f^
CO
Speck, Frank Gouldsmlth
Ceremonial songs of the
Creek »"^ Yuchi Indians
UNIVERSITY OF PENNSYLVANIA
THE MUSEUM
ANTHROPOLO< f ;
NO. 2
VOL. I
CEREMONIAL SONGS OF THE CREEK
AND YUCHI INDIANS
BY
FRANK G. SPECK
WITH MUSIC TRANSCRIBED BY
JACOB D. SAPIR
PHILADELPHIA
PUBLISHED BY THE UNIVERSITY MUSEUM
1911
Ekilane, Yuchi Chief and Dance Leader.
UNIVERSITY OF PENNSYLVANIA
THE MUSEUM
ANTHROPOLOGICAL PUBLICATIONS
VOL. I NO. 2
CEREMONIAL SONGS OF THE CREEK
AND YUCHI INDIANS
BY
FRANK G. SPECK
WITH MUSIC TRANSCRIBED BY
JACOB D. SAPIR
PHILADELPHIA
PUBLISHED BY THE UNIVERSITY MUSEUM
1911
CONTENTS
PAGE
INTRODUCTION 159
CREEK DANCE SONGS 101
1. FISH DANCE. Phon. No. (1044) Ui4
2. LEAF DANCE. Phon. No. (1041) 105
3. ALLIGATOR DANCE. Phon. No. (1007) Kit)
4. HAHIUT DANCE. Phon. No. (1309) 107
5. BUFFALO DANCE. Phon. No. (1054) KiS
(i. DUCK DANCE. Phon. No. (1032) 109
7. STEAL EACH OTHER DANCE. Phon. No. (1050) 170
S. CHICKEN DANCE. Phon. No. (1052) 171
9. GUN DANCE. Phon. No. (1000) 172
10. SKUNK DANCE. Plum. No. (K)O(i, 1020, 1030) 173
11. HOUSE DANCE. Phon. No. (1049) 175
12. MULE DANCE. Phon. No. (1051) 17(1
13. SKELETON DANCE. Phon. No. (1070, 1025) 177
14. SCREEH OWL DANCE. Phon. No. (1043) 17s
15. LONG-EAKED OWL DANCE. Phon. No. (1071, 10(i5) 179
Hi. BUZZARD DANCE. Phon. No. (100S, 1022) ISO
17. BALL GAME DANCE. Phon. No. (1015. 1031) 1S2
IS. FEATHER DANCE (TASKIGI TOWN). Phon. No. (1024. 1012.
1029, 1033) ISO
19. FEATHER DANCE (TULSA TOWN). Phon. No. (1005, 1023).. 1SS
20. CRAZY DANCE. Phon. No. (1069) 190
21. CRAZY DANCE. Phon. No. (102S) 195
22. DRUNKEN DANCE. Phon. No. (1010, 1017. 1027) 197
YUCHI DANCE SONGS 201
1. BIG TURTLE DANCE. Phon. No. (1003) 201
2. GARFISH DANCE. Phon. No. (1055) 203
3. DRUNKEN OR CRAZY DANCE. Phon. No. (1059) 204
4. DANCE SONG. Phon. No. (1061) 207
5. DANCE SONG. Phon. No. (1060) 208
6. BALL GAME DANCE. Phon. No. (1062) 209
7. HORSE DANCE. Phon. No. (1064) 209
(157)
158 CONTENTS.
PAGE
CREEK MEDICINE SONGS AND FORMULAS 211
1. HOG THE CAUSE. Phon. No. (1047) 215
2. BEAVER THE CAUSE. Phon. No. (1035) 216
3. SNAKE THE CAUSE. Phon. No. (1046) 217
4. BIRD THE CAUSE. Phon. No. (1034) 219
5. HEADACHE SONG. Phon. No. (1048) 220
6. SUN THE CAUSE. Phon. No. (1048) 221
7. DEER THE CAUSE. Phon. No. (1013) 221
8. DEER THE CAUSE. Phon. No. (1016) 222
9. DEER THE CAUSE. Phon. No. (1018) 223
10. YEARLING DEER THE CAUSE. Phon. No. (1046) 224
11. BEAR THE CAUSE. Phon. No. (1034) 225
12. SPIRIT THE CAUSE. Phon. No. (1036) 226
13. FISH THE CAUSE. Phon. No. (1053) 227
14. TURTLE HUNTING MEDICINE. Phon. No. (1037) 228
15. SNAKE MEDICINE HUNTING. Phon. No. (1053) 229
16. ALL THE SNAKES. Phon. No. (1068) 231
17. Ix THE WATER, WOLF THE CAUSE. Phon. No. (1042) 232
18. HORSE THE CAUSE. Phon. No. (1035) 233
19. RACCOON THE CAUSE. Phon. No. (1036) 233
20. WILDCAT THE CAUSE 234
TABULATED SUMMARY 236
ORIGIN OF DISEASES AND MEDICINES 237
SHAWNEE LOVE SONGS, Phon. No. (1058, 1041, 1026) 241
INTRODUCTION
The investigations described in the introduction to the first part of this
volume included the work of collecting dance and medicine songs. The
greater part of these came from the Creeks of Taskigi town, one of the tribal
subdivisions of the Creek Nation. A smaller number of songs were obtained
from the Yuchi.
Frequent reference will be made in the following pages to the account
of the Yuchi in Part I of this volume. Reference will also be made to an
account of the Creeks by the author, published in the Memoirs of the American
Anthropological Association, Vol. 2, No. 2. The last named paper will be
designated M. A. A. A.
The Creek songs were all sung by Kabltcimdlti, " Raccoon Leader" (the late
Laslie Cloud), a prominent leader and shaman; the Yuchi songs by Fagosonwl'
"Comes out of the thicket," Kubn "Creek Indian," Eklbtnc "It has left me,"
and Jim Tiger. A few Shawnee love songs, obtained incidentally from Charley
Wilson, who belongs to the small band of Shawnees who consort with the
Yuchi, have been included. The songs were all recorded on the phonograph,
the syllables and texts being taken down independently with accompanying
explanations at the time when they were sung.
Mr. Jacob D. Sapir is responsible for the transcriptions. The phonograph
records are the property of the American Museum of Natural History, New
York. No attempt is made to discuss the internal qualities or comparative
characteristics of the music itself, our purpose being merely to assemble the
material for someone else to study. The transcriber, however, from consid-
erable acquaintance with them, feels that the Creek songs possess a strength and
energy that is lacking in the Yuchi songs, while the latter are more harmonious
to the European ear. The descriptions of many of the dances are based upon
observation, the informants' data supplying the rest. These dance songs
may be regarded as fairly complete for Taskigi town because Laslie Cloud was
considered to be the best informed dance leader in the settlement. The same
(159)
7
160 INTRODUCTION.
may be said for the medicine songs and formulas, so far as one shaman is con-
cerned, as they are secret individual property.
The sounds in Creek are represented by the following characters. Surd
ic, like "ch" in English "church," and sonant dj, lingual alveolars, dj repre-
sents a sound about midway in position between English dz and dj ; b is inde-
terminate between surd p and sonant b; d is also of the same indefinite
nature and produced as an alveolar dental ; / is a soft palatalized spirant surd ;
g a palatal sonant; q a velar surd; g, the corresponding sonant; / a normal
labial dental surd; c like English sh; I, m, n, s, k are also like the English.
Semi- vowels are h, w, y. Prolonged consonants are written doubled; kk, tt.
Vowels a, e, I, 6, u are long, the unmarked short; au, oi diphthongs; A is open
and obscure like English "u" in "but;" d like "a" in English "all;" a long
and open like "a" in English "fare" without the "r" tinge; n denotes nasali-
zation; 'aspiration; £ a glottal catch; 'accent, and ', or ! lengthening of
the vowel.
CREEK DANCE SONGS
The Creeks always hold their dances on what they call djogo liikkn "house
big," which refers to the town square, where formerly they had a large dance •
house. In later years, however, the dance house was abandoned and the open
square ground with its four lodges or arbors now remains. The square-ground
is a plot of smoothly scraped ground one hundred and fifty feet or so on each
side. On each margin a few feet in is an arbor consisting of a roof of branches
supported upon upright crotches with logs on the ground for seats. In each
of the Creek towns the size of the arbors and details of structure differ. The
square-ground is so situated that its sides face the points of the compass. This
spot is the center of town life. The annual religious ceremonies, meetings and .
councils are held on it, each of the lodges being for people of different ranks
and clans. A description and diagram of Taskigi town square, with which these
ceremonies are concerned, has been given in M. A. A. A., pp. 111-1KJ. The dances
invariably take place in the night-time, the dance ground being illuminated by
a large fire which is kept burning near its center. Almost without exception
the dancers circle about this fire contra-clockwise, the leader with his hand •
rattle at the head of a line of dancers comprising first men, then women, and
lastly children who are learning. A drum beaten by a man, or perhaps two, •
in one of the lodges, usually the west, accompanies many of the performances.
The steps employed are rather simple; each foot is alternately stamped, the
whole dance being little more than a stamping shuffling trot with the body
somewhat bent forward and the arm nearest the fire raised level with the head.
The dancers vary this common posture with attempts to imitate the animal or
object named in the dance according to their fancy. With the women, how- •
ever, it is different. They reduce their movements to the minimum, merely
shuffling along with their anus hanging at the side, without even singing. A
dance is begun by the leader who starts walking around the fire alone, vibrating
his rattle. As soon as he is joined by one or two comrades he begins the •
introduction to his song by shouting 1/6 In/o and other syllables (see Crazy
Dance No. 20. p. 190), which are repeated by the others. As soon as a sufficient
number have joined in the leader starts with the song proper. The leader,
who is either self-appointed or invited to lead by a chief, may choose whatever
song he wishes, though of course he generally is expected to give a different one
each time. For the purpose of teaching someone else the leading part he often
takes a young man with him who is to try and follow, learning his part by heart.
(161)
162 ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I.
No mnemonic records or tallies seem to have been known. The dances, as will
• be seen, embrace a number of independent songs between each of which the
leader and chorus whoop and sometimes even break ranks to rest awhile. The
% repetitions indicated in the transcriptions are generally accidental, as the singer
was limited often by the size of the phonograph cylinder. The number of
repetitions is optional with the leader. In the song texts the italicized parts are
• sung by the chorus, the leader's part being left in ordinary type. It is, how-
ever, often very difficult to divide between where the leader stops and the
chorus comes in, as the tendency is to merge one part into the other, the
chorus taking their syllables, as it were, out of the leader's mouth. The more
animated the dance becomes the more merged and rapid are the parts. The
effect of this is, on the whole, very pleasing, bordering almost on harmony.
Something requires to be said about the use of the nonsense syllables
so characteristic of Creek songs as well as those of American tribes in general.
The whole subject of the significance and interpretation of the ideas associated
with such syllables is one which has as yet hardly been touched upon, but which
manifestly deserves attention. The idea seems to have been realized, but
imperfectly understood by Miss Fletcher in her study of Pawnee songs.1
Whether emotions, more or less definite, or ideas are associated with certain
meaningless syllables in the mind of the singer or the performer it is impossible
to determine in the case of the Creeks. I was first led to suspect some func-
tional significance in them from the attitude of my informant when asked
whether the syllables, which I was taking down at dictation, had any meaning.
• In nearly every case the answer was in the negative until in giving me he le,
which is extremely common as a chorus response, he announced that he le was
like Hi 'foot, ' stamping at the same time to indicate dancing. It would seem
as though either through an original significance, or perhaps through mere
secondary folk etymology, the dancers were shouting "foot! foot!" etc., while
stamping and singing in response to their leader. Another instance of what
may be taken as an example of some process of association, is to be found in the
• Buzzard Dance (p. 180) where the syllables su ll wa ya occur; sull meaning buz-
zard. In some of the songs, as will be observed, word and idea fragments
appear jumbled in with nonsense syllables. It is indeed difficult to imagine
definitely whether they are the remains of a disintegrated ritual or whether
they are mere secondary etymologies suggested by a chance similarity in sound
to actual words. The question naturally arises in this connection, whether
these syllables may not have traveled from some source in a region of com-
plex ritual, where they might have either been actually mutilated discourse,
or directly associated with special religious feelings. The problem may have to
'"The Hako Ceremony." Twenty-second Report Bureau of American Ethnology
(1903).
F. G. SPECK CREEK AND YUCHI CEREMONIAL SONGS. 163
be approached from the same point of view as that relating to the distribution
of the conventional geometrical decorative designs, as outlined by Dr. Boas.
It is possible that many of the song syllables may have had a historical back-
ground like the elements of decorative art which have become diffused from the
Southwest over a large portion of North America.1 Much more material,
however, is required from different tribes before a comparative study can
lead to satisfactory results. The similarities in performance details between
some of the Creek dances and those of the Plains tribes is also a matter of
some significance.
The Creeks attribute the origin of their dances and ceremonies to their
culture hero Hia6kidamlssi, Master of Breath, who conditioned prosperity upon
their continuance. Most of the dances are propitiatory, influencing the spirits
of various animals and supernatural agencies which are capable of inflicting
trouble. Some, however, are tot em ic. In these the members of the particular
clan are supposed to be the chief participants, imitating by their behavior and
gestures the clan animal. It is, nevertheless, considered an honor to the totem
for outsiders to join in, and this is carried on to such a degree that the dances
have lost all vestiges of esoterism if they ever possessed any.
Accompaniments to the dancing are furnished by two different instruments
which are shared alike by both Creeks and Yuchi as well as by other southeast-
ern tribes such as the Cherokee and Chickasuw. One is a large drum (Creek
tamamdpka, Yuchi dldnnC} made either of a pot containing water or a hollow •
tree section or bucket covered on one end with a piece of stretched hide. A
smaller drum, sap\'lk(i, usually made of a small keg, is also used by the
Creeks.2 The hand rattle, needed in nearly every dance, (Creek suwja;*
Yuchi tdn bdn6) consists of a gourd, or more commonly nowadays) a cocoanut
shell, containing small white pebbles with a stick through it for a handle (Fig.
2). The common accompaniment to most of the dances with both rattle and
drum is the double beat, i. e. two to the quarter. Another sort of rattle known
among the southeastern tribes is one used only by women. This consists of
from six to ten dried terrapin shells, with holes bored in them and pebbles
inside, attached to a sheet of hide (Fig. 1, Yuchi tsoniu' ; Creek l&ljasatiga ,
"turtle rattle")- The women wear these, one tieil to each leg on the outside
below the knee. By a peculiar motion of the leg they produce a volume of
sound from these rattles. Only one or two women wear them in a dance, their
place being near the leader. A five-holed flageolet (Creek f>"pn, Yuchi iok\n/)
is also found among these tribes, but it is for playing love ditties or for amuse-
ment, having nothing to do with the dances. Samples of flageolet music have
'Practically the same syllables are, for instance, found in Fenobscot, Malisit, and •
Micmac songs as in Creek and Yuchi.
*A small drum of this sort was used by Laslie Cloud while singing into the phonograph.
Unfortunately the drumming did not reproduce. In the places where it could be heard the
transcriber has noted it.
164
ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I.
already been given.1 The Creeks and Yuchi are extremely fond of music, fond
of their dances, and take pride in executing them well, although the occasions
for dancing were, when I last saw them, becoming fewer.
It should be noted, finally, that my remarks apply only to the Creeks of
the Taskigi band, for I have as yet no means of knowing in how far the other
settlements differ from them in details. Some few characteristics, as well as his-
torical traditions, point to earlier affinities other than Muskogian for the Taskigi.2
FIG. 1.— Shell Leg Kattles.
FIG. 2.— Hand Kattle.
1. hilobA'nga. FISH DANCE.
The fish, lalo, for his contribution of flesh to sustain life, is honored by
a dance in which the usual movements are accompanied by drum and rattle.
The leader's part could not be separated from that of the chorus in recording
this song.
(A) (B) M.M. ^=192.
1 See p. 63.
'The songs as taken from the records are all for male voices; when played on the piano
an octave lower should be used. J. D. S.
F. G. SPECK CREEK AND YUCHI CEREMONIAL SONGS.
(C) M.M* = 130 ,
105
Jtt'i>eat twice.
Repeal eiyht times.
(D) M. M. j = 160.
-ff- •-»-•-
Repeat jive times.
-
Repeal five times.
Repeat eight times.
The burden is:
(A) Introduction: yc''hye' (long cry repeated).
(B) ho vale (ye''hye' in last bar).
(C) ii hya h6cos6slio, a ye''he''
(D) yallha, hive6 c he, hohlye^ehe, (ye'hye' in last bar).
(E) repeat (C).
(F) (do.)
2. IdlwissIbA'nga. LEAF DANCE.
Leaves, idlwissi 'tree hair, 'for their grateful shade and other benefits are
placated by a dance which inmost respects is quite like the others. The leader
sings the following song to the accompaniment of the hand rattle. The
participants wave their anus and hands extended at their sides imitating
leaves blown bv the wind.
1,1. M. =
'.m.^^m m^m^l f" ft-'— \—m
Repeat four times. Cry.
The syllables are:
ga' hyo ne-' he or
he" ga8hyo ne' he ya.
The cry h6 djl ge hyd ends each fourth repetition.
166 ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. 1.
3. HalpA'dabAnga. ALLIGATOR DANCE.
The name of InadabAnga, Lizard Dance, was also given to this song. The
alligator, halpA'da, is one of the totemic animals. The performers assumed a
stooping posture and wobbled, grunting at intervals.
(A) M. M. j _ = 80.
Energetico.
(B) M. M. j = 150.
^-*H
Repeat twice. Ye, ye, ye, ye..
Repeat six times.
-*- 3 ...
a— *— 0- * •—»—!-• 0 - 0-0 f~rf — f — j*~
~" '~ C" "~ p ~ " ~
:t£?::?i£i| '-^-
M. M. j . = 80.
(C) Wild. M. M. J= 88.
Repeat three times. Ye, ye, ye, ye
Repeat twice.
Repeat Jour times.
F. Q. SPECK CREEK AND YUCHI CEREMONIAL SONGS. 167
^ #u_«_P
-ft-- 3 —h—h
m
^ ]^'%+»V :i === FfE^
Repeat four times. Yo. ye. ye, ye.
The syllable burdens are quite variable, each verse ending with yells, ye
ye ye, etc.
(A) yd li he ho yd£ ll he ya. (The last syllabic, ija, is often greatly
lengthened.)
(B) ya'llhe, ho yd ll he.
(C) hdlina we he, yo'hd.
(D) same as (A).
(E) he go wi' }-ii, h<5 go wl yd hd (with variations in the ending).
4. Tcofib.v'nga.
RABBIT DANCE.
The following is a totemic honorific dance in which the participants hop
like the rabbit, tcofi, to the accompaniment of the hand rattle and drum.
In other respects the action is like that of the preceding dances. The song
is full of cries and shouts.
168
ANTHROPOLOGICAL PUB. UNIV. OP PA. MUSEUM, VOL. I.
(E)
f~.
P— > f>~ =» P— M
- -•- -*--#••-•- -•- -•--•- V -•- *•»•
Repeat from beginning.
Repeat twice.
The burden is:
(A) (whoops) yo ho H nil'.
(B) y6EoEos hu' (shouts).
(C) we he ha yo nil.
(D) repeat (A).
(E) repeat (B).
5. YanasobA'nga. BUFFALO DANCE.
The buffalo, yanasa, which contributed much to the subsistence of these
Indians was honored by the following dance in which the hand rattle and drum
furnished the accompaniment. This was a highly animated performance with
much heavy stamping, grunting and buffalo-like pantomine. Formerly each
dancer wore the skin from the head and sometimes the back of the buffalo,
with the horns attached, over his own head, the whole affair resembling the
buffalo dance of the prairie tribes. In his hands each man clenched a stick.
(A) Eiclamatloiif.
(B) M. M. j = 100
- *-st-H'-s*-» V-SL+y-si-^ v-
(I>) M. M. j = 138.
F. G. SPECK — CREEK AND YUCHI CEREMONIAL SONGS.
169
Repeal fire time*.
(G)
F •_.
J<>
' Jmir timex.
The introduction (A) is yo1 yo oi ho'.
(B) Ii6 yo 16 na he le.
(C) repeat (A).
(D) h;i wa va he. le and he yo hoeya.
(E) repeat (A).
(F) hya wa he le and hyo le na hyo le na hi'.
(G) repeat (A).
(H) he na yo ho.
The song ends with a cry (A) supposed to nutate the buffalo.
6. FutcobA'nga. DUCK DANCE.
To recompense the duck, fiitco, for his contribution toward the support
of life and to keep him well disposed toward people, the following dance is
performed. The participants hold hands, winding and turning behind the
leader, who carries the hand rattle. The drum is also beaten for this dance.
(A) M. M. j= 104.
. » .
Fro;
He/xnt twice.
(B) M. M. J=118.
T3-.--I-2--* » r~q
170
ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I.
Repeat Jour limes.
The syllables are:
(A) he' ha ya ll no'.
(B) lie we we lie ya he ya and
a hi ya wa he ya
The last three bars of (H) have yakkoi he, a high, loud cry, repeated.
A cry imitating the duck's quacking, kak, kak, kak, etc., very rapidly, is given
at the end and the whole is repeated as often as the leader wishes to continue
the dance.
7. DlholkobA'nga.
STEAL-EACH-OTHER DANCE.
[Idiholkobi 'each other (reciprocal) steal'. The form DiholhopkobA'nga,
also occurs.]
In this dance men and women ranged themselves opposite one another on
the dance ground, the men side by side facing the women. As soon as the
dance began each man would try to seize and capture a woman on the other
side. Just how this was done I am unable to say as I did not witness it, but
I think my informant stated that an old woman with a stick or switch protected
the women as well as she could, keeping between the two files on the lookout
for a chance to drive some man back to his place. The whole performance
seems to have been a pleasure dance, followed oftentimes by licentiousness.
This dance is looked upon as a survival of some old way of obtaining women.
I did not hear of it among the Yuchi.
M. M.
= 182.
— *—•—•—• 0— ;
-P — f — 5 — 3 — K — i — F ta_.
Repeat twelve times.
The syllables and words are as follows. The first two bars have:
hd no sa we he'le.
The last three have:
tlhoflcob! hd ya IV.
each other steal.
F. G. SPECK — CHEEK AND YUCHI CEREMONIAL SONGS.
171
In repeating the song the order of the words in the last three bars is often
changed, the chorus singing tiholkobl and the leader hd, ya li. A whoop ends
the dance.
8. TolosobA'nga. CHICKEN* DANCE.
The chicken, tolosi, is thanked for his flesh by a dance in which men and
women, two abreast holding hands, circle around the dance ground behind the
leader. The men are allowed to make free with the persons of their partners in
this dance because, it is said, they are imitating cocks. The song requires both
hand rattle and drum.
(A) M. M. j=112.
(B) M. M. j . = 104.
—
5*$=.=
?">-=•
^sSfg?^
r__cr_. _^_
Repeat three times. Whoop.
(C) M. M. ,* = 1*4.
-
fe u'-ai '^^"F^-a^g^T^q^g^'-Fi^a^^
p5i:: — *-|^- *—*-£ — ^-| E^rt=
Repeat twice.
The syllables are:
(A) ya h6 li hd, ya g6 wi hi.
(B) h6 go wi, ya h6e 6- we n£ wi hi' ya.
(C) ya le h6 ya, ha na wi ye.
(D) h6 ya he1 no he.
172
ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I.
fl. TabotskobAnga. GUN DANCE.
A rather spectacular performance, which might be termed a sort of war
dance, is one in which men only take part, each carrying a loaded rifle, revolver
or gun. The dancers move in a circle as usual in single file behind the leader,
stamping and responding vigorously in the chorus. Then at the end of each
song the}' whoop and shoot their firearms, stopping long enough between songs
to prepare for the next round. Drumming also goes with this dance. The
resemblance between it and the war dance of the plains tribes is again notice-
able. Some magic idea of strengthening or invoking the animus of the firearms
is apparent here.
(A) M. M. j = 138.
— — t-
Discharge guns.
Repeat nine times.
(B) M. M. j = 144.
*'•-
Discharge guns.
Repeatfmir times.
(C) M. M. j = 168.
^SS
(D( M. M. j = 190.
— F^7=
:=5z :=t£:f-f-f£t*it:i
1 ^ — hB_i_-ta-_i — Y- -'
f
Repeat Jite times.
F. G. SPECK — CREEK AND YUCHI CEREMONIAL SONGS.
(E) M. M. j = 100.
173
The burden is:
(A) hi'll mi yo na, hi' li.
(B) hi' II no.
[Repeat (A) and (B)].
(C) haigodo, wehlya, he yd (and;
haf go w<3 di di, w6 di di', hi i/i'i.
(D) he1 le ma ya, ydllha, he^eyo hlya.
(E) waf ge to' wasa ye7, he ya.
10. KunoljAnga. SKUNK DANCE.
The following is an honorific toteniic dance in honor of the skunk, kiino.
No particulars, however, in which it differed from the ordinary round dances,
were learned.
(A) Allegro. M. M. j . = 100.
_
~~
i
" — i
re time*.
(B) Presto. M. M. J = 184.
J. Jt ~-*~-F f. -f.
t -
•
i'l>edl Jive t
— !--*• T,
liiEEtetz
iiiish r
(D) M. M. j . = 69.
liepeat three times.
• •-„ ^f.~ =c *_*_**._- rrp^prirar:
^Etfe»^»- - N^^r^»-p^*=P ^—^— •-[?-*-•-
5— — i—t-^— (-- _5=t^- —prrtgjl-,—
Repeat ten times.
174 ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I.
(13; M. M. j = 104.
rf&S-
ra- n-ftSi.,
(G) M. M. j= 112.
Repeat eirjht times.
«-,-- 1
(H) M. M. j = 100.
Repeat four times.
M. M. j= 124.
5=t=t=
Repeat four times.
II) M. M. J^ = 181.
Vrum.
^^^ 1^-fr^=grj^^^rp±^pr^i^g±f±^gr
^^"=Liri5 _ -L-L- — v *— trw — i j I I — C-M — v 5-
Repeat four times.
F. G. SPECK CREEK AND YUCHI CEREMONIAL SONGS.
175
The burden is:
(A) h6 ya na do ho yd le.
(B) hyo he le he qa no yd le.
(C) hy6 we le he d6 yaK a le.
(D) he1 le le de zd di and
hi' we ga g6 zd di.
(E) g6 no he g6 no ho yd le.
(F) do ga le fid za ha le he (or h6 za 16s e he).
(G) ha no yd ha le.
(H) he go no wl ya and
ha no ya le na.
(I) na we he yo ge na ho we ya and
ho we na le he.
11. Tcilakkob.Vnga.
HORSE DANCE.
The horse, tcihikko, is honored for his usefulness by a dance in which the
men trot behind their leader, who shakes the hand rattle. At the end they
whinny like stallions. There appears considerable difference between the Creek
and Yuchi horse dance songs (see p. 209).
(A) M. M. j=138.
-
zg£zf-f— gzl
azzgrpzzfrrj
(C) M. M. J= 132.
-^T^g=r^-nrFp^^i^^%'^TT'£g
Repeat four times.
Repeat six times.
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ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I.
The burden varies somewhat in (A).
(A) yahoganiya, j
yoh6yaliy6, V djtin&ba.
ya ho we ya li ye, J
(B) he yd ya ho.
(C) hSlenaha,
go he le na ha.
Whinnying frequently interrupts the verse.
12. Baf'kobAnga.
MULE DANCE.
A dance in honor of the mule, tcilakkobai'ka 'barking horse, ' is similar to
the horse dance, the dancers going through practically the same motions imitat-
ing mules by cries and stamping. At the end of the dance the leader brays like
a mule, after which, I was told, considerable licentiousness is tolerated until
the next repetition. The mule, because of his unearthly braying and mixed
ancestry, is looked upon as mysterious.
(A) M. M. J . = 174.
(B) M. M. j . = 88.
Repeat five times.
Whoop.
Repeat twelve times.
The syllables are :
(A) yd si wa no da h^.
(B) hy6 wa ha, yd wa M and
hyii wa ha, yti wa M.
The syllable groups of (B) often alternate with interjected expressions
such as yanalkaba hadjigo m6dja, 'here in the middle [of his rear, he is]
tailless now,' or others of a jocular nature improvised by the leader.
F. G. SPECK — CHEEK AND YUCHI CKREMONIAL SONGS.
177
13. IstnVnibA'nga.' SKELETON DANCE.
The ghosts of the dead are believed to be quieted by this dance in honor
of the remains of deceased ancestors. The performers assume rather stiff
postures and make stiff movements, circling in the usual way about the fire.
This is a Creek dance, one that I did not hear of among the Yuchi.
(A) M. M. J = 88.
f ~ ^>- ^ *\
E=t=
•
— — *— t — *-
; mm
IP—si
*_ ' * L_ J_ _z^"zz
^_ a u 1
• *• [t^r^
3HS
Repeat three times.
Whoop,
(C) M. M. j = 19(1.
— •"
i-5t!
I> ) M. M. J — 120.
.£:-•—?—„-*-* ,-f- •— •
Repeal four limes.
gSr-i*-- i-E£f3 f-*&p^E=t=s=i
-1 — i — v— • —*-sr-m- — "~
repeat Jive times.
'Literally, 'human bone dunce.'
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ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. 1.
TJie burden is:
(A) h6 yo he" he. (An introduction sung softly.)
(B) ho ll wa, yd na he or
hd yo ll wa, ydK na he.
(C) ya na ni he, hi nayowa.
ha ya ll, go wl ha nl.
he na do wa ye, yo wi ha ne. hd ya le.
si nl da si ha li, ha ya yo wa' le.
This song (C) is repeated nine times with many changes in the syllables
and their repetitions.
(D) he1 ya ya' wa hi ye.
(E) ho? djlle (four times, sung by leader and dancers in unison).
14. StikinobAnga. SCREECH OWL DANCE.
The screech owl, stikini, is an incarnation of some human spirit. The
Indians think it is capable sometimes of causing death. Its cries at least
announce the death of somebody. The following propitiatory dance is
performed to ward off the evil omen. There are no special features to it so
far as I know. The hand rattle is shaken by the leader.
( A ) M. M. j — 112.
Yell.
(B) M. M. J— 88.
_, — I — m — | 1
*^
Repeat four times.
F. G. SPECK — CREEK AND YUCHI CEREMONIAL SONGS.
(19) M. M. J—176.
179
5 - ; • ^tlF^E
' eight times.
The syllables are:
(A) ha yo wa na lioli i/d lie. (Shouts and yells at the end.)
(B) yowae/i/;e (and)
ha£ yo \vaE li lie. (Shouts and yells at the end.)
(C) ha yo nIE I ha nl (and) (Whoop at the end.)
ha yo wa no nle I ha nl.
(D) lie ga wa ya he le (and) (Whoop at the end.)
ka yo wa ya he le.
15. O'bob.uiga. Loxii-EARKD OWL DANTE.
The large long-eared owl, olio, is another creature thought necessary to
placate by an emulator}' dance. The hand rattle furnishes the accompaniment.
Its features are of the regular order.
(A) M. M. j --1*8.
Re/ieat Jirc times.
(B) M. M. j.— 188.
^1
The, trhule repeat Jive times Whoop.
Rt-jieiit nine times.
(C) M. M. J =112.
--
Repeat Jive times.
\80
ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I.
t=S=f-:=tEi]
Kepeatfive limes.
The syllables are:
(A) ho hi ye yd hya we (or) yd hya? wl' hi. (The cry ho hi ye ends
this and the following verse.)
(B) yd, hya we yd ga li na.
(C) yo we he he he do na' ahe. (The cry hop he ends this verse.)
(D) hd ni a ho£ o ge he' ma no.
(E) ya li ha hi hd yo ga ni.
w£heya' "
ho we ya' "
hoiy a we "
The cry hop he, imitating the owl, again ends the song.
16. SulibA'nga.
BUZZAUD DANCE.
The turkey buzzard, sull, is a totemic creature. People of the buzzard
clan, and others who desire, perform an imitative dance, to the accompaniment
of drum and rattle, in which they circle about behind their leader waving their
arms like a napping buzzard. At the end of each song they bend down, spit,
and hiss like a buzzard disgorging food. The song accelerates toward the end
(at D), the motion of the dancers' arms keeping time with it. A rather unusual
feature of the song is the invocatory mention of the buzzard's name toward the
end.
(A) M. M. J = 100
F. G. SPECK — CHEEK AND YUCHI CEREMONIAL SONGS.
LSI
&&=f
k*-?
v/; (C) M. M. j= 104.
^~_=K?:!5-y — C- ^=i=
Repeat four times.
— »-
Ifegib^S
t^ — I
M. M. J = 1(>H.
Repeat twice.
v—
f>
I " 1
•:T3=3^-"i^— J— ^-tf-f
•— »— *— "bi™1!
(E) M. M. j = 184.
E^I _£^
/
tz£=i=trt3br
—"77 — h * -•— *
Repeat Jin timex.
The burdens are:
(A) ya §6 li h£, ya g6 wl hi. (At the end of this verse comes a cry
ya ho.)
(B) dfi'wayaMK (twice),
(or) he dd wa ya£ a hi li.
(C) h£niwaya' he'' h&-
(or) hd ni \va ya' hi.
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ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I.
(D) sul! Ava ya' sull wa ya' he.
buzzard buzzard
(E) h e ya no ha ya and
he ya he yo hi.
The last syllables of this verse diminish^in [sound until scarcely to be
heard, forming almost a pause.
17. Poki'djidabA'nga. BALL GAME DANCE.
A dance somewhat different from the usual sort, is performed by the
Creeks to invoke supernatural strength for the players, and the sticks or rackets
they use, in the Indian ball game.1 The dance takes place the night before the
game and consumes the whole night. The sticks to be used are painted red, the
symbol of contest, and hung upon a cross pole supported on crotched uprights.
A line of women side by side faces the sticks and a line of men, including the
players, on the opposite side of the rack faces the women. They all mark time
and stamp in unison singing the following songs in which meaningless syllables
are interspersed with words and sentences having the effect of conjuration.
The women sing loudest since they are thought to exert the strongest influence.
Drumming accompanies this dance. The Yuchi have a similar ceremony,
but the song, Yuchi ball game song, presented further on, pertains to another
part of the game (see page 209).
The syllables, as far as could be taken down, are:
(A) M. M. J = 108.
ffe— •zi=5=£=*=i
— • — I — i — f— m — m • — H — •— • — •
. 1- - 1 — i — i 1 1 M — i — i H
-I 1 H--K-I 1 1
(B) M. M. j= 108.
-»-»-•—• — E -»-»^—f—f-f — -fj — mm
(C) M. M. J==96.
te^^fe
Repeat twelve times.
'For accounts of this widespread game of. p. 86, and Culin, Twenty-fourth Annual
Rep. Bu. Amer. Ethnology (1906), pp. 562-716.
F. G. SPECK CHEEK AND YUCHI CEREMONIAL SONGS.
183
(V) M. M. ]= 138.
^ -_ «_ PH»_;I_± »
(E) M. M. j = 112.
i_-_
-I — '
Repeat nine times.
tu -•- -•- - • • » »
_Llii — - ) * . . . p-~j — . » ™
:-•-.*
! eiyht times.
(F) M. M. j = 144.
F-^-qt '1
(G) M. M. j =
Repeat sis. times.
(II) M. J[. w= 124.
Repent nine times.
» z^rz
Repeat eiyht times.
(I) M. M. J= 158.
II'Aoo/).
• r
times.
(A) hoya yd gam. (\Vhoop at end.)
(B) hy6 we do nd he. (Whoop at end.)
In this and the rest of the verses are words which I could not obtain.
(C) n6 ha yd le.
(D) (E) (F) syllables and words not obtained.
184
ANTHROPOLOGICAL PUB. UNIV. OP PA. MUSEUM, VOL. I.
(G) he le (once as introduction) .
ho na dji do ga ha go n& ga. (Whoop at end.)
(H) he le1 md ho ge1 and
he le si ha1 md ho ge.
(I) djigona1 yadoge. (Whoop at end.)
( J) M. M. 1 = 190.
Repeat four times.
(K) M. M. j = 108.
Repeat five times.
(M)
'While the informant gave no meaning for these syllables, hole is like ili 'foot,'
mahoge is part of the verb 'to say,' hele si ha could be 'foot halter,' and djigona means
'limper.'
F. G. SPECK — CREEK AND YUCHI CEREMONIAL SONGS.
1 So
Whoop. (N)M.M. J=190.
Repeat four times.
£-t=
?j^
.,. _^ «•«•*- ^.
51- • ^
crfe^i? f rfozz — ^*^-•^=-«-»^^|T^=^t•51-f1-^,-^•» .-— -r
-i
=*=:
(O) M. M. J = 120.
ciyht times.
• — •— • —
.= -£_
t~
xE*^
Repeat jive times.
(P) M. M. j= 112.
^.*ut^ r1!171
3=t=? f_? : .
^ I M .> ili —
r-4-*-?-t—£:£jf-
-• • - ,—»-*•
^EB EEE"
.'
f^E?"1 rr=^?£^£l!
186 ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I.
The syllables are:
(A) yd ha ya yo wd ll n6 In.
(B) ho we na hd na wl' le.
(C) ha yo we ga ni ha yo we le ha.
(D) ho na we le.
(E) ho w£ ll wd yo na.
(F) ho ml we le (same as D).
(G) hd na di ya we yo ha he.
(H) ho ga ne yd li go.
(I) hwe le wd yo na (similar to E).
(J) wadjlda na go si.
(K) ho yo (introduction).
ho djo no, he le ya le he ha'. (Whoop at end.)
(L) hagAn'gwadjI. (With this verse and all the rest on go words
which were unfortunately not all gotten.)
(M) Repeat (K) with quick repetitions of badjd, 'grandfather,' at the
end of the verse.
This song is ended with shouts and badjd, badjd yd hyo.
(N) ho we li go ho we ll.
(0) hd yo gd ne
hatkisA'lgi,
white ones.
histisA'lgi,
black ones.
tcddisAlgi,
red ones.
lanisAlgi,
yellow ones.
(P) hyo we na no ha ya le.
18. TafosobAnga.2 FEATHER DANCE. (Taskigi Town.)
One of the few Creek dances performed during the daytime was the
following in honor of the animus of the feather, tafo. This dance, a long and
important one, was intimately associated with the ceremony of the emetic so
prominent in the rites of the southeastern tribes.2 Each dancer held in his
hands sticks about six feet long with a fringe of white heron feathers attached.
They had to pay a shaman to make these wands as the heron feathers were
'Tdfo, 'feather,' -s- verbal element, obA'nga 'dance'.
2See p. 115, and M.A.A.A., pp. 140-141. Between the songs of this dance the
participants drank a decoction of red willow root and button snake root which caused
them to vomit.
F. G. SPECK — CREEK AND YUCHI CEREMONIAL SONGS.
187
sacred, and could only be handled after the proper rites. They insured peace
and protected the people from human and supernatural evil.
The Feather Dance was rather spectacular. Picture the town square with
its four brush covered arbors filled with interested spectators in the midst of
their annual religious festival. The dancers clad in their calico finery, with
ostrich and other highly colored plumes in their head bands and their fluttering
wands, start circling in a single file behind the leader, the drum and hand
rattle beating time. At the end of the second song they group together in a
squad, elevate their wands and rush whooping toward the west arbor of the
square where the town chief sits. Hringing themselves suddenly to a halt, they
raise the wands high, then drive them into the earth before the arbor. This
performance is enacted successively before each of the four arbors, after which
the occupants take a drink of the emetic.
Kabftcimala knew the fourteen different songs of the Feather Dance which
are offered here, but many words in the last songs were not obtained.
(A) M. M. j=112.
(B) M. M. J^ = 17li.
*ij» —
0£&= _. :k}r/
jE±r — --: Easf^
( three times.
^,^r:^p^=^^^T':f-g^p.-iirF^=T
3=dfcH03==ttfVi = -K*i^^7j-
(O) M. M. j =- 208.
Hf peat four lima.
=o=t
1
Whoop.
. _ L__
=e-;4
-fe*^
Repeat Jive times.
188
ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I.
(E) M. M. j = 200.
- -f-
Repeat six times.
(F) M. M. j=104.
Exclamation,
F •—*-* r*-»—\
Repeat twice.
n II
(G) M. M. j . = 80.
?rif-— — =:?it^»: -
_-
E Ef ^•zE»Ef;FE?r
Ir, (H) M. M. , =190.
., II noon. «
^ g *
Jj^f^^Ef f^-. I ^.^^1 p -7 • • • — • » T— F^»-* • h- •>-J»~F»_i»-j»-«-»-»
"
t twice.
— ^- — — ^r- ™
Repeat twice. Repeat four times.
(I) M.M. j= !!•().
iy^Eil
Repeat three, tnnrs.
19.
FEATHER DANCE.
(Tulsa Town.)
Fortunately for purposes of comparison, Kabftclmala was able to sing a
version of the Feather Dance which came from Tulsa town, a Creek town-tribe
northeast of Taskigi. (Cf. map, M.A.A.A.) This he learned from a Tulsa town
F. G. SPECK CREEK AND YUCHI CEREMONIAL SONGS.
189
leader years ago. The version is interesting ethriographically because it shows
that in such details the various towns differed from each other.
(A) Allegro. M.JK. j— 152. ^
liepeat eight times.
(B) Pmto. M. M. j... 190.
I . .
Drum beat.
(C) I'rfsta. M. M. j = 104.
^ V » f » »
Repeat Jive times
— ' • — «-»— » — • — • — »-ti — *^» — • — *-f - •— *-* — • — • *u
— i— —Sm — • I- >-sf 0
>^c - i-ELiE1 I _ irsE: :ES _tz
Repi-at fire times.
Repeat three tiniex. Whoop>
(D) M. M. j - 138.
JK^IL -»--,«-. _ ^- :*
Repeat four times. Yell.
The syllables are:
(A) h6 si do,1 yd na he and
ho si' do si' do ho ya le.
'While no meaning was ascribed to this when it was taken down, it nevertheless
means 'to forget.'
190 ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I.
(B) ha no go wa ll na.
(C) ho ll ya, yo ha no ga yo ga ll'. (Whoop at end.)
(D) ho le ne wa yo ne ' yd na h? he ya.
The yell ha'£ yo wl' concludes the song.
20. ObA'ngaha'djo.
CRAZY DANCE.
One of the favorite Creek dances is the Crazy Dance, so named because
the participants behave like wild people, men and women taking freedom with
each other's persons and acting in general in such a way as to provoke mirth.
The word hadjo is peculiar to the Muskogi also as a personal name in the
sense of wild, clever, funny, crazy, and withal in no way opprobrious. The
songs for the Crazy Dance usually are funny or obscene stories, which in con-
nection with other traits, suggests that in some way there is a connection between
the dance and the idea of procreation. In other respects the movements,
motions and accompaniments are similar to the other dances. Licentiousness
usually follows after it.
A peculiar feature of the Crazy Dance is that it is customary for the women
who take part in it to pay twenty-five cents to their male partners, a practice
which is found also among the plains tribes.
(B) M. M-= 174.
fi!tf==fr^ r:i£t=fi«i=5^i
F. G. SPECK — CREEK AND YUCHI CEREMONIAL SONGS. 191
(C) M. M. J. 96.
Whonp.
M. M.
t nil time*.
J U 1
•^Sj|i4-L£E£^£gF
Repeat three time*.
Repeat twice.
192 ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. 1.
IF) M.K. J =
u< •* 3 —
ftfcrf
_._._-£-.
-fr=f=f--r-pT:^-r-f--
1-*=^= SEEtat:=
— ^_j 1
^=^f=^=t-
n 11 J»
c^iaaSntz n*
— • — • — >- — • — > —f^i ' _ * _ P _ *^^l
Repeat four times
(G) M. M. j=i.40.
A -•-*;_, ^ Jf-
_ _ _
Whoop.
M- -»- ifr .«. ^. .*. -*. -f- ^ -f-
ITAoop.
F. G. SPECK — CREEK AND YUCHI CEREMONIAL SONGS. 193
(H) M. M. J= 144^
Repeat eight times.
The words and syllables of the various songs of this dance are:
(A) Introduction not transcribed.
whoop yo hyo, yoK o(: ho hoi. (Three times.)
yo nyo, yo hyo. (Four times.)
aha, a ha.
ye live, yc Iiyc.
yo hyo, yo li'jo.
we hii, we ha.
we hi ya!: ;i, u'c III yuE ii.
we he, we he.
yo hyo, yo hyo.
The above cries by the leader and responses by the chorus arc continued
while he walks circling about the fire on the dance ground. At the end the
leader gives a long whoop and the line breaks up to form again soon and repeat
the whole. After these two songs, the dance proper begins (B).
(B) yd li ha yo hii, M he.
(C) he ya hi yd. ha, hd we hd (or)
hyo wa hi yd ha, yd we hd.
There are some words to this verse, but all that could be obtained was
"ya rna talofa, this here my village," meaning "this is where I belong," and
"tcahaslka siitki, my hat is too small."1
(D) h6 ga yo wd l! he or ya' hi ye.
gd hyo wd li he.
(E) yd we he yd ya, a hyff he he.
'Another example of these interjectional phrases is makosfgodesfm "he never could say
it before, (but he can say it) now," from a dance song, as I remember it, in which the burden
was hakoiyaka tea, and said to mean "come on with it."
194 ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I.
(F) h6 ya hi' yaf we, hd hi ya hi yd' we.
(G) (H) yo hyo, yd wa hi yd (Repeat several times.)
tci'lakkobai'ka, dmo'padedjes.
[my] mule, saddle him for me.
hay apohikko, djoltidjiofAn .
[on the] prairie big, when we get there,
yanasadjif.\'kna, ilidja6f\n.
buffalo young bull,1 when I kill him.
tcahaiwa, ftskl, tenliambl6f,\.n.
my wife's mother, when we eat together,
tcahanlofa, ivdsasimikko.
when she scolds me. Osage chief,
inhad f sinof a, wdsasosA.'lgi.
when I become his son-in-law, many little Osages,
5djutskai6fAn.
when I made them.
hayadidjalakka, hAdjdh&lwadjdfa.
morning star big, when it is rising,
pfnadjadjahoga, dja'hoginpd'hat.
old turkey gobbler, when I hear him gobbling,
am Id j al fska , A'ngn lon&yid.
my old gun, I start with it on my shoulder.
ayi'bit, i'lohriofa.
I '11 go along, when I get there,
idoladjilakko, hi'djr'it.
[on] tree limb big. I'll see him.
fdohwl'ian, t's^'djat.
on a tree standing, I'll see him.
hasmila'yat, idja'hdt.
I'll aim at him, I'll shoot him.
lahii't illdjiitlolut, tca'haiica itski.
when I shoot him, I'll kill him, turning. My wife's mother.
Iaidjog6sdjat, Iwalagadfa.
I'll take it on my back, when I get there
tcahadjawA'lgi, plnhokpiablswa.
ray sisters-in-law, turkey breast meat
dfnhambiofa, sldihanwj&n.
when we eat it together, when they bagin quarreling,
sfdibohin, isnaf&'kat.
fighting with each other, I'll knock them about.
andalogi'bit, (Whoop.)
I'll eat it all up myself.
This ends the song except for some repetitions of he'ya wa h£ya, which
also intermpts the text in a few places, acting as a sort of pause.
•The informant gave " young bull elephant" for this.
F. G. SPECK — CREEK AND YUCHI CEREMONIAL SONGS.
195
The sense of the above primitive lyric song is not very clearly expressed
in the interlinear translation. The singer changes his tense, mood and voice at
random. First he orders his mule saddled to hunt buffalo on the prairie. Then
he depicts the scene with his mother-in-law when the}' eat together and ends
with a quarrel. For revenge he goes off, marries an Osage chief's daughter and
raises children. Next the scene changes to an early morning when he is hunting
turkeys. After getting one he packs it to his old home and leaves it among
his sisters-in-law. They fall to quarreling over the breast meat, whereupon he
takes the opportunity of knocking them about and eating it all up himself to
pay off old scores. The song appeals profoundly to Indian humor and is well
known among the northern Creek towns.
21. Olu'nga hfi'djo ('HAZY DA.NCK.
Another dance song of this class is the following from the repertoire of Luslie
Cloud. In the second song (15) alternating with the nonsense syllables as given,
the leader waxes confidential about some: girl of his town, but the text was
not obtained.
(A) M. M. J = 12(>
196
ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I.
m
.. .
_. m f _.
b»
* -;--r '—•-•— •^r^r**— *— r-*-^" -_rp- — • — >
— SS^:^ — t — ^^i
I ' • • ,
irt-
FFk ?•
ES5=
— r *" izc"*
~» — • —
-t=t=:
S-
IT 7iooo
The burden is :
(A) howe go yd£ a le
(B) y6ha II ne
ahl ya ha ll'ne
(Tlie words of the song alternate with the above syllable groups. Only a
fragment of the text can be given.)
hagin safotki
noise ?
hwi'djada fuski
? sharp
F. C. SPF.CK — CHEEK AND YUCHI CEKEMONIAL SONGS.
197
3. (Second Version.)
A duplicate version of this song is offered to show how various renderings
differ in details.
(A) M. M. j = 126.
-fes — —0---f-» - i»-[-— »-g — f-r-p-i—p-m -•— '—?-» — *T^'~*~
Repeat sir. limes.
22. Ha'djobAnga1 DRUNKEN DANCE.
The main features of this dance are like those of the others. The partic-
ipants follow the leader in a circle around the fire. Drumming and rattling go
with it and two women wear the leg rattles. The dancers reel, jostle one another
and act in general like drunken men. Oftentimes they do not need to act it as
they usually dance this at a time when many have been drinking. It seems to
be entirely a pleasure dance, probably of modern origin, embracing perhaps
some idea of propitiation. As in the Crazy Dance, the remarks on which also
apply to this, the leader may compose words for the song, improvise on the spot,
or merely keep up a meaningless burden with a few expressions here and there.
The songs are usually ludicrous, sometimes telling a story or some clownish
anecdote.
(A) M.M. j=lo«.
Yrtl.
r~y~7y' P f * *
PgkPM> ! I ! h-
'Ha'dji means 'drunken'.
198 ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I.
(B) M. M. j =- 120.
£*i
K'Aoop.
(C) M.M. J=108.
3^B|=EE
Repeat four limes.
H>-7-^ — — £"-
nr t= =l--_-
Repeat nine times.
M. M. j = 120.
Whoop.
Repeat six times.
(E) M.M. j=116.
_«_. .*-«. Ji- -*. _•- JL ^t. JL Jt. -f. ^~~~
Mv-
(F) M.M. j = 106.
Repeat six times.
I b-
-I 1
F. G. SPECK CREEK" AND YUCHI CEREMONIAL SONGS. 109
(G) M. M. J =
Repedt six times.
The syllables ami words of one version are:
(A) h6 11 na we y6 wa hi yd. (whoop at end).
(B) he1 ga ya fa? yo wa li. (twice).
gilago djahadji
I don't know any thing I am drunk
mikhomi temiskl
something strong we drink together
fstamuhedohaks. (whoop at end.)
something wonderful, is it not?
Repeat with the following in which one of the women is supposed to be
speaking :
we h<5 yo na. (four times.)
hahw6bage, djakddjiba.
let us go, she says to me,
djahe'sigo.
I have no husband.
djfndaba lamonilyas. (man supposed to be speaking.)
your bed, tell me where it is.
djihA'de n^ne lamonayas. (whoop at end.)
your home road, tell me where it is.
(C) n6 he yd le. (first five bars.)
djlhi waka siimhogi all's, (woman supposed to be speaking.)
my husband lies [I will] run away from
down, him and wander.
djelie laga sumhogi ala.
my husband stays home, [I will] run away and wander.
djtihe laga sumhogi dlis. (man supposed to be speakinir,
my wife stays home, [I will] run away whoops at end.)
and wander.
(D) ho ya w6. (repeat a number of times.)
lisala'gosin tcinha'sin. (from here on through (E) man is
when the moon rises I'll cohabit with you, supposed to be speaking.)
yd nade gA'n nalkabaddgosin tcinhasin.
here in the entire abdomen, in the centre of the body. I'll cohabit with you.
(E) yd li go yd no he. (repeat a number of times.)
200 ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I.
nodjalis nili hamgosas.
I'll sleep with you night just one
nmi dimbosas.
road close to
nili ostosas.
night just four
djogo h'skosa.
[in that] house old
nfli palosiis lisnodjas. (whoop at end.)
night just ten I'll sleep with you.
(F) ll' so sa ye (or) he go da li he.
li' so ga li he.
ehe debkadjoks djikal hodjikaihosa. (an outsider is here sup-
husband will whip her they say of you, they say posed to be Speaking.)
of you.
ehe nafkodjoge djig&hodjigefesa. (whoop.)
husband will strike you they say of you, they say of you.
(G) ha li na ive ya he (and)
yo ha li na ii'(£ e' he he ya.
djinhokoigesa djiye' hodjige' esa.
you he will call, they say of you, they say of you.
hehenoe'gesa djige' hodjiye' csa (whoop at end.)
when you are called (?) they say of you, they say of you.
An interesting feature of this song is the role played by the leader in which
he impersonates a man, then a woman and finally an outsider or public opinion.
The chorus of dancers follow along as best they can with the song, or else sing
he ya or some common burden syllables, at the end of each phrase if they do
not know the words. Through long popularity, however, this kind of song is
generally well known. The words are given as they were heard without any
attempt to normalize the variant renderings..
YUCHI DANCE SONGS.
The following small collection of Yuchi dance songs was obtained from
Ekllane "It has left me, " a second chief, Kii'ba, "Creek Indian," and
Fagoeonw!', "Comes out of the thicket," and Jim Tiger. The main features
of the dances to which these songs belong are about the same as those of the
neighboring Creeks of Taskigi town, which have already been described.1 The
music, however, judging from what is available, seems to differ materially, the
Yuchi songs lacking the vigor of the Creek. Owing to the close proximity of
the two peoples they participated frequently in each other's dances. Xow that
the Taskigi have given up their own ceremonies they attend those of the
Yuchi, generally using their own songs when invited to lead dances.
The musical instruments employed by the two peoples in their dances are
identical. In regard to the town square-ground which is at the same time the
dance area, there are some points of difference which should be noted. The
Yuchi square-ground has only three brush-covered lodges, one at the north
side, facing inward, one at the south, and one at the west, but none at the
eastern edge. 2
PHONKTIC KKV TO Yrcin.
Glottal catch8, k and g surd and sonants similar to the English; t and d,
and p and b rather difficult to distinguish as to their surd and sonant quality;
c like English sh; surd tc like English "ch" in "church;" dj corresponding
sonant; s, ts, f, n, I, and dz similar to the English sounds; I asinCreek, as are
the semivowels. The vowels have the same quality as in Creek except «,
which is like ii in English "fan." Vowel prolongation is marked by a dot
following, ', and !, and accent by '.
1. D;itoRa' ctl. BIG TURTLE DANCE.
This dance is the first and most formal dance to be performed on the
occasion of the annual ceremonies. It is in honor of a creature called Big
Turtle, Datoea', a supernatural homed reptile, denoted in Yuchi as a turtle
'For an independent account of Yuchi dancing, see pp. 124-130, 112-113.
"See pp. 1 1 1 , 1 1 8, also Plates XI et seq.
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ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I.
though having a snake-like body, which figures conspicuously in southeastern
mythology. This being is associated with the rainbow, storms, t'um er,
lightning and also disease. A stuffed deerskin effigy of the creature colored
blue rested on the ground in front of the north lodge of the town square, in
former times.
As I have given a more detailed account of this dance in Part One of this
volume, an abstract from the original source1 will convey a clearer idea of the
scene.
The dancers, grouping themselves about the leader who sings and rattles,
form, a compact mass an.l begin moving in a circle. A woman with the leg
rattles, joins the throng of dancers when they start to circle in single file about
the fire contra-clockwise. When the leader finishes the first song he whoops
and the dancers disperse for a short interval. Soon the leader begins circling
the fire, singing the introduction (A) and the dancers who have been resting,
seated in the lodges on the square-ground, file in again behind him. No drum-
ming accompanies this dance.
The following version of the song was sung bv Ku'ba.
3£ Z3E| '^^^E-
llepeat several times. '
The above is a sort of gathering song which is continued as long as the
dancers are grouped closely on the corner of the square-ground. The syllables
are yo hyo, hd' (the chorus joining vigorously on ho').
When the leader breaks out of this group and starts dancing and rattling
toward the fire he changes the tune to the following, which is continued until
the end of the first dance.
(A) M.M. J = 100.
Repeat five times.
(B) M.M. j= 128.
-=i=i^
Repeat eight times.
'See pp. 119, 111 and Plate XII, 1 and 2.
F. G. SPECK — CREEK AND YUCHI CEREMONIAL SONGS.
203
The burden syllables are:
(A) ho yd nl yo yd nd.
(B) h6yo w<5ha
or hi y6, we ha'
.., j- yd le hd or yd he ya.
2. Cucpa ctl. GARFISH DANCE.
The Garfish or Pike, cucpa, esteemed as a food fish, is honored by a dance
in which the rattle, in the hands of the leader, and the small water drum in one
of the square-ground lodges accompany the song. So far as observed there
are no special features to this dance.
(Duet of treble voices.1)
Falnftlo. , ., .. ^ ..«,
.•7s .•. _•?* .». ,f^ .•7s .•- » -•. -»7S ' 4 ~
=§i^E 1-7^= iE^EFdE ^r-iP85 3
br?^33=: :fer zrES= ^~ =S
'-•- "•*-»- "•*'• ' *-*-*• '-•-
Ci-y. Cry.
^^^=^^pS|^=^Ek^~^£F^_r_rJ
-4 «•-•--«
jr_^x ^s
..*,—-•
= /
rv r — -i
'Sung by I('ag6':o"wi and Ku'ba
204 ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I.
This song has an introduction shown in the first two bars, the syllables of
which are ho ho, ha ha, he h6, ha ha', ho ho, uttered rapidly by the leader while
walking about the dance circle before commencing the song proper. The
leader sings the first syllables, the chorus of dancers alternate with the
underlined ones. The song begins at (A) with the unmeaning burden of
we he ya ho linn.
At (B) several cries begin the strain, after which the burden syllables are:
we ha yo hayo rut.
At the fifth and sixth bars the cry wl he ho' is given twice.
At (C) the syllables of (A) are repeated.
3. Tsebe"bene ctl. DRIJXKEX DANCE.
A favorite dance with not only the Yuchi, but also the Creeks and prob-
ably other southern tribes, is one known as the Crazy or Drunken Dance.
To most Indians this is purely a pleasure dance. The men who participate in
it arc usually as much under the influence of whiskey as they can get, the idea
of the thing being to submit directly to its mysterious magic inflatus. The use
of whiskey among the Creeks and Yuchi as a stimulant to the senses as well as
to the singing and motions of the dancers, seems to be similar to that of mescal or
peyote among the tribes farther southwest. Not all of the dancers, however,
become drunk nor is it even necessary to have drink. The aim of the dancers
seems to be to reach a higli pitch of excitement, which is, of course, helped out
by whiskey. With the Creeks this and the Crazy Dance are supposed to be
the occasion for taking extreme liberties with the persons of women participants,
but with the Yuchi the feeling appeared to be somewhat milder, though its
obscene side was not entirely lacking.
There are, as at all such gatherings, some women whose chief object in
coming to the dances is to gratify their passions with different men, and it may
be with the Yuchi at any rate that this dance, coming usually among the later
performances in the small hours of the morning, occurs at a time and under
conditions that are naturally less restrained. I presume, though, since one
has to judge from a relative standpoint, that by some the conclusion of this
dance upon certain occasions would be described as a scene of uproarious
debauchery.
The leader accompanies his song with the hand rattle. Two women with
the leg rattles enter the line of dancers at their third or fourth circuit, coming
from between the north and east lodge. They fall in directly behind the leader
and keep time stamping each foot vigorously. The volume of sound is quite
intense. Before the first song is concluded these women leave the file, only to
return again as before when the second song has gotten started.
While no words nor expressions appear in the version offered, it is never-
F. G. SPECK CREEK AND YUCHI CEREMONIAL SONGS.
205
theless a common practice in this dance to introduce ideas, sometimes of a
suggestive obscene nature, sometimes in ridicule of different persons.1
(A) M. M. J = 148.
H_
— 0-
~ -0-^0-* -0-
—i —
Yell. (B) M. M. j = 102.
-0-^0 -0-
Repeat three times.
» 1-
« — I— ,
^0 — Ji^_bj gBtaM^t — 1* — ?Jri_ I — | Jii_-~^rj'-bi_rj-.-_d
Repeat twice.
(C) M. M. j = 94.
^^3 — ^^ r~S5iB — 1^^ — '
~f 0-0-0-
'See p. 129.
206 ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I.
ra.
M. M. j = 100.
ir±
Repeat twice.
Yell.
i-T-j- : ^j^— t,— ^—^—^—ti^—ti^—he—^.--.
(F) M. M. j = 104.
-•- -•• -•-
Repeat twice.
The meaningless syllables of each song vary between several slightly
different groups. They are:
(A) vo' wa hi ) _. , _
> ya In ye (and)
yd' we hi (
(B) ho' wa li na ya' hi ye ya' hi ye (and)
ho' ya li na ya' hwe yd' hi ye and yd' we he ya'
(C) ya le ha, yo' ho we he (and)
ho' we, ya' ha we.
(D) yo' na na, he' na na.
(E) ha' we ya wa ya he' he ye (and)
ho' we ya ho we ya. he' he.
(F) hd na ho wa' li yd' wa li ha:' .
F. G. SPECK — CREEK AND YUCHI CEREMONIAL SONGS.
207
4. YUCHI DANCE SONG.
The following is a typical Yuchi round dance song. It was sung by Ku'ba,
who often used it when invited to lead, but he assigned no parti.-ular name or
function to it. An accompaniment was provided by the drum and hand
rattle.
(A) M. M. J = 126.
— K-^— ; — K-l^—
^2
fe^^^3^B:3
jJ^S-i — *-•-« — *-•-•• — «-•-* -J
~' I*' '2^^^^^^^
^ — *~ l
- — ( 1 H — -^ 1
•— *-i.— 1-3— *— f^
:4r4
(B) M. M. J= 120.
f*
i (0)
tt
V
5=^--^q=: N 3
£=*ntrJ=S
208 ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I.
(D) M. M. J"> = 184.
=££=2=3=3=3=3=
Repeat three times.
Repeat four times.
(G) M. M. J = 132.
t •- — — « ,_C- — •—•— L_ f^f ^3—3
"•" Repeat three times.
The meaningless syllables are:
(A) Introduction consisting of repeated yo' hyo, a' live, we' ha,
a hi yasa and other similar variable combinations.
(B) yo ya l! ha.
(C) ho ho a ho ha, h6 he he a he.
(D) w6 ha yo wa li ha.
(E) ha we le ha.
(F) ha hi ya ha', a hi ya ha'.
(G) hi' we yu' le, hi' we yd8 e, ha y6 ha.
5.
Yucm DANCE SONG.
The following is another typical round dance song sung by Fag6Eonwi'.
(A) M. M. J = 84.
F. G. SPECK — CREEK AND YUCHI CEREMONIAL SONGS. 209
(B) M. M. j = 100.
^5
(C) M. M. ? = 17fi.
rtt
Re/ifilt tlficr.
-- ' —
t
The syllables are:
(A) Introduction with repetitions of yo ho, ya hwc' ll,
ha In yo, a hi y;li:e.
(H) he yo li yo ha |
he yo wo hi ya h'i - varyinfr repetitions.
we ha yo n:i. )
((') ka yo wa IT, yo w.i li he.
6. Watsone ctT.
I5M.I, (!AME DANCE.
The following dance takes place just before the racket ball game1 is begun.
The players, with their ball sticks in hand, stripped and ornamented for the
contest, dance about their goal posts to surround them with protective magic.
(A) M.M. J = 116.
i F •
-t~*^r=*=--
Rtpeat three times.
'.See p. 80.
210
ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I.
The syllables are:
(A) yo we d6 na he-1
(B) h6 go ya na he1'
7. Ba't6 cti. HORSE DANCE.'
In honor of the horse, ba' t6, literally 'toe one, ' the Yuchi perform a pro-
pitiatory dance. The dancers trot around behind the leader who accompanies
his song with a hand rattle. The drum is also beaten in time. At the end of
the song they grunt like stallions.
(A) M. M. J — 84.
i r-^— n i — •— T- .-•• — B^
(B)
(C) M. M. J= 120.
Repeat three times.
The burden of this song is:
(A) he yo l! he, yd, nl na, yo ha le na.
(B) yo we he, we yo we he8 e.
(C) yo wa li, ha ya li na, yd !l na.
*A dot after a vowel indicates extreme length.
•In p. 127 the Creek Horse Dance is given under the heading of a Yuchi dance.
While many Creek songs are used at the Yuchi ceremonies, it will be seen from the above
version, which was unavailable at the time of writing, that there is considerable difference
between some of the Creek and Yuchi songs having the same name.
CREEK MEDICINE SONGS AND FORMULAS
The following medicine songs and formulas as well as the dance songs were
obtained in 1905 by purchase from Kabi'tclmdia, whose fame as a shaman or
doctor was no less than his renown as dance leader and town chief.
A considerable proportion of the text material, and the information con-
cerning the whole, has already been published in a general paper dealing with
the ethnology of the Taskigi Creeks.1 Since, however, it has become possible to
have the music for the entire set of songs, transcribed, besides the texts of twice
as many as at first, it seems advisable for the sake of completeness to incor-
porate in this paper the entire collection, including the data already presented
together with the new information resulting from a more thorough acquaintance
with the field.
As to the theory of disease we find that the Creeks hold ideas similar at
bottom to those of most American tribes. Pain or disease, nukkl, i.s believed to
be caused by some noxious matter or some disturbing influence transferred into
the body of the sufferer by some animal, spirit or malevolent person. Animals
are thought to be at times offended at the actions of people, for which they
inflict disease. Besides, there are various classes of supernatural creatures,
little people, sprites, monsters of water and earth, which are evilly disposed
toward human beings, for which reason they in turn inflict disease. And lastly
there are people who to revenge themselves, or, for personal reasons, are either
able by themselves to inflict disease by magic means or, lacking the power, hire
a shaman to do it for them. According to the origin myth (seep. 237) when the
various animals and creatures, during the mythical age, arbitrarily introduced
disease upon the earth they incidentally agreed to make cures or medicines,
consisting of song formulas which appeal to the animal or spirit causers and
herb medicines or magic objects which are steeped in a decoction and drunk
by the sufferer to act through sympathetic magic objectively upon the disease.
The causes embrace, as will be seen from the myth, a variety of creatures and
objects: panther, wildcat, cat, bear, hog, raccoon, opossum, sky hog (a sidereal
being ?), horse, beaver, otter, dog, deer, yearling deer, bird, owl, turkey, buz-
zard, fish, snakes in general, water moccasin, water wolf (evidently some reptile)
and rattle snake. Other more general animal causes are small water creatures,
seashore creatures, water creatures, an:l game animals, while besides there are,
'See M.A.A.A. pp. 121-133.
(211)
'212 ANTHROPOLOGICAL PUli. UNIV. OF PA. MUSEUM, VOL. I.
rainbow, spirits, living people, what is inside of you, fire, and various kinds of
dirt or earth.1 The knowledge of the proper songs and the herbs or magic
objects to go with them, as well as the power to diagnose the causes of disorder,
was acquired by certain people in mythical times who have since transferred
their pharmacopeia and secrets from generation to generation down to the
present day. The practice of medicine with its secrets is now an activity
retained in the possession of persons who have either actually invented out-
right their own songs, herb cures and treatments, or those who have inherited or
bought the profession from another. There do not seem to be any particular
religious restraints in connection with the ordinary medicine practice so far as
I have learned, nor were there any medicine man's societies or organizations.
Sometimes a man, having learned a few cures and operated them with success
a few times, may decide to improve his opportunities, learn more and become a
practitioner. From some well known shaman he may buy or learn some for-
mulas and botanic secrets, which, together with a few inventions of his own,
may earn him a fair reputation and establish him as a shaman, alfkdja, or
owala,2 or doctor in his town. Such in general was the career of Kabi'tclmala.
I'eople when afflicted with sickness, unless they are able to treat themselves
with some simples which are commonly known amongst them, pay a visit to
some shaman to have the cause ascertained and removed. The shaman's
method of procedure is, in general, about as follows: By secret means and a
little well directed questioning he will determine what the trouble is and its
nature, judging from the sufferer's symptoms. An exceptionally clever doctor
can diagnose from personal effects, a shirt, hair and the like. When the com-
plaint is understood he knows what creature is responsible. As will be seen from
an inspection of the list of symptoms and assigned causes, the method of diag-
nosis seems to be backward, tracing the trouble to some creature with whom
the same symptoms are characteristic. For instance, indigestion is attributed
to the hog, who is a notorious glutton; sleeplessness is attributed to the raccoon
whose habit is to roam at night, whose eyes are deeply ringed from lack of
sleep ; colic and flatulency are attributed to the horse, who is naturally prone
to the same; rheumatism in one form is blamed upon fawns or yearling deer
whose gait indicates stiffness of the joints; while diarrhea is traced to birds
and constipation to the beaver, from the quality of their respective excrements.
In not all of the cases, however, is the line of connection clear. Accordingly
the shaman, having ascertained the cause, and knowing what medicinal agents
go with the formula to charm away the trouble, proceeds to gather his herbs and
steep them in a pot of water. The interesting notion of sympathetic influence
'This has particular reference to the earth dug out of graves, which is thought to
convey rheumatism through contact. Different colored clays and soils are also meant.
"Also hflis hdya, "medicine maker."
F. G. SPECK — CHEEK AND YUCHI CEREMONIAL SONOS. 213
runs all through these as well. We find, for instance, that among the herbs
useil in the decoctions, most of them, either in form or in name, are connected
like fetishes with the cause. So for indigestion caused by the hog, a plant
called 'hog ear' is used; for rheumatism caused by the deer, 'deer potato' is
used; for headache caused by the sun, sunflower is used; for diarrhea caused
by birds, a bird's nest is used, and so on. While the connection between many
of the vegetable substances and the causes, in name at least, is quite apparent,
there are nevertheless some in which it is quite obscure, and it is among these
latter that we meet with some herbs which are medicinally effective. The
Fio. 3.— Shaman's Medicine Pot.
interesting problem of origin here presents itself, in discussion of which it seems
plausible that with the accidental discovery of the beneficial effects of certain
herbs, like wild cherry bark for colds, red willow for a physic, and ginseng for a
narcotic, the beginnings of pharmaceutics had developed from the use of what
were originally mere fetishes. I may, indeed, be underrating the actual virtues
of some of these quasi-scientific herb remedies. Some of them arc known and
employed for similar troubles not only by distant Indian tribes but by white
country folk who have evidently acquired them from the Indians in colonial
times. In the medicine practices of neighboring southern tribes as well as
Cherokee,1 Yuchi,2 Chickasaw, and undoubtedly others when we know more
"Of. Mooney, "Sacred Formulas of the Cherokee," Seventh Annual Hep. Bur. Amei.
Ethnology (1885-6). This material, offering the only source so far available in comparing
southern practices, is on the whole fundamentally similar to the Creek. The Cherokee
medicine origin myth (ibid-, p. 319) is distantly similar. The formulas, however, are not
eung. A discussion of the medicinal properties of the herbs concerned (ibid-, p. 328) is
given by Mooney.
"See p. 132. With the above, the Osages, Kansas and neighboring southern plains
tribes (Cf. "Manners and Customs of Several Indian Tribes," etc. J. D. Hunter, Phila., 1823,
pp. 368-402), and theOjibways (Cf. The "MideViwin," etc., of the Ojibway, W. J. Hoffman,
Seventh Annual Rep. Bur. Amer. Ethnology, 1885-6) present certain similarities in the
use of herbs.
214 ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I.
about them, the use of herbs is found associated with the idea that ' like cures
like, ' under various guises with different details.
The shaman then, after collecting his medicines and steeping them in a
pot of water (Fig. 3), produces his blow-pipe (Fig. 4), a section of cane about
thirty inches in length, and, in the secrecy of his private quarters, lest someone
else learn the procedure, sings a magic song or repeats a formula over the
draught, between verses giving the decoction a blowing through the pipe to
make it bubble up with air. The virtue of the song is thought to be trans-
ferred into the medicine, hili'swa, which is then ready to be administered to the
patient internally and sometimes externally too. According to Kabi'tcimala
the shaman's purpose is to throw the disease out of the sufferer into some
animal,but not the one that causes it, lest he send it back with doubled severity.
In regard to the words of the songs little in detail can be said. In most cases
they express disconnected ideas, sometimes descriptive of the animal cause,
sometimes as though the shaman were describing its movements which he is
watching from a distance. Frequently the song is more of a petition, with a
"''a&~^:=-:: ^
FIG. 4. — Shaman's Blowing Tube.
reverential tone, acting upon the sympathies of the causing agent, while again
it may contain slurs and ridicule. A most important feature, however, is the
cardinal symbolism which is commonly repeated in conjunction with the name
of the animal cause. The number four probably derived from this source
dominates in Creek ritual. North, Kasapo'fa, 'where it is cold,' is black;
South, nigatofa, 'where it burns (?),' is red; East, hasosa, 'sunrise,' is white,
and West, hasakaldtka, 'sun sinks into the water, ' is yellow.
Shamans expect payment when their cures have been successful, the
amount generally depending upon the generosity of their patients. They are
said to be hired sometimes to cause disease in others, not infrequently having
been known to do so of their own accord for personal reasons. When accused
of using their powers in this direction it was customary formerly to put them
to death. As with other tribes, Creek shamans often held contests to test their
powers with rivals. Love and hunting songs as well as charms are, nowadays
as in the past, dealt in by them.
The professional paraphernalia of the Creek medicine man consisted simply
of pottery vessels, a cane blow-pipe or two and quantities of dried roots, leaves,
bark, twigs and the like. These objects, however, were not preserved with any
particular reverence, the whole shamanistic practice among the Taskigi lacking
the highly colored ceremonial side so strong among the plains tribes.
F. G. SPECK — CREEK AND YUCHI CEREMONIAL SONGS.
215
Regarding the texts themselves it should be noted that the grammatical
forms are in many places mutilated by assimilation, dissimilation, elision, change
of accent and vowel length, to accommodate the words to the music, or through
conventionality in utterance.
The texts in a good many instances were by no means clear to the informant
himself, evidently having suffered through considerable 'shaman's license,'
in consequence of which they, and the translations, are given as recorded with-
out any attempt to harmonize them.
The following collection of songs represents a portion of the property of one
shaman and probably contains much that is purely individual matter.
1. Sukha ale'dja. HOG THE CAUSE.
Indigestion is caused by the hog, sukha. As a medicine to be drunk by
the patient the whole plant of siikha luttsko, 'hog ear' (Hierocicum scouleri), is
steeped in the vessel of water. The magic blowing is accompanied by the
following song. In this formula we have an excellent example of the association
of three ideas according to Creek philosophy, the hog's gluttony, human indi-
gestion, and the curative property of some plant having a name connected with
that of -the hog. Neither the text nor the translation lay claim to correctness
throughout owing to the rapidity of utterance and indistinctness.
M. M. j — 138.
Repeat three time*.
Djl'mundahall'nomi' (repeated to the sixth bar, then followed by
the rest.)
your superiority, as it were.
sukha djull.
hog old male.
216
ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I.
ya wdkla d!'.
here he was lying.
1'laga dji'noml'.
stretched out, we seem to see him.
dji howehi'.
your calling (grunting).
hi'll hi'djinoml'.
foot (we) seem to see him.
I'lada'li dji'noml'.
hungry, he roams about, (we) seem to see him.
alaga djfnomi'.
stretched out, (we) seem to see him.
nanuckago hayandoml'.
evil conjuring he seems to be making.
djimundahalmoml' (repeated in the last two bars)
your superiority, as it were.
A1" A'1' Am imitating hogs grunting at the end. ^
Other verses of this formula are the same in all but the first invocatory
words, having in the second, instead of sukha dju'li, 'hog old male,' as in the verse
given above, adj-u'll lam, 'old male yellow/ in the third adju'H last!, 'old
male black,' in the fourth adju'll tca'dl 'old male red,' and in the last adju'li
hatki, 'old male white. '
2. Itca'swale'dja. BEAVER THE CAUSE.
The beaver, itca'swa, is considered to be the cause of constipation and
soreness of the bowels. The character of the beaver's excrement is thought
to be an evidence that he suffers with the complaint which at times he inflicts
upon people. A decoction of the roots of akhatka, 'in the water white, ' identi-
fied as sycamore (Platanus occidentalis), and akdjilalaska, said to be red birch
(Betula nigra) is used for medicine. The songs employed to charge the medicine
are four in number, each addressed to a different animal though related, in the
native classification, to the beaver. This formula is quite a long, though a
monotonous one, as there are four verses to each song.
M. M. j=188.
us — *~~~f~~f 1 — r f • -j*~*~ — • — I
-r=r=f^
fEEES
F. G. SPECK — CREEK AND YUCHI CEREMONIAL SONGS. 217
The words of the verse are:
la'gadihi' onabaha' (repeated a number of times.)
he was sitting above,
wahala Eaha'.
south,
dja'di 8aha'.
red.
itca'swa Eaha'.
beaver.
ill'dja Eaha'.
he kills.
ilia 8aha'.
he dies.
The first song consists of the above repeated four times, the second, third
and fourth verses indicating the cardinal points and their symbolism. So the
rest of the verses have, in their second and third lines, respectively
hasakalatka la'nl eaha', (the next)
west yellow.
hom'ta' Eah5' la'sti Eaha', (and the last)
north black,
hasf/sa Eaha' hatki 8aha'.
east white.
Each of the three succeeding songs are the same as the above in all except
the animal invoked in the fourth line. Where the above has itca'swa, beaver,
the second has osa'nna, 'otter,' the third has oksutko, muskrat, and the last
has sagf pa, ermine or stoat.
3. Tcftto ale'dja. SNAKE THE CAUSE.
Aching teeth and gums and swollen cheeks are caused by ahalasakada,
the water moccasin (Ancistrodon piscivorus). The analogy between the com-
plaint and the cause, in the swollen poison glands and distended cheeks of this
snake, is a close and interesting one. In the objects constituting the medicine
too, there is a close imaginary connection with the trouble-producing snake.
These area handful of fdo ligwi, 'wood rotten,' and dried leaves, idiwissl, 'tree
hair/ put in water, blown into, and given to the patient to drink. The ideas
of sympathetic magic operate through the resemblance between the snake's
form and the tree twigs, its color and the dried leaves.
The charm formula begins with a spoken part, as follows:
nmoxkululwa1 dT.
in the path he was coiled up.
domahasokiilulut dl.
on a long stick he was coiled up (?).
wly6fobakolulut dl.
on the edge of the water he was coiled up (?)
'x represents a soft palatal spirant.
218
ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I.
dihaksamoxkululut ogadl.
around a tree branch he was coiled, it was said.
dlhaugisokolulut dl.
on a hollow tree he was coiled up.
sifsifkit os.
he hisses continuously.
yilaga hagadl'.
lying he made a noise.
djadaphades.
stone is in the grass.
hlyoxpidadagit.
here coiled up.
yilaga hagad!'
. lying he made a noise.
domahasin.
on a long stick.
lyoxpidada'git.
here coiled up.
yilaga' hagadl'.
lying he made a noise.
nenahassin.
in the sunny path.
lyoxpidada'gade.
here coiled up.
sifsk!
his<!
This is concluded with the subjoined song:
M. M. J — 104.
r E^zz*=ri=*=f±^d
i- ^^[~ ^ I tf—T^g^— — '^
^=^-+=3=5= •^V=5^^=*--
Repeat four times.
M. M. J=104.
Repeat Jour times.
F. G. SPECK CREEK AND YUCHI CEREMONIAL SONGS.
219
The words are yilaga hagadi, as above, repeated over and over again,
occasionally varied with lyoxkololo hagadi/ 'here coiled he made a noise.'
Prolonged hissing ends the charm.
4. Fuswale'dja.
limn THE CAUSE.
Birds, fuswa, in general, cause nausea, gripes and diarrhea. The shaman
prepares a medicine by steeping some kind of a bird's nest, fus imbognaga,
in water and blowing into it through his tube, between repetitions of the follow-
ing song. The patient then has to drink the medicine as usual.
M. M. J — 126.
Jfi.' -f f»- -f- -»- -
-I rl — I -i • — t 1 1 — •
• •
rt_ ~*~_+~^~+' _
•- - m m »
1 *— —\- 1 1-—— I
-t—H f 1 1-
S^E
-0-*-*
Repeat twice.
The words of the charm are:
hdgidosl'.
they chatter.
hdgidalitogl hagi'.
they chatter and flutter about.
hagidosi' (repeated a number of times),
thev chatter
220
ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I.
idA'lwa la'git ayam6.
their settlement is here,
fulotkit alidogl.
gathering together they make a fluttering noise,
djil' djil djil' djil.
martin martin,
h^gidosl' hfigidosi'.
they chatter they chatter.
At the end of the song the singer imitates the blue jay, tasi, with tins t-
in a deep voice. A variation occurs in the second repetition in the shape of
IdaldgoniA'lga.
grouped together all.
Isosiye dal^gosin.
[in thej ashes •withering (?)
5. Iganukki yahai'glda.1 HEADACHE SONG.
The deer, I'd jo, are believed to cause headache. One of the most important
herbs in the Creek pharmacopeia, namely mikoani'dja, 'chief physic' (a species
of Salix), possibly red willow, is used in the cure. The root is brewed to the
accompaniment of the following song. The shaman repeats the song four times,
between each rendering the concoction is given a good blowing through the
medicine pipe. The sufferer, then, has to drink quantities of the medicine and
have some blown over his head by the shaman. This draught acts both as an
emetic and physic, being very commonly used as such by the Creeks, Chickasaw
and Yuchi, and no doubt other southern tribes, in their annual harvest cere-
mony.2 This song embodies an analogy between a pain in the head and con-
gestion as of clouds in the sky. The shaman invokes the oppressing clouds, of
various colors according to the cardinal symbolism, ordering them to scatter.
M. M. j = 126.
5=P=g
~B
Repeat four times.
'Literally. 'Head sick, to sing. '
'Cf. p. 116, and M.A.A.A. p. 137, and Notes on Chickasaw Ethnology and Folk Lore,
F. G. Speck, Journal of American Folk-Lore, vol. xx, 1907.
F. G. SPECK — CREEK AND YUCHI CEREMONIAL SONGS.
221
The words are:
hyawiihlye' (repeated four times before, and several times after, each
scatter. of the following lines.)
aholodje Idni des awahin.
clouds
yellow
these
scatter.
holodje
djadi
des
awaliin.
clouds
red
these
scatter.
holodje
lasti
des
awahin.
clouds
black
these
scatter.
holodje
h;ltki
des
awahin.
clouds
white
these
scatter.
Were we to substitute in imagination the cardinal directions invoked by
the colors we should have, in the order given above, west, south, north and east.
6. H;issi ale'dja.
SUN THE CAUSE.
This is also a headache song where the cause of the trouble is believed to be
the sun, h.issi. The blossoms of hassi yaha'gi, 'looks toward the sun,' or 'sun
likeness,' Sunflower (Helianthus annuus ?), are the ingredients of the medicine
prepared by the shaman. The following song is sung four times, between each
repetition the medicine is given a violent blowing.
M. M. j=104.
fcj^- -y ql__ ^ ^^?~ — ^ *— • f-1 — *
Repeat four timm.
The words arc:
siwa' (repeated twelve times before, and six times after each of the
scatter. following lines.)
nftta hassi.
day sun.
nfH hdssi.
night sun.
kolilslob6tski.
stars little.
The shaman invokes the sun, moon (referred to as night sun) and the stars
to dispel the trouble.
222
ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. 1.
7. I'djo ale'dja.
DEER THE CAUSE.
Swelling boils on the body and limbs are believed to be caused by the deer,
I'djo. The shaman prepares a mixture of atcina, cedar leaves (Chamae-
cyparis thyoides), and I'djo maha, 'deer potato' (Licinaria scariosa). The root
of the latter is a bulb and both this and the leaves are used. I obtained several
songs for this trouble, the first two being quite a little alike.
M. M. J = 132.
• • • •-- • • • • 1— •-- • • 0-- •— • • •--
1 1 1 1 p 1 1 I- 1 — t- 1 I H 1 1 1 1 •=
MM • — I 1 • • — I 1 — I • to 1 M ta 1 -
• — • — • — • — • • • — • — • — • — • — •- I— I — • — • — • — • — • 1 — •
The K'ltote repeat ciyht times.
The words of this song are:
ha'finonogl'I hfdjinoml'i (repeated throughout the song.)
his feet he patters, [we] see him, as it were.
8.
DEER THE CAUSE.
M. M. j=112.
Repeat eight times.
In this version the words are:
ha'nnonogl'I hi'djinomi'I (repeated to the seventh bar twice, then
his feet he patters [we] see him, as it were. followed by the rest),
djo ml'ko Linudji.
deer chief yellow little,
hidjodjides yawakladi.
[wej see him, here he was lying,
hi'ya a/sasdlgosan.
here we run him.
ya, hwl'lidalin omasdje'.
here he stood [and] wandered about, so it seems,
P. G. SPECK — CREEK AND YUCHI CEREMONIAL SONGS.
223
There are four more verses to this song which are the same as the above
in all but the first line of the formula in which mention is made of the deer.
Where djo mi'ko lanudjl stands in the first verse, the second has I'djo adju'li,
'old male deer,' the third has I'djo djofA'gAna, 'yearling deer (in his virile
period),' the fourth has I'd jo koLv'swa,1 'deer mother,' and the fifth, I'djiidji,
' little deer. '
9. DEER THE CAUSE.
This is another quite different song which is also used in removing some
trouble brought on by the deer. Unfortunately, however, no further informa-
tion can be sriven wit'i it.
(A) M. M. * = 168.
~
Repeat four times. Cry.
Repeat four times.
d»
E3|^* f — f—r- -f— fv — v - -£—
.
. ^1-»-. -•- -^-,. r-.^u
Repeat three times.
(K)
Repeat twice.
'This is an archaic word, the moderii^being (tski.
224 ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I.
The meaningless syllables of this song are:
(A) ya li he ho yas' li he ye he he he (repeated four times.)
(B) ya' £o ha (repeated four times.)
(C) ya n£ ni ho go ho.
(D) iha'- hi'- ohol'-
oho8' hoi' ohoE/ hoi (repeated a number of times.)
(alternating with)
iha'- he'- ohol'-
he yo'- h6 (repeated a number of times.)
(E) ya na le ha ha no he ya (repeat twice.)
10. I'djo lowagi ale'dja. YEARLING DEER THE CAUSE.
Swollen joints and stiff muscles, suggestive of rheumatism, are caused by
yearling deer, Idjo lowagi, literally 'deer tender, or nimble,' or I'djudjI, 'little
deer, ' referring to yearlings. The notion of rheumatism is evidently associated
with the stiff gait of the fawns. As a cure the shaman employs atcfna, cedar
leaves which are steeped in water and blown into between the six verses of the
following song.
--— • — i 1 — I — I — I 1 — I — I —
m=l'-~fl.f ~~~—£^j^ | -•-•-• \-0 -•-•
—*•— <Jti«etr±_ —— =
Repeat six times.
The words are:
Idjodjlya (repeat six times.)
little deer.
Inadades.
the game animals.
lowagofAn.
when the}' are tender.
tcafiknosld.
being healthy.
all'bofAn.
when they wander about.
Idjodjlya (repeat six times.)
little deer.
F. G. SPECK CREEK AND YUCHI CEREMONIAL SONGS.
225
The other five verses of this song are the same as the above except for the
first two words. Accordingly only the parts that are different will be given.
Idjodjides (repeat six times.)
the little deer,
ilaksides.
his hoofs.
(repeat the last four lines of preceding verse.)
Idjodjides (repeat six times.)
the little deer.
Lsiiksodes.
his loins.
(repeat as above.)
The next three verses are the same as the preceding except in the second
line where different parts of the fawn are mentioned, in the following order
IhifAni, 'his back bone/ Imidjidcs, 'his vital parts,' I'gades, 'his head.' The
song then ends with the exclamations dogo'Idogo'! kljo'djiya', 'little deer,'
and a long cry, Inwan! imitating the cry of the fawn.
11. NokusI ale'dja. BEAR THE CAUSE.
The bear, nokusl, is thought to cause nausea and diarrhea. The plant
used by the shaman is one called wllana, 'in the water yellow '(Chenopodium
anthelminticum.) The whole plant is steeped in water and the decoction given
to the patient.
(A) M. M. j = 184.
m — •—- • — a — »— »— F»— •— •— (
Bff— •—•—•—•—•—=—»—*
—^-
- -0 • • • # — 5 ^ —
__^_2f_
^ ^
=: =t^^s*z-
Repeat twice.
226
ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I.
The meaningless syllables of this song down to (B) are hlya no, ho ga ni'.
At (B) words are introduced which, in part, are
idalegomA'lga.
grouped together all.
isoslye dalegosin.
[in the] ashes withering (?)
The last few bars are sung to the meaningless syllables as above, and the
whole song ends with a deep ho' imitating a bear.
12. Poyafi'kdja ale'dja. SPIRIT THE CAUSE.
The spirits of dead people, poyafi'kdja, literally 'our spirits, ' referring to
dead ancestors, who have not reached the home of the spirits, are thought to
wander about the earth inflicting fever in its various forms. The medicines
steeped by the shaman for this trouble were given as kofA'tska, peppermint
(Mentha (sp.?) and ahalbakstce', 'potato very straight (?),' said to be Life-
everlasting (Gnaphalium (sp.?)). There are ten verses to this song, between
each of which the medicine is given a blowing. The song invokes the trouble-
some spirit, mentioning his defunct relatives with the idea of obtaining his
mercy in some, way through his affection for them.
(A) M. M. j = 102.
— • — • — 0-
_— ' ! ! —
£• — 0—- •— ! '-— »— ^1 •r-»—f — » — •-- — • — 0-- — 0 — F-» — 0 — 0—
Repeat twice.
The wording is as follows: The portion (A) is sung to djidjfwe.iege', with-
out specified meaning, repeated up to the last bar. The last bar of (A)
differs with every verse, a different relative receiving mention in each. In
their given order the terms are :
djitski I'ladi.
your mother is dead.
djlyo'ban I'ladi.
your child is dead.
dji'lkl I'ladi.
your father is dead.
djlldha I'ladi.
vour elder brother (or sister) is dead.
F. G. SPECK — CREEK AND YUCHI CEREMONIAL 3ONG3.
227
djidjosl Had I.
your younger brother (or sister) is dead.
djldjiiwa I'ladi.
your clan brother (or sister) is dead
djitskiidji I'ladi.
your mother's sister (little mother) is dead.
djibawa I'ladi.
your mother's brother is dead.
djlbo'si I'ladi.
your grandmother is dead.
djibo'dja. I'ladi.
your grandfather is dead.
The last portion of the song (B) which is sung only twice is worded,
tulokilins.
withered up.
djila'f.\ni.
your back bone.
wogoi 1 j \vel'< 1 jayiindoin I.
made to crumble, it seems to be.
djlga'f.mi.
your head bone (skull).
13. Idlo ale'dja. FISH THE CAUSE.
The various kinds of fish, hilo, cause sleeplessness, through some obscure
train of association in the native mind. The plant used in curing the trouble is
hflis hatkl, 'medicine white,' or ginseng (1'anax quinquefolium), a well known
narcotic. A decoction of the root is steeped and a portion of the root is some-
times chewed. A forked niece of root is preferred for medicine, often going
under the designation of 'man root', from its resemblance to the human body
and legs.
(A) M. M. j = 88.
' •
L-F
i- I
-I 1 1— r-l
Repeat Jour times.
(B) M. M. = 190.
lifpeat ten times.
228
ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I.
The words of the first part (A), consisting mostly of meaningless syllables,
are:
Mni oho.
yellow.
helegwadoha.
hedomhe.
There are three other verses worded the same except in the first line where
tcadl, 'red,' lasti, 'black,' and hatkl, ' white, ' are substituted for lani. The
wording of the second part (B) is lacking.
14. Hiludja isfaga. TURTLE HUNTING MEDICINE.
A cold in the lungs, accompanied by coughing and, rather strangely, by
sores on the limbs and neck as described by Kabitcunjlta, is attributed to the
turtle, hiludja. What the sympathetic connection is between this creature and
a cold, is very obscure. A handful of tofA'mbl, wild cherry bark, is boiled and
sweetened as a medicine. The term hiludja isfaga, literally 'turtle means of
hunting,' used as the name of this cure, refers to the medicine's function in
hunting out and finding the turtle to induce him to remove the trouble. The
song is rendered four times, with blowing into the medicine during the intervals.
(A) M. M. J = 88.
>=«W — =E=
d±tr-r-fer=
1 — • •* 1 H
*-^— *
crgzEs:=r=ra=i_g_i
F. Q. SPECK - CREEK AND YUCHI CEREMONIAL SONGS. 229
(B) M. M. j= 132.
Repeat four times.
The syllables of the portion labelled (A) are:
yd nl yii ha'. At (B) the turtle is invoked with the four cardinal
colors, with the words as follows:
hiludja Ian I',
turtle yellow,
hiludja hatkl'.
turtle white,
hiludja lastl'.
turtle black,
hiludja tcadl'.
turtle red.
The song ends with numerous repetitions of the meaningless syllables as
in (A).
15. Tcftto hilfswa isfaga. SNAKE MEDICINE HUNTING.
Snakes, tcftto (singular), cause swellings on the face and limbs. The
leaves and twigs of cedar, atcma, are steeped and given the patient to drink.
The song used to charm the decoction is as follows:
(A) M. M. J=88.
* ~ - ™ ' £
^•-*— 1 — i — ^ — < — i — — i ™ — i — i
(B)
Repeat twice.
230 ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. 1.
-•- -•-
n
rl
H
Repeat four times.
The words of the first part (A) are:
Mnl oho.
yellow,
tcdd! oho.
red.
Mstl oho.
black.
h£tki oho.
white.
These words are repeated in rotation until the eighth bar where the cry
ha he' hya' hya is given.
The second part of the song (B) is rather different from the first, the words
being as follows:
lani we he (twice.)
yellow,
yabidasi'm.
creeps (?)
lanagi he.
yellow spotted,
tcadi we h6 (twice.)
red.
ydbidasini.
creeps (?)
tcaclagi he\
red spotted,
last! we he" (twice.;
black.
yabidasim.
creeps (?)
lasladi h6.
black spotted,
hatki we he (twice.)
white.
yabidasfm.
creeps (?)
hdthagi hi.
white spotted.
The last bar has'the cry ha he, hya hya, ending the song.
F. O. SPECK — CREEK AND YUCHI CEREMONIAL SONGS.
231
16. Tcftto sulga. ALL THE SNAKES.
The following formula is not accompanied by complete information, as
will be seen. Kabftcimala referred to an old story regarding the monster
described, but was only concerned with the practical curative aspect of the
matter, in consequence of which merely the song, the herbs and the scant infor-
mation given here were obtainable.
Swellings in the legs, evidently of a rheumatic nature, producing serious
lameness, are caused by a monster snake thought to be between twenty and
thirty feet in length. The creature is armed with horns on its head and dwells
or dwelt in a deep pool of water. Such monsters are quite common in the
myths of the Creeks and other southeastern tribes.1 The herbs steeped to
make the medicine are the roots of akhdtka, ' in water white,' sycamore; akdji-
lalaska, birch; akwa'na, willow. Added to the above are: ido li'gwi, 'wood
rotten', meaning ordinary dead sticks of a finger's thickness, the form of which
resembles snakes and has, in consequence, a sympathetic influence with them.
This formula begins with quite a long and very rapidly spoken part, which,
unfortunately, was not taken down at the time. The only words of this part
audible on the phonograph is the snatch akali tcadi, '(?) red, ' repeated a number
of times.
(A) M.M. j = 192.
ir jrT^- ^15
- _
Repeat four limes.
'This is probably the same as the Tie-Snake mentioned in Creek mythology. Cf. M.A.
A.A., p. 156, "Rabbit Outwits Tie-Snake."
232
ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I.
The first part of this song (A) is sung very rapidly to words repeated over
and over again. At (B) the meaningless syllables ho ya' ni we' are used.
17. Wiyogof yaha ale'dja.
IN THE WATER, WOLF THE CAUSE.
Nausea, gripes and dysentery are caused by a creature called wiyogof
yaha, ' in the water, wolf. ' Just what this animal is could not be explained,
nor could I ascertain whether it was a mythical monster or an animal, reptile
or fish in existence to-day.1
The roots of wl'su, sassafras (Sassafras sassafras) are steeped as a medicine.
The following song is repeated a number of times, while between each rendering
the medicine is given a violent blowing through the shaman's tube.
(A) M. M. ! - 144. Energettieo.
• •
-_£— ?EE^.E_»_J__
zz-^z^
(B)
t=
Repeat jive times.
The first ten bars (A) are sung to the syllables dandayi', which were said
to be without meaning, yet it is significant to notice that the last two syllables,
dayi, denote pain.
The second part (B) is sung to the words:
wlyogo'fa.
in the water
yaha lam.
wolf yellow
Idgwllagagadi
they are two big ones f?)2
'It might be suggested that the Mud Puppy (Amblystoma (Sp. ?) ) may be meant by
wiyogof yaha, if we modify the name slightly to wiyogofki (muddy water) yaha (wolf).
Translations such as these were offered by KabJtcimil:i when the texts were being
recorded. As they were almost incapable of analysis and unintelligible to other inter-
preters, evidently the informant himself was the only one who could understand them.
F. G. SPECK — CREEK AND YUCHI CEREMONIAL SONGS. 233
IIIs ilabdtkin.
(?) on the shore
llf isoho'seye.
coming from the ashes
yoso'fa hl'ladi.
in ashes he di d.
The song then ends with I'ladl, wo' wo' oho' !, 'he died, wo' wo' oho' I
(imitating feigned sad wailing).
The following are a few medicinal formulas similar in every respect to the
preceding with the exception, however, that instead of being sung, they are
repeated in a monotonous sing-song tone.
18. lakko ale'dja, HORSE THE CAUSE.
Swelling of the abdomen and numbness are caused by the horse, hikko.
The trouble is evidently akin to colic, the sympathetic relations being quite
obvious. A drink is made of four corn cobs, t&Iabl, about four inches long,
soaked in water. The medicine is given a good blowing between the repetitions
of this formula. The formula is pronounced rapidly in a rhythmic sing-song
tone.
ya liA'mba laga hi di' (repeated four times).
this eater glutton
ya liA'inba lani hi di'
this eater yellow
ya liAinba djadl hi di'
this eater red
ya hA'mba lasti hi di'
this eater black
ya hA'mba hatki hi di' "
this eater white
wakkol'dja di'
he lay down
tun ti'dja di'
he made a great din
The formula ends with two or three whinnies in imitation of a horse when
he rolls over on his back and kicks his heels in the air.
19. Wotko ale'dja. RACCOON THE CAUSE.
Sleeplessness and sadness are caused by the raccoon, wotko, who is himself
always roaming about at night and grieving, as is shown by the white circles
around his eyes. The plant used to cure the trouble is tohillgo, 'plant without
feet,' or mistletoe (Phoradendron flavescens), which grows high up on trees near
the rivers. The raccoon is thought to associate with this plant. During the
preparation of the medicine it is blown into between the verses of the follow-
234 ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. 1.
ing formula. All the animals mentioned after the raccoon in the fourth, fifth
and sixth verses are likewise night prowlers and doleful in mien. The greater
portion of the translation offered is only approximate.
aiha" ai ha" ai ha" ai ha".
wotko hoktalwa.
raccoon female
dalani.
eye yellow
po"yadjl la'gat.
mourning, lying stretched out
ikde'niAt.
(?)
alik dA'sha.
weak jumper (?)
ai ha" ai ha" ai ha" ai ha".
Five other verses are just the same as the foregoing except in the first
word. The second verse begins with wotko dju'll, 'old male raccoon', the
third with wotkudji, 'little raccoon', the fourth with oktcutko lani, 'muskrat
yellow,' the fifth with halpada lanl, 'alligator yellow,' and the sixth with tago
lam, 'ground mole yellow'. The formula ends with the syllables ' wai' wai' ' in
a deep interrogative tone.
20. Katcale'dja. WILDCAT THE CAUSED
The different members of the cat family, po'si, cat, katca, wild cat, and
koakudjl, panther, cause nausea and gripes. The medicine used with the for-
mula is made up of a number of plants, the names of which were not obtained,
and called koakudjiliswa, 'panther, medicine.' The formula, spoken quite
rapidly by the shaman, has a marked three-fourths rhythm, the words being
as follows:
katcale'dja di'.
wild cat the cause
i'ga lakko di'.
head big
yubo lakko di'.
nose big
ido lakko di.'
face big
tolwa lakko di'.
eye big
hd,tsko lakko di'.
ear big.
^.A.A.A., 128.
F. G. SPECK — CREEK AND YUCHI CEREMONIAL SONGS. 235
n6gwa lakko di'.
neck big
latsi Idkko dl'.
throat big
ifulwa lakko di'.
his shoulder big
sakpa lakko d!'.
fore leg big
li'dabiksi lakko di'.
foot broad big
nadjl lakko di'.
teeth big
hokpl lakko di'.
breast big
MfAnI fcikko di'.
buck lx>ne big
inalki lakko di'.
his belly big
isuksi hikko di'.
his buttocks big
ihdfi lakko di'.
hi.< thigh big
Inadjalahi di'.
Ixidy muscle
sakpadjalahi di'.
fore leg muscle
hadjidjalahi di'.
tail muscle
hadjffAna li'djadi'.
tail bone it was under
There are two more verses to this formula which are different from the
above only in the first word. The second verse begins with koakudji lakko
di', 'panther big', and the third with 'posi lakko di', 'cat big. '
236
ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I.
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ORIGIN OF DISEASES AND MEDICINES
Pomidjiskadju'lagi
Our ancestors
[lit. our 'old roots']
hilfswA hayadit omisdje'.1
medicine made was.
omisdje'. Mo'min
was. Then
hayadit omisdje'.
made was.
hayadit omisdje'.
made was.
hilfsw.v hayadit
medicine made
hayadit omisdje'.
made was.
hilfswA hayadit
medicine made
liuigit hillSWA
said medicine
nuigit hiliswA
said medicine
6m is nu'igit hiliswA
was, said medicine
aledjat omis nuigit
Maskogi sihogof. I'djo ale'dja
Muskogi when [they] Deer [the] causer,
stood.
Katca ale'dja magit hiliswA
Wildcat causer, said medicine
nokusl ale'dja omis magit
bear causer was, said
tci'tto ale'dja omis nuigit
snake causer was, said
hadA'm siikha le'djat2 o'mis
again hog causer was,
Fiiswa ale'djat omis nuigit
Bird causer was, said
luid.v'm posi ale'djat omis
again cat causer was,
Mo'niin had.\'m
Then
md'git
said
hadA'm
again
HadA'm
Again
Mo'niin
Then
omisdje.
was.
Mo'niin
Then
omisdje'.
was.
hayadit omisdje.
made was.
hayadit omisdje'.
made was.
lakko ale'djat
again
Mo'niin
Then
Mo'niin
Then
horse
itoaswa
beaver
hadA'm
causer was,
Idlo ale'djat
fish causer
said
omis
was,
hayadit
made
hillSWA
medicine
omisdje'.
was.
hayadit
made
again
Mo'niin
Then
omisdje'.
was.
causer
ale'djat
causer
i'fa
dog
hadA'm
again
Mo'niin
Then
magit
said
hi'liswA
medicine
hayadit
made
omis dje'.
was.
hadA'm
again
Mo'min
Then
omisdje'.
was.
hayadit
made
hillSWA
medicine
hillSWA
medicine
nuigit
said
hillSWA
medicine
magit
said
omis
was,
omis
was,
ale'djat
causer
osanna
otter
liAd.v'm
again
Mo'min
Then
omis dje'.
was.
ponata ale'djat omis nuigit hiliswA havadit
game causer was, said medicine made
animals'
hadA'm wlyfstlt ale'djat omis nuigit hilfsw.v hayadit
again in water people causer was, said medicine made
Mo'min hAdA'm labatkadilogat omis nuigit hilfeWA h&yadit
Then again shore creatures was, said medicine made
1 — dje', an emphatic sentence conclusion, corresponding to the English period.
'The t occurring in these forms is the subjective suffix.
'Refers to various edible animals.
(237)
238
ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I.
omisdje.'
wa.s.
hayadit
made
hdyadit
made
hillSWA
medicine
Mo'min hadA'm
Then again
omisdje'. Mo'min
was.
omisdje'.
Then
Mo'min
Then
hdyadit
made
omisdje'.
was.
magit hiliswA hayadit omisdje'.
said medicine made was.
omis, nuigit hiliswa hayadit omisdje'.
was, said medicine made was.
[wi] o'fadilogat omis magit hilis'wA
sea creatures was, said medicine
tcitto stilgat omis magit hiliswA
snake various was, said medicine
oydkwilagi sulgat omis magit
in the water standing was, said
[creatures] various
hadA'm oyakwlldkudjit omis
again in water standing was,
little [creatures]
Mo'min liAdA'm wotko ale'djat
Then again raccoon causer
again
hadA'm
again
Mo'min
Then
ale'djat omis magit
causer was, said
soda sukhat ale'djat
sky hog causer
hadA'm oskindadjat
again rainbow [lit.
'rain cutter']1
hadAin poyafikdja ale'djat
again [our] spirit or soul causer
Mo'min hadA'm ikano sulgl
hiliswA hayadit
medicine made
omis nuigit hiliswA
was, said
ale'djat 6's
causer was,
medicine
magit
said
Mo'min hadA'm sukha hatka
Then again opossum
[lit. 'hog white']
omisdje'. Mo'min hadA'm
was. Then again
hayadit omisdje'. Mo'min
made was. Then
hiliswA hayadit omisdje'.
medicine made was.
Mo'min
Then
6misdje'.
was.
omis
was
omis
Then
again
magit
said
magit
said
hilfswA
medicine
hillSWA
medicine
hayadit
made
hayadit
made
omisdje'.
was.
hiliswA hayadit
medicine made
magit hiliswA
said medicine
magit hiliswA
said medicine
aledjit omis
causer was,
katcat ale'djit
wild cat caused
earth various was,
[kinds of]
Mo'min hadA'm tutka modjasa ingasiipld omis magit
Then again fire new its cooling was, said
omisdje'. Mo'min hadA'm ikano sulgi sulgat omis
Then again earth various classes was,
omisdje'. Mo'min hadA'm sull aledjat omis
was. Then again buzzard causer was,
omisdje'.
pinwale'djat
wild turkey
causer
wlyogo'f yahat
was.
hayadit
made
hayadit
made wa:
magit hiliswA
said medicine made
o's magit hiliswA hayadit
medicine
hillSWA
medicine
omis
was,
said
magit
said
Mo'min hadA'm
Then again
hayadit omisdje'.
was.
omisdje'.
made
hayadit
made
was.
omisdje'.
was.
isti
humans
Mo'min
Then
Mo'min
Then
Mo'min
Then
ale'djit 6's, magit hiliswA
in water
wolf caused,
said
medicine
hayadit
made
omisdje.'
was.
winakid
living
hadA'm
again
hadA'm
again
hadA'm
again
Mo'min
Then
1 The Creeks believe that the rainbow stretches across the sky and shuts off the
descending rain.
F. G. SPECK — CREEK AND YTJCHI CEREMONIAL SONGS.
239
hadA'm
again
M6'min
labatki yahdt ale'djit 6's, magit hilfswA hayadit omisdje'.
shore wolf caused, said medicine made was
hadA'm djo'handgut ale'djit 6's magit hilfswA hdyadit
Then
again
curse
caused, said
medicine
made
6misdje'.
Mp'min
hadA'm
tcftto
mi'kut ale'djit
6'S
niiigit
hilfswA
was.
Then
again
rattlesi
mke [lit. caused,
said
medicine
'snake
chief'].
hayadit
omisdje'.
Mo'min
hadA'm
o'bo lale'djat
o'mis
mdgit
hiliswA
made
was.
Then
again
owl its causer
was,
said
medicine
hayadit
omisdje'.
Mo'min
hadA'm ddjTdf'kat1 6mis
mdgit
hiliswA
made
was.
Then
again
what is inside of
was,
said
medicine
you [lit. 'towards
you inside']
h&yadit
6misdje'.
made
was.
TRANSLATION.
Our ancestors the Muskogi were assembled long ago. The deer caused a
certain sickness, then he said he would make the medicine for it. The wildcat
caused a sickness, then said he would made the medicine for it. Then the bear
caused a sickness and said he would make the medicine for it. Then the snake
caused a sickness and said he would make the medicine for it. Next the hog
made a sickness and said he would make the medicine for it. Again, the bird
made a sickness and said he would make the medicine for it. Then the cat
caused a sickness and said he would make the medicine for it. Then the horse
made a sickness and said he would make the medicine for it. And the beaver
made a sickness and said he would make the medicine for it. Then the dog
caused a sickness and said he would make the medicine for it. Then the
otter caused a sickness and said he would make the medicine for it. Then the
fish caused a sickness and said he would made the medicine for it. Then again
the game animals caused a sickness and said they would make the medicine for
it. Then again, the people who live in the water made a sickness and said
they would make the medicine for it. And the shore creatures made a sickness
and said they would make the medicine for it. Then the sea creatures made a
sickness and said they would make the medicine for it. Ami the various kinds
of snakes caused a sickness and said they would make the medicine for it.
And the various creatures standing in the water made a sickness and said they
would make the medicine for it. Then the little creatures standing in the water
made a sickness and said they would make the medicine for it. Then again
the raccoon caused a sickness and said he would make the medicine for it.
And the possum caused a sickness and said he would make the medicine for
it. Then the sky hog caused a sickness and said he would make the medicine
'Also dnt adf'kat. 'me inside.'
240 ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I.
for it. And the rainbow caused a sickness and said he would make the
medicine for it. Then the spirits or souls caused a sickness and said they would
make the medicine for it. And the various kinds of earth made one and said
they would make the medicine for it. Then again, the new fire made a sickness
and said it would make the medicine for it. And again, the various classes of
earth were the cause, and said they would make the medicine for it. Then the
buzzard caused one and said he would make the medicine for it. Then again
living people were the causes of sickness and said they would make the medicine
for it. Then again the wildcat was a causer and said he would make the medi-
cine for it. And again, the water wolf was the causer of one and said he would
make the medicine for it. And the shore wolf caused one and said he would
make the medicine for it. And then curse caused sickness and said he would
make the medicine for it. Then the rattlesnake made a sickness and said he
would make the medicine for it. Then the owl was the causer and said he
would make the medicine for it. Then again what is inside of you was the
causer and said it would make the medicine for it.
SHAWNEE LOVE SONGS
Those two songs were sung by a Shawnee (Charley Wilson) of the hand
affiliated loosely with the Yuchiancl Creeks since very early times an 1 now
with them in the northwestern part of the Creek Nation. The examples given
are supposed to he typical of the songs current among the men about the village,
used not only to arouse the emotions of their lovers, hut as calls. They also
represent the spontaneous outbursts of feeling to which lovers are thought to be
subject. While both songs consist of mere burden syllables, there are in the
second several places where the singer introduces a few impromptu expressions
indicating the state of his feelings.
SHAWNEE LOVE SONG.
(A) M. M. J — 9fi.
=*~{^r:f:f":=f^r=~f ~f~|
Repeat three lima.
The syllables vary between go hi ya' ha, ho hi yii' hii and yo' ho we hi ho,
ho hi yii' ha.
(B) M. M. J=166.
^1 —fy=-+-T-
ie^s£^^ =*-
242 ANTHROPOLOGICAL PUB. UNIV. OF PA. MUSEUM, VOL. I.
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1-
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Fit'ice.
it=Kr:iff.-
1 — ^ — ^ — i — i —
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iS
— q_»
u=c^r=f£=
The syllables of this song are for the most part hardly distinguishable.
Part is sung to go ho ha we hi ya we he yii' go wa and ya no hi ya' with vari-
ations of ha ha we, we haf'ya, we he ha' a ya' and slurs and prolonged tremolos
on a, we, etc.
F. G. SPECK — CREEK AND YUCHI CEREMONIAL SONGS.
243
SHAWNEE LOVE SONG.
The spirit of the following song is so impulsive that the mere burden
syllables are lost sight of. The greater part seems to be a repetition of ha y£
ya le h6 yd, interspersed with yells, falsetto tremolos and slurs. The only actual
words that I could get from the text represent such expressions as " last of
it," "hurt one's feelings," " a lot of people going home," " Osage," " shaking
it off," and again " Yo Osage." The song ends in the scalp yell, known as
the "gobble whoop," common among the southern tribes as a sign of victory.
g^^lpjir^gSgE^jlll^^il^^l
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244 ANTHROPOLOGICAL PUB. UNIV. OP PA. MUSEUM, VOL. I.
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F. G. SPECK — CREEK AND YUCHI CEREMONIAL SONGS. 245
M. M. J = 96.
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