An Overview of Native American Oral Literature::

Common Themes

Memorisation

Tribal custom, however, determines the degree to which improvisation is acceptable in sacred narratives, however. Speaking of Cherokee ritual singers, one writer states that they are "at perfect liberty to improvise a text if the spirit moves" them to do so. Similarly they may occasionally elect to use only a part of a traditional text if they wish (Kilpatrick and Kilpatrick 1967).¹

Amongst the Papago, on the other hand, storytellers will work for years to memorize a set mass of sacred prose and verse which they then have to recite in the ceremonial house. Even the tune a of particular sacred song must be exact for all these things were given by Elder Brother, their culture hero (Underhill 1938).²

Similarly, another scholar has observed that Zuni prayers must be formally learned. Each ceremonial kiva has a person who keeps the prayers. Each night a particular ritual society meet there every night to learn by heart the 'long talk', which is a particular ritual litany, and must be chanted aloud letter perfect (Bunzel 1929-1930).³

Some oral narratives require amazing feats of memorisation. The Navajo Night Chant, for example, is narrated throughout a healing ceremony that lasts eight and a half days.

Notes::

• 1 - Jack F. Kilpatrick & Anna G. Kilpatrick. 1967. Run toward the Nightland: Magic of the Oklahoma Cherokees. Dallas: Southern Methodist University Press.
• 2 - Ruth M. Underhill. 1938. Singing for Power: The Song Magic of the Papago Indians of Southern Arizona. Berkeley: University of California Press.
• 3 - Ruth L. Bunzel, ed. 1929-30. "Zuni Ritual Poetry." Annual Report of the Bureau of American Ethnology 47: 611-835.