Magic & Wisdom of the Indigenous Oral Narrative
ART OF INDIGENOUS STORYTELLING,
MUSIC, THEATRE, DANCE
MYTH OR LORE?
Indigenous narratives defy simple classification. ‘Myth’ seems to be a popular category, but it is incorrect. Myth, by definition means the stories are not real because they refer to fictitious themes that include imaginary persons or things that were spoken of as though they existed. Indigenous story themes did exist and in real time, albeit sometimes in an altered or supernatural state. If labels are to be applied ‘Lore’ is probably closer because it invokes a teaching, or the act of being taught by someone who has knowledge of a particular subject of a traditional nature. Please lose the preface “FOLK”. We are talking about a noble people whose rich, passionate, “stand alone” history, culture and social organizations are grounded in a set of deep knowledge and values! |
A SINGLE DEITY OR SUPREME BEING?
Unlike the Christian concept of a single, male God responsible for the creation of the world, Indigenous people, as a general rule, did not believe in a single supreme, autonomous, and eternal being who was all-powerful and established the conditions under which all living beings would live. This idea was imposed after the arrival of the missionaries. To believe this was to disbelieve that the secular and supernatural worlds were inter-connected cohesive spheres of activity in which all living beings played an equal role. To the Tsimshian, for example, there are no Creation stories per se because it was assumed the world was always there. AS noted above, there is a myriad of Raven stories that speak to his talent for organizing the world. For many tribes, there was no supreme puppeteer directing the action; each living being had its own gifts and talents, and as long as everyone knew their place and did their job, the world hummed in unison for another day. In other words, Indigenous people did not see themselves as superior to the rest of the natural world – everyone was thought of as equal, intelligent, self-directed and able to communicate their gifts and talents for the greater good of the whole. Such kinship, respect, dignity, celebration and honour was accorded to all because it was believed everyone came from a common beginning. This is why we usually end with the words “all my relations”. “We must broaden our way of thinking so that it recognizes the world as one human family, We are all children of one blood. It can be no other way, for there is a central source of humanity where all living beings were created.” (Gandoox, Tsimshian Elder, my Mom). In post-European contact some tribes, under the pressure of Christian dogmatism, conceded a “God position” and a A Creator/Great Spirit figure was adopted. An important distinction is the fact that the Indigenous version was NON-GENDERED. It was a powerful deity made up of equal parts female and male. Over time, unfortunately, Indigenous people became lazy and simply started referring to this entity as ‘he’ instead of Creator or, Great Spirit. It’s a shame and wrong as it buys into the whole male domination scenario. |
MORE THEMES AND CATEGORIES
Many stories tell the origin of the Sun, Moon and Stars. There is usually a tension between the heavenly bodies; e.g., the cool moon by night is said to be necessary to counteract the burning of the Earth and the killing of people by the heat of the sun in the day. An Inuit story tells of the sun and moon as brother and sister, but since they have engaged in incest in their human lives they are doomed to eternal separation. Another humorous telling, has Grandfather Sun and Grandmother Moon in perfect harmony with each other for the simple reason that they never see each other – ah! a lasting relationship!
|
PACIFIC NORTHWEST COAST
Speeches/Stories were a crucial part of Yaawk (Feast) ceremonies. (‘Potlatch’ is the commonly used term, but I don’t use it because it is a hybrid word that came from the Chinook trading language, meaning “to give”). 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. 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 intounderstanding 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 weighty 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. A Raven dancer for example, could be wearing a mask with a four foot beak – powerful physiques, neck and shoulder muscles were a definite must! |
INDIGENOUS THEATRE, ORAL NARRATIVE, MUSIC, DANCE
“You can cage the singer, but not the song….Songs reach deep in the moments Stories range from lamentations of pain and despair 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 has brought forward rich histories to the present day, I think it can be successfully argued that the modern day MUSICAL found some of its roots in Indigenous theatrical presentations. After all, they contained all the components for a magical time. A really good Story, Music, Vocals, Dance, 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. 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 Indigenous youth to their rich history. Even better when they find the courage to perform the stories themselves on hand or big drums. |
We dance because this is simply the way of it…. |
ABOUT THE ORAL NARRATIVE: AN OVERVIEW
As Father Sky continued to turn (meaning as the years went by) more and more technology has entered our lives and my role as a keeper of sacred knowledge began to fade. It all started “back in the day” with the invention of the printing press which started the erosion of the oral narrative. The stories became words in books, but the subtle nuances, understandings and knowledge were lost. They became ‘stand alone’ narratives and the connections to the culture from which they originated was irretrievably severed. Moreover, the Internet has shrunk the planet even more and people can move around wherever they desire even to the most remote places with the simple click of a mouse. It seems that this encroachment into unfamiliar territory includes collecting and retelling cultural histories without a real understanding of the culture from which the narratives come. And….we no longer have the patience to sit quietly and listen to the truth. Unfortunately, today the modern teller is seen merely as an entertainer primarily for children, who works for very little (expectation usually being no payment) and simply recites words. A far cry from the once important person who had professional status in the community. As a chronicler of Indigenous culture, I am reclaiming the honour and professionalism as a cultural guardian charged with the responsibility of being a powerful voice of change within the modern world. This vital aspect risks being lost in the mists of time as the world speeds up and our attention spans wane. The true role of the Narrator is to teach about our cultures cultures, morals, spirituality, laws, and social values, that govern a community. Using the Oral Narrative as the forum, knowledge, values and beliefs are passed to future generations. Wilwilaaysk, All My Relations. |