 Native
American Plays,
Skits and Dramas
The LIfe of the Corn - A drama
in 5 dances
by Alice C. Fletcher
Harvest is Near Dance
INTRODUCTORY NOTE.—This dance, taken
from the Corn Ritual, represents a visit to
the field later in the season when the harvest
time is near at hand. The keynote of this visit
is in a line of one of the many stanzas of
the original Ritual Song, "I go in readiness
of mind." The mind is assured, prepared to
find in the place where the "footprints" had
been made, where the little kernels had broken
the covering of earth to reach "the light of
day," that these have now grown tall and strong
under the summer sun and are "standing in the
fulness of day." This assurance is justified,
for the corn is found ready to pluck, and some
of its ears are joyously carried to the people
at home.
Properties.—The same costumes
as those worn by the boys and girls in Dance
II and III. The green scarfs used in Dance
I will be needed in the latter part of this
dance; these can be folded and carried in the
pouches and pockets.
Directions.—The scene should
be laid in the same place as the two preceding
dances and the dancers should gather at the
same spot whence they started to the "field" in
Dance II and III.
The dancers, both boys and girls, should be
discovered standing in an open group talking
together in dumb show, evidently discussing
the probabilities as to the ripening of the
corn. They may have been saying: "Already the
boys are shouting, The cattail is in bloom!" This
was a sign that the time had come for the corn
to be ripe. Some one whose mind was "in readiness" makes
the suggestion (in pantomime) to go to the "field";
to this all agree, and the group breaks into
lines as the boy and girl dancers sing the
following song:
Native American Song
1
In readiness of mind to the field we go,
Where we footprints made,
there stately jointed stalks grow.
Loud rustle the long leaves,
bright the tassels wave o'er each row.
Refrain: Ah hey hey hey they,
Ah hey hey they,
Ah hey hey hey they,
Ah hey hey they,
Ah hey they.
The steps of the dancers must be in rhythm
with the song and all movements should indicate
a feeling of assurance. When the "field" is
reached certain motions of the feet should
suggest a memory of the "footprints." The "field" is
now covered by rows of tall cornstalks; therefore,
when the "field" is reached the dancers should
move in parallel lines, as if they were passing
between these rows. Some lines should cross
at right angles, giving the effect of walking
between high barriers, along pathways that
intersect each other at right angles. When
the dancers pass along these alleys, so to
speak, movements should be made to indicate
brushing against or pushing out of the way
the "long rustling leaves" of the corn, and
to point to the "waving tassels" far above
their heads. This pantomime, with its rhythmic
movements suggesting long lines of cornstalks,
the brushing aside with the hands of the long
leaves of the stalks, should make an effective
picture.
2
Strongly the ears shoot out,
fill'd with golden grain,
Up into the full light,
life flowing in each vein,
Sacred the corn now stands
ready to give its strength full fain.
Refrain: Ah hey hey hey they,
Ah hey hey they,
Ah hey hey hey they,
Ah hey hey they,
Ah hey they.
The length of the original Ritual Song, together
with the picturesque quality of the native
language, permits the bringing out in full
detail of this scene of the cornfield: the
ears standing at angles from the stalk, and
the husks full of kernels replete with life-giving
power. Because of this power the corn has now "become
sacred," filled with life from Wakon'da, thereby
related to that great power and through it
linked to the life of mankind. The idea of
this unity throughout all nature, including
man, is fundamental to Indian thought and belief.
It is expressed in all his religious ceremonies
and also in his vocations, both serious and
playful. In the present instance it appeals
to him through the planting, the growth, the
maturing and the use of the corn, giving its
life to man.
To convey the picture of the cornfield, and
to suggest the thoughts that imbue the scene
as expressed in the native rituals, will require
some study, but the effort will be well worth
while. These thoughts were vital upon this
continent centuries before the land became
our home. The maize in all its richness and
beauty has become ours to enjoy, and while
we accept this gift let us not fail to catch
and to hold the lingering vibrations of its
native teaching that aimed to lift the thoughts
of the worker in the cornfield to the Great
Giver of Life and Beauty.
In planning the pantomime for this stanza
the dancers should not forget the rhythm of
the song and to keep the lines as though they
were walking between rows of tall cornstalks.
3
Where'er we look wide fields
wait harvest to meet;
Ripe are the ears we pluck,
juicy the corn we eat;
Filling our arms, we go homeward,
happy hearts there we meet.
Refrain: Ah hey hey hey they,
Ah hey hey they,
Ah hey hey hey they,
Ah hey hey they,
Ah hey they.
The action requisite for the interpretation
of this stanza by pantomime is comparatively
easy, as looking over the field ready for harvest,
and plucking a few ears of the corn. Care should
be taken not to appear to touch the row where
the seven hills were made, for the product
of these are to be used as the "first-fruit
offering." During the singing of the first
line of the third stanza a few of the dancers
should slip behind some of the others and there
take out their scarfs from the pouches or pockets,
make each scarf into a loose bundle and carry
it upon the folded arms as though it was filled
with ears of corn. In this way, a few at a
time, the dancers can secure their scarfs,
and arrange them to look like bundles of corn
to be taken homeward.
All the lines that have been moving as between
rows of corn should now come together and form
a long line and with dancing, rhythmic steps,
and arms filled with corn, return to the starting
place, and from there wind about the camp ground
singing the refrain, which can be repeated ad
lib. until they finally disperse and go
to their tents. |
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