Aareay At slat jiacktnent | i We Be Mey A bait fy RN : REIN ii ih i AU A das tale my HY aa! aaa hah ah NY ; Vayehe? i) stata ah ath ES Ber mar ape ish abiatpacan Gelig ti i vis j == Tate ye ‘ hay bia) i if iy, 4? vb al da g Keser ar y rise} { Heat put uJ hell dy a RIS. a i) bites ety oe aint at A i Teitae Hd if ite My aga VAT by ® 2 ‘e. Wee s) bv i i a 48 7 ‘> ete ie & fy z » 7 ‘ ‘ < *. we ae oan © if SMITHSONIAN INSTITUTION BUREAU OF AMERICAN ETHNOLOGY BULLETIN 161 SEMINOLE MUSIC By FRANCES DENSMORE gtr Nc NRE ESGE-ANe 9, "i —_. = z saws aes, oa an BULLETIN 161 4ReAi Es) BUREAU OF AMERICAN ETHNOLOGY Panther (Josie Billie). SMITHSONIAN INSTITUTION BUREAU OF AMERICAN ETHNOLOGY BULLETIN 161 SEMINOLE MUSIC By FRANCES DENSMORE UNITED STATES GOVERNMENT PRINTING OFFICE WASHINGTON : 1956 For sale by the Superintendent of Documents, U. S. Government Printing Office Washington 25,D.C. - Price $1 (paper cover) DEC 7 9 1956 | A v f i i hee ne Mit 24 le Rit f PETRY 7 ne 20 ae ee % > re ti n el es BATT wid as " RAD aaineae * ‘ luv etry ia ny tis — em iinet se — seen samyntt sevpaniiny3 nn a oe “ot ry } Corwen sama 59 an od] ! i a LETTER OF TRANSMITTAL SMITHSONIAN INSTITUTION, Bureatu oF AMERICAN ETHNOLOGY, Washington, D. C., March 30, 1955. Str: I have the honor to transmit herewith a manuscript entitled “Seminole Music,” by Frances Densmore, and to recommend that it be published as a bulletin of the Bureau of American Ethnology. Very respectfully yours, M. W. Stiruine, Director. Dr. Leonard CARMICHAEL, Secretary, Smithsonian Institution. III oh) 4 iH ! A niiie’y a . i we ae re t : yj % a t { ely i poh oie AY i nh i ! ee . | E ; . A fi = f , 4 ot ; . } U FA) beet oe Lee { dg Wy mae mn A «74 J } } i , i s ) yy ad a ' i 7 aa vay Y TAPP IMAL ART © Sarr eorrerirey T 9 sdibdetinit ie | sndanaserd wenn, ho rhea eh - ei BOR He Wor ML AY prongnesna F,... kid ian pahibias tybesuren. oe Dba: siemaagrt of ionort if ded} Heeueuntoons oF brig arootemeh pager pte oousions 5 maoitanst. Tosser si mete a ale seni ont FOREWORD The Seminole of Florida are a Muskhogean tribe originally made up of immigrants who moved down into Florida from the Lower Creek towns on the Chattahoochee River. Their tribal name is de- rived from a Creek word meaning “separatist” or “runaway,” sug- gesting that they lack the permanent background of the tribes whose music had previously been studied.’ The writer’s first trip to the Seminole in Florida was in January 1931, and the Indians observed were from the Big Cypress Swamp group. The second visit, begun in November 1931, continued until March of the following year, the study including both the Cypress Swamp and Cow Creek groups of the tribe. Two exhibition villages near Miami afforded an opportunity to see the native manner of life. These were Musa Isle and Coppinger’s Tropical Gardens. The managers of both villages extended their cooperation, and the princi- pal interpreter was Cory Osceola, a grandson of the celebrated chief Robert Osceola. Many songs were recorded, and the work was ex- tended to the Seminole in the vicinity of Dania and to the camps of Seminole along Tamiami Trail, especially the camp of Chestnut Billie and that known as Fifteen Mile Camp. In February 1932, a trip was made to the interior of the Big Cypress Swamp under the escort of W. Stanley Hanson, of Fort Myers; five camps were visited and photographed. Continuing her journey, the writer went to the “Indian Prairie” northwest of Lake Okeechobee and thence south into the cabbage palm country, which is the home of the Cow Creek group. Several camps were visited, and the songs were recorded at Brighton through the courtesy of Mrs. Eliza Fielden, the storekeeper. The return to Miami was by way of Fort Lauderdale, where an ancient Seminole burial ground was photographed. A third trip to the Seminole was made in February 1933, in con- nection with a survey of Indian music in the Gulf States made pos- sible by a grant-in-aid from the National Research Council. Another visit was made to the Cow Creek group, and songs were again recorded at Brighton. The only tribal gatherings of the Seminole are the Corn Dance in June and the Hunting Dance in September. The customs of these gatherings differ in the two groups. The songs of the Cypress Swamp 1See Authorities Cited (Densmore 1910, 1913, 1918, 1922, 1923, 1926, 1929 b, 1929 e¢, 1932 a, 1932 b, 1936, 1938, 1939, 1942, 1943 a, 1943 b). = VI FOREWORD group were recorded by Charlie Billie, who is the leader, and by Panther, who is prominent in the ceremony, while the songs of the Cow Greek group were recorded by Billie Stewart, who is the leader in that group. The total number of Seminole songs presented is 243, including the songs of 28 social dances, songs for success in hunting and in the ball game, songs used in the treatment of the sick, and songs connected with legends. Numerous specimens were collected, including a woman’s costume and three canoe models showing the types of canoes used by the Seminole. On the second and third trips the writer had the helpful companion- ship of her sister, Margaret Densmore. To the National Research Council and to all who assisted in col- lecting this material the writer extends her appreciation and thanks. This report closes in 1933, as stated, and does not refer to later authorities on the Seminole, nor to the recording of additional Seminole songs by the writer in 1954, under the auspices of the University of Florida. CONTENTS PAGE (VDVET TE Le i 9 ca agama 8 GPE ll Sal Cla i Sea a aaa v (ASU IE os i le aaa lye, er ee XIII Arran cedan order of serial numbers# = £52222 2222 fererssessieiiee XIII Arranged in order of catalog numbers_-_________--________-----_-- XVIII Specialesigns used in transcriptions of songs]. 2-2 e we 2 a8 See eee XXIV HOME ULC ee eee ee Fae ES LE het Dee Pe eee eee XXIV Names of singers and number of songs transcribed_____________________ XXIV Informants and interpreters_____________- Siggy i By Pa ahs i ey ys es Ba ea RRA Informants who were not interpreters________________- Lg ER he ag iy ee XXV iharacterization of singers. andinformantss 222 222 Lt 2s Et et .- XXV Rnenete wy ality PCO p= =e SS 2S Se ee eee eee XXV WewmerecueGrOmyiies = alles sewer eee Beer ee Monee eee XXVI PoLormeants: wie did vet record sonpsts2 2222 secertescsseses PEP XXVII Reece tens ee nae SON te PL eR See XXVII she Semingl eee history eee ecm eh an = Se SEAT eee ee Sea 1 The Seminole of modern times and their abode_______________________- 5 Priimelereads ps anavillapese = == 2 Le See eee es eT SS ee LS 7 Valleges inthe cabbage palm region_.=~.= 2. 228 = 22S 11 PiGeCeI Pay netC Mitipy = oy eo Sat PEELE LE ee eee 12 Presa ilies VW MApet iTS ER LS LEE ee eee ee ee 13 Been POLHT VCRs = Let Se PES Se SE eee 14 BEM DULO DE VlL ages: oe MURR = ten eee eee 15 SEEM eee APRON Wr oo ee ee ae es eee Boe 15 Miounmesana OrMnAMenteee es =. {Sees = Sts Se See eee tee = 16 PI TACRES SRI G: ©. MOUCR! SOME tt So Se ae eee See Bes 20 BPEL Ree T GIN GHC Snes =o a eee 20 Eee ROM COLNE mer neee 2 ea ee ee Seve ee eae eee ee 21 aber trees SeCeECIMEL LEVEE ot OOM EN SE ERS SSCS US ot aeee ee 21 oUOGeAnGaltsapreparaion === — aa eS ee ee ee Se ee ee eee ee 21 EEC HT Greet LiC am MeN Tae SEALE Eh eee eee eee 26 RETIN SS Setty WPTE Se breed tineaeh cis Were MS eee eee 26 Wathes connected with clarist Lteatinent r- bak weet tt STEELE 26 Waniestconnected withtlocalitiess 22 22 ee ee eee 26 RISERS ive ath Sree TOF MenCeeey fi fi Prt he ete = Yee eee 27 Berne iiss ee et aeP CRtae RIL cero ee ee es eee 27 Beene OF Clogiing! Avior. in tee Gee as Se Le 27 (Lely 2 gk Sn Rett led Stile le ee el yeh ete ita eg he I< Es te) 28 aa wiedpe rectivedin drewiis 7208 — oe SEA oe 28 SSCL Ole Dro veCulVvernmneGlCinien ce nau Sart eto ek A. ee 29 Pee Borin Or Ord ine riee ie et oon Fa re er SU IS 29 Benen hich Cente Ny tire URE AR So on tn ee see. 29 eae SIA Ori beeen ea” We Sree REY on eh ee ST Pee eS 30 Sean Oe, Wade IN ele sae eter rh re ies are en eee eee 30 Gaaned Anaephen ine leit pee Sr otiry se son re FEES St, Beet 30 Silver: wionlceen 2 eines OPENER 2 er eA : 32 Vil VIII CONTENTS Industries—Continued Carving of wooden. dolls). -22=— 222-528. ee eee Making of patchwork banding 22-22 2 8 ee Woven beadworlkss. = 22 2 2). et eee ee Lae Death. andiburialsss2 at Dae ee ee eet ee ee ee eee (men dancers. haut bow $456. Pk AAR ORI re. Cypress. Swamp groups! 22-5 2h = sem eee ten Oo be 2as' ee ButtalosDance ss. 6 ee 2 a C@ormeDance-c fe ot se 2a ee ea oa ee ee Gow Creek groups... 2 ac Ee ee Buffalo Daneess. Sf ei eh aU BE ee a ee ee Medicine men’s Dance. _ss-2%e Ss5_ ssh tees ae eee (Ol nc PD) 1) ee: Cn oir ne enmen a Ne eS Ce Calusa Corn! Dance. 2382-02. os Se ee ee Analyses of Corn Dance songs and of related dances___-_____-_-_-_---- amir ance: 2 os oe a ee Le et ae cee Cypress Owanlp PrOUps.- 2-225 -- ees oe eee eee Cow Creek group.22—.--= 2222562. a se ees Calusa Hunting Dance. ~~ 24002 - ee fa cei ee Analyses of Hunting Dance songs... --..-5- ~~ ~-- sate Be ee Cypress Swamp ‘Group: -..+-2---- 4000. ee se eo Cow Creek group. c= 25 222 Gee 1 3 45- ee ee ee Calusa Hunting Danee...-.-..-52-3322+ 45 see oe ee ee Soclaltdances’.- 882 ese Se ek oe wee a oe Nee ce Alligator Dance 2 = 3. - 222... 302-2 e eee es Soe Cypress Swamp eroup..-=. | (ot > boy biedaavod tie jehan! cons) 4 aebalgrertt ops, 0o.. (&! ) gation yoitet weeny 7 4 pesiesel® at amare .0er- ad antes adving aoiseH ettilet 1 al min gofingk aemow fan welt ob arte, yt to domegap Tin Liesipes itor girtdneOad | 9 wales tawo 4 slo (othetos) «(taoos yeilenw Seno Wages & ir ms eb tie? sliaoes gal sity Heatayy yp a + aH TeAT i +e ; ¢ a eee ett ally. wnat of a9 wees 0M Daa Pinetnny 94) iqeres tin; nF haunt dont to dowteallt OD abgeh? acu levis WE pitolierinc (Lt y9dtO date ritenetee orth xOR cow? bs A Yn toAdwn oat ot fo aah we Ried ber ; aL ‘ivan eae ese ere ok (eat | | . a hy a eer Pen? > ; ce i Fak | 1 oN al Pee Be eared mreiwan ot Fe : LIST OF SONGS 1. ARRANGED IN ORDER OF SERIAL NUMBERS SONGS WITH THE CORN DANCE—CYPRESS SWAMP GROUP Seria: Catalog No. No. PANG OO EMANCE: SUN EA Rc ohn a4) eee oe ee ee ee 2080 MEE AUTRIOMIUANCE BONED) 22252652525 one ook cae ee ee 2081 REMERON ANnCe SONG CC) a. o0 ues co ee ee ee 2082 APB UTaLORO ance song (GQ) so) fo o5 ts = sees ee eee ee a le 2083 PE MENMEIONCE ROME (8) sGioco 2 2.2 on Ae ee 2084 DEMME ANCE SOME A) 23220. ok kl hoe Se 2085 MID SHOE BONE (O) 2908226 cee so dae on a ee ee ls ee 2086 BESTE TI MISURCE A DINE (Ol) oan tee oe epee Sree ee ie 2087 PV CEST DEST PERSIE To « Pat C2) a gl a ei Sage siereti 2088 MEME e RONG (0). 222 Loo ae oe ee eee ee ee 2089 11. Corn Dance song (g)----- -- te TEC AGG eee nt eB Ate, ciple ag a es. OU MmnaiRbsnCe SOUe. (Nes. = oo cs tee eke ee ee 2091 SONGS WITH THE CORN DANCE—COW CREEK GROUP ieee OiaiGHl) ance SONG (Coa 5 22s. ee Ae es ee ge 2384 14. Buffalo Dance song (f)--------- eS a eee Oe ey ee 2317 SONGS OF MEDICINE MEN’S DANCE ia, some of medicine-men’s darice’ (a). --- =.) Boer Se 2172 To, sols or medicine men’s dance (b) =. iL 209! 28a tee 2173 fi. Song Of Medicine-men’s dance: (c) =. ....UL'_ 202 SS Ae 2174 ia sane or meqicine mens Gance (d)_ 2. ee 2175 PEP CGLIT DANCE MONE, (Motes nc tuo k ee ee eee een 2180 PGE anre BOU~ CN) sic a = ene se oe ee ene 2181 Bee CoMmabance song (ik). 75.525 22 SU Ee ie 2182 mee COrpubance song (i222. -5. 2... ee ee 2183 mao Corn abance.song,.(miy Lo 22 5. 2 Dae etek te eee 2184 PaO ULM Ave NCe SON (lh) cols oases cess ah eee eee 2185 me Calusa Cor Dance songs... 16 SS OMA A MIOOn LASIOE 2064 SONGS WITH HUNTING DANCE—CYPRESS SWAMP GROUP Porn LineeDance: sOnegy (a) sn 2a. 2 eee eee eee ee eee 2072 27a Hunting Dance song) (b= - 222 92° 222222 5: EPS A a pane en el 2073 eae Hunan soanGesongy(C) 5... 22> Sone or es _ bo oes 2074 Zo Hunn ante sang)... ° 2° £2555 or st ee ee ee 2075 fe Linge ge amee songen(e).. 0 3252855 i etc Soe se oe 2076 our, Hunting? Dance song (i). 2222252 To 2. 2 2077 oon imines Dance Some (es. 2 ool ot So eee 2078 Bon niing ance soncrii): 26. 22 eta oe Sor Rr aet eet ee 2079 XIV Serial No. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44, 45. 46. 47. 48. 49. 50. 51. 52. 53. 54. 55. 56. 57. 58. 59. 60. 61. 62. 63. LIST OF SONGS SONGS WITH HUNTING DANCE——COW CREEK GROUP Catalog No. Munting Dancesoug (a) 2-25 -o22 22. 22-52 ee ee eee 2149 Hunting (Dance song. (b) 2-2-2 4.22 sol at ee ee 2150 Hunting Dance song (¢) a ae ee 2151 Hunting Dance song (d)2 *- 2 So ae a ee er ee 2152 Hunting Dance'song (©) 2.22 = eee 2 2 2153 Hunting, Danceisong (f) 2-2 e222 2525-2 S 622 = Bee ee eee 2154 Hunting Daneel song .(g)- 40S OO AUS Me Ow sea 2155 Hunting Dance song (hi) 22 ee ee 2156 Hunting*Dante song @ii 82 r rete ROD a ee 2157 Hutte Dance song’ (j)<.-.-2 2422 Eo ass. 2a) ne 2158 Hunting Danee song (K))< 2.3 oe Bas a See 2159 Hunting Dance song, (l)-_-.25 2 cee eee ee 2160 Hunting Dance'song (im) 222 Feo onl) Se ee ee ee 2161 Hunting Danceisong (i)io.2 255 So 20 See ee ae eS ae 2162 Hunting Dance song -(0) 2220 55222255 22 Se eee eek ee ee 2163 Hunnng Dance song, (p)- 25020 2 2 8 So eee eee 2164 Punung ance: song (q) 2245-222 2 Se ee 2165 HMuinting ance sone Uy) eer ene Se eee ee 2166 Hunving Dance song) (S)).2 522-22 aaa o.oo ee ee eee 2167 Hunting Dancersong (tb) 2-5 2 oe ae eee eee 2168 Hunting Dance song (UW) s/s oe Os oe ee ee ee 2169 Huniing ance/sonp (vy) 22 ne ee ee ee ee ee 2170 Euntine 3D ancesong: (GW) = ee ee ee ee eee 2171 SONGS WITH HUNTING DANCE—CALUSA Calutsa*Hunting*Dance:song7(a)i===2 4S" 55 5 >=) 222 ee ee 2065 Calusa Hunting *Dance’song*(b) 22 s32e5> = 52 o> =e eee 2066 Calusa, Hunting Dance:songs (0) = 5s a ee ee 2067 Calusa Hunting Danee song (@) 22... ae oe ee ee 2068 Caljisa) Hunting Dance song (e)_-. — =~ 2% 4225at ote ee eb 2069 Calusa Hunting Dance song (f)_____------------ Li ney) pate 2070 Calusa Hunting Dance song (g) ~~ --- 453 qe:cet: sheer ee mies 2071 SONGS OF PRINCIPAL SOCIAL DANCES WITH CORN DANCE—CYPRESS 64. 65. 66. 67. 68. 69. 70. tL. 72. 73. 7A. 75. SWAMP GROUP 92 Alligator Dance song (a)--..---..-----~-- pas. le a yrtcig. wee 2122 Alligator Dance.song(b) 222-2 -.- 2.2222. se. (oe oe ae DZS Closing song of Alligator Dance...=..~.--...1--40%) Sie Bee 2124 SONGS OF PRINCIPAL SOCIAL DANCES WITH CORN DANCE——-COW CREEK GROUP Alligator’ Dance'song (@)2324 24 SMe PRE eee 2298 Mbgater Dance song (d) 2+... 2-2-6220 be Be Meurer ys eas eS 2299 Alliearer Dance song (6). 2205422 5225-3 ee ee 2300 Alligator Dancesong: @) 2-326 os es ee 2301 Alligator Dance song (g) - ---- -------- 2 ee gee ee 2302 Alligator Dance: song’ (bh) 2-5 oc eS Re SS ge 2303 Alieuter Dance song (i)... 2-22.22 s 36 ee 2304 BabypAlligator. Dance: (a) = --. 22-2222 22898 2 ee 2442 BabyaAllivator. Dance! (b) = =222-52— se = ee ee ee 2443 Tita Da mGe (a) ei ea ee ee 2440 76. Lis TearzardeDance CD) 255 aco hae a 2441 LIST OF SONGS BIRD DANCE SONGS—CYPRESS SWAMP GROUP Seria Catalog No. No. enmumneoance song (a) i) oe oe ee poe 2092 Puram amecisony. (fp) oe i ab ase eee 2093 Peeve e@nines song (C)Mue So ea) Bes ooeG 2094 em indemance song (@)ew i) on ease eee gaat 2095 SaubindeOance: song "(6:08.22 Fah ee weal on ew Oh wi a 2096 SouebindeMOancesong (fete 2). 8 fel ey ee yoy). ge 2097 Pee Lae mance song (p)ol 2... -.--+-.49) sage seaell otas >) ae 2098 SSE bind poanceisonpa(h)i ges |. BY ee eee yaw) ye 2099 Spe birdapance song (i).2.- 2228.2) ke ene aye EE eal 2100 Seis MO ance song (j)_..-----=---.-- =.= tas yey eee anne). 2101 aoe Bina so ance song (k)2). 2. . 2.222225. Jak gee ew pth egal 2102 i rameemanveisong ()2)__ 2... +... oes See eee Cees) 2103 Oe bBinduoancesong (mi): 2222. 6 8 gh eee gti FE Dap) 2104 He binduMancesong.(n).-2 5.02.2 a eee ee elt Beef) 2105 ar emer Hancersonpi(a)..._.... - |. --- (as eee ge etl Ie 2188 fon einekin amceisonp:(b)).-...---------_- 4b seer sagetl teh 2189 Pose nekenn ance sonpe(é))) 1 ere 2190 foe Gingkranlanreisongu(d)) 2.632. oo ek Sl he) Bee 2191 Gee bigek@enass Danese song) (a) = 2 oe ce ti eas ees 2422 Sal, BisgiesGrassiDanee song: (b)_....--.---. ---= =. -- Se peg 2423 ep BisekeGrass) Daneetsong)(c) + -2 22-3. ss e sh page 2424 OOS ScoMmon Dance song (a= i oes a eg at 2393 Ma Siamese Dance song (b) 2. =. 2 ey a en eth ee: 2394 Oe Stomp) Dance song (¢)\ss 2 8 es So eo ane eee ile 2395 O2e Stomp) Dance sone: (d) == 22...8-0 22282 oo ie a gee Oe 2396 ion) stumps Dance song (€) oo. se eh SL wag ene eT pee 2397 1O4e Stomp anceisong (f) 2.222.) 2 ee ee ee EE 2398 NOG Hinsta IWance song (a) so ° 2.2 2 2 a I es eT pet 2399 LOGE imata. Dance song (bp). 20 a pe ere RT 2400 ie Hanae, Dance song (¢) 2-2... ee ede ceil pie 2401 HOSsr Hinata Dance song (d)o. 2222022 2 2 i eg de poke eee 2402 HOSP inate, Dance;songe(e) eer cee ese oo SP ae weet pen: 2403 On Hinata. Dance song (f))_ = 2.2.28) as eT eee 2404 mor Himes Dance song (gg)... pags abn eld-eke 2405 Mt wuinats Dance some t( hyo 8 EY pee ee 2406 miter bites ane sone (1). 2.22 ce AN eg lueeye 2407 Pi aigate ance: song (i) 2 a ey eee 2408 iSeries Dancersong (kk) 2-2 = oe Soe RY Sas ee 2409 lo Hinata Dance;songe(])) gm eee oot. eee iat ees ee 2410 ie Hanged Dancesong (mio 28k a yey eye 2411 HUIS? Hinata Dance:song (n)2 0 oi eae eg htt page 2412 MSY Hinata, Dance|song (0) - 22-9 UP and shelton Ss 2413 IOF Hinata: Dancessong (p) 2. e222 2s i ele Bn epi t aplgs 2414 (PAr Eimata Dance song (q)i i Li 2 ee a ee Baga 0 A iy he 2415 12F Oui ance song’ (a). 3. 2 22122222 2 a epee ag art aha ie 2131 aS) Ouse ance song (b) | 22 eh ee ee 584 ott 53s 2449 Duplteation, of Now 123) 2k oe Sree 2 ee Gee Bonet? ban in 2458 iar Bigckbird Mance song {= 222 oP YAN eee aha alt sate 2446 125 Bugged Danee song (a) _--.-- 2. =... AY weeded sag4fl 9532 2186 ion Burzerd Danee song (bp). o- Nan tT BR we 2187 Pe Catuen Dance ‘sony (a). 2. AN Bb a BW 2127 PAS OBtHSN aCe BONE Let see oe oe ee oS 2128 338460 O—56——2 XVI Serial No. 129. 130. Isi. 132. ibSe 134. 135. 136. 137. 138. 139. 140. 141. 142. 143. 144. 145. 146. 147. 148. 149. 150. 151. 152: 153. 154. 155. 156. 157. 158. 159. 160. 161. 162. 163. 164. 165. 166. 167. 168. 169. 170. aale Ne 7335 174. 175. 176. Bel. 178. 179. LIST OF SONGS BIRD DANCE SONGS—CYPRESS SWAMP GROUP—continued Catalog No. Cathish-Dancéisongs (©) 2 222. he 2 se eee 2129 Catfish: Dancesongh(d) 2.222 2-2 22 ee ee ee ee 2130 C@dtfish:Dance:songe(e).. 322 ee ee 2462 Mburkeys Dance: songe £4: 25-2222 -<< 2:4 52 ee ee 2106 Whooping: Crane, Dance.song (a)... ..2.4-42.--12L ee 2425 Whooping, Crane-Dance song, (b)=-—-2-..--2... 244. See 2426 Wiheoping Crane: Dance.song (¢) 222 522.222.24221 8! See 2427 Whooping: Crane Dance song: (d) -..-s2.5..-=.-=- UN Show oe 2428 Sardhill (Crane Dance) song (a) 2... eee Se 2145 Sandhill Crane -Dance:song (b) 22222. =. 22222. 4 52) SUOR 2146 SandinilvCrane-Danceisong: (0) 255-452-552 5- = 5-5 ee 2147 Sananill -Crane Danceipong (d)i2-=22225o4ch-- =... Be 2148 Screech: OwleDancewsong: (a)... Sse = ee 2107 Screech OwleDancessong: (b)ic aaa ae ee ee 2108 ScreechsOmleDanceysony) (@)j-3 = ee 2109 Sereeeh: Owl-Dancessonp. (d)i ee ee BO 2448 RabbityWancessongs 442 - 22 2 ee eee oe SO 2447 iHoxeDancesongs(a)- £2. 22. 22 = eee ee a= SOR ee 2385 HoxeDance:song:(b) Pe. - = ee ee ee 2386 HoxaDancersong(e) RSs -- ).2 ee ce ce Me a 2387 RoxeDanceysonpe (a): 268. 235-222 eee ee ee Se SE INZS88 FoxsDancesongu(e)- 242-2522. epee s bashed Je Sa 2389 Swivchprasse Dance songe(a)==s22- = 2 =e 5 he ee 2132 Switeherass Wance;songy(b)a==25- 55 5252-2) See Se 2133 Switehgrass+Dancesonge \(@)/ 22.2 22 2 ee ee See 2134 Swatiehgrass: Dance.song..(d)22-. - 2-..----=-.+--9) Bae oes 2135 Switceherass-Dance song,(e).- s--- == ------.-.--=-+U) Base oom 2136 Switcherass. Dance, song, (fi) .2---- =. 2.2.22...) Gas eee 2137 Swateherass, Dance song..(¢))- 242 62.2555... 18) SROs wee 2311 SwatcherasssDancessong..(h) 45-2... -c-- 52-...-. 18) BAe wees 2312 SylticherasseDancesongy (1). 25-222 ses 2 ae ee 2313 Switeherass-Dance,song,(j)j acs 2se wc enc a= SE Oe eee 2314 Switchprass Dancesone uke seo eo ee en 2315 Switchgrass (Dance song((1).5.. 224 9. 5e. wll. Oe eee 2316 Haire ancesong (a). == S38 3 See. - 2. UL Be eee 2390 HairsDance: sone: \(b)i-2 22 2-5 2h eee oe Sa EE OS 2391 HaireDance-sone) \(C)pa—- = 224 soccer cee ec oes i) BO BOR 2392 Ears ance:song.4(@) 2. = 2 == = =e ee 2111 Saugitor success in hunting, (b). 9.2 ee ere oe 2112 eeubey are 1eeqing 2 48. 22) 59" 22 WEN ne ee 2 a re 2113 Wilherold bear makes aynorse:, (- — eae gs ee ee 2114 ibesunsuccesstul-huntene | 25.82 a ova ee eae ee 2115 meerare- wong to Dumtae = 92 20 oo Sa ee ee 2116 ea man drives intihe james) 22." 30 5 ey se ae ee 2117 PERE ScauOlG Is-elnplyam 2b So Sapo: PS oe ye ak 2118 tw care tying Wp the dead animal’ “oo 27 hes. os 2119 “We search for fat game’’________ nied hamegeaes «seer aes Od 4 I 2120 MICE Pantin Coline wate as eeie ee Nk SENS 2g OE Pi ae ey Si ed poh lt 2121 XVII Page 143 143 144 144 144 145 145 145 146 146 147 147 148 149 149 150 150 151 151 152 152 153 153 170 171 172 173 174 176 177 178 178 179 179 180 181 182 183 183 184 XVIII LIST OF SONGS SONGS FOR SUCCESS IN BALL GAME Seria! Catalog No. No. Page 2184 Ballgame song (a) sesso ee Se a ee 2280 86187 ZO allie amesson gyi (\o)/ so sesso a one eh tens ee ee 2281 188 | B00 Belhamesorig:(@) 0.) no Ae ee eee 2282 =6188 aol.) Bele mersong (a) teen 2283 =6189 foo pa esme: Somg™ (2) it eee he ee ee 2284 189 FSR ENACT A AMO 0 EMER Uae ee 2 eR RGD Om, 2 oe ee labret 2285 190 224. Bathigame song: (@)ees cee eee Oe eM Be SY Nn Nh a 2293 =©190 | D5 Ball pame song (ijicees wtterrcte k SLB OS OUR ae 2294 190 | De OE My TIE (OTR elke ere A accept he ee eee ee 2295 191 22 mb allipAme Sona MT) Aer eke oo te LoL eee ee ae ees 2296 191 228 MB wraAmMeison gy (ki) ime eter 1 oo elle eres oa Re een 2297 =: 191 SONGS WITH STORIES | 229. "The opossum. calls Her lost: baby... 22 22. eee 2139 «194 | oh) .. nerapOrsaid CEs) 6 ee SE ak Tp gee eee 2140 194 | 931. The rabbit brings back a snake____________________-___-.-+ 2138 195 — MISCELLANEOUS SONGS 232. Song concerning the removal of the Seminole to Oklahoma (a)__ 2278 201 233. Song concerning the removal of the Seminole to Oklahoma (b)_-_ 2279 202 234 wMivgoldislawese.--8t 2 2S 7 yb eS ee a ee 2450 203 230 Moog, topasmotherless Oye! o-oo ase ee ee 2451 203 PU MOOteetOr SC HiLGs: = cadetal boys ++ = a's =o on 2s 2452 204 Day rn kine. Sang e)sdsep ey tthe <2 m2 Be 2 SR 2453 205 238.4 Dmmking: sone} ((b) isso Shee oe ee ee 2454 205 2359 OTINKIN Ge SOWCH(C) see Bey 2 ee eee 2455 206 Za Shonguol Arien@s nin Wap 280 00 oe oe eee 2141 206 241. pong of friendship (aye .ee "0 et ee 2142 207 2a) Sane Oberle meetig ((G)es 922 38 ee ee 2143 207 243. (Soi Gt fHencdsuin (aye 255° 0° oe ee eee 2144 207 2. ARRANGED IN ORDER OF CATALOG NUMBERS Cata- a Jog Title of song Name of singer Semel Page 2064 | Calusa Corn Dance song_________-_- Billie Stewart________-_ 25 61 2065 | Calusa Hunting Dance song (a)-_____|____- Gowsl: Al Rao Tee 57 82 2066 | Calusa Hunting Dance song (b)_____|_____ dot) 84 vous sey 58 | 82 2067 | Calusa Hunting Dance song (c)_---_|____- dois ft ots ee ae 59 83 2068 | Calusa Hunting Dance song (d)-____|____- dos -_ 292 ee 60 83 2069 | Calusa Hunting Dance song (e)_____|_____ Got F2SSiE SHaC DID: 61 84 2070 | Calusa Hunting Dance song (f)_-____|_____ dol sit 2h eeOC ae 62 84 2071 | Calusa Hunting Dance song (g)-__-__|_____ Goll ls OF Beive oe 63 84 2072 | Hunting Dance song (a)__________- Charlie Billie. ________ 26 67 2073 | Hunting Dance song (b)___-__------|=---- doi: 23s. 2t DIG UB IE 27 67 2074 | Hunting Dance song (c)___________|____- do 22 i aye ee 28 68 2075 | Hunting Dance song (d)___________|____-_ dois’ S25 Ws Bag 29 68 2076 | Hunting Dance song (e)_____-_-__-_|___- 0222-22 Se wee 30 69 LIST OF SONGS XIX ney Title of song Name of singer Sua Page No. No. 2077 | Hunting Dance song (f)---_-__---- CharliesBillie! 2. <= __ 31 69 2078 | Hunting Dance song (g)-__-_-_._---|----- (i (0) Sane Se Jee 32 69 2079) | Hunting Dance song (h)____-______|_---- (0 (71 SOR aeons ae ee 33 70 2080 | Buffalo Dance song (a)____________ IRaintine r= 2.0 seein ae a 1 43 2081): | sBuftalo'\Dance'song (b)-__.-_.___.].---- GO erp Saas 2 43 2082) |\oButtalo Dance:song)(c)—-._-__.--_|_---- Goes ol es 3 44 2083 | Buffalo Dance song (d)_-__________|--_-- (0 (0) eine 4 44 2084+ | «Corn Dancesong, (a)... _}-=.e- Ch Se aes 5 45 Boson | acorn: Dancesongy(b) 2.21. -|--zs- 6 (RS ee ets 6 46 2086) | Corn Dance'song (c)._2_...-.._____|--45- (EG ed SI at 7f 47 AOR inCorn Dancersong) (d).4. Ls CAG) Meese sr ners EL 8 48 Sens) acorn Dante-song:(e)e 4: | - s- PURER LU pet oe! 9 49 POS9) | Corn Dance.song.(f)_ 42-403 |e 0 (21 a ld 10 50 2000) iM@arn *Dance:song(g) i). (bo eg beets Salen 11 51 2001) |m@orn /Dance;song (hh). te (oc OR a ae at 12 52 2092) | sbird: Dance;song (a). 2). 2 (oye mai Mera nm oe 78 98 2093) BirdsDancesong. (b)i42--. 2. | ro {Gr Mag EL hag 79 98 20945 | \sBirds Dance song: (c) ase.) betes _|_ obec Gorigeh. oye 8 oe 80 99 2095) ijebird «Dance song | (d)).5.--- 2.2. |_-- (och en ee eae th oe. 81 | 100 2096) |ebird: Dance song (e)_.2-..-... -- 22/2... (3 (0) ane ames Mares. 82 | 101 209 7H |abindsDance-song. (f)e 224.2 2hs pl. Ge teh, ie reas 83 | 101 2098) |pbird: Dance song (g) 4 - _-.2--__._|2-_ (6 aia a Ri neath agra 84 | 101 2099) | sBird) Dance song (h))_ =... +--_._=|. (6G Uma a ore es seo 85 | 102 POO: |nbinds Dancessong, (3) tess epee oh | CO ae ee ee 86 | 102 e101) |p Bird) Dance song (j)is2=5 2512. __-|=-- 2 C6 Aa A ere ca 87 | 103 2002) |. Bird: Dance song: (kK)iz=..22eee 2! 2) 2 COSA apes =e ee 88 | 103 else mbird ance sonpu()iese iyi) |e Oe Sei oe 89 | 103 i047 |\gbird Dance song (m) +... ..2_-..2_|__-+ = (6 vega a ll a 90 | 104 2105) |neird Dancevsong (m)_....-_i...._.|_.-__ 7 a py yl nc 58 91 | 104 mi0G) |\plunkey)Dancesong..--.....-....-|-.-.4 Rg ee er ees 132 |.122 2107 | Screech Owl Dance song (a)________|____- 5 Ca Se eet Rh me 141 | 126 2108 | Screech Owl Dance song (b)________|____- ‘TG ed a Sentai 142 | 126 2109 | Sereech Owl Dance song (c)________|_-___ CROW het eens 143 | 127 2110 | Song Jor success in hunting (a)_____|_____ 1 ENEMA lene! 208 | 176 2111 | ‘It moves about as it feeds’’_______|_____ © SRR inn Sal 209 | 177 2112 | Song for success in hunting (b)_____|_____ Repose cee eg eS 210 | 178 irs) |i ehevnare feeding’... 1... __|_--2 | SIO a oe YS 211 | 178 2114 | ‘‘The old bear makes a noise’’______|_____ 0 (EAR a a pm) 212 | 179 2115 |The unsuccessful hunter___________|____- 5 ST ER Bea 213 | 179 2r6) |p We are: going:to hunt’)... _|__._.- | 5 PSR ITE NFO Moelle 214 | 180 2117 | A man drives in the game (a)______|_____

=== 228s eee ses s\se See GO=s2 22 2ccse 200 | 152 ihivtleRasheDaneeess 822s 2 Sl GOne Sere oe ees 201 | 153 Catfish: Dances()===22- 22st else do-'222-22 Se at |) 120 Little Boys’ Dance Yi 8 AVL Po eet dole. GBIL0ES Ae 202 | 153 i } | XXIV INFORMANTS AND INTERPRETERS SPECIAL SIGNS USED IN TRANSCRIPTIONS OF SONGS | A straight line slanting downward, placed after a note, indicates | that the tone trailed downward with a glissando and diminuendo, the | ending of the tone being indistinct. | r ~~ 'placed above a series of notes indicates that they constitute a | rhythmic unit. Capital letters indicate periods in the melody. x indicates a sharp inhalation (cf. p. 215). PHONETICS Indian names and words are presented as they are commonly pronounced. | The vowels have continental values. The consonants represent the — nearest English equivalent except that ¢ stands for ch, and A for the | sound of German ch in prepalatal position. te is pronounced as in watch. | ¢ is pronounced as sh in shall. | s is pronounced as in set. | ai is pronounced as in aisle. ng is pronounced as in finger. NAMES OF SINGERS AND NUMBER OF | SONGS TRANSCRIBED | Baller Stewarts aa ee SR Le 2 Se 153 Le-EEUT S102) cea, Seal elias iit eae ie Li A Ae Wie Pre ier n ery TeM MENT SS ur Loi 63 USI ON AUB OT see ee eh eee 12 Oar NeMB Ne ee ae | en ie Billie Bewlegs: 22 week ee 7 | ONG Mie ites See sete eee a et ees IR ee oe ee ae nt 243 | INFORMANTS AND INTERPRETERS Cory Osceola (Cypress Swamp group) Panther (Cypress Swamp group) William King, a Creek from Oklahoma (Cow Creek group) CHARACTERIZATION OF SINGERS AND INFORMANTS XXV INFORMANTS WHO WERE NOT INTERPRETERS _ Billie Motlo Jim Gopher ‘ John Tiger Charlie Snow ‘Mrs. John Tiger Among other informants were Annie Tommy and Maggie Tiger, of Dania, and Chestnut Billie and Charlie Tiger at the former’s camp on the Tamiami Trail. CHARACTERIZATION OF SINGERS AND INFORMANTS CYPRESS SWAMP GROUP Panther (pl. 1, frontispiece), commonly known as Josie Billie, was the principal singer and informant in this group. He belongs to the Panther clan and his Seminole name is Katcha Nokofti, meaning Panther. For that reason he asked to be designated as Panther in the present work. He is a leader in the Corn, Hunting, and other dances of the Cypress Swamp Seminole. For 8 years he worked with the medicine men and he understands their practices, but he is not a “full medicine man.” He has frequently been asked to take up that way of life but has declined, saying that he “could not spare the time to be a medicine man as he must earn his living.” He has also realized the change that is rapidly taking place in the life of his people. Panther’s home is south of Immokalee, but he was staying at Musa Isle Trading Post, near Miami, when this material was collected. Grateful acknowledgment is made of his assistance in 1931 and 1932. He speaks English fluently, and he often acted as interpreter for other Seminole besides recording songs and giving information concerning Seminole customs. Sixty-three of his songs are presented herein, but the recording ended abruptly. He was absent from the room a few moments, and when he returned he stated that opposition to his assisting had arisen among a few Indians and he did not consider it advisable to record any more songs. This we regretted, as he was willing to sing more and to give further information. Charlie Billie (pl. 4, a), the other singer from the Cypress Swamp group, is older than Panther and adheres more rigidly to the old ways. He is a leader in the Corn and Hunting dances and recorded their songs, with Cory Osceola (pl. 2, ) interpreting. His right hand is useless, owing to an injury for which he refused proper care. He broke his arm above the wrist, and although he consented to have it set at a hospital, he left during the night, discarding the splints and dress- ings on his arm. Nothing would induce him to ge back to the white doctor. It was said that his hand hung by the tendons and that seri- ous results might follow. This was the condition when he recorded his songs in January 1931. He is shown with his family in plate 8, b. XXVI CHARACTERIZATION OF SINGERS AND INFORMANTS COW CREEK GROUP Billie Stewart (pl. 5, ¢)? is a leader in the Corn, Hunting, and other dances of the Cow Creek group, and he recorded more than 200 songs. This is the largest number of songs that the writer has obtained from one Indian. All the records were studied, but only 153 were tran- scribed. As in other series, many songs have the same characteris- tics and it is not considered necessary to present all, in a general study of the music of a tribe. Billie Stewart recorded about half the songs in 1932 and the remainder a year later, the recording on both trips being done at Brighton. The retentive memory of an Indian singer was shown In a remark made by Stewart when the last’ of his songs were being recorded. He hummed a melody and said, “I sang that for you a year ago, so I won’t sing it again.” His Seminole name is Ga’tcayeho’la, the first two syllables meaning “Tiger” and the rest of the word having no meaning. In appearance and manner of life Billie Stewart does not resemble the Seminole of the Cypress Swamp group. He has never been con- nected with an “exhibition village,” but follows the native manner of life. A visit was made to his home in the cabbage palm region. He is respected by white people in the vicinity, and his use of English is sufficient for ordinary conversation. In his first recording of songs he was assisted by his friend Charlie Snow, who has a better English vocabulary, and his second recording was done with William King as interpreter. In his response to plans for work and in his grasp of the purpose of the present work, Billie Stewart resembled the best type of men in other tribes. He does not know the meaning of the native name Stapah’ki that was given him when a child. Susie Tiger is the wife of Billie Stewart, and her Seminole name is O’mala’gi, meaning “Let us all go.” Her grandparents gave her this name, which was original and not inherited. She was born at the time the Seminole were going to Oklahoma and her grandfather felt that everyone had gone, so she received this name. Susie Tiger treats the sick in the native manner (1933) and she recorded songs that she uses in connection with that treatment. She also recorded songs that are “taught to the children as soon as they are old enough to appreciate them.” She speaks even less English than her husband, and it was fortunate that William King could interpret her interesting information. Billie Bowlegs is a prominent member of the Cow Creek group and a descendant of the famous chief of that name. He lives near Okeechobee City and recorded his songs at Brighton, in 1933. 2 Died 1938. The name “Stewart” is thought to have come down from John Stuart, the last representative of England among the Seminole. INTERPRETERS XXVII INFORMANTS WHO DID NOT RECORD SONGS Billie Motlo (pl. 2, a)* is one of the oldest members of the Cypress Swamp group and lived at Musa Isle when giving his information in 1931 and 1932. He understood the making of canoes and constructed models of various types (cf. p. 31). His native name is A’tske’ci, which was not translated. John Tiger contributed further information on canoes and other subjects. His death occurred while the work was in progress. (See “Death and Burial,” p. 34.) The wife of John Tiger (pl. 4, 6) was the principal informant concerning the clothing and adornments of the Seminole women. Charlie Snow (pl. 5, 6)* is a member of the Cow Creek group and a brother of Sampson Snow whose camp in the cabbage palm region was visited. He speaks English brokenly but is particularly well in- formed and added interesting information to the subjects under dis- cussion with Billie Stewart in 1932 and 1933. Annie Tommy and Maggie Tiger live in the little village at the United States Government School, near Dania. The latter is com- monly known as Missie Tiger. In contrast to the native dwellings of the Seminole, they live in houses erected by the Government. They were much interested in the present work and contributed interesting information on food and manner of life. Chestnut Billie operates an “exhibition village” on Tamiami Trail (pl. 9, a). Much information concerning native life was obtained in this village on many visits. Charlie Tiger, a relative of Chestnut Billie’s, was visiting at the eamp on one occasion and added details of interest concerning fishing. Many other Seminole gave information during the writer’s numer- ous visits to their camps and villages, among them being Tiger Tail _and Sam Willie, the latter shown with his son in native costume (pl. 3, a,b). INTERPRETERS The first interpreter employed among the Seminole was Cory Osceola (pl. 2, 6), a grandson of the celebrated chief Robert Osceola. He interpreted during the recording of songs by Charlie Billie in 1931, and his influence was of great assistance in securing the favor of the Seminole. He also gave information when desired. Panther, as already stated, spoke English easily and acted as in- terpreter on numerous occasions when information was desired from members of the Cypress Swamp group. 3 Died 1936. * Died 1936. XXVIII INTERPRETERS William King, a Creek Indian from Wetumka, Hughes County, Okla., has visited the Florida Seminole each year since 1925 in the capacity of a missionary. He and his wife were staying at Billie Stewart's camp when the present work was in progress in 1933, and — he consented to act as interpreter. He said that he and the Cow © Creek Seminole understood one another but that he could not interpret | for members of the Cypress Swamp group. His cooperation made — possible the securing of many details concerning old customs and beliefs. SEMINOLE MUSIC By Frances DENSMORE THE SEMINOLE IN HISTORY ° Florida was a Spanish colony long before Jamestown was settled or the Mayflower reached the shore of New England. A map made in 1502 shows Florida, and as early as 1510 the Spanish Council of the Indies claimed that ships of Spain had gone thither. Ponce de Léon received a grant to discover and settle “Bimini” in 1513, this legendary island said to contain the Fountain of Youth. During the Easter season of 1515 he came in sight of Florida and gave it the name “Pascua Florida,” from the Spanish name for the season. He believed that he had discovered a large island. Later he returned to settle the land but was wounded in an attack by Indians and died in Cuba. Fernandez de Cérdoba, according to some writers, landed on the west coast of Florida in 1517, but was attacked by a large band of Indians and died of his wounds. About 1528 De Narvaez landed on the west coast and took up his residence near the present site of Tallahassee where the natives har- assed his little settlement in various ways until a remnant of the expedition went away, finally reaching the Spanish settlements in Mexico. Ten years later, in 1538, Hernando de Soto set out from Spain with 7 ships and a carefully selected company of 600 men. He was a man of experience, having served as a soldier in the West Indies and ac- companied Pizarro in his conquest of the Inca in Peru. He landed near the same spot as Narvaez and sent two of his leaders with strong forces into the interior to seek and capture some Indians who could be used as guides. The Indians resisted him stubbornly, but a few captives were taken. De Soto returned hostility and cruelty in like manner, making even greater enemies of the natives. After his death Florida remained for many years in the hands of the Indians. The military efforts of Spain having failed, the next attempt was made from a religious standpoint. A few priests determined to go to Florida, and they landed in Tampa Bay. The first two priests who landed were promptly put to death. A third landed alone and met the same fate, after which the party went to Cuba. 5 Condensed from “A Short History of Florida’’ (Leake, 1929). 2 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 161 | Undaunted by failures, Spain tried another method. King Philip II entrusted the conquest and settlement of Florida to Don Luis de Velasco, Governor of Mexico, who had been successful in dealing with the Indians of that country. In 1559 a carefully planned expedition was sent by him from Veracruz, consisting of 1,500 soldiers and set- tlers and several priests, carrying enough provisions to last a year. This expedition landed near the present site of Pensacola and made a | brave attempt. After its failure King Philip gave up the effort te | conquer Florida, though later he tried to colonize it. Meantime the entire east coast of the continent was claimed for — France, and Jean Ribault led an expedition into what is now South | Carolina. This failed, and a second attempt was made by the French | in 1564. This was received in a friendly manner by the Indians who brought gifts of fruits and vegetables and showed the settlers how | to plant corn and catch fish. Unfortunately, the French wasted valu- | able time in searching for gold and hidden treasure, alienating the friendship of the Indians by harsh treatment. Provisions were low and they decided to return to France but were met by King Philip’s | colonizing expedition under Don Pedro Menendez de Aviles. This leader had orders to kill all Protestants in the region, and as most of Ribault’s men were of that faith they escaped by going out to sea. Menendez killed all the French Protestants except a few musicians and mechanics, built a log fort at St. Augustine, mounted 80 cannon and established the first stronghold of Spain in America. It is said that many Indians accepted the Catholic faith. The French Government did not avenge this action, but a French soldier, Dominique de Gourges, organized and financed an expedition of 3 ships and 200 men, sailing to Cuba, the Bahamas, St. Augustine, and two similar forts on the St. John’s River. The Spanish had made enemies of the Indians, but De Gourgas cultivated their friendship, © distributing presents. In the crew of one of his ships was a trumpeter who had been in Florida. The Indians recognized him and greeted his coming with every manifestation of joy. Aided by the Indians under Chief Satourina, this expedition captured all the Spanish forts except St. Augustine. The expedition then returned to France. Twice before the end of the 17th century St. Augustine suffered from attacks by the English. Sir Francis Drake burned the fort in 1586, and it was plundered in 1665 by Captain Davis, an English freebooter. By a treaty in 1763 Florida was given to England in exchange for Havana, and England then owned all the territory between the At- lantic Ocean and the Mississippi River. Four years later Dr. An- drew Trunbull, a Scotsman and a member of the Governor’s council, brought 1,500 colonists from Minorca, Italy, Greece, Smyrna, and other Mediterranean islands and established the settlement known as New Smyrna on Mosquita Inlet. DENSMORE] SEMINOLE MUSIC 34 During the Revolution Florida remained loyal to Great Britain, but in 1779, when Spain declared war against England, the Gover- nor of Louisiana invaded west Florida, and Pensacola was surrendered to Spain. From long experience the Spaniards feared serious trouble with the Indians and began to cultivate their good will. next the center of the circle. Each man moves his free arm below the elbow in a sweeping manner, imitating the fin of a fish. Panther | | | said, “Sometimes they act as though they were going backwards.” The women wore knee rattles, as in the Gorn Dance and some others. The rattles made no sound when the women were walking to join the dance, but made a jingling sound when the women were dancing No. 127. Catfish Dance Song (a) Recorded by PANTHER No. 128. Catfish Dance Song (b) (Catalog No. 2128) | Recorded by PANTHER (Catalog No. 2127) | DENSMORE] 121 MUSIC SEMINOLE No. 129. Catfish Dance Song (c) (Catalog No. 2129) Recorded by PANTHER (4) (2) No. 130. Catfish Dance Song (d) (Catalog No. 21380) Recorded by PANTHER 72 No. 131. Catfish Dance Song (e) (Catalog No. 2464) Recorded by BILLIE BOWLEGS 116 116 See rhythm of rattle below. d Voice @ Rattle Rhythm of rattle d 122 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 161 TURKEY DANCE Panther states that the people of the Turkey clan had this dance long ago and that only members of the clan took part in the dance at first. He said the members of this clan went to Oklahoma. In this dance the singer sits at the east of the fire, holding a coco- nut-shell rattle which he shakes up and down. The men and women who take part in the dance are equal in number. The men form in a curved line on one side of the fire and the women in a similar line on the other side of the fire, all facing toward the east. Both lines ad- vance, and when the leading man and woman meet, she puts the palms of her hands on the palms of his and places her left foot on top of his right foot and her right foot on top of his left foot. Thus he carries the entire weight of her body. In this position they dance a half cir- cle, bringing each to the opposite side of the groups of dancers. Then she goes back of the line of men and he goes back of the women. Each couple does the same, and when all have gone through this motion the men are again on one side and the women on the other side. Then they repeat the action, or dance figure. No. 132. Turkey Dance Song (Catalog No. 2106) Recorded by PANTHER WHOOPING CRANE DANCE This is undoubtedly a very old dance as the whooping crane ** is al- most extinct. In this dance the men and women move in couples, preceded by a man with a coconut-shell rattle. All the songs of this dance were recorded by Billie Stewart. 16 “Whooping Crane, Grus americana (Linnaeus). Distribution: North America; bred formerly from northern Mackenzie south to Illinois and Iowa; now mainly restricted to southern Mackenzie and northern Saskatchewan; in migration formerly not rare on the Atlantic coast from New England to Florida and casual west to Colorado and Idaho ; winters from the Gulf States to central Mexico.” ‘‘The Whooping Crane is the only bird of North America that can be described as ‘almost as tall asa man.’” “The virtual extermination, or at best the extreme rarity, of the great Whooping Crane, leaves the much smaller Sandhill Crane by far the largest representative of that interesting family in America.” (Pearson, 1936, pt. 1, pp. 198, 200.) 123 SEMINOLE MUSIC DENSMORE ] No. 133. Whooping Crane Dance Song (a) (Catalog No. 2425) J.66 (Catalog No. 2426) (4) No. 134. Whooping Crane Dance Song (b) (2) (4) = 66 , (2) (Catalog No. 2427) No. 135. Whooping Crane Dance Song (c) [BuLL. 161 | BUREAU OF AMERICAN ETHNOLOGY 124 (Catalog No. 2428) No. 136. Whooping Crane Dance Song (d) SANDHILL CRANE DANCE Sandhill Crane Dance the girls move in a circle in one direc- In the tion and the men, also in a circle, move in the opposite direction. It Five songs of this seribed. was not ascertained which are in the inner circle. d four were tran but only ’ nee were recorded a No. 137. Sandhill Crane Dance Song (a) (Catalog No. 2145) Recorded by PANTHER ) b ( No. 138. Sandhill Crane Dance Song (Catalog No. 2146) Recorded by PANTHER 125 SEMINOLE MUSIC DENSMORE ] No. 139. Sandhill Crane Dance Song (c) (Catalog No. 2147) Recorded by PANTHER (2) (A) 4) (2) (A) (2) (4) ) (2 (A) ) d ( No. 140. Sandhill Crane Dance Song (Catalog No. 2148) Recorded by PANTHER 126 BUREAU OF AMERICAN ETHNOLOGY [ BULL. 161 SCREECH OWL DANCE It was said this dance and its songs originated in the Cypress Swamp group and “did not belong to the people who went to Okla- homa.” Both men and women take part in the dance, but only the men sing the songs. This is similar to the custom in the Snake Dance. The dancers are in a long line, alternating men and women, and mov- ing in a circle, contraclockwise, around the fire. The leader of the line has a coconut-shell rattle in his right hand and extends his left arm backward, holding the right hand of the woman behind him. This is continued throughout the line. During the first and second songs the dancers stand still and during the third and fourth songs they move forward. This is the usage of the Cypress Swamp Semi- nole. Panther said the dance among the Cow Creek Seminole is slightly different, but members of one group often join in the dance of the other group. The melody of the second song was the same as that of the first and is not presented. No. 141. Screech Owl Dance Song (a) (Catalog No. 2107) Recorded by PANTHER No. 142. Screech Owl Dance Song (b) (Catalog No. 2108) Recorded by PANTHER DENSMORE] SEMINOLE MUSIC 127 No. 143. Screech Owl Dance Song (c) (Catalog No. 2109) Recorded by PANTHER This was advertised as a “prairie dance” when presented at a fair on the west coast of Florida. Panther designated this as an “off-hand name” for which there was no reason except that “white people under- stand that word ‘prairie.’ ” Billie Stewart, who recorded a song of this dance in the Cow Creek group, said “this song is one in five pieces.” There was no pause between the parts of the song, but they were discernible. The entire performance was 2 minutes in length, only the third and fifth parts of the song being transcribed. The others were variants, with slight differences in note values or unimportant progressions. Between the renditions are the “inhaling” which occurs occasionally in Seminole songs. No. 144. Screech Owl Dance Song (d) (Catalog No. 2448) Recorded by BILLIE STEWART J-88 Section 8 [ BULL. 161 BUREAU OF AMERICAN ETHNOLOGY 128 No. 144. Screech Owl Dance Song (d)—Continued 5 Section 104 RABBIT DANCE Men and women alternate in this dance, holding hands and moving around the man with the rattle for about 25 minutes. There is only one song for the dance and, according to Seminole custom, the danc- ers do not sing. No. 145. Rabbit Dance Song (Catalog No. 2447) Recorded by BILLIE STEWART DENSMORE| SEMINOLE MUSIC 129 FOX DANCE Men and women, boys and girls, take part in this dance. Following a leader they move around the fire in a zigzag path, in a counterclock- wise direction. As in other dances, the singer is stationed east of the fire with his coconut-shell rattle, and the dancers do not sing. One song is sung with each encircling of the fire. When the leader re- turns to the east, the dancers stop for a few moments, then the singer begins another song and the dancers move again around the fire. Eight songs of this dance were recorded but only five are presented. The untranscribed melodies were duplicates, probably having differ- ent words. All were recorded by Billie Stewart. No. 146. Fox Dance Song (a) (Catalog No. 2385) No. 147. Fox Dance Song (b) (Catalog No. 2386) No. 148. Fox Dance Song (c) (Catalog No. 2387) 130 BUREAU OF AMERICAN ETHNOLOGY [Buuu. 161 No. 149. Fox Dance Song (d) (Catalog No. 2388) No. 150. Fox Dance Song (e) (Catalog No. 2389) SWITCHGRASS DANCE The informant on this dance was Panther who said there is a tra- dition among the Seminole that a long time ago someone captured these Indians and sold them to white people. He did not know who captured the Indians or where it occurred, but said the songs of the Switchgrass Dance go back to that time. The dancers are men and women in alternate couples, two men leading the line, followed by two women, and so on to the end of the company. The singer, with his coconut-shell rattle, is in his usua] position east of the fire. The six following songs of this dance in the Cypress Swamp group were re- corded by Panther. No. 151. Switchgrass Dance Song (a) (Catalog No. 2132) 131 SEMINOLE MUSIC DENSMORE] No. 152. Switchgrass Dance Song (b) (Catalog No. 2133) No. 153. Switchgrass Dance Song (c) (Catalog No. 2134) d=76 Song Introduction No. 154. Switchgrass Dance Song (d) (Catalog No. 2135) No. 155. Switchgrass Dance Song (e) (Catalog No. 2136) 338460 O—56——11 132 BUREAU OF AMERICAN ETHNOLOGY [Bour. 161 No. 156. Switchgrass Dance Song (f) (Catalog No. 2137) The songs of this dance in the Cow Creek group were recorded by Billie Stewart who said it is danced at night and that the men sometimes put grass in their turbans, like tall feathers. The six songs he recorded are in two groups, each containing three songs. The words of the first, second, and third songs of the series mean “dance easy.” Then there is “talking,” and the words of the last three songs mean “dance hard.” Men, women, boys, and girls join in the dance around the fire but do not hold hands. The singer with his rattle is in the usual position at the east. No. 157. Switchgrass Dance Song (g) (Catalog No. 23811) No. 158. Switchgrass Dance Song (h) (Catalog No. 2312) J 4 SE es es Ff? we 133 SEMINOLE MUSIC DENSMORE] No. 159. Switchgrass Dance Song (i) (Catalog No. 23138) o=% No. 160. Switchgrass Dance Song (j) (Catalog No. 2314) (2) (2) No. 161. Switchgrass Dance Song (k) (Catalog No. 2315) (1) Switchgrass Dance Song No. 162. (Catalog No. 2316) 134 BUREAU OF AMERICAN ETHNOLOGY [Buun. 161 HAIR DANCE The name of this dance is an example of the difficulty experienced in work without a competent interpreter. Billie Stewart called it the Bareheaded Dance. About two weeks later, Panther was consulted concerning the name and he said the correct name is tiwa’co (hair) pun’ka (dance) and that neither name has any significance, as the men wore their turbans while dancing. It is probable that the orig- inal meaning of the designation is lost, though the dance and its songs remain. This dance was described by Panther who said that men and women take part and that the fire is in the middle of the dance circle, and that the opening of the circle is toward the west instead of toward the east, as in other dances. The singer, with his coconut-shell rattle, is between the fire and this opening. Men and women take part in the dance, At first, a man stands at each side of the opening of the dance circle. These two men step forward, shake hands and change places so that the man who stood at one side takes his place at the other side of the entrance. Then each goes to the spectators and invites a girl, bringing her to a place next him. Then she goes and brings a man who, in turn goes and brings a girl until the line on each side of the fire consists of men and girls in alternate order. When all are in po- sition, the two leaders, side by side, move toward the south followed by the two girls (one from each side) who, in turn are followed by two men. Thus the pairs of men and girls alternate in a long danc- ing line. A song is sung as they circle the fire once, then they stop until the singer begins another song. All the songs of this dance were recorded by Billie Stewart. No. 163. Hair Dance Song (a) (Catalog No. 2390) 135 SEMINOLE MUSIC DENSMORE ] No. 164. Hair Dance Song (b) (Catalog No. 2391) 72 ) c ( No. 165. Hair Dance Song (Catalog No. 2392) [ Bui. 161 BUREAU OF AMERICAN ETHNOLOGY 136 } | | | (Catalog No. 2432) No. 166. Hair Dance Song (d) No. 167. Hair Dance Song (e) (Catalog No. 24338) J 2138 DENSMORE] SEMINOLE MUSIC 354 No. 168. Hair Dance Song (f) (Catalog No. 2434) ¢=138 TWO-DIRECTION DANCE The name of this dance was first translated “two-headed,” and when questioned, the informant said the Seminole word meant “Headed in two directions.” Both men and women take part in the dance and are in pairs, two men alternating with two women. These pairs of dancers, one behind another, move around the man with the coconut- shell rattle who is the only singer. They progress around him until they reach their starting-point, then they “stand still a minute” be- fore reversing and moving in the opposite direction, singing a differ- ent song. When they have completed the circle again they reverse and repeat the performance with another song. Four songs were recorded, the second being a duplicate of the first, probably with different words. No. 169. Two-direction Dance Song (a) (Catalog No. 2485) Voice @:76 Rattle ¢= 76 See Rhythm of rattle below¢ = Rhythm of rattle Jedd No. 170. Two-direction Dance Song (b) (Catalog No. 2436) 138 BUREAU OF AMERICAN ETHNOLOGY [Buut. 161 No. 171. Two-direction Dance Song (c) (Catalog No. 2437) STEAL-PARTNER DANCE Concerning this dance it was said, “A man asks a girl and a girl asks a man to dance. A girl may be at one side. A boy can steal her and she will dance with him. After the dance she goes back.” This information, though scanty, suggests a line in which boys and girls alternate, moving around the fire. The singer, with his rattle, is in the usual position between the fire and the entrance of the dance circle, toward the east. No. 172. Steal Partner Dance Song (a) (Catalog No. 2305) Recorded by BILLIE STEWART 139 SEMINOLE MUSIC DENSMORE ] No. 173. Steal Partner Dance Song (b) (Catalog No. 2306) Recorded by BILLIE STEWART No. 174. Steal Partner Dance Song (c) (Catalog No. 2307) Recorded by BILLIE STEWART [ BULL. 161 BUREAU OF AMERICAN ETHNOLOGY 140 No, 175. Steal Partner Dance Song (d) (Catalog No. 2308) Recorded by BILLIE STEWART No. 176. Steal Partner Dance Song (e) (Catalog No. 2309) Recorded by BILLIE STEWART (2) (2) (2) (2) (2) 141 SEMINOLE MUSIC DENSMORE ] No. 177. Steal Partner Dance Song (f) (Catalog No. 2310) Recorded by BILLIE STEWART J-112 OLD DANCE A certain old Seminole dance had only six songs, all of which were recorded. The name of the dance has been forgotten, but it is said that it could be danced at any time and that everyone took part in it. The dancers moved forward in pairs, two men, then two women, then was as in other Seminole dances, art was the singer for this dance and The motion, two men, and so on. counterclockwise. Billie Stew g the songs with a accompanyin The dancers did not sing. was stationed at the east of the fire, coconut-shell rattle. ) a ( No. 178. Song of an Old Dance (Catalog No. 2076) Recorded by BILLIE STEWART (A) (A) 2) [BuLt. 161 BUREAU OF AMERICAN ETHNOLOGY 142 No. 179. Song of an Old Dance (b) (Catalog No. 2077) Recorded by BILLIE STEWART d=92 143 SEMINOLE MUSIC DENSMORE ] No. 180. Song of an Old Dance (c) (Catalog No. 2078) Recorded by BILLIE STEWART J =132 ) d ( No. 181. Song of an Old Dance Recorded by BILLIE STEWART (Catalog No. 2079) 144 BUREAU OF AMERICAN ETHNOLOGY [BuLt. 161 | The fifth song was the same melody as the fourth, and the final song differed from these two in having an introduction, the melody | being the same. OLD MAN’S DANCE The Old Man’s Dance is a humorous dance in which the dancers | “dress up to look like old men,” and each carries a cane. They “dance hard” and make everyone laugh.. The dancers move in single file, led — by the singer with the coconut-shell rattle. Seven songs of the dance | were recorded. The fifth was practically a duplicate of the fourth | and is not presented. All were recorded by Billie Stewart. The na- | tive name of the dance is A’djula’kibunge’. No. 182. Old Man’s Dance Song (a) 145 SEMINOLE MUSIC DENSMORE] No. 185. Old Man’s Dance Song (d) | Teas | | EEN d=104 No. 186. Old Man’s Dance Song (e) No. 187. Old Man’s Dance Song (f) KE DANCE SNA given in and is ’ Dance is also called the Horned Owl e the evening, during the Hunting Dance. The Snak dance, but the w Men and women join in the omen do not sing. The motion of the line of dancers is around four corner posts, encircled one after another. [BuLL. 161 BUREAU OF AMERICAN ETHNOLOGY 146 ) No. 188. Snake Dance Song (a (Catalog No. 2125) PANTHER Recorded by 72 ) No. 189. Snake Dance Song (b (Catalog No. 2126) PANTHER Recorded by =112 d= 112 147 g are known as t followin x Five songs of this dance were recorded by Billie SEMINOLE MUSIC CRAWFISH DANCE Dance and the dance ne rawtish DENSMORE ] The C summer dances. others were duplicates or Men and girls join in the Stewart, only three being transcribed. The differed only in unimportant progressions. The songs are g hands. and holdin shell r g in the line, a coconut alternatin accompanied by dance, attle. No. 190. Crawfish Dance Song (a) (Catalog No. 2429) d =132 No. 191. Crawfish Dance Song (b) (Catalog No. 2430) 120 12 388460 O—56 148 BUREAU OF AMERICAN ETHNOLOGY [ BULL. 161 No. 191. Crawfish Dance Song (b)—Continued No. 192. Crawfish Dance Song (c) (Catalog No. 2431) DRUNKEN DANCE Men and women take part in the Drunken Dance, which is also called the Crazy Dance. Informants said that intoxication was not connected with the dance but that the people acted without restraint, behaving like drunken men. William King, the Creek interpreter, said the Seminole term for the dance is honi’tic, meaning “wild, in the sense of untaught native or undisciplined,” and that the Creek term is obung’kaha’tco. He said “It is the same as though children or anybody was happy and capered around.” This dance was studied by Dr. Frank G. Speck (1911, vol. 1, No. 2, pp. 190-200, 204-206) among the Creek and Yuchi Indians in Okla- homa, in 1904-1905, and several of its songs were recorded. He says, “One of the favorite Creek dances is the Crazy Dance, so named be- cause the participants behave like wild people. The songs for the Crazy Dance usually are funny or obscene stories.” Concerning the Drunken Dance he says, “The dancers reel, jostle one another, and act in general like drunken men.” A parallel with early Greek culture is noted in the words of song No. 204. It seems possible this dance may be a survival of descriptions of Bacchanalian dances, given to the Seminole by Greek colonists (cf p. 171). 149 SEMINOLE MUSIC DENSMORE] ) (a No. 193. Drunken Dance Song (Catalog No. 2444) Recorded by BILLIE STEWART ) b ( No. 194. Drunken Dance Song (Catalog No. 2445) BILLIE STEWART Recorded by =412 é 10n Introduct [ BULL. 161 BUREAU OF AMERICAN ETHNOLOGY 150 No. 194. Drunken Dance Song (b)—Continued singing continued Three songs of this dance were recorded by Billie Bowlegs, only two The words of his first song, not transcribed, were being presented. ” about drinking. 66 said to be ) (c No. 195. Drunken Dance Song (Catalog No. 2456) Recorded by BILLIE BOwLEGS si Eng continue No. 196. Drunken Dance Song (d) (Catalog No. 2457) Recorded by BILLIE BOWLEGS wry? wu , : 151 SEMINOLE MUSIC DENSMORE] SKUNK DANCE The Skunk Dance was a winter dance, and no information was obtained concerning it. (a) No. 197. Skunk Dance Song Recorded by BILLIE STEWART (Catalog No. 2438) No. 198. Skunk Dance Song (b) (Catalog No. 2439) Recorded by BILLIE STEWART accelerundo [ BULL. 161 152 BUREAU OF AMERICAN ETHNOLOGY S ~ 4 DANC CHILDREN’S . . . . . | The little children are encouraged to dance in all Indian tribes. | As soon as possible, they join in dances of the older people, and among the Seminole they had dances of their own. No. 199. Lightningbug Dance Song (Catalog No. 2459) Recorded by BILLIE BOWLEGS No. 200. “Little Bug” Dance Song (Catalog No. 2460) Recorded by BILLIE BOWLEGS Translation.—The bug bites. 153 This SEMINOLE MUSIC DENSMORE ] In the next dance the children imitated a little fish (drim). was said to be a favorite d p. 104). ance (cf. imitative dances No. 201. “Little Fish” Dance (Catalog No. 2461) Recorded by BILLIE BOWLEGS Three songs of the next dance were recorded, but only one could x The action was not described. be transcribed. No. 202. Little Boys’ Dance (Catalog No. 2463) Recorded by BILLIE BOWLEGS ritard 154 BUREAU OF AMERICAN ETHNOLOGY [BuLt. 161 ANALYSES OF SOCIAL AND CHILDREN’S DANCE SONGS | ALLIGATOR DANCE SONGS—CYPRESS SWAMP GROUP No. 64 (Cat. No, 2122).—Three consecutive renditions of this song were recorded and show no differences. The song opens with a major tetrachord on G, followed by a major third. This is followed by a minor tetrachord on E followed by the same major third. The rhythm is clearly that of a dance, and a swaying effect is produced by an alternation of ascending and descending phrases. No. 65 (Cat. No, 2123).—This song consists of four phrases, or melodic periods, the first, second, and fourth containing two measures and the third containing three measures. A change of rhythm in a song with four phrases is unusual in recorded Seminole songs, but occurs frequently in songs of the southern Plains, especially in songs of the Ghost Dance. The tone material is that of a major triad and fourth. No. 66 (Cat. No. 2124) —Repetitions of the rhythmic unit comprise this entire melody. Two renditions were recorded without a break in the time, producing a long, uninterrupted rhythm. The song has a compass of an octave and the tone material is that of the fourth 5-toned scale. ALLIGATOR DANCE SONGS—COW CREEK GROUP Nos. 67-73 (Cat. Nos. 2298-2304) —These songs were recorded with scarcely a break in the time and will be considered as a unit. The pitch is the same in all the songs, but there is variety in the rhythm. The first and second songs (Nos. 67, 68) are based on a minor triad and minor seventh, the tones being in descending order, as usual in this material. The third and fourth songs (Nos. 69, 70) are based on the tones of a minor triad and the fifth song (No. 71) is based on a major triad. The sixth song (No. 72) contains only two tones, a whole tone apart. Although the tone material is scanty, this melody has a definite and interesting rhythm. The final song of the series (No. 73) is based on triads and thirds, and was followed by the glissando phrases that follow Seminole dance songs. The series as a whole is characterized by triads and thirds in the framework of the melodies. Other series with what may be termed group individuality are the Switchgrass Dance songs of the Cow Creek group which are based on fourths and tetrachords (cf. p. 164) and the songs of the Whooping Crane Dance which are major in tonality and have other characteristics in common (cf. p. 161). BABY ALLIGATOR DANCE SONGS Nos. 74, 75 (Cat. Nos. 2442, 2443) —The framework of both these songs consists of overlapping triads, each continuing for at least five measures. This produces an alternation of major and minor phrases, DENsMoRE] SEMINOLE MUSIC 155 the tones of the two triads occurring in descending order in the sixth and seventh measures of both songs. After the pause and change of tempo the order of the triads is reversed, the minor triad preceding the major. This resembles the final phrase of No. 77 so closely as to suggest a possibility that the two pairs of songs may belong to the same dance, the native name being differently translated. This pair of songs was recorded in 1932 and the other in 1933. Both were fol- lowed by shouts instead of the usual glissando phrases. LIZARD DANCE SONGS Nos. 76, 77 (Cat. Nos. 2440, 2441).—Except for the descent to D and C, these melodies are based on the tonic triad. They are particu- larly good examples of the swaying motion frequently noted in Semi- nole dance songs. They resemble one another so closely as to sug- gest they may be two versions of the same song. They were followed by shouts similar to those that followed the songs of the preceding dance. BIRD DANCE SONGS—CYPRESS SWAMP GROUP Nos. 78-91 (Cat. Nos. 2092-2105) —A rise in pitch and period for- mation occur in Nos. 78, 81, and 85 of this series. As in other Semi- nole songs with this form, the rise in pitch is more gradual than in Pueblo songs, but the higher pitch is established at the opening of Period B. In No. 78 the pitch is a semitone higher at this point, the gradual rise continued and the second rendition was begun a whole tone higher than the first, this pitch being maintained to the end of the performance. The melodic structure and tone material of Nos. 79 and 80 is the same, but the rhythm is entirely different. The six- teenth notes at the close of the first and similar measures in No. 80 were little more than pulsations of the voice. In songs with period formation the second period is generally more lively than the first, but in No. 81 the rhythm of this period is more even and steady than that of the first. It is followed by a repetition of the first period with slight changes. The general form of No. 82 is different from that of the preceding songs in the group. The melody lies almost entirely above the keynote and contains no rhythmic unit, though several measures begin with the same count division which occurs in both double and triple measures. Two half notes give steadiness to the rhythm of the song as a whole. No. 83 appears to be a dupli- cation of No. 29, recorded by Charlie Billie. The present song was recorded by Panther who expressed concern lest Charlie Billie may have recorded songs of incidental dances that were mistaken for cere- monial songs of the Corn Dance. Such an error was possible, as Charlie Billie spoke no English and his songs were recorded without a competent interpreter and under difficult conditions. Panther did not hear Charlie Billie’s recordings and a duplication could only have 156 BUREAU OF AMERICAN ETHNOLOGY [Buxe. 161 | been detected after the songs were transcribed. A comparison of the | two transcriptions suggests such a duplication. A major third is | prominent in Charlie Billie’s rendition and a minor triad and seventh | were clearly sung by Panther, but Charlie Billie’s intonation was | somewhat uncertain while Panther sang all his song with confidence. Almost every phrase in No. 84 is descending in trend and the rhyth- mic unit shows an interesting variation in the fifth and sixth measures. | Several renditions were recorded. No. 85 resembles a dancing song of the Cocopa Indians in its rhythmic repetitions of the upper tones | of a major triad (cf. Densmore, 1932 b, No. 115). Periods A and B alternate, the former being slightly changed in its recurrence, giving — variety to the rhythm. Another variation is produced by the change of accent in the rhythmic units, the first ending on an accented and the second on an unaccented part of the measure. The compass is limited to a major triad except for the descent of a fourth, near the close of certain phrases. Descending phrases are prominent in the framework of Nos. 86 and 87, and the change of tempo in the latter was given in all the renditions. A strange resemblance exists between No. 88 and a Chippewa song. The first measures of this song are the same as in a Chippewa love song recorded in northern Minnesota in 1907 except that in the Chippewa song two quarter notes occur instead of a half note in the first and fourth measures. ‘The general pattern of the melody is the same (cf. Densmore, 1910, No. 188). Three flats occur in the melody which is transcribed as it was sung but the sequence of tones does not suggest E-flat as the keynote. Two tetrachords are prominent in the melody, gen- erally occurring in descending progression. Two descending fourths form the framework of No. 89, comprising the compass of an octave. This bears some resemblance to the song next preceding in its use of a descending fourth followed by a descent of a whole tone. Four phrases constitute No. 90, the rhythmic unit occurring in all except the final phrase. The measure next the final measure contains, in its third count, the same count divisions as the last count in the rhyth- mic unit, followed by a phrase like the fourth measure. This thematic treatment is particularly interesting. After singing the song as transcribed the singer repeated the performance without a break in the time. The first five measures of No. 91 suggest a major tonality, but the final measures emphasize the tone D and the song ends on a minor third. The final measure carries the rhythm forward to a repetition of the song. The songs of this dance are in sets of four, and after each set the dancers stand in their places and pause. It is uncertain whether en- tire sets of songs are presented in the foregoing series. DENSMORE] SEMINOLE MUSIC 157 CHICKEN DANCE SONGS | No. 92 (Cat. No. 2188) —The rendition of this song was a semitone ‘higher than the transcription. The melody is based on a major triad, though the minor third below the keynote is a prominent tone. The tone material is that of the fourth 5-toned scale. The measures in 5-8 time control the rhythm of the song as a whole and give it stability. No. 93 (Cat. No. 2189).—This melody is based on the second 5- toned scale and the rhythm is entirely different from that of the pre- ceding song. It is slower in tempo and contains smaller count divi- sions. The rhythmic unit occurs in both double and triple measures, the additional tone in the latter giving variety to the rhythm. No. 94 (Cat. No. 2190). —This song contains 12 measures and 25 progressions, which is an unusual freedom of movement. The com- pass of six tones and the melody touches the highest and lowest tones of the compass in the second measure. No rhythmic unit occurs, though the song is rhythmic in character and contains the swaying motion of the dance. This song was recorded on two cylinders, the second containing three renditions. The first phrase was the same in all renditions, also the measure in 5-8 time. The only differences con- sist in the number of repetitions of the keynote and other unimportant features of the melody. No. 95 (Cat. No. 2191). —The keynote is the lowest tone in this song and the melody is based on the tonic triad. The sixth above the key- note is prominent but does not occur as an accented tone. The gen- eral trend of the melody is downward, the descending intervals being about three times as many as the ascending intervals. The repeated portion was sung several times. BLACK GRASS DANCE SONGS No. 96 (Cat. No. 2422).—This and the two following songs of the same dance are characterized by clear. rhythmic structure. This song consists of three phrases, each containing two measures. A rhythmic unit occurs in the first and Jast phrases, and the fourth measure con- tains the same count divisions as the rhythmic unit but differently accented. The principal interval is a descending fourth and the song is minor in tonality. No. 97 (Cat. No. 2423).—In contrast to the preceding song, this melody progresses chiefly by major and minor thirds. Tne opening phrase is based on a major triad, followed by a phrase on a minor triad and a recurrence of the measures in 3-8 and 2-4 time. The sing- ing of this was followed by a repetition of No. 96 with slight changes in unimportant note values. 158 BUREAU OF AMERICAN ETHNOLOGY [Buny. 161 | No. 98 (Cat. No. 2424). —Descending phrases of a fourth character- | ize this song. In the opening measures these occur as D-A and G—D, | descending an octave in the second measure. In next to the final measure the descending interval G—D is repeated. The song consists | of two phrases and the rhythmic form is simple and unusually interest- ing. The tone material is that of the fourth 5-toned scale. STOMP DANCE SONGS Nos. 99-104 (Cat. Nos. 2393-2398) —There is an interesting uni- | formity in the six songs of this series. All are major in tonality and | are characterized by a dotted eighth note, generally occurring on the accented count of the measure. Five of the songs contain a rhythmic unit (Nos. 99, 100, 101, 103, 104) and all except Nos. 102 and 103 begin with an ascending progression. A majority of the songs have the small compass of 3 to 6 tones, one (No. 103) has a compass of an octave and one (No. 101) has a range of 11 tones which is unusually large in Seminole songs. The melodies are framed chiefly on thirds and triads. With these resemblances it is interesting to note that no two songs are in the same tempo. Attention is directed to No. 101 in which the measure rhythms of the rhythmic unit are reversed in the two measures that follow the pause. The fifth and sixth measures in this section also contain an interesting variant of the rhythmic unit. HINATA DANCE SONGS Nos. 105-121 (Cat. Nos. 2399-2415) —This group of 17 songs con- tains interesting contrasts to the group next preceding, both groups being recorded by Billie Stewart. The compass in this group is larger. Only one song (No. 117) has a compass of less than an octave, and two (Nos. 111, 114) have a compass of 10 tones. The prevailing tempo is slow, 12 songs having a tempo of #&=76 or less. The same number begin with a downward progression. Ten of the songs con- tain no rhythmic unit, which is an unusually large proportion of such melodies. Tetrachords and intervals of a fourth are more prominent than in the preceding group, though such songs may contain or end with a descending triad, as in Nos. 112, 113, and 114. One song (No. 110) progresses entirely by major and minor thirds. With these dif- ferences, it is interesting to note that these resemble the preceding songs in tonality, all except Nos. 106 and 118 being major in tonality. QUAIL DANCE SONGS No. 122 (Cat. No. 2131) —The Quail Dance is the first of several dances in which the actions of birds and animals are imitated (cf. p. 104). The first part of this song is sung as the dancers pretend to pick | | DENSMORE] SEMINOLE MUSIC 159 | up food like a quail, and the second part is sung as they dance. The short opening phrase is the same in the two parts but in the second it is extended into a dance rhythm. This song offers an interesting study in rhythm which is too detailed for present consideration. No. 123 (Cat. No. 2449)—This song and its repetition (Cat. No. 2458) were recorded by members of the Cow Creek group. The pre- ceding song of the same dance was recorded by a member of the Cy- press Swamp group. The song is evidently the same in the two ver- sions but the first rendition, by Billie Stewart, contains measures in 7-8 time while the second rendition, by Billie Bowlegs, is in a simple rhythm. It will be recalled that Billie Stewart is a leader in the dances and considered an expert singer, while Billie Bowlegs “knows some of the old songs.” This is an important example of the simplifi- cation of an old melody by a less qualified singer. Such tests have been made in other tribes, with the same result. Several repetitions of No. 123 were recorded and in some instances the second tone in the first and second measures was sung as A instead of G, thus dupli- cating the intervals in the opening measures of the second version of the song. It will be noted that the first version is major and the second is minor in tonality. This change in tonality is effected by the interval of a fourth instead of a major third at the opening of the third measure. BLACKBIRD DANCE SONG No. 124 (Cat. No. 2446).—In this dance the men and women imi- tate the motion of the blackbird’s wings and “hop up and down.” A fluttering rhythm and decided accents characterize the song, with an accelerated tempo which is maintained to the close of the perform- ance. The increase in tempo is slight, but definite. The melody progresses chiefly by major and minor thirds. BUZZARD DANCE SONGS No. 125 (Cat. No. 2186).—This melody was repeated many times with no differences except that in one rendition a triplet of eighth notes was substituted for the indicated count division on the opening count of one measure. The tempo is slow and the alternation of ascending and descending intervals suggests the graceful motion of the dancers. The melody consists of four phrases, two followed by rests and two end- ing in measures in 3-8 time which carry the rhythm forward to the next phrase. No. 126 (Cat. No. 2187) —The rhythm of this melody is less simple than that of the preceding song. The alternation of descending and ascending intervals in the third and fourth measures is interesting, and the song is classified as irregular in tonality. 160 BUREAU OF AMERICAN ETHNOLOGY [Buur. 161 | CATFISH DANCE SONGS | No. 127 (Cat. No. 2127) —Three tetrachords form the framework of | this melody, and the song closes with a repetition of a fourth (C-F) | in a lower register. The song is major in tonality and a whole tone | constitutes more than half the number of intervals. Variety is given to the rhythm by three measures in double time, occurring midway the length of the song. | No. 128 (Cat. No. 2128).—This melody is typical of the songs in | period formation, the second period being higher, shorter, and more lively than the first and followed by a return of the first period, with — shght changes. A descending tetrachord forms the framework of the — first period, followed by a descending major triad. The second period is based on the same triad with the addition of the sixth on an un-— accented count. Two renditions were recorded, being separated by ashort pause. The renditions showed no differences. -No. 129 (Cat. No. 2129).—This is a lively melody with two simple rhythmic units. The first phrase is based on a descending tetrachord and the second phrase is based on minor third followed by three de- scending tetrachords (C-A-G, G—F-D, and F-D-C). The song closes with the descending tetrachord D—-C-—A and a return to C, the fifth above the keynote. The only progressions are minor thirds and whole tones, the song contains no change of measure lengths, and the compass is 11 tones. These three peculiarities are unusual in recorded Indian songs. No. 130 (Cat. No. 2130) —This song, like the preceding, contains no change of measure lengths. It consists of an introductory measure and four phrases, the first, second, and fourth having the same rhythm The alternation of descending and ascending intervals produces the swaying motion that has been noted in many Seminole dance songs. Several renditions were recorded without a pause. No. 131 (Cat. No. 2462) —This song was recorded by Billie Bow- legs, of the Cow Creek group, the preceding songs of this dance being recorded by Panther, of the Cypress Swamp group. It was sung a semitone higher than the transcription, with accompaniment of a rattle in quarter-note values coincident with the melody. Two descending tetrachords occur in the third and fourth measures, followed by two measures in triple time and a return of the tetrachord in double time. Except for one low tone, the compass of the melody is only five tones. TURKEY DANCE SONG No. 132 (Cat. No. 2106).—Two separate renditions of this song were recorded, the transcription being from the second. The same rhythm occurred in the first rendition, but there were unimportant differences in progressions. Three descending intervals of a fourth _DENSMORE] SEMINOLE MUSIC 161 form the framework of the melody and appear consecutively in the first and second measures. The song has a compass of an octave. The lowest tone of the compass occurs twice during the melody which ends on the keynote, midway the compass. An additional count in the fifth measure gives character to the song as a whole. There is a suggestion of Scotch music in this song, and it is recalled that the Seminole were in contact with Scotch settlers at an early date. WHOOPING CRANE DANCE SONGS Nos. 133-136 (Cat. Nos. 2425-2428).—All the songs of this group are major in tonality. The keynote of the first is E-flat and the key- note of the others is KE. All the songs he partly above and partly be- low the keynote and the compass varies from 6 to 11 tones. The tempo is about the same throughout the entire series. The rhythmic form of No. 133 is clear and interesting, with its repetition of the rhythmic unit on a lower tone. Two rhythmic units occur in No. 134 and the song as a whole has a distinct rhythmic form. Attention is directed to the fifth measure in which an eighth followed by two six- teenth notes occurs on the unaccented count of the measure. This has previously occurred on the accented count. Nos. 185 and 136 were sung without a break in the time. This pair of songs opens with four repeated tones, and the melody consists chiefly of whole tone progres- sions. The final song of the group (No. 136) opens with a measure in a high register, followed by two measures that resemble No. 134. A new rhythm is then introduced and the close of the melody has a com- pass of an octave. SANDHILL CRANE DANCE SONGS No. 137 (Cat. No. 2145).—The rhythm of this song as a whole is 1n- teresting, and its many repetitions by the dancers would constitute a larger unit. Attention is directed to the change from triple to double time in the third measure, with a return to triple time in the eighth measure, which contains the same count divisions as the first measure. Two descending tetrachords occur in the fifth and sixth measures. The pitch was gradually raised a semitone, the transcription being on the pitch of the opening measures. The new pitch level was maintained to the close of the performance. No. 138 (Cat. No. 2146).—Overlapping tetrachords occur in the first and second measures of this song, and tetrachords occur frequently throughout the melody. Except in the opening measures, the song is in 3-8 time. A quarter or dotted eighth note occurs on the first count of each measure, and the one-measure phrases seem appropriate to this dance. The pitch was raised a semitone during the performance. The song next recorded was practically a duplicate of this melody and was not transcribed. 162 BUREAU OF AMERICAN ETHNOLOGY [BuLn. 161 No. 139 (Cat. No. 2147) —The rather monotonous rhythm of this melody is occasionally varied by measures in 7-8 time. The melody | is framed on the descending tetrachord F—E flat-C, with E-flat as | the most frequent tone. It is a melody with much freedom and can scarcely be compared to songs with a keynote, though the tones are those of the fourth 5-toned scale. Several renditions were recorded. No. 140 (Cat. No. 2148)—This song, like the preceding, is based on the descending tetrachord F—E flat-C, with an insistence upon E- flat which occurs five times as a half note. The song is classified as irregular in tonality. The phrases are short and each is followed by a rest. Attention is directed to the change to slower time near the | close, with a return to the original tempo. SCREECH OWL DANCE SONGS No. 141 (Cat. No, 2107).—Three renditions of this song were re- — corded, separated by short pauses. Each rendition repeated the mel- ody as presented except for an unimportant difference of progression on the final count of the sixth measure. The tones are those of the first 5-toned scale. The framework of the first and second phrases consists of two fifths, each enclosing a fourth. The song closes with a tetrachord followed by repeated minor thirds. The descending progressions are seven and the ascending progressions are six in number. No. 142 (Cat. No. 2108) .—Kight consecutive renditions of this song were recorded and are identical in every respect. The framework consists of a descending triad or fifth followed by an ascending in- terval and a descent of a fourth. This begins on C sharp and is re- repeated on B, followed by an additional descending fourth in the seventh measure. The remainder of the melody is characterized by fourths. The song is based on the fourth 5-toned scale and has a compass of nine tones. No. 143 (Cat. No. 2109) —TYhis song, like No. 141, is based on the first 5-toned scale. Two overlapping tetrachords comprise the rhyth- mic unit, and the song closes with a descent and ascent of a whole tone. The intervals comprise 10 descending and five ascending progressions. No. 144 (Cat. No. 2448) —This song was recorded by Billie Stewart, of the Cow Creek group, the preceding songs of this dance being recorded by Panther, of the Cypress Swamp group. Stewart said “this is one song in five pieces.” Probably each section was used with one circling around the fire in the dance. Only the third and fifth of these sections were transcribed. Each was interrupted by the forcible inhaling of breath that is a custom of the Seminole (cf. p. 215). The melody is based on successive tetrachords, a form frequently noted in this series. The compass is nine tones and the melody moves with freedom from its highest to its lowest tone. | | | | | | | | | | DENSMORE] SEMINOLE MUSIC 163 RABBIT DANCE SONG No. 145 (Cat. No. 2447).—A descent of nine tones occurs in the opening measures of this song and an ascending seventh occurs mid- way of its length. The melody is particularly active, and lacks the rhythmic coherence of many Seminole songs. The phrases are short and followed by rests. Attention is directed to the repeated tones between renditions and at the close of the song. FOX DANCE SONGS Nos. 146-150 (Cat. Nos. 2385-2389) —All the songs of this series have the same keynote and the count divisions consist chiefly of quarter and eighth notes. A majority begin in triple time. The characteris- tics of individual songs will be noted. Nos. 146 and 147 are in the same tempo and begin on the same tone. The interval of a fourth is prominent in both songs, and they resemble one another in the descending and ascending sequence of intervals that produce the swaying motion of Seminole dances. No. 148 is more rapid and the interval of a fourth is less prominent. The melody descends from the highest to the lowest tone of the compass in the first three meas- ures, after which the trend of the melody is similar to that of the pre- vious songs of the series. Another song was recorded but the melody was found to be similar to No. 148. Probably it contained different words, as the Indians consider a song to be different if the words are changed. In No. 149 the tempo is again increased and the minor third is the most prominent interval. The final song of the series (No. 150) is major in tonality but the most prominent interval is a minor third. The count divisions in the last measures of the opening phrase are re- versed in succeeding measures, showing an interesting control of rhythm. The song has a compass of six tones, with the keynote as its highest tone. SWITCHGRASS DANCE SONGS Nos. 151-162 (Cat. Nos. 2132-2137, 2311-2316) —Six songs of this series were recorded by Panther of the Cypress Swamp group and six by Billie Stewart of the Cow Creek group. It is interesting to note that a majority of the sengs in the series are in the same tempo(@=76). As the two series differ in many other respects they will be considered separately. Cypress Swamp group Nos. 151-156 (Cat. Nos. 2132-2137) —The first song of this series is based on two descending tetrachords, occur- ring consecutively in the second measure, followed by a minor triad. Attention is directed to a comparison between the last measure and a phrase consisting of the third measure and first count of the fourth measure. Such changes of accent are more apparent in several con- 338460 O—56——13 164 BUREAU OF AMERICAN ETHNOLOGY [BuLt. 161 secutive renditions than in a single rendition, as they give character to the performance asa whole. Five renditions of the second song (No. 152) were recorded and show no difference except an occasional short- ening of the connective phrase. The melody is minor in tonality, be- ginning on the highest and ending on the lowest tone of the compass. The next song (No. 153) contains 22 progressions in six measures and is an unusually fluent melody. Tetrachords are prominent in the frame- work of the song which is minor in tonality and lacks the second tone of the complete octave. Four consecutive renditions of No. 154 were recorded and show no differences except that the connective measure was omitted between the third and fourth renditions. The melody is based on the fourth 5-toned scale and progresses chiefly by whole tones. Two rhythmic units occur in No. 155, one seeming to answer the other. The first unit begins on the highest tone of the compass and has a descending trend while the second unit contains the lowest tone of the compass and is on the same tones in both its occurrences. The tetrachord is prominent but the melody progresses chiefly by minor thirds. Three consecutive renditions were recorded. The two sections of No. 156 differ in tempo in each of the four renditions. An interesting contrast occurs in the closing progressions of the rhyth- mic unit, these being an ascending interval in the first and a descend- ing interval in the second instance. The song is major in tonality and lacks the second and seventh tones of the complete octave. Cow Creek group Nos, 157-162 (Cat. Nos. 2311-2316) .—This series of songs is characterized by freedom of motion and consecutive de- scending fourths. These do not contain the swaying melodic motion and rhythm that characterize many Seminole dance songs. The tempo is the same throughout this series and the compass of each is an octave except No. 158, which has a range of only seven tones. The melody of No. 159 is based on intervals of a fourth. The signa- ture indicates the pitch of the tones, not a keynote. An interesting resemblance occurs between the first and second rhythmic units in No. 160. HAIR DANCE SONGS Nos. 163-168 (Cat.-Nos. 2390-2392, 2432-2434) —The first song of this group (No. 163) has a compass of an octave, beginning on the highest tone and descending to the lowest in three measures. It is formed on tetrachords and whole tones, and the rhythmic unit occurs in measures of three lengths. The second song (No. 164) is a particu- larly good dance song, with frequent alternation of ascending and descending intervals. The general form of the third song (No. 165) resembles that of No. 163 but contains smaller count divisions and has a more lively rhythm. The next song (No. 166) contains only eighth DENSMORE] SEMINOLE MUSIC 165 and quarter notes with two half notes, producing a smooth, simple rhythm. The compass is 11 tones, which is unusual in Seminole songs. A distinction was made between the eighth notes that are slurred together and those sung separately. A short rhythmic unit charac- terizes No. 167, occurring five times consecutively in the opening measures and appearing again at the close of the song. Like many other Seminole songs it is based on tetrachords, occurring in the upper and lower registers. The song has a compass of 11 tones and a steadily descending trend. The final song of the series (No. 168) has the same general form as the preceding songs of the same dance. Attention is directed to the consecutive tetrachords in the fifth and sixth meas- ures. Two other songs of this dance were recorded but not tran- scribed, as they contained no characteristics not noted in the preceding songs. TWO-DIRECTION DANCE SONGS Nos. 169-171 (Cat. Nos. 2435-2437) —The songs of this dance are short and without rhythmic units. No. 169 is framed on descending tetrachords. Many repetitions were recorded, and were accompanied by the shaking of a rattle in quarter-note values, corresponding to the tempo of the song. Following this, another song was recorded but was not transcribed. In contrast to the preceding song, Nos. 170 and 171 are framed on triads, the former song being partly above and partly below the keynote, while the keynote is the lowest tone in the latter song. Ten repetitions of this song were recorded, the only dif- ference being that the initial tone was sung as G instead of A in the last rendition. STEAL-PARTNER DANCE SONGS Nos. 172-177 (Cat. Nos. 2305-2310).—These songs were recorded in rapid succession and seemed to constitute a set. The keynote and general plan of all these songs is the same. They are based on a major triad with occasional passing tones. The second above the keynote is the passing tone in Nos. 172 and 173, the fourth in Nos. 174 and 177, and the sixth in No. 176, while No. 174 contains only the tones of the triad. All the songs except No. 174 have a compass of an octave, the melody lying partly above and partly below the keynote. All except Nos. 176 and 177 begin with an ascending progression. No. 173 is interesting but brief and it seems possible the introduction may be extended if desired. The sharp inhalation of breath, indicated by X, is described on p. 215. SONGS OF AN OLD DANCE No. 178 (Cat. No. 2176) .—A change of accent gives variety to the rhythm of this song, the accent being transferred from a quarter to 166 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 161 an eighth note in the second rhythmic unit. Only three tones occur in the melody, these being a fundamental and its major third and | perfect fourth. The intervals are the same in both ascending and de- scending progression and comprise eight major thirds and four semitones. No. 179 (Cat. No. 2177) —The regularity noted in the preceding song appears also in this melody, the ascending and descending inter- vals being equal in number. This is a fluent melody containing 24 measures and 48 progressions, 20 of which are minor thirds. The rhythm is distinctly that of a dance. The first seven measures were repeated at the close of the performance, which occurs in several other songs recorded by this singer. No. 180 (Cat. No. 2178).—A rapid and lively dance song is here presented, with a simple framework consisting of a major triad with the second as an accented tone. The descent to the fifth below the keynote gives a graceful swing to the melody. No. 181 (Cat. No. 2179) —This song was recorded on two cylinders, the first performance consisting of several renditions and the second consisting of only one rendition. The repetitions of the song were alike and the endings of the two performances were uniform. The song ends on the tone above its keynote. Exclusive of the closing phrase, the song consists of four periods, identical in rhythm except for the opening count of one measure. An additional song of this dance was recorded but not transcribed, as the melody was a duplication of No. 181. OLD MAN’S DANCE SONGS Nos. 182-187 (Cat. Nos. 2416-2421) .—AlII these songs are short, and have the same keynote, all begin on the first count of the measure, and all except one begin in double time. All the songs of this dance are based on a major triad and in all except Nos. 185 and 187 the entire melody lies above the keynote. In those songs there is a de- scent to the fifth below the keynote. Only two of the songs contain a rhythmic unit. The change to triple time in the seventh measure of No. 182 introduces a variant of the rhythmic unit. The measures in 38-8 time give variety to the rhythm of No. 183. Attention is directed to the slurred tones and tied notes in No. 184, also to the ascent of nine tones in three measures. A majority of the melody of No. 185 les in its upper register, which is unusual in Indian songs. This is a graceful melody, with a smooth, even trend. An irregular rhythm is the chief interest in No. 186, and the series closes with No. 187, which is distinguished by a sharp accent at the beginning of a triple measure, near the end of the song. | DENSsMORE] SEMINOLE MUSIC 167 SNAKE DANCE SONGS Nos. 188, 189 (Cat. Nos. 2125, 2126).—This pair of songs has an interesting individuality. Both songs contain frequent changes of tempo and an unusual number of progressions, they also contain the sequence of ascending and descending whole tones that was noted in Nos. 141 and 148 recorded by the same singer. The second song is better adapted to dancing than the first and consists of two sections, separated by glissando tones. ‘There is a resemblance to the period formation in both songs but this is not established. CRAWFISH DANCE SONGS Nos. 190-192 (Cat. Nos. 2429-2431) —Each of the opening phrases of No. 190 contains two measures, and one phrase seems to answer the other. Two-measure phrases continue throughout the melody which is based on a minor triad and sixth. The second song (No. 191) con- tains the same keynote and tone material except for one descent to B. Measures in quadruple time occur very rarely in Indian songs, but the measures transcribed in this time contain no secondary accent. The song closes with short phrases in slower time and a different rhythm. The third song (No. 192) is major in tonality and contains the tones of the fourth 5-toned scale. The change from a minor to its relative major “key” is interesting and unusual. As in other songs of this dance, the phrases consist of two measures and generally end with a descending progression. DRUNKEN DANCE SONGS Nos. 193-196 (Cat. Nos. 2444, 2445, 2446, 2457).—The first of these melodies (No. 193) is somewhat incoherent, containing many rests but few complete phrases. The relation of the tones to a keynote is not clear, although the prominence of G and D suggest the former as a keynote. The second song (No. 194) was preceded by exclamations. It contains frequent rests and an unusual number of half notes. The opening phrases are based on a minor third, after which the song contains only the tones of a major third. The count divisions are simple and consist chiefly of eighth notes. Nos. 195 and 196 were recorded by a different singer and the songs are different in character. They contain many small count divisions, are small in compass, and are scanty in melodic and rhythmic material. No. 195 was recorded with a rattle but the rhythm of the rattle is not clear. SKUNK DANCE SONGS Nos. 197, 198 (Cat. Nos. 2438, 2439). —The phrases in No. 197 con- sist chiefly of two measures and are in pairs, the second seeming to 168 BUREAU OF AMERICAN ETHNOLOGY (But. 161 answer the first. The melody is minor in tonality, with an interesting prominence of a descent to the seventh followed by a return to the keynote. The count divisions are simple and the melody is small in compass. The next song (No. 198) is much slower in tempo and the phrases generally consist of single measures, including an eighth rest. The song is major in tonality and has a compass of an octave. The answering phrases resemble those in the first song of the dance. CHILDREN’S DANCE SONGS Nos. 199-202 (Cat. Nos. 2459, 2460, 2461, 2463) —Strong accents characterize No. 199 which contains no change of measure lengths until the final phrase. The compass is small, the tempo is unusually slow, and the rhythmic unit is long. The melody does not suggest the subject of the dance. No. 200 was recorded with the accompani- ment of a rattle but the rhythm of the rattle is not clear. This song has a compass of an octave and moves freely within that compass. The phrases are only one measure in length and a rest does not occur in the song. The quadruple measure gives a “swing” to the rhythm of the song as a whole. Considering the subject of No. 201, the melody is particularly active. An ascent of a seventh occurs twice, and broken ascents and descents of a sixth are of frequent occurrence. The song is major in tonality and lacks the fourth and sixth tones of the com- plete octave. Progression is chiefly on the tones of a major triad. No. 202 is an active little melody which opens on the tones of a major triad and sixth but changes to a minor third, continuing that interval to the close of the song. The ritard to a slower tempo is coincident with the change to the minor third. SONGS CONNECTED WITH TREATMENT OF THE SICK The Seminole medicine man treats the sick with remedies revealed to him in dreams, these being nocturnal dreams and not visions in- duced by fasting. Some of these remedies are believed to act by their presence and are worn in little bags on the person. Thus a child, suffering from a cold, had several little bags of medicine around its neck, though it did not wear these at other times. A little bag of medicine was seen around the neck of a very small baby, and some- times a large bag that would contain at least two cupfuls of herbs was seen hanging down a baby’s back. In Charlie Dixie’s camp a baby about 6 months old was seen with no clothing, but around its neck were two strings of beads and a medicine bag. The Seminole sing when treating the sick, but the custom appears to differ in the Big Cypress and Cow Creek groups. Panther, a mem- ber of the former group, said the singing at such a time and when pre- paring medicines was not in “set melodies” but resembled Billie DENSMORE] SEMINOLE MUSIC 169 Motlo’s talking when relating the story of the two brothers. This was monotonous, with occasional high, nasal tones sliding downward, yet it could not be called a chant. The Cow Creek group, however, used certain definite melodies for certain ailments or conditions, sev- eral being presented (Nos. 203-207). Billie Stewart, of this group, said that his people sing when they dig medicinal roots and also put tobacco in the ground at that time. Panther, of the Big Cypress group, said the medicine man “calls on the north, east, south, and west and asks them to help the sick per- son,” offering the same petition when preparing his medicines. If Panther had been a “full medicine man” he could not have talked with this freedom. He had been asked to become such a medicine man but felt that he “could not spare the time.” It would have prevented his work for white men and other activities, as a medicine man must spend much time in solitude and meditation. Yet he knows the old ways and often treats the sick. He became so interested in the present work that it seemed possible he would record his own medicine song, but he said that he “was afraid his medicine would not work next time” if he did so. Accordingly the request was not made, and the subject under consideration was changed. A similar policy has been followed in al! tribes, and no medicine man has been asked to give information or do anything that would cause distress of mind at a future time. Mrs. B. L. Lasher, wife of the owner of the Musa Isle Seminole Village, broke her ankle in 1930 and the Indians of the village offered their own form of treatment to help her. They were confident of success, and attributed her complete recovery to their aid. She did not know what they did in the camp but was aware that some actions were performed before they came to her room. In describing their actions in her room she said they burned about a cupful of leaves in a pan and carried it around the room for a few moments. ‘The leaves had a peculiar odor and did not blaze. There was only a thin column of smoke from the middle of the leaves. One woman took some dry leaves from the edge of the pan and tucked them up under her blouse, and the men put some of the leaves inside their shirts. On another occasion, during the same illness, they treated her for severe pain in her head. An old Indian came into the room, got a cup of hot water and made passes over it with his hands, and then motioned to her to drink the water. There was no perceptible taste. He talked during the entire treatment and was sure she would be re- lieved. She does not understand the language sufficiently to know what he was saying while he gave the treatment. The principal singer for the sick in the Cow Creek group is Billie Smith, an old man living near Fort Drum. The writer went to his home, but he was absent. Fort Drum is about 20 miles north of Okeechobee, and the surrounding country is flat and treeless. 170 BUREAU OF AMERICAN ETHNOLOGY [BuLt. 161 A remarkable series of songs was recorded by Susie Tiger, the wife of Billie Stewart, who uses them at the present time in treating the sick. Susie Tiger speaks even less English than her husband and understands only the simplest phrases. William King acted as in- terpreter. The songs for the sick are taught to children “as soon as they are old enough to appreciate them.” Susie Tiger said that she had no songs to induce sleep. This question was asked as Indian doctors, in some tribes, seek first to quiet a patient. Lumbago is an ailment that Susie Tiger treats with special success, and she recorded the song that she uses in her treatment. She sings this and “blows on the place where the pain is,” repeating this four times. Then she lets the patient rest while she “makes a tea” which may be administered either internally or externally. The song was said to be “about the sand.” Circumstances made it impossible to secure further information concerning the words or the remedy. No. 203. Song used in treatment of lumbago (Catalog No. 2273) Recorded by SUSIE TIGER | | | | DENSMORE] SEMINOLE MUSIC wal The next song was sung for a sick baby. The idea of a dog that does not die is unique but, as always, the translation was written down in the words of the interpreter. Ata later time the following sentence was noted in a translation of Homer’s Odyssey : “Each side the porch stood figures of dogs ingeniously contrived by Hephaestus the crafts- man out of gold or silver, to be age-less, undying watch-dogs for this house of great-hearted Alcinous” (Homer, 1932, p. 96). It is recalled that colonists from Greece and adjacent islands were brought to northern Florida at an early date. It is not unusual to find traces of European fairy stories and Biblical narratives in Indian lore, and No. 204. Song for a Sick Baby (Catalog No. 2277) Recorded by SUSIE TIGER Translation.—The dog has no death. The sick baby is drinking from the dog that has no death. the influence of these colonists may have extended farther and re- mained longer than has been supposed. A single idea, penetrating the mind of Indians with a scanty knowledge of the language, may be developed and applied in strange, native ways. In connection with the three remaining songs used by Susie Tiger a peculiar procedure was followed. Before giving the decoction of medicine to the patient she “blew into it,” by means of a reed (cf. p. 39). This reed is about 13 inches long and has a hole at one side, near oneend. She inserts this end in the liquid and blows through it, so that the medicine “foams and bubbles.” A similar custom was noted among the Alabama in Texas (Densmore, 1932) and described by a native of Santo Domingo Pueblo, New Mexico (Densmore, 1938, pp. 38, 40, 56, pl. 4). In that tribe the reed has a whistle opening that is partially covered by the index finger of the player’s right hand. This controls the tone. The lower end is submerged in shallow water, in a bowl. “When the whistle is blown, the air passes down through the water, producing a pleasing, limpid sound supposed to resemble Ez2 BUREAU OF AMERICAN ETHNOLOGY [BuLt. 161 ) the singing of birds.” This is used by members of the powerful Flint medicine society when treating the sick. It was said “the medicine men call in the birds and animals.” Each medicine man has several of these whistles of various lengths, and a healing song was recorded with the words “The spirit birds and animals respond.” Among the Seminole and Alabama the blowing of the breath of the medicine man or woman, through the water, was believed to make the medicine ef- fective. The medicine used with the next song was a decoction of sassafras root. No. 205. Song for bringing a child into the world (Catalog No. 2276) Recorded by SUSIE TIGER Translation. You day-sun, circling around, You daylight, circling around, You night-sun, circling around, You, poor body, circling around, You wrinkled age, circling around, You spotted with gray, circling around, You wrinkled skin, circling around. After singing this song she addresses the child, according to whether she thinks it is a boy or a girl, and says, “Boy, come,” or “Girl, come.” She then takes the reed and blows into the decoction, and gives it to the mother to drink. When a sick person is near to death, Susie Tiger sings the two songs next following. The first song contains only the words “The white sun-lady,” which were not explained. The Seminole usually refer to the sun as a man. No. 206. “The White Sun-Lady” (Catalog No. 2274) Recorded by SUSIE TIGER Part 4. 173 SEMINOLE MUSIC om DENSMORI No. 206. “The White Sun-Lady’’—Continued 174 BUREAU OF AMERICAN ETHNOLOGY [Butu, 161 After singing this song she blows into a decoction of ginseng 1 through a reed, as described in connection with the preceding song, and gives the medicine to the sick person to drink. This was said to “cool the sick person inside.” This song and treatment represents the effort of the Indians to prolong life, although there is no reason to think the effort will be successful. An instance of this was observed among the Chippewa in 1907 (cf. Densmore, 1910, pp. 51-55). Susie Tiger sings the next song for a person who is dying. The medicine is a decoction of ginseng, and the procedure is different from that in the preceding songs. She sings the song, blows into the medi- cine, and repeats the song until each action has been performed four times. Then the sick person drinks the medicine. No. 207. Song for the Dying (Catalog No. 2275) Recorded by SUSIE TIGER f) 5 Ge” A BM of. oe @ 2 2? eee ee ee Translation. Come back. Before you get to the king tree, come back, Before you get to the peach tree, come back, Before you come to the line of fence, come back, Before you get to the bushes, come back, Before you get to the fork of the road, come back, Before you get to the yard, come back, Before you get to the door, come back, Before you get to the fire, come back, Before you get to the middle of the ladder, come back. The song is addressed to the spirit that is about to depart. In explanation of the first line of the words it was said that the king tree has large white blossoms and is the first tree to blossom in the spring. The other lines undoubtedly refer to various stages in 16 “Ginseng, the root of a species of Punax (P. ginseng), native of Manchuria and Korea, belonging to the family Araliaceae, which is used in China as a medicine . . . The root is frequently forked, and it is probably due to this circumstance that medicinal properties were in the first place attributed to it, its resemblance to the body of a man being sup- posed to indicate that it could restore virile power to the aged and impotent .. . The ac- tion of the drug appears to be entirely psychic, and comparable to that of the mandrake of the Hebrews, There is no evidence that it possesses any pharmacological or therapeutic properties” (Ency. Brit. 1937 a, vol. 10, p. 359). DENSMORE] SEMINOLE MUSIC 175 the journey of the spirit, such as have been described among the Winnebago, but circumstances made it impossible to ask further information (Densmore, MS.). After the last word the doctor calls the sick person by name and says, “Come back, come back.” ANALYSES OF SONGS CONNECTED WITH TREATMENT OF THE SICK No. 203 (Cat. No. 2273) —This unusual melody consists of four sec- tions, three of which were repeated, the changes of tempo being given in all the renditions. These changes are probably connected with the words. About three-fourths of the intervals are minor thirds and whole tones. The interval between D and C was less than a semitone and was sung uniformly in all the renditions. The pitch level was gradually raised a whole tone during the performance. No. 204 (Cat. No. 2277) —Seven renditions of this song were re- corded, the transcription being from the latter part of the performance. The melody is rhythmic in character but contains no rhythmic unit. The phrases are unusually short and separated by rests. With two ex- ceptions the intervals are minor thirds and whole tones. No. 205 (Cat. No. 2276) —This is the only healing song recorded by Susie Tiger which contains a rhythmic unit. The tones are more nearly referable to a keynote than in her other healing songs although the third above the keynote occurs only on the unaccented portions of a measure. Many renditions were recorded, each containing the changes of tempo indicated in the transcription. No. 206 (Cat. No. 2274) —A 2-minute phonograph cylinder was not long enough to record this entire song so it was recorded on two cyl- inders. The first cylinder contains the entire first section of the song and part of the second section. The second cylinder contains the last part of the first section and all the second section of the song. There was a brief pause between the sections in each recording. The song was sung without hesitation and was evidently clear in the mind of the singer. In connection with its use we note the occurrence of both stimulating and soothing phrases, and the urging phrase that appears in both sections with the increase in tempo. About three-fourths of the intervals are transcribed as minor thirds and whole tones, but the intonation of this singer was not clear and the transcription cannot show the tones with accuracy, neither is it necessary to do so in songs of this character. The characteristic phrase in the first section of the song consists of the tones F—E flat—C-—B flat, the same intervals appear- ing in the second section as B flat—A flat-F-E flat. The same sequence of intervals occurs in three songs used in the treatment of the sick by Charles Wilson, a doctor of the Yuma tribe (Densmore, 1932 b, Nos. 40, 41, 42). 176 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 161 No. 207 (Cat. No. 2275).—The opening phrase of this song is a simple melodic phrase ending with an accented eighth note. This is followed by a few spoken words. The remainder of the melody con- sists of two phrases characterized by intervals of a fourth and dif- fering in rhythm. Each rendition ends with an unaccented eighth note that carries the attention forward to the recurrence of the ascend- ing fourth, in the repeated portion. The effect of this is dramatic, in connection with the purpose of the song. SONGS FOR SUCCESS IN HUNTING The night before starting on a hunting expedition the Seminole sing certain songs which are believed to make the animals “feed close in” and be more easily found by the hunters. The leaves of a plant known as “stingy man’s tobacco” are put on the fire and the hunters hold their hands in the smoke and rub it on their faces and bodies; they also hold their guns, bags, and all their hunting equipment in the smoke. Some put the leaves in their pockets and some smoke it in their pipes together with native tobacco. Panther said, “If the boys are not having good luck they come to me or to Billie Motlo No. 208. Song for success in hunting (a) (Catalog No. 2110) DENSMORE] SEMINOLE MUSIC EFT and get some of this stuff.”?7 He said the “stingy man’s tobacco” was formerly used as a protective medicine in war and for safety when traveling in a canoe on rough water (cf. p. 29). The songs for success in hunting are without accompaniment and are sung in succession, not in sets of four. The leader sings the first phrase, then pauses while the men repeat the phrase, after which they allsing together. In the first song this phrase probably consists of the first two measures. 6 A ray ® sae oe = a & Cn 8 > wr op A DM o Q Ss ho aS Eo aoe a ee Ss ae gS 5 So rn WE Z Sw — 3 eet) 2 ea, =~ at oe © me ee ee reo > oO 42 Ss Er ~~ Bes = no © sae pn a # ao § . #68 = Gas : 2 ae z QU o = Ge fa a) about how one man drives up the game for another.” A man drives in the game” “< Duplication (a) of No. 214 (Catalog No. 2117) 182 BUREAU OF AMERICAN ETHNOLOGY (Bure. 161 The title of the next song refers to the scaffold used for storing meat and kettles. The thought of an empty storage space would stim- ulate the hunter. “The scaffold is empty” Duplication (b) of No. 214 (Catalog No. 2118) The Seminole “packs” the dead animal on his back. The forelegs are tied together and fastened to the man’s shoulders, the middle of the animal is tied to the man’s waist, and the animal’s hind legs are tied together. In this manner the hunter carries home the game. The next song brings to the mind of the singer a picture of this action, which will incite him to action. 183 SEMINOLE MUSIC DENSMORE ] No. 215. “We are tying up the dead animal” (Catalog No. 2119) 2-138 i t Introduc Translation.—We are tying up the dead animal. We tie its legs. We tie its body. (Catalog No. 2120) No. 216. Song for success in hunting (c) Translation.—Fat game. We search for it. q i 1 | 184 BUREAU OF AMERICAN ETHNOLOGY (Bui. 161 | \| The final song of the series refers to the custom of putting part of. a freshly killed animal in the fire. Panther said, “This is still the custom and brings good luck.” The writer saw part of a freshly | killed turtle in a Seminole campfire (cf. p. 14). | | No. 217. “Feeding the fire” (d) (Catalog No. 2121) | Translation.—My grandfather [the fire] eats the deer’s heart (the mulct). ANALYSES OF SONGS FOR SUCCESS IN HUNTING No. 208 (Cat. No. 2110).—The rhythm of this song was transcribed with difficulty. The rhythmic unit is not repeated with exactness though the divisions of its opening count are repeated approximately throughout the melody. The rests were given with distinctness. The implied keynote is D, but the third above that tone occurs only asa short, unaccented tone. Two renditions were recorded and are alike except for the omission of a few measures near the close of the second rendition. This may have been due to a fear lest the end of the phono- graph cylinder be reached before the formal close of the song was given. No. 209 (Cat. No. 2011).—This song contains the same tone mate- rial as the preceding and is similarly placed with reference to the keynote but is entirely different in other respects. It begins on the accented count of the measure, has a short, frequent rhythmic unit, and contains only one change of measure length. The compass of an octave is spanned several times, and a fourth is the most frequent | DENSMORE] SEMINOLE MUSIC 185 progression. As in other songs with period formation, the second period is shorter and in a different rhythm from the first. No. 210 (Cat. No. 2112).—Three consecutive renditions of this song were recorded and found to be identical in every respect. The third rendition was followed by the usual formal ending. Attention is directed to the rhythm of the song, comprising measures in 3-8, 4-8, 5-8, 6-8, and 7-8 time. These measure lengths were clearly in- dicated by the accented tones, and combine to form the rhythm of the melody as a whole. No. 211 (Cat. No. 2113)—This melody contains the same tones as the song next preceding but has a rhythmic unit in 3-8 time, the repe- titions of this unit being interrupted only by a few short phrases in a different time. The renditions of this song were recorded on two cy]- inders for comparison. The only differences occurred in measures containing words, which showed slight changes in note values. The performance was followed by the usual glissando phrases. No. 212 (Cat. No. 2114).—The only tones in this song are those of the major triad and sixth. The melody moves freely, with a simple, flowing rhythm, and the song is particularly pleasing. After singing the song as transcribed there followed a repetition beginning with the seventh measure. The ascending and descending intervals are more nearly equal than in a majority of Indian songs, yet the general trend of each phrase is downward. -No. 213 (Cat. No. 2115).—This interesting melody is in the period formation with the second period unusually long. The compass of this period is lower than that of the first, which is also unusual but it opens with the customary change of rhythm and measure length. Accented half notes are used effectively, and the rise and fall of the melody, with its simple but subtle rhythm, is in contrast with the songs of social dances. No. 214 (Cat. No. 2116).—Two duplications of this song (Cat. Nos. 2117 and 2118) were recorded by the same singer, using different words. The singer regarded them as separate songs, in accordance with Indian custom, but a comparison shows them to be variants of the same melody. The pitch and tempo of the first and second “song” are the same, the third being lower and more rapid. The period formation is the same in all, the second period beginning on the same tone as the first. Differences in note values in the three rendi- tions are due to differences in the words which were clearly pronounced. No. 215 (Cat. No. 2119). —This song has a short introduction and consists of two periods. The intonation was not clear in the first period but the tones are transcribed as nearly as possible and comprise 186 BUREAU OF AMERICAN ETHNOLOGY [BuLt. 161 a minor triad and seventh, the tones occurring in descending order. | The rest in the rhythmic unit was given with clearness and adds interest to the phrase. No. 216 (Cat. No. 2120).—The chief interest of this song is in its rhythm. The unit is short and -its consecutive occurrences are fol-— lowed by measures in 3-4 and 7-8 time. Progression is chiefly by major thirds and semitones, which is an unusual combination of intervals. No. 217 (Cat. No. 2121).—Three descending whole tones are promi- nent in the opening portion of this melody and are followed by the descending fourth E--B, completing the compass of an octave. These measures are followed by a brisk phrase on an ascending and descend- ing major second and a closing measure in which a fourth is followed by a minor third. The intonation was uncertain on the final measures but the pitch is indicated as nearly as possible. SONGS FOR SUCCESS IN THE BALL GAME The legendary origin of the ball game among the Creeks was re- lated by Billie Stewart and interpreted by William King, a Creek from Oklahoma. The story is presented in the words of the interpreter. There was once a tribe called Calusa. They looked like Negroes and started in the north—way up in Florida. These people had no ‘medicine’ and no power, but the Creeks were powerful with their medicine. The Calusa attacked the Creeks and then the Creeks destroyed all the Calusa. When they destroyed the Calusa they hoped to get something valuable from them, but didn’t get anything. There was one man of the Cheyenne tribe among the Creeks. He went out in the woods and came back with two sticks fixed for ball-game sticks. Uur forefathers said they thought that God told him about those sticks. This man brought the sticks to the Creeks and said, ‘“‘Wouldn’t it be a good thing for us to make ball sticks to play with?’ So they sat down and studied over it. Everybody was happy about it and by means of this ball-stick game they got the Stomp Dance. [The connection between the two was not explained.] The interpreter said that the Creeks paint their faces with red earth (pu kitca de) when they play ball and also in the Stomp Dance. This was said to “make them look like giants and give good luck.” In the Creek tribe there were 25 men on a side. In the old days the medicine man “made medicine” for their success. He had a buffalo tail about a foot long and an inch wide, with the hair on it. The players stood in a line. The medicine man sang and then blew into the buffalo tail, inflating it. He laid this on the back of each player and it “popped,” making a sound that could be heard a long way. It did not cause any sensation but made this sound. The player then “scooted into the grass, turned a somersault, and went back to the DENSMORE] SEMINOLE MUSIC 187 end of the line.” When all had been treated in this manner they went to the ball ground. Each player had a tiger tail fastened at his belt attached at right angles to his body, and it bristled like a cat’s tail when he played. Billie Stewart said that the songs of the ball game were obtained from the Creeks and that his father used to sing them. It was the custom for the women to sing all the night before:a game, and the men used a rattle and drum. The friends of one group of players danced in a long line, one behind another, the leader having a drum fastened to a strap over his shoulder. This was a water drum, con- sisting of a kettle containing water and having a buckskin top. It was beaten with the usual drumstick, about 10 inches long and wound with rags at the end. The people danced to bring success to their friends, and there was the betting that always accompanied Indian games. Many of these songs had words about success and defeating the opponents. Each song was followed by the form of “halloging” peculiar to the game. Sometimes the players wrestled before a game to test their strength, and sometimes they began the game at once. It was customary for the men of one town to play against the men of another town, and the friends of each side were there to watch the game, sometimes shouting encouragement to the players from their town or defying the opponents. Magic was used during the game and it was said, “Tf the ball is on the ground and the other side has stronger medicine they can make the ball invisible.” The following set of six songs, recorded by Billie Stewart, was sung during the night before a ball game by Seminole of the Cow Creek band. No. 218. Ball Game Song (a) (Catalog No. 2280) Translation.—You Talahasees are afraid to bet on yourselves. [BULL. 161 BUREAU OF AMERICAN ETHNOLOGY 188 = rt [e.2) N N fe) Zz op a 3S Pe) is} iS) ~~ 2 it) S io} DM o = ws 1S) a fQ a = A 6 Z (2) (1) 2) ( (1) No. 220. Ball Game Song (c) (Catalog No. 2282) ) 2 ( Translation.—They are making fools of us and it is our fault. 189 MUSIC SEMINOLE DENSMORE ] No. 221. Ball Game Song (d) (Catalog No. 2283) BS pu 2.4 Eee | No. 222. Ball Game Song (e) (Catalog No. 2284) [BuLt. 161 OF AMERICAN ETHNOLOGY BUREAU 190 No. 223. Ball Game Song (f) (Catalog No. 2285) le 63 but it was prob- b) The time of singing the next songs was not stated ably during the night before the game. No. 224. Ball Game Song (g) (Catalog No. 2293) No. 225. Ball Game Song (Catalog No. 2294) 191 SEMINOLE MUSIC DENSMORE | No. 226. Ball Game Song (i) (Catalog No. 2295) No. 227. Ball Game Song (j) (Catalog No. 2296) No. 228. Ball Game Song (Catalog No. 2297) 192 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 161 | At the beginning of a game the ball was tossed into the air and caught by one man who threw it to another, after which the ball was “in play.” The score was kept by means of 20 counters. Men hit one another freely with the ball sticks, and the game was a rough contest. The details of the game were not a subject of inquiry. It appears that each player held a racket (“stick”) in each hand, as | Culin states, “The game of ball with rackets . . . may be divided into two principal classes—first, those in which a single racket or bat is used; second, those in which two rackets are employed. The latter is peculiar to the southern tribes (Cherokee, Choctaw, Muskogee, Seminole), among whom the single racket is not recorded” (Culin, 1907, p. 562). The Choctaw, among whom this game was studied and its songs were recorded, use two rackets, the player holding one in j 1| | | | } } i} i 1 \) ) | | } i | each hand (Densmore, 1943 b). The implements of the game among, the Seminole are described as follows by Culin: “Rackets and ball, | the rackets (figure 777) saplings bent to form a scoop-shaped hoop, the ends lashed together for a handle, the hoop crossed by two thongs | tied at right angles; the ball (figure 776), of two colors, one hemi- | sphere light, the other dark, made of buckskin, with median seam; | diameter, 234 inches” (Culin, 1907, p. 608). A similar specimen, — collected by the writer among the Choctaw of Mississippi, is now in the > United States National Museum. The goals are two sets of upright poles at either end of the ball ground and the object of each side is to_ drive its ball between the goal posts of the opponents. The game, in | various forms, is almost universal among Indian tribes. According to the Tuggle manuscript “The Creeks and Semi- | noles . . . have stories of ball games by the birds against the four-_ footed animals. In one story the bat is rejected by both sides, but is finally accepted by the four-footed animals on account of his having teeth, and enables them to win the victory from the birds” (Mooney, 1900, pt. 1, p. 454). An-extended version of this myth among the > Cherokee is presented by Mooney (ibid., pp. 286, 287). ANALYSES OF SONGS FOR SUCCESS IN BALL GAME Nos. 218-228 (Cat. Nos. 2280-2285, 2293-2297) —This series of 11 songs was recorded by Billie Stewart, half being recorded in 1982 and half in 1933. With two exceptions (Nos. 219, 221) the keynote or principal tone is F, indicating a perception of pitch that has been noted in similar instances in other tribes. With one exception (No. 220) the songs are short. Rhythmic units occur in all the songs of the first half and in none of the songs in the second half of the series. Three renditions of No. 218 were recorded and show no differences. The song has a compass of seven tones and, except in the opening DENSMORE] SEMINOLE MUSIC 193 measures, it progresses entirely by minor thirds and whole tones. The compass of No. 219 is the same as that of the preceding song and ‘it contains similar descending intervals in the opening measures, but ‘the implied tonality and general effect of the melody is different. This song contains two rhythmic units and their repetitions comprise the entire melody. The rhythm of No. 220 is unusually interesting, and the changes in tempo were clearly given. The first rhythmic unit is followed by two different phrases. The second unit contains the ‘same count divisions with a different accent, followed by two eighth notes. The varied treatment of this short phrase gives coherence to the melody as a whole. The tones are those of the major triad and fourth. The next song (No. 221) also shows an interesting treatment of the rhythmic unit. This phrase ends with a 3-8 measure except 'in its first occurrence. All the phrases have a downward trend and _the song contains all the tones of the octave except the seventh. The two songs next following (Nos. 222, 223) were said to be different songs but the melodies differ only in the latter portion. The pitch and tempo are the same and each was followed by shouts and down- ward glissando tones. The ending of the second song is the more ‘interesting. The five songs next following were sung almost with- out a break in the time. None of these songs contains a rhythmic unit. The first song of this group (No. 224) is minor in ‘tonality and based on the tones D-F—A-C, occurring chiefly in ascending progression. The same tones form the framework of No. 226 but the sequence is different and the song is major in tonality. The remaining songs of the series (Nos. 225, 226, 227, 228) have a compass of five or six tones and are simple melodies, without decided rhythms. STORIES AND LEGENDS THE OPOSSUM AND HER LOST BABY Related by Panther When Panther was a boy, 4 to 6 years of age, his father told him this story which is presented in practically his own words. John Billie, an old man, said that he also heard the song when he was a child. An opossum had a little baby. She was going somewhere and carried the baby along, all the time. The opossum found some wild potatoes and put the baby down while she dug the potatoes. She went away a little distance and every little while she called the baby, and it answered. [The narrator imitated the call and answer.] When the opossum came back she found that someone had stolen the baby and taken it away. The answer had come from a frog, put where the baby had been. Then the opossum looked around and found somebody’s tracks. She followed the tracks. She was lonesome and she sang a song. She sang it four times, 194 BUREAU OF AMERICAN ETHNOLOGY (Bune. 161 | once with each of the stops that she made on her way to find the baby. There | is only one word in the song and that is I-ya-ta-wa-kits-ko-tic, which was the | baby’s name. No. 229. The opossum calls her lost baby (Catalog No. 2139) | Recorded by PANTHER She came to a house. Somebody was there and she asked if they had seen anybody going by, carrying a baby. The person in the house said “Yes.” The Gpossum went in the direction they indicated and on the road she met two people | and asked them the same question. Then she had been to two places and met two people, and sang her “lonesome song”’ twice. After a while she came to another place. In that place the baby had been hidden. There were four or five houses, some occupied and some empty. The opossum asked her question and somebody pointed to a house saying, “They got the baby in there.” She went over, opened the door and found the baby inside. Somebody had killed a rattlesnake, cooked it, and given it to the baby to eat. The mother was angry and told them to take it away. She took the baby and started home. She killed a little fawn, ate some of the meat, and gave some to the baby. They stayed there a while. That made three times she sang the song. A wolf came to that place and smelled the meat. The opossum lied and said she had no meat, but the wolf smelled the meat. The wolf got a bow and arrow. Then the opossum was afraid she would be killed. She went up a big tree, took the baby with her and stayed up in the top of the tree. The baby died up there inthe tree. That was the fourth time she sang the song. The old opossum came down and walked away. She found a skunk who was her friend and went home with the skunk. They lay down together and sang. They sang another “lonesome song” and then they both died. This is the last song. No. 230. The opossum dies (Catalog No. 2140) Recorded by PANTHER DENSMORE] SEMINOLE MUSIC 195 WHY THE RABBIT IS WILD Related by Panther The following story was related by Panther. At first the Indians were under the ground, in a big hole, then they all came out. When they came out they bathed in a little creek. When they got through bathing they had nothing to eat and no fire. One man told them what to do and how to make a fire. He told them to take dry, soft bark, twirl a stick between their hands, and then a spark lighted the bark. He got some dry punk. One man made the spark, another caught it on the punk, then they made a fire, but they had no pots or kettles. The man heard a noise a half a mile or so toward the north. He thought some animals were there. He sent two men to get little trees and out of these he made bows and arrows. He got ready, then sent the boys and men to find some- thing to eat. They found deer, turkey, and bear and brought them back to camp. Then they had plenty of meat but nothing else. The man tried to find something else and found swamp cabbage. He cut it down and told the people to eat it raw, as they had no kettles. Then he taught them to roast it in the ashes of a fire. The two men talked it over. One man had made the bows and arrows and the other had taught them to roast the swamp cabbage aud to cook meat in the same way, putting some in the fire. One man Said to the other, ‘““‘What shall we live in?” They had been sleeping in the grass. So they made themselves a house, like those the Seminole live in now. Then a horse and dog talked to the man, talking like people. At that time the rabbit stayed with people and he told lies all the time, but the dog and horse told the truth. Somebody found out that the rabbit lied. Then the rabbit tried to do some- thing all the time. He would go away, and when he came back he would say he had seen things that he had not seen. He would say he had seen snakes, alligators, and turtles. The man said to the rabbit, ‘If you find a snake, kill him and bring him back to camp.”’ The rabbit killed a snake and brought it to the camp, and he sang a song with words that meant “On his back.” [The word Co was said to mean “back.” The meaning of the following words or syllables has not been ascer- tained—Co kco ita a ho pi tli tci yea na nace. ] No. 231. The rabbit brings back a snake (Catalog No. 2138) Recorded by PANTHER d= 146 d= 152 SHO When the rabbit was bringing back the snake he saw an alligator. The man said, “You kill the alligator and bring him back.” The alligator talked, too, at that time. The rabbit said, “Somebody wants to see you up at the camp.” The 338460 O—56——15 196 BUREAU OF AMERICAN ETHNOLOGY [BuLt. 161 alligator believed this and went along with the rabbit. When they had gone about halfway the rabbit tried to kill the alligator; he beat the alligator but could not kill him and the alligator went back to his cave. Then the rabbit came home. The man said, “If you see a turkey, kill him and bring him home.” So the rabbit started out to get a turkey, but he went to a wildcat and said, ‘You kill a turkey for me.” Wildcat went and found a turkey and killed him. Rabbit brought the turkey back to camp and told the man that he had killed it. The man believed it. Then the rabbit wanted to get married. The man thought the rabbit had killed the turkey and given it to the girl. But when rabbit got married he didn’t bring any food at all. The people found out that the rabbit did not kill the turkey, so they drove the rabbit away from the camp. That is why the rabbit is wild today. THE RABBIT WHO STOLE THE FIRE Related by Billie Stewart and interpreted by William King The people were having a Stomp Dance. Rabbit was a great singer and leader so they let him lead. Twice he ran up to the fire and made signs. The people thought he was wonderful. The third time he picked up a brand from the fire and ran toward the woods. He ran so fast that the people could not catch him, so they made medicine for rain to put out the fire. When Rabbit came back, some people said, “Do not let him lead again as he steals the fire.” Others said, “Don’t let us be stingy.” So they let him lead and he picked up a firebrand as before. They made medicine for rain again and it put out the fire. Rabbit came back. Some said, ‘Don’t let him lead again,” but he had some friends who got him to lead. The same thing happened right over. But Rabbit found a hollow rock out in the woods. He could get in this hollow and keep the rain from putting out the fire. He rubbed some sort of oil on his hair, for he was afraid it might catch fire. They let him lead again, and this time he went up toward the fire and stuck out his head. His hair caught fire and he ran out. The people ran after him but could not catch him, so they made another rain, but he had gone into the hollow rock that he had prepared. It rained and rained but he was safe. He came out once in a while and set fire to grass but the people made rain and put it out. He did this four times and then they never saw any more fire. They thought Rabbit was finished up but he still had some fire, so he got out of the rock and got into the ocean, carrying the fire and intending to swim across. The people saw the smoke across the ocean and knew that Rabbit had carried the fire across and spread it out. They were angry at him but couldn’t reach him. That is the way that everybody got fire. William King, after interpreting this story, stated that in his grand- father’s version of the story, the rabbit came from the other side of the ocean to this side, reversing the action of this story. He also said that his father “got fire by firing into cotton with his rifle.” LEGEND CONCERNING THE DOG The dog spoke like people and he took care of the baby. One day the dog didn’t want to take care of the baby and the dog said, “See my paws.’ Then the man made the dog’s paws as they are now, and the dog could not talk any DENSMORE ] SEMINOLE MUSIC 197 more. After that none of the animals could talk any more, but the Indians con- tinued to talk. Sometimes an Indian did not tell the truth, and the rabbit found it out. Then the rabbit stayed wild. This happened before the high water killed all the people. The old men, not the women, told the stories to children. Food and tobacco were taken to an old man with a request that he tell such stories as those which follow. THE ORIGIN OF WHITE CORN Related by Susie Tiger and interpreted by William King The Seminole always refer to themselves as ‘A jia tki,’’ which means white corn, and in the beginning they were white people. An old woman was living with her grandchild. She made good sofki for the boy and it tasted good to him. He would go out and hunt, kill game and bring it to this grandmother. They all ate together, drank sofki and ate deer meat. The boy did not know how his grandmother got the corn to make the sofki. He wanted to know where she got the corn, and he told his grandmother that he was going hunting again. Instead of going, he sneaked back to watch her make the sofki. He saw her go into a shack and sit down. She had very sore ankles that were so very dry that she could scrape off the flakes of skin. The boy watched her scrape off the flakes and bring them into the house. She got the pot and some water and put the flakes in the water. The boy found out that the sofki came from his grandmother's sore ankles. After that he would not drink the sofki. His grandmother said, ‘““Why don’t you drink sofki?” He did not explain because he knew where it came from. The grandmother suspected that the boy had watched her, so she asked him, “Did you watch me doing something?’ The boy did not reply, but said he would not drink sofki any more. His grandmother told him that he must burn their house and everything. The reason was that the boy had found out her secret and she did not want to live any more. She told the boy to tell the people to burn the house over her, while she was in it. A few days after the house was burned they came to see the ruins and found the old house restored and full of corn. From there the corn spread over all the earth. That is the end of the story. LEGEND OF THE FLOOD Related by Panther The earth was all covered with water, but before this happened a man made a big houseboat and many people stayed in it. After a while the bass dived down and brought up earth in his mouth—maybe a handful. The man asked the bass to make land for the people but he said, ‘‘No, I just got that in my mouth.” So the man made that earth into a ball. The man was holding the ball and the beaver cut it in two with his tail. The man threw half toward the north and he threw the other half toward the south. The beaver made them into big countries, and the one toward the south was made into Cuba. The man said, “Everybody stay inside 4 days and then the land will be dry.” After 2 days the ivorybill wanted te get out and it got out. The buzzard wanted to get out too. These two came out. These birds still keep away from 198 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 161 people. The dogs stayed with the people, as they do now, and the people stayed in the big houseboat 4 days. After 4 days the man let them all out. By that time a big country was dry and it was a good country. LEGEND CONCERNING THE TWO BROTHERS Two versions of this story were recorded, one by a member of the Everglades group and the other by a member of the Cow Creek group. There was also an incomplete version by a man from the Everglades group who was not qualified to tell the story in detail." CYPRESS SWAMP VERSION The version first presented is that from the Everglades, related by Billie Motlo (pl. 2, a, and p. 169), an old man who has the right to tell the story. He related it in a monotonous tone, with occasional high, nasal tones sliding downward. When Panther was discussing the singing for the sick he said it resembled Billie Motlo’s talking, when relating this story. Panther acted as interpreter for Billie Motlo, and the story is presented in his words. Attention is directed to the style and rhythm which are reminiscent of the Bible. The adapta- tion of Bible teachings to Seminole history and environment is evi- dent throughout the narrative. In old times, if such a story was to be told in the evening, those who intended to listen ate nothing “after the sun was halfway up the sky,” this being at about 10 o’clock in the morning. It was said, “they remember better if they have not eaten during the day.” In the beginning there were two brothers. They were gods and their father and mother lived in the sky. These two brothers were small, and afterward the people grew larger and were the same size as the people of today. The oldest of these brothers worked in the field and the younger brother had sheep. The older brother got plenty of food from his field, but the younger brother fought and killed him, burying him. When he was ready to bury his brother their mother called him, but he did not go. He stayed at that place. The next morning he went to his mother and told her and his father that he bad killed his brother and buried him. After that, perhaps 3 years afterward, someone tried to kill him. Then his father and mother went up and tried to take him along. He did not want to go. He wanted to stay with his own people. About a year later the Spanish people tried to beat him. They nailed his hands and feet but could not kill him. He got away to two or three different places and tried to make (get) home but they found him and tried to beat him to death. Every time he moved to a new place. He found one family and asked the man of that family what he did. The man said, “I plant rocks.” [He said this as a joke.] The man went 5 or 6 miles 18 Dr. J. R. Swanton states, in correspondence, that this story is ‘‘a somewhat attenuated version of the ‘Lodge Boy and Thrown Away’ story which is widely spread among Indian tribes . . . Mooney gives a Cherokee version and similar stories have been collected from the Shoshoni, Crow, Blackfoot, Hidatsa, Gros Ventres, Arapaho, Wichita, Omaha, Sauk and Fox, Kickapoo, Assiniboin, Pawnee, Menominee, Ojibwa, Micmac, Iroquois, Kiowa, Tsim- shian and Netwetee, though of course it undergoes considerable changes in such a wide area of distribution.” (Cf. Swanton, 1929, p. 270.) The same authority presents two Natchez versions, one Alabama, and one Creek version of this story. DENSMORE] SEMINOLE MUSIC 199 farther and found a very poor family [Seminole] that had a little camp to raise their food. Those people gave him food and drink and told him to sit down and rest. They told him to make a garden for himself. The man of the family asked him how large a garden he wanted to make and what he wanted to plant, and went with him to help him make the garden. They looked at the land and then went back to the camp, and the people gave him a good supper and let him sleep inside the grass house. The man and his family slept outside. In every way they were good to this poor stranger who had nothing. About midnight the man, who was outside with his family, awoke and heard a lot of noises of hogs, horses, sheep, chickens, and colts eating. He went to sleep again. When he woke in the morning he was in a good bed, in a good house—a big house. Outside were all kinds of animals—a mule and all animals. He got up and opened the door. The man to whom he had given his own house woke up, and showed him how to take care of those animals. There was corn and oats in the field and he showed the man how to feed it to the animals. The women cooked their breakfast and then they went to look at the land again. Everything had grown—pumpkins, corn, beans, sweetpotatoes—all had grown in the night. Then the stranger said, “I will stay with you one day, then I go away to- morrow. Somebody may follow my track, sometime, and ask you, ‘Did you see a man? How did you get these animals and vegetables?’ Do not tell him.” Then the stranger went away 200 or 300 miles, going south. He came to a place all water, no land. He made himself a three-masted ship, made it in a minute. He crossed the big water and went to another country. About 40 people [Spanish] followed his track and found his first camp. They asked how a certain man looked and the people told. They came to the camp where he made the animals and asked the same questions, but that man didn’t tell anything. He said he just raised the vegetables and animals. But they [the Spaniards} saw the tracks and followed. When they got to the big water the tracks ended, but they made a boat so as to follow the man. He left a note telling how to make the boat and these people found the note and made the boat that day. They finished the boat in one week. Then the 40 people went across the water and found the man. They put the man on the boat and brought him back. They beat him and tried to kill him but they could not do so. The man got tired of it and said, “If you want to kill me, get a knife, get a blind woman to cut out my heart and that will kill me.” The blind woman took the knife, stuck it into him, cut out his heart, and blood gushed out. The blood struck the blind woman’s eyes and she could see. When she saw what she had done she cried, but it did not do any good. The 40 people were glad the man was killed. He was buried. Four days afterward, in the morning, he got up, and went up into the air. Somebody heard a lot of chickens, a little rooster, and a little Fido-dog making a noise high up in the air. When they looked up, they saw the man’s body going up in the air. The man’s mother and father lived up there. He went all that day and about sunset he got to the place where his mother and father lived. He went to his parents’ house and knocked. His mother opened the door. The man was covered with blood. His father was angry when he saw this. He went to the corner and got his big machete and said he was going to kill all those wicked people. The man said, “The English and all the other people were good. It was only the Spanish who killed me.” There was a Spanish city, and it was cut in two and half of it was sunk in the mud. The man’s father thought the people were killed, but they had a city under the water and lived there. This is the story of the beginning of people. 200 BUREAU OF AMERICAN ETHNOLOGY '- [Bunn. 161 An incomplete version from the same group stated that, long ago, there were twins among the Seminole, one good and the other bad. The good twin made all the animals and gave the Indians “hunting medicine” and bows and arrows by which they could secure the animals for food. The bad twin “was responsible for whatever bad luck came to the Indians.” COW CREEK VERSION Billie Stewart related the version of this story from the Cow Creek group, William King acting as interpreter. Stewart said: My father once told me there was a woman and man who had lived together and then separated for a long time. The man went away and came back. Certain parties told them they ought to get together again and they did. They had two children—twin boys. One went down the road and turned into a mouse. The other saw it and wanted to catch it. He asked his mother to help him eatch it. They caught the mouse. These twins were foolish and always in mischief. They killed their grand- father who was sick and lying on the floor. They cut a piece of flesh from his thigh and roasted it. They saved it. The grandmother had gone away and they waited for her to come back. They did everything with one accord and so when they roasted this flesh they agreed to tell their grandmother that they had killed a gray squirrel for her. When she came back they got the meat, told their story and she ate the meat. The twins were all doubled up with laughter and sang a song with the words “she is eating grandpa’s flesh.” After two or three times she ‘‘caught on to it.”” She knew they were going too far with their deviltry, so she decided they would have to be killed. Some men were talking under an arbor and she went over and told them to kill the twins. They [the twins] knew her thoughts so they went over there to listen. One sat by their father, but the boy had become a flower which stood blooming beside him. The father thought it was a flower, picked it and started toward the fire. He threw it toward the fire and it turned into a bird and went up in the air. The other boy had turned into a crow, sitting on a tree. He went up in the air and they both went to a house. They had a gourd with a hole in it, and put into it everything that would sting—ants, wasps, and so forth. The people who were going to kill them saw the twins go into the house. They went in, but the twins had the gourd full of stinging things and they broke it, so the things flew out. The stinging things killed some people and the others scattered. When the twins went outside they said, ‘“‘Perhaps our father is lying here somewhere.” They found him dead. One twin had a bow and se-sawed it across his father’s leg and the father turned into a crow and went up in the air. The boys went up in the air also and each twin became a thunder which you hear before a rain. The thunder is the twin boys. That is the end of the story. Mr. King, adding to the story he had translated, said he heard that the bad boy went toward the west and the good boy went toward the east. The boy who went west said, “When you see a red cloud re- member me.” He wasthe storm. The other boy said, “When you see lightning remember me. I bring good weather.” The people lay very still during the telling of a story. There is an old saying “If everybody does not spit after a man has told a story they will get hump-shouldered.” DENSMORE] SEMINOLE MUSIC 201 MISCELLANEOUS SONGS The removal of the Seminole to Oklahoma took place in 1836-40. Two songs concerning that event were recorded. No. 232. Song concerning the removal of the Seminole to Oklahoma (a) (Catalog No. 2278) Recorded by SUSIE TIGER a aS 6S = SSS See Gee oer” ST isr ee e A ee ee 1 yt > 0 a. es ae ee Cae eS, Ea GR) | CE ee ae eee eee ee ee [era ==] GSS, REE | CS ee D Ue ae. ee eee Be OF 2 ee SS ES, aa eee GSS GS ESS eee Low eS ee es (OU ,e? ee a) es Translation. They are taking us beyond Miami, They are taking us beyond the Caloosa River, They are taking us to the end of our tribe. They are taking us to Palm Beach, coming back beside Okeechobee Lake, They are taking us to an old town in the west. [BuLL. 161 BUREAU OF AMERICAN ETHNOLOGY 202 It was said the Seminole sang the next song when on their way to Arkansas, which was a stopping place on their journey to Oklahoma. No. 233. Song concerning the removal of the Seminole to Oklahoma (b) (Catalog No. 2279) Recorded by BILLIE STEWART Translation. We are going with [George] Washington. Which boat do we get in? DENSMORE] SEMINOLE MUSIC 203 The Seminole Indians once had Negro slaves. These were Negroes who ran away and joined the Indians, who refused to surrender them to their masters. This is said to have been one of the differences that led to the Seminole war. The words of the following song show it pre- ceded the war which ended in 1842. No. 234. “My old slaves” (Catalog No. 2450) Recorded by SUSIE TIGER Translation.—My old slaves saddled my horse and stayed there all night. It is regretted that no explanation was obtained concerning the words of this and the song next following except that the mother of the little boy was dead. No. 235. Song to a motherless boy (Catalog No. 2451) Recorded by SUSIE TIGER 204 BUREAU OF AMERICAN ETHNOLOGY (BULL. 161 No. 235. Song to a motherless boy—Continued. Translation. Sleep well, Your mother has gone to get a long turtle, Little boy, go to sleep, That is what your mother said. No. 236. Song to a little child (Catalog No. 2452) Recorded by SUSIE TIGER accelerando Translation. Sleep, little girl, Your mother has gone to the black prairie to hunt for the gopher turtle but she will return. Sleep well. Sleep on. 205 SEMINOLE MUSIC DENSMORE ] were said to be “sung while drinking” and are The next three songs not connected with any d ance. All were recorded by Susie Tiger. No. 237. Drinking Song (a) (Catalog No. 2453) accelerando og =: The next was said to be an old son ) b ( Drinking Song No. 238. (Catalog No. 2454) Translation.—I met my friend and we got to drinking a little too much. 206 BUREAU OF AMERICAN ETHNOLOGY [Buy. 161 No. 239. Drinking Song (c) (Catalog No. 2455) singing continued The four songs next following were recorded by Panther who said, “If I were going to see a Cow Creek man I would sing these four songs before I leave home.” He said further that a long time ago a Seminole chief went to a soldier’s camp carrying a flag and the soldier who met him also carried a flag. For that reason the songs are some- times called “Flag songs.” They are not used for dancing and anyone who wishes can sing them. The words of the first were translated ‘Come on here,” and the second, “Come on everybody.” The last two songs have no words. No. 240. Song of friendship (a) (Catalog No. 2141) 207 (b) (Catalog No. 2142) SEMINOLE MUSIC No. 241. Song of friendship DENSMORE | No. 242. Song of friendship (c) (Catalog No. 2148) 138 No. 243. Song of friendship (d) (Catalog No. 2144) 63 @) 1) 208 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 161 ANALYSES OF SONGS WITH STORIES AND MISCELLANEOUS SONGS No. 229 (Cat. No. 2139).—¥our renditions of this song were re- corded, each corresponding to an episode in the search for the opos- sum’s baby (cf. p. 193). After the second rendition the singer paused and told the first and second episodes, saying the opossum went to two places and inquired of two people whom she met on the way, and that she sang the song calling for her lost baby in each instance. Then she sang the song twice, these renditions corresponding to the third and fourth episodes in the search. In the second pair of renditions the third measure was slightly changed by singing the third note as E and connecting it with the preceding tone, a change which may have been connected with a change in the words. The melody has a com- pass of eight tones and hes partly above and partly below the keynote. No, 230 (Cat. No. 2140).—This song consists of two sections sepa- rated by exclamatory repetitions of the tone C. The second occurrence of this tone is particularly emphatic, with a syllable resembling boom. The rhythmic units at the close have an interesting effect of finality. No. 231 (Cat. No. 2138).—The tone material of this song is the second 5-toned scale but the framework of the melody consists of two descending tetrachords and a succession of minor thirds. The triple time in the sixth measure gives an interesting effect of hesitation. Several renditions were recorded, and the pitch was a semitone lower than the transcription. No. 232 (Cat. No. 2278) —Two renditions of this song were recorded, separated by a short pause. The transcription is from the first rendi- tion, during which the pitch was raised a semitone. The transcription is on the pitch of the opening measures. The second rendition con- tained another rise of a semitone in the pitch level. The repeated portion began and ended as transcribed but contained some unim- portant changes in the rendition. The incomplete occurrences of the rhythmic unit are interesting and unusual. A large majority of the intervals are minor thirds and whole tones. The melody contains all the tones of the octave except the seventh. No. 233 (Cat. No. 2279) —This interesting melody has a compass of five tones and contains four periods, each with a slightly different rhythm, although the rhythmic unit occurs in each. It would be interesting to know what words occur with this little phrase that recurs like a thought that cannot be dispelled. The most prominent interval is the major third between G and B. The “swallowing of tones,” indicated by X, is described on page 215. No. 234 (Cat. No. 2450).—The framework of this melody consists of two descending, overlapping tetrachords and repetitions of a minor third, with repetitions of the tone F which comprise four measures. DENSMORE] SEMINOLE MUSIC 209 This is an unusual formation. The song contains measures in 3-8; 5-8, 2-4, 3-4, and 44 time and the tempo changes to a more rapid and then to a slower beat. Unimportant changes occurred in repeti- tions of the song. Nos. 235, 236 (Cat. Nos. 2451, 2452).—The purpose of both these songs was to put a child to sleep, and the melodies resemble each other in containing short, descending phrases and an accelerated tempo leading to the same speed. The first song is a typical Indian melody of this class. The pitch level was raised a semitone during the second song. Nos. 237-239 (Cat. Nos. 2453-2455). —These songs are minor in tonality and contain no rhythmic unit. No. 237 is a simple melody with a compass of five tones, repeating the triad with the fourth usually as a passing tone. The time is sharply increased and the new tempo continued to the end of the song. No. 238 also contains an accelerando, leading to the same tempo as in the preceding song. ‘This melody has the unusual compass of 12 tones, the lowest tone being E, third space on the bass staff. The voices of Indian women are usually in a low register but rarely reach to this pitch. The song proceeds from the highest to the lowest tone of the compass in the first four measures and contains smaller count divisions than the other songs of this group. No. 239 is a simple melody with a compass of seven tones and frequent changes of measure lengths. The intervals com- prise 13 ascending and 16 descending progressions. Nos. 240-243 (Cat. Nos. 2141-2144) —The rhythm of these songs is different from the rhythm of the songs used with dancing. Nos. 240 and 241 begin with the same phrase, and open and close in the same tempo. The descending phrases are somewhat similar in the two songs but each melody is individual and was repeated several times. No. 240 is framed on the descending tones of a minor triad and minor seventh, comprising two overlapping triads, while No. 241 is framed on two descending, overlapping tetrachords which occur consecutively in the fifth measure. The first portion of No. 242 con- sists of the tones of a major triad with the second as a passing tone, and the song closes with repetitions of the keynote and the minor third below. The rhythmic unit occurs four times and is followed by a descent of a minor third in each occurrence, this being in varied rhythms. More than half the progressions are minor thirds. In No. 243 the tone material and melodic path resemble the song next preceding but the rhythmic treatment of the melody is different. The contrast between the two rhythmic units is interesting, the first begin- ning on an accented and the second on an unaccented tone, while the first interval of each is an ascending fifth. The proportion of minor thirds is about the same as in the preceding song. 210 BUREAU OF AMERICAN ETHNOLOGY (Buty. 161 | SUMMARY OF ANALYSES OF SEMINOLE SONGS, WITH | COMPARISONS BETWEEN SEMINOLE SONGS AND | SONGS OF OTHER TRIBES Tabulated analyses of individual songs, according to classifications . in previous books, as well as the descriptive analyses already pre- sented, are the basis for the following summary. This is presented under the following headings: tone material, melodic framework, melodic and rhythmic form, period formation, rise in pitch level, introductory phrases, connective phrases, use of the labial m, absence of accompaniment, formal and customary endings, indeterminate end- ing, ending on tone above keynote, and changes of a melody in its repetitions, “word swallowing,” and forcible inhaling of breath. Tone material——This observation is based on the tones occurring in a song which are referable to a keynote, songs lacking in a key- note being classified as irregular in tonality. The 5-toned scales ac- cording to Helmholtz (1885, pp. 260, 261) have been noted in songs of other Indian tribes, the most frequent being the fourth 5-toned scale (major). This may be regarded as a major triad with the second and sixth added or it may be regarded as lacking the fourth and seventh tones of the complete octave. Examples in this series are Nos. 19, 22, 45, 53, 92, 98, 139, 142, 154, and 192. The tones of the second 5-toned scale (minor) lacking the second and sixth occur in Nos. 60 and 231, and the first 5-toned scale, lacking the third and seventh tones of the complete octave occur in Nos. 20, 21, 62, and 141. Melodic framework.—The sequence of tones in a melody and their accents determine its framework. The simplest framework of a song with a compass of five or more tones is a major triad. If the compass is sufficiently extended these tones represent the upper partials, or overtones, of the fundamental. The triad may have passing tones, but is readily recognized as the framework of Nos. 170, 174, 180, 182-187, 190, 201, 202, 212, 220, 237, and 242. A melody may descend to the minor third below the keynote, this tone, with the keynote and the third, producing a minor triad. This framework is known as a minor triad with minor seventh and the tones generally occur in descending order. It may also be regarded as two overlap- ping triads, the upper being major and the lower being minor. This characterizes at least 18 Seminole songs and is mentioned in the analyses. This framework has been noted in other Indian tribes and among other primitive peoples, and was noted by early students of primitive music. Prof. J. C. Fillmore, who transcribed the Indian songs recorded by Alice C. Fletcher, found this among the Dahomey songs collected at the World’s Columbian Exposition in 1893, and H. E. Krehbiel (in a paper read before the Folk-Lore Congress, July DENSMORE] SEMINOLE MUSIC 214 1894) cited similar instances among the songs of the American Negroes. It occurred also in a*song that Professor Fillmore recorded from Indians living on the Nass River in British Columbia. Many Seminole songs are framed upon overlapping tetrachords or contain such sequences. The tetrachord was prominent in the formation of songs recorded at Neah Bay, Wash. (cf. Densmore, 1939, pp. 44, 45). Melodic and rhythmic form.—The simplest form of an Indian song is that in which the song as a whole is a unit and its repetitions con- stitute a larger unit. Thus it is sometimes difficult for an Indian to think of one rendition of a song as a unit, for he is accustomed to the cumulative effect of the song when in use, Another form is that in which the melody consists of four phrases, equal in length, the rhythm and perhaps the melodic characteristic being the same in the first, second, and fourth and different in the third phrase. This was noted with clearness in two Seminole songs (Nos. 65, 130) but occurs more frequently in songs recorded in the Middle West where the Indians have been in contact with Protestant missions and may have been influenced by the form of hymns. It was noted especially in songs of the Ghost Dance. The short phrases designated as rhythmic units occur in 114 Seminole songs, these constituting less than half the number. One or more rhythmic units occur in about 64 percent of 1,553 songs of 10 tribes, in a combined analysis (Densmore, 1939, p. 41). Period formation.—Songs with this formation consist of two to four periods, or sections, designated by letters of the alphabet. Examples are Nos. 8, 9, 11, 25, 35, 78, 81, 85, 128, 209, 214 (and duplications) 215, and 233. It is interesting to note that 11 of these songs were from the Cypress Swamp group, only two were from the Cow Creek group, and one was attributed to the Calusa. This form was noted first in the songs of the Tule Indians from San Blas, Panama (Densmore, 1926, pp. 16, 34), and later was found in Yuman songs (Densmore, 1932 b, pp. 18, 19), and in a large number of songs of Acoma, Isleta, and Cochiti Pueblo songs (Densmore, 1957). It also occurred in a few very old Choctaw songs (Densmore, 1943 b). Among the Seminole it occurs more frequently in songs of the Cypress Swamp group than in songs of the Cow Creek group. An introduction characterizes these songs among the Pueblo but occurs seldom in Seminole songs. In all tribes, the first period (A) is the longest and its form suggests there may be some freedom in it. The second period (B) is shorter, in a different rhythm, and generally in a faster tempo. In other tribes it is higher in pitch, but in the Seminole songs it is usually in the same register as the first period. This may be followed by a repetition of ~ 338460 O—56——16 212 BUREAU OF AMERICAN ETHNOLOGY [BuLt. 161 the first period, or by.a third and fourth period. Considerable free- dom was noted in repetitions of all except the second period which was always sung alike in all renditions. An inquiry was made of Panther concerning this form of song and he recognized it at once. He said that in a complete rendition of the song there is a “different singing,” then the previous “singing” is repeated. This would describe the period formation, the first period being regarded as the actual song. He said that the first and third sections may be of any length, but the second is always short and sung without change in repetitions. Panther readily designated the songs that “had different singing in the middle” and they were songs in the period formation. Rise in pitch level—This peculiarity occurs in songs with period formation, the rise being a semitone in the first period and, in one instance, another rise of a semitone later in the song. The transcrip- tion is on the pitch of the opening measures, and the higher pitch level was maintained to the close of the song. The examples in the present series are Nos. 78, 81, 85, 137, and 138 recorded by Panther, and Nos. 203, 232, and 236 recorded by Susie Tiger. The same peculi- arity was noted in Pueblo songs with the period formation. The singer from Santo Domingo Pueblo said that his grandfather, who taught him the songs, also taught him to raise the pitch, stating this should be done in old war songs. In certain other classes of songs the pitch was lowered. A change in pitch level is a Japanese custom, an authority on the subject stating that “Songs in which the pitch is raised a semitone, after which the pitch level is sustained to the end of the song, is one of the peculiarities of ancient Japanese music. However, this type of music is quite exceptional and rare, and we can see such expressions only in the music called ‘Rin-yu-Ga-Ku,’ which was originally brought to Japan from India in the seventh century by the priests of Annam (China).” (Cf. Densmore, 1938, pp. 53-54.) A rise in pitch has also been noted in West Africa. T. E. Bowdich describes a stringed instrument, played with both hands, as an accom- paniment to the reciting of long stories and “mentions two songs played with this instrument; one commences, he imagines, in F major and ends in G major” (Bowdich, as cited in Sadler, 1935, p. 75). Introductory phrases.—This custom was noted in Pueblo songs and, as in those songs, the introductory phrases in Seminole songs appear to be somewhat indefinite in length. As a phonograph cylinder is short, the Indian was not encouraged to record all of such introduc- tions, and a full discussion of that subject would detract his attention from the songs, which are more important. In some instances it is uncertain whether a monotonous phrase at the beginning of a trans- scription is the opening of the song or a short introduction. In six DENSMORE] SEMINOLE MUSIC 213 instances (Nos. 1, 57, 78, 158, 215, 207) the opening phrase appears to be an introduction and is so indicated. Similar instances were noted among the Makah. No. 4 entitled “Song to make a wounded whale swim toward shore,” contained an introduction and also glissando cries (Densmore, 1939, p. 60). Connective phrases.—In a large majority of Indian songs a repeti- tion follows without a pause or connective phrase. In the Seminole songs such a phrase often resembles the glissando phrases that are sung after a song and seem rather indefinite in length. A short con- nective phrase is transcribed with Nos. 5, 22, 23, 125, 154, 155. Use of the labial m.—This labial is not part of a word but a sound produced with lips closed and continuing for about the length of a quarter note. It occurs in three songs of the present series (Nos. 25, 108, 237). Two are songs of the Cow Creek group and one, recorded by a member of that group, was attributed to the Calusa, this being No. 25. It is interesting to note this connection with the northern region as other peculiarities were noted chiefly in the southern or Cypress Swamp group (cf. rise in pitch, pp. 208, 209). The labial m was heard in a few Choctaw songs recorded in Mississippi (Densmore, 1943 b), and was noted in five songs recorded at Neah Bay, Wash. (cf. Densmore, 1939, p. 95). The first of these instances occurred in the “Dream song of a whaler,” recorded by an old medicine man of the Makah, and said to have been received in a dream. The others, recorded by the same man, were connected with dreams or the healing of thesick. It was also used asa sign of endearment between a mother or grandmother and a small child (ibid., p. 277). This labial is a Negro custom and may have been carried to Neah Bay by Negroes or members of a party of Spaniards who visited that village many years ago. Absence of accompaniment.—Two classes of Seminole songs were sung without accompaniment, these being the songs of the Snake Dance (Nos. 188, 189) which was held at the time of the tribal Hunt- ing Dance, and the songs for success in hunting (Nos. 208-217). Both these classes of songs were recorded by Panther, of the Cypress Swamp group. This has not been noted in the dance songs of any other tribe except the Choctaw in Mississippi, the Papago of southern Arizona, and the Makah at Neah Bay, Wash. Such songs were heard at a Choctaw dance and many were recorded (Densmore, 1943 b). The rhythm was indicated by an emphasis on the fundamental tone in a low register. Among the Makah, in similar songs, a man moved his arms during the singing to indicate the time (Densmore, 1939, p. 25). Among the Papago, no accompaniment was used with the songs 214 BUREAU OF AMERICAN ETHNOLOGY [Butn, 161 concerning Elder Brother and his journey, the songs of the tiswin lodge and the wind dance. Formal and customary endings.—According to Panther, each class of Seminole songs has its own ending which consists of vocalizations after the song. The singers were not encouraged to record the endings with all songs, but a few were recorded and show similarities within groups. The endings are presented with Nos. 2 and 3, which are Buf- falo Dance songs, with Nos. 4, 5, 9, and 12, which are Corn Dance songs, and Nos. 100, 101, and 102, which are Stomp Dance songs. In each instance the endings of songs in the same series resemble one another. The transcriptions of many other songs are followed by glissando progressions which may be parts of formal endings or may be a vocalization (cf. Nos. 64, 73, 163, 173, 181, 185, 199, 218, 220, 225, 228). When recording the songs of the Bird Dances, Panther ended the series with sounds that might be called howls or wailing cries, and to these he applied the term “hollering.” These were so unusual and interesting that he was asked to record them on a separate cylinder, which he did, showing they could be extended rather indefinitely. Subsequently it was learned this is a custom of the American Negro, described as follows: “The habit of hollering, characteristic of the solitary laborer, has particularly marked the American Negro at work. The holler is a way of singing—free, gliding from a sustained high note down to the lowest register the singer can reach, often ending there in a grunt. It is marked by spontaneous and unpredictable changesinrhythm. Ina few instances the glissando progressions pre- cede as well as follow the songs, and occasionally are interpolated in the melody. Such progressions have been noted only at Neah Bay, Wash. Certain songs were followed by shouts, these being indicated in the transcriptions. As these occur only with certain classes of songs it seems probable they are customary. Such instances are Nos. 75 and 77 of the Baby Alligator and Lizard Dances, Nos. 105 and 106 of the Hinata Dance, and Nos. 190, 191, and 192 of the Crawfish Dance. Two types of shouts were heard and transcribed among the Choctaw, these preceding the Bear Dance and following the Snake Dance. The indeterminate ending and swaying effect of melody and rhythm were also noted among the Choctaw. Indeterminate ending.—This characteristic of Seminole and Choc- taw may be due to the procedure of certain dances in which a song stops when the dancers have completed a circle around the fire. In Nos. 37 and 62 the singer ended abruptly midway through the song and gave the “howls” that follow a completed performance. In Nos. 99, 100, 194, and 195 the transcription ends with “singing continued,” DENSMORE] SEMINOLE MUSIC Oi as the end of the singing seemed uncertain. Numerous transcriptions of the songs of Santo Domingo Pueblo are ended in a similar manner. Ending on tone above keynote—The first occurrence of this pecu- larity was in a dance song of the Cocopa, a Mexican tribe living in southern Arizona (Densmore, 1932 b, p. 182). Eight songs recorded at| Neah Bay have this ending (Densmore, 1939, p. 71), and it occurs in No. 5 of the present series. Changes of a melody in its repetitions —This peculiarity is noted in the first period of some songs with period formation, examples being Nos. 11 and 25. It is possible that more extended performances of other songs with this formation would produce additional examples. In this, as in some other instances, the phonograph cylinder of 2 minutes’ duration places a limit of time which would not occur in the Indian’s usual performance. These changes in the repetitions of a phrase suggest improvisation, which appeared to be a custom of the Choctaw and was considered a mark of musical ability by the Tule Indians of Panama. The custom among the Choctaw was dis- covered accidentally. On listening to the recording of certain songs it was noted that the repetitions contained a wide variety of shght changes and embellishments. The Indian was asked to sing the song again, and he recorded a simple form of the same melody, without embellishments. This was the song, and the performance was his presentation of it. Resemblances to the musical customs of the American Negroes have been noted in the music of the Seminole, and it is interesting to note that improvisation is a custom of the Negroes on the Island of Trinidad, in the British West Indies. Ac- cording to Louis C. Elson (1880, p. 278) “The power of improvisation so well developed in the African Negro, is fully sustained by his descendants . . .” “Word swallowing”.—This is a peculiar action in which a singer seems to inhale sharply while enunciating a word. It is described inadequately as “word swallowing” and indicated by X under the note of the song. This occurred in Nos. 75, 133, 136, 174, 190, and 233. All were recorded by Billie Stewart, a portion in 1932 and the remainder in 1933, An additional song recorded by Stewart contained this pecularity to such a degree that the record could not be transcribed. It also occurred in one song recorded by Panther that was not transcribed. When this peculiarity was described to Dr. M. W. Stirling, director of the Bureau of American Ethnology, he stated that he heard it on one occasion among the Jivaro Indians of South America, on his expedition to that country in 1932. Forcible inhaling of breath—A peculiar custom of the Seminole is the interruption of a song by a forcible inhalation (cf. p. 162). This is indicated by X under rests in No. 144. 216 BUREAU OF AMERICAN ETHNOLOGY [Butn. 161 Only one man sings with a large majority of Seminole dances. The exceptions are the Screech Owl and Snake Dances in which men sing, the Chicken Dance and Cow Creek Hunting Dance in which both men and women sing, and the Cypress Swamp Hunting Dance in which the singer has a “helper.” The accompanying instrument is a coconut shell rattle except in the Stomp Dance in which the songs are accompanied by beating on a “cypress knee drum,” and the Corn Dance songs in which the accompanying instrument is an ordinary hand drum. AUTHORITIES CITED BalILey, L. H. 1935. The standard cyclopedia of horticulture. Vol. 2. New York. BARTRAM, WILLIAM. 1793. Travels of William Bartram. ... 520pp. Dublin. CULIN, STEWART. 1907. Games of the North American Indians. 24th Ann. Rep. Bur. Amer. Ethnol., 1902-48, pp. 3-846. DENSMORE, FRANCES. 1910. Chippewa music. Bur. Amer. Ethnol. Bull. 45. 1913. Chippewa music—II. Bur. Amer. Ethnol. Bull. 53. 1918. Teton Sioux music. Bur. Amer. Ethnol Bull. 61. 1922. Northern Ute music. Bur. Amer. Ethnol. Bull. 75. 1923. Mandan and Hidatsa music. Bur. Amer. Ethnol. Bull. 80. 1926. Music of the Tule Indians of Panama. Smithsonian Misc. Coll., vol. Wie NOS ae 1928. Uses of plants by the Chippewa Indians. 44th Ann. Rep. Bur. Amer. Ethnol., 1926-27, pp. 275-397. 1929 a. Chippewa customs. Bur. Amer. Ethnol. Bull. 86. 1929 b. Papago music. Bur. Amer. Ethnol. Bull. 90. 1929 c. Pawnee music. Bur. Amer. Ethnol. Bull. 93. 1932 a. Menominee music. Bur. Amer. Ethnol. Bull. 102. 1932 b. Yuman and Yaqui music. Bur. Amer. Ethnol. Bull. 110. 1936. Cheyenne and Arapaho music. Southwest Mus. Pap. No. 10. Los Angeles. 1937. The Alabama Indians and their music. Jn Straight Texas. Publ. Texas Folk-Lore Soc., No. 138, pp. 270-293. 19388. Music of Santo Domingo Pueblo, New Mexico, Southwest Mus. Pap. No. 12. Los Angeles. 1939. Nootka and Quileute music. Bur. Amer. Ethnol. Bull. 124. 1942. A search for songs among the Chitimacha Indians in Louisiana. Bur. Amer. Ethnol. Bull. 1383, Anthrop. Pap. No. 19. 1943 a. Music of the Indians of British Columbia. Bur. Amer. Ethnol. Bull. 136, Anthrop. Pap. No. 27. 1943 b. Choctaw music. Bur. Amer. Ethnol. Bull. 186, Anthrop. Pap. No. 28. 1957. Music of Acoma, Isleta, Cochiti, and Zuni Pueblos. Bur. Amer. Ethnol. Bull. 165. In press. MS. Winnebago music. Field Bur. Amer. Ethnol. Etson, Lovis C. 1880. Curiosities of music. Boston. EINCYCLOPAEDIA BRITANNICA. 1937 a. Ginseng. Vol. 10, 14th ed. London. 1937 b. Nicotiana. Vol. 16, 14th ed. London. GIFFORD, JOHN C., EDITOR. 1925. Billy Bowlegs and the Seminole War, with notes and comments by John C. Gifford. Coconut Grove, Fla. HELMHOL1z, H. L. F. 1885. The sensations of tone as a physiological basis for the theory of music. Trans. by A. J. Ellis. 2d ed. London. 217 218 BUREAU OF AMERICAN ETHNOLOGY [BuLL. 161 HOMER. 1932. Odyssey of Homer. Trans. by T. E. Shaw (Col. T. E. Lawrence). Oxford University Press. New York. LEAKE, JAMES MILLER. 1929. A short history of Florida. Mooney, JAMES. 1900. Myths of the Cherokee. 19th Ann. Rep. Bur. Amer. Ethnol., 1897-98, pt. 1, pp. 3-548. 1907. Calusa. In Handbook of American Indians North of Mexico, Bur. Amer. Ethnol. Bull. 30, pt. 1. Ed., Frederick Webb Hodge. 1912. Seminole. Jn Handbook of American Indians North of Mexico, Bur. Amer. Ethnol. Bull. 30, pt. 2. Ed., Frederick Webb Hodge. MUNROE, RALPH MIDDLETON, and GILPIN, VINCENT. 1930. The Commodore’s story. [New York.] NASH, Roy. 1931. Survey and report made in 1930 to the Commissioner of Indian Af- fairs concerning conditions among the Seminole Indians of Florida. In U.S. 71st Congress, 3d Sess., Sen. Doc. No. 314. PEARSON T. GILBERT, EDITOR. 1936. Birds of America. Pt.1. Garden City, N. Y. SADLER, MICHREL, EDITOR. 1935. Arts of West Africa. 101 pp. Oxford University Press. SPECK, FRANK G. 1911. Ceremonial songs of the Creek and Yuchi Indians. Univ. Pennsy]l- vania, Mus. Anthrop. Publ., vol. 1, No. 2. STRACHEY, WILLIAM. 1849. Historie of travaile into Virginia Britannia... . Hakluyt Society. London. SWANTON, JOHN R. 1922. Early history of the Creek Indians. Bur. Amer. Ethnol. Bull. 73. 1929. Myths of the Southeastern Indians. Bur. Amer. Ethnol. Bull. 88. WILLSON, MINNIE Moore. 1910. The Seminoles of Florida. New York. WINTER, NEVIN O. 1918. Florida, the land of enchantment. ... Boston. BUREAU OF AMERICAN ETHNOLOGY BULLETIN 161 PLATE 2 b, Cory Osceola. a, Billie Motlo. PLATE 3 BULLETIN 161 BUREAU OF AMERICAN ETHNOLOGY BUREAU OF AMERICAN ETHNOLOGY BULLETIN 161 PLATE 4 b, Mrs. John Tiger. a, Charlie Billie. PLATE 5 BUREAU OF AMERICAN ETHNOLOGY BULLETIN 161 "MOUS a[TeYS “9 ‘Ja1eM SUIMeIP UBWIOM ‘Z BUREAU OF AMERICAN ETHNOLOGY BULLETIN 161 PLATE 6 q t t ‘ c, Tony Tommie’s mother. b, Young woman. 17) i We. b a, Mrs. Tiger Tail. BUREAU OF AMERICAN ETHNOLOGY Seminole scraping a deerhide. BULLETIN 161 PLATE 7 BUREAU OF AMERICAN ETHNOLOGY BULLETIN 161 PLATE 8 a, Family group. , Charlie Billie and family. c, Man hewing dugout canoe. BUREAU OF AMERICAN ETHNOLOGY BULLETIN 161 PLATE 9 a, Old man in canoe; Chestnut Billie, owner of village, on bridge. b, Seminole poling canoes in Everglades. c, Cooking in the camp. BUREAU OF AMERICAN ETHNOLOGY BULLETIN 161 PLATE 10 ne” Py a ar OF as jane oa eae _ os be Pa > E se ~s ge er aan 4 Ser orpmnzeex Set ee wine a, Seminole at Immokalee. Wilson Cypress making ox yoke. b, Scene in temporary camp. c, Charlie Cypress’ hunting camp. 338460 O -56 -17 BUREAU OF AMERICAN ETHNOLOGY BULLETIN 161 a, Typical Seminole house. 6, Seminole women cooking under thatched roof. of Musa Isle village in which songs were recorded. PLATE c, Portion 11 BUREAU OF AMERICAN ETHNOLOGY BULLETIN 161 PLATE 12 a, Group of Seminole in Musa Isle village. 6, View of typical Seminole village from a dirigi- ble. (Photograph by Claude C. Matlack.) In the village are two enclosed gardens, two rows of houses, and three structures in the center which are cooking or storage structures. The dock at the left is connected with an open way through the grass of the Everglades. The dock at the right is connected with slightly deeper water. The village is on a wooded hammock, and a smaller hammock is seen in the middle distance. This shows the condition in an ordinary season when the villages are reached only by the dugout canoes. BUREAU OF AMERICAN ETHNOLOGY BULLETIN 161 PLATE 13 a, Seminole village. 6, Typical landscape on southwestern border of Everglades. c, Men poling canoes. BUREAU OF AMERICAN ETHNOLOGY BULLETIN 161 PLATE 14 a, Camp in the Everglades. b, Canoe loaded with household goods. c, Boy sailing a canoe. BUREAU OF AMERICAN ETHNOLOGY BULLETIN 161 PLATE 15 Sith Ste ah ae a, Hides drying on trees; hammock in distance. }b, Woman taking washing out of water. c, Billie Buster’s garden. BUREAU OF AMERICAN ETHNOLOGY BULLETIN 161 PLATE 16 a, Girls pounding corn. 6, Man and woman planting corn. BUREAU OF AMERICAN ETHNOLOGY BULLETIN 161 PLATE 17 a, Dance. b, Cooking with typical arrangement of logs. BUREAU OF AMERICAN ETHNOLOGY BULLETIN 161 PLATE 18 a, Woman scraping and washing coontie (comtie) roots. 6b, Woman grating coontie roots. c, Woman stirring coontie flour in barrel. Rr ea shal say aK siuarengy ht ch Ly ise MP a5: “ a ly ie f i. Lt 4 “| Oe viding em nae she a ts ri aaeanoren ne WT o'% at idl Gu SD AT red ohio Maes Peace vpalett rh 7 4 ay Nef ui INDEX Acoma Indians, 211 Alabama Indians, 171, 172, 198 Alligators, hunted by Indians, 21, 66 Analyses methods, absence of accom- paniment, 213-214 changes of melody in repetitions, 215 connective phrases, 213 ending on tone above keynote, 215 forcible inhaling of breath, 215-216 formal customary endings, 214 indeterminate ending, 214-215 introductory phrases, 212-213 melodic and rhythmic form, 211 melodic material, 210-211 period formations, 211—212 rise in pitch level, 212 tone material, 210 use of the labial m, 213 “word swallowing,’’ 215 Animal helpers, belief in, 28 Animals hunted, list of, 66 Annie Tommy, informant, xxvu, 21 Arapaho Indians, 198 Assiniboin Indians, 198 Authorities cited, 217-218 Aviles, Don Pedro Menendez de, ex- plorer, 2 Ball, buckskin, 192 Ball game, description of, 192 Ball sticks, used in game, 192 Bananas, coarse, 9, 23 cultivated, 23 Banding, patchwork, making of, 33 Bartram, quotations from, 40 Baskets, domestic use of, 22 Bathing habits, women’s, 20 Bay leaves, ceremonial use of, 34 Beads, worn by children, 16, 20 worn by women, 19-20 Beadwork, woven, 33-34 Bear, hunted by Indians, 66, 178 Bedding, 15 Belt,. panther hide, ceremonial, 42 Betting, habit of Indians, 187 Billie Bowlegs, Cow Creek Interpreter, XxXvI, 118, 150, 159, 160 Billie Buster, Indian, 11, 12 Billie Motlo, informant, information from, xxvul, 16, 31, 32, 42, 169, 176, 198 Billie Smith, Medicine Man, 169 Billie Stewart, Cow Creek Seminole, information from, XXVI, XXVII, 11, 12, 28, 38, 39, 53, 56, 60, 65, 70, 71, 81, 86, 107, 110, 117, 119, PIOWINSO.0 1345 14d ade, 159, 162, 169, 186, 187, 192, 196, 200, 215 Blackfoot Indians, 198 Blouse, worn by men, 17 Bobcats, hunted by Indians, 21, 66 Bowdich, T. E., quotation from, 212 Bowles, William Augustus, relations with Indians, 3 Bracelets, silver, 18, 32 Buffalo tail, used by Medicine Men, 186 Burial customs, 34-37 Buttons, silver, 32 Cabbage palm, eaten by Indians, 22 Calendar, compared with white man’s, 28 Seminole, 28 Calusa Hunting Dance, analysis of, Calusa Indians, 211 description of, 59-60, 186 Camp, temporary, 14-15 Canna flaccida, seeds used, 39 Canoe poles, 31, 32 Canoes, 14, 30, 31 decoration of, 30-31 making of, 30-32 models of, 30-32 Capes, worn by women, 18 Charlie Billie, Cypress Swamp Semi- nole, xxv, xxviI, 40, 41, 66, 85, 155, 156 Charlie Cypress, guide, 7, 8, 10 Charlie Dixie, Seminole Indian, 10, 168 Charlie Snow, informant, xxvu, 70 Charlie Tiger, informant, xxvu, 13, 25 Cherokee Indians, 192, 198 Chestnut Billie, informant, xxvu1, 13, 32 Chestnut Billie’s Village, life in, 13-14, 16, 20, 22, 26, 28, 32 Children, clothing of, 16 training of, 27 Chippewa Indians, 156 Choctaw Indians, 65, 213, 214, 215 Clan, Bird, 98 Panther, xxv, 42 Turkey, 122 Wing, 42 Clothing, washing of, 27-28 Clothing and ornaments, 16-20 Coats, worn by men, 42 Cochiti Indians, 211 Coconuts, 25 Cocopa Indians, 156, 215 Cooking utensils, 24 Coontie root, flour from, 22—23 Coppinger’s Tropical Village, exhibition village, 15, 27, 120 Cérdoba, Fernandez de, relations with Florida, 1 Corn, cultivated, 9, 21 legend of origin, 197 107) 192: 211, 219 220 BUREAU OF AMERICAN Corn—Continued preparation of, 21-22 Corn Dance, 28, 29, 30, 39, 66 Corn Dance ceremony, 40-60 Calusa Corn Dance, 59 Cow Creek group, 53-56 Cypress Swamp group, 40-45 Corn Dance songs and related songs, analyses of, 60-66 Cow Creek Group, xxvi, 40, 53, 63, 86- 90, 93-95, 116, 117, 126, 127, 132, 154, 159, 162, 164, 168, 169, 187 211, 213, 216 Creeks, 148, 186, 187, 198 relations with Seminole, 5, 21, 186 Crow Indians, 198 Culin, Stewart, quotation from, 192 Cups, granite, 25 Custard-apple tree (Annona glabra), 31 Cypress Swamp Group, xxv, 40, 63, 65, 85-86, 91-93, 98, 116, 126, 130, 154, 159, 162, 163-164, 168, 169, 211, 213, 216 relations with whites, 6-7 Dahomey Indians, 210 Dance: Alligator, 91 Baby Alligator, 96, 214 Bareheaded, see Hair Dance. Bird, Cypress Swamp group Blackbird, 104, 118 Black Grass, 106—107 Buffalo, 42-45, 53-54, 63 Buzzard, 104, 119 Calusa Corn, 59-60 Calusa Hunting, 90-91 Catfish, 39, 104, 119-121 Chicken, 71, 104-106, 216 children’s, 152-153 Corn, 28, 29, 30, 39, 40-42, 45-46, 56-58, 216 Crawfish, 147-148, 214 Crazy, see Drunken Dance. Drunken, 148-150 Egret, 98 Fish, 119 Fox, 129-130 Ghost, 211 Hair, 134-137 Hinata, 110-117, 214 Horned Owl, see Snake dance. Hunting, 40, 54, 60, 66-91, 213, 216 Ibis, 98 Lightningbug, 152 Little Boy’s, 153 Little bud, 152 Little fish, 153 Lizard, 97, 214 Medicine Men’s, 54-56, 70 Old, 141-144 Old Man’s, 144-145 Quail, 104, 116-118 Rabbit, 128 Sandhill crane, 124-125 Screech Owl, 70, 126-128, 216 Skunk, 151 ETHNOLOGY [BULL. 161] Dance— Continued Snake, 54, 66, 70, 110, 126, 145-146, | 213, 214, 216 Steal-partner, 138-141 Stomp, 39, 107-110, 186, 216 summer (Crawfish and Drunken) 147-150 Switchgrass, 130-133 Turkey, 122 Two-direction, 137-138 Whooping Crane, 122-124 winter (Skunk), 151 Death customs, 10, 34-37 Deer, hunted by Indians, 66, 178 hunting methods, 21 Deer meat, preparation of, 25 Densmore, Frances, quotation from, 214) 212/213) 215 Disks, silver, 32 Dog, legend concerning, 196-197 Dolls, wooden, carving of, 33 Drake, Sir Francis, explorer, 2 Dreams, knowledge received in, 28, 168 Dress, worn by men, 17 Drums, 39, 41, 42, 187 cypress knee, 39, 107, 216 hand, 216 water, 187 Dugouts, see Canoes. Dunkin, Rev. E. M. C., information from, 37 Duval, William P., Governor of Florida, 3 Dwellings, 15-16 Earrings, silver, 18, 32, 33 Ears, piercing of at early age, 18 Eating habits, 24-25 Eating huts, 24 Elson, Louis C., quotation from, 215 Enemathla, Tallahassee chief, 3 Everglades, description of, 6-7 Fan, black ibis, 8 Fasting, ceremonial, 41, 42, 53 Fielden, Mrs. Eliza, help by, 11, 37 Fifteen Mile Camp, 12-13 Fillmore, J. C., quotation from, 210, 211 Fire, legend concerning, 196 “Spoke arrangement,’’ 9, 11, 13, 14, 23-24 Fish, cooking method, 25-26 Fishing and hunting, 21 Fletcher, Alice, songs recorded by, 210 Flint Medicine Society, 172 Flood, legend of, 197-198 Florida, history of, 1-5 Flutes, 39-40 Food, preparation of, 21-26 taken to the dead, 37 Fruits, raised by Indians, 9-10 Gifford, John C., quotations from, 23, 39 Gilbert, Dr., plants identified by, 31 Ginseng, used in medicine bags, 174 Girls, clothes worn by, 16-17, 18 ornaments of, 16 Glen, James L., help given by, 14, 29 INDEX Gourgas, Dominique de, explorer, 2 Gros Ventres Indians, 198 Guavas, cultivated, 20 Hairdressing, mourning, 35, 36 women, 20 Hairpins, decorative, 20 Hammocks, infant’s, 10, 16 Hanson, W. Stanley, guide to author, 7, 41 Hats, men’s, 17 Helmholtz, H. L. F., quotation from, 210 Hidatsa Indians, 198 Hides, preparation of, 26 Homelife, 27 House, construction of, 16 Hunting camp, construction of, 10, 12 Hunting Dance ceremony, 66-85 analyses of, 85-91 Calusa Hunting dance, 81-85 Cow Creek group, 70-81 Cypress Swamp group, 66-70 Immokalee, Seminole village, 7, 8 Industries, 30-34 Informants and _ interpreters, XXIV-XXV Informants not song recorders, XXVII instruments, musical, 38—40 Interpreters, XXVII-XXVIII Iroquois Indians, 198 Isleta Indians, 211 Jackson, Andrew, first Governor, 3, 4 Jim Gopher, Seminole Indian, xxv, 23, 39 list of, Jivaro Indians, 215 John Cypress, Seminole Indian, 10 John Tiger, informant, xxvu, 29, 31, 32, 34-35 Josie Billie, Cypress Swamp Seminole, XXV Kettles, iron, 24 Kickapoo Indians, 198 King, William, interpreter, 170, 186, 196, 197, 200 Kiowa Indians, 198 Knife, curved, 32 Krehbiel, H. E., quotation from, 210 Lasher, Mr. and Mrs. B. L., courtesies extended by, 15 Lasher, Mrs. B. L., given medical treat- ment by Indians, 169 pashan Bi L., information supplied by, 4 Legend concerning the dog, 196-197 Legend concerning two brothers, Cow Creek version, 200 Cypress Swamp version, 198-200 Legend of the flood, 197-198 Leggings, buckskin, 42 Léon, Ponce de, 1 Lodge, sweat, 53, 54, 70 Looms, bead, 33-34 Maggie Tiger, informant, xxviI Makah Indians, 213 221 Mangoes, cultivated, 20 Marriage, 27 McGillivray, Alexander, Creek chief, 3 Medicine, protective, belief in, 29 Medicine bag, 34, 42, 168 Medicine Men, 28, 29, 36-37, 42, 53, 169, 172, 186 Medicine songs, 169 Men, clothes worn by, 17 Menominee Indians, 119, 198 Michasukies, relations with Creeks, 5 Micmac Indians, 198 Mill, sugarcane, 20 Missie Tiger, Indian woman, xxv, 22, ’ Moccasins, buckskin, 17, 42 Mortars, preparation of, 21 Mulberry trees, 9 Munroe, Ralph Middleton, information from, 31 Musical instruments, 38-40 Muskogee Indians, 107, 192 Names, connected with clans, 26 connected with localities, 26 Narvaez de, relations with Seminole, 1 Natchez Indians, 198 Negro slaves, owned by Seminole, 203 customs brought by, 213, 214, 215 Netwetee Indians, 198 New Florida Camp, home of Charlie Cypress, 8, 9 (fig.) Norton, Dan, 11 Ojibwa Indians, 198 Old Florida Camp, 10 Old men, authority of, 29 stories told by, 197 Omaha Indians, 198 Opossum, legend of, 193-194 Oranges, cultivated, 20 wild, 10 Ornaments, silver, worn by women, 18 Osceola, Cory, interpreter, XXv, XXVII, 12, 13, 15, 16, 23, 26) 28, 32; 40; 41 Osceola, Indian chief, relations with whites, 4-5 Osceola, John, canoemaker, 32 Osceola, Mr. and Mrs. Richard, 10 Osceola, William, owner of Fifteen Mile Camp, 12 Otters, eaten by Indians, 21 Palmetto leaves, uses of, 22, 36 Palms, Palmetto, 22, 36 Panax ginseng, used by Indians, 174 Panther, information from, xxviI, 26, 29, 31, 34, 40, 42, 45, 65, 66, 91, 98, 110, 116, 120, 126, 127, 130, 134, 155, 156, 160, 168, 169, 176, 177, 178, 193, 196, 197, 198, 206, 212, 213,214,215 See also Josie Billie. Papago Indians, 213 Papaws, 9, 10 Pawnee Indians, 177, 198 222 BUREAU OF AMERICAN ETHNOLOGY [BULL. 161) Personal possessions, buried with body, Songs—Continued 35, 36, 37 Petersen, Dr. J., plants identified by, 22 Phonetics, use of, XXIV Phonographs, 33 Pineapples, cultivated, 20 Plates, granite, rare, 25 Protective medicine, belief in, 29 Pueblo, Santo Domingo, 212, 215 Pumpkins, 9 Punishment, 30, 41 Rabbit, legend of, 195, 196 Raccoons, eaten by Indians, 21 hunted by Indians, 66 Rattles, 38-39, 45-46, 138, 187 coconut-shell, 39, 53, 70, 97, 98, 116, 118, 119, 120, 122, 130, 134, 141, 144, 147, 216 knee, 120 Rawlinson, L. M., information obtained from, 35-36 Ribault, Jean, explorer, 2 Rings, silver, 18, 32 Rubber tree (Ficus aurea), 31 Sacred bundle, see Medicine bag. Sallie Micco, mother of Sampson Snow, 12 Sampson Snow, 12 Sassafras root, used in medicine bag, 172 Sauk and Fox Indians, 198 Scaffolds, used to store meat, 182 Scarfs, worn by men, 17 Scarification, 29-30 Seminole, history of, 1-5 miscellaneous notes, 37-38 modern history of, 5-7 plants raised by, 9 Seminole camps and villages, 7-15 Seminole villages in cabbage palm region, 11 Seminole War, 4-5 Sewing machines, used by Seminole, 10, 14, 15, 18, 33 Shells, use of, 21, 30 Shirts, worn by men, 42 Shoshoni Indians, 198 Sieves, palmetto, 22 Silverwork, 32-33 Singers, names of, xxIv Singers and informants, characteriza- tion of, XXV—xXxXvVI Skirts, women’s, 18-19 Soil, cultivation of, 20-21 Songs: Alligator Dance, Cow Creek group, 94-95, 154 Alligator Dance, Cypress Swamp group, 92-93, 154 “A man drives in the game,’ 181 analyses of, 60-65, 85-91, 154-168, 175-176, 184-186, 192-193, 208- 209, 210-216 summary of, 210-216 Bey Alligator Dance, 96, 154-155, 4 Bird Dance, xv—xvui (list of), 66, 98, 155-156, 214 Blackbird Dance, 118, 159 Black Grass Dance, 106-107, 157— 158 Buffalo Dance, 45, 53-54, 60, 214 Buzzard Dance, 119, 159 Calusa Corn Dance, 61 Calusa Hunting Dance, xiv (list of), 81-84, 90-91 Catfish Dance, 120, 160 Chicken Dance, 105, 157 children’s dances, XviI 152-153, 168 comparisons with songs of other tribes, 210-216 connected with treatment of the sick, xvii (list of), 168-175 analyses of, 175-176 Corn Dance, xu (list of), 45-52, 56-59, 60-66, 214 Cow Creek group, list of, xm1, xIv Crawfish Dance, 147-148, 167 Cypress Swamp group, list of, x1, XIV, XV—-XVII dance, list of, x11I—xvII drinking, 205-206 Drunken Dance, 149-50, 167 ‘“‘Feeding the fire,’ 184 Flag, 206-207 for a sick baby, 171 for bringing a baby into the world, 172 (list of), for success in ball game, xvi (list of), 186-192 analyses of, 192-193 for success in hunting, xvi (list of), 176-184 analyses of, 184-186, 213 for the dying, 174 for treatment of lumbago, 170 Fox Dance, 129-130, 163 Hair Dance, 134-136, 164-165 Hinata Dance, 110-116, 158 Hunting Dance, analyses of, 85-91 Calusa, 81-85 Cow Creek group, 70-81 Cypress Swamp group, 66-69 list of, xIII, xIv in order of catalog numbers, xvIII— XXIII in order of serial numbers, XVIII “It moves about as it feeds,’’ 177 Medicine Men’s Dance, x1, 54, 168-170 miscellaneous, analyses of, 208-209 list of, xv111, 201-207 My old slaves, 203 of friendship, 206—207 of Social Dances, with Corn Dance, list of, xIv of Social Dances, with Hunting Dance, list of, xv1I of the removal of the Seminole to Oklahoma, 201—202 Old Dance, 141-144, 165-166 Old Man’s Dance, 144-145, 166 Pueblo, 211, 212 XIII-— INDEX Songs—Continued Quail Dance, 117-118, 158-159 Rabbit Dance, 128, 163 Sandhill Crane Dance, 161-162 Signs used in transcribing, XxIv Skunk Dance, 151, 167-168 Snake Dance, 145-146, 167 Steal-partner Dance, 138-141, 165 Stomp Dance, 107-110, 158, 214 Summer Dance, list of, xvi Switchgrass Dance, 132-133, 163- 164 Turkey Dance, 122, 160-161 Two-direction Dance, 137-138, 165 Whooping Crane Dance, 122-124, 161 Winter Dance, list of, xv1r with stories, list of, xvim1, 194-195 “The old bear makes a noise,”’ 179 The opossum calls her lost baby, 194 The opossum dies, 194 The rabbit brings back a snake, 195 “The seaffold is empty,’ 182 The unsuccessful hunter, 179 “The white sun-lady,”’ 173 “They are feeding,’ 178 to a child, 204 to a motherless boy, 203 ‘We are going to hunt,” 180 “We are tying up the dead animal,”’ 183 “We search for fat game,’’ 183 Sota, Hernando de, relations Seminole, 1 Spears, fish, 21 Speck, Frank G., quotation from, 148 Spoons, wooden, 24 Stirling, M. W., quotation from, 215 Stories and legends, 193-200 Story of opossum and her lost baby, 193-194 Story of the origin of white corn, 197 Story of the rabbit who stole the fire, 196 Story of why the rabbit is wild, 195-196 Strachey, quotation from, 40 Stranahan, Mrs. Frank L., information from, 36,37,66 124-125, with 223 Sugarcane, 20 Susie Tiger, wife of Billie Stewart, in- formation from xxv, 106, 170, 17 72) LA, 197, 205 Swanton, John, quotation from, 60, 198 Taro, cultivated, 9 Tiger tail, worn by players at ball game, 187 Tobacco, contents of medicine bag, 34 cultivated, 21 (Nicotiana rustica), 31 Tool, canoe making, 30 Traps, steel, 21 Trousers, black, worn by men, 17 Trunbull, Dr. Andrew, colonizer, 2 Tsimshian Indians, 198 Tule Indians, 211, 215 Turbans, cloth, worn by men, 17, 42 Turkey, hunted by Indians, 66, 178 Turtle, eaten by Indians, 14, 23 Turtle shells, use of, 39 Velasco, Don Luis de, relations with Seminole, 2 Venison, preparation of, 26 Village, Chestnut Billie’s, 13 Villages, Cabbage Palm region, 11-12 Cypress Swamp, 15 exhibition, 15 Waists, worn by women, 18 Whistles, used in curing, 171-172 Whooping crane (Grus americanus), 122 Wichita Indians, 198 William King, interpreter, xxvI, XXVIII, 148, 170, 186, 196, 197, 200 Willie Jumper, Seminole Indian, 21 Willson, Mrs. Minnie Moore, informa- tion from, 66 Winnebago Indians, 119, 175 Women, clothes worn by, 18 Wrestling, 187 Yuma Indians, 175, 211 Zamia floridana, 22 U. 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