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Dominican Scholar Dominican Scholar
Senior Theses Student Scholarship
12-2016
The We In Me: Exploring the Interconnection of Indigenous Dance, The We In Me: Exploring the Interconnection of Indigenous Dance,
Identity and Spirituality Identity and Spirituality
Sara Moncada Dominican University of California
https://doi.org/10.33015/dominican.edu/2016.HCS.ST.03
Survey: Let us know how this paper benefits you.
Recommended Citation Moncada, Sara, "The We In Me: Exploring the Interconnection of Indigenous Dance, Identity and Spirituality" (2016). Senior Theses. 59. https://doi.org/10.33015/dominican.edu/2016.HCS.ST.03
This Senior Thesis is brought to you for free and open access by the Student Scholarship at Dominican Scholar. It has been accepted for inclusion in Senior Theses by an authorized administrator of Dominican Scholar. For more information, please contact [email protected].
i
TheWeInMe:
ExploringtheInterconnectionofIndigenousDance,IdentityandSpirituality
by
SaraMoncada
Aculminatingcapstoneprojectsubmittedtothefacultyof
DominicanUniversityofCaliforniainpartialfulfillmentoftherequirementsofthe
BachelorofArtsHumanitiesandCulturalStudies
SanRafael,CA
December,2017
ii
Thisthesis,writtenunderthedirectionofthecandidate’sthesisadvisorandapprovedbythedepartmentchair,hasbeenpresentedtoandacceptedbytheDepartmentofHumanitiesandCulturalStudies,Religion,Philosophy,inpartialfulfillmentoftherequirementsforthedegreeoftheBachelorofArtsinHumanitiesandCulturalStudies.Thecontentandresearchmethodologiespresentedinthisworkrepresenttheworkofthecandidatealone.
SaraMoncada 12/11/16CandidateChaseClow,Ph.D. 12/11/16DepartmentChairGayLynch,Ph.D. 12/11/16ThesisAdvisor
iii
Copyright©2016,bySaraMoncada
AllRightsReserved.
iv
ListofFigures
Fig.1:PhotocreditEvaKolenko(2008)bypermission.
DancerEddieMadril,PasquaYaqui.HoopDanceFig.2:PhotocreditKathyDouglas(2014)bypermission.
DancerAnecitaHernandez,Diné.FancyShawl/ButterflyDanceFig.3:PhotocreditRJMuna,WorldArtsWest(2009)bypermission.
DancerMarcosMadril,PasquaYaqui.Men’sNorthernTraditionalFig.4:PhotocreditCorinneOestreich(2015)bypermission.
DancerSaraMoncada,Yaqui.Women’sNorthernTraditionalFig.5:PhotocreditCorinneOesterich(2015)bypermission.
DancerSaraMoncadawithdaughterEllieCruz.
v
Abstract
An extensive amount of scholarship exists today on Native American and Indigenous
peoplewithintherealmofmusicanddanceethnography.Overthecenturiesresearch
and observations have used these stunning and profound creative expressions as a
meansbywhichtodocumentandtheorizeaboutthepeople,theirhistories,traditions,
and ways of being. However, a tremendous amount of this scholarship is developed
fromspecificformsandstylesofexpression,resultinginakindofseparationthatarises
from examining an individual dance or song tradition as a stand-alone inquiry. By
dislocating individual forms from the overarching whole, we limit our scope and the
ability tounderstanddanceasmore thansharingstoriesor recountinghistory. In this
paperwewillattempttoexperiencethesetraditionsthroughthemoreholisticscopeof
livedexperience,asameans forconsideringa largernarrativeofdance inNative life.
We will explore the intrinsic role of dance as it relates to spiritual expression and
culturalidentity,asavehicleforculturalrevitalization,andasaplacefordiscourseand
transformation–danceaslife.
vi
ClarificationofTerms
For the sake of clarity, throughout this paper I will use the following terms
interchangeably to describe the people: Indian, American Indian, Native American,
Native,andIndigenous.TribeandNationwillalsobeusedinterchangeably.Whileeach
termhasbeenusedover thecenturies tocategorizeanddescribe the firstpeoplesof
NorthAmericaforvariouspurposesandalsoinrelationshiptochangingeras,itshould
benotedthat thesedescriptorsareall ina language foreignto the indigenousgroups
theyareattemptingtodescribe.Theyaredescriptors thatcannothonor the immense
diversity of the currently 562 federally recognized (United States) tribes that contain
over50distinctlanguagefamilies,culturaltraditionsandworldviews.
vii
Formydaughter…dancewithallofyourbeing…
1
"WhenIamdancing,Iambeing,Iamcreating,Iamgiving,Iamconnecting.
Ihavecomeintoeverydimensionoflife.
Idancetotheheartbeatofthedrum,oftheearth,ofusall–
andindeepreverenceIdanceformyancestors,
forthosewhocannotdanceanylonger,
forthecommunityand
forthechildrenwhowilldanceourstoriesintothefuture."
~EddieMadril,PascuaYaqui
Aroundtheworld,songanddancearedeeplyembeddedwithinthecultureand
lifewaysofIndigenouspeoples.FromtheMaoriHakainNewZealand,totheMongolian
Biyelgee,andthemyriadtraditionsoftheIndigenouspeoplesofNorth,Centraland
SouthAmerica-songanddanceareintegralpartsofIndigenouslifearoundtheglobe.
Therearesongsanddancesforeveryoccasionthatreflectbeyondthebeautyofthe
presentationitself,holdingtheknowledgeofsocialcustom,spirituality,histories,
celebration,andhealing.Songanddanceholdwithintheirformsandmovementsthe
storiesofthepeople,thecreationoftheworldsandtherelationshipsthatare
expressedwithintheinterconnectednessofalllife.
Tobeasingerandadancermeanstorecognizeone’sroleasaknowledgeholder
-asacredstoryteller-holdingwithinthesongandmovementthepatternsofhowlife
worksandreflectingbacktothecommunitywhatitmeanstostandamongstthe
people,relatetothenaturalworld,andtraverselife’sjourney.ForIndigenouspeople,
2
dancebecomesmorethanexpressingemotionorrecountinghistory;itisitselfaformof
knowledgeandbeing,aplaceforvoice,discourseandtransformation.
ForasmanyIndigenousandNativetribalgroupsthatexistaroundtheworld,
therearesimilarlythousandsofformsofritualandexpressionthatreflecttheamazing
diversityofculturesandthecomplexrelationshipseachgrouphastosonganddance.In
acknowledgingthepowerandbeautythatliewithineachoftheserichtraditions,I
recognizetheHerculeantaskthatliesinexploringtheserelationshipsonsuchalarge
scale.Therefore,forthisparticularproject,wewillengagemorespecificallywithinthe
circleofNativeAmerican/AmericanIndiandance,culturalidentityandspirituality,while
holdingastruththatNativeandIndigenouspeopletheworldovershare,inequaldepth
andmeaning,similarrelationshipswithmusicandmovement.
Thereisakindofseparationthatcanariseasaresultofexamininganindividual
danceorsongtraditionasastand-aloneinquiry.Similartothedifficultyfoundintrying
toputtowordssomethingthatisexperiencedinternally,thereisaspacecreated,atype
ofvoidthatisbroughtintobeingastheshiftoccursfromonelanguagetoanother,
whendanceandsongaredescribedratherthanlived.Inthisproject,wewillattemptto
experiencethesetraditionsthroughthemoreholisticscopeoflivedexperience,asa
meansforconsideringalargernarrativeofdanceinNativelife.Wewillexplorethe
intrinsicroleofdanceasitrelatestospiritualexpressionandculturalidentitywithin
Nativepeoples,andexploresonganddanceasavehicleforculturalrevitalization,public
educationandcommunityhealing.
3
Fig.3.dancerMarcosMadril
4
“TheGhostDancehasneverended,
ithascontinued,andthepeoplehaveneverstoppeddancing;
theymaycallitbyothernames,butwhentheydance,
theirheartsarereunitedwiththespiritsofbelovedancestors…”
~LeslieMarmonSilko,AlmanacoftheDead
AnextensiveamountofscholarshiponNativeAmericanpeopleexistswithinthe
realmofmusicanddanceethnography.UponthearrivalofEuropeansettlers,an
accompanyingwaveofstudyensuedthatstrivedtodocumentandstudythepractices
oftheIndigenouspeoplesintheAmericas.Visuallystunningandsomewhataccessible
culturalpractices,musicanddanceobservationsbecameacompellingwaytodocument
andtheorizeabouttheNativepopulation.Insodoing,mostresearchandobservations
focusedontriballyspecificformsandstylesasameansbywhich“tosummarizeand
categorizethepeople”(Shorter173).
ItisimportanttonotethattheseearlyethnologicalstudiesofNativeAmerican
peoplesandcustomswerenotnecessarilyconductedbyacademics,butrather,by
governmentrepresentativesorappointees.Inadditiontodocumentation,theirpurpose
wastoidentifyculturalandpoliticalideologiesthatlaycountertotheemergingwestern
structuresasawayofidentifyingthe“otherness”oftheNativepopulation.“Acquisition
ofIndianlandswasinthiswayanactive,ifnotalwaysovertlyacknowledgedaspectof
5
Indianpolicy.Forexample,oneeffectofimplementingtheseassimilationtactics…
removingthemfromhomelands,forbiddingthemtospeaktheirautochthonous
languages…thiswasthedepopulatingofIndianlandforwhitesettlement”(Murphy30).
Thisisvitaltounderstandingtheinherentchallengesthatlayatthefoundation
ofexploringIndigenousdanceandmusicscholarship,asthebodyofworkthatwas
developedfromtheseencountersinformsandinfluencescontemporaryscholarship
today.Fromapproximately1850throughthe1920’s,theseworkscarryawesternsocio-
politicallensthroughwhichweexperiencethedancetraditionsoftheIndigenous
populations;theundercurrentofsettlementandcolonizationsetsatonethatbecomes
analmostimpermeablebarriertoconnectingwithunbiasedanalysisofmanytraditional
practicesandlifeways.In1884,theCommissionerofIndianAffairs(CIA)intheReportof
AgentsinIndianTerritorynotesvariousopinionsonthecontinuousnatureofdanceand
song:“Theymakemedicineseveraltimesduringtheseason,whichoccupiesseveral
monthsoftheirvaluelesstime,”theagentwrites,“somedanceuntiltheydropfrom
sheerexhaustion…theirenduranceisworthyofabettercause.”(qtd.inMurphy276).
Similarly,HenryTeller,SecretaryoftheInteriorin1882,conveysanatmosphereof
contentionwithinwhichtheaimofabolishingdanceritesandcustomsbecomes
prevalentinthenarrativeofdocumentation.Hewrites,“Iregardasagreathindranceto
thecivilizationoftheIndian,viz,thecontinuanceoftheoldheathenishdances,suchas
thesun-dance,scalp-dance&c.Thesefeastsordancesarenotsocialgatheringsforthe
amusementofthesepeople,butonthecontrary,areintendedandcalculatedto
stimulatethewarlikepassionsoftheyoungandtribe”(Murphy37).
6
Suchanarrative,asnotedbyTaraBownerinHeartbeatofthePeople,inhibits
thepossibilityofgleaningdeeperunderstandingoftraditionaldanceandmusic
experiencesfromthesematerials.Thelargeamountofdocumentationthatwas
capturedduringthistimeisavaluableandusefularchivethatcontainsastronghistory
oftheseculturalpractices.However,theintrinsicvalueofdancetothecommunityasa
wholeislostintheundercurrentofmarginalizedrhetoric.“Itisimpossibletoescapethe
legacy”Brownernotes,“Nomatterwhatthetheoreticalandracialbiasesofthese
researches,theirfieldrecordingsconstitutealegacythatsurvivedalmostfiftyyearsof
government-sponsoredsuppressionofcultureandreligion.Theirwritings,although
oftenuseful,constituteamixedinheritance,partfactualblessingandparttheoretical
curse”(4).
“Eachoneofuscarriestheloveofthousands,
thosewhostandbehindus,ourancestorswhoguideusintheirhearts
andcarryusintoourfuture…”
~RowenWhite,Mohawk
TowriteaboutthecomplexroleofsonganddanceintheIndigenousworldview
is,inpart,totrytoputintowordssomethingthatcannotbeeasilydefined.Inparticular,
therearemanywaysofapproachingtherealmofdance:asalanguageofmovement,as
7
storytelling,andasindividualexplorationsofcreativeexpression.Withineachofthese
descriptionsliesaworldoftruthinthecreativearts;howeverwithinthecontextof
NativeAmericanculture,dancecarrieswithinitsomethingmorefirmlyrootedinour
humannature-danceisanawarenessofbeing,itislife.
Ashumanbeingswearemovedtoexpressourselvesinphysicalmovement,in
responsetobothourinnerandouterworldsanddancebecomesareflectionofour
existenceintimeandspace.“Intheperformanceofsuchbodilymovements,
transformationhappens.Healinghappens.Prayersareanswered.Fearscalmed.Spirits
appeased.Insightsrevealed.Conflictsresolved.Inshort,ritualsappeartothosewho
performthemasnecessaryforlife…”(LaMothe156).Danceisauniqueaspectof
culturallifeasexpressedinceremony,ritual,andcelebrationthatispasseddownfrom
onegenerationtoanotherinNativetradition.Todanceistocarrymorethanaloveof
movementandself-expression;itistobeknowledgeableaboutthestoriesofcreation,
ofancestralheroes,andtheinterconnectionofthepeople–inotherwords,dancersare
knowledgeholdersoflanguage,cultureandtradition.
WithinNativeworldviews,dancebecomesanavenuethroughwhichweexplore
ourconceptsofstory,history,andthenaturalworld.Thedanceworkcarriesa
substantialrolewithinthelivingtraditionasanexplorationofouressence,expanding
andcontracting.AsJacquelineSheaMurphydescribes,dancework“investigatesour
waysofliving,familialandtribalconnections,processes,dedicationandintentionswith
whichthedanceismade”andpresented(7).
8
Thedancebecomestheembodimentoflifethatisnotdisconnectedfromday-
to-daylivingpractices.Dance,atitscore,shares.Thedancerbecomesastoryteller,
holdingwithinthefluctuationsofmovement-shiftsinthehead,eyes,handsandsteps-
theinterwovendynamicofthepeopleandthenaturalworldwithinwhichthepeople
live.Amongtheselifeways,dancebecomesadeliveryoflivingcustomsandnative
science;ittransmitscollectiveknowledge,wheretoplantandharvest,howtoproperly
honorthelifeofananimalthathasgivenitselftosustainthepeople,theperilsof
misconduct,thelanguageofthelandscape,storiesofhowtheriverrunsineachseason,
andrelationshipstocelestialnavigation.Danceisembeddedineverystageoflife-from
birth,tochild,toadolescence,toadult,toelderanddeath–andinitsritualof
celebrationinconjunctionwithceremony,dancecanbeseenasanexpressionoflife.
Thisawarenessofdanceattheheartoftraditionallifepermeateseveryaspectofthe
community,asitisrootedinthebeginningsofthepeople.
Asaculture,theNativeworldisclassifiedamongstscholarsasoral-based
societies,thosewhohavereliedontheoraltransmissionofhistories,stories,andother
knowledgetosustainculturesandidentitiesandmaintainahistoricalrecordof
communities.Withinsomeoftheoldestoraltraditionswebegintoseetheemergence
ofdancemovementinconnectingthepeopletotheverybeginningsoflife.
OneexampleofthismaybefoundintheoralhistoriesoftheOjbweNation,
originallyfromtheGreatLakesRegionofNorthAmerica.Thefollowingexcerptisfrom
anoriginstorysharedbyanAnishnaabegman,describinginhisvoicehowdancecame
tobefoundatthebeginningsoffirsthumanlife:
9
Toexplain[that]dance,youhavetogobacktothebeginningoftimeofthe
Anishnaabegpeople.OureldersteachusthatwhentheCreatormadethe
universe,afterhemadeMotherEarthandafterhemadeallthingshere–all
theselivingthings–theytellusthathewantedsomeonehereonthisMother
Earthtoliveinharmonywiththesethingshecreated,totakecareofthemina
goodway.AndthatiswhentheysaythathecreatedtheAnishnaabegmanand
loweredhimdownontothisMotherEarth…WecallourselvesAnishnaabeg.And
thatmeansthefirstpeopleloweredontothisMotherEarth.Andashewasbeing
loweredhecouldseethebeautyinwherehewasgoing.Hecouldseetheforests
andtheriversandthevalleys.Allthesethingshewasseeingforthefirsttime.
AndashegotclosertothisMotherEarthhecouldseetheanimalsrunninginthe
woods.Hecouldseethebirdsflyingintheair,fishswimminginthewater,and
couldseeallthebeautifulplants.Andallthesethingshewasseeingforthefirst
timewasthingshewasgoingtotakecareof.AndhisfirststepsonthisMother
Earth–veryfirststeps–weresoftandgentle.Sosoftthathedidnotoffend…so
hewalkedgentlyandthatisthewaythattraditionalmendancetodayand
traditionalwomen.Theydanceinthatway….WhenAnishnaabegfirstcame
downthelivingthingsmadeapromisethattheywouldtakecareofus.Theytold
theCreatortheywouldgiveusfoodtoeat,clothestowear,thingstomakeour
homeswith.AndwestillkeepthatpromisethatwemadetotheCreator
thousandsofyearsago,tocare[fortheminreturn]…Whenwedance,wedance
inbuckskins.Ourbustlesaremadeofeaglefeathers,andourropesaremadeof
horsehair.Wecometogether.(Browner123-124)
InKeepersoftheEarth,JanetteArmstrongalsodiscussesOkanaganlifeina
similarmanner,asanexperienceofdeepacknowledgmentofourinterconnectednessto
thenaturalworld.“TheOkanaganteachesthatwearetinyandunknowledgeableinour
10
individualselves;itisthewhole-Earthpartofusthatcontainsimmenseknowledge”(6).
TheOkanaganreflectsahumanbeing’splaceincreation;remindsthepeoplethat
disconnectioncreatesdiscord.Thisexperienceofmeaning,wholeness,and
interconnectednessbeyondselfisarelationshipfoundatthecenterofNativespiritual
expression.
Theroleofthedancerintheexpressionoftheseprofoundrelationshipsis
essentialtothehealthofthecommunity.Dancersbecomeculturalbearersofthat
connectiontocreationandreflectbacktothecommunitytheembodimentofthe
relationshipwiththewhole.Theinterweavingoftheserelationshipsisan
acknowledgementofthediversityoflifebeyondtheindividualhumanexperienceand
thedancebecomesapowerfulreminderofthatconnectionineveryritualofprayeror
celebration.Thedeep-seatednatureofdancetoconnecttolife,landandpeople,isheld
inthestrengthtoexamineandexpressthoseinterconnections,aslifeitselfisreflected
intheactofdancing.Byitsverynature,danceisanactofcreation,and,assuch,isalso
anactoftogetherness.
11
Fig.1DancerEddieMadril
12
“Idanceforfamily,forprayer,andforkeepingsome
indigenousculturealiveinanever-changingworld.
Idanceasawayofbeing-andcarryingculturalpride.”
~MarcosMadril,PascuaYaqui
InordertoexploretheinterconnectionofIndigenousdance,identityand
spirituality,wemustask,atthebeginning,whatdoesitmeantobeNativeAmerican?To
beNativeAmericanintheUnitedStatestodayhasimplicationsbeyondcultureandrace,
asithasbothanexternalsocietyrelationshipandaninternalcommunityrelationship.
Fromoneperspective,beingNativeAmericancanmeangovernmentsupport,financial
supportfromtribalaffiliations,accesstolandrights,accesstofreehealthcarebenefits,
andaccesstoeducationfunds.Fromanotherviewpoint,beingNativeAmericantoday
canalsomeancurrenteducationdropoutratesoftwicethenationalaveragelinked
directlytosuicideratesamongNativeyouth,disproportionatelyhighratesofalcohol
andsubstanceabuse,mentalhealthissues,diabetesandobesity.Accordingtoarecent
USCensusReport,moreNativeAmericanfamilies(15.9%,morethandoublethenext
racialgroupat7%)livebelowthefederalpovertylineandhavethelowestmedian
earningscomparedtothenationalaverage(USCensus,2012).Thisdichotomous
experienceofexternalNativeidentity,withitsperceivedbenefitsanditsrealities,exist
onalargescalewithintheNativecommunityandcreatesakindofwesternsocietal
pressuretodefinitivelydefineNativeAmericanorIndian.Thesemorecontemporary
13
outsidepressureslayerontopofotheraspectsoftheidentityissue,suchasconnections
toancestry,culturaltradition,andculturalexpression.
Identityasksthequestions,“WhoamI?”and“WhowouldIliketobe?”This
drivesindividualstodeeplyinvestigatethemselvesthroughareviewofselfin
relationshiptointernalandexternalexperiences.AsnotedbyAndrewJolivetteand
SaraSutler-Cohen,thenotionofself“becomesvitalandisinherentlyconnectedtothe
imagination,tointerpretation,toexperienceandtoexpression–allofwhichis
constantlyshifting”(133).Formany,thequesttoselfbeginswithculturalidentity,
asking“WhoamI?”inrelationshiptomyfamily,myancestorsandmyculture.
Currently,theargumentsofdefiningAmericanIndianidentitycenteronthis
complicatedquestion–doesidentityoriginatefromgeneticsoraffiliation?Inthecase
ofIndianidentity,isitstatic(traditional)orcanitchange(contemporary)?Historically,
AmericanIndiansandnon-IndiansalikehavedefinedIndianidentitythroughvarious
aspectsofculture,law,andbiologyand,whilethethreeoverlapinspecificways,more
significantly,allhavetiestooutdatednineteenth-andearlytwentieth-centurytheories
ofrace(Archuleta1).Inotherwords,geneticsbecomes,onpaper,theidentifyingfactor.
Whatthismeansisthatthecommonthreadinthecurrentofficialrecordofexternal
identificationof“NativeAmerican”doesnottakeintoconsiderationpeople’slived
experiences,howtheyseethemselvesandhowtheycarrytheircultureforward.
“Ididn’tknow,”EddieMadril,PascuaYaquianddancer,reflectsinhispersonal
essay“BeingIndianfortheFirstTime”.“Thetruthis,Ididn’tknowwhatitmeanttobe
anIndianatthatyoungage.WasIsupposedtodosomething?Actacertainway?Dress
14
acertainlook?Intheend,itdidn’tmatter.IwasanIndian.Thatmademespecial,andI
wasadancer,thatmademyconnectiontotheNativecommunityaseriouslife
commitmenttomyselfandmyculture.”
AsNativeAmericancultureandlifemovesforwardintime,danceremainsaway
bywhichNativepeopleconnecttothelivingtraditionsoftheirheritage,grounding
theminacertainrespectoftheirnativeidentity.RulanTangen(Métis)isadancer,
choreographerandfounderoftheDancingEarthDanceCompany.Herworkvalues
movementasanexpressionofindigenousworldviewsanddanceasasacredritualfor
transformationandhealing.Shedescribesdanceasanenergeticconnectionwithall
formsoflifeandholdsthebeliefthat,“todanceistolive,toliveistodance.”In
IntertribalNativeAmericanMusicintheUnitedStates:ExperiencingMusic,Expressing
Culture,writtenbynativesinger,educatorandauthorJohn-CarlosPerea(Mescalero
Apache),Tangensharesherreflectionsondance,identity,communityandtradition:
Iinitiallywantedtodancefancyshawl[inpowwow],asashowcaseformy
physicalityandtechnicalskillthatIhadgrownthroughmyyearsofdance
training,butmygrandmotherGeraldinedeclaredthatIhadtoomuchofthat
crazycontemporaryinfluenceinmylife,andwantedmetodanceinthemost
ancientformofwomen’straditionaldance.So,withcharacteristicdetermination
IsetmyselftolearnasmuchasIcouldbywatching,asking,anddancing,
dancing,dancing.Shewatchedmepracticethesimpletraditionalwomen’sstep,
theuprightelegantpostureandgentlepulseoftheknees,withdelicate
variationsofsidesteps,walkingsteps,andliftingoffan.Iwaslearningtomove
withlesseffort,butevolvingconnectiontothemeaning.AlthoughIhadinitially
wantedtodoamorephysicallyexpressivedance,Ieventuallyfoundthatthe
repetitiverhythmofthetraditionalwomen’ssteprevealedtometheessenceof
15
allmovement,theheartbeatoftheearth,thecounterforceupwhenyouare
downanddownwhenyouareup.Itwasagroundednessdownintothecoreof
theearthbalancedwithupperbodypoisedasifhangingfromastarinthesky,
withquietspiralingnuancesallemanatingfromthecentralpowerofthespine.
Therearemanyvariationsofwomen’straditionaldance,asmanyasthereare
clans,bands,tribes,FirstNations,anddreamvisioners.Itisforeachwoman’s
personalconnectionwiththelivingtraditionsofherculture.Thematerialsof
currentlife,suchascloth,beads,metals-areintegratedasrelevanttothe
ongoingmanifestationofculture,whichstaysvitalandevolving…Eachvision
shouldbewitnessedwithrespect,asabeautifulembodimentofeachwoman’s
relationshipwithherculture,inthatmomentoftimeandplace.Ifeelthat
dancersshouldbemindfulofthisrespectforthemselves,inhowtheycarry
themselvesduringthethesetimes,whentheyarerepresentingtheirancestors.
Evenpowwows,whichareessentiallyintertribalsocials,areatimetoremember
howtobehaveinrelationshipwitheachother,usingwordsandthoughtsina
kindandpositiveway,andbehavinginreciprocity,fromafoundationofrespect
forself-determinationandsovereignty.(qtd.inPerea123-124)
Throughtheirjourneysofselfandculturalidentity,MadrilandTangen
experiencedanceasaprofoundlinkto“being”nativeandwhatitmeanstobeinan
ever-changingworldofculturalshiftsandmodernization.Danceconnectsthembackto
traditionalpracticesthatarevitalexpressionsofidentityandspirituality.Withintheir
reflectionsisadeepawarenessoftheroleofadancerwithinthecommunity;aswellas
danceasanintegralpartofbothculturalexpressionandculturalpreservation.
Removingdancefromindigenouscommunitywouldbetoremovetheheartofthe
people.Withintheselivedexperiences,danceismorethantheindividualritualsthat
16
includecomingofageceremonies,sundances,harvestsongs,prayersandcommunity
celebrations–danceisthelivingheartofthepeople.Itislifework.
Fig.2dancerAnecitaHernandez
17
“Idanceforthosethathavedreamtofahealthyfuture
fortheirchildrenandgrandchildren.Idanceformyancestorsand
thosethathavefoughtforalltheblessingsthatweareabletoenjoy
aswemoveforwardinourjourneyascaretakersofthewaterandland.
Idancetomaintainharmonyinmyheartandmind.”
~AnecitaHernandez,Diné(Navajo)
AsNativeAmericandancehasevolvedthroughhistory,ithasshiftedand
reshapeditsexpressionsinrelationtotheshiftingandreshapingofculturallife.Yet
throughitstransformations,danceremainsacentralpillarinbothindividualand
communityconnectionstothehealthandsustainabilityofthepeople.Fromtraditional
lifetocontemporarytimesdancefostersrelationships,protectionandrestorationof
traditionalknowledge,celebrationandprayer.Asdanceweavesinandoutoftraditional
practices-throughchanginglandsandreservationsintourbansettingsand
contemporaryculture-itcontinuestoreflectthepeople’sinterconnectionsinlife.
Inadditiontofamilyandtribalaffiliations,thereexistsalargernationalNative
communityidentity,whichharnessesanotherlayerofindigenousconnectionand
togetherness.Theimportanceofculturalartstraditionsintheprotectionand
revitalizationofindigenousknowledgeandlifeways,isreflectedintheabilityofdance
toempowerindividualsandcommunitiesinthedirectapplicationoftheirtraditional
knowledge.Asknowledgeholders,dancersembodythatknowledgeandshareitwith
thelargercommunity,creatingconnection.Aprofoundexampleofthisisthepowwow.
18
PowwowscameaboutduringatimeinNativeAmericanhistorywhen,among
otherthings,manyNativepeopleweredispersedorforciblymovedawayfromtheir
traditionallands,tribesandcommunities.In1952,theUrbanRelocationProgram
movedlargegroupsofNativepeoples,fromvarioustribalbackgrounds,fromtheir
homelandstosevenmajorcitiesacrosstheUnitedStates.Theresultwasthatmany
suddenlyfoundthemselvesaloneinlargedenselypopulatedurbanenvironments.Inan
efforttofindstabilityandcommunityinthesesituations,Nativepeoplecametogether
ingatherings,similarinstyletothoselong-heldgatheringsbackhome,toconnectwith
cultureandtraditions.Thesegatheringscenteredaroundthevitalexpressionsofsong
anddanceandbecameawayfortheNativecommunitytoconnectandheal.
Powwows,bynature,arenottriballyspecific;rathertheyareacomingtogether
ofNativepeopleinalargercontextofindigenousidentityandconnection.Sincetheir
riseinpopularity,powwowshavebeensurroundedwithasenseofcontroversyintheir
“authentic”nature,withpeoplequestioningapotentialhomogenizationofdanceand
songtraditions,stylesandexpressionsthatresultinalossofindividualtribalidentity
andthereforealossofauthenticpractices.However,inalargercontext,theopposite
maybetrue.Asthepowwowconnectsindividualswiththelargernetworkofindigenous
identityandpractice,itreinforcespersonaltribalaffiliations.Forexample,aDiné
individualmayexperiencebothconnectionandseparatenessinthepowwowdance
arena.AdualexperiencethatremindsthemofboththelargerNativerelationshipto
danceasembodiedknowledge;butisalsostrengthenstheirparticularDinétribal
19
identityinstandinginthedancearenaasarepresentativeoftheirparticularcultural
expressionsandrelationships.
Thisdualisticexperiencecanalsobeseenintheparticulardanceandsongstyles
thatarecommonlyseenatpowwows.Thoughpowwowsaredrawnfromhistorical
tradition,thesestylesarebeingexpressedinthepresentandtheyservecontemporary
needsforindividualsandcommunity.Withinthelayersofdancerandcommunity
experiencethepowwowisalivingevent,centraltothelivesofthepeoplewhocome
togetherforachanceto“dresstodance”(Browner2).Regardless,powwowsreflect
theprofoundnatureofdanceandsongtoconnectandkeepaliveNativeidentitiesand
culturalheritageintheheartsandlivesofthepeople.
Fig.4dancerSaraMoncada
20
“Wecanfeeltheland,
andwecanfeelthebeat,
andwecanfeelthevibration,
andthatistheconnection…”
~PabloPalma,dancer(qtd.inMurphy217)
Indigenouspeoplelivestronglyinthesignificanceoftheinterconnectionofall
lifeinthenaturalworldandthisisexpressedindifferentwayswithinthecultural
practicesandtraditionsofthepeople.Danceasawayoflifeliesatthecenterof
echoingthisdeepconnectioninallofitsexpressionsofstory,creation,socialcustoms,
prayerandhealing.Danceholdswithinitsformsandexpressionsthebeatingheartof
thepeopleand,byitsverynature,danceisanactoftogetherness,bringinginto
embodiedbeingthevoiceandlifeofthecommunity.Danceismorethanspecificstyles
ofritualandceremony,evenmorethanrecountinghistoryorexpressingemotion;
rather,itisitselfapracticeofknowledgecapableofaccessingdifferentwaysofknowing
andbeing.
Indigenousdanceisalivingformofexplorationandinvestigationthatnotonly
reflectsthelifejourneyoftheindividual,butalsothatoftheentirecommunity.Itisa
voiceofthepeople,alanguageofbodyandmovementthatallowsustoexistinthis
worldandexpandandcontractinlivingrelationship.Danceisdeeplyrootedand
embeddedinsideofexpressionsofself,communityandtradition,holdinginsacred
21
spacetheessentialnatureofcreationandconnection.IntheIndigenousmind,dance
andartisticexpressionarenotseparatedfromdailyliving;rathercreativityispartof
whoweareashumanbeingsanddancebringsusbacktowhoweareatourcenter,to
thatcommonhumanplaceofbeingindeeprelationshiptothelandandtoeachother.
Thatistheprofoundandunstoppablepowerofdance.
Lifeisexperiencedinthebody.
Itisthemeetingofourinternalselfandtheexternalrealmthattakesshapeandradiates
outofourcenterandconnectsustotheworld.
Itisourvoice,ourstory,ourbeing,ourgifttothatwhichconnectsustoall
–itistheecologyoflifeembodied,itisallofus-theweinme.
~SaraMoncada,Yaqui
22
Fig5.dancerEllieCruz
23
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