EARTH MOTHER CD Curriculum - Hawk Hurst Flutes · p. 28 Loon Longing flute song, contemporary, 2:38 audio The Way of the Forest , Eastern Woodlands, 10:51 p.29 The Way of the Forest,

EDUCATIONAL CURRICULUM

“Having visited the Green River Preserve - a Summer Camp and Outdoor Education Center in Tuxedo, NC - with the Fifth Grade class at Christ Church Episcopal School, I was

fortunate to learn several of these songs in an outdoor setting from Hawk Hurst as the song leader. I thought the melodies were memorable and accessible for my general music

students, so I took the songs back to my classroom. The tonality and connection to nature appealed to my students. Over the years, Hawk has visited CCES as a musician-in-residence and professional storyteller several times, and he has shared his wealth of knowledge of native instruments, flute-making, storytelling, primitive skills and Native

American life. Most importantly, I have learned valuable lessons from Hawkʼs teaching style and his way with children. I wish many teachers the opportunity to work with Hawk.”

~ Joy Hughes, Christ Church Episcopal School

The Earth is Our Mother: Native American Songs and StoriesSongs and Stories Collected and Recorded by Hawk Hurst

Curriculum Compiled by Hawk Hurst / Music Lessons Created by Joy Hughes

To download the EARTH MOTHER CD and the curriculum visit: HawkHurstFlutes.com

Educational Curriculum Table of Contents

p. 1 Cover Art and Introduction pagep. 2 Suggestions for Sharing the Music, Stories, and Curriculump. 3 Trail of Tears flute song, Tsa la gi - Cherokee, traditional, 1:17p. 3 * Music Lesson - playing a flute melody on the recorderp. 4 * Social Studies/History Lesson - the Trail of Tearsp. 4 * Language Arts Lesson - contemplative writing assignmentp. 5 Cherokee Dream flute song, Tsa la gi - Cherokee, traditional, adapted, 3:27p. 5 * Language Arts Lesson - storytellingaudio Elk Hunter’s Love Flute story, Lakato-Sioux, traditional, 13:00audio The First Flute story, Tsa la gi - Cherokee, traditional-adapted, 14:08p. 5 * Language Arts Lesson - comparative analysis writing assignmentp. 6 * Language Arts Lesson - Sequayah and the Cherokee Syllabaryp. 7 Hey Hey Yunga - The Earth is Our Mother Song, Pan Indian, traditional, 2:45p. 7 * Music Lesson - composing and arranging musicp. 7 * Language Arts Lesson - creative writing assignment p. 8 * Visual Aid - Hey Hey Yunga - The Earth is Our Motherp. 9 Hey-Hey Yan-du-wa, Unknown, Traditional, 2:00p. 9 * Music Lesson - tempop. 9-10 * Music Lesson - vocables p. 11 * Language Arts Lesson - creative writing assignmentp. 11 May I Walk in Beauty, Pan Indian, adapted, 2:06p. 11 * Music Lesson - performing with a varied repertoire - instrumentsp. 14 Ho Jhon Go, Dine' - Navajo, traditional, 1:32audio Coyote's Big Bag of Songs, Dine' (Navajo), traditional, 5:48p. 14 * Language Art Lesson - creative writing assignmentp. 14 Honoring Song, Apache, traditional, 1:55p. 15 Oh Witchie Tie Yo - Eagle Song, Great Plains (possibly Kiowa), traditional, 1:42p. 16 * Music Lesson - echo singing / performing a varied repetoire and expressivelyp. 17 * Musical Score for Oh Witchie Tie Yo - Eagle songp. 18 We n' de ya ho - Morning Song, Tsa la gi - Cherokee, traditional, 2:40p. 18 Sunrise Song, flute, traditional - adapted, 3:00p. 18 Whinchinchala, Contemporary Flute, 2:00 p. 18 * Music Lesson - Native American Flute informationp. 18 * Language Art Lesson - Creative Writing Assignmentp. 19 Neesa, Neesa Lullaby, Seneca, traditional, 1:13p. 19 * Musical Score for Neesa, Neesap. 19 * Social Studies Lesson - Seneca Nationp. 19 Hey, Hey, Watenay Lullaby, Ojibway - Chippewa, traditional, 1:32p. 20 * Music Lesson - Lullabies From Around the Worldp. 21 Canoe Song, Huron / French Voyeuger, 1:31p. 21 * Music Lesson - Acting out the culture and story in the song with movement

The Earth is Our Mother: Native American Songs and Stories

Songs and Stories Collected and Recorded by Hawk HurstCurriculum Compiled by Hawk Hurst / Music Lessons Created by Joy Hughes

To download the EARTH MOTHER CD and the curriculum visit: HawkHurstFlutes.com 2

Educational Curriculum Table of Contents, page two

p. 22 Four Elements: Earth, Water, Fire, Air, Pan Indian, 1:18p. 22 * Music Lesson - Compose a musical score with creative notationp. 22 * Creative Notation, student examplep. 23 Water Song, unknown, traditional, 0:59p. 23 Wishi-ta-do-ya song, Crow, traditional, 0.52p. 23 * Science Lesson - Water Quality Discussionp. 23 * Social Studies/History Lesson - Sweat Lodge Ceremonyp. 24 Pow Wow, Grass Dance, Lakota, traditional, 1:10p. 24 Grass Dance, Lakota, adapted, 1:21p. 24 Friendship (Social, Snake, Circle) Dance, Pan Indian, traditional, Great Plains, 1:52p. 25 Spreading My Feathers, Arapaho, traditional with English words, 2:00p. 25 We Circle Around, alternate version, no audio for this song.p. 25 Kwat-tsee-all-la, Makah, traditional, :58p. 26 Kwatees Mother Gets Thirsty story, Makah, traditionalp. 26 Kwatee - Canoe and All story, Makah, traditionalaudio Kwatee’s Mother Gets Thirsty story and Kwatee - Canoe and All story, Makah, 6:13p. 27 Bear song, Lakota, Traditional, 1:05p. 27 Hey-Ya'-Winna'- Little Deer, Lakota - Sioux, Traditional, 1:26p. 27 Frog Island, Contemporary, 3:17p. 28 Beaver Hunter's Dance, Tsa la gi - Cherokee, traditional, 3:10p. 28 * Language Arts Lesson - research assignmentp. 28 * Music Lesson - Cherokee dance customsp. 28 Loon Longing flute song, contemporary, 2:38audio The Way of the Forest, Eastern Woodlands, 10:51p. 29 The Way of the Forest, book and curriculum informationp. 30 Stomp Dance song, Creek-Muscogee, traditional, partial only, 1:42p. 30 * Music and Social Studies Lesson - Stomp Dance Customsaudio Cracks on Turtles’ Back story, (Creek) Muscogee/Mikasuki-Creek, 19:24p. 31 Ya Na Ho, Creek-Muscogee, traditional, adapted, 1:15p. 31 Wakantanka, Omaha, traditional, 1:35p. 31 Pow Wow, Dance, Northern Plains, 1:49p. 31 Four Directions Dance, Contemporary, Lakota words, 4:25p. 31 Heading Home, Contemporary, 4:54 p. 32-34 Trail of Tears musical scorep. 35-38 May I Walk in Beauty, musical scorep. 39 Canoe Song, musical scorep. 40 *Smithsonian Institution - photos of musicians

The Earth is Our Mother: Native American Songs and Stories Songs and Stories Collected and Recorded by Hawk Hurst



Suggestions for Sharing the Music, Stories, and Curriculum

• Set up the song or music within the culture and time period. Ask your audience to imagine being there, and consider how music was different in those times.

• Include activities to counteract the stereotypes around people who are native to this land. For instance, share current photos of people who are from different tribes. Notice that their everyday clothing is not the regalia used in ceremonies.

• Credit and recognize the group of people who originated the song whenever possible. If you add today’s instruments to these songs, tell your students and audience how it would have been performed long ago.

• Shorten or simplify songs as needed. These songs have been passed down over time, and variations are common. I hesitated to transcribe any songs because there is not one version and our notation does not capture the subtlety of performance. Hopefully you will take my transcriptions as one possibility.

• Teach the songs by ear. Pass them on in your own voice. Try using the recorded version later in your lesson sequence. Knowing the tune in advance can help students respect the music when they hear it in a recording. Also, you can adjust pitch the song for your students and their age range.

• When using this music to teach pre-notation or notation, make sure the students understand that the culture was one of an oral music tradition and not a written music tradition.

• Prepare students for the vocal style before listening to the recording of certain songs. Some songs that employ “vocables” such as Ya Na Ho, are so unfamiliar to our usual singing style that the students may feel a bit uncomfortable. Read Hawk’s notes about “vocables” to assist in the understanding. Compare and contrast singing styles in several cultures.

Credits: The songs and stories found within, were provided to me by trusted individuals, via the oral tradition. They are used with the permission of those

individuals, in order to better educate young people about the beauty and power of the many diverse cultures found throughout North America. This project is offered with the utmost respect, sincerity, and appreciation to the First Nations people to whom these songs and stories rightfully belong. My apologies for any mistakes.Stories and songs recorded by Hawk Hurst, 2011. Cover art courtesy of Preston Roberts. Curriculum and songs notes compiled by Joy Hughes and Hawk Hurst,

2012-201. Art clips from the internet.




The Songs and Stories with Accompanying Lessons

* Trail of Tears - flute song – 1:17, Cherokee, traditional. This song comes from Cherokee flute maker and player, Robert Eddie Bushyhead. Hawk had the privilege to study river cane flute making with Mr. Bushyhead on several occasions. This song is also known by the English name, Guide Me Jehovah and can also be heard on Mr. Bushyhead’s ‘88 release, The ANI SHA HO NI Project. It is thought by many that this may be one of the oldest surviving flute songs, dating back prior to the Trail of Tears (1830’s). Instruments: river cane ‘G’ flute. Musical score available on pages 32-34.

MUSIC LESSON - The Trail of Tears flute piece is a beautiful, haunting melody. Hawk’s recording is a great way to show how the notes on the page do not capture expressiveness and stylistic qualities. Students will listen with new understanding if they try it on recorder. Singing it on syllable (loo) would also be a way to perform it. Cherokee Dream is Hawk’s contemporary arrangement of the melody. Linder Notes on p. 32-34 for Trail of Tears ‘e minor’ soprano recorder, d minor soprano recorder, and alto recorder,

National Content Standard: 2. Content Standard: Performing on instruments, alone and with others, a varied repertoire of music c. perform expressively a varied repertoire of music representing diverse genres and styles

Objective: Students will play the all or part of the Trail of Tears Cherokee flute melody on recorder.

Lesson Sequence:• Explain the history of the Trail of Tears. Ask students to imagine the mood of the people and how their

music might have sounded.• Teach recorder students the opening of the Trail of Tears melody by rote or by notation. If using

notation, make sure that they know it was not taught by notation in the Cherokee tribe. Notes needed for the first 4 lines of the melody are B, A, G and low E. The opening phrase is accessible for many beginning recorder students. Performing the whole melody is more accessible in D minor pentatonic because of the highest note being D. D minor pentatonic does require the F which is a challenge for most beginners. The alto recorder version puts it in the same key as Hawk’s recording. It would be even more beautiful on alto.

• After students have tried to play the recorder melody, then let them hear the recording. They will find many new elements that are not written down: vibrato, fermata, grace notes, falling off the pitch. They will enjoy trying these techniques and putting them into the piece. The techniques are certainly geared toward solo playing (rather than recorder ensemble), but they may encourage students to be willing to perform their new skills.

• Discuss the difference in sound quality of Hawk’s flute versus the basic recorders. Notice how the expression in his recording communicates emotion.

• Have students try this piece in a canon at 4 beats or at 2 beats. Then listen to Hawk’s arrangement of “Cherokee Dream” where he uses this tune in a canon at 2 beats. Students will have new ears for his arrangement after they have tried it themselves.

• Performance ideas: This piece is authentic, and it could be captivating played by recorder students in performance. Acting out the story or adding movement (with scarves or fabric) to show the different phrases would be a wonderful beginning or interlude for a performance. It could easily be used in studies about South Carolina history and the Cherokee.




SOCIAL STUDIES / HISTORY LESSON - THE TRAIL OF TEARS: The Trail of Tears was the Cherokee name for what the Americans called Indian Removal. During the 1800's, the US government created an "Indian Territory" in Oklahoma and sent all the eastern Native American tribes to live there. Some tribes willingly agreed to this plan. Other tribes didn't want to go, and the American army forced them. The Cherokee tribe was one of the largest eastern tribes, and they didn't want to leave their homeland. The Cherokees were peaceful allies of the Americans, so they asked the Supreme Court for help. The judges decided the Cherokee Indians could stay in their homes. But the President, Andrew Jackson, sent the army to march the Cherokees to Oklahoma anyway. They weren't prepared for the journey, and it was winter time. Thousands of Cherokee Indians died on the Trail of Tears. Many Native Americans from other tribes died too. It was a terrible time in the history of the United States.

"No eastern tribe had struggled harder or more successfully to make white civilization their own. For generations the Cherokee had lived side by side with whites in Georgia. They had devised a written

language, published their own newspaper, adopted a constitution, and a Christian faith. But after gold was discovered on their land, even they were told they would have to start over again in the West."

~ The West, a documentary by Ken Burns and Stephen Ives

LANGUAGE ARTS LESSONWriting Assignment: Imagine that you and your family are forced to abandon your home, your property, even your pets. Imagine that armed soldiers come to your home and then force you to walk to some place far, far away - someplace that you know nothing about. Describe what that experience would be like, in the form of a daily journal. Start with the day leading up to the soldiers arriving. Provide as many details as you possible, so that a reader far into the future, can gain a clear understanding of what hardships you might have experienced along the way. What was the weather like? Were there other families with you? How did you survive? Were you able to gather plants and hunt animals for food? Did you make a shelter to sleep in? Where the soldiers kind or mean?




* Cherokee Dream – flute song, 3:28, contemporary. This song employs phrases from the Trail of Tears song. This song first appeared on Hawk’s ‘04 release, Drifting Away. Instruments: clay udu drum; cabassa rattles; cane ‘Bb’ flute.

Flute Legends: The Cherokee People of the Southeastern Woodlands often speak of the flute as a gift from Woodpecker, while certain tribes of the arid Southwest credit Kokopelli, the humpbacked flute-player, with having brought this wonderful magic stick to the People. In the Great Plains, it was referred to by many of the Lakota and Cheyenne People as the Love Flute. Young men and women relied upon its charm and magic during courtship. It has often been associated with the Elk in the West and the Loon in the Northeast.

LANGUAGE ARTS LESSON - STORYTELLING* Myths are made up stories that try to explain how our world works and how

we should treat each other. The stories are usually set in times long ago, before history as we know it was written. “Myth” comes from the Greek word “mythos” which means “word of mouth”. Around the world, myths were shared by groups of people and became part of their culture. Story-tellers have passed the stories on from generation to generation and through families. Some myths are told in many cultures, but with variations in the events or characters. * Legends are stories that have been made up, but they are different from myths. Myths answer questions about how the natural world works, and are set in a time long-ago, before history was written. Legends are about people and their actions or deeds. The people lived in more recent times and are mentioned in history. The stories are told for a purpose and are based on facts, but they are not completely true. Either the person never really did what the story says, or the historical events were changed. The purpose was to make the story more interesting or convincing, or to teach a lesson, such as knowing right from wrong. * Fables are another type of story passed down from generation to generation and told to teach a lesson about something. Fables are about animals that can talk and act like people, or plants or forces of nature like thunder or wind. The plants may be able to move and also talk, and the natural forces cause things to happen in the story because of their strength. * Folk and Fairy Tales are stories written specially for children, often about magical characters such as elves, fairies, goblins and giants. Sometimes the characters are animals.

LANGUAGE ART LESSON - Writing Assignment:• Have the students listen to the Cherokee fable, The First Flute and the Lakota-Sioux legend, The Elk

Hunter’s Love Flute. Ask them to pay particular attention to the parts of the story that are similar, as well as noting the sections of the stories that are different. Students will then be asked to write a comparative analysis of the two stories. It will be important to help the students understand some techniques to do this, such as taking notes while listening to the stories. The Story of the First Flute is also available as a book on Hawk’s website.

“If a man is to succeed ... he must not be governed by his inclinations, but by an understanding of the ways of animals and of his natural surrounding, gained through close observation... I watched the changes of the weather, the habits of animals, and all the things by which I might be guided in the

future, and I stored this knowledge in my mind. ~ Lone Man (I`sna’ la-Wi`ca’), Teton Sioux Music, 1918, collected by Frances Densmore, Smithsonian Institution, Bureau of American Ethnology, Bulletin, 61, p. 214. 216.




LANGUAGE ARTS LESSON - Sequayah and the Cherokee Syllabary

*Sequoyah and the Tsa la gi (Cherokee) Syllabary: “Most historians credit Sequoyah with the invention of the syllabary. Sequoyah determined the Cherokee language was made up of particular clusters of sounds and combinations of vowels and consonants. Some oral historians contend that the written Cherokee language is much, much older. But even if there was an ancient written Cherokee language, it was lost to the Cherokees until Sequoyah developed the syllabary. The development of the syllabary was one of the events which was destined to have a profound influence on the tribe’s history. This extraordinary achievement marks the only known instance of an individual creating a totally new system of writing. Born in the 1770s in the Cherokee village of Tuskegee on the Tennessee River, Sequoyah’s mother, Wureth, belonged to the Paint Clan. Sometimes the young man was known by his English name, George Gist or Guess, a legacy from his white father. Sequoyah, reared in the old tribal ways and customs, became a hunter and

fur trader. He was also a skilled silver craftsman who never learned to speak, write or read English. However, he was always fascinated with the white people’s ability to communicate with one another by making distinctive marks on paper - what some native people referred to as "talking leaves". Handicapped from a hunting accident and therefore having more time for contemplation and study, Sequoyah supposedly set about to devise his own system of communication in 1809. He devoted the next dozen years to his task, taking time to serve as a soldier in the War of 1812 and the Creek War. Despite constant ridicule by friends and even family members, and accusations that he was insane or practicing witchcraft, Sequoyah became obsessed with his work on the Cherokee language. The eighty-five characters in the syllabary represent all the combination of vowel and consonant sounds that form our (the Cherokee) language. In 1812, Sequoyah’s demonstration of the system before a gathering of astonished tribal leaders was so dramatically convincing that it promptly led to the official approval of the syllabary.” ~ “Mankiller”, Wilma Mankiller, 1993.

* Questions About Language, Ancestors, and Sequoyah:• What languages do you and your

family speak?• What countries did your ancestors

come from?• What languages did your ancestors

speak?• Would you like to learn to speak or

read a different language? • People from Sequoyah’s tribe made

fun of him, even saying that he was insane, as he worked on creating the syllabary for them.

• Has anyone ever made fun of you for offering a new idea? How did that make you feel?




* Hey Hey Yunga / The Earth is Our Mother – 2:45, Pan Indian, traditional chant, with English words. Hawk learned this song while visiting the Hoopa Tribe, in Northern California, as a graduate student on the Audubon Expedition Institute’s traveling school. Instruments: Northwest-coast style frame drum with elk skin; seashells; and deer-toenail leg rattles.

Chorus: Hey-Hey Yunga, Ho-Ho Yunga, Hey-Hey Yunga Yung. Repeat. The Earth is Our Mother, We Must Take Care of Her. Repeat. ChorusThe Sky is Our Father, We Must Take Care of Him. Repeat. Chorus

The Moon is Our Grandmother, We Must Take Care of Her. Repeat. ChorusThe Sun is Our Grandfather, We Must Take Care of Him. Repeat. Chorus

The Plants are our Sisters, we must take care of them. The Animals are our Brothers, we must take care of them. Chorus

MUSIC LESSON - Hey-hey Yunga has such a strong and valuable message of care-taking the earth. The tune is quickly learnable by ear. Hawk’s recording is a great demonstration of a straightforward accompaniment that simply changes the beat from twice as fast to twice as slow and vice versa. This is a valuable skill for musicians in understanding rhythm. Visual Aid for this song located on next page.

National Content Standard: 4. Content Standard: Composing and arranging music within specified guidelines b. create and arrange short songs and instrumental pieces within specified guidelines

Objective: Students will create their own accompaniment to the song “Hey-hey Yunga.”

Lesson Sequence:• Have students show the beat (i.e. walking, patting, etc.) while the teacher plays the drum. On a given

cue (Dalcroze used “hip”), have the students walk or pat twice as fast. (The teacher can match with the drum, or he/she can keep the previous beat for more of a challenge). On another cue (Dalcroze used “hop”), the students go twice as slow which puts them back to the original tempo. This game can be played from 2nd grade up. It is a great beginning for division of the beat and note durations.

• Using Hawk’s recording of Hey-hey Yunga, have the students try to pat or walk the drum part. See if they can hear some of the major changes between twice as fast and twice as slow.

• Students sing the song with the teacher playing the drum on the beat. Then add a strong student or a small group can play the drum. The teacher can play the shakers twice as fast. Then some students can take over the shaker part. Then they can switch so that the shakers play twice as slow as the drum beat. Ask the students to decide. Drums and shakers can play together on the same beat and then change. They will get the idea that the arrangement is easy to create.

• Using the chart provided (see visual), have student partners or small groups come up with an accompaniment for the song. They can use iconic notation for twice as fast/slow or quarter and eighth notes. Maybe require them to keep the same pattern for a line of the song to make it easier. Examples are in the visual. Using only one instrument would simplify it for younger students.

• If notation was not part of the lesson, students could still plan and practice their accompaniment with a partner or small group without charting it out.

• Provide a chance for students to perform their accompaniments while the class sings the song.

LANGUAGE ARTS LESSON

Questions About the Song:* In the song when it says, The Earth is Our Mother and The Moon is Our Grandmother,

what do you think that the Native Americans meant when they sang that?* Do we have similar sayings in our culture? (i.e. Mother Nature, etc...)* What are some types of natural resources that the earth provides to you and your family?*




VISUAL AID - Hey Hey Yunga / The Earth is Our Mother




* Hey-Hey Yan-Du-Wa – 2:00, Unknown origin, traditional? Hawk has heard this song in many different settings over the past two decades, but has been unable to identity the tribe of origin. It is offered as an example of what can survive, despite all that has been lost. Instruments: elk-skin frame drum; vocals.

Hey hey, hey hey, hey, yan-du-wa,Hey hey, hey hey, hey, yan-du-wa,Hey hey, hey hey, hey, yan-du-wa,Hey hey, hey hey, hey, yan-du-wa,

yan-du-wa, yan-du-wa. Speed can be adjusted each round.

Repeat as often, as desired.

MUSIC LESSON - Tempo: Hawk’s recording of “Hey-hey Yan-du-wa” is a resource for teaching tempo. It is easy to learn by ear as well. Objective: Students will demonstrate the steady beat in movement with a recording that changes tempi. Students will sing the song. Students will keep the steady beat

independently while the class sings.National Content Standard:1. Content Standard: Singing, alone and with others, a varied repertoire of music c. sing from memory a

varied repertoire of songs representing *genres and *styles from diverse cultures.2. Content Standard: Performing on instruments, alone and with others, a varied repertoire of music a.

perform on pitch, in rhythm, with appropriate dynamics and timbre, and maintain a steady tempo.

Lesson Sequence:• Listen to Hawk’s recording of “Hey-hey Yan-du-wa” with the directive to pat with the drum beat. (This is

an easy formative assessment in later fall for K, 1st, 2nd graders.) They might pick up on the slower drumming near the end of the song on yan-du-wa.

• What happens in this music? They realize the change in tempo.• Listen again and play the imaginary drum again. Some children will be able to sing along an octave

higher. It goes a little high in one phrase.• Try having the class walk to the drum beat during the song. They will enjoy the faster tempo. Slower

tempi require more body control. Challenge them to keep their balance and stay with the drum.• Without the recording, have the children echo the song phrases while the teacher plays the drum. As

they learn the song, individual children can play the drum. Match the speed of the child (within reason) when singing the song. It is a great practice to match their chosen tempo, and Hawk has already modeled the changing tempi.

• Older children could play in small groups or as a whole class, changing the tempo on the next round of the song. Have individual students set the tempo.

MUSIC LESSON - Vocables:• This song contains some words that are

known as vocables. American Indian ceremonial music is not usually written down. Tribe members learn the songs from listening to each other, and then pass the music down from one generation to the next, according to Tony Isaacs, an essayist on American Indian music. Isaacs explains that many songs consist of vocal patterns called vocables. These vocables sound more like syllables than words. Though vocables have no current linguistic meaning, they do express a variety of feelings.




MUSIC LESSON - Vocables, con’t.:* Using vocables frees the singer from the requirement of having a text that "fits" the melody (in mood as

well as in length and meter). It allows the voice to be used simply as a musical instrument, with all of the "meaning" expressed simply in the sound, allowing the singer to concentrate on such things as the tone quality of a particular vowel sound or the accenting potential of a specific consonant.

* Some of the first words, or more precisely, sounds out of a baby’s mouth are typically similar to “la” or “na.” A sound so simple and elementary might be easily dismissed as irrelevant or meaningless. However, these non-lexical texts are so essential to African, Native American, and even current day modern American music. While vocables might sound like meaningless noise to an unaware listener, they can actually set the tempo and rhythmic pattern for a song, serve as symbols, and also add layers to music, creating a homophonic piece.

* Native Americans also used vocables for symbols in a sense. They would chant these syllables loudly as an intimidating War Cry during many of their songs. Specifically, the Sioux Grass Dance is made up entirely of vocables. This dance serves two purposes: To stomp the tall grass down so the tribe can set up camp, and to bless the ground. So, these vocables, as well as the dancing, also symbolize religion to some extent because they aid in blessing the grounds and making them holy.

Questions About the Song:* Ask the students to name a song from our culture that uses vocables.* Ask the students for suggestions for syllables.* Have Students sing: "sha-na-na", "la-di-da", "bibbity", "hey-oh", “tra-la-la-la-la”, etc.?

“Long ago there was a kind of singing which had no words and was in imitation of the flutes. This was intended as a love song and it was different from any other kind of singing.”

~ Menominee Music, 1932, by Frances Densmore, Smithsonian Institution,Bureau of American Ethnology, Bulletin 102, p. 208.

LANGUAGE ARTS LESSON - creative writing assignment: Have students write a song or poem about the earth and one of its creatures that they most appreciate. Which special attributes do they most admire about their favorite? For instance, in this poem I admire a hawk it’s ability to fly and to see great distances.

A hawk soars high - high in the sky.He watches me from afar - a far-seeing eye.

Seeking prey, he soars ... he wails ...

then he sails ...away.




* May I (You) Walk in Beauty - Navajo Chant – 2:06, Pan Indian. This version of the Blessingway chant is been around for a long time. Hawk learned this from ceremonialist, Ayal Hurst. Instruments: bass ‘B’ wooden flute; beaver-skin drum; vocals.

May I Walk in Beauty. With Beauty Before Me. Beauty Behind Me, Above and Below Me.

May I Walk in Beauty. May I Walk in Beauty. May I Walk in Beauty. May I Walk in Beauty.

Chorus Hey-Ya-Na Hey-Ya-Ha! Hey-Ya-Na Hey-Ya-Ha! Hey-Ya-Na Hey-Ya-Ha! Hey-Ya! Ho Zhon’ Go

May I Walk in Beauty. Beauty Before Me. Beauty Behind Me, Above and Below Me.

May I Walk in Beauty. May I Walk in Beauty. May I Walk in Beauty. May I Walk in Beauty.

repeat chorus

MUSIC LESSON - May I (You) Walk in Beauty has a beautiful singable melody. It is a lovely performance piece with the lyrics that pass on the spirit of connection with nature. This instrumental arrangement follows the melody in the CD, but the instrumental parts are not the ones on the CD. Musical score located on pages 35-38.

National Content Standard: 2. Performing on instruments, alone and with others, a varied repertoire of music b. perform easy rhythmic, melodic, and chordal patterns accurately and independently on rhythmic, melodic, and harmonic *classroom instruments.

Objective: The students will perform a rhythm on hand drums which requires independence, ensemble skills and cooperation.

Teacher Note: My eventual goal was to involve more students playing instruments without overpowering the singers.• Students sit in circles of 4-6 students. Each person in a group is responsible for one beat out

of four beats. Have students sit in the order that they will play. Put a strong student on beat one to help the others. Have the students clap softly only on their beat while counting to 4. With more than 4 in a group, two students can share a beat. Add the singing of the song. When a group has the pattern of each person on a beat, add hand drums (playing softly with mallets seems to be closer to the drumming style). You can utilize a range of sizes of hand drums to add the sound of the 4-beat measure (i.e. larger drum on beat 1, medium on beat 2, medium on beat 3, small on beat 4). Begin with the half note pulse, and then try the drum part twice as fast.

• Students who can keep up with a variation in harmonic pattern can be challenged with the xylophone part. Though Native Americans did not use xylophones, the accompaniment helps maintain the pitch of the song without being overpowering to the singers. Alto or bass xylophones or metallophones will work.

• The recorder part is limited to B, A and G.




* Ho Zho’ Go / Blessingway Chant – 1:32, Din’e / Navajo, traditional. Hawk was given permission to sing and record this song by Navajo Singer, Livingston Nez. Translated: Ho Zhon’ Go – May I Walk in Beauty. Instruments: moth-cacoon and seed pod rattle; elk-skin frame drum; vocals.

Ho Zho’ Go, Gah-na-shah, Whay-ya-Whay-yo.Ho Zho’ Go, Gah-na-shah, Whay-ya-Whay-yo.Ho Zho’ Go, Gah-na-shah, Whay-ya-Whay-yo.Ho Zho Go, Gah-na-dote-say-ba-nay-na-shah,

Whay-ya-Whay-yo.

LANGUAGE ART LESSON - Creative Writing Assignment: Have the students listen to the Navajo story, Coyote’s Big Bag of Songs. Have them create their own trickster story, based on the information below that you can discuss with them.

All About Tricksters - World Mythology Index* Tricksters are archetypal, almost always male, characters who appear in the myths of many different cultures. As their name suggests, tricksters love to play tricks on other gods, humans, and animals). But perhaps the best definition of a trickster is the one given by Lewis Hyde: "trickster is a boundary-crosser". By that, he means that the trickster crosses both physical and social boundaries-- the trickster is often a traveller, and he often breaks societal rules. * The trickster often changes shape, turning into an animal, for example, to cross between worlds. Since they are so clever, tricksters often invent new cultural goods or tools, like making fire and musical instruments. Sometimes they are depicted as creators or makers of the world. Often, the deeds of tricksters end up being responsible for the way the world is now. * Although he is clever, trickster's desires sometimes land him in a lot of trouble. In hunting cultures, the trickster is often depicted as a clever but foolish animal, led by his appetites. For example, in American Indian cultures, the trickster is often called Coyote, Raven, Rabbit, or Iktome (Spider). * Trickster tales have different functions in various societies. Certainly the stories are told because they are funny and entertaining; but they are also in some sense sacred. Certainly, trickster stories are told for fun and laughs, and a trickster like Bart Simpson is a great character to get a plot started and entangled. But trickster stories also have something to say about how culture gets created, and about the nature of intelligence. Trickster represents a certain flexibility of mind and spirit, a willingness to defy authority and invent clever solutions that keeps cultures and stories from becoming too stagnant.

Questions about Tricksters: * If tricksters threaten order, authority, and hierarchy, then why do you think they appear in stories? * What do you think these trickster stories say about the uses and character of cunning intelligence? * Can intelligence be both evil and good? When and why? * When do tricksters cause trouble and why?

* Honoring Song – 1:55, Apache, traditional. Over two decades ago, while traveling across the desert of New Mexico, Hawk picked up an Apache man who was desperately trying to get home to his people in Arizona. This song was offered to Hawk as a thank you for the help. Instruments: vocals.

Yo way yo, yo way yo way. Yo way yo hi ya, yo way yo hi ya. Yo way yo hey ya, hey yo, hey ya.

Hey yo , he-ey, hey yo, hey ya, hey yo yo way, hi-i-i. Repeat as many times as desired.




* Oh Witchitiyo - The Eagle Song – 1:42, Great Plains (Kiowa?), traditional, with English words. This song is great to sing as a call and response, and is often accompanied by a dance. Hawk first learned this song while attending the University of Oklahoma from a member of the Kiowa tribe. It is uncertain whether this is a song from the Kiowa tribe. Instruments: elk skin frame drum; vocals.

Oh witchi tie yo. Oh witchi tie yo. Oh guy-yo. Oh guy-yo.

Oh witchi tie yo. Oh witchi tie yo. Oh guy-yo. Oh guy-yo.

Fly Like An Eagle. Fly Like An Eagle.

Flying So High. Flying So High.

Circling The Universe. Circling The Universe.

On Wings Of Pure Light. On Wings Of Pure Light.

Repeat song as many times as desired.Increase speed as desired. Can easily be sung in rounds

MUSIC LESSON - The Eagle Song is an easy echo song that appeals to a broad age range of students. Young children can do the movements of the eagle when using this song in conjunction with Native American stories and studies. The echoes fit into a 4-beat measure, so it is natural to invite elementary students to review steady beat on an instrument or in movement and to highlight the measure as well. Personally, I would teach this song to students myself without the recording to begin. The students like the 16th notes (or double-time) variation of the phrase “witchi-witchi-witchi-witchi-taio.” Musical score located on page 17.

National Content Standard: 2. Performing on instruments, alone and with others, a varied repertoire of music c. perform expressively a varied repertoire of music representing diverse genres and styles

Objective: While singing, the students will perform the steady beat andshow the length of the 4-beat measure/phrase.

Lesson sequence:• Ask students to echo you singing the song. The teacher can play a hand drum with a mallet on the beat.

Students add steady beat (pat or play the other hand like a drum). Then ask the students to clap/pat the beat only when they echo. The teacher plays the drum beat when he/she leads echo. Students play drum beat when they sing. Pass the drum – one student plays the drum at a time. (Play 4 beats, pass 4 beats, next student plays 4 beats). This is a quick and easy assessment for keeping the beat. It is easy to see who can start and stop with the 4-beat measure. Passing two or more drums around a circle can work as well.

• Walking variations to reinforce starting and stopping on time. (Dalcroze inspired) Students walk while they echo the song. Students stand still when teacher sings and plays the drum. Students walk only when they echo. Girls (or group 1) sing with teacher (walk only when they sing). Boys (or group 2) sing echo (walk only when they sing). All students add a clap to the beat while walking/singing. Students show the measure.

• Notation applications (Kodaly inspired) – This basic idea of following iconic beat notation is usable with various elementary ages. Upper elementary should be able to write the rhythms. Make sure students are aware that Native American music was passed down in the oral tradition. Writing the notation is a way to help students process the song and play it, but it does not match the culture.




MUSIC LESSON - The Eagle Song, con’t.

• Have students tap the beat left to right with the drum chart. The teacher can decide if they should just tap on the echoes or repeat each drum measure while singing or continue straight through on the beat. Assess to see if students can stay on the correct drum with the class. If so, try this inner hearing assessment: Ask students to sing in their head while the teacher or strong student keeps the beat.

• Teacher or student stops in the middle. Ask the students to write the syllable of the word on the correct drum where the drum beat stopped. (Denise Gagne shared this assessment idea with a different song).

• Have students fill in the syllables to go with the drum beat. The teacher can help by adding blanks to fill in. Add quarter, half, eighth note notation to match the syllables. Students can play the rhythm on a different instrument. Drums continue to play the beat. Students can decide final form. For instance, maybe singing alone first, adding the drum beat, playing the rhythm once through with the drum beat, singing a coda portion of the song to end.

“ When I was ten years of age I looked at the land and the rivers, the sky above, and the animals around me and could not fail to realize that they were made by some great power. I was so anxious to understand this power that I questioned the trees and the bushes. It seemed as though the flowers were staring at me, and I wanted to ask them “Who made you?” I looked at the moss covered stones; some of them seemed to have the features of a man, but they could not answer me.” ~ Brave Buffalo (Tatan’ ka-ohi’tika), Teton Sioux Music, 1918, by

Frances Densmore, Smithsonian Institution, Bureau of American Ethnology, Bulletin 61, Collected onTeton Sioux Reservation, South Dakota. p. 214.




& 44 �œ �œ �œ �œ �œ �œOh wit chi tie yo

�œ �œ �œ Oh Guy yo

�œ �œ �œ �œ �œ �œOh wit chi tie yo

�œ �œ �œ �œ �œ �œOh wit chi tie yo- - - - - - - - - -

&5 �œ �œ �œ �œb Oh guy yo

�œ �œ �œ �œb Oh guy yo

�œ �œ �œ �œ �œ �œOh wit chi tie yo

�œ �œ �œ �œ �œ �œOh wit chi tie yo- - - - - - - -

&9 �œ �œ �œ �œb Oh guy yo

�œ �œ �œ �œb Oh guy yo

�œ �œ �œ �œ �œ �œFly like an ea gle,

�œ �œ �œ �œ �œ �œFly like an ea gle,- -

&13 �œ �œ �œ Fly ing so high,

�œ �œ �œ Fly ing so high,

�œ �œ �œ �œ �œ �œ �œCir cl ing the un i verse,

�œ �œ �œ �œ �œ �œ �œ �œCir cl ing the un i verse, On- - - - - - - - - -

&17 �œ �œ �œ �œ �œb .�œ r�œwings of gol den light On

�œ �œ �œ �œ �œb wings of gol den light

�œ �œ �œ �œ �œ �œOh wit chi tie yo- - - - -

&20 �œ �œ �œ �œ �œ �œOh wit chitie yo

�œ �œ �œ �œ �œOh Oh Guy yo

�œ �œ �œ �œ �œOh Oh Guy yo

�œ �œ �œ �œ �œ �œOh wit chitie yo

�œ �œ �œ �œ �œ �œOh wit chitie yo- - - - - - - - - - -

&25 �œ �œ �œ Oh Guy yo

�œ �œ �œ Oh Guy yo

�œ �œ �œ �œ �œ �œ �œ �œ �œ �œ �œWit chi wit chi wit chi wit chi tie yo- - - - - - - - - - -

&28 �œ �œ �œ �œ �œ �œ �œ �œ �œ �œ �œWit chi wit chi wit chi wit chi tie yo

�œ �œ �œ �œ �œ �œ �œ �œ �œ �œ �œWit chi wit chi wit chi wit chi tie yo- - - - - - - - - - - - - - - - - - -

&30 �œ �œ �œ �œ �œ �œ �œ �œ �œ �œ �œWit chi wit chi wit chi wit chi tie yo

.�œ j�œ �œ �œ �œOh guy yo

.�œ j�œ �œ �œ �œOh guy yo- - - - - - - - - --

Eagle Song Oh WitchitieyoNative American

transcribed by Joy Hughes from Hawk Hurst's CD, The Earth is Our Mother




* We n’ de ya ho / Morning Song – 2:38, Tsa la gi - Cherokee, traditional, adapted. This song was adapted and arranged by Rita Coolidge and Robbie Robertson on the album, Music for the Native Americans. Instruments: Maple ‘F’ half-pipe flute; vocals by Karen Foley and the Green River Preserve staff.

We n' de ya ho, We n' de ya ho,We n' de ya, We n' de ya, Ho ho ho ho,

He ya ho, He ya ho, Ya ya ya. Repeat as many times as desired

* Morning Song Translation: A we n' de Yauh ho (I am of the Great Spirit, Ho!). Freely translated: "A we n'" (I am), "de" (of), the “Yauh" (Great Spirit), "Ho" (it is so). This language stems from very ancient Cherokee. ~ Cherokee translation by David Michael Wolfe, E. Virginia Cherokee & cultural historian.

* Questions About the Song:* When singing We n' de ya ho, it is customary for the Cherokee people to face the rising sun and

to reflect on all of the people and things that they they have to be thankful for. Can you name some people and things that you are thankful for?

MUSIC LESSON - Native American Flutes: The traditional end-blown, two-chambered river cane flute, with either five or six holes, is believed by many musicologists to be the same style that was made and most favored by native peoples throughout the Southeast, prior to European or African contact. The flutes were traditionally played by men and were used for many purposes, including: courtship, when the boys played them for the girls; prayer and mediation; for fun and relaxation; Sometimes made with only two or three holes, these flutes were often used to cast spells and confuse opponents during the intense stickball games, known as “the Little Brother of War”, commonly contested between the First Nations people of the Southeastern Woodlands.

* Sunrise Song, flute – 3:00, Traditional, adapted. This song is representative of how the Native American flute was often played - out in nature, well away from the distractions of the rest of the tribe. Instruments: cedar ‘G’ flute; deer-toenail rattle; beaver-skin hoop drum; wing-bone flute; sounds of the Green River near Tuxedo, North Carolina.

* Winchinchala – 2:00, Contemporary. Hawk recorded this song in 2011. A courtship, love song. Instrument: wooden, curly maple, ‘F#’ flute by Bob Childs.

Questions About the Songs:* Did you like the songs? Describe how each song made you feel.* When you listen to the song, what images came to mind?* Do you think the flute is being played for courtship, prayer, fun, or during a stickball game?* Is there something about the way the flute sounded that made you think that?* How many different sounds and instruments, besides the flute, can you identify in this song?

LANGUAGE ARTS LESSON - Creative Writing Assignment: Have students write a poem or short story about something they thought about or imagined while listening to either the Cherokee Morning Song, the Sunrise Song, and/or Winchinchala. Ask them to use descriptive words that invoke the ‘essence’ of the song and to describe how it makes them feel.




* Neesa / Lullaby – 1:13, Seneca - Onöndowága, traditional. Hawk learned this from his friend, Zabe MacEachran, while traveling with the Audubon Expedition Institute. Cherokee Elder, Nancy Basket credits this song as coming from the Seneca Tribe, taught to her by Grandmother Twyla Nitche. Instrument: vocals. Liner Notes follow.

Neesa, Neesa, Neesa. Neesa, Neesa, Neesa.Neesa, Neesa, Neesa. Neesa, Neesa, Neesa.

Ga-ya-wey-yo Ga-ya-wey-yo.Repeat as many times as desired or until child falls asleep.

SOCIAL STUDIES LESSON - SENECA NATION: The Seneca call themselves Onöndowága, meaning "People of the Great Hill.” Traditionally, the Seneca Nation's economy was based on hunting and gathering activities, fishing and the cultivation of corn, beans, and squash. These vegetables were the staple of the Haudenosaunee diet and were called "the three sisters". Seneca women generally grew and harvested varieties of the three sisters, as well as gathered medicinal plants, roots, berries, nuts, and fruit. Seneca women held sole ownership of all the land and the homes, thus the women also tended to any domesticated animals such as dogs and turkeys. Women were in charge of the kinship groups called clans. The woman in charge of a clan was called the "clan mother". Despite the prominent position of women in Iroquois society, their influence on the diplomacy of the nation was limited. If the "clan mothers" did not agree with any major decisions made by the chiefs, they could eventually remove them from their position.

* Hey, Hey, Watenay / Lullaby – 1:32, Ojibway - Chippewa, traditional. Hawk discovered this song while verifying information about some other songs. Instrument: beaver skin drum; vocals.

Hey, hey, watenay, Hey, hey, watenay, Hey, hey, watenay Kay-o-kay-nah, Kay-o-kay-nah.

(Repeat as many times as desired)




MUSIC LESSON - LULLABIES: Neesa is a simple lullaby chant. It is easy to teach, and Hawk’s solo version is a beautiful rendition. Young children need times to rest and relax. Having time for Kindergarteners and First Graders to revisit their younger selves and renew their spirit through lullabies will create a sense of safety in the music room or classroom. Even five minutes of rest or downtime can change the atmosphere and potential for learning. Hey, hey, watanay is also tuneful and memorable.

National Content Standard: 9. Content Standard: Understanding music in relation to history and culture. c. identify various uses of music in their daily experiences and describe characteristics that make certain music suitable for each use. d. identify and describe roles of musicians in various music settings and cultures.

Lesson Focus - Lullabies From Around the World:• Teach Neesa and your favorite American lullaby.• Share a few lullabies or one in a lesson over a few weeks.• It can be helpful to invite their questions after hearing a song:

• I wonder if this song is from another country?• What instrument is playing in the background?• I wonder who is singing?• I wonder why they are singing?

Lullabies Songs From Around the World:These tracks are available on i-tunes, or choose your own favorites.

• Album: The Earth is Our Mother – Neesa• Album: Berceuses Du Monde (Lullabies Around the World) - Italie (Italy): Il Valzer de Moscerino,

Artist: Marina Del Gaudio• Album: World Lullabies - All The Pretty Horses - American Lullaby, Artist: Justine Wheeler, Louise

Raven & World Lullabies• Album: Mother Earth Lullaby – Mwanangu, Artist: Erica Azim

Questions About the Songs: (for K-1st grade).• Do you ever have trouble going to sleep?• What do you do to help you fall asleep?• Does anyone sing to you or do you listen to music?• Why does a baby like to hear his/her mother’s voice – speaking or singing?• How is this lullaby different from last week’s lullaby?• Can we find the place where this lullaby was sung?• Do you think children all over the world have trouble falling asleep sometimes?• What makes a lullaby helpful for sleeping or resting?

“Some writers have supposed that the Indians are guided by instinct, and have even ventured to assert that their children would find their way through the forests as well as those further advanced in age. I have consulted some of the most intelligent Indians on this subject,

and they uniformly told me that they acquire this practical knowledge by long and close attention to the growth of plants and trees, and to

the sun and stars. . . . Parents teach their children to remark such things and these in their turn sometimes add new discoveries to

those of their fathers.”~ Father De Smet’s, Teton Sioux Music, 1918, by Frances Densmore, Smithsonian Institution, Bureau of

American Ethnology, Bulletin 61, Collected on Teton Sioux Reservation, South Dakota. p.214




* Canoe Song – 1:31, Ojibway / Huron / French Voyeuger, traditional. Zabe MacEachren shared this song with Hawk while they were students on the Audubon Expedition Institute bus, a traveling graduate degree program. Sung by the First Nations people along the Canadian and US border and the French voyeugers. While crossing the Great Lakes in their canoes during periods of intense fog, As they did not want to inadvertently shoot each other, they would sing this song simultaneously, in order to recognize who was approaching. The ‘La La La’s’ - sung by the French voyeugers and the ‘Hey Hey Ho’ - sung by the Native American trappers. Instrument: vocals.

La, la la la la la la la. La, la la la la Hey, hey ho. Ho, ho hey. La, la la la la la la la. La, la la la la Hey, hey ho. Ho, ho hey.Repeat as many times as desired. Song starts soft and increases in strength each round (as the canoes get closer) and then decreases as the canoes pass each other and fade away into the fog.

MUSIC LESSON - Canoe Song illustrates some moments in time when the native peoples’ interactions with the Western world were more peaceful. It offers an opportunity to practice basic part singing in a short chant. It is appealing to boys, and it could even feature boys in a performance or classroom setting. It would work well as a warm-up for a chorus and could accommodate unchanged and/or changed voices. It is transcribed in treble and bass even though Hawk’s recording is men only. With the harmony, it is more suitable for 4th grade and up. Musical Score on page 39.

Questions:• What do you notice about the performance? Hopefully

one will notice how it got louder and then softer.• What do you think is going on within this song? What do

you think is being simulated? Maybe they will guess that the travelers passed each other in their singing and paddling.

National Content Standard: 1. Content Standard: Singing, alone and with others, a varied repertoire of music c. sing music representing diverse *genres and cultures, with expression appropriate for the work being performed; d. sing music written in two and three parts

Objective: Students will act out the culture and story of the “Canoe Song.” Students will sing the song in two parts.

Lesson Sequence: Explain the history of the French voyageurs and the Native American trappers on the Great Lakes in canoes. Listen to Hawk’s recording of “Canoe Song” with the directive to listen for which part might have been sung by the trappers and which part might have been sung by the Native Americans. Teach both parts to the chant and then have the class sing them simultaneously while standing still.

Depending on the size of the group and the size of the room, ask the students to walk on the whole note beat while singing. Then move half of the class (or a smaller group of students) to one side of the room and half (or a smaller group) to the other side. They can try to sing their part while moving across the room past the other side. Add crescendo and decrescendo. Set up groups of students to be in the same canoe while they walk across the room going the opposite direction from the other part. Add shakers on the first beat of the measure.

Performance ideas: Try this song in performance with one or more “canoes” of singers on either side of the performance space (could be down the side aisles or coming from backstage). Starting softly, move onto the stage with a crescendo, pause and sing it to the audience (or just keep moving) and then decrescendo while moving off to the opposite side. Singers could imitate the paddle motion in unison going down on the first beat of the measure. Singing a cappella is probably ideal, but I have included a bass xylophone part and contra bass bar notes to help maintain pitch if needed.




* Four Elements / Earth, Water, Fire, & Air – 1:18, Pan Indian. Hawk first learned this song in the early 90’s from ceremonialist, Herbert ‘Dancing Horse’ Walters, while working at the Green River Preserve. There are many variations of this song to honor any or all of the four elements. Instrument: vocals.

Earth, Water, Fire, and Air. Return, return, return, return.Earth, Water, Fire, and Air. Return, return, return, return.

Hey yan-na wey ya hey. Hey yan-na wey ya hey ya wey ya hey.

MUSIC LESSON - Try this composition lesson focused on timbre.

National Content Standard: 4. Content Standard: Composing and arranging music within specified guidelines c. use a variety of sound sources when composing

Objective: Students will sing the song “Earth, Water, Fire and Air.” They will choose instruments to match each element (earth, water, fire and air) based on timbre. Using those instruments, they will compose their own musical score with creative notation.

Lesson Sequence:• Share a photograph that represents the four elements, Earth, Water, Fire, and Air. Upper elementary

students will recognize and identify these elements in the photograph.• Listen to Hawk’s recording of this piece. • Ask the class to choose a movement to match each element. Divide the class into 4 groups. Singing the

song without the recording, each group does their movement when their element appears in the song.• Ask the class to choose an instrument to match each element. (One of my classes chose a drum for

Earth, a hanging cymbal for Water, egg shakers for Fire and chime tree for Air). The respective instruments are played when the word is sung by the class.

• Using the same instruments, demonstrate reading a score where the parts are played simultaneously.

Students choose a symbol for each element’s instrument, for example:

Drum = Cymbal = Egg shakers = /\/\/\/\/ Chime Tree =

• As a class or in small groups of 4 or 5, they can write their own compositions with the instruments for Earth, Water, Fire and Air. A “conductor” can hold a pencil vertically and show the tempo by moving across the composition. This helps the students know when to play. See the example below.• Simplify for younger students by having groups of 2 and writing for only 2 of the instruments.)• Finally, perform the piece as a rondo alternating the song with the student compositions.




* Water Song / Wichita-do-ya - :59, Unknown origin, traditional. Two versions of this song are offered. The first, Hawk learned in the early ‘90’s while taking part in a traditional sweat lodge ceremony (purification rite). This ceremony involves singing, praying, trusting, and lots of sweating.

Wichita-do-ya, do-ya, do-ya. Wichita-do-ya, do-ya, Hey!Watch-cha-ta-nay-ya, hey-ya, hey-ya. Watch-cha-ta-nay-ya, hey-ya, Hey!

(Repeat as many times as desired.)

* Water Song / Wishi-ta-do-ya – :52, Crow - Apsáalooke Nation, traditional. The second version, offers a slightly different pronunciation. Both versions are offered to show how songs can change over time and from tribe to tribe. Instruments: water drum made from buckeye wood with moistened groundhog skin.

Wishi-ta doo-ee-ah, do ya, do ya. Wishi-ta doo-eeah, do ya hey!Washa te-nay-ya, hey ya, hey ya. Washa te-nay-ya, hey ya, hey!

”This is a river song which calls upon two different moods of water: the gentle flowing eddies and also the swift moving, swirling, white water.” ~ Native American teacher, Brook Medicine Eagle

SCIENCE LESSON - Questions about Water and Water Quality:* Can you name ten things you and your family use water for?* What is the largest body of water near your home? Can you name a nearby creek or stream?* What are some of the environmental issues affecting our rivers, lakes, and oceans?* What can you and your family do to help keep the water in your community clean? help to purify

the body, heart, mind, and soul. Instrument: beaver skin hoop-drum.

SOCIAL STUDIES/ HISTORY LESSON - Native American Sweat Lodge: The sweat lodge ceremony has been practiced in some form by nearly every culture in the world. Mayan ruins revealing ancient sweat houses, some over 1,200 years old, have recently been uncovered in archeological diggings in Mexico. Among the Plains tribes, like the Lakota, the I-ni-pi (Sweat Lodge) ceremony often occurs before and after major rituals like the Vision Quest and Sun Dance, but it may be held at any time. The aim of the ceremony is to purify one's body, mind, heart, and spirit. The lodge itself is built from small saplings, like willow trees. This frame is in the form of a half-dome wickiup and was traditionally covered with the hides of large animals, like buffalo, elk, or moose. Today it is most often covered with blankets and tarps. When completely covered, it can be very dark inside, even in the daylight. Some tribes, like the Navajo, cover their sweat house with dirt and mud. Adjacent to the lodge is a fire, which is used to heat up rocks. The fire, placed either

to the East or to the West of the lodge opening, represents the sun. The heated rocks are called the Stone People, and they represent the oldest living relatives. When the stones are good and hot, they are brought into the lodge where the participants have gathered. Water is poured onto the rocks creating steam. The Navajo people, who live in a very dry, arid region, do not pour water onto the stones.

“Many European settlers saw the Sweat Lodge, with its sacred cultural and religious implications, as a threat. Even after Native Americans were forced onto reservations, Christian missionaries and government

officials systematically denied the use of the Sweat Lodge and other rituals, in an effort to stop their religious practices.” ~ “The Native American Sweat Lodge: Histories and Lessons”, Joseph Bruchac, 1993.




* Pow Wow Grass Dance song – 1:10, Lakota, traditional grass dance. Hawk first learned this two decades ago, while drumming with Russell Cutts at Turtle Island Preserve summer camp, in Boone, North Carolina. Sung in the falsetto style, typical of Northern Plains singers. Instruments: hand-carved hemlock frame, elk-skin pow-wow drum; vocals. This dance was originally performed by the scouts and hunters of the tribe as an enactment of their search for buffalo, antelope, and elk. While dancing they also simulate cutting the long prairie grass with their stone knives and tying it to their bodies for camouflage. The stomping of the grass in the four directions prepares the site for the round tipis and poles to be erected. Instruments: hemlock wood, elk-skin pow-wow drum: vocals.

Gaaa-laaa-la. peige-a-cheep-a-do. (The sound of grass blowing in the breeze.)

Way-ya-yah-way-yo. (vocables)Gaaa-laaa-la. peige-a-cheep-a-do.

Way-ya-yah-way-yo. (vocables)Sapa, Zee-ska', Luta, Unpolo

(Four directions: West, North, East, South)Gaaa-laaa-la. peige-a-cheep-a-do.

Way-ya-yah-way-yo. (vocables)Repeat song as many times as desired.

* Grass Dance song – adapted version - 1:21, Lakota, traditional grass dance, adapted. See above. This version is offered so that students might more easily learn the words. Originally performed by the scouts and hunters of the tribe as an enactment of their search for buffalo, antelope, and elk. While dancing they also simulate cutting the long prairie grass with their stone knives and tying it to their bodies for camouflage. The stomping of the grass in the four directions prepares the site for the round tipis and poles to be erected. Instruments: hemlock wood, elk-skin pow-wow drum: vocals.

When Manabus first came among the Indians, after he had lost his brother, he saw the tall grasses in a marsh moving in the wind. He thought they were people who were dancing, so he began to

dance with them. Then he looked around and saw only the tall grasses swaying in the wind. The legend formed the basis of a dance. ~ Menominee Music: Legends Concerning Manabus:

Origin Myths of the Medicine Lodge Smithsonian Institution, Bureau of American Ethnology, Bulletin 102, Frances Densmore, p. 149.

* Friendship (Social, Snake, Circle) Dance – 1:52, Pan Indian - Great Plains, traditional. This song, and it’s many variations are a staple on the Pow-Wow dance circuit. A wonderful community dance can be performed while singing this, starting off as a circle, then becoming a snake winding around and around, until reforming back again as a circle. At the end, the dances/singers rush toward the middle and shout. Instrument: beaver-skin drum; vocals.

chorusWay-ya, Hey-ya, Hey-ya, Hi-ya! Way-ya, Hey-ya, Hey-ya, Hi!

Yo-way-yana. Yo-way-yana. Hi-ya. Hi-ya!Just got back to Oklahoma, got someone there that I know!

If she'll be my honey, I will be her sweety-pie, ya Hi-Ya, Hi-ya! chorus Your so pretty, your so fine, How I'd like to make you mine!

If you'll be my honey, I will be your sweety-pie, ya Hi-ya, Hi-ya! chorus Fire is hot, ice is cold, how I’d like to find some gold.

If you’ll be my honey, I will be your sweety-pie, ya Hi-ya, Hi-ya! chorus




* Spreading My Light-Wing Feathers – 2:00, Arapaho, traditional chant and dance with English words. This song is great to sing as a call and response and is often accompanied by a dance. Hawk first learned this while traveling with the Audubon Expedition Institute. Instrument: wing bone flute.

Spreading my light wing feathers as I fly.Spreading my light wing feathers as I fly.

I circle around. I circle around.The boundaries of the earth. The boundaries of the earth.

The endless universe. The endless universe.

chorusHey-ya-na-way-ya, Hey-ya-na-way.Hey-ya-na-way-ya, Hey-ya-na-way

Repeat as many times as desired.

We Circle Around, alternate words, sung to the same tune – this song is not on the CD.

Wearing our long wing feathers as we fly. Wearing our long wing feathers as we fly.

We circle around, we circle around. The boundaries of the earth.We circle around, we circle around. The boundaries of the earth.

Wearing our long wing feathers as we fly. Wearing our long wing feathers as we fly.We circle around, we circle around. The boundaries of the sky.

* Kwatee’s Song / Kwat-tsee-all-la -- .58, Makah, traditional. Hawk learned this song from storyteller, Isabelle Ides, a revered elder of the Makah nation. Hawk had the privilege to sit at her feet many years ago and learn stories and songs of the great trickster, Kwatee. This is Kwantee’s song. Instruments: beaver-skin hoop drum; vocals.

Oh Kwat-tsee-all-la. Oh Kwat-tsee-all-la Qui-et, Ta-Klut, Ta-Klut, Ta-Klut

Oh Kwat-tsee-all-la. Oh Kwat-tsee-all-la Qui-ett, Tsa-Klut, Ta-Klut, Ta-Klut

Oh Kwat-tsee-all-la. Oh Kwat-tsee-all-la Qui-et, Ta-Klut, Ta-Klut, Ta-Klut

Oh Kwat-tsee-all-la. Oh Kwat-tsee-all-la Qui-ett, Tsa-Klut, Ta-Klut, Ta-Klut




* Kwatee’s Mother Gets Thirsty, shared by Makah storyteller, Isabelle Ides, recorded and transcribed Fall 1988 by Hawk Hurst.

Kwatee and his Mom were busy. They were both busy.His Mom was making baskets.Kwatee was making bow and arrow. Both busy.His Mom says, “Kwatee give me water to drink.”“No, I’m too busy to let my work go. No time to get you water.”“Please Kwatee, give me water to drink.”“No, I’m too busy to get you water.”“Kwatee, please give me some water.I’m liable to turn into a Blue Jay if you don’t get me water to drink.”There’s a noise, a rustling sound.Sure enough she turned into a Blue Jay. Look on that tree!Kwatee went to find her water. “Here Mom - here’s some water.”“No Kwatee,” his Mom says, “It’s too late. I’m Blue Jay now.” Sketch by Carson Ellis

* Kwatee - Canoe and All, shared by Makah storyteller, Isabelle Ides, recorded and transcribed Fall 1998 by Hawk Hurst

Kwatee heard about people getting swallowed up - canoe and all! Now this had been going on for sometime. “Well I’ve been hearing about people getting swallowed up - canoe and all! I’ll have to make myself a canoe and find out what’s been going on.” So he starts making canoe, making canoe. Then one day his canoe’s got finished. He says: “Well, my canoe’s finished, but I should have a name for it.” So he named his little canoe, O-big-a-basch. It was a small canoe - just big enough for Kwatee. “Well, my canoe has a name. Whatever’s going to swallow me, I’ll have to do something.” So he goes down to the beach and picks up mussell shells. He picks em’ up and puts ‘em in his basket. Takes ‘em home and sharpens ‘em up. Get’s ‘em all sharp. “Must be wild whatever’s going to swallow me. I’ll have to be prepared.” He makes himself a big fire - puts a big pot on the fire. When it’s boiling hot, Kwatee jumps in that pot. Jumps out and he’s got NO MORE HAIR! NO MORE HAIR! “Well”, he says, “I’m ready now!” He shoves his canoe out. Shoves it out. I’ll sing you Kwattee’s song. The song Kwattee sings when he canoes.

Oh Kwat-tsee-all-la, Oh Kwat-tsee-all-la,Kwat-tsee-klut, Tak-klut, Tak-klut

Oh Kwat-tsee-all-la, Oh Kwat-tsee-all-la,Kwat-tsee-klut, Tak-klut, Tak-klut

Singing while canoeing. Singing while canoeing. And when he’s passed Tatusch. When he thinks he’s where the whale is, he starts to bow and sing:

“Qua-Ke-Cal-Sat, Qua-Ke-Cal-Sat”“Come out what lives here! Come out what lives here!”

That’s what he says. Pretty soon something came up and swallows Kwatee - canoe and all! Then Kwatee looks for his mussell shells. Starts to cut, cut, cut. Three days and three nights - whale is drifting ashore, drifting ashore, drifting ashore. Kwatee comes out and hollers to the people: “Come on down here nice people, there’s a whale that drifted ashore.” That’s the end of the story.




* Bear Song – 1:05, Lakota, traditional. Hawk learned this song in the early ‘90’s from Snowbear Taylor, who learned it from herbalist, David Winston. This ceremonial song was sung to show proper respect and appreciation to the Bear. In many tribes there are strict prohibitions against singing Bear songs during times of freezing weather, as they may be in deep hibernation, and the singing of these songs might awaken them. Hence, no words are offered for this song, and it is suggested that this song not be sung in the time of freezing weather. Instruments: seed-pod rattles; vocals.

“The bear is the only animal which is dreamed of as offering to give herbs for the healing of man. The bear is not afraid of either

animals or men and it is considered ill-tempered, and yet it is the only animal which has shown us this kindness; therefore the

medicines received from the bear are supposed to be especially effective.” ~ account by Two Shields (Wah’ `cunka-non’pa).

* Hey Ya Winna / Little Deer song – 1:26, Lakota, traditional. Hawk learned this song in the early ‘90’s from Snowbear Taylor, who first learned it from herbalist, David Winston. This song would have been sung prior to hunting winna – the little deer (white tail and/or mule deer), to show proper respect and appreciation for the sacrifice of the deer’s life. This song first appeared on Hawk’s ‘01, Buffalo Dreaming CD. Instruments: Deer toe-nail & moth-cocoon leg rattles.

Hey-Ya-Winna, Hey-Ya-Winna, Ho-Wa-Ho-Wa, Ho-Wa-Na!

Hey-Ya-Winna, Hey-Ya-Winna-Hey, Ya-Hey-Ya-Heyyyyy-Ya-Ha!

Hi-Yi-Yi-Yi, Hi-Ya, Ho-Wa-Ho-Wa, Ho-Wa-Na!

Hey-Ya-Winna, Hey-Ya-Winna-Hey! Ya-Hey-Ya-Heyyyyy-Ya-Ha!

Repeat as many times as desired, increasing speed each round.

* Frog Island / Wha`zhi`nee cha cha - 3:17, Contemporary. In the Fall of ‘02, Hawk and his wife visited the Isle of Palms, near Charleston, South Carolina. This is his memory about this song: “One day while we were strolling along the beach at sunset, I began to reflect upon what it must have been like for the indigenous people who long ago called this coast home. No sooner had that thought entered my mind, then I began to softly chant this song. You might ask, "What does this song mean?” I like to think that this song is a gift from the ancient ones who hunted, fished, sang, and danced on these coastal shores.” This song first appeared on Hawk’s ‘04 release, Drifting Away. Instruments: Isle of Palms ocean waves; bamboo stamping tubes; moth-cocoon & deer-toenail rattles; wing-bone flute; quiro; devil chaser; river cane clapper; body slapping; vocals by Hawk & Ayal Hurst.

Wha~zhi~nee Cha Cha, Wo-Yaa-Yaa. Wha~zhi~nee Cha Cha, Wo-Yaa-Yaa.

Wa-Yallow-Yallow, Wo-Yaa-Yaa. Wa-Yallow-Yallow, Wo-Yaa-Yaa.




* Beaver Hunter’s Song – 3:10, Cherokee, traditional. Walker Calhoun, of the Eastern Band of Cherokee, shared this song with Hawk many years ago, after Hawk gifted him with a beaver-skin drum. This song can also be heard on various recordings including Walker’s ‘91 release, Where the Ravens Roost. Instrument: beaver-skin hoop drum.

* The Cherokee Beaver Dance: The Beaver (Doya in Cherokee) Dance mimics the beaver hunt. Each dancer carries a small stick about two feet long, and this stick is flourished in various manners. The principal feature of this dance is an animal skin, meant to represent the beaver, which is pulled back and forth on a series of strings and which the dancers attempt to hit. Missing the skin affords immense amusement to the participants and spectators alike and this is consequently a favorite dance.

“it sort of gave them luck to do this dance before they went beaver hunting to catch… to

kill the beaver. I guess they might have just used the hides for clothing or for bed, for laying on when they sleep or for cover.” ~ Cherokee Elder, Walker Calhoun.

* Questions About the Song:* Did you like this song? How is this song different from the others we have listened to?* Draw a picture of the Cherokee dancing and pretending to hunt the beavers.* Have the students get up and dance as they ‘hunt the beaver’. Establish guidelines in advance.* Why do you think the Cherokees hunted beavers? (i.e. for food, to use the pelts and fur).* What might they have used the skins for? (to make drums, clothing, trading with Europeans).

LANGUAGE ARTS LESSON - Research Assignment: Have students research what other types of animals the Cherokee would have hunted for food. In addition to eating the meat, what could the Cherokee have made from the other parts of the animals that they hunted? (i.e. Woodlands Bison - Hide to make a warm blanket or robe to sleep under; Elk - antlers for knife handles; Whitetail Deer - bones for needles and awls to sew with; Wild Turkey & Geese - feathers for Costumes and wing bones for flutes; Groundhogs - skins for drums; Brook Trout - scales for face paint; squirrels and rabbits - small pouches.)

MUSIC LESSON - Cherokee Dance Customs: Most dances are led by a singer who has a drum or gourd rattle in his hand, who may or may not participate in the motions of the dance. The rank and file of the dancers, who follow the leader in a single file, may accompany the singing of their leader, or they may finish out his initial phrases, or they may reply, call and response-style. A woman with tortoise-shell rattles fastened to her legs generally follows immediately after the leader and keeps time for his singing by shaking the rattles on her legs in rhythmic sequence. True hunting methods and habits of various animals are simulated as well as the movements of sowing seed and tillage of the soil. The basic motif of the dances as they are at present performed seems to be the social one of a good time and making acquaintances. The musical instruments used in the dances consist of (1) a groundhog skin drum, (2) one or more gourd rattles on short sticks, and (3) several tortoise-shell rattles bound about the legs of the woman leader. Various ornamental and characteristic features are introduced in the dances, such as pine boughs, sticks, eagle-feather wands, pipes, masks, and robes of various kinds, in the olden days. ~ "Here Is Your Hobby: Indian Dancing and Costumes", William K. Powers, G. P. Putnam's Sons, NY 1966.

* Loon Longing flute song – 2:38, contemporary, instrumental. Representative of a way in which the flute was traditionally played, relying on voices from the natural world. This version first appeared on Hawk’s ‘09 release, Mystic Serenade. Instruments: black bamboo ‘A’ flute. Loon and night sounds courtesy of Mother Earth.




* The Way of the Forest: This is the story of a happy and prosperous tribe of People who have lived for generations in harmony with the land, the plants, and the animals. Awakening one morning, they discover that everything they had always depended upon for survival has disappeared. All the animals have departed, and the plants will no longer offer sustenance. Facing the threat of starvation, no one knows what has happened, or what to do. Taking it upon themselves to discover the truth, two young warriors – a boy and girl from the tribe – embark upon an epic journey to learn what has befallen their People.

The Way: an unspoken law heeded by all creatures. Take what you need, but never waste what you take. For eons all have followed this sacred trust. The Way demands that all creatures share

in the balance of life: the ‘give’ and the ‘take.’ This creed does not, however, prohibit any individual, great or small, from doing everything in its power to stay healthy and alive. Rather,

this is a requirement of The Way, which all beings accept as part of the dance of life.

SCIENCE CURRICULUM: Created by Dr. Julie Sessions For a free collection of interdisciplinary curriculum ideas, please click the highlighted link below. The lessons and activities are user-friendly and are designed for public, private, and home-schooled children of all ages. Naturalists, environmentalists and any lover of nature will enjoy the lesson plans. Subjects such as language arts, science, social studies, and other content areas have links for printable activities. You will find a literature list that will help you connect to other stories and extend learning opportunities. Several lessons were designed with national standards in mind to make the learning relevant to specific grade-level content. Visit the http://www.hawkhurstflutes.com/thewayoftheforest.html

The Way of the Forest, by Hawk Hurst, Illustrated by Carson Ellis ISBN: 978-0-9723829-9-1, Frontline Press, Retail Price: $14 / School Price $10




http://www.hawkhurstflutes.com/thewayoftheforest.html

http://www.hawkhurstflutes.com/thewayoftheforest.html

* Stomp Dance – 1:42, Creek-Muskogee, traditional. This song is ia partial representation of a stomp dance song. Stomp Dances are ceremonial in nature and are seldom, if ever, recorded. A wonderful version of an (adapted) stomp dance song can be heard on the track, Goin’ Down to Muskogee, by Jazz legend, Jim Pepper’s ‘83 album, Comin’ and Goin’. Instruments: traditional Muskogee-style, box turtle leg rattles; vocals. MUSIC / SOCIAL STUDIES LESSON - Stomp Dance Customs: 1:42, Creek-Muskogee, traditional. This song is a partial representation of a stomp dance song. Stomp Dances are ceremonial in nature and are seldom, if ever, recorded. A wonderful version of an (adapted) stomp dance song can be heard on the track, Goin’ Down to Muskogee, by Jazz legend, Jim Pepper’s ‘83 album, Comin’ and Goin’. Instruments: traditional Muskogee-style, box turtle leg rattles; vocals.

Turtle Shell Dance Rattles *Stomp Dance Customs: To the Muskogee, Miccasukee, Cherokee, Choctaw, Chickasaw, and other Southeastern Tribes, the Stomp Dance is affiliated with the Green Corn Ceremony. The term "Stomp Dance" is an English term which refers to the 'shuffle and stomp' movements of the dance. In the native Muskogee language the dance is called Opvnkv Haco, which can mean 'crazy,' or 'inspirited' dance.

*In the past, the stomp dance was performed on an elevated square platform, and a fire was built in the center of the square. In modern times, the Creeks have adapted the square into a circular mound, but still refer to it as the “square”.

*A-ne-jo-di, the Stickball game, is played in the afternoon. This is a pre-requisite to performing the actual Stomp dance. In other venues, A-ne-jo-di may be played without a Stomp Dance following, but the Stomp Dance is never performed without a preceding game of Stickball.

* Prior to the dance, a dinner is prepared in the family camps. The foods eaten at Stomp Dances are typical southern delicacies such as corn bread, mashed potatoes as well as certain specialized Indian dishes such as sofkee, grape dumplings, fried hominy corn, and frybread.

* The order of the dancers is male-female-male-female in a continuous spiral or circle with young children and the odd numbers trailing at the end. The song is led by a lead man and are typically performed in call and response form. The dancers circle the fire in counter-clockwise direction with slow, stomping steps set to the rhythm created by the women stomping with their shell shakers.

* As the dance progresses, as many as several hundred people may join the circle. The dance continues until at least four rounds or four songs are completed by the dance leader. At this point, the dance concludes until the next leader is called out to sing. The dance frequently continues throughout the entire night until dawn of the next day. The Stomp Dance is not meant to be a grueling and physically challenging event but almost every participant on the grounds will dance most of the night.

Why Do Humans Dance?: Some people are naturally graceful on the dance floor, while others seem burdened by two inept left feet. Blame it on the Ice Age. According to new research, the ability to dance may have been a factor in survival for our prehistoric ancestors, who used their moves to bond and communicate with each other when times were tough. Dance, like music, is an activity dating to prehistoric times that is sometimes a sacred ritual, sometimes a form of communication, and sometimes an important social and courtship activity.




* Ya Na Ho – 1:15, Creek-Muskogee, traditional, adapted. A wonderful version of this song can be heard on Jim Pepper’s ‘83 album, Comin’ and Goin’. Instruments: African-style clay udu drum; vocals.

Ya-na ho. Ya-na-wa-na ho.Wee-ya na hey, hey nay no way.

Ya-na ho. Wee-ya na, ya-hey. Ya-na ho. Wee-ya-na, hey na no way.Ya-na ho. Ya-na wa-na ho. Wee-ya-na nay, hey nay no way.Ya-na ho. Ya-na wa-na ho. Wee-ya-na nay. Hey nay no way.

Ya-na ho. Wee-ya-na ya-hey. Ya-na ho. Wee-ya na, hey nay no way.Ya-hey yo, Ya-hey yo, Ya-hey yo-haa.

Wee-ya hey yo, Ya hey yo-haa. Wee-ya ha, Wee-ya ha yo.Wa-ya hey, ya-hey yo, ya-hey yo ha. Wee-ya hey-yo, ya-hey yo-ha.

Wee-ya na, wee-ya na yo.

* Cracks on Turtle’s Back story, Creek Muscogee/Mikasuki . LESSON: have students listen to story and reflect on the lessons that can be learned from this ancient parable.

* Wakantanka – 1:35, Omaha, traditional. Hawk learned this song from outdoor educator, Starcen Ellis, who first learned it at Camp Sequoyah. This is an ancient Omaha tribal prayer to the Great Spirit.

Instruments: vocals. You start off by holding you hands above your head, facing towards the sun, lowering them slowly to touch the earth in a humble manner, as you finish each round. Translation: “Oh Father. A

needy one stands before Thee. I who sing – am he.”

Wakantanka, Dè Doo, Aton-Hè, Wapatain Aton-Hè. Wakantanka, Dè Doo, Aton-Hè, Wapatain Aton-Hè.

Repeat Two or More Times

* Pow Wow dance – 1:49, Pow-Wow, traditional. Hawk first recorded this over two decades ago, while drumming with Drew Armstrong and Russell Cutts at Turtle Island Preserve summer camp, in Boone, North Carolina. Instruments: Pow-Wow drum; vocals.

* Four Directions Dance – 4:25, Contemporary. This song employs certain phrases from the Lakota Grass Dance heard above. This song first appeared on Hawk’s ‘04 release, Drifting Away. Instruments: tun-cul (tongue) drum; bamboo ‘G’#’ flute; slit log Drum; buffalo-skin pow-wow drum; claves; moth cocoon, seed pod, and deer-toenail rattles; vocals; vocals and acoustic guitar by Rich Wells.

* Heading Home – 4:54, Contemporary. This song employs certain vocables – sounds we are all capable of making – that evoke a sense of closure. This song first appeared on Hawk’s ‘04 release, Drifting Away. Instruments: vocals; bass ‘B’ cedar flute; buffalo-skin pow-wow drum; clapping; acoustic guitar, McNally strumstick, & vocals by Rich Wells.




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Trail of TearsCherokee traditional

Joy Hughes transcribed from Hawk Hurst's recording on The Earth is Our Mother




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Trail of TearsCherokee traditional

Joy Hughes transcribed from Hawk Hurst's recording on The Earth is Our Mother




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Trail of Tears - alto recorderCherokee, traditional

transcribed by Joy Hughes from Hawk Hurst's CD The Earth is our Mother
















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Canoe SongOjibway / Huron / French Voyeuger, traditional

transcribed by Joy Hughes from Hawk Hurst's recording The Earth is Our Mother







Documents

EARTH MOTHER CD Curriculum - Hawk Hurst Flutes · p. 28 Loon Longing flute song, contemporary, 2:38 audio The Way of the Forest , Eastern Woodlands, 10:51 p.29 The Way of the Forest,