Indian Games and Dances with Native Songs

"Day" is the symbol of life; the kernels are coming "into the light of day" in the original Ritual Song, meaning they are entering into life. They call as they come, struggling and pushing their way through the breaking earth. This life movement should be indicated by the motions of the dancers as they pass in groups with rhythmic steps from one little hill to another. Directions as to how these motions should be made would hardly be helpful; the dancers can best plan this pantomime.

The original Ritual Song tells that the feeble leaves, the first shoots, cannot stand or support themselves; they are helpless as infants. But they have come to the "light of day," "have entered into life," and they will grow, become strong and stand, stretching ever higher into the light. The native stanzas portray the progressive movements of the corn from feeble helplessness into the power of life. The action of the dancers should convey this meaning by appropriate pantomime.

In this stanza the promise of fruit is given. The dancers should show excitement not only at the wonderful spectacle they observe but because of the promise given.

They should still keep in groups as they move about and exult in the results that have come from the little hills where they left their "footprints."

In the original Ritual Song there are more than a score of stanzas in which the various occurrences of the growth of the corn are mentioned, mingled with symbolic imagery. "Footprints" represent both labor and ownership. Those who planted the kernels look for these marks and rejoice over what they find. They had begun their planting "like a game," a venture; whether it would be successful or not no one could tell. But success had come. The action for the last stanza should indicate an abandonment to delight; hoes should be dropped as the groups mingle and act out pleasure not only at what is seen but what is promised.

A pause should follow, then the hoes should be picked up and the dancers gather by twos and threes in a line to return home; as they start they break into the same song which they sang on the return from making and planting the little hills:

The dancers should keep up the song and rhythmic dance until their individual tents are reached.

DANCE IV

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:

Song

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.

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.

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.

DANCE V

Introductory Note.—This dance represents the bringing of the "first-fruit offering" of the corn from the seven little hills that were ceremonially planted after the dead leaves of winter had been cleared away. The dancers who follow the seven leaders carrying the cornstalks represent the people in triumphal procession in honor of Corn as "Mother breathing forth life." Both words and music of the song for this procession are taken from a great religious ceremony of the Pawnee wherein Corn is spoken of as A-ti-ra, Mother, with the prefix H' signifying breath, the sign of life. "H'A-ti-ra" ("Mother breathing forth life") is repeated over and over and is the only word used in this song. The repetition is not an idle procedure but an awakening of echoes in the native mind, of all that Corn has meant to his ancestors and race during the centuries. The repeated words imply contemplation on the subject. This song when heard sung by a hundred or more could not fail to impress one with its majestic fervor. The beautiful, bountiful maize giving its life that others might enjoy life, on another plane, is here reverently and joyously proclaimed "Mother."

Properties.—Green and other bright colored scarfs or mantles, as many as there are dancers, boys and girls, also wreaths made of long leaves like those of the cornstalk; these can be manufactured from green paper. Tall yellow plumes, similar to the tassel of the corn, and fastened to the wreath in such manner that when the wreath is worn the plume will stand above the forehead. Seven cornstalks, or wands so wound with green as to appear like the stalk of the corn with its tassel.

Directions.—All the dancers should be wrapped in their mantles and have on their wreaths, the erect tassel plume standing directly over the middle of the forehead. Boys and girls must mingle in this dance. All dress as before, with the addition of the mantles. Implements, pouches and bows and arrows are not used. Of the seven who are to lead, four should be boys and three girls. When leading the procession and carrying the cornstalks, the first line of four should be a boy, two girls, a boy; the second line of three should be a boy, a girl, a boy. These seven must wear green robes or mantles and hold the cornstalks, with their hands draped by the mantle. The other dancers can wear green or other colored mantles or scarfs. The boys must sing the songs, for the volume of sound must be full in order to produce the true effect of this impressive ceremony. The seven dancers who have been selected to act as leaders should stand in a group by themselves in front of the other dancers, who are in loose groups at the rear. On the space which heretofore in these dances has represented the "field," the seven cornstalks or wands should be laid in a windrow on the ground. When ready to begin the dance the dancers should be discovered in the two groups as already described, talking quietly in dumb show.

The seven leaders, who are in the front group by themselves, appear to consult together; then, led by one of their number, sing the following song:

Song No. 1

During the singing the seven leaders stand together wrapped in their green mantles. All the other dancers are grouped at a little distance back, still talking as at first in dumb show. At the third line they stop talking, at the fourth line they give attention to the seven leaders, at the fifth line they join in the song. During the singing of this stanza there should be no change in the relative positions of the two groups, but during the singing all who sing should keep up a gentle rhythmic swaying of the body.

The seven leaders, at the beginning of the first line of the second stanza, slowly fall into line and with deliberate rhythmic steps move toward the "field," reaching it by the fifth line, and while singing that line they should pick up the cornstalks and hold them, with their hands draped with their green mantles, high to the front.

At the close of the first stanza the other group of dancers should resume a dumb show of speaking to one another until the third line of the second stanza, when they change their attitude and give attention; at the fourth line they join in the song, and at the fifth move toward the "field" where are the seven leaders. By the close of the second stanza all the dancers should be in one group at the "field."

All the dancers stand there at the "field" a moment in silence. Then the seven leaders sing the introduction to the following Processional Song:

Song No. 2

This song is retained as sung in the original Pawnee ceremony; the meaning has already been explained.

The introduction is sung by the seven leaders, who advance in two rows, four in the first, three in the second, and in this manner they lead the Processional Dance. At the chorus all the other dancers fall in behind the leaders, either in couples or singly, every one singing. All steps must be rhythmic and in time with the music. The seven leaders move steadily, also in time with the music, as they hold the cornstalks high, while the followers wave their scarfs or mantles and dance happily and lightly, but with dignity. The picture should be one of contrast as the procession takes its way among trees and through the sunny fields, the seven moving evenly, with the corn held high, and the joyous, fluttering group of dancers following.

The Life of the Corn culminates in a delight of color, movement and song.

CALLING THE FLOWERS

INTRODUCTORY NOTE.—This dance is derived from a ceremony, observed among the Indians of the North Pacific Coast, in which the spirits dwelling beneath the ground are called to come and join those who are dancing. The dancer who calls the spirits moves with gliding steps, the arms outstretched, the hands beckoning upward in a gentle, enticing manner. The grace, dignity and earnestness of this dance linger with the writer as a beautiful memory after the lapse of many years.

Properties.—A green scarf for the Caller. Blue, white and rosy scarfs for as many dancers as will personate the three Flowers that respond to the call: Violets, Wild-roses and Daisies. A twisted rope of green to link the dancing Flowers together in the final dance.

Directions.—A clear space will be required large enough for all the dancers to move about in the final dance. Those who personate the Flowers should be hidden from view until the time when they are to respond to the call. In the properties enumerated above, mention is made only of scarfs. The picturesqueness of the dance would be enhanced if the dancers wore headdresses shaped somewhat like the flowers and made of appropriate colored paper; blue or lilac for the Violets, with a touch of yellow; deep pink or pale red for the Wild-roses, with a little yellow for the stamens; white with yellow for the Daisies. The twisted rope of green paper should be made over heavy twine, so as to be strong enough for the dancers to grasp in the final dance. All these decorative articles should be made in the camp.

The dancer who acts as the Caller should wear the green scarf loosely thrown about the head and body. If the voice of this dancer is not strong enough to be clearly heard by those who look on at a little distance, then two other persons should stand one at each side of the open space and sing with the dancer who is the Caller. These two extra singers should be wrapped in green scarfs and stand quietly as interested spectators while the dancer calls. Care should be taken to give the words of the songs with clearness and distinctness, so that every person within hearing distance can catch them easily.

THE DANCE

The scene opens with the one who is to call the Flowers standing in the center, looking about in different directions. Suddenly, as if the thought occurred to call for companions, the following song is begun:

Song No. 1

CALL TO THE FLOWERS

With the song, movement begins. The steps taken should be gentle and gliding, the arms outstretched as in entreaty, the hands moved as in beckoning, not with one finger but all the fingers slowly bending toward the open palm. The dancer should think what the action means as she glides about the open space, and strive to carry out the picture of awakening the sleeping flowers, of bidding them to "come hither." It is possible that more time may be required by some dancers to produce the picture than merely singing the song once through would give; in that case, that portion of the song having the words "Hear me calling, Wake from your sleep, O flowers!" can be repeated once or twice, to meet the requirements of the dancer. The last line, "Hark! some one comes!" should be given with dramatic action.

These words are the cue for those who are to represent the Violets to prepare to enter from different points on the right, and to make a soft, stirring sound before they come into view, singing the following song:

Song No. 2

SONG OF THE VIOLETS

The Violets dance with quiet steps in rhythm with the song. They slowly advance and gather in a loose circle about the Caller, whom, as they come near, each one lightly touches, to give "Love from the dell where they grew." Then they retire to the edge of the open space at the right and sit on the ground in little groups. When they are quiet and in their places, the Caller moves toward them, then turns, stops, looks at the empty side at the left and sings:

Song No. 1

CALL TO THE FLOWERS

The last line gives the cue to those who represent the Wild-roses to make a rustling sound where they are hidden on the left. They enter with light springing steps, singing:

Song No. 3

SONG OF THE WILD-ROSES

The Wild-roses dance about gaily; they circle the quiet little clumps of Violets that remain seated. The Wild-roses frolic around the Caller, capering about in wild freedom but keeping their steps in exact time with their song. Finally they pause in groups at the left.

After a moment, the Caller moves toward the rear of the open space and while there once again sings:

Song No. 1

CALL TO THE FLOWERS

At the close of the song the dancers who are to represent the Daisies give a trilling shout and appear from the rear of the open space, skipping; their leader holds the end of a long green rope, which is caught hold of by each dancer who follows, all singing:

Song No. 4

SONG OF THE DAISIES

As the Daisies skip in the open space, the dancers are widely separated as they hold on to the rope; at the words "Now we make a chain" the Violets, who had risen as the Daisies entered, move toward the string of dancers; the Wild-roses also come toward the chain and grasp the green rope. The colors of the flowers should alternate and all the Flowers should have hold of the rope and cling to it as to a great green stem. Then all circle around the Caller, who is the last to grasp the stem. As all the Flowers dance they repeat Song No. 4, beginning at the words "Troop the Daisies white," etc.

This chain of flowers should make, as they dance, interweaving figures. These can be left to the fancy of the dancers, but just what they are to be must be decided upon beforehand and rehearsed; otherwise the dance will not be successful and pleasing.

The dances for each kind of flower will require practice, for the character of each flower should be well brought out; the gentleness of the Violets can make a charming contrast to the waywardness of the Wild-roses and the pliant Daisies who are at home everywhere.

APPEAL FOR CLEAR SKY

INTRODUCTORY NOTE.—Among those Indian tribes that lived outside the semi-arid sections of our country, the storm with its destructive force was the representative of war, and thunder was a war god.

Warfare was widespread among the tribes dwelling in the Mississippi valley; yet among these people the desirability and value of peace were recognized. Honors won in a defensive fight gave the warrior higher rank than those gained in wars of aggression. Rituals belonging to religious ceremonies, and also to war rites, taught that the first duty of the warrior was to protect the women and children, the fields and the food supply, for his strong arm and ready courage made the tribe's only wall of defence against enemies.

These tribes had ceremonies relating to the maintenance of peace not only within the tribe but for the purpose of forming peaceful relations with other tribes. The clear sky was the symbol of peace, of happiness and of prosperity, conditions the very opposite of those that attended war.

When a peace ceremony was in progress, if a storm arose it was looked upon as an omen of disaster. At such a time, when clouds gathered, the people joined in ceremonial songs and appeals for clear sky, the symbol of peace.

The following dramatic dance and the accompanying songs are employed on such an occasion. The songs are taken from ceremonies used to promote peace.

Properties.—Staffs, about three feet long, with small blue flags, as many as there are dancers, the same number of blue head-bands and blue sashes. The latter are to be worn from the right shoulder across the breast and tied at the waist under the left arm. A drum.

Directions.—This dance belongs to both sexes and boys and girls should, if possible, join in it.

THE DANCE

All the dancers stand facing the East, in one or more rows deep, according to the number, their staffs held in the right hand so that the flags will hang in front of each dancer, covering the chest, as they begin the following song:

Song No. 1

FIRST APPEAL

In the first line at each "away" the dancers should look up toward the East and move a step forward in that direction. At the line "Leave the sky!" they should point their flags toward the East, keeping the staff out on a level with the body, and accent it by thrusting it forward as if pointing to the East, being careful not to change the level of the staff. At the second "Leave the sky!" the level of the staffs must be raised to about the chin of the dancer and the same pointing motion repeated at this level. At the third "Leave the sky!" the staffs are raised to the level of the dancers' eyes and the same pointing movement repeated. At the fourth "Leave the sky!" the level of the staffs is raised to a line with the top of the head and the pointing motions again given. At the last line, "Stormy clouds, begone!" the staffs and flags should be raised aloft and waved with precision to the rhythm of the song. The steps and movements of the body should be that of backward and forward, to give a pulsating effect, all in exact time with the music. The drum should be beaten in 4/8 time, the first and third stroke heavier than the second and fourth. This series of movements constitutes the Appeal to the East.

The dancers next turn to the North, repeat the song and all the movements of staff and body in exactly the same manner.

The dancers now turn toward the West and go through the song and movements without any variation.

They then turn toward the South and repeat song and movements as before. This brings the First Appeal to a close.

SECOND APPEAL

All the dancers gather in a loose group in the center of the open space, where they divide into two lines that must cross each other at right angles. When this cross-figure is formed, all, as they stand, should face the East. The staffs should be held at an angle similar to that of a baton and then swayed to the rhythm of the following song of pleading and of hope:

Song No. 2

As the dancers sing they should take a step sidewise to the right, then return to the first position; then a step to the left and return, so that the whole cross-figure has a swaying motion accentuating the rhythm of the song, which should be sung smoothly and flowingly. When the words "Blue Sky!" are sung the flags should be raised aloft and waved in rhythm and then returned to the previous level. The song should be repeated several times and the figure maintained as the singers face the North, West, South and back to the East. Then the dancers should break into groups and, still singing the song and dancing rhythmically, disperse to their tents.

The Hé-de Wa-chi

AN OMAHA FESTIVAL OF JOY

INTRODUCTORY NOTE.—For centuries the home of the Omaha tribe has been in the region now known as the State of Nebraska, north of the city which bears their name. There they dwelt in permanent villages, surrounded by their garden plots of corn, beans, squashes, etc. From these villages every year in June all the tribes except the sick and infirm went forth to follow the buffalo herds in order to obtain their supply of meat and pelts. As this tribal hunt was essential to the needs of the life of the people, it was a very serious affair, initiated with religious ceremonies and conducted under strict rules enforced by duly appointed officers. It was at the close of this great tribal hunt, when food and clothing had been secured, while Summer lingered and the leaves had not yet begun to fall, so that brightness was still over the land, that this Festival of Joy took place. Like all Indian ceremonies, the Hé-de Wa-chi embodied a teaching that was for the welfare of the tribe, a teaching drawn from nature and dramatically enacted by the people. The Omaha tribe was made up of ten distinct groups, each one having its own name, a set of names for those born within the group, and certain religious symbols and ceremonies committed to its care. By tribal rites and regulations these ten distinct groups were welded together to form the tribe, whose strength and prosperity depended upon internal harmony and unity.

The Hé-de Wa-chi taught the people what this unity really stood for. The central object of the ceremony was a tree, which was the symbol of the tribe; its branches were as the different groups composing the tribe, the twigs that made up the branches were as the individuals that formed the groups.

The Omaha had special ceremonies for the preparation of the central object. They cut a tree, left a tuft of branches at the top and painted the trunk in alternate bands of red and black. The red bands represented day, the black, night; the decoration as a whole stood for the continuity of life. This pole was planted in a broad open space. As the melodious Call to the Ceremony echoed over the land, the people gathered from their tents. Each one of the ten groups took its respective place and all the groups formed a wide circle about the tree. Every one, down to the little children, carried a twig with leaves. These they held aloft as they made their rhythmic, ceremonial approaches to the tree, and afterward danced about the sacred symbol.

It was a wonderful and a beautiful scene that took place on the prairies years ago, when hundreds of Omahas moved to the rhythm of the sacred songs, waving the green sprays as they danced up to the symbolic tree and circled about it with thanksgiving and joy. It was thus they exemplified tribal unity, wherein every one was a part of the living whole.

This ancient American ceremony should live anew with us wherever we gather to enjoy the delights of nature in goodly company.

Directions.—It may be difficult to prepare a young tree for the central pole after the manner of the Omaha; if so, a space around a single tree can be made to serve. Bands of red and black muslin or paper should be put about the tree trunk; these are to symbolize the days and nights enjoyed during the camp life. The members of the camp should be divided into groups and each group have a name and a color. Small branches should be gathered, equal in number to those who will take part in the dance. If actual branches are not available, wands can be used; to these fluttering decorations of green paper should be attached, also a streamer the color of the group. Each group should be assigned a place in the wide circle that is to be made about the tree.

When all are ready the following Call should be sung. The Indian words are retained, as they are easy to pronounce and fit the meaning, and are adapted to the long echoing cadences of the Call.

Song No. 1

THE CALL

[Words: Zha-wa = to rejoice; i-ba = come; ha = vowel prolongation of the syllable ba; e-he = I bid you. "I bid you come to rejoice."]

This English translation of the native words does not convey the stirring appeal of the Omaha: "To rejoice! Come! I bid you." The stress of the music of the Call is on "Zha-wa," to rejoice; the notes which carry the words "e-he," "I bid you," seem to float afar as if to reach the most distant member of the tribe with the summons. The cadence of the Call echoes itself, as the second line is like the first, only lower in tones.

When all of the camp have gathered in response to the Call, each group must stand in its appointed place and every member hold a decorated wand. Four beats of the drum are now to be given; the beats must not be loud or rapid. When the reverberations of the drum cease, absolute quiet must be maintained, each one's wand must hang downward from his right hand, while the following chant is given, sung by the leaders of the groups. The words are by John B. Tabb, the music is arranged from the Omaha invocation.

Song No. 2

INVOCATION

This chant takes the place of the prayer sung at this point of the ceremony by the Omaha Keepers of the Tribal Sacred Pipes. The prayer in the original has no words, vocables only are used, for the music is what carries the appeal to Wakon'da (God).

At the close of the chant two strokes of the drum should be given. Then the leaders should sing the first line of the following song; all the camp respond at the beginning of the second measure, and the song follows. This music is the dance song of the ceremony when all the Omaha tribe made four rhythmic advances toward the sacred tree, stopping at the close of each advance. The song was sung four times, once for each forward movement.

Song No. 3

APPROACH TO THE TREE

"Hi-o!" is the call given by the leaders for the dancers to pause. When this call is heard, all the branches must be at once lowered and every person stand still. After a brief pause the leaders will again sing the command, "Ev'ry one lift up the branch!" then comes the response, "Up it goes!" The song immediately follows, all the wands held high and waving in rhythm to the melody while the second advance is made. Each one of these advances should be but a few steps, on account of the limitations of space. The dancing steps, the rhythmic movements of the body and the swaying wands should give an undulating line suggestive of waving branches. The available space on the grounds should be calculated so as to permit the four approaches accompanied by the dance-song to reach a point near the tree, yet far enough to permit the forming of two circles of dancers around its base. At this point the company should divide into two parts, one part to form an inner circle and the other to form an outer circle. These two circles are now to dance around the tree, one to go from right to left, the other from left to right. At this time the leaders tie their wands to the trunk of the tree, but all the others retain their wands while they dance in these concentric circles. All should sing the dance-song, keeping time with the feet and waving the wands to the rhythm of the music. As the dance goes on, the time can be accelerated and the circles become wider and narrower, but in all these movements the rhythm of song and dance must never be broken—for the rhythm stands for the binding force of a common, social and loving life.

Song No. 4

DANCE AROUND THE TREE

This dance-song can be repeated as often as desired. When at last the leaders wish it to stop they must give the call, "Hi-o!" as they did for the pause in the Dance of Approach to the Tree.

When this signal is given, the members should toss their wands at the foot of the tree from the place where they had stopped dancing.

In the ancient Omaha ceremony the people had the vast expanse of the prairie at their disposal, yet each tribal group kept its appointed place, not only during the dance, wherein they made four approaches toward the sacred tree, but when all the groups formed into two great circles the tribal order of their relative positions was still preserved. The two circles were made up according to sex. The women and girls danced in one direction next to the pole; the men and boys formed the outer circle and danced in the opposite direction. This dance was the occasion of much hilarity and fun. Old and young danced with vigor, and great was the delight of the tribe as it spun around the emblematic tree, carrying branches. At the close of the dance all tossed the branches at the foot of the pole, leaving a mound of green on the widespreading plain.

If boys and girls take part, as they should, in this ceremony, let the girls form the inner circle and the boys the outer circle as they dance about the tree in true Omaha fashion.

In real Indian life every vocation has its accompaniment of song, no matter how homely may be the employment. So, keeping faith with that ancient American custom, let the camp be put in order after the ceremony while all sing the following song, which may be called the Clearing Up:

Song No. 5

THE CLEARING UP