WIXLIB

Record a companion audio CD for the graded reader documentPurpose and UseThis book is a graded reader, consisting of a series of readings ranked (that is,The project team consists of the full-time Language Director Justin T. McBride,graded) by level of difficulty, taking the reader gradually from easier readings andpart-time Language Coordinator Dr. Linda A. Cumberland, contractual Languageexplanations to more challenging ones. We at the Kaw Nation Language DepartmentConsultant Dr. Robert L. Rankin, and a small Community Advisory Group composed ofintend this book as a way to help Kaw tribal members and other interested individualsKaw tribal members Rima Bellmard-Mathews, Jim Benbrook, Paul Hardy, Curtisdevelop reading and writing skills in the Kanza language, with the supplemental audioKekahbah, and Kira Mathews.CD offering a way to improve listening skills. The pieces selected for inclusion areintended to increase the user's understanding of tribal history and culture.About this BookIn this section we will discuss the book itself. The CD is discussed in the nextThe content consists of written and spoken texts—sets of connected sentenceswith a single overarching idea or story—collected from Kanza speakers during the lastsection. As we said above, the purpose of this book is to help you, the reader,develop reading and writing skills in Kanza.century of fluency in the language, roughly from the 1880s to the 1970s. This meansthat every text in this book was actually spoken (or in a few cases, written) by peopleEach unit in this book consists of a background statement providing some sortwhose first, and sometimes only, language was Kanza. These are authentic accountsof context for the text (a story, letter, lyric, etc.), the text itself—both in Kanza andfrom the ancestors of modern day Kanza tribal members.English—a vocabulary list, a sentence-by-sentence analysis of selected elements ofgrammar found in the text, and exercises designed to allow you to check how well youWe anticipate that the average users of these materials will be Kaw tribalmembers above the age of 15, with interest in their Kaw heritage but who do notunderstand each point and to give you practice to reinforce your understanding.There are also some end notes to provide additional information about the text.necessarily have previous experience in Kanza or any other language other thanEnglish. To this end, Kanza grammar and other technical concepts will be explained inplain English as much as possible.Analysis of each text is presented in interlinear format, literally, "between thelines." This means that each line of Kanza is followed by two lines in English, so youhave English between the lines of the Kanza sentences. Just below each KanzaThese materials represent a portion of the work we have done for our 2008-2010sentence, there is an approximate English translation for each Kanza word, followedANA (Administration for Native Americans) grant project known as Designing Materialsby yet another line giving the sentence in English—three lines in all. The top line isto Teach Kanza Literacy through Historical Texts. The project goals include theadditionally color-coded to show certain grammatical functions. Red typeface isfollowing:reserved for the subject (the 'doer'), orange for the (direct) object (the 'done unto'),and blue for the verb (the action being done or the state of being experienced by the Archive all historical textssubject). Note however that what in English would be an indirect object, an object of Compile a graded reader documenta preposition, and other such object-like categories remain uncolored. Thus, wordsthat are red or orange will always belong to a noun phrase; words that are blue willixxalways belong to a verb phrase. An additional aid to understading sentence structuredrawing from material in all previous units. The remaining sentences areis in the shapes used in the diagrams: noun phrases, whether red or orange, arethen briefly analyzed, but no explanations or exercises are provided.represented by a rectangle; verb phrases are represented by a circle.o "Advanced" level texts are presented largely free of interruption. TheThe book is divided into several sections, each of which is described below:vocabulary and annotation sections appear as in the intermediate texts.However, only annotated sentences are presented. The exercises in this Introduction: This gives a description of the nature of the project and somesection require the user to apply vocabulary and grammar learned inbackground in the Kanza language that you may find useful as a reference asearlier units to appendix texts.you proceed through the main part of the book. Appendices:The texts: Each text is one unit, so there are ten units in the main part of theI.Answers to exercisesbook. We haven't annotated every possible point of grammar, just the mostII.Index of technical terminologyimportant ones for that particular level. Each text is preceded by a shortIII.A few general but important notes about Kanza verbs and sentencestructurebackground section written by a modern Kaw tribal member. Following thebackground comes the text, both in Kanza (designated as Kaáⁿze Íe, to provideIV.Additional texts (including full versions of excerpts used in units)textual consistency) and in English. Immediately following the text comes theV.Kanza Glossary (an integrated list of the vocabulary found in all tenunits)relevant vocabulary section, followed by sentence-by-sentence annotations—VI.including detailed explanations and practice exercises, designated by theandWhere to go for additional informationicons, repectively—and lastly a small notes section. The texts areVery few Kanza texts were ever written down. Like the great majority ofgrouped into three categories, Beginning, Intermediate, and Advanced,depending on length, general readability, and how much annotation is neededhuman languages throughout history, Kanza language, stories, and traditions wereto explain relevant concepts.passed from generation to generation by the spoken word only. Kanza language hasonly been written down since the 19th century, when non-natives began to work outo "Beginning" texts are the most completely annotated, going over themost important topics in great detail. Exercises are very basic.alphabets for it. To the best of our knowledge, only 33 texts written in Kanza havesurvived. The annotated texts in this book represent about one third of what we have.The complete body of texts comes from several sources but most were collected ino "Intermediate" texts are presented differently, as readers are nowcomfortable with basic concepts. Only new vocabulary is listed. Theextensive linguistic surveys done by Rev. James O. Dorsey in the 1880s, and ourLanguage Consultant Dr. Rankin in the 1970s. Here is the breakdown of the contents.annotation consists of explanations for only the first ten sentences,followed by some exercises. The latter are now more challenging, Rev. Dorsey contributed 24 texts from nine Kanza speakers in the 1880s:Alíⁿk'awaho, Gazáⁿ Naⁿge, Charles McKassey, Nighúje Yíⁿge, Óshe Góⁿya,xixii

Paháⁿle Gáxli, Stephen Stubbs, Waxóbe K'iⁿ, and Zhóhiⁿ Máⁿyiⁿ. Rev. Dorseysounding English constructions, the absence of expected information, or the presenceused a similar but different spelling system that formed the basis, via aof unexpected information. All were intentional on the part of Rev. Dorsey.separate Rankin system, for our current practical writing system. His texts fallinto three categories:Using the Supplemental Audio CDo Myths—eight traditional stories to be told in the wintertime;o Historical papers—13 texts including migration accounts, depictions oftribal customs, and battle stories;o Personal letters—three correspondences from Kaw tribal members.This audio CD is intended to improve your ability to understand spoken Kanzawith or without the aid of written material. Try following along in the written text asthe CD plays. Once you are familiar with the texts, the CD can be audited without theassistance of the book. Listening to the CD will also acquaint you with the sound ofRev. Joab Spencer contributed in the early 20th century a lullaby from anthe language. If you listen to the CD multiple times you will acquire passive andunknown speaker from the mid to late 19th century.unconscious familiarity with the sounds and rhythms of Kanza automatically over timeGeorge P. Morehouse contributed a speech delivered by Pete Taylor at the 1925and you will begin to recognize specific words and phrases. In time, you will even bededication of the Monument to the Unknown Indian in Council Grove, KS.able to recognize which story you are listening to without checking the book.Dr. Rankin provides a 1970s-era collection of five (5) myths from Maude Rowe,one of the last fluent speakers of Kanza.Please note that the audio on the CD differs in one small respect from whatone would expect; the gender of the voice recorded for the CD does not always matchApart from two Kanza prayers of significant length, no other texts in thethe gender of the speaker whose speech was originally transcribed. This is more of aproblem in Kanza than in English because Kanza has a series of "gendered speechlanguage have been located.markers" that clearly identify speakers as either male or female. Thus, a male and aThe ten texts presented in this book were selected for their cultural orfemale relating the very same text will do so with slightly different wordings. For thehistorical significance, their general readability, and for the points of grammar theypurpose of this project, the written language is the primary focus—it would beillustrate. Please note that seven of the ten, Second Story, The Turtles, Waxóbe K'iⁿ'sinappropriate to alter the wording of the original text. Thus, there are a few texts forStory, Battle between the Kaws & Cheyennes, The Raccoons & the Crawfish, Thewhich females recorded the exact audio versions of texts that were originally spokenMialoshka, and War Customs, come from Rev. Dorsey's 1880s-era collections. Theseby males. These recordings, including A Lullaby, The Turtles, and The Raccooons andconstitute a clear majority of the texts in this book. It is important to note that histhe Crawfish, occasionally make use of characteristically male gendered speech ascollections include his analysis, translations, and notes for each text, all made at aspoken by a female.time when there were still many fluent speakers of the language. Consequently, it isreasonable to assume that he worked to some extent with his Kanza consultantsbeyond mere collection of the texts, possibly down to translation and analysis. ForAbout the Artwork and Background MaterialMuch of the material found in this book and CD, including the cover art and thethis reason, we have made efforts to preserve as much of this original material asimages and background sections immediately preceding the units, comes from modernpossible. Occasionally our reliance on his translation methodologies has led to strangeKaw tribal members. We are very grateful for the contributions of these individuals.They are as follows:xiiiJim Benbrookxivbackground for A Lullaby, Old Man and Snake,Second Story, The Turtles, Waxóbe K'iⁿ's Story,Battle between the Kaws & Cheyennes, Big Turtle,The Raccoons and the Crawfish, The Mialoshka, andWar CustomsRima Bellmard-MathewsStorm Braveimage for Big Turtleimages for A Lullaby, Old Man & Snake, SecondStory, Waxóbe K'iⁿ's Story, and The Mialoshkaaudio for The TurtlesDewey Donelsonimage for The Raccoons and the CrawfishKira Mathewsimage for The TurtlesChris Pappancover art, "Kanza/Osage"audio for The MialoshkaBEGINNING TEXTS1xv

spiritual or historical components, but this lone Kanza song cannot be categorized in this manner sinceit is strictly a perceived view of gender differences.The person who actually translated "A Lullaby" cannot be ascertained, but its publication candefinitely be credited to Rev. Joab Spencer in his 1908 article "The Kaw or Kansas Indians: TheirCustoms, Manners, and Folk-Lore" (see Notes for this text). Spencer was a Methodist Episcopalmissionary to the Shawnee Indian mission near present Kansas City who retired in 1859 and relocated toCouncil Grove, Kansas, where he lived until some time in the 1870s. Spencer was a merchant,preacher, teacher, farmer, and Indian trader while at Council Grove, and these professions would haveprovided him opportunities to interact with the Kanza at multiple levels since the tribe lived therefrom 1847 until its removal to Indian Territory in 1873. He resided at the Kanza Agency between 1865and 1868, which would have allowed him to make many of the personal observations regarding thetribe that eventually appeared in his article.1Spencer was a known acquaintance of Thomas S. Huffaker, whom he often references andquotes. Like Spencer, Huffaker was also a Methodist, and taught at the Shawnee Manual Labor Schoolbefore moving to Council Grove in 1850, when he took charge of the Kanza Indian mission school thathad just been organized under the Methodist Church with government support. Few white men, if any,had greater influence with the Kanza while they were at Council Grove and the tribe honored him withthe name tapóska, 'teacher', as their sign of respect. He also served as the official Kanza translator forthe government, so it is distinctly possible that Huffaker is the actual translator of "A Lullaby," notSpencer, because Spencer readily acknowledged that he borrowed heavily from Huffaker in writing hisKaw beaded cradleboard and Washunga's blanket courtesy of Kanza Museum. Photograph by Storm Brave, Kaw Tribal Member.Cradleboards, which are still in use today, keep infants safe and secure and free the hands of parents for other activities.article and was also not known for his prowess in the Kanza language.The Notes state, "I have heard them sing a great many songs, all of them giving some narrativeof some historical event. They do not express any sentiment or emotion." Spencer is credited with thisText 1: A Lullabyobviously erroneous remark, but careful reading of the article shows that Huffaker was the actualAnonymous, Late 19th Centuryauthor. As aforementioned, "A Lullaby" contains no spiritual or historical components and to think thata Kanza tribal member caring for a child would " not express any sentiment or emotion" toward theThe simple song lyrics of "A Lullaby" describe, from a Kanza perspective, the universal humannotion that a male child is naturally rambunctious whereas a female child is inherently calm. Any Kanzatribal member (most likely a mother, father, or other caregiver) who sang "A Lullaby" would haveprobably felt that this idea was obvious even in the earliest stages of childhood development. Therhythmic, soothing, and poetic manner whereby this individual could lull a fussing baby to sleep cannotbe captured in this Kanza-to-English translation and must be sung in its original form to be trulyappreciated, but its simplistic structure does serve as an ideal introductory step toward learning theKanza language. Many Kanza songs have been continuously sung for generations and are still presentlychild under his or her care is indicative of the racially-tainted prejudices of the nineteenth-centurymindset. Both Spencer and Huffaker were from Missouri, a state whose populace was deeply dividedduring the Civil War between support for the Union or Confederacy. It is also known that Spencer wassometimes ostracized by the predominately pro-Union men of Kansas during the Civil War for his proConfederate leanings (Huffaker's views regarding the Confederacy are not known). As a point ofemphasis, the grammar of the Kanza version of "A Lullaby" indicates that the song is actually sung by amale, not a female. This should help lay to rest any preconceived and dehumanizing ideas about howthe Kanza people were unsentimental and emotionless toward others, particularly their own people.Jim Benbrook, Kaw Tribal Member.performed for ceremonial purposes, but "A Lullaby" is unique for this genre because it is the only songknown to have been translated and published in both Kanza and English. For those tribes who have hadseveral of their songs translated and published, there is a strong propensity for them to include1Brigham, L. M. (1921). The Story of Council Grove on the Santa Fe Trail. Council Grove, KS, USA: City of Council Grove; p. 40.23A LullabyVOCABULARYKaáⁿze Íe1EnglishShídozhiⁿga pízhi waáli1Ø- 'him, her, it' in activeNominalVery bad boyverbs; 's/he' in S verbsshídozhiⁿga, shídohiⁿga2Hayiyiyi hayiyiyi hayihayi2Hayiyiyi, hayiyiyi, hayihayi(1)boy, young man (1)ghagé cry; A (3)shímiⁿzhiⁿga, shímiⁿhiⁿgapízhi be bad; S (1)girl, young woman (5)3Ghagé huwaáli3pi be good; S He cries a whole lot(archaic)Verbal4Hayiyiyi hayiyiyi hayihayi5Shímiⁿzhiⁿga yáli ao6Hayiyiyi hayiyiyi hayihayi7Ghagé háⁿkazhi4Hayiyiyi, hayiyiyi, hayihayi-(a)zhi 'not' verbØ- 's/he' in active verbs (3)Miscellaneousao clause-level male oralsuffixpunctuation marker (5)háⁿkazhi no (7)huwaáli very many (3)hu manywaáli very, muchwaáli very, much (1)yáli be good; S (5)5The girl is goodEXPLANATIONS AND EXERCISES6Hayiyiyi, hayiyiyi, hayihayiSentence 17She cries notShídozhiⁿga pízhiboy8Hayiyiyi hayiyiyi hayihayi8Hayiyiyi, hayiyiyi, hayihayihe is badwaáliveryVery bad boy%COMPLETE SENTENCESKanza sentences are like English in that certain elements must be present in order forthe sentence to be considered complete. The only element required for a completeKanza sentence is a full verb phrase, conjugated and bearing some form of aspectmarking. Very few of the sentences presented in these texts are incomplete, butthose that are have been left as they were found at the time of their recording andanalyzed just the same.This text is a song lyric, not the natural speech of a Kanza speaker. Some grammaticalrules have been suspended to accommodate song structure and to aid in its singing.However, we can still learn from what rules are present. In fact, by looking at whatremains, we can even better see what constructions are considered essential.45

%WORD ORDER RULES» Nouns before verbsboy criesThe arrangement of words in Kanza is different from English, but still regular. On thewhole, the nouns (persons, places, or things) in a sentence, together with any words%HISTORICAL VARIATIONthat modify them, tend to come before verbs (actions or states of being), togetherKanza, like all human languages, has undergone changes over time. This not only goeswith any words that modify them. In Diagram 1.1 below, we see a visualfor the meaning and usage of words, but also the speech sounds associated with therepresentation of this principle. The red rectangle represents the noun and itslanguage, the way words are constructed, and the way words are arranged inmodifiers, and the blue circle represents the verb and its modifiers.sentences. Such changes have occasionally led to the development over time ofmultiple forms of the same word or concept, including separate pronunciations andDiagram 1.1spellings, as well as the innovation of entirely new words and the decline andeventual loss of old ones.When this lullaby was recorded, the suffix form of the word for 'small' was -zhiⁿga, asin the words shídozhiⁿga and shímiⁿzhiⁿga, 'boy' and 'girl', respectively. Nowadays, itIn this instance, the noun is shídozhiⁿga, 'boy' [alternate form shídohiⁿga]. The verb,pízhi, 'be bad', is followed by an optional adverb, waáli, 'very', that modifies it. We'llsee this order over and over again, sometimes with other information coming alongbeforehand, afterward, or stuffed in the middle (like the adverb waáli in thissentence). But it's still the same word order. Exercise1.1—Practice with word orderRefer to the vocabulary list to translate the following phrases into Kanza.is -hiⁿga, and the words are shídohiⁿga and shímiⁿhiⁿga. Another example of historicalchange is found in pízhi. Kanza had a very old word pi meaning 'good', but the modernword for 'good' is yáli. Pi disappeared as a word long ago, but survives as a part ofother words and phrases like pizhi 'bad' ("not good"), and apí 'fertile' ("good to be on"),and íe píoⁿ 'talk well, correctly'. It's even in the name Topeka: Dópik'è, "a place to diggood (wild) potatoes."%VERBS» Use of verbs as non-verbs » ModifiersBy far, the most complex grammatical category in Kanza relates to verbs and therelated verbal (verb-y) vocabulary. This is due in no small part to the fact that thebad girlverb phrase is the most essential element of the Kanza sentence—and indeed somesentences consist only of a verb phrase. Nevertheless, the reader of these texts cangood boypick up a great deal of information about verbs and how they operate in the Kanzasentence simply by seeing them in action with some basics explained along the way.girl cries very muchvery good girl67Kanza verbs can be used as other parts of speech in ways that might seem strange toDiagram 1.2English speakers. For instance, they can fulfill the role of adjectives, adverbs, or evennouns. They can do so either as-is or through the use of prefixes.Although the middle word in Sentence 1 may look like what in English might be anadjective, in Kanza it is actually a special kind of verb: a state of being, or stativeverb. This is the way Kanza handles all description. In fact, since the description ofnouns is done with stative verbs, there are no adjectives in Kanza. ExerciseThis fact has an interesting implication for word order. Look again at Sentence 1.1.2—Practice with verbs as modifiers and noun phrase word orderTTranslate the following phrases into Kanza. Keep in mind what you have learnedabout word order in Kanza. Words that do not appear in the vocabulary list for thisshídozhiⁿga pízhi waáliIt consists of a noun followed by a modifier that describes the noun, followed by anunit are given in parentheses.good horse (shóⁿge 'horse')adverb that describes the modifier. Earlier, we mentioned how nouns appear in thesentence together with any words that modify them. Within this noun "chunk," whichbad dog (shóⁿhiⁿga 'dog')we call a noun phrase, there is an additional order to the words permitted to bethere (even if some of them aren't present in every phrase). In general, wordsbad apple (shétaⁿga 'apple')meaning 'this', that', 'these', or 'those' are capable of coming before the noun,followed by the noun itself, followed by its stative modifier(s), followed by modifyinggood man (níka 'man')adverbs, followed by either an article ('a/an' or 'the') or a number. Thus, the red'Noun' rectangle from Diagram 1.1 can be divided up further as shown in Diagram 1.2.little dog (zhíⁿga 'small')First we see the red rectangle's internal divisions marked by dotted lines, then we seethose divisions expanded with the various parts labeled, and then we see how thelittle house (ci 'house')words from Sentence1 fit the order.very good woman (wak'ó 'woman')very bad snake (wéts'a 'snake')angry woman (bakó 'angry')89

pronouns meaning 'he', 'she', 'him', 'her', and 'it', íye can mean 'he sees her', 'she seesvery angry raccoon (miká 'raccoon')her', etc. ExerciseSentences 2, 4, 6, and bles]1.3—Practice with "zero" pronounsGive three possible English translations for each of the following Kanza verbs.Hayiyiyi, hayiyiyi, hayihayiyáli%VOCABLESThese are word-like utterances, such as English 'fa-la-la', that appear in lyricalspeech, such as songs or recitations. Individual vocables convey no meaning on theirown, but may be assigned group meaning. While not random, they must be learned,as they are not predictable.pízhiSentence 3Ghagé huwaálihe criesvery muchHe cries a whole lot%VERBS» Conjugation » Zero pronounsConjugation is the process by which separate verb forms are created to agree with theíyesubject (and object) of the Kanza verb. Basic Kanza conjugation involves the use of('see')pronoun prefixes representing the various possibilities of subject pronouns such as 'I','we', 'you', etc. However, there is no pronoun for what is called the '3rd person',among which are 'he', 'she', 'it', 'him', and 'her'. Technically, there is a third personpronoun, but it's Ø, "zero"—that is to say, you don't hear it or see it. (This is a ratherabstract idea. In practical terms, whether you think of the pronoun as "zero" or thinkthat there is no third person pronoun doesn't really matter because it comes out theSentence 5Shímiⁿzhiⁿga yáliaosame.) In Sentence 3, the verb is ghagé, which can mean 'he cries', 'she cries', etc.girl.Likewise, the Kanza word íye means 'see something'. But because of invisible zeroThe girl is goodshe is good1011GENDERED SPEECH » Declaratives » Clause-level declarativesCertain vocabulary items in Kanza are used exclusively by males and others are used Exercise1.4—Practice with declaratives, male and femaleexclusively by females. These words tend to include greetings and pleasantries suchRead the Kanza

v x Grammar App. 24 Appendix IV: Additional Texts App. 30 Text 11: Story of Ali /k'awaho - Alí0k'awaho App. 30 Text 12: Kaw War Customs - Pahá 0le Gáxli App. 36 Text 13: Extract from Mourning Customs - Pahá 0le Gáxli App. 38 Text 14: First Story - Nighúje Yí 0ge App. 39 Text 15: Oshe Go /ya's story - Óshe Gó 0ya App. 41 Text 16: Second Story - Gazá 0 Na 0ge App. 43