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 (arrival of Columbus‑1491), Indigenous storytelling was a "sacred" process and the soul of The 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 moods and issues thus constituting one of the most important 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 a lot of 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 Anishinabe and Haudenaussaune.

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 it was assumed that with age came wisdom and experience. Children were taught gently about their Nation's traditional beliefs. Hearing the words from an Elder who told it with solemnity and dignity added weight to the importance 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 sacred and the supernatural.

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, 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 theatrical extravaganzas. 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 Feast ceremonies.  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 the >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 fire

 

 

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

Thunderbird revels in being able to tell her stories from an Indigenous perspective using as many artistic mediums as possible while staying true to traditional Indigenous artistic integrity. The stories are TRUTH; the stories are HONOUR; the stories are RESPECT and WISDOM; the stories are COURAGE, LOVE; the stories are HUMOUR, PASSION. 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 humour.  They are, in other words, expressions of a culture that goes back to the time before time began and have brought forward that rich history to the present day, perhaps a little different now due to impositions of other cultures, but always truthful.

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, modern dance all meld beautifully and are often the best way to introduce Native youth to their rich history. Even better when they can perform the stories themselves.

 

 

 

PACIFIC NORTHWEST COAST: It all starts as the 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, a 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!

 

 

 sample scripts: a gift from thunderbird to drama teachers everywhere 

SCRIPT ONE: GRANDFATHER CRIES
Written by Native American Poet, Philip White Dog (Ojibwe)
(Between five and seven Actors)
The Grandfather figure is silent, sits in the middle ringed by defiant youth

 

   Actor 1

 

Grandfather, do you know me?     

I am your blood, the son of your son.

 

   Actor 2

 

The daughter of your daughter

 I've come to ask you a question Grandfather.

 

   Actor 3

 

Grandfather, don't you know me?

Can I stop being an Indian now?

 

   Actor 4

 

There are others that want to be Indian,

And if they can start from nothing,

 

   Actor 5

 

I should be able to stop from something.

Grandfather, don't you know me? 

 

   Actor 6

 

I am not like you.

I don't know what you know.

 

  Actor 7

 

It would be easy for me to hide behind what I don=t know.

No one would know the pain I feel,

 

   Actor 1

 

Or see the tears I cry for your Great Grandchildren

Grandfather, don't you know me? 

 

   Actor 2

 

 Look what I have done to our world.

Mother Earth is on her knees.

 

   Actor 3

 

The Snake and Owl rule the day.

I don't understand the language you speak Grandfather

 

   Actor 4

 

Grandfather, don't you know me?

 I want my Pepsi, Levi's and Porsche too.

 

   Actor 5

 

I want to go where the others go,

And see the things they see.

 

   Actor 6

 

I don't have time to dance in the old ways Grandfather.

 

   Actor 7

 

Grandfather, why are you crying?

 

   Actor 1,2, 3

 

Grandfather, why are you crying?

 

   Actor 4,5,6, 7

 

Grandfather, please stop crying

 

   Everyone

 

Grandfather, don't you know me?

  

 

SCRIPT TWO: WHY THE RIVERS HAVE BENDS (Chinook)
Adapted by Shannon Thunderbird.
(Two Actors)

 

R    Raven

 

"Ah, the day is beautiful, Father Sky is a brilliant blue and I am flying about without a care in the world. "

 

M   Mink

 

[enters, sniffing along the ground] "I am hungry, and very tired from following the river.  Why does it have to bend and curve so much. I am tired." [continues to grumble]

 

 

 

[Mink looks up and sees Raven]

 

M   Mink

 

[crossly]  :Ah Raven, it is you.  Did you do this to the rivers?"

 

R   Raven

 

[happily] "Indeed I did, my friend.  As I fly overhead I have such a beautiful and restful view of the rivers flowing gently through the Mountains.  You should see it from where I am, Mink."   

 

M   Mink

 

[really mad] "What a ridiculous thing to say, Raven.  Do you see any wings on me?  Did Mother Earth even think to give me wings in the first place?"

 

R   Raven

 

[carelessly]  "Oh yes. I see. Well, to each his own."

 

M   Mink

 

"The rivers need to be straight and then it will be easier for me to follow the banks to find succulent frogs for my meal. Now that I am walking twice the distance, I am often too pooped to eat them and that makes me hungry and very cross. This is not a good way to live." [Start arguing with one another]

 

R   Raven

 

"Well, Mink.  I guess we will have to call a council of the animals to resolve this dispute."

 

 

 

[3-5 other actors, dressed in black in miming different animals]

 

R  Raven

 

"Ah, Eagle, hawk it is good you are here.  I need your loud voices to help me win the argument."

 

M  Mink

 

"We are meeting hear today to discuss where or not rivers should have their bends removed.  I, for one....."

 

 

 

[He is interrupted by the loud voices of Raven, Eagle and Hawk, all talking at once.

 

 

 

[voices on both sides are heard making their arguments. Mink, finally throws up his paws and meanders away]

 

R   Raven

 

[Chuckles gleefully] "Sometimes it is good to be loud. My friends, we have won the day and from now the rivers will have bends from the mountains to the shore."

 

 

SCRIPT THREE: the women in the moon (Mohawk)
Adapted by Shannon Thunderbird
(2 Actors)
 

 

Husband

 

[Enters carrying a rabbit] "Wife, I have brought you a fresh rabbit.  Prepare it for my supper.  I will return shortly."  [exits]

 

Wife

 

"I shall go to the river for some water in which to cook this beautiful rabbit."

 

 

 

[Wife goes to river. Looks in and catches her reflection.  She proceeds to preen and stare at herself, murmuring words and phrases, such as "I am beautiful", "No one is as beautiful as I."  She pulls a comb from her pocket, sits by the river combing her hair and dreaming.

 

 

 

[lights dim] [Husband returns home]

 

Husband

 

"It is late, and the world is in darkness. Only the pale Moon lights my way. There is no fire. Where is my wife that she has not cooked my meal."

 

 

 

[Enter wife, dreamily]

 

Husband

 

"Wife, you have not cooked my dinner."

 

Wife

 

"I am sorry my husband, but my attention was elsewhere and I did not realize that so much time had passed."

 

Husband

 

[grumbles] "I forgive you, because you are young and do not know all of the ways of being a good wife. I have brought you a brace of squirrels. Prepare them for my meal tomorrow. I will not be so tolerant again if you fail to do as I bid."

 

 

 

[lights fade] [lights come up and it is the next day]

 

Wife

 

"I shall go the river for water to cook  the squirrels."

 

 

 

[Again she catches sight of herself, sighs, sits down and proceeds to comb her hair.] [lights dim]

 

 

 

[lights] [husband returns]

 

Husband

 

[very angry]  "It is late, and the world is in darkness. There is no fire. Where is my wife that she has not cooked my meal."

 

 

 

[wife enters, looking very sheepish]

 

Wife

 

"I am sorry my husband, I do not know what happened to the day."

 

Husband

 

[sighs, takes her in his arms]  "You are so beautiful my wife, that I cannot help myself but forgive you. But this is the last time for I am as proud Mohawk man and do not like being jeered and laughed at by the others for your failure to be a good wife."

 

Wife

 

"I will not fail you, husband." 

 

 

 

[husband exits] [lights fade] [lights come up, it is the next day]

 

 

 

 [Husband returns to discover his wife playing in the water, combing her hair, washing her feet, and just having a wonderful time].

 

Husband

 

"It is late, and the world is in darkness.  There is no fire. Wife! You have disobeyed me for the last time. I will teach you a lesson you will not soon forget."

 

 

 

[Husband grabs her and gives her a kick and she spins away.  He chases her and grabs the sash of her dress. She spins out of it and keeps spinning until she lands on the moon]

 

 

 

[Fade to back] [Lights come up husband is sitting on the ground look at the face of the moon]

 

Husband

 

[sighs heavily] "Ah my wife, no longer can I hold you in my arms. I can only live to see your face once every full moon." [sighs again] "What could I do my wife, you would not prepare my meals for me, and now you are destined to remain forever beautiful, cold and barren."

 

 

 

[Moon smiles] [fade to black]

 

 

SCRIPT FOUR:  SHADOW AND PARROT
Adapted by Shannon Thunderbird
(4 Actors)
  

 

Owl

 

[Speaking to Cricket] "Long, ago before humans existed all other Beings lived together in complete harmony. Each morning Grandfather Sun would wake and walk leisurely across Father Sky. By the end of the day he would fall asleep and the world would be in darkness, lit only by the light of his mate Grandmother Moon. Although most of our animal friends  worked during the day and slept at night, there were some of us who lived our lives in reverse, workinG."

 

Cricket

 

"I, cricket, am another such creature. I can be heard chirping and singing all night keeping the other nocturnal animals company, until by day light I am too exhausted to continue my songs.” [Yawns]  "Most of our animal friends sleep during the darkness of night, waking from their dreams in the early morning light. Although there is one really scary Being.

 

Cricket and Owl

 

[shudder in fear and say together]  "Shadow!"

 

Owl

 

"He is a tricky character and hard to get to know because he doesn't have a voice, and the colour of his skin is so dark it can't be seen at night."

 

Cricket

 

[shaking on fear] "Have you noticed that during the day he relies on very bright light to make him visible? In bright sunlight he constantly follows behind the other Beings completely unnerving them."

 

Owl

 

"Yeah, I know. Nowadays they call it stalking!"

 

Shadow

 

"I am so lonely. I do not understand why the Others will not talk to me. Groundhog is so frightened of me that he cowers in his den until he is sure it is dark enough outside that I cannot be seen.I am very depressed. Why do they not hear me? [looks around, walks up to Owl and yells in his ear] "I am right beside you, why can't you hear me. I am really friendly?" 

 

 

 

[Owl ignores him as he cannot hear him]

 

Shadow

 

[clutches his throat] "Oh my. My words cannot be heard. They really can't hear me!" [sinks to his knees] "Help me, oh help me. How can I tell the others than I am not their enemy, but their friend?  I am so depressed. I am just going to go away and sleep and sleep." [lies down]

 

Cricket

 

"Have you noticed that the world is getting hotter?  Even at night?"

 

Owl

 

"Yes." [pants] "The water beds are dried up because there is no protection from the hot sun. What will we do, What will we do?"

 

Cricket

 

"I am growing weaker and weaker."

 

 

 

[Cricket and Owl sink to the ground in a faint]

 

Raven

 

"I'm feeling really sorry for Shadow because he is so sad. How can I cheer her up? I know...I’m going to colour my beak with the brightest shades I can find." [starts looking around for colours and then starts working on his beak]. "Uh-oh, there's not enough room on my beak to put all the colours." [snaps his fingers] "I know, I will put the colours all over my body." [Raven starts to cover himself with bright coloured ribbons, scarves and other bright colours. Surveys himself in a river, and struts about]  "Well, I rather like my new look. Ya know? I'm thinking I'll rename myself Parrot.

 

 

 

[Raven cocks his head as if listening to someone]

 

Raven

 

"Yes. Yes, Mother Earth I hear you. I cannot remain like this forever so you are changing my name to Parrot, and you are what?....." [listens again, raises his voice] "You are giving me a very loud voice so I can speak for Shadow.....well, how will I know what Shadow is saying?" [pauses and listens again]. "Oh, I see, you will give me the special gift of being able to repeat whatever I hear. Therefore I will be able to relay Shadow's messages. Cool."

 

 

 

[Shadow wakes up.  Parrot struts over to him]

 

Parrot (Raven)

 

"Good morning, my friend. You have been sleeping a long time.  Is there anything you wish to tell me?"

 

 

 

[Shadow falls back in amazement]

 

Shadow

 

"Y-Y-You can hear me?  Y-Y-you can hear my words?"

 

Parrot (Raven)

 

[Pretending to be cross] "I have always been able to hear you. You’ve just never talked to me. I will tell the others what you want them to know."

 

 

 

[Parrot gestures to Owl and Cricket to come closer which they do with a little trepidation at the sight of Shadow]

 

Shadow (Raven)

 

"Tell them, that when one of the Standing People, the trees, casts a big shadow." [PARROT REPEATS LINE]  "it is my gift to the Animals to keep them cool from the hot rays of the sun. [PARROT REPEATS LINE]. "Tell them that I need to follow them around so that they will be reminded that they are real and sacred creatures to Mother Earth." [PARROT REPEATS LINE]

 

 

 

[the animals understand and keep trying to turn around to talk to their shadows. fade to black]

 

 

 

 

 

 

SCRIPT Five:  apache tears
Adapted by Shannon Thunderbird
(4 Actors as Elders)
  
[Males voices accompanied by drums heard singing quietly off stage]
 

 

ELDER 3

It has been a long time since our people had fresh meat. [EVERYONE AGREES]

 

ELDER 1

 

 

Siters, the voices of our Men sound well.  I am reminded of a story my Grandmother told me many moons ago.  Our men raided a white settlement. Do you remember?

 

ELDER 2

 

 

It was so long ago, but I also remember the story.  Our Warriors stole a few cattle so that our starving people could be fed.

 

ELDER 3

 

 

The military soldiers and some volunteers trailed the tracks of the stolen cattle and found our men.  They attacked at dawn.

 

ELDER 4

 

Our warriors thought that they were safe and were surprised by them.

 

ELDER 1

 

My Grandfather was lost when nearly fifty of the seventy-five warriors were killed  with the first shots from the soldiers rifles.

 

ELDER 2

 

The other Warriors ran to the cliff.

 

ELDER 3

 

My Grandfather was lost when he chose to leap over the edge of the cliff rather than die at the hands of the soldiers. It was an honourable way to Great Spirit.

 

ELDER 4

 

Ay-ee, the women ran to the base of the cliff.  The sand was so white, and there was a full moon. My Grandmother told me that even the soldiers were shocked at the sacrifice our Warriors made.

 

ELDER 1

 

The soldiers do not understand our ways.  We are proud people we cannot be caged. They only tried to save us from starvation. The women wept and wept, and that night the great fighting spirit of the Pinal Apache people was lost.

 

ELDER 2

 

My Grandmother and her sister came back many moons later and climbed up the treacherous face of the cliff.

 

ELDER 3

 

Our Ancestors were not buried in the Apache way for it was to difficult to get to them, so the skeletons lay scattered where they had fallen. Some of the bleached bones of the men were also wedged into the crevices of the cliff.

 

ELDER 4

 

Ah my Sisters. But was there not a great, great miracle?

 

ELDER 1

 

Yes. The Great Spirit took pity on the sorrow of the women.

 

ELDER 2

 

Great Spirit embedded into black stones the tears of the Apache women who mourned their dead.

 

ELDER 3

 

[holds up stone] Black Obsidian stones, when held toward Grandfather Sun, reveal a clear tear drop of our Apache Ancestors.

 

ELDER 4

 

It is said that whoever owns an Apache tear will never cry again. For our Ancestors shed their tears for them.

 

ELDER 1

 

The stones bring good luck to those who have them.

 

ELDER 2

 

Most importantly, Sisters, the stone brings into the light all sadness and fear and lets them fade away in the sun. 

 

ELDER 3

 

Yes, I was also taught that the light dissolves and purifies sad thoughts.

 

ELDER 4

 

Ah but it was a sad thing done to our people for us to learn this lesson. Listen, Sister can you hear them? The voices of our Men sound well.

 

 

 

 

REGINA, SASK.

   

MOOSENEE,
JAMES BAY

NORTHERN ONTARIO

JAPAN

 

OTTAWA

 

 

 

 

 

 

 

 

INDIGENOUS MUSIC & DANCE   

 WHY DO WE SING AND DRUM? 

The song : "Mothers"  by Thunderbird

  • Let's sing because we are so linked with Mother Earth that our voices are an expression of this connection.

  • Let's sing because Rhythm, Melody and Harmony pleases the Ancestors.

  • Let's sing in two ways: a vocable manner and a combination of language and vocable.

  • Let's sing because music conforms to dance moves which explains the liberal use of vocables such as way-ya, ay-ya, hey-h, hey-yo.

  • Let's sing because our music arises from the centre of self-preservation rather than of self-consciousness.

  • Let's sing because we need to accomplish a specific result; in tandem with Nature when it is beyond our power to achieve a result. Hence songs for certain seasons, ancestors, honour the chief or warrior, heal the sick, pray for rain and good hunting were mainstays within tribal cultures.

  • Let's sing according to impulse and emotions

  • Let's sing because rhythm has always been in the consciousness of humans, in the throb of the pulse, the break of the waves, the hoof beats of animals, falling rain.

  • Let's sing because all life is rhythmic. Melody is a succession of sounds of different pitch - the laughter of children, the call of birds, the cry of animals, and the wind -- a melody of nature.

  • Let's sing from the depths of our emotional responses; our songs become the cry of the heart, and the transfiguration of the spoken word.

  • Let's sing in harmony because it is a combination of different sounds, the blending blurring overtones of nature that melt many songs into one.

  • Let's sing  because rhythm, melody and harmony evolved into music; it is the unfolding of our comprehension of the universe, the very essence of life.

  • Let's sing because it a natural reflex of the soul’s impressions, and song, the language that expresses thoughts, emotions, and aspirations which are not able to be expressed in a less spiritual form.

  • Let's sing because this is simply the way of it.....all my relations.

DESCRIPTION OF POWWOW MUSIC 

 

 

 

  NATIVE WOMEN'S 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)

 

 

 

  DIFFERENT TYPES OF TRIBAL MUSIC 

General Note: Indigenous Music and dance are inseparable.  Most singing is functionally employed to accompany dancing; in later years some of the music has become more stand alone, but movement is never far away. Most singing was community based, there were some solo parts, usually the first line of each round of a song, but not long solos. Indigenous communities followed the traditions of the great circle where all things were connected and that included vocals.

NORTHWEST COAST. Usually slow in tempo and accompanied by a 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 Potlatch. There were no professionals, but music was taught and then rehearsed, and those who made musical errors were punished, usually through shaming. 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!

HAUDENAUSAUNNE:  Have both ritual and social music. Ritual music like all Indigenous music honours and respects the culture past, present and future; it honours the Earth, Creator, Ancestors.  Social music that 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: 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 Respone songs are also prevalent. What is wonderful about this music is that traditional sounds are insisted upon and European influences are not allowed.

ANISHINABE: 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 Indigenouse culture, music was and is vital to the cultural ground of Anishinabe 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 strongs and good singers are held in high esteem.

PLAINS - distinguished by a nasal sound with high-pitched  and frequent falsettos. 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 OF THE DRUM 

 

 

 

   Shaman.gif - (13K)     Dance_3.gif - (9K)      

 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 in 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 flying beings, the swimming and crawling beings by copying their movements for we recognize they are far stronger than we are and we respect that.

  • 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, glow 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.

  • Let's dance because this is simply the way of it....all my relations.

DESCRIPTION OF POWWOW DANCES  fire

 

 

 

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

 

 

HOME PAGE

 

Return to Indigenous Culture Main Page

 fire
VOICE@SHANNONTHUNDERBIRD.COM

Note to Gentle Readers: Due to the almost mythical number of SPAM emails  (average: 8,000/mo),  anti-spam software has been installed - be patient and answer the question from IPermitmail; Thunderbird looks forward to hearing from you. 

Click Disco Ball to go to Testimonial Page

TOP