MAGIC OF INDIGENOUS THEATRE & STORYTELLING, MUSIC, DANCE

 

 IT STARTS WITH THE STORY, A REALLY GOOD STORY

WISDOM OF THE AGES: ART OF INDIGENOUS STORYTELLING AND THEATRE
by Shannon Thunderbird, M.A.
(copyrighted)

 In the time before The Change (European contact), Indigenous storytelling was a "sacred" process and the soul of my people. Without a written language traditional culture and customs were handed down by the Oral Narrative. They provided social, cultural and historical contexts, and acted as a social cohesive for the entire tribe; they constituted the 'cultural grounding' of Indigenous people. Speeches and Stories were a crucial part of all ceremonial occasions. Often long and complex, they covered a variety of  issues thus constituting one of the most important cultural grounding links in an oral tradition designed to pass on knowledge to succeeding generations. Storytelling and Truth were interconnected and it was with the utmost trust that The People received the tales from those who had gone before.  

There are similarities in story content from tribe to tribe. During celebrations, ceremonies and gatherings, stories were shared among tribes; both stories and songs were often given as gifts. The stories would then be revised according to the region from which the tribe came. If, for example, a gift of a story was given from the Plains to a coastal tribe, the creatures would become water creatures as opposed to flat land creatures such as buffalo. Also there were shared stories. For example, great flood stories such as the Women Who Fell from the Sky' belongs to both the Anishinaabe and Haudenosaunee. The fact that Indigenous people originated on Turtle Island by descending from the Fourth world (up above) belongs to a variety of tribes including the Hopi.

Storytellers were usually Elders or Spirit Doctors who carried the history and knowledge of their people and were much revered in the tribes for the simple reason that wth age came wisdom and experience. Children were taught gently about their Nation's traditional knowledge. Hearing the words from an Elder who told it with solemnity and dignity added weight to the importance and retention of the knowledge. 

In other words, the oral narrative was a highly developed, sophisticated medium supported by ages old teachings and explanations that were based on fact, observation, oral claims and contracts (in front of witnesses), and a complex set of social and cultural customs for dealing with the secular and the supernatural which include song, dance and theatrical presentations.

Native people did not distinguish between the physical and supernatural because everything was viewed as a vast continuum. Whether it be animate or supernatural, the world existed in 'real time' and in a conscious state of existence. Everything was a member of one large family: the four elements (earth, air, fire and water), plant, animal and human worlds were connected to each other in often complex and sophisticated ways. In other words, every object that existed in the physical world or sprang from the rich imaginations of the storytellers was in effect in possession of "real" life and co‑existed in perfect harmony with all other living beings.

Later science and technology explained a lot of the workings of Mother Earth, why the tides come in twice a day, why the world is in light and in darkness, the origins of the star nation, meteors (feces of the stars!) etc. In the time of the Ancestors, however, it was the rich imaginations of the storytellers who tried to explain the relationship of humans to their environment. Just like any human, Native people were eager to understand their place in the cosmos and in the long winter months the storytellers obliged by weaving magical tales and presenting theatrical extravaganzas (Northwest Coast). How the stories were told varied from tribe to tribe and it did not take a lot of imagination to see how easily stories could be expanded to include multiple performers, dance, music, drums.

Pacific Northwest Coast. Speeches and Stories were a crucial part of Yaawk (Feast) ceremonies. ('Potlatch' is the commongly used term, but I don't use it because it is a hybrid word that came out of the Chinook trading language). They covered a variety of topics and claims which passed on knowledge, history and ownership of, for example, important crests, totems, names, beliefs, history and territory. Beautifully carved masks and costumes added to the drama and colour of the performance.  Often a huge curtain woven out of red cedar was used to divide the supernatural world from the physical world. The performances were vivid, sometimes violent, always entertaining. Pounding drums, vocals and music also accompanied the show making it a true Indigenous musical.

Stories contained malevolent and evil‑doing spirits which had to be confronted or counteracted by an opposing positive power. Power was an important concept for Native people. It primarily was the property of the spirit world, therefore "crying for a vision" to acquire guardian spirits was an important event in the life of a young person, since one had to possess at least minimal amounts of spiritual power in order to survive in often harsh environments. The acquisition of power was a common theme in storytelling in a pan-Native sense.

The Sun Dance ceremonies on the northern Great Plains (Blackfoot, Peigan, Blood, Sarcee); the Central and Eastern Woodlands (Ojibwa, Cree, Huron, Haudenosaunee) all had stories of how to behave, of overcoming obstacles, of exceptional courage and sacrifice, how to make clothing, prepare food, build long houses, carve totems, deal with cowardly denial, selfishness and jealousy, generally how to behave with others (i.e. manners, protocol), understanding the world of the supernatural, and explanations about the place of humans in the natural world were vital to the overall health and future of the tribe. All My Relations.

FOR MORE ON THE MAGIC OF NATIVE STORYTELLING

 

 

I believe that the modern day MUSICAL found its roots in Indigenous theatrical presentations. After all, they contained all the components for a magical time. A really good Story, Music, Vocals, Instrumentation in the form of drums, flutes and shakers, Actors, Narrators, Stages, Sets, Props and Costumes.

I revel in being able to tell my stories from an Indigenous perspective using as many artistic mediums as possible while staying true to traditional Indigenous artistic integrity. Many of the stories are all about good character: Truth, Honour, Respect, Wisdom, Courage, Love, Humour, Passion, Sharing, Caring, Humility. They are reconnections to the vital rhythms and currents of Indigenous cultures all across Turtle Island. They demand that you LISTEN, UNDERSTAND, ENGAGE, FEEL and CARE.

Stories range from lamentations of pain to exhilarating action, joy and rollicking good humour.  They are, in other words, expressions of a culture that goes back to the time before recorded time and that have brought forward rich histories to the present day, perhaps a little different now due to impositions of other cultures, but always truthful and relevant.

Traditional Stories when framed within contemporary expression can leave audiences breathless with the sheer beauty and spirituality of the experience.  Such productions resonate with the uniqueness of the Indigenous voice. 

Music genres such as rock, hip hop, rap (provided lyrics are non-violent), modern dance all meld beautifully and are often the best way to introduce Native youth to their rich history. Even better when they find the courage to perform the stories themselves.

 

 

 

PACIFIC NORTHWEST COAST: It starts as guests arrive in their elaborately carved canoes for a Feast Extravaganza called a Yaawk. Eagle stands and waves a greeting as the guests approach.

Everyone steps ashore and the host family with drums pounding, wearing their best regalia greet the guests with a traditional sprinkling of white eagle down over their heads as sign of peace and harmony.

An individual given the right to portray Raven, for example and wear a mask must be a member of the nobility or royalty and initiated into a secret society. Upon initiation, he or she could practice Halaayt, the ritual manifestation of power. The Privilege portion of Halaayt, therefore is simply being a member of the elite and therefore having the right to practice halaayt. The Naxnox  (Wonder) is the mask and the mask wearer considered to be a single entity. The right to wear a mask was passed down through families, and a Yaawk was usually held to acknowledge the ‘changing of the guard’if a wearer died or retired. Nothing was left to chance, in other words.  "The wearing of masks is ultimately a statement that one accepts that ultimate transformation – the one transformation that occurs without human choice – and the wearing of the mask is literally an embracing of that fate.”

The masks were always carved with eyes that dominated the mask. This was meant to convey the importance of being able to see and use insight into understanding the Tsimshian world view.

“The eyes of the mask look to see the spirits that hid behind material reality. Seeing and hearing are important to our culture; people who do not take the time to look and listen mindfully are considered unworthy. Seeing and hearing properly lead to understanding wisdom.”(Listening to Our Ancestors: The Art of Native Life Along the North Pacific Coast. Washington: National Museum of the American Indian, Smithsonian Institution, pg. 104.)

Mastering the intricacies of the ceremonies took years and years of training, never mind the sheer physical requirements of wearing awkward and heavy masks carved from red cedar. In the case of transformation masks, i.e., Raven changing to a human, there was usually a mask within a mask, the outer one opening and closing using a series of ropes. The Raven Dancer on the right in the above photo is wearing a mask with a four foot beak - powerful physiques and neck muscles were a definite must!

 

INDIGENOUS MUSIC & DANCE -WHY DO WE SING  & DRUM? 

SONGS OF THE AGES: INDIGENOUS ‘LIVING’ ART

Shannon Thunderbird, M.A.
Coast Tsimshian First Nations
Speaker/Educator, Singer/Storyteller,
Recording Artist and Playwright

To all People, let's create music and song because:

  • It is one of the greatest achievements humans have created for themselves.

  • It is the universal language of peaceful communication

  • Music is a 'fact of life', a 'living' art and its social and cultural influences are incalculable.

  • It serves all human action and behaviour because it both carries and helps shape cultural life, individual intelligence, creativity and social consciousness.

  • From the depths of our impulses and emotional responses our songs can be the cry of the heart, the transfiguration of the spoken word.

  • It is the unfolding of our comprehension of the universe, the very essence of life.

  • It is a natural reflex of the soul's impressions which cannot be expressed in less spiritual forms.

·    Indigenous Music, Drums, Storytelling and Dance are inseparable. Before European contact, however, most singing was functionally employed to accompany dancing which explained the liberal use of vocables such as way-ya, hey-ha, hey-yo (the First Nations version of do, re, me, fa, so, la, ti, do!). Songs were created in three ways: (a) vocables, (b) Indigenous language, (c) a combination of language and vocable.

Call and Response songs were popular as a way of teaching children their language in an entertaining way. In later years music became more stand-alone, and harmonies were added, but movement was never far away. You simply cannot stand still when the drums are pounding! What hasn't changed is music, like Indigenous life in general, is community based. Indigenous communities follow the traditions of the great circle where all things are connected. There are some solo parts, usually the first line of each round of a song, but not long solos. A combination of language and vocable is the most popular method of producing traditional songs today. This is how I write all my traditional music. This way, everyone can at least sing the vocable part.

INDIGENOUS PEOPLE SING BECAUSE:

  • We are so linked with Mother Earth that our voices are an expression of that connection.

  • It is a critical element to our Cultural Grounding.

  • It is a rhythmic succession of sounds and different pitches that are an integral part of our our collective consciousness that comes from the melodies of of nature: laughter & voices of children, call of birds, cries of animals, throb of the pulse, break of the waves, hoof beats of animals, falling rain and the songs of the four great winds.

  • Rhythm, Melody and Harmony pleases the Ancestors.

  • Our music arises from the centre of self-preservation rather than self-indulgence or self-consciousness

  • Back in the day, we needed to accomplish a specific result in tandem with nature, when it was beyond our power to achieve it alone. Hence there were songs for each Season, Honouring the Ancestors, Elder, Chief or Warrior, Healing the sick, Praying for rain and good hunting were mainstays within tribal cultures.

 Let's sing because this is simply the way of it.....
Wilwilaasyk, All my relations.

 

DESCRIPTION OF POWWOW MUSIC 

 

 

 

  DIFFERENT TYPES OF TRIBAL MUSIC 

NORTHWEST COAST Usually slow in tempo and accompanied by a hand drum. Principle function of music in this area was spiritual; music honoured the Earth, Creator, Ancestors, all aspects of the supernatural world.  Sacred songs were not often shared with the wider world.  Women and men owned their own songs as property which could be inherited, sold or given as a gift to a prestigious guest at a Yaawk (Feast). While not professionals, music was taught and rehearsed, and those who made musical errors were punished, usually through shaming (we take no prisoners on the northwest coast!!). Some of the most complex music comes from this area. Employing octave singing, but rather than running up and down the scale, it was not uncommon to jump notes and go from bottom to top or top to bottom in a couple of notes. It requires stamina and good pitch.  Vocal Rhythmic patterns are often complex and run counter to rigid percussion beats.  The original 'jazz' singers!

HAUDENOSAUNEE  Have both ritual and social music and the water drum is used. Originally it was made from birch wood, filled with water and covered with animal hide (i.e., deer). Ritual music like all Indigenous music honours and respects the culture's past, present and future; it honours the Earth, Creator, Ancestors.  Social music accompanies three types of social dancing:  stomp (kind of forward shuffle led by the right foot), fish  (feet the the floor in two or more consecutive beats) and Side-Step shuffle (dance performed by women in which the feet shuffle oppositely. Just so you know, in the world of the Haudehosaunne, dancing is always counter-clockwise. Instruments include water drums, horn rattles, hard sticks and the beating of feet on the floor. Songs vary in length and tempo. Call and Response songs are also popular. What is wonderful about this music is that traditional sounds are insisted upon and European influences are not allowed.

ANISHINAABE: Shaker, Flute and Drum play a central role in 'nish music. The flute is is believed came out of of a period of mourning by a woman who grieved the loss of  her husband; a spirit born on the wind blew through the reeds to console her. The hand drum represents the heartbeat of Mother Earth (a universal belief). Like all Indigenous culture, music was and is vital to the cultural grounding of the Anishinaabe people. Wherein, again like a lot of cultures, the decline in the number of Native speakers has led to a decline in 'meaningful' song texts; hence, many songs today are sung with just vocables. Yet in the world of the 'Nish, tradition remains strong and good singers are held in high esteem.

PLAINS  Distinguished by a nasal sound with high-pitched  and frequent falsettos using what is often referred to as the "Native Throat". The power of the vocals can be extreme to say the least.  Singers employ octave singing, which requires incredible stamina and good pitch. What distinguishes this music is the use of a rhythmic and deliberate descent down an octave (unlike Pacific Northwest coast which can jump about).  Ceremonial or ritual songs were usually the result of a vision and passed down to succeeding generations.  Inspirational songs usually had something to do with honouring warrior exploits, Social Songs accompanied dances such as the round dance.  A really good singer is something to behold.


TEACHINGS FROM THE DRUM 

 

 

  NATIVE WOMEN & MUSIC 

In the public forum men's music and dancing dominates because much of Native women's traditional music takes place in a private setting associated with family, clan, ceremonial or work activities. If a person is not familiar with these traditions then it is easy to believe that women have little presence or significance in the performance of Native musical traditions.

Native men and women like men and women everywhere historically had different roles and ways of being in daily life and in music and dance. In the 18th and 19th century these roles shifted radically as disease, war, land loss, removal and relocation shifted populations and devastated traditional ways.

The United States government, for example, forced men to farm when they traditionally hunted, and women to sew where once they farmed. The government and missionaries forbade Native ceremonies and ceremonial clothing. New settlers devastated the once abundant supply of buffalo, salmon, wild rice, and deer. Native people were sent to school and Christian churches to 'civilize' them. They were forbidden to speak their own languages. Therefore, music, dance and song so integral to traditional native daily life changed drastically. Much of it went underground and was subsequently lost as succeeding generations were forced into residential schools and the 'white' way of life. Some music and dance were altered to be made acceptable by government agents and missionaries. What is left is resurfacing and being renewed in the 20th century.

Ruth Underhill working with the T'ohono O'odham people in the 1940's asked a woman why only the men danced and sang. She responded, "you sing and dance to get power", the suggestion being that women already had the power. Although women are thought to have a much smaller role than men in the area of spiritual or religious music, there are in fact serious and profound roles for women in performance of music associated with ceremonial life. In areas that have traditions of female spiritual leadership in healing, for example, there are significant acknowledged female roles in public ceremony. Gender differences in vocal range and resonance and culturally based notions of male and female performance dictate the varying roles of men and women that differ from tribe to tribe.

On first glance, for example, at a Pueblo ceremonial dance, it appears that women never sing at all. Certainly women rarely sang in public ceremonials on feast days. They are involved in more intimate ceremonies such as the Basket Dance in Pueblo traditions. However, in dance performances men and women are equally represented -- the world is divided into male and female domains and spirits. Songs have constant reference to Corn Maidens (and corn youth), Green Earth Woman, Mother Earth (and Father Sky), Dawn Maidens (and Dawn Youths), to the role of women in agricultural and new life.

Even singing connected with the most powerful of women's rites of passage (coming of age or puberty ceremonies) are sung by men. Apache and Navaho men sing the songs for these events. Among the Mescalero Apache, women sing the morning songs after the Crown dances and join the men in singing for the back and forth dances that are part of the all-night ritual associated with a girl's annual coming of age ceremony.

In tribes where women have formidable ceremonial and public roles, they do sing and 'make' songs and their songs may be more like those of male spiritual leaders. In the Plains Sun Dance women always have a special role.

Navajo women can and do become medicine women, and have several different specialities within Navajo traditions. Those who become medicine women must learn the stories, prayers and songs that are an essential part of ceremonial healing.

The medicine woman is not always a singer, though she may be the centre of a ritual; In some places she is the only singer having invented both the song and the appropriate dance. In other places men and women follow her lead in the curing ceremony.

On the Northwest coast, women and men alike play major roles in family and clan potlatch traditions. They sing songs honoring ancestors, chanting the genealogies, events and deeds common to the potlatch. Most songs are associated with clan, family and the animal spirits (raven, wolf, killer whale and others) that gave the clan birth. Recently for families with no sons, nephews or grandsons, the men have begun to teach their daughters to sing them so that they won't be lost.

In the northwest many of the songs are done with the ceremonial dance-drama. Generally men sing using the large thin hand drum with a handle, beaten with a thin stick, and the women dance in front of them. When the women sing, they might sing 'challenge' songs or songs composed to commemorate an event or person's deeds. They might become geese, honking and courting, or they might sing songs honouring their relatives, a great hunt or animals pursued by the hunters.

(Above article taken from a CD insert of Indigenous Women's Music)

 

 A COUPLE OF AFFIRMATION SONGS

CALL AND RESPONSE SONG

"TODAY"
Music: Shannon Thunderbird
Lyrics: Thunderbird & Sandy Horne
Note: Each line is called and responded to.

Today I'm going to dream
About a world of love and peace 

I say, Hey to the Red Race
Hey to the White Race
Hey to the Black Race
Hey to the Yellow Race 

Way ya hey ho; Way ya hey ho;
Way ya hey ho

 Today I'm going to do
Something nice for someone else
I say, Hey to the Sad Ones

Hey to the Sightless
Hey to the Wheel Chair
Hey to the Homeless 

Way ya hey ho; Way ya hey ho;
Way ya hey ho 

Today I'm going to learn
To be respectful in my world 

I say, Hey to be humble
Hey to be Hopeful
Hey to have Courage
Hey to be Truthful 

Way ya hey ho; Way ya hey ho;
Way ya hey ho; Way ya hey ho

CALL AND RESPONSE SONG

"ISPIMING" (Ojibwa)
Music/Lyrics: Shannon Thunderbird
Note: Ojibwa language spelled phonetically for ease of pronunciation

Call: Away ya-huh
Response: Away ya-huh
Call: Mishomis Na Huh
Response: Mishomis Na Huh
Call: Away ya-huh
Response: Away ya-huh
Call: Nokimis Huh
Response: Nokimis Huh
Call: Way ya Heya Ho
Response: Way ya Heya Ho

Call: Deb-we-win (Truth)
Response: Deb-we-win
Call: Aak-dee-win (Courage)
Response: Ge-Wet-ask-Skad (Circle)

Call: Wayn da ni Muk (Four Directions)
Response: Wayn da ni Muk
Call: Gway-a-koosh-ka-win (Balance)
Response: Nin-ood-odad-a-win (Harmony)
Call:  Zah-gid-i-win (Love)
Resonse:  Zah-gid-i-win
Call:  Man-i-ji-win (Respect)
Response:  Man-i-ji-win
Call:  Ish-piming (Universe)
Response: Ish-piming
Call: Ba-Waji-gay-win (Dream)
Response: Ba-Waji-gay-win
Call: Gway-a-koosh-ka-win
Response: Nin-ood-odad-a-win

Away ya-huh, Away ya-huh
Away ya-huh, Away ya-huh
Away ya-huh, Away ya-huh (Hold last note)

Most of Teya Peya's programs can be adapted to the specific
needs of the event

 

 

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 WHY DO WE DANCE? 

  • Let's dance in a manner that pleases the Ancestors. 

  • Let's dance to celebrate life and living.

  • Let's dance to bring harmony, balance and peace to a fractured world.

  • Let's dance for the rhythm of the body brings us into alignment with ourselves and all that is important.

  • Let's dance for the love of Mother Earth and to hear our heartbeats mesh with hers.

  • Let's dance to honour the Four-leggeds, the Flyers, Swimmers and Crawlers by copying their movements for we recognize they are far stronger than we are and we respect their power and generosity.

  • Let's dance to honour Grandfather Sky, Grandmother Moon, Grandfather Sun, for we recognize that they are by far the most powerful of the living beings and we recognize that without them we would not exist.

  • Let's dance around the sacred fire and allow our prayers to be carried to Great Mystery.

  • Let's dance near water and feel its healing drops on our faces, glowing in the shimmer of liquid magic, hear the song of Orca and its magical teachings.

  • Let's dance in the wind and feel the cleansing air wash over us as we spin and whirl and raise our eagle feathers in celebration.

We dance because this is simply the way of it....
Wilwilaaysk, All My Relations.

DESCRIPTION OF POWWOW MUSIC 

 

 

REGINA, SASK.

   

MOOSENEE,
JAMES BAY

NORTHERN ONTARIO

JAPAN

 

OTTAWA

 

 

 

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