy maibolicne Time of the ceremony _--- -- Scheme of the ceremony - hegHakowe see. see soee as The preparation ---_--- First division. Tal TGCS ens First ritual. Making the Hako Part I. Invoking the powers. - ---------- Part II. Preparing the feathered stems___-___- Part III. Painting the ear of corn and preparing the other sacred objects __.--- Panty lives Oferno. Ol Smoke ee=s nes] ane ee aes mene soe Second ritual. Prefiguring the journey to the Son___-___ _____- Third rituals’ Sending the messengers 2222. -2=_-- -_-=-------- TeXoyetiaiel oh Srinmnes Ge, <e2y, eS eee eee ele tt ean ea aR ey ae Part I. Vivifying the sacred objects_____-__- Part II. Mother Corn assumes leadership —_____- a5 Part Il]. The Hako party presented to the powers _-_____. Second division. The journey Es teil GUS eee ee ae poe anne ee ee es Fe eens Part I. Mother Corn asserts authority ___----------------- Part II. Songs and ceremonies of the way ----_--_ __- Part III. Mother Corn reasserts leadership __-.--__. _- Third division. Entering the village of the Son and consecrating TES. Cl 2G eee ee ee ene ee ee eee ee . Sbqrlavbahnsr Ml. Soe ee ase Sumit ae pee es Part I. The Son’s messenger received gn eons 3 Part II. The Hako party enter the village SOvVenuheni hu alt see neem oes eee Se ee Ce Part I. Touching and crossing the threshold __-__________- Partita Consecrabing the lodges. 2-2). 22a ene Part III. Clothing the Son and offering smoke __________- WN) GORENONNY = = bees geo Boa eS Se First division. The public ceremony- ee tea sore Eighth ritual (first day). The ethers Peed the Giaideent Lee Ninth ritual (first night). Invoking the visions _.-____-_____- Gieraqlihrenibell, ANee VIDE att 2 2 ee ee = eee Bee eee Teena I, AMA orb eiose IDEM aN See ee ar Part II. The Morning Star and the new-born Dawn___----
7
92 93 93 97 101 105 105 105 117 123 123 128
8 CONTENTS
The Hako—continued. The ceremony—continued. First division—continued. Tenth ritual—continued. PartplligDaylight=saeeteres 2a. meen eee see. 4 ee Part IV. The Children behold the day_---_-.------------- Eleventh ritual (second day). The male element invoked____- Part I. Chant to the Sun- iPartells Day.sOng Ge eee eee Ae a) eee ee ee Twelfth ritual (second night). The Hie came he @ vision. -- Thirteenth ritual (third day). The female element invoked - Part I. The sacred feast of Corn Part II. Song to the Earth Part Ill. Offering of smoke __- ParteliVes Songs Ol Desai Cd Spe ee eee ees een eee er ae Fourteenth ritual (third night). Invoking the visions of the ancients: ssee os ee Second division. The secret ceremonies - Fifteenth ritual (fourth night) - Part I. The flocking of the birds -_-___- Part II. The sixteen circuits of the lodge ~ Sixteenth ritual (fifth day, dawn) Part I. Seeking the child _- Part II. Symbolic inception~ _- Part III. Action symbolizing life Seventeenth ritual ______- Part I. Touching the c hild Part II. Anointing the child Part III. Painting the child____ Part IV. Putting on the symbols Eighteenth ritual. Fulfilment prefigured Part I. Making the nest ___- Part Il. Symbolic fulfilment Part III. Thank offering __- Third division. The dance of thanks INineteenthinmituallss== 25 3222 ae Part I. The call to the Children ____ Part II. The dance and reception of gifts Fourth division. The presentation of the Hako Twentieth ritual. Part I. Blessing the ‘child. Pee ee LEP RSS See Part II. Presenting the Hako to the Son and thanks to the Children Incidental ceremonies _- Comforting the child__- Prayer to avert storms -__- Prayer for the gift of children Changing a man’s name _ Analytical recapitulation _ - Origin and geographic distribution of the c ceremony Purpose of the ceremony ~~ t = Structure of the ceremony --_____- : mere See Rhythmic expression in the ceremony a
Page
CONTENTS
Analytical recapitulation—continued. The preparation ___....._..._.- First division. Initial rites _-_._____ First ritual. Making the Hako : Part I. Invoking the powers. : Part II. Preparing the feather ed stems ____
Part LT. Painting the ear of corn and preparing the other
sacred objects _- one Second ritual. Prefiguring the journey ia ‘any Son Third ritual. Sending the messengers Fourth ritual - Ss ee wee
Part I. Vivifying the sacred objects -
Part II. Mother Corn assumes leadership eee ee
Part II. The Hako party presented to the powers
Second division. The journey - Widtherituale cee aa ae ee ee ee
Part I. Mother Corn asserts authority
Part II. Songs and ceremonies of the way-
Part II. Mother Corn reasserts leadership
Third division. Entering the village of the Son and consecrating MIshlod Sere en eee ae SISCU DRG Le] eee ee
Part I. The Son’s messenger received.
Part II. The Hako party enter the village NOVEM UHI GOAL sess oss eee ee ee
Part I. Touching and crossing the threshold.
Part II. Consecrating the lodge.________-
Part III. Clothing the Son and offering saneihe
The ceremony - SE ere ee ea First division, The public ceremony._.____.____. Eighth ritual (first day). The Fathers feed the Children Ninth ritual (first night). Invoking the visions Tenth ritual—The Dawn _________
Part I. The birth of Dawn _- Se
Part II. The Morning Star and the new-born Dawn
iPtawnh MNL, Dy yebteleye | Be
Part IV. The Children behold the day 2 Eleventh ritual (second day). The male element pecneed
Part I. Chant to the Sun ____-
Part II. Day songs. . S Twelfth ritual (second night). The rites came by a vision - Thirteenth ritual (third day). The female element invoked
Part I. Sacred feast of Corn
Part II. Song to the Earth -
Part III. Offering of smoke __
Part IV. Songs of the birds _____ ie SS Fourteenth ritual (third night). Invoking the visions of the
BUCIONGG eee a ee ee Re Second division. The secret ceremonies Fifteenth ritual (fourth night)_____ Part I. The flocking of birds - Part II. The sixteen circuits of the lodge _
9
Page 288 288 283 283 287
289 292 294 295 295 296 297 299 299 299 301 306
308 308 308 808 809 309 310 312 313 3138 313 317
10 CONTENTS
Analytical recapitulation—continued. The ceremony—continued. Second division—continued.
Sixteenth ritual (fifth day, dawn) Part I. Seeking the child Part II. Symbolic inception - Part III. Action symbolizing ite
Seventeenth ritual - el ES. ee in a rae Part 1. Toue hing. ihe child! pes Part II. Anointing the child. Leeks Part III. Painting the a
Highteenth real Fulfilment pr Saee : Partil. Makine themest:=-2----=- == =_- Part II. Symbolic fulfilment _______- Part Ill. Thank offering _______- Third division. The dance of thanks___- Nineteentheniiial === ans eee Part I. The call to the Children ______._. : Part II. The dance and reception ‘of gittseeee. Fourth division. The presentation of the Hako Twentieth ritual____________-_- Part I. Blessing the child -
Incidental tia See eee Comforting the child____-- Prayer to avert storms -_____- Prayer for the gift of Children Changing a man’s name __- Ind ex®2 2. - Sees eels oes a Eee a
Part IJ. Presenting the Hake to the Son and thanks to ine Childrens) cs ts oe eee ee oe ee
www w 2 2 Ct tO
or cr Ot Or Ot or
Oo wm
wa)
aA
ot or
for)
0
pw Ww cw CD ww SS
ee eae
PuLatTE LXXXIII. James R. Murie_ LXXXIV. The Ku'rahus in ceremonial dress (front view) LXXXY. The Ku'rahus in ceremonial dress (profile view) LXXXVI. ‘* Kawas,”’ the brown feathered stem (female) __- LXXXVII. The white feathered stem (male) LXXXVIII. ‘* Mother Corn”
ILLUSTRATIONS
TXGXeXN he rattlesiso22 --=22 52-252 =
Figure 171.
. Diagram of the Father’s lodge during the second ritual . Diagram of the Father’s lodge during the singing of the first
. Diagram of the Son’s lodge during the presentation of the
XC. The wildcat skin and crotched stick __
stanza of the song of the fourth ritual, part 11
. Diagram of the Father's lodge during the singing of the sec-
ond stanza of the song of the fourth ritual, part 1___._. __-
5. Diagram showing the movements of the principal members of
the Father’s party during the presentation to the powers -
. Diagram of the Son’s lodge at the beginning of the public cere-
1 OL. eee eee er ee ne we omens eae Se Ee
. Diagram of the Son’s lodge during the sixteenth ritual, part 111_ 3. Diagram of the Son's lodge during the seventeenth ritual, part 1- . The symbol of Tira’ wa . Diagram showing the positions of the participants in the dance
Ofgbhank.s ee eee een en ee
Lak Opera ee ene eine ee ee, a be oe
; 7 7 noe TH) re
THE HAKO: A PAWNEE CEREMONY
By ALICE C. FLETCHER
PREFACE
In the early eighties of the last century, while pursuing my study of the Omaha tribe, I several times witnessed the ceremony described in the following pages. Owing to the death of the only man who knew all the rituals, it became impossible to secure a complete record, but as the ceremony was an intertribalone I hoped to make good the loss in some other tribe. From statements made by the Omahas, the Ponkas, andthe Dakotas Iwas led to believe that among the Pawnees this ceremony could be found still preserved in its entirety. I need not recount the failure of efforts made during some fifteen years to gain the desired information, since at last, in 1898, T found the long-sought opportunity. Afterfour years of work, I am able to present the entire ceremony, as observed in the Chaui band of the Pawnee tribe.
The difficulty of obtaining accurate first-hand information in regard to religious rites and beliefs is so well known that it seems proper to state briefly how I came by my opportunities. An extended and intimate acquaintance in one tribe opens the way in another. The warm friendship of old and leading men of the Omahas became my credentials to other tribes where these leaders were influential; and with the further assistance of Mr Francis LaFlesche, the son of the former head chief of the Omahas, I was able to establish relations of confidence with some of the old and prominent men of the Pawnees.
My experience has shown that no linguistic training will enable a student by himself to accomplish successfully the difficult task of recording and interpreting the rituals of areligious ceremony. [emust have a native collaborator, one with a good knowledge of English and well versed in the intricacies of his own tongue, able to explain its ‘sacred language ” and possessing those gifts of mind and character which fit him not only to grasp the ideals of his race but to commend himself to the keepers of the ancient rites. Such a collaborator makes a clear vision of the native mind possible to a student of another race.
13
14 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22
My collaborator in the present work has been Mr James R Maurie, an educated Pawnee whom I have known since he was a school- boy, twenty yearsago. Mr Murie has taken up the task of preserving the ancient lore of his people, and he has not spared himself in his labor. Tlow difficult his undertaking has been, and still is, can only be appreciated by those who have attempted to accomplish a similar work. Tis patience, tact, and unfailing courtesy and kindness have soothed the prejudice and allayed the fears of the old men who hold fast to the faith of their fathers and are the repositories of all that remains of the ancient rites of the tribe.
Tahirtissawichi, a full-blood Pawnee, who is the authority for the text and explanation of the ceremony which forms the subject of this paper, officially accompanied the Hako when it was carried by his people to the Omahas. Tle thus became acquainted with the leading men of that tribe, who were my friends, and this circumstance has favored the successful prosecution of this work. During the fall of 1898 and again in 1900 he and Mr Murie were my guests in Wash- ington; then, and also during my visits to the Pawnees in 1899 and 1901, we were engaged upon the rituals of this ceremony. <A final review of the manuscript was made with Mr Murie inthe spring of 1902.
Tahirtssawichi is a member of the Chaui band of the Pawnee tribe and about 70 years of age. He is tall and well made, and preserves much of the vigor of his earlier days. He is mentally alert, quick to observe, possessed of a tenacious memory, and gifted with a genial nature. Ile enjoys a joke and is always ready with good-fellowship, but he never forgets the dignity of his calling, or fails to observe the conduct befitting his position as the guardian of sacred rites. Although he is childlike and trusting, he has a keen discernment of character and a shrewd common-sense way of looking at men and things. While he is not indifferent to the great changes which have overtaken his people, new conditions have failed to disturb in any way the convictions of his early religious training.
He has struggled to avoid living ina house, and has held to an earth lodge until it has dropped to pieces about him. He said:¢ ‘IT can not live ina white man’s house of any kind. The sacred articles com- mitted to my care must be kept in an earth lodge, and in order that IT may fulfill my duties toward them and my people, I must live there also, so that as I sit I ean stretch out my hand and lay it on Mother Earth.” Last fall (1901) IT saw how he had propped up a part of the ruins of his lodge so that he might still keep the sacred objects in a primitive dwelling.
When he was in Washington in 1898 he was taken to the Capitol and the Library of Congress. While the vastness and beauty of these structures gave him pleasure, they did not appeal to him, for such
aSee A Pawnee Ritual Used When Changing a Man’s Name, American Anthropologist, n. s., vy. 1, January, 1899.
BUREAU OF AMERICAN ETHNOLOGY TWENTY o NN RT
JAMES R. MURIE
FLETCHER] HOW THE RECORD WAS OBTAINED 15
buildings he said were unfitted to contain the sacred symbols of the religion of his ancestors, in the service of which he had spent his long life. He admired at a distance the Washington Monument, and when he visited it he measured the base, pacing and counting his steps. Then he stood close to the white shaft and looked up, noting its great height. After going inside, he was asked which he would take, the elevator or the stairs, and replied: ‘‘I will not go up. The white man likes to pile up stones, and he may go to the top of them; IT will not. I have ascended the mountains made by Tira’wa.” Equally characteristic was his interview with the Commissioner of Indian Affairs. When introduced, he said: ‘Slam glad to see you and to take you by the hand. Many chiefs of my tribe have done so. I never expected to do it. I came here to talk of the religion of my fathers, which I follow. You can ask my sister (referring to me) what I have said.”
Tahirtssawichi had never been east of the Mississippi river until he came to Washington to engage in the preservation of this rite. Of the genuineness of his statements there can be no doubt. His position in the Pawnee tribe is that of a man worthy of respect—one versed in a knowledge of serious things, whose life has been devoted to the acquisition and maintenance of certain sacred rites. He is esteemed as a man of truth—one who has the favor of Tira’wa. He possesses a knowledge of curative roots, and often attends the sick, using herbs as medicine. He is the keeper of certain old and sacred objects, and leads in their attendant ceremonies. His great care in observing all the details of the intricate ceremony of the Hako is well known in the tribe, and much good fortune is believed to follow his leadership in this ceremony. Tis title is Kurahus. This term is applied to a man of years who has been instructed in the meaning and use of sacred objects as well as their ceremonies. ‘The word is sometimes employed as a synonym for a venerable man, one who commands respect, but throughout this paper it is used in its official sense—the leader of the ceremony.
It has taken four years of close friendly relations with my kind old friend to obtain this ceremony in its entirety. Many of its rituals deal with very sacred subjects, and it has required much patience in the presentation of reasons why they should be explained to over- come the scruples born of the early training of the Ku'rahus. That he has finally made this record complete, so that the ceremony as known among his people can be preserved, is worthy of commenda- tion. His work as it now stands shows Tahirtssawichi to be broad- minded as well as thoughtful, reverent, and sincere.
Graphophone records were taken of all the songs belonging to this ceremony. The music as here printed has been transcribed from the eylinders by Mr Edwin 8. Tracy and each transcription has been verified by him from the singing of the Ku’rahus. It is to be regretted
16 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22
that the exactions of Mr Tracy’s professional work in the field of musie make it impossible for him to prepare an essay upon the character of these songs and the light they throw upon the evolution of musical expression. His familiarity with native songs, growing out of several years of first-hand research, would render him peculiarly fitted to speak concerning them.
The songs are commended to the general student of music and particularly to the young composers of our country as offering native themes worthy of musical treatment.
In arranging the material for this paper it has seemed best to group it into two parts. The first contains such introductory explanations as are essential to the understanding of the ceremony, which is given without comment in the words of the Ku’rahus, together with his inter- pretation of the songs and accompanying rites. The second part consists of an analysis of the ceremony and treats of its structure, purpose, and teaching. The translations of the songs aim to convey to the English reader something of their native spirit and meaning.
As the purpose of this record is not primarily linguistic, it has been judged best not to observe the finer phonetic distinctions in recording native words. The vowels have their continental values, as in are, they, peque, go, rule; ow is used as in how; and t represents oo in good. The consonants p, b, t, d, k, g (always hard), j, s, z, f, v, m, l, r, w, y, h are used approximately as in English, but k and t have been allowed to represent the semisonants (medial between k and g, t and d) as well, and the r has a slight trill. Dh represents th in the, h a guttural breathing (German ch, Spanish j) and hr a surd or breathed r; th is used as in thorn, wh and ch as in which, x as in box, sh as in shall; n indicates that the preceding vowel is nasalized; and h at the end of a syllable indicates that the breath must be heard. When a consonant is doubled if is heard twice or distinetly prolonged. An accent mark is used to indicate stress where if Seems necessary.
INTRODUCTION
NAME OF THE CEREMONY
The ceremony is called Skari by the Ku’rahus and by all who have been taught its rites and sacred songs. This word is from ska, hand, ri, many, and refers not merely to the many hands required for the preparation of the sacred articles used in the rites, but also to the culminating ceremony of touching the little child with the hand, which occurs on the morning of the fifth day (sixteenth and seventeenth rituals).
A peculiar expression is used to characterize the consultation which a man who desires to inaugurate this ceremony has with his kindred in reference to their assistance in the undertaking. This consultation is called ‘‘ touching them.” The Ku’rahus explained this expression as being connected with the meaning of the word Skari, many hands, in its double significance already noted.
Although the term Skari is said to be old, its descriptive char- acter seems to be against its acceptance as the original name of the ceremony.
Among the people at large of the Pawnee tribe the ceremony is spoken of as Ruktaraiwarits. This composite word can be analyzed as follows: ruk, from rukkis, wood, or a stick of wood; ta, from tita, hung upon; ra, coming; iwaritts, shaking or waving. This descriptive term refers to the two objeets peculiar to this ceremony, the two feathered stems which are waved to the rhythm of the songs. The Pawnees who receive those who bring the sacred articles call the cere- mony Haktara. The word is composed of hak, from hakkow, trans- lated below; ta, have; ra, coming: haktara, they who have the breathing mouth of wood are coming. The Osages speak of it as ‘Bringing the drum,” and the Omahas as ‘‘ To sing with.”
Hako is a comprehensive term used to designate all the articles which belong to the ceremony. The term is derived from the com- posite word hakkowpirus, meaning drum. Hakkow is from akow, mouth, with the aspirate prefix h, signifying breath, and the k added to the first syllable represents the word rukkis, wood. Hakkow may then be said to mean a breathing mouth of wood. Pirus means to whip or beat.
Three customs among the Indians ean be traced in the composition of this word: first, the peculiarity of pulsating the voice on a note that is sustained over more than one count of the measure, by which
22 Era—pr 2—04——2 17
18 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22
a beating effect is produced; second, the custom of waving the hand to and from the mouth or beating the lips, so as to break a continu- ous note or call into a series of sounds or beats; third, the making of the drum from a section of a tree, hollowed out, with a skin stretched over the open end. From this analysis of the word hakkowpirus we discern that the pulsating voice and the beaten lips were the first means employed to produce an effect which was afterward empha- sized in an instrument, the drum (hakkowpirus, the breathing mouth of wood), which was made to give forth a series of sounds by the same device of whipping by the hand.
In Indian musie the rhythm of the drum always follows closely the emotion expressed in the song; it is like a great pulsating voice.
In the term Hako the k of the first syllable in hakkow is dropped for the sake of euphony, and for the same reason the rough sound ow is changed to o. The word Hako carries the idea of the breath- ing, vibrating tones from the wooden mouth. It is applied to all the articles used in the ceremony, because, according to the explanations of the Ku'rahus, ‘‘everything speaks; the eagle, Kawas, speaks; the corn speaks; so we say Hako—the voice of all these things.”
In the preparation of the record of the different rites, rituals, and songs of this ceremony it became necessary to adopt a convenient term which should apply to the ceremony as a whole, including the party inaugurating the ceremony, the rites, the rituals, and the arti- cles used. The term ‘‘Hako” has been chosen as best fitted for the purpose. Three considerations influenced the choice: first, the fact that Hako is the native name by which the articles used in the eeremony are spoken of collectively; second, the meaning of the term Hako, as revealed by an analysis of the word and by the explana- tion given by the Ku'rahus; third, the ease with which this word ean be spoken and remembered by the English reader.
PERSONNEL OF THE CEREMONY
Two distinet groups of persons were essential to the performance of this ceremony. These two groups could not belong to the same elan or gens of a tribe, and they were often of different tribes. One group, called the Fathers, was composed of the kindred of the man who had taken the initiative in organizing a party for the performance of the ceremony. This man was called the Father. His party comprised from 20 to 100 persons, and represented the well-to-do class in the tribe, the requisites for the ceremony being of such a character that only skillful hunters and thrifty households could supply them. The second group, called the Children, was made up of the relatives of the man chosen by the Father to receive the visiting party of the Fathers. The leader of this group of Children was called the Son. Each of the two groups, as well as the leaders of each group, had peculiar
FLETCHER] PERSONNEL OF THE CEREMONY 19
duties throughout the ceremony. Each had a special place in the lodge, and was the recipient of peculiar benefits supposed to be derived from the ceremony.
The Father was usually a chief, or a man prominent in the tribe, who not only had accumulated property, but had a large following of relatives who could contribute to the store of articles required for these rites. The tribal standing of the Son was always equal to that of the Father.
The Father selected a man from among those who had been taught the rites and ritual songs to take charge of the ceremony from begin- ning to end. Such a man was called Ku’rahus, and to him the entire party was required to yield obedience in every particular. The Ku'rahus chose an assistant, and also took with him a third person, a sort of acolyte, to whom he was teaching the rites.
If the Father was a chief, then he had to invite one other chief to be of his party, to act as substitute whenever he was obliged to be absent from his post of duty. If, however, the Father was not him- self a chief, then it became necessary for him to secure the attend- ance of two chiefs, cne to act as substitute for the other, as the constant presence of a chief was required throughout the ceremony.
The priest who had charge of the shrine sacred to rain was also of the Father’s party. It was his duty to furnish the pipe and conduct the ceremony of offering smoke to Tira’wa. The Father’s party also included two doctors, men who had received a knowledge of healing plants, either directly through visions or by initiation into certain rites by which this knowledge was communicated. Each was required to bring an eagle’s wing, one the right wing and the other the left. The wing of the eagle is the official mark of a doctor. The Father must also secure a number of singers, whose duty it was to carry the drum and act as a choir to accompany the Ku'rahus, who always led the singing. The rest of the party of the Father was made up of his kindred, with such of his friends as might desire to contribute to the required food and gifts and thus to become entitled to share in the return gifts made to the Fathers by the Children.
The preliminary ceremonies (the first three rituals) took place at the lodge of the Father, and from it the party of the Fathers started on its journey.
REQUISITES OF THE CEREMONY AND THEIR SYMBOLISM
The objects peculiar to this ceremony were two feathered stems about a meter in length, made of ash wood. They were rounded and smoothed, and the pith was burned out to leave an opening for the breath to pass, as through a pipestem. One of these stems was named Raha’katittu, from ra, the, this one; ha=hak, a part of the word hakkow, breathing mouth of wood, the k being dropped for euphony (see translation of hawkowpirus, drum, page 17); katit, dark,
20 THE HAKO, A PAWNEE CEREMONY (ETH. ANN. 22
brown, or black; tu=ruru, moving, the change of the r to t being for euphony. The translation of the whole word would be, the breath- ing mouth of wood with the dark moving feathers. The other stem was named Rahak'takaru, from ra, the, this one; hak, from hakkow, breathing mouth of wood; taka, white; ru, from ruru, moving or swaying. The translation of the whole word would be, the breath- ing mouth of wood with the white moving or waving feathers.
Associated with these two feathered stems, and sharing with them the prominent place in the rites, was an ear of white corn. In addi- tion there were required two small, round, straight sticks from the plum tree; a crotched stick, also of the plum tree; feathers from the tail of an owl and from the wings and tail of an eagle; two entire wings of an eagle; the heads of two woodpeckers; the head, neck, and breast of two dueks; a wildeat skin; a shell; two wooden bowls; a braid of buffalo hair; a braid of sweet grass; blue, green, and red clay; fat from a deer or buffalo, the animal having been consecrated; the nest of an oriole.
The clays, the fat, and the oriole’s nest were furnished by the Ku’rahus. The nest was kept in secret and not allowed to be seen. All the articles except those furnished by the Ku’rahus were provided by the Father. Besides these he had to secure robes, ornamented garments, and regalia for the ceremonial clothing of the Son, his mes- senger, and his little child; also gifts to be bestowed on the entire party of the Children. He was assisted by contributions from the relatives and friends who had agreed to share with him the responsibilities and the rewards attending this ceremony. Food for the entertainment of the Children as well as for the maintenance of the Fathers during their absence from home had also to be provided.
It was the duty of the Son, the leader of the group called the Chil- dren, to provide a spacious lodge wherein the ceremony could take place, and also a proper camping site for all who accompanied the Fathers. He had also to secure the requisite return gifts to be made to the Fathers.
Each of the articles used in the ceremony had a general symbolism well known to the people, but their special significance was peculiar to these rites.
The feathered stem Raha katittu (plate LXX XVI, page 38) was painted blue to symbolize the sky, the abode of Tira’wahut, the circle of the lesser powers. <A long straight groove running its length was painted red, the symbol of life. The red groove was the path along which the spirits of the various birds traveled on their way to bring help.
Three split feathers from an eagle’s wing were fastened to the stem as to an arrow, to give sure flight to the symbol-freighted stem. On it was tied the fan-shaped pendant of ten feathers from the mature brown or golden eagle. This eagle was called Kawas in the Hako ceremony. It represented the mother and led in certain of the rites. It is this feathered stem that was carried by the Ku'rahus. This eagle
FLETCHER] THE FEATHERED STEMS 21
is consecrated to the powers; it soars near their abode and is a medium of communication between them and man.
The woodpecker’s head was fastened near the mouthpiece end of the feathered stem, the upper mandible turned back over the red crest and painted blue. Thistreatment of the upper mandible had a double significance. The red crest, which rises when the bird is angry, was here held down; it must not rise. The blue paint represented the clear, cloudless sky. The woodpecker has the favor of the storm gods and can avert from man the disaster of tempest and of lightning. The owl feathers were tied near the middle of the feathered stem. This bird has power to help and protect during the night. Soft blue feathers were fastened around the mouthpiece end. These blue feathers symbolized the clear sky, and it is this end which was always upward toward the abode of the powers.
The other end of the stem was thrust through the breast, neck, and mandibles of the duck. It was by this end that the feathered stem was held. The duck is familiar with the pathless air and water and is also at home on the land, knowing its streams and springs. It is the unerring guide.
The red and white streamers represented the sun and the moon, day and night. These were made of red cloth and dyed horsehair and white cotton cord, but it is said that formerly soft deerskin strips ' painted red and twisted hair from the white rabbit were used.
The other feathered stem, Rahak’takaru (plate LXXXVII, page 40), differed from the first feathered stem already described in two par- ticulars, namely, it was painted green, to symbolize the earth, and the fan-shaped pendant was made of seven tail feathers from the white eagle (the young brown or golden eagle; see page 288). This eagle was not consecrated. It represented the male, the father, the warrior, and the defender. This feathered stem was carried by the Ku'rahus’s assistant, and it was never allowed to be next to the Chil- dren; its place was always on the outside. There, it was explained, it could do no harm, could rouse no contention, but would serve to protect and defend.
I have many times remarked the reverence felt toward the feathered stems. Their sacred character seemed always to be remembered and they were never handled carelessly. During the entire time that I was engaged with Tahirtssawichi on this ceremony he never allowed the feathered stems to be placed on the floor or laid on a chair; they were always carefully deposited on the wildeat skin with a decorum that was not once abated. I have seen manifested among the tribes not only reverence toward these sacred symbols, but an affeetion that was not displayed toward any other objects. Few persons ever spoke to me of them without a brightening of the eyes. ‘‘They make us happy,” Was a common saying.
They were preserved intact and passed from tribe to tribe as long as they held together, and they were sometimes freshened and
22 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22
repaired. This transfer of the feathered stems from tribe to tribe tended to preserve the model unchanged. Sometimes the Son did not care to part with the feathered stems left with him, so when he inaug- urated a party and was to be the Father he had a new set made. It was a matter of pride with some not to use again feathered stems that had once seen service.
The ear of white corn (piate LXXXvUI, page 44), called Atira, Mother,” represented the fruitfulness of the earth. The tip end was painted blue to represent the dome of the sky, the dwelling place of the powers, and four blue equidistant lines, running halfway down the ear, were the four paths along which the powers descended to minister to man.
The two straight sticks cut from the plum tree were bound to the ear of corn by a braid of buffalo hair. One stick projected above the tip of the ear about a hand’s breadth, and the other extended about the same length below the butt; the lower end of this stick was pointed so that it could be thrust into the ground to hold the ear of corn in an upright position. To the other stick was tied a white, downy eagle feather. This feather had a double significance: It represented the high, white clouds that float near the dome of the sky where the powers dwell, thus indicating their presence with the corn. It also stood for the tassel of the cornstalk. The feather here refers to the male prin- ciple, the corn to the female. The plum-tree wood was chosen for the sticks because the tree is prolific of fruit. It symbolized a prayer for abundance.
The braid of buffalo hair represented the animal which supplied food and clothing for the people.
The two gourd rattles (plate LXXXIX, page 46) represented the gift of the squash to man and the breast of the mother. Around the mid- dle of each a blue circle was painted from which depended four equi- distant lines of the same color. The circle represented the base of the dome of the sky, and the four lines the four paths descending therefrom to earth.
The crotched stick (plate XC, page 45) used to support one end of the feathered stems when they were laid at ceremonial rest was sig- nificant of the fork in the tree where the eagle builds its nest. The use of the plum tree for this crotehed stick expressed the desire for many young in the nest.
The sacred ointment with which the plum-tree sticks were anointed was made from the fat of the deer or buffalo mixed with red clay. The fat was taken from an animal that had been conseerated through certain prescribed rites which recognized man’s dependence upon the powers for the gift of food. Fat symbolized plenty. Ritual songs speak of paths dropping fatness, referring to the trails made by those who earried the dressed meat from the hunting fields to the camp; such
aThe common term for corn, naksu, was not used in the ceremony.
FLETCHER | SIGNIFICANCE OF THE WILDCAT SKIN 23
a path would be strewn with drops of fat. Red is the color typical of life. The ointment signified a prayer for abundance and life.
The wildcat skin (plate xc, page 48) served as a covering for these objects when they were to be wrapped up and it was always spread on the ground for them to rest on.
The significance of the wildcat in this ceremony is of peculiar inter- est. This animal, we are told, never misses his prey, never fails to attain the object of his pursuit, and accomplishes this end quietly, tactfully, without arousing antagonism. From conversations with the Ku'rahus it beeame clear that it was these qualities and not the savageness and stealthly cruelty of the animal that were to be kept in mind. Tobe able to accomplish a purpose without offending, with- out raising opposition, seems to haye been regarded as the special attribute vouchsafed by Tira’wa to the wildeat. It is because of this attribute that it was chosen to be always with the sacred objects during thisceremony. Thesacred objects symbolized not only an appeal from man to certain powers, but the presence of the powers themselves, while - the nature of the appeal, a desire for children, long life, and plenty, was such that the enjoyment of the benefits craved must depend largely on the successful exercise by man of those qualities which were regarded as characteristic of the wildcat. So the skin of the wildcat was the cover of the sacred objects when they were wrapped up; it was spread on the ground as their guard and support when they were laid at ceremonial rest, and when they were carried about the lodge during the ceremony it was borne by the chief, who walked between the Kurahus and his assistant, each of whom held a feathered stem.
Only a chief could carry the wildcat skin and the ear of corn. There- fore, if the Father was not himself a chief he had to secure the service of one in order that the wildeat could be borne by a man possessing the authority of a ruler in the tribe. As the wildeat stood for the ability to accomplish a purpose with tact and without exciting opposi- tion, qualities essential to the successful ruler, it would seem that the imperative association of the wildcat with a chief was intended to con- vey the idea that only under the administration of such a man could the tribe have internal peace and enjoy the abundance and prosperity represented by Mother Corn.
As every article belonging to the ceremony and the position and movements of those who conducted the rites had a special signifi- cance, the position given to the wildeat, as explained by the Kurahus, reveals the mind of the native in regard to this animal, which figures conspicuously in other rites and ceremonies, and which controls one of the sacred shrines of the Chaui band of the Pawnee tribe.
TIME OF THE CEREMONY
There was no stated time for the performance of the Hako ceremony. It was not connected with planting or harvesting, hunting, or war, or any tribal festival. The Ku’rahus said, ‘‘ We take up the Hako in
24 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22
the spring when the birds are mating, or in the summer when the birds are nesting and caring for their young, or in the fall when the birds are flocking, but not in the winter when all things are asleep. With the Hako we are praying for the gift of life, of strength, of plenty, and of peace, so we must pray when life is stirring everywhere.”
SCHEME OF THE CEREMONY
According to the Ku’'rahus, no change in the order of rites or songs was permitted. The reason for this requirement becomes clear when we study the ceremony itself. Its fundamental ideas and teachings, which are among the most important for the welfare of the people, are steadily unfolded from the initial rite to the final act through a long series of observances which are replete with detail and accompanied by nearly one hundred songs, yet all these different parts are so closely articulated that any variation of relationship or any omission would be disastrous to the structure.
The Hako consists of the Preparation and the Ceremony.
The Preparation First division. Initial rites. First ritual. Making the Hako: Part I. Invoking the powers. Part Il. Preparing the feathered stems. Part III. Painting the ear of corn and preparing the other sacred objects. Part IV. Offering of smoke. Second ritual. Prefiguring the journey to the Son. Third ritual. Sending the messengers. Fourth ritual: Part I. Vivifying the sacred objects. Part Il. Mother Corn assumes leadership. Part III. The Hako party presented to the Powers. Second division. The journey. Fifth ritual: Part I. Mother Corn asserts authority. Part II. Songs and ceremonies of the way. Part III. Mother Corn reasszrts leade rship. Third division. Entering the village of the Son and consecrating his lodge. Sixth ritual: Part I. The Son’s messenger received. Part II. The Hako party enter the village. Seventh ritual: Part I. Touching and crossing the threshold. Part II. Consccrating the lodge. Part III. Clothing the Son and offering smoke.
The Ceremony
First division. The public ceremony. BHighth ritual (first day). The Fathers feed the Children. Ninth ritual (first night). Invoking the visions. Tenth ritual. The Dawn: Part I. The birth of Dawn. Part Il. The Morning Star and the new-born Dawn.
FLETCHER] SCHEME OF THE CEREMONY 25
First division—continued. Tenth ritual. The Dawn— continued. Part III. Daylight. Part IV. The Children behold the day. Eleventh ritual (second day). The male element invoked: Part I. Chant to the Sun. Part II. Day songs. Twelfth ritual (second night). The rites came by a vision. (Tenth ritual. The Dawn. Repeated.) Thirteenth ritual (third day). The female element invoked: Part I. The sacred feast of Corn. Part II. Song to the Earth. Part III. Offering of smoke. Part IV. Songs of the birds. Fourteenth ritual (third night). Invoking the visions of the ancients. Second division. The secret ceremonies. Fifteenth ritual (fourth night): Part I. The flocking of the birds. Part Il. The sixteen circuits of the lodge. Sixteenth ritual (fifth day, dawn): Part I. Seeking the child. Part II. Symbolic inception. Part III. Action symbolizing life. Seventeenth ritual: Part I. Touching the child. Part Il. Anointing the child. Part Ill. Painting the child. Part IV. Putting on the symbols. Eighteenth ritual. Fulfilment prefigured. Part I. Making the nest. Part II. Symbolic fulfilment. Part Ill. Thank offering. Third division. The dance of thanks. Nineteenth ritual: Part I. The call to the Children. Part Il. The dance and reception of gifts. Fourth division. The presentation of the Hako. Twentieth ritual: Part I. Blessing the child. Part II. Presenting the Hako to the Son and thanks to the Children.
There are four rituals which can be interpolated during the prog- ress of the public ceremony, namely:
Incidental Rituals
Comforting the child.
Prayer to avert storms.
Prayer ior the gift of children.
Changing a man’s name.
In the following pages the rituals and the explanations are presented as they were given by Tahirtssawichi. His descriptions are full of detail, with frequent repetitions, but as every article is symbolic and every movement has a meaning, this repetition is essential to an understanding of the ceremony as it appeals to the Pawnee, and it has been deemed best not to change his method or introduce comments.
THE HAKO THE PREPARATION Explanation by the Kwrahus
The ceremony of the Hako is a prayer for children, in order that the tribe may increase and be strong; and also that the people may have long life, enjoy plenty, and be happy and at peace.
The articles that are used in the ceremony can be prepared only under the direction and supervision of a man who has been taught the sacred songs in their sequence and instructed as to their meaning. Such a man is called Ku'rahus, which means a man of years. vene- rated for his knowledge and experience.
When a man intends to inaugurate a party for the performance of this ceremony, he selects a Ku’rahus to have complete charge of it, and fixes a day when the preliminary rites are to be performed. On that day the Ku’rahus goes into the sweat lodge and there purifies himself. When he has come out of the sweat bath and has cooled off a little, he places sweet grass on a small pile of coals. Then he sits down (on his heels) and draws a robe about himself and the coals, so that the smoke of the sweet grass may reach every part of his body. He then takes a bit of fat which has been preserved from a deer or buffalo consecrated to Tira’wa, and mixes it with red paint and anoints himself. Then he puts on his leggings and moceasins, and a buffalo robe, with the hair outside, tying if about the waist with a rope made of buffalo hair. He fastens a white, downy eagle feather in his scalp lock and goes to the lodge of the man who has inaugurated the party. Ile takes with him a man as assistant; he is also accompanied by another man, who is learning the songs and the details of the cere- mony, preparatory to becoming himself able to conduct this rite, but whose present duty is to minister to the wants of the Ku’rahus.
At the lodge the chiefs and leading men of the village have been assembled, with those who have agreed to be of the party and have contributed the requisite gifts. This lodge has been swept clean and put in order for the occasion. The Ku'rahus takes his seat at the west end of the lodge, facing the east, and before him, spread out on a mat, are the materials for the preparation of the ceremonial articles.
After the Kurahus has begun to sing the songs belongin to the act of preparing these articles there must be no coming in or going out of the lodge, and no one can move from his place until this (the first ritual) has been completed An exception is made in the case of two men who are sent out by the Ku'rahus to cut and bring in two sticks of ash. They go out during the singing of a certain stanza of the first song and must return while another particular stanza of the same song is being sung.
26
WUREAU OF AMERICAN ETHNOLOGY
<
AMERIC
yr
BUREAU
NE
“I
FLETCHER] FIRST RITUAL, PART I Z
First Diviston. INITIAL RITES
FIRST RITUAL. MAKING THE HAKO
Part I. INVOKING THE POWERS
Explanation by the Ku'rahus
At the creation of the world it was arranged that there should be lesser powers. Tira’wa atius, the mighty power, could not come near to man, could not be seen or felt by him, therefore lesser powers were permitted. They were to mediate between man and The first song mentions some of these lesser powers in the order in which they come near to man, in the order of their creation.
Tira'wa.
SONG
Words and Musie M. M. N=126.
> = Pulsation of the voice. . Tracy.
Transcribed by Edwin S
Ho-o-o! I’ - ha-re,’ha - re, ha-re, ’ha- re, ’a he} ‘ ‘ ; : Drum. eo eo e oe « eo e e e eoee#es == —<— — — ——
= SS = SUS See oe ae He-ru! A-wa_ - _ hok-shu. He! e se e 2 ry e e e ° — —— —— — —<_ I TV 1 Ho-o-o! 16 Ho-o-o! 2 hare, “hare, ’ahe! 17 Thare, “hare, ‘ahe! 3 hare, ‘hare, ‘ahe! 18 Thare, ‘hare, ‘ahe! 4 Heru! Awahokshu. He! 19 Heru! H’Uraru. He! 5 IThare, ‘hare, ‘ahe! 20 Thare, “hare, ‘ahe! II V 6 Ho-o-o! 21 Ho-o-o! 7 Thare, ‘hare, ’ahe! 22 Thare, ‘hare, ’ahe! 8 Thare, “hare, ’ahe! 23 hare, “hare, ‘ahe! 9 Heru! Hotoru. He! 24 Hern! Toharu. He! 10 Thare, ‘hare, ’ahe! 25 hare, ‘hare, ’ahe! Ill VI 11 Ho-o-o! 26 Ho-o-o! 12 Thare, “hare, ‘ahe! 27 hare, ‘hare, ‘ahe! 3 hare, ‘hare, ‘ahe! 28 Thare, ‘hare, ‘ahe! 14 Heru! Shakuru. He! 29 Heru! Chaharu. He! 15 hare, ‘hare, ’ahe! 30 Thare, ‘hare, ‘ahe!
¥
(St)
i)
VII 31 Ho-o-o! 32 I’hare, ‘hare, ‘ahe! 33 hare, “hare, ‘ahe!
34 Hern! Kusharu. He! 35 hare, “hare, ’ahe! VIII 36 Ho-o-o! 37 hare, “hare, ’ahe! 38 hare, ‘hare, ‘ahe! 39 Hern! H’Akaru. He! 40 hare, “hare, ’ahe! IX 41 Ho-o-o! 42 hare, “hare, ‘ahe! 43 hare, “hare, ‘ahe! 44 Heru! Keharu. He! 45 hare, ‘hare, ’ahe! 61 62 63 64 65
XIII
Ho-o-o!
hare, ‘hare, hare, “hare,
Heru! hare, “hare, ‘ahe!
THE HAKO, A PAWNEE CEREMONY
Hiwaturu.
x 46 Ho-o-o!
7 IThare, ‘hare, ‘ahe! 48 hare, ‘hare, ‘ahe! 49 Heru! Kataharu. He! 50 hare, “hare, ’ahe!
XI 51 Ho-o-o! 52 Dhare, ‘hare, ’ahe! 53 hare, “hare, ’ahe! 54 Heru! Kekaru. He! 55 hare, *hare, ‘ahe!
XII 56 Ho-o-o! 57 Thare, ‘hare, ‘ahe! 58 IWhare, *hare, ‘ahe! 59 Heru! Koritu. He! 60 hare, “hare, ’ahe! ‘ahe! ‘ahe!
He!
Translation of First Stanza
Tlo-0-o0! hare, *hare, ’ahe!
ihare! an exclamation that conveys the intimation that some- thing is presented to the mind on which one must reflect,
An exclamation introductory to the song.
must consider its significance and its teaching. hare! an abbreviation of the word i‘hare.
-ahe! an abbreviation of the word ihare.
to h is for greater ease in singing. : = Db
See line 2. Heru! Awahokshu. heru! an
Ile!
exclamation
of
(ETH. ANN.
The change of the r
approaching something sacred. Awahokshu, a composite word; awa is a part of Tira’wa, the supernatural powers, and hokshu means sacred, holy; thus the word Awahokshu means the abode of the supernatural powers, the holy place where they dwell. he! a part of the exclamation i/hare, the change of the r to an h being for the same reason as the similar change in ’ahe.
See line 2. See line 2.
reverent feeling, as when one is
FLETCHER] FIRST RITUAL, PART I 29
Explanation by the Ku'rahus
Thare is an exclamation, as when one suddenly remembers some- thing of which he has been unmindful, because other things demanded his attention. The mind having been recalled to the subject, now appreciates its importance, gives it complete attention, and becomes absorbed by it. The word means, I remember, I perceive, I give heed.
The repetition of the word as we sing ‘‘hare, *hare, ’ahe!” indi- eates that our minds are dwelling upon the subject brought to our attention.
Heru is an exclamation of reverence, in recognition of a place where prayers can be sent and whence help can come to us.
Awahokshu is that place—the place where Tira’wa atius, the mighty power, dwells. Below are the lesser powers, to whom man can appeal directly, whom he can see and hear and feel, and who can come near him. Tira’wahut is the great circle in the sky where these lesser powers dwell. They are like deputies or attributes of Tira’wa atius. The North Star and the Brown Eagle are among these lesser powers. A number of them are mentioned in this song and in the order in which they come near to man. We begin by calling upon Tira’wa atius, the father of all, but we do not address the power direetly; we mention the holy place where the power dwells, Awahokshu, and send our thoughts and our voice there, that our cry may reach those who have the ability to come to us and to help us.
Thare, ’hare, ’ahe means that our minds are dwelling on our appeal to the powers.
Translation of Second Stanza
6, 7, 8 See the first stanza, lines 1, 2, 3. 9 Heru! Hotoru. He! heru! an exclamation of reverence. See the first stanza, line 4. Hotoru, the Winds, those that stand at the four cardinal points. This term is not used in ordinary speech. It refers to the supernatural powers, the Winds. Thecommon word for wind is utawiu; windy, tihota. he! part of ihare! give heed! See the first stanza, line 4. 10 See the first stanza, line 2.
Explanation by the Ku'rahus
hare I have explained already. It always means the same, the arresting and fixing of the mind upon a subject of importance.
Heru! Hoturu. He! we exclaim, as we callon Hotoru. Hotoru, the Winds, were the first of the lesser powers to come near to man, so they are the first to be mentioned in this appeal. They are invisi- ble, but they are very strong (efficient); they are from the breath of Tira’'wa and they give life to man. They stand at the four directions (cardinal points) and guard the paths that are there, the paths down
30 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22
which the lesser powers must travel when they descend to bring help to man.
In this stanza, we remember the power given by Tira’wa to the Winds, and we ery to Hotoru to come and give their help to us at this time, to give life to the sacred articles about to be prepared for the ceremony of the Hako.
Thare, “hare ’ahe means, as we sing it this time, that we are reflect- ing upon Hotoru, we are thinking of all that they bring to man, the breath by which he lives.
The Winds are always near us by night and by day.
Translation of Third Stanza
11, 12, 13 See the first stanza, lines 1, 2, 3. 14 Heru! Shakuru. He! heru! an exclamation of reverence. See the first stanza, line 4. Shakuru, the Sun. This word is not used in ordinary speech; it refers to the supernatural power, the Sun, in its relation to man. The common term for sun is tirasakariki, sun stand- ing. he! part of ijhare! give heed! See the first stanza, line 4. 15 See the first stanza, line 2. The words in this line have special reference to the mind dwelling seriously upon Shakuru.
Explanation by the Ku'rahus
Shakuru, the Sun, is the first of the visible powers to be mentioned. It is very potent; it gives man health, vitality, and strength. Because of its power to make things grow, Shakuru is sometimes spoken of as atius, father. The Sun comes direct from the mighty power above; that gives it its great potency.
As we sing this stanza, we think of all that the Sun can do for us and we cry to it, to come now and give potentiality to the sacred articles about to be made ready for use in this ceremony.
Translation of Fourth Stanza
16, 17, 18 See the first stanza, lines 1, 2, 3. 19 Heru! H’Uraru. He!
heru! an exclamation of reverence. See the first stanza, line 4.
h’, the sign of breath; ‘‘ breathing life.”
Uraru, the Earth. This term is not used in ordinary speech; the common name for the earth is kahoraru. H’Uraru refers to the supernatural power that belongs to the earth, the power to bring forth.
he! part of hare! give heed! See the first stanza, line 4.
20 See the first stanza, line 2. In the last line of the stanza the word i/hare implies reflection: ‘‘ We reflect on H’?Uraru!”
FLETCHER | FIRST RITUAL, PART I 3]
Explanation by the Kw'rahus
WUraru, the Earth, is the lesser power we cry to next. The Earth is very near to man; we speak of her as Atira, Mother, because she brings forth. From the Earth we get our food; we lie down on her; we live and walk on her; we could not exist without her, as we could not breathe without Hotoru (the Winds) or grow without Shakuru (the Sun).
Mother Earth is very potent to help man and now we cry to her to come near and give potentiality to the sacred articles we are about to prepare.
We reverently reflect upon all that Mother Earth does for us.
Translation of Fifth Stanza
21, 22, 23 See the first stanza, lines 1, 2, 3. 24 Heru! Toharu. He! heru! an exclamation of reverence. See the first stanza, line 4. Toharu, the living covering of the earth, no special form being indicated; a genera! term for vegetation, but implying the supernatural power manifested therein. Katoha‘ru, trees. he! part of i/hare! give heed! See the first stanza, line 4. 25 See lines 2 and 20. ‘‘ We reflect on Toharu!”
Explanation by the Ku'rahus
Toharu means all the things that Mother Earth brings forth (all forms of vegetation); these are many. They are very necessary to man and they bring him much help. They too are lesser powers, though not so potent as some of the others. From them we get our food; from them comes the grass upon which the animals feed—the animals which supply clothing and food; from them come the trees which are very necessary to us. They have a part in this ceremony.
As we sing we think upon all that Toharu gives us and we ery to this power to come near, for without the help of Toharu some of the sacred articles required for this ceremony could not be obtained.
At this stanza the two men who have been selected to cut the two sticks of ash arise and go out of the lodge to perform this duty. The ash tree has been chosen beforehand, but the two men must cut the sticks when they go out at this time.
We stop between the stanzas of the song that this act may be performed.
32 THE HAKO, A PAWNEE CEREMONY [ETH. ANN, 22
Translation of Siath Stanza
>
26, 27, 28 See lines 1, 2; 3. 29 Heru! Chaharu. He!
heru! an exclamation of reverence. See line 4.
Chaharu, Water. This term applies to the supernatural power of the water; it is not used in ordinary speech; the common word for water is kii'tzu.
he! part of i/hare! give heed! See line 4.
30 See lines 2 and 20. ‘‘We reflect on Chaharu.”
EHeplanation by the Ku'rahus
Chaharu, Water, is one of the lesser powers. Water is very neces- sary to the life of man and all living things. The Winds, the Sun, the Earth, the Vegetation, and the Water are the five lesser powers through which the life of our bodies is maintained. We ery to Cha- haru to come near and give life to the sacred articles about to be prepared.
I told you that these stanzas are in the order of creation. The powers are mentioned in the order in which they come near to man ~ and enable him to live and to keep alive. As we sing we reflect upon our dependence on these lesser powers.
Water is employed only for sacred purposes in this ceremony. It can not be used in any ordinary way from the time we begin the singing of these songs to the end of the entire ceremony. A man can drink water to sustain his life, but he can not touch it for any other purpose. He can not go swimming, nor can he step into water with- out first performing certain rites. It is difficult to abstain so long from the use of water, but it must be done or we shall suffer punish- ment for our profanation. We shall have storms, the sky will be filled with clouds, there will be obstructions between us and the place where the powers above dwell—those whom we invoke in this ceremony.
I have known of instances where some of the men of the party sneaked out of the camp during this ceremony, went to a stream and washed, or jumped in and took a swim, and the result was a storm that brought great distress upon the people.
Translation of Seventh Stanza
31, 32, 33 See lines 1, 2, 3.
54 Heru! Kusharu. He! heru! an exclamation of reverence. See line 4. Kusharu, a place set apart for sacred purposes and made holy. he! part of ihare! give heed! See line 4.
55 See lines 2 and 20. ‘‘ We refleet on Kusharu!”
PLETCHER | FIRST RITUAL, PART I 30
Explanation by the Ku'rahus
The first act of aman must be to set apart a place that can be made sacred and holy, that can be consecrated to Tira’wa; a place where a man can be quiet and think-—think about the mighty power and the place where the lesser powers dwell; a place where a man ‘an put his sacred articles, those objects which enable him to approach the powers. Kusharu means such a place.
In this stanza we are taught that before a man can build a dwelling
he must select a spot and make it sacred and then, about that conse- crated spot, he can erect a dwelling where his family can live peace- ably. Kusharu represents the place where a man can seek the powers and where the powers can come near to man. Such a place is neces- sary for all ceremonies.
We are now to set aside a place where we shall put the sacred arti- cles we are to prepare and make it holy. We are not only thinking of the holy place where we shall lay the sacred articles, but we think of all that holy place will mean. It will represent the place where new life will be given.
Translation of Eighth Stanza 36, 37, 38 See lines 1, 2, 3. 39 Heru! H’ Akaru. He!
heru! an exclamation of reverence. See line 4.
h’, the sign of breath, the giving of life.
Akaru, a modified form of akaro,adwelling place; the earth lodge with its dome-shaped roof is likened to the stretch of land bounded by the horizon and roofed by the dome of the sky.
he! part of i‘hare! give heed! See line 4.
40 See lines 2 and 20. ‘‘ We reflect on H’? Akaru!”
Explanation by the Ku'rahus In this stanza we are told to think of the dwelling place Tira’wa has giventoman. Upon this place man must build a lodge in accordance with the rites given to our fathers. It is by the observance of these rites in the building of a lodge that life is given to the dwelling and it is made a place where the lesser powers can come to those who dwell therein. H’ Akaru means the giving of life to the dwelling place.
Translation of Ninth Stanza 41, 42,43 See lines 1, 2, 3. 44 Heru! Keharu. He!
heru! an exclamation of reverence. See line 4.
Keharu, an enclosure, as a room, having walls and roof, like an earth lodge. The word does not refer to any enclosure or lodge, but is typical in its meaning.
he! part of ihare! give heed! See line 4.
45 See lines 2 and 20. ‘‘ We reflect on Keharu!”
22 era—Prpr 2—04 3
34 THE HAKO, A PAWNEE CEREMONY (ETH. ANN. 22
Explanation by the Kw'rahus
As we sing this stanza we think of the lodge erected about the holy place in accordance with the rites given to our fathers upon the earth, which Tirawa made to be our dwelling place.
In such a lodge this ceremony must take place, and as we sing we ask that the lodge in which we are assembled to prepare the sacred articles may be kept free from all hurtful influences and that the lesser powers which bring life and strength may come near us as we sit within.
We also think of the lodge to which we will go for the further per- formance of this ceremony, for we desire that the presence or the lesser powers may be there also.
In this ceremony the lodge represents the nest, the place where the young are enclosed. They are protected by the male; the male eagle guards his nest; within its walls there is safety.
Translation of Tenth Stanza
46, 47, 48 See lines 1, 2, 3. 49 Heru! Kataharu. He!
heru! an exclamation of reverence. See line 4.
Kataharu, part of the word itkataharu, fireplace. The dropping of the initial syllable, it, changes the meaning; the word here refers to the place where fire is to be kindled in the sacred manner for the performance of sacred rites.
he! part of ihare! give heed! See line 4.
50 See lines 2 and 20. ‘‘ We reflect on Kataharu!”
Explanation by the Ku'rahus
As we sing this stanza we think of the place set apart for the kin- dling of fire after the manner taught our fathers, by rubbing two sticks together. Fire kindled in this way is sacred; if comes direct from the power granted to Toharu (Vegetation), in answer to man’s appeal as he rubs the sticks. The sticks used to make this fire are kept in a shrine.
The sacred fire must come in a place set apart for it. All sacred things must have their place. Kataharu is the place set apart for the sacred fire, where it can come and bring good to man; without it he could hardly live. We make the fire in the center of the lodge, where all within can share in its benefits.
As I told you, the lodge in this ceremony represents the nest where the young are cared for and protected. The male eagle protects the nest, the female eagle broods over it, and there she nourishes her young. <As we are asking for the gift of children to bind the people together as one family, so we sing about the fireplace, that fire may come as we prepare the sacred articles.
FLETCHER | FIRST RITUAL, PART I 5
When we sing this stanza, the two men who were sent out to cut the sticks of ash must return. After they enter they are told to sit on the east side of the fireplace. There they must sit, each man holding his stick.
Translation of Eleventh Stanza
51, 52, 53 See lines 1, 2, 3. 54 Heru! Kekaru. He! heru! an exelamation of reverence. See line 4. Kekaru, glowing coals; that is, the glow of the igniting wood before it bursts into flames. he! part of hare! give heed! See line 4. 55 See lines 2 and 20. ‘‘ We reflect on Keharu! ”
Explanation by the Kw'rahus
As we sing this stanza we rub the sticks to make the sacred fire come, and we think of. the lesser power that is making itself seen in the glowing wood.
Translation of Twelfth Stanza
56, 57, 58 See lines 1, 2, 3.
59 Heru! Koritu. He! heru! an exclamation of reverence. See line 4. Koritu, flames. he! part of i/hare! give heed! See line 4.
60 See lines 2 and 20. ‘‘ We reflect on Koritu!”
Explanation by the Ku'rahus
When the flame leaps from the glowing wood it is the word of the fire. The power has come near.
As we sing we think upon Koritu, the word of the fire, and we ask it to enter into and remain with the sacred articles we are about to prepare, for they are to speak.
While we are singing the two men with the two ash sticks hold them over the fire, to warm and straighten them. Then they cut them to the required length, four spans from the thumb to the third finger. Next they peel and scrape the sticks, and remove the pith by boring them through from end to end, so that the breath can pass unob- structed (the boring used to be done with a reed, but now the pith is burned out with a wire). The men next cut a straight groove the entire length of each stick. When all this has been done, the scrap- ings and every particle of the ash wood are carefully placed on the fire, and as the flames arise the two sticks are passed through the. blaze, that the word of the fire may enter and be with them.
The two men, each with a stick, pass from the east, where they have been standing, and take their places one on the north and the
36
THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22
other on the south of the Ku'rahus, where he sits in the west, and there these stems are decorated in the manner taught by our fathers (figure 171).
1, the entrance to the lodge 4, the holy place; 5, the Ku
EAST
Fig. 171. Diagram of the Father’s lodge during the decoration of the feathered stems.
the fireplace; 3, inner posts supporting the dome-shaped roof; thus; 6, his assistant; 7, the man with the blue feathered stem;
8, the man with the green feathered stem; 9, the server; 10, members of the Hako party.
Translation of Thirteenth Stanza
61, 62, 63 See lines 1, 2, 3.
64.
65
Heru! Hiwaturu. He!
heru! an exclamation of reverence. See line 4.
Hiwaturu, the entranceway to the lodge. Hiwaturu is com- posed of a part of the words hutturaru, a road, and hiwa, a hollow or depression. The word hiwaturu implies a sunken pathway.
he! part of Uhare! give heed! See line 4.
See lines 2 and 20. ‘‘ We refleet on Hiwaturu.”
of
FLETCHER] FIRST RITUAL, PART II 3
Explanation by the Kwrahus
We sing of the entranceway of the lodge because it is through this way that man goes to and fro. It is the place made for all to enter into the lodge; through it come those powers which are represented on the sacred articles about to be prepared for the ceremony of the Hako. Through it come the promises of the Hako, and through it the visions come.
The long passageway represents the days of man’s life.
Part IJ. PREPARING THE FEATHERED STEMS
Explanation by the Ku'rahus
Before the next song is sung the Ku’rahus prepares the blue paint which is to be put on one of the sticks of ash. The water with which the blue clay is mixed must be taken from a running stream. Water from a spring or well can not be used. Running water represents the continuity of life from one generation to another.
The paint is mixed ina white shell. The shell must be white; it is used because it was once a living thing. It lived in the water; if had no disease or sickness. As we use the shell we ask that disease and sickness may be kept from us and that our life may be long.
Before the people knew anything about vessels they used shells as spoons and to put their food in. Tira’wa gave us the shells and gave them long life and the power to keep away disease and sickness.
When the Ku’rahus has mixed the blue paint in the shell, he hands it to the man at his left, who is sitting toward the north. This man applies the mixture with his finger to the stick of ash, spreading the paint over its entire length, but being very particular not to let any of it get into the straight groove that runs from one end of the stick to the other, while the following song is sung.
FIRST SONG
Words and Music M. M. N=126.
+= Pulsation of the voice. Transcribed by Edwin S. Tracy. 5 — ] == oo == = —t— a Ho-o-0-o! Ha -re -ri, h’a-re-ri. Hel! H’a-re- ri, h’a-re-ri, _h’a-re- zest (2p (ip lg ge ea ai A === =_—_ ——— ee = ~ ot = * ri, ’re- ri, h’a-re-ri. Hel H’a-re-ri, h’a-re-ri. He!...... ’Re-ri, o 6 @ be ener ns es ewe. 0 - 2 é c =, $—- a a ete =p ee == —a ——— = 2 re-ri, h’a-re - ri,’re-ri, h’a-re-ri. He! ee crept eo bap Pr ap bas
38 THE HAKO, A PAWNEE CEREMONY (ETH. ANN, 22
66 Ho-o-0-o!
H’areri, h’areri. He!
68 Hareri, h’areri, h’areri, ‘reri, h’areri. He! 69 Hvareri, h’areri. He!
70 °Reri, h’areri, h’areri, *reri, h’areri. He! 71 H’areri, h’areri. He!
Translation
66 Ho-o-0-o! An introductory exclamation. 67 Tareri, h’areri. He! h’, an aspiration, symbolie of a breathing forth, as the giving of breath so that a thing may live. areri, a part of the word irarihi, a particular place. The change of the h in the final syllable of the word to r when the abbreviation areri is sung is for ease of utterance and euphony. Wareri. Translated above. he! a part of the exclamation ijhare! meaning I think upon, I give heed to the significance of the act which accompanies this song. The change of the initial rin the last syllable of the word to an h, making it he, is for euphony. 68 IVareri, h’areri, h’areri, reri, Wareri. He! HVareri, Wareri, Wareri. See line 67. *reri, a part of the abbreviation areri, translated above. lvareri. He! See line 67. 69 See line 67. 70 °?Reri, Wareri, h’areri, ’reri, h’areri. He! See lines 67 and 68. 71 See line 67.
Explanation by the Ku'rahus
Blue is the color of the sky, the dwelling place of Tira’wahut, that great circle of the powers which watch over man. As the man paints the stick blue we sing. “We ask as we sing that life be given to this symbol of the dwelling place of Tira’wa.
When the man has completed the painting of the stick he hands it to the Kurahus, who has already mixed red clay with water from a running stream in a shell, and he paints the straight groove red. This groove is the path along which the spirits of all the things that are to be put upon this stick of ash may travel as they go forth to give their help during this ceremony. ‘‘ TPareri” is a prayer that the symbol may have life.
We paint the groove red because the passageway is red through which man’s breath comes and goes to give him life. Thesun, too, is red, and the groove represents the straight path whereon the sun shines, the path which man must travel if he would live in peace and prosper. The teachings of this ceremony make a straight path along which if a man walks he will receive help from the powers.
ADOIONHLA NVOINAWNY 40 NVIdNe
XXX1 Vd LYOddd IWNNNYVY GNOOSZS-ALNAML
FLETCHER] FIRST RITUAL, PART II 39
When the Ku’rahus has finished painting the groove, he hands the blue stem back to the man on his left, toward the north, who holds it.
Before singing the second song the Ku’rahus prepares the green paint to be used on the other stick of ash by the man on his right, toward the south. The clay is mixed in a shell with water taken from a running stream. When it is ready for use the Ku'rahus hands it to the man on his right, who, with his finger, rubs the paint over the ash stick, being very careful not to get any of the green color into the groove that runs the length of the stiek.
When the man begins to paint the stick green this song is sung.
SECOND SONG
Words and Music M..M. }=126.
+= Pulsation of the voice. Transcribed by Edwin S. Tracy.
ee =e ee fl = == =e E a= a = = SSS =—— e —— = H’a-xye-ri, h’a-re - mi; HW’a -re-ri, *>ha-re! IJ’ - ha - re Drum. & ° ‘ eae. e ° e e ry es
I’-ha-re re! H’a-re - ri; e oe oe od « a0 a le eed Se “ — — =o — — ~ _— => __ = Sat ee : a —— =ffl a= = rd oe == el Ie = a = £6 te =e 2 4 o H’ a-re-ri,’ha-re! I’ - ha-re re! H’a- re - ri; Ee ren ane, a) a6 @ 2 ar) ee p oe : (elem elie piesa ee cca ec Giese eae 72 H’areri, h’areri;: 73 H’areri, “hare! Ihare re! 74 Hareri, “hare! Ihare re! H’areri; 75 Hure-e! 76 Hareri, ‘hare! Ihare re! H’areri: 77 Hure-e! Translation 72 Wareri, h’areri. h’, an aspiration, a breathing forth. See the second song, line 67. areri, an abbreviation of the word irarihi, a particular or special place. The change in the last syllable from hi to ri is for euphony. 73 Wareri, hare! I'hare re!
See lines 72 and 67.
‘hare, a part of the word i/hare; an exclamation used to indicate that something of serious import has been presented to the mind and is being reflected upon.
hare re. Translated above. The doubling of the last syllable is to meet the requirements of the rhythm of the music.
Wareri.
See line 2.
40 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22
74 IWareri, “hare! Ihare re! Hareri. All the words are trans- lated above. See lines 72 and 73.
75 Wure-e! An abbreviation of the word haurae, coming from above. The vowel changes and prolongation are for greater ease in singing and also for euphony.
77 ~=See lines 74, 75.
Explanation by the Kwrahus
The color green represents Toharu (Vegetation), the covering of WUraru, Mother Earth. As we sing, we ask that life be breathed into the symbol, that if may have power as we use these sacred arti- cles. ‘*‘TWareri” is a prayer that living power may be where we place this symbol of the covering of Mother Earth. We remember as we sing that the power of Mother Earth to bring forth comes from above, “* HWure-e.”
The Kuwrahus paints the groove red in the same way, for the same reason as on the other ash stiek,and when he has finished he hands the green stem back to the man on his right, toward the south, who holds it.
The Kurahus rubs upon his hands the sacred ointment which has been made by mixing red clay with fat from a deer or buffalo that has been consecrated to Tira’wa. Te is now ready to tie the symbolie articles upon the two painted stems.
He splits long feathers, taken from the wings of an eagle, and glues them to each stem as feathers are glued upon the shaft of an arrow. He uses for this purpose pitch from the pine tree. These wing feath- ers are to remind us that the eagle flies near to Tira’wa.
About one end of the stem (the mouthpiece) he fastens soft blue feathers, in color like the sky where the powers dwell. He ties a woodpecker’s head on the stem near the mouthpiece and turns the upper mandible back upon the red crest. The mandible covers the red crest and keeps it from rising. This shows that the bird may not be angry. The inner side of the mandible, which is exposed by being turned back upon the crest, is painted blue, to show that Tirawa is looking down upon the open bill as the spirit of the bird travels along the red groove to reach the people.
About the middle of the stem the Ku’rahus binds feathers from the owl. The other end of the stem he thrusts through the breast, neck, and mandibles of the duck, the breast reaching to the owl feathers. The end of the stem protrudes a very little through the bill of the duck, so that the bowl of a pipe could be fitted to it. The duck’s head, therefore, is always downward, looking toward the earth and the water.
All the birds on the stems are leaders: the eagle is chief of the day; the owl is chief of the night; the woodpecker is chief of the trees; the duck is chief of the water.
MAXXXT Td LHOd3e TIVONNY QNO93S-ALNaML — — — — ’ . . e ASOIONHLS NVOINSWY JO Nv3IyNs
FLETCHER] FIRST RITUAL, PART II 41
The Kurahus takes ten feathers from the tail of the brown eagle and prepares them so that they can be tied upon one of the stems. A buckskin thong is run through a hole punctured near the end of the quills and another is threaded through the quills, about the middle of their length, so that upon these two thongs the feathers can be spread like a fan. To the end of the thongs are fastened little balls of white down, taken from inside the thigh of the white male eagle. These balls of down represent the reproductive power. When the fan-like appendage is completed it is tied to the side of the blue- painted stem, so that it can swing when the stem is waved, to simulate the movements of an eagle.
When the Kurahus takes from the man on his left, toward the north, the blue-painted stem and attaches to it the fan-like pendant made of the feathers of the brown eagle, we give thanks in our hearts as the following song is sung.
THIRD SONG
Words and Music M. M. RB 265
+= Pulsation of the voice. Transcribed by Hdwin S. Tracy. E 3 aS SS = ie" 2 tee == ao z= = se =S55 ew ets e . — ve ore . Ha-a-a- a- al Ka-was we-rit-ta we-re rit-ta we-re; Ka - was we- rit- 2 by A A
Drum. ¢ ote ee se per he! — —
== —gy——
ta we-re rit-ta we-re; Ka- was we -rit-tawe-re rit - ta we - re. e 5 @ @ © @ @ nt a Say ee Ya Ya ep ieale (ele ALT et a eal al a el ge Jee ae 78 Ha-a-a-a-a!
79 Kawas weritta' were ritta were:
SO Kawas weritta were ritta were;
81 Kawas weritta were ritta were.
Translation
78 Ha-a-a-a-a! An introductory exclamation to the song. 9 Kawas weritta were ritta were.
Kawas, the name given to the brown eagle inthis ceremony. The common name for this bird is letahkots katit; letahkots, eagle; katit, dark or brown.
weritta, now hung.
were, at this or that particular time.
ritta, an abbreviated form of weritta, now hung.
were, at this time.
SO, Sl. See line 79.
42 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22
Haplanation by the Kwrahus
In this ceremony the brown eagle is called Kawas. This eagle has been made holy by being sacrificed to Tira’wa. Its feathers are tied upon the stem that has been painted blue to represent the sky.
This stem was the first one painted and decorated, because it is female and the leader. It represents the night, the moon, the north, and stands for kindness and helpfulness. It will take care of the people. It is the mother.
Throughout the ceremony the Ku’rahus carries this feathered stem.
After the Kawas stem is prepared the Ku’rahus hands it back to the man on his left, toward the north, to hold while he prepares a pendant of seven tail feathers from the white eagle. Then he takes from the man on his right, toward the south, the stem which had been painted green and ties on it this white-eagle pendant.
No song is sung while this is being done. The white eagle is not holy; it has not been sacrificed to Tira’wa. It has less power than Kawas; it is inclined to war, to hurt some one. It can not lead; it must follow. So the green stem is painted last, and all the decora- tions are put upon it after the other stem is completed.
This feathered green stem represents the male, the day, the sun, and the south. During the ceremony it is carried by the assistant of the Ku‘rahus, whose place is on the right of the Ku'rahus, toward the south.
When we move about the lodge waving the two feathered stems to the rhythm of the song we are singing, Kawas, the brown eagle, is sarried next the people, and the white-eagle stem on the farther side, away from the people, where it can do good by defending them and keeping away all harm. If it were carried next the Children it would bring them war and trouble. It is the brown eagle that is always kept near the people and is waved over their heads to bring them the gifts of plenty and of peace.
The red and white streamers tied upon the two stems represent the sun and the moon.
While the Ku’rahus still has the sacred ointment upon his hands he anoints a crotehed stick and two straight sticks, all three of which have been carefully scraped and smoothed. These sticks were cut from a plum tree, because this tree is prolific in bearing fruit.
Part Ill. PaintTinG THE EAR OF CORN AND PREPARING THE OTHER SACRED OBJECTS
Buplanation by the Ku'rahus The Ku'rahus now mixes in a round wooden bowl blue clay with water taken from a running stream and paints with it an ear of white
corn, in the way our fathers were taught to do. During this act the following song is sung.
FLETCHER]
FIRST RITUAL, PART III 43
SONG
Words and Music
M. M. §=138. += Pulsation of the voice.
Transcribed by Edwin S. Tracy.
fl = SS 3 = = = LZ, . A E a5 ‘i i ek Ha - a-a -a-a! H’A-ti - ra, we-ri hra ri-ki; H’A-ti-ra,... we- ri Drum.4g o@ 6 6 p 6 & Se Aone 2 2 e od —
=I
ad hra_ ri
° °
A
t a ® (? fae e
$2. Ha-a-a-a-a!
83 H’Atira, weri hra riki; 84 H’Atira, weri hra riki; 85 H’Atira, weri hra riki; 86 H’Atira, hra riki re; 87 Weri hra riki;
88 H‘Atira, weri hra riki.
II
89 Ha-a-a-a-a! 90 H’Atira, weri ruata; 91 H’Atira, weri ruata; 92 H’Atira, weri ruata; 93 H’Atira, ruata re: 94 Weri ruata; 95 H’Atira, weri ruata. I 96 Ha-a-a-a-a! 97 H Atira, weri tukuka; 98 H’Atira, weri tukuka; 99 H’Atira, weri tukuka; 100 H’Atira, tukuka re; 101 Weri tukuka; 102 H’Atira, weri tukuka.
Ween! hraieniokis HOA ti -reweori hra xi) kit
A
eer ey) ees cee IV Ha-a-a-a-a!
H’Atira, weri taiwa; H’ Atira, weri taiwa: H’ Atira, weri taiwa; H Atira, taiwa re; Weri taiwa; H’ Atira,. weri tiawa. y Ha-a-a-a-a! H Atira, weri tawawe: H’Atira, weri tawawe; HAtira, weri tawawe; H Atira, tawawe re; Weri tawawe; H’ Atira. weri tawawe. Vi Ha-a-a-a-a! H Atira, weri tawitshpa: H’Atira, weri tawitskpa; H’ Atira, weri tawitshpa: H Atira, tawitshpa re; Weri tawitshpa: H’ Atira, weri tawitshpa.
44 THE HAKO, A PAWNEE CEREMONY [ETH. ANN, 22
Translation of First Stanza
82. Ha-a-a-a-a! Introduction. \ An exclamation. 83 H’Atira, weri hra riki. h’, an aspiration, a breathing forth, as the giving of life. atira, mother. weri, I am. The singular pronoun refers to the party which is taking the initiative in this ceremony and not merely to the Ku'rahus. hra, an abbreviated form of the word rararit, to hold. riki, standing. This word not only refers to the position of the person who holds the ear of corn and to the position of the corn itself, but it indicates the present time, now. 84, 85 See line 83. 86 IVAtira, hra riki re. W’Atira, hra viki. See line 83. re, a sign of the plural. This plural sign indicates the imper- sonation of the ear of corn; WAtira and Kuyrahus are standing as two persons. 87 Weri hra riki. See line 83. 88 See line 83. Explanation by the Ku'rahus
The ear of corn represents the supernatural power that dwells in WUraru, the earth which brings forth the food that sustains life; so we speak of the ear of corn as l’Atira, mother breathing forth life.
The power in the earth which enables it to bring forth comes from above; for that reason we paint the ear of corn with blue. Blue is the color of the sky, the dwelling place of Tira’wahut.
The running water with which the blue clay is mixed is put into a round, wooden bowl, not in a shell, as when we painted the stems. The bowl is of wood, taken from the trees, a part of the living cover- ing of Mother Earth, representing the power of Toharu (see explana- tion of line 24).
The bowl is round, like the dome shape of the sky, and holds the blue paint, which also represents the sky. The bowl is a vessel from which we eat when we have the sacred feast of the corn. Tira’wa taught us how to get the corn.
As we sing the first stanza the Ku'rahus stands in front of the bowl containing the blue paint and holds in his hand,by the butt, h’Atira, the ear of corn.
Translation of Second Stanza 89 Ha-a-a-a-a! An introductory exclamation. 90 HAtira, weri ruata. h’ Atira, weri. See line 83. ruata, flying. Ruata indicates that the ear of corn is moving through the air, not touching the ground; the fact that the ear is in the hand of the Ku'rahus is ignored. Throughout this ceremony the ear of corn is a person.
ETHNOLO
AMERICAN
BUREAU OF
- it}
eS wponobaunDbve babu bile
a
Serene wbadabbebtt SE ict DEBE Piao
te
-
FLETCHER] FIRST RITUAL, PART IIIT 45
91, 92 See line 90. 93 WAtira ruata re. All the words have been translated. See lines 85, 86, and 90. 94 Weriruata. See lines $3 and 90, 95 See line 90. Kxplanation by the Ku'rahus
As we sing this stanza the Ku'rahus, holding the ear of corn in his hand by the butt, moves it slowly toward the bowl containing the blue paint.
The bowl and the blue paint represent the blue sky, where the powers above dwell, so we sing that the mother is flying (ruata) toward the heavens to reach these powers.
The spirit of the corn and the spirit of the Ku’rahus are now flying together (see line 86 for translation of the plural sign, re, and its significance ).
Translation of Third Stanza
96 See line 82. 97 HW Atira, weri tukuka.
h’Atira, weri. See line 85.
tukuka, now touches, or touching. 98, 99 See line 97. 100 H’Atira, tukuka re. See lines 83, 56, and 97. 101 Weri tukuka. See lines 85 and 97. 102 See line 97.
Explanation by the Ku'rahus
As this stanza is sung the Ku’rahus dips his finger in the blue paint and touches (tukuka) the ear of corn with it.
This act means that Mother Corn in her flight toward the sky now touches the place where the sky begins.
Translation of Fourth Stanza
103 See line 82. 104 H’Ativa, weri taiwa. h’Atira, weri. See line 83. taiwa, to rub downward or mark. 105, 106 See line 104. 107. IVAtira taiwa re. See lines 85, 86, and 104. 108 Weritaiwa. See lines 83 and 104. 109 See line 104.
Explanation by the Ku'rahus
As we sing this stanza the Ku’rahus marks with his finger four equidistant lines of blue paint on the ear of corn. THe begins at the tip of the ear and rubs his finger down (taiwa) about halfway to the butt on the four sides of the ear.
46 THE HAKO, A PAWNEE CEREMONY [ETH, ANN. 22
The four blue lines represent the four paths at the four directions (cardinal points), near which the winds stand-as guards. Down these paths the powers descend to bring help to man.
The blue paint came down one of these paths, but I was not taught which one.
Translation of Fifth Stanza
110 Ha-a-a-a-a! An introductory exclamation. 111 IWAtira, weri tawawe.
h’Atira, weri. See line 83.
tawawe, to spread. 112, 113 See line 111. 114 HAtira tawawe re. See lines 83, 86, and 111. 115 Weri tawawe. See lines 83 and 111. 116 See line 111.
Explanation by the Ku'rahus
As we sing this stanza the Ku'rahus spreads (tawawe) with his finger the blue paint over the tip of the ear of corn, to represent the blue dome of the sky, where the powers dwell, above whom is the mighty Tira’wa atius, the father of all.
This act signifies that Mother Corn has reached the abode of Tira’ wahut, where she will receive authority to lead in this ceremony.
Translation of Sixth Stanza
117 Ha-a-a-a-a! An introductory exclamation. 118 H’Atira, weri tawitshpa.
l’Atira, weri. See line 83.
tawitshpa, the attainment of an object; the completion of an
undertaking; the end reached. 119, 120 See line 118. 121 WAtira tawitshpa re. See lines 83, 86, and 118. 122. Weri tawitshpa. See lines 83 and 118. 123 See line 118. Explanation by the Ku'rahus
Mother Corn having reached the blue dome where dwells the great circle of powers, Tira’wahut, and having gained what she went for, tawitshpa, authority to lead in the ceremony, she descends to earth by the four paths. :
The blue paint having now been put on the ear of corn, this part of the ceremony is completed.
In all that is to follow l’Atira, Mother Corn breathing forth life, is to lead. She came forth from Mother Earth, who knows all places and all that happens among men, so she knows all places and all men, and can direct us where to go when we carry the sacred articles which give plenty and peace.
BUREAU OF AMERICAN ETHNOLOGY TWENTY-SECOND ANNUAL REPORT PL
THE RATGHEES
(TO ILLUSTRATE “HAKO,A PAWNEE CEREMONY,” BY A.C
FLETCHER | FIRST RITUAL, PART III AT
When we have finished singing this song the Kurahus takes one of the plum-tree sticks, which has been anointed with red clay mixed with fat, and ties on it with a thread of sinew a downy eagle feather. This stick is bound to the ear of corn so as to project a hand’s breadth above the tip end, letting the downy feather wave above Mother Corn. This feather represents Tira'wa. It is always moving as if breathing.
The Ku'rahus then binds the other plum-tree stick to the corn so that it extends below the butt. When the corn is placed in ceremo- nial position this end of the stick is thrust in the ground so that the ear will stand upright without touching the earth. Both sticks are bound to the ear of corn by a braided band of hair taken from the head of a buffalo. The braided band signifies the gift of animal food and the provision of skin clothing. (The Skidi band of the Pawnees tie a bit of buffalo wool, such as is shed by the animal in the spring, together with a braid of sweet grass, to the ear of corn.)
The two gourd rattles, which represent the squash given us by Tira’wa, and also the breasts of the mother, are each painted with a blue cirele about the middle, with four equidistant lines from the circle to the bottom of the gourd. The cirele represents the wall or boundary of the dome of the sky; the four lines are for the four paths at the four directions down which the powers descend. No song is sung while this painting is being done.
All the sacred articles are laid at rest on a wildeat skin when they are not being used ceremonially, and it is a cover for them in which they are all wrapped together at the close of the ceremony. Theskin is never tanned, and the ears of the animal, the skin of the head, the feet, and the claws must all be intact.
Tira’wa made the wildeat to live in the forest. He has much skill and ingenuity. The wildcat shows us that we must think, we must use tact, and be shrewd when we set out to do anything. If we wish to approach a person we should not do it bluntly; we should not rush at him; that might offend him so that he would not receive us or the gifts we desired to offer him. The wildeat does not make enemies by rash action. He is observant, quiet, and tactful, and he always gains his end.
In this ceremony we are to carry the sacred articles to one not of our kindred in order to bind him to us bya sacred and strong tie; we are to ask for him many good gifts, long life, health, and children, and we should receive gifts from him in return. If we would succeed we must learn of the wildcat, and be wise as he is wise.
The wildeat is one of the sacred animals. A man who killed a wildeat could sacrifice it to Tira’wahut. The man who brought such an offering had the right to ask the priest to teach him some of the mysteries that belong to the sacred shrine.
Many years ago two men took the Hako to the Omaha tribe. On the journey one of them killed a wildeat. I said to the man: ‘*I am
48 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22
glad Mother Corn is here leading us, and the wildcat goes with the Hako.” But the man who killed it said: ‘‘No, this skin will not go with the Tako! Iam going to take it to the priest for sacrifice that IT may learn some of the mysteries.” But he did wrong and suffered for it, because that wildcat belonged with the Hako, for it was killed while we were being led by Mother Corn.
The sacred articles having been completed are now laid at cere- monial rest. The wildeat skin is spread upon the earth in the holy place, which is in the west part of the lodge opposite the entrance, a little way back from the fireplace. The head of the skin is placed toward the east; the crotched plum-tree stick is thrust into the ground close to the head; the two feathered stems are laid in the crotch, the brown-eagle stem first, then the white-eagle stem on the top or outside. The eagle buildsits nest in the crotch of a tree, so these eagle-feathered stems are laid in the crotch of the plum-tree stick. The ends which are thrust through the duck’s head rest upon the wildeat, and under the wing-like pendants the gourd rattles are placed. Directly in front of the crotched stick stands Mother Corn.
Part IV. OFFERING OF SMOKE Explanation by the Kwrahus
The time has now come for the offering of smoke to Tira’wa.
The priest of the Rain shrine must be present with the pipe belong- ing to that shrine and he must conduct the ceremony. After he has filled the pipe with native tobaceo the Ku'rahus tells the people that the time has come to offer smoke to Tira’wa, the father and the giver of all things. He selects from the company a man to act as pipe bearer during the ceremony of offering smoke. The pipe bearer must be one who has made sacrifices at the sacred tents where the shrines are kept and has been annointed, and who in consequence has been prospered in his undertakings. The prayers of such a man are thought to be more acceptable to the powers than those of a man who has never made sacrifices.
In old times men did not smoke for pleasure as they do now, but only in religious ceremonies. The white people have taught the Pawnees to profane the use of tobacco.
Each of the sacred shrines of the tribe has a pipe, and its priest knows the proper order in which the pipe should be offered to Tira’- wahut. [am not a priest, so I do not know the order in which the Rain pipe is offered, nor can I tell you the ceremony; the knowledge of that belongs to its priest and not to me.
Up to this point (the conelusion of the ceremony of smoking) all the people present have been obliged to remain quiet in their places; now they are at liberty to move about or to leave the lodge.
=THNOLOGY
F
OF AMERICAN
3UREAU
FLETCHER] INITIAL RITES 49
SECOND RITUAL. PREFIGURING THE JOURNEY TO THE SON
Explanation by the Ku'rahus
Honor is conferred upon a man who leads a Hako party to a dis- tant tribe and there makes a Son, while to the Son help is given from all the powers represented by the sacred objects. Between the Father
EAST
Fic. 172. Diagram of the Father’s lodge during the second ritual.
1, the entrance to the lodge; 2, the fireplace; 3, inner posts supporting the dome-shaped roof; 4, the Ku’rahus; 5, his assistant; 6, the Father (a chief); 7, the server; 8, the wildeat skin, on which are the feathered stems and rattles; 9, the eagle wings; 10, the ear of corn; 11, members ot the Hako party.
and the Son and their immediate families a relationship similar to that which exists between kindred is established through this cere- mony. It isa sacred relationship, for it is made by the supernatural powers that are with the Hako.
22 eta—pr 2—04——4
50 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22
Beeause of the sacred and binding character of this relationship, and the gifts brought by it to the Son, namely, long life and many children to make his family strong, the selection of a man to be made a Son is regarded as a serious and important act, one in which the chiefs and the leading men of the Father’s tribe must have a voice.
The Son should be a chief or a man who has the respect of the lead- ing men of his tribe, and whom the Father's tribe would be glad to have bound to them by the tie of Son.
While the Father has been gathering the materials necessary for this ceremony, which may have taken him a year or more, he has had some particular person in his mind whom he desired to make a Son, When everything is ready he mentions this particular person to the chiefs and leading men, and when we are gathered together to sing this song we think of this chosen man and we ask the assistance of Mother Corn, and if he is the right person she will lead us to him.
The selection of the Son takes place soon after the preparation of the sacred objects, frequently on the night of the same day. It must always be in the night time, because the spirits can travel best at night. The spirit of the corn and the spirits of the people present in the lodge at this time are to decide who shall be the Son, and Mother Corn is to lead us to him. The same persons are present at this ceremony that were present at the preparation of the Hako.
In the west of the lodge, facing the east, sit the Ku’rahus, his assist- ant, and the Father. Before them are the sacred objects arranged as at ceremonial rest. A little way in front of the crotehed stick stands the ear of corn which has been painted in the sacred manner (see figure 172). It is held in position by one of the sticks to which it is tied being thrust into the ground. This ear of corn is the mother, and upon her everyone present must fix his mind.
The singing of the following stanzas occupies most of the night; they do not follow each other quickly, for we must pause after each one.
SONG
Words and Music M. M. §=182. + = Pulsation of the voice. Transcribed by Edwin S. Tracy.
SS
Ha-a-a-a! H’A-ti - ra ha-ri, h’A-ti-ra ha-ri! He! Chix-u ti
Drum. @e—e0 * e oe ee e e e ea \e Tey) e Py e eo. Rattles.) \a! 1 { ec) \ | t I ye f h
Se
5-3" = = cat a I = SS ee zt : SSE SS 5
whi-ti-ka ha-ri! H’ A-ti- ra ha-ri! H’A-ti- ra ha-ri, h’A- ti- ra. Ha!
ocoseepee 8 6 6 @
a ca ee ae men ee Ca gh ad gree ee ete =e fh 2
FLETCHER] SECOND RITUAL 51
I V 124 Ha-a-a-a! 144 Ha-a-a-a! 125 H’Atira hari, h’Atira hari! 145 H’Atira hari, h’Atira hari! 126 He! Chixu ti whitika hari! ~ 146 He! Chixu ti whichata hari! 127 H’Atira hari! 147 H’Atira hari! 128 H’Atira hari, h’Atira. Ha! 148 H’Atira hari, h’Atira. Ha! ‘ IL VI 129 Ha-a-a-a! 149 Ha-a-a-a! 130 H’Atira hari, h’Atira hari! 150 H’Atira hari, h’Atira hari! 131 He! Chixu ti uchitika hari! 151 He! Chixu tih itchahka wara hari! 132 H’Atira hari! 152 H’Atira hari! 133 H’Atira hari, h’Atira. Ha! 153 H’Atira hari. h’Atira. Ha! Il VII 134 Ha-a-a-a! 154. Ha-a-a-a! 135 H’Atira hari, h’Atira hari! 153 H’Atira hari, h’Atira hari! 136 He! Chixu uti hiata hari! 156 He! Chixu ti itwhichata hari! 137 H’Atira hari! 57 H’Atira hari! 138 H’Atira hari, h’Atira. Ha! 158 H’Atira hari, h’Atira. Ha! IV VIII 139 Ha-a-a-a! 159 Ha-a-a-a! 140 H’Atira hari, h’Atira hari! 160 H’Atira hari, h’Atira hari! 141 He! Chixu tih whichuru hari! 161 He! Chixu ti tokoka hari! 142 H’Atira hari! 162 H’Atira hari! 143. H’Atira hari, h’Atira. Ha! 163 H’Atira hari, h’Atira. Ha!
Translation of First Stanza
124 Ha-a-a-a! An introductory exclamation. 125 H’Atira hari, h’Atira hari. h’, the sign of an inspiration, a breath, the symbol of giving forth life. atira, mother. The term is here applied to the ear of corn, the life-giving product of h’Uraru, the Earth. hari, a part of the word iha’ri, young, the young of animals; also a general term for children. 126 He! Chixu ti whitika hari. he! an exclamation, as when bidding one to look at some- thing. chixu, the spirit or mind of a person or thing. ti, have, in the sense of having done something, accomplished a purpose or carried out a plan. whitika, converged, come together and united for a given purpose. hari, part of the word iha’ri, offspring. The word here refers to the Son. 127 H’Atira hari! The words have been translated. See line 125. 128 H?Atira hari, h’Atira. Ha! h’Atira hari. See line 125. ha! an exclamation, calling attention.
bo bo
52 THE HAKO, A PAWNEEK CEREMONY [ETH. ANN. 22
Explanation by the Ku'rahus
As we sing this stanza everyone bends his mind toward the ear of corn, for our spirits (chixu) and the spirit (chixu) of the corn must converge (whitika), must come together and unite for the purpose of finding the Son. The ear of corn is a part of h°Uraru (see line 19), Mother Earth, the mother of all things, so we call the ear of corn Mother Corn; and because she supports our life through food, we speak of her as h’Atira, mother giving forth life.
All things live on the earth, Mother Corn knows and can reach all things, can reach all men, so her spirit is to lead our spirits in this search over the earth. When Mother Corn went up to Tira’ wahut at the time she was painted (see lines 82 to 123), power was given her to lead the spirits of all things in the air and to command the birds and the animals connected with the Hako. Endowed with power from Tira’ wahut above and from W’Uraru (Mother Earth) below, Mother Corn leads and we must follow her, our spirits must follow her spirit. We must fix our minds upon Mother Corn and upon the Son, who is the object of our search. It is a very difficult thing to do. All our spirits must become united as one spirit, and as one spirit we must approach the spirit of Mother Corn. This is a very hard thing to do.
Translation of Second Stanza
129 Ha-a-a-a! An introductory exclamation. 130 H?’Atira hari, h’Atira hari. h’Atira, Mother breathing forth life. See line 125. hari, part of the word iha’ri, offspring, children. 131 He! Chixu ti uchitika hari. he! look! behold! chixu, spirit of a person or thing. ti, have. See line 126. uchitika, meditating on; turning over a subject in one’s mind and considering it in all its aspects. hari, part of iha’ri, young; refers to the Son. 132 WAtira hari! See line 130. 133 IVAtira hari, h’Atira. Ha! See lines 128, 130.
Explanation by the Kwrahus
When we sing this stanza our spirits and the spirit of Mother Corn have come together. Now we are all to meditate. We sit with bowed heads, and Mother Corn sits with bowed head. We are all to think over and consider (uchitika) who shall be the Son.
We must all agree upon the choice, Mother Corn and all.
It is very difficult for all to unite, but we must do so before we can follow Mother Corn where she determines to lead us. It often takes a long time.
FLETCHER] SECOND RITUAL i>. Translation of Third Stanza
134 Ha-a-a-a! An introductory exclamation. 135 H’Atira hari, h’Atira hari. IVAtira, mother breathing forth life. See line 125, hari, part of the word iha’ri, young; refers to the Son. 136 He! Chixu uti hiata hari. he! look! behold! chixu, the spirit. See line 126. uti, moving. hiata, the air. Uti hiata refers to the spirits moving through the air. hari, part of iha’ri, young; refers to the Son. 137 WAtira hari! See line 135. 188 H’Atira hari, h’Atira. Ha! See lines 135, 128.
EHaplanation by the Ku'rahus
When we sing this stanza the decision has been made. Mother Corn lifts her head and stands erect. Then she moves through the air (uti hiata), flying on her journey to the Son, and we follow.
It is not the ear of corn that travels through the air, nor do our bodies follow, it is the spirit (chixu) of the corn that moves, and it is our spirits (chixu) that follow, that travel with her to the land of the Son.
The path now opened by the spirit of Mother Corn we, the Fathers, will take, when we in our bodies journey to the Son, but the way must first be opened and the path prepared by the spirit of Mother Corn. This she is about to do.
Translation of Fourth Stanza
139,140 See lines 134, 135. 141 He! Chixu tih whichuru hari; he! look! behold! chixu, the spirit of a person or a thing. tih, are in the, act of. whichuru, approaching, drawing near to a place. hari, part of iha’ri, children. 142,143 See lines 127, 128.
Eaplanation by the Kw'rahus
As we sit and sing this stanza our spirits follow the spirit of Mother Corn, and now we are approaching (tih whichuru), drawing near to the village where the Son lives. We see it all (in the spirit) as with Mother Corn we approach the place where the Son dwells.
54 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22
Translation of Fifth Stanza
144,145 See lines 124, 125. 146 He! Chixu ti whichata hari. he! look! behold! chixu, the spirit of a person or thing. ti, have, in the sense of having accomplished a purpose or carried out a plan. whichata, reached one’s destination, the end of one’s journey. hari, part of iha'ri, young, children. 147,148 See lines 127, 128.
Explanation by the Ku'rahus
As we sing this stanza Mother Corn reaches her destination (ti whichata). The journey across the country is nowatanend. Mother Corn has opened the way from the tribe of the Fathers to the tribe of the Children. We shall now be able to travel safely along that path, for she has made it straight, she has removed all evil influences from it, so that we shall be happy when we pass over this path she has made.
Here Mother Corn pauses, and we shall pause when we arrive at this place, for it will be here that we shall stop and await the messen- ger from the Son. He will bring words of welcome and precede us to the lodge set apart for us by the Son.
After a pause we shall follow the spirit of Mother Corn when she enters the village of the Son.
Translation of Sixth Stanza
149,150 See lines 124, 125. 151 He! Chixu tih itechahka wara hari. he! look! behold! chixu, the spirit of a person or thing. tih, are, are in the act of. itchahka; it, a prefix, indicating desire; chahka, a part of the word chahkahawe, village: itchahka, the village one has desired to reach. wara, walking. hari, part of iha'ri, children. 152,153 See lines 127, 128.
Explanation by the Ku'rahus
As we sing this stanza the spirit of Mother Corn walks through the village she has desired to reach (tih itchahka wara). She opens the way for us through the village to the door of the lodge of the Son. Our spirits, as one spirit, follow hers as she walks among the lodges, seeking the one in which the Son dwells.
As we follow we keep our minds fixed upon Mother Corn and upon the Son to whom we are now drawing hear.
FLETCHER] SECOND RITUAL 55
Translation of Seventh Stanza 154, 155 See lines 124, 125. 156 He! Chixu ti itwhichata hari. he! look! behold! ehixu, the spirit of a person or thing. ti, have, in the sense of having accomplished a purpose. itwhichata; it, a prefix indicating desire; whichata, reached one’s destination: itwhichata, reached the desired end or object of one’s journey. hari; part of the word iha'ri, young; refers here to the Son. 157, 158 See lines 127, 128.
Explanation by the Ku'rahus
As we sing this stanza the spirit of Mother Corn arrives at the lodge of the Son and enters. Our spirits follow her spirit. We have now reached the object of our search and the end of our journey (ti itwhichata hari). The Son does not see us as we stand there; he is sleeping. We fix our minds upon Mother Corn and upon him; we think of the gifts we are to bring him when we come to him with the Hako, the gifts that the birds and the animals that attend these sacred objects will surely bestow upon him—long life, children, and plenty. These gifts will be his, and we shall share in them, for all these good things go with this ceremony.
Translation of Highth Stanza
159, 160 See lines 124, 125. 161 He! Chixu ti tokoka hari. he! look! behold! chixu, the spirit of a person or thing. ti, have, in the sense of having accomplished. tokoka, touched, made itself felt. hari, part of iha’ri, young. 162, 163 See lines 127, 128.
Explanation by the Kw'rahus
While we sing this stanza the spirit of Mother Corn touches the Son (ti tokoka hari).
We fix our minds upon Mother Corn and upon the Son; if we are in earnest he will respond to her touch. He will not waken, he will not see her, but he will see in a dream that which her touch will bring to him, one of the birds that attend the Hako, for all the spirits of those birds are with Mother Corn and they do her bidding, and he may hear the bird call to him. Then, when he awakens, he will remember his dream, and as he thinks upon it, he will know that he has been chosen to be a Son, and that all the good things that come with the cere- mony which will make him a Son are now promised to him.
56 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22
By touching the Son Mother Corn opened his mind, and prepared the way for our messengers to him, so that he would be willing to receive them, and later to receive us.
Mother Corn has now found the Son; she has made straight and safe the path from our country to his land, and she has made his mind ready to receive us and to carry out his part of this ceremony of the Hako.
THIRD RITUAL. SENDING THE MESSENGERS
Explanation by the Ku'rahus
On the day following the night when Mother Corn selected the Son the members of the Father’s party brought to his lodge the gifts which they were to take to the Children.
Four men were chosen to carry the message of the Ku'rahus to the Son. They were clothed by the Father with the buffalo robe in the ceremonial manner, and led by him to a place near the entrance of the lodge.
The Ku'rahus gave a little of the sacred native tobacco to the Father, who tied it in a small piece of bladder and returned it to the Ku'rahus, who then addressed to the messengers the first stanza of the following song.
SONG Words and Music M. M. J=112.
+ = Pulsation of the voice. Transcribed by Edwin 8. Tracy. Slow and heavy.
222 Sas SS SS Se |
Be pe : Ha-a-a! Ka-sha wha-ko - o: Ha- a! H’ars wi - ta - al Ka - Drums) «¢ 2 -« . ° Py ° e e ee s ° oee8e Rattles | a ile we (mCtMieene le el ga mse Atel pete keira ———— =| =} = = = = lore SSS SS SE SS =| = = aS: . ~— ee nal sha wha - ko - o: Ha - a! H’ars wi = ta - al Ka - A A A A A A A anc Gent ies ere ae ee une ee ry
(2S = Se a SS SS
‘ Ss aie sha wha- ko - o: Ha - al H’ars wi - ta - a! A A
ie ca Wee Te mE ee eS I
164 Ha-a-a!
165 Kasha whako-o: Ha-a! H’Ars wita-a! 166 Kasha whako-o: Ha-a! H’Ars wita-a! 167 Kasha whako-o: Ha-a! H’Ars wita-a!
II 168 Ha-a-a! 169 Kusha whako-o: Ha-a! H’Ars wita-a; 170 Kusha whako-o: Ha-a! H’Ars wita-a; 171 Kusha whako-o: Ha-a! H’Ars wita-a.
FLETCHER] THIRD RITUAL 57
Translation of First Stanza
164 Ha-a-a! <An introductory exclamation. 165 Kasha whako-o: Ha-a! H’ars wita-a! kasha, a form of command, referring to an act to be performed at a future time. whako-o; whako, tell or say; 0, vowel prolongation. ha-a! ha! behold! a, vowel prolongation. h’, a contraction of ha, your. ars, a contraction of atius, father. Wita-a! wita, he coming; a, vowel prolongation. 166,167 See line 165.
Explanation by the Ku'rahus
This stanza is a command to the messengers to say, when they hand the tobacco to the Son, ‘‘ Behold! Your father is coming!” (‘‘ Ha! Wars wita!’’)
The stanza is sung four times. At the fourth time the Ku’rahus puts the tobacco into the hand of the leader of the four messengers, who at once leave the lodge and start upon their journey.
Translation of Second Stanza
168 See line 164. 169 Kusha whako-o: Ha-a! IVars wita-a.
kusha, they will; that is, those that have been commanded
will do as they have been directed.
whako-o; whako, tell, say; 0, vowel prolongation.
ha-a! ha! behold! a, vowel prolongation.
h’, a contraction of ha, your.
ars, a contraction of atius, father.
Wita-a, wita, he coming; a, vowel prolongation. 170, 171 See line 169.
Explanation by the Ku'rahus
When the messengers are out of sight of the village the Ku'rahus sings the second stanza. It is addressed to the members of the Father’s party, who are still sitting in his lodge. It isan authoritative assurance that the messengers will (kusha) fulfil their mission and deliver to the Son the message, ‘‘ Behold! Your father is coming!”
After the Ku’rahus has sung this second stanza four times, the people disperse to await the return of the messengers, while he and his assistant, or two persons designated by him, must sit with the sacred objects until the four men come back from the Son.
As the Son hears the words of the messengers he will be reminded of his dream, in which Mother Corn touched him. And as he looks at the men he will recognize the tribe from which they have come and will know who has chosen him to be the Son. Then he will eall tegether his relatives and they will talk over the matter. If it is decided to accept the ceremony they will keep the little bundle of
58 THE HAKO, A PAWNEE CEREMONY {ETH. ANN. 22
tobacco and the messengers will be told to return and say to the Father, ‘‘I am ready!”
The messengers start back immediately, and when they are in sight of their village the news of their arrival is proclaimed. Then all the men of the Father’s party hasten to his lodge. The Ku'rahus, his assistant, and the Father put on their buffalo robes in the ceremonial manner, with the hair outside, and take their places back of the Hako. The other members of the party range themselves against the wall of the lodge, on either side, and all await the coming of the messengers.
As the four men enter the lodge the people ery, ‘‘ Nawairi!” (TPhanks!”) while the Ku'rahus lifts his hands, palms upward, and then brings them down slowly. This movement means thanks, and the calling down of help from above.
The leader of the messengers, addressing the Ku'rahus, delivers the words sent by the Son, “‘Iam ready!” This closes the ceremony.
FOURTH RITUAL Part I. VIVIFYING THE SACRED OBJECTS Explanation by the Ku'rahus
When the messengers return from the Son with the words, ‘‘I am ready,” there is rejoicing in the lodge.
The young men of the Father’s party rise and dance. From these dancers two are selected, by the Ku’rahus and the chief, to perform the final dance, which takes place on the morning of the fifth day of the ceremony. The choice of these two dancers is signified by tying on their hair a downy white eagle’s feather (see plate XLI). Mean- while the other members of the party are busy with their final prepa- rations. They tie in packs, ready for transportation, the gifts they are to carry to the Children. The singers make ready the drum, while outside the women are engaged preparing food and other necessaries for the long journey.
The Ku'rahus orders a straight tent pole to be selected and brought to the lodge of the Father.
On the morning of the day the journey is to begin the Ku’rahus rises from his place in the lodge behind the Hako and goes outside. There he ties the sacred objects on the selected tent pole. He puts the two feathered stems near the top-_the brown eagle toward the north and the white eagle toward the south—and he spreads out their feather pendants. Below these he fastens the ear of corn, and under- neath it the two rattles and, lastly, the wildcat skin. These objects must face the east when the pole is raised. Behind them, so as to face the west, the right and left wing of an eagle are fastened and spread out.
The rope of buffalo hair is used to tie these sacred objects to the pole, which is then set up at the entrance of the lodge. Here it stands where the wind of the dawn may breathe upon the Hako and the first rays of the sun strike the sacred objects and give them life.
“ETHNOLOGY TWENTY-SECOND ANNUAL REPORT PL. KCl
THE FEATHER SYMBOL OF TIRAWA
(TO ILLUSTRATE “HAKO,A PAWNEE CEREMONY,” BY A.C.FLETCHER )
FLETCHER] FOURTH RITUAL 59
We do this that Tira’wa and all the lesser powers—the Winds, the Sun, the Earth, and the four at the west which control the storm— may see that all is complete and ready for the ceremony.
It is all done in silence before the day dawns. No song is sung when we put the objects on the pole and raise if nor when we take it down and remove them. We must let them stay up there for some time in order that all the powers may surely see that everything is correct, so the sun is well up when the Ku'rahus goes out to the pole, lowers it, and removes the sacred objects and carries them into the lodge and puts them on the holy place.
Part Il. MorHrr Corn AsSSuMES LEADERSHIP
Euplanation by the Ku'rahus
As I told you before, the Ku’rahus at the beginning of the ceremony anointed himself with the sacred ointment and fastened upon his head
EAST 1
Fic. 173. Diagram of the Father's lodge during the singing of the first stanza of the song of the fourth ritual, part 11.
1, the entrance to the lodge; 2, the fireplace; 3, inner posts supporting the dome-shaped roof: 4, the holy place; 5, the Ku’rahus; 6, his assistant: 7,the bearers of the eagle wings; 8, the Father (a chief); 9, the second chief; 10, members of the Hako party.
60 THE HAKO, A PAWNEE CEREMONY [ETH ANN, 22
the downy eagle feather (see plate xc1). Now he takes the rope of buffalo hair with which the sacred objects have been bound to the pole, and with it ties his buffalo robe around his waist. He is now fully dressed for the ceremony, and he stands at the west, back of the holy place.
He anoints with the sacred ointment the face, arms, and body of his assistant, ties a downy eagle feather on his scalp lock, puts a buffalo robe on him in the ceremonial manner and hands him the feathered stem with the white-eagle pendant; then the assistant takes his position behind the holy place, toward the south.
The Ku'rahus next annoints the face of the chief and fastens on his head a small tuft of down taken from under the wing of an eagle. The chief wears his buffalo robe in the ceremonial manner. The Ku’- rahus hands the wildeat skin to the chief, who folds its head about the crotched stick and the butt of the ear of corn, so that the tip to which the downy eagle feather is fastened is well in sight above the head of the cat. The skin hangs down in front of the chief as he holds it with both hands by the neck. He takes his place back of the Ku rahus.
The second chief, who is to assist the first, is now given the sacred pipe and tobacco bag of the Rain shrine and told to stand behind the Ku rahus’s assistant.
The Ku'rahus hands the eagle wings to the doctors; the one with the left wing stands to the north of the Ku’rahus, and the one with the right wing takes his place to the south of the assistant. Lastly the Ku'rahus takes up for himself the feathered stem with the brown- eagle pendant and then, with the six men all in position (see figure 173), they sing the first stanza of the following song.
SONG
Words and Music
Slow. Transcribed by Edwin S. Tracy. -! ————— ——— — = “2 Sa = = == Eas eee eee ees Perce ae eee e H’A-ti- ra hu WE tai ws.sace a - ri - so! H’A -ti-ra hu = — ———= =E=S SSS SSE z. = es === =. = = = ao i SS Welautalescocsce a- ri - sol EVAS- ti = ra thu We) = itave.ce. <0 ie as S| == = ail = -, 2 see; = = =e “ [ss J fs SS SS SS a-ri-so! H’A-ti-ra hu Sra Dene pecs H’ A-ti-ra hu a seed ese a C= I —— tf os == = 2= oe ger SS = am uy 5 : we - ta...... a-ri-so! H’A-ti-ra hu WE = tasers a - ri- so]
FLETCHER] FOURTH RITUAL, PART II 61 I II 72 H’Atira hu weta ariso! 178 H’Atira hu weti arisut! 173 H’Atira hu weta ariso! 179 H’Atira hu weti arisut! 174 H’Atira hu weta ariso! 180 H’Atira hu weti arisut! 175 H’Atira hu weta ariso! 181 H’Atira hu weti arisut! 176 H’Atira hu weta ariso! 182 H’Atira hu weti arisut! 77 H’Atira hu weta ariso! 183 H’Atira hu weti arisut!
Translation of First Stanza
172 WAtira hu weta ariso! h’, the sign of an aspiration; a breath; the symbol of giving life. atira, mother. The term is here applied to the ear of corn, the representative of Mother Earth. hu, the same as ha, yonder. The vowel is changed from a to u to give greater euphony in singing by avoiding the repe- tition of the sound a. weta, Coming toward one, so as to overtake one. ariso, a living thing that has come from a great distance in time or space. 173-177 See line 172.
Hxplanation by the Ku'rahus
This stanza is sung four times. As we sing it the first time the principal chief takes a step with his right foot, which brings him on a line with the Ku’rahus and his assistant. When we sing it a second time he takes a step with his left foot, which leaves him in advance of the line of the Ku’rahus and his assistant. As we sing it a third time he takes a step with his right foot and turns toward the north. When we sing it the fourth time he advances a step with his left foot. He has now passed in front of the Ku'rahus as leader, and faces the north.
As we sing this song we remember that Mother Earth is very old. She is everywhere, she knows all men, she gave (supported) life to our fathers, she gives (supports) life to us, and she will give life to our children.
The ear of corn represents venerable Mother Earth, and also the authority given by the powers above; so, as the chief, holding the ear of corn, takes the four steps that bring him in advance of the Ku'ra- hus, we sing that Mother breathing forth life and bearing the sign of the powers above is now coming from the far distant past to go before us.
At the close of the fourth repeat the Ku'rahus tells the assistant chief to pass in front and stand at the right hand of the principal
62 THE HAKO, A PAWNEE CEREMONY (BIH. ANN. 22
chief. When this is done, the Ku’rahus and his assistant and the two doctors form a line behind the two chiefs; then we sing the following stanza (see figure 174).
EAST 1
Fic. 174. Diagram of the Father’s lodge during the singing of the second stanza of the song of the fourth ritual, part 11.
1, the entrance to the lodge; 2, the fireplace; 3, inner posts supporting the dome-shaped roof; 4, the holy place; 5, the Ku’rahus; 6, his assistant; 7, the bearers of the eagle wings; 8, the Father (a chief); 9, the second chief; 10, members of the Hako party.
Translation of Second Stanza
178 HW Atira hu weti arisut! h’, the sign of breath, of giving forth life. atira, mother; the term applied to the ear of corn. hu; ha, yonder; the vowel is changed for euphony. weti, starting forward. The object which was coming toward one has overtaken the speaker and has started onward before him. arisut, a living thing that is starting or has started to go a long distance, as into future time or on a long journey. 179-183 See line 178.
FLETCHER] FOURTH RITUAL 63
Explanation by the Kw rahus
We sing this stanza four times, taking a step at each repeat, the two chiefs leading with Mother Corn and the sacred pipe.
As we sing we think that Mother breathing forth life, who has come out of the past, has now started to lead us on the journey we are to take and to the fulfilment of our desire that children may be given us, that generations may not fail in the future, and that the tie may be made strong between the Father and the Son.
After this song the six men walk slowly toward the entrance to the lodge, going by the north, and all the others follow.
Part Ill. Tar Haxko Party PRESENTED TO THE POWERS Explanation by the Ku'rahus
When the Hako party are all outside of the door of the lodge, the six men stand abreast, the doctor with the left wing of the eagle to the north, on his right the Ku’rahus, then the principal chief, then the second chief, then the Ku’rahus’s assistant, and the doetor with the right wing of the eagle at the end of the line toward the south.
At the word of the Ku’rahus the six men bearing the sacred objects advance abreast toward the east. The men of the Hako party fall in behind and are followed by the women. When all have walked for- ward a little way, the six men halt and sing the following sone.
As the party sings the Ku'rahus lifts and points his feathered stem toward the east; the assistant does the same with his feathered stem; the chief makes the same movement with the wildeat skin, from the head of which protrudes the ear of corn; the second chief offers the stem of the pipe, and the two doctors hold up their eagle wings.
FIRST SONG
Words and Music
+ = Pulsation of the voice. Transcribed by Edwin S. Tracy. ee ss SS SS SS = Se = —— == a =
Hi-ru ra hi-ri ra wa, hi-ru ra wa- hi-ri; Hi-ru ra hi-ri ra wa
PRGLtLCSN (ak tree eee orem ee ere eee EP tpt ea Sty
= = IJ-
hi-ru rawa, hi-ri ra wa, hi-ri ra wa. Hie! Hi-ru ra hi ra wa
hi - ri ra wa, hi- ru ra wa. He!
OR f 4 2 2
64 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22
184 Hiru ra hiri ra wa, hiru ra wa hiri;
185 Hiru ra hiri ra wa, hiru ra wa, hiri ra wa. hirira wa. He! 186 Hiru ra hi ra wa hiri;
187 Hiru ra hiri ra wa, hirura wa. He!
Translation
184 Hiru ra hiri ra wa, hiru ra wa hiri. hiru; iru, they yonder; the h is prefixed for euphony and to give ease in singing. ra, coming. hiri; iri, they who are far away; the h is prefixed for euphony. ra, moving, moving this way. wa, part of the word teware, passing through the air. hiru, they yonder; the h is for euphony. ‘a, coming. wa, from teware, darting through the air. hiri, they who are far away; the h is used for euphony. Hiru ra hiri ra wa, hiru ra wa, hiri ra wa, hirira wa. He! hiru va hiri ra wa, hiru ra wa, hiri ra wa. See line 154. he! a part of the exclamation i/hare! meaning I think upon and consider the significance of (the act which accompanies the song); the change of the r to h is for euphony. 186 Hiru ra hi ra wa hiri. hiru ra. See line 184. hi, part of the word hiri, translated above. ra wa hiri. See line 184. 187 Hiru ra hiri ra wa, hirura wa. He! All the words are trans- lated above. See lines 184 and 185.
=" WD Or
Explanation by the Ku'rahus
This song is addressed to Tira’wa atius. He is the father of all and all things come from him. We pray in our hearts as we sing. We ask Tira’wa to watch over the Ku’rahus, to guide his acts and to guard his words so that he may make no mistake and the ceremony may be complete. From the east the flashes of the eyes of Tira’wa come dart- ing through the air upon us and upon the sacred objects.
We sing this song four times and then take sixteen steps to the east; there we turn and face the west, the people all behind us.
As we stand and look toward the west we remember that it is there that the four lesser powers dwell who were permitted by Tira’wa atius to bring life to man. These powers also control the thunder, the lightning, the storm, and death.
We sing the first stanza of the following song to them eight times.
FLETCHER | FOURTH RITUAL, PART III 65
SECOND SONG
Words and Music M. M. }=42.
+ = Pulsation of the voice. Transcribed by Edwin S. Tracy. SSS — eo PAN EUS oni rayon @e— shu! Al TRTBRESE Uaecmcnc ccna OEE ESCO IEE (fl UR eee SS SS SS = SS Se eee ee tee |
Hi-ri,ra ri - hi-u! A! Hi-ri, ra ri - hi-u! A! Hi-ri,ra ri - hi-u! A! : a
; 2) Re SS eB el CM ieee Oe tre So
at SS == fl eta, — E Hi-ri, ra ri- hi-u! A! Hi-ri,ra ri- hi-u! A! Hi-ri, ra ri - hi-u!
A A A A eee | Um eens (tee) ey |
I 188 A! Hiri, rarihiu! A! Hiri, ra rihiu! 189 A! Hiri, rarihiu! A! Hiri, ra rihiu! 190 <A! Hiri, ra rihiu! 19f CA’ Eiri, ra rihiu! 192 A! Hiri, ra rihiu! 193 <A! Hiri, ra rihiu!
II 194 H’Uraruha! Hirire! H’Uraru ha! Hiri re! 195 H’Uraru ha! Hirire! H’Uraruha! Hiri re! 196 H’Uraru ha! Hiri re! 197 H’Uraruha! Hiri re! 198 H’Uraru ha! Hiri re! 199 H’Uraru ha! Hiri re!
II 200 H’Uraru riri wari! H’Uraru riri wari! 201 H’Urarnu riri wari! H’Uraru riri wari! 202 H’Uraru riri wari! 203 H’Uraru riri wari! 204 H’Uraru riri wari! 205 H’Uraru riri wari!
Translation of First Stanza 188 A! Hiri, rarihiu! A! Hiri, ra rihiu!
a! apart of ha! behold! The exclamation nas here a double meaning; the people are to look toward the powers and the powers are called upon to behold the people.
hin, they far away; an address to the powers. The h is pre- fixed for euphony.
ra, come.
rihiu; rihi, is the place; u, a vocable to fill out the measure.
189-193. See line 188. 22 pra—pr 2—04——5
66 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22
Eaplanation by the Ku'rahus i Y
When we have finished singing the six men take sixteen steps back to the place where the first song was sung as we faced the east. Then they take eight steps toward the south, where they stand facing the south and sing the following stanza, the people being all behind them.
Translation of Second Stanza
194 WUraru ha! Hirire! HWUraru ha! Hiri re! WUraru, the earth. ha! behold! hiri, they far away; an address to the powers of the south. re, are, in the sense of being, living. 195-199 See line 194.
—
Explanation by the Kiwrahus
When we sing this stanza we are standing and looking toward the south. That is the place where the sun travels, where the light comes, and the brightness of day.
As we look we ask the powers of the south to give life and increase to us, as well as to the seeds within Mother Earth.
After we have sung this stanza eight times to the powers of the south, we turn and take eight steps toward the entrance of the lodge, to a place just back of where we sang the first song to the east; then eight steps toward the north, all the people following. Here, facing the north, we sing the next stanza.
Translation of Third: Stanza
200 H’Uraru riri wari! H?Uraru riri wari! I?Uraru, the earth. riri, on. warl, walking.
201-205 See line 200.
Eeplanation by the Ku'rahus
The people are now looking toward the north, the moon, the night, the mother of the day.
We ask the powers of the north, they who can see the path of life, to lead us and make us able to walk, us and our children.
We sing this song eight times to the powers of the north.
Then the six men turn south and take eight steps toward the entrance of the lodge, to a point before the place where we sang the first song to the east; there they turm and face east and walk to the place where they sang to the powers of the west, and there they halt.
To all the powers of the east, west, south, and north we have sung and have presented ourselves.~ As we walked, we have traced upon
FLETCHER] FOURTH RITUAL, PART III 67
WEST 1 Ee ae pics a ~ 2 pets is Se a pe ~ ~ ced _ Stes EAN al a xn ~ yet < — Wa = Lay pa — Pe) D4 uc Sa 53 g*% 274
<-¢- fc fe f+ fe Ge fe eS ]! eS ee eS eS Cp Rood SP oak Sanaeeny Sag gop 8 Ata Sn oe eee ate
Sle lie eed lee i ee ee es
4 we > - - te o
*
a Re es
Ang J
EAST Fic. 175. Diagram showing the movements of the principal members of the Father's party during the presentation to the powers.
1, entrance to the lodge; 2, place where the first song is sung: 3, place where the first stanza of the second song is sung; 4, place where the second stanza of the second song is sung; 5, place where the third stanza of the second song is sung; 6, place where the halt is made after the last sixteen steps: 7, the four steps taken in the presence of the powers.
The dots represent the following persons, beginning at the left: the doctor with the left wing of the eagle, the Ku’rahus, the principal chief (the Father, if he is a chief), the second chief, the Ku’rahus’s assistant, and the doctor with the right wing of aneagle. The arrows attached to the dots show the direction in which the persons are facing. (By an error, but five dots were drawn, instead of six.) Each of the other arrows revresents a step taken by the group, and points in the direction in which it is taken.
68 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22
the earth the figure of a man. This image that we have traced is from Tira’wa. It has gone around with us, and its feet are where we now stand; its feet are with our feet and will move with them as we now take four steps, bearing the sacred objects, in the presence of all the powers and begin our journey to the land of the Son (see figure 175).
SECOND DIVISION. THE JOURNEY
FIFTH RITUAL Part I. Mornrer Corn Asserts AUTHORITY Explanation by the Ku'rahus
After we have taken the four steps in the presence of all the powers we are ready to begin our journey, but before we start, and while we stand facing the east, we sing the following song:
FIRST SONG
Words and Music
M. M. }=56.
+ = Pulsation of the voice. Transcribed by Edwin S. Tracy.
= ss: = a = SSE eS: ——— =
— == === Se
Ho-o-o-0-o! H’A-ti-ra_shi-ra ti - wa-ye! H’A-ti-ra_ shi-ra ti- A = 112. 2.0 tr 2 e e e ° e ° ° e e e e UBocot ease (UR recreate eee A SSS Ap = =| =S5 SSS = tif a ge ae EL Le = wa-re! H’A-ti-ra shi-ra ti - wa- re! Whe-e ra-ti- wa! atom , fe epee ee piste moteeest — (ahah fall Cae a Coomnel Vacs = io I II 206 Ho-0-0-0-o! 211 Ho-0-0-0-o! 207 H’Atira shira tiware! 212 H’Atira shira tiwara! 208 H’Atira shira tiware! 213 H’Atira shira tiwara! 209 H’Atira shira tiware! 214 H’Atira shira tiwara! 210 Whe-e ratiwa! 215 Weru tihiwa!
Translation of First Stanza
206 Ho-o0-0-0-0! An introductory exclamation. 207 IWAtira shira tiware! l’, an aspiration, symbolic of a breathing forth, as the giving of breath so that a thing may live. atira, mother. The term is here applied to the ear of corn. shira, it and me; it reters to the ear of corn, Mother Corn; me refers to the Father’s partv spoken of. or speaking in the singular, as one person. tiware, walking in a devious or a winding course. 208-209 See line 207.
FLETCHER]
: FIFTH RITUAL, PART I 69
210 Whe-e ratiwa! whe, now, at this time. e, prolongation of the final e in whe. ratiwa, walking, plural form; that is, Mother Corn and the Father’s party are walking as two persons. See the trans- lation of shira (line 207).
Explanation by the Ku'rahus
Mother Corn, who led our spirits over the path we are now to travel, leads us again as we walk, in our bodies, over the land.
When we were selecting the Son (second ritual) we had to fix our minds on Mother Corn and make our spirits as one spirit with her. We must do so now, as we are about to start on this journey; we must be as one mind, one person, with Mother Corn (h’Atira shira); we, as one person, must walk with her over the devious, winding path (tiware) which leads to the land of the Son.
We speak of this path as devious, not merely because we must go over hills and through valleys and wind around gulches to reach the land of the Son, but because we are thinking of the way by which, through the Hako, we can make a man who is not of our blood a Son; a way which has come down to us from our far-away ancestors like a winding path.
Translation of Second Stanza 211 Ho-o-0-0-0! <An introductory exclamation. 212 H’Atira shira tiwara. h’, symbolie of breathing forth. atira, mother; the term refers fo the corn. shira, it and me; the ear of corn and the party of the Father. tiwara, walking in a definite path, a straight path. 213,214 See line 212. 215 Weru tihiwa. weru, by or according to, indicating order or arrangement. tihiwa, equal stages; divided into equal lengths, as when mark- ing a line of travel by a number of camps.
Explanation by the Kw'rahus
This stanza means that Mother Corn will lead us in the path she opened and made safe for us when she went in search of the Son. The path is definite to her, like a straight path, in which we are to journey by equal stages (weru tihiwa). First we are to travel, then we are to camp, then travel, and again camp. This is the way our fathers did, and the knowledge has come down to us from father to son, from father to son, by generations, in equal stages all the way.
After singing the stanza the six men with the Hako move forward and all follow; Mother Corn is leading and breathing forth life.
After we haye moved on a little distance, and have left the village
70 THE HAKO, A PAWNEE CEREMONY [BTH. ANN. 22
behind us so that we can no longer see our homes, we halt and sing the first stanza of the following song. SECOND SONG Words and Music M. M. S=112. ¢ = Pulsation of the voice. Transcribed by Edwin S. Tracy. lee
Io-0-0-0!
Rattles. #0 9e sie X 6 eo 48)” Bho es do Jel bie ae —_— oo o—_— =—_—_ —s —— ==> —
zy
IG? = = wt oe se @ s ee ee ee
ha-ttu-ru-e? Ka-ra ha-tu - ru ta? H’A-ti- ra ku-hra ha-tu- ru e?
Se ay ee ee eee pa
216 Ho-o-0-o!
217 Kara haturu ta? Kara haturu ta?
218 H’Atira kuhra haturu e?
219 Kara haturu tea? H’Atira kuhra haturu e?
II
220 Ho-o-0-o!
221 Wiri haturu ta, wiri haturn ta:
222 H’Atira kuhra haturu e;
223 Wiri haturu ta, h’Atira kuhra haturn e. Translation of First Stanza
216 Ilo-o-0-0! An introductory exclamation. 217 Kara haturu ta? Kara haturu ta? kara, is there? An inquiry. haturu, path, road, way. ta, a part of the word ruta, a long stretch, as a long stretch of road or of country. In order to make the words con- form to the rhythm of the musie the final syllable of haturu is made to serve as the first syllable of the next word (ruta), so only the last syllable, ta, is given. 218 HW Atira kuhra haturu e? h’, symbolie of the breath; a breathing forth. atira, mother. The term apples to Mother Corn. kuhra, hers; the owner of. haturu, path, road, way. e, the equivalent of ta, a part of ruta. The change from ta to e is for euphony. 219 Kara haturu ta? H’Atira kuhra haturu e? All the words are translated above. See lines 217 and 218.
Explanation by the Ku'rahus
Before us lies a wide pathless stretch of country. We are standing alone and unarmed, facing a land of strangers, and we call upon
FLETCHER] FIFTH RITUAL, PART I 71
Mother Corn and we ask her: ‘‘Is there a path through this long stretch of country before us where we can see nothing? Does your path, the one which you opened for us, wherein is safety, lie here?”
Translation of Second Stanza
220 To-0-0-0! An introductory exclamation. 221 Wiri haturu ta, wiri haturu ta. wiri; here, at this place; right before one. haturu, path, road, way. ta, part of the word ruta, a long stretch. 222 See line 218. 223) Wiri haturu ta, h’Atira kuhra haturu e. <All the words are translated above. See lines 221 and 218.
Explanation by the Ku'rahus
As we stand and sing the second stanza, Mother Corn speaks to us and we are assured in our spirits. She answers our appeal; she says that here, right before us, stretches out the path she has made straight. Then our eyes are opened and we see the way we are to go.
But although we se* our way we are not to take the path by our- selves; we must follow Mother Corn; she must lead us, must direct and guide our steps. The next song is to enforce obedience to Mother Corn.
THIRD SONG
Words and Music
M. M. N=112. + = Pulsation of the voice. Transcribed by Edwin S. Tracy.
Ho = 0-0-0! Rattles.? # @
ha-wa ra-ti- ra e; Ha-wa-a rari-hi u ha-wara-ti-ra e; Ra rihi u e e e es e e e e ry eo é eo e e e o e e e eo e e | f i | 3 ——— —— fl = TS , = 5 -=-ff] al Jae SN fap a o az _s ha - wa ra-ti ri-hi u ha - wara-ti- ra e. ig . ° o * » , 4 cg a —< == — —_ 1 II 224 Ho-o-0-o! 230 Ho-o-0-o! 225 Ra rihi u hawa ratira e; 231 Ti rihi u hawa ratira e; 226 Ra rihi u hawa ratira e; 232 Tirihi u hawa ratira e; 227 Hawa-a ra rihi u hawa ratira e; 233 Hawa-a ti rihi u hawa ratira e: 228 Ra rihiu hawa ratira e; 234 Tirihiu hawa ratira e;
> a 229 Ra rihi u hawa ratira e. 235 Tirihi u hawa ratira e.
-I bo
THE HAKO, A” PAWNEE CEREMONY (ETH. ANN. 22
Translation of First Stanza
224 Jo-0-0-0! An introductory exclamation. 225 Ra rihi u hawa ratira e.
ra, at a distance; yonder.
rihi, a place; a locality.
u, a particular place.
hawa, whence; from where.
ratira, I came.
e, vowel prolongation to meet the rhymth of the music. 226 See line 225. 227 Hawa-a ra rihi u hawa ratira e.
hawa, whence; from where.
a, vowel prolongation.
ra rihi u hawa ratirae. See line 225. 228, 229 See line 225.
Explanation by the Kw'rahus
When this song is to be sung, the Ku'rahus bids all the people go in front of him, then he and they all turn and face the west, and look toward the lodge of the Father within which the preliminary ceremonies have been performed, and before the entrance of which the powers have looked on the elevated sacred objects and upon all the people.
In this song Mother Corn is speaking of the place whence she came when she was consecrated according to the rites given to our fathers. She led our fathers and she leads us now, because she was born of Mother Earth and knows all places and all people, and because she has on her the sign (the blue-paint symbol) of having been up to Tira’wahut, where power was given her over all creatures. She also is speaking of the path over which her spirit led our spirits when we were traveling in search of the Son.¢
Translation of Second Stanza
30 Ilo-0-0-0! An introductory exclamation. 331 Ti rihi u hawa ratira e; ti, this. rihi u hawa ratirae. See line 225. 332 See line 331]. 333 Hawa-a ti rihi u hawa ratirae. See lines 225, 227, and 331. 334, 335 See line 331.
Explanation by the Ku'rahus
As we sing the second stanza, the Ku’rahus points along the path we have already traveled under the leadership of Mother Corn. This act and the song are to impress upon the people that they
a See first ritual, second ritual, and fourth ritual.
FLETCHER] FIFTH RITUAL. eo
are not moving at random, but in a prescribed manner, which the Ku'rahus has been taught and directed to follow; that they are led by Mother Corn authorized by the powers, and to her they must give unquestioning obedience throughout the ceremony.
After this song the Ku’rahus and the other bearers of the sacred objects turn, and facing the east, pass on in front of the people, who also turn and follow as they go forth on the journey.
The three songs we have just sung are in sequence. Their order can not be changed; they belong to the beginning of the journey, and teach us to obey Mother Corn.
Part II, SONGS AND CEREMONIES OF THE WAY
Huplanation by the Ku'rahus
The journey we are taking is for a sacred purpose, and as we are led by the supernatural power in Mother Corn we must address with song every object we meet, because Tira’wa is in all things. Everything we come to as we travel can give us help, and send help by us to the Children.
Trees are among the lesser powers, and they are represented on the Hako which we carry, so when we see trees we must sing to them.
Trees grow along the banks of the streams; we can see them ata distance, like a long line, and we can see the river glistening in the sunlight in its length. We sing to the river, and when we come nearer and see the water and hear it rippling, then we sing to the water, the water that ripples as if runs.
SONG TO THE TREES AND STREAMS
Words and Music M. M.S ails
+ = Pulsation of the voice. Transcribed by Edwin 8. Tracy. Wo drum.
Wi-ra_ u-ha- ki, Rattles. # i) ® 2 e
— ==
u - ha - ki; Ka -tu - ha - ru u-ha - ki. A va A A A A p oe é oe c e ia e ia e e + i I IL 236 Wira uhaki, wira uhaki; 239 Wira uhaki, wira uhaki; 237 Katuharu uhaki, wira uhaki; 240 Kichaharu uhaki, wira uhaki; 238 Katuharu uhaki. 241 Kichaharu uhaki. III
242 Wira wihaku, wira wihaku; 243 Kichaharu wihaku, wira wihaku; 244 Kichaharu wihaku.
74 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22
Translation
I 236 Wira uhaki, wira uhaki. wira; wi, a qualifying word meaning that an object is long or stretched out; ra, at a distance, yonder. uhaki, something that is in a line, a stretch. 237) Katuharu uhaki, wira uhaki. katuharu, trees, timber, woods. uhaki, a long line, a streteh. : wira uhak!. See line 236, 238 Watuharu uhaki. See line 257.
II
239 See line 236.
240 Kicehaharu uhaki, wira uhaki. kichaharu, a stream, a river. uhaki, a long stretch. wira uhaki. See line 256.
241 Kichaharu uhaki. See line 240.
II
242) Wira wihaku, wira wihaku. wira, something that is long seen at a distance. wihaku, rippling. 242 Wiehaharu wihaku; wira wiharu. kichaharu, a stream, a river. wihaku, rippling. wira wihaku. See line 242. 244 Kichaharu wihaku. See line 245.
Explanation by the Kwrahus
In this ceremony water is not used except for sacred purposes. We mix the paint that we use upon the sacred objects with running water. When on our journey we come to a stream of running water we can not step into it to cross it without asking permission of Kawas. Kawas is the mother; she represents the night and the moon, and she can permit us to enter and wade through the stream. So, whenever we come to a river we eall upon Kawas to protect us, that our act of passing through the water may not bring punishment, and may not cause the clouds to come between us and the blue dome, the dwelling place of Tira’wa, or break the continuity of life from one generation to another.
The following song is our appeal to Kawas. When we sing the first stanza we enter the stream, the water touches our feet.
®LETCHER] FIFTH RITUAL, PART II
-T ou
SONG WHEN CROSSING THE STREAMS
Words and Music M.M. N= 116. += Pulsation of the voice. Transcribed by Edwin S. Tracy. Vo drum.
Ho-o-o ! He! Ka-wassi-re te - wi hu-ku-ka, Te-wihu-ku-ka. He! Ka-wassi-re a he!
ia sls Se ones es
245 246
247
NV Ka-wassi-re te- ait hu- oe Ee He! Ka-wassi-re te-wi hu-ku-ka. T 245 Ho-o-o! 246 He! Kawas sire tewi hukuka, 247 Tewi hukuka. 248 He! Kawassirea he! Kawas sire tewi hukuka. 249 He! Kawas sire tewi hukuka.
II Ho-o-o! He! Kawas sire tewi hariki, Tewi hariki. He! Kawas sire a he! Kawas sire tewi hariki. 254 He! Kawas sire tewi hariki.
Ill 55 Ho-o-o! 256 He! Kawas sire tewi haiwa, 257 Tewi haiwa. 258 He! Kawas sire a he! Kawas sire tewi haiwa. 259 He! Kawas sire tewi haiwa.
IV 260 Ho-o-c! 261 He! Kawas sire tewi hawitshpa, 262 Tewi hawitshpa. He! Kawas sire a he! Kawas seri tewi hawitshpa. 264 He! Kawas sire tewi hawitshpa.
Translation I
Ifo-0-0! An introductory exclamation. He! Kawas sire tewi hukuka. he! a part of the exclamation hiri! give heed! harken! Kawas; the brown eagle, which in this ceremony represents the feminine principle, the night, the moon. sire, its; a possessive pronoun referring to Kawas tewi, it has; refers to the water. hukuka, a composite word; hu, from chaharu, water; kuka, to step into, as to put one’s feet in the water, to wade. Tewi hukuka. tewi, it has; the water has touched the feet. hukuka, step into the water. The feet have stepped into the water.
76
248
259
260
261
THE HAKO, A PAWNEE CEREMONY (ETH. ANN, 22
He! Kawas sire a he! Kawas sire tewi hukuka. he! give heed! harken! Kawas, the mother, the brown eagle. sire, its; refers to the control of the water by Kawas. a, a vocable used to fill out the measure of the music. he! Kawas sire tewi hukuka. See line 246, See line 246. II
Ho-o-o! An introductory exclamation. He! Kawas sire tewi hariki. he! part of the exclamation hiri! harken! give heed! Kawas, the brown eagle, representing the female principle. sire, its. tewi, it has. hariki, a composite word; ha, a part of chaharu, water; riki, standing. Tewi hariki. tewi, it has. hariki, water standing. Our feet are standing in the water. He! Kawas sire a he! MKawas sire tewi hariki. See lines 248 and 251. See line 251. Il
Tlo-0-0! An introductory exclamation. He! Kawas sire tewi haiwa. he! part of the word hiri! harken! give heed! Kawas, the brown eagle; the mother, the female principle. sire, its; refers to Kawas. tewi, it has. haiwa, a composite word; ha, part of chaharn, water; iwa, moving in: haiwa, moving in the water. Tewi haiwa. See line 256. He! Kawas sire ahe! Kawas sire tewi haiwa. See lines 248 and 256. See line 256, IV. Ho-o-0! An introductory exclamation. He! Kawas sire tewi hawitshpa. he! harken! give heed! Kawas, the brown eagle; the mother, the female principle. sire, its; refers to Kawas. tewi, it has; refers to the water. hawitshpa, a composite word; ha, part of chaharu, water; witshpa, completed, accomplished a purpose, reached an end. The meaning of the word is that the water has cov- ered the feet.
-I
-]
FLETCHER] FIFTH RITUAL, PART I1
262 Tewi hawitshpa. See line 261.
263 He! Kawas sire a he! Kawas sire tewi hawitshpa. See lines 248 and 261.
264 See line 261.
Explanation by the Ku'rahus
When we sing the second stanza, our feet are standing in the water. When the third stanza is sung, our feet are moving in the water. At the fourth stanza the water covers our feet. So as we sing this song we enter the stream and, under the protection of Kawas, we pass through to the other side.
Every time we come to a stream across which our path lies we must sing this song.
After we have forded the stream we pause at the bank. We are wet with water through which we have just passed, but we must not touch our bodies where we are wet to dry ourselves, for the running water is sacred.
So, we sing the first stanza ot the following song and eall on the Wind, Hotoru, to come and touch us that we may become dry.
SONG TO THE WIND
Words and Music M. M. d — 132.
+ — Pulsation of the voice. Transcribed by Edwin 8S. Tracy. No drum. -5 = —— == SS =e — = a = = Se a ——s -}— a == = | = os ss e eee Cu — Ho-o0-0-o! Tu - ku - ka, tu - ku- ka ha Ho - to - ru, F A DACA A h A A P ° e e e s e Ratties. ? f f f P BRcoscos ee eng ee ae h— e (e|
CE 7 EES ait ees ee te a i Hii 265 Ho-o-0-0! 2738 Ho-o-0-0! 266 Tukuka,. tukuka ha Hotoru, 274 Tawawe, tawawe he Hotoru, 267 Tukuka ha Hotornu, 275 Tawawe he Hotoru, 268 Tukuka ha! 276 Tawawe he! IL IV 269 Ho-o-0-0! 277 Ho-o-0-o0! 270 Taiwa, taiwa ha Hotorn, 278 Tawitshpa, tawitshpa ha Hotoru, 271 Taiwa ha Hotoru, 279 Tawitshpa ha Hotoru,
272 Taiwa ha! 280 Tawitshpa ha!
-I (ore)
THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22
Translation
I
265 Ho-o-o-0! An introductory exclamation.
266 Tukuka, tukuka ha Ilotoru. tukuka, touch or touched. ha, a syllable added to meet the rhythm of the musie. Hotoru, the Wind, the supernatural power.
Tukuka ha Hotoru. See line 266.
268 Tukuka ha! See line 266.
267
Ti 269 Tfo-o-o-o! An introductory exclamation. 270 Taiwa, taiwa ha Iotoru. :
taiwa, to touch lightly or brush on the sides of anything. ha, a syllable added for the sake of rhythm. Hotoru, the Wind, one of the lesser power . 271 Taiwa ha Hotoru. See line 270. 272 Taiwa ha! See line 270. il 273 Ho-o-0-o! An introductory exclamation, 274 Tawawe, tawawe he Iotoru. tawawe, a creeping touch, felt now here and now there. he, a syllable added to keep the rhythm of the music. Hotoru, the Wind, one of the lesser powers. 275. Tawawe he Hotoru. See line 274. 276 Tawawe he! See line 274. IV See line 265. Tawitshpa, tawitshpa ha Hotoru. tawitshpa, the completion of an act, the accomplishment of a purpose. Hotoru has completely touched all parts of the body. ha, a syllable added to fill out the rhythm of the music. Hoturu, the Wind; one of the lesser powers. 279 Tawitshpa ha Hotoru. See line 278. 280 'Tawitshpa ha! See line 278.
bo bo a4 oO ~~)
Haplanation by the Ku'rahus
As we sing the second stanza the Wind brushes lightly the sides of our bodies and our wet legs and feet. With the third stanza the Wind circles about, touching us here and there. When we sing the fourth stanza the Wind completely envelops us, touching all parts of our bodies. Now, we are ready to move forward in safety. No harm will follow our passage of the river and we can pursue our journey.
Whenever, as we travel, we have to cross a river we must sing this song to the Wind to come and dry our bodies before we can continue our journey.
FLETCHER] FIFTH RITUAL, PART II 79
When the spirit of Mother Corn was traveling in search of the Son (second ritual) she saw buffalo; the first stanza of the following song refers to that time (ira saka riki, an indefinite time in the past). So, when on our journey we come to buffalo trails, or see the herds at a distance, we know that they have been seen before, at this place, by the spirit of Mother Corn, and we sing this song.
SONG TO THE BUFFALO
Words and Music M. M. j=120. + — Pulsation of the voice. Transcribed by Edwin 8. Tracy.
ee F —— le 5 "2 2 {2 Pd = == MS = @ . . Haa-aa! Ha! J-ra sa-ka ri-ki; Ha! I-ra_ ri-ki; Ha! J-ra sa-ka ri- ki; Drum.6@ 0 6 e oe e ° gitar Fale! ie “ete. \p:.3p bie 20 Rattles. \aeet et = — ey eS oe cot = a
em rete Bae pet) ety hs ha
281 Ha-a-a-a!
282 Ha! JIrasaka riki; Ha! Iva riki; 283 Ha! Irasakariki; Ha! Ira riki; 284 Ha! Irasaka riki; Ha! Ira riki.
II
285 Ha-a-a-a!
286 Ha! Tira sakariki; Ha! Ire wawa:;: 287 Ha! Tira saka riki; Ha! Ire wawa; 288 Ha! Tira sakariki; Ha! Ire wawa.
Translation
I
281 Ha-a-a-a! An introductory exclamation. 282 Ha! Jrasakariki; Ha! Ira riki. ha! behold! ira, a Single object in the distance; ra, distant, also means in the past, distant as to time. saka, part of the word tarasaka, sun. riki, standing. Saka riki means present time; but, as the words follow ira, the phrase ira saka riki means an indefi- nite time in the past. - ha! behold! see! ira, the object seen at an indefinite time in the past. riki, standing; referring to the object that was seen. Al- though the object seen is not mentioned by name, it was known to be buffalo. 283, 254 See line 282.
80 THE HAKO, A PAWNEE CEREMONY [BTH. ANN, 22
II
285 Ha-a-a-a! An introductory exclamation. 286 Ha! Tirasakariki; Ha! Ire wawa. ha! behold! tira, this. saka, part of the word tarasaka, sun. riki, standing. Saka riki means present time. The phrase tira saka riki means a definite time, at this time or moment. ha! behold! see! look! ive, many objects at a distance, as many trails with buffalo. Wawa, many walking. The phrase ‘‘Ha! Ire wawa” means “Look, where many buffalo walk in many different trails!” This refers to different herds seen at a distance. 287, 288 See line 286.
Explanation by the Kw'rahus
The second stanza refers to our seeing with our own eyes the buffalo herds walking in many different trails. We sing of this sight and we carry its promise of plenty to the Children.
These stanzas are not now sung upon the journey with the Hako, because the buffalo herds are all gone; but we sing them in the lodge of the Son, in remembrance of the buffalo, the animal Tira’wa gave us for food.
SONG OF THE PROMISE OF THF BUFFALO
Words and Music M.M. | =120.
+ = Pulsation of the voice. Transcribed by Edwin S. Tracy. A i S| eA —-fa me z — 4 == == SS SS SSS : sd 2 ee ee eS ae es olieee He-e-e-e! We-re ru-wa-wa, we-re Si - ra_ rit-ka Drum. 4 , p 6 P ‘ afore e pe Rattles. Gar ety (ome gan ele (eae i | tea) pr
= - ru-wa- wa, We-re ru- wa-wa, Si - ra rit-ka ru-wa-wa-a ra. 5 “ ‘ , i e e e e e e » e e ° elec ea ae ll ee cet aoe tied C2) I II 289 He-e-e-e! 294 He-e-e-e! 290 Were ruwawa, were ruwawa, 295 Wera hara-a, wera hara-a, 291 Sira ritka rnwawa, 296 Taraha-a rahara, 292 Were ruwawa, 297 Wera hara-a,
293 Sira ritka ruwawa-a ra. 298 Taraha-a rahara-a ra.
ie)
FLETCHER] FIFTH RITUAL, PART Ii
Translation I
289 He-e-e-e! An introductory exclamation. 290 Were ruwawa, Were ruwawa. were, they; a number of persons or animals. ruwawa, running from, as from the place where one is stand- ing or where one is walking. 291 Sira ritka ruwawa. sira, their. ritka, dust; the soil raised by the feet in running. ruwawa, running away from. 292 Were ruwawa. See line 290, 293 Sira ritka ruwawa-a ra. sira ritka ruwawa. See lines 290, 291. ara, vocables used to fill out the rhythm of the music.
II
294 Tle-e-e-e! An introductory exclamation. 295 Wera hara-a, wera hara-a. wera, one coming; we, one, it, Singular number; ra, coming. hara-a, a composite word made up of the syllable ha, from the word iha're, the young of animals (the word is also used for offspring, children) and ra, coming. The final ais a vowel prolongation to fill the rhythm of the musie. 296 Taraha-a rahara. taraha, the female buffalo. a, vowel prolongation because of the rhythm of the music. rahara, a composite word; ra, from wera, one coming; ha, from iha’re, young; ra, coming. The line ‘‘Taraha-a rahara” means that the female buffalo and her calf are coming. 297 Werahara-a. See line 295. 298 Taraha-a rahara-a ra. See lines 293, 296.
Hxplanation by the Kw rahus
While we were traveling we sometimes saw a great cloud of dust rising in the distance. When we saw this cloud rolling up from the earth we knew it was caused by a herd of buffalo running away from us toward the land of the Children.
Sometimes a cow and her calf would separate from the herd and come nearer us. We were taught to be mindful of all that we saw upon the journey, for these sights meant the promise of plenty of food for the Children.
We do not sing this song any more as we travel, for now there are no buffalo herds to be seen sending the dust up to the sky as they run. We sing the song in the lodge of the Son, that we may remem- ber the buffalo, and that our children may hear of them.
22 era—pr 2—04——6
82 THE HAKO, A PAWNEE CEREMONY [ETH. ANN, 22
When as we travel we come to mountains or hills we sing the fol- lowing song.
Hills were made by Tira’wa. Weascend hills when we go away alone to pray. From the top of a hill we can look over the country to see if there are enemies in sight or if any danger is near us; we can see if we are to meet friends. The hills help man, so we sing to them.
SONG TO THE MOUNTAINS Words and Music
M. Mo \— 168.
+ — Pulsation of the voice. Transcribed by Edwin 8. Tracy. Vo drum.
(ce ee eee ee
Ha-a-a-a-a! I - ra wha - ku we - re - chih wha - ra; I - ra
re - chih_ wha - ra. Ha! Wha - ku we - re - chih wha - ra.
T Ill 299 Ha-a-a-a-a! 309 Ha-a-a-a-a! 300) Ira whaku werechih whara; 310 Ira whaku werechih kitta hra; 501 Ira whaku werechih whara. 311 Ira whaku werechih kitta hra. 302 Ha! Chih whaku werechih whara. 312 Ha! Chih e werechih kitta hra. 303 Ha! Whaku werechih whara. 318 Ha! Whaku werechih kitta hra.
Il TV 304 Ha-a-a-a-a! 314 Ha-a-a-a-a! 305 Ira whaku werechih katawara; 315 Ira whaku werechih kitta witit; 306 Ira whaku werechih katawara. 316 Iva whaku werechih kitta witit. 307 Ha! Chih katawara chih wara. 317 Ha! Chih werechih kitta witit. 308 Ha! Whaku werechih katawara. 318 Ha! Whaku werechih kitta witit.
Translation I
299 Tla-a-a-a-a! An introductory exclamation. 300 Ira whaku werechih whara. ira, yonder particular and single object. whaku, an elevation, a mountain, a hill. werechih, a party, a number of persons. whara, walking, traveling on foot. 301 See line 300. 302 Ha! Chih whaku wereehih whara. ha! behold! chih, the last syllable of the word werechih, a party. whaku werechih whara. See line 300. 303) Ha! Whaku werechih whara. See lines 300, 302.
FLETCHER | FIFTH RITUAL, PART II
BOF 305
306
307
308
309 310
311
312
316
II
Ha-a-a-a-a! An introductory exclamation.
Ira whaku werechih katawara. ira, a particular and a single object at a distance. whaku, a mountain, a hill. werechih, a group of persons making an organized party. katawara, climbing as they walk.
See line 305.
Ha! Chih katawara chih wara. ha! behold!
chih, the last syllable of the word werechih, a company
persons, a party having a common purpose. katawara, climbing, ascending a mountain or a hill. ehih, part of the word werechih, party. wara, a part of the word katawara, ascending, climbing. Ha! Whaku werechih katawara. See lines 305, 307.
Il
Ha-a-a-a-a! An introductory exclamation. Ira whaku werechih kitta hra. ira, a particular and single object at a distance. whaku, a mountain or a hill. werechih, a party. kitta, top, as the top of a mountain or hill. hra, from whara, walking. See line 310. Ha! Chih e werechih kitta hra. ha! behold! chih, the last syllable of werechih, party. e, a vocable used to fill out the measure of the music. werechih, a party, a company of peuple. kitta, top; the summit of a mountain or a hill. hra, from whara, traveling on foot. Ha! Whaku werechih kitta hra. See lines 310, 512.
IV
Ha-a-a-a-a! An introductory exclamation. Ira whaku werechih kitta witit. ira, yonder particular object. whaku, mountain or hill. werechih, an organized group of persons, a party. kitta, summit, top. witit, sitting down. See line 515.
83
of
84 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22
317 Ha! Chih werechih kitta witit. ha! behold! chih, the last syllable of werechih, a party. verechih, an organized group of persons, a party. kitta, sammit of a mountain or hill. witit, to sit down, to rest.
318 Ha! Whaku werechih kitta witit. See lines 315, 317.
Explanation by the Ku'rahus
The first stanza is sung when we who are traveling see in the dis- tance the top of a mountain or hill rising above the horizon. ‘The Ku'rahus calls the attention of the people and bids them look at the mountain that lies in the path before them. We sing the next stanza as we are about to climb the mountain. The third stanza is sung when the party reaches the top of the mountain. While the people are sitting down to rest on the summit we sing the fourth stanza.
Asa Hako party does not now go in a direction where there are moun- tains and hills, they do not sing these songs on the journey. ‘They are generally sung in the lodge of the Son.
SONG TO THE MESAS Words and Music M. M. Melody. j= 58.
M. M. Drum. d= 116. += Pulsation of the voice. Transcribed by Edwin S. Tracy.
——— 34
: : tte e Ee 8
Ho- 0-0-0-o! Ha-re_ wi- tu; ha-re wi - tu; ha-re wi - tu; ha- DiUmMiAue 96, tel 6 8 ol pe p yer) up) JentiL ve Ratiles.8 oa ico) a — —_ Gone ees
==
‘te-e-l eo te oe re wi - tu; Ha-re wi- tu; ha- re wi - tu; ha-re wi -~ tu. iN , A ‘ A IN A o #60860 ° e ° of é (es CCC eee ee oer fan cael asd uth l 319 Ho-o0-0-0-0! 320 Hare witu: hare witu; hare witu; hare witu;
1 Hare witu; hare witnu; hare witu.
II 322 Ho-o-0-0-0! 323 Harha witu; ha rha witu; ha rha witu; ha rha witu; 824 Ha rha witu; ha rha witu; ha rha witu.
III Ho-0-0-0-o! Hare wawe; hare wawe; hare wawe; hare wawe; Hare wawe; hare wawe; hare wawe.
IV
328 Ho-o-0-0-o! 829 Ha rha wawe; ha rha wawe; ha rha wawe; ha rha wawe; 330 Ha rha wawe; ha rha wawe; ha rha wawe.
FLETCHER] FIFTH RITUAL 85
Translation
I
319 Ho-o-0-0-0! An introductory exclamation. 320 Hare witu; hare witu; hare witu; hare witu. hare, yonder, at a short distance. witu, a mesa, an elevation or hill with a flat top. 321 See line 320. Il 322 Ho-o-o-0-0! An introductory exclamation. 323. Ha rha witu; ha rha witu; ha rha witu; ha rha witu. ha, yonder. rha, beyond this one; meaning that another mesa is seen beyond the one in the foreground. witu, a mesa. 324 See line 323. Ill 325 Ho-o0-0-0-0! An introductory exclamation. 326 Hare wawe; hare wawe; hare wawe. hare, yonder, at a short distance. wawe, the ridge or rim of the mesa. 327 See line 326. IV 328 Ho-o-o0-0-0! An introductory exclamation. 329 Ha rha wawe; ha rha wawe; ha rha wawe; ha rha wawe. ha, yonder. rha, beyond this one; that is, the one in the foreground just spoken of. wawe, the rim or sharp ridge of the mesa. 330 See line 329.
Explanation by the Ku'rahus
We are told that long ago our fathers used to see the mesas; that on their journeys with the Hako they passed by or over these flat- topped mountains. This song has come down to us from that time. As we have never seen mesas, we do not sing the song on the journey; we sing if in the lodge of the Son, that we may not forget what our fathers saw when they traveled far from where we now dwell.
Part UI. MotrHer Corn REASSERTS LEADERSHIP
Explanation by the Ku'rahus
The next two songs are in sequence.
When we have reached the borders of the country where the Chil- dren dwell we sing the first song. We give an exclamation of thank- fulness (Iri!) that we behold the land where they dwell. Mother Corn had passed here when she was seeking the Son (second ritual), and now she has led us to this place.
86 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 FIRST SONG
Words and Music
M. M. != 60. += Pulsation of the voice. Transcribed by Edwin 8. Tracy.
-o-
E I - ri! Ho-ra - ro. e pi-ra- DiuMm.po se @0« 3 © ©2086 © @ © #2 eo 0 6086 © @ @ Rattles.) ee ee a
ee oo. ~o. ku-re ho-ra - ri! Ho - ra ro; ho - ra- ro e. A A A A An A e e e e eo e e e eee aioe alee eae cle ele) I I 331 Ha-a-a-a! 339 Ha-a-a-a! 332 Ivri! Horaro. Iri! Horaro. 336 Weri shu riwa, weri shu riwa wi; 333 Horaro e pirao kure horaro. 337 Shu riwa wi pirao, shu riwa wi; 334 Iri! Horaro; horaro e. 338 Weri shu riwa, shu weri wi.
Ill 339 Ha-a-a-a! 340 Weri huriwa, weri huriwa wi; 341 Huriwa wi pirao, huriwa wi: 342 Weri huriwa, huriwa wi.
Translation
I
51 Ha-a-a-a! An introductory exclamation. 332 Tri! Horaro. Iri! Horaro. iri! a part of nawairi! an exclamation of thankfulness. horaro, land, country. 333 Toraro e pirao kure horaro. horaro, land, country. e, a voeable used to fill out the measure pirao, children; a general term. kure, their. horaro, country. 334 Tri! ‘Horaro; horaro e. See lines 332, 333.
II
335 Ha-a-a-a! An introductory exclamation. 336 Weri shu riwa, weri shu riwa wi. werl, here, at this place. shu, a part of the word ashuro, moccasin. riwa, an impress, as an imprint made by moceasins on the soft ground, wi, many.
FLETCHER] FIFTH RITUAL, PART III 87
337 Shu riwa wi pirao, shu riwa wi. shu riwa wi. See line 336. pire 0, children; not necessarily one’s offspring. shu riwa wi. See line 336.
338 Weri shu riwa, shu weri wi. See line 336.
Til
339 WHa-a-a-a! An introductory exclamation. 340 Weri huriwa, weri huriwa wi. weri, here. ; huriwa, walking. wi, many. 341 Huriwa wi pirao, huriwa wi. See lines 357, 340. 342 Weri huriwa, huriwa wi. See line 340.
Explanation by the Ku'rahus
As we move on and enter the land of the Children we sing, in the second stanza, about their footprints, the marks of their moccasins where they have walked to and fro on the ground.
We may not actually see these marks, but the song represents us as seeing them; Mother Corn has seen them, and she is leading us.
Farther on we sing in the third stanza that we see the Children themselves walking over their land. Mother Corn can see them if we do not; she has been here before; she knows all the people and can reach them all, so she leads us where we can see them walking.
This song represents the Fathers coming to the country where the Son lives. They first see his footprints; then they see him and his kindred, the Children, walking about where they live. Sothe way is made plain for us and we go forward.
When the village of the Children is in sight the following song is sung. Mother Corn speaks in the first stanza and tells us she has come again to this place. Her spirit had been here before when she came seeking the Son. To-day we have arrived with her at this her destination, and we give thanks to Mother Corn.
88 THE HAKO, A PAWNEE CEREMONY [ETH, ANN. 22
SECOND SONG
Words and Music M. M. § —112.
— Pulsation of the voice. Transcribed by Edwin S. Tracy. [a= =a z: . To A Stays A ti-ra sa-ka ri- ki a- wara-ti whi-cha: A ti-ra sa - kari- ki Drum.% ps Py P e oe e ) praitemage peeps “Clips pia ip: APSE paths Caaeh sc eee
ie vee id sss hes So “==
=a Be vuewvee
a- wa ra-ti whi- ster I - ri! Ha-wa ra-ti whi-cha; A ti-ra_ sa- ka ri-ki a2 6 ar ene eo 0¢ 6 @ ae ae oe cae et ea el eh lea reece feat fuel wee ey je
a -wara-ti whi-cha; A ti-ra sa - ka ri- ki a - wara-ti whi-cha. A A A A A h
‘ e eo e @ ° e ° ° 2
— — — ema Cs ca peer v ~ i
343 A tira saka riki awa rati whicha; 344 A tira saka riki awa rati whicha. 345 Tri! Hawa rati whicha; 346 <A tira saka riki awa rati whicha; 347 A tira saka riki awa rati whicha. II 348 A tira saka riki awa rashihri whicha: 349 A tira saka riki awa rashihri whicha. 350 Iri! Hawa rashihri whicha: 351 <A tira saka riki awa rashihri whicha; 352 <A tira saka riki awa rashihri whicha. Translation
I 345 A tira saka riki awa rati whicha. a, a vowel sound introduced for euphony tira, this. saka, part of the word tarasaka, sun. riki, standing; tira saka riki means this present time, to-day. awa, again. rati, a modification of the word itira, I coming. whicha, arrived. 344 See line 343. 345 Tri! Hawa rati whicha. iri! thanks! a part of the word na’wairi, thanks, thankful. hawa, again. rati, I coming; refers to Mother Corn. whicha, arrived, reached the point of destination. 346, 347 See line 345.
FLETCEER] FIFTH RITUAL, PART IIL 89
II
348 A tira saka riki awa rashihri whicha. a, a vowel sound used for euphony. tira, this. saka, sun; part of the word tara saka, sun. riki, standing. tira saka riki, to-day, this present time. awa, again. rashihri, you have brought. whicha, arrived, come. 349 See line 348. 300 Tri! Hawa rashihri whicha. iri! an exclamation of thanks or thankfulness. <A part of the word na’wairi, thanks, it is good. hawa, again. rashihri, you have brought. whicha, arrived. 351, 352 See line 348.
Explanation by the Kwu'rahus
The second stanza says that Mother Corn has arrived, bringing gifts for the Children. These gifts are not only the things in our packs; but they are the promise of long life, of children, of plenty, and of peace. It is for these that the Children will give thanks, and we sing their thanks in this sone.
THIRD DIVISION. ENTERING THE VILLAGE OF THE SOY AND CONSE- CRATING IIs LODGE
SIXTH RITUAL Part I. THE Son’s MESSENGERS RECEIVED Explanation by the Kw'rahus
When the messengers sent by the Fathers (third ritual) turned homeward the Son began his preparations to receive the Ilako party. Each of his relatives selected from among his ponies those which he desired to present to the Fathers. The Son chose a messenger as his representative to go out and receive the IHako party when it should arrive within sight of the village. He also selected the little child necessary to the performance of certain rites belonging to the fifth morning of the ceremony. It could be one of his own children or the child of a near relative. Finally, an earth lodge of suitable size was secured, the occupants with all their belongings moving out for the occasion.
In this vacated lodge the ceremony was to be performed and the Fathers were to live day and night, for no member of the Hako party ever separated himself from the sacred objects from the time of start- ing on the journey until the close of the entire ceremony.
90 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22
Every Pawnee village keeps certain men on the lookout to give notice of the approach of strangers. As soon as the Hako party was recognized one of these men ran with the news to the village. The Son at once dispatched his messenger, bidding him go to the Fathers and say, ‘‘I am ready.”
As soon as the Fathers discerned the messenger hastening toward them, the Ku’rahus sent two men to meet him and conduet him to the Ilako party.
A eushion was placed for bim to sit upon and a bowl of buffalo meat was given him. While he ate, the Ku’rahus, his assistant, and the chief, holding the sacred objects, sang the first stanza of this song.
SONG
Words and Music M. M. \=116. + = Pulsation of the voice. Transcribed by Edwin S. Tracy. Wo drum.
e — : Ho-o-0-0! = Ti-we ra-ku-she ti ha-o; Ti-we ra-ku-she ti ha-o; aos >see == = FBZ. SE = ee ee ee ee ee ee = G 3 = a6 = = = ~ Ti-we ra-ku-she ha-wati ha-o; Ti-wera-ku-she ti ha-o; Ti-we ra-ku-she, I II Ho-o-o0-o! 359 Ho-o-o-o! Tiwe rakushe ti hao: 360 Tiwe riata ti hao; Tiwe rakushe ti hao; 361 Tiwe riata ti hao; Tiwe rakushe hawa ti hao; 362. Tiwe riata hawa ti hao; Tiwe rakushe ti hao; 363 Tiwe riata ti hao; Tiwe rakushe. 364 Tiwe riata.
Translation of First Stanza
353 To-o-o-0! An introductory exclamation. 354 Tiwe rakushe ti hao. tiwe, here. rakushe, he sitting. ti, my. hao, my own child; my offspring. 355 See line 554. 356 Tiwe rakushe hawa ti hao. tiwe, here. rakushe, he sitting. hawa, again. ti, my. hao, my own child. See line 354. 58 Tiwe rakushe. See line 354.
ELETCHER] SIXTH RITUAL, PART I 91
Explanation by the Ku'rahus
In this stanza we speak of the messenger as “‘my own child” (ti hao), because he represents the Son, to whom we are béing led by Mother Corn. Although the man who is the Son is not and can not be of any blood kinship to us, yet by the power of the sacred objects in this ceremony he is to be made as our own child, as our offspring, we are to be bound to him by a tie as unalterable as that which exists between father and son. So we sing, ‘‘My own child, my offspring, is sitting here.”
When we sing ‘‘Tiwe rakushe hawa ti hao,” we are thinking that our child has again said ‘*T am ready.”
Translation of Second Stanza
org
359 Ho-o-0o-0! An introductory exclamation. 360 Tiwe riata ti hao. tiwe, here. viata, he walking. ti, my. hao, my own child. 361 See line 360. 362 Tiwe riata hawa ti nao. tiwe, here. viata, he walking. hawa, again. ti, my. hao, my own child. 363 See line 360. 364 Tiwe riata. See line 360.
Explanation by the Ku'rahus
The pack containing the clothing provided for this representative of the Son is now opened. After the messenger has finished eating he is dressed in the new clothing.
We clothe him because that is an act which marks the care of a father for his child. The garments we put upon him are fine and embroidered; these fine and carefully made garments show that we have been thinking of him, that we regard him highly and wish to do him honor.
After the messenger is clothed he walks toward the village; we fol- low, walking slowly and singing the second stanza. The words tell that the Son is walking before us and that we again are walking toward the lodge of the Son.
Just before we reach the village we halt and sing the next song.
Ve) bo
THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22
Part II. Tort Hako Party ENTER THE VILLAGE
SONG
Words and Music M. M. A=116.
+ = Pulsation ce tte voice. Transcribed by Edwin S. Tracy. A 2 aS <a ——S — —=— 2 a re | rae es el = “4 —- | eo SS —y-- = -—]— — — 5 SSS a SSS His: at Ki-ru ra-ka eg Ki-ru ra-ka_ wi, ti ha-o? Drum. 8 » § @ e ° a0 8 ererh Pern 3 ° Rattles. 0° ES me Ge Cele El oe ae = A —— — — — ——_—_ = —2—a= a
ti ha-o? Ki-ru ihe ki-ru- ra- ka wi?
202 @e 6 ee P) Rea Neate Co ey eae Lol I II 365 Ho-o-0-o! 370 Ho-o-o-o! 366 Kiru raka wi? 371 Tiwi reka wi! 367 Kairu raka wi, ti hao? 372 Tiwi reka wi, ti hao! 368 Kiru raka wi, ti hao? 373 Tiwi reka wi, ti hao! 369 Kiru raka, kiru raka wi? 374 Tiwi reka, tiwi reka wi!
Translation I
365 Tlo-o-0o-o! An introductory exclamation. 366 Kiru raka wi? kiru? where? raka, a composite word; ra, where; ka, part of akaro, a lodge. wi, is. 367 Kiru raka wi, ti hao? kiru raka wi? See line 366. ti, my. hao, my own child, my offspring. 368 See line 567. 369 Kiruraka, kiru raka wi? See line 366,
II
0 HHo-o-0-0! An introductory exclamation. 1 Tiwi reka wi! tiwi, here. reka, a composite word; re, here; ka, part of akaro, lodge.
372 $Tiwi reka wi, ti hao!
tiwi reka wi. See line 371.
ti, my.
hao, my own child, my offspring. 373 See line 372 374 Tiwi reka, tiwi reka wi! See line 371.
~O
FLETCHER} SIXTH RITUAL, PART II
Explanation by the Ku'rahus
When Mother Corn went in search of the Son (second ritual) sne halted at the edge of the village where he lived. As we follow in the path that she opened for us, we must do as she did. So, when we are just outside the village, we halt and sing the first stanza. The words mean, ‘‘ Where is the lodge of my Son wherein he sits waiting for me?”
By the time we have finished singing, the messenger, who has walked on in advance, has reached and entered the lodge set apart for the ceremony.
When Mother Corn had decided which was the lodge of the Son she made ready to enter the village and go to that lodge (second ritual). Now, we follow her again and sing, as we walk, the second stanza: ‘‘Here is the lodge of my Son wherein he sits waiting for me.”
When we arrive at the lodge we halt, for we must enter cere- monially.
SEVENTH RITUAL
Part [. ToucHiInG AND CROSSING THE THRESHOLD Explanation by the Ku'rahus
When the Son has dispatched his messenger to the Hako party, he, with a few of his near relatives, enters the lodge set apart for the ceremony, there to await the return of his messenger and the coming of the Fathers.
He seats himself at the south side of the lodge near the door. This is the humblest place, and he takes if to show that he is not seeking his own honor. By the choice of him as the Son a very high honor has been bestowed upon him, and his appreciation of this is shown by his taking the seat of the lowliest and not assuming prominence before the people.
When the Hake party arrive at the door of the lodge they halt and await the ceremony of touching and crossing the threshold, for no one can pass into the lodge until this has been performed.
At the doorway the three men stand abreast—the chief with the ear of corn and the wildcat skin between the Ku’rahus and his assistant, each bearing a feathered stem—and behind these stand the two doctors, each with his eagle wing.
The Ku'rahus directs the chief to advance one step and to stand upon the threshold while the first stanza of the next song is sung.
94 THE HAKO, A PAWNEE CEREMONY [ETH. ANN. 22 SONG
Words and Music M. M. j= 08. + = Pulsation of the voice. Transcribed by Edwin 8. Tracy.
asso Cae Scar Ho-o-o! H’ A - ti-ra ra ko-ka, ri! H’A - ti-ra ra Tea zlka,
Drum @ 4,
Fa a
v-
Ia BS ESS ti-ra rako eae ril Wi ra a ae ri! H’A - ti-ra ra ko FS EE tr. He tyne ee 1 Ill 375 Ho-o-o! 387 Ho-o-o! 376 H’Atira ra koka, ri! 888 Kawas i ra koka, ri! 377 H’ Atira ra koka, ri! 389 Kawas ira koka, ri! 378 H’Atira ra koka, ri! : 390 Kawas ira koka, ri! 379 Wira koka, ri! 391 Wi-ra koka, ri! 380 H’Atira ra koka, ri! 392 Kawas i ra koka, ri! II IV 381 Ho-o-o! 393 Ho-o-o! 382 H’Atira ra koka, ri! 394. Kawas i ra koka, ri! 388 H’Atira ra koka, ri! 395 Kawas ira koka, ri! 384 H’Atira ra koka, ri! 396 Kawas i ra koka, ri! 385 We ra koka, ri! 397 Wera koka, ri 386 HH Atira ra koka, ri! 398 Kawasi ra koka, ri!
Translation of First Stanza
375 Tlo-o-o0! An introductory exclamation. 376 H’Atira ra koka, ri! h’, asymbol of breath; ‘‘ breathing forth life.” atira, mother. The term is applied to the ear of corn. ra, moving, walking. koka, enter. ri, part of the word nawairi, an expression of thankfulness, of confidence that all is well, 377, 378 See line 376. 379 + Wira koka, ri! wi, now. ra koka, ri. See line 376. 380 See line 376.
Explanation by the Ku'rahus
The words of this stanza mean that Mother Corn, breathing life, has come to the entrance. She is now moving there, bringing the promise of life, a promise that makes the heart of man glad, so we give the cry of thankfulness as we sing: ‘‘ Nawairi!”
FLETCHER] SEVENTH RITUAL, PART I 95
This stanza is sung four times, for we are thinking that this prom- ise of life given by Mother Corn is known to the powers of the four directions. These powers give strength and make the promise sure.
When we have finished singing, the Ku’rahus tells the chief to take four steps beyond the threshold within the entrance way. These four steps are in recognition of the same powers.
While the chief stands there we sing the second stanza.
Translation of Second Stanza
381 To-o-o! An introductory exclamation. 382 WAtira ra koka, ri! W’, asymbol of breath; ‘‘ breathing forth life.” atira, mother; the term is applied to the ear of corn. ra, moving, walking. koka, entered. ri, part of nawairi, an expression of thankfulness. 383, 384. See line 382. 385 We ra koka, ri! we, it has. ra koka, ri. See line 382. 386 See line 382.
Explanation by the Ku'rahus 1 Y ‘
The words of this stanza mean that Mother Corn has entered the doorway of the lodge, she has walked within the entranceway with her promise of life which makes the heart of man thankful.
Mother Corn has now opened the door of the lodge for-the entrance of life, so we give the cry of thankfulness, ‘‘ Nawairi!”
This stanza is sung four times, and then the Ku’rahus tells the chief to step backward out of the entrance way and to stand two steps behind the Kuwrahus and his assistant, who now advance and stand upon the threshold while the third stanza is sung.
Translation of Third Stanza
387 Ho-o-0! An introductory exclamation. 388 Kawas i ra koka, ri! Kawas, the name used in this ceremony to designate the brown eagle. elites ra, moving. koka, enter. ri, part of nawairi, an exclamation of thankfulness. 389, 390 See line 388. 391 Wivra koka, ri! wi, now. ra koka, ri. See line 388.
392 See line 385.
ile) o>
THE HAKO, A PAWNEE CEREMONY (ETH. ANN. 22 Explanation by the Ku'rahus
The words of this