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

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!

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

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)  

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

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

REGINA, SASK.

MOOSENEE,
JAMES BAY

NORTHERN ONTARIO

JAPAN

OTTAWA