i i ities v9 aah Say ‘ OG Soya shag Vy 15 iit He yaa tehnt eet etn aie ue i Ht Wily 4 Wan fA a j 7 " hy) ti Ae » i 4 Wy) adn eaitt Nee , ba a rey An fs f is i i Ae MAT NCA } Heit ie | ie di hi ty eh Me a hy recat nee a erie ceeds BRR irr intid cunn S et WHE on iste LAE, oie fui! AM rat ed ‘1 i Deh Hi iu pie tarts yl f os as s Eo, oe aa oe » HT a fi —— a Bde et a ¢ Bali ft SMITHSONIAN INSTITUTION - BUREAU OF AMERICAN ETHNOLOGY BULLETIN 102 MENOMINEE MUSIC Be OR ata BY FRANCES DENSMORE has. ee tie lie iy ras : 290350 eS JUN 6 1932. <} . a) Dowat uses SMITHSONIAN INSTITUTION \\.S. BUREAU OF AMERICAN ETHNOLOGY . BULLETIN 102 MENOMINEE MUSIC BY FRANCES DENSMORE UNITED STATES GOVERNMENT PRINTING OFFICE WASHINGTON : 1932 For sale by the Superintendent of Documents, Washington, D. C. en - Price 80 cents $l n ie ral re pia Nie LETTER OF TRANSMITTAL SMITHSONIAN INSTITUTION, BurEAv OF AMERICAN ETHNOLOGY, Washington, D. C., February 3, 19381. Srr: I have the honor to transmit the accompanying manuscript, entitled ‘‘Menominee Music,’”’ by Frances Densmore, and to recom- mend its publication as a bulletin of the Bureau of American Ethnology. Very respectfully yours, M. W. Stiruine, Chief. Dr. Cuarues G. ABBOT, Secretary of the Smithsonian Institution. III ‘ if 4 De x Anke i arn, ' } Ronee eRALy. owner OYE Ae) Be ES 2 RRR ARE FOREWORD The material comprised in this paper was collected among the Menominee Indians of Wisconsin in 1925, 1928, and 1929, the record- ing of songs being done at Keshena, Neopit, and Zoar. The old customs are followed by the Menominee in a marked degree, thus affording a favorable field for research in music and customs, as well as for comparison with previous work.! The writer visited the Menominee in 1910 in connection with a study of the drum-presentation ceremony of the Chippewa, witness- ing that dance on the Menominee Reservation. Numerous songs used by the Chippewa in that ceremony were recorded. In the recent work, the same ceremony was studied among the Menominee and its songs recorded, according to the usage of that tribe. The Midewiwin (Grand Medicine) of the Chippewa had previously been studied and its songs collected. During the work among the Me- nominee a meeting of the Medicine Society was attended and its songs were found to resemble the Chippewa Grand Medicine songs so closely that the Menominee songs of the Medicine Society were not recorded. One purpose of the present work was to determine the resemblance, or lack of resemblance, between Menominee and Chippewa songs. The result of the work shows that such a resemblance exists in a majority of the songs. A similar resemblance to Sioux songs was not observed. The environment of the Menominee resembles that of the Chip- pewa in its lakes and pine trees; but the forests are more extensive than in the Chippewa country and there are rushing rivers and streams with rapids and waterfalls. Acknowledgment is made of the services of Jobn Valentine Satterlee (pl. 2, a), who acted as interpreter in 1925. His wide acquaintance among the Indians and his experience as an interpreter added to his value in that capacity. Grateful acknowledgment is also made of the courtesy of the Public Museum of the City of Milwaukee in furnishing and permitting the use of photographs of interesting speci- mens in their possession, and to the Museum of the American Indian, Heye Foundation, for supplying a photograph. 1 Chippewa Music, Bull. 45; Chippewa Music II, Bull. 53; Teton Sioux Music, Bull. 61; Northern Ute Music, Bull. 75; Mandan and Hidatsa Music, Bull. 80; Papago Music, Bull. 90, Pawnee Music, Bull. 93, Bur. Amer, Ethn.; and Music of the Tule Indians of Panama, Smithsonian Misc. Colls., vol. 77, no. 11. Vv ‘ att aaieh ath 4 ‘ogee: ast. of goibie LOYOT noad sHawoiveny hail awoqqil’) off to: pice bryvaet) } veckvel “alt od) ysome tow ot yor Daioollon saiiik oi) wie fi aurto# oi) bas hibhnatie aw vioiok oie gar 8 94 oe equoe suisiboM baat) awsqqidd okt oldaiveer of din mis ysainoe oniniholt orl} to ents \ isto dads SO a oud ourinertotaby 03 Hey sew teat ator aweqaid’) bos socimenl, . ceamied wonanl ding ‘to # Bi Bidizy soveldinerot a dome ted? emode snow ate seeer JOU RAY eenoe ZUG oF nonuhditraeot olives A, arn 0 ei. ve ie a “qi ort to sail) spicieioeed vonionoaal vith Yo 8 gs Sins wiavin becitaaey ate pay hin, joni ‘a veseqcgi ee pita ioe Shiaacinn aot eit Ace fa bit donpiotak au baa mdiad habla Vonyendal nk we snaacingas. gin: Qik saaibal ot lo obi oale rT pa ae eft Ss it ae nari "a ayel t 4 Riana vie od bi Sites bis aiqanyatadty & Aisblahahs aie rol a) P cieatia yr tis faye wha AOE Od EH HR TT ates isle ae A A ites, aoc et OR Ihe olan th ovaewet aM ett ole aia Dee ei eee (ty 90 loo pal D). col selenite meas ane atl aft idole babes ja v reatt view { i pe hale CONTENTS Page I RE SS en eo tance memes Tea XI Arminged: inorder ofernal pumbergs 2225-32205. 25 eee lence XI Arranged in order of catalogue numbers-_-___---------------------- XIV Names of singers and numbers of songs transcribed___-_-_--_---_-------- XIX (ES REN BE TEDN SSIS a a a el aU XIX Characterization of singers and informants_--_-------.--.----------.-- XXI Pee emnmanior itaeeye ees 2 Sidi Be Ue eee ees 1 Manica nstruments: and’ their usesso22.4 = 2. ge2ns- btbe sess a leeek 10 Tabulated analyses: Comparison of Menominee songs with Chippewa, Sioux, Ute, Mandan, Hidatsa, Papago, and Pawnee songs-_----------- 11 Comparison of Menominee songs with the combined analyses of Chip- pewa, Sioux, Ute, Mandan, Hidatsa, Papago, and Pawnee songs-----_-- 18 OPE PP Ee aE eT pe eee eee 23 een Eeae ts oe eee he ep ehh 8 Bae eee ee eee 24 Games played in a:ceremonial manners. - 2+ 2.15. 4 ee lebes bes iebdsn 26 Diamoemnn Cie esmanne=dre 22). 2s ele ta Meee ek 27 merrermeerrariltoriing etic ba bk HWA ee gees See got bebo Vr Eieg ye, fightin 34 we OEE, Sh, SS Se IS ae pe ei Se ee a ET RS. 35 ROE PN SSE a A ke ope ga a a 40 ten re COR itil 258 te Ey yp Ope ate. Ve 4] Pee CU ROM MC) arte Arund ue whol tee a tk 51 The gift of medicine to the Menominee----_-_-_----------.-+----------- BY Peet ae cw sihy Dene les NS be ove, sect oeect ele bo We yg Se Wa evans 60 ponee copmecied with, war bundles =122 01422. atv. 2 eu cseutekede lees 69 Peder conmeered with & boy's fast. ~~ 2 ee ee 74 DU SEEN GS per A ps eee ee ed ee ae Oe ere ae a eee a ees eed 77 EE 2 LET EG ge Sg eS 89 BEPC mONaII NOS SID Kc Seely Thee od get A iiaels S aoe re Bese) eo 98 LENGE A: Ars ee ee, oe em a Re ye Ce ey Oy Ue aR a 100 eRRMNEEIBPEAU CTS Sym = 2 2 a ee ee eS 111 Pioisadeeriiby, Nabawilkt cero ei 15> db Cbs ka yh UC peat xhe toee 121 ibegends conceming Manabiis: tc Uo24be5 sche s se seek Bee seek 135 Onigin my thot the: medicine lodges... 4. 424-4 acu; 2dbetes peewee 135 Minos usane the wollte dere. 1.4 22 ee Sees ee 136 Manabunand: the stone: 2ic.w: 44_ d4scs kee ee te Ogee, Se otk 141 TUMOR NO sees oer nth 58 AE ke Syne oe eS ae cee ee a 144 Manabus and the underwater snake_-_----------------------- 144 DMnea bus andthe Guekeee yo. .55. Ub Soe ee Se eet hy beret pon 145 a RO UE i pe 2 So inl) Se ee eee 149 ae earete eelipion) Arid itd SOnpR.! 2s. sk el bebe thee 150 OE RACE ge PRS ESA SYR A Oe igh Be ote RO ee 183 ReuipeCe Ceierens SUS ie a Bue adted 8 184 Ce TSG WG OS" TEE ee Je eect Oe Sree eee ae 8) 187 Dante Ia moation- Oh animals and birds.....-22--.--.-.----.-.-..--- 188 VIII CONTENTS movie! GEnees.. <2 Wh oa shoe nn nS abs oeeenc aceon ca eee WET RONRSs. So coe ee eee ooo eee ee Mioteasin Game HONEA. i. 2st o lek ee ok ee 2 HiMitenmusicvand love(songs.: =o = ele [oes 2s ee eee Dullaies /. 2225 ok ds eee ek se ee Melodic and rhythmic analysis of songs by serial numbers__-____-____-_ Melodic analysis... .— 2 4.'- - ae te ee Biythimic analyaics | oeks2 2 oes eee ee Authorities cited... 22602 0esessssacebess2s522¥hsesbee25 see wne 27. ILLUSTRATIONS PLATES TIRE RINGS eee eee ers ek en ee pe Soe oes SS . a, John Valentine Satterlee; b, Mitchell Wakau; c, Mitchell Beaupre_ . a, Menominee in canoe; b, Lake on Menominee Reservation; c, Rapids BEE NOLL TR UN Gy NS SY CSAS I SO SE Le EE Pe ALD by et ee . a, Islands above The Dalles of Wolf River; b, Pine forest, Menominee PRESS ase tL ENR a ee ae ee ee ES AE a a ey ne oe . a, Pine trees, Keshena, Wis.; 6, Log house of Louis Wickobe; c, Log ACU ESES UTED VCO CH LS oe irate cm ee ee as ee aN eee . a, Spirit Rock; b, Reginald Oshkosh beating Mitawin drum; c, Menom- race fat (SMB tel ala a cl pp er le gree aya os Mae egy Re, Une esp Mes At . a, Menominee flute; 6, Flute in war bundle-_--_-_._-.._--...------- a mepnering Ualenrey. 0, Wenes, Sullivan 2222 ee . a, Menominee woman playing bowl-and-dice game; 6, Dice used in game - . a, “ Double-ball”’ used in game; b, Menominee women playing double- RE DPLIE, er Meee ROSE! PAC OG Di Nee ee as . a, David Amab; 6, John Cawunipinas; c, Wecawanakwut-----_-_---- . a, Turban and packet of medicine used as hunting charm; b, War Rita CLOSE OP eee eee es eS eae eh te A ee Pear bundic: wrapping and Contentss.: 2% 9. ee ae eee . a, Medicine bag carried in medicine lodge (a); 6, Medicine bag carried MUBPPTIIMOMOMM ECU). =, = oe ae te ee oe ee oe . a, Exterior of medicine lodge; b, Women in medicine lodge; c, Scene in MEMES tee Syn ee ee eae es es Mawgnromework OF meugicme lodre. oi So oe So . Drum, drumstick, and rattle used in medicine lodge--_-_------------ . Turban and other objects used in puppet trick_______-_--_-------- PA enwika Oo, Harriet bongley.. 2 2202 tot Soe . a, Woods in which Natawika gathered herbs; 6, Natawika’s house, showing table on which she prepared herbs; c, Framework of juggler’s . a, Horn used by Natawika in treatment of the sick; b, Specimen of Natawika’s herbs, prepared as medicine____-.-.---------------- . a, Bag in which Natawika stored herbs; b, Storage bag-_---_-------- . a, Burial ground; b, Lodge in which drum ceremony was held; c, Drum SEEDER ne PD te te nr ge ee ae . a, Drum given to the Menominee by the Chippewa; 6, Women singers around the drum; c, White Feather dancing around the drum_------ . a, Chippewa aide beside pile of gifts; 6, Kimewun offering ceremonial pipe; c, Menominee drum owner and old men dancing------------ . a, Chippewa teaching drum songs to Menominee; b, Women dancing as songs are taught to Menominee; c, Men dancing as songs are RiGee eeenomnee. 2 SE a, Ceremony of restoring the mourners; b, Inclosure in which drum cere- mony was held; c, Drum used in social dances_____-------------- TEXT FIGURES 1. Map of Wisconsin showing Menominee Reservation ---_-_------------ 2. Inside construction of bag used in puppet trick_..-___.-_----------- See nD rat GNiEIRUOCTEIOONY, 2 an onc aceckencaesseeneesetl ke le- 120 120 120 120 152 152 162 162 156 =e — ¢ : an - Soy ee e gue sinniia tis — jnigniieatert a renner avepiF a tuitae. Dale ri pete e's Uphkas< nln coe es ye ta tna iha all Bi RR FS a _* en phates eth Poe ral sutateh Saat See oil Op shed ae, ak el ae CS oala a eae A et RRC e ARNT SE SE Ss Coad 2 ee sitter af tron’ often bit Me ea oh TORS RE r aro pdivcnsatt Ab oeteoit hovodtie Fan oe a salad lo inowsinwerl > yadlied bowage te a RE Oe dinisats Renal Skee, pen! steatah ate Avice OL Mele wiyitts namo. 8 peesyitO edt cd ai a te aw tttirty Sift barvorte anions. ah Re ahd aad t feiretirs eect bio, ken TOKIO ae . ital nae? s 4 icitisomo mt ot agian phar 5 nent pane ibaa vt EES? oe “pyeaiods unde | bcd adherens ons .oonab laisGa vd badir conta 6 BRA FO Da so doin) vogue ai baedh aad tet i}, $5 Sipidic mui br= ib aelel gle anes ee xt ~~ LIST OF SONGS 1. ARRANGED IN ORDER OF SERIAL NUMBERS Sones or GAMES PLAYED IN A CEREMONIAL MANNER Serial No. Catalogue No. Page Pm NAM TIRIKCWOWIS Sooo UL UE ee 1517 29 UE MIE RCTSSUWY LOTTIE nis) no Ne ee 1518 29 REE CPSC ee i 2 a oe ry ee 1519 30 PSR WV SDUNORMONUANNG 2. ee ok ee eee 1520 30 5. Song received from the spirit women-__-_---_------------- 1635 32 Somer Raat, VORMITUTI DL VCS. Cy TUATING coe a ee 1584 35 Srpeariy JABLOSRE AUN oe ne en ee ee 1539 40 Ce hot 7 Og yen gle iC = | ee alae er eR pas RE 1585 44 ee Pens: COO £2Ve US this. G2NCe 8 1622 45 OER TERTRE BEERS OGL Ge 1610 46 MP enenetHoDOnOrG ine GTUM 2 ee 1524 47 i. pong.tor the person to be adopted = —-..-.-=--_-_____----, 1516 47 io Wancing song trom. the east god (a) __--.--_--_.-----....- 1611 48 io Dancing song irom the east god (b)_--..__------ 2." 1612 49 Lo. Dancing song irom the east god (c)_-.-----.---.-.-~___-- 1637 49 ib. Dancing song from the east god (d)_-.....-.__-25_-.-.- = 1638 50 dye in four dayey so. sci t deat) ieee spe Sy cprn eee) ap ee 1628 51 18. Daneing song from the south goda)2----.-..--.--------- 1573 53 19. Dancing song from the south god (b)_------------------- 1623 53 20. Dancing song from the south god (c)__------_-__----------- 1574 54 21. Dancing song from the‘south god (d) -------.-2-2--22-22- 1521 54 22. Dancing song from the south god (e)_---------_---------- 1613 55 23. Daneme song from thesouth god: (f)222- eae ee ae 1614 55 EEL evE ECS oes 82 eee Sn aS et ee ee eee 1538 56 RUMI RON ENG CCG. | SPM a eh es ee = Oe eee 1572 56 Sones CONNECTED WITH THE GIFT OF MEDICINE TO THE INDIANS Dep GtCme EVES THCOICING.. 9. 2 2 aya oo oe ee ee eee 1829 58 Wie SOngaGs HUN bing MeGICINe. = -. 5. .- 2s ae 1840 59 Sones CoNNECTED WITH WAR AND HUNTING BUNDLES Bebe anUpOl gy oc DD a, ak 1506 62 RPMI PAC ee Le ee 1507 63 oo. Lk Will gen a buck 720 AY Sa ret Ue SET) me _ 1508 64 aie wall sshoot him through the heart’’=.-..-"9=22 222-2 2... 1509 64 pM MME EPONIEO SUICK. ot aye nc as ae eee aS eee 1605 65 Me CME, HOTNESS 1606 66 a4. “The slender-legged animals”’- 22-3 1607 66 ee OIOLEOW L Will POU ONCE ene ge 1608 67 Spee ONS 228 ly 6°21 a a A AR RE Mg ROE 1609 67 Sa NTEE A FANART SS SCR ac es Ph he Se te 1575 68 XII LIST OF SONGS Serial No. Catalogue No. Go. Sher BRNCIS RONG. o0 ba ek 2 a Be ee 1510 39. Song when opening war bundle_._-_--__------------------ 1513 40;. War bundle dance song (@)a5¢0)2) - ys. tpeeyo eee = Sees 1514 a1. War bundle dance song (pb) = 2 ces eck te ee ee oe ee 1515 ao. “Heicarries @ war bundle”. o=22- Se 2k ee eee 1511 Aa. The warlbundile rings 9 fap) 2. oe ta ee 1512 a4. Tam standing OR & Cloud.” 2338) 2c ek eee eee 1577 DREAM SONGS £0. Pigeon s.dream ‘song! 2. £2 oo) ek ee ee ee 1541 Ao MOreatn SONG 22 = 22 oh Sack oe oe oes te are 1578 47. Dream song concerning the sun (a)--.__-------------_..-- 1579 #8. ream song concerning the sun (bp) 2-22 225 o ke eee 1580 29-7 Song.onbhe tounderers. 222.2 Gee eos ee ee 1581 np. pong.conceming the kimewuks 2.222.255. eee 1582 51.) Songiot, the little whirlwind | 2." "°°" "leo oe el ee 1583 52° Dream of buttalox(a) soak oe oe oes ee eee 1594 ns. Dreamior bultalo (pb) 200 L222 io [To ee eee 1595 4 Dream or che underground beatles 55s ae ee 1618 Oo: Dreamiorcommon bear. 2s 222 ete hae ee ea eee 1563 po. Dreamiol spirit Duialo® Soc - eas Sy ene eee eee 1619 pi. Dream of domestic cattle... 2 500 Sac So0 a eee 1562 OSs SOU LOL WOEKIN GMA GIC 5. 2 ene os Be eee eee eee 1636 no. Song.concernme the figurines... "220. 8 a eee 1523 GOS ey fiivairn ose ear eae Se 1522 Sones CONNECTED WITH THE TREATMENT OF THE Sick il: dumpers song (a) oc 2258 lk 2 Se ee es eer 1596 G2. (Jugeiers song’ () 22 oe So a ce 1597 63. Song during treatment of the sick (a)____.______-__-__-_- 1567 64. Song; during treatment of the sick (b),._.----_-.___-._-- 1568 G5, Sotiguel the woodpecker... 22) 2 oe a ee 1588 G6. Songref the healing spirits... =. eee 1598 67. Healing song from the spirit women (a)______._..-------- 1569 68. Healing song from the spirit women (b)___________------- 1570 69. “I use my medicine to cure the siek” 2uLt_____.__2_------ 1533 ap..* Ligive you. medicine to drink”... 2.52 0 1534 gt, © Li wall drive the sicknéss out of you”. 2022 (oo eee 1535 a2. 1 pi TOwWarding you’. 2 US a eee 1528 73. “The heavens: help ‘you?’ e. 2 We oes soe REP see 1529 a4, ‘nealing song. (a) 222). 2 tegen 2 1530 no. daeating song. (hb). 32 NO a 8 ee 1531 76. “Two'sides of the heavens” 2) 2225 24) 24.44 sn oe ee 1532 Sones CoNNECTED WITH LEGENDS OF MANABUS fa. Puhera. sone (8) 0 ee 1536 fo. Punera sone (bp) sal. 22S S22 ST eee ee ee 1537 a0. Manabus and the stone (a) 22 [oc oc nnn) See eee 1835 50.) Manabus'and the stone (bp) 32.022 2042 eee ee 1836 81. Manabus challenges the underwater snake_____________-_- 1641 82. Dance inside the underwater snake___.___._.._._.--_---- 1642 83. Manabus invites the ducks to a dance__________-_____---- 1643 84. Manabus tells the ducks to shut their eyes.._..--.-------- 1644 148 LIST OF SONGS SonGs OF THE DruM RELIGION Serial No. Catalogue No. Bn: Pongsavnen pipe ts lighted. —.--..._......-.-esete vasad ne moum ser Owner or drum (a)... 222. et tw a Dears Qwiier Or arin (b)=— 2525 eo en ee prem ermsnrr UG) Riis: ee se i te ee Sk me. Pose sor man who-licghts: pipe... 2 eS. eh eee ee ce 90. Song for men who prepare drum (a)--_-_____-___________- 91. Song for men who prepare drum (b)_____________________ 92. Song for head-singer stake of drum______________________ vo Coueasor cast stake Of drum...) .........-...2_ + A_ wes pOnmuer Hort piake Of drums. oo be 95. Song for wounded-leg stake of drum-______-_-__-_-___-____ 96. Song for leaders of ceremony (a)-_.._-._.._------_------- 97. Song for leaders of ceremony (b)-.--. 0/2202... _ 98. Song during which members of the council dance__________ 99. Song during which wearer of ‘‘crow’’ dances_____________- 100. Song during which leading warrior dances_______________- 101. Song during which next to leading warrior dances__________ 102. Song during which third warrior dances_________________- 103. Song during which fourth warrior dances___________-____- 104. Song during which old men dance_-________-_--__-_-____- OOS eV 9 a RE CR 7 nS fe. ewe wollen po traveling’ 221022 ol ke heed ony. omnr song of dance. eno. be fee, Saneewith gilt .6f a ponyesy 8) psc ece ed eee Topacco DancrE Soncs menienee nance Song (8). 8-6 otc eee Berets EI) KAECIOCE BOTS “(1)) ne TA wee Seti beh eR ae, Bel eropuece dance’ song (C) 2. To A oe ee Recs teEeeeo cance sone (Gyo ne a eee MIscELLANEOUS DaNcE Sones Sie Amar a toe DEERATS GANCG.— 6202-3 eee ee SeerE ens Cane BONS 2 8 Le ee ereLoneEiin CBnCe BONG 2 dl DMIMUMEIMIICE SANG 2 So ok oe eee eae ure maCNMPe HONG oe Ld Rie wereMHel ACC BONG... 8 ee ceed me emeikone swear song) (8). 000 222-5 ee io Pawanone dwar song (pb). +... -..-.-2.-222-4 ace te tah. Waneong concerning the owls._.._-- =. --=- 2... - man tnn MET eNLMMMMICOWMOTIOE. © 28 ea i ey pee. ee (ueen,an Magland 7) 3-2) 5k ee eo er et 124. Song concerning a captive woman-_-_____--_-_---_-------- 225. Song of yictoery over Black Hawk... ...--..-«.—...-2.---- IES ee SEE I ee mae ee one YOST See a A 127. Song of enlistment in the Civil War_.__..__.-__.__.-.-__-- 128. Song of protection in the Civil War (a)____--.------------ 129. Song of protection in the Civil War (b).--.--.------------ XIII Page 168 169 170 170 171 172 173 174 174 175 175 176 176 177 178 178 179 179 180 180 181 182 182 184 185 186 186 187 188 189 190 191 192 193 195 196 196 197 198 199 200 201 202 202 203 XIV LIST OF SONGS Moccasin GAME Sones Serial No. Catalogue No. fae bowie ide miy “piney ao 2 28 te Oo eee ee eee 1566 ten ok wallibeny youl. OS Ss SES Oe eee ek ee oe ae eee 1540 toe Motersin game song (a)... Lee be oe 1565 feos Mocesusin vane song (b) 2 2. oo eet eee 1632 Ree, Moccasin wame song (c)-¢2 2-2: 222 kes 2s ee ee 1640 Love Sones Pee obnve Bong 1a) sik a ee ee ee 1630 Fae Clow eonie (ie eek ea sk tt ee ee ee ee 1631 ee LOweenen (CaaS esse te eee cate Ee ee ees 1542 ee Lane one). 2a core et tk eR ERS SE eee eee 1624 Sones ror CHILDREN hago Tulapy (ae. seks SEAR TU), See IO Bee See 1634 140. Lullaby: (b)z 2222 2-H. Te Se ae 1629 2. ARRANGED IN ORDER OF CATALOGUE NUMBERS ee Title of song Name of singer pee No. : ¥506. | “Shaffer my song’. 02 Pigeon — ..- ents Yes oar 28 ay | ala fing ame Go ey oa do_2 yee sy Sa 29 HaGe::} “Ob will'get a: buck? 2 eel oe ee ee GOs 2 SUE ee ee ee 30 1509 | “‘I will shoot him through the |_____ COL a2 PE eae even 31 heart.” Talo} |) Wanmibundle song: 222 2222-—-2=-|2 222 dot Soe pe as 38 1511 | ‘He carries a war bundle” ___---|_-__- GOL > 4.4 ieee abe 42 1512 | ‘“‘The war bundle causes a fog’’__|_____ GOs. fee ae 43 1513 | Song when opening war bundle--_!_____ Coe a ae as 39 1514 | War bundle dance song (a) _-----|_-___ AGIMINUME ou anh 40 1515 | War bundle dance song (b)-----|--___ GO. ase ee 4] 1516 | Song for the person to be adopted__|_ - ___ doz. 222 12 1517 | Song of Musikikwawis_-___------ Pee, dO 2 ee oe 1 1518 | Song of Osawapunoke----_-_-_--_|/-__-- dol. 222 2 ise) Sonecor Wesivoni 2.222 pe do. 2 ee 3 1520 | Song of Wapunomitawi----_--_--|---__ dose ee 4 1521 | Dancing song from the south |_____ (6 (0 MRR pe pec 21 god (d). Razor see Myio SRI oe oe Se 2 ro Co epee ee 60 1523 | Song concerning the figurines_-_-__|_____ dou Au. aaa eee 59 taet | Some or the aroun. 2. ek eh eet Bs dosh. Sa ae 11 1525 | Pawakone’s war song (a)-_----_--_|____- do! ae eee 119 1526 | Pawakone’s war song (b)___-____|_____ AiG ru bene Ne eas 120 1527 | ‘‘The white man came and took |_____ dos. Mikel Oa (2) the Indians.”’ V5280) eam rewarding "you? sateen ls ee Goes s a ee eee 64 1529 | ‘‘The heavens help you”’_______|____-_ CO Set ER eee 65 1 Songs thus marked were transcribed but are not included in this book. Page 205 206 205 207 207 210 210 211 211 213 213 195 107 LIST OF SONGS XV ARRANGED IN OrpDER or CatTaLocuE NumBprers—Continued Title of song Name of singer ow Page Héaling.song.(a)'s..5.+.-28414.2 =Pigeon 2 22 302_ 209m, 0) 66 109 Healing. song (0b) 202426001 eesan|se==2 dots) Yas AEM. aD. 67 110 “Two sides of the heavens’’_----|__--- do BAUS SU 68 111 “T use my medicine to cure the |_____ dosuuuL aos _ BUPUl 61 105 sick.” “‘T give you medicine to drink”’__|_____ GolugdLi sors BASU 62 106 “‘T will drive the sickness out of |_____ AG) sees oh 63 107 you.” Binneral sonpi(ayee oo - sae see |S oe AO lst ns fits 140 Pimeralusongi(b) 2c. = 2. 2Ds cco = EIS ASHE .. FIL NOS _ 78 140 P Ly PAO GresE Pl okS . 22 eb ee EOhrs vse Sole 24 56 Song with lacrosse game--_------|----- G00 _O1 Mtoe 3 7 40 POPE Will nbestwy. Olen. tee ees EE NG bre vee tt py a AED, 131 206 Pigeonis dream song..00..2...|es2e= doi. S282) 10 WEOE 45 77 tere sone (epss. sol. Cho. ab | DOME G64 is AG pore 137 211 Song for owner of drum (a)------- ARI eee tee 86 169 Song for man who lights pipe_---|_____ G6 Sit tor alos B 89 171 Song for men who prepare drum |_____ (6 a ee a ae 90 172 (a). Song for men who prepare drum |_-_--- (0 | eee eenOge pa er LT | 91 173 (b). Song for head-singer stake of |____- dOi 22a nse Be 92 174 drum. Song for north stake of drum-_--_|_____ (1 ee oe Le oer 93 174 Song for east stake of drum_-_--_-|_____ do 2 THnte82 2A 94 175 Song for wounded-leg stake of |____-_ dots ip ei alah hh 95 175 drum. Song for leaders of ceremony (a) -|_____ GeiUs.2s Bose 96 176 Song for leaders of ceremony (b) -|__--- domi ait on 97 176 Song during which members of |_-_--- det. s_24vs Bama, 98 177 the council dance. Song during which wearer of |____- doz. 42 5.30 20 99 178 “crow’’ dances. Song during which leading war- |__--- do stoseag bates 02. 100 178 rior dances. Song during which next to the |__--- dod .22 waloolew J 101 179 leading warrior dances. Song during which third warrior |__--_- dot_at aiunieiica - 102 179 dances. Song during which fourth warrior }.._ ~~~ dotunh trorateilsre 3 103 180 dances. Song during which old men |_---- dotvel sisatisilaa J 104 180 dance. “Two women go traveling’’_____|_____ doy... fo) oletrel 106 182 Closing song of dance__._..____]_-_-- do. Sete Slafecl ny 107 182 Dream of domestic cattle__...__]__--- QO: hethsces tenses! 57 88 | Dream of common bear-..-_----|----- rs RNY Bact 55 86 XVI LIST OF SONGS 2. ARRANGED IN ORDER OF CaTaALoGuE NumBers—Continued Title of song Name of singer ag Page Moccasin game song_.--------- ~Amab.....5.,2¢) gape (4) Moccasin game song (a)_-------|----- do.......biL sane 132 206 “Twill hide my bullet” .1.-.--4|.-.-2 does cad Lt da geht 130 205 Song during treatment of the |._--- deci useless soe a 114 sick (a). Song during treatment of the |___-- 0.2 -echibess toe 72 114 sick (b). Healing song from the spirit |.---- 5 (0 aR AINE 75 117 women (a). Healing song from the spirit |_..-- do....-.-Gh.ssoe 76 118 women (pb). Song of protection in the Civil |_-__- dossiae ceeauudelt 129 203 War (b). Clesing song of dance....+-..---|.-.-- do...-.wHie eres 25 56 Dancing song from the south god |___-- dovs.c2. 85 oe ae 18 53 (a). Dancing song from the south god |___-- Cosi! cuiv aes 20 54 (c). Songiatter feast. 2.2... 2. Pee dG2o ok eae 37 68 pyc song Iie So. bk ak eS donyese (be pees (4) ‘“‘T am standing on a cloud”’_____ Cawunipinas_.__....-- 44 76 Dream isong. Jo2: 5b ee oh tea GO: _ ide ubebhed. se 46 78 Dream song concerning the sun |___~- Gol 25. Meee eee 47 79 (a). Dream song concerning the sun |_---- dois Jo_siate ee 48 80 (b). ; Song of the thunderers.._...---|....-- G02): 234553 ee 49 81 Song concerning the kinewuk_-_-__|____- dotare. Io miebeabs 50 82 Song of the little whirlwind_-~-_-__|___~- dovelee To aabeebs 51 83 A spirit woman gives a name-_-_-_-_|____- doseue sinie polly 6 35 ie pai my, face, red”? bl 8 do... ._ 2a Naa go 8 44 Wistredsnee songe 228.02 3es aa Cows. soi oe Oe eae 122 197 Song concerning a captive woman |____- do... Spee 124 199 Song of the woodpecker. ._._-__|-_..- dollnwy_ dante poles 73 115 Song of victory over Black Hawk_|__-__- do..2 05. eer 125 200 Song of protection in the Civil |_____ docwu, shi ee 128 202 War (a). Song of enlistment in the Civil |____- @obiLlt Anoty woe (1) War. Song of enlistment in the Civil |____- dolLuuasluve gore (4) War. Song of enlistment in the Civil |____- dé@s. sfigat Bee 127 202 War. Dream) of. buffalo (a) _..cb. 2.2)... doiisucuca apes 52 84 D#ebm of ‘buffala (ib). 2 eb. 22k |_..22 do. 22a: hs phe 53 84 1 Songs thus marked were transcribed but are not included in this book. LIST OF SONGS XVII 2. ARRANGED IN OrnDER oF CaTALOGuE NumMBERs—Continued Tague Title of song Name of singer pols Page 1596 | Juggler’s song (a)....-.....-.-- Cawunipinas-_-__..-___- 69 112 ibe? |i duspler’s song \(b).i_scbosicc. ..|_.--- ra a ee Cee gets) 70 113 1598 | Song of the healing spirits_-_-__|_-__- dials. nem _ Peron 74 116 1599 | Song of the warpath________--_- Peter Fishes. 2... - 86 (1) 1600 | The warrior who shot the man__|_____ Gove. wartuse ae (4) M601, ) Sone for the aide. . icburweudl._|ece 22 dod. meth eos 88 170 Paesssaneine song. o.oo 3 as | 6 Lo aes ed ea Oe 105 181 1603 | Dream dance song__-_.--.-.---|_---- dolulk sox Lene oo: (*) fee oream cance song... 5... ..-=|-.=-- On ae ee ee (4) Pola ely tapping stick”? «iebt si' 2/2 Govsiied wre ive 6 32 65 9606 |\"2 You are struggling ’??0u 2 sia -_|_____ LO) Sees hres ws. pts 33 66 1607 | ‘‘The slender-legged animals’”’___|_____ dott xsapalada gr: 34 66 1608 | ‘‘To-morrow I will get them”___|_____ dO: 5.2222. piaes 35 67 ae00 |) "SB will see.a bear?’ 2. ss: _lweve Mosk yds. elas - 36 67 1610 | Song to the east god__._...._.-|_._-- Oh ete 2 ate a 10 46 1611 | Dancing song from the east god |_____ Bobo. sips ai 13 48 (a). 1612 | Dancing song from the east god |___-__ dock: edz dint ex 14 49 (b). 1613 | Dancing song from the south god |__...do____-___-_-___- 22 55) (e). 1614 | Dancing song from the south god |___~_- dou we voila 23 55 (f). 1615 | War song concerning the owls_-_-|___-- dolce 2 2h 2 baie’ 121 196 1616 | Song when pipe is lighted______-_ Little Thunderer-______ 85 168 1617 | Song for owner of drum___--_----|_-_-- do... wie 87 170 1618 | Dream of the underground bear_-_|_____ do. S4ibag sunt 3 54 85 1619 | Dream of ‘‘spirit buffalo’? ..._..|__._- do_. 2m sutsh_ey 56 87 1620 | Moccasin game song__-_-__--__|___-- dol... enue So agi he (1) lay ECSU 0 iy een ee les a dor Site ute ote (?) 1622 | “The east god gave us this |____- dots: wuss neath 9 45 dance.” 1623 | Dancing song for the south god |___~- dp seis 10. Dad eit 19 53 (b). eee Weleaee BONE = SL _. - Agnes Sullivan________ 138 211 EEO Wr BOOP oo a | ees oll ae8 3 126 201 1626 | ‘‘The white man points his pipe |_---- daeraen Jain we (*) at me.” 1627 | ‘““The Queen of England”_______|___-- CO 9 She a 123 198 fone) in Tour days”? enta drebevetio kos gh gst wrist oxy Sucel 17 51 ol GED Sail ) (A ee Coe Sate, Se ae ie 140 213 Teas) ove song (8)... .2--....._... John Mocihat____-.._- 135 210 TeEsinlwMoversong (bp) so. es o-oo ee el Le Ouse AMIE NaF 136 210 1632 | Moccasin game song (b)--------|----- Wij en 2 Fa 133 207 1 Songs thus marked were transcribed but are not included in this book. 48819°—32——2 XVIII LIST OF SONGS 29. ARRANGED IN ORDER OF CaTALOGuE NumBERS—Continued lagu Title of song Name of singer og Page 0. 1633 | Moccasin game song----------- John Mocihat___.__--- (?) Peas oi Mallaby (auc cote Katherine Laughrey__-_| 1389 213 1635 | Song received from the spirit |___-- dow iie colt. aght 5 32 women. 1636 | Song for working magic___------|----- dd? tht. Sly apie 58 89 1637 | Dancing song from the east god | Pamapomi___--____-__- 15 49 (c). 1638 | Dancing song from the east god |_-_--- do... BHGt BIGae 16 50 (d). 1639 | ‘‘Mouse, you are winning’’___-_- Jim, Fish... “See Sees () 1640 | Moccasin game song (c)-------- John Okimase________— 134 207 1641 | Manabus challenges the under- | Pigeon___---------____ 81 144 water snake. 1642 | Dance inside the underwater |_____ do__2_ 2 EEE Seer 82 145 snake. 1643 | Manabus invites the ducks to a |_____ doit reer eson 83 148 dance. 1644 | Manabus tells the ducks to shut |_____ do.2ikt earh 9965 84 148 their eyes. 1645: ||) Nobaccoudance:.(a) 2. es. aa dos veer aan a 109 185 1646 | Flute Melody No. 1_---_-_--_--- John. Okimase...... | eee 208 1647 |; Hlnte, Melody No..2..-2a.... lees 2 doesult weit pee eee 209 1648 | Flute Melody No. 3____---__--- John*Mocihat.2 2. - 2 )2 eee 209 1649 | Flute Melody No. 4___---_--____|_-_-_ doss 22h nee -a aise sae 209 E27 || Hishydance song sien. eink Pigeornmbs ih ut aipiey -ygh 116 191 1828 |} Hmog dance song... - 28-22 | dossuity Jenene ey ons 117 192 1829 | Song of love medicine__________|_____ Goriwtebee et he 26 58 1830 || Partridge dance songs: o32—. + |. dowlatin baat tee 115 190 LSS, Rab bitidanceisonge = aie se Os: 2 Wee aera ee 114 189 1852 9|Crawiishydance song cee. Use does ees Se 118 193 1833 |} Robacco,;dance song (c) 2%. sae do ais) Fee as 111 186 1834.) Tobacco danceisong (dd)... 2/22 = O28 0 ee 112 187 1835 | Manabus and the stone (a)____~_ Amabex: 5tfara baa ge 79 141 1836 | Manabus and the stone (b)_____|_____ Go) GEE eae 80 143 1837 | Tobacco dance song (a)___.-.___|___-- Goi 6 eS eee 110 186 1888 | Song of the beggars’ dance______|_____ oC eae INN 113 188 1839 | Song with gift of a pony________|____- Go ster bays ergy petals 108 184 1840 | Song of hunting medicine_______|_____ dosent ae ee 27 59 1 Songs thus marked were transcribed but are not included in this book. LIST OF SONGS XIX NAMES OF SINGERS AND NuMBER OF SonGs TRANSCRIBED Name by peihpetson is commonly Native name Translation “ber songs ows. Pigeon? 2. 22-2. J. 24. Peik*war/ei2 22 veh No bone in his back__| 42 DavicdyAmal 32 _ ot ol 2 8 Wie misketimas -s8s 255. Treading a hollow in 34 the ground. John Ca’win!’pinas’ ? (Chip- | A’djiki-..__..____- Like the thunderers__| 22 pewa word meaning “South Bird’’). renpesmemn tray Weis 00S 0 Ls 20 We’sawa’/nakwit___| Brown Cloud--_--__-_- 17 Harare We Reb 28k ons Jo ce Ina/miki’seo. 24 cue Little Thunderer____ 8 CSE SESS) Ke mgotknit sp Sky Woman _ . 292.2 6 Wome nrocinay . 2 -- - ._- Mocthat 22.24.22. Strange sound heard 4 in a wild country. Katherine Laughrey _-_-_------ Ca’wino’mita’we___| South medicine 3 woman. remnant nN 2 weet Sob eels fey le ee yt Bre ab One seen going by___| 2 AICO] Dot) oY a es a Na‘tawa’pit.. 22.8 The thunderers look 1 for something. Porn OMmann pe... 202. =- OH kernel gr ake Woung eile 3 eu 1 140 1 Died Apr. 8, 1930. 3 Died Feb. 5, 1926. 5 Died Mar. 28, 1931. 2 Died Aug. 15, 1929. 4 Died Nov. 8, 1927. Names oF INFORMANTS Name by oD Berson is commonly Native name Translation John Valentine Satterlee_.__._| Apa’cimin___-_| Acorn of the red oak. Mitchell Beaupre--_----.---- Mowa’sa----- A combination of the words mo’wa (wolf) and awa’sa (bear), in- dicating descent in both clans. The word was formed by the priest who first wrote his name. The common equiva- lent is Little Wolf, because he belongs less to the Wolf than to the Bear clan. Mrs. Harriet Longley--_---- Skwai’yak-_--_- Pratierecmupnier 52.9 ie i eres abet 2 Rattlesnake (Joe Kittson) ---|.--.---------- The former is a nickname, con- nected with an incident when he was bitten by a snake. STRESS ULE CES: 6 Pe a em Pa (Nn Se PPO ours Wickobes = 25.222... - Wase’su______ Little Bear. Reginald Oshkosh !________- Ockaeess_—¢ Claw or hoof. 1 Died Mar. 17, 1831. Hh eve. Ye ae so Wise hs : es : i meee we pane Apa Night $52. duct; tn44 aes Bert ster ante ghooee Sie ety. ' \ mn its y4 eis tae ie LET ae | haga eetrter ti 4 CHARACTERIZATION OF SINGERS AND INFORMANTS SINGERS Louis Pigeon (pl. 1), who recorded the largest number of songs, was a man who treated the sick by means of herbs and was connected with the medicine lodge but not with the drum religion. He was quiet, conservative, and recognized as a representative of the old ways, with which his life was consistent. He died in 1930. David Amab (pl. 11, a) was left an orphan when a child and was brought up by his grandfather, who was a medicine man of the type designated as djisako or juggler. The boy helped him build the tipi in which he gave his demonstrations of power and accompanied him on hunting expeditions when he used his hunting bundle. The grand- father was intense in his devotion to the old ways, and by this com- panionship the boy learned many things which are preserved in this book. In later years he was a Roman Catholic. He endured with bravery and cheerfulness a distressing illness extending over many years and died in the Government hospital at Keshena. John Ca’wini’pinas’ (pl. 11, 6) was one of the respected old men of the reservation and exceedingly proud of his service in the United States Army during the Civil War. He was blind during his later years and died before the completion of the present work. Peter Fish was a particularly conservative member of the group of older men. Like the singer next preceding, he died before this work was completed. James We’ke belongs to the group of middle-aged men who follow some of the old ways and attend the native ceremonies but have adopted the ways of civilization. Agnes Sullivan (pl. 8, 6) is an active woman, though advanced in age, and may usually be seen at gatherings of the tribe. John, Mocihat’ comes from one of the old families, his father having been prominent on the reservation. He is an excellent flute player. Katherine Laughrey (pl. 8, a) is an agreeable woman of middle age who still (1929) performs the duties required by a dream of the spirit women in the east. Little was ascertained concerning Pami’pomi except that his father was a prominent member of the tribe in early days. Jim Fish was a brother of Peter Fish. John Okima’sé recorded only one song, and his contribution to the present work was chiefly in connection with the playing of the flute. INFORMANTS Without the assistance of John Valentine Satterlee (pl. 2, a) the present work would probably have been impossible. He acted as XxXI XXII CHARACTERIZATION OF SINGERS AND INFORMANTS the writer’s interpreter in 1925, selecting the singers and securing their interest in the preservation of their songs. He also supplied interesting information from his personal knowledge of tribal customs. John V. Satterlee was born in 1852 on an island at Marionette, Wis. His father was a white man, Dr. V. Motte Patterson Satterlee, who was stationed at Fort Howard, then located at Green Bay, Wis. His mother was a member of the Menominee tribe and gave him the name borne by his grandfather who took part in the Black Hawk wars. This name is Apa’cimin, meaning “Acorn of the red oak.” Mitchell Beaupre (pl. 2, c) at the time of giving his information (1929) was 83 years old and was said to be one of the two oldest men in the tribe. He is a dignified, well-preserved man, showing his French ancestry in his manner. His father was a French trader and his mother a Menominee. He is a strict Roman Catholic and is inter- ested especially in the old religious beliefs, often holding long dis- cussions with members of the medicine lodge, comparing their beliefs and ethics with the teachings of the Roman Catholic Church. Pos- sessing a clear, active mind, he has observed and remembers many tribal customs, which he has been interested to have recorded in permanent form. Mrs. Harriet Longley (pl. 19, 6) also shows French ancestry. She is a capable woman and, when giving the information concerning her mother’s use of plants, was also engaged in superintending the con- struction of a new log dwelling. She had selected a sightly location and secured the services of a Menominee carpenter, who was skilled in this type of building. Rattlesnake (Joe Kittson) lives at Neopit, where he occasionally finds employment. He is a leader in the drum religion and had charge of the second ceremony witnessed by the writer. His wife is a strong adherent of the medicine lodge, and in 1929, he said that after many years of indecision he had placed himself under instruction for mem- bership in that organization. He expressed his intention to learn its precepts with thoroughness and attain the higher degrees in the organization. Mitchell Wakau (pl. 2, b) acted as the writer’s interpreter for brief conversations and also supplied interesting information. He has been a member of the Indian police force on the reservation for many years and has recently been stationed at Zoar. He accompanied the writer to a meeting of the medicine lodge in 1925 and secured certain privileges for her at that time, the Indians permitting her to witness the entire ceremony. Louis Wickobe (Wase’su) lives in a clearing in the woods near Keshena, and his house (pl. 5, 6) is one of the oldest on the reserva- tion. BUREAU OF AMERICAN ETHNOLOGY BULLETIN 102 PLATE 1 LOUIS PIGEON S3uYdnvag TWIAHOLIW ‘9 OVMVM TISHOLIW ‘9 SaATYSaLLVS ANILNSAIVA NHOf ‘0 ¢3ALV1d 720! NILS1TINA ASONIONHLA NVYOIYAWY AO NVSAYNs MENOMINEE MUSIC By Frances Densmore THE MENOMINEE TRIBE The name of this tribe is Om4’noméni’wik (omanomen, rice; wuk, Deon); and the term used to designate a member of the eas is omi’nomini (omanomen, rice; inini, person). Omanomen is a compound of meno, meaning “good, y and min, which is a general term applied to berry, grain, or seed. The grain from which the tribe derived its name is Zizania aquatica L., commonly called wild rice, which grows extensively in the waters of the Menominee country. Its harvesting is one of the chief industries of the people, and the grain constitutes their principal article of vegetable food.! The French called the plant folle avoine (wild or fool oat) and applied the same name to the tribe. The Menominee is an Algonquian tribe and it is believed their linguistic relation is nearer to the Sauk, Fox, and Kickapoo than to the Chippewa, Ottawa, and Pope Aveta The people of this rhe. so far as known, were first encountered by the whites when Nicollet visited them, probably in 1634. Hoffman states that “‘In the notice of the discovery of the Menomini by Nicollet no accurate information is given as to their geographic position,” but ‘they appear to have concentrated about the head of Green Bay and along the Menomini and Fox rivers.”’*? Jn 1671 and from then until about 1852 their home was on or near the Menominee River, not far from where they were found by Nicollet, and their present reservation is in the same locality. Few other Indian tribes are now living in the locality where they were found by the white men about three centuries ago. The negotiations between the Government of the United States and the Menominee Tribe began with a treaty at St. Louis, March 30, 1817. This treaty was one of “peace and friendship” intended to place the Menominee, “in every respect, on the same footing upon 1 Cf, Jenks, A. E., Wild rice gatherers of the upper lakes; Smith, Huron H., Ethnobotany of the Meno- mini, pp. 67, 68; Skinner, Alanson, Material culture of the Menomini, pp. 142-152. 2 See article on Menominee Tribe in Handbook of American Indians, Bur. Amer, Ethn., Bull. 30, part 2, pp. 842, 843; also Michelson, Linguistic classification of Algonquian tribes; and Pilling, Algonquian bibliography. ’ Hoffman, Walter James, The Menomini Indians, pp. 15, 16. 2 BUREAU OF AMERICAN ETHNOLOGY [BULL. 102 which they stood before the late war.” The Menominee also con- firmed to the United States ‘‘every cession of land heretofore made by their tribe to the British, French, or Spanish government. ’”’* The Menominee were invited to share in the treaty negotiated at Prairie du Chien, Wis., August 19, 1825. This treaty opened with the words, “‘The United States of America have seen with much regret that wars have for many years been carried on between the Sioux and the Chippewa [and other tribes]. . . . In order, therefore, to promote peace among these tribes, and to establish boundaries among them and the other tribes who live in their vicinity, and thereby remove all causes of future difficulty, the United States have invited the Chippewa, Sac and Fox, Menominee [and other tribes] to assemble together, and in a spirit of mutual consideration to accom- plish these objects; and to aid therein, have appointed William Clark and Lewis Cass, commissioners on their part.’’® This treaty was left incomplete, with respect to the boundary between the Chippewa and the Menominee, as some of the principal Menominee chiefs were unable to be present. Therefore a second treaty was made at Butte des Morts, on Fox River, August 11, 1827.° A few years later the Menominee sent a delegation to Washington, stating that their brothers, the ‘“‘Pootowottomees on the south and the Winnebagoes on the west,’’ were encroaching upon their land. A treaty was made in Washington, February 8, 1831, which defined the boundaries in detail and also ceded land for the benefit of ‘the New York Indians who may remove to and settle upon the same within three years.’”’” The Government agreed to pay the Menominee for this land and to erect buildings and make other improvements on their reservation.’ This led to a ‘‘tedious, perplexing, and harassing dispute and controversy” between the Menominee and ‘‘the New York Indians, more particularly known as the Stockbridge, Munsee, and Brothertown tribes, the Six Nations and St. Regis Tribe,” and a second treaty was made at Washington on October 27, 1832.8 A treaty at Cedar Point, on Fox River, made September 3, 1836, and ratified February 15, 1837, ceded certain land to the United States ° but was less important to the life of the tribe than a treaty made at Lake Pow-aw-hay-kon-nay, October 18, 1848, in which they agreed to remove to Minnesota, accepting a tract of land which the Chippewa had ceded to the Government.!® The treaty makers were supposed to represent the tribe, but further negotiations became 4 Indian affairs: laws and treaties, Charles J. Kappler, ed., vol. n, p. 138. 5 Ibid., p. 250. 8 Tbid., p. 377. 6 Tbid., p. 281. * Thid., pp. 463-466. 7 Ibid., pp. 319-323, 10 Tbid., pp. 572-574, DENSMORE] MENOMINEE MUSIC 3 necessary “upon manifestation of great unwillingness on the part of said Indians to remove to the country west of the Mississippi, upon Crow Wing, which had been assigned them, and a desire to remain in the State of Wisconsin.” This statement forms part of the treaty made at the Falls of the Wolf River, May 12, 1854, by which the Menominee were established on their present reservation."! At that time the reservation comprised 12 townships, but two of these were ceded to the United States for the use of the Stockbridge and Munsee Indians, in a treaty made at Keshena Falls, Wis., February 11, 1856.” The area of the present Menominee reservation is 231,- 523.69 acres, cover- ing 10 townships. (Fig.1.) It isa pic- turesque country, well forested with a large variety of coni- fers and hardwoods, and contains many streams, rivers, and lakes which abound iInsnee.: (Pls; «3, a, bsesA, a, 62.5506) The Menominee removed to their present home in October, 1852, most of them ascending the Wolf River in canoes, A per sonal FIGURE 1.—Map of Wisconsin, showing Menominee Reservation reminiscence of this event was related in 1929 by Mitchell Beaupre (pl. 2, c), who at that time was 83 years of age. His father was a trader who had a trading post near the present site of Oshkosh, Wis., taking furs from the Indians in exchange for goods. Beaupre said that people from four or five places moved in bateaux on Wolf River, as there were no roads and only trails. The Wolf River was small and there was no trace of white people. Continuing, he said: Perhaps a month after we got here we found that we were short of flour and such food. We had a meeting and decided to send four strong young men in a boat to float down to Oshkosh. A man named Greenough had a store this side of Oshkosh, and they thought they could get some supplies from him. The chief signed an order for the supplies. ll Tbid., pp. 626-627, 12 Thid., p. 755, 4 BUREAU OF AMERICAN ETHNOLOGY [BULL. 102 The four young men had to travel all night and they got to Greenough’s about noon the next day, but it took them three days to get back. The agent was a German named Huebschmann, and Greenough was interpreter for two years. He also kept a store and helped the Indians by giving them credit. The Indians knew that Greenough was the only man who could help them, so they kept him paid up. Once in a while we had an annuity and then we paid him. When the young men came back everyone was happy for they brought plenty of everything, including four or five kinds of calico. The chiefs divided up the things. There was a mill at the agency and Greenough built a boat that would carry 12 tons. I saw that boat. My father was the man who stood at the end and steered it. There were three men on each side of the boat and they had long poles. A man would stick the pole into the water at the prow of the boat, put his shoulder against the pole and walk the length of the boat. Then he would run fast to the front of the boat and start again. Jn this way they poled the boat upstream. There was only one rapid between Oshkosh and Keshena and that was called Greenough Rapid. The men waded waist deep in the water and the rapids were narrow. They had poles across the boat and half lifted it with these poles, perhaps gaining only about a foot with each effort, but finally they got the boat through to clear water and then up to Keshena. Families moved up into the hard timber for sugar making and sometimes stayed three or four weeks. The traders from Oshkosh and Green Bay bought maple sugar, and they borrowed Greenough’s boat and floated it down. They bought both sugar and sirup. In the fall they came in the same way and bought wild rice. The Menominee have generally been peaceful in character. They were friendly in their relations with the French and, with other north- western tribes, ‘‘rendered conspicuous service in the defeat of Brad- dock in 1755 at Fort du Quesne. ... They also participated in the battle before Quebec on the Plains of Abraham.” 8 After the peace of 1763, when the French troops were withdrawn and their places filled by the English, discontent among the Indians became apparent and gradually grew until there was a conspiracy for the extermination of the English on the entire western frontier. Pontiac made his power felt, and, when the attack on Michilimackinas was planned, some Menominee joined the expedition. The English did not again occupy the post on Green Bay and the Menominee did not render service to them until at the outbreak of the Revolutionary War a party attended a council at Montreal. About 1780 Captain Dalton, Superintendent of Indian Affairs for the United States, in an estimate of the Indian tribes employed by the British in the Revolutionary War, stated that the Menominee had furnished about 150 men. The Menominee also joined the British in the War of 1812-1814. Reminiscent of these early days is an old war song (No. 123) containing the words, ‘‘The Queen of England wants us to fight against her enemies.” 18 The statements concerning the relations of the Menominee to the French and English are condensed from Hoffman, The Menomini Indians, pp. 16-19. ‘4 Colls, Mass. Hist. Soc., vol, X, p, 123 (from an account published in Philadelphia, Aug. 7, 1783). BUREAU OF AMERICAN ETHNOLOGY BULLETIN 102 PLATE 3 = ~* — SES Se b, LAKE ON MENOMINEE RESERVATION SS it gg mae c, RAPIDS OF WOLF RIVER BULEERIN 1027 PEATE 4 BUREAU OF AMERICAN ETHNOLOGY ISLANDS ABOVE THE DALLES OF WOLF RIVER a, Wii ayseme vr scras Aa NOR TARVIN a Lane . Rt ea b, PINE FOREST, MENOMINEE RESERVATION BUREAU OF AMERICAN ETHNOLOGY BULLETIN 102 PLATE 5 a, PINE TREES, KESHENA, WIS. oe | | ee c, LOG HOUSE IN WOODS BUREAU OF AMERICAN ETHNOLOGY BULLETIN 102 PLATE 6 a, SPIRIT ROCK b, REGINALD OSHKOSH BEATING MI- c, MENOMINEE GIRL TAWIN DRUM DENSMORE] MENOMINEE MUSIC 5 The difference of dates between the War of 1812-1814 and the reign of Queen Victoria shows that the Indians were lacking in defi- nite historical knowledge. After this war the Menominee became loyal to the Government of the United States. It is said that 125 members of this tribe enlisted in the Union Army in the Civil War and that one-third of this number were killed or died in hospitals.“ Numerous songs were composed by them concerning this war. (See pp. 201-203.) Throughout its history ‘‘this tribe has been known for its friendship for the white man and its fidelity to its given word. A fine, upstand- ing race of men, usually 6 feet or more in height, the Menominees enjoyed in times past, through all the Great Lakes region over which they roamed, the reputation of being a peace-loving people, slow to anger, but mighty warriors when roused to a just quarrel. They lived up to this reputation at the time of the Civil War, when considerable numbers of their young men fought in the armies of the Republic. To-day, the Menominee enjoy the distinction of being the only Indian tribe which has a G. A. R. post.’’ Major Pike described the men of the tribe as “‘straight and well made, about middle size, their complexions generally fair for savages, their teeth good, their eyes large and rather languishing; they have a mild but independent expression of countenance that charms at first sight.”” 7 The Menominee has never been a large tribe. The most conserva- tive estimates in the nineteenth century range from 1,600 to 1,900." According to Gale, ‘‘In 1853 the whole tribe numbered 2,708 and in 1865 there were 1,879.” Indians officially reported in 1871 com- prised 1,348 ‘‘Menomonees”’ and 1,513 Stockbridge, Munsee, and Oneidas.” This report was made by William T. Richardson, the first civilian agent placed over the Menominee, his predecessors having been officers of the United States Army. The agency was then at Green Bay, Wis., and was later removed to Keshena, about 5 miles north of the town of Shawano. The number of the Menominees residing in the reservation in 1929 is reported as 1,939.7! In ceremonies and customs the Menominee resemble the Chip- pewa, Winnebago, and other tribes. The medicine lodge of the Menominee is practically the same as the Grand Medicine Society (Midewiwin) of the Chippewa; the drum ceremony originated with the Sioux, and its observance by the Menominee closely resembles 15 Gale, George, The Upper Mississippi, Chicago, p. 195. 16 Lindquist, G. E. E., The red man in the United States. New York, 1923, p. 123. 17 Handbook of American Indians, Bull. 30, Bur. Amer. Ethn., pt. 1, p. 842, 18 Tid, p. 843. 19 Upper Mississippi, p. 196. 20 Report of the Secretary of the Interior for 1871, p. 1030, 21 Report of the Commissioner of Indian Affairs, 1929, p, 27, 6 BUREAU OF AMERICAN ETHNOLOGY [BULL. 102 that by the Chippewa, while in the use of war bundles and hunting bundles, and in the Morning Star legend the Menominee resemble the Winnebago. The ca’winoka’win, or dance from the south god, was used in old times by both Menominee and Chippewa, and many customs pertaining to the treatment of the sick are similar in these tribes. Many Chippewa words are commonly used by the Menomi- nee, both in conversation and in their songs. Resemblances to other tribes are apart from present consideration. Among the differences to the Chippewa beliefs we note the use of ‘‘bundles,” the Morning Star legend, the representation of the thunder bird as a man, and the common use of the term ‘‘thunder- ers.”” According to David Amab the thunderers were birds and also men, having only these two shapes and changing from one to the other as they desired. Frank S. Gauthier stated that he had heard of people who dreamed of the thunder bird and saw it in the form of aman. This, in his understanding, is the only time in which the thun- der bird appears as a person. A slightly different interpretation is given by Skinner, who states that the thunderers were called mujikiwis, meaning ‘‘oldest persons,” and, in a metamorphosed form, together with the ‘Great Underground Bear,’ they were the ancestors of the Menominee.” These and the spirit women in the east were beneficent powers. Among the Menominee legends is one concerning a pair of twins who are said to have made the pictographs on the rocks at Menominee Falls. These pictographs are too high to have been made by persons on the water, and include drawings of the moon and stars. It was said, ‘‘ You can see the tracks of those boys and they made the marks.”’ — A legend concerning the twins and Kine (the power of evil most feared by the Menominee) was related by Reginald Oshkosh (pl. 6, 6), son of Neopit Oshkosh and grandson of the old chief of the same name. This legend, briefly summarized, states that Kine stole a copper knife that belonged to all the members of the tribe in common. A council was held and the twins volunteered to recover this knife. In their canoe they went up the river to where a high cliff faced the east. This cliff was shaped like a man’s head, with long hair, formed of evergreen trees, and having a tail like a sturgeon. A long time ago the man was alive and the cliff was his wigwam. The boys climbed the cliff and hid behind some Norway pine trees. Soon they saw Kine coming along in his canoe pounding on the side of the canoe with their copper knife and singing. They threw Norway pine cones at him as he passed on the river below them. The first cone struck his canoe in the middle, so that it sank, and the second cone struck him on the forehead, passing through his head and falling into the water with asplash. The twins recovered the knife and “‘in no time”’ 2 Skinner, Material culture of the Menomini, pp, 46, 49, 50, DENSMORE] MENOMINEE MUSIC 7 they were back at the council reporting the success of their mission. A more extended version of this story is presented by Skinner and Satterlee, who state that ‘“‘This Indian story is a sacred dream given and known by old Oshkosh in his youth and conveyed to his son who became his successor.”’ ** The underground and underwater powers are frequently mentioned in connection with the songs. Chief among the former was the ‘underground bear,” said to be the ancestor of the Menominee Tribe. According to Skinner he was white, and larger than a grizzly bear. It is said that he was an Indian when he emerged from the ground near the present site of Marinette, Wis., and that he was soon followed by more Indians. After a while they all went to live near Green Bay, Wis., which was the early home of many singers and informants contributing to the present work. The term used in designating this animal is seka’tsoke’ma (war chief). The bear was probably the most dangerous animal known to the early Menominee and the identi- fication with that animal was understood. The chief of the under- water powers is commonly designated as the “underwater snake.” The term used in referring to this creature is mi’cikin’opik, meaning ‘hairy snake,” and it is understood that it lived in the water. In both instances that which was understood and not expressed by the Indians forms an important part of the English equivalent. The underwater snake personified the power of evil. Two legends concerning its destruction by Manabus were related. In one of these he allows himself to be swallowed by the serpent and kills it by stabbing its heart. (Pp. 144-145 and songs 81, 82.) In the other legend Manabus sent the thunderers to kill the snake. It is the Menominee belief that if a drowned person meets his death in a natural manner his body will be found in other than an upright position; but if the body is found erect in the water, it is believed the person has been drawn down to his death by the under- water snake. In explanation of this belief Mitchell Beaupre related the following tradition: Long ago there was a couple living at the edge of a sandy shore and they had two girls. They let the children play on the shore and swim in the water but one day when they went to call them to a meal there was no answer. They could see a long way in both directions along the shore and the old man called in the woods. The children’s footprints could be seen where they had waded in the shallow water, but nothing more could be found. The couple went home and cried, for they had no other children. Then the old man remembered that he had once fasted for six days, so he de- cided to fast again and forced himself to go without food for six days. On the sixth night he dreamed of Manabus, who said, ‘‘ Everything is all right. You can eat your breakfast tomorrow.” The next day he said to his wife, ‘‘I dreamed of Manabus, and he said that he would give me great help, but he did not say what kind it would be.’”’ He thought 33 Skinner and Satterlee, Folklore of the Menomini Indians, pp. 456, 457. 8 BUREAU OF AMERICAN ETHNOLOGY [BULL. 102 | that he would test his dream, so he got some tobacco and said to Manabus, ‘‘What can I do? If my children had been killed by an enemy I could go out and have my revenge, but they are gone.” Manabus said, “‘They are all right. You will get them back alive.” Then Manabus went away. Before proceeding with the narrative it should be understood that the hairy snake lived in a big house under the water, plastered all around, white and smooth. It was like around wigwam. ‘There was only one entrance to his house, and that was a round smooth tunnel that opened upward in deep water. Manabus sent the thunderers to smash that entrance. The thunderers went down into the hairy snake’s house and found the two children safe and well. Then they killed the snake, destroyed the entrance to his house, and took the snake up into the sky. This happened near Sturgeon Bay, and for a half a day afterwards the people across the bay could see a great cloud like smoke, where the thunderers were taking the snake up into the sky. The narrator said he was told two or three years ago that the hole that was the entrance to the snake’s house could still be seen. There were trees growing in it, but the tunnel was clearly visible and part of the wall of the snake’s house was still standing. The finding of a body erect in the water was described by Amab, who said that long ago his parents and family were camping on Wolf River. One afternoon a portion of the family were on the river in a canoe, when a storm came up, with thunder and rain. They put the canoe next the shore. An old man (a relative of his wife) was in the end farthest from shore, then the man’s wife and their children, who were covered with a tent. They thought they would wait there until the storm passed. While it was still raining they heard a sound like a gun. Half an hour later the rain stopped and the woman, who was under the tent with the children, rolled back the canvas and said, ‘‘The rain has stopped. Let us go on.’”? There was no one in the end of the canoe, but she saw the body of the old man at a little distance, standing erect in about 6 or 7 feet of water. She moved the canoe to that place and reached down. There was a bad smell in the air, like powder after a gun has been washed out. The top of the man’s head was about a foot under water, and there was a little soft spot on the top of the head. She managed to get him into the canoe, put him in the middle of the canoe and tried to look for other Indians camping on the river. Finally, near sundown, she found some rela- tives and told them of the event. The canoe had moved only a little when the sound like a gun was heard, and it was believed that the underwater spirits had drawn the man down into the water. DENSMORE] MENOMINEE MUSIC 9 In the middle of one of the principal highways through the reser- vation is a bowlder called ‘“‘spirit rock,” and a legend is related to the effect that when the stone is entirely disintegrated the Menominee Tribe will cease to exist. On being questioned, Amab said that when the Menominee came to their present reservation they had a trail along the river and lived in wigwams along this trail, which passed near the rock. At that time the rock was about 5 feet high, and “looked like a woman hunched up and pointing toward the east.’ An old man had a dream and told the people there was a spirit in that rock. That was all he said, but after that time everybody who passed by the rock gave a little tobacco. The stone has gradually worn away and is now about 3 feet high. (Pl. 6, a.) So general has the custom become that small gifts of various sorts are seen beside it, some being left by white tourists who pass on the road.** The material culture and general customs of the Menominee have been intensively studied * and are similar to those of the Chippewa. Inquiry was made concerning the Chippewa custom of making trans- parencies of birch bark by folding and indenting patterns with the teeth, the pattern becoming visible when the bark is unfolded and held toward the light. This is said to have been a Menominee cus- tom, and was also known to Mrs. Henry Wolf, an aged Winnebago, who married a Menominee and said she made these transparencies while she was still among her own people. Her daughter-in-law had never heard of this work but found no difficulty in making the trans- parencies when instructed. She was a capable maker of birch-bark articles to be sold to tourists but had no knowledge of old decorative designs. According to Amab, the Menominee, in early days, had clay dishes of good size and clay pipes, some white and some red. One pipe was found a short distance below Keshena Falls. Amab said, ‘‘We dug in the shore to make our way across the river. We dug about 6 feet into the bank and there we found the pipe.”’ Another man found a pipe about 3 inches long. It was light gray clay, and he found it about 2 feet underground. Nobody ever knew who made those pipes. The art of silversmithing was introduced by the Stockbridge Indians, who brought it with them from the Atlantic seaboard. This art had been acquired by them from some very early European colonists. A few Menominee became experts in this art, making their gravers and dies from files. They still adorn themselves with brooches, bracelets, buttons, and rings made by native hands, the decorations consisting of incised lines, dots, and figures. (PI. 6, c.) %a Cf. appearance of the spirit women in the form of a stone, p. 31. % Cf, Material culture of the Menomini, by Skinner. 10 BUREAU OF AMERICAN ETHNOLOGY (BULL. 102 Mrs. Henry Wolf was questioned concerning the use of a high vocal drone among the Menominee. This drone consists of a high tone sustained for a considerable, time by two or three women singers. The custom was not observed among Indians which were studied previous to the Papago (1920), but was heard in that tribe and found to be a custom among the Quileute in northwestern Washington. Mrs. Wolf said it was an old custom among the Menominee and that “two or three women with good wind used to do that to help the singers.’”’ As an example of its use she said that her husband was a medicine man, and at the medicine lodge he would start a song and she would stand beside him and sing in that manner. MUSICAL INSTRUMENTS AND THEIR USES Drums.—Three types of drum are used by the Menominee: (1) The casklike drum partly filled with water, which is used in ceremo- nies of the medicine lodge and occasionally in other ceremonies if a man’s dream requires it. This drum is often decorated with symbolic designs and is similar to the Mide drum used by the Chippewa. (Pls. 6,6; 17.) A little tobacco is placed in the water when the drum is used. The stick used with this drum is slender and slightly curved at the end, the tip of the curved end striking the head of the drum. (2) The wide drum, suspended from four curved stakes. When used in connection with the drum religion it is decorated with symbolic designs and its sides covered by acloth flounce. (Seep. 153 and pl. 24, a.) When used at social gatherings it is without covering or decora- tion. At a gathering attended by the writer this drum was placed above a shallow, bowl-shaped excavation in the ground, which acted asaresonator. (Pl.27,c.) (3) A double-headed hand drum about 18 or 20 inches in diameter. Such a drum was used on the final day of the drum ceremony. (Pl. 26, a.) It was also used at moccasin games. It could be used by an individual at any time for accompanying his own songs. Rattles —The two types of rattle commonly used by this tribe are of the same sort, both consisting of hollow objects which contain small pebbles or shot. (1) A gourd rattle is used in the rites of the Mitawin and in other ceremonies. (Pl.17) Aspice-box rattle is also used, this consisting of an ordinary tin spice box pierced by a stick which forms the handle and containing a few shot or small pebbles. The oldest form of this rattle, according to John V. Satterlee, was made of the bladder of an animal, inflated and tied closely at the end. After it dried and became hard, a few small stones were placed in it and a wooden handle fastened in place, forming a rattle. The most modern form is made of a small squash, similarly provided with a wooden handle. (2) A “doctor’s rattle’ consists of a thin hoop, about 9 inches in diameter, covered on both sides with the hide of a SIQNnNg YVM NI 3LN74 “¢ *3LNT4 ASNINONSEW ‘2 ied oe ee ee Ra! La3aiv1d z2ol NIItaT1INnNAa ADONONHL]A NVYDIMAWV SO Nveaynsa NVAITINS SANSV “4 AZYHONV] ANIYSHLVS ‘2 83LV1ld col NILATING ASOTIONHLA NVYVDIYAWY AO NVayuNa DENSMORE] MENOMINEE MUSIC 11 woodchuck and containing a few pebbles. This rattle is used by a doctor when treating the sick, and it is known by either the Chippewa or Menominee term meaning ‘‘rattlesnake.”’ (See p. 100.) A different type of rattle was inclosed in a war bundle and used to accompany war songs. (Pl.13.) This rattle consists of pieces of deer hoof attached to a stick in such a manner that they clash together when the rattle is shaken. A similar rattle was used in the Miwatani society of the Teton Sioux, an important military organization. (Cf. Bull. 61, p. 326, and pl. 46.) Flutes —The wooden flute of the Menominee, like that of other Indian tribes, is of the type known to musicians as the fliite a bec, played by blowing into an air chamber at the upper end, the sound being produced by a whistle opening similar to that of an organ pipe. The wood used for a flute is cedar, box elder, ash, sumac, or other soft wood with a straight grain. The method of construction is described in Chippewa Customs, pages 167, 168. The upper end of such a flute is either blunt, tapered to an opening smaller than that of the tube, or shaped in a manner suggesting a small tube projecting from the instrument and serving as a mouthpiece. It is said that the Menominee prefer the last-named mouthpiece, but the specimen illus- trated (pl. 7, a) has the beveled mouthpiece generally used by the Chippewa. The block of this flute is carved to represent the head of an animal. The flutes, made of reed and contained in a war bundle, are shown in Plates 7, 6, 12, 6, and 13. Whistles —The tubular bones of birds are made into whistles and used by jugglers in their demonstrations. Comparison OF MENOMINEE SoNGs wiTH CurippEwa, Sioux, Urs, Manpan, Hipatsa, Papaco, AND PAWNEE SONGS MELODIC ANALYSIS TABLE 1—TONALITY Chippewa pious, | Ute ndan, Midats, zee Menominee ie Total ret and Pawnee Manor DOnaULY..2--. ~~ 22S | 553 51 93 66 646 53 Mimor tonality £222 25 | 463 43 24 1h 487 40 Both major and minor__-___-___- Guineas 2 1 Fe ye eer Pinrd tacking 22022 38 4 11 8 49 4 ePID trier 13 1 10 it 23 2 SS SSS | SERNA | AF ALCS | PRU Serres 2 | pron LS a ou Opavien. sos 1400 eco Peas ee 1 Songs thus classified are ‘‘pure melody without tonality.’’? In such songs the tones appear to be ar- ranged with reference to intervals rather than with reference to a keynote, many being based on successive intervals of a fourth. 48819°—32——3, 12 BUREAU OF AMERICAN ETHNOLOGY [BULL. 102 TABLE 2.-FIRST NOTE OF SONG—ITS RELATION TO KEYNOTE Chippewa, pris rg Hidatsa, Pet |Menomines! Pe | Total | Per and Pawnee Beginning on the— APhirteenther ets eee eae Fe ag ae a faye) ee a Twelfth joe eee aN 150 14 11 9 161 10 Mleventhes a2) 2 aie & 15 1 3 2 18 1 Tenth epee what. 22 Sere cap) 69 6 2 1 7h 6 NEG bt Bete eee ea Re. 32 8 31 21 63 5 Ota views e tert. Smee 216 20 13 9 229 19 MSO VEMUL ee tens cer on emanate 16 1 4 3 20 2 Sicthy Ses Aes Ok AUPE 35 $ 5 oS 40 8 fu ive] oly a fps Ce Ms 6 eS PS kd 285 26 43 30 328 28 Hourthvews SPT) 2 GE. SY 19 2 1 1 20 2 qRlatini’o [sini f OP eens. 2 eran 86 8 7 5 93 8 SECOMG pasar eten ef Sete 24 2 2 1 26 2 1 55,70 ip i aa pf 107 10 8 5 115 9 Drrosuliee ea 4S ea 13 1 10 7 23 2 TNotaliss: cliewsyas ash 13073 |Batees PAO Wee yes 1), 21S cadet Sioux, Ute, Hidatsa, Pet |menominee| Pe | Tota | Per and Pawnee Ending on the— Sixth... 4 eee eee 1) PSR te 2 ce mpm ae Ke Sg i S| 2 Pitth=t See Se ee ae 348 32 60 40 408 34 "Wid 22 ee Ea ee ee 114 11 5 3 119 10 Keynote fat 2a eee 597 56 65 43 662 54 irrepiar- 4) see CoO CS 13 1 10 13 23 2 . DENSMORE] MENOMINEE MUSIC 13 TABLE 4.—LAST NOTE OF SONG—ITS RELATION TO COMPASS Chippewa, rnaceiany: Hidats, “el Menominee eet Total tad and Pawnee Songs in which final note is— owest in ‘done. » a 2202. 801 75 120 86 921 76 Highest in song___._______ 1 is] eee a ee I ss Be beet Immediately preceded by— Fifth below...-....-_- 11 ae (aes es SF lake OE eh eee Be i [oleh Fourth below________- 25 2 5 3 30 3 Major third below____- [Gt SEGSES 4 Se ORIN crve inne Sh PRU OtSt © % joes Minor third below__-_- 29 g 2 1 31 3 Whole tone below____-_ 21 2 1 1 22 2 Semitone below__-___-__ 5 a 1 1 1Os/2aI Immediately preceded by a lower tone and contain- ing tones lower thar final CO, GSA SESS ee 179 16. Szie,_Aappee ais 179 15 Containing tones lower papa iasy hOGe 22... tu. ee 11 8 aT es) page a O. | OS By EE SD TOteels 2 2- MOcde2ce 2 1243 '"|v oto) TABLE 5.—NUMBER OF TONES COMPRISED IN COMPASS OF SONG Chippewa, rare oe Hidatsa, ae Menominee ae Total en and Pawnee Ne UOTICR et cnet eC One WIE TS (i) Re Se ee Meee RADE bers itsfonest: sas! deitew bus Chon fier 5 16 {heard Potarh 2 hl ra 209 bee 16 1 1h) 10 ne EA pea ee ee fl ine chain 58 6 | 5 a 63 5 LS (ogee A Se gre ep a © 181 yc 28 20 209 ei MILONCR ree te OO 90 8 16 itil 106 8 tO t0ne8 sso oe: 123 11 15 11 138 tF 2) Cae Ti eS Se ae ae ee re 108 10 18 13 126 10 SUCRE DS ee eee 303 27 33 24 336 28 WaueMOSeee sf) Seen POSUNON IAL 65 6 4 8 69 6 BPUGHES! We abuse sowie. nee 2 63 6 3 2 66 & SPUOHER eS He sem one ek ee eee 48 5 16 11 64 5 Lote tl es SON RE Caren een 9 Geno se 1 1 Sr isnc. BuvONCHS Site aban ed eee sree el vy poet he 1 1 Oe Sasene 14 BUREAU OF AMERICAN ETHNOLOGY [BULE. 102 TaBLeE 6.—TONE MATERIAL Chippewa, pats Uidatso, eer Menominee eee Total xe and Pawnee First 5-toned scale !_________-- 18 1 2 1 20 2 Second 5-toned seale__.____-_-~- 106 10 3 2 109 8 Fourth 5-toned scale_______-_-- 235 22 44 31 279 23 Fifth 5-toned scale_________--- 2222 Pe DoT Ore Vg 70 See Nar Orsirin Geis oto. ben eet 14 | BR Pa 14 1 Major triad and 1 tone----_--_-- 123 20 6 4 129 10 IMINOPRGRI AGS ee eee ge Ad Meee 2 1 (oh ae a Minor triad and 1 lower tone_-_-_ 96 9 7 5 103 9 Octave complete__...1..------ 62 § 12 9 74 6 Octave complete except seventh_ 101 | 9 17 12 118 9 Octave complete except seventh and Lt lowertones 2! oo 52 eet 107 10 rf & 114 9 Octave complete except sixth__- 40 8 3 43 3 Octave complete except sixth andhinlowerltones ae en we 19 1 1 1 20 2 Octave complete except fifth and lower tones e222... ae ED sag La el a ay 1 Us ee Octave complete except fourth- - 31 5) 9 6 40 3 Octave complete except fourth andl lower tones Anu 2 ee 10 1 1 1 1H ee eh Octave complete except third __- LSA yale cia tra ef tiga coalf |UaiRdat {ai tN Octave complete except second __ 27 2 2 2 29 2 Other combinations of tones, including irregular in tonality - 72 6 24 JHE 96 8 BEG fc ¥l Fs De Sia NL pee a POPS Me cs Ae TAO Wea eee LH bea |e ak es 1 The 5-toned scales mentioned in this table are the 5 pentatonic scales according to Helmholtz, described by him as follows: ‘‘1. The first scale, without third or seventh. ... To the second scale, without second or sixth, belong most Scotch airs which have a minor character. .. The third scale, without third and sixth ... othe fourth scale, without fourth or seventh, belong most Scotch airs which have the character ofamajor mode. The fifth scale, without second and fifth.’ (Helmholtz, H. L., The Sensavions of Tone, London, 1885, pp. 260, 261.) TaBLE 7.—ACCIDENTALS Chippewa, Manage Udatsa, mer Menominee Bia Total ba and Pawnee | Songs containing— No.-accidentals242.02ce.< 2 900 84 | LUZON basen ec Olle 8&3 Seventh raised a semitone __ 25 Se tia, Cope ea bie 25 2 Sixth raised a semitone__-__- 17 1 Tit eee 18 | 1 Fourth raised a semitone__- 22 2 3 1 25 Z Third raised a semitone-_--- Sloe fe 1 1 No ee DENSMORE] MENOMINEE MUSIC 15 TABLE 7.—ACCIDENTALS—Continued Chippewa, ou Ute, dats, ha Menominee phe Total bo and Pawnee Songs containing—Continued. Seventh lowered a semi- THIDWO NS ahi Rae a ep ae gla oat Uneteeteetag. Leet) 6 kapha ooh 1 1 1 eee Sixth lowered a semitone__|._...----|------ 1 v i hal peer Third lowered a_ semi- monet e oe eo Se Ds PA |S ips ete 2 1 ale eo Other combinations of tones, including irregular TOG HOM AUG Y a ees Si te 104 10 14 10 118 10 0) 2 Sa ra a oer WeOve: |e Lb ate 1, 218s tee’ TABLE 8.—STRUCTURE Chippewa, Sone Ute, andan, ae a Menominee aus Total ree and Pawnee Leyes Piro ate, eee GR, Ghia. Fe 642 60 107 76 749 62 Melodie with harmonic frame- NVI) is, 2 oh a a Es Se 2A2 20 10 ti 222 18 PAU FSEYONORUUG Cpe ha pe 206 19 4133 10 219 18 BereolaY |. enteetewous « 13 1 10 7 Dep Z OUR oe Jb ooh Oise pce ek 140 see eeee dee ee) TABLE 9.—FIRST PROGRESSION—DOWNWARD AND UPWARD Chippewa, ee eho |) pete : Per Per sae iat Menominee ent Total ae and Pawnee MCWIWATAS 522 25252 22c221) 5 670 62 96 69 766 63 at Se Ossett epee een ie 403 38 44 31 447 37 16 BUREAU OF AMERICAN ETHNOLOGY {B ULL. 102 TABLE 10.—TOTAL NUMBER OF PROGRESSIONS—DOWNWARD AND UPWARD Chippewa, hes Ute, andan, Hidatsa Ect, |Menomineo! P | Total | Fer and Pawnee Downward Ji4s22 25 SSeS 18, 241 63'| 2,090 65 |20, 331 63 Perea Ae Lee ae 10, 715 oF 1, 105 86 |11, 820 37 POCA eae ta ae an Oe oe 2 OO Gee SOs oe ee B32, Lol, |e TABLE 11.—INTERVALS IN DOWNWARD PROGRESSION Chi Sioux, Ute, Hidatsa, ee Menominee Bat Total ao an Pawnee Interval of a— Twelfth, ninth and octave__ Gi | hs le ee 6 2228 Seventh usa ane. lake oa Go |e as I es Se 6) ee Masormginth Uke. udigks 6. ep EER tea 0 Wea, Bay ee 2 \s alarm IN ERO Tu SIoct hese ae a SO FE eat Pal Rae ere ED ae 30) fae Lib i Plates Nem mom Nh SS voes ceo ek PSO, eeanley S a RS Lae a 168 1 Ro itt hae St oh Ee ciple aca 1, 919 1! 192 Oi {22 delet: 10 Maj orsthind Saye eae ee oe 1, 790 10 105 6 | 1, 895 9 Minor ibhinca see a 5, 421 50 561 27 | 5, 982 29 Augmented second_-_____-- pe il eepee pte ae ae eeepc (eters > ea (ere Major seconds ue) Ja5-b 2. 2s 8, 188 45 1, 086 52 | 9, 274 46 Minornsecondasene saa Lee 706 3 128 6 834 4 “ARCGS ENS, Eee eae as ST ee SPER, 18.240 yet Po 2090R 22aaa= 20h aoe ema TABLE 12.—INTERVALS IN UPWARD PROGRESSION Chippewa, pala Ute, Hida, ae Menominee pe Total pa and : Pawnee Interval of a— Fourteenth, twelfth, elev- enth, tenth, and ninth___ SOW LAE PE 20 eee 5S) |= Octave so. aut eee sae 155 1 et ERLE es 162 1 Seventhdieseve ape he 3 lg 7] ROVER, Ih HBO Wy ect Ey Magar sixth. 2 2 Fie | 138 1 Ns ga 147 1 Ii btyavonztsh ber) nlp ee ey es 102 1 y=| ee ee Oe a LTH eee CSREES TE Ra Oe 710 ve 87 8 797 7 owas Fe ee ed a 1, 798 17 208 19 | 2, 006 VF Naor chind= 25's. uke 1, 142 10 60 §*} 1, 202 11 Minorstbirdae ss 2, 608 24 224 20 | 2, 832 24 Major BeCOnGse= 2 2 ae SDS 33 456 41 | 4, 009 34 Minor SeCOnGs sso. fare 411 4 30 4 448 4 51 Fo Ue en ft Fc LOL Sil Sapa HOt | skee 11 S20) 25=— DENSMORE] MENOMINEE MUSIC 1% TABLE 13.—AVERAGE NUMBER OF SEMITONES IN AN INTERVAL Chippewa, pear, Hidatsn, Na! Menominee ase Total eee and Pawnee mrumbervof songs2ts—-2 22s es2 Plies as TAOR eer 17 es lus se Number of intervals__________- 28, 9OOY [eas Be Se ee ee Soe Me ie se ee eel Number of semitones_________-_ SOC a20 nee ae Oe SAS se G8, 863; [Essa Average number of semitones Mm Bit Wber vals Oe eee 3. ZOR ee 2.9 jroo Padoil O)7 oni Mialahs RHYTHMIC ANALYSIS TABLE 14—PART OF MEASURE ON WHICH SONG BEGINS Chippewa, Spats, Janaan, aaa et Menominee ra Total Heh and Pawnee Beginning on unaccented part OiMeRSU Te we a ee 396 37 76 54 472 388 Beginning on accented part of TOCA S) UU RD Lg dy seed ie een aaa 635 58 63 45 698 58 Transcribed in outline________- 42 US 2S Ss 20 eee 42 4 Without measureyaccents__222 2 -|422 eee elLe eit 1 1 Sh ewe SS ALRo\ 1) CS eS OS es it Ofoe ea TAOV ies es Oley re oe TABLE 15.—RHYTHM (METER) OF FIRST MEASURE Chippewa, eee 1idats, Her Menominee Per Total Eee and Pawnee First measure in— DER IIITG ese a Le eh 593 56 89 64 682 56 Sf time Se Lae? Ae 384 37 42 30 426 35 4A times fe | Ba 9 yi | SRA 28 Ra 2 Onl. Rew b=artimer eee fe ninth be 115) 1 iP Sale Sle 16 1 Gt atimes se Ses 2 tae eu Ht in nes, ee oe Th A, iccih THN OOM Pe eee ye AE ama OD PH Ch aga Meee [es aod SP 26k || Ne a Di Wark Eda. Sa Su tle RL be yt pom oe 04 | steppe 4 3 A (eg he ei Fe UIT Ce eg a A ae NS Gila See = |e ee ee Bh (cl ee SUNG ee gee OF trees ou 3 2 12 1 G-otiners. sees. Cree Al Oy ea ia) My Ba Bo 2S ac cae 1g bg a? (—Svrime. Soe eB Ped iy | AY) | 2 hes | ERR |e Lt fh Die ee 2-2 thime Bika hh Soret es SB ety UCR | 2 ee apa Snr Bh eee Transcribed in outline________-_ 42 Fags Se seeped fej ele 42 8 Without measure ACCENtS._.-- |2- 1 1 RAREST. 18 BUREAU OF AMERICAN ETHNOLOGY [BULL. 102 TABLE 164.—CHANGE OF TIME (MEASURE LENGTHS) Chippewa, aes Ute, andan, oe ie Menominee ue Total Fer and Pawnee Songs containing no change of LIV Ma 02) oe gag LAAN va U Dae epee gf ae a Ue 156 14 26 19 182 15 Songs containing a change of RE TU ees pence AM EA IML al oat 875 81 113 80 988 81 Transcribed in outline_______-- 42 Ft VT a AO | lh 42 3 Without measure accents... . 22 2)) Sa 1 1 Laie A oy it) Waa aben seem weer ea noe sere LAOfaleee= p40 es Pea ome 1, 2138~|o TABLE 17.—RHYTHMIC UNIT! Chippewa, ; anaes Hidatsa, ee Menominee deh, Total Eee and Pawnee Songs containing— Nomhythmicumnite ess 23 318 30 17 12 335 28 Dear y Giana page 564 52 101 72 665 55 Zrhythamie wits. 122 il 20 14 142 10 Spay tome Waits <0 20 2 2 1 22 1 Ary tate Wnts. LS (ig lea ae fap ite SE [er cla ay PP HAdobrariaaawe qunavyrsls epee ee lS AIC) Ns fh | PD by | 2 ee Transcribed in outline_________ 42 2 | SRR RE | NERS 42 3 si 170 572) ORR Se a a heidi ates 2 TAQ) jee sels: ge Us |p 2 1 Indicated by bracket above the note. CoMPARISON OF MENOMINEE SONGS WITH THE COMBINED ANALYSES oF Cuippewa, Sioux, Urn, Manpan, Hipatsa, PAPaGo, AND PawNneE SonGcs Five linguistic families are represented in the material classified. To the Algonquian family belong the Chippewa and Menominee; to the Siouan family belong the Sioux (Dakota), Mandan, and Hidatsa, while the Caddoan group is represented by the Pawnee; to the Shoshonean family belongs the Ute; and to the Piman family be- longs the Papago Tribe.> Thus the group under analysis comprises 25 Unpublished material includes songs of the Isleta, a Tigua tribe; the Acoma and Cochiti of the Keresan family; the Yuma, Cocopa, and Mohave of the Yuman family; the Yaqui, of the Piman family; the Makah, belonging to the Nootka branch of the Wakashan stock; the Clayoquot, of Vancouver Island; several Tsimshian and Salishan tribes; and the Winnebago, another tribe of the Siouan family. DENSMORE] MENOMINEE MUSIC 19 songs that were sung on the northern lakes and in the pine forests; on the expanse of the treeless plains; on the high plateau and in the canyons of the Rocky Mountains; and on the desert of southern Arizona, which is low in altitude and broken by rugged bills and deep gorges. In each tribe there has been an effort to record representa- tive songs, with the largest proportion of the songs that are most important in the tribal life. Among ceremonial tribes special at- tention has been given to songs connected with ceremonies, while the subjects of war and treatment of the sick have been prominent in certain other tribes. It has been impossible to preserve all the songs of any tribe, but a large number of songs have been heard at tribal gatherings, thus extending the observation beyond the scope of phonographic recording. It has also been impossible to preserve all the songs known to any individual, as a proficient Indian singer knows several hundred songs. Attention has been divided between old men who know the old songs, but in many instances had weak voices, and younger men who had good voices and were familiar with comparatively modern songs. Indian women seldom sing, but a reasonable number of songs recorded by women are included in the present work. A majority of the songs under analysis were believed to have been ‘‘received in dreams,” this being a contrast to songs produced by the conscious act of composition. The former are the oldest songs and have formed the principal subject of investigation. We have, therefore, a group of Indian songs from tribes of five linguistic families, living under various climatic conditions and probably affected, to some extent, by contact with other races. The Indian race has preserved its individuality throughout these contacts, and the present study shows that the songs of the Indians contain characteristics which are believed to be racial. In its broadest aspect the present analysis seeks to ascertain in what respects Indian music resembles and differs from the music of the white race, which is adopted as a convenient standard for com- parison. Next, it seeks to ascertain in what respects the music of one tribe (or linguistic family) resembles and differs from another.” Lastly, consideration has been given to a comparison of classes of songs within a tribe.” A comparison of the structure of old and com- paratively modern songs was made in the study of Sioux music.” The songs under analysis resemble the music of the white race in that, with few exceptions, the sequence of tones suggests a keynote. This is a ‘‘ point of repose,” not the fundamental of a system of tones, coherent and recognized by the singer. Tribes differ in the location 2% In Bull. 80, Bur. Amer. Ethn., pp. 16-32, the tribes previously studied are considered separately. In Bulls. 90 and 93 they are combined. 27 Bull. 45, Bur. Amer. Ethn., pp. 8-11; Bull. 53, pp. 50-58; Bull. 80, pp. 32-34, 33 Bull. 61, Bur. Amer. Ethn., pp. 22-25, 20 BUREAU OF AMERICAN ETHNOLOGY [BULL. 102 of the keynote; for example, the Chippewa usually build their melodies above the keynote, while the Papago more frequently place the melody partly above and partly below the keynote. The percentage of Chippewa songs ending on the keynote is 67, while the Papago group contains 41 per cent with this ending.” The test by ear in determining the keynote is justified by the inability of the Indian to explain the structure of his songs. Songs whose tones are not referable to a keynote are classified for the present as irregular in tonality. The number of these songs is larger in the unpublished material than in the songs here presented. On comparing Indian songs with those of civilization we note a further resemblance in the use of a rhythmic unit or short pattern, repeated throughout the melody and frequently varied by what may be termed a thematic treatment. The tribes show little difference in this respect, and 72 per cent of the entire group contains one or more rhythmic units. (Table 17, p. 18.) As differences from the familiar standard, we note the downward trend, the frequency of the interval of a minor third, and the change of measure lengths. Unfortunately there are no similar analyses of the music of civilization, but it is not in accord with the evidence of the ear that as many as 63 per cent of the intervals in our songs are descending intervals. This is a peculiarity of the songs under analy- sis. (Table 9, p. 16.) The final tone is the lowest tone in 76 per cent of these songs, indicating still further the descending trend of the melodies. (Table 4, p. 13.) There is no tabulation of the intervals in our songs, but it is scarcely credible that the minor third is as prominent as in the songs under analysis, about 28 per cent of the intervals in these songs being minor thirds while only 4 per cent aresemitones. The most frequent interval is the whole tone, which comprises 41 per cent of the entire number. (See Tables 11 and 12.) Even more obvious, in comparison with our own music, is the irregular space of time between accented tones, designated as measures. In the Indian songs under analysis, apart from those without indicated accents, 81 per cent contain a change of time. The pcculiar and irregular rhythms which characterize these songs can be studied only from the transcriptions. A further difference from our custom is in the lack of coincidence between voice and accompanying drum or rattle. The third above the apparent keynote is usually present in these Indian songs, and by the third and the sixth (when present) the songs are grouped in Table 1. The third above the keynote is a major third in 53 per cent and a minor third in 40 per cent of the songs, these being classified as major and minor in tonality. (See Table 1.) A majority of the tribes under analysis show a resemblance in this 20 Bull. 53, Bur. Amer. Ethn., p. 18, and Bull. 90, p. 6. DENSMORE] MENOMINEE MUSIC vil | respect, the Sioux and Pawnee being the only tribes with a higher percentage of songs in minor than in major tonality. This does not mean, however, that the entire melody conforms to our major and minor keys as many songs in major tonality progress chiefly by minor thirds, an interval occurring often between the tonic and submediant. A scale, in the full meaning of the term, implies chords, but this rela- tion between tones appears to be lacking, to a large extent, in songs under analysis. The structure of the songs is considered in Table 8, and songs are classified as harmonic if all the contiguous accented tones bear a simple chord relation to each other. A conformity to the upper partials (overtones) of a fundamental is seen in the relation of the initial tones to the keynote and in the com- pass of the song. As shown in Table 2, 59 per cent of the songs begin on the twelfth, octave, and fifth above the keynote, 13.5 per cent begin on the tenth and third, and 9 per cent begin on the key- note. This conformity appears also in the endings of the songs, 54 per cent of the entire group ending on the keynote, 34 per cent on the fifth, and 10 per cent on the third. The proportions are relatively the same in all the tribes under analysis, the highest per cent ending on the keynote being found among the Chippewa. The songs of this class among the Chippewa consist largely of the Midewiwin, or medi- cine lodge songs, which are strongly affirmative in character. This method of analysis shows that an Indian song may have tonality without being in a ‘‘key”’ according to our use of that term. The signature of the transcription indicates the pitch-level of the performance, except that six flats or sharps are avoided. Such songs are transcribed in the key of G. Since there is no evidence that the Indians ever had an intelligent tonal system governing their songs, we are led to believe that the selec- tion of tones was determined by the sense of pleasure, which, in turn, created a custom. There seems a possibility that the tones of the . long whistle played by the plains tribes may have influenced their songs. A portion of the long harmonic series could be played on this instrument, as shown in Bulletin 80, page 10. The sound of this instrument gave pleasure and suggested the upper partials of a funda- mental, introducing or encouraging the use of those tones. Many songs are based upon the interval of a fourth and we recall the im- portance of the tetrachord in the musical system of ancient Greece. In classifying the tone material of these songs the terminology of Helmholtz (see footnote, p. 14) has been retained when the series of tones corresponds to the black keys of a piano. By this simple method it is found that more than 33 per cent of the songs under analysis contain the sequences commonly called the pentatonic (Gaelic) scales, the largest percentage being major in tonality and based upon the upper partials of a fundamental. If this were due to 22 BUREAU OF AMERICAN ETHNOLOGY [BULL. 102 the influence of Scotch and Irish settlers, we might expect to find the percentage of these songs highest among the Algonquian tribes that live on or near the Canadian boundary, but instead the percentage (45) is highest among the Papago who live in southern Arizona and northern Mexico. Other songs containing five tones of the diatonic octave comprise only 11 per cent of the entire number, exclusive of the small groups designated as irregular and ‘‘other combinations of tones.”” Thusitis shown that less than half of the 1,213 songs under analysis contain only five tones of the diatonic octave. This is interesting in view of a popular impression that Indian music is pentatonic. In the writer’s observation, the Indian songs believed to be most primitive are small in compass and uncertain as to keynote. These songs were recorded on the northwest coast and are not yet included in the tabulated analyses. It is difficult to show the framework of a melody in graphic form. A system of plots on coordinate lines was devised and used in Teton Sioux Music, each song being plotted and the observation made that the plots were of five types, songs of a class having the same type of plot.°° This was continued in Northern Ute Music, each group of songs being followed by its characteristic plot,*! and in Mandan and Hidatsa Music, the coordinate lines being omitted.*? Thisshowed only the accented tones in a song. The unaccented tones, however, are an important part of the framework of a melody and can not be included in a graphic representation simple enough to be easily under- stood. The following observations are intended to assist a careful examination of the melodies themselves. The interval of a perfect fourth constitutes only 13 per cent of the progressions in Menominee songs, yet it is the most prominent interval in the framework of the melodies. The latter observation has not been extended to the songs previously published, it is probable that the results would be substantially the same, especially among the Chippewa and Sioux. A perfect fourth occupies four degrees and contains two and one-half steps or tones, examples being as follows: C-D-E-F, with the half tone next the top of the tetrachord, and E-F-G-—A, with the half tone next the bottom of the tetrachord. The frequency of the minor third may, in part, be attributed to its use within the tetrachord. Thus in a phrase based upon the tetra- chord E-—A there will be frequent repetitions of the interval E-G. The perfect fourth will be found as a prominent interval in the framework of the following Menominee songs: Nos. 10, 12, 26, 28, 30, 33, 34, 35, 36, 39, 48, 50, 51, 53, 69, 73, 86, 91, 99, 101, 105, 106, 30 Bull. 61, Bur. Amer. Ethn., pp. 51-54. 41 Bull. 75, Bur. Amer. Ethn., pp. 73, 87, 101, 111, 114, 117, 119, 120, 140, 160, 174, 181, 193, 205. 82 Bull, 80, Bur, Amer. Ethn., pp, 34-36, DENSMORE] MENOMINEE MUSIC 23 117, 118, 137, and 138. This considerable number of songs is based, either wholly or in part, on consecutive or linked intervals of a fourth. For example, Song No. 87 is based on the consecutive descending intervals, F-C, C—G, with F-C repeated in the lower octave. Song No. 104 contains the descending fourths B flat-F, F—C, and in Song No. 38 the fourth appears as D—A, G—D, the song ending with the descending progressions D-B-G. In many songs this framework is embellished with many smaller intervals. Among the songs with this framework of linked or consecutive fourths are Nos. 8, 14, 28, 38, 45, 57, 63, 67, 75, 87, 88, 89, 104, 113, 128, 130, 133, and 136. The ornamentation appears especially in Nos. 38 and 45, and the framework is found in the first portion of the melody in Nos. 63, 67, 104, 113 and 128. The two groups above mentioned should not be regarded as an exhaustive analysis, but they comprise 43 songs, or about 31 per cent of the entire number. Among the few songs using a triad as their framework are the following: Nos. 114, 115, 120, 121, 127, and 140. One song (No. 85) is framed upon descending, linked triads, this framework being G-E-C, C-A-F. Among the songs based upon minor thirds are Nos. 17, 27, 90, 96, 98, and 122. This is a wide difference to the number of songs framed wholly or in part on the perfect fourth. The rhythm of a melody is influenced by its framework, the rhythm being created by an emphasis upon certain tones. The number of songs classified as harmonic in structure (based upon triads, see p. 15) ‘ils comparatively small (18 per cent), while the freely melodic and irregular songs constitute 64 per cent of the large group under analysis; this group including the songs based upon successive intervals of a fourth. Between these groups are the songs with an harmonic frame- work so embellished that they are classified as a separate group, con- stituting 18 per cent of the entire number. PHONETICS Vowels have the continental sounds, except & as in hat i as in but Consonants are pronounced as in English, except e pronounced like sh in shall tc pronounced as in watch 24 BUREAU OF AMERICAN ETHNOLOGY [BULL. 102 GLOSSARY * NAMES OF PERSONS RC 2 I eal oe ll Claw or hoof. A GRIN gS ea cy eee ine ie oll Uncooked. Yi F467 a yi a nei ea Acorn of the red oak (John V. Satterlee). AE TLCT cee ee ees meee Le Like the thunderers. Bina cians a eee ek ea Swan woman. Ca’wino/mita’we_—-...-.-_.-_- South medicine woman (Katherine Laughrey). Hohopevtice )2 2a ts ete. Little shouter. Hise (inosine ye ya ee Ta one Sew ok ae Little thunderer (James Weke). RK Cee tn ene nen s ANCE) ena 8 Kaposasen oi eho er Hieby ela its py. Bee Sere ees Prickly man Be sige betas ug Moe oo a ele Living in the sky. 1 ASCENSIY (0G Span PE Sky woman (Agnes Sullivan). Rome sw eee es ee Rain. Wea ucore Win= woes | lees oe Big chief. Mioeiliaytiet Seas Pig Sk Rae Strange sound heard in a wild country. Mowalsacdauesuseslucigs.. alu Mitchell Beaupre. Narmietkqninmn tte. «oh ie ea des Feathers. ; INGGb a we Ube ee eee ee The thunderers look for something. Wetten Wilkan eee cn bea Whip-poor-will dances. INGrLCiWwa Cie eee eee Charlie Dutchman. ORime ss 805 VeTO SS Young chief. Okwi’teiwa'now! 3222 eed e232 Pamarponal 2.4) het oe yu ooh abs. One seen going by. awa Rapes. op al eee Falling feathers, as from a bird molting. J Eh sits Po Nu ap A reer eaai ayidlhbicvoe Approaching shout. SimaycOne =. ace Se eens Ce Dan Morgan Beil wate SOL! PETS ere ee No bone in his back (Louis Pigeon). Waitkwone/minete2: consis ae Something in the mouth. 1054 ep ee ae en Nee Mitchell Wakau. Wapitno’mita’mo. = 2..2--.._. East medicine woman. A VNB G51 20g Ae Rg ere Treading a hollow in the ground(David Amab). ‘ge SV Sl li ee Ne a RR Little bear (Louis Wickobe). We'cawa’nakwit_...2..._ 2.2 Brown cloud. WWarpaieseue te Uhtock ck uk MytuHicaAL PERSONAGES Ca wihnG a.) . SS See Ue a South god. WAG RIKen, sities ee Eternal person. Gre Si eee Sees es ee Weisiou ia Soe kee te ee Sky woman. sires ia rok SANE ENS CS 2 ys Lamas cans ea eas yO tek Manitu’kiwdg (plu.)_-._.-_---__- Spirit women. Miadjitkikwa’ wis 22.2222 222. © Oldest in series of women. 3 Additional Menomineewords appear in the list of plants on p. 125. Valued assistance in preparing these lists was received from Frank 8. Gauthier, grandson of Joseph G. Gauthier who for 30 years acted as interpreter for the Menominee Tribe. See also classified vocabularies in Menomini Culture; and Menomini- English and English-Menomini vocabularies in The Menomini Indians, Hoffman, pp. 295-328. DENSMORE] MENOMINEE MUSIC 25 Opa wantno' Kes.< 222000 ks 2. Copper dawn woman. Ws DOMINOS TT OEE tts “ays East woman. We BONG. ok ye a = East god. Wa, pano mite’ we---.5...-___ = East medicine woman: Worps OccurRING IN TEXT PII KO nt et Doctor who ‘“‘sucks out the sickness through a bone.” Aue cinnal: (pli) 242. 32) Implements of bowl-and-dice game, also the game. JAI STE OS SS eee a ne ree Ry 2 Earth. CSSA So) aan a | i Beggars’ dance. PG Waele ee Noon, also south. Agni nimalkcae) 28 2 Paes el Direction of the sun’s setting (west). IM an 2 Re ee DM Dan ee ek ee Flute. Bisemo ia hess a5 324. en ye: Direction of the sun’s rising (east). Ca/winoka’ win.......-....-._~ Dance given by the south god. ON Ei aa ec a5 9 BN nce ot He is startled (Song 118). BT, OE So eee yt The duck that opened its eyes while danc- ing (p. 149). Beales fe 3s JU ee, 8 Disembodied spirit. miner) vemos ce yee wet i Juggler. 1 DUTT oy: hale 9 Danes ee Oe Crawfish (Song 118). LET eh a a a a eS Game of any sort. DEIR oe Thunder bird or thunderer. MemrWir Mats 2 eh es He jumps (Song 117). NES ea 2 ed ee ee Eagle. Mime males | ey bem. bee tO Buzzard. oma somasinoL = 2 = Grandfather, term applied to the ceremony commonly called the dream dance and to the drum used in the ceremony. PRO kobkcoreerss ae A tents: Fa piee Horned owl (Song 27). Kowitci’isopa’kahat___.______- Stick used in double-ball game. WowiterisowOk $2) 4 es, Double-ball game. Maka’cinatatitwin___________ Moccasin game. WARIO 25 cer st tt Frog (Song 117). GSI i, Se a a aS Sea a Spirit. 1 By Ea OT gs a A SS Owl. Bi cikino pik 2023. 22 fete “Hairy serpent.” Misatlcata iwa cos) ose haus bas Fast intended to secure a favorable dream; also applied to ceremony terminating period of mourning. 2) 2 age i afl a een Man or woman who has had a dream concern- ing the cure of sickness. NitAtwinte Le ot ie cadet Organization known as the medicine lodge. Te a Sa aes Member of the medicine lodge. Wiper wiswitt ny 2S Person treating the sick by the use of herbs. mn canmas del Co Ceremonial adoption of person of either sex. ages eeriithe ee eres oY de oe Song. Nimau’aka/kwin-_-____-____- Tobacco dance. % This is a Chippewa word commonly used by the Menominee. The word manitu is also heard. 35 According to Skinner ‘‘ Mitawit is sometimes used to denote a candidate for admission into the lodge”’ and ‘‘a full-fledged member is mitao.’’ (Medicine ceremony of the Menomini, lowa Wahpeton Dakota, op. cit., pp. 16, 17.) 26 BUREAU OF AMERICAN ETHNOLOGY [BULL. 102 INE Mune eect oo a Dance. TGRH Da Witte ook ee Ae AS Aide or messenger in the drum ceremony. eR IRAON yi ee 2 ot Cold direction (north). Odt’keciay 24-2. Sea Zenith. LOY c 2 at Sa ae AO AR aD Be Chief. Oma’noméni’wik (plu.)_______- Rice people (Menominee). Omatnominisr soe od Se be Member of Menominee tribe. RP GN ee ee “Chicken man,” and official in the drum ceremony. IES SURO WIS. we oo eee One of the two sticks struck together while singing hunting songs. RaMALOMAY oes eee tee ae Open mouth (Song 116). IBapadkstkeue sete ic lk Uae Bird commonly called a striker. BEAGCTICOM Sy esate eee a US Bundle of any sort. LETTE PUG NIRS aye ad a pagal a eee Partridge (Song 115). PG Owais Mage st Doctor who administers medicine by blowing it through a bone. ST (OR ied tel Ripley ol he Species of duck. eke tsoke mas. 2.28. oe ee War chief, term applied to a mythical bear. Sl PMO walt. oe eS Act of drawing blood to surface of skin by sucking through a horn, also horn used for this purpose. SOME a EO sen eee Seen ri Rattle of any sort. Sonawa minima ss os See Rattlesnake; also medicine man’s rattle. Rakofsiwie wuss tn he a a Love charm, designated as “‘bad medicine.”’ SU BEES ih 0 a 0 ll Drum. Wcespwekitay Wile 222 Sue Sn ae A certain spirit. PG MGR oh te eee a He is startled (Song 118). ARCIEGT KONO. eee ue a enero Sounds (Song 115). cL S| 0 Og et eR a ah pn Dream, also person who has had an important dream. ICSU oa er ab pee he hyp alpen fel Rabbit. ‘hE IAT Spa ARS ORI PIT he cg Dance ornament known as the “crow.” Wear hUnO Walls ose eee Dance given by the east god. ie UO pes eas RU aR ae. ee Double ball (pair of pouches) used in a woman’s game. Wistwyil samen ieee ane ee eee Ee Whirling air (little whirlwind). Weta katowko. 2 0 Soa ee Playing together (Song 27). GAMES PLAYED IN A CEREMONIAL MANNER The custom of fasting in order to receive a dream is common to many tribes of Indians. The dream promises certain benefits and makes certain requirements in order that the benefits may be received. These requirements differ among Indian tribes, and the Menominee believe that they must play certain games in order to receive the benefits of two classes of dreams. If a woman dreams of the spirit women in the east, she must play either the bowl-and-dice (aka’- sianik’) or the double-ball (kowitci’isowik) game at definite times and in a prescribed manner, according to the directions received in the dream. If aman dreams of the thunderers, he must hold alacrosse game in order to receive the help promised by the thunderers. The DENSMORE] MENOMINEE MUSIC 27 playing of these games is a proclamation to all men that the person is under the protection of the spirit women or the thunderers. The person usually relates the dream before the game is played. A similar belief concerning the publicity of a dream has been noted in other tribes. For example, a Sioux enacted his dream, imitating an elk or a buffalo, so that all men might know that the power of these spirit animals was in him. Among the Chippewa, in old times, a man might wear a turtle pattern on his beadwork or display the figure of a bird outside his house, showing the nature of his dream, although its detail was a secret known only to himself. If a medicine man in any tribe uses the feathers of an owl or the tail of a deer in treating the sick, it is known that the owl or deer are his spirit helpers. By such action he acknowledges his dependence upon these forms of spirit guidance and assistance. The Menominee dreams which require the playing of games are usually dreams that promise health and success in personal under- takings. The games must be played at specific times; but if the person is ill or in any difficulty, he (or she) may institute a game for relief. Such special games are often prescribed by a juggler. (See pp. 32, 38.) A lacrosse game was played as a dream obligation at Keshena Falls on August 2, 1925, and the writer attended the gathering. A large number of spectators saw the game, which was played in the usual manner, but the preliminary acts of a ceremonial nature were witnessed only by the Menominee. This custom is called ‘playing out a dream.” The person for whose benefit the game is played does not take part in it, neither is he interested in the winning of the game by either set of opposing players, but he must make a speech before the game is played, offer tobacco, and provide a feast. In the speech he relates his dream and explains the reason for his request that the game be played at this time. Others beside himself may receive benefit from the ‘“‘playing out’ of his dream, and it is said that sick persons are often relieved by attending a ceremonial game of lacrosse and com- plying with certain requirements. (See p. 39.) Bow.1-ANv-Dicre GAME A dream of the spirit women, as already stated, requires the playing of either the bowl-and-dice or the double-ball game. The spirit women in the east (manitu’kiwfig) are eight in number, and it is not always the same ones who appear to mortals. Pigeon named four and Amab added the names of three others. Each has her own song, and when a person who has dreamed of the spirit women hears one of these songs at a gathering he (or she) is expected to rise and dance. The spirit women usually appear to women, but Pigeon said they had 48819°—32——4 28 BUREAU OF AMERICAN ETHNOLOGY [BULL. 102 appeared to him and given him two songs which he now uses in treating the sick. The spirit women enumerated by Pigeon were Mifdji’kikwa’wis (oldest in a group or series of women), Osa’waptino’ke (copper dawn woman), Ke’sigo’kiu (sky woman), and Wa’ptino’mita’wé (east medicine woman). Amab added the names of Ka’kike&’sin (eternal person), Wa’pdniu’ki (east woman), and Kea’sin. It was impossible to ascertain the name of the eighth spirit woman. It was said, ‘‘Harly in the morning, when the sky is red, the spirit women are playing their dice game,** and the color in the sky is the color on their faces.’””’ The game played by the spirit women is that in which the dice are tossed upward in a bowl, and when they appear to a woman they usually tell her to play this game. They tell her to play it once a year, and whenever she is sick or beset by trouble and anxiety. ‘They say that every morning, in the eastern sky, they are playing this game to give help and pleasure to their sisters on the earth. ‘Look in the sky,” they say, ‘‘play our game and give us a feast. So you will make us happy, all your troubles will vanish, and your health will be restored. At the feast you must make a speech and say that you are playing the game for us.”’ An incident was related concerning a woman who instituted the playing of this game in 1928 for the benefit of her daughter, who was not expected to live. Mitchell Beaupre attended this game, and some time afterwards he saw the daughter apparently in perfect health. The game was played by six women on each side. The woman instituting the game had killed a turtle, hung up the shell, and used it for the bowl, probably in accordance with a dream. Katherine Laughrey held the game in July, 1929, in accordance with the instructions received in her dream (see p. 32) and invited a large number of persons to the feast. Each of the spirit women had a song, as already stated, and it is interesting to note the individuality in the songs of the four women. 3 According to Thundercloud, a Winnebago informant, there are four spirit women playing the bowl- and-dice game in the northern sky, and the eight stars in a circle (constellation known as the Northern Crown) are their dice. Once these stars dropped down to the earth and became the dice with which the Indian women play the game, Among the Winnebago the purpose of the game was the securing of good health by the women, DENSMORE] MENOMINEE MUSIC 29 No. 1. Song of Mudjikikwawis (Catalogue No. 1517) Recorded by PraEoN Analysis.—Dignity and tenderness are expressed in this melody with its extended compass and gentle trailing of the voice on the downward progressions. Attention is directed to a comparison between the closing tones of the rhythmic unit and those of the short phrase in measures 3 and 4; also to a comparison between the rhyth- mic unit and the final phrase of the melody. The distinction between A flat and A natural was clearly given in all the renditions. No. 2. Song of Osawapunoke (Catalogue No. 1518) Recorded by PigEOoN (Indistinct) Analysis.—After two occurrences of the rhythmic unit we find, in this song, a phrase beginning like the rhythmic unit but contain- ing an eighth rest. The eighth notes on the final count of the measure continue to the end of the song, but the rhythmic unit does not reappear. The song has the unusual compass of 13 tones. fg 23% 3 a Bes & ms H Eo CoD) aq Z oem 2 aoe = 80 ie Sere — (20) no £ 235 ral oO & of o} = cries < sp 4 4 oe = fe) o2058 es cS B = Z sa 6 a & 8 o> g 2 ee e 2S .2 < Sa} Ay qe L ne e ~.5 2 &@ & Ars ° = 5 3 One on oe E a" e 5 ee) Ss «6 8 ‘BA * Ss ® = a. Zee =) Ps de SoS < Sa a oa: 5 ao & a2 0 9 z Aes ern the o Ses S Amo i! | @- @ = 2.48 iva) Se S28 Seeds ie Se eo oS 30 A more frequent period differing from the preceding in its rhythm. ariation in the rhythm of the third period. shows av structure No. 4. Song of Wapunomitawe (Catalogue No. 1520) Recorded by PricEoN = 416 (4) J Analysis —This song contains no count divisions except quarter and eighth notes and the principal phrase is a triple measure with a DENSMORE] MENOMINEE MUSIC 31 quarter note on the first count. Three rhythmic units are designated for convenience in observing the song. All the tones of the octave occur in the melody and two-thirds of the progressions are whole tones. The manner in which the spirit women appeared was described by Amab, who said that as a boy he was present when a juggler (djisako) called them into his tipi. Amab and another boy set up the tipi for the juggler and were allowed to remain during his performance. The tipi was about 6 feet high and 4 feet in diameter at the base, and this juggler required that the four tipi poles be of ironwood, cedar, white oak, and young pine. Amab said, ‘‘There was not room for the juggler to stand inside the tipi and he crouched on the ground. It was dark, the tipi was closed and everything was dark. My grandfather, grandmother, and three or four other men and women were there and we sat outside, close to the tipi. The juggler sang a great many songs and shook his rattle. We went four nights, and on the fourth night the juggler talked loud and said, ‘‘The women are coming.” Then we could hear a soft, whistling sound and the juggler said, ‘‘They are singing.” They did not say any words and the whistling was like the wind, but so soft that I could hardly hear it. When the women stopped making that sound the juggler said, ‘‘Do you want to see those women?” My grandfather said, ‘‘Yes.”’ The juggler said, “Give me a birch-bark dish.”” My grandfather handed in an empty dish, perhaps 9 inches across. In a few minutes the juggler handed out the dish and in it was a little round stone, spotted light and dark. It was smooth, about the size of a marble, and shaped like a woman, humped over. The juggler told them to kiss it. The little dish was passed from one to another and everyone kissed the stone; then the dish was handed back to the juggler. The soft whistling was heard again, then it stopped and the juggler said, ‘‘Now the women have gone.” Amab knew the performance was to benefit some one’s health and that the spirit women had told the juggler what to do, but he was a boy at the time and remembered only the soft sound lke the wind and the little stone shaped like a woman humped over. Amab remembered another instance which took place many years ago. The juggler was a different man than in the preceding incident. His name was Ikwe’man, and he died about 1910 at a very advanced age. His performance was held for a little girl about 7 years old who was not in good health. The spirit women came into the tipi and told the medicine man what to say to the child’s mother. After the spirit women had gone away he told the child’s mother that she must give a medicine dance and put the child in the middle of the lodge. He said that if she did not do this the child would die. 32 BUREAU OF AMERICAN ETHNOLOGY [BULL. 102 The mother did not believe what the juggler told her, and did not tell anyone what he had said. She did not give the medicine dance and the little girl was well for two or three years, then she died. The woman thought the juggler did not know what would happen but the little girl died, as the spirit women had predicted. The spirit women did not always say the same thing, but they never told anyone to take material remedies, such as decoctions of herbs or roots. Sometimes they said that a game must be played, either their own or some other game. An instance of the former was related by Katherine Laughrey, who said that she plays the game every summer and believes this has brought her health and success. One of her names (Ke’sigo’kiu) is that of a spiritwoman. She said that when she wasa baby she cried so constantly that her parents consulted a juggler. He called the spirit women, who said the child belonged to them and that they would take it away unless their (bowl-and-dice) game was played. Her parents then requested two women to play the game in the child’s behalf, with the under- standing that as soon as she was old enough she should be taught to play the game herself. She said that she undoubtedly would have died if this had not been done. When she was a young girl her health was not good, and it was decided that she had better strengthen her connection with the spirit women. This was done by attending a performance at which a juggler called the spirit women into the tipi and talked with them. She was outside the tipi. The spirit women made a whistling sound, like that described by Amab, and from it she learned the following song. The spirit women did not actually sing the song, but it came to her from the sound that they made. Ever since that time her health has been satisfactory. No. 5. Song Received from the Spirit Women (Catalogue No. 1635) Recorded by KATHERINE LAUGHREY DENSMORE] MENOMINEE MUSIC oO Analysis.—In this song we have an interesting example of a melody formed upon three descending whole tones, these being E to D, B to A, and F sharp to E. The song might be considered as irregular in tonality, but is classified as lacking the third above the keynote. At- tention is directed to the substitution of D for E at the opening of the second rhythmic unit, also to the descending progression at the beginning of the final phrase, these intervals seeming to express the tenderness that has been noted in previous songs received from the spirit women. The interval of a whole tone comprises only 10 of the 18 progressions, although it appears so prominently in the framework of the melody. Once each year Katherine Laughrey plays this game in a ceremonial manner, in order that the benefits may be continued to her. This is called “playing out the dream,” and the number of games is 4, 8, or 16. When the same game is played for pleasure the number of games is decided by the players, but the manner of playing is the same. Mrs. Laughrey showed her game implements to the writer and demonstrated the manner of playing the game, even requesting the writer to attempt asharein thegame. In former times a hand-made bowl was used, but she had a small shallow chopping bow! purchased at a trader’s store. The dice consisted of six wooden disks and two small objects carved from wood. One of these objects was about an inch long and repre- sented a turtle and the other represented the crescent moon. The disks were round and thicker in the middle than at the edge and were slightly smaller than the turtle. All the wooden disks were painted red on one side, representing the day, and black on the other side, representing the night. When the game was played the dice were placed in the bowl and tossed sharply upward, falling back into the bowl. The score depended upon the color of the exposed surfaces and the manner of counting differed somewhat with different players. The following is a portion of Katherine Laughrey’s method of counting the score: All black or red except the turtle counts 10 points. All black or red except the moon counts 5 points. All black or red except two disks counts 2 points. All black or red except three disks counts nothing. All black or all red ends the game, regardless of the existing score. If this game is played as a dream obligation the importance lies in the playing of the game, not in the victory of either side. This game, played for pleasure, was seen by the writer at Zoar on August 4, 1929. (PI. 9,a.) The dice consisted of six circles of bone painted dark green on one side and two others, one of which was carved in the ordinary shape of a turtle and the other was like the erect head of a turtle protruding from its shell. (Pl. 9, 6.) One purpose of 34 BUREAU OF AMERICAN ETHNOLOGY [BULL. 102 the game was to cause this carved piece to stand upright. Mrs. Charlie Dutchman, who conducted the game, said the round turtle represented a mud turtle and the head was that of the great spirit- turtle that soars through the sky. This is called mici’kén by the Chip- pewa and is often sent by medicine men to look for lost persons or articles. Six women took part in this game, which was watched for about two hours. Some women used both hands in tossing the bowl and some used only one hand. A portion of the count was as follows: All white except the two turtles counts 10 points. The turtle’s head erect counts 10 points. All green except the flat turtle counts 5 points. All white except one disk counts 3 points. All white except two disks counts 1 point. All white except one turtle and one disk counts 1 point. All white or all green ends the game, regardless of the existing score. The player who first scores 10 wins the game. At this game one woman (wife of John P. Matcokema) kept the score by announcing the sum of the player’s points. As indicated, each player continues as long as she is scoring, being allowed one addi- tional throw for some scores and two for others. If she fails to make any score, amajority of the players usually give an exclamation which means ‘“nothing’’ and the bowl is passed to the next player. The count of games is kept by sticks placed upright in the ground. The women sat in a circle and the passing of the bowl was clockwise, each player handing it to the woman at her left. Dovsue-BaLLt GAME The spirit women sometimes require that the double-ball game be played, the occasion being the same as that of the bowl-and-dice game. Like the former, it is a game which may be played for pleas- ure, but when played ceremonially the balls are usually painted red, like the color on the faces of the spirit women in the east. The double-ball game resembles the ‘‘woman’s game” of the Chippewa, which is played with two short thick billets of wood connected by a cord instead of with the two pouches. The game implements of the Menominee consist of a pair of pouches or “‘balls” made of deer hide stuffed with cat-tail down. (P1.10,a.) The pouches are slender and connected by a thong about 5 inches long, the total length of the pouches and thong being about 11 inches, while the largest diameter of a pouch is about 1% inches. Six, 8 or 10 women play on each of the opposing sides and each woman carries a straight stick, perhaps 3 feet long. The women on the two sides have their faces painted differently. The purpose of each side is to carry the pouches (double-ball) to the goal located behind their opponents. BUREAU OF AMERICAN ETHNOLOGY BULLETIN 102 PLATE 9 b, DICE USED IN GAME BUREAU OF AMERICAN ETHNOLOGY BULLETIN 102 FLATE 10 a, ‘‘DOUBLE-BALL’’ USED IN GAME b, MENOMINEE WOMEN PLAYING DOUBLE-BALL GAME c, LACROSSE RACKET DENSMORE] MENOMINEE MUSIC 35 The double-ball is placed on the ground, a woman pries it up with her stick and thus tosses it into the air. All try to catch and carry it. The ball is supposed to be handled only by means of the sticks, but it was quaintly said that ‘‘some women pick it up with their hands, if they are in a hurry.” This game, played for pleasure, was witnessed by the writer at Zoar, on August 4, 1929. (PI. 10, 0.) The name of one of the spirit women, as already stated, was Ka’kikea’sin, and some Indian women bear this name. The follow- ing song is concerning the gift of this name to an Indian woman. No. 6. A Spirit Woman Gives a Name (Catalogue No. 1584) Recorded by CAWUNIPINAS FREE TRANSLATION Kakikeasin names me; the spirits Analysis.—This song has a compass of 12 tones, lying partly above and partly below the keynote. A rhythmic unit occurs in the first and last phrases, while the middle portion shows a slight but interesting change in the rhythm. Two-thirds of the progressions are whole tones. The tempo is slow and in keeping with the serious- ness of the words. LACROSSE A dream of the thunderers requires the playing of lacrosse, as a dream of the spirit women requires the playing of the women’s games. Both war and lacrosse came from the thunderers and they directed that the lacrosse racket be shaped like a war club. The game was supposed to resemble a battle. 36 BUREAU OF AMERICAN ETHNOLOGY [BULL. 102 A tradition of the origin of lacrosse *” among the Menominee was related by Mitchell Beaupre, as follows: A man named Ac’kinit (Uncooked) had a dream. He had been hunting in the woods all winter and had a great deal of game hanging up. As it was time for sugar making, he thought he might as well stay for the sugar camp. The snow was deep. One night there was a severe storm, with thunder and rain. Everyone was frightened and could not lie down, and the wigwam was bright with the lightning. Suddenly Ackinit heard a voice say, ‘‘ Ackinit, go on top of the bluff where you killed the deer. We have left something there for you to show your friends every spring.’’ Ackinit’s oldest boy was about 6 years old and had never been in the deep woods with his father. Ackinit wanted to take his first child with him, so he told his wife about the voice that said ‘Something has been left for you on top of the bluff where you killed two deer.” Ackinit and his son traveled about 3 miles, then he said to the little boy, “‘ Do you see that place? There is no snow up there. I brought you to carry what we find.” The boy said, ‘“‘ What shall we look for?’’ His father replied, ‘‘ Medicine.” When Ackinit and his son reached the top of the bluff they found a big nest full of feathers. They were out of breath when they reached the top, and Ackinit saw the feathers shaking like snow that is blown by the wind. He stepped softly because the motion looked as though something alive was in the nest. Looking in, he saw a green egg, and a voice said, ‘‘ Keep this and show it to your people every spring.’’ The little boy carried the egg back to the sugar camp. This egg was left by the thunderers, who said, ‘‘We want tobacco. We live among the rocks, but your people have earth and can raise tobacco. Hach person who comes to see this egg must give a little tobacco.” The next year, when they heard the first thunder, Ackinit called the people together and showed the egg. He collected tobacco and tossed it into the air for the thunderers and talked about his dream. After Ackinit died, the egg was in charge of his grandson, Wecawanakwut, who kept it in his medicine bag and showed it every year. Mitchell Beaupre said he had seen it many times and that it was about the size of a duck’s egg. It was in the feathers which once were white but had become yellow with age. Wecanakwut collected a great heap of tobacco and passed it around, both men and women smoking while he talked about Ackinit and his dream. He said, ‘‘ We will have a lacrosse game to-morrow, and if I am telling the truth you will hear the thunder- ers coming to their game.’”’? The weather was clear when they began the game, but soon they could see a little cloud next to the horizon, and by the time they 37 A different legend is recorded by Hoffman, who states that ‘‘Manabush wanted to discover and destroy those of the Gna’maqki’t or underground evil ma’nidos, who were instrumentalin the death of his brother the Wolf. He therefore instituted the ball game, and asked the thunderers to come and play against the ana’magki’G as their opponents, after which the game should be the property of the thunderers. The Kine’Gv, Golden Eagle, came in response to this invitation and brought with him the ball, He was ac- companied by all the other thunderers, his brothers and younger brothers. Then the 4na’maqki’a began to come out of the ground, the first two to appear being the head chiefs in the guise of bears—one a powerful silvery white bear, the other having a gray coat. These were followed by their brothers and younger brothers.’”’ (Menomini Indians, p. 131.) Culin states that ‘‘ The game of ball with rackets is . . . confined to the Algonquian and Iroquoian Tribes of the Atlantic seaboard and the region of the Great Lakes; and to their neighbors, the Dakota, on the West, and the Muskhogean Tribes of the South. It occurs again among the Chinook and the Salish in the Northwest, and in a limited area in California. It is not recorded in the Southwest... Among the Huron, however, lacrosse is recorded by the Jesuit missionaries as played as a remedy for sickness... There can be no doubt that, though the game of racket may have been modified in historic times, it remains an aboriginal invention.’”? (Games of the North American Indians, pp. 562, 563.) DENSMORE] MENOMINEE MUSIC 37 made a goal there was thunder and rain. Then Wecawanakwut always said, “Don’t be afraid. We gave tobacco to our grandfather yesterday and he has come to the game.” (Beaupre said that Wecawanakwut always said ‘‘grand- father,’’ but he meant the thunderers.) The informant said that the first lacrosse ball was made in imitation of the egg found by Ackinit, in accordance with the instructions of the thunderers. The inside was of basswood twine, wound solid, and the outside was made of the hide of the black squirrel.*® Concerning the origin of the lacrosse club, Mitchell Beaupre said that a thunderer told Ackinit he was going to strike a tree and cut the wood. Ackinit found a tree which the lightning had struck, leaving a black mark, and he made the club according to this mark. John V. Satterlee, however, stated that the thunderers gave the first war bundle, which contained a war club, and that the lacrosse stick (racket) was made like the war club. He also said that the thunderers gave the lacrosse game to the Indians. When a man wishes to have a lacrosse game played as a dream obligation he sends a messenger with tobacco to invite the players. He provides prizes, which may consist of pieces of calico about 4 yards long, one prize being provided for each player on the winning side. If two men combine in holding such a game there are twice as many gifts. They may play one large game with twice as many players, or they may play two consecutive games, one set of players taking part in each game. It is the usual custom to continue playing until one side has won four games. The playing of the game is preceded by certain ceremonial acts and by a feast. Mats are spread on the ground, showing respect for the occasion. The prizes of calico are hung on a horizontal bar between two upright poles. In front of the prizes a large mat is spread and on this mat the host places his lacrosse bundle, opened and exposing its contents to view. Amab said the outer covering of his grand- father’s lacrosse bundle was of soft white buckskin, painted red in the center. His grandfather’s lacrosse ball was covered with buckskin and painted half red and half blue, both colors representing the sky. In the bundle and displayed with its contents was a little cross made of two sticks painted black on one side and white on the other and a little dish for an offering of tobacco. The possession of the lacrosse bundle indicated that his grandfather had dreamed of the thunderers, and when a game was played in his behalf he always wore a fur head- band with a feather in the back. Amab knew of an instance in which a man was told to make his lacrosse ball with a sturgeon bone in the center, covered with something soft and having an outer covering of hide sewed with sinew. A man’s dream might require him to put certain feathers in the bundle, wrapped together with his lacrosse ball. 8 The animal thus designated on the Menominee reservation is the black phase of Sciurus carolinensis teucotis Gapper. 38 BUREAU OF AMERICAN ETHNOLOGY (BULL. 102 Such feathers might be the tail of an eagle or buzzard. The feathers themselves did not possess ‘‘medicine power,” being simply a part of the instructions received in the man’s dream. Sometimes a man’s dream required that he make a little war club, a few inches in length, and keep it in the bundle with his lacrosse ball. No herbs are placed in the lacrosse bundle. When the guests are assembled the host makes a speech, relating his dream and saying that he wants the men to ‘‘play it out” so that he will receive the promised benefits. It may be the regular time for playing the game in this manner or the man may be in some difficulty which requires a special playing of the game. Perhaps he has con- sulted a medicine man and been told that the thunderers are angry and must be appeased by tobacco and the playing of the game. He does not lift the tobacco upward as an offering but speaks to the thunderers, saying, ‘‘ You like tobacco and we give it to you; now we want you to give us what we want.’”’ Then he tells the guests to take the tobacco and smoke for the thunderers. This is followed by a feast. There is always an abundance of wild rice at such a feast and the host may have killed a large animal for the occasion. In the old days it was said that the thunderers liked snapping turtle and always came to a feast for which a snapping turtle had been cooked. Because of this belief, the host at a ceremonial lacrosse game was particularly happy when he could provide a snapping turtle for his feast. The guests may smoke again at the conclusion of the feast, while the host tells how he wishes the game to be played. The lacrosse bundle remains open during the feast and the game, often being exposed for three or four hours. The lacrosse field is prepared with a goal at each end. It is said that in old times the goals were 1 or 2 miles apart, as ‘‘the Indians used to be limber and tough, with good wind.” At present the field is much shorter, the length varying in different locations. A leader is desig- nated for each side and one of the leaders chooses the end of the field on which his side will begin to play. The clans are in groups of four, and a leader, in choosing his players, says that he will ‘‘take east,” or ‘take west,’’ meaning that he chooses the men who belong to that group of clans. It was said, ‘‘The clan animals are contending too, the underneath animals and the birds are contending.” The lacrosse racket illustrated (pl. 10, c) was formerly the property of a man who dreamed of the thunderbirds. The lacrosse ball is 2%; to 3 inches in diameter and is made of tanned deerskin stuffed with hair. The leader of each side has an attendant who collects the lacrosse clubs which are marked for identification by their owners. Accord- ing to Hoffman, the collecting of the clubs takes place the day before 8% The Menomini Indians, p. 127, DENSMORE] MENOMINEE MUSIC 39 the game, and each leader selects a powerful medicine man to protect the clubs from evil magic during the night. At the time of the game each player identifies and claims his la- crosse stick and the leader takes his own ball from his lacrosse bundle. He tosses the ball into the air and gives four loud whoops, ‘“‘so the thunderers will know the game is beginning.” There is a brief pause between these whoops. One of the players catches the ball and the game has begun. The four whoops are given, and tobacco is smoked for the thunderers when the game is played for pleasure as well as when it is played ceremonially. The success of the players is attributed largely to their individual “‘medicine.” For example, a man may have dreamed of a buffalo who told him of a certain herb, telling him to chew the root of this herb when playing lacrosse, or before the game, and to spray his body or touch the soles of his feet with it. The man took tobacco when he went to dig this herb, singing his dream song and saying, “Grandmother (earth) I insert my hand and take this herb.” The application of the herb gives him success, and if an opponent steps on his footprints the opponent’s medicine is neutralized so that he can not play successfully. At the close of a game the prizes of calico are distributed by an attendant, and the leader of the winning side sometimes ties his strip of calico around his waist as a sash, or over one shoulder. If aman is married, he gives his calico to a sister, cousin, or niece, and if none of these are present he may give the calico to his wife. An unmarried man is expected to give the calico to a sister, cousin, or niece, and she gives a whoop when she accepts it, showing she understands that the thunderers are listening. The whoop may be a shrill, clear cry, or the woman may move her hand back and forth in front of her mouth, producing a vibrant cry. In this action the hand is held flat with the fingers touching the open mouth, and the hand is moved sharply back and forth as the cry is given. The motion may be described as clapping the mouth while the sound is being emitted. It was said “‘the thunderers hear this sound and are pleased.’”’ The same vibrant cry was given by the Sioux and Chippewa women as a sign of approval or pleasure. The host is not interested in the victory of either group of players. Having held the game and complied with all the requirements, he awaits the benefits which he is sure will follow his action. It was customary to bring sick persons to a ceremonial game in order that they might be benefited. The following song was sung when sick persons were present but was not used when the game was played simply as a dream obligation, 40 BUREAU OF AMERICAN ETHNOLOGY [BULL. 102 No. 7. Song with Lacrosse Game (Catalogue No. 1539) Recorded by Pigeon Analysis.—The tone D in the fifth measure of this song was uncer- tain in its intonation, but the several renditions of the melody show a minor tonality in the first portion and a major tonality with good intonation in the latter portion of the song. Attention is directed to the rhythmic unit which begins with an accented half note and con- sists entirely of descending progressions. Such a rhythmic unit is well adapted to the song. If a man desired, he might assume the obligation of holding a lacrosse game in memory of a relative who had been a particularly successful player of the game. Mitchell Wakau (pl. 2, 6) holds a lacrosse game every year in honor of his father, and after his death, the custom will be continued by his son. This family has inherited the old beliefs. Wakau’s grandfather dreamed of the sun and moon and also of the kineu (eagles), and his father was named Ke’sige’beta (living in the sky), which indicatesadream. In his youth Ke’sige’beta was one of the fastest runners on the reservation. When he played lacrosse his opponents set four men to watch him, because if he got the ball it was considered to be already at the goal. Suddenly he became blind, having been “‘witched.’’? When he was about to die he sent for a nephew and his wife and said, ‘‘I shall leave you about 12 o’clock to-night. Before I die you will see a cloud coming up and when the cloud reaches the top of the sky I will die. When you see that cloud again you must put tobacco on the ground. After I die I will go up and live with the thunderers.”’ ADOPTION DANCES An intimate phase of Indian life is shown in the Menominee custom of adopting a person into a family to take the place of a member of the family who has died. This may be done on the day after a DENSMORE] MENOMINEE MUSIC 41 death, but usually does not take place until some time afterwards. The custom is continued to the time of this writing, an adoption being held near Keshena Falls about July 20, 1929. The custom of adoption (napé’nimu) had its origin in the following legend which was related by Mitchell Beaupre (pl. 2, ¢): “Long ago a man and his wife had seven children. One season they began to die, one after another, until by fall they had only one child left. The man felt so badly that he went away off in the woods by himself. He had good luck hunting, but he saw no one. After a while he returned, and soon his last child died. Then he took his wife and went back to the place in the woods. They lay down on either side of the fire, and it was so still that each could hear the other’s heart beat. Next morning they told this to each other. They said, ‘Why should we go back home? ‘There is nobody there.’ “The old man fasted two or three days, then he went hunting and got a great deal of game. That night some one came and they heard him stamping his feet as though he were shaking off snow. The man said ‘ Halloo,’ but there was no answer. He put fresh wood on the fire for light and looked for tracks, but he saw only his own tracks, made when he returned the night before. His wife wakened and she too went out and looked. It was moonlight, but they could see nothing but the man’s own tracks. The same thing happened the next night. ‘There came a sound as of stamping snow from the feet, and the man said ‘Halloo.’ Then someone spoke and said, ‘I am sent to tell you to go back quietly to the place you came from. Gather your people together and start the custom of adoption. You came to camp here, and whichever is awake hears only the beating of the other’s heart, but now you will find a man shaped just like your son. You will adopt him, give him your son’s name, and treat him as though he were your son.’ “The man thought he was asleep, yet he knew that he was not asleep. He went home, did as he was told, and that was the begin- ning of the custom of adoption.” The person who appeared to him was the east god, so the Menom- inee received the custom from that source. From THE East Gop Two forms of adoption dance are held by the Menominee, the more important being the waptino’win, received from the east god, and the other being the ca’winoka’win, received from the south god. The dance given by the east god is the more important because he is the greater god.” Persons could also be adopted in the Mitawin. 40 A song of the Chippewa Midewiwin contains the words ‘‘ Where is the dwelling of the greatest spirit? My Mide brethren, in the east is the dwelling of the greatest spirit.”” Bull. 45, Bur. Amer. Ethn., Song No. 38, 42 BUREAU OF AMERICAN ETHNOLOGY (BULL. 102 According to John V. Satterlee the wapunowin was held only when a man who had dreamed of the east god adopted a young man who had had the same dream. David Amab, however, stated that the choice — rested with the persons making the adoption, those of serious mind — being free to hold a wapunowin if they desired. The east god is the only one who is represented as a man. The © moon is his sister and lives in the west. The morning star is his — little brother and always starts out with him, carrying his bow and arrows. Both the sun and morning star appeared to men in dreams, but it was understood that the term “east god’? (wapuno), as used — by the writer’s informants, referred to the sun. The power of the morning star was always used for help in any undertaking, as well as for protection, and it was he who gave the drum to Be used in the east god’s dance. Those who had dreamed of the wapuno formed a cult and in old times had an image of the east god outside their dwellings. They held wapunowin annually when the first fish or game was obtained; the dance was also held when the warriors returned from a war expedi- tion.” Amab said that his father always gave one of these dances when he caught the first sturgeon in the spring. He caught four or five of the fish and invited 15 or 20 people. When they were assem- bled he explained the reason for the gathering; then they sang the four — principal songs of the east god’s dance (Nos. 8, 9, 10, and 11), after — which they had a feast of fish and other food and danced with common wapunowin songs, such as Nos. 13, 14, 15, and 16. He did the same after killing the first deer or bear in the fall. An instance of disre- garding this rule, with its consequences, is mentioned in connection with Song 17. Members of this cult were accustomed to give public demonstra- tions of their powers, providing a feast for their guests and, after certain ceremonial actions and songs, showing their ability to handle fire or plunge their naked arms into boiling water or maple sirup. They had power to predict events several years before their occurrence and to locate lost objects.” Mention has been made of the drum given by the Morning Star for use at the wapunowin. This is a double-headed drum about 12 inches in diameter with heads of deerskin, and it is struck with a light stick having a small hoop at the end which touches the drum. When in — use the little hoop is at right angles with the drumhead, the stick touching the head of the drum." There was a variety in the decora- 41 Cf. Bull. 98, Bur. Amer. Ethn., pp. 18-22. “ Cf. Skinner, Material culture of the Menomini, p. 71, and Hoffman, The Menomini Indians, pp. 66 and 151-157. “8 Skinner, Associations and ceremonies of the Menomini, p. 191. ‘ A similar stick was sometimes used by the Chippewa in the moccasin game and is shown in Bull. 53, pl. 3. A small stick of the same sort is shown in Bull. 45, pl. 1. DENSMORE] MENOMINEE MUSIC 43 tions of the drum, one side of which represented the earth and the other side represented the sky. A man might paint his drum with a bear or the figure of a man, in accordance with his dream. Two such drums were sometimes used at an adoption dance, but it was required that they be alike in sound and be struck exactly together. The use of the Morning Star drum at the east god’s dance was not compulsory, as a man might use a water drum, like that used in the Mitawin, if his dream required it. The Morning Star drum could also be used on other occasions. Both the east god and the south god adoption dances are held in a medicine lodge (see p. 92), but there is a difference in the direction of the dancing. For a wapunowin the lodge has an opening toward the east and the dancers move from the west toward the east, contra- clockwise, while in the south god’s dance they move in a clockwise direction, from the east toward the west. Several persons may be adopted at a time, by either form, and attendance at either is supposed to benefit the sick, although the east god’s dance is supposed to be the more beneficial. Mitchell Beaupre stated that he remembered an occasion when a very sick woman was taken to a wapunowin. A stretcher was made by taking two springy poles and making a lattice of rope between them, on which blankets for the sick woman were placed. Two men carried her a distance of about 2 miles. She donated as much as was given to the person being adopted, and was greatly benefited by attending the dance. This was in the fall, and it seemed probable that she would live only two or three days, but the next spring at the sugar camp she was in perfect health.® Extreme generosity was shown a man adopted through the wapu- nowin. Mitchell Beaupre described a wapunowin that he saw long ago when Corn’s brother was adopted by an old couple. They gave him a suit of clothes, a pile of clothing sufficient to last him two or three years, several quilts, and two blankets, one red and one blue. The man put on about three shirts, one over the other, then he made the other gifts into a pack that he carried on his back with a tumpline across his forehead. The old man was on one side of him and the old woman on the other, steadying the pack. It was impossible for the boy to dance, as he could scarcely walk with the weight of the pack, but the old people shook the pack a little, pretending it was the motion of the boy’s dancing. They told the drummers to start a lively tune 45 A wapunowin dance was given by the Chippewa at Grand Portage, Minn., on July 5, 1930, its purpose being to benefit a man who was suffering from a distressing abscess of the ear. The writer was invited to this dance, but arrived too late to hear the singing. The lodge was similar to a Mide lodge, with fresh pins branches about 3 feet high around its circumference. The entrance was toward the east and at the right was a post about 6 feet high, on top of which alittle windmill was whirling, the windmill being set east and west. This had not previously been observed at such gatherings, and was said to be used only ata wapunowin, being an invitation to the east wind. It was further said that the east wind always came and made its presence known in this manner. This wapunowin was in charge of a recognized medicine man whose shaking of a juggler’s tipi is described on pp. 102, 103, 4 48819°—32. 5 44 BUREAU OF AMERICAN ETHNOLOGY [BULL. 102 and the drummers sang such a lively song that the old people sitting around could not keep their feet still but moved their knees up and down, as though they were dancing. Even people away out at the edge of the circle were dancing. One old woman had a sore foot, but she ‘‘danced”’ with her other foot and her cane. ‘This incident indi- cates the spirit which prevails at an adoption. The instructions for the wapunowin, as indicated, were received from the east god. The faces of the dancers were painted red like the eastern sky in the morning. Some old men painted their entire faces, while others put red paint on their faces in dots or any desired pattern. The four songs given by the east god were sung at every dance in the following order. It was said that no one could help dancing when they heard the first song. No. 8 ‘I Paint My Face Red’’ (Catalogue No. 1585.) Recorded by CAWUNIPINAS Analysis —This song is unique in that the third above the keynote occurs only as the next to the final and lowest tone. The song is rhythmic in general character. The structure is based upon suc- cessive fourths (D—-A, A-E, C-G, G—D) and ends with a major triad, descending to the final tone. DENSMORE] MENOMINEE MUSIC 45 No. 9. ‘*The East God Gave Us this Dance’’ (Catalogue No. 1622) Recorded by Lirrte THUNDERER Voice vr 224 Drum @ = 112 (See drum - rhythm below) After last rendition a se FREE TRANSLATION The east god (sun) who moves across the sky in a day gave this dance to an Indian in a dream Analysis—The drumbeat in this song consists of eighth notes accented in groups of two. These are synchronous with the eighth notes in the song and an unaccented stroke is added to fill the meas- ures that are in 5-8 time. Several renditions of the song were recorded with and without the drum, and the 5-8 measures were uniformly given throughout the performance. The song contains only one interval larger than a minor third and no interval smaller than a whole tone. The repetitions of the rhythmic unit are continuous throughout the melody. 46 BUREAU OF AMERICAN ETHNOLOGY [BULL. 102 The next song declares the greatness of the east god. It was recorded by a man whose name (We’cawa’nakwit) means Brown Cloud. This name is hereditary in his family and was given him by his great-grandfather, who selected him as his namesake. He is not the old medicine man mentioned on page 36 and elsewhere in this work, No. 10. Song to the East God (Catalogue No. 1610) Recorded by PETER FisH Voice @ = 104 Drum d = 104 (See Drum- rhythm below) Drum Rhythm dddddh ah FREE TRANSLATION East god (sun), you are the greatest god Analysis—Three distinct rhythms appear in this melody. The first is the rhythmic unit which, with its repetitions, comprises four measures. This is followed by a rhythm resembling the former in one measure. ‘The interval of a fourth is prominent in the framework of the melody. The closing period contains a particularly pleasing sequence of tones in upward progression, followed by a glissando measure and a descent of an octave within two measures. There is an unusual gentleness and strength in this melody. The fourth song of this group is in honor of the drum which was given by the morning star for use in this dance. DENSMORE] MENOMINEE MUSIC 47 No. 11. Song in Honor of the Drum (Catalogue No. 1524) Recorded by PragEon a = Bf a eR rf i Fe 2 ee ee Analysis —The rhythmic unit of this song is unusually long and occurs twice, the remainder of the song resembling the unit but con- taining frequent rests. Only four progressions occur in ascending order, each phrase showing a continuously descending trend. The tones are those of the fourth five-toned scale. This song was followed by a speech by the person giving the wapu- nowin and by a feast. The next song is omitted if the wapunowin is given on any occasion other than an adoption. No. 12. Song for the Person to be Adopted (Catalogue No. 1516) Recorded by PIGEON Analysis.—This melody is well adapted to a serious gathering. The rhythmic unit has a steady meter and its repetitions comprise the entire song. All the tones of the octave occur in the melody which 48 BUREAU OF AMERICAN ETHNOLOGY [BULE. 102 has a compass of 12 tones, beginning on the ninth and ending on the fifth above the keynote. The descending fourth is prominent in — the framework of the melody and occurs as C-G, B flat-F, and F-C, — followed by B flat-¥ in the lower octave. ; After this song the dancers moved in procession around the lodge, led by the person giving the dance. Behind him walked the person or persons being adopted. ‘The movement was, as indicated, toward the east in the wapunowin. After this procession the person giving the dance might sing his per- sonal songs. Then followed the general dancing songs of the wapu- nowin, which were numerous and not sung in any prescribed order. After many of these songs the vocables Wa-a-a-hi-hi-hi-hi were given, the dance being more lively during these syllables. No. 13. Dancing Song from the East God (a) (Catalogue No. 1611) Recorded by PrrerR Fis Analysis.—The structure of this song is unusual. The rhythmic phrases consist of four measures and their repetitions comprise the entire song. Each is divided into two short phrases, having either an ascending or a descending trend. The compass of these phrases varies from a whole tone to a fifth. Although major in tonality, the song contains only two major thirds, one being in ascending and the other in descending progression. DENSMORE] MENOMINEE MUSIC 49 No. 14. Dancing Song from the East God (b) (Catalogue No. 1612) Recorded by PETER FISH Analysis.—This and the two songs next following will be com- bined in the present analysis. AJl are major in tonality and two have a compass of 12 tones, beginning on the highest tone of the compass and ending on the lowest. The three songs are in about the same tempo. All consist chiefly of repetitions of rhythmic units, although in No. 16 the third period is in a contrasting rhythm. No. 15. Dancing Song from the East God (c) (Catalogue No. 1637) Recorded by PAMAPOMI Voice d = 120 Drum @ = 120 Drum- rhythm similaz to No. 9 (REI ha ee a eae Ga 50 BUREAU OF AMERICAN ETHNOLOGY [BULL. 102 No. 16. Dancing Song from the East God (d) (Catalogue No. 1638) Recorded by PamMapromti Voice a - 120 Drum =) 440 Drum- rhythm similar to No.9 — " l Mention has been made of the custom of giving a feast after killing the first game of the season. The following incident was said to be ‘‘known to everyone” and to show the punishment of a man who failed to observe this custom. Long ago a Menominee had been killing deer which he did not need for food and leaving the bodies where they fell. He had been doing this a long time when the sun became angry and said, “I will stop you.” One day a spirit spoke to the man and said, ‘In four days you will do the wapunowin.”’ Four days passed and at the beginning of the fourth day the man wondered what would happen to him. He saw the sun rise a little way and said, “‘I can stop and have a smoke.’”’ He had some native tobacco with him and rubbed it fine in his hand, after the Indian custom. Suddenly he felt a pain in the thick part of his palm, where he was rubbing the tobacco. The pain increased and he said, ‘‘What can be the matter?” Still he kept rubbing the tobacco. A coarse stem of the plant had made a wound in his hand and blood came from it. His arm and hand swelled so that his fingers stuck straight out. He threw away the tobacco, saying, ‘‘T guess this is what was meant by my dream.” The pain reached his shoulder and his heart, and he died within an hour. The message from the spirit meant that in four days there would be a place in his family which could be filled by the wapunowin adoption dance. The man had a wife but no children, and after his death she went to an old man, saying, ‘‘Why did this happen?” The old man replied, ‘The sun did not give us deer to waste. Your husband was punished for killing deer that he did not need for food and leaving their bodies where they fell.” The following song is connected with this story: DENSMORE} MENOMINEE MUSIC 51 No. 17. ‘‘In Four Days’’ (Catalogue No. 1628) Recorded by AGNES SULLIVAN Voice d - 100 Drum @ = 100 Drum- rhythm similar to No.9 FREE TRANSLATION I will be alive only four days Analysis —In its general form this melody is adapted to the announcement contained in the words. It is a formal melody divided into three instead of the usual four periods. All the tones of the octave are present, but the fourth is sharped in its only occurrence. The rhythmic unit is long, and the time of the 5-8 measures was uniformly given in all the renditions. Although the song is major in tonality, the major third occurs only in the first complete measure, one-half the progressions being minor thirds. From THE Souty Gop The origin of the dance given by the south god was related by a Chip- pewa during the study of the music of that tribe. This narrative was read to the Menominee, who said that their tribe held the same tradition. Nawajibigokwe, a reliable Chippewa informant, said, “The cawunoga is a very old dance and was first a dance for healing. It was not to cure people who were very ill, for that was done by the Mide, but it was for people who were not in good health. The South Manido taught this dance to a very good young man whose relatives were ill... The young man got up the dance as he was instructed by the South Manido and his relatives recovered. After- ward the dance was used as a social dance and the songs are particu- larly pleasing.” 48 Bull. 58, Bur. Amer. Ethn., p. 129, and songs Nos. 47, 119, 120, 121-122. Concerning the Shawano dance Skinner says: ‘‘ This sacred rite (Cawanokau, or Tcipai’ cimun, ghost dance) is performed in honor of the dead and is said to have been borrowed from the Shawnee at an ancient time when they lived near the Menomini. It is held a year or more after the death of some person, when the relatives prepare a feast and invite their neighbors to attend. ... It is thought that he [the dead] responds and is also happy with those present.” (Associations and ceremonies of the Menomini, p. 212.) This dance is not identified in the present work. 52 BUREAU OF AMERICAN ETHNOLOGY [BULL. 102 An adoption using the songs and ceremony from the south god was less serious than that with the east god’s songs and often was followed by atobaccodance. (See pp. 184-187.) Thesongs are lively; and the dance began at dusk, usually continuing until break of day. It was not unusual for three or four persons to be adopted at one of these dances. The songs were accompanied by the drum given by the Morning Star and sometimes by a water drum or a squash rattle. If a water drum were used the leader of the singing sat beside the drum and others took turns in sitting beside him, first on one side and then on the other, all drumming with the sticks commonly used with this type of drum, turned sharply downward at the end. Many guests were invited to a south dance adoption, as it was more social than the east god’s dance, and after the feast there was a speech by the host, explaining the reason for the gathering. The gifts to the persons adopted were valuable and included clothing, blankets, and many other articles. In this dance a man and a woman faced each other and moved first toward the west, with a short sidewise step. Each moved the right hand before the other’s face with a rapid motion, and Amab said that he always fanned his partner with his hat. A handkerchief or any small article might be used in the same manner. The best dancers kept the time of the fanning exactly with that of the singing and drumming. When the dancers had moved a suitable distance each man swung his partner around and they started back again. Presents were sometimes given, but the exchange of gifts did not form an essential feature, as in the woman’s dance of the Chippewa. A woman sometimes beckoned to a gayly arrayed young man, threw her blanket over his head, and took some of his finery as they danced together. A man might also throw his blanket over the head of a woman as they danced. The songs were particularly pleasing, and the dance was exciting. Characteristics of songs: Eight songs of the Cawunowin were recorded and have so many characteristics in common that they will be analyzed as a group. We note first the small compass of these songs. In the songs received from the east god the compass was from 8 to 12 tones, but four of the songs from the south god have a compass of 5 tones, two have a compass of 6 tones, and the remainder have a range of 7 and 8 tones. A majority end on the lowest tone of the compass and all are major in tonality. A majority begin in triple time, and six of the group begin on the unaccented count of the measure. An unusual variety of intervals occurs in these songs. A peculiarity occurring in four of these songs and very rarely noted in Indian songs is a change of tempo during the song. In No. 18 this change was gradual in the first rendition and abrupt in the later renditions, while in the other songs it was an abrupt change in tempo. 53 MENOMINEE MUSIC DENSMORE] It will be noted that these were recorded by four different singers. At least two or three of the songs were sung in succession. Dancing Song from the South God (a) No. 18. 0. 1573) (Catalogue N Recorded by AmMaB No. 19. Dancing Song from the South God (b) (Catalogue No. 1623) Recorded by Lirrte ‘THUNDERER [BULL. 102 BUREAU OF AMERICAN ETHNOLOGY 54 No. 20. Dancing Song from the South God (c) (Catalogue No. 1574) Recorded by AmaB No. 21. Dancing Song from the South God (d) (Catalogue No. 1521) Recorded by Praron MENOMINEE MUSIC DENSMORE] No. 22. Dancing Song from the South God (e) (Catalogue No. 1613) Recorded by Peter FisxH No. 23. Dancing Song from the South God (f) (Catalogue No. 1614) Recorded by PETER FisH It is customary to dance and sing for the one who is “‘dressed up The following song is used in that manner. the finest.” [BULL. 102 56 BUREAU OF AMERICAN ETHNOLOGY No. 24. ‘‘My Gay Dress’’ (Catalogue No. 1538) Recorded by P1igEON N I FREE TRANSLAT You will dance for me in my gay dress The dance closes with the following song: No. 25. Closing Song ef Dance (Catalogue No. 1572) Recorded by AMAB DENSMORE] MENOMINEE MUSIC ay THE GIFT OF MEDICINE TO THE MENOMINEE There is no subject more closely intertwined with Indian customs than that of substances believed to have magic power, called “‘medi- cine.””’ By means of these substances the Indian believes that he cures the sick and achieves success in the hunt, in war, and in Jove, as well as in all other undertakings. Among the Algonquian tribes the knowledge of the preparation and use of such substances is preserved and taught in the medicine lodge. The substances are usually vegetal, but animal and mineral substances often enter into the making of charms.* The following legend of the origin of medicine was related by Pigeon and Amab, who said that all forms of medicine were developed from the four given to the little girl by the owl. In olden times, if a child cried and the mother wanted it to stop, she said, ‘‘ We will throw you outside and the owl will get you.”” Once a woman threw her little girl outside and said to an owl, “T’ll give you this child.” All the owls said to that owl, “‘Why don’t you take the child? She gave it to you.” The owl took the little child to her home, which was a hole in a tree. It was round and brown and looked like a little round wigwam, when the child was inside. The owl had a little pail. She put the pail on the fire and cooked some blueberries for the child to eat, and she had a little wooden bowl for the child’s food. For a period of four years the child stayed with the owl, but the time seemed so short that it was called ‘‘one.” By that time the girl had become a woman and the ow! decided to take her back to her people, but before doing so she made four little bundles, or packets, of red squirrel hide, and placed in each a substance with magic power. Each packet contained a different sort of ‘‘medicine”’ and was tied with a different color in order to identify it. The packet tied with red contained “‘lovemedicine”’; that tied with yellow contained asubstance that would cause its owner to receive valuable gifts; that tied with black was “hunting medicine”; and the fourth packet, “‘ tied with any- thing,” contained medicine giving success in playing games. This was the first time that magic substances had been given to the Indians. The owl taught the young woman a song to be used with each sort of medicine and also gave instructions in the manner of their use. The people were in the sugar bush making sugar when the owl brought the little girl back. The owl brought her to a place where she could see the smoke of the wigwams and said, ‘‘ Your house is over there. Youcansee thesmoke. You can walk over there.”’ She sang the songs of the ‘“‘love medicine” when she took the girl to that place. It was almost dark when the owl said, ‘“‘Granddaughter, look at me.”’ She stood on an old log as she spoke. The girl looked and saw # Cf. Densmore, Chippewa Customs: Uses of plants by the Chippewa Indians. 58 BUREAU OF AMERICAN ETHNOLOGY [BULL. 102 an owl and then she saw an old woman again. That was the first time that she knew she had been with an owl. Afterwards the girl walked toward the smoke of the wigwams. Her mother came outside, saw some one standing in the dusk and said, “‘Is that you?” She seized the girl, drew her into the wigwam, and said, ‘‘ Who took you away?” The girl said, ‘‘An old woman about so high.” ‘What have you got?” “Some medicine that my grandmother gave to me.” Ever since that time the Indians have had ‘“‘medicine”’ for the four purposes, handing it down from one generation to another. Two of the four songs given by the owl were recorded. The first was that with which the owl brought the girl back to her home and the words were said to refer to their nearness to the wigwams. ‘This is the song of the love medicine. It was sung at the Owl Dance wit- nessed by the writer and recorded by one of the men who sang at the drum on that occasion. (See p. 194.) No. 26. Song of Love Medicine (Catalogue No. 1829) Recorded by Picron d = 146 Irregular in tonality = 112 FREE TRANSLATION Mi’aniu, owl tcek’nepowin, obsolete word meaning ‘near by” DENSMORE] MENOMINEE MUSIC 59 Analysis —This melody contains only the tones F sharp, B and C sharp, and is classified as irregular in tonality. The interval of a fourth comprises almost half the progressions. All the phases have a descending trend and the song consists almost entirely of repetitions of the rhythmic unit. The performance was followed by sharp yells. This song and the song next following were characterized by the use of meaningless vowel syllables, as in many other songs concerning medicine power. The next is the first song of hunting medicine. In the course of time each hunter had his own songs, which usually were in sets of four, but this was the original song. No. 27. Song of Hunting Medicine (Catalogue No. 1840) Recorded by AMAB Meaningless ‘syllables are underscored FREE TRANSLATION koko’ko, horned owls weto’katowtk, playing together Analysis.—The transcription is from the first rendition of this song, the second rendition having different words in the latter portion with corresponding changes in note values. The song is based on the minor triad, and 14 of its 17 intervals are minor thirds. Itisa pleasing melody with the gentleness that has been said to characterize the owl. In this, as in the songs of animal dances (Nos. 114-118), there was a hastening of the tempo in the latter part of the song, but the change was not enough to be indicated by a change in the metronome time. 48819°—32——-6 60 BUREAU OF AMERICAN ETHNOLOGY [BULL. luz HUNTING AND WAR BUNDLES The medicine given by the owl formed the nucleus of certain packets of magic substances commonly called bundles. The use of such bundles is widespread, especially in the Mississippi Valley region, but ‘“‘traces of the beginning of sacred bundles may be found among the Seneca, where the secret medicine of the tribe made as the result of a revelation is supposed to be composed of portions of the brains of all animals of the world, which was given with its accompanying rituals to certain young men by the powers.’”’*8 Among the Winnebago and certain other tribes the bundle is the property of the clan and is inherited within the clan, but among the Menominee a bundle is the property of an individual. A man may have two or three bundles, such as a hunting bundle, a war bundle, and a lacrosse bundle, the number and their entire contents being known only to himself. Each bundle has certain songs that are sung when it is opened either to renew or to exert its power. The man who in recent years had the most bundles was Wecawanakwut, who is shown in Plate 11, c. Among the Pawnee and certain other tribes a sacred bundle was received direct from the higher powers, but it is said that the Menom- inee bundles, with a few exceptions, “have come through the inter- mediation of some minor power. The ordinary war bundles came via the thunderers, though made by the sun, the morning star, and the animals, while the hunting bundles came to men through Manabus, who got them from the greater powers.’ An interesting legend concerning the origin of the hunting bundle is related by Skinner, who states that Manabus, after receiving the hunting bundle from ‘‘his grandfather and grandmother” (the higher powers), looked into it and was disappointed to find few medicines. His ‘‘grandparents” knew this and took him to an island in the middle of a great ocean. The “‘grandfathers”’ opened the bag and began tapping two sticks together as they sang a song. Toward night Manabus saw the animals appearing, one after another, and thus he became convinced cf the power of the hunting bundle. Then he gave the bundle to the Indians and taught them the songs which he had heard his grandparents sing, telling them to sing the songs whenever they opened the bundle.' This origin was not mentioned by the writer’s informants, who attributed the origin of the hunting bundle entirely to the owl. According to these informants a hunting bundle always contained the medicine revealed by the owl and four sticks representing the legs of the deer, which was the animal chiefly hunted 48 Skinner, Social life and ceremonial bundles, p. 95. 49 Densmore, Pawnee music, p. 5. 60 Skinner, Social life and ceremonial bundles, p. 95. 51 Skinner, Social life and ceremonial bundles, pp. 140-142, Bienawone) MENOMINEE MUSIC 61 by the Menominee. It usually contained red or blue paint. The bundle of one hunter differed from that of another in the roots and medicines which it contained, these having been revealed to the hunter in a dream or purchased from someone who had received them in that manner. White buckskin was wrapped around the roots, paint and sticks, and the outer covering was of cloth, hide, or any desired mate- rial. Amab said that his grandfather’s hunting bundle was about 24 inches long and about nine inches in diameter, and that it contained both red and blue paint. His grandfather’s name was Wai’kwone’mi (Something in the mouth). If a man kept his hunting bundle in his house it was placed in a trunk and a young girl was not allowed to go near it. When he was hunting and absent from his camp during the day he hid the bundle in a tree at a considerable distance from his camp, concealing it carefully, after taking out a small packet of medicine to carry with him. Wecawanakwut never kept his bundles at home, but kept them in a big swamp, where no one ever went. His hunting bundle was hung in a tree that was on top of piles of rocks. Wecawanakwut sewed the medicine in leather and put the packet in water long enough to soak the leather, then he fastened the bundle high in a tree where the sun would not strike it. There it dried so hard that the weather could not affect it. This medicine man was Mitchell Beaupre’s cousin and once showed him the place where the bundle was kept. Beaupre tried to find it afterwards and “‘crawled over stumps and rocks for a day and a half,’”’ but could not find it, so cunningly was it concealed. Distinct from the complete hunting bundle was the small packet of hunting medicine which resembled a man’s personal charms of other sorts. Such a packet, exhibited in the Milwaukee Public Museum, contains only a wooden effigy of a bear and two pieces of the fur of a cinnamon bear. A hunter sometimes wore, as his “medicine,” a turban made of wolf hide, as the wolf is the master of the bear. Probably this contained herbs known only to himself, and the wearing of the turban was undoubtedly in accordance with instructions received ina dream. (PI. 12, a.) Every hunter carried medicine to protect himself and his equip- ment from harm by evil influences. It was said that a “‘bad medicine man or woman” sometimes changed into the form of an ow! and sat in a tree near the hunter’s camp calling ‘“‘Kay-ko-ko” like an owl. Such creatures could steal a man’s bullets while he slept, and they could affect his gun so that he could not hit a deer, no matter how close he might be to the animal. If a man suspected that he was being influenced in this manner he took coals from the main camp fire and made a little fire on which he put some of this protecting medicine. 62 BUREAU OF AMERICAN ETHNOLOGY [BULL. 102 _ None of his companions noticed the action, but the owl smelled the medicine and did not come near the place.” Wecawanakwut was willing to sell the knowledge of his hunting Y medicine, and if a man wished to buy it he took the man out and © i \ ay showed him the bundle. When a few steps away from the bundle - he sang the songs of his medicine, then he said to the man, “TI will show you the same root that is in that bundle.” He then found a fresh plant, showed it to the man, and taught him the song that would makeit effective. Wecawanakwut said, ‘People think there is no game around here, but I can always get game with this medicine.” It has been stated that the owl gave only four songs to the little girl, one for each sort of medicine, but Pigeon said that she gave four songs with the hunting medicine. According to Pigeon the owl said, ‘‘When you get home give this packet to your father. Tell him to take it into the woods and he will find that he can get all kinds of game.” The following are the songs said to have been taught by the owl for use with a hunting bundle: No. 28. ‘‘I Offer My Song’’ (Catalogue No. 1506) Recorded by PigEoN FREE TRANSLATION When I begin this I offer my song, so I may succeed in getting game Analysis —A peculiarity of this song is the 5-4 time, which con- tinues until the third measure from the close, the repetitions of the rhythmic unit being also continuous to this point. The song con- tains 12 descending and four ascending intervals, only one of which is 52 The use of protecting medicines by the Chippewa is described in Densmore, Chippewa customs, p. 112, and in Uses of plants by the Chippewa Indians, p. 386. An incident of an owl’s visit to a camp to cause starvation is related in Chippewa music, pp. 105-106, together with the song used to drive it away. DENSMORE] MENOMINEE MUSIC 63 other than a minor third or a whole tone. The descending intervals of a fourth and seventh are prominent in the framework of the melody. No. 29. ‘‘I Will Find Game’’ (Catalogue No. 1507) Recorded by PiagEon FREE TRANSLATION I am now going to look for game and am sure that I will find it Analysis.—An interesting peculiarity of this song is the descend- ing interval of a seventh which forms the boundary of two phrases. The song is major in tonality and about half its intervals are minor thirds. In the third and fourth occurrences of the rhythmic unit the opening tone was slightly prolonged. The general effect is similar to the song next preceding, but the melody is smaller in compass and more elaborate in form. 64 BUREAU OF AMERICAN ETHNOLOGY [BULL. 102 No. 30. ‘‘I Will Get a Buck’’ , (Catalogue No. 1508) — Recorded by Pigzon FREE TRANSLATION J am going to get a buck and I will pack him Analysis.—This song is transcribed and analyzed with G as its keynote, although the melody is largely framed on the interval of a fourth. Only eighth and quarter notes occur, and the song contains only one rest. No. 31. ‘‘I Will Shoot Him Through the Heart”’’ (Catalogue No. 1509) Recorded by P1GEON FREE TRANSLATION When I aim at a buck I will shoot him through the heart Analysis —The framework of this melody consists of a descending seventh followed by a descending fourth. It is interesting to note that these are followed by a rest, an ascending fourth and two tones, the second of which is prolonged. The descending seventh has been noted in songs of pursuit, and this peculiar ending of the phrases in this song may suggest the shooting and fall of the deer. This melody is minor in tonality and lacks the fourth and seventh tones of the octave. These are the tones lacking in the fourth 5-toned scale which is major in tonality. When David Amab (pl. 11, a@,) was a boy he went on a hunting trip with his grandfather, who had a hunting wigwam near the river, 5 or 6 miles from his home. The frame of this wigwam was permanent and LAMMVYNVYMVORM “9 SVNIdINAMVD NHOfe ‘4 aVNV AIAVG ‘? kL ALW1d 72oOl NILATING ASOTIONHLA NVOIMAWYV AO NVaHNa BUREAU OF AMERICAN ETHNOLOGY BULLETIN 102 PLATE 12 a, TURBAN AND PACKET OF MEDICINE USED AS HUNTING CHARM b, WAR BUNDLE, CLOSED “PENSMORE] MENOMINER MUSIC 65 they carried the coverings with them. The opening of the hunting bundle took place on the night before the hunt. His grandfather told him to sweep the ground clean inside the wigwam, saying there must be no dust around when a medicine bundle is opened. Amab helped his grandfather prepare the sticks which were tapped together during the songs, and he helped cook the wild rice and other food for the feast, to be held after the bundle had been opened. The sticks used with these songs are called paka’sikona’tig. Those made for the writer were about 9 inches long, but it was not unusual for a hunter to use sticks that were longer. One stick was designated as the “beater,” and a song concerning this stick was recorded, with the sticks tapped together as an accompaniment (No. 32). When all had been prepared, Amab’s grandfather spread a blanket on the ground and opened his hunting bundle, the contents resting on the white buckskin. A dish of food was placed in front of it and his grandfather sang his hunting songs, tapping the sticks together and pointing the ‘‘beater”’ in the direction he expected to take on the morrow. After these had been sung the food was eaten and the bundle rewrapped. Each man had his own songs and the four next following were used by Peter Fish and his father, their use of the songs continuing to the time when they were recorded (1927). A description of the hunting customs given by Peter Fish was substan- tially the same as that of Amab. These songs were recorded with an accompaniment of the sticks struck together sharply. No. 32. ‘‘ My Tapping Stick’’ (Catalogue No. 1606) Recorded by Perr FIsH FREE TRANSLATION I am now going to use my tapping stick Analysis —The first count of the measure is emphasized more strongly in this than in a majority of Indian songs. Only one interval is larger than a minor third and the song contains only one semitone. The tempo is rapid and the melody consists of eighth and quarter notes. 66 BUREAU OF AMERICAN ETHNOLOGY [BULL. 102 No. 33. ‘‘You Are Struggling”’ (Catalogue No. 1605) Recorded by PrrrerR FisH FREE TRANSLATION Tomorrow, when I am hunting, you will be struggling and I will shoot you through the heart Analysis —The descending phrases and short, frequent rests in this song are interesting in connection with the words. More than half the intervals are whole tones. Attention is directed to the close of the fifth and beginning of the sixth measure in which the use of C sharp gives an appealing effect. The closing phrase is rather emphatic in character. No. 34. ‘‘ The Slender-legged Animals”’ (Catalogue No. 1607) Recorded by PreTER FisH FREE TRANSLATION When hunting I want to see the slender-legged animals Analysis —There is a grace and charm in this melody which suggests the motion of a startled deer. The opening intervals are unusual and comprise an ascending whole tone followed by an ascend- ing seventh. The song consists of three phrases, the first and second ending with a triple measure, while the third phrase is melodious and continues to the end of the melody. The lowest tone of the compass occurs four times, which is somewhat unusual. The tone material is that of the fourth 5-toned scale. DENSMORE] MENOMINEE MUSIC 67 No. 35. “‘ Tomorrow I Will Get Them ’”’ (Catalogue No. 1608) Recorded by Petr FisH Analysis.—Three phrases occur in this song, the second having a descending trend of an octave and the third differing from the others in the omission of the introductory tones. About two-thirds of the progressions are whole tones. There is no change of measure lengths, which is unusual in Indian songs. The following song was also used by Peter Fish and his father: No. 36. “I Will See a Bear’’ (Catalogue No. 1609) Recorded by Prerser FisH Analysis —The characteristic motion of a bear is suggested by this song with its prolonged tones and small intervals. This song re- sembles others of the present group in having a compass of eight tones, lying partly above and partly below the keynote. It contains more tones than other songs of the group, all the degrees of the octave being present except the seventh. Amab remembered one of the songs sung by his grandfather after the feast, while the contents of the hunting bundle were still exposed to view. 68 BUREAU OF AMERICAN ETHNOLOGY [BULL. 102 No. 37. Song After the Feast (Catalogue No. 1575) Recorded by AMAB FREE TRANSLATION I bring the ewe deer Analysis.—It is interesting to compare this with the songs next preceding which were intended to strengthen, or renew, the power of the hunting bundle. This song consists of three periods, like the preceding, but differs from them in its small note values and almost constant motion. The song is minor in tonality and lacks the fourth and seventh tones of the complete octave. At the conclusion of the feast the hunting bundle was carefully wrapped in its coverings. The next morning Amab’s grandfather drew coals from their cook- ing fire, put finely shredded roots on the coals and “incensed” their guns, pack straps, and feet by holding them in the smoke. Cedar was not used in this incensing, although it formed part of the material used in a similar manner on some other occasions. Sometimes his — grandfather sang in the morning as well as on the previous night. Sometimes he dipped his finger in the red or blue paint and put a little on his cheeks. Paint was used sparingly by the old people, and therefore a little packet lasted several generations. A hunter might carry the paint in his pocket during the day and replace it in his hunting bundle at night. Amab remembered that his grandfather took a little packet of medicine from the bundle when he went to hunt and put it back when he returned at night. The hunt was continued four days, as the hunting bundle could be used only that length of time. The game was allowed to hang for a while, and the hunter incensed it before taking it home. Serious results would follow if a man’s wife touched meat which had not been incensed in this manner. The meat would be defiled, she would suffer harm, and the man’s hunting bundle would lose its power, ics MENOMINEE MUSIC 69 SONGS CONNECTED WITH WAR BUNDLES The contents of a war bundle differed from the contents of a hunt- ing bundle, although the general characteristics were the same. The writer’s informants said that a war bundle always contained the skins of two sorts of owls and that other bird skins might be included accord- ing to the dream instructions received by the owner. The herbs and roots placed in a war bundle were believed to have particularly strong medicine power. The articles and herbs were wrapped in the soft tanned hide of a deer and around this was placed a wrapping of plaited rushes, secured by a thong. ‘The rushes used in making this outer covering were boiled to make them soft and the bundle was some- times called a ‘‘white mat” because of this covering. The origin of the war bundle is described by Skinner, who states that the sun and the morning star looked down upon human beings and were moved by pity for their constant wars. In response to an appeal by these higher powers, the swift-flying birds promised to endow the warriors with their abilities, the buffalo promised to give them strength and courage, the weasel gave them cunning, and the pine snake the ability of ambush and stealthy escape. The sun and the morning star made these gifts into a bundle which the thunderers transmitted to mankind. According to this authority, all war bun- dies contain the skins of the swift-flying birds that are the warrior’s chief protection, also skins of the pine snake and the weasel, and that buffalo tails are sometimes found in these bundles. He states, further, that a war bundle always contains ‘‘reed whistles for signaling to the braves, deer hoof rattles for accompanying the sacred songs, and the paint given by the thunderers to cure the wounded.” » A remarkable war bundle is shown in Plates 12, b, and 13. This is a double bundle, very old, and belonged to Frank Corn, who died in 1907 at the age of 88 years. He was a medicine man of great power in treating the sick, and his death was due to old age. The bundle is now the property of the Milwaukee Museum. Among its contents may be recognized the skins of birds, the deer hoof rattles for accom- panying the songs, and the reed ‘‘whistles’”’ that were used as war signals; also when the war bundles were opened, when victory dances were held, and on various other occasions of a ceremonial nature. According to John V. Satterlee, the material for these whistles was first obtained from a great distance, but in recent years they are made of sections of bamboo fishing poles. The small packets contain var- ious medicines, the uses being known only to the owner of the bundle who received the knowledge in his dreams. Attention is directed to 83 Skinner, social life and ceremonial bundles, pp. 7, 93, 102-103. 70 BUREAU OF AMERICAN ETHNOLOGY (BULL. 102 the tiny war club and gun, made of wood, which were also the per- sonal charms of the bundle’s owner. It was not unusual in the old days for a collection of such objects to be started in childhood. The parents of a boy might believe him to be a “‘thunder-child” and present him with the symbols of war; later he might dream of the thunder bird and acquire dream articles, and he might add to the group by later visions and experiences, and all these articles would be kept in his war bundle. With a similar war bundle at the Milwaukee Public Museum is a piece of birch bark about 2 by 17 inches, on which the mnemonics of the war bundle’s songs are inscribed. A war bundle at the American Museum of Natural History contains a robe of hide, painted with symbolic designs pertaining to the thunderers. Distinct from the war bundles were the charms carried by individual walriors, instances being mentioned in connection with Song 128. A war bundle was carried by its owner when on the warpath, and he might at any time give a feast to it in order to increase its power. On such an occasion he opened the bundle, exposing its contents, and placed tobacco beside it. The tobacco was not lifted ceremonially, but the bundle owner ‘‘talked” to the four wind quarters and the — sky. He did not address the earth. Amab said that his grand- father and his father-in-law had war bundles and he had seen them opened; the procedure resembling that described on page 37 in con- nection with the lacrosse bundle. A group of four songs belonging to a war bundle was recorded by Pigeon, who said they were received from the thunderers. These songs were sung at a feast to the war bundles and were intended to make its power effective. They were accompanied by a water drum and three gourd rattles. The words are in the Chippewa language. No. 38. War Bundle Song (Catalogue No. 1510) Recorded by PiagEoN Analysis.—This song has a range of 12 tones, beginning on the high- est and ending on the lowest tone of the compass. The melody tones are those of the fourth 5-toned scale and the progressions, with two < DENSMORE] MENOMINEE MUSIC yor exceptions, are minor thirds and major seconds. The rhythmic unit has a descending trend and is continuous throughout the song, except in the two final measures. No. 39. Song When Opening War Bundle (Catalogue No. 1513) Recorded by PraEon === a ol og a ie ie ee BEA SSESsana Analysis —The rhythmic unit is continuous throughout this song except in the fourth and fifth measures, this change in rhythm giving character to the melody. The song, like that next preceding, has a compass of 12 tones, beginning on the highest and ending on the lowest tone of the compass. About two-thirds of the intervals are minor thirds. The song contains all the tones of the octave except the seventh. The words of this song mention the ‘‘great water,’”’ which is con- sidered a source of power by members of the medicine lodge. rip? BUREAU OF AMERICAN BTHNOLOGY (BULL. 102 No. 40. War Bundle Dance Song (a) (Catalogue No. 1514) © Recorded by P1cron FREE TRANSLATION In the middle of the great lake I went around Analysis—A peculiarity of this song is the unusual number of repetitions of a tone, thus the first occurrence of the rhythmic unit contains 10 tones and only one progression. It is interesting to note the break in the rhythm, with the triplet suggesting a repetition of the rhythmic unit. Near the close of the song a triplet of eighth notes is again followed by a rhythm different from that of the rhythmic unit. The song has a compass of 10 tones, the highest tone of the compass occurring midway the length of the melody DENSMORE] MENOMINEE MUSIC 73 No. 41. War Bundle Dance Song (b) (Catalogue No. 1515) Recorded by Pianon Analysis.—The chief characteristic of this song is the 5-8 time which continues throughout the melody. The song is further charac- terized by a steadily descending trend which extends over the compass of 10 tones. The tempo is rapid and the rhythm is well marked and continuous. Progression is chiefly by whole tones and the song is based on the fourth 5-toned scale. The two songs next following are connected with the use of the bundle on the warpath. Each of these songs was sung twice when used to bring success. In the first song the bundle is being carried by its owner. No. 42. He Carries the War Bundle (Catalogue No. 1511) Recorded by PicEon FREE TRANSLATION He walks and carries it on his back Analysis —The rhythmic structure of this song consists of six periods, the first, second, and third of which begin with an unaccented tone which is omitted in the later periods, A short rest occurs mid- 74 BUREAU OF AMERICAN ETHNOLOGY [BULL.102 _ way the length of the second and last three periods, which is somewhat — unusual. The song has a compass of 12 tones and is based on the © fourth 5-toned scale. Concerning the next song it was said that the war party had made camp and the owner of the bundle had placed it on the ground, putting tobacco on it as he sang this song. It was the purpose of the song to cause a fog so that the warriors could approach the enemy without being seen. No. 43. The War Bundle Causes a Fog (Catalogue No. 1512) Recorded by P1gEON Analysis —In frequent repetitions of tones this song resembles No. 40, recorded by the same singer. More than two-thirds of the progressions are whole tones, but the melody is lively and interesting. It has a compass of 12 tones and a steadily descending trend, con- taining 17 descending and only 7 ascending progressions. SONG CONNECTED WITH A BOY’S FAST Among the Menominee, as in other tribes, there formerly were certain customs connected with puberty. A boy was expected to fast and to secure a vision. A girl also fasted and hoped for a vision, but her fast was not surrounded with so much strictness as that of a boy. She placed a round dot of charcoal on each cheek, but a boy blackened his whole face for fasting. A girl was considered fortunate if she dreamed that she had a husband who was a good hunter. If she dreamed of tallow in her mouth it was considered a sign of wealth. The girls, as well as the boys, made “‘charms”’ representing the sub- DENSMORE] MENOMINEE MUSIC ~ 75 ject of their dream and kept the charms with the care accorded such objects in all Indian tribes. A boy was prepared for his fast by his father or by a medicine man. _ He blackened his face with charcoal, and if he were a little boy he played near his home or perhaps went on little hunting expeditions during the day but stayed in the house at night. If he were old enough, he went away from home for his fast, and his parents went frequently to question him concerning the progress of his effort. Drink as well as food was prohibited during the period of fasting, but the child held a bullet in his mouth so that his mouth would not become dry. If even a tiny bit of food were taken the fast was considered broken and must be begun again. The time of the fast might be a single day for a little boy, or periods of two to four days for older boys, and these periods might extend over a whole year before the boy secured a dream that was satisfactory to his parents. It was believed that the longer the fast the stronger would be the power received in the dream. In the old days, according to Amab, a boy who desired to fast went out and cut a basswood sapling, either his full height, one-half or one-fourth his height, the length of the stick being a measure of his determination to secure a dream. He removed the bark from the stick and cut rings around its entire length, the rmgs being about 1% or 2 inches apart. Then he charred the stick in the fire and placed it upright in a corner of the wigwam. A boy’s fast was usually begun in October. When he began to fast he broke off one section of the charred stick, pulverized the charcoal in his hand, and put it on his face. He kept the stick and broke off similar sections as might be required. After a boy had begun to fast he was questioned by his father at frequent intervals, and the boy told whatever had appeared to him. If the father was not satisfied, he said, ‘‘That is not a good dream. You had better eat and start over again.’ So the boy ate and entered upon another fast. His experience might be the same on the second night, and his father would again tell him to ‘‘eat and start over again.” If a boy dreamed of the thunderers, an eagle, the sun, or the moon, he was told to put on more black paint and continue his fast in the hope that the same dream would come again. This could be con- tinued an indefinite time, and the boy was urged to go without food as long as possible. It was said, “If you are getting a good dream you must hang on to it.”” In this way the power of the dream was increased. Many boys dreamed of the sun in the old days. . ..42caiten cena Tsuga canadensis (L.) Carr. Hepatices, roundlobe: —) .- -- 2. ghee Hepatica triloba Choix. Honeysuckle, dwarf bush___.__-_-_-- Diervilla lonicera Mill. JOrsey=tes tues eee oe he Ceanothus americanus L. JOe-PYe=Weede et wed ee ee Eupatorium purpureum L. Life everlasting, fragrant._.....-___- Gnaphalium obtusifolium L. Thily, OPANGOCUp Meo 8 oak a Lilium philadelphicum L. Milkweed, common-.-._........-_-=2 Asclepias syriaca L. Mint, American wild too Mentha canadensis L. Make sMOse Cup ete a to a ie Quercus macrocarpa Michx. Ogkomorihernipm cs .c 0 2 oe Quercus ellipsoidalis E. J. Hill. Partridgebermy: jn. foo eh Mitchella repens L. Pine, white oo: 4.22. coer a nde Pinus strobus L. Pipsissewa, common________-___-____-_ Chimaphila umbellata (L.) Nutt. Plantain, Rugel’s; ‘‘ White-man’s foot’’_| Plantago rugelii Dene.? Ruccootine! soni We Jue add ftir uh Lithospermum canescens (Michx.) Lehm. Sagsapariila, (wildaicia te) eer alt Aralia nudicaulis L. Selfheale it sete e sf eat ay toy yb ye ce Prunella vulgaris (L.) Shepherds purse.___...-__---_-___.- Bursa bursa-pastoris (L.) Britt. Skunkeabbage...-2:_-. .. 1 Si apes Spathyema foetida (L.) Raf. Sneezeweed, common-_-_____________- Helenium autumnale (L.) Snow trillimmeG. OV ees OS Bales Trillium grandiflorum (Michx.) Salisb. Bolomensenleniallrs oe es Polygonatum biflorum (Wald.) Ell. ppikewasfenather <2 ee Lacinaria spicata (L.) Kuntze Bpikenard, wild. #- 2 actos aie ee tee Vagnera racemosa (L.) Morong Huma Aetaghorn: _.¥ 2t 42.02, 0. nee Rhus hirta (L.) Sudw. Sweetcicely, woolly....-_..._..____- Osmorrhiza claytoni (Michx.) Clarke. SA a hs a oT Le Oe Te: Acorus calamus L. Termip, Indian 2.5 2%. 43458 toss Arisaema triphyllum (L.) Torr. Waterleaf; Virginiaxs..... 182 oo clei Hydrophyllum virginianum L. IVVELOW) TAUPIC = oh Fk oe ce tea Salix humilis Marsh. VE Ee CY) Sh ae ee Seam wile Paar! Hamamelis virginiana L. arrow sual ad © anion sronuiiing ong te Achillea millefolium L. DENSMORE] MENOMINEE MUSIC 125 This list contains only 53 names, while the specimens obtained by Mrs. Longley were 56 in number. As already stated, the Indians identify a plant by its appearance, the name being of secondary importance. In the unnamed specimens Mrs. Longley knew the appearance and use of the plant but did not know its native name. List oF PLANTS ARRANGED AccoRDING TO NatTIvE NAME Native name Meaning Common name Ai’yatciu’nése’k(n__-_-__---_- Se a a i ee Common sneezeweed. PEW PIS... 25k Indicates use as a poultice__| Small solomonseal. PSIG Hi) Aner so oe Small pine. .9 2 SSS. se White pine. TS Sa Ee ee | ee ae en Mossycup oak. Aya’ wisawa’ki----------- Square, understood to refer | Wildbergamot. to stalk of plant. CEUTA a | as SO Pan aed fe A Le IE Staghorn sumac. Ma mikAipOk 42... -52 52) Byerercen sch eee eh Tee Common pipsissewa. Ka’/sukaé’ micki’ki______-_~ Cat:medicine - .. ++) 224e2% Catnip. ano pird’s.!_ 2.222. Banke praus...ossseesoe =~ Eastern blue-eyed- grass. Kino’ piktter’ pss 2 242 2 Snake root-v22 "ee Wild spikenard. PePPMNENICTI Fie 2 oo See Le ee ee Sweetfern. ES) i a Red: warereeee. on ae eee Jersey-tea. eC DTEESL SESS Cs Ilan Rn AAR a Ben ah er Rugel’s plantain. Ma’/tcmama’ tsétau - - -_--- Bie india . fea > eee Butterfly weed. MEE STG Wy Gy wes ee a Te Mucko’tau’odji’pé-__-_---- Prairie Toot... 22s ey Miukata’ ono’ kanvk. =... .:|/"Black perry oye _ of ss Nama’ kocid’sa_-_-.------- BVateribugsgl! 14 pes = ati VEST ESSE Tr Ra ER BSD, (POEL Ee EP ATE RY Pes eerie ETT TO gS ena a ES A ek eo Naren ut seusederiah Binpudgew. 2 = Na’sikin wa/biskidji’pé_-__| Smudge, white root__-__--- Ona’ mimitci’ ps... - - 3. Pueclerrantee 2 Ona’wini’koso’_.__--_---- Squirrel tail... _wiive.it Ota’ pipény i’ g._.- = 1.20 Crinkled) Poot. ....--=-.-.- Pai’sanaki’ki___..___L__.- Hien hairy. toe eins (LSS ee ee eee eres Little pitch, understood to be from balsam. “SE ah FS) Tp ta, erpawge A t eeREDS Seal i a preegen akeltecmeeH ee Sika’kacmi’aékwa_-_-__-__-_- Bink OUD. Set ene. OES OTE CDR Ry eT a a po CAS ASSET ae | ee eee nS, a EES ie PN ee ee ee UNO, WR sa a East medicine...s---+----3 US ta STS Se al (a eee Sere Et TO ES RES AEE Tee WER apernes « Sapee Crr, ae me We’sfksa’ pose’ ktin - -___ ~~ Bitten T00be s0.+ Asoc) eet 126 BUREAU OF AMERICAN ETHNOLOGY [BULL. 102 The following plants are assigned the same medicinal uses by Huron H. Smith in Ethnobotany of the Menomini Indians, pages 21-58. Achillea millefolium L. Yarrow. Asarum canadense L. Canada wildginger. Asclepias tuberosa L. Butterflyweed. (Also other uses.) Eupatorium purpureum L. Joe-pye-weed. Helenium autumnale L. Common sneeze weed. Pinus strobus L. White pine. (And other uses.) Sambucus racemosa L. European red elder. (And other uses.) The following plants are assigned different medicinal uses by Smith. Abies balsamea (L.) Mill. Balsam fir. Acorus calamus L. Sweetflag. Adiantum pedatum L. Maidenhair fern. Arisaema triphyllum (L.) Torr. Indian turnip. Ceanothus americanus L. Jersey-tea. Hydrophyllum virginianum L. Virginia waterleaf. Mitchella repens L. Partridgeberry. Monarda fistulosa L. Wildbergamot. Nepeta cataria L. Catnip. Salix humilis Marsh. Prairie willow. Sanguinaria canadensis L. Bloodroot. Spathyema foetida (L.) Raf. Skunk cabbage. Thuja occidentalis L. American arborvitae. Trillium grandiflorum (Michx.) Salisb. Snow trillium. Tsuga canadensis (L.) Carr. Canada hemlock. Vitis vulpina L. Riverbank grape. Zanthorylum americanum Mill. Common prickly-ash. The following plants are not listed in Ethnobotany of the Meno- mini by Smith: Apocynum pubescens R. Br. Lilium philadelphicum L. Arctium lappa L. Padus demissa (Nutt.). Betula papyrifera Marsh. Polyporus sp. ? Comptonia peregrina (L.) Coulter. Quercus macrocarpa Michx. Hepatica triloba Choix. Rubus canadensis L. Heuchera americana L. Sisyrinchium atlanticum Bicknell. Lacinaria spicata (L.) Kuntze Vitis vulpina L. The following plants were similarly used by the Chippewa in treatment of the sick. (Cf. Uses of Plants by the Chippewa Indians, pp. 286-294.) Achillea millefolium L. Yarrow. Acorus calamus L. Sweetflag. Asarum canadensis L. Canada wildginger. Ceanothus americanus L. Jersey-tea. Chimaphila umbellata (L.) Nutt. Common pipsissewa. Diervilla lonicera Mill. Dwarf bush honeysuckle. Leptandra virginica (L.) Nutt. Culvers physic. Nepata cataria L. Catnip. Plantago rugelit Dene ? Rugel’s plantain. DENSMORE] MENOMINEE MUSIC 127 The following plants were differently used in the treatment of the sick by the Chippewa. Abies balsamea (L.) Mill. Balsam fir. Aralia nudicaulis L. Wild sarsaparilla. Asclepias syriaca L. Butterflyweed. Betula papyrifera Marsh. Canoe birch. Bursa bursa-pastoris (L.) Britt. Shepherd’s-purse. Eupatorium purpureum L. Joe-pye-weed. Heuchera americana L. American alumroot. Hepatica triloba Choix. Roundlobe hepatica. Pinus strobus L. White pine. Prunella vulgaris L. Selfheal. Quercus macrocarpa Michx. Mossycup oak. Rhus hirta (L.) Sudw. Staghorn sumac. Sanguinaria canadensis L. Bloodroot. Solidago flexicaulis L. Broadleaf goldenrod. Thuja occidentalis L. American arborvitae. Trillium grandiflorum (Michx.) Salisb. Snow trillium. Tsuga canadensis (L.) Carr. Hemlock. Vitis vulpina L. Riverbank grape. The following names do not occur in Uses of Plants by the Chippewa Indians. Adiantum pedatum L. Maidenhair fern. Apocynum pubescens R. Br. Velvet dogbane. Arctium lappa L. Burdock. Arisaema triphyllum (L.) Torr. Indian turnip. Asclepias tuberosa L. Butterflyweed. Ceanothus americanus L. Jersey-tea. Comptonia peregrina (L.) Coulter. Sweetfern. Gnaphalium obtusifolium L. Fragrant life everlasting. Helenium autumnale L. Common sneezeweed. Hydrophyllum virginianum L. Virginia waterleaf. Lacinaria spicata (L.) Kuntze. Spike gayfeather. Lilium philadelphicum L. Orangecup lily. Lithospermum canescens (Michx.) Lehm. Puccoon. Mentha canadensis L. American wild mint. Mitchella repens L. Partridgeberry. Monarda fistulosa L. Wildbergamot. Prunus demissa (Nutt.) Roemer. Western chokecherry. Plantago rugelii Dene. Rugel’s plantain. Polygonatum biflorum (Walt.) Ell. Small solomonseal. Polyporus sp.? Quercus ellipsoidalis E. J. Hill. Northern pin oak. Rubus canadensis L. Thornless blackberry. Saliz humliis Marsh. Prairie willow. Sambucus racemosa L. European red elder. Sisyrinchium atlanticum Bicknell. Eastern blue-eyed-grass. Spathyema foetida (L.) Raf. Skunkcabbage. 128 BUREAU OF AMERICAN ETHNOLOGY [BULL. 102 CLASSIFICATION OF DISEASES AND INJURIES TREATED BY NATAWIKA”™ 1. Nervous system: 5. Urinary system: Diuretic. Convulsions. 6. Skin: Headache. Inflammation. Contraction of the face. Sores. 2. Circulatory system: 7. Bruises. Heart. 8. Burns. “Tn the blood.” 9. Fever. 3. Respiratory system: 10. Hemorrhages. Cold. 11. Diseases of women. Cough. 12. Diseases of the eye. Lung trouble. 13. Rheumatism. Pain in the chest. 14. Baths. 4. Digestive system: 15. Tonics. Indigestion. 16. General remedies: Pain. Swellings. Dysentery. Acute pain. Physic (use of). Injury to the eye. Emetics (use of). Remedy for poison ivy. Worms. 1. Nervous SysteEM CONVULSIONS Spathyema foetida (L.) Raf. Skunkcabbage. The dried and powdered root was mixed in a saucer with the seeds of prickly ash. Warm water was placed on the mixture and used as a remedy for con- vulsions, being given to infants, children, or adults. Lithospermun canescens (Michx.) Lehm. Puccoon. The root of this plant was combined with the root of skunkcabbage, the inner bark of prickly ash, and one other plant in a remedy for persons very sick and threatened with convulsions. The four powdered ingredients were mixed with water in a saucer, the sick person was required to drink a swallow, then the re- mainder was rubbed on the palms of the hands, the arms, chest, and abdomen. After this treatment the patient usually quieted down and went to sleep. The dosage and treatment were repeated at intervals. When in doubt of the result in a particular case Natawika used this mixture of herbs in the following test. She took a saucer of water, then lifted a little of the mixture on the point of a knife and placed it on the surface of the water. She did this four times, placing the little portions of medicine one above another on the water, then she watched the result. If the mixture sank to the bottom of the saucer she believed that “the medicine was not willing to work for the sick person,” but if the mixture spread over the surface of the water she accepted it as a sign that the sick person would recover. 70 This classification, except for a limited number of omitted remedies, is the same as that appearing in Uses of Plants by the Chippewa Indians, Fourty-fourth Ann. Rept. Bur. Amer. Ethn., p. 335. In determin- ing this basis of classification the author received the valued assistance of Dr, D. S. Lamb, who at the time was pathologist at the Army Medical Museum, Washington, D. C. ae MENOMINEE MUSIC 129 HEADACHE Solidago flexicaulis L. Broadleaf golden-rod. The leaves were dried, powdered, and snuffed as a remedy for headache. (See nosebleed.) Gnaphalium obtusifolium L. Fragrant life everlasting. The dried leaves were put on hot coals and the fumes inhaled as a remedy for headache or for ‘‘foolishness.”’ Helenium autumnale L. Common sneezeweed. The dried flowers, pulverized with other ingredients, were snuffed to cause sneezing and relieve headache. The dried flowers were mixed with the dried leaves of the broadleaf golden-rod and applied to the temples after a treatment somewhat akin to cupping. The flesh on the temples was lanced with four or five ‘‘quick, sharp little gashes’’ made with a bit of glass, the blood was then ‘‘drawn to the surface”’ by sucking through a horn, and the moistened medicine was applied. This was covered by a round piece of paper, about 1% inches in diameter, secured by a bandage around the head which was worn the rest of the day. The horn used by Natawika is shownin Plate 21,a. Mitchell Beaupre said that some doctors used as lances the splinters from a tree which had been struck by lightning. CONTRACTION OF THE FACE Arisaema triphyllum (L.) Torr. Indian turnip. The root of this plant, finely pulverized with the root of sweetflag, was used as a remedy ‘‘to straighten a person’s mouth that had been drawn to one side by © witchery.”” An incision was made with a bit of glass on the inside of the person’s lip. The powder was placed on this incision ‘‘so it would work in.”’ The writer has seen a Chippewa Indian suffering from this affliction which was attributed to a similar cause. 2. CIRCULATORY SYSTEM HEART Lacinaria spicata (L.) Kuntze. Spike gayfeather. A decoction of the root was used with other ingredients as a remedy for a weak heart. Spathyema foetida (L.) Raf. Skunkcabbage. A decoction of the root was used for a weak heart. In combination, this was used as a remedy for convulsions. ‘IN THE BLOOD’”’ Chimaphila umbellata (L.) Nutt. Common pipsissewa. The leaves were prepared in a decoction “‘to clear the blood.’’ About a cupful was drunk as often as desired, the treatment being continued about a month. Diervilla lonicera Mill. Dwarf bush-honeysuckle. _ The stalk of this plant was sometimes used in combination with the plant next preceding (pipsissewa) for the same purpose. No other part of this plant was used medicinally. 130 BUREAU OF AMERICAN ETHNOLOGY [BULL 102 8. RESPIRATORY SYSTEM COLDS Acorus calamus L. Sweetflag. The root was used as a remedy for colds, either as a decoction or chewed. (See also diseases of women.) Zanthorylum americanum Mill. Common prickly-ash. A decoction of the inner bark was used as a remedy for a cold which had settled on the chest. It was also used for rheumatism. COUGH Rhus hirta (L.) Sudw. Staghorn sumac. A decoction was made from the red top. This was strained, sweetened, and boiled down as a remedy for cough. Ceanothus americanus L. Jersey-tea. A decoction of the root was drunk for a cough with a tendency to consumption. LUNG TROUBLE Prunus demissa (Nutt.) Walp. Western chokecherry. A decoction of the inner bark was used for lung trouble. Aralia nudicaulis L. Wild sarsaparilla. A decoction was made from three roots and a quart of water as a remedy for lung trouble. It was also used as a remedy for sores. PAIN IN THE CHEST Hydrophyllum virginianum L. Virginia waterleaf. The root was boiled in combination with other roots for pain in the chest. In the early spring, before the plant blossomed, the roots were boiled and eaten as food. Asclepias syriaca L. Common milkweed. The buds were eaten and the root was used in decoction for discomfort in the chest. The root was also used in various combinations. 4. Digestive SystTEM INDIGESTION Asarum canadense L. Canada wildginger. A decoction of the root was used for indigestion. PAIN Heuchera americana L. American alumroot. The root was eaten raw for disordered stomach. It was also used in a decoc- tion, with other roots, for pain in the stomach. DENSMORE] MENOMINEE MUSIC 131 DYSENTERY Rubus canadensis L. 'Thornless blackberry. Hepatica triloba Choix. Roundlobe hepatica. Adiantum pedatum L. Maidenhair fern. A decoction was made of the roots of these three plants as a remedy for dysen- tery. The first named was also used alone for this purpose. Prunella vulgaris L. Selfheal. The stalk was steeped, not boiled, in a decoction for dysentery. This remedy was said to be particularly good for babies. Betula papyrifera Marsh. Canoe birch. A decoction of the inner bark was used for dysentery. Mitchell Beaupre stated that a decoction was made from the fine tips of the branches and used as a tonic, the tips of the branches being stored for use in winter. PHYSIC (USE OF) Leptandra virginica (L.) Nutt. Culver’s physic. The root of this plant was used as a purgative, being prepared in two different ways. (1) A root of average size was steeped (not boiled) in a quart of water. This was allowed to cool and a small cupful taken three or four times a day as a gentle laxative. (2) A root was boiled with a smaller amount of water, being allowed to boil hard until the quantity was reduced to less than a cupful, which was taken at a single dose. This was said to act as an emetic and as a powerful purgative. EMETIC (USE OF) Sambucus racemosa L. European red elder. The inner bark was scraped and prepared in a decoction for use as a quick emetic in cases of poisoning. The dose was a tablespoonful. WORMS Apocynum pubescens R. Br. Velvet dogbane. A decoction of the root was used for worms. The dose was half a cupful. 5. Urtnary SystEM DIURETIC Trillium grandiflorum (Michx) Salisb. Snow trillium. The root was steeped and used as a diuretic. 6. SKIN INFLAMMATION Plantago rugelii Dene? Rugel’s plantain. ‘‘ White-man’s-foot.”’ The fresh leave were applied to any inflammation. 132 BUREAU OF AMERICAN ETHNOLOGY [BULL. 102 SORES Abies balsamea (L.) Mill. Balsam fir. The gum inside the blisters was applied to sores. Lilium philadelphicum L. Orangecup lily. The root was boiled, mashed, and used as a poultice for sores. Pinus strobus L. White pine. The trunk of the tree was cut in small blocks, which were boiled. The outer bark was easily removed and the inner bark was pounded and used as a poultice for sores. Achillea millefolium L. Yarrow. The leaves were dried, pulverized, and used as a poultice for sores or swellings. Arctium lappa L. Burdock. The leaves were boiled and used as a poultice for scrofulous sores on the neck. 7. BRUISES Asclepias tuberosa L. Butterflyweed. This remedy was used both externally and internally. The root was pounded and used as a poultice for bruises, swellings, or lameness and prepared as a decoc- tion which was taken internally at the same time. It was also used as a tonic. 8. Burns Plantago rugelii Dene.? Rugel’s plantain. The fresh leaves were applied to a burn or any form of inflammation. 9. FEVER Mentha canadensis L. American wild mint. The entire plant was steeped as a remedy for fever. Nepeta cataria Li. Catnip. The entire plant, except the root, was steeped and the decoction used to pro- duce perspiration and a restful sleep. The informant, on being questioned, said she ‘‘did not know whether it was used for a fever, but this was the action of the medicine.”’ This indicates that she had been instructed in the action of the medicines rather than in diagnosis or the reasons for their use. 10. HeMoRRHAGE FRoM THE NosE Solidaga flexicaulis L. Broadleaf golden-rod. The leaves were dried, finely powdered with other ingredients, and inserted in the nostrils to check nosebleed. DENSMORE] MENOMINEE MUSIC 133 11. DiszaAses or Women Acorus calamus L. Sweetflag. The root was ground with that of bloodroot (Sanguinaria canadensis L.) and with bits of cedar wood and a decoction made as a remedy for irregular periods. The first ingredient was used also as a remedy for colds. Mitchella repens L. Partridgeberry. The leaves were used in a decoction for diseases of women. Quercus macrocarpa Michx. Mossycup. Quercus ellipsoidalis E. J. Hill. Northern pin oak. The inner bark of these and two other species of oak were made in a decoction for women who suffered a stoppage of periods because of taking cold. Sisyrinchium atlanticum Bicknell. Eastern blue-eyed-grass. A decoction of the entire plant with three other ingredients was given a woman immediately after confinement, for the expulsion of the afterbirth. Eupatorium purpureum L. Joe-pye-weed. The root was used in combination with the stalk of bush-honey-suckle, the leaves of pipsissewa, and one other ingredient in a decoction given to a woman 10 days after confinement ‘‘for internal healing.” 12. DiIsEASES OF THE EYE Osmorrhiza claytoni (Michx.) Clarke. Woolly sweetcicely. The root was boiled and used as a wash for sore eyes. 13. RHEUMATISM Zanthorylum americanum Mill. Common prickly-ash; toothache tree. The inner bark was pounded, moistened, and used as a poultice for rheumatism and sharp pains. The patient’s limbs might be entirely covered with such a poultice, which could be moistened without being removed. 14. Batus Monarda fistulosa L. Wildbergamot. All the plant except the root was prepared in a decoction and used as a strength- ening bath for infants. 15. Tonics Saliz humilis Marsh. Prairie willow. The stalk was boiled as a drink for ‘‘general health.” Comptonia peregrina (L.) Coulter. Sweetfern. A decoction was made of the root, with other ingredients, as a mild tonic. Asclepias tuberosa L. Butterflyweed. A decoction of the root was used as a tonic. 134 BUREAU OF AMERICAN ETHNOLOGY [sutt. 102: pensMorz] 16. GENERAL REMEDIES SWELLINGS Achillea millefolium L. Yarrow. The dried and pulverized leaves were used as a poultice for swellings. Thuja occidentalis L. American arborvitae. The leaves were dried, powdered, and combined with finely powdered fungus (Polyporous sp.? “‘sterile, abnormal, fragmentary’’) as a poultice for swellings. Tsuga canadensis (L.) Carr. Canada hemlock. The branches of this, together with the branches of white cedar (arbor vitae), were placed in water which was heated by means of a hot stone, thus securing a somewhat even temperature. The swelling was exposed to the steam. ACUTE PAIN Polygonatum biflorum (Walt.) Ell. Small solomonseal. The root was boiled, mashed, and combined with fungus (Polyporous sp.? “sterile, abnormal, fragmentary’”’) which had been finely pulverized. This was moistened and applied as a poultice for sharp pain. If used for a very sick person, two other ingredients could be added. INJURY TO THE EYE Vitis vulpina L. Riverbank grape. The ripe grape was squeezed into the eye to remove a bit of rice husk. For this reason a supply of wild grapes was taken to a rice-making camp. REMEDY FOR POISON IVY Bursa bursa-pastoris (L.) Britt. Shepherdspurse. The entire plant was steeped as a wash for poison ivy. The following example of the treatment of a serious condition was related by Mitchell Beaupre: A man cut his hand severely, the hand gradually discolored, and it appeared that an amputation would be necessary. A prominent man on the reservation named Dan Morgan saw it and said, ‘‘It would be easy to kill that blackness. I will go home and get the right stuff.’”” On his return he tied a weasel skin around the man’s wrist, at the edge of the discoloration. Then he spread ‘“‘a stuff like pitch,’’ mixed with medicine, on the discolored flesh next to the weasel skin, making a band of it around the wrist. Instructions were given for moisten- ing the pitch during the night. Two days later the discoloration was passing away, and in three or four days it had disappeared. The man recovered, and for his services Morgan received at least $35 and a suit of clothes. LEGENDS CONCERNING MANABUS 7 Origin Myrus or tart Mepicinr Lopcr The private memorial for members of the medicine lodge (Mitawin) is an important ceremony of the organization. (See p. 91.) The origin myth of the medicine lodge is related at that time and its songs are sung. When a Mitawit is buried a relative or close friend who is also a Mitawit addresses the spirit of the dead and promises to conduct this private memorial at the proper time. In this speech he tells the spirit to “follow the trail of Nahpota”’ (the little wolf) to the place of departed spirits. There it will remain until Nahpota permits it to return for the memorial ceremony, or feast of the dead. In that memorial it is impersonated by some one selected for the purpose who is arrayed in the garments of the deceased. After the feast the impersonator is faced toward the west, and the soul is dis- missed to return to the realm of Nahpota.” At such a memorial the origin myth of the medicine lodge is always related and its four songs are sung. ‘This myth was related by David Amab, and a year later a partial version was obtained from Wickobe. Amab said he felt no fear in telling this and the Mitawin legend which follows. He had performed certain acts which entitled him to instruct a member of the tribe in the traditions of the medi- cine lodge and this was known in the tribe, so he was violating no confidence. Before he began the narration, the writer gave him tobacco, two large handkerchiefs, and some food, as well as the usual compensation for his work. He partook of the food and accepted the gifts, thus conforming to the requirements. In reply to an in- quiry concerning his personal belief, Amab said thoughtfully, “If I dream much I go somewhere else. If I die, perhaps it will be as when I dream and I will go somewhere else.’’ An element of pathos was added to this incident, as Amab was growing weaker from an incurable malady. His death occurred Jess than a year later. 1. The mythical character known as Manabus among the Menominee is known as Winabojo among the Chippewa, and by various similar names among Algonquian peoples. Concerning this character J. N. B. Hewitt writes as follows: ‘‘The myth of Mudjikewis, ‘The First-Born (on Earth),’ commonly called the story of Nanabozho (i. e. Inabi‘oji‘o‘), remarkable for beauty and comprehensiveness, details the cir- cumstances which gave rise to the name ‘Nanabozho.’ In that recital the name appears as Inabi‘oji‘o‘ and means ‘Created, or formed, by the look (of the Great Spirit’). (Annual Report of the Smithsonian Institution for 1925, p. 69, Washington, 1926.)’’ 72 Skinner, Menomini culture, p. 46; Hoffman, Menomini Indians, pp. 68-69 and 73-75; Michelson, Menominee Tales, Amer, Anthrop,, vol, 13, No, 1, 135 136 BUREAU OF AMERICAN ETHNOLOGY (BULL. 102 MANABUS AND THE WOLF Manabus walked around the earth alone for many years and at last he met an old wolf with four sons. Manabus said, ‘‘Ha, brother,” and the wolf replied ‘“‘Well, Manabus.”” So Manabus camped there and the wolf talked with him, saying, ‘‘ You had better have a wig- wam and stay somewhere instead of wandering around all the time.” Manabus said, ‘‘What would I eat if I sat still all the time?” The wolf replied, ‘‘Here are my four sons. Pick one out. He will hunt for you and get deer and all sorts of game.” Manabus selected the youngest son and the wolf said, ‘‘He is a good one. He can kill a deer at any time.” Manabus called the wolf ‘‘little brother.” They walked a little way, looking for a good place to make the wigwam. At last Manabus said, ‘‘Let us have the wigwam here by the lake so we can see a long way.” So the wigwam was made by the lake. For a long time Manabus lived there, and the little wolf brought him plenty of meat. After a while the lake froze over. The little wolf hunted all day and Manabus said, “‘Don’t run across the ice when you come home. It is shorter, but don’t come that way, and be sure to come home before sundown.” One morning the little wolf got up, ate some berries, and went hunting. At noon he saw a deer as white as snow. He wanted to get that deer, and he said, ‘If I get that deer Manabus can have the hide to sit on. I will try to get him.” The deer ran and the little wolf ran after him all day. About sundown the little wolf stopped and remembered what Manabus had told him. He ran toward home and came to the edge of the frozen lake. He could see the smoke of the wigwam on the other side. If he went around the lake he could not reach home before dark. He said to himself, ‘I am a good runner, I can get across the lake quickly.”” So he started to run across the ice. When he was about halfway across he heard a roaring and the ice broke into large pieces that floated around. He could not get a foothold and went down into the water. The underwater people” were angry because Manabus was showing greater power than their own, and it was one of their number who pulled the little wolf down into the water. They also sent the white deer for the little wolf to chase, so that he would be late in returning and would attempt to cross the ice. As the little wolf went under the water he called, “‘Manabus, I am drowning.” 73 The references to the underwater people are from a version of this story related by Louis Wicko’be in 1929. In other important respects his version corresponded with that of Amab. DENSMORE] MENOMINEE MUSIC 137 Manabus heard a sound and went outside but he could hear nothing but the birds. He went inside and lay down. Manabus went to sleep, and in his sleep he knew that the little wolf had been drowned. He moaned, and every time he moaned the earth shook. Manabus lay still four days and nights with his head on his chest and his closed hands on his face. On the fourth day the earth shook and seemed to tip. On that day the underwater people told the one of their number who had pulled the little wolf down that he must let the little wolf go, because it would make matters worse for them than ever to have Manabus feel so badly. They said, ‘‘He is so powerful that he will destroy us,’”’ so this underwater person told the boy to go, and took him to the shore where Manabus was sitting. Manabus faced the west, sitting with his back toward the lake. The boy came out of the water and walked up the shore behind him. Then the boy touched Manabus and said, “Don’t cry any more. I am back again.” Manabus turned around, looked at him and said, “Brother, I have cried too much now. You are no more a creature living on the earth; you are a spirit.” Manabus was going to send him back to the underwater people, but he said, “‘They let me go. They will not take me back again.” Manabus said, “‘This is not good. If I take you back the under- water people will take our people and send them back after four days, doing it for fun. Those people will not be in their right senses after they come back.” The little boy did not know what to do. He said, ‘‘You call me djipe’ and say I am no more a living creature. What shall I do? You must make some plan for me.” So Manabus wiped his eyes and looked at his little brother, then he said, ‘‘First I will change your name. While you were with me your name was White Wolf. From now on you shall be called Nah’pata. You must start straight for the west, where our great uncles who have already died and all those who shall die will follow you.” The boy was told to travel four days and to make four fires, one each night at the place where he camped. The place he reached after his length of journey was the place where he was to stay, and he was making a trail for the dead people to follow. He was told that he would find a river and must put a long tree across it for a bridge. This tree or pole must float on the surface of the water, and those who have been good will cross it safely, but if a man has committed a murder he will fall off and sink out of sight forever. The boy was also told to make a long Mitawin lodge, and to make a water drum, like that used in the Mitawin, so that the dead people going on this 138 BUREAU OF AMERICAN ETHNOLOGY [BULL. 102 trail would hear the sound and know which way to go. This drum was very large—perhaps 8 or 4 feet high—and it stood in the middle of the Mitawin lodge. That was the beginning of the Mitawin drum, and because of the four fires made by the little wolf it is the Menom- inee custom to build a fire four nights on a newly made grave. Little Wolf called the people his uncles and aunts as Manabus had done. When one of them came he would say, ‘‘ Well, uncle,” take the man inside, and they would have a dance with the drum. After a while there were a great many wigwams in that place. Some old men know about that now in their sleep. Manabus found his way there, but his little brother said ‘‘Dont come near. Stand where you are. You told me to come here to live, and to make myself a wigwam here.” Manabus said, ‘‘It is a nice trail. There are flowers on each side and everything is beautiful.” But the little wolf sent him away and Manabus came back to earth. Manabus felt very badly when the little wolf sent him home. He put his head on his hands, his elbows on his knees, and sat in that position for eight days. He said, “‘What shall I do?” The underneath spirits said they were going to harm him, but the upper birds came to his wigwam and said, ‘‘Don’t feel this way. You will spoil everything.” After eight days Manabus went to the shore of the lake and cried. The water kept going down. Everything on the shore was carried down and he saw all kinds of animals underneath. Manabus said, “‘You stole my brother. You know how strong Tam. IJfI think anything it isso. I can tear down mountains like sand. When I shout the sky comes down.” The upper birds were frightened. An upper bird said, ‘‘ What is the matter?” Another said, ‘“‘Somebody is doing something to Manabus.” Another said, ‘‘It is not one of us. It must be the underwater spirits.” Everything was shaking—the trees, rocks, and everything. Big hills were flat. Everything was frightened because Manabus was showing his power. That is when the medicine dance started. All the animals told him to dance. The otter was the leader and he told Manabus to stop being angry, but nobody could stop him. He said that he was going to kill everything. The otter had a song and some nice medicine, and he was singing. Manabus heard all the animals singing and making sounds and he paid no heed, but when he heard the otter he raised up his head and said, “‘Who comes. That is a nice song and I will take you. Come on.” DENSMORE] MENOMINEE MUSIC 139 So the old otter came into Manabus’s wigwam. The otter was white. He said, “I am coming in. Don’t you feel that way.” Tt was he who persuaded Manabus to go to the medicine lodge. Manabus lived in a wigwam of his own. At a considerable dis- tance was the long medicine lodge, built by every kind of animal. They were inside and the place was full. The animals looked like old people. One old one said to another, ““Go and get Manabus.” So an animal came to Manabus and said, ‘Your grandfathers want you.” He replied, “I do not want to come.” The messenger said, “That is too bad.” The messenger went back to the animals and they said, ‘“‘ Who can make him come?” There were all sorts of pretty birds as well as animals in the wigwam. Then the otter went over, entered Manabus’s wigwam, and said, ‘“‘What is the matter?” Manabus said, ‘You are the one I want to see.” The otter took him over to the medicine lodge and the otter went inside. Manabus looked in and saw all kinds of people. Later he went into the lodge and received instructions as to the ceremonies of the medicine lodge, which he taught to the Indians, and which are followed to the present time. Two of the songs said to have been sung by the little wolf were recorded by Pigeon in 1925. He was so deeply affected that he was not asked to give any infor opneoe concerning them, the interpreter stating simply that they were ‘‘sung during the ae of a spirit on its way.” (Nos. 77, 78.)