﻿466 
  

  

  THE 
  OMAHA 
  TETBE 
  

  

  [ETH. 
  ANN. 
  27 
  

  

  the 
  right 
  side 
  of 
  the 
  door. 
  As 
  the 
  pipes 
  were 
  passed 
  among 
  the 
  

   members, 
  the 
  ascending 
  smoke 
  carried 
  with 
  it 
  each 
  warrior's 
  appeal, 
  

   voiced 
  in 
  the 
  prayer 
  to 
  the 
  invisible 
  Wako 
  n 
  'da. 
  With 
  this 
  rite 
  the 
  

   opening 
  ceremonies 
  of 
  the 
  Hethu'shka 
  came 
  to 
  a 
  close. 
  

  

  Shortly 
  after, 
  the 
  choir 
  began 
  a 
  song 
  in 
  fast 
  time 
  and 
  whoever 
  

   was 
  so 
  inclined 
  arose, 
  dropped 
  his 
  robe 
  in 
  his 
  seat, 
  and 
  stepped 
  

   forth. 
  Then, 
  in 
  a 
  conventionalized 
  pantomime 
  he 
  acted 
  out 
  one 
  

   of 
  his 
  experiences 
  in 
  war 
  from 
  which 
  he 
  had 
  gained 
  a 
  public 
  

   war 
  honor 
  at 
  the 
  Wate'gictu. 
  A 
  good 
  dancer 
  was 
  light 
  of 
  foot 
  

   and 
  agile. 
  A 
  variety 
  of 
  steps 
  was 
  taken; 
  the 
  foot 
  was 
  brought 
  

   down 
  on 
  the 
  ground 
  with 
  a 
  thud, 
  making 
  a 
  synchronous 
  accom- 
  

   paniment 
  to 
  the 
  resonant 
  drum 
  beat 
  and 
  the 
  voices 
  of 
  the 
  singers; 
  

   the 
  limbs 
  were 
  lifted 
  at 
  sharp 
  angles; 
  the 
  body 
  was 
  bent 
  and 
  raised 
  

   with 
  sudden 
  and 
  diversified 
  movements, 
  as 
  in 
  a 
  charge, 
  or 
  as 
  if 
  

   dodging 
  arrows 
  or 
  averting 
  blows 
  from 
  weapons. 
  In 
  all 
  this 
  

   dramatic 
  presentation 
  of 
  an 
  actual 
  scene 
  there 
  was 
  not 
  a 
  motion 
  

   of 
  foot, 
  leg, 
  body, 
  arm, 
  or 
  head 
  that 
  did 
  not 
  follow 
  the 
  song 
  in 
  strict 
  

   time, 
  yet 
  keeping 
  close 
  to 
  the 
  story 
  that 
  was 
  being 
  acted 
  out. 
  The 
  

   throb 
  of 
  the 
  drum 
  started 
  the 
  pulses 
  of 
  the 
  spectator 
  and 
  held 
  him 
  to 
  

   the 
  rhythm 
  of 
  the 
  scene 
  as 
  the 
  eye 
  followed 
  the 
  rapid, 
  tense 
  action 
  of 
  

   the 
  dancer, 
  while 
  the 
  ear 
  caught 
  the 
  melody 
  which 
  revealed 
  the 
  intent 
  

   of 
  the 
  strange 
  drama, 
  so 
  full 
  of 
  color, 
  movement, 
  and 
  wild 
  cadences. 
  

   The 
  intense 
  character 
  of 
  the 
  dance 
  made 
  it 
  impossible 
  to 
  sustain 
  it 
  

   for 
  any 
  considerable 
  time; 
  therefore 
  the 
  dance 
  and 
  song, 
  although 
  

   the 
  latter 
  was 
  repeated, 
  were 
  always 
  short. 
  Rest 
  songs, 
  slower 
  in 
  

   time, 
  followed 
  a 
  dance 
  and 
  during 
  these 
  songs 
  the 
  dancers 
  sat 
  muffled 
  

   in 
  their 
  robes, 
  often 
  dripping 
  with 
  perspiration 
  and 
  panting 
  to 
  recover' 
  

   their 
  breath. 
  

  

  AY 
  hen 
  the 
  food 
  was 
  ready, 
  two 
  men 
  each 
  of 
  whom 
  had 
  broken 
  the 
  

   neck 
  of 
  an 
  enemy, 
  were 
  designated 
  by 
  the 
  leader 
  to 
  act 
  as 
  servers. 
  

   Then 
  the 
  choir 
  began 
  the 
  song 
  that 
  was 
  the 
  ceremonial 
  call 
  to 
  the 
  

   feast, 
  to 
  which 
  the 
  two 
  men 
  danced. 
  

  

  (Suug 
  in 
  octaves) 
  Harmonized 
  by 
  John 
  C. 
  Fillmore 
  for 
  interpretation 
  on 
  the 
  piano 
  

  

  Smoothly 
  ,' 
  = 
  66 
  

  

  Tp-r 
  3 
  — 
  c 
  - 
  r~ 
  

  

  • 
  • 
  • 
  — 
  •-. 
  

  

  # 
  

  

  1~*T 
  

  

  .TV^ 
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  m 
  ~} 
  1 
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  *^?- 
  

  

  — 
  L_J— 
  L. 
  

  

  

  l-+-f- 
  

  

  — 
  L— 
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  \-kr— 
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  — 
  ' 
  • 
  • 
  

  

  FH 
  

  

  the 
  - 
  te 
  ni 
  - 
  de 
  

  

  *J 
  

  

  -H 
  

  

  I 
  

  

  Con 
  Ped. 
  

  

  TZ 
  "7" 
  

  

  tho 
  

  

  -A 
  

  

  U-Ini" 
  

  

  n 
  

  

  the 
  - 
  te 
  ni 
  - 
  de 
  tho 
  

  

  W 
  =j 
  3. 
  . 
  4-3— 
  Jr^r-j 
  -^TH 
  

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