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Ečhá ozúye waŋ he ú kte séče ló Waŋná hí yeló Wakásota he A war party Which was supposed to come Now is here I have obliterated Every trace of them
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Kȟolá waŋmáyaŋka yo Kȟolá waŋmáyaŋka yo Wakȟáŋyaŋ wakú weló Oyáte waŋmáyaŋka yo Wakȟáŋyaŋ wakú weló he Oyáte wakȟáŋ yaŋké kiŋ Kȟolá waŋmáyaŋka yo Wakȟáŋyaŋ wakú weló Oyáte waŋmáyaŋka yo Wakȟáŋyaŋ wakú weló he yo Friends, behold me In a sacred manner I return You tribe, behold me In a sacred manner I return The Holy Nation Friends, behold me In a sacred manner I return You tribe, behold me In a sacred manner I return
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First rendition: Ihó lená waŋyáŋka yo Ihó lená waŋyáŋka yo Táku waŋ heȟáka s’e waŋláke čiŋ uŋ Yanípi kte ló Behold all these things Something elk-like you behold You will live Second rendition: Ihó lená waŋyáŋka yo Ihó lená waŋyáŋka yo Táku waŋ tȟatȟáŋka s’e waŋláke čiŋ uŋ Yanípi kte ló Behold all these things Something buffalo-like you behold You will live
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Kȟaŋthúhu wa lúta waŋ matȟó omákiyaka Kȟaŋthúhu wa lúta waŋ matȟó omákiyaka Kȟaŋthúhu wa lúta waŋ matȟó omákiyaka Táku sitómniyaŋ kȟolá omákiyaka Kȟaŋthúhu wa lúta waŋ matȟó omákiyaka A scarlet plum bush Bear told me about All things all over A friend Told me about it A scarlet plum bush Bear told me about
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Até hiyú yeyó Hunúŋpa makȟáta yuŋká čha phiyá wakáǧe Até hiyú yeyó Iná hiyú yeyó Hunúŋpa makȟáta yuŋká čha phiyá wakáǧe Iná hiyú yeyó Father come forth A two-legged object lying in the earth I have renewed Father come forth Mother come forth A two-legged object lying in the earth I have renewed Mother come forth
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Tópakiya kȟolá niwákȟaŋ nuŋwé Tópakiya kȟolá niwákȟaŋ nuŋwé Tópakiya kȟolá niwákȟaŋ nuŋwé “Tuwéni wakȟáŋ šni yeló,” ehé č’uŋ Tópakiya kȟolá niwákȟaŋ nuŋwé Tópakiya kȟolá niwákȟaŋ nuŋwé In four places friend May you be sacred No one is sacred You said In four places friend May you be sacred
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Mióuŋčhaǧe léčheča ye “Mióuŋčhaǧe waŋyáŋka yo,” eyé ló Mióuŋčhaǧe léčheča ye Waŋyáŋka yo yo My life is such My life behold me, it is said My life is such Behold me
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“They call these songs Ič’ílowaŋ. Ič’ílowaŋ means a death song,” says Kevin Locke. “All these things were suppressed. When they would have funerals all around the reservation, the priest would come out and give the last rites before the coffin would be there. He'd do his benediction, whatever he does, and then he'd take off. When they're lowering the grave, that's when they sing these songs.” Lyrics Matȟó Uŋžíŋča Hé heyíŋ naháŋ iyáye he he E Kȟaŋǧí Wičháša ya owále kte ló o, Heyíŋ naháŋ iyáye ye a he Hé tȟaŋké lowáŋpi kiŋ uŋspéič’ičhiya yo. Bobtail Bear said this And went away, never to return — The Crow Indians
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Lyrics Owls may hoot and wolves howl at me To these I am accustomed in all my life
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about

The Densmore Repatriation Project is named for ethnomusicologist Frances Densmore of Red Wing, Minnesota, who made her first visit to the Standing Rock Reservation in 1911. She recorded traditional songs on a hand-cranked, wax cylinder recorder and spoke with dozens of tribal elders. The songs she recorded, many over 100 years old, had been passed down for generations. Densmore documented this work in her book Teton Sioux Music, which contained additional stories and insights into Lakota/Dakota life and became a touchstone for learning about the culture.

This work of Densmore’s has been in storage for over 100 years. The purpose of the Densmore Repatriation Project is to re-introduce these songs and stories and make them easily accessible for a new generation of Native singers and educators.

In 1927 Densmore wrote, "Research work is only worthwhile when its results are transmitted to others." That's the purpose of this project: to transmit what she called research work to others, particularly the people who it belongs to.

Hear more than 70 songs from the collection re-recorded in 2022: lakotasongs.com/songs

Watch 30 videos providing context and history for individual Lakota songs: lakotasongs.com/videos

Watch videos explaining more about the project: lakotasongs.com/about

Read eight guides for further study: lakotasongs.com/studyguide

Download an updated e-book version of Teton Sioux Music: lakotasongs.com/book

credits

released August 31, 2022

Singers:

John Eagle Shield, Jr.
Jerren Elk
Spencer Little Owl
Kendall Little Owl
Khannie Tobacco
Kelcie Two Shields
Cody Wasinzi
Courtney Yellowfat

Informants:

Virgil Taken Alive
Courtney Yellowfat
John Thomas Eagle Shield, Sr.
Mary Louise Defender Wilson
Tim Mentz, Sr.
Kevin Locke
Cedric Goodhouse
Evelyn “Sissy” Goodhouse
Thomas Red Bird
Michael B. Moore
Dana Yellowfat
D.J. Two Bears
Terry Yellowfat

Students:

MacKenzie Sheridan
Donovan Day

Artwork:

Ledger art by Tesla Belcourt

Staff:

David Swenson (Producer)
Courtney Yellowfat (Co-producer, primary cultural advisor)
Michael Glatt (Management)
Dennis Neumann (Information officer, official photographer)

Funders:

Bush Foundation - Ramala Bile
ND Council on the Arts - Troyd Geist
Humanities North Dakota - Brenna Gerhardt
Dakota Legacy - Jim Christianson

The Densmore/Lakota Song Repatriation Project is supported by a generous Community Innovation grant from the Bush Foundation. It is made possible also by funding from the National Endowment for the Humanities and the federal American Rescue Plan Act, in partnership with Humanities North Dakota. Further support is provided by the North Dakota Council on the Arts, which receives funding from the state legislature and the National Endowment for the Arts, and Dakota Legacy.

The Densmore/Lakota Songs Repatriation Project is intended for educational purposes only. All of the media materials of this project, whether video, audio, written text, photographs or illustrations, are intended for free distribution and educational use. However, the content of the traditional knowledge and cultural teachings and understandings conveyed in the project remain the intellectual and cultural property of the Standing Rock Sioux Tribe.

Any use or re-use of these materials outside the educational purposes of the Densmore/Lakota Songs Repatriation Project requires prior consent of the tribe.

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Densmore Repatriation Project

At Standing Rock in 1911, Frances Densmore met with dozens of tribal elders and recorded traditional songs on wax cylinder. Densmore documented this work in her book Teton Sioux Music which became a touchstone for learning about Lakota/Dakota culture. The Densmore Repatriation Project reintroduces the songs with new recordings made by contemporary Native singers. ... more

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