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LAKofA CEREMONIAL SONGS
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Performed by "ohn Around Him
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1:' Translated by Albert White Hat. Sr.
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 Dedication
. i
This book is dedicated to the people who preservad our ceremonies an<1
ceremoni~1 songs during the years when governmental and missionary in .
stitutions tried to take them away from uso Some Lakota people took thE '
ceremonies "underground ." Others practiced them openly in spite of thE"
consequences-institutional persecution. both physical and 'psychologica I
And. this book is dedicated to the people who have and are bringing thE '
ceremonies and ceremonial songs ,
back into their
¡ .
rightful place in . OU"
.society-the Medicine Men and Women. the Singers. and the Ikce Wicasél
(The People).
We are able to openly participate in ceremonies today. singing (he song::,
in this book. beca use of the eHorts of a few faithfulpeople. May thesE-
people be honored in our society. ~
© 1983 Sinte Gleska College. Inc.
Rosebud Sioux Reservation
Rosebud . S.O. 57570

Grateful acknowledgment is extended to R.o. Theisz and the late Ben

Black Bear. Sr.. for the reprint of previously published material in their book
Son"•• nd O.nce. 0' 'he LII'oi•.
 Pronunclatlon Gulde

The lakota language employs a vari~ty of symbols to denote the proper

pronunciation of certain consonants. nasalized vowels. and glottal stops.
Some of the sounds represented by these orthographic marks are not found
in English. and are thus sometimes difficult for the beginning Lakota speaker
to master. What follows is a key to these sounds and the standardized sym-
bol s used to denote them in this text.

1) e wlth a dot aboye It

C-·leeiya; eeun wo!; Hoeoka.

2) e wlth a IIne aboye It.

C-niea upelo; ieinupa; icu wo!

3) G wlth a dot aboye It.

G-opagi; itokagata; anagoptan .
•
4) H wlth a dot aboye It.
H--wiohpeyata; htayetu; hwa .

5) Letter J.
J--inawajin; nawajin; jojo.

6) K wlth a dot aboye It.

K--kola; wakan; nikunsi.
JOHN AROUND HIM
7) K with a IIne aboye It.
John Around Him is a bilingual teacher at Little Wound School in Kyle.
K--ki; wamayanka po!; wakan.
S.D. . Pine Ridge Sioux Reservation . He is a member of the Parents Ad-
visory Committee of the Bilingual Education Program in Kyle. and a member
8) n with a tall [n ••• 1 n)
of the Board of Directors of 091a1a Sioux Community College.
n-inyan!; wanji ; eannupa .
John participa tes as a singer at many Sun Dances and other eeremonies
throughout the Pine Ridge. Rosebud. and Cheyenne River Reservations.
9) P wlth • dot aboye ¡t.
He received his guidance and instructions from spiritual leaders
P--epelo ; wapaha; pahin .
knowledgeable in traditional Lakota ways .
In 1967 he entered the Army and served in \(ietnam from 1969 to 1970. .i
¡
10) P wlth • IIne aboye It.
He is married to linda F Thunderhawk and has one son and two daughters.
P--cannupa; upelo; wiohlyanpa .

2
3
)

) $on9 Sttucfu'res
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11) S wlth a dot above it. 1
) S--unsimala; nikunsi; ognas. "Some general comNlents on the basic struct~re of songs shOuld pro"re
to be of help in understanding and enjoying I..akota singing:
12) T with a dot above ¡t. I
1. "Virtually. all songs are bipartite in structure; that is, a rendition 4)f
T--tunkasila; tatanka; tokaheya. a song is made up of two repetitions of a specific melody, fóllowing éln
) introductory phrase called the "Iead" or " push up" and its repetition, the
13) T wlth a IIne above It. "second ." The typical rendition :
T--taku ; iyecetu; oyate.
R..peat
14) The GloHalstop. are followed b~ 8n Apostrophe Mark"'''. Lead second Melody Melody
C:-cici'u 1st hal' o, Second hal'
H:-namah'un r.ndltion o, rendition
K:-k'un
P:_p'o
S:-s 'e 2. "Vi~ually all songs begin each rendition of high notes and then deB-
S:-s'e cend in a :'cascading" manner of some variat!on :
T:-t'a

The English letters and corresponding sounds D,F,Q,R,V, and X are not
) faund in the Lakota language.

3. "The "Iead" or "push up" is generally the highest seetian in piteh

af a song and cansists of a musical phrase or line. It is sung by o'ne mal,~
singer, often referred to as the "head singer" or " Iead singer."
"The " Iead" is then -repeated exactly in the "second" by the rest of th ,,~
male singers.
) (1' only one penon i•• inging a .ong Un.te ¡tt no .... cund.")

4. "Then all singers sing the balance of this rendition of the song through
)
what we will call the "first chorus," "first ending," "second chorus" and
"final ending ." Frequeritlya short introductory phrase will precede the se-
cond chorus .

1st 1.t 2h'd final

Lead endino choru. endlng
eheheh eheheh
) eh 01 eh oh

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 5. "In th is rrlanner. songs may be sung for many renditions with each
successive "Iead" breaking into the previous "final ending." The female
singers. the ·wicaglata." beging singing an octave aboye the men generally
sometime after the "second."
, If the song is given to an individual. that person--or those who are going
6. "At the end of many songs. the second half of a song will be repeated
after a short pause. It is ca"ed the "tail" or "sinte." We may refer to this
as a "short tail ." whereas if another whole rendition of a song--or occa-
sionally several renditions--are sung in addition to the short tail . we can
refer to this as a "long taiL"
7. "Four or five loud or "accented" beatsare generally inserted part-
way into the second chorus.,,1
Vocabl ••
The spirits who bestowed on us songs wlth word. have given a great
gift. These songs express our knowledge of and joy in the Creator. lIsing
an earthly language with rationalterms. They have particular meaning and
purposes and are sung accordingly.
But the mind cannot think. "Great Spirit" (Wakal) tal)ka). or conceive reali-
ty as il truly is. Thus. additional songs have been given to us--aonoa wlth
muale only--praise expressed through a few sacred S'j"ables which 00
beyond the mind. beyond language and S!lY the inexpressible. sing whet
is intellectua"y unutterable. These are perhaps the very chants which the
spirits themselves sing--similar to the hosannas and ha"elujahs of another
tradition .
Therefore. although the philosopher. the musicologist and the an-
throp'ologist may have little or nothing to say of these wordless melodies. \ .
it should be recognized that these are our highest and most treasured
hymns beca use they go aboye the intellect and kindle the heart directly.
These sa cred songs have different purposes. In social events. they are
sung because they are pleased to the ear and draw an emotional response,
from the listener. In the composing of social songs the singers and Powers
together create music from natural sounds. like the wind. sounds of rippl-
ing water from a running stream . and sounds that come out of pine trees
when the wind blows through them . Singers claim that the earth has a heart-
beat which creates the rhythm for their music.
For ceremonial events. these songs are given in their entirety (witheUlt
the creative influence of the singer) from The Power which is beyond huma n
grasp. Lakota tradition teaches us that some of these songs are given to
individuals for personal use while others are given to the people as a whole.
to sing it--wi" explain its origins; the same is true for a song intended fo r
the group.
Sometimes these ceremonial songs are given when an individual is en
Hanbleceya. Other times. as in the fe"owing story. the occasion is more
public. It is said that once. a long time ago. in the quiet evening after sunset.
the fu" moon lit the clear sky in which the stars were shining brightly. and
the p~ople at camp were preparing for nightfa". Suddenly. out of the twilight.
they heard a beautiful voice singing out on the prairie. It was the voice
of a mano so they checked the camp lo see who was missing and thereby
account for the mysterious singing. But everyone was there. So the peo-
pie decided to investigate by walking onto the prairie and surrounding the
beautiful voice they hear. As they tightened the circle. at last they came
close enough to see that the singer was not aman. but a lone coyote. Then
and there they learned the song from the coyote. and today we sing it when
we worship.
They are many stories like this that tel! how songs with music on"y. were
and are given . But. for some of those sung in the Sun Dance. no specific
origins can be cited; they have been sung for ages and passed down from
one generation to the next until the accounts of how they weré given have
been forgotten . These songs are especia"y able to open the mind and kindle
the heart. They evoke emotions from within the dancer which help him to
pray openly. Their rhythms fuse the actions of praying and dancing until
they become one--creating a moment of openness to communication and
union with the Great Spirit.

, Reprinted from Son,,_.nd D.~. 01''''

L.kot-' by Ben Black Bear.
Sr. and R.O. Theisz. North Plains Press. Aberdeen . S.O. 1976. pp. 12-13.

6 7
)

) Introduction
I

) Olowar¡ ki lena lakota ki wakar¡' kilapi nahar¡ gluonihar¡pi. ECil) lena ul)
Wakal) Tanka cekiyapi nahan nakun tatuye topa k'ul) hena taku wakal)
our¡yanpi k"ur¡ he na cewieakiyapi nahar¡ nakur¡ maka takiya Unei'Maka k'ul)
he eekiyapi. .
) Olowanki lena ul) wocozani nahal) wookiye la pi. lena ul) hoyeyapi ki hel
icageya akilÍ'al) ie'iyapi nahal) stuste ic'iyapi. Tawacil) nahan canté kie'uya
lena eeunpi canke takü wan lapik'ul) he el wookiye ieupelo. Ecin wakal)
-
CalJnu:p a Olowal)
Tanka nahal) Unci Maka nahan taku wakal) ki lena waul)silapi ca tuwe wal)
ognayal) taku ki lena eeul) hantans wookiye wal) la wal) he icu welo,
Olowal) ki lena oyate ki tawapi ca ul)speie'iciyapi nahal) yagluonihal)pi
hal)tal)s pilanic'iyapi nahal) el wawapila yapi ktelo.

The songs in this book are treasured by the lakota people who sing them
with respeet and love. They are pr~yer songs to the Great Spirit, the Spirits
of the Four Direetions and Grandmother Earth . The Spirits of these diree-
tions have eompassion and love for the people. For that reason, if an in-
dividual uses these songs with faith10f heart and mind, he or.she will receive
help from the Spirits. I
The English translators of the Lakota commentary by John Around Him
are not word-for-word substitutions, but foll6w closely, thesense and
substanee of his original introduetory remarks . The songs translations are
more literal. but also, due to inherent differences between the two
) languages, do not everywhere refleet a one-to-one correspondence in their
voeabularies .
. I
Finally, these songs are for the people. May you learn them well and
eherish them with respeet and love. I believe you will grow by doing so,
) bu! mos! important of all, you will benefit your people jn the future.

Albert White Hat, Sr.

) 8 9
 C81]nup8 OlOW81] (Pipe Songa) Ho! heharJl iyokiheya carJnupa olowal) k'urJ he ptehirjcala carJnupa W91)
waziyata yarJke k'urJ he, ho, he le tolo warjki e yelo.
Ha! eya leciya olowarJ eya nagowayirJ kta ca wahi yelo.
Ha! yukarJ eya owakpamni oyarJke ki he matanhan .yelo.
Na tiQspaye ki hel irJs, F>ejuta Haka oyarJke ki hetarJharJ wahi yelo.
Na Lakol caje ki harJ wacirJyarJpi emaciyapi. "The next Pipe 80ng is a song which is addressed to the Calf Pipe, which
Ha! yukarJ. carJnupa olowarJ warJ awahiyayirJ ktelo.
is kept in áplace in the north at Green Grass in Cheyenne River
Reservation."
Yukan carJnupa ki le opagipi ña tUrJkasila kiksuyaopagipi ki harJ taku kapi
ki iyecetu welo.
1.
Oyaie wamayar¡ka po! People you mus! look at me!
Oyaie .wamayar¡ka po! People you must look at me!
Le ear¡nupa ki. le wakan yelo. This Pipe belore you, il is saered.
Oyaie wamayar¡ka po! People you musl look al me!
Mr. John Around Him's introductory statement: "1 ca me here to record
some songs. I'm from the Pine Ridge Agency. I come from the Medicine R.fr.ln
Oyaie wamayar¡ka po! People you musl look al me!
Root Tiospaye. My Lakota name is 'Dependable'. I am going to record some Oyaie wamayar¡ka po! People you mus! look at me!
Pipe 80ngs . Le Car¡nupa ki le wakar¡ yelo. This Pipe before you. it ia saered .
Oyaie wamayar¡ka po! People you must look at me.
"When you load the Pipe and pray to the Grandfather (Great Mystery),
whatever you pray for will come true. 2.
"The first Pipe 80ng goes like this :" Oyaie wamayar¡ka po! People you musl look al me!
Oyaie wamayar¡ka po! People you must look at me!
Le ca'lnupa ki le waka'l yelo Thi~ Pipe before you. il is sacred .
A.f.ln
Oyaie yanipi klelo! People you shall live!
Kola lec el e c u~ wo I My Iriend do it like this!
Kola lecel e c u~ wo! My Iriend do it like this! Ho! iciyamni k'urJ he tiwahe icekce carJnupa ul)yuhapi. Ho na hena_~akal)
Kola lecel ec u~ wo I My Iriend do it like this!
Heca~u ki . nitu~kasila
ca tiwahe ki el ul)yuhapi. He ul)kagapi na Lokol wicoh'al) k'ul) ~e el wokicu9ze
1I you do. your Grandlather
waniyang u ktelo. will come down to SE'e you.
urjkagapi harJtans eUl)kignakapi ul)kokihipi sni ecil) ~al)nupa ~a'l wakal)
ul)kahipi na wicoiye eya lel epil) kte k'ul) hena awecakeya hecetu.
1.
Hoca Ka wa~)1 This sacred ritual
uyha iloiake el . when you sit down to begin.
Mlksuya opagi yol remember me as you load the Pipe!
Hecanu Ki. iaku ehe ki 1I you do this. whatever you desire " The third song is a song that refers to som.e _of our homes in which a
iyece iu ktelo . . will come true. Pipe is kept. These Pipesare sacred. In the Lakota way of being , we make
commitments or vows. When we do this we cannot lay those commltments
2. aside beca use the Pipe is sacred . Therefore, whatever I say about the
Ca~nupa Wanji . yuha ilotake ci
•
When you begin the ritual with the Pipe. Lakota way of being is fuI! of truth and meaning ."
Miksuya opagi yol remember me as you load il.
Heca nu kl . taku yac i ~ ki II you do this. whatever you desire
Iyece iu ktelo. will come true. 1.
Car¡nupa war¡ nica upelo The Pipe Is being brought to you.
far¡yal) yUla yo! how you hold it must be worthy.
A.fr.ln ognas mayagna yekilo Maybe you will d'o ubt me.
Kola lecel ecu'l wo t My friend do it like this \ He waka'lya'l iwayelo. though I speak in a sacred manner.
Kola lecel ei:u~ wo I My Iriend do It like thla! ognas mayagna yekilo. maybe you will doubt me.
Kola lecel e i:u ~ wo I My Irlend do it like thls!
Hecanu ki. nitur¡kasila If you do. your Orandfather
wa.nlya~g u ktelo. will come down to see you .

10 11
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)
R.Ir.ln
Ca~nupa wa~ nica u pelo.
) ¡a~yan yUla yo I
ognas mayagna yekilo
) He waka~yar) iwayelo
ognas mayagna yekilo.
The Pipe is being brougl)t lo you,
how you hold il must be worthy.
Maybe you will doubt me .
though I speak in a sacred manner,
maybe you will doubl me.

Ho. eya cal)nupa olowank'ul) hena wana wahehal) olowal) ki ewagnakil)

ktelo. Inipi OlOW81]
"This concludes the Pipe Songs I want to record ,"

)
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 Ini.,i Olowal] (Purl'lcatlon Ceremony 50nll_) Ho hehal)l olowal) lel nupa k'ul) he II)'s, wléakléopi. Inlkagapl na olO'Wal)
kl lena ahlyapl hal)tal)s nltunkasila ekta nlupl cal)ke, olowal) kl le wléa ka
. Ho; heh¡~ql ivokiheya olowaf'l eya awahiyayil) Kte k'UI) he na onikage el hlyapi.
sna ahiyapelo. Yukal) tokaheya olowar¡ awahiyaylr¡ kte k'ur¡ he tatuye topa
olowar¡ heca yelo. "The next song Is an Invitatlon song, When a Purlflcation Ceremor.y Is
held and one of these songs Is sung, the Grandfathers (Splrlts) wlll come
"The next group of so;'gs I will be recording are the songs that are sung to you. That Is why these songs are sung for them.'i
in the Purification Ceremony. The first song I am going to record is the
Four Directions Song ." 1.
!<ola le miye ca wau _lo. My friendo thla la me. I am comlng.
!<ole le mlye ce weu _lo, wau _lo. My friendo Ihls la me. I am comlng. 1 am· comln{¡
1. !<ole le miye ce weu _lo, weu _lo. My frlend. Ihle la me. 1 am comlng. 1 am comlng.
W,ohpeyaia eiu~ wa ~ yo' Look lowards Ihe Wesl! wlolÍpeyeie To Ihe w.at
Niiu~kasila Your Grandlalher In_e/II) na ehliul)Wal) n_jil) yelo I em standing there and looklng towar-d. you.
ah,iu~wa~ ya ~kelo . is sitting Ihere looking Ihis way. Kole le miye ce weu welo. weu _lo My frlend. Ihls le me. 1 em comlng. 1 am comlng.
Cek iya yo' Cekiya yo ' Pray lo Him! Pray lo Him!
Ahiiu~ wa~ yankelo. He is sitting Ihere looking Ihis way. ".fr.ln
Kala le miya ca wau _lo. My friend o thla la me. 1 am comlng ..
2. !<ola le miya ce wau _lo. wau welo. My frlend. thla la m~. 1 am comlng. 1 am comlnr.
WaZlya' iak'ya eiu~ wa~ yol Look lowards Ihe North! Kala le miye ce wau welo. wau welo. My frlend. Ihls la me. 1 am coming. 1 am .comlng.
N,iu~kasila Your Grandlalher wiohpeyaia To Ihe Wesl
a h, iu ~ wa~ ya~ke lo. is sitting Ihere looking Ihis way. inawajin na ahiiul)War¡ nawajil) yelo 1 1m atanding 'I here and looklng towlrds you.
Cek'ya yo, Cek'ya yo ' Pray lo Him! Pray lo Him! Kola le miye ca wau _lo. wau welo. My frlend. Ihls is me. 1 1m comlng. 1 am comlng.
Ah,iur¡war¡ yar¡kelo. He is sitting Ihere looking Ihis way.
Ho, hehal)l ' olowar¡ iciyamni k'ul) he woéekiye kagapi kta cal) sna le
3. ahiyapelo.
W,oh,ya~;;a ia eiu~wa ~ yo! Look lowards Ihe Easl!
Nilur¡ka.,la Your Grandfalher
ah,tur¡wa~ yar¡kelo. is sitting Ihere looking Ihis way.
Cekiya yo, Cek,'ya yo' Pray 10 Him! Pray lo Him!
Ah,iur¡war¡ ya ~k e l o . He is sitting Ihere looking Ihis way. "The third song is sung just before the people begin praying ."
4.
Itokaga ia elll'lw,')'1 yo! Look lowards Ihe Soulh! 1.
N,lu~kas,la Your Grandfalher Waka~ianka Greal Spiril.
ah, l u~wa~ Cek'ya yo ' is s itting Ihere looking Ihis way. iokaheyl cewakiyelo 1 pray 10 him firsl.
Cek'ya yo, Cek'ya yo' Pray lo Him! Pray 10 Him! waka~ill)ka Greal Spiril.
A h,iu~wa~ ya ~kelo He is sitting Ihere looking Ihis way. ioka heya cewakiyelo. 1 pray lo him firsl.
miiakuye ob weni kle ca. I shall live wilh my retelives.
5 ioka haya cewaklyelo. Ihal is why 1 pray lo him firsl.
Wakaiak'ya ei u~war¡yo' Look up aboye I
waka'1Ia 'lka The Greal Spiril. 2.
hec,ya he ya~kelo He is sitting aboye us . tu~kasila Grandfalher.
Cek,ya yo, Cek'ya yo ' Pray lO Him! Pray lo Him! ioka heya cewakiyelo. 1 pray 10 him firsl.
Ah,iu~war¡ ya~ke l o He is sitting Ihere looking Ihis way. iu~kasila Grandlalher.
ioka heya cewakiyelo. I pray to hlm firsl.
6 mliekuye ob wenl kle ca I shell Uve wilh my reletlves.
Maka iak'ya eiu~war¡ yo' Look down al the Earth! ioka heya cewaklyelo. Ihal la why 1 pray lo hlm flrat.
N,ku~ s, K ' u~ Your Grandmolher
hec'ya he yu~ke lo. is Iying benealh you . Ho, ehake olowal) k'ur¡ he tohal)l inikaiJa iglustal) pi cal) sna wopila eyapi
Cek'ya yo' Cek,ya yo' Pray lO Her! Pray lo Her! na olowal} ki le ehake ahiyapelo.
Anagoplar¡ yu r¡kelo She is Iying Ihere lislening 10 your prayers.

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) "When the Purification Ceremony is completed the people give thanks

and sing this final song ."
)
1.
iunkaq uq'i uqlapi ye yo! Spirits have pity on us!
iuqiiaq uqSi ur¡lapl ye yo! Splrits have pity on us!
He miiakuye ob I shalllive
wani kta ca with my relatives
lena cic'u welo. so I give you these offerings.

) R.fr.ln
Hanbleceya Olowal]
iur¡iiaq ur¡si uqlapi ye yo! Spirits have pity on us!
He mliaiiuye ob I shalllive
wani kta ca with my ralatives.
lena Cic'u welo so I give you these offerings.

R.fr.ln
iuniiar¡ ur¡si uqlapi ye yo! Spirits have pity on us!
He mitta"¡¡uye ob I shalllive
wani kta ca with my relatives,
lena cic'u welo" so I give you these offerings.

Ho le wana oinikage olowaf} k'uf} hena eca blustaf} yelo.

"This concludes th'} Purification Ceremony Songs I want to record."

)

)
:ca-
) ----. . . .
)
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17
 Hanbleceya' Olowal) (Viaion Queat Songa) 2.
maka coken In the center of the Earth
nawajil) na I am standing and
Ho. hehar¡1 iyo kiheya olowar¡ nup awahiyayir¡ kte k'ur¡ , hena hal)bleceya hoyeya nawajil) yelo. I am praylng as I stand.
olowa r¡ ye lo. : iaial)ka oyaie wal) To you, BuHalo Nation
hoyeya nawajil) yelo . I am praying as I stand .
. 'The two song s I w ill record now are songs people sing during the
3.
Hanbleceya' ,
Maka cokal) In the center of the Earth
Nawajll) na I 1m standing and
1. Hoyeya nawajil) yelo. I am praying as I stand.
Ate w,ohpeyata Father. to the West Heliaka oyaie wan To you, Elk Natlon
nawal ' ~ yelo. I am standing . hoyeya naW8jil) yelo. I am praying as I stand .
wa m aya~ka yo I Behold me!
lie Oiaieya The wind blowing in my face. 4.
nawal ' ~ yelo I am standing . Maka cokal) In the center of the Earth
nawajil) na I am standing and
2 hoyeya nawaji~ yelo. I am praying as I stand.
Ate waz lyata Father, to the North . wllmakaskal) oyaie WII) To you, animal Spirits
na'wal ' ~ ye lo. I am standing . hoyeya nawajil) yelo. I am praying as I stand .
wa m aya~ka yo I Behold me !
Ite olateya The wind blowing in my face,
n awaJl~ ye lo. I am standing .

3.
Ate w,oh'yanpa ia Father, to the Easl.
nawal'~ yelo I am standing .
wamaya~ka yol Behold me l
lie olateya The wind blowing in my face,
nawal'~ ye lo I am standing .

4
Ate liokaga ia Father, to the South .
nawal '~ ye lo I am standing .
,:,a m a>:a ~ k a yo! Beholo¡f me!
,le olaleya The wind blowing in my face.
nawal''l yeJo I am standing .

Ho, he har¡1 olowar¡ iCi nupa k 'ur¡ he nakun he har¡bleceya olowar¡ yelo.

' 'fhis next song is the second Hanbleceya song ."

(N ote : In the next song , the verse is sung twice, first as a vocable and then
as a ve rse with, words .)

Maka coka ~ In the center of the Earth

nawa ,lf') na I am stand,ng and
hoyeya nawaJl~ yelo I am pray,ng as I stand .
wak' ~ ya~ oyaie w a~ To you. Thunder Sporits
hoyeya nawal'~ ye lo I am pray,ng as I stand .

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cipi Olowa~1
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I- ~ -
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) 21
20
)
 Wiwal)g Wacipi Olowal) (Sun Dance Songa) Wlkoskalaka wal) he II)S ti pi wal) lecala ca wicak'u pi ca he paosla lyeyir)
na tlapiyif) na kosklaka waf) he ape yal)ka keyapí.
Ho, yukaf) watahal)l al)po hanl, eya wana wi hlnapil} kte ki welehal}l • .
Ho heh~1")1 iei nUrJa olowal") k'uf) nena if)S Wiwaf)g WáCipi Olowaf) yelo.
koskalaka wal) he takolaku ki ti egna glicu eyas hosti Isnala keyapi.
Yu_kal") tokaheya nup awahiyayif) k~e k'uf) hena wocajeyate col~ yelo. Hena
Hoaglagla eyapaha u na nakul) ceya ukeyapí. Koskalaka wal) gil ki haf)
toka otlmahe hiyu caf) sna ahiyapelo.
talcu tUl}kte k'ul} he, toka atawicayapi na op kicizapi na ektanl yUl)ka ca
he eea yaotal)il) au na Ul} naku ceya keyapi.
Oyate ki wiea eeyif) n a lila cal)te sleapi keyapi.
_Wlkoskalaka wal) h~ al}petu ata hinape ~nl k~yapi. Wana titayetu na wi
. 'The next songs I will record are Sun Dance Songs, The first two songs
ki hokuclyela yal)ke kl walehaf)1 henapa keyapi.
are entrance songs and are sung when the dancers start the procession
Ho, yukal) hayapl eya klelyazapl ki kiC'ul) kte k'ul} hena e ca UI) canke
into the sacred dance grounds:·
lila yupiya, OW8l)g wasteya hlnapa keyapl. Yupiye tici glasto na kiSU!) keyapi.
'·The first song has no words . The second song is sung for the Spotted
Eagle:' Ite kl ko yuplye tiCI waS9 ikiyul) keyapl. Ho, heeul) na paha wa!) wakatlya
ha!) ca heeetkiya manl ya ca oyate kl iyatap.yapi keyapil Ho, paha hecl
50ng No 1 Verse 1. Vocables eyah~l)i yukal) omacinyatal}_hal) ma~a t!,l)ka w~1) h~1) keyapi.: Maya Iha')ke
Verse ·2 . Vocables etal) tohal) Inajll) na hekta 1,Iya O'¡ate kl awalcayuta Inajll) keyapi. Hecul') .
na olowal) kl le ahlyayil) na ul)zlhekta kiya waciyll) na icel maya hel iyatagni
Pause (Note : In the next four song s, each verse is sung twice . first as a vocable and then as snl keyapl,
ve rse wlth w ords .)
Ho, heca ul) olowal) kl le eyasria wiwal)g wacipi hal)tal)s ahiyapelo.
50ng No. 2.
1.
Eca Wa~b¡' G leska Wa~ A Sponed Eagle When aman and a women meet and ¡f they like each other and fall in
u Ika kehap, k · u~
you said . was comlng .
wana u we lo wana u welo .
love, they get married. From that marriage you will see new Ilfe come Into
he is com,ng now. He IS comong now.
thls world. The next song is dedicated to people who are thinklng of mar-
R.frain riage arid the men and women who are already married.
Eca Wa~b¡' Gleska Wa~ A Sponed Eagle Long time a young man and a young woman made preparatlons to get
u kta kehapl k·u~ you said , was comlng.
wa na u welo wa na u wel o.
marrled. The young man was to go on a war party wlth his close frlend
he 15 comlng now. He is coming now.
. before the marriage. He wanted to accumulate a little more wealth before
Ho. hehal")l irJs ici nup a k'ul") h~, wocaJeyate aikoyakelo. Yuka!) lena ilazata the weddlng. So he left early In the momlng with hls friend to raid an enemy
olowarJ k'ur¡ lena wico woglake aikoyakelo. . campo While they were gone the young woman put up a new lodge that
was glven to them for thelr weddlng and spent the rest of the time fixing
it up and making the necessary preparations.
Early one moming, just before sunrise, thefriend rodeinto camp alone.
" The next song has words. Songs like this one are special beca use they He rode ·around the camp circle announcing that the bridegroom had been ,
teach us something by telling a true story about the lives of the people." killed by the enemy.
(Note : The foilowmg, as told by Albert White Hat. Sr., is the story which The people were shocked and saddened deeply with the news and they
Insplred thi s so ng.) waited for the youhg woman to come out so they could comfort her. But
she stayed inside her lodge all day and the people just waited for her.
Olowal") wa_n ahiya>::ir¡ ~te ki_le _wico oyake wa!) aikoyake. Ho, yakan Wicasa Towards evenlng as the sun wa~ golng down, she came out dressed in
na _wi f)yar¡ etan w~ste kicilakapi nahar¡ tekiéi tiilapi ha!)ta1)s kiciyazapi. Ho, the clothes that she was going to wear for her wedding. Her hair was com-
heta1) wico icage _ki I~ u. He u9 <?Iowal'} ki le Wiwal'}g Wacipi el sna ahiyapi. bed and bralded and her face was painted wlth the symbols of a young
Nahan ~ico oyake ki le oyakapelo. malden who Is golng to be marrled . As the people ca me around her she
Ho, yukar¡_ eh~rJn~ koskaJaka_ W~1). e na _wikoskalaka waf) kiciyuzapi kta started walklng toward a high bluff aboye the rlver~ AII the people followed
yuk a1) , koska laka_ ki le takola_ku ~ic i ehake zuya ya eil'}. keyapi. her. When she reached the top, she turned and faced them. She sang the
Ho, hiha1)ni hCi , eya al")po kajaf)jaf) aukiwahehaf)1 iyapi, keyapi.

22 23
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) I
. following song, and as she did she started to dance backwards until she 1,
disappeared over the cliff. Walian ia'1ke Gr.a! Sj)lri!
) u'1.lm~la ya! have pity on mil!
This song is still sung at Sun Da,nces to remind the people of the strong I ahallllve,
wanl Ida ca
devotlon between aman and women in love. : tha! 1, why I am dOln"g thla,
) l.ca mu welo,

.......In
I Wakal) tal)ke Gr.a! Splrlt
I Ul)ilmala ya! have plty on me!
wanl kta ca I ,hall Uve,
1.
laca mu welo !ha! la why I am dolng tilia.
Wicasala wa~ There was aman
tewalÍila k ' u~ lloved so dearly.
wa~ weglaki~ kta hur¡se yes, I will see my man agai". Pauaa

1. .
Ae'reln
Wakal) tel)ke Gr...! Spiri!.
Wicasala war¡ There was aman
tewalÍila k'ur¡ lloved so dearly. U'1ilmal~ yo! have plty on me!
wani wacil) na I \NIInt 10 Uve and
wa~ wegla~ir¡ kta hur¡se yeso I will see my man again .
laca mu welo Iha! ia why I am doiríg thll.
omakl ya yo! Halp m.. !
Ho, hehar¡1 iyokiheya k'ur¡ he ins 'eya wocajeyaie aikoyakelo.
Mekakljalo. I am 8ulfering.

" The fourth song also has words. This is a prayer song ." Refraln
Wekal) tal)ka Gre·a ! Spiri!
Tur¡kasila Grandlalher UI)8imala yo! have pity on m.. !
hoye wayi~kte I am going lo pray, Wanl waCil) na I wan! !o live and
) l.camu welo. lhat 18 why I am dOing thlll.
namalÍ'ur¡ yeyo! hear me!
malia siiomniya~ To Ihe universe Omakiya·yo! Help m..!
hoye wayi~ kte I am going lo pray. Makakljalo. I am aufferlng.
namalÍ'ur¡ yeyo! hear me!
mliakuye ob Wilh my relatlves
wani klelo I shall live.
Epelo. I am saying this.
Ho, eya hehar¡ Yf7la olowar¡ k'un hena wocajeyi:lte aikoyake k'ul) hena e
Ae'reln
Tur¡kasila Grandlather
ye/o. Wiwsng Waci %wsI) ki. I
. hoye wayi~ kte I am going lo pray,
namah'u~ yeyo! hear me!
malia siomniyar¡ To Ihe universe "Five of the six Sun Dance songs have just c-ompleted haya words in
) hoye wayi~ kte . I am going lo pray,
them.' ;
namalÍ' Uf) yeyo! hear me!
miiakuye ob Wilh my relatives
) wani ktelo! I shall live.
Epelo. I am saying Ihis.
"':fo, he~sl)/ iy~kiheya %war¡ zap~al) awahiyayil) ktelo. Yukal) he na il)s
Ho,_ iCiy~mni ki le ins iohar¡1 pahlokapi • car¡ sna he ahiyapelo, Ho, na
wocajeyste wanicelo. Nahsl) hena il)s eya wiwang waci olowsl) heca yelo.' ,
om_a~i nak~ ~wihiya>::ir¡ kte k'ur¡ he ir¡seya pahlokapi car¡ sna olowar¡ ki lena
cokata wicaka hiyapelo,

) "The nexl two songs I will record are sung when Ihe dancers are pierced
by the Sun Dance leader."
)

)
24 25
)
 ''Ihe next five songs I will record have melodies but no words, These Glo••• ry
songs are also Sun Dance Songs. (Note : OnJy three of the five songs were
recorded .)
• (page 18) HelJbleéey.: The word "Hal)bleéeya," is often translated as
"Vision Quest." Literally, thls term means "crylng through .the nlght:'
Hal)bleéeya is a time for a persa n to be Isolated In arder to fast and pray.
It is a private time between the individual, the spirits and the Great Spirlt.
Song 1. Vocables 2 verses It is a time for a person to find hlm or herself. And. althóugh it Is a private
Pause
experience, the individual can be held publically accountable to it.
Song 2. Vocables 2 verses Although people may enter altered states of consclousness during the
Pause
HalJbléeya experience, it is important to note that the translation "VisJon
Song 3. Vocables 2 verses Quest" can be misleadlng, Certain individuals receive vislons at so me time
during their lives. Some receive visions while still children, -while others
" Ho. eya waur]spe nic'iyapi k'uI) lena olowar] ki unspeic'iyapo Tokata receivé them when adults. These people do not " Hal)bleéeya" to recelve
wapila yaya U ktelo. Pila maya pelo.
visions, but rather to understand visions they're already received.
• (page 24) toh.1J1 P.Ii'lok.¡;h We are translating this term as "when
they (the Sun Dancers) pierce." By this term we mean the act that takes
place when each dancer is pierced on the chest with a carved wooden
. 'You students learn these songs. By learning and singing them you will peg oA dancer may be pierced on one or bath sides of his chest. depen-
help the people and they will be happy and thankful. ding on the vow that he made. Each dancer has a special rope of whlch
" Tha nk you." one end is attached to the plercing peg(s) and the other end Is attached
to the Sacred Tree at the center af the dance grounds. The act of " pierc-
ing" is completed when the dancer pulls on the rope until the flesh breaks.
If the peg(s) or the rope break, new ones are attached until the fresh breaks.
There are other methods of " piercing" but the method described aboYe
is the most common one.

26 27
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l· \Ji
) kknowledgments
I
)
I would like to thank the following people fortheir generous tassistance Il·
in producing and developing Lakoi. C.... moni.1 Song8: various i
Medicine Men. Singers. and the Ikée Wiéasa (The People) for their wise
) consultation; Phil Burnham and Charlie Garriott for editing and design; Ron
Goodmanfor additional editing; Don Chalmers for legal advise; Jack Her-
man for graphics and layout; Botond Halmi for cover photography; the SGC
Media Department for technical assistance in production of the tape which
accompanies this book; and finally. the SGC Administration and Board of
Directors for their continual encouragement and support .
,) W ithout these contributions. this book would not have been possible.
. Albert White Hat. Sr.

jo

)
28
)
1. Introduction, dedication, thanks, and cred·its by Albert White Hat, Sr.
2. Lokota Pronunciation Guide p. 3·4
) 3. Lokota Ceremol)iol Songs Introduclion by John Around Him p. l0
4. Inlroduction for IsI Pipe Song p. 10 I
) 5. 51arlof 151 Pipe 50ng p.l0 1

. 6. Introduction for Song addressed lo Ihe Calf Pipe p. 11

7: 510rt of Pipe 50ng addressed lo the Calf Pipe p. ll . .
) 8. Introduction for 3rd Pipe Song referring lo Ihe homes in which Ihe pipe is kepl .p. 11
9. 5tort of 3rd Pipe 50ng p. l1
10. Introduction for Purificotion Ceremony p. 14
) 11 .5tart of Four Direclions 50ng p. 14
12. Introduclion for Inilialion 50ng p. 1S
13. 510rl of Iniliotion 50ng p. 15
) 14. Introduclion for 3rd song p. 15
15. 510rt of 3rd 50ng (before proying) p. 15
16. Introduction for Final Song giving Ihonks p. 15·16
17. 510rt of Final 50ng p. 16
18. Introduction for 1st Hanbleéeya Vision Quesl 50ngs p. 18
19. 5torlof 1si Hanbleéeya 50ng p.16
20. Inlroduction for 2nd Hanbleéeya 50ng p. 16
21. 5torl of 2nd Hanbleéeyo 50ng p. 16
22 . Inlroduction for the 5un Dance Songs p. 22
23 . 510rt of 1st Enlronce Song p. 22
) 24 . 51arl of 2nd Enlronce 50ng for Ihe 5potted Eogle p. 22
25 . Introduclion for 5un Dance 50ng with words p. 22
26. 51arl of 3rd song p. 24
27. Introduclion for Ihe 41h 50ng - Proyer 50ng. p. 24
28. 510rt of the 41h 50ng, Prayer Song p. 24
29. Inlroduction for Ihe Piercing 50ngs p. 24
30. 51art of 1st Piercing 50ng p. 2S
31. 510rt of 2nd Piercing 50ng p. 25 I

) 32. Inlroduction for five (Ihree recorded) 5un Dance 50ngs w ith no words p. 25
33 . 510rt of 50ng 1 p. 26 1
34. 510rt of 50ng 2 p. 26
) 35. 5tart of 50ng 3 p. 26
36. Closing Stalemenl p. 26
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